Theater in the Now

By Ed Malin

Theatre 167 presents Tina Howe’s new play Singing Beach at HERE. Ari Laura Kreith directs. You still have a few more summer days to catch this beach play.
The residents of Singing Beach on the North Shore of Massachusetts are warned that Hurricane Cassandra will soon be close enough to do damage to their community. Like the Cassandra of Greek mythology, the storm speaks of an inconvenient truth (in this case, Global Warming). The question is, who in the world is listening to the warnings and what will they do next? Residents are advised to evacuate, but we see many people hoarding supplies and preparing to stay in their homes and wait out the storm. The tension between staying put and going away informs much of the rest of the interesting, dreamlike story.
Piper (Elodie Lucinda Morss) is a young girl who is first seen at the beach using a video camera. Her brother, Tyler (Jackson Demott Hill) teases Piper while knowing that Piper’s teacher, Miss Blake, has been making the school aware of climate change and has inspired Piper to think of how she could survive in the desert with the Bedouins. Their mother, Merrie (Erin Beirnard) and step-father, Owen (John P. Keller) are facing the difficult choice of placing Grandpa (Tuck Milligan) in a nursing home. Grandpa currently has a live-in caregiver, Bennie (Naren Weiss), but his situation has deteriorated. Merrie once wrote a novel called “To Let: Narrow Room For Quiet People”.
When Piper finds out about Grandpa’s upcoming move to the nursing home—which is delayed by the storm—she hides away in her room and uses a knife once given to her by her absentee father to whittle a wooden ocean liner. Tyler, Merrie and Owen are all dealing with their frustration about Grandpa in different ways; the people most interested in Piper’s feelings are Grandpa (who has lost the ability to communicate verbally but gives good hugs) and Bennie. Bennie says he is going to perform in a community theater production of Gilbert and Sullivan’s Ruddigore (fans may think of the aria “My Eyes Are Fully Open To My Awful Situation”).

photo by Joel Weber

As the storm hits, Merrie retreats into her fantasy world of the ocean liner. The Captain of the vessel looks a lot like Bennie. Also on board is the charming and powerful teacher, Miss Blake (Erin Beinard), young stowaway Credo (Jackson Demott Hill) and Gabriel (Devin Haqq), the host of Merrie’s favorite TV show, “Mental States”. Could the biggest celebrity on the fantasy craft be Piper’s father, Sebastian (John P. Keller) who is a renowned artist in London? It just so happens that Sebastian is transporting 2,000 kilos of nylon tent fabric over to his latest art exhibition. Also to Piper’s delight, Grandpa is on board and he is able to walk and talk. The Captain catches Credo the stowaway but instead of punishing him gives his own cabin and rewards him for taking the initiative to go and see the world. Clearly, the path to success in this tale is going away from a rigid, untenable worldview and lifestyle. As the toy craft goes through its own storm (see: poster for the current production), the passengers use the tent material for shelter and sing a rousing chorus from Gilbert and Sullivan’s H.M.S. Pinafore. Throughout, Piper finds her voice in a way that she is not allowed to back home.
Finally, the storm is over. Of the residents who stayed, or couldn’t flee, many have died. The time has come to take Grandpa to the nursing home. However, Piper may have other ideas. Singing Beach itself begins to sing in a joyous, cosmic way.
Jenn Price Fick’s set is a beautiful place to experience this story. Sections of logs are arranged on several levels and painted white, a convenient setup which transforms into the ocean liner. White cloth stands in for the sandy beach, and for the tents and sails that come out during the storm. Add Matthew J. Fick’s lighting, and the result can be positively haunting. As the cast reference some great poems (Miss Blake is several times compared to William Blake’s “The Tyger” and on the ship we hear of the “Rime of the Ancient Mariner” and see Piper ready to transform into a mighty bird) we are reminded of the destructive power of nature but also of humanity’s ability to make a positive impact. All it takes is a sensitivity to new ways to adapt and survive. As the world tries to survive the current President of the U.S.A., we should abandon our narrow rooms and ideas and strive for positive change. Not just those who live by the water, but all of us. Director Ari Laura Kreith takes the characters on an unexpectedly intricate journey. Elodie Lucinda Morss, the youngest performer, carries much of the play. For me, her transformation into a defiant leader is the most striking moment. Erin Beinard, Jackson Demott Hill, John P. Keller and Naren Weiss show great versatility in their frequent transformations between the world of Massachusetts and the world of the imagination. Tuck Milligan (Grandpa, also known as the “Sleeper”) shows us what we can hear if we truly listen.

By Michael Block

When you think she couldn't top herself, she does. Current reigning Drag Race All-Stars champion triumphantly Alaska returns to the Laurie Beechman in her newest homage to America's favorite geriatric divas, "The Golden Girls." With a great assist from Handsome Jeremy on the piano, Alaska proves just why she is one of the smartest artists on any planet.

photo by Michael Block

The iconic 80s sitcom "The Golden Girls" gets a loving tribute in On Golden Girls. With a panache for comedy and performance, drag superstar Alaska structures the night in perfect fashion. And don't worry, there's no laugh track needed here. It comes naturally. She begins the show with the infamous theme song decked out in a dress of Blanche's bedspread. She deadpan reveals that this is not going to be a night of theater with costume changes and theatrical pizzazz. But it totally is. From there, she hails the holy Golden Girls scripture and channels the brown magic scripture to transform into the quarter. What happens next is nothing short of extraordinary. Yes, on the surface On Golden Girls is a tribute show but it’s more than that. It’s an artist displaying their innate gift to transcend expectations. Fans of Drag Race go to see Alaska because of what they saw her do on two seasons of a television program. And that only scratches the surface of the talent she possesses. She can sing, she can dance, she can act, and she can write. On Golden Girls is a dramaturgical wonder. It’s smartly formulaic comedy that is calculated to the beat. Dissect On Golden Girls and you will see nearly every moment, including jokes, references, and visuals, are planned out to create a cohesive piece. There are great expectations when it comes to mocking “The Golden Girls.” The archetypes of the women are strictly identifiable. Alaska played into that yet gave herself the opportunity to make them her own. Fast-talking Sophia workshopped her solo show as you pictured her time in Sicily. We watched as Blanche has a fall from grace as she waits desperately for her date. Rose was dimwitted but there was a deepness to her. And Dorothy? Well her gruffness shined through. It’s one thing to just stand there and impersonate a character. Alaska has proven her worth there on Snatch Game. But to embody each in the manner she does? Comedy gold. And those costumes were flawless and iconic. Handsome Jeremy provided the pulse of the show. To strategically cover the character changes, Handsome Jeremy played numbers iconic to the sitcom. The soundtrack that accompanied the show featured numbers that were prominently a part of the series including “Miami is Nice” and “The Saint Olaf Fight Song.” These were just some of the nuggets and Easter eggs that were hidden for the die hard fans.
It’s important to remember that the show was built for a cabaret space performed by a solo artist. Alaska took on the persona of the pastor of the scripture of the Golden Girls. But this show showcased her ability to do more. She has a background in theater, perhaps the next challenge is to see what a full show would be.

Name: Sanaz Ghajar

Hometown: Burlingame, California

Education: New York University, Tisch

Favorite Credits: I have developed works nationally and internationally with New York Theatre Workshop, The Civilians, The Drama League, BRIC Arts | Media House, Ars Nova, Three Legged Dog, Clubbed Thumb/Playwrights Horizons Downtown, Prelude, HERE, Red House Center for Culture and Debate in Bulgaria, Prague Film and Theater Center, Goldex Poldex Gallery in Poland, and others. I’m also a DJ.

Why theater?: I love making art in all different forms. What I find the most exciting about theater is that it is a highly collaborative medium. To create new multidisciplinary art, we need others, and as someone who is obsessed with other people (working with, thinking about, and studying them), I am most drawn to theatrical spaces that nurture the human impulse to generate new work together. For me, theatre is a practice, meant to wake us up. Artaud described it as an awakening of our "nerves and heart," through which we experience, "immediate violent action," that "inspires us with the fiery magnetism of the images and acts upon us like a spiritual therapeutics whose touch can never be forgotten."

Tell us about Danger Signals:Danger Signals is a collaboration between my company Built for Collapse and writer Nina Segal. The show is a multidisciplinary fantasia about monkeys, brains and how we deal with our problems. It’s about women and men and war and how pain is processed in the brain. It’s about arctic ice rifts and trauma and America.

What inspired you to create Danger Signals: About four years ago I read a book about Doctor Walter Freeman, who popularized lobotomies in America back in the 40s and 50s as a ‘cure’ for mental illness. A few months later, I got into a major a car accident, ended up in a coma, and woke four days later strapped to a hospital bed. The doctor told me a drunk driver had slammed into my car at seventy miles per hour and I had been airlifted to the emergency room. The collision caused severe internal bleeding in my brain and major damage to my frontal lobes. In short, I had a traumatic brain injury. “Oh.” I said. “That’s interesting. I’m working on a show about brains.” When asked what recovery was like, I tend to say, “the brain is a mysterious thing.” What I have learned is that the beauty, terror, and drama of a deeply distressing or disturbing experience is often the fuel we need to brave the making of life changing choices. It's scary. It's exciting. It's freeing. I strive to bring people together to create a space of hope and possibility within trauma.

What kind of theater speaks to you? What or who inspires you as an artist?: I often draw inspiration from visual references and am constantly invigorated by absorbing other artists’ ways of working. We begin every rehearsal process by collecting and sharing images with each other in response to the subject matter we are working on. These images inform the narrative and physical life of the piece and as the work develops we integrate sound in the rehearsal room to lend new insight to the world of the play. While the results of our process vary greatly depending the content we are working with, it is always highly emotional and expressionistic in style. Other artists who constantly inspire me include writer Virginia Woolf, choreographer Pina Bausch, and Doug Wheeler, pioneer of the “Light and Space” movement that flourished in California back in the 60s and 70s. I’m drawn to how each of these artists wrestles with memory, perception, abstraction and love.

If you could work with anyone you’ve yet to work with, who would it be?: Andrew Schneider. He’s a friend, so I hope he reads this, and then I hope he is inspired to help me make this happen.

What show have you recommended to your friends?:Doll’s House Part 2

Who would play you in a movie about yourself and what would it be called?: Probably a duck, a really friendly and fierce and emotionally unstable duck. It’d be called: "I’ll Put My Pants on When It Gets Dangerous"… that bit is a long story involving a full moon and a waterfall.

If you could go back in time and see any play or musical you missed, what would it be?: The original Broadway production of Cabaret. It’s a little surprising to say out loud, but ya, honestly, that’s the one.

What’s your biggest guilty pleasure?: Oh man I’ve seen Bridget Jones’ Diary over a hundred times. I imagine most things involving Hugh Grant are guilty pleasures.

If you weren’t working in theater, you would be _____?: An astronaut. That’s what everyone says, right?

What’s up next?: We are Archive Residents at the New Ohio Theatre (a 2 year residency in collaboration with IRT), and the Ice Factory is the first step towards our full premiere of Danger Signals in Spring 2018! On that note, we desire post-show audience feedback. Your brain thoughts are going to be very important for our future brain show! I intend to go out every night after the show to a bar down the street, to hang with audience members and write down feedback in my fancy notebook.

For more on Danger Signals, visit built4collapse.org

By Michael Block

At first glance, you might think Paige Turner is going to give you a sugary sweet night of entertainment. But don't judge this book by its cover. Her sweet facade quickly gives way to twisted hilarity. "Mushroom Head." Need I say more? With an encore engagement of her acclaimed Confessions of an Un-Natural Blonde, Paige Turner sings and shares stories of her not so PC life.

photo by Michael Block

A dominant fixture in New York nightlife, Paige Turner is the epitome of showbiz. In Confessions of an Un-Natural Blonde, Paige takes her adoring fans on a whacky journey through her life as she makes her way in New York City. Filled to the brim with perversion, Paige keeps her audience roaring, and leaves an occasional jaw on the floor. Showing off her Gluten-free figure decked out in her best Lisa Frank Quinceanera dress, Paige fulfills every colorful fantasy you have. There are some drag performers who simply put on a character, and that’s it. Paige Turner goes beyond that. She creates a complete wonderful world of her own that we are privileged to be a part of. With the assistance of some incredible video features, the show was absolutely elevated beyond compared. If you’re a fan of Mika, Paige’s “Lollipop” bit and accompanying music video was a safe highlight. If you like your humor a little more politically incorrect, see the previously mentioned “Mushroom Head.” I don’t think my jaw has ever dropped faster onto the floor. For fans of the Disney classic “Frozen,” Paige completely defiles one of the tuners in the best way possible. The things seasoned drag queens can get away with! As Paige shares her anecdotes, she throws shady zingers left and right to her friends and acquaintances. But she’s not being mean, she’s just being Paige! And she doesn’t leave the audience out of the fun. Oh no. Many daddies get asked to teach her how to bottom while those who are granted a Sugar Daddy lollipop must answer the age old question, unicorn or pony. From a writing perspective, Paige’s show is streamlined yet packed to the brim with fun. She smartly leaves you wanting more. And lucky for you, you can see her at her various gigs throughout New York City.
If you didn’t get a chance to see Confessions of an Un-Natural Blonde, well, be disappointed. This was likely the last presentation of this show as Paige is creating a new show. In the world of evolving media, Paige Turner has made a case why her brand deserves it’s own web series. It’s easy to compare her to Pee Wee Herman. Just imagine what the world she shared could potentially look like. It’s pretty fabulous. Perhaps that should be the next frontier.

By Michael Block

Rufus did Judy at Carnegie Hall now Blake is doing Barbra at the Laurie Beechman. In a return engagement, Blake McIver pays homage to Barbra Streisand in Blake Sings Barbra. A classic and simply stated evening of music and story, McIver humbly showcases his talents.

photo by Michael Block

Barbra Streisand is an icon to all, especially in the gay community. Best known for her roles on stage and screen, Streisand returned to the live performance world in 1994 with “The Concert.” And that's the basis of Blake McIver's solo cabaret. Bringing tales of his life in the year of the concert, McIver offers parallels to the stories Streisand told as well as bringing everything full circle to today. A beautiful homage presented by a super fan, Blake Sings Barbra is more than just a tribute to “the greatest star.” McIver brings a unique spin to many of the standards yet maintains integrity. There’s a humbleness to McIver’s performance, especially as her talks of his idol. It’s delicate, yet confident. Even when he jokes about having AOSD, or acute obsessive Streisand disorder, there’s a bashful charm about him. As he dives into some more personal anecdotes, he’s able to pull from within to give an emotionally riveting performance. Blake Sings Barbra is more than a beat by beat recount of the concert. It's evident he's done his homework when he unleashes a trio with Barbra and, well, Barbra. Director Mary Lane Haskell guides McIver on a well-rounded journey through song and patter, helping the evening move in a streamlined manner. Incorporating video from the concert into the show, those few audience members who may not have worn out their VHS copies can feel as if they know the inside jokes. Even if you didn’t know the setlist from the original concert, McIver walks you through why each song was included and how Streisand related to each number.
McIver has nestled himself into the world of Barbra Streisand to provide a beautiful product. Many artists have done their own tributes to Babs but there’s something distinctively special about Blake Sings Barbra. Thankfully the show will return once again to New York later to this fall.

Name: Brad Baron

Hometown: Glen Rock, NJ

Education: Princeton University, AB in English with Certificates in Music and Theater. Louisiana State University, MM in Music (Vocal Performance)

Select Credits: Kiss Me, Kate (Fred Graham), Brigadoon (Jeff), Sweeney Todd. Lots of Gilbert and Sullivan including The Pirate King in The Pirates of Penzance in productions across the country (so far Baton Rouge, Cape Cod, Memphis, and back home in New Jersey). I've had one acts and short plays produced in festivals and theaters around the country too, including at the La Strada Ensemble Theater, the Ringwald Theatre, and various 1-Minute Play Festivals

Why theater?: Why not? But truthfully, I don't know what I'd do without it. Plus nowadays I think it's one of the few modes of entertainment left where people come together and experience something at the same time. You go on a journey with friends and total strangers; you'll probably never see them again. But you shared something. I love Netflix just as much as everyone else, but there's nothing like the communal experience that theater demands.

Who do you play in Last Ditch Playlist?: I play Aaron, who is based on a very specific version of myself circa 2012 - 2013.

Tell us about Last Ditch Playlist: Last Ditch Playlist began as a cathartic exercise for me when getting over my first breakup. I spent months writing the first draft pretty much nonstop. That was about four or five years ago. It's been cool to put distance between myself and the events dramatized in the play, because I don't think it really started to work until I could see it objectively. So the play is a very personal and specific journey. But I hope the specificity and detail in which this relationship is described is what ultimately makes it relatable in a broader sense. I just want it to be honest.

What is it like being a part of Last Ditch Playlist?: I find it really natural and invigorating, which is actually a big surprise for me. This is my first time acting in something I wrote. I used to distance myself from doing that on principle, wanting to leave it to other actors and directors to unearth things in my writing that I never considered. I actually never had the intention of acting in Last Ditch Playlist until my on-stage boyfriend (Ross McCorkell) put the idea in my head. It was a risk, but I'm very excited by the results. Ultimately, I think giving myself permission to act in my play has helped me to understand it better.

What kind of theater speaks to you? What or who inspires you as an artist?: If I'm being completely honest, I'm pretty obsessed with Natasha, Pierre, and the Great Comet of 1812. I think there are a lot of great new musicals that have made their way to Broadway in the last few years, but this one takes the cake for me. I mentioned how I liked being a part of a community of theatergoers earlier, and I love that The Great Comet forces you to acknowledge the audience all around you. I definitely enjoy measuring the reactions of audience members around me when I see a piece of theater. Our setup for Last Ditch Playlist also allows for some of that. Beyond that, I love how The Great Comet makes a cohesive whole out of elements that shouldn't otherwise fit together. Also considering my opera upbringing, I enjoy The Great Comet (and other sung-thru musicals like Hamilton) that, in my opinion, do new opera better than actual new operas.

Any roles you’re dying to play?: I've done it before, but I will seize any opportunity to do Don Quixote in Man of La Mancha again. I also want to be a part of more queer theater. One day, Angels in America would be cool. Otherwise, I really do think I want to keep writing for myself moving forward.

What’s your favorite showtune?: Do I have to pick?? Hmm. Well, I tend to really like the women's numbers more. A current favorite is "No One Else" from The Great Comet. I like "Take a Break" a lot from Hamilton for whatever reason. Stalwart favorites include "Losing My Mind,""It's All the Same" (Man of La Mancha), anything by Rodgers and Hammerstein or Lerner and Loewe, or Kurt Weill. Ugh, see, I can't pick!

If you could work with anyone you’ve yet to work with, who would it be?: Madeline Kahn. Unfortunately, I think I missed the boat there. Otherwise, dream colleagues include Kelli O'Hara, Jinkx Monsoon, Phillipa Soo, Michael Urie, and Steven Pasquale.

Who would play you in a movie about yourself and what would it be called?: Actually, I think Last Ditch Playlist could make a good movie. Dare I say Michael Urie again?

If you could go back in time and see any play or musical you missed, what would it be?: WOOF. That's tough. The original productions of Man of La Mancha, Angels in America, and a live taping of "The Carol Burnett Show."

What show have you recommended to your friends?:The Great Comet and I used to be a big proponent of August: Osage County back when it was playing.

What’s your biggest guilty pleasure?: Video Games. Hands down.

What’s up next?: After we conclude our NYC run of Last Ditch Playlist, we head to Philly for the FringeArts Festival! We're doing Last Ditch Playlist at Performance Garage (1515 Brandywine Street, Philadelphia, PA 19130) for three performances on September 12, 13, and 15!

For more on Last Ditch Playlist, visit www.lastditchplaylist.com

By Michael Block

Barbara Eden is best known for her iconic role as Jeannie, the 2,000-year-old genie, on the hit 60s sitcom “I Dream of Jeannie.” It was a simpler time of punny titles and names. If you’ve been stuck in a bottle yourself, the premise of the show followed the antics and romances of Jeannie and her newfound “master.” This is the jumping off point for I Dream of Jackie, Jackie Cox’s debut solo show at the Laurie Beechman. Jackie becomes her own master as she finds herself out of her bottle and gets to grant herself three wishes.

photo by Michael Block

Using “I Dream of Jeannie” as inspiration, I Dream of Jackie follows Jackie Cox as she gets out of her bottle and into the fabulous real world. With a conglomeration of music including that obvious song about a genie in a bottle by Christina Aguilera and parodies ranging from “Aladdin” songs to “I Speak Six Languages,” Jackie’s whirlwind adventure is a cohesive camp cabaret that leaves you wanting more. And luckily, there’s a sequel in the works. Traveling alongside her back-up boy toys, Blake McIver, playing the sensible one, and Drew Bloom, playing the dimwitted eye candy, Jackie sings and dances her way through this Arabian night. Jackie infuses bright and bubbly into every beat of the show. The text is comical candy. It’s smartly written and could easily be expanded. Though some of the jokes can be seen miles away, they’re nailed to perfection. To cover costume changes, the show incorporated some video but when you have singing secondary characters, giving them “Secondary Characters” to wail on was a brilliant choice. Generally, drag is an art form meant for pure entertainment. Laughs are inevitable. But sometimes when reflection on the world is necessarily, using drag as a platform can be powerful. Jackie incorporated such a moment with a repurposed number from Joseph and the Amazing Technicolor Dreamcoat accompanied by a look at the current refugee crisis. And it was simply beautiful. To accomplish such a feat in this setting takes immense skill. Jackie and director Blake McIver accomplished it with ease. The piece flowed seamlessly against the lantern backdrop.
Jackie Cox was the secondary character for Paige Turner recently at the Beechman but she triumphantly shined in the starring role. I Dream of Jackie fulfilled more than her three wishes.

By Michael Block

Writing is a cathartic way to let go of heartbreak. Believe me, this writer is no stranger to the practice. In Brad Baron's Last Ditch Playlist, the memories that rattle in the mind are projected onto the stage as the romance of a young couple is recounted. An interesting look at the rise and fall of a relationship, Last Ditch Playlist sings a common tune.
Told through a mostly nonlinear story structure, Last Ditch Playlist follows the range of love between Aaron, a hopeless romantic, and Wes, an intellect seeker, as they navigate their relationship through the huddles of intimacy and distance. Told through Aaron's eyes, he tries everything he can to hold onto something that may actually be nothing. Written by Brad Baron, Last Ditch Playlist takes a common theme yet explores it in a unique approach. Rather then playing sequentially, Baron plays with time. Doing so illuminates the relationship and the structure greatly. With time loosely free, Baron has room to play with structure and streamline repetition out of the story. Firstly, Last Ditch Playlist takes on a heightened theatricality but when it moves linearly near the end, it falls into a different genre. When the angst feels closer to a CW melodrama, the plays loses steam. Baron includes a sense of closure for the relationship. There’s a mutual coming to terms. It’s a cathartic ending that seemed to work best for the writer but not necessarily the piece as a whole. As it stands now, the story is wrapped up beautifully with a bow. We jump ahead in time and see the aftermath of Wes and Aaron’s parting. But do we really want to? Yes, there is a scene or two that offers some important character information but with the nonlinear structure, Baron can easily jumble the puzzle pieces and throw them in somewhere else. If that should happen, Baron has two potentially gorgeously ambiguous endings that resonated beyond belief. The reality is we likely know the result, but keeping the audience wondering as they leave the theater? It leaves them wanting more. Having the room to continue to explore and play with the puzzle will certainly help with the arc of the story. Baron has the death of his hometown friend as a key cog into Aaron’s inability to truly trust and get close to a person. It may be useful to track her presence and other amplify it or eliminate her as a character as it comes across as a superfluous blindside. The information is important, the physical character may not be.

photo by Joseph Prestamo

Rather than make Last Ditch Playlist a big production, the piece was staged so the words would take precedence. There were no thrills or frills attached. Directed by Baron and alongside a tag team of names, Last Ditch Playlist had an experimental essence about it, similar to how Cock was original staged. For a piece about intimacy, it lacked the direct intimacy it desired. With two sides of seating, Baron and co had a long alleyway of playing space. Wes and Aaron spend much of their time as a long distance pair, so finding a way to make the distance intimate was quite difficult. There was something unnatural about how they spoke on the phone to one another. But that may also be due to the inconsistency of prop usage throughout the play. The video design by Joseph Prestamo was quite striking. It was another aide that helped heighten the play. One of the strongest moments of the entire show was watching Wes dance on the rooftop in video and then match Casey Bagnall’s exquisite choreography live on stage.
Playing a bit of an extension of himself, Brad Baron as Aaron was our way into the world. Aaron’s emotion from scene to scene was a bit stagnant but when he was at the extremes, puppy love and on the brink of a breakup, Baron was at his best. Taking on the emotionally distracted and intellectually hungry Wes, Ross McCorkell brought a magnetism and allure that was a dominating force in the show. McCorkell gave Wes a slight entitlement as he dangled love and hope over Aaron in a slightly emotionally abusive manner. There was a slight lack of chemistry between Aaron and Wes, but that may be the moral of the story.
Brad Baron wore a plethora of hats for Last Ditch Playlist. Taking one or two off may be beneficial as Last Ditch Playlist moves forward. And it is a play that will move forward. Baron has written something filled to the brim with great potential. With a little more massaging, Last Ditch Playlist could be a universally revered relationship play.

By Michael Block

Raja has a solo show? What is it going to be! That may have been the collective question when the RuPaul's Drag Race season 3 winner announced her solo debut. She even had her famous friends take a brief good luck to start the show. Some still questioned the move. But to those celebs who may not have seen it, Raja defied the odds to compile a great night of entertainment in Gawdess.

photo by Michael Block

Making her Laurie Beechman and solo cabaret debut, Raja gave the audience everything they could ask for, and then some. Beginning with a medley of some pop and rock classics, Raja stuns in gold, with a reveal that leaves the audience eager for more. Never has anyone turned the Laurie Beechman into their own personal runway. Raja has an incredible stage presence. There's an exuberance of confidence and wisdom that she brings out. From there, it's a night of lip sync, story, and fashion. For a first crack at a solo show, Raja does a great job included all the pieces it needs. Moving forward, incorporating more of a structured through line where each moment connects will make the piece more cohesive rather than the segmented work it is now. Giving a theme to the night could easily help, especially when you have so much material in your wheelhouse. I’m certain Raja could easily create a half dozen new shows with the journeys through her life and career. Vocally, Raja went with music that was comfortable, yet kept the night alive with the high-pulse numbers. Her lip syncs were captivating as she seduced the audience in her own version of a little black dress. As proof with her Youtube hit show “Fashion Photo Ruview,” Raja’s ability to talk to an audience on mic is sensational.
Gawdess is a fantastic solo debut for Raja. The Drag Race superstar exceeds expectation for a full night of entertainment. After a run in Provincetown, she’ll return once again to the Laurie Beechman during Drag Race weekend.

The Ultimate Drag Pageant is about to conclude an incredible season with a grand finale on Wednesday, September 6th at 11:00pm at The West End. Showcasing some of New York's newest batch of drag talent, five fierce competitors are about to do battle to snatch the season 4 crown as well as a monthly gig at the host venue. Hosted by Marti Gould Cummings and Nedra Bella, The Ultimate Drag Pageant finale will feature Bijoux, Didi Cumswell, Haireola Grande, Poppy, and Vanna Deux. Before they wow you at The West End, get to know a little about the girls!

MEET THE QUEENS

Bijoux

What is the best thing about being a part of the Ultimate Drag Pageant?: The best thing about being in the Ultimate Drag Pageant this season has been the personal growth that’s come out of it. Being fairly new to drag and entering an 8-week long competition is not easy, and it really forces you to work your ass off. Luckily there has been a surplus of talent surrounding me, and I’ve learned so many things, not just from the hosts and guest judges, but also from the other 7 girls who entered. This season has created some extremely tight-knit bonds, and I can’t wait for us all to work together in the very near future.

What was your favorite performance of the first 7 weeks?: I would have to say that my favorite number to perform was actually my first number. The confidence/performance level wasn’t as polished as it is now, but I’m really excited to revamp it and bring it back to new audiences. I danced, I lip-synced, and I was fairly naked with a French theme, so it feels like a very accurate representation of what I love to do.

What can we expect from you in the finale?: For the finale, I’m headed back to my roots. I’ve definitely shown that I can dance, and that I’m a fun, sexy, energetic queen, and now I want to really show the technique that I have. I didn’t get that dance degree for nothing!

@bijoux.xo

Didi Cumswell

What is the best thing about being a part of the Ultimate Drag Pageant?:The best thing about being a part the Ultimate Drag Pageant has certainly been the connections. I have met so many talented people through the competition and have made lasting friendships with these girls. These new connections all offer diverse insights into drag and performing. It's been a wonderful, enriching experience and I couldn't have asked for a better group of girls to perform with.

What was your favorite performance of the first 7 weeks?: My favorite performance of the first seven weeks has to be my Serial Mom mix that I did for 90's week. I was given a note the week prior that I could go even farther with my actions and be even more extreme, fully commit. In doing the Serial Mom mix I was able to take that note immediately and really delve into performing at an even more heightened level and it was (personally) a great performance because I fully committed to the actions, and I didn't let myself get in my way. I let go of everything and had fun.

What can we expect from you in the finale?: You can expect Didi to be true to herself in the finale. She's gonna come in strong with Golden Age Hollywood. She will be serving period inspired looks that she constructed herself (with the help of her historically accurate boyfriend). You will be entertained!!!

@didicumswell

Haireola Grande

What is the best thing about being a part of the Ultimate Drag Pageant?: The best thing about being involved with the Ultimate Drag Pageant other than gaining some amazing new sisters would most certainly be pushing myself creatively! I have always thought of myself as a creative individual but it was not until this pageant that I pushed the envelope.

What was your favorite performance of the first 7 weeks?:My favorite performance thus far from the first 7 weeks was by far week 3, cartoon week! I had my mother in the audience and it was the first time I created my own mix and had a reveal!

What can we expect from you in the finale?:In the upcoming finale you can expect to see what I've been giving week to week. Super tight lip synchs with an irreverent and comedic edge!

@shitsngreggles

Poppy

What has been the best part about being a part of the Ultimate Drag Pageant?:Learning from the other contestants and judges each week.

What was your favorite performance of the first 7 weeks?:My Black Swan number, where I bled and ripped my skin off.

What can we expect from you in the finale?: Malicious gay faggotry

@thecolorpoppy

Vanna Deux

What has been the best thing about being a part of the Ultimate Drag Pageant?:Getting the opportunity to showcase my creativity. I'm an actor, stylist, musician, and singer and this competition has given me the platform to showcase all that and then some.

What was your favorite performance of the first 7 weeks?: That's tough - I loved my Janet Jackson megamix from 90's week, but I think I'd have to ultimately go with my winning Hedwig mix from Broadway week. I also got to do something really special for week 7, which was play and sing a song that I didn't get the chance to perform at my dear friend's memorial service. I passed around a bucket to raise money for the Jimmy Fund - the organization that helped care for Bryan. I ended up making about $100 in one 4-minute song and that felt pretty cool.

What can we expect from you in the finale?:You can expect Vanna's signature showstopping buffoonery. Tricks, stunts, gaggery. And you know she always slaughters the runway.

#DoTheDeux
@kylevanzandt

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.

Names: Cailín Heffernan

Hometowns: Galveston, Texas; NYC

Education: O’Connell College Preparatory School, Texas Christian University (Ballet Performance B.A., minors in Theatre and Literature - just short of a minor in World History) HB, T. Schreiber went back to the New American Theatre School and HB for directing, following up with 5 years at the Writers/Directors Unit at Actors Studio

Favorite Credits:Venus Observed and The Real Thing with Boomerang; my adaptation of All for Love with Boomerang, Monte Cristo at Urban Stages with New Light Theatre Project; all my Shakespeares - Twelfth Night, Julius Caesar, Merchant of Venice, A Midsummer Night’s Dream, Love’s Labour’s Lost and Cymbeline and this past winter’s archival filming of Rose Leiman Goldemberg’s Letters Home with Kathleen Chalfant and Rachel Botchan at Lincoln Center’s Bruno Walter Auditorium. I am also proud of three O’Neill’s, a Williams and a Miller - my American canon.

Why theater?: It’s where I can do everything - dance, act, move, speak, sing, create worlds - sometimes using unusual devices such as contemporary Kabuki, Delsarte, Dalcroze, live foley, instrumentation, mime…. I am constantly thinking “what next?” and ponder who and what can I create then.

Tell us about Loveless Texas: It’s a story, at its heart, of two brothers who are driven apart. They each express their dissatisfaction with life in two ways - one through repression, manipulation and cold control; the second through unedited hedonism, desperate running away and then terrified capitulation. Only after they heal themselves and their bond, can they free themselves up for love, friendship and communal solidarity.

What inspired you to write and perform in it: I was intrigued as Love’s Labour’s Lost is an unresolved play and felt I could use some of the ideas contained in it as a springboard.

What kind of theater speaks to you? What or who inspires you as an artist?: I attend a lot of world events - Taiko Drums, Greek Dance and Theatre, Kabuki, Music Concerts, National Theatre of Scotland, National Theatre Live presentations… a peek into how the world views itself. I am obsessed with culture, communication and story telling. I am inspired by clarity, insightfulness, inventiveness and beauty as well as Phyllida Lloyd, Joss Whedon, Marianne Elliot, Trevor Nunn, Julie Taymor, Enda Walsh, Graciela Daniele, Tom Stoppard, Suzan Lori-Parks, Jez Butterworth and Lynn Nottage.

If you could work with anyone you’ve yet to work with, who would it be?: Oh, so many brilliant actors…. I’d love the chance to work with Frank Dillane, James Callis, Mark Rylance, John Glover, Victor Garber, Francois Arnaud, Mary Louise Parker, Viola Davis, Jessica Chastain, Samira Wiley, Priyanka Chopra and the singer Kostas Martakis, oh and Trevor Noah and Christian Camargo - that’s just a beginning.

What show have you recommended to your friends?: That would be plural… The Great Comet was amazing. Wolf Hall - parts 1 and 2. Black Watch from the National Theatre of Scotland. Kneehigh’s 946: The Amazing Story of Adolphus Tips. War Horse. And a small play from Smock Alley in Dublin called The Life and Sort of Death of Eric Argyle by Ross Dungin. I also highly recommended Trevor Nunn’s all-American cast of Pericles at Theatre for A New Audience a season or two ago with the remarkable Christian Camargo.

Who would play you in a movie about yourself and what would it be called?: Now that’s a perverse thought. I think I would refuse any participation in such a doomed project. : ) But I’d like to have Canadian actor Steve Bacic play me. I’d carry a lot more gravitas and brawn that way.

If you could go back in time and see any play or musical you missed, what would it be?: I am so happy that I did not miss Coram Boy by Helen Edmundson. I am bereft that I missed Nicholas Nickleby with Roger Rees and John Lynch. Also, the original Miss Saigon and the original Pacific Overtures. But I have seen so much of the remarkable that I can’t kick.

What’s your biggest guilty pleasure?: Ah, the television I watch - I do no art on television…. it’s all zombies, dragons, vampires, witches and monsters. I have also watched Supernatural since its first season.

If you weren’t working in theater, you would be _____?: Writing more, I am at heart a story teller and love to live in my head.

What’s up next?: I am directing the next developmental step in a gorgeous 4-hander by the talented Traci Godfrey called Sweet Texas Reckoning in December. I directed an industry presentation last December with Robert Cuccioli, Rita Gardner, Michelle Hurd and Carolyn McCormick. It was a blast. Then I am down for a couple of months of dedicated writing and traveling before directing again. It’s a good life.

Name: James Godwin

Hometown: Dallas, PA

Education: BFA fine arts Columbus College of Art and Design.

Favorite Credits: I sell the dead, stake land, Big Big World Chappell's show. David Bowie's unseen video.

Why theater?: Theater is our most primal experience. It only lives once. No rewind. No delete. No undo.

Tell us about The Flatiron Hex: Inspired by speculative fiction and neo-noir, The Flatiron Hex is a peek inside a parallel world infected with intelligent viruses and paranoia. Set in NYORG, a city in the middle of a swamp, and told through puppets, The Flatiron Hex is the story of Wylie Walker, a contract shaman, who uses his unusual talents to troubleshoot and maintain NYORG’s interweb biotechnology.

What inspired you to write The Flatiron Hex?: I was inspired by the faculty of of the Eugene O'Neill Theater Center, and the singular experience that can be found there. I was also insipired by the events following hurricane Sandy and the mythic as well as political implications of the flood.

What kind of theater speaks to you? What or who inspires you as an artist?:The Encounter blew me away. I am a forever fan of Bill Irwin, Mimi Goese, Dancenoise.

If you could work with anyone you’ve yet to work with, who would it be?: Irwin, Goese, Dancenoise, and Neil Patrick Harris.

What show have you recommended to your friends?:The Flatiron Hex

Who would play you in a movie about yourself and what would it be called?: I would play myself in a documentary about The Flatiron Hex.

If you could go back in time and see any play or musical you missed, what would it be?: Fosse's Chicago invited dress rehearsal.

What’s your biggest guilty pleasure?: Guilt is a social norm. Okay, "Law and Order".

If you weren’t working in theater, you would be _____?: Plastic Surgeon. Go-go dancer. Fitness personality.

What’s up next?: More The Flatiron Hex.

For more on The Flatiron Hex, visit www.theflatironhex.com

By Michael Block

It's pretty safe to say that every child at one point dreamed of being a superhero. Whether your allegiance was to the D.C. or Marvel universe, the characters from the page and screen have played a huge part in our pop culture iconography. Soaring into the Laurie Beechman, four of New York's fiercest drag superstars fulfill every comic geek's fantasies in Sickening Superheroes.

photo by Michael Block

Ripped from the comics, the queens of Sickening Superheroes pack a one-two punch with on-point looks and near perfect performances as they pay homage to some of our favorite characters. Starring Bootsie Lefaris, Brenda Dharling, Brita Filter, and Holly Dae, the quartet slay the house down, bringing their individual super powers. An extension of the Distorted series of shows, this show is a geek's fantasy. But similarly to the others, the show is formulaic. The night begins with an exceptional group number and then leads into solo after solo after solo, desperately seeking a surprise. There is a slight reprieve with a mid-show trivia game led by Bootsie. Despite the structure, the show defines just why these four are heroic fixtures in New York nightlife. They know how to entertain with the greatest of ease. Each of their looks were recognizable, yet unique to the performer, even if cosplay took over. They each brought smart mixes that went beyond just clips of their respective characters' dialogue. It had the crowd gagging. For the most part, they took elements of their designated characters and went full force with the theme. How could you not have a weather themed Storm mix or end Jubilee's number with Katy Perry's "Firework?" But not every routine included the obvious, and that was ok too. There was no cameo from the Coasters in the Poison Ivy mix and Harley Quinn went old school rather than the newly minted and iconic Margot Robbie look. Jokingly admitting that the walls were adorned with superhero paraphernalia from Party City, the slight addition was a welcome way to help transform the cabaret space. A few push pins is just what they need.
Drag fans who cross into comic book geekdom should race over to see Sickening Superheroes. If you just have an appreciation for drag, come for the performances. For a soft opening, these cartoon heroes and villains rose to the occasion.

Name: Megan Reilly

Hometown: Princeton, NJ

Education: I studied musical theater at the Tisch School of the Arts at NYU and received my BFA.

Select Credits: I spent this past August at the Edinburgh Fringe Festival with Baby Wants Candy performing their signature, improvised musical show as well as a written, parody musical called Thrones! The Musical in which I played the role of Daenerys Targaryen.

Why theater?: I have always been drawn to making people happy whether that be through a kind gesture or a ridiculous joke. Comedy, in particular, gives me the ability to spread joy in a way that speaks deeply to my soul. I also love knowing that I have the ability to empower other women to be funny. Women are funny! Women are fierce! We should all be building each other up. Dreams can come true, you just have to freaking go for it.

Who do you play in ANYBODY: An Improvised Historical Hip-Hopera?: Since every show is different and we have no idea what the show will be until we are doing it, there are no real "roles" in Anybody. I am one of the improvisers and take on whatever role, or roles, I find essential to the narrative we are telling when we are finally telling it.

Tell us about ANYBODY: An Improvised Historical Hip-Hopera: Believe it or not, everything about this show is created entirely on the spot. The rapping, the dialogue, the dancing and the music. We begin the show by getting the suggestion of a historical figure or icon from the audience and then we perform an hour long, narrative hip-hopera about that individuals life. I love this show because we do whatever we can to honor the time period that this person lived in. We also get as much accurate information about their life as possible to tell a genuine, honest, grounded story with our wild and wonderful North Coast flare. Have you ever heard of that little old Broadway blockbuster called Hamilton? Well, this is basically like an improvised version of that show but the historical figure changes night after night.

What is it like being a part of ANYBODY: An Improvised Historical Hip-Hopera?: I do not think I have ever connected with anything as deeply as I connect to this show. Well, maybe burritos but when it comes to artistic expression this show takes me on a journey to places within my heart and mind I didn't even know were there. Jody Shelton, our director, pushes us as a cast to dig deeper emotionally, musically and mindfully. This is the kind of show that has you in side-splitting laughter one minute and then on the verge of tears the very next. It is playful, it is silly, it is heartfelt, it is honest. This show takes the magic of theater to a whole, new level since everything we create has never been done before and will never be done again. I am so freaking proud to be a part of this cast. I believe in this show so much and it is a privilege to be able to bring it to life.

What kind of theater speaks to you? What or who inspires you as an artist?: I have been in love with musical theater for as long as I can remember. I grew up in New Jersey and every Christmas my parents would bring my sister and I into New York City to see a Broadway musical. This trip was always the highlight of the holidays for me since it set me on the path that has gotten me to where I am now. I honestly don't think there is anything quite like an overture starting in a Broadway house. I cry every, single time! I am also obsessed with rap music. It inspires the heck out of me and nothing makes me happier. I love the unapologetic swag and I try to bring that into my life and my own art.

Any roles you’re dying to play?: I know I should have an answer to this question but honestly I am just dying to be someone who can eat a bacon, egg and cheese bagel every, single morning without it plumping me up.

What’s your favorite show tune?: This is totally cliche but "On My Own" from Les Mis is a song that made me fall in love with singing.

If you could work with anyone you’ve yet to work with, who would it be?: I want to collaborate on a track with Drake. I love Drake. Drake is BAE.

Who would play you in a movie about yourself and what would it be called?: The movie would take place later in my life and I would be played by Meryl Streep. It would be a tale of reflection on the reckless and wild youth that once blossomed like hot summer within my soul and my loins. It would be called "Life of the Party."

What show have you recommended to your friends?: One of my favorite musicals of all time is Aida. The music, the story, the romance...hot dayum! I think everyone should see this show. I also think everyone should see the movie Blades of Glory because it is so dumb and funny and Jay-Z and Kanye sample some dialogue from it on one of their songs so like people should get on that train.

What’s the most played song on your iTunes?: What is this iTunes you speak of? Spotify all the way, BB! Just kidding...I am not sure I know what my most played song is but my go to, pump up JAM is HYFR by Drake featuring the one, the only Lil Wayne.

What’s your biggest guilty pleasure?: Ordering a decadent meal on Seamless, eating it in my bed and then immediately ordering another decadent meal on Seamless all the while pretending that the first meal did not happen.

What’s up next?: I am a lucky lady who gets to travel the world making up musicals and spreading joy, so I am up to a lot of that in the coming months. I am also buckling down and working on my alter, rap-ego La Dynasty. Be on the lookout for my debut music video! I hope to get that out to the world before the year ends.

Name: Robin Bady

Hometown: Oakhurst, NJ

Education: Antioch College, New York University Professional Actor Training Program – BFA, New York University, Educational Theater, credits towards MFA

Select Credits: Timpanogos Storytelling Conference and Festival, Clearwater Great Hudson River Revival Festival, Provincetown Playhouse, The Bell House, The Brooklyn Museum of Art, and MothSlam winner. Storytelling tours of Ireland, China, Germany and the United States

Why theater?: After years involved in acting, directing, founding two youth theaters and one adult theater, writing, etc., I discovered storytelling and fell in love with the art form. It is simple and direct, with a immediate connection with the audience and the opportunity to tell the whole story –from all points of view – and still be able to imbue it with one central point of view! Cool! This show is my opportunity to marry together what I love best about each forms – no fourth wall and immediacy (storytelling) and ritualization and heightened performance (theater).

Tell us about Nancy Drewinsky, or, The Search for the Missing Letter: I began working on this piece during the beginning of War in Iraq. The more I read and heard and learned about the rising Islamophobia, my own family’s history of dealing with anti-Semitism during the McCarthy period became relevant. This is the story of what happened to my family during Senator Joseph McCarthy’s 1950’s Communist witch hunt. My dad worked at the Army Signal Corps of Engineers Electronic labs, based at Ft. Monmouth, New Jersey. Suddenly, one day, seemingly out of nowhere, he and 40 other engineers and physicists were accused of being part of a spy ring which stole secrets to pass along to the Soviet Union. All of them, save one, were Jewish. They all lost security clearances. Some were fired. All were humiliated. This show is the story of what happened, and how it affected my family. One thing I did not expect was how emotional this story would be to research. How much shame and fear were uncovered. It took me a long time to get the courage to get past each section, and to finally finish the story. And I am aware that it is still, sadly, relevant today.

What's it like being part of United Solo Festival?: It is one –an honor, two– a thrill to be amongst other lovers of solo art, three– fabulous to be in an international festival and four – EXCITING!

What kind of theater speaks to you? What or who inspires you as an artist?: I love most theater and storytelling. All speak to me, as long as there is honesty embedded within. I love theater with a point of view, with a message, that speaks to my intellect as well as my emotions. I particularly love theater that I keep thinking about weeks after, where something stays with me. Who inspires me? Brecht, Lily Tomlin, Sarah Bernhardt, Elinora Duse, many comedians, many storytellers including Elizabeth Ellis and Dovie Thomason, and any performer who will keep making his/her art no matter what the reviews are!

What’s your favorite showtune?: Anything from Little Me or Little Mary Sunshine

If you could work with anyone you’ve yet to work with, who would it be?: I will work with anyone who is fun, or serious, loves to communicate and wants to play!.

If you could go back in time and see any play or musical you missed, what would it be?: Shakespeare, during his lifetime or Greek comedies or tragedies – in the open amphitheaters. Also, Brecht, directing any one of his shows pre-or post-WW2 and the original Einstein on the Beach.

What show have you recommended to your friends?: Go see storytelling! The Moth, at the Hans Christian Andersen Statue in Central Park, at one of the many festivals around the country and around the world. Any show. Enjoy!

What’s your biggest guilty pleasure?: Detective novels and cop shows!

What’s up next?: Touring Nancy Drewinsky, or, the Search for the Missing Letter. Writing a book of the true ghost stories told to me by people who I have met in my travels.

Name: Henry Aronson

Hometown: Brooklyn NY

Education: Midwood HS (Brooklyn), Columbia University

Favorite Credits: MD (Broadway): Rock of Ages, Rocky Horror Show, Rent

Why theater?: As a performer/conductor I like the precision and teamwork required to make a show run nice and tight, and the excitement of feeling the spontaneous audience response. As a writer, I find a larger world of emotion and expression (and freedom) in writing for characters than I could writing pop-type songs in my own voice.

Tell us about Loveless Texas: I’m very interested in exploring worlds of music I enjoy, which aren’t often heard in the theatre or in the service of dramatic action. The various country and Americana styles I employ here are examples of that.

What inspired you to write and perform in it: My wife-slash-collaborator is a natural self-starter, who keeps me from slipping into my native laziness and inertia. Does that count as inspiration?

What kind of theater speaks to you? What or who inspires you as an artist?: I like theater that makes you feel that you’ve been someplace new and met interesting new people, who in turn shine a light on your own experience, remembered and yet-to-come. I’m inspired by moments of emotion or experience, good or bad, that cry out for expression.

If you could work with anyone you’ve yet to work with, who would it be?: I’ve already worked, directly or tangentially, with some of my major theatre heroes (Hal Prince, Stephen Sondheim, Ralph Burns), so I’m pretty satisfied there. I don’t know: Stevie Wonder? James Taylor? Lyle Lovett? The Beatles? I don’t know if they’re hiring.

What show have you recommended to your friends?: I had strongly recommended the recently closed and much-lamented Natasha and Pierre and the Great Comet, because it breaks boundaries and forms in ways I wouldn’t know how to do; War Horse, because I’m a sucker for animals and puppets and a tear-jerker story. And here I run up against the failures of long-term memory.

Who would play you in a movie about yourself and what would it be called?: Some short Jewish guy, I imagine. I’d hope for one of those very dramatic 40’s type titles like “Golden Melody” or “Song Without End”; or maybe the more straightforward “This Guy Wrote Some Good Songs”.

If you could go back in time and see any play or musical you missed, what would it be?: I regret having missed epic pieces of theatre like Nicholas Nickleby and Coram Boy. I did get to see Wolf Hall, and I finally caught up with Angels In America via the National Theatre Live screening — I hope to get to see the revival when it comes in.

What’s your biggest guilty pleasure?: Too much time wasted on internet window shopping. And the occasional Snickers bar.

If you weren’t working in theater, you would be _____?: Working in children’s books, or at an animal shelter.

What’s up next?: My wife-slash-collaborator has several projects teed up for us (partly involving animals and puppets) that are germinating in her fertile bardic mind. Otherwise, there’s internet window shopping, walking the dog, and sitting on the couch.

By Michael Block

In 1995, the world was introduced to a woman who would forever change history. Known for her intimate affair with the President, Monica Lewinsky was, and still is, a household name. Using her as the centerpiece, Power Over POTUS by Erica Vlahinos is a farcical fantasy rooted in truth where Monica recounts why what happened happened.
Playing the Laurie Beechman Theatre, Power Over POTUS is a parody musical that explores the various mistresses of our Presidents through the lens of the 90s favorite Monica. Written and performed by Erica Vlahinos, Power Over POTUS is a laugh riot. While it's certainly, by design, no Assassins, Vlahinos has infused humor in history to lampoon one of the most infamous news cycles in our history. The plot is simple. The time is now. Monica Lewinsky is doing a live stream tell all. We learn that her actions were all due to a Crystal Pepsi opiate dream. Using parodies of pop hits through the ages, the musical not only showcases Vlahinos' effortless performance but her stellar writing. Some of the songs strike stronger than others, but on the whole, Vlahinos has found a way to an include a spectrum of styles that remain cohesive to her storytelling. The device she uses to launch the other characters into the world is clearly a comic effect that is easily forgivable. While Monica may have been the focus, the piece truly comes to life when MK herself enters the world. It was the biggest character Vlahinos created in the piece. Beyond the ripped-from-the-headlines demeanor,she tapped into the inner Melania. The result was out of this world exciting. The Melania material was Vlahinos’ best, both on page and on stage.

Being a solo artist forces a performer to expose an immense amount of vulnerability. Whether it's a personal story or portraying a character, being the sole entertainer on a stage can be terrifying. If Erica Vlahinos was frightened, you'd have no idea. She eased into the world of parody, bringing her expert skill to the stage. It's safe to say that Erica Vlahinos is an effortless entertainer. Performance comes naturally. Through the aid of director Ben Cameron, Vlahinos is able to hammer home the comedy yet find the beats of humility for the characters, primarily Monica. There is a point late in the show where the room grows silent as Monica gets her sentimental moment and it’s, in contrast to the high-octane humor, quite beautiful. Not every comedian has the prowess to accomplish that. The comedy was expanded with Shane Snider’s video design. Whether it be moving images or the singular picture of the “Friends” apartment, the projections heightened the show ever so slightly. Costume designer Emily White did a mighty fine job not only paying homage to the infamous Monica outfit but gave a new personality to Melania’s “Slovenian Girl” look. The only clashing costume was the teal trimmed cowgirl outfit. Black hat and brown vest, not the most eye-pleasing combo.
Political parody is a tough world. There’s high expectancy as well as a much scrutiny. Sometimes you might even receive a cease and desist from the current President. No matter what, Erica Vlahinos is a well on her way to fame and Power Over POTUS proves why. Just hope her Melania show makes it to the stage. It will be a must see for sure.

Name: Walker Vreeland

Hometown: Baltimore, MD

Education: BFA from Tisch School of the Arts at NYU, Walnut Hill School for the Arts.

Select Credits: As a radio personality, best known for having hosted The Afternoon Show on Long Island’s 102.5 WBAZ-FM. Annually voted Best Personality in the Hamptons from 2013-2016. NY Theater: Erostratus, Just So Stories (Theaterworks USA), Our Life & Times (MAC and Bistro Award winner). Workshops: Little Women (with Deborah Gibson & Elaine Stritch). Regional: From Ship to Shape (Bay Street Theater), Arthur’s Christmas (The Vineyard Playhouse). Touring: Just So Stories, A Christmas Carol. Featured on MTV, VH1, and his films include: Sex Farce and Thinking Out Loud.

Why theater?: Because I can't stay away. And I've tried.

Who do you play in From Ship To Shape?: I play myself.

Tell us about From Ship To Shape: From Ship To Shape is an autobiographical monologue about a breakdown I had in my mid-twenties. In 2003 I took a job as a singer on a cruise ship but I could never have imagined the voyage that lay ahead. Boarding the Bermuda-bound ship would be the beginning of a mental breakdown so severe, I would wake up months later in 1 of the 101 beds at Johns Hopkins Hospital's Mood Disorder Psychiatric Ward. From Ship To Shape is a tragicomic account of struggling with mental illness in today’s world. It's about losing your mind while chasing your dreams, the journey in pursuit of healing, and how a cruise ship can push you over the edge.

What is it like being a part of From Ship To Shape?: It's been a very unique experience. Acting your own words and your own life is more challenging than you might think. It's such a deeply personal story and because I'm so close to the material and the lived experience, there are blind spots. One of my big challenges has been understanding what it is I've actually written. That may sound counterintuitive but it just goes to show how different the writing process is to the acting process. So much of writing is unconscious- it just pours out of you- and then you go back and, draft after draft, you craft it so that the story structure is as seamless as possible. But as an actor, obviously I need to be 100% conscious of what this story is about, what my relationship is to everything I say and how each act and sequence serves the monologue as a whole. There were some things I wrote about that I was completely unaware of until I started working with a good director. One thing my director Milton Justice has had to say to me multiple time in rehearsal is: "Ok Walker, so what the writer is doing here is..." It's been an adventure.

What kind of theater speaks to you? What or who inspires you as an artist?: I love great storytelling. Whether it's a play, musical, experimental piece or solo show, if the writing is solid, and the characters are people I can care about (i.e. see myself in), I'm engaged. I've always been a huge fan of Spalding Gray, the late monologist who more or less originated the genre of the autobiographical monologue. He was my primary inspiration when I sat down and tried to create a monologue out of disparate journal entries. Since his death, I've had the privilege of getting to know his widow Kathie Russo. Our paths crossed while we were both working in radio and she's become a friend and huge supporter of my work which means a lot to me.

Any roles you’re dying to play?: Right now I'm thinking about these: Flan in Six Degrees of Separation, Bruce Bechdel in Fun Home, Captain Walker in Tommy, Irwin in The History Boys, Mendy in The Lisbon Traviata, Gary in Veep: the musical. (No, HBO's Veep isn't a musical yet but can you imagine? I'm not going to write it so for God's sake, someone write it!!!)

What’s your favorite showtune?:"No One is Alone" from Into the Woods.

If you could work with anyone you’ve yet to work with, who would it be?: Frances McDormand or Holly Hunter. Because they’re both examples of actors who have the skill and stamina to do film, television and theater. Because they are devoted to the craft, are completed disinterested in celebrity and have really healthy boundaries when it comes to the press. They have such respectable careers because for them, it’s all about the work. Nothing else.

Who would play you in a movie about yourself and what would it be called?: Haha. That's funny. It would be the film adaptation of my play From Ship To Shape. If I couldn't play me I suppose Quvenzhané Wallis could handle it. As long as she doesn't act like an asshole on set. (Just kidding about Quvenzhané Wallis. Miles Teller could play me, as long as he doesn't act like an asshole on set.)

If you could go back in time and see any play or musical you missed, what would it be?: Dustin Hoffman in Death of a Salesman. (Or Liza in Liza with a Z.) These are hard decisions.

What show have you recommended to your friends?: I’m recommending that my friends get the DVD of Imelda Staunton in Gypsy. Holy *%@#.

What’s your biggest guilty pleasure?: I feel guilty about nothing. Not pizza too late at night or Law and Order: SVU or being gay and obsessed with Liza Minnelli or that prison show on MSNBC. Life's too short and precious to feel guilt about what you like and love. Okay fine: my guilty pleasure is all the wasted time I spend on stupid social media, which is disguised as a pleasure but it really just numbs the mind and turns us into hungry ghosts: never getting enough, but never truly satisfied. I think it’s alright to feel some guilt about wasted time on a screen.

What’s up next?: Next is the New York premiere of my solo show From Ship to Shape! After which I hope it returns to NY for a longer engagement and then goes on tour.

For more on From Ship to Shape, visit http://www.fromshiptoshape.com

By Michael Block

Trixie Mattel is back and better than ever. And you'd think that would be hard to do. Returning to the Laurie Beechman, Trixie brings her giant bag of tricks in Now With Moving Parts. Pulling out standup, live music, video segments, and even some signature lip syncs, Now With Moving Parts is the complete package.

photo by Michael Block

After getting her feet wet in Ages 3 and Up, Trixie Mattel offers a night of everything she does best in Now With Moving Parts. Rooted in stand up, Now With Moving Parts is a uproarious evening of comedy that captures the essence of Trixie Mattel. Even if some of the material was lifted from a certain hit YouTube show, her ability to make her jokes seem fresh and newly repurposed allowed the energy to be maintained. Some comedians jump from joke to joke without purpose. Trixie is not one of those comedians. The way she seamlessly transitions from beat to beat is fluid, even when layering in music and lip syncs. Not every joke will land. That’s just how comedy works. Trixie’s ability to take the failed bit and mock it in the most glorious of fashion almost makes you wish it would happen more. Sometimes the jokes that don’t land have the funniest pay out. For those familiar with her recent country album “Two Birds,” you’re not going to get a concert of those songs. But you will get some musical moments, including her ability to white-ify anything. Our show featured a folk cover of a RuPaul classic, which was an instant fan favorite moment. Starting with an intro and subsequent interludes, the addition of the video shorts enhanced the evening. While they felt more like standalone features, they were amusing nonetheless.
If the rumors are true and Trixie Mattel is in fact on the next season of RuPaul’s Drag Race All-Stars, Now With Moving Parts defines just way she deserves the crown. Trixie Mattel can do it all. Especially leave you waiting for the next show. Here’s hoping she rounds out the trilogy soon!

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