Review: A Fantasy Musical

by Kaila M. Stokes

Held, written by Kelly Maxwell, was a musical fantasy alright. Set in the cabaret style venue of Drom, this dark yet flirty musical was a solid attempt. The plot revolved around Korin, played by Hannah Ripp-Dieter, a “dreamer” that can fulfill others dreams. The downside of this amazing talent is that everyone eventually leaves her to pursue these dreams and she refuses to be abandoned by her only friends, Mera and Bardo. Mera, played by Katie Bakalars, is a warrior and her dream is to fight for her town and families’ honor. Bardo, played by Alex Van Handel, is a goofy yet endearing friend that is a baker and is in love with Korin. So what does one do if she doesn’t want to be alone? Korin builds a wall and claims that it was a sorcerer who has trapped them. The only way out is for Korin to die. Will her friends kill her to escape?
The best part of Held was when the cast of three was singing. All three had gorgeous voices and the harmonies were flawless. There should have been more of it for this reason. The opening song, while sung beautifully, was a bit confusing. It did not set up anything for the audience – since no one knew the plot yet, it was confusing to hear the end of the plot sung at the beginning. It was clear what the attempt was, but a song that set up the characters and their purpose for being in front of us would have served the audience more.
Held was a mix of "The Giver" meets "Game of Thrones" meets No Exit. The plot had its flaws, but the music (written by Meghan Rose) performed by the live pianist, bassist and cellist was remarkably beautiful. The plot’s biggest flaw was that the character Korin was not likeable from the beginning; it emerged too quickly that she was unhappy and jealous of her friends. The writer could have developed the story a little more – make it more apparent why the audience should like Korin. The director, S.C. Lucier, utilized the entire venue which was fun to watch. Since it was a cabaret style room with spread out cocktail tables, it was a delight when the cast ran through the audience. Some of the locations were revisited throughout the show, like the stream, but these could have been identified a bit more. Material could have been used for the stream as well as other props the actors could have handled to better identify time and place. Since the director had such beautiful actors and music, each piece of staging should have been a picture and instead it was a little unclear and static at times.

The costumes, by TDF Costume Collection, made each character easily identifiable and they were beautiful. The idea of utilizing the tools provided in the theatrical community is brilliant. The lighting was simple. Since there was hopping back and forth between times and place the lights certainly could have been better utilized with color, type of lighting and light/dark. It seemed to be a general wash the whole time which made it a bit confusing at times when the actors were in a different time or place.
The actors were remarkable singers, but since the plot developed so quickly, it was hard for them to grasp their characters it seemed. It is not a bad thing for an audience member to want more plot. Held was musically beautiful, but left the audience wanting more…more plot development, more character development and more of a punch on those important lines/moments. It should certainly be done again, maybe added to and directed with more importance. Korin was made to be the main character, but maybe it is more of an ensemble piece. It would definitely be worth another viewing.

Review: No Way to Stop It

By Michael Block

We all love “The Sound of Music.” We all likely can sing the entire score if we were asked to. But did you ever wonder what life is like off camera while Maria and the von Trapp brats were singing? That’s the premise of Andrew Bergh’s ambitious The Radicalization of Rolfe. Paralleling the action of “The Sound of Music,” Bergh’s play follows young, impressionable Rolfe Gruber, the object of Liesl von Trapp’s affection, as he comes of a certain age while going in and out of the closet. It also shows the art of manipulation in a time of constant fear and uncertainty. We learn that Rolfe, alongside the von Trapp family butler Franz, is being controlled by a man named Zeller to gather intel on Captain von Trapp. Meanwhile, Rolfe is learning about himself through the intimacy of a young man named Johan Scmidt, the nephew of Frau Scmidt, the von Trapp family housekeeper. Call it “The Sound of Music” version of Clybourne Park. Though that may be giving Bergh a little too much credit. No matter what, The Radicalization of Rolfe is an interesting angle of a lesser-shared narrative utilizing a well-known story. But it completely confuses the tone. “The Sound of Music” is light and frothy. Yes, the backdrop is dark but that’s not what audiences remember. Bergh’s play gets tonal confused as the only moments people laugh are through the well-timed references to the score. If we’re supposed to find light in the situation, Bergh truly needs to go further with the humor. As it stands now, laughing at anything else is near impossible.

A reason for the lack of comedy could be that the play was painstaking too slow. Director Abigail Zealey Bess absolutely needed to bring a metronome into rehearsal and make her company pick up the tempo. Zealey Bess smartly moved from scene to scene without a large scenic shift. It also meant that we were forced to stare at those awful chairs for the entirety of the show. The black chairs with red cushions were the right color scheme but the specific chairs looked sad. The costumes from Audrey Naman were just right. They honored the history of the time.
Sometimes casting is everything. In the titular role, Logan Sutherland was picture perfect. With sunny naivety mixed with undeniable confidence, Sutherlands’ play on morality was exquisite. The breaths leading into Rolfe’s big decision were heartbreaking. If ever there was a performance to put him on the map, this was it. Logan Sutherland is a name to remember. Dominic Comperatore had crippling cruelty as Zeller. There was a seduction in Comperatore’s words. Jay Patterson as Franz balanced the character well, though a bit more animosity and resentment for younger superior would have raised the stakes.
The Radicalization of Rolfe is a brilliant concept that wasn’t as well executed as it needed to be. No matter what, there’s no way to stop it. We won’t be saying good bye or farewell to this play anytime soon.

Review: I Wanna Marry Johnny Darlin

By Michael Block

There are certain ingredients that make up a pop star. It’s mainstream formulaic. But sometimes there comes an artist that breaks the mold. They may not see the light of radio glory but they garner a following. Say hello to gay pop superstar Johnny Darlin, the brainchild of Michael Doshier. In Johnny Darlin: In the Closet, Doshier puts on a concert as Johnny Darlin with interludes of the voices of the Queer South recanting their stories as members of the LGBTQ community. This is more concert than theatrical event but Doshier has the ingredients to push it toward the latter. Doshier sets up his evening by performing song after song, with those necessary diva costume changes. If he’s playing a persona, he might as well offer more interaction. Educate the audience on the origin of the songs. Describe how Johnny Darlin is like the voice of the Queer South. Explore just exactly how he came out. Providing more of a story within the already extraordinary material will absolutely enhance this production. We can see there’s a story inside Johnny, it’s time for the story to come out! The desire for more comes from the fact that Michael Doshier as Johnny Darlin is raw talent. He is a profound storyteller and an astonishing vocalist who doesn’t need to hide behind any autotune. Between professing his love for Olly Alexander to getting down in a cubicle, his music is exhilarating and dance-inducing. So much so he had two talented backup dancers in Alberte Nilausen and Quenton Stuckey bopping to Pia Vinson’s choreography. While the theatrical through-line from song to interlude could have been tighter, Doshier’s ability to jump from upbeat entertainment to moving lyrical sweetness was effortless.
There was a giant team behind Johnny Darlin: In the Closet that it’s hard to pinpoint where exactly credit is to be given. Regardless, this team should be proud of the physical product. If the goal of a concert is to entertain, they succeeded.
What makes Johnny Darlin unique is the ability to be the glam pop star that he is. There are certainly performers who fit that mold. Kylie Minogue and Lady Gaga to name a few. But the male vocalists who can reach those falsetto high notes in glam rock rarely get their moment in the spotlight. At least the mainstream spotlight. Johnny Darlin has the potential to break the mold. That wasn't sweat dripping down, it was accomplishment.

Review: Spoken Rock and Roll

By Michael Block

If you went looking for a clean piece of theater, you would be greatly disappointed at Sex, Cynicism, and Other Small Miracles. What you will experience is a theatrical concert hybrid that mixes spoken word with a hipster rockabilly vibe. Written and performed by Lachlan the Bray and Garrett Riley, this evening is nothing short of energetic. Lachlan the Bray is billed as the Australian Country Boy while Garett Riley as the Urban Vagrant. Though hopeful extensions of themselves, these personas lead the audience through three acts, and a prologue, of thematic poetry and rock and roll. Thankfully, the team put a title list in the program to help guide the evening, though you would figure out the shifts as each set had a new costumed look. There was a clear curation to the piece but the trouble is that for the majority of the audience, this is the first time the words are hitting their ear. Clarity was not a friend of Sex, Cynicism, and Other Small Miracles. Especially in song. That’s not to say the material wasn’t captivating. It was just difficult to grasp.
Director Mia Romero helped shape the night by attempting to keep the energy up. But there certainly were some dips. The interludes between sets allowed the musical assistants, Mark Goodwin on drums and Alex Farrell on bass, to get a moment in the spotlight. But the reality is that their solos went on a bit too long. Whether it was to cover up the costume change or to give Lachlan the Bray and Garrett Riley a breather, it needed to be shrunk.
Sex, Cynicism, and Other Miracles is an interesting selection for a mostly theatrical festival. Yes, it’s something unique but if from a production standpoint, there needs to be something else to string the night along.

Review: New Orleans Soul

By Michael Block

Claire Christine Sargenti transports the audience right into the French Quarter in her smoky solo drama Interludes: A New (Orleans) Play. In a city fond of the dead, the spirit on stage very much alive. And so is Sargenti's story. Intertwining the denizens of New Orleans, Interludes is sensual and seductive. From musicians to preachers, Sargenti portrays the passionate people with big easiness. She allows her story to unravel slowly. It's not until quite late that the connections truly come to light. It's when the connections are made that new life is breathed into Interludes. Even if it means dropping subtle hints earlier, rewarding the audience is essential. Helping the audience to feel like their in on the piece is beneficial in the long run. As a performer, Sargenti lives in subtleties. With the number of characters she tackles, had there not been costume assistance, they may have blended together. Moving forward, finding a bit more differentiation will be greatly advantageous.

The pulse of Interludes: A New (Orleans) Play is the live band that accompanies Sargenti. It’s a brilliant addition, setting the piece apart from the rest. Led by composer and drummer Darrell Smith, the Interludes Jazz Orchestra is astonishing. If you closed your eyes, you may have believed that you were partying on Bourbon Street. The sound was pure New Orleans soul.
New Orleans is an inspiring city. Many writers have paid homage to it and there is a reason for it. Claire Christine Sargenti has something special on her hands. She’s a smart author with a knack for character.

Review: Find Your Inner Walken

By Michael Block

It's official. Dave Droxler has figured out how to get your project funded. Claim Christopher Walken is involved! Walken On Sunshine is a fluff comedy that knows what it is and never strays. The farcical play is mindless fun and entertainment about determination. Brothers Gavin and Quinn are trying to make a movie. They have a script. They have a lead. All they need is the money. After reading an article about Christopher Walken never turning down a project, Gavin accidentally tells a giant fib to their future investor, who also happens to be the boss of the girl of his dreams. With well-timed references and non-stop laughter, Walken On Sunshine honors the classic comedies we know and love. If you're a theatergoer looking for substance from a play that forces you to think, Droxler's play is not it. But who says that's what theater has to be all the time. You certainly could take the time to over-analyze Droxler's text but where's the fun in that? Just come for a laugh! When Droxler tried to be too smart, he hit some roadblocks. And that came through the unclear devise of Narrator. Partially playing narrator and scene or costume change cover, her purpose in this world was never defined as much as it needed to be. If she is only a device for Gabin, she shouldn't have been included in the actual scenes as characters.

As bright of a writer as Dave Droxler is, this play thrives on the incredible ensemble. Comprised of Maggie Carr, Droxler, Jennifer Fouche, DeLance Minefee, Paul Pakler, and Jonathan Spivey, this is the definition of unity. Even when someone breaks, the energy remains and cue is picked up after the laughter ceased. Droxler is a brilliant physical comedian. His brand of funny is not something we see nowadays but he reminds us why we need it back. The superstar of the production was by far Paul Pakler. From his mannerisms, physicality, and characterizations, Pakler is reminiscent of the brilliant Martin Short. That is a collaboration that needs to happen. The voice of Jennifer Fouche is worth the price of admission. She has pipes!
Director Marcus Stevens kept the comedy flowing. It was a strong decision. His prime focus seemed to allow his company to go big to cover up the little holes. The staging was tight. Literally. Soho Playhouse served as an obstacle course for the cast at times. The inclusion of live music played and composed by James Rushin was the icing on the cake. This play may have faltered without it. It assisted in keeping the tempo constant.
Walken On Sunshine is fun, fun, fun. And that's all you can ask for. Does this play survive a future without Dave Droxler in it? That's a giant question mark that may have an unfortunate answer. There are very few people who can do what that talent can do.

Review: A Beautiful Show By A Beautiful Woman

by Kaila M. Stokes

Inheritance is a one-woman show that portrays the soul of a beauty whose previous generations haunt her own present. Jessica Wanamaker, writer/director/actress of Inheritance, gave a stunning portrayal of this woman. It felt so honest and personal that one can only assume it is about her own life. From the moment Jessica stepped on stage, she transformed into every character she was portraying. Generations were connected through every wrong decision in each of their lives. How much pain can one person take? If you’re a woman….a lot.
Jessica begins with her great great grandmother, an Irish lady with a nasty husband who was even nastier to his own daughter (Jessica’s great grandmother). This is the beginning of a cycle for the woman in Jessica’s family. What follows abusive husbands and boyfriends is rape, abortions and death. At first Jessica wanted to break the cycle, forget her past and forge ahead! But without the past, one couldn’t have a present and certainly could not forge ahead to the future. Instead, she sits in her past for a while, ruminates in its smells, tastes and desires. She then poses these questions to the audience; what makes us female, why does history repeat itself, what are the gender norms? All of these questions are very prevalent in society today, references to current events were made throughout which gave her message a sense of urgency as well. As a woman, these questions are hard to ignore since everyday our choices mean more than a man’s because woman have consequences that men could not fathom.

photo by Dixie Sheridan

Jessica is each generation and acts out each event, including a paralyzing representation of rape. The message is clear from beginning to end and for that alone, Inheritance should be applauded! Throughout the piece as she became different people, Jessica stripped a layer of clothing off. This was such a bold and defining choice. There was no set, no visual metaphor, so she used her body as the physical metaphor. The stripping off of cloths was the flaking of layers of generations and of choices her previous ancestors made. Jessica was making a choice to go through these layers, not around, and take them off only after she understood that person fully. It was beautiful.
Inheritance was so simple, so naked and exposed that the audience felt like they knew this actress on stage. It was as if Jessica and all in the audience had been best friends for years, usually you are before someone shares those intimate moments in their life. But without being friends, Jessica bared her soul onstage. The ending should not be given away, but let’s just say, the timing of that news was perfect. Inheritance is highly recommended and if you can, see it with someone you love. What do you do when the past haunts you? You live!

Review: Personal Implosion

By Michael Block

In Jesse LaVercombe's hyper ambitious solo work Love Me Forever Billy H. Tender, the audience is thrust into the future to watch the lives of three relatives unravel. Billy H. Tender is a former teen pop star turned kinky folk singer-songwriter. He makes a triumphant return at the dismay of his fans that don't like this new version. His mother is trying to keep her life afloat as she works as a phone sex operator. And this leaves Hal, the youngest son and brother alone. Metaphorically and physically. LaVercombe's visceral play is unique in the sense of approach. LaVercombe has versatility as a performer. Through his speech, musicality, and movement, he showcased his vast skills. Yet when it came to character, he didn't necessarily create distinct characters in the common sense of a solo play. Rather than gender-bending, for example, he focused more on the cadence and pitch. It was a subtle choice that didn't necessarily hinder the storytelling. Where Love Me Forever Billy H. Tender could be improved is perhaps recanting the mystery of the evening solely through the eyes of Hal, LaVercombe's strongest and most captivating character. The action of Billy and Stella directly affect Hal and may not need to be seen. It would help to hone in and streamline the piece.
Love Me Forever Billy H. Tender thrives on precision. It's so tightly directed by Adam Lazarus that one miscue has the power to derail everything. Lazarus took LaVercombe's script and elevated the material in a manner some solo works never achieve. By physically tightening the play, an immediate intimacy confined LaVercombe in the best way possible. The hanging fabric panels forced him into periodic stillness that brought out his words. The sound by Adrian Shepherd was sharp and redolent.
Love Me Forever Billy H. Tender is a play geared best for the millennial mind frame. It's a play for taste. If the text isn't to your liking, Jesse LaVercombe's performance must be.

Review: To Sin or Not To Sin

By Michael Block

To start, Ben Holbrook has written a sensational script. Sinners on a Southbound Bus is an example of perfectly dangerous theater. Holbrook's play follows a pair of runaways on a bus as they try to evade the cops. On their journey they meet passengers that force the question of right and wrong. The overlying question is who has the power to decide when it comes to morality. Holbrook's text is biting. Where there's cynicism there's tenacity. He smartly avoids preaching by providing all angles of the conversation with ease. The characters may not be filled with depth but they are engaging.

Even though it's a single scene play, Sinners on a Southbound Bus is a challenge on the stage. Even in minimalism, style is essential. Director Phoebe Padget created the bus through rows of mismatched folding chairs. At first glance, you'd never know it was a bus. This meant Padget had to tell the story through staging. Marrying real movement within the style. Unfortunately it wasn't enough. She made it seem as if these people were stationary. Throwing in some bumps on the road was essential. Helping to show that walking on a moving bus is not that easy was crucial. Additionally, actor David Bell had the hardest job as the bus driver. He truly also had the most important job. Not only did he have to "drive" the bus, he had to drive the style. Unfortunately it didn't happen the way it needed to happen. Yes, the reality of driving includes moments of keeping the wheel in place but to create movement in stillness, it must be overplayed. And by placing him on a dominant corner of the stage, your eye naturally looked toward him.
When it came to acting, this play was dominated by Morgan and Silas played by Michael Coppola and Nabil Traboulsi respectively. It was their story. Coppola had strength yet was held back in clarity with diction issues in accent. Traboulsi was a pent-up ball of anger. And it was exhilarating to watch explode. It’s a shame his character saw an early demise. The hero of the play was Scott Brieden as Officer Triplett. The gag was fun, adding much needed lightness in the play. But Brieden still managed to find variety in similarity.
Sinners on a Southbound Bus is a script to keep an eye on. Ben Holbrook has written a masterpiece. But this production proves that it’s a difficult play to stage.

Review: N-Word Intervention

By Michael Block

In Kevin R. Free's campy comedy Night of the Living N Word, Free delivers a powerful message straight to the gut. Barbra, a white woman, brings her black husband, son, and father-in-law to her family's plantation to celebrate her son's birthday. And to stage an n-word intervention. But who is really getting an intervention? With comical twist after comical twist, some more ridiculous than the last, Night of the Living N-Word is a tour-de-force comedy with a biting commentary. Free has the ability to entertain while informing. The themes and topics Free introduces are hurled through comedy allowing the audience to truly take it in in entertaining fashion. Sometimes laughing at society packs more of an impact. Even through silly, convoluted plot lines, Free’s message is present, reverberating when you least expect it. But Free runs into a bit of trouble. He starts off setting the pace as a laugh-a-minute comedy but when the jokes disappear, the momentum drops. This happens when the tone starts to shift. Finding a way to balance the two is essential for the overall arc.

photo by Isaiah Tanenbaum

Night of the Living N-Word featured strong direction from Nicole A. Watson. Watson had a strong vision that propelled the action forward. With the festival setting being a hindrance, Watson and her team decided to play with simplicity. The black and white props from Joshua Coakley were a beautiful touch. It helped bring out the comedic elements of Free’s text. Though creating a giant plantation on the stage of the Players Theatre is near impossible, Watson did her best to mock the lack of environment.
Night of the Living N-Word featured a top-notch cast of comedians. Led by Eevin Hartsough as Barbra, Hartsough managed to incorporate the campy nature of a slasher film with the conviction of her character. It was a fantastic vehicle for Hartsough. As her husband Ben, Free took a step into his own play. And it was a rare occurance that worked. Stanley Wayne Mathis and Aaron Parker Fouhey as Clayton and Channing respectively added a wonderful kookiness to their characters.
If you’re someone who likes to laugh at society, you’ll certainly enjoy Night of the Living N-Word. It will likely make you uncomfortable. And that’s the point.

Review: Blinded By the Light

By Michael Block

A troupe of strolling of players take over the 14th Street Y to share a history you likely had no clue about. Ed Malin's The Troubadour Struck By Lightning explored the gay history of the 13th through 15th centuries. With modern sensibility and an innate sense of theatricality, The Troubadour Struck By Lightning featured many ideas in one. The Troubadour Struck By Lightning is a difficult text. It has to do the job of entertaining while informing all while keeping clarity in the forefront. Jumping around from time and place, Malin's play follows the many lives of the homosexual persuasion in a time where any inkling of the lifestyle was forbidden. From a musician who takes up with royalty to the sausage party deep within some hallowed halls, Malin finds the humor inside. The bawdy comedy had room to go raunchier. In fact, it was greatly desired. Sex sells! The modern references Malin sprinkler into his text were quite wonderful. Nothing beats the "Blinded By the Light" moment. It's just one of the many moments that showcased Malin's intellect.

The biggest obstacle Ed Malin, director Janet Bentley and The Troubadour Struck By Lightning team faced was the space. They were dealt an unavoidable disadvantage. This is a play that was intimate and the vastness of the 14th Street Y was detrimental. With a literal bar between actor and audience, the fourth wall-breaking element was lost. From a design standpoint, there were many discrepancies, mostly through costume. By not having two players in period-inspired garb, the costume design lost a bit of credibility. The starting image needed to have the entirety of the company in or out of player costume. What worked wonders for this production was the integration of live music. He helped to create the world and keep the piece lively.
The ensemble did their best to combat the woes of the stage by becoming a tight ensemble. Though there were some strong individual performances, The Troubadour Struck By Lightning was truly a team effort.
There is incredible richness in Ed Malin's text. The festival setting sadly got the best of them. No matter what, this is an important history that deserves theatrical attention.

Review: That's the Ticket!

By Michael Block

With comedy like "Veep", drama like "Scandal" and Sorkin-esque wisdom and sensibility, Dream Ticket by Ryan Bernsten is an aptly timed political play. Republican Senators Leslie Sugarman and Becky Roberts are battling it out for the nomination for President. After spewing insults and personal jabs, the pair decides to team up to create the ultimate dream ticket. The catch is the duo has an intimate history they must keep covered up. With political scandals running ramped, can the deceitful Republicans win the race? Bernsten's play is sharp. His writing his quick. His characters are rooted in stereotypes. It works for this piece. While poignancy was present, Bernten's platform was first and foremost to entertain the masses. And he did that. While it have relevancy outside this political climate? That's debatable.

Taking on these large personas allowed this company to brave politics through humor. As the grounded Leslie Sugarmn, Chris Payseur had a demeanor like Toby Zeigler from "The West Wing." As his rival-slash-running mate Becky Roberts, Amy Lee Pearsall made a Southern monster that you loved to hate. Similarly, Olivia Jampol's Darla finger was brash and outlandish. If ever there was done ripe for a spinoff, it's Jampol and Darla Finger. Taking a stab in his own play, Bernsten was adorably bro-tactic. Bernsten’s Ty Chadwick had no credibility, capturing the millennial spirit.
Kristin Skye Hoffman smoothly staged the production, allowing the momentum to rarely falter. With all the moving parts on wheels, Hoffman's transitions were fast. The costumes from Laurel Livezey were perfectly rooted in Americana. Solid reds and blues tend to be the go-to for politicians so having Leslie in a patterned tie that strayed from screaming politician was a bit problematic.
Dream Ticket is a gentle reminder that if enough people believe the conviction, you may have to settle for the lies you asked for. Let's hope the Dream Ticket mirror doesn't reflect this November.

Spotlight On...Dennis Williams

Name: Dennis Williams AKA Destiny Devine.

Hometown: Queens NYC

Education: High school Diploma | AMDA Graduate | Two-year, Theater Conservatory, Certificate Program.

Select Credits: Some of my favorite credits are, Ken in Smokey Joe's Cafe, and Jimmy Early in Dreamgirls.

Why theater?: I really feel like theater is a place that you can really express yourself, but also inspire others around you to follow their dreams.

Who do you play in the production?: My role is Young Miss Counterpoint. Young Miss Counterpoint is the younger and fiery side of older Miss Cunty Counterpoint.

What is it like being a part of That's MISS FITS, to YOU!?: To me, it's truly a lot of fun. I love to play a younger version of such a strong and seasoned character, in the script and real life.

What kind of theater speaks to you? What or who inspires you as an artist?: Musical Theater really speaks to me. I really love how it all tells a story through music, dance and emotions. I love being able to inspire people through creative arts, so I love any type of theater that inspires people to love themselves and follow their dreams. Beyonce inspires me as an artist. Not just because she is amazingly talented. But because she is an artist and truly creates with all different things and parts of the world. Not just what people expect from her.

Any roles you’re dying to play?: I am dying to play Lola in Kinky Boots, Richie in A Chorus Line and Seaweed in Hairspray.

What’s your favorite showtune?: One of my favorite show-tunes in "Being Alive" from Company.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with of course, my beloved Beyonce.

Who would play you in a movie about yourself and what would it be called?: I would play a successful artist and entrepreneur and it would be called "Simply Devine."

If you could go back in time and see any play or musical you missed, what would it be?: The Jackie Robinson Musical called The First.

What show have you recommended to your friends?: Of course one of my favorites right now, actually two, That's Miss Fits, to You!, and of course Kinky Boots.

What’s your biggest guilty pleasure?: Latino men :)

What’s up next?: I have a lot of things in store, but I don't like to kiss and tell, so if your interested you can learn more at www.destinydevine.com

Trolling Time with...Geovanny Fischetti

Name: Geovanny Fischetti

Hometown: Phillipsburg, NJ

Education: Performing Arts High School

Who do you play in The Illusory Adventures of a Dreamer: Actor 2: Solveig, Man in Green, Anitra, Nurse

Describe your character(s) in three words: Solveig: Sincere, Sweet, Loving; Man in Green: Confident, Strong, Self-Absorbed; Anitra: Playful, Submissive, Passionate

Tell us about The Illusory Adventures of a Dreamer: It’s a contemporary and fresh exploration of the adventures of Peer Gynt. Peer’s romantic/sexual interests come to the forefront in finding himself (along with a few other sexy characters).

Describe The Illusory Adventures of a Dreamer in three words: Sex. Truth. Acceptance.

Who is the biggest liar?: Eddie for saying he is a human. Clearly he is too fab.

Who is the biggest troll?: Nick for his vivid sense of humor.

Who is the sexiest?: Molly. She is a fierce mother f*cker.

Who is the most mischievous?: Gerardo. Gives me a mischievous vibe.

Most likely to go on an adventure?: Scott, since he is always venturing through parks howling at the moon.

Most likely to get caught up in a cult?: Maddie for super cute and sweet people.

Which bandana best describes you?: I’ll leave you all guessing.

Favorite (gay) bar in NYC: Never been to a gay bar in NYC. I’m a bad gay lol

Fun, laughs, or good time?: Laughs 100 %

Do you talk to yourself in a mirror?: Sometimes ;)

What is your favorite moment in The Illusory Adventures of a Dreamer: Definitely the super sexy dance.

What is the most rewarding thing about being a part of the Dreamer team?: Working with such fun, talented actors and the creative team. Making memories through rehearsal and improving as a person/actor.

Why should we come see The Illusory Adventures of a Dreamer?: It’s extremely sexy, heartening, funny and relevant. To add to that, the show is well written and very well cast.

For more on Geovanny, visit geovannyfischetti.com  

The Illusory Adventures of a Dreamer is part of the 20th Annual New York International Fringe Festival! Performances dates are Saturday, August 13th at 9:30pm, Tuesday, August 16th at 5:00pm, Monday, August 22nd at 4:45pm, Wednesday, August 24th at 7:00pm, and Saturday, August 27th at 1:30pm. All performances will be at Venue #1: Teatro SEA (107 Suffolk Street). For tickets, visit fringenyc.org

For more on The Illusory Adventures of a Dreamer, visit dreamerplay.com. To support and donate to the project, please visit gofundme.com/dreamerplay

Review: Resurfacing Life

By Michael Block

Sometimes all it takes is a strong story and basic storytelling to make the perfect Fringe play. Those were the main ingredients of Sean-Patrick O’Brien's nearly flawless Zamboni. In this drama, a man searches for completeness while trying to be a somebody for everybody. Broken into mostly two-character scenes, Zamboni follows Jamie as he battles the world's perception of him as he tries to only give the goodness he knows. He makes new connections with an array of people, each asking him to be a somebody. Whether it's a caretaker, a lover, a daddy, a friend, or an employee, Jamie must be something different to everyone. And in the process, Jamie experiences a crisis of self. Zamboni is a fantastic script with smart writing by O’Brien. It's a heartbreaking story. It's heavy but not daunting. O’Brien has written a character that teeters on unassuming immaturity. Jamie, for whatever reason, has not grown up and developed normally causing him to have a bit of a simple, youthful mind where he can't see the bad things in his actions. Through each scene, we see these beautiful relationships form where the other party is unaware of the big picture. But when the puzzle is completed and Jamie's life spirals out of control, everyone suddenly sees the truth of the situation.

Zamboni featured exceptional direction by Leslie Kincaid Burby. She took an expressionistic approach to the storytelling. The play moved effortlessly with transitions from scene to scene blending into one another. This is an intimate play. And with the elements of the space playing a major factor, the volume from the company needed to be amped up overall. But it was nice to have the ice rink feel with the cold temperature of the theater. With four cubes and a rolling cart from scenic designer Duane Pagano,  Kincaid Burby was still able to define space and represent the world.
Zamboni featured an incredible ensemble. Though they rarely intertwined, everyone had immense chemistry with Joseph Franchini's Jamie. Franchini gave a heartbreaking performance. To avoid complete drama, Dawn McGee as Leeann was perfectly humorous. Her colorful take on the woman searching for love was filled with glimmer of hope and bouts of despair. A dead-ringer for Kesha, Mae Mitchell had vivacity as Chloe. Her spunky persona made the oddball pair stand out. Though there was one blaring question mark in his character, Nick DiLeonardi was a fun goof as Trip.
This is a play scout loneliness and solitude. This is a play about a person wanting to be something to somebody. Zamboni is a refreshing play. Who knew we needed a play about a zamboni driver.

Review: A Jersey Godot

By Michael Block

Two slacker types sit on a bench waiting for a bus back to Jersey. As they wait, they engage in an intellectual conversation about finding the meaning of their own lives. And they also spot a man that may or may not be Danny DeVito. Written by Alexander Janosek Doyle, Is That Danny DeVito? (and other questions from west of the Hudson) is a modern riff on Samuel Beckett's Waiting for Godot packed with stoner intellect. Doyle has written a play that is witty and intelligent, poised to ask the tough questions we all ponder. There is great substance in Doyle's text but the overlying question he poses is why utilize the Godot model in favor of a completely original story? No matter what, Doyle has a promising voice. He has a great ability to allow the recurring bits to appear subtly. Even with waiting being the name of the game, Is That Danny DeVito? was a ton of fun. That being said, it ironically ran ten to fifteen minutes too long. Perhaps even an act too long. While trying to mirror Beckett's arc, Doyle implemented the two acts that aren’t entirely warranted. Doyle easily justified his story to complete when Act I closes. There is one plot hole that he might want to clean up. The reason for Dusty and Geoff missing the bus in Act I needs finessing as it is currently feels too forced. There is little justification for Dusty to continue his scuffle with Ass-Biter. When Geoff calls for him, his eagerness to get home should immediately be recalled in his brain. Unfortunately that's not the case.

Amanda Levie's direction of Doyle's play was simple. The focus was on the words and the humor rather than the intellect. It allowed the depth of Doyle's text to speak for itself. Even with some lighting limitations, Levie tried to keep her company contained.
Like Godot, the character focus is on the main duo. Julian Blake Gordon and Finn Kilgore were a good balance for one another. Kilgore was subdued as Geoff. He had a slacker sage-ness to him that helped his jokes dribble out. Gordon as Dusty was a bit more high-strung. He kept his energy up as the situation unfolded around him. Natasha Edwards and Carlo Fiorletta made the best of their bit parts as Ghoul and Ass-Biter respectively.
Is That Danny DeVito? (and other questions from west of the Hudson) is more than just another Waiting For Godot adaptation. Alexander Janosek Doyle has written something for a modern audience to ponder.

Spotlight On...Jessica Kazamel

Name: Jessica Kazamel

Hometown: Fort McMurray, Alberta, Canada

Education: American Academy of Dramatic Arts, NYC

Favorite Credits: As an actor, Linda the Chicken from MilkMilkLemonade, and Peter Pan.

Why theater?: Theatre is tangible, it requires disicpline, it forces an audience to react, and hopefully, think. I personally believe theatre teaches empathy, which is severly lacking in this world.

Tell us about Canuck Downunder: Canuck Downunder is a story about a small town Canadian girl in her early twenties, living in New York City, who has just lost her older brother to substance abuse. The story follows Jess as she works through her grief with the help and hinderence of the digital world. The process of grieving has changed significantly with the involvement of social media and easy access to communication, Canuck Downunder reflects on that change.

What inspired you to write Canuck Downunder?: This play is autobiographical, about my personal experience of losing my brother, Stephen Kazamel. Social media had an enourmous impact on me during that time. Some examples being articles posted about his death, using Skype and Facebook to contact my family up north, constant messages of condolences, and of course, Stephen’s Facebook account. Social media weighed a lot on me. Do I post something about his death? Will people think I’m being self indulgent? Will they think I don’t care if I don’t post? Who should I be updating on my grief? But this is not an attack on social media, yes there was a lot of negative, but I am the first to admit I completely rely on it. On a positive note, I had friends of my brothers from all around the world friending me, messaging me absolutely wonderful stories about him, and they continue to do so. It feels good. Social media is something we are all expected to understand now, and I want those who are grieving to know they are not alone, I want THEM to feel understood. That is why I am sharing this story.

What kind of theater speaks to you? What or who inspires you as an artist?: Dark comedy, for sure. I hate it when theatre takes itself too seriously. As for subject matter, family dramas always get me, and anything written by or about minorities.  I owe a lot of thanks to Lena Dunham and Amy Schumer, especially with my short films. These women have sparked change in the industry, and given me an outlet to express myself without asking permission from anybody. Thanks to them, I am bold and unapolagetic with my work.

If you could work with anyone you’ve yet to work with, who would it be?: All of the ladies on SNL cause they are SLAYING, Mike Meyers, Bill Murray, Lena Dunham + Jenni Konner (basically, everyone at Lenny Letter), The Duplass brothers, Judd Apatow, the list goes on.

What show have you recommended to your friends?: Dear Evan Hansen blew my mind and had me sobbing. I’m usually not one for musicals, but WOW. It brought all the feels.

Who would play you in a movie about yourself and what would it be called?: It would be hilarious to see my best friend, Sarah Hodgson, play me. It would be called "Scarred for Life."

If you could go back in time and see any play or musical you missed, what would it be?: I was so sad to miss this years Big Green Theatre at the Bushwick Starr. The Superhero Clubhouse collaborates with child playwrights and professional actors to produce a super “green” show. Meaning the entire set is made of recycled materials, and the content is about how to be eco friendly. It is so cool and creative.

What’s your biggest guilty pleasure?: Pretty Little Liars. They are just so nice to look at. More specifically, creeping Ashley Benson’s Instagram.

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

What’s up next?: More short films, specifically about street harassment and domestic violence. Also, the continuous of my web series, Loose Linda.

For more on Jessica, visit www.jessicakazamel.com

Review: Irreconcilable

Have we reached the point in theater that the only way to tell a generic story is to throw an outrageous structure into the fold that complicates the message and thusly hurting the credibility of the play? In Jenny King's overly complex Reconciling, three individual stories are thrust together on the same room as three pairs of people hope to patch up their past. What hurts King's play is the complete lack of clarity. Whether it was on her part or on the part of director Julia Hinson, Reconciling tried so hard to be something it could never be. The conceit begins with three pairs that share the same space, an apartment, and never intertwine story wise yet occasionally share lines. But then the world that was built gets destroyed when the characters begin to acknowledge one another. Why? It's not clear. For starters, there is dead air with when it comes to the dialogue structure. The forced pauses in these arguments allow the other pairs’ chat to be unnatural. In fact, trying to recover from continuation isn't seamless. But the bigger dramaturgical question Reconciling poses is why this play is set in the same room. Never once is it discussed or explained especially when three individuals say that it's theirs. If it is the history of the room over time, King must explain that clearly. As it stands now it reads as if King and Hinson wanted to avoid it feeling like an acting class exercise with rehearsal cubes. But the reality is that would have offered stronger justification.

King is already in over her head with the script. By also playing a role in the show, she doesn't get the opportunity to truly listen to the script. She must step back to playwright only to hear and grasp the problems of her script. By nature of the play, it's hard to truly look at the individual performances. With pauses deflating the acting, the company did what the script prescribed. But praise must be given to this cast for being in-tune with one another. Those shared lines did happen precisely.
As noted earlier, the concept hindered director Hinson's overall vision. The apartment setting was just far too cluttered for the sextet to work around easily. It wasn't until the world changed and the passing off of stories began before Hinson had the chance to make anything resembling a nice stage picture.
Reconciling is an example of complexity in intricacy. It's also an example of trying to be something grander than it could be. Perhaps Jenny King should go back to the drawing board.

Review: Rice Rice Baby

By Michael Block

Staged at the music bunker of the Lower East Side known as drom, Happy Lucky Golden Tofu Panda Dragon Good Time Fun Fun Show is music, sketches, and stand up as performed by Slanty Eyed Mama. Comprised of Kate Rigg and Lyris Hung, this show is effortlessly entertaining. Rigg provides an evening of crude humor, stereotypes, and uproariously comical songs with Hung on electric violin. Though the curation of the evening may not flow perfectly from point A to point B, the fun is at a high throughout. And that's why we're there. Though Rigg jokes that the show is just a friends and family tech press dress, the show is more polished than she thinks. Right now, Rigg's show is very general. It can improve by implementing a stronger through-line. Let there be more than just the referential jokes to tie it all together.
Even in a concert setting, it was more than just two seasoned performers. The stage was lined with Chinese food boxes, Hello Kitty, and the Lucky Cat. The ambiance only added to the fun. The projection design by Leda Razorikon Resurreccion enhanced the stories and songs but, intentional or not, watching the cursor call up and start the videos was not appealing at all.
In the end, Happy Lucky Golden Tofu Panda Dragon Good Time Fun Fun Show is pure enjoyment performed by veteran performers. It's guaranteed to make you laugh.

Spotlight On...Jesse LaVercombe

Name: Jesse LaVercombe

Hometown: Minneapolis, Minnesota

Education: The National Theatre School of Canada, Canadian Film Centre

Favorite Credits: For the past two years, all of my acting work has been in new Canadian plays, which is what excites me most about the industry right now. Our Beautiful Sons by Christopher Morris, Seams by Polly Phokeev, Mistatim by Erin Shields, Hacked by Paul Kirby, and S H E E T S by Salvatore Antonio were some highlights.

Tell us about Love Me Forever Billy H. Tender: It’s a play for one actor about the three members of the Tender family: Billy H., a pop star in crisis; Stella, his theatre-theorist mother; and Hal, his adoring and distraught teenage brother - following them all through the fateful day of January 31st, 2021.

What inspired you to write Love Me Forever Billy H. Tender?: You know that textbook symptom of OCD in kids, where they get really anxious at dinner if their peas are touching their mashed potatoes? I feel that way about pop culture. It’s creeping out of its designated area and inserting entertainment where entertainment is actually profoundly unhelpful, and, like a child suffering from OCD, it makes me really anxious. I also think that I’m writing about insomnia.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that is engaged with its own inherent and unavoidable liveness. I also like complicated structures that, as soon as I find my footing, start to shift out from under me.

If you could work with anyone you’ve yet to work with, who would it be?: 2b Theatre, based out of Halifax, Nova Scotia. They’re badass.

What show have you recommended to your friends?: At the Fringe? Dad, from this company in Denmark. It’s heartbreaking and so smart, and the two performers are charismatic as hell and almost infuriatingly beautiful. https://thedadperformance.com - don’t miss it.

What’s your biggest guilty pleasure?: Heroin. Black. Tar. Heroin. #sorrynotsorry

If you weren’t working in theater, you would be _____?: Maybe a teacher…? I like to think that I’d be a good english teacher, but now that I’ve written that I’m very self-conscious of the fact that there are probably at least seven egregious errors in this one interview.

What’s up next?: I’m working on some films in the fall, and then I’m in the Toronto premiere of a play called Sequence at the Tarragon Theatre in the winter.

For more on Jesse and Love Me Forever Billy H. Tender, visit www.jesselavercombe.com/billy

Trolling Time with...Adam Razavi

Name: Adam Razavi

Hometown: Lexington, Kentucky (Yes, like the chicken. Yes, we wear shoes. [These are questions I’m asked on a VERY frequent basis])

Education: BFA in Musical Theatre from Northern Kentucky University; Graduate of the National Theatre Institute at the Eugene O’Neill Theatre Center

Who do you play in The Illusory Adventures of a Dreamer: Ensemble (a tree)

Describe your character(s) in three words: tree, gay, fierce

Tell us about The Illusory Adventures of a Dreamer: It’s this fantastical journey of a young man to find himself but it’s realllllllly gay and fun and outrageous.

Describe The Illusory Adventures of a Dreamer in three words: Drama, drama, ~*dRaMa*~

Who is the biggest liar?: Probably Taylor honestly.

Who is the biggest troll?: Gerardo. Seriously don’t trust him.

Who is the sexiest?: Our director, Chris, has some seriously 90’s teen-star Max Dennison from
"Hocus Pocus" looks going on so like I’m gonna go with that.

Who is the most mischievous?: Me… ;)

Most likely to go on an adventure?: Scott for sure. Don’t trust him either.

Most likely to get caught up in a cult?: MADDIE HAHA

Which bandana best describes you?: I honestly don’t know what this means…

Favorite (gay) bar in NYC: They all have their qualities, you know? But I don’t go out very often.

Fun, laughs, or good time?: Laughs. Hehe.

Do you talk to yourself in a mirror?: Not in a mirror, per se…

What is your favorite moment in The Illusory Adventures of a Dreamer: The scene with the troll king and The Man in Green. It’s silly and fun and a true ensemble moment.

What is the most rewarding thing about being a part of the Dreamer team?: Meeting wonderful people in the theatre community in NYC and getting to act like a total fool.

Why should we come see The Illusory Adventures of a Dreamer?: I heard Solange will be there.

For more on Adam, visit www.adamrazavi.com

The Illusory Adventures of a Dreamer is part of the 20th Annual New York International Fringe Festival! Performances dates are Saturday, August 13th at 9:30pm, Tuesday, August 16th at 5:00pm, Monday, August 22nd at 4:45pm, Wednesday, August 24th at 7:00pm, and Saturday, August 27th at 1:30pm. All performances will be at Venue #1: Teatro SEA (107 Suffolk Street). For tickets, visit fringenyc.org

For more on The Illusory Adventures of a Dreamer, visit dreamerplay.com. To support and donate to the project, please visit gofundme.com/dreamerplay

Review: A Great Bite

By Michael Block 

Through brilliant storytelling, The Vampire’s Last Bite tells the fantastical tale of a young boy who sets out on an adventure to discover the truth about his family. Written and performed by the astonishing Martin J. Flowers, The Vampire’s Last Bite is a whimsical narrative that subtly incorporates LGBTQ themes in beautiful fashion. Imagine a Harry Potter world surrounded by gnomes, vampires, and gay uncles. That's the world of Flowers’ story. The play has classic fairy tale charm with modern themes that are married perfectly. From stage to page, Flowers is a wondrous storyteller. With fun alliteration and captivating sensibility, he sells his story. If you gave him the phone book to read, it would be mesmerizing.
This story isn't always the easiest to grasp with the plethora of characters, many of who have fantastical names. At times it hurts when you're trying to keep track of the fast-paced action. In this format, it's simply not enough. We want more! Puppets or ensemble movement, something to accompany Flowers and his story would elevate it to great heights. It's already in a great place and can be even better.
Where Flowers did step up the solo act was through the musical accompaniment from C. David Morrow. The soundtrack was evocative, allowing the mood to be set. Director Joseph Hayward helped Flower on his journey, navigating the five tree stump set. Though you wouldn't be alone if you worried Flowers would fall as he sat on the stacked stumps.
The Vampire’s Last Bite is a diamond in the rough at FringeNYC. It's exquisitely unassuming. You'll be pleasantly surprised with this one.

Spotlight On...Justin Phillips

Name: Justin Phillips

Hometown: Pittsburgh, PA

Education: William Esper Studio, St. John's University

Select Credits: The 25th Annual Putnam County Spelling Bee, Macbeth, The Christians, Dreamgirls, The Laramie Project, Sweeney Todd, A Raisin In The Sun, but I cd only whisper.

Why theater?: Why NOT theater? A good quote would work nicely here but I only know the over used ones. To me theater is the one and only art form that I can truly say changes me.

Who do you play in The Curse of the Babywoman?: Nimrod Rodham Rodman

Tell us about The Curse of the Babywoman: The Curse of the Babywoman is kind of exactly what it sounds like. Without giving anything away, it’s a story about a town shrouded in secrets and peril. It's up to the town's newest and unexpected visitor to solve its deadly mystery. A classic tale of horror, humor, and fantasy. Heavy on the humor. Nimrod is the big bad villain of the story! It's his mission to save the town from more death and destroy all Babywomen. Obviously in a hilarious way.

What is it like being a part of The Curse of the Babywoman?: Non-stop laughing. We can't stop laughing at each other. This play is truly an ensemble piece and the characters really demand a certain level of fearlessness.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that dares to push any and all buttons, that crosses the boundaries of what traditional theater has given us. The biggest source of my inspiration is a culmination of all the playwrights, directors and actors I've admired over the years. The characters they've brought to life and all the stories that were told are huge influences. Finding a little bit of myself in all of those characters and stories inspires me to be a little more honest with each role I have the opportunity to play. Plus all my teachers and fellow students from the Esper Studio.

Any roles you’re dying to play?: Belize or Louis in Angels In America. Eventually MLK Jr. in The Mountaintop. I would also love a shot at Elder Cunningham in The Book of Mormon. I think it would be hilarious to have a black Cunningham.

What’s your favorite showtune?: Speaking of The Book of Mormon, "Man Up". God knows I love a good mash up of tunes already sung into one huge exciting act one finale!

If you could work with anyone you’ve yet to work with, who would it be?: Brandon Jacob-Jenkins

Who would play you in a movie about yourself and what would it be called?: Kenan Thompson. "When's It My Turn??"

If you could go back in time and see any play or musical you missed, what would it be?: Caroline or Change/Angels In America/ the original cast of Ragtime.

What show have you recommended to your friends?: Shuffle Along! "Stranger Things" on Netflix!

What’s your biggest guilty pleasure?: A social media app called Peach. It's only the newest, hottest app out right now…

What’s up next?: Finishing the run of The 25th Annual Putnam County Spelling Bee here in NYC!

Review: Losing Faith

By Michael Block

In Zoe Kamil's weighty #blessed, the discussion of rape is brought to light through the lens of faith. Despite being an important topic, the play doesn't offer anything we haven't already heard in similar themed plays.  That being said, examining the story structure of Kamil's play is what sets #blessed apart. Kamil infused some stylized moments through foreshadowing testimonial flanked by a robed chorus. While it did make the endgame predictable, simply having the characters alone would have been more powerful, keeping the focus solely on the words rather than the stage picture. With the story being about an impressionable young girl being tempted by a bad boy masquerading as the embodiment of persuasion, Kamil prescribed your feelings for the character and situation. Michael is a despicable character with no redeeming qualities. In the end, you'd likely side with Liana anyway, but the story lacks interest if everything is already spelled out for you.

Overall, #blessed felt like an unfocused after school special. But that is how the material reads. Director Miranda Cornell attempted to combat this and bring some intrigue into the world but it simply wasn't enough. With the play jumping from location to location, Cornell asked her company to move the giant rehearsal cubes to create various locales. It hurt the overall pacing by having so many moving parts. Though the idea of using removable push lights to create the car was a clever touch.
This is not an easy play to act. They are thin characters tackling a difficult topic. Marcus Shacknow was the only person on the stage who knew how to create a character to care about. Shacknow gave a well-rounded performance.
The last scene between Jesus and Liana is a ten-minute play that we'd want to see. It was Zoe Kamil's strongest writing. It just came too late. #blessed is a play very much in progress.

Review: Once Upon a Time...

By Kaila M. Stokes

Little Stories is a breath of fresh air in regards to comedic folklore in NYC. The plot was interesting from the description so one had high hopes. The show began with a mime/clown, played by Jack Herholdt. The clown interacted with the audience; making them laugh, scaring them in a playful way and even directing a few chosen audience members to open the show with a clink of a glass and a message in a bottle. Jack Herholdt’s work was so much fun; he seemed to enjoy himself every second. It was extremely entertaining to see him jump in and out of the stories – he broke the fourth wall throughout making it feel as if the audience was in the story too. The audience was always “in” on the secrets of what was about to take place. Little Stories is literally a bunch of “little stories” that have been lost or reinterpreted over the years all originally by The Brothers Grimm and adapted for this show by Jack Herholdt as well.
The story opened with "The Fisherman and His Wife". The fisherman catches a magic talking fish, but throws him back as a favor. His wife (who was fittingly a puppet) then wants to ask for all these favors until basically the world has come to an end because of her greed and the fisherman’s inability to say NO. Mark Woodard, the fisherman, was just darling onstage, he was quirky like the stories, but made you believe in each character he portrayed. He committed to each ridiculous idea, which made those the ridiculous reality.
The second tale was "Mother Holle," an enchanting story of good vs. not so good, where each will get us in the end. Garret Burreson hilariously played the “not so good” sister in this story. Garret was a hoot to watch. He had long hair that transformed him into sisters, kings, beggars and more throughout all the stories. Another actor that gave it his all and made the audience want to keep watching!

The third story, "The Stolen Pennies" is originally a ghost story. Actress Getchie Argetsinger plays a wanderer who is taking shelter from a storm in a generous families’ home. About midway through dinner she asks how old their son is as she is staring into a corner where no one is. The family looks at each other frightfully and the mother, played by Mickey Pantano, breaks down crying saying that her son died two weeks ago. Just as they were about to throw this crazy woman out she asks if these pennies under the floor boards mean anything. The mother immediately recognizes them and dives into detail. They are so thankful that this woman has actually brought closure to the family by being able to see the boy’s ghost. Both actresses Getchie and Mickey play those motherly roles throughout the stories, without them all would be lost since they are part of the merriment on stage.
The fourth and fifth stories, "King Thrushbeard" and "How Some Children Played at Slaughtering" featured actress, Summer Dawn Hortillosa. Summer played vastly different characters in each story, but non the less, went from an ungrateful princess to a murderous child seamlessly. The youngest in the troupe, Summer evoked a childlike play to each story that only she was able to do. Her theatrical enthusiasm kept the audience engaged each time.
This was an ensemble effort without a doubt, but one must commend the director, Michael Heitzler, and adapter, Jack Herholdt as well. Their vision was so clear which made it so easy for the audience to enjoy themselves. The time and effort spent on set and props also made the show. There were puppets (designed by Jan Leslie Harding), multiple costume changes (designed by Jennifer A. Jacob), props and scenic changes (designed by Scott Connor) that navigated each story. With so much to keep track of, it all was married together as one moving unit. Michael did a fantastic job connecting the audience, the troupe and our narrator clown. The one note that could have changed is that sometimes it was not clear when a story ended. I think a period put on each piece could have been used. The clown would have been a great source for this; either getting the audience to clap, maybe becoming an audience member or making the troupe bow perhaps. But guess what, doesn’t matter, go see Little Stories if it plays anywhere, an enjoyable evening with a talented group of performers, designers and more awaits you.

Spotlight On...Meghan Rose

Name: Meghan Rose

Hometown: LaCrescent, MN

Education: University of Wisconsin - Madison (Communications Arts)

Favorite Credits:  Music Director, Bare: A Pop Opera (I’ve never acted in a show before)

Why theater?: I think musical theatre in particular is my favorite way to tell a powerful story. There’s more freedom to break the rules in songwriting for theatre, and I love the collaborative aspect with the book writer/lyricist. It’s an album that’s able to connect the dots with more storytelling. I love all live performances because of the energy exchange between the audience and the performers. Every show is different.

Tell us about HELD: A Musical Fantasy: See Kelly’s answer

What inspired you to create HELD: A Musical Fantasy?: See Kelly’s answer

What kind of theater speaks to you? What or who inspires you as an artist?: The kind that tackles difficult emotions speaks to me the most. A piece that doesn’t shy away from intensity. I’m interested in real relationships and complex characters. I am someone who loves to cry at a performance because it means I’m relating and connecting. Any kind of theater that attempts to tell it’s own original truth is something I’m interested in seeing. What inspires me is constantly evolving, but usually it is the people I am working with. I’m still inspired by Kelly - the characters she created and the story she weaved and the language she uses still gets into my brain and makes me think about things and challenges me. I’ve also been inspired by Luci and the cast working on bringing this version to life. I am inspired by others’ passion for seeking the truth and what works and that is what we are all dedicated to doing with this show.

If you could work with anyone you’ve yet to work with, who would it be?: Sierra Boggess. I think she is the bees knees.

What show have you recommended to your friends?: Currently running: The Color Purple.

Who would play you in a movie about yourself and what would it be called?: Jennifer Lawrence stars as Meghan Rose in "Learning To Unlearn", the movie critics are calling “a coming of age tale about effectively not giving a shit”,“bizarre in a relieving way”, and “militantly feminist”.

If you could go back in time and see any play or musical you missed, what would it be?: Ragtime. I hope they do another revival. The music is transcendent.

What’s your biggest guilty pleasure?: Kelly Clarkson. Whiskey.

If you weren’t working in theater, you would be _____?: Either a skilled tradesman like a welder or I’d be working at Renn Faires. Probably selling pickles out of a huge bucket.

What’s up next?: I’m in two bands where I write songs, sing, and shred: Revel and Damsel Trash. I plan on booking shows in NYC and rocking out. I have a new musical based on "Alice in Wonderland" called Alice that is a rock opera of sorts going up in Madison in October. We plan on submitting Held to NYMF, and possibly looking for investment for an Off-Broadway run. I will definitely write more musicals in the future but right now I’m more focused on writing for my bands. I would love to write with Kelly again someday, and I would love to write book, lyrics, and music for a show of my own someday too.

Trolling Time with...Chris Goodrich

Name: Chris Goodrich

Hometown: Nashville, TN

Education: University of Miami, BFA Musical TheatAH!

Who do you play in The Illusory Adventures of a Dreamer: I direct these crazy people.

Describe your character(s) in three words: Hooker, heart, gold?

Tell us about The Illusory Adventures of a Dreamer: It’s a dream play, full of huge, hysterical, dramatic characters.  Also sex.

Describe The Illusory Adventures of a Dreamer in three words: Gay Gay Gay

Who is the biggest liar?: Can I use a tape measure? TBD

Who is the biggest troll?: TBD, I am currently in contention

Who is the sexiest?: Austin’s Boykin Jenning’s right pinky.

Who is the most mischievous?: Maddie Sykes is plotting something, I know it.

Most likely to go on an adventure?: Geo Fischetti goes on an adventure just to get to rehearsal from Jersey, yet he’s ALWAYS early. He’s adventure-ready.

Most likely to get caught up in a cult?: Scott Lilly could convincingly lead one. I’d believe!

Which bandana best describes you?: “Can you sing with all the voices of the mountains? Can you paint with all the colors of the wind?” –Pocahantas.

Favorite (gay) bar in NYC: Metropolitan.

Fun, laughs, or good time?: Daily recommended value of each!

Do you talk to yourself in a mirror?: Only when I’m feeling reflective. BUH-DUMP-TSH!

What is your favorite moment in The Illusory Adventures of a Dreamer: The one and half pages when Taylor Turner’s not on stage. (JK Taylor, couldn’t resist.)

What is the most rewarding thing about being a part of the Dreamer team?: “We can learn to work and play, and get along with each other.” -Arthur

Why should we come see The Illusory Adventures of a Dreamer?: Because you need to get your LIFE from this one-of-a-kind, fabulous, gay, over-the-top rollercoaster of massive proportions this summer at FringeNYC!

The Illusory Adventures of a Dreamer is part of the 20th Annual New York International Fringe Festival! Performances dates are Saturday, August 13th at 9:30pm, Tuesday, August 16th at 5:00pm, Monday, August 22nd at 4:45pm, Wednesday, August 24th at 7:00pm, and Saturday, August 27th at 1:30pm. All performances will be at Venue #1: Teatro SEA (107 Suffolk Street). For tickets, visit fringenyc.org

For more on The Illusory Adventures of a Dreamer, visit dreamerplay.com. To support and donate to the project, please visit gofundme.com/dreamerplay

Review: The Friendship Burrito

By Michael Block

Sketch comedy is some of the hardest form of comedy to write and be funny. When you have a character that works and is loved, you might as well bring her back every opportunity you can. Molly "Equality" Dykeman makes a triumphant return in the hilarious new comedy A Microwaved Burrito Filled With E. coli. Written and performed by Andrea Alton and Allen Warnock, Molly visits Enchilada Shelly's for a wedding and ends up making a connection with waitress Angie Louise Angelone. Through foul-mouthed humor and poignant dialogue, a friendship is formed in beautiful fashion. What makes this play special is the writing. It starts off crazy but there is immense heart built right in. And it flows out naturally. Molly and Angie are endearing characters with a whole lot of depth. But it's Alton and Warnock’s remarkable ability to infuse important talking points seamlessly into a comedy that resonates. Molly just wants lasting love. Angie wants to find acceptance. And a best friend. These characters may appear big but their desires are pure. Being able to balance the two in the writing is a mark of comedic genius.
What’s undeniable is the immeasurable chemistry between Alton and Warnock. Even when something went off script, there was never a beat missed. Director Mark Finley helped the duo best navigate the small stage of the Huron Club. Even with the limitations of the space, a little restaurant was created. Finley focused on Molly and Angie’s story while allowing the writers-performers to have room to have fun.
A Microwaved Burrito Filled With E. coli is shameless fun that will make you smile. This is a great play to bring your best friend to as a reminder the beauty of friendship.

Spotlight On...Mike Schlitt

Name: Mike Schlitt

Hometown: Born and raised in NYC, been living in Los Angeles for decades (New Yorkers, please don't hold that against me).

Education: B.A. from UCLA

Favorite Credits: Directing the US premiere of George Tabori's Theological Farce, MEIN KAMPF - a comic meditation on Hitler's days as an artist living in a flophouse in Vienna.  The play got me out of serving Jury duty once. During Voir Dire, I simply mentioned the name of the play I was directing, and that was the end of that.  My second favorite project was developing, directing and performing in several productions of the Actors' Gang long-running hit musical, KLUB.  I describe it as A Chorus Line meets No Exit.  Klub is the place where old showfolk go to die. Washed up child stars, suicidal mimes, wanna-be vaudevillians and more, all forced by the director (me) to audition for the chance to escape from Klub (Spoiler alert--you can never get out. Ever).   It's funny and sad and a statement on our obsession with celebrity culture.

Why theater? Why not theater?:  It is the most immediate and the most precarious of all art forms. When the curtain goes down on a performance, that's it, gone forever, lost in the ether.  No videotape can capture that intangible transfer of energy between performer and audience. This is also why I love doing solo performance; to me, it's the essence of theater distilled in the most powerful way imaginable.  Just me and an audience, getting down and funky...

Tell us about Patriot Act: I describe the show as everything you'll ever need to know about American Democracy in just 47 minutes...plus puppets!   It's essentially the story of how we, as a nation, have tried to put our aspirations into practice, how we've so often failed, and how we need to keep trying or perish.  Could that theme possibly be more timely, during the most insane presidential election cycle of our lifetime?   A large part of the show involves audience engagement, so it changes a lot with each performance.  The goal is the create a fun and thought-provoking forum about the state of our nation, to get people to step out of their pre-conceived political mind-sets and to start thinking about how they can engage the democratic process in new enjoyable, and productive ways.

What inspired you to write Patriot Act?: I'm a lifelong history geek and political junkie.  The original idea for Patriot Act was to see if I could tell the story of America onstage within a fixed time period.  So I started working with an audience and a timer.   I found that it's intrinsically entertaining for an audience to watch a performer fighting against time.  I decided to take the show on the road during the presidential campaign, and lucky for me (and you), stumbled into an election cycle for the ages.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that makes me laugh, but also asks big questions; plays that cut and and aren't afraid to open some wounds.  Beckett, Chekhov, Brecht and Shaw are all favorites.  I was incredibly inspired by Dario Fo's "Accidental Death of An Anarchist".   A few of my favorite artists working today are (running the gamut) Romeo Castellucci,  Tim Etchells of Forced Enterainment and Justin Vivian Bond of Kiki and Herb.

If you could work with anyone you’ve yet to work with, who would it be?: George Sanders is not a theater artist, but I would looooove to develop a piece of theater with him.  His work is dark, hilarious, thought-provoking and aways infused with deep compassion--everything I aspire to create as an artist myself.

What show have you recommended to your friends?: Not that I'm being original here, but I think The Book of Mormon is the best American Musical of the last 50 years.  It's so smart and subversive and incredibly warm-hearted.   That's quite a tough line to straddle, and they do it brilliantly.

Who would play you in a movie about yourself and what would it be called?:  A movie about my life would be a total "sell-out" project, so it would have to star Brad Pitt, Matt Damon or someone else with serious box office mojo. The movie would probably be called "I CONFESS," since I am all about full disclosure all the time.

If you could go back in time and see any play or musical you missed, what would it be?:  Of course, I'd love to see the original performances of any Shakespeare play.  I also wish I'd been to the world premiere of Jarry's UBU ROI.  When the first words of the play were spoken "merdre", the audience went berserk, tore out the seats and general pandemonium ensued for nearly half an hour.  Things settled down and the second words were spoken, "merdre" again, and the audience went nuts again.  I'd like to be present at any theatre performance that elicits that powerful a response.

What’s your biggest guilty pleasure?:  Religious television (I used to regularly record Jan and Paul Crouch's "Praise the Lord" on TBN.


If you weren’t working in theater, you would be _____?: Historian, journalist and/or politician.

What’s up next?: When I work on a project, I am "all in".  Period.   As this play is part of a larger advocacy project, I am very curious to see where it will go after election day.

For more on Mike, visit www.mikeschlitt.com