There is a special brand of fear and loathing that comes hand-in-hand with post-collegiate life, and it sits plainly at the center of this dramedy by Evan Sanderson. 20 Somethings is a look at love, loss, and the games we play through the eyes of Millennials.

We meet central couple Reese (Marie Pollizano) and James (Benjamin Drew Thompson) in a split-screen portrait of their lonely evenings at home. From a chance meeting at bar trivia to a rock-em-sock-em double date, we watch their relationship bloom, falter, and get covered in rainbow vomit. It’s a sweet story and the chemistry between Thompson and Pollizano is enjoyable, but as their burgeoning love becomes complicated by requisite familial baggage, the story is pulled towards the line of cliche.
What saves it, however, is Sanderson’s stellar cast of supporting characters. Loony and heartwarming, the neighbors and friends that surround Resse and James make their story seem more authentic, less forced. Sanderson has given us a cross-section of personalities without succumbing to stereotypes, and he should be commended. Maggie Cummings and Maddie Provo are hysterical as a wackadoo set of red-headed twins, bookish academics trapped in hot girl bodies. As a hard-partying couple looking to settle down, Viet Vo and Kathleen Choe give a glimpse into the complications of choosing commitment; their I Dos and tequila shots going hand-in-hand. Vishal Vaidya is adorable as the geeky biochemist Suresh who pines for lab partner Emily (Giselle Gastell) while wrestling with the arranged marriage awaiting him in India. Vaidya is restrained and charming in his awkwardness until he makes the easiest move of the play: talking about his feelings with the right person.

It prompts the audience to expect the same candidness of the two leads. And why not? When you have been treated to the innermost workings of a character’s relationship hangups, it’s hard to not want to play puppet-master, get everyone together in a room, and work it out before someone else throws a fit in a wine bar.

Sanderson does a wonderful job of exhibiting a variety of twenty-something relationships, and his quippy humor makes for an enjoyable piece. But he almost makes it too easy on his lead characters by giving them something specific to hang their commitment-phobic hats on. Oddly, there is no talk of the future by our lovers, no discussion of jobs or money or many of the things that make ones twenties so uniquely terrifying. Reese and James are more products of their personal traumas than their generation.

By giving us such a broad spectrum of quarter-life craziness, however, Sanderson paints a solid portrayal of the cloudy nature of relationships, and how they tend to be more chaotic than a round of Halo.

~~~

20 Somethings
Namayesh Productions
Writer: Evan Sanderson
Director: Ameneh Bordi
These friends zip through city life. James is too quirky for his own good. Suresh has fallen for his lab partner. And Reese just wants more. Their lives collide as they discover that love isn’t a game…or is it ??
1h 35m   Local   New York, New York
Comedy   FringeHIGH
Staycation: My NYC Story   Ride the Rollercoaster of Love
www.20somethingstheplay.com
VENUE #14: New Ohio Theatre
Sat 18 @ 2:45*  Tue 21 @ 4:15  Thu 23 @ 10:45  Sat 25 @ 12  Sat 25 @ 9:45

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Are you ready to rock? No, seriously, are you? Because  Traveling Musicians, the glam-rock quartet straight out of the barnyard, are ready to help you find your inner animal.

This merry band of misfits is comprised of four multi-instrumentalist critters–a cat, a dog, a donkey and a rooster. Based on the Grimm Brothers fairy tale, The Town Musicians of Bremen, the theatrical rock concert is brought to life by the Minneapolis-import theater company, 3 Sticks.

Billed as the reunion show for the aptly named “Rooster Donkey Cat Dog” (later changed to the much edgier moniker, “Cock Ass Pussy Bitch” or “CAPB”), this hour-long show is a silly, satirical romp through the lighter side of rock clichés. CAPB battles drug addiction (Donkey becomes hooked on sugar cubes), relentless groupies (Rooster’s harem of chicks), attempts to branch out as a bigger brand (Cat pursues a career in fashion), or rising above the rest (Dog, a born howler, is offered a solo gig), making for a tumultuous retrospective on their battles with fame and fortune.

This may sound like the most ridiculous concept ever–and it is, but this cast of talented musicians injects life, humor, and so much energy into what could be a plodding series of animal puns. Katie Hartman (Dog) stands out with her powerhouse voice and badass sense of humor (her solo “Bitch” brings the house down). Katie Melby (Cat) is wonderfully weird, with limbs akimbo, as she contorts and shapes herself into the lanky, luxurious feline. Jonas Earl (Donkey) is slow but never plodding, adding a stoner sense of hilarity to his performance (see his duet with Rooster “Inter-Species Love”). Composer (and Rooster) Andrew Lynch has incorporated music of many styles–from the beginnings as a folk quartet to their harder, faster, sexier pop, rock and even metal sounds as they ascend to stardom. The feat is impressive, and the music stays exciting and fresh with each number.

Traveling Musicians is a hysterical gem that is a testament to its strong, talented ensemble, and their wicked, witty sensibilities. They aren’t afraid to be dirty, bad, and racy, even when decked out as the simplest of Old MacDonald’s brood. It’s a children’s concept done up for adults, but remains smart in its frivolity. A hootin’, howlin’, grand old time.

~~~

Traveling Musicians was part of the 2012 FRIGID NEW YORK FESTIVAL which ran February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A).

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• The Traveling Musicians: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
• The Rope In Your Hands: Katrina, In Their Own Words (2012 FRIGID NEW YORK FESTIVAL)
• Fear Factor: Canine Edition – Puppy Love (2012 FRIGID NEW YORK FESTIVAL)
• Love In The Time Of Chlamydia: Love And War Stories (2012 FRIGID NEW YORK FESTIVAL)
• I Married A Nun! – And That’s Just The Beginning … (2012 FRIGID NEW YORK FESTIVAL)

For those of us tucked up in the Northeast part of the country, Hurricane Katrina is a distant memory, a tragedy of nearly a decade ago. But for those still feeling the effects down South its presence is constant. Siobhan O’Louglin gives a voice to the personal stories in her solo show, The Rope in Your Hands (playing at The Red Room). Through thirteen different first-hand survivor accounts, O’Loughlin deftly moves through the before and after of one of the most devastating disasters in recent memory.

From street performers to university personnel, preachers to clean-up volunteers, the French Quarter to the Ninth Ward, O’Loughlin’s interviews span race, class, and age to bring a fully realized account of the storm and its aftermath. Morphing gracefully into each character, with specific physicality and well-practiced speech patterns, O’Loughlin is a joy to watch.

One can only imagine the mammoth undertaking that came with interviewing and mining the dramatic pith from each of her subjects. The story she tells is cohesive and focused, with a chronology and structure the audience can easily follow. She works her way up to the storm itself, and rather than dwelling too much on the actual rainfall or breaking of the levees (images oft-played on the news), she tells of the evacuations, the forethought, the packing up and shipping out for those who survived.

And then there is the aftermath: the cleanup, the re-building, the government aid (or lack thereof). Here is where O’Loughlin’s point of view begins to surface. The overarching opinion of her subjects is that the government did not do enough to help the survivors, that there should not have been a wait for food, water, and medicine. As one of her characters puts it, “When you see a man drowning in the middle of a lake, and you have a rope in your hands, you don’t debate about whether or not to throw it to him. You throw the rope, pull him out, and then debate about it.” Using the words of activists, homeowners, and cleanup volunteers, O’Loughlin shines a light on the still-in-progress re-building of one of America’s most vibrant cities.

One of the most striking elements of the testimonies is how much love and pride these people have for their city. They do not leave and start life somewhere else. Instead they come back, slog through the gutting of their homes, and try to recreate the color and wonder of the city they know exists somewhere. O’Loughlin, too, feels the same ownership over her characters, and each is presented with respect, grace, humor, and humility. It is a terrific feat, bringing that many voices to life, but she achieves it, and recognizes the importance of their words. After all, sometimes the easiest way to heal is by telling your story, and knowing that someone is listening.

~~~

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John Grady loves the show “Fear Factor.” He has his theories and his predictions about how the insane game show will play out, and is especially drawn to the “Couples Edition,” where young die-hards compete, and, predictably lose, to the old married pair with many anniversaries to their name. Despite his intrigue and obsession with these thrill-seeking duos, Grady has only had one serious relationship in his life: with Abby, his Bernese mountain dog.

In Fear Factor: Canine Edition (running at The Kraine Theater), Grady tells the hilarious and heartbreaking story of his life with Abby, and some of the moments that bonded them forever. Intercut with an account of Abby’s last days before she had to be put down at the age of 13, Grady’s stories are beautiful and impassioned, but told simply, with ease and humor.

Highlights include: an experiment with “Doga” (dog yoga), that lead to them subsequently being filmed for Animal Planet, Abby’s time as a therapy dog in a Chicago hospital, and many a romp in the Tomkins Square Park dog run. I dare you to not fall in love with this creature by the end of Grady’s account.

What Grady gets at is the beauty at the core of any relationship, the synergy between two souls–human, canine, or anything in between–and how important it is to any life. What he may have lacked with women, Grady made up for tenfold with Abby; a need, a mutual dependence, a deep-rooted love. This bond helped them make it to the end of Abby’s life, and helped Grady come to terms with losing her.

Grady finally muses that his life with Abby was a series of “Fear Factor” challenges, peppered by a few actual running and rushing and barely-making-it-out-alive moments. It’s here that we see his original theory: the young, brash couples on the TV show never make it past the first few rounds. They are foolhardy and not adapted to one another just yet. But the reason the older couples–soft-spoken and fully trusting of one another–always win, is that they have already begun to run the gauntlet of life together, and they get what it takes to make it as a pair. John Grady and Abby had the same mentality, which is why, even in the final moments of Abby’s life; it was love and care, not fear that was truly the factor.

~~~

FRIGID Hangovers will run March 5-10 at The Kraine Theater (85 East 4th Street between 2nd Avenue and Bowery). Tickets ($18-$20) may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

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Death, It Happens (Photo by Cathryn Lynne) Pictured from left to right; Maureen Van Trease, Lori Kee, Bricken Sparacino and Rebecca Chiappone)

Down at UNDER St. Marks there are four ladies discussing it. The big, black elephant in the room. Death.

Terrifying, heartbreaking and unrelentingly emotional, losing a loved one is a different journey for us all, but it is in the commonality that we find comfort. In Death: It Happens (A Girl’s Guide to Death) (directed by Lori Kee) we meet four real-life women (Maureen Van Trease, Courtenay Harrington-Bailey, Bricken Sparacino and Rebecca Chiappone) who have lost their fathers in the not-too-distant past; all relatively suddenly, all equally as shocking. They range in age, in background, they are different, but they’re hurting just the same.

This is a brutally honest account of what it means to lose your parent; from the awkward euphemisms to the choosing of the coffin, the bills, the wills and everything in between. It’s hard stuff, but it is told with humor and perspective that keeps it from being a 60-minute sob-fest. An element for which I, personally, was all-too grateful.

I don’t like to get personal in my reviews, but I feel as if I have no choice with this one. I am fortunate enough to have my parents, but I lost both of my grandmothers within a year of each other only too recently. They were strong presences in my life, powerful, beautiful matriarchs who held their families together, loving unconditionally, and shaped me into the person I am today. My maternal grandmother got a big Catholic funeral and wake, and much of what these women talked about summed up my experience: the awkward Facebook messages, the relatives you’ve never seen checking in on you every five minutes, the food and the flowers and the strangeness of it all. But it’s necessary. As weird as it is, as the ladies of Death relate, funerals help.

The production is clearly a cathartic experience for these women in their personal struggles, but it touches the audience nonetheless. By the end, the sniffles and tissues abounded, everyone having their own experience of fear, grief, and loss alongside these brave women. And they are brave. The actual process of death is not often talked about openly. We get memories, stories of the last days, but it is the losing and burying and starting to miss – that is the part that is hardest to openly discuss. Yet these four women are doing it.

Relaxed, confident, and with a little bit of sass, they are truly doing their fathers proud.

~~~

Death, it happens: A girl’s guide to death

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The 2012 FRIGID NEW YORK FESTIVAL will run February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A). Tickets to all shows may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

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• Death, It Happens: A Girl’s Guide To Death – 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
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Canadian import Rachelle Elie enjoys being a woman. She especially enjoys her run-of-the-mill feminine pastimes: trying on sparkly dresses with eye makeup to match, dancing seductively to Ke$ha on a fur carpet, and hydrating with imported bottled water. She’s married to an Obstetrician/Gynecologist, has two lovely sons, and is, for all intents and purposes, living the dream.

Served with a side of audience discomfort, Elie’s solo show, Big Girls Don’t Cry (playing at The Red Room), is an insightful, if slightly off-putting insight into the psyche of the Modern Woman. Elie appears in what looks like a doll’s dress that lost a fight with a Bedazzler, knee-highs and platform slippers. She gapes and gasps her way through her basic biography, stopping every so often to sing or dance in a non-sequitur celebration of her womanhood. Questions are posed to the audience, and as she stares hard into each person’s eyes, she dares us to not be jealous of her in all her sparkle, and the beautiful life she has.

Rachelle Elie in Big Girls Don't Cry (photo by David Leyes)

But Elie’s not bragging. She’s smarter than that. The comedienne, with a strong background in dance, drama, and clowning, is actually a social commentator. And though her thesis statement isn’t shared until well into the piece (followed, of course, by an in-your-face gangster rap), we are fortunate enough to watch her slowly unravel her vacant Stepford persona throughout. The moments where things come apart–noted easily by the rugged octave drop in Elie’s voice–are the most vibrant, the most alive.

This is performance art. Interactive and thought-provoking, Elie will get in audience member’s faces, crack jokes at their expense, and bring them into her wacked-out world. But it’s a world we are only too fortunate enough to be in. Elie’s message stems from her time working in Kenya, the founder of an artists’ collective. She slowly works these Kenyan women into her story, and they become the pin that finally pops the bubble. These are women that don’t get to worry about lip-gloss or Ke$ha. And while not beating us over the head with the message, Elie reminds us of our good fortune; how lucky we are to be big girls in the here and now.

~~~

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The 2012 FRIGID NEW YORK FESTIVAL will run February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A). Tickets to all shows may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

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It’s tough out there for a single girl. It’s especially tough out there for a single girl with a habit of substance abuse and an absent father. But Nicole Pandolfo bravely lays it on the line for us in Love in the Time of Chlamydia running now at UNDER St. Marks.

This Jersey girl has a lot of hilarious, ridiculous and oftentimes make-your-skin-crawl war stories from her wild single days in New York. There’s a lot of bar (and bed)-hopping, recreational drug use, parties with strangers, chance encounters, unfortunate moments, and one memorable trip to Paris. Despite all of the hardships and heartbreak, Pandolfo tells her story with a smile, a smug F-you to all of the guys who hurt her and let her down, namely her distant father.

Here is where the levity could use a bit of toning down. In her effort to remain sassy and humorous, Pandolfo glosses over the really tough stuff. Her relationship with her father was what pushed her into her habits of self-destructive dating and partying in the first place, and though she acknowledges it, she doesn’t fully flesh out her journey of self-discovery. Her ultimate decision to cut down on the excess and her eventual happy ending come too quickly and easily, without enough explanation.

Overall, Chlamydia is enjoyable, funny, and played without self-pity. Pandolfo’s wit and charm pair well with the bold, boozy subject matter. She’s uncensored and proud of it.

~~~

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The 2012 FRIGID NEW YORK FESTIVAL will run February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A). Tickets to all shows may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

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People are always telling D’yan Forest to “act her age.” For her, that is simply unacceptable. At 77 years young, when D’yan has seen, experienced, and gone to bed with so much of the world, she simply hasn’t been able to settle into her age. In I Married a Nun!, running at UNDER St. Marks, she has set out to tell her story, to explain and illustrate just why being a senior is not where she’s at right now.

For the record, she did, in fact, marry a nun. For 25 years D’yan was unofficially wedded to Mary, an ex-lady of the cloth with whom she travelled the world and shared a rather active sex life (don’t worry–she’s got props). While her relationship with Mary is the focus of a large part of her story, D’yan also goes into great detail about her exploits, dalliances, and experiments before and after. She has, it seems, been comfortable in her skin and up for anything since she was a little girl growing up in Boston.

D’yan Forest is charming, witty, and expressive as she moves through her deeply personal journey. She is entertaining and admirable in her brash, unapologetic discussion of the tawdrier bits of her lifestyle. She relishes in it, wishing, it seems, the same euphoria and freedom on her audience that has been granted to her in this life.

It is only at the very end where the performance needs a little bit of sharpening. The overall meaning of the piece is lost somewhere in her final anecdotes. She muses on the solitary place she finds herself in today, but rather than elevating these thoughts for a higher, more universal message, she quickly wraps it up. What was a story of joy and excitement and unbridled experimental risks becoming just another “hello this is me in 90-minutes-or-less” solo performance. And D’yan is far too fascinating and fabulous for that to be the final takeaway.

There is something truly special about seeing a woman who has so embraced herself and her body and her lifestyle with no hesitation. It’s inspiring, even. She’s up there, bearing her soul and telling her story, armed with nothing but a ukulele.  And a light-up dildo.

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The 2012 FRIGID NEW YORK FESTIVAL will run February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A). Tickets to all shows may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

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• Love In The Time Of Chlamydia: Love And War Stories (2012 FRIGID NEW YORK FESTIVAL)
• I Married A Nun: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
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We live in a difficult world, rife with headaches and hardships. Each day new problems arise, and we are forced to self-diagnose and medicate to calm the stresses, the woes. But what if we didn’t–what if we made the very specific choice to just be happy? Is that even possible?

This is the massive philosophical question that playwright and performer Tim C. Murphy seeks to answer in Blind to Happiness, his solo show currently running at UNDER St. Marks. Using, in his words, the “quirks and quarks” of characters from his past, Murphy muses through three very different characters.

We are first introduced to Couks, a socially awkward, but notably gregarious dishwasher. Life, it seems, has not been especially kind to Couks. His father has recently passed away after a battle with alcoholism and diabetes, he has a hard time going out and making friends, and Steve, the head chef, has it in for him. He is showing signs of following in his father’s footsteps. Through it all, however, Couks seems to be unrelentingly positive.

One of Couks’ greatest admirers is Mike, a co-worker and graduate student getting his Ph.D in positive psychology. Mike tells us of Couks’ troubles, and the scientific theory that happiness is a choice. He uses Couks as an example, how he chooses to see the best in everything, makes an active decision to be happy despite his seemingly unhappy circumstances.

Afraid of the spotlight, but secretly yearning for it, is Bliss, another server at Couks’ restaurant, and an aspiring poet.

Through many one-sided conversations, much is revealed about the lives of these three men, all struggling to find fulfillment and joy in their lives, and it seems that Couks is the key to the others finding happiness. He is at the same time their hero and their charity case.

Murphy plays each man with his own distinct air, but Couks is clearly the most fleshed-out. Based heavily on a former co-worker of Murphy’s, it’s clear that his is the story Murphy wants to tell the most. And while his performance is hilarious and heartbreaking and a brilliant homage to such a character from his past, the thesis statement and the storyline don’t seem to match up entirely. We are left wondering if happiness is indeed a choice for us all. Sure optimism is, and choosing to have a rosy outlook on the world, but the characters in this piece bounce so far back and forth across the happiness spectrum, you’re left wondering if they will ever be able to find a middle ground.

There’s also the question of, what if happiness isn’t a choice to us all? Aren’t some people simply chemically imbalanced? Murphy briefly flirts with this idea, but doesn’t explore it entirely.

Obviously this is a huge question to try and answer in sixty minutes, and Murphy does a wonderful job of illustrating the ideas behind the theory. His characterizations are excellent, and he keeps the audience engaged from start to finish. By the end, there is light and levity and love; all the makings of a happy ending.

~~~

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The 2012 FRIGID NEW YORK FESTIVAL will run February 22-March 4 at The Kraine Theater & The Red Room (85 East 4th Street between 2nd Ave and Bowery) and UNDER St. Marks (94 St. Marks Place between 1st Ave and Ave A). Tickets to all shows may be purchased online at www.FRIGIDnewyork.info or by calling Smarttix at 212-868-4444.

Related Posts:

• Love In The Time Of Chlamydia: Love And War Stories (2012 FRIGID NEW YORK FESTIVAL)
• I Married A Nun! – And That’s Just The Beginning … (2012 FRIGID NEW YORK FESTIVAL)
• BLIND TO HAPPINESS: 5 Things To Know About The Show Before You Go (2012 FRIGID NEW YORK FESTIVAL)
• Death: It Happens – Still Daddy’s Girl (2012 FRIGID NEW YORK FESTIVAL)
• Drowning Ophelia: She Gets On Swimmingly (2012 FRIGID NEW YORK FESTIVAL)