Block Talk- Episode 10- Tom Block

On a special #BlockOnBlockTalk episode, I spoke with Tom Block, founder of the International Human Rights Art Festival coming this weekend to Dixon Place!

The International Human Rights Art Festival runs March 3rd-5th at Dixon Place. To learn more, visit http://dixonplace.org/performances/the-international-human-rights-art-festival/

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Review: A Dark Play That Will Wake You Up

By Ed Malin

Puss N Puss Productions has brought to this year’s Frigid Festival the most scarily intriguing play title I can remember: How to Sell Your Gang Rape Baby For Parts.  Co-stars Ali Ayala and Libby Emmons wrote the play, which is gloriously directed by Michele Travis. My guess is that the name of the company (and the names of the characters, who both call each other “Puss”) come from resistance to the current administration and what the Commander In Chief stated he likes to grab.  This is indeed a play about liberation.
I hope this makes you want to see the show more.  You really should see it this weekend at The Kraine. The really great thing about this show (which starts off as an understated chat between Human Resources co-workers Ali and Libby) is the acknowledgment that life has become a bit overwhelming.  We are clearly in New York, some time after the 2016 election, in an office where people do work they don’t like, and where the management subjects the staff to mandatory team-building exercises at Chelsea Piers. (“Since when is HR part of the team?”)  Horrible things happen all the time, and it takes just an extra bit of motivation to respond to them.  Ali and Libby are very honest with each other about picking their battles.  At one point they quip that since they are women under this regime, life already sucks.  “Do you think more estrogen would make me a better/nicer woman?” receives the answer “no.”

They have an unseen co-worker who is reportedly eating away her troubles in the break room.  Oh no, she isn’t just eating for herself; she recently went to a party where she was gang raped by an entire football team.  Soon, she will give birth to a gang rape baby.  This is one more massively terrible thing which should not be excused away for any reason.  Even if the victim was politically incorrect?  “Why did she vote for Trump if she didn’t want to get raped?”  The gray area turns the tables and gives us lots of jokes I never thought I’d laugh at.  What will it take for the women of this office to band together?  Times are indeed almost unbearable, so Libby again tries to blame the victim.  “Everyone gets raped; the least you can do is be on the pill.”
While Ali ponders why their boss, who is transitioning from male to female, has strongly counseled the victim to abort her pregnancy (“maternity leave is too expensive”), Libby sees a silver lining.  If the baby is carried to term, it can be sold to interested parents.  This dream is shattered when they realize that the football team was not all white. Yes, the dark humor goes even deeper.  For, imagine what Libby and Ali (now her partner in the deal) could make from selling the organs of the fetus?  If you had a blind child, what would you pay for a gang rape baby’s eyes? Libby and Ali mean well.  Libby, whose husband recently died and has been excused from being in life-affirming situations, would love to quit her job.  Ali wants some body modification: you guessed it, the “ass  fat boob job”.  Is it “cannibalism or upcycling”? I really shouldn’t tell you if they succeed with their plans or not.  Success would take on a whole new meaning. All involved have great chemistry and a real knack for delivering lines that would be repulsive or at least very depressing. I’m sure you will want to stop the madness and work against any world order where this story would really happen.

Review: Meetings With Remarkable Men And Where To Find Them

By Ed Malin

Christina Augello takes us on an adventure in Denial Is A Wonderful Thing, which she co-wrote with John Caldon.  Ryan Marchand directs.
In this quite personal, multi-continental story, Christina seems to be telling us her secret for staying agelessly beautiful.  In Mumbai, she meets an intriguing gentleman named Kim.  Kim, an Australian, is half Aborigine and half Scottish and has faced discrimination.  He informs Christina that Fosters is not a good beer, and keeps making sense after that.  As they enjoy less than 48 hours of the end of their foreign travels together, the two feel like they have known each other forever. Here the narrative masterfully jumps around to Christina’s childhood with her Sicilian family in Buffalo.  Her father (who she would later learn was her stepfather who married her mother when she was four) ran a popular restaurant.  Back then, the police and the bad guys were pretty much the same. Buffalo was a theater town, where denial is a wonderful thing. Her parents loved each other so much, they commissioned a portrait which hung in their home.  If you came home and the portrait was off the wall, they were having a fight. We also spend many exciting times in San Francisco in the 1960s, with plenty of hitchhiking, mind-altering substances and romance on the road.  So much, in fact that when Christina is given the opportunity to go to Woodstock in 1969 she turns it down.

photo by Steven Crouch

Many things pull Christina to Northern Australia, home of all sixteen of the world’s poisonous snakes as well as Kim.  It is a country where at the time of Kim’s birth, the government would take half-white and half-aboriginal children away from their mothers.  Kim’s mother fled so she could raise her child herself.  In some ways, the frontier-type places Kim takes Christina haven’t changed enough.  The outback adventures blend back into tales of Hippie Hill, San Francisco, which gradually lost its innocence.  Christina also talks about meeting her biological father, a DEA agent.  What is the best way to balance intensity, denial and happiness?
I looked at my watch and suddenly realized an hour had passed.  It takes a sincere storyteller to accomplish what Christina Augello has done.  And it’s apparently her first original solo show creation, produced by EXIT Theatre, the San-Francisco co-founder of Frigid Festival.   You can learn a lot about joie de vivre, several laid-back but vanished ways of life, and the great, unexpected adventures about to begin.

Spotlight On...Jeff Talbott

Name: Jeff Talbott

Hometown: Kimball, NE

Education: BFA (University of Nebraska), MFA (Yale School of Drama)

Favorite Credits: The Submission (MCC Theater)

Why theater?: Because now, more than ever it seems, we need a place to gather to have a conversation about how we talk to and about each other, and maybe how we make this place we share slightly better, together.

Tell us about The Gravedigger’s Lullaby: It’s a play about a gravedigger.  It’s a play about a marriage.  It’s a play about a poor man and a rich man trying to find common ground.  It’s a play about finding the grace to get up tomorrow and give it all a shot again.

What inspired you to write The Gravedigger’s Lullaby?: I write when I’m trying to figure something out; in this case, I was trying to figure out how to navigate difficult conversations I was continuously failing at trying to talk about the disparity between the people who have a lot in the world and the people who have not enough.  And once I started writing that, I realized I was also writing about a family.

What kind of theater speaks to you? What or who inspires you as an artist?: I like all sorts of theatre; I particularly like to be challenged when I see a play to consider how I feel about what’s happening onstage.  I engage actively as an audience member, and try to encourage the same as a writer.  I am constantly inspired by other artists, and draw my strength and inspiration from them – particularly my friends who are out there making great and exciting things in the world.

If you could work with anyone you’ve yet to work with, who would it be?: This list is too big and would break the internet.

What show have you recommended to your friends?: So many – Natasha, Pierre and the Great Comet of 1812 is currently on that list.  But there’s a lot of great theatre out there right now.  See a play.  I mean, like tonight.  I mean, like right now.

Who would play you in a movie about yourself and what would it be called?: A young(er) John Lithgow or Tracy Letts, probably; let’s call it: "So, What Happens Now?"

If you could go back in time and see any play or musical you missed, what would it be?: So many . . . oh! I love Ibsen – what about going back and seeing that first production of, say, A Doll’s House or Ghosts?  What was that like?

What’s your biggest guilty pleasure?:  Trader Joe’s Coconut Cashews; or basically anything from TJ’s. . . while watching "Please Like Me" over and over.

If you weren’t working in theater, you would be _____?: Wondering how I could get a job working in theatre (sad but true).

What’s up next?: The Gravedigger’s Lullaby runs through April 1; currently working on a commission for a new play at Montclair University in NJ.  Some other things going on that I can’t share yet, but soon . . . (he’s so mysterious).

For more on Jeff, visit www.jefftalbott.com. For more on The Gravedigger's Lullaby, visit http://tactnyc.org/shows-events/the-gravediggers-lullaby/

Block Talk- Episode 9- Ryan Farnsworth

Today on Block Talk, we sat down with Ryan Farnsworth to talk about his time on the Beautiful tour, his new podcast Singer Stories, and sports!

To listen to Block Talk, visit iTunes or Soundcloud and make sure to subscribe today!

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Review: Outside the Box

By Michael Block

Let's not bury the lead. The Object Lesson is an extraordinary work of art. New York Theatre Workshop is known for taking risks. The Object Lesson is a giant risk. One that paid dividends. Created and performed by Geoff Sobelle, this immersive art piece takes you on a journey through objects that make us, us.
When you look at your ticket and see "general admission," you know something exciting is waiting inside. As you enter New York Theatre Workshop, the earlier the better I advise, be prepared to see the space covered in cardboard boxes and a items of the past in every nook and cranny. You're encouraged to interact with the space. Pass along boxes. Sit on others. Through your exploration, you're bound to interact with fellow theatergoers about the experience to come. As you begin to settle into your space within the space, take notice of who you're talking to as you might just be conversing with Sobelle himself. He might share an anecdote about a boxed labeled "Kafka" featuring a cockroach in a bed. Without warning, the center of the room begins to take shape. Through illusion, clowning, and storytelling, the installation piece becomes a jungle gym of wonderment. From there, Sobelle is behind the wheel of The Object Lesson. Broken up into various vignettes throughout the room, often featuring participation from the crowd, Sobelle shares memories propelled by the items he finds or searches for. The nature of the show allows you to have your own personal experience along with the piece. You are allowed to move around. You may interact and be an active participant. Or you can passively sit back and watch. Through story and design, there is a constant theme that recurs in the form of various lights and trinkets. Despite being many stories, it helps to tie the event together. Sobelle’s innate skills for storytelling are on display here. Whether aided by microphone or simply speaking unamplified, Sobelle’s narratives are captivating. He has a natural sentimentality in his voice. It’s soothing. So soothing that his meditative cadence could get you to nod off for a moment. But that could be because there are certain beats that drag on a bit too long. Especially when the pay off is eventually revealed. See that first phone call. But when the gimmick of said first call is uncovered, it’s bound to make you grin.
Director David Neumann guided Sobelle through the room of boxes and paraphernalia. The staging is intricate and precise. Every moment is well calculated. The scenic installation designed by Steven Dufala is planned clutter. At first glance, the space looks like an episode of “Hoarders,” but there is a method to Dufala’s madness. It’s overwhelming. There’s a natural intimacy to this world of boxes. But when the space reaches capacity, there’s a sense that perhaps there are too many people within the experience. The freedom to move is a bit restricted. But don’t worry if you fear that Sobelle can’t move around. Oh he can. He has no worries about moving you around. With attention to detail so important, hitting the mark was essential. The lighting design from Christopher Kuhl was mostly comprised of atmospheric practical lights. If you look up, there are very few theatrical lights in the sky. Just the essentials. Neumann and his team have provided an experience that you can only see to believe.
Geoff Sobelle’s The Object Lesson is overwhelming, just like our own lives. Whether you take Sobelle’s stories at face value or find yourself in the tales, The Object Lesson is continuing to remind audiences the diversity when it comes to how theater can be made and told. If you are fearful of immersive experiences, let The Object Lesson be your way in.

Review: Voices of the Past for the Present

By Michael Block

American Bard Theater Company brings three one acts from the past and presents them in the present for an evening of relevance. Uniting the works of Susan Glaspell and Marita Bonner, Visionary Voices: 2 Women Writers, 3 Big Stories is a celebration of important works for today.
Kicking off the evening is Trifles by Susan Glaspell and directed by Aimee Todoroff. Possibly Glaspell's most revered work, Trifles recounts the strangulation murder of Mr. Wright, presumably by his wife Minnie. Trying to find clues, the county attorney, Mr. Hale, and Mr. Peters examine the upstairs of the house leaving Mrs. Peters and Mrs. Hale alone downstairs. As they wait, they come across a dead canary, leading the ladies to believe Mrs. Wright may have in fact done the crime. This one act is mystery at its core. There is immense intrigue but Todoroff needed to help heighten the stakes by amount up the pacing and fear. There was an ominous feeling, assisted by the atmospheric sounds from Matthew Fischer, but as a whole, the piece was lacking. There is inherent strength in Mrs. Peters and Mrs. Hale, yet Mel Houe and Cheri Wicks didn't quite pull it out of them as much as they could have.

photo by Basil Rodericks

The next piece up was Exit: An Illusion by Marita Bonner. Directed by Tonya Pinkins, Exit: An Illusion is a dangerous tale about colorism and sexism. Dot is on her way out for a date with a guy called Exit Mann but Buddy is furious at the though. Through a rage-filled rant from a visibly jealous Buddy, Dot insists on going despite her frail state. Playing like a surrealistic nightmare, this drama pulls the fear out within us all. Pinkins capitalized upon this. Where Exit: An Illusion could have been a bit stronger was through its lighting. This play is almost a blank canvas of possibility. When the piece is directed in the manner as it was, Christopher Weston's design was not as strong as it could have been. It was too noticeable. Perhaps a practical lamp or too could have allowed more light to shine without risking the full stage flush. If your focus gets pulled by the lights, it draws attention away from the story. As Dot, Morgan McGuire was a sultry rag doll, thrown around by the powerful force of T. Morgan as Buddy.
Closing out the night was a play of hope in a time of disparity. Glaspell's The People follow the titular newspaper on the verge of closing. As the news blows in the wind, a cavalcade of characters in a cornucopia of costumes arrives to share their voice and save the paper. With an important message deep within the text, the cartoonish nature of the narrative allowed for fun to be had. Directed by Todoroff, each character was given a clear and consistent identity. Through a structural lens you almost wish Glaspell could get another pass at her text but Todoroff highlighted the themes with ease. With twelve in the cast, staging all those bodies with one true entrance into the office could have been a headache but Todoroff pulled it off. Cheri Wicks as The Woman left you with a sense of triumph with her momentous monologue.
Visionary Voices was ambitious in the sense that this was three different plays needing three different worlds. Wonder how you create three distinct looks for three very different plays? Ask Zhao Mingshuo. Visionary Voices was a scenic triumph. How Mingshuo made it work was extraordinary. From a Nebraska farm house to a tiny apartment in Chicago to the office of a newspaper, the design allowed each world have it’s own temperature and pallet. Sure, it may not have been the cleanest in execution but it was visionary!
American Bard Theater Company has provided an important night of art for two important voice in American literature. Celebrating these texts of the brilliant women is wonderful. Visionary Voices just needed a little more polish.

Review: Wonky Letters of Love

By Michael Block 

There seems to be new ways to reinvent Shakespeare everyday. Spearheading this movement is Bottoms Dream, an ambitious company that thrives on weaving new interpretations of the Bard's text to create new narratives. In The Bride, their latest weaving, Love’s Labour’s Lost and Much Ado About Nothing get the mashup treatment for a story about, well you guessed it, love.
Playing the Gallery at The Access Theater, The Bride, adapted by Nat Angstrom, takes two of Shakespeare's romances and shakes them up to tell a tale of gender divide after The King of Navarre decides that there is a ban on gender communication while he spends three years at study. As the outlaw is in place, the comedic policing of Dogberry, master constable of The Watch, takes center stage as he has a duty to be done. The Bride is a play for Shakespeare aficionados. In the grand scope of the canon, these two are probably somewhere in the lower middle tier of popularity. That being said, the clarity is not here. It may be best to engage in a quick crash course refresher on the respective texts, character, themes and plots before spending the night at the theater. To bring this new story to life, characters' texts were combined to create new, and occasionally, similar personas. But as the story unfolds, The Bride is not quite a weaving, it's more like patchwork. These aren’t instantly recognizable narratives so throwing a new one into the fold may have been the cause of disconnect. Even if you try to take the piece at face value, the individual arcs of the characters needed more care. Maybe even some sort of dramaturgical program to peruse prior to the production explaining some of the combinations of characters and analysis of the source material as it pertains in this context could have been useful.

photo by Tessa Flannery

Even if you have difficulty following along, where The Bride succeeds is in the consistent physical vocabulary in direction and utilization of instruments and integration of music. Director Doug Durlacher had a strong vision when it came to bringing out what The Bride would look, feel, and sound like. There was an inherent fluidity in his staging. The scenic exploration was transformative for the space. The aesthetic was all there. What was missing was the connection of the material from page to stage. Durlacher’s storytelling needed some finessing. The piece began with the players, all of whom were seen warming up as the audience walked in, setting the stage by removing props and costumes from a trunk center stage. Accompanied by a musical underscore, this prologue was important. It had parts of the narrative within. Again, aesthetically it was gorgeous. It could have been amplified even further to hammer in just how much we needed it. Where The Bride flourished was the use of music throughout. Music is in fact the food of love. With original songs from Mike Lee, Allyson Capetta and the ensemble, its integration elevated the production.
Taking on a plethora of personas, the ten actors found love in the text. And when there is heart in a character, there is an attraction toward the performance. The multi-talented cast showcase their skills from characterization to musicality. The strongest of the bunch included Aleda Bliss as the Princess of France, Katie Fanning as Rosaline, Ella Smith as both Hero and Holofernes, and scribe Nat Angstrom as Dogberry.
The Bride is a new story. And that’s ok. Sometimes it’s exciting to reinvent the wheel. But the execution needs to be exceptionally flawless. Unfortunately the text got bogged down in idea.

Review: The Missouri Show Me The 1980s Childhood Show

By Ed Malin

The Idaho Jackson Action Playset is a very personal 1980s one-man show by Brad Lawrence now playing in the Frigid Festival. Cyndi Freeman directs this focused ride through the intersection of school fights, lunchboxes, first crushes, nuclear holocaust and AIDS.
Brad Lawrence, wearing a Wilma Deering t-shirt (see: Buck Rogers) gives us a touching, rapid-fire story about his second grade life.  We jump around a bit getting a lot of evocative details until we firmly understand the challenges of being the eighth and youngest child in the family.  Hand-me-down clothing (usually way too big) is a given but this can make a kid feel like he is only a knock-off version of a real child.  “Like a GoBot in a word of Transformers”, if you will.  Like an “Idaho Jackson” Action Figure, a nice joke for those who were children at the time and had Action Jackson toys.

photo by Ryan Collerd

Brad rips through the story of his first kiss and chance to walk a girl home, which was made easier because he was banned from the school bus.  This happened because he hit a bully on the head with a creaky metal Raggedy Ann and Andy lunchbox inherited from a sister.  The replacement lunchbox was a plastic Spiderman item in a very manly shade of yellow.
Then came summertime in Missouri, and the customary but noxious trip to the zoo.  July temperatures are “measured in Kelvins”.  Children vomit regularly, especially when harassed by animals in enclosures with non-realistic environments.  “Not since Pompeii have so many people regretted wearing open-toed sandals.”
Brad ends up spending more time at home, where he is dismayed by TV talk shows about how the suburbs are rife with Satanism.  Even more alarming is the anti-nuclear film “The Day After”.  Being destroyed by nuclear weapons is nothing compared to the plight of Kansas residents who end up surviving.  The one stable factor in Brad’s life is his mother, a traveling insurance evaluator who collects fluid samples from clients.  However, the regular presence of these samples on the family’s dining room table leads to a huge panic about newly-identified HIV/AIDS.  What is the best way to live safely, or at least to feel safe?
Hats off to Lawrence and Freeman for painting such a detailed picture of suburban childhood circa 1983. A lot happens in an hour of memories. If your initial reaction is that this would be a safe and boring story, see the show and take heed.  Who knows, some of the historic concerns in the play, such as a nuclear standoff, may be part of our future.   I am glad that Frigid is back with this thoughtful one-man show.

Review: Love Hurts

By Michael Block 

Breaking up isn’t easy. There are far too many emotions attached. Especially when hearts are broken. Sure, there are a plethora of reasons for a romantic detachment and it can take time to heal, but you’re bound to go through grief. Presented by Ruddy Productions, Orion, written by Matthew McLachlan is a millennial rom-dram about a moving on from love and finding your worth when closure isn’t necessarily an option.
Gwen has dumped Sam. For space. Or time to find herself. Or because of work. Or it’s all the clichés rolled up into one. Sam isn’t quite taking the break up with ease. He’s hurting, and rightly so. But as Sam tries to move on, he realizes that Gwen still has a hold of his mind and his heart. Sam’s best friend Scott tries to alleviate the pain through his goofy demeanor all while his romance with Abby is thriving. Orion is a story about life after love. Matthew McLachlan has a colloquial way about his words. His dialogue is snappy and deliberate. The characters he has crafted are clear. With the commercial nature of the story and the static staging by Joshua Warr, Orion screams movie. And that’s not a bad thing at all. The play easily transcends its medium. Where the piece did struggle a bit was the structure. Even though we learned some new information in the monologues, they weren’t essential and the content could have been incorporated in a slightly more active way, especially since the clarity of who was on the receiving end of the monologue was not entirely there. They did, however, pay off with the final beat of the play where the words intercepted to tie the piece off nicely with a bow. But the moment that hurt the overall arc of the story as well as some individual narratives was the flashback placement. The scene itself is a glowing highlight of McLachlan’s writing. It’s a beautiful and endearing scene. But by capping off the show with the key information we learn in the scene combined with everything leading up to it, it manages to weaken Sam and turn Gwen into literally the worst person ever, a title she may have already had. We learn in this scene that it was in fact Gwen leading the flirting that got Sam and Gwen together. Combine that with her breaking his heart and immediately finding a new love, she comes off as a selfish character. If this scene is integral, leading the show off with it and then jumping ahead in time to the true scene one allows sympathy to be had for Sam as he battles grief and a broken heart. The scene certainly colors the characters, the writing is brilliant, but Orion still flows without it. The other thing earned by introducing it at the start is the origin of Orion and what it means to the pair.

photo by Justin Chauncey Photography

Matthew McLachlan’s characters jump off the page. We know these people or, perhaps, have been these people. Maybe we’re currently these people. Nevertheless, the characters are relatable. It’s a testament to his writing. Director Joshua Warr took the baton and brought the best, and worst, out of the characters, guiding the company to find the heart, humor, and anguish within each. They are archetypes but they each had their own personal charm. With meticulous clarity given to the relationships, there was never a question of who these individuals were or who they were to one another. Scenic designer Alaina Hernandez created a multifunctional set that allowed Warr to create the distinct locations, including the integral park. But with the transitions playing a big part in the pacing, less would have been more as Warr’s staging was clear without the all accouterments. It did slightly affect movement within the space, recalling just why this piece had that cinematic charm.
Despite being a four character play, Orion was essentially Sam’s journey. As the sad sap Sam, Blake Merriman broke your heart. Merriman reminded you that you’ve likely walked in Sam’s shoes at least once in your life. Merriman could have benefitted by giving Sam a bit more fight as he tries to find a way to walk through the world again without a significant other. Simply due to actions, Gwen is an utterly dislikable character. Gwen wants to have her cake and eat it too, often taking her feelings out on a person she claims to love. As Gwen, Amanda Jones played the text and played it well. By doing so, it was difficult to know the sincerity of the character. Taking on Sam’s best friend Scott, Scott Brieden was pure hilarity. Scott is a loveable goofball with a big heart and Brieden highlighted this trait well. As his girlfriend Abby, Simone Serra matched the charm of Brieden making them the bright light within the darkness of the story.
Orion shines bright and has the potential to glow even brighter. Matthew McLachlan has a strong voice and way with characters, capturing the beautiful complexities of human relationships. If you’ve ever had your heart broken and need a reminder that you’re not alone, Orion is the closure you may need.

Review: Beardo is Weird-o

By Michael Block 

Who says musical theater has to be perfectly commercial? If the intent is to make a work of art that's a little outside the box, there is certainly an audience seeking it. That's where Jason Craig and Dave Malloy's Beardo comes in. Presented by Pipeline Theatre Company at St. Johns Lutheran Church in Brooklyn, Beardo is a story of faith and sin, truth and deceit, and a whole lot of weird.
A man has his hand in a hole. He pulls out. He meets a Russian peasant and his family. The man, referred to as Beardo, begins to spew a narrative that destroys the family. He suddenly finds himself within the palace walls in St. Petersburg. He heals the royal son and instantly becomes revered, and slightly feared. He begins to change the way things are done, as he has the ear of the Tsar and the intimacy of the Tsarista. Suddenly tsarism is under siege. Though he's never mentioned by name, this unspecified faith healer is Rasputin, a mysterious and troubled antihero. Beardo is a dangerously evocative musical that is breaking the mold. There's no denying just how weird Beardo is. There's just nothing out there like it. With words by Jason Craig and music by Dave Malloy, Beardo is an indie-folk-rock Russian fantasia. The text has a modern tongue dripping with vulgarity and filth. And that's what makes Beardo so beautifully weird. But it's not perfect. There are some flaws. A bunch. Some whiffs in the script. Is there room for trimming? Absolutely. The meat of the play happens with the royals, but it just takes so long to get there. And that ending? Perhaps it’s best to chalk it up to taste. Beardo defies musical theater norms abundantly. One blistering example: bookending the show without the typical musical numbers. And that is fine, should they be earned. But that ending...There's certainly a commentary within but it strays so far from what had previously been seen that it forces you to scratch your head. It's so out there, the audience wasn't sure whether the blackout truly signified the end. That's not necessarily a good thing.
The Russian surrealistic musical could easily be equated to a southern gothic thriller. And director Ellie Heyman instilled that in her approach. It allowed the piece to somehow feel even more relevant than ever. Heyman's extraordinary direction had purposeful staging. Using an unconventional theater space can have its problems and limitations, but Heyman tackled the challenge and overcame it with ease. To say it was daring is an understatement. With a scaffolding jungle and a slightly raised platform area, the rundown church aesthetic worked wonders for the storytelling. Designed by Carolyn Mraz, the exploratory nature allowed a wonderment of possibility. Again, in the world of limitations, the lighting design by Mary Ellen Stebbins captured the evocative and seductive tone of the piece. Though it just looms over the stage for the entirety of the play, the glowing leg was haunting. Peasant chic and royal rags were at the forefront of Katja Andreiev's costume design. Think for a moment on just how difficult it could be to stage a play or musical in a church. The acoustics alone are a headache. Sound designers Dan Moses Schreier and Joshua Reid and the sound technicians solved the potential woes. And nothing beats that wall of sound during the stellar Act I finale. With an orchestra almost solely of strings, an eerie dissonance was highlighted within Malloy's score.

photo by Suzi Sadler

It’s always exciting to see a cast truly embrace their characters and have fun with their material. This company certainly had a blast. With a range of vocal stylings to fit the variance within the score, each character was fleshed out within a certain aesthetic. As the titular Beardo, Damon Daunno gave an otherworldly performance. Not only did he embrace Beardo but he made he come alive. Daunno gave the character a seductive hypnosis, casting a spell on anyone he interacted with. Whether fact or alternative fact, when he spewed his wealth of wisdom, you listened intently. Vocally, Daunno matched the folky gruffness of the character. Alex Highsmith takes on Tsarista, highlighting the character as the most grounded in the piece. There is certainly uncertainty and trepidation of this mysterious magic man, yet Highsmith finds the strength within the character. While she may not have been the strongest vocalist in the cast, she compensated with her acting prowess, emoting through lyric. Willy Appelman’s Tsar was animated and uproarious. Bringing physical humor to the forefront of the role, Appelman often chewed the scenery without stopping the show. It was a smartly calculated comedic performance. While Yusapoof’s arc in Act I needed a little clarity, he becomes a key player as the story progresses. Brian Bock essentially steals the show in Act II with his Black Swan realness. Bock made a strong case for Jason Craig and Dave Malloy to create a spinoff solely for him and that outfit. The remainder of the ensemble did an impeccable job of helping to add color to the world, with the standout being Liz Leimkuhler. Don’t be surprised if Leimkuhler gets a call to jump into that other Dave Malloy musical running in Manhattan.
Beardo is a beautiful mess of a musical that knows exactly what it is. And that’s what makes it, well, charming. If you take the show at face value, you’ll likely not get it. If you do a tad bit of research and allow yourself to embrace it for what it is, you’re bound to appreciate it. Embrace the weird. Your mind might be blown.

Review: Never Say Goodbye

By Michael Block 

Sunset Boulevard's return marks the fourth Andrew Lloyd Weber musical currently running. But the headline here is not just the triumphant and stunning return of Glenn Close as the iconic Norma Desmond. The real story is the unique (and recently rare) opportunity to hear the score performed by a forty piece orchestra on a Broadway stage. Set against a backdrop of the Hollywood Golden Age, Sunset Boulevard is a production you'll wish would never say goodbye.

photo by Joan Marcus

With music by Andrew Lloyd Webber and book and lyrics by Don Black and Christopher Hampton, Sunset Boulevard is the musical dramatization of the Billy Wilder film of the same name. After a dizzying opening, the stage is set for a Hollywood romantic thriller as Joe Gillis' murdered body hangs, looming from the rafters. Joe Gillis is a screenwriter looking to catch a break. He's in a bit of trouble running from some moneymen and finds himself in the garage of famed screen star Norma Desmond. Upon learning his profession, Norma convinces Joe to assist her on a script, all while she begins to fall for him in an unusual way. As he attempts to distance himself from Norma and her love stronghold, he falls for another woman, Betty Schaeffer, and causes Norma to fall deeper into despair. The staging by Lonny Price is sensational. Price uses the simple, yet grand set by James Noone to its full potential. Price and his team insured that the brilliant orchestra was a centerpiece of this production. To capture the mystery and intrigue of Hollywood, lighting designer Mark Henderson's evocative design brought the right marriage of light and shadow. But the subtle inclusion of bringing the house chandeliers into Norma's mansion was a glorious touch.
It's fitting that Sunset Boulevard gets a revival at the Palace, as Glenn Close is theatrical royalty. Close gives a master class in performance as the maddened, fading star. Mystifying is an understatement. Close went full tilt to bring Norma to life by incorporating the exquisite costumes (originally designed by Anthony Powell) into her physicality. Most actors just wear a costume as clothing. Glenn Close makes it part of her character. It's easy to get lost with everything that this production brings, but Michael Xavier was an incredible leading man. With Xavier's essence of old school charm, it's no wonder it captivated Norma. As the nice girl, equally captivated by Joe, Siobhan Dillon's Betty Schaeffer was a bright light. Dillon brought a modern sensibility into Betty, and broke her out of the typical ingénue role. It was a strong choice that paid off. With a deep voice and an unwavering loyalty, Fred Johanson found the complexity of Max. Johanson's rich characterization was beautifully understated yet perfectly powerful.
Sunset Boulevard is the show you've been eagerly anticipating. Between Glenn Close and the breathtaking orchestra, you'll never want to say goodbye to this perfect production. It should be noted that the performance I attended was the one where Hillary Clinton was in attendance. She received the first standing ovation of the night before the show. Believe me, I think the audience was willing to give a standing ovation in the middle of the show after "As If We Never Said Goodbye." But fear not, this show earned a round of ovations during the curtain call.

Block Talk- Episode 8- Emily Owens and Hollis James

In this episode of Block Talk, I got to sit down and chat with director Emily Owens and playwright Hollis James about their upcoming play Kyle!

They're so excited for Kyle, they're giving Block Talk listeners $5 off tickets with code BLOW at hottrampproductions.com.

To listen to Block Talk, visit and subscribe at iTunes or Soundcloud!

And check out patreon.com/theaterinthenow to learn how you can become a PATRON today!

Review: No Need to Wait for the Light to Shine

By Michael Block

Big River, the musical based on Mark Twain's “The Adventures of Huckleberry Finn”, has a storied history. It had a muddied first reception in New York in 1985 but took away a wealth of accolades. The musical had a grand return in 2003 in a celebrated revival produced by Roundabout and Deaf West. And now New York City Center brings it back. And the light shines bright. Directed by Lear deBessonet, as part of the Encores series, Big River, in this run. is a simple yet enthralling production with no frills attached.
With a book by William Hauptman and music and lyrics by Roger Miller, Big River is the classic story of Huck Finn, a boy looking for an adventure and Jim, a runaway slave looking for freedom. In their journey down the river, they encounter obstacles and detours that open Huck's eyes to the world. This version of Big River, the production let the music soar and the story take center stage while your imagination ran wild. deBessonet's direction was clean and affective, calling out the emotional journeys as best as the text can allow. But if the barometer for success was the exuberance and excellence of the showstopper "Muddy Water," this production wouldn't have lived up to expectations. Yet the overall production was so strong, it's easy to forgive the lack of super power this number ended up having. Despite that, Miller’s score, performed by The Encores! Orchestra, resonated, bringing out a newfound evocative sentiment. Just listen to “Worlds Apart.” It’s bound to hit you profoundly. Through deBessonet’s staging and Josh Rhodes’ choreography, storytelling was the focal point. The piece moved lithely from beat to beat, bringing the audience along for the journey. With the limitation of space, Rhodes was still able to bring some exciting movement into the musical, namely in “The Boys.” The costumes from Jess Goldstein lived in the period but we’ll all be remembering what he put David Pittu in as The Royal Nonesuch.

photo by Joan Marucs

Despite a wealth of credits, Big River was the vehicle that is bound to help make Nicholas Barasch a household name. His journey as the adventurous kid was something special.  There’s a beautiful purity to Barasch's voice that makes his Huck almost too perfect. He certainly has some room to find the other flavors within the character, both in personality and voice. As Jim, Kyle Scatliffe’s emotional journey was one for the ages. Though Barasch and Scatliffe may not have had the perfect blend vocally, their bond was genuine on stage. Big River is a musical ripe with potential scene stealers. And they certainly found a place here. Charlie Franklin as Tom Sawyer brings charisma and charm as the little troublemaker. The vibrancy and playful mischief worked well against Barasch’s Huck. Similarly, David Pittu as The King and Christopher Sieber as The Duke won the crowd scene after scene, song after song. As the resident clowns in the company, Pittu and Sieber make comedy look second nature. While Mary Jane Wilkes is merely a blip in the story, Lauren Worsham was radiant. Like Worsham, Cass Morgan and Annie Golden took on some minor roles but worked their magic, reminding us why they are theater royalty.
Big River, to some, may be a misunderstood big musical. Between a beautiful score and a classic story, Big River will shine on within the canon of musical theater. New York City Center has done an extraordinary job celebrating this work. If you missed it, cross your fingers there’s a chance for another life.

Review: One Big Secret in One Long Play

By Michael Block

There are some stories and times that seem to disappear from the mainstream storytelling. One of those comes to life in Sarah Levine Simon and Mihai Grunfeld's The Dressmaker's Secret, presented by The Simon Studio. Set in 1963 Romania, Simon and Grunfeld's drama follows the story of a woman, her son, and the secret she's been harboring for twenty years.
Told in a time of failing trust where secrets and conspiracy are abundant, The Dressmaker's Secret follows the journey of Robi as he searches for the identity of his father, a secret his mother Maria, the dressmaker, has held onto. As Robi goes on the hunt, Maria uncovers the truth behind the past that still haunts her. The story, adapted from the novel by Mihai Grunfeld, is a dizzying soap of period drama. Maria wants to keep her secret. Robi wants to find out said hidden secret. And then we get an odd Romanian Mrs. Robinson subplot between Robi and Maria's confidant Irma. And then we get the more than coincidental return of Maria's old love Robert, which shakes things up even more. But as juicy as this all is, it's the inciting induce by that is more troubling. The inciting incident is the discovery of a photo that happened to be out on the sewing table happens so early and far too easily. Diving a bit deeper into characters and relationships prior to the discovery is greatly desired. Simon and Grunfeld's text is quite old school. The dialogue has a heightened aura that creates a presentational feeling within the characters. It’s not colloquial, just period. No matter how the story shakes up, an incredible amount of cutting is greatly desired. There is a plethora of repeated information that bogs down the pacing. It’s hard to say how to not make the piece predictable, but the way the drama unfolds, it’s easy to know just exactly what is going to happen and when it’s going to happen. It’s inherent to the story.

There was truth and sincerity in Roger Hendricks Simon’s direction. That being said, Simon’s passive direction forced the stakes to feel minimal. The low stakes dimensioned the power of the story. Whether it was in the text or not, The Dressmaker’s Secret was very much a play about coffee and drinking. In nearly every scene, it’s part of Simon’s action, thusly becoming uninteresting and dull. The scenic design from Stephen C. Jones was practical given the multiple locations. With dress form and sewing machine in full view, we were present in Maria’s intimate home. Where Simon found great success were the beats were he allowed the audience to watch, and listen, to Maria sew. The void of dialogue and sounds of the machine spoke volumes of Maria and the world around her. Jones tried to bring nuance to the black box space by hanging oddly shaped picture cutouts of Romania. The spacing of the images made it feel incomplete. They were unnecessary to the story, but if the visuals were greatly desired, there needed to be a complete collage that overwhelmed the walls. Taking on the lighting design as well, Jones’ lighting was too harsh and bright for the mood of the story. Additionally, it illuminated the space in an unfortunate manner as it reflected off of the white and light-colored furniture.
The quartet of actors tried their best to avoid becoming cookie-cutter characters despite the writing. Far and away, the strongest performance came from Caralyn Kozlowki as Irma. Kozlowski has the essence of effortless class and allure. Her character’s twist was easily the biggest surprise and Kozlowski allowed it be revealed beautifully. She kept her secret deep inside. As Maria, Tracy Sallows had to fight the past in a passive way. And yet you felt for her and her storied past. Sallows relationship with Bryan Burton’s Robi was tender but it was Burton, his wide eyes, and Kozlowski who had all the sparks in this play. Though his character was mentioned throughout, Robert S. Gregory as Robert fulfilled the notions of the character. Even through his acts of kindness, Gregory’s Robert was an antagonistic villain.
There is a demographic where this play is certainly appealing. But The Dressmaker’s Secret is just bogged down by its length and its lack of stakes.

Spotlight On...Yair Ben-Dor

Name: Yair Ben-Dor

Hometown: Herzeliyya, Israel

Education: Board-of-Education education? Both in Herzeliyya and in Philly (I moved a lot between the two). Real education? - The Lee Strasberg Film & Theatre Institute

Select Credits: TV credits: “Blue Bloods” (Naseem); "Quantico" (Oren); Theater Credits: Three Sisters (Solony); Uncle Vanya (Astrov); Erik- A play about a puppet (Barker); Julius Caesar (Brutus)

Why theater?: There’s nothing quite like the high of a good performance in front of a good reciprocating audience. Theater is an experience shared by everyone in the room, it’s magical, painful, thought provoking and freeing all at the same time.

Who do you play in A History of Servitude?: I play Pantalone - a misery old money lender with an over exaggerated libido and a severe case of aging.

Tell us about A History of Servitude: A History of Servitude is the brain child of the DOF. We wanted to come up with a way to show that those same stock characters from Commedia del’arte are still seen in today’s world. In fact, we’ve seen them time and time again throughout our short history on this planet. Through the use of time travel and bawdy slapstick humor, these characters set out to show the evolution (and lack there of) of the Master-servent relationship.

What is it like being a part of The Department of Fools?: It’s the most fun I’ve ever had doing theater. The DOF are all about collaboration. We don’t have one director, or one writer. The shows we put on are a result of constant writing, improv and observation of our society. Being a part of a company that is growing, striving for greatness and depends on one another is exciting, engaging and humbling.

What kind of theater speaks to you? What or who inspires you as an artist?: I am generally very drawn to the kind of theater that is complex in it’s simplicity. I like carefully chosen words or no words at all. The kind of the theater that takes it’s time and stop to think on it’s way to the point.
New playwrights inspire me! I love new, undiscovered, raw and unapologetic work.

Any roles you’re dying to play?: Yes! I would love to play Rosencrantz or Guildenstern in Rosencrantz and Guildenstern are dead by Tom Stoppard.

What’s your favorite show tune?: I’d have to say “Agony", from Into the Woods by Stephen Sondheim and James Lapine

If you could work with anyone you’ve yet to work with, who would it be?: For years I had wished to work with Phillip Seymour Hoffman, after I watched him in Death of a Salesman. Now I’m more inclined towards Danny DeVito. Is that a weird switch?

Who would play you in a movie about yourself and what would it be called?: Oscar Isaac in “The Distracted"

If you could go back in time and see any play or musical you missed, what would it be?: I would go back to the Italian Renaissance and watch some Commedia del’arte

What show have you recommended to your friends?: Sir Ian Mckellen and Sir Patrick Stewart in Waiting for Godot

What’s your biggest guilty pleasure?: Anything related to Star Wars… no wait Batman… no wait Star Wars.

What’s up next?: My ever-growing focus right now is on writing and creating original work. I have several short films and projects in the making. Writing is something that, at the moment, is uncontrollably spewing out of me and I’m going to make the most of it.

Review: Life According to Saki is a Must See!

By Kaila M. Stokes

Life According to Saki by Katherine Rundell comes to us across the pond from Atticist Productions. If you have not seen this 70 minute production, it is highly suggested. It is a pleasurable evening of wit, story-telling, and truth. Life According to Saki is set in WWI, literally in the trenches. Soldiers await their fate day by day and are met by intolerable boredom. To fill this void, a soldier named Saki, supplies ample stories throughout. Saki, played by David Paisley, is based off of the real life man Hector Hugh Munro. This man was an established writer that enlisted in WWI in his mid-forties; he was more than double in age of most of the men already!  Saki and the men acted out numerous stories about fear, love, loss, and religion. Each story was more vulnerable than the next.

photo by Monica Simoes

The director & choreographer of this interesting play are Jessica Lazar and Ed Addison. They had enough foresight to add in the value of physicality for these actors. The actors play multiple roles throughout each story, but each role took on a new physicality. It was very well directed and choreographed. The actors seemed extremely comfortable with the movements and each other; therefore they mastered them. There was not a detail over looked. When the characters were on the train, sound effects and physical motions were added. When the characters were animals, it was clear that the work was put into create that beastly altitude. And when Saki was speaking to the audience, the emotions bleed through his eyes. This brings up another point; the actors are superb. The entire company works together and does this piece justice. Women definitely led this play down the right path though; from the female writer to the director to the female company members (Phoebe Frances Brown, Ellen Francis, and Caitlin Thorburn) that stole the show. It was an honor to receive the honest messages evoked onstage. Your life is only worth what you put into it after all.
The lighting and sound, by David Doyle, were all tightly executed for each scene. It is a small space, but intimate, and the intimacy was utilized. The costumes are simple, defined, and true to the period. Since each character played multiple parts the simple design made it easy for them to transform. The set is also simple with boxes, benches, and a projection screen on the back surrounded by rock. The projection screen was utilized to enhance the audiences understanding of a story; it was never too much, but just right.
All in all, Life According to Saki is highly recommended. It runs until March 5th, so get your tickets to this short yet honest and witty British play. It was an honor to remember someone who made the world a better place with a tiny drop in the bucket. It was a generous reminder that we all can do that by being good to one another - that is what people will remember.

Spotlight On...Carl Fisk

Name: Carl Fisk

Hometown: Phoenix, NY. Yup, NY.

Education: BFA in acting from Syracuse University

Select Credits: Most recently I had a 2 episode arc on "The Path".

Why theater?:  While I don't prefer one over the other when it comes to acting on stage vs on camera, acting on stage provides an opportunity to live out an uninterrupted slice of the character's life that acting on camera does not.

Who do you play in Exit: An Illusion and The People?:  I play Exit Mann in Exit and Tom Howe in The People.
 
What is it like being a part of Visionary Voices?:  Approaching these pieces was an interesting challenge, as the way we speak now differs so drastically from the way people spoke at the time these were written. This provides both a wonderful challenge when approaching the text, and a great opportunity to really empathize with someone from a different era. Really what more could an actor ask for?  The experience is really all I could want. My cast mates are all highly talented and fun to work with. It's nice to work on a show that reminds you why you do what you do.

Any roles you’re dying to play?: Henry V

If you could work with anyone you’ve yet to work with, who would it be?: Benedict Cumberbatch. I mean yeah, no matter how well I do I would look like a fool next to him, but I feel like doing a show with him would be like five master classes rolled into one.

Who would play you in a movie about yourself, and what would it be called?: Pretty sure Evan Peters would play me because I get people telling me that we look alike ALL the time. The film would be called "A Most Unconventional Boy," and it would be directed by Wes Anderson.

What show have you recommended to your friends?: I use the word "Show" in the television sense, but I highly recommend “Wilfred.” Brilliant dark comedy.

What’s your biggest guilty pleasure?: Video Games. I know they're an unproductive use of time, but sometimes a nice relaxing game sesh is just what you need to de-stress.

What’s up next?: Playing a sizeable role in an indie Short Film entitled "Harold".

Review: Weekend at Ira's

By Michael Block 

People are like snowflakes. No two are the same. This is very much the case in Dan Fingerman’s fervent dramedy Boys of a Certain Age. Boys of a Certain Age is a story about being a gay male in America that illuminates just how different each person's journey can be.
Written by Dan Fingerman, Boys of a Certain Age follows a chilly weekend away at Ira’s beach getaway. His recently out nephew Christopher suddenly shows up looking for solace as Ira’s childhood companion Larry and his son Bryan are set to arrive. The quartet offer stories of sexual escapades and jabs at personal and political beliefs, all while sharing similar experiences being a gay male in society. Fingerman’s text has an old-fashioned sensibility to it, giving the story charm. There is a strong foundation in the structure. The content is dynamite, exploring the dynamics of the generations. The exploration of gay themes highlight the near mirror images between Ira and Bryan and Christopher and Larry. Living in distinct generations, these two pairs have strikingly similar stories. And it’s an exciting to watch the interactions.  The four characters within the piece have a strong, distinct voice, but you can’t help but notice that there is a lot of aggression and a bit of cynicism deep inside in each person. There were arguments a-plenty that kept the conflicts high. The heat was surely on. But what was keeping these people there? There were some big blowups that should have caused some to just get up and leave much sooner. Circumstances of course. As minor as this is, it’s easily fixable. Boys of a Certain Age is a prevalent piece. Fingerman includes a plethora of current topics. And sometime it feels like a Facebook newsfeed. That being said, Fingerman’s dialogue is best when the hot buttoned topics are integrated into the plot and character and relationship development.

photo by Hunter Canning

Director Dan Dinero took this relationship play and highlighted the nuances of these characters as individuals and as pairs. By focusing on how these individuals interacted, Dinero helped to highlight the complexities of Fingerman’s characters. Even when plot twists were surely coming, Dinero allowed them to unfold seamlessly. Maximizing the stage at Theaterlab can be quite difficult. Not only is a white box studio, the giant poles can cause some artists some giant headaches. Scenic designer Joe Burkard not only utilized the center pole well, he highlighted it, making it a literal centerpiece of his design. Thusly, Dinero played with the space quite well, keeping things consistent yet shifting it about. It was a bold choice that paid off. With a room of white, lighting designer Scott Nelson’s splash of color, especially in the bar scenes, gave the play life.
As the central cog in the machine, R. Scott Willams as Ira was a hoot. He represented the old-fashioned homosexual. Though he had a sassy, snarky comeback, Willams allowed Ira to have a wealth of experience in his subtext. There was a history deep inside Ira. Playing nephew Christopher, Brian Gilgor took on the gay Republican and tried to make him affable. Gilgor’s Christopher was a bit rigid, especially next to Marc Sinoway’s Bryan. Sinoway’s Bryan was the embodiment of ego. Even with strong opinions and ideas on love and life, Bryan had a giant wall that blocked him from allowing anyone in. Though this is likely rooted to the predictable twist that was revealed late in the game. As the man who recently found himself, Joseph J. Menino’s Larry didn’t shine bright, often fading into the background. It allowed the heart-felt explosion to be quite worthwhile.
Boys of a Certain Age is an engaging piece of theater with an exuberant amount of sentiment. It’s rich with history with a modern sensibility. If you’re not “in” on the culture, it’s easy to feel left out of this play. But for those who know this experience, Boys of a Certain Age is a special play.

Block Talk- Episode 7- Maria DeCotis

In today's episode, we talk with Maria DeCotis about her latest solo play UnFaced at Winterfest!

To listen to Block Talk, visit us on iTunes or Soundcloud. And make sure you subscribe and never miss an episode!

And don't forget, you can become a PATRON of Theater in the Now at patreon.com/theaterinthenow!

Spotlight On...Ella Smith

Name: Ella Smith

Hometown: Wayzata, Minnesota

Education: BFA from NYU/Tisch School of the Arts

Select Credits: Silvia in Shakesperience Production’s The Two Gentlemen of Verona, Luciana in their production of The Comedy of Errors. I had the time of my life playing Philaminte in Moliere’s The Learned Ladies. Recently I’ve been working on a production called How We G.L.O.W which takes interviews from LGBT youth and brings them to the stage as documentary theatre.

Why theater?: As a child who was kicked out of gymnastics for talking too much, theater became my haven and a place where I was encouraged to let out my crazies rather than stifle them. As I grew up, I continued to discover who I was within the welcoming and creative community of theater artists. I continue to devote my life to this art form because of the power I found in the theater to understand who I am, and to help others understand their own existence. Furthermore, I believe every piece of theater is a political act, and we need that now more than ever. Once a week I work with inmates at Rikers Island Correctional Facility teaching theatre classes. It is extraordinary to watch these men come to class with ever expanding gusto and incredible fearlessness. They continue to remind me to bring bravery to all my work, and to use acting and theater to raise my voice in a political culture that is so determined to mute it.

Who do you play in The Bride?: I play Hero!

Tell us about The Bride: The Bride is a weaving together of Shakespeare’s Much Ado About Nothing and Love’s Labors Lost. Some scholars believe that Much Ado About Nothing is also called Love’s Labors Won. A war takes place at the end of Love’s Labors, and a war has just finished at the beginning of Much Ado. We’ve set these two plays back to back, although some of the scenes are their own invention. Nat Angstrom is the creator of the script and he did a terrific job melding these two plays into one delightful and thought provoking new piece. I can’t wait to share it with people!

What’s it like being a part of The Bride: The Bride is made up of an excellent ensemble of actors and musicians. I am thrilled with the music that we’ve created as a cast and with the playfulness in which all the actors, and our director Doug Durlacher, bring to each rehearsal.

What kind of theater speaks to you? What or who inspires you as an artist?: I dig comedy! Comedy provides a special space in which to speak uncomfortable truths. I love watching theater that has me laughing my butt off, and which leaves me with some new ideas to ponder. I want to be part of politically engaging work that entertains as well as stimulates.

Any roles I’m dying to play: Currently my favorite play is Detroit by Lisa D’Amour. I want to play Sharon with all my heart! I also would like to play any character that Annie Baker writes, ever.

What’s your favorite howtune: I’ve been bit by the Hamilton bug…as we all have. I love to put on “Dear Theodosia” and weep my eyes out. I can also rap every word to “My Shot”, a fact that I’m very proud of.

If you can work with someone you’ve yet to work with, who would it be?: Julia Louise Dreyfus is my FAVORITE! I admire her incredible comedic chops and worship her work in “VEEP.” I would love an opportunity to play a role on the show and work alongside her.

Who would play you in a movie and what would it be called?: A movie about me would be called “Girl with the Bad Jokes” and who better to play any role than Meryl. Obviously.

If you can go back in time and see any play or musical you missed, what would it be?: It would be pretty fantastic to see the original production of A Doll’s House and to witness the reactions audiences had. Also I would love to be a groundling at Shakespeare’s first performance of Romeo and Juliet.

What shows do you recommend to your friends?: "VEEP" and "Transparent"! "Transparent" is magical and delicious.

What’s your biggest guilty pleasure: BEN AND JERRYS. (I’m vegan and they FINALLY came out with non-dairy options which are JUST AS GOOD. GET ON THAT TRAIN!) omg, going to buy some right now.

What’s up next?: I just shot a short film that I wrote and starred in called “Period.” My wonderfully talented friend Maddie Mahoney directed it. Can’t wait to edit it, share it, and get going on the next project! Create art, not walls.

For more on Ella, visit ellanicolesmith.com. For more on The Bride, visit http://www.bottomsdream.org/

Review: Underground Sci-Fi Rides Again

By Ed Malin

LaMaMa has brought together the old and new work of Robert Patrick, a playwright they have supported since 1965.  HI-FI | WI-FI | SCI-FI is a unique collection of five moving short plays directed by Billy Clark of CultureHub and Jason Trucco., who also designed the far-out sets.  (An additional segment, which I did not get to see, is directed by Il Kyu Park, via live video link from Korea on certain dates.)  Robert Patrick, gay theater pioneer and the man hailed by Samuel French in 1972 as “New York’s Most Produced Playwright”, gives the audience a variety of minimalist science-fiction thrills as, in the span of an hour, he takes us through different rooms (no chairs) in LaMaMa’s basement.  In some rooms, there is live music and free beer.
Action is a play about a writer, narrated by flamboyant avant-garde veteran Agosto Machado. Machado, who sits at a table next to a typewriter, is not the protagonist, however.  As he speaks, John Gutierrez, wearing only undies, emerges from a large pile of crumpled paper on the floor and takes his seat by the typewriter.  The young, mostly bare writer struggles to write two pages a day, but this may be due to his gorgeous love interest, played by Yeena Sung.  There is much romance, and yet Gutierrez does some one-handed typing even while his lover is on his lap.  But who is actually writing the story?  Action is performed with bongo accompaniment.
Camera Obscura, written around the time of the Vietnam War, is a shockingly modern piece about something resembling internet dating.  Yeena Sung and John Gutierrez  appear on two screens on opposite sides of the room.  Despite technical challenges that sometimes slow down or blur the audio, the two performers tell each other how happy they are to be speaking and vow to meet in person and have a life together.  The administrators of the service cut the pair’s chat off after two minutes; there is a huge line of people waiting for their turn.  Joe Levasseur’s lighting design helps convey desperation poised to become hope.

photo by Minji Lee

All In The Mind was my favorite play in this program.  Agosto Machado and Valois Mickens, on video, tell the story of a future world where everyone is mentally connected.  This world, population 10 billion, has been at peace for the last three generations, ever since people could suddenly read each other’s thoughts.  The future world is so different from ours, the two characters feel compelled to relate how difficult life was before the change.  All this is done in a cooperative style, one performer completing the other’s sentences and wandering around the four screens which surround the room.  At first, people were scared that others would know their secrets.  We are told there were exactly 789 reasons people hated each other.  Yes, back in the day there was a form of abstract fiction called “philosophy”, and an improved type called “science”, which had the potential to work, as long as one knew everything.    It is a heartwarming, John Lennon-sounding tale, and I hope we someday achieve that happy, life-affirming type of compassion.  The audience is given confetti and is encouraged to throw it at each other.
Simultaneous Transmission is another amazing artistic statement about conflict.  On video, Valois Mickens, Agosto Machado and John Gutierrez, dressed in white, speak of the dangerous enemy that threatens their way of life.  On stage, the same performers, dressed in black and carrying black protest signs, express similar sentiments on behalf of their own faction.  Both sides prepare for battle and demonstrate several of their destructive techniques.  Do they realize who similar they and their adversaries are?
The final piece, Everything Is Plausible, is a world premiere.  The host, Harold Lehman, informs us that in the year 2125, technology allows for constant remakes of old movies (an example is Gone With The Wind starring Meryl Streep).  Way back in 2017, we are told, “All In The Mind” launched the film careers of Agosto Machado and Valois Mickens.   Of course, this the perfect time to recreate part of the scene with equally prominent actors John Gutierrez and Yeena Sung, standing inside large cardboard appliance boxes.  Soon enough, the author himself appears on video and sings some of his poetic wisdom for us.
This is a lively evening of pieces spanning decades, which, thanks to the video and streaming technology involved, feel very fresh and timely.  Technical Director Jesse Ricke and composers John Dyer and John King create a wonderfully immersive environment.  Hats off to LaMaMa for again showcasing the work of Robert Patrick.  His play Kennedy’s Children, which was on Broadway in the 1970s, has a revival in the works.

Spotlight On...Max Vernon

Name: Max Vernon

Hometown: New York City

Education: NYU BA for Gender & Sexuality studies (Gallatin), MFA in Musical Theatre Writing (Tisch)

Select Credits: The View UpStairs, KPOP (Ars Nova, opens August 2017), 30 Million (Keep Company), Show & Tell (Civilians R&D Group, Jerome Foundation), Nincest (Book & lyrics by Jen Silverman)

Why theater?: I think Musical Theatre is the great American art form. When it's bad it feels truly soul killing, but when great it is transcendent- it is visual art, dance, music, performance, writing all rolled into one so it has the potential to resonate on all cylinders. Since we are constantly bombarded with information & stimulation, it can be hard for us to get off our screens. Seeing theatre forces us to lean in and focus. The way I see it, a good TV episode or movie you might stay in your head for about for a week or so; great theatre sticks with you for years.

Tell us about The View UpStairs: The View UpStairs uses the story of the UpStairs Lounge Fire to have a multi-generational conversation about our where our society is headed & the queer community in particular. Since 1973, how has the world changed for better or worse? Which battles have we won, which are we still fighting? The main character, Wes, is someone whose relationships are transactional- someone who thinks in order to be loved he needs a following. Over the course of the show he has to learn that what he's really seeking is community, and to make connections that are transformational.

What is it like being a part of The View UpStairs?: Being involved in this show right now is keeping me sane. We are being gaslighted daily by our President. Every day we read the news and there is some fresh horror. But we are speaking truth to power with this piece in a very balls to the wall, unsafe way. We are saying we are here and we are NOT going back to the way things were 40 years ago. We've got hustlers,  copious cocaine usage, hustlers, busted drag queens, and a fuck-ton of distorted guitar. This ain't Seussical, but for those whom the show speaks to, I think they are going to feel seen. Really seen. And hopefully motivated to go out and carry the torch.

What inspired you to write The View UpStairs?: I was a queer studies major undergrad, and I was going so far down the rabbit hole in my studies, reading Donna Haraway's "Cyborg Feminism", and all this stuff with Foucault and Butler, etc. But 6 years ago when I first learned about the UpStairs Lounge Fire, not one of my professors had heard of it. And before Pulse, this was the worst attack against the LGBTQ community in US history. So I was like, "why am I reading this 500 page dissertation on the ontology of Fisting when no one knows 32 people died in this gay bar...why aren't we reclaiming this story?" Growing up I never felt like I had any queer elders to mentor me, I kind of had to figure out how to exist in this world on my own. So there was a desire with The View UpStairs to travel back to the past and see what lessons I could learn there. How do we stay connected and vibrant and also outraged; how do we survive and fight oppression? I also just wanted the opportunity to write a badass rock score with some Stevie Wonder clav.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that challenges and provokes. That makes your jaw drop and laugh at things you think you shouldn't be laughing at. I like glitter, fantasy, sequins and feather boas as much as the next theatre queen, but I want to get the ratio right. Hair, Hedwig, Rocky Horror, Passing Strange- all those musicals speak to me. My inspirations are all over the place- I love Siouxsie Sioux as much as Sondheim. Mama Cass, Vogue ball culture, Erykah Badu, X and 80's Los Angeles punk. Right now I'm having a Roberta Flack moment.

What’s your favorite showtune?: Probably "Rose Tint My World" from Rocky Horror.

If you could work with anyone you’ve yet to work with, who would it be?: I'd love write a musical with Dennis Cooper or Jodorowsky. Or to score a horror movie with some cheesy 80's synth soundtrack ala Argento's Suspiria.

Who would play you in a movie about yourself and what would it be called?: Ben Wishaw or Ezra Miller. "Existential Life Crisis Lullaby."

If you could go back in time and see any play or musical you missed, what would it be?: I would love to go back in time and see the original Follies.

What show have you recommended to your friends?: Go see the Broadway transfer of Lynn Nottage's Sweat, and Kirsten Child's Bella at Playwrights Horizons later this year.

What’s your biggest guilty pleasure?: A stiff drink and a stiff...something I shouldn't put in writing ;)

What’s up next?: The View UpStairs opens at the Lynn Redgrave Theater on Feb 28th (previews start feb 15th), then my other musical KPOP starts previews at Ars Nova in August.

For more on Max, visit www.maxvernon.com and https://www.facebook.com/MaxVernonMusic. For more on The View UpStairs, visit https://www.facebook.com/TheViewUpStairs

Review: Verging On Lights Out

By Michael Block

At a certain age, showing signs of forgetfulness is alarming. At the center of James Lecesne's The Mother of Invention, Dottie's signs of Alzheimer's has prompted her children to send her to a nursing home as they can't seem to handle her. But Dottie's journey comes with secrets and revelations from all sides. The Abingdon Theatre Company production is filled with intrigue, explored in the soapiest of ways.
The Mother of Invention is a delicate dance about the fears of forgetting. David and Leanne are siblings eager to pack and sell their mother's belongings after tricking her into a nursing home. The further into the process they go, the more they learn about what lead Dottie into her memory loss and the brazen actions she's recently taken. Despite a brisk running time, James Lecesne packs a whole lot of content into his play. Plot lines and subplots intertwine to tell the story of a family shattered, their acquaintances’ manipulation, and the actions they take to fulfill their own desires. Even with the whacky revelations dropping, Lecesne puts himself into a trap with the dominating storytelling device. The device of Dottie needs a bit more direction and clarification. In part, Lecesne uses her as an omniscient narrator yet she attempts to interact with the action within the scenes as if she may be some spirit haunting her children's consciences. While assisting how she moved through the space could have helped, it all comes down to the text. It changes form causing the confusion to set in. Lecesne's dialogue is quick and accessible, with the occasional awkward response. But what's most striking is when Lecesne ventures into a more poetic realm. The text and plot falter when it gets muddied in metaphor. And it happens often. Especially toward the end.

photo by Maria Baranova

With the play living in a heightened magical realism type world, director Tony Speciale explored what it would be like to go beyond a stereotypical living room play. He brought in hints of slapstick, a wealth of honesty, and a vision that bordered reality. Again, to avoid the banal appearance of a typical house, Speciale asked scenic designer Jo Winiarski to create walls of boxes. And they served as an overlying metaphor. On one hand, as they disappeared, it told the story of Dottie's decaying mind and loss of memories. On the other hand, it was the physical disappearance of Dottie's items. The trouble is how Speciale tried to remove them. Often times it was through transitions. And then randomly David would start pulling boxes away just so he was active in the scene. And it was a jarring moment. Keeping it solely in transitions was the stronger choice as it pulls focus from the text otherwise, as the other conceit was introduced too late. With practical lights aplenty, lighting designer Daisy Long was able to bring a bit of personality into the world.
There was a delicate balance of serious drama and sitcom sensibility explored by the ensemble. The capable ensemble was able to find structure within the oft outrageous scenarios. As siblings David and Leanna, James Davis and Angela Reed were a comical yin and yang. Davis’ high-strung David explored the wide extreme of over-the-top hysterical gay man. He brought the laughs but not the necessarily the sincerity. Reed took a more adult approach as the mother eager for a little bit of fun. As their spunky mother Dottie, Concetta Tomei gave her a bark bigger than her bark. With the device being difficult to pin down, Tomei seemed to float through the world aimlessly at times, to no fault of her own. There's a lot of ambiguity when it comes to Frankie Rey and his exploits and escapades. Dan Doingues seemed to give Frankie Rey a definitive answer as to his true identity. He is most certainly a con man! But the greatest delight in the company was the performance from Dale Soules. As the nosey, paranoid neighbor Jane, Soules brings a lot of animation and character to the stage. As the wise beyond her years Ryder, Isabella Russo was smartly subtlety, defining her depth and range.
James Lecesne's story is easily predictable. Despite that, it's entertaining. The Mother of Invention is compact yet bursting with story frills. And for some, it's a bit too much.