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Review: A Sad Portrayal of the People We Become

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By Kaila M. Stokes

Remember Me is presented by Scandinavian American Theater Company as part of FringeNYC. This dramatic play is written by Finland native, Minna Nurmelin. This female drama is a touching tale of complete strangers that find themselves trapped in their own thoughts and circumstances of life. The show opens with the character Anna played by, Jackie Sanders, entering the home of Helena played by, Heli Sirvio. Anna is there to appraise Helena’s house to put it on the market. Right off the bat, both characters are a little strange. Throughout the show we learn more about each woman’s life-plight.  The characters also jump back and forth between real time, past experiences and their own subconscious.
A directorial choice by director Drew O’Kane that I commend was the use of lighting to deduce between present and memory moments from the actors. Anna often visited her own subconscious. She is trying to come to terms with a diagnosis she has received from her doctor that we find out about later. Her memory goes in and out and her past blends with her present. Helena on the other hand is trapped by her own circumstances of a pending divorce, which is why she is selling the house. Helena goes in and out of her subconscious to try and decipher why/how she was put in this position.
photo by Alex Harris
Minna Nurmelin clearly likes to explore the emotional side of people put in extreme life-altering situations. The writing was well done, but almost too well-done. Ms. Nurmelin captured every thought, emotion and choice of the character. But what she did was share each and every thing with the audience. She did not allow for any thought or creativity from the audience. One’s brain was not used in the slightest during this show because Ms. Nurmelin did all of the thinking for everyone including the characters. Heli Sirvioo (playing Helena) and Jackie Sanders (playing Anna) didn’t seem to have much exploring or character development to do because all of the subconscious thought was said allowed as part of the show. A moment would happen, for example, Ana would lose her thought and then instead of dealing with this and working through it, Ana would change to her inner thoughts being shared with the audience. The entire point of theater is to stretch the imagination of the audience through thought-proving moments on stage, not tell them why or how they should be thinking.
With that being said, Heli Servio and Jackie Sanders left it all out on the stage. They played their characters very open and honest. Since there is only two of them, listening is the actual challenge. But they listened and reacted to each other in an earnest way. Drew O’Kane clearly worked with the two ladies to get them to reach those emotional highs and lows. The staging made sense and felt organic. One thing that could have been stressed a little more was the climax of the play. Since the play is somber and emotional, it needed a little bit of extra stress on the climax. It felt as though it was glazed over just and we had to move on quit quickly after learning the truth.
Overall, Remember Me, was a great attempt at capturing two women’s present and subconscious psyche.  It was enjoyable to watch this idea appear on stage, but tweaking is still needed in order to engage the audience more and quite frankly, excite the audience.

Spotlight On...Sarah Moore

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Name: Sarah Moore

Hometown: Fort Lauderdale, FL

Education: Hartt School, BFA, Actor Training

Select Credits: The Witches, Hartford Stage's A Christmas Carol, A Midsummer Night's Dream, Stage Door, The Importance of Being Earnest

Why theater?: I've been a performer as far back as I can remember. I actually learned to walk on my tip toes so my parents enrolled me in dance classes (which seemed a natural reaction). I transitioned into theater after awhile because I wanted to express myself through more than just dance. That connection you get while performing for a live audience is unlike any feeling in the world and I'm addicted to it! I love becoming other people and experiencing their life, their thoughts, their reactions, and sharing that journey with an audience.

Who do you play in Steve Got Raped: I play Katie. She's trying to be "the girl next door" but isn't sure if she fits what's expected of that mold. Katie is in her late 20s, engaged, and just finds out she's pregnant. I love playing this character because I think she's incredibly relatable to a generation of women who are trying to not only figure out who they are, but figure out where they fit once they do. Figuring out who you are is half the battle. Then what? What will you do with that? Can you stay true to your new found self along the way? I think she asks all the right questions and she's incredibly strong. By the end of the play, I'm really proud of her!

Tell us about Steve Got Raped: I first read this play about 2-3 years ago in a very "casual reading" setting. It stuck with me because it tackles serious issues within relationships, friendships, and growing up in such a real and hilarious way. I kept thinking, I know these people, these people are my friends, and I'm laughing with them but I'm crying with them too. Love. Rape. Abortion. Settling. Moving on. Growing up. These are all constantly surrounding our lives and I love the lens that Sam Gooley has presented them in.

What is it like being a part of Steve Got Raped?: Being apart of this play has been really exciting. I did a reading a couple years back, remembered and loved it, and now The New Collectives are producing it in The Fringe Festival. Being apart of a world premiere is a new experience for me and it's thrilling! Whether it's rewrites or character developments, producing notes or changes, I'm eating it all up! I feel this play has a very Neil LaBute feel to it and I just want to do the material justice. It's smart, fast, witty and serious. It has wonderful light hearted moments, but also deals with some extremely serious and heavy matter. It's wonderful to be involved in.

What kind of theater speaks to you? What or who inspires you as an artist?: I'm one for the classics myself, so when I see a new adaption of a classic work, that really gets me going. Don't get me wrong, I love new works as well-but since my background lies more in the classics, I love seeing them flipped on their ear. I admire the new life, fresh eyes and a different way of experiencing a work that they're given. Something everyone has already seen a thousand times, but in a new light, excites me.

Any roles you’re dying to play?: Shakespeare's Queen Margaret, Blanche DuBois and any role, male or female, in Noises Off.

What’s your favorite showtune?: I really love Sondheim. I used to belt "Rose's Turn"when I was 10, but my favorite song is probably "Stay With Me" / "Children Will Listen" from Into The Woods.

If you could work with anyone you’ve yet to work with, who would it be?: Am I cliche? Fine then I'm cliche...Meryl Streep. That lady power! That grace! That TALENT!!

Who would play you in a movie about yourself and what would it be called?: I mean, I wanna play me! But since I get to pick, right now Jennifer Lawrence because she's the bomb. Title would be....She's Tall and She'll Fall. Because I'm a tall lady and I'm pretty clumsy. My feet are too small for my stature. That, or Sargent Paine. My middle name is actually, I promise, Sargent Paine. I feel like it's too good not to utilize.

If you could go back in time and see any play or musical you missed, what would it be?: I'm pretty bummed I didn't see War Horse on Broadway but seeing the original opening night of Death of a Salesman or A View From the Bridge would be pretty cool. Or opening night of Oklahoma! That Golden Era on Broadway can't be beat.

What show have you recommended to your friends?: Unfortunately, it closed but I saw the closing night of Blackbird in May and I'm still thinking about it. Just two actors in one room on stage really going through it for an hour and a half. I left thinking, "Wow, they just went through an emotional marathon up there. That was incredible to see." Also, I recommend Steve Got Raped. #shamelessplug

What’s your biggest guilty pleasure?: I love "theme eating." When watching Game of Thrones, have to have wine and sausages. If it's close to a holiday I indulge in all the themed food that goes with it (candy canes and Christmas cookies) I'm that girl that gets the seasonal coffee drinks at Starbucks. Is it the week of Cinco de Mayo? All the tacos and all the coronas, please.

What’s up next?: The New Collectives has been working on a new adaptation of A Midsummer Night's Dream. It's a contemporary, immersive take on the play that will take place in a bar, and Puck's the bartender! It's going to be awesome.

For more on Steve Got Raped, visit www.thenewcollectives.com

Review: She's Back!

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By Michael Block

Do we need a sequel? No. Was it worth it? Yes. Tackling one of the lesser beloved Greek plays as inspiration, Stephen Kaliski's Memoriam: After Euripedes' Alcestis sells exactly what the title says. Kaliski imagines a world where Heracles and Admetos rescue Alcestis and bring her back from the dead. Only she was perfectly fine where she was. This reimagined sequel finds Alcestis back on earth with her love. Admetos tries to get Alcesis back to normality but the task is not as easy as it seems. She goes through the motions of remembering until she turns into a bitter person that no one really knows. When the time comes for another sacrifice to be made, who's soul will be taken this time? On paper, Memoriam is a tough sell. The execution? Almost flawless. With a visionary eye from director Elizabeth Ostler, she took a script that could have been dull and lackluster and gave it life. Ostler and her creative team created a clean production that went above and beyond. Memoriam is tightly staged and stunningly designed. With variation and precision, Memoriam brought sensational lighting from Alex deNevers. deNevers found a way to introduce theatricality beyond the rep plot through Alcetis' memory suitcase light. This moment helped to elevate the play. Despite a cluttered stage, there was order. The shelves of memories were a strong choice but the moments when the text didn't correlate to the shelf placement, it was a bit of a letdown. The timelessness of the tale came through via Marisa Kaugars’ costumes. They were super light and flowy khakis and linens that created a nice vocabulary.
Memoriam: After Euripides’ Alcestis would not nearly be as successful had it not be in the capable hands of Elizabeth Ostler. It calls attention to some worries in Kaliski's text. There is much repetition and fluff in his play. Even with a short pause, Memoriam dreams of being a single act saga. Additionally, the current Act 2 was a bit slower and less "fun." With both being a factor, coming back from intermission and getting back into the action was not as seamless as it could have been. Whether it was the casting or the characters themselves, the three main roles lacked the color that Kaliski found in the rest of his characters.
With a structured direction that was all about precision, this ensemble moved as one. Lizzie Thompson playing Death filled her with color and ferocity. Her sly allure captured the light side of darkness. Every Greek adaptation needs a Greek Chorus and this Greek Chorus was living. The combo of Benjamin Elias Bercot, Bryce Crumlish, and Matthew Mastromatteo were a strong trio that found the balance of individuality and unity.
What is guaranteed after you leave Memoriam: After Euripides’ Alcestis is that "Islands in the Stream" will get stuck in your head. At least the Feist and Constantines cover. In the right hands, Stephen Kaliski's play can go far. But it's still a tough sale. Perhaps a less daunting title could help in the future. Nevertheless, if you're looking for a diamond in the rough production at FringeNYC, check out the offering from Hypnic Theatre Company and Adjusted Realists.

Spotlight On...Ben Singer

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Name: Ben Singer

Hometown: Greensboro, NC

Education: Eastman School of Music, not completed

Favorite Credits: Orchestral tapper for Meatloaf

Why theater?: I get to make emotional, intense music that people wouldn't otherwise listen to.

Tell us about At the Crossroads: Music For Faust: The show itself is a movie; the 1926 silent film, Faust. I've written music for it — not typical silent-film music, but contemporary music that tries to be as beautiful as it is tragic.

What inspired you to create At the Crossroads: Music For Faust?: The movie had interesting and dramatic cinematography. It also had people dressed in funny costumes. I look for those two things in a silent film, because even if the plot isn’t strong, those things will still keep an audience entertained. It's become much more interesting since then.

What kind of performance speaks to you? What or who inspires you as an artist?: Performance that in some way touches that inner reality, that part we are generally too busy to be with. Right now, inspired by Marc Maron, both for the way he examines his own life and the people on WTF.

If you could work with anyone you’ve yet to work with, who would it be?: Dave King, drummer for the Bad Plus.

What show have you recommended to your friends?: Horace & Pete. I am I allowed to say that?

Who would play you in a movie about yourself and what would it be called?: Edward Norton, Drift Club

If you could go back in time and see any play or musical you missed, what would it be?: About two weeks to see the NYTW Hadestown. Argh.

What’s your biggest guilty pleasure?: Drive-through chicken biscuits.

If you weren’t working in theater, you would be _____?: Singing country songs in a broken-down bar.

What’s up next?: A two-person show; a duet for a dancer and ukulele player.

Review: Laughter Through Pain

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By Michael Block 

I was taught as a child when you hurt yourself to laugh it off. And I won't lie, sometimes when I see someone else's misfortune, I laugh. On the inside. Mostly. Schadenfreude as they say. This idea is the basic premise of Dan Rider's incredibly smart play, Thud. Set in a room at a hospital, a young girl laughs at a clumsy clown as a means together about her pain, finding joy in another's physical suffering. But when the pain she infects gets emotional and mental, the script is flipped. Thud is wonderfully funny and absurdly real. Rider has written a smart story that doesn't poise itself as such. It thrives at being simply itself. The reason it works so well is we have experienced both sides. We have felt pain and suffering. And we've watched others going through it. As good as Thud is, Rider brings in a lot of repetition into the fold that could be removed to make it a single act play. As it stands now, the play could conceivably end when Act I does.
photo by Emma Dolhai
The world of Thud lives somewhere within absurdist realism. With that, Rider and director Holly Kristina Goldstein were able to incorporate some exceptional live Foley work, performed by the scribe himself. It was such a smart and unique choice that elevated an already great piece. The name of the game for director Goldstein was uniting the drastically different characters of Morley and Tad. And she did just that. With physical comedy essential for the story, she allowed the staging and magic to come freely. The set by Hannah Cook was minimal. With merely a hospital bed and a hanging window, the room was present.
When one of your characters is a clown, you better have a damn good physical performer. Harrison Scott was just that. Scott is a physical comedy genius. If you didn't have at least aw moment during his performance, you likely lack a heart. Opposite Scott was Goldie Flavelle as Morley, the pained young girl. Flavelle found variance in her constant angst. Though Tad and Morley were the focal point, Alexandria Churchwell as Jen did a fine job being more than a device.
If you want to beat the heat, the Thud kids will give you a makeshift hand fan. If you can bear that, a journey to see Thud is well worth it.

Spotlight On...Sarah Greyson

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Name: Sarah Greyson

Hometown: Edmond, Oklahoma

Education: BA in Theater from the University of Colorado at Boulder, Masters in Library and Information Sciences from the University of Oklahoma

Select Credits: You might recognize me from MTV's Road Rules Campus Crawl and The Real World/Road Rules Challenge: The Gauntlet, or from shilling some of your favorite household brands in commercials. Also, if you're a big indie horror film buff, a film I was in called Consumption just got released on Amazon Video yesterday. Huzzah!

Why theater?: Why not theater? But seriously, I don't want to say I caught the bug at an early age, but I always believed that if I could get paid for just "living theatrically" in my day-to-day life, I would find a way. And here we are.

Who do you play in Bonnie's Future Sisters?: I play Kayleigh, future sister-in-law to the titular character of Bonnie.

Tell us about Bonnie's Future Sisters:Bonnie's Future Sisters is a female-driven comedy that addresses the complex relationships that women experience on a day to day basis and how much more complicated those relationships become when you add sibling rivalry to them. I would like to stress that it is, in fact, a comedy.

What is it like being a part of Bonnie's Future Sisters?: It has been such an interesting journey getting involved with a bevvy of insanely talented beauties such as these. I don't think I've ever worked with an all-female cast and crew, and although there are several strong and supportive men behind these talented women, estrogen was at the forefront of this experience in an incredibly positive and inspirational way. PS-- Anyone who says women aren't funny can go suck an egg.

What kind of theater speaks to you? What or who inspires you as an artist?: I really love theater that uses humor and wit to address issues that polarize and politicize us. I think theater can be a powerful tool to drive us to new levels of reflection and action; it is a mirror that exposes our inner truths as a society, and historically, it has always been, even if that mirror has been the freaky, distorted fun-house kind. I am always inspired by people who understand this and go out of their ways and comfort zones to create new works that open our eyes just a tiny bit more to things we may never have considered.

Any roles you're dying to play?: I'm sure it's cliched to say anything about Shakespeare, but hell, here goes: Shakespeare's plays contain some immensely powerful female characters and I would absolutely love to explore practically any of the greats: Viola, Beatrice, Lady Macbeth... Let me at 'em!

What's your favorite showtune?: This is such a difficult question, because musical theater is almost a part of every theater kid's DNA. You don't even know how deep it runs until you put it under a microscope! But when I was living in New York, I worked for RENT, the musical, as a PA and got to watch rehearsals 4 days a week for 8 hours a day. The song that for years later I would wake myself up singing in my sleep was "Take Me or Leave Me". I'm still not sick of it, so it must be a favorite.

If you could work with anyone you've yet to work with, who would it be?: Joss Whedon. Wow. That was the fastest I've ever answered a question.

Who would play you in a movie about yourself and what would it be called?: If I had to choose, it would be between Lizzy Caplan and Greta Gerwig and I guess it would be called Sarah's Fiasco. I used to have a website called Sarah's Fiasco, and anyone who would care about the movie of my life would know that and be able to find it on Netflix pretty easily.

If you could go back in time and see any play or musical you missed, what would it be?: Actually, my friend Ross Marquand wrote and starred in a play called TRON: The Musical when we were in college and I missed it. It got rave reviews and I was always really bummed about not getting all of the inside jokes about it. I'd go back and see that in a heartbeat!

What show have you recommended to your friends?: A few years ago, a friend of mine, Matthew Scott Montgomery, debuted in Del Shores' play Yellow. I could not recommend that show enough. Seriously, the whole cast was so wonderful, the writing was so eloquent, and he was just amazing in it. When I see theater I love, I usually recommend it vehemently to everyone I know. But that was the first play that came to mind.

What is your biggest guilty pleasure?: My biggest guilty pleasure would have to be cheese. Even just typing that gave me some sort of Pavlovian response and I need to get to my fridge immediately.

What's up next?: After Fringe comes Episodic Season, so things will likely be insane this Fall. Here's hoping! :)

For more on Bonnie's Future Sisters, visit www.bonniesfuturesisters.com. For more on Sarah, visit www.thepowerofgreyson.com

Spotlight On...Molly Miller

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Name: Molly Miller

Hometown: Woodinville, WA

Education: BA in Theater and Political Science from the University of Chicago

Favorite Credits:Double Booked at The Public House Theater, Proof at Court Theatre, and Trigger Happy at the Annoyance Theater.

Why theater?: In the Chicago comedy scene the theater provides a place for artists to experiment with the weird, irreverent and messy without network executives or investors intervening to stop the madness.

Tell us about Tribulation: The Musical: It’s the end of the world…and you still need a job. Tribulation follows a would-be-poet stuck at a crappy office job as the world falls apart around her.

What inspired you to write Tribulation: The Musical: I grew up evangelical during the release of Left Behind, a series of books which detailed the events of the Biblical End times.  Although the books were intended to be fiction I took them as gospel and worried constantly that we were living in the end of days.  That’s the inspiration for the world of the musical.  The main character’s struggle at her desk job was just copy and pasted from my own life, not to mention all the artists around me.

What kind of theater speaks to you? What or who inspires you as an artist?: I enjoy good storytelling seeped in dark irony with a touch of non-sequitor insanity.  My favorite theater companies in Chicago are the Neo-Futurists and the Hypocrites. Sand is an improv troupe that inspires me every time I see them play.

If you could work with anyone you’ve yet to work with, who would it be?: Dan Harmon.

What show have you recommended to your friends?: Sand, Burning Bluebeard (The Hypocrites), and the TV show, Rick and Morty

Who would play you in a movie about yourself and what would it be called?: Eddie Falco in "Shit Get’s Done".

If you could go back in time and see any play or musical you missed, what would it be?: Not a play, but I wish I could have seen Robin Williams perform standup live.

What’s your biggest guilty pleasure?: Dressing up like a fancy writer, going to a coffee shop and pretending I’m in the middle of my third novel while I look at funny dogs on the internet.

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

What’s up next?: I’m mid process on an filthy original musical called Purity Ball: A Father-Daughter F*cK-Fest, which opens at the Annoyance November 3rd.

For more on Molly, visit www.mollyannemiller.com

Spotlight On...Tony Jenkins

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Name: Tony Jenkins

Hometown: Winston Salem, NC

Education: Senior at the University of North Carolina School of the Arts.  Pursuing my BFA in Acting.

Favorite Credits: Bynum in Joe Turner’s Come and Gone, directed by Nicole Watson.

Why theater?: I believe that the theatre is the only place where we get to have real time collective experiences with stories.  The only place where actors are received fully present.  The only place where we get to have unfiltered dialogues with the audience.  The barriers of time and space don’t exist and the discoveries are real.  Theatre is the place for me where the unexpected is inevitable and I have to use all the tools I have patiently gathered as a performer.  The first time I felt I really had an impact on the world was as a teenager doing spoken word poetry at a community assembly on race and education.  Theatre in that instant was political, controversial, and unapologetically specific.  Theatre is the place where I find myself the most reflected and certainly the most visible.

Tell us about Black Magic: In a direct audience address, the characters confront their relationship with death, past love, the system that killed them, the men who pulled the trigger, the world at large, and themselves. Incorporating elements of spoken word poetry, dance, and classic red nose clowning, Black Magic is the paradox of the African American experience: how we can disappear but still be here forever – born, buried, and born again. I find that now, more than ever, our play has an uncomfortable relevance.  Instead of plugging the theatrical into the world, the world has forced itself in our theatrical space.  We have the gift, and the burden, of focusing our attention in the performance on honoring real stories with action and love.  Our act of creation with this company has been all about uncovering the stories that exist inside us already.  That black life is resilient and that love is the antidote to death.

What inspired you to write Black Magic?:Black Magic was an accident of sorts.  It is the most haunted I’ve been by a text.  It demanded to be written.  I like to think that I wasn’t inspired to write, nearly as much as I surrendered to the stories that came.  I was most inspired, if I can attribute this play to myself, by the work of other spoken word poets that have tackled this great, unconquerable pain.  I was inspired by the abundance of black love in my life and the tragedy at the thought of losing it.  I was inspired by my own confusion in my journey as a person of mixed race and as an artist of color who has been asked to compromise vision for comfort.

What kind of theater speaks to you? What or who inspires you as an artist?:  My mother inspires me to be an artist.  My father inspires me to be an artist.  Those people who are creative and masters of their craft who don’t identify as artists.  It reminds me that there is a need to articulate the frustrations and joys of life that we don’t acknowledge outside of the theatre nearly enough.  It reminds me that I have the impulse to make art that is universal in it’s specificity; that art is for the public. Theatre that is honest and gritty speaks to me the most.  Unapologetic acting, dirty and wild expression coupled with powerful images.  As an actor, I most enjoy plays that allow me to be the channel for stories of love and understanding.  Sometimes that means having the most emotional and unbeautiful journey.  That is what I crave.  Theatre that is my experience moves me particularly.  Although there aren’t a lot of plays that center around young, queer, multiracial, men, when I find them, it is magical.

If you could work with anyone you’ve yet to work with, who would it be?:  I’d like to work with the actors who make acting a mystery.  I watch Viola Davis act and I wonder at her power.  I watch Mark Rylance relate to an audience with complete sincerity and no frills.  The Meryl Streeps and the Kate Winslets who transform seamlessly.  The list is long, but the common thread is the mysterious excellence.

What show have you recommended to your friends?:  The last show I recommended was The Color Purple.  Wow, what an incredible community of love.  Cynthia Erivo is not of this earth.  The entire cast was invested, whole body.  I was in awe.

Who would play you in a movie about yourself and what would it be called?:  I’m not sure I know the actor yet who would play me.  Honestly there aren’t many actors who look like me working today.  Perhaps Tyler James Williams? It would be called Mixed Fruit, and would probably have a parenthetical title like (the story of a confused multi ethnic homosexual).

If you could go back in time and see any play or musical you missed, what would it be?:  The first play that came to me was James Earl Jones’ Fences.  Or maybe waiting for Godot with Patrick Stewart and Ian McKellen.

What’s your biggest guilty pleasure?:  Watching The View.  I watch it for Whoopi honestly, but for some reason I don’t tell people I’m a fan.  I watch it religiously.

If you weren’t working in theater, you would be _____?:  Confused.  Probably a novelist.

What’s up next?:  After Black Magic closes I will be heading back to NC to finish my last year at UNCSA.  In the fall I will be in the Musical Sideshow directed by Bob Francesconi.

Review: The Truth About Unrequited Love

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By Michael Block

The first bit of dialogue Sean Peter Drohan starts his play off with discusses unrequited love. And it sets up the entirety of the story perfectly. Cyrano: a love letter to a friendship is a modern gay retelling of Edmond Rostand's Cyrano de Bergerac. But this is not the Cyrano you know. Yet there's a reason why this story is so universal. Change the character names and it stands on its own. In this version, Cyrano and Christian are roommates and best friends in NYC. Oh and they're gay. Cyrano: a love letter to a friendship may be flashy and fabulous, but in the end, it is a heartbreaking and honest portrayal on friendship and what it means to truly love a friend. Cyrano and Christian are roommates and besties. They're so close and open, they know each other inside and out. They do things that perhaps would only exist in a romantic relationship. But that's not what they are! Well, not according to one half of the party. When Christian reveals that a new love is in the picture, the bond between the friends experiences a strain neither is equipped to handle. Can Cyrano repress his love, whatever that may be, for Christian without losing him completely? And what happens if Christian's new love doesn't work out? Are these two back to normal? Drohan does a phenomenal job through his strong commentary on friendship and love in the gay world. Whether you've experienced it or not, the lines can get easily blurred and one wrong comment can destroy even the best of friends. It's something that many take for granted. The word love can mean two entirely different things to two people. And that's a source of conflict for Cyrano and Christian. When Cyrano says it, it comes from a place of admiration and affection. Perhaps a tinge of romance, but that's debatable. For Christian, it's just a word that can get thrown around. Christian says it all willy nilly when it comes to Cyrano. Yet when he has to muster up the strength to say it to Rock, it suddenly finds new meaning. Cyrano: a love letter to a friendship is not perfect but it is perfectly effective. The original story finds Cyrano's nose being the reason for lack of connection. In Drohan's version, it's the perception of beauty. Well, how others perceive beauty. Cyrano is not the conventional image of "sexy gay." And in a way, no matter how perfect they are for one another, Christian's lack of physical attraction for Cyrano is the wall preventing them from getting together. It's his nose. This is sadly a common theme in gay culture and Drohan expertly captures it. The play ran a normal full length time due to the additions director-choreographer Eamon Foley provided. Even though the characters are solidly fleshed out, Drohan can easily provide more to this story. Offer more insight to how in-tune this pair is and why deep down they might be soul mates. Anything to make that final moment hit even harder. Though right now it causes some tears to stream.
Director Foley brought the pulse to Drohan's play. Foley's direction was filled with humor, humility, and a whole lot of heart. As stereotypical as the situation may have been, Foley ensured that these characters were authentic and identifiable. But then there was the stuff that was not the text. Did the choreography add anything? Not necessarily but it was damn good! The projection design from Jason Lee Courson was fantastic. From the cityscapes to the Grindr conversations, Courson exceeded expectations. The set though. Well that is a different story. As functional as the Legos were to create various locations and scenic pieces, they just didn't live in this world. Is it wrong to say it wanted to be something gayer and more fabulous?
As rare as it happens, the actor-scribe combination worked. As Cyrano, Sean Peter Drohan captured the character. Though his vocals may have been a decibel to high, the emotional journey he went on was touching. He crafted an identifiable character. As his bestie, Adam Roberts was the epitome of beauty. He made Christian a bit dumb, but it was sweetly endearing. The character of Rock is so vile it helps you cheer on the hope of Cyrano and Christian. Judah Frank had a domineering presence that made his character the antagonist if the story.
Cyrano: a love letter to a friendship was difficult to watch. Why? Because Sean Peter Drohan captured the essence of love and friendship in a swift hour long play. He left you wanting more. Pray that he delivers. As a reimagining or not, the story is beautiful. When you love someone as much as Cyrano and Christian do, you'll take whatever is offered in order to keep the other in your life. Even if it means a little bit of heartbreak and a lot a bit of tears.

Review: A Fabulous Mess

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By Michael Block

Big congratulations must be given for getting this show on its feet. That's MISS FITS, to YOU! is a massive undertaking. With a total running time of close to three hours and 27 songs, Todd Tif Fernandez's musical is for the ambitious. So what exactly is That's MISS FITS, to YOU!? That's a very good question. That's MISS FITS, to YOU! is not your well-made musical. Shall we start with the balletic opening that never ever resurfaced? Whether dream ballet or not, this opening set a precedence that Fernandez was never able to recover from. That is until the very end. The premise is this: four elder queens mourn the recent loss of their beloved Miss Fits. How she died is the reason why the quartet find themselves at the police station. Through story, song, and flashback, the lives of these four queer individuals are brought to life. When a resolution is close to formation, Fernandez blindsides us all in an ending that made less sense than that of the cult television classic "LOST". Yet, shockingly, almost every brazen textual choice Fernandez dropped could be justified. But we shall get to that shortly. In terms of musical theater, Fernandez's musical is inexcusably far too long. Aside from the fluff material, there was far too much going on with way too many ideas jammed into one piece. Just look at the Judy Garland Act I finale and the Rosa Parks numbers. This story still exists when they are eliminated. In fact, it does nothing but confuse the established story. If a character doesn't know who Judy Garland is, you don't need an entire number to explain it. Fernandez is desperately seeking a dramaturg. Even with the whacky ending, there are references that are out of time. From a number, sung in the 60s, called "Drag Race" to including a musical line from the unwritten Annie in the in the unnecessary 60's piano bar number, Fernandez needs some assistance reigning his story in and making it sensibly believable. With streamlining a necessary thing to do, the musical went off the rails with the introduction of Rosa and Judy. But if he needs to cut something big: Miss Fits Version 1 needs to go. Especially if there must be a jarring transformation with Miss Fits Version 2. Fernandez could easily displace some of his strongest songs, currently sung by Miss Fits, and eliminate her character. There's something more powerful in allowing the audience to paint a picture of a beloved unseen character. Bit if we're keeping the songs, some of the others must go. And if some of the music sounds familiar, you're right. "Day By Day" anyone?
photo by Erik McGregor
This giant cast looked like that we're having fun. And isn't that what theater is all about? Despite the material, the company committed. Some of the strongest performances came from Christopher Borg as Miss Conspiracy, Darren Polito as Miss Alliteration, and Brendan Leonard as Young Miss Service Wo-Man. They all brought spice and flavor to their respected character. Kimberlyn Avon as Young Miss Fits had a wealth of experience in her voice. It was shaky at times but it's the soul that counts.
Sometimes the festival provides some massive roadblocks that need to be overcome to succeed. With a cast of 16, the stage at the fabulous SoHo Playhouse was just to small. Especially when you lose an entire entrance due to band placement. Director-choreographer Jonathan Warman was handcuffed when it came to staging. Even with four folding chairs and a high desk as the set, the number of bodies cluttered the stage. Limitations were in full force but not when it came to costumes! Fun and fabulous is an understatement. Each character, with the exception of Young Miss Counterpoint, had an identifiable look that linked the characters. Once again, it can be justified with the painful plot twist, why the characters changed costumes without recognition of time change was woeful. Though there was one sole acknowledgement. The projections by David Palmer looked pretty but they added nothing, especially when you couldn't see them.
With hopes of bringing visibility to queer characters, That's MISS FITS, to YOU! should be commended.

Spotlight On...Eric Cotti

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Name: Eric Cotti

Hometown: Hanford, CA

Education: B.S. in Business Administration: Marketing and a Minor in Theater Arts from Cal Poly, San Luis Obispo

Select Credits: Stanley Stubbers in One Man, Two Guvnors, Edgar Allan Poe in The Raven Doesn’t Talk, Sailor in NLTP’s In The Soundless Awe, Yasha in The Cherry Orchard

Why theater?: It’s about community. Of all the mediums there is nothing like a live audience beyond the lights that you must reach each night with a new story for the first time. There is a palpable element of danger and freedom that makes it fun to ride the edge. It is temporary and can only be experienced from singular moment to singular moment, just like life.

Who do you play in Bodies Of Water?: I play Benny, who is an actor and is visiting his two best friends, Jason and Margot, with his new girlfriend Claire for the Labor Day weekend. He is an impulsive, optimistic and charming guy who sees the best in people.

Tell us about Bodies Of Water: Three artists and an elementary school teacher meet up to spend a summer weekend together. The past is brought into the present and we all find out what lurks inside each of us when the storm starts to hit. Working on this play, I find myself being immersed deeper and deeper into the layers of this story and the relationships filled with secrets, hopes and regrets. Storytelling is prevalent throughout this play and is used to address the power and necessity of the stories we tell ourselves every day. Friendship is displayed with great love and laughs and tested to its breaking point. Also, there is an impending storm throughout the course of the play that is bringing with it more than just rain, thunder and lightning.

What is it like being a part of Bodies Of Water?: I could not have hoped for a better possible play to be doing at this point in my life. The creative team behind this play are powerhouses and my fellow actors I get to share the stage with are dynamite performers. I cannot wait to share this wonderful world premier play with every audience member able to attend.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that dares for ultimate specificity from everything on stage to hold up the play and the story for the audience. Personally, I am drawn to stories that explore ambitious or powerful figures going through existential and/or moral crisis.  Finding courage in the face of fear and serving my community to shed darkness and give room for the light within ourselves to shine. This fosters understanding within us and our community; in the process healing both toward their ultimate potential of greatness. THAT and The Rock’s Instagram feed, dude knows how to motivate. Playwrights that inspire me: Harold Pinter, Arthur Miller, and Lucas Hnath. My teachers and mentors that have changed my life: John, Jessica, D, Josh, Al, Larry, Terry, Robert & Michelle and many others.

Any roles you’re dying to play?: Joe in Golden Boy and Romeo are currently near the top of the list... down the line, Hamlet and Fox in Speed-the-Plow. Way down the line... King Lear.

What’s your favorite showtune?: "Singin’ in the Rain"

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

Who would play you in a movie about yourself and what would it be called?: Montgomery Clift in "The Power of Will".

If you could go back in time and see any play or musical you missed, what would it be?: The original Elia Kazan production of A Streetcar Named Desire.

What show have you recommended to your friends?: Besides Bodies of Water... The Debate Society’s upcoming show The Light Years at Playwrights Horizons. I love those folks and their last play Jacuzzi was a paramount theater viewing experience.

What’s your biggest guilty pleasure?: Iced Coffee that makes me a night owl.

What’s up next?: A short film I will be writing, directing and starring in about one man’s mission to take down the corporation that wronged his family. As well as, the next draft of a full length play that examines the struggles of two young men as they leave boyhood behind.

For more on Eric, visit www.ericcotti.com. For more on Bodies of Water, visit http://www.bodiesofwaternyc.com/

Review: When Babywomen Attack

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By Michael Block

Comedy is subjective. What's funny to one may not be funny to another. With comedy being so broad, an audience is truly the litmus test to discover if something is funny. In Mike Wirsch's intrusively absurd The Curse of the Babywoman, silly fodder and baffling jokes fill the two-act comedy. Be warned, this style of humor is certainly not for everyone. The crazy comedy follows the cartoonish Francisco Sputum as he stumbles into a tavern after a recent sighting of the infamous Babywoman. Wrapped up in an abundance of recurring jokes, many of which don't land the first time, The Curse of the Babywoman is unlike anything you've seen before. Yet it wants to be a comedic steampunk gothic thriller. It's evident that this play will land if it's to your taste. But is it possible that Wirsch's brand of comedy was too smart for this cast? For some reason, there was a massive disconnect between page to stage. Though time and location seemed to shuffle often (Bob's Big Boy anyone?), overall, the accents were not strong enough to be carried through. Going neutral may have added clarity in the comedy. Perhaps defining this world would benefit Wirsch in the long run.
The Babywoman ensemble were game to play, even if it meant throwing puppies out of trees or interacting with straw people. As Philomena, Sarah Misch was the sole performer to grasp the rhythm of Wirsch's comedy. Misch was able to turn from ingenue to diva on a time. Taylor Pedane had a tough task of leading this play. He tried to grasp the absurdity of playing the straight man of the sketch while still engaging in the style.
Director Olivia Hartle kept the energy high from start to finish. She proved what a potential big budget production could be. The inclusion of the shadow puppets, created by Wirsch, was a nice touch that could have gone even further. It was a nice visual gag. The steampunk inspired costumes by Sean Pollock were a nice touch. Just look at Nimrod Rodham Rodman's attire. It elevated his character.
From a score of kid songs to a "Blucher"-esque bit, the moral of The Curse of the Babywoman is that if a recurring joke doesn't work the first time, the audience won't buy it the twentieth time. Mike Wirsch is a smart writer and that should be noted.

Review: "Red" of the Future

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By Michael Block 

It's fitting that a play about art is performed in a converted art gallery. Alex Hersler's Algorithmism is a talkie play about a future where art created by humans falls to the wayside when computers can do the work better. Hersler has a brilliant concept. It's a dialogue we likely never imagined possible but the reality of the situation is imminent. The trouble was that despite being broken into four scenes, Hersler's two-hander talks in circles. The story of art gallery owner Tom and his pride and joy artist Paul seems to lack character depth, instead opting for intellect. Finding a way to bridge the gap will be of great aid to Hersler.
What's fascinating about Algorithmism is how one-sided the power shifts felt. As Tom, Terrence Montgomery controlled from start to finish. Montgomery tried to find any semblance of chemistry with scene partner Sean Shannon. What's ironic is how robotic Shannon's performance was. As the deadbeat, hipster artist Paul, Shannon was rigid and stuff, rarely moving from his planted position on stage.
The direction by Richard C. Aven was focused in on the text. Rather than bring out the relationship, it was all about the complexity of Hersler's words. Despite the lighting woes of the space with house lights coming on and off, you can see the great design by Christina Verde. When it came to costumes, Susanne Houstle did a phenomenal job dressing Tom. The splatter jacket was brilliant. The slacker vibe from Paul didn't feel authentic to the prestigious career he was having.
Overall, the message Alex Hersler provides in his play is promising. He's no John Logan but this really is an art play that wants to be discussed. With the execution slightly amiss, the potential of Algorithmism was never quite found.

Spotlight On...Meghan Gambling

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Name: Meghan Gambling

Hometown: Hillsborough, NC

Education: UNC - Chapel Hill, Communications, Minor in Writing for the Screen and Stage

Favorite Credits: Three previous shows at Fringe NYC: The Kitchen Sink, Naked and Crazy, Happy Birthday, Mom. "By The Clock", a mini series on Mary Pickford, "One, Mississippi" about the last abortion clinic in Mississippi, winning LA Comedy Festival and being featured on TruTV with my comedy band, Identity Crush.

Why theater?: It's a snap shot in time! Never to be recreated the same way!  Especially now, when it seems like every moment of life is filmed, and so much entertainment consumed is unscripted. Plays are the opposite, you're seeing something that is very planned, but also different every night. There is something magical about physically getting people in a room together for the sheer purpose of being entertained by other people that are physically in that room with you. As a writer and director I love sitting in the back and watching the audience members. The exact same material can hit or miss, depending on who says it and who's watching. On the other hand you can start to predict what will hit and that's a really nice feeling, that.. "here comes the laugh!" But the "live-ness" of theater has always enticed me. Also, it's cheaper, requires less equipment and is a great way to make friends!

Tell us about Bonnie's Future Sisters: Bonnie's Future Sisters is about a self help author who hosts her own engagement party. She's got this fantasy about forming the perfect family by uniting her future sister in laws and her current, somewhat estranged sister - together for a night of hotel bonding in honor of...herself. Bonnie has fallen into a career as a writer, whereas her older sister has been working on the same piece for a decade, so there is this clear discrepancy in what they've achieved in life.  I wanted to hold up two characters, one with skill and one with success and really ask the question - what is important here? Ultimately Bonnie just wants her sister to be proud of her for something, but she's really clueless at how to achieve that.  And for Corey, the older sister, it's a struggle to sort of... forgive Bonnie for being who she is. The party is actually surprisingly successful, until one of the sisters goes missing.

What inspired you to write Bonnie's Future Sisters?: A bachelorette party that I went to coupled with seeing the movie, Bachelorette.  The party reminded me how much fun groups of girls are together -- how weddings really do sort of bring everything to the surface, emotional highs and lows. The movie reminded me how simultaneously villainous/hilarious women can be. I loved seeing modern seemingly evolved women reduced to their most base tendencies in the face of the bastion of tradition: The Wedding. Which, sounds sort of stereotypical, but when done correctly, it's delicious. For Bonnie, I wanted to write someone really earnest who just missed the mark on everything, particularly social cues. Also Bonnie is abrasively clear about what she wants and that's often something that turns both men and women off in a woman. Bonnie's party is a way of showing off her success and pleading with her sister to love her. Meanwhile she idolizes the relationship between Kayleigh and Larissa, the other sister set, which we of course find out is not quite what it seems. While I was working on the play I saw,  Mike Judge's HBO series, Enlightened and thought, 'Oh my God, Laura Dern's character is an older version of Bonnie.' That show really reinforced what I was trying to do with this character -- this woman who has so many good qualities but is also sort of delusional when it comes to the impact she's having and the way people are receiving her.  And Bonnie is a human resources professional turned author, so she thinks that she is an expert on people.
What kind of theater speaks to you? What or who inspires you as an artist?: Anything that illustrates the grey area of life. I enjoy simultaneously liking and disliking a character. Also musicals. They make me cry, and in general during the bows of anything, I am crying.

If you could work with anyone you’ve yet to work with, who would it be?:  Joan Didion, Rachel McAdams, Mike Judge, Coach Taylor, Chelsea Handler, Marcia Clark.

What show have you recommended to your friends?:  I saw Absolute Brightness of Leonard Pelkey at the Kirk Douglas a few months ago and it was phenomenal. James Lecesne seamlessly played about 10 different characters charting the progression of a hate crime against a gay teen in a small town. Hilarious, tragic and brilliantly executed. I also love TV so I'd say Stranger Things (NC represent!), Bloodline, Season 4 of Orange is the New Black is heartbreaking and so timely, and Chelsea Handler's documentary series, Chelsea Does. And Narcos.

Who would play you in a movie about yourself and what would it be called?: Rachel McAdams entitled "Why wasn't I born Rachel McAdams?" I just love her. Um. That's a hard one. I mean the title part. Not the Rachel part. My boyfriend calls me Megizz and I have this saying, "What's Up With The Megizzzz" which I like to bellow so maybe that would be the title of my movie, just a general, Hey, what's up with her? "What's Up With The Megizz?" But there's always a different amount of "z's" in the answer. Or "Growing Up Gambling" cause I used to have a blog with that title, filled with stories on how I "gambled" with fate.

If you could go back in time and see any play or musical you missed, what would it be?: I would watch Once on Broadway, again. I would see Seminar cause I really wanted to see that. And Grease and West Side Story on Broadway just cause they're classics. And Leslye Headland's play, Bachelorette, since I liked the movie so much.

What’s your biggest guilty pleasure?: Pie.

If you weren’t working in theater, you would be _____?: At a cat sanctuary.

What’s up next?: Finishing "One, Mississippi". Also, making Bonnie's as a movie, finishing my novel and writing a new play. I really like to be in the middle of a lot of things.

For more on Bonnie's Future Sisters, visit bonniesfuturesisters.com

Review: A Bad Romance

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By Michael Block 

If you had to do a double take to ensure that the real Taylor Swift wasn't in You belong with me because you're so vain, you're not alone. But rest assured, it wasn't her. But her lyrics were ever present. Written by Heider Tunarrosa, You belong with me because you're so vain is a modern day “Love Story” that is more of a "Bad Romance.” C.C. Baxter pines over his ex Alfred, who is stuck in his head. Meanwhile his best friend, roommate, and collaborator Lenny is dating a new guy. As Lenny tries to get C.C. to shake it off, the devil and angel in his head, known as Lady Gaga and Taylor Swift, lead him down a road of romantic conflict. This idea and story were strong. The story is simply silly. The execution, not so much. Tunarrosa's story has some fabulous plot holes that need to be patched up moving forward. But for that to happen, it will be best to step out from the central role and sit only in the playwright's chair. The timeline in reality was a bit messy but it wasn't nearly as messy as the device Tunarrosa used. As it stands now, the device of voices in C.C.'s head was poorly utilized. The devil and angel conceit was cute but when it came to Alfred, director Matt ZanFagna planted him in a chair causing more problems than just being uninteresting.
ZanFagna's direction was a bit absent. With the rules of the world being inconsistent, he haphazardly built the physical world. Sometimes the actors would use the stools to "enter" and "exit" the apartment. Other times they would not. Sometimes the couch would move and it was never clear just exactly why. And with little to no lighting shifts, the passage of time was lost. Clarity is essential. It wasn’t present.
The company came to play. As mentioned, the character study Sonja Higgins did to portray Taylor Swift was extraordinary. It was uncanny. If she hasn't found an outlet to be a T. Swizzle impersonator, she must. We knew Samuel was trouble when he walked in. Tristan Biber captured the douchbagery of certain gay men. As Alfred, Jeffrey Roth played up the catty queen. The script featured two quick potential romances for C.C. that never were fleshed out. But if you wanted to see more of any character, it was the sweet, charming, and perfect Jason. If you didn’t fall in love with Dillon May the moment he walked in, you might not have a heart. He was perfectly adorable.
Writing a star vehicle for yourself isn’t always the best idea. Tunarrosa lacked the poise to truly carry this show on his shoulders. He should trust that there is something deep within his script and spend the time listening and finding it. The laughs are earned when he drops in the Lady Gaga and Taylor Swift lyrics. The play strives when it calls attention upon itself. There’s something that can be pulled out.

Spotlight On...Andi Morrow

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Name: Andi Morrow

Hometown: Huntsville, TN

Education: Maryville College; B.A. in Theatre

Select Credits: As You Like It (Tennessee Stage Company), Online Fighting (The Brick), DreamVault Cycle (La Mama E.T.C.), The Killing of Sister George (Rising Action Theatre)

Why theater?: There's nothing more exciting than live theatre. I love the danger and unpredictability of it. The audience give you a certain energy, and then it's your job to take that energy and feed off of it. I really love film, but you don't have that there and it's definitely something I miss.

Who do you play in Scratching?: Brianna

Tell us about Scratching: It's a drug fueled love triangle in the dirty, gritty South. It's ultimately a play about dreams, missed opportunities, and moving on.

What is it like being a part of Scratching?: It's a wild ride -- kinda like the play. It's been really cool to create this world with such talented people -- all who bring their own unique voice to the story. There was a lot of trust between us early on, so that really makes for an awesome collaborative experience.

What kind of theater speaks to you? What or who inspires you as an artist?: What touches me most is when theatre reaches down into the ugliest and darkest parts of the human experience, and pulls it up and displays it for all to see. That's what I crave from art -- being able to see that there are beautiful moments and there are ugly moments, but we're all in it together. As far as inspiration goes, I feel like that changes weekly. The one constant inspiration, though, is music. It's a universal language that can stir up all your emotions. I love songwriters - like John Prine, Jason Isbell, Lucinda Williams, Dolly Parton, Kris Kristofferson, Townes Van Zandt - who can combine storytelling with music. I'm really inspired, also, by actors who are always striving to honor the art form. Obviously the great actors that we all know, but also actors around me in this city who aren't famous but value art over anything else. They constantly inspire me. I'm a Mountain girl, so after spending some time in the Mountains I always leave feeling inspired and rejuvenated. I'm very inspired by my Appalachian heritage. It's the root of all creativity that runs through me.

Any roles you’re dying to play?: Blanche DuBois. And when I grow up - Mother Courage, Violet Weston from August: Osage County.

What’s your favorite showtune?: "The Music and the Mirror" from A Chorus Line stands out for me. It's a song about deep, yearning passion and it always hit me at my core. "Everything's Coming Up Roses" is a favorite. I was fortunate enough to see Bernadette Peters play Mama Rose when I was in high school, and it quite literally changed my life. The emotion she put into that song STILL brings tears to my eyes. I'll never be able to hear it the same way again.

If you could work with anyone you’ve yet to work with, who would it be?: Julie Taymor, Pam MacKinnon. Also, in film I would LOVE to work with Ray McKinnon. He tells Southern stories that I want to be a part of.

Who would play you in a movie about yourself and what would it be called?: Hmmm...that's tough. I would hope I'll be played by an actress we don't yet know, because I'll be old and will have had a long life. But if I had to choose an actress I would be honored to play me, I think Kristin Wiig. The title of my movie?: "A Satisfied Mind".

If you could go back in time and see any play or musical you missed, what would it be?: Does a concert count? Because if I could only pick one thing, it would be the Monterey Pops Festival in 1967, FOR SURE. Play, I'd love to see Meryl Streep as Mother Courage.

What show have you recommended to your friends?: I recommend a lot of tv shows more than anything. I've been recommending Rectify a lot lately. I also love recommending Avenue Q to out of towners, because I want them to be shocked, slightly uncomfortable, and also laugh their asses off. Laughter makes the world go round.

What’s your biggest guilty pleasure?: Ice Cream.....

What’s up next?: A film I star in, "HERE LIES JOE", will be having its NYC Premiere at the Chain NYC Film Festival as well as the Knoxville Film Festival (near my hometown!). I'll also be focusing pretty heavily on the group I run, NYC Lady Parts Film Club. We have screenings and workshops coming down the line very soon!

For more on Andi, visit www.andimorrow.com

Trolling Time with...Nicholas Cocchetto

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Name: Nicholas Cocchetto

Hometown: Arkport, NY

Education: BFA Drama from Niagara University, certificate from Stella Adler Studios, Rockwell Scholar at Primary Stages

Who do you play in The Illusory Adventures of a Dreamer: Aslak, Fun, and Monsieur

Describe your character(s) in three words: Aslak: confident, handsome, masculine; Fun: masc, dominant, horny; Monsieur: gentle, calculated, confident

Tell us about The Illusory Adventures of a Dreamer: It's the story of a man searching within himself to find himself but he discovers that he is not alone.

Describe The Illusory Adventures of a Dreamer in three words: Stylized, frenetic, dirty

Who is the biggest liar?: Um...probably Austin? I'm sure he's told a few nasty lies in his day.

Who is the biggest troll?: In the traditional definition of a troll, Taylor. Definitely Taylor. That boy has confused limbs for days.

Who is the sexiest?: I kind of have a weird thing for Geo. But he's a little too hairless and blonde. Oh, I'm sorry..."blonde." Gerardo's got some hair goin' on. And...am I allowed to say Chris??

Who is the most mischievous?: I see Maddie getting herself into some trouble. She may look sweet but give that girl some leather and see where it takes you.

Most likely to go on an adventure?: Me. I gather no moss.

Most likely to get caught up in a cult?: Eddie. He'd take over as leader. He's very persuasive.

Which bandana best describes you?: Do you want the dirty truth? Let me look them up...
Wow. There are way too many. If they have a color for "into hairy muscular middle eastern men" then that's mine.

Favorite (gay) bar in NYC: Boxers. I like sports and big dudes who play them.

Fun, laughs, or good time?: Fun. Duh.

Do you talk to yourself in a mirror?: Only when I'm naked.

What is your favorite moment in The Illusory Adventures of a Dreamer?: Eddie cracks me up with every single line. So I'll just say Eddie in general.

What is the most rewarding thing about being a part of the Dreamer team?: We get to be half naked on stage.

Why should we come see The Illusory Adventures of a Dreamer?: Did you hear me?? "WE ARE HALF NAKED ON STAGE!"

For more on Nick, visit nicholascocchetto.com.

The Illusory Adventures of a Dreamer is part of the 20th Annual New York International Fringe Festival! Performances dates are Saturday, August 13th at 9:30pm, Tuesday, August 16th at 5:00pm, Monday, August 22nd at 4:45pm, Wednesday, August 24th at 7:00pm, and Saturday, August 27th at 1:30pm. All performances will be at Venue #1: Teatro SEA (107 Suffolk Street). For tickets, visit fringenyc.org

For more on The Illusory Adventures of a Dreamer, visit dreamerplay.com. To support and donate to the project, please visit gofundme.com/dreamerplay


Review: Wrap Up Your Own Happiness

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The Wedding Warrior is one of those uplifting and beautiful plays that brings a smile to your face. Written and performed by Casey Dressler, The Wedding Warrior follows Casey and the colorful cast of wedding guests, vendors, and help. Effortlessly bouncing from character to character, Dressler gifts the audience a performance to remember. Rather than offer a life story solo show, Dressler provides a glimpse into the day in the life of a wedding planner. When the Florida wedding starts to fly off the handles, Casey must deliver on the perfect wedding all while combatting her own love woes.
Casey Dressler is an elite performer with immense talent. She's a dazzling, bright-eyed ray of sunshine. She epitomizes what it means to be a strong character actress. Her physical and vocal transformations allowed her to create distinct and unique characters.
Director Kim St. Leon helped guide Dressler through her world. The momentum was consistently moving as each beat was hit. The array of emotions St. Leon helped Dressler find allowed the play to resonate with anyone watching.
Casey Dressler may be Florida-based but New York City has welcomed her with open arms. The Wedding Warrior is a triumphant production that is not to be missed.

Spotlight On...Emmanuelle Bernard

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Name: Emmanuelle Bernard

Hometown: La Seyne-sur-Mer (France), Colombo (Sri Lanka), Conakry (Guinea) and lots of other places!

Education: Theater education at Cours Florent (Paris) and HB studio (New York)

Select Credits: Peola’s Passing by Cynthia Robinson at New Perspectives and Re:Late/Able at Fringe NYC 2015

Why theater?: Most simply—connection. With the audience. With the cast. With myself. I feel awkward and inadequate a lot of the times in my day-to-day life, so it’s nice to feel connected on the stage. Cherry on the cake is when the audience laughs. I feel connected and like I’m an incredibly funny person, which is who I’d like to be in real life!
I’m not.

Who do you play in The Co-Operatives?: I play Sam, a witty, pregnant co-op resident who is good at taking care of herself and bad at relationships.

Tell us about The Co-Operatives: It’s a farce about a group of people literally fighting over a dead body to get his superbly located, very well priced two bedroom apartment. It exposes how small things about who we are become a big deal and feel like they’re worth lying for. It’s also a reminder of how crazy real estate is in New York—in this town, we’d probably all go nuts for an affordable, nice place in a great location!

What is it like being a part of The Co-Operatives?: It’s an incredibly enriching experience. I’m learning a tremendous amount from the entire team! I am overwhelmed by everyone’s incredible talent, humor and intelligence. I try to take in as much of it as I can!

What kind of theater speaks to you? What or who inspires you as an artist?: Actors inspire me. Seeing people fearlessly display their humanity and generously share it with others inspires me! I guess that’s what I like about theater! The fact that good theater exposes that.

Any roles you’re dying to play?: These days I’d love to play Susan in Race by David Mamet.

What’s your favorite showtune?: I don’t know. Cabaret’s "Wilkommen"?

If you could work with anyone you’ve yet to work with, who would it be?: There are so many people I’d be lucky to ever have the chance to work with! I still have so much growth to do as an actor, so someone who loves and cares for actors? Gets them to surpass themselves? Oh! And Steve McQueen on film. I’m obsessed with Steve McQueen.

Who would play you in a movie about yourself and what would it be called?: I don’t know, maybe Thandie Newton? I have always adored Thandie Newton, so any movie about me would have to have her in it. No matter who she played! And Minnie Driver, please. Could it be a TV show with Viola Davis?

If you could go back in time and see any play or musical you missed, what would it be?: August Wilson’s Fences with James Earls Jones in the 1980s. I was also dying to see Cat on a Hot Tin Roof a couple years ago and was not able to—I’d pretty much love to see any production of Tennessee Williams’ works.

What show have you recommended to your friends?:Hand to God, Skylight, Eclipsed, Book of Mormon!!

What’s your biggest guilty pleasure?: Game of Thrones! And sitting quietly, alone. With a two year old and a husband, that practically never happens.

What’s up next?: I’m having a baby in a few weeks! Should keep me busy!

Spotlight On...Ilana Simons

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Name: Ilana Simons

Hometown: Brooklyn, NY

Education: PhD in Psychology, The New School; PhD in Modernist Literature, NYU

Why theater?: Performing has meant a lot of things to me. I grew up around close cousins who are incredibly charismatic storytellers. My father comes from a family of teachers, and his favorite mode of talk is probably speech giving. I grew up with some sense that “holding court” in conversation is a vital self expression. I became a professor of literature for a while—that was a great way to feel the presence of my voice in a room. But when I changed careers and became a clinical psychologist—more listening than speaking—I found myself hungry for a different public voice. I started posting small videos online—mostly on Facebook—telling stories into my iPhone and animating them (https://vimeo.com/ilanasimons). Those found an audience. I founded a blog at Tin House magazine for the videopoem—the “videopoem” being what I thought of as small lyrical online performance. About two years ago, I was getting a divorce, feeling a new need to hurl my body into public space, and I had just moved into a new neighborhood in Brooklyn. I was doing a long run in some beautiful weather around this neighborhood, and my sense of ownership was bursting, strong. I decided to bring these videos onto a stage and make a play, which I had never done before.

Tell us about All Together Now: All Together Now is a one-woman show in which a small audience of 20 lies in a tent, under a projected dreamscape of animated movies. I embed myself alongside the audience to tell the story of growing up in a family of charismatic men.  I made the tent and animated the movies.  A lot of the footage comes from interviews with my family members in which I asked them, bluntly, what they think of me, and about our gender roles.

What inspired you to write All Together Now?: I started All Together Now after my divorce, as I was trying to heal that wound. I initially wanted to make a play about love, and started with something more scholarly—I was going to read Freud’s love letters on stage and almost lecture about theories of love. But I quickly saw that the “teaching” voice wasn’t working and I ended up making a work that has left almost everyone who’s seen it saying, “that was intensely personal.”

What kind of theater speaks to you? What or who inspires you as an artist?: At the moment I am most inspired by Kae Burke and Anya Sapozhnikova at The House of Yes in Bushwick. That’s because I knew them as two girls in their twenties with this insane ambition of building a venue with mosaics all over, with showers by the bar, handmade everything, grand aerialist constructions, to host outsized art every night. They are the most potent dreamers I know—for how quickly and competently they convert dream to reality. I also love Cynthia Hopkins for her raw narrative and immediacy, and Sybil Kempson for her imagination and risks.  I like artists who seem to take down that wall of convention that separates imagination from what we say. Novelists like Haruki Murakami and Virginia Woolf do that for me.

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

What show have you recommended to your friends?: All of Sybil Kempson. The Alcoholic Movie Musical, by Cynthia Hopkins

Who would play you in a movie about yourself and what would it be called?: "The Triumphant Fetus".  I don’t know who would play me but my friend Christy Meyer has given me the gift of reminding me that I actually am in this movie, all the time.

If you could go back in time and see any play or musical you missed, what would it be?: I would have watched Virginia Woolf disguise herself as an Abyssinian prince to get onto the Dreadnought, a ship in Britain’s royal navy, in 1910. She used the flag of Zanzibar because she couldn’t find an Abyssinian one, painted her face brown, and received high honors on the ship.

What’s your biggest guilty pleasure?: A bit of liquor.

If you weren’t working in theater, you would be _____?: I don’t do my art professionally.  I paint, animate, make short movies, and am now putting on a play, but I work as a psychologist. I work out of my home, which allows me to work half-days seven days a week and then devote a lot of my free time to art making.

What’s up next?: I’m taking off work from November to March to travel in the southwest—to Taos, Santa Fe, Joshua Tree.…  I want to make a documentary film but don’t have a topic yet.  It might be about broken hearts but I would like this project to develop into something more politically relevant than what I’ve done in the past.

For more on All Together Now, visit http://cargocollective.com/ilanasimons/All-Together-Now
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