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Review: Get Wild on Planet Wongo

December 11, 2016, 2:46 pm
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By Kaila M. Stokes

First off, what a fun title! Wild Women of Planet Wongo lives up to their fun title indeed! This is a wacky adventure that is audience interactive with booze! Walking into the world of Wongo you are handed a strong wongo-tini beverage to lube up your sense of excitement. The theater, located at Parkside Lounge, is quite unique. It is in the back of a bar, but is spacious and open. Seats surround the edge of the stage in a theater in the round style, but mostly people stand and are moving around constantly. The show begins with two men in-route to deliver space chips, basically they are glorified space UPS. Their space ship crashes on none other than Planet Wongo. Planet Wongo is inhabited by sexy women who worship a goddess that specifically stipulates these women need to have sex with men!
If you’re super sensitive to the whole feminism movement, it might not be the show for you. But the music sure is catchy. All of the actors did a fantastic job with the songs and choreography, especially in such a small space. The audience is totally immersed in the show allowing pictures to be taken and light banter when the time calls for it. The real stand out character is the queen of Planet Wongo. Her voice was stellar and she commanded that stage and audience…like a queen! A program should have been handed out at the end so all of the talented actors could have been recognized.
The set consisted of stretched grey material across the walls and then five TV’s set up around the room. These TV’s showed the terrain of the planet and other plot important information. It was a creative use of the space and of the futuristic time period. The actors interactive with the TV’s and they also provided useful points for the audience as well.
Wild Women of Planet Wongo is an exciting show to see with friends, with drinks, and with a sense of humor! There is no serious plot or heavy demeanor here. Go, let your hair down, dance with a stranger, drink an unknown concoction, and enjoy the movement that is … immersive theater.
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Review: A Comedy That Will Make You "AHHHHH!"

December 11, 2016, 4:04 pm
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By Michael Block

We all remember the early 90s holiday classic "Home Alone." You know, the madcap comedy about a family who forgets the youngest kid when packing the courtesy van thusly leaving him home alone. The film was the launching pad of child actor Macaulay Culkin as well as the infamous line: "Ahhhhhhh!" Comedy troop Recent Cut Backs takes the flick, condenses it into sixty minutes, and reminds the audience just why we love the movie. The parody, playing The Pit, is nostalgia to the max with multi media devices, puppetry, and foley work that brings laughs and smiles from start to finish. Kevin!!!!! is virtually a jam- packed highlight reel of "Home Alone" through non-stop comedy. There's no shortage of creativity on the stage. This is one of those shows where one mistake will cause a domino effect of chaos. It's evident that director Kristin McCarthy Parker anticipated every single detail with great thought as, even with at high-tempo, everything felt purposeful. With an intricate set up of lights, live-feed projections, and the tiniest of sets and puppets manage to find a home on stage. At first glance, it all looks like a jankity middle school science experiment but once the lights rise and the choir sing, it’s off to the races. Kevin!!!!! is a show that relies heavy on the source material. Pray you remember it all or you will certainly be left alone. With so many characters to track, it starts off in a whirlwind. And perhaps that’s the point. It goes so fast, you’ll likely miss some of the tiniest jokes that come through the projected set. There are some slight inconsistencies between puppet, projection, and human, but they seem to be forgiven for laughs. And remaking the pranks that Kevin plays on Harry and Marv are as good as they can possibly be.
There is no way to get off the rollercoaster once it starts. The four animators and the four piece Choir keep the car on track without ever crashing. Not even the slightest of wire entanglements can derail this company. Taking the central role of Kevin, Nick Abeel masters the vocals with ease. Sporting Kate McAllister’s iconic nasty-colored blazer, Natalie Rich captured the cadence and mannerisms of Catherine O’Hara’s character. It was a character to study that you have to see to believe. What you have to remember with a show like this, with as much action as there is, there needs to be something underneath. The pulse of the play came in the form of the Choir, comprised of Sarah Godwin, Evan Maltby, Richard Sears, and Michelle Vo. The quartet serves up helpings of acapella underscoring and the occasional comical sound effect.
Recent Cutbacks has upped the parody game once again with Kevin!!!!! If you’re a fan of the film, this is the perfectly crafted homage to get you in the holiday mood. You just might need a shot of 5 Hour Energy to keep up with the highlights of “Home Alone.”
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Review: Latrice's Holiday Surprise

December 11, 2016, 5:36 pm
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By Michael Block

Deck the halls with one of the most fabulous Drag Race alumnus. The big and brazen Latrice Royale brings some holiday joy, and some special guests, to the Laurie Beechman in Why It Gotta Be White Christmas? 
An evening of song and banter, Latrice asks the age-old question why does it have to be a white Christmas. Sharing tales of holidays in Compton and her feelings after her very first snow, Latrice brings down the house with her booming vocal and an exuberance of charisma. The evening was mostly made up of classic Christmas jingles mixed with some hilarious parodies in the form of turning “Winter Wonderland” into a ditty about wearing women’s underwear and the show stopping “12 Gays of Christmas.” What made the latter a smash was the character cameo of the Kennedy Davenport created Merlene Watkins. The big-behind church lady put Kennedy’s comedy on display. Vowing to be a good Christian woman, Kennedy’s Merlene had no problem upstaging Latrice. And Latrice let her. When she returned as Kennedy, she showed off her pristine vocal skills. If this wasn’t a plea for her own headlining show at the Laruie Beechman, I don’t know what is! Though neither outfit read as holiday attire to the blind eye, Latrice and Kennedy both shimmered on stage in their stones. The overall pacing of the show felt a bit slow with a lack of content. Perhaps a song or two more was what was desired. And in the spirit of the holidays, an uptempo encore is what would have capped off the night best.
Why It Gotta Be White Christmas? was a nice holiday treat. There’s a little bit of joy for everyone. But the biggest gift of the night was Latrice’s holiday guest, Kennedy Davenport.
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Blog Hijack: Ty Jones on The First Noel

December 12, 2016, 9:00 am
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In today's Blog Hijack, Ty Jones, Producing Artistic Director of Classical Theatre of Harlem talks about The First Noel!



Creating a Holiday Classic Uptown - Classical Theatre of Harlem’s and The Apollo Team Up to Present The First Noel

by Ty Jones - Producing Artistic Director Classical Theatre of Harlem

From Rockefeller Center to 5th avenue window displays to holiday markets, the holidays are truly a magical time in New York. One of the hallmarks of the season in NYC are the wonderful holiday shows that people from near and far can enjoy. When I looked at that landscape of existing shows, I realized that we could contribute to that by offering a distinctly uptown holiday show that embodies the spirit of the season - and there is no better partner to team with than the World Famous Apollo theater. We want Harlem to be a destination site for holiday entertainment for New Yorkers and the city’s visitors alike, and believe that our production of The First Noel has the potential to become a classic to complement those presented downtown like The Nutcracker or A Christmas Carol.

To the Mainstage:
The Classical Theater of Harlem’s The First Noel premiered last year on The Apollo’s soundstage, but this year we’ve made a huge move to the mainstage which is a mammoth 1,500-seat theater. This is momentous for our company, the cast and crew. It’s such an honor to be able to present on this legendary stage.

Harlem’s Holiday Classic:
The Classical Theatre of Harlem seeks to move people in heartfelt and meaningful ways. What we hope people walk away with after seeing The First Noel is to remember that no matter how difficult and demanding life may be, together, we can find our way out of any adversity. This story, which follows three generations of a Harlem family affected by tragedy, shows how a community is healed and exemplifies how ordinary people can do extraordinary things to help one another receive the gift of love at Christmas time. The musical features original music and re-imagined classic carols—ranging from pop to jazz to gospel. Let me just say, a profound story with powerful voices equal a memorable night in the theater!


The 10-show performance schedule for The First Noel is:
Saturday, December 10 at 7:30pm
Sunday, December 11 at 5pm early evening
Monday, December 12 (DARK)
Tuesday, December 13 at 7:30pm (OPENING NIGHT)
Wednesday, December 14 at 2pm matinee
Wednesday, December 14 at 7:30pm
Thursday, December 15 at 7:30pm
Friday, December 16 at 7:30pm
Saturday, December 17 at 2pm matinee
Saturday, December 17 at 7:30pm
Sunday, December 18 at 2pm matinee

Performances of The First Noel take place at the Apollo Theater Mainstage (253 West 125th Street, Harlem, NYC).  The production is part of the “Holidays at the Apollo” family-friendly programming series. Recommended for ages 5+.

Tickets are available at The Apollo Theater Box Office: 212-531-5305 (253 West 125th Street) and via Ticketmaster.com: 1-800-745-3000. Group Sales: 212-531-5355. Tickets range in price from $30 - $65. Apollo Advantage member pricing: $30 - $40. To learn more, visit: https://www.apollotheater.org/firstnoel/
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The Rulers: A Sneak Peek Into Rule of 7x7: The Holidays 2016 Edition

December 12, 2016, 1:10 pm
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If you're looking to get your stocking stuffed, Rule of 7x7 has a holiday treat for you! This Thursday, December 15th, Rule of 7x7 will be gifting you with TWO performances at 7:00pm and 9:30pm! And without further ado, The Rulers!

The Rulers

Name: Brett Epstein


Hometown: Hamden, CT


Education: BA (Theatre, Writing) Providence College


What is your rule?: Each play begins with a character holding an item/prop in silence for 10 seconds. Then that character says "I think this is good" or "I think this is bad."


Why did you pick your rule?: Alex Gould told me it would be dope if all the plays had to start similarly and we see where they went from there. I totally agree.


Tell us about Holidays With Adam Driver: Adam Driver returns to his hometown to visit his two brothers who've never left their hometown. Inspired by my dear friend Cary Gitter who's reminded me of Adam Driver since I met him!


Why should people come to Rule of 7x7?: Different rules, different writers, different actors, different directors every time. But always a free beer!


New Year's Resolution for 2017?: Do a plank for 2.5 minutes.


For more on Brett, visit www.itsBrett.net




Name: Cary Gitter


Hometown: Leonia, NJ


Education: BFA and MA from NYU


What is your rule?: Somewhere in pages 8-10, the characters experience the tenderest moment of their lives.


Why did pick your rule?: Because I want to see more tenderness on the American stage.

Tell us about Big Date: Two college girls getting ready for a big double date. They're best friends. One's white, one's Latina. The night before Trump's inauguration.

Why should people come to Rule of 7x7?: Because it's the single greatest theatrical event ever conceived of, and it could have been dreamt up only by Brett Epstein.

New Year's Resolution for 2017?: Write better plays.

For more on Cary, visit https://newplayexchange.org/users/8520/cary-gitter


Name: Rosalind Grush


Hometown: Los Angeles


Education: BA from Columbia University


What is your rule?: A fart?


Why did pick your rule?: Well, the rules were due at 4pm on a Saturday. I work a lot during the week so I didn't have much time, and that particular Saturday morning, I was meeting some friends at a rugby bar because the brunch place next door was full. Turned out there was this Ireland vs New Zealand match on: Ireland hadn't won against New Zealand for 111 years and had finally beaten them the week before, and this was their first rematch after Ireland's victory. It was a shitshow. The place was packed and everyone was wasted. I sent in my rules blackout drunk, slightly before being asked if I wanted to be in a foursome with the folks at the table next to mine. To be fair to myself, farts are always funny.


Tell us about Not A Nativity Play, Part II Of Rosalind's Reproductive Cycle: I thought I would branch out from what I usually write about - abortion, which for the record I strongly support - and write about something else for a change. What's the opposite of abortion? Staying pregnant! America hates women in general, and REALLY hates pregnant women. I have known women offered almost no maternity leave (for places that even have maternity leave policies) and who haven't had jobs waiting for them on the other end of their pregnancies (or whose role is "reimagined" while they're gone and basically get forced out). Plus I've been having a lot of trouble with my health insurance and doctors lately, and odds seem pret-ty good that it's only going to get worse. And so Part II of my Reproductive Cycle was born. It's a comedy. An Odyssey comedy. A hero's journey comedy about pregnancy in America. 


Why should people come to Rule of 7x7?: It's always an incredible night with lots of great people on stage and in the audience, and I can't wait to see what my wildly talented fellow writers are cooking up! And I may be biased, but also The Tank is always doing something cool.


New Year's Resolution for 2017?: FLOSS FOR THE LOVE OF GOD


For more on Rosalind, visit www.thetanknyc.org




Name: David Jackson

Hometown: Denver, CO -> KY -> NYC

Education: Fordham University

What is your rule?:"We're not that different."

Why did pick your rule?: In this post election era, I want to write about Americans coming together. Since the country seems to be coming apart at the seams. Also while I was writing my rule suggestions, I was watching an interview with Michael Che re: his "Black Jeopardy" sketch on SNL with a Trump supporter on the panel, and he said the point was, "We're not that different."

Tell us about The Conversation Not Heard 'Round The World: Donald Trump meets Barack Obama at the White House. Barack begs him to consider his own legacy, while Donald asks if he can put a bust of himself in the Oval Office. Melania Trump meets Michelle Obama and asks for parenting advice since she says, "Barron keeps playing dress up like ISIS." Chaos ensues as the two conversations we never heard come through loud and clear.

Why should people come to Rule of 7x7?: It's a great place to see several short new plays in one night. Seven, in fact! Plus there's a bar essentially on stage.

New Year's Resolution for 2017?: Do better than 2016.


Name: Rachael Mason

Hometown: New York, New York

What is your rule?: Someone quotes a poem.

Why did you pick your rule?: I chose this rule because poetry is fun!

Tell us about The Test: The Test is about a couple being put through the ultimate test.

Why should people come to Rule of 7x7?: 7x7 is such a fun and lively theater experience. It really feels like a rollercoaster and everyone is on board!

New Year's Resolution for 2017?: To learn a new language

For more on Rachael, visit https://www.youtube.com/channel/UClAwt8GaUxivVWplVBl_JCA





Name: Sam Perwin

Hometown: Miami Beach, FL

Education: B.A. in Literature from Harvard.

What is your rule?: Vitamins.

Why did pick your rule?: I wanted an everyday object that could be interpreted in many different ways: as a prop, as a moment, etc.

Tell us about Buried Treasure: It’s a strange little romp involving a dead grandfather, a skull, a long lost manuscript, and Keats. What do they all have to do with each other? Come find out!

Why should people come to Rule of 7x7?: This experience has been like putting a puzzle together, but it’s like everyone’s doing a different puzzle with the same pieces. Come see what we’ve put together!

New Year's Resolution for 2017?: More writing, more yoga.

For more on Sam, visit www.samperwin.com




Name: Lizzie Stern

Hometown: New York, NY

Education: BA: Williams College

What is your rule?: Snowman

Why did pick your rule?: Snowmen are underrepresented in the theatrical canon. My rule for next time will be snowwomen and non-binary snowpeople.

Tell us about Run Wild: Annie and Max go on a run in Prospect Park. They train for a 5K. Annie's single, mostly friendless, and dealing with an invisible mold infestation. She wants to win the race. But maybe the win she really wants isn’t the one she’s after.

Why should people come to Rule of 7x7?: You'll laugh, you’ll cry, you’ll see seven brand new plays!

New Year's Resolution for 2017?: Take more action, big and small

For more on Lizzie, visit https://newplayexchange.org/users/10962/lizzie-stern
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Spotlight On...Adam Thomas Smith

December 13, 2016, 8:11 pm
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Name: Adam Thomas Smith

Hometown: Auburn, NY

Education: BFA:  Brooklyn College

Favorite Credits: I’ve really enjoyed directing this! I once directed some excerpts from "Reservoir Dogs" (the Tarantino movie) for a fundraiser and that was a blast. I’d love to do a full stage production of that.

Why theater?: Honestly, it was the only thing that’s been able to keep my attention and interest.  Plus, I really enjoy working with people, collaborating and storytelling.
       
Tell us about Wake Up Call: Wake Up Call is loosely based on the time Veronica Cooper (co-writer/Jessica) and I spent working in hotels together and is about that time in your life when you’re trying to figure out exactly what it is to “grow up”...  And Christmas…  And inappropriate humor.      
What inspired you to write and direct Wake Up Call?: Veronica Cooper approached me about 2 years ago with some pages about working in hotels. She’d written them to distract herself from another script she’d been working on. We talked about them, I pitched her some story ideas, and she asked me if I’d be interested in writing this with her. It was a natural fit. We have a similar sense of humor and after our first few writing sessions we found that we genuinely enjoyed working together. We had been writing with the intention of being in it together but somewhere along the way I realized I was more interested in directing it. Plus I think I’m too old to play Derek!
         
What kind of theater speaks to you? What or who inspires you as an artist?: Man! I really wish I had a good answer for this question. Honestly, I get inspired by almost anything. That is to say I’ll go see an amazing show and get inspired by it, obviously, but I’m just as likely to get inspiration from a silly joke someone tells me.    

If you could work with anyone you’ve yet to work with, who would it be?: Umm… Daniel Day Lewis?

What show have you recommended to your friends?: The Humans, duh. Anything Annie Baker writes. And find some random off off broadway and go see it. Support independent theater.

Who would play you in a movie about yourself and what would it be called?: What’s funny about this question is that I play a game with my friends all the time about what the name of my autobiography would be.  Some favorites have been “I’ll Do It Tomorrow: The Adam Thomas Smith Story” “You Grew Up On a Farm?!: The Adam Thomas Smith Story” “DO YOU GET IT?: The Adam Thomas Smith Story”.  I think you’re getting a sense for the formula.  As for who’d play me I want to say someone cool like Michael Fassbender or Christian Bale but it would probably be Seth Rogen… maybe Jason Segel.

If you could go back in time and see any play or musical you missed, what would it be?:  There’s probably a lot but I definitely wish I could have seen the Philip Seymour Hoffman/John C Reilly True West.  Or for that matter the Senise/Malkovich version.

What’s your biggest guilty pleasure?: FOOD!  I love a good comfort food meal.  Anything deep fried.

If you weren’t working in theater, you would be _____?: Probably a tie between Teaching and Farming (I grew up on a small dairy farm).

What’s up next?: Working on bringing back an adaptation of Hamlet I worked on with some really talented people a few years ago.  Hopefully next year.  And Veronica and I are hoping to write more together.  Stay tuned!

For more on Adam, visit adamthomassmith.com
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Review: A Play of the Past for the Present

December 14, 2016, 9:55 pm
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By Michael Block

They say history repeats itself. Fads and trends may have their heyday but they’ll inevitably return in some fashion. But then there are moments when something you may believe is fresh isn’t really. It’s been there for quite some time. Something just bolstered it to the mainstream. The drag, queer, and trans culture and community has a rich history. In today’s age of RuPaul’s Drag Race, that history, equipped with lingo and all, has made a reemergence. In Pia Scala-Zankel’s blisteringyl authentic Street Children, we are transported to a time when being different was not only looked down upon, it was downright dangerous. But the power of family can lift the lowest of spirits.
Presented by Vertigo Theater Co. at the New Ohio, Street Children captures the lives of the denizens of the lower Hudson Piers in 1988. The inciting incident is the untimely death of the beloved Gina. Angela, Jamie, and Terrence grieve for their fallen sister but no one said grieving is easy. Time doesn’t’ stand still as the trio must find a way to move on in a world that challenges them. Despite being derivative of a time, there was a whole sense of truth and honesty in Scala-Zankel’s words. Street Children never reaches camp as it is pure and raw depicting the dangerous world of sex, drugs, and morality in the late 80s LGBTQ scene. Street Children is one of those plays that is bound to have a prosperous future. It’s a story that needs to be told and heard. And with a future in mind, the script can be even tighter and even stronger. With the vantage of three stories in aftermath, it’s ironic that the flashbacks were the strongest beats. It brought out an exuberant amount of fire in the characters. The past truly informs the present. Though it’s the end of the play, seeing Gina and Jamie’s first ever interaction was beautiful. Seeing that moment for Angela and Terrence is particularly desired. It would help Scala-Zankel strengthen the trio’s arcs. As it stands now, Jamie’s story has a clear beginning middle and end. The other two have a middle and an end. Aside from the fallen angel, the most captivating character journey was that of Angela. The backstory and subsequent familiar future has a tight grip on your heart. But, without spoiling too much, the unfortunate event that Angela faces in her downfall is more than heartbreaking. It hits harder because it feels far too early in the play’s voyage. Pushing it back just a tad further may be beneficial with the way flashbacks are incorporated. Scala-Zankel gives us glimpses of the tight-nit families and subculture that formed in this time. And dramaturgically, it’s a remarkable feat.
photo by Ted Alcorn
Director Jenna Worsham captured the time with great ease. The ambiance was set as the audience comes in. Though, if you’re not a fan of herbal cigarettes, prepare to smell them for quite some time. Worsham established a stunning physical lexicon for her ensemble. This world moved fluidly. From sashaying through the ruins to the vocabulary of the vogue, Worsham’s ensemble was united. Where Worsham could have done more was utilizing the ensemble in a more purposeful manner. Wafting in the wings is fine but it teetered on high school musical extra cast meandering. By adding figures in the shadows, it heightened the atmosphere but it needed to be felt by the primary focal characters. Worsham took reality into the forefront of her direction. What could have been stronger was the realism when it came to prop use. While it could have been due to a boom box that no longer served its purpose, when everything is riddled in reality, not physically pushing the buttons or playing with the tape deck takes you out for those many split seconds. Though not perfectly real, scenic designer Angelica Borrero transported the audience into the seedy graffiti-filled piers of the past. Utilizing the outskirts of The New Ohio allowed the great expanse to rightly overwhelm the intimacy of the story. From neon to “Dynasty” shoulder pads, costume designer Bernat Buscato brought the best, and worst, of the decade to the stage. Lighting designer Kate Bashore didn’t quite capture time and location as well as she could have but the transitions were tight and sharp. Daniel Melnick provided an incredible sound design, navigating reality.
There were some exemplary performances within the cast of Street Children. Far and away, the performance of the night belongs to JP Moraga as Angela. Moraga’s honesty and gravity in balancing the varied lives of Angela was illuminating. Angela is a complex persona and Moraga found a complete character within. As the angelic keeper of the beats Gina, Mj Rodriguez was radiant. She gave a captivating performance that left you wanting more Gina material. The way she carried herself onstage was evocative of a star on the rise. Taking on the ingénue role, Eve Lindley’s Jamie was simply stated. Like a delicate porcelain doll, Lindley found grace in Jamie without feeling false. Victor Almanzar as Terrence was hit or miss. In a way, his characterization felt closer to caricature. The excessive bursts of fury, whether written in or an acting choice, defied a complete story arc for Terrence.
There are uninformed people out there who didn’t know the history of the community. RuPaul didn’t invent the catchphrases and culture we’ve come to champion. There is a tremendous amount of lost souls and determined warriors who have stories that helped shape the bright future. But in today’s America, the struggle of acceptance in our society is ever present. Street Children is a necessary story that does more than bring awareness of a past. It’s a teaching tool that can inform our future.
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Review: An Old Story Turned New

December 15, 2016, 10:24 am
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By Kaila M. Stokes

Shakespeare’s Merchant of Venice presented by Hamlet Isn’t Dead is an entertaining musical portrayal of this overdone story. Hamlet Isn’t Dead is committed to producing/performing all of Shakespeare’s works in order. This is a truly unique feat and after a couple of years of existence they are finally getting into the “good stuff” as they put it. Walking into this gallery style space, musicians are playing and partying. It truly feels welcoming from the beginning. Music is used throughout the piece which keeps this old story new and exciting.
Most know Merchant of Venice either having seen it performed or at least having read it in school. It is a hard piece in many ways; the epilogues can be very long, the story has too many story lines and not enough follow through, and the ending doesn’t pay off in some ways. This version of Merchant of Venice, directed by David Andrews Laws, was different. Although the story has heavy themes, the burdens of those themes are never rested on the audience. Instead the audience is merely there to be entertained. If one were to imagine what the audience in Shakespeare’s day experienced, it was probably a lot like this, minus the plague. The audience was part of the show, the actor’s broke the fourth wall to include and ask their opinions even. It felt like the audience helped decide what was going to happen next in the plot! For this the director, David Andrew Laws, should truly be commended. This production is not bogged down with set, lights, or props. It is purely about the relationship of the characters to one another and to the audience. It is basic and beautiful. If done correctly Shakespeare’s plays do not need elaborate sets or costumes. They can be done right by owning the language and the stories of these distant people.
The actors themselves were more than just actors as mentioned, they were musicians! Almost every person played an instrument, some multiple, truly impressive. The knock out performer of the evening award definitely goes to Shylock, played by Leo Goodman. His character in the story makes the biggest shift of course and Leo Goodman rode that wave and made the audience hang on every word. His performance drove others to rise to the challenge which heightened those key moments. Portia and Nerissa, played by Mary McNulty and Samantha Maurice, were so much fun and brought a breath of fresh air to the plot. They truly understood their roles in bringing the laughter. Some actors were more comfortable with the language than others, but with what some lacked others made up for. Each member of the company brought something different to their character. They had their own walk, or talk, or look. It helped differentiate not only the characters, but the plot at times since it can get a bit twisty.
Merchant of Venice tends to be long and drawn out, but the Hamlet Isn’t Dead producers edited the story down to make the most sense possible! If you are not a huge Shakespeare goer, this is a great company to get your feet wet with. It was a truly enjoyable experience, one that should repeat itself. Merchant of Venice is a laugh out loud musical adventure of an old play done with a fresh pair of millennial eyes.

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Review: We Can Stop the Violence

December 18, 2016, 12:21 pm
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By Ed Malin

Experimental playwright Erik Ehn’s Clover is now playing at LaMaMa. Glory Kadigan directs a Planet Connections production of this new work, which, like a four-leaf clover, links together several stories about violence in the USA. Life is a dream, said Calderón de la Barca.  Or, it could be a dream, speculated the Coasters (adding a Sh Boom).
As the night’s spectacle begins, the cast of twenty is involved in many overlapping narratives about war, family, and hospitals.  The play is full of Delta Blues music, as well as the spiritual “Oh Mary, Don’t You, Weep Don’t You Moan” and a Bob Dylan cover (early on, he wrote several protest songs about the lynching of black people).  There is a chorus of singing nuns.
The 1955 murder of Emmett Till (Trevor LatezHayes) galvanized the Civil Rights Movement in Mississippi.  The story shifts gears to focus on the family of Emmett: Moses (Harold Surratt), Mamie (Laura E. Johnston) and Louis (James Edward Becton).  Louis has just come back from World War II.  Well, actually Louis was killed during the war and is visiting his family because, at that moment, the play is revealed to be (more or less certainly) a hallucination in the mind of an ill Caucasian gentleman named Cronin (James B. Kennedy), who once beat someone to death.  Louis’s amazement on this point marks the place where the play started to come together for me.
photo by Minji Lee
There are other stories happening.  In one, Casper (Francesco Andolfi), a resident of a post-war Texas town where Spam (“an affordable canned pork product”) can be found, becomes romantically involved with Hazel (Joyce Miller).  She and the other  wives such as Hegelede (Kathleen O’Neill)  lament how their men just don’t have any strength and passion.    Also, in Michigan, and in Norway (maps of these places are provided) , violence is happening.  The most arresting moment comes when Emmett Till is drowned  by an unseen Caucasian mob acting with impunity.  As the curtain is drawn back and forth in front of him, this innocent fourteen year-old is deprived of life in the land of the free.  The rest of the cast stand behind the curtain, their silhouetted hands symbolizing their oppression.  Jesus (Perri Yaniv) has some choice words to say about these events.
As I write this, not long before the inauguration of a hateful president (unless there is justice, of course),  I am surprised to know that some of my countryfolk do not know or care about the Civil Rights Movement.  Isn’t this the place where Martin Luther King’s march through Selma was recently re-enacted?  Are our "eye set like taxidermy", as the play suggests? Let’s say that the character of Cronin is our country.  The relegation of any part of the population leads to physical and spiritual death.  Is this what the playwright, known for impressive reflections on religion and genocide, and the director, founder of the charity and earth-oriented Planet Connections Theater Festivity, intended?  I am not sure.  I am confident that the multiplicity of meanings in the piece have been planted to stimulate the audience’s brains and to rouse **us** to save the world.
The violent and dreamy aspects of the piece are nicely highlighted by Benjamin Ehrenreich's lighting.   Jeanette Yew's puppetry and projections help catapult us into many different locales.
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Review: Musical Advisory Alert

December 19, 2016, 3:03 pm
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By Michael Block

In the current landscape of musical theater, the need to stand out is becoming more prevalent. Setting yourself out from the pack, either through style or content, is increasingly becoming essential. After a long journey to Broadway, In Transit is an a capella musical that is a true love letter to New York. With book, music, and lyrics by Kristin Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth, with original concept by Anderson-Lopez, Gregory T. Christopher, Ford, Kaplan, Karla Lant, and Wordsworth, In Transit is a fun, feel good musical. And that's about it.
Following the lives of an assortment of connecting characters, In Transit celebrates the lives of New Yorkers and the trials and tribulations of the MTA. Essentially a slice of life musical, In Transit prides itself not on originality of story but on the style of musical storytelling. But before we can talk about the achievements in a capella, the plot should be discussed. The almost perfectly connected stories follow Jane, an "aging" actress on the verge of her big break, her agent Trent and his fiancé, Steven, who are struggling to reveal the truth to Trent's mother, their mutual friend Ali who is hung up up an ex, her unemployed brother Nate, who just so happens to meet Jane at a bar. Sound too perfect to be real? It's New York. It's actually possible. But these intertwining narratives can go even further to connect. Audiences love when they pick up on clues. Even with redundant and predictable plot lines, they still managed to bring a smile. In Transit didn’t quite transport you to a place for escape, instead it brought you to an actual reality. With New Yorker insider jokes, the writers knew how garner a reaction. And it was a great cover up for the simplicity of the story. As silly as the plot is, the draw is the ingenuity and bravery to present a completely vocal musical. With not a single instrument present, In Transit champions the power of a capella. A capella set to a known score tends to win an audience but a new score? The odds are already stacked against them. And yet, they managed to triumph. But is it possible that more vocalists were needed? The score featured some great songs. And even with a cast of eleven, there were moments when Deke Sharon’s arrangements felt thin. The main cast doubled as “ensemble” vocalists but having a strict ensemble where the main characters didn’t have to double could have made the desired wall of sound fill the Circle in the Square. Music and lyrics are important but with this genre of music, the arranger is the make or break. Sharon married the classic a capella style with the newfound rise of the “electronic” beatbox sound a la Pentatonix. By bringing old school a cappella with new school a capella, the music was present.
photo by Joan Marcus
In a capella, you’re only as strong as your bassist and beat boxer. They literally are the pulse of the sound. Thankfully, the beat was strong at In Transit. The deep-souled Nicholas Ward and the king of the beats Chesney Snow, who alternates with Steven “HeaveN” Cantor, filled the room with their sound. Snow’s beat boxing was sublime. Snow’s Boxman, served as a spiritual guide for our weary travelers. His purpose was eerily similar to Street Singer in Brooklyn. The standout performance in the show came from the extraordinary Margo Seibert as Jane. Seibert struck a chord with all the aspiring artists and a high note with the show-stopping “Do What I Do.” The score fit Seibert’s powerful voice and paired with her charisma, she made Jane the authentically colorful person that we all know and, often, love. Former American Idol star Justin Guarini stepped up as Trent. Guarini’s character deified banality, forming a layered character. As Ali, Erin Mackey found a soft side to the jaded New Yorker. Her subtle hilarity was a knock-out. James Snyder as Nate felt out of place in this world. Snyder didn’t quite match the bad boy persona Nate needed.
Director-choreographer Kathleen Marshall did all she could to make In Transit more than a fluffy musical comedy. Trying to find the weight in the material never quite happened so Marshall opted for gimmicks. And they worked, some of the time. With the super thrust stage and the conveyer belt track, Marshall played upon the natural linear lines. It did cause some lack of variety, but her staging and choreography was consistent. Donyale Werle’s set was a nice blending of modern and historic subway stations, creating a sort of “every station” feel. It gave lighting designer Donald Holder a world of opportunity to play with light. Holder found a balance of theatricality through the realistic lighting effects. The costume design from Clint Ramos provided a wonderful and clean modern feel. He kept the frills at bay. That is until that insanely crafted Metro Card dress. While it lacked purpose in storytelling, it certainly was a triumphant look!
In Transit is a fluffy musical that may not change the world but it certainly bring some happiness into your day. And sometimes, that’s all you need.
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Review: A Gay Ol' Time with Alaska

December 20, 2016, 10:17 am
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By Michael Block

She's the reigning queen of the All Stars and she's returning to the Laurie Beechman Theater. Alongside her frequent collaborator Handsome Jeremy, Alaska, lovingly known as Alaska Thunderfuck 5000, brings holiday cheer and a well-polished night of comedy and song.
Alaska takes her time on stage to explain just why Christmas Is Gay. With Alaska holiday classics, epic mash-ups, and a wheel of impersonations through song, Alaska defines just why she is a winner. She literally can do it all. And with the greatest of ease. With the holidays as the theme, Alaska, with the fabulous aid of Handsome Jeremy, has the audience eating out of the palm of her hand. The evening was loosely tied thematically but held together by the musicality. From the piano-driven versions of “Ru Girl” and “Christmas Sux” to the epic mash-ups of Madonna’s “Frozen” paired with “Snow Miser/Heat Miser” and “By My Side” from Godspell smashed with Lady Gaga’s “Judas.” Only Alaska can combine Steven Schwartz and Lady Gaga, further proving the genius mind and branding that is Alaska. Even when her banter takes a turn from the serious, it remains in character. To complete a full show, Alaska took a page from the Jinkx Monsoon playbook by having a segment comprised of allowing the audience request songs, festive or from her catalogue of work. It was a wonderful gimmick that transitioned into another bit of the celebrity impersonations performing “Jingle Bells.” Alaska may be primarily know for her dark sensibility in comedy but she continues to elevate the look game. Her gown and matching headware was sensational. The stunning beauty radiated, creating a very sultry Christmas.
It’s true. This Christmas is gay. Happy that is. And it’s all thanks to Alaska. If there’s something beyond a triple threat, it’s Alaska. There’s a reason why Christmas is Gay extended and extended. Get your tickets early for the next time she’s in town. They’ll be gone before you know it.
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Review: Holiday Monsoon Season

December 20, 2016, 10:52 am
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By Michael Block

In the world of drag, it’s one thing to be able to win over an audience. It’s another thing to be able to put on a show. Even then, putting on a show is more than just singing song after song. There needs to be a rhyme and reason. It is, in a way, a theatrical art. The Laurie Beechman has played host to an assortment of RuPaul’s Drag Race alumni, offering an array of show styles. From literal concert to emotionally driven cabarets, the stage has seen it all. But sometimes, a queen sashays in and elevates the playing field with their unmatched talent and ability to craft a fully realized show. Enter Jinkx Monsoon.
Seattle’s premier Jewish narcoleptic drag Queen Jinkx Monsoon and her pianist/collaborator Major Scales bring their latest holiday extravaganza Christmas Mourning to the stage. How can the duo have a Christmas show with virtually no holiday tunes in their songbook you ask? Well by creating a perfectly structured narrative. Fans know Jinkx for her slightly passive humor and unique styling. Most queens are forced to stick to their known character but Jinkx and her innate ability for theatrics manages to maintain the Jinkx persona yet add a new dimension through her hatred of the holiday. It was a different side of Jinkx yet it was still the Jinkx we know and love. So if holiday-hating  Jinkx is dismayed at the world, she’s able to pass over Christmas classics and do what she wants. And it still fits in to the holiday narrative by crafting an evening of comedy with a genuine story arc. Jinkx Monsoon is a rip-roarious comedy maven. It seemed quite hard to maintain momentum after starting the show with a dazzlingly stirring cover of “Life on Mars.” But she did! It’s true, with her unrivaled vocals, Jinkx can sing anything.  While not quite a solo show, the dynamic between Jinkx and Major Scales is unmatchable. Their ability to rib one another kept the comedy at a high. To cover up a costume change, Major Scales got his moment in the spotlight. To keep the audience on board, Major Scales sang Jinkx’s newest hit track on the Christmas Queens 2 album “Passive Aggressive Christmas. It was a smart choice to say the least.
Jinkx Monsoon and Major Scales may have been mourning but the audience sure wasn’t. Christmas Mourning is a practically perfect holiday treat that will leave you tickled.
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Theater in the Now's Best of 2016

December 23, 2016, 10:38 am
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Another year has flown by and New York City had some extraordinary theater. Usually there are some consistent shows that fill top lists but this year provided so many great pieces that we have options! I decided to dive a bit deeper than the typical list. Here are my top 5 shows of the year!

1. The Grand Paradise

Immersive theater is the new frontier. It's no secret that I am a super fan of well-crafted immersive works. Every single element in a great immersive piece needs to be thought out and executed perfectly. Third Rail Projects upped the game with The Grand Paradise. Escape to an island getaway where you think you'll be forgetting your worries only to face them head-on. Virtually a choose your own adventure narrative, follow a family as they are whisked away as they face temptation in this island treasure trove.



2. YOUARENOWHERE
This was a show where you needed to throw away your inhibitions and theatrical expectations because Andrew Schneider is going to blow your mind. YOUARENOWHERE is a sensory overload in all the right ways. Just when you think you've got this show figured out, Schneider and his extraordinary team exceed your expectations and alter your mind. Who knows where this show will go next so discussing specifics would still be unfair. Keep an eye out for this one because it's an experience you must have.






3. The Wolves
Sarah DeLappe's The Wolves truly was a game changer. Presented by The Playwrights' Realm, The Wolves fortunately received two runs at The Duke because this play was a hit. DeLappe's writing and Lila Neugebauer's direction formed the perfect team. The Wolves started their run as an underdog production but they leave 2016 as true champions.






4. The Woodsman
The Woodsman had a journey many indie theater productions dream of. From little show to Off Broadway hit, the reimagined story of the Tin Man defied the basics, breathing new life into theatrical storytelling. With puppetry, live underscoring, and an ensemble of wonderful performers, The Woodsman managed to wow theater artists and tourists alike. If you missed it, get your hands on the filmed version.





5. Falsettos
There was so much great Broadway this year. A lot of which falls into the categories of previous year entries. So why does Falsettos get the Broadway slot on my list? Well because it was a welcome revival that packed a punch with a Broadway all-star cast. The William Finn revival may be a period piece but if you have a heart, that ending will break your heart. Expect some Tony nominations for this company, especially for Christian Borle and Stephanie J. Block.
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Review: Who Was That Masked Man?

December 26, 2016, 1:10 pm
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By Ed Malin

Target Margin has begun their twenty-fifth season with The Unseen O’Neill Lab at The Brick. Indeed, several rarely produced plays have been performed, and I had the chance to see a unique, beautiful take on The Great God Brown, a 1926 play which appeared between some of the author’s more classic, sprawling theatrical feasts.  Replete with gender-crossed casting, jumpsuits, hardware for props and orange plastic safety fence for set, this play delivered on its promised mythical references.  Eva von Schweinitz was the Lead Artist for this production.
Dion Anthony (Nicolas Noreña) and Billy Brown (Javan Nelson) are friends, sons of business partners in an architectural firm and also in love with the same woman, Margaret (J Molière).  The latter is the only natural woman in the cast, as some of the other female roles, such as the all-wise prostitute Cybel are portrayed by Alessandro Magania.  Dion, who eventually succeeds in wedding Margaret and having three children, devises a ferocious, primal mask.  He explains that the mask was necessary for him to channel the chaos of The Great God Pan to overcome his gentle friend The Great God Brown.  Have you noticed the classical symbolism?  Dion (read: Dionysus or Bacchus) treads into the ecstatic part of human potential, but ironically he drinks himself to death.  As he is dying, Dion asks Billy to take his mask, take his place and live with his wife.  Previously, Billy had been seen with the prostitute Cybel (read: the ancient mother goddess) but now finds the courage and new energy to dominate his business and to seduce Margaret.  There is much poetry spoken, such as Dion’s dying rant: “William Brown's soul lies moldering in the crib but his body goes marching on!”  Remarkably, Margaret briefly notices the change in her partner’s voice but never asks him to remove his mask and so never notices he is a different man.  And so some of us live our lives, the superficial masks of others our main focus.  The strain of being both partners in his firm and a dominant husband is too much for Billy, who eventually dies next to Cybel.  Like Adonis or Tammuz or some other would-be hero of old, he returns to the mother goddess, except said goddess is a man in this production.
Target Margin’s aesthetic works very well in The Brick.  The two and a half hours of the play flew by. Abby Felder’s masks really make this production.  Made of interesting devices, found objects and glowing lights, the central mask harnessed the bewildering, tribal aspects of consumerism (perhaps more relevant than some remote forces of nature found in myth).  There was also a transparent, smiling mask worn by Billy Brown the businessman.  The forced happiness of this mask was quite eerie.  Dan Daly’s scenic design was appropriate to a story about architects on the verge of madness.  Daniel Taylor Matthews’s costumes ranged from starkly functional outfits which characters could quickly change to play multiple roles, to gender-defying attire for Cybel and the mothers and children in the cast to Margaret’s gorgeous dress.  Phillip Gerson’s sound design included elegant old dance numbers and poignant, more contemporary songs of desolate longing.
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Review: You Are Important To Me

December 26, 2016, 1:20 pm
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By Ed Malin

Leah Nanako Winkler’s The Adventures of Minami: The Robot from Japan Who Makes You Feel Safe When Loneliness is Palpable: Part I is now playing at The Brick.  The show, dazzlingly directed by Matt Dickson, is an expanded version of Winkler’s Taisetsu na Hito seen in the Sex With Robots Festival and the Off-Off Broadway Play Festival.  Judging by the title, even more of this story is to come.  Since it does not fail to be of interest and provoke conversation among humans, I am very glad.
Bethany (Elizabeth Zephyrine McDonough) and Charles (Alex Herrald ) are an American couple who purchase soft-spoken domestic robot Minami (Yurika Ohno).  (By the way, an Osaka department store seems to have created a robot Minami in recent years.  The robot was modeled on a popular music “idol”.)   Minami is a somewhat awkward, stoically beautiful, extremely compliant female robot whose language settings are stuck on Japanese.  While she repeats several deferential stock phrases, her ordinary Caucasian “masters” grow frustrated and yell at her.  When Bethany is not in the room, Charles bites Minami’s arm.  When Charles is not in the room, Bethany licks Minami’s face.  The objectification and fetishization of the “other” will hopefully make you uncomfortable. The things that Bethany and Charles want so badly they yell for (ham loaf?) appear as trivial and ugly, while Minami, who does not loudly relieve herself the way Charles does, can only appear more elegant than her “owners”. Eventually, Bethany and Charles reignite the lust part of their relationship through using Minami.  Each brief scene is punctuated with jarring, dissonant noise.  This is the kind of theater that I love to see when I want to understand white/human privilege.  I mean, does my cat think I’m an arrogant bastard because I talk down to her?  Later, when Minami’s language switch has been set to English, we hear what she has been trying to say all along “You are important to me. Speaking with you makes me happy.”, etc.
Charles finally boxes up Minami and sells her to a young woman (Jahna Ferron-Smith ), who is willing to overlook the bite marks on Minami’s arm.  Charles takes his sweet time counting the money, just another resonant detail about the priorities of our species.  Minami’s new companion is grieving her mother.  You would think Minami would be the perfect, compassionate listener for someone seeking a personal connection in a suddenly more overtly hostile country.
Then, Minami is back with a robotics lecturer from Japan (Ariel Estrada) who is on tour in the USA. As this Professor speaks, he convinces his audience that belief in something gives the thing reality.  Vanessa (Merissa Czyz) is a groupie who wants to go to the Professor's hotel room at the Hilton.  She likes smart men and also Asians.  These qualities make her wet.  We learn that this Minami is indeed the same one who was returned, with bite marks.  She still looks great.
Back at the hotel, Vanessa thinks Minami is looking at her mid-makeout.  But not with human eyes so not really looking.  Yet, thinking that Minami can see her makes that capability real, the Professor says.  He idealizes Minami, who can't help being more beautiful and perfect, to the Professor, than Vanessa. "It's not you, it's her." I wonder if, in the near future, more human dates will end badly for this reason.
Robots are nice, predictable, rational folk.  Isaac Asimov’s first three laws of robotics are referenced in the play.  So, if you like robots more than people, or didn’t know you did, you will love this play.   But are we robots?  See Vanessa hit on the Professor for no other reason than his smart, Asian stereotype.  It’s kind of like she was programmed.  Why are Bethany and Charles so unhappy with all the things they have acquired?  Do you know anyone like that, and who is responsible?  Are privileged Americans buying into the media’s representation of immigrants and foreigners as somehow unsophisticated?  It’s not a preachy play, which is why I liked watching every moment of it. This stark production and absolutely amazing cast will have you asking questions and thinking about reality for a long time afterwards.
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Review: Scrooge Askew, For His Own Good

December 28, 2016, 7:42 pm
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By Ed Malin

Blessed Unrest, that experimental theater company known for choreography and classics, is now staging A Christmas Carol.  The production runs through December 31st at the New Ohio.  Adapted by Matt Opatrny from the novel by Charles Dickens, this poignant show is both familiar and, thanks to Jessica Burr’s direction and choreography, a step beyond.  On a mostly bare stage, with things such as doors carried on and off by the cast between scenes, we see Ebenezer Scrooge have something like a “4-D” experience involving spirits, noise, juggling, perspective shift, stilts, and much, much more.
In Victorian London, the famous Scrooge (J. Stephen Brantley) is a tall, always-scowling, workaholic businessman.  For reasons that will become clear later, he does not have the Christmas spirit. He laments that he will be giving his employee, Bob Cratchit (Nathan Richard Wagner) one paid holiday this year.  He tells the local bleeding heart charity folks (Claire Fort, Tatyana Kot) that the prisons and poorhouses should be sufficient to help the underprivileged.  His nephew, Fred (Becca Schneider), makes the usual, hotly resisted yearly invitation for Scrooge to join them on Christmas.  All of this comes from the original tale.  However, Blessed Unrest work their magic to show us how Scrooge came to be the kind of person who runs away from his pain by working, sleeping, and over again.  When Scrooge goes home, the ensemble rotate a door and have him trudge up multiple flights of creaky stairs, all on the flat stage.  Once in bed, the ten-foot tall apparition of his deceased partner, Marley (Joshua Wynter) shares a happy moment with Scrooge—finally, someone who understands what it means to work all the time—before telling him to expect visits from the Spirits of Christmas Past, Present and Future. These flights of fancy reveal great moments of happiness with late friends and lovers and even Scrooge's beloved sister, which, when lost, drive Scrooge to live only to work.  The best thing Scrooge can do is to help Cratchit’s son, Tim (Becca Schneider) to live long enough to have happy memories of his own.
While long passages of the original tale abound, the deft ensemble does an outstanding job of using contemporary speech to get the audience to connect to isolated Ebenezer.  Holiday schmaltz-pop is played on the ukulele.  At one point, the characters ask each other what kind of insect a “humbug” is. And then there’s the poultry delivery person (Nathan Richard Wagner), a Cockney’s Cockney, whom, sadly, no one can understand.  Dining scenes are absolutely brilliant.  The audience’s bird’s-eye view is achieved by having the actors recline on stage around a vertically-oriented table, drinking out of cups with magnetic bottoms.   Constant stage activity, cheerful chucking of apples, much joyful dancing and the occasional “Happy Hanukkah” greeting continually make this production a joy to watch.
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Most Viewed Posts of 2016!

December 31, 2016, 2:24 pm
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Spotlight On...Mariah MacCarthy

January 1, 2017, 10:15 am
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photo by Kacey Stamats
Name: Mariah MacCarthy

Hometown: San Diego

Education: Skidmore College

Favorite Credits: The All-American Genderf*ck Cabaret (all around the country); Honors Students (Ensemble Studio Theatre)

Why theater?: Because its practitioners are uncommonly kind and delightful. Because being in the room where it happens with a live performer is an irreplaceable experience. Because I’m a masochist. Because once I realized that the full extent of my creative expression in life didn’t have to come from theater, it seemed like a much less stupid thing to do. Because if you’re willing to be creative about where and how you do it, it’s something you can just do, not wait for an opportunity to do.

Tell us about Baby Mama: It’s my story of becoming the birth mother to a little boy that was adopted by a gay couple - everything from conception to placement. That includes the adoption process, my dating and sex life while pregnant, almost getting fired from my job, the painful goodbye, the letter to my son I performed as a burlesque routine in my third trimester, and so on. Every word is true, but some names have been changed.

What inspired you to write Baby Mama?: I wanted to stop feeling invisible. At the time that I went through all this, I didn’t know anyone even close to my age who’d had this experience. I also didn’t know any New York-based single moms who were making theater. So with a total lack of role models, I had to just flail around and make my best guesses. It was wonderful to be able to make up my own rules and not have any cultural expectations holding me back, but it was also profoundly lonely. So I want people to know what this looks like, or at least what it can look like, what it looked like for me. I want people to know that this exists, that this can even be a good and beautiful thing, not a shame-swamp of regret and badness.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre where the cast isn’t all white. I love theatre where the rules of the universe slowly present themselves to you. I love theatre where human beings are emotionally raw and unfiltered and allow themselves to be vulnerable or ugly or desperate or wholly honest or truly kind. I love theatre that makes me ache inside. I love watching performers commit acts of intense physical labor, like shoveling dirt or dragging a body into the trash. I love just about anything made by Taylor Mac and Leah Nanako Winkler and Gina Femia and Mac Rogers and Diana Oh and Alex Borinsky and Josh Conkel and Abby Rosebrock and so, so, so many others.

If you could work with anyone you’ve yet to work with, who would it be?: Amanda Palmer. Taylor Mac. Your mom.

What show have you recommended to your friends?: The Adventures of Minami: The Robot from Japan Who Makes You Feel Safe When Loneliness is Palpable: Part I by Leah Nanako Winkler.

Who would play you in a movie about yourself and what would it be called?: Greta Gerwig in "I Don’t Know How to Person". If Greta’s not available, just make sure it’s not a white actress who’s ever played an Asian person.

If you could go back in time and see any play or musical you missed, what would it be?: Anything Fosse. The original Angels in America. Greek tragedy at the time it was written.

What’s your biggest guilty pleasure?: Scratching my eczema.

If you weren’t working in theater, you would be _____?: Devoting more time to writing fiction and nonfiction, and maybe finally teaching myself the ukulele.

What’s up next?: After this NYC run of Baby Mama, I’m taking it to Cincinnati. And then I have to finish writing my Young Adult novel. And then maybe I will take a nap!

For more on Baby Mama, visit capslocktheatre.com
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Spotlight On...Richard Petit

January 2, 2017, 12:12 pm
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Name: Richard Petit

Hometown: Montreal

Education: College degree

Favorite Credits: Good music doesn’t have expiration date.

What inspired you to create The Wall Live Extravaganza?: I’m a French-Canadian singer-songwriter working in the music industry of the La Belle province for the past 20 years. I’ve made 3 solo albums and have collaborated on multiple different productions as songwriter. Though the years I have also work as a television director and music video director. The evolution in how people purchase music hit the French-Canadian music industry really hard, so it was clear for me that to stay competitive I had to develop groundbreaking concepts and ideas. After producing war zone concerts for Candian troops for over a decade (in places like East-Timor, Bosnia, and Afghanistan) I started my own production company with a partner. We then decided to embark on a dream. To complete a new show around the Pink Floyd masterpiece, “The Wall.” I always thought that "The Wall" was a very intimate album that needed to be presented in a humble way. When I headed the album for the first time, in 1979, I knew that there was a story of some kind, but it was when the movie came out that I was fully able to understand it. Pink Floyd toured the album in 1980 and it turned out to be something very technically difficult. It was disastrous economically for the band. Roger Waters toured it solo later in life and chose to politicize the work. At this point it became clear to me that I had to recreate the show on my own. My intention was to recreate the trinity of the album, the movie, and the concert. In my show we attempt to answer questions left behind by the movie. My show is a hybrid of show and music. We’re not just a musical or a tribute band. Every person on stage and every note plays a pivotal role.

What kind of theater speaks to you? What or who inspires you as an artist?: Artist like Peter Gabriel and Robert Lepage are an inspiration to me. The integration of paintings for every one of their songs during live shows make the concert like a ceremonial event. A perfect mix of intimate and grandiose.

If you could work with anyone you’ve yet to work with, who would it be?: Working with the legend, Roger Waters, would be a huge career achievement. It’s a dream of mine.

What show have you recommended to your friends?: One of the best show I ever saw…. LOVE by Cirque du Soleil.

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

If you could go back in time and see any play or musical you missed, what would it be?: Le Malade Imaginaire by Moliere at Théâtre du Palais-Royal in Paris on Feb 10th 1673. And if it’s a straight concert, I would be sitting in the grass next to Paul McCartney at The Quarrymen concert.

What’s your biggest guilty pleasure?: Abba!

What’s up next?: While touring with The Wall we are presently developing a new show around another Pink Floyd theme.  It’s a “best of” with a twist!. We will make an imaginary voyage into the mind of Syd Barrett.

For more on The Wall Live Extravaganza, visit www.thewallx.com or www.facebook.com/thewallx/
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Spotlight On...Jeff Wise

January 3, 2017, 10:25 am
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Name: Jeff Wise

Hometown: Charlotte, NC

Education: BA Colgate University, MFA NYU Graduate Acting

Favorite Credits: Co-Founder/Artistic Director of Wheelhouse Theater Company

Why theater?: Because it matters.

Tell us about DANNYKRISDONNAVERONICA: This play is about how lives get bumped off an expected track, and finding your way forward again.  Kids change things...kids change everything.  For these two couples, the introduction of kids into their lives brings them up against themselves as individuals, and as a couple. Kids are mirrors, and we are forced to look at ourselves as people when we have them.  In this play we watch Danny, Kris, Donna and Veronica desperately search for balance in an otherwise chaotic life, and it's absurdly funny, and also very moving.

What inspired you to direct DANNYKRISDONNAVERONICA?: I asked Larry for any plays he may have that I could read while working with him on his play "In the Room" that was previously co-produced by Wheelhouse and Slant Theatre Company.  He, knowing I have 3 kids 7 and under, coyly smiled and said "Oh yeah, I have something for you!" I read DANNYKRISDONNAVERONICA and instantly connected to it.  There are moments in this play where its quite clear Larry was perched on my window sill while writing it.  I have come to find out in my personal life that "the reasons we get together are hardly the reasons we decide to stay together"...and I think we see this truism play out in this play.

What kind of theater speaks to you? What or who inspires you as an artist?: I love highly physical and inventive theater.  I'm always looking for that moment when I am watching a play whereIi lean in and think to myself "what the f*ck?!?",  but not in the "what the hell are you doing you've lost me kind of way" but in the "wow I did not see that coming and I'm fascinated" kind of way.  I also firmly believe that every play absolutely hinges on what is happening between two or more people in a given set of imagines circumstances...if you don't have that, and that isn't fully realized in a truthful, risky, skinny-branch kind of way, then the rest is meaningless. I saw a play the other day that was SUPER creative and imaginative in terms of staging and physical play, but I ended up being bored by intermission because where they succeeded in creative play, they horribly lacked in investing in the telling the story.  And the story is pretty darn compelling. So......to me, it's "tell the story first", the rest is there to support.

If you could work with anyone you’ve yet to work with, who would it be?:  "yet" to work with...well, that's about the whole world of artists that are brilliant in their own rights.  But in my little corner of the earth, I would love to work with (read: learn from) Sam Gold and Ivo Van Hove.

What show have you recommended to your friends?:Othello at NYTW

Who would play you in a movie about yourself and what would it be called?:  Ryan Gosling minus 15 lbs.  "A happy stack of sad"

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

What’s your biggest guilty pleasure?: Ice Cream

If you weren’t working in theater, you would be _____?: A professional golfer

What’s up next?: I'm hoping to devise a play based on the brilliant book "Sex at Dawn"...but before the that...the beach!
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