Theater in the Now

photo by Keith Gemerek

Name: Justin Sayre

Hometown: Forty Fort, Pennsylvania

Education: NYU, Michael Howard Studio

Favorite Credits: The Meeting* and Night of a Thousand Judys

Why theater?: It’s my first love and the art form which leads me to the most ideas and the most bliss. It’s sculpting in snow, gone before it’s finished and I love it. There’s no more powerful way to tell a story.

Tell us about Love’s Refrain: Love’s Refrain traces the life cycle of a star, through formation to death, and interweaves personal stories from my life to illustrate my own sense of romanticism. It’s the most personal and poetic piece I’ve ever written and I’m hoping it marks a new direction in my work.

What inspired you to write Love’s Refrain?: I was listening to a story on NPR about the death of the stars, the end of light in the universe, and it made me think about love. How will people know about Love? What will they wish on?

What kind of theater speaks to you? What or who inspires you as an artist?: I’m inspired by all sorts of theatre and obsessed with it. I collect Cabinet Cards of Actors of the 19th Century, I read plays from around the world, I see as much as I can. I love new stories from different voices. I’m most thrilled by theatre that uses its limitations as its gift. There’s no CGI there just a group of people having an experience. I still think there’s something almost holy about that.

If you could work with anyone you’ve yet to work with, who would it be?: So many people. I’m writing a play with Martha Plimpton in mind. And I would love to work with Blythe Danner or Viola Davis. I love Alex Timbers and David Cromer’s work. I’d die to have a play at the Public or the Guthrie.

What show have you recommended to your friends?: I’m taking recommendations recently. What do you got?

Who would play you in a movie about yourself and what would it be called?: I think I would like Melissa McCarthy to play me. Beard her up and let her run. I think the title of the movie would be “Dime Store Bling.”

If you could go back in time and see any play or musical you missed, what would it be?: Kim Stanley or Eva Le Gallienne or Ellen Terry in anything. The Glass Menagerie with Laurette Taylor. Geraldine Page in “Sweet Bird of Youth.”

What’s your biggest guilty pleasure?: I like a sour patch kids and streaming episodes of “Grey’s Anatomy.”

If you weren’t working in theater, you would be _____?: Writing books or working on TV. Like I’m doing anyway.

What’s up next?: Finishing a screenplay, and two new plays for the fall. More editions of The Meeting* and Night of a Thousand Judys.

For more on Love's Refrain, visit lamama.org

Name: Tommy Jamerson

Hometown: Portage, Indiana

Education: BS & MFA in Playwriting

Favorite Credits: Being selected to write for the Gender, Hate, & Violence Conference in 2007, the Cher-themed jukebox musical I was asked to draft for the Georgia-based Horizon Theatre Company, and getting to adapt a theatrical Choose Your Own Adventure version of The Wizard of Oz.

Why theater?: Because with theatre you can do anything, say everything, and unlike film, it can change and evolve day-to-day, performance-to-performance, and it’s never the same experience twice.

Tell us about Rags to Bitches: A Battle of Wits & Wigs: On its sparkly surface, Rags tells the tawdry and bawdy story of two long-time drag rivals duking it out backstage at the US Open… Legs Drag Pageant. But “tucked” under the sequins and just beyond the duct tape, there’s also a tale about insecurity, friendship, and learning to admit when you’re wrong. It’s basically an educational show for children, but with female illusionists… and cursing.

What inspired you to write Rags to Bitches: A Battle of Wits & Wigs?: When am I not inspired by drag queens? They’re truly living, breathing works (and werks) of art. But if I had to pinpoint an exact instance, I would say it came while watching the feud between rival queens Coco Montrese and Alyssa Edwards during the fifth season of RuPaul’s Drag Race. That was one for the reality TV record books.

What kind of theater speaks to you? What or who inspires you as an artist?: All theatre speaks to me really, but primarily my motto is, the campier the better. As far as my theatrical heroes are concerned, Charles Ludlam and Christopher Durang are my inspirations, mentors, imaginary best friends, and literary crushes (but don’t tell my husband).

If you could work with anyone you’ve yet to work with, who would it be?: Too many to name, but if I was forced to only pick four: RuPaul, Liza Minnelli, Kristin Chenoweth, and Britney Spears. Now if only I could get all of them in the same room at the same time – that in itself would be one heck of a play! Someone out there, please make it happen!

What show have you recommended to your friends?: Last year’s revival of The Color Purple. I can’t praise or recommend it enough. Truly a gorgeous, sumptuous, life-affirming piece of theatre.

Who would play you in a movie about yourself and what would it be called?: Channing Tatum, hands down. Who wouldn’t want to be played by him? As for a title? "Straight to VHS: Stories from a Gay Writer"

If you could go back in time and see any play or musical you missed, what would it be?: Bernadette Peters in the 2003 revival of Gypsy. I’ll never forgive myself for missing that one. Thankfully I was able to see her in Follies in 2011.

What’s your biggest guilty pleasure?: Honestly I think my life is nothing but guilty pleasures. From my taste in music (bleach blonde pop tarts of the lip-synching variety), to my diet (the “faster” the food, the better), to my taste in movies (all things Lindsay Lohan), to television (Real Housewives of EVERYTHING).

If you weren’t working in theater, you would be… ?: There’s a part of me that’s always wanted to be a dentist. I can’t for the life of me explain why, but it’s always been there, simmering on the backburner.

What’s up next?: A couple things actually. A gay, 80s-tinged fantasy I co-wrote titled Eternal Flame: The Ballad of Jessie Blade is being produced through the AlphaNYC Theatre Company at the Corner Office Theatre in Times Square. I also have a children’s play, Once Upon A Pine: The Many Misadventures of Pinocchio, premiering in April in New Orleans, and this summer my alma mater, Indiana State University, is mounting a production of my play, The Big Bad Bullysaurus.

For more on Tommy, visit tommyjamersonplays.com

Name: Chip Bolcik

Hometown: I live in Thousand Oaks, CA

Education: University of Maryland

Favorite Credits: Strawberry One Act Festival, The Seven, Scenes from the Staten Island Ferry.

Why theater?: Everything else bores me.

Tell us about Ferry Limbo: My friend John Duvall died from a rare bone cancer 21 years ago, and I have always wanted to write a play to honor him. In the past, I have always included his name in my plays, but this play is a tribute to him. It is not about him specifically. It just honors his life.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that makes you laugh and cry inspires me. As an artist, I am inspired by the audiences that come to see my work. It is just incredible to me that something that comes out of my brain is performed in the theater, and goes into their brains so we have a shared experience .

If you could work with anyone you’ve yet to work with, who would it be?: Meryl Streep, Sean Penn, Robert DeNiro, Bradley Cooper and George Clooney all come to mind.

What show have you recommended to your friends?: Mine.

Who would play you in a movie about yourself and what would it be called?: George Clooney comes to mind. He's funny, smart. He's way more handsome than I am, but what the hell, you asked. The movie would be called, "Why is George Clooney Playing Chip Bolcik?"

If you could go back in time and see any play or musical you missed, what would it be?: Peter Pan with Cyril Richard and Mary Martin. I saw the kinescope, but I would have loved to be in the audience and see it in person. Also, A Streetcar Named Desire with Marlin Brando.

What’s your biggest guilty pleasure?: Sugar.

If you weren’t working in theater, you would be ______?: I would be traveling the world on a sailboat, or living on an island far, far away. Somewhere cheap, and beautiful.

What’s up next?: Next, I go back to LA and keep writing. A writer writes and that's what I do.

Name: Jeffrey Roth

Hometown: Mahwah, NJ

Education: BA in Theater Arts from Drew University/London Dramatic Academy

Select Credits: My favorite role/production experience is hands down playing Pony in SubUrbia when I was at Drew. I love that play and we had an amazing cast/director.

Why theatre?: Theater is a medium that allows us to see mirrors of ourselves as individuals or a society in an incredibly urgent and honest way, and I love being part of the storytelling process that facilitates that reflection.

Who do you play in The Pillowman?: Katurian Katurian Katurian

Tell us about The Pillowman:The Pillowman is a Brothers Grimm/Kafka-esque dark comedy about a writer in a totalitarian state being interrogated about his short stories and their similarities to a series of local child murders. It's intense and funny and is ulitmately about the purpose of art and storytelling itself. The Pillowman, directed by Matt Okin, will be performing at Black Box Studios in Teaneck, NJ from April 7-17.
What is it like being a part of The Pillowman?: The process has been intense and fairly draining, but ultimately a lot of fun. We have an incredible cast and a director that is very open to each of our own thoughts and input, really allowing us to freely explore this world and the characters in our own way while keeping everyone on the same page.

What kind of theater speaks to you? What or who inspires you as an artist?: I really like theater that makes bold and daring choices, that speaks honestly and allows for real reflection and change within ourselves as artists and audiences.

Any roles you’re dying to play?: Ken in Red, Matt in Red Light Winter, Doug in Gruesome Playground Injuries, Lee in True West, Jesus or Judas in Jesus Christ Superstar

What’s your favorite show tune?: Not really big on musicals...but I've got this strange love for Jesus Christ Superstar and Miss Saigon. I just think the music is really incredible and they both have really powerful numbers. I was also recently super blown away by Fun Home; I wasn't expecting to be crazy about the music in it but "Telephone Wire" really hit me like a brick, goddamn. I think right now I'd have to go with that one.

If you could work with anyone you’ve yet to work with, who would it be?: Sam Gold, Mark Rylance, Paul Thomas Anderson, Daniel Day-Lewis, Joaquin Phoenix...I could go on and on here.

Who would play you in a movie about yourself and what would it be called?: Probably Ryan Gosling or something. I dont know. I have no idea.

If you could go back in time and see any play or musical you missed, what would it be?: Everything ever by Annie Baker (but specifically The Aliens), Red, the Philip Seymour Hoffman/John C. Reilly production of True West, A Behanding in Spokane

What show have you recommended to your friends?: Most recently, Fun Home and the revival of Buried Child. Ed Harris is perfect.

What’s your biggest guilty pleasure?: Snapchatting toilet selfies (I know you have one, Michael)

What’s up next?: The fourth cycle of Rhapsody Collective, founded by Michael Bradley Block, himself!

As a child, it's believed your parents are invincible. Even though we know we grow up, it's hard to imagine that do too. But the sad reality is the old free get, the older get. In A. Rey Pamatmat's smartly executed House Rules, the heart of family is explored as two sets of siblings, who happened to grow up together, learn that blood is thicker than water as age and illness take a toll on the ones they loved.
Through an exploration of culture and generation, House Rules is an ensemble dramatic comedy with an exuberant amount if heart and truth. When Rod and JJ's father falls ill and laid up in a hospital bed, their lives are turned upside down as Dr. Rod is dumped by fellow doc Henry and JJ uproots his rising LA life. Meanwhile sisters Twee and Momo go head to head for attention, affection, and approval by their mother Vera. Through an exploration of generations and culture, House Rules is all fun and games until reality sets in. There’s a universality in Pamatmat’s story. With the exception of Henry, Pamatmat’s characters are Filipino. Through two generational lens’s, Pamatmat explores Filipino tradition and culture allowing for a wonderful narrative. There is an internal conflict for the younger quartet to assimilate yet still honor their heritage. It’s especially seen in the food fight between Twee and Momo. And in the end, Twee and Momo’s spat draws back to family ties. And that’s where the heart of House Rules is. Pamatmat has crafted a beautiful family play. The relationships are genuine. The struggles are true. It’s an honest portrayal of growing up in the adult game of life. Structurally, Pamatmat has crafted a strong narrative for each individual, though Ernie does have a significantly smaller arc. He has taken the time to give each character the respect they deserve. But there is one thing that is striking. Each person seems to have an additional story arc counterpart present. Vera and Ernie are connected. “Bad kids” Twee and JJ end up having one another. Rod has an emotional conflict with Henry. And that leaves Momo without a side companion. Pamatmat suggests some turmoil between Momo and roommate Sheila but without her presence, it’s easily forgotten. Perhaps Sheila existed in another draft and her references are just hold over, but with what is mentioned, some sort of Momo and Sheila arc could be interesting to show the outside stresses Momo must deal with in addition to her family. Though House Rules was an ensemble story, finding the right moment to close the piece seemed a bit hard. Without spoiling anything, Twee and Momo’s personal conflict finds resolution after an event reminds them the importance of family. Pamatmat stylishly harkens back to Twee and her language-learning program that happens to be teaching her family phrases. It’s on the nose but beautiful. You’d think that’s where the black out would come but it ends with Ernie in his hospital bed. Perhaps clarity was not in the production’s favor, based on the script, what was written did not happen. Further more, jumping from the sisters to Ernie seemed illogical. Had we seen Rod and JJ, maybe it would have been satisfying, but alas.

photo by Web Begole

Pamatmat crafted a very specific piece of theater. It was exceptionally cinematic in structure. How director Ralph B. Peña overcame the cinematic obstacles was crucial for House Rules success. Thankfully Peña did an exceptional job staging the play on Reid Thompson’s sleek design. Thompson truly used HERE to his advantage. It was a fabulous use of space. With so many locations to capture, Thompson married tradition with modern touches strategically placing each local on stage. Perhaps theater magic and Oliver Wason’s exceptional lighting design assisted in the ability to isolate scenes. Sure, you knew everything was visible, but they melted away. The only questionable element of Thompson’s design was the rainbow road tiling on the bottom portion of the deck. While it did create a cool effect with Wason’s tile by tile light up, the colors were jarring and could easily achieved the same success with a neutral pattern. The score that Fabian Obispo used incorporated a pretty lively jazz-infused theme. While it may not have deviated much, but it was present in every transition. It even was used in the end. Shockingly, the mood of the music didn’t match the mood of the moment, causing a jarring feeling. It sadly pulled away from the emotional beat.
The company of House Rules was comprised of a pretty stellar ensemble, each bringing a unique flavor. Taking on the grounded siblings, Tiffany Villarin as Momo and James Yaegashi as Rod found strength as the medical kids. On the opposite end of the spectrum were Tina Chillip as Twee and Jeffrey Omura as JJ. Both added a jolt of energy, though Chillip had some moments of sitcom over-acting. As Henry, Conrad Schott was soft, both personality and audibly, and subtle.
House Rules is a strong story about family that was smartly executed. The A. Rey Pamatmat and Ma-Yi Theater Company have something special on their hands.

Selling your soul for a price is an age-old story. From the Devil to Ursula, the device is well-known in literature. Finding a new perspective on this tale can be tricky but many have attempted. In Melanie Rose Thomas’ The Cave: a Folk Opera, Willow tries to pay off her father’s debt by selling her own life to a den of despair where her world gets turned upside down.
A seductive and dark fairy tale, The Cave: a Folk Opera is an ambitious sung-thru story of smoky lust and inescapable intrigue where a young girl is taunted with temptation after meeting a beast of a man who teaches her about true love. Though billed as a folk opera, Thomas’ score is eclectic featuring folk infused with jazz and rock. The Cave, both the place and show, are lost in place and time. The plot is thin and loose. What The Cave truly is is a concept album on stage. Thomas’ lyrics are beautiful but pulling plot from them takes wizardry. For a first time listener, it's hard to excavate the importance of the poetry while trying to make sense of story. Without a plot description to serve as a map to navigate The Cave, you'd be lost. Thomas has a hypnotically haunting score. With few exceptions, it lives in a predominantly moody midtempo world. With a thin plot, generic characters, and repetitive sound, Thomas could afford to cut the excess of material that would turn The Cave into a singular act. From a plot perspective, there were very few surprises. The progression was a bit predictable. Especially with Willow. Willow was the stereotypical fairy tale ingénue. Beat by beat, she mirrored an infamous princess heroine. From Alice to Belle, Willow brought nothing new to the table. Thomas took some time to explore the lives of the minor characters but, while they may have been partially interesting, their attention detracted from the central story. In this world, they were only useful serving as devices to further Willow's story.

There is a specificity to the world of The Cave. Despite being a bit on point, Christopher D. Betts and his team achieved the mood of seduction, lust, and darkness. The color scheme was a cohesive red, black, and white. And it was present everywhere. It was a bit on the nose but hey, it worked. The set by Kate Pincus-Whitney featured an intriguing doorway with a beautiful cutout that lighting designer Elizabeth M. Stewart utilized well. Due to spacial issues, the scenic element was smack dab in the center of the space, which would make sense had the band not existed. With the band present, blocking part of the structure, it knocked the symmetry off kilter. The costumes from Jahise LeBouef and Matilda Sabal kept the color scheme in mind with the sexy attire. With Willow’s transformation from light to dark a predictable plot element to being with, doing something more shocking would have been rewarding. Perhaps Willow’s dark side could have been red. At least it would have separated her from the other girls of The Cave as she was the favorite. The direction from Betts and choreography from Amanda Pinto was interesting. Despite the desire to set the piece at the turn of the 20th century, it didn’t quite read. There was something about Pinto’s contemporary choreography that felt forced and uncomfortable. Maybe The Cave didn’t need any dance as Betts musical staging read stronger. The moments where choreography was introduced, the story seemed to falter away. While Betts utilized space well, the use of the microphone was inconsistent. It’s clear that Spring Awakening played a heavy hand in inspiration. The way the microphone and the modern sound was worked into that story was the actors breaking out of character. That didn’t quite seem to be the case here. Firstly, the piece began and ended with Thomas herself on stage singing and then relegating herself to the side. Not only was Thomas outmatched vocally, you kept wondering what significance was to the story. Secondly, Willow and The Master had moments behind the mic. They were inner monologue moments but it wasn’t consistent with the rest of the staging.
With a precise sound that made The Cave, the company had to fit just right. Ashley Coia fit the image of Willow perfectly. She had an ethereal vocal. But she was no match for the voice from Jenisa De Castro, the strongest female vocalist in the cast. Though she was played a duo of supporting roles, De Castro made her presence known. Mark Taylor was rightly brooding as The Master. He exeduded darkness but astonished with his stellar vocals. Taylor has a pure vocal that transcends pop, folk, and glam rock. Though he ended up having little to do, Nikhil Saboo as the Puck-like Edwin brought some intrigue to the stage.
The Cave: A Folk Opera was a bold feat that hasn’t quite found its footing. Hearing the music from Melanie Rose Thomas in concert or listening form should be on your to-do list as the stage version is sadly in style limbo. The Cave: A Folk Opera needs some dramaturgical assistance as well as determining whether to perhaps make it all dance or all staging. For now, it’s lost in the opium den of the Access Theater.

Name: Elisabeth Ng

Hometown: Singapore, Scotland

Education: St Andrews University, Lee Strasberg Theatre & Film Institute

Favorite Credits: The latest show that I produced with my company Brooklyn Repertory - Chekhov’s Three Sisters. It was one of those magic scenarios where everything fell into place. We had a talented cast and crew that got along with no egos and a phenomenal director Victor Cervantes. Working on a great meaty script with a company who is like family, it doesn’t get better than that.

Why theater?: As a narrative form, theater is so primal and in the moment. The audience can’t put your story down to take a break, reflect or get distracted. They are compelled to live through those visceral moments relentlessly with the characters on stage. Playwrights use beautiful words and phrasing but it’s one thing to read and listen to words, it’s another to see those words lived through.

Tell us about Brooklyn Repertory Theatre: We’re a Bushwick based multiracial theater company. Brooklyn Rep is an inclusive, no walls creative space where artists can come work without having to deal with stereotypes. We produce both classical and contemporary plays, with a focus on presenting them with a diverse, multiracial cast that reflects today’s cosmopolitan society in New York. All our shows are deliberately cast colorblind.

What inspired you to create Brooklyn Repertory Theatre?: As an actress of color, I was getting frustrated with the roles I was up for after graduating from acting school. I would scroll through on Backstage or Actors Access and see nothing but ‘Caucasian only’ roles on offer, and when a role did pop up for me, it was inevitably some cliched stereotype or a role that required a humiliating accent. An agent once told me things are opening up and I should be grateful that there are more roles opening up for actors of color, even if they’re not ideal roles. But I don’t want to be grateful for anything less than equality. Actors of color are rarely offered roles that allow them to speak beyond their ethnic boundaries, and that’s what I wanted to change with Brooklyn Repertory. I also wanted to create a multiracial space where actors of all ethnicities come together to create, because the best way to foster cross-cultural understanding is through friendships and working together, not in separate homogeneous enclaves.

What kind of theater speaks to you? What or who inspires you as an artist?: I’m not an experimental or physical theater person. I can appreciate it, but it doesn’t hit me in the gut. I enjoy reading smart, language driven plays by Tom Stoppard and Samuel Beckett but they don’t do much for me when performed. What I love are visceral, human dramas. When I was studying English Literature at St Andrews University in Scotland, we had to do a course on American drama which was where I first encountered Eugene O’Neill and Tennessee Williams and I was hooked. I read up on American theater of that period, Group Theater, the Method and made up my mind I was going to move to New York to study this great tradition.

If you could work with anyone you’ve yet to work with, who would it be?: Joe Mantello

What show have you recommended to your friends?: The Humans by Stephen Karam and The Cherry Orchard (Maly Drama Theatre @ BAM). The Humans was so raw, so everyday...watching it made me realise each unhappy family is unhappy in the same way. I watched The Cherry Orchard after finishing our production of Three Sisters and an intense period of Chekhov, and I was blown away. Everything that we strove for in our production, they nailed. It didn’t look effortless, but in that effort which they didn’t try to make pretty or elegant, there was so much raw, full emotion. It was three hours long but didn’t feel like three hours. All the Chekhovian themes were there but they weren’t presented intellectually, you felt resentful/compassionate/frustrated at those characters as they play progressed.

Who would play you in a movie about yourself and what would it be called?: Speaking of colorblind - can I be played by Julie Delpy? I love her. I think I’m not far off the character she played in 2 Days in Paris. The movie would be a black comedy and present my life as far more interesting than it really is, with all the long shots of me daydreaming edited out.

If you could go back in time and see any play or musical you missed, what would it be?: The original Streetcar production with Marlon Brando.

What’s your biggest guilty pleasure?: Turning off my cellphone and not replying to emails….

If you weren’t working in theater, you would be _____?: A filmmaker.

What’s up next?: We’re organizing an acting workshop with method coach Ronald Rand. As part of our diversity mission, we’re offering scholarships to 5 high school students from diverse backgrounds. As a company we’re taking a hiatus and working on fundraising for our next season.

For more on Brooklyn Repoertory Theatre, visit www.brooklynrepertory.com and www.facebook.com/brooklynrepertory. For more on Elisabeth, visit www.elisabethng.com

Name: Elizabeth Frino

Hometown: Pompton Plains, NJ

Education: Lehigh University

Favorite Credits: Scenic Designer for Romeo and Juliet, Props Master for Peter and the Starcatcher, Scenic Artist for Every Tongue Confess

Why theater?: I love how theater brings designs and creative ideas to life.

What is your role on Primary?: Props Designer

Tell us about Primary: Primary follows the life of a passionate woman who dreams of change, her unsupportive husband and their intelligent little girl during the Clinton Impeachment hearings. Laura Hollister senses a need for change in the government and after a surprising nomination decides to run for State Representative. Arthur, Laura’s husband has trouble believing in her, leaving their daughter Sophie in the middle where she maturely forms her own opinions on the family’s situation.

What inspired you to design Primary?: 90s sitcoms/my childhood. This show is totally the 90s from Sophie’s love of Sailor moon to the Clinton Impeachment hearings.

What kind of theater speaks to you? What or who inspires you as an artist?: Right now I am into more realistic theater. I am interested in plays that I can easily relate to and that force me to think deeper into my own life. Anything and everything inspires me as an artist. It really depends on the show and the world it is set in.

What makes a design “successful”?: A successful design takes the audience out of the reality of their lives and into a new world.

How do you approach your work individually and collaboratively?: I read a play three times before I do any research or start designing. Then I like to have several discussions with the design team to see how they perceived the play and to gain a better understanding of the show.

What is your favorite part about the collaboration process?: Working with other creative minds.

If you could design any play or musical you’ve yet to design, what would it be?: Probably Cabaret because it is my favorite musical, and I would love the opportunity to work on a musical.

What’s up next?: More props and more painting. I will be the Props Master for Paloma at the Kitchen Theatre, Scenic Designer for Bad Jews at Lehigh University and I’ll be spending my summer in Maine designing and creating props.

For more on Elizabeth, visit http://www.elizabethfrino.com/. For more on Sanguine Theatre Company, visit http://www.sanguinenyc.com/

Luigi Pirandello’s Six Characters In Search of An Author is a staple for theater artists as you’ve likely read or performed the play at least once in your career. The play follows six lost people trying to find a home. Theodora Skipitares riffs off of Pirandello’s drama in Six Characters (a family album) exploring the uniqueness of family.
Staged at La Mama’s Ellen Stewart Theatre, Six Characters (a family album) is woefully ambitious. Using Pirandello as a jumping off point, Pirandello himself appears searching for answers as anthropologist Margaret Mead guides the audience on the intricacies of family from Ancient Greece to today. Finding inspiration from Pinocchio, Oedipus, “An American Family” and the Flint water crisis, Theodora Skipitares, who serves as conceiver, designer, and director, throws all of her eggs in a single basket to create a whimsical hodgepodge that looks fascinating. But looks can be deceiving. Using colossal puppets, lustrous orbs of light, and old-fashioned stagecraft, Six Characters was an interesting exploration of family with lackluster execution. Skipitares’ variations on family were singularly tied through the oddities of family. From a man hoping for a son through a little wooden boy to an uncouth romance between mother and son to America’s first reality TV family, Six Characters explored the timelessness of the ever-changing appearance of family. But where Skipitares took a sharp turn was the final movement set in present day. Skipitares’ discussion on the Flint water crisis had family at its core but it didn’t have the same feeling as the others. To end the evening with it felt emotionally manipulative. Compared to the rest of Six Characters, textually, it did not mesh.

photo by Theo Cote

The fascinating thing about Six Characters is how little the text played a part in comparison to the technical elements. Skipitares’ Six Characters is all about the visual experience. And that’s likely what will draw you to La Mama. Six Characters fits the experimental quota to a t. It’s clear Skipitares and her creative team spent much time discovering how exactly this world moved. And, for the most part, it was fluid. For those unfamiliar with the Ellen Stewart Theater, the space is ginormous. Skipitares broke the experience into two parts and two spaces. The evening begins in the front of the theater where a playing space has been crafted by pushing the stadium seating forward. Here, we’re immediately graced by Family 1, the overwhelming trio of giant Pinocchio puppets, each reminiscent of a pop culture version of the character. We also get Family 2, Oedipus and Jocasta, played on the top tier of the stadium seating using mask work. Upon conclusion, momentum is lost as we are escorted to the normal seating of the Ellen Stewart Theater for Families 3 through 6. This is home to light show. Each of the six families that Skipitares captures has its own unique appeal. Whether it be utilizing Donald Eastman’s scenic design, Skipitares’ puppets, or video by Kay Hines, each was exclusive to itself. But in an age of evolving theatrical technology, Six Characters felt cheap. It lacked the wow factor.
The performers of Six Characters (a family album) did a fine job creating Skipitares’ families but in the end, Six Characters (a family album) is a visiceral experience. While it may not have offered anything new, it solidified what we already knew. The importance of family.

Everyone needs love. Even grad students. In West of 10th’s production of Itamar Moses’ Completeness directed by Andy Scott, Elliot and Molly find an emotional bond that unite their hearts and algorithms.
Originally produced at South Coast Rep then Playwrights Horizons, Completeness follows Elliot, a computer scientist, and Molly, a molecular biologist, who happen upon the same computer cluster and form an undeniable connection. Littered with brainy dialogue, Completeness is more than a play about science, it’s a play about emotional bonds and relationships between opposing forces. Completeness is a very specific story. Moses has a smartly intricate text that is science on the surface but filled with subtext. And that is what makes Completeness accessible. Unfortunately, with perhaps the exception of Joe Pietropaolo, the company didn't quite grasp this. It was hard to uncover the importance of the context if you didn't believe the actors understood what they were saying. It sadly felt like regurgitated textbook passages as opposed to important plot driven dialogue. As a whole, the execution was clunky. Director Andy Scott did his best trying to steer the ship and bring out the nuances of Moses’ exceptional text but authenticity can only go so far.

Completeness is a story of intimacy that requires chemistry. And Joe Pietropaolo and Rachel Goodgal had spurts of chemistry as Elliot and Molly. Pietropaolo was fit to portray Elliot. He was affable and appealing. He was able to make Elliot the driving force of the production. Molly tends to be a monotonous character but Goodgal didn't offer any moments to add any depth or flavor to the character. The end game was clear for Molly. There was little mystery. As the characters of conflict, Therese Dizon and Terrance L. Johnson played up villainous caricatures. This allowed you to root for Elliot and Molly to succeed despite the odds.
From a production standpoint, there were elements that worked and other things that didn’t. The set by Christina Tang was clever. The grid floor fit the scientific world. It would have been interesting to see it extended onto the walls of the Jewel Box theater. Though they caused some occasional site line issues, the holed out computers allowed for Scott to create some engaging stage pictures. The computers on the back wall that provided occasional photos of scene locations didn’t quite add much of anything. The lighting from Maryam Sweirki was virtually a basic wash and it was a bit harsh.
Tackling Itamar Moses and Completeness is for the brave. This was an ambitious undertaking for West of 10th that didn't quite pan out.

Name: Greg Mullavey

Hometown: Jamestown, NY

Education: Hobart College, BA

Favorite Credits: Theatre: The Price (Guthrie Theatre where my performance as the older brother, Walter, gave Arthur Miller, its author, reason to shake my hand afterwards and compliment me with "terrific performance," and we had a good long chat along with his wife afterwards over dinner as guests at the owner"s of the Pillsbury estate...), King Lear (Lear, Oklahoma City's Center Theatre), Rumors (Lenny, Broadway starring opposite Veronica Hamel), Clever Little Lies (Bill Sr, opposite Marlo Thomas), Names (Lee Strasberg, opposite Dixie Carter, which prompted Lee’s wife Anna after opening night to hug me afterwards and say "Oh, my God , I thought you were Lee, you were amazing and I loved you "); Television: “Mary Hartman, Mary Hartman” (Tom Hartman), “Centennial” (Mule Canby); Film: “Bob&Carol&Ted&Alice", “The Desperate” (General Von Ulbricht, Best Actor at Iowa Short Film Festival)

Why theater?: Because it's live and it's more of an actor's medium as opposed to film where the director and editor are in charge

Tell us about Two Rooms: Even though it was written in the 80s about the Lebanon war and factions like Hezbollah in that period resonates even more today with even more violent extremists at large e.g. ISIS and what a hostage goes through being held as a political and financial pawn in the pursuit of power and the devastating effect it has on his wife, a young liaison official of The State Dept. and a reporter trying to harness the power of the 4th Estate and its media to get the hostage freed.

What inspired you to direct Two Rooms?: The minute I was asked by our actor//turned producer Monica Cangero I jumped at the opportunity .. The timeliness of the subject matter resonated with me and the brilliance of Lee Blessing's words prompted me to say yes because I knew the journey would be an exciting one and it is definitely one for all of us involved with the project.. And we're loving the process and very excited to share our exploration of Two Rooms with our audiences come opening on the 13th of April .

What kind of theater speaks to you? What or who inspires you as an artist?: What kind of theatre speaks to me is hard to categorize but suffice it to say that any that has a fresh and innovative way to story tell because that's what we do; story tell with creative interpretive artistry. Music from opera to rock that soars with its story

If you could work with anyone you’ve yet to work with, who would it be?: Cate Blanchett, Martin Scorsese , Danny Boyle, John Malkovich, Jeremy Irons

What show have you recommended to your friends?:The Woodsman

Who would play you in a movie about yourself and what would it be called?: Daniel Day Lewis in "The Madness of Long Distance Running"

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 Marlon Brando in Streetcar.... and Laurette Taylor in The Glass Menagerie

What’s your biggest guilty pleasure?: Digital TV with Acorn and British Mysteries

If you weren’t working in theater, you would be _____?: teaching acting at a University/College.. I teach the Meisner technique now at Michael Howard's Conservatory here in NYC

What’s up next?: After Two Rooms I'll be heading to LA for some meetings for TV pilots through my LA manager

For more on Greg, visit gregmullavey.com

The Israeli-Palestinian conflict has been a talking point for decades upon decades. But why did it happen and how can it be resolved? The answers are abundant. With a wide views of views and opinions, one man traveled to the site of conflict to find answers. In Wrestling Jerusalem, Aaron Davidman goes on a journey in hopes of cracking the code of the age-old conflict.
Written and performed by Aaron Davidman, Wrestling Jerusalem makes a stop at 59e59 for a New York engagement. Davidman goes on a personal journey to the West Bank and the Gaza Strip meeting an array of characters that offer him a varied perspective of why and how the conflict started and solutions for peace. Wrestling Jerusalem is a deeply enriching narrative. The text that Davidman brings to the stage is stunning. No matter his personal beliefs, Davidman brings enough vantages that offer every side of the story. How the story is constructed is smooth. The trouble is the performance. When Davidman plays himself, he is fine. But when he merges into the sixteen other characters, things gets incredibly muddy. Davidman is successful as a writer. Not so much as a performer. His characterization is not the best. Davidman doesn’t quite set up each individual character so it’s incredibly hard to distinguish changes. Davidman and director Michael John Garcés limit Davidman’s characters to subtle vocal inflections and slight physicalization. They are so insignificant that you wonder how important the individual characters truly are. Could Wrestling Jerusalem be more effective as an extended monologue told through Davidman’s eyes? Or does this version of the text require a performer versed in character? Nevertheless, the text doesn’t reach the full potential it deserves.

photo by Allen Willner

Wrestling Jerusalem goes beyond a standard solo show and offers a visually appealing design. The scenic design by Nephelie Andonyadis is simple. A textured splattered cloth backdrop and a textured splattered stage floor. The desert-toned pallet allowed lightening designer Allen Willner to explore color to create a series of evocative looks. Despite changing locales, Willner provided a different visual expression through narrative mood. The score provided by Bruno Louchouarn was reminiscent of location and worked well for the transitions. What didn’t work was the slight choreography Garcés and Davidman layered in. It sadly didn’t add anything transitionally.
Wrestling Jerusalem is an incredibly important story. Aaron Davidman has written a spellbinding narrative that results in a conclusion of no clear-cut answers. And that’s how it should be. The sad trouble with Wrestling Jerusalem is the presentation. It’s so wrapped up in trying to be something more than it needs to be that it lacks the essentials of performance.

Name: Matthew Imhoff

Hometown: Janesville, Wisconsin

Education: BA in Music and Theatre from Luther College (Decorah, Iowa) and MFA in Production Design from Michigan State University (East Lansing, Michigan)

Favorite Credits:Spring Awakening: A New Musical, Widows, and Cyrano de Bergerac

Why theater?: I always knew it was going to be theatre since I was seven years old. I had no idea I would end up as a designer, but if you ask my family or those who knew me growing up, my career certainly isn’t surprising, to say the least. To offer the short answer, theatre brings together my favorite things: imagination, storytelling, art, truth, people, music, dance.

What is your role on Primary?: I am the Scenic Designer

Tell us about Primary: Primary is a World Premiere play by Gracie Gardner that deals with a mother, her child, and her husband during a local election campaign set against former President Clinton’s impeachment hearings. This play won Sanguine Theatre Company’s new play contest, and working on this production has offered me a glimpse into the writing’s process—something that is so foreign to me. I believe there have been three drafts sent out to the designers, and each time it really is like reading a new play. On a macro level, it has been very exciting to observe Gracie hone certain aspects of the play and abandon others altogether; I mean, that’s the same process as designing—honing and perfecting and abandoning—just the mediums are different. Ultimately, the work of the playwright is leading my work as a designer, and my aesthetic visions of the show have changed as substantially as each draft.

What inspired you to design Primary?: I think like much of Sanguine Theatre Company’s anticipated audience for this show, I grew up in the 90s—a little bit older than Sophie in Primary. This play offers a sense of nostalgia to the styles, fads, and issues of the 90s, but at the same time offers rather pointed moments where you realize how unchanged (politically and otherwise) we are to twenty years ago.

What kind of theater speaks to you? What or who inspires you as an artist?: I find theatre where all parts of the production—writers, director, designers, and actors— come together to create a truthful and striking moment for the audience to be particularly exciting. Playwrights certainly inspire me as an artist—they are the guiding force behind my work, and there are a few that I would be content to explore for the rest of my career. There is also handful of studio-based artists that I find particularly inspiring—those who take a commonplace object or everyday subject and manage to provide relevant and urgent commentary by provoking a visceral reaction in the viewer.

What makes a design “successful”?: I always find designs that accurately depict the world of the play and the characters that inhabit it to be successful. Creating a world that the characters fit into means what you’re creating isn’t always pretty (trust me, I’m designing a show about the 90s!). Sometimes what you discover the characters like and what their world looks like isn’t always keeping with good taste or personal preferences. As a designer, that can be challenging. I also find designs with subtle commentary on the theme of the show particularly stunning—it’s hard to accomplish and you have to have a keen audience to read those visual signifiers. I think what I find to be most successful are sets that have a sense of habitation—that the characters have lived there. It shows their habits and preferences; their likes and life experiences have informed their environment and it is through the human interaction with and the existence within the environment that the set comes to life.

How do you approach your work individually and collaboratively?: I live on this constant pendulum between working alone and working collaboratively. I spend a lot of time on my own in my studio researching, drawing, building models, drafting, and making discoveries about the show. Then I go to a meeting with everyone else, and they share all of their hard work and their discoveries and we figure out how and what portions of what we’re imagining fits together. And then I go off by myself and do the whole thing again with the new information from my collaborators. As a student, I really loved and protected my studio time, and to an extent I still do. Comparatively speaking, spending time in a room or rehearsal hall or theatre with my collaborators is much more exciting and than spending time alone in my studio. When I’m working alone, I have found I am most productive when I am deeply focused and have several hours without interruption to commit to the design. I usually wake up early in the morning to do the bulk of the design work—it’s a combination of being too tired to let an internal voice of judgment quiet discoveries but at the same time not too tired from a long day of work (a habit from grad school that has seemed to transition well). On the other hand, I find the collaborative process works best when it is ongoing, often, and brief—a quick e-mail or text usually does the trick between meetings (of which there are always too many and not enough, oddly).
What is your favorite part about the collaboration process?: I like the moment where I am personally stuck on a particular challenge (in design, in production, in build, in tech, any of the above) and I’ve explored all the possibilities and options that I can think of, and I ask for help from my fellow designers and they come back with the perfect solution. Even though I’m the set designer, all of the designers’ work is influencing and contributing to each other’s and so that distinction or idea of ownership is really arbitrary in my opinion.

If you could design any play or musical you’ve yet to design, what would it be?:Marat/Sade, Macbeth, and Jerusalem are all on the short list. I’d also love to try a show like Phantom or Wicked where the design is so iconic and see what I make of it.

What’s up next?: I’m the resident lighting designer at a dinner theatre in Wisconsin, so I’m flying there right after Primary opens to get a new show up. There are a couple of other projects in the works here in the city, and I’m always looking for opportunities to design.

For more on Matthew, visit www.matthewimhoff.viewbook.com

Name: Edward W. Hardy

Hometown: Manhattan, New York

Education: Master of Music – Aaron Copland School of Music, Cum Laude, 2014-15, Bachelor of Music – SUNY Purchase College, Cum Laude, 2010-14

Favorite Credits: As a Composer / Solo Violinist, The Woodsman by James Ortiz, A Brooklyn Boy by Steven Prescod and Moises Belizario, and Joe Turner’s Come and Gone directed by Dean Irby. Edward has composed and performed music for theatrical productions including Hamlet (Theatre of War), Joe Turner's Come and Gone (Dean Irby), Master and Margarita (David Bassuk), No Exit (Yellow House Pictures), Mother Courage and Her Children (Dennis Reid), A Brooklyn Boy (National Black Theatre/Vineyard Theatre), The Woodsman (59E59/Ars Nova/Standard ToyKraft). Edward has worked in cooperation with BAFTA, The National Black Theatre, Native American Composers Apprenticeship Program, Trilogy Opera Company, SUNY Purchase Conservatory of Acting, Dance/NYC, Katana Flight Foundation, Bard Conductors Institute, Tony Bennett Exploring the Arts Foundation, Google, Grand Canyon Music Festival, Colour of Music Festival.

Why theater?: I found my love for theatre during my first undergraduate year at SUNY Purchase. The senior acting company, 12’, was looking for a violinist that could act and play two characters in their production of Chekov’s Three Sisters. I quickly submitted for an audition. The director Dean Irby and Composer/Music Director Jim McElwaine asked me to play anything I wanted. I played through all the different genres of music I could think of on the spot; Classical, Romantic, Jazz, Latin, Country, Waltz, and Hip-hop. After the audition, I was cast as a Russian soldier and a beggar that both played violin on stage and in costume. Soon after I fell in love with theater. The spotlight, the responsibility, being immersed in a character and the connection with the audience. Much like classical music, theater is the place where I can be a solo violinist with a strong presence.

Tell us about The Woodsman: As a composer and solo violinist, it was my task to express musically a complex set of emotions and communicate with immediacy underscoring each action, each moment, and each scene. I have invested my mind, love, body, sweat and time in creating all of this original music; the songs, percussion, sounds and violin score. The theatrical aspects are the heart of the play, the music composition is the soul of the play. I am a co-conceiver of The Woodsman along with James Ortiz and since its' inception has performed in Strangemen & Co.'s first annual aPlay & aParty, performances at Standard Toykraft, Ars Nova's ANT FEST, a 3 week sold out run at 59E59 Theaters, and a 6 week sold out run at 59E59 Theaters. I composed and performed the music for The Woodsman, in every instance since it began as a small fundraiser. Throughout our journey, we received rave reviews on both our performances and creation of the play.

What inspired you to compose music to The Woodsman?: Music as a universal language. Though the sound of music one can describe an action or a response. Music can evoke an emotion; it can tell a story. Except for a brief introduction, The Woodsman does not have any words and is unlike any other play. During the first meeting with the playwright, we examined the synopsis of the play. This was my opportunity to think of this play like a silent film and tell a story through music. There wasn’t a script for almost a year, this gave me the opportunity to develop the characters musically. The emotion of the story is enhanced by the exploration of different genres of music (i.e. romantic, classical, modern, and folk), the imitation of the different instruments in the orchestra, and sounds of nature (i.e. clarinets, basses, flutes, percussive instruments, birds, wind/ storms). The music has a significant role in the production, although collaborating with actors without a background in music was an interesting experience. Understanding each actors tendencies and creating each characters’ emotion through music, makes the connection between the music and script seamless. Every theme, transition, modulation, tempo, song and sound has a purpose. If one were to close their eyes, they would easily continue to follow the story like an opera without words. Fun Fact: If you listen closely to the music, you’ll hear a witch clicking her heels 3 times, in a few big sections, and more importantly a heartbeat throughout the entirety of the play.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that emotes and tells a wonderful story while incorporating diversity in both their creative team and cast. My parents being my biggest role models, I thrive off of self-determination, I believe that I’m capable of doing anything and like Matthew McConaughey said “I’m always chasing my future self”.

If you could work with anyone you’ve yet to work with, who would it be?: Lin-Manuel Miranda. He is an inspiration. He is making a difference not only in theatre but in the lives of Americans and fellow Boricuas.

What show have you recommended to your friends?: Besides The Woodsman, I strongly recommend my everyone to see Curious Incident of a Dog in the Night. It’s a great show. Obviously, if you can get a tickets Hamilton you should take me.

Who would play you in a movie about yourself and what would it be called?: If I were not cast to play me in a movie, which would be terribly embarrassing, I would want Michael B. Jordan, Shameik Moore or John Boyega. Anyone but Kevin Hart (just kidding!). Kevin Hart is the man and I would be honored if he played me in the movie about me. The title would be called "New Generation".

If you could go back in time and see any play or musical you missed, what would it be?:In The Heights with Lin-Manuel Miranda, The Wiz with Andre de Shields and Annie Get Your Gun with Bernadette Peters.

What’s your biggest guilty pleasure?: Ben & Jerry’s Chunky Money Ice Cream.

If you weren’t working in theater, you would be _____?: I would still be a classical violinist and violist. I have performed in famous venues and would continue to perform around the world.

What’s up next?: I am composing music to a play called Four Days with Edgar Allan Poe by Amazon bestselling author Edward Medina, a play called Glass Jaw, a feature film called "Fire in Your Cities" by Kathryn Perry (working title), and am co-composing and performing music to a play called A Brooklyn Boy by Steven Prescod & Moises Belizario that is currently being workshopped.

For more on Edward, visit www.edwardwhardy.com. For more info on the history of The Woodsman, Visit edwardwhardy.com/thewoodsmanplay

Riding high on the wave of network musical specials, the Laurie Beechman Theater is eager to give you the telecast you never knew you wanted. In Palin LIVE!, Sarah Palin and her colorful political comrades are brought to the stage for a Policabaret. Written and performed by Erica Vlahinos, Palin LIVE! is a loving spoof that marries politics, comedy, and showtunes.

In an alternate universe where Sarah Palin replaces Donald Trump for the 2016 Republican nomination, to boost ratings and votes, Palin gets to tell her story for the American people via a television special. Through song, dance, and story spewing, Palin tries to find the heart of every Joe Sixpack by appealing to them through theatrics. Written and performed by Erica Vlahinos with special help from Kyle Branzel as the reluctant Michael Feinstein and Courter Simmons as everyone else, Palin LIVE! is a comedic celebration that pokes fun at America’s favorite former Alaskan Governor. Playing with parodies of Broadway classics like “Nothing” from A Chorus Line, “The Wizard and I” from Wicked, and “You Could Drive a Person Crazy” from Company, Vlahinos puts a Palin twist by adapting the lyrics for laugh-out-loud and jaw-dropping moments. Palin LIVE is an example of smart writing. Vlahinos used Palin's dialect to her advantage, focusing on words that hit the funny. Palin has a specific speech pattern that makes her a living spoof and Vlahinos capitalized on it. Her parody play with the lyrics was at its strongest with the broader cannon of music. Some of the deep cut additions didn’t seem to resonate as much. But once Branzel played the opening chords to the well-known songs, the laughs were instantaneous. For the most part, the journey that Vlahinos takes is strong. There is a “Best of Palin” element, highlighting some of her wilder moments. But she also offers a moment of humanity. And that was a strong choice. For many, Sarah Palin is a caricature but deep down there is a human. Whether you agree or not with the things she says, she is a person. Vlahinos explored her vulnerability allowing a truly sentimental moment. It broke up the comedic monotony well. Even though it runs a little under ninety minutes, the pacing slowed down a bit with the Bristol beat. Vlahinos spent a little too long talking about Bristol that halted some of the forward progression. It would be a beat that could be eliminated.
Palin LIVE may be a parody but the Sarah Palin on stage was genuine. As a performer, Erica Vlahinos did a supreme job creating her own Sarah Palin. Tina Fey has virtually locked up the Palin impression yet Vlahinos avoided playing Fey playing Palin. It was incredibly important. Vocally, Vlahinos could likely sing the songbook. Her tone is pure with the ability to soar with any of the original tunes. What makes her a strong performer is she allowed the comedy to come naturally and subtly. While it could have gone in that direction, Vlahinos never pandered. If a laugh didn’t come, she moved right along. Tackling an assortment of roles from Trump to Hillary, Courter Simmons offered nothing but fun. Seeing as it was Sarah’s show, he rarely tried to one up the star. Music Director Kyle Branzel offered his acting chops by taking on Michael Feinstein, who didn’t know he was being paired up with Palin. His shining moment was his riff on the late, great “Smash” anthem “Let Me Be Your Star.”
Director Ben Cameron helped make Palin great again. Cameron guided the Maverick of Melody to victory, which thankfully is not the White House. There was rarely a breath of dead air. With characterization playing a powerfully important part in the play’s success, Cameron steered the cast through parody and humility. The stage of the Laurie Beechman is awfully small yet Cameron wondrously utilized it. Between a Palin for President podium and an oversized armchair alongside the grand piano, the cast had somewhere to go at all times thankfully avoiding static.
No matter your political affiliation, it’s important to find a laugh or two in politics. And Palin LIVE! will certainly deliver. Erica Vlahinos has offered an entertaining evening that almost makes you want to be best pals with this maverick. Well, her version at least.

Name: Sarah Stolnack (Stoli)

Hometown: Seattle, WA

Education: BFA in Theatre Design/Tech, University of Evansville

Favorite Credits: Caryl Churchill’s Fen with Red Garnet Theatre Company, The Evansville Ballet’s The Little Mermaid (world premier), and GIG with Jenna Nicholls (a project that combines live dance with live music from a singer/songwriter).

Why theater?: Storytelling is incredibly powerful, whether it’s through theatre, dance, opera, etc. I can’t imagine working in any other field – theatre provides a unique opportunity to combine that storytelling, visual creativity, and technical understanding. Theatre also attracts me because it exists in time and space – I get to play with pacing and timing as well. I’m always excited to work with new people and bring our work to new levels, and I absolutely love the fast-paced schedule that working as a freelance designer brings. I never have a boring day.

What is your role on Primary?: Lighting Designer.

Tell us about Primary: Primary is a new play that follows a family as a mother considers starting a political career.

What inspired you to design Primary?: I love working on new works, to be part of a team that is doing something for the first time, developing the piece, and being involved in shaping the story that is being told. This piece especially draws out all of the reasons I love it – being able to directly relate the story we’re telling to current events.

What kind of theater speaks to you? What or who inspires you as an artist?: All kinds of performance speak to me, anything with a strong visual element. I enjoy designing theatre, opera, and dance. I’m inspired by performance any performance that I think is well done. For visual inspiration, I am constantly looking at art and finding new artists that I connect with – right now, I’ve been looking at a lot of paintings by John Atkinson Grimshaw, he manages to capture moonlight and streetlights in a beautiful manner. He uses colors that I wouldn’t always think to incorporate.

What makes a design “successful”?: I don’t have any benchmark for myself that defines “successful”. On every show I do, I learn something. I always have a few things that I wish were better, some timings that could have been tighter, some focuses that could have been sharper. I think that the lighting telling the story and providing the needed visibility is the base of what makes it successful, but there is so much more than that. I want to come away from a design feeling good about the visual elements, feeling that they represented what the design team and I wanted to portray.

How do you approach your work individually and collaboratively?: I think you have to start with the collaboration – that shows the direction that you’re going in. I come into the first production meeting with an open mind – still with thoughts, ideas, and a direction I would approach it from, but I’m there to hear what everyone else has to say. After we’ve talked and I understand the direction the team is going in, I will go off on my own and find the specifics that I think lighting should bring to the show.

What is your favorite part about the collaboration process?: I can’t think of a part of it I don’t like, so I don’t think I have a favorite part. I love being involved in telling the whole story – talking with the director about the arc of the story and how that affects lighting, with the scenic designer about what the visual language of the space is, with the sound designer about flow and atmosphere of the piece, everything.

If you could design any play or musical you’ve yet to design, what would it be?: I find it hard to choose one – partially because I like working on new plays so much. Perhaps one of Shakespeare’s tragedies, or one of Puccini’s operas. What excites me even more that a script or score that I like is working on it with a creative team that is all on the same page about the story we’re telling and how we’re going to portray it in our respective disciplines.

What’s up next?: I’m designing skinny crazy small at Theatrelab, Gaslight Tango for Axial Theatre Company, and then heading upstate for the summer to work as a lighting supervisor at the Glimmerglass Festival.

For more on Sarah, visit sstolnack.com

There was a time when farfetched comedies filled the boards of the Great White Way. There was something heartwarming about wild plot-driven slapstick that made you laugh and forget about the world. Marshall Goldberg’s Daddy Issues harkens back to that time with a little bit of an edge. Packed with a schticky plot better suited for old-fashioned sitcom, Daddy Issues follows the madcap adventures of a single, aging gay actor who continues to break his family’s heart. To alleviate the heartbreak, a single lie leads to a wild night of confusion and lies.
Set in the early 80s in NYC, Daddy Issues follows Donald Moscowitz, a struggling actor, who finds himself single and childless. When his overbearing Jewish parents and fading grandmother hound him on his life, Donald’s only defense is to create a lie and make them believe he does, in fact, have a long lost son with his college sweetheart. To make matters worse, Donald and his bestfriends Levi, a brassy drag queen, and Henrietta, a has been actor turned casting director, decide to hire the neighbor boy to play the fake son. But what happens if a little lie goes a little too far? Written by Marshall Goldberg, Daddy Issues is a cringe worthy comedy with easy jokes and a cheap reveal. Even though it is a period piece, Daddy Issues is insanely dated. With a contrived plot taking over for practicality, Daddy Issues isn’t necessarily a new story but offers a commentary on how a specific generation handled family and homosexuality. Goldberg is able to capture a vital theme deep within his comedy but unfortunately Daddy Issues is so implausible that any substance loses validity. There is an abundance of derisory plot holes that it begins to turn into a ridiculous parade of shenanigans. Because the characters are dimly one-dimensional, crafting a believable arc was near impossible. Sure, they each found change but it didn’t come naturally. What may have been most shocking about Daddy Issues was following the hoax reveal was the next reveal. It was so preposterous that there were audible groans in the audience.

photo by Robert Levin

Daddy Issues offered a specific style of comedy. It needed to be fast and sharp. For the most part, the company was able to offer it, picking up the cues well. But some of the cast crafted characters that were sadly unfunny. With an absurd amount of fat jokes, there was little Elizabeth Klein could do to make Henrietta a funny character. Klein’s Henrietta was bitter and bland. And she was completely outshined by her counterpart Sam Given as Levi. Given embraced the farcicality of the world and made Levi a big personality that was fun to watch. Though it is baffling that despite knowing he couldn’t stay to play fake mom that he wouldn’t imagine Donald and Henrietta finding a backup solution. But I suppose waltzing in as he did was more for laughs and not dramaturgy. Playing the “straight” man in the show, Yuval David did all he could to keep the plot together. Being the main cog, David kept the machine from going off the rails. Playing beyond his years fake son, Alex Ammerman was an able player.
Director-producer David Goldyn succeeded in keeping the energy high and utilizing physical humor. Even in a tight space, the staging managed to mostly work. You can’t blame scenic designer Kevin Klakouski for the bright cantaloupe wall color as it’s scripted but finding a way to make those walls fit properly would have been welcomed. The costumes from Cheryl McCarron didn’t scream 80s, rather fitting the realistic personalities of the characters. With a stage to go bold on, it may have been a missed opportunity. Though grounding the characters did work.
In a time of biting, gritty works, sometimes comedy is desired. But styles change and sadly the comedy of Daddy Issues is dated. Daddy Issues is fun for froth and that's about it. But if you're looking for froth with a little bit of substance, you can certainly find it elsewhere.

Saying goodbye is never easy. Sometimes you don't get the closure you desired so the past continues to haunt. Presented by The Assembly, Kate Benson and Emily Louise Perkins’ haunting I Will Look Forward to This Later, a family, and some outliers, mourn the loss of their beloved patriarch while maintaining any sense of self.
With a Kabuki backbone, I Will Look Forward to This Later is more than a grief play. It's a study of maintaining and finding connections after loss. Written by Kate Benson and Emily Louise Perkins, the play follows the Holloway family after infamous writer Wyatt passes away. How this loss affects each individual is the meat of this play. Widow Betsy goes on a rampage of revenge against his mistress Miranda. Older son Samuel wallows in a litany of sorrow. And younger son Robert engages in an intimate affair with Wyatt's former colleague and occasional companion Agatha. As each goes on their way, Wyatt haunts them, getting them to come to terms with the new reality. What's interesting about the family Benson and Perkins have crafted is this is a family that lets things be by avoiding questions. To us, some revelations are shocking. To them, there's a sense of ambivalence. And it comes across as odd. There are no questions asked when Betsy discovers her son is sleeping with the much older Agatha. Samuel and Robert don't really broach the fact that Miranda is basically an indentured servant to Betsy. It calls attention to just exactly who these people are. And frankly, they are hard to care for. Their sense of entitlement is bothersome. But no matter how you fell about this family, they are family nonetheless. What these people care more about than each other is legacy. How will they be remembered familiarly and broadly. Each character has a tie to the arts, whether it be as a writer, sculptor, or artist, they search for a way to create their master opus. Plot and character aside, the dialogue that Benson and Perkins bring is sharp and intentional. Even when it reaches moments of poetry, it’s accessible.

photo by Nick Benacerraf

I Will Look Forward to This Later is an ensemble piece that required cohesiveness. And this was a cohesive bunch. But due to the nature of the characters’ intentions, some performances were grating. Emily Louise Perkins took on Miranda as well as part of the text. Her Miranda was a bit whiney and feeble. There was an interesting evil queen vs princess dynamic between Miranda and Linda Marie Larson’s Betsy, but it’s never a good sign when you want the bad guy to triumph. Larson’s Betsy was firmly grounded, bringing the strongest performance of the bunch. Betsy plays into a world of façade yet Larson gave her a tinge of humility. James Himelsbach had possibly the hardest role of the show. Finding a way to balance truth with the supernatural is not easy. Yet Himelsbach sprinkled in the humor and lightness that this production needed. Had Himelsbach jovial aura been more haunting, I Will Look Forward to This Later easily could have been gravely too heavy.
As noted, Kabuki influences were present but also domineered elements of the storytelling. The way director Jess Chayes introduced them were not subtle. You have to wonder what could have been had they been removed from the final product. Certainly some theatricality would be lost but the moments of movement hindered the flow of the show. That being said Chayes should be regarded greatly for her impeccable staging. Production designer Nick Benacerraf threw challenge after challenge at Chayes and she knocked them out of the park. While the smell of plywood pervaded the air of The New Ohio, the world of wood brought opportunity. There was a consistency when it came to, what should be called, the crates of wonder. At the start, the stage is filled with crates. And as each locale is introduced, the crates would reveal everything from a workroom coffee station to the tools for molding. But the most dynamic feat was the fabulous casket turned bar. Thanks to the addition of the stunning lights by Christina Watanabe, the images that were cast were magical. As a whole, Watanabe’s design was strong. She relied on colors that melted into one another. As mentioned in the program note, the production’s design featured the “hanamichi.” It is a platform that goes into the audience used in Kabuki theater that allows for grand entrances and exits. The intent was interesting but the payoff was minimal. Unless you were right next to the runway, the dramatic was missed and lost the effect.
I Will Look Forward to This Later is a fascinating examination on art-making and legacy. The Assembly offered something potentially worthwhile but if you lack empathy for the characters, you’re likely to feel like them; ambivalent.

As our diva rightly said, Cher is in all of us. Actually old but looks young. A little bit feminine, a little bit masculine. She's a perfect icon to pay tribute to. Former RuPaul's Drag Race finalist and international drag superstar Alaska Thunderfuck 5000 takes Cher's extensive songbook and gives them the Alaska treatment in Cher and Cher Alike playing the Laurie Beechman Theater.

Assisted by the appropriately named Handsome Jeremy, Cher and Cher Alike celebrates Cher's hits in a manner only Alaska can do. Alaska begins her cabaret with a loving tribute of the classics, adjusting the lyrics as she sees fits, like in the iconic duet "I Got You Babe" replacing babe with everything from the b word to the c word, or calling attention to the ridiculousness of lyrics, like the never-ending "The Shoop Shoop Song". This portion of the show gives fans what they're looking for: reads, shades, and crude humor. It's dry and hilarious. But after a little channeling of the spirits, and a casual costume change, Cher takes over Alaska's body for a rip-roarious shade session. She even does a medley of hit songs that should have been hers including "Single Ladies" and the theme song from RuPaul's Drag Race. Whether scripted or through improvisation, the text is works well. There’s a systematic nature to everything.
Overall, Cher and Cher Alike is more than just homage. It proves Alaska is more than a comedy queen. Girl can sing! Even within her character’s lackadaisical persona, her vocal proficiency shines through. You have to be skilled to sing “badly” on purpose. But it’s when Cher takes over, Alaska dazzles. She has the ability to capture the essence of Cher through mannerisms and vocal inflection. Alaska has a passive electricity on stage and the hilarity of her eccentricity that draws the audience in.
Whether you’ve already seen her live or not, Alaska’s Cher and Cher Alike will certainly entertain. You’ll enjoy yourself even if the only knowledge you have is knowing who she is. But if Cher is your icon, then this is a show for you.

Sometimes serendipity lines up so perfectly. Serendipity seemed to play a part for the politically charged drama Primary by Gracie Gardner. Not only is it appropriately timed in election season, this play is the 2016 winner of Project Playwright, an annual competition Sanguine Theatre Company holds where democracy declares their coming production. Primary transports the audience to the late 90s as an average mom declares she is running for State Representative in her Connecticut district.
Primary goes beyond the insult slinging negative campaigning and captures the familiar side of the race. Gardner's play is a political family drama that watches Laura Hollister enter herself, and thusly her family, into a political race that goes beyond local politics and into her morals. With a husband who opposes his wife's ambition, a daughter lost in the shuffle, and a young hustling campaign manager, Laura watches her life tumble before her eyes, only hoping she can reassemble the pieces. Primary was troubled at the very start. It was like a Jenga tower, the pieces weren't constructed perfectly and the tower was ready to topple after the first block was pulled. Gardner neatly sets up the pieces of her play but once the action sets off, questions arise, which many are left unanswered, and her characters go on unnatural journeys simply for conflict. Gardner bookends her story with daughter Sophie and her inhaler. We learn Sophie is an important cog in this story as the deep, deep heart of Laura's campaign is to help the public school system, which she pulled Sophie out of and subsequently put her back into thanks to campaign manager Nick. We learn Sophie has a few physical and mental problems. But Gardner makes such a strong telling of the inhaler that never quite gets discussed. Though Laura is the driving force of the play, Gardner seems to want to tell it through Sophie's eyes but it never really comes into fruition. Sophie has two magical moments via dream and Sailor Moon dressing montage but because the remainder of the play is so natural, these moments are incredibly jarring. Had the way they were introduced been cleaner, perhaps they would have worked. Primary is not necessarily a political play but more a play about family. Gardner uses the Bill Clinton sex scandal as a backdrop for her play. There are clear parallels between Bill, Hillary, Laura, and Arthur but they are a bit of a reach. Because there are strong themes of family, Gardner could have dove deeper into the backstory of this family. We see them in the present but know very little about who they are and why this moment is important or impractical for each. Laura makes a rash decision without trepidation or familiar consultation. Arthur doesn’t believe Laura made the right call and acts childish to prove his point, seeming to sabotage his wife. And then as parents, they seemed too immature to handle a child let alone a political campaign. In this production, it would appear that they had Sophie when they were quite young. Diving into that could explain and perhaps justify their actions. When it comes to the character of Nick, we learn very little about his story. We know that he failed to gain the seat Laura is running for but is that the true reason why he wants to be her campaign manager? Nick wasn’t passionate enough for redemption but he wasn’t scheming enough to be a true political shark. He lived in limbo.

photo by PJ Norton

For a play with a strong sense of family, creating a believable family was integral. It took some time to believe that Laura, Arthur, and Sophie were, in fact, a unit. But once you got into that, you began to see the true nature of each individual. With the exception of the wise beyond her years Sophie, these characters, in their own way, were the embodiment of politics. And they used those assets throughout. Whether it was through bribery or emotional manipulation, you could drop the trio adults into another political world like “House of Cards” or “Scandal”, though they’d very likely get eaten alive. As Laura, Jody Christopherson played into the hands of politics. Christopherson gave a performance like a manufactured politician that was artificially emotional. By the time Christopherson was about to give Laura any sense of humility, Gardner’s character was too far gone and completely unapologetic. Even when Nick grieves over his sacrifice, Laura doesn’t seem to care. It’s all about her. Brian Miskell’s Nick was pretentious. Nick was not the clearest written character but Miskell did what he could to give the character flavor. Kevin Argus tried to infuse some humor into Arthur. Doing so, Arthur had a man-child aura to him. He did have some sweet moments with Casey Nadzam’s Sophie. Regardless, Argus didn’t seem to find a voice or sense of reasoning for Arthur. His passive nature came across as weak.
In a play where the action is slow, director Alex Keegan did all she could to liven it up and find glimmers of excitement. Unfortunately they were few and far between. The Hollister home by scenic designer Matthew Imhoff fit the time and location but it was placed at a strange angle that felt unnatural. It wasn’t sharp nor was it flat so it longed to find an extreme. Costume designer Anna Winter did a fine job fitting the characters and avoided playing into the 90s gimmick. The only miss was the purple shirt on Laura. While red and blue do make purple, once in political mode, putting Laura in either color would have been more appropriate for the politician.
With a very slow build up of action, Primary lacks movement and strong characters. It can be hard to care about a situation if the stakes of reasoning are more selfish than for a genuine purpose. But hey, that’s politics! Like Laura Hollister, Gracie Gardner’s text didn’t seem ready.

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