Spotlight On...Beatriz Naranjo

Name: Beatriz Naranjo

Hometown: Caracas, Venezuela

Education: BA Point Park University

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

Why theater?: Why not?!

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

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

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

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

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

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

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

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

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

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

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

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

For more on Beatriz, visit www.meetbeatriz.com

Blog Hijack: The Wedding Warrior Returns to NYC

In today's Blog Hijack, the Wedding Warrior herself, Casey Dressler takes over Theater in the Now to talk about the return engagement of the critically acclaimed The Wedding Warrior

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

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

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

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

When: 

Sunday Dec. 4th @ 9:30pm & Weds Dec 7th @ 9:30pm

Where: 

The Duplex Cabaret Theatre

61 Christopher Street (at the Corner of 7th Avenue)

New York, NY 10014

$10 Ticket in Advance & a 2 Drink Minimum in the Cabaret Theatre*

$15 Ticket at the Door (plus service fee) & a 2 Drink Minimum in the Cabaret Theatre*

*Drinks Must be purchased In the Cabaret Theatre to count towards the Minimum.

FOR TICKETS:

Sunday, Dec 4th show: www.purplepass.com/warrior4th

Weds, Dec 7th show: www.purplepass.com/warrior7th

For more info visit: www.TheWeddingWarriorPlay.com

Review: Nothing Endearing Here

By Michael Block

The story of Terms of Endearment should flood the audience with tears. The Directors Company production could not even come close. Adapted for the stage by Dan Gordon, which is based on the novel by Larry McMurtry and the screenplay by James L. Brooks, and presented by The Directors Company at 59e59, Terms of Endearment proves that not every story belongs on the stage.
Terms of Endearment is the classic story of mother and daughter who battle a litany of personal struggles that bring them closer together as time goes on. Spanning two decades, widowed Aurora tries to keep her only daughter Emma close by. But when Emma is forced to move from her Texas home to a new life in Iowa, Aurora is left alone and must combat it while Emma is in a dull marriage with a man her mother disapproves of. The story comes to a close with the iconic plot twist of Emma's cancer, causing her mother to feel as if she lost it all. Even if you know the story or not, Terms of Endearment is a guilty pleasure for the desperate housewives. Even if you can get past the frothiness, this script is stuck in a cinematic mind-frame. Dan Gordon’s Terms of Endearment is flat-out frustrating, if not infuriating. The script is superfluous. The direction lacks rules and guidelines. And it’s all due to how it is structured. With the book and movie clearly on the mind, Gordon jumps from location to location, spanning a long string of time. With such short bits, director Michael Parva must figure out a way to make the overall arc resonate while honoring the text. Only Parva is forced into limitations that cause him a world of woes. The segmented set designed by David L. Arsenault causes headaches beyond belief. And that goes beyond the disconnect of the underutilized and distracting scrim which doesn’t quite live with the rest of the set. With so many locations and so little stage space, Arsenault’s scenic elements are introduced in nearly every scene. But reality wise, it lacks sense. There’s only so much disbelief one can take. With raised areas housing various scenic pieces, Parva asks his company to break walls, and space, in order to create a necessary visual and staging that doesn’t lag. With such a strong focus on the use of the phone, there’s no such thing as a split screen in theater so having both Aurora and Emma sit on the same bed in separate locations just to have the visual calls into the overall aesthetic into question. Parva absolutely needed to go full theatrical to make this text work. He did not. Going back to Dan Gordon’s script, this production is very much a “period piece.” The themes present live in a specific time and yet they are still universal. The original source material was never a period piece so why not update this play to today? Sure, there are some major advances in technology but wouldn’t that hammer in the power of a long-distance relationship? Gordon tried to play it safe and it just did not work.

photo by Carol Rosegg

Lead by the legendary Molly Ringwald and rising star Hannah Dunne as mother-daughter duo Aurora and Emma respectively, this ensemble did all they could with tough material and rough direction to navigate. As the oft-hysterical widow Aurora, Ringwald tapped into the super-critical character. With the movie so prevalent in this production, in comparing to Oscar winner Shirley MacLaine, Ringwald made Aurora her own, lacking the bite and tenacity MacLaine brought. Ringwald had an endearing sweetness that fell into undying sadness when things didn’t go her way. Hannah Dunne is a natural as Emma. Dunne is full of life and hope. Of all of the cast, Dunne was the strongest at making Gordon’s cringe-worthy text believable. It’s hard to understand why Aurora wouldn’t want the boy-next-door version of Flap to be married to her daughter. Denver Milord was not the Jeff Daniels version of Flap. To no fault of his own, Mildord was the perfect all-America charmer. There was something discomforting about Jeb Brown’s Garrett. There was something false in his Garrett, causing Brown to appear quite cartoonish.
I could go on and on about the flaws of Michael Parva’s direction but deep down, with a cinematic text, there was no way this production of Terms of Endearment was going to be able to properly find hope. The story should be full of humor and heart and yet The Directors Company production lacked all semblance of both.

Spotlight On...Augie Praley

Name: Augie Praley

Hometown: Annapolis, Maryland

Education: BA University of Chicago, MFA NYU Tisch

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

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

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

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

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

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

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

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

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

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

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

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

For more on Looking Back, It May Not Have Been Ridgefield High's Best Production of Our Town, visit lookingbackourtown.com

Review: Revolution Room

By Michael Block

Some theater is meant for entertainment. Some theater is created to make a statement. And then there is Party People in which Universes try to do all of the above. The Universes production presented at The Public has so much to say yet the clarity isn't quite right, thusly altering the overall success of the show.
Written by Universes, comprised of Steven Sapp, Mildred Ruiz-Sapp, and William Ruiz a.k.a. Ninja, and composed by Universes with Broken Chord, Party People is a powerful and provocative piece of art about art and activism spanning generations.  Malik “MK Ultra” and Jimmy “Primo” set up a private art gallery to celebrate an evening of fine and performance art of political fights. The room is filled with former participants of the Black Panthers and Young Lords who happen to use this moment to let the skeletons fall out of the closet and air their dirty laundry. It’s an homage to the grass roots fight on the ground from the Millennials bringing the battle on the web. With an electronic score infused with rock, jazz, and hip hop and more, Party People is more of an idea than a well made theatrical story. Universes and director and developer Liesl Tommy would have been better served to allow the story unfold rather than hammer a message in. When it does breath, Party People is at its best. With the tiniest of glimpses in character explored, if you're searching for arcs, you won't find them here. The characters are representations of something greater than themselves. And in a way, they're not as rich as they should be. We learn very little about the individuals and thus, you may find it hard to care about them singularly. This may be due to the fact that it takes quite a bit time to reach any semblance of story. What we do learn is that these individuals may be fractured but they don’t regret the past. Nevertheless, the pulverizing message of keeping up the fight for a long-term battle is on everybody’s minds. As energetic and lively as the piece is, it doesn't always have the ability to connect or engage. There is a rich history within the Black Panthers and Young Lords. Whether you know it or not, Universes avoids any semblance of a history lesson opting for a more personalized interpretation. While no one really wants to watch a live history lesson, perhaps a marriage of the two could have connected the worlds.

photo by Joan Marcus

Liesl Tommy kept Party People tightly staged and intricately planned. It was a very well-oiled machine. That being said, the three-quarter thrust hindered Tommy’s stage pictures as she kept the majority for a proscenium portrait. The use of the live feeds were quite engaging. Though the placement in the space assisted viewing for those sitting on the sides. Millicent Johnnie’s choreography was organized chaos, which was fitting for the overall narrative. The underground art space designed by Marcus Doshi didn’t read automatically but the text helped you get there. The loft allowed for varied staging but caused massive shadows for Doshi’s lighting design. The most prevalent image on stage was the “Revolution” light sign. Doshi lit the bulbs almost as a default in every song. Between going in letter order to keeping them in groups, it was inevitable that the sign was going to be in every number. And it was a bit boring.
Whether Party People hit you or not, this ensemble carried the weight of the world on their shoulders. They worked wondrously as a unit, though there were shining stars, starting with Christopher Livingston. As Malik “MK Ultra,” Livingston’s alluring determination and drive captured the essence of the show. Opposite him, William Ruiz a.k.a. Ninja’s Jimmy “Primo” lacked reality causing his character to feel like a living cartoon, even when he wasn’t in clown mode. As Clara, Gizel Jimenez had a natural purity as the modern voice of reason. When it came to booming voices, Ramona Keller and Mildred Ruiz-Sapp reigned supreme. While Keller’s Amira felt like nothing more than an accessory, it was her voice that brought the house down. Ruiz-Sapp had a little more character substance thanks to her familiar bond with Clara.
There is a profound purpose of presenting Party People now. It has the dominance to light a spark. But there was something off with Party People. With disconnect and lack of cohesion, Party People is not as strong as it can be.

Review: The House Always Wins, and the Couch Wants to be King

By Ed Malin

I loved Cant.  I wish I could see it a few more times.  Now, I will attempt to describe and explain this wonderful play by Ian W. Hill, presented by the amazing Gemini CollisionWorks ensemble at The Brick.
Cant is a political play and a play that is conscious of itself, as will become clear.  Gemini Collision Works, this year’s massive New York Innovative Theatre Award winners, structure their universe as Thornton Wilder might, and use pleasantly confrontational techniques out of Richard Foreman, such as bright lights, a video projection of actress Rebecca Gray Davis reading certain stage directions and Lex Friedman’s voice giving the audience an authorial perspective on the action.
Act One takes place in a quaint, happy type of America, with a jazz soundtrack that suggests the 1950s, leading up to Our Boy’s election as President.  Lightning-fast wordplay abounds.  The imported Statue of Liberty (Ivanna Culinin) speaks French, and is told by the patriotic Uncle Sam French (David Arthur Bachrach) to speak English.   Houses come with built-in magical realism, with ghosts in the breakfast nook. In school, children take classes such as Intermediate American Values and study both Plessy vs Ferguson and Kramer vs Kramer.  Our Boy is played by two actors of different races (John Amir and Michael Rishawn).  Both actors appear together and perform complicated scenes in unison, explained cryptically in stage directions such as “Our Boy exeunt”.  Our Boy has two sets of parents (Alyssa Simon, Linus Gelber, Leila Okafor, Rolls Andre) and one younger sister (Anna Stefanic), who provides a piano accompaniment to the story.  Those in Our Boy’s community describe his meteoric rise to the Presidency and the sudden assassination of the black counterpart of Our Boy.  However, the white half of Our Boy survives and does rule, as the despotic Chairman Boy.  This is not a JFK story.  Or is it?  It is amazing to think how this the reading of play, which played November 5-20 on both sides of the general election, has changed from night to night.

photo by Mark Vetman

“The House Always Wins”, as disembodied voices tell us.   Two old-school reporters (Derrick Peterson and Olivia Baseman) show a great deal of style while interviewing those who knew Our Boy, such as the girl from his town (Zuri Johnson), alluring socialites (Amanda LaPergola), radicals (Kaitlyn Elizabeth Day) and Our Boy’s sister.  Further insight comes from the 70s-style TV program Black Perspective On The News, which is funded by the Kronos Foundation (“Building the World of Today, Tomorrow”).  The black counterpart of Our Boy was the nation’s conscience.  Although the nation can survive with a vicious leader who only cares for his class of people, it is a fearful place where a sense of inferiority drives some to oppress others.
From there, the cast begin to discover that the play has a life of its own and wants to escape from the theater.  At one point, it is suggested that the play is really about a phenomenon called the Coriolis Effect, but then the characters realize that this is only a poorly-executed attempt to be eligible for a Sloan Foundation grant.  In a truly poignant moment, we are asked if the enjoyment this particular audience gets from the play justifies the suffering of others elsewhere which the play has caused.  The author and director (Ian W. Hill) is occasionally seen wearing a sinister eyepatch over his spectacles, so it is quite a shock when the cast, while theorizing that in modern productions, “the director is dead”, find the director’s head in a box.   From there, the cast fights the desire to sit on the couch and recite bad monologues suitable only to formulaic cinema.  A lot more profound stuff happens, and the couch even joins in the curtain call.
The normal offering from Gemini CollisionWorks is mind-blowingly impressive.  This work, with the unexplained title usually reserved for shoddy rhetoric, dissects our country, gives us time to laugh about it, gently answers some of the questions already posed, and then questions the nature of reality, theater, etc.   The set is full of scaffolding on one side and on the other features a ladder which we are told is just a ladder.  Some of the conventions of the play harken back to great dramatic innovators of the 20th Century, but for a world which is sadly lacking in decency.   The cast of eighteen, who collaborated in the development of the play, work extremely well together in the intimate space of The Brick.  There is always something to look at and process throughout the two and a half hours of show.

Review: Sword Fights!!!!!

By Kaila M. Stokes

Love the brutal fight scenes in the movies and wish they would come to life? If so, attend a performance of Coriolanus: From Man to Dragon presented by Shakespeare in the Square and Combative Theatre Co.  Hope you don’t mind being part of the action, because as an audience member you are also a member of the company. This theater-in-the-round style show combines the words of Shakespeare with extensive fight choreography and audience participation. The show begins with the audience being led into a closed curtain with a single drummer at the front of the stage. This drummer is the beat throughout the show. The audience is encouraged to stay on the outer rims of the space, but then when the show began everyone was ushered into the middle of the stage in a big circle by the actors dressed like warriors. The audience suddenly became the public activists that were unhappy with the government along with the warriors. But then, Coriolanus shows up to disperse the people and the audience were shuffled back to the safety of the outer rim. This went back and forth during the first act until seats appeared behind the black curtains. It was thrilling being part of the action the first time, but after that it made more sense for the audience to sit. Audience members were in the way of the actor’s entrances and exits which pulled one out of the show. Plus after it was done the first time the excitement and shock wore off.

Shakespeare’s Coriolanus is not often done due to all of the difficulty and problematic story-telling. Omri Kadim did a nice job adapting this version and it was a smart choice to make the show about the violence. The show doesn’t have a lot of character development or change of tempo. The director, Yuriy Pavlish and fight director, Mitch Mccoy had their work cut out for them. The fight scenes are so extensive and complicated due to the style of fighting and the sheer number of actors involved. Safety is of the utmost important for both audience and actors.  Each scene was a like a choreographed dance of violence, it was very compelling to watch. As an audience member, you felt the right amount of danger to keep you interested. The costumes were simple when the actors were townspeople, but the armor was so much fun! The shields, swords, hats, and buckled armor decoration was perfect to set the tone. With these costumes, by Fan Zhang, the audience was able to identify all of the characters portrayed since actors played multiple people at times!
The fighting mostly happened in the first act, which left the second act to tie together the plot. Coriolanus is ousted from his community, but returns with vengeance by waging war against his own people. Eventually the audience learns that he is just a sniveling mama’s boy. The second act was definitely weaker than the first, but that has more to do with the original story than the production itself.
Coriolanus: From Man to Dragon has such a commanding title, it left the audience wanting more from the Coriolanus character. The moment was missed when he chose to become this soulless blood seeker due to him being ousted. Not enough focus was put on that turn of events. In fact most major decisions were glossed over. The emphasis was on the physicality in the first act and it felt like the second act was less focused on. With that said, the company of actors did a fabulous job at playing their characters, wrangling the audience, and dealing with the incredible physicality this show demanded of them. The one choreography suggestion is to have the actors/fighters be more connected to their breath. Even in the fighting, moments were rushed.  Pausing for a breath and dwelling in certain moments would help the audience develop an emotional connection while watching. Even if those pauses connected to the drumming happening that would also show the audience that relationship. He was underutilized.
This is definitely an active Shakespeare play to see and Omri Kadim is brave to take it on. If one is not too familiar with Shakespeare this would be a great introduction! Some moments could have been given more weight, but overall the audience was entertained and this is all you can ask for sometimes.

Spotlight On...Gina Doherty

Name: Gina Doherty

Hometown: North Easton, MA

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Review: An Old Perception

By Michael Block 

Primary Stages brings Horton Foote back to New York in a spirited revival of The Roads to Home. Comprised of three connected pieces, A Nightingale, The Dearest of Friends and Spring Dance, Foote transports the audience to Texas for a slice of life in the 1920s. Directed by long-time Foote collaborator Michael Wilson, The Roads to Home is a simply stated production.

photo by James Leynse

In the first act, neighbors Mabel and Vonnie sit in Mabel’s kitchen for a little talk and peep session. With stirrings surrounding Vonnie’s marriage as the central topic, the gossip and rumors take a turn toward Annie Long, a young woman who has found herself transplanted into a new life. Even with a loving husband and children, Annie has not recovered from her father’s murder. When Annie pays a visit, Mabel and Vonnie subdue the situation, playing off of Annie’s mental state. Six months later, Vonnie is still married to the man who is cheating on her, yearning for answers. She pays another visit to Mabel’s where Jack, who knows the situation, sleeps in his chair, listening to the women grapple with morality. A Nightingale and The Dearest of Friends are a thoughtful examination on perception in a time that seems to distant to our present. Vonnie will not divorce her husband despite his actions simply due to how others would perceive her. Today, Vonnie would not only shove divorce papers in her husbands face, she’d make a spectacle out of it. When it comes to Annie, Foote looks at how people of that time treated mental illness. Until she virtually breaks down, everyone makes excuses for Annie. They say she’s dealing with something. It’s a temporary thing. But the reality is that it’s much severe than that. Which brings us to Spring Dancing. This act focuses on Annie and her fellow patients at a mental institution in Austin during their spring dance. Annie, now four years in treatment, reads hers, as well as her friends, letters for him as a way to connect to home. The information she learns stirs her up a bit yet she keeps a sunny disposition. Foote’s language normalizes the characters in their dire situation. Without the context clues, perhaps you wouldn’t know where Annie and friends are.

photo by James Leynse

Foote’s story is very old-fashioned. It’s naturalism at it’s finest. And Michael Wilson plays into that. These are tales that look into tiny moments of individuals discussing the past. Yet nothing truly happens. And that’s ok. That’s what this play is. An examination. To alleviate monotony, Wilson heightened the comedy, as best he could. At least in the first act. The pacing left much to be desired though it helped tap into the honesty of Foote’s characters. The most theatrical element of the production happened to be Jeff Cowie’s scenic design. To portray the multi-room Votaugh household on the tiny stage of the Cherry Lane, Cowie offered a turn-table to divide kitchen from living room. Even with the tightness of necessary furniture, Wilson kept the movement alive. By the second act, the set was transformed into the outside of an auditorium. The vastness was alarming juxtaposed to the intimacy of the conversation. With the style that Foote writes in, life occurs throughout these conversations. Meaning the inclusion of ambiance is integral. If you didn’t notice John Gromada’s soundscape, that’s ok. It was perfectly present and effortlessly real.
No offense to the men who did a fine job, The Roads to Home is all about the ladies. Bringing these women to life seemed old hat to this company. Hallie Foote as Mabel was equal parts sincere and amusing. She was a great ear to the always hilarious Harriet Harris as Vonnie. Even in her hysterics, Harris knows how to land a joke. Taking on the difficult role of Annie, Rebecca Brooksher waltzed through the play. There was something ethereal to her character that purposefully never balanced out.
The Roads to Home is all about perception and longing for home. Foote’s play has found a nice home with Primary Stages. But it’s perception is bound to be split. To some, it will be charming and resonate. To others, it will feel slow and dated. And that’s just how it is. The Roads to Home is what it is.

Spotlight On...Kathleen O'Neill

Name:  Kathleen O'Neill

Hometown: Small town in Wisconsin

Education: MFA from Boston University in Directing

Select Credits: I seem to be doing a number of originating roles - Annie Jump Cannon in Insignificant, Blue Heron in Dark Waters, Nana in Sweet Sweet Spirit, Older in Over the River and Through the Woods, Lyubov in The Cherry Orchard

Why theater?: I get to tell a story every performance. There is a creative team process that is invigorating and challenging. Then the audience is added and magic happens. It is never the same story twice.

Who do you play in Clover?: Landlady, Helgeland and Old Mrs. Cronin

Tell us about Clover: An old man, formerly a police officer is dying of brain cancer and reviews his life through a series of bizarre dreams based in the story of Emmet Till and his own experience with murder. It is not linear.

What is it like being a part of Clover?: Stimulating and fun and challenging and energizing. Because it is based in Innovative theatre the process is different and flexes different acting muscles.

What kind of theater speaks to you? What or who inspires you as an artist?: It isn't a "kind of theatre, it is good story telling, good writing and an exploration of being human.

Any roles you’re dying to play?: MANY! - Eleanor of Aquitaine in The Lion in Winter, Margaret in Richard III and her whole Shakespeare history, Amanda in The Glass Menagerie, The Madwoman of Chaillot, anything O'Neill or Williams.

What’s your favorite showtune?: "Bring Him Home" from Les Miserables and "Somewhere" from West Side Story.

If you could work with anyone you’ve yet to work with, who would it be?: I currently have the list for women at 30 and or men still working - there is SOOOOO much talent - Kate Winslet, Judy Dench, Susan Sarandon, Bernadette Peters, Cate Blanchette, Natalie Portman and on and on and on!

Who would play you in a movie about yourself, and what would it be called?: It would be called “But First I had to...” and I would be played by Emma Stone or Kate Winslet? or.....

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

What show have you recommended to your friends?:  The Lion King, Jersey Boys, Something Rotten, and more

What’s your biggest guilty pleasure?: Binging on crummy TV.

What’s up next?: More more and more - 2 projects in the works. Hoping 2 of the other projects I have done will continue. Travel and writing and movies and friends and work with a company in an entirely different field - conflict resolution.

For more on Clover, visit http://lamama.org/clover/

Review: Have a Oozy Boozy Christmas

By Michael Block 

Even in November, we're getting in the holiday spirit. From the folks who brought you the hit drinking show The Imbible, comes the Christmas spin-off The Imbible: Christmas Carol Cocktails. Drink the night away with holiday merriment but if you're expecting any semblance of theatrical content, you'll surely be disappointed. But those drinks, they’re divine.
Billed as a sequel, of sorts, to Charles Dickens’ “A Christmas Carol,” the spirited Scrooge wants to throw a Christmas party but doesn't know how. He calls upon the spirits, or ghosts of Christmas Past, Present, and Future, for some help. Throw in some trippy time travel and fourth-wall location-bending, The Imbible: Christmas Carol Cocktails takes Scrooge through a brief history of holiday drinks. To put it bluntly, this is a confused concept. Anthony Caporale's writing is littered with unfunny recurring jokes that lean into moans by the end. For the theater person attending, the content can be frustrating. It's a dramaturgical nightmare. But the reality is the audience attending is present for the drinks. Accompanied by a history of holiday libations, the spin-off is, compared to the original, is formulaic. And that's fine. It's what the audience desires. That being said, The Imbible: Christmas Carol Cocktails could be immensely stronger had the writing been better. The first twenty minutes are spent as a giant set-up for the conceit that feels more like filler than necessity. If the “A Christmas Carol” parallels are important, creating a straight-up adaptation rather than a mixed sequel would have been best. If you look at character arc, Scrooge goes from happy to confused to happy. It's not that interesting. Had it been bah humbug Scrooge who goes on a similar journey to the source material but rather than see the various Christmases the spirits hammer in the teaching of drinks past, present, and future, the night would have made more sense. Simplicity is key when the night is about the booze. Less is more. And in the world of sequel, inserting quotes from the source material doesn't quite work. Musically, there were Christmas tunes a-plenty. Thematically, the music Caporale infuses don't always match the previous or upcoming action causing the wonderful songs to be transparent time-fillers for drink concocting or costume changes. The songs of the season occasionally featured some bizarre parody. No matter what, the arrangements from Josh Ehrlich are quite fun. Though a little more variety would have been exciting. Caporale may not be a storyteller but he certainly knows everything there is to know about alcohol. When it came to the history and science of the drinks, they showcased the strongest moments of writing. Paired with strong performers who bring excitement into those narratives, this is why The Imbible: Christmas Carol Cocktails exists.

It's rare that a writer-director combo successfully pans out. When it comes to comedy, the director tends to be the necessary litmus test to determine if the material is funny. But when the roles are combined, there's no voice of reason. When the improvised bits garner larger laughs than the scripted material, you know you're in trouble. The quartet of Kate Hoover, John Marshall, Andrew Orsie, and Morgan Troia not only have beautiful voices, they know how to find humor in weak material. They worked well off of one another, bringing cohesion to the stage and filling gaps when things inevitably went awry. As Scrooge, Andrew Orsie brought an adorable dopiness to the newfound fan of Christmas. Caporale continually had Scrooge lament that he was confused or didn’t know what was happening with the twisted plot. Orise managed to sell it. Jacob Marley, due to a Equity rules and a half-hearted joke, has to change his name to Barley. Taking on the tour guide of the night, John Marshall has impeccable timing. Marshall simply walks on stage and garners the easy laugh through expression and pose. Similarly, Kate Hoover is effortless in her approach. Morgan Troia had another difficult character to capture. Her arc was iffy but Troia shined in her vocals.
The Imbible: Christmas Carol Cocktails is a festive night with drinks that were fun and fabulous. It’s fast-paced cheriness that kicks off the season. If you can put aside the text, you’re bound to enjoy yourself. The drinks are worth the price of admission. And as an added bonus, your program features the recipes!

Review: Finding Yourself Underneath the Northern Lights

By Ed Malin

Renowned playwright Israel Horovitz has a new play at LaMaMa.  Barefoot Theatre Company and Compagnia Horovitz-Paciotto present Gloucester Stage Company’s production of Man In Snow.  The author directs this moving work, which has been adapted from his radio play for BBC 4.

David (Will Lyman) is back in Alaska to lead a group of amorous young Japanese couples who want to climb in Denali National Park.  Folklore has it that a child conceived next to the highest peak in North America, under the Northern Lights, will grow up to be vigorous.  While David doubts this story, he and his wife Franny (Sandra Shipley) have been to Denali before and he has returned several times.  So has Mr. Takayama (Ron Nakahara), very sprightly for 89 years old, who admits that many of his twelve children were conceived at Denali.  David frequently speaks on the phone with Franny, and they appear very much in love after more than forty years of marriage.  David’s friend Connie (Paul O’Brien), who is also climbing in Denali, tells David that Mr. Takayama and his recently deceased wife spent a great deal of time there.  David, whose son Joey died in a motorcycle accident a few years previously, connects with Mr. Takayama and they simultaneously grieve and appreciate their lives.  It is almost as though the time spent in nature is their real existence, and the intervening time disappears.  The gentlemen may seem a bit self-absorbed, but indeed David talks to an apparition of his son Joey (Francisco Solorzano) and Mr. Takayama scatters his wife’s ashes on the slopes.  Perhaps the separation from urban life was necessary for everyone to be at peace.  Flashbacks show the devastating effect of Joey’s death on his family, including Franny’s emotional withdrawal and David’s finding comfort with another woman.  However, as David calls his daughter Emily (Ashley Risteen) on the night before her birthday, father and daughter finally become close.  Could it be that no one could come between David and Joey, and that the younger, more accomplished daughter was disrespected?   This play contains much introspection.  Even when an act of nature isolates David from the rest of his group, he calls Franny and talks sweetly to her through the night.
Jenna McFarland Lord’s set is a beautiful stark white, to which Niluka Hotaling’s lighting adds the brilliant Aurora Borealis.  The non-linear storytelling is very interesting and I got the impression that the characters who were not in a particular scene were observing and listening to the action.  Franny, who like Emily works in publishing, is always reading stories and even has dreams about them.  This play also connects the world of the living and the world of the dead, despite the opinion of Connie that you only get one shot at life.  Those who are looking for a testament to lifelong monogamous love will certainly appreciate this show and the emotionally conversant characters.   Mr. Takayama’s endorsement of the old-fashioned Japanese extended family living arrangement is also beautiful.

Review: Strindberg: A Monkey, A Miser and Two Lovebirds Walk Into a Forest

By Ed Malin

In 1906, Strindberg wrote a humorous fable, in uncounted iambic verse, appropriate for children.  Leave it to Strindberg Rep to present Abu Casem’s Slippers as part of their ongoing mission to produce all of the Number One Swede’s theatrical legacy.  Janet Bentley directs an ensemble of eight, who tackle fifteen roles in the busy world of Baghdad under Caliph Haroun al-Rashid (see: The Arabian Nights, 401-402).   Anne-Charlotte Hanes Harvey’s modern translation is delightful. Strindberg, who may have been falling in love at the time he wrote this piece, delivers a charming, colorful story about human kindness, in which he weaves extensions from French fairy tales into the world of Baghdad, then the largest city in the world, a metropolis with a Persian name, run by an Arabian dynasty.

photo by Jonathan Slaff

Abu Casem (Mary Tierney) is a wealthy, stingy merchant who apparently loves nothing but money and beards. The glorious Caliph Haroun al-Rashid himself (Pooya Mohseni) decides to test Abu Casem’s true character by leaving an old pair of slippers in the marketplace, which Abu Casem finds and is pleased to wear.  Abu Casem spends his days price-gouging, causing the ruin of merchant Ahmed (Oliver Conant), who bids adieu to his son Solimon (John Cencio Burgos) and leaves to make his way in the world.  Meanwhile, Abu Casem rejoices in his fortune by going to the bath, at which point a cheeky Monkey (Laksh Midha) swaps his old-new slippers with those of the Cadi, a.k.a the grand poo-bah of the constabulary (Oliver Conant).  Abu Casem rejoices at his even newer slippers, but is later accused of theft and suffers.  He then tries to throw the accursed footwear into the water, bury them, etc. but each time the old slippers come back to him and he is punished.  Abu Casem has a beautiful daughter, Suleika (Jaya Tripathi) who has sworn off marriage.  She is loved from afar by Prince Guri (Marcos Sotomayor), whose waist is narrow as the almond branch, his eyes limpid as a young gazelle’s. However, Suleika’s angelic sleep has been defiled by dreams of treacherous lovers.  Prince Guri pines in a pavilion, but soon he is wining and dining Suleika thanks to a clever ruse from Solimon (who sings the blues), kindly shoemaker Hassan (Kevin Vavasseur), the Nurse (Pooya Mohseni), and of course that slipper-struck simian.  Speaking of watching from afar, Caliph Haroun al-Rashid, paragon of whom we are all unworthy, is also watching the action and is ready to administer justice.  Why is the entire cast including merchant Ahmed dancing at the end?  You will have to ask choreographer Kate Ostrowski, or just come to this fine spectacle.
What a joy has been brought to us from Baghdad via Stockholm.  You-Shin Chen’s sets pitch us headlong onto the banks of the Tigris, into a fabulous forest, and into pleasurable places where fountains can be found.  Jessa-Raye Court’s costumes are a sumptuous rainbow of tall hats, crazy kaftans and delightful monkey faces.  I should also mention the beards which female cast members wear so well that my seven year-old daughter was fooled.  Like a lucky drachma, you will find Lucky Pearto’s lighting and rejoice. Andy Evan Cohen brings dumbek, oud and other trancey instruments together to create one heck of a hammam soundtrack.  Janet Bentley keeps this pageant moving as fast as the arrow of love flies and the monkey dances, which is to say very nicely indeed.

Review: Chilling at the Holiday Inn

By Michael Block

In a landscape of heavy, thought-provoking theater, sometimes all we need is theater that will entertain. The recipe to make an audience smile is a sprinkling of well-known standards, a dash of musical comedy, and a heavy layer of flashy dancing. The Roundabout Theater Company's production of Holiday Inn, inspired by the film of the same name, is an instant classic. If you're expecting perfection, this is not your show. Holiday Inn is all about the fun.

photo by Joan Marcus

Written by Gordon Greenberg and Chad Hodge with music by Irving Berlin, Holiday Inn is a story about Jim Hardy, an entertainer who seeks a simple life away from the stage in favor of a Green Acres life after buying a farm in Connecticut. While his best friend Ted Hanover and fiancé Lila Dixon take their act on the road for a life of fame and new romances, Jim becomes smitten with the daughter of the farm's former owner, Linda Mason. With iconic numbers including, “Blue Skies,” “Easter Parade”, and “White Christmas,” Holiday Inn is classic musical comedy romance that brings two acts of cheer. Even as a formulaic musical comedy, Holiday Inn fulfills the smile quota. No doubt about it, Holiday Inn is a flashy Broadway musical. Every element Gordon Greenberg and company threw in fits the necessities of a big budget musical. There was nothing simple about it. The rural farm life extended beyond the proscenium, into the house where the boxes were lined with lattice and lanterns. As big and bold as the set from Anna Louizos was, a giant dramaturgical question arose. A main part of the plot featured Jim trying to save Mason Farm by opening the house up to guests on the holidays. Needless to say, Jim didn't have much remove of any money. Yet the decor that they use likely cost a pretty penny. Pretty to look at? Yes. Logical? Not at all. Alejo Vietti's costumes glistened and glittered. The choreography from Denis Jones was sugary goodness. With a plethora of tap-filled show stoppers, each of Jones’ numbers continued to top the one before. If your heart wasn't full and your eyes widen, you're clearly not in the holiday spirit.
Taking on the Bing Crosby role, Bryce Pinkham is a magnificent leading man. Pinkham’s charisma carried the show. Opposite Pinkham, Lora Lee Gayer is delightful. She brought a modern comedic sensibility to Linda Mason that was nothing short of refreshing. As the loyal and faithful mistress of the farm, Louise, Megan Lawrence and her one-liners filled the room with laughter. But no one brought the house down quite like the littlest scene-stealer Morgan Gao. As Charlie Winslow, Gao was a natural.
Broadway always needs a show that will do nothing short of entertain. Holiday Inn is that show this season. If you need an escape from the world, check into Holiday Inn.

Spotlight On...John Marshall

Name: John Marshall

Hometown: St. Johnsbury, Vermont

Education: AMDA NYC

Select Credits: The Mirror Rep's Carousel (Billy Bigelow), Hamlet (Laertes), and ArtisTree's Fiddler On The Roof (Fyedka), among others in the New England regional scene.

Why theater?: When asked, I usually joke, "If it rewards my neuroses and makes people happy, let's go with that." I perform because I can't help it. There's a fire inside, a joy, and when released, it moves people.

Who do you play in The Imbible: Christmas Carol Cocktails?: I play Barley, the Christmas Spirit. My real name is Jacob Marley, Scrooge's late friend and business partner, now turned New York actor and bar-tender. When Scrooge needs a second visitation on the value of holiday "spirits", back I come.

Tell us about The Imbible: Christmas Carol Cocktails: What a show. It's basically A Christmas Carol, Part II: Musical Booze Edition. Scrooge wakes up and wants to throw a Christmas party, now having a taste for the holiday spirit. Summoning Marley and the other Christmas Spirits, he receives a thorough lesson on festal drink, as does the audience, while we sing a barrel of carols, and serve a few holiday drinks to boot.

What is it like being a part of The Imbible: Christmas Carol Cocktails?: I laugh a lot. This cast is a lively one. We're all very comical, and that is put to good use in this show.

What kind of theater speaks to you? What or who inspires you as an artist?: Everyday life is the best teacher. If I simply look and listen, I find countless stories unfolding all around. Doing the same on stage or camera makes the story come to life; it allows the mundane to surprise us. That's what I work for as an artist.

Any roles you’re dying to play?: I sure wouldn't mind being Elder Price in The Book of Mormon!

What’s your favorite showtune?: "Ya Got Trouble", from Meredith Willson's The Music Man. I still have the whole thing memorized from a production years ago.

If you could work with anyone you’ve yet to work with, who would it be?: Denzel Washington. I admire his work, and I would learn a lot from him.

Who would play you in a movie about yourself and what would it be called?: Perhaps Jennifer Lawrence if she were a man? And it would be called, "Off the Walls, or How I Learned to Stop Worrying and Love Walks". She would go on lots of walks.

If you could go back in time and see any play or musical you missed, what would it be?: The Original West End production of Chess. I like the concept album.

What show have you recommended to your friends?: This one.

What’s your biggest guilty pleasure?: Nutella on Biscoff cookies.

What’s up next?: Who's hiring?

For more on John, visit https://www.facebook.com/JohnJosephMarshall/

Review: What a Treat Gideon Is!

by Kaila M. Stokes

Are you ready for a hilarious existential experience? Then go see My Name is Gideon, I’m probably Going to Die Eventually. This long-winded title of a show will catch you off guard in more ways than one. It is exactly what New Yorkers need right now…laughter. My Name is Gideon is playing at The Rattlestick Playwrights Theater. This intimate space which houses many noteworthy productions is the key to making this production a success.
When you walk in the theater, you are greeted with warm lighting strung with Christmas lights all around the room. The stage is set up like an apartment, but not just any apartment. This apartment is eclectic, funky, creative, and maybe even a little bit mysterious. It will definitely give you some decorating ideas. The coolest thing about the set is it’s functionality. Throughout the show everything you see has a purpose. Nothing is placed on that stage that isn’t used in some way shape or form. The stage manager (Rebecca Guskin) has a heck of job because by the time the show is over the entire apartment setting is in chaos.

Without giving too much way, My Name is Gideon is about Gideon. That’s right. A one man show about the man in the show. Gideon is a musician, a performer, an artist, a traveler, and a renaissance man if nothing else. Gideon was speaking to audience members before the show started and he seemed reserved, but the cloak came off when the lights went down. It was clear this man is comfortable onstage and in front of crowds. He usually does shows in people’s homes around the world, so when something extra happened or a mishap occurred his ease inspired the audience to participate throughout and embrace the unexpected. Gideon’s performance was inspiring. He is a master of instruments and a passionate singer/songwriter. He really leaves it all on the stage and bares his soul, which is difficult to do.
Audience participation was a huge part of the show, and it was done right. It was a safe space for Gideon and audience members to share in laughter, tears, memories, and personal connections. The direction, by Ewen Wright, was organic and stayed in line with who Gideon is. Mr. Wright never lost sight of the type of performer he had in front of him - he let the performer inspire his direction it seemed. The partnership between director, performer, lighting designer, props master, set designer, and costume designer all seemed to marry together to form an ocean of creativity the audience could enjoy. There was never a dull moment.
My Name is Gideon, I’m Probably Going to Die Eventually is a must see. Don’t rely on this post to tell you what happened, because you need to see it to believe it. All you need to know is go in with a clear head, a full heart, and a great laugh. This show is funny. This show is clever. This show is thought-provoking. This show will make your week.

Review: Searching for Truth

By Michael Block 

There are a plethora of stories that rarely get a platform to be heard. Ma-Yi Theater Company is a organization that strongly champions important stories and voices. And they have done it again with Hansol Jung's brilliant Among the Dead, playing HERE Arts Center. With surrealistic undertones, Among the Dead follows Ana Woods as she learns the truth of her parents through the horrors of war. This play may bring war to the forefront, but Jung's drama is an exceptional family saga.
Hansol Jung offers a unique brand of storytelling. Set in three distinct times and places, it's easiest to describe Among the Dead as magical memory. In 1975 Seoul, Ana learns the truth of her lineage when she receives a journal from her recently deceased father, Luke Woods. Anna is the daughter of a “comfort woman” and an American GI. When Luke's entries begin to come to life, Ana is thrust directly into the past as Luke and “Number Four” meet in the jungles of Myitkyina, Myanmar in 1944. And in 1950, Number Four finds herself on the Hangang Bridge on the verge of the bridge’s bombing. Jung shares the story by shifting time and narrative but things get funky when Ana takes the identity of her mother. Yes, theatrically speaking it's a fascinating device but we have to talk about THAT moment. As Ana begins to shift into the entries, Jung invites us to see the moment of intimacy. This means visually, Luke is forcing himself on Ana, his daughter, as Number Four. Intended or not, it came off as incest, pulling complete focus. It begs the question of the importance of the moment. It certainly did not detract from the overall perception of the play but it called attention to the narrative and storytelling. We had previously learned the truth so it wasn't as if this was new information. Sadly, this moment begs the question of necessity or shock value. Thankfully, Jung quickly recovered thanks to her powerful and fervent writing. One of the most appreciated elements of Jung's script is that while a strong commentary on war is presented, its hidden within a captivating relationship play and the journey of finding the answers of the past. She keeps the audience on their toes as the mystery unfolds, though subtlety and vagueness do play a slight role. For example, why is Ana in Seoul? The answer is briefly touched on as Luke had agreed to be buried, or in this case scattered, in Number Four's homeland. But missing that key part influences the comprehension of the story.

photo by Hunter Canning

Among the Dead is a play of great complexity and intricate layers. The four piece acting company accepted the challenge of navigating time and space. Along with director Ralph B. Pena, the success of this play depending greatly on clarity. As a whole, they did a mighty fine job. Among the Dead was, primarily, Ana's journey through the past. Julienne Hanzelka Kim took her character through the emotion motions, checking into an array of feelings. And they were often quite heightened. As Luke, Mickey Theis played the monotony of war but when he freed up, he came to life. Theis pulled out the All-American charm despite the unsettling conditions. Will Dagger brought a welcomed lightness and humor to, well, Jesus. That being said, there was a slight lack of stability in his performance. Dagger's presence needed to be more grounded to truly grasp the significance of the character. Diana Oh as Number Four offered a heartbreaking performance. Oh naturally tapped into the horrors of war to pull out a strong character.
Among the Dead required a heightened sense of storytelling that demanded perfection and intricacy. One tiny flaw could derail the entire production. Luckily, director Ralph B. Pena’s strong focus on story, which extended into the overall design, propelled this play to the top. Scenic designer Reid Thompson created a magical world of wonders. At first glance, we see a 70’s inspired hotel room that filled the entire space. But the reality of war found its way in. With the jungle surrounding, Thompson and lighting designer Oliver Wason created theatrical magic. Between the world beyond the wallpaper and the hidden traps, Pena’s staging allowed you to wonder what other tricks were up his sleeves. But for those few who don’t like surprises, Thompson didn’t always hide the magic so well, exposing the flaws of the design. Kenneth Goodwin’s extraordinary sound design captured the essence of Jung’s world. With the ambiance of war and the importance of the radio, Goodwin played into the necessity of reality. And it worked. Perfectly.
Among the Dead is bound to draw some criticism with some of the content but regardless, Hansol Jung’s play is a winner for Ma-Yi.

Spotlight On...Brian Merriman

Name: Brian Merriman

Hometown: Born in Dublin, raised in Wexford and Waterford, back in Dublin since college.

Education: Master’s Degree in Equality Studies, Certificate in professional Journalism, vocal studies College of Music,

Favorite Credits: Artistic Director/Founder International Dublin Gay Theatre Festival.

Why theater?: Theatre is a safe space to think, create, analyze, reflect and persuade, that is way ahead of sound bites or the modern pressure of being first with the news, be it accurate or not. It allows me and challenges me to engage rather than preach knowing the audience is free to accept or reject the concepts presented.                        

Tell us about Eirebrushed?: Eirebrushed is a play about identity. It challenges all lgbt people to reject the negative definitions imposed on them which they have and do accept. It's about the concepts that every human being is entitled to realise freedom, equality and respect. It calls out the political and conscience oppressors of political and religious life. Eire is the Irish language word for Ireland - Eirebrushed happens when your own identity is erased because you do not conform to the values of a republic of equals you fought to create and realise. It is a timely reminder that the political bully will never win out as long as you continue to stand up after every blow. The four heroes of this play did that 100 years ago and Eirebrushed is when they return today to compete the story that would not be listened to a century ago.

What inspired you to write Eirebrushed:?: Women did. The lgbt rights owe so much to the women's movement. It taught us how to inequality was constructed and how to confront discrimination and injustice based on an imposed unequal status. Nurse Elizabeth O Farrell was airbrushed out of the 1916 Rising surrender photograph and with that act so was the vital contribution of all the revolutionary women who were fighting not just for freedom but to be free. I wanted to put that story on the record and those of some of the gay heroes of 1916 in this centenary year. It is wonderful that Culture Ireland has included this lgbt play in its international 2016 commemorative arts programme - another revolution for Irish lgbt identity.

What kind of theater speaks to you? What or who inspires you as an artist?: I don't value "coming out" stories much. I ask what did you come out to do or who did you come out to be? I am also deeply conscious of the shoulders we stand upon and I have hunted back through history looking for the slightest hint of identity and I try to liberate lgbt stories of the past in modern theatre.  Good theatre inspires and thrills me and I don't care whether I like the person who creates it or not. Good theatre benefits all in the sector and none of us has the monopoly on that - in truth we struggle with each piece we do or create to honour and reach that benchmark. I am inspired by those who work hard and who tell their stories even in a hostile environment - silence is the greatest accomplice of discrimination and oppression.

If you could work with anyone you’ve yet to work with, who would it be?: I have had the privilege to work with fine actors - some of whom are famous! But that fame is not what impresses me - there are real artists who remain "undiscovered" and that does not diminish their artistic merit. I love identifying new talent and if I can to assist that on its way, I do! The fact is that with fame can come amnesia about how they started - doesn't bother me. I would not like to be the person who saw the talent and didn't contribute a cup of water to its growth, whether that's acknowledged or not. Theatre must have room for talent and we must all move over a bit to let it shine. We betray the art form and the opportunity we have had  if we don't do that and sadly many see their role solely as protecting their own turf and not sharing it or passing opportunity or resources on to ensure a future for theatre.

What show have you recommended to your friends?: I unashamedly recommend the International Dublin Gay Theatre Festival - a fortnight of Irish and International lgbt theatre which I curate in Dublin each year. We have made the birthplace of Oscar Wilde the home of this unique festival and I hope people will vacation with us www.gaytheatre.ie - it's fun, friendly, radical and inclusive and you are welcome! There's a different programme of theatre each week but the same warm welcome for audience and artist alike!

Who would play you in a movie about yourself and what would it be called?: I think I'm still writing that role by living my life, overcoming the needless obstacles put in my way, being open to love, creating some art and hopefully sharing the benefits of the lessons I've learned on the way.

If you could go back in time and see any play or musical you missed, what would it be?:  It's about time I answered a question posed! Much of my life was in musical theatre and I really would love to have seen the epic originals, especially the golden age of Broadway and the movie musical. Fred and Ginger, Gene Kelly and yes, here comes the stereotypes Judy and Barbra, Bernadette Peters, Barbara Cook, Angela Lansbury, Liza and any Sondheim work.

What’s your biggest guilty pleasure?: Red wine, dark chocolate and a torch song!

If you weren’t working in theater, you would be _____?:  I think I am doing it as I have two elements to my career - theatre and egalitarian- but I wish I had the time and the talent to make a lasting impact in even one of those!

What’s up next?: A reading of my full length play Wretched Little Brat based on actual testimony, retells the Oscar Wilde story from the perspective of his lovers Lord Alfred Douglas and Robbie Ross and traces the impact of those lives on all of us up to 1945. It reveals and challenges the gay stereotypes that all can trace their origin to this story of excess. It's in Downtown Art at 3pm this Sunday and will be staged again at the Gay Theatre Festival in Dublin and hopefully Provincetown next year.

Spotlight On...Andrew Orsie

Name: Andrew Orsie

Hometown: Summit Point, WV

Education: BA in Theatre from Juniata College

Select Credits: The Imbible: Rum Drinks… and Pirates! (Tenor), The 25th Annual Putnam County Spelling Bee (Chip Tolentino), Angels in America (Louis), Diamond Dogs (Sonata), Unturning (Damon Wildeve), Dirty Rotten Scoundrels (Music Director)

Why theater?: What a large and good-looking question. Theatre wasn’t actually the original plan. When I was applying to colleges, I was planning on majoring in vocal music. But I had started doing theatre in my senior year and I had an interest in it, so when the school I ended up choosing to attend didn’t have a music major, theatre became my fallback option. I changed majors about thirty times in college. But somehow I kept coming back to theatre. Even when I switched to a totally different major, I would find ways to sneak into the theatre classes and get cast in the shows. So eventually I gave in; I said to myself that there had to be some reason that I was so drawn to it. I then did a summer acting apprenticeship at the Berkshire Theatre Festival to see if this was actually a career path I could see myself on. And I came away from that summer with a ton of experience and a newfound conviction that theatre was what I wanted to do, for better or worse. It explores humanity, and the many layers of people, and the multitude of ways in which people can connect with each other. Art in general tends to do that, but I find that for me, theatre does it in a specifically profound way that is utterly fascinating. And once I had a taste of an art form that can help me delve into both myself and humanity in a larger sense in such a deep way, I simply got hooked. And so here I am, almost five years out of college, still going as strong as one can in this big old city.

Who do you play in The Imbible: Christmas Carol Cocktails?: Ebenezer Scrooge

Tell us about The Imbible: Christmas Carol Cocktails: Christmas Carol Cocktails is a sequel to A Christmas Carol in which Scrooge returns home after his visit with the spirits with a newfound respect for Christmas. He realizes he needs to organize a Christmas party before it’s too late, but having been such a…well, a Scrooge, for so many years, he has no idea how to throw a party properly. So he calls upon the spirits one more time before the night’s end to teach him about holiday-themed cocktails he can serve at his party. They step up to the plate and take both Scrooge and the audience through a second journey, slightly boozier than the first, to learn about the ways in which he can share holiday cheer in liquid form. Will his party be a success? You’ll have to come see the show, try the drinks, and judge for yourself. With three drinks included in the price of your ticket, this is one Christmas gathering you won’t want to miss.

What is it like being a part of The Imbible: Christmas Carol Cocktails?: This will be the fourth show run I’ve performed in with Broadway Theatre Studio (counting last year when I first performed this Christmas show), and I’ve really been so honored to be able to work with such an amazing group of people. If there’s one great thing I can say about Anthony and Nicole and this company (and trust me, there’s far more than one great thing I can say, but that would take PAGES to get through), it’s that they have a phenomenal instinct with casting and adding people to the company. Every single person who I’ve worked with in any of the various Imbibles has been amazingly talented and has helped me grow as a person through what they are able to give as an artist. This year and a half with the company has been a wonderful whirlwind of magnificent people and artists, and I’m truly humbled and honored that they continue to ask me back and allow me to work with them. This is a hilarious, amazing, talented cast and the fact that I will get to share a stage with them for the rest of this year is so exciting to me!

What kind of theater speaks to you? What or who inspires you as an artist?: I don’t think there’s one particular type that speaks to me more than another. I’m simply drawn to pieces that don’t try to be what they aren’t. If they’re a poignant drama, I generally prefer the ones that don’t try to play that aspect up. I want the language and the writing to speak for themselves, without a need for spectacle or extra heightening. It’s hard to describe exactly what I’m drawn to, it’s sort of an intangible vulnerability to a dramatic piece, a fragility that acknowledges that maybe no one piece can answer every question about humanity because the species is ever-changing, and that’s simply the nature of things. And if it’s a comedy, it can’t take itself too seriously. You’re a comedy, be fun, be funny, and recognize that when it comes down to it, we’re a bunch of professionals who are (hopefully) getting paid to literally play pretend on a stage in front of people every day. And we’re all really good at it.

Any roles you’re dying to play?: I’ve wanted to play Jamie in The Last Five Years ever since I first heard the soundtrack, but I’ll never be Jewish-looking enough.

What’s your favorite showtune?: I generally can’t stand showtunes, but I’ve always been really partial to “The Bells of Notre Dame” from The Hunchback of Notre Dame. Does that count?

If you could work with anyone you’ve yet to work with, who would it be?: I don’t often debate who I’d love to work with, because the honor of working with the greats is hardly something I expect to be bestowed upon me. But if there’s one person I would love to have had the opportunity to work with, it’s actually Marcel Marceau. I’ve been trained in corporeal mime work for quite a number of years by a phenomenal mentor and friend who was one of his students, Rick Wamer, and to study under the master of the art would have been absolutely thrilling and humbling.

Who would play you in a movie about yourself and what would it be called?: I’m pretty sure my life’s never been interesting enough to get made into a movie, but if it ever did, I would hope and expect that it would be called "Utter Confusion" and it would feature Neil Patrick Harris as me, except he’s drunk every day of filming. And it’s a rom com where the plot twist is that there’s actually never a real romance. Just a sequence of steadily more disappointing date scenes culminating in a magical almost-kiss scene that’s cut short by a very angry sparrow with a vendetta against blond hair attacking my head. Classic.

If you could go back in time and see any play or musical you missed, what would it be?: Sweeney Todd. Original Broadway production, just for Angela Lansbury.

What show have you recommended to your friends?: The Curious Incident of the Dog in the Night-Time. For me, at least half (if not more) of the strength in the writing of a piece lies in the piece’s ability to fully immerse the audience in the story through perspective, and yet proper use of perspective is such a nuanced challenge. Curious Incident achieved this in a way very few pieces I’ve seen have ever been able to do.

What’s your biggest guilty pleasure?: I would never feel guilty about my pleasures. But I am a massive video game nerd.

What’s up next?: I don’t actually know. If you do, please fill me in! But really, gosh, this show will take me through the end of the year. I’ve made some pretty big strides in my life this year and ideally, whatever my next project may be, theatre or otherwise, I’d hope it continues that forward momentum for me.

For more on The Imbible: Christmas Carol Cocktails, visit http://imbible.org/