Review: Laughing Through Heartbreak

Love in your early twenties can be so exciting, kind of like a movie. But then, without foreshadow, because this is real life, what begins as the highs of the romance between Stevie Nicks and Lindsey Buckingham drastically turns into the end of the Fleetwood Mac duo's tumultuous love. In Don't Move to Toronto, Zoe Daniels shares a tale of love, loss, unique neighbors, bosses, and the Eurotrip from hell.

Through extended monologue and the occasional character, Daniels brings her sly wit to the stage in a cathartic show of heartbreak. After moving to Toronto with her one true love, Daniels finds that reality can't always be picture perfect. Or maybe Toronto is just a life-ruiner. While her story may be personal, Daniels taps into accessible emotions all while mocking her own life choices. Daniels brings many of her images and anecdotes full circle, a sign of strong storytelling. Story aside, Don't Move to Toronto is a showcase for an incredible comedian with mainstream appeal. Daniels is one to watch. There's a toughness to her persona but deep inside is exponential charm. Though the structure of her piece tends to live mostly in monologue, Daniels breaks into a few characters. Daniels happens to be a skilled character actress. Whether it is a slick Italian boss or a Chihuahua of a woman, Daniels made a worthy claim to bring them into their own sketch world.
Even though it may be her story, Don’t Move to Toronto is all of our stories. We’ve all been in Zoe’s position once in our lives. While Daniels and her old beau used to rock out to Fleetwood Mac’s “I Don’t Wanna Know”, the true moral of the story can be found in Fleetwood Mac’s “Don’t Stop.” Because while the present heartbreak may suck, “yesterday’s gone.”

Review: Theology vs Mythology vs Philosophy

Imagine a world where the great minds of theology, mythology, and philosophy are forced to battle it out to become the dominating intellect. This world can be found in Set Yet in Motion, Alaina Hammond’s cerebrally charged comedy. Cassandra is having some problems with Apollo so she calls upon God, the Judeo-Christian one, to take care of him. God appoints Immanuel Kant to do the deed by killing him with an arrow. Along the way, Kant philosophizes with his buddy Johannes Climacus and gets seduced by Friedrich Nietzsche, now in female form. Set Yet in Motion builds upon a fantastical battle of philosophy that never gets old. And to make the discussion entertaining Hammond uses theatrical comedy as her device. There is no denying that Hammond is a smart writer. She fills her script with jabs and jokes. But unless you happen to subscribe and understand the schools of thought and know all the references, Set Yet in Motion becomes too heady and unfunny to those not in the know. What Set Yet in Motion seems to be missing is accessibility. Using iconic characters as a way in is a great start. But the material, and subsequent portrayal of the characters, has to find a way to allow everyone, even those who know little to nothing on philosophy and religion, in.
As far as entertainment value goes, Hammond and director Michael Bordwell try to incorporate physical comedy and sight gags as a means to garner laughs. And it actually could have worked with the right group of performers. Sadly, the ensemble didn’t quite fit the needs of the piece, with perhaps the exception of the gender-benders. London Griffith as Nietzsche went all out in her performance. And it was fun to watch. Katherine Wessling was dominating, and funny, as God. Her material may have been the strongest of Hammond’s script and Wessling capitalized on it. With the story ultimately falling on the back of Immanuel Kant, Vincent Bivona was forced to step into a geeky leading man role. Bivona wasn’t quite able to live up to the challenge.
Casting can play a huge part into the success of a play. If the actors aren’t quite grasping the text, it’s hard to ask an audience to play along. Set Yet in Motion is a smart script. But this ensemble didn’t quite seem like the right fit.

Spotlight On...Ellen Adair

Name: Ellen Adair

Hometown: Philadelphia, PA

Education: BA in English and Theatre, Boston University

Select Credits: Since I have my bio for this show at my fingertips, here it is. Off-Broadway: Cymbeline (Fiasco Theater/Barrow St./TFANA), What the Public Wants (Mint Theatre), Playboy of the Western World (Pearl Theatre), Romeo and Hamlet (GayfestNYC) and special events for Sleep No More (Punchdrunk). Off-Off: As You Like It (Happy Few, NYIT nom.), The Importance of Being Earnest (Titan). Regional: Huntington, Shakespeare Theatre DC, St. Louis Repertory, Baltimore Centerstage, Pioneer Theatre, Shakespeare Theatre NJ, Folger Theatre, Commonwealth Shakespeare, Portland Stage, Kitchen, Pennsylvania Shakespeare, American Shakespeare Center, Lyric Stage, SpeakEasy, New Repertory, Publick Theatre. TV/Film: recurring roles on “The Slap,” “Veep,” “As the World Turns,” and the currently-airing ABC drama “The Family,” along with “The Blacklist,” “Nurse Jackie,” “I Love You But I Lied,” “Codes of Conduct,” “Brotherhood,” “God in America,” and PBS films about Louisa May Alcott, Louis Brandeis, John Audubon.

Why theater?: This question can be interpreted in a number of ways, so I’ll give a quick answer to two of them. I think theater is important, and irreplaceable, because it’s an art form that’s actually built around community, sharing, and the alchemy of relationships—between theatre artists, and between the actors and the audience. And I think this is increasingly crucial in an increasingly isolating age. And I personally love acting because of a basic, unquenchable fascination with an other, with what’s outside: I enjoy it because I love playing with other actors, and I thirst for it because I long to get to be the parts of myself I’m not on a daily basis. I know that’s a lot of ideas I’ve crammed in to a paragraph, but I am talking about my favorite thing in the world, so I admit I’ve given it some prior thought! If you didn’t already know, now you know: I’m a nerd.

Who do you play in the goodbye room?: Bex, she is the elder of the two sisters in the play.

Tell us about the goodbye room: To me, the play is about the relationship between the two sisters. Bex is returning home after their mother died, somewhat suddenly, and so the play does deal with the way all four of the characters process the grief of that event. But it’s not, I think, a downer of a play—it’s funny sometimes, it’s delightfully awkward, and ultimately about something that is found. Essentially, I think the play is beautifully true to life, and I think there’s nothing more fascinating or compelling than real human behavior. I think our audiences will enjoy the evening.

What is it like being a part of the goodbye room?: It’s actually been amazingly fun to work on this play, and I use the ‘actually’ because that might not have been my guess working on a play whose inciting incident is such a huge loss. But there’s so much that is wonderful to work with—both the script and the cast. The other three actors in the show—Sarah Killough, Michael Selkirk and Craig Wesley Divino—are just so brilliant, truthful, present, and inspiring in their thoughtfulness and inventiveness, which are two of the qualities we value most as a company. And the script is just so good: there’s so much going on, there are so many layers to play with, so many secrets all the characters have (some of which are revealed, others just guessed at). The dialogue is so natural and true to life that what we’ve been working on is really about sculpting events and what we’re doing, but leaving a certain amount of it free for spontaneity, which is my favorite way to work.

What kind of theater speaks to you? What or who inspires you as an artist?: I am inspired by literally all kinds of theatre. I absolutely love classical work, but I love new plays, and I love everything in between, from period pieces, which I’ve done a lot of, to the classics of modern and 20th century theatre. I love things that push the envelope. I love things that are delicate and smartly-observed. I do really love language, so specificity in the language—even if that’s a very particular natural, contemporary way of speaking that’s clearly about the way that person speaks, really activates my brain. I can be inspired by plays in which I recognize my own experience, or which bring a whole new perspective—the most important thing is telling the story, not getting in the way of the story with anything extraneous and making that channel to the audience clear. Also, I’ve often said, my favorite kind of play is one that has me laughing at times throughout, but leaves me thoughtful, melancholic or mildly depressed at the end. But I think that’s my Irish heritage at work.

Any roles you’re dying to play?: Number one is Eliza in The (Curious Case of the) Watson Intelligence by Madeleine George. I love everything of hers I’ve read, but I didn’t get to see the production at Playwrights because I was out of town. And Deirdre in Deirdre of the Sorrows by John Millington Synge, a play no one ever does. Gilda in Design for Living. JoAnne in A Few Good Men. Tracy in The Philadelphia Story. I could go on forever, but I won’t. This time.

What’s your favorite showtune?: Do I get to pick Hamilton? In that case “My Shot,” or “Wait for It.” “Washington On Your Side” is pretty great, too. I have not gotten a chance to see the show, so I know that might change my mind as to which song is my favorite.

If you could work with anyone you’ve yet to work with, who would it be?: Hands down, Mark Rylance. When I was studying abroad in 2003, I saw his Olivia in Twelfth Night, and it changed my life. Everything I have seen him in subsequently has also changed my life. It just keeps changing. Thanks, Mark Rylance.

Who would play you in a movie about yourself and what would it be called?: Parker Posey. I think it would be called “Verbosity and Baseball.” Just because those are two of my favorite things.

If you could go back in time and see any play or musical you missed, what would it be?: So, for sheer historical curiosity, it HAS to be going back to see Shakespeare actually perform in one of his plays (yes, I’m a firm Stratfordian), say, Hamlet. I feel like that’s the theatre version of saying I’d have dinner with Jesus, but it’s the truth. If we’re talking about something in my lifetime, I’d love to time-travel my current brain to get to see Kenneth Branagh in his stage production of Henry V. My parents took me to see the film version when I was six or seven and I loved it so much I made them take me back five times. I look back on it as one of the earliest events that turned me into the nerd I am today. I would also like to get to go back and see some of the shows my husband was in before I knew him. There are some colorful ones from grad school that he has related to me that would be fun to see.

What show have you recommended to your friends?: I haven’t seen much recently, because I’ve been so busy with this show, and working on off-nights. But the things I am most excited to see as soon as we close are my friend Anna O’Donoghue in The Way West at Labyrinth, Nice Fish at St. Anne’s Warehouse (see love of Mark Rylance, above) and Women Without Men at the Mint. I love the Mint, I try to make every one of their shows that I can. In terms of things I saw last year, it was such an amazing year for theatre, and I think I recommended so many things that I saw—The Humans, The Flick, The Qualms, Wolf Hall, The Way We Get By, Fiasco’s Into the Woods and Two Gents, Faultline’s At the Table, even though I didn’t see Hand to God last year I definitely recommended it to friends—but nothing, nothing did/could I recommend so highly as An Octoroon. I hadn’t seen the Soho Rep run, so I saw it for the first time at TFANA. I’ve also seen Gloria and Appropriate and I think, along with the rest of the world, that Branden Jacob-Jenkins is on a different level of genius pretty much all the time, but I thought An Octoroon was maybe the most amazing theatrical experience of a new play I’ve had in this decade. Maybe century.

What’s your biggest guilty pleasure?: I don’t really feel guilty about things I take pleasure in, maybe I need to rethink my life. But I do love single malt scotch, probably on a list of things that are not specifically good for me. Other addictions include Top Chef, the Rachel Maddow Show, laughing about animals--both online youtube superstars and my own sweet puppy Mabel—and, as aforesaid, baseball. Baseball is my favorite thing that is not explicitly an art.

What’s up next?: I’m not sure what I’ll be working on next, but I can be seen next on a couple of episodes of the ABC show “The Family”—the first episode actually airs the same night we open “the goodbye room!” And I shot an episode of “I Love You But I Lied” a couple of weeks ago that will be airing in the future. Last fall, I filmed an indie pilot that had plans to pick back up filming in the spring—we’ll see if that’s next! What’s next for Happy Few Theatre Company, though, we know. We’ll be going back to Shakespeare (our last production was a seven-person As You Like It), but this time with a nine-person adaptation of Troilus and Cressida. We’re hoping to find the right space for it for summer or early fall of 2017 and then we can have time to really try to figure out that knotty play—which we love!—as best we can.

For more on the goodbye room, visit artful.ly

Review: Sexual Revolution

Ah, the sexual awakenings of the adolescents. Oh the stories we could share. In Brad Lawrence’s The Gospel of Sherilyn Fenn, Lawrence takes us back to his teenage years, as he is provoked with temptation in the form of female nudity while dealing with the loss of faith following the suicide of a sibling.

Under the guidance of director Cyndi Freeman, Lawrence brings a story of finding himself through Playboy and late night Showtime in the Reagan era. With nothing but a story to share, Lawrence isn’t afraid of offering embarrassing anecdotes. And while some beats can be seen a mile away, when Lawrence does enter them into the arena, you still laugh because Lawrence makes it hilarious. Brad Lawrence is a particular kind of performer. Aside from being a hand actor, Lawrence is a mover. He brings himself close to the audience as a way of engagement and keeps things lively. For the most part, he has a speedy tongue. His monologue just shoots out of his mouth a millions miles per hour. But with speed comes reward. His fast-paced manner instantly allows the more dramatic beats to hit by simply slowing down his tempo. It allows the gravitas to shine.
Brad Lawrence has the power to make his story yours. And that’s the mark of a strong performer. The Gospel of Sherilyn Fenn is a good time with a good story.

Review: A Vocal Roadshow

Sideshows featuring humans with oddities was a grand source of entertainment for quite some time in our history. And has since been the source of inspiration for many stage, literature, and film features. Taking the life of Myrtle Corbin, the Four-Legged Girl from Texas, Lily Ali-Oshatz has crafted an extraordinarily ambitious a cappella musical about this extraordinary human in The Extraordinary Fall of the Four-legged Woman. Following the life and love of Myrtle, this musical finds that despite what’s on the outside, love is truly on the inside.
Ali-Oshatz uses a sideshow as the structure of her piece. With M the Ringmaster, an androgynous figure, and her creatures as the star attractions, a young man becomes enamored with Myrtle, tempting her with a life away from the show. With another notable musical about a sideshow, Ali-Oshatz had to find a way to set her piece a part. She did so by incorporating an a cappella score. The six-piece ensemble was the sole source of sound. It’s a noble feat but also has some severe consequences. While the ensemble wasn’t comprised of extraordinary vocalists, together they sounded sweet, and occasionally eerie. But stylistically how the music is composed and arranged combined with a dramatic story, the energy on stage was naturally low. To no fault of the company, playing it any other way would have felt unnatural so you have to wonder whether the ambition Ali-Oshatz paid was worth the price of admission. Perhaps more voices and a bit more dynamic arrangements could help. While Ali-Oshatz made Myrtle and her love Clinton Bicknell the focus plot line, there was much material that was given to the other players. And it is some of the strongest in the show. That being said, the musical is about Myrtle and her fall into love and out of the world she knows. Finding a way to have the solos by the other players inform the overall action would tie the entire piece together. These moments are thematically relevant so underscoring it with Myrtle moments would be a strong storytelling device. Additionally, M, who Ali-Oshatz happens to portray, is a natural choice to be the puppetmaster of the story, controlling how the piece is told. While it would harken back to the Lead Player in Pippin, having M regulate the action would make Myrtle’s abandonment be so much stronger for M, giving her a more coherent arc. It would make sense as she is a ringmaster.

Ali-Oshatz crafted a character that fit her well. In M, she was able to bring an aura of mystery and intrigue, something that this world was filled with. Individually, the players brought their own flavors but it was Thomas Rabuano as Simon-Elizabeth gave the most surprising performance. As Myrtle and Clinton, Madeline Bugeau-Heartt and Justy Kosek had nice chemistry, proving love is love.
Festival settings can be hard to bring a fully realized production to life. There was a miracle on stage as director Madeline Wall energized the Kraine Theatre. Even if the character arcs where thin, Wall guided her ensemble to find powerful moments. The choreography by Kory Geller was haunting, suiting the piece well. There aren’t very many options when it comes to a rep plot in a festival yet Elizabeth M. Stewart did the extraordinary. She made good use of the stark lighting. By keeping the overall mood theatrical, those moments when the white wash stage was brought in, it looked incredible. Even the image of a tent created with a string of lights was visually interesting. This piece has a very specific feel when it comes to costumes. Visually, it needed to look right. The pieces that Wall, Elizabeth Samuels, and Virginia Wall compiled fit wonderfully.
The Extraordinary Fall of the Four Legged Woman has some work to be done but there is extraordinary potential within. There is room for this piece to grow grander. And once it finds the legs to stand on, Lily Ali-Oshatz may have something special on her hands.

Review: Tales from a Clencher

Do you grind your teeth without knowing? Then you might be a clencher. Do you find yourself tensing up in a relaxing mud bath? Then you might be a clencher. Do you over analyze the font choices in design? Then you might be a clencher. In Clenched, David Mogolov shares how a horrible sore throat led to a lifestyle change and a bit of self-awareness. Written and performed by Mogolov, this sit down comedian has a set which includes anecdotes about comic sans, the NFL, and the steps of unclenching.
Mogolov has an incredible rapport with his audience and a knack for comedic storytelling. He has them eating out of the palm of his hand. His geeky meek persona is fitting for the stories and his style. As a comedian, Mogolov shines but the way he crafts his evening is wonderful. Mogolove calls upon previous jokes allowing the bits to cone full circle. Just when you thought comic sans was in the clear, he brought it right back. And as a fellow fontoligist, I appreciated it all.
Director Steve Kleinedler helped ground and streamline Mogolov's piece by allowing him to keep it simple and precise. He kept Mogolov on pace, rarely allowing his tales to get long-winded. Engagement is key and Kleinedler knew how to get Mogolov to engage without pandering.
Theater doesn’t always have to be groundbreaking. Sometimes entertainment is just what we need. Clenched is a case of great comedy.

Review: Spittin' Women

Catching the wave of a rising trend and capitalizing on its success is always a smart idea. But the product has to be just as good, if not better. The biggest theatrical phenomenon right now is Lin-Manuel Miranda’s Hamilton. In this show you might not have seen because tickets are just not available, a well-known character of history is given the rap musical treatment. Sara Stock, Lindsay Taylor and Isaac Folch take a well-known story and attempt to give it the hip-hop treatment. The story? Louisa May Alcott’s “Little Women”. Lil Women is not Hamilton nor is it quite “Astonishing.” But it's fun.
With the cliff notes version of “Little Women” stuffed into sixty quick minutes, as it stands now, Lil Women is a stylistically confusing piece. The source material is dramatic by nature but Stock, Taylor, and Folch put hints of comedy in it. And when the comedy is punched, Lil Women is hilarious. Lil Women is a natural comedy. The more dramatic moments don’t quite work. Commenting on the rap musical trend through comedy is what may serve Lil Women best. With the amount of substance in the source material, there was little time for character development or hitting the necessary beats for a well-made piece. There’s no time for character arcs. Knowing “Little Women” is incredibly necessary to fully comprehend the musical. That being said, you have to appreciate the skill Isaac Folch has put into the piece. The rhymes through his lyrics are well-placed and proficient. Even the music, which samples and finds inspiration from some of the most infamous 90s hip-hop and rap. Pick up on it or not, it should bring a smile to your face.

The company of Lil Women was mixed with proficient spitters and some who were, well not. Those who could get the rhymes out stood out. Two of the strongest overall performers were Rebecca Siegel as Jo March and Megan Borkes as Beth March. Both Siegel and Borkes are talented rappers but they individually offered something fresh. Siegel is a strong actress, finding depth in Jo. Borkes is a hilarious comedian. Never going over the top, Megan Borkes is just naturally funny. As the baby, Croix Provence capitalized on crafting a character. She took the elements that made up Amy March and highlighted them in true caricature form. And that’s why Provence was exciting to watch. She’s one who made a case for a spinoff.
Directorial, Lindsay Taylor’s mission was to keep Lil Women moving. Unfortunately that didn’t quite happen. With the Kraine’s unique entrance options, utilizing the revolving doors would have assisted with the transitional woes. Additionally, comedy wants to be fast. There were several beats missed, as the pacing was a tad slow.
Lil Women could be something worthy with some necessary polishing and some dramaturgical assistance. It just needs to learn what it wants to be and own it.

Review: The Devil's Jam Session

In the festival circuit, there’s always that one show that’s not like the others. In the landscape of the 2016 Frigid Festival, that show is Supershock vs. Faust. Billed as a “movieconcert”, Supershock vs. Faust is the antithesis of theater. Appearing more like performance art, Supershock vs. Faust takes the silent film version “Faust” by Murnau while rock musician Supershock provides a live underscore. The juxtaposition between era and style ties into a thematic night of multi-disciplinary performance.

For those who may not know the silent film, demon Mephisto places a bet with the Archangel that he can corrupt a righteous man. Mephisto finds his victim in an alchemist named Faust who tempts him with his powers of youth, wisdom, and love. In the end, love triumphs and the devil loses his bet. Murnau’s film is terrifying. The cinematic classic features some frightening characterizations and themes. Combining a metal score underneath actually is fitting. But the trouble of Supershock vs. Faust is what the focus of the piece is. Supershock is the star of the show yet he positions himself on the side of the stage with his electric guitar and distortion pedals while the movie is projected on a screen at the back of Under St. Marks. With concert in the description, we want to see the music maker. If Supershock places himself in front of the screen, we’ll still be able to see what we want rather than having to choose.
Be prepared. Supershock vs. Faust is not like any other show in the festival. The moral of the story is don’t trust the devil, no matter what. Even if he tempts you with a repetitious night of music.

Review: I Was in a Cult

We’ve heard stories about people getting involved in religious cults but we never imagined it could happen to us. Why does it happen? How does it happen? That’s the story Diana Brown is about to share in her solo show So Amazing. Inspired by a true story, So Amazing is Brown’s saga as she found herself involved in a religious group in Bergen County, New Jersey. In the multi-character solo show ripped from the headlines, Brown meets an intriguing white girl with a Korean accent who invites her to her church. And without warning, Brown finds herself signing away her life to a place where fear and manipulation are in control.

What is most important element about So Amazing is the story. The tale of a cult survivor. It keeps the piece engaging. With the story as the draw, Brown may want to explore a different solo format, changing from multi-character to extended monologue. As far as how the piece flows, Brown’s portrayal of the various characters isn’t her strongest suit. Brown has trouble transitioning and finding variance. But when Brown plays herself and speaks the truths, the audience is engaged and it’s the most interesting aspects of the show. Brown uses the piece to help and instruct, talking about how loved ones can help and informing about the BITE model. The elements are present so a slight altering of format could elevate So Amazing. Additionally, bringing in a directorial eye could be of great use.
So Amazing is an important story to hear. There are others like Brown out in the world that don’t get the opportunity or have the courage to speak their voice. In that respect, So Amazing is a success.

Review: Discovering the Truth

We all have memories and visions of our parents. What they were like when we were kids. It's how we remember them. In Nicole Ferraro's breathtaking Why So Much Shame?, Ferraro recalls her father who passed when she was a child. As she grows up, she uncovers truths to the person he was that radically alter her memories. Written as an extended monologue, Ferraro plants herself behind the microphone and simply shares. And it's perfect. With a soothing voice, Ferraro paints a picture through imagery of her memories. What's interesting about her text is rather than share the story chronologically, she jumps around in time allowing the past and future to inform one another. It happens to work well for this story.

photo by Katherine Lee

Part of her story discusses a paper she wrote that was deeply dissected by her teacher with a final quote that led to the title of this play. Ferraro doesn’t ask for sympathy in Why So Much Shame?. She simply shares. And that’s beautiful. As a performer, Ferraro keeps a mild tone to her voice. She’ll occasionally deviate bringing a little more energy or sass but the continuity of her storytelling is strong.
What sets Why So Much Shame? apart is the simplicity and vision by director Sara Peters. Peters places a piece of artificial grass with an assortment of childhood items and memories. They’re not just there to create a set, Ferraro subtly comments on each, allowing the audience to pick up on them if they so choose. You can’t help but smile seeing the tape of “Three Men and a Baby” is referenced or the file folder of Daddy’s memories. The other welcome extra to the production was the evocative lighting. Sure, the lighting occasionally changed haphazardly, there were certain moods that were so fitting, and it elevated the story.
Nicole Ferraro has a great piece on her hands. Standing alone on stage, Ferraro would have succeeded but what director Sara Peters brought to the stage is what makes Why So Much Shame? shine.

Review: Waiting for Grief to End

We all grieve in different ways. And that’s never been more true than in Kasey Brown and Marc J. Franklin’s Thank You for Waiting. The drama follows a pair of old friends who happen upon the same room where they are forced to have a conversation a year in the making. Along they way, we learn the incident that has torn them apart and just how it has affected their lives. Exploring themes of anxiety disorders, fears, and mourning, Thank You For Waiting is a fantastic examination of a relationship.
Performed by Brown and Franklin, Thank You for Waiting follows Kate, a newbie to New York City, who happens upon a doctors office where her longtime friend Eddie happens to work. Soon, it’s revealed that after a year, Eddie and Kate have been disconnected at the hands of Eddie who has ignored every attempt of communication. While they seem to be able to pick up where they left off, the waiting room of the office is filled with tension and words that are begging to come out. When it’s finally revealed that their mutual friend’s death has caused their wedge, we discover that these two individuals are mourning in drastically different ways. Kate’s attempt at grief requires her best friend Eddie. Eddie’s attempt at grief requires space between he and Kate. Just how this pair can find closure is the question of the play. Brown and Franklin’s piece is captivating, touching upon themes that reverberate with anyone watching. It’s likely that you can relate to either character in some form or another. The relationship between Kate and Eddie is strong. With little exposition, we’re easily able to know who these people are, piecing together their past while building upon their present. Their script, for the most part, avoids fluff, keeping the dialogue filled with important information. Where things get messy is how the play is performed. From the get-go, you love Kate. She’s relatable, cute, and bubbly. You accept her at face value. Eddie is a bit rougher on the surface. He deals with his problems on the surface, disconnecting from the situation every chance he gets. And the more you learn about Eddie, the more you want to throw something at him for the awful things he says. To put it bluntly, Eddie is a dick. Sure, you understand where he may be coming from but calling Kate selfish is quite hypocritical. To have such a strong reaction toward a character is a mark of strong writing.

Kasey Brown and Marc J. Franklin seem to approach their performance from two different perspectives that only come together toward the end. Brown’s Kate begins the play with Kimmy Schmidt optimism. She gives Kate a wide-eyed view of the world. Her quirks are just that. We don’t really question them until she does. Franklin’s Eddie is more dramatic and natural. With one party playing in a sitcom world while the other has a more soap opera approach, they don’t really meet in the middle often. It’s not until Kate has her breakdown that Brown and Franklin feel like they are in the same play. While neither choice is wrong, they may not have been the perfect pair to play off of one another. That being said, they are individually two skillful performers.
Directed by Nicholas Foster, Thank You for Waiting is a two-hander that moves. Foster kept the pacing natural, allowing the beats to move when necessary and lived in at the right moments. He guided the duo through this emotional journey but finding a way to get them on the same page seemed like it was difficult. But that’s what could happen when your actors are the scribes. The set was simple. Two sections of chairs that made up the waiting room. It felt open yet claustrophobic, something that both characters experience. It was a metaphorical success.
Thank You For Waiting is a strong piece of writing. It’s a story about loss that you can connect with.

Spotlight On...Harrison Bryan

Name: Harrison Bryan

Hometown: Brooklyn, New York

Education: Boston University, College of Fine Arts, BFA Acting

Favorite Credits: Off Broadway: MCC’s FreshPlay Festival (Clurman Theatre, Theatre Row); NY Credits: 12th Night (Feste, Powerhouse Theatre Co.), Hello! My Baby (Mickey McKee, CAP21’s New Musical Festival), Writer/Actor/Improviser for Faces, Theatre Network for Teens; Regional: Little Shop of Horrors (Seymour, Farmers’ Alley Theatre, Kalamazoo, MI), Spamalot (Patsy, New London Barn Playhouse, New London, NH), London Academy of Music & Dramatic Arts: Hamlet, (Leartes); Boston University: columbinus (Dylan Klebold, Boston University Theatre, Boston, MA), High School: The Producers (Leo Bloom, Edward R. Murrow H.S., Brooklyn, NY), Elementary School: The Wizard of Oz (Tinman, Kindergarten)

Why theater?: For me, it's Storytelling. The craft, the history, its influence, the challenge, and my love for it. Starting in third grade, everyone in my class had to enter the school-wide storytelling contest, where we each had to pick a short children's book, memorize it, and tell that story to an audience. I chose "The Magic Fish" - and loved telling the story. The further into the contest you went, the larger the audiences got, and eventually I found myself representing all of Brooklyn in the NYC borough-wide Storytelling Championship. Winning those contests serve as some of my strongest memories from childhood, but more importantly, I remember how much I enjoyed the Process and the Adventure; how much Joy simply telling the story seemed to bring to my family, to the audience, and to myself. And, I think, it was in that moment of youthful recognition, up on a stage, that I decided Storytelling would be a constant in my life. I think that’s where it all began for me. I was born in Brooklyn - so my family was always just a short train ride away from Broadway. My mother studied theatre in college too, and was a great actor herself - so she made it a point in her parenting, (thank god), to introduce my sister and I to Theatre at a young age. I couldn’t thank her more for that; and my father, too - for full-heartily supporting the arts in our house. Of course I enjoy Film and TV as well, but I think I will always prefer the Theatre, because of the live audience factor. On top of that, I deeply respect its challenges. For example, on stage, there's no editor, there’s no second takes, there’s no waiting for you to be ready before you “act a big moment” - there is only the moment, in an imaginary world, with you and your scene partner and the audience. It will never be perfect. It will never be “just the way you wanted it”. But instead, each night stands as a new chance to totally embrace the present moment, with a new group of people. That undeniable connection between the actor and the audience - in their presence, energy, and influence - feels especially unique to live theatre. And as complex, paradoxical, and intricate as theatre can be, at its core, the priority of the theatre artist somehow remains simple: tell the story.

Tell us about STILL NOT: Honestly, I am equal parts excited and nervous. STILL NOT feels like a risk I haven’t taken before because, even now, I still don’t know how it works off the page. Rehearsals, of course, have been helpful in exploring the piece as a whole - but, as our director, Mr. Rory Lance, has said before, this is a play filled with many traps and many opportunities, and the difference between the two feel very subtle. It’s a delicate piece, which demands a higher level of specificity and an astute attention to detail. It is also a play with very little physical action. There are only two characters, and only one set piece. A play, (these days) with absolutely no spectacle always risks the fear of being boring. So it's nerve-wracking, knowing I'm putting this up there - trusting in the idea that simplicity, minimalism, and sincerity will be enough. I find that the play works better as an exploration of feelings and thoughts - as opposed to "a play with a message." I don't want to suggest that I know the answers, in fact, I think it's more interesting to look at the play through the lens of emotionally-fueled and challenging Questions, (such as): "IS waiting for love a choice?" - “What kind of Control do we have over our feelings?” - "What role do Expectations play in our relationships?” - “And since nothing can really be Predicted - does it even make sense to try and figure it all out?" These are the kinds of questions I am exploring in the play. It is focused on the characters’ journey to uncover truths about relationships, and themselves, as they investigate the important questions to figure out Life and Love... -- and what it means to wait for the unanswerable answers to show up.

What inspired you to write STILL NOT ?: Relationships are hard - but getting over a relationship, I think, is harder. I’ve seen what it does to people I care about. And - I have experienced both sides of the break-up coin myself. Shelby and I have an intimate understanding of the challenges of sustaining a relationship, pre, during, and post a romantic one.  I think our friendship has grown from our desire to remain honest with each other, and I believe, in part, that that has influenced and inspired the play on many levels. As a result, she continues to be a great friend - and a great scene partner. But the fact remains: Breakups are tough - and they don’t seem to get any easier. I wanted to create a metaphoric world (The Bench) where the major conflict involved That struggle. The struggle of wanting to let go, but not being able to. In the writing of the play however, I learned a valuable lesson; Waiting for love is a choice, and while the force of love is strong, at the end of the day, the power of Letting Go is stronger. We can’t predict the future - but when we hold onto the past, we let it prevent us from seeing the potential of our present. And true change can only happen when we fully embrace That Present. THAT is what I hope the play illuminates for anyone dealing with a hurt - or healing - heart.
         
What kind of theater speaks to you? What or who inspires you as an artist?: I'm a sucker for comedies that make you think. If a piece of theatre can both move me and make me laugh at the same time, I'm hooked. Shakespeare used his fools to speak truths, and I think there's a great deal of wisdom to be found there. The first play I ever read that made me laugh out loud excessively was Christopher Durangs’ Baby with the Bathwater. THAT play got me. It was given to me by my then high school drama teacher, and mentor, Mr. Rory Lance Schwartz. (He’s been retired now for five years, coming out of his “directing-retirement” to direct this production! And that’s been a great gift to this process, as well.) - Anyway, I was 13-years-old, and Durang was the first playwright I really connected with on that level. I enjoyed the theatrical genres of his plays: the dark comedy, the absurdism, the clowning, and the satire. STILL NOT doesn't feel inspired by Durang however - it came from a different part of me - a more poetic influence. I'm a big fan of Albee, Beckett, Chekhov, Ibsen, Ruhl, Shakespeare, and Stoppard. In their writing they often have characters whom represent larger ideas. As writers, they embrace the theatricality of their worlds with a language that often acts at a slightly heightened level, like poetry. Also, they all use humor as a connecting device for their characters and that's what makes them so human to me. And... being a Jew from Brooklyn - to say I'm not a fan of Neil Simon would be a lie. He is perhaps the best at setting up a joke. He has mastered the art of situational comedy - always placing contrasting characters in the same place and letting the play write itself it seems. I find his work consistently entertaining and fun, and I appreciate how he lets his heart shine through. I think his characters always seem lovable because of it.

If you could work with anyone you’ve yet to work with, who would it be?: Trey Stone and Matt Parker. I think they might just be the best at what they do. Also, they love the theatre, they hate ignorance, and they are unapologetic in their art. They satirize the world we live in with such intelligence, while somehow maintaining their absurd silliness and feeding their respective inner child. They're writing is top-notch hilarious - and surprisingly poignant. And despite their worldwide fame, they stay true to themselves and remain down to earth. They're my celebrity man-crushes, for sure. If only they knew I existed, we’d be good friends, I think.

What shows have you recommended to your friends?: Hand To God isn't playing anymore, but if anyone ever gets a chance to see it - they must. Old Hats, created by Bill Irwin and David Shiner, is really fun! They are amazing performers, and if you like physical comedy and clowning, it's truly a must see. (It’s a limited run!) And of course Avenue Q is still one of the best things happening in NYC right now. It's ridiculously good. So if you are deciding between Wicked for the fourteenth time or seeing Avenue Q for the first...please, for the love of god, give those puppets a chance to win you over. They absolutely will.

Who would play you in a movie about yourself ?: I hope it’s an animated movie-musical starring Tobey Maguire as Young Harrison and Mickey Rooney as Old Harrison.

If you could go back in time and see any play or musical you missed, what would it be?: 1. July 1602 - England! Opening Night, World Premiere, of the 5+ Hour production of Hamlet... Featuring Mr. William Shakespeare himself as The Ghost! 2. December 10, 1896 - Paris, France at the Théâtre de l'Œuvre - for the opening and closing night of Alfed Jarry’s Ubu Roi. Apparently the audience was so shocked and disturbed by this satiric masterpiece, they stormed the stage and revolted IN the theater!

What’s your biggest guilty pleasure?: ...The Powerpuff Girls?

If you weren’t working in theater, you would be _____?: I liked painting when I was younger - and I thought I had some potential there. I also like the idea of interior designing, or party-planning, public speaking, or working at an aquarium. But more realistically, I would probably work for my dad and take over his garment steel business. He manufactures and delivers clothing racks, and other steel products, for major fashion industries and department stores. There aren’t too many steel companies in NYC anymore, and my dad’s is one of the best - so that’s a my family business I could sneak into ... (for more, visit: http://www.millenniumracks.com/)

What’s up next?: Well, after four years of being in Boston for college, and over a year of being on the road, performing regionally and touring, I am hoping to stay home, in New York City, for a while. I have a potential acting job lined up in the fall and I will continue to audition, act, and write professionally in the mean time. I love writing for the stage (and screen) - and creating my own opportunities in that way. I want to write a one-man-play sometime in the near future. (Something including puppets, maybe?) I also want to start incorporating music into my writing a little more, as I’m trying to get better at the ukulele (and banjolele) at the moment... I also want to learn how to juggle. Then, there’s my film production company, Business Lunch Productions - we film outside projects and create our own work - sketches, shorts, features, and documentaries. The creative team is mostly comprised of some of my best friends from high school - so hopefully we continue to build the company and create new, fun, and artistically fulfilling content. For now though, I’m focused on this play and our opening night on March 3rd! I’ve learned a lot about the play from this experience - and hearing an audience’s reaction will be tremendously helpful for future productions and drafts. Then, after that’s done, I’ll work on the next play - and hopefully more and more to come! THANK YOU FOR YOUR TIME AND SUPPORT - HOPE TO SEE YOU AT THE THEATER!

For more on STILL NOT, visit www.facebook.com/STILLNOTbyHARRISONBRYAN. Fore more on Harrison, visit www.HarrisonBryan.com

Spotlight On...Zach Libresco

Name: Zach Libresco

Hometown: Mineola, NY

Education: Wesleyan University

Select Credits: The Shakespeare Forum's The Merchant of Venice (Lorenzo); dell'Arte Opera Ensemble's The Fairy Queen (Demetrius/Snout); Adirondack Shakespeare Company (Touchstone, Dr. Caius/Bardolph, Tybalt); Spicy Witch Productions' Fall Season (Stark, Sparkish); Underling Productions' The Misanthrope (Oronte); Bottoms Dream's Cleopatra (Lepidus and others)

Why theater?: Because I love to tell and hear all kinds of stories, and it requires me to bring my full self to my work.

Who do you play in Double Falsehood?: Julio

Tell us about Double Falsehood: It is a play about honor culture, rape culture, what men do to men, what men do to women, family, love, and originally written by our greatest playwright. Double Falsehood is a story that needs to be told right now. Theobald's prologue and epilogue illuminate how far we have yet to travel in solving these systemic cultural disorders,

What is it like being a part of  Double Falsehood?: It is a joy to come to work every day with this group of artists.  It is a high IQ group of people who love to play and complement each other very well.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that challenges me, and the style I move toward is ensemble based storytelling with a strong physical life. A few productions I consider pillars of creative, engaging, and moving performance are: Split Knuckle Theatre Company's Endurance, Elevator Repair Service's Gatz, NYTW's Peter and the Starcatcher, Lin Manuel-Miranda's Hamilton, Bill Irwin's The Regard of Flight, and Brandon Jacobs' Jenkins' An Octoroon.

Any roles you’re dying to play?: I may be more of a Didi, but when I get older I want to play Estragon in Waiting for Godot. Fifty years from now, Lear. It is a dream of mine to be in a tv series or film where basketball figures prominently into my character's life. GET BUCKETS! COOKIES!

What’s your favorite show tune?: "My Shot"- Hamilton. "This Nearly Was Mine"- South Pacific. "Sarah Brown Eyes"- Ragtime.

If you could work with anyone you’ve yet to work with, who would it be?: Bill Irwin!

Who would play you in a movie about yourself and what would it be called?: My buddy Sean Lounsbury would play me in "Love and Basketball 2: Taking Charge", a coming of age story about a young man who maximizes his efforts on the basketball court by drawing offensive fouls against the other team's best player (played by Julian Silver) and I would be the stunt man for the basketball scenes. Orlando Magic Assistant Coach of Player Development Jay Hernandez consults.

If you could go back in time and see any play or musical you missed, what would it be?: Ira Aldridge's Othello. Some attainable, less culturally significant missed opportunities from my lifetime include going to my high school girlfriend's graduation party instead of The Norman Conquests in 2009 and getting rained out of the NYSF Romeo and Juliet starring Oscar Isaac and Lauren Ambrose.

What show have you recommended to your friends?: Hamilton, obviously. And also the theater on film and tape archive at the Lincoln Center Performing Arts Library.  When I was adapting Hamlet into an immersive installation in conversation with Alice in Wonderland I saw three Hamlets there!

What’s your biggest guilty pleasure?: Dark chocolate.

What’s up next?: At the end of April I am playing Lucius and Chiron in The Humanist Project's Titus Andronicus, and you can hear me as Colonel Warren Kepler on the sci-fi radio drama Wolf 359!

Review: Grandpa, Me, and the Ensemble

There are people in our lives that shape us into the people we become later in life. For Laura Force Scruggs, it was her grandpa. In Punk Grandpa, Scruggs offers a loving homage to the man with an inappropriate joke at his disposal and a dance in his heart.
Originally performed as a one-woman show, Punk Grandpa takes a leap into becoming a multi-actor play, ensemble included. Maintaining the solo show structure, an actress takes on the role of Laura to narrate life as a five and three-quarter year old and her relationship with the man she called grandpa. With the structure what it is, it didn’t quite make the transition as seamlessly as one could hope. And it’s a shame because Scruggs’ story is quite lovely. It’s evident that the text has been lived in and is well polished. But by simply expanding the piece by having an ensemble of actors play the roles that Scruggs normally played herself did not land. Adapting the original story into a more typical play structure where narration can be included less frequently may have been the stronger choice for Scruggs. As it stands now, it’s muddied.

photo by George Rand

The clarity of storytelling can partially be blamed on the excessive amount of movement and scenic shifts. Director Janie Martinez used a trio of rehearsals cubes and a series of mismatched chairs to delineate location. And setting up the scene in the very tight space of Under St. Marks was more of a hindrance as it was distracting. There’s no safe zone where you can pretend that a scene isn’t occurring under the scene change. When there’s a theatrical light on, the stage is lit.
Martinez allowed her ensemble to explore the depth of characters, often finding some big choices along the way. Becky Chong as Laura is a great storyteller. Chong could easily tap in for Scruggs in the solo version if need be. Chong’s heart is what elevated her performance. As Grandpa, Ken Coughlin gave a durable performance. His movement was a bit stiff and static but there was a nice connection between Punk Grandpa and grandpunk. The quartet that comprised the ensemble was split down the middle of skill. Mitchel Kawash and Rachel Ladd may have been the strongest all-around performers in the entire piece. Their ability to create an array of fun and interesting characters gave the play life. And it all came down to facial expressions. Between Kawash’s big, infectious smile to Ladd’s knack for comedic scowl, the duo stood out.
It’s clear why transferring Punk Grandpa into a multi-actor play was desired. We want to see the man that Laura Force Scruggs wrote about. But to do so, it sacrificed the integrity and heart of the story. Punk Grandpa, in narration form, survives on less is more.

Review: When the Audience Plays Murderer

Participatory theater is like being a door-to-door salesman. The pitch needs to start off so strong that the potential customer doesn’t slam the door on your face. If the pitch isn’t good then that moment when it’s time for the audience to play along will be a dud. Sadly, such is the case in The Murder at Ginger Creek. Written and created by Michael Gargan Curtin and Ruthie Scarpino, The Murder at Ginger Creek is a family-aimed interactive piece that attempts to get the audience involved. Only when it’s the audience’s turn to play, it takes some severe coercing to get a response.
The premise of the show is an Eastern European hostess with the mostest and her hunchback assistant guide the audience through a “Mystery Science Theatre” style evening where we watch four suspects arise when a murder occurs at the Ginger Creek motel. Through madcap comedy, the audience plays the role of detective to try to solve the mystery. The idea is fine. But there were many factors working against the duo in this particular setting. With hopes of being slightly immersive, the Kraine Theatre was not the right venue for this experiment. It’s hard to get an audience to interact in a standard theater as there is a natural fourth wall built. Simply bringing the house lights up was not nearly enough. The other major factor working against Curtin and Scarpino was the “do it all” strategy.” When you’re so close to a piece, it’s hard to see the flaws. Bringing in an outside eye to hop into the director’s seat could have been of great assistance. As it stands now, there was a dead air in between scenes and character shifts that deflated the momentum. Textually, the plot seemed simple yet when the audience was asked questions about characters and motives, there was silence. Incorporating names and spelling out the facts cleaner will be of great assistance to the piece. Festival setting or not, the less-is-more technique didn’t pay off for the piece as a whole.

When it came to bringing The Murder at Ginger Creek to life, Michael Gargan Curtin and Ruthie Scarpino are both capable character actors. But Curtin is head over heels the far superior performer. Curtin easily slid into his trio of roles, bringing distinctive voices and physical characterization to each. Curtin is one who could easily succeed in the world of solo performance if he so chose. Scarpino on the other hand made good use of her characters, but they didn’t have that spark that Curtin embraced. With a natural element of improvisation, Curtin again was the stronger of the two, able to keep in character no matter the situation. Though seeing that tiny burst of breaking from Scarpino was endearing. It’s why we love live theater!
The Murder at Ginger Creek is entirely dependent on active audience. If the audience, no matter the size, isn’t on board to play, it may be best to ride off into another town. But with the right audience, one filled with some wide-eyed youthful smiles, The Murder at Ginger Creek could be fun.

Review: Pure Madness

Sometimes an idea on paper sounds like brilliance but when it becomes a reality, it doesn’t quite work as well as you thought. That may be the case with The Golden Smile. Written by Yaakov Bressler, The Golden Smile follows a group of mental patients who decide to create a play to save their rec room. Filled with more dramaturgical questions than can fit in the crayon sock, The Golden Smile is a metaphorical mess. Written like an absurdist comedy, Bressler’s piece features a very loose plot and no clear character development. Bressler grants no backstory to the situation and no exposition into who these characters are. We  don’t know what their illness is nor why exactly they act the way we do. Instead, Bressler provides a script that allows his company to prove that they may have had one too many Red Bulls prior to curtain. The biggest question is that if this institution is worried about violence from their patients, why are they left alone without an attendant? While this simple fact would destroy the “Toy Story” element of the patients virtually coming to life when no one is around, it’s a viable question that you must ponder as you watch. Sure, there is a worker who pops his head in to keep the peace, but his competence could easily be called into question as he continually leaves. So what exactly is the story that these personalities are conjuring up? It’s hard to say. With an overstuffed script with metaphors that make little sense, trying to find the moral within is hard. Especially when you leave still wondering what exactly is The Golden Smile, both title and within the play. The Golden Smile also seems to be confused as to what exactly it is. Is it a play with music or a musical? Using a live band that is dressed in blacks, clearly not living in this world, caused many woes. The Golden Smile could easily eliminate the music entirely from the show. But if the music by Zach Stamp is necessary, Bressler and director Joey Stamp must work them into this world, incorporating the band into the play within the play. Making them patients too will connect the world and give them a purpose otherwise they are merely an onstage distraction. The Golden Smile treads a very fine line of mocking mental illness. To the wrong person, the piece could come across as offensive. Nevertheless, when the characters break into their “actor” roles, the personalities that they adopt are nothing we see prior. Where they come from is essential. While it could tie back into what their illness is, defining this will keep assist the character development.

While the script may be in shambles, The Golden Smile is led by a director with a strong commitment to upholding a vision. Regardless, when presented this material, director Joey Stamp did all he could do. He kept the play moving, clearly strategizing beat to beat. The one choice that didn’t benefit the piece was having the actors haphazardly play on stage during the preshow. We don’t learn anything about them, we simply see them causing a raucous, something that occurs seconds into the play. While Stamp did have his company interact with the house manager, it’s especially dangerous to have an active preshow in a festival setting as it disrupts the flow of the evening due to the preshow announcement.
Regardless of material, the energetic ensemble had fun, owning their characters. While it may be due the sanity factor, the stand out of the bunch was Flynn Harne as Messenger, the hospital attendant, the only slightly sane person. Harne has an outlandish comedic drive, tackling a persona that was reminiscent of 90s Jim Carey. The neurotic nature of Andy McCain’s Writer was overwhelming funny. The means in which he lived in Writer’s body caused him to fling himself for comedy sake. Sofiya Cheyenne and Jody Doo both showed promise as Director and Sarcastic Actor. Compared to the rest of the company, there was something off about Robert DiDomenico’s Loathing Actor. Of the trio of “Actors”, DiDomenico always seemed to stick out or one up the other two rather than being a cohesive unit as you would think the trio should be.
What’s interesting about The Golden Smile is the use of the Critic characters. While one meandered on and off stage, the other was the voice of reason, often saying likely what the audience was thinking. When a character in a play is confused by the rules of the world, chances are the audience is too. Yaakov Bressler could benefit by working with an fresh outside eye dramaturg to help him and his piece along, asking him the questions that must be answers. As it stands now, The Golden Smile is just pure madness.

Review: The Crisis of Life and Ikea

A boy is having an existential crisis. A girl is having an IKEA crisis. But who’s there to help? That’s the premise of Help me out here, produced by No Dominion Theatre Co. Written, directed, and performed by Michael Joel and Kaitlin Overton, this two-hander is virtually two elongated monologues that are interspersed by omniscient voice overs that hit the duo hard. Exploring themes of loneliness and happiness, Help me out here is a call for help that we all know too well. As the duo attempt to work through their woes themselves, when they come together, the moral of the story is revealed. It’s an obvious one but that’s life. Friends are there when you need them. It just may take some time to accept the call.
You can tell a lot from a relationship based on how two people build furniture together. In the case of Michael Joel and Kaitlin Overton, their feat is simple as their bond is genuine. Again, while this piece does contain moments of partner interaction, it’s truly an individual effort. In the case of this piece, Kaitlin Overton is the featured artist in the Michael Joel Show. Simply due to content and placement on stage, Joel stands out. And beautifully so. The material Joel showcased was more metaphorically driven, thriving in the accessible poetry of his words. Joel also happens to be a hypnotizing performer. When he speaks, you listen. Even if there’s just a haunting lantern as the sole source of light. Joel is a raconteur. He likely could read the dictionary and sell it. Overton’s crisis was a bit more physical. We all know that assembling even the simplest of Ikea furniture can be a futile effort. By positioning herself on the ground for the majority of the play, she almost melted into the stage. With Joel being the dominating presence simply by levels, it played a huge factor in controlling the play. As a performer, Overton has a quirky allure. It was a nice contrast from Joel’s anxiety driven persona.

photo by Joseph Redl

Overton and Joel kept their piece simple when it came to staging and design. With voice-overs playing a big role in the piece, how they sounded was important. Whether intentional or not, there was a bit of a distortion attached to them. It added a flair of eeriness to the beats. The lighting was pretty basic except when an act of fate knocked them out. The addition of the LED lanterns not only offered some striking images, it forced you to pay attention to the detail in the words Overton and Joel spoke.
Help me out here is a basic story and a story we all know too well. That being said, there is something fascinating by the work done by Kaitlin Overton and Michael Joel. Help me out here is one of those extremely rare occasions where wearing all of the hats managed to work. Though bringing in an outside eye for the next go around could be beneficial. And believe me, there’s likely to be another go around of Help me out here.

Review: D'yan Forest's International Tour of Men

photo by Bogdan

When you reach your 81st year, you’re bound to have a plethora of stories to share. Just ask D’yan Forest. In her solo cabaret, Forest takes the audience on a tour of her life around the world in A Broad Abroad. Filled with a song, jokes, and a lot of crudeness, A Broad Abroad is a celebration of love and life.
Forest’s story of international escapades on stage and in bed is the source of this sixty-minute comedy extravaganza. Though we're not sure if there was ever a bed involved during her exploits. What starts with a brief affair with the City of Lights, D’yan Forest finds herself gracing the stage around the world where, at each stop, she meets a gentleman that woes her. Accompanying her stories are an array of thematically-relevant music. From showtunes, like Cabaret’s “Don’t Tell Mamma” to standards, like Edith Piaf’s “La Vie en Rose”, Forest provides them all. But nothing is more satisfying and uproarious than the perfectly-timed “Touch-a Touch-a Touch Me” from The Rocky Horror Show. It’s very likely that after this performance you’ll cry laughing.
As a performer, D’yan Forest commands the stage. It’s hers from start to finish so don’t try to pull her off until she’s ready. Forest is just delightful. She’s spry and crass, keeping her audience entertained with everything she shares. Director, and co-writer, Erik Kornfeld guides Forest on her journey by giving Forest her freedom to pander while bringing her home in some of the more quiet moments. These shifts allow a clear arc to pass through the show.
A Broad Abroad proves why D’yan Forest deserves her eight-decades of music, madness, and “foreign affairs.” She is an inimitable performer that is bound to astonish you in some way.

The Rulers: A Sneek Peak into Rule of 7x7: February Edition

The weather changes from frigid to mild in just a day so it must be February. And another Rule of 7x7 is coming to The Tank! So to get you ready for Thursday's show at 7:00pm and 9:30pm, we have a glimpse into the seven rulers AND the special guest host!

The Guest Host

Name: Rachel Lin

Hometown: Brooklyn, NY via Manchester, UK

Education: BFA, NYU Tisch

As an actor, what has been your favorite 7x7 experience so far?: Rehearsing Jenny Morris's On My Honor directed by Courtney Ulrich with Briana Pozner, Lydian Blossom, and Kristin Friedlander -- we could not keep it together! Those ladies made me laugh so hard, I (secretly) peed my pants a little. Also, working with Ugo Chukwu & Dan McCabe. Those guys are just the best. Also, getting to play a lesbian named "Ronda" written by Abby Rosebrock.  Basically, all of them.

How did you get involved with guest hosting Rule of 7x7?: Brett maintains a highly selective screening process for Rule of 7 hosts. I'm not at liberty to discuss what it entails at length, but I can say that it involves pumpkin flavored coffee drinks, top 100 songs from the 90s, and trips to the Patriot (Tribeca's finest watering hole).

What can we expect to see at Rule of 7x7?: Sexy idiots having a great time together.

 Why should we check out Rule of 7x7?: Come for the plays. Stay for the party.

For more on Rachel, visit rachelmlin.com

The Rulers

Name: Matt Cox

Hometown: Rowlett, TX

Education: Tarleton State University (Home of the Texans.)

What is your rule?: Texas. (I sense a theme.)

Why did you pick your rule?: I could say something about wanting to find a connection to my upbringing, but really I just thought it would be funny and people could do silly accents.

Tell us about Cool Chefs JR. The Live Season Finale: CCJ: TLSF is about that one part of all full season based reality shows where they are about to announce the winner, but take that one last commercial break right before the results. In CCJ:TLSF, that sequence of events continues happening for 10 years on a children's cooking competition.

What can we expect to see at Rule of 7x7?: 7 very different ways to interpret 7 sentences and/ or words. It's always fun to see what some writer's instincts are.

Why should we check out Rule of 7x7?: Because a great time will be had by all.

For more on Matt, visit www.mattcoxland.com

Name: Cary Gitter

Hometown: Leonia, New Jersey

Education: BFA in dramatic writing and MA in English and American literature from NYU

What is your rule?: Judaism.

Why did you pick your rule?: Because I'm Jewish.

Tell us about Circumcision: A young Jewish couple go to see a mohel (a performer of ritual circumcisions) about their unborn son's bris. Chaos ensues.

What can we expect to see at Rule of 7x7?: Funny, outrageous short plays by talented writers, performed by fearless casts, helmed by great directors.

Why should we check out Rule of 7x7?: Because it's a fun, raucous night of theater, and it's cheap, and you get a free drink. What better way to spend Thursday night?

Name: Sylvia Khoury

Hometown: Purchase, NY

Education: New School MFA, Med School at Mt. Sinai!

What is your rule?: Clorox Wipes

Why did you pick your rule?: I'm a big fan. Actually, I buy Clorox spray and use it with paper towels. Lasts much longer.

Tell us about Welcome!: I feel like my soul has been laid bare in this one.

What can we expect to see at Rule of 7x7?: The programs crinkling as people point to the rules they recognize.

Why should we check out Rule of 7x7?: Because you can spend the whole time thinking about how 7x7=49 like I do.

For more on Sylvia, visit www.sylviakhoury.com

Name: David Meyers

Hometown: Fort Lee, New Jersey

Education: Way too much.

What is your rule?: The line "Did I do that?"

Why did you pick your rule?: Somehow "Family Matters" and Steve Urkel popped into my head. I'm interested to see if anyone uses the line in that context (I didn't).

Tell us about ISIS in Hollywood: ISIS in Hollywood is about a Jewish actor from New York who gets kidnaped by ISIS in Syria. It's a pretty provocative look at ISIS that will hopefully make you both laugh and think. Springtime for Hitler in Syria.

What can we expect to see at Rule of 7x7?: I've performed in and attended Rule of 7x7 in the past, and have always been blown away by all the talent onstage. I expect the same next Thursday.

Why should we check out Rule of 7x7?:  Come on - don't you want to see a comedy about ISIS?

For more on David, visit www.DavidActs.com

Name: Megan Sass

Hometown: Cincinnati, Ohio

Education: BFA, Syracuse University

What is your rule?: At some point, someone pretends that an inanimate object is talking to them.

Why did you pick your rule?: Pretending to speak to with inanimate  object is a great way to passively aggressively communicate something sincere to another human being.

Tell us about Clorox, Please: Members of the marketing team at Wet Ones work to outsell Clorox Wipes. And I can't be sure, but I'll bet that my play out-Jews that Jew writer who suggested the rule "Judaism."

What can we expect to see at Rule of 7x7?: Chaos, one-liners, sketch-level characters, and some degree of unintended improvisation.

Why should we check out Rule of 7x7?: It is likely that everyone involved; the actors, directors, writers, and producers are all taking some kind of risk. It's a lot of theatre packed into one evening, plus booze.

For more on Megan, visit http://megan-sass.com

Name: Jordan Swisher

Hometown: Lancaster, PA

Education: BA in Theatre/English.

What is your rule?: Someone must recite a complete dinner recipe.

Why did you pick your rule?: I like challenging actors – whether it be through difficult or complicated dialogue or physically demanding roles/actions.

Tell us about What We Found in Texas: My play is about a couple who travel to Texas in search of buried treasure. What they find is surprising but even more surprising is what they do with it.

What can we expect to see at Rule of 7x7?: You’re going to see some extremely creative minds putting together some of the most entertaining theatre in the city.

Why should we check out Rule of 7x7?: There is nothing like this anywhere else in NYC that I know of – yeah, you could go see a play or musical – same old stuff. This will be unlike anything you will see anywhere else. Seven completely different short plays all built from the same 7 rules.

For more on Jordan, visit JordanSwisher.com

Name: Monica Trausch

Hometown: Los Angeles, CA

Education: UC Santa Barbara

What is your rule?: At the start of the play, someone is holding a grudge.

Why did you pick your rule?: Grudges are funny, revealing, and hopefully stir up conflict.

Tell us about End Zone Divas: An all female fantasy football league welcomes two new (unsuspecting) members.

What can we expect to see at Rule of 7x7?: Oreos. In my play, at least.

Why should we check out Rule of 7x7?: Lots of creativity, fun, and beer!

Review: Burning Love

Meet Tom and Eliza. Eliza has an affinity for burning books and having her back touched. Tom has an affinity for living in the bathtub and being scared of his kids. Let's watch the evolution of their relationship. In Celine Song's sensational Tom & Eliza, the journey from first date to the bitter end is chronicled in rapid-fire succession.
Tom & Eliza is not your typical romance. Song writes a tale where, rather than showing and telling a couple's journey, the pair narrate their lust, love, fears, and desires. Situated on a couch for the entirety of the play, this is storytelling at its finest. Equipped with rapid-fire dialogue and a knack for not leaving a single, descriptive detail out, Song is unafraid to be crude and crass in her text. The concept is simple but the way Song structures her script sets it apart. It’s so basic yet captures the essence of love and marriage. We learn about Tom and Eliza’s first few dates, the events that followed those dates, their rush into marriage, the inevitable coming of children, and the hardships of falling out of love. Song rarely leaves a beat out, though there is a big jump from date to marital bliss. It’s explained much later in the night that the third date lead to a proposal but it may be more interesting to see some steps in between. And that just may be selfish desire to get more of Song’s story. There is a poetry to the way Song crafts her play. Through repetition and calling previous beats, it defines the brilliance of her script.

photo by Knud Adams

With no blocking to be had, this play needed to be sold through captivating storytelling. Thankfully Tom & Eliza employed two steady actors. Eliza Bent and Daniel Kublick dazzled as the titular pair. Kublick’s geeky persona made his anguish heartbreaking. The amount of trust between the duo kept the piece ticking. Their rapport was strong but Eliza Bent managed to shine just a bit brighter. Bent is heavenly. She is magnetizing as a performer, drawing you in with every smirk and line. Eliza Bent is a star on the rise.
Parallels were a huge theme in this production. It was device that Song utilized heavily in her script. Director Knud Adams matched this in every single element of his concept. And it was exquisite. From a design perspective, Adams capitalized the uniqueness of JACK by isolating the space to the center of the floor where a black carpet of petals played host to the couple’s couch. Flanking the small stage were two photography lights that spotlighted the pair in vibrant fashion. It brought out a twinkle in Bent and Kublick’s eyes, especially when the tears built up in Eliza’s eyes in the end. Adams choreography of physical shifts for his actors were in tune to the poetry of his playwright’s text. Adams capitalized on the power of body language. It told the story stronger than you could imagine.
Tom & Eliza is bound to make you laugh, gasp, cry, and ponder your own life and relationships. You’ll be enamored with Celine Song’s play from lights up until black out. These artists are ones to keep on your radar.

Review: Love Nose No Bounds

Edmond Rostand's Cyrano de Bergerac is kind of the world’s most beloved romances. A poetic man with a nose like no other falls for a young woman who happens to be falling for a soldier. With conflicts all around, the characters attempt to follow their hearts while accepting the reality of their personal situations. Reimagined in a striking production by Resonance Ensemble, this version of Cyrano reminds us why we love love.
With only eight actors portraying an array of characters, Rostand's Cyrano is a theatrical wonder. With an adaptation from Gabriel Barre, Rick Sordelet, and Alexander Sovronsky based on the translation by Anthony Burgess, the themes of love and beauty are explored through Rostand's saga. The conceit appears to be a group of multitalented players take a stage to share the story of Cyrano, Roxanne, and Christian. And along with way, we are granted a strong sense of theatricality. Exquisitely directed by Gabriel Barre, this Cyrano will make you smile from start to finish, and maybe even make you shed a tear or two. Barre is triumphant in the fluidity of his staging. Everything and everyone moves as a singular unit. While the first act could use a major streamlining, the momentum is consistent and moving. With a less realistic vantage on the production, the weightiness of the situational backdrop is minimized, allowing the humor and love to thrive in this new imagining. The addition of live music adds such excitement to the already lovely story. The music, composed by Sovronsky, is the poetry that fills the space. It evoked the appropriate moods at the appropriate times, never overshadowing the action. The interesting thing about this production is that with only eight actors, portraying a plethora of roles was a necessity. While Cyrano de Bergerac was the lone character in his track, you’d think that filling up the track for the actors playing Christian and Roxanne would be overwhelming for the audience, yet it felt natural.

photo by Jon Kandel

This was truly the definition of an ensemble effort. The amount of trust on the stage was undeniable. But this is a play about a love triangle. And the trio that portrayed the lovers were superb. This production saw a dazzling performance from Gabriel Barre as the titular character. Somehow, someway taking on the biggest roles of the production, in character and direction, Barre was able to do it without faltering. The delicacies in Barre’s Cyrano allowed just the simplest of body language to tell a story. Cyrano is known for his nose. Yet Barre managed to make it melt away, never calling attention to it. This allowed his character to feel human, despite the insecurities Cyrano feels. Bridget Saracino was a beautiful Roxanne. Saracino looked like a glowing princess, excited about the prospect of discovering the splendor of love. There may have been a great separation in age between the characters but it never felt unnatural. Since Saracino had to tackle a few intimidate parts, she tapped into a tomboy side that helped separate her worlds. As Christian, Luke Darnell was a wonderful leading man. Darnell made Christian slightly dim but completely adorable. The remainder of the ensemble, made up of Rin Allen, Joe Jung, Mark Peters, Alexander Sovronsky, and Louis Tucci kept the piece active and jovial, seamlessly transforming in their ensemble roles.
The space that Barre had to work with was ginormous. But Barre and scenic designer Ashley Cusack made great use of space. With a giant pallet as the stage, chairs, curtains, and ladders as the only elements, the storytelling was strong. There’s something about using your imagination for this story that works. Maybe it’s because we’ve all imagined our own romance. The lighting design by Pamela Kupper was picturesque. Kupper was able to capture an assortment of looks that separated place and time well.
Cyrano de Bergerac is a play most people know. And like Shakespeare nowadays, there needs to be something unique about the production. Resonance Ensemble succeeded in telling a fresh version of Cyrano de Bergerac without reinventing the wheel. If only they could have gotten it down to singular act in only a hundred minutes.