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Spotlight On...Gina Doherty

November 25, 2016, 12:44 pm
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Name: Gina Doherty

Hometown: North Easton, MA

Education: Skidmore College, British American Drama Academy, Shakespeare and Company

Favorite Credits: As an actor: Titania at Saratoga Shakespeare Co, Benvolio at Shakespeare and Company, Stage Kitten in Magic Trick at Theater Row, Gigi in Here We Dance, Bitch in (i heard) Anna Karenina (wanks w/ a toothbrush).  As a writer: Don't Look - workshop reading with Turn to Flesh Productions in NYC and world premiere with Something Marvelous at the Den in Chicago. Spank Me (Wearing Only Your Yarmulke) with Playwrights at the Grand and Paper Kraine in NYC.

Why theater?: Theater is the best. I love getting to opportunity to share things with people, face to face, in a room together. It's pretty beautiful that a piece of theater can really only last for a moment in time. Theater is watching a curated slice of humanity right in front of you, and I love the community and visceral reactions that it inspires.

Tell us about Anne Boleyn for President of the Class of 2014:
 Yay! Anne Boleyn is a play I wrote that is going up for a one night only (for now!) workshop at Dixon Place on the 29th. It's a super fun/crazy/extraordinarily politically relevant play that has a touch of "Mean Girls" snark, "House of Cards" drama, and Wolf Hall history all mixed together. We expected to be celebrating women in politics after November 8th, but the show has become all the more important in examining how women are treated in a powerful, male-centric arena. I am playing Anne Boleyn, which is super exciting, and we've assembled an amazing team of artists. Katie Lindsay is directing, Gab Nieporent is my Co-Producer, and the cast includes Billy Berger Bailey, Avery Luna Deutsch, Diane Chen, and Rebecca Sands. It's a dream team. This production also marks the beginning of my new company, Off With Her Head Productions (aptly named), which focuses on reimagining stories for and about women, taking old ideals and turning them on their head, so to say :)

What inspired you to write Anne Boleyn for President of the Class of 2014?: Last year, I went to see Wolf Hall on Broadway with my bff who was visiting, and we were obsessed. That production was unreal. I'm always really drawn to strong female characters, who wield their power and sexuality equally and unapologetically, so Anne Boleyn has always been my girl. But, watching the show, I was really struck by the slut-shaming that occurred, and how things are not that different than they were back then in terms of how women are encouraged to exist in the world. Anne was lauded for her sensuality and attractive qualities, and then beheaded for those same things. It reminded me of how women can't win in today's society, either. I thought about how a woman can be deemed a slut for sleeping with someone she likes too quickly, but is simultaneously expected to be alluring and attractive all the time. I thought about what the 'feminist' way to navigate this dichotomy, and if there even is a correct way at all. I was really excited to modernize this piece and bring these characters to the 21st century, which I had the opportunity to do in Exquisite Corpse Company's Writers' Lab last year, in which our theme was 'unholy women.' I was lucky to have a second developmental reading with my friends at West of 10th, and I decided I felt really good about the script, and wanted to try my hand at playing Anne Boleyn myself in the production iteration. And now here we are!

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that is nearly affronting in its ability to affect the audience. I love sitting and watching something and having to clutch my heart because it feels like it's breaking, or needing to find a tissue because I am laughing so hard that I'm crying. I like art that is fired up to its full capacity, asks questions that there may not be answers to, or brings up memories and emotions that you didn't even remember you had. I always know that I am totally into a piece of theater that I'm watching if I don't find myself thinking about food (which is more difficult for me than one might think, because, although I love theater, I also am extremely passionate about food). All that to say, if I am compelled and in a fiery, loving, roller-coaster-ride grasp of a performance, that is what speaks to me. My friends and theater colleagues inspire me, because they are always searching for a way to express and connect on deeper and more imaginative levels. The gosh darn patriarchy inspires me, as much as it drives me crazy. I like writing about and exploring what it means to be a woman, and how awesome that is and how much it sucks. Generally things that drive me crazy are also inspiring to me, which is a great way to process rage and stress and icky feelings! (Lol)

If you could work with anyone you’ve yet to work with, who would it be?: I have a big list of faves in NYC. Reed Birney and Marin Ireland are some of my favorite actors. Bekah Brunstetter and Halley Feiffer are some of my favorite writers. I'm obsessed with their stuff and would kill to act in anything they've written. I also really admire other women who are living the multihyphenate life and are killin it, like Clare Barron and Heidi Shreck. They've totally helped me to reframe the work that I do and be proud that I enjoy multiple things, rather than feel insecure about it. I would also love to work with Lena Dunham, because she is badass. I love how she changed the conversation of how women can appear onscreen and what they are 'allowed' to do.

What show have you recommended to your friends?: 
Whenever I'm working on a show, it's hard to find the time to go see theater, so I don't have any super current answers. The last thing I was obsessed with was Men on Boats at Playwrights Horizons. And the last thing I was SUPER obsessed with was Cygnus at Women's Project as part of the Pipeline Festival. I literally forced my roommate to sell a ticket she had for another show in order to go see that one because I couldn't stop talking about it. That was awhile ago but read that play and go see stuff at Women's Project. Also, I just saw Waitress on Broadway and it was LIT.

Who would play you in a movie about yourself and what would it be called?:
 Oh man. My first instinct is to say Kate Winslet exactly how she looked in the "Titanic" because her hair was #goals and she is a dreamgirl. I am also deeply infatuated with Blair Waldorf so it would be unfair to say that Leighton Meester and Kate wouldn't have to read it out to see who was the better fit. It would probably be called.. "The Little Engine That Could?" Idk, would have to consult with the team on that one.

If you could go back in time and see any play or musical you missed, what would it be?:
 I think it would be an original performance of Shakespeare's work. Twelfth Night is my favorite. Shakespeare is my number one dude and I would also love to see how the audience interacted with the actors and vice versa. That would be sick.

What’s your biggest guilty pleasure?: 
Eating. Lol. Except no guilt, just pleasure. There are few things I love so much in this world as putting down a delectable Shake Shack burger in under three minutes. God's food.

If you weren’t working in theater, you would be _____?: 
Ah! I would be nothing. This is hard. I would probably want to be a fancy book or magazine editor. Something that allowed me to wear nice clothes and trot around the city like I am going somewhere important. Whenever I watch "Grey's Anatomy" I feel a great desire to be a doctor but I think I actually just want to be Shonda Rhimes and also simultaneously act in her things so..

What’s up next?:
 Yes! Stay tuned for what's up next with Anne Boleyn. For Off With Her Head Productions, we are beginning work on a new feminist adaptation of Richard III, featuring a cast of nearly 15 women and 3 men, set in a dystopian matriarchal society. Follow our page for updates there! And for me, I'll be acting in Brett Evan Solomon's play What Makes Us Feel Good, going up at the Tank this April, after finishing a workshop of the play last year at Dixon. Full circle!


For more on Gina, visit http://www.ginadoherty.com/. For more on Off With Her Head Productions, isit http://www.ginadoherty.com/off-with-her-head-productions.html
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Review: Sword Fights!!!!!

November 25, 2016, 12:58 pm
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By Kaila M. Stokes

Love the brutal fight scenes in the movies and wish they would come to life? If so, attend a performance of Coriolanus: From Man to Dragon presented by Shakespeare in the Square and Combative Theatre Co.  Hope you don’t mind being part of the action, because as an audience member you are also a member of the company. This theater-in-the-round style show combines the words of Shakespeare with extensive fight choreography and audience participation. The show begins with the audience being led into a closed curtain with a single drummer at the front of the stage. This drummer is the beat throughout the show. The audience is encouraged to stay on the outer rims of the space, but then when the show began everyone was ushered into the middle of the stage in a big circle by the actors dressed like warriors. The audience suddenly became the public activists that were unhappy with the government along with the warriors. But then, Coriolanus shows up to disperse the people and the audience were shuffled back to the safety of the outer rim. This went back and forth during the first act until seats appeared behind the black curtains. It was thrilling being part of the action the first time, but after that it made more sense for the audience to sit. Audience members were in the way of the actor’s entrances and exits which pulled one out of the show. Plus after it was done the first time the excitement and shock wore off.
Shakespeare’s Coriolanus is not often done due to all of the difficulty and problematic story-telling. Omri Kadim did a nice job adapting this version and it was a smart choice to make the show about the violence. The show doesn’t have a lot of character development or change of tempo. The director, Yuriy Pavlish and fight director, Mitch Mccoy had their work cut out for them. The fight scenes are so extensive and complicated due to the style of fighting and the sheer number of actors involved. Safety is of the utmost important for both audience and actors.  Each scene was a like a choreographed dance of violence, it was very compelling to watch. As an audience member, you felt the right amount of danger to keep you interested. The costumes were simple when the actors were townspeople, but the armor was so much fun! The shields, swords, hats, and buckled armor decoration was perfect to set the tone. With these costumes, by Fan Zhang, the audience was able to identify all of the characters portrayed since actors played multiple people at times!
The fighting mostly happened in the first act, which left the second act to tie together the plot. Coriolanus is ousted from his community, but returns with vengeance by waging war against his own people. Eventually the audience learns that he is just a sniveling mama’s boy. The second act was definitely weaker than the first, but that has more to do with the original story than the production itself.
Coriolanus: From Man to Dragon has such a commanding title, it left the audience wanting more from the Coriolanus character. The moment was missed when he chose to become this soulless blood seeker due to him being ousted. Not enough focus was put on that turn of events. In fact most major decisions were glossed over. The emphasis was on the physicality in the first act and it felt like the second act was less focused on. With that said, the company of actors did a fabulous job at playing their characters, wrangling the audience, and dealing with the incredible physicality this show demanded of them. The one choreography suggestion is to have the actors/fighters be more connected to their breath. Even in the fighting, moments were rushed.  Pausing for a breath and dwelling in certain moments would help the audience develop an emotional connection while watching. Even if those pauses connected to the drumming happening that would also show the audience that relationship. He was underutilized.
This is definitely an active Shakespeare play to see and Omri Kadim is brave to take it on. If one is not too familiar with Shakespeare this would be a great introduction! Some moments could have been given more weight, but overall the audience was entertained and this is all you can ask for sometimes.
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Review: The House Always Wins, and the Couch Wants to be King

November 25, 2016, 1:05 pm
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By Ed Malin

I loved Cant.  I wish I could see it a few more times.  Now, I will attempt to describe and explain this wonderful play by Ian W. Hill, presented by the amazing Gemini CollisionWorks ensemble at The Brick.
Cant is a political play and a play that is conscious of itself, as will become clear.  Gemini Collision Works, this year’s massive New York Innovative Theatre Award winners, structure their universe as Thornton Wilder might, and use pleasantly confrontational techniques out of Richard Foreman, such as bright lights, a video projection of actress Rebecca Gray Davis reading certain stage directions and Lex Friedman’s voice giving the audience an authorial perspective on the action.
Act One takes place in a quaint, happy type of America, with a jazz soundtrack that suggests the 1950s, leading up to Our Boy’s election as President.  Lightning-fast wordplay abounds.  The imported Statue of Liberty (Ivanna Culinin) speaks French, and is told by the patriotic Uncle Sam French (David Arthur Bachrach) to speak English.   Houses come with built-in magical realism, with ghosts in the breakfast nook. In school, children take classes such as Intermediate American Values and study both Plessy vs Ferguson and Kramer vs Kramer.  Our Boy is played by two actors of different races (John Amir and Michael Rishawn).  Both actors appear together and perform complicated scenes in unison, explained cryptically in stage directions such as “Our Boy exeunt”.  Our Boy has two sets of parents (Alyssa Simon, Linus Gelber, Leila Okafor, Rolls Andre) and one younger sister (Anna Stefanic), who provides a piano accompaniment to the story.  Those in Our Boy’s community describe his meteoric rise to the Presidency and the sudden assassination of the black counterpart of Our Boy.  However, the white half of Our Boy survives and does rule, as the despotic Chairman Boy.  This is not a JFK story.  Or is it?  It is amazing to think how this the reading of play, which played November 5-20 on both sides of the general election, has changed from night to night.
photo by Mark Vetman
“The House Always Wins”, as disembodied voices tell us.   Two old-school reporters (Derrick Peterson and Olivia Baseman) show a great deal of style while interviewing those who knew Our Boy, such as the girl from his town (Zuri Johnson), alluring socialites (Amanda LaPergola), radicals (Kaitlyn Elizabeth Day) and Our Boy’s sister.  Further insight comes from the 70s-style TV program Black Perspective On The News, which is funded by the Kronos Foundation (“Building the World of Today, Tomorrow”).  The black counterpart of Our Boy was the nation’s conscience.  Although the nation can survive with a vicious leader who only cares for his class of people, it is a fearful place where a sense of inferiority drives some to oppress others.
From there, the cast begin to discover that the play has a life of its own and wants to escape from the theater.  At one point, it is suggested that the play is really about a phenomenon called the Coriolis Effect, but then the characters realize that this is only a poorly-executed attempt to be eligible for a Sloan Foundation grant.  In a truly poignant moment, we are asked if the enjoyment this particular audience gets from the play justifies the suffering of others elsewhere which the play has caused.  The author and director (Ian W. Hill) is occasionally seen wearing a sinister eyepatch over his spectacles, so it is quite a shock when the cast, while theorizing that in modern productions, “the director is dead”, find the director’s head in a box.   From there, the cast fights the desire to sit on the couch and recite bad monologues suitable only to formulaic cinema.  A lot more profound stuff happens, and the couch even joins in the curtain call.
The normal offering from Gemini CollisionWorks is mind-blowingly impressive.  This work, with the unexplained title usually reserved for shoddy rhetoric, dissects our country, gives us time to laugh about it, gently answers some of the questions already posed, and then questions the nature of reality, theater, etc.   The set is full of scaffolding on one side and on the other features a ladder which we are told is just a ladder.  Some of the conventions of the play harken back to great dramatic innovators of the 20th Century, but for a world which is sadly lacking in decency.   The cast of eighteen, who collaborated in the development of the play, work extremely well together in the intimate space of The Brick.  There is always something to look at and process throughout the two and a half hours of show.
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Review: Revolution Room

November 27, 2016, 12:10 pm
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By Michael Block

Some theater is meant for entertainment. Some theater is created to make a statement. And then there is Party People in which Universes try to do all of the above. The Universes production presented at The Public has so much to say yet the clarity isn't quite right, thusly altering the overall success of the show.
Written by Universes, comprised of Steven Sapp, Mildred Ruiz-Sapp, and William Ruiz a.k.a. Ninja, and composed by Universes with Broken Chord, Party People is a powerful and provocative piece of art about art and activism spanning generations.  Malik “MK Ultra” and Jimmy “Primo” set up a private art gallery to celebrate an evening of fine and performance art of political fights. The room is filled with former participants of the Black Panthers and Young Lords who happen to use this moment to let the skeletons fall out of the closet and air their dirty laundry. It’s an homage to the grass roots fight on the ground from the Millennials bringing the battle on the web. With an electronic score infused with rock, jazz, and hip hop and more, Party People is more of an idea than a well made theatrical story. Universes and director and developer Liesl Tommy would have been better served to allow the story unfold rather than hammer a message in. When it does breath, Party People is at its best. With the tiniest of glimpses in character explored, if you're searching for arcs, you won't find them here. The characters are representations of something greater than themselves. And in a way, they're not as rich as they should be. We learn very little about the individuals and thus, you may find it hard to care about them singularly. This may be due to the fact that it takes quite a bit time to reach any semblance of story. What we do learn is that these individuals may be fractured but they don’t regret the past. Nevertheless, the pulverizing message of keeping up the fight for a long-term battle is on everybody’s minds. As energetic and lively as the piece is, it doesn't always have the ability to connect or engage. There is a rich history within the Black Panthers and Young Lords. Whether you know it or not, Universes avoids any semblance of a history lesson opting for a more personalized interpretation. While no one really wants to watch a live history lesson, perhaps a marriage of the two could have connected the worlds.
photo by Joan Marcus
Liesl Tommy kept Party People tightly staged and intricately planned. It was a very well-oiled machine. That being said, the three-quarter thrust hindered Tommy’s stage pictures as she kept the majority for a proscenium portrait. The use of the live feeds were quite engaging. Though the placement in the space assisted viewing for those sitting on the sides. Millicent Johnnie’s choreography was organized chaos, which was fitting for the overall narrative. The underground art space designed by Marcus Doshi didn’t read automatically but the text helped you get there. The loft allowed for varied staging but caused massive shadows for Doshi’s lighting design. The most prevalent image on stage was the “Revolution” light sign. Doshi lit the bulbs almost as a default in every song. Between going in letter order to keeping them in groups, it was inevitable that the sign was going to be in every number. And it was a bit boring.
Whether Party People hit you or not, this ensemble carried the weight of the world on their shoulders. They worked wondrously as a unit, though there were shining stars, starting with Christopher Livingston. As Malik “MK Ultra,” Livingston’s alluring determination and drive captured the essence of the show. Opposite him, William Ruiz a.k.a. Ninja’s Jimmy “Primo” lacked reality causing his character to feel like a living cartoon, even when he wasn’t in clown mode. As Clara, Gizel Jimenez had a natural purity as the modern voice of reason. When it came to booming voices, Ramona Keller and Mildred Ruiz-Sapp reigned supreme. While Keller’s Amira felt like nothing more than an accessory, it was her voice that brought the house down. Ruiz-Sapp had a little more character substance thanks to her familiar bond with Clara.
There is a profound purpose of presenting Party People now. It has the dominance to light a spark. But there was something off with Party People. With disconnect and lack of cohesion, Party People is not as strong as it can be.
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Spotlight On...Augie Praley

November 27, 2016, 12:58 pm
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Name: Augie Praley

Hometown: Annapolis, Maryland

Education: BA University of Chicago, MFA NYU Tisch

Favorite Credits: An international site-specific play Euphoria: Something Better Is Coming in Tbilisi, Georgia. "Augie, Alone" web series. Writing for The Blue Man Group.

Why theater?: I’m involved in theater, film and television, but there’s an intimate and immediate connection between audience and performer in live theater that you just don’t get in any other form. It’s a good thing to feel that knot in your gut as you watch an audience react to your work in real time. It’s as pure a connection between artist and viewer there is, I think.

Tell us about Looking Back, It May Not Have Been Ridgefield High’s Best Production Of Our Town: The play follows a playwright as he returns to his high school’s gymnatorium the night before it’s torn down. He gives us a tour of the building, while the gymnatorium itself remembers the lives of the students and families that were in some way touched by the building—and by the many productions of Our Town that have been produced there. It’s a play about respecting the past, but trying to keep an eye towards the future. It’s sad and funny and sometimes both at the same time.

What inspired you to write Looking Back, It May Not Have Been Ridgefield High’s Best Production Of Our Town?: It started back in 2010 as a possible site-specific follow-up to the play I did in Tbilisi. As the show developed, I became a character in it, and it all became a lot more personal—probably more personal than any other play I’ve written. I was interested in writing about that time that everyone goes through, the awkwardness of growing up and the need to look back to the wisdom of old plays and artworks to look for what it means to be human. The play was dormant for a few years after I wrote it as my NYU thesis, when my good friend and director Isaac Klein re-read the script and encouraged me to pick it up again. He’s helped guide this play towards our first production and I’m so excited about where it’s going.

What kind of theater speaks to you? What or who inspires you as an artist?: I’ve always found theater to be an opportunity to open yourself up and find honesty. I’ve been inspired by the works of Chicago artists like The Neo-Futurists, The House Theatre of Chicago and Sean Graney and The Hypocrites. In New York the works of Elevator Repair Service, Taylor Mac and The Debate Society really speak to me. I think they do fearless, honest work. I like plays that continue to hold a mirror up to life and each of those groups or artists do that in way that is uniquely and beautifully them.

If you could work with anyone you’ve yet to work with, who would it be?: I’d love to work with any of the companies I just mentioned, but I’ve always wanted John C. Reilly to act in a play or anything I’ve written. I think he knows how to become a character in comedies and dramas and make even Dr. Steve Brule incredibly empathetic. I see myself in every character he plays and that’s entirely his talents.

What show have you recommended to your friends?:Oh, Hello and Natasha, Pierre And The Great Comet Of 1812. Both are shows that are better diving in unknowing—which is how I saw them both. I have yet to see Natasha… on Broadway, but I caught it at Ars Nova and saw the magic of how they transformed space and time to make something spectacular. Oh, Hello caught me by surprise—you never know how a sketch is going to stretch out and I went in unsure, but that was stupid of me. Nick Kroll and John Mulaney are comedic geniuses and there’s nothing better than seeing people have fun on stage and that’s what that show is all the way through. I’m going to see it again next week with my family.

Who would play you in a movie about yourself and what would it be called?: I’ve played myself in so many different plays or web series by now that I have no idea. I kind of like casting against type, so… The Rock? And it would probably be called “I got the Rock to play me in a movie: The Augie Praley story”

If you could go back in time and see any play or musical you missed, what would it be?: I think I’d go back to see a play in ancient Greece, probably one of the non-surviving PROTEUS by Aeschylus. I think it would be fun to see the dawn of drama. More recently, I wish I’d gone to Taylor Mac’s A 24-Decade History of Popular Music.

What’s your biggest guilty pleasure?: Reality Television and Reese’s Peanut Butter Cups. At the SAME TIME.

If you weren’t working in theater, you would be _____?: I started at UChicago pre-med, so maybe I would’ve become a doctor. That’s a frightening thought, though. I’d probably still be trying to pass Organic Chemistry.

What’s up next?: I’m working on a couple of different television projects right now and going forward with those projects next, but we’re looking to and hoping to have continued life with this play.

For more on Looking Back, It May Not Have Been Ridgefield High's Best Production of Our Town, visit lookingbackourtown.com
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Review: Nothing Endearing Here

November 28, 2016, 7:55 pm
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By Michael Block

The story of Terms of Endearment should flood the audience with tears. The Directors Company production could not even come close. Adapted for the stage by Dan Gordon, which is based on the novel by Larry McMurtry and the screenplay by James L. Brooks, and presented by The Directors Company at 59e59, Terms of Endearment proves that not every story belongs on the stage.
Terms of Endearment is the classic story of mother and daughter who battle a litany of personal struggles that bring them closer together as time goes on. Spanning two decades, widowed Aurora tries to keep her only daughter Emma close by. But when Emma is forced to move from her Texas home to a new life in Iowa, Aurora is left alone and must combat it while Emma is in a dull marriage with a man her mother disapproves of. The story comes to a close with the iconic plot twist of Emma's cancer, causing her mother to feel as if she lost it all. Even if you know the story or not, Terms of Endearment is a guilty pleasure for the desperate housewives. Even if you can get past the frothiness, this script is stuck in a cinematic mind-frame. Dan Gordon’s Terms of Endearment is flat-out frustrating, if not infuriating. The script is superfluous. The direction lacks rules and guidelines. And it’s all due to how it is structured. With the book and movie clearly on the mind, Gordon jumps from location to location, spanning a long string of time. With such short bits, director Michael Parva must figure out a way to make the overall arc resonate while honoring the text. Only Parva is forced into limitations that cause him a world of woes. The segmented set designed by David L. Arsenault causes headaches beyond belief. And that goes beyond the disconnect of the underutilized and distracting scrim which doesn’t quite live with the rest of the set. With so many locations and so little stage space, Arsenault’s scenic elements are introduced in nearly every scene. But reality wise, it lacks sense. There’s only so much disbelief one can take. With raised areas housing various scenic pieces, Parva asks his company to break walls, and space, in order to create a necessary visual and staging that doesn’t lag. With such a strong focus on the use of the phone, there’s no such thing as a split screen in theater so having both Aurora and Emma sit on the same bed in separate locations just to have the visual calls into the overall aesthetic into question. Parva absolutely needed to go full theatrical to make this text work. He did not. Going back to Dan Gordon’s script, this production is very much a “period piece.” The themes present live in a specific time and yet they are still universal. The original source material was never a period piece so why not update this play to today? Sure, there are some major advances in technology but wouldn’t that hammer in the power of a long-distance relationship? Gordon tried to play it safe and it just did not work.
photo by Carol Rosegg
Lead by the legendary Molly Ringwald and rising star Hannah Dunne as mother-daughter duo Aurora and Emma respectively, this ensemble did all they could with tough material and rough direction to navigate. As the oft-hysterical widow Aurora, Ringwald tapped into the super-critical character. With the movie so prevalent in this production, in comparing to Oscar winner Shirley MacLaine, Ringwald made Aurora her own, lacking the bite and tenacity MacLaine brought. Ringwald had an endearing sweetness that fell into undying sadness when things didn’t go her way. Hannah Dunne is a natural as Emma. Dunne is full of life and hope. Of all of the cast, Dunne was the strongest at making Gordon’s cringe-worthy text believable. It’s hard to understand why Aurora wouldn’t want the boy-next-door version of Flap to be married to her daughter. Denver Milord was not the Jeff Daniels version of Flap. To no fault of his own, Mildord was the perfect all-America charmer. There was something discomforting about Jeb Brown’s Garrett. There was something false in his Garrett, causing Brown to appear quite cartoonish.
I could go on and on about the flaws of Michael Parva’s direction but deep down, with a cinematic text, there was no way this production of Terms of Endearment was going to be able to properly find hope. The story should be full of humor and heart and yet The Directors Company production lacked all semblance of both.
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Blog Hijack: The Wedding Warrior Returns to NYC

November 29, 2016, 8:30 am
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In today's Blog Hijack, the Wedding Warrior herself, Casey Dressler takes over Theater in the Now to talk about the return engagement of the critically acclaimed The Wedding Warrior



Fresh off its critically acclaimed runs at FringeNYC and The Chicago Fringe, The Wedding Warrior is back in The Big Apple at The Legendary Duplex for two special LOVE-FILLED performances, Dec. 4th & 7th!

"Better off wed? That is just one of the questions playwright/Performer Casey Dressler poses in her One Woman Comedy about love, second chances and the wonderful weirdos with whom we cross paths, forever changing our journey. Featuring 15 hilarious and heartwarming characters, The Wedding Warrior will make you say "I do" too!"

The Wedding Warrior was written in 2014 and has already been produced nationally and internationally to critical acclaim. Performances include The Edinburgh Festival Fringe in Scotland, United Solo Fest (NYC), 59e59 Theaters East To Edinburgh Festival (NYC), The Alliance Theatre (Miami), Universal Acting (Fort Lauderdale), The Vanguard (Fort Lauderdale), Florida Keys History and Discovery Center (Islamorada), The Fort Lauderdale Fringe Festival, FringeNYC and The Chicago Fringe.

Check out The Wedding Warrior's awesome reviews from FringeNYC on show-score!
https://www.show-score.com/shows/the-wedding-warrior-fringenyc

When: 
Sunday Dec. 4th @ 9:30pm & Weds Dec 7th @ 9:30pm
Where: 
The Duplex Cabaret Theatre
61 Christopher Street (at the Corner of 7th Avenue)
New York, NY 10014

$10 Ticket in Advance & a 2 Drink Minimum in the Cabaret Theatre*
$15 Ticket at the Door (plus service fee) & a 2 Drink Minimum in the Cabaret Theatre*
*Drinks Must be purchased In the Cabaret Theatre to count towards the Minimum.

FOR TICKETS:
Sunday, Dec 4th show: www.purplepass.com/warrior4th
Weds, Dec 7th show: www.purplepass.com/warrior7th
For more info visit: www.TheWeddingWarriorPlay.com
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Spotlight On...Beatriz Naranjo

November 29, 2016, 9:43 pm
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Name: Beatriz Naranjo

Hometown: Caracas, Venezuela

Education: BA Point Park University

Select Credits:The Buddy Holly Story at TBTS (Maria Elena Santiago), 21 The Musical at Pittsburgh Playhouse (Vera Clemente), Chicago, Footloose, Chess, etc.

Why theater?: Why not?!

Who do you play in Buddy: The Buddy Holly Story?: Buddy’s wife, Maria Elena Santiago.

Tell us about Buddy: The Buddy Holly Story: It tells the story of Rock n’ Roll legend Buddy Holly and The Crickets. Set in the late 50’s, the musical play features all of Buddy’s hits songs, his early career, rise to fame, and the very last concert before his tragic death.

What is it like being a part of Buddy: The Buddy Holly Story?: Truly an amazing experience. I’ve done the production twice already and the talent is unbelievable. I also enjoy playing a bilingual character (since Spanish is my native tongue).

What kind of theater speaks to you? What or who inspires you as an artist?: Original works and plays that feature Latino and other minorities. That being said, Lin Manuel Miranda is definitely someone who inspires me not only as an artist, but also as a human being.

Any roles you’re dying to play?: Eva Perón in Evita.

What’s your favorite showtune?: Sinatra’s "That’s Life."

If you could work with anyone you’ve yet to work with, who would it be?: Theatre – Lin Manuel Miranda; Film – Dir. Alejandro Iñárritu

Who would play you in a movie about yourself and what would it be called?: Movie would be titled “The Voyager”. Casting myself is hard since I would have to find someone bilingual.

If you could go back in time and see any play or musical you missed, what would it be?: Original Cast of A Chorus Line.

What show have you recommended to your friends?:Fun Home.

What’s your biggest guilty pleasure?: Eating excessive amounts of edamame per week, pronouncing my name the correct way when I introduce myself to people (great conversation topic at auditions).

What’s up next?: Currently working on a Pilot for a new TV show.

For more on Beatriz, visit www.meetbeatriz.com
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Spotlight On...Sawyer Spielberg

December 1, 2016, 9:49 am
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Name: Sawyer Avery Spielberg

Home: Los Angeles, California

Education: Atlantic Theater Co.

Select Credits: Off Broadway - Micha in The Belgrade Trilogy at the East 4th Street Theatre. Phillip in Safe at the 14th Street Y.  Regional Theatre - Bay Street Theater’s Of Mice and Men playing Whit. Bay Street’s The Diary of Anne Frank playing Peter. Guild Hall of East Hampton playing Guildenstern in a production of Hamlet.

Why theater?: I love being a part of the theatre community, and acting on stage is sometimes the best way I know how to communicate.

Who do you play in Clover?: Van.

Tell us about Clover: Clover has been a good challenge for me to understand the pressures of being the oldest brother out of three in a dysfunctional family.

What is it like being a part of Clover?: Working on Clover has been a great way for me to meet more actors in the Indie Theater community and to continue working on my craft.

What kind of theater speaks to you? What or who inspires you as an artist?: I moved to NYC to study acting because I saw Red on Broadway at the age of 16, and that triggered me to start acting.

Any roles you’re dying to play?: I'd like to play Ken in that play, Red.

What’s your favorite showtune?: Music inspires me, friends and family inspire me. I am really into blues at the moment because one of the actors I'm working with in Clover is teaching me the harmonica.

If you could go back in time and see any play or musical you missed, what would it be?: I wish I saw Mark Rylance in Jerusalem and Phillip Hoffman in Death of a Salesman. My two regrets.

What’s up next?:  I'm producing and acting in a production of Extinction by Gabe McKinley this winter at Guild Hall of East Hampton.

For more on Clover, visit http://lamama.org/clover/
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On the Scene: NYC Students Rise Up at Hamilton

December 1, 2016, 1:39 pm
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by Michael Block

I had an exciting opportunity to witness 1300 of New York City's finest, students that is, attend a special performance of Hamilton. It was my second time at the show. But this was NOT the same show I saw before. This was experience like no other. 

They are not throwing away their shot to rise up in the room where it happened. 1300 New York City public school students attended an exclusive matinee performance of the show with hottest ticket in America. Thanks to partnership between Hamilton, The Rockefeller Foundation, the Gilder Lehrman Institute and the NYC Department of Education, another lot of students from New York's Five Boroughs were granted an invitation to Hamilton. That is after they successfully completed and passed their curriculum pertaining to the subject. A true stage to page experience.
The smash hit phenomenon has reached global success to the point that it has not only opened up eyes to a new audience but it is truly a profound teaching tool. Unless you've been living under a rock, you know the musical, written by Lin-Manuel Miranda, was at the center of some recent controversy when Vice President elect Mike Pence made a recent visit to the show. With a speech aimed to education, Brandon Victor Dixon, who plays Aaron Burr, spoke on behalf of the ensemble in hopes of starting an important discussion. In some arenas, namely social media, it backfired, but the message Dixon relayed is the rich message found with Miranda’s piece. This is a story of old America told by today's America.
Prior to the performance, a select few students got to make their "Broadway debut" by performing original work on the Richard Rodgers stage. At the core of their pieces was a narrative inspired by Hamilton and other pertinent information integrated from their studies. From poetry to song to dance to spoken word, these select students found their moments to shine in front of the biggest audience they could dream of. Associate choreographer Stephanie Klemons served as MC and hype girl, getting the students geared up to watch their classmates and peers. Some of the many highlights included a scene inspired by Abigail Adams written and performed by Kiara Leon and Anda Rosca from East Side Community School, some profound words in a scene from Jaelen Smith and Adante Power of Repertory Compay High School for Theatre Arts, a lyrical dance from Keturah Stephen, Liliana Delossantos, and Destiny Trevino, of Brooklyn High School of the Arts, and the pure vocals of Juan Mateo Garcia of Brooklyn Theatre Arts High School. All of this was set up by the incredible poem entitled “Let’s Make America Great Again” delivered with fervor and passion from Amell Garrison of Achievement First University Prep High School.
photo by Michael Block
If being able to see the show wasn't enough, the students got to listen to a very special question and answer session featuring some of the stars of Hamilton. Sharing their time and knowledge were Sasha Hollinger, Rory O’Malley, Eliza Ohman, Sydnee Winters and star of the future, and overall fan favorite Jordan Fisher. From silky, frothy questions to deep, personal statements, the wealth of insight the cast shared resonated. If you looked around closely, there was not a phone in sight. These kids were listening and engaged.
If you're one of the lucky few that has scored a ticket to Hamilton, you know what it's like to be in that audience. Even if you've seen a Broadway show, you know the etiquette. Those rules don't apply here. In fact, Stephanie Klemons ASKED this crowd to vocalize and react. Throw them out because these kids have no fear and will respond. The room was electric. The energy they gave the company was immediately given right back. And wouldn't you believe the moment the lights came up for curtain call everyone was on their feet. The Richard Rodgers was electric. Even glancing over at the great ushers, they were energized by the aura from the students.
It's an experience you can only have in this room with these students. They reacted to everything, good, bad, or indifferent, proving just how in-tune they were to the words of Lin-Manuel Miranda. What this great partnership has afforded the youth of New York is integral to our future. Art truly does have the power to change the world. What these students took from their day at the theater is yet to be scene but what is certain, this is a field trip these kids will never forget.
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Spotlight On...Andrew Mayer

December 2, 2016, 10:35 am
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Name: Andrew Mayer

Hometown: Staten Island, NY

Education: BFA in Acting from Boston University School of Theatre, Manhattan School of Music (Pre-college), LAMDA classical intensive.

Select Credits: Recent credits include: Natasha, Pierre, & the Great Comet of 1812 (Broadway Originating Cast), The 12 (Denver Center - World Premiere Rock Musical), Dying for It (Atlantic Theatre Company), Fiddler on the Roof (Barrington Stage Co. and Westchester Broadway Theatre), Prince of Egypt (Developmental Workshop)

Why theater?: I have been involved in the arts and theatre since I was very little. I have always had a love of stories. It brings me joy to pull people into other worlds and expand perspective on the world. As I have gotten older and more experienced I think what has personally sustained my passion in this infinitely difficult business is my genuine interest and love of the process and not just the product or final validation. Aside from that mental stamina, I am also a very physical person and often (especially in the show I am in now) I have felt akin to an athlete training for an event when doing this work. I love physical work and play, and the ongoing challenge and need to be consistently present and ready for anything is the most fun and engaging job I could ever see myself doing. And to call it a job sometimes feels very strange … which is another good sign.

Who do you play in Natasha, Pierre, & the Great Comet of 1812?: I am a member of the ensemble. I also play violin on stage for parts of the show.

Tell us about Natasha, Pierre, & the Great Comet of 1812: It is based on a 70-page slice of Tolstoy’s “War and Peace”. It takes us back to 19th century Russia without any particular reverence to period style … which is part of what makes the piece so powerful in my opinion. It breaks so many barriers with music, story, set, costumes, casting, and hopefully expands what Broadway commercial theatre can be. The ensemble plays a HUGE role in the show and is charged with furthering the story and atmosphere for everyone in the space. Definitely a different experience depending on where you choose to sit!

What is it like being a part of Natasha, Pierre, & the Great Comet of 1812?: It has been the most challenging thing I have ever approached physically and mentally … but it has also been incredibly rewarding. I am grateful that this show specifically is my Broadway debut.  It has at one point or other called on all of my skill sets. I have had to integrate my work as an actor and mover with my abilities as a violinist and singer … all at once. I would say our cast is in some of the best shape of any cast on Broadway right now (our set is a Stairmaster). Every day has its own challenges but part of what gives me energy is the cast and camaraderie. I joined just for Broadway and many of these guys have been together for multiple prior versions of the show … yet from day 1 I felt completely a part of the group. From the cast, to crew, to creatives there is no real drama backstage, there is no bad energy, and everyone is genuinely there to support each other and the show. I think that is part of what makes us all able to do it full out 8x a week. It is a joy.

What kind of theater speaks to you? What or who inspires you as an artist?: I find myself inspired by the kind of work that makes me think but also that has been clearly thought through by the creator. I enjoy polished pieces that still have a raw energy on stage. I don’t consider my work lazy and I don’t like watching things that have been simply thrown together and ask us to do the work to figure out what it means. Specific work as an actor and a creative is much more stimulating and effective to watch. I love that kind of work and those kinds of artists.

Any roles you’re dying to play?: Specific roles … hmm … I love Marius in Les Mis, and chased that around for a while (still made it to the Imperial Theatre without him I suppose, so it worked out haha). The Phantom would be amazing. Bobby in Company would be fun. I do love me some good action though (stage or screen) … could never turn down a good fight if Zorro or something came swinging into town. Now THAT would be my JAM.

What’s your favorite showtune?: That one changes daily. At this moment … typical showtune doesn’t come to mind as much as “Scenes From and Italian Restaurant” does by Billy Joel … (Movin’ Out? Hey that should count!!)

If you could work with anyone you’ve yet to work with, who would it be?: Brian Stokes Mitchell. Sir Ian McKellen. I would die.

Who would play you in a movie about yourself and what would it be called?: I would play the mysterious character who shows up with cryptic facetious knowledge about the future to myself in the past … but we don’t know it’s me … cause I would for some reason enjoy screwing with my former self. What would it be called? Maybe - “Let’s Go With That …”

If you could go back in time and see any play or musical you missed, what would it be?: I actually would love to see something groundbreaking akin to the first “moving picture” or Stravinsky’s first performance of The Rite of Spring. As for theatre … the original Streetcar would be pretty amazing to see or an original Shakespeare at the Globe.

What show have you recommended to your friends?: Obviously see Great Comet! Ha. But otherwise recently I really loved The Humans and I loved Something Rotten (especially if you know some musical theatre!)

What’s your biggest guilty pleasure?: Probably at this point I’d say its my motorcycle. That was no joy to my mother and I definitely felt guilty for a moment but the pleasure outweighed that pretty readily and still does. I love that thing.

What’s up next?: More Great Comet hopefully for a while. The run is off to a solid start so fingers crossed the momentum continues to build. Aside from that, check out some fun over at “The Hunted: Encore!” - recently released the first part of a web series. I also have some skits in the works and a cool fight short on the way to be released very soon.

For more on Andrew, visit www.andrewCmayer.com
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Review: The Puzzling World of Love

December 3, 2016, 7:53 am
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By Michael Block

Love. Who says it’s easy? In Jordan Seavey’s fluid drama Homos, or Everyone in America, the unbridled romance between a young gay couple. Bouncing around in time, Homos lives in a period, yet resonates today. The Labyrinth Theater Company production packs the drama into the intimate space with little escape, physically or emotionally.
The relationship of two men is at the forefront of Jordan Seavey’s searing Homos. Simply identified as The Academic and The Writer, these two go through five years of tears, heartbreak, turmoil, love, and conversation to discover just what their bond truly is. Bouncing around Brooklyn, Seavey opts for a non-linear narrative, incorporating bits and pieces of the story that ultimately creates on big picture puzzle. And don’t think you’re experiencing déjà vu. Seavey’s beats will ultimately come together in the end. Whether the story hits you or the commentary is too cliche, Homos is a showcase of Seavey’s exemplary writing. The whiplash-inducing dialogue is a tumultuous marriage of colloquial and poetic. Seavey rarely gives his company a moment of air when they’re chin-deep in conversation. But when silence is awarded, it’s purposeful and prominent. Where Homos falls into stereotype is the exhausting discussions of gay relationships. Though Seavey perfectly captures the essence of the battle of monogamy and open relationships. If you’re searching for answers in your next debate, ask Jordan Seavey if you can borrow a few of his lines. This isn’t to say Seavey doesn’t eloquently carve out a discussion. They add subtle glimpses toward the characters but not enough to sustain. It’s one thing to know The Academic is so opposed to adding a new party to the mix but it’s stronger to learn the whys. Seavey has room to keep his commentary while integrating it into the character better. Five years is a long time to track an arc. Yet Seavey does a decent job taking care of his couple. We don’t need to see everything but there are certainly moments we wished we saw.
photo by Monique Carboni
The Mike Donahue helmed production was all about minimalism. With virtually no props or scenic elements, Donahue’s direction was smooth flowing. The simplicity in direction allowed the words to be the focus. That being said, site lines were absolutely ridiculous. Even in the “best seats in the house,” you’re bound to miss something or have a head in your way. Presented in the round, of sorts, the bizarre seating arrangement caused a plethora of issues. For example, from my vantage point, whenever the couple would engage in interaction on the floor, I saw nothing but three rows of heads. The only scenic element that introduced time was a window with a Kerry/Edwards campaign sticker on it. Luckily, I had a great view for the action there! Dane Laffrey’s untreated wood risers and carpeted floor allowed the lights from Scott Zielinski to flourish in a variety of looks. Jessica Pabst’s costume design was basic. The way she dressed the two central characters didn’t necessarily explain much about their personality but those socks spoke volumes! The pineapple socks for The Writer and the Mondrian inspired socks for The Academic were a wonderful addition. Pabst did add some pizzazz for Dan’s flashy gay protest outfit and it was nothing short of prideful.
As The Academic and The Writer, Robin De Jesus and Michael Urie, respectively, were a dynamic pair that flipped emotion on a dime. The range of emotion that Seavey put De Jesus through was mind-blowing. And not once did he stammer. De Jesus had a heightened playfulness as The Academic. The Writer was a bit more voice of stereotype and yet Michael Urie captured honesty in the man with an open heart. With the speed of Seavey’s text, De Jesus and Urie passed the ball without ever dropping. Though it was virtually a two character play, De Jesus and Urie were joined by Aaron Costa Ganis as Dan, the third wheel and cog in the romance, and Stacey Sargeant as Laila the Lush girl. They filled a role as a device but both made their presence worthwhile.
Homos, or Everyone in America is a unique examination of love and relationships told through a familiar lens. Jordan Seavey’s script ebbs and flows but keeps the audience on top of the wave. The production would greatly benefit from a little more space but no matter what, it’s all about the words that completed the puzzle.
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Spotlight On...Marti Gould Cummings

December 6, 2016, 9:31 am
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Name: Marti Gould Cummings

Hometown: Kennedyville, MD

Education: AMDA

Select Credits:Life and Death of Kenyon Phillips (Dir. Tony Winner Cady Huffman), Twist (Drama Desk Nominated Production), The Future Mrs Harry Windsor

Why theater?: Theatre is a release, an expression, an opportunity to entertain and educate.

Tell us about Have Yourself a Very MARTI Christmas: I am a comedic drag artist who lives to make people laugh.

What inspired you to create Have Yourself a Very MARTI Christmas?: Being born.

What kind of theater speaks to you? What or who inspires you as an artist?: All theatre has its place and it really depends on my mood and what the atmosphere is.

Any roles you’re dying to play?: The emcee in Cabaret.

What’s your favorite showtune?:"African Homeland" from The Color Purple

What’s your favorite song to sing in the shower?:"Let the Sunshine In" from HAIR

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

Who would play you in a movie about yourself and what would it be called?: I would play me and it would be called "Hello Dear, Its Me."

What show have you recommended to your friends?: The Color Purple is the greatest show on Broadway everyone should see it.

What’s your biggest guilty pleasure?: Eating Sun Chips in bed at 3am.

What’s up next?: My 3rd concert at 54 Below on December 23rd Have Yourself a Very MARTI Christmas
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Review: Holiday Gossip with Ginger Minj

December 6, 2016, 10:03 am
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By Michael Block

'’Tis the season to be jolly. And a little shady! Ginger Minj brings comedic holiday cheer to the Laurie Beechman in her latest holiday show, Mary Did You Hear? Joined by friends Michael Kirk Lane and Janine Klein, Ginger sprinkles holiday memories through comedic anecdotes in a stocking full of fun.
Mary Did You Know? is a night of Christmas memories and holiday songs curated by Ginger Minj. Putting a new spin on "Mary, Did You Know?," they three Queens, arriving on stuffed camelback, share slightly skewed holiday gossip about one another. It's a loose through line that's nothing short of silly. The "plot" occasionally flies off the handles but Ginger is there to reign it back in as best she can. The night is all about the cute gimmicks. Some land. Others? Not so much. From parodies to mocking sappy Christmas songs to brilliantly layering “You Spin Me” by Dead or Alive on top of "The Dreidel Song," Ginger has a present for everyone. The extra special tree topper was a special appearance by RuPaul Drag Race Season 4 icon Jiggly Caliente. Ginger joined Jiggly to sing her newest holiday hit "XMas Hams," which is featured on the Holiday Queens 2 album. Those wishing to hear Ginger sing her track from the album will be greatly disappointed. The make up of the audience is a majority of Drag Race fans so anytime there is tea spilled, the crowd went wild. The same went for the banter with Jiggly. It rocked the house. Any jabs to their fellow sisters git some of the strongest reactions. While this was Ginger's show, her trusty sidekicks were a wonderful addition. Janine Klein and Michael Kirk Lane added a jolt of extra hilarity, becoming fun foils for the overly jolly Ginger.
Mary Did You Know? was a great way to kick off the holiday season. It may not have been the best package under the tree but it certainly resulted in smiles and Christmas glee.
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Review: All I Want for Christmas Is Courtney Act!

December 6, 2016, 12:57 pm
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By Michael Block

I don't want a lot for Christmas but Courtney Act was certainly on my list! Returning to the Laurie Beechman to spread some holiday cheer, Courtney Act takes some of the highlights of the holidays in Dashing Through the Divas.
With a divalicuous set list, the RuPaul's Drag Race Season 6 finalist showcases her pure vocals in a shimmery new holiday show. From classic divas like Barbra to instant divas like Idina, Courtney Act brings a a stocking full of joy to the world. Courtney Act has the voice of an angel. She is arguably one of the most stunning queens on the planet.  With a look to kill and a vocal to match, Christmas songs are the perfect showcase for the Aussie Diva. Connecting the songs through cute anecdotes sprinkled with the occasional dig at her Drag Queen sisters, Bianca Del Rio we're looking at you, Courtney threads the evening smoothly. And if you ever dreamed of kissing the queen, she ends the show with mistletoe on a selfie stick! Dashing Through the Divas wasn't exactly a story-style show but closer to a holiday concert. And sometimes that's all you need. In only an hour, Courtney gives you Babs'"Jingle Bells," a traditional Australian Christmas classic about Santa and his kangaroos, and of course "All I Want for Christmas Is You."
If you're looking for the perfect present, Dashing Through the Divas delivers. Courtney Act is the definition of international Drag superstar. She is ho-ho-home at the Laurie Beechman.
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Review: Game Changer

December 8, 2016, 10:12 am
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By Michael Block

Sometimes you can learn more about a person in the way they present themselves than through the content they share. The girls in Sarah DeLappe's ferocious The Wolves, presented by The Playwrights Realm, are rich in character and yet they reveal so little about themselves. Following a high school girls' indoor school team, The Wolves, making a triumphant return engagement, is a dynamic story of teamwork, determination, and the bonds of individuals.
The Wolves by Sarah DeLappe captures the intricacies of the members of the titular soccer squad as they stretch and practice for their games. With field talk snapshots, DeLappe plays upon subtitles as she highlights the hardships of teenage life. With a new girl on the team, the dynamics shift and new stresses are introduced. To go into plot talk would be a great disservice to future audiences. The Wolves is an experience to be had. The Wolves is like Annie Baker's Circle Mirror Transformation. Just on an indoor soccer field. To hammer in the team theme, DeLappe avoids naming her characters, out front, and sticks to addressing them by jersey number. Even without a named identity, these are genuine girls with real drama. Thanks to pristine storytelling, DeLappe was in great favor of niceties that brought out an exuberant amount of life and individuality. The Wolves goes beyond a play about the difficulties of teen-hood. It's the nuances that set it apart. Heartbreak and resiliency plays an integral part in the later stages of the plot. Without spoiling anything, the way DeLappe reveals who's at the end of the shocking twist is brave. It's a bold choice of character. It's very likely you sit there playing out the scenario as who it will be until that girl appears. I certainly was blindsided.
photo by Daniel J. Vasquez
Ask yourself how does a play about sports, team, and friendship translate from page to stage? Effortlessly. Director Lila Neugebauer 's vivacious staging is vigorous yet uniform. With a regimented choreography of stretching and drills, reality took control. Neugebaur matched each beat to a movement naturally. They caused honest laughs at times, proving just how in-tune she was with reality. The closest thing to site-specific piece as it could get, scenic designer Laura Jellinek transformed The Duke into part of a soccer field, AstroTurf and all. The lighting design from Lap Chi Chu was evocative of field lights. Nothing really changed but those tight transitions, paired with Beth Lake and Stowe Nelson's sharp sound design heightened the stakes. Whether you sat in the theater since the house opened or merely moments before curtain, the thematic girl power preshow soundtrack not only set the mood, it managed to match this world undoubtedly. On the surface, it didn't seem as if costumer designer Asta Bennie Hostetter did much aside from create a uniform. But attention to detail was well achieved as each girl had personality. Whether it was their sneakers or how they wore their hair. The intricacies for each team member spoke volumes. So when we saw the girls out of uniform, their attire made sense.
They say you're only as strong as your weakest player. The Wolves did not have a single weak link. This team was filled with pride. As the captain of the pack, Lauren is a natural-born leader. Even with a tinge of bravado, Patten provided natural command. #25 was one character with a bit of action in her arc. Patten allowed the reveals to flow subtly, never calling attention. Tedra Millan's #46 was the outsider that was a little more than just an odd duck. She found great complexity that took some time to warm up to. Silent for a long string of the piece, Lizzy Jutila as goalie #00 made the moments of speech more than worth while. As concussion prone #2, Sarah Mezzanotte was bubbly and delightful. The anger and pain that Brenna Coates found in #7 was craft fully raw. It could easily have been overblown yet Coates had the tools to reign it in.
The Wolves returned for a reason. It's a phenomenal production. If sports are not your thing, don't be scared away. This script goes above and beyond on what is on the surface. Don't be surprised to see The Wolves transfer somewhere for a longer run. And don't be surprised when every university knocks on Sarah DeLappe's door to do her script.
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Spotlight On...Glory Kadigan

December 8, 2016, 1:31 pm
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Name: Glory Kadigan

Hometown: Denville, New Jersey

Education: Lincoln Center Directors Lab, Labyrinth Theater Company Master Class, La Mama directing and playwriting Symposiums, Claremont Colleges.

Favorite Credits: Founder of Planet Connections Theatre Festivity; World Premieres of Regina Taylor’s Biting the Bullet and John Patrick Shanley’s Doublecross at the Playwrights for a Cause benefit at the Atlantic Theater, St. Anne’s Soup (Israel Horovitz, World Premiere), Breaking Phi l lip Glass (Israel Horovitz, World Premiere), Her Speech (Erik Ehn, World Premiere), Over the River and Through the Woods (Neil LaBute, World Premiere), Two Minute Warning (Neil LaBute, World Premiere).

Why theater?: I love the collaborative process and watching the audience interact with live art.

Tell us about Clover: This is experimental writer Erik Ehn’s latest play about the violent and universal cycle of life following the tragedy of Emmett Till and his mother that helped spur the Civil Rights Movement as well as three other stories, illustrating America’s history of violence towards those most vulnerable.

What inspired you to direct Clover?: I was interested in the social issues discussed in the piece, but also in the style of the play which incorporates movement and music in a unique fusion of poetic storytelling.  It's almost like directing in a foreign language and translating the language to the cast. It's challenging and fun.

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that inspires me to see the world from a new perspective. The world around me, literature, music, and people.

If you could work with anyone you’ve yet to work with, who would it be?: Stephen Adly Guirgis

What show have you recommended to your friends?:Vietgone, Hamilton

If you could go back in time and see any play or musical you missed, what would it be?: The original production of Shakespeare's The Tempest

What’s your biggest guilty pleasure?: Tiramisu

If you weren’t working in theater, you would be _____?: Traveling
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Review: Othello Mixtape

December 9, 2016, 11:30 am
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By Michael Block

There's a trend out there. It's called theatrical rap. No, not like Andrew Lloyd Weber's interpretation of rap. But integrated mainstream rap into the musical theater genre. With the Hamilton seemingly raising the bar, other artists are not throwing away their shots of capitalizing on the trend. Enter Othello: the Remix. Created by the Q Brothers, this streamlined update of the Shakespeare classic introduces a new sound to a story of betrayal, greed, and revenge.
Straight from Chicago, Othello: the Remix, written and directed by GQ and JQ, brings a new interpretation of the Bard’s drama with sick beats and a healthy blend of comedy and drama. Bringing the action to the modern world of the music industry, Othello, a renowned DJ, is on the rise of fame. He falls for the lovely-voiced Desdemona but it’s his best friend Iago, who isn’t getting Othello’s musical endorsement, that tries to cut down Othello’s infamy. Think of the Othello-Desdemona relationship like Beyoncé and Jay Z. Told with only a cast of four men, Othello: the Remix is energetic emergence of storytelling that appeals to a fresh audience. If they had the resources to bring it to high schools around the country, it would be a brilliant teaching tool. From a product standpoint, the piece kept a high-octane, dizzying pace. The rhymes were fast. The music was pulsating. It was a concise reimaging of Othello that is nicely structured. The company has a strong comedic approach but allowing the audience the safe space to laugh needs to be permitted much sooner. Though the quartet take on a plethora of characters, the one main player completely absent is Desdemona, who is relegated to a voice. It’s a choice. A bold choice. It also forces a hyper stylized moment to occur during Desdemona’s death sequence that’s unlike anything previously established. The style of rap that GQ and JQ introduced had shades of a modern sound blended with a bit of that infamous late 80s and 90s influence. No matter who was in the audience, it reached their ears in a pleasing manner. Even if those pop songs the Q Brothers threw in were crowd pleasures. But from a critical standpoint of what makes a successful musical, with the score living in the same world of tempo, there’s not a single number that stands out as a showstopper. Without a song stuck in your brain when you leave the theater, you have to ask yourself why.
photo by Carol Rosegg
Othello: The Remix isn’t filled with flourishes but it is fresh and clean that’s visually pleasing. Designed by Scott Adam Davis, the set was a backdrop of scaffolding and LED skyscrapers, which also housed the DJ booth. Adding color made each song have a different mood. Keith A. Truax’s lighting design was nothing short of impressive. Costume designer Christina Leinicke gave each actor an accent. Like Iago was in green. If you kept a keen eye to detail, Truax introduced the character colors when they were present in the scene. It was a subtle addition that was rewarding in the end. When it came to direction, GQ and JQ had a handle on what they wanted and ensured it was executed in such a way. The musical moved. There was variety in stage pictures. But it could have gone further and been even tighter. And that’s where another eye comes in. Nevertheless, consistency was prevalent.
Chemistry is key for a production like this. When a technical flub occurs, being able to pick each other up is essential for maintaining momentum. These four knew this world inside and out, defining the importance of a tightknit cast. Once you knew laughing was ok, the breakout of the show was Jackson Doran as Cassio and Emilia. Doran’s comedic timing was spot on. The way he approached the physical comedy seemed old hat. Doran’s ability to create distinct characters kept the audience laughing. Likewise, JQ was a mastermind of character. His geeky Roderigo was hilarious. Even though Othello: the Remix took a comic approach, Postell Pringle as Othello and GQ as Iago, and occasionally Brabantio, played into the brooding world. It wasn’t weighty, but with the plot being what it is, drama was implied and important to their character arcs.
It doesn’t quite have that magical artistry but the Q Brothers are doing a mighty fine job keeping pace with the Hamilton scribe. If you can't get a ticket to Hamilton, Othello: the Remix is the next best option.
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Blog HIjack: Genesis and the Keystone

December 9, 2016, 12:08 pm
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Taking over Theater in the Now is Sam Tilles to talk about the journey of his new play Genesis!



Hey Folks! My name is Sam Tilles— I’m a playwright based in Harlem, and am producing a new piece I’ve been writing the past few years.

It is called Genesis, and is based on a month-long journey I took down the Keystone XL Pipeline route.  It is entirely in rhymed verse, and is a farcical adaptation of the Bible’s creation myth.  The play is a joyful, poetic exploration of civilization, and provides a new look at how our culture relates to nature, government, mind, and spirit.

The story revolves around King Jehova and his endeavors in creating Eden, the utopic realm of his imagination.  To give you a sense of what we’re dealing with, I’ve included a clip of the script below:


Adam:
How moving was that moment in the past,
Eternal truth shone down from He, to last.
But time’s gone by, time’s hue hath been changed.
Each waking hour ever more deranged—

The fake clouds rustle again.

Adam:
What’s this? An incoming premonition?

The king curses behind the wall.

Adam:
Come forth lord! My spiritual ascension!

The clouds open clumsily. A long piece of paper is stuffed through.
The King stumbles through the portal, injuring himself. Adam embraces him.

Adam:
O, it is my God! My lord protector—
Comes armed with more Truth for me to ponder!

King:
Transition hath lent me an injured leg,
Wouldst thou, son, take this imperfect segue?

Adam:
Through clouds, beyond the walls?

King:
Don’t answer that.

The King spits blood.

King:
Fetch me that stick,

Adam:
Blood methinks you just spat!

King:
Aye, the realm of spirit doth harm the flesh.
Immortals bleed, when with mortals, enmeshed.

Adam:
Then why hast thou made the journey to me?

King:
This scroll is—I mean, because I love thee.
And have heard your desperate, longing calls.

Adam:
Nay lord, it is I who hath caused your fall,
No longer appear, my faith’s strong enough.

King:
Very well, Adam.  My most trusted son.
Well, to guide you onward I’ve brought this scroll.

Adam:
A scroll! What’s it say?

King:
You will soon be told.
Many questions of yours it will answer,
Pockets of truth, sealed in realms of wonder.
This is the story of your creation,
My true nature is constantly mentioned.

Adam:
A truer nature than I’ve seen in here?

King:
Stretching beyond flesh and time my reign’s clear.

Adam:
For your gift I’m eternally grateful,
But unable to read, I’m woeful.

King:
Fear not, noble child, I’ll read it to you.
Thou thinks I give with no study, no pew?

Myriad:
The reading lasted till the rising moon,
But Adam smiled the entire afternoon.

King climbs up through the hole.

King:
Back to heaven I go, take care, have fun!

Adam:
Smile upon me in the realm of the sun!

King Exits.


People often ask me why I wrote an adaptation of Genesis after my journey down Keystone XL.  I think seeing the play will be a sufficient answer to this question, but I’ll endeavor to provide a look into how they relate.

On the journey I frequently examined the polarized arguments orbiting Keystone.  The power of narrative became abundantly clear; people seemed to support the pipeline insofar as they embraced the Fossil Fuel Industry’s myth of Economic Security (and its denial of Climate Change).

Through the perspective of narrative, the relationship between Genesis and Keystone becomes clear. “Yahweh” of the Old Testament designs the universe for mankind, and the Fossil Fuel Industry dictates much of the direction of our civilization.  Both forces are monarchic, and both advocate anthropocentric perspectives of the world.

Unlike its supporters, Keystone’s opponents adopted a plurality of narratives.  These ranged from the Indigenous Prophecy of the “Black Snake,” to Climate Change, to simply not wanting land and water ruined by a pipeline spill.  Indeed, these narratives differed, but the concern for habitable land and clean water unified them.  Their synthesis gave fruit to the “Cowboy and Indian Alliance”—something I found particularly beautiful.  

The anthropocentric parallels between Keystone and Genesis struck me to the core.  Could writing a play about Genesis somehow stimulate a more harmonious relationship to the natural world? I’m hoping to find out! If you would like to support our production, please visit our Kickstarter Campaign at Bit.ly/VerseofGenesis (case sensitive).  A pledge of any size or a share on Facebook/Twitter would be most appreciated!

-Sam
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Review: Meh Charity

December 11, 2016, 10:21 am
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By Michael Block 

You hate to play the compare and contrast game but sometimes you just have to. You always have to applaud artists for examining a text and interpreting it in a drastically innovative manner. But sometimes it becomes so unrecognizable that it turns into a new show. And that certainly happens when a libretto is adjusted to create a new narrative. In The New Group's darker revival of Sweet Charity, the titular character is down on her luck in the love department. But this production gets tickled by that fickle finger of fate. And if you're looking for anything resembling the Sweet Charity you know and love, then that finger will be wagging in your face to taunt you.
With book by Neil Simon, music by Cy Coleman, and lyrics by Dorothy Fields, Sweet Charity is the swirling musical comedy about Charity Hope Valentine, a taxi dancer at the Fandango Ballroom, as her trust in love and hope of a new life continues to crumble. When fate starts to go her way, Charity not only gets a man but also the potential a life better than this. You can tell this was going to be a different Charity simply by the show art. In comparing revivals, the Christina Applegate-led revival was bright and colorful. This one is dark, dark, dark! Director Leigh Silverman took a drastic turn in her interpretation. Silverman avoided the typical musical theater approach, infusing an methodology that makes more sense when staging a straight play. Her scene work was profound. But this is, at the end of the day, musical comedy. The inconsistencies from libretto to score were blaring. It's almost as if Silverman wanted to do a play version but settled on the inclusion of the music. The brazen change of moving “Where Am I Going” to the end of the play altered Charity's narrative distinctly. It brings out a poignant commentary that Silverman clearly was interested in exploring turning Sweet Charity into a something slightly unfamiliar. But you simply can’t fault her for staying consistent. There’s a natural physical comedy that enriches this story. It needed more. The few bits that were present had the audience in stitches. That’s when this show worked.
photo by Monique Carboni
The pared down production certainly shattered that expectation of big budget bravado. The minimalistic approach pulled focus into the little details, good, bad, or indifferent. Silverman and her team, filled to the brim with an exuberant amount of talent, depended on realism far too much. The only member of the team to rightly match the text with their bursts of color was lighting designer Jeff Croiter. His looks captured the essence of Simon's bubbly text and Fields and Coleman's splashy score. If you wanted color, unfortunately Clint Ramos' costume didn't deliver. To match Silverman's direction, Ramos provided a muted color pallet. Though the all-white looks for the Frug dancers was the grand highlight of his design. The dreariness was a major bummer but nothing was more disappointing than the ill-fitting frock Ramos put on Sutton Foster. If ever reality played a role into the design, it came in when Foster danced her way through the show. Her dress would fly up, exposing the matching violet underwear. If it took you out of the show, you’re not alone. Derek McLane’s scenic design was sleek and simple, including some period inspired realistic elements. Namely the carnival ride. Silverman was able to have her company move the pieces well, utilizing McLane’s design to the max. It was one of the only things that was simple and effective. When you think of Sweet Charity, it’s almost symbiotic as Bob Fosse. No matter what, you can’t escape the grant influence he has on the show. Choreographer Joshua Bergasse clearly knew the origin and the inspirations but chose a new direction to play in. Rather than pay homage to Fosse, Bergasse opted for storytelling through choreography. There were certainly shades of Fosse in the grossly truncated rendition of "Rich Man's Frug," but those Fosse fans will be deeply disappointed. Sure, “If My Friends Could See Me Now” showcased the powerhouse dancer that Sutton Foster is but you forget about the number when you compare it to the wasted opportunities Bergasse presented throughout. Namely the iconic “Big Spender.” The number lacked the razzle dazzle, instead offered a conveyer belt of merchandise where the girls, pinned with a number, sit in a chair, walk in a circle, and come into the audience a bit. This was the moment where Sweet Charity truly fell apart. It’s enriching to look up in the band rafters to see the entire orchestra comprised of all females, led by music director Georgia Stitt. But it wasn’t nearly enough to cover up Mary-Mitchell Campbell’s dinky orchestrations.
On the surface, casting Sutton Foster as Charity Hope Valentine is an odd casting choice. But there’s no denying that Sutton Foster made the character her own for a Charity like no other. Playing up the hopeful pushover, her Charity was a bit of a goofy rag doll without the spunk and tenacity others in the role have brought. But what Foster did manage to do was bring a level of newfound empathy. Alongside Foster, Shuler Hensley captured the sad sap Oscar with great ease. Though genuine chemistry proved just how unusual this pairing was. Rather spread the wealth in casting, this revival used an everyman to play the male roles including Herman, Vittorio Vidal, and Daddy. Utility player Joel Perez has a wealth of range, crafting a unique identity for each. It just called attention to the peculiarities of having a singular actor in these varied parts. Asmeret Ghebremichael and Emily Padgett provided a glimmer of hope as Nicki and Helene respectively. Nikka Graff Lanzarone epitomized the essence of Ursula just the way she strutted around on stage.
If you’re a purist, this is not the production for you. If you’re looking for a little grit in your musical theater comedy, this may be the Sweet Charity you’ve been waiting for. Overall, it was a little too lukewarm for my liking.
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