I’m sure it happens to you sometimes …  You’re walking down the street, pondering the inevitability of change and the hardship it’s apt to cause when you fail to adapt, and other foibles of the human condition…

Then suddenly you realize that the person beside you is reading your mind, and doesn’t like what they see, and is leveling their blaster at you to fire, when …

You get transported away.  

More than likely, you’ve been transported to The Starship Astrov, a play where playwright Duncan Pflaster (see an interview we did with him earlier here) takes the best of science fiction tropes and embeds many of the themes and characters of plays such as Uncle Vanya and The Cherry Orchard by Anton Chekhov.  The result is a play (delightfully directed by Eric Parness) that will tickle your funny bone with homages that run the gamut from Star Trek to Buck Rogers, but with an over arcing sense of  nostalgia for the times in your own life when you knew you had to move on to the next stage.  You can’t help but smile as what seems (at first) to be corny caricatures change into ideal vehicles which transport the story not just across the galaxy, but also to a meaningful conclusion for our own lives.  This is more than you would have expected from something billed as a comedy.

Like Chekhov’s plays, The Starship Astrov has a rich cast of characters whose archetypes help us see the different ways people navigate the world — all leading to different conclusions.   There is the noble captain of the starship, Commander Jonas January (played by Walter Brandes) who wants to treat every personal interaction as another time to invoke his belief in the proper codes of space travel.  Jenny “Sparky” Camilo (played by Christine Verleny) is the ship’s engineer who is so embedded in the life of the ship that she is a fish-out-of-water when planetside.  Space has been her life for so long she almost dismisses everything which occurred before she joined the space forces.  She admires the captain greatly and wishes he would notice her with something other than simply admiration for her great technicalal prowess and loyalty as a crew member.

Elizabeth A. Davis plays Celaria, a telepathic alien seductress with a mind of gold who comes from a beautiful corner of the galaxy with rich but confusing stories of trees and death and love and need that illuminate the audience, but which are often taken the wrong way by other characters.  She is married to Professor Jason Cole (played by Ariel Estrada), a genius amoung geniuses who invented the “star drive” that allows all the ships to go faster than light.  This invention has consequently spread humanity across the galaxy.  He is being taken to a conference to announce a new discovery and the able little tug Astrov will get him there in 4 days — just long enough for everyone to get bored.  The Professor knows all the secrets of science but is clueless when it comes to relationships . . . and has a mysterious illness to boot.

To help care for him is is Dr. Michael Rosy  (played by Philip Emeott).  Dr. Rosy is very strongly modeled on Chekhov’s character of Astrov in Uncle Vanya.   The shy doctor hungers for living someplace where he can make a difference, but is afraid to leave the security of the known.  He has been acquainted with the captain and his family for many years – including the captain’s daughter Ensign Ally January.  Ally (played by Jennifer Gawlik) is the the little ensign that could, but oftentimes doesn’t.  She works as communications officer (al la Uhura), where she often simply repeats what is already communicated across the loud speakers, but knows her craft well enough to make a difference when she needs to, though often she still is mostly worried about being a flighty happy young thing. Ally is still learning the ropes of life as a grown up; she works hard to not be taken for granted by the rest of the crew, namely the rough and rowdy First Mate Marcus Washington.  Washington (played by Rafael Jordan) is rude and obnoxious and generally always on the edge of getting in trouble.  He is the astrogator who is most needy of normal humanity in this super-scientific place.

Rafael Jordan and Elizabeth Davis | photo by Brad Fryman

Pflaster transplants these characters into a context  subtly yet richly pulled from the plays of Anton Chekhov.  The costumes by Mark Richard Caswell help complete the image of this exciting new space drama as Isabella F. Byrd’s lighting design hit the mark with intentionally cheesy and dramatic lighting effects that are the mainstay of science fiction TV throughout the ages. The musical interludes worked in by Nick Moore help draw the audeince into the nostalgia of classic space opera.

Like Chekhov’s plays Pflaster gives us lessons of how we can deal  with our own personal crises  in a world where change  is inevitable and transformation is a necessary tool for survival.   In a universe where the incredible miracle of interstellar flight has become humdrum the characters struggle to keep the armor of their once nobel professions in tact, as secrets at the heart of the galaxy threaten to unravel the only existence they know in a way that echoes the struggles Chekhov’s characters faced as the world modernized around them.

Sometimes you want a little cheesy science fiction, sometimes you want  a bittersweet reflection on the human condition.  Luckily in the case of The Starship Astrov you can have both.  See it this week while you can as it only runs through July 31st.

~~~

Related Posts:

• Entrevista: The Starship Astrov and Asian Belle (Midtown International Theatre Festival 2010)
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 2
• The Sensational Josephine Baker
• The Taint Of Equality Or, I Want Your Sex (2012 Planet Connections Festivity)
• The Empress of Sex (2012 Planet Connections Festivity)

The Starship Astrov

We continue our Midtown International Theatre Festival Q&A with writers Duncan Pflaster of The Starship Astrov, and Michelle Glick, writer and performer of the solo show Asian Belle.

Let us start with Duncan.

When did you know you wanted to be a writer?

Not until about 15 years ago- I thought for a long time I was going to be an actor.  There’s something really wonderful about making an audience laugh and react, which I loved as a performer… But as a writer, you get to play all the parts!  Now I only act if people specifically ask me, or if there’s an emergency casting.

What is your show about?

It’s a play written in the style of Anton Chekhov, set on a spaceship in the year 3047.  Captain January and the crew of the Starship Astrov are frustrated because they’re stuck on a boring diplomatic mission, ferrying Professor Cole to a lecture conference he’s giving on a space station; meanwhile, January’s daughter Ally is in love with Dr. Rosy, Professor Cole’s private doctor, and Rosy is in love with Cole’s beautiful green-skinned alien wife, Celaria.  It’s like an episode of Star Trek set on a ship that doesn’t have crazy adventures every week.

If you had to single out a quality between dialogue, plot or character, which one is the strongest in your project, and why?

Definitely character, in keeping with Chekhov’s style. I attempted to find the same sort of archetypes that Chekhov used so often- Pretentious Professors, Doctors who yearn for more . . .  The plot is in that epic stretched-out Chekhovian style, where everything and nothing happens at once.  As Chekhov said, “What happens on-stage should be just as complicated and just as simple as things are in real life. People are sitting at a table having dinner, that’s all, but at the same time their happiness is being created, or their lives are being torn apart.”  It’s all gorgeous character work, and the actors are really sinking their teeth into it.

Duncan Pflaster

What is the funniest thing that has happened, and what is the most frustrating thing that has happened so far during this experience?

The funniest has been dealing with how to present the character of Celaria, the alien.  Her perspective on humanity has us consistently giggling, and Elizabeth A. Davis‘ choices for the character have been hilarious.  Most frustrating has been finding this cast; Eric Parness, the brilliant director, went through tons of performers till he finally succeeded in finding the perfect group that would complement each others’ strengths.

Name one show in the festival you are planning on checking out, and why?

——

The Starship Astrov
written by Duncan Pflaster
directed by Eric Parness

Playing July 17th through July 31st at The Becket Theatre @Theatre Row (410 W. 42th St, 1st Floor)
Tickets are $18 (Students $15) available at www.MidtownFestival.org

* * *

Asian Belle

What about you Michelle…

When did you know you wanted to be a writer?

Gosh. I never really had that “ah-ha” moment, until I was already writing. For years I journaled — it was a way of expressing myself, you know venting, dreaming and all that — :) . I find it comforting. I never really thought of it as something I’d actually “do” as part of my career endeavors, it just sort of came out of needing to express myself. I have a pretty colorful family, so I started writing about them, and then when I copyrighted my first piece I looked at my husband and said “wow. I think I am a writer!” That was a pretty cool moment.

What is your show about?

My piece is about my experiences growing up 1/2 Asian in the South. I grew up in Alabama, which I love, and I am half Vietnamese. It made for an interesting childhood! It wasn’t until I got older and left the south that I realized some of the circumstances were pretty funny and endearing. The piece explores this. Its my love letter to my Asian roots – how I FINALLY came to embrace that side of myself, after years of attempting to hide it (not realizing I was doing this) and be a “typical Caucasian.” It also explores my mother’s take on this – her experiences of coming to the south and living there post Vietnam War, her experiences with my father, her hopes her dreams and whether or not they are realized. Its deeply personal, but hey, that’s the solo show for you…

If you had to single out a quality between dialogue, plot or character, which one is the strongest in your project, and why?

Its a tough call between character and plot – its been a lot of fun working on the different characters, and challenging too. And some of them are just hilarious – they make me giggle when I think of them.  And I think my show has a nice, strong message: embracing who you are — without banging you over the head with that. The character’s journey takes you through their evolution of coming to embrace this.

Michelle Glick

What is the funniest thing that has happened, and what is the most frustrating thing that has happened so far during this experience?

My rehearsal process has been the funniest thing. I have the most amazing director, Christine Renee Miller, and she’s really helped me to find the different characters in my piece and we just crack ourselves up working on them. She is also half Asian – so we both throw on our best (loving) imitations of our mothers and go nuts! The biggest challenge is definitely the juggling of all the “behind the scenes” with being a performer and the writer. It gets CRAZY sometimes!!! But that’s also part of the adrenaline rush too – and seeing just how much you can do when you are given a great opportunity. So you just have to remind yourself to breath, take your vitamins, etc……

Name one show in the festival you are planning on checking out, and why?

The Gospel According to Josh. I know Josh and I think he is hilarious and such a warm person. Super talented. And his story sounds really intriguing to me – exploring religion – which mine also touches upon – so I think I’ll really be able to relate.

——

Asian Belle
written and performed by Michelle Glick
directed by Christine Renee Miller

Playing July 15th through August 1st at The Abingdon Theatre (312 West 36th Street, Floor 2).
Tickets are $18 (Students $15) available at www.MidtownFestival.org

Related Posts:

• The Starship Astrov: Best Of Both Worlds (Midtown International Theatre Festival 2010)
• Entrevista: Never Norman Rockwell (Midtown International Theatre Festival 2010)
• Entrevista: The Gospel According To Josh (Midtown International Theatre Festival 2010)
• The Gospel According To Josh – Light On The Gospel, Heavy On The Josh (Midtown International Theatre Festival)
• Clandestine: It’s A Secret {But Tell Your Friends} . . . (Planet Connections 2010)

The Cherry Orchard was written in 1904 by Anton Chekhov and while it was the writer’s intent to have it play as comedy, the original production was directed as a tragedy.  This latest production of the play, directed by the venerable Terry Schreiber, contains elements of both comedy as well as tragedy, but it ultimately plays as a tale of transformation and renewal.

In Carol Rocamora’s new adaptation, playing at the T. Schreiber Studio, the story of The Cherry Orchard hardly seems dated at all, and this family, that we are given an intimate insight into, runs much like any that has recently fallen upon difficult times.  We come upon the story as Madame Ranevskaya (Julie Garfield) is about to return to her estate in Russia after a five-year-long absence spent in Paris.  She had fled quickly, after the tragic drowning of her young son (which came upon the heels of the death of her husband) and had left the responsibilities of running the estate on the shoulders of her capable eldest daughter, Varya (Aleksandra Stattin).  Over these last years Varya had done what she could to keep the household running, despite the fact that money is tight and interst on their outstanding loans continues to bear down on them.

Accompanying Madame Ranevskaya upon her return is her younger daughter, Anya (Laine Bonstein) who had gone for a visit to Paris and is now bringing her  mother back home to Russia for good.  Family, friends, and servants alike eagerly await their return,  but a lot has changed in the time the Mistress of the Manor has been gone.

Most notably Lopahkin (Jamie Kirmser), the son of a serf , has now become a wealthy landowner.  Yet he still carries the stigma of his humble beginnings  (Here I am . . . a pearl out of an oyster. I’m rich now, with lots of money, but just think about it and examine me, and you’ll find I’m still a peasant down to the marrow of my bones.).  In possession of a keen businsess mind, and eager to help the woman who had always been so kind to him, Lopahkin  advises the Madame that the debt she has returned to could easily be paid if she were to consider parceling off the land and leasing it.  It would mean tearing down the beloved cherry orchard, as well as the house, but at least the land would stay in the family and the debt could be repaid.  Later they could rebuild, if they wished.  But Madam Ranevskaya refuses to listen to this idea, and instead dithers about, wasting precious time and rhapsodizes about her lovely orchard which seems to become a character in it’s own right and a member of the family.

Others in the family offer no concrete help either; a brother, Gaev (Rick Forstmann) is concerned, but equally bumbling when it comes to business matters.  He talks in circles but can devise no reliable plan on how to save the land.

Hoping for a miracle, the family sends Gaev and Lopahkin off to an auction of the orchard, praying that Gaev’s small amount of money will be enough to save the land.  They come back that evening with surprising results; it is Lopahkin – not Gaev – who bought the orchard at the auction.   Madame finds that she is now forced to do exactly what Lopahkin had instructed all along – leave the cherry orchard and allow it to be razed in order to build anew.  Only now, it is not even her land anymore.

Ultimately, the entire family seems to greet this news with a sense of inevitability and acceptance;  that what they all feared most has now in fact happened, and while the news is shocking it is not exactly devastating, it seems rather to free them. Each character now has a new opportunity to go off and explore a path that hadn’t been available or desirable before while they were all tethered to this orchard which only provided an illusion of  comfort and security. Truly, any comfort or security the land had was gone long ago, simply a memory of  past greatness that no longer existed.

An old serf of the family, Firs (Peter Judd), acts within the play as a metaphor for the spirit of the orchard itself.  Now an old man 0f 87 he is the only character in the play to remember the glory days  when the cherry orchard produced fruit  with a rewarding outcome:

To Firs the orchard was a vital part of what the estate was about, the cherry orchard made the land more than just a house, or even a home; but a place for producing wealth, a livelihood, a reason for continuing.  Like the orchard,  Firs is a remnant of another time, and he carries the last remaining memory, which even now, to his own self, grows dim.   At the end of the play when he is inadvertently locked inside the house and is left alone with nothing but the sound of the orchard being chopped down, it is as if his whole purpose has been fulfilled and now his life can be over.  He can rest.

This marvelous production of The Cherry Orchard directed by  Terry Schreiber literally shimmers with layers of beauty; deep and nuanced performances are given amidst a beautiful large set designed by Hal Tine which is both minimalist and lush; Dawn Testa’s costumes add a quality of richness and remarkability; you can hear the fabrics rustle.  The entire staging is so evocative and precise that it allows Chekov’s work to shine as it is held aloft and illuminated by this team of great talents.

Julie Garfield as Madame Ranevskaya is mesmerizing.  She can at once show you her strength as well as her weakness, and bring you along on her character’s journey.  When she spoke of her cherry orchard, her emotions were so passionate that I followed her gaze, half expecting to see lush blossoming trees, even though I knew they weren’t there.   Garfield shades Madame Ranevskaya’s love of this Russian land with a tinge of the love Scarlet O’Hara had for Tara; she brings to life this love that we, 100 years later, can hardly imagine; this love of the land, of an ancestral home that becomes as much a part of you as your own blood.

If you’ve been longing to see a fantastic classic brought to the stage by some of the most talented people working in the theatre today, then do not miss this production of The Cherry Orchard.  It will be the production you will always remember as the standard by which all other Chekov productions are measured.

~~~

Related Posts:

• Lobby Hero Redux
• Balm In Gilead – Everyone Has A Story
• The Starship Astrov: Best Of Both Worlds (Midtown International Theatre Festival 2010)
• Entrevista: The Starship Astrov and Asian Belle (Midtown International Theatre Festival 2010)
• Joking Apart: To The Happy Couple!