Theater in the Now

By Kaila M. Stokes

A Crisis Called New York presented by Step 1 Theatre Project is part of the Frigid Festival at Kraine Theater. Written by Alisha Espinoza, the play starts off with a woman, Nicolasa played by Kristi Stout, and her presumably man friend, James played by Tony Curtis. James had fallen in love and Nico simply won't let herself be hurt again. From there several love stories occur all taking place in the city of New York.

A bit mistitled, A Crisis Called New York really had nothing to do with the city or didn't portray as such. The show could have taken place in any Metropolis, therefore missing the mark on identifying why the people and their lives were connected to NYC at all. The show really had to do with love. How some can live without it, how some crave it, how some run from it, and so on. Each couple had a unique aspect and outlook on love. Directed by Benjamin Abraham, Ben tried to capture ones need for love no matter what they might think they need. He did an excellent job at building each actor in these relationships, the director/actor work was very clear and shinned brightly on stage. Olivia Rubano choreographed this piece. That is right... there is dancing. For some stories music was being sung as each couple took the stage to portray their love through dance; one was sweet, one was dangerous, and one was pure lust. Olivia and Benjamin did a nice job collaborating. The dance pieces felt a part of the show and blended well.
The couple that wins the best chemistry award goes to Sara and Vic, played by Danielle Patlingrao and Jordan Schroeder. Both actors had an ease and natural ability on stage with one another and with the other ensemble as well. They brought themselves into these characters. The entire ensemble deserves a congrats though. It is not an easy thing to get up on stage and portray the most intimate portions of a relationship, good and bad.
Over all, A Crisis Called New York is mistitled, a bit unconnected, but has a lot of heart. The concept is interesting, it was just a shame that none of the stories seemed to connect to one another. It was unclear when an actor took the stage again with new person if they were playing the same character or if they were a new character from another relationship. This could have easily been solved in the writing process. It was many interesting stories that had nowhere to go because of the lack of written connection, they simply ended. If this play is produced again it would be wonderful to explore how each couple could connect through the city they are in. A few more drafts and A Crisis Called New York would reach its potential.

By Michael Block

In Wallace Shawn's Evening at the Talk House, a group of theatrical vets arrive at the titular haunt to celebrate the ten-year anniversary of a production they worked on. But as the small talk subsides and the truth unravels, we see that the world within is not necessarily the world we know. Presented by The New Group, Evening at the Talk House is a peculiar piece to say the least.
Robert arrives at the Talk House, a familiar stomping ground to reunite with some old collaborators. To all their surprise, Dick, an abhorred actor, has been seeking refuge at the Talk House thanks to the generous heart of owner Nellie. As the night grows longer, the individuals catch up revealing their new endeavors, including, well, offing people. And soon we understand that this world is not really ours but a dystopian universe where the disliked are removed. Wallace Shawn has concocted a play that will get you to scratch your head, if only to wonder if this future could actually be ours. But this big reveal of new reality is quite underwhelming. The shock is more like a prick. It seems to just pass by with no impact. Sure, this is their normal but it's not ours. It's coincidental that this play is a very talky one, causing it to collapse into itself. The play happens to be quite passive, most of the character development occurs through stories of the past. And it starts to become tedious. The anecdotes that the characters serve up are distant to the audience. There's not really a connection to the stories due to unfamiliarity. It's one thing to watch the characters muse themselves with the past if it develops their arcs, but it seldom does so.

photo by Monique Carboni

The stacked company floats through the text easily. Though some of the characters are one dimensional, they all find the nuances, even through the mingling prior to the show. For example, you learn more about John Epperson's Ted as he stands firm and strong observing on the landing than you do through text and song. The most well-rounded and interesting character in Shawn's play is Jane played by Annapurna Sriram. Sriram is a star of tomorrow. Taking on the actor turned assassin, Sriram gives Jane depth that's not present anywhere else in the play. We don't learn much about Jane until her private interaction with Robert. Matthew Broderick takes a low-key approach to the character until he reconnects with Sriram’s Jane. And then he bursts. Broderick's Robert is an inceptor of information. He spends much of the time listening and watching. Broderick is able to keep this passive objective active. If you watch him keenly, his wheels are spinning. Dick is a mystery to the other guests. Why is he in the condition he is in and why is he there? Wallace Shawn plays into the intrigue yet there's little sympathy for Dick. What we learn about him is often through others so how could we not believe that he deserves what he gets. As Nellie, Jill Eikenberry is beautifully angelic. Clinging onto a memory of the good times, Eikenberry embraces the caretaker role.
Directed by Scott Elliott, symmetry was the name of the game. Mirrored in the intimate scenic design by Derek McLane, Elliott’s stage pictures are pleasing but it’s redundant. There’s not much else to do aside from sit and chat and drink. McLane designed a room that was welcoming and comfortable. It has a modern vintage charm through the furniture and the theatrical posters that line the walls. For the majority of the play, the lighting from Jennifer Tipton was simple and realistic. But when the lights go out and the candles become the sole source of light, adding hints of theatrical light create a strong ambiance.
The weirdness that is Evening at the Talk House is not for those who like answers. This play is all about the vagueness. But the biggest question that never gets answered is what were in the those pre-show drinks and why were they serving marshmellows and gummi worms?

By Michael Block

Love from a teen's perspective does not always quite line up with reality. Everything is bigger than it seems. So heartbreak can be the worst, literally. On the surface, All the Fine Boys, presented by The New Group, is a play about love. But Erica Schmidt's play dives deeper than teen love. It explores sexual awakening in the most stereotypical of ways. Hoping to be an evocative coming of age, All the Fine Boys is simply redundant.
Drenched in 80s nostalgia, All the Fine Boys plays like a cautionary tale. Best friends Jenny and Emily are hungry to grow up. Middle school is banal. They want the perks of high school. Mostly just the boys. As Emily crushes on high school senior Adam, Jenny has her eyes on an older man from church. Splitting into dual, competing narratives and timelines, All the Fine Boys follows the drastically different relationships with twists and turns that can be seen a mile away. Even with some plot holes, All the Fine Boys is a choppy play that needed guidance. There are cliches a-plenty. Upon learning of the nature of Jenny and Joseph's dangerous affair, it's evident where it was going. Jenny even comments on it. Schmidt has set up Joseph to be a monster simply due to his actions. As sweet as he was played through his gestures, Joseph should never have preyed on Jenny. The text contradicted itself when it came to Joseph's intentions. Similarly, Adam, as suave as he is, emotionally manipulates Emily. Only she is able to accept it, still though with a crushed heart, when the time comes. It's clear Schmidt is trying to write something substantial but it feels that the moral of the story is men are bad. In an attempt to be edgy, the text is blatantly self-fulfilling. There are consequences for impulses yet none of the characters seemed to understand that. Moral compasses were completely shattered. Schmidt's period piece was rooted in realism. There's only so much believability one can have in theater before the imagination is stretched. It's clear that there was a large age gap between the characters but introducing the specificities of age, namely Joe's, shattered the illusion. It may have been stronger to never reveal his age. Story aside, Schmidt does have a way with dialogue. The back and forth in both pairs is quick and sharp. Schmidt’s best writing is showcased in the Emily and Adam scenes. It’s an endearing coupling that captures two kids trying to be adults.

photo by Monique Carboni

The content and themes are difficult to tap into. Especially in an intimate theater. But this quartet, namely the ladies, did an admirable job. As Jenny, Abigail Breslin tapped into the complexities of the character. Jenny just wants to be loved. Breslin allowed Jenny's demeanor to be honest as she fell hard. Joe Tippett made Joseph as sincere as he possibly could. There was tenderness to his care of Jenny. By far, the strongest performance came from Isabelle Fuhrman. As Emily, Fuhrman captured the genuine innocence of the girl with the teen crush. Opposite her as Adam, Alex Wolff brought an effortlessly sly charm. Part bad boy, part geek, Wolff's Adam was crush worthy. As a pair their dynamic was riveting.
Taking on the dual roles of playwright and director, Erica Schmidt wasn't able to delineate the two. And it shows in the writing. Having a talented cast bolstered the script despite its flaws. As disturbing as the scenes turned, the predictable nature of the story lacked nuance. The most interesting element of the direction may have been the way Schmidt consistently allowed the worlds to flow seamlessly into one another. She infused a danger into the world that came to fruition toward the end. The singular set from Amy Rubin featured furniture straight from the decade as well as plush blue carpeting lining the floor and walls.
All the Fine Boys is a thematically interesting play that doesn't offer anything new. The production is saved by the cast but that can only go so far.

Name: Jenn Thompson

Hometown: Manhattan

Education: Professional Children's School - skipped that whole college/grad school thing. :)

Favorite Credits: Favorite play I've ever done is The Eccentricities of a Nightingale by Tennessee Williams. The type of play that changes your life. It confirmed for me that I wanted to be a director.

Why theater?: It's always been the theater for me (and my whole family). It's in the blood as they say.

Tell us about The Gravedigger’s Lullaby: It's a really beautiful and timeless play about struggling against something that's bigger than yourself - and about knowing when to fight for something and when to surrender.

What inspired you to direct The Gravedigger’s Lullaby?: I wanted to work with Jeff Talbott and was excited to be helming TACT's very first new play!

What kind of theater speaks to you? What or who inspires you as an artist?: I love all kinds of theater but I particularly like to watch stuff that isn't necessarily something I would do.

If you could work with anyone you’ve yet to work with, who would it be?: Gosh, too many people to mention. I like who I'm working with at the moment an awful lot.

What show have you recommended to your friends?: Well, Hamilton of course (my seven year old just saw it and it blew her mind) but honestly just go see a play!

Who would play you in a movie about yourself and what would it be called?: Hmmm? What a funny/cool question. Maura Tierney? Patricia Arquette? Viola Davis? Maybe called "Little Girl Wanted" - which was the title of the ad I answered in Backstage, that started my life in the theater when I was seven.

If you could go back in time and see any play or musical you missed, what would it be?: OOOH! Streetcar? I would have liked to have seen Tobacco Road! Prepping Oklahoma! now so I'd love to go back and see that! Too many to name...I think my head just exploded.

What’s your biggest guilty pleasure?: Jeff Talbott's German chocolate cupcakes. He bakes almost as good as he writes.

If you weren’t working in theater, you would be _____?: Making documentary films.

What’s up next?: Heading to Denver Center to do The Secret Garden then onto to Goodspeed Opera House to do Oklahoma!.

For more on Jenn, visit www.jennthompsondirector.com. For more on The Gravedigger's Lullaby, visit http://tactnyc.org/the-gravediggers-lullaby/

By Kaila Stokes

Illusion of Choice was a magical and constant portrayal of the choice or lack thereof humans have in this world. If you are a conspiracy theorist than this show would certainly tickle your fancy. Kardenni is a charming host to all of the illusions that happen and is very good at his job. The show is audience interactive, but not in a scary way – in a way that makes you feel like you’re making a decision in terms of the direction that the show is going. Not to spoil it, but you don’t. And it is encouraged to challenge this idea that you have a choice, but you will be stunned.
The show starts off with a mischievous and rather sexy bunny person dancing and making trouble on the stage for Kardenni. I think that this portion was a little too long and unnecessary. The audience would have completely understood if Kardenni came on stage in the beginning and then the bunny started wreaking havoc throughout the show, which she does. The bunny was there to distract the audience I am sure and she did a lovely job throughout, the beginning just needed some tweaking.

photo by Yvonne Suhor

As soon as Kardenni came out on stage, he owned it. In a show with audience interactive activities, Kardenni could improvise with the best of them. It was quite impressive and became part of his charm that he was always one step ahead of you. The writing did not feel scripted, which is a nod to writers Dennis Friebe and Antwan Towner. The transitions were seamless and the flow of the show was very natural.
Illusion of Choice was like participating in the only cool science class in high school. You got to do things that you didn’t even wonder about, but now you do. It was engaging, funny, clever, and overall impressive. The running time is about an hour, so it would make a great date night! Illusion of Choice is highly suggested for a good laugh and to practice your shocked face…because you will be awed.

Name: Ron Simons (not pronounced like Simmons)

Hometown: Detroit

Education: BA from Columbia College, MBA from Columbia Business School & MFA from University of Washington’s Professional Actor’s Training Program

Favorite Credits: Acting: Night Catches Us; Producing: Turn Me Loose, Jitney& A Gentleman’s Guide to Love & Murder

Why theater?: It’s a living, breathing thing that requires a live audience to complete its experience. No two performances are ever exactly the same

Tell us about Jitney: The first of August Wilson’s 10 play cycle and the last to appear on Broadway. What makes this project so timely are the current politics climate where diversity is not celebrated, a resurgence of August Wilson (aided in no small part by the success of the film "Fences"), the attachment of one of August Wilson’s best interpreters (Reuben Santiago Hudson) and that pixy dust which enabled all the creatives of Jitney to offer brilliant caliber of work.

What inspired you to produce Jitney?: I've loved August Wilson for a long time. I'm not only a huge fan of his work but found his sharing his company reassuring, supportive and inspiring. When the opportunity came to help produce this play I jumped on it!

What kind of theater speaks to you? What or who inspires you as an artist?: What or who inspires you as an artist?: I appreciate all types of theater. The kind of theater that really moves me must always begin with a great story. After that if the piece haunts me after the curtain falls because it caused me to reconsider what I think to be true or takes the time to explore one or more facets of the human condition, then I'm engaged! What inspires me are stories that uplift the spirit and/or challenge my preconceived notions. Well August Wilson for sure. It's quite a long list but here goes: David Oyelowo, Viola Davis, Meryl Streep, Denzel Washington, Pedro Almodovar, Wes Craven (I know, who knew?), Wes Anderson, Chekov and Billy Shakespeare.

If you could work with anyone you’ve yet to work with, who would it be?: Oh Man! Sooo many! Well including all the names listed above (William Shakespeare, may he Rest In Peace) I'd add John Singleton, Octavia Spencer, Tilda Swinton.

What show have you recommended to your friends?: If by show you mean theater I'd say: Jitney (no surprise) and The Meeting @ Joe’s Pub. For film all three of my recommendations have gotten Oscar nods: "Hidden Figures", "Moonlight" and "Fences".

Who would play you in a movie about yourself and what would it be called?: Forest Whitaker in “What Will I Be When I Grow Up.”

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

What’s your biggest guilty pleasure?: Porn (TOTALLY kidding! I think.). Probably the burger and fries from Dick’s in Seattle.

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

What’s up next?: Turn Me Loose on Broadway

For more on Ron, visit https://www.simonsaysentertainment.com/

By Michael Block

There are dream jobs and then there are job jobs. Working retail at a copy center likely falls in the latter. Even in a dead end job, there are politics that can heighten or hinder the promise of a future. In James Anthony Tyler's absorbing Dolphins and Sharks, the employees of Harlem Office grapple with the struggles of morals in the workplace through the lens of race and gender.
Presented by Labyrinth Theater Comapny, Dolphins and Sharks watches the rise of Xiomara from worker to manager as she fights for a better life, taking down anyone in her way. As Xiomara searches for a means to grow in the business, her best friends at work, Isabel and Danilo, try to get through the day to provide for their family with the philosophy of service with a smile. All while newcomer Yusuf, and his degree from NYU, attempts to bring in an incoming by any means. Rooted in realism, Dolphins and Sharks goes beyond workplace drama by offering detailed perspectives of growth in the retail world and how race, gender, and appearance may play a brutal factor. Tyler’s text is colloquial and realistic. He has a strong sense of character development and personal relationships, popping the nuances of the individuals. These are real people. You’ve met them before. You may be one of them. And that’s the strength of Tyler’s writing. Even with the stakes being perfectly high, Tyler could benefit with some shrinking. Dolphins and Sharks could be shorter to create a momentous ninety-minute one act. A scenic shift that could be worked into a transition shouldn’t warrant a two-act drama. So where can the cutting happen? The text that Tyler has written creates a gripping, white-knuckle drama. Where Tyler loses it is through the last moment as well as the two act opening beats. Director Charlotte Brathwaite’s staging of these moments is so chaotic they lose their importance and impact.

photo by Monique Carboni

To feel part of their world, Braithwaite enlisted the most realistic scenic design from Marsha Ginsberg. As you entered the theater, you were given the opportunity to poke around Harlem Office. The details of the copy center, from the computer playing “Pretty Woman” to the active pencil sharpeners, the vibe was alive. The one element of the design that didn’t get explored enough was the surveillance screen. Brathwaite had a missed opportunity here. Beyond that, Brathwaite’s vision was superb. The way she guided her company through the retail world while isolating the important themes allowed Tyler’s truth to hit a bit harder. While exploring naturalism, it was important to isolate sound in the manager’s office. In order for the audience to hear the conversations, sound designer Justin Hicks inserted a microphone inside. Additionally, Brathwaite’s staging was altered when someone stood in the doorway. Aside from the montages, this was one of the only instances that strayed from the style. While Kent Barrett’s lighting was dominated by the fluorescent lights, the pulsating color display during the transitions maintained the tempo of the piece.
James Anthony Tyler wrote vibrant characters but this ensemble elevated them, drawing from truth. The inner turmoil of Xiomara gave Flor De Liz Perez to run the gamut. Having empathy surrounding each individual character, it’s easy to play Xiomara as the play’s antagonist but De Liz Perez’s complete performance allowed you to understand just why she did everything she did. As her store bestie, Pernell Walker as Isabel stood firm while still bringing flair and sass. In a way, Yusuf is an anomaly of a character. Chinaza Uche pulled out the uniqueness of the philosophical post grad through his quirks and loyalty. Like Xiomara, Yusuf’s battle inside was a central focus in Uche’s poised performance.
James Anthony Tyler is a name that should be on your radar. Dolphins and Sharks was an exceptional showcase of his talent. Don’t be scared away by the premise of this show. The nuances within keep this play afloat.

Name: Tricia Alexandro

Hometown: Bellerose (Queens) NY

Education: BA in English Literature, Binghamton University Acting education: The Barrow Group School, NYC, Playhouse West (Meisner Technique), LA

Select credits: One woman show The Search for Signs of Intelligent Life in the Universe (Cape May Stage, Cape May, NJ); The Goddess (Looking Glass Theater Company); Expecting Isabel (The Barrow Group Theater); In Darfur (WAM Theater Co. in Lenox, MA); Unrepeatable Moment (The Barrow Group Theater)

Why theatre?: Theater offers a connection like nothing I've experienced before. To me it is church, in the best sense of the word. It is a communion that occurs between the actors and the audience. It is a living, breathing organism that changes from night to night and moment to moment. Theater teaches compassion, it hits people on a soul level, it strips away our ideas and titles and brings us back to our basic humanity. It is a reminder of our true nature and our reason for being--joyful
expression and connection, a truthful sharing of who we are.

Who do you play in Kyle?: I play Crystal, Jack's girlfriend.

Tell us about Kyle:Kyle is the story of a man whose life is swallowed up by his cocaine addiction, until all the things he holds dear--his relationship with Crystal, his job, his ability to write, his friendship and working relationship with Reggie--fall away. It's also the story of his decision to rise from the ashes and reclaim his life, once he has hit his rock bottom.

What is it like being a part of Kyle: It's been a joyful process, being a part of Kyle. There's a lot of fun and levity in the room, along with a lot of clarity of ideas and careful, respectful communication. There has also been room to play and explore different choices for each scene. That's a great combination to have in a rehearsal room.

What kind of theater speaks to you? What or who inspires you as an artist?: The kind of theater that inspires me: truthful, gut punch, grappling with the big questions, tackling murky, touchy topics, with a sense of the sacred or a sense of us being part of a bigger whole. I grew up reading and watching plays written by John Patrick Shanley and Stephen Adly Guirgis, and they spoke to me, both as a New York native, and as a lapsed Catholic. The language, the melody of the way New Yorkers speak is beautiful to me, urban blue collar, underrepresented stories are beautiful to me, a sense of life being sacred, while organized religion is often manipulative and damaging, and the conflict that causes in us, is interesting and beautiful to me.

Any roles you’re dying to play?: I have two playwright friends who have written full length plays that I'm dying to do: Stefanie Zadravec wrote Colony Collapse and Lindsay Joy wrote The Cleaners. I've participated in readings of both, but neither have been staged in NY. It'd be a dream come true to play these three dimensional, flawed, dealt a shit hand but trying their hardest courageous characters onstage.

What’s your favorite showtune?: "Cool" from West Side Story if I feel like dancing; "Bring Him Home" from Les Miserables if I feel like sobbing

If you could work with anyone you’ve yet to work with, who would it be?: American: Mark Ruffalo British: Olivia Colman from the TV show Broadchurch

Who would play you in a movie about yourself and what would it be called?: Maya Rudolph. Called: "She Persisted"

If you could go back in time and see any play or musical you missed, what would it be?: Philip Seymour Hoffman in Death of a Salesman

What show have you recommended to your friends?: Play: The Flick. Movie: "Arrival." TV Show: "Happy Valley" and "Broadchurch"

What’s your biggest guilty pleasure?: Fashion Magazines

Whats up next?: I'm singing in a show on April 1st at Ryan's Daughter, a bar on the upper east side. I'm performing some of my writing at Naked Angels' reading series called Tuesdays at 9 at the beginning of April, and I'm in the midst of writing a one woman show, hopefully to be produced in the fall/winter of 2017.

For more on Kyle, visit www.HotTrampProductions.com.

By Michael Block

So much happens in Ken Urban’s Nibbler. So much! So much so that you start to wonder what else Urban is going to throw at you. Presented by The Amoralists in association with Rattlestick Playwrights Theater, Nibbler is a nostalgia drenched twisted comedy that brings you Jersey diners, teenage hormones, and alt rock music set in a pre-Bill Clinton presidency world. Oh and aliens. There is an alien. Confused? You should be.
Set in the year of 1992, a time where life may or may not have been simpler, five high school seniors contemplate life post graduation and their inner sexual stirrings as they soon realize it’s time to grow up. As the days of summer creep by, the kids hand around the Medford Diner and playground until one night they see this eerie green glow coming from above. Aliens? Yep. Up until this point, Nibbler lived in a world of realism. From this point forward, it’s anything but. It appears that the alien touches those who lust in order to find the release within. Matt turns into a raging Republican. Hayley becomes a slutty Stepford wife. Matt leaps out of the closet. And Tara, after her affair with married town cop Dan, finds a newfound free spirit. But that leaves Adam. The one who’s been through it all already. To set up the chaos that happens within Nibbler, Ken Urban begins with Adam in his old room as Tara bursts in through his bedroom window on their way to a reunion of sorts. It sets up a memory play. Or is it? Through the eyes of Adam, he recounts the past when they were all together for the last time. Was there really an alien? Did he, and the rest of the friends, break out into song at the diner? The finale of the show talks about the story he shared being his memory, his artistic license. And it’s the only way to justify a story like this. If this ending gave you flashbacks to PTSD of entertainment endings where you learned it was all a dream or it was all in the snow globe or whatever the hell happened on “Lost,” you wouldn’t be alone. In a sense, it feels cheap. It forces you to ponder whether the ninety previous minutes were essential. If you’re going to go bold, own it. Urban is an incredible author. His characters are raw, some dilapidated. His ability to comment on the present through the lens of the past is remarkable. There’s a sense of urgency in this world of nothingness. But it all gets lost when the end feels like an unfunny punch line. There are moments in the piece where things get a bit gratuitous. Nudity for nudity’s sake can be chalked up to taste but it didn’t necessarily add anything to the overall arc or individual narratives.

photo by Russ Rowland

There seemed to be an aura of uncertainty that floated overhead. Director Benjamin Kamine’s wavering tone may have been a strong factor in it. At times, Nibbler played like bad sketch comedy. Other times it lived in campy horror. And some explored deep and dark drama. Even with the ending as a justification, there never seemed to be a deliberate reason behind it. When it came to staging, Kamine was limited due to space provided by Anshuman Bhatia’s set but Kamine did overcome the roadblocks. Though, shoving three in a single side of a diner booth was excessive. There was a distinct style in 90s fashion that was present in Lux Haac’s costume design. Call it from grunge to preppy. Even without the context clues, the costumes sold the show and sold the characters.
Embodying Urban’s ragtag lot of lovable losers provided fun for this ensemble. It keeps going back to justification and how the memory device works in this play but when you placed the five teens next to one another, one of these things was not like the other. Believability was a stretch for James Kautz as Adam. But it certainly can be justified. Kautz as a performer is dominating. He gave Adam a brooding persona as the guy who’s stuck. He was the voice of reason in a way. But next to the rest of the kids, he lived in another play. When it came to bravado and big performance, Spencer Davis Milford as Matt stole the show. The Republican leaning Matt was confident and Milford added a spark of pizzazz to his gusto. As the kid bursting out of the closet, Sean Patrick Monahan as Pete captures the sincerity of a gay teen in a time where being flamboyant was not cool yet. When the alien gave him permission to be true to himself, Monahan tapped into a Jack McFarland panache, though the reference is a little ahead of its time. Rachel Franco as Tara 1.0 was stellar. Franco’s perspective on the girl with a dream to get out of Medford was something that was beyond relatable. Trading in a world of little aspirations for an Ivy League life, Franco’s Tara had a clear cut objective. But when you throw Officer Dan into the mix, played with a cartoonish flair by Matthew Lawler, Tara 2.0 didn’t go anywhere. There was no large change like the other three had experienced. Whether it was a flaw in the character or performance, it was a let down. Elizabeth Lail as Hayley seemed to experience some of the consistency woes like Franco when it came to the change in character. That being said, the first half of Lail’s Hayley 2.0 was hilarious next to Milford’s Matt.
If you’re looking for the next “Stranger Things,” it’s not here. The wood paneling and sci-fi elements may remind you of it, but this isn’t it. If you’re ok with theater that’s a little bit weird and out of the box, you might want to give Nibbler a try. No matter what, Ken Urban is one of contemporary theater’s strongest voices today.

Name: Christine Renee Miller

Hometown: This is always a tough one for me. I left Carrollton, TX at age 15 then moved to L.A. where I lived for many years. But I've been in Brooklyn the longest I've ever lived anywhere. So home is where the heart is...which would be Paris.

Education: I graduated from Pepperdine University with a double major in Telecommunications and French. And I recently completed a two year Meisner training at Brooklyn Actors Lab (formerly Playhouse West Brooklyn Lab) helmed by Jim Parrack and Andrea Dantas .

Select Credits:Such Nice Shoes (writer/performer in my most recent solo show), Ophelia in Hamlet On Trial

Why theater?: I actually started in TV/FILM out in L.A. but since coming to NY in 2006 theater has been a real outlet for me. I kept saying 'no' to theater because it wasn't what I had known but over the years I've realized just how much the theater is for the actor. As an actor trying to succeed it became essential for me to write my own work and the stage became the right fit for that. I wrote and performed my first solo show, Baby Cow, in FringeNYC back in 2008 and I've sort of created a niche for myself in that genre as a performer, director, and now teacher of solo work.

Who do you play in Kyle?: Reggie, Jack's best friend.

Tell us about Kyle:Kyle is a story about a guy named Jack who has a serious love affair with cocaine who is personified through the crazy id of Kyle. It's a comedy that helps the audience dive into the world of addiction and what it's like to face your biggest fear. And as Jack's best friend, I'm there to remind him that he's worth way more than the shit he shovels up his nose.

What is it like being a part of Kyle?: Well having come off of my solo show debut run in October it's been a joy to have other (actual) people to work with and play off of. Our rehearsals are good fun, we geek out over things like 90s hiphop, roasted seaweed, and John Wick.

What kind of theater speaks to you? What or who inspires you as an artist?: The kind of theater that gets me excited is also the kind that gets me thinking and connecting to the greater point of life which is community. I get pumped about shows that are about the deeper layers of human existence. I want it to make me laugh, cry, and give me deep thoughts. Some playwrights that inspire me are Brett C. Leonard and Lynn Nottage. Sarah Jones is a boss, as is Staceyann Chin. Denis Villeneuve, Barry Jenkins are incredible filmmakers and I'm excited to work with them...someday.

Any roles you’re dying to play?: I would love to play the next Bond villain.

What’s your favorite showtune?:"Happy Talk"...it's complicated and "Willkommen, bienvenue, welcome!"

If you could work with anyone you’ve yet to work with, who would it be?: Bill Murray and Charlie Brooker

Who would play you in a movie about yourself and what would it be called?: Well if the actress is supposed to look like me then...it'll have to be me...can you name a prominent mixed-race actress who could play a Korean/African-American? If Ruth Negga and Sandra Oh had a daughter then she could do it! I'm actually working on an animation about what it was like growing up bi-racial in Texas in the 80s...it's called "BABY COW" and is loosely based on my first solo show of the same name.

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

What show have you recommended to your friends?: Turn Me Loose with Joe Morton about the indelible Dick Gregory.

What’s your biggest guilty pleasure?: Korean dramas...and dirty martinis.

What’s up next?: My recent solo show Such Nice Shoes has a special limited engagement at TheaterLab April 6, 7, 8 after a very successful debut run in October. And earlier I mentioned the animation project, Baby Cow - it's a dream of mine and slowly but surely it will get made. I've been working on the pilot episode which will hopefully be completed by this summer.

For more on Kyle, visit www.HotTrampProductions.com

Name: Ethan Crystal

Hometown: Wilsonville, OR

Education: Carnegie Mellon (Vocal Performance), BFA

Select Credits: The Sing-Off, Season 3; Heathers: The Musical (first NW production, Staged! / Triangle Productions, Portland OR); The Last 5 Years (Oregon Contemporary Theatre, Eugene OR); VOICE OVER: Elsinore by Golden Glitch Studios (Indie Game coming out 2017); Rock-a-Bye (Original play, self directed/acted/written/produced), finalist in Manhattan Rep’s 10 Minute Play Festival

Why theater?: Because “theatre” is in reference to the art itself, and I’m trying to describe a particular venue

Who do you play in Some Night?: Den, lead singer/keys/lyricist of “The Cankerblossoms”

Tell us about Some Night: Some Night is a sequel to Midsummer Night’s Dream. It’s a mix of over-the-top situational comedy and brooding fairy-world romance. The stage has a working bar, and the band (all cast members) plays throughout the show. It’s a funny little romp that Shakespeare nerds will especially appreciate.

What is it like being a part of Some Night?: Ophelia is a very cool and nerdy-in-a-good-way group. They started doing theatre in their backyard in California in 2003, and from there grew into a working company in Astoria, producing their own works (the playwright, Sarah Victoria Bennett, is a founding member). Most of the actors in the cast are newcomers, so it’s been very fun for all of us to find this show’s voice with the company. Also, I’ve never been in a band before, so that really kicks ass.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything with good writing/pacing. I’m not big on things that are ALL about star power, or how great the singing or dancing is. Writing is the driving force behind all meaningful theater, film, tv, music, everything. Tina Fey, Kendrick Lamar, Rachel Bloom, Donald Glover, the Always Sunny crew, those are people I think of as geniuses and/or role models.

Any roles you’re dying to play?: I want to be the dopey white dude in a Dave Chappelle sketch. Might’ve missed that one.

What’s your favorite showtune?: I get really obsessed with one or two songs at a time, like I play them on repeat for a week and then quit cold turkey. The last showtune in that lineup I think was “Nothing” (A Chorus Line). A few weeks ago, the 9 year old girl my GF babysits sang it in a recital, and I spend the rest of the day thinking “oh yeah, I love that song.”

If you could work with anyone you’ve yet to work with, who would it be?: Like, idk, everyone? it’s not like I’m some big shot guy haha I’ve got a friend named Luke McGinnis who’s going to be famous. He’s a music guy who does orchestral arrangements and then does sessions in his tiny apartment off the G train. I guess I want to work with more people doing similar stuff (cool and new stuff I mean).

Who would play you in a movie about yourself and what would it be called?: There IS actually a TV show in production about me. It’s set in Baltimore (where I lived for 30 years) and it’s a gritty, realistic look at crime in the city and the webs weaved between government and police and the underground mob, and how they snake into the lives of ordinary people just trying to get by. My character is played by Idris Elba, I’m a street-smart, business minded drug “executive” on the West side I’m being told that what I’m describing is the mid-2000’s hit HBO series “The Wire”

If you could go back in time and see any play or musical you missed, what would it be?: There are so many amazing, important musicals that have been canonized for so long that it’s impossible to imagine them as “fresh”. Imagine seeing West Side Story in 1961 when NO ONE had seen it before, or knew all the songs that are now overdone, or any of it. I would kill to see that. With that mindset, something like Guys and Dolls or Man of La Mancha would be incredible. Or Rent.

What show have you recommended to your friends?: I saw a life-changing production of Peter & The Starcatcher at Portland Playhouse in OR, but that was like 6 months ago. As far as TV, I already mentioned Rachel Bloom but "Crazy Ex Girlfriend" is very funny and clever. My favorite show is Always Sunny, but I don’t need to recommend that to anyone. "SpongeBob" is very important to me as well.

What’s your biggest guilty pleasure?: Saying things in casual conversation that just aren’t correct. Not in the Trump way, but like in a “wait what?” way. Like the other day a coworker at my temp job was talking about her kid, and everyone was asking stuff like “how old is she?” etc, and I asked “are you the mom or the dad?” I think I read too much clickhole. Or watch too many Norm MacDonald clips on youtube. I’m not sure. Also obsessed with mid 90s Weezer right now

What’s up next?: I’ve got a sketch channel starting up called Herkimer Street Variety Show, I’m doing the NYU Grad Musical Theatre Writing readings in April, and then I’m gonna be in Broadway Goes Acappella 2 at 54 Below this summer. I also make custom audition sides, and a few of my acappella arrangements will be at an ICCA semifinal near you (if you’re in the Northwest, which you’re probably not).

For more on Some Night, visit opheliatheatre.com. For more on Ethan, visit ethancrystal.com

I had the great pleasure of sitting down and talking with the incredible Matt Mitchell to talk about Your Name on My Lips at Theater for the New City!

Your Name on My Lips runs until March 19th at Theater for the New City. To learn more, visit yournameonmylips.com.

To listen to this episode, visit iTunes or Soundcloud! And don't forget to subscribe to never miss an episode.

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Name: Nat Cassidy

Hometown: I was born in Raleigh, NC, and raised in Phoenix, AZ

Education: BFA from the University of Arizona, post-graduate work in the School of Hard Knockz

Select Credits: Lots of indie theatre around the city. Stuff on the teevees like Law & Order: SVU, The Affair, Red Oaks, High Maintenance, The Following.

Why theater?: Mainly the money and exposure.

Who do you play in Kyle?: I play Jack

Tell us about Kyle: Kyle is a dark comedy about losing your grip on reality, one snort at a time.

What is it like being a part of Kyle?: A giddy, euphoric high with some topical numbness.

What kind of theater speaks to you? What or who inspires you as an artist?: I like anything that's fast-paced, funny, dark, honest, humane, diverse, topical, informative, a little absurd, a little eerie, a little unsettling - the stuff you'd see produced by Flux Theater Ensemble, Gideon Productions, Pipeline, Debate Society, Mad Ones, The Brick, Blood Brothers Present, etc. The stuff I write is very much influenced by the horror genre, so I'm predisposed to like anything that incorporates elements like that, as well. My biggest inspirations are probably Stephen King, David Lynch, Caryl Churchill, Sarah Ruhl, Kids in the Hall, and the Large Marge scene from Pee-Wee's Big Adventure.

Any roles you’re dying to play?: Third Cat, CATS. Also, if there's ever a stage adaptation of Pumpkinhead, I'd love to at least be seen for the Lance Henriksen role.

What’s your favorite showtune?:"Giants in the Sky" used to be my go-to audition song before I went through puberty. But right now, my favorite showtune is probably all of Dave Malloy's Ghost Quartet.

If you could work with anyone you’ve yet to work with, who would it be?: You (unless I've worked with you before, in which case YOU HAD YOUR CHANCE).

Who would play you in a movie about yourself and what would it be called?: The last thing we need is another movie about a straight white guy, so give it to, like, Gabourey Sidibe and also change the story to something important, like the Syrian refugee crisis.

If you could go back in time and see any play or musical you missed, what would it be?: I would love to go back and see one of the dueling Macbeths right before the Astor Place Riot of 1849. But only if I can get a comp.

What show have you recommended to your friends?: KYLE, by Hollis James, directed by Emily Owens, opening March 9th at Under St. Mark's. Tickets at www.HotTrampProductions.com

What’s your biggest guilty pleasure?: I will eat an entire box of licorice all-sorts until I become physically ill.

What’s up next?: Find out at natcassidy.com [assuming I update it in time]!

By Michael Block

We long for human connection. How we find it is the catch. Sometimes all it takes is proximity. In Jean Ann Douglass' delightfully beautiful The Providence of Neighboring Bodies, two neighbors share a morning beer and a lovely chat in their neighboring balconies. But when one has a furry friend visit, their newfound bond splinters.
The Providence of Neighboring Bodies, produced by Dutch Kills Theater, is a poetically colloquial interweaving monologue play that showcases Jean Ann Douglass’ delectable writing. Dora and Ronnie are neighbors. They lead different lives but one morning, they share a moment together on their respective balconies. As the day goes on, an ad Ronnie posted for a guest to rent out her couch is answered. The guest arrives. And it’s Jane. A beaver. Through an absurdist view of human connection and perception, The Providence of Neighboring Bodies is a quirky dramedy that strikes the right chord. Douglass has an innate ability when it comes storytelling. There’s a specificity to the characters and how the talk to one another and to the audience. There’s a heightened sense of theatricality that Douglass infuses into her play and even when the story takes a surrealist turn, Douglass’ voice is still prominent. Monologue plays are hard. Douglass has destroyed that notion. Where she slightly stumbles is the perception of the themes. They are clearly present yet not prominent enough to feel intentional. In the grand scope of the play, it’s only a minor blip.

photo by Alley Scott

The Providence of Neighboring Bodies is a clear-cut character showcase. Jean Ann Douglass has crafted three beautiful characters, passing them off to three talented women to bring even more life out of them. As Dora, Lori Parquet bubbles optimism with a radiating smile. She captures the essence of Dora, finding hope in another and loss when it dissipates. Parquet is a natural storyteller, with a soothing vocal. Give her a phone book and she’ll make it sound like poetry. As her neighbor Ronnie, Amy Staats plays a woman needing a connection anyway she can find it. Staats takes an opposite approach for Ronnie, amplifying the neuroticism and fear of closeness. Yet Staats exemplifies an characteristic that anyone watching has felt. Staats and Parquet have a beautiful bond on stage. Taking on the odd ball of the bunch, Dinah Berkeley as Jane embodied the character. She was able to balance the animal with the human. With the strong sense of story, there was never a moment you wondered her purpose in this world.
Directed by Jess Chayes, The Providence of Neighboring Bodies was a consistently touching. Chayes allowed the words to marinate as they floated through the space. She insured Douglass’ specificity of dialogue told the story that was found on the page. The staging was simple, utilizing the simply surreal set designed by Carolyn Mraz. At first glacne, two chairs on two platforms don’t resemble neighboring balconies but as the story unfolds, Mraz has provided the tools to create it in your mind. The drawings on the walls of North Providence were cool. The slightly cartoonish feel set the tone well. The incorporation of the original music by Chris Chappell was interesting. It was integrated as underscoring but didn’t quite have a consistent vocabulary in the way the world moved. They being said, when you discovered it, it brought out a new layer to the play.
The Providence of Neighboring Bodies is a rare beauty. Jean Ann Douglass has crafted a play that exemplifies human connection in a manner that is subtle yet profound. Don’t be afraid of the structure. These monologues are fully satisfying.

By Michael Block

There's always time for a show at the Laurie Beechman Theater for the incomparable Mrs. Kasha Davis! Returning once again to New York, the iconic Drag Race star brings her latest comedy tour de force It Takes a Lotta Balls to Be a Lady! Through jokes, song, and lots of friends, Mrs. Kasha Davis, international celebrity housewife, entertains like few can.

It Takes a Lotta Balls to Be a Lady finds Mrs. Kasha Davis sharing anecdotes of her past in NYC, her pet peeves, and odes to the classics. Dropping the fan-favorite digs to Drag Race and a ball-in-sack audition participation bit, It Takes a Lotta Balls is an all-in-one night of hilarity. While there may not be a strong through line from start to finish, from point a to point b, Mrs. Kasha Davis never falters, even when there's a wig cap mishap. Mrs. Kasha Davis is the epitome of a classic queen and quite possibly one of the most underrated queens to grace the Drag Race runway. Dropping standards that may not have much to the correlating story, MKD easily could have integrated numbers from her latest album of the same title. Though fan favorite "Cocktail" does get a cameo thanks her special guests the Naked Boys Singing. Utilizing them to their fullest, Mrs. Kasha Davis invites the quartet into her home alongside spotlight stealer Chris Newcomer and THE Mr. Kasha Davis. If you're looking for an iconic lip sync performance, the ball is sadly dropped. If you haven't seen her lip sync as an iconic diva before, I urge you to find a YouTube clip. It's spellbinding.
With a demographic ranging from desperate housewives to the Drag Race millennial twinks, Mrs. Kasha Davis does a divine job bringing references of yore into today. She does her best Mrs. Garrett impression from "The Facts of Life", asking her four naked boy toys to don Tootie, Blair, Jo, and Natalie oversized t-shirts as she sings "Little Girls" from Annie. It's a hilarious moment but there's a very strong chance a youngster in the crowd, maybe even sharing your table, will have zero idea about the classic 80s sitcom. It defines just how hard it can be to concoct a theatrical cocktail to everyone's liking.
There is no doubt about it that Mrs. Kasha Davis is an incredible performer. It Takes a Lotta Balls to Be a Lady! can absolutely be stronger with a little more arc thrown in. It's a subtlety that the crowd will appreciate. Lift your cocktail glass to the fabulous Mrs. Kasha Davis.

By Ed Malin

This March at The Brick, Theater of the Apes is presenting Zamboni Godot (written and directed by Ayun Halliday) in repertory with Lunchtime (written and directed by Greg Kotis). Both shows will definitely change your perspective on life.
I walked into Zamboni Godot tonight curious about how this fine team of women would adapt Samuel Beckett’s Waiting for Godot into a meaningful show that is “100% Bechdel Test Approved!” It seems that the source material is only supposed to be performed by men, and has some male-centered jokes. Well, good thing for Theater of the Apes, our world is full of all the things you will find condensed into the 21 scenes of waiting which make up the play. The author’s experience as a New York Neo-Futurist shines through in the snappy dialogue and bonding between Gogo (Marjorie Duffield) and Didi (Chris Lindsay-Abaire) and the chorus of women.
64 years after the premiere of Beckett’s play, life is full of time-saving devices. Yet, Zamboni Godot shows that more and more often, with globalization and interconnectedness, waiting is the entire narrative. If you go to the DMV and you don’t want to wait, will you go home or will you just keep waiting? If you are stuck in traffic on the highway, can you even leave the line of waiting cars?
The show starts with Gogo and Didi watching the Zamboni machine retouch the surface of an ice skating rink. They want to be the first to tear into the pristine ice, but the rest of the mob rush in before them. In many other situations, Gogo and Didi are told (or believe) that the elusive Godot character will soon join them, but that doesn’t make the rest of the line for the Coney Island Cyclone willing to let him cut. Maybe the hope that Godot will join them is what stops Gogo from hanging herself. She carries noose around with her and takes it out when confronted with extremely agonizing wait times. When Gogo and Didi go to a nightclub in hope of meeting DJ Godot, they see on the flyer that they would need to wait until sunrise. Why does everything in the club scene happen so late? Another irritation of modernity.

photo Sue Jaye Johnson

There’s more. Gogo and Didi are staffing a polling center, but no one has come to vote (!) Didi and Gogo are marooned on a desert island and a ship does not stop for them; what else is there to do but wait? At the Louvre Museum, there is a huge line to see the Mona Lisa so Didi pinches someone to get her our of the way. Waiting for the ball to drop in Times Square, or for a delayed airplane to take off when the seatbelts must remain fastened and they can only imagine Skymall shopping, or the time when they are trapped in quicksand and only waiting will allow for survival, these situations all have their challenges. The most touching scene for me was when Didi was on her deathbed and Gogo took a break to buy a snack at the wrong moment. Yet, there was still more to come, perhaps to remind us that our waiting may never end.
Congratulations to this fine show and to the Zamboner chorus: Laura Allen, Johanna Cox, Tiina Dohrmann, Angie Pflanz, Sandye Renz, Kate Ryan and Stephanie Summerville. Marc Aubin’s set design skillfully creates so many rapidly-changeable scenarios, such as the Big Box Store where all the women push beautiful red chairs instead of shopping carts. Morgan Zipf-Meister’s lighting helps show the loneliness of a moonlit crossroads and the superficial bliss of an annoying ashram. I found the whole show to be as entertaining as it was compassionate.

By Ed Malin

Jonathan Leaf’s new play Deconstruction is a refreshing and contemporary take on love and philosophy circa 1949. The three brainiac characters in this story are Belgian–born philosopher Paul De Man, American novelist and critic Mary McCarthy and German-Jewish scholar Hannah Arendt, who was a pupil of existentialist Martin Heidegger. The three interact in New York, where the women’s careers were already established and De Man, newly arrived from Europe, was working at a bookstore. Several fictional accounts (such as “The Perjurer” by Henri Thomas) have painted a very negative picture of De Man. This intriguing, nuanced play brings out the flaws in all of the characters. Deconstruction is directed by Peter Dobbins, head of The Storm Theatre Company, which has presented many important French theater works and begins its 20th season with this piece.
The play is named for the philosophy which emerged from the work by Paul De Man, Jacques Derrida and others following structuralism, existentialism and other -isms current in the mid-20th century. However, no matter how much of the spotlight (and other things) he may have stolen, the story is not all about De Man. The intriguing part of this play is the possibility that Paul De Man seduced Mary McCarthy, and that she was not happy in her third marriage and was willing to conceive an aesthetically pleasing child and run off with him. When you postulate a love story between those people, you strengthen the menace of De Man’s many other lies while asking why many believed him. So much of Paul De Man’s character was called into question when, after his death in 1983, articles he wrote for Nazi collaborationist publications in occupied Belgium came to light. But it is striking to see what seductive use of selective “alternative facts” can achieve: several broken marriages, a miscarriage, and callous use of McCarthy’s academic influence to gain a teaching position at Bard College. De Man, whose studies had been interrupted by World War II, thanks to McCarthy was able to befriend many American intellectuals and as a result obtained his PhD from Harvard.
The story starts at Mary McCarthy’s home, where the handsome Paul (Jed Peterson) explains in his Belgian accent how he would love to make a contribution to literature and philosophy. Following his Resistance activities and sheltering of Jewish friends during World War II, he fled Belgium due to a misunderstanding about some missing money in one of his business ventures (you know, it could have been anyone who embezzled it) and, though he has the equivalent of a Master’s degree but lacks teaching experience, he would love to move on from his translations of the works of Herman Melville to tackle serious philosophical issues.
Mary (Fleur Alys Dobbins), known for her unfiltered novels but wary of men treating her as “easy”, is nevertheless drawn to Paul. Both of them had lost their parents in tragic ways. At seventeen, Paul discovered the hanged body of his mother. (It is important to note that this is a fact, and that a lot of Paul’s other claims, though charming, were false.) The two marvel at a quote from Othello, a classic story of deception, and then they kiss. Paul has a wife and three children in Argentina; they are on course to separate. As Paul and Mary get to know each other better, Mary’s current husband lets Paul join them in Rhode Island for a vacation. Paul meets Mary’s friend, the great Hannah Arendt. Hannah (Karoline Fischer) is serious about her philosophy and, while she tells only Mary about her secret love affair with Heidegger, she has a great need to investigate and find the truth. The three discuss whether existentialism is really all about the individual, but avoid a war by dropping the subject.

Time passes. Paul has written his wife a letter to ask for a divorce. Mary is pregnant with Paul’s child but has not told her current husband. Paul is now teaching at Bard College, where he receives a surprise visit from Hannah. Why, Hannah asks, has Paul avoided Mary during the Thanksgiving holiday? When will he make it possible for Mary to leave her husband and marry him? And what about those many articles Paul wrote for state-controlled newspapers during the war? Indeed, both Paul and Hannah esteem Heidegger, who arguably collaborated with the Nazis. Does Paul get a pass because he had a family to support, and only reviewed plays and gallery openings? (The subject of Nazi-suppressed “degenerate” art does not come up, but Paul is appearing to be quite the degenerate himself.) It is likely that Paul got confused; he was NOT in the Resistance and DID embezzle money. Mary now shows up at Bard, where Paul is shocked to learn that she lost the baby and Mary is surprised to learn that Paul is going with a 21 year-old undergraduate. Paul continues to use the American male privilege which Mary gave to him: he beseeches the women not to write about him and acts anguished.
This is definitely a new take on the relationship of these notable people. Although it is not clear why Mary helped Paul become an academic and their relationship was indeed frustrated by Paul’s need to marry his pregnant student, it is still not known whether Paul and Mary were lovers. However, this secret and the knowledge displayed about Paul’s Nazi past (only publicized after Paul’s death, and minimalized by many authors) provide interesting motives for Mary and Paul. Hannah, the coolest of the three and a lifelong friend of Mary, thenceforth an enemy of Paul, doesn’t seem to have a reason to keep her discoveries secret. Most important for me is the pernicious idea that one can erase inconvenient facts by philosophizing about the nature of reality. The play doesn’t go into De Man’s later work, which is certainly an extension of his actions on the stage of the Grand Hall at St. Mary’s Parish (an open, book-filled set, designed by Shannon Kavanagh). Today’s political upheavals in the USA and the potential populist uprisings in France and the Netherlands are fueled by emotional appeals rather than facts. Yet, any idiot (especially a D.J.T.) can hide his bad choices by turning the conversation into an inquiry about his interrogators. Is it possible that most people have exaggerated their wealth or childhood traumas to lure a romantic partner, or have lied about their job experience or something else that is difficult to trace? This play left me with the feeling that such is our world. My personal inclination is to continue to fight for justice and scientifically provable benefits (see: climate change). The dilemma of this play is nicely developed by the director and the fine cast. Jeannipher Pacheco’s 1949 costumes feel light, casual and very American. Michael Abrams’s sultry lighting helps a lot to bring us into the not so black and white world of these characters.

Name: William Broderick

Hometown: Woodside, Queens

Education: BA Hunter College, English; Acting: E. Katherine Kerr; Voice: Richard Gordon

Select Credits: Robert in Company; Emile in South Pacific; King Henry in Henry IV, Part 1; Kroll in Rosmersholm; Roger DeBris in The Producers.

Why theater?: As an actor, I enjoy making the journey every performance. As an audience member, I enjoy the visceral experience of a live performance.

Who do you play in Grand Theft Musical?: William Gandolph Furst, a newspaper writer who manipulates the action of the play through his column.

Tell us about Grand Theft Musical: It's a very funny spoof of musical theater with a subtle commentary on our current political crisis.

What is it like being a part of Grand Theft Musical?: I've only had one rehearsal so far, a read-through, but I've worked with writer-director Lissa Moira before as well as many of the cast members. Lissa seems to be creating her own rep company, and it’s a pleasure to be among such talented and friendly actors. I look forward to playing with them again and getting to know the new cast members. And Lissa always creates a great show.

What kind of theater speaks to you? What or who inspires you as an artist?: Anything that moves me to tears or laughter. I consider Angela Lansbury to be our greatest living actor. Her performance in Gypsy remains my most profound theatrical experience followed by her King and I. As Walter Kerr wrote of her performance in Gypsy: she "works so honestly." On the other end of the spectrum, I will always cherish the original NY production of Noises Off.

Any roles you’re dying to play?: Frollo in Hunchback of Notre Dame.

What’s your favorite showtune?: Currently, "Blame It on the Summer Night" from Rags, but so many great songs to choose from.

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

Who would play you in a movie about yourself, and what would it be called?: Giovanni Ribisi. It would be called Galatea Seeks Pygmalion which is the title of a collection of stories I've written.

If you could go back in time and see any play or musical you missed, what would it be?: Possibly Tammy Grimes and Brian Bedford in Private Lives.

What show have you recommended to your friends?: Well by Lisa Kron.

What’s your biggest guilty pleasure?: Guilt dilutes pleasure. I enjoy my pleasures straight up - with a twist!

What’s up next?: That's for the theater Gods to decide.

photo by Ben Strothmann

Name: Virginia Baeta

Hometown: Fremont, California

Education: Officially, I trained in the School of Theatre, Film and Television at UCLA. Unofficially, I learned pretty much everything else I needed to know getting around New York City

Favorite Credits: Almost every role I played with The Queen’s Company (from the title role in Edward II to Clown #3 in Antony and Cleopatra); Pepe in Robbie Robertson’s wildly funny stage adaptation of Satan in High Heels (directed by Mark Finley); and recently an awkward, elderly Irish Nun in Ed Valentine’s lovely Each to Each.

Why theater?: I started in the theater because someone I had a crush on was auditioning for the school play and I thought it would be a good way to get close. I stuck with it because I wasn’t all that bad at it and there was something electric and unexplainable in those moments when - in live performance - audience and actor agree in real time to an alternative reality. It became my calling when I learned about the origins of acting and storytelling as sanctified, holy ritual and community-building activities.

Tell us about Damaged Goods: Damaged Goods is a gender-skewiering homage/send-up of 1940’s film noir. It follows Thomas Sparks - a private detective with some secrets of his own through three extremely eventful days in New York City as he pursues a baffling case and a dangerous dame. As a send-up, Damaged Goods delivers a fair shake of laughs. As an homage, it is dark when it needs to be. The choices have consequences, and running away isn’t an option.

What inspired you to write Damaged Goods?: So I started writing Damaged Goods with the intention of having a fun, two-actor play that could play the festival circuit. I was curious about how much fun could be had with noir's highly gender-coded archetypes - the always-male, almost-always doomed protagonist, the always femme fatale. About half-way through the first draft, I found that the two-actor conceit was limiting the story and the characters, so I set it free to be whatever it ended up being.

What kind of theater speaks to you? What or who inspires you as an artist?: I am drawn to theatre that is honest, direct, efficient and that has a mission. From a one-person show in the Fringe to the biggest Broadway musical, my heart leaps when that sacred, magical thing happens that can only happen when artists on a mission engage with enthusiasm with an audience that is ready to be escorted into the world. It is a fragile dance, but when the steps are right, theater artists can ignite hearts and minds. I’m inspired by artists who put it all out there, especially when they don’t have a lot of money or production value backing them up. I could list folks, but I know I’d leave someone important off of the list.

If you could work with anyone you’ve yet to work with, who would it be?: Anyone? Oh, yikes, that’s a super tough question. I’d give you a different answer tomorrow, but today I’ll say Janet McTeer. And I’ll add Lin Manuel Miranda. See the answer below.

What show have you recommended to your friends: I’m going to be the jerk that says Hamilton. Here’s why. I saw Hamilton at The Public - before the show became the phenomenon that it is today. I walked out of the theatre and thought “well stick a fork in me, I’m done.” What Lin Manuel and that committed team of artists created in that space was exactly the kind of theatre I long to see and create. An immersive, joyful, powerful, thrill-ride of an experience with a laser-focused purpose. Right then, I told all of my friends to run - not walk - to arrange tickets to see it before it became prohibitively popular.

Who would play you in a movie about yourself and what would it be called: These questions just keep getting harder! I think I should be played by a really good glazed donut in a movie called “The Kitten Said: Mew.” Any movie about me right now would make about as much sense as appetizers at The Last Supper. Check back with me when there’s a story about me worth telling.

If you could go back in time and see any play or musical you missed, what would it be?: I’m really really mad at myself for missing the Donmar Warehouse production of The Tempest that just closed at St. Ann’s Warehouse. Just had my head screwed on wrong and missed it.

What is your biggest guilty pleasure: Sleeping in.

If you weren’t working in theater, you would be ______: A New York City firefighter

What’s up next?: I will be directing a reading of Merril Mushroom’s Bar Dykes for TOSOS this Spring. I’m also making a decision about which partially-finished play I’m going to “finish” next. But - before that - I’m going to see if I can catch a couple of really good baseball games.

For more on Damaged Goods, visit http://www.tososnyc.org/

By Ed Malin

Barbara Kahn’s new play Ghost Light Now & Then is playing at Theater for the New City. This is a time-fluid story which takes place in the Greenwich Village Theater, once located at Seventh Avenue next to Sheridan Square. Kahn and Robert Gonzales Jr. direct a solid ensemble, many of whom have worked on Kahn’s previous historical dramas. The result is very informative, even for long-time New Yorkers. In our time, where the desire for change is so strong, it’s worth checking out this play about radical Villagers. The “Ghost Light” of the title is the light left on for safety when the theater is dark. Or are there ghosts in every theater?
Mandy, an actress (the energetic Danielle Aziza) and Becky, a writer (the fiery Micha Lazare) are two young women in love. It is the 21st Century, and Mandy and Becky are looking for each other in the dark. In and out of this darkness comes an Organ Grinder (the self-possessed Rachel Drayke), who croons songs of longing from the Jazz Age. An unexplained disaster or upheaval has just happened. After finding each other in the debris, Mandy and Becky stumble into a boutique full of bohemian anarchists, located, as you might expect, in Greenwich Village. Madame Jamesina (the defiant Steph Van Vlack) and Ann (the extremely creative Amanda Boekelheide) are flaunting bourgeois tyranny. The ladies smoke (presumably Virginia Slims), are so in favor of free love that divorcing a loving husband makes sense, and are sure they will get the vote very soon (placing them sometime just before 1920). Mandy and Becky, who take being feminist for granted and are, in fact, married to each other, admire the anarchists while wondering how they can get back to their own time. After a short walk, Mandy and Becky meet Jim (the earnest Brandon Sngdnc Mellette), who is studying for the Bar exam despite the prejudice all around him. He advises Mandy and Becky to leave the Colored neighborhood, as they don’t belong. Lost and very much craving their own time and place, Mandy and Becky encounter Jacob Slovak (the melancholy Robert Gonzales Jr.), a Jew from Poland who has come to New York. They also meet Myra (Amanda Boekelheide), whose father, Yekel (Robert Gonzales Jr.) is trying to control her; the conversation here is in Yiddish, a language Mandy finds she is able to speak, much to Becky’s surprise. By now, Mandy and Becky see that so many persecuted groups came to Greenwich Village in search of a better life. They also speak with Billing (Brandon Sngdnc Mellette), who has journeyed to Ireland to get the local inhabitants, including Mary Ellen (Steph Van Vlack) to acknowledge and build a statute of a supposed native hero, General John Regan.

So much drama, such diverse characters, and yet, Mandy and Becky muse, they keep meeting the same people in different scenes. Just as their frustration is mounting and Mandy and Becky question their commitment to each other, they learn that they have indeed been talking to the troupe of actors who performed at the Greenwich Village Theater (which occupied the building where they were standing at the start of the show) between 1917 and 1930. The situations Mandy and Becky have experienced all come from plays done at that theater, such as Hobohemia by Sinclair Lewis, God of Vengeance by Sholem Asch, All God’s Chillun Got Wings by Eugene O’Neill, Jacob Slovak by Mercedes de Acosta, and General John Regan by George A. Birmingham. The theater in question also produced the famous Greenwich Village Follies and much more. If you’re like me and have not yet heard of Mercedes de Acosta, she was a playwright who dared to stay out of the closet in the 1910s through 60s. Her lovers included Greta Garbo, Marlene Dietrich, Isadora Duncan, Alla Nazimova, Eva Le Gallienne, and maybe Eleonora Duse, and….. In 1923, Sholem Asch’s Yiddish drama moved from the Village to Broadway, where it was greeted by protests, partly by Jews who didn’t want Gentiles to find anything else objectionable about their religion. Ahead of the premiere of Paula Vogel’s new play Indecent, which is based on it, New Yiddish Rep is currently producing Asch’s play in New York. In any case, Mandy and Becky admire the many groups which strove for freedom during the last century and are inspired to stay together and pursue their dreams.
Seeing Barbara Kahn’s plays can be quite a revelation. Whether or not you have a personal connection, as Kahn does, to any of the groups mentioned in the play, I think you’ll find it comforting to know that our city has had a considerable, long-lived movement for equality. Nowadays, with Anti-Semitism on the rise, endemic racism exposed and LGBTQ gains contested, the artists and freedom fighters of the past are powerful exemplars. Living in a sanctuary city full of immigrants is a very meaningful thing indeed. Mark Marcante’s sets and lighting invoke the many paths of life found in the Greenwich Village Theater’s plays. Everett Clark’s costumes bring to life bohemians, anarchists and shysters. The tireless cast unearth the many identities found in our neighborhood this last century, and they play these characters with great sincerity.

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