Category Archives: Live Stream

The Orchard – NYC and Live Stream

Long before Joni Mitchell decried the paving of paradise to put up a parking lot, Anton Chekhov’s emotionally paralyzed Ranevskaya family auctioned off their cherished cherry orchard to make way for summer homes. His last play, The Cherry Orchard, centers on Madame Lyubov who is hopelessly in debt after years of living in Paris.  She and her daughters have returned to their estate for one last party and it is only then that they reflect on the once-prized fruit trees that will be chopped down to make way for modernization.  Like many of Chekhov’s works, there is a sense that happier alternatives have simply slipped out of reach.  

In Arlekin’s (zero-G) imaginative retelling, The Orchard, the work is simultaneously performed live and streamed to a global audience.  Typically, live streams have been made available because there was no audience permitted at the theater or it was presented in a way meant to simulate as closely as possible the live experience.  This is the first theatrical piece I’ve seen that deliberately gives those watching from home a different experience from those seated at the venue. 

While it is simply wonderful to make this production available worldwide and Ukrainian director Igor Golyak has unique experience using virtual reality to enhance traditional theater, it seems unnecessary to have augmented this particular work with an interactive component. The video-game-like curtain-raiser features various rooms of the house containing Mikhail Baryshnikov as Chekhov reading some the author’s more personal words in the original Russian.  Much of the interaction during the play involves being able to select something other than the main camera, though the few times I switched to another unit, it wasn’t revealing so much as disorienting.  And it was impossible to avoid FOMO when just before the auction of the property — during which the audience makes non-binding bids with proceeds going to support the company — the home audience was addressed directly by matriarch Lyubov Ranevskaya while a completely different scene was taking place on stage.

Furthermore, the production is straight-up terrific and needs no embellishment.  Golyak, whose homeland is currently undergoing life changing destruction and loss, has harnessed those feelings of disconnection and grief and made additions to the work that are engaging and meaningful.  The elegant script was translated by Carol Rocamora, who preserves the poetry while tightening the storyline and punching up the more farcical elements.  On scenic designer  Anna Fedorova’s all-blue stage, blossoms litter the floor and even the nursery room teddy bear and hobby horse appear melancholy.  The backdrop envelops the players in dramatic projections by Alex Basco Koch, including lines of dialogue, stars and planets, and the faces of the enraptured audience. The onstage robotics by Tom Sepe lend an eery futuristic and fatalistic feel to the tale.  

Denisova, Hecht, Brett and Nelson in The Orchard; photo by Maria Baranova

The cast is led by the sublime Jessica Hecht, who gives Ranevskaya’s delicacy meaning and tenderness.  Baryshnikov appears again as Firs, the faithful older servant.  His interpretation of an aging, submissive body practically collapses in on itself and he never stops being fully present, even providing a warm interaction with a mechanical dog.  The clowning of Arlekin Players regular Darya Denisova as Charlotta  the soon-to-be-displaced governess, adds appropriately discordant levity.  While Nael Nacer’s booming voice is just perfect for sounding the alarm as Lopakhin, the man best positioned to win the orchard his ancestors tended to as slaves.  John McGinty has been cast as Trofimov, though it’s unclear whether making the perpetual student deaf is a comment on communication between characters or Golyak just appreciates McGinty’s talent.  Juliet Brett, Elise Kibler, Mark Nelson, and Ilia Volok round out the company.

As a fresh take on a classic, The Orchard blossoms under Golyak’s knowing hand.  The themes of class division, misplaced materialism, and cultural loss are sadly timely and touching.  A quick read of The Cherry Orchard will only deepen your understanding of events.  Live performances run through Sunday, July 3, and take place at the Baryshnikov Arts Center at 450 West 37th Street (between 9th and 10th Avenues) .  Showtimes are Tuesday – Thursday at 7PM, Friday – Saturday at 8PM, with matinees on Saturday and Sunday at 2PM.  Proof of vaccination is required for entry and face masks must be worn throughout the two hour runtime.  Prices for the intimate live show run from $39 to $125.  The virtual experience — which requires a plugged-in laptop or desktop — is $29.  There are bundles to purchase both live and streaming together.  For tickets and additional information, visit www.TheOrchardOffBroadway.com.  

Witness – Live Stream

Streaming multi-media production Witness arrives on our screens at a time when anti-semitism is on the rise in our country.  Incorporating material from the United States Holocaust Memorial Museum and employing live actors in a virtual space, the docudrama uses the journey of the MS St. Louis to explore the history of persecution of the Jews.  In May of 1939, the cruise ship filled with Jews escaping the Nazis was on its way to Havana.  According to museum records, of the 937 onboard, only 18 were granted visas.  The rest were turned away from both Cuba and the United States and sent back to Western Europe.  Conceived and directed by Igor Golyak, the work threads together the lives of those ill-fated passengers with stories of more recent Russian Jewish immigrants like Golyak himself as well as contemporary headline-making hate crimes.

Audience members are requested to arrive at the site ten minutes early dressed in period costume with drink in hand.  “Joining” the crowd on the ship is easy and a quick sound check ensures that you will get the full audio experience (or take a moment to reload the page.)  Dialogue is spoken in multiple languages and subtitled in English.

The first act uses as a framework the talent show that was an actual shipboard activity.  Against a beautifully rendered virtual environment created by Daniel Cormino, the production pulls us into the main room of the ship for a performance which blends vaudevillian entertainment with experiences of the real passengers.  Director Golyak allows the camera to wander as our eyes might.  Two women cleverly “figure skate” using their fingers in sand while recounting the Kristallnacht.  A man builds a house of cards while vividly describing the displacement of families.  After each one, the audience is asked to award one to four stars.  Throughout, the Emcee (Gene Ravvin) — seemingly the only character who knows he is in a green screen studio — uses slapstick humor to keep the energy flowing.  And Lady Liberty (Darya Denisova) selects the lottery numbers which summon the next participant to the stage.  It is an uneasy blend that is quite effective at times, particularly when the ghostly shipboard audience is in view. 

Gene Ravvin in Witness; Photo provided by The Arlekin Players

An audio-only second act crafted by Viktor Semenov is the most impactful, with members of the cast reading correspondence from the museum archive.  Audience members are encouraged to wear high quality headphones in order to experience the pull of the Binaural audio, designed to create a sense of 3D sound.  Studies have shown that people believe what they see over what they hear.  Deprived of visuals we have no option but to focus on the words of the people involved.

Staged primarily in the hallway of the ship, Act III takes place in the present.  The conversation is dominated by Leah (Lauren Elias) who is incensed about the growing calls for Jews to assimilate.  As someone who can’t be bothered to distinguish between a woman of Puerto Rican decent, a Somali immigrant, a first generation Palestinian American, and the first Black woman to represent Massachusetts in the House— the state in which all the characters reside — and who also discusses the current political backdrop while leaving out our historically significant Jewish Second Husband, she is a flawed spokesperson for her viewpoint.  A counterposition that the Oslo Accords were a lost opportunity is dispatched in a few sentences delivered by Joseph (Nathan Malin) without sufficient context to enlighten anyone who isn’t familiar with that 1993 event.  The most emotionally charged outlook is expressed by the Emcee who is trying to reconcile the view he has of himself as a true American with the ways in which he and his family are perceived by others.

An artful entry into the developing world of online theater, Witness hints at the future of the form.  It has important information to share, though the jarring shifts in tone of Nana Grinstein’s script result in a lack of cohesion.  It’s technically ambitious and unsurprisingly I encountered video glitches and broken links.  Those did not mar a generally involving experience.  What is truly disappointing is to be invited to join a conversation and find instead that one is attending a lecture, even if it is a well researched and reasoned one.  

Presented by Zero Gravity (zero-G) Virtual Theater Lab and Boston’s Arlekin Players Theatre, performances are scheduled through next weekend, January 21-23. Though played out in real time, the web-based show can be accessed from anywhere with a good internet connection.  Tickets are $25.  Running time is approximately 90 minutes with an additional 30 minute talk-back.  Visit https://www.zerogravity.art for more details.

Starting Here, Starting Now – SF Playhouse and On Demand

Closing out the San Francisco Playhouse’s 2020-2021 season is Starting Here, Starting Now, comprised of 24 songs with lyrics by Richard Maltby Jr. and music by David Shire.  The lively and upbeat musical review was originally created to save the Manhattan Theater Club’s then-new nightclub space.  The songs are taken from shows that either never got produced or closed prematurely, so they have that familiar-yet-not feel.  Maltby directed the original production while Shire shored up the work with newly created connective tissue.  Performed in this instance by a cast of four (one more than the original production) the show is an often humorous exploration of relationships of various dimensions, some made modern with a gender-bending twist.  Each piece is sung in character — though those change throughout — so they require solid actors to make them work.  Equally important to their success is the jazzy trio, placed behind them right on the stage.

Directed by Susi Damilano with choreography by Nicole Helfer, this incarnation moves breezily along for 90 minutes not including intermission.  Though the cast members are all seasoned performers, it is Keith Pinto who demonstrates the most strength from his perfect articulation of rapid lyrics to his physical antics and sincere engagement with the audience.  He elicits laughs in We Can Talk to Each Other and knowing nods in I Don’t Remember Christmas. Wilson Jermaine Heredia, who won the Tony Award for his turn as Angel in Rent, provides a gentler and more touching tone in solos including A Girl Should Know.  Rinabeth Apostol adds bad ass energy in I’m Going to Make You Beautiful and several duets.  Melissa Wolfklain rounds out the ensemble with quick wit, though she sometimes missed a note. (She sings my favorite in the line-up, Crossword Puzzle.) 

Starting Here Starting Now Cast sings “I Don’t Believe It”; Photo by Jessica Palopoli

Costume designer Rachael Heiman has wisely outfitted the cast elegantly in pure white, the better to project whatever is needed as they move swiftly from character to character.  The set designed by Heather Kenyon has a touch of nightclub flair, especially as lit by Kurt Landisman in an array of rainbow shades.  The musical trio, under the musical direction of David Dobrusky on piano with Amanda Wu on bass and Russ Gold handling percussion, is top notch and well suited to sharing the spotlight.

Like aural chicken soup for your tired soul, Starting Here, Starting Now goes down easy and leaves a warm feeling behind.  There is no twisted plot to follow or deep roles to keep straight, just pleasing harmonies, light movement, and plenty of charm.  It is playing at the San Francisco Playhouse at 450 Post Street in San Francisco with strict COVID-19 protocols in place ( https://www.sfplayhouse.org/sfph/covid-safety/. )  It is also available to stream online, which is how I was able to enjoy it all the way in New York City.  Tickets are available for either format at sfplayhouse.org for performances though October 2.  In-person tickets are $30-$100; with access to the On Demand video starting at $15.

The Song of the Summer – SF Playhouse and On Demand

Robbie (Jeremy Kahn) is colliding with fame rather than experiencing a gentle brush with it.  Similar to Robin Thicke and his “Blurred Lines,” Robbie’s catchy “Bad Decision” (written in our world by Max Vernon and Helen Park) is a hit that is being met with charges of plagiarism and backlash for what some perceive as “rapey” lyrics.  Unlike Thicke, who brashly defended himself (and was ultimately fined millions of dollars and served with divorce papers), Robbie internalizes every boo from the audience.  In deep need of a mental break, he has ditched his upbeat manager, Joe (Reggie D. White), and taken a multi-motivated cab ride to his hometown of Pottsville.  His return engagement begins with his devoted music teacher, Mrs. C. (Anne Darragh), who shares headlines from the nearly 12 years since he moved to the west coast.  He is her success story and she serves as a surprisingly insightful mother figure.  She also has an adopted daughter, Tina (Monica Ho), who was once Robbie’s best friend with ambitious dreams of her own.  But Joe has visions of sold-out tours and five album deals and won’t leave his star act alone with his memories for long.

Lauren Yee’s The Song of the Summer —a romantic comedy with music — is certainly lighter than her breakthrough Cambodian Rock Band and might better fit this moment when audience members are trepidatiously returning to theaters.  Robbie and Tina have the lively chemistry of many odd couples. Robbie’s meandering decision-making is sheathed in luck while Tina’s more directed path has taken many unplanned hairpin turns.  Kahn in particular is a believably awkward and loving teen in flashbacks.  But though the playwright reveals the roots of Robbie’s self criticism and esteem issues, she only gives us the briefest whiff of his potential to climb out of the pit and blossom.  It’s a frustratingly thin resolution to Robbie’s genuine problems and our mostly enjoyable 90 minutes with him.

Mrs. C. (Anne Darragh*) and Robbie (Jeremy Kahn*) © Jessica Palopoli

Director Bill English employs his usual skill in developing all of the relationships.  Quieter connections are never overshadowed with comedic business.  His scenic design is equally artful in bringing small-town warmth and eccentricity to the visuals.  Mrs. C’s worn, skirted furniture fits her as well as her housecoat by costume designer Stephanie Dittbern.  And one can practically smell the beer and cigarettes in the tacky karaoke bar.  Projections by Teddy Hulsker slowly snap into place, filling out the setting.  The exception is a distracting and seemingly unnecessary hobo bag that constrains Tina’s movement in the critical final scenes.  

San Francisco Playhouse is thoughtfully offering this work On Demand as well as a live performance.  However, after serving up several beautifully filmed productions, this is delivered as a back-of-the-house live stream.  Whatever benefit is gained from the sense of immediacy is greatly offset by jerky camera work and flawed audio that loses many of Ms. Ho’s more intimate lines.   

The Song of the Summer is a good natured if slight diversion.  In-person performances at 450 Post Street in San Francisco have reduced audience capacity and safety protocols in place. The on-demand video stream will be available throughout the run which ends on August 14, 2021.  Tickets for either version begin at $15 and can be purchased at https://www.sfplayhouse.org/sfph/2020-2021-season/the-song-of-summer/.

San Francisco Playhouse Zoomlets: Deep dives into short works

Like many, I have been reflective on this pandemic anniversary. But I actually lost access to a favorite recurring theatrical event years ago when I moved to New York.  Monday night readings at the San Francisco Playhouse provided an opportunity to mingle with their welcoming creative team, the cream of Bay Area talent, and a passionate audience.  Some nights you got something like Lauren Gunderson’s historical drama Bauer, which went on to have full productions on both coasts.  On other occasions it was more like Remaking Pussycat, a loopy psychodrama by William Bivins that seems to have lived on only in my memory.  But these evenings always left me feeling deeply connected to a magical undertaking.  Plus there was an array of charcuterie and lots of wine.

SF Playhouse has worked hard to capture what was best about those readings with its Zoomlets: deep dives into the equivalent of first rehearsals of either a short play or a scene from a longer work.  Hosted by the company’s enthusiastic Artistic Director Bill English and attended by 300 unseen audience members, these online events are director-driven.  Ten minute cold readings are bookended by open conversation and informative exploration of the creative process.  I sampled three entries that represent the range of the selections by English and Producing Director Susi Damilano for their current library of 20 offerings.  I had to supply my own salumi and Malbec, but I could conjure up the sense memories of sitting in the darkened house at the Kensington Park Hotel.

There are 20 Zoomlets currently available to stream in the San Francisco Playhouse Library

Lee Cataluna’s Funeral Attire directed by Shaun Taylor-Corbett is the third in the Playhouse’s series by Indigenous playwrights.  Kalani Queypo and Román Zaragoza play rivaling half brothers who are assigned an unusual bonding ritual in preparation for their father’s memorial service. Darrell Dennis rounds out the cast as the funeral director trying to keep the atmosphere from getting too charged. Cataluna was responding to a prompt to write about a piece of Native attire and included inspiration from an altercation she had at her own mother’s funeral.  All you need to know to appreciate her unique cultural lens is present in the naturalistic dialogue, which you’ll experience a second time when the lead actors switch roles.  The team had previously worked together at Native Voices and the snappy ten minute comedy benefits from their comfort level with each other as well as everyone’s impressive timing.   

Oedipus Rex by Sophocles is two masterclasses stuffed into one rich hour.  The same scene is taken from two versions of the play: a poetic translation by Cornell University based classicist Frederick Ahl and a more modern dramatization by mistress of political theater Timberlake Wertenbaker.  The exuberant Carey Perloff provides critical background into the historical setting and the story you may only know from college lit class or Freudian psychology.  She then gives a textbook-worthy lesson in direction by prodding and guiding the excellent John Thompson and Steven Jones as they explore the characters of Oedipus and Tiresias in a key exchange from the beginning of this classic work.  Thompson shows particular restraint, balancing the King’s frustration with vulnerability.  Jones has the tougher job of creating a backstory for an aged soothsayer who has lived as both man and woman.  This is a must-watch for anyone who has avoided the Greeks out of fear that these pieces are no longer relevant.

You won’t want to see yourself in Aaron Loeb’s A Sure Cure Lure Story, but thanks to his honest writing you almost certainly will.  The friendships between A, a black woman (Cathleen Riddley), Sure, a white woman (Stacy Ross), Cure, a black man (Aldo Billingslea), and Lure, a white man  (James Carpenter) grow brittle as a simple request for empathy disintegrates into a cycle of appropriation, impatience, and entrenchment.  The first read is fascinating; the second is chilling.  Jon Tracy does a dazzling job in limited time, using vivid imagery to help his cast lean into their discomfort and adjust their timing and pacing.  Displaying extraordinary listening skills, the uniformly excellent actors override the limitations of Zoom, increase the sense of urgency and bring out the best in Loeb’s searing dialogue.  The pre and post discussions among the team members are funny and convivial.  I really wanted to go out with them for a beer, a beverage that plays a memorable supporting role.

A treasure trove for theater lovers, Zoomlets can be streamed free of charge from the San Francisco Playhouse site (https://www.sfplayhouse.org/sfph/) or on their YouTube channel (https://www.youtube.com/user/SFPlayhouse).  All the actors have been paid and donations are encouraged to cover this valuable investment in their talent (https://www.sfplayhouse.org/sfph/empathy-gym-memberships/).

Delejos (from afar) – Live Stream

“Blessing” has its origins in the words for “blood” and “bend”.  Never have the connections among these three been more obvious than in Delejos (from afar), a solo performance currentlylive-streaming on Zoom.  Storyteller/comedian/musician Julie Piñero uses her many artistic talents to share with us her experiences of love and loss during her relationship with VR video game designer Jose Zambrano.  

Zambrano — whose family had immigrated from Venezuela in search of a more stable life — died at the age of 26 after becoming a victim of a random act of violence (https://www.nydailynews.com/new-york/nyc-crime/ny-game-developer-dies-after-brooklyn-attack-20191122-pjkampeqabczphrdhnngmy2vtq-story.html).  So completely does Piñero describe his energy and creative spirit that he is the more present of the two.  Through the shared screen of producer Caitlin Stone, who acts as a stage manager, we are treated to Zambrano’s illustrations, photos and text messages which bolster Piñero’s recounting of their adventures: his term for their dates.

Julie Piñero in Delejos (from afar)

While most of the focus is on her romance, we are also given enough of Piñero’s backstory to appreciate how that relationship opened her to new possibilities.  There are adjunct stories which touch on the feelings of distance produced by language and cultural gaps that are core to the couple’s experience as Latinx.  At several intervals you will be asked to put on your “VR headset” which is simply closing your eyes to better “see” the scene as painted by Piñero. To get the most from this Zoom-based live-stream, it is recommended that you use speaker view in full screen mode and pop in your headphones.

At the beginning of her piece, Piñero is addressing Zambrano in his medically induced coma before shifting to acknowledge us.  She often accompanies herself on the guitar and sometimes employs flashcards to help we monolinguals put her select Spanish vocabulary into full context.  The background of the frame is dominated by Zambrano’s drum set, the significance of which is revealed in the final chapter.  Her changes of scene are accomplished by simply moving to a different chair or switching on another light.  For all her talk of the power of flow, it is unfortunate that Piñero breaks the spell she has cast by taking a five minute intermission.  It’s a jarring disconnection that could be avoided by working with a compassionate and seasoned editor to trim the runtime by helping her sort through which elements truly serve the story.    

Delejos (from afar) is such a heartfelt ode to an extraordinary person that you too will feel his loss but also benefit from exposure to his ethos.  This immersive work is in a limited weekly run until May 1.  7PM performances are currently schedule for April 1, 11, 17 and 22. The show is free of charge but tickets are limited.  Reservations can be made at: https://www.eventbrite.com/e/delejos-from-afar-tickets-131417508305 with donations accepted through Venmo.

Dog Act – live stream and YouTube recording

Living through a pandemic has inspired multiple productions about post-apocalyptic terrors, but not many are as satisfying or oddly hopeful as Liz Duffy Adams’ Dog Act.  Blood-thirsty Scavengers may wander what’s left of the United States.  But here there are also bands of traveling performers, known as Vaudevillians, who are a protected community.  This tribe includes Zetta and Dog who are making their way on foot to China, pulling a cheery cart full of costumes and hoping to reach a new audience with their songs and stories.  Their journey is derailed when they encounter a fellow artiste, Vera, and her traveling companion JoJo, a professional liar/storyteller with a violent streak.  

The talented cast performs via Zoom in front of illustrator Laura Bonacci’s artfully sculpted dystopian landscape.  Below them appears the entrancing gaze of Weronika Helena Wozniak’s narrator.  The effect binds the actors to the space better than most online productions and attracts attention from even the most Zoom-weary of audience members.  William Ketter is a stand-out as the analytical Dog, drawing on his previous experience in Animal Farm to skillfully blend the ticks and traits of canine and man. Brandon Walker — who also conceived the menacing sound design — slyly dominates the stage area as the wily Vera.  Hailey Vest’s JoJo seems highly influenced by Daryl Hannah’s Bladerunner replicant, with anger bubbling at the surface and faint sweeter memories running beneath.  Robin Friend and Jon L. Peacock are suitably tough and rough edged as Scavengers Bud and Coke. Functioning as a metronome keeping the actors in time with each other is director Erin Cronican taking on the role of Zetta. 

Erin Cronican, Brandon Walker, William Ketter, and Hailey Vest in Dog Act

Adams’ plot unwinds leisurely, as she carefully fleshes out the necessary backstories.  Disquieting seasonal changes, earth tremors, and squirrel fish (“Squish”) are signposts along the bleak route.  Similar to Anne Washburn’s Mr. Burns, stories and songs have undergone an eery transformation as they’ve been passed along, with flecks of everything from Shakespeare to Abbott and Costello jumbled together.  As an added challenge, each character speaks a slightly different language reflective of their past and society’s evolution.  Entertaining Zetta uses Southern slang and French, scholarly Vera often incorporates definitions, and the Scavengers sling curses more swiftly than their knife blades.  

Ultimately Dog Act is fittingly an exploration of loyalty and the bonds that can be formed by circumstance.  If you’ve watched your circle of friends evolve during lockdown, this progression will feel familiar whether or not you also have a faithful four legged companion in your life.  A live stream will be performed on Wednesday, February 3, at 7:00PM ET.  A YouTube recording is also available until 11:59 PM that evening.  Running time is 2 hours plus a 10-minute Intermission, and a short talkback with the cast and creative team follows each reading.  A conversation with Liz Duffy Adams is scheduled for 7:00 PM ET Thursday.  Tickets can be purchased through Ovation at https://web.ovationtix.com/trs/cal/34676 with profits supporting the food bank at St. Clements Church in New York City.  To learn more about The Seeing Place, visit https://www.seeingplacetheater.com.

Journey Around My Bedroom – Live Stream and On Demand

If your little one is feeling cooped up this holiday, I encourage you to take them for a Zoom visit with Xavi.  She’s a creative young spirit and the central character of Journey Around My Bedroom, a puppet show presented by New Ohio Theatre for Young Minds.  Like many children who have been isolated by the pandemic, Xavi is bouncing off the walls with boredom.  Instead of being stuck at home, she wants to use her homemade wings and fly to the moon.  With encouragement from her mother and an explorer who pays a visit all the way from 18th century France, Xavi learns to use her imagination to expand her space and take a trip within the safety of home.  

The enchanting production is specifically designed to work over Zoom and can bring family members from different locations together for a shared experience.  At intervals, audience members are given the opportunity to turn on their cameras and microphones and participate in Xavi’s travels.  Willing volunteers help her find the right tools in her toy chest and sing a song of encouragement to help her overcome her fears.  Post-show, they can ask the performers questions and take a look behind the scenes.  The at-home packet in the show program includes a printable template to make a self-styled puppet and map in order for kids to continue the story in their own way.

A scene from Journey Around My Bedroom

Dianne Nora developed the plot line from the writings of Xavier de Maistre, produced when he was under house arrest. From the seeds of his unusual books, Nora has grown a charming story that easily incorporates lessons about bravery and appreciation and contains just enough maturity to keep supervising adults engaged.  De Maistre literally drops into Xavi’s life when his balloon makes an unexpected landing in her bedroom, connecting the two adventurers.

The up-cycled cardboard puppets, meticulously designed by Myra Reavis with Ana M. Aburto, are similar to those used in Victorian toy theatre.  Held together with brads so that they bend at the joints, they are assisted in their movement by outside hands that surprisingly never distract.   Even Xavi’s dog Joseph is given distinct personality.  Close-ups are achieved with larger cutouts of specific body parts and props.  Miniature set pieces are organized on three separate stages that visually lead from one to the other.  The distanced cast members appear to interact with clever cutting between cameras as directed by Jaclyn Biskup.  Original songs and music by Hyeyoung Kim add to the joyful atmosphere.

Spoken word artist Starr Kirkland is our welcoming guide, appearing both as herself and as M. de Maistre.  Giving voice to Xavi is Ashley Kristeen Vega whose upbeat warmth inspired one little girl in my audience to practically bounce into the performance.  Rounding out the team is multi-hyphenate Laura Kay who subdues her comic chops and grounds the storytelling as the narrator and Xavi’s mother.

This imaginative production of Journey Around My Bedroom — fitting for this peculiar year — runs an attention-holding 35 minutes.  Best viewed on a laptop or desktop, it’s being offered as a live stream on weekends thru January 11.  This format will best suit outgoing children who will enjoy the interaction, as well as parents with flexible schedules.  After the conclusion of the initial run, a prerecorded version of the show will be available on demand until February 11.  All tickets are Pay-What-You-Will (suggested price is $25 for up to two viewers) and can be purchased through Ovationtix: https://web.ovationtix.com/trs/pr/1033538 for live performances and https://web.ovationtix.com/trs/store/34708/alldonations/35894/dept/1499 for on demand.