The Happiest Medium » Manhattan Theatre Source

The Three Times She Knocked (Fringe Festival 2011)

Karen Tortora-Lee — Tue, 16 Aug 2011 02:59:36 +0000

The Three Times She Knocked (Photo by Josh Jones)

How innocently these things can start … a knock on the door, a simple question, met with a glance that – to the person meeting those eyes – may appear to linger too long or bore in too deeply. Is this the beginning of a forbidden love affair between two already-married co-workers? Or just the planting of the seed of a what-could-be fantasy in the mind of a man already hungry to harvest a new crop of sexual obsession? For Eric (Bob D’Haene) his spark for Tara (Isabel Richardson) is set off innocently at the office, but is flamed into a bonfire each one of The Three Times She Knocked on his office door.

When we first meet Eric and Tara two things are clear up front: he’s intense and she’s … well … attractive. But for Eric, Tara is more than merely attractive, her allure comes at him “from a different plane” – one which terrifies him because it encompasses him heart, mind, soul and spirit. This is more than just a pretty package, this is a daily struggle.

“To attempt to resist her is folly”, he notes … “I must avoid her completely”. And so Eric’s days are spent scurrying around the office making sure he doesn’t run into Tara. He cancels lunch plans with his team. He avoids after-work drinks. He uses alternate hallways that won’t take him past her neck of the woods. But when Tara confronts him directly, Eric must admit that he is consumed by fantasies of her. Or rather his “friend Aaron” (Are we really going to do this? asks Tara, exasperated that Eric is resorting to the “I have a friend” language of High School) is consumed by fantasies of “a woman”. A different woman. But what happens when that woman … or Tara, speaking on behalf of that woman, wants to embrace the fantasy as well? What if the stakes of the game get raised when the fantasy begins to reciprocate?

Since both of them are married – and never touch – and have a “relationship” that is purely spun of words and based on a type of phone sex without the phone … or the sex … they begin to exist for each other on a different level that is difficult to describe but which is fascinating to watch unfold. Speaking to each other breathlessly, and through the personae of “Aaron” and “This other woman” they gamely up the ante at each turn.

“Doesn’t ‘Aaron’ care that she’s married?” Tara asks Eric at one point. The answer is “Of course not“. “Her” husband exists in the real world and can only love the external woman whom he interacts with. When you love a real, corporeal woman, the love is conditional, Eric reasons. “Aaron”, on the other hand, loves the fantasy – the ephemeral woman who exists just as strongly, if not more so. And because the fantasy woman is perfect, he can love her unconditionally. In effect, they are both smitten by two entirely different women – so, there’s no need to be jealous of her husband.

As the story unfolds a few hidden secrets emerge which I won’t reveal here, and the ending contains an unexpected twist which, once it is told, you realize you saw coming all along.

Writer A.D. Penedo has successfully taken a different type of relationship and made it not only understandable but accessible. By giving Eric a mechanism where he constantly breaks the fourth wall and addresses the audience we’re given a unique look into the mind of a man consumed not so much by a woman but by a way of operating. By Eric himself explaining his little quirks and foibles to us we are left free to sit back and watch as his confessions to us pave the way for his actions toward Tara. And sure, while he may seem a little out of his mind, at least he’s explaining his motives to us.

The chemistry between Bob D’Haene and Isabel Richardson can best be described as “interesting” and I was left to wonder if my impression of their interaction was intentional. For really, this relationship and this obsession Eric is having is purely and undeniably with himself and his idea of Tara. Therefore when Tara comes off as a bit bland, rather pedestrian, and when there is no actual palpable chemistry between them it’s not actually a disservice to the story since Eric’s obsession resides within himself and it is THAT which is being explored. So again, I was left wondering if Richardson’s rather flat, uninteresting performance was a choice she herself made, or one which director Christopher Windom pursued. That she is physically attractive is unarguable – tall, blond, with a lovely face and figure. However her actual delivery yields no particular spark which adequately explains why she would set such a torrid, erotic fantasy in motion. Again – if the choice was intentionally made in order to juxtapose a seemingly normal woman with the overactive imagination of an obsessive man, then the choice was perfect. Still … in a two person play, with such an amazing actor as D’Haene carrying most of the play, a bit more fire would have been welcomed from the object of his desire.

The Three Times She Knocked is a wonderfully written piece of theatre that explores alternate forms of relationships. While there may not necessarily be a “happily ever after” for this couple, this was no less a fairy tale romance populated with as much fantasy, hope and hyperbole as any story little girls are told before they are tucked into bed. How that fairy tale romance plays out on the boarder between reality and illusion is the real story here.

~~~

The Three Times She Knocked

Flying Squirrel Theatricals

Writer: A.D. Penedo

1h 30m

VENUE #17: Manhattan Theatre Source

Wed 17 @ 6 Tue 23 @ 2 Thu 25 @ 9:15

Women’s History Month: Celebrating Women In The Arts – Spotlight On Dev Bondarin

Karen Tortora-Lee — Sat, 26 Mar 2011 19:30:21 +0000

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 Dev Bondarin.

Like so many dedicated theatre women whose role is behind the scenes (rather than on the stage) I met director Dev Bondarin’s work long before I actually met Dev. It’s an interesting thing to meet a person via her work, especially when she’s a director … Because while her voice is all over the production, if she’s done her job right you walk away unable to separate her out from what you just saw. Sure, you may say “that was an amazing play” but unless you’re finely in synch with all the moving parts that make up a theatre piece you may never understand why you feel that way. And so, its important that I give particular accolades to Dev today – because she’s so often interpreting other’s words … and I’ve been looking forward to hearing her own words for a while now.

Talk to me about being a woman who does what you do – just overall.

I love what I do and I do take pride in being a female director. Being a woman shapes the lens through which I see the world. While not all of the stories I am drawn to have a feminine theme, they touch me in ways that are specific to being a woman.

Are there days it makes a difference – good or bad?

Every day being a woman in theater gives me the chance to make a positive difference.

However, there are some days when I have felt like my insights are perceived as threatening to other women who are competitive or to men who have a need to suppress. That is always a challenge.

Are there barriers you fought against in the past?

There are barriers out there—many unspoken and some unconscious—to contend with. (Just look at how many women are directing professionally as compared with men.) I try, however, to focus on the positive: what are the opportunities I am finding and what new collaborators have I met who I want to work with again. The more opportunities that my fellow female directors and I find, the more we are chipping away at the bigger barriers. And things are getting better, no question about it.

I am more confident in my work and in collaborating so in that regard everything has become easier. I know more and more who I am as a director and as a woman.

The men that you work with – do they treat you as an equal?

The men I work with are wonderful. I can think of one or two instances when I collaborated with a man who was challenged by my being a woman but they are few and far between so I try to take those encounters in stride.

I am lucky that the majority of those with whom I work—men and women— are good people who encourage a working environment of openness, collaboration, and mutual respect.

Are there some resources you’d like to share that you find particularly helpful as a woman?

I recently joined the League of Professional Theatre Women, an organization that promotes visibility and opportunities for female theater artists. I recently directed in their New Play Festival at New World Stages. The evening featured a diverse collection of work of written and directed by League members.

What’s up next for you, Dev?

I have been lucky to work with many wonderful theater companies that are either run or co-run by women (Prospect Theater Company and the Gallery Players among others). This weekend (That’s tomorrow night!!), I am teaming up with playwright Cody Daigle again for a reading of his new play WHY WE FALL with On the Square Productions. Next week I am directing a reading of James Armstrong’s new play WORTH for Abingdon Theater Company and after that I will be working on the next installment of Prospect Theater Company’s Musical Theatre Lab.

~~~

More about Dev Bondarin

Dev Bondarin’s directing credits include Reefer Madness: The Musical and The House of Blue Leaves (The Gallery Players), Snapshots and Map Quest (Prospect Theater Company), A Home Across the Ocean, (MTWorks @ Theatre Row), Romeo & Juliet (EBE Ensemble in Prospect Park), Thucydides (Samuel French Festival – 2009 Winner), and Raised by Lesbians (FringeNYC).

Dev is the Special Project Manager for Prospect Theater Company where she has been a staff member for six seasons. She spearheads and directs the company’s annual musical theater lab of commissions of short musicals by different writing teams on a central theme. Dev loves working with writers and has also directed/developed work with Abingdon Theater Company, Luna Stage, Milk Can Theater, On the Square Productions, and the Manhattan Theatre Source. Dev has assisted Kate Whoriskey, Jim Simpson, and Mary B. Robinson, and has been awarded an SDCF Observership. MFA in Directing from Brooklyn College/BA in Theater Arts and Art History from Brandeis University. Member: Lincoln Center Directors Lab. Associate Member: SDC and the League of Professional Theatre Women.

Find out more at her website: www.devbondarin.com.

Women’s History Month: Celebrating Women In The Arts – Spotlight On Franca Vercelloni

Karen Tortora-Lee — Wed, 23 Mar 2011 05:15:02 +0000

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 Franca Vercelloni.

The first time I saw Franca she was on a stage and I was at a table in the audience, scribbling notes about her Fringe Show Classically Trained, Practially Broke. A lot of the notes which never made it into the review were things like “oh my god … me too” because in a lot of ways her story was my story. But, really, Franca Vercelloni’s story is uniquely her own.

First of all, it’s impossible NOT to fall in love with Franca as she takes to the stage; she’s astonishingly gifted as a pianist, has a sparkle that starts at her eyes but soon has hit every member of the audience, and has the beauty and brains to deliver humorous monologues that keep you in the palm of her hand.

Once I saw her I knew I had to have her as the MC of The Happiest Medium’s 1st Anniversary Party - and collaborating with her was one of the most joyful experiences I’ve known. Frankly, we laughed so much rehearsing the opening song that it’s a wonder we came off as good as we did the night of the show. But that’s the kind of woman Franca is – she’ll put you at ease, she’ll sing you a song, she’ll flash you that gorgeous smile, and after wrapping you up in her talent and charm she’ll leave you with a warm feeling that lingers long after you’ve said your goodbyes.

Now let me turn the stage over to Franca:

I believe that female performers are at a disadvantage from the getgo. “Be thin, be young, be successful by 30 so that you will still have time to have a family.” Or, “Take some classes, get yourself ready, because you’re so specific, you really won’t start to work for 5 more years.” You must be extremely careful whose opinions you listen to, because everyone has an opinion, and many of them are not worth listening to.

You must be strong, you must be innovative, you must have a sense of humor, and, most importantly, you must be a true entrepreneur who creates opportunities for yourself. Stick to your values and your vision. I’ve had weird experiences working with some men, but since I started kickboxing, I’ve found that they consider my ideas and opinions more carefully than they used to.

I was raised by three strong women, and they raised me to be strong. When I work with men or women or anyone in between, I present myself, with all my strength and assertiveness, calm and craziness, and I am not afraid of those things in others. I try to adapt to whom I am working with and treat those people as I would like to be treated: with respect and concern. It usually works out. And if it doesn’t…did I mention that I kick-box? I also write really awesome songs about how terrible people can be. Everything is material as far as I’m concerned …

UPCOMING:
I am currently writing my next musical show, collaborating on both songs and script for a children’s television program, and writing music for a soon-to-be-produced translation of a well-known French farce. Come sing show-tunes with me at the piano at Marie’s Crisis (59 Grove Street) every Tuesday from 9:30-closing and Saturday from 6-10pm. AND come hear me and the other ladies of The Main Squeeze Orchestra when we play our all-Kurt Weill program (Girls Gone Weill) on May 5 at Drom in the East Village (www.mainsqueezeorchestra.com). We were just featured on NPR’s “All Things Considered” and our debut CD is for sale on our website.

More about Franca:

Franca Vercelloni is an actor, musician, singer and writer. Classically trained in piano performance at The University of Cincinnati College-Conservatory of Music, she currently plays in piano bars and teaches piano to children and adults. Her musical solo show, Classically Trained, Practically Broke, played to sold-out houses at The Club at La Mama as part of the 2010 New York International Fringe Festival and enjoyed a 5-week run at Manhattan Theatre Source as part of the 2010 EstroGenius Festival. Other appearances include: The Hampton Playhouse; Theater for the New City; Berkshire Theater Festival; Tony ‘n’ Tina’s Wedding off-Broadway; commercials for Dunkin’ Donuts and Commerce Bank; the Housewife in Ishai Setton’s award-winning short musical comedy film The Butcher and the Housewife and Setton’s feature, The Big Bad Swim (2006 Tribeca Film Festival premiere). Stand up appearances include Stand Up New York, The Comedy Cellar, and Gotham Comedy Club. Franca plays accordion with the all-female, all-accordion Main Squeeze Orchestra (recently featured on NPR’s “All Things Considered”). Franca is a member of AEA, SAG, AFTRA and AFM Local 802.

What’s On Your List? “The Love List”

Karen Tortora-Lee — Tue, 11 May 2010 15:45:56 +0000

I always imagined that my perfect husband would be a native New Yorker, probably a few years older than me. He would be working at a media company of some sort, have the same obsession with pop culture that I do, he would be neat (or neatish . . . definitely not a slob), always on time, probably of Italian decent, probably a little too into gender stereotypes (but I’d learn to live with it). I imagined him as a dog person – maybe he even owned one already. I also assumed he probably would never take me to the theatre and I’d wind up going alone, or not going at all once I was married.

That was my list.

However the love of my life, my beautiful husband Stephen, turned out to have nothing – NOTHING that was on my list. He hails from Michigan, is a great deal younger than I am, is a math and science nerd, and knows very little about pop culture unless it’s sci-fi. He’s far from neat, he’s never on time, he’s a mix of many nationalities but none of them Italian. He’s so NOT into gender stereotypes that he actually considered taking my last name when we married before we decided to combine both and take each others’ names. He prefers cats over dogs (though is willing to consider getting a bulldog someday) and has accompanied me to over 100 plays, musicals and performances in the last 18 months alone. I thank the universe every day that I didn’t get that awful guy that was on my list and that Fate brought me Stephen instead.

The Love List Written by Norm Foster, directed by Jessica McVea and playing at Manhattan Theatre Source is a very funny look at what would happen if we got everything we put down on a list for a would-be mate, and if they were delivered directly into our lives, fully immersed in a functional relationship. But don’t be fooled by this seemingly simple premise.

Jarel Davidow, Kate Goehring and Jake Hart (photo credit: Kent Meister)

Norm Foster is a playwright who has caught just the right edge with this topic, and his dialogue snaps with humor, truth, and even a few kernels of wisdom all wrapped up in a fizzy, funny cotton candy package. Under Jessica McVea’s breezy direction, what could easily have become hokey or pandering comes alive as Bill (Jarel Davidow) Leon (Jake Hart) and Justine (Kate Goehring) show just how easy it is to fall prey to the “grass is greener” syndrome . . . that is, once we’re finally sitting on the grass at all.

The premise begins with Bill celebrating his 50th birthday without the joys of female companionship (as his best friend Leon points out continually). Finding this a combination of sad, pathetic and horrible Leon has purchased a somewhat unique 50th birthday present for his best pal – Got-A-Match . . . a “mate-finding” service. But not just your usual eHarmony / JDate /Match.com variety of service . . . no – instead Leon has gone to an old gypsy woman who guarantees results.

Now, hold on to your Love Potion #9, there’s a little bit more to this than easy laughs. Just watching Bill (a divorced man wading through the Sahara of a seven year dry spell) and Leon (a man whose marriage spans half his life and who has had his fair share of dalliances) wrestle over what should be on “The List” is wryly amusing. While Leon urges Bill to include things such as physical attributes and sexual proclivities, Bill is more focused on someone who will find him interesting, who will like kissing him, and who will be much like a girl he dated a long time ago in his youth.

I’m not throwing out any spoilers here when I tell you that, of course, this exact woman walks through the door. However, it’s the way the light slowly begins to dawn on Bill that maybe his list doesn’t add up to such a perfect woman after all, that makes this such a fun play.

I’ll leave the rest of the plot a mystery, for half the joy is watching these three talented actors uncover the story for you. However, I will say that by the end you’re left with a lot to chew on . . . and a feeling of satisfaction.

I thoroughly enjoyed the performances of Mr. Davidow, Ms. Goehring and Mr. Hart. They are all obviously talented, but more than that there is a chemistry between all three of them that visibly sparkles. And so convincing is Ms. Goehring’s Justine that she has you wondering if perhaps she’s been in Bill’s life all along and maybe it’s HE who has suffered some sort of brain blip. To watch them cavort through this fun tale made for a great evening of theatre.

In a nice touch, Kathleen O’Neill, founder and Director of BOO-ARTS, was handing out blank Love Lists at the end of the show. “Fill them out!” she called to each person as she gave them out. “I don’t need to . . .” I called back, pointing to my husband, “He IS my list!” And maybe that’s the message of this play . . . just as I discovered when I met Stephen – turns out your One True Love doesn’t always conform to your List. Sometimes your List conforms to your One True Love.

~~~

THE LOVE LIST
Written by by Norm Foster
Directed by Jessica McVea
Closes on May 15, 2010

Manhattan Theatre Source
177 MacDougal Street
New York, NY 10011

Ticket Price: $18.00

Tickets by Phone: 866-811-4111

The Happiest Medium » Manhattan Theatre Source

The Three Times She Knocked (Fringe Festival 2011)

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What’s On Your List? “The Love List”

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