Review- Frequency Hopping (Hourglass Group)

The Fab Marquee review by A.K. Gobble.

If I told you that a famous Hollywood film star and a sought after composer were responsible for the development of unique technology that ultimately gave us cell phones, would you believe me? Actually, why take my word for it? Go see for yourself…

Joseph Urla as George & Erica Newhouse as Heddy
photo credit: Dixie Sheridan

Frequency Hopping is the unbelievable true story of Heddy Lamarr, an Austrian born actress who became famous in the 1940’s and George Antheil, an Avant-Garde composer also known as the “bad boy of music”. After meeting randomly at a party, they developed an unlikely friendship that gave birth to one of the greatest inventions of our time. Between personal conversations and subtle flirtations they schemed to develop a special communication system. A system that would benefit the military forces and be able to control armed torpedoes over long distances without the enemy’s ability to detect or block them. Their invention made history!

This two character, Multi Media play, was presented at the 3D Technical Art Center. As soon as you walked in the room you could feel that something special was going to happen. The stage was set in between two transparent screens that were used for video installations and special effects. Both the left side and the right side of the stage were graced with a beautiful orchestra made out of several gorgeous Yamaha pianos and percussion instruments that were hanging from the ceiling. What’s so special you say? Well, here’s the kicker- they were all programmed to play on their own. A robotic orchestra! What an amazing concept. The visuals were absolutely exhilarating! And when it all came together you really felt like you were transported into another world.

Erica Newhouse as Heddy & Joseph Urla as George
photo credit: Dixie Sheridan

This wonderful play was both written and directed by Elise Singer who obviously did some research. In her development of the relationship between the two stars she made funny leaps between childish games and serious foreplay, all while keeping us on our toes and expecting some big dramatic climax. Unfortunately the climax failed to come and the play felt somewhat repetitive. The lack of dramatic arc gave the feeling of being stuck in one place. At a certain point the sexual flirtations between the two characters developed into a passionate kiss that once was over, was never brought up again leaving me a bit confused. On another note I was slightly overwhelmed by the many technical details that were discussed and though I personally happen to know a thing or two about the subject, I found myself needing to focus hard in order to take it all in. Still I enjoyed myself and even learned something new.

Joseph Urla as George & Erica Newhouse as Heddy
photo credit: Dixie Sheridan

Erica Newhouse who played Lamarr was just as beautiful as the real girl, bringing out her sexy and feminine side. She was needy, lonely and manipulative all at the same time. George Antheil who was played by Joseph Urla was sweet, honest, sad and playful, making him very relatable.

I would definitely recommend checking it out, if not for the interesting history then at least for the fantastic technology.
——————-
Hourgalss Group presents
Elise Singer’s
Frequency Hopping
directed by Elise Singer; Original Score by Joshua Fried
May 29th-June 29th; Wed.-Sat. at 8pm & Sun. at 3pm
3LD Art & Technology Center

Tickets are $20. To buy tickets, call 212-352-3101 or visit www.frequencyhopping.net.

3LD Art & Technology Center | 80 Greenwich Street | Manhattan.

Review- Evidence of Things Unseen (Cap 21)

The Fab Marquee Review by A.K. Gobble.

Evidence of Things Unseen- a new play by Katie Forgette, tells the story of life and death. The curve-balls that we are sometimes served and the things we lose along the way. This is the story of one family being torn apart by loss. Both their collectives lose as a family as well as their own personal losses as individuals.

Eliza Ventura (Abigail Caldwell), Arthur Bartow (Jack Caldwell)
& Susan Cameron (Jane).

Abigail, a strong-minded rebellious writer, and Jane, her born again sister have a difficult and uneasy relationship. They struggle to stay unified and support their aging father while in the midst of a family crisis. Each character is extremely honest and raw, creating hilarious moments of interaction with one another, which is very much appreciated by the audience in light of the sad chain of events. The writer keeps things interesting by throwing in some curve-balls of her own. Her characters are all very smart intelligent people who like to quote famous individuals and give out moral lessons throughout the play. A thing that at times bothered me and made me think the writer doesn’t trust the audience to “get it” on their own.

In general the play was explained to us constantly by the characters and left not much room to discover our own sympathy. The actors were extremely professional and did their job wonderfully. It is a huge advantage to have such a skillful cast! I was moved mostly in their credit.

This piece is written in such a personal way that makes you want to love every character and root for them all no matter what the conflict is, but this raw honesty was sometimes a bit problematic and made it seem like a pity party, with each of the characters constantly describing how miserable they are while not afraid to repeat it numerous times throughout the play.

The Director, Frank Ventura made smart choices with the small space, staging the production in a “Theater in the round” style, which helps the audience exist in the situation. He was very creative with his set and even choreographed his stage hands and the set moves into the scenes, letting the shifts bleed into the play, and as a result giving it an eerie sensation of “ghosts of the past”. I liked that very much and thought it to be very unique.

All and all I enjoyed myself and think it is worth seeing especially for the talented cast of four.
——————-
Cap 21 presents
Katie Forgette’s
Evidence of Things Unseen
May 20-June 1st, 2008
Cap21- The Shop

Tickets: 18.00 and are available online at www.cap21.org or by calling 212-352-3101.

Cap21-The Shop | 18 West 18th Street, 6th Fl | Chelsea.

Review- I Have Before Me A Remarkable Document Given To Me By A Young Lady From Rwanda (Phoenix Theatre Ensemble)

The Fab Marquee review by A.K. Gobble

I Have Before Me A Remarkable Document Given To Me By A Young Lady From Rwanda is a new play by the award winning playwright, Sonja Linden, making its New York premiere presented by the Phoenix Theatre Ensemble. This play follows the story of a young refugee named Juliet (Susan Hayward) as she struggles with her new life in a foreign country while dealing with her tormented past.

After witnessing her entire family’s execution and losing everything she owned, Juliet, a young survivor of the 1994 Rwanda massacre arrives in England under a refugee status and attempts to build a future for herself. Juliet’s dream of becoming a writer brings her together with an older gentleman, a burned out poet named Simon, (Joseph J. Menino) who works at the refugee center. Together they form an unlikely friendship of two people sharing their love for words and the healing powers they posses.

Joe Menino as Simon & Susan Heyward as Juliet
photo credit: Monte Stilson

Simon encourages Juliet to be brave, tell the stories of her painful past and confront her overwhelming emotions by putting them on the page. As Juliet attempts to oblige, we discover the unthinkable reality this young lady once lived and the extreme cultural differences she is currently experiencing.

This play is written in a very personal way; using much needed humor at times to relieve us from the horrors we are told.

I find it to be very hard to write a review on a personal and truthful story such as this. No matter what you see on stage you really want to root for these people! I was extremely moved by this play and found myself wanting to explore more on the subject beyond the night’s performance.
Linden, who wrote this play, based it on her own experience working at a refugee center as a resident writer and was inspired by her own encounter with a young survivor and her story.
Linden’s challenge was to transform these painful stories into a piece of theater that would engage an audience. A challenge, that was successful mostly in credit to her talented and wonderful cast.

The play is written as a series of memories recalled by Juliet, the young survivor. And although her stories are captivating enough on their own, I find that when actors are on stage they need actions to make the story come alive, otherwise there is no difference between watching a play and reading a book. A play needs tension, a conflict, an emotional peak to keep an audience interested and I feel that in this case it fell a bit short, mainly in the relationship between Simon and Juliet. The relationship was unclear and I didn’t see their need for each other. At the beginning their relationship seemed to be taking on a romantic turn, leaving the audience in suspense and wonder but it was quickly dropped with no explanations. I would have liked to see it play on some more; maybe even cross a line in order to bring Simon’s character more meaning.

As wonderful as the actor was, I would have liked to see Simon’s character more extreme, more disheveled, bringing out more of his own demons. I felt he was somewhat unnecessary since this play would have easily functioned as a one-woman show with some subtle changes and would have been as equally interesting.

The story takes a twist when Juliet receives some exciting news from home regarding her youngest brother. This turn was also underplayed in my opinion and should have created more of an emotional peak; the big climax of the play was unfortunately not delivered. I believe it was outshined by the previously strong moments and the horrific descriptions of the killings; something I wish Elise Stone, the wonderfully sensitive director would have focused on. Her work on this piece was very creative and her use of the space was smart. With almost no set to back them up the transitions and locations were very clear.

With all that being said, I found myself to be very engaged and interested in this woman’s life. It has opened my eyes to a part of the world I rarely think about. I thought the actors were terrific and dedicated. It was hard not to fall in love with Hayward’s Juliet who captured both her sadness and her strength so perfectly and Menino’s Simon who was so warm and fatherly.

On a special not I would like to mention the lighting designer, Tony Mulanix whose work on this piece really contributed to my emotional involvement at times, especially the gorgeous setting of the church and candles.

Gadi at the Market by Jacqueline (age 8) 2000.
Through the Eyes of the Children: The Rwanda Project

This play is performed in conjunction with the award-winning exhibit “Through the Eyes of Children- the Rwanda Project”. These photos taken by the young survivors of the 1994 genocide make perfect setting to the show as you make your way to the theater and again once out.

If you get a chance, go see this play! I promise it will touch your heart.

——————
Sonja Linden’s
I Have Before Me a Remarkable Document
Given to Me by A Young Woman From Rwanda
April 12-May 4, 2008
Tuesdays & Saturdays @ 8pm
Sundays @ 1:30pm & 7:30pm
Theatre at Saint Peter’s

• Tickets: $20.00; 212-352-3101 or www.PhoenixTheatreEnsemble.org

Theatre at Saint Peter’s | 54th Street just East of Lexington Avenue

Review- My Dead Mother Is Funnier Than You (PlaidBird Productions)

The Fab Marquee review by A.K. Gobble

Who amongst us hasn’t had their share of bad relationships and dates from hell? Especially when you’re a young single woman living in New York City! Well, Katherine Williams, who wrote and stars in her own show, sure knows what I am talking about!

My Dead Mother is Funnier Than You is a new play premiering at the ArcLight Theater on the Upper West Side, a gorgeous old church reincarnated as a 99 seat theater with beautiful arches and murals decorating its walls.

Katherine Williams as Nicole Reilly, Franklin Abrams as Mike
& Jaye Maynard as Laura Reilly

The play deals with love, death and the death of love, following a young woman named Nicole (Katherine Williams), as she tells her life story beginning with her mother’s death. As Nicole takes us through her journey, we discover a confused and lost girl who is looking for a partner, someone to understand her, someone she can talk to and laugh with; maybe someone to fill the emotional hole left by her mother’s passing. Nicole’s relationship with her family is complicated. Her father is dealing with his own loss and loneliness and her sister lives far away. In her search for love Nicole goes on many dates with a wide range of guys, and with each date, learns a little bit more about herself.

This comedic play is written in a very interesting way, using much sarcasm and dry humor, and although funny at times, I found the story to be redundant. A sort of personal take on “sex and the city” with excess baggage and repeating themes.

The lead character Nicole is portrayed in a very mature and intelligent way, yet she keeps on choosing these losers as boyfriends and it makes you wonder, what is going on? Especially when she shows you the fact that she recognizes their low value, yet still chooses to peruse.

Throughout the entire play the characters seem to be judging each other on stage using obvious physicality’s such as blank stares and eye rolls, as a response to each other, hoping to provoke laughter from the audience but in fact creating a sort of distance which makes it hard to love them and therefore understand their relationships, especially when it comes to Nicole and her Men. The guys are extreme personalities, portrayed as caricatures, which only adds to this difficulty.

The stealer performance of the night belongs to the talented and incredibly funny, Gabriel Silva who played, Mr. Brown, the family’s British poodle, owned by the father. Silva’s physicality was extremely convincing and his performance was focused and committed all the way through, although I couldn’t help but compare him to a cross between, Stewie the baby and Brian the dog, from the hit animated show, “Family Guy”.

The stage was divided in three sections, on the right was the family, on the left was the psychiatrist and in the middle, the Men. As the show progresses, Williams is forced to go back and forth many times between the sections and even run to get to her spot in time to speak, which hurts the flow of the play. The transitions are triggered by light cues, which are not crisp or strong enough and unfortunately were not working properly the night I saw the show.
With all that in play, the audience seemed to be enjoying themselves, laughing many times over the series of events, perhaps recalling their own horrific dating experiences.

The show runs almost two hours with no intermission and although long, I was generally entertained.

——————
PlaidBird Productions presents
Katherine Williams’
My Dead Mother is Funnier than You
April 3-April 13th, 2008
Thursday-Saturday @ 8pm
Sunday @ 3pm
The Arclight Theatre

Tickets: $18.00; , available online at www.Theatermania.com or by phone at 212-352-3101. For more information visit www.myspace.com/myfunnydeadmom.

The Arclight Theatre | 152 W. 71st St between Broadway and Columbus | Manhattan