Spotlight On...Benjamin Eakeley

photo by Matthew Murphy

Name: Benjamin Eakeley


Hometown: Short Hills, NJ


Education: B.A., cum laude, from Yale, where I double majored in Music and American Studies. The American Studies department let me give a lecture recital on Gershwin’s popular music as part of my senior thesis…so I guess they first taught me the value of singing for my supper!


Favorite Credits: 
I had the time of my life doing the recent Broadway revival of Cabaret with Alan Cumming and the most extraordinary group of actors. I understudied Clifford Bradshaw and performed the role opposite Michelle Williams, Emma Stone and Sienna Miller. This means I got to make out with all of them, too. That was pretty special. 

My Broadway debut was also thrilling: I was the standby for Anthony, Tobias and The Beadle in John Doyle’s revival of Sweeney Todd, so I had to learn the score on piano and clarinet, as well as vocals, text and blocking for each character. I made my debut as The Beadle, and Patti LuPone started hitting on me during the “Sweet Polly Plunkett” scene in the second act. And I thought: “Holy crap! I’m making my Broadway debut and Patti LuPone is feeling me up in front of 1000 people. Now FOCUS!!” 

But the show I’m most proud of is my solo cabaret, Broadway Swinger. It’s the first time I’ve had real autonomy creating a program, and it has been so rewarding working with my brilliant collaborators James Olmstead, JV Mercanti and Tim Murray. And the show is about sex in the 1960s, so the research has been really fun.  


Why theater?: Theatre is collaborative. Unlike film or television, it depends on a live audience for survival. The audience gives actors information that changes the nature of the show every night, and this is what makes theatre special—each performance is unique. Once the final curtain goes down, this group of people in the audience and people on stage will never be assembled in the same configuration.

In terms of intimacy, cabaret is collaborative theatre on steroids. The audience is directly in front of your face (or at your feet), and they literally become the pulse of the show. I thought it would be difficult speaking directly to audience members in Broadway Swinger but it turned out to be a non-issue. During the show’s debut I looked out and saw this sea of beautiful, smiling faces—how could I not use them?! Bye bye, fourth wall! Boom.



Tell us about Broadway Swinger:
 Broadway Swinger is a nightclub act that takes the audience on a romp through the swinging ‘60s. I sing with a four-player band of world-class jazz musicians (piano, bass, reeds, drums), and together we chronicle the unbuttoning of American society as revealed in stage musicals from the 1960s. And along the way, we sing from some of the most classic scores of all time—Oliver!, She Loves Me, Funny Girl, Cabaret, Hair, Promises, Promises, to name a few. The music is extraordinary. We sold out our debut in January, and I am so excited to do our encore performance—with great new songs!—at Feinstein’s/54 Below on May 9.


What inspired you to create Broadway Swinger?: 
I have a special connection with theatrical music of the 1960s. Three of my four Broadway credits to date are musicals from the ‘60s (She Loves Me, Cabaret and On A Clear Day, You Can See Forever) and I happen to think all questions in life can be answered by studying The Apple Tree. But the biggest influence on Broadway Swinger was my music director and orchestrator, James Olmstead. James and I met doing a production of White Christmas at the Engeman Theatre a few years back, and he plays with technical bravado and a rare and profound sense of rhythm. In White Christmas I found myself singing “Love and the Weather” and “Blue Skies” with an ease I had never experienced. Singing with James I feel anything is possible. He brings out the best in me.



What kind of theater speaks to you? What or who inspires you as an artist?:
 My parents took me to see a fair amount of cabaret growing up, and I was lucky to have seen a number of the greats in small rooms—Susannah McCorkle, Bobby Short, Michael Feinstein, Barbara Carroll, Andrea Marcovicci. And I have to include Elaine Stritch and Alan Cumming as cabaret performers who have inspired me in more recent years. To me, the most moving cabarets are the shows where I have walked away with a deeper understanding of a composer, a time period, or my place in the world. I wrote Broadway Swinger with this in mind—and I think the audience walks away not only having had fun, but also with more of a sense of how music and society both evolved in the 1960s.

I feel similarly about Theatre with a capital “T”: it has a responsibility to entertain me or provoke me, but the best shows will do both. I’m still thinking about The Pillowman 11 years after I saw it on Broadway. That’s good theatre.


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


What show have you recommended to your friends?:
 She Loves Me, of course! Although I’m incredibly excited about Tuck Everlasting, which was composed by one of my closest friends, Chris Miller. I am so proud of him, and EVERYBODY should buy a ticket to see his show!


Who would play you in a movie about yourself and what would it be called?:
 Hmm…I’ve always been hoping to play Prince William in the E! True Hollywood Story of his life, so it’s hard to think the other way around. How about Dan Stevens-playing-me-playing-Prince William in the E! True Hollywood Story?


If you could go back in time and see any play or musical you missed, what would it be?:
 I would go back and see Barbara Harris and Alan Alda in the original 1966 production of The Apple Tree. (sigh)



What’s your biggest guilty pleasure?: 
The guys in my dressing room at She Loves Me call me The Cookie Monster.


If you weren’t working in theater, you would be _____?:
 Just as poor. I would be an architect!


What’s up next?:
 She Loves Me has been extended to July 10, and then I’ll hopefully head out of town for a little vacation. I have two movies scheduled to be released in 2016—My Art and The Unattainable Story—and with any luck Broadway Swinger will get to travel a bit. I am ready to take this show on the road!!

For more on Broadway Swinger, visit http://54below.com/artist/benjamin-eakeley-broadway-swinger/

Review: Traveling Man

by Michael Block

Not everyone can say they've seen the world but Bill Bowers sure can! In Bowers' All Over the Map, presented by All For One Theater, a gay mime from Montana recounts his international tales of intrigue that include a bunny mime, The Happy Hooker, and a nudist colony. And that’s just the tip of the ice burg.

photo by Maria Baranova-Suzuki

With stories for days, Bowers has seen it all. In All Over the Map, Bowers takes the audience on a journey through 50 states and 25 countries as he takes his show on the road, meeting an eclectic array of personalities and gaining experiences that will stick with him for life. Written and performed by Bill Bowers, All Over the Map is wonderfully entertaining led by a whimsical performer. All Over the Map is all over the timeline, jumping from year to year where a cast of batty characters and inexplicable encounters fuel the narrative. All Over the Map doesn't rely on a forward-moving story. The tales could easily be flip flopped with one another and the message will still be had. The central theme is truly embrace the unexpected. And with every story Bowers shares, you truly can't believe what could happen next. With the content interchangeable, Bowers has room to play and do what he does best: entertain. Even when the mood gets somber or more internal, he manages to captivate. There's an ease to Bowers’ storytelling. No matter the tone or content, Bill Bowers is comfortable. You can tell he is a seasoned veteran whether playing verbal storyteller or mute mime.
All Over the Map utilized some video projections to help assist the audience with location and time. Designed by Bryce Cutler , it was cutesy. Unlike the other show running in All For One Theater's rep season, if the video wasn't present, All Over the Map could still succeed. And that's at testament to Bowers’ performance prowess. Simplicity was director Martha Banta's secret trick. With only five chairs from scenic designer Ryan Howell, Bowers built a world. Lighting designer Ed McCarthy found beauty in color and focus. By differentiating the looks, tightening in on Bowers allowed the intimate moments to capture hearts.
When you leave a solo show feeling as if you now are the performers best friend, it's safe to say the objective was accomplished. In sixty minutes, Bill Bowers welcomed the audience into his life with open arms. It's evident he has more stories to tell and I look forward to the next show and the new lot of material. It’s safe to say that Bill Bowers is world class.

Review: Finding a Purpose

by Michael Block

Everyone's journey through grief is different. There's no formula in how you grieve and how long you spend at each step but rest assure, you'll make a stop at each. When it comes to blame, it's human nature to place blame on others or yourself. In Elizabeth Van Meter's emotionally draining Thao's Library, Van Meter finds a way to displace the blame through a selfless act for a stranger halfway around the world.
Like a companion piece to the documentary of the same name, Thao's Library is the solo show act about Van Meter's spirited journey to Vietnam to give the gift of love through books. After the sudden loss of her sister, famed child aviator Vicki Van Meter, Elizabeth tries to find a purpose in life. Thanks to a layover, Elizabeth visits an old friend who shows her a picture of a young woman in Vietnam who has a countryside library. While one relationship fades to memory, a new one flourishes as Elizabeth and Thao form a bond you can only see to believe. Thao’s Library is a sweet story that is destined to tug at your heart. The content is beautiful. To bring the piece to the stage, Van Meter introduces her piece through dueling narratives. First, her journey to Thao. Second, her relationship with her sister. To keep the audience intrigued, Van Meter sporadically crafts her piece bouncing from narrative to narrative. In the Thao narrative, Van Meter keeps things pretty straight forward and honest. We get the full story. In the Vicki narrative, Van Meter institutes a bit of mystery. We don’t learn until pretty late about Vicki’s untimely death. We know that Vicki plays an integral part into Elizabeth’s journey but it’s fairly vague until late in the play. With one narrative being so present, the other being so elusive, trying to tie the two together until the grand reveal is hard. Thao’s story is more compelling. While the cryptic nature is theatrical, it may not service the unfamiliar audience best. What ties the three women together is how three separate people struggle with pain through the lens of three separate situations. Van Meter explores pain through the lens of physical, mental, and emotional. That’s the thread that brings them together. If the mystery is desired, perhaps beginning the piece with some sort of tie in to universal pain unifies the entirety. Finding the key to understanding is almost a prevalent part to Van Meter’s piece. Discovering the why and how is something we all go through so viewing someone put voice to a personal situation was rewarding in a cathartic manner.

photo by Maria Baranova-Suzuki

Having knowledge of the source documentary likely helps the stage play, but for those unaware, Van Meter layers in some photos and video. You are almost emotionally ambushed through the use of multi-media. This play is successful due to it. Without it, this story may not have resonated the way it did. Hearing is one thing, but seeing opens up the opportunity to tap into the heart. The projection design by Van Meter and director Joe Ricci was visually stunning. Whether through tears or smiles, you will emote. With the nature of the piece being pretty static, Ricci ensured that the transitions were sharply defined. Lighting designer Ed McCarthy did an impeccable job exploring looks that transported Van Meter through her locales. McCarthy certainly capitalized on moods. Something worth noting is space. The Lion is a giant theater with high ceilings and a pretty hefty stage. Ricci and Van Meter did an unbelievable job filling it and minimizing scenic assistance. Van Meter is a pretty decent storyteller but she manages to own the space.
Thao’s Library is a personal story yet it’s not. Whether you connect with Elizabeth Van Meter or not, you’ll leave the theater eager to watch the documentary and learn more about Thao.

Introducing Our New Contributing Writer Kaila M. Stokes!

Theater in the Now is expanding! And through expansion means new voices! Please welcome our first new writer, Kaila M. Stokes!

Kaila M. Stokes has been in the theater and dance world since she could walk. Kaila was part of theater programs growing up in Orlando & Jacksonville and went on to attend Douglas Anderson School of the Arts High School for theater, where she caught the directing bug. Kaila was a dual major in Directing and BFA Acting at Marymount Manhattan College, where she still guest directs to this day. Throughout her time in college, she worked as a marketing intern for numerous nonprofits around the city including MCC Theater, The Women's Project and American Opera Projects. After graduating in 2011, Kaila worked as the Marketing Associate for TADA! Youth Theater, then gave Los Angeles a try, working with Santa Barbara Dance Institute. After 2 years in Los Angeles, Kaila missed NYC and returned to TADA!, where she currently works as the Director of Marketing. Since establishing herself, Kaila is ready for new challenges, such as writing reviews for theater productions around the city and freelance graphic design. She is thrilled to join the Theater In The Now family.

Spotlight On...Martina Anne Bonolis

Name: Martina Anne Bonolis

Hometown: Syosset, New York

Education: Bachelor’s in Theater and Sociology from Middlebury College, Master’s in Clinical Psychology from Columbia University Teachers College, Actors Theater of Louisville Acting Apprentice 2010 to 2011

Favorite Credits: As an actor, Famine in The End by A Rey Pamatmat at the Humana Festival.  Famine, one of the four horse(wo)men of the apocalypse, was a foul mouthed, overworked, under loved, highly aggressive foodie. The absolute bile that would spew from her mouth if somebody ate her organic Kashi cereal was amazing.  Rey wrote the characters after he met the actors, so I asked him why he wrote Famine like he did. His answer was simply that I seemed nice and it would be funny to watch me say terrible things.  That’s the magic of the theater! As a director, my current project! I founded a theater company, the Wise Fish Theater Collective, and we are working on our own adaptation of 6 Characters In Search of an Author by Luigi Pirandello. (We go up May 6th at the Robert Moss Theater. Come on down!) Working collectively on such an ambitious project, being inspired by my actors and collaborators…the experience has been magical.

Why theater?: Because theater is present and requires presence. Theater requires that audience and actors commune in the same space at the same time. In the modern world, where people are more likely to consume media by themselves and on their own time, theater demands that we return to shared experience. Also, for me, theater represents the best of humanity. Theater celebrates play! A bunch of adults will just agree to pretend to be whoever or whatever, and a bunch of other adults will agree to come watch them pretend. When you think about it, it’s completely ridiculous. That’s what makes it great! It’s a reminder that when all is said and done, what brings us together is stories, imagination, and community. I also love how theater embraces its own limitations and uses them to tell extremely nuanced stories. What does it mean to use a puppet? A mask? Theater will never be as realistic as a movie, and that gives it an incredible power.

Tell us about 6 Characters in Search of an Author: This is the inaugural piece of our new company, the Wise Fish Theater Collective. As a collective, we are interested in new, absurdist theater that explores current issues. However, we felt that before we began to explore current issues, we had to explore the medium itself. We needed a piece to serve as our base. 6 Characters is an exploration of theater and, more broadly, of art. Of what it can and cannot do, of what it means, of where it fails. As a company, we tend toward the silly, so we created our own adaptation based upon our company members’ interpretations of the original script, and it turned out rather ridiculous while maintaining its points. Heck, we like it.

What inspired you to direct 6 Characters?: I love the play and was chomping at the bit to get my mind around it. As a director, rather than an actor, I get to explore the whole piece in a different way than an actor does. Also, as our company is collaborative, I was excited to do a play about theater, which discusses theater, with a theater group discussing theater. The whole thing has become so meta that we have caught ourselves on multiple occasions in situations and conversations that mirror our script. It gets pretty bananas.

What kind of theater speaks to you? What or who inspires you as an artist?: The absurd, the surreal…anything that embraces the theatricality of the theater and is a move away from realism. I think that the truest scenes are often the least realistic. I am inspired mostly by poetry, (e.e. Cummings, Lewis Carroll, Walt Whitman) and authors (Gabriel Garcia Marquez, Salman Rushdie, Margaret Atwood, Milan Kundera, Kurt Vonnegut). Also music! James Blake gives me tons of feelings, and I love Motown classics and some old fashioned Allman Brothers.

If you could work with anyone you’ve yet to work with, who would it be?: In an ideal world, Melissa McCarthy. Google her early stuff, specifically “Marbles,” and you’ll understand her bizarre genius. You know she’s willing to riff and follow a train of thought to its illogical end.

What show have you recommended to your friends?: 6 Characters in Search of an Author. Jk. But seriously. But also any work done by BKBX (Broken Box Mime). Their last show, Above/Below, hit you right in the core without saying a word. Absolute beauty. Also The Royale by Marco Ramirez at the Lincoln Center Theater. His embrace of the theatrical medium tells a story that I promise will explode your brain.

Who would play you in a movie about yourself and what would it be called?: I think Laura Dern because she looks like me. It would be called, “Huh. So That’s What That Is.”

If you could go back in time and see any play or musical you missed, what would it be?: The all female version of Julius Ceasar set in a psych ward that was at St. Anne’s Warehouse. I can’t believe I missed it! Arrrgghhhh.

What’s your biggest guilty pleasure?: Kissing my dog directly on the mouth. Also I do a lot of bird watching, which I’m only guilty about because it’s supposed to be nerdy. But ask yourself this; who is the real nerd? Somebody who knows the difference between a song sparrow and a hermit thrush, or everybody else?

If you weren’t working in theater, you would be _____?: Doing mental health advocacy! I am also a researcher, currently working on a research involving OCD and memory. So I guess just that full time. Also I would have loved to have been an astronaut but I think I missed the window.

What’s up next?: Our next production will be chosen in the next two weeks! We have some awesome possibilities, but I’ll keep them secret until we can officially announce. And here's our Indiegogo!

For more on Wise Fish Theater Collective and 6 Characters in Search of an Author, visit www.wisefishtheater.com

Review: A Bohemian Rhapsody

Protesting is nothing new. But in a world of technology, the presence of social media can change the entire game. The fights for rights are given a face and a voice. With every share, someone learns of a battle. But not every battle can see the broad daylight. In Sarah Gancher's The Place We Built, a history that's slightly hidden from the mainstream takes center stage as a group of bohemians in Hungary fight to save their bar during a horrific transition in their country's democracy through a time of authoritarianism and anti-Semitism.
Holed up in a Budapest bar that serves as a refuge for all bohemian, gypsies, queers, and Jews, The Place We Built follows a maturing youth fighting to save their home, literally and figuratively. To put it bluntly, imagine a mash-up of some of the themes, situations, and morals of The Flea's 2015-2016 season and you get The Place We Built. The difference is, if you can get past the slight inconsistencies of dialect rules and documentary lighting rules, The Place We Built is near flawless. It's a politically charged docudrama that is raw, gritty, and purposely intense. Even with hints of character, Gancher's play is an integral plot driven piece. The characters are not nearly as important as the overall fight. It's a story about identity, heritage, and taking a stand. With an ending that is all too real, you have to be disappointed by the lack of victory, but that is the reality. Fights will fizzle as the ticking time shrinks and reality sets in. These characters wanted to do what they believed was right but being outnumbered trumps grandiose ideals. The message may feel unsatisfactory but not everyone can have a happy ending. With many decisions driven by love and exhilaration, The Place We Built watches a group of young Hungarians, lead by Aniko and Ben, who meet and take in like-minded bohemians to their Grandma parties and their ultimate creation, The Seagull, a bar and performance space. Gancher spatters the story nonlinearly with a documentary device. Sans the youngest squatters who’s presence barely gets explained, there’s a slow build up of character development but once each main character has their moment, The Place We Built takes flight. The running time may be long but if you’re engaged, it will fly by. With a backdrop based on truth and a plot that has inspiration from a real story, Gancher has to manage balance the two. With performance being a key part of the true story, infusing theatricality allowed The Place We Built movement. Between crude puppetry and cultural music, Gancher was able to evade feeling like a text book or Buzzfeed article. The necessary historical information was implemented properly, though The Place We Built could have used a dramaturgical insert to help set the scene and bring the audience into the performance prior to start.

photo by Hunter Canning

A great energy can lift a show. This ensemble was stellar at bringing the energy. The characters may not have been bound by blood but they were a family. This ensemble was the equivalent. There was an immense amount of trust and love. As a whole, this was a strong ensemble. But if you held a magnifying glass up to the individuals, there were some standouts, both for the good and the not as good. Firstly, recognition should be given to the musical talents including Brendan Dalton on guitar and drums, Ben Lorenz, who is a dead ringer of John Gallagher Jr. both physically and through performance, on violin, and Sonia Mena on accordion. The Place We Built could exist sans music but their presence made it that much better. Dalton was given a gift with the role of Mihaly. Not only was Mihaly a multi-layered character but he had one of the most fascinating story arcs. Dalton didn’t throw away his shot at crafting the strongest character within the bunch. His documentary solo introduction was one of the very last, so I suppose it’s true, Gancher saved the best for last. Utility player Brittany K. Allen continued to prove her worth as an incredible character actor. Though it’s not instantly clear due to story when a new character is introduced, Allen gave the play the comic relief it greatly desired. Gancher’s play isn’t necessarily strong in character so many of the featured players didn’t have much room to explore but there was something lost when it came to, possibly, the two most integral characters. Leta Renee-Alan as Aniko was a bit of a bore, though she finally brought the fireworks in her Act II eruption, and Tom Costello was not quite the hero Ben needed to be. You could easily blame Aniko and Ben for not being able to inspire the troops and it unfortunately reflected in Renee-Alan and Costello’s performances.
For those who may have seen Wolf in the River, the other production currently running at The Flea, you may recognize some elements from the set that is borrowed from that show. With a co-scenic design between Arnulfo Maldonado, the Wolf in the River scenic designer, and Feli Lamenca, you may have believed director Danya Taymor would be a slight disadvantage. The impressionistic design did work to create the grungy bar known as The Seagull. Taymor used all aspects of the space, smartly using the harsh corners sparingly. It’s likely you knew very little to nothing about the world of Gancher’s play yet Taymor did an impeccable job at bringing history to life in an compelling manner. You wanted to party with Taymor’s bohemians. Like the scenic design, The Place We Built borrowed lighting designer Masha Tsimring. For the most part, Tsimring’s design worked for this production with the grand exception of how the documentary light was used. Tsimring implemented a harsh diagonal white light that would then be interrupted by scene. Sometimes this light would be brought back if the speaker continued to narrate. Other times it was not. Consistency would have been nice, but it’s likely that the staging and shared space may be a cause. You can praise the musicians for their talent but you have to say thank you for the music to The Bengsons, the music consultants and arrangers. They offered the perfect mood and feel for this production.
No matter what happened in the end, you have to appreciate the fight the characters put up in The Place We Built. Their journey drove the play to success. Likewise, you have to appreciate the effort it took into building this play. Not all the pieces fit together, there were some occasional cracks. But no matter what, The Place We Built inspires.

The Rulers: A Sneak Peek into Rule of 7x7: April Edition

April is here and so is another Rule of 7x7 at The Tank! Rule of 7x7: April Edition also marks the return of Brett Epstein as host! Rule of 7x7: April Editions runs April 29th at 7:00pm and 9:30pm!

The Rulers

Name: Will Arbery

Hometown: Dallas, TX + Lander, WY

Education: B.A. at Kenyon College, MFA at Northwestern

What is your rule?: Page 5 must have the same question repeated 3 times.

Why did you pick your rule?: I just think people repeat themselves. And I like when people repeat themselves. I dunno, it's just that like when people repeat themselves.

Tell us about The Alignment System: It's based off of an element of Dungeons & Dragons, which I don't play, but which fascinates me. It's about people deciding where they fall on a grid. It's also about being drunk and honest, and about reality vs. escape.

Why should we check out Rule of 7x7?: This is actually my first Rule of 7x7! When I got back to New York from grad school, everyone was telling me I should do it. I've heard such wonderful things. And there are so many great people involved.

April showers bring May _____: asthma attacks.

For more on Will, visit willarbery.com

Name: Sarah Elizabeth Bedard

Hometown: Boston, MA

Education: MFA Acting from Brandeis University, BA in Theatre and Philosophy from Providence College

What is your rule?: Something no one else is allowed to touch.

Why did you pick your rule?: It seemed like a fun challenge to have an object hold that much weight.

Tell us about Sometimes I’m Scared of You: Three women, lots of wine and a wild time.

Why should we check out Rule of 7x7?: Because it’s always a great time and an awesome way to see how seven different people challenge themselves to create new work.

April showers bring May _____: mud.

For more on Sarah, visit sarahelizabethbedard.com

Name: Cary Gitter

Hometown: Leonia, NJ

Education: NYU

What is your rule?: Tennis.

Why did you pick your rule?: Because I played first singles on, and was captain of, the Leonia High School varsity tennis team—my proudest achievement in life. Also, I own a tennis racket that can be used as a funny prop.

Tell us about Talk Dirty to Me: A guy and a girl are gonna sleep together for the first time. He's super nice. She wants some dirty sex stuff. It's a problem.

Why should we check out Rule of 7x7?: Because you can watch the suffering of seven playwrights constricted by seven arbitrary rules that inhibit their pure artistic expression. Also, it's cheap and fast and funny and awesome.

April showers bring May _____: Tears of Rage .

Name: Drew Lewis

Hometown: Hastings-on-Hudson (2 hyphens)

Education: Attended the same Undergrad as Will Arbery, but not his grad school

What is your rule?: Nudity.

Why did you pick your rule?: To get people naked.

Tell us about Friend Hug: I wrote it while flying JetBlue. It's about the blurred line that exists between friends and lovers. Nothing to do with airplanes. But now you know I was high when I wrote it.

Why should we check out Rule of 7x7?: To see all the nudity

April showers bring May _____: Nudity.

For more on Drew, visit thedrewlewis.com

Name: Rachel Lin

Hometown: New York City (by way of the UK)

Education: NYU

What is your rule?: One character goes in for a ____ as another character goes in for a _____.

Why did you pick your rule?: I enjoy watching mistakes that aren't mistakes.

Tell us about Mixed Doubles: Inspired by the Pixie's "Hey" and my own upcoming high school reunion - it's about how we can't help but do things that we know are bad for us sometimes.

Why should we check out Rule of 7x7?: Sexy playwrights. Beautiful people. Brett returns.

April showers bring May _____: Anxiety that it's almost summer, and then Fall, and then 2017 before we know it.

For more on Rachel, visit www.rachelmlin.com

Name: Catya McMullen

Hometown: NYC

Education: UNC Chapel Hill

What is your rule?: Someone performs a heroic act on page 1.

Why did you pick your rule?: I like heroism!

Tell us about Batman's Poopy Pants: The play is about a toddler who only answers to "Batman," and his teenage babysitter who has snuck a girl in to do a science project and also...maybe...get it on. The rules were great for this one and this conceit, of the toddler coming out every few minutes and causing havoc works great with it. The play is insane and a lot of fun.

Why should we check out Rule of 7x7?: It's astronomical amounts of fun.

April showers bring May _____: Buttstuff.

For more on Catya, visit www.catyamcmullen.com

Name: Colin Waitt

Hometown: St. Cloud, MN

Education: Royal Central School of Speech and Drama (Masters), University of Minnesota--Twin Cities (BA)

What is your rule?: Passive Aggression.

Why did you pick your rule?: I am from the midwest.  I like passive aggression.

Tell us about Bedbugs: Two roommates in the midst of a bedbug infestation prepare their apartment for fumigation when one of their boyfriends makes an unexpected visit.  Bedbugs are the worst, but our funny cast is the best.  The more I write, the more I realize that I enjoy laughter in the abyss.  This play continues that trend.

Why should we check out Rule of 7x7?: It's all about the neon palm tree right outside the building.  Also, the night is a lot of fun.  This month Brett is back in town.  If that's not enough to get you to The Tank, I don't know what is.

April showers bring May _____: Tourists.

For more on Colin, visit www.colinwaitt.com

Spotlight On...Mindy Raf

Name: Mindy Raf

Hometown: Michigan

Education: University of Michigan

Select Credits: MTV, VH1, Lifetime, Women in Comedy Festival (Boston), NY Funny Songs Fest, Bridgetown Comedy Festival (Portland), SOLOCOM (The PIT), UCB, Dixon Place, QED, Knitting Factory.

Why theater?: I would perform for family at parties when I was  little, improvising characters and writing monologues for them. In 3rd grade I made kids in my class laugh at a talent show (reading from Free To Be You & Me). I was an anxious kid and I remember feeling really calm after the show like, "I need to do that more often."

Tell us about No Thank You: No Thank You is my new solo comedy show. Weaving together stand-up comedy and storytelling, it hits on themes of what it means to be yourself, let go of the need to please, and (spoiler alert) there's a tap number.

What inspired you to write No Thank You?: Last fall I performed a new half hour stand-up show for SOLOCOM festival. That experience inspired me to extend my material to an hour and write my stand-up within the context of a narrative story. I really love writing and performing stand-up and it's been a fun challenge to revisit my material and reshape it not only to be tighter and funnier, but truer to myself. It's easy for performers, especially comedians, to get caught up in what we think we should be to other people-on stage and off. So that goal (just be you) was really important to me when writing No Thank You.

What kind of theater speaks to you?: What or who inspires you as an artist?: I love when writers and performers are able to find joy and humor in the darker moments. It's so important to laugh at life and yourself-especially when things get cloudy-so artists who can pull off that fine line really speak to me.

If you could work with anyone you’ve yet to work with, who would it be?: Lilly Tomlin is a queen. I would love to act with her. She's the tops.

What’s your favorite showtune?: They're all my children. I cannot choose. What's my mood? For dancing or crying? Ahhhh. I...can't...there are...too...many. [tiptoes away from the conversation]

Who would play you in a movie about yourself and what would it be called?: I would love Mayim Bialik to play me in present and then Bette Midler to play me in future. It would be a "Beaches" reunion. (But with more tap, less death). Working title would be: Panic Attack In Spanx

What show have you recommended to your friends?: Hamilton. I think that show needs my guerrilla PR efforts right now. There are so many great comedy and storytelling shows in NYC and Brooklyn. Upright Citizens Brigade and The PIT always have great solo shows and stand up to see. And Littlefield and Union Hall are also great venues to check out if you're looking to see quality comedy and storytelling. I'm partial because they're my friends, but Rebecca Vigil and Evan Kaufman perform a full improvised musical call Your Love Our Musical. (My girlfriend  just got them to perform our story at a secret proposal show. It was so impressive and hilarious) Totally worth checking out.

What’s the most played song on your iTunes?: Blue Skies, Ella Fitzgerald (1958 version)  It always ups my mood.

What’s your biggest guilty pleasure?: Sleeping in/vegging out. I would love to schedule a "no alarm" day where I turn off devices and wake up only when my body tells me it's time to start re-watching "Gilmore Girls".

What’s up next?: I’m working on couple different writing projects: a pilot based on my short stories and stand up and another novel for young adults is slowly coming together. I’ll also be co-producing a new monthly stand-up show at HiFi June 2. Right now, I’m really enjoying performing comedy and getting No Thank You ready to debut.

The Girls in White: Songs from the Show at Feinstein's/54 Below!

FEINSTEIN’S/54 BELOW, Broadway’s Supper Club, presents The Girls in White: Songs from the Show on Friday, April 22, 2016. Set in post-depression era Texas, The Girls in White is inspired by a true story about a group of incarcerated women who form a band and become an overnight sensation through a prison-based radio program. In their newfound fame, they dream of being pardoned and set free. A story of hope and redemption, The Girls in White is “Chicago” meets “Orange is the New Black” with a country twang.

The Girls in White features book and lyrics by Michael Bradley, music by Artie Sievers, direction by Ashley Brooke Monroe, and musical direction by Ryan McCurdy. Returning to the cast after a workshop last year are Ephie Aardema (Bridges of Madison County), Sydney Blaxill (The Nomad), Michael Cerveris (Fun Home), Josh Davis (Beautiful), Ben Estus (The Book of Mormon), Haley Jones (A Complex Evening), Rebecca Knowles (Pinwheel), Bonnie Milligan (Kinky Boots), Lauren Patten (Fun Home), Jacqueline Petroccia (Always…Patsy Cline), and Brittane Rowe (The Mysteries). The band will be comprised of composer Artie Sievers, Ryan McCurdy (Once), and Erikka Walsh (Once).

The Girls in White: Songs from the Show plays Feinstein’s/54 Below (254 West 54th Street) on Friday, April 22nd, 2016.  There is a $15 cover charge and $20 food and beverage minimum. Tickets and information are available at www.54Below.com. Tickets on the day of performance after 4:00 are only available by calling (646) 476-3551.

Review: You've Got Spam

Hollywood is fond of action adventure movies where a tuxedo-clad hero battles evil villains and thugs while defeating their own personal demon, whatever it may be. The stakes are high and the situation is a bit zany, but the thrill of the game is the draw. In Rafael Spregelburd's Spam, we watch an amnesia-ridden man in a tuxedo piece together a high stakes adventure on the island of Malta.
Told completely nonlinearly, Spam is a cyber Bond caper that is wild and weird and a little bit too long. What's ultimately a journey of self-discovery, Spam is a patchwork of a dance. Though pretentiously billed as a spoken opera, or “Sprechoper”, Spam is simply a dry dramedy that fancies itself as a multimedia language play. Written by Spregelburd and translated by Jean Graham-Jones, there was something enticing about the production as a whole but something drastically off. Whether it was lost in translation, the multi-media production lacked connection. Even with some forgivable technical flaws, Spam had a sense of uncertainty, standing on rocky shores. The conceit that Spregelburd brought to the stage was the idea that the presentation was random. The order of scenes was seemingly picked out of a hotel ice container. Whether director Samuel Buggeln intended it or not, moments between days were confusingly dropped, appearing as if determined actor Vin Knight truly wasn't clear what story came next. It was flawed in the sense that the middle ground didn't read. The clarity of uncertainty needed to find an extreme. Feeling as if you're viewing an actor struggle to find his place is wholly uncomfortable. With a patchwork of story, there seemed to be many plot points to consistently remember. Between the crude talking dolls to the money-laundering girl and mafia to Cassandra to the dead language thesis, there was a lot to keep track of. How the play fell out, there would be times each beat would bring new information or there would be incredibly long breaks that it was difficult to remember what came before. With 31 potential days of stories to recreate, it was inevitable to miss some important information. Data overload you could say. Spam is a modular text. No two performances will be the same. And in a way, it’s hard to say whether the text worked or not. Perhaps the flow of show we saw did not serve the story best. Maybe a different algorithm of days makes it better. But again, uncertainty hurt the production. There was a strong commentary on society and commercialism deep within, but it felt very specific to the point where it lacked gravitas. What may have been important to Spregelburd may not have resonated with the audience. But again, this could be do to clarity or translation.

Despite feeling that he lost control at times, Vin Knight should be applauded for his grand performance. As Monti, Knight was virtually trying to piece 31 days together as character and actor. It was no easy feat. When Knight found his footing, he was mesmerizing. He crafted a character that was interesting in an everyman manner. With time, Knight will finesse his performance, but it’s something worth watching. The unsung hero of Spam was The Operator played by the spry and dry Dominic Russo. Knight was the star by Russo was the superman. Not knowing whether Russo was merely a stagehand forced to appear on stage or an actor driving the production, Russo was incredible.
At first glance, Spam appears to break the fourth wall, exposing the inner workings of the play. Samuel Buggeln’s set was part hotel room, part theatrics. And nothing is more terrifying then the eerie display of ptalking dolls. Once the play gained momentum, they blended into one another with the help of Jake DeGroot’s lights and Lianne Arnold’s projections. DeGroot did a tremendous job creating a colorscape that was intricate and interesting. Arnold’s projections played well off of the various design elements. While they did add a cool element to the show, the story could easily have been told without them. And perhaps it would have been less overwhelming. Director Buggeln tried to keep the play moving but it sadly wanted to be tighter. With all the moving parts, it was inevitable that was not going to happen, especially early in the run. With clarity being a theme of Spam, the tempo of text was rushed at times, likely to avoid running too long. But with an onslaught of information, much was lost.
To say the least, Spam is ambitious. Works of this nature can be hits or misses. Or right in between. And that’s where Spam is. No matter how long this production has been in the works, it was clear, more time was greatly desired.

Review: The Inheritance Game

There is a lot that goes into preparing to say goodbye to a dearly departed. Between funeral arrangements and costs and writing the obituary, emotions can be at an all time high. But what if goodbye can mean a celebration? In Anne L. Thompson-Scretching's grim family drama Say Goodbye to Yesterday, the Cotton family buries the matriarch who happens to be leaving behind a large sum of money that could lead to life changes. But what happens when greed gets in the way?
Staged at the American Theatre of Actors, Thompson-Scretching's drama follows the uniquely modern yet brazenly old-fashioned Cotton family who reunites to bury Venetta Cotton, a woman who long suffered from Alzheimer's. The siblings have a patchy history that gets revealed in a significantly unnatural manner but nevertheless, the tension is a driving force of the action. There is Ruby, who served as Venetta's default caretaker and hides behind a facade of false morality. Jake is a confrontational and defensive son who may or may not be stealing money from his mother and the family store. Grace arrives with Oscar worthy tears only to be the pendulum of allegiance. Matt is the adopted white son who has a past that tore the family apart due to jealousy and legacy. And then there is the estranged Paula who has virtually been disowned for lifestyle choices. The patriarch, Marcus, is an emotionally and physically abusive alcoholic who causes more strain and pain due to his lifelong string of poor choices and selfishness. With feuding personalities present, the only worry is who gets what in the will. But when a stranger arrives, all hell breaks lose. This is a play about a family broken up by circumstance. It's a dynamic story by Thompson-Scretching but the writing is sadly filled with cringe worthy lines leading to equally uncomfortable deliveries. As the truths are revealed, there are audible snickers simply because they are presented in such a farfetched manner. And it's unfortunate because the plot is brilliant. The execution needed great help. Additionally, the play is far too long. There is so much repetition that could be removed to help streamline and shorten the play. It would help the momentum not be as rocky as it currently is. The themes Thompson-Scretching introduces are strong and current. Rather than make this a generic living room play, there is a bite to the topics. And nothing is more topical than introducing a transgender character. Though it’s pretty predictable early on, we learn that Paula no longer identifies as a female but a man named Elliot. The way Thompson-Scretching approached the character along with reactions to him was done quite well. It was realistic but it’s a shame when the audience finds humor rather than heart. An outlying theme was the idea of being different. Between Matt and Elliot, it was one of the more absorbing ideas. It made their reward viable.

photo by Victor Vauban Junior

The ensemble did as well as they could with the dialogue they were given. There was a strong familiar bond within the cast, though there were some interesting casting choices. Leading the cast was Elijah Trichon as Matt the adopted. His siblings may have taken advantage of Trichon’s Matt throughout but the adoration he shows is the glue of Say Goodbye to Yesterday. As Grace, Siobhan Crystal Alexander infused some jovial comedy into the mix. Alexander helped Grace’s moral compass waver as the plot furthered and of the three disinherited kids, you felt the worst for Grace. Kenneth Browning had an incredibly difficult task playing the alcoholic Marcus. Browning needed to discover the reality of the character but it strangely come off as a caricature. One of the more unfortunate performances came from the briefly seen Aaron the Lawyer. Stephen Staphnski seemed to milk his performance, pulling attention away from the story. Aaron wanted a backbone but his firmness went too far. It was abrasive.
Say Goodbye to Yesterday had all the makings of an important play. It sadly missed the mark in execution. Perhaps in different hands, Say Goodbye to Yesterday will make its way to the masses.

Review: A Not So Progressive Rom Com

After the turn of the century, America was experiencing the prime of what was called “The Progressive Era.” It was a time of social activism and political reform where names like J.P. Morgan, John Rockefeller, and Andrew Carnegie were on the lips of Americans was the face of greed or philanthropy. It was also a time when the working class began fighting for opportunities to create their own businesses as others formed domination unions. This is the generation that is the central backdrop of Jerry Polner’s comedy Like Money in the Bank. Presented at The Studio Theatre at Theatre Row, Like Money in the Bank offers a thin comedic spin on the establishment of the Federal Reserve System.
Written by Jerry Polner, Like Money in the Bank is a zany tale about the meeting of a suffragist social reformer and immigrant mechanic that leads them on a journey of love and social change. With a tinge of theatrical storytelling and just a series of madcap conversations, Like Money in the Bank has the makings of an important and relevant piece but sadly comes across as too teachy and preachy and just plain ol’ plain. It’s evident that Polner knows his history. His dialogue reads like a textbook rather than a character-driven play. And his characters suffer for it. As does his plot. There is an immense amount of important off stage action and an insufferable believability when it came to the speed of relaying information. There were moments characters had to travel through the city of Washington, D.C. only to enter the scene with vital information moments later, some of which was shocking they were aware of. There are certain things you can forgive in theater, but it’s the little things like that you have to grunt at.

When the play reads closer to a propaganda piece, you have to be worried. This may be the case due to the plain execution of the production. Director Shana Solomon’s approach was like a generic comedy. There was no flash or panache. There were shades of it early on but there was an ostentatious missed opportunity for a vaudevillian floorshow. Not only would it tie back to the period, it would add a much needed excitement to the explanatory text. Solomon’s staging was limited due to space but she ran into many sight line issues throughout, especially in the highly comical opening scene. When your trio of actors are relegated to the floor behind a pile of money, it’s likely heads will block your view, even in the primes seats. As a whole, the set from Joe Napolitano was underwhelming. Sans a few pieces of furniture, the green monochromatic backdrop that looked like it was pulled from a different production offered nothing to the show. For a play with an Americana theme, perhaps being on point would have been a better option. With the generic period concept, the costumes by Joseph Blaha were actually the saving grace of the overall design. Not only did they match the period, they worked for the actors.
You can only fault the actors so far before you have to look back at the material and direction. The central duo of Like Money in the Bank was Louisa and Sully played by Rachel Mewbron and Michael Zlabinger. Mewbron played into the ingénue with strength role but sadly brought no essence. Zlabinger’s Sully was an Italian immigrant and thusly was asked to include an accent. At times, Zlabinger was deterred by the accent. Clarity and consistency were not his friend. When the comedy was big, that’s when Like Money in the Bank was fun. Fortunately there was a trio of actors who took the task of boldness to heart. Leading the trio was Jack Utrata. Tackling characters including a neurotic bank teller, a salty yet sweet baker, and a zippy factory employee, Utrata proved his worth as a character actor. Utrata brought an unmatched energy to the stage that allowed him to be the standout of the show. As Utrata’s counterpart, Sarah Sirota went big. She was at her finest as the baker’s wife Charlotte. Annalisa Loeffler’s quartet of characters were often scene stealers. Loeffler worked the comedic tones the play greatly desired.
There are instant warning signs when your period piece show's graphic features comic sans. No matter what, Like Money in the Bank doesn’t quite seem to know what it needs to be. History can be fascinating but how it’s incorporated into a theatrical retelling needs to be interesting otherwise watching a documentary at your leisure may be a more viable option.

Review: Hoarding Secrets

You’d be lying if you haven’t had a difficult time cleaning up the past and throwing away the things you don’t need. You say you’ll just keep a thing or two but then as time goes on, they just keep on adding up. In Francesca Pazniokas’ Keep, sisters Jane and Kara try to help their younger sister Naomi clean up her life after a tragedy. Produced by Wide Eyed Productions and Mastodon Theatre Company, Keep is a drama that hoards emotion.
While trying to cope with the loss of sister Margo, Naomi holds on to the little things, literally. Naomi has become a hoader, turning her apartment into a treasure trove of junk. From a Russian stacking doll of boxes to the remains of a pet, Naomi can’t let go of anything. When older sisters Jane and Kara arrive to help Naomi with letting go of the past and the present, instead jabs are tossed and delicate relationships are tested. Francesca Pazniokas’ play is a fascinating exploration of a mental illness that many only view as an entertaining reality show. Pazniokas goes beyond the shock value to reveal the inner struggles of an individual coping with grief. It’s easy to liken Pazniokas’ text to someone like Sarah Ruhl. The world of magical realism is ever-present. But Pazniokas sometimes gets lost in language that the plot falters. There’s a fine line between styles that Pazniokas treads. And when she gets wrapped up in the poetry of her text, the accessibility is gone and the story is lost in the mountains of junk. Regardless, Keep evokes unsettling feelings. When it comes to creating a family, the sisters were a bit one-note. They each had strong action and objective, but it never strayed. The girls lacked depth. It was a very monotonous journey playing the guilt and blame game. That was until reality disappeared to reveal the magical moments. That’s when things seemed to fall apart.

photo by Russ Rowland

The backstory that Pazniokas establishes for the sisters is a bit convoluted. Who Margo is to each sister is drastically different and thus who Margo is in this world needs to be meticulous. Leslie Marseglia gave Margo an edge of angst. And it was intense. Even when Margo had softer moments, Marseglia was rough. Even though her presence in the world of Keep was different, there was a disconnect to Marseglia’s performance that changed the perception of the play. It’s hard to say who hard a harder part, Leslie Marseglia or Kim Krane as Naomi. Krane had to portray a woman who was not all there while remaining truthful. Krane brought an essence of delicate sincerity that allowed emotion to finally burst out of her soul. Jenna D’Angelo brought the sarcasm as Kara. Of the quartet, D’Angelo’s character was the strongest and most rationale. Being the voice of reason can be boring but D’Angelo broke out of that easily. There was an empathy within the tough façade. Madison Comerzan as Jane was tediously bubbly. As the sister with the optimism, Comerzan was forced into a character that you enjoyed seeing get goofed on. Though the clarity of character was a bit mess, Comerzan was enjoyable. Individually, each actress brought something different but chemistry was lacking. Yes, we know that there is a disconnect in the family, but without context, you’d never believe the quartet were supposed to be related.
If you enter TBG Theatre and immediately feel overwhelmed, you should. Alfred Schatz’s set was a perfectly strategic junkyard of memories. As the characters learn, you should be wary of what lies beneath. The labyrinth director Stephanie C. Cunningham had to work with had obstacles, but for the most part, Cunningham triumphed. When it came to the journey of the text, there were some beats lost and transitional flaws. With a balance of naturalism within the magic, blending the two needed to be as seamless as possible. Lighting designer Cate DiGiroiamo had some trouble at times. It’s always important to see the actors but when the script has a blackout moment, darkness is believable is imperative. The stage darkness didn’t quite read. The transitional music from J. Alexander Diaz was an interesting classical synthesized vibe. And it seemed to work. It prevented the mood to drop to a deep despair.
There are times in storytelling that a plot can’t be wrapped up neatly. Sometimes it ends ambiguously. Sometimes it’s more abrupt. But whatever the case may be, it needs to feel complete. When the audience is unsure if it's the end, it's not a good sign. Keep’s ending was a telling sign of the piece. Confusion. There is a lot of promise in this piece, the execution was just not where it needed to be.

Review: An Intergalactic Whale Tale

Quite possibly one of the most infamous opening lines in all of literature is “Call me Ishmael.” It starts the epic whale tale “Moby Dick” by Herman Melville. But let’s be honest with ourselves, you probably haven’t actually read it the epic metaphor-laden high sea adventure but you probably know the plot and some of the iconic characters. “Moby Dick” has been adapted for the screen numerous times, but how do you tell it on stage? Place it in the future and transport it to space! Duh! Written and performed by Chuck Armstrong and Charlie Stockman, Moby Alpha is a space retelling of Herman Melville’s drama where the only source of light is through LED space helmets.

photo by Neil Muscott

With the high seas being replaced by deep space, Moby Alpha reunites the infamous crew of the Pequod, giving them a bit of a makeover, as Captain Ahab hunts the legendary Moby Alpha. Rather than a narrated reciting of Ahab’s metaphorical journey through Ishmael's eyes, Armstrong and Stockman portray the crew and other notable encounters. To assist the audience in tracking characters, Armstrong and Stockman pair each of their characters with a specific helmet color. Even if you don’t know the source material, it’s easy to grasp onto the individuals. Ishmael is a young crewmember paired up with the maybe-cannibalistic Martian Queequeg. Ahab is in the cockpit with Starbot, a take off of chief mate Starbuck. And it keeps going. Armstrong offered a little more variance to his characters than Stockman but you can’t deny the reciprocity the duo had. The narrative that Armstrong and Stockman honors Melville yet infuses a strong essence of science fiction. They drop in references that sci-fi fans are likely to grasp instantly. Those who don’t know them, well, you’ll enjoy them for what they are.
What makes Moby Alpha a catch is the use of the helmets. Timing is everything and the LED colorscape that were the helmets elevated the comedy. They were simply fascinating. Moby Alpha is an example of necessary spectacle. Had the helmets not been what they were, Moby Alpha would likely have been a generic comedic adaptation of a boring book. The writing and comedy would not have been strong enough to carry the show. Thankfully the brilliance of lighting made it something worth seeing.

Review: Mommy Does Politics

Sometimes serendipity lines up so perfectly. Serendipity seemed to play a part for the politically charged drama Primary by Gracie Gardner. Not only is it appropriately timed in election season, this play is the 2016 winner of Project Playwright, an annual competition Sanguine Theatre Company holds where democracy declares their coming production. Primary transports the audience to the late 90s as an average mom declares she is running for State Representative in her Connecticut district.
Primary goes beyond the insult slinging negative campaigning and captures the familiar side of the race. Gardner's play is a political family drama that watches Laura Hollister enter herself, and thusly her family, into a political race that goes beyond local politics and into her morals. With a husband who opposes his wife's ambition, a daughter lost in the shuffle, and a young hustling campaign manager, Laura watches her life tumble before her eyes, only hoping she can reassemble the pieces. Primary was troubled at the very start. It was like a Jenga tower, the pieces weren't constructed perfectly and the tower was ready to topple after the first block was pulled. Gardner neatly sets up the pieces of her play but once the action sets off, questions arise, which many are left unanswered, and her characters go on unnatural journeys simply for conflict. Gardner bookends her story with daughter Sophie and her inhaler. We learn Sophie is an important cog in this story as the deep, deep heart of Laura's campaign is to help the public school system, which she pulled Sophie out of and subsequently put her back into thanks to campaign manager Nick. We learn Sophie has a few physical and mental problems. But Gardner makes such a strong telling of the inhaler that never quite gets discussed. Though Laura is the driving force of the play, Gardner seems to want to tell it through Sophie's eyes but it never really comes into fruition. Sophie has two magical moments via dream and Sailor Moon dressing montage but because the remainder of the play is so natural, these moments are incredibly jarring. Had the way they were introduced been cleaner, perhaps they would have worked. Primary is not necessarily a political play but more a play about family. Gardner uses the Bill Clinton sex scandal as a backdrop for her play. There are clear parallels between Bill, Hillary, Laura, and Arthur but they are a bit of a reach. Because there are strong themes of family, Gardner could have dove deeper into the backstory of this family. We see them in the present but know very little about who they are and why this moment is important or impractical for each. Laura makes a rash decision without trepidation or familiar consultation. Arthur doesn’t believe Laura made the right call and acts childish to prove his point, seeming to sabotage his wife. And then as parents, they seemed too immature to handle a child let alone a political campaign. In this production, it would appear that they had Sophie when they were quite young. Diving into that could explain and perhaps justify their actions. When it comes to the character of Nick, we learn very little about his story. We know that he failed to gain the seat Laura is running for but is that the true reason why he wants to be her campaign manager? Nick wasn’t passionate enough for redemption but he wasn’t scheming enough to be a true political shark. He lived in limbo.

photo by PJ Norton

For a play with a strong sense of family, creating a believable family was integral. It took some time to believe that Laura, Arthur, and Sophie were, in fact, a unit. But once you got into that, you began to see the true nature of each individual. With the exception of the wise beyond her years Sophie, these characters, in their own way, were the embodiment of politics. And they used those assets throughout. Whether it was through bribery or emotional manipulation, you could drop the trio adults into another political world like “House of Cards” or “Scandal”, though they’d very likely get eaten alive. As Laura, Jody Christopherson played into the hands of politics. Christopherson gave a performance like a manufactured politician that was artificially emotional. By the time Christopherson was about to give Laura any sense of humility, Gardner’s character was too far gone and completely unapologetic. Even when Nick grieves over his sacrifice, Laura doesn’t seem to care. It’s all about her. Brian Miskell’s Nick was pretentious. Nick was not the clearest written character but Miskell did what he could to give the character flavor. Kevin Argus tried to infuse some humor into Arthur. Doing so, Arthur had a man-child aura to him. He did have some sweet moments with Casey Nadzam’s Sophie. Regardless, Argus didn’t seem to find a voice or sense of reasoning for Arthur. His passive nature came across as weak.
In a play where the action is slow, director Alex Keegan did all she could to liven it up and find glimmers of excitement. Unfortunately they were few and far between. The Hollister home by scenic designer Matthew Imhoff fit the time and location but it was placed at a strange angle that felt unnatural. It wasn’t sharp nor was it flat so it longed to find an extreme. Costume designer Anna Winter did a fine job fitting the characters and avoided playing into the 90s gimmick. The only miss was the purple shirt on Laura. While red and blue do make purple, once in political mode, putting Laura in either color would have been more appropriate for the politician.
With a very slow build up of action, Primary lacks movement and strong characters. It can be hard to care about a situation if the stakes of reasoning are more selfish than for a genuine purpose. But hey, that’s politics! Like Laura Hollister, Gracie Gardner’s text didn’t seem ready.

Review: Gypsies, Tramps, Thieves, and Alaska

As our diva rightly said, Cher is in all of us. Actually old but looks young. A little bit feminine, a little bit masculine. She's a perfect icon to pay tribute to. Former RuPaul's Drag Race finalist and international drag superstar Alaska Thunderfuck 5000 takes Cher's extensive songbook and gives them the Alaska treatment in Cher and Cher Alike playing the Laurie Beechman Theater.

Assisted by the appropriately named Handsome Jeremy, Cher and Cher Alike celebrates Cher's hits in a manner only Alaska can do. Alaska begins her cabaret with a loving tribute of the classics, adjusting the lyrics as she sees fits, like in the iconic duet "I Got You Babe" replacing babe with everything from the b word to the c word, or calling attention to the ridiculousness of lyrics, like the never-ending "The Shoop Shoop Song". This portion of the show gives fans what they're looking for: reads, shades, and crude humor. It's dry and hilarious. But after a little channeling of the spirits, and a casual costume change, Cher takes over Alaska's body for a rip-roarious shade session. She even does a medley of hit songs that should have been hers including "Single Ladies" and the theme song from RuPaul's Drag Race. Whether scripted or through improvisation, the text is works well. There’s a systematic nature to everything.
Overall, Cher and Cher Alike is more than just homage. It proves Alaska is more than a comedy queen. Girl can sing! Even within her character’s lackadaisical persona, her vocal proficiency shines through. You have to be skilled to sing “badly” on purpose. But it’s when Cher takes over, Alaska dazzles. She has the ability to capture the essence of Cher through mannerisms and vocal inflection. Alaska has a passive electricity on stage and the hilarity of her eccentricity that draws the audience in.
Whether you’ve already seen her live or not, Alaska’s Cher and Cher Alike will certainly entertain. You’ll enjoy yourself even if the only knowledge you have is knowing who she is. But if Cher is your icon, then this is a show for you.

Review: Walking with a Ghost

Saying goodbye is never easy. Sometimes you don't get the closure you desired so the past continues to haunt. Presented by The Assembly, Kate Benson and Emily Louise Perkins’ haunting I Will Look Forward to This Later, a family, and some outliers, mourn the loss of their beloved patriarch while maintaining any sense of self.
With a Kabuki backbone, I Will Look Forward to This Later is more than a grief play. It's a study of maintaining and finding connections after loss. Written by Kate Benson and Emily Louise Perkins, the play follows the Holloway family after infamous writer Wyatt passes away. How this loss affects each individual is the meat of this play. Widow Betsy goes on a rampage of revenge against his mistress Miranda.  Older son Samuel wallows in a litany of sorrow. And younger son Robert engages in an intimate affair with Wyatt's former colleague and occasional companion Agatha. As each goes on their way, Wyatt haunts them, getting them to come to terms with the new reality. What's interesting about the family Benson and Perkins have crafted is this is a family that lets things be by avoiding questions. To us, some revelations are shocking. To them, there's a sense of ambivalence. And it comes across as odd. There are no questions asked when Betsy discovers her son is sleeping with the much older Agatha. Samuel and Robert don't really broach the fact that Miranda is basically an indentured servant to Betsy. It calls attention to just exactly who these people are. And frankly, they are hard to care for. Their sense of entitlement is bothersome. But no matter how you fell about this family, they are family nonetheless. What these people care more about than each other is legacy. How will they be remembered familiarly and broadly. Each character has a tie to the arts, whether it be as a writer, sculptor, or artist, they search for a way to create their master opus. Plot and character aside, the dialogue that Benson and Perkins bring is sharp and intentional. Even when it reaches moments of poetry, it’s accessible.

photo by Nick Benacerraf

I Will Look Forward to This Later is an ensemble piece that required cohesiveness. And this was a cohesive bunch. But due to the nature of the characters’ intentions, some performances were grating. Emily Louise Perkins took on Miranda as well as part of the text. Her Miranda was a bit whiney and feeble. There was an interesting evil queen vs princess dynamic between Miranda and Linda Marie Larson’s Betsy, but it’s never a good sign when you want the bad guy to triumph. Larson’s Betsy was firmly grounded, bringing the strongest performance of the bunch. Betsy plays into a world of façade yet Larson gave her a tinge of humility. James Himelsbach had possibly the hardest role of the show. Finding a way to balance truth with the supernatural is not easy. Yet Himelsbach sprinkled in the humor and lightness that this production needed. Had Himelsbach jovial aura been more haunting, I Will Look Forward to This Later easily could have been gravely too heavy.
As noted, Kabuki influences were present but also domineered elements of the storytelling. The way director Jess Chayes introduced them were not subtle. You have to wonder what could have been had they been removed from the final product. Certainly some theatricality would be lost but the moments of movement hindered the flow of the show. That being said Chayes should be regarded greatly for her impeccable staging. Production designer Nick Benacerraf threw challenge after challenge at Chayes and she knocked them out of the park. While the smell of plywood pervaded the air of The New Ohio, the world of wood brought opportunity. There was a consistency when it came to, what should be called, the crates of wonder. At the start, the stage is filled with crates. And as each locale is introduced, the crates would reveal everything from a workroom coffee station to the tools for molding. But the most dynamic feat was the fabulous casket turned bar. Thanks to the addition of the stunning lights by Christina Watanabe, the images that were cast were magical. As a whole, Watanabe’s design was strong. She relied on colors that melted into one another. As mentioned in the program note, the production’s design featured the “hanamichi.” It is a platform that goes into the audience used in Kabuki theater that allows for grand entrances and exits. The intent was interesting but the payoff was minimal. Unless you were right next to the runway, the dramatic was missed and lost the effect.
I Will Look Forward to This Later is a fascinating examination on art-making and legacy. The Assembly offered something potentially worthwhile but if you lack empathy for the characters, you’re likely to feel like them; ambivalent.

Review: Oh Daddy, Oh Boy

There was a time when farfetched comedies filled the boards of the Great White Way. There was something heartwarming about wild plot-driven slapstick that made you laugh and forget about the world. Marshall Goldberg’s Daddy Issues harkens back to that time with a little bit of an edge. Packed with a schticky plot better suited for old-fashioned sitcom, Daddy Issues follows the madcap adventures of a single, aging gay actor who continues to break his family’s heart. To alleviate the heartbreak, a single lie leads to a wild night of confusion and lies.
Set in the early 80s in NYC, Daddy Issues follows Donald Moscowitz, a struggling actor, who finds himself single and childless. When his overbearing Jewish parents and fading grandmother hound him on his life, Donald’s only defense is to create a lie and make them believe he does, in fact, have a long lost son with his college sweetheart. To make matters worse, Donald and his bestfriends Levi, a brassy drag queen, and Henrietta, a has been actor turned casting director, decide to hire the neighbor boy to play the fake son. But what happens if a little lie goes a little too far? Written by Marshall Goldberg, Daddy Issues is a cringe worthy comedy with easy jokes and a cheap reveal. Even though it is a period piece, Daddy Issues is insanely dated. With a contrived plot taking over for practicality, Daddy Issues isn’t necessarily a new story but offers a commentary on how a specific generation handled family and homosexuality. Goldberg is able to capture a vital theme deep within his comedy but unfortunately Daddy Issues is so implausible that any substance loses validity. There is an abundance of derisory plot holes that it begins to turn into a ridiculous parade of shenanigans. Because the characters are dimly one-dimensional, crafting a believable arc was near impossible. Sure, they each found change but it didn’t come naturally. What may have been most shocking about Daddy Issues was following the hoax reveal was the next reveal. It was so preposterous that there were audible groans in the audience.

photo by Robert Levin

Daddy Issues offered a specific style of comedy. It needed to be fast and sharp. For the most part, the company was able to offer it, picking up the cues well. But some of the cast crafted characters that were sadly unfunny. With an absurd amount of fat jokes, there was little Elizabeth Klein could do to make Henrietta a funny character. Klein’s Henrietta was bitter and bland. And she was completely outshined by her counterpart Sam Given as Levi. Given embraced the farcicality of the world and made Levi a big personality that was fun to watch. Though it is baffling that despite knowing he couldn’t stay to play fake mom that he wouldn’t imagine Donald and Henrietta finding a backup solution. But I suppose waltzing in as he did was more for laughs and not dramaturgy. Playing the “straight” man in the show, Yuval David did all he could to keep the plot together. Being the main cog, David kept the machine from going off the rails. Playing beyond his years fake son, Alex Ammerman was an able player.
Director-producer David Goldyn succeeded in keeping the energy high and utilizing physical humor. Even in a tight space, the staging managed to mostly work. You can’t blame scenic designer Kevin Klakouski for the bright cantaloupe wall color as it’s scripted but finding a way to make those walls fit properly would have been welcomed. The costumes from Cheryl McCarron didn’t scream 80s, rather fitting the realistic personalities of the characters. With a stage to go bold on, it may have been a missed opportunity. Though grounding the characters did work.
In a time of biting, gritty works, sometimes comedy is desired. But styles change and sadly the comedy of Daddy Issues is dated. Daddy Issues is fun for froth and that's about it. But if you're looking for froth with a little bit of substance, you can certainly find it elsewhere.

Technically Speaking with...Sarah Stolnack

Name: Sarah Stolnack (Stoli)

Hometown: Seattle, WA

Education: BFA in Theatre Design/Tech, University of Evansville

Favorite Credits: Caryl Churchill’s Fen with Red Garnet Theatre Company, The Evansville Ballet’s The Little Mermaid (world premier), and GIG with Jenna Nicholls (a project that combines live dance with live music from a singer/songwriter).

Why theater?: Storytelling is incredibly powerful, whether it’s through theatre, dance, opera, etc. I can’t imagine working in any other field – theatre provides a unique opportunity to combine that storytelling, visual creativity, and technical understanding. Theatre also attracts me because it exists in time and space – I get to play with pacing and timing as well.  I’m always excited to work with new people and bring our work to new levels, and I absolutely love the fast-paced schedule that working as a freelance designer brings. I never have a boring day.

What is your role on Primary?: Lighting Designer.

Tell us about Primary: Primary is a new play that follows a family as a mother considers starting a political career.

What inspired you to design Primary?: I love working on new works, to be part of a team that is doing something for the first time, developing the piece, and being involved in shaping the story that is being told. This piece especially draws out all of the reasons I love it – being able to directly relate the story we’re telling to current events.

What kind of theater speaks to you? What or who inspires you as an artist?: All kinds of performance speak to me, anything with a strong visual element. I enjoy designing theatre, opera, and dance. I’m inspired by performance any performance that I think is well done. For visual inspiration, I am constantly looking at art and finding new artists that I connect with – right now, I’ve been looking at a lot of paintings by John Atkinson Grimshaw, he manages to capture moonlight and streetlights in a beautiful manner. He uses colors that I wouldn’t always think to incorporate.

What makes a design “successful”?: I don’t have any benchmark for myself that defines “successful”. On every show I do, I learn something. I always have a few things that I wish were better, some timings that could have been tighter, some focuses that could have been sharper. I think that the lighting telling the story and providing the needed visibility is the base of what makes it successful, but there is so much more than that. I want to come away from a design feeling good about the visual elements, feeling that they represented what the design team and I wanted to portray.

How do you approach your work individually and collaboratively?: I think you have to start with the collaboration – that shows the direction that you’re going in. I come into the first production meeting with an open mind – still with thoughts, ideas, and a direction I would approach it from, but I’m there to hear what everyone else has to say. After we’ve talked and I understand the direction the team is going in, I will go off on my own and find the specifics that I think lighting should bring to the show.  

What is your favorite part about the collaboration process?: I can’t think of a part of it I don’t like, so I don’t think I have a favorite part. I love being involved in telling the whole story – talking with the director about the arc of the story and how that affects lighting, with the scenic designer about what the visual language of the space is, with the sound designer about flow and atmosphere of the piece, everything.

If you could design any play or musical you’ve yet to design, what would it be?: I find it hard to choose one – partially because I like working on new plays so much. Perhaps one of Shakespeare’s tragedies, or one of Puccini’s operas. What excites me even more that a script or score that I like is working on it with a creative team that is all on the same page about the story we’re telling and how we’re going to portray it in our respective disciplines.

What’s up next?: I’m designing skinny crazy small at Theatrelab, Gaslight Tango for Axial Theatre Company, and then heading upstate for the summer to work as a lighting supervisor at the Glimmerglass Festival.

For more on Sarah, visit sstolnack.com