Saturday marked the closing night of FRIGID New York’s 4th annual Little Shakespeare Festival.  Known for their emphasis on creativity, collaboration, and affordability, this year’s line-up included seven original pieces.  Each one act script was built around the theme of Camaraderie and Community using the vast oeuvre of the Bard as a jumping off point.  

Festival curator, Conor D. Mullen, points out that Shakespeare himself was an independent artist whose casts were often composed of close friends who were given too little rehearsal time. Having a stripped down set and costumes “designed” by Goodwill is a fitting way to present productions inspired by his work.  Highlights included Mindy Mawhirter’s and Alyssa Cokinis’s The Lark and the Nightingale, which gave Juliet and Desdemona a second chance at love and happiness, and the bravely improvised As You Will created by Conor D Mullen, David Brummer, and George Hider.

Unfortunately FRIGID’s current home at UNDER St. Marks (94 St Marks Place) is literally “under,” in a basement and not fully accessible.  Aiming to remain truly inclusive, the producers added live-stream performances throughout the run.  This was how I was able to watch Hamlet Isn’t Dead’s utterly delightful When My Cue Comes with my elderly mother.  While I hope it won’t be too long before they find a space that more fully meets their needs, I encourage them to keep this option for those with mobility and caregiving issues and to reach out to audiences beyond New York. 

When My Cue Comes depicts a time when Hamlet’s Reynaldo, As You Like It’s Jaques de Boys, The Tempest’s Boatswain, and a very overworked Messenger find themselves deserted in a Waiting Room.  They had believed themselves to be essential workers.  Instead, they’ve been clipped from many a modern production and slowly bond while awaiting their next cue from The Playwright.  Quick witted and cleverly timed by writer/director B. Carty, the comical work also manages to be touching and relevant to today’s disconnected times.  

This off-off-Broadway offering may be low budget, but it’s definitely not low talent.  Much of joy in this production radiates from the exuberant cast.  With perky energy possibility derived from a morning bowl of cookie crunch, Natalie Deboer’s Messenger punches through the fourth wall.  Reid Watson brings warm devotion to the abandoned Reynaldo.  As played by Aaron Moore, Jaques de Boys is profoundly rattled by his exile.  Mining every line for comic gems, Gabriel Ethridge’s Boatswain has never been more at sea.  Grounding them as long as she can is Madeline Parks, whose Playwright isn’t in as much control as she’d like.  The ease of the entire ensemble was palpable even at a distance.

Having (mostly) recovered from lockdown, FRIGID New York recently resumed their resident artists program.  Last week they announced the programming for their very full 27th season. This includes their annual Days of the Dead Festival, a celebration of nothing less than life and death, taking place October 17 to November 2. This will be followed November 3 through 17 by the 12th Gotham Storytelling Festival.  A complete schedule and ticketing information can be found at https://www.frigid.nyc/. 

Tagged: Aaron Moore, B. Carty, Cathy Hammer, Conor D. Mullen, FRIGID, Gabriel Ethridge, Hamlet Isn't Dead, Madeline Parks, Natalie Deboer, Reid Watson, UNDER St. Marks