The Happiest Medium » Artem Yatsunov

Catching Up With Artem Yatsunov – One Catches Light Festival

Karen Tortora-Lee — Thu, 28 Jan 2016 21:21:27 +0000

Brooklyn Gypsies is proud to present the first annual One Catches Light Festival, celebrating the new work of extraordinary NYC-based solo performers. For three nights — starting tonight — three solo artists in the Brooklyn Gypsies family will share a bill: Colie McClellan with Arethusa Speaks, Bay Bryan with Growing Into My Beard and Nick E Finn with Last Hipster in Brooklyn.

I got a chance to chat with Artem Yatsunov who is the Director and Producer of Growing Into My Beard. He’s also the General Manager of the Brooklyn Gypsies, so it’s great to be able to talk with him about this festival!

I first saw Artem’s work at UNDER St. Marks when he directed The Virology back in 2012. I was immediately drawn to his directing style and impressed with his talents. A few years later in 2014 I reviewed Basic Help which wowed me again. Artem is a Ukrainian-born, Brooklyn-based theatre director and storyteller who has been directing non-stop since graduating from Montclair State University in 2008. For Growing Into My Beard he’s collaborating with writer, performer and composer Bay Bryan. Bay is a Colorado-born, Scotland-trained, and Manhattan-based storyteller and singer-songwriter. Currently Bay is splitting his time between touring, Growing into My Beard, and recording his debut album, “Varied Shapes and Sharp Angles.”

Growing Into My Beard is the coming out and coming of age story of a ginger kid from Colorado, growing into his own and falling in love – real love – for the first time. A hilarious and partially improvised evening, the show is told through stories, live music, and Beyoncé dance. Throughout the evening Bay addresses his long distance, long-time committed relationship. He isn’t married, yet but in light of the new Marriage Equality Bill, marriage is now some actual, real shit that Bay will possibly have to consider. Growing Into My Beard is a timely celebration of all things queer.

Sounds great! Let’s get this interview going!!

Hi Artem! Tonight the One Catches Light Festival will be kicking off for 3 days in Brooklyn. What’s this festival all about?
Artem: Hi Karen! One Catches Light Festival is a celebration of NYC solo works! This is the first annual festival for the Brooklyn Gypsies who are about to start touring around the country. So this is a very home-based homage to the voices of NY and to the local artists who inspire the company. The three featured solo-works showcase a wide variety of topics: gentrification and hipsters, domestic violence against women, and then of course we have our coming-out story celebrating all things queer. (With explicit ginger content! Leave Nana at home!)

Growing Into My Beard is “written, performed and lived by my dear pal and collaborator Bay Bryan”. Tell me about the experience of actually directing someone performing a recreation of their own life.
Artem: Ha! It’s very very amusing, and Bay and I have been working on this since last April – from inception, through the writing, and now through five different productions of this show. So we have a very deep commitment to the story. But it never fails to be really funny, and weird, for me to have to say things like, “Oh, that thing that really happened to you, that moment in your life you just described – yeah, that’s not really all that interesting. Let’s skip it!” Bay is a trooper, bless him.

Growing Into MyBeard has been making the rounds – Queerly Fest at Horse Trade, Minnesota Fringe, FringeArts in Philly. Are you getting different reactions in different cities?
Artem: It’s been awesome to bring Growing Into My Beard to so many different crowds. In NYC there is always a lot of friends and fans in the audience who instantly get the inside jokes and the snarky asides. So we were curious how people would react on tour, we wanted to know if it could earn that sense of kinship with strangers. It’s been a humbling response! In Minneapolis people just wanted to keep talking and talking about the show after, and they wept and got really into the performance! Philly was just like a party, every day. I cannot say enough great things about the LGBTQ scene is in Philadelphia – TABU Bar and Philly AIDS Thrift Store were our fave venues to play! It felt like in Philly people really wanted to witness queer stories and to share them.

Has the show changed much as it travels along? Or has the script been pretty much set since day one?
Artem: Yes – a ton. I feel like it changes a little every night. However, in Philly we had this like audience story-telling concept in the show where Bay would turn to the spectators at certain points to ask about their stories of love and coming out. And those were true “WOAH” moments! Because people wanted to share. I think that the coming-out narratives are so incredible and are such a unique part of queer identity and culture. I can’t think of a better way to put it than I feel privileged to be doing this show and to be witness to how it sparks a dialogue about queer acceptance.

You’ve directed some great ensemble work, you’re very good at rhythm and pacing. What’s the difference between directing a cast vs. directing a solo-show?
Artem: A solo show really is always an act of ultimate exposure – the entire time the audience is asking themselves the question, “Do I like being in the same room with this person for an hour?” That’s a strange pressure for a performer. It forces an artist to reconsider what kind of a story teller they are at the core. It’s like in clowning they teach you to discover your essence – are you a sarcastic clown that splats pies in people’s faces, or are you the sad clown who gets pie-faced? Solo shows are like that, too: there’s no hiding your authentic self. With this show, I felt that sense of exposure immediately because this is Bay’s real life and we’re creating a fantasy around real events of his life. This play is equal parts a vibrant live experience and an intimate search for closure.

Where do you hope to take this show next? Do you see it going on and on?
Artem: I’ve got some plans to take it to a cabaret space, but I’m not sure where, yet. We’re thinking of taking it to Bay’s home town of Golden, Colorado at some point. I’d love to do it in the back room of a bar: some joint with a whiskey stained creaky old piano that Bay could play, and then do a pirouette on top of.

There are solo shows aplenty in this community. What makes the solo shows of the One Catches Light Festival different, special, worth seeing?
Artem: Each show in the line-up is spectacular and totally different. Brooklyn Gypsies have curated this festival specifically to speak to some of this community’ issues: gentrification is terrible real and present and happening right now all over Brooklyn; domestic violence and sexual attacks on women are right now on the forefront of every American individual; and queer acceptance and the Marriage Equality bill are perhaps the most revolutionary American cultural milestones of this century – and gosh darn in, I think we ought to celebrate it!

Bonus question! Tell me something unrelated to this show. The mic is yours!
Artem: Do this at a party, or – wherever: pretend you’re chewing gum, make eye contact with a total stranger across the room, and without taking your eyes off that person, just start twerking. HARD. See where that takes your night. If you need a crash-course on how to execute that maneuver correctly come see Growing Into My Beard at Brooklyn Gypsies’ One Catches Light Festival! Let the ginger-swan Bay Bryan school ya!

Ahh, Artem, as always – such a joy to be able to chat with you. The festival sounds amazing and I know you’ll have butts in all the seats!

For the rest of you – get yourself down to the One Catches Light Festival — starting TONIGHT FOLKS!!!

~~~

One Catches Light Festival
Tickets: $15 per play or $20 for all three shows in one night

CLICK HERE FOR TICKETS

PERFORMANCE DATES
January 28 2016 7-10PM
January 29 2016 7-10PM
January 30 2016 7-10PM

Thursday
7pm- Arethusa Speaks
830pm- Last Hipster In Brooklyn
10pm- Growing Into My Beard

Friday
7pm- Last Hipster In Brooklyn
830pm- Growing into my Beard
10pm- Arethusa Speaks

Saturday
7pm- Growing into my Beard
830pm- Arethusa Speaks
10pm- Last Hipster In Brooklyn

~~~

Artem Yatsunov is currently working on a solo show about Americanized immigrants dealing with conflicts in their native lands. If you’re interested in collaborating, Artem is always looking for new artists, actors and playwrights to work with – contact Artem at artem.yatsunov@gmail.com

Bay Bryan is very excited to share Growing into My Beard with you, after having toured it at the Queerly, Minnesota Fringe, and Philly Fringe Festivals! For more info check out Bay’s website www.baybryan.com

Basic Help (2014 Frigid New York Festival)

Karen Tortora-Lee — Fri, 07 Mar 2014 20:23:29 +0000

Strangedog Theatre’s Basic Help begins with a situation that is all too familiar to anyone who has ever spent endless minutes weaving through the labyrinth of telephone prompts in the hopes of eventually getting to speak with a live person who can actually help you.

We first come upon Cynthia (Megan Greener) at this exact moment of human contact. Cynthia is so startled and relieved to talk to a human being that the first thing she does is relate her frustration at being navigated through an endless maze to finally get to an actual rep. The phone-chain hierarchy is described perfectly – beginning with the the remote, robotic push 1 for this, 2 for that menu options which lead to the more interactive but no less animatronic“Okay. I heard you say such-and-such. Is that correct? Okay. One moment while I check that …”

So of course when Cynthia is finally connected with Simon (Gavin Earl Johnson) who answers the line with a scripted version of Thank you for calling Magicprep Kitchenware where all you kitchen prep is magic. What is the name of the Magicprep Kitchenware customer I have the pleasure of speaking with? is it any wonder that she demands verification that he is, in fact, human – and not just an even more clever version of robotic technology who will be of no more help to her than all the others?

On the surface, Cynthia seems a bit high strung. I mean, really – it’s just kitchenware. Does having a blender which makes an unexpected noise warrant a flood of crazy-lady rantings and accusations? Whether it does or doesn’t, Simon isn’t paid to really respond thoughtfully or give actual conversation anyway. He’s just meant to help the customer on the other end of the line, ask them if there’s any thing else he can help them with today, wish them a nice day, and sign off so that he can answer the next call. Simple.

Only it’s not that simple. Yes, Cynthia is high strung – but there’s a reason. And Simon does have more thoughtful, more conversational responses – he’s just not expected to voice them. So when Cynthia calls back the next day on some other pretext about her blender (“I lied to you when you asked if it was a gift …”) it gives the two a chance to connect a bit deeper – but only just. It’s enough of a connection, however, for Simon to give Cynthia his direct extension so that she can bypass the maze and get him directly. On the one hand, this is crazy. She’s obviously got a lot of time on her hands – she will obviously call again. On the other hand … not so crazy. Because she will obviously call again.

And so begins a strange friendship. And it is a friendship. The wonderful thing that playwright Ben Clawson has a gift for understanding is that the human mind is a complex thing and not all connections need to be romantic in order for them to be deeply moving and affecting. Director Artem Yatsunov interprets this beautifully. While there is most definitely a type of playfulness which grows between Cynthia and Simon as the phone calls become a daily ritual, the intimacy – and there is definitely intimacy – never crosses into coy flirtation. Nevertheless Yatsunov makes it obvious that these two human beings – without seeing each other, without REALLY knowing each other beyond the scope of these brief daily interactions, have created a bond which both rely on. Sometimes emotional intimacy is more of a life preserver than any other kind of intimacy. But, like a life-preserver, some intimacies are self contained and serve only one purpose – and aren’t useful unless you’re lost at sea.

The feasibility of BASIC HELP sits squarely on the shoulders of Greener and Johnson and both do a wonderful job of breathing life into their characters. Even more-so, their nuanced performance allows you to watch as they grow closer, even as the two actors never lock eyes or even face each other. No small feat. In just the act of simple phone calls they call forth humor, poignancy and even emptiness. They succeed in finding things that not only connect them to each other, but to the audience as well.

Musician David Byrne said “Sometimes it’s a form of love just to talk to somebody that you have nothing in common with and still be fascinated by their presence.” Do Cynthia and Simon fascinate one another? To an extent. They certainly intrigue one another. And at the time their phone calls happen they wake each other up a bit.

BASIC HELP does a beautiful job of exploring unexpected connections found in strange places which can lead us to decisions we wouldn’t have been brave enough to make otherwise. We live in a society where we can disclose our innermost thoughts on Tumblr anonymously via a screen name such as starburstfireflygrrrrl and get more support from Gothgrrrl92 than we do our own friends IRL. This simply underscores how the scenario of BASIC HELP is more accessible and commonplace than we think. Making friends with a stranger who we will never meet or talk to again? It happens every day. And if you think it doesn’t – remember this review the next time you’re pouring your heart out to the faceless masses on line. Think of BASIC HELP. And know: someone’s listening. And someone’s always there to give help – basic or otherwise.

~~~

Basic Help
Company: StrangeDog. Theatre
Written by: Ben Clawson
Directed by: Artem Yatsunov

Remaining Performance:
Mar 09, 12:30PM

Click HERE for tickets

Running time: 0 h 50 min
Price: $16.00
Seating: General Admission

UNDER St Marks
94 St Marks Place
New York , New York 10009
1st Ave and Ave A

Horse Trade Theater Group will present the 8th Annual FRIGID New York Festival at The Kraine Theater (85 East 4^th Street between 2^nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1^st Avenue and Avenue A) February 19-March 9. Tickets are available for purchase in advance at www.FRIGIDnewyork.info or by calling 212-868-4444.

THE CANUCK CABARET (2014 Frigid New York Festival)

Karen Tortora-Lee — Thu, 06 Mar 2014 06:03:09 +0000

One of the best things about the Frigid Festival as a whole is how innovative, experimental, unfiltered and uninhibited it is. But that’s nothing compared to what happens each night, for while the last show of the evening is taking its bows, UNDER St. Marks gears up for its traditional midnight show. For five years now there’s been no greater testament to the wealth of talent that gathers for the festival than The CANUCK CABARET which is – yes – a Cabaret but also a bawdy playground where talented performers from Canada and parts south (that would be the good ole US of A to you and me) get an opportunity to congregate in that 45 seat theatre we love after all the FRIGID hub-bub of the day is over. There, performers and audience and anyone who wants to be there, can experience some amazing performances, and in general just have a blast. The good news? There are still a few more midnights to go … The Cabaret is still at full tilt and you’re invited! The bad news? After a great 5 year run this is the last year for these Canadians so miss this now and you’ll miss it FOREVAH.

To review the show I saw and then tell you that your experience will be the same is kinda pointless – as well as besides the point. One doesn’t go down those rickety stairs with a playbook – nor would you want to. It’s the unexpected, the serendipity of specific audience melding with specific performers that make the magic that you experience. Hell, there’s not even a set running time. Just arrive at midnight and surrender yourself to the river of performance that will flow.

Paul Hutcheson [photo credit: KL Thomas]

Two things are constant however: the bar IS always open and the show IS always hosted by the appealing comedic performer Paul Hutcheson who takes care of warming up the crowd, giving introductions and keeping the whole thing moving. I just wanted to convince him to move to NYC so that we could see more of each other – that’s how much fun Hutcheson is, not only as host but as performer — and if his stand up is to be believed then that’s how much fun he is as a person, period. I think the New York scene needs a few more Paul Hutchesons.

Sharon Nowlan [photo credit: KL Thomas]

Revving up the crowd and starting things off RIGHT was Sharon Nowlan who did a little burlesque – Canada style. Which – according to me means lights turned down low while she swirled glowing things in the air. With perfectly placed maple leafs (yes I said “maple leafs”) she charmed not once, but twice and her closing number (almost 2 hours later) was as delightful as her first performance.

Chris Wilson [photo credit: KL Thomas]

Chris Wilson who is from Toronto got the crowd going with a skit involving a coach taking over a health class for the day. Things get a little twitchy when anonymous questions like “what is love” and other sex-related queries are answered with sports metaphors.

Fay Slift – The Ladybearextraordinaire – was decked out in full tutu, wig and glorious beard. Fay’s first number took the crowd soaring through a pop landscape but later on the audience was on its feet (or at least bouncing in its chair) as Fay raced about in a whole new ensemble – all foam hair and Minnie Mouse hands and perfect “are you gonna stay the night” eyelash batting. Yes, Fay! Yes! We WILL

Matt Panesh – Monkey Poet - was there in all his tall loveliness with that amazing accent pouring out of him. He gave his background which had a little Liverpool smashed in with a little Manchester and so much more – all I can say is listening to him recite his poetry is something to behold. I’d seen him all day at the Kraine handing out flyers and was already smitten – seeing him perform did not disappoint.

CJ Sawchyn [photo credit: KL Thomas]

CJ Sawchyn (Steve Nuggett) of the notorious musical sketch company THE SPECIALS, was there doing something so brilliant it’s impossible to describe. Suffice to say this guy makes Keith Richards look like your grandmother’s canasta partner.

Antonia Lassar (who is one half of the FRIGID show TINA and AMY) was there with her super good friend (and kissing buddy – and ovary smasher) Artem Yatsunov (director of BASIC HELP). First of all, seeing them together made me understand why they were so sweet together in their 10 THINGS TO KNOW interviews. Ahh! So obvious. Secondly, seeing them together was just great fun – they sang songs while Antonia strummed the ukulele and told a story that involved a trip to the emergency room after an incident involving (yes, you guess it) Antonia’s ovary. Let me say right now – since seeing this show I have sung the phrase “Big dickery” more times than I can count. That’s the way to do it A&A. THAT’S THE WAY TO DO IT.

Jillian Thomas [photo credit: KL Thomas]

Jillian Thomas – originally from Canada but recently moved to NYC after marrying a man who heckled her – not only did some great stand up that illustrated her comedic chops, but she told even MORE stories about host Paul Hutcheson involving a live sex show that made me envy her a little more.

Una Osato, a performer I’ve enjoyed for her work in prior FRIGID shows (notably JapJAP) didn’t disappoint as she took to the stage in a giant Orca costume and swam to that Free Willy song slowly shedding her costume until she was in all

Una Osato [photo credit: KL Thomas]

her glory – save for pasties and a thong – celebrating her sweet parts, even those that jiggled – and as the audience cheered and urged her on she jumped high into the sky (or as high as the basement ceiling of USM will allow) and let those babies (or do I mean boobies?) fly free.

Rebecca Parry [photo credit: KL Thomas]

Rebecca Parry of the Frigid show Confessions of a Redheaded Coffeeshop Girl was there too – wooing the crowd with some songs from Suzy Snowflake Entertains The Troops and her red hair and red dress and red-hot number proved that this firecracker from Canada is more than just a pretty shade of claret – she went down as smooth as a fine burgundy.

By the time Paul Hutcheson and Sharon Nowlan were back to do one final closing number that involved fans and flutters and a Pink ballad I was all teary eyed for this Cabaret. In a city that never sleeps this show comes on at prime time. So take the next few available midnights and spend them at UNDER St. Marks where you’ll be treated like an old friend. Do it before they’re gone forever.

~~~
THE CANUCK CABARET
Hosted by: comedic performer Paul Hutcheson

Remaining Performances:
Mar 06, 12:00AM
Mar 07, 12:00AM
Mar 08, 12:00AM

Running time: 1 h 0 min
Price: $5.00

Seating: General Admission

UNDER St Marks
94 St Marks Place
New York , New York 10009
1st Ave and Ave A
2nd and 3rd Ave

Basic Help: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Sat, 15 Feb 2014 19:37:05 +0000

Ten Questions. Ten Answers. And One Big Decision: Rock, Paper, Or Scissors?

Basic Help (PHOTO CREDIT REBECCA BICKLEY)

Basic Help

Production Company: StrangeDog Theatre

“Your call may be monitored.” NJ’s premiere indie-theatre auteurs, StrangeDog, bring you Ben Clawson’s (Luna Stage, Shadowlands, David Mark Cohen award recipient) latest odyssey – a chronicle of two strangers who clash with a kitchen appliance, conquer customer service and quality assurance, only to discover simple companionship in the strangest of places.

Show Times:

Fri 2/21 @ 8:40
Thu 2/27 @ 5:30
Sat 3/1 @ 6:50
Wed 3/5 @ 10:15
Sun 3/9 @ 12:30

Answers by Artem Yatsunov (Director)

1. Your tag line is out there on postcards and press releases so we know the PR version of what this play is about. But when you talk to your family and friends, how do you explain the show to them?

AY: A woman has a flip out and melts down over the phone with a kitchenware sales associate, but then they become friends and talk about robots, sickly mice, failed marriages, unemployment, and the effects of too many margaritas. With jokes!

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?

AY: I hope they’re talking about how glad they are that they’re not as miserably sad and lost and confused as the characters in the play. But if they’re not discussing that then I hope they are discussing how much the characters remind them of themselves.

3. What drives your show – character, theme or plot?

AY: Time. These are the only 50 minutes that these people have together, nothing is left out, and no moment is wasted.

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?

AY: “Megan and Gavin are BOTH in this? When are we going!” Caitlin’s (the super fan’s) dad.

5. Let’s fantasize for a moment. Let’s take the “off-off” off. Imagine this show is on Broadway. Would that change the production itself?

AY: Nope. What you will see at 8:40 on Fri Feb 21st, 5:30 on Thu Feb 27th, 6:50 on Sat Mar 1st, 10:15 on Wed Mar 5th, and 12:30 on Sun Mar 9th is going to not only redefine the art form but will also be the reason for St Marks Place to be renamed St Broadway Place. I strongly suggest everyone bring a bucket with them so they have a large enough vessel to weep into.

6. Taking that one step further – after paying everyone what they’re worth of course, what is the most lavish, luxurious, pointless thing you would spend money on if there was no constraints?

AY: The building itself would be shaped as an enormous blender (central image of the show) which lying on its side, and it will be large enough to fit at the very least a thousand people. Additionally, will be fully functional. Oh and along with that, we have two scenes we left out that do require a Miss Saigon style helicopter so we’ll bring those back and FINALLY be able to realize the play in its full form!

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?

AY: It’s best captured by this one moment when one of our actors, Gavin Earl Johnson (who plays Simon, the kitchen ware help line phone operator) does a really, really spot on impersonation of a mouse sick with bronchitis coughing. After we saw that, once we were able to catch our breath from weeping at the beauty of that sequence, Ben Clawson (the playwright) and I strongly considered renaming the play A Mouse Coughs In Brooklyn but then decided we didn’t want to ground the play in a specific city. So we left it Basic Help.

8. What’s your favorite line from the show?

AY: “Cynthia: (drunk) Who did make him a he? Who makes any of us a he? Cause he, he is sexist then. Oh! Why’s the one who makes us a he got to be a he? I’m sexist.”

9. Is the world of this play sustainable outside a theatre? In other words … do you think people live the way the characters do? Would you want a world where they do?

AY: Sure!

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?

AY: Antonia Lassar of Tina and Amy: Last Night in Paradise and I am shocked simply because she gets more gorgeous every time I see her. And I see her all the time! How does she do it?!

Rock, Paper, Scissors Tournament of DEAAAAATH

In the THM virtual Rock, Paper, Scissors Tournament of DEAAAAATH which FRIGID Show do you take on? And what do you throw?

CHALLENGES: We would take on Tina and Amy: Last Night in Paradise - now that there is a cast almost as good looking as ours!

THROWS: We would definitely throw rocks, but not very hard cause if someone gets hurt it’s not so much fun. Why paper? That’s weird, I mean, you can’t really throw paper. Oh! And throwing scissors just sounds so violent and outrageous! At least with a rock you can sort of throw a warning shot, you can aim more carefully – but scissors!? Yuck. That is so dangerous.

Good choice, Basic Help! Now, let’s see how ROCK worked out for you! You were challenged by a number of shows, including Tina and Amy – so that gives you TWO rounds to try you luck with those gals. Let get the games going!

CHALLENGED BY:

~ East in Red who threw SCISSORS – that’s a WIN for you!

~ THE CANUCK CABARET who threw ROCK – that’s a DRAW …

~ Tina and Amy: Last Night in Paradise who challenged you RIGHT BACK and threw SCISSORS – that’s a WIN for your round, and a WIN for their round giving you TWO WINS!!

~ Real Dead Ghosts who threw ROCK – that’s a DRAW …

~ Boogie Of The Apes who threw ROCK … another DRAW.

So in the end, you have THREE DRAWS, THREE WINS and NO LOSSES! You obviously need NO HELP when it comes to this game – Basic or otherwise!

Thanks Basic Help for participating in The Happiest Medium’s FRIGID New York Festival 2014 Q&A. And for playing our game! You’re officially ROCK in any and all challenges. You may win, you may lose – who knows! This is how it works in the crazy world of the Rock, Paper, Scissors Tournament of DEAAAAATH!

For the rest of you don’t forget to check out Basic Help !

~~~

Feb 21, 8:40PM
Feb 27, 5:30PM
Mar 01, 6:50PM
Mar 05, 10:15PM
Mar 09, 12:30PM

UNDER St.Marks | $16.00

~~~

The Virilogy: A Drinking Game – Good To The Last Drop

Karen Tortora-Lee — Sat, 14 Jul 2012 22:32:35 +0000

I was in my early 20s, NYPD Blue was breaking all sorts of rules and watching it was absolutely necessary, especially if you lived in New York. Making fun of it was necessary too – and we did. ”Drink every time David Caruso says ‘come here’ and hugs someone” was the first drinking game I remember hearing that mixed liquor and entertainment. I played the game. I got drunk as David Caruso hugged people.

So, when I heard that StrangeDog Theatre was doing a show where you “Step one: Come See The Show. Step two: Choose a Character. Step three: When the Character Drinks, So Do You.” I was in.

Here’s what I expected: a lot of drinking. A lot of random chit-chat on stage peppered with a lot of drinking, encouraging the audience to drink along in an effort to make their show experience seem better than it really was. Here’s what I got: an enormously well-written well acted, well directed play so full of laughs, heart, and surprises that the drinking-game part became secondary. Yes, you heard me right. The thing that had me most excited was actually overshadowed by a terrific night of theatre.

Initially the fun of The Virilogy is three fold: first, there’s the simple Simon-says aspect. You’ve picked your character and for the first scene you’re glued to him. Will he drink? Wait … did that count? Oh, damn … I got wrapped up in the story and forgot to drink! Is this like Mother May I? Is there a penalty here? Nah, don’t sweat it. No one’s watching. Oh, wait … that’s the second fun aspect of the show … Under St. Marks Theatre is just small enough that, positioned correctly, you are keenly aware of whom your fellow audience members are choosing to follow. Suddenly you’re watch to make sure so-and-so drinks when their character does. But then there’s the third aspect, and by the final act it’s the aspect which has pretty much paced the drinking game: the pure fun of this amazing show. By the time the third act rolls around I’ll venture to say some people weren’t even drinking anymore and were just enjoying this unfolding friendship. Remarkable.

The Virilogy featuring Scott Cagney, Alejandro R. Hernandez, and David Murgittroyd (Photo credit Joseph Dreschel)

Written By Ben Clawson and directed by Artem Yatsunov The Virilogy follows three friends through three stages of their lives – each stage putting one of them front and center as they deal with a love interest.

The first act entitled Virilia stars Alejandro Hernandez as Quinn who shows up to Stu’s home (David Murgittroyd) in complete devastation over the breakup with his girlfriend. In this simple but brilliant beginning Clawson and Yatsunov reveal that -done right- nothing is funnier than mining a heartbroken man for comedy. While Quinn falls apart Stu and Brian (Scott Cagney) decide to ignore it (“Was he crying?” “His face was wet. I chose not to investigate why”) and “do what men do” (“I bought you this beer. I want you to drink it. It’s how we help”). However, they can only ignore so much as they begin to notice Quinn is wearing Michelle’s sweatshirt and even worse … her perfume (“It’s like a nicotine patch for my nose …”). Stu and Brian’s reaction to Quinn’s depression is brutal, but his reaction to now being just one of them again winds up being the most crushing blow of all.

Intermission. Buy more drinks. The game’s not over!

When we next catch up with the guys it’s obvious some years have passed – though not many. They’re just grown up enough now to wear ties to work and cook for their girlfriends, but they’re still up to the same shenanigans. Virility centers on Brian’s breakup this time, only this one is a whole different animal. Stu and Quinn have hated Brian’s girlfriend Lindsay with such a vengeance that they have made up songs about her which they sing every time she leaves the room. They’ve invested exorbitant time and money creating a huge chart they can use as a presentation as to why she is bad – not only for Brian … but bad in general. The screwball reasons coupled with the pair’s antics (including stabbing a cantaloupe head in effigy) were so deeply disturbing yet hilarious that I’m not sure anything could have made it funnier. And while it seemed outlandish there was a foundation of truth that I think everyone in the audience could respond to – who HASN’T had a dear friendship threatened by a significant other who was simply intolerable? Stu and Quinn’s roadshow is something we’d all do if we had a great piece of poster board to build on.

Second intermission. Last chance to get your drinks!

The final act – Visectomy - is a perfect nightcap to this show. After the hilarity of the first two acts this is where everyone drives it home. Clawson flips the script and shows his ability to delve into the more serious side of male bonding writing a scene that is as real, visceral and raw as the other two were side-splitting and hilarious. The three men now show their adult sides … again, while it’s impossible to gauge how much time has passed there’s talk of wives, children, actual jobs. Murgittroyd, Cagney and Hernandez all now have the body language of older men, they have adult swagger, they have a world-weary bent in their posture. As these three friends come together on what would have been Stu’s wedding day, the drink of choice is no longer beer but something stronger. They do what they’ve done for their entire friendship – they stand together and support each other, only this time despite the jokes, there’s an undertone of seriousness, sometimes of regret, sometimes of thankfulness. More is at stake, and as they reflect on what has been they see their mistakes, their moments of regret, but also their strong friendship which has gotten them through. By the end of this show all three men have grown up and the drinking game has become a toast, not only to the characters, but to the incredible team that brought this show to life.

I’m not sure if The Virology started out as a drinking game. It sure works as one – there’s a lot of drinking going on, and it’s nice to sit in an audience and bond with your guy, drink when he drinks, and feel yourself getting a little tipsy in an “I love you guys” way by the end. But does this show work without the drinking? Absolutely. It works on every level. I left feeling as if I’d watched a real friendship unfold.

Though StrangeDog Theatre Company are based in New Jersey I want them to come back to Horse Trade as often as possible. I can’t wait to see more of what they have on tap.

~~~

STRANGEDOG THEATRE COMPANY’S

THE VIRILOGY: A DRINKING GAME

WRITTEN BY BEN CLAWSON

DIRECTED BY ARTEM YATSUNOV

July 5-14

UNDER St. Marks

94 St. Marks Place (between 1st Ave and Ave A)

Thursday through Saturday at 8pm.

Tickets ($18, including 1 free beer) are available online at www.horseTRADE.info or by calling Smarttix at 212-868-4444.

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