Review- Office Hours (Phare Play Production)

The Fab Marquee review by Antonio Miniño.

Phare Play Production proves to be an artistic busy bee. With their current production of Ghosts, they also present to us Office Hours by Norm Foster (not to mention they have a production of Tom Stoppard’s Arcadia lined up in May). Office Hours is a group of six vignettes that take place in a different office on a Friday afternoon. Mr. Foster takes us on a comic ride with 13 characters that we can’t help but see ourselves reflected in, and the journey is pure hackling fun.

Katie McConaghy as Ellie Young &
Nicholas Masson as Mark Young.

At first you might think a desperate producer, an overweight jockey and a figure skater, just to mention a few of the characters, have nothing in common. But the success of Norm Foster’s piece lies in the interconnection of the stories. What sometimes seems as a repetitive tool to tie these stories together (a shiny new leather bound week-at-a-glance, a romance novel and a race horse), turns out being a well thought out amusing element to the blossoming reveal. Even though we have it figured out from scene one (as the production expresses on the show’s description), it’s still a mirthful journey.

The highlights of the evening for this humble theatergoer were the crisp and humorous performances by most of the cast, wonderfully orchestrated by director Christine Vinh. Beth Adler’s comic timing was precise as clockwork. Miss Adler plays Rhonda Penny, an oppressive mother and wife, who deals with her sarcastic husband (well played by Edward Monterosso), and her two sons; a gay entertainment lawyer and a suicidal straight figure skater (both played by the zestful Christopher James Cramer).

Michael Weems as Stan Thurber &
Blake Bradford as Artie Barnes.

Blake Bradford proves to be a master in the art of comedy and improv. His portrayal as the desperate producer Gordon Blanes and the overweight jockey Artie Barnes left me gasping for air between cackles and tears. I’ll make sure to attend future productions graced by Mr. Bradford.

Nora Vetter, Katie McConaghy, Michael Weems and Nicholas Masson form the rest of the hard working ensemble.

The minor hitches of this production have to do with first performance nuances. Some of the momentum was lost in a couple of the skits, and the cast seemed to lose focus with the responsive and engaged audience. Not to worry, Mr. Foster’s material, and this energetic cast, can only get tighter and finer. If you want to experience what smart comedies are made of, you should definitely see this show.

——————-
Phare Play Productions presents
Norm Foster’s
Office Hours
directed by Christine Vinh
March 30-April 6, 2008
American Theatre of Actors
Schedule: Sun, March 30 – Tue, April 1 @ 8pm; Sat, April 5 @ 3pm; Sun, April 6 @ 8pm
Tickets: $20.00; Reservations: (646)241-0823, online purchase www.theatremania.com

American Theatre of Actors | Beckmann Theatre | 314 West 54th St | Manhattan.

Quote of the Day.-

“… actresses require protection in their art from blind abuse, from savage criticism. Their work is their religion, if they are seeking the best in their art, and to abuse that faith is to rob them, to dishonor them.”

-Nance O’Neil

This entry was posted on Sunday, March 30th, 2008 at 15:55 and is filed under

Quote of the Day.-

“In Mexico, theater is very underground, so if you’re a theater actor it’s very difficult to make a living. But it’s also a very beautiful pathway to knowledge and to an open education.”

-Gael Garcia Bernal

Quote of the Day.-

“To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.”

-Eleanor Duse

Review- Ghosts (Phare Play Production)

The Fab Marquee review by David Stallings.

It is a testament to Henrik Ibsen’s Ghosts, that two productions of his play are being performed for New York audiences this month. One is the Off Broadway production at the Pearl Theatre and the other is the Off-Off Broadway production at the Beckmann Theater at the American Theatre of Actors. I had the pleasure of seeing the latter this week.

Jean Walker as Mrs. Alving &
Alan Altschuler as Pastor Manders

Ibsen is known for writing book-end plays that discuss two sides of the same issue. Ghosts is paired with A Doll’s House. Where A Doll’s House explores a young woman’s journey to making the then unheard of decision of leaving a bad marriage, Ghosts explores what happens when a woman compromises herself and does not escape. The results are tragic, but Ibsen tells the story in such a wickedly humorous way, that the play is addictive.

Ghosts follows Mrs. Alving’s torment at realizing that her only son, Oswald has somehow inherited his fathers disease of “dissoluteness”, which we assume is syphilis. Mrs. Alving always lied to Oswald about his father’s character and sudden demise in order to shield him from disillusionment. She has also hidden the fact that her ward, Regina, is the illegitimate daughter of her husband and an early housekeeper. The ghosts of her lies come back to haunt her as she learns of Oswald’s illness, his newfound love of his half-sister Regina, and even contemplates allowing their marriage to occur despite her secret. Paired with the re-entrance of the true object of her affection—a pretentious pastor, the play is a fast paced drama that keeps audiences gasping.

Essentially, the play is about a woman who is a coward. Mrs. Alving is progressive in thought and much sharper and well read than any one else in her town. But her need to fulfill her duty as a wife compromises her ideals and brings about her ruin. There is no need to do this piece unless the actress playing Mrs. Alving has the ability to hold the empathy of the audience and convey the intensity of the moment. In Phare Play’s Production, Jean Walker delivers and then some. Ms. Walker was charming and captivating in her role. From the moment she walked on stage, the audience believed every word she uttered, and was concerned for her fragile self. The character’s arc worked well under this actress’s command. At times, the audience forgets she is an actress, as she affected no airs, but rather played the part with heart. It is always a relief when the lead proves to be the scene-stealer, for no one could take their eyes off of Ms.Walker.

Laurence Waltman as Jacob Engstrad &
Alan Altschuler as Pastor Manders

Alan Altschuler fared well in his role as Pastor Manders. His naturalism in the role and ease with environment made the pivotal arguments between his character and Mrs. Alving come to life. Laurence Waltman was also enjoyable and garnered many laughs as Jacob Engstrand (think a darker version of Eliza Doolittle’s father).

Unfortunately the younger members in the cast struggled more with the text. Yury Lomakin had a commanding voice and presence as Oswald, but his handling of the difficult task of playing the disease was unsuccessful. Oswald is certainly a troublesome part, as he is quite confident in his language at the top of the play, and by the climax (which occurs in the same day) he can barely string together a sentence. Lomakin handled the task by suddenly playing the pain in fitful moments, but seemed more upset than anything else. Playing against the pain and trying to conceal his hardship throughout would have gained him more ground. As Regina, Sarah Schmidt seemed uncomfortable on stage. Her stiff body and frustrated sighs strangled the fluidity of many scenes.

Director Kymm Zuckert staged the play seamlessly and seemed to have a good grasp of the subtext in the piece. Her infusion of humor into the play is to be commended. The audience even laughed throughout some tense moments, due to Zuckert’s highlighting of the provincial attitudes of Pastor Manders. It was a successful turn.

Overall, the evening was quite enjoyable. The mature choices of the lead actors, humor filled directing, and rich text proved a delight for the audience. If young theatergoers have not had the opportunity of seeing Ghosts staged, I recommend they see this light and laugh filled production.

——————–
Phare Play Productions presents
Henrik Ibsen’s
Ghosts
directed by Kymm Zuckert
March 26-April 6
Wed-Sat @ 8pm; Sun @ 3pm (no show March 29)
American Theatre of Actors

Tickets $ 20.00; Call (646)241-0823; online purchase direct link: http://www.ovationtix.com/trs/pr/37831

American Theatre of Actors | Beckmann Theatre | 314 West 54th St | Manhattan.

Quote of the Day.-

“The Center of the stage is where I am”

-Martha Graham

Review- ShapeShifter (Howling Moon Cab Company)

Reviewed by David Stallings

There is no such thing as a perfect play. Any good play has its problem areas that a talented director knows how to turn into a beautiful moment. Things are left unsaid—or are repeated—or at times seem messy. Look at Measure for Measure, Hamlet, The Three Sisters, or Hedda Gabler to understand how rough—imperfect scripts are actually fine masterpieces. Any play that is so finely focused, tuned, and wrapped up that there are no rough edges, does not lend itself to being performed more than once. Don’t we as theatergoers get excited as to how a production will handle the messiness of a good play? That being said, I feel that Jonathan Wallace’s ShapeShifter is a good play—and would look forward to seeing other productions in the future. The story is wonderfully human and expressed with much poetry so that reminded me of a modern retelling of The Seagull. Wallace bravely allowed his play to be rough and cracked, without ever letting it feel like it came out of the machine of typical playwriting structure.

V. Orion Delwaterman & Shelly Virginia
photo credit: Ellis Gaskell

The plot follows three siblings: Liam, Aidan, and Dierdre through a decade of evolution. All three are goofy, bright, and well educated with promising futures ahead of them. All three are also enamored or in love with the same woman, Darcy. As malleable as the siblings are, Darcy cannot change with the tides, but breaks apart as weathered stone. The play opens on a beach in front of the home in Montauk where Dierdre plans on living and working with her new lesbian lover, Victoria. Victoria has an angry streak in her and would gladly beat up anyone who rubs her the wrong way. Dierdre has begun to quell that fire within and Victoria realizes that love is changing her. This play covers ten years in three acts. Each act represents a moment when the characters must either grow or change, but status quo cannot be an option. ShapeShifter is about those special moments when we must transform our shape or be swept away.

Shelley Virginia heads the cast as the demure and mousy Dierdre who proves to be the most resilient character in the play. Ms. Virginia captivates the audience from the moment when you first enter the space and witness her bobbing to music—to the curtain, when she struggles over a decade of losses and compromises. Ms. Virginia never missed a moment in the play and filled her character with every human emotion. Likewise, V. Orion Delwaterman as the sweet and nerdy Aidan delivered a delightful performance filled with pathos. Shane Jerome Colt seemed to be caught up in the negatives of the eldest brother, Liam—a troublesome role. Liam is often called names and is berated by his siblings, and Mr. Colt seemed to play the role as seen through the other character’s eyes rather than for his own merit.

Jennifer Boehm shined as the vibrant Darcy—a struggling actress who searches for fulfillment in Liam—a man who only disappoints her. The role was so similar to Nina from The Seagull; that at times I wondered if the parallels were purposeful. Boehm truly shined in the second act, when her illusions are shattered and she grabs onto the affections of Aidan to sustain her. Boehm’s journey is commendable and based in honesty. Yvonne Roen delivers an equally balanced performance as Victoria and found a fierceness that held the play together and pushed it at the same time.

Glory Sims Bowen directed the play with an attentive eye for emotion and detail. At times, the detailed awareness of the period (the 80’s) seemed to distract from the honesty of the moment. It was most evident in the first act—the second act quickly alleviated that feeling. Playing at the nostalgia of youth is a difficult hurdle trapped with sentimentality and an over-all pushed feeling. The over-detailing was also the primary drawback in the dialogue—which got so caught up in early computer cyberspace terminology that the audience is left with their head spinning. When the author and director allowed the play to simply sit with its well-conceived characters and rhythms, the play soared. The poetry and theatricality of the piece would have fit better in a larger space—but who doesn’t want that? The play seemed suited for an Off-Broadway run and would definitely grow best in that kind of venue.

Shelly Virginia & Yvonne Roen
photo credit: Ellis Gaskell

Stephanie Tucci’s well-ordered set seemed like a revelation in the second act when it appeared to be the visual personification of the major metaphor in the play. The play talks about two types of people: “dolphins” and “stones”. The dolphin-like blue set—walls to floor—is highlighted by a seemingly stone floor that cracks and breaks apart during the act changes. Ian Marshall handled the fight choreography magnificently—a difficult feat in such a small space. Ryan Metzler’s lights and David B. Thompson’s costumes added to the sophistication of the evening.

Seeing ShapeShifter was an affirmation of what a good play’s elements should hold, and I look forward to seeing it picked up and developed further.

——————–
Howling Moon Cab Company presents
Jonathan Wallace’s
ShapeShifter
March 9-29th, 2008
Monday, March 10th @7pm
Fridays & Saturdays @8pm
Sundays @ 3pm & 7pm
Tickets: $ 18.00; www.smarttix.com
The Studio Theatre at The Barrow Group
312 West 36th St. 3rd Floor (between 8th and 9th Avenues)

Quote of the Day.-

“I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.”

-Sir Laurence Olivier

Quote of the Day.-

“The theater is so endlessly fascinating because it’s so accidental. It’s so much like life”

-Arthur Miller

Quote of the Day.-

‘Theater is, of course, a reflection of life. Maybe we have to improve life before we can hope to improve theater.’

-W.R. Inge

Quote of the Day.-

“I submit all my plays to the National Theatre for rejection. To assure myself I am seeing clearly.”

-Howard Barker

Review- Macbeth (Oberon Theatre Ensemble)

Reviewed by David Stallings.

The Shakespeare canon is like a bible for theater lovers. People feel strongly about motives, the way scenes should be played, or staged. One always has to remember that there is no singular way to produce Shakespeare; that is the beauty of it. Shakespeare’s themes are so universal and his characters so human, that his text may be used as a weapon—a tool by which the director may make his own unique statement. In the Oberon Theatre Ensemble’s Production of Macbeth, the performers work as a true unit to deliver a cohesive and crisp telling of the Scottish Lord’s dark deeds. Nothing about this Macbeth is cursed as it proved to be an enjoyable evening.

M. Eden Walker as Lady Macbeth &
John Gardner as Macbeth

Director Philip Atlakson has set this piece in a world torn between two times: the peaceful naturalism of the past and the harsh sexiness of a technological future. The ordered calm of Duncan’s Scotland is shown with quaint folk music, old-fashioned lanterns, and simple attire. The disordered world is cell-phones, i-pods, and techno music devoid of soul—basically a modern world. His first image is that of a woman—soon to be discovered as Lady Macbeth (M. Eden Walker)—having a fitful sleep that turns into an erotic dream with two beautiful witches (Paula Wilson & Allison Goldberg). That’s right, two—Atlakson’s concept is strong and theatergoers must relinquish their third witch for the moment. The witches are seen in steamy contemporary apparel and speak with distorted voices played in stereo. Then enters Macbeth, played with an endearing everyman quality by the talented John Gardner. The audience is reminded that at the beginning of this tale, Macbeth is a hero—a good man. Gardner captures that easily with his effortless command of the text. He is joined by his close friend Banquo—played by the charming Mac Brydon—before the witches foretell their future.

And what follows is the play. After the seed of being king is planted, Macbeth is transformed by greed and hubris—all through the help of his Lady. Atlakson has clung to the lines, “I have given suck, and know how tender ‘tis to love the babe that milks me” in his characterization of Lady Macbeth, who is first seen nursing her child. We understand that it is from this child and the hope for him to be great, that all of her venom grows. It was a lovely choice played well by M. Eden Walker. Ms. Walker continues forward with the role with a confident presence. Her delivery of “screw your courage to the sticking-place” was particularly strong. She let us know exactly where that sticking place was. The relationship between Walker and Gardner was poignant and even tender. When Macbeth confesses to having murdered the men accused of Duncan’s murder, Ms. Walker reacts silently in such a way that every audience member sat forward in their seat. We knew in an instant that this was not part of their plan. And eventually Lady Macbeth transforms to a more sexual being—quite similar to the witches. Ultimately in the mad scene, she is seen as the third witch—dressed identically and is equally distorted. I told you the third witch would come.

An excellent surprise of the evening was James Holloway as Malcolm. Malcolm of course is Duncan’s son who is implicated in the murder after he flees the scene. Holloway plays the cold Malcolm with a freshness that commands sympathy from the audience. We follow his surprise that he does not weep for his father’s death through to his wantonness and final breaking. In many ways, one would assume Malcolm to be more villainess than Macbeth. Where Macbeth is first charming and friendly, Malcolm is always cold and distant. Perhaps Shakespeare is telling us that the kindest and warmest of people may just as easily swing like a pendulum in the equal and opposite direction.

Kudos must be given to the entire cast, who work well as an ensemble and obviously enjoy the evening as much as the audience. Brian D. Coats is enigmatic as the blind Duncan. Cliff Jewell delivered a vibrant Porter speech. Grace Pettijohn is lively as the Gentlewoman. And Jonathan Pereira is intimidating as flip and menacing Seyton.

Philip Atlakson is also attributed with the appropriate set—which turns into Birnam Wood skillfully. Mickey Zetts’ sound establishes the tearing of time well. Goldie Zweibel costumed the show with a blend of the rustic and contemporary to match director’s vision.

Although certain traditions of the play were lost—such as the third witch and Donalbain—what is gained is a clean, eventful, and tight rethinking of a classic. And that push of the line is what keeps theater fresh and alive in the NYC Off-Off Broadway community today.

——————–
Oberon Theatre Ensemble
William Shakespeare’s
Macbeth
Closes March 8th
Lion Theatre on TheatreRow
Tickets: $20.00; www.ticketcentral.com / www.oberontheatre.org
Lion Theatre on Theatre Row | 410 West 42nd Street (between 9th & 10th Aves.)

Quote of the Day.-

“My playground was the theatre. I’d sit and watch my mother pretend for a living. As a young girl, that’s pretty seductive.”

-Gwyneth Paltrow

Review- The Night of the Iguana (T. Schreiber Studio)

Reviewed by David Stallings.

If the great Twentieth Century playwrights are compared to the great modernists, O’Neil and Brecht are to Ibsen and Strindberg as Williams is to Chekhov. T. Schreiber’s current production of The Night of the Iguana is a testament of that fact. Possibly Williams’ last great play, The Night of the Iguana, is a strange yet beautiful blend of the visceral and introspective. It was a pleasure to view such a classic staple of American Drama, especially when directed by the acclaimed acting coach, Terry Schreiber.

The play follows defrocked minister Laurence Shannon (Derek Roche) in his limp escape from accusations of statutory rape while leading a tour of Texas women through Mexico. Shannon runs haphazardly into the arms of recently widowed Cabana owner, Maxine Faulk (Janet Saia). Rather than revel in grief over her recently deceased husband, Maxine immerses in carnal distractions and a possible new partnership with Shannon. Maxine’s pleasures do not seem to quell Shannon’s desperate search for peace between his conflict with God and his sexual urges. Eventually, Maxine seems very close to lulling him into a cloud of liquor and sex—her answer for mental discomfort, when the third lead appears. Shannon is suddenly matched in his abandonment by the over-structure of fellow traveler, Hannah Jelkes (Denise Fiore); a Nantucket spinster with no money struggling to care for her ninety seven year old grandfather. They are dueled in a battle of perverse introspection—the indulgent over-analyzing of motive against pure avoidance of the demons bubbling beneath the veneer of purity.

Schreiber’s understanding of the dense text is prevalent in the nuanced staging. He understands the use of stillness on stage and the effectiveness of space. Schreiber took me into the world of the early forties without making me feel like I was watching a classic. In fact, I often caught myself wishing that modern playwrights used the same restraint as Williams when broaching controversial sexual matters, just so that contemporary directors like Schreiber have the opportunity to make such sophisticated choices.

Perhaps the most profound find of the evening was actress Denise Fiore in her portrayal of Hannah Jelkes. Every phrase Ms. Fiore uttered in the three-hour play was fueled with the combustible combination of fire, innocence, and strength. I felt as if I was watching a young Geraldine Page performing. Ms. Fiore did not fall into the passive-aggressive traps of a Williams leading lady, but fiercely fought for her point of view while still being in every moment, a lady. The most moving moment of the production is when Shannon asks Hannah about her sexual experience—or rather inexperience. In a monologue in which time seemed to stop, Ms. Fiore dazzled the audience with an emotional and active story that almost begged for applause.

The role of defrocked Shannon is no light undertaking. With a deep soul, sharp intelligence, humble demeanor, and rugged sexuality, Williams created perhaps his most complicated leading man. Indeed, Shannon is Williams’ male Blanche in many aspects. We have the pleasure of watching this man dissolve on stage and grasp in vain for any life raft available. It is ultimately Shannon’s stark existential introspection that drives him to his insanity. Actor Derek Roche attacks the role as a ferocious tiger searching for a fight. His contemporary take on Shannon is alive in every moment and he literally discovers the text as he speaks. While refreshing, this take may have done the actor a disservice, as Shannon is plagued by his analysis of God verses Nature, purity verses sexual appetite—a plague that even textually indicates this would take the character more into his mind than body. Granted the eventual breakdown is physical, but without the mental journey the audience is left slightly bewildered.

As the sultry widow Maxine, actress Janet Saia is appropriately crass and beautiful. Her physical language on stage is definitely captivating. Other standouts include Peter Judd as Hannah’s invalid grandfather and Peter Aguero as the tough Jake Latta. The German family also staying at the Cabana breathes an eerie joviality onto the scene as they celebrate the burning of London. This moment gets many laughs as the delightful, sun burnt, and scantily clad family jiggles in German. But Schreiber maintains Williams’ ultimate sense of social consciousness, as Maxine must pretend to be as thrilled as they in order to get the cash at the end of the day. For this play is ultimately about the mental sacrifices we must make to be peaceful, Williams’ constant obsession with voluntary lobotomy—to be a fattened as an iguana readied for dinner. Ultimately Shannon chooses to be just that as he is lulled into the arms of liquor and Maxine by the play’s conclusion.

When first walking into the space, the audience is floored at the meticulous undertaking of set designer George Allison. The intimate thrust stage has been transformed into a Mexican Cabana that is realistic down to the finest detail of mist and a wooden floor perfectly distressed. The subtle sound design by Chris Rummel added an equally sophisticated atmosphere that never felt overdone. Karen Anne Ledger’s costumes maintained the period while still adhering to a silhouette relevant to modern audiences.

I greatly encourage audiences to witness this seldom done and beautifully produced production. Three hours seem like one, and hearing this text aloud will make you wince when watching television for weeks to come.

——————–
T. Schreiber Studio presents
Tennessee Williams’
The Night Of the Iguana
February 21-March 30, 2008
Monday-Friday @8pm
Sundays @3pm
Tickets: $20.00; www.theatermania.com / www.tschreiber.org
Gloria Maddox Theatre | 151 West 26th Street, 7th Floor

Quote of the Day.-

“Theatergoing is a communal act, movie going a solitary one.“

-Robert Brustein

Quote of the Day.-

‘The novel is more of a whisper, whereas the stage is a shout.’

-Robert Holman

Quote of the Day.-

‘It’s one of the tragic ironies of the theatre that only one man in it can count on steady work - the night watchman.’

-Tallulah Bankhead

Quote of the Day.-

‘The stage is not merely the meeting place of all the arts, but is also the return of art to life.’

-Oscar Wilde

Quote of the Day.-

‘Coughing in the theater is not a respiratory ailment. It is a criticism.’

-Alan Jay Lerner

Fundraiser- Quake-tini’s: Earth Shakin’ Cabaret

On the Square Productions’
Quake-tini’s: Earth Shakin’ Cabaret!
March 14, 2008 @ 9:30pm
The Duplex

Rachel McPhee and Jackie LaVanway (founders of On the Square Productions) are hosting “Quake-tini’s: Earth Shakin’ Cabaret”, a cabaret-variety show. Proceeds go to support On the Square Productions, an up and coming theatre company dedicated to promoting Talent, Text and Technique.

Tickets: $10 cover + 2 drink minimum. For more information visit: www.myspace.com/onthesquarepresents

The Duplex | 61 Christopher St. at 7th Ave. | Manhattan.