Tag Archives: Stephen Stout

Puffs (On Demand)

Off Off Broadway, Off-Broadway, On Demand, Uncategorized August 14, 2023 Leave a comment

Imagine being one of the likely terrified lesser-known students at Hogwarts during the time of Harry Potter’s attendance.  That is the delightful conceit of Matt Cox’s Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic, which ended its very successful New York run in August of 2019.  Wonderfully captured on film by its stage director Kristin McCarthy Parker with support from VirtualArtsTV, the show is coming to BroadwayHD beginning August 15.  Though performed with farcical pace and style, like the Boy Who Lived, Puffs never loses its soul.  The sendups are executed with obvious love for the original world and characters, which makes them far more potent and enjoyable for the true fans that make up the target audience.  

We are guided through the 7-year journey by a narrator (a quick and snappy A.J. Ditty) whose identity will eventually be revealed.  Around the time of Mr. Potter’s birth, another boy, Wayne Hopkins (a warm and sweet Zac Moon) was born and orphaned in England and then whisked away to his Uncle Dave in New Mexico.  One day, a passing owl drops a letter into their living room inviting the nerdy child to a school in his home country.  He finds himself sitting under a famed hat which determines he is a Puff, a House of seeming misfits. They are led by a very polite Cedric (an amusingly servile James Fouhey) and live in the school’s basement somewhere near the kitchen.  Wayne and his new friends Oliver Rivers (adorkable Langston Belton) and Megan Jones (Julie Ann Earls on the right side of edgy) hope to distinguish themselves and contribute to Cedric’s goal of “third place or nothing”.

(Front row) Jessie Cannizzaro, Zac Moon, James Fouhey, Stephen Stout, (Back row) Madeleine Bundy, Langston Belton, Andy Miller, Eleanor Philips (L-R); photo by HUNTER CANNING

Their story plays out Rosencrantz and Guildenstern-like, with that of Harry (a pointedly irritating Madeleine Bundy), Hermione (a wig) and Ron (a mop) unspooling in the background.  Cast members take on over three dozen characters with admirable range and assurance.  A knowledge of the Harry Potter film series is essential for truly appreciating the hilarious and multilayered impressions from Stephen Stout’s spot-on Alan Rickman as a Certain Potions Teacher to Eleanor Philips as a squeamish Death Eater.  Familiarity with a certain 2008 rom-com will add laughs to Nick Carrillo’s wild about-last-night improv.  The ensemble is rounded out by Jessie Cannizzaro and Andy Miller playing opposite ends of the outcast spectrum among other roles.

Cox’s inventive script is a total triumph. The visual wizardry emanates from director Parker’s stagecraft along with the talents of her remarkable artistic team. Magical elements  — including a Dementor so smartly designed it should get its own standing-o — are made possible by sets, props and costumes all impressively conceived by Madeleine Bundy.  These clever and colorful elements are supported by lighting effects by Herrick Goldman and original music by Brian Hoes that recalls just enough of John William’s themes.

Shown in theaters for only two nights, Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic will be available On Demand at BroadwayHD.  The production is recommended for those 13+ and runs just short of 2 hours.  The mid-credit outtakes add an extra sprinkle of joy to the fun-filled viewing.

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

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.)