Review: New York State of Mind

Live from the Frigid Festival, it’s Rotten Apple! With New York inspired sketch comedy, Rotten Apple brings a basket full of juicy fruits mixed with a couple with some worms crawling out. Written and directed by Amanda Nicastro and Matthew K. Sears, Rotten Apple is a sketch tribute to the city that never sleeps.

Thematically, it’s greatly appreciated that there was a common theme that played fully from start to finish. There is so much comedic depth for a series of New York City skits that it was a smart choice for Nicastro and Sears to keep a common thread. But with so much potential material and opportunities to pull from, missed opportunities were abundant. No matter what, Rotten Apple offered some laugh out loud moments. Between a pigeon lady looking for love and the bros of 2 Bros Pizza, Rotten Apple brought out some iconic NYC staples. Other sketches were a bit broader, commenting on themes including New York housing. The evening also offered a recurring sketch that magically appeared three times. This was a comical spin on the hit HGTV home renovation and hunting combo show “Love It Or List It”. For those fans of the show, it was a smart parody. That is until Amanda Nicastro opened her mouth as Hilary Farr. Parodies need to replicate and mock the source material and there is nothing more iconic to designer Hilary than her accent. The fact that Nicastro missed this opportunity, instead performing sans accent, may have ruined the entire bit. For the “Love It Or List It” fans at least. To emulate sketch hits like “Saturday Night Live”, Rotten Apple brought in help from a musical act in the form of Martha Cipolla. Cipolla offered two New York inspired songs, the first being a jaw dropper. Her songs didn’t necessarily gain laughter for comedy but rather from pure feeling of discomfort.
In addition to Sears and Nicastro, Rotten Apple featured the comedy stylings of Monique Moses and Adrian Sexton. Moses was the star the night. Moses easily transformed into her various characters offering an array of energy and enthusiasm. Her strongest character was her cable company phone operator. She elevated what could have been a weak sketch to something notable. Sexton happened to flourish in the same sketch playing the Devil. Their chemistry is insurmountable. While the pigeon lady sketch ended up being sad, the character Nicastro crafted had potential to be a recurring character. There was much promise in this character. For Sears, being the sole male presence forced him into the straight man role. That being said, when he was solo as Nathaniel Peppercorn, a new side of Sears was showcased. And it was great.
Rotten Apple earns great respect for their thematically fluid evening of comedy. But some of the material needed some more workshopping before putting it in front of an audience.

Review: Those Middle School Days

If you see him on the street, don't ask Nisse Greenberg how he's doing. He'll give you a 60-minute multi media presentation on why he is the way he is at that very moment. Or maybe that’s exactly what you’re waiting for. In Nisse Greenberg’s Eighth Grade, Greenberg shares a tale of how being a bottom dweller on the social ladder of eighth grade aided in the neuroses he has today.
With a visual aid that brings you back to the 90s, Eighth Grade is a tragicomedy of sorts. Greenberg offers a sheepish personality to narrate and chronicle life in Maine with his gamer buddies and the newfound desire for the ladies. No matter your place on the social hierarchy of middle school, there’s something within Eighth Grade that you can easily relate to. As far as how Greenberg crafts his monologue, it’s a bit static. There’s some logical time and theme jumps but there is the occasional backtracking that occurs causing missed beats. What could easily be a typical monologue play, Greenberg adds a 90s inspired slide show. It’s kitschy and perfect, harkening back to yearbooks and video games of yore.
No one said middle school was easy. Nisse Greenberg finds humor in a terrible time of his life. Eighth Grade may take you back and remind you of your own middle school experience. But being able to poke fun at the past opens up opportunity for the future.

Review: Collegiate Conspiracy Theory

Picking the right place for college can set the path for the rest of your life. In The BYU/Berkley Plot, Ben Abbott shares the story of the steps between his time at that Mormon college through his years at America's greatest public school. Abbott takes his audience on a whacky journey from discovering true love at BYU only to have his mission to Argentina, and his good guy persona, make him lose the girl. After deciding to leave the Mormon college, he finds himself at the exact photonegative school, UC Berkeley. But what links these two places? Ask his non-Mormon European buddy Sergio!

Abbott's monologue play is a fast-paced comedic extravaganza. Feel like you don't know much about either establishment? Abbott will give you an energetic two-minute refresher. Abbott is a sly comedian. He finds ways to keep you captivated through witty anecdotes, a corresponding slideshow, and Sergio. Sergio is a European guy Abbott met while attending BYU who has a grandiose theory about the rise of the Mormons via aliens and glowing orbs. What seems like a one-off story ends up being the link to Abbott’s time at Berkeley as Abbott encounters Sergio again with a theory that happens to link the aliens and orbs theory to Berkeley as well. What makes The BYU/Berkeley Plot work is that as unbelievable as Abbott’s story appears, Abbott finds it just as fascinating and absurd. And his demeanor on stage sells it.
Even with some unruly audience members in attendance, Abbott maintains control of his piece through his humor and wit. The BYU/Berkeley Plot isn’t a life-changing storytelling solo piece but it certainly is entertaining.

Review: Laughing Through Heartbreak

Love in your early twenties can be so exciting, kind of like a movie. But then, without foreshadow, because this is real life, what begins as the highs of the romance between Stevie Nicks and Lindsey Buckingham drastically turns into the end of the Fleetwood Mac duo's tumultuous love. In Don't Move to Toronto, Zoe Daniels shares a tale of love, loss, unique neighbors, bosses, and the Eurotrip from hell.

Through extended monologue and the occasional character, Daniels brings her sly wit to the stage in a cathartic show of heartbreak. After moving to Toronto with her one true love, Daniels finds that reality can't always be picture perfect. Or maybe Toronto is just a life-ruiner. While her story may be personal, Daniels taps into accessible emotions all while mocking her own life choices. Daniels brings many of her images and anecdotes full circle, a sign of strong storytelling. Story aside, Don't Move to Toronto is a showcase for an incredible comedian with mainstream appeal. Daniels is one to watch. There's a toughness to her persona but deep inside is exponential charm. Though the structure of her piece tends to live mostly in monologue, Daniels breaks into a few characters. Daniels happens to be a skilled character actress. Whether it is a slick Italian boss or a Chihuahua of a woman, Daniels made a worthy claim to bring them into their own sketch world.
Even though it may be her story, Don’t Move to Toronto is all of our stories. We’ve all been in Zoe’s position once in our lives. While Daniels and her old beau used to rock out to Fleetwood Mac’s “I Don’t Wanna Know”, the true moral of the story can be found in Fleetwood Mac’s “Don’t Stop.” Because while the present heartbreak may suck, “yesterday’s gone.”

Review: Theology vs Mythology vs Philosophy

Imagine a world where the great minds of theology, mythology, and philosophy are forced to battle it out to become the dominating intellect. This world can be found in Set Yet in Motion, Alaina Hammond’s cerebrally charged comedy. Cassandra is having some problems with Apollo so she calls upon God, the Judeo-Christian one, to take care of him. God appoints Immanuel Kant to do the deed by killing him with an arrow. Along the way, Kant philosophizes with his buddy Johannes Climacus and gets seduced by Friedrich Nietzsche, now in female form. Set Yet in Motion builds upon a fantastical battle of philosophy that never gets old. And to make the discussion entertaining Hammond uses theatrical comedy as her device. There is no denying that Hammond is a smart writer. She fills her script with jabs and jokes. But unless you happen to subscribe and understand the schools of thought and know all the references, Set Yet in Motion becomes too heady and unfunny to those not in the know. What Set Yet in Motion seems to be missing is accessibility. Using iconic characters as a way in is a great start. But the material, and subsequent portrayal of the characters, has to find a way to allow everyone, even those who know little to nothing on philosophy and religion, in.
As far as entertainment value goes, Hammond and director Michael Bordwell try to incorporate physical comedy and sight gags as a means to garner laughs. And it actually could have worked with the right group of performers. Sadly, the ensemble didn’t quite fit the needs of the piece, with perhaps the exception of the gender-benders. London Griffith as Nietzsche went all out in her performance. And it was fun to watch. Katherine Wessling was dominating, and funny, as God. Her material may have been the strongest of Hammond’s script and Wessling capitalized on it. With the story ultimately falling on the back of Immanuel Kant, Vincent Bivona was forced to step into a geeky leading man role. Bivona wasn’t quite able to live up to the challenge.
Casting can play a huge part into the success of a play. If the actors aren’t quite grasping the text, it’s hard to ask an audience to play along. Set Yet in Motion is a smart script. But this ensemble didn’t quite seem like the right fit.

Review: Sexual Revolution

Ah, the sexual awakenings of the adolescents. Oh the stories we could share. In Brad Lawrence’s The Gospel of Sherilyn Fenn, Lawrence takes us back to his teenage years, as he is provoked with temptation in the form of female nudity while dealing with the loss of faith following the suicide of a sibling.

Under the guidance of director Cyndi Freeman, Lawrence brings a story of finding himself through Playboy and late night Showtime in the Reagan era. With nothing but a story to share, Lawrence isn’t afraid of offering embarrassing anecdotes. And while some beats can be seen a mile away, when Lawrence does enter them into the arena, you still laugh because Lawrence makes it hilarious. Brad Lawrence is a particular kind of performer. Aside from being a hand actor, Lawrence is a mover. He brings himself close to the audience as a way of engagement and keeps things lively. For the most part, he has a speedy tongue. His monologue just shoots out of his mouth a millions miles per hour. But with speed comes reward. His fast-paced manner instantly allows the more dramatic beats to hit by simply slowing down his tempo. It allows the gravitas to shine.
Brad Lawrence has the power to make his story yours. And that’s the mark of a strong performer. The Gospel of Sherilyn Fenn is a good time with a good story.

Review: A Vocal Roadshow

Sideshows featuring humans with oddities was a grand source of entertainment for quite some time in our history. And has since been the source of inspiration for many stage, literature, and film features. Taking the life of Myrtle Corbin, the Four-Legged Girl from Texas, Lily Ali-Oshatz has crafted an extraordinarily ambitious a cappella musical about this extraordinary human in The Extraordinary Fall of the Four-legged Woman. Following the life and love of Myrtle, this musical finds that despite what’s on the outside, love is truly on the inside.
Ali-Oshatz uses a sideshow as the structure of her piece. With M the Ringmaster, an androgynous figure, and her creatures as the star attractions, a young man becomes enamored with Myrtle, tempting her with a life away from the show. With another notable musical about a sideshow, Ali-Oshatz had to find a way to set her piece a part. She did so by incorporating an a cappella score. The six-piece ensemble was the sole source of sound. It’s a noble feat but also has some severe consequences. While the ensemble wasn’t comprised of extraordinary vocalists, together they sounded sweet, and occasionally eerie. But stylistically how the music is composed and arranged combined with a dramatic story, the energy on stage was naturally low. To no fault of the company, playing it any other way would have felt unnatural so you have to wonder whether the ambition Ali-Oshatz paid was worth the price of admission. Perhaps more voices and a bit more dynamic arrangements could help. While Ali-Oshatz made Myrtle and her love Clinton Bicknell the focus plot line, there was much material that was given to the other players. And it is some of the strongest in the show. That being said, the musical is about Myrtle and her fall into love and out of the world she knows. Finding a way to have the solos by the other players inform the overall action would tie the entire piece together. These moments are thematically relevant so underscoring it with Myrtle moments would be a strong storytelling device. Additionally, M, who Ali-Oshatz happens to portray, is a natural choice to be the puppetmaster of the story, controlling how the piece is told. While it would harken back to the Lead Player in Pippin, having M regulate the action would make Myrtle’s abandonment be so much stronger for M, giving her a more coherent arc. It would make sense as she is a ringmaster.

Ali-Oshatz crafted a character that fit her well. In M, she was able to bring an aura of mystery and intrigue, something that this world was filled with. Individually, the players brought their own flavors but it was Thomas Rabuano as Simon-Elizabeth gave the most surprising performance. As Myrtle and Clinton, Madeline Bugeau-Heartt and Justy Kosek had nice chemistry, proving love is love.
Festival settings can be hard to bring a fully realized production to life. There was a miracle on stage as director Madeline Wall energized the Kraine Theatre. Even if the character arcs where thin, Wall guided her ensemble to find powerful moments. The choreography by Kory Geller was haunting, suiting the piece well. There aren’t very many options when it comes to a rep plot in a festival yet Elizabeth M. Stewart did the extraordinary. She made good use of the stark lighting. By keeping the overall mood theatrical, those moments when the white wash stage was brought in, it looked incredible. Even the image of a tent created with a string of lights was visually interesting. This piece has a very specific feel when it comes to costumes. Visually, it needed to look right. The pieces that Wall, Elizabeth Samuels, and Virginia Wall compiled fit wonderfully.
The Extraordinary Fall of the Four Legged Woman has some work to be done but there is extraordinary potential within. There is room for this piece to grow grander. And once it finds the legs to stand on, Lily Ali-Oshatz may have something special on her hands.

Review: Tales from a Clencher

Do you grind your teeth without knowing? Then you might be a clencher. Do you find yourself tensing up in a relaxing mud bath? Then you might be a clencher. Do you over analyze the font choices in design? Then you might be a clencher. In Clenched, David Mogolov shares how a horrible sore throat led to a lifestyle change and a bit of self-awareness. Written and performed by Mogolov, this sit down comedian has a set which includes anecdotes about comic sans, the NFL, and the steps of unclenching.
Mogolov has an incredible rapport with his audience and a knack for comedic storytelling. He has them eating out of the palm of his hand. His geeky meek persona is fitting for the stories and his style. As a comedian, Mogolov shines but the way he crafts his evening is wonderful. Mogolove calls upon previous jokes allowing the bits to cone full circle. Just when you thought comic sans was in the clear, he brought it right back. And as a fellow fontoligist, I appreciated it all.
Director Steve Kleinedler helped ground and streamline Mogolov's piece by allowing him to keep it simple and precise. He kept Mogolov on pace, rarely allowing his tales to get long-winded. Engagement is key and Kleinedler knew how to get Mogolov to engage without pandering.
Theater doesn’t always have to be groundbreaking. Sometimes entertainment is just what we need. Clenched is a case of great comedy.

Review: Spittin' Women

Catching the wave of a rising trend and capitalizing on its success is always a smart idea. But the product has to be just as good, if not better. The biggest theatrical phenomenon right now is Lin-Manuel Miranda’s Hamilton. In this show you might not have seen because tickets are just not available, a well-known character of history is given the rap musical treatment. Sara Stock, Lindsay Taylor and Isaac Folch take a well-known story and attempt to give it the hip-hop treatment. The story? Louisa May Alcott’s “Little Women”. Lil Women is not Hamilton nor is it quite “Astonishing.” But it's fun.
With the cliff notes version of “Little Women” stuffed into sixty quick minutes, as it stands now, Lil Women is a stylistically confusing piece. The source material is dramatic by nature but Stock, Taylor, and Folch put hints of comedy in it. And when the comedy is punched, Lil Women is hilarious. Lil Women is a natural comedy. The more dramatic moments don’t quite work. Commenting on the rap musical trend through comedy is what may serve Lil Women best. With the amount of substance in the source material, there was little time for character development or hitting the necessary beats for a well-made piece. There’s no time for character arcs. Knowing “Little Women” is incredibly necessary to fully comprehend the musical. That being said, you have to appreciate the skill Isaac Folch has put into the piece. The rhymes through his lyrics are well-placed and proficient. Even the music, which samples and finds inspiration from some of the most infamous 90s hip-hop and rap. Pick up on it or not, it should bring a smile to your face.

The company of Lil Women was mixed with proficient spitters and some who were, well not. Those who could get the rhymes out stood out. Two of the strongest overall performers were Rebecca Siegel as Jo March and Megan Borkes as Beth March. Both Siegel and Borkes are talented rappers but they individually offered something fresh. Siegel is a strong actress, finding depth in Jo. Borkes is a hilarious comedian. Never going over the top, Megan Borkes is just naturally funny. As the baby, Croix Provence capitalized on crafting a character. She took the elements that made up Amy March and highlighted them in true caricature form. And that’s why Provence was exciting to watch. She’s one who made a case for a spinoff.
Directorial, Lindsay Taylor’s mission was to keep Lil Women moving. Unfortunately that didn’t quite happen. With the Kraine’s unique entrance options, utilizing the revolving doors would have assisted with the transitional woes. Additionally, comedy wants to be fast. There were several beats missed, as the pacing was a tad slow.
Lil Women could be something worthy with some necessary polishing and some dramaturgical assistance. It just needs to learn what it wants to be and own it.

Review: The Devil's Jam Session

In the festival circuit, there’s always that one show that’s not like the others. In the landscape of the 2016 Frigid Festival, that show is Supershock vs. Faust. Billed as a “movieconcert”, Supershock vs. Faust is the antithesis of theater. Appearing more like performance art, Supershock vs. Faust takes the silent film version “Faust” by Murnau while rock musician Supershock provides a live underscore. The juxtaposition between era and style ties into a thematic night of multi-disciplinary performance.

For those who may not know the silent film, demon Mephisto places a bet with the Archangel that he can corrupt a righteous man. Mephisto finds his victim in an alchemist named Faust who tempts him with his powers of youth, wisdom, and love. In the end, love triumphs and the devil loses his bet. Murnau’s film is terrifying. The cinematic classic features some frightening characterizations and themes. Combining a metal score underneath actually is fitting. But the trouble of Supershock vs. Faust is what the focus of the piece is. Supershock is the star of the show yet he positions himself on the side of the stage with his electric guitar and distortion pedals while the movie is projected on a screen at the back of Under St. Marks. With concert in the description, we want to see the music maker. If Supershock places himself in front of the screen, we’ll still be able to see what we want rather than having to choose.
Be prepared. Supershock vs. Faust is not like any other show in the festival. The moral of the story is don’t trust the devil, no matter what. Even if he tempts you with a repetitious night of music.

Review: I Was in a Cult

We’ve heard stories about people getting involved in religious cults but we never imagined it could happen to us. Why does it happen? How does it happen? That’s the story Diana Brown is about to share in her solo show So Amazing. Inspired by a true story, So Amazing is Brown’s saga as she found herself involved in a religious group in Bergen County, New Jersey. In the multi-character solo show ripped from the headlines, Brown meets an intriguing white girl with a Korean accent who invites her to her church. And without warning, Brown finds herself signing away her life to a place where fear and manipulation are in control.

What is most important element about So Amazing is the story. The tale of a cult survivor. It keeps the piece engaging. With the story as the draw, Brown may want to explore a different solo format, changing from multi-character to extended monologue. As far as how the piece flows, Brown’s portrayal of the various characters isn’t her strongest suit. Brown has trouble transitioning and finding variance. But when Brown plays herself and speaks the truths, the audience is engaged and it’s the most interesting aspects of the show. Brown uses the piece to help and instruct, talking about how loved ones can help and informing about the BITE model. The elements are present so a slight altering of format could elevate So Amazing. Additionally, bringing in a directorial eye could be of great use.
So Amazing is an important story to hear. There are others like Brown out in the world that don’t get the opportunity or have the courage to speak their voice. In that respect, So Amazing is a success.

Review: Discovering the Truth

We all have memories and visions of our parents. What they were like when we were kids. It's how we remember them. In Nicole Ferraro's breathtaking Why So Much Shame?, Ferraro recalls her father who passed when she was a child. As she grows up, she uncovers truths to the person he was that radically alter her memories. Written as an extended monologue, Ferraro plants herself behind the microphone and simply shares. And it's perfect. With a soothing voice, Ferraro paints a picture through imagery of her memories. What's interesting about her text is rather than share the story chronologically, she jumps around in time allowing the past and future to inform one another. It happens to work well for this story.

photo by Katherine Lee

Part of her story discusses a paper she wrote that was deeply dissected by her teacher with a final quote that led to the title of this play. Ferraro doesn’t ask for sympathy in Why So Much Shame?. She simply shares. And that’s beautiful. As a performer, Ferraro keeps a mild tone to her voice. She’ll occasionally deviate bringing a little more energy or sass but the continuity of her storytelling is strong.
What sets Why So Much Shame? apart is the simplicity and vision by director Sara Peters. Peters places a piece of artificial grass with an assortment of childhood items and memories. They’re not just there to create a set, Ferraro subtly comments on each, allowing the audience to pick up on them if they so choose. You can’t help but smile seeing the tape of “Three Men and a Baby” is referenced or the file folder of Daddy’s memories. The other welcome extra to the production was the evocative lighting. Sure, the lighting occasionally changed haphazardly, there were certain moods that were so fitting, and it elevated the story.
Nicole Ferraro has a great piece on her hands. Standing alone on stage, Ferraro would have succeeded but what director Sara Peters brought to the stage is what makes Why So Much Shame? shine.

Review: Waiting for Grief to End

We all grieve in different ways. And that’s never been more true than in Kasey Brown and Marc J. Franklin’s Thank You for Waiting. The drama follows a pair of old friends who happen upon the same room where they are forced to have a conversation a year in the making. Along they way, we learn the incident that has torn them apart and just how it has affected their lives. Exploring themes of anxiety disorders, fears, and mourning, Thank You For Waiting is a fantastic examination of a relationship.
Performed by Brown and Franklin, Thank You for Waiting follows Kate, a newbie to New York City, who happens upon a doctors office where her longtime friend Eddie happens to work. Soon, it’s revealed that after a year, Eddie and Kate have been disconnected at the hands of Eddie who has ignored every attempt of communication. While they seem to be able to pick up where they left off, the waiting room of the office is filled with tension and words that are begging to come out. When it’s finally revealed that their mutual friend’s death has caused their wedge, we discover that these two individuals are mourning in drastically different ways. Kate’s attempt at grief requires her best friend Eddie. Eddie’s attempt at grief requires space between he and Kate. Just how this pair can find closure is the question of the play. Brown and Franklin’s piece is captivating, touching upon themes that reverberate with anyone watching. It’s likely that you can relate to either character in some form or another. The relationship between Kate and Eddie is strong. With little exposition, we’re easily able to know who these people are, piecing together their past while building upon their present. Their script, for the most part, avoids fluff, keeping the dialogue filled with important information. Where things get messy is how the play is performed. From the get-go, you love Kate. She’s relatable, cute, and bubbly. You accept her at face value. Eddie is a bit rougher on the surface. He deals with his problems on the surface, disconnecting from the situation every chance he gets. And the more you learn about Eddie, the more you want to throw something at him for the awful things he says. To put it bluntly, Eddie is a dick. Sure, you understand where he may be coming from but calling Kate selfish is quite hypocritical. To have such a strong reaction toward a character is a mark of strong writing.

Kasey Brown and Marc J. Franklin seem to approach their performance from two different perspectives that only come together toward the end. Brown’s Kate begins the play with Kimmy Schmidt optimism. She gives Kate a wide-eyed view of the world. Her quirks are just that. We don’t really question them until she does. Franklin’s Eddie is more dramatic and natural. With one party playing in a sitcom world while the other has a more soap opera approach, they don’t really meet in the middle often. It’s not until Kate has her breakdown that Brown and Franklin feel like they are in the same play. While neither choice is wrong, they may not have been the perfect pair to play off of one another. That being said, they are individually two skillful performers.
Directed by Nicholas Foster, Thank You for Waiting is a two-hander that moves. Foster kept the pacing natural, allowing the beats to move when necessary and lived in at the right moments. He guided the duo through this emotional journey but finding a way to get them on the same page seemed like it was difficult. But that’s what could happen when your actors are the scribes. The set was simple. Two sections of chairs that made up the waiting room. It felt open yet claustrophobic, something that both characters experience. It was a metaphorical success.
Thank You For Waiting is a strong piece of writing. It’s a story about loss that you can connect with.

Review: Grandpa, Me, and the Ensemble

There are people in our lives that shape us into the people we become later in life. For Laura Force Scruggs, it was her grandpa. In Punk Grandpa, Scruggs offers a loving homage to the man with an inappropriate joke at his disposal and a dance in his heart.
Originally performed as a one-woman show, Punk Grandpa takes a leap into becoming a multi-actor play, ensemble included. Maintaining the solo show structure, an actress takes on the role of Laura to narrate life as a five and three-quarter year old and her relationship with the man she called grandpa. With the structure what it is, it didn’t quite make the transition as seamlessly as one could hope. And it’s a shame because Scruggs’ story is quite lovely. It’s evident that the text has been lived in and is well polished. But by simply expanding the piece by having an ensemble of actors play the roles that Scruggs normally played herself did not land. Adapting the original story into a more typical play structure where narration can be included less frequently may have been the stronger choice for Scruggs. As it stands now, it’s muddied.

photo by George Rand

The clarity of storytelling can partially be blamed on the excessive amount of movement and scenic shifts. Director Janie Martinez used a trio of rehearsals cubes and a series of mismatched chairs to delineate location. And setting up the scene in the very tight space of Under St. Marks was more of a hindrance as it was distracting. There’s no safe zone where you can pretend that a scene isn’t occurring under the scene change. When there’s a theatrical light on, the stage is lit.
Martinez allowed her ensemble to explore the depth of characters, often finding some big choices along the way. Becky Chong as Laura is a great storyteller. Chong could easily tap in for Scruggs in the solo version if need be. Chong’s heart is what elevated her performance. As Grandpa, Ken Coughlin gave a durable performance. His movement was a bit stiff and static but there was a nice connection between Punk Grandpa and grandpunk. The quartet that comprised the ensemble was split down the middle of skill. Mitchel Kawash and Rachel Ladd may have been the strongest all-around performers in the entire piece. Their ability to create an array of fun and interesting characters gave the play life. And it all came down to facial expressions. Between Kawash’s big, infectious smile to Ladd’s knack for comedic scowl, the duo stood out.
It’s clear why transferring Punk Grandpa into a multi-actor play was desired. We want to see the man that Laura Force Scruggs wrote about. But to do so, it sacrificed the integrity and heart of the story. Punk Grandpa, in narration form, survives on less is more.

Review: When the Audience Plays Murderer

Participatory theater is like being a door-to-door salesman. The pitch needs to start off so strong that the potential customer doesn’t slam the door on your face. If the pitch isn’t good then that moment when it’s time for the audience to play along will be a dud. Sadly, such is the case in The Murder at Ginger Creek. Written and created by Michael Gargan Curtin and Ruthie Scarpino, The Murder at Ginger Creek is a family-aimed interactive piece that attempts to get the audience involved. Only when it’s the audience’s turn to play, it takes some severe coercing to get a response.
The premise of the show is an Eastern European hostess with the mostest and her hunchback assistant guide the audience through a “Mystery Science Theatre” style evening where we watch four suspects arise when a murder occurs at the Ginger Creek motel. Through madcap comedy, the audience plays the role of detective to try to solve the mystery. The idea is fine. But there were many factors working against the duo in this particular setting. With hopes of being slightly immersive, the Kraine Theatre was not the right venue for this experiment. It’s hard to get an audience to interact in a standard theater as there is a natural fourth wall built. Simply bringing the house lights up was not nearly enough. The other major factor working against Curtin and Scarpino was the “do it all” strategy.” When you’re so close to a piece, it’s hard to see the flaws. Bringing in an outside eye to hop into the director’s seat could have been of great assistance. As it stands now, there was a dead air in between scenes and character shifts that deflated the momentum. Textually, the plot seemed simple yet when the audience was asked questions about characters and motives, there was silence. Incorporating names and spelling out the facts cleaner will be of great assistance to the piece. Festival setting or not, the less-is-more technique didn’t pay off for the piece as a whole.

When it came to bringing The Murder at Ginger Creek to life, Michael Gargan Curtin and Ruthie Scarpino are both capable character actors. But Curtin is head over heels the far superior performer. Curtin easily slid into his trio of roles, bringing distinctive voices and physical characterization to each. Curtin is one who could easily succeed in the world of solo performance if he so chose. Scarpino on the other hand made good use of her characters, but they didn’t have that spark that Curtin embraced. With a natural element of improvisation, Curtin again was the stronger of the two, able to keep in character no matter the situation. Though seeing that tiny burst of breaking from Scarpino was endearing. It’s why we love live theater!
The Murder at Ginger Creek is entirely dependent on active audience. If the audience, no matter the size, isn’t on board to play, it may be best to ride off into another town. But with the right audience, one filled with some wide-eyed youthful smiles, The Murder at Ginger Creek could be fun.

Review: Pure Madness

Sometimes an idea on paper sounds like brilliance but when it becomes a reality, it doesn’t quite work as well as you thought. That may be the case with The Golden Smile. Written by Yaakov Bressler, The Golden Smile follows a group of mental patients who decide to create a play to save their rec room. Filled with more dramaturgical questions than can fit in the crayon sock, The Golden Smile is a metaphorical mess. Written like an absurdist comedy, Bressler’s piece features a very loose plot and no clear character development. Bressler grants no backstory to the situation and no exposition into who these characters are. We  don’t know what their illness is nor why exactly they act the way we do. Instead, Bressler provides a script that allows his company to prove that they may have had one too many Red Bulls prior to curtain. The biggest question is that if this institution is worried about violence from their patients, why are they left alone without an attendant? While this simple fact would destroy the “Toy Story” element of the patients virtually coming to life when no one is around, it’s a viable question that you must ponder as you watch. Sure, there is a worker who pops his head in to keep the peace, but his competence could easily be called into question as he continually leaves. So what exactly is the story that these personalities are conjuring up? It’s hard to say. With an overstuffed script with metaphors that make little sense, trying to find the moral within is hard. Especially when you leave still wondering what exactly is The Golden Smile, both title and within the play. The Golden Smile also seems to be confused as to what exactly it is. Is it a play with music or a musical? Using a live band that is dressed in blacks, clearly not living in this world, caused many woes. The Golden Smile could easily eliminate the music entirely from the show. But if the music by Zach Stamp is necessary, Bressler and director Joey Stamp must work them into this world, incorporating the band into the play within the play. Making them patients too will connect the world and give them a purpose otherwise they are merely an onstage distraction. The Golden Smile treads a very fine line of mocking mental illness. To the wrong person, the piece could come across as offensive. Nevertheless, when the characters break into their “actor” roles, the personalities that they adopt are nothing we see prior. Where they come from is essential. While it could tie back into what their illness is, defining this will keep assist the character development.

While the script may be in shambles, The Golden Smile is led by a director with a strong commitment to upholding a vision. Regardless, when presented this material, director Joey Stamp did all he could do. He kept the play moving, clearly strategizing beat to beat. The one choice that didn’t benefit the piece was having the actors haphazardly play on stage during the preshow. We don’t learn anything about them, we simply see them causing a raucous, something that occurs seconds into the play. While Stamp did have his company interact with the house manager, it’s especially dangerous to have an active preshow in a festival setting as it disrupts the flow of the evening due to the preshow announcement.
Regardless of material, the energetic ensemble had fun, owning their characters. While it may be due the sanity factor, the stand out of the bunch was Flynn Harne as Messenger, the hospital attendant, the only slightly sane person. Harne has an outlandish comedic drive, tackling a persona that was reminiscent of 90s Jim Carey. The neurotic nature of Andy McCain’s Writer was overwhelming funny. The means in which he lived in Writer’s body caused him to fling himself for comedy sake. Sofiya Cheyenne and Jody Doo both showed promise as Director and Sarcastic Actor. Compared to the rest of the company, there was something off about Robert DiDomenico’s Loathing Actor. Of the trio of “Actors”, DiDomenico always seemed to stick out or one up the other two rather than being a cohesive unit as you would think the trio should be.
What’s interesting about The Golden Smile is the use of the Critic characters. While one meandered on and off stage, the other was the voice of reason, often saying likely what the audience was thinking. When a character in a play is confused by the rules of the world, chances are the audience is too. Yaakov Bressler could benefit by working with an fresh outside eye dramaturg to help him and his piece along, asking him the questions that must be answers. As it stands now, The Golden Smile is just pure madness.

Review: The Crisis of Life and Ikea

A boy is having an existential crisis. A girl is having an IKEA crisis. But who’s there to help? That’s the premise of Help me out here, produced by No Dominion Theatre Co. Written, directed, and performed by Michael Joel and Kaitlin Overton, this two-hander is virtually two elongated monologues that are interspersed by omniscient voice overs that hit the duo hard. Exploring themes of loneliness and happiness, Help me out here is a call for help that we all know too well. As the duo attempt to work through their woes themselves, when they come together, the moral of the story is revealed. It’s an obvious one but that’s life. Friends are there when you need them. It just may take some time to accept the call.
You can tell a lot from a relationship based on how two people build furniture together. In the case of Michael Joel and Kaitlin Overton, their feat is simple as their bond is genuine. Again, while this piece does contain moments of partner interaction, it’s truly an individual effort. In the case of this piece, Kaitlin Overton is the featured artist in the Michael Joel Show. Simply due to content and placement on stage, Joel stands out. And beautifully so. The material Joel showcased was more metaphorically driven, thriving in the accessible poetry of his words. Joel also happens to be a hypnotizing performer. When he speaks, you listen. Even if there’s just a haunting lantern as the sole source of light. Joel is a raconteur. He likely could read the dictionary and sell it. Overton’s crisis was a bit more physical. We all know that assembling even the simplest of Ikea furniture can be a futile effort. By positioning herself on the ground for the majority of the play, she almost melted into the stage. With Joel being the dominating presence simply by levels, it played a huge factor in controlling the play. As a performer, Overton has a quirky allure. It was a nice contrast from Joel’s anxiety driven persona.

photo by Joseph Redl

Overton and Joel kept their piece simple when it came to staging and design. With voice-overs playing a big role in the piece, how they sounded was important. Whether intentional or not, there was a bit of a distortion attached to them. It added a flair of eeriness to the beats. The lighting was pretty basic except when an act of fate knocked them out. The addition of the LED lanterns not only offered some striking images, it forced you to pay attention to the detail in the words Overton and Joel spoke.
Help me out here is a basic story and a story we all know too well. That being said, there is something fascinating by the work done by Kaitlin Overton and Michael Joel. Help me out here is one of those extremely rare occasions where wearing all of the hats managed to work. Though bringing in an outside eye for the next go around could be beneficial. And believe me, there’s likely to be another go around of Help me out here.

Review: D'yan Forest's International Tour of Men

photo by Bogdan

When you reach your 81st year, you’re bound to have a plethora of stories to share. Just ask D’yan Forest. In her solo cabaret, Forest takes the audience on a tour of her life around the world in A Broad Abroad. Filled with a song, jokes, and a lot of crudeness, A Broad Abroad is a celebration of love and life.
Forest’s story of international escapades on stage and in bed is the source of this sixty-minute comedy extravaganza. Though we're not sure if there was ever a bed involved during her exploits. What starts with a brief affair with the City of Lights, D’yan Forest finds herself gracing the stage around the world where, at each stop, she meets a gentleman that woes her. Accompanying her stories are an array of thematically-relevant music. From showtunes, like Cabaret’s “Don’t Tell Mamma” to standards, like Edith Piaf’s “La Vie en Rose”, Forest provides them all. But nothing is more satisfying and uproarious than the perfectly-timed “Touch-a Touch-a Touch Me” from The Rocky Horror Show. It’s very likely that after this performance you’ll cry laughing.
As a performer, D’yan Forest commands the stage. It’s hers from start to finish so don’t try to pull her off until she’s ready. Forest is just delightful. She’s spry and crass, keeping her audience entertained with everything she shares. Director, and co-writer, Erik Kornfeld guides Forest on her journey by giving Forest her freedom to pander while bringing her home in some of the more quiet moments. These shifts allow a clear arc to pass through the show.
A Broad Abroad proves why D’yan Forest deserves her eight-decades of music, madness, and “foreign affairs.” She is an inimitable performer that is bound to astonish you in some way.

Review: Fragments of a Broken Heart

In Rachel Kerry’s multimedia drama Seven Fragments, the relationship of two young girls is explored as their bond grows from new friends into something a little bit more. Featuring theater, poetry, dance, music, and animation, Seven Fragments has a lot going on at once. But when you strip it down, the story and relationship that Kerry crafts between the two girls is quite strong. When Kerry introduces the other elements into the piece, it’s not nearly as emotive, even hurting the momentum. But when it comes to forming a relationship, Kerry succeeds. The characters that Kerry and actresses Lizzy Ana Lincoln and Sarah Wilhelm create make you want more. With only snapshots of relationship, you almost have to wonder what a fully realized story of The New Girl and The Smart Girl would be. While the poetic interludes showcase Kerry’s poetic tongue, the way it is used within the constraints she has established feel hokey.
To no fault of her own, Lizzy Jutila did a fine job reciting Kerry’s words. But she didn’t hold a candle to Lincoln and Wilhelm. The chemistry between the two was unrivaled. From first meet to last interaction, their bond was true. As The New Girl, Lizzy Ana Lincoln was sharp, holding an aura of intrigue in her performance. The New Girl is a master manipulator of emotion and Lincoln was in complete control. Sarah Wilhelm gave a heartbreaking performance as The Smart Girl. Wilhelm portrayed a character that encounters a situation everyone can relate to. Wilhelm is naturally quirky, yet when she broke into the emotional side, Wilhelm was justified. You felt for her.

photo by Ian Price

Directing her own piece, Kerry’s incorporation of element after element hurt the overall picture. The animation that was projected didn’t quite add anything to the storytelling. The design by Kerry was certainly nice to look at but it was repetitive. The music that accompanied the production was haunting. Jay Vincent’s score fit the poetic beats nicely. When it came to staging the duets, Kerry kept things tight and it worked. By avoiding unnecessary movement, it allowed the intimate story to feel lived in.
Seven Fragments is essentially broken up into its own tiny fragments but when you glue them all together to form the heart of the piece, it doesn’t fit perfectly. Rachel Kerry has a unique vision but an even stronger voice. The dialogue and relationship is what is at the core of this play. And that’s where Kerry shines.

Review: Finding Your Safe Space

College is a place where you often find yourself. The things you do and the people you surround yourself may define the person you ultimately become. Inspired by her own experiences, Una Aya Osato shares the world of college rugby and the team that became her family in With You. Osato offers the story of her time on her school’s inclusive rugby team where the people she shared the field with shaped her life. Learning the rules of the game, the chants and songs, and how drinking and making out is essential for team bonding, Osato may be alone on stage but she certainly brings along the whole team. With a foul mouth and high energy, Osato gives a marathon performance. She literally does laps around the stage. Director Nelson T. Eusebio III incorporates movement from start to finish in Osato’s performance. And perhaps, it’s too much. Osato’s narrative demonstrates action on the rugby field but they lose the charm as we’ve already seen her throw herself across the stage. Perhaps finding moments of stationary monologues could heighten the beats where Osato does move around.

photo by Anna Barsan

Eusebio should trust Osato’s ability as she is a brilliant storyteller. Osato is engaging, holding the audience at the palm of her hand. While her vocatl characterization of her teammates may not have been that different, you were still able to decipher who was talking when because of her physical shifts. Osato’s willingness for physical comedy kept the audience in stitches. She has Melissa McCarthy vibes in her performance.
Because Eusebio utilized the entirety of the stage, the lighting was a basic, and sadly unfortunately looking, wash. Yet the moments when the piece was granted a more theatrical look, With You was given a breath of life. These lighting looks were stunning. Going back to the simplicity in staging will allow Eusebio more of those stage pictures.
With You is a triumph of a solo piece. The story is clearly special to Una Aya Osato, giving her full heart, soul, and body to the production. And by doing so, it becomes special to all who watch her.