Theater in the Now

Name: Michael Joel and Kaitlin Overton

Hometown:
M: Point Pleasant, New Jersey
K: High Bridge, New Jersey.

Education:
K: Both of us are graduates of Montclair State University’s BA Theatre Studies program.

Favorite Credits:
M: As a playwright, Youth + Blood + Roses and One. Four. (Zero). have been two favorites that stand out. And as a director, I loved working on Our Town and The Glass Menagerie and as an actor, Attempts On Her Life and One. Four. (Zero).
K: My recent favorites have been an original devised piece I did on a community supported garden called Recommended Servings and Richard Schechner’s Imagining O. As well, starting No Dominion and all of our recent projects have become favorites of mine.

Why theater?:
K: I think I can speak for Michael when I say that theatre opens up parts of us that are often scary or unexplored and through theatre we get to explore these parts of being a human.
M: It’s also fun and allows you to explore things you wouldn’t be able to otherwise.
K: I’ve enjoyed working in theatre in different aspects, too. I started out just in performance and now I’m a producer, and I honestly never thought I would be doing that and enjoying it, but it’s where a lot of my focus is and I’m excited that theatre can take you on these journeys, both as a character and as a theatre creator.

Tell us about Help me out here:
M: The show itself is, in a way, a reflection of its process: we’ve broken down the idea of having a task at hand and have each set out to complete said task in the show. Both characters are struggling with a task and need help; how they ask for it is different, and how they arrive at a solution is different as well. We explore helping each other, what it means to actually need help, and what that feels like.
K: We kept it simple by having simple tasks and only two characters. I think it’s also been helpful to have each other not only as the actors, but the writers and directors of this piece as well. It’s been a very intimate creative process.

What inspired you to create Help me out here:
K: For a few months, we’ve each been interested in doing a smaller-scale show that had a bare-bones feel to it and explored the current time in our lives: we’re both theatre artists trying to figure “it all” out, and want to communicate that artistically, while maintaining professionalism as a new theatre company.Help me out here came from that.
M: I texted Kaitlin one night and told her to start writing and keeping a journal, just about things that struck us, or when we had a bad day, for example, and we came together for a writing retreat in Martha’s Vineyard and literally just laid it all out on a table and got to work.

What kind of theater speaks to you? What or who inspires you as an artist?:
K: Ensemble theatre is definitely something we’re both drawn to, and how an ensemble can collectively tell a story is something we are always exploring. We like to see this kind of theatre too.
M: I just went to see Before Your Very Eyes at the Public, A View from the Bridge, and we both got to see Lazarus, and all of those speak very strongly to the type of work we want to create and also enjoying seeing. It’s all very important work, all of these pieces are very important.
K: I’m very drawn to performance art, and when I interned with the New York Neo-Futurists, I hadn’t explored this venue of art much, but I fell in love with it, that living newspaper aspect they brought to performance.

If you could work with anyone you’ve yet to work with, who would it be?:
M: Ivo van Hove. I love his work so much.
K: If I ever even get to be in the same room as Anne Bogart, I could die happy.

What show have you recommended to your friends?:
M: Definitely all the ones I’ve recently seen and mentioned above. Also, A Curious Incident… and anything Elevator Repair Service or Theatre for a New Audience does.
K: I would agree, and add the New York Neo-Futurists’ Too Much Light Makes The Baby Go Blind and anything from New York Theatre Workshop.

Who would play you in a movie about yourself and what would it be called?:
K: In my younger days, Zooey Deschanel, and then as more of a grown up, Mary Louise Parker, and the movie would be called "Dear God, Please Don’t Let Me Wake Up With My Hands Down My Pants".
M: Meryl Streep would play me and she would dress in drag and she would still win an Oscar. The title would be "A Thousand Miles" (Based on the song by Michelle Branch).

If you could go back in time and see any play or musical you missed, what would it be?:
M & K: There are too many, we can’t just pick one!

What’s your biggest guilty pleasure?:
M: "Downton Abbey".
K: SAME! And also "How To Get Away With Murder", and "The Hills"…I love mindless reality TV.

If you weren’t working in theater, you would be _____?:
M: Hospitality, or some bullshit.
K: Unemployed.

What’s up next?:
M: We have a few projects in the works, I am working on a new play, and I just shot a movie so I should be seeing the final product in the near future.
K: We are meant to be collaborating on some new things with some of our favorite collaborators within the next few months so stay tuned!

For more information on Help me out here, visit www.nodominiontheatre.org. For more on Kaitlin, visit www.kaitlinoverton.com. For more on Michael, visit www.michaeljoeltheatre.com

Bio-musicals are all the rage. Rather jukebox musicals that tell the lives of infamous musicians using their songbook as the score. The unspoken lives of legendary rock stars serve as wonderful source material but capturing the perfect way to tell their story is imperative. In the latest string of bio jukebox musicals comes Rock and Roll Refugee, following the early life of rock goddess Genya Ravan. Presented by Royal Family Productions, this musical thrives in music and lyrics but falls into the traps that similar musicals can't avoid.
For those who may not know who Genya Ravan is, Genya Ravan is a rock and roll pioneer who led the all-girl band, Goldie & the Gingerbreads, the first all-girl rock band in history to be signed to a major label. She may not be a household name like others of her generation but her place in rock history is notable. Yet Rock and Roll Refugee avoids that story to tell the story of a young girl who escapes Poland and the Holocaust with her family and finds a life in America. With the music by Ravan, with additional music by Daniel A. Weiss, and a book by Chris Henry, Rock and Roll Refugee is like a first chapter of the complete Genya Ravan saga, telling her life story right before she becomes a star. The device Henry uses to tell Ravan’s tale is through memory. Memory plays and musicals are a useful device when realized correctly. And this all is dependent on that first moment. How the memory begins. Unfortunately, how Henry establishes the memory is problematic. The opening montage begins with young Genya, or Goldie or Genyusha as she was formally known as, on a train with her family, fleeing for freedom. Genya has a moment of panic, dreams up a young girl who passes her a future record she would record which then prompts a light on future Genya on the upper level of the set presumably remembering her past. This sequence is essential for storytelling. With future, or present depending on how you see it, Genya not being the first image, it’s hard to truly establish this as her memory play. It feels more like Genyusha/Goldie predicting the future. With this vital moment instituting how this play will be told, things become messy. Genya appears on the loft at all times but where exactly in time and space is she? You can imagine that it’s likely a concert but when she’s in between songs, she just sits and remembers. And drinks. Genya has no dialogue. In the world of jukebox musicals, Rock and Roll Refugee is like the offspring of Beautiful and Movin’ Out. Like Beautiful, there’s a concert device that establishes the memory and like Movin’ Out, a sole singer is responsible for the majority of the score as the ensemble tells the story below. Once the device is established, the life of young Genyusha/Goldie is told in an interesting manner. They are merely highlights that string along a very loose character journey. There is very little arc for Goldie. We see elements of what made her the person she became but not how it truly affected her. Goldie’s family is a crucial element in storytelling. Goldie’s relationship with men play a very important part in Rock and Roll Refugee. Between Goldie’s abusive father to her dangerous neighbor, these emphasize a strong theme. When it comes to her father, we see that her mother couldn’t stand up to the man but her sister Helen ran off to escape. And this is a big plot point. Once Helen leaves, it’s believed she doesn’t have any connection with her family. And yet she returns for Goldie’s wedding, without it being a big deal for the parents. The music that Henry and Ravan select fit the mood, and sometimes the situation. Because the present characters rarely sing, the music luckily doesn't feel too pigeonholed into the story.

photo by Russ Rowland

Rock and Roll Refugee is really the Dee Roscioli and Katrina Rose Dideriksen show. Roscioli didn’t get to show off her pipes but rather prove her worth as a notable performer. Roscioli has impeccable skill, driving tense situations with truth. There’s a gruffness to her Goldie that adds a lightness to the dark themes. Though you may not have known just how old Goldie was supposed to be at certain ages, the maturity of the character shined through. Katrina Rose Dideriksen is a powerhouse vocalist. Dideriksen is the result of perfect casting. Between the natural rasp in her voice to her stage presence, this is a match made in casting heaven. From an acting perspective, Dideriksen quite a difficult task filling in the blanks of being an active participant. There was constantly a light on her and while it’s unlikely the majority of the audience looked up, she needed to be on her game at all times. Dideriksen sublimely succeeded. Ravan and Dideriksen should team up and put out an album of covers as Dideriksen elevated the already stunning score. Kristin Nemecek as Helen was a ray of hope in this story. Nemecek’s rapport with Roscioli was the strongest on stage. With very little to do as Uncle Louie and Richy, DeAngelo Kearns exploded when he stepped into the spotlight. When he got his own solo, he gave a star-making vocal. Aside from the memory device, the other bold choice that effected the production was the use of the ensemble. Comprised of five capable dancers, the girls randomly appeared in numbers, dressed identical, to add an extra flair. But in reality, they seemed to be nothing more than glorified set movers. The only time their presence was warranted textually was at the strip club, otherwise they were present to keep the transitions moving. The use of the ensemble may strictly be due to taste. With choreography by JoAnn M. Hunter and Liz Ramos, the quintet did a fine job dancing, but it sadly distracted the problems of the production.
It’s evident that Chris Henry had a vision when she was writing the libretto. And her vision came into fruition through her direction. Her libretto was problematic yet her direction seemed to cover up the woes. There was a cohesiveness in the simplicity of the storytelling through design. With a very minimal set by Cheyenne Sykes and Alex Petersen, the highlight of the production’s design was Matthew Haber’s flawless video design. Melding moving images with period photos, Haber’s design set the ambiance better than anything else. They were never on point yet told the story they needed to tell. Rock and Roll Refugee would be an entirely different show without them. The lighting design from Elizabeth A. Coco captured a stunning array of emotions, traveling between time and place. Musical theater has a very specific sound. Taking a rock and roll canon and bringing it into this genre isn’t always easy. Especially if the audience is familiar with the songs. But what orchestrator Daniel A. Weiss did was something extraordinary. Weiss gave Genya Ravan’s music new life.
If you didn’t know who Genya Ravan was, you sure do now. While her music may not have shuffled into your classic rock mix before, it likely will now. Rock and Roll Refugee has a lot going for it but when it comes down to it, the book is sadly holding it back. The elements are present but when it comes to storytelling, some polishing needs to happen otherwise it will join the ranks of the strong songbook, poor story jukebox musicals.

Name: Zeke Hunter

Hometown: NYC

Education: SUNY Purchase

Favorite Credits: As a director, The War Machine by Johnny Alspaugh and The Elephant’s Fable (Project Greenlight 2015 first round finalist)

Tell us about The War Machine:The War Machine follows Cole Hopkins, a military veteran, saddled with debt and bored with civilian life, who decides to return to Iraq under contract with a private military company in 2010. Shortly after returning to the thick of it all, he's wounded in a I.E.D. blast and subsequent firefight with insurgents. During his time spent recuperating in the hospital, he begins to have second thoughts about rejoining the company and considers cutting out of his contract early. However, fate leaves him no choice but return to Iraq. Spurred by fear, jealousy, and a growing case of PTSD, his mind begins to spiral out of control, putting his entire company at risk.

What inspired you to direct The War Machine?: Cole’s story is intense but once distilled to its elements, not uncommon, however it is not the type of story often broached on American stages. Johnny, the writer, has been a friend of mine for the past year thanks to this intense but fortuitous acting class that we both take. He invited me to be a part of his first table read of the play several months back and I was inspired by the quality of writing and subject matter and expressed an interest in producing / directing a film adaptation of the piece. Shortly thereafter, the piece was accepted into the Venus / Adonis festival at the Hudson Guild Theater and Johnny invited me to direct this production as well. I come from a mostly filmic background so engaging in this theatrical process has been a big learning experience for me. Personally, I’m thrilled to be able to spend this much time with the material, exploring the nuances of the writing with such a tremendously talented cast and creative team.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything with strong acting. The most recent production to really knock me off my feet was Miss Saigon performed on the West End in London. Of course it also had the spectacle and sparkle of a big budget production but at its core, an unshakable and gifted cast carried the performance. The character of the Engineer as played by Jon Jon Briones was a real treat.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to direct Bryan Cranston. He strikes me as having the perfect balance of incredible talent and off-screen charm, and I think he would be a pleasure to work on set with.

What show have you recommended to your friends?:The Book of Mormon. Trey Parker and Matt Stone have put together one of the funniest pieces of theater that I’ve ever seen and the set design is also incredible.

Who would play you in a movie about yourself and what would it be called?: Probably not. To re-enact moments of my own life feels self serving and potentially disingenuous to other perspectives. But if such a movie were to be made, I’d call it "Man and Mad Machine".

If you could go back in time and see any play or musical you missed, what would it be?:Hedwig, when Michael C. Hall was performing.

What’s your biggest guilty pleasure?: Nutella everything.

If you weren’t working in theater, you would be _____?: Three years younger looking, but a lot more bored.

What’s up next?: The War Machine will be premiering at the Hudson Guild Theater as part of the 2016 Venus/Adonis Festival, February 15th (6:15pm), 19th (9pm), and 21st (3:30pm). Running time is 90 minutes without an intermission.

For more on The War Machine, visit https://www.facebook.com/thewarmachine2016/. For more on Zeke, visit https://www.facebook.com/ZekeHunter/

Actions speak louder than words. Or maybe the power comes within the words of the actions. In Ginger Lazarus’ Burning, a story of love, loss, and passion, follows Cy, a woman who is kicked out of the Army for being gay, fights a battle to right the wrong of treatment of women in the military all while falling for her friend Rose.
With inspiration taken from Edmond Rostand’s Cyrano de Bergerac, Resonance Ensemble’s presentation of Burning is filled with passion. Between the themes of the military to the onstage romances, Burning explores critical themes that rarely find a place on stage. The trouble though is Burning is essentially two ideas that don’t quite blend perfectly together. And the more interesting story is Lazarus’ original story. But we’ll get to that later. Lazarus introduces a love triangle into her story, which naturally is a perfect set up to use the parallels of Rostand’s play. For those needing a refresher on Rostand’s romance, Cyrano, a poet with a distinguishable nose, falls for a young woman named Roxanne. Christian, a solider, too is in love with Roxanne but doesn’t quite have the words to express it. Cyrano, fearful of his appearance will cause his heart to be rejected, agrees to be the voice of Christian in order to woo Roxanne. In Burning, Cy, a woman removed from the Army, takes on the Cyrano role, Rose, a waitress and frequent customer of Cy’s business, takes on Roxanne, while Cole, a solider, is the Christian equivalent. Bringing Cyrano to the modern age is stimulating. Rostand’s story about expressing the words of love is universal. But bringing it to a time of technology has its own set of woes. Cy, who’s relationship with Cole is weakly fleshed out, serves as a ghost writer for Cole to firstly win Rose’s heart and writing letters to Rose while he’s deployed. Additionally, gone is the nose. Rather than a physical obstacle preventing Cy from capturing Rose’s heart, it’s a metaphorical one. And it’s a stretch. Cy can’t be with Rose as she’s still traumatized from her previous experience and treatment in the military. It’s not a clean modern transfer, losing the charm of the original, but the way Lazarus crafts her script bounces between original and adapted ideas without truly marrying them. In the scope of the original story, the love story feels forced and pigeonholed. And it’s a shame because her original story is captivating in its own right. Lazarus shares a story about a series of cover-ups of female soldier “suicides” that may be a result of speaking the truths about experience and treatment. Using the device of a blog, she has Cy use the power of words to blast the truth to those willing to hear. And it causes strain on her life, her business, and those around her. This is the story that drives Burning to the top. The added element of falling for another woman is cute but not necessary. By far, the best example of Lazarus’ writing is the Act II scene where Cy and Dulac, the local general, go toe-to-toe. The scene is tense and powerful. And has little to do with the source material. With treatment of women being a prevalent topic in the script, there is one moment that is a bit bothersome. And it may be due to trying to harken back to Cyrano. When Rose, after her first night with Cole, comes into Cy’s shop, she appears with a black eye. Immediately you want to believe that Cole, like the other men in this world, struck her when in fact it was an accident of passion and inability to express his love through words. With the treatment of women so important, this tiny moment opens a can of worms.

photo by Jon Kandel

Ginger Lazarus crafted an incredibly complex character in Cy. She’s dynamic, fervent, and fearless. And it takes a true veteran to tackle her. Thankfully, Burning was led by the remarkable Catherine Curtin. Curtin drives the play forward, never faltering. She finds moments to expose her vulnerability subtly. And its heart wrenching. As the rose of her heart Rose, Shaun Bennet Fauntleroy is stuck in the middle of love. And at times, she’s stuck in uncertainty. Rose is like a ping-pong ball, being served back and forth between Cy and Cole. Fauntleroy’s Rose was ingénue-lite. Each character had passion in their story. Cole was passionate about his love for Rose. Only Sean Phillips didn’t quite play passion, rather he played anger. Phillips’ Cole lacked charm. And when compared to Curtain’s Cy, you’d have to wonder what Rose was thinking picking Cole over Cy. Though they may not have been a part of the love triangle, Sammy and Dulac were integral characters in the arc of Cy’s story. Zachary Clarence and Chris Ceraso made their presence vital. Clarence is endearing as Sammy. Clarence and Curtain have the strongest chemistry of any pair on stage. Ceraso makes Dulac a wondrous opposition for Cy. Seeing more of their battle would have been exciting, sadly love got in the way. Perhaps in the sequel.
Venue selection may be more important for a production than many anticipate. Burning is a very intimate play. Yet the Theatre at St. Clement’s almost does a disservice to the piece. The stage is vast. The ceilings are high. With nearly no fabric to scenic designer Ashley Cusack’s set, echoes reverberated. And it hurt. Naturally, there were moments that the scenes wanted to be softer but the echoes that the space created made the beats suffer. And with such a giant stage to maneuver, director Eric Parness allowed his company to meander all over the space carelessly. Parness paid care to the intent presented by Lazarus but there seemed to be something missing. The barebones aesthetic that Parness and his team brought had its own set of pros and cons. With everything exposed, until it’s blatantly explained, it’s hard to know that the play takes place in Cy’s general store. The plethora of boxes and mismatched scenic elements didn’t help either. The lights by Pamela Kupper were basic, but when she incorporated the color in the back, it added a burst of excitement. The costumes designed by Sidney Shannon fit the characters pretty well, though you have to wonder if that’s what Sammy would wear if he’s truly open with himself. The only woe that Shannon and Parness brought that was a bit on point was the placement of the blood. Shot through the heart? Too perfect.
It would be hard, at this point, to eliminate or reduce the Cyrano element of the script, but the more present it is, the less Burning succeeds. Burning fights through a lot in this production, but what it has going for it is an extraordinary character in Cy and performance by Catherine Curtin.

Name: Giacomo Baessato

Hometown: Vancouver, BC, Canada

Education: Circle in the Square Theatre School

Select Credits:"X Files,""Once Upon A Time,""Ally Was Screaming,""Little Pink House"

Who do you play in The Good Girl?: I play Ven, the repair guy.

Tell us about The Good Girl?: The Good Girl is a play about two people trapped in a prison-like society, who use the help of an incredibly valuable sex robot to escape.

What kind of theater speaks to you? What or who inspires you as an artist?: I love a play that will leave me feeling unsettled and a little bit sick. I want my comfort levels to be pushed . The late Philip Seymour Hoffman is still a massive inspiration for me .

Any roles you’re dying to play?: I would love to play Moss or Ricky Roma in Glengarry Glenross. Also Biff or Happy in Death of a Salesman.

What’s your favorite showtune?: I couldn't name you a showtune without googling one ... Is that awful?

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Martin Scorcese , Darren Aronofsky and Alejandro Innaritu.

If you could go back in time and see any play or musical you missed, what would it be?: I would love to have seen Philip Seymour Hoffman do Death of a Salesman, and I heard Alan Cummings' performance in Macbeth was amazing. Sad I missed those two.

What show have you recommended to your friends?: I saw a fantastic production of Ivanov at CSC a few years back starring Ethan Hawke , when that show was around I was trying to get all my Checkhov lovers out for that one.

What’s your biggest guilty pleasure?: I. Love. Carbs. Pasta , Pizza, love that gluten !

What’s up next?: You can watch me play Catherine Keeners lawyer in a film called "Little Pink House" coming to theatres at the end of this year

Life in the lower tier of the class system has never been thought of as easy. Finding ways to make ends meet is a daily struggle that many go through. Just wondering if your electricity will be working when you wake can inhabit the mind. Such is the case in Emily Schwend's subtly beautiful Utility, presented by The Amoralists.
Set in a small town in Texas, Utility is a slice of life play that follows Amber as she tries to keep her head above water by doing whatever it takes to make ends meet. We watch the rekindling relationship of Amber and Chris as they prepare the birthday of Amber's daughter. Though Chris shows his love and devotion, his inability to contribute and immaturity causes the electricity to be turned off mere hours before the birthday party begins. On the journey, we meet Amber's mother who means well but only does the bare bones to assist her daughter and Jim, Chris’ brother who has a romantic tension with Amber. Utility is a play that is all about subtleties. Rather than establishing a bleak, heavy-handed plot, Schwend allows her story to unravel naturally. We're constantly waiting for something to happen but hey, that's life. Schwend's style is reminiscent of Annie Baker. While the play isn't a three hour opus, her drama plays upon the silences and beats without dialogue. And when you have a masterful sound design to fill the silent voids, the dynamic is even more powerful. As a whole, the script is near perfect. The only troublesome bit was the opening. The prologue-esque scene was the only scene to take place outside of the house and a significant amount of time prior to the next scene. Its heavy in exposition and the information learned could easily be incorporated into later scenes. While it does set up the relationship between Chris and Amber, it doesn’t quite work as well as the rest of the play. You almost wish the first scene didn’t exist.

photo by Russ Rowland

Amber is a complex character. And a striking one at that. Amber knows her place in society but tries her best to allow the stress to eat at her. She is all about keeping a façade for both her children and her friends. With so many layers, Vanessa Vache had much to work with. And she was brilliant. The gravitas in her performance was authentic. Amber carried the load for her family and Vache carries the load of the production. Vache is one to keep an eye on. The deep-voiced, big-souled Jim is a character we don’t learn much about. Alex Grubbs leaves you wanting to know more. Grubbs is endearing. Rather than allowing Jim to be a passing character, Grubbs allows Jim to shine, creating a strong character. On the other side of the familiar spectrum, James Kautz as Chris does the unimaginable. The character of Chris may be a constant let down but Kautz makes you love him. You want to believe that he can change. Even when he lets Amber down again, you’re willing to give him yet another chance. Melissa Hurst as Laura, Amber’s mom, is the quintessential Southern mamma. Hurst gives Laura a comedic bumbling persona. Playing with the subtleties, you can see the struggle Hurst gives Laura. Laura wants the best for her daughter but there’s very little she can do to help.
While this play took place primarily in the kitchen, it’s very much a “living room play.” Schwend’s script lives in naturalism. Director Jay Stull did an impeccable job make this play live in reality. And that’s what made Utility so special. Stull guided his company to craft some genuine characters that tugged at your heart. And even with little excitement built into the story, Stull kept this piece engaging. Stull’s design team pulled off a victorious win with a unified design. Leading the pack was the exceptional sound design by Jeanne Travis. And it all started with the outdoor buzzy nature preshow. The soundscape Travis provided lifted the show into reality. Between the appliances in the kitchen to the buzz of the air conditioner, the ambiance was essential. It allowed the audience to hear them in the silences because the moment when the electricity went out, the pure silence was that much more dynamic. Travis’ design proves the importance of sound design. Scenic designer Kate Noll created a small home that was strong in detail. The tiny intricacies were a welcome addition. Even the colors she picked were smart. Costume designer Angela Harner clothed the characters well, giving them life in their assortment of looks. When it came to the lighting design Nicholas Houfek did a pretty solid job. Except when the electricity went out. Even though it is likely there was moonlight, the scenes in the dark just weren’t dark enough. And in a play that lives so naturally, it hurt the overall design. Sure, watching a play in pitch black isn’t reasonable but bringing down the look would have made the scenes even more dynamic.
The Amoralists have a winner with Utility. The story is clear and real. And that’s what sets it apart. For the most part, Emily Schwend lays everything out on the kitchen table. But we’ll likely never know who saved the day. The possibilities are boundless. And with one moment of ambiguity, Schwend’s story will leave you wanting to know the answer for a long, long time. Maybe if Schwend writes a sequel, we’ll get a resolution.

Company XIV has a knack for taking the risqué form of burlesque and marrying it with a modern spin, often using classic stories as a skeleton for a steamy night of spectacle and seduction. In their latest offering, Artistic Director Austin McCormick and Company XIV take the tale of Snow White and captivate the audience with sexy choreography, live streaming video, and a jealous dominating queen who seeks to be the fairest one of all.
In this adult only Snow White, the theme of jealousy takes center stage in this battle between an Evil Queen and a fair skinned beauty. With an extremely loose imagining of the fairy tale, director and conceiver Austin McCormick hits the beats of a woman taking down her competition. This is a new conception of a classic tale that is anything but kid-friendly. Using “Snow White” is an easy draw to pull an audience in but had you not known the source material, you'd be searching for a genuine story. McCormick uses German undertones to tell this version. And it's consistent at least. Even when Spanish style music is introduced, it’s paired with German lyrics. It’s a smart choice to focus on the Grimm story, utilizing some of the lesser known elements not used by Disney but when it strays a tiny bit, the little storytelling that is incorporated gets confused. And by Act II, the Snow White story is MIA and we seem to join Diane Paulus'Pippin circus. Regardless, McCormick exploits the theme of jealousy to great use. This production showcases a story of jealousy. And also highlights just how dumb Snow White actually is.

photo by Mark Shelby Perry

What Company XIV does provide is stunning production value. Like their other productions, Snow White is absolutely beautiful. The choreography by McCormick is sublime. The lighting and projection by Jeanette Oi-Suk Yew is brilliant. And there’s a nice blend of modern and baroque, marrying the two through theatrical technology. For first time viewers of Company XIV, you’ll be mesmerized. But for those who’ve seen a few productions, there’s only so much magic you can have before the bag of tricks is used up. There are certainly recycled elements that loses the appeal. Company XIV can be compared to Cirque du Soleil in the sense that there is an expectancy for the production. You expect certain routines to be incorporated. You expect to hear classical stylings of current pop songs. But when you know what’s to come, the intrigue is almost lost. Combining baroque style music with modern pop is interesting but song selection is key. Snow White borrowed new spins on hits like Tove Lo’s “Talking Bodies”, “Leon On” by Major Lazer and DJ Snake, and the iconic “Toxic” by Britney Spears. Rather than aiding the moments, they felt instituted because they were favorite songs of the year. “Toxic” could have been perfect if it were placed alongside the poison apple moment. The costumes by Zane Pihlstrom are astonishing. Between kinky diamond gags for The Queen’s Men to the rhinestones on every corset, Pihlstrom’s design was on point and smart.
There’s no denying there is talent on the stage at the Minetta Lane Theatre. As the Snow White character Schneewittchen, Hilly Bodin defies stereotypes, rocking a shaved head and dancing up a storm. Courtney Giannone takes on the role of Der Prinz, accompanied by giant gold hope and subsequent comedic dance piece to “Chapel of Love” after wooing Snow White. Bodin and Giannone are daring casting choices that own their parts. But by far the star of this production was Laura Careless as Die Konigin, or The Queen. Careless is fearless and is one of the most mesmerizing performers to grace any stage. With shades of Brecht in her performance, Careless goes all out, bringing her own form of heart to The Queen. Whether alone or flanked by the ensemble, Careless owns the night.
Snow White is a smoky and enchanting piece of art. It’s a visual triumph. But when all is said and done, it doesn’t stand out compared to the rest of the Company XIV repertoire. Company XIV has established themselves are true players in the New York entertainment scene. You can hope that as they move on to their next venture, a singular theme dominates a show rather than a loosely threaded fairy tale.

Celebrating the 40th Anniversary of the acclaimed musical, the Secret Theatre's production of A Chorus Line reminds us why we love this musical. Between the music from Marvin Hamlisch and Edward Kleban, the book by James Kirkwood and Nicholas Dante and the captivating dancing originally choreographed by Michael Bennett, A Chorus Line will forever be a classic, entertaining musical. But it also reminds us how desperately it wants to be modernized.
Directed by Tom Rowan, the scribe of “A Chorus Line FAQ”, this revival is a celebration of the original musical. A Chorus Line is the story of the ultimate theatrical job interview. A group of young, eager dancers seek an opportunity to dance on the line in a new musical. They just have to face an audition like no other. Complete with iconic dance routines and one singular sensational score, A Chorus Line is a piece of theatrical history. No matter where you see this show, shades of the 1975 production will be incorporated. And no matter who's at the helm, it proves that the show is formulaic. The costumes are throwbacks to the original, though costume designer Heather Carey takes some liberties like placing Mark in a baseball tee reminiscent of Zac Efron in " High School Musical." If you know the original show, you can easily pick out the characters simply by their dance attire. And you have to wonder how much fun that actually is. When it comes to the choreography, the Secret Theatre's production is led by Geena Quintos, who also portrays Diana Morales. While the text prescribes certain steps, Quintos sticks to the stuff we know.

photo by David Krochalis

With all the beats nearly spelled out already and all mystery gone, I suppose the reason to experience A Chorus Line is for the talent on stage. And this production certainly was filled with it. Though Cassie and Zack may be the central players, this production highlighted the featured players of the ensemble. Madeline Fansler is feisty as Sheila. Fansler has a bitter bite that furthers Sheila's jaded persona. Markus McLain is simply endearing as Mark. As the resident youngster on the line, McLain's Mark is filled with life and hope. A late addition to the role, Kelly Barberito is stunning as Maggie. Barberito has a purely divine vocal, capturing hearts in "At the Ballet." As Bobby, Caleb Schaaf serves up the funny. When it comes to the other couple in the story, Adrian Grace Bumpas as Kristine carries the duo, outshining Kevin Lagasse's Al. Bumpas is a natural. In the end, it's a bit shocking that Barberito's Maggie and Bumpas's Kristine don't make the cut. Especially over some of those who do. As Diana, Geena Quintos has a fine voice with two of the best numbers in the score but it seemed to be lacking the passion. In the ensemble numbers, Jennifer Knox’s Cassie can't seem to hit the heights of the score but easily redeems herself by the time we reach "The Music and the Mirror." There's something interesting about Matthew LaBanca as Zach. To play with the original concept, LaBanca is relegated to an unseen voice. The struggle is it's hard to tell if it's live or simply a series of sound cues. The way LaBanca reacts to his fellow actors doesn't quite seem accurate. It feels like monotonous canned reactions. If it is a live microphone, the problem may be the physical inability to connect. And it's a shame because when he is seen, LaBanca is a strong leader. Nevertheless, the entire ensemble does exactly what they need to do. And that's dance. And somehow they don't seem to break a sweat until they finally do gas out in the finale. And rightly so.
From a production standpoint, A Chorus Line encountered some major obstacles. The first being that tiny stage. Fitting this dance heavy show on the stage of the Secret Theatre seemed near impossible. But they managed, though some dancers were sacrificed. Due to the lay of the land, an intermission was built in. And nothing kills momentum like an intermission, though the company was likely grateful. With the show being set in a theater, there was little to be done to transfer the space. The essential scenic element is the iconic mirror. Instead of a mirror wall, scenic designer John Lavigne gave us a mylar mirror wall which is all well and good had the seams been fixed and the track used to strategically hide it not been as loud and distracting. Speaking of distractions, the buzz and feedback from the sound system during Zack's dialogue remained present in certain key moments. Thankfully it was missing during Paul's monologue of vulnerability.
The Secret Theatre presented a solid production of A Chorus Line filled with many unavoidable restrictions. I can only imagine what could have been explored with freedom. Perhaps one day when permission is granted, A Chorus Line will be given a breath of new life by being transported to the 21st Century. It may be a period piece in the eyes of some, but the stories the dancers share are still prevalent. And that's why A Chorus Line will always be relevant, regardless of time.

Name: Taylor Doherty

Hometown: Buffalo, NY

Education: Theatre Graduate studies at Bowling Green State and The University at Buffalo, Undergrad English studies at Hilbert College.

Favorite Credits: I’m the Artistic Director of the Buffalo Laboratory Theatre. So, I’m particularly proud of the work I’ve done with them. Since I’m “the boss”, I can have complete control over my artistic vision. (Which is another way of saying that I’m spoiled rotten as an artist.) But having a company of amazing professionals like the Buffalo Lab allows me to take giant, insane swings at entirely new forms of storytelling… like Silver Chalice. God bless the mad souls in my company.

Why theater?: We live in an era of isolated entertainment. YouTube videos on the Subway, Netflix at home… tweets thrown out into the void in a desperate attempt at connection (and retweets). The theatre is that place where a whole group of living people come together to see and hear other live human beings tell a story. We still have that. And that’s important.

Tell us about Mystery of the Silver Chalice: Mystery of the Silver Chalice is an interactive play where the audience gets to make the vital choices on a guy’s magical blind date – his last chance to finally find true love. At points during the show, the audience uses small remote controls to choose what nice-guy Rob does next: who should he go on the date with? What should he wear? Where should they go? And lots of other choices, too. The audience can be nice, and help him make the RIGHT choices, so he will live happily ever after… or they can choose to make it the worst night of his life. There are between nine and eleven choices to be made, and the narrative branches and changes with each one, giving us hundreds of thousands of possible combinations and eleven distinct endings. And they’re all super-funny.

What inspired you to write and direct Mystery of the Silver Chalice?: In grad school, we had to write a manifesto about out “theatre philosophy.” I’m still not entirely sure what mine is, but I DID know that I was interested in finding new ways to get the audience to emotionally invest in the action they see on the stage. When you give the audience a remote control, and give them agency in what happens next, “live theatre” becomes a whole new kind of thing! People lobby each other to vote certain ways intermission! People come back two and three times, so they can see what happens if other choices are made. And they’re all in it together, so you still get that magical communal moment that theatre does so well. But I’m a writer, so I want a tight, potent (and FUNNY) story… and that is the fun challenge of a show like this. Writing a branching narrative that takes ALL possible audience choices into account. This means the script is freaking GIGANTIC… but the audience only sees a fraction of it on a given night. I’m also a shy, sensitive guy deep down. So I like the remotes because they give the audience incredible agency and control without putting them “on the spot”, with some guy shoving a microphone in their face or trying to pull them up on stage. I think audiences really love that. And most of all, it allows everyone to have a ton of fun in a whole new kind of way!

What kind of theater speaks to you? What or who inspires you as an artist?: Well, my son’s name is Beckett. So, that probably says something about the kinds of theatre I enjoy.

If you could work with anyone you’ve yet to work with, who would it be?: Robert LePage. His work is brilliant.

What show have you recommended to your friends?: I’m always an “off the beaten trail” kind of guy. So, I’d encourage taking risks on lesser-known shows in smaller venues.

Who would play you in a movie about yourself and what would it be called?: You, the person reading this, would play me! And the film would be called “This Was Probably A Mistake - A Sexy, Awesome Mistake.”

If you could go back in time and see any play or musical you missed, what would it be?: Easy! Waiting for Godot. Paris, 1953.

What’s your biggest guilty pleasure?: Playing any immersive videogame, like Fallout or Mass Effect. But I’m not sure that’s “guilty”, because I see it as amazing medium for storytelling. So barring that… I can’t believe I’m about to admit this, but I’m a sappy, sappy romantic at heart. So I love Hallmark Channel Christmas movies. They’re terrible and formulaic… and they make me happy. (ugh…)

If you weren’t working in theater, you would be _____?: Living in my mom’s basement, making Indie videogames and writing bad poetry.

What’s up next?: More attempts at pushing the envelope with interactive theatrical storytelling! More remote controls! More branching narratives! Vive la Revolution!

For more on Mystery of the Silver Chalice, visit Joe's Pub.

by Michael Block

Welcome to paradise. A tropical getaway where your inhibitions are whisked away as you embark on a hypnotic journey, encountering beautiful cabana boys, a family looking for something new in their individual lives, and perhaps, your deepest, darkest fears. This place is The Grand Paradise, Third Rail Projects’ immersive event that transforms a Brooklyn warehouse into an island resort filled with a plethora of secret hideaways, private cabanas, and a cast of characters that will force you to think about your own life.

photo by Adam Jason Photography

Transporting the audience to the 1970s and incorporating themes of youth, beauty, and time, among many, many others, The Grand Paradise is an event like no other. Like many immersive theater events, your time at The Grand Paradise is dependent on you, the active participant. After receiving your boarding pass and viewing a wickedly smart airline instructional video with important rules to follow, you arrive at the island resort where you immediately get lei’d. As you wait for the arrival of the other guests, you’re granted the opportunity to explore the resort, that is where there wasn’t a door closed. From a fish tank with two souls pressed up against the glass to a secretive hut, this is your chance to see and feel what The Grand Paradise, the resort that is, has to offer. Once our main guests arrive, we’re serenaded by the voice of a siren and our adventure begins. Just where you’ll go and who you meet throughout your two hour tour will be completely dependent on where in the space you stand as members of the company will guide you to secluded rooms for one-on-one and group encounters. And those willing to interact with the locals are likely to find themselves having their grandest experience. What’s enticing about this event is that no two journeys will be the same. And this is certainly an event you can attend alone but sharing paradise with someone special is immensely more thrilling. But be warned, you and your partner will be separated from time to time. But some of those chance moments when you reunite may end up being the most remarkable.

photo by Darial Sneed

Perhaps fate played a hand on my stay at The Grand Paradise. Sometimes you attend theater at a moment in your personal life when you may be dealing with your own issues when something within the piece strikes you. It’s almost as if my journey was perfectly planned out just for me. Without giving too much detail away, after the opening performance, I found myself watching my travel companion get served bowls of water seemingly from the Fountain of Youth and then suddenly I got escorted to a private cabana by the cabana boy himself, who happened to keep an eye on me all night long. In our one-on-one encounter, he presented a ritualistic ceremony with a secret vessel of water as he questioned me as to why I came to The Grand Paradise. And it was when pinpointed “revealing in youth” that I chuckled for fear he had actually touched upon the truth. His poetic monologue ended with a shot of water and then I was led out to a party where I was gifted a shot of something a little more alcoholic. From this moment on, my fears of the unknown where gone and I was excited to see what else this place had in store. As I explored the sand-filled beaches and Tiki-themed bar, I was once again reunited with my paradise buddy as the cabana boy guided us, along with two strangers, into another secret room literally where you could see the sands of time. That is a room filled with shelves of hourglasses. Poetic, right? And once again, the prophetic cabana boy offered a haunting oration about time and remembering moments, all while we each held an hourglass watching the grains of sand from our lives float down, portraying our firsts, our lasts, and everything in between that is etched into our memory. Apparently this moment at The Grand Paradise hit me hard as I had some sort of reaction as my companion later reminded me. Something I didn’t even realize. Things at The Grand Paradise suddenly got deep. My moment of a potential emotional breakdown happened just minutes later as I was literally left alone in the disco room with the mother, who too, was left alone. It was a feeling all too familiar. But my time watching this woman try to find the beauty she had seemingly lost all while removing tiny disco balls from her purse that helped her reflect on her true splendor was like reflection on myself. And soon she guided me to watch her dance in this tiny space filled with mirrors, like those disco balls from her purse. And it was gorgeous. But I wasn’t the only one watching her. No no. I soon discovered my buddy was on the other side of the mirror getting his own view. From here on out, we were reunited as we watched the gold lady line up glitter like cocaine and dump it into a glass of wine, which he was forced to drink. We raided the family’s room, stealing items from their luggage, and in some cases wearing the sexy 70s negligee. We had a party at the bar and then found ourselves in the boat playing with knots and in the lounge trying to remember how to use those stupid compasses from middle school math class. But what’s fascinating about this event, despite experiencing so much, there was so much we did not see. For the most part, I found my evening following the stories of the mother, played vivaciously by Tori Sparks, and the youngest daughter. And it’s all due to my placement in the rooms at specific moments in the evening. There are five main arcs you could potentially track and I didn’t encounter three of them at all. And in turn, that meant I didn’t witness their supporting players as well. It wasn’t until the grand finale that I saw company members for the very first time. And I was disappointed that our paths didn’t cross. And who knows what emotions those stories would have stirred up.

photo by Third Rail Projects

Unlike other immersive events, Third Rail didn’t use an existing narrative to establish their evening. This was a thematically satisfying story. Those looking for the familiar will be greatly disappointed, but personally, the originality was more affecting. There is certainly a place and time for those experiences but the way they established this one was well played. From a creative standpoint, Third Rail knocked it out the park. It’s best to compare the event like Disney rides. You have the staging area where you receive your boarding pass and are granted a chance for cocktail. You have your preshow video via the safety instructional. And then when you’re in the cue and on the ride that is The Grand Paradise, every single detail is expertly executed. Scenic designer Elisabeth Svenningsen did the unthinkable. Not only did she intricately fashion a playground of wonder but the details that went into it were precise. From the color pallet to the lay of the resort, each door opened a new world that you got to excitedly explore. Ambiance is key and composer and sound designer Sean Hagerty evoked a tropical oasis. Hagerty and director-choreographers Zach Morris, Tom Pearson, and Jennine Willett skillfully staged their piece by timing out the music for each beat. It allowed the flow of the evening become seamless. Sure, there were some various moments of delay but rarely where you searching for something to do. The costumes by Karen Young were perfectly period. But be warned, if you come in 70s garb or your own adorable Hawaiin shirt, it’s likely someone sporting winter wear would mistake you for a company member. When it comes to choreography, you can’t help but be enamored. Even when there are no words to share, the dances tell a story.
This show is truly all about your experience and discovering what you're looking for. That's why we visited The Grand Paradise. It's the little things that happen at The Grand Paradise that make this experience so special. Whether it's taking in the cabana boy's monologue about the sands of time that may hit a little too close to home or watching your buddy's face light up with joy and excitement when a little bit of magic happens. It's the little moments that we will treasure forever. I found serenity at The Grand Paradise and I feel rejuvenated. This is one night that will stick in my memory for eternity.

Name: Leah Gabriel

Hometown: Melbourne, Australia

Education: Circle in the Square Theater School, NYC

Select Credits: Tartuffe! with Three Day Hangover, Othello and King Lear with Titan Theatre Company.

Why theater?: Because a bunch of humans get in a room together, some of them talk, some listen, some move around, some sit and watch, and then something gets created and we experience it together in the moment and it never happens exactly that way ever again. Freakin cool.

Who do you play in The Good Girl?: I play Anjali, the madam to a sex-robot.

Tell us about The Good Girl: It's a dark, funny sci-fi play that will make you think it is one thing, then become something completely different. It's quite a rollercoaster ride for Giacomo and I to perform, and I hope it will feel that way for the audience too. Emilie Collyer has written a very complex and brilliant play.

What is it like being a part of The Good Girl?: Thrilling! We have an incredible team of artists who are all doing amazing work. I'm so pleased this play is getting its US Premiere and that NYC audiences will get to see it.

What kind of theater speaks to you? What or who inspires you as an artist?: I love Shakespeare and Sondheim (among many others!). I'm interested in the most heightened moments of our existence and the choices we are capable of making in extreme circumstances. I admire these two writers especially who can express, in perhaps a single line of text, those moments when an entire world shifts and is never the same again.

Any roles you’re dying to play?: I hope one day to have a crack at Hedda Gabler, Lady Macbeth, the Bakers Wife and Masha in Three Sisters. Wait, I need a fun one too...Ruth in The Norman Conquests.

What’s your favorite showtune?: That's a whole other bottle of wine! How can I possibly choose just one? Ok...I'm going to be a nerd and say, "Now/Later/Soon" from A Little Night Music.

If you could work with anyone you’ve yet to work with, who would it be?: Mark Rylance!!!

Who would play you in a movie about yourself and what would it be called?: I think it would be called 'UNCO!' That was my nickname in high school. It's short for 'uncoordinated'. Someone who is a big dork should play me.

If you could go back in time and see any play or musical you missed, what would it be?: A View From The Bridge with Anthony LaPaglia and Allison Janney.

What show have you recommended to your friends?: PUFFS at the Pit! It's so much fun! Go see it!

What’s your biggest guilty pleasure?: DONUTS.

What’s up next?: A beach vacation please.

For more on Leah, visit www.leahgabrielactor.com. For more on The Good Girl, visit www.joyseekerstheatre.com

by Michael Block

We get enamored with origin stories. Just recently, Wicked celebrated becoming the tenth longest running show in Broadway history. And right down the street, another origin story inspired by "The Wizard of Oz" is capturing hearts. And that show is The Woodsman. Inspired by the story of the Tin Man, The Woodsman is a beautiful reimagining of a beloved tale using puppets, song, and a whole lot of heart.
Conceived by James Ortiz, directed by Ortiz and Claire Karpen, with music by Edward W. Hardy and lyrics by Jen Loring, The Woodsman follows Nick Chopper, a munchkin who falls for a beautiful young girl named Nimmee, who happens to be under the control of an evil witch. As their romance kindles, the Witch, knowing she’ll lose her girl, casts a spell on the axe that ultimately mutilates Nick Chopper, turning him into a mechanical being with a broken heart. Using very little dialogue, extraordinary puppets, a singular violin underscore, and an ensemble of superb storytellers, The Woodsman is a reminder that anything is possible in theater. The story is simple. Rather than trying to do too much, Ortiz relies on an accessible story, giving just enough information for the audience to come along for the ride and allow our imagination to roam free. And getting an opportunity to harken back to childhood is always welcome. When it comes to origin stories, what sets The Woodsman apart from something like Wicked is rather than pandering and throwing in nods to what the audience knows, The Woodsman unravels naturally, allowing for that singular nod at the end to be well earned. With little dialogue to speak, crafting this story was all in Ortiz’s vision. Ortiz and Karpen intricately choreographed each beat. Everything flows seamlessly. There’s never a moment where the momentum halts. And that’s important.

photo by Matthew Murphy

The Woodsman strives in stagecraft. Ortiz and his team allow the story to take shape sans spectacle. Sure, there are extravagant moments but they serve to further the story rather than distract. It’s a brilliant directorial choice. With theatricality being an integral part of the show, the puppets were the official stars of the shows. Designed by Ortiz himself, the puppets have a blend of practicality and necessity. The marriage between the lighting design by Catherine Clark and Jamie Roderick and scenic design by Ortiz, again, was a happy one. The set stylishly included wood textures without becoming overwhelming. And by extending the elements into the audience added an inclusive touch. The Mason jar lighting fixtures transported the piece to a special place. The way they were incorporated, serving as flicking bugs or a glimmer of the Emerald City, was stunning. Ambiance was an important part of creating the world and the production’s soundscape, starting all the way during the preshow, was a major addition. Defining the atmosphere in this worldless piece was executed well. With Steampunk elements in Molly Seidel and original costumer Carol Uraneck’s design, the costumes paid homage to what we know from the source material while still standing on its own.
The Woodsman is a true example of ensemble. The nine piece company moved and breathed as one. And it was enthralling. The Woodsman is clearly a passion project for James Ortiz. So much so that in addition to all of the other hats he wears, he portrays Nick Chopper himself. In any other situation, this would be a recipe for disaster but with the intricacies being what they are, playing Nick as well worked ok. While he may have been the titular character, the work from the rest of the ensemble should be celebrated. Eliza Martin Simpson is simply striking as Nimmee. Simpson radiates confidence on stage. Some of the most lovely and touching scenes are the romantic duet scenes with Nick and Nimmee. I dare you not to smile. Puppetry plays a big part in The Woodsman and the duo of Amanda A. Lederer and Sophia Zukoski operating The Witch almost faded away breathing life into the puppet. Naomi Florin, the expert violinist, was a wonderful presence and the unsung hero of the production. The music was tastefully simple yet played a pivotal role setting the mood.
The Woodsman is a family-friendly wonder that triumphantly brings theater and storytelling together. The production has been on an amazing journey and deserves a long life. The only struggle The Woodsman will encounter is what happens when Ortiz departs the production. Will the heart still be there or is this a vehicle made for one?

Finding a manner in which to discuss important issues can be hard. That's where art can come in. Art is a medium where a story can be told all the while educating and informing an audience about topics we may be scared to discuss out loud. And that's where Slut comes in. Written by Katie Cappiello and Co-Directed by Cappiello and Meg McInerney, Slut explores rape culture in our society in a safe yet provocative manner.
Presented by The Arts Effect, Slut follows a young teenage girl in New York City who finds herself as a victim of rape by her peers. Smartly crafted through a series of scenes and monologues, Cappiello's story is told through the eyes of teenagers and performed by teenagers, a vantage point that powers home the morals. Joey, a member of the dance team that calls themselves the "Slut Squad" attends a party, where alcohol is present, and manages finding herself in a cab with three male friends of hers who end up taking advantage of her. Slut features a few scenes of exposition before jumping into an extended monologue from Joey, interspersed with supporting scenes commenting on the situation via a theatrical device. This is a play about rape culture in the age of social media. And it's sadly a highly poignant story. First and foremost, this is a piece that is meant to inform and educate. But when you get to the nitty gritty, there are some theatrical issues. With the dual scenes being a notable device that Cappiello uses, she smartly has dialogue that parallels one another but forcing one side of the stage have to remain inactive waiting for their turn can be difficult to watch. There’s no doubt much thought was taken into using this device but for it to be effective, a lighting shift would have been beneficial. That being said, the use of technology sets this show apart. To catapult this play into today, using Skype and live feeds was captivating. It never once stole focus, something projections could easily do.

With such a difficult story to share, it requires the actors to tap into a scary and vulnerable world. Using an ensemble completely comprised of young actors, asking them to dive deep into an emotional state can be demanding yet these girls were up for the challenge. Slut is Joey’s story. And this play was a courageous journey for Lexa Krebs as Joey. Krebs gave an honest and genuine performance that felt raw. She is a star in the making. While the ensemble players were merely supporting characters to Joey, Mary Miller did manage to stand out as the supportive stranger Sylvie. Her maturity as a victim of a similar situation provided a grounded performance. There was confidence within her words.
Slut is topical that will get the audience talking afterwards, even beyond the post-show talkback which did garner some sizzling debate. And the one overriding theme that seemed to arise was trying to find the answer to who is accountable in these situations. Is it the victim? Is it the boys who took advantage of the girl? Is it the parents who let the kids drink without supervision? Or the teachers for not doing enough to educate? The discussion will always be open and opinions will be formed but no matter what, keeping the conversation open is the mission of Slut and that's exactly what happened.

Life is a job in itself. Wake up, work, eat, sleep, and do it all over again. To some, that's all life consists of. No moments of excitement. Just finding ways to make ends meet. In Caryl Churchill’s Fen, we watch a group of women forced to work in the marshlands of southeast England in order to put food on the table. In Red Garnet Theater Company’s production of the Churchill play, the hardships and treatment of the working-class is examined in theatrical fashion.

photo by Nicole Thompson

Originally performed in 1983, Fen captures the Caryl Churchill style, blending theatricality with reality to tell a real life saga of the working-class. Told through snapshots of intertwining stories, Fen chronicles the people of the Fen and how traditions are passed down from generation to generation. Using a small company that portrays an assortment of roles, Fen may be one of Churchill’s lesser-known works but packs one heavy punch. For the most part, the central character is Val, a young woman who goes on a journey to not only find faith in a new love and life while dealing with the harsh realities of her past and present. We move into scenes featuring her cohorts, all who pass time with gossip, playful passages where the children pass time by rummaging around the land interacting with various elders, and snippets of life as the women and girls are getting dirty with the land. With so many characters to track, director Patricia Lynn needed to find a way to give each character a personality yet keeping the pace swift, avoiding massive costume shifts. It takes some time before we can truly grasp many of the relationships but once you catch on, the story illuminates. Lynn’s sleek staging optimized the production. The scenes bleed cleanly into one another, rarely allowing dead air. Exploring the less is more theory and utilizing only a handful of props, Lynn was still able to portray a world unfamiliar to the audience. Lynn painted a picture of a dank marshland where dreams go to die. At first pass, choosing to use a long lane of playing space with the audience forced to sit on opposite sides of the room sounds worrisome. Yet Lynn kept the action varied, employing the deep ends to her advantage. She even played with the upper tier of the theater as a playing space, utilizing levels to her advantage.
Val was the only clear arc in Fen, which may be due to Churchill's writing or the dominating performance from Aimee Rose Ranger. Ranger radiates with hope. There is something delightful the way Ranger carried herself through Val’s journey. Lizzie Vieh is transformative, easily shifting age and gender. As the resident male of the company, Rudi Utter offers gruffness, portraying the drastic differences between gender in this world. His times as Frank against Ranger’s Val were heartwarming. Rounding out the company, Annie Harper Branson, Katie Consamus, and Lauren Lubrow fill out the ensemble parts, shining through their notes of humor.
Why Fen is not produced more often is a bit shocking. Red Garnet Theater Company has provided a solid production of a strong text. Sure the storytelling took some time to heat up, once it did, the audience was along for the ride.

Who says you need words to tell a story? In Mike Spara's Conversations with Body Language, Spara offers an evening of solo wordless sketch comedy that pays homage to classic physical comedy by blending it with a upbeat soundtrack. Only Spara puts a modern twist on the night. Conversations with Body Language is essentially a series comedic snapshots that are filled with subtitles. Spara doesn't go for overt, laugh-out-loud jokes, allowing those little moments to shine. While they are present, it's the tiny humorous jabs that you truly appreciate.

Spara's show has an eclectic array of stories to share. Highlights of the night include concocting and consuming a morning "smoothie" of a half dozen eggs and cottage cheese, a bubbling fool interrupting an orchestra playing a sappy Kings of Leon song, a karaoke routine where the video is interspersed with the presidents (and potential future presidents), and a love affair with a life-size Buzz Lightyear balloon. There are bits where Spara will attempt to interact with the audience, so be ready. You've been warned. With so many sketches jam-packed into an hour, Conversations with Body Language feels excessive. Spara is constantly forced to one up himself and when the next sketch doesn’t reach the height of the previous, it drains the momentum. Perhaps a reshuffling of scenes could alleviate the woes of flow. Though he should keep the “ottermission” interlude right where it is. Just wait until you see the video that accompanied it. It just might garner the biggest laughs.
To honor the physical humor of the silent film age, Spara brings the title cards to the 21st century. Using projections to serve as the title cards, the use of technology helped to move the piece along. Spara, who also directed the piece, planned to have the music and projections perfectly timed. Sadly, they didn’t always sync up, causing some minor delays in projection-necessary skits.
Mike Spara has a knack for giving it his all, even if his go-to audience participant didn’t quite react the way the scene called for. Nevertheless, what should be celebrated is the ingenuity and the subtle humor Spara offered. Conversations with Body Language is just a night of fn.

America is a scary place and Dandy Darkly is here to spook you silly. The acclaimed story yeller, yes that's right a story yeller, brings tales of horror to Under St. Marks in Dandy Darkly's Trigger Happy. With loaded guns filled with bullets of truthful satire, Dandy Darkly takes the audience on a ride like no other. And there certainly is no one quite like Dandy Darkly.
With dark, fairytale satire to share, the title alone is evocative of society. Yet that trigger Dandy refers to is also a warning that his material will likely strike you in some form. From an American werewolf to an American icon to an American landmark, Dandy takes stories with shades of notoriety into twisted mythical nightmares that are warnings to us all. With morals inside, the stories we hear may scare you but it's the style in which he spits his words that makes the evening obscure yet, well, dandy. The text that Dandy Darkly offers is precise. His word choice was deliberate, honoring the power of three with his story sets. The only issue is it takes two false intros before the storytelling finally gets going. With the underscoring being an important scene partner, Dandy Darkly used it to his advantage. The chemistry is undeniable.

photo by Bobby Miller

As a performer, Dandy Darkly is enthralling. He is a unique glittery rhinestone rodeo clown. He has a provocative way with language as words fall off his tongue. There's a dash of joviality and a spritz of terror that makes up his persona. It's as if the demonic ghost of Paul Lynde is possessing him. Nonetheless, Dandy Darkly is a unique character. The costume alone sells this character. Sporting a cowboy shirt, decked out with skulls and red, white, and blue rhinestones, a bedazzled cowboy hat, and makeup that rivals any clown, highlighted by Gaga-esque eyeshadow, the image that Dandy Darkly presents captures the essence of haunting humor.
Directed by Ian Bjorklund, Dandy Darkly’s Trigger Happy moves swiftly, keeping Dandy Darkly on his toes. Bjorklund helps Dandy Darkly on track, assisting him in hitting certain words. The cadence of language is important, and Bjorklund guided the storyteller. The lighting design by Christina Watanabe was striking. It was spooky yet optimistic. Clearly, it’s a theme that keeps replaying in the show. With a tattered fabric as the only scenic piece, it offered a unique vision of the American flag. As the lights shine on it, you can see handprints that appear to be placed in blood. It’s a twisted image, but that’s exactly what this show is.
When the eclectic preshow soundtrack includes “Mammas Don’t Let Your Babies Grow Up to Be Cowboys” and “The Haunted Mansion Theme Song”, you know you’re in for a doozy. Dandy Darkly is a wordsmith but his show is not for everyone. Dandy Darkly’s Trigger Happy is not your average solo piece. But sticking out of the pack is ok sometimes.

Storytelling can be simple. All you need is a place to share it. And maybe a little chalk. In Alex Curtis’ Chalk, Curtis creates a world of his own on the walls of the Kraine Theater where his dreams become a reality. Chalk is cute and easily an audience pleaser but by no means is it perfect.

Chalk is a great idea in theory. Using a little bit of clowning and a whole lot of imagination, Curtis concocts a story that harkens back to the good ol' silent comedies and comedians. With all the ingredients ready to create something special, there still seemed to be something missing. And that is a soundtrack. Yes, Chalk is a silent comedy. But there was occasional sound coming from actor and effects alike. When Curtis incorporated music, the excitement was immediately amped up. The post heartbreak beat with the fantastic choreography with the coat rack and sappy song was pure perfection. Curtis needed more of that. Prior to this beat, Curtis would only use elements, either movement, drawing, or sound cues but when they're all combined, it worked wonders. It made things active. While it may have strayed from Curtis’ initial concept, deviating a bit can sometimes elevate a piece. Rather than having a singular director, Curtis had a group of “Outside Eyes” assist him in his development. Having multiple vantage points can be worthwhile but in the end, there was a strong lack of a cohesive vision. And that clearly came in the form of the length of the beats. Chalk starts off slow, overextending some early moments, when it does finally get going, Chalk is endearing.
As a performer, Curtis has a flair for physicality. He is a delight to watch, capturing hearts and breaking them when his does. The character Curtis creates is goofy, falling all over the stage. His relationship with the coat rack, expertly crafted by Alex Haynes, is unbelievably special.
Chalk is a show that will warm your heart but it’s all a show that is still a work in progress. In time, Alex Curtis will have a hit on his hands. It just needs a little more fleshing out.

Take a beloved classic sitcom and a cop show franchise and what do you get? CSI: Mayberry. Written and directed by Genny Yosco, the characters of "The Andy Griffith Show" are transported into a "CSI" show to investigate a string of brutal murders. The idea is a fun one. But when parodying well-known material, it all comes down to execution. Perhaps it was first night jitters but the execution was just a bit off.
From a parody standpoint, "The Andy Griffith Show" received a little more attention than the "CSI" franchise. That being said, those with a deep affection for Andy and Barney and the rest of the gang will have great appreciation for their portrayal. As far of the structure of the piece, Yosco kept it like a parade of characters that appeared and, spoiler alert, got murdered. The shtick was predictable and in the world of comedy, the killer could be seen a mile away. Yosco could easily have used Opie to her advantage. Reference him as a running gag but not reveal him until it was entirely necessary. It sadly spoiled the joke.

In the world of spoof, situation and character identification is key. There was a great character study in the roles of Barney Fife and Andy Griffith played by Nick Denning and Andrew Rappo respectively. The moment Denning opened his mouth, you could hear Don Knotts. Denning has a strong sense of personality, emulating the Barney quite well. Denning kept the southern drawl until it disappeared in the moments where he played “Bad Cop”. Rappo’s Andy was very intimate and delicate. It captured the mild-mannered TV dad well, though his stiffness may have been better suited for the screen. Denning and Rappo had a strong connection on stage, working off of one another when things almost got derailed.
From a directorial standpoint, Yosco may have benefitted from bringing in another eye to assist. One of the biggest woes of the piece were the transitions. The blackouts where not accompanied with any sound cue, which generally is a bad idea. In this world, perhaps just doing the iconic whistle theme from “The Andy Griffith Show” would have sufficed. It would help bring it into the sitcom world.
Moving forward, Genny Yosco has so much potential to work with in CSI: Mayberry. Imagine the possibilities of bringing that PG-13 rating up to an R and really driving in the sex jokes and crude humor. Nothing's funnier than one of America's favorite TV dads getting a little edgy.

Imagine a world where disease has destroyed a population and has forced regulation on human interaction and intimacy. And imagine that humans are forced to work as matrons for sex robots who serve as the vessel of love. That’s the world Emilie Collyer has dreamed up in the futuristic romance The Good Girl presented by Joyseekers Theatre at 59e59.
The Good Girl follows Anjali, a government-issued madam, who provides a robot who has been experiencing human-like emotions. When Ven, the mechanic, comes to save the day and fix the sex robot, the pair engage in an intimate bond of work and play. As the sex robot becomes so humane that more clients seek refuge with her, Anjali and Ven venture down a deep, dark hole of emotions that are unwarranted. With a gamut of styles, playwright Emilie Collyer’s science-fiction dark comedy explores the central theme of human connection. The Good Girl is fantastically absurd. Or is it absurdly fantastic? Either way, The Good Girl is unique. Clocking in under an hour, Collyer doesn’t offer fluff, getting to the point and never straying. For those looking for something consistent stylistically, this is not a play for you. Spanning from something in the realm of sitcom to noir thriller, The Good Girl covers it all. But it’s the way that Collyer structures her piece that establishes the evolution of Anjali and Ven’s relationship. She incorporates an exquisite cadence of dialogue. By shifting from fast-talking to moments of measured stillness highlights the intimacy of the story. With the intricate dialogue being what it was, perhaps Collyer ran into trouble in the science fiction element of the world, meaning she relied on the audience to catch on fast. And it’s possible that didn’t happen. While she kept most of the terminology accessible, we don’t really know why we are where we are. It gets lost.
Bringing this play to life relied heavily on trust and chemistry. Thankfully, the duo of Giacomo Baessato and Leah Gabriel played nicely off of one another. Baessanto has Chris Pratt leading man qualities. He’s a little bit goofy but lovable and passionate. Ven could easily have been played like a stereotypical repairman but Baessanto crafted a character that was more dynamic and interesting to watch. Leah Gabriel’s Anjali was filled wit strength, determination, and a heart that burst out through the tense situation. Gabriel gave Anjali a grounded demeanor to start but just as her sexbot began to unravel, Anjali did too.

photo by Lloyd Mulvey

Director Adam Fitzgerald played with the various styles that Collyer presented him with. With so much opportunity, Fitzgerald provided variety. Were they cohesive? At times. But with little space to work with on scenic designer Dan Daly’s set, Fitzgerald made the most of it. Daly’s blue-toned retro looking apartment was smartly structured. Just that slight angle of the playing space compared to the audience riser added an element of unease. At first you had to wonder why the walls were built using a fabric but in that final scene as the skeleton of the structure was exposed and lighting designer Zach Blane’s horrifyingly awesome green light shined in, it made it all worthwhile. The sound design from Julian Evans was eerily, especially with the low rumbles creeping in. The only element of the production design that felt off was from costume designer Kaitlyn Day. Color was key in the overall design of The Good Girl. You could get away with the monotone grey that Anjali wore, though it certainly wasn’t interesting to look at. But the shirt that Ven was provided stuck out. And not in a positive manner. With so many cool colors on the stage, the introduction of yellows and browns in the plaid shirt was jarring. It felt like a mistake.
The Good Girl is a play for those who seek theater that’s a little bit weird and a lot a bit off. This is not your average dark comedy. Emilie Collyer has a vision of absurdity that allows her themes to echo.

Cottage B at the Sprucehaven Lodge is a place that is filled with skeletons. Skeletons from a woman’s past and present. In Sprucehaven B, the twisted drama written by Mark Cornell, we begin by seeing a meeting between old flames who happen to be, after ten long years, still married. When Isabel cuts a deal to have one final intimate encounter in exchange for signing the divorce papers, things swiftly take a turn for the fatal. In the next scene, we jump backwards in time as we see Isabel as a thirteen year old reunited with her father after being rescued from being kidnapped. And yet again, things take a drastic twist. Sprucehaven B is a character study of a woman with issues in trust and men and the triggers that make her snap. With inspiration clearly from writers like Stephen King, Cornell is a lover of the plot twist. In both scenes Cornell provides, a drastic plot twist takes central focus. For those who enjoy shock value, this is a script for you. While it’s likely these two plays could live alone, together it is an examination of character. And thus, brings up some dramaturgical woes, mostly in questions regarding the timeline of events. In the first act, the question of why, after ten years, this is the moment that Tommy takes action in getting Isabel to sign the papers. Cornell hints at reasons but they don’t seem strong enough to take affect. Practicality in reality isn’t always something that must be taken into consideration in theater. Sometimes the main mission is to entertain. And possibly the bigger question of the evening is a whole is figuring out how, after Isabel does what she does in Act II, she gets away with it and what happens next. Sadly, Cornel doesn’t offer enough exposition in Act I to satisfy this answer. There may be hints, but that’s about it.

photo by David Anthony

Creepy, horrific twists are exciting to explore on stage. But in this genre, a strong actor is necessary to sell it. Sadly, both the women portraying Isabel didn’t quite succeed as the driving force in either scene. Elizabeth Burke seemed to allow her New England accent get the best of her. While trying to maintain the integrity of location, her character never really found the twisted darkness it needed to scare the audience, and Tommy. Samantha Turret’s Isabel endured a traumatic experience that certainly forced her to mature. That being said, Turret did not portray thirteen years old in a realistic manner. Tonally, the play felt dramatic and wanted to live in that world. Turret’s characterization was far too comedic. When it comes to maintaining the genre, Tucker Bryan and Ari Veach captured the thriller essence. As estranged husband Tommy, Bryan wasn’t bogged down by accent, yet still captured a man seeking escape. Veach’s Snodgrass, 70s moustache and all, merely walked on stage and brought uneasiness to the world. Richie Abanes as Isabel’s father portrayed a man longing for reconnection but oddly was the sole cast member to not have an accent. It was a bizarre choice that affected the piece as a whole.
Creating a thriller is not easy. Director Akia did her best to bring the elements together in this festival setting. With stronger actors as Isabel and Young Isabel the overall tone may have been captured but the other features didn’t quite add up. While the schlocky 70s hotel was captured in Jak Prince’s design, the lighting didn’t do match. In the first act, Isabel lights three lanterns as we learn the power is out. While lighting the actors and scene is important, the practicality of the cast light combined with the theater lights brought further down would have created the eerie mode of the piece.
Sprucehaven B has elements that could scare the pants off of the audience. Only there seemed to be a lot holding back this production. The twists couldn’t quite save Spruchaven B.

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