Category Archives: Play

The Exes

As The Exes opens, it is Christmas Eve day and the Killingworth household is preparing for the wedding of Richard’s over-indulged daughter, Victoria.  Richard’s best friend, Dick Wright, is helping to keep everything on track despite the barrage of business calls.  Richard made a fortune from the patent he holds on a genetically-engineered “forever” flower that has caused quite a stir among fearful florists.  There’s a protest planned and it is even suspected that these small-business owners were behind a fire that destroyed Richard’s original townhouse. 

The birth of Richard and Dick’s friendship was an unusual one.  Richard’s soon to be ex-wife, Mavis, was first married to Dick.  One year ago, she ran off to Denmark to be with her now-fiancé, Marcel.  The two men bonded when Dick saw a reflection of his own pain in Richard’s distress at her leaving.  Now the two are so close that they jokingly call each other #1 and #2.  Even Dick and Marvis’s son, Garrett, comfortably hangs out in the Killingworth home.  Just as everyone is about to depart for the ceremony, Mavis makes her customary chaotic entrance.  She’s returned from overseas to get her divorced papers signed.  She is also intent on witnessing the marriage of the young woman she helped raise.

If it wasn’t for the key role played by cellphones and iPads, The Exes could have been written ages ago.  Rather than exploring what divorce and remarriage is like for woman like Mavis, playwright Lenore Skomal leans into the throwback elements of her script.  She has followed her own advice and self-produced this run, assembling a production team that seemingly drew inspiration from a creaky drawing room comedy.  Craig Napoliello’s set is functional, but the elements are dated.  Magda S. Nyiri’s direction often has the actors awkwardly posed in a straight line.  And it’s hard to say what time period is represented by the jazzy musical phrases looped together by Nathan Repasz.  These are puzzling choices for a talented writer devoted to artistic empowerment.

'The Exes' by Lenore Skomal, Directed by Magda S. Nyiri, Theatre Row

David M Farrington, John Coleman Taylor, Galen Molk, Tim Hayes, Alison Preece, Karen Forte in The Exes; Photo by Emily Hewitt

The most disappointing fallout from these creative decisions is that 2019 Mavis comes across like a character from a 1940 movie.  Having been introduced to the audience by her exes as a serial cheater, Mavis doesn’t do much to redeem herself.  While she has brief tender moments with her son, Garrett, and confident, Prim, she mostly thrashes around.  It’s unfortunate that the character isn’t developed more sympathetically since that possibility is running right under the surface.  Despite only one of the Richards using the nickname Dick, they both obviously are.  #1 makes cutting remarks about everyone around him.  #2 always has business on his mind and a cellphone glued to his ear.  Neither could have made a suitable partner for the sociable Mavis, who was left searching for connection.  Having apparently learned little about what constitutes a healthy relationship, she chose to move on with a man who was dismissed from his job for behaving inappropriately with younger women.  Now she is leaving Garrett behind  AGAIN, this time to face his 6th year of college with only three stunningly selfish people to guide him.

While the most enduring relationship portrayed is between Richard and Dick, it is Garrett who stirs compassion from the audience.  Alone among the hyped up cast, Galen Molk’s performance is warm and natural.  His vivid, witty description of events which take place off stage — enhanced by designer Ross Graham lighting — is a bright spot.  John Coleman Taylor also remains dignified if a bit stereotypical as English “house manager”, Prim.  Oddly for a production powered by women, Karen Forte’s Mavis and Alison Preece’s Victoria border on the unpleasant with shallow interpretations coated in neediness.  The capable men are each given one note to play.  David M. Farrington has terrific timing, but Dick’s every line is delivered with equal snap.  Richard is driven, so Tim Hayes is continually put in drive mode.  And Kyle Porter’s badly dressed and overly-mannered Marcel is so quirky the character becomes an unfathomable punchline.  

The Exes has a fun premise and some great minds at work.  But like the marriages it portrays, it doesn’t fulfill its promises.  Runtime is about 2-hours with an intermission.  Tickets are available for $59.25 through Telecharge at https://www.telecharge.com/Off-Broadway/The-Exes/Overview.  It’s playing off-Broadway at Theatre Row (410 West 42nd Street near 9th Avenue) through October 5th.

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TornKid at Lady Fest

As the name would suggest, Lady Fest theater festival in New York shines a light on womanhood in all its wondrous forms.  In the supportive atmosphere of The Tank, female and female identifying artists are provided the opportunity to be heard by youthful spirits of all ages.  Currently on stage in the smaller of the two houses is Tornkid, a multimedia fable for the times, presented in partnership with Baltimore Asian Pasifika Arts Collective (BAPAC).  Written by Katelynn Kenney, the script vividly illustrates the emotions underlying the immigrant experience, using Southeast Asian and Pacific Indigenous creation stories as a springboard to explore the quest for belonging.

Struggling to fit in with both traditional Asian family life and the typical school experience of American children, Tornkid literally tears themselves in two.  Sadly, their other half runs off with the voice, pointing out that Tornkid hasn’t really made use of it.  Refusing to be doomed to a life of silence, Tornkid journeys through mystical lands, determined to be reunited with the parts of themselves that have been lost.

Use of the inclusive pronoun “they” to describe Tornkid is significant since exploring identity is essential to both the story and the storytelling technique.  Tornkid is pulled apart by two distinct ways of being as well as an environment that constantly shifts between comforting and strange.  The actors, too, morph identities as they move from role to role, often employing intriguing masks created by Tara Cariaso and Aaron Elson of Waxing Moon Masks.

The experience is similar to the ones frequently offered at The New Victory on a Saturday afternoon.  Typical of myths, the story is very episodic, though the through-line is strong.  A dragon-headed magical guide addresses the audience directly, explaining that we are the ancestors.  She elicits our help at critical junctures, encouraging us to participate by adding claps, slaps and clicks and other sound effects.  Metaphors are creatively made concrete by most of the characters.  Each interaction makes Tornkid stronger and brings the goal into clearer focus.

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Tree Spirit in a previous workshop of TornKid

Surasree Das lends tremendous warmth and stirs compassion as she pantomimes her way through Tornkid’s unusual journey.  Her most powerful encounters are with a Tree Spirit and a Sea Warrior, two fantastic puppets created by Jess Rassp and given voice by Elizabeth Ung who also provides unique hand-decorated costumes.  The narration supplied by the Magic Teller is sometimes stilted, but actress Kim Le sweetly and enthusiastically engages with the audience.  Marela Kay Minosa and Mika Nakano round out the cast, playing a half dozen roles between them.

Co-directors Cara Hinh and Donna Ibale don’t yet have the knack for arranging movement appropriately in 3/4 round, staging too much of the action for the center section.  But this is a minor distraction with so much creativity clearly in evidence.  The puppet movements are nicely choreographed and literally extend the actors performances. There are also wonderful props by Pauline Lamb which draw on childlike images.  Sounds not provided by the audience are designed by C. Swan-Streepy with the mystical atmosphere capped off by Miranda Poett’s lighting.

BAPAC’s inaugural production, this second iteration of Tornkid delivers an upbeat message in an inventive way.  This worthy work is being hosted at The Tank (312 W 36th Street) a nonprofit that strives to remove economic barriers for emerging artists.  Remaining performances of this workshop production are Saturday, August 10 at 3 PM and 7 PM and Sunday, August 11 at 3 PM. Lady Fest runs through Wednesday, August 28.  Tickets range from $0 – $25.  For a complete performance calendar and to purchase tickets in advance visit www.thetanknyc.org/ladyfest.

Dropping Gumballs on Luke Wilson

On a soundstage, a talented production team is preparing to shoot an AT&T commercial featuring beloved Luke Wilson.  The creative concept is to drop red gumballs around the star to symbolize all of Verizon’s dropped calls.  Despite a lack of time to test the hastily put-together rig, prop lead Rob is able to toss the small projectiles just shy of Luke’s shoulder and the first few takes go smoothly.  Then a case of nerves sets in and a few of the hard objects hit Luke squarely on the head.  The actor sees stars; the director —award-winning documentarian Errol Morris — sees excitement and orders the crew to deliberately aim for the performer on the next take.  

This is the set-up of the aptly named Dropping Gumballs on Luke Wilson, which is based on true events.  Though the Directors Guild of America takes set safety very seriously, sadly there are occasional incidents of a director demanding a dangerous shot, as happened in this case.  Rob Ackerman accurately has commercial Assistant Director, Alice, threaten to report Morris to the Guild.  The script also provides enough background to realistically make her vulnerable to manipulation.  It’s a creative stand-in for any project on which a concerned would-be whistleblower has instead been made complicit through intimidation.  If only the playwright had trusted his audience to get his very clear and impactful message.  Instead, after a lively and thought-provoking 55 minutes, he burdens the additional 20 with outright lectures on broader issues and political topics ranging from gender discrimination to Nazis.  It’s an unnecessary departure from the previous territory that mars an otherwise engaging production.

First time director, famed playwright Theresa Rebeck, does an imaginative job of bringing us deep inside the physical set of the commercial and the mind set of each participant.  The results are visually stimulating and often laugh-out-loud funny.  The assorted screens that are employed by Morris for playback at the shoot are also used to show us the crew’s previous experiences that have brought them to this critical moment.  (Yana Birkukova provides the ideal video design.)  The nearly all-white set designed by Christopher and Justin Swader shows off these projections to great effect.  Emphasis is achieved by Mary Ellen Stebbin’s well-placed lighting, which often shifts to a befitting green-screen green.  The look is completed by the essential craft service table.  Costumes designed by Tricia Barsamian will make any production pro feel right at home.  All-important clever props are provided by Addison Heeren. 

the cast of DROPPING GUMBALLS

The Cast of Dropping Gumballs on Luke Wilson; Photo by Carol Rosegg

As a former prop person, Rob Ackerman makes the prop man, also named Rob, his spokesperson.  George Hampe does a fabulous job of growing increasingly manic as character Rob struggles to remain the voice of reason and the closest thing we get to a hero.  With a get-on-with-it gruffness, Dean Nolen is well cast as his boss and seasoned rigger, Ken.  Reyna De Courcy is less successful at maintaining an appropriate emotional build in the role of their assistant, Jenny, becoming akin to a cartoon character with jerky motions and high-pitched yelps of displeasure.  With enough charm and swagger, Jonathan Sale could easily be Luke Wilson’s deliberately pudgy body double.  It’s less easy to know how well David Wohl impersonates Errol Morris.  The part is written in one obnoxious note, though the theater vet certainly manifests a typical ego-driven artist.  In the toughest role, Ann Harada swings rightly between assuredness and fear as Alice, but she struggles to differentiate the other small parts she takes on in memory and flashback.

Ackerman’s love of television production and those who strive to keep it creative and truthful shines through despite a dip in the ending.  It is easy to see why both Luke Wilson and Errol Morris have given the project their blessing.  With a little reworking of the last section, Dropping Gumballs on Luke Wilson has the makings of insightful modern satire.  Running time is 75 minutes with no intermission.  It plays through July 6, 2019, in the Mezzanine Theater at at A.R.T./ New York Theatre (502 W. 53rd Street). Tickets are $25 for union card holders, $30 general admission and $40 for reserved seating.  For purchasing and additional information, visit TheWorkingTheater.org or call the Box Office (Ovationtix) at 866.811.4111.

Square Go

Get ready to go toe to toe with two terrific actors in the fast moving and highly entertaining Square Go. (A “Square Go” is a Scottish term for an all-out fist fight.)  Max has made an unfortunate remark that received the wrong kind of attention from local bully-in-chief Danny Guthrie.  Now he’s been challenged to fight it out in the playground.  Max’s best friend, the affable and slightly dim Stevie, stands firmly at his friend’s back  But his support will be limited to the moral kind.  The audience is therefore invited to participate in Max’s preparation for an almost certain pummeling at Danny’s bigger and more experienced hands.  As we contribute our cheers and a hand or two, we learn the key turning points that led to this undesirable moment in Max’s short life. 

Several components put this slice-of-life tale in a class above most two-handers.  The writing by Kieran Hurley and Gary McNair is poignant, humorous, and well edited.  Both Daniel Portman (Poderick Payne on Game of Thrones) and Gavin Jon Wright (Black Watch with the National Theatre of Scotland) turn in wonderfully layered performances. Wearing boxing shorts and tank tops which fully display bodies that obviously did not just emerge from the New York Sports Club next door to the theater, they perfectly capture the awkwardness of their youthful characters.  

What stands out even more is the viewpoint, with the action moving seamlessly from a school, to various locations around small-town Scotland, to inside the characters’ heads, to inside the theater.  The entire creative process used to tell the story is imaginative and well executed.  The setting is a simple square imbedded on the floor.  The rest of the background is filled in with a soundscape and lighting.  The lights designed by Peter Small, props developed by Martha Mamo, and original soundtrack provided by members of Frightened Rabbit are integral to Wright’s remarkable portrayal of multiple characters.  Portman has the tougher job of bringing variation to the more straightforward role of the downtrodden Max.   

Daniel Portman and Gavin Jon Wright in SQUARE GO part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg

Daniel Portman and Gavin Jon Wright in SQUARE GO. Photo by Carol Rosegg

Director Finn Den Hertog, who won a Scotsman Fringe First Awards for this production, has staged the entire piece within the square with the audience on all four sides just like a wrestling arena.  The energy builds from the close proximity and the physical containment of the actors.  The players’ interactions with the audience  — which can often be awkward — are carefully crafted and skillfully managed.  There’s no room for bad moods or poor sportsmanship from the crowd.  You’ll be required to keep your feet out of their space and your head in their game.

Arriving at a time when toxic masculinity is being reevaluated by all genders, Square Go presents a universal story in a singular fashion.  Though the details of Max’s journey may be particular to him, the experience of trying to find one’s place in the world is one that everyone can understand.  Performances run through June 30 in Theater C at 59E59.  Tickets are $25 ($20 for members) and seating is general admission. Running time is 60 minutes, with no intermission.  To purchase or for more information, call the 59E59 Box Office at 646-892-7999 or visit www.59e59.org.

Original Sound

Danny — a spunky young Puerto Rican musician with a knack for creating earworms — uploads his diss track poking fun at pop phenom Ryan Reed.  Stumbling across the piece, the blocked Ms. Reed isn’t so hurt that she can’t seize the opportunity to steal Danny’s best song and recorded it for her new album.  Their heated decisions set in motion Original Sound, an engaging and emotional play with music by Adam Seidel. The events were inspired by his previous job as a Chicago-based hip-hop journalist.  In order to keep his work to a tight 95 minutes, Seidel can’t completely avoid the inclusion of music industry tropes.  Anyone who keeps up with that world will see echoes of recent headlines, from the cathartic 22-years-in-the-making Verve settlement to the unexpected collaboration of Lil Nas X with Billy Ray Cyrus to gain acceptance in a different genre.  Yet Seidel also skillfully mines even more interesting territory covering the potentially destructive role of power in the creative process.  What happens when your so-called self-expression is no longer your own?

OriginalSound

Jane Bruce and Sebastian Chacon in Original Sound; photo by Russ Rowland

The strong back beat of the plot is built atop the complex relationship that develops between Danny and Ryan.  Neither is completely in the wrong, which sets up a fascinating dynamic.  The supporting characters each heighten important story elements.  Danny’s sister Felicia attempts to be supportive.  He more easily receives encouragement from his friend Kari, a business school dropout who strives to keep him safe in an exploitative industry.  Ryan is backed by her well-intentioned manager Jake and a team of unseen studio producers and executives.  A sign of the script’s sophistication is that it is possible to experience both hope and sadness at the end of their shared journey.

Sebastian Chacon brings genuine warmth and exuberance to Danny.  (It is fitting to witness the young actor leave the theater with headphones on and a skateboard tucked under his arm.)   He is beautifully balanced by singer-songwriter and actress Jane Bruce’s Ryan, by turns stubborn, guarded, and freed by music.  Anthony Arkin plays Jake with credible matter-of-factness.  Countering is Lio Mehiel’s sensitive interpretation of Kari, though it seems a missed opportunity not to present the character as non-binary.  The production’s shortcoming is not providing Cynthia Bastidas and Wilson Jermaine Heredia enough to work with in their critical turns as Danny’s sister and father.

Director Elena Araoz generally keeps the energy high, all the better to shock the audience with quieter moments. The spirited scene is set by Justin Townsend, who cleverly echoes the look of LPs  further enhanced by lighting designer Kate McGee’s dance floor elements.  An array of imaginative t-shirts and power booties are provided by Sarita Fellows.  But it is the music that appropriately takes center stage in the production’s design. Both Chacon and Bruce perform the songs live.  The catchy hits are written by Daniel Ocanto, Ms. Bruce and Mr. Seidel.  An improvised solo was originally created by musical artist Armen Dolelian from diverse influences.  Additional sound design is provided by Nathan Leigh.

Like a tune recorded by multiple artists, each player in Original Sound goes through variations of their own central theme.  It makes for a stirring experience for lovers of emerging works.  Original Sound plays through June 8th in The Studio at the Cherry Lane Theatre in Greenwich Village.  Set 3/4 round in this small house, there are no bad seats.  Tickets are $55-$85 and are available by visiting CherryLaneTheatre.org, by calling 866-811-4111 or by visiting the Cherry Lane Theatre Box Office. 

Enter Laughing: The Musical

Sweet and frothy as an egg cream, Enter Laughing: The Musical  opened tonight as part of the York Theatre’s 50th anniversary season.  Loosely based on Carl Reiner’s semi-autobiographical novel as well as Joseph Stein’s play of the same name, it charts the initial baby steps to stardom of David Kolowitz.  Disinterested in his mother’s goal of getting him into pharmacy school, David jumps at the opportunity to fulfill his dream of becoming an actor by responding to an ad placed by the Marlowe Free Theatre.  While he doesn’t lack passion, his knowledge of theater is so scant that he doesn’t know the difference between dialogue and stage directions.  Despite this dearth of experience or apparent talent, the hormone driven lad attracts the attention of leading lady Angela and lands the role. The complications that evolve from his big break go beyond the challenge of learning his lines before opening night.

We are plunged into David’s world from the outset, with scenery by James Morgan built to resemble a typical backstage area.  Set pieces that suggest the Kolowitz’s kitchen, the Marlowe Theatre, the repair shop where David currently works and more are wheeled in by the supporting players to keep up the frenetic pace.  Clever costuming by Tyler M. Holland and wigs by Kenneth Griffin help embellish the atmosphere and provide additional comic moments.  The lighting by Ken Billington and Jason Kantrowitz and sound by Julian Evans regularize the more far-fetched moments.

Taking a stylistic queue from New York circa 1938, director Stuart Ross ratchets up the screwball elements.  The entire 2 1/2 hours are filled with high energy.  David’s active imagination often colors what we see.  The comedy is so big and broad you can practically hear the rimshots.  Fortunately the flexible cast handles the pratfalls and double takes with ease.  Those in smaller roles also fill out the musical numbers written by Stan Daniels and played by a trio (Phil Reno, Perry Cavari and Michael Kuennen) on stage left under Mr. Reno’s musical direction. Simple choreography which echoes that of MGM’s grand days is provided by Jennifer Paulson-Lee.  Every word is crisply pronounced, the better to appreciate the good humor.  A few of the highlights like The Man I Can Love and The Butler’s Song are included just for laughs rather than plot development.  For those unfamiliar with the early days of Hollywood, a glossary of the famous people incorporated in the lyrics is included in the program.

Pictured (left to right): Chris Dwan, Dana Costello. Photo Credit: Carol Rosegg

Pictured (left to right)/ Chris Dwan, Dana Costello. Photo Credit/ Carol Rosegg

Several of the actors sing with trilling tones, though there are an equal number who rhythmically speak the lyrics Rex Harrison style. In the former camp, Chris Dwan imbues young David with a warm voice, a rubbery face, and buckets of boyish charm.  He is particularly well supported by the women in David’s orbit: Allie Trimm who brings just enough feistiness to the role of Wanda his loyal girlfriend, Alison Fraser whose sly style takes Mother beyond the passive aggressive stereotype, Dana Costello who provides the alluring Miss B with Carole Lombard’s wit and knowing flirtiness, and Farah Alvin resembling the best of Madeline Kahn in her portrayal of the sexually charged Angela.  The men (Raji Ahsan, Ray DeMattis, Magnes Jarmo, Robert Picardo, and Joe Veale) are more two dimensional as if to bolster the concept that David is a leading man in the making.  Theatrical treasure David Schramm rounds out the cast as the way over the top Marlowe.

Though short on plot, this return engagement of Enter Laughing is long on heart, smiles, and quality song styling.  A lighthearted escape from these thornier times, the piece also incorporates a lovely message that each generation has something to teach the other.  It plays through June 9 at Saint Peter’s Church, 54th Street just east of Lexington Avenue.  Tickets are priced with accessibility in mind [$67.50 ((evenings), $72.50 (matinees), $25 (under 35 years of age), $20 (students and senior rush].  To purchase and for more information visit https://yorktheatre.org.

The Brothers Paranormal

Being unmoored feels as haunting as any creature to the characters in The Brothers Paranormal, opening tonight at Theatre Row.  Max left behind a fulfilling life in California and moved to the midwest to look after his mentally ill mother Tasanee and alcoholic brother Visarut.  Attempting to restore his financial stability, Max has partnered with Visarut in a ghost-hunting venture.  Delia and Felix have come to the same town after being forced out of their home in New Orleans by Hurricane Katrina.  They are all brought together when Delia hires the brothers to rid her apartment of a malicious spirit only she can see.  Though Max is a non-believer, he is a pragmatic businessman and more than happy to take Delia’s money for an easy night’s work.  Felix goes along with the plan hoping to prove his wife’s visions are real and not the onset of madness.

Pictured (left to right): Vin K ridakorn, Dawn L. Troupe. Photo credit: John Quincy Lee

Vin Kridakorn and Dawn L. Troupe. Photo credit/ John Quincy Lee

The timing of this world premiere production by Pan Asian Repertory is auspicious. Modern audiences have been primed to experience the blend of comedy, social commentary, and horror that are entwined throughout Prince Gomolvilas’s script.  The lifespan of a typical play makes it unlikely that the playwright was inspired by Jordan Peele’s groundbreaking Get Out, but the sensibility is similar if not as artfully executed.  There are chills, chuckles, and deep reflections on displacement, along with family-oriented conversation.  The second act begins to drag with too much exposition and the ending is a disappointing “specter ex machina.”  But the overall journey is an entertaining and surprising one.

Talented director Jeff Liu does his best to navigate the many moods and styles, which are in near-constant transition.  The gasp-inducing horror elements are achieved with well-crafted lighting design by Victor En Yu Tan and perfectly-timed sound by Ian Wehrle, along with a magical assist from special effects expert Steve Cuiffo.  It is the logic behind the hauntings that is flawed.  It is explained to us that ghosts follow their own rules, but horror purists will be particularly frustrated by the inconsistencies of the other-worldly occupants.  Gomolvilas fares much better in the comedy realm where his zingers are delivered with flair, most especially by Emily Kuroda as the sly and insightful Tasanne. 

Sheryl Liu’s sparse set allows us to focus most of our attention on the characters.  Gomolvilas has chosen to explore the intersection of African American and Thai American cultures, particularly as they relate to superstition and the afterlife. Common ground is found and differences acknowledged and respected.  There are also interesting distinctions made between the viewpoints of Max who was born in America and the rest of his family who immigrated from Thailand.  It is especially in the heartfelt moments that Gomolvilas’s writing skills shine.  The chemistry between Dawn L. Troupe’s warm Delia and Brain D. Coats as her charming husband feels genuine.  More astonishing is the connection formed between her and Vin Kridakorn’s seat-of-his-pants Max. The relationship that develops between client and hoaxer is fresh and ultimately brings about extraordinary feelings of hope.  Natsuko Hirano and Roy Vongtama round out this strong cast.

As the month in which we recognize both Asian Pacific American Heritage and Mental Health Awareness, May is the perfect time to bring the unusual and twisty The Brothers Paranormal to our consciousness. The play is currently at The Beckett Theatre at Theatre Row (410 West 42nd Street) for a limited engagement through Sunday, May 19, 2019.   Runtime is 2 hours plus an intermission.  Content is intense and may be inappropriate for children under 8. Ticket prices range from $62.50 – $102.25.  For more information and to purchase, visit https://www.telecharge.com/Off-Broadway/The-Brothers-Paranormal/Overview.