Of all the things to be tempted with this holiday season, nothing is so tantalizing as Company XIV’s production of Snow White which lures audiences to 303 Bond Street with all the seduction of an evil queen extending a shiny, beautiful, apple in order to cast a magical spell.  One thing is certain – there is definitely something bewitching the spectators who walk in innocently and emerge 90 minutes later – filled to overflowing with images of exquisiteness and spectacle.  If that’s not magic, I don’t know what is.

The lights are hung, // The wires strung, // The sets are all painted and built
The make-up’s applied // And I’ll say it outright: // The gold you will see is just gilt.
The kingdom and forest is plastic and steel // But the dancing feet are real.

And so begins the narrator’s speech as Jeff Takacs (who, as with all of the Company XIV productions, is responsible for the adaptation of the work, and has written the script) welcomes the audience to Snow White, conceived, choreographed and directed by Austin McCormick. It’s the perfect way to begin a fairytale: with the truth — that all the dazzling bells and whistles which make this show shine are remarkable, but take it all away and you’d still have the amazing dancers, executing the superb steps created by McCormick.  However, between the whirling and the witchery is where the wonder lives.

I have long since left all expectations at the door when it comes to Company XIV and Austin McCormick; the only thing I can be sure of is that the show will be dazzling, delightful and richly textured in a perfect blend of media and styles.  And so it is with Snow White – which immediately beguiles the audience with a Gothic-inspired funeral scene sung beautifully by Lauren Michelle.  What follows is not just dancing but aerial silk, aerial hoop, acrobatics, and mixed media.

What I’ve come to love about McCormick (as a director) is that if a work of his is labeled “family friendly” it does not mean he has diluted his vision for the young ones; if anything, he challenges the wide-eyed tots in a way that invites them to appreciate a world of pure imagination – a world that hides nothing and therefore allows for everything.  Rather than stripping away elements so that children can grasp the story more fully, McCormick actually layers in more complexity so that a younger sensibility is served alongside that of the adults. I envy the children who are growing up with Company XIV as an example of what theatre can be; they are being given memories that will spark them to create amazing things on their own, rather than walk in the footsteps of what they see being churned out by Hollywood in order to sell more happy meals.

This Snow White hasn’t been altered much from the original Brothers Grimm fairy tale – there’s the death of the queen, mourned throughout the land, who leaves behind her sweet little girl with skin as white as snow, hair as black as ebony, and lips as red as roses.  There’s the evil stepmother who is so vain that she can’t go a day without demanding that her magic mirror confirm that she’s the fairest in the land.  There’s the inevitable moment when Snow White (Gracie White) grows into her beauty and outshines the Evil Queen (Laura Careless) prompting the queen to hatch all sorts of plots which include death by hunter (hunter fails), death by suffocating corset (untied by a raven), death by poisoned hair comb (pulled out by a fox) and finally the worst of all – the poisoned apple which sends Snow White into a deep sleep.  Later she is awakened by the charmingest of Princes with a kiss, the two marry and the Evil Queen gets her comeuppance.

Gracie White as Snow White, Ashley Handel and Laura Careless as The Evil Queen

What McCormick has done is changed the focus of the piece; while the title may be “Snow White” the best moments are given to McCormick’s muse and principal dancer, the fantastic Laura Careless, who clearly sinks her teeth into the role of the Evil Queen as deeply as Snow White sinks her teeth into the poisoned apple.  Careless’ full range of talents are on display in this production, not only does she dance through each scene with an awe-inspiring  fervor but she clearly displays a wonderful gift of accents and even humor.  Having watched Ms. Careless over the last few productions I was delighted to see this side emerge – while she never fails to amaze it was wonderful to see her in a role that had so many opportunities to showcase the campier side of her (seemingly limitless) talents.

Of course, leave it to McCormick to have the audience thrilling to the darker side of such an innocent tale.

Gracie White as Snow White (photo by Steven Schreiber)

For her part Gracie White as Snow White is lovely; she has all the charm of an innocent young maiden who seems to never learn that an evil queen is out to get her.  The aerial work she does on the hoop is delicate and elegant and she often seems to defy gravity as she is hoisted and held and dropped before being caught at just the precise moment, all while smiling peacefully.

Of course, there is no one element of the piece that could exist without the other; McCormick has hit on a formula that works and employs a team that does extraordinary things with lighting effects (Gina Scherr), video projections (Corey Tatarczuk) and repeating musical themes.  So talented are they that set designer Zane Pihlstrom even make it snow — beautiful glittering bursts of sparkling snow that flutter and disappear … just like this production soon will.  So get your tickets now and give yourself the best holiday present of all.

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There are a few things that are crucial when it comes to producing a successful children’s theatre piece. First of all, your story has to be entertaining. Secondly the action has to be fast-paced. And finally, there has to be a strong lesson underneath all the funny costumes, big movements, and thick accents. Because while we want our kids to have a good time, we also hope they’re learning something in the process.

Looking Glass Theatre’s Calamity Jane Battles The Horrible Hoopsnakes (written by E. J. C. Calvert) delivers the goods, and much more! With a healthy dose of imagination provided by the audience (who is asked to participate in fun ways) the team behind Calamity Jane packs a lot into the 50 minutes, with audience members big and small finding themselves having a rip-roaring time.

Calamity Jane (Katie Proulx), Townie Toula (Sarah Pullman) and the Mayor of Hoopersville (Abraham Adams)

The story is simple. Well, simple-ish for is any story really ever simple? The population of the Town of Hoopersville is now down to just three – a very spunky three but still, that’s quite a small number. There’s The Mayor (Abraham Adams) who’s doing his best to keep the townfolk calm, even as he pulls double duty as the Sheriff when necessary. Then there’s the townfolk … Townie Tam (David Mangiamele) and Townie Toula (Sarah Pullman) who managed to survive this long because they know the best hiding places.

What has them scared out of their wits and diving into their hidey holes? None other than the Horrible Hoopsnakes reference in the title … snakes so horrible that they drive through town in a flash … spinning like a hoop and grabbing whatever human being is in its path, carrying off the poor hapless Hoopersville citizen to the snake den for who-knows-what terrifying trauma.

Into this crazy situation comes the young Calamity Jane (or so she likes to call herself) accompanied by her Mom (Jessica Kelly).  They are driving cross country from Pennsylvania on their way to California, where not only are the streets paved with gold but apparently the houses are made of gold too! Everything in California is one solid golden dream and Jane … I mean CALAMITY Jane (Katie Proulx) intends to make her mark there as the rootin’est tooin’est cowgirl of the west. You don’t need to be in her presence for very long to be quite sure she’ll do it.

Except that a hoopsnake makes off with her Mom leaving Jane … Calamity Jane … to round up the townsfolk and lead them into the snakes’ den.

Monica O’Malley as The Hoopsnake Queen

Snakes’ Den!  Eeek!!! Well, actually — it’s not as scary as you might think. Inside the den we see that Calamity’s Mom is relatively unscathed and is making conversation with Snakelet (Gianna Cioffi – part girl, part puppet, all hissy goodness) who fills Mom in on some of the goings on about town. Soon the Hoopsnake Queen (Monica O’Malley; think Little Mermaid’s Ursula — with a tail) makes an appearance and, while stately and imposing (and a lovely shade purple) she actually doesn’t appear to be all that intent on HARMING the people she’s brought back to the den. In fact, all the snakes really wanted was their land back, free and clear of humans.

Eventually there’s a big showdown between the snakes and the Hoopersville citizens led by Calamity Jane. But when everyone sees that not only is Jane’s Mom fine, but Mom confirms that so is the rest of the town, they come to an understanding and the big lesson is revealed.  Everyone is different, it’s just best to learn about these differences before judging someone, or something.  Because if you leap before you look you’ll jump to the wrong conclusions and react badly out of fear. Taking the time to get to know someone will show you that really, they’re just like you.  AAAAAAND Curtain.

Jacquelyn Honeybourne’s direction strikes just the right balance; the show is fun enough to keep children engaged but smart enough to keep adults amused as well, and each actor portrays a different perspective of the situation, so there’s something for everyone.  David Mangiamele, Sarah Pullman and Abraham Adams as the Hoopersvillians do a great job of popping in and out of the story, addressing the audience, engaging the little ones and keeping the action moving along.  They’re enjoyable to watch and while their acting is broad, it never goes overboard.  Jessica Kelly and Monica O’Malley are great to watch in their scenes together; and Katie Proulx anchors the show adroitly – one fully believes she is capable of saving the day.  Finally, Gianna Cioffi as Snakelet is both a charming actress as well as an accomplished puppeteer as she steers not only her own costume but a show-within-a-show from her side perch.  Costume design by Kristina Sneshkoff is fantastic, she does particularly well in outfitting The Hoopsnake Queen.

Highly recommended for children of all ages, but fair warning — the little ones get to sit on pillows up front.  So, you know … they might like it a little bit more.  I mean, come on.  Pillows.

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Related Posts:

• Ahoy, Land Lubbers, ‘Tis Time Fer Three By The Sea
• The Fairest Of Them All: Company XIV – Snow White
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• Stinky Flowers, Sweet Thoughts

“Ladies and gents, girls and boys, scalawags and scurvy dogs! Tis time fer Three By the Sea!” – this is how the new children’s play by Donna Latham begins as the eager audience settles down – some in chairs, others on the floor. The Looking Glass Theatre has a long history of children’s productions, going back to at least 1998. As many off-off Broadway venues, it won’t startle its patrons with extravagant décor, but will impress them with the unlimited creativity of its teams. Blue fabric stretched across the stage becomes the ocean, white and blue balloons deliver the impression of dangerous surf, whirling umbrellas help to master the waves that toss around a coyote – as a modest cast of seven actors brings the sea stories to life, creating over a dozen characters – some human, others animal, and even mystical.

The first two rows of seats are essentially pillows on which the little theatergoers can practice their show-viewing skills, and at times even partake in the performance or share their own thoughts and advices. Among other things they will learn why coyotes howl at the moon, what a foghorn is and why mermaids wear red caps. Without further ado, Buccaneer Bocephus Q. Fizziwater tosses us into the “wondrous trio of tales about watery worlds.”

Fisherman Paddy throws his fish bait into the harbor, but the sea greets him with an unusual catch. Emerging from the waves, a mermaid comes to rest on a rock. Smitten with her long green hair, Paddy snatches her red cap – which means the mermaid will forget her previous sea life. He convinces her to marry him (which proves to be not that difficult.) Then he convinces the local judge to marry them (which proves to be slightly more difficult as the judge is spooked by the bride’s long beautiful tail – but finally agrees, seduced by Paddy’s gold coins from his bride’s sea treasures.) Paddy’s new wife loses her tail and comes to live with him in his hut – but surprise, surprise – has difficulties fitting in. She doesn’t like to cook and clean, but prefers to swim in the sea all day long, until she finally gets the attention of the local gossip queens who decide to get to the bottom of the problem.

The next story introduces  a cute smiley she-rabbit who get accosted by a hungry coyote while resting at the river. “Don’t eat me,” she pleads with the predator who keeps drooling at the “tasty little morsel.” “I’m all bones,” the rabbit objects, proposing a much tastier dinner to the hungry creature – a huge round piece of “river cheese which floats in the waves as soon as the moon comes up.” The only problem, she says, is that the cheese is too big for her grab – but it would be just the perfect catch for the coyote.

The last fable washes Foghorn Franny, an eighteenth century sea lass, onto a modern day beach run by the local clique of hot chicks who rule the shore (or at least think they do). Franny starts building a ship to go back to “Pops” ignoring the snotty prima donnas who make fun of her weird clothing and speech. But then something happens and Sydney, the top diva, loses her cool – and needs Franny’s help.

In a funny entertaining way, the show teaches about fitting in and being nice to the people around you – the simple life lessons that kids could use as well as their grown-up chaperones. Adults may prefer chairs to the pillows, but just like their offspring, they can’t help their reactions – the stories bring out the inner child in everyone no matter their age. “No, not the riches,” a father growls with disappointment when Paddy throws a treasure trunk back in the waves realizing things from the sea belong to the sea, his wife including. “Dude, that you should’ve kept!”

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There’s something truly wonderful about smartly written children’s stories.  When you look at the enduring ones they’re not still around because they’re cute or funny or have clever titles . . . they’re still around because they teach an amazing lesson in a subtle and gentle way.  So, while Stinky Flowers and the Bad Banana has a title I could say over and over again and still laugh – I don’t think it’s gotten as far as it has on funny alone.  In fact, after hearing what creator Croft Vaugh had to say about his play, I think the reason this show has come this far is because its creator is as extraordinary as its topic.

Beginning as solo play performed by Croft Vaughn himself, Stinky Flowers and the Bad Banana was first presented as part of Six Figures Theatre Company’s Artists of Tomorrow Festival at the Westside Theatre in December 2006. From there it went to both the Edinburgh Fringe Festival (2007) and the Indianapolis Fringe Festival (2008). The new 5-person version of the play was presented in 2008 as part of The Management’s Salon Reading Series.  Now, audiences will be able to see the first fully staged production of the ensemble version of Stinky Flowers and the Bad Banana at UNDER St. Marks.

Today Croft Vaugh tells me about the challenges of turning a solo-show into an ensemble piece, he explains how Fairy Tales are filled with parental imagery, and he gives some advice on how to transform yourself into a monkey . . .

Stinky Flowers and the Bad Banana has got to be the cutest title I’ve ever run across. Tell me about what it means.

Playwright Croft Vaughn

CV: Well thank you for the compliment! The show is a fairytale frame play, and the title references two of the tales. I was visiting the Brooklyn Botanical Garden with a friend, and I had some bad news for him. I was trying to think of a way to bring up the subject without saying, “Listen, I’ve got bad news”, so I told him that I had a stinky flower for him. I liked the oddness of the metaphor, so I turned it into a fairytale about telling the truth when you have bad news. Stinky Flowers is the story that launched this show back in 2006. The Bad Banana tale is top secret, but I should warn you; the audience will be full of monkeys.

Stinky Flowers and the Bad Banana started off  as a solo show, and has now evolved into a 5 person ensemble piece. What prompted that?

My friend Kelly Miller is a literary manager and dramaturg. She saw my performance at the East to Edinburgh Festival at 59E59 Theaters. After the show, she grabbed my arm, looked me in the eye and said, “Croft, this show is beautiful. You need to write it for 5 actors for regional theaters, and for 45 actors, for high-schools.” I ran with her advice, and drummed up versions for Broadway, Cruises, and ultimately, the Pixar feature animation film, followed by a successful cartoon spin-off and tons of merchandise. If anyone knows how I can make that happen, please call me. Immediately.

What’s been the most challenging aspect of translating a solo show into an ensemble piece?

I think formatting is really hard, does that count? The play is steeped in storytelling, so, the bones of the play didn’t need to change much. It’s fun to write new characters, and discover what kind of trouble they can get into. I think the most challenging part was just allowing the play to take over with the new characters. Letting them speak, and drive the show with their fears and curiosity. Letting the new play organically develop.

Your tag-line “They . . . discover the answer to, ‘Are we still loved after the person who loves us is gone?‘” is so poignant and moving that it could almost be a line of poetry. That’s no ordinary theme. Where does it come from?

Thank you! I wish certain MFA admissions departments had your keen intuition. But I’ll fess up – I didn’t realize that’s what the play was about till about 3 years after I began working on it. I wrote a lullaby in the play that the kids discover on a cassette tape. It’s their mother singing, “Everything You Want to Know.” I was working with some musicians, trying to express to them what I needed from the song, and I had a moment of sublime clarity. That’s the question these kids face in the show. It’s something you can’t answer, so you have to take it on faith. For me, it touches a very deep and personal fear; one that I take on faith is universal. While that may be the heart of the show, the meat of the play is smart and entertaining tales told by 3 military brats who are convinced the audience is going to eat them. I’m going to be in the audience every night, so that could very well happen.

What’s your favorite moment in the play?

This is where my brilliant (to the nth degree) director comes in. It’s a good thing David A. Miller is such a great person, because with smarts like his in the wrong hands, you’d have a Robert Moses of Theatre. He’s the rare breed of artist who knows how to foster an environment where magic can happen. I just sat in on a run-through of the play, and the amount of creativity on display speaks to the freedom these actors have. Dorothy Abrahams only had a scarf with which to turn herself into a monkey, so she ties it around her head like Axel Rose. Welcome to the jungle, indeed! There was also an inspired moment with an earmuff by Lauren Sowa. Robert James Grimm’s Evil King puts my Evil King to shame, and that’s no small feat.

What part of the show have you found resonates most with the audience?

Monkeys. I think everyone resonates really well with monkeys. The finale is quite marvelous too. Maybe it’s the story about the 2 birds told in silence because it activates the sniffles pretty quickly… There’s something special in the relationship Sinclair has with his Grandfather. Fairytales are flush with characters who are not your parents, and at the same time, are your parents. For me, that’s like a grandparent. Sinclair develops an imaginary friend who takes on the role of his Grandpa to help tell the stories. Eventually he drops the charade and faces the truth. Fairytales carry the courage of their convictions. This is how the kids find the courage to create their own story, the ending of which weaves a fantastic finale for all the other tales. I’d say the audience relates to the journey of the show more than any single part.

And finally – what’s your favorite Stinky Flower?

Stinky Flowers!

Playing favorites with flora will only get you into trouble. On that note!  There are 2 genuinely stinky flowers, and I prefer Rafflesia Arnoldii. Take that Amorphophalis Titanum! Don’t worry – A.T. won’t flower again for like, 70 years. Rafflesia has no stem, no roots, no leaves. It’s just a fat, ugly flower, with a big hollow head. It sits parasitically on a vine, looks like something from The Dark Crystal, and smells like rotting meat. It is the king of stinky flowers in my opinion. Although, there are some members of Congress that give Rafflesia a run for it’s money…

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Be sure to catch Stinky Flowers and the Bad Banana – and check back here to read my review of the show.  I can’t wait to see what Croft Vaughn and his talent ensemble has in store.

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