Tag Archives: Mezzanine Theatre

EPIC’s Seussical the Musical

Seussical the Musical was not exactly a hit with the critics when it ran on Broadway about 25 years ago.  Nonetheless, the familiarity of the characters and its themes, including the consequences of cronyism and the importance of staying true to yourself, resonated with audiences.  It continues to be performed regionally with its “junior” version popular in schools throughout the country.  These messages also make it a fitting selection for EPIC’s diverse troupe.  The cast’s palpable joy in performing a work that embraces such a delightful and distinctive population makes for an easy-to-love experience for the whole family.

Horton the Elephant (Gianluca Cirafici) surrounded by the Wickersham Brothers

For those unfamiliar with the script, it is adapted from several children’s books written and illustrated by Theodor Geisel aka Dr. Seuss.  Music is by Stephen Flaherty with lyrics by Lynn Ahrens.  Two of the plots feature a compassionate elephant portrayed by an endearing Gianluca Cirafici sporting soft floppy ears.  The third story line moves the focus to his love-struck neighbor, Gertrude McFuzz, depicted with pizzazz and warmth by Natalie Kaiser, accompanying herself on kazoo.  To attract Horton’s attention, the self-conscious bird grows an impressive tail with the help of Dr Dake (Ethan Jones).  Other Seuss inventions that make appearances large and small are the famous trickster The Cat in the Hat (Shoshanna Gleich), a bluesy Sour Kangaroo (Emily DeMaio) and her Baby (Anjel Bell), a judicious Yertle the Turtle (Prince Hurst), and the Wickersham Brothers (Miles Butler, Ethan Homan, Nick Moscato, Sven W) who never get tired of literally monkeying around.

Gertrude McFuzz (Natalie Kaiser, center) growing a tail with the help of Dr Dake (Ethan Jones) and encouragement from The Cat in the Hat (Shoshanna Gleich).

The opening is primarily based on Horton Hears a Who. Finding an entire populated planet on a clover, Horton appoints himself protector aided by the Smallest Who of All, Jojo embodied in the tiny but mighty Christine Newberry.  It is she who calls forth a universe of Seussian creations with her unbridled imagination.  Standout Matt Tierney has a wonderful time soliciting both laughs and donations from the audience as her father the Mayor.  Sandy Gladstone Karpe is Mrs. Mayor rendered with overflowing glass of chardonnay in hand.

Jojo (Christine Newberry) with her disapproving parents, Mrs. Mayor (Sandy Gladstone Karpe) and Mr. Mayor (Matt Tierney)

As if the Whos of Whoville and their speck of dust world (Bre Baron, Sami Binder, Miles Butler, Tess Carvelli, Shafer Gootkind, Prince Hurst, Ethan Jones, Genesis Solivan) weren’t responsibility enough, Horton then falls for the manipulations of Mayzie Labird, taken on with sass a-plenty by Kayla Robinson, who tricks him into sitting on her egg.  As is appropriate, all the birds, including Kaiser and Robinson plus the powerhouse “Bad Girls” trio of Alice Frannsen, Rachel Paine, and Elisa Weiss, bring vocal purity to all of their songs. 

Mayzie Labird (Kayla Robinson, second from the left) with the Bad Girls: Alice Frannsen, Rachel Paine, and Elisa Weiss

Scenic designer Christian Flemming has done an admirable job capturing Seuss’s drawing style in three dimensions encircled by an “Oh, the Places You’ll Go” rainbow sidewalk.  Likewise Izzy Kitch’s whimsical costumes and elaborate headgear.  Props by Dana Weintraub include miniature everyday items for the Whos and of course a Red Fish and a Blue Fish.  Against this background, Artistic Director Aubrie Therrien and her Co-Director Meggan Dodd have added their usual high-energy interaction.  Choreographer Travis Burbee provides several effervescent dance numbers. 

The Cast of EPIC Players’ Seussical the Musical

Since 2016, EPIC Players (Empower, Perform, Include, Create) has been dedicated to creating professional performing arts opportunities and a supportive social environment for Neurodivergent and Disabled artists.  With its wonderful range of colorful characters, Seussical the Musical is a perfect match for their talents and mission.  As a Mother’s Day “gift,” on Sunday May 11th their performance will be relaxed with ASL interpretation.  There couldn’t be a better time to deliver the message that “a person’s a person’s no matter how small.”  So if you could use a reminder of How Lucky You Are, head to ART/NY The Mezzanine Theatre, 502 W 53rd St. now through May 18.  Tickets are $35-$65 and can be purchased online at https://epicplayers.ticketspice.com/epic-players-presents-seussical.  

Photos by Zui Gomez

EPIC Players’ Spring Awakening

For their current musical production, EPIC  — an acronym for Empower, Perform, Include and Create — has chosen Spring Awakening.  Boasting memorable harmonies by Duncan Sheik and scathing lyrics by Steven Sater, it was a Tony winner for the original Broadway production and nominated again for its revival.  It famously gave rise to the careers of Jonathan Groff and Lea Michele.  But despite its starry origins, it is best remembered for the bluntness with which it explores abuse, neglect, and desperation. The seemingly insurmountable challenges of adolescence are what resonated particularly strongly with the neurodivergent cast, whose community is often desexualized, infantilized, and sometimes even mistreated.  (Cast members are all over the age of 16 and on the spectrum of autism.) 

Based on a 19th century work by German playwright Frank Wedekind that was subtitled A Children’s Tragedy, there are unfortunate ripples in today’s world in which healthcare for women and protections for the queer community are being restricted.  The Romeo and Juliet of sorts are Melchior (William Ketter) and Wendla (Sydney Kurland), his former childhood friend.  Her deeply repressed childhood has left her ill-equipped to take care of herself and longing to feel absolutely anything.  In a classroom where there is no room for critical thinking, he has read so much unsanctioned material that he has figured out the mysterious world of sex.  Their collision course is set.

Sydney Kurland and William Ketter

More lost to each other are Mina Cuesta’s Ilse and Reuben Baron’s Moritz.  Both have been abandoned by family, but she has found freedom and shelter within an artistic community, while he is utterly adrift.  Arguably the most charismatic pair are Hanschen played by deaf actor Samuel Langshteyn and his voice emotively interpreted by Chloe Rose Solomon.  Their literal intertwining provides many of the most bewitching moments.  All are backed by a chorus exemplifying range and expressiveness. 

Chloe Rose Solomon and Samuel Langshteyn

EPIC has always excelled in their musicality and this production is no exception.  The orchestra under musical director Blake Bauer is lyrical and clear.  Cast member Laisha Gonzalez delivers Martha’s solo in “The Dark I Know Well” with an Amy Winehouse soulfulness.  Cuesta provides Ilse with the voice of an angel complete with a wing-like shawl (costumes by Nicole Zausmer) that she bestows on a thoroughly dispirited Moritz in “Blue Wind”. And in an Act II showstopper, “Totally Fucked”, Ketter grabs a hand-mic to transform into full-on rock idol.

Mina Cuesta and Reuben Baron

Director Travis Burbee has placed his cast down the middle of the black box space so the attendees provide support from both sides.  The layout constricts the range of motion possible by the large troop of actors, but it boost the level of intimacy with the audience. Burbee also handles the violence in a way that is visceral without being unnecessarily graphic. (The team worked with a Mental Health Counselor, an Access Coordinator, and an Intimacy and Fight Director to support the cast throughout the development process.)  The set by designer Matthew Imhoff is centered around a long plot of earth, which at times symbolically nourishes the affection-starved teens.  Soft banks of lights by Cameron Filepas rise like plantings on either end.  

Deeply meaningful to a generation, Spring Awakening gives the EPIC cast a darker voice.  A content warning is announced before the lights dim.  Noise cancelation headphones are available and audience members are invited to decompress in the lobby if needed. Running time is 2 hours and 10 minutes.  Performances are Wednesday through Sunday until May 19 at ART/ NY’s The Mezzanine Theatre, 502 West 53rd Street, 2nd floor.  General admission Tickets start at $35. $20 Video streaming tickets will be available during the second week of shows. All tickets can be purchased online at https://epicplayers.ticketspice.com/epic-players-presents-spring-awakening-.

EPIC Players’ Spring Awakening

CAST:
Wendla: Sydney Kurland 
Martha: Laisha Gonzalez 
Thea: Rachel Barcellona 
Anna: Katherine Tepan 
Ilse: Mina Cuesta
Melchior: Will Ketter
Moritz: Reuben Baron
Hanschen: Samuel Langshteyn
Ernst: Josh Cartagena
Georg: Rafiq Tate
Otto: Shafer Gootkind
Adult Women 1:  Shoshanna Gleich
Adult Women 2: Samantha Elisofon
Adult Man 1: Gerard Riley
Adult Man 2: Max Tunney
Ensemble: Henry Houghton
Ensemble: Emy Ramos
Voice of Hanschen: Chloe Rose Solomon 

CREATIVE TEAM AND CREW:

Director: Travis Burbee
Assistant Director:  Gabe Girson 
Music Director: Blake Brauer
Choreographer: Miles Butler
Stage Manager: Sydnee Davis
Production Manager: William Morris
Assistant Stage Manager: Carol Hoverman
Assistant Stage Manager: Cassidy Kaye
Director of Artistic Sign Language: Kailyn Aaron-Lozano
Intimacy and Fight Director: Hannah “Rock” Roccisano
Intimacy and Fight Assistant: Scarlet Yousif
Scenic Designer: Matthew Imhoff
Sound Designer: Sean Ramos
Costume Designer: Nicole Zausmer
Props Designer: Madisen Frazier
Light Designer: Cameron Filepas 

Executive Artistic Director: Aubrie Therrien
Front of House:  Talia Eapen
Access Coordinator: Jamie Rose Hays
Mental Health Counselor: Taupa Fogo-Toussaint

Production Photos: Zui Gomez

Romeo & Bernadette: A Musical Tale of Verona and Brooklyn

A much-needed good time can be had at Romeo & Bernadette, a lighthearted musical spin on Shakespeare’s tragic love story.  At opening, a Brooklynite is attempting to get his date back in the mood for love after a performance of Romeo and Juliet leaves her teary eyed.  He spins a tale of Romeo’s post-curtain exploits, weaving himself into the plot as Romeo’s newfound best friend, Dino Del Canto.  In this new and evolving chapter, the young lover is propelled out of place and time to 1960s Brooklyn in search of Bernadette, a woman with whom he crossed paths in Verona.  Bearing an uncanny resemblance to his deceased beloved, she stole his heart during their brief encounter.  Upon arrival on Bernadette’s shores, Romeo learns that she is the daughter of famed mob boss Sal Penza.  Now he once again finds himself torn between two warring families, this time with Dino at his side for guidance.

Nikita Burshteyn and Michael Notardonato Photo credit: Russ Rowland

Nikita Burshteyn (Romeo) and Michael Notardonato (Dino) in Romeo & Bernadette. Photo credit: Russ Rowland

With a book and lyrics by Mark Saltzman, the piece is filled with the good natured sweetness you’d expect from someone who began his New York career with the Muppets.  The script blends iambic pentameter, modern colloquialisms, and humor as broad as Interstate 278.  The music, adapted from classic Italian melodies and wonderfully orchestrated by Steve Orich, is tuneful and uplifting.  Story and song are delivered smoothly by the adept cast.  Making his Off-Broadway debut as Romeo, Nikita Burshteyn hits both literal and figurative high notes.  Recent college graduate Anna Kostakis manages to soar even while bringing a slightly nasal whine to Bernadette’s solos.  And Michael Notardonato, also making his Off-Broadway debut, gives us plenty to wink and nod at as Dino and our narrator.  Also doing double duty is newcomer Ari Raskin as Bernadette’s edgy BFF Donna and the Brooklyn Girl on a date observing the action.  The more seasoned veterans in the company    Carlos Lopez, Michael Marotta, Judy McLane, Troy Valjean Rucker, Zach Schanne, and Viet Vo    are strong in their supporting roles.  The story sags at the beginning of Act 2 with too many side bits allowing some of the good mood felt at intermission to dissipate.  But just like its plucky heroine, the production pulls itself together to deliver a satisfying finish.

Currently running in the black box Mezzanine Theatre at A.R.T., the work is given plenty of room to breathe.  The direction and dance moves provided by Justin Ross Cohen are energetic and appropriately playful.  Walt Spangler’s striking all white set has several purposeful sections including a small second story that serves as additional rooms and (naturally) a balcony.  Costumes designed by Fabio Toblini and Joseph Shrope capture the spirited mood of the 1960s and give key scenes their own color coding.   Fabulous hairstyles top off each look.

Romeo & Bernadette: A Musical Tale of Verona and Brooklyn delivers on its implied promise of mixing styles to humorous effect.  The limited engagement is scheduled through February 16 at the Mezzanine Theatre at A.R.T./NY Theatres (502 West 53rd Street between 10th and 11th.)  Runtime is approximately 2 hours with one 10 minute intermission.  Tickets are priced at $49-$69 and can be purchased online at www.amasmusical.org/romeo-bernadette or by calling (866) 811-4111.