Review: A Rant of One's Own

By Kelly Kohlman 

A Haiku:

Growing up is hard.
Relationships can hurt us.
It gets better, though.

Angsty haiku, silly songs, and cheating boyfriends abound in I Kissed Your Boyfriend: Another Feminist Rant, Laura Kay’s autobiographical one-woman show, which premiered Off-Broadway last October as part of the 2016 United Solo Theatre Festival. Kay and her all-female team have revived the show for a second round at the PIT Underground running August 24-26.

For about an hour, Kay guides us through her personal history of perspectives on love and sex, from childhood to adolescence and on to young adulthood. She does so by roaming around her unpacked bedroom, which is filled with cardboard boxes, most of them labeled with the names of men who had done her wrong (and a few with fun descriptors such as  “Assholes”).  As she literally unpacks each box, she figuratively unpacks her associated baggage in a procession of anecdotes of growing up and self-discovery, from her first kiss to her #Feminist awakening.
Kay’s likeability and candidness make a pleasant evening out of her diary entry-style script. To whom she intends to be speaking throughout the piece is unclear, but her heart is laid bare, her storytelling is earnest, and her charm is undeniable.
Chelsea B. Lockie’s direction incorporates welcome movement and use and space into the piece, and the original songs sprinkled throughout, composed by Jeff Gorcyca, are a fun and irreverent addition.
I Kissed Your Boyfriend: Another Feminist Rant is just that, a rant in long form, primarily about no-good lowdown men, packed tight full of experiences that many young women today can relate to. The hopeful takeaway from the drudgery being that though love and sex and gender politics can drive us to our breaking point, we are all, in fact, going to be okay.

Spotlight On...Jude Treder-Wolff

Name: Jude Treder-Wolff

Hometown: Berlin, WI

Education: Master of Social Work from Stonybrook University; Bachelor of Fine Arts in Music Therapy and Vocal Performance from University of Wisconsin-Milwaukee; 2 years of Actor training as well as private coaching with Emma Walton and Stephen Hamilton at Bay Street Theater in Sag Harbor; Completed improvisation training program at The Pit-NYC, Completed Musical Improv training program at The Magnet Theater; Playwriting with John Augustine at 42nd Street Collective;

Favorite Credits: Playing Dr. Charlotte in the first ever Long Island production of Falsettos at Theatre Three; Performing my solo cabaret show Getting Over Myself...Because Nothing Else Seems To Be Working as a fundraiser for a downtown Houston community arts center that raised $30,000 in one night,, and prior to that event the show had a great run of fun performances at a club called Roses' Turn in the village; Writing and performing in Tapestry Of Hope a play with original songs inspired by the AIDS Memorial Quilt that toured Long Island and New York to raise money and consciousness about HIV/AIDS in 1994-1995;

Why theater?: Theater poses the possibility that we can look at anything in life - from the depths of feeling hidden in the most subtle, mundane moments of our lives to the wild, chaotic rides that change everything without notice - and try to understand it together. There is a kind of magic about becoming a character and telling a story that brings a group of people into the same emotional space. The experience of getting a big laugh that rolls through the room, or feeling the tension build in the audience as a story moves in unexpected ways is almost indescribably rewarding. And theater is the best way to learn about people we might not otherwise know about, people we might never meet in real life. I love being part of that.

Tell us about (Mostly) True Things?: (Mostly) True Things is a game wrapped in a storytelling show, with a side of songs inspired by storytelling. In the show, 4 storytellers tell true stories but 3 of them include subtle little lies woven into the narrative. After all the stories are told, the audience has an opportunity to ask questions of the storytellers, (who are not obligated to answer honestly - improvisation is recommended) then votes for the person they think told it straight. Audience members who vote correctly win a prize - a tote bag that says "my superpower is discernment." There are original songs written for the show that set up each stage of the game, and all but one of them gets the audience to sing. The song "Tell Me A Story" welcomes the storytellers to the stage, the song "That's Your Story And You Say That Its True" has an improvised verse for each story told in the show and sets up the audience interaction portion of the show, and "To Be Continued" Is the song that wraps it all up.

What inspired you to create (Mostly) True Things?: There was no storytelling show local to Long Island.  So in part because I was always pushing myself  to get to open mic shows in the city, or get my name in the bag at The Moth, or pitching stories to established shows, I thought hosting a show would be a way to tell stories onstage on a regular basis much closer to home, and promote the development of a storytelling scene on Long Island. It was tough getting audiences for the first few months because this kind of storytelling was an entirely new form of entertainment for most people, so I created the game which seemed to intrigue people. I wanted the stories to be true so we would be sharing the Moth-style storytelling form, so the lies are always very subtle (e.g. a song playing on a car radio that doesn't fit with the timeline of a story). I also wanted to use my songwriting skills and love of music to set the show apart and it seems to have worked. The songs make the show truly unique. After a few months of doing the show in the waiting room of my office - which we transformed into a performance space for the evening - Newsday wrote a feature article about it and that opened the doors to much bigger audiences and we discovered The Performing Arts Studio in Port Jefferson, NY, a black box theater that is ideal for storytelling. We do monthly shows in that space since 2014 and have branched out to 2 other venues on Long Island, The Pit in NYC and a teen version of the show at The Little Nook Cafe in Sayville, NY.

What kind of theater speaks to you? What or who inspires you as an artist?: I love everything Sondheim, maybe because I am a creative arts therapist and spent so many years helping people deal with difficult things and try to shape their lives, and Sondheim takes on those big psychological themes. I find theater that looks at complex realities in a really artistic way like Fun Home to be transformational and that inspires me. Hamilton is pure genius and of course speaks to everyone, because it upends conventions, entertains and enlightens. I am very inspired by artists who break boundaries and do independent projects, because it is so very difficult to keep going down an untried path. As a storyteller I continually find inspiration in Spalding Gray. I have read everything he wrote, including his journals, and have seen as much of his filmed work that I can find because he originated a narrative form, was driven to be authentic, and made magic out of the realities of day to day life. He wrote "I walk around the stage on all flaws." The recovering perfectionist in me needs to remember that the best stories and songs may dig into painful or dark things about myself that might be uncomfortable to face but can possibly translate into something that has value for other people. I am also inspired by Kevin Allison, who created RISK! himself, developed it into a platform for so many people to tell their stories to millions of listeners and audience members and is so genuinely supportive of others' work. Also improvisers. All of them.

What show have you recommended to your friends?: I recommend the many quality improvisation shows that are available in NYC, TJ & Dave (when they are in town, usually at Town Hall or The Barrow Theater); The Armando Diaz Experience at The Magnet Theater; The Baldwins and Big Black Car at The Pit; Musical Megawatt every Tuesday at The Magnet Theater. Adam Wade from New Hampshire, a monthly show at The Kraine Theater;

Who would play you in a movie about yourself and what would it be called?: It would be called "Late Bloomer" with Terms Of Endearment-era Shirley MacLaine playing me.

If you could go back in time and see any play or musical you missed, what would it be?: Funny Girl with Barbra Streisand.

What’s your biggest guilty pleasure?: Binge-watching episodes of Snapped and breaking it up with episodes of Comedy Bang! Bang!

If you weren’t working in theater, you would be _____?: I am also a trainer and creative arts therapist, so without theater I would be doing even more theater techniques to help clients and students realize their goals.

What’s up next?: I'm working on 2 new projects: 1) writing a solo storytelling show called This Isn't Helping about bad therapy, 2) writing songs inspired by stories, some of my own stories and some told by storytellers in my and other shows for a show with a working title called Words and Music.

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!

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Block Talk- Episode 14- Pop Punk High

In today's episode of Block Talk, I sat down with Pop Punk High's Ben Lapidus (music) and Turner Barrett Law (director)!

For more on Pop Punk High, visit https://thepit-nyc.com/event/2017-04-07-pop-punk-high

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Spotlight On...Yair Ben-Dor

Name: Yair Ben-Dor

Hometown: Herzeliyya, Israel

Education: Board-of-Education education? Both in Herzeliyya and in Philly (I moved a lot between the two). Real education? - The Lee Strasberg Film & Theatre Institute

Select Credits: TV credits: “Blue Bloods” (Naseem); "Quantico" (Oren); Theater Credits: Three Sisters (Solony); Uncle Vanya (Astrov); Erik- A play about a puppet (Barker); Julius Caesar (Brutus)

Why theater?: There’s nothing quite like the high of a good performance in front of a good reciprocating audience. Theater is an experience shared by everyone in the room, it’s magical, painful, thought provoking and freeing all at the same time.

Who do you play in A History of Servitude?: I play Pantalone - a misery old money lender with an over exaggerated libido and a severe case of aging.

Tell us about A History of Servitude: A History of Servitude is the brain child of the DOF. We wanted to come up with a way to show that those same stock characters from Commedia del’arte are still seen in today’s world. In fact, we’ve seen them time and time again throughout our short history on this planet. Through the use of time travel and bawdy slapstick humor, these characters set out to show the evolution (and lack there of) of the Master-servent relationship.

What is it like being a part of The Department of Fools?: It’s the most fun I’ve ever had doing theater. The DOF are all about collaboration. We don’t have one director, or one writer. The shows we put on are a result of constant writing, improv and observation of our society. Being a part of a company that is growing, striving for greatness and depends on one another is exciting, engaging and humbling.

What kind of theater speaks to you? What or who inspires you as an artist?: I am generally very drawn to the kind of theater that is complex in it’s simplicity. I like carefully chosen words or no words at all. The kind of the theater that takes it’s time and stop to think on it’s way to the point.
New playwrights inspire me! I love new, undiscovered, raw and unapologetic work.

Any roles you’re dying to play?: Yes! I would love to play Rosencrantz or Guildenstern in Rosencrantz and Guildenstern are dead by Tom Stoppard.

What’s your favorite show tune?: I’d have to say “Agony", from Into the Woods by Stephen Sondheim and James Lapine

If you could work with anyone you’ve yet to work with, who would it be?: For years I had wished to work with Phillip Seymour Hoffman, after I watched him in Death of a Salesman. Now I’m more inclined towards Danny DeVito. Is that a weird switch?

Who would play you in a movie about yourself and what would it be called?: Oscar Isaac in “The Distracted"

If you could go back in time and see any play or musical you missed, what would it be?: I would go back to the Italian Renaissance and watch some Commedia del’arte

What show have you recommended to your friends?: Sir Ian Mckellen and Sir Patrick Stewart in Waiting for Godot

What’s your biggest guilty pleasure?: Anything related to Star Wars… no wait Batman… no wait Star Wars.

What’s up next?: My ever-growing focus right now is on writing and creating original work. I have several short films and projects in the making. Writing is something that, at the moment, is uncontrollably spewing out of me and I’m going to make the most of it.

Spotlight On...Anna Tempte

Name: Anna Tempte


Hometown: Vipperoed, Denmark


Education: Lee Strasberg Film & Theatre Institute New York

Select Credits: I loved playing Masha in Chekov’s Three Sisters. The cast and crew were absolutely outstanding. It was produced by The Brooklyn Repertory Theatre who is lead by some fierce women. This rendition of the play was set in modern day New York City and featured an ethnically diverse cast, which is more representative of the world we live in today.

Why theatre?: The theatre is a unique and magical place for me. Theatre goers walk into a dark theatre and get transported to another place. There is no other art form where the material is alive and we witness people living in the moment in a non real environment. Theatre is to re live. There is no other art form like it. A painter has a canvas, brushes, etc. A musician has an instrument. Actors are their own instrument. We are a living breathing "canvas".

Who do you play in A History of Servitude?: I play Pedrolino, a shy simpleton man, and Colombia, the sassy servant.

Tell us about A History of Servitude: A History of Servitude is a wacky and wild Commedia dell’Arte performance that is part parody and part improv comedy. A History of Servitude is a comic survey of world history, from the dawn of man to the present. The play examines and celebrates the eternal struggle of the underdog. History remembers men (and to a much lesser extent women, which we point out as well) of greatness, who through conquest, innovation and accomplishment have left an indelible mark on the story of man. But what about the servants of these giants? Using the boldly physical slapstick comedy of Commedia dell’Arte, we bring attention to the contributions of the working class to history, which all too often goes unnoticed. The Great Pyramids of Egypt were built by slaves, but it’s the pharaohs whose names live on. A History of Servitude posits a a comic reminder that the 'little people' are the ones on whose back much of history rests, despite the fact that the masters get all the credit.

What is it like being a part of A History of Servitude?: There is something about working in mask. Much of our personality we define via our face and it's absolutely freeing to “loose” your face and inhabit another. You never know what will happen at rehearsals. What I love about commedia dell’Arte is that a lot of it is improvised. We play these stock characters from the renaissance that we have spiced up to suite modern day. I often leave rehearsal with my stomach hurting from all the laughing!

What kind of theater speaks to you? What or who inspires you as an artist?: Commedia is a rare and unique art form. It's basically street theatre from the renaissance period. Commedia is browdy, zany and wild. There is no “fourth wall" therefore the audience is incorporated into our performances. I believe that artists have been given a gift, we need to use that to better the world. We have a platform where we can be heard and like many before us. Renaissance theatre used comedy and masks to question the authority and speak to the “common” man. I believe that is the longstanding hallmark of good theatre. You leave the theatre or movies with more empathy or rethinking some of your own life.

Any roles you’re dying to play?: Lady Macbeth (Shakespeare), Nora (Ibsen) and Bridget Jones (Anybody who knows me will laugh, it’s so me.)

What’s your favorite showtune?: "Pretty Funny" from the musical Dogfight.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Viola Davis, Jessica Lange, John Leguizamo, and Max Von Sydow (My grandmother did theatre with him).

Who would play you in a movie about yourself and what would it be called?: Renee Zellweger and the movie would probably be called “What Were You Thinking?"

If you could go back in time and see any play or musical you missed, what would it be?: The Group Theatres production of Waiting for Lefty

What show have you recommended to your friends?: Fringe of Humanity at the Access Theatre

What’s your biggest guilty pleasure?: City Bakery’s chocolate chip cookies

What’s up next?: We have the months long run now at the Peoples Improv Theatre. After that we are looking to do a traditional 16th century play

For more on Anna, visit www.annatempte.com. For more on A History of Servitude, visit https://departmentoffools.wordpress.com


Review: A Comedy That Will Make You "AHHHHH!"

By Michael Block

We all remember the early 90s holiday classic "Home Alone." You know, the madcap comedy about a family who forgets the youngest kid when packing the courtesy van thusly leaving him home alone. The film was the launching pad of child actor Macaulay Culkin as well as the infamous line: "Ahhhhhhh!" Comedy troop Recent Cut Backs takes the flick, condenses it into sixty minutes, and reminds the audience just why we love the movie. The parody, playing The Pit, is nostalgia to the max with multi media devices, puppetry, and foley work that brings laughs and smiles from start to finish. Kevin!!!!! is virtually a jam- packed highlight reel of "Home Alone" through non-stop comedy. There's no shortage of creativity on the stage. This is one of those shows where one mistake will cause a domino effect of chaos. It's evident that director Kristin McCarthy Parker anticipated every single detail with great thought as, even with at high-tempo, everything felt purposeful. With an intricate set up of lights, live-feed projections, and the tiniest of sets and puppets manage to find a home on stage. At first glance, it all looks like a jankity middle school science experiment but once the lights rise and the choir sing, it’s off to the races. Kevin!!!!! is a show that relies heavy on the source material. Pray you remember it all or you will certainly be left alone. With so many characters to track, it starts off in a whirlwind. And perhaps that’s the point. It goes so fast, you’ll likely miss some of the tiniest jokes that come through the projected set. There are some slight inconsistencies between puppet, projection, and human, but they seem to be forgiven for laughs. And remaking the pranks that Kevin plays on Harry and Marv are as good as they can possibly be.

There is no way to get off the rollercoaster once it starts. The four animators and the four piece Choir keep the car on track without ever crashing. Not even the slightest of wire entanglements can derail this company. Taking the central role of Kevin, Nick Abeel masters the vocals with ease. Sporting Kate McAllister’s iconic nasty-colored blazer, Natalie Rich captured the cadence and mannerisms of Catherine O’Hara’s character. It was a character to study that you have to see to believe. What you have to remember with a show like this, with as much action as there is, there needs to be something underneath. The pulse of the play came in the form of the Choir, comprised of Sarah Godwin, Evan Maltby, Richard Sears, and Michelle Vo. The quartet serves up helpings of acapella underscoring and the occasional comical sound effect.
Recent Cutbacks has upped the parody game once again with Kevin!!!!! If you’re a fan of the film, this is the perfectly crafted homage to get you in the holiday mood. You just might need a shot of 5 Hour Energy to keep up with the highlights of “Home Alone.”

Spotlight On...Augie Praley

Name: Augie Praley

Hometown: Annapolis, Maryland

Education: BA University of Chicago, MFA NYU Tisch

Favorite Credits: An international site-specific play Euphoria: Something Better Is Coming in Tbilisi, Georgia. "Augie, Alone" web series. Writing for The Blue Man Group.

Why theater?: I’m involved in theater, film and television, but there’s an intimate and immediate connection between audience and performer in live theater that you just don’t get in any other form. It’s a good thing to feel that knot in your gut as you watch an audience react to your work in real time. It’s as pure a connection between artist and viewer there is, I think.

Tell us about Looking Back, It May Not Have Been Ridgefield High’s Best Production Of Our Town: The play follows a playwright as he returns to his high school’s gymnatorium the night before it’s torn down. He gives us a tour of the building, while the gymnatorium itself remembers the lives of the students and families that were in some way touched by the building—and by the many productions of Our Town that have been produced there. It’s a play about respecting the past, but trying to keep an eye towards the future. It’s sad and funny and sometimes both at the same time.

What inspired you to write Looking Back, It May Not Have Been Ridgefield High’s Best Production Of Our Town?: It started back in 2010 as a possible site-specific follow-up to the play I did in Tbilisi. As the show developed, I became a character in it, and it all became a lot more personal—probably more personal than any other play I’ve written. I was interested in writing about that time that everyone goes through, the awkwardness of growing up and the need to look back to the wisdom of old plays and artworks to look for what it means to be human. The play was dormant for a few years after I wrote it as my NYU thesis, when my good friend and director Isaac Klein re-read the script and encouraged me to pick it up again. He’s helped guide this play towards our first production and I’m so excited about where it’s going.

What kind of theater speaks to you? What or who inspires you as an artist?: I’ve always found theater to be an opportunity to open yourself up and find honesty. I’ve been inspired by the works of Chicago artists like The Neo-Futurists, The House Theatre of Chicago and Sean Graney and The Hypocrites. In New York the works of Elevator Repair Service, Taylor Mac and The Debate Society really speak to me. I think they do fearless, honest work. I like plays that continue to hold a mirror up to life and each of those groups or artists do that in way that is uniquely and beautifully them.

If you could work with anyone you’ve yet to work with, who would it be?: I’d love to work with any of the companies I just mentioned, but I’ve always wanted John C. Reilly to act in a play or anything I’ve written. I think he knows how to become a character in comedies and dramas and make even Dr. Steve Brule incredibly empathetic. I see myself in every character he plays and that’s entirely his talents.

What show have you recommended to your friends?: Oh, Hello and Natasha, Pierre And The Great Comet Of 1812. Both are shows that are better diving in unknowing—which is how I saw them both. I have yet to see Natasha… on Broadway, but I caught it at Ars Nova and saw the magic of how they transformed space and time to make something spectacular. Oh, Hello caught me by surprise—you never know how a sketch is going to stretch out and I went in unsure, but that was stupid of me. Nick Kroll and John Mulaney are comedic geniuses and there’s nothing better than seeing people have fun on stage and that’s what that show is all the way through. I’m going to see it again next week with my family.

Who would play you in a movie about yourself and what would it be called?: I’ve played myself in so many different plays or web series by now that I have no idea. I kind of like casting against type, so… The Rock? And it would probably be called “I got the Rock to play me in a movie: The Augie Praley story”

If you could go back in time and see any play or musical you missed, what would it be?: I think I’d go back to see a play in ancient Greece, probably one of the non-surviving PROTEUS by Aeschylus. I think it would be fun to see the dawn of drama. More recently, I wish I’d gone to Taylor Mac’s A 24-Decade History of Popular Music.

What’s your biggest guilty pleasure?: Reality Television and Reese’s Peanut Butter Cups. At the SAME TIME.

If you weren’t working in theater, you would be _____?: I started at UChicago pre-med, so maybe I would’ve become a doctor. That’s a frightening thought, though. I’d probably still be trying to pass Organic Chemistry.

What’s up next?: I’m working on a couple of different television projects right now and going forward with those projects next, but we’re looking to and hoping to have continued life with this play.

For more on Looking Back, It May Not Have Been Ridgefield High's Best Production of Our Town, visit lookingbackourtown.com

Review: A Musical About Fisting

By Michael Block

The subject of a musical can literally be about anyone or anything. But just when you think you’ve seen it all, you’d be wrong. Enter The Disembodied Hand That Fisted Everyone To Death! The Musical. With a book by Anderson Cook, music by Amanda D’Archangelis, and lyrics by Cook and D’Archangelis, this campy riff on comedic horror was a groan through the laughter kinda show.
There's a reason it's a late night offering. With the title alone, you know exactly what you’re about to get yourself into. Set in post Salk vaccine America, The Disembodied Hand That Fisted Everyone To Death follows the ambitious Dr. Meyers who reanimated an arm. When the arm gets a mind of its own, it goes on a killing spree at a local frat house. Littered with kinky bits, social commentary, and crude humor, the musical is campy to the max. Because of the nature of the piece, your can partially forgive the convoluted plotline, the minimal stakes, and lacking character arcs. The musical does run under an hour. Cook and D’Archangelis have room to expand should they want to. What the team has going for them is it knows what it is and can go even further with the crudeness. But no matter the changes that are implemented, this show needs an opening number. Perhaps in the vein of Reefer Madness, The Disembodied Hand needs a catchy hook. By the time we reach our first song, the musicality feels disingenuous. The other important next step once changes are made is to bring on a fresh director. With Cook already wearing an abundance of hats, a new director will be crucial as the litmus test for the comedy. Many of the jokes within the script just don’t land. And in this genre, when something is not funny, and it happens to be a recurring joke, it kills the momentum. Cook’s book is filled with gags that should be hilarious but only about fifty percent reach the audience. Where Cook and D’Archangelis succeeded is their unapologetic humor. The Disembodied Hand That Fisted Everyone to Death may be the gayest musical ever and isn't ashamed about it.

The cast that comprised this musical were game players. They knew what they were getting themselves into and just had fun. Not all were the best vocalists but the commitment level was pretty high. By far, the best overall performer was Ayo Edebiri as Wad. The character of Wad was Cook’s strongest recurring joke and Edebiri ran with it. As the “white guy”, Edebiri was brilliant. And it just so happens that this was Cook’s strongest character writing. The other whacky character that came to life on stage was Vivian played by Aby James. James played up the naughty virgin by going all in. When it came to the strongest vocal, that award goes to Francesca Ferrari as Charlotte. But the overall winner of the entire show was Connor Wright as Hand. Not only was Wright stuck in a tight body suit and mask, but he let his hand take the spotlight, amongst other things. Connor Wright may be the best hand actor in all of New York City, though it's a minimal category to compete in. Though you didn’t get to see his face until the curtain call, you knew Wright was comedy gold.
If you’re a prude then stay far away from The Disembodied Hand That Fisted Everyone to Death! The Musical. If you’re up for a raunchy, kinky, naughty night of silliness, this may be the show for you. Anderson Cook and Amanda D’Archangelis have some work to do but once they do, they could have something fun in their fists.

Spotlight On...Jessica Frey

Name: Jessica Frey

Hometown: Lexington, KY

Education: NYU, Tisch, Atlantic Acting School

Select Credits: Bedlam's Sense & Sensibility; Clown Bar, and Giant Killer Slugs with Pipeline Theatre Company

Why theater?: Because of the gigantic paychecks. Just kidding. Because how could you possibly do something more enjoyable than acting like a fool for an hour and change and allowing audience members to blow off steam, or empathize, or learn, or just laugh? Perhaps that was overly sentimental, but ain't it the truth?

Who do you play in Uncle Function?: Woman.

Tell us about Uncle Function: Uncle Function is a sketch group with Alex Fast, Chris Cafero, Douglas Goodhart, Russell Daniels, Gianmarco Soresi, and yours truly. We've been together for about a year. We've competed and won at a handful of Backyard Brawls at UCB, and we've performed at places like The Pit, and our home, The Ken Davenport Theater. We're kooky, we're wacky, we are Uncle Function. But for real, we're just a bunch of people that make each other laugh.

What is it like being a part of Uncle Function: It's kind of a wild ride because we're all so individually busy. I'm in the middle of a long run of Bedlam's Sense & Sensibility (eight shows a week), Douglas is the lead singer of an amazing soul band, Russell just got engaged, Alex just got accepted to grad school, Gianmarco is the face of GE, and Chris has a beautiful face and is always hand modeling or something. It's insane trying to schedule rehearsals, let alone perform. But somehow we manage.

What kind of theater speaks to you? What or who inspires you as an artist?: Wow. I have approximately one million answers to this question. I think the kind of theater I like the most is the kind that doesn't take itself too seriously but is trying to say something very serious. Right now I'm very inspired by the theater company I'm working with, Bedlam. They're not afraid to take big chances and they're not afraid to be a little dumb. Audiences seem to be liking it. Also one of my main comedy influences is my friend, John Early. He is the hardest working man in show business and I think he's brilliant. His brand of humor is so smart and so unique. If you're somehow reading this, hey boo.

Any roles you’re dying to play?: If I'm being real, Juliet. Mostly people think I'm too weird (and now too old, oops) to play that part, but it's the reason I wanted to be an actor. Her language in that play is the best language ever (only slightly better than this sentence). Plus, I'm tired of the standard ingenue reading of the role. I think it's very easy to put women, and women's roles, into a very small box. It happens all the time. Audiences are more comfortable with a safe, non-threatening woman. But women are wild and complex. And if you actually read Romeo and Juliet, girl is anything but "safe". So that's the dream. I think I could kill it.

What’s your favorite showtune?: Oh lord. This is truly the hardest question thus far. I'm gonna go with "Sabbath Prayer" from Fiddler on the Roof (literally no one has said that answer before. Ever. But it makes me cry every time.) Or "On the Street Where You Live" from My Fair Lady.

If you could work with anyone you’ve yet to work with, who would it be?: Frances Conroy has inspired me so much. Her work in Six Feet Under is breathtaking. Or Frances McDormand. She's brilliant in everything. So I guess anyone named "Frances".

Who would play you in a movie about yourself and what would it be called?: Tina Fey. "Witchy Woman".

If you could go back in time and see any play or musical you missed, what would it be?:  That production of Our Town at Barrow Street. I heard such amazing things, and it was such a sensory experience that it wouldn't be the same if I watched it at the library at Lincoln Center. Or like, the original West Side Story.

What show have you recommended to your friends?: All of Bedlam's productions. Jerusalem. Atlantic did a fantastic revival of Cloud Nine last year. John Early's Showgasm, or anything with John.

What’s your biggest guilty pleasure?: I love Survivor.

What’s up next?: I'm getting married to the coolest dude ever in August, so that's big. I'm also continuing the run of Sense & Sensibility. Plus I'm writing and acting in a new series with some incredibly talented women (it's an all female writing team, which is pretty sweet). We're filming at the end of May. And of course, as many Uncle Functions as I can get my hands on. Needless to say, I try to keep busy.

Spotlight On...Mindy Raf

Name: Mindy Raf

Hometown: Michigan

Education: University of Michigan

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

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

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

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

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

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

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

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

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

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

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

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

Review: Say Uncle!

Sketch comedy is like that bridge between theater and improv. Comedians being funny in a scripted evening in front of a live audience where anything can happen. Forty years and counting, many aspire to "Saturday Night Live" level but if you can't quite get there to see it, I might have a viable alternative for you. Presented at The PIT Loft, Uncle Function offers an evening of theatrical sketch comedy that is likely to leave you in stitches, at times.
Uncle Function is an ensemble that features the comedic talent of Chris Cafero, Russell Daniels, Alex Fast, Jessica Frey, Douglas Goodhart, and Gianmarco Soresi. Founded by infamous theatrical producer Ken Davenport, this group brings an hour-long evening that mirrors the expectancy of any sketch comedy troupe. The night started off on a super high note with back to back theater inspired sketches, the second of which was the strongest of the evening and quite possibly one of the funniest sketches I've seen in any medium in quite some time. The premise was simple. A borough theater company begin their rehearsals for their production of Fiddler on the Roof. When a heroic Rabbi saves their production by funding their Kickstarter, he is granted laughable permission to update the text to fit the more "traditional" views of Judaism. And the result is epic. It's audaciously racy that stylishly comments on religion, theater, and the dreaded crowdfunding. From here on out, the night provides some fluff scenes before ending strong with three sketches. These included a creepy yoga instructor that left you with the best punch line, an abysmal court stenographer, and a group therapy session for those addicted to pop culture references. The Uncles, as they call themselves, incorporated an array of recurring jokes, including pizza tacos, old headshots serving as all paper products, and common last names that made their way into many of the sketches. It allowed a nice common through line for those paying close attention. With a strong sense of vision, there was a connective tissue that made everything work cohesively.
Uncle Function features a strong sextet that tackles an assortment of roles, each taking a moment in the spotlight. That being said, it's a pretty well-balanced ensemble with a mixed comic types, though some similar types fought for stage time. The biggest presence, on page and stage, was Gianmarco Soresi. Often playing the straight man in the scenes, Soresi has a strong sense of timing and storytelling in short form. Soresi also happens to be the scribe of that epic Fiddler sketch. Also filling the straight man quota was Chris Cafero, though when he took on the touchy-feely spiritual yoga teacher, a playful side of Cafero came out. Russell Daniels stole the show as the slow-typing stenographer who had trouble keeping up with the trial, interrupting with hilarity.
There’s stiff competition in the comedy world but if you’re looking for some up-and-comers that will make you laugh, Uncle Function is here to please. The Uncles may have had some wiffs, but when they swung for the fences, they hit some monster homers.

Review: Poppers and Peepers and Popo, Oh My!

by Michael Block

Batman and Robin. Bert and Ernie. Peanut Butter and Jelly. Zach and Viggo? While taking their show on the road, Zach Zucker and Viggo Venn took a pitstop at The PIT Loft for a sold out presentation of their acclaimed Zach & Viggo: Thunderflop.
Through a series of comical sketches, Zach Zucker and Viggo Venn take the audience on a journey inside their wild minds. And along the way they must take on some heroic battles including some unruly villainous audience members. Decked out in unitards and tights, Zach & Viggo: Thunderflop thrives upon the thunderous roar of laughter in order to save themselves from flopping in a sea of silence. With a background of physical comedy and clowning, Zach & Viggo can be a dynamic duo, very much like a Bill Irwin and David Shiner tandem, once their bits get a bit of a polishing as a continuous arc. While most of the night Zucker and Venn spend apart, solo in their own scenes, when they are together there is a mesmerizing energy that fills the room. With a simple cardboard "Kiss Cam" and the best of Jock Jams accompanying, Zucker and Venn get a series of unsuspecting audience members to have their chance on the "Jumbotron" and the result is priceless. It's moments like this that make the night a blast. Individually, Zucker and Venn offer a well-balanced comedy. Both guys are super charismatic yet they each have a particular style to their craft. Venn has a classic physical comedy in him in the vein of Monty Python. When Venn breaks out his noodle arm security guard, he shines, like the police siren light taped to his head. Zucker transcends the classical style, contributing a more "commercial" comedy. There's a charm to his demeanor. Between his daredevil feats of stupidity with poppers to his vapid LA actor with a bit of a speech problem, Zucker has a marketable comedic package.
In pieces like this, the desire of breaking down the fourth wall is essential. Many of their beats involved some sort of audience participation. They relied heavily on unwilling participants, many of whom derailed the momentum. With their director, Dr. Brown, defining the clarity of when the audience interaction is desired will be of great worth. Once Zucker and Venn invite the audience to play along, it's fair game for any sort of interaction. Even if it's unwarranted. A heckle or two may seep in and damage the flow. Perhaps even pairing down the participatory moments could help. They should trust their worth as great performers and avoid unnecessary gimmicks. The substance is present. The polishing is next.
Accidental or not, there is a very loose common thread that ties the evening together. The unpopped poppers (or bang snaps or snappers for those of you may have a different item in mind) that explode throughout the night as Zucker, Venn, and their audience friends step on them are a nice throwback to Zucker’s daredevil act but intentional or unrelated is the question. The peeping mouse does help in bookending the show but adding a stronger through line will add an even stronger cohesiveness to Zucker and Venn’s work.
It’s likely this is just the beginning of Zach & Viggo. While a world tour is next, what happens after is what is exciting. There is promise in this young talented duo. Putting a modern spin on throwback comedy is certainly in their wheelhouse. And it’s a welcome reminder of the roots of the genre.


About this production: 

Zach & Viggo: Thunderflop
Written & Performed by Zach Zucker and Viggo Venn
Directed by Dr. Brown
Produced by Jonny Woolley
www.facebook.com/zachandviggocomedy

Spotlight On...Zach Zucker and Viggo Venn

Names: Zach Zucker & Viggo Venn

Hometown: 
ZZ: New York, New York
VV: Oslo, Norway

Education: 
ZZ & VV: Ecole Phlippe Gaulier in Étampes, France

Favorite Credits:
ZZ: Edinburgh Fringe Festival, Neil Hamburger Live in LA, Crash Test with Paul Scheer and Rob Huebel at The UCB Theatre, Top Story! Weekly at iO West and the Adelaide Fringe Festival in Australia..
VV: Edinburgh Fringe, Copenhagen Improv Festival, Amsterdam Improv Festival, Playroom Festival, The Scenic Art Festival, performing with my comedy group ‘Lausungene’ and being the Norwegian Champion of Theatre Sports

Why theatre?:
ZZ: Because theatre allows us to escape from all of the heaviness in our world and relish in the lightness of fun and fantasy. It’s also one of the last remaining experiences where human beings can directly connect and communicate with other human beings.
VV: The more technology infiltrates our culture the less opportunities we have to truly be with one another. We’re all a part of something bigger than ourselves and theatre allows us to tap into whatever that is.

Tell us about Zach & Viggo: Thunderflop:
ZZ: Zach & Viggo: Thunderflop is a comedy show where two human adults get to unleash their most innocent, ridiculous sides that society tells us to push down. We’re under so much pressure to be good all of the time and that sucks.
VV: Exactly. Our show is all about having fun being bad and owning it. We constantly worry about how we look or how we’re perceived. But the truth is nobody knows why we’re here and we’re all idiots. So let’s all be idiots!

What inspired you to create Zach & Viggo: Thunderflop?:
VV: I came to Edinburgh for the first time three years ago and saw Dr. Brown’s award-winning show Befrdfgth. It totally blew my mind. I remember thinking ‘Wow…Clown. It’s so sensitive. It shows humanity—it’s so much more than just being funny.’
ZZ: Ahh man, his show is absolutely beautiful! Dr. Brown’s show Because was the first clown show that I ever saw and it was revolutionary. I couldn’t stop thinking about how much I loved it. It was so different than anything else I’d ever seen.
VV: Seeing that show changed my life. I ended up studying with Dr. Brown and eventually meeting Zach at Ecole Philippe Gaulier. We became best friends right away so it was an easy decision to make a show together.
ZZ: Philippe Gaulier was the catalyst that ignited our artistic fire.

What kind of theater speaks to you? What or who inspires you as an artist?:
ZZ: Theatre that isn’t pushing an agenda on the audience. There’s such a weird stigma that you have to ‘say something’ so people jam unsubtle messages down your throats. I much prefer the route of light, fun and imagination-stimulating performances that activate our fantasy.
VV: I love theatre where the actors are alive and listening to the audience. Serious theatre is so boring. When you have actors who are at their maximum level of happiness together on stage, that’s when the magic begins to show and the performers vibrate.

If you could work with anyone you’ve yet to work with, who would it be?:
VV: I’m already working with Zach Zucker!
ZZ: *blushes* Stop it!

What show have you recommended to your friends?:
ZZ: Nautilus and Kraken by Trygve Wakenshaw and ANYTHING by Dr. Brown. To clarify, that’s not the name of his show. Any time he’s performing, go and see it.
VV: Spaghetti For Breakfast by Sam Simmons is another incredible show. So is The Herbert In Proper Job by Spencer Jones. And if you find yourself in Norway go check out Det Andre Teatret in Oslo!

Who would play you in a movie about yourself and what would it be called?:
VV: Jim Carrey would play me and the movie would be called "No Mask"
ZZ: Chris Lilley would play me because he’d do a great job making fun of me and it would be called "That Guy"

If you could go back in time and see any play or musical you missed, what would it be?:
VV:  I would go back to 1974 to see Les Assiettes, a clown show by our teacher Philippe Gaulier. He’s the funniest man I’ve ever met.
ZZ: I’m going to have to agree with that. No footage of any of his performances exists. And from all of the stories we’ve heard, it was a masterpiece.

What’s your biggest guilty pleasure?: 
VV: As a young Norwegian I watched every season of "The OC" so I’m pretty stoked about being in California.
ZZ: I love chapstick. No matter what store I walk into, I always find myself in the chapstick aisle buying more and more flavors I’ll never need.

If you weren’t working in theater, you would be ____?:
VV: Building a snowman in Norway.
ZZ: There really isn’t anything else I could see myself doing. Mainly because nothing else worked.. And I mean it really didn’t work.
VV: Yeah we both dropped out of university-
ZZ: I dropped out of three separate schools. I’m three times the dropout Kanye West ever was!

What’s up next?:
VV: We’ve got three more shows in Los Angeles. We’re at UCB on the 11th and Downtown at Basic Flowers on the 14th and 15th before I go back to France. We’re also filming a TV show in LA at the moment. It’s very exciting!
ZZ: Yes we’re filming all of January before we split up again. I’m off to Australia in February to perform at The Adelaide Fringe Festival. I’ll be doing another two-man show with my friend Tom Walker called Zach & Tom: Best Friends at Tuxedo Cat.
VV: Then we’re back in LA in April to perform and finish filming before we return to Europe. We’re performing at The Brighton Fringe, potentially Prague Fringe and heading back to Edinburgh.
ZZ: We’ve also got shows lined up all over in between! We’ll be in London, Paris, Oslo, Copenhagen, Berlin, Bristol, Amsterdam, Dublin and anywhere else that’s willing to have us!

For more on Zach & Viggo check out zachzucker.com and facebook.com/zachandviggocomedy

Blog Hijack: LADY BITS at The PIT

In the latest blog hijack, Kerry Ipema tells you about Lady Bits, a one-night only fundraiser for Planned Parenthood at The Pit!

LADY BITS playing Tuesday, December 15 at 7:00 at The PIT.  Every ticket bought is a donation to Planned Parenthood.

Here's a blurb about the show!

New York's finest ladies talking about Lady Bits. A response to the many attempts to defund Planned Parenthood and the stigma of talking about reproductive health. Come hear stories, songs, stand up, and music all about some of our favorite body parts! All profits will go directly to Planned Parenthood.

Get your tickets!

Featuring:
KK Apple
Jen Clark
Julissa Contreras
Kerry Ipema
Catya McMullen
Caitlin Peluffo
Cristina Pitter
Charly Evon Simpson

with Tech God Parker Denton!

And Graphic Design by Ellie Philips!

For more information, visit https://www.facebook.com/events/1723152607917190/

Review: This Show is On Fire

"The Hunger Games" is a blockbuster film and young adult book series that first caught fire seven years ago. The love story slash death-match saga has sparked a craze that turned rising stars into household names. Since its appearance on the pop culture scene, the Suzanne Collins penned epic has found itself lampooned and parodied on tv and film but never on stage. Until now. In The Hungry Hungry Games: an Unauthorized Musical Parody, with book and lyrics by Christopher Willam Barnes and music by Ryan Mercy, "The Hunger Games" gets the musical theater treatment through a laugh-a-minute parody that pokes fun at the ridiculousness that is our obsession with the source material.
Using both the first book and film as inspiration, The Hungry Hungry Games tells the story of a future or modern land called Pan Am where youngsters in every district are raffled off to fight to the death in a reality tv style killing spree. So where's the humor in this drama? Everywhere! From teenage sexual tension to the battle royale nature of this world to the ridiculous sponsors to the fact that children are reading and seeing a story about murder, nothing is off limits. What works in The Hungry Hungry Games is there are bits and moments that land and bring out the laughter. From the Buzz Ballet to Rue's vocal reveal to the brilliant girl on fire bit to some hungry hungry visitors, the jokes worked. But for every one that worked there were moments that died like a fallen tribute. Part of this is due to the various directions and ideas the musical goes in. Even though the book came first, audiences expect direct rip-offs of the film version. There are shades of this but it must go further. Instantaneous recognition is integral for a piece like this. When an iconic character pops onto stage, say Effie, you know who she is. The wig. The makeup. She’s identifiable. But then you have complete throwaways in Haymitch as he does not appear or act like the Woody Harrelson boozy legend we know from the movie. There are so many missed opportunities of jokes and jabs that Barnes passes up. The audience expects certain iconic lines and moments from the film that when they’re not present, it’s a bummer. Sure, time is of the essence and the current length The Hungry Hungry Games is quite wonderful, but rediscovering those key moments and finding ways to insert them would be fruitful. But hey, if the cheap laugh isn’t the goal, perhaps that’s why they’re missing.  Despite the physical flaws, most of the characters spoof some of their hilarious traits. From Katnisss and Jennifer Lawrence’s constant intensity to Peeta being a complete pussy, Barnes does a fine job picking what to mock. Structurally, Barnes and Mercy use Caesar Flickerman as the emcee of the evening. It’s an brilliant theatrical device for this piece. The musical opens with a slow-mo rush to the supplies at the start of The Games. It’s a grand moment. There is musical underscoring. But no song. Beginning a musical, parody or not, without a musical number is a giant risk. And it didn’t pay off. The score by Mercy borrows a plethora of musical stylings. From sweeping numbers to toe-tapping production numbers, The Hungry Hungry Games gives you it all. The story is epic by design so when Mercy employs the high drama numbers for Katniss and friends, it works. And when he uses more uptempo colorful number for Caesar and Effie, it makes sense. When it strays from this formula, something feels off.

The company of The Hungry Hungry Games bring the fun from start to finish. And some give astounding performances. Not only does Natalie Sullivan have the comedic capability to give Katniss uproarious angst, she has the vocal chops to bring down the house. And she does so many many times. Just reference that Act I closer, one of the strongest numbers in the entire score. It's true, Jay Malsky is goddamn adorable. He plays up the wonderfully naive boy-like charm of Peeta yet you still love him for being dim. Malsky’s breakout moment in “My Love Song” deserves the long applause it gets. Though it’s a bummer that the hilarious height discrepancy that Lawrence and Hutcherson can’t be mocked in this production, Sullivan and Malsky have such great chemistry as the “will they, won’t they” tributes from District 12. Adrian Sexton as the flamboyant Effie Trinket is wonderful. Trinket floats around stage in such brilliant manner. Possibly due to the constraints of theatrical storytelling, Gale, the third wheel, doesn’t get much action. But Chris Simpson’s Gale provided the Hemsworth charm. As adorable and fan favorite Rue, Shongedzai Matangira provided one of the biggest laughs of the night. Who knew vocal change could be so funny. As Caesar, Pat Swearingen is eccentric-lite. With so many jabs at musical theater, The Hungry Hungry Games only gave us one hunky chorus boy. But Connor Lyons steals the show with his extraordinary step routine during the Stomp moment.
Scribe Christopher Willam Barnes puts on the director hat as well, something that may not be best suited for the show. It’s no secret, there are jokes that don’t land. Whether it’s due to the writing or the direction, a fresh eye in the director’s chair could be very beneficial. The directorial vocabulary that Barnes uses varies from applause to no applause post songs. With an audience unsure when they should clap, mostly due to the applause sign going off way too many times, there were some brilliant numbers that got no love. One device that Barnes touches upon is audience participation. As we learn in the closing number, the writers want to hold a mirror up to the audience and blame us for the success of “The Hunger Games.” To truly get this point across, going further with breaking the fourth wall would be helpful. Perhaps making certain audience members participate as sponsors could get us into the action. But maybe lose the iPhone whatever number references in the process.
The Hungry Hungry Games is on its way to becoming a cult classic. There is such hope in the material that with some detailed refining, you could see this parody musical outside of The PIT.

Blog Hijack- The Influences of Kapow-i GoGo

We let Kapow-i GoGo mastermind Matt Cox take over Theater in the Now to give you a peek inside his mind and the influences the powerpacked Kapow-i GoGo.

A list of the 5 most influential pieces of very nerdy things that lead to the creation of Kapow-i GoGo

by Matt Cox

I have often described Kapow-i GoGo as a play that my 14 year old self would have loved. There’s lots of silly references to all of the things I was a big fan of growing up. During the writing process, I revisited a lot of media from my childhood. From a 26 year old perspective, I was happy to learn that HEY! I had some pretty solid tastes. I also had some very terrible taste, and we won’t talk about those things here. (I’m looking at you "Mac & Me") Many of my favorite things are now considered true classics within their respective genres. ("Mac & Me" is not one of them.)

It also dawned on me that these video games/ television shows/ movies sort of paved the way for the way I write today. So, I thought I would peel back the curtain and let you all take a look back at the particular episodes/ films/ video games that really brought Kapow-i GoGo to life over the years. Or in our current case, her Extra Life!

Honorable Mentions:

Legend of Zelda: Ocarina of Time

Star Wars Episode V: The Empire Strikes Back

Final Fantasy VI, VIII, IX, X & Chrono Trigger

David Gemmel’s Drenai Saga

Pokémon Red/ Blue

Dragon Ball Z: Episode 95 “Transformed at Last”

I think I was 10 the first time I saw this. The story as it stands- Goku, our hero, is fighting against the terrifying Frieza, a galactic conqueror who has done a whole lot of bad things. It’s looking like there’s no way the good guys can win. Then things get worse and Frieza kills everyone’s favorite bald guy, Krillin. This sends Goku over the edge and he transforms. What does he transform into you may ask? A little thing called a Super Saiyan.

Super Saiyans would become a norm on the show as it went on, but man. The first time it ever happened my mind was blown. Stakes were raised. Character designs got cooler. And it gave me a whole bunch of new options for those characters I had been drawing in my little notebook. Upping the ante brings new life. The whole status quo changed and it made the show so much more interesting.

Star Wars: Episode VI “Return of the Jedi”

Listen, I know. We can all agree that Empire is a better movie. I know. But growing up I was all about the then final chapter of Star Wars. Ewoks are cute. I owned stuffed ones that my parents bought me after we rode the MGM studios ride in Orlando. And there’s Admiral Ackbar. He’s great! Whatever he is.

But the thing I loved the most was always the epic Emperor/ Vader/ Luke scenes. They hold up! They really do. Ian Mcdiarmid’s awesome performance as Emperor Palpatine is so great. The final battle is really cool. Force Lightning? Yeah, I enjoy that.

That weird CGI creature added in for the Special Editions who sings a weird song? That, I think we could all do without.

Reboot: Season 3, Episode 4 “Game Over”

I imagine most people don’t remember/ never saw/ will never care about REBOOT. It was this super weird cgi show with a bunch of adventures that took place inside of a computer. It’s very difficult to explain. The early episodes are fun and quirky but nothing too memorable. It was a very kiddy show.

But in the third season, it moved away from it’s network, ABC, and grew up a whole lot in the episodes that followed. The main character, Bob, was betrayed and stranded far away leaving our young hero Enzo in charge of protecting their city, Mainframe. We watched this kid go from spunky child to competent protector over the course of the first few episodes. Then, in the 4th episode, Enzo finds himself in a normal situation. He has to play a computer game against ‘The User.’ If he wins (as they always did) everyone is safe and fine. If he loses (as they never did) he and lots of other people are basically killed. In this episode he ends up in a Mortal Kombat style game.

Long story short, Enzo gets his eye stabbed out and then he loses.

Teenage Matt was super shocked and LOVED EVERY SECOND OF IT. Enzo managed to escape, stranding him far away from his home. The following episodes jumped ahead to Enzo being an adult. The quirky spazzy kid was suddenly this badass renegade named Matrix. EVERYTHING ABOUT THE SHOW WAS DIFFERENT. Thinking about it now, I still love it. This is actually a huge influence on Kapow-i. The jumps in time and the idea of a kids show radically aging up are straight from Reboot.

Dragon Ball Z: Episode 191 “Save The World”

The end of the Cell Games saga. The one where Gohan beats Cell. This was one of the last episodes of Dragonball Z I watched before I grew out of it. (It was a while after before the next arc aired on Toonami.) But man, is it epic.

The spirit of the show, and the reason it’s such a world wide phenomenon, all come together in this episode. They overcome the odds, the former bad guy saves the day learning a valuable lesson about himself, the kid believes in himself, believes in his friends, believes in creating a better world, and the hero makes the greatest sacrifice. The list goes on. It’s all just great. And It’s also all over Kapow-i.

Final Fantasy VII

One summer a family friend of mine introduced me to Final Fantasy VII. I was immediately obsessed. It was one of the first stories I ever really loved. It’s huge. It’s long. It’s epic in every sense of the word. From the incredible soundtrack, to the overly large weaponry, the cast of fascinating characters, and a story that twists and turns and takes you all over the world map, Final Fantasy VII is what lies at the heart of Kapow-i’s inspiration. The show took off in it’s original run at #serials@TheFlea when I realized I could use this play to make some homages to one of my favorite things.

For every 10 people who love it on the internet, there’s another 5 who hate it and will send you death threats for liking it. (Or something like that.) I think that is the general grounds for something being a classic. So if you find yourself with around 70 hours, dust off the old Playstation and give it a spin.

Or you can just watch this video of the whole thing in five minutes: https://www.youtube.com/watch?v=BqdFt49s8KI

But don’t worry! Along with all of that silliness, there’s lot’s of other jokes in Kapow-i that don’t require viewings of full series or playthroughs of entire games. I like to think there’s something that will appeal to everyone.

In the end, It’s just my attempt to give everyone a chance to go on an adventure.

Kapow-i GoGo upcoming dates (All at The PIT)
PART ONE: Kapow-i GoGo Gooo!- Tuesday, March 24th 9:30
PART TWO: Kapow-i GoGo Z- Saturday, April 4th 11:00
MARATHON: The entire Kapow-i GoGo Epic in one night- Saturday, April 18th 8:00

Review: One Last Fight

by Michael Block

No one likes when a good thing comes to an end. But all series have to find a way to wrap their journey up nicely. And Kapow-i GoGo, Matt Cox’s epic series, is no different. In the finale, our hero Kapow-i GoGo finds herself, once again again, having to save the world from the forces of evil. Only this time, it’s a family affair.
In the final episodes of Kapow-i GoGo, evil has completely taken over and life, as we knew it, is no more. The reign of Madame Blood has put the entire world in turmoil and the blissful life Kapow-i had is over after her wife, Queen Cloudberry, and daughter, Giggle GoGo, are kidnapped. To stop Madame Blood and her evil minions including the two-faced jester Koffley, Kapow-i assembles a team of avenge-seeking foes and allies from her past, to rescue her loves and save the world, again again. Cox’s third part cleverly gives nods and pays homage to his origin. But keeping things fresh while trying to neatly find an end was not as clean as the previous two parts. Regardless, the final part of Kapow-i GoGo is still a blast. As in the progression from part 1 to part 2, the darkness factor has increased once again. The colorful world goes dark, as does the plot. You thought death was a theme in part 2, the end of nearly every character is found in part 3 including many fan favorites. Cox allows these characters to go out poetically though. The most poetic and heroic is the aww-inducing Mr. Smiles. As the end drew nearer, sentimentality took over and storylines were neatly tied and the cheers were still as loud as they were when we first met Kapow-i and friends.

photo courtesy of Cristina Pitter

Part 3 was all about family. And the GoGo blood run deeps. Back battling her evil family as Madeleine Bundy as Kapow-i. Bundy is quite grounded in part 3 but those moments where she slips back into young Kapow-i are some of her finest. For a large portion, this part is about the legend of mommy dearest, Madame Blood. Amy Jo Jackson is a mighty fine villain. Her presence rivals any villains of the past. From her killer vocals to her wicked strut, Jackson knows evil. Blood’s granddaughter, Giggle is expertly played by Andy Miller. The ensemble player turned superstar focused in on a single character for this part and owned it. Like Bundy, the child-like voice adds a wonderful layer of hilarity, even when getting in on the action. Alex J. Gould offered some wonderful physical moments as Koffley. Gould is light on his feet and when he is in puppet master mode, he was quite good. Everyone’s favorite 32 year-old brother Hiccup GoGo is back and funnier than ever. Mike Axelrod continues to make a plea for his own series. There were many in the final part that reprised some of their previous fan-favorite roles that garnered some brilliant moments including Asia Kate Dillon as Blade Gunnblade, Evan Maltby as Tuxedo Gary, Tara Pacheco as Twig, Eliza Simpson as Queen Cloudberry, Keola Simpson as Chief Treehorn, and Colin Waitt as General President Thunderbolt. Some of the finer moments included Waitt’s Thunderbolt and his remote control robot and “The Avengers” sequence where the punch line was obvious but still hilarious. Matt Cox and Karsten Otto where back as Team Trouble but things got real for the duo. In true “Of Mice and Men” fashion, Mr. Snuggles said goodbye to his best friend. But fear not, Mr. Snuggles found a new best pal and co-trouble maker in Maltby’s Tuxedo Gary.
Saying goodbye is never easy, but there’s a bright future for a life for Kapow-i GoGo. Whether it be a new venue or a different medium, expect more. As Cox leaves Kapow-i, he sets up a future spin-off for Giggle GoGo. If Giggle doesn’t get her own series then pray that Cox creates a new universe of characters.

Review: The Red Episodes, or Kapow-i GoGo Part 2

photo courtesy of Keola Simpson

The sequel. The second season. It’s always hard to beat the original. Or at least compare. Not only do you have to honor your original but you have to win the audience over and prove that the sequel was worth making. And this second part goes beyond that. In part 2 of Max Cox’s mind-blowing live-action cartoon Kapow-i GoGo, Kapow-i and friends get an action packed makeover where blood will spill and characters will, spoiler alert, meet their untimely demise.
With a turn for the dark, everyone dies and Kapow-i is angsty, and legal, in part 2 of the fan favorite Kapow-i GoGo. All of you favorites have returned with some new additions, both in character and actor. In part 2, Kapow-i, a celebrity, with manager and all, is tired of being a hero until she’s forced on her greatest adventure yet, saving the world again. After Princess Cloudberry goes missing, Kapow-i and Master Masterwhiskeys go on their way encountering a new generation of evil including Madame Blood, the newfound evil mastermind General President Thunder, and the infamous Blade Gunnblade, a hero-villain on a mission for revenge-vengeance. The lighthearted world established in part 1 is gone in a fiery inferno. This Kapow-i has matured and so has the environment. The laughs are still plentiful but the fighting and darkness is equally matched. Cox does a sublime job honoring the origin yet putting a unique spin on the sequel.  Cox plays the role of George RR Martin killing off all your favorite characters with zero hesitation. And no one dies more than Andy Miller. No one is safe so don’t get attached to anyone. Spoiler alert, anyone.

photo courtesy of Eleanor Philips

The cast comprising part 2 is filled with favorites. Madeleine Bundy brilliantly reprises her role as Kapow-i but takes a bit of a backseat for the evil-filled ensemble. Bundy encompasses the typical no care eighteen year old. Her great rival in this show is General President Thunder played with tremendous evil joy by Colin Waitt. Waitt clearly has fun playing the bad guy, and his excitement shows every time he loses. Hank Lin as Master Masterwhiskeys joins Kapow-i again, continuing his desire for a pretty young girl. Joining in on the adventure are new characters Princess Cloudberry and Blade Gunnblade played by Eliza Simpson and Asia Kate Dillon respectively. Simpson’s super sweet Princess Cloudberry is adorable and lively. Her swift turns to her dark side are quite amusing. Simpson has a panache for the ingénue role, playing into the stereotype, embodying a Princess Peach-like aura. Dillon’s Blade Gunnblade is a drastic difference from the other characters in Cox’s colorful world, yet somehow, she fits. Looking like Tomb Raider, Dillon is a badass chick with a rich backstory. For those Team Hiccup fans, although he may have fallen down an eternal black hole, Hiccup is back and cyborg than ever! Michael Axelrod’s Hiccup wants revenge on his sister who spent all her time saving the world and not him. His high-octane character gets some intense costume makeovers this time around. Team Trouble is back and ready for more trouble, with Matt Cox and Karsten Otto still on the hunt for all the monies, anyway they can get it. Teaming up with Waitt’s Thunderbolt gives them fun times as minions. Ensemble all-star Andy Miller gets to reprise her role of Woogli but spends the majority of the time playing the oft-dying Police Officer Shelly. Jeff Ronan gets a bigger role in part 2 as the loveable King Cloudberry. He’s loved so much, his demise gets the biggest aw of the night. Evan Maltby’s Tuxedo Gary returns as a champion but quickly gets blasted off the stage, kneecaps and all. His physical work remains a highlight of the piece. Returning with smaller cameos are part oners Tara Pecheco, Cristina Pitter, and Stephen Stout bringing some old and new characters to the stage. Also joining the team is Amy Jo Jackson as the mother of all evil Madame Blood. Her presence is bound to be larger in part three but the taste of nasty that comes in part 2 is sinfully perfect. Rounding out the cast is Alex J. Gould in a high-climbing bit as Koffley the Jester but his work as fight choreographer does not go unnoticed.
The production team behind Kapow-i GoGo continue to do a fabulous job bringing Cox’s world to life. The cardboard and duct tape props and costumes are still shining stars, many items returning to action. Keeping the vocabulary consistent from part 1 to part 2 allowed Cox’s departure from the lightness come naturally.
With only one part remaining, the Kapow-I brand remains strong giving the audiences a perfect escape from the mundane. Hopefully soon we’ll have access to Kapow-i GoGo action figures, trading cards, and video game!

Go Go Time with...Tara Pacheco

Name: Tara Pacheco

Hometown: Jackson Heights, Queens. 
Also hometown to the inventor of scrabble and Lucy Liu!

Education: BAs in Theater and Psychology from Columbia University.

Who do you play in Kapow-i GoGo?: Twig - feisty forrest elf
, Fancy Dress Mary - optimistic gal with a congenital heart condition
, Dr. Gyro - not a food 
And more. There’s a lot going on in this show.

Describe your character(s) in three words: Matt Cox madness

Tell us about Kapow-i GoGo: Matt really created an amazing world that draws on so many beloved shows and games. It’s so funny and smart you’ll wish it never ends.

Describe Kapow-i GoGo in three words: Larger than life

What’s the wildest costume you wear in Kapow-i GoGo?: When you’re in this deep nothing seems all that strange.

What’s your favorite all-time after school cartoon?: “The Powerpuff Girls”.

If you could be a character from any anime or cartoon, who would you be?: Ryuk from “Death Note” . When I reread this I’m going to think… “Wow that was a random answer. You don’t really want that Tara.” But then I’ll look at this and it’ll all make sense again.
http://images5.fanpop.com/image/photos/30400000/Ryuk-ryuk-30413664-704-396.jpg

Which company member has the most larger than life personality?: Eliza Simposon

Which company member is most likely to get lost in this world?: Andy Miller. But only because she’d be going on crazy fun adventure.

Most likely to actually be a cartoon character in real life?: Evan Maltby

Most likely to be a super villain?: Absolutely Colin Waitt

Most likely to go on an epic journey?: Matt Cox

Who’s the best fighter?: Maddy really is pretty f*#$ing kick ass

Revenge or vengeance?: uhh…this feels like a trick question.
veengeancceee…?

What would be your victory song?: “Miracle Mile” by the Cold War Kids

What is your signature move?: Suuuperrr Alarm SNOOZE

What’s the biggest inside joke at Kapow-i GoGo?: When in doubt we’ll make it our of cardboard and duck tape later.

What is your favorite moment in Kapow-i GoGo?: ANYTIME Mike Axelrod walks out onstage. Dude has some amazing entrances and exits.

Why should we come see Kapow-i GoGo?: This crazy hodgepodge is so satisfyingly seamless. 
Just when you think ”on no they can’t…”
We will.