Review: The Best Film Ever Deconstructed

By Ed Malin

CasblancaBox is a riveting, immersive theatrical collage about the making of the classic film “Casablanca”.  Playwright Sara Farrington and Director Reid Farrington developed the piece over the last three years through HERE’s Artist Residency Program.  The large ensemble carries around translucent screens, onto which portions of the finished film are projected while, right behind the screens, live performers stage and voice the same scenes.  It is wonderfully disorienting to try to focus on any particular part of the stage (as the film camera would ask us to do) while so much else is going on.  There was a lot of drama happening off the set, as well, which this masterful production shows.
 It is 1942 on the set of Hungarian-American director Michael Curtiz’s (Kevin R. Free) film, “Casablanca” at Warner Brothers Studios.  The United States had entered World War II only a few months prior, and this particular film, adapted from an earlier, unproduced stage play taking the side of the French against the Germans, had been rushed into production.  Curtiz, who has worked with Erroll Flynn in “The Adventures of Robin Hood” and recreated enormous battle scenes in “The Charge of the Light Brigade” which left hundreds of horses dead, would never have imagined the challenges of his current project.   The script is not finished.  A team of four writers argue with each other as they fight through several drafts of an ending.  Each new version is scrutinized by the censors, who scent infidelity both on and off the set. Peter Lorre (Rob Hille), the famous Austro-Hungarian actor, must hide in his dressing room to immerse himself in each new draft while dodging the ghosts afflicting his psyche.  Leading man Humphrey Bogart (Roger Casey) is occasionally visited by his intoxicated wife, the former actress Mayo Methot (Erin Treadway), who accuses her husband of having an affair. Bogart, who would not begin his affair with his next wife, Lauren Bacall, for several years, is nevertheless having trouble focusing on love scenes with co-star Ingrid Bergman (Catherine Gowl), and even laments to Curtiz that he may have done better with a different contemporary film star like Ronald Reagan. Curtiz takes this moment to teach Bogart how to kiss a woman onscreen: first, stare at her but focus on one of her eyes, then move closer, switching to her other eye.  Apocryphal or not, these stories are joyfully hilarious.
The production moves at high speed through many scenes of the film, showing us the disillusionment of some cast members. Gregory Gaye (Gabriel Diego Hernández), once a famous Austrian actor and now a refugee, is told to be happy playing a caricature of a Nazi in Hollywood.  Lukas (Matt McGloin), a German, assures Gaye that they are lucky to be “atmosphere” for the rest of a film, just like a lamp.  Adrianna (Annemarie Hagenaars),  a refugee from Poland, has a mind to attack Gaye for the crimes of the Third Reich, while he insists that as an Austrian he is not responsible.  Dooley Wilson as Sam the pianist (Toussaint Jeanlouis) has a few problems.  He is a drummer sent to this film to fulfill his studio contract; Curtiz learns mid-way through the shoot that Dooley’s famous playing of “As Time Goes By” and other songs is being done by another musician and dubbed into the final cut, although since both musicians are African-American, they can get away with paying them so little that the expense can be overlooked.  Ingrid Bergman longs for the stormy neo-realism of Italian cinema; her subsequent collaboration and romantic relationship with director Roberto Rossellini (Zac Hoogendyk) is summarized against the backdrop of an active volcano.  An airplane prop is built out of rationed cardboard and is so small that midget actors are hired to play mechanics and correct the scale.

And yes, what of the elusive ending?  Lenore Coffee (Lynn R. Guerra) is the only “dame” among the screenwriters.  Her colleagues, Howard Koch (Kyle Stockburger), Julius Epstein (Jon Swain) and Philip Epstein (Adam Patterson) fight with her constantly. Paul Henreid (Matt McGloin), who plays Resistance hero Victor Laszlo, demands that per his Warner Brothers contract he must get the girl.  The ending is rewritten and staged for us several times. We see the psychological brilliance which emerges from the struggle and eventual united front of the writers.  (The script of the original play is available online; it, too, has a very different ending.)  The outstanding ensemble show us a simple way to say everything that was contemplated in the previous drafts.  As an example, “Here’s looking at you, kid” replaced many sentences of florid dialogue.  We even get to witness the ecstasy of the scene where the residents of Casablanca under German occupation proudly sing the French national anthem, “La Marseillaise”.
Rejoice, fans of the film.  What may have been one of hundreds of movies to come out of the Hollywood studio system in 1942 is celebrated in this production as a classic, with just a little sardonic humor.  The plight of refugees trying to flee Europe and Northern Africa is again a reason to appreciate the story.  Hats off to the Farringtons for realizing this breakneck journey through the creation of “Casablanca”, which at 90 minutes packs so very much into a running time which is slightly shorter than that of the film. Laura Mroczkowski’s lighting is essential for the jumps between scenes and for the old-time film feel.  Roger Casey uses his style and fine-tuned voice to out-Bogart Bogart.  Kevin R. Free as Curtiz really knows how to turn on the charm and how to believably crack under pressure, as one does when there isn't even time to round up the usual suspects.  Zac Hoogendyk delightfully channels the jovially amoral French Captain Renault played by Claude Rains.

Review: Making a Surreal and Just World

By Ed Malin

Ildiko Nemeth and New Stage Theatre Company have a new avant-grade and socially relevant show called The Rules, which draws on the play of the same name by Charles Mee as well as "Invisible Man" by Ralph Ellison. The show features an ensemble of provocatively-dressed characters who are by turns colonial aristocrats and oppressed indigenous persons and other minorities. The soundtrack includes Leonard Cohen, Nina Simone, and the Weimar cabaret stylings of Mischa Spoliansky.

An Indian Grandma (Gloria Miguel, a founding member of Spiderwoman Theater) calmly theorizes about why Pre-Columbian natives of the Americas are seen by Europeans as wild animals needing to be tamed.  In this intriguing oration, the white man wants land and sees anyone taking up land as an animal, as opposed to the enslaved Negro laborer who would be seen as a machine.  Did the white man's disproportionate efforts to take the natives' culture away succeed? While the effete colonials (Adam Boncz, Zachary Alexander, Brian Linden, Dana Boll, Conor Weiss, Markus Hirnigel) acknowledge past difficulties (such as the Pilgrims at Plymouth Rock possibly digging up their own dead to consume during times of famine), they are by now blasé. Unfortunately, the world that Western Capitalism and Imperialism created does not offer freedom even for its constituents.  The charming Danielle Hauser and Jeanne Smith demonstrate onstage how one is supposed to act as a woman in this world.
Tom Martin adds a most appropriate discourse from Ralph’s Ellison’s novel, “Invisible Man”, about the self-empowerment of African-Americans.  Brandon Olson’s character uses language that defines herself as female, and further broadens our minds about the role of women.  The masses rise in protest, to a background of slogans and posters that those who resist our current administration have seen and lived.  It is evidently time for new Rules to replace the Ten Commandments.  My favorite, of the Rules posited here, is “Do not destroy what you can’t create.”
New Stages has consistently delivered stimulating, surreal theater.  Brandon Olson’s costumes (and in some cases the lack thereof) create a rainbow of identities for the ensemble.  There are masks, and chains, and elegance throughout.  Federico Restrepo’s lighting is kind of hallucinatory. The play takes place amid diverse projections created by Ildiko Nementh, Alex Santullo and Chris Sharp which speak of truth and hope.

Review: The Play About Coming Home

By Ed Malin

Boomerang Theatre Company presents the starkly substantial play The Reckless Season by Lauren Ferebee.    Dominic D’Andrea directs.   In the modern world, sometimes we must face a test and try to stand on our own.  Some join the army.  Some take drugs, or sell them.  Some play video games to maintain some sense of order.  This play dares to show us flawed, articulate characters on the verge of destroying themselves and each other.

photo by Kate Hess

Terry (Trace Pope) works at a truck stop mini-mart and wants to contacts his brother, Simon (Chase Burnett), who is somewhere serving in the army.  Their mother has just committed suicide and Terry has already made arrangements for the cremation when Simon suddenly returns home.  They are not sure what to do after the cremation; supposedly the Grand Canyon is a popular spot for scattering ashes, but Terry isn’t sure if their mother would have wanted to be scattered there and is leery of walking on the ashes of so many dead people.  Simon, who has seen his fellow soldiers blown up, does not have sufficient information to process his current situation. In the last few years, Terry has had nothing to do but play Spartan Glory (a war game Simon left him), try to connect with his troubled mother, and hang around Lisa (Amanda Tudor), who works other shifts at the truck stop.  Lisa, who was a medic in Afghanistan, initially butts heads with Simon.  Terry takes a large box of Almond Joy candy bars from his job; this box will be used to store his mother’s ashes. Terry and Simon receive a visit from a shady drug dealer named Flynn (Brian Morvant), who says he’s just checking on their mother.  It turns out that said mother as well as many local veterans and Lisa’s soon-to-be ex-husband all use drugs to cope with life.  Simon himself says that he doesn’t have PTSD, he just needs something to dull the nightmares.  Flynn, a mostly self-serving person ostensibly not very knowledgeable about life (he thinks drug recovery is a 17-step program), theorizes that people take drugs because their loved ones don’t love them enough.  After his usual spats with the local police, the meth-head husband overdoses and ends up in a coma. Lisa is eight months pregnant with her ex-husband’s baby when she finally accepts Simon’s offer to go out to eat.  Simon is now a mall security guard and drinks heavily.  Simon doesn’t know how Lisa can bring new life into this world.  Lisa knows Simon is buying drugs from Flynn but can’t tell him to stop; it takes all that she has to keep herself from not using drugs again.  Flynn has a transcendental vision and finally finds his places in the universe.  Terry and Simon are headed to the Grand Canyon with their mother’s ashes when they get the call that Lisa has gone into labor.  Which is stronger, the will to live or the will to die?  These many revelations may be rough, but just remember, even mighty Sparta is a thing of the past.
The ensemble is strong and Dominic D’Andrea’s directing in this play is a thing of beauty.  Lauren Ferebee’s writing is both kind to everyone and no one; quite a feat.  It really is wonderful to see onstage the people you may actually know—if not the gamer who never moved out of his parent’s house, then perhaps the veteran who left but had some obstacles to overcome upon his return. Scott Tedmon-Jones has designed a deceptively homey set; in the hallucinatory part of the play, it shifts around in ways more familiar to viewers of “Inception” and “Doctor Strange”.  Steve Channon’s projection design includes those realistic war games which seem to be playing us. Kia Rogers’s lighting injects just the right amount of hope into this wonderfully honest and otherwise unfiltered world.  Viviane Galloway’s costumes help address the important question: what does a drug dealer wear?  David Anzuelo’s fight direction is needed, too, just like every drug dealer is in need of a beating.  Andy Evan Cohen’s sound design nicely sets the mood for those characters who work the night shift of life.

Block Talk- Episode 17- Joshua Young

In today's episode of Block Talk, I sit down with Josh Young to talk about The Playwriting Collective and their upcoming fundraiser Godzilla vs My Ex-Girlfriends coming to Dixon Place!

For more on the event, visit http://dixonplace.org/performances/godzilla-vs-my-ex-girlfriends-a-playwriting-collective-party/

To listen to the episode, visit iTunes or Soundcloud and make sure to subscribe to the podcast to never miss an episode!

And visit patreon.com/theaterinthenow to become a patron today!

Review: Stacy Layne Matthews Shares the Love

By Michael Block

The Laurie Beechman Theater is the hub for the RuPaul’s Drag Race queens to showcase their talents off the screen. Unlike a club, the stage is theirs to do what with they please. Season 3 icon Stacy Layne Matthews shares the love in her show From Stacy with Love.

photo by Michael Block

A quick night of song, From Stacy with Love is a showcase for Stacy Layne Matthews and her soulful voice. Decked out in a beautiful blood red gown covered with stones, Stacy Layne Matthews found a safe space on stage to share some of her favorite love songs that played a part in her life. The set list was quite ballad heavy. But the truth is, when you think of love songs, they tend to be slow. Despite what was presented, she found moments to tell the story of why the upcoming song had an impact on her life. For example Robyn’s “Dancing on My Own” included an anecdote about falling in love with a best friend. Or how, following special guest Natalie Weiss, she discussed how “Quiet” was a song she played on repeat during a hard time. These stories, paired with song, was when From Stacy with Love was at its finest. Stacy Layne Matthews has R&B soul with a lot of heart in her song. She has more to give but held back a bit. When she did open up and riffed off of the audience, she felt at home with her hennies. Hopefully the next iteration will include more comfort.
With more polish and confidence, From Stacy with Love can be a special night of love and song. If there’s one thing to take away from this show it’s that if you ever felt like you’re the only person who’s experienced a broken heart, you’re not alone.

Spotlight On...Joshua De Jesus

Name: Joshua De Jesus

Hometown: I’ve moved around a lot during the recent years so I don’t have one set hometown. Born in Washington Heights, raised in Bushwick, moved out to Bay Shore, Long Island, currently in Dix Hills, Long Island.

Education: Bay Shore High School (Freshman year) Half Hollow Hills West High school (Sophomore-Senior Year) Long Island High School for the Arts (Senior Year)

Select Credits: Runaways (Encores! City Center); Guest star season 5 of "Chicago Fire"

Why theater?: It was the most accessible form of art to me growing up. Theatre is a way to find yourself. Even if it isn't for you, it can open you up to various other opportunities as well.

Who do you play in Wink?: Wink!

Tell us about Wink: Wink is a timely piece of theater revolving a homeless and traumatized gender questioning teenager, and Dario Villanova, an ex-A list actor doing B movies, both down on their luck in Los Angeles. Their kindred spirits bond over doo-wop music and an effort to forge a heartfelt and unconventional love story of surrogate father and child.

What is it like being a part of Wink?: It’s been a rollercoaster of an experience. Definitely the biggest challenge I’ve faced thus far as an actor trying to tell the story of this fragile being with complete authenticity.

What kind of theater speaks to you? What or who inspires you as an artist?: Unconventional theater. Theater that doesn’t hesitate to provide a new experience for audience members that are both avid theater goers and newcomers alike. As an artist, names like Diego Luna, Gael Garcia Bernal, and Oscar Isaac are all huge inspirations to me, all whom are hispanic and began at the theater. They really set the bar for me.

Any roles you’re dying to play?: ANY role in a Stephen Adly Gurgis play. He’s my favorite.

What’s your favorite showtune?: “Heaven on Their Minds” from Jesus Christ Superstar.

If you could work with anyone you’ve yet to work with, who would it be?: That’s a hard one, there’s so many! I’ve always wanted to work with Jake Gyllenhaal. He’s an all around talent.

Who would play you in a movie about yourself and what would it be called?: Either Jay Hernandez or Rami Malek. I don’t think I’ve experienced enough of life to come up with a title yet.

If you could go back in time and see any play or musical you missed, what would it be?: Al Pacino in Does a Tiger Wear a Necktie?

What show have you recommended to your friends?: Lynn Nottage’s new play Sweat.

What’s your biggest guilty pleasure?: Taking really long hot showers.

What’s up next?: Something very very exciting!

Review: A Sensitive Story About A Traumatized Child

By Ed Malin

Rising Sun Performance Company begins its 16th season with Child’s Play, written by Kevin D. Ferguson and directed by Brock Harris Hill. Vera, a child psychologist (Crystal Edn) frames the story with a TED Talk which she is delivering after the events we see on stage.  Vera has worked with a ten year-old girl named Cindy (Raiane Cantisano) who suddenly stopped using words to communicate.  Saddened by their daughter’s silence, Cindy’s strong-willed mother (Mercedes Vasquez) and gentle step-father (Michael Pichardo) have sought out Vera’s help.  Vera is able to talk to Cindy and get nods and other non-verbal responses.  Also, Cindy uses action toys to tell the story of a princess whose parents stifle her ambition of fighting a dragon; that is, until she gets help from a warrior.  These clue-filled episodes are performed on a human scale by Christian Victoria Allen, Ashleigh Herndon, Katie Lynn Esswein and Ronald Kitts.   Vera has some meeting with Cindy’s mother and step-father, where she learns that Cindy’s mother keeps insisting that everything was fine in their house up until Cindy stopped talking.  However, Cindy’s step-father has a different point of view.  He says that, during the years he spent living with Cindy’s mother before they got married, his bride’s parents were cold to him.  What happened when Cindy went to her grandparents’ house for the duration of her mother and step-father’s honeymoon?  Who is the dragon who has caused so much suffering to several of the characters?  When Cindy tells you, you may find yourself crying.

photo by N-K Photography

Raiane Cantisano’s performance as Cindy and her transformation from tortured girl to triumphant young person in control of herself is worth watching.  Mercedes Vasquez gives a dynamite performance as a very strong woman who is shutting out her family while she continues to overcome much bad karma.  It is really a triumph to see the patient, nurturing Crystal Edn and the empowered Cindy finally get Cindy’s mother to listen to them.  Director Brock Harris Hill helps us get into the characters’ heads so we can confront the sensitive, unpleasant truth.   This happens at a decent pace, never boring, always making me want to embrace the evolving complexity of the story.  I am still not clear whether events such as these could be discussed in such identifying detail in a TED Talk, nor whether a young person in shock can recover quite so quickly, but the rest of the story is very moving and well-acted.

Spotlight On...Katie Goodman

Name: Katie Goodman

Hometown: Boston

Education: U. Penn

Why theater?: I’m starting to think it’s the only thing that can save the world. Besides kale. And pharmaceudicals like post-election anti-anxiety meds. In that order. Or star with the kale. Get a good jump on the day.

Who do you play in Broad Comedy?: We all play about ten parts. Ya know, from talking vaginas to MILF’s to rats in a maze. Just the usual Off-Broadway parts.

Tell us about Broad Comedy: Ever wonder what would happen if “Inside Amy Schumer” & “Full Frontal with Samantha Bee” had a child and hired Tim Minchin as the manny? That’s pretty much us.

What is it like being a part of Broad Comedy?:  It’s really the joy of my life. The camaraderie is endless and we get to evolve as the world changes.

What kind of theater speaks to you? What or who inspires you as an artist?: Comedy has always challenged me more than drama so I love doing comedy and I love watching drama. I am inspired by other writers who are trying to figure out what we all want to say in this trying time. I love seeing other artists create their own work from scratch. It’s freaking exhausting but satisfying.

Any roles you’re dying to play?: I have already done all of the ones I was dying to do because I spent 15 years running my own theater. (It’s good to be the King…er, queen.) Faves were the Nanny in Baby With The Bathwater, and the title role in Edwin Drood.

What’s your favorite showtune?:  I’d be a real schmuck to name one of my own, so I guess I’d have to say anything by my buddy Lawrence O’Keefe (Batboy), and there are a few from Altar Boys (particularly "Epiphany") and Book of Mormon ("Turn It Off"… hmmm… noticing a theme here) that are faves. I also am still a fangirl of In The Heights ("96,000"), and, yeah, I love some of the greats like "America", and "Suddenly Seymour."

If you could work with anyone you’ve yet to work with, who would it be?:  Tim Minchin and Samantha Bee. Together. In a musical we’d call Trumped. I have no idea what the story would be but it would be glorious. And it would get panned. But we wouldn’t care.

Who would play you in a movie about yourself and what would it be called?: Sarah Silverman. “All Fucked Up.”

If you could go back in time and see any play or musical you missed, what would it be?: I’d like to see Tom Lehrer and Victor Borge live. There are so few musical comics and they are my heroes.

What show have you recommended to your friends?: Book of Mormon, Book of Mormon, Book of Mormon.

What’s up next?: This! I can’t think past it!

For more on Katie, visit www.KatieGoodman.com

Spotlight On...Brian Mulay

Name: Brian Mulay

Hometown:  Originally from Kalamazoo, Michigan.  Been in NYC since 1999.

Education:  BFA in Musical Theatre from The University of Michigan

Favorite Credits: Falsettoland, 42nd Street, Godspell 

Why theater?: It has the power to transform the way a person thinks.

Tell us about The Love Curriculum: One day I realized that my love life has been the reverse of what many people experience.  Then it occurred to me that we're all learning the same lessons, but they just occur in a different order for everyone.  I wanted to put together a show that explored these lessons by relating my experience and allowing others to reflect on theirs.

What inspired you to write The Love Curriculum?:  Situations I've experienced in my life seem to be reflected in the musical theatre songs I've listened to over the years.  We've all heard songs that make us say "that's my life!"  I wanted to do something with the songs that have shaped my life in hopes that others will relate as well.

What kind of theater speaks to you? What or who inspires you as an artist?:  My favorite kind of theater is the kind that forces you to think and question what you already know.  It was always stars and legends of the musical theater who seemed to be able to do everything: Ben Vereen, Gene Kelley, Chita Rivera, and Judy Garland, just to name a few.

If you could work with anyone you’ve yet to work with, who would it be?:  I adore Patti LuPone.  I'd be content just to have dinner with her!

What show have you recommended to your friends?:  Next To Normal, Title Of Show, Waitress, Avenue Q, so many....

Who would play you in a movie about yourself and what would it be called?: Oh, it's already been done.  Amy Adams played me.  It was a little movie called "Enchanted".  Lol

If you could go back in time and see any play or musical you missed, what would it be?: Who wouldn't want to time travel to see Barbra Streisand play Fanny Brice in the original Funny Girl on Broadway.  That had to have been thrilling to see a star be born.

What’s your biggest guilty pleasure?:  RuPaul's Drag Race and everything on the Food Network or Cooking Channel.

If you weren’t working in theater, you would be _____?:  I have a wonderful job outside of theater working for Nespresso as a training specialist.  My Nespresso family is very special to me and I'm so grateful for their support of my theatrical ventures.

What’s up next?:  Brainstorming on an idea about exploring the four elements of fire, water, earth and air from a musical perspective.

Block Talk- Episode 16- Daniel John Kelley

On this episode of Block Talk, I sit down with Daniel John Kelley, playwright of That True Phoenix! 

For more on That True Phoenix, visit teamawesomerobot.com!

To listen to the episode, visit iTunes or Soundcloud! And don't forget to subscribe to never miss an episode.

And visit patreon.com/theaterinthenow to learn about how you can support the website and receive more content like this!

Meet the Queens! Lady Liberty Semifinals Round 1!

Lady Liberty is in their FOURTH CYCLE! So who is competing to snatch the crown in the first semifinal round? It's time to meet the Queens. Check them out Friday, April 21st at the Ace Hotel. Doors Open at 7:00pm, Drag Race Viewing Party at 8:00pm, and the Lady Liberty Drag Competition, hosted by Brita Filter and Terra Hyman, at 9:00pm

MEET THE QUEENS

 What is your drag name?: Egypt

What is the origin of your drag name?: For the longest time everywhere I would go people thought I was from Egypt so I said since they already saying I'm from their why not name myself Egypt.

How did you get involved in the drag community?: I started competing back in September of last year as an androgynous performer and this past January I entered my first pageant Ms. Barracuda.

What or who inspires you as a performer?: The people who inspired me to start coming out clammed up were grace Jones and Leigh Bowery.

If you had your own show, what would it be?: If I had my own show I would have it were the audience would get a chance to raise money for different organizations benefiting the LGBTQ community.

What is your go-to lip sync song?: My go to lip sync is "I Am Telling You" from Dreamgirls 

Facebook/Instagram/Twitter: My instagram is Therealegypt

What is your drag name?: Jessie James

What is the origin of your drag name?: My favorite female vocalist is Jessie J! The name also ties in with the famous bank robber, Jessica Rabbit, and I love that the name Jessie is androgynous

How did you get involved in the drag community?: After having one experience with a drag queen, that was it! The amount of sole talent, passion, and tenacity it takes is unsurpassable and respectively admirable. Being able to utilize and strengthen multiple artistic outlets at once is invigorating!

What or who inspires you as a performer?: Strong, committed performers are my biggest inspiration. Artists that are 100% unapologetically and authentically themselves is fuel for my fire!

If you had your own show, what would it be?: A cabaret or a game show!

What is your go-to lip sync song?: "Mama Knows Best" - Jessie J

Facebook/Instagram/Twitter: @JessieJamesNY everywhere!

What is your drag name?: Miss Carriage

What is the origin of your drag name?: The inability of a higher power to keep me from the current situation of "alive" that I am in.

How did you get involved in the drag community?: I've seen all to many shows and thought what the hell.

What or who inspires you as a performer?: Chameleons.

If you had your own show, what would it be?: I'd never have my own show because my hamstrings can't handle all the drop splits.

What is your go-to lip sync song?: Lucky

Facebook/Instagram/Twitter: @datgirlmisscarriage @tayteehanson

What is your drag name?: Shirley U Jest

What is the origin of your drag name?: I got it from the movie Airplane!

How did you get involved in the drag community?: I played dress-up in preschool and I've never been the same since.

What or who inspires you as a performer?: Big theatre comedy divas like Carol Burnett

If you had your own show, what would it be?: Two hours of me lip syncing to "Mah Na Mah Na" by the Muppets

What is your go-to lip sync song?: "Rose's Turn" (the Bernadette Peters revival)

Facebook/Instagram/Twitter: Facebook-Shirley U. Jest, Instagram @thinkoutleod, twitter Jest_a_girl

What is your drag name?: Sullivan

What is the origin of your drag name?: Somewhere in Ireland?

How did you get involved in the drag community?: As a little boy I would drape a towel down my head pretending it was beautiful luscious hair. The drag community is the closest thing to reliving my childhood fantasies

What or who inspires you as a performer?: Creating experiences with people through artistic expression and connection

If you had your own show, what would it be?: Two parts. First half: a choral and theatrical performance in a concert hall or church! During the intermission, the audience will head over to a nearby cabaret space or a bar to watch the second half. singing. vaudeville. dance. comedy. The works!

What is your go-to lip sync song?: Anything by Babz

Facebook/Instagram/Twitter: mike3sullivan

What is your drag name?: Tess Tickles

What is the origin of your drag name?: My friends were just throwing random names at me of things I liked and testickles just so happened to be number one.

How did you get involved in the drag community?: We have a super small drag community here in Westchester and I started going to their Thursday shows a few years ago at a young age, and a few years later I decided to give it a try and stuck to it.

What or who inspires you as a performer?: My drag inspirations are all the westchester queens starting with Gigi Cutina, dotty Spartans, Rhoda Rollin Stone and Bella Biscotti.They all taught me different things about drag and made me who i am today.

If you had your own show, what would it be?: If I could have my own show it would be a show where I could get new queens involved in because I don't feel like they have many opportunities and only get to perform in competitions where they don't really get to showcase who they are as a drag queen.

What is your go-to lip sync song?: "Voodoo Pussy" by Miss Prada

Facebook/Instagram/Twitter: Instagram @whostesstickles Facebook: Dan Richards (Tess Tickles)

Spotlight On...Molly Kelleher

Name: Molly Kelleher

Hometown: Guilderland, NY

Education: Emerson College

Select Credits: Broad Comedy member of the troupe for nearly a decade,  recently seen on “Hack My Life” on TruTV , her film “The Cat Callers”(finalist at the New York Downtown Short Film Festival), as well as this past summer’s NYCFRINGE festival with The Illusory Adventures of a Dreamer written by the amazing Michael Bradley Block. You may also recognize her from teenVOGUE’S “Ask a Comedian” video series. Her upcoming project “BERT”, a web series she is co-creating will be hitting YouTube this fall. Throngs of internet trolls are anxiously awaiting the usage of their comment buttons.

Why theater?: I spent about five years performing for children as Helen Keller and this role was my most satisfying theatrical role to date. To tell the story of such an incredible woman is the gift theater gives the world. Before I step on stage I want to run away as fast as possible (every time), but once I’m out there I feel truly whole. That is the gift theater gives me. The gift to trust fall into the story and pleasure of the audience’s experiences.

Who do you play in Broad Comedy?:  I play over a dozen characters. We are a fast moving political-comedy-musical troupe (say that five times fast), so every 3-5 minutes I’m someone else!

Tell us about Broad Comedy: Broad Comedy is a musical comedy show. We are a very liberal, sex positive, empowering, feminist and we manage to make that really really funny! We are different from your usual sketch shows however. I think of our pieces more like 20 mini stories rather than sketches that are looking to just find the laugh. You will laugh, but you will also be asked to think. I hope it inspires our audiences to get involved in the movements that matter most to them!

What is it like being a part of Broad Comedy?: This show, the Soho Playhouse run, has been my dream for a decade. I started working with the company when the did a quick run in Boston ten years ago. I’ve since performed with them a Planned Parenthood fundraisers, colleges, the Triad Theater, and the PIT. The show is originally out of Bozeman MT where we have another amazing cast of actresses but now our NYC cast is taking this city by storm. And I’m just thrilled to be part of it!

What kind of theater speaks to you? What or who inspires you as an artist?: Telling stories that make you think. That leave you wanting to do more, learn more, feel deeper or stronger about a topic. I love working on conversation starters! I’m inspired by so many things all of the time. I’m a total nerd for learning and reading. I never feel full of knowledge or curiosity. NYC inspires me. My friends and fellow artists inspire me. I’m also a Yoga and Pilates teacher, I find movement inspires me greatly. I’m mad for magical realism and Gustav Klimt. I like my life sprinkled with a little bit of wonderment.

Any roles you’re dying to play?: Yes! I can’t wait to play Berta in Pippin some day. Trina in Falsettos. I’d love to play Marisol in Jose Rivera’s Marisol (but I never will…for obvious reasons) still I love his writing so much!

What’s your favorite showtune?: This is an impossible question. But I’ll tell you I am looking to learn a few from the new Amelie (which I saw at Berkley Rep).

If you could work with anyone you’ve yet to work with, who would it be?: For TV: I have an actor crush on Walton Googins and Aaron Sorkin. For (recent) Theater: I fell in love with Taylor Louderman (Kinky Boots) this past week. She’s my favorite kind of actress….always busy, always in character. totally committed.  For “THE DREAM”: Meryl, Cate, Kate, Helen, Jane+Lili, Judi, Kathy, Julianne, Susan, Sissy, Francis, Maggie, Glenn, Tom, Jack, Morgan, Ed….I’m easily inspired.

Who would play you in a movie about yourself and what would it be called?: “French Bulldogs, Wine, and Ambition” starring Jade Jolie

If you could go back in time and see any play or musical you missed, what would it be?: I recently missed out on The Color Purple and Bridges of Madison County. Tori Amos’ “The Light Princess” that played in the West End. I would have loved to see Philip Seymour Hoffman in anything he ever did.

What show have you recommended to your friends?: Hamilton, have you seen it…the tickets are real easy to get.

What’s your biggest guilty pleasure?: HGTV, give me Chip and Joanna with a side of Nicole any day

What’s up next?: I’m in the middle of writing a new web series and filming that this summer. We have a bunch more Broad Comedy shows coming up. And I’m taking a week off at the end of August for a much needed break away from America!

For more on Molly, visit mollykelleher.com!

Spotlight On...Jenn Harris

Name:  Jenn Harris


Hometown:  Plano, IL.

Education:  BFA from Boston University, LAMDA, London, Second City, Chicago

Select Credits:  Modern Orthodox, Silence! The Musical, and the revival of All In The Timing.

Why theater?:  It's scary, and I like scary.

Who do you play in Pressing Matters?: Betty, Judy, Chole, Ticket Agent.

Tell us about Pressing Matters: A wonderful, clever collection of short plays about relating, loss, gain, and delight.


What is it like being a part of Pressing Matters?: Lovely is the first word that comes to mind. It's a blessing and refreshing to get to play 4 different characters in women centric stories. I needed this now...we all do.

What kind of theater speaks to you?  What or who inspires you as an artist?: The new kind. Or if it's a revival, I want to see a fresh take. I appreciate and lean towards different. Bold, kind people who don't apologize. And every single one of my friends who are still trying to make a living as an artist - THAT'S guts, THAT'S inspiring to the core.

Any roles you’re dying to play?: I like creating them, so... yet to be written, but listen, if Leslie Kritzer isn't available, I could tackle Annie in Annie Get Your Gun for the next revival...I have a take on her.

What’s your favorite showtune?: Besides "Would you Fu*k Me" from Silence!, “Lily's Eyes” from The Secret Garden - I sing it with myself with barbies. Haven't found the right audition for it, but I have it. Also If I want to cry I put on "The Mirror-Blue Night" from Spring Awakening

If you could work with anyone you’ve yet to work with, who would it be?: Sting. But also Carol Burnett and Brian d'Arcy James.

Who would play you in a movie about yourself and what would it be called?: Pee Wee Herman in "Me In My Apartment"

If you could go back in time and see any play or musical you missed, what would it be?:  I would have lived to see the opening night of Merrily We Roll Along, right?!?!

What show have you recommended to your friends?:  Ice Man Comeith at BAM I LOVED and thought I was gonna hate. I haven't seen so much that I want to see that I bet i'de love, so go see Dolls House Part 2 and tell me about it cuz THAT CAST!!!!


What’s your biggest guilty pleasure?:  Oh NO guilt in pleasure.

What’s up next?:  I created a Web Series called NEW YORK IS DEAD that I co wrote and star in with Matt Wilkas that is premiering at the Tribeca Film Festival this month.

Review: A Silly, Goofy, Campy Easter

By Michael Block

Spring is here! And Paige Turner is here to welcome it! Throw your winter blues away as Paige Turner and her friends, Jackie Cox and Remy Germinario, fill your Easter basket with enough sweetness to last the whole year in Paige Turner’s Easter Egg-stravaganza.
Back at the Beechman, Paige Turner gives a revisionist Easter as she tries to share the joy of the holiday with her agnostic friend Jackie Cox. On the journey toward Easter understanding, they perform a show for kids thanks to a rapping bunny, learn from a blonde twink why spring is important for the gays, and of course take a lively trip to a gay church. It's right for Paige to joke that there used to be a plot because the story seems to fall to the wayside in return for more gay inside jokes, silly songs, and rousing comedy. Paige Turner’s Easter Egg-stravaganza isn't meant to be a well-made theatrical piece. It's a celebration of holiday fun. Filled with double-entendres and gay jokes out the wazoo, the show has that child-like aura, similar to Pee Wee’s Playhouse, that is simply made to entertain. Filled with some easy recurring jokes and hidden Easter eggs, Paige makes them obvious. And that’s part of the humor. For the theater lovers, you will get your fill of industry jabs as well. Since the trio have pipes for days, Paige Turner’s Easter Egg-stravaganza has a full basket of  musical numbers, many of which are riffs on showtunes. From “Little Known Facts” from You’re a Good Man, Charlie Brown to a couple of numbers for Godspell, some of the songs get the full parody treatment while others remained nearly in tact. And that’s not fun! But since this is drag, expect a lip sync for your salvation.

photo by Michael Block

This show is a dazzling character showcase. Paige Turner is a star among stars. Her comedic timing is on point, but it’s made brighter next to her co-star Jackie Cox. The pair is unstoppable. Paige Turner may look like a dumb blonde but it’s her zippy reads hurled at Jackie that prove she’s quite brilliant. And every jab toward Jackie makes you want to give her a sympathy aw. Jackie may be the sidekick but it’s time for her turn in the limelight. Thanks to silly costumes and ridiculous wigs, Remy Germinario was the scene-stealer of the night. Putting on goofy voices, Germinario held his own in-between the drag dynamos.
Paige Turner’s Easter Egg-stravaganza is nowhere near perfect but it’s perfectly endearing. You’re bound to leave with a full stomach thanks to all the sugar Paige and friends serve.

Review: Different But the Same, Just Like You and Me

By Ed Malin

The Tank, in association with Glass Bandits, is now presenting Charleses by Carl Holder at the Brick Theater.  Meghan Finn  directs.  Charleses is a play full of, well, men named Charles.  It has a striking, spacious set designed by Peiyi Wong, which serves as a humble cabinet-making workshop but also has a skeleton of a roof.  Similarly, the play is full of amazing silences and tableaux, just like real life with real men.
The elder Charles (Richard Toth) is discovered in his workshop, finishing a piece of furniture.  The rotary phone rings, presumably announcing the birth of his son.  (The play never shows us any women, instead allowing us to focus on the relationships of the XY chromosome people.)  Without missing a beat, Charles puts together a cradle.  When the lights come up again, he is rocking Charles 2 (Mike Shapiro), a grown actor who will go through an accelerated childhood before our eyes. Charles may be a self-made man of few words, but his smiles and gestures of victory make you want to smile, laugh and cry. Charles tries to teach Charles 2 how to say their name, with charmingly futile results.  A few minutes later, Charles 2 is learning to ride a bike. Next, a drum beat punctuates a scene where Charles and Charles 2 enter a deli, order sandwiches and wax metaphysical; it scans nicely and feels very ordered, the way our ancestors lived and thought of themselves. Soon, Charles 2 is learning to drive a car and gets a distant-feeling shaving lesson from Charles.  But is it Charles’s fault he doesn’t make small talk?  As they wipe off the shaving cream, Charles asks Charles 2, “What else would you like to talk about?”
Soon enough, the stork brings Charles and Charles 2 their very own Charles 3 (Fernando Gonzalez).  Charles 3 will also have to learn to say their name, ride a bike, try to pee against a tree and order a deli sandwich, but he is very much his own person. Charles 3 is sensitive and prone to question the existing order.  For example, Charles 3 does a school film on the history of logging and cabinetry work in his community.  Charles 3 sympathizes with those who, according to him, lived simply doing the only thing they knew how to do; Charles, in contrast, gets bored when Charles 3 has technical difficulties during the presentation.  Later, when Charles is not around, Charles 2 tells Charles 3 that their patriarch “grew up in a time when all men had to be bad. He even was made fun of for having a feminine job like cabinet making.”

photo by Josh Luxenberg

This play patiently and benevolently gives each generation its say.  We see the adolescent Charles 3 gay cruising on the internet. The elder Charles has a stroke but, no matter how long it takes him to articulate his thoughts, he is willful and dignified. Eventually, Charles 3 goes into medicine, at a time when people seem to have more difficulty connecting with each other. Charles 3 is seen somewhat listlessly telling a computer to read his email; 90% of the messages are marked “ignore”.  We also see a retrospective of each generation discovering the neighborhood sandwich shop (no menu, just order) and its specialties. Clearly, some things don’t change, and that’s OK, too.
Charleses is a well-written and exquisitely directed and performed play.  If you haven’t had a “show don’t tell experience” in a while, please go see it.  I’m sure you will be left with the pleasurable task of learning to like three nice but flawed people.  They are solid, and totally different from each other, and speak as often as not in facial expressions. Nevertheless, all of the family members, sandwich makers, the local barber, etc. are names Charles. Are YOU set in your ways?  Is being super-progressive a form of intolerance?  These producing organizations are always moving forwards, so it is a great joy to see them deliver this work.

Review: A Risky Affair

By Michael Block

Harold Pinter' backwards timeline play, Betrayal, takes the stage at Mile Square Theater. The slightly autobiographically inspired play tracks the years-long affair of Jerry and Emma as Robert, Emma's husband and Jerry's best friend, watches from afar.
The year is 1977. Emma and Jerry meet up two years following the end of their affair. She reveals that after learning that her husband Robert has been betraying her with affairs of his own, she spills the beans on the nature of her relationship with Jerry. But rather than seeing the aftermath, playwright Harold Pinter goes backwards as we watch how it came to this. Regarded as one of Pinter's finest texts, Chris O’Connor directs this juicy drama of deceit, dishonesty, and, oh yeah, betrayal with great purpose and ease. There is a specificity in the tempo and cadence of Pinter's text. O’Connor approached it with immense care, finding the beats and exploring the necessity of silence. But the intimacy of the story seemed to be lost, perhaps due to the great expansive feel of the space. Designed by Matthew J. Fick, the set looked exquisite with the clean lines and rustic floor. Combined with the boldness of the white walls, the excessive negative space wasn't used to its advantage. O’Connor played into body language but not quite with spatial relationship. And there is a story of its own there. For example, how O’Connor sat Emma on in the middle bench, leaning toward Jerry, put her on his side in the trio's discussion. It was a stunning stage picture and a strong moment of story. These moments could have been played with even further throughout the play. Look at when Emma and Robert were in their hotel room. As soon as Robert figured out the truth of the affair, he needed to assert his power by creeping in closer to Emma, not stand stationary on the other side of the room in an almost cavalier manner. With limited furniture and architecture for the characters to utilize, it created some obstacles. There was a sense of nowhere to go. It's a slippery slope to fall into the realm of melodramatic soap opera. The soundtrack provided by Kari Bernson in the transitions pushed it in that direction. While the men were dressed properly dapper, the outfits Peter Fogel placed on Emma were simply exceptional. Not only did the rich color pallet fit her personality, the silhouettes and patterns lived in the period but also managed to reveal so much about the character.

photo by Joe Epstein

Betrayal is one of those plays where the content is seeping with potential in character. Pinter has painted a broad picture on who these three individuals are but the dynamics and chemistry makes the play tick. If there was ever a pair you wanted to see work, it was Jerry, played by Aidan Redmond, and Emma, played by Dena Tyler. They had a fervent magnetism that was transcendent. Tyler is remarkable, gravitating toward the danger of the affair. Redmond as Jerry had a genuine aura of amiability. It’s no wonder Emma was drawn toward him. But for this play to work completely, the casting of Robert is key. You must believe that there is something, aside from cultural, familiar, and class taboos, that would keep Emma from staying with Robert. Likewise, the friendship of Robert and Jerry is key. Unfortunately, Matthew Lawler as Robert seemed to be living in his own play. It's like he's in the Monty Python sketch version of Betrayal. Lawler has a natural comedic presence that didn’t quite match Redmond and Tyler's dramatic prowess. Cut Robert out of the equation, this Betrayal becomes infinitely more engaging. Some of Lawler's choices seemed to defy Pinter and O’Connor’s intent simply based on the actions of his scene partners.
At times, Mile Square Theatre’s production of Betrayal is ripe with intrigue. And then it seems to stumble, needing time to get back on track. You don’t think that the little things will hurt the big picture, but as the little things add up, the big picture doesn’t look so pristine. Put a filter on and you might see it that way.

Block Talk- Episode 15- Dominique Salerno

Today on Block Talk, I sat down with the extraordinary Dominique Salerno to talk all things The Box Show, making a return engagement at The PIT!

For more on The Box Show, visit theboxshow.org!

To listen to the episode, visit iTunes or SoundCloud and subscribe to never miss an episode!

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Review: The Gun Conversation

By Michael Block

There's no denying why this play now. Church & State by Jason Odell Williams is more than relevant in our political climate. The political comedy playing New World Stages may not be radical, but it's the manner in which it is presented that makes this play important today.
In the heart of Red State America, Charles Whitmore is running for Senate re-election. With only a few days before the big day, Senator Whitmore is about to make a usual speech. Only he is preempted by a breaking story of him announcing his loss of faith and belief in God. It sends shockwaves to his team as his hard-nosed campaign manager Alex Klein and faithful yet kooky wife Sara try to fix the situation before he walks on stage and tanks his chances. So what causes this loss of faith? Another mass murder at an elementary school by a lone gunman. Aside from being a glimpse into the backstage of politics, Church & State is a play that continues the necessary gun control conversation. With a smartly comedic backdrop, Williams is able to explore the various sides on the debate of faith and gun control while keeping the action moving. The play is bold but in no ways is it perfect. While his use of comedy is blended well into the overall drama of the situation, some of his characters are a tad cartoonish. Perhaps just for comedy's sake. He paints the southerners as a bit backwards, especially through the running gag of "the Twitter," while the northerner is on point with reality. It's a comedic juxtaposition and lends itself well to natural comedy but causes some believability issues when the important issues arise. Arc wise, Sara goes through a drastic transformation by the end. But the election night antics of Sara and her pretzel bites was the humor filler for the beat, the aftermath may not have been the most believable. Despite the poles of comedy in the text, it’s important to have some. It’s easier and most successful to capture an audience’s ear when they have permission to laugh. Church & State is a conversation starter. The points he introduced are poignant. They have great weight. They may not be brand new but they’re important to the overall political narrative. Same tragedy, no new changes.

Taking on the pivotal role of Senator Whitmore, Rob Nagle took the exuberance of the character and managed to bring out honesty and sincerity when it mattered. He stood firmly to his beliefs and helped to prove that anybody with a heart can change. As his wife Sara, Nadia Bowers tapped into Williams’ writing and ran with it, creating a character that was a scene-stealer. Bowers takes the silly jokes and makes them land hard. She has no fears on stage. Despite the drastic turn her character takes, Bowers allows it to feel as natural as possible. Channeling her best C.J. Cregg, Christa Scott-Reed as Alex was the brains inside the campaign. Putting the “ish” in Jewish, her Democratic Yankee campaign manager was wonderfully uptight and rightly wound up dealing with a pair of unpredictable personalities. Though mostly secluded to the editorial points of Williams’ script, Jonathan Louis Dent hammered home the essential points with ease and sublimity.
Markus Potter directed the fast-paced dark comedy with great intent and mindfulness. Church & State is filled with a big themes that was equally matched on stage through David Goldstein’s scenic design. It was America live on stage, as red, white, and blue seemed to be regurgitated in the room. It was comical to the point of being obscene. Goldstein placed some sort of scenic piece in every possible inch of the playing space, even the far extremes. Potter ensured that those pieces were touched even if it felt unnatural, especially bringing added light for the seldom moments. For the most part, sound designer Erik T. Lawson played with atmospheric sounds, most notably with the sounds of the unseen television screen. But you know you garner a powerful reaction when a, spoiler alert, a gunshot rings out and the audience cowers. It’s what the moment called for, bringing reality into theatricality.
Church & State is a play that can easily travel around the country in hopes of making an impact while still entertaining. Regardless where you fall in your beliefs, Jason Odell Williams has written a play that continues the national conversation on gun control. You may not walk out of the show talking about the play itself but it will certainly get you discussing the topic. And that’s almost more important.

Review: Fame According to Kris

By Michael Block

She was crowned the winner of Lady Liberty Cycle 3 and now she's bringing her spin on the Kardashian momager to life in I Am Kris, a boisterous cabaret paying homage while poking fun. Jan Sport, the premiere Kris Jenner impersonator, gives you the only mashup of showtunes and Kardashian you'll ever need. Or, for that matter, want.

photo by Michael Block

Gracing the stage at the spiffy and luxurious Greenroom 42, New York's newest late night cabaret hot spot, Jan Sport parodies the world's most famous momager since Mama Rose. Spoofing Kris' ex's television series "I Am Cait," I Am Kris showcase the seven-step program to gaining fame. I Am Kris was the perfect marriage between drag and theater. Jan Sport brought a fully fleshed out narrative to the stage, something some other drag performers are unable to do in similar settings. Each step revolved around a spoken word lip sync accompanied by a rousing showtune parody. If you groaned when you knew the song coming up, it's because it paired up so well with the bit. The structure was a tad formulaic and yet it worked because Kris is, well, pretty damn basic. Jan Sport proves that she's not only a dynamic performer but she's also a smart artist. There is no arbitrary song selection here. Every musical inclusion is deliberate and precise. Any moment of video accompaniment helps tell the story. And then there is her portrayal of Kris. While she's much younger than her real life counterpart, Jan Sport has Kris J on lock. This is a loving spoof but there is a glimmer of humanity in her characterization. She goes beyond the lampoon to explore why we have such a great fascination with this woman and her family. And don't fret, JanSport doesn't skimp on the look changes. She gives Kris her array of styles. As the show continues to find life, where Jan Sport can improve most is in her improvisational skills while in character. There's always bound to be a technical snafu requiring her to cover. That's when the little blip to the audience while waiting for the correct track to play can garner big laughs. Get them to see the other layers to the character. There's always room for improvement and this is where it comes.
I Am Kris may have only been a one night extravaganza but expect to see it return again and again. This is one show you'll be happy to see in syndication. Jan Sport is an elite performer who is taking nightlife by storm. Be warned.

Review: A Fluffy Heart

By Michael Block

Inspired by the 2001 French film of the same name, Amelie has been given the musical theater treatment. With book by Craig Lucas, music by Daniel Messe, and lyrics by Nathan Tysen and Messe, this romantic comedy is fluffy and sweet. And that’s about it. Amelie isn’t revolutionary, it is what it is: silly.
Amelie is a girl with a big heart. Her childhood isn’t perfect. Her dad is a germaphobe. Her mom is neurotic. She is sheltered from the outside world. But even when tragedy strikes, in the form of her best friend Fluffy the goldfish being flushed way to the Seine and her mom getting crushed by a suicidal tourist, Amelie has hopes for something different from her quiet life. Spending years as a waitress at a café, she spends her days helping others while not helping herself. And that’s essentially where the rest of the musical's journey. We watch Amelie on her tour of good deeds until her heart longs for something new. Amelie is a delectably world of whimsy and joy but the overall execution is mediocre at best. You want to root for Amelie, both the character and the show, but it often gets in its own way. There is a lot of heart but not much else. Daniel Messe’s score is a melodic modern folk and pop mix that doesn’t quite offer variety in sound. Each number gives off the same midtempo vibe that it’s hard to leave the theater humming along. And even when it does stray and pick up, in moments like “Goodbye, Amelie” featuring a bizarro alternate universe Elton John and the supporting women showcase number “A Better Haircut,” they don’t fully serve the overall arc but get plopped into Lucas’ libretto just for variety’s sake. And it’s a shame as the latter is one of the highlights of the score. The score was very much the Achilles’ Heel of the production. And it’s a shame. The musical ends with a sweet finish in a beautiful song in “Where Do We Go From Here.” It’s a strong yet soft, understated conclusion but lacks the emphasis it deserves when it feels like the rest of the show. Amelie’s world is full of luster and variety and that’s what this score needed. If the sole, central “conflict” of Amelie is whether to help others or help herself, the romance plotline between Amelie and Nino needed to be amplified significantly. Lucas gives us a taste of the love-at-first-sight amorousness but we want more. It’s hard to want the pair to end up together if we’re given so little.

photo by Joan Marcus

When it comes to bringing cinema to life, director Pam McKinnon achieves the unimaginable. She uses David Zinn’s pleasant looking set to her advantage. But if you look a little closer, there are a lot of distractions in staging to deter from the real problems. This is essentially a fantasy conjured up by the titular character. And yet it feels far too subdued to work. She does her best to break from the plateau that is the Craig Lucas’ book but when she finally does so, it’s far too late. That being said, the fluidity of McKinnon’s staging is near flawless. The world keeps chugging along, giving those moments alone for Amelie worth something. For those who may suffer from OCD, Zinn’s set is deliberately askew. And it’s right for Amelie’s world. He gives nods to the locale through his design in both the set and the costumes.
Phillipa Soo has made a name for herself in two previous smash hits. While pretty central, her roles were supported by an ensemble of equals. Amelie is a departure for Soo where the show falls on her shoulders, needing to carry the show. Soo is delightful. Her voice is pretty. Her presence is sweet. But the character gave her little to play with that her full potential didn’t shine through. As Nino, Adam Chanler-Berat brought his charm as he chased down Amelie. It wasn’t until late in the show that Harriett D. Foy, Alyse Alan Louis, and maria-Christina Oliveras got their moment to truly shine. And they did. Playing Amelie’s co-workers Suzanne, Georgette, and Gina respectively, this trio got us wanting more. With a show providing snapshots like pictures from a photo booth, Foy, Louis, and Oliveras made their characters, at times, more engaging that the titular one.
Amelie was played far too safe. It’s an enchanting show that doesn’t ruffle any feathers. If you’re looking for something that will warm you heart, this might be it. But in such a staked season of musical theater on Broadway, Amelie is a middle of the pack musical. It’s not great, but it’s not bad. It’s just Amelie.

Spotlight On...Terry Schreiber

Name: Terry Schreiber

Hometown: I moved to Saint Paul, Minnesota when I was six, where I stayed until I came to New York in 1960.

Education: I have a BA in English and Speech from St. Thomas University (back then it was St. Thomas College) in Saint Paul, Minnesota.

Favorite Credits: The Trip Back Down which turned our little 3rd Avenue Studio into a Broadway Springboard. Also K2, because working with the writer was a very trusting and special processes. The set design on K2 was an exciting adventure, having to create a mountain on stage. Every Checkov play that I have done at the studio will always have a special place in my heart, as well as the Tennessee Williams and Pinter shows.  The opportunity to delve into such rich material is always a joy.

Why theater?: There is nothing more exciting than the house going black, the curtain opening, and the lights going up on stage. I’ve always found it more exciting than any motion picture. Nothing can beat a live experience.

Tell us about Loose Ends?: Loose Ends is a play I’ve been fond of ever since I first saw it Off-Broadway in the 80’s. I like Weller’s writing a lot, and this is a play I have always wanted to do. We attempted in 2010 but had to cancel our plans. I’m lucky that Michael released the rights to us for this second, successful attempt. The tumultuous times of the 70’s, Vietnam as a backdrop, and the male/female role changes of that decade is exciting material for me to explore. We’re experience a similar kind of tumultuous time, now in 2017.

What inspired you to direct Loose Ends?: I really like plays about relationships, that’s what speaks to me the most. When I can get into the people, and what’s happening to their lives, that is what peaks my interest. The difficulty and complications that go into all relationships, family, lovers, etc. is what attracts me. Nothing didactic, I have trouble sitting through a Brecht play.

What kind of theater speaks to you? What or who inspires you as an artist?: The work of Elia Kazan, film or stage, has always been inspiring. What a terrific director.  Bergman, too, is just an inspiration. When it comes to both of their approach with actors, you know you will always get brilliant, honest performances.

Tell us about T. Schreiber Studio: We started in 1959 with twelve students, on 3rd Avenue above a paint store. I wanted right off the bat to start a studio that not only focused on acting classes but emphasize the importance of producing theatre as well. We started with a production of Summer and Smoke, which we took to New Jersey. The following year we moved to 81st between 2/3 Avenues in a converted carriage house, and enrollment increased to about 30-40 students. That season we did three plays, and produced some of our works in Vermont that summer. From there the studio grew and has continued to grow, frequently changing location until we finally settled into our current home in Chelsea in the mid 1990’s.

How has T. Schreiber Studio changed since it opened?: We’ve really diversified our program over time.  With Peter Jensen acting as my co-Artistic director and our staff of wonderful teachers, the Studio now really offers an “across the board” training experience. The faculty we have now covers a wide range of professional training, and that’s some growth of which I am incredibly proud.

What is the biggest reward to teaching?: The biggest reward as a teacher is always that “lightbulb” moment with an actor, when you can see an actor finally “drop in” and understand the role, and what goes into building it. To get a front seat to the growth of an artist. There is always, without exception, a clear moment where an actor jumps into a new understanding of the work, where they learn to bring their naked selves-and nothing else-to the role. The moment where you can say “today you broke through” is the most rewarding experience. That and watching the commitment that follows, is what continues to inspire me as a teacher.

If you could work with anyone you’ve yet to work with, who would it be?: I would give my right arm to work with Mark Rylance, his work is always a knockout. I would also love an opportunity to direct Mary Louise Parker.

What show have you recommended to your friends?: Playing now, I would recommend everyone go see Dear Even Hansen. The writing, score, staging, and performances were so accessible. I was deeply touched by the play and subject matter. It was a wonderful experimental musical. A big obstacle in going to the theatre today is the expense, it’s hard to commit to a show at such a high price when you don’t know what you’re getting yourself into. That’s a big reason why we’re so committed to keeping our ticket prices affordable.

Who would play you in a movie about yourself and what would it be called?: If they were to make a movie about me it would be called “The Kid from the Midwest”

If you could go back in time and see any play or musical you missed, what would it be?: I’m sorry I missed the original production of Streetcar Named Desire.

What’s your biggest guilty pleasure?: My guilty pleasure is going to a movie in the afternoon during the week.

If you weren’t working in theater, you would be _____?: If I wasn’t working in theatre would probably be a psychotherapist. That, or a sports coach, either baseball or football.

Review: Percy Takes on a Musical

By Michael Block

When you have a brand, run with it! The popular young adult book series “Percy Jackson & the Olympians” has seen life on the big screen, but now it's time for a turn on stage. Inspired by the book, the mythical world of Greek gods and modern teen hardships battle it out in The Lightning Thief. The Lightning Thief: The Percy Jackson Musicals, with a book by Joe Tracz and score by Rob Rokicki, is great for the demographic, honors the source material. But it can be much stronger.
Percy Jackson isn't your average teen. Sure, he has dyslexia and ADHD, but he's also a half-blood. His mom is mortal, but his dad is a god. A "big three" god too. As he learns of his powers as monsters begin to attack, Percy goes on an epic quest to save the world from the feuding gods. With an energetic pop-rock score by Rob Rokicki and a text by Joe Tracz that heavily taps into the real world themes, The Lightning Thief has the potential for greatness. It just misses the mark at times. There is a lot of material to cover, so there's a lot left out to create the complete story on stage. If you're unfamiliar with the source material, the way some facts unfold becomes confusing. There is a good chunk of the score that can easily be lifted as stand alone songs. Even with thematically significant content, every three or four minute number that lacks plot causes a game of catch up in the libretto. Even if the show is directed for kids, eliminating the dramaturgical holes is essential. And it all starts with the opening number. If Percy doesn't know he's a half blood yet, how can he sing about it in the first song? It's not presented as a future moment in the story; It's the start of the narrative. Kids may not care or notice, but one blaring plot hole causes the others to become prominent. With an approach that explores real life problems, the accessibility invites kids to feel like they're not alone and boosts their morals while they get to go on an insane adventure with Percy and his friends. And that is what is so important about this musical and this series. It does take a heavy-handed turn at the end that is reflective of today. It may go over the kids' heads but it's there for the adults.

photo by Jeremy Daniels

The Percy Jackson property has a world open for creativity. What can be done on film cannot be done on stage. And for that, the pieces are singular. That being said, the magical world of The Lightning Thief was subpar. Director Stephen Brackett's vision didn't seem like what you'd expect for a Percy Jackson musical. It felt a little more like rejected production of Rent. This is a magical world. It’s our world but there is the element of the Greek gods. The things that can be created are boundless, and yet Lee Savage’s set felt like a waste. The scaffolding may work for a tour, but this sit down production needed more brilliance. It desired flash and pizzazz. It wasn’t there. The actual magic is small in this show, but it just highlights what a giant budget could bring. The costumes from Sydney Maresca did their job, but once again, when characters weren’t rooted in reality, something more was desired. That being said, the Deadmau5 inspired Cerberus head was exactly what this show needed. The colorful rock show vibe from lighting designer David Lander was visually pleasing and helped to create the many worlds of Percy’s quest.
Chris McCarrell took on Percy Jackson with an angsty approach. He had a rocker grit in his voice that brought out Percy’s personality. McCarrell has a natural allure that kept the piece moving. Taking on Percy’s bestie Grover and camp warden Mr. D, George Salazar was a scene stealer. His ability to shift from the meek and trepidacious Grover to the boisterous  and animated Mr. D was nothing short of seamless. Salazar was the unsung hero of the show. Kristin Stokes as Annabeth was quite understated. Simply by being surrounded by such big characters, Stokes fell into the background. Taking on the array of monsters, gods, and creatures of the world, Carrie Compere, Sarah Beth Pfeifer, Jonathan Raviv, and James Hayden Rodriguez took their moments in the spotlight and made the best of it. They were more than a support, they were the pulse of the production.
The Lightning Thief is meant for the stage. And this production shows what it can be. Kids will love it. Parents will tolerate it. And in the end, it’s really up to the former.

Review: From Fame-ish to Famous

By Michael Block

She’s back! After a long stint in Puerto Vallarta, Sutton Lee Seymour returns to the Laurie Beechman in her newest night of comedy and song in Fame-ish. Paying homage to the Great White Way, Sutton Lee Seymour is a rude and crude, dynamite performer unlike anyone you’ve seen before.

photo by Michael Block

Back with a crowd of people who get her without prodding, Sutton Lee Seymour is in her element. Keeping the night in line with that infamous street only a few blocks away, she starts the night off with a bang with a slight parody of “A Musical” from Something Rotten. And then she’s off to the races. And this is a high-octane performance. But be warned, if you have performance anxiety, Sutton Lee will find you and drag you on stage because this queen likes a little audience participation. Actually a lot. If you’re already a fan of her performance, you know her innate ability to transform from her drag persona and into an array of parody characters. Her musical theater sensibility transcends the genre, falling back to her roots. As a Camp Queen of Stage and Screen, Sutton Lee Seymour has the intellect to destroy classic musicals, like Wicked and Chicago, and perform them in 5 minutes, parodying to oblivion. She even does a mash-up parody of “Titanic” in the spirit of Grease. By performing routines like this, she has the audience eating out of the palm of her hand. The jokes are easy but it gets the audience roaring. Even in her moments of banter, her stories are hilarious. Whether it’s anecdote about an epic flop moment in West Side Story or throwing immense shade to a Drag Race queen for spinning into a costume reveal and ending up on the show, she knows how to get a crowd to laugh. It’s a trait that, shockingly, is rare for some drag queens.
If you’ve seen her multiple times or this is your first time a Sutton Lee Seymour show, she makes sure that you feel welcome and a part of her family. She may call her show Fame-ish, but she is well on her way to be famous.