Review: The Past Echoes the Present

By Kaila M. Stokes

Feeling like you’re living in a world where your voice is not heard? Ever think that our government was never going to take us seriously unless we do something drastic? Should we send a violent message to President Trump? Congratulations, your views align with the Weathermen Underground of the late 1960’s and 1970’s. The Assembly Theater Project presents Home/Sick, directed by Jess Chayes, a play that explores these humans that were once a thorn in the government’s side. Some may call them anarchists, some heroes, but no matter your beliefs - you must be curious how the country let people get to feel so hopeless that violence was the only answer. Although set in the 60’s and 70’s this play is incredibly timely. It deals with the same questions people ask themselves today.
Home/Sick begins with helicopter sounds, actors at microphones trying to rally their angsty crowds, and an overall flood of noise that exposes one’s senses (Sound by Asa Wember). Then there we all are in the bunker of the Weathermen Underground! Six characters are on stage experiencing different levels of commitment and places in their lives, and yet they all ended up together in this one hideout for a cause that will mean the end for some of them. Anna, played by Emily Louise Perkins, is wide-eyed and completely naive to the world. She is the comic relief, often times chiming in when completely unexpected for humor that is welcomed since the topics ring so heavy. Bernard, played by Kate Benson, is the leader of this group. She guides people, fucks people, and overall is one of the people that allowed the Weathermen Underground to be as successful as they were even if it was short-lived. Paul, played by Luke Harlan, is a nervous-nelly and has a conscious greater than most of the others. His reasons for being there are very different from everyone else’s which ultimately allows him to break away before the group's demise. Tommy, played by Ben Beckley, was the playboy anarchist of the group. He had a knack for speaking to the public, but was not on-board with most of the violence that occurred. Kathy and David, played by Anna Abhau Elliott and Edward Bauer, were similar in that they had let their rage and conviction for “the cause” completely overtake them. It became about ego, which led to their fall. The entire cast was a unit, not one weak link. Their passion was so clear and appreciated by the audience. This may be because the cast were also the writers of this passion project.

photo by Nick Benacerraf

The story told was very interesting and dynamic, it had many great ideas! But in that, there were at times too many ideas. The play was very focused on the timeline of events, so the development of the characters suffered. Each character starts out all in with “the cause” and then slowly some become unhinged because of it and some simply don’t believe anymore. Because the events were being focused on, that transition got lost and happens a little too quickly on stage. As an audience member, you were invested in these characters and wanted to know when they shifted.
One of the most interesting parts of the show, was when each actor broke character and spoke into a microphone about why this story was important to them and how they got involved - this part was audience interactive. It made the audience feel like they were involved and had a place in the story as well. This was an idea that worked. The show is very long and there are places that could be buttoned-up a bit. The first act flowed well, but the second act drags. It would have been great if the first act held all of the events, then the second act was the unraveling of the Weathermen Underground and each of the characters. This would have given the story more of an arc and well-rounded feeling. It would have also allowed some of the unnecessary moments to be cut/edited down.
The set was created throughout the show which was visually stunning. Must have been awful for the stage manager (Anna Engelsman), but as an audience member to see the chaos created more and more throughout made it feel tangible. It was quite impressive that they made the entire space into their giant canvas. Home/Sick is an important piece to see, it really rings true with today’s society, unfortunately. The audience was full of both old and young - but their was a cohesiveness because the passion of the writers jumped out into the audience. Home/Sick is highly recommended even in it’s flaws, it is too relatable not to see.

Review: Life According to Saki is a Must See!

By Kaila M. Stokes

Life According to Saki by Katherine Rundell comes to us across the pond from Atticist Productions. If you have not seen this 70 minute production, it is highly suggested. It is a pleasurable evening of wit, story-telling, and truth. Life According to Saki is set in WWI, literally in the trenches. Soldiers await their fate day by day and are met by intolerable boredom. To fill this void, a soldier named Saki, supplies ample stories throughout. Saki, played by David Paisley, is based off of the real life man Hector Hugh Munro. This man was an established writer that enlisted in WWI in his mid-forties; he was more than double in age of most of the men already!  Saki and the men acted out numerous stories about fear, love, loss, and religion. Each story was more vulnerable than the next.

photo by Monica Simoes

The director & choreographer of this interesting play are Jessica Lazar and Ed Addison. They had enough foresight to add in the value of physicality for these actors. The actors play multiple roles throughout each story, but each role took on a new physicality. It was very well directed and choreographed. The actors seemed extremely comfortable with the movements and each other; therefore they mastered them. There was not a detail over looked. When the characters were on the train, sound effects and physical motions were added. When the characters were animals, it was clear that the work was put into create that beastly altitude. And when Saki was speaking to the audience, the emotions bleed through his eyes. This brings up another point; the actors are superb. The entire company works together and does this piece justice. Women definitely led this play down the right path though; from the female writer to the director to the female company members (Phoebe Frances Brown, Ellen Francis, and Caitlin Thorburn) that stole the show. It was an honor to receive the honest messages evoked onstage. Your life is only worth what you put into it after all.
The lighting and sound, by David Doyle, were all tightly executed for each scene. It is a small space, but intimate, and the intimacy was utilized. The costumes are simple, defined, and true to the period. Since each character played multiple parts the simple design made it easy for them to transform. The set is also simple with boxes, benches, and a projection screen on the back surrounded by rock. The projection screen was utilized to enhance the audiences understanding of a story; it was never too much, but just right.
All in all, Life According to Saki is highly recommended. It runs until March 5th, so get your tickets to this short yet honest and witty British play. It was an honor to remember someone who made the world a better place with a tiny drop in the bucket. It was a generous reminder that we all can do that by being good to one another - that is what people will remember.

Review: A Creepy Land, Blankland

By Kaila M. Stokes

Boom Bat Gesture Performance Group had been around since 2012 and they have recently created Blankland presented by The Exponential Festival.  Blankland is a multi-experimental theater piece that will make you laugh and feel slightly uncomfortable throughout. It will get you out of your comfort zone and into Blankland with characters you never wanted to meet.  The show begins when you enter the space. You walk down a creepy stairwell into a basement that is covered head to toe in thick plastic. Basically if a murderer could ask for the best place to kill someone and get away with it, it would be in this space. Due to that fact, you are physically and mentally on guard, which is the point. The next thing that happens is that you are handed a green pudding–like substance. That is all that needs to be said about that. As the story begins, the lights dim out and two screens come on with a voiceover of a child going to bed. The premise is that the child is afraid to go to bed so they turn on his favorite show, Blankland. This is the world in which we are pushed into with inherently creepy characters and story lines. It is definitely a darker and weirder "Death to Smoochie" type of story, but again much stranger.

The characters, played by Jon Burklund, Edward Rice, Ilana Stuelpner, and Niko Tsocanos, were all fully committed and took on multiple rolls during this process. Ilana, Jon, and Niko were all also the directors. It was good to see that there were multiple directors because each scene was so specific to what the performer’s physical constraints were. This show was extremely physical and messy. It is important to always make your performer feel comfortable, but in these cases the directors were also the performers. As stated, the show is messy. The audience wears a tarp the whole time and rightly so. On this note, not all of the mess was necessary. There were moments when the messy touching, spitting, and other actions were just too far. Most of this show was about shock value, at moments it worked and at moments you were so creeped out or grossed out you did not care about the performance.
The best part of Blankland was the actual experience that the audience had together. It brought everyone together because you almost needed your seat partner to talk with so you could get through it all! There was a camaraderie that was created and was the most meaningful part of the show. Blankland is not for everyone and that is ok. You must love performance art and obscure theater to find an appreciation for this piece, there is beauty in everything. Blankland was definitely out of most people’s comfort zones, but Boom Bat Gesture Performance Group should be commended for their continued originality and commitment to performance theater.

Review: Dragon Slayer: A Love Story?

By Kaila M. Stokes 

Dragon Slayer, presented by Scialli Productions and written by Tony Scialli, is not quite what you’d expect from the title. This original musical is funny, ridiculous, and entirely clever. The plot surrounds Lenny, played by Matthew Hazen, a wide-eyed self-absorbed writer who is new to NYC. The musical that he writes is called, Dragon Slayer, and he is sure that it is a hit….spoiler….it’s not. What is clever about this show is the nuances it makes towards Broadway and how artists are in New York. The opening number alone is a play-off of “New York, New York,” but instead of the exact melody and words it is poking fun at all of the diverse factions of people in this crazy town.
As the show progresses the audience constantly delves in and out of reality. The out-of-reality portion takes place in Lenny’s imagination. There we meet Genevieve, played by Courtney Dahl. She is the heroine of Lenny’s musical, except she is a bit feistier than he was expecting. He created her to be the perfect woman, you know; someone who is quiet, petite, and a fair-maiden. Genevieve is basically the one who tells him how stuck up he is and if he wants to be happy than he needs to take his own head out of his…well you get it. All while this is happening, there is a love story. How could there not be? Lenore, played by Veronica Kelly, is in love with Lenny. Lenny of course messes it up and then has to fix it by the end of the show.

photo by Russ Rowland

The best part of the entire show was Veronica Kelly’s voice. It was absolutely beautiful and compelling, not unlike Jessie Mueller’s voice.  The second best thing about Dragon Slayer, was the choreography. Andrea Andresakis did a fabulous job at utilizing her actor’s talents. The dancing never felt like too much or too staged – it felt like a Broadway show – choreography was there when needed. The three men in the show (Mark Curtis Ferrando, Constantine Pappas, and Miguel Angel Vasquez) that played multiple roles were hilarious and definitely the comic relief as well as excellent supporting dancers.
Dragon Slayer while entertaining did have many ideas swirling in the writing, too many ideas at times. It was trying to be its own show, while referencing other shows, and then being a show within a show. It was a lot. It could be simplified just a tad with the show references. The jokes were funny the first and maybe second time, but after that it became repetitive. The other thing to look at is how many songs or ballad type songs there were. There is a lot of music and little dialogue comparatively so the ballad songs needed to be more diverse, by the last one it was not engaging anymore.
Overall the show was fun and silly, I recommend it if you are looking for a show about theater and want to support a group of talented artists. The casting is absolutely fabulous, no complaints about a single member. Each actor held their own and engaged the audience with the material they had. Dragon Slayer may not have any dragons in it, but it is a good time had by all.

Review: Sword Fights!!!!!

By Kaila M. Stokes

Love the brutal fight scenes in the movies and wish they would come to life? If so, attend a performance of Coriolanus: From Man to Dragon presented by Shakespeare in the Square and Combative Theatre Co.  Hope you don’t mind being part of the action, because as an audience member you are also a member of the company. This theater-in-the-round style show combines the words of Shakespeare with extensive fight choreography and audience participation. The show begins with the audience being led into a closed curtain with a single drummer at the front of the stage. This drummer is the beat throughout the show. The audience is encouraged to stay on the outer rims of the space, but then when the show began everyone was ushered into the middle of the stage in a big circle by the actors dressed like warriors. The audience suddenly became the public activists that were unhappy with the government along with the warriors. But then, Coriolanus shows up to disperse the people and the audience were shuffled back to the safety of the outer rim. This went back and forth during the first act until seats appeared behind the black curtains. It was thrilling being part of the action the first time, but after that it made more sense for the audience to sit. Audience members were in the way of the actor’s entrances and exits which pulled one out of the show. Plus after it was done the first time the excitement and shock wore off.

Shakespeare’s Coriolanus is not often done due to all of the difficulty and problematic story-telling. Omri Kadim did a nice job adapting this version and it was a smart choice to make the show about the violence. The show doesn’t have a lot of character development or change of tempo. The director, Yuriy Pavlish and fight director, Mitch Mccoy had their work cut out for them. The fight scenes are so extensive and complicated due to the style of fighting and the sheer number of actors involved. Safety is of the utmost important for both audience and actors.  Each scene was a like a choreographed dance of violence, it was very compelling to watch. As an audience member, you felt the right amount of danger to keep you interested. The costumes were simple when the actors were townspeople, but the armor was so much fun! The shields, swords, hats, and buckled armor decoration was perfect to set the tone. With these costumes, by Fan Zhang, the audience was able to identify all of the characters portrayed since actors played multiple people at times!
The fighting mostly happened in the first act, which left the second act to tie together the plot. Coriolanus is ousted from his community, but returns with vengeance by waging war against his own people. Eventually the audience learns that he is just a sniveling mama’s boy. The second act was definitely weaker than the first, but that has more to do with the original story than the production itself.
Coriolanus: From Man to Dragon has such a commanding title, it left the audience wanting more from the Coriolanus character. The moment was missed when he chose to become this soulless blood seeker due to him being ousted. Not enough focus was put on that turn of events. In fact most major decisions were glossed over. The emphasis was on the physicality in the first act and it felt like the second act was less focused on. With that said, the company of actors did a fabulous job at playing their characters, wrangling the audience, and dealing with the incredible physicality this show demanded of them. The one choreography suggestion is to have the actors/fighters be more connected to their breath. Even in the fighting, moments were rushed.  Pausing for a breath and dwelling in certain moments would help the audience develop an emotional connection while watching. Even if those pauses connected to the drumming happening that would also show the audience that relationship. He was underutilized.
This is definitely an active Shakespeare play to see and Omri Kadim is brave to take it on. If one is not too familiar with Shakespeare this would be a great introduction! Some moments could have been given more weight, but overall the audience was entertained and this is all you can ask for sometimes.

Review: Dancing with The Loons!

By Kaila M. Stokes

The Loon is a funky dance-theater piece that makes for an all-around enjoyable evening.  There is a narrator, Robert M. Johanson, and then dancers that physical tell the story. Don’t get caught up in following the story so much as just enjoying each flick of the wrist, twitch of the foot, and topic.
The narrator asks the audience “what is time?” His monologue then consists of a rant about time being the measure of lives and time being how one perceives the world all while two performers have an intimate dance. The next topics include gender roles in the home, the monotony of life, aliens, and the loon (a bird).  The entire piece is based on “voices of the loon” put out in 1980 by the Audubon Society. As all of these interesting stories and narrations are happening the dancing almost gets more manic increasing the audiences pulse. Then at a climax of emotions the narrator loses his mind slightly going into a dance party with the other dancers. There are moments when characters break and they acknowledge this as being a show, the narrator breaks the 4th wall throughout, and the dancers break the wall with the narrator constantly. It is interesting to see the relationships on stage change and develop. As an audience member, it allows one to feel the light-heartedness of the piece.

Robert M. Johanson, the narrator, was a powerful voice that had the audience drooling over his every word. His presence on stage was undeniably captivating and it didn’t really matter if what he said made sense – the audience ate up every word.  The dancers were beautiful, each one unique in character and physicality. The center of the stage was utilized mostly in this black box style room. The other areas of the stage could have been utilized more when it was just a duet on stage. Those areas were only used when everyone was on stage at once.
The lighting, by Jay Ryan, made the piece very fun. The lights were full of enthusiasm themselves! As the pace and tempo increased – so did the lights. As the narrator became more and more unhinged – so did the lights. And when the dancers brought the story back to the reality of the room – so did the lights. The projections by Kaz PS were very unique, but not nearly utilized enough for the story telling. They acted as more of a backdrop or set replacement than a tool to guide the audience.
The Loon was a fun creative dance experiment sprinkled with theater that had amazing artists on top. This show has another weekend so take some friends and see this hour long commentary on life through the eyes of dance and storytelling! Make sure to congratulate the creators and performers for their courage (Alexa Andreas, Kelly Bartnik, Sunny Hitt, Annie Hoeg, Eva Jaunzemis, Robert M. Johanson, Vanessa Koppel, Trevor Salter, and Dan Safer).

Review: I Would Go To Hell With Anais Nin!

by Kaila M. Stokes

Anais Nin Goes to Hell is a salacious complex satire on women’s rights, desires, and society’s expectations of the female sex. First of all, if you do not know who Anais Nin is, take a quick trip to Wikipedia – she was the 1920’s version of Ruth Westheimer. She was a titillating writer who lived a bohemian life-style in a time-period where woman just received the right to vote let alone take multiple lovers publicly and write about it. The play begins with Ophelia from Hamlet suspended in the air singing about the setting of the play – hell. This part in the play was not necessarily needed nor did it add to the experience as an audience member, but the actress had a beautiful voice. Then the lights fade and reopen on Heloise, a faithless nun, and Andromeda, the daughter of the Aethiopian king in Greek mythology.  They are telling each other stories back and forth and waiting. Waiting for what? As the audience comes to find out everyone on this island is a woman waiting for a man. Queen Victoria appears with Joan of Arc then joins Cleopatra. The island is divided in two so Queen Victoria can rule with her God and Cleopatra can rule her way, in other words monotheism vs. polytheism. They all wait; wait for men, who after centuries still have not come for them. Yet, each character carries a certain blind hope that even has the audience misty-eyed and optimistic.
The waiting changes when they all see a boat off shore. Joan of Arc swims to retrieve it, even fighting off a sea monster. Who was on this boat? That’s right; Anais Nin was on this boat. This new aged thinker lands on the island turns everyone on their heads. She represents how the women want to feel, but won’t let themselves because they are too occupied with the men. Cleopatra and Heloise immediately take to her and she helps them discover what they truly want in life and how a man won’t fill that void. Ultimately, the island is divided because of Anais Nin’s beliefs. Queen Victoria, Joan of Arc, and Andromeda take off to find their men in vain whilst the others stay to believe in themselves.
Although a comedy, this play portrays all too real problems with the expectations of woman in society. The company of actors was flawless in their delivery in lines, emotions, and dialects. Each character had a story they shared about who they were and each actress delivered it with fearless integrity for the character! It was truly stunning to watch a cast of women play these women from history that we all know to be strong like stone – yet they are all brought to their knees by a man. What a commentary huh? The playwright, David Stallings, should be commended for writing a piece that has amazing female parts that are so flushed out and human. All too often women in shows lack a three-dimensional state because the story is surrounding the man. It is also a lesson in love; self-love. “We love in others what we love in ourselves” (-Anais Nin). Loving others is actually inherently selfish; loving yourself is much harder because it is pure.

photo by Jody Christopherson

The director, Antonio Minino, made the audience’s job very easy. Each moment was captured with no stone unturned. Each character took their time with the words and created a journey we all could take together through these women. Just as these women were discovering themselves, the audience was right alongside them cheering. What society paints you as, as a woman, does not define you. “You died as a mother to be painted by time as a whore” (-Anais Nin to Cleopatra).  In the midst of the heavy topics, Karen Carpenter sings to the audience from her own island in the distance. It is ironic due to the nature of her songs, funny because the cast sings along, and sad because of the lonely life she led as a woman. She was defined by men and now resided on an island by herself stuck in an eternity alone.
The lighting, by Daniel Gallagher, added to the nuance of the show and guided the audience along. Unless you were actively looking for it, the lighting just seemed to be a natural element of the scenes, which is the best kind of lighting. The sound design, by Martha Goode, projected the same thing. Subtle sounds such as the crashing of water, the distant singing, and hearts beating were among the suggestions of how the audience was feeling. The sounds increased everyone’s pulse to create a rise and fall of each scene and character. The set, by Blair Mielnik, was creative and simple. On each side of the stage hung long weathered ropes with decrepit looking wooden steps leading towards the heavens. Placed around the stage was tall golden grass and crates to sit on. The one thing that would have been nice is if those long ropes and wooden steps were used in some way. Anything on the stage should be utilized and as an audience member you were waiting to see how they were going to be used, but they never were.
Overall, Anais Nin Goes to Hell, is enjoyable and a must see at the 14th Street Y. The company is fantastic in their honest, bold, and emotional roles from women in history. One woman’s journey does not define all women, but it can be a guiding light.

Review: A Little Bit of Heaven & Hell

By Kaila M. Stokes

Hit the Body Alarm is an avant-garde look at one person’s perception of heaven, hell, and the in-between. As the audience assumes their seats the actress, Winsome Brown, is at the microphone singing, creating sound bites, and making other weird noises that include metal on metal and chewing food. The sound mixer, also on stage, smashed all the sounds together to create noisy chaos. Winsome Brown was incredibly talented with accents, foreign languages, and has a certain ease standing on stage looking into the eyes of her audience. It takes an unteachable confidence that comes from years of performing to be able to portray that.
Then the show began. Huge amounts of plastic tarp were used as the set. What was interesting was that the beginning of the show is “Satan’s Fall From Heaven To Hell.” The actress took her place behind the tarp with wings on and was suspended by a rope & hook. Using lighting, the sound effects created from earlier, and voice over; the audience was swept into a world of dark mysterious confusion. You could see her shadow through the tarp creating an effect of her falling through clouds while the voice narrated the story of Satan’s fall. The stage managers, also on stage, moved the plastic from one position to another as scenes transitioned. Disappointingly that was the only time the tarp was used in an interesting manner pertaining to the text.  The next five parts of this mysterious play included: Hit the Body Alarm, Satan Addresses the Fallen Angels, Elaine, Satan Arrives on Earth, and Eve’s Dream.

photo by Theo Cote

It was hard to follow exactly what was happening since the actress was in and out of roles that did not seem to tie into one another. The ideas were there, but it landed differently. The set should have been used more. The idea was unique and original with the plastic – it metaphorical fit so well. The narration should have been shorter and less theoretical. The narrator should be the one to cut through the smoke & fog to produce the facts. The stories themselves, felt long and winded. It would have been nice if the stories tied together more. The scenes were only identifiable by what was written in the program.  An audience member shouldn’t have to look at a program to figure out what is going on.
The artistry of having the stage managers and sound mixer on stage was appreciated. It was a true testament of how much the “behind the scenes” work actually means for the show being performed. Hit the Body Alarm is not for everyone. Windsome Brown is undoubtedly a seasoned artist. Like many forms of art, people can interpret as they will, but she clearly stays true to herself. If you like avant-garde and would like to see a portrayal of heaven to hell and the in-between then head to The Performing Garage.

Review: A Fantasy Musical

by Kaila M. Stokes

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

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

Review: A Beautiful Show By A Beautiful Woman

by Kaila M. Stokes

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

photo by Dixie Sheridan

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

Review: Once Upon a Time...

By Kaila M. Stokes

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

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

Review: A Sad Portrayal of the People We Become

By Kaila M. Stokes

Remember Me is presented by Scandinavian American Theater Company as part of FringeNYC. This dramatic play is written by Finland native, Minna Nurmelin. This female drama is a touching tale of complete strangers that find themselves trapped in their own thoughts and circumstances of life. The show opens with the character Anna played by, Jackie Sanders, entering the home of Helena played by, Heli Sirvio. Anna is there to appraise Helena’s house to put it on the market. Right off the bat, both characters are a little strange. Throughout the show we learn more about each woman’s life-plight.  The characters also jump back and forth between real time, past experiences and their own subconscious.
A directorial choice by director Drew O’Kane that I commend was the use of lighting to deduce between present and memory moments from the actors. Anna often visited her own subconscious. She is trying to come to terms with a diagnosis she has received from her doctor that we find out about later. Her memory goes in and out and her past blends with her present. Helena on the other hand is trapped by her own circumstances of a pending divorce, which is why she is selling the house. Helena goes in and out of her subconscious to try and decipher why/how she was put in this position.

photo by Alex Harris

Minna Nurmelin clearly likes to explore the emotional side of people put in extreme life-altering situations. The writing was well done, but almost too well-done. Ms. Nurmelin captured every thought, emotion and choice of the character. But what she did was share each and every thing with the audience. She did not allow for any thought or creativity from the audience. One’s brain was not used in the slightest during this show because Ms. Nurmelin did all of the thinking for everyone including the characters. Heli Sirvioo (playing Helena) and Jackie Sanders (playing Anna) didn’t seem to have much exploring or character development to do because all of the subconscious thought was said allowed as part of the show. A moment would happen, for example, Ana would lose her thought and then instead of dealing with this and working through it, Ana would change to her inner thoughts being shared with the audience. The entire point of theater is to stretch the imagination of the audience through thought-proving moments on stage, not tell them why or how they should be thinking.
With that being said, Heli Servio and Jackie Sanders left it all out on the stage. They played their characters very open and honest. Since there is only two of them, listening is the actual challenge. But they listened and reacted to each other in an earnest way. Drew O’Kane clearly worked with the two ladies to get them to reach those emotional highs and lows. The staging made sense and felt organic. One thing that could have been stressed a little more was the climax of the play. Since the play is somber and emotional, it needed a little bit of extra stress on the climax. It felt as though it was glazed over just and we had to move on quit quickly after learning the truth.
Overall, Remember Me, was a great attempt at capturing two women’s present and subconscious psyche.  It was enjoyable to watch this idea appear on stage, but tweaking is still needed in order to engage the audience more and quite frankly, excite the audience.

Review: Hyperbolic! The Last Spectacle was RIDICULOUS

by Kaila M. Stokes

As a seasoned theater goer, it would seem that one might have seen it all by now, but Hyperbolic! has proved that theory wrong. Mostah Black, the conceptual designer for Hyperbolic!, definitely put a lot of passion and detail into his work. What the entire show lacked was focus and an overall point. It was confusing from beginning to end. Anytime a point seemed to start to become clear, it was immediately thrust into the ridiculousness of the misadventure again. That is the best word for this show, ridiculous, which is not everyone’s cup of tea.
Let’s start with the positives! Mostah Black has passion and vision. The fusion of theater, film, fashion and dance speaks to this fact. The actors and actresses blurred the lines of gender and humanity as they pranced and laughed across the stage. If Mostah Black’s point was to not have the audience care whether the characters were gay, straight, girl, boy, black, white or what the plot was; then that was a success. An eye catching form of art on stage was the costumes. They were very avante garde, obscure and interesting to look at. The costumes were a character of their own for sure. The creativity was impressive; however, the costumes did not lend a hand in the matters of understanding any sort of plot or character development. They served more as art installation on humans. If art that has no point is your thing, then you will love Hyperbolic!

photo by Peter Yesley

The movements choreographed were stagnant, sharp and led to know where. The dance-theater aspect could have saved this show, but instead they added to the confusion. It would have been nice to see the movements develop from beginning to end. This could have been the art form that told the characters’ stories. Dance is an amazing form of expressions; it should be used as such. For everything thought that was put into this piece there was another thought that said we should be as crazy as possible, completely throwing out any validity the story ever had.
The space itself was very unique and cool. It was a two-tier theater that had a warehouse vibe to it. The actors utilized every bit of space; on the stage, in the audience, in the rafters and more. You never really knew who would show up where. The lighting must have been a challenge for this reason. But the lighting and the music were the only clues the audience had into this world and these characters. The lighting provided the actors with their necessary spot lights and provided the director with scene changes. It was very simple compared to the rest of this complex piece. The music let a small hand into the characters world. The actors were in tune with the music in movement and place.
Overall, Hyperbolic! may have just been over my head. This show was like a Jackson Pollack painting; complex in its insanity, volatile in personality and unique in its ridiculousness. As always, it is nice to see artists doing what they love, but I may skip this show next time.

Review: What a Title and What a Show!

By Kaila M. Stokes 

Sometimes you have to ponder things you see before you can express what exactly happened to you that night. In a lot of ways when a play hits you so hard, it is just as hard to articulate just how amazing the show was. The Annotated History of the American Muskrat written by John Kuntz definitely makes you think, and think and think some more. It starts out simple enough. When you enter the theater all of the actors are on stage, eight of them asleep in their beds and 2 masked figures lurking around them and staring at you. Immediately the 4th wall is broken. Is the audience part of the show? You sit there for an uncomfortable amount of time before the show actually begins; this must be to set the mood of how out of sorts this show is going to make you. Bravely directed by Skylar Fox, this show is a huge undertaking. There are guns, music and sound transitions out the wazoo, the destruction of the set on multiple occasions and eight talented actors playing several roles each.
The premise is simple, but not simple. There are eight subjects allegedly being tested while they are asleep. In their dreams is where this play goes crazy! The audience is forced to question, America, gun control, race, religion, the past, the present and the audience member next to him even. The subjects begin their story by informing the audience about muskrats and throughout keep relating everything back to muskrats; muskrat love, muskrat movies, muskrat historical figures and so on. As the story continues each character not only plays themselves but goes through a series of characters throughout history that ultimately is dealing with similar issues as we are today.
A memorable scene was when a character was a radicalistic and watched her story unfold to the point where she issued an attack armed with machine guns for her cause. The director, Skylar Fox, did this beautifully. She had her up on the set in slow motion with strobe lights beating, music booming and feathers being fanned into the audience creating a psychedelic moment that broke the fourth wall. The audience felt on the actors side even though her actions were extreme, it united everyone in way society is unable to when someone does something terrible. Another memorable moment was actually done in black face by a black man. After discovering that he may be living in a false reality, one of the masked figures comes out and shoots him most likely for discovering this. As he laid there dying he muttered, “I can’t breathe.” This was spine-shuttering due to all of the controversy in the country currently.  There were many references that seemed a direct result of what is in the news even though this piece was written two years ago. Throughout the piece, each character at one point either says or is told that they can leave at any time. This eerie sentence resonated with the audience as Americans. Americans can leave, but choose to stay in this broken society and too often do nothing out of the fear of the unknown just like these eight test subjects clamoring to feel important and not helpless. Are they really test subjects?

photo by Cheno Pinter

The ensemble (Sam Bell-Gurwitz, Jared Bellot, Madeline Boles, Chris Fitzsimmons, Simon Henriques, Molly Jones, Anna Nemetz and Justin Phillips) was phenomenal. The sheer physical and mental exhaustion these actors went through was impressive. Each actor was fighting for the same or similar goal, which is different from the format of most theater. Their internal struggle did not necessarily lie with one another, but themselves and the world. It is clear from their bios that they come from established acting backgrounds and all have a promising future. No one actor was the star, which was both the message and the beauty of this unique twisted play.
Amidst all of the serious analogies and plot angles, one thing was clear, both the writer and director have a sense of humor. In a three-hour show like this with the heavy topics that it portrays, that was very much needed. So throw in a lip-synced song, a slow motion pillow fight, a guitar solo by a heart-throb – do it – make your audience laugh and cry! The set designer, Adam Wyron, is the real hero. The Annotated History of the American Muskrat has many places, spaces and eras that need to be represented. Adam Wyrion designed eight moveable beds that started out on stage. Throughout the show, those beds became desks, cars, doors, caskets, bars and more. They literally transformed the stage for every scene; it was part of the magic. The other hero is lighting designer, Christopher Annas-Lee. The lighting was so important in the transitions. First of all, there was never a full blackout except for intermissions and the ending, which keeps the audience attached to the piece. BRAVO! The lighting also brought the audience in and out of reality, whatever reality means for this show. But it did let everyone know whether you were in the test lab, in a side scene, in the present, past. Etc. The marriage between the lights and sound was well timed. Sound cues were just as important, there was almost always an overlay of music. The sound cues and lighting actually contributed to some of the humor of the show. It felt smooth and effortless to the audience, just like tech elements should be.
Overall, what is there is say about a nearly perfect production? The one thing that could be perfected is the fact that it was unclear if the characters knew each other in reality or just in their subconscious. But then again, that may have been the point.

Review: An Hour Long Portrayal of Abuse

by Kaila M. Stokes

Infinitely Yours, written by Darci Faye, is an hour long thriller that will leave you on a cliff. Darci Faye takes the audience through the slippery slope of an abusive relationship and ultimately makes you feel like that it could happen to you. It did the Hunker Down Initiative (the benefiting organization) proud.  It opened people’s eyes to how easy it is to judge women in abusive relationships, but ultimately it can happen to anyone.
Infinitely Yours opens with all four characters on stage on stools set up for them. Each actor stays on stage the entire show whether they are in the scene or not, which I will get to. Emily, played by Deb Radloff, is getting a coffee in a Starbucks when she runs into an old friend from High School, Jason. Jason, played by Andrew Hutcheson, is super ecstatic to see her and Emily is hesitant immediately. She reluctantly agrees to sit with him and have coffee, he even persuades her to meet up for drinks later as well. There is an unsettling feeling for the audience, but we did not quit know why yet. After they meet for drinks, Emily is sloppy drunk and they hook up. In the next scene, Emily’s fiancé shows up. Derek, played by Kevin Kiler, is a well-kept man that is clearly looking to settle down with a nice woman that can hold a conversation. Emily and Derek go out to dinner and run into Jason and his wife! Tasha, played by Maria Tholl, is a timid shy woman that lacks any confidence to be pretty. Faced with this problem of Emily and Jason having hooked up, the uneasiness ensues into the next scene with Jason and his wife. Tasha is petrified of Jason and we soon find out why. Jason belittles her to the point of irreversible damage and physical attacks whenever he feels it is needed in order to discipline her. Without giving away the ending, it isn’t good and Emily fell right back into old habits.
All of the actors did a great job of working together and listening to one another. Each character was very different and had scenes written where their personalities could shine through. It wasn’t just about this abusive relationship; it was about how all of these characters connected to the abuse differently.  One major thing that needed to change was all of the actors being on the stage throughout the show. Some of the scenes were so intense you ended up watching the actors that weren’t in the scenes expressions! Another aspect of this was that some scenes required the action of getting a coffee or a beer and instead of going off stage to retrieve these props they were either on the floor or in bags that the actors had to open. It took away from the reality of the show. With that said, the space was very hindering itself. There is only a simple curtain propped up for a backstage; however, it would have kept the audience in the moment if the actors had used the backstage. Another directorial and writer choice was to have a very long make-out scene between Emily and Jason. It was extremely uncomfortable for the audience with the close proximity and how long it was! When they started to get intimate that would be another moment where a backstage could have been used to imply sex. The audience doesn’t need to see it. It actually dumbs down the content of the show when a scene is so “handsy”.

The lights were simple. Again the space seemed like it hindered the show, but it would have been great to have used the lighting to feel the intensity. When Jason got scary it was a good opportunity perhaps to narrow the wash of the lights or have more of a spot light on the actors to make it seem like there is nowhere for this poor girl to run. It would have helped the audience feel even deeper for the character. And then when Jason was out in public acting completely normal the lighting could act as an opposite to fit his bi-polar abusive personality. He pretends in the light and his true colors come out in the dark, like a monster, but he is just a guy that anyone from the audience could know.
The music transitions were used to change scenes, since again, all off the actors were on stage. The music seemed to match the tone, but scene changes with loud music take the audience out of the show. The lighting and a backstage would have fixed the transitions that made the audience look at their watch or other audience members while waiting.
Overall, Infinitely Yours, was a great drama that made the reality of abuse be known. It would do well at New York Theater Workshop or Playwrights Horizons. It was hindered by the space and budget. With more financial love and cohesive directing it is a great show that I recommended for a quick reminder of how lucky you are in your relationship. Maybe see it with a friend and not a partner. Hats off to the actors who stayed true to their characters and made it real.

Review: The Golden Smile Made Me Smile!

By Kaila M. Stokes

The Golden Smile, written by Yaakov Bressler, is a witty dark comedic musical farce. Set in the 1950’s, The Golden Smile is absurdly vulgar and hilariously light all in one. Directed by Joey Stamp, this psychological musical had a lot of high points to be commended. From the start there is a lot going on. You are in a mental hospital with 7 people with varying degrees of disabilities and physical limitations. All of the characters have their own defined personality and pick on one another accordingly. It is clear to the audience from the start who are the alphas and who are the betas. The Golden Smile is about a group of mental patients being bogged down by their warden, played by JeVon Blackwell. In danger of his physical threats and of losing their most prized possession, their wreck room, the gang sets out on the daring task of creating a play. By the end, they all realize their true purpose.

Joey Stamp did a fabulous job in defining each character. It would have been easy to throw 7 actors on a stage with pretend disorders and not define them. It was clear that the character work was important to the writer and director. However; out of the 7 patients on stage, only 5 were really used to their fullest potential. The Critic 1 and Critic 2, played by Jody Hinkley and Yasmin Schancer, were underutilized and therefore seemed a bit unnecessary on stage. The other 5 actors were the ones creating the plot and driving it forward. If a character has no change from beginning to end and is not a driving force in the script, than there is not a real need for that character accept to pull focus.
The first song is sung by Loathing Actor, played by Robert DiDomenico. This was thrilling since at this point everyone was mostly unaware that the show had musical elements. DiDomenico did a fantastic job telling the audience why he was smarter, better and shouldn’t be in this mental hospital. The satire and irony is what set this show in a positive motion. The Director, played by Amanda Mason, was a force to be reckoned with as her character screamed her way to the top…literally. There was a lot of screaming from the start which made it hard for the cast to keep the momentum up. The energy started at a 10 from the beginning and ended at an 8. It would have been more fulfilling if Mason gradually took control and grew stronger physically and vocally throughout the show to gain power. Her journey was a bit one note because of the stagnant nature of her yelling constantly. The writer, played by Andy McCain, stole the show. McCain created a physicality that was unlike any other. He worked on a stuttering speech pattern that created empathy and awareness of his illness. His character also had the biggest journey and change from beginning to end. It was a joy to watch the writer’s transformation from being a cowardly stutterer in the corner to a well-articulated character in a play within a play. It was a commentary on the power of theater and how it can transform lives.
The Paradise Factory is a small bleacher seating style black box. The stage was utilized to its fullest potential. The space didn’t feel too big or too small, but just right for this insane comedic musical. The lights were designed to take the audience from sterility of the mental hospital to the physical threats coming their way to their own world when creating the play. And the lights did just that. It helped progress the story forward and aloud the audience to share in the characters emotions.
The Golden Smile definitely made me smile and was one of the better shows part of the Planet Connections Theatre Festival. The actors left their hearts and energy on that stage. It seemed like a project full of passion from every member involved. I recommend this light hearted yet serious commentary on society of a show to anyone looking for a good time.

Review: Whether We Like It Or...NOT!

by Kaila M. Stokes

In a small theater at the top of the 8th floor in a doorman building in the heart of Times Square, is The Tank. This non-profit home for the arts is where many emerging artists produce shows. Whether We Like It Or Not is written and performed by Ariel Lauryn and Lucy Shelby, college friends turned comedy-duo.
As the house lights, stay on, the show begins with two very apparent quirky girls trying to find their way to the stage. As they enter, almost ripping the curtain down, Stella, played by Ariel Lauryn, was shocked to see the audience. Immediately the audience was a part of this production. As Stella stammered around pointing out people in the audience she knew, real or fake we will never know, Blanch, played by Lucy Shelby, knowingly watches her in excitement. The chemistry between the two actresses is apparent off the bat. They had a little Lucy and Ethel vibe going on.
The plot that is marketed is “A blonde and a brunette walk into a living room, with lots of old, smoldering secrets, sisterly love-hate and a gun.” The actual plot is a play within a play that should be a fifteen-minute SNL skit and not an hour and a half production. With that being said the show starts out very clever. Blanche invited all of Stella’s family, loved and hated, from Indiana to do a reading together. Slowly, and I mean slowly, the plot develops. The real reason behind this event is that Blanche wanted to showcase her talent or lack thereof and upstage Stella…AGAIN. As time goes on the slap-stick comedy increases, the characters become unhinged as secrets new and old are revealed and the stage is torn apart.

Ariel Lauryn and Lucy Shelby are clever and funny, but their show lacked a purpose. As soon as all of the horrible things that Blanche has done to Stella were revealed, why didn’t Stella just leave? Blanche didn’t do anything physical or verbal to try to and make Stella stay. Why was Stella even friends with Blanche ever? Blanche seems like a terrible person that doesn’t have many redeeming qualities, except sex appeal, which was humorously not sexy. As an audience member, you grew to loathe Blanche and judge Stella, a similar feeling during Street Car Named Desire.
What Ariel and Lucy did a great job of was listening to each other and their surroundings. Because of the slapstick nature and the involvement of the audience things are bound to change every performance. A cell phone rang and it was commented on, a theater-goer got up to use the restroom and it was noted and shoes, butts and objects were flying everywhere! There is no doubt that these two of have talent, but the production Whether We Like It Or Not was like watching the same joke over and over again. The joke is funny the first time, stick with that. It would have been more compelling to have seen the funny joke turn into a serious drama.
If there had been a director, a lot of the flaws in the writing could have been brought to light. Blanche might have not been so one note and Stella might not have been so stale. The lights were minimal, yet served the purpose for the space and production. The set also minimal was utilized well by the performers, not an inch or object went to waste. Whenever an object is on stage that is not utilized it is a missed opportunity. One should always support local theater, artists and spaces that promote new forms of expression. For that reason alone maybe you should see Whether We Like It Or Not, or maybe NOT.

Introducing Our New Contributing Writer Kaila M. Stokes!

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

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