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Saturday, December 31, 2016
Most Viewed Posts of 2016!
2016 may have been Theater in the Now's biggest year yet! Between surpassing the 1,000,000 mark, adding two new writers, and celebrating 5 years with a party at 54 Below, we had some posts make it to the big time! Usually I do the top 10, but we had 20 make it past the marker so here are the top 20 posts of 2016!
Wednesday, December 28, 2016
Review: Scrooge Askew, For His Own Good
By Ed Malin
Blessed Unrest, that experimental theater company known for choreography and classics, is now staging A Christmas Carol. The production runs through December 31st at the New Ohio. Adapted by Matt Opatrny from the novel by Charles Dickens, this poignant show is both familiar and, thanks to Jessica Burr’s direction and choreography, a step beyond. On a mostly bare stage, with things such as doors carried on and off by the cast between scenes, we see Ebenezer Scrooge have something like a “4-D” experience involving spirits, noise, juggling, perspective shift, stilts, and much, much more.
In Victorian London, the famous Scrooge (J. Stephen Brantley) is a tall, always-scowling, workaholic businessman. For reasons that will become clear later, he does not have the Christmas spirit. He laments that he will be giving his employee, Bob Cratchit (Nathan Richard Wagner) one paid holiday this year. He tells the local bleeding heart charity folks (Claire Fort, Tatyana Kot) that the prisons and poorhouses should be sufficient to help the underprivileged. His nephew, Fred (Becca Schneider), makes the usual, hotly resisted yearly invitation for Scrooge to join them on Christmas. All of this comes from the original tale. However, Blessed Unrest work their magic to show us how Scrooge came to be the kind of person who runs away from his pain by working, sleeping, and over again. When Scrooge goes home, the ensemble rotate a door and have him trudge up multiple flights of creaky stairs, all on the flat stage. Once in bed, the ten-foot tall apparition of his deceased partner, Marley (Joshua Wynter) shares a happy moment with Scrooge—finally, someone who understands what it means to work all the time—before telling him to expect visits from the Spirits of Christmas Past, Present and Future. These flights of fancy reveal great moments of happiness with late friends and lovers and even Scrooge's beloved sister, which, when lost, drive Scrooge to live only to work. The best thing Scrooge can do is to help Cratchit’s son, Tim (Becca Schneider) to live long enough to have happy memories of his own.
While long passages of the original tale abound, the deft ensemble does an outstanding job of using contemporary speech to get the audience to connect to isolated Ebenezer. Holiday schmaltz-pop is played on the ukulele. At one point, the characters ask each other what kind of insect a “humbug” is. And then there’s the poultry delivery person (Nathan Richard Wagner), a Cockney’s Cockney, whom, sadly, no one can understand. Dining scenes are absolutely brilliant. The audience’s bird’s-eye view is achieved by having the actors recline on stage around a vertically-oriented table, drinking out of cups with magnetic bottoms. Constant stage activity, cheerful chucking of apples, much joyful dancing and the occasional “Happy Hanukkah” greeting continually make this production a joy to watch.
Blessed Unrest, that experimental theater company known for choreography and classics, is now staging A Christmas Carol. The production runs through December 31st at the New Ohio. Adapted by Matt Opatrny from the novel by Charles Dickens, this poignant show is both familiar and, thanks to Jessica Burr’s direction and choreography, a step beyond. On a mostly bare stage, with things such as doors carried on and off by the cast between scenes, we see Ebenezer Scrooge have something like a “4-D” experience involving spirits, noise, juggling, perspective shift, stilts, and much, much more.
While long passages of the original tale abound, the deft ensemble does an outstanding job of using contemporary speech to get the audience to connect to isolated Ebenezer. Holiday schmaltz-pop is played on the ukulele. At one point, the characters ask each other what kind of insect a “humbug” is. And then there’s the poultry delivery person (Nathan Richard Wagner), a Cockney’s Cockney, whom, sadly, no one can understand. Dining scenes are absolutely brilliant. The audience’s bird’s-eye view is achieved by having the actors recline on stage around a vertically-oriented table, drinking out of cups with magnetic bottoms. Constant stage activity, cheerful chucking of apples, much joyful dancing and the occasional “Happy Hanukkah” greeting continually make this production a joy to watch.
Monday, December 26, 2016
Review: You Are Important To Me
By Ed Malin
Leah Nanako Winkler’s The Adventures of Minami: The Robot from Japan Who Makes You Feel Safe When Loneliness is Palpable: Part I is now playing at The Brick. The show, dazzlingly directed by Matt Dickson, is an expanded version of Winkler’s Taisetsu na Hito seen in the Sex With Robots Festival and the Off-Off Broadway Play Festival. Judging by the title, even more of this story is to come. Since it does not fail to be of interest and provoke conversation among humans, I am very glad.
Bethany (Elizabeth Zephyrine McDonough) and Charles (Alex Herrald ) are an American couple who purchase soft-spoken domestic robot Minami (Yurika Ohno). (By the way, an Osaka department store seems to have created a robot Minami in recent years. The robot was modeled on a popular music “idol”.) Minami is a somewhat awkward, stoically beautiful, extremely compliant female robot whose language settings are stuck on Japanese. While she repeats several deferential stock phrases, her ordinary Caucasian “masters” grow frustrated and yell at her. When Bethany is not in the room, Charles bites Minami’s arm. When Charles is not in the room, Bethany licks Minami’s face. The objectification and fetishization of the “other” will hopefully make you uncomfortable. The things that Bethany and Charles want so badly they yell for (ham loaf?) appear as trivial and ugly, while Minami, who does not loudly relieve herself the way Charles does, can only appear more elegant than her “owners”. Eventually, Bethany and Charles reignite the lust part of their relationship through using Minami. Each brief scene is punctuated with jarring, dissonant noise. This is the kind of theater that I love to see when I want to understand white/human privilege. I mean, does my cat think I’m an arrogant bastard because I talk down to her? Later, when Minami’s language switch has been set to English, we hear what she has been trying to say all along “You are important to me. Speaking with you makes me happy.”, etc.
Charles finally boxes up Minami and sells her to a young woman (Jahna Ferron-Smith ), who is willing to overlook the bite marks on Minami’s arm. Charles takes his sweet time counting the money, just another resonant detail about the priorities of our species. Minami’s new companion is grieving her mother. You would think Minami would be the perfect, compassionate listener for someone seeking a personal connection in a suddenly more overtly hostile country.
Then, Minami is back with a robotics lecturer from Japan (Ariel Estrada) who is on tour in the USA. As this Professor speaks, he convinces his audience that belief in something gives the thing reality. Vanessa (Merissa Czyz) is a groupie who wants to go to the Professor's hotel room at the Hilton. She likes smart men and also Asians. These qualities make her wet. We learn that this Minami is indeed the same one who was returned, with bite marks. She still looks great.
Back at the hotel, Vanessa thinks Minami is looking at her mid-makeout. But not with human eyes so not really looking. Yet, thinking that Minami can see her makes that capability real, the Professor says. He idealizes Minami, who can't help being more beautiful and perfect, to the Professor, than Vanessa. "It's not you, it's her." I wonder if, in the near future, more human dates will end badly for this reason.
Robots are nice, predictable, rational folk. Isaac Asimov’s first three laws of robotics are referenced in the play. So, if you like robots more than people, or didn’t know you did, you will love this play. But are we robots? See Vanessa hit on the Professor for no other reason than his smart, Asian stereotype. It’s kind of like she was programmed. Why are Bethany and Charles so unhappy with all the things they have acquired? Do you know anyone like that, and who is responsible? Are privileged Americans buying into the media’s representation of immigrants and foreigners as somehow unsophisticated? It’s not a preachy play, which is why I liked watching every moment of it. This stark production and absolutely amazing cast will have you asking questions and thinking about reality for a long time afterwards.
Leah Nanako Winkler’s The Adventures of Minami: The Robot from Japan Who Makes You Feel Safe When Loneliness is Palpable: Part I is now playing at The Brick. The show, dazzlingly directed by Matt Dickson, is an expanded version of Winkler’s Taisetsu na Hito seen in the Sex With Robots Festival and the Off-Off Broadway Play Festival. Judging by the title, even more of this story is to come. Since it does not fail to be of interest and provoke conversation among humans, I am very glad.
Bethany (Elizabeth Zephyrine McDonough) and Charles (Alex Herrald ) are an American couple who purchase soft-spoken domestic robot Minami (Yurika Ohno). (By the way, an Osaka department store seems to have created a robot Minami in recent years. The robot was modeled on a popular music “idol”.) Minami is a somewhat awkward, stoically beautiful, extremely compliant female robot whose language settings are stuck on Japanese. While she repeats several deferential stock phrases, her ordinary Caucasian “masters” grow frustrated and yell at her. When Bethany is not in the room, Charles bites Minami’s arm. When Charles is not in the room, Bethany licks Minami’s face. The objectification and fetishization of the “other” will hopefully make you uncomfortable. The things that Bethany and Charles want so badly they yell for (ham loaf?) appear as trivial and ugly, while Minami, who does not loudly relieve herself the way Charles does, can only appear more elegant than her “owners”. Eventually, Bethany and Charles reignite the lust part of their relationship through using Minami. Each brief scene is punctuated with jarring, dissonant noise. This is the kind of theater that I love to see when I want to understand white/human privilege. I mean, does my cat think I’m an arrogant bastard because I talk down to her? Later, when Minami’s language switch has been set to English, we hear what she has been trying to say all along “You are important to me. Speaking with you makes me happy.”, etc.
Charles finally boxes up Minami and sells her to a young woman (Jahna Ferron-Smith ), who is willing to overlook the bite marks on Minami’s arm. Charles takes his sweet time counting the money, just another resonant detail about the priorities of our species. Minami’s new companion is grieving her mother. You would think Minami would be the perfect, compassionate listener for someone seeking a personal connection in a suddenly more overtly hostile country.
Back at the hotel, Vanessa thinks Minami is looking at her mid-makeout. But not with human eyes so not really looking. Yet, thinking that Minami can see her makes that capability real, the Professor says. He idealizes Minami, who can't help being more beautiful and perfect, to the Professor, than Vanessa. "It's not you, it's her." I wonder if, in the near future, more human dates will end badly for this reason.
Robots are nice, predictable, rational folk. Isaac Asimov’s first three laws of robotics are referenced in the play. So, if you like robots more than people, or didn’t know you did, you will love this play. But are we robots? See Vanessa hit on the Professor for no other reason than his smart, Asian stereotype. It’s kind of like she was programmed. Why are Bethany and Charles so unhappy with all the things they have acquired? Do you know anyone like that, and who is responsible? Are privileged Americans buying into the media’s representation of immigrants and foreigners as somehow unsophisticated? It’s not a preachy play, which is why I liked watching every moment of it. This stark production and absolutely amazing cast will have you asking questions and thinking about reality for a long time afterwards.
Review: Who Was That Masked Man?
By Ed Malin
Target Margin has begun their twenty-fifth season with The Unseen O’Neill Lab at The Brick. Indeed, several rarely produced plays have been performed, and I had the chance to see a unique, beautiful take on The Great God Brown, a 1926 play which appeared between some of the author’s more classic, sprawling theatrical feasts. Replete with gender-crossed casting, jumpsuits, hardware for props and orange plastic safety fence for set, this play delivered on its promised mythical references. Eva von Schweinitz was the Lead Artist for this production.
Dion Anthony (Nicolas Noreña) and Billy Brown (Javan Nelson) are friends, sons of business partners in an architectural firm and also in love with the same woman, Margaret (J Molière). The latter is the only natural woman in the cast, as some of the other female roles, such as the all-wise prostitute Cybel are portrayed by Alessandro Magania. Dion, who eventually succeeds in wedding Margaret and having three children, devises a ferocious, primal mask. He explains that the mask was necessary for him to channel the chaos of The Great God Pan to overcome his gentle friend The Great God Brown. Have you noticed the classical symbolism? Dion (read: Dionysus or Bacchus) treads into the ecstatic part of human potential, but ironically he drinks himself to death. As he is dying, Dion asks Billy to take his mask, take his place and live with his wife. Previously, Billy had been seen with the prostitute Cybel (read: the ancient mother goddess) but now finds the courage and new energy to dominate his business and to seduce Margaret. There is much poetry spoken, such as Dion’s dying rant: “William Brown's soul lies moldering in the crib but his body goes marching on!” Remarkably, Margaret briefly notices the change in her partner’s voice but never asks him to remove his mask and so never notices he is a different man. And so some of us live our lives, the superficial masks of others our main focus. The strain of being both partners in his firm and a dominant husband is too much for Billy, who eventually dies next to Cybel. Like Adonis or Tammuz or some other would-be hero of old, he returns to the mother goddess, except said goddess is a man in this production.
Target Margin’s aesthetic works very well in The Brick. The two and a half hours of the play flew by. Abby Felder’s masks really make this production. Made of interesting devices, found objects and glowing lights, the central mask harnessed the bewildering, tribal aspects of consumerism (perhaps more relevant than some remote forces of nature found in myth). There was also a transparent, smiling mask worn by Billy Brown the businessman. The forced happiness of this mask was quite eerie. Dan Daly’s scenic design was appropriate to a story about architects on the verge of madness. Daniel Taylor Matthews’s costumes ranged from starkly functional outfits which characters could quickly change to play multiple roles, to gender-defying attire for Cybel and the mothers and children in the cast to Margaret’s gorgeous dress. Phillip Gerson’s sound design included elegant old dance numbers and poignant, more contemporary songs of desolate longing.
Target Margin has begun their twenty-fifth season with The Unseen O’Neill Lab at The Brick. Indeed, several rarely produced plays have been performed, and I had the chance to see a unique, beautiful take on The Great God Brown, a 1926 play which appeared between some of the author’s more classic, sprawling theatrical feasts. Replete with gender-crossed casting, jumpsuits, hardware for props and orange plastic safety fence for set, this play delivered on its promised mythical references. Eva von Schweinitz was the Lead Artist for this production.
Dion Anthony (Nicolas Noreña) and Billy Brown (Javan Nelson) are friends, sons of business partners in an architectural firm and also in love with the same woman, Margaret (J Molière). The latter is the only natural woman in the cast, as some of the other female roles, such as the all-wise prostitute Cybel are portrayed by Alessandro Magania. Dion, who eventually succeeds in wedding Margaret and having three children, devises a ferocious, primal mask. He explains that the mask was necessary for him to channel the chaos of The Great God Pan to overcome his gentle friend The Great God Brown. Have you noticed the classical symbolism? Dion (read: Dionysus or Bacchus) treads into the ecstatic part of human potential, but ironically he drinks himself to death. As he is dying, Dion asks Billy to take his mask, take his place and live with his wife. Previously, Billy had been seen with the prostitute Cybel (read: the ancient mother goddess) but now finds the courage and new energy to dominate his business and to seduce Margaret. There is much poetry spoken, such as Dion’s dying rant: “William Brown's soul lies moldering in the crib but his body goes marching on!” Remarkably, Margaret briefly notices the change in her partner’s voice but never asks him to remove his mask and so never notices he is a different man. And so some of us live our lives, the superficial masks of others our main focus. The strain of being both partners in his firm and a dominant husband is too much for Billy, who eventually dies next to Cybel. Like Adonis or Tammuz or some other would-be hero of old, he returns to the mother goddess, except said goddess is a man in this production.
Friday, December 23, 2016
Theater in the Now's Best of 2016
Another year has flown by and New York City had some extraordinary theater. Usually there are some consistent shows that fill top lists but this year provided so many great pieces that we have options! I decided to dive a bit deeper than the typical list. Here are my top 5 shows of the year!
1. The Grand Paradise
Immersive theater is the new frontier. It's no secret that I am a super fan of well-crafted immersive works. Every single element in a great immersive piece needs to be thought out and executed perfectly. Third Rail Projects upped the game with The Grand Paradise. Escape to an island getaway where you think you'll be forgetting your worries only to face them head-on. Virtually a choose your own adventure narrative, follow a family as they are whisked away as they face temptation in this island treasure trove.
2. YOUARENOWHERE
This was a show where you needed to throw away your inhibitions and theatrical expectations because Andrew Schneider is going to blow your mind. YOUARENOWHERE is a sensory overload in all the right ways. Just when you think you've got this show figured out, Schneider and his extraordinary team exceed your expectations and alter your mind. Who knows where this show will go next so discussing specifics would still be unfair. Keep an eye out for this one because it's an experience you must have.
3. The Wolves
Sarah DeLappe's The Wolves truly was a game changer. Presented by The Playwrights' Realm, The Wolves fortunately received two runs at The Duke because this play was a hit. DeLappe's writing and Lila Neugebauer's direction formed the perfect team. The Wolves started their run as an underdog production but they leave 2016 as true champions.
4. The Woodsman
The Woodsman had a journey many indie theater productions dream of. From little show to Off Broadway hit, the reimagined story of the Tin Man defied the basics, breathing new life into theatrical storytelling. With puppetry, live underscoring, and an ensemble of wonderful performers, The Woodsman managed to wow theater artists and tourists alike. If you missed it, get your hands on the filmed version.
5. Falsettos
There was so much great Broadway this year. A lot of which falls into the categories of previous year entries. So why does Falsettos get the Broadway slot on my list? Well because it was a welcome revival that packed a punch with a Broadway all-star cast. The William Finn revival may be a period piece but if you have a heart, that ending will break your heart. Expect some Tony nominations for this company, especially for Christian Borle and Stephanie J. Block.
Immersive theater is the new frontier. It's no secret that I am a super fan of well-crafted immersive works. Every single element in a great immersive piece needs to be thought out and executed perfectly. Third Rail Projects upped the game with The Grand Paradise. Escape to an island getaway where you think you'll be forgetting your worries only to face them head-on. Virtually a choose your own adventure narrative, follow a family as they are whisked away as they face temptation in this island treasure trove.
2. YOUARENOWHEREThis was a show where you needed to throw away your inhibitions and theatrical expectations because Andrew Schneider is going to blow your mind. YOUARENOWHERE is a sensory overload in all the right ways. Just when you think you've got this show figured out, Schneider and his extraordinary team exceed your expectations and alter your mind. Who knows where this show will go next so discussing specifics would still be unfair. Keep an eye out for this one because it's an experience you must have.
Sarah DeLappe's The Wolves truly was a game changer. Presented by The Playwrights' Realm, The Wolves fortunately received two runs at The Duke because this play was a hit. DeLappe's writing and Lila Neugebauer's direction formed the perfect team. The Wolves started their run as an underdog production but they leave 2016 as true champions.
The Woodsman had a journey many indie theater productions dream of. From little show to Off Broadway hit, the reimagined story of the Tin Man defied the basics, breathing new life into theatrical storytelling. With puppetry, live underscoring, and an ensemble of wonderful performers, The Woodsman managed to wow theater artists and tourists alike. If you missed it, get your hands on the filmed version.
There was so much great Broadway this year. A lot of which falls into the categories of previous year entries. So why does Falsettos get the Broadway slot on my list? Well because it was a welcome revival that packed a punch with a Broadway all-star cast. The William Finn revival may be a period piece but if you have a heart, that ending will break your heart. Expect some Tony nominations for this company, especially for Christian Borle and Stephanie J. Block.
Tuesday, December 20, 2016
Review: Holiday Monsoon Season
By Michael Block
In the world of drag, it’s one thing to be able to win over an audience. It’s another thing to be able to put on a show. Even then, putting on a show is more than just singing song after song. There needs to be a rhyme and reason. It is, in a way, a theatrical art. The Laurie Beechman has played host to an assortment of RuPaul’s Drag Race alumni, offering an array of show styles. From literal concert to emotionally driven cabarets, the stage has seen it all. But sometimes, a queen sashays in and elevates the playing field with their unmatched talent and ability to craft a fully realized show. Enter Jinkx Monsoon.
Seattle’s premier Jewish narcoleptic drag Queen Jinkx Monsoon and her pianist/collaborator Major Scales bring their latest holiday extravaganza Christmas Mourning to the stage. How can the duo have a Christmas show with virtually no holiday tunes in their songbook you ask? Well by creating a perfectly structured narrative. Fans know Jinkx for her slightly passive humor and unique styling. Most queens are forced to stick to their known character but Jinkx and her innate ability for theatrics manages to maintain the Jinkx persona yet add a new dimension through her hatred of the holiday. It was a different side of Jinkx yet it was still the Jinkx we know and love. So if holiday-hating Jinkx is dismayed at the world, she’s able to pass over Christmas classics and do what she wants. And it still fits in to the holiday narrative by crafting an evening of comedy with a genuine story arc. Jinkx Monsoon is a rip-roarious comedy maven. It seemed quite hard to maintain momentum after starting the show with a dazzlingly stirring cover of “Life on Mars.” But she did! It’s true, with her unrivaled vocals, Jinkx can sing anything. While not quite a solo show, the dynamic between Jinkx and Major Scales is unmatchable. Their ability to rib one another kept the comedy at a high. To cover up a costume change, Major Scales got his moment in the spotlight. To keep the audience on board, Major Scales sang Jinkx’s newest hit track on the Christmas Queens 2 album “Passive Aggressive Christmas. It was a smart choice to say the least.
Jinkx Monsoon and Major Scales may have been mourning but the audience sure wasn’t. Christmas Mourning is a practically perfect holiday treat that will leave you tickled.
In the world of drag, it’s one thing to be able to win over an audience. It’s another thing to be able to put on a show. Even then, putting on a show is more than just singing song after song. There needs to be a rhyme and reason. It is, in a way, a theatrical art. The Laurie Beechman has played host to an assortment of RuPaul’s Drag Race alumni, offering an array of show styles. From literal concert to emotionally driven cabarets, the stage has seen it all. But sometimes, a queen sashays in and elevates the playing field with their unmatched talent and ability to craft a fully realized show. Enter Jinkx Monsoon.
Jinkx Monsoon and Major Scales may have been mourning but the audience sure wasn’t. Christmas Mourning is a practically perfect holiday treat that will leave you tickled.
Review: A Gay Ol' Time with Alaska
By Michael Block
She's the reigning queen of the All Stars and she's returning to the Laurie Beechman Theater. Alongside her frequent collaborator Handsome Jeremy, Alaska, lovingly known as Alaska Thunderfuck 5000, brings holiday cheer and a well-polished night of comedy and song.
Alaska takes her time on stage to explain just why Christmas Is Gay. With Alaska holiday classics, epic mash-ups, and a wheel of impersonations through song, Alaska defines just why she is a winner. She literally can do it all. And with the greatest of ease. With the holidays as the theme, Alaska, with the fabulous aid of Handsome Jeremy, has the audience eating out of the palm of her hand. The evening was loosely tied thematically but held together by the musicality. From the piano-driven versions of “Ru Girl” and “Christmas Sux” to the epic mash-ups of Madonna’s “Frozen” paired with “Snow Miser/Heat Miser” and “By My Side” from Godspell smashed with Lady Gaga’s “Judas.” Only Alaska can combine Steven Schwartz and Lady Gaga, further proving the genius mind and branding that is Alaska. Even when her banter takes a turn from the serious, it remains in character. To complete a full show, Alaska took a page from the Jinkx Monsoon playbook by having a segment comprised of allowing the audience request songs, festive or from her catalogue of work. It was a wonderful gimmick that transitioned into another bit of the celebrity impersonations performing “Jingle Bells.” Alaska may be primarily know for her dark sensibility in comedy but she continues to elevate the look game. Her gown and matching headware was sensational. The stunning beauty radiated, creating a very sultry Christmas.
It’s true. This Christmas is gay. Happy that is. And it’s all thanks to Alaska. If there’s something beyond a triple threat, it’s Alaska. There’s a reason why Christmas is Gay extended and extended. Get your tickets early for the next time she’s in town. They’ll be gone before you know it.
She's the reigning queen of the All Stars and she's returning to the Laurie Beechman Theater. Alongside her frequent collaborator Handsome Jeremy, Alaska, lovingly known as Alaska Thunderfuck 5000, brings holiday cheer and a well-polished night of comedy and song.
It’s true. This Christmas is gay. Happy that is. And it’s all thanks to Alaska. If there’s something beyond a triple threat, it’s Alaska. There’s a reason why Christmas is Gay extended and extended. Get your tickets early for the next time she’s in town. They’ll be gone before you know it.
Monday, December 19, 2016
Review: Musical Advisory Alert
By Michael Block
In the current landscape of musical theater, the need to stand out is becoming more prevalent. Setting yourself out from the pack, either through style or content, is increasingly becoming essential. After a long journey to Broadway, In Transit is an a capella musical that is a true love letter to New York. With book, music, and lyrics by Kristin Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth, with original concept by Anderson-Lopez, Gregory T. Christopher, Ford, Kaplan, Karla Lant, and Wordsworth, In Transit is a fun, feel-good musical. And that's about it.
Following the lives of an assortment of connecting characters, In Transit celebrates the lives of New Yorkers and the trials and tribulations of the MTA. Essentially a "slice of life" musical, In Transit prides itself not on originality of story, but on the style of musical storytelling. But before we can talk about the achievements in a capella, the plot should be discussed. The almost perfectly connected stories follow Jane, an "aging" actress on the verge of her big break; her agent Trent and his fiancé, Steven, who are struggling to reveal the truth to Trent's mother; their mutual friend Ali who is hung up on an ex; and Ali's unemployed brother Nate, who just so happens to meet Jane at a bar. Sound too perfect to be real? It's New York. It's actually possible. But these intertwining narratives can go even further to connect. Audiences love when they pick up on clues. Even with redundant and predictable plot lines, they still managed to bring a smile. In Transit didn’t quite transport you to a place for escape, but instead brought you to an actual reality. With New Yorker insider jokes, the writers knew how garner a reaction. And it was a great cover-up for the simplicity of the story. As silly as the plot is, the draw is the ingenuity and bravery to present a completely vocal musical. With not a single instrument present, In Transit champions the power of a capella. A capella set to a known score tends to win an audience, but a new score? The odds are already stacked against them. And yet, they managed to triumph. But is it possible that more vocalists were needed? The score featured some great songs. And even with a cast of eleven, there were moments when Deke Sharon’s arrangements felt thin. The main cast doubled as “ensemble” vocalists but having a strict ensemble where the main characters didn’t have to double could have made the desired wall of sound fill the Circle in the Square. Music and lyrics are important, but with this genre of music, the arranger is the make or break factor. Sharon married the classic a capella style with the newfound rise of the “electronic” beatbox sound a la Pentatonix. By bringing old school a cappella with new school a capella, the music had a modern feel.
In a capella, you’re only as strong as your bassist and beat boxer. They literally are the pulse of the sound. Thankfully, the beat was strong at In Transit. The deep-souled Nicholas Ward and the king of the beats Chesney Snow, who alternates with Steven “HeaveN” Cantor, filled the room with their sound. Snow’s beat boxing was sublime. Snow’s Boxman served as a spiritual guide for our weary travelers. His purpose was eerily similar to Street Singer in Brooklyn. The standout performance in the show came from the extraordinary Margo Seibert as Jane. Seibert struck a chord with all the aspiring artists and a high note with the show-stopping “Do What I Do.” The score fit Seibert’s powerful voice and paired with her charisma, she made Jane the authentically colorful person that we all know and, often, love. Former American Idol star Justin Guarini stepped up as Trent. Guarini’s character deified banality, forming a layered character. As Ali, Erin Mackey found a soft side to the jaded New Yorker. Her subtle hilarity was a knock-out. James Snyder as Nate felt out of place in this world. Snyder didn’t quite match the "bad boy" persona Nate needed.
Director-choreographer Kathleen Marshall did all she could to make In Transit more than a fluffy musical comedy. Finding the weight in the material never quite happened, so Marshall opted for gimmicks. And they worked, some of the time. With the super-thrust stage and the conveyer belt track, Marshall naturally played upon the linear lines. It did cause some lack of variety, but her staging and choreography were consistent. Donyale Werle’s set was a nice blending of modern and historic subway stations, and it created a sort of “every station” feel. It also gave lighting designer Donald Holder a world of opportunity to play with light. Holder found a balance of theatricality through the realistic lighting effects. The costume design from Clint Ramos provided a wonderfully clean, modern feel. He kept the frills at bay. That is until that insanely crafted MetroCard dress. While it lacked purpose in storytelling, it certainly was a triumphant look!
In Transit is a fluffy musical that may not change the world, but it will certainly bring some happiness into your day. And sometimes, that’s all you need.
In the current landscape of musical theater, the need to stand out is becoming more prevalent. Setting yourself out from the pack, either through style or content, is increasingly becoming essential. After a long journey to Broadway, In Transit is an a capella musical that is a true love letter to New York. With book, music, and lyrics by Kristin Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth, with original concept by Anderson-Lopez, Gregory T. Christopher, Ford, Kaplan, Karla Lant, and Wordsworth, In Transit is a fun, feel-good musical. And that's about it.
Following the lives of an assortment of connecting characters, In Transit celebrates the lives of New Yorkers and the trials and tribulations of the MTA. Essentially a "slice of life" musical, In Transit prides itself not on originality of story, but on the style of musical storytelling. But before we can talk about the achievements in a capella, the plot should be discussed. The almost perfectly connected stories follow Jane, an "aging" actress on the verge of her big break; her agent Trent and his fiancé, Steven, who are struggling to reveal the truth to Trent's mother; their mutual friend Ali who is hung up on an ex; and Ali's unemployed brother Nate, who just so happens to meet Jane at a bar. Sound too perfect to be real? It's New York. It's actually possible. But these intertwining narratives can go even further to connect. Audiences love when they pick up on clues. Even with redundant and predictable plot lines, they still managed to bring a smile. In Transit didn’t quite transport you to a place for escape, but instead brought you to an actual reality. With New Yorker insider jokes, the writers knew how garner a reaction. And it was a great cover-up for the simplicity of the story. As silly as the plot is, the draw is the ingenuity and bravery to present a completely vocal musical. With not a single instrument present, In Transit champions the power of a capella. A capella set to a known score tends to win an audience, but a new score? The odds are already stacked against them. And yet, they managed to triumph. But is it possible that more vocalists were needed? The score featured some great songs. And even with a cast of eleven, there were moments when Deke Sharon’s arrangements felt thin. The main cast doubled as “ensemble” vocalists but having a strict ensemble where the main characters didn’t have to double could have made the desired wall of sound fill the Circle in the Square. Music and lyrics are important, but with this genre of music, the arranger is the make or break factor. Sharon married the classic a capella style with the newfound rise of the “electronic” beatbox sound a la Pentatonix. By bringing old school a cappella with new school a capella, the music had a modern feel.
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| photo by Joan Marcus |
Director-choreographer Kathleen Marshall did all she could to make In Transit more than a fluffy musical comedy. Finding the weight in the material never quite happened, so Marshall opted for gimmicks. And they worked, some of the time. With the super-thrust stage and the conveyer belt track, Marshall naturally played upon the linear lines. It did cause some lack of variety, but her staging and choreography were consistent. Donyale Werle’s set was a nice blending of modern and historic subway stations, and it created a sort of “every station” feel. It also gave lighting designer Donald Holder a world of opportunity to play with light. Holder found a balance of theatricality through the realistic lighting effects. The costume design from Clint Ramos provided a wonderfully clean, modern feel. He kept the frills at bay. That is until that insanely crafted MetroCard dress. While it lacked purpose in storytelling, it certainly was a triumphant look!
In Transit is a fluffy musical that may not change the world, but it will certainly bring some happiness into your day. And sometimes, that’s all you need.
Sunday, December 18, 2016
Review: We Can Stop the Violence
By Ed Malin
Experimental playwright Erik Ehn’s Clover is now playing at LaMaMa. Glory Kadigan directs a Planet Connections production of this new work, which, like a four-leaf clover, links together several stories about violence in the USA. Life is a dream, said Calderón de la Barca. Or, it could be a dream, speculated the Coasters (adding a Sh Boom).
As the night’s spectacle begins, the cast of twenty is involved in many overlapping narratives about war, family, and hospitals. The play is full of Delta Blues music, as well as the spiritual “Oh Mary, Don’t You, Weep Don’t You Moan” and a Bob Dylan cover (early on, he wrote several protest songs about the lynching of black people). There is a chorus of singing nuns.
The 1955 murder of Emmett Till (Trevor LatezHayes) galvanized the Civil Rights Movement in Mississippi. The story shifts gears to focus on the family of Emmett: Moses (Harold Surratt), Mamie (Laura E. Johnston) and Louis (James Edward Becton). Louis has just come back from World War II. Well, actually Louis was killed during the war and is visiting his family because, at that moment, the play is revealed to be (more or less certainly) a hallucination in the mind of an ill Caucasian gentleman named Cronin (James B. Kennedy), who once beat someone to death. Louis’s amazement on this point marks the place where the play started to come together for me.
There are other stories happening. In one, Casper (Francesco Andolfi), a resident of a post-war Texas town where Spam (“an affordable canned pork product”) can be found, becomes romantically involved with Hazel (Joyce Miller). She and the other wives such as Hegelede (Kathleen O’Neill) lament how their men just don’t have any strength and passion. Also, in Michigan, and in Norway (maps of these places are provided) , violence is happening. The most arresting moment comes when Emmett Till is drowned by an unseen Caucasian mob acting with impunity. As the curtain is drawn back and forth in front of him, this innocent fourteen year-old is deprived of life in the land of the free. The rest of the cast stand behind the curtain, their silhouetted hands symbolizing their oppression. Jesus (Perri Yaniv) has some choice words to say about these events.
As I write this, not long before the inauguration of a hateful president (unless there is justice, of course), I am surprised to know that some of my countryfolk do not know or care about the Civil Rights Movement. Isn’t this the place where Martin Luther King’s march through Selma was recently re-enacted? Are our "eye set like taxidermy", as the play suggests? Let’s say that the character of Cronin is our country. The relegation of any part of the population leads to physical and spiritual death. Is this what the playwright, known for impressive reflections on religion and genocide, and the director, founder of the charity and earth-oriented Planet Connections Theater Festivity, intended? I am not sure. I am confident that the multiplicity of meanings in the piece have been planted to stimulate the audience’s brains and to rouse **us** to save the world.
The violent and dreamy aspects of the piece are nicely highlighted by Benjamin Ehrenreich's lighting. Jeanette Yew's puppetry and projections help catapult us into many different locales.
Experimental playwright Erik Ehn’s Clover is now playing at LaMaMa. Glory Kadigan directs a Planet Connections production of this new work, which, like a four-leaf clover, links together several stories about violence in the USA. Life is a dream, said Calderón de la Barca. Or, it could be a dream, speculated the Coasters (adding a Sh Boom).
As the night’s spectacle begins, the cast of twenty is involved in many overlapping narratives about war, family, and hospitals. The play is full of Delta Blues music, as well as the spiritual “Oh Mary, Don’t You, Weep Don’t You Moan” and a Bob Dylan cover (early on, he wrote several protest songs about the lynching of black people). There is a chorus of singing nuns.
The 1955 murder of Emmett Till (Trevor LatezHayes) galvanized the Civil Rights Movement in Mississippi. The story shifts gears to focus on the family of Emmett: Moses (Harold Surratt), Mamie (Laura E. Johnston) and Louis (James Edward Becton). Louis has just come back from World War II. Well, actually Louis was killed during the war and is visiting his family because, at that moment, the play is revealed to be (more or less certainly) a hallucination in the mind of an ill Caucasian gentleman named Cronin (James B. Kennedy), who once beat someone to death. Louis’s amazement on this point marks the place where the play started to come together for me.
 |
| photo by Minji Lee |
As I write this, not long before the inauguration of a hateful president (unless there is justice, of course), I am surprised to know that some of my countryfolk do not know or care about the Civil Rights Movement. Isn’t this the place where Martin Luther King’s march through Selma was recently re-enacted? Are our "eye set like taxidermy", as the play suggests? Let’s say that the character of Cronin is our country. The relegation of any part of the population leads to physical and spiritual death. Is this what the playwright, known for impressive reflections on religion and genocide, and the director, founder of the charity and earth-oriented Planet Connections Theater Festivity, intended? I am not sure. I am confident that the multiplicity of meanings in the piece have been planted to stimulate the audience’s brains and to rouse **us** to save the world.
The violent and dreamy aspects of the piece are nicely highlighted by Benjamin Ehrenreich's lighting. Jeanette Yew's puppetry and projections help catapult us into many different locales.
Thursday, December 15, 2016
Review: An Old Story Turned New
By Kaila M. Stokes
Shakespeare’s Merchant of Venice presented by Hamlet Isn’t Dead is an entertaining musical portrayal of this overdone story. Hamlet Isn’t Dead is committed to producing/performing all of Shakespeare’s works in order. This is a truly unique feat and after a couple of years of existence they are finally getting into the “good stuff” as they put it. Walking into this gallery style space, musicians are playing and partying. It truly feels welcoming from the beginning. Music is used throughout the piece which keeps this old story new and exciting.
Most know Merchant of Venice either having seen it performed or at least having read it in school. It is a hard piece in many ways; the epilogues can be very long, the story has too many story lines and not enough follow through, and the ending doesn’t pay off in some ways. This version of Merchant of Venice, directed by David Andrews Laws, was different. Although the story has heavy themes, the burdens of those themes are never rested on the audience. Instead the audience is merely there to be entertained. If one were to imagine what the audience in Shakespeare’s day experienced, it was probably a lot like this, minus the plague. The audience was part of the show, the actor’s broke the fourth wall to include and ask their opinions even. It felt like the audience helped decide what was going to happen next in the plot! For this the director, David Andrew Laws, should truly be commended. This production is not bogged down with set, lights, or props. It is purely about the relationship of the characters to one another and to the audience. It is basic and beautiful. If done correctly Shakespeare’s plays do not need elaborate sets or costumes. They can be done right by owning the language and the stories of these distant people.
The actors themselves were more than just actors as mentioned, they were musicians! Almost every person played an instrument, some multiple, truly impressive. The knock out performer of the evening award definitely goes to Shylock, played by Leo Goodman. His character in the story makes the biggest shift of course and Leo Goodman rode that wave and made the audience hang on every word. His performance drove others to rise to the challenge which heightened those key moments. Portia and Nerissa, played by Mary McNulty and Samantha Maurice, were so much fun and brought a breath of fresh air to the plot. They truly understood their roles in bringing the laughter. Some actors were more comfortable with the language than others, but with what some lacked others made up for. Each member of the company brought something different to their character. They had their own walk, or talk, or look. It helped differentiate not only the characters, but the plot at times since it can get a bit twisty.
Merchant of Venice tends to be long and drawn out, but the Hamlet Isn’t Dead producers edited the story down to make the most sense possible! If you are not a huge Shakespeare goer, this is a great company to get your feet wet with. It was a truly enjoyable experience, one that should repeat itself. Merchant of Venice is a laugh out loud musical adventure of an old play done with a fresh pair of millennial eyes.
Shakespeare’s Merchant of Venice presented by Hamlet Isn’t Dead is an entertaining musical portrayal of this overdone story. Hamlet Isn’t Dead is committed to producing/performing all of Shakespeare’s works in order. This is a truly unique feat and after a couple of years of existence they are finally getting into the “good stuff” as they put it. Walking into this gallery style space, musicians are playing and partying. It truly feels welcoming from the beginning. Music is used throughout the piece which keeps this old story new and exciting.
Most know Merchant of Venice either having seen it performed or at least having read it in school. It is a hard piece in many ways; the epilogues can be very long, the story has too many story lines and not enough follow through, and the ending doesn’t pay off in some ways. This version of Merchant of Venice, directed by David Andrews Laws, was different. Although the story has heavy themes, the burdens of those themes are never rested on the audience. Instead the audience is merely there to be entertained. If one were to imagine what the audience in Shakespeare’s day experienced, it was probably a lot like this, minus the plague. The audience was part of the show, the actor’s broke the fourth wall to include and ask their opinions even. It felt like the audience helped decide what was going to happen next in the plot! For this the director, David Andrew Laws, should truly be commended. This production is not bogged down with set, lights, or props. It is purely about the relationship of the characters to one another and to the audience. It is basic and beautiful. If done correctly Shakespeare’s plays do not need elaborate sets or costumes. They can be done right by owning the language and the stories of these distant people.
Merchant of Venice tends to be long and drawn out, but the Hamlet Isn’t Dead producers edited the story down to make the most sense possible! If you are not a huge Shakespeare goer, this is a great company to get your feet wet with. It was a truly enjoyable experience, one that should repeat itself. Merchant of Venice is a laugh out loud musical adventure of an old play done with a fresh pair of millennial eyes.
Review: A Play of the Past for the Present
By Michael Block
They say history repeats itself. Fads and trends may have their heyday but they’ll inevitably return in some fashion. But then there are moments when something you may believe is fresh isn’t really. It’s been there for quite some time. Something just bolstered it to the mainstream. The drag, queer, and trans culture and community has a rich history. In today’s age of RuPaul’s Drag Race, that history, equipped with lingo and all, has made a reemergence. In Pia Scala-Zankel’s blisteringyl authentic Street Children, we are transported to a time when being different was not only looked down upon, it was downright dangerous. But the power of family can lift the lowest of spirits.
Presented by Vertigo Theater Co. at the New Ohio, Street Children captures the lives of the denizens of the lower Hudson Piers in 1988. The inciting incident is the untimely death of the beloved Gina. Angela, Jamie, and Terrence grieve for their fallen sister but no one said grieving is easy. Time doesn’t’ stand still as the trio must find a way to move on in a world that challenges them. Despite being derivative of a time, there was a whole sense of truth and honesty in Scala-Zankel’s words. Street Children never reaches camp as it is pure and raw depicting the dangerous world of sex, drugs, and morality in the late 80s LGBTQ scene. Street Children is one of those plays that is bound to have a prosperous future. It’s a story that needs to be told and heard. And with a future in mind, the script can be even tighter and even stronger. With the vantage of three stories in aftermath, it’s ironic that the flashbacks were the strongest beats. It brought out an exuberant amount of fire in the characters. The past truly informs the present. Though it’s the end of the play, seeing Gina and Jamie’s first ever interaction was beautiful. Seeing that moment for Angela and Terrence is particularly desired. It would help Scala-Zankel strengthen the trio’s arcs. As it stands now, Jamie’s story has a clear beginning middle and end. The other two have a middle and an end. Aside from the fallen angel, the most captivating character journey was that of Angela. The backstory and subsequent familiar future has a tight grip on your heart. But, without spoiling too much, the unfortunate event that Angela faces in her downfall is more than heartbreaking. It hits harder because it feels far too early in the play’s voyage. Pushing it back just a tad further may be beneficial with the way flashbacks are incorporated. Scala-Zankel gives us glimpses of the tight-nit families and subculture that formed in this time. And dramaturgically, it’s a remarkable feat.
Director Jenna Worsham captured the time with great ease. The ambiance was set as the audience comes in. Though, if you’re not a fan of herbal cigarettes, prepare to smell them for quite some time. Worsham established a stunning physical lexicon for her ensemble. This world moved fluidly. From sashaying through the ruins to the vocabulary of the vogue, Worsham’s ensemble was united. Where Worsham could have done more was utilizing the ensemble in a more purposeful manner. Wafting in the wings is fine but it teetered on high school musical extra cast meandering. By adding figures in the shadows, it heightened the atmosphere but it needed to be felt by the primary focal characters. Worsham took reality into the forefront of her direction. What could have been stronger was the realism when it came to prop use. While it could have been due to a boom box that no longer served its purpose, when everything is riddled in reality, not physically pushing the buttons or playing with the tape deck takes you out for those many split seconds. Though not perfectly real, scenic designer Angelica Borrero transported the audience into the seedy graffiti-filled piers of the past. Utilizing the outskirts of The New Ohio allowed the great expanse to rightly overwhelm the intimacy of the story. From neon to “Dynasty” shoulder pads, costume designer Bernat Buscato brought the best, and worst, of the decade to the stage. Lighting designer Kate Bashore didn’t quite capture time and location as well as she could have but the transitions were tight and sharp. Daniel Melnick provided an incredible sound design, navigating reality.
There were some exemplary performances within the cast of Street Children. Far and away, the performance of the night belongs to JP Moraga as Angela. Moraga’s honesty and gravity in balancing the varied lives of Angela was illuminating. Angela is a complex persona and Moraga found a complete character within. As the angelic keeper of the beats Gina, Mj Rodriguez was radiant. She gave a captivating performance that left you wanting more Gina material. The way she carried herself onstage was evocative of a star on the rise. Taking on the ingénue role, Eve Lindley’s Jamie was simply stated. Like a delicate porcelain doll, Lindley found grace in Jamie without feeling false. Victor Almanzar as Terrence was hit or miss. In a way, his characterization felt closer to caricature. The excessive bursts of fury, whether written in or an acting choice, defied a complete story arc for Terrence.
There are uninformed people out there who didn’t know the history of the community. RuPaul didn’t invent the catchphrases and culture we’ve come to champion. There is a tremendous amount of lost souls and determined warriors who have stories that helped shape the bright future. But in today’s America, the struggle of acceptance in our society is ever present. Street Children is a necessary story that does more than bring awareness of a past. It’s a teaching tool that can inform our future.
They say history repeats itself. Fads and trends may have their heyday but they’ll inevitably return in some fashion. But then there are moments when something you may believe is fresh isn’t really. It’s been there for quite some time. Something just bolstered it to the mainstream. The drag, queer, and trans culture and community has a rich history. In today’s age of RuPaul’s Drag Race, that history, equipped with lingo and all, has made a reemergence. In Pia Scala-Zankel’s blisteringyl authentic Street Children, we are transported to a time when being different was not only looked down upon, it was downright dangerous. But the power of family can lift the lowest of spirits.
Presented by Vertigo Theater Co. at the New Ohio, Street Children captures the lives of the denizens of the lower Hudson Piers in 1988. The inciting incident is the untimely death of the beloved Gina. Angela, Jamie, and Terrence grieve for their fallen sister but no one said grieving is easy. Time doesn’t’ stand still as the trio must find a way to move on in a world that challenges them. Despite being derivative of a time, there was a whole sense of truth and honesty in Scala-Zankel’s words. Street Children never reaches camp as it is pure and raw depicting the dangerous world of sex, drugs, and morality in the late 80s LGBTQ scene. Street Children is one of those plays that is bound to have a prosperous future. It’s a story that needs to be told and heard. And with a future in mind, the script can be even tighter and even stronger. With the vantage of three stories in aftermath, it’s ironic that the flashbacks were the strongest beats. It brought out an exuberant amount of fire in the characters. The past truly informs the present. Though it’s the end of the play, seeing Gina and Jamie’s first ever interaction was beautiful. Seeing that moment for Angela and Terrence is particularly desired. It would help Scala-Zankel strengthen the trio’s arcs. As it stands now, Jamie’s story has a clear beginning middle and end. The other two have a middle and an end. Aside from the fallen angel, the most captivating character journey was that of Angela. The backstory and subsequent familiar future has a tight grip on your heart. But, without spoiling too much, the unfortunate event that Angela faces in her downfall is more than heartbreaking. It hits harder because it feels far too early in the play’s voyage. Pushing it back just a tad further may be beneficial with the way flashbacks are incorporated. Scala-Zankel gives us glimpses of the tight-nit families and subculture that formed in this time. And dramaturgically, it’s a remarkable feat.
 |
| photo by Ted Alcorn |
There were some exemplary performances within the cast of Street Children. Far and away, the performance of the night belongs to JP Moraga as Angela. Moraga’s honesty and gravity in balancing the varied lives of Angela was illuminating. Angela is a complex persona and Moraga found a complete character within. As the angelic keeper of the beats Gina, Mj Rodriguez was radiant. She gave a captivating performance that left you wanting more Gina material. The way she carried herself onstage was evocative of a star on the rise. Taking on the ingénue role, Eve Lindley’s Jamie was simply stated. Like a delicate porcelain doll, Lindley found grace in Jamie without feeling false. Victor Almanzar as Terrence was hit or miss. In a way, his characterization felt closer to caricature. The excessive bursts of fury, whether written in or an acting choice, defied a complete story arc for Terrence.
There are uninformed people out there who didn’t know the history of the community. RuPaul didn’t invent the catchphrases and culture we’ve come to champion. There is a tremendous amount of lost souls and determined warriors who have stories that helped shape the bright future. But in today’s America, the struggle of acceptance in our society is ever present. Street Children is a necessary story that does more than bring awareness of a past. It’s a teaching tool that can inform our future.
Tuesday, December 13, 2016
Spotlight On...Adam Thomas Smith
Hometown: Auburn, NY
Education: BFA: Brooklyn College
Favorite Credits: I’ve really enjoyed directing this! I once directed some excerpts from "Reservoir Dogs" (the Tarantino movie) for a fundraiser and that was a blast. I’d love to do a full stage production of that.
Why theater?: Honestly, it was the only thing that’s been able to keep my attention and interest. Plus, I really enjoy working with people, collaborating and storytelling.
Tell us about Wake Up Call: Wake Up Call is loosely based on the time Veronica Cooper (co-writer/Jessica) and I spent working in hotels together and is about that time in your life when you’re trying to figure out exactly what it is to “grow up”... And Christmas… And inappropriate humor.
What inspired you to write and direct Wake Up Call?: Veronica Cooper approached me about 2 years ago with some pages about working in hotels. She’d written them to distract herself from another script she’d been working on. We talked about them, I pitched her some story ideas, and she asked me if I’d be interested in writing this with her. It was a natural fit. We have a similar sense of humor and after our first few writing sessions we found that we genuinely enjoyed working together. We had been writing with the intention of being in it together but somewhere along the way I realized I was more interested in directing it. Plus I think I’m too old to play Derek!
What kind of theater speaks to you? What or who inspires you as an artist?: Man! I really wish I had a good answer for this question. Honestly, I get inspired by almost anything. That is to say I’ll go see an amazing show and get inspired by it, obviously, but I’m just as likely to get inspiration from a silly joke someone tells me.
If you could work with anyone you’ve yet to work with, who would it be?: Umm… Daniel Day Lewis?
What show have you recommended to your friends?: The Humans, duh. Anything Annie Baker writes. And find some random off off broadway and go see it. Support independent theater.
Who would play you in a movie about yourself and what would it be called?: What’s funny about this question is that I play a game with my friends all the time about what the name of my autobiography would be. Some favorites have been “I’ll Do It Tomorrow: The Adam Thomas Smith Story” “You Grew Up On a Farm?!: The Adam Thomas Smith Story” “DO YOU GET IT?: The Adam Thomas Smith Story”. I think you’re getting a sense for the formula. As for who’d play me I want to say someone cool like Michael Fassbender or Christian Bale but it would probably be Seth Rogen… maybe Jason Segel.
If you could go back in time and see any play or musical you missed, what would it be?: There’s probably a lot but I definitely wish I could have seen the Philip Seymour Hoffman/John C Reilly True West. Or for that matter the Senise/Malkovich version.
What’s your biggest guilty pleasure?: FOOD! I love a good comfort food meal. Anything deep fried.
If you weren’t working in theater, you would be _____?: Probably a tie between Teaching and Farming (I grew up on a small dairy farm).
What’s up next?: Working on bringing back an adaptation of Hamlet I worked on with some really talented people a few years ago. Hopefully next year. And Veronica and I are hoping to write more together. Stay tuned!
For more on Adam, visit adamthomassmith.com
Monday, December 12, 2016
The Rulers: A Sneak Peek Into Rule of 7x7: The Holidays 2016 Edition
If you're looking to get your stocking stuffed, Rule of 7x7 has a holiday treat for you! This Thursday, December 15th, Rule of 7x7 will be gifting you with TWO performances at 7:00pm and 9:30pm! And without further ado, The Rulers!
Name: Brett Epstein
Hometown: Hamden, CT
Education: BA (Theatre, Writing) Providence College
What is your rule?: Each play begins with a character holding an item/prop in silence for 10 seconds. Then that character says "I think this is good" or "I think this is bad."
Why did you pick your rule?: Alex Gould told me it would be dope if all the plays had to start similarly and we see where they went from there. I totally agree.
Tell us about Holidays With Adam Driver: Adam Driver returns to his hometown to visit his two brothers who've never left their hometown. Inspired by my dear friend Cary Gitter who's reminded me of Adam Driver since I met him!
Why should people come to Rule of 7x7?: Different rules, different writers, different actors, different directors every time. But always a free beer!
New Year's Resolution for 2017?: Do a plank for 2.5 minutes.
For more on Brett, visit www.itsBrett.net
Name: Cary Gitter
Hometown: Leonia, NJ
Education: BFA and MA from NYU
What is your rule?: Somewhere in pages 8-10, the characters experience the tenderest moment of their lives.
Why did pick your rule?: Because I want to see more tenderness on the American stage.
Tell us about Big Date: Two college girls getting ready for a big double date. They're best friends. One's white, one's Latina. The night before Trump's inauguration.
Why should people come to Rule of 7x7?: Because it's the single greatest theatrical event ever conceived of, and it could have been dreamt up only by Brett Epstein.
New Year's Resolution for 2017?: Write better plays.
For more on Cary, visit https://newplayexchange.org/users/8520/cary-gitter
Name: Rosalind Grush
Hometown: Los Angeles
Education: BA from Columbia University
What is your rule?: A fart?
Why did pick your rule?: Well, the rules were due at 4pm on a Saturday. I work a lot during the week so I didn't have much time, and that particular Saturday morning, I was meeting some friends at a rugby bar because the brunch place next door was full. Turned out there was this Ireland vs New Zealand match on: Ireland hadn't won against New Zealand for 111 years and had finally beaten them the week before, and this was their first rematch after Ireland's victory. It was a shitshow. The place was packed and everyone was wasted. I sent in my rules blackout drunk, slightly before being asked if I wanted to be in a foursome with the folks at the table next to mine. To be fair to myself, farts are always funny.
Tell us about Not A Nativity Play, Part II Of Rosalind's Reproductive Cycle: I thought I would branch out from what I usually write about - abortion, which for the record I strongly support - and write about something else for a change. What's the opposite of abortion? Staying pregnant! America hates women in general, and REALLY hates pregnant women. I have known women offered almost no maternity leave (for places that even have maternity leave policies) and who haven't had jobs waiting for them on the other end of their pregnancies (or whose role is "reimagined" while they're gone and basically get forced out). Plus I've been having a lot of trouble with my health insurance and doctors lately, and odds seem pret-ty good that it's only going to get worse. And so Part II of my Reproductive Cycle was born. It's a comedy. An Odyssey comedy. A hero's journey comedy about pregnancy in America.
Why should people come to Rule of 7x7?: It's always an incredible night with lots of great people on stage and in the audience, and I can't wait to see what my wildly talented fellow writers are cooking up! And I may be biased, but also The Tank is always doing something cool.
New Year's Resolution for 2017?: FLOSS FOR THE LOVE OF GOD
For more on Rosalind, visit www.thetanknyc.org
Name: David Jackson
Hometown: Denver, CO -> KY -> NYC
Education: Fordham University
What is your rule?: "We're not that different."
Why did pick your rule?: In this post election era, I want to write about Americans coming together. Since the country seems to be coming apart at the seams. Also while I was writing my rule suggestions, I was watching an interview with Michael Che re: his "Black Jeopardy" sketch on SNL with a Trump supporter on the panel, and he said the point was, "We're not that different."
Tell us about The Conversation Not Heard 'Round The World: Donald Trump meets Barack Obama at the White House. Barack begs him to consider his own legacy, while Donald asks if he can put a bust of himself in the Oval Office. Melania Trump meets Michelle Obama and asks for parenting advice since she says, "Barron keeps playing dress up like ISIS." Chaos ensues as the two conversations we never heard come through loud and clear.
Why should people come to Rule of 7x7?: It's a great place to see several short new plays in one night. Seven, in fact! Plus there's a bar essentially on stage.
New Year's Resolution for 2017?: Do better than 2016.
Name: Rachael Mason
Hometown: New York, New York
What is your rule?: Someone quotes a poem.
Why did you pick your rule?: I chose this rule because poetry is fun!
Tell us about The Test: The Test is about a couple being put through the ultimate test.
Why should people come to Rule of 7x7?: 7x7 is such a fun and lively theater experience. It really feels like a rollercoaster and everyone is on board!
New Year's Resolution for 2017?: To learn a new language
For more on Rachael, visit https://www.youtube.com/channel/UClAwt8GaUxivVWplVBl_JCA
Name: Sam Perwin
Hometown: Miami Beach, FL
Education: B.A. in Literature from Harvard.
What is your rule?: Vitamins.
Why did pick your rule?: I wanted an everyday object that could be interpreted in many different ways: as a prop, as a moment, etc.
Tell us about Buried Treasure: It’s a strange little romp involving a dead grandfather, a skull, a long lost manuscript, and Keats. What do they all have to do with each other? Come find out!
Why should people come to Rule of 7x7?: This experience has been like putting a puzzle together, but it’s like everyone’s doing a different puzzle with the same pieces. Come see what we’ve put together!
New Year's Resolution for 2017?: More writing, more yoga.
For more on Sam, visit www.samperwin.com
Name: Lizzie Stern
Hometown: New York, NY
Education: BA: Williams College
What is your rule?: Snowman
Why did pick your rule?: Snowmen are underrepresented in the theatrical canon. My rule for next time will be snowwomen and non-binary snowpeople.
Tell us about Run Wild: Annie and Max go on a run in Prospect Park. They train for a 5K. Annie's single, mostly friendless, and dealing with an invisible mold infestation. She wants to win the race. But maybe the win she really wants isn’t the one she’s after.
Why should people come to Rule of 7x7?: You'll laugh, you’ll cry, you’ll see seven brand new plays!
New Year's Resolution for 2017?: Take more action, big and small
For more on Lizzie, visit https://newplayexchange.org/users/10962/lizzie-stern
The Rulers
Hometown: Hamden, CT
Education: BA (Theatre, Writing) Providence College
What is your rule?: Each play begins with a character holding an item/prop in silence for 10 seconds. Then that character says "I think this is good" or "I think this is bad."
Why did you pick your rule?: Alex Gould told me it would be dope if all the plays had to start similarly and we see where they went from there. I totally agree.
Tell us about Holidays With Adam Driver: Adam Driver returns to his hometown to visit his two brothers who've never left their hometown. Inspired by my dear friend Cary Gitter who's reminded me of Adam Driver since I met him!
Why should people come to Rule of 7x7?: Different rules, different writers, different actors, different directors every time. But always a free beer!
New Year's Resolution for 2017?: Do a plank for 2.5 minutes.
For more on Brett, visit www.itsBrett.net
Hometown: Leonia, NJ
Education: BFA and MA from NYU
What is your rule?: Somewhere in pages 8-10, the characters experience the tenderest moment of their lives.
Why did pick your rule?: Because I want to see more tenderness on the American stage.
Tell us about Big Date: Two college girls getting ready for a big double date. They're best friends. One's white, one's Latina. The night before Trump's inauguration.
Why should people come to Rule of 7x7?: Because it's the single greatest theatrical event ever conceived of, and it could have been dreamt up only by Brett Epstein.
New Year's Resolution for 2017?: Write better plays.
For more on Cary, visit https://newplayexchange.org/users/8520/cary-gitter
Hometown: Los Angeles
Education: BA from Columbia University
What is your rule?: A fart?
Why did pick your rule?: Well, the rules were due at 4pm on a Saturday. I work a lot during the week so I didn't have much time, and that particular Saturday morning, I was meeting some friends at a rugby bar because the brunch place next door was full. Turned out there was this Ireland vs New Zealand match on: Ireland hadn't won against New Zealand for 111 years and had finally beaten them the week before, and this was their first rematch after Ireland's victory. It was a shitshow. The place was packed and everyone was wasted. I sent in my rules blackout drunk, slightly before being asked if I wanted to be in a foursome with the folks at the table next to mine. To be fair to myself, farts are always funny.
Tell us about Not A Nativity Play, Part II Of Rosalind's Reproductive Cycle: I thought I would branch out from what I usually write about - abortion, which for the record I strongly support - and write about something else for a change. What's the opposite of abortion? Staying pregnant! America hates women in general, and REALLY hates pregnant women. I have known women offered almost no maternity leave (for places that even have maternity leave policies) and who haven't had jobs waiting for them on the other end of their pregnancies (or whose role is "reimagined" while they're gone and basically get forced out). Plus I've been having a lot of trouble with my health insurance and doctors lately, and odds seem pret-ty good that it's only going to get worse. And so Part II of my Reproductive Cycle was born. It's a comedy. An Odyssey comedy. A hero's journey comedy about pregnancy in America.
Why should people come to Rule of 7x7?: It's always an incredible night with lots of great people on stage and in the audience, and I can't wait to see what my wildly talented fellow writers are cooking up! And I may be biased, but also The Tank is always doing something cool.
New Year's Resolution for 2017?: FLOSS FOR THE LOVE OF GOD
For more on Rosalind, visit www.thetanknyc.org
Hometown: Denver, CO -> KY -> NYC
Education: Fordham University
What is your rule?: "We're not that different."
Why did pick your rule?: In this post election era, I want to write about Americans coming together. Since the country seems to be coming apart at the seams. Also while I was writing my rule suggestions, I was watching an interview with Michael Che re: his "Black Jeopardy" sketch on SNL with a Trump supporter on the panel, and he said the point was, "We're not that different."
Tell us about The Conversation Not Heard 'Round The World: Donald Trump meets Barack Obama at the White House. Barack begs him to consider his own legacy, while Donald asks if he can put a bust of himself in the Oval Office. Melania Trump meets Michelle Obama and asks for parenting advice since she says, "Barron keeps playing dress up like ISIS." Chaos ensues as the two conversations we never heard come through loud and clear.
Why should people come to Rule of 7x7?: It's a great place to see several short new plays in one night. Seven, in fact! Plus there's a bar essentially on stage.
New Year's Resolution for 2017?: Do better than 2016.
Hometown: New York, New York
What is your rule?: Someone quotes a poem.
Why did you pick your rule?: I chose this rule because poetry is fun!
Tell us about The Test: The Test is about a couple being put through the ultimate test.
Why should people come to Rule of 7x7?: 7x7 is such a fun and lively theater experience. It really feels like a rollercoaster and everyone is on board!
New Year's Resolution for 2017?: To learn a new language
For more on Rachael, visit https://www.youtube.com/channel/UClAwt8GaUxivVWplVBl_JCA
Hometown: Miami Beach, FL
Education: B.A. in Literature from Harvard.
What is your rule?: Vitamins.
Why did pick your rule?: I wanted an everyday object that could be interpreted in many different ways: as a prop, as a moment, etc.
Tell us about Buried Treasure: It’s a strange little romp involving a dead grandfather, a skull, a long lost manuscript, and Keats. What do they all have to do with each other? Come find out!
Why should people come to Rule of 7x7?: This experience has been like putting a puzzle together, but it’s like everyone’s doing a different puzzle with the same pieces. Come see what we’ve put together!
New Year's Resolution for 2017?: More writing, more yoga.
For more on Sam, visit www.samperwin.com
Hometown: New York, NY
Education: BA: Williams College
What is your rule?: Snowman
Why did pick your rule?: Snowmen are underrepresented in the theatrical canon. My rule for next time will be snowwomen and non-binary snowpeople.
Tell us about Run Wild: Annie and Max go on a run in Prospect Park. They train for a 5K. Annie's single, mostly friendless, and dealing with an invisible mold infestation. She wants to win the race. But maybe the win she really wants isn’t the one she’s after.
Why should people come to Rule of 7x7?: You'll laugh, you’ll cry, you’ll see seven brand new plays!
New Year's Resolution for 2017?: Take more action, big and small
For more on Lizzie, visit https://newplayexchange.org/users/10962/lizzie-stern
Blog Hijack: Ty Jones on The First Noel
In today's Blog Hijack, Ty Jones, Producing Artistic Director of Classical Theatre of Harlem talks about The First Noel!
Creating a Holiday Classic Uptown - Classical Theatre of Harlem’s and The Apollo Team Up to Present The First Noel
by Ty Jones - Producing Artistic Director Classical Theatre of Harlem
From Rockefeller Center to 5th avenue window displays to holiday markets, the holidays are truly a magical time in New York. One of the hallmarks of the season in NYC are the wonderful holiday shows that people from near and far can enjoy. When I looked at that landscape of existing shows, I realized that we could contribute to that by offering a distinctly uptown holiday show that embodies the spirit of the season - and there is no better partner to team with than the World Famous Apollo theater. We want Harlem to be a destination site for holiday entertainment for New Yorkers and the city’s visitors alike, and believe that our production of The First Noel has the potential to become a classic to complement those presented downtown like The Nutcracker or A Christmas Carol.
To the Mainstage:
The Classical Theater of Harlem’s The First Noel premiered last year on The Apollo’s soundstage, but this year we’ve made a huge move to the mainstage which is a mammoth 1,500-seat theater. This is momentous for our company, the cast and crew. It’s such an honor to be able to present on this legendary stage.
Harlem’s Holiday Classic:
The Classical Theatre of Harlem seeks to move people in heartfelt and meaningful ways. What we hope people walk away with after seeing The First Noel is to remember that no matter how difficult and demanding life may be, together, we can find our way out of any adversity. This story, which follows three generations of a Harlem family affected by tragedy, shows how a community is healed and exemplifies how ordinary people can do extraordinary things to help one another receive the gift of love at Christmas time. The musical features original music and re-imagined classic carols—ranging from pop to jazz to gospel. Let me just say, a profound story with powerful voices equal a memorable night in the theater!
Performances of The First Noel take place at the Apollo Theater Mainstage (253 West 125th Street, Harlem, NYC). The production is part of the “Holidays at the Apollo” family-friendly programming series. Recommended for ages 5+.
Tickets are available at The Apollo Theater Box Office: 212-531-5305 (253 West 125th Street) and via Ticketmaster.com: 1-800-745-3000. Group Sales: 212-531-5355. Tickets range in price from $30 - $65. Apollo Advantage member pricing: $30 - $40. To learn more, visit: https://www.apollotheater.org/firstnoel/
Creating a Holiday Classic Uptown - Classical Theatre of Harlem’s and The Apollo Team Up to Present The First Noel
by Ty Jones - Producing Artistic Director Classical Theatre of Harlem
From Rockefeller Center to 5th avenue window displays to holiday markets, the holidays are truly a magical time in New York. One of the hallmarks of the season in NYC are the wonderful holiday shows that people from near and far can enjoy. When I looked at that landscape of existing shows, I realized that we could contribute to that by offering a distinctly uptown holiday show that embodies the spirit of the season - and there is no better partner to team with than the World Famous Apollo theater. We want Harlem to be a destination site for holiday entertainment for New Yorkers and the city’s visitors alike, and believe that our production of The First Noel has the potential to become a classic to complement those presented downtown like The Nutcracker or A Christmas Carol.
To the Mainstage:
The Classical Theater of Harlem’s The First Noel premiered last year on The Apollo’s soundstage, but this year we’ve made a huge move to the mainstage which is a mammoth 1,500-seat theater. This is momentous for our company, the cast and crew. It’s such an honor to be able to present on this legendary stage.
Harlem’s Holiday Classic:
The Classical Theatre of Harlem seeks to move people in heartfelt and meaningful ways. What we hope people walk away with after seeing The First Noel is to remember that no matter how difficult and demanding life may be, together, we can find our way out of any adversity. This story, which follows three generations of a Harlem family affected by tragedy, shows how a community is healed and exemplifies how ordinary people can do extraordinary things to help one another receive the gift of love at Christmas time. The musical features original music and re-imagined classic carols—ranging from pop to jazz to gospel. Let me just say, a profound story with powerful voices equal a memorable night in the theater!
The 10-show performance schedule for The First Noel is:
Saturday, December 10 at 7:30pm
Sunday, December 11 at 5pm early evening
Monday, December 12 (DARK)
Tuesday, December 13 at 7:30pm (OPENING NIGHT)
Wednesday, December 14 at 2pm matinee
Wednesday, December 14 at 7:30pm
Thursday, December 15 at 7:30pm
Friday, December 16 at 7:30pm
Saturday, December 17 at 2pm matinee
Saturday, December 17 at 7:30pm
Sunday, December 18 at 2pm matinee
Performances of The First Noel take place at the Apollo Theater Mainstage (253 West 125th Street, Harlem, NYC). The production is part of the “Holidays at the Apollo” family-friendly programming series. Recommended for ages 5+.
Tickets are available at The Apollo Theater Box Office: 212-531-5305 (253 West 125th Street) and via Ticketmaster.com: 1-800-745-3000. Group Sales: 212-531-5355. Tickets range in price from $30 - $65. Apollo Advantage member pricing: $30 - $40. To learn more, visit: https://www.apollotheater.org/firstnoel/
Sunday, December 11, 2016
Review: Latrice's Holiday Surprise
By Michael Block
Deck the halls with one of the most fabulous Drag Race alumnus. The big and brazen Latrice Royale brings some holiday joy, and some special guests, to the Laurie Beechman in Why It Gotta Be White Christmas?
An evening of song and banter, Latrice asks the age-old question why does it have to be a white Christmas. Sharing tales of holidays in Compton and her feelings after her very first snow, Latrice brings down the house with her booming vocal and an exuberance of charisma. The evening was mostly made up of classic Christmas jingles mixed with some hilarious parodies in the form of turning “Winter Wonderland” into a ditty about wearing women’s underwear and the show stopping “12 Gays of Christmas.” What made the latter a smash was the character cameo of the Kennedy Davenport created Merlene Watkins. The big-behind church lady put Kennedy’s comedy on display. Vowing to be a good Christian woman, Kennedy’s Merlene had no problem upstaging Latrice. And Latrice let her. When she returned as Kennedy, she showed off her pristine vocal skills. If this wasn’t a plea for her own headlining show at the Laruie Beechman, I don’t know what is! Though neither outfit read as holiday attire to the blind eye, Latrice and Kennedy both shimmered on stage in their stones. The overall pacing of the show felt a bit slow with a lack of content. Perhaps a song or two more was what was desired. And in the spirit of the holidays, an uptempo encore is what would have capped off the night best.
Why It Gotta Be White Christmas? was a nice holiday treat. There’s a little bit of joy for everyone. But the biggest gift of the night was Latrice’s holiday guest, Kennedy Davenport.
Deck the halls with one of the most fabulous Drag Race alumnus. The big and brazen Latrice Royale brings some holiday joy, and some special guests, to the Laurie Beechman in Why It Gotta Be White Christmas?
Why It Gotta Be White Christmas? was a nice holiday treat. There’s a little bit of joy for everyone. But the biggest gift of the night was Latrice’s holiday guest, Kennedy Davenport.
Review: A Comedy That Will Make You "AHHHHH!"
By Michael Block
We all remember the early 90s holiday classic "Home Alone." You know, the madcap comedy about a family who forgets the youngest kid when packing the courtesy van thusly leaving him home alone. The film was the launching pad of child actor Macaulay Culkin as well as the infamous line: "Ahhhhhhh!" Comedy troop Recent Cut Backs takes the flick, condenses it into sixty minutes, and reminds the audience just why we love the movie. The parody, playing The Pit, is nostalgia to the max with multi media devices, puppetry, and foley work that brings laughs and smiles from start to finish. Kevin!!!!! is virtually a jam- packed highlight reel of "Home Alone" through non-stop comedy. There's no shortage of creativity on the stage. This is one of those shows where one mistake will cause a domino effect of chaos. It's evident that director Kristin McCarthy Parker anticipated every single detail with great thought as, even with at high-tempo, everything felt purposeful. With an intricate set up of lights, live-feed projections, and the tiniest of sets and puppets manage to find a home on stage. At first glance, it all looks like a jankity middle school science experiment but once the lights rise and the choir sing, it’s off to the races. Kevin!!!!! is a show that relies heavy on the source material. Pray you remember it all or you will certainly be left alone. With so many characters to track, it starts off in a whirlwind. And perhaps that’s the point. It goes so fast, you’ll likely miss some of the tiniest jokes that come through the projected set. There are some slight inconsistencies between puppet, projection, and human, but they seem to be forgiven for laughs. And remaking the pranks that Kevin plays on Harry and Marv are as good as they can possibly be.
There is no way to get off the rollercoaster once it starts. The four animators and the four piece Choir keep the car on track without ever crashing. Not even the slightest of wire entanglements can derail this company. Taking the central role of Kevin, Nick Abeel masters the vocals with ease. Sporting Kate McAllister’s iconic nasty-colored blazer, Natalie Rich captured the cadence and mannerisms of Catherine O’Hara’s character. It was a character to study that you have to see to believe. What you have to remember with a show like this, with as much action as there is, there needs to be something underneath. The pulse of the play came in the form of the Choir, comprised of Sarah Godwin, Evan Maltby, Richard Sears, and Michelle Vo. The quartet serves up helpings of acapella underscoring and the occasional comical sound effect.
Recent Cutbacks has upped the parody game once again with Kevin!!!!! If you’re a fan of the film, this is the perfectly crafted homage to get you in the holiday mood. You just might need a shot of 5 Hour Energy to keep up with the highlights of “Home Alone.”
We all remember the early 90s holiday classic "Home Alone." You know, the madcap comedy about a family who forgets the youngest kid when packing the courtesy van thusly leaving him home alone. The film was the launching pad of child actor Macaulay Culkin as well as the infamous line: "Ahhhhhhh!" Comedy troop Recent Cut Backs takes the flick, condenses it into sixty minutes, and reminds the audience just why we love the movie. The parody, playing The Pit, is nostalgia to the max with multi media devices, puppetry, and foley work that brings laughs and smiles from start to finish. Kevin!!!!! is virtually a jam- packed highlight reel of "Home Alone" through non-stop comedy. There's no shortage of creativity on the stage. This is one of those shows where one mistake will cause a domino effect of chaos. It's evident that director Kristin McCarthy Parker anticipated every single detail with great thought as, even with at high-tempo, everything felt purposeful. With an intricate set up of lights, live-feed projections, and the tiniest of sets and puppets manage to find a home on stage. At first glance, it all looks like a jankity middle school science experiment but once the lights rise and the choir sing, it’s off to the races. Kevin!!!!! is a show that relies heavy on the source material. Pray you remember it all or you will certainly be left alone. With so many characters to track, it starts off in a whirlwind. And perhaps that’s the point. It goes so fast, you’ll likely miss some of the tiniest jokes that come through the projected set. There are some slight inconsistencies between puppet, projection, and human, but they seem to be forgiven for laughs. And remaking the pranks that Kevin plays on Harry and Marv are as good as they can possibly be.
Recent Cutbacks has upped the parody game once again with Kevin!!!!! If you’re a fan of the film, this is the perfectly crafted homage to get you in the holiday mood. You just might need a shot of 5 Hour Energy to keep up with the highlights of “Home Alone.”
Review: Get Wild on Planet Wongo
By Kaila M. Stokes
First off, what a fun title! Wild Women of Planet Wongo lives up to their fun title indeed! This is a wacky adventure that is audience interactive with booze! Walking into the world of Wongo you are handed a strong wongo-tini beverage to lube up your sense of excitement. The theater, located at Parkside Lounge, is quite unique. It is in the back of a bar, but is spacious and open. Seats surround the edge of the stage in a theater in the round style, but mostly people stand and are moving around constantly. The show begins with two men in-route to deliver space chips, basically they are glorified space UPS. Their space ship crashes on none other than Planet Wongo. Planet Wongo is inhabited by sexy women who worship a goddess that specifically stipulates these women need to have sex with men!
If you’re super sensitive to the whole feminism movement, it might not be the show for you. But the music sure is catchy. All of the actors did a fantastic job with the songs and choreography, especially in such a small space. The audience is totally immersed in the show allowing pictures to be taken and light banter when the time calls for it. The real stand out character is the queen of Planet Wongo. Her voice was stellar and she commanded that stage and audience…like a queen! A program should have been handed out at the end so all of the talented actors could have been recognized.
The set consisted of stretched grey material across the walls and then five TV’s set up around the room. These TV’s showed the terrain of the planet and other plot important information. It was a creative use of the space and of the futuristic time period. The actors interactive with the TV’s and they also provided useful points for the audience as well.
Wild Women of Planet Wongo is an exciting show to see with friends, with drinks, and with a sense of humor! There is no serious plot or heavy demeanor here. Go, let your hair down, dance with a stranger, drink an unknown concoction, and enjoy the movement that is … immersive theater.
First off, what a fun title! Wild Women of Planet Wongo lives up to their fun title indeed! This is a wacky adventure that is audience interactive with booze! Walking into the world of Wongo you are handed a strong wongo-tini beverage to lube up your sense of excitement. The theater, located at Parkside Lounge, is quite unique. It is in the back of a bar, but is spacious and open. Seats surround the edge of the stage in a theater in the round style, but mostly people stand and are moving around constantly. The show begins with two men in-route to deliver space chips, basically they are glorified space UPS. Their space ship crashes on none other than Planet Wongo. Planet Wongo is inhabited by sexy women who worship a goddess that specifically stipulates these women need to have sex with men!
If you’re super sensitive to the whole feminism movement, it might not be the show for you. But the music sure is catchy. All of the actors did a fantastic job with the songs and choreography, especially in such a small space. The audience is totally immersed in the show allowing pictures to be taken and light banter when the time calls for it. The real stand out character is the queen of Planet Wongo. Her voice was stellar and she commanded that stage and audience…like a queen! A program should have been handed out at the end so all of the talented actors could have been recognized.The set consisted of stretched grey material across the walls and then five TV’s set up around the room. These TV’s showed the terrain of the planet and other plot important information. It was a creative use of the space and of the futuristic time period. The actors interactive with the TV’s and they also provided useful points for the audience as well.
Wild Women of Planet Wongo is an exciting show to see with friends, with drinks, and with a sense of humor! There is no serious plot or heavy demeanor here. Go, let your hair down, dance with a stranger, drink an unknown concoction, and enjoy the movement that is … immersive theater.
Review: Meh Charity
By Michael Block
You may hate to play the "compare and contrast" game but sometimes you just have to. You always have to applaud artists for examining a text and interpreting it in a drastically innovative manner. But sometimes it becomes so unrecognizable that it turns into a new show. And that certainly happens when a libretto is adjusted to create a new narrative. In The New Group's darker revival of Sweet Charity, the titular character is down on her luck in the love department. But this production gets tickled by that fickle finger of fate. And if you're looking for anything resembling the Sweet Charity you know and love, then that finger will be wagging in your face to taunt you.
With book by Neil Simon, music by Cy Coleman, and lyrics by Dorothy Fields, Sweet Charity is the swirling musical comedy about Charity Hope Valentine, a taxi dancer at the Fandango Ballroom, as her trust in love and hope of a new life continues to crumble. When fate starts to go her way, Charity not only gets a man, but also the potential a life better than this. You can tell this was going to be a different Charity simply by the show art. In comparing revivals, the 2005 Christina Applegate-led revival was bright and colorful. This one is dark, dark, dark! Director Leigh Silverman took a drastic turn in her interpretation. Silverman avoided the typical musical theater approach, infusing a methodology that makes more sense when staging a straight play. Her scene work was profound. But this is, at the end of the day, musical comedy. The inconsistencies from libretto to score were blaring. It's almost as if Silverman wanted to do a play version but settled for the inclusion of music. The brazen change of moving “Where Am I Going” to the end of the play altered Charity's narrative distinctly. It brings out a poignant commentary: Silverman clearly was interested in exploring turning Sweet Charity into something slightly unfamiliar. But you simply can’t fault her for consistency. There’s a natural physical comedy that enriches this story. It needed more. The few bits that were present had the audience in stitches. That’s when this show worked.
The pared-down production certainly shattered that expectation of big budget bravado. The minimalistic approach pulled focus into the little details, whether good, bad, or indifferent. Silverman and her team, filled to the brim with an exuberant amount of talent, depended on realism far too much. The only member of the team to rightly match the text with their bursts of color was lighting designer Jeff Croiter. His looks captured the essence of Simon's bubbly text and Fields and Coleman's splashy score. If you wanted color, unfortunately Clint Ramos' costumes didn't deliver. To match Silverman's direction, Ramos provided a muted color pallet. Though the all-white looks for the Frug dancers was the grand highlight of his design. The dreariness was a major bummer, but nothing was more disappointing than the ill-fitting frock Ramos put on Sutton Foster. If ever reality played a role in the design, it was when Foster danced her way through the show. Her dress would fly up, exposing the matching violet underwear. If it took you out of the show, you’re not alone. Derek McLane’s scenic design was sleek and simple and included some period-inspired realistic elements. Namely, the carnival ride. Silverman was able to have her company move the pieces well and she utilized McLane’s design to the max. It was one of the only things that was simple and effective. When you think of Sweet Charity, you can't help but think of Bob Fosse. No matter what, you can’t escape the grand influence he has on the show. Choreographer Joshua Bergasse clearly knew the origin and the inspirations, but chose a new direction to explore. Rather than pay homage to Fosse, Bergasse opted for storytelling through choreography. There were certainly shades of Fosse in the grossly truncated rendition of "Rich Man's Frug," but those Fosse fans in the audeince will be deeply disappointed. Sure, “If My Friends Could See Me Now” showcased the powerhouse dancer that Sutton Foster is, but you forget about the number when you compare it to the wasted opportunities Bergasse presented throughout. Namely the iconic “Big Spender.” The number lacked the razzle dazzle, instead offered a conveyer belt of merchandise where the girls, pinned with a number, sit in a chair, walk in a circle, and come into the audience a bit. This was the moment where Sweet Charity truly fell apart. It’s enriching to look up in the band rafters to see the entire orchestra comprised of all females, led by music director Georgia Stitt. But it wasn’t nearly enough to cover up Mary-Mitchell Campbell’s dinky orchestrations.
On the surface, casting Sutton Foster as Charity Hope Valentine is an odd casting choice. But there’s no denying that Sutton Foster made the character her own for a Charity like no other. Playing up the hopeful pushover, her Charity was a bit of a goofy rag doll without the spunk and tenacity others in the role have brought. But what Foster did manage to do was bring a level of newfound empathy. Alongside Foster, Shuler Hensley captured the sad sack Oscar with great ease, though genuine chemistry proved just how unusual this pairing was. Rather than spread the wealth in casting, this revival used an everyman to play the male roles, including Herman, Vittorio Vidal, and Daddy. Utility player Joel Perez has a wealth of range, crafting a unique identity for each. It just called attention to the peculiarities of having a singular actor in these varied parts. Asmeret Ghebremichael and Emily Padgett provided a glimmer of hope as Nicki and Helene respectively. Nikka Graff Lanzarone epitomized the essence of Ursula just in the way she strutted around on stage.
If you’re a purist, this is not the production for you. If you’re looking for a little grit in your musical theater comedy, this may be the Sweet Charity you’ve been waiting for. Overall, it was a little too lukewarm for my liking.
You may hate to play the "compare and contrast" game but sometimes you just have to. You always have to applaud artists for examining a text and interpreting it in a drastically innovative manner. But sometimes it becomes so unrecognizable that it turns into a new show. And that certainly happens when a libretto is adjusted to create a new narrative. In The New Group's darker revival of Sweet Charity, the titular character is down on her luck in the love department. But this production gets tickled by that fickle finger of fate. And if you're looking for anything resembling the Sweet Charity you know and love, then that finger will be wagging in your face to taunt you.
With book by Neil Simon, music by Cy Coleman, and lyrics by Dorothy Fields, Sweet Charity is the swirling musical comedy about Charity Hope Valentine, a taxi dancer at the Fandango Ballroom, as her trust in love and hope of a new life continues to crumble. When fate starts to go her way, Charity not only gets a man, but also the potential a life better than this. You can tell this was going to be a different Charity simply by the show art. In comparing revivals, the 2005 Christina Applegate-led revival was bright and colorful. This one is dark, dark, dark! Director Leigh Silverman took a drastic turn in her interpretation. Silverman avoided the typical musical theater approach, infusing a methodology that makes more sense when staging a straight play. Her scene work was profound. But this is, at the end of the day, musical comedy. The inconsistencies from libretto to score were blaring. It's almost as if Silverman wanted to do a play version but settled for the inclusion of music. The brazen change of moving “Where Am I Going” to the end of the play altered Charity's narrative distinctly. It brings out a poignant commentary: Silverman clearly was interested in exploring turning Sweet Charity into something slightly unfamiliar. But you simply can’t fault her for consistency. There’s a natural physical comedy that enriches this story. It needed more. The few bits that were present had the audience in stitches. That’s when this show worked.
 |
| photo by Monique Carboni |
On the surface, casting Sutton Foster as Charity Hope Valentine is an odd casting choice. But there’s no denying that Sutton Foster made the character her own for a Charity like no other. Playing up the hopeful pushover, her Charity was a bit of a goofy rag doll without the spunk and tenacity others in the role have brought. But what Foster did manage to do was bring a level of newfound empathy. Alongside Foster, Shuler Hensley captured the sad sack Oscar with great ease, though genuine chemistry proved just how unusual this pairing was. Rather than spread the wealth in casting, this revival used an everyman to play the male roles, including Herman, Vittorio Vidal, and Daddy. Utility player Joel Perez has a wealth of range, crafting a unique identity for each. It just called attention to the peculiarities of having a singular actor in these varied parts. Asmeret Ghebremichael and Emily Padgett provided a glimmer of hope as Nicki and Helene respectively. Nikka Graff Lanzarone epitomized the essence of Ursula just in the way she strutted around on stage.
If you’re a purist, this is not the production for you. If you’re looking for a little grit in your musical theater comedy, this may be the Sweet Charity you’ve been waiting for. Overall, it was a little too lukewarm for my liking.
Friday, December 9, 2016
Blog HIjack: Genesis and the Keystone
Taking over Theater in the Now is Sam Tilles to talk about the journey of his new play Genesis!
Hey Folks! My name is Sam Tilles— I’m a playwright based in Harlem, and am producing a new piece I’ve been writing the past few years.
It is called Genesis, and is based on a month-long journey I took down the Keystone XL Pipeline route. It is entirely in rhymed verse, and is a farcical adaptation of the Bible’s creation myth. The play is a joyful, poetic exploration of civilization, and provides a new look at how our culture relates to nature, government, mind, and spirit.
The story revolves around King Jehova and his endeavors in creating Eden, the utopic realm of his imagination. To give you a sense of what we’re dealing with, I’ve included a clip of the script below:
Eternal truth shone down from He, to last.
But time’s gone by, time’s hue hath been changed.
Each waking hour ever more deranged—
The fake clouds rustle again.
The king curses behind the wall.
The clouds open clumsily. A long piece of paper is stuffed through.
The King stumbles through the portal, injuring himself. Adam embraces him.
Comes armed with more Truth for me to ponder!
Wouldst thou, son, take this imperfect segue?
The King spits blood.
Adam:
Blood methinks you just spat!
Immortals bleed, when with mortals, enmeshed.
And have heard your desperate, longing calls.
No longer appear, my faith’s strong enough.
Well, to guide you onward I’ve brought this scroll.
Many questions of yours it will answer,
Pockets of truth, sealed in realms of wonder.
This is the story of your creation,
My true nature is constantly mentioned.
But unable to read, I’m woeful.
Thou thinks I give with no study, no pew?
But Adam smiled the entire afternoon.
King climbs up through the hole.
King Exits.
People often ask me why I wrote an adaptation of Genesis after my journey down Keystone XL. I think seeing the play will be a sufficient answer to this question, but I’ll endeavor to provide a look into how they relate.
On the journey I frequently examined the polarized arguments orbiting Keystone. The power of narrative became abundantly clear; people seemed to support the pipeline insofar as they embraced the Fossil Fuel Industry’s myth of Economic Security (and its denial of Climate Change).
Through the perspective of narrative, the relationship between Genesis and Keystone becomes clear. “Yahweh” of the Old Testament designs the universe for mankind, and the Fossil Fuel Industry dictates much of the direction of our civilization. Both forces are monarchic, and both advocate anthropocentric perspectives of the world.
Unlike its supporters, Keystone’s opponents adopted a plurality of narratives. These ranged from the Indigenous Prophecy of the “Black Snake,” to Climate Change, to simply not wanting land and water ruined by a pipeline spill. Indeed, these narratives differed, but the concern for habitable land and clean water unified them. Their synthesis gave fruit to the “Cowboy and Indian Alliance”—something I found particularly beautiful.
The anthropocentric parallels between Keystone and Genesis struck me to the core. Could writing a play about Genesis somehow stimulate a more harmonious relationship to the natural world? I’m hoping to find out! If you would like to support our production, please visit our Kickstarter Campaign at Bit.ly/VerseofGenesis (case sensitive). A pledge of any size or a share on Facebook/Twitter would be most appreciated!
-Sam
Hey Folks! My name is Sam Tilles— I’m a playwright based in Harlem, and am producing a new piece I’ve been writing the past few years.
It is called Genesis, and is based on a month-long journey I took down the Keystone XL Pipeline route. It is entirely in rhymed verse, and is a farcical adaptation of the Bible’s creation myth. The play is a joyful, poetic exploration of civilization, and provides a new look at how our culture relates to nature, government, mind, and spirit.
The story revolves around King Jehova and his endeavors in creating Eden, the utopic realm of his imagination. To give you a sense of what we’re dealing with, I’ve included a clip of the script below:
Adam:
How moving was that moment in the past,Eternal truth shone down from He, to last.
But time’s gone by, time’s hue hath been changed.
Each waking hour ever more deranged—
The fake clouds rustle again.
Adam:
What’s this? An incoming premonition?The king curses behind the wall.
Adam:
Come forth lord! My spiritual ascension!The clouds open clumsily. A long piece of paper is stuffed through.
The King stumbles through the portal, injuring himself. Adam embraces him.
Adam:
O, it is my God! My lord protector—Comes armed with more Truth for me to ponder!
King:
Transition hath lent me an injured leg,Wouldst thou, son, take this imperfect segue?
Adam:
Through clouds, beyond the walls?
King:
Don’t answer that.The King spits blood.
King:
Fetch me that stick,Adam:
Blood methinks you just spat!
King:
Aye, the realm of spirit doth harm the flesh.Immortals bleed, when with mortals, enmeshed.
Adam:
Then why hast thou made the journey to me?
King:
This scroll is—I mean, because I love thee.And have heard your desperate, longing calls.
Adam:
Nay lord, it is I who hath caused your fall,No longer appear, my faith’s strong enough.
King:
Very well, Adam. My most trusted son.Well, to guide you onward I’ve brought this scroll.
Adam:
A scroll! What’s it say?
King:
You will soon be told.Many questions of yours it will answer,
Pockets of truth, sealed in realms of wonder.
This is the story of your creation,
My true nature is constantly mentioned.
Adam:
A truer nature than I’ve seen in here?
King:
Stretching beyond flesh and time my reign’s clear.
Adam:
For your gift I’m eternally grateful,But unable to read, I’m woeful.
King:
Fear not, noble child, I’ll read it to you.Thou thinks I give with no study, no pew?
Myriad:
The reading lasted till the rising moon,But Adam smiled the entire afternoon.
King climbs up through the hole.
King:
Back to heaven I go, take care, have fun!
Adam:
Smile upon me in the realm of the sun!King Exits.
People often ask me why I wrote an adaptation of Genesis after my journey down Keystone XL. I think seeing the play will be a sufficient answer to this question, but I’ll endeavor to provide a look into how they relate. On the journey I frequently examined the polarized arguments orbiting Keystone. The power of narrative became abundantly clear; people seemed to support the pipeline insofar as they embraced the Fossil Fuel Industry’s myth of Economic Security (and its denial of Climate Change).
Through the perspective of narrative, the relationship between Genesis and Keystone becomes clear. “Yahweh” of the Old Testament designs the universe for mankind, and the Fossil Fuel Industry dictates much of the direction of our civilization. Both forces are monarchic, and both advocate anthropocentric perspectives of the world.
Unlike its supporters, Keystone’s opponents adopted a plurality of narratives. These ranged from the Indigenous Prophecy of the “Black Snake,” to Climate Change, to simply not wanting land and water ruined by a pipeline spill. Indeed, these narratives differed, but the concern for habitable land and clean water unified them. Their synthesis gave fruit to the “Cowboy and Indian Alliance”—something I found particularly beautiful. The anthropocentric parallels between Keystone and Genesis struck me to the core. Could writing a play about Genesis somehow stimulate a more harmonious relationship to the natural world? I’m hoping to find out! If you would like to support our production, please visit our Kickstarter Campaign at Bit.ly/VerseofGenesis (case sensitive). A pledge of any size or a share on Facebook/Twitter would be most appreciated!
-Sam
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