This review of Larry Rinkel's A Kreutzer Sonata at The Secret Theatre was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
A Kreutzer Sonata
Written by Larry Rinkel
Directed by Christopher Erlendson
Dramaturg by Devorah Merkin
Produced by Hindi Kornbluth & Leah Felner
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/24/17
Beethoven's Kreutzer Sonata, Opus 47 in A Major for Piano and Violin was performed, in part, by Freshman David Lindenbaum (Timothy Oriani) and Sophomore Elena Guerriero (Chelsea Davis) as a duet after being paired together by their Music Instructor, Professor Tomansky (Amanda Boekelheide). David is an Orthodox Jew attending a secular college for the first time in his life. He is a bit of a music prodigy and accepted the offer of a full scholarship, which action was supported by his emotionally and physically absent father, Avram Lindenbaum (Joe Rubino), and opposed by his fearful non-supportive mother, Rebekah Lindenbaum (Lauren Snyder), who also played Avram's girlfriend Carolyn. The Kreutzer Sonata, written by Leo Tolstoy and published in 1889, was an argument for the ideal of sexual abstinence and an in-depth first-person description of jealous rage. Larry Rinkel's A Kreutzer Sonata is a play about religious hypocrisy (which could be viewed as justifying anti-Semitism) and the brutal rape of David Lindenbaum, a virgin, by Elena Guerriero, his music partner who is clearly a sexual predator. David's college roommate is Terry Michaels (Jack Turell), a Lutheran/Atheist, who is a sex addict. He is so horny, he brings pornographic magazines to David's home over winter break. Christopher Erlendson directs Elena and Terry to often present themselves to the audience with legs spread eagle in a "come hither" fashion.
In preachy little expositions, David explains what it means to be a Jew. He says, "Being Jewish is more than just caring about money, wearing a skull cap, and saying 'Oy Vey!' all day. It's about obeying God's commandments." He explains to his roommate he does not believe in having sexual intercourse until marriage and that he wears his yamuka at all times (except when in the shower) as "a reminder that God is always above me." He explains what he can and cannot do on Shabbos and makes a big deal about not eating non-Kosher food. Terry, his roommate, even asks David, "Can you lighten up and be a little less Jewish." You would think that such pious, devout, God-fearing Orthodox Jews would be, as my Jewish friend once told me, "a moral example to others." That is not the case in Larry Rinkel's A Kreutzer Sonata. Here, we have a son who lies to his mother; a father who has abandoned his faith, bribes a professor to alter a grade, and has a girlfriend on the side; and a mother who invites a piano instructor over when she is alone so he can "sample her sweets," insults guests to their face in her home, and harbors negative feelings towards non-Jews. The word "hypocritical" comes to mind and it is hard to respect people who make such a big deal of their faith only to abandon its moral prescriptions in their everyday life. Add to that the fact Jews view themselves as God's Chosen People and you will start to see that this play lays the groundwork for explaining the existence of anti-Semitism, making it, in my opinion, an anti-Semitic play.
Elena Guerriero, David's music partner who is attracted to him, is a woman who won't take no for an answer and calls men who won't sleep with her "fags." She disrespects all religion, calls David "Yamuka Boy," makes fun of the fact he is circumcised and gets angry at him when he doesn't accept her "invitation" to go back to her place to have sex. In fact, she takes it as a personal insult since she considers herself to be "a pretty girl." David may be attracted to Elena but he makes it explicitly clear that "there can't be anything between us." Refusing to accept that no means no, Elena sexually assaults David, mounts him, forcibly kisses and gropes him, all the while telling him to "give in" because "no one's around" and "it will be nice." The actual rape (sexual intercourse) is implied but David exhibits all the emotional trauma of a rape victim. He starts missing class, tells his professor he can no longer work with Elena and says he is considering dropping out of school. By not reporting the sexual assault, David is re-traumatized when Professor Tomansky pressures him to continue to work with Elena and when his father invites his rapist, without David's knowledge, to their home for Passover. Elena Guerriero should have been arrested, convicted, and registered as a Sex Offender to warn others of her "charms."
Comic relief is provided by Jack Turell, who plays David's roommate, Terry Michaels. When David explains to him that sex is permitted on Shabbos, Terry makes him uncomfortable by physically entering his personal space with his crotch near David's face, jokingly suggesting they might be able to find something to do especially if David is not permitted by Jewish law to turn on the lights. I have no idea whatever happened to internet porn at that college, but Terry is seen ripping out pages from the Sports Illustrated Summer Swimsuit edition and shoving them in his pocket for future use. His character directly interacts with the audience pouring beer on audience members while supposedly interrupting a concert featuring David and Elena. Finally, Terry regifts a Hindu elephant to David's mother and eventually hooks up with Elena. On the surface, at least, they make a perfect pair. Both are constantly ready for action!
In the end, David finds a Jewish girlfriend, Amy Goldstein, and pronounces, "I am, above all else, a Jew." His mom opens a bakery adding Indian spices to old Jewish recipes. It appears the Hindu elephant was good luck after all. His father gets a divorce, leaves the faith, and moves in with Carolyn, his non-Jewish girlfriend. All the actors were excellent in their respective roles. The point of the play, however, escapes my comprehension. On the surface, it appears to be a simple "slice of life" play - the experiences of an Orthodox Jewish Freshman during his first six months at a secular college. However, the immorality of the characters and the explicit hyper-sexuality viewed while comparing this story with that told in Tolstoy's The Kreutzer Sonata, which also involved rage over infidelity and the suggestion that sexual abstinence should be the ideal instead of people giving into "animal excesses," leaves me wondering whether Larry Rinkel's intention was to make a larger point.
A Kreutzer Sonata is entertaining and provides audiences with a few good laughs. It definitely will leave you with a lot to think about. The play was presented as a part of the UNFringed Festival 2017 at The Secret Theatre. For more information, you can call 718-392-0722 or visit www.secrettheatre.com
Thursday, August 31, 2017
Saturday, August 26, 2017
Applause! Applause! Review of Larry Rinkel's A Kreutzer Sonata at The Secret Theatre by Dr. Philip Ernest Schoenberg
This review of Larry Rinkel's A Kreutzer Sonata at The Secret Theatre was written by Dr. Philip Ernest Schoenberg and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
A Kreutzer Sonata
Written by Larry Rinkel
Directed by Christopher Erlendson
Dramaturg by Devorah Merkin
Produced by Hindi Kornbluth & Leah Felner
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/24/17
To paraphrase Israel Zangwill's heroic playwright in The Melting Pot, A Kreutzer Sonata is "a mediocre play performed well by the actors." David Lindenbaum recounts his past year experience of being a freshman at a secular university away from his sheltered Orthodox Jewish home. He finds himself attracted to a gentile girl, majors in music and deals with the divorce of his parents.
The actors were all very professional and believable in their respective roles. Timothy Oriani is the conflicted Orthodox Jewish freshman caught between the secular and Jewish worlds during his first year away from home. He looks every bit the virginal freshman and exudes youthful charm. Joe Rubino is excellent as his emotionally distant father, Avram Lindenbaum, who is quite physically and emotionally distant from his son - the stereotypical absentee patriarch of the family. Lauren Snyder was David's cold, dogmatic mother, Rebekah Lindenbaum, the exact opposite of a loving "Yiddisher mama." She also played Carolyn, her husband's new love interest and potential life partner, so convincingly that I thought another actress was portraying the role. Chelsea Davis was the "talented violinist" who was Elena Guerriero, David's duet partner. Elena thought her being "pretty" was "a fact" but I did not really see Chelsea Davis, who played an aggressive, snarky, and outspoken young woman, as being the kind of woman who could "turn on" David and his gentile roommate Terry Michaels. In addition, she was "far too long in the tooth" to play a 19-year old Sophomore. Perhaps someone else should have been cast in the role. David and Elena exhibited no romantic chemistry. Jack Turell was successful in playing David's well-intentioned Lutheran/Atheist roommate. Amanda Boekelheide was his strict music teacher, who turned out having ethical standards she would readily compromise if the bribe was large enough. Christopher Erlendson did a fine job directing. As for the costuming, I did feel there could have been some more changes of clothes to better suit some of the scenes.
A play like any other story is supposed to be a journey of self-discovery and growth. I really didn't see this taking place with the characters in this play. I am not convinced David Lindenbaum was changed by his experiences. My personal experience as an American and a Jew is that people, whatever their religious background and whatever part of the country they are from, seek to be accommodating to their fellow believers and non-believers. Although we privately think we are God's Chosen People and have the exclusive key to heaven because of our religious beliefs, we generally find it to be good manners to get along with our non-Jewish neighbors and fellow citizens. I was personally taught there was no advantage to being Jewish but that one should be a good moral example to others. I found Terry Michaels' negative reaction to his roommate's "religious observances" to be a straw man that failed to advance the plot, especially when the main reason he gave for keeping David as a roommate was that he kept himself clean.
There were three incidents I felt distracted from the story instead of enhancing it. One was the rape of David Lindenbaum by Elena Guerriero. Although David narrates he has developed romantic/sexual feelings for her, I don't see this convincingly demonstrated by either of the two characters. Terry Michaels, his roommate, acts as a drunken lout and galoot during a key duet performance by Elena Guerriero and David Lindenbaum. Yes, I can believe Terry is capable of being a drunken lout but not during his roommate's recital. In real life, he would have been suspended or expelled from the college and his roommate would not have been so accommodating and forgiving. Then Elena Guerriero goes bonkers that David Lindenbaum is circumcised? This is a most surprising reaction given her prolific sexual experiences and the fact that male circumcision is a commonly performed operation in the United States. More than a million American babies have their foreskins removed every year. In 2011, 79% of all American male babies were circumcised.
I don't have any issues with the basic plot: the conflict between the religious and secular realm, the people of two different faiths "falling in love," or the estrangement between child and parent. This has been the plot of many a fine drama or play. The problem is the failure to advance the plot in a systematic series of actions. Instead, we have periods of exposition about Orthodox Judaism which slows down the play. Instead of being shown, we get didactics. I can take Judaism 101 at a college at any time. I felt that some of Professor Tomansky's lines could have been better written. She mentions Felix Mendelssohn, the music composer, who was the grandson of German Jewish philosopher Moses Mendelssohn but in light of Felix having become a Christian, I have no idea what point she was making.
We are introduced to some of the religious practices and beliefs of Modern Orthodox Judaism without being given a reason why they believe or practice in that manner. Why do Jews keep kosher? Why do Jews observe Shabbes? These mysteries are not explained to us. We need action, not exposition; dramatics, not didactics.
Although I have been hard on Larry Rinkel, the playwright, he does show great promise. There were elements of greatness at times within the play. There were even some witty lines and actions that were deservedly rewarded by audience laughter. Thanks to the able use of these lines by the actors, the show was rescued from failure. Here and there the language came to life and the actors directly interacted with audience members dropping beer on many of them.
The most scintillating parts of the play were the monologues of the father, which formed a subplot by itself. The most moving one was when he explained his loss of faith but continued to practice the rituals of Orthodox Judaism, which were meaningless to him but kept his family happy. That felt authentic and made for good theater. Almost as compelling was the scene between father and son when they get together for a meal. The son challenges the father regarding his gentile girlfriend. His father then reveals the empty shell his marriage has been as well as his decision to leave the faith.
In the end, we do care about David and the rest of his life. Larry Rinkel does have a future as a playwright and I look forward to the growth of his writing and its performance on the stage. You can catch A Kreutzer Sonata as part of The Secret Theatre's UNFringed 2017 Festival. Tickets cost $18.00 and can be purchased at http://unfringed2017.bpt.me. For more information, call 718-392-0722.
A Kreutzer Sonata
Written by Larry Rinkel
Directed by Christopher Erlendson
Dramaturg by Devorah Merkin
Produced by Hindi Kornbluth & Leah Felner
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/24/17
To paraphrase Israel Zangwill's heroic playwright in The Melting Pot, A Kreutzer Sonata is "a mediocre play performed well by the actors." David Lindenbaum recounts his past year experience of being a freshman at a secular university away from his sheltered Orthodox Jewish home. He finds himself attracted to a gentile girl, majors in music and deals with the divorce of his parents.
The actors were all very professional and believable in their respective roles. Timothy Oriani is the conflicted Orthodox Jewish freshman caught between the secular and Jewish worlds during his first year away from home. He looks every bit the virginal freshman and exudes youthful charm. Joe Rubino is excellent as his emotionally distant father, Avram Lindenbaum, who is quite physically and emotionally distant from his son - the stereotypical absentee patriarch of the family. Lauren Snyder was David's cold, dogmatic mother, Rebekah Lindenbaum, the exact opposite of a loving "Yiddisher mama." She also played Carolyn, her husband's new love interest and potential life partner, so convincingly that I thought another actress was portraying the role. Chelsea Davis was the "talented violinist" who was Elena Guerriero, David's duet partner. Elena thought her being "pretty" was "a fact" but I did not really see Chelsea Davis, who played an aggressive, snarky, and outspoken young woman, as being the kind of woman who could "turn on" David and his gentile roommate Terry Michaels. In addition, she was "far too long in the tooth" to play a 19-year old Sophomore. Perhaps someone else should have been cast in the role. David and Elena exhibited no romantic chemistry. Jack Turell was successful in playing David's well-intentioned Lutheran/Atheist roommate. Amanda Boekelheide was his strict music teacher, who turned out having ethical standards she would readily compromise if the bribe was large enough. Christopher Erlendson did a fine job directing. As for the costuming, I did feel there could have been some more changes of clothes to better suit some of the scenes.
A play like any other story is supposed to be a journey of self-discovery and growth. I really didn't see this taking place with the characters in this play. I am not convinced David Lindenbaum was changed by his experiences. My personal experience as an American and a Jew is that people, whatever their religious background and whatever part of the country they are from, seek to be accommodating to their fellow believers and non-believers. Although we privately think we are God's Chosen People and have the exclusive key to heaven because of our religious beliefs, we generally find it to be good manners to get along with our non-Jewish neighbors and fellow citizens. I was personally taught there was no advantage to being Jewish but that one should be a good moral example to others. I found Terry Michaels' negative reaction to his roommate's "religious observances" to be a straw man that failed to advance the plot, especially when the main reason he gave for keeping David as a roommate was that he kept himself clean.
There were three incidents I felt distracted from the story instead of enhancing it. One was the rape of David Lindenbaum by Elena Guerriero. Although David narrates he has developed romantic/sexual feelings for her, I don't see this convincingly demonstrated by either of the two characters. Terry Michaels, his roommate, acts as a drunken lout and galoot during a key duet performance by Elena Guerriero and David Lindenbaum. Yes, I can believe Terry is capable of being a drunken lout but not during his roommate's recital. In real life, he would have been suspended or expelled from the college and his roommate would not have been so accommodating and forgiving. Then Elena Guerriero goes bonkers that David Lindenbaum is circumcised? This is a most surprising reaction given her prolific sexual experiences and the fact that male circumcision is a commonly performed operation in the United States. More than a million American babies have their foreskins removed every year. In 2011, 79% of all American male babies were circumcised.
I don't have any issues with the basic plot: the conflict between the religious and secular realm, the people of two different faiths "falling in love," or the estrangement between child and parent. This has been the plot of many a fine drama or play. The problem is the failure to advance the plot in a systematic series of actions. Instead, we have periods of exposition about Orthodox Judaism which slows down the play. Instead of being shown, we get didactics. I can take Judaism 101 at a college at any time. I felt that some of Professor Tomansky's lines could have been better written. She mentions Felix Mendelssohn, the music composer, who was the grandson of German Jewish philosopher Moses Mendelssohn but in light of Felix having become a Christian, I have no idea what point she was making.
We are introduced to some of the religious practices and beliefs of Modern Orthodox Judaism without being given a reason why they believe or practice in that manner. Why do Jews keep kosher? Why do Jews observe Shabbes? These mysteries are not explained to us. We need action, not exposition; dramatics, not didactics.
Although I have been hard on Larry Rinkel, the playwright, he does show great promise. There were elements of greatness at times within the play. There were even some witty lines and actions that were deservedly rewarded by audience laughter. Thanks to the able use of these lines by the actors, the show was rescued from failure. Here and there the language came to life and the actors directly interacted with audience members dropping beer on many of them.
The most scintillating parts of the play were the monologues of the father, which formed a subplot by itself. The most moving one was when he explained his loss of faith but continued to practice the rituals of Orthodox Judaism, which were meaningless to him but kept his family happy. That felt authentic and made for good theater. Almost as compelling was the scene between father and son when they get together for a meal. The son challenges the father regarding his gentile girlfriend. His father then reveals the empty shell his marriage has been as well as his decision to leave the faith.
In the end, we do care about David and the rest of his life. Larry Rinkel does have a future as a playwright and I look forward to the growth of his writing and its performance on the stage. You can catch A Kreutzer Sonata as part of The Secret Theatre's UNFringed 2017 Festival. Tickets cost $18.00 and can be purchased at http://unfringed2017.bpt.me. For more information, call 718-392-0722.
Tuesday, August 22, 2017
Applause! Applause! Review of Coni Ciongoli Koepfinger's AfterLife at The Secret Theatre by Christopher M. Struck
This review of Coni Ciongoli Koepfinger's AfterLife at The Secret Theatre was written by Christopher M. Struck and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
AfterLife
Written by Coni Ciongoli Koepfinger
Directed by Joan Kane
Costume Designs by Lani Cerveris Cataldi
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/17/17
AfterLife opened on a ragged set full of animal skins and scattered trash giving way immediately to a distinct dystopian vibe. To a soundtrack that provoked the feeling of an electronic Dances With Wolves, a woman ran along a barbed wire fence in search of trash. A "Tag" she calls herself when confronted by a strange man who she accuses of being a "Talker." More is revealed about whom Talkers and Tags are and how they relate as the play goes on, but now, we have the key back drop of the show. Two people meet just outside a fence patrolled by guards that protect some unseen compound that holds among other things an apple tree. One is a man and the other a woman.
This may spark some recognition of the tale of Adam and Eve and that would be on point. This story is a post-apocalyptic rendition of the classic tale of human creation inspired by a painting from the Voire Dire Project of a tree alongside a fence. The darkness of the painting in question could certainly have inspired the dark tone of the play, but there isn't anything particularly creation story oriented within the painting. The Invasion, painted by Cindi Cericola, instead looks like a plain picket fence with a barren tree so I would posit that the lone tree served as an opportune catalyst for a pre-conceived idea of a post-apocalyptic Adam and Eve. The play's content also focuses most heavily on the evil of "them" which typically insinuates greedy corporations who among other things "intoxicated" the world with plastic. The commentary is neither obtuse nor demonstrably insightful, but regardless, a few lines may provoke discussion such as a sequence when Stark Wilz as the Talker begins his attempt to lure the curvaceous Lani Cerveris Cataldi as the Tag into helping him to get two apples from a nearby tree by saying, "Are you hungry? I am starving...There is no garbage, and we shouldn't eat garbage. We could work together [to get the apples on the tree]."
The two actors were convincing in their roles, and they delivered the long stretches of dialogue fluidly and easily. However, they weren't required to do a whole lot other than stand across from each other and play off each other. When the Talker goes off to chase the apples that have fallen from the tree, the Tag sings, "Be with me, color the light...Be set free, be with me." When the Talker returns, he watches her sing. When she notices he is back, she states, "They can't stop the music," to which the Talker responds, "Teach me to sing. I want to be in tune with life." She coaxes the music out of him by talking him through a path of enlightenment similar to Buddhism's eight-fold path and lo and behold, he can sing! Both actors have beautiful voices. I'd be curious to see what they are capable of in potentially more demanding roles because I felt they handled this performance well.
Other highlights of the play include the costume design which was done by Lani too. Her makeup work made the two characters look like rugged adventurers who had been tested by years of violence and strife. The atmosphere, lighting, and stage design truly fit with the intended idea of the play. The play itself felt a little long-winded at times, but it provided a platform for discussion afterward, which was fun. People interpreted aspects of the play differently which allowed for the story to take on new life after the show. Additional performances of AfterLife at The Secret Theatre are on August 22nd at 7:30 p.m., August 27th at 3:00 p.m., and September 1st at 7:30 p.m. To get tickets, call the box office at 718-392-0722 or go online to www.secrettheatre.com. Enjoy!
AfterLife
Written by Coni Ciongoli Koepfinger
Directed by Joan Kane
Costume Designs by Lani Cerveris Cataldi
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/17/17
AfterLife opened on a ragged set full of animal skins and scattered trash giving way immediately to a distinct dystopian vibe. To a soundtrack that provoked the feeling of an electronic Dances With Wolves, a woman ran along a barbed wire fence in search of trash. A "Tag" she calls herself when confronted by a strange man who she accuses of being a "Talker." More is revealed about whom Talkers and Tags are and how they relate as the play goes on, but now, we have the key back drop of the show. Two people meet just outside a fence patrolled by guards that protect some unseen compound that holds among other things an apple tree. One is a man and the other a woman.
This may spark some recognition of the tale of Adam and Eve and that would be on point. This story is a post-apocalyptic rendition of the classic tale of human creation inspired by a painting from the Voire Dire Project of a tree alongside a fence. The darkness of the painting in question could certainly have inspired the dark tone of the play, but there isn't anything particularly creation story oriented within the painting. The Invasion, painted by Cindi Cericola, instead looks like a plain picket fence with a barren tree so I would posit that the lone tree served as an opportune catalyst for a pre-conceived idea of a post-apocalyptic Adam and Eve. The play's content also focuses most heavily on the evil of "them" which typically insinuates greedy corporations who among other things "intoxicated" the world with plastic. The commentary is neither obtuse nor demonstrably insightful, but regardless, a few lines may provoke discussion such as a sequence when Stark Wilz as the Talker begins his attempt to lure the curvaceous Lani Cerveris Cataldi as the Tag into helping him to get two apples from a nearby tree by saying, "Are you hungry? I am starving...There is no garbage, and we shouldn't eat garbage. We could work together [to get the apples on the tree]."
The two actors were convincing in their roles, and they delivered the long stretches of dialogue fluidly and easily. However, they weren't required to do a whole lot other than stand across from each other and play off each other. When the Talker goes off to chase the apples that have fallen from the tree, the Tag sings, "Be with me, color the light...Be set free, be with me." When the Talker returns, he watches her sing. When she notices he is back, she states, "They can't stop the music," to which the Talker responds, "Teach me to sing. I want to be in tune with life." She coaxes the music out of him by talking him through a path of enlightenment similar to Buddhism's eight-fold path and lo and behold, he can sing! Both actors have beautiful voices. I'd be curious to see what they are capable of in potentially more demanding roles because I felt they handled this performance well.
Other highlights of the play include the costume design which was done by Lani too. Her makeup work made the two characters look like rugged adventurers who had been tested by years of violence and strife. The atmosphere, lighting, and stage design truly fit with the intended idea of the play. The play itself felt a little long-winded at times, but it provided a platform for discussion afterward, which was fun. People interpreted aspects of the play differently which allowed for the story to take on new life after the show. Additional performances of AfterLife at The Secret Theatre are on August 22nd at 7:30 p.m., August 27th at 3:00 p.m., and September 1st at 7:30 p.m. To get tickets, call the box office at 718-392-0722 or go online to www.secrettheatre.com. Enjoy!
Monday, August 21, 2017
Applause! Applause! Review of Narrows Community Theater's Summer Youth Production of Disney's The Little Mermaid at Fort Hamilton Army Base Theater by Dr. Philip Ernest Schoenberg
This review of Narrows Community Theater's Summer Youth Production of Disney's The Little Mermaid at Fort Hamilton Army Base Theater was written by Dr. Philip Ernest Schoenberg and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
Disney's The Little Mermaid
Original Book by Doug Wright
Modified Book by Glenn Casale
Music by Alan Menken
Lyrics by Howard Ashman
Additional Lyrics by Glenn Slater
Directed by Stearns Matthews
Musical Direction by Greg Matteson
Choreography by Katie Rose McLaughlin
Assistant Choreography by Emily Missud
Stage Managed by Eric Braunstein
Fort Hamilton Army Base Theater
403 General Robert E. Lee Avenue
Brooklyn, New York 11209
Reviewed 8/19/17
The Little Mermaid is an enchanting musical that transports one to a land and sea of make-believe. Good as the cartoon feature was, the stage musical puts legs (or fins) on the original concept. Narrows Community Theater's Summer Youth Production of Disney's The Little Mermaid was magical. The chorus and backup dancers, consisting of children of all ages, were well choreographed. They were wonderful, whether performing as a school of fish, backup cooks, or party guests at a feast. Katie Rose McLaughlin and Emily Missud are brilliant choreographers. Rita Donohue and Marla Gotay, assisted by many parents, outdid themselves in creating brilliant costumes for over 50 actors!
Caitlyn Schmidt stole the show as Ursula, the evil, wicked Sea Witch. Ariel, played by Abigail Summa, was amazing whether acting, singing, dancing, or pantomiming. Andrew Gonzalez acted well in the role of Prince Eric but unfortunately, he could not carry a tune. Flounder, performed by Amanda Summa had a good voice and a strong stage presence. Liam Sprecht's character Sebastian acted so gay I suspect he may have been directed by Ru Paul instead of Stearns Matthews. At times, I was afraid he was going to fly right off the stage. Brian Mansell as King Triton successfully came across as a caring father. Steven Fazzolari did more with the part of Scuttle than the actor who played the part on Broadway. Many of the remaining cast members are very talented. You will be impressed.
The people behind the stage also deserve credit. I was impressed with the Lighting Design by Duane Pagano, helped by Osvaldo Gratereaux, Michael Fasano, Jerry Lam, and Robert Faicco. The Sound Design by Steve Jacobs, helped by Kendi King, Kirsa Danis, and Elaine Pollock was of professional quality. I was really impressed by the Set Design by Patrick Nash and Tara Perry, and the Props by Margaret McMahon and Maryjo Tipaldo. The scenes and set furniture were quickly and effortlessly changed. The projections suggesting various scenes were a nice addition and skillfully handled by Adam Olkin. Greg Matteson, the Musical Director, ably conducted the orchestra, which played well.
The Fort Hamilton Army Base Theater is one of the most comfortable I have been to. Refreshments were sold at a reasonable price. The bathrooms are also conveniently located nearby. Marla Gotay, the Producer, and Stearns Matthews, the Director, are to be congratulated for giving us a stage production worthy of Broadway. Remaining performances are on Saturday, August 26th at 2:00 p.m. and 8:00 p.m., and on Sunday, August 27th at 2:00 p.m. Tickets cost $25.00 for adults, $20.00 for seniors and students, and $15.00 for children 12 years of age and under. For ticket reservations and information, call NCT at 718-482-3173, or e-mail NCT@NCTheaterNY.com
Don't miss a wonderful opportunity to enjoy a Broadway-quality show!
Disney's The Little Mermaid
Original Book by Doug Wright
Modified Book by Glenn Casale
Music by Alan Menken
Lyrics by Howard Ashman
Additional Lyrics by Glenn Slater
Directed by Stearns Matthews
Musical Direction by Greg Matteson
Choreography by Katie Rose McLaughlin
Assistant Choreography by Emily Missud
Stage Managed by Eric Braunstein
Fort Hamilton Army Base Theater
403 General Robert E. Lee Avenue
Brooklyn, New York 11209
Reviewed 8/19/17
The Little Mermaid is an enchanting musical that transports one to a land and sea of make-believe. Good as the cartoon feature was, the stage musical puts legs (or fins) on the original concept. Narrows Community Theater's Summer Youth Production of Disney's The Little Mermaid was magical. The chorus and backup dancers, consisting of children of all ages, were well choreographed. They were wonderful, whether performing as a school of fish, backup cooks, or party guests at a feast. Katie Rose McLaughlin and Emily Missud are brilliant choreographers. Rita Donohue and Marla Gotay, assisted by many parents, outdid themselves in creating brilliant costumes for over 50 actors!
Caitlyn Schmidt stole the show as Ursula, the evil, wicked Sea Witch. Ariel, played by Abigail Summa, was amazing whether acting, singing, dancing, or pantomiming. Andrew Gonzalez acted well in the role of Prince Eric but unfortunately, he could not carry a tune. Flounder, performed by Amanda Summa had a good voice and a strong stage presence. Liam Sprecht's character Sebastian acted so gay I suspect he may have been directed by Ru Paul instead of Stearns Matthews. At times, I was afraid he was going to fly right off the stage. Brian Mansell as King Triton successfully came across as a caring father. Steven Fazzolari did more with the part of Scuttle than the actor who played the part on Broadway. Many of the remaining cast members are very talented. You will be impressed.
The people behind the stage also deserve credit. I was impressed with the Lighting Design by Duane Pagano, helped by Osvaldo Gratereaux, Michael Fasano, Jerry Lam, and Robert Faicco. The Sound Design by Steve Jacobs, helped by Kendi King, Kirsa Danis, and Elaine Pollock was of professional quality. I was really impressed by the Set Design by Patrick Nash and Tara Perry, and the Props by Margaret McMahon and Maryjo Tipaldo. The scenes and set furniture were quickly and effortlessly changed. The projections suggesting various scenes were a nice addition and skillfully handled by Adam Olkin. Greg Matteson, the Musical Director, ably conducted the orchestra, which played well.
The Fort Hamilton Army Base Theater is one of the most comfortable I have been to. Refreshments were sold at a reasonable price. The bathrooms are also conveniently located nearby. Marla Gotay, the Producer, and Stearns Matthews, the Director, are to be congratulated for giving us a stage production worthy of Broadway. Remaining performances are on Saturday, August 26th at 2:00 p.m. and 8:00 p.m., and on Sunday, August 27th at 2:00 p.m. Tickets cost $25.00 for adults, $20.00 for seniors and students, and $15.00 for children 12 years of age and under. For ticket reservations and information, call NCT at 718-482-3173, or e-mail NCT@NCTheaterNY.com
Don't miss a wonderful opportunity to enjoy a Broadway-quality show!
Sunday, August 20, 2017
Applause! Applause! Review of Narrows Community Theater's Summer Youth Production of Disney's The Little Mermaid at Fort Hamilton Army Base Theater by Dr. Thomas Robert Stevens
This review of Narrows Community Theater's Summer Youth Production of Disney's The Little Mermaid at Fort Hamilton Army Base Theater was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
Disney's The Little Mermaid
Original Book by Doug Wright
Modified Book by Glenn Casale
Music by Alan Menken
Lyrics by Howard Ashman
Additional Lyrics by Glenn Slater
Directed by Stearns Matthews
Musical Direction by Greg Matteson
Choreography by Katie Rose McLaughlin
Assistant Choreography by Emily Missud
Stage Managed by Eric Braunstein
Fort Hamilton Army Base Theater
403 General Robert E. Lee Avenue
Brooklyn, New York 11209
Reviewed 8/19/17
The Little Mermaid is a stage musical about Ariel, a mermaid who trades her beautiful voice for the opportunity to become human for three days during which she must win the love of Prince Eric, that must be evidenced by his kissing her by sunset of the third day. If she gets the kiss, she will remain human. If she fails, her eternal soul will belong to her Aunt Ursula, who is in a struggle with her brother King Triton for control of the seas. The Little Mermaid is based on the 1989 Disney film, which in turn was based on the classic story by Hans Christian Andersen. The musical began previews on November 3, 2007, at the Lunt-Fontanne Theatre, officially opening on January 10, 2008, and closing on August 30, 2009, after 685 performances and 50 previews. A modified version of the musical with a new book and direction by Glenn Casale was developed in 2012, and this version has been the basis for subsequent productions.
This presentation of Disney's The Little Mermaid is great fun! It features over fifty outstanding young actors many of whom definitely have a future in the theater. Nine talented musicians, led by Greg Matteson, provided the score. There were five standout performers - Abigail Summa, Steven Fazzolari, Amanda Summa, Anthony Berini, and Caitlyn Schmidt. Abigail Summa, who played Ariel, captivated the attention of the audience with her singing. Even though she gives up her voice, she continues to sing to the audience outside the earshot of her fellow actors on stage. Unfortunately, many of those songs were duets with Andrew Gonzalez, who played Prince Eric. Although he looked the part of a Prince, his singing voice was pitch-imperfect and cringe-worthy as reflected by the poor response of the audience. Steven Fazzolari was absolutely hilarious as Scuttle, the Seagull, who is supposed to have knowledge of human ways. The script has him making up words and stories. You'll never forget his rendition of "Positoovity." When he suggests Ariel must learn to "perambulate" if she wants to win the Prince's attention. Sebastian, the crab, misunderstands the meaning of the word "perambulate" and says Ariel "would never do that to win Prince Eric's love." In a very questionable decision by Stearns Matthews, the Director, Liam Specht performs Sebastian with the hand-gestures and voice inflections of a flamboyant gay man and ghetto-raised black woman. Amanda Summa was amazing as Flounder. She has a very strong stage presence and an excellent voice. Anthony Berini brought the house down as Chef Louis singing and acting during the song "Les Poissons." He nailed it! Finally, Caitlyn Schmidt was delightfully evil as the Sea Witch, Aunt Ursula. Even though she was wronged by her brother, it was hard to feel sympathy for her in light of the fact she is a mass murderer. Still, she was far more believable than was Brian Mansell, who played King Triton. His voice was far too high to come across as an authoritative King. The two big production numbers were "Under The Sea" and "Kiss The Girl." They were both brilliant and entertaining!
Ariel is a young girl who dreams "the grass is greener on the other side of the fence." She collects items from the human world and places them in her grotto ("look at this trove, treasures untold"). She saves Prince Eric, who falls overboard, and quickly falls in love with him. As Ursula ("ugly as a slug, hideous to hug") says, "The only thing more powerful than my magic is teenage hormones." Sebastian warns Ariel "to get your head out of the clouds and into the water where it belongs" and tells her "you're swimming in dangerous waters," but she is committed to giving up her family and friends to live in a foreign environment where humans eat the very fish who were once her friends. For dinner, Chef Louis was serving Lobster Bisque and Tuna Tartar. Without her voice, Ariel only has her attractive body and feminine mannerisms to get Prince Eric to love her. She succeeds and the Prince eventually chooses Ariel even over "the mysterious young woman with the beautiful voice" he has been searching for. As Prince Eric says, "We have much in common. You are a quiet girl in a noisy world and I am a Prince who would rather be a sailor." Even though her father thinks all humans are barbarians, Ariel "doesn't get cold fins" and defends them by saying, "You can't blame all humans for a few wicked ones." Eventually, Ursula is defeated and King Triton grants Ariel's wish (with the help of the audience waving lit Tridents they bought for $7.00 during intermission) to become a human permanently. Prince Eric asks King Triton for Ariel's hand in marriage but the King says "Ariel can speak for herself." She consents and supposedly lives "happily ever after" remaining "a bright light in a dark world." Two other bad directorial decisions included how Prince Eric was depicted as having fallen overboard (he basically ran off the stage) and the manner in which Ariel destroyed Ursula's "magic nautilus shell" and took back her father's Trident (all of which took place off-stage).
This production of Disney's The Little Mermaid is a great success. Despite the minor problems mentioned, I guarantee you will have a good time and be inspired by all the young talent who will be entertaining audiences for decades to come. Remaining performances are on Saturday, August 26th at 2:00 p.m. and 8:00 p.m., and on Sunday, August 27th at 2:00 p.m. Tickets cost $25.00 for adults, $20.00 for seniors and students, and $15.00 for children 12 years of age and under. For ticket reservations and information, call NCT at 718-482-3173, or e-mail NCT@NCTheaterNY.com
Disney's The Little Mermaid
Original Book by Doug Wright
Modified Book by Glenn Casale
Music by Alan Menken
Lyrics by Howard Ashman
Additional Lyrics by Glenn Slater
Directed by Stearns Matthews
Musical Direction by Greg Matteson
Choreography by Katie Rose McLaughlin
Assistant Choreography by Emily Missud
Stage Managed by Eric Braunstein
Fort Hamilton Army Base Theater
403 General Robert E. Lee Avenue
Brooklyn, New York 11209
Reviewed 8/19/17
The Little Mermaid is a stage musical about Ariel, a mermaid who trades her beautiful voice for the opportunity to become human for three days during which she must win the love of Prince Eric, that must be evidenced by his kissing her by sunset of the third day. If she gets the kiss, she will remain human. If she fails, her eternal soul will belong to her Aunt Ursula, who is in a struggle with her brother King Triton for control of the seas. The Little Mermaid is based on the 1989 Disney film, which in turn was based on the classic story by Hans Christian Andersen. The musical began previews on November 3, 2007, at the Lunt-Fontanne Theatre, officially opening on January 10, 2008, and closing on August 30, 2009, after 685 performances and 50 previews. A modified version of the musical with a new book and direction by Glenn Casale was developed in 2012, and this version has been the basis for subsequent productions.
This presentation of Disney's The Little Mermaid is great fun! It features over fifty outstanding young actors many of whom definitely have a future in the theater. Nine talented musicians, led by Greg Matteson, provided the score. There were five standout performers - Abigail Summa, Steven Fazzolari, Amanda Summa, Anthony Berini, and Caitlyn Schmidt. Abigail Summa, who played Ariel, captivated the attention of the audience with her singing. Even though she gives up her voice, she continues to sing to the audience outside the earshot of her fellow actors on stage. Unfortunately, many of those songs were duets with Andrew Gonzalez, who played Prince Eric. Although he looked the part of a Prince, his singing voice was pitch-imperfect and cringe-worthy as reflected by the poor response of the audience. Steven Fazzolari was absolutely hilarious as Scuttle, the Seagull, who is supposed to have knowledge of human ways. The script has him making up words and stories. You'll never forget his rendition of "Positoovity." When he suggests Ariel must learn to "perambulate" if she wants to win the Prince's attention. Sebastian, the crab, misunderstands the meaning of the word "perambulate" and says Ariel "would never do that to win Prince Eric's love." In a very questionable decision by Stearns Matthews, the Director, Liam Specht performs Sebastian with the hand-gestures and voice inflections of a flamboyant gay man and ghetto-raised black woman. Amanda Summa was amazing as Flounder. She has a very strong stage presence and an excellent voice. Anthony Berini brought the house down as Chef Louis singing and acting during the song "Les Poissons." He nailed it! Finally, Caitlyn Schmidt was delightfully evil as the Sea Witch, Aunt Ursula. Even though she was wronged by her brother, it was hard to feel sympathy for her in light of the fact she is a mass murderer. Still, she was far more believable than was Brian Mansell, who played King Triton. His voice was far too high to come across as an authoritative King. The two big production numbers were "Under The Sea" and "Kiss The Girl." They were both brilliant and entertaining!
Ariel is a young girl who dreams "the grass is greener on the other side of the fence." She collects items from the human world and places them in her grotto ("look at this trove, treasures untold"). She saves Prince Eric, who falls overboard, and quickly falls in love with him. As Ursula ("ugly as a slug, hideous to hug") says, "The only thing more powerful than my magic is teenage hormones." Sebastian warns Ariel "to get your head out of the clouds and into the water where it belongs" and tells her "you're swimming in dangerous waters," but she is committed to giving up her family and friends to live in a foreign environment where humans eat the very fish who were once her friends. For dinner, Chef Louis was serving Lobster Bisque and Tuna Tartar. Without her voice, Ariel only has her attractive body and feminine mannerisms to get Prince Eric to love her. She succeeds and the Prince eventually chooses Ariel even over "the mysterious young woman with the beautiful voice" he has been searching for. As Prince Eric says, "We have much in common. You are a quiet girl in a noisy world and I am a Prince who would rather be a sailor." Even though her father thinks all humans are barbarians, Ariel "doesn't get cold fins" and defends them by saying, "You can't blame all humans for a few wicked ones." Eventually, Ursula is defeated and King Triton grants Ariel's wish (with the help of the audience waving lit Tridents they bought for $7.00 during intermission) to become a human permanently. Prince Eric asks King Triton for Ariel's hand in marriage but the King says "Ariel can speak for herself." She consents and supposedly lives "happily ever after" remaining "a bright light in a dark world." Two other bad directorial decisions included how Prince Eric was depicted as having fallen overboard (he basically ran off the stage) and the manner in which Ariel destroyed Ursula's "magic nautilus shell" and took back her father's Trident (all of which took place off-stage).
This production of Disney's The Little Mermaid is a great success. Despite the minor problems mentioned, I guarantee you will have a good time and be inspired by all the young talent who will be entertaining audiences for decades to come. Remaining performances are on Saturday, August 26th at 2:00 p.m. and 8:00 p.m., and on Sunday, August 27th at 2:00 p.m. Tickets cost $25.00 for adults, $20.00 for seniors and students, and $15.00 for children 12 years of age and under. For ticket reservations and information, call NCT at 718-482-3173, or e-mail NCT@NCTheaterNY.com
Saturday, August 19, 2017
Applause! Applause! Review of Lucky at Dixon Place by Christopher M. Struck
This review of Lucky at Dixon Place was written by Christopher M. Struck and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
Lucky
Presented by Atlas Circus Company
Created & Directed by Henry Evans & Tommy McCarthy
Production coordinated by Cody Johnson
Stage managed by Annie Corrao
Lighting designed by Alex Womer
Choreography by Tyler Holoboski
Dixon Place
161-A Chrystie Street
New York, New York 10002
Reviewed 8/15/17
Lucky surprised me with a combination of good, old-fashioned slapstick fun and a modern storyline. The mixture provided a family-friendly atmosphere punctuated by excellent commentary delivered by one five-year-old girl in the audience who had other guests laughing in hysterics when she said things like "It's so funny!" and "Is he going to eat it?" Thankfully, the timely remarks of a five-year-old are not necessary to enjoy Lucky. It is performed silently in the classic style of an early motion picture film. David Evans accompanied the action on the piano, which took place in front of a cartoon animation displayed on a big screen. Black cutouts with white chalk introduced each scene and inside each of these, the Atlas Circus crew impressed continuously with acrobatic stunts and good choreography. Even without a line of dialogue, Lucky communicated a deeper critique of modern society than almost all of the contemporary plays I've seen in the last year. There were scenes about the office 9-5, waiting tables, and chasing after a dream to be an actor all while being ever so close to finding love in this great city of New York. The modern conundrum, indeed, punctuated by stunning routines filled with daring flips!
The structure and characterization of this play done by Henry Evans felt like something ripped out of time. Yet, somehow Lucky managed to touch on so many aspects of life in the city today. From hunger to the struggle for mythical success to finding time for love. It was funny and made comical use of old Saturday Cartoon style cliches such as banana peels and whipped cream-pies. Lucky starts off with a pictorial sequence where Lucky, the character (Henry Evans), is sent off on his way to New York. At first, he has trouble adjusting to city life. His things are stolen (by Leo Abel's character), and he has a "good time" trying to get them back running around after Leo. Leo and Russell keep eating food in front of him in various roles including a funny sequence where Russell approaches him as a hot dog man. For the remainder of the play, these other three actors (Leo Abel, Russell Norris & Avery Deutsch) take turns targeting the young man, Lucky.
Leo typically plays a thief who ends up sneaking off with all of Lucky's belongings except for his briefcase which Lucky somehow hangs onto in a fun circus sequence. Following the opening scene mentioned earlier, Lucky attempts to peacefully spend the night in a park. Once asleep, Leo appears and after making off with everything but Lucky's shoes, he goes after Lucky's briefcase. Through many complex acrobatic maneuvers and back and forth with the muscular Leo, Henry Evans remains "asleep" with his head cocked slightly and the snooze button on. He snores loudly and somehow the two (Henry & Leo) make feats of balance and strength look easy whether the briefcase is in Henry's mouth or in his hands. Eventually, Leo is able to open the briefcase and reveal to the audience that there is nothing remaining within. Lucky wakes up to find that all he has left are his stinky shoes and his briefcase.
The other two play somewhat more "helpful roles." Russell Norris is every boss. Sometimes sauntering in. Other times running in with high knees and waving his arms. He made hilarious noises while Leo's character littered in the park or Henry's character disappointed him in some new way. With each job Lucky took, Russell's tall and lanky frame would end up tapping Lucky or Henry on the head and sending him away. That is until finally Russell, as a construction foreman, bursts into laughter after Henry attempts to acrobatically reach for a sandwich he's dropped from a swaying beam at a construction site.
Avery Deutsch represented the many love interests of Lucky in New York. She works with him at every job and is always just that elusive. Russell Norris even duct taped Lucky to a chair so he wouldn't peek over into the next cubicle at her. The duct tape didn't stop the two from dancing together beautifully, but somehow just before they kiss, she always seems to be pulled away. Avery did give a striking performance lip syncing to Ella Fitzgerald's Hernando's Hideaway. "All [we] see are silhouettes" indeed. So much fun!
There was no dialogue to delve into, but there was great attention to detail. At one point, Lucky wanders down a street and the theaters say, "Not you," "Cancelled," and "Someone else" before flipping to Lucky for a brief moment and then back. I would recommend this show to anyone who is looking for a good time and an interesting theater performance. For the younger crowd, the play is just fun and engaging. For the refined theater-goer, there is enough there to think about while enjoying magic tricks and the athletic circus routine expertly performed by Atlas Circus. Shows ran Tuesdays and Wednesdays from August 1st through 16th at Dixon Place, so hopefully, they will bring it back. Do check out @AtlasCircus on Instagram to follow these performers and see what they are up to next and when.
Lucky
Presented by Atlas Circus Company
Created & Directed by Henry Evans & Tommy McCarthy
Production coordinated by Cody Johnson
Stage managed by Annie Corrao
Lighting designed by Alex Womer
Choreography by Tyler Holoboski
Dixon Place
161-A Chrystie Street
New York, New York 10002
Reviewed 8/15/17
Lucky surprised me with a combination of good, old-fashioned slapstick fun and a modern storyline. The mixture provided a family-friendly atmosphere punctuated by excellent commentary delivered by one five-year-old girl in the audience who had other guests laughing in hysterics when she said things like "It's so funny!" and "Is he going to eat it?" Thankfully, the timely remarks of a five-year-old are not necessary to enjoy Lucky. It is performed silently in the classic style of an early motion picture film. David Evans accompanied the action on the piano, which took place in front of a cartoon animation displayed on a big screen. Black cutouts with white chalk introduced each scene and inside each of these, the Atlas Circus crew impressed continuously with acrobatic stunts and good choreography. Even without a line of dialogue, Lucky communicated a deeper critique of modern society than almost all of the contemporary plays I've seen in the last year. There were scenes about the office 9-5, waiting tables, and chasing after a dream to be an actor all while being ever so close to finding love in this great city of New York. The modern conundrum, indeed, punctuated by stunning routines filled with daring flips!
The structure and characterization of this play done by Henry Evans felt like something ripped out of time. Yet, somehow Lucky managed to touch on so many aspects of life in the city today. From hunger to the struggle for mythical success to finding time for love. It was funny and made comical use of old Saturday Cartoon style cliches such as banana peels and whipped cream-pies. Lucky starts off with a pictorial sequence where Lucky, the character (Henry Evans), is sent off on his way to New York. At first, he has trouble adjusting to city life. His things are stolen (by Leo Abel's character), and he has a "good time" trying to get them back running around after Leo. Leo and Russell keep eating food in front of him in various roles including a funny sequence where Russell approaches him as a hot dog man. For the remainder of the play, these other three actors (Leo Abel, Russell Norris & Avery Deutsch) take turns targeting the young man, Lucky.
Leo typically plays a thief who ends up sneaking off with all of Lucky's belongings except for his briefcase which Lucky somehow hangs onto in a fun circus sequence. Following the opening scene mentioned earlier, Lucky attempts to peacefully spend the night in a park. Once asleep, Leo appears and after making off with everything but Lucky's shoes, he goes after Lucky's briefcase. Through many complex acrobatic maneuvers and back and forth with the muscular Leo, Henry Evans remains "asleep" with his head cocked slightly and the snooze button on. He snores loudly and somehow the two (Henry & Leo) make feats of balance and strength look easy whether the briefcase is in Henry's mouth or in his hands. Eventually, Leo is able to open the briefcase and reveal to the audience that there is nothing remaining within. Lucky wakes up to find that all he has left are his stinky shoes and his briefcase.
The other two play somewhat more "helpful roles." Russell Norris is every boss. Sometimes sauntering in. Other times running in with high knees and waving his arms. He made hilarious noises while Leo's character littered in the park or Henry's character disappointed him in some new way. With each job Lucky took, Russell's tall and lanky frame would end up tapping Lucky or Henry on the head and sending him away. That is until finally Russell, as a construction foreman, bursts into laughter after Henry attempts to acrobatically reach for a sandwich he's dropped from a swaying beam at a construction site.
Avery Deutsch represented the many love interests of Lucky in New York. She works with him at every job and is always just that elusive. Russell Norris even duct taped Lucky to a chair so he wouldn't peek over into the next cubicle at her. The duct tape didn't stop the two from dancing together beautifully, but somehow just before they kiss, she always seems to be pulled away. Avery did give a striking performance lip syncing to Ella Fitzgerald's Hernando's Hideaway. "All [we] see are silhouettes" indeed. So much fun!
There was no dialogue to delve into, but there was great attention to detail. At one point, Lucky wanders down a street and the theaters say, "Not you," "Cancelled," and "Someone else" before flipping to Lucky for a brief moment and then back. I would recommend this show to anyone who is looking for a good time and an interesting theater performance. For the younger crowd, the play is just fun and engaging. For the refined theater-goer, there is enough there to think about while enjoying magic tricks and the athletic circus routine expertly performed by Atlas Circus. Shows ran Tuesdays and Wednesdays from August 1st through 16th at Dixon Place, so hopefully, they will bring it back. Do check out @AtlasCircus on Instagram to follow these performers and see what they are up to next and when.
Friday, August 18, 2017
Applause! Applause! Review of Coni Ciongoli Koepfinger's AfterLife at The Secret Theatre by Dr. Thomas Robert Stevens
This review of Coni Ciongoli Koepfinger's AfterLife at The Secret Theatre was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
AfterLife
Written by Coni Ciongoli Koepfinger
Directed by Joan Kane
Costume Designs by Lani Cerveris Cataldi
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/17/17
AfterLife turns the apocryphal Biblical story of Adam and Eve upside down and inside-out. Here, we are introduced to a dystopian society you might describe as being the opposite of the Garden of Eden. A post-apocalyptic encampment is trying to rebuild and restore order and repopulate the planet. The new administration is trying to encourage women to have children and works hard to train men so they can defend the settlement from raiders and plunderers. Criminals, dissenters, and "unfunctionaries" have been exiled from the community protected by guards. Talkers have been taught to look down on Tags, people who were "tagged" for criticizing the administration and punished by being forced to imbibe an elixir that dissolved (temporarily) their vocal cords. Music is forbidden and considered evil and the land is full of toxins. Even the toxins were made into an elixir and sold. Many find it intoxicating!
Two extremely talented actors are the main characters in this play. Stark Wilz plays the Talker, and Lani Cerveris Cataldi is the Tag. The Talker, a man later named Eve, is surprised the Tag, a woman later named Adam, can speak and tries to lure her to cross back over to where he is in order to be the lookout while he climbs a tree covered in toxic slime to get two apples for both of them to eat - one for him and one for her. I must confess that until I understood the Adam and Eve analogy, I thought the Talker was a creepy predator, who I fully expected had the intention of raping and killing the Tag. One can't really tell when it happened but, at some point, after they ate the apples, they become aware of the fact that the guards (also known as The New Guardians of Light because no one is allowed out in the light unless they pay for a pass) couldn't see them. Just as Adam and Eve were expelled from the Garden of Eden, the Eve and Adam from this alternate reality find they have been freed from the living hell they have been living in. Both conclude they are dead and no longer feel fear, pain, nor hunger. They are free to do as they please and to be happy together. Everybody sing! Kumbaya!
The costumes, designed by Lani Cerveris Cataldi, are absolutely stunning. Lindsay Shields put together an amazing set comprised of barb wire, plastic bottles, and what looked like animal skins. Some of the lighter animal skins doubled as quicksand. On the negative side, the Tag inexplicably seems to have retained knowledge of Chakras (i.e. Life-Force Energy Centers), to believe they may have met before in a prior life, and to think certain things were "meant to be." This New Age "we are all one" philosophy seemed out of place and written in only because the playwright might believe in such things, including an afterlife. The wounds each character had on their bodies were expertly done and very realistic. The funniest moment in the play came when the Talker climbed the tree to get the two apples and got "toxic slime" all over his face. He cried out "My God! The Slime. It's on my face. Get it off! Get it off! Get it off!". I would describe his hysterical reaction as "crying like a little girl." It was hilarious!
AfterLife has great potential even if it does require a bit more work. Main themes in the play need to be clarified. I found AfterLife to be quite interesting and the acting is top-notch. Tickets cost $18.00 and can be purchased at http://unfringed2017.bpt.me. Future performances are on Tuesday, August 22nd at 7:30 p.m.; Sunday, August 27th at 3:00 p.m.; and Friday, September 1st at 7:30 p.m. It is part of Unfringed 2017 at The Secret Theatre.
AfterLife
Written by Coni Ciongoli Koepfinger
Directed by Joan Kane
Costume Designs by Lani Cerveris Cataldi
The Secret Theatre
44-02 23rd Street
Long Island City, Queens 11101
Reviewed 8/17/17
AfterLife turns the apocryphal Biblical story of Adam and Eve upside down and inside-out. Here, we are introduced to a dystopian society you might describe as being the opposite of the Garden of Eden. A post-apocalyptic encampment is trying to rebuild and restore order and repopulate the planet. The new administration is trying to encourage women to have children and works hard to train men so they can defend the settlement from raiders and plunderers. Criminals, dissenters, and "unfunctionaries" have been exiled from the community protected by guards. Talkers have been taught to look down on Tags, people who were "tagged" for criticizing the administration and punished by being forced to imbibe an elixir that dissolved (temporarily) their vocal cords. Music is forbidden and considered evil and the land is full of toxins. Even the toxins were made into an elixir and sold. Many find it intoxicating!
Two extremely talented actors are the main characters in this play. Stark Wilz plays the Talker, and Lani Cerveris Cataldi is the Tag. The Talker, a man later named Eve, is surprised the Tag, a woman later named Adam, can speak and tries to lure her to cross back over to where he is in order to be the lookout while he climbs a tree covered in toxic slime to get two apples for both of them to eat - one for him and one for her. I must confess that until I understood the Adam and Eve analogy, I thought the Talker was a creepy predator, who I fully expected had the intention of raping and killing the Tag. One can't really tell when it happened but, at some point, after they ate the apples, they become aware of the fact that the guards (also known as The New Guardians of Light because no one is allowed out in the light unless they pay for a pass) couldn't see them. Just as Adam and Eve were expelled from the Garden of Eden, the Eve and Adam from this alternate reality find they have been freed from the living hell they have been living in. Both conclude they are dead and no longer feel fear, pain, nor hunger. They are free to do as they please and to be happy together. Everybody sing! Kumbaya!
The costumes, designed by Lani Cerveris Cataldi, are absolutely stunning. Lindsay Shields put together an amazing set comprised of barb wire, plastic bottles, and what looked like animal skins. Some of the lighter animal skins doubled as quicksand. On the negative side, the Tag inexplicably seems to have retained knowledge of Chakras (i.e. Life-Force Energy Centers), to believe they may have met before in a prior life, and to think certain things were "meant to be." This New Age "we are all one" philosophy seemed out of place and written in only because the playwright might believe in such things, including an afterlife. The wounds each character had on their bodies were expertly done and very realistic. The funniest moment in the play came when the Talker climbed the tree to get the two apples and got "toxic slime" all over his face. He cried out "My God! The Slime. It's on my face. Get it off! Get it off! Get it off!". I would describe his hysterical reaction as "crying like a little girl." It was hilarious!
AfterLife has great potential even if it does require a bit more work. Main themes in the play need to be clarified. I found AfterLife to be quite interesting and the acting is top-notch. Tickets cost $18.00 and can be purchased at http://unfringed2017.bpt.me. Future performances are on Tuesday, August 22nd at 7:30 p.m.; Sunday, August 27th at 3:00 p.m.; and Friday, September 1st at 7:30 p.m. It is part of Unfringed 2017 at The Secret Theatre.
Tuesday, August 15, 2017
Applause! Applause! Review of Irene Kapustina's Lost & Guided at Under St. Mark's Theater by Christopher M. Struck
This review of Irene Kapustina's Lost & Guided at Under St. Mark's Theater was written by Christopher M. Struck and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
Lost & Guided
Written & Directed by Irene Kapustina
Assistant Director: Alexandra Kattan
Costume, Set & Lighting Design by Wesley Cornwell
Sound Design by Adam Cuthbert
Stage Management by Sabrina Morabito
Under St. Mark's Theater
94 St. Mark's Place
New York, New York 10009
Reviewed 8/5/17
Lost & Guided has an intriguing concept for a play. Set amidst the onset of violence in Syria's Civil War, it follows the fates of two families connected through best friends Amina (Mischa Ipp) and Rima (Mouna R'miki). While relying perhaps too heavily on the classic idea of how civil war or war, in general, can tear apart families and ruin lives, the play does synthesize the emotions of the characters through good acting and an engaging script. These factors allowed the play to capture both the naive hope, in the early days, of positive changes being made to the government and the devastating effects the war would later have on the citizens of the country.
Despite a plethora of moments of clarity that created intense emotional drama, there were some aspects of the play that made it difficult to follow. One of the problems was a convoluted story arc. Most likely meant to draw attention to how lives are altered by the onset of war as mentioned earlier, I felt like none of the featured characters became an early focal point. This made it hard to catch the main storyline, but it did provide for interesting dialogue that was partially a guise for the delivery of a deluge of information.
The first scene in the play shows a conversation between Rima and Amina discussing husbands. Mouna R'miki as Rima was an awesome ball of passion that dominated the opening wonderfully. "I do not love him!" Rima exclaimed before launching into a twister-like tirade across the exquisite stage with a delicate balance of grace and verve. "He's so quiet" she would say about her husband while being her loud and obnoxious self and describing her character as the worst part of her personality. It was pretty funny, but beside her, Amina seemed to be merely a sounding board for Rima to talk to. Even though this scene seemed like a big deal, most if it didn't really factor into the main elements of the story. The most important part was the return of Imad and Sami (Rima's brother) with news. Even though he just got engaged to Amina, Imad accepted a position in a hospital in New Orleans.
Retrospectively, this might have been given a more prominent position in the unfolding of the story. The news could have been broken at the beginning of the scene and then Rima could have consoled Amina while lambasting her own husband. However, it came at the end somewhat disguising the fact that Imad takes the central role in the story powered by Doga Celik's superb performance. While Imad is in New Orleans adapting and adjusting to American life (quite comically at points), the Syrian Civil War breaks out and begins to tear apart his family back home. All he can do is stay in contact through Whatsapp hearing intermittent news from Sami, who works as a star doctor in a hospital, and Amina, who plans to escape with Rima as a refugee to Jordan. Imad is left powerless complaining, "I'm a man. I should do something," but he can't even tell his fiancee he misses her because she starts to cry. His biggest issue is being able to sound surprised and enthusiastic when colleagues tell him interesting news while at home bombs begin to become a constant threat. At first, Sami, played by the solid Shayan Sobhian, joyously discussed the pro-Democracy marches, but quickly the news starts to sour when Rima's husband is taken off to fight for Assad's army.
The other major difficulty in following the storyline was in the structure of the cast. Three of the seven actors played strange bit roles that mostly didn't require talking. These roles came in between major talking parts like commercials between different segments of the show. For example, immediately after Imad delivers his news about going to America, Jarrod Zayas, as an officer, chases, and mimes the killing of Alexandra Kattan, who plays a student. By mimicking hand movements on one side of the stage while Alexandra twisted and turned on the other side of the stage, Jarrod could act out more violent gestures, but it seemed a little awkward as the audience had no context for the interaction. Sami explained later when he told Imad over Whatsapp that students had been delivered to their parents dead. I am not sure if these scenes were added to make the situation seem more dire and violent, but it may have required more building up for the sake of comprehension. Susan Cohen Destefano also joined these in between segues dressed in a nun's habit and usually appeared only when death struck.
Regardless of these factors, the narrative became engrossing as the toll of the war became more and more apparent. I was deeply moved by the ultimate fate of the main characters in the play. Amina walked to Jordan for 10 hours, and Rima, who didn't leave, died in a bombing raid. Amina rested on her backpack mid-stage while Rima's body crashed to the floor in the back. Meanwhile, Sami safely rested up against the wall having just told Imad he was hiding under a support beam. When he goes to help an injured rebel left for dead, she cries out and a guard (Jarrod Zayas) kills them both. The two actors lay side by side after Sami sends out one last message to be received by Imad in America. Safe in America, Imad goes to pray.
There were a lot of positive aspects to Lost & Guided, but the story arc and the silent segues did make it difficult to follow. I would recommend this play for its timeliness and gritty nature. Doga Celik and Mouna R'miki stood out for their passionate performances as Imad and Rima. The cast as a whole brought a human face to a faraway war that now resonates for me more emotionally than it did before watching the play. For that, Lost & Guided deserves praise as does writer-director Irene Kapustina for writing the script after conducting interviews with Syrian refugees living in the United States. I hope you get a chance to enjoy it while it is at Under St. Mark's Theater through August 25, 2017. Tickets for $20.00 can be found on www.lostandguided.com or by calling 1-800-901-7173.
Lost & Guided
Written & Directed by Irene Kapustina
Assistant Director: Alexandra Kattan
Costume, Set & Lighting Design by Wesley Cornwell
Sound Design by Adam Cuthbert
Stage Management by Sabrina Morabito
Under St. Mark's Theater
94 St. Mark's Place
New York, New York 10009
Reviewed 8/5/17
Lost & Guided has an intriguing concept for a play. Set amidst the onset of violence in Syria's Civil War, it follows the fates of two families connected through best friends Amina (Mischa Ipp) and Rima (Mouna R'miki). While relying perhaps too heavily on the classic idea of how civil war or war, in general, can tear apart families and ruin lives, the play does synthesize the emotions of the characters through good acting and an engaging script. These factors allowed the play to capture both the naive hope, in the early days, of positive changes being made to the government and the devastating effects the war would later have on the citizens of the country.
Despite a plethora of moments of clarity that created intense emotional drama, there were some aspects of the play that made it difficult to follow. One of the problems was a convoluted story arc. Most likely meant to draw attention to how lives are altered by the onset of war as mentioned earlier, I felt like none of the featured characters became an early focal point. This made it hard to catch the main storyline, but it did provide for interesting dialogue that was partially a guise for the delivery of a deluge of information.
The first scene in the play shows a conversation between Rima and Amina discussing husbands. Mouna R'miki as Rima was an awesome ball of passion that dominated the opening wonderfully. "I do not love him!" Rima exclaimed before launching into a twister-like tirade across the exquisite stage with a delicate balance of grace and verve. "He's so quiet" she would say about her husband while being her loud and obnoxious self and describing her character as the worst part of her personality. It was pretty funny, but beside her, Amina seemed to be merely a sounding board for Rima to talk to. Even though this scene seemed like a big deal, most if it didn't really factor into the main elements of the story. The most important part was the return of Imad and Sami (Rima's brother) with news. Even though he just got engaged to Amina, Imad accepted a position in a hospital in New Orleans.
Retrospectively, this might have been given a more prominent position in the unfolding of the story. The news could have been broken at the beginning of the scene and then Rima could have consoled Amina while lambasting her own husband. However, it came at the end somewhat disguising the fact that Imad takes the central role in the story powered by Doga Celik's superb performance. While Imad is in New Orleans adapting and adjusting to American life (quite comically at points), the Syrian Civil War breaks out and begins to tear apart his family back home. All he can do is stay in contact through Whatsapp hearing intermittent news from Sami, who works as a star doctor in a hospital, and Amina, who plans to escape with Rima as a refugee to Jordan. Imad is left powerless complaining, "I'm a man. I should do something," but he can't even tell his fiancee he misses her because she starts to cry. His biggest issue is being able to sound surprised and enthusiastic when colleagues tell him interesting news while at home bombs begin to become a constant threat. At first, Sami, played by the solid Shayan Sobhian, joyously discussed the pro-Democracy marches, but quickly the news starts to sour when Rima's husband is taken off to fight for Assad's army.
The other major difficulty in following the storyline was in the structure of the cast. Three of the seven actors played strange bit roles that mostly didn't require talking. These roles came in between major talking parts like commercials between different segments of the show. For example, immediately after Imad delivers his news about going to America, Jarrod Zayas, as an officer, chases, and mimes the killing of Alexandra Kattan, who plays a student. By mimicking hand movements on one side of the stage while Alexandra twisted and turned on the other side of the stage, Jarrod could act out more violent gestures, but it seemed a little awkward as the audience had no context for the interaction. Sami explained later when he told Imad over Whatsapp that students had been delivered to their parents dead. I am not sure if these scenes were added to make the situation seem more dire and violent, but it may have required more building up for the sake of comprehension. Susan Cohen Destefano also joined these in between segues dressed in a nun's habit and usually appeared only when death struck.
Regardless of these factors, the narrative became engrossing as the toll of the war became more and more apparent. I was deeply moved by the ultimate fate of the main characters in the play. Amina walked to Jordan for 10 hours, and Rima, who didn't leave, died in a bombing raid. Amina rested on her backpack mid-stage while Rima's body crashed to the floor in the back. Meanwhile, Sami safely rested up against the wall having just told Imad he was hiding under a support beam. When he goes to help an injured rebel left for dead, she cries out and a guard (Jarrod Zayas) kills them both. The two actors lay side by side after Sami sends out one last message to be received by Imad in America. Safe in America, Imad goes to pray.
There were a lot of positive aspects to Lost & Guided, but the story arc and the silent segues did make it difficult to follow. I would recommend this play for its timeliness and gritty nature. Doga Celik and Mouna R'miki stood out for their passionate performances as Imad and Rima. The cast as a whole brought a human face to a faraway war that now resonates for me more emotionally than it did before watching the play. For that, Lost & Guided deserves praise as does writer-director Irene Kapustina for writing the script after conducting interviews with Syrian refugees living in the United States. I hope you get a chance to enjoy it while it is at Under St. Mark's Theater through August 25, 2017. Tickets for $20.00 can be found on www.lostandguided.com or by calling 1-800-901-7173.
Monday, August 14, 2017
Applause! Applause! Review of Jonathan Tolins' Twilight Of The Golds at Studio Theatre Long Island by Dr. Thomas Robert Stevens
This review of Jonathan Tolins' Twilight Of The Golds at Studio Theatre Long Island was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
Twilight Of The Golds
Written by Jonathan Tolins
Directed by Carol Prisamt
Studio Theatre Long Island
141 Wellwood Avenue
Lindenhurst, New York 11757
Reviewed 8/6/17
Twilight Of The Golds is a play written by Jonathan Tolins that premiered at the Pasadena Playhouse on January 17, 1993. After a stop at The Kennedy Center and fifteen previews, it opened on Broadway at the Booth Theatre on October 21, 1993, closing on November 14, 1993 after 29 performances. The Golds are an upper-middle-class Jewish family from New York. They perceive themselves as liberals and religiously read The New York Times for fear they will be caught lacking in conversations with their friends. Phyllis (Heidi Jean Weinrich) and Walter (Len DeLorenzo) have two children - David (Alex Rich), who is gay, and Suzanne (Meredith Johnson), who is a buyer for Bloomingdale's. Have their children disappointed them? Sure. They wish David had been straight and feel Suzanne could have been a surgeon. Still, they love them and accept them for who they are even though they are not pleased with some of the choices they have made. Both David and Suzanne are coming up on the third anniversary of their current relationships. Suzanne, with her husband Rob (Avi Goldstein), and David (with Steven, who we never meet). The family tries to be accepting of David's lifestyle to the extent they can but they still worry about him (given the AIDS crisis) and continue to hold their own opinions regarding homosexuality. When David forces his father to tell him what he really thinks, Walter says, "I think you are sick and if there was a cure, I'd want you to have it." Still, David's father loves him with all his heart, loans him money and shares his love of Opera. David's mom still thinks his being gay is somehow her fault. She says, "If only I didn't take your temperature that way!"
Individual monologues are spoken by each character directly to the audience giving us an opportunity to get to know the perspectives of each. There are no villains in this play. Each has a legitimate viewpoint on a very controversial topic. Suzanne finds herself pregnant and due to advancements in the Human Genome Project and more accurate testing through amniocentesis, she learns there is a 90% chance her newborn son will be gay (like her brother). Abortion is an option. Rob, her husband, stands by his wife and says he will support whatever decision she makes regarding whether to keep the baby. Suzanne's parents also feel the decision is hers to make and will support her either way. David, on the other hand, is outraged there is even a discussion about the issue. He takes the matter personally and engages in his own Operation Rescue to convince his sister to have the baby. Rob is rightfully upset. He feels the decision should be made privately between himself and his wife and that David should mind his own business. Suzanne is torn. On the one hand, she understands David's perspective. On the other hand, she questions why they should put themselves through the difficulties of having a gay son if they don't have to.
The playwright conflates gay culture with sexual orientation. No baby comes out "singing and dancing" and there is no guarantee a gay nephew will like opera and have, as David says, "that particular genetic aberration." Gay culture is a sub-culture any person is free to choose as their own. The clothing one wears and the speech patterns adopted usually reflect the degree to which a gay person wants their sexual orientation to be obvious. Phyllis and Walter Gold love their children and are not the kind of parents who would ever disown them for any reason. That is not enough for David, who is spoiled and always likes to get his own way. David buys opera CDs as gifts for his sister and her husband even though he knows they don't like them. This desire of his to want everyone to like what he likes has also gotten him into trouble with his partner. David can't accept his loving parents for who they are and respect their differing viewpoints nor can he respect the ultimate decision his sister makes about whether to have the baby unless her decision agrees with his. One day, parents may use genetic testing not only to screen for diseases but to also select various characteristics they may want for their children - such as a preferred eye color, height, etc. When that is possible, in my opinion, the decision should be made by the parents - not the government, not an ethics panel, not their doctors, and certainly not by a majority vote of the community. The result of David's meddling results in tragedy for the Gold family.
Twilight Of The Golds is a relevant and thought-provoking play. The actors in this production are all highly professional and extremely talented. The writing keeps the play moving at a good pace. You will be engaged and interested in the discussions that take place. Is it true, as Rob says, that "knowledge is neutral and it's what bad people do with the information that matters." And while David says to Suzanne, "you're rubbing me out," Suzanne argues back, "don't put the fate of the world on my shoulders. I couldn't finish pre-med and you want me to change the world." Walter is very philosophical about life commenting that while your children may disappoint you, "you find a way to love them even with all the crap." You may also identify with Walter's observation that "you have no idea how your heart breaks when the world doesn't meet your expectations." Suzanne said to David, "don't play the martyr - you know we love you." But in the end, David makes a decision that destroys the family and devastates his mother. You must see this play after which you will, no doubt, have many opinions and feelings you may want to share with others over dinner.
I highly recommend Twilight Of The Golds at Studio Theatre Long Island. Tickets cost $25.00 and can be purchased by visiting their website at www.StudioTheatreLI.com. The show runs through August 20, 2017. For more information, call 1-631-226-8400.
Twilight Of The Golds
Written by Jonathan Tolins
Directed by Carol Prisamt
Studio Theatre Long Island
141 Wellwood Avenue
Lindenhurst, New York 11757
Reviewed 8/6/17
Twilight Of The Golds is a play written by Jonathan Tolins that premiered at the Pasadena Playhouse on January 17, 1993. After a stop at The Kennedy Center and fifteen previews, it opened on Broadway at the Booth Theatre on October 21, 1993, closing on November 14, 1993 after 29 performances. The Golds are an upper-middle-class Jewish family from New York. They perceive themselves as liberals and religiously read The New York Times for fear they will be caught lacking in conversations with their friends. Phyllis (Heidi Jean Weinrich) and Walter (Len DeLorenzo) have two children - David (Alex Rich), who is gay, and Suzanne (Meredith Johnson), who is a buyer for Bloomingdale's. Have their children disappointed them? Sure. They wish David had been straight and feel Suzanne could have been a surgeon. Still, they love them and accept them for who they are even though they are not pleased with some of the choices they have made. Both David and Suzanne are coming up on the third anniversary of their current relationships. Suzanne, with her husband Rob (Avi Goldstein), and David (with Steven, who we never meet). The family tries to be accepting of David's lifestyle to the extent they can but they still worry about him (given the AIDS crisis) and continue to hold their own opinions regarding homosexuality. When David forces his father to tell him what he really thinks, Walter says, "I think you are sick and if there was a cure, I'd want you to have it." Still, David's father loves him with all his heart, loans him money and shares his love of Opera. David's mom still thinks his being gay is somehow her fault. She says, "If only I didn't take your temperature that way!"
Individual monologues are spoken by each character directly to the audience giving us an opportunity to get to know the perspectives of each. There are no villains in this play. Each has a legitimate viewpoint on a very controversial topic. Suzanne finds herself pregnant and due to advancements in the Human Genome Project and more accurate testing through amniocentesis, she learns there is a 90% chance her newborn son will be gay (like her brother). Abortion is an option. Rob, her husband, stands by his wife and says he will support whatever decision she makes regarding whether to keep the baby. Suzanne's parents also feel the decision is hers to make and will support her either way. David, on the other hand, is outraged there is even a discussion about the issue. He takes the matter personally and engages in his own Operation Rescue to convince his sister to have the baby. Rob is rightfully upset. He feels the decision should be made privately between himself and his wife and that David should mind his own business. Suzanne is torn. On the one hand, she understands David's perspective. On the other hand, she questions why they should put themselves through the difficulties of having a gay son if they don't have to.
The playwright conflates gay culture with sexual orientation. No baby comes out "singing and dancing" and there is no guarantee a gay nephew will like opera and have, as David says, "that particular genetic aberration." Gay culture is a sub-culture any person is free to choose as their own. The clothing one wears and the speech patterns adopted usually reflect the degree to which a gay person wants their sexual orientation to be obvious. Phyllis and Walter Gold love their children and are not the kind of parents who would ever disown them for any reason. That is not enough for David, who is spoiled and always likes to get his own way. David buys opera CDs as gifts for his sister and her husband even though he knows they don't like them. This desire of his to want everyone to like what he likes has also gotten him into trouble with his partner. David can't accept his loving parents for who they are and respect their differing viewpoints nor can he respect the ultimate decision his sister makes about whether to have the baby unless her decision agrees with his. One day, parents may use genetic testing not only to screen for diseases but to also select various characteristics they may want for their children - such as a preferred eye color, height, etc. When that is possible, in my opinion, the decision should be made by the parents - not the government, not an ethics panel, not their doctors, and certainly not by a majority vote of the community. The result of David's meddling results in tragedy for the Gold family.
Twilight Of The Golds is a relevant and thought-provoking play. The actors in this production are all highly professional and extremely talented. The writing keeps the play moving at a good pace. You will be engaged and interested in the discussions that take place. Is it true, as Rob says, that "knowledge is neutral and it's what bad people do with the information that matters." And while David says to Suzanne, "you're rubbing me out," Suzanne argues back, "don't put the fate of the world on my shoulders. I couldn't finish pre-med and you want me to change the world." Walter is very philosophical about life commenting that while your children may disappoint you, "you find a way to love them even with all the crap." You may also identify with Walter's observation that "you have no idea how your heart breaks when the world doesn't meet your expectations." Suzanne said to David, "don't play the martyr - you know we love you." But in the end, David makes a decision that destroys the family and devastates his mother. You must see this play after which you will, no doubt, have many opinions and feelings you may want to share with others over dinner.
I highly recommend Twilight Of The Golds at Studio Theatre Long Island. Tickets cost $25.00 and can be purchased by visiting their website at www.StudioTheatreLI.com. The show runs through August 20, 2017. For more information, call 1-631-226-8400.
Sunday, August 13, 2017
Applause! Applause! Review of Antony Raymond's Apartment 301 at Access Theater by Christopher M. Struck
This review of Antony Raymond's Apartment 301 at Access Theater was written by Christopher M. Struck and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!
Apartment 301
Written & Directed by Antony Raymond
Access Theater
380 Broadway
New York, New York 10013
Reviewed 8/3/17
Elsinore County Theatre, the production company behind this play, advertised this run as "the world premiere of this comedy about a woman whose life is about to be radically altered." The show's publicist promoted it as a "New Comedy." As a result, I went to see Apartment 301 with the expectation of having a few laughs. However, as a comedy, it missed the mark on many levels. From the stilted script that lacked any depth to the dark lighting in the theater, a lot of pieces of the production negatively influenced the ability of the play to be funny. Most of the "jokes" were either making fun of millennial women or of a pathetic neighbor who otherwise seemed completely irrelevant as a character. The actresses had the hardest time breathing life into their dialogue and, for the most part, were unable to make the dramatic moments believable with good timing and realistic emotions. It was only the negative aspects of their lives that seemed to come forth strongly, which is why I kept wondering why the play was classified as a comedy. I'm not really sure how an unplanned pregnancy from a guy who lied about wearing a condom was supposed to be funny.
The play's setting is limited to a single room of the apartment. The black door of the apartment featured on the program seemed a little creepier than I would have expected for a play that promised to be light-hearted and thought-provoking. The two girls, Morgan Scott as Brooke and Abbey Shaine Dubin as Lacey, begin by contemplating the color of a pregnancy test. It's a little confusing what they are talking about at first since the props and stage were sparse, but it becomes clear when Lacey states, "I'm late."
To give an example of the difficulties of the script, the two then launch into a winding discussion about what they should do that night. Brooke suggests they grab a bottle of wine and the first chuckle from the audience comes when Lacey says that "it will be an Ernest Hemingway evening." Only, apparently, it hadn't been decided at that point because Brooke gives some condescending advice to Lacey that she should have made sure her partner used a condom, while Lacey's response to most everything Brooke said was to question her motivations and intentions. Even before the bottle of wine has been opened, Lacey is saying to Brooke, "Hug me. I can't believe he did this to me." Finally, we get to the two of them commiserating about how much they hate their lives. Lacey straight out says, "I hate my life" while Brooke says, "There is nothing out there for me" as she apparently can't find work as an actress.
Jim, the neighbor (Eric Doviak) at some point interrupts this convoluted series of one-liners looking for a screwdriver to help put something together in his apartment. Easily the funniest aspect of the play is just how pathetic this 38-year old secretary at a law firm character is. After he gets the screwdriver, Jim returns it the next day and bonds with Lacey who is crying over being pregnant and having her dancing career as a ballerina suddenly placed in potential jeopardy. He insinuates himself into her life as a sounding board with this brief laugh getter, "You left the door open, so I didn't know if that was your silent way of saying it's O.K. to not leave yet."
I felt the actresses handled this strange and awkward intruder situation with realism and measured emotion. However, the situation takes an unexpected twist when we learn Brooke, a Canadian, must figure out a way how to legally stay in the country. One night she is drinking alone when Jim appears with two sets of flowers, one for each of the roommates. Brooke gives this man, who has never been on a date, the run down on how to get a girl while he admits to having benefited from the services of a hooker on various birthdays courtesy of his brothers. Expectedly, the two sleep together and when Lacey finds out the next morning, deep emotional conflict erupts. Jim comes out of the bedroom and refuses to be sent away until they are all friends again. Jim accidentally pushes Brooke and she falls unconscious after hitting her head on a table. Frightened regarding the consequences of what he has done, Jim ties both roommates up but Brooke regains consciousness, escapes her bindings, and attacks Jim with the original screwdriver. During their fight, they happen to stab Lacey in the stomach. While Brooke calls for an ambulance, Jim stabs himself in the heart.
Apartment 301 is like an episode of Friends with half the cast and the plot of a short horror story. I am not sure if the ending was supposed to appear slapstick, but for me, the funniest moment was when Jim pulled away from the accidental stabbing of Lacey looking at bloody hands that had no blood on them. He changed this cleverly by getting blood on his hands while trying to "stop" the bleeding with a paper towel. But back to the point, the play's comedy didn't translate to the majority of the audience for a number of reasons I have already mentioned. The setting, the ambiance, and the script made it difficult for the acting to create the right recipe for laughter. I am not sure what would have helped but not relying on a single character for most of the comic relief would have been a step in the right direction. Tickets at $25.00 and are available on the theater company's website at www.elsinorecounty.com/index.html
Apartment 301
Written & Directed by Antony Raymond
Access Theater
380 Broadway
New York, New York 10013
Reviewed 8/3/17
Elsinore County Theatre, the production company behind this play, advertised this run as "the world premiere of this comedy about a woman whose life is about to be radically altered." The show's publicist promoted it as a "New Comedy." As a result, I went to see Apartment 301 with the expectation of having a few laughs. However, as a comedy, it missed the mark on many levels. From the stilted script that lacked any depth to the dark lighting in the theater, a lot of pieces of the production negatively influenced the ability of the play to be funny. Most of the "jokes" were either making fun of millennial women or of a pathetic neighbor who otherwise seemed completely irrelevant as a character. The actresses had the hardest time breathing life into their dialogue and, for the most part, were unable to make the dramatic moments believable with good timing and realistic emotions. It was only the negative aspects of their lives that seemed to come forth strongly, which is why I kept wondering why the play was classified as a comedy. I'm not really sure how an unplanned pregnancy from a guy who lied about wearing a condom was supposed to be funny.
The play's setting is limited to a single room of the apartment. The black door of the apartment featured on the program seemed a little creepier than I would have expected for a play that promised to be light-hearted and thought-provoking. The two girls, Morgan Scott as Brooke and Abbey Shaine Dubin as Lacey, begin by contemplating the color of a pregnancy test. It's a little confusing what they are talking about at first since the props and stage were sparse, but it becomes clear when Lacey states, "I'm late."
To give an example of the difficulties of the script, the two then launch into a winding discussion about what they should do that night. Brooke suggests they grab a bottle of wine and the first chuckle from the audience comes when Lacey says that "it will be an Ernest Hemingway evening." Only, apparently, it hadn't been decided at that point because Brooke gives some condescending advice to Lacey that she should have made sure her partner used a condom, while Lacey's response to most everything Brooke said was to question her motivations and intentions. Even before the bottle of wine has been opened, Lacey is saying to Brooke, "Hug me. I can't believe he did this to me." Finally, we get to the two of them commiserating about how much they hate their lives. Lacey straight out says, "I hate my life" while Brooke says, "There is nothing out there for me" as she apparently can't find work as an actress.
Jim, the neighbor (Eric Doviak) at some point interrupts this convoluted series of one-liners looking for a screwdriver to help put something together in his apartment. Easily the funniest aspect of the play is just how pathetic this 38-year old secretary at a law firm character is. After he gets the screwdriver, Jim returns it the next day and bonds with Lacey who is crying over being pregnant and having her dancing career as a ballerina suddenly placed in potential jeopardy. He insinuates himself into her life as a sounding board with this brief laugh getter, "You left the door open, so I didn't know if that was your silent way of saying it's O.K. to not leave yet."
I felt the actresses handled this strange and awkward intruder situation with realism and measured emotion. However, the situation takes an unexpected twist when we learn Brooke, a Canadian, must figure out a way how to legally stay in the country. One night she is drinking alone when Jim appears with two sets of flowers, one for each of the roommates. Brooke gives this man, who has never been on a date, the run down on how to get a girl while he admits to having benefited from the services of a hooker on various birthdays courtesy of his brothers. Expectedly, the two sleep together and when Lacey finds out the next morning, deep emotional conflict erupts. Jim comes out of the bedroom and refuses to be sent away until they are all friends again. Jim accidentally pushes Brooke and she falls unconscious after hitting her head on a table. Frightened regarding the consequences of what he has done, Jim ties both roommates up but Brooke regains consciousness, escapes her bindings, and attacks Jim with the original screwdriver. During their fight, they happen to stab Lacey in the stomach. While Brooke calls for an ambulance, Jim stabs himself in the heart.
Apartment 301 is like an episode of Friends with half the cast and the plot of a short horror story. I am not sure if the ending was supposed to appear slapstick, but for me, the funniest moment was when Jim pulled away from the accidental stabbing of Lacey looking at bloody hands that had no blood on them. He changed this cleverly by getting blood on his hands while trying to "stop" the bleeding with a paper towel. But back to the point, the play's comedy didn't translate to the majority of the audience for a number of reasons I have already mentioned. The setting, the ambiance, and the script made it difficult for the acting to create the right recipe for laughter. I am not sure what would have helped but not relying on a single character for most of the comic relief would have been a step in the right direction. Tickets at $25.00 and are available on the theater company's website at www.elsinorecounty.com/index.html