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Block Talk- Episode 32: Chandy Bennett, Michael Joel, and Kaitlin Overton

February 13, 2018, 11:14 am
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In this episode I'm joined by the creative team of Rut, which will make its debut at the Frigid Festival! Playwright Chandy Bennett, director Michael Joel, and producer Kaitlin Overton go on a deep dive of the play, life as a non profit theater company, and so much more!

To listen to the podcast, visit iTunes or SoundCloud! And hit that subscribe button!

And don't forget to visit our Patreon campaign at patreon.com/theaterinthenow


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Drag365: Show #39- Ultimate Drag Pageant, Week 4 at The West End

February 13, 2018, 5:23 pm
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Nicole Onoscopi // photo by Michael Block
Day: Thursday, February 8th       

Show: Ultimate Drag Pageant, Week 4 

Location: The West End

Queens Seen: Marti Gould Cummings (@martigcummings), Nedra Belle (@nedrabelle), Allura Borealis (@alluraborealis), Bambina,  Carlos the Uber Driver (@carlostheuberdriver), Celah Doore (@celahdoorenyc), Gina Tonic (@itsginatonic), Foolisha (@thefoolisha), Nicole Onoscopi (@nicoleonoscopi), Shelby Late (@shelby_late), Tiffany Anne Coke (@tiffanyannecoke)

Shelby Late // photo by Michael Block
No one ever said comedy was easy! While the joke of the night may have been the technical woes, it was comedy night at Ultimate Drag Pageant! Mike Kelton, comedian and producer of Shade: Queens of NYC, joined hosts Marti Gould Cummings and Nedra Belle as they watched the contestants try their hand at comedy. And isn’t it ironic that on comedy night, there was drama!? Not only did two contestants do their versions of the same character, it was an elimination night AND two queens tied for the win of the week!
Gina Tonic // photo by Michael Block
The night began with Tiffany Anne Coke paying homage to “30 Rock” icon Jenna Maroney looking quite adorable with her silly visor and flamingo dress. Following her was her other half Carlos the Uber Driver with an “ugly” mix, looking, well, anything but ugly. Nicole Onoscopi went out of the box portraying a one-legged blind person as she hopped around the stage, had a miraculous recovery, only to lose her other leg. Allura Borealis went all in with daddy in her mix. Next up was the first interpretation of “Schitt’s Creek’s” Moira as Shelby Late took on the Rose matriarch with a fabulous lip sync and a wig reveal. Babmi took a willing audience member from the audience to play off during her pussy and dick mix. Foolisha brought the energy with her hilarious Maria Bambord mix. With quite possibly the biggest risk of the night, Gina Tonic played her own version of Snatch Game, taking on the Carol Channing, Melania Trump, and Mary Berry. The night ended with the second Moira mix from Celah Doore, with not one, but two wig reveals.
Before announcing the queen who would be eliminated, Marti and Nedra revealed that there was a tie for the top spot, as my weekly winner, Nicole Onoscopi and Shelby Late both walked away with a prize from House of La Rue. As you’ll notice, Precious Envy was not present this week and, but votes, would have been the eliminated queen. Nine queens remain. What will the girls bring next for Glamour week!
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Review: Caring for Your Homeless Neighbors

February 14, 2018, 3:48 pm
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By Ed Malin

Robert Galinksy’s play Bench is now playing at East Village Playhouse.  Jay O. Sanders directs this one-man show which brings together the voices of several unforgettable characters who are homeless or living on the edge in a city, circa 1987.  Among the problems these diverse folks face is the Human Immunodeficiency Virus (especially perilous for intravenous drug users) and general fear from the overprotective masses. One is exception is Pope John Paul II, who recently hugged an infected person to show that he did not believe rumors that the virus could be spread through a sneeze or a handshake.  Our narrator gives us a rundown of 1980s contemporary society before taking on the stories of several people he himself spoke with back in the day.  The performance takes place in a new gallery on 6th Street, which is decorated with Daphne’s Arthur’s urban drawings (which will be part of the upcoming graphic novel version of the same story).
“Graveyard” is a Vietnam War veteran who attacked a youth who held up Graveyard’s store.  After getting out of jail, digging graves was his best available job, and the name stuck.  JD, Graveyard’s companion on the streets, was in a truck accident, sustained brain damage, and can no longer hold down a regular job.
The two work through the challenges of staying warm and alive during an urban winter.  Graveyard has a nice pair of pants, and sees a guy wearing the suit jacket that was once paired with it.  They are both grateful whenever they can get donations of fried chicken. Among their cheery lines was “Get me some Courvoisier and a P.B.J., I’ll be A-okay.” Listening to these characters gave me a big rush of optimism.  Robert Galinsky is dressed for the streets, in worn, stained sweats.  His face is cleverly caked with grime.  Yet, as he tells it, these people kept pushing through in circumstances many of us would not be able to handle, and they did it for decades.  The only thing that could bring down the mood a little is the sinister turn that the world is again taking.  If you’ve seen more homeless and desperate people in your city lately, let’s hope it’s a trend that will not worsen.  Let’s hope that we don't find ourselves living in 1980s myopia again, in conditions under which our leaders take prejudiced stances and fail to prevent the spread of diseases such as HIV/AIDS.
photo by Aiden Grant
Among JD’s other problems is the smack talk about him and Lorraine.  We hear a lot about Lorraine, referred to by friends as “Rainey” and as “Lorraine the Drain” by antagonists.  This woman was wrongfully accused and lost her livelihood, so she turned to survival sex.  She has contracted HIV and has had one child who died of AIDS.  Because a lot of men have been with Lorraine, an angry guy named Joe makes fun of JD for sticking up for her.  Joe fought JD, hit him in the head, and has gotten Graveyard and JD kicked out of the shelter.
Joe is a crude guy, yet he has gusto when telling his buddy Mark about prosciutto, “the cotton candy of meat”.  Mark cleans Lorraine’s apartment, but is that all he does with her?  Does it matter how Lorraine contracted HIV, and does Joe think that everyone who is still involved with Lorraine doesn’t care enough to take adequate precautions? One gets the sense that even those who have been unfairly hurt by the system will still try to stigmatize people living with HIV.  I’m old enough to remember people acting like this, and am happy to see plays like this, which remind us to work to stop this from happening again.
Hats off to Robert Galinsky, who wrote down his observations about homeless people some 25 years ago and has recently developed the show, which is back for an extended run at East Village Playhouse. Director Jay O. Sanders deftly keeps the many voices of these real people distinct even when they are in conflicts.  Galinsky spends several scenes having conversations in different voices, all excellently and compellingly acted.  You might say it takes some time to have sympathy for some of these characters.  It is to Galinsky’s credit that two dudes who are seen fighting on stage (Galinsky against himself) can both be shown to have real needs that, if everyone knew or cared, they would want to help with.  Why should Vietnam War veterans honored for their bravery be living in a halfway house or on the street?
The show has generated some interest.  Perhaps the show will be reborn as a Netflix series, with episodes that give the back stories for these characters; there are some indications that their lives could be changing for the better. The enthusiastic audience stayed for a talkback and discussed what has changed and what has stayed the same during the last few decades.   Galinsky told of how he let the real Graveyard stay at his place one freezing night.  We could use more of that kind of compassion these days.
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Spotlight On...Kate Grimes

February 14, 2018, 4:00 pm
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Name: Kate Grimes           

Hometown: Pound Ridge, NY (Westchester County)

Education: Middlebury College

Select Credits: Stage: George Bernard Shaw's Major Barbara as Lady Britomart (Helluva Theatre Co, NYC), Sue Bayliss in Arthur Miller's All My Sons. TV: Piper Chapman's Lawyer in upcoming Season 6 of "Orange is the New Black,""Law & Order: SVU,""The Blacklist,""Blue Bloods,""Inside Amy Schemer"; Film: Spielberg's "The Post," Julian Fellowes'& Masterpiece Classic's upcoming "The Chaperone" with Elizabeth Montgomery;

Why theater?: Because of the energy. The actors have worked to create true connection. We bring that connected energy to the theater, and then he audience chooses to join us and we all take the ride together. The momentum of experiencing the whole journey together - start to finish-  is exhilarating.

Who do you play in Rosemary and Time?: Rosemary - she's living a "lovely" English life when unresolved, deeply suppressed issues from her past are dragged into her present.

Tell us about Rosemary and Time:  It's based on an incredible true story and Jennifer Fell Hayes really explores the some of the more powerful themes of humanity in this show. For Rosemary, her life is seemingly perfect when she's suddenly forced to address issues around the past, shame, guilt, forgiveness, and truth. I don't want to say too much about specifics but aren't these universal issues we all wrestle with at some level?  For Rosemary, it's intense. It’s theater, right? Crack open the mind and heart and take a peek inside. That's why I was so drawn to the play.

What is it like being a part of Rosemary and Time?: What a talented group of wonderful women! (& the lovely Michael Markham)!  Each person adds such flavor, such color to the canvas. Everyone's bringing both strength and vulnerability to this production. It’s got real heart.

What kind of theater speaks to you? What or who inspires you as an artist?: I love the honest stories that make me laugh in the face of total pain. The Humans did that for me.  The Irish in general are great at making you laugh in the face of suffering. The Irish Rep has been producing that kind of theater for years. I get really turned on when I see any kind of performer totally lost in the moment, as in, so fully “in the flow".  You can see it, and you can't fake it. I remember seeing Phil Hoffman in Long Days Journey and it almost appeared as if he was improvising the whole thing it was so honest and natural.

Any roles you’re dying to play?: Martha in Albee's Who's Afraid of Virginia Woolf would be epic. Stephen Karam will surely write another heartbreakingly & hilarious character - I'll take that one, please.

What’s your favorite show tune?: The entire Ain't Misbehavin' original cast album. My dad took me to the original Broadway show when I was young and I had never seen a cast blow the roof off a theater like that before. I sang Keepin' Outta Mischief Now at my wedding.

If you could work with anyone you’ve yet to work with, who would it be?:  To collaborate with Cynthia Nixon (and?) or Allison Janney would be just tip top. I'm determined to work on a Stephen Karam play: heartbreaking & hilarious - yes, please.

Who would play you in a movie about yourself and what would it be called?: Holy smokes, I'd hope to book THAT one….Perhaps “the Perfect Imbalance”.   Yes, life hits us with challenges but they are our opportunity for growth – it’s all good.

If you could go back in time and see any play or musical you missed, what would it be?: Zoe Caldwell in Medea. For a musical: West Side Story back in the 50s- it must have been thrilling when it debuted!

What show have you recommended to your friends?:The Humans. It blew me away. So real, so simply life in its pain, in its humor.

What’s up next?: Some comedy! Working on webisode with a friend.
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Review: The One Where They Parody Friends

February 14, 2018, 5:02 pm
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By Michael Block 

So no one told you that this show was going to be this way. From the team that brought you all those other ridiculous parody musical here in the city comes their latest obliteration on a beloved work of art. “Friends.” Directed by Paul Stancato, this parody has promise but some major decisions hold the potential back.
Spanning the ten-season show, Friends the Musical Parody follows the sex denizens of Central Perk as they live their impossibly perfect lives in New York City as they fall into relationship hijinks while barely maintaining a job. If you’re unfamiliar with the source material, chances are this is not a show for you. If you’re reading this and don’t know the source material, stop reading and binge it on Netflix. Written by Bob and Tobly McSmith, with music by Assaf Gleizner, the parody hits all the fab favorite beats and attempts to implement a plot by playing with character themes. Rather than a succinct plot, it journeys through the series. And for an audience wanting to laugh at the show, it works. But here’s where the problem comes in. And maybe it’s just me. The show is about Ross and Rachel and Joey and Chandler and Monica and Phoebe. They need to have an equal weight. When it comes to crafting this piece, it should be the core six with a singular utility player in the various roles, not the actor playing Chandler. If you’re familiar with the McSmith’s body of work, Seth Blum is no stranger to playing the man in a dress for the sake of the gimmick. If it was important to have this particular performer do these bit parts then someone else needed to portray Chandler. There already is a drastic sense of disbelief the audience is asked to maintain with Blum compared to the rest of the ensemble, but we’ll get to that later. How this decision affects the writing, by having the same actor portray Chandler and Janice, we lose extraordinary opportunities from seeing the interaction, a huge component of the comedy of this pair on the sitcom. For the most part, the script is straightforward. It’s really a great blueprint for Stancato and the cast to go to town with. There are a few missed opportunities and jokes don’t always quite land, but thankfully with a character driven comedy, there are very few recurring jokes.
Overall, this is a stellar cast who masters the art of parody. They capture their counterparts while providing their own flavors. Leading the bunch was our favorite will they-won’t they duo Landon Zwick and Patricia Sabulis as Ross and Rachel. As Ross, Zwick personified the geeky demeanor while matching the ticks David Schwimmer gave Ross. Sabulis’ Rachel was everything Jennifer Aniston ever was. If you closed your eyes you might have believed the real Rachel made a cameo. As Joey, Alan Trinca was certainly much hunker than his television counterpart, but he perfected the dim-witted lover boy. He naturally found the charm of Joey. His highlight surely came in the infamous Monica and Chandler relationship reveal bit. Lsia Graye as Monica was pintsize perfection. While we didn’t really get the OCD side of Monica from the text, she matched the big energy of the character. As Phoebe, Katie Johantgen took the ditzy blonde and found a way to be make her even kookier. For his main focus, Seth Blum captured the mannerisms as Chandler. Between the hands in the pockets to the lean in, Blum knew the quintessential Chandler. Taking on the man in the dress roles, Blum didn’t do the service to the characters he was portraying. Janice was the Fran Drescher knock-off of the time. The voice was iconic. The look was iconic. There was nothing here that matched this. Without the name being uttered, never would you know who he was supposed to be. Making Richard a literal old man was jarring compared how the McSmiths played with the rest of the script. It was the least literal moment of the show. The whole joke of twins Ursula and Phoebe are they are identical. Theatrically, it’s impossible to do this, but not having Johantgen take on Ursula was a major disappointment as she would certainly given an elevated performance.
Paul Stancato should be applauded for having the vision to find a way to make this show work. It’s not perfect but it works for this setting. It’s never too much and it maintains the integrity of the source material. He allows the show to keep flowing without excessively focusing on a particular beat. Costume designer David Rigler’s ability to dress these characters was uncanny. The excellence in costumes was due to the simple fact that the wardrobe looked as if they were borrowed straight from the show. Dee Spencer’s wig design was nearly equally as good, though Rachel’s act two wig was a little two blonde. The set, designed by Josh Iacovelli, was everything it needed to be for this venue. The ambiance, through color and décor, gave the feeling of classic sets.
Friends the Musical Parody is everything that it should be. It’s not here to change the world. It’s here to entertain. There are absolutely things that can be done to make it a stronger overall piece, but for what it is, it works.
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Block Talk- Episode 33: Chelsea Piers

February 15, 2018, 10:29 am
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In today's podcast, I'm joined by the Rock n Roll Drag Princess herself, Chelsea Piers! We talk about her new show Are You There Ru, It's Me Chelsea, life as a NYC drag queen, "Shade: Queens of NYC," and so much more!

To listen to the podcast, visit iTunes or SoundCloud. And leave that 5 star review!


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Drag365: Show #40- Just Jackie at New World Stages

February 15, 2018, 1:53 pm
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Jackie Cox // photo by Michael Block
Day: Sunday, February 11th        

Show: Just Jackie and Friends 

Location: Greenroom at New World Stages

Queens Seen: Jackie Cox (@jackiecoxnyc), Chelsea Piers (@thechelseapiers)













Jackie Cox, Chelsea Piers // photo by Michael Block
Last time you saw Jackie Cox at New World Stages, she was triumphantly crowned the winner of So You Think You Can Drag All Stars! Part of her prize package included a weekly show at the Greenroom. The debut of Just Jackie and Friends was a fabulous night of live singing, special guests, and a celebration of a queen who deserves her moment in the spotlight. With a cute video package to start the show, Jackie came out and entertained the packed room there just for her. Early on she explained that she may have some Vicodin in her body due to a wisdom tooth surgery, thusly making loopy Jackie Cox the thing you never knew you needed in her life. With a parody of “Put On Your Sunday Clothes” as her audience cheers song, it set the theme of the night. The good thing about having a drag show exposed to the lobby of a bunch of theaters, stragglers and theater-leavers may pop in. And Jackie got a bunch of those, including an international couple who was not fun of Jersey Boys and a 16 year-old girl who tipped a whopping $14! The first special guest of the night was Jackie’s gal pal Chelsea Piers, who dazzled with a Post Modern Jukebox version of “Fancy” and “Gives You Hell” by All American Rejects. After a rousing game of $10,000 Pyramid, where my dear friend Matt botched who exactly hosts what drag competition, the first act ended with a parody of the only song from Hamilton I love, “You’ll Be Back.” Fitting. The big act two surprise was not Jackie’s dazzling gold additions to her look, it was the surprise appearance by Angela Lansbury! Well, in puppet form (as performed by puppeteer Mike Hull). The pair sang the classic duet “Bosom Buddies.” The night ultimately ended with a duet between Jackie and Chelsea singing “That’s Life.” And that was it! Like the other shows in the venue, it was time for curtain.
As Jackie said, “Why would you have one bubble when you can have a gazillion?” Why would you have one Jackie when…well no, let’s stick to the one and only. She’s perfect as she is. It’s about time that this dynamic performer gets her due.
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Drag365: Show #41- Stonewall Invasion: Didi Cumswell

February 16, 2018, 2:45 pm
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Didi Cumswell // photo by Michael Block
Day: Sunday, February 11th        

Show: Stonewall Invasion: Didi Cumswell 

Location: Stonewall Inn

Queens Seen: Didi Cumswell (@didicumswell), Bijoux (@bijoux.xo), Golden Delicious (@msgoldendelicous), Haireola Grande (@haireolagrande), Vanna Deux (@vanndeux)

After an intense sudden lip sync at December’s So You Want an Invasion, Didi Cumswell won herself an Invasion. She brought along some of her favorite sisters to celebrate her for her debut solo show! Didi Cumswell, a rising vintage queen, started the night with a cover of “Get the Party Started,” and it sure did accomplish the job! After another cover, this time to “Anything Goes,” Didi shared some of her fabulous thematic mixes, some of which OCD cleaning, Broadway births, and a hot mix where she ate a jalapeño on stage. Didi’s fabulous friends brought some of their best stuff to the night. Bijoux, wearing leather and beret, did a little lusty number with “A Call from the Vatican. Haireola was all about touching and loving and brought out a dildo for her number. Continuing on the sex train, Golden’s classic blow job mix made a cameo in the night. And finally Vanna debuted a brand new number with “Breaking Down” from the musical Falsettos. Since it was her show, she could do whatever she wanted. And Didi did it with not one, not two, but three classic looks, including a brand new disco inferno 70s fantasy.
It’s always a joy watching someone you know do what they love. Didi Cumswell is an endearing force of happiness. There’s always a smile on that girl’s face. And that’s what makes us love her so. This debut won’t be the last you’ll see of her.
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Review: Family Tea Time

February 17, 2018, 1:34 pm
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By Michael Block

Some stories seem just too good to be true. When you hear them you might just be blown away to the point you need to put it to paper and share it with a grander audience. Such is the case in Jennifer Fell Hayes’ Rosemary and Time.
Rosemary works in an infirmary in a local school. Hilda works under her, cleaning and doing odd jobs here and there. After a conversation about a traumatic experience, Rosemary discovers that the two happen to be long lost sisters separated after the accident. Rosemary and Time is inspired by a true story about a woman grappling with her past in her present. Jennifer Fell Hayes has written a piece that is deeply rooted in truth. While we may not know exactly where her imagination may have gone and what is pulled from the tale she was told, there is reality within. The drama unfolds slowly but surely. No matter what, Rosemary and Time is an interesting story, but it is severely lacking stakes. And it just may mean it could serve better in a different medium. There is an inherent cinematic quality to the story. The pacing is ripe for the screen. There’s an intimacy to this story, and it comes through by the way Rosemary keeps things to herself. We often see her protect herself by suppressing her memories and haunts. With the exposition being pushed away, it may be hard to relate and empathize without full knowledge of what we are witnessing Rosemary experience. There’s always a way to keep the audience on edge, but when everything floods in at the end, we’ve already been pushed aside. Perhaps the easiest of fix is incorporating the fire memory and Ruby’s monologue sooner. Sometimes it’s ok for the audience to know something before the other characters. Fell Hayes has meat to her text, but it often gets surrounded by fluff. Removing some of the excess and paring down could help perhaps heighten the stakes. And with a script so reliant on props, especially those tea time moments where nothing new emerges, the story can take on the focus it deserves.
photo by Gerry Goodstein
Director Kathy Gail MacGowen takes Rosemary and Time and focuses on the importance of relationships. And this is essential for this play to work. Whether they are strangers of present but blood of past, we need to believe it. We need to believe the struggle of mother and daughter, in the various versions we witness it. MacGowen has taken the time to pull out the nuances from the script and fully realize them with her company. The realistic quality to Fell Hayes’ writing allowed MacGowen to find truthful moments. When bits felt forced in the text, you could tell there was a struggle to make it work. The sets and costumes were designed by An-Lin Dauber. Dauber’s costumes had a timeless quality to it. Her set, featured two-sided seating which created a very linear direction for MacGowen. With various locations to portray, the scenic pieces served in various locales, which thankfully, was not too distracting once the conceit continued. Kia Rogers’ lighting design and Megan Culley’s sound design were integral to the memories for Rosemary. While it may have to due with the staging on this particular set, the memories wanted to be technically cleaner. At times, it was very jarring, but not necessarily a snap. The classical soundscape that swelled in occasionally from scene to scene was the right mood for this play. The Beatles? Sadly, not too much.
The character of Rosemary is challenging. She’s put through the emotional ringer. Kate Grimes does a sensational job. She finds levels of sensations to play. Her portrayal is honest and raw. Virginia Roncetti as Hilda often found herself playing the subservient role, but when she finally snaps back at Julie, Roncetti was at her finest. The tender moment Hilda and Julie share was quite a remarkable shift in the play, and Roncetti and Mary Katharine Harris, who played Julie, did well.
Rosemary and Time is a play of great potential. Jennifer Fell Hayes was right, there is a story. But it needs some time before Rosemary’s tale is ready again. A bit of finessing and a little less tea might do the trick.
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Block Talk- Episode 34: RuPaul's Drag Race All Stars 3 RuCap Episode 4

February 17, 2018, 1:52 pm
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It's time for the Snatch Game! I'm joined by special guest Didi Cumswell as we break down everything that happened in this wild episode!

To listen to the podcast, visit iTunes or SoundCloud! And don't forget to leave us a 5 star review!

And then check out patreon.com/theaterinthenow to learn about becoming a patron.
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Block Talk- Episode 35: Tucker and Golden Delicious

February 18, 2018, 12:31 pm
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In this episode, I sat down with Two Tuckers, Golden Delicious and Tucker to talk about their latest installment of Two Tuckers at The Duplex.

To listen to the podcast, visit iTunes or SoundCloud! And don't forget to hit subscribe!

And visit patreon.com/theaterinthenow to learn about becoming a patron!
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Block Talk- Episode 36: Joshua Warr

February 21, 2018, 3:26 pm
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Review: Missed Connections in the Forest

February 21, 2018, 5:19 pm
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By Michael Block 

It’s the season of love and what better play to celebrate the season than A Midsummer Night’s Dream. Produced by Frog & Peach Theatre Company at the Sheen Center, this romantic comedy about missed connections was colorful but needed a bit more direction so the connection wasn’t missed. .
Directed by Lynnea Benson, this production of the Shakespeare classic follows Hermia, Helena, Demetrius, and Lysander as they journey into the woods as fairies play games with the mismatched lovers. In this day and age, it’s smart common practice to streamline and cut down the text for the attention deficit, click bait social media generation. Even with an intermission, the play clipped along swiftly, but felt slightly disjointed, perhaps due to cuts. In a way, it was a highlight reel of the Shakespeare classic.. Regardless of the feeling that the acting troupe at the center of the show, Benson’s production was simply safe that allowed the words to be present rather than a forced concept. To differentiate the classes in the world, Benson played with color. The performers were dressed in blues and oranges while the regal black and white was saved for the lovers and royals. When it came to the fairies, Benson went with the rainbow. Every other character in the play were dressed with a purpose, the fairies were given a little freedom and looseness. In a sense, they looked like failed “Drag Race” outfits made of plastic pieces thrown together at last minute. The minimal set, in a way, mirrored the fairies with black and white plastic and garbage bags. Perhaps this pairing of materials could give reason for the aesthetic of the fairy costumes.
Regardless, it seemed the strongest focus was on the Rude Mechanicals. Bottom, the “ass” of the troupe, seemed like the starring character of this production. A Midsummer Night’s Dream tends to allow the lovers or Puck to be the story’s focus, but they seemed like the minor players here. Played by Kevin Hauver, Bottom was on top of the fun. His ability to take the character and highlight further speaks volumes to his performance. When it came to the lovers, Eden Jacob Levy as Lysander, Kyle Primack, Alyssa Diamond as Hermia, and Bess Miller as Helena played into the missed connections as their chemistry didn’t quite seem to ever match. Somehow, they each seemed to be presenting a different version of A Midsummer Night’s Dream. Possibly the most understated character in this presentation was Puck. That being said, Marcus Watson made the best of his time on stage, physically embodying the fairy to the fullest.
A Midsummer Night’s Dream is a classic. The story is almost universally revered, but there still needs to be some sort of draw to keep the audience engaged and have a reason to present the story. Benson’s version of the Shakespeare play would be something that would be great to tour to schools as it is accessible to a younger audience. But this version needed something a little more.
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Drag365: Show #42- Good Judy at ICON

February 21, 2018, 10:33 pm
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Gloria Swansong // photo by Michael Block
Day: Tuesday, February 13th         

Show: Good Judy 

Location: ICON

Queens Seen: Gloria Swansong (@gloria_swansong)

She has two degrees so she can cross dress on the fly! Gloria Swansong returned to ICON for her monthly show Good Judy. With Valentine’s Day just a day away, she made the night “Love on Top” themed, with that song of course being a part of the set list. Since she is a vintage queen, of course she gets an overture. And from there, it’s off to the races. The evening includes two pretty long pauses to create a three-act night, where she took the time to talk to the crowd. Face time is important! Gloria showcased a new look for each act. If you’re coming to Good Judy expecting all Judy, all the time, you’ll be disappointed. While she is known for her impeccable Judy illusion, this is a bar show so she has to deliver to the masses. But don’t fret, a night with Judy Garland is in the cards. Gloria Swansong has the versatility most queens strive to find. She gives you classics, pop, showtunes, and all that jazz. Good Judy is a nice night to socialize with your good Judy, Gloria Swansong.
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Drag365: Show #43- Wabbit Hole Wednesdays at ICON

February 21, 2018, 11:01 pm
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Gilda Wabbit // photo by Michael Block
Day: Wednesday, February 14th         

Show: Wabbit Hole Wednesdays

Location: ICON

Queens Seen: Gilda Wabbit (@gildawabbit), Aria Derci (@ariadercibaby)












Aria Derci // photo by Michael Block
If you don’t have a Valentine, don’t worry, spend Valentine’s Day with your Palentines! Wednesdays at Icon is Wabbit Hole Wednesdays with the illustrious Gilda Wabbit. Looking pretty in pink, Gilda celebrated the holiday of love with an intimate crowd of lovers and singles alike. The night was an exhilarating blend of genres, spanning love and fun. Gilda showcased her pipes with live sung “Sweet Transvestite” and a parody of “Defying Gravity” about double penetration. When it came to lip syncs, she gave us a little “Into You” by Paramore and a mix that included Dolly Parton’s classic “Baby I’m Burning.” As a theater lover herself, Gilda paid homage to the recently passed theater icon Jan Maxwell, a dear friend of mine, with a tribute to her Follies performance. The DJ of the night was the enchanting Aria Derci. Aria delivered a fabulous rendition of “Somebody to Love” by Queen, featuring a wig reveal and a rose petal reveal from her gloves. Sasha Velour is a true trendsetter! My palentines, David and Cole, played a round of Shots for Thots with the hostess, and boy was that fun to watch! Toward the end of the night, Gilda and Aria engaged in quite possibly the most tragic drag suicide ever, with a setlist of songs neither of them knew. The twist here was Gilda took a shot when she didn’t know a number. Let’s just say she was feeling good when the curtain closed.
Gilda Wabbit is quickly becoming one of the most prominent staples of the Astoria nightlife scene. And her stock is rising in the Manhattan drag scene as well. Just watch her take over, it’s bound to happen.
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Drag365: Show #44- Drag Race Viewing Party at The West End

February 23, 2018, 10:08 pm
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Bambi, Vanna Deux, Anthony Paparelli // photo by Michael Block
Day: Thursday, February 15th         

Show: Drag Race Viewing Party 

Location: The West End

Queens Seen: Vanna Deux (@vannadeux), Bambi (@imstillcute), Catrina Lovelace (@catrinalovelace)

It was time for the Snatch Game! And boy was it a lackluster episode. But what wasn’t bad was the performances that host Vanna Deux and her special guests Bambi, Catrina Lovelace, and Anthony Paparelli gave. Vanna began the night with a little nostalgia in the form of a song from the “Josie and the Pussycats” movie. She then secured the song “Breaking Down” from the musicals Falsettos as a signature number for herself. Catrina is no stranger to dancing the house down boots and she did just that. Breaking down Demi Lovato’s “Sorry Not Sorry,” Catrina made the tiny runway of the front bar her dance floor. Bambi brought a new attitude with her take on Beyonce’s “Grown Woman.” Anthony Paparelli provided the crowd little attire and followed suite with dancing the night away with music that included the brilliant Adam Lambert and a telephone mix. Vanna is a theater queen and wants the audience to walk away with a finale each week. At this show, Vanna paid homage to her idol Barbra Streisand and utilized Bambi’s uncanny Donna Summer look for an epic rendition of “Enough is Enough” featuring amazing door-ography.
The West End is always an intimate evening to come together for the Olympics of drag. Whether you’re there for the queens of the night or the queens on the screen, the celebration of drag is nothing short of joyous.
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Block Talk- Episode 37- RuPaul's Drag Race All Stars 3 RuCap Episode 5

February 24, 2018, 10:54 am
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Well that episode is officially in the can! Izzy Uncut and I break down the fifth episode of RuPaul's Drag Race All Stars 3! Plus, we break down the promo looks of the Season 10 cast!

To listen to the podcast, visit iTunes or SoundCloud! And don't forget to subscribe and leave us a 5 star rating!

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


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Block Talk- Episode 38: Zarria

February 26, 2018, 2:14 pm
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In this episode of Block Talk, I sit down with the incredibly talented and beautiful Zarria! She shares it all!

To listen to the podcast, visit iTunes or SoundCloud! And don't forget to subscribe and leave a 5 star review!

Plus, visit patreon.com/theaterinthenow to become a patron today!
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Review: Dating, Improv and the Apocalypse

February 26, 2018, 2:23 pm
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By Ed Malin

Lenny Bruce Is Not Afraid is being presented as part of the 12th annual Frigid Festival.  Mark Levy wrote this piece, which he and Kayla Mason perform.  Kristen Kelm directs the offbeat and affecting story, which flits from moments of extreme emotional vulnerability to beats which revolve around a generous helping of weapons and Joe Coppola’s fight choreography.  How can a play set in a basement theater (which informs us it is set in a basement theater, a good hideout for a world gone wrong) achieve all this? I believe the title, a line from R.E.M.’s song “It’s The End of the World As We Know It (And I Feel Fine)”, says a lot.   Terrible things have happened in New York, and everywhere, and someone like the famously uncensored comedian Lenny Bruce would not be afraid.  However, as Mark’s character, a veteran of improv theater, remarks: not everyone does stand-up comedy, and sometimes you can’t just function on command.  Sometimes you need other people, and trust, and that will take quite a lot of work and bring you through much anxiety.  Let’s applaud Mark on this brave statement and read more.
It is winter in the city.  Max (Mark Levy) and Mal (Kayla Mason) are staggering home from an intense date, back to a place filled with empty beer cans.  (The set was designed by Adam Sherwin and the beer came from Sixpoint Brewery; rehearsal must have been fun!)  There is a bohemian, bachelor-bad feel, and indeed Mal mentions that they are in a dangerous area.  However, as Max exits to use the bathroom and Mal transfers a pistol from her coat to her back pocket, it becomes clear that no one in this place takes their future for granted.  Why is the date progressing so quickly, and why are the stakes so high?  It’s not something the characters want to put themselves through again, but there has apparently been a zombie apocalypse.  People have seen their friends and relatives sicken and, usually, have killed these people before they became a flesh-eating liability.  Max has been living off the grid and not long ago put some hops in his mouth to see if he could make beer that way.  Imagine his surprise when he raided a derelict Duane Reade drug store for supplies and met Mal.  The two initially fought over the last remaining box of Cheez-It crackers, and then got into heavy petting.
photo by Benjamin Davis
Neither Max nor Mal has seen another live human being for weeks and months.  It’s an eerie world, where one can wander through a Times Square which is deserted, except all the lights are still on, kind of like the opening scene of “Vanilla Sky”. No wonder Mal and Max are simultaneously excited and cautious about each other.  It’s only their first date, but is it too soon to talk about making a baby?  Does the human race need to continue, though?, as Mal conjectures, and she has lots of good reasons.  Mal is unrelenting, very focused on self-preservation but giving Max many chances to prove himself. Can Max explain why he is a virgin at age 32?  Yes, he can, and yes he wants to change that tonight.  He hasn’t “seen a naked girl since the internet went down.”   To find peace, these recently-strangers must establish trust like one does in improv.  When you see how this is done, you will be happy in a profound silence.
I know it can be difficult to relate to theater people, so it’s good that Mal is not one and Max is.  They both have an appreciation for the music of Phish; Mal saw them at Madison Square Garden one New Year’s Eve.  They both believe that the zombie virus started with Jack White of the White Stripes (see: great two-person acts), though Max is inclined to separate the man from his musical legacy.  Director Kristen Keim brings simmering conflict into the play and all of its tender awkwardness is great fun.  Some of the time it seems like these two characters have quite lot in common, creating a strain that makes it much easier for them to bump each other off.  Whatever their similarities, the reclusive Max eases many a tense situation with lines such as “You’re the only person I’ve met who doesn’t want to eat me.”  If you end up surviving the zombie apocalypse, or any day in New York City, you may wish to take some pointers from these characters.
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Drag365: Show #45- Ultimate Drag Pageant, Week 5 at The West End

February 26, 2018, 2:41 pm
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Gina Tonic // photo by Michael Block
Day: Thursday, February 15th         

Show: Ultimate Drag Pageant, Week 5 

Location: The West End

Queens Seen: Marti Gould Cummings (@martigcummings), Nedra Belle (@nedrabelle), Allura Borealis (@alluraborealis), Bambi (@imstillcute), Celah Doore (@celahdoorenyc), Carlos the Uber Driver (@carlostheuberdriver), Foolisha (@thefoolisha), Gina Tonic (@itsginatonic), Nicole Onoscopi (@nicoleonoscopi), Shelby Late (@shelby_late), Tiffany Anne Coke (@tiffanyannecoke)



Shelby Late // photo by Michael Block
Carlos the Uber Driver // photo by Michael Block
In quite possibly the widest open-ended themes of the competition, hosts Marti Gould Cummings and Nedra Belle tasked the season 6 competitors in bringing their best renditions of glamour. Marti, Nedra, and guest hosts the incredibly beautiful Paul McGill and the glamourous Anthony Paparelli provided critiques to the girls as they shined bright in a wide array of presentations. Starting off the night was Nicole Onoscopi trying her hand at glamour with a Glinda and Kristen Chenoweth mix, all while looking fabulous in pink velour. Next up was Tiffany Anne Coke wearing gorgeous red hair and lovely black dress slayed a Dinah Washington number. Foolisha slayed the night with a frightening rendition of “Primadonna Girl” by Marina and the Diamonds which resulted in a bloody finish. Looking absolutely stunning in three striking looks, Shelby Late brought a wicked mother mix. Allura Borealis took a different take on glamour with a glam rock slot mix. Someone had to do Fergie’s “Glamourous” and it was Celah Doore to volunteer as tribute wearing a sequin track suit of sorts. In one of her strongest performances of the competition, Bambi looked luxurious in a peacock inspired gown doing a lip sync to Beyoncé. After a comedic set up, Gina Tonic proved that beauty is inside all of us singing the anthem “I Am What I Am.” The night closed out with Carlos the Uber Driver and her handsome dancing hunks strongly singing “Le Jazz Hot.” 
The judges and I haven’t been in complete agreement recently, and that’s the beauty of art! My winner of the week went to Foolisha for her out-of-the-box take on glamour. The judges gave the victory to Carlos the Uber Driver and her stellar number. The competition is heating up! Make sure you keep yourself posted here for all the action!
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