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Border People

Off-Broadway, Play, Uncategorized February 16, 2020 Leave a comment

If you find that putting a face on an issue gives it meaning, you must make some time to experience playwright and performer Dan Hoyle. In his latest work, this richly talented storyteller wears many faces to help us better understand the lives of Border People. Like the celebrated Anna Deavere Smith, Hoyle conducts personal interviews — what he calls “the journalism of hanging out” — then weaves his subjects’ words into a rich tableau that shows us more of who we are as a nation.

For this piece, Hoyle spoke with people on the Mexican and Canadian borders as well as his old stomping ground in the South Bronx, which shares a socio-economic border with Manhattan. Taking close to 18 months to develop, the picture is a disturbing one, though not without hope. His careful editing works like Miracle Gro, helping tiny seeds of individual moments blossom into deep insight. While the cloud of the Trump administration’s policies hangs in the air, the stories are more personal than political. These borders are shaped as much by culture and opportunity as they are by geography. One particularly sweet section centering on a young girl’s introduction to chocolate cheesecake is bound to make you better appreciate whatever little treasure worked its way into your day.

Dan Hoyle in Border People, Photo by Carol Rosegg

Originally developed with and directed by Charlie Varon, Border People has all the hallmarks of the superlative solo-show development tank, The Marsh in San Francisco. While Hoyle may be a young white male, for 75 minutes this flexible actor IS also by turns Black, Hispanic, Muslim, gay and female. As staged by Nicole A. Watson, the audience has the pleasure of watching Hoyle physically and emotionally transform to deliver others’ experiences in their own words. Each character is rendered with respect and obvious affection. A projection wall (scenic designer Frank Oliva; video design Yana Birÿkova) adds further detail and sense of place.

All borders are constructs and can be deconstructed if only we take the time to listen and understand their impact. Dan Hoyle makes a chink in the walls that separate us, shining light on the view beyond them. Presented by Working Theater, Border People is currently running Off-Broadway at the Gural Theatre at A.R.T./New York Theatres (502 W. 53^rd Street). The borough tour starting March 3 and includes stops at the Snug Harbor Cultural Center on Staten Island, The Bronx Documentary Center, and the IBEW Local 3 in Queens. Visit https://theworkingtheater.org/events/border-people/ for details and to purchase tickets.

The Commons

Off-Broadway, Play, Uncategorized February 13, 2020 Leave a comment

The Commons attempts to explore the ways in which everyday moments can form a wider story. The comedic drama is written by Lily Akerman and directed by Emma Miller backed by an almost exclusively female creative team. For a piece that sprung from the mind of a young playwright known for telling stories filled with colorful and distinctive voices and further filtered through a sharply feminine lens, it is surprisingly lacking in warmth or depth.

The script is composed of quick scenes depicting a series of conversations held in the kitchen shared by four New York City housemates. Fastidious Robyn (Ben Newman) is a failed artists who has lived in the house for 20 years. Jittery Dee (Julia Greer) is struggling to focus her thoughts about her all-important dissertation. Homey Janira (Olivia Khoshatefeh) lovingly bakes bread while Marie Kondo-ing the heck out of the space. And newcomer Cliff (Ben Katz) is stretching his meager web designer paycheck while filling the air with empty promises. The topics they cover are everyday issues from who should wipe down the stove top to how long a guest should be able to stay. Atypically, these discussions do not build on one another. Each time an incident appears to be lifting the action to the next level, it deflates as quickly as Cliff’s vow to clean his beard hair from the sink. In total, the characters live together for 9 months — the period it takes to create a new human life — yet they have almost no impact on each other, an outcome that is as tedious as it is unrealistic.

Ms. Miller’s staging in the black box Theater C at 59E59 is also ill-conceived. In order to accommodate Emmie Finckel’s clean kitchen set, the performance area has the audience seated in an L-shape. But the actors are mostly placed so that those on the shorter side are continually confronted by backs instead of faces. The sharp cuts between episodes often make the passage of time difficult to gauge. At least the clever sound designed by Caroline Eng fills the pauses with the “music” of kettles, microwaves, timers, and other kitchen noises.

The cast members — most of whom have worked exclusively in festival and workshop productions — do what they can to bring variety to their roles. The most successful is Olivia Abiassi, whose energetic arrival halfway through the play woke up the audience, in some cases literally. Her portrayal of Cliff’s ex Anna, the most full blooded of the characters, is thoroughly engaging For the short time she is in the shared apartment, the spunky straight shooter fills the void by providing everything the others have been lacking in their lives, be it a fresh salad or genuine honesty. Unfortunately, none of her vitality survives her character’s exit.

Julia Greer, Olivia Khoshatefeh, Ben Newman, Ben Katz Photo by Carol Rosegg

Julia Greer, Olivia Khoshatefeh, Ben Newman, and Ben Katz; Photo by Carol Rosegg

A still-emerging work, The Commons might be better appreciated in a less established venue. For a modern day kitchen sink drama, this production suffers from a lack of seasoning. Though the situations portrayed may be increasingly… common, that does not automatically imbue them with meaning. To build a real bridge between the viewers and the subjects requires more than an exploration of surface traits and eccentricities.

Presented by The Hearth, The Commons is running at 59E59 (59th street between Madison and Park) through Sunday, February 23. Tickets are $25 ($20 for members) and are available by calling the 59E59 Box Office at 646- 892-7999 or by visiting http://www.59e59.org. Seating is general admission. Note that the second row on the shorter side of the L is not raked.

Romeo & Bernadette: A Musical Tale of Verona and Brooklyn

Musical, Off-Broadway, Uncategorized January 23, 2020 Leave a comment

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 53^rd 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.

Modern Māori Quartet’s Two Worlds

Musical, Off-Broadway, Uncategorized January 10, 2020 Leave a comment

Modern Maori Quartet Two Worlds

If you already feel the glow of your holidays fading, consider a trip to Two Worlds, the latest offering from the award winning Modern Māori Quartet. In a swiftly moving 70 minutes, four delightful performers will take you on an exploration of indigenous New Zealand culture through storytelling, song and movement.

At opening, WWII veteran Koro (Matu Ngaropo), 1960s gadabout Uncle (Jamie Mccaskill), and 1980s lounge musician Big Bro (Maaka Pohatu) have been trapped in limbo for decades. The unseen Miss (Kura Forrester) introduces them to the newly arrived Bub (Matariki Whatarau), a small town boy. They must now must work together as a quartet to earn the right for each one of them to pass on. Only the truth can truly set them free. This set-up emphasizes the need for cooperation represented in the strong harmonies that bind this heartwarming work together.

Though pieces are performed in both English and Māori, all of the emotions are so genuinely expressed they are not only understandable but relatable. The culture these men share brings distinction to their back stories, shedding light on the struggles of an indigenous people whose culture has been marginalized and submerged. But their tales also encompass universal themes of seeking connection and acceptance.

Two Worlds developed from a production written by James Tito, Matariki Whatarau, Maaka Pohatu, and Francis Kora and originally presented in 2012. The current incarnation fits the cast as well as their snazzy black and red suits. The music is tuneful and transportive. Accompanying themselves on guitar and percussion, each voice is pure and well blended for the space by Matthew Eller + Square. Well produced sound effects successfully fill in for scenery. Movement choreographed by the troupe uniquely combines smile-inducing boy band steps with traditional Māori gestures creating something that is simultaneously fresh and familiar.

Modern Māori Quartet’s Two Worlds runs through January 18, 2020. This moving and joyful cabaret-style musical is currently playing at The Soho Playhouse (15 Vandam Street near 6th and Spring) as part of their annual Fringe Encore series. The curated festival presents the best of the Fringe from around the world, offering the artists opportunity for an extended run in New York City and perhaps beyond. Upcoming performances of Two Worlds are January 11 at 5:00 PM, January 12 at 5:00 PM, January 14 at 7:30 PM, January 16 at 9:00 PM, January 17 at 9:00 PM, and January 18 at 9:00 PM. It is running in repertory with two other productions with Kiwi flair and perspective. To view the entire lineup and purchase Individual tickets ($39) visit FringeEncoreSeries.com. Reduced-price ticket packages are also available.

Halfway Bitches Go Straight To Heaven

Off-Broadway, Play, Uncategorized December 9, 2019 Leave a comment

No one creates moments that are simultaneously unsettling and humorous quite like Stephen Adly Guirgis. Halfway Bitches Go Straight to Heaven is his first play since being awarded the Pulitzer in 2015 for Between Riverside and Crazy. This new work is a snapshot of the struggling residents of a New York City halfway house, surrounded by an unwelcoming neighborhood and staffed by those whose lifestyles aren’t much healthier. It’s a sprawling script with over a dozen main characters to track. Many of the transactional relationships include elements of genuine affection and the ride is a profound one. Ultimately, though, it is not so much a tapestry as a sewing kit with each thread slightly touching the one beside it.

As the play opens, a group session is in progress. This initial conversation hits many predictable beats — drug use, sexual exploitation, and abuse — but also provides a quick introduction to the characters with whom we’ll spend the next three hours. We learn Queen Sugar (Benja Kay Thomas) has gotten caught up in an Amway-style pyramid scheme while Munchies (Pernell Walker) is preoccupied with Nigerian caregiver Mr. Mobo (Neil Tyrone Pritchard). There are glimpses of Wanda Wheels’ (Patrice Johnson Chevannes) elegance, the stranglehold that mentally ill mother Sonia (Wilemina Olivia Garcia) has over her bright daughter Tiana (Viviana Valeria), and the familiar relationship pattern fragile Bella (Andrea Syglowski) is recreating with lesbian in command Sarge (Liza Colón-Zayas). Always quick to say, “no,no,no” is Rockaway Rosie (Elizabeth Canavan). Taking center stage at the top is the clever rapper Little Melba Diaz (Kara Young). In the corner is morbidly obese Betty (Kristina Poe) whose surprise connection and subsequent blossoming is a highlight. And on the edge (and on edge) is the transgendered Venus Ramirez (a glorious Esteban Andres Cruz) a ferocious voice for those who insist on their rightful place. That list doesn’t include the rest of the staff compassionately portrayed by Victor Almazar, David Anzuelo, Sean Carajal, Molly Collier and Elizabeth Rodriguez.

Elizabeth Canavan ( Rockaway Rosie ), Liza Colón – Zayas ( Sarge ), Kara Young ( Lil Melba Diaz ) and Pernell Walker ( Munchies ). Photo Credit/ Monique Carboni.

As with other Guirgis plays, a subtle but clear picture of the outside world is also drawn. The city’s system is failing and the shortages of both supplies and care are making these lives unnecessarily challenging. A flock of goats tending the grass in a park uptown receives more devotion and support than any of the humans who are simply looking for a chance.

To hold all these tales, a skeleton of the tenement house dominates the set. The sparsely decorated central room of Narelle Sissons’ design also represents the office of the dedicated and overworked manager and occasionally the bedroom of an occupant. The area between the first row and the stage serves as the surrounding alleyways. Director John Ortiz places much of the action on the house front steps audience left and a bench audience right making the viewing experience a bit like a tennis match. Additional focus is achieved with lighting design by Mary Louise Geiger while the mood rises and falls with sound and compositions by Elisheba Ittoop.

Haunting and moving, Halfway Bitches Go Straight to Heaven is like taking in a gallery filled with the faces of those whom New Yorkers breeze past every day. Though their full stories are not on the display, the images will sear into you. Note that the material is strictly adult, containing nudity and simulated sex and drug use. The limited engagement co-produced by LAByrinth Theater Company has already been extended through Sunday, January 5. Regular tickets begin at $70 and are available online at atlantictheater.org, by calling OvationTix at 866-811-4111, or in person at the Linda Gross Theater box office (336 West 20^th Street between 8^th and 9^th Avenues).

Confidence (and The Speech)

Off-Broadway, Play, Uncategorized November 21, 2019 Leave a comment

Like the Mr. Rogers of Presidents, Jimmy Carter was a man who gently spoke the truth even when it wasn’t sunny news. Susan Lambert Hatem examines such a heartfelt and impactful moment from 1979 in her new work Confidence (and The Speech) now playing at Theatre Row. That Carter is warmly portrayed by April Armstrong, an African American actress of… shall we say limited stature… adds a brilliant and powerful punch. Placing Carter’s consciousness in such an unlikely body forces us to focus on the only things that matter: the president’s heart and mind. Whatever else can be said of our 39th president, he always tried to do the right thing starting from the time he sold his tiny peanut farm so as not to have any appearance of impropriety.

The set-up for Ms. Armstrong’s performance begins at present day Baynard University. Professor Cynthia Cooper has just wrapped up her session when she is approached by Jonathan (an outstanding Zach Fifer) who has been monitoring her class. He’s learned that she was an intern assigned to Camp David just prior to Carter’s infamous Crisis of Confidence speech. This address to the nation is consider by some to have been farsighted, though others see it as the moment Carter signed his fate as a one term Commander in Chief. Cynthia agrees to tell Jonathan everything about that significant time from her viewpoint on the condition that in her story it is she who is President Carter and that Jonathan walk a mile in her heels as Cynthia. With the assistance of grey suited dressers, the two take on their new roles and corresponding wardrobe skillfully designed by Vanessa Leuck. Fifer also captures Armstrong’s manner and cadence.

Their transformation is one of many clever moments orchestrated by director Hannah Ryan in the challenging layout of Theatre One. She and the entire female creative team — Brittany Vasta (Scenic Design), Christina Watanabe (Lighting Design), Emma Wilk (Sound Design), S. Katy Tucker (Projection Design), Deb Gaouette (Properties), Karla Garcia (Movement Direction), Bobbie Zlotnik (wigs) as well as Ms. Leuck — deserve a round of applause for developing such a slick production on a limited budget.

Mark Coffin, Stephen Stout, Ross Alden, April Armstrong; Photo Credit/ Russ Rowland.

All the well known characters from the Carter administration are well drawn including Walter “Fritz” Mondale (Mark Coffin given little to work with just like a real Vice President), Hamilton Jordan (a suave Ross Alden), Jody Powell (appropriately brusk James Penca), Rick Hertzberg (a measured Imran Sheikh) and Pat Caddell (Stephen Stout stopping just short of Jack Black-ness.) But though this remains a story dominated by men, it is the voices of the women that are amplified in this retelling. We see how the strong bond with her husband gave Rosalynn (a gracious Sarah Dacey Charles) a special place in the administration. And we are introduced to Sarah Weddington (a too soft, too fast Abigail Ludrof) whose work on behalf of women’s issues influenced many, including Cynthia.

Confidence (and the Speech) provides an immensely satisfying opportunity to consider the pressing issues of climate change, equal rights, and basic decency in politics through the lens of a deeply invested observer. Performances of this 100 minute gem continue through December 7. Shyer audience members should be aware that if they answer the pollster making the rounds before curtain that, in a risky move by the playwright, they will be called upon to speak during Carter’s Town Hall. Tickets are priced $49-$69 ($89 premium) and can be purchased at www.confidenceandthespeech.com or at the Theatre Row Box Office (410 W. 42nd Street between 9th and 10th Avenues.)

Einstein’s Dreams

Musical, Off-Broadway, Uncategorized November 20, 2019 Leave a comment

Alan Lightman’s novel, Einstein’s Dreams, follows a fictionalized Albert Einstein during the period he was developing his theory of relativity. This literary exploration of time and our relationship to it has in turn inspired a number of artists including Joanne Sydney Lessner and Joshua Rosenblum. Their musical version — also called Einstein’s Dreams — is currently making its off-Broadway debut at 59E59 Theaters, produced by Prospect Theater Company.

A theoretical physicist may seem odd subject matter for song and dance. Indeed the numbers that are the most tuneful and consequently memorable — such as the spirited Relativity Rag — are those that portray universal feelings. The all too human desire to hold onto a special moment or to feel stuck in an unpleasant one are sensations that are easily translated to a musical language. It is when Lessner and Rosenblum move into storytelling mode that the quality of the lyrics suffers and the piece becomes problematic.

To convert the book — which centers on 30 varied dreams — to a manageable structure for performance, this retelling focuses on a relationship Einstein develops with Josette. The tantalizing and intriguing woman only comes to him when he is asleep. Their conversations supply him with fresh insight and inspiration. Alexandra Silber gives soaring voice to this muse, set off from a sea of earth tone clad players by a fiery red outfit designed by Sidney Shannon. Zal Owen counterbalances Silber’s flamboyance with his sensitive portrayal of a genius with no peers who is bored in his job and troubled by his deteriorating marriage.

scenic design ISABEL MENGYUAN LEcostume design SIDNEY SHANNON

lighting design HERRICK GOLDMAN

sound design KEVIN HEARD

projection design DAVID BENGALI

props design SEAN FRANK

l-r- Zal Owen, Vishal Vaidya, Michael McCoy in EINSTEIN’S DREAMS at 59E59 Theater. Photo by Richard Termine

Even this central relationship isn’t given much spark by Cara Reichel’s clunky direction. The biggest contributing factor to the unwieldiness of the work is the wideness of Isabel Mengyuan Le’s dramatic set. While it is eye catching and brilliantly brought to life by David Bengali’s projections (the production element that makes the most of the theatrical medium and the dreamscape environment), it takes up so much of the stage that actors are sometimes forced to scoot awkwardly between sections. Movement contributed by Dax Valdes is often limited to stunted waving of arms while the actors’ feet remain planted.

Of the supporting cast, Brennan Caldwell is a standout, providing comic relief and a blast of humanity as Einstein’s closest friend Besso. Caldwell even manages to make physics sound conversational. The rest of the company members (Talia Cosentino, Stacia Fernandez, Lisa Helmi Johanson, Michael McCoy, Tess Primack, and Vishal Vaidya) move mechanically from scene to scene. Those who play multiple characters struggle to find meaningful differentiation. Thankfully everyone in the cast has a pleasing voice and articulates clearly and the overall sound is comfortably modulated for the space.

The vast concepts that Einstein’s Dreams sets out to explore feel constrained by this production. Yet those who love musicals as a means of expression will find enough here to keep them engaged for the swift 95 minutes of running time. This limited engagement runs through December 15 at 59E59 Theaters (59 East 59th Street, between Park and Madison). Tickets are $25 – $70 ($49 for 59E59 Members) and can be purchased by calling the 59E59 Box Office at 646-892-7999 or
visiting http://www.59e59.org.

Fear

Off-Broadway, Play, Uncategorized October 24, 2019 Leave a comment

An 8 year old girl has gone missing near a lake in a wooded area. A plumber by trade and self-appointed neighborhood guardian, Phil has collared troubled teen Jamie, and dragged him into a nearby deserted toolshed for questioning. Phil spotted Jamie near where the girl was last seen, but his suspicion of the young man stems more from their previous experience. To gain a clear upper hand, Phil takes the drastic step of tying Jamie to a chair in an effort to extract a confession. Hearing cries for help, erudite professor Ethan barges onto the scene and into the conversation.

Playwright Matt Williams uses this triad to explore how personal endangerment affects action in his new aptly titled work Fear. As events unfold, each one of these people holds onto a strong conviction that he is on the side of what is right, not only in regards to the current potential wrongdoing but in their world view. The three characters aren’t particularly original, but their relationships to one another is sophisticatedly developed. As new background information is revealed, alliances between the three shift, along with the loyalty of the audience. Williams’ experience in television comedy comes through in the heavy dose of explanation in the show’s opening moments. There are also occasional splashes of jokes that come on a little strong, though they each provide a pleasant moment to breathe between psychological stabs. As in life, everyone here is an unreliable narrator, with truth getting lost in perception and self defense.

The show literally starts with a bang as Ethan and Jamie struggle through the doorway letting it slam behind them. There are many other moments that beg us to lean forward. Director Tea Alagić keeps the pressure high by containing her characters in a small dusty and chaotic space designed by Andrew Boyce. D.M. Wood’s harsh lighting adds to the desired mood with Jane Shaw’s sound adding aural punctuation. All three actors are excellent, with Obi Abili’s Ethan particularly drawing us in with his tension-filled whispers. Enrico Colantoni gives Phil appropriate swagger tinged with a touch of menace as he vividly recalls episodes he has witnessed. Though we come to understand that Jamie is socially awkward and learning disabled, the potential for him to develop a fully sympathetic side is lost in Alexander Garfin’s jittery performance. This may be a weakness of his lines rather than his acting ability.

Enrico Colantoni, Alexander Garfin, and Obi Abili. Photo is by Jeremy Daniel (7)

Enrico Colantoni, Alexander Garfin, and Obi Abili in Fear. Photo by Jeremy Daniel.

By settling for easily recognizable characters instead of digging deeper, Fear falls short of making a lasting impression But it does illustrate in shorthand how anyone is capable of becoming what they most loath in an attempt to save what they most love. Though the opportunity for lasting impact is blunted, these actors bring their A Game and keep us engaged throughout the play. This world premiere has a limited run through December 8 at the Lucille Lortel Theatre (121 Christopher Street.) Runtime is 80 minutes without intermission. Tickets are $65- $89 and can be purchased by visiting FearthePlay.com or by calling (866) 811-4111.

Tech Support

Off-Broadway, Play, Uncategorized September 4, 2019 Leave a comment

If you’ve ever found yourself trying to persuade a malfunctioning gadget to behave itself, you will identify with the inciting incident that sets Pamela Stark on a new life course. The stressed out antique book dealer is on musical hold in a long queue awaiting help with her printer. In her hand, her iPhone displays the divorce papers her husband has blithely texted over, while in the background her coffeemaker emits discomforting smoke. When customer service representative Chip finally comes on the line, it is Pam who breaks down, erupting with pent up frustration and hurt. Unable to solve her issue, Chip transfers her… to 1919. Pam finds herself in a boarding house where the women are more concerned with securing the vote and access to birth control than getting a prescription refill from their shrink. This is the first stop of many on Pam’s journey of discovery in Debra Whitfield’s comedic Tech Support, now playing at 59E59 Theaters.

Margot White, Mark Lotito, Leanne Cabrera, Ryan Avalos, and Lauriel Friedman in Tech Support. Photo by Russ Rowland

The staging is impressive, especially given the tight space. There are even a few dance numbers to enliven the scene changes. However, playwright Whitfield might have benefited from working with a director other than herself if only to have another seasoned talent contribute to the development process. The script contains some genuinely revealing moments, but they are all too quickly brushed aside in favor of easy laughs. Opportunities to answer questions about what progress looks and feels like are replaced with rom-com trivialities. Ultimately, the logic of the story doesn’t hold up and the ending is disappointing.

Regardless of the plot’s weaknesses, those in the mood to be swept away will get caught up in the waves of enthusiasm and joy emanating from the cast. Star Margot White could take Pam’s initial anxiety level down a notch and still fill the room, but she ultimately finds her rhythm and exudes great tenderness. She is well partnered with the positively darling and nimble-on-his-feet Ryan Avalos as All the Chips. Mark Lotito, Lauriel Friedman and Leanne Cabrera give depth to each distinct period in their assorted roles.

The creative team has done an incredible job of transforming a little blackbox theater into time machine. Shifts in years are illustrated with projections designed by Elliott Forrest which blend period photos and graphic patterns. The effects are enhanced by well-chosen songs and a rich soundscape designed by Ed Matthew. Natalie Taylor Hart’s scenic design builds on the theme, incorporating circuit design elements and three portal/doors. The set pieces are cleverly constructed, though the actors’ pacing is thrown whenever they are forced to double as stage hands. Hair and make-up by Inga Thrasher capture each decade and set off Janice O’Donnell’s playful costumes. For theater buffs, their efforts alone are worth the $25 ticket price.

While there are too many shortcuts taken in Pam’s journey, for most of its 80 minutes Tech Support is enjoyable fun. The production is produced by Chatillion Stage Company where Ms. Whitfield serves are Artistic Director. Tickets for performances through September 21 are available at https://www.59e59.org/shows/show-detail/tech-support/.

The Exes

Off-Broadway, Play, Uncategorized August 25, 2019 Leave a comment

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.

The Unforgettable Line