Review: A Simple Game of Power

Simplicity. Sometimes it's all you need to tell a story. In an age of an overabundant amout of Shakespeare companies, sticking out can be hard. But when the focus is on the text rather than the reimagining, that may be all you need to stick out. In Hamlet Isn't Dead's stripped down production of Richard II, the focus is on the language and the struggles of power.
Given a modern look with a gender, age, and ethnicity fluid lens, this Richard II is an examination of character. The first in Shakespeare's “Henriad”, the history chronicles King Richard II in his final years as he loses the thrown from a rebellion led by the banished Bolingbroke after proving his lack of ability. Directed by Emily C.A. Snyder, Snyder takes the game of power to the ultimate. With the focus on the characters rather than a fully realized concept, the text was the prime focused. This commitment had both its pros and cons. On the bright side, with the focus on the text, a captivating character study came to life. With a story that relies on significant character relationships, keying into the alliances allowed the richness to come to life. There was something striking about the straightforwardness in Snyder’s approach. That being said, the lack of cohesiveness in regards to where and when was a bit disappointing. With costumes as the only telling element, Shaina Kosloff’s modern approach felt more thrown together rather than unified.

The company as a whole proved their Shakespearean prowess. Led by Morgan Hooper and Robin Rightmyer as Richard II and Bolingbroke respectively, the battle was a glorious one to witness. Hooper exudes a nonchalant demeanor as Richard. Hooper brings an entertaining charm at the start but when his actions get the best of him, it’s his turn after his defeat that Hooper truly wins. Rightmyer’s Bolingbroke was a wonderful villain you loved to hate. Rightmyer has a knack for the words. Rightmyer created a character that transcended the text. The remainder of the company played an assortment of roles, jumping from character to character but there was one member of the cast that proved her ability not only to tackle the Bard’s words with ease but create a memorable character with each turn. Kineta Kunutu was astonishing and believable. With a range of roles from John of Gaunt to the Duchess of York, Kunutu never faltered. Other strong utility players included the strong willed Alice Qin and the captivating Nathan Luttrull.
When it comes to staging Richard II, Emily C.A. Snyder relied on fluidity. With only a gold painted chair to represent a throne and a coffin serving as everything from its original use to a platform to vaunt, Snyder subscribed to rarely moving them around. With the space having limited options of where to enter and exit, Snyder tried her best to slam into each scene with little space in between. But when there was air, it proved the need for some sort of transition sound. That being said, the preshow music, which featured hits like Hamilton’s “You’ll Be Back” and Muse’s “Uprising, that created the ambiance was on point and perfect.
The Shakespeare histories may not be as loved as some of the big hits of the canon but when there’s an opportunity to hear it for what it is, Richard II is more than just the set up play. Hamlet Isn’t Dead’s production has its ups and downs but as a whole it is a prized production.

Review: Chekhov's "Nashville" Episode

Taking classic texts and reinventing them into a musical form is old hat. From Kiss Me, Kate to West Side Story, works like these have stood the test of time. But one fellow who’s plays haven’t really had any musical reinventions is Anton Chekhov. His work is lauded and praised but not many have dared put music to his stories. In Songbird, Michael Kimmel and Lauren Pritchard ambitiously take Chekhov’s The Seagull and give it the musical treatment. Or is Songbird just a play with music? And that’s where the trouble begins.
Written by Michael Kimmel with music and lyrics by Lauren Pritchard, the action from The Seagull is transported to present day Nashville where a country diva returns home as her songwriter son is about to debut a new song. When the diva ruins her sons performance, her trip of nostalgia is rerouted as the tortured writer tries to take his own life. Throw in an assortment of subplots and you get The Musical Seagull called Songbird. The trouble is, without previous knowledge of the source material, you’d be scratching your head trying to piece together a plot. Kimmel hits the beats of  Chekhov’s story. He introduces the infamous moments. Dean, the Konstantin character, kills a bird, a bluebird here. Dean fails at suicide by hanging himself. Missy (the childhood best friend) loves Dean who loves Mia (the muse) who loves Beck (the famous songwriter) who loves Tammy Trip (the country diva and Dean’s momma). The spirit of Antony Chekhov is alive and well but when those beats aren’t present, all the characters do is talk about music and sing. The struggle of deciding whether this is a musical or a play with music defines how the songs play a part in the work. For the most part the show goes “I wrote a song, no one’s heard it, but I’m going to sing it right now for you.” Thematically the songs fit the mood of the Chekhovian moment but they do not propel the story. The characters don’t sing because they can no longer speak. They sing because they’re in Music City and country music is apparently the only pastime. Aside from drinking. Songbird feels very much as if Chekhov wrote an episode of “Nashville.” Don’t get me wrong, the series has been an ABC hit since 2012 but the parallels are uncanny. Though Tammy Trip, Beck, and Mia all talk about how Los Angeles is the music mecca, which seems strange since the country mecca, the Grand Ole Opry is just in town. It’s a shame that the structure of the text prevents Songbird from soaring because Lauren Pritchard’s music is something special. Pritchard is an incredible songwriter. Many of her songs could easily be played on contemporary country radio today. But when the music seems to have no correlation to the story, you have to wonder why not just listen to this all star cast in a concert? From the stunning ballads like “Cry Me a River” and “Again” to the power anthems like “Country Road”, Pritchard’s country score is the heart and soul of Songbird.
Material aside, Songbird is stacked with talent. Every single cast member can not only sing, they can sing country music. Kate Baldwin epitomized diva as Tammy Trip. Baldwin had a pep in her two step. Trip struggled with doing what was right, staying with her son or going back to Los Angeles, and Baldwin’s battle is touching. Erin Dilly as the scene-stealing comic relief Pauline is quintessential Southern mamma. Dilly’s antics may read as campy in the scope of the play but it’s much desired. Dilly and Baldwin have wonderful chemistry, as if they never lost a beat. You almost wish Baldwin and Dilly’s Tammy and Pauline had a prequel completely unrelated to The Seagull. When it came to immense talent with nothing to do on stage, Kacie Sheik made her presence worth it. The characters seemed surprised at how well Sheik’s Missy could sing. Sheik’ soared with “Cry Me a River.” If Kimmel ever explores revisiting the piece and straying a little further from the source material, Missy’s arc could easily be expanded. As tortured soul Dean, Adam Cochran brooded from start to finish. Sure, it’s the character that Kimmel and Chekhov crafted but there was little variety. Except when he rocked out in Act II. The true songbird of the show was Ephie Aardema. As Mia, Aardema brought great range to the only character that seemed to have a full arc. Aardema’s vocals were something simply stunning.
Finding the middle ground between Chekhovian humor and the musical theater approach seemed to be director JV Mercanti’s downfall. With the piece not knowing where it wanted to live, Mercanti could only do so much. There are natural tense and dramatic moments built in but the way Mercanti and his cast played it offered laughs in all the wrong ways. And it starts and ends with the bluebird. With no lead-up, Dean walks on stage with a wrapped bluebird. He and Mia have a brief chat and then he tosses it on the ground. And it stays there. For at least two songs. Sure, the tension is cut with the proclamation of inhibition but in the world of this play, it’s the excuse for everything. When it comes to compiling a design team to create a cohesive and beautiful design, Mercanti succeeded. The set by Jason Sherwood was evocative of a country western bar with rustic wood finishes and the tops of walls lined with empty beer and alcohol bottles. With the show transporting to various locations, Sherwood and lighting designer Aaron Porter transformed the space with ease. Though consistently looking at the string instruments hung on the wall knowing it’s only for easy actor access to randomly break out into song was a let down. The costumes by Mark Koss set the mood and represented the characters wonderfully. From the purity of Mia’s flowing garments to the dark tones of sad face Missy to the country diva leather of Tammy, Koss captured the essence.
Not everything wants to be a musical and Songbird is proof of that. Kimmel and Pritchard’s ambitious piece is lost in the unknown. Once the team decides whether it’s a play with music or a musical, going back to the drawing board will allow the show to fly.

Spotlight On...Jordan Bean and Patrick Taylor

Name: Jordan Bean and Patrick Taylor

Hometown: 
JB: Huntington, West Virginia
PT: Jacksonville, Florida

Education:
JB: B.A. Public Relations, Marshall University, 2013
PT: B.F.A. Theatre Performance, Marshall University, 2013

Select Credits: 
JB: Van’s Sister in Dog Sees God, Sunny in The Last Night of Ballyhoo
PT: Mr. Renfield in The Passion of Dracula, Hal in Proof, O’Shaunessy in Is He Dead?








Why theater?: 
JB: It’s honest, and there is something really special about the amount of time, money and energy that so many people are constantly willing to sacrifice in order to make it happen.
PT: Theatre is such an intriguing device for story telling. It brings people of all backgrounds into the same space to experience something cathartic enough to make them think.

Who do you play in Pretty Theft?:
JB: No one! I’m the Assistant Director and Producer.
PT: I play Joe, an autistic savant who lives in a group home.

Tell us about Pretty Theft: 
JB: Pretty Theft is the first show by Dark Matter Productions! It’s a dark but very sweet show, we really liked it because it focused on a character with a neurological disorder and features lots of ladies.
PT: Pretty Theft is my favorite type of show. It touches on important themes that are close to me, moves along quickly with numerous short scenes, and has quite a twist at the end.

What is it like being a part of Pretty Theft?:
JB: I’m enjoying it. We have a great group of people, all of whom are really enthusiastic and committed to the show. I’m amazed and grateful that they all decided to trust us as a new company and jump right in.
PT: It has been such an exciting and learning experience. As the Co-Producing Artistic Director along with acting in it I have my hands full but I am enjoying every minute of it!

What kind of theater speaks to you? What or who inspires you as an artist?:
JB: Authentic stories about human interaction. Anything that forces you to look at the world as it actually is.
PT: Same. I love watching raw emotion right in front of me. I love straight plays that are dark and smart. Theatre that really makes me think is what inspires me to do more of it.

Any roles you’re dying to play?:
JB: Harper in Angels In America, Van’s Sister on the DSG National Tour
PT: I would really love to play Tom in The Glass Menagerie.

What’s your favorite show tune?:
JB: At this moment, all of Aaron Burr’s songs in Hamilton. Also “Breathe” and “When You’re Home” from In The Heights. Definitely on a Lin-Manuel Miranda kick.
PT: I have literally not stopped listening to the Hamilton soundtrack since it was released a month ago.

If you could work with anyone you’ve yet to work with, who would it be?:
JB: There are so many people I’ve yet to work with, I don’t know if I have a good answer for that yet.

Who would play you in a movie about yourself and what would it be called?:
JB: Ideally Beyoncé but realistically Ellen Page in "I’d Rather Not".
PT: Michael C. Hall in "I Can’t Sit Still…"

If you could go back in time and see any play or musical you missed, what would it be?:
JB: I missed The Cripple of Inishmaan last season and will never forgive myself for it.
PT: I would have loved to have seen Little Shop of Horrors with Ellen Greene.

What show have you recommended to your friends?:
JB: Hamilton, Sleep No More.
PT: Hamilton, duh. But also Buzzer at the Public Theater. Actually, everything at The Public. It’s my favorite theatre, can you tell?

What’s your biggest guilty pleasure?:
JB: Carly Rae Jepson.
PT: An entire case of Oreos and a gallon of milk.

What’s up next?:
JB & PT: A reading series inspired by Queen Bey!

For more on Dark Matter Productions and Pretty Theft, visit darkmatternyc.org

Spotlight On...Jean Randich

Name: Jean Randich

Hometown: Brooklyn, NY

Education: BA, MA, Brown University; MFA, Yale School of Drama

Favorite Credits: Antigone, Cabaret, The Dispute, The Don Juan Project, Girl Under Grain, Gum, The Floating Box, Lemkin’s House, Love, Sex and Death in the Amazon, Peer Gynt, Six Characters Looking for an Author, The Unknown

Why theater?: Theater, from the Greek “theatron,” “the seeing place” is the place where people gather to see what it is to be human. If you are lucky, you see Other and Self in a deeper, ancestral way, and awake to our interconnectedness. The mysteries of life, death, love, and sex are all there for us in this ancient game of entrances and exits.

Tell us about Collider Theater and Love, Sex and Death in the Amazon: Collider Theater is based on the idea of a particle collider. I see it as a theatrical accelerator in which one can smash together cultures to see how they collide, interact, and behave. In a sense, it’s a laboratory version of New York City. Robert Murphy and I celebrate diversity, but acknowledge that it doesn’t always go hand in hand with tolerance. We hope to stage plays in which this intercultural tension is explored. In “Love, Sex and Death in the Amazon,” we explore what happens when an atheist American has to help his late partner’s overbearing mother perform Afro-Brazilian Umbanda rituals in the Amazon rain forest. That’s when the spirit world decides to mess with these flawed, impatient humans who can’t let go.

What inspired you to direct Love, Sex and Death in the Amazon?: Robert Murphy and I have been good friends and collaborators since we met at Yale years ago. I also knew his partner and watched Bob negotiate the illness, care-giving, death, and grieving. But when he started to write about it, something magical emerged. The play is an evocative dream, a love story, a ghost dance. What I love about working on this show is that so much loss – the loss of Robert Murphy’s partner to leukemia, the loss of the world of Brazil to the playwright – creates so much mystery and joy. It inspired Bob to write the play, the designers to create such exotic beauty, the actors to dream these characters into life, and the creation of Collider Theater, itself. Playwright Karen Hartman describes Robert Murphy’s semi-autobiographic work as "A love story that defies all stereotypes. Moving, unexpected, hilarious and humane." We run through 31 October, so I would urge everyone who loves a juicy story to come out and see it.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that is as complex and elemental as life. I like a balance of the artificial with the real so that they play off each other. I also respond to the grotesque contrast of sublime and profane, raw and spiritual, heady and visceral. I love imagistic theater in which the composition of space/time echoes the turns in the plot, or the dilemma of the characters. I love rhythm as a structuring element of how an experience moves through space and time. It corresponds to our heartbeat, to Shakespearean iambic, to how our eyes see. I have been inspired by artists I have worked with: Mia Katigbak and the National Asian American Theater Company, Ping Chong, Dana Reitz, Karen Hartman, Catherine Filloux, Sarah Cameron Sunde and Susan Bernfield of New Georges, but also by the designers and actors who collaborate with me. People give so much of their time to these projects for so little remuneration. They do it because they are artists, and they create out of love. That inspires me to be the best I can be for them, too, as well as for the audiences.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Steven Hoggett of Frantic Assembly, or Simon McBurney of Complicite. Their styles connect the physical to the emotional/intellectual in stunning, inexplicable ways. You always leave their work with new eyes – new ways of seeing.

What show have you recommended to your friends?: Gob Squad’s Before Your Very Eyes.

Who would play you in a movie about yourself and what would it be called?: This is really hard to answer. Since we’re fantasizing here, I’ll say that Elena Ferrante should write the movie, and it should cover a lifetime, as her intoxicating Neapolitan novels do. I should be played by four actors, I think, maybe 5. One of them should be the young Jeanne Moreau – Catherine in “Jules et Jim.” I like her turbulence, spontaneity, intelligence, and recklessness. Unknown first time actors should also be in the mix. Maybe one of my avatars could be a fish. Title: "Writ in Water".

If you could go back in time and see any play or musical you missed, what would it be?: If we’ve got a time machine, I’d take it to Elizabethan England and check out everything on and behind the scenes with the Chamberlain’s Men and the King’s Men. Would be great to find out how much devising figured into the work of Shakespeare. I’d also LOVE to fly on Mozart’s shoulder and watch him whip Figaro and Don Giovanni into life.

What’s your biggest guilty pleasure?: Coffee. And nature. Being in it. Gardening. Just watching the wind in the trees.

If you weren’t working in theater, you would be _____?: Reading, writing, doing more yoga, gardening.

What’s up next?: I’m working on a new opera by Kitty Brazelton, The Art of Memory, about St. Augustine and St. Ambrose. And I’m also directing a reading for Dutch Kills Theater of a new play, Sanctuary, North, by Robert Schneider. It’s about Ernest Hemingway’s youngest son, Gigi, who became a doctor, but moved to Montana where he secretly battled bi-polar disorder and his compulsion to cross-dress. And Shakespeare’s Midsummer Night’s Dream is coming up in the spring.

For more on Jean, visit www.jeanrandich.com

Spotlight On...Robert Murphy

Name: Robert Murphy

Hometown: Lewis, Iowa

Education: Undergrad: University of Iowa (Theatre and Music), Grad: Yale School of Drama (Sound Design)

Favorite Credits: This one, so far...

Why theater?: Because helping to give an audience a great theatrical experience brings a deep emotional satisfaction that nothing else can.

Tell us about Love, Sex and Death in the Amazon: It’s part memoir and part fantasy.  It’s also an effort to engage in conversation with a person with whom I couldn’t.

What inspired you to write Love, Sex and Death in the Amazon?: My partner of eight years was diagnosed with two forms of aggressive leukemia in early 2009.  We had had many difficulties in our relationship, but I came back to help him get through endless rounds of chemo treatments.  In addition to this, his Brazilian mother didn’t speak a word of English and was a remarkably difficult personality.  In addition to this, Ronaldo and his mother devoutly followed an Afrobrazilian religion, Umbanda – he was doing offerings to his deities throughout his chemo treatments, and Umbanda priests were saying departing prayers to him a month after he passed away.  All these factors sparked the impulse to write a story about his mother and I traveling to the Amazon rainforest in an effort to send his spirit on.

What kind of theater speaks to you? What or who inspires you as an artist?: It sounds obvious, but I’m drawn to theatre that makes me feel something.  Because (IMHO), so much theatre in NYC seems more focused on exploring stylistic ideas, or dazzling with cleverness, than sharing an emotionally compelling story.  (I do love theatrical style, as long as a compelling story gets told.)  Having said that, one my of favorite playwrights is Charles Ludlam.  He embraced all kind of craziness in his plays, but was also quite firmly grounded in traditional rules of dramatic structure.

If you could work with anyone you’ve yet to work with, who would it be?: I’m a big fan of Soho Rep, and would love to work with Sarah Benson.  And, of course, Taylor Mac.

What show have you recommended to your friends?: I was recently blown away by a Gob Squad production called Before Your Very Eyes – improvisation with New York teenagers, asking them to have conversation with younger videotaped versions of themselves.  And I adored Mike Bartlett’s play King Charles III, and I’m looking forward to seeing it on Broadway.

Who would play you in a movie about yourself and what would it be called?: Jean Dujardin (oh hell, let’s shoot for the moon shall we), starring in “Please Sir, May I Have a Career?”

If you could go back in time and see any play or musical you missed, what would it be?: 1928 premiere of Threepenny Opera.

What’s your biggest guilty pleasure?: Really nice French restaurants I can’t afford.

If you weren’t working in theater, you would be _____?: Self-medicating.

What’s up next?: Catching up with post-production reality – paying bills, etc.  Then I continue on the first draft of the prequel to this play.

Review: Interpreting Justice

There's a sad reality of workplace sexual harassment but what if it was taken to the extreme. Set against a backdrop resembling the case of ex-CEO of American Apparel Dov Charney, Unseamly, Oren Safdie's gripping drama at Urban Stages, tackles the story of a young girl seeking justice and retribution against the power-loving head of an infamous clothing company. But what if her tale doesn't actually line up and there is another side to the story?
Malina walks into Adam's law office in hopes of filing a suit against Ira Slatsky, the head honcho of The Standard, after experiencing two years of empty promises, emotional manipulation, and sexual misconduct gone to the extreme. Through a series of active flashbacks chronicling the events in question, Adam must decide if it's worth taking on the corporate mammoth and at what cost. Unseamly is an action-packed battle of morality that showcases the consequences of temptation. Safdie’s he-said, she-said drama is magical. Just when you think you have it all figured out, he hurls a curveball that makes you suspect the truth and validity of the action presented by the characters. What Safdie does well is allowing Malina’s story to take precedence but having Ira’s recitation interject in a manner that keeps you guessing. Safdie’s subject is ambitious and likely to trigger emotions. But that’s what makes Unseamly so exciting. Safdie isn’t afraid to bring the story to the extreme in order for Malina’s tale to resonate. Safdie shows and tells the circumstances that Ira forced Malina in without fear. It allows the facts to line up for both Adam and the audience. There are clear objectives and desires in each of Safdie’s characters. They will fight to get what it best for them, even if it means manipulating the truth. By having three flawed characters, the action is even more enticing because you don’t know what they will do next. The subject of a man giving lacy lingerie, vibrators, and promised job growth may sound menial but watching a young woman decay just to keep her life afloat is the power that Safdie and the entire company bring. The entirety of the play is a battle to find the truth between Malina and Ira, yet there is great depth within the character of Adam. As the neutral character, it’s not until he breaks down that we see is true colors. Well, there’s also the end. With such a fervent button, Safdie gives us the answer to the mystery of Adam. And it’s a bit of a let down. Let ambiguity shine! If this is an integral moment, finding the middle ground between answer and vagueness will leave the audience rightly satisfied.

photo by Russ Rowland

The cast of Unseamly is stellar. The unity between the trio is what makes this piece tick. The subject is not easy and the intensities that Safdie and director Sarah C. Carlsen ask their company to go requires great trust. And this company had that. Bound by naivety, Gizel Jimenez’s Malina was a mesmerizing. Jimenez as Malina is engulfed in a trap of fast-talking men yet manages to put up a fight. Jimenez went the distance, tapping into a world of emotions, bringing out some captivating moments. There was passion inside that kept the story moving. As seedy Ira, Jonathan Silver conveyed a character that you should naturally despise yet Silver was endearing. What’s so appreciative about Silver’s performance is the detail in which in put into the character. The specificity of cadence was clear and telling. When Ira was talking fast, there was falseness but the moments he slowed down and carefully chose his words, that’s when Ira drew you in. Taking on the lawyer, Tommy Schrider was much more than just an active listener. Schrider’s Adam went through inner turmoil, deciding whether his own morals or job security was more important was equally was captivating.
Rather than keep things simple, director Sarah C. Carlsen put her foot on the gas on revved up the speed. The structure of Safdie’s script was consistently moving and Carlsen kept the velocity up. The fluidity in her staging was strong, using a less is more philosophy and expertly maneuvering the secret-filled cube-inspired set by Brian Dudkiewicz. Dudkiewicz’s grey cube was the perfect screen for Nicholas Blade Guldner’s energized video design. While mostly relegated to the preshow, Guldner’s design was evocative and set the right tone. The score by Krystle Henniger was reminiscent of a triumphant movie soundtrack with its highs and lows. Though it felt bigger than it appeared, the cube set didn’t allow for much isolation but lighting designer Christina Watanabe played around with color and moods, discovering a way to theatrically keep Adam present in the play but not in the scene.
Unseamly is a winning production from start to finish. Oren Safdie’s topical tale is haunting and more thrilling than the endless news cycles that inspired it.

Spotlight On...Chad Lindsey

Name: Chad Lindsey

Hometown: Saginaw, Michigan

Education: BA in Music from Valparaiso University

Favorite Credits: Midsummer at Classic Stage Company, Chekhov Lizardbrain with Pig Iron Theater

Why theater?: Lookit. It's gonna sound hokey, but here it is: Theater is the magic box wherein language, movement, ritual, and sweat can change a person forever. It is a communal creative act of love, it's therapy writ large, and a sports arena for the storyteller.

Tell us about God is a Verb: How will I be remembered? What is genius? What if great ideas hit - and the world isn't ready for them? How many times have the gears of progress, time, and place almost meshed, but unmatched, slipped and spun, and in the process great ideas slid into the void? These are the questions that we asked ourselves as we played with biographical material from the life of design scientist R. Buckminster Fuller. The play we have created is a kaleidoscope of fiction and fact. Myth lives next to truth, and neither like the arrangement very much, but the tension is fun to watch!

What made you want to direct God is a Verb?: Bucky was my "snag" (our company's way of saying "I have an idea that's hooked me - listen up"). I wanted to dig into the life of Buckminster Fuller. My dad liked geodesic domes - drove us past them in the car as kids, pointing and chuckling. And thanks to my whiz boyfriend, I've been reading more and more about mid-century design, the failures of Modernism in urban planning, and the mind of the prototypical 20th Century Planner, so I instigated a little research pod - Hook & Eye does it's work in pods. Writer Gavin Broady was looped in early in the process, and at a family dinner one night, realized his girlfriend's dad knew Bucky in the 60s. Blessed with some primary source material, and moving quickly toward a consensus, we decided to center the play around Bucky's work in the late 60s, in particular, the World Game - an idea Bucky had - to play the world and its resources as a game in order to make it all work for 100% of the population with no one at a disadvantage.I couldn't let this opportunity go. As the originator of the "snag" and the champion of the first pod, I had the responsibility of finding a director or becoming it. I chose to lead.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything physical, musical and smart. I enjoy watching the actors do the work of making the world of the play. I'm inspired by companies like Kneehigh and Pig Iron (with whom I worked several years ago) and dance theater like Pina Bauch's Tanztheater Wuppertal. Inspiration can come from a telecom commercial, for all I care. Or a pear, or an ashtray. It's the work you do after the inspiration that counts.

If you could work with anyone you’ve yet to work with, who would it be?: I've just finished Glen Berger's astonishing book "Song of Spider-Man", and I don't care what anybody says, I'd love to lock horns with - and doubtless learn from - Julie Taymor.

What show have you recommended to your friends?: If you're on a budget, and pressed for time, I recommend the internet. "Veep" and "Rosemary and Thyme". It's all there. HOWEVER, if you have the time and money, see as much theater as you can. Even the bad stuff teaches you critical thinking and establishes your notion of taste -something so important to have.
                                                                 
Who would play you in a movie about yourself and what would it be called?: Chris Pratt might be able to handle it. And call it "You Should Try Stand-up".

If you could go back in time and see any play or musical you missed, what would it be?: I saw Starlight Express in London in 1980-something, so I'm good... no I'd like to see Broadway's precursors - the fatal last show for Stanford White - Mam’zelle Champagne in the old Madison Square Garden in 1906.

What’s your biggest guilty pleasure?: Disposable molded plastic dental floss holder thingys.

If you weren’t working in theater, you would be _____?: An Architect.

What’s up next?: Hook & Eye co-Artistic Director Carrie Heitman is championing a "snag" about the earth's magnetic field, cartography, national parks, and destiny, I think. I have a hard time thinking that far ahead.

Review: The Rockin' Stock Broker

Life grants us experiences that are perfect to talk about. You know, life experience. We’ve all gone through something that could easily be turned into theatrical material. Chris Foley sure did. In Off the Desk: Tales of a Mediocre Stock Broker, Foley takes the audience on a journey through his time as an intern until things began to crash with every whacky personality, intense party, and moments of truth in between.
Written and performed by Foley, Off the Desk: Tales of a Mediocre Stock Broker is the tale of one man’s experience in the world of Wall Street. This world has been brought to life on stage and screen but is the portrayal of coked out, outrageously loud broker world truly accurate? Foley’s living proof. Foley has a knack for storytelling. And he certainly has some stories to tell. From trading floor exploits to the aftermath of the broker life, Foley has a way that invites the audience into his world. Foley paints a picture that’s accessible and easy to see. Rather than toss around lingo and jargon that could dilute the tales, Foley skillfully manages to keep things comprehensible. Clarity is key and it was present in Foley’s text.

The extended monologue featured a series of characters that Foley melted into. Director Padraic Lillis did a wondrous job guiding Foley through physicality. Foley may not be a master of vocal characters, so the physicality aided. Lillis allowed Foley’s narrative to be the prime focus of the piece. The beats were hit and the moments seamlessly flowed with one tiny exception. To help delineate Foley’s tone in certain situations, Foley removed his button down and tie. Of course, as the stories matured into full-on workforce, Foley needed to redress. Lillis had a wonderful lighting and sound design from Derek Miller and Andy Evan Cohen that he could have utilized in that moment. There was nothing more awkward than stage silence after stopping a story in order to tuck in a shirt. Aside from that little bit, it was smooth sailing. The cohesiveness of Miller and Cohen’s design added a richness to Foley’s play. Foley is a rock star so the design needed to match that. With a score inspired by the rock hits of the 70s and 80s and lighting that was evocative of a concert, the moments they were present elevated the play.
Off the Desk: Tales of a Mediocre Stock Broker may sound like something you’d likely stray away from but Foley’s story is quite remarkable.

Spotlight On...Carmen Roman

Name: Carmen Roman

Hometown: Hobbs, New Mexico

Education: Bachelor’s in Theater UCLA

Select Credits: Wit at The Goodman Theater. Master Class at Northlight Theater Chicago and tour. Angels in America – Hanna cover National Tour

Why theater?: The reason has changed so many times over the years. It has always been acting (though I have played many other roles in the business, too) but what I think theater is and who I serve has changed a lot.

Who do you play in Love, Sex and Death in the Amazon?: Dona Ines. She is a turbulent person with few coping skills in the midst of a deep personal crisis.

What is it like being a part of LSDA: I love the play and all the folks involved so it is a true labor of love.

What kind of theater speaks to you? What or who inspires you as an artist?: I love seeing and doing all kinds of theater but my favorite theater has the potential for healing and my very favorite theater has the potential to transform lives.

Any roles you’re dying to play?: No. New work is my passion so the role I am dying to play is yet to become.

What’s your favorite showtune?: "Send in the Clowns" or the entire score of West Side Story.

If you could work with anyone you’ve yet to work with, who would it be?: It’s a tie between Helen Mirren, Meryl Streep, at the moment. I know there is some guy I am forgetting right now. And always, Olympia Dukakis.

Who would play you in a movie about yourself and what would it be called: "Carmen: Not the Opera".

If you could go back in time and see any play or musical you missed, what would it be?: Anything with Helen Mirren. I really want to see her on stage.

What show have you recommended to your friends?: Love, Sex and Death in the Amazon (Sorry.)

What’s your biggest guilty pleasure?: Chopped

What’s up next?: A workshop of Botanic Garden that goes into production in January.

Review: A Musical Revue From Hell

What if you have a really cool idea but it just gets executed so badly? You get Hell’s Belles, a new musical revue from book and lyricist Bryan D. Leys and composer Steve Liebman. The revue from hell showcases some of history’s baddest ladies as they sing and dance in a cabaret hosted by hell’s own Ryan Seacrest.
Hell’s Belles is one of those shows that a good pitch draws you in but when you’re experiencing the material you almost have to wonder have you actually died and gone to hell. The premise of the wannabe book musical is the schlocky demonic host Lester welcomes us sinners to hell where we get to watch a revolving door of bad girls come out and sing a tune or two. The idea is fun but Leys’ book is insufferable. The way he weaves in and out of numbers is forced and repetitive. In order to bring a semblance of a plot into the show, an unnamed pop star that embodies a plethora of iconic divas comes to hell after being killed by a vibrator, yes that’s right, a vibrator. This pop star is the only unnamed celebrity in the piece and it’s a bit strange. The diva protests her presence in hell but can’t help but take some time in the spotlight. Even with a diva running around, the show must go on and we meet an array of personalities from Eleanor Roosevelt, Lizzie Borden, Lady Godiva, and Princess Diana. Yes, that’s right, Princess Diana is in hell. With no rhyme or reason for the coming and going of character, the musical numbers are thrown in willy-nilly, all living in a mid to uptempo world. To Leys credit, he brings unapologetic humor. He fills his script with references upon references, many of which are met with moans and groans for pushing the envelope. In that regard, Hell’s Belles is “damned funny.” But when it comes to the sound and style, the music very much lives in the Golden Age. Perhaps the denizens of hell are fond of the old fashioned style but it forces the musical into a small demographic that feels dated. When it comes to the songs given to each character, most of which is person-oriented, on occasion are more environmental rather than character driven. Perhaps this is Leys and Liebman’s way of interchanging characters to fit the company they have. The biographical numbers have their nuggets but there were many missed opportunities. Namely when it comes to Evita herself, Eva Peron. Rather than dive into the real person, the entire song is wasted on Andrew Lloyd Weber writing a musical about her. Though it’s only about eighty minutes long, songs could be cut and this is by far the first to go.

photo by Russ Rowland

There may have been four actors on stage but you might as well have called it the Lindsey Brett Carothers Show. Carothers is a star. She personified diva with her primary character. She even nailed the signature Britney “yeah”. Carothers comic ability ranges from naughty to sweet and innocent. Carothers was easily the most skilled vocalist on stage. Rachel Erin O’Malley took on the more maternal characters including Eleanor Rooseevelt, Eva Braun, and the oddly placed Ma Barker, the least known of the entire night. O’Malley is a wonderful character actress bringing facial expressions to a new level. Her characters each had their own personality and nuance. Laura Daniel’s character track was by far the most inconsistent taking on personalities including everyone from Janis Joplin, Lady Godiva, and a country-fied Guinevere. Without an introduction, it may have been hard to identify her characters. Daniel certainly has an ability to play a character but was easily out-shined by Carothers and O’Malley. As Lester, the sleazy host, Matt Wolpe embodied everything we hate about unsavory variety show hosts. Wolpe was forced to ham up his performance for the comedy. Leys tried to give Lester a character arc but it was sorely played.
Director John Znidarsic had a lot of cheap laughs to go for in Leys’ libretto and he went for every single one. With the content not quite up to par, Znidarsic’s arsenal was limited. Znidarsic even tried to get pianist and music director Mary Feinsinger into the action but she didn’t quite seem up to the task. With a formulaic structure to tackle, Znidarsic offered little variety in the predictable piece. The scenic and lighting design by Josh Iacovelli was in line with the trashy nightclub aura of Hell’s Belles. The color and pattern combination was quite demonic. Which worked. And matched the red on red of Lester’s outfit designed by Dustin Cross.
What Hell’s Belles has going for it is in knows what it is. But the content is in need of some adjustment. Perhaps if booze was constantly flowing and the clock was past midnight, Hell’s Belles would actually be a damned funny musical.

Review: What It Means to Actually Care

There's a time and place to experiment. That place is usually the rehearsal room. In Unhealthy, Battalion Theatre Company decided to give each separate audience a different experience that could alter the narrative of Darren Caulley's story. Yet what happens if the random draw of characters turns out to be likely the perfect casting? Or was it so well rehearsed that no matter what the audience got the same evocative feeling would shine through? Well, you’d have to go again but fate was on Battalion’s side in this version of Unhealthy.
Darren Caulley’s enthralling story, we follow a quartet of twenty-somethings, each battling their own inner demon, that intersect in a manner that alters each other’s lives immensely. Roommates Michelle and Celia couldn’t be more opposite. Michelle is loved by all and is a star. Celia can’t find anyone or even a job. When a stranger named Maycomb arrives at the apartment, truths come to light about the nature of the stranger and his fascination, Michelle. Having met after seeing her perform, Maycomb believes that he has a loving friendship with Michelle only to find out it’s more of a pity situation. As Michelle arrives home with her costar Kurt to “run lines”, Maycomb’s true nature is revealed. Once the four lives become intertwined, each person’s deepest secrets come to light that triggers reflections of their individual character. Caulley’s script is dangerous and unafraid. Certainly we may find the result to be a little heightened but Caulley comes at the plot with truth. Without diving deep into backstory, Caulley paints a vivid picture of the characters that allows the plot to soar. For the most part with the exception of the roommates, the relationships are all fledgling yet they are genuine. And how each person uses the other is what makes the story tick.

photo by Jonathon Marin

After seeing your version of Unhealthy, you wonder what the other actors would have brought to the table in the opposite role. Whether the approach would have been the same with each of the four possible casting combinations, this version of Unhealthy was simply wondrous. Laura Piccoli is sensational as Celia. As the down and out shadow of Michelle, Piccoli had a lighter tone that came out as authentic. Piccoli is funny. She is sincere. And she allowed the damaged character to have hope within. You couldn’t help but cheer on Piccoli’s Celia and wish her to win. Those emotions she found were beautiful. On the opposite side of the character spectrum was Kullan Edberg as Michelle. Edberg’s Michelle was the character you hate even though you believed every single spun word that came out of her mouth. Michelle is a sociopath who is obsessed with being wanted and having attention. Michelle is an actress in every sense of the word, pretending to care about others when priority number one is herself. She is a narcissist who feels no remorse when cycling through friends and lovers. What Edberg did phenomenally was convince you she was noble despite the damage she caused. And when she met her demise, you can’t help but wonder if karma won. Dan Gonon gave a noteworthy performance as Maycomb. Gonon’s Maycomb may not have been mentally all together but their was truth in his performance. Gonon transformed into the character both physically and mentally. It was a heartbreaking performance to say the least. Even though you knew his actions were wrong, his intent came from the heart. Everyone has been in Maycomb’s position at some point or another. All they want is someone to care for them. And when that person is ripped away by their own accord, the mind goes to the extreme. Maycomb knew the truth, but when it came out, that’s when it was all over. Gerrit Turston took on Kurt, possibly the most sane of the characters. Kurt is a morally sound character that wants nothing but to do what’s right. Perhaps that’s what makes him unhealthy. Turston’s Kurt was quite reserved compared to the landscape of the other character, creating a nice contrast on stage. He fell for the temptress Michelle and despite hating him for it, you understood how.
By playing with the idea of potentially playing either role of the same gender, director Kelly Teaford was able to pull out something interesting from her company. It allowed the actors see the world of the play through different eyes. It was a very bold risk to take, as the performances may not have been complete. This was not the case. Where Unhealthy fell short was through it’s set. Caulley’s script required an apartment. It could have been simply but the nuances of the Kraine Theater seemed to be the downfall. There is no way to find promise in Caitlyn Murphey's set. It looked like a rundown apartment thrown together which is a bit of a bummer. The attempt to create an extension with doors is noble but being white it was an eyesore. Thankfully the script and the rest of the production made up for it. The sound design by Aidan Meyer included a very interesting blend of music and voices. It was the “uh oh, bad things are coming” cue. It may have been on point but it certainly added to the moment.
Battalion Theatre Company struck gold with Unhealthy. It was ambitious and has the ability to hit close to home. You should be following closely to see where Caulley’s script goes next. It’s good. It’s really really good.

The Rulers: A Sneak Peek into Rule of 7x7: All Hallow's Eve-dition

Halloween is just around the corner as is another edition of Rule of 7x7: All Hallow's Eve-dition. Before you head to The Tank, check out the writers for this month's edition!

The Rulers

Name: Jon Caren

Hometown: Los Angeles

Education: Vassar, Julliard

What is your rule?: A whisper on page 4.

Why did you pick your rule?: Because I hate when people talk loudly.

Tell us about BUSHWHACK SHARE, PRIVATE ROOM: Bushwhack Share, Private Room is a play about a guy who AirBNB’s his apartment to a couple from Sweden and we all know what happens when you AirBNB your apartment, right?

What can we expect to see at Rule of 7x7?: Sex and violence.

Why should we check out Rule of 7x7?: Because you will leave feeling smarter, more cultured, and a humanitarian.

What is your Halloween costume this year?: The same as last year because I never wore it. Movie theater employee.  Stand near me if you like popcorn.

For more on Jon, visit www.jonathancaren.com

Name: Dylan Dawson

Hometown: Minneapolis, Minnesota

Education: NYU Tisch School of the Arts

What is your rule?: A bathroom item is used as a weapon.

Why did you pick your rule?: I'm hoping someone gets creative with a plunger.

Tell us about HAUNTED PORNO: Theater is sacred. It can illuminate certain truths about what it means to be human and lift the curtain on those secret places where dreams are made. And that is why I wrote "Haunted Porno."

What can we expect to see at Rule of 7x7?: In my case, a boner.

Why should we check out Rule of 7x7?: Because theater is sacred, etc, etc, boners.

What is your Halloween costume this year?: I have an Italian Stallion boxing robe and a Mr. T doll, so probably "Rocky 3." Again.

For more on Dylan, visit www.dylanjdawson.com

Name: Brett Epstein

Hometown: Hamden, CT

Education: Providence College

What is your rule?: Someone is very, very, very scared on the last page.

Why did you pick your rule?: HALLOWEEN!!!!!

Tell us about I CAN FEEL YOU BREATHE: The title is based on that classic Faith Hill ballad. That's all I can legally say at this point in time.

What can we expect to see at Rule of 7x7?: People dressed up, hanging out on the stage, a spooky drink (that we're still devising), rules. What you won't see is scripts. Because it's an #Off-Book affair.

Why should we check out Rule of 7x7?: It would mean a lot to ME.

What is your Halloween costume this year?: An NYC playwright. Just kidding. What if I was serious about that.

For more on Brett, visit www.itsbrett.net

Name: Ken Greller

Hometown: Baltimore, Maryland

Education: NYU

What is your rule?: Real estate.

Why did you pick your rule?: I read Curbed and still get StreetEasy alerts even though I moved in July and never want to move again. I'm a sick individual.

Tell us about PIT CITY: It's about Baltimore, where I'm from, and - going off of my own rule (because theatre is about community but it's also about ME) these strange spaces in often marginalized parts of the city where (largely white) kids would gather for music shows. I don't really know anything about music, and I never have, but the Baltimore music scene is pretty substantial. Most of the members of Animal Collective and Yeasayer went to my high school, and I think I saw Beach House in a basement with a trashcan filled with beer before they were famous. My best friend for a while in high school was part of a "noise band," so my dad would begrudgingly drive me to these shows, and I never really understood a lot of it.

What can we expect to see at Rule of 7x7?: I am honestly so bad at writing ten minute plays, and especially bad at writing "challenges" and things like that, but I think this set of rules is so enticing and funny and weird that I'd have to imagine you're going to see seven really fun, really different plays that don't feel like a bunch of "exercises."

Why should we check out Rule of 7x7?: You get to sample the work of seven playwrights and seven directors and god knows how many actors! It's like drinking a green juice but for theatrical consumption. Or getting an appetizer platter. Those are two different metaphors, it just sort of depends what you want to get out of it.

What is your Halloween costume this year?: I'm going as a "Verified" (someone whose existence is deemed, well, verifiable, by Twitter).

Name: Monet Hurst-Mendoza

Hometown: Pasadena, CA

Education: B.A. Theatre Arts, Marymount Manhattan College

What is your rule?: Someone recounts a childhood trauma that deeply affects them to this day

Why did you pick your rule?: I'm fascinated by how traumatic events shape humanity.

Tell us about STOCKHOLM SYNDROME: A LOVE STORY: The title comes from an actual One Direction song. It's kind of nutty that someone had an idea for this song with that title in mind, and then wrote corresponding lyrics for tweens (and girls like me who grew up on boy bands) to listen to. Also, I've always wanted to write a play about a secret society devoted to boy bands. The Skull & Bows is actually what my old roommates and I used to call the last apartment we all lived in together. We never sacrificed boy bands members, but I do recall being inebriated on several occasions and forcing them to learn N'SYNC choreography from me.

What can we expect to see at Rule of 7x7?: Witchcraft, Boyband hysteria, synchronized dance moves.

Why should we check out Rule of 7x7?: Because everyone who is working on 7x7 is magic. And everyone needs magic in their lives.

What is your Halloween costume this year?: I don't normally dress up for Halloween anymore. Call me lame, but I'd much rather be at home watching scary movies instead. But I do have Halloween pajamas - so maybe I'll just wear those and some kind of animal ears!

For more on Monet, visit http://risingcircle.org

Name: Sylvia Khoury

Hometown: Purchase, NY

Education: BA, Columbia University; MFA, New School for Drama; Currently: Medical School at Icahn School of Medicine at Mt. Sinai

What is your rule?: Someone has to say "I would turn back if I were you."

Why did you pick your rule?: It's nice and creepy for Halloweentime.

Tell us about NIGHT AT THE MUSEUM: I was always scared of the Egyptian Wing at the Met growing up. This play grew out of that!

What can we expect to see at Rule of 7x7?: Proof that Brett Epstein should host the Oscars.

Why should we check out Rule of 7x7?: It's really, really exciting when you recognize a rule.

What is your Halloween costume this year?: I haven't committed to anything yet, but Bellatrix Lestrange is my forever backup.

For more on Sylivia, visit www.sylviakhoury.com

Name: Gianmarco Soresi

Hometown: Potomac, MD but I tell people DC to sound cool.

Education: Worthless.

What is your rule?: Faith.

Why did you pick your rule?: As adverse as I am to astrology, The Secret, and Pope visits, I unfortunately have my own faith(s), which I'd define as beliefs sans evidence, that if I ever was forced to articulate would probably sound equally ridiculous. I imagine we all have such beliefs, some more fleeting than others, only be verbalized by the extremest of circumstances or several strong beers. I hope my rule conjures the former in these plays and inspires the latter once they're done.

Tell us about ORIGINAL RITUAL: You never forget your first.

What can we expect to see at Rule of 7x7?: Given the impending holiday and Brett's rule ("someone is very, very, very scared on the last page"), some really fucked up shit.

Why should we check out Rule of 7x7?: Because everything Kristin McCarthy Parker touches turns to gold.

What is your Halloween costume this year?: Young Jeff Goldblum (Lies. Once as a child I went trick-or-treating dressed as a hippie. The resident at one home said to me, "Why hello there, are you supposed to be a boy?" I don't do costumes anymore.)

For more on Gianmarco, visit www.GianmarcoSoresi.com

Review: The Gender-Bending Game of Power

Finding a new lens to tell a classic tale is what can draw an audience in. In Fab Marquee's Macbeth of the Oppressed, adapted and directed by Tom Slot, Shakespeare's Scottish play gets an invigorating interpretation through a gender and ethnically fluid focus.
In Macbeth of the Oppressed, Slot takes the infamous story of murder, greed, and power and introduces a new perspective on gender battles. The story, sliced and altered from the source, follows Macbeth as he seeks the throne from Queen Duncan after a trio of weird witches projects a prophecy. When greed and power are won, Macbeth rules alongside the level-headed Husband Macbeth as his reign leads to a complete upheaval of sanity. With Macduff and Banquo also experiencing the gender swap, a new narrative is formed. What Slot does well is begin a new vantage point to be created. But it seems as if it doesn't quite reach its full potential. Playing director as well, what Slot envisioned in his head did not always translate on stage. Even with the ability to key into the moments that propelled the thesis, Slot did not always strike. There seemed to be some confused moments that offered some contradictions and disconnect. With the focal story on the Macbeths, Slot chose quite an interesting intermission spot. Despite being the sole blackout in the act, the audience did not react or clap following Banquo's death scene as it did not feel as it was a proper intermission point, especially in the arc of Macbeth. When it came to utilizing the space, the theater at the 14th St Y engulfed the company. Despite a giant cast, it was far too big for Slot's intimate storytelling. With staging being a bit all over the place and generally safe, the stakes were diminished at the end due to Slot having Team Macbeth and Team Macduff rotate on and off stage. When Slot did make some interesting choices they were much appreciated. The one that stands out is the infamous "out, out damn spot" where rather than refer to blood, it was Husband Macbeth's wedding band.

photo by Michael Decker

While the dynamic of gender battles was fascinating to watch, the power struggle between Macbeth and Husband Macbeth was the most intriguing element of Slot's story. There's a natural element of debate in the text of who is truly and charge and David Stallings as Husband Macbeth seemed to be pulling the strings in this version. Stallings had a subtle dominance and control over Antonio Minino's Macbeth. And with the structure of the narrative, it left you wanting more. Minino as Macbeth took a presentational approach to the character. It was an interesting choice that allowed some humor to shine through. Elisabeth Preston as Banquo was quite good. Preston took the loyal companion to new heights, adding in a maternal element to the character. Mel House was determined as Macduff. Her venture in vengeance was something ferocious. Olev Aleksander may not have looked like the right person to normally play the feeble Malcolm but in this version he was rightly cast. The trio of witches played by Jams Edward Becton, Brianna Sakamoto, and Lavita Shaurice worked soundly as a unit, blending well when they broke out into an oddly placed musical rendition of the spell.
What Macbeth of the Oppressed captured well was the dark and moody world of the play. The splatter pattern floor was a strong choice in the scenic design but the rest of the set offered very little. While the cubes melted into the darkness they were always present. Lighting designer Daniel Gallagher couldn't explore the nuances of space as Slot's staging was erratic, yet the moments into scenes that highlighted the throne was a clever touch. Jacob Subotnick created a bit of a soundscape via underscoring for parts of the play. To say that Slot needed to incorporate more of Subotnick’s mood-inducing score is an understatement. When it was present, it added such great depth. While Slot tried to gracefully slam into scenes, the lack of sound in between felt off.
Macbeth of the Oppressed left much to be desired. The concept was there but the substance came up just short. The fluidity was strong but prior knowledge of the story aided that greatly.

Review: An Exhilarating Rush

Life post Civil War featured a lot of hardship alongside some promise. As America was picking up the pieces, a new frontier of promise opened up when gold was struck. In Rush, Callie Kimball's courageous story with a Yukon backdrop, a young girl heads west to escape a past of fear.
Rush follows Belinda and her brother Frank as they journey to the Yukon in hopes of forging a new life. After answering an ad that is believed to turn Belinda into a prospector's bride, they soon learn that she is desired for her housework for a woman running a brothel. Rush may be a period play but it is rich in poignancy. Kimball fills her story with themes of morality and justice with a tinge of longing for hope all while offering a captivating mystery that slowly unravels. Structurally, Kimball plays with time, bouncing into flashbacks and speedy replays of moments we have previously seen. What the purpose of these moments in regards to Belinda's overall journey are never quite defined. Kimball introduces a detective into the story as a way to dive into exposition. It's a nice touch as it keeps the momentum consistent. Kimball has a poetic tone in her language that paints a vivid picture through her stories. While the primary focus lies on Belinda and Frank, Kimball introduces some intriguing secondary characters that happen to have a fascinating bond. Alice, the matron of the Yukon, and her innkeeper Rosie have, for the time, a special adulterated relationship. The taboo storyline briefly gets touched upon and it’s something that you want to learn more about. How does this relationship work at the turn of the century? But perhaps that’s an entirely separate play. Though their relationship served as a shock value twist, the truth behind Belinda’s story is gut-wrenching. You sympathize with her. But it takes until the truth is revealed to feel that. Finding a way to drop some gold nugget hints into Garrison the detective’s dialogue early on could easily make the end have more of an impact.

The Rush company journeyed to 1899 and embodied the world of the play. As Belinda, Samantha Fairfield Walsh played her as damaged goods with Christopher Norwood’s Frank being the sturdy chaperone. Norwood’s Frank knew the sacrifices he needed to make to save his sister and it was touching to watch. Ryan George as bumbling boat buddy Jeb served as the comic relief that aided in lightening the darker tones of the script. Michael Markham lurked in the shadows as Garrison, offering an ominous presence. The breakout stars of Rush were Lauren Nordvig as Alice and Charley Flyte as Rosie. Nordvig had stability as Alice. Nordvig created a well-rounded character that was able to find humor and heart, but when she stood her ground against Garrison, Nordvig was at her best. Flyte gave Rosie a gruffness with an exterior that seemed hard to crack yet there was something deep inside. Just the way Flyte carried herself around the stage and how she stood and spoke brought great depth and insight to the character.
Director Christopher Diercksen was able to make Rush feel perfectly lived in. There was suspense yet truth in his storytelling. While the wide expanse of the Yukon wasn’t always felt in the staging, Diercksen was able to create the multi-location world seamlessly using Jennifer Neads frontier-inspired set. The gravel ground that Neads filled the Paradise Factory with was effective and added a strong nuance to the world of the play. The sound of footsteps on the tiny pebbles was sensational and brought the piece to the next level. It’s a risk that greatly paid off. Lighting designer Chelsie McPhilimy, sound designer Beth Lake and composer Ryan McCurdy were rightly in sync when it came to the quick shifts of breaths Belinda. They were evocative of life showcasing the power of a cohesive collaboration. Additionally, McPhilimy’s ability to create different atmospheres with light worked in the productions advantage.
As the inaugural production for Team Awesome Robot, Rush proves that the company is well on its way to create intriguing art. Team Awesome Robot takes the audience to a place where they may not have ventured to before in a stimulating manner. Keep on eye out for this team.

Spotlight On...Jerry Rago

Name: Jerry Rago

Hometown: Hoboken, NJ

Education: BFA: London Academy of Music and Drama.

Select Credits: Bottom in Midsummer Night's Dream,  Lopakhin in The Cherry Orchard

Why theater?: I love the intimacy.

Who do you play in Who’ll Save the Plowboy?: Albert Cobb

Tell us about Who’ll Save the Plowboy?: It asks the question "can anyone save you from yourself?"

What is it like to being a part of Who’ll Save the Plowboy?: It is a wonderful group of people to be with as well as a committed artistic team.

What kind of theater speaks to you? What or who inspires you as an artist?: I love good theatre that is personal and moving.

Are there any roles you're dying to play?: Eddie Carbone in View from the Bridge; Sam in Career

What's your favorite showtune?: "She Loves Me"

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

Who would play you in a movie about yourself and what would it be called?: A younger Robert DeNiro in "Finding a Way Home".

If you could go back in time and see any play or musical you missed, what would it be?: A Streetcar Named Desire and West Side Story

What show have you recommended to your friends?: This one. Who’ll Save the Plowboy?

What’s your biggest guilty pleasure?: Chocolate Coconut Milk Ice Cream

What’s up next?: I wonder

For more on Who'll Save the Plowboy, visit www.whollsavetheplowboy.com

Review: Have I Seen This Story Before?

Love comes when we least expect it. Even when the situation is immensely predictable. In Joe Godrey's love drama Romance Language, a widow seeks comfort from a younger Italian man who seeks his own support. But leave it to the suspecting daughter to halt love in its tracks.
Predictable yet well crafted, Romance Language is a sappy soap-like drama that follows the saga of Kay and Fiore as they discover their need for each other overrides practicality. With the melodrama on high, Romance Language may not embark on a fresh story but Godfrey finds a way bring truth into the characters he crafts. At the center of the play is aging widow Kay. Secluding herself in her tiny New York City apartment, she is encouraged to find a hobby. That hobby comes in the form of Italian teacher Fiore who provides Kay with the world's most beautiful language and little bit of excitement on the side. The bond seems to be true but when Kay's lawyer daughter Penny catches wind, skepticism presides. Godfrey’s take on the plot was heading in one of two directions. Like all similar stories, the daughter was going to find a way to prevent her mother from loving a man half her age or the man and the daughter were going to fall deeply in love leaving the mother in a puddle of despair. Godfrey chose the former. What's unfortunate for Romance Language, no matter how rich Godfrey crafted his characters, there was always going to be something funny about the plot. The audience would inevitably react with giggles. With similar situations often found in Hollywood romcoms or day time soap operas, no matter how Godfrey and director Carl Andress tried, the execution was not going to be what was ideally intended. And it's a shame because the characters are truly rounded. Though much of the plot was greatly aided by the simple and easy fact that Penny was a truth-seeking hard-nosed lawyer. What Godfrey does smartly is defying the cougar stereotypes that society jokes upon. Kay wasn't overtly seductive and sex hungry. She was a woman longing for companionship and found it in a younger man.

photo by Joan Marcus

With that, Audrey Heffernan Meyer couldn't help but play into the heightened drama of the situation to no fault of her own. As Key, Meyer found beauty and hope in despair, trying to be optimistic that love wins. Meyer’s Key was honest but it’s hard to not believe she was naïve. Jared Zirilli as Fiore kept his high stakes objective present throughout. Playing the part of the charmer, Zirilli was a fast-talking knowing that time was of the essence. Was Fiore scamming Kay or was he truly in love? We’ll never know. But if Marin Lee’s Penny made us believe anything it was that she cared about her mother more than anyone else. While the central relationship was between Kay and Fiore, it was the bond between Penny and Kay that was most dynamic. Playing the considered caretaker-like daughter, Lee was strong and confident. The lawyer persona worked to her advantage. Godfrey allowed ambiguity to shine through until the final moment but part of me so wanted Penny to whip out the egg before the blackout concluded.
Director Carl Andress’ approach to the story was simple. The goal was to find hope and honesty in the characters and the situation. With little substance to the plot, Andress keyed into the relationships, pinpointing the power of companionship. Kay’s world is very delicate and pristine and it reflected in Paul Tate dePoo’s scenic design. With clean lines and a soft color pallet, the ambiance was fitting. With a singular location, lighting designer Grant Yeager kept things simple but nothing was more stunning than some of those bleeds in and out of transitions where the burst of color lived within the crown molding. The soundtrack by Bart Fasbender fit the mood of the play well. It too was delicate and pristine.
There is certainly a specific audience that will enjoy Romance Language at face value. But the plot that Joe Godfrey has devised is sadly unoriginal. His way with words and ability to craft characters is what he has to stand on. Put these characters in another situation and perhaps Godrey has a winning story but the fact is this older woman-younger man saga is tired.

Review: The Family Drama Inside the Science Fiction

The science fiction play can be hard to portray on stage. There's usually something amiss in the execution. So how do you create a successful sci-fi play? Ask Mac Rogers. The Honeycomb Trilogy, comprising of Advance Man, Blast Radius, and Sovereign, surely have those fantastical elements but The Honeycomb Trilogy is science fiction masked as a family drama. And that's why it's so good.
The Honeycomb Trilogy, as a whole, begins a few short years after the return of a manned mission to Mars. Upon their return, the astronauts, hailed as heroes, embark on a secret project. But what really happened on Mars and what is the correlation between the mission and the project? The Honeycomb Trilogy chronicles life on earth from the final days before an alien invasion, the dystopian aftermath, and the rebuilding after the Great War. Helmed by Jordana Williams, The Honeycomb Trilogy is a three set epic that transcends theatrical norms of the science fiction genre. What's interesting about Rogers' plays is when presented as one, they create a grand series with a clear beginning, middle, and end. Individually though, they could conceivably stand on their own. There certainly would need to be a great deal of explanation before seeing the second or third part but Rogers does a pretty solid job of recapping the events in a sufficient manner. What Rogers does well is craft a series that has a strong overall arc. There is a sense of purpose in each. The focal characters of the series are Ronnie and Abbie and Rogers takes good care of their stories. Like any piece of science fiction, the vernacular will always be closest to the author so finding a way to clarify the lingo and terminology for the audience would be of great aid. Even if it is in the form of a glossary. It took until the third play to finally grasp some of the terms. Accessibility is always crucial. What makes The Honeycomb Trilogy truly unique is the approach. The science fiction elements are present but at the heart of the story is one about family and love. And no matter who sits in the audience, those themes will resonate. But Rogers is like the "Lost" creators where he leaves many things unanswered like what happened to the astronauts by part 2!

photo by Deborah Alexander

In Advance Man, we’re introduced to the Cook family in a time reminiscent of our own. But unlike the average American family, the Cooks have adopted an adult friend who is believed to be the victim of a stroke. The world that is projected is familiar and the characters and situations that Rogers brings forth are consequential. Bill convinces his son, Abbie, to draw a comic that he prescribes. As the play progresses, we learn that Bill, the patriarch of the family, has been hiding some secrets from his wife Amelia. When it’s revealed that the late nights are not the cause of an extramarital affair but in fact a science experiment as a result of an alien encounter on Mars, life, as the world knows it, is about to change as the comic characters are about to hatch on Earth.
The tone of the piece is believed to be a kitchen sink drama but when it turns for the fantasy, that’s when Rogers comes to life. The dynamic between Bill and Amelia, the parents of Ronnie and Abbie, are the central focus of Advance Man. Sean Williams and Kristen Vaughan have an interesting rapport. The couple is supposed to feel distance between one another but there seems to be a lack of cohesion on the part of Williams. There is something lacking in the believability in his authority. When it comes to Vaughn, she shines bright like a star. The range of emotions Vaughn gives to Amelia is remarkable. The conflicts that the character is forced to face are difficult yet Vaughn offers humility. With The Honeycomb Trilogy living in three separate times, we’re introduced to characters who we’ll see abundantly, like Ronnie, Abbie, and Conor, and some that are present for the singular piece. With the astronauts being an important catalyst for the overall action, we get a glimpse of who these people are. Rebecca Comtois, Shaun Bennet Fauntleroy, and Carlos Martin play Bill’s fellow heroes Belinda, Valerie, and Raf respectively. Rogers gives us just enough background on each person but never really dives deep, especially with Raf. Raf is stunningly rich character that is damaged. Martin brings much intrigue that makes us want to know more about Raf and his actions of the past and present. When it came to Comtois and Fauntleroy, they didn’t exceed character but simply played the props that Bill created. Whether you know what’s to come, focusing in on the relationship between Abbie and Ronnie and Abbie and Conor is fascinating. What appears to be a one-off sibling bonding scene where the kids bond over a drawing of a bald woman on the porch will be a story that gets revived in each play. Rogers drops these little subtleties throughout that when they are picked up on make the trilogy thrive. Unfortunately for Becky Byers and David Rosenblatt, their youthful take on the characters doesn’t hold much impact. The bond between Abbie and Conor may be the most interesting in Advance Man. The love Abbie shows for Conor is heart wrenching. Jason Howard was the breakout actor in the Advance Man company. The way he transformed himself was effortless and authentic.

photo by Deborah Alexander

My how things have changed! In Blast Radius, we jump ahead twelve years after the hatching of the honeycomb aliens. We saw that the hatching was caused by Abbie which has left he and his sister at odds. It’s revealed that Conor did not have a stroke and was the embodiment of the alien ambassador. With Conor’s aid, Abbie becomes sympathetic with the honeycomb who have now forced all humans into dystopian slavery. Unlike Advance Man, Blast Radius is full science fiction. There’s no teetering. The clarity of language is a bit rougher and harder to follow. The vocabulary that has since developed in the twelve years is foreign to the audience. Regardless, the life we had seen is no more and the way of the land has vastly changed. No longer are people identified by their full name, their last name is the house that they belong to. It’s a very “Hunger Games” type world that Rogers has set up. Using the same home from the previous play, now known as House 4, it is the place where pregnant woman stay to safely bear a child. Throughout this second play, we see Abbie and Ronnie at odds with Ronnie becoming a dominating personality with an idea of how to stop the alien command. This involves destroying the queen by implosion. Ronnie gathers 51 martyrs for the mission, including Conor, who has now adopted perfect English. What’s beautiful about this piece is Rogers’ incorporation of the themes and their parallels to society. They’re present and clear.
This is truly the Abbie and Ronnie show. Byers and Rosenblatt are the focal characters in this part with their arcs dominating the story. Byers finds great strength in her sacrifice. Rosenblatt seems lost in the science fiction world, bringing little energy to the stage. Kristen Vaughan returns as the aging mother. Though she has little to do in this piece, her impact is plentiful. Like Advance Man, Rogers introduces an array of supporting characters that are integral to the plot but do not get explored. Joseph Mathers as Jimmy serves as the cowboy comic relief, something desperately needed to lighten the mood. We meet Ronnie’s boytoy Peck, played by the dashing Adam Swiderski but like Gale in “The Hunger Games”, he’s only there to boost Ronnie’s story. Cotton Wright has the challenge that Jason Howard had in the previous play of creating a character that is an alien inside a human body. Unfortunately for Wright, Willa didn’t have the mesmerizing appeal that Conor had. With Amelia having a small role in this story, Nancy Sirianni takes over as the maternal figure. Sirianni does a stunning job transforming from leader to listener.

photo by Deborah Alexander

When we get to Sovereign, the finale of The Honeycomb Trilogy, we learn that Ronnie’s mission was successful and the human race is once again the dominant race. The world is broken into sections with governors ruling. The governor of Coral is fear-mongering Ronnie. In this new world, the ideals of the past are tested where rules and laws are enforced. Though unlike past America, laws can be created to fit needs. And that’s the central plot of Sovereign, by far Rogers’ strongest of the trilogy. After Abbie is captured eight years after the honeycomb downfall, he is placed on trial under the proceedings of Governor Ronnie Cook. In order to ensure his execution, Ronnie implements a law stating the conspiracy or execution of mass exodus of a race is subject to death, something Abbie had conspired to do with the honeycomb to the humans. When all is about to go according to plan, the last remaining honeycomb queen is found on the governor’s doorstep causing Ronnie unable to kill it without breaking her own newfound law. The loose ends of the trilogy are tied neatly in this as the relationship of Abbie and Ronnie is completed faultlessly. We see the power struggle of humanity against family in both Cook siblings, drawing the rawness of the plot.
Sovereign easily comprised the strongest overall cast. And that’s mainly due to the fresh faces as Abbie and Ronnie. Stephen Heskett as Abbie was transcendent. He was strong, observant, and impassioned in his fight to convince Ronnie to do what is right. Hanna Cheek’s Ronnie had true grit. Sitting on her thrown, Cheek exuded supremacy. Cheek had a growl in her voice that proved that her fight was well worth it. Compared to the duo that took on the Cook kids in the previous pieces, there’s no comparison the more appealing pair to watch. Sovereign introduces a duo of lawyers that are the perfect foils to one another Matt Golden as Zander and Lori E. Parquet as Tanya made the courtroom drama lively. The journey that the duo took to win was effortless. Their influence on Ronnie was almost as captivating than Abbie’s plea, which happened to be Rogers best writing. This was the perfect ending to the trilogy.
Guiding The Honeycomb Trilogy required a vision from someone who not only could see the big picture, but project the universe. Thankfully Jordana Williams was the right person to steer the rocket. It’s inevitable with each piece running about two hours that the pacing would lag in spots, but Williams brought out the humanity of Rogers’ story. The overall execution from Williams and her entire design team is something to be applauded. Scenic designer Sandy Yaklin is the hero of The Honeycomb Trilogy. What Yaklin did from play to play to transform the set over time and rule was simply spellbinding. Advance Man featured a beautiful Floridian beach house with a pallet of white, sandy, and seafoam. It was inviting. By Blast Radius, the decay of the Cook home was in full view, with mold running ramped and the sense of desolation filling the space. By Sovereign, the Governor’s residence was filled with hopes of electricity and a dwarfing homage to the fallen 51. The details that Yaklin took in each, from the doors to the deterioration to the colors gave each piece the personality it desired. Costume designer Amanda Jenks did a wonderful job with the timeline of garments. Advance Man was an easy design but by the time she reached the last two, Jenks allowed each character to fit their wear. Though following the Hollywood rules of dystopian earth tone color pallet was a bit predictable. Sound Designer Jeanne Travis offered a soundscape that powered the plot. From the classic-inspired music to the tribal beats to the terrifying sounds of another life form, Travis gave the audio ambiance The Honeycomb Trilogy wanted. The biggest technical issue the trilogy encountered was the fight choreography by Adam Swiderski. While it easily could have been poor execution by the actors, the execution happened to be off on every single moment. But where Swiderski really raised eyebrows was the pregnancy battle between Ronnie and Willa. Sure, this is a future world, but the mobility these very pregnant women fought with was too comical. Becky Byers had some problems with her pregnancy maneuvering to begin with but when it came to the fight, Byers and Wright were leaping and running like a 5th grader in gym class. Energy is one thing but accuracy is another. The other bummer of the production, predominantly in Blast Radius was the lack of gore. Nothing takes an audience out of a tense moment then falseness. When Ronnie gives that final blow to Willa the moment is lost because nothing happens.
The Honeycomb Trilogy is a daring and ambitious undertaking. But Gideon Productions should be extremely proud of their accomplishments. It’s by no means perfect but with the resources presented, it was a solid presentation. Mac Rogers has crafted something that transcends genres that needs to be put on film. The Honeycomb Trilogy could give some of those young adult series a serious run for their money.