Theater in the Now

Name: Ryan Duncan

Hometown: Originally: Lawrence, MA; Grew up in and moved to NYC from: Woodbridge, VA

Education: George Mason University (degree in foreign language), and Universidad de Salamanca, Spain.

Select Credits: Original Broadway Cast: Shrek, Original Off-Broadway Cast: Altar Boyz (Drama League nomination), original series: Benny Costa in "He’s With Me".

Why theater?: Theater is accessible and it’s a fully realized and unique experience each performance.

Who do you play in Liberty?: I play James Goodleaf, a Mohawk Ironworker, and Frederic Bartholdi, the man who created the Statue of Liberty.

About Liberty: Liberty is a compact and emotionally charged musical based on real people and events that shaped the American cultural and ethnic landscape told through the eyes of a young girl who represents the statue itself.

Being a part of Liberty: I love representing people of the American past and being a part of truth-telling in this show. I particularly appreciate the presence of my character, James Goodleaf, who for the first time, can leave the reservation to seek work in a growing city. Native Americans are often pushed to the back of the historical narrative and primarily seen in a pre-colonial context. It’s a voice missing from much of contemporary society and their past has been either erased or fabricated to suit the power-holding group. I think this memory (the issues and happenings in this show) is persistent because they continue to repeat themselves throughout history and the conversations are still happening now. The issues of immigration and question of who gets to inherit or achieve the American dream (and be protected under it), is currently a political issue and seems to always be on the table.

What kind of theater speaks to you? What or who inspires you as an artist?: I really have two strong sides to my theatrical taste. I love comedy and I’m a comedian at heart. I love a great comedy weather it be a play or musical. I particularly love bizarre humor and humor that knocks a system. In recent years I’ve loved shows like Hand to God, Book of Mormon, Circle Mirror Transformation, and parodies like Silence!. I also love hard-hitting cultural and political shows like Ruined, Passing Strange, and of course Hamilton. Some shows are a great combination of both and leave a lasting impression on me like Nilaja Sun’s No Child. This is pretty eclectic for me. I draw inspiration from so many; People who are creating and making history: My friend Camille A. Brown is an inspiring and brilliant artist and choreographer creating pieces that explore and represent the voiceless or under appreciated; illuminators like Lin-Manuel Miranda, Dominique Morriseau, Alex Timbers, and my good friend Tracie Thoms among so many others; great comedians and storytellers such as John Leguizamo, Whoopi Goldberg, Christopher Guest, Key and Peele, John Stewart, Samantha Bee, and so many more. I’m also inspired greatly by the kids I perform with in hospitals working with Only Make Believe. It’s a real joy. There are artists all around me inspiring me all the time.

Any roles you’re dying to play?: I can’t think of any right now. Haha. I’m so bad at this question. I’d really like to continue creating new roles and putting them out into the world.

What’s your favorite show tune?: The entire score of Once on This Island.

If you could work with anyone you’ve yet to work with, who would it be?: I’d like to work with Casey Nicolaw and Mary Zimmerman. I really like what they do.

Who would play you in a movie and what would it be called?: Oh wow. I think Giovanni Ribisi would play me and the film would be called "This One Time…”

If you could go back in time and see any play or musical you missed, what would it be?: I’d like to go back and see the original production of Hair.

What show have you recommended to your friends?: Lately, it’s been Robber Bridegroom. Leslie Kritzer is killing it.

Biggest guilty pleasure?: Giant plates of nachos followed by "News Anchor Fails” videos.

What’s up next?: I’ve been writing a lot lately. I have a bunch of short scenes that are waiting to be discovered. I also just finished writing an original series for a friend. I’m also in development with a few different shows that will hopefully be getting productions soon; (Table, Distant Thunder, and Gettin’ the Band Back Together).

For more on Ryan, visit Ryan-Duncan.com

by Michael Block

Let's just get it out of the way now. Kiss It, Make It Better by Erika Phoebus, produced by Theatre 4the People, is a tale of two acts. Act I is the example of brilliant writing and storytelling. Act II is a completely different and disappointing play. And it's a shame because Kiss It, Make It Better could have been exceptional. But we'll get to that in a bit.
Kiss It, Make It Better follows the complex relationship between Nadia and Ty, two wounded individuals who run away from their problems. Spanning more than a decade, Phoebus’ play is a dangerous piece that treads deep water. Ultimately, this play is a highlight reel of teen hardship. The way it is portrayed in the first act is promising. But when Act II takes a turn for the psychological and not always real, Phoebus seems to lose control of her play. Act II lacks the spark Act I has and needs to be trimmed immensely. This is a coming of age story, yes, but there are times as if scenes were lifted straight from Spring Awakening. Starting in Act I, we watch a pair of friends grow up before our eyes. As their relationship moves from friends to something more intimate. But as they learn about themselves and the world, they find themselves in situations that alter the course of their future, both individually and as a pair. This coming of age story is accessible and universal. But by the second act, Phoebus explores a new style that does not even come close to being as successful as her poignant first act. In Act II, the duo run away from the world and their problems and make a home at the fairgrounds. They try to play pretend as adults but the reality is, they just don’t know how. The action becomes very repetitive and sadly the characters don’t feel as genuine as they had before. Phoebus plays with some not so realistic elements in her storytelling. And there’s even an ill-timed monologue from Nadia’s mother. Sure, the characters are the same but the cohesiveness between acts is just not there. What should be a winning script suddenly has too much happening that sacrifices the integrity.

photo by Yvonne Alloway

Despite the drastic contrast of the script, Kiss It, Make It Better featured visionary direction. Director Isaac Byrne brought together a technically ambitious concept to lift Phoebus’ text. Was the execution perfect? Absolutely not. But you have to give this team a have for what they tried to pull off. At the forefront of the concept was the structure designed by Joshua Rose. The first side was a series of three sets of scaffolding each with white clip-on beams. It was a stretch but it resembled a roller coaster. On the other side was the front porch of a house, working and window included. The company used Rose’s set like a jungle gym. Byrne utilized it to the max. When you first walk into The New Ohio Theater and see the structure against Rose’s beautifully intense blue lights, it’s sensational. But as the play moved on, the set became cumbersome. Whether they weren’t attached well or if they were not imagined fully, the white clip on wood pieces on the scaffolding were a massive hindrance. To start, the structure simply rotated. But through the magic of theater, it came apart. When did the manipulation of the set happen? Quite possibly at the worst time ever. There are many layers to make this effect look and sound good without putting an immediate pause into the show. Byrne had his two-piece acting crew dismantle the set during the climatic party scene. Because the structure is metal, it’s going to be loud so a party sounds like a good point? Right? Well to mask the dismantlement, the music was amplified. But what was happening textually at this moment? The most important part of Nadia’s narrative. At this point Nadia and her old older babysitter are getting intimate which will lead into sexual experience that will alter her entire life. Though inexperienced, Nadia made decisions that lead up this encounter. But because of the environment of the set, sound, and staging, it’s virtually impossible to hear Nadia demand Bradley to stop. This essential line could virtually create a new narrative going forward with the play. This is a prime example of ambition thwarting a production. Beyond this moment, Byrne was quite in tune of his direction. Tempo played an integral part in Byrne’s staging. He kept the momentum moving until important beats where the pacing slowed down. When it came to projections, Maxwell Bowman’s well-conceived design was lost due to the lack of solid canvas. It was hard to depict the specificity. But when it was clear and visible, you could see the artistry in Bowman’s work. Kiss It, Make It Better is an example of how a soundscape and score can enhance and influence the atmosphere of a production. Andy Evan Cohen’s design was an incredible use of sound.
This was essentially a two-hander with some additional bodies. Brian Miskell as Ty embraced the youthfulness and candor of his character. Miskell was believable through his range of age. When it came to Nadia, Erika Phoebus may have been better suited remaining in the playwright’s seat. It could have helped her hear the woes of the second act. But one of her weaker moments is when she seemed to forget about stakes in some insanely high stake situations, notably Ty's overdose. There was no scream, no panic. Just a shake. There’s a sense of dropping complete believability when it comes to theater but the casting of Amy Higgs felt odd, especially as she appeared a good decade younger than her on-stage daughter.
If Kiss It, Make It Better ended after Act I, it would be triumphant. But Act II ruined the strong momentum. And it’s a shame because Theatre 4the People almost had a smash on their hands. So close yet so far.

Name: Matthew Cohn

Hometown: New York City

Education: Dartmouth College

Favorite Credits: Harry Horner in The Country Wife—the show on which I met Meg MacCary, who pulled me into Seen/By Everyone. Incidentally, Katie Bruestle, another actor in Seen/By Everyone, was also in The Country Wife.

Why theater?: Acting affords me the opportunity to pretend to be someone else for a few hours a day. Theater in general, as a collaborative art, affords the opportunity to transcend each participant’s weaknesses and blind spots. Whether or not that opportunity is realized is an open question, evaluated on a show-by-show basis, but only a collaborative art allows for the creation of an artistic whole greater than the sum of its parts. I like to think that Seen / By Everyone has crossed that threshold with room to spare.

Tell us about Seen / By Everyone: It’s a show about dying, grieving, and living online. Whereas even as recently as fifteen years ago, it felt like life just kind of melted into air when we died, now—assuming we’re active online—we leave behind so much more of a presence. And that presence has a degree of permanence that seems very new and very unusual. People can still comment on your Facebook page after you die. You can still see their tweets, or their even more mundane activity. Whereas once they were consigned to shoeboxes or albums on a shelf, pictures of me standing with people who died almost ten years ago will pop up on my screen, while I’m scrolling through the news. These photos or these memories are thrust upon you, as if there’s some agency behind the action. The ghosts seem real. And you stare at these people, or these pets, or old homes, and see that they’re stuck in time while you’ve gone gray and tried to move on. Because everything on the internet stays there forever, the dead won’t let us go they way that they used to (again, ascribing agency where there is none, and in ascribing that agency, creating the illusion of a ghost-agent). The show is about wrestling with the many kinds of death in this totally new environment.

What inspired you to create Seen / By Everyone?: I remember reading an article—which I have since been totally unable to find, much to my chagrin—that talked about how all of these young men who died during the height of the AIDS epidemic didn’t have a presence online that many of their surviving contemporaries did. The gist of the article was that there wasn’t this same record of people who, had they lived, would have Twitter feeds, websites, Facebook pages, etc. I also have some friends from college and high school who died shortly after graduation, and they’ll be my friends on Facebook—and 22 years old—forever. (Dartmouth was among the first places to get Facebook, so a number of us have been on it for twelve years.) There just seemed to be so much dramatic potential in the way that death and mourning has changed that it seemed worth exploring. And there was, from the outset, a strong desire to exclusively use found text. By collaging other people’s often mundane or repetitive words together we could create something weird and beautiful. We all liked the idea of extending the collaboration outward beyond just the five brains in the room, making the text an almost active participant.

What kind of theater speaks to you? What or who inspires you as an artist?: I really do like all kinds of theater, so long as it’s unironic and unapologetic. I’d rather watch something fail spectacularly than fall safely short of greatness. I also have an enormous soft spot for musicals, particularly of the Rodgers and Hammerstein variety. Some contemporary musicals have been excellent, but since Hair, I feel there’s been a real movement away from good use of Baritone and Bass voices, to the detriment of the overall sound. I miss the more classically-trained orchestration of older musicals. (Obviously this criticism does not apply to someone like Sondheim.) I also go to the opera a lot. As for who inspires me as an artist? A principal inspiration of late has been David Bowie. I saw the Bowie exhibit at the Museum of Contemporary Art in Chicago a couple of years ago, and was really struck by how fearless an artist he was. He was deeply committed to putting on a show, and entertaining people, yes. But he made music that interested him. There was no playing it safe. And some of his albums aren’t very good! And that is totally fine. Because he managed to retain his commitment to following his artistic impulses and trusted his own taste. The fact that Blackstar (his final album) is such an unqualified triumph is astonishing. Hell, I probably play it as much as I play Space Oddity, which is quite a bit.

If you could work with anyone you’ve yet to work with, who would it be?: Bowie’s dead, so I’m going to go with Werner Herzog. Christ, that’d be a trip.

What show have you recommended to your friends?: The last big commercial thing I recommended to people was probably Jerusalem, largely due to Rylance’s towering performance. Most recently, I recommended the Richard II at BAM to my friends. I do a lot of classical theater—Richard II is one of my favorites, behind Henry VI.3—and my best friend is a huge David Tennant fan. It seemed like a no-brainer.

Who would play you in a movie about yourself and what would it be called?: "A Bit Much: The Matthew Cohn Story", starring Idris Elba. (In a post-Hamilton world, I think we should more aggressively pursue creative casting, and I’d like to pretend that I’m that handsome.) Or if you’d prefer I stick to Jewish actors, I’ll go with a young Paul Newman.

If you could go back in time and see any play or musical you missed, what would it be?: The world premiere of The Eumenides. Wouldn’t it be wild to find out if women actually miscarried because they were so frightened?

What’s your biggest guilty pleasure?: Trashy movies or TV shows about spies. If there are spies, I will watch it. I have no idea why.

If you weren’t working in theater, you would be _____?: An astronaut.

What’s up next?: I produce a new works theater festival up at Dartmouth College, so the day after closing, it’s up to Hanover for me. Then I’m taking a vacation. There are also some other shows I’ve had on the back burner that I’m going to start working on. Stay tuned!

For more on Matthew, visit www.matthewcohn.com

by Michael Block

Kicking off the 19th edition of The Black Box New Play Festival 2016, The Gallery Players celebrates a night of works by emerging playwright Brett Epstein. Capturing the scribe's comic tone through big characters, the first weekend of The Black Box New Play Festival is a triple-header of fun.
Beginning the night was a comedy for entertainment insiders entitled Representation. It's a slice of life comedy about the ridiculousness of the business with a long-winded cathartic punch line. Directed by Jesse Marchese, if you got the inside jokes, Representation resonated. If you didn't, then you asked yourself why the crowd was laughing along. Nevertheless, the company played into the pander pattern embracing the battle of breaking down the actors with silly adjustments. Standing out in the bunch was Kyla Walker as auditioner Claire. Walker took the notes in stride and brought out the humor in the juxtaposition.
In the second offering of the night, Fire brought together two cousins and a third wheel boyfriend for a night out in the woods. Also directed by Marchese, Fire was essentially an exploration of the awkward silence. Henry and Max are polar opposite cousins who spend the night trying to acclimate as adults. Only insults and jabs are slung in comedic fashion. As Max, Steven Smith has great comic sensibility that seemed to channel the playwright himself. Smith stole the show, and the entire evening.
Together, the plays brought out the best in Epstein while highlighting the similarities in his writing. The two pieces each brought a non-verbal button. Simply by pairing them up, Fire didn't end satisfactory. Though awkward silence may have been the mission. Marchese brought out the nuances of Epstein's comedic charm while keeping story in the forefront.

The evening ended with a longer one act called Crisis: Ocean Planet. Inspired by the true story of a SeaWorld trainer killed by an orca, Crisis: Ocean Planet was a tonally confused piece. But where the tone issues originated is difficult to pinpoint. Director Brad Anderson, approached the comedy similarly to how the other two pieces were played. Through the darkness, the comedy worked. But there were moments in reality that the humor didn't feel genuine to the harsh circumstances. Crisis: Ocean Planet has a story that is hard to pull comfortable laughs from. But the company did what they seemingly were instructed to do. And there were laughs simply due to choices. The other added element Epstein integrated was framing a documentary around the tragedy. The way it’s currently played, it’s used as narration that simply could be removed with the context already in the plot. If this device is integral, it wants to be boosted or allow Bridget’s story to remain in the forefront. From a performance perspective, while he may not have been exactly what the narrative desired, David Frasure as Roger was sublime. His characterization was entertaining. As the central role of Bridget, Olivia Stoker offered an uninspiring performance. There is deep richness in the character but Stoker sadly didn’t do much with it.
The first week of The Gallery Players’ Black Box New Play Festival 2016 was an exciting evening showcasing a fresh talent and a unique voice. If you don't know who Brett Epstein is, you should crawl out from under your rock and get educated. It's a name you'll hear often.

By Michael Block

The subject of a musical can literally be about anyone or anything. But just when you think you’ve seen it all, you’d be wrong. Enter The Disembodied Hand That Fisted Everyone To Death! The Musical. With a book by Anderson Cook, music by Amanda D’Archangelis, and lyrics by Cook and D’Archangelis, this campy riff on comedic horror was a groan through the laughter kinda show.
There's a reason it's a late night offering. With the title alone, you know exactly what you’re about to get yourself into. Set in post Salk vaccine America, The Disembodied Hand That Fisted Everyone To Death follows the ambitious Dr. Meyers who reanimated an arm. When the arm gets a mind of its own, it goes on a killing spree at a local frat house. Littered with kinky bits, social commentary, and crude humor, the musical is campy to the max. Because of the nature of the piece, your can partially forgive the convoluted plotline, the minimal stakes, and lacking character arcs. The musical does run under an hour. Cook and D’Archangelis have room to expand should they want to. What the team has going for them is it knows what it is and can go even further with the crudeness. But no matter the changes that are implemented, this show needs an opening number. Perhaps in the vein of Reefer Madness, The Disembodied Hand needs a catchy hook. By the time we reach our first song, the musicality feels disingenuous. The other important next step once changes are made is to bring on a fresh director. With Cook already wearing an abundance of hats, a new director will be crucial as the litmus test for the comedy. Many of the jokes within the script just don’t land. And in this genre, when something is not funny, and it happens to be a recurring joke, it kills the momentum. Cook’s book is filled with gags that should be hilarious but only about fifty percent reach the audience. Where Cook and D’Archangelis succeeded is their unapologetic humor. The Disembodied Hand That Fisted Everyone to Death may be the gayest musical ever and isn't ashamed about it.

The cast that comprised this musical were game players. They knew what they were getting themselves into and just had fun. Not all were the best vocalists but the commitment level was pretty high. By far, the best overall performer was Ayo Edebiri as Wad. The character of Wad was Cook’s strongest recurring joke and Edebiri ran with it. As the “white guy”, Edebiri was brilliant. And it just so happens that this was Cook’s strongest character writing. The other whacky character that came to life on stage was Vivian played by Aby James. James played up the naughty virgin by going all in. When it came to the strongest vocal, that award goes to Francesca Ferrari as Charlotte. But the overall winner of the entire show was Connor Wright as Hand. Not only was Wright stuck in a tight body suit and mask, but he let his hand take the spotlight, amongst other things. Connor Wright may be the best hand actor in all of New York City, though it's a minimal category to compete in. Though you didn’t get to see his face until the curtain call, you knew Wright was comedy gold.
If you’re a prude then stay far away from The Disembodied Hand That Fisted Everyone to Death! The Musical. If you’re up for a raunchy, kinky, naughty night of silliness, this may be the show for you. Anderson Cook and Amanda D’Archangelis have some work to do but once they do, they could have something fun in their fists.

By Michael Block

Whether we realize it or not, fairy tales have a special place in our lives. These stories have been passed down from generations to generations. And through time, the stories themselves may have received a few facelifts and edits but the themes are still prevalent. In A.N.O.N. Productions’ Snow by Ashley Griffin, the themes of the Brothers Grimm’s "Snow White" are explored in an overstuffed production that never really finds its footing.
Snow takes the themes and motifs of one of the most infamous fairy tales and tries to deconstruct them in a grand manner. The only problem is it’s a little too grand and impractically unadulterated. Written by Ashley Griffin, who also happens to play a heavy part in the play, Snow is virtually three narratives competing to be the fairest of them all. It’s clear that Griffin has an affinity for Snow White and the themes within. She tries to pull them out in a theatrical fashion but for it to resonate properly, Snow is in desperate need of dramaturgical assistance. The three story lines Griffin integrates starts with the original scribes, the Brothers Grimm, rewriting their stories, which happens to be about the fairest princess. We move into the story of a Victorian theater family whose lives parallel the "Snow White" tale when mommy dearest grows jealous of her daughter’s rise of fame and affection. Finally, we meet a modern girl with an alcoholic mother who finds herself in a deep sleep coma and must decide whether it’s better to wake or die. The trio of tales are forcibly scrambled and intertwine in a fashion that destroys a momentous arc. Snow isn’t an adaptation or really a reimagining. It’s a theatrical thesis on the Grimm’s story that is repetitive and often uninteresting. Individually, the three narratives could be stimulating on their own. Sure, they call attention to one another but it’s explored in a manner that is predictable. The other woe is Snow runs inexcusably over 120 minutes without an intermission. Griffin and company made the smart move of not incorporating an act break but it proves the great desire to trim down the text. Or find a different compelling structure.

Theatricality in storytelling was the attempt for director Devin Vogel. Fluidity was on the side of Vogel, effortlessly bouncing from storyline to storyline. For the most part, he was able to pull out the themes within the text but simply due to the one-dimensional characters, the piece flat lined. Vogel couldn’t bring any big moments into the production. Thematically, the soundtrack that was included ranged from emo alternative rock and the occasional tinge of classic tunes. It was evocative and married the worlds well. But you have to wonder if it was just too on point to include “Someday My Prince Will Come”, especially against the commentary of Disneyfying fairy tales.
The sextet that comprised the ensemble played well with the structure of the world. But there were some who stuck out more than the others. Leading the bunch was Maria Deasy in the maternal track and Ian Way in the romantic lead track. Both were game players, finding nuances in their various characters. Playing the central role as well as wearing the playwright hat may not have served Ashley Griffin the best. Whether it happened to be the commentary of the character or simply the performance, Griffin’s trio of characters was overwhelmingly whiney. Where Griffin did succeed is her Disney style Snow White bits and her mastering of the ugly cry. But that's not the narrative Griffin the Playwright set forth to tell.
You have to give credit to Ashley Griffin for attempting to try something courageous in her writing but given the current format, Snow doesn’t quite live up to the tout.

Name: Amir Darvish

Hometown: Boston

Education: Brandeis

Favorite Credits:Seen/By Everyone (of course), The US Premiere of The Golden Dragon, Spin City& my one-man show Mercury: The Afterlife and Times of a Rock God

Why theater?: There is nothing like the rush of performing live and connecting with your audience in real time.

Tell us about Seen / By Everyone: After much research, we were very drawn to the way we were mourning (ones self) and dying online. Something so private has become so public. This was common practice back in the days of ancient Greece. In modern culture, this is new and really hits home. We wanted to explore this phenomenon to shed some light on it.

What inspired you to create Seen / By Everyone?: I was frustrated by constantly being cast in roles that were defined because of my background or the color of my skin. It is no secret that there is a lack of diversity in the industry today. People who look like me are often cast as terrorists, cab drivers or someone who has to or must speak with an accent. Instead of just complaining, I decided to do something about it. I knew I could create something amazing and think outside the box with the outstanding talents talents of Meg MacCary, Matthew Cohn, Jen Taher and Norm Munoz. Seen / By Everyone definitely has a group of diverse creators as will as a beautiful cast of multi-ethnic actors.

What kind of theater speaks to you? What or who inspires you as an artist?: I am really drawn to new work & plays, especially ones in which you see actors of all diverse backgrounds cast, and their ethnicity does not define the roles they play. It’s 2000 f--ing 16 and sometimes our industry is so stuck in the dark ages. I must say I do admire James Franco. He does whatever he wants. Takes on so many different kinds of roles and just doesn’t care what people think. I admire that. He is a risk taker and a cutting edge actor. That inspires me.

If you could work with anyone you’ve yet to work with, who would it be?: Put me in any scene with the actors on "The Walking Dead" or smack in the middle of Vera Farmiga & Freddie Highmore in "Bates Motel". And Jessica Lange is a given.

What show have you recommended to your friends?: If they do the revival of Sunset Boulevard, that just recently closed on the West End with Glenn Close, on Broadway…I would say run!

Who would play you in a movie about yourself and what would it be called?: Umm, can we bring back Clark Gable or Cary Grant? Omar Sharif (jr) would do a bang up job and it would be called “The Little Prince That Could.”

If you could go back in time and see any play or musical you missed, what would it be?: Who wouldn’t want to go back in time and see Brando & Tandy in A Streetcar Named Desire & Streisand in Funny Girl?

What’s your biggest guilty pleasure?: Batman. I love the duality.

If you weren’t working in theater, you would be _____?: Dead … I am dramatic after all ☺

What’s up next?: The 2nd staging of Seen/By Everyone…this is only the first step, along with some TV and VO work peppered in for good measure.

For more on Amir, visit www.AmirDarvish.com. For more on Seen/By Everyone visit SeenByEveryone.com and Facebook.com/seenbyeveryone

By Michael Block

Imagining a world overrun by robots seems passé. It's a popular trope in the science fiction world. Gideon Productions resurrects the story in a revival of Mac Rogers'Universal Robots. Playing the black box theater at the Sheen Center, Universal Robots finds inspiration from dramatist Karel Capek to create an allegory play framed within science fiction.

photo by Deborah Alexander

Produced by one of the leading science fiction theater lovers in New York, Gideon Productions, Universal Robots by Mac Rogers receives a new imagining that feels flimsy and tired. Freely inspired by the life and works of Karel Capek, Universal Robots tells the story of artists and scientists who develop a new innovation that will allow them to be free to create and invent while these mechanical beings serve as workers. With a backdrop of Czechoslovakia between the two World Wars, the robots are programmed to battle on the front line to avoid Nazi occupation but when the war is over, the robots develop a mind of their own and take over the human race. Universal Robots is a commentary on politics, science, and humanity through the lens of theatrics. Whether it was that this production didn't quite find its footing or if the script could still use some tweaking, Universal Robots lacked the wonder that the most recent Rogers-Gideon Productions collaboration, The Honeycomb Trilogy, offered. Broken up into two acts, Universal Robots could easily lose and fine-tune some of the extremely long exposition beat at the top to reach the intrigue of the robots sooner. And let's be honest, the robots are likely why you're seeing the show. With the The Honeycomb Trilogy design team returning and helmed by Jordana Williams, this design collaboration didn't offer the same brilliance. Using a world that felt like a mix of Orson Welles and H.G. Wells, the aesthetic felt bland. What was ingenious was the promotional propaganda posters designed by Pete Boisvert and Rebecca Comtois were smartly continued into the production, highlighting the industrialized world. But Sandy Yaklin’s scaffolding scenic design caused some staging woes, primarily at the café. Due to the placement and angles of scenic elements, Jordana Williams created some unpleasant stage pictures with the abundance of actors present at times. And for scenic elements that provide natural levels, Williams seldom used them opting for the second level of the black box at the extremes of the theater. While a good idea, it did cause site-line issues. Having the scrim present, lighting designer Jennifer Linn Wilcox utilized it to add some pops of color. The costumes from Amanda J. Jenks kept period for the humans but she gave some sad excuse for robot costumes. Yes, the source material was the origin of the robot and contains a strong commentary on the parallels between robot and human, but you couldn’t help want something more than turtle necks. And some color pallets were reminiscent of the second and third parts of The Honeycomb Trilogy.
Universal Robots was part science fiction and part love story. It’s the mark of Rogers’ genius to marry the two styles. When it came to the love between Hanna Cheek’s Jo and Jason Howard’s Radosh and Radius, it wasn’t titillating enough to sell the story. From alien to robot, Howard is the go to for he nonhuman. Unfortunately he gave a one-dimensional performance. Siri had more personality than Radius. Cheek has a natural gruffness that boded well for Jo’s defensiveness but when it came to the romantic side, it was guarded. When it came to great performances, Sara Thigpen was head over heels. As the sole gender-bending role, Thigpen’s characterization was exceptional. She was reserved yet authoritative.
You hate to compare but you have to. After something so glorious, the next offering needs to be just as good, if not better. If you're coming into Universal Robots with fresh eyes, you'll likely have a different perspective. But if you saw The Honeycomb Trilogy, be prepared to be disappointed. Universal Robots was lacking that spark you’ve come to expect.

By Michael Block

Sometimes we make plays that are personal and for ourselves. And other times we create art for a specific generation. In The Living Room's #liberated, a group of high energy ladies sit around and gab about hot topics but when one has a brilliant idea, their lives are turned upside down. #liberated is a feminist play to end all feminist plays.
What starts out as a women's group who do rage Zumba, eat Chinese food, and drink wine all while talking about feminism turns into a viral revolution via the creation of a feminist porn. But when the trolls attack, their ideals and will are put to the ultimate test. Created by The Living Room and conceived and scripted by Lillian Meredith, #liberated is a devised play that actually worked. It was personal yet accessible that was carefully constructed with a burst of energy. The play begins as a social media trending play with the ladies of a women’s support group sitting around voicing their opinion. When a new girl joins the group, the dynamic is suddenly shaken up. The girls decide to create a feminist porn that they ultimately put out for the world. And that’s when social media starts to destroy their lives. #liberated offers a strong commentary on objectification, sex, gender roles, and the great power that is anonymity on the Internet. When the play deviated from a Facebook conversation, the text and ideas were at its best. The only major woe was there was very little semblance of character development. Rather the characters served as a unit. Certain characters had little journeys and moments of growth but in the end, they were one. But this isn’t a play about characters. It’s about social awareness.

photo by Jefferson White

There was nothing but energy on the stage at IRT. The sextet had a blast playing, bringing colossal harmony to life. The ensemble, comprised of Tamara Del Rosso, Zoe Sophia Garcia, Lillian Meredith, Gabby Sherba, Taylor Shurte, and Madison Welterlen, each actress brought a different dynamic to create a cohesive unit.
With a play being in development for a number of years, the final product was a collaboration between two directors in Rachel Karp and Jaki Bradley. Both Karp and Bradley were sharp in their vision and allowed the fun of the piece to shine brightly as the dark beats loomed later. But what #liberated should be celebrated for is offering one of the best overall designs in the space’s history. For those who may frequent IRT, it’s a black box with a plethora of potential but equally filled with hindrances. To start, if ever there was a place you wanted to live, this set was it. Scenic designer Frank Oliva presented a stunningly modern living room with clean lines playing off of squares and rectangles. Based on what Oliva created, this Brooklyn abode is probably out of many artists’ price range. Nevertheless, the ingenuity of the design should be applauded. From creating walls via curtains and the wood treatment to the floor, Oliva is a surefire winner. With beams to evoke a ceiling, lighting designer Scot Gianelli was limited where exactly to place lights. The use of the track lighting in the set was practical and still allowed for a number of looks. But what set his design apart was the color pop on the back wall. It made the space luxurious. The sound design from Ben Vigus rocked. Literally. From the evocative track choices to the amplified bass, the intent behind every choice Vigus made was spot on. You could simply say the script didn’t give costume designer Heather McDevitt Barton many options but she dressed the girls well. Each had their own distinct feel that brought out their personality. It may not have been a glorious design but it worked for this piece.
#liberated is slow to start. It literally begins like the sidebar of trending topics on Facebook. But once momentum and plot are introduced, #liberated is off to the races. The goal of this play is to start an important conversation. And that they did. The Living Room should be beaming with satisfaction with their accomplishment.

Name: Emma Rosenthal

 Hometown: Ridgewood, NJ

 Education: Northwestern University, BA in Theatre

 Select Credits:Peter And The Starcatcher, Les Mis, West Side Story (Drury Lane Oakbrook); Brigadoon, Candide (Goodman Theatre); The Threepenny Opera (Marvell Rep); Our Town (Williamstown Theatre Festival)

Why theater?: This is a bit heady, but I've always thought of sociology and theatre as two sides of the same coin: Sociology is the science of studying people and Theatre is the art of studying people. Theatre (and the arts in general) teaches you to put yourself in the headspace and heart space of other people; you start to imagine other people's hopes and other people's pain, and you realize how much we all have in common (I may or may not have stolen that last bit from a speech President Obama gave because he put it far more eloquently than I ever could). Also, theatre in particular is so special and unique because it's immediate; it's fleeting, it's ephemeral, and it gets people talking. Each performance is its own thing; no two audiences will ever see the same play, and that's pretty remarkable.

Who do you play in Liberty?: Emma Lazarus, the poet responsible for "The New Colossus" (the poem that's written on the base of the Statue of Liberty)

Tell us about Liberty: An exciting new musical that doubles as a history lesson!

What is it like being a part of Liberty: It's really wonderful to be a part of a brand new musical, especially since I've been lucky enough to be a part of Liberty since its earliest stages (2011). There are a couple of people in the cast who've been with the show a bit longer than I have so they'll be able to speak to this more than I can, but it's been thrilling to see how the show has grown and changed over the years. Some changes have been quite small while others have been monumental (no pun intended). It's also an added bonus to have a newly acquired, fairly extensive knowledge of an event in our country's history that I'd had very little knowledge of before. Thanks, Liberty!

What kind of theater speaks to you? Who or who inspires you as an artist?: Super old school musicals and ensemble based storytelling (a la Peter And The Starcatcher and what's happening in the wonderful city of Chicago, my home). I'm inspired by my friends and my family. It's not lost on me how fortunate I was growing up and how fortunate I've been and continue to be. In terms of artists that I look up to, I'd love to be some combination of Carey Mulligan, Celia Keenan-Bolger, and Laura Benanti when I grow up. Also, I have and will drop anything to see Mark Rylance do anything anywhere ever.

Any roles you’re dying to play?: Jessica in Hand To God, Julie Jordan in Carousel, Eliza Doolittle in My Fair Lady, Phoebe D'Ysquith in Gentleman's Guide...

What’s your favorite show tune?: It's a tie; either "Johanna"from Sweeney Todd or "Make Our Garden Grow" from Candide.

If you could work with anyone you’ve yet to work with, who would it be?: Jim Corti and Tom Vendafreddo, the dream team at the helm of the Paramount Theatre in Aurora (just outside of Chicago). Katie Spelman and William Angulo, two young and brilliant choreographers who are redefining how to tell stories through dance and movement.
 
Who would play you in a movie about yourself and what would it be called?: The movie would probably be called "My Amplitude Lacks Altitude" (though that sounds more like a comedy special). No idea who would play me...probably someone yet to graduate from my high school theatre company (go New Players!)

If you could go back in time and see any play or musical you missed, what would it be?: The original Sweeney Todd.

What show have you recommended to your friends?: It's since closed, but the last thing I was shouting from the rooftops for people to go see was Hand To God.

What’s your biggest guilty pleasure?: Croissants and America's Next Top Model

What’s up next?: Teaching myself pastry. I've already conquered macaron, eclairs and creme pâtissière. Croissants are next on my list.

For more on Emma, visit www.emmarosenthal.com

By Michael Block

If you’ve ever seen a Broadway show, chances are you never realized the history in the buildings that house them. Many of these Broadway houses have been around for decades. Sure they may have had a facelift or two and some cosmetic surgery, but the intrigue remains. For the Broadway fans in all of us comes Broadway Up Close, a walking tour that takes you around the theater district as you learn the history of the theaters.
Because there are 40 Broadway houses, Tim Dolan and his Broadway Up Close team offer different “acts” that break down the theaters by area. I was fortunate to get an almost private tour. Tim guided me and an adorable older couple from Los Angeles from 41st St., home of the Nederlander to 43rd St., where there’s a fascinatingly complex theater called the Belasco. In about two hours, Tim and his team provide the almost complete history of nearly ten locations including current and retired Broadway theaters. At each pit stop, you learn the intricacies and pasts of location. From legendary shows occupying the space to tales of the owners or architecture, it’s clear you get all of the facts. What’s great about Broadway Up Close is along with the itinerary of facts, you have the opportunity to interact with your tour guide, asking the burning questions you’ve been longing to ask. And no, there’s no secret way of getting Hamilton tickets. Some of the story highlights from Act I include the saga of David Belasco’s apartment above the Belasco Theatre to the wondrous journey down 42nd St. the Empire Theatre took from Burlesque venue of yore to movie house of today.

If you love your experience so much, Broadway Up Close has a way to take your memories home with you. Dolan has compiled a comprehensive companion book with the stories from the tour along with a surplus of stunning pictures, many of which you don’t get to see on the tour iPad the guides are equipped with. To put it bluntly, the souvenir program is a dramaturg’s wet dream. There is a care and passion on each page. The stories are equally exciting on the page as they are on the tour. And it also serves as the perfect coffee table book to share with your friends. Maybe even intrigue them to take the tour themselves.
If you’re a theater fan, Broadway Up Close is a tour you do not want to miss. Whether you’re a tourist visit New York or a native of the Big Apple, you will thoroughly enjoy this adventure. I hope I get the chance to go on Act II and Act III of the tour!

As expected, the 2016 Tony Awards were all about Hamilton. While the show didn't tie or beat The Producers mark of twelve awards, they still stole the show. But what about the rest of the night? Here's my Tony highs and lows!

Best Performance:James Corden’s Opening Number
The night was filled with some incredible performances but James Corden stole the show and proved his worth as a recurring host. Corden’s bit reminded us that we can make it and be anyone we want to be. And if you didn’t tear up when the kids transformed into the nominees in the musical acting categories, you may not have a heart.

Worst Performance: She Loves Me
There really wasn’t a bad performance but in terms of selling the production, She Loves Me didn’t quite dazzle. The medley was cute but even the other revivals had some more spark.

Best Speech: Frank Langella

The Tony’s were especially emotional being mere hours following the tragedy in Orlando. Many called attention to it but it was Frank Langella and his infinite years of wisdom that grounded us all and reminded everyone that we’re all one collective soul.

Cringe Worthy Moment: Christopher Fitzgerard as Michael Arden
In the age old tradition of showing the nominees on camera as their name is announced, we all collectively cringed during the reading of the Best Director of a Musical nominees when the camera panned on Christopher Fitzgerald instead of Spring Awakening director Michael Arden. #tonyfail

Best Joke: Law & Order Bit
We all know that New York actors have a reputation of being called for an episode of Law & Order. James Corden capitalized on this by calling out celebs in the audience and bringing up a side by side of them now and during their appearance on Law & Order. By the time we reached Danny Burstein, Corden shared not one but SIX appearances by the six-time Tony nominee.

Best Low Blow: Steven Martin

As we learned from Tony winners Reed Birney and Jayne Houdyshell, sometimes it takes years or decades to make it on Broadway and feel recognized. If you’re Steve Martin you just “do what I did, already be famous.” For all of us aspiring and emerging artists, it was a sad reminder of reality.

Weirdest Moment: Andrew Lloyd Webber on tambourine
So this Ham4Ham thing. If you’re not in the know (basically anyone who hasn’t tried to win Hamilton lotto tickets), you have no idea what this phenomenon was. Having the shows perform a song NOT from their show outside the Beacon Theater was strange. But when the Best Music nominees started the trend, everyone was playing their signature instrument. Except Sir Andrew Lloyd Webber who was playing tambourine. Shake that tambourine ALW, shake it like good.

Best Dressed: Lupita Nyong’o
She may not have won but her outfit won the night! The Oscar winner looked stunning in her floral inspired gown. She proved she is a star on stage and on the Red Carpet.

Worst Dressed:Daveed Diggs
This is Broadway’s biggest night. Dress for the occasion. Diggs’ jacket would have been perfect for something like the Grammys or the VMAS. The Tony’s? Not so much.

Biggest Upset:Leslie Odom Jr. Wins Best Actor in a Musical
All signs were pointing that Lin-Manual Miranda was going to get the trifecta. He had already won two during the evening and he was heavily featured in the show’s number. Leslie Odom Jr. was not. So when Odom Jr.’s name was read, many people’s predictions, excluding myself, were happily wrong.

Best Presenter: James Corden
This is a bit unfair to name the host but James Corden rocked the Tony Awards. He will be on the top of CBS’s list until his show goes away. And I think we’d all be ok with that!

Worst Presenter:Barbra Steisand
Go with me for a second. The presenter has two jobs. First, to pronounce names properly (we’re looking at you Travolta). The second is to open the envelope and say the name of the winner. Babs the lioness forget the second part. Yes, it was inevitable that Hamilton was going to win, but it’s part of the tradition!

By Michael Block

They say college, or university depending on where you're from, is where you can meet the friends that will last forever. That's the source of story in Amelia Bullmore's melodramatic Di and Viv and Rose. Playing the Studio Theater at Theatre Row, Di and Viv and Rose chronicles the lives of three friends over the course of a couple decades.
Written by Amelia Bullmore, Di and Viv and Rose follows the three titular characters as they live their lives as roommates turned best friends turned virtual strangers. Broken into two long, drawn out acts, Di and Viv and Rose tackles the importance of friendship no matter the circumstance. The play by British scribe Bullmore may reach a certain demographic but there was something about this iteration of her script that didn't elevate her words or story. Directed by Leta Tremblay, the production is slow moving. Sadly, it just flat lined, lacking any semblance of dramatic peaks and valleys. While the play felt lived in, the pacing called attention to the unnecessary beats. And that unnecessary beat is the act long epilogue no one really wanted. With the first act clocking in at about an hour and a half, Bullmore’s second act jumps place and time drastically to give snapshots of the crumbling lives and bonds. It just didn’t match the simplicity of the first act. Everything Bullmore offers in the second act could easily be summed up in a few lines prior to the end of the first act and nothing would have changed. We simply just don’t learn anything substantially new. And that’s a waste of writing. The way Tremblay seemed to tackle the script was a blend of 80s and 90s dry television shows mixed with some bad after school specials. That feeling was evoked by the painful transition music from Beth Lake. The sappy mood of the play brought the energy to a strange level. The living room designed by Reilly Horan worked well for the space, forcing the doorway deadspace where the risers end. But the straight on set caused some site lines. Horan’s harsh yellow ton of the lighting was unsettling. It felt like a filter added to a photo.

photo by Sydney Angel

There is breathtaking chemistry and trust on stage. As a unit, the trio kept the story tight. You care about the girls as a trio. But when you hold a magnifying glass up at each individual story arc, they don’t seem to resonate. Whether it was the accents that were put on or the characterizations, something was amiss. As tomboy Di, Olivia Levin was the strongest of the three. Levin’s Di gave a fervent performance finding realism in the character. Raven Pierson’s Viv had a two act transformation. Her first act straight-laced Viv was bland a bit robotic but by the time the character found a new life in New York, Pierson finally infused some spunk into the character. It’s evident that Leslie Erin Roth is an actress who is committed to bold choices. Being able to tap into Rose in the way she did was commendable. But when all was said and done, Roth’s Rose was like an adult version of Cindy Brady. Dim and a caricature.
Di and Viv and Rose is a show for a certain audience. If you’re someone who enjoys simplicity, this show will give it to you. But if a simple story is of no interest, Di and Viv and Rose offers nothing new.

Name: Melissa Moschitto

Hometown: Natick, MA

Education: B.A. from the University of Massachusetts at Amherst

Favorite Credits: Directing Apprentice for Compania Atalaya’s production of Medea in Spain.

Why theater?: I love the possibility that comes with live theatre - creating new worlds, mixing genres and time zones, attempting the impossible. And I find that I am more and more appreciative of the live audience. I’m a terrible audience member when I’m at home watching the TV or a movie - I’m always multi-tasking on my phone. But in the theatre I’m fully invested, immersed and present and as that experience becomes rarer and rarer, I’m ever more appreciative of the medium. I am also addicted to the collaborative nature of theatre-making. As much as I sometimes fantasize about being a writer or a painter, an artist who can be solitarily creative, it just isn’t in the cards for me. I thrive on many ideas and voices in the room.

Tell us about No Man’s Land: No Man’s Land is inspired by the true story of Jeremiah Heaton, a Virginian man who claimed a piece of desert between Egypt and Sudan in order to make his daughter a princess. It’s a critique of the aspects of American culture that made that audacious act possible, an artist’s rage against the machine. But funny. It takes a story that has certain assumptions and unpacks them, and in doing so, it requires that the artists unpack their own preferences, biases and the kind of artists that they are.

What inspired you to write and direct No Man’s Land?: When I first heard the story, it was 2014 and I was at home with a newborn and an almost two year old. I was afraid that I’d never do theatre again. And I found myself both bizarrely jealous of Jeremiah Heaton for doing this crazy and “impossible” thing and also adamantly against the culture that created this moment, declaring that my own two daughters would never be taken in by Princess culture, that I wouldn’t become that kind of parent. Of course, flash forward two years and despite my best efforts my girls are completely obsessed with fairy tales. The show became an investigation of what it means to be an artist that responds to the world - what are our responsibilities and where do we get our permission? How do the stories we tell pave the way for dreams to come true?

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that has its roots in movement and physical storytelling, theatre that transports me to a world I don’t know or helps me see the world through new eyes.

If you could work with anyone you’ve yet to work with, who would it be?: I’d really love to observe British director Melly Still and choreographer Doug Varone.

What show have you recommended to your friends?: The last show I recommended was Locusts Have No King at INTAR (sorry, it closed in May!). In addition to a gripping storyline, there was some great good old fashioned stage magic which made it really exciting to watch!

Who would play you in a movie about yourself and what would it be called?:"The Longest To Do List" starring Sandra Bullock. (Well, you caught me two weeks out from our performance!!)

If you could go back in time and see any play or musical you missed, what would it be?: I love this question! I always regretted missing Medea starring Fiona Shaw. And more recently, the Deaf West production of Spring Awakening.

What’s your biggest guilty pleasure?: Facebook (winces).

If you weren’t working in theater, you would be _____?: Trying to be a writer and probably missing theater.

What’s up next?: Catching up on live theatre! There’s probably some adage about how working artists don’t have time to see art. Add a couple of toddlers into the mix and it’s not always easy to get to a show. But I’m hoping to fill my summer with all kinds of art!

Name: Lindsey Steinert

Hometown: 2/3 New York City, 1/3 San Diego, CA

Education: BA Acting & Sociology/Anthropology, Pace University

Favorite Credits: Since it’s my first combined acting & writing credit, I’m gonna go with this.

Why theater?: Aside from being the only thing I can envision myself doing, theatre provides me with a unique platform, where I’m able to simultaneously do what I love, while encouraging audiences to see the world through a lens that differs from their own.

Tell us about Upstream Swimming:Upstream Swimming is my light-hearted, one-woman show about growing up with 2 gay dads before it was considered “cool,” and how my less-traditional family dynamic shaped me into the woman I am today. It’s not preachy or dramatic, it’s really just 80 minutes of me trying to figure out why I’m single with the help of like 13 other characters. It’s also the first solo show that’s written and performed by an actual child of same-sex parents!

What inspired you to write Upstream Swimming?: When I was 14 years old I started recording my family dinners on my phone to prove that the ridiculous events and absurd conversations that transpired during the meal had actually happened. In addition to the dinner recordings, I started saving voicemails, text messages, photos and videos that captured my family during similar moments that I knew people would have to see to believe. I did this pretty consistently over the next 10 years, and what I wound up discovering was that my family is really weird; but that the weirdness had absolutely nothing to do with the fact that my dads are gay. So I felt it was my responsibility as a seemingly “normal” girl who just happens to have 2 gay dads, to share my story with others, giving them the opportunity to arrive at the same conclusion I did.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre with the potential to provoke social change really speaks to me. I love that people can walk into the theatre feeling one way, and leave questioning their initial stance. I’m really inspired by human beings in general. As a sociology/anthropology major, I did a lot of fieldwork as an undergrad, which lead me to realize and appreciate the power of observation. I love riding the subway with my headphones on and no music playing. It’s during the moments when people don’t think anyone’s watching, when they’re unapologetically themselves. I love witnessing that.

If you could work with anyone you’ve yet to work with, who would it be?: I’d love to work with Ryan Murphy. I appreciate his dedication to LGBT-themed projects.

What show have you recommended to your friends?: The Spring Awakening revival. It’s stunning.
Who would play you in a movie about yourself and what would it be called?: Hmm…If "Upstream Swimming" was already taken, I’d call the movie “Spiraling Up,” and I would be played by my best friend, who also happens to be my 13 year old sister.

If you could go back in time and see any play or musical you missed, what would it be?: Lisa Kron’s one-woman show 2.5 Minute Ride

What’s your biggest guilty pleasure?: Dance Moms and I am NOT ashamed.

If you weren’t working in theater, you would be ____?: Trying to eliminate the word “normal” from the American language, and encourage people to use a word that embodies the majority/average in the way “normal” fails to (such as “typical” or “standard”).

What’s up next?: Hopefully Upstream Swimming will find a more permanent home and I can continue to share my story with others. But in the meantime, I’m writing a web series with a couple friends that we plan to shoot this summer, so stay tuned!

For more on Lindsey, visit www.LindseySteinert.com. For more on Upstream Swimming, visit www.UpstreamSwimmingPlay.com and http://horsetrade.info/

Everyone has a dream. And for me, it was to be a part of the New York International Fringe Festival. After five years of trying, I finally get my shot! We are bringing The Illusory Adventures of a Dreamer to life this August and we need YOUR HELP! If you have any dollars to spare, we would love your support to bring this play to FringeNYC. For more information and to donate, please visit gofundme.com/dreamerplay

For more on The Illusory Adventures of a Dreamer, follow on Instagram and Twitter @dreamerplay2016 and visit dreamerplay.com and facebook.com/dreamerplay2016.

By Michael Block

They say it's always good leaving your audience wanting more. Erik Champney did that. The three plays could easily be snippets of longer pieces but Blankets and Bedtime: 3 Restless Plays is an evening of danger through the lens of sex and lust.
As part of 2016 Planet Connections, Blankets and Bedtime united three dark one acts by Champney that analyze diverse human relationships with the commonality of sex. Beginning the evening is Champney's strongest of the trio, Sparkler. Set in 1964 San Fernando Valley, Sparkler watches the calculated romance of actor Clayton, his fake wife Carol, and his gay lover Max. A story of pointed manipulation with a backdrop of fame and stardom, Sparkler explores the "in the closet" culture of Hollywood's Golden Age and the back door dealing that comes with it. The trio of characters are individually ambitious, striving for glory, destroying lives in the process. Where love starts and ends is the heart of this story. When it comes to effective casting, Sparkler is triumphant. It's as if the cast was pulled straight from the period. As golden boy Clayton Boyd, Chad Ryan is the epitome of All-American. Clay uses his charm and attractiveness to win and it seems second nature for Ryan. Even when he is opposed by Ellie Gossage's affirmative Carol, Clay knows he'll get his way. Max Meyers was wonderful as Clay's boy toy Jack. Like Ryan, Meyers brought a charm but unlike Clay, Jack's aura was genuine. As the former Mouseketeer, Meyers ensured that Jack was in it for the love and not the glory. You know if Champney gave us another act, things would not end well for Jack.
In the second offering, Champney writes a heartbreaking tale with tinges of surrealism. The Screens brings the meeting of Allen and Damien in a psychiatric hospital visiting room. The poetic text follows the story of two seemingly strangers who discuss the circumstances that bring them together in this room and the reality of the surroundings. What was most fascinating about this piece was while there were two people present, this story was all about Allen. Dylan Goodwin sublimely balanced circumstance with reality. There were moments when Goodwin made you think that perhaps Allen wasn’t crazy.

photo by Bryan Cash

When crafting the evening, it was evident about halfway into Saitama that it may have been best to swap The Screen and Saitama in the running order simply due to the fact of the gravitas of Saitama. Nevertheless, Saitama is a dark drama about a comfort station in 1941 Shanghai. Once it's revealed just exactly what this place is, the stakes imminently rise. For those unaware of what a comfort station is it is virtually a brothel. Saitama watches Hideki as he engages in a dangerous game with two comfort women, the veteran Daiyu and the young novice Nuying. When things take a turn for the violent, fear fills the air. It takes tough skin to watch this and not feel an ounce of discomfort. It’s a mesmerizing story that seldom gets a place on the stage. For that, Champney succeeds. But as a whole, something didn’t quite sit right in comparison to the other two pieces.
Uniting these plays in an evening of restlessness is no easy feat. Director Janet Bentley used her resources well. Bentley incorporated effective staging utilizing the natural diagonal that site lines force. The tight stage didn’t allow much for variance, yet Bentley made it possible. She even took the time to capture the pulse of each story and curate them in a manner both individually and as a unit. Blankets and Bedtime didn’t need to be too intricate when it came to lights but lighting designer Gilbert “Lucky” Pearto played with color to add a burst of excitement. The other addition to the production was the intricate video design by Andy Evan Cohen. Simply due to festival constraints, the small projection didn’t have the effect that it could have on a grander scale.
Blankets and Bedtime is not for the weak of heart. Erik Champney, Janet Bentley, and Co have crafted an evening of intrigue that is bound to get you to ponder as you rest your head to sleep.

Name: Ran Levy

Hometown: Grew up both in San Diego and Israel. By the time I was twenty I had moved so often that it’s hard to think about a place I can truly call my “hometown”.

Education: An Alumni of “The Lee Strasberg Theatre and Film Institute”. B.A in Psychology and Sociology, Tel Aviv Academic College.

Select Credits: Giovanni in Dario Fu’s We Won’t Pay, Howard in Rebecca Gilman’s Boy Gets Girl, Victor in Noel Coward’s Private Lives, Trip Wyeth in Other Desert Cities and most recently Solyony from the Chekhovian classic Three Sisters. All characters who I feel inhabit a quirky side inside them that makes the artistic process of working on them interesting and fun! I also have done commercials for: Jersey Mike Subs, The Lift (with Al Roker), Optimum Cable, NJR Home Service etc.

Why theater: Because it’s magic. You pay for a ticket and once you enter the theatre and the lights go dark you are instantly transported to a different place, a different time, a different reali-ty. It’s live. Everything is happening “right now”, both for the audience and the actors - we are all “one”. You are never sure of how it’s going to turn out, which makes it much more exciting (and nerve wrecking). For me personally - from an actor’s point of view - theatre is a true treat: the language is richer, the characters more complex. For a month or so you get to spend a lot of time with other creative minds, which is my favorite part. And if you are gifted an opportunity to work with a great passionate director, which I have been, it’s always a growing point as an actor. I guess with competition from online streaming - Netflix, Youtube etc., theater has become a dying form of art. I still think it’s sexy…

Who do you play in Psychic Cafe: I play Lorenzo Duefacci (which means two faces in Italian…), the eccentric and narcissistic owner of the cafe. I’ve always liked playing the crazies, but I also find it challenging. It’s easy to go full out crazy but artistically that’s not always correct, it could easily be perceived as indulgent emotional “throwing up” on stage. It’s always challenging finding the balance within the imbalance so you can control it and not be controlled by “it”.

Tell us about Psychic Cafe: Psychic Cafe is a new play by Anthony Fusco directed by Anna Governali as part of the 2016 Strawberry Play Festival. The play is a crazy comedy with a big heart (which is my favorite genre to be in) based on real people and a real cafe Fusco worked at. The play follows the cafe owner with the arrival of the new cafe tarot reader and several of the neurotic regular clients that inhabit the cafe. I guess the play shows the dependency people can develop towards fortune tell-ers and how it dictates their lives and how sometimes the prophecy you do your best to avoid from happening will actually come true because of your actions.

What is it like being a part of Psychic Cafe?: It’s a great experience. I love working with Anna and Anthony, and my fellow cast members always make me laugh just by watching them during rehearsals. I’m also excited to perform at the Theatre at St. Clement’s as part of the Strawberry Play Festival.

What kind of theater speaks to you? What or who inspires you as an artist?: I enjoy and appreciate the big blockbuster productions Broadway has to offer, and at the same time I also enjoy and am moved by smaller scale “Off-Off” productions with “smaller” stories. As an audience member I feel a play has a lasting effect when it involves an intimate, emotional story. I feel Inspiration comes in all forms… You can find it within a bite of food, landscape, a painting you see, a song you heard, a movie you see, some-thing you read, a conversation… It’s also very helpful to have a supportive group of peers sur-rounding you, and the more diverse the better as you are able to explore and experience more of yourself through interaction with different types of people. This might be a cliche, but I have to admit it’s the life I’ve had so far - all the obstacles and stops I had on the way, the hardships and the joy, the people I met. Some of the people remain an integral part of my life, others just flashed by never to be seen or heard again but left an eternal effect.

Any roles you’re dying to play?: Petruchio from Taming of the Shrew, just so I can prove to a certain friend I can in fact be a “prick”. I’d love to play Bobby in Company if ever they adapt a non-musical version. The Year of Magical Thinking by Joan Didion even though I am far from being the type cast for that role, I would love to adapt and take a stab at it. What a wonderful piece of literature. A true treat for an actor. I keep being told I’m a good fit for any given Neil LaBute play.

What’s your favorite showtune?: Does A Night with Janis Joplin count? But no doubt one of my favorite songs is Sondheim’s "Losing My Mind" from Follies. I’ve been there.

If you could work with anyone you’ve yet to work with, who would it be?: Estelle Parsons, Nora Ephron, Michelle Williams. Constantin Stanislavski

Who would play you in a movie about yourself and what would it be called?: "Les Misera-bles…?" I am often told I look like Zachary Quinto and Christoph Waltz… so it can be an epic biopic where both of them will play me at different ages. I’m guessing it would be called: “Because I didn't have any other choice”.

If you could go back in time and see any play or musical you missed, what would it be?: Any Bob Fosse directed musical. Lucky Guy, Nora Ephron’s last play. Oh! and Spider-man: Turn Off the Dark….

What show have you recommended to your friends?: The Humans which was outstanding and I’m happy I had the chance to watch it Off Broadway, before the hype, before the Tony wins. The River -for anyone who has known true love. Crisis: Ocean Planet a production that ran at the Gallery Players and which I thought was one of the best Off-Off Broadway productions I have seen in a long time, well written and crafted. It dealt with the killer whale attack at Sea World in 2010. BFE by Julia Cho produced by Brooklyn Rep. (their first production), What a great story!!

What’s your biggest guilty pleasure?: Ben & Jerry’s cookie dough Ice-cream and Youtube vid-eo clips from the 80’s.

What’s up next?: I have two productions schedule for mid July - The Waitress and Shattered, and a few commercials. I plan to just keep on auditioning and let life surprise me with what it has in store.

For more on Ran, visit www.ranmlevy.com

By Michael Block

Samuel D. Hunter continues his domination of New York theater with the exceptional The Healing. The groundbreaking play from Hunter and Theater Breaking Through Barriers is a living room drama that is really real. A group of friends are reunited in devastating circumstances to pack up the home of a former friend who recently passed. Their brief reunion brings discussion of the past when the linchpin of trauma reappears.
Zoe has recently died in the snow feet from her Idaho home. Her friends, many of whom have left the area, come back to her place to pack it up before the landlord fixes it up for a new tenant. Filled with accouterments and memories, this room is home to heart-racing tension as we learn the circumstances that broke faith. The Healing is an emotionally raw play about morality and losing faith. Hunter subtly layers in exposition revealing that these individuals met and unified at a summer camp where their leader in faith instilled the beliefs of Christian Science. Joan, the woman in charge, told them as children that they could pray away their disabilities. After the hard-willed Sharon exposed Joan for her practices, the camp was shut down. For those unaware with Christian Science, this religion does not believe in the practice of medicine and may be one of the many reasons for Zoe’s downfall into depression. Commissioned by Theater Breaking Through Barriers, Hunter has written a play for and about people with disabilities. While it plays a key factor in plot, what Hunter has done has written a genuine and authentic drama about real people with real emotions. And that makesThe Healing infinitely more heartbreaking. This is a delicate play where the floor is filled with eggshells and evading them is near impossible. At the core, the theme of faith plays an essential role in the lives of each individual. Having someone or something to believe in drives their actions. Because of the trauma from the past, their relationships are radically altered as they denying the truths that they need one another in this moment. Each character puts up a front or façade to deny reality. From a structural standpoint, Hunter infused flashbacks into the narrative. We were able to see glimpses of Zoe. It didn’t hurt but it also didn’t necessarily propel the action further. It allowed more of an opinion to be formed while clarifying the exposition.

photo by Carol Rosegg

From top to bottom, this cast was triumphant. The ensemble lived within the overwhelming situation. As the woman who made the funeral possible, Shannon DeVido brought an edge to Sharon. Sharon tried to fight off her emotions, hoping to avoid sympathy or aid. Ironically, Sharon is like Zoe as she too had trouble seeking the help she needed. The parallels between the two were beautiful, as was DeVido’s performance. David Harrell offered a much-needed dose of humor and lightheartedness as Donald. While his character doesn’t have a giant character arch, he is the glue of the play. From the beginning, Joan is painted as this monster. Yet Lynne Lipton defies this. Her actions prior or in the moment may not have been warranted but you still manage to sympathize with her in the slightest bit. Lipton’s Joan comes off as a sweet, scared being that makes you melt. Even without her ability to apologize, you get a sense of completeness within her mere minutes on stage. It’s a mark of great storytelling that Hunter, Lipton, and director Stella Powell-Jones could achieve this so powerfully.
Powell-Jones impeccable guidance brought The Healing to great heights. With fluid direction, this piece moved yet felt lived in. Honesty was the key to Powell-Jones’ success. She granted her design team the gift of reality and a toolbox in which to work with. The scenic design from Jason Simms was intricate and deliberate. Every detail had thought. It was a very midwestern living room. From the chachkies and trinkets that filled the surfaces and walls, Simms gave Zoe a presence. The drab feeling extended into the lighting designed by Alejandro Fajardo.
The most important theme of this play is seeking help when you’re in need of help. For many people, asking for help feels like giving up but relying on others to pick up on the clues isn’t always plausible. The characters grapple with what they could have done but the sad reality is there was nothing that could be done. Hunter and Theater Breaking Through Barriers have crafted an important play in The Healing that needs attention.

By Michael Block

Unless you are disconnected from news media, you’ve likely heard of the Rolling Stone article saga known as “A Rape on Campus.” An article was published in the magazine about a group sexual assault at the University of Virginia that the author and publisher later discredited and retracted. The article began a firestorm that opened up a brazen discussion on campus rape culture and the power of journalism in the age of social media. Written by Kim Davies, Abingdon Theatre Company in association with The Muse Project presents Stet, an exploration of a journalist’s journey of writing the perfect cover story.
Taking artistic liberties that are slightly skewed from the real events, Stet is a relevant saga about focusing on the media perspective as a journalist writes a risky cover story about an allegation that has the ability to shatter more lives. After her editor suggests she write a story about rape culture following the tale of a young woman named Ashley, Erika goes down the rabbit hole of truths and lies in order to gain the cover story. Developed by Kim Davies, Jocelyn Kuritsky, and Tony Speciale and written by Davies, Stet is a engaging ninety minute drama where the end game is clear but the pieces to complete the puzzle are the intrigue. Stet exemplifies the frustratingly broken systems. Whether it be at the university level, the power of journalism, or the wonder that is the 24-hour news cycle and social media, Stet takes the audience on a journey through the power of words. Perhaps simply due to the nature of the story, Davies’ storytelling was done through interviews and one-on-one interactions. It's a shame that the documentary style storytelling lacked character development for Erika, or any of the characters for that matter. There are glimpses of journey as certain characters disclose their past but when it comes to Erika, she seems to have a one-track mind that gets in her own way. Despite the structure, Davies’ colloquial language fits this play perfectly. Each character has a distinct and genuine voice. Davies’ does an impeccable job keeping the stakes heightened, even if you know the outcome. With little twists and turns, what keeps you on the edge of your seat is how the individuals react to the situations. Trying to decipher the truths allows you to feel as if you are Erika herself.

photo by Ben Strothmann

Erika is a tough as nails manipulative generalizing journalist. She is cold as ice. Erika has a job to do and will stop at nothing to succeed and get the cover. If her morals get in the way, she finds a way to suppress them. As our antagonist, Erika needs to have a semblance of likeability. You need to be able to know that whether she likes it or not, she has a mission. Unfortunately, Jocelyn Kuritsky’s characterization was so icy that by the time her past began to unravel, it was likely you painted her as conniving. And it didn’t go far enough to be a villain you love to hate. There was turmoil for Kuritsky’s Erika but we didn’t get to see enough of it on stage simply due to the nature of the piece. As the boss man with an agenda, Bruce McKenzie’s Phil was granted some character twists that he capitalized on. McKenzie played hardball with Erika yet was a viable confident. When Phil’s true beliefs were revealed, that’s when excitement came out. McKenzie brought a well-rounded performance. To reign in the piece, Davies didn’t go overboard with the amount of interviewees. We were given a trio of young voices that offered varying perspectives. From the vantage point of the accuser, Ashley, Lexi Lapp was smartly used sparingly. When she was present she gave Ashley a feeling of uneasiness. And that uneasiness allowed the audience to question the validity of her statements. As a frat boy trying to make a change, Jack Fellows embodied fraternity life without becoming a caricature. Playing the youthful university guidance aid, Dea Julien brought out something interesting in Christina. When talking about validity, Christina never seemed credible. But When Julien was gifted a stunning monologue, her vulnerability was onstage magic.
The moment with Christina on the floor with the recorder was on of director Tony Speciale’s defining moments. Speciale brought a fascinating use of fluidity and power levels with staging. He strategically had each character in a specific chair, placement in the room, or height to define their power in the scene. The play moved swiftly with Speciale’s strong vision and his gifted creative team. It all starts with Jo Winiarski’s scenic design. The super sleek monochromatic conference room with touches of wood and brick for color were reimagined to portray various locations. At first glance, it appeared that we were going to be stuck in a conference room for ninety minutes but Speciale, Winiarski, and the tag team of lighting designer Daisy Long and projection designer Katherine Freer made this multi-locational play come to life. Long’s looks fit the moods while Freer’s design was clean and intentional. In a world with ever-developing theatrical technology, Freer’s design elevated this production.
Stet is one of those plays that benefits from the “ripped from the headlines” formula but sometimes sticking too closely can be costly. Stet is a must see story that will fire you up in some capacity.

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