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.

~~~

Related Posts:

• Ahoy, Land Lubbers, ‘Tis Time Fer Three By The Sea
• The Fairest Of Them All: Company XIV – Snow White
• Some Time For The OTHERS
• Women’s History Month: Celebrating Women In The Arts – Spotlight On Jenn Boehm
• Stinky Flowers, Sweet Thoughts

Yes, we may have Fringe on the brain, but that doesn’t mean that other things aren’t going on this weekend.  And, quite fittingly one of those other things is something called The OTHERS Project.  Paul Bedard, co artistic director for Theater in Asylum, took a moment to chat with me about a very exciting evening of theater, music, dance, poetry and drinks that will be going on this Sunday night.   Read on as Paul explains their particular definition of “asylum”, how they’re using their themes, and what their version of Frankenstein will look like …

Theater in Asylum’s mission is to “suspends beliefs and moralities through visceral, emotional and thrilling dance-theater to rigorously investigate our world and to believe again more wholly”. Tell me more about the work Theater in Asylum has been doing to showcase this mission.

Paul Bedard: THEATER IN ASYLUM’s name came from its first piece, NIJINSKY IN ASYLUM. We have been obsessed for a while with the idea of asylum not as a place for the crazy but as a sanctuary for the volatile (politically, morally and ethically). We try to pick characters or ideas that would benefit from the temporary suspension of the rules and of our preconceptions. We then try to unpack the origins of those rules and preconceptions surrounding the subject. We have offered this theatrical asylum to Vaslav Nijinsky, Poe’s “Me” in Annabel Lee, Lucia Joyce, and now “the other” with The OTHERS Project. This November we tackle our biggest task yet by offering asylum to Victor Frankenstein and his Creature. For each performance, we hope audiences will suspend their beliefs upon entering, engage in a visceral investigation, and experience a transformation or affirmation of those beliefs upon leaving.

The OTHERS Project is happening on Sunday night. I love the fact that the audience can mingle with the artists. Tell me about this up-close-and-personal approach.

The OTHERS Project is our second cabaret-style event we are holding at New York Theater Workshop, following April’s The DEATH / MEMORY Project. For each event we have invited artists to create short works to bring to event and to complicate the events overall theme. April’s theme was time as it relates to memory at one end of the spectrum and death at the other. The order of the night was constructed to create as many contradictions and complications as possible in the discussion around this theme. Breaks between each performance offer audiences the chance to engage with each other and with the artists on night’s theme. The OTHERS Project will investigate the idea of “the other,” both how “the other” is identified and separated. We again follow a cabaret structure with breaks to spur conversation and debate.

What other wonderful things can we expect down the road from Theater in Asylum?

This September THEATER IN ASYLUM will travel to Connecticut to teach a devised-theater intensive to 7-12th graders, hoping to theatrically empower them with a form of theater new to them. Then, this November, THEATER IN ASYLUM’s FRANKENSTEIN comes to life at NYC’s Looking Glass Theatre. Our modern retelling of Mary Shelley’s classic once again asks: At what point is your creation alive? What responsibility do you have to your creations? What will happen if you abort your creations? FRANKENSTEIN will feature aspects of traditional theater, dance, media and a chilling warning to humanity’s future.

Paul, that sounds terrific!  Thanks so much for giving us a glimpse into Theater in Asylum and what you’ll be offering on Sunday night.   I can’t wait to see more of the work you’ll be doing … and to check in again with you later this year.

~~~

For more information on this Sunday’s event please click here for ticket info.

All seating is general admission, first come first serve. Standing room available.

Complimentary wine all night with $15 donation

Special Reserved seat with $25 donation

Related Posts:

• Calamity Jane Is A Rootin’ Tootin’ Good Time For Kids Of All Ages
• The Thrill Of Creation – “Frankenstein With Mary Shelley” | “Gabriel”
• Ahoy, Land Lubbers, ‘Tis Time Fer Three By The Sea
• Women’s History Month: Celebrating Women In The Arts – Spotlight On Jenn Boehm

“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!”

~~~

Related Posts:

• Calamity Jane Is A Rootin’ Tootin’ Good Time For Kids Of All Ages
• The Fairest Of Them All: Company XIV – Snow White
• Some Time For The OTHERS
• Women’s History Month: Celebrating Women In The Arts – Spotlight On Jenn Boehm
• Stinky Flowers, Sweet Thoughts

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Jenn Boehm.

The first time I saw Jenn she was standing on the stage at the Planet Connections Festivity Awards Ceremony receiving thunderous applause from the Off-Off Broadway community along with hoots and hollers that filled the theatre that night.  She graciously accepted the love. Right away I thought “Gosh, I have no idea who this woman is … but I better get to know her!”

Luckily, I was able to make that “gosh” a reality and while I’m sure there’s much more to learn about Jenn, I’m pleased to say that I’m in a position to do just that.   What I can say is that Jenn is many things to many people, but seemingly an endless inspiration to most.  Currently she’s the c0-artistic director and managing director of Looking Glass Theatre and has a hand in everything they do from the internship program to each season’s productions.

Well, that’s no small potatoes.  Or wait … is it?  You see  - little did I know Jenn’s story starts not on the boards but in the barns … Jenn came to theatre by way of the farm.  Oh, with a stop in pro football along the way.  (What?) I better let her explain.  Take it away, Jenn  -

Absolutely delighted and honored to be a part of this long list of fabulous women!

For years, decades, centuries, women have been told, ‘you can’t.” Like so many others, I’ve heard this statement plenty of times in my life.

Thankfully, my parents always told me “you can.” My folks are organic farmer/ranchers, so I learned the meaning and importance of hard work very early in life. As the eldest of two girls in our farm family, I was, in many ways, the son my dad never really had. We were given loads of responsibility. We all worked together, sharing the heavy-lifting on a daily basis, learning the importance of organization, teamwork and leadership, taking great pride in our work. Those early experiences laid the foundation for the strong, independent person I have become.

Growing up in a rural town (pop. 600) in the Midwest, the majority of “role model” women in my immediate world were farm wives, grocery store cashiers, school teachers, or nuns. (Yes, my hometown is a Catholic community with a huge monastery/abbey and a priory, but that’s a fascinating conversation for another day.) These were awesome ladies who loved their lifestyle, their work and were seemingly completely content. But were they really? My own mother had traveled thousands of miles from her exotic homeland (Thailand) to a foreign country (the good old USA) in 1970 and barely spoke a word of English. She persevered, overcoming numerous cultural and environmental obstacles in the hopes of a better future, a better life. Witnessing her transformation was inspiring. And motivating… I always wanted more, to be more. No matter what society or the small town gossips said or thought that a “small town girl” was capable of doing.

Education, experience and a host of opportunities eventually propelled me into the wide world of sports. Specifically, professional football, a universe primarily powered and led by men. Nevertheless, we – my fellow female co-workers and I – always strived to be stronger, quicker, more-informed and simply better on all fronts, both as individuals and as a team. Accept every challenge. We took advantage of every opportunity to suggest to new ideas, lead new projects, to work harder than anyone else, despite “no, you can’t” responses or eyes rolling “here she goes again.” To which I always thought – yes, here she goes again, get onboard or get out of the way!

Having a deep love for theater since I was a kid doing those awful (but cute) pageant plays in grade school, I decided to pursue my passion full-time and as the stars would have it, found Looking Glass Theatre. Founded by Justine Lambert almost 20 years ago, this is a very special place dedicated to strengthening the voice of women in theater and the arts while creating a community of artistic freedom. I went from a world of men, men, men to a community of women – it was jarring and amazing. We provide a place for women artists of all backgrounds and genres to develop and grow their work. To share their voice as loudly and proudly as they like. To make a difference and empower everyone to create without judgment. There are still hurdles every day, but knowing that there is a collective push and leap to make great things happen, makes getting over them just a little easier. Working together, “no, you can’t” has become a laughable phrase and an accepted challenge.

So yes, we can. We can, indeed.

What’s up at Looking Glass Theatre?

~~  Lincoln on Hester Street AKA 1911 – special “Remember the Triangle Fire” event, staged reading benefiting Planned Parenthood – Friday, March 25
~~  Three By the Sea – children’s show written by Donna Latham, directed by Julia Martin, playing through April 10
~~ Submerged! A night of new works staged readings – Friday, April 8
~~  Just A Reading – a new show written by Ryan Glass, directed by Chanda Calentine – April 28–May 15
~~  EIF Revlon Run/Walk for Women – Saturday, April 30 (join the Looking Glass team!)
~~  Spring Benefit – “Prom II, the sequel” – Tuesday, May 10 (portion of proceeds will be donated to Revlon Run/Walk for Women)
~~  Spring 2011 Writer/ Director Forum – our semi-annual festival of new works featuring emerging women playwrights and directors – June 2-26

More About Jenn Boehm

Originally from North Dakota, Jenn joined Looking Glass Theatre in late September 2005 and is thrilled to be a part of the organization. As Co-Artistic Director and Managing Director, she manages all functions of Looking Glass spaces and Looking Glass Theatre as an artistic, creative not-for-profit organization. From its internship program and acting classes to rentals and each season’s many productions, including children’s shows and two new works festivals, Jenn is at the forefront of Looking Glass business.

Also an actress, her next project is Just A Reading (Looking Glass Theatre). Recent credits include: What Happens to Women Here at Richmond Sheperd Theatre (Stone Soup Theatre Arts); The Maguffin (Philadelphia Fringe Festival) at Second Stage at The Adrienne (Stone Soup); The Hope Chest (Foundry Players, Washington DC); Stone Soup’s world premiere of The Ghost Dancers (Sanford Meisner Theatre) and the production’s return engagement in the Midtown International Theatre Festival (June Havoc Theatre, MITF Award for Outstanding Supporting Actress in a Play); A Chicken Goes to Broadway (Samuel French Short Play Festival/Peter Jay Sharp Theatre); Shapeshifter at The Barrow Group Theatre; Young Jean Lee’s Church at The Public Theater; and Always Family at The Kirk Theater on Theatre Row (Small Pond Entertainment).

Jenn also served as the Managing Director for Planet Connections Theatre Festivity (2008-2010) and works as a graphic designer and freelance sportswriter.

Related Posts:

• Calamity Jane Is A Rootin’ Tootin’ Good Time For Kids Of All Ages
• Some Time For The OTHERS
• Ahoy, Land Lubbers, ‘Tis Time Fer Three By The Sea