Theater in the Now

By Michael Block

To start, Ben Holbrook has written a sensational script. Sinners on a Southbound Bus is an example of perfectly dangerous theater. Holbrook's play follows a pair of runaways on a bus as they try to evade the cops. On their journey they meet passengers that force the question of right and wrong. The overlying question is who has the power to decide when it comes to morality. Holbrook's text is biting. Where there's cynicism there's tenacity. He smartly avoids preaching by providing all angles of the conversation with ease. The characters may not be filled with depth but they are engaging.

Even though it's a single scene play, Sinners on a Southbound Bus is a challenge on the stage. Even in minimalism, style is essential. Director Phoebe Padget created the bus through rows of mismatched folding chairs. At first glance, you'd never know it was a bus. This meant Padget had to tell the story through staging. Marrying real movement within the style. Unfortunately it wasn't enough. She made it seem as if these people were stationary. Throwing in some bumps on the road was essential. Helping to show that walking on a moving bus is not that easy was crucial. Additionally, actor David Bell had the hardest job as the bus driver. He truly also had the most important job. Not only did he have to "drive" the bus, he had to drive the style. Unfortunately it didn't happen the way it needed to happen. Yes, the reality of driving includes moments of keeping the wheel in place but to create movement in stillness, it must be overplayed. And by placing him on a dominant corner of the stage, your eye naturally looked toward him.
When it came to acting, this play was dominated by Morgan and Silas played by Michael Coppola and Nabil Traboulsi respectively. It was their story. Coppola had strength yet was held back in clarity with diction issues in accent. Traboulsi was a pent-up ball of anger. And it was exhilarating to watch explode. It’s a shame his character saw an early demise. The hero of the play was Scott Brieden as Officer Triplett. The gag was fun, adding much needed lightness in the play. But Brieden still managed to find variety in similarity.
Sinners on a Southbound Bus is a script to keep an eye on. Ben Holbrook has written a masterpiece. But this production proves that it’s a difficult play to stage.

By Michael Block

In Jesse LaVercombe's hyper ambitious solo work Love Me Forever Billy H. Tender, the audience is thrust into the future to watch the lives of three relatives unravel. Billy H. Tender is a former teen pop star turned kinky folk singer-songwriter. He makes a triumphant return at the dismay of his fans that don't like this new version. His mother is trying to keep her life afloat as she works as a phone sex operator. And this leaves Hal, the youngest son and brother alone. Metaphorically and physically. LaVercombe's visceral play is unique in the sense of approach. LaVercombe has versatility as a performer. Through his speech, musicality, and movement, he showcased his vast skills. Yet when it came to character, he didn't necessarily create distinct characters in the common sense of a solo play. Rather than gender-bending, for example, he focused more on the cadence and pitch. It was a subtle choice that didn't necessarily hinder the storytelling. Where Love Me Forever Billy H. Tender could be improved is perhaps recanting the mystery of the evening solely through the eyes of Hal, LaVercombe's strongest and most captivating character. The action of Billy and Stella directly affect Hal and may not need to be seen. It would help to hone in and streamline the piece.
Love Me Forever Billy H. Tender thrives on precision. It's so tightly directed by Adam Lazarus that one miscue has the power to derail everything. Lazarus took LaVercombe's script and elevated the material in a manner some solo works never achieve. By physically tightening the play, an immediate intimacy confined LaVercombe in the best way possible. The hanging fabric panels forced him into periodic stillness that brought out his words. The sound by Adrian Shepherd was sharp and redolent.
Love Me Forever Billy H. Tender is a play geared best for the millennial mind frame. It's a play for taste. If the text isn't to your liking, Jesse LaVercombe's performance must be.

by Kaila M. Stokes

Inheritance is a one-woman show that portrays the soul of a beauty whose previous generations haunt her own present. Jessica Wanamaker, writer/director/actress of Inheritance, gave a stunning portrayal of this woman. It felt so honest and personal that one can only assume it is about her own life. From the moment Jessica stepped on stage, she transformed into every character she was portraying. Generations were connected through every wrong decision in each of their lives. How much pain can one person take? If you’re a woman….a lot.
Jessica begins with her great great grandmother, an Irish lady with a nasty husband who was even nastier to his own daughter (Jessica’s great grandmother). This is the beginning of a cycle for the woman in Jessica’s family. What follows abusive husbands and boyfriends is rape, abortions and death. At first Jessica wanted to break the cycle, forget her past and forge ahead! But without the past, one couldn’t have a present and certainly could not forge ahead to the future. Instead, she sits in her past for a while, ruminates in its smells, tastes and desires. She then poses these questions to the audience; what makes us female, why does history repeat itself, what are the gender norms? All of these questions are very prevalent in society today, references to current events were made throughout which gave her message a sense of urgency as well. As a woman, these questions are hard to ignore since everyday our choices mean more than a man’s because woman have consequences that men could not fathom.

photo by Dixie Sheridan

Jessica is each generation and acts out each event, including a paralyzing representation of rape. The message is clear from beginning to end and for that alone, Inheritance should be applauded! Throughout the piece as she became different people, Jessica stripped a layer of clothing off. This was such a bold and defining choice. There was no set, no visual metaphor, so she used her body as the physical metaphor. The stripping off of cloths was the flaking of layers of generations and of choices her previous ancestors made. Jessica was making a choice to go through these layers, not around, and take them off only after she understood that person fully. It was beautiful.
Inheritance was so simple, so naked and exposed that the audience felt like they knew this actress on stage. It was as if Jessica and all in the audience had been best friends for years, usually you are before someone shares those intimate moments in their life. But without being friends, Jessica bared her soul onstage. The ending should not be given away, but let’s just say, the timing of that news was perfect. Inheritance is highly recommended and if you can, see it with someone you love. What do you do when the past haunts you? You live!

By Michael Block

It's official. Dave Droxler has figured out how to get your project funded. Claim Christopher Walken is involved! Walken On Sunshine is a fluff comedy that knows what it is and never strays. The farcical play is mindless fun and entertainment about determination. Brothers Gavin and Quinn are trying to make a movie. They have a script. They have a lead. All they need is the money. After reading an article about Christopher Walken never turning down a project, Gavin accidentally tells a giant fib to their future investor, who also happens to be the boss of the girl of his dreams. With well-timed references and non-stop laughter, Walken On Sunshine honors the classic comedies we know and love. If you're a theatergoer looking for substance from a play that forces you to think, Droxler's play is not it. But who says that's what theater has to be all the time. You certainly could take the time to over-analyze Droxler's text but where's the fun in that? Just come for a laugh! When Droxler tried to be too smart, he hit some roadblocks. And that came through the unclear devise of Narrator. Partially playing narrator and scene or costume change cover, her purpose in this world was never defined as much as it needed to be. If she is only a device for Gabin, she shouldn't have been included in the actual scenes as characters.

As bright of a writer as Dave Droxler is, this play thrives on the incredible ensemble. Comprised of Maggie Carr, Droxler, Jennifer Fouche, DeLance Minefee, Paul Pakler, and Jonathan Spivey, this is the definition of unity. Even when someone breaks, the energy remains and cue is picked up after the laughter ceased. Droxler is a brilliant physical comedian. His brand of funny is not something we see nowadays but he reminds us why we need it back. The superstar of the production was by far Paul Pakler. From his mannerisms, physicality, and characterizations, Pakler is reminiscent of the brilliant Martin Short. That is a collaboration that needs to happen. The voice of Jennifer Fouche is worth the price of admission. She has pipes!
Director Marcus Stevens kept the comedy flowing. It was a strong decision. His prime focus seemed to allow his company to go big to cover up the little holes. The staging was tight. Literally. Soho Playhouse served as an obstacle course for the cast at times. The inclusion of live music played and composed by James Rushin was the icing on the cake. This play may have faltered without it. It assisted in keeping the tempo constant.
Walken On Sunshine is fun, fun, fun. And that's all you can ask for. Does this play survive a future without Dave Droxler in it? That's a giant question mark that may have an unfortunate answer. There are very few people who can do what that talent can do.

By Michael Block

Claire Christine Sargenti transports the audience right into the French Quarter in her smoky solo drama Interludes: A New (Orleans) Play. In a city fond of the dead, the spirit on stage very much alive. And so is Sargenti's story. Intertwining the denizens of New Orleans, Interludes is sensual and seductive. From musicians to preachers, Sargenti portrays the passionate people with big easiness. She allows her story to unravel slowly. It's not until quite late that the connections truly come to light. It's when the connections are made that new life is breathed into Interludes. Even if it means dropping subtle hints earlier, rewarding the audience is essential. Helping the audience to feel like their in on the piece is beneficial in the long run. As a performer, Sargenti lives in subtleties. With the number of characters she tackles, had there not been costume assistance, they may have blended together. Moving forward, finding a bit more differentiation will be greatly advantageous.

The pulse of Interludes: A New (Orleans) Play is the live band that accompanies Sargenti. It’s a brilliant addition, setting the piece apart from the rest. Led by composer and drummer Darrell Smith, the Interludes Jazz Orchestra is astonishing. If you closed your eyes, you may have believed that you were partying on Bourbon Street. The sound was pure New Orleans soul.
New Orleans is an inspiring city. Many writers have paid homage to it and there is a reason for it. Claire Christine Sargenti has something special on her hands. She’s a smart author with a knack for character.

By Michael Block

If you went looking for a clean piece of theater, you would be greatly disappointed at Sex, Cynicism, and Other Small Miracles. What you will experience is a theatrical concert hybrid that mixes spoken word with a hipster rockabilly vibe. Written and performed by Lachlan the Bray and Garrett Riley, this evening is nothing short of energetic. Lachlan the Bray is billed as the Australian Country Boy while Garett Riley as the Urban Vagrant. Though hopeful extensions of themselves, these personas lead the audience through three acts, and a prologue, of thematic poetry and rock and roll. Thankfully, the team put a title list in the program to help guide the evening, though you would figure out the shifts as each set had a new costumed look. There was a clear curation to the piece but the trouble is that for the majority of the audience, this is the first time the words are hitting their ear. Clarity was not a friend of Sex, Cynicism, and Other Small Miracles. Especially in song. That’s not to say the material wasn’t captivating. It was just difficult to grasp.
Director Mia Romero helped shape the night by attempting to keep the energy up. But there certainly were some dips. The interludes between sets allowed the musical assistants, Mark Goodwin on drums and Alex Farrell on bass, to get a moment in the spotlight. But the reality is that their solos went on a bit too long. Whether it was to cover up the costume change or to give Lachlan the Bray and Garrett Riley a breather, it needed to be shrunk.
Sex, Cynicism, and Other Miracles is an interesting selection for a mostly theatrical festival. Yes, it’s something unique but if from a production standpoint, there needs to be something else to string the night along.

By Michael Block

There are certain ingredients that make up a pop star. It’s mainstream formulaic. But sometimes there comes an artist that breaks the mold. They may not see the light of radio glory but they garner a following. Say hello to gay pop superstar Johnny Darlin, the brainchild of Michael Doshier. In Johnny Darlin: In the Closet, Doshier puts on a concert as Johnny Darlin with interludes of the voices of the Queer South recanting their stories as members of the LGBTQ community. This is more concert than theatrical event but Doshier has the ingredients to push it toward the latter. Doshier sets up his evening by performing song after song, with those necessary diva costume changes. If he’s playing a persona, he might as well offer more interaction. Educate the audience on the origin of the songs. Describe how Johnny Darlin is like the voice of the Queer South. Explore just exactly how he came out. Providing more of a story within the already extraordinary material will absolutely enhance this production. We can see there’s a story inside Johnny, it’s time for the story to come out! The desire for more comes from the fact that Michael Doshier as Johnny Darlin is raw talent. He is a profound storyteller and an astonishing vocalist who doesn’t need to hide behind any autotune. Between professing his love for Olly Alexander to getting down in a cubicle, his music is exhilarating and dance-inducing. So much so he had two talented backup dancers in Alberte Nilausen and Quenton Stuckey bopping to Pia Vinson’s choreography. While the theatrical through-line from song to interlude could have been tighter, Doshier’s ability to jump from upbeat entertainment to moving lyrical sweetness was effortless.
There was a giant team behind Johnny Darlin: In the Closet that it’s hard to pinpoint where exactly credit is to be given. Regardless, this team should be proud of the physical product. If the goal of a concert is to entertain, they succeeded.
What makes Johnny Darlin unique is the ability to be the glam pop star that he is. There are certainly performers who fit that mold. Kylie Minogue and Lady Gaga to name a few. But the male vocalists who can reach those falsetto high notes in glam rock rarely get their moment in the spotlight. At least the mainstream spotlight. Johnny Darlin has the potential to break the mold. That wasn't sweat dripping down, it was accomplishment.

By Michael Block

We all love “The Sound of Music.” We all likely can sing the entire score if we were asked to. But did you ever wonder what life is like off camera while Maria and the von Trapp brats were singing? That’s the premise of Andrew Bergh’s ambitious The Radicalization of Rolfe. Paralleling the action of “The Sound of Music,” Bergh’s play follows young, impressionable Rolfe Gruber, the object of Liesl von Trapp’s affection, as he comes of a certain age while going in and out of the closet. It also shows the art of manipulation in a time of constant fear and uncertainty. We learn that Rolfe, alongside the von Trapp family butler Franz, is being controlled by a man named Zeller to gather intel on Captain von Trapp. Meanwhile, Rolfe is learning about himself through the intimacy of a young man named Johan Scmidt, the nephew of Frau Scmidt, the von Trapp family housekeeper. Call it “The Sound of Music” version of Clybourne Park. Though that may be giving Bergh a little too much credit. No matter what, The Radicalization of Rolfe is an interesting angle of a lesser-shared narrative utilizing a well-known story. But it completely confuses the tone. “The Sound of Music” is light and frothy. Yes, the backdrop is dark but that’s not what audiences remember. Bergh’s play gets tonal confused as the only moments people laugh are through the well-timed references to the score. If we’re supposed to find light in the situation, Bergh truly needs to go further with the humor. As it stands now, laughing at anything else is near impossible.

A reason for the lack of comedy could be that the play was painstaking too slow. Director Abigail Zealey Bess absolutely needed to bring a metronome into rehearsal and make her company pick up the tempo. Zealey Bess smartly moved from scene to scene without a large scenic shift. It also meant that we were forced to stare at those awful chairs for the entirety of the show. The black chairs with red cushions were the right color scheme but the specific chairs looked sad. The costumes from Audrey Naman were just right. They honored the history of the time.
Sometimes casting is everything. In the titular role, Logan Sutherland was picture perfect. With sunny naivety mixed with undeniable confidence, Sutherlands’ play on morality was exquisite. The breaths leading into Rolfe’s big decision were heartbreaking. If ever there was a performance to put him on the map, this was it. Logan Sutherland is a name to remember. Dominic Comperatore had crippling cruelty as Zeller. There was a seduction in Comperatore’s words. Jay Patterson as Franz balanced the character well, though a bit more animosity and resentment for younger superior would have raised the stakes.
The Radicalization of Rolfe is a brilliant concept that wasn’t as well executed as it needed to be. No matter what, there’s no way to stop it. We won’t be saying good bye or farewell to this play anytime soon.

by Kaila M. Stokes

Held, written by Kelly Maxwell, was a musical fantasy alright. Set in the cabaret style venue of Drom, this dark yet flirty musical was a solid attempt. The plot revolved around Korin, played by Hannah Ripp-Dieter, a “dreamer” that can fulfill others dreams. The downside of this amazing talent is that everyone eventually leaves her to pursue these dreams and she refuses to be abandoned by her only friends, Mera and Bardo. Mera, played by Katie Bakalars, is a warrior and her dream is to fight for her town and families’ honor. Bardo, played by Alex Van Handel, is a goofy yet endearing friend that is a baker and is in love with Korin. So what does one do if she doesn’t want to be alone? Korin builds a wall and claims that it was a sorcerer who has trapped them. The only way out is for Korin to die. Will her friends kill her to escape?
The best part of Held was when the cast of three was singing. All three had gorgeous voices and the harmonies were flawless. There should have been more of it for this reason. The opening song, while sung beautifully, was a bit confusing. It did not set up anything for the audience – since no one knew the plot yet, it was confusing to hear the end of the plot sung at the beginning. It was clear what the attempt was, but a song that set up the characters and their purpose for being in front of us would have served the audience more.
Held was a mix of "The Giver" meets "Game of Thrones" meets No Exit. The plot had its flaws, but the music (written by Meghan Rose) performed by the live pianist, bassist and cellist was remarkably beautiful. The plot’s biggest flaw was that the character Korin was not likeable from the beginning; it emerged too quickly that she was unhappy and jealous of her friends. The writer could have developed the story a little more – make it more apparent why the audience should like Korin. The director, S.C. Lucier, utilized the entire venue which was fun to watch. Since it was a cabaret style room with spread out cocktail tables, it was a delight when the cast ran through the audience. Some of the locations were revisited throughout the show, like the stream, but these could have been identified a bit more. Material could have been used for the stream as well as other props the actors could have handled to better identify time and place. Since the director had such beautiful actors and music, each piece of staging should have been a picture and instead it was a little unclear and static at times.

The costumes, by TDF Costume Collection, made each character easily identifiable and they were beautiful. The idea of utilizing the tools provided in the theatrical community is brilliant. The lighting was simple. Since there was hopping back and forth between times and place the lights certainly could have been better utilized with color, type of lighting and light/dark. It seemed to be a general wash the whole time which made it a bit confusing at times when the actors were in a different time or place.
The actors were remarkable singers, but since the plot developed so quickly, it was hard for them to grasp their characters it seemed. It is not a bad thing for an audience member to want more plot. Held was musically beautiful, but left the audience wanting more…more plot development, more character development and more of a punch on those important lines/moments. It should certainly be done again, maybe added to and directed with more importance. Korin was made to be the main character, but maybe it is more of an ensemble piece. It would definitely be worth another viewing.

Name: Ian Charles Covington Whitt

Hometown: Rushville in the New York Fingerlakes (Population 600, largely inhabited by Mennonites, farmer, hunters…) Think horse and buggies, literally, not figuratively.

Education: Larry Moss, Upright Citizens Brigade, Bob Krakower, Former Actors Theatre of Louisville Apprentice (Humana Festival), Bachelor of Science SUNY New Paltz. NYSSSA - Lanford Wilson.

Select Credits: New York Theatre: Atlantic Theatre Co, Abingdon Theatre Co, and Theatre for the New City. Company Member at Brave New World Repertory. New works by Charles L Mee, Lucas Hnath, Anne Washburn, Amy Witting, and Frank J Avella. Film: "Nick and Nicky" (opposite Sean Young) and others.

Why theatrer?: I grew up next door to a 200 year old burned down opera house that had been condemned at the turn of the century, so my early recollections of theatre carry a certain legendary quality. My debut was at age two when I played a sheep in the church nativity scene. Can you believe my sister was cast as baby Jesus? My sisters all did the school plays and sang and danced, and back in the day my dad was George in Our Town and my mother was in The Boyfriend in school. At age 14 I had a school psychologist who once asked me what I liked to do, and I said I liked acting. She suggested “why don’t you do that as a career?” I found that acting naturally inspired me to be my best self. It forced me to take care of my body, push myself productively, and helped me to find a sense of responsibility to my community.

Who do you play in Lured?: Dmitry, a young “ruggedly handsome” Russian (this is according to the character breakdown).

Tell us about Lured: Lured depicts and explores the workings of Occupy Pedophilia, a vigilante group that lures gay men via dating apps and then exposes them on the internet. Many of these videos depict torture and in some cases this has led to deaths.

What is it like being a part of Lured?: Lured is a total passion project. When Frank Avella brought me in for the initial table read, I had incredible reservations due to the extreme content and my relationship to the real life events. My first friends in NYC were Russian refugees living here under Asylum, having fled Russia after being persecuted there. Some had encountered vigilante hate groups like the one depicted in Lured, others had been beaten by Russian police themselves in public. The forced me to recall painful memories of a close friend of mine who was actually lured by a group outside of Philadelphia where he was brutally disfigured and murdered. The lack of media coverage surrounding these cases truly disturbs me, and so I am funneling that frustration into my work.

What kind of theater speaks to you? Who or what inspires you as an artist?: New play development, to which I was first introduced at Actors Theatre of Louisville’s Humana Festival and working with Lanford Wilson at NYSSSA. Now a lot of my favorite theatre is coming out of my friend Nate Miller’s theatre company Lesser America. My favorite hangout in NYC is the library at New Dramatists. Oh inspiration can come from such random places and finding a muse can be so hit or miss. Lately I’ve been on a kick where I’ve been rewatching The Simpsons. It may have been inspired by seeing Anne Washburn’s Mr. Burns: A Post-Electric Play at Playwrights Horizons. I’m about twelve seasons in and so far I’m taking the whole ride, and I’ve been listening to Lucien Hughes’ SIMPSONWAVE, the song I’m listening to most being Home - Decay. Apart from that, I’ve been listening to a lot of rap artists lately like Logic, I’ve been going to the Shamhala Meditation Center here in Chelsea, and I’ve been heavily experimenting with Essential Oils.

Any roles you’re dying to play?: I like the idea that an actor would want to play a role so badly they are willing to die for it. There’s a story there.

What’s your favorite show tune?: "Nasty Man" from George White’s Scandals. My first month in NYC I performed a new musical on Rudy Vallee called Vagabond Lover at the Ziegfeld Society (Executive Producer Mark York) and that song that was performed by Merrill Grant. We later did Ziegfeld’s Cavalcade of Stars alongside Lee Roy Reams, Anita Gilette, Sarah Rice and Walter Willison, and I associate all those classic tunes we did at the Ziegfeld Society with all the excitement that authentic Broadway Theatre delivers. When I think “show tune” it’s gotta be from that era. The new stuff is beautiful too, I love contemporary, but it almost requires a new brand other than “show tune.”

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

Who would play you in a movie about yourself and what would it be called?: Hopefully an unknown and underprivileged actor will play me. It will be called “WHITT.”

If you could go back in time and see any play or musical you missed, what would it be?: Definitely the Festival of Dionysus in Ancient Greece.

What show have you recommended to your friends?: I usually point friends and family to Upright Citizens Brigade since it’s in my neighborhood, but apart from that I think everyone should see everything.

What’s your biggest guilty pleasure?: I’ve recently fallen in love with photography and spend a lot of time cruising Adorama and B&H. I’ve done some filmset photography and also photographed members from the Permanent Mission from Pakistan at the United Nations on a number of occasions which was a blast. But it is an expensive vocation!

What’s up next?: I’m in the process of shooting feature film called "Nick and Nicky" starring myself, Sean Young, and the writer/producer Patrick Askin. I also have a Holiday film project I’m working on, and a screenplay of my own. In the meanwhile, I will be spending a lot of time with my ukulele and writing on my own.

Name: Rachel McPhee

Hometown: Racine, Wisconsin

Education: BA at University of Wisconsin Madison, Post Graduate Degree in Professional Acting from the Drama Studio London

Select Credits: “Unbreakable Kimmy Schmidt”, “Boardwalk Empire”, “Momsters”, viral Adele parodies with The Key of Awesome, The Pearl Theatre Company, former member of the Bats at The Flea.

Why theater?: My father was a beloved community theatre director in my hometown. The majority of my early childhood was spent in the rehearsal room after school so I guess I didn’t think there was any other career path to follow- still don’t. You could say it’s the family business or that it is in my blood. I honestly can’t imagine that people wouldn’t want to be actors. I love theatre in particular because of the live, anything can happen, one shot nature of it and feeding off the audience’s mood and response.

Who do you play in Dead Shot Mary?: NYPD Detective Mary Shanley nicknamed Dead Shot Mary for her sharp shooting skills.

Tell us about Dead Shot Mary:Dead Shot Mary is based on the incredible true story of Mary Shanley, one of the first women in the NYPD to be made first grade detective during the 1930s. She was a very successful cop and became somewhat of a B-List celebrity for her daring arrests and chases. She also struggled with some demons that we explore in the show.

What is it like being a part of Dead Shot Mary?: It has been an interesting challenge for me because I had never done a solo show prior to this. To rely solely on yourself and your own imagination for inspiration and reactions (with the help of my incredible creative team, of course) has been surprising and rewarding. I also feel honored to portray such a trail blazing lady, especially at this important time in American history when all sorts of glass ceilings are being shattered.

What kind of theater speaks to you? What or who inspires you as an artist?: Great comedy, physical theatre, fearless, bold, gutsy, ballsy work and huge choices get me inspired.

Any roles you’re dying to play?: Lots of classics: Lady Macbeth, anything in a Sondheim musical, anything by Tennessee Williams.

What’s your favorite showtune?: Right now, probably the entire Hamilton soundtrack. But I’ve always loved Maybe this Time from Cabaret, which is my fave musical.

If you could work with anyone you’ve yet to work with, who would it be?: I’d love to work with Melissa McCarthy, Kristen Wiig, Tyne Daly, Annette Bening, Kathy Bates- basically put me next to any bad-ass woman!

Who would play you in a movie about yourself and what would it be called?: Christina Hendricks (Hollywood upgrade, right?) and it would be called something along the lines of "Little Miss Bossy: The Rachel McPhee Story."

If you could go back in time and see any play or musical you missed, what would it be?: I think I’d love to see Carol Channing in Hello Dolly- I listened to that recording religiously when I played Dolly Levi in High School and I was just in love with her fabulousness and the personality she brought to the role.

What show have you recommended to your friends?: "The Night Of" on HBO. Just binged that baby, John Turturro is transcendent.

What’s your biggest guilty pleasure?: Iced coffee. Lots of it.

What’s up next?: In talks to be in a fantasy feature film shooting in 2017.

For more on Dead Shot Mary, visit www.deadshotmary.com. For more on Rachel, visit www.rachelmcphee.com.

Name: Malini Singh McDonald

Hometown: New York, NY

Education: MFA in Directing, Actors Studio Drama School, New School University; BA in Theatre Arts and English Literature

Favorite Credits:Torch Song Trilogy, Down the Road, Look Back in Anger, One for the Road, Imaginary, No Exit, The Colored Museum.

Why theater?: Oh my goodness, you have no idea how many times I ask myself that question. I can’t explain it more than theater is my life. It is one of the necessities for me to survive along with air, water, food. Even in the moments where I am experiencing a burnout on it, I can’t be away from it too long. I will still see a show or begin thinking about what could be the next project. It may be an addiction...I should maybe talk to someone.

Tell us about Imaginary:”What if your imaginary friend doesn’t want the job?” Jack Cartwright has passed on after being involved in a tragic car accident. Before passing on to “the other side,” Jack must take on the job as Imaginary Friend to 8‐year‐old Molly Hamilton. Jack is just another notch in Molly’s candy lipstick case as she has been through six Imaginary Friends already in her short life. Sampson, the angelic spirit in charge of the Imaginary Friend Network, explains the rules of imaginary friending to a reluctant Jack, who finds the task slightly more daunting than he expected.

What inspired you to direct Imaginary?: I have been fortunate to work on a few long term projects. Each time, the playwright or artist approached me about this “play I have written” and how they “would love for you to read it”. My response has always been “Yes, of course” and my inner voice has said, “ugh, I hate reading plays”. However, each time, I have fallen for them and they have made a significant impact on me. This is my third one and it’s been my labor of love for about 4 years. My initial role with Imaginary was as the producer. Nick Radu (the playwright) workshopped it over the years with other directors. Last year, I was returning from a self-imposed sabbatical from directing and Nick asked me to direct a reading of it as part of the Speranza Festival in New Jersey. This year, we were chosen to present an excerpt as part of the New York New Works Theatre Festival in September.

What kind of theater speaks to you? What or who inspires you as an artist?: I am drawn to works that delve into the unknown, the leaps of faith, the journey of the underdog and the risk-taker. My favorite shows include Passing Strange, Alan Cumming’s MacBeth, Sir Patrick Stewart and Ian McKellen’s Waiting for Godot, Priscilla Queen of the Desert.

If you could work with anyone you’ve yet to work with, who would it be?: I would love the opportunity to just be in the presence of Marina Abramović and Robert Wilson. They both create art in a way that my mind doesn't. I would love to explore that artisticvein of theatre and performance.

What show have you recommended to your friends?:Something Rotten because wow and yes please, give me more.

Who would play you in a movie about yourself and what would it be called?: Joan Cusack would play me as the sassy, witty broad and it would be called "Malinism A-Gogo."

If you could go back in time and see any play or musical you missed, what would it be?: I know this may be out there but I really would have loved to have seen Irving Berlin’s The Music Box Review at the Music Box Theatre in 1920. I would have also liked to have seen Evita with Patti Lupone and Mandy Patinkin (that was a date night for my folks), and 42nd Street with Jerry Orbach (again, another date night for my folks).

What’s your biggest guilty pleasure?: Hot Tamales

If you weren’t working in theater, you would be?: I would be a detective like Nancy Drew or a ROCK STAR!

What’s up next?: I am producing No Man’s Land (with The Anthropologists) and I am the associate producer for the Broadway Artist Connection at the Laurie Beechman.

For more on Malini, visit www.malinism.com and www.theatrebeyondbroadway.com. For more on Imaginary, visit www.Imaginarytheplay.com

Name: Victoria Frings

Hometown: San Francisco

Education: University of Pennsylvania, BA in Environmental Studies and Science, Technology and Society Studies

Select Credits:An Enemy of the People (Broadway, MTC), Constellations (Old Globe), Tales From Red Vienna (MTC), Martin Luther on Trial (FPA at the Pearl), Pride and Prejudice (Baltimore Center Stage), Stitches and Marie Marie Marlene (To-By-For Productions).

Why theater?: Growing up in San Francisco, theatre is what you did when you realized competitive sports weren’t for you anymore. At least that’s how I saw it. I walked off the basketball court one day, disturbed by how seriously everyone was taking the game (it was 5th grade guys!) and signed up for a Shakespeare camp. Why did I continue theatre, even after getting an environmental studies degree? Because I loved the community it cultivated, because I felt happiest when working on a play, and because I am the type of person who gets weighed down by how horrible the world is, and I feel better when I actively am contributing beauty to it.

Who do you play in Mechanics of Love: Faizi

Tell us about Mechanics of Love: Mechanics of Love is a play that is deceptively simple. It redefines genre. It forces actors to stretch in all kinds of interesting ways. It is about love and loss, memory and instinct. It is about choice and finding your place in society. It is about selfless and selfish love, about the people who try to figure everything out and the people who prefer not to. It’s about first love, marriage love, love for children, about love being who you are standing next to for most of your life, and the inevitable, shattering loss of that lifelong companion shadow. It is about all these things and more. And it is deeply, subtly and gut-wrenchingly funny. I obviously need to work on my elevator pitch!

What is it like being a part of Mechanics of Love?: It is thrilling and terrifying, which is as it should be five days into rehearsal. The cast is perfect, open and inspiring, and I trust our director, Elena, unreservedly. When she responds to a script with her singular passion and insight, she could Elena me into doing anything. And yes, I’ve made her name a verb, and this is not the first time I am using it as such.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that needs to be theatre. Theatre that is courageous and inventive. Theatre that embraces the form and aims to expand the form. Theatre that is honest. If I leave an experience thinking that story had to be told that way, in that space, with those people, and I am compelled to talk about it afterwards, to see something in a new light, then I feel in dialogue with theatre. Laughter helps too.

Any roles you’re dying to play?: Something that has yet to be written. Also Nora in A Doll’s House.

What’s your favorite showtune?: "My Man", as sung by Barbra Streisand in the film version of Funny Girl

If you could work with anyone you’ve yet to work with, who would it be?: Mark Rylance, because it would be an education and I've heard he's very kind. Ivo van Hove, because he's taking risks and shows a certain amount of loyalty to his actors.

Who would play you in a movie about yourself and what would it be called?: Ruth Wilson, "Precious Afflictions"

If you could go back in time and see any play or musical you missed, what would it be?: Original production of Streetcar Named Desire

What show have you recommended to your friends?:The Object Lesson, created and performed by Geoff Sobelle. It’ll be at NYTW next year, so see it!

What’s your biggest guilty pleasure?: Dark chocolate, string cheese and 90s romantic comedies.

What’s up next?: Mechanics of Love will play at The Paradise Factory, September 8-24. Visit www.tobyforproductions.com for more info, and to purchase tickets.

By Michael Block

We all know the story of John Wilkes Booth and his historic assassination of President Abraham Lincoln. But what about the story of his brother Edwin? Do you know his tale? In the ambitious new musical Edwin, The Story of Edwin Booth, Edwin's life is brought into the spotlight through surrealistic storytelling as Edwin deals with the aftermath of the incident while being haunted by his past.
With music by Marianna Rosett and book and lyrics by Eric Swanson, Edwin, The Story of Edwin Booth follows the titular character on the verge of a performance of Hamlet to a sold out crowd. But are they there for a show or his Edwin's head? Through visitations from his deceased family, flashbacks, and a heavily reliance on Shakespeare, the musical has a daunting tone centered on a man with little to lose. With minimal stakes surrounding the present, most of the action takes place in the past. We are granted insight to the events that shaped Edwin, with glimpses into his various relationships, but the interesting element that needs a stronger shape is Edwin in his dressing room in the present. That's where the dramatic journey truly is. As it stands now, there is a ton of air within the dramatic tension that is forced at best. Swanson implements an array of Shakespeare into the libretto. From Richard III to King Lear to Hamlet, he uses them more as a device than a clever way to further the plot. It's evident where the parallels between Shakespeare and Booth's own life are but it's never a smart move to hammer the idea over the audience's head. It's sadly used as a crutch at best. When it comes to the score, Rosett's music is epic with a tinge of Sweeney Todd. Whether deliberate or not, it's easy to compare many moments to the Sondheim classic. The opening for starters. While the sound fit the story, the lyrics from Swanson were sloppily predictable. And many times they pulled focus for being a tad cheesy. The majority of the score falls into the slower tempo category, forcing the songs to blend into one another. Edwin desires a stand-out number. It doesn’t have it now.

It's not always easy to play the title character of a play. Especially if they are central to the entirety of the plot. Dana Watkins' resounding performance was reminiscent of Hamlet himself. Watkins tapped into the madness of Edwin, blending psychosis with the wavering insecurities inside. With history playing an integral role in this story, this show was all about the relationships between Edwin and his family. But the strongest dynamic was between the duo without blood ties but a rich history. All revealed through plot twist. Watkins and Ben Mayne as Rob had the most engagingly active material. It's where the intrigue of the story lived. Mayne brought a boyish charm that balanced out Watkins’ robust demeanor. As Edwin's love Mollie, Patricia Noonan was a bright light in the darkness. As the great player Junius Booth, Paul DeBoy was the show's clown. We briefly watched Edwin live in his father's shadow and DeBoy proves why. Though clarity in her vocals was lacking, the maternal elements in Deanne Lorette's performance defined the importance she had on Edwin's life. Todd Lawson's character study of John Wilkes Booth was strong, putting the focus on a bitter dark side. Though he was rarely seen, Adam Bashian as June was pushed to the back far too often, questioning the necessity of character.
It's one thing to create stunning stage pictures, but as a whole, director Christopher Scott offered some sloppy staging. Scott defied the rules of the world in his staging, often asking Edwin to cross into memory when it wasn't warranted. But that's the struggle when the stage is laid out with defined areas. Credit should be given to the ability of Scott to bring out even tiny bursts of humor and for assembling a cohesive creative team. Chad McArver’s harmony in design elevated the production to the next level. The Theatre at St. Clements can be a challenge but McArver used the height well utilizing fabric drapes that he lit beautifully. McArver's use of color helped the surreal nature of the story. McArver and costume designer David Zyla stuck to the period, a necessity to storytelling.
Edwin, the Story of Edwin Booth looked like a well-polished production but the material felt like a first draft. There was much to be desired yet an abundance of fluff that needs to be axed. Not every moment needs a song and if the story if being told nonlinearly, things need to be shifted, especially at the end. And perhaps a sleeker title is in order. Booth’s story is one worth telling. Perhaps just not in this current format.

By Michel Block

Britney Spears. "Singer." Legend. Icon. Since her debut, Britney Spears has been ripe for the tributes. Especially in the gay community. RuPaul's Drag Race All Star Mimi Imfurst brought a couple of her closest friends to The Laurie Beechman to honor the Pop Princess. With an evening of filled with hits from her canon of work, Mimi and friends bring you Britney like you've never heard before.

Mimi Imfurst, the queen of controversy, takes the songs of Britney Spears and turns them on their head. In the age of Postmodern Jukebox, the entire songbook was reworked, bitch. From an aria version of “I’m Not a Girl, Not Yet a Woman” to a German lounge rendition of “Circus” likely once performed by Elsa Mars of “American Horror Story: Freak Show” fame, Mimi’s concept is there. But The Britney Prophecy certainly went off the rails at times. The piece desired more of a theatrical through-line. It’s briefly present when Mimi invites Luke Grooms to sing the original demo version Pavarotti falsely sang. It was moments like this when The Britney Prophecy shined. It’s one thing to present song after song. It’s another when they’re present for a purpose. With her style of performance, Mimi has the ability to rewrite Britney’s history. Especially when Britney fanatics are in the room. Mimi’s crude humor was hit or miss but what was consistent was the immense chemistry Mimi had with the keeper of the ivory keys, Cleo Phatra. The give and take the duo had was quite enjoyable.
Mimi Imfurst may have had top billing but she beautifully allowed her friends to shine. Anyone in that room who never heard of Siren likely went home and fell into the YouTube rabbit hole. The Britney Prophecy is a noble attempt at something substantial but no matter what, it’s a fun evening hearing Britney Spears in a new way.

Name: Dana Watkins

Hometown: New York City

Education: Lycee Francais de New York, Stuyvesant High School, SUNY Purchase acting conservarory

Select Credits: Hallmark Hall of Fame's “Christmas with Holly,” French Lieutenant's Woman at the Fulton, Marat Sade and The Cherry Orchard at Classical Theatre of Harlem, The Jazz Age at 59E59.

Why theater?: That's where my heart is. I've been performing since the age of 7 and nothing beats live theatre.

Who do you play in Edwin?: Edwin Booth

Tell us about Edwin: Edwin is about Edwin Booth, the most successful actor of his day returning to the stage after his brother John Wilkes Booth assassinated Abraham Lincoln. It's about reconciling your past in order to move on to a better future. It's about family and duty, love and loss, and the stories we tell ourselves.

What is it like being a part of Edwin?: I adore working with these people. The play itself is huge in scope and I couldn't imagine a better group than the people who have come together to bring it to life.

What kind of theater speaks to you? What or who inspires you as an artist?: Theatre that challenges the audience, that makes you think - perhaps changes your viewpoint. I also love any kind of theatre that makes you dream. Good stagecraft is something that makes me inordinately happy. As to what inspires me, that changes day to day. Some days it's a sculpture, others a piece of music, a book, a kind gesture on the subway. Claude Monet said "Every day I discover more and more beautiful things. It's enough to drive one mad. I have such a desire to do everything, my head is bursting with it."

Any roles you’re dying to play?: Richard the III, Iago, Trigorin in the Seagull. I love the poetry of August Wilson - unfortunately I'll never get to be in Fences.

What’s your favorite showtune?: Right now Tosca's “E lucevan le stele”...it's in a show, and it's a tune.

If you could work with anyone you’ve yet to work with, who would it be?: Tom Waits....and, of course Meryl Streep...and Mark Rylance....and....wait the list is endless.

Who would play you in a movie about yourself and what would it be called?: No one. It would be an animated film with a great score. Not sure of the title yet.

If you could go back in time and see any play or musical you missed, what would it be?: I would love to see Edwin Booth perform his Hamlet. I'd love to go back and see Shakespeare...actually Shakespeare. I'd love to go back and see Brando and Jessica Tandy doing Streetcar.

What show have you recommended to your friends?: Black Watch, Propeller's Winter's Tale, Peter and the Starcatcher, The Blacks at Classical Theatre of Harlem, Cate Blanchett in Streetcar

What’s your biggest guilty pleasure?: The big blockbuster summer movies that go “boom."

What’s up next?: Filming more scenes for a pilot called “Once in a Lifetime.”

For more on Dana, visit www.danawatkins.com

By Michael Block

The desolate city of Troy is in ruin and on the verge of destruction but the women of Troy are not giving up without a fight. In Ellen McLaughlin's adaptation of The Trojan Women, Euipides’ classic is updated through the modern lens of war and women's rights.
This version of The Trojan Women is a heavy-handed drama that transports the action to a world unfamiliar yet strikingly known where a war-torn city is filled with refugees tattered from a battle over the woman that launched a thousand ships, as they say. The play revolves around the women of Troy, led by Hecuba, as they lament their loses and suffering as they become resolved to their unfortunate fate. McLaughlin injects a heightened realism in her text that honors the source material while still allowing her own stamp to be placed. But in a world where this story has seen an array of reinventions, what, if anything, did this new production offer? It's evident that if you dig deep enough, you can excavate parallels to recent events in the world and the hardships endured by the countless fallen innocent victims of war. There is evidence of a commentary of the rights of women and their bodies. What resulted in The Trojan Woman was a melodramatically one-note drama that fell a bit short. Director Anne Cecelia Haney’s direction was ambitiously uninspiring. Whether it was concept or the company’s overall lack of connection to the material, The Trojan Women never quite found its footing. The piece seemed to be in a constant state of chaos and confusion.

Photo by Allison Stock

With an individual frenzied energy, the Chorus seemed to lack cohesion. It wasn’t until a new character entered the scene that focus was found. But when it came to focus, there was one who encapsulated it. Rebeca Rad was effortlessly radiant as Helen. She dominated the stage even when she was being overpowered. DeAnna Supplee may not have sold Hecuba completely but when she hit her stride, she dazzled.
Scenically, Marte Johanne Ekhougen transformed the oft black walls of the space to an abandoned building in ruin. Even with a burst of color, the space evoked the despondency of the piece. Ekhougen also took on the role of costume designer. It was a strong choice to play with color and shape. It worked well to define status, both physical and emotional.
Recently, The Flea’s offerings can be hit or miss. Unfortunately, The Trojan Women is the latter. The Bats tend to be game for anything but this one seemed out of their wheelhouse. This is a production that may rock you to sleep or completely empower you. But like the image you see when you enter the theater, you’ll wish you had a blanket.

By Michael Block

It may be the 21st century and progress has surely been made but being a member of the LGBTQ community in every country has its own litany of struggles. Take Putin's Russia for instance. Inspired by real stories, Frank J. Avella's new play Lured is a daring tale of the aftermath of a young gay Russian man being lured for sex but instead receiving a fatally harrowing experience.
Part of Theater for the New City's Dream Up Festival, Lured is a series of three heavy-handed scenes that watch the traumatically devastating Occupy Pedophilia movement in Russia where gay people are lured into brutality for their lifestyle by people who believe the being gay goes hand in hand with sodomy and sin. But not everyone who enters comes out alive. Lured is a play that will challenge the audience on multiple levels. Between the difficult nature of the action to the reality of the situation, sitting through this comfortably is impossible. But the truth of the product is that it's not perfect. But it certainly can be! The ingredients of something spectacular are present, it's how they go into the recipe that needs to be fixed. As it stands now, Avella sets up his play by jumping time where scene one and three are the same moment and scene two is three weeks earlier. Was this scene structure the best way to serve the story? It’s up for debate. In this format, Avella is able to reveal a plot twist that correlates the two times. But the truth is that you can see it coming. So what’s more important? The big reveal or clearer storytelling? No matter what, the exposition needs to be tightened. What would a planning scene lead by Valentin look like? With the facts being what they are, why did Sergei get lured? How did this anti-LGBT group come to be? Avella has a plethora of room to explore and expand. No matter how you slice it, Lured is an important story.

Directed by Rod Kaats, fear and terror were central players in the storytelling. Lured is an intimate play and Kaats did his best to keep it that way. Unfortunately, the gigantic space was a bit of a detriment. This was play that kept the audience on edge but there were moments the stakes needed to be severely amped up, especially when it came to Tatiana in the final scene. Whether the relationship between Sergei and Tatiana was real or just a ploy, Tatiana’s fear for Sergei didn’t come off as genuine as reality would be. Kaats deeply explored Avella’s script to find the nuances within. He found the duality in the situations. But if duality and replication is essential, it needs to be consistent. There were moments in the two “lures” that were different. For example, if handcuffs are used to restrain Sergei in scene one, handcuffs should be used to restrain Dmitry in scene two. But when the parallels were present, it was gut-wrenching. The other necessity Lured desired was some sort of sound during the scene changes. Silence in the dark in this heavy play is overwhelming on the audience.
Lured is not an easy play for an actor simply due to the material. And to do it in accent? Even harder. This cast did a phenomenal job at capturing the essence of this doomed world. Each individual played an important role in the lure but it was the initial prey that had the most difficult task. As Dmitry, the fear was real in Ian Whitt’s eyes. Whitt gave a performance that broke your heart from start to finish. He found a way to play victim while maintaining any shreds of resiliency Dmitry had left. While her pleading side was lacking, Cali Gilman was simply dominating as Tatiana. Gilman is a force to be reckoned with. Even though Evgeny was a prop, Cameron August left you wanting more. We learn that Zhanna, the camera holder in scene 1 and 3 has a motive, what is it about Evgeny that makes him flip when reality sets up?
Lured is a work of fiction yet the actual factual authenticity that Frank J. Avella puts into his play is devastating. To be reminded that there is so much hate in this world can tear you up. Avella has a story that needs to be told. But this draft is not the one that will change the world. There are too many questions about structure to do so. Should Avella explore new options, he has the power to do something significant with Lured.

Name: Douglass Truth

Hometown: Indianapolis IN (born) live in: Nevada City, CA

Education: 1 yr college - UC Davis

Why theater?: I had a story I wanted to tell, and I had to go on stage to do it, and even to work on it, to develop it, I had to go on stage. it was somewhat of a surprise that I really enjoyed it. this is my first experience with theater or being on stage.

Tell us about An Intimate Evening with Death, Herself?: It started at The Dreamaway Lodge in Becket MA in 2005 or 2006 as Death As A Salesman. I was terrified. I had two martinis before the show. I had notes and text written on cash register tape, and mounted on a spindle on stage, so I could refer to it if I got lost.

What inspired you to write An Intimate Evening with Death, Herself?: I had a piece of artwork with the original title Death As A Salesman - and I thought "something about that title" and I had to write something with it. I was inspired by almost dying from a brain infection in 1998 - it changed something in me and I couldn't help but do art, in whatever mode at all. painting, writing, etc. It was as if I had been given a second chance, beginning when I was almost 45 years old. This show is not about that event in any way. It's just that I learned that I didn't need to fear death, and wanted to write something working with that insight.

What kind of theater speaks to you? What or who inspires you as an artist?: Eddie Izzard. Lily Tomlin. Spaulding Grey. Van Gogh, El Greco, Mel Brooks, Philip K Dick, William S Burroughs. The need to communicate something in whatever particular way - only way - it is possible to communicate it. That is, I can't say what that is that I want to communicate is, because it can only be said in the way it's said in a particular form, eg painting, storytelling, joke.

If you could work with anyone you’ve yet to work with, who would it be?: Willem Dafoe, David Lynch, Puddles the Pity Clown (fantastic voice, and I'd like to get him to smile)

What show have you recommended to your friends?:"Deadwood"

Who would play you in a movie about yourself and what would it be called?: Chloe Sevigny - "The Moment of Death"

If you could go back in time and see any play or musical you missed, what would it be?:Stormy Weather

What’s your biggest guilty pleasure?: Being Alone

If you weren’t working in theater, you would be _____?: Writing more books, running a little teahouse somewhere in Montana

What’s up next?: A sequel to An Intimate Evening with Death, Herself, another book, more videos in Words Fail Me series

For more on Douglass, visit http://douglasstruth.com. For more on An Intimate Evening with Death, Herself, visit http://deathherself.com.

By Michael Block

Sometimes all it takes is a seasoned performer and a piano to perfect the art of a cabaret. In John Epperson: The Artist Principally Known as Lypsinka, Epperson takes the stage to sing classics and share stories of his past. Playing Joe's Pub at The Public, Epperson's show is simply stated and effortlessly elegant.

photo by Kevin Yatarola

For those longing for Lypsinka the character, Epperson leaves her at home. But he tells us that before Lypsinka there was a piano. And that's the premise of the cabaret. Epperson sits behind the piano to perform classics from Sondheim to Epperson himself. The selection of numbers is light, fitting his voice well, even if they happen to be songs for women. Epperson paid homage to the ladies who shaped him and the music that made him. But don't worry, Epperson has a trio of lip syncs to keep the Lypsinka fans happy. Epperson proves why there will never be a lip syncher quite like him. With anecdotes from his days in Mississippi to his epic life in New York, Epperson has stories for days. But it’s his tribute to the trio of ladies that are the centerpiece of the night. Epperson tributes the likes of Betty Comden, Kay Thompson, and Christine Jorgensen by playing their songs, or songs that may have been in their show. Epperson doesn’t need to be flashy. He’s the king of the keys who knows how to offer an old-fashioned cabaret. The night is tightly streamlined that bring a smile to your face.
John Epperson may be a pioneer of drag but John Epperson: The Artist Principally Known as Lypsinka proves that he is a well-rounded entertainer. John Epperson: The Artist Principally Known as Lypsinka is a delightful night at Joe’s Pub.

Review: To Sin or Not To Sin

Review: Personal Implosion

Review: A Beautiful Show By A Beautiful Woman

Review: Find Your Inner Walken

Review: New Orleans Soul

Review: Spoken Rock and Roll

Review: I Wanna Marry Johnny Darlin

Review: No Way to Stop It

Review: A Fantasy Musical

Spotlight On...Ian Whitt

Spotlight On...Rachel McPhee

Spotlight On...Malini Singh McDonald

Spotlight On...Victoria Frings

Review: Attend the Tale of Edwin Booth

Review: It's Mimi (and Friends), Bitch!

Spotlight On...Dana Watkins

Review: Troy Has Fallen

Review: Lured Into Terror

Spotlight On...Douglass Truth

Review: John Epperson's Night Out