4 Cents Review – When 2 reviewers each give their 2 cents.

Today, The Happiest Medium offers a 4 cents review of The Myths We Need -Or- How To Begin. Read on as Karen Tortora-Lee and Michelle Augello-Page each give their two cents on this exciting production by Purple Repertory Theater!

Michelle: The Myths We Need -Or- How To Begin is a contemporary retelling of the story of Adam and Eve. Written by Larry Kunofsky and directed by Jose Zayas, the play offers a unique, symbolic, and provocative look at this biblical story of original sin, and how man and woman were cast from the garden of Eden and into the world.

The garden of Eden in this play is set in no specific place, but appears to be a rural work-farm. The stage set is the inside of the worker’s living quarters, and each scene takes place in some form of darkness. Low burning lanterns on either side of the stage are subtle and cleverly utilized to illuminate the stage and indicate the passage of time. Sound is also employed to provide context and setting as each scene breaks into the next.

Karen: While the setting itself is ambiguous, almost immediately – from the very first spoken word (“Light”) - The Myths We Need -Or- How To Begin tethers itself to a very specific rhythm with a very specific language. How To Begin is peppered with language that could be found in any number of Edward G. Robinson films, or The Bowery Boys shorts.  When sitting down to write – or re-write – one of the best known creation myths it would be easy to fall into a mode which mirrors the original landscape and simply tweaks it; here is where Kunofsky’s  brilliance as a writer is in abundance.  How To Begin flips the script and puts creation in a place where we wouldn’t necessarily envision it; and that’s what keeps it utterly refreshing.

The Myths We Need -Or- How To Begin

Michelle: One of the most unusual aspects to this play is the dialogue, reminiscent of 1930s idiomatic speech. Although there is no stated time period for the play, the 1930s are mirrored in several other ways, found in the stage set and clothing of the characters. At first, my ear had to adjust to the 1930s language. However, I soon realized that this use of dialogue provided a subcontext to the play which was a stroke of genius.

Karen: By using language that has its own voltage built in, an immediate heat is created between the characters; scenes crackle with a sensuality and raw sexual energy.  Further, by using poetic and lyrical phrases which have either gone by the wayside or have changed in meaning Kunofsky parallels the original text of the creation myth which, itself, has constantly been re-interpreted over the years, ultimately giving the text deeper (if not sometimes conflicting) value.

Michelle: The dialogue moved the play forward lightly and quickly, and also kept the audience laughing, even in the most serious and heart-wrenching scenes. Using the idioms and affects of the 1930s was a brilliant touch, as the sub-context of the world became clearer. The 1930s remind me always of the great depression, a time in American history of devastating poverty, when many people had lost faith in the government and were simply struggling to survive.

A certain lawlessness permeates 1930s culture as people were cast from illusion of the American dream and thrown into the great depression under a government that could not shelter them, becoming a place where bootleggers, gangsters, and the godless flourished. It is no small wonder that The Myths We Need -Or- How To Begin finds some roots here.

The play features the four characters of the biblical tale in a similar 1930s pulp fashion, and we find God as “The Boss” (Hugh Sinclair), Adam as “The Kid” (Luke Forbes), the Snake as “The Old Broad” (Annie Henk), and Eve as “The Tomater” (Anna Lamadrid). These actors deliver stellar performances, and the multi-ethnic cast works together to deliver a story that succeeds in obviating race to represent humanity. The gender differences inherent in the Adam and Eve story are present; however, the balances struck between men and women are the places the characters find both shelter and power.

Karen: What is so elegant about the way the story unfolds through these four characters is how, while it completely sticks to the source material, the words spoken are somehow seen as earnest hyperbole.  Serveral times there is a moment where the duality is perfect, such as this moment when The Kid is telling The Old Broad:

… The only world is this here place. Maybe a body can hear some goings on away from here. A lotta rigamaroll and mucketymuck. A lotta things too busy fer their own concern. But here is everything. All’s there is, is right here. And on the day I came here, that was the day the world began.

"The Boss" (Hugh Sinclair), "The Kid" (Luke Forbes), "The Old Broad" (Annie Henk), and "The Tomater" (Anna Lamadrid) photo by Kacey Stamats

Michelle: “The Boss” is the owner of the land. In exchange for work, he offers room and board; however, he demands obedience and an adherence to his rules. “The Boss” is all-seeing, all-knowing, all-powerful. Hugh Sinclair plays this character with a tough, almost menacing, omnipotence, shaken to vulnerability after the Fall.

“The Kid”, played by Luke Forbes with great sensitivity and strength, represents Adam. He is grateful to work for The Boss, but he is lonely, restless, growing, and learning who he is. His unhappiness at being alone on the work-farm is alleviated by the appearance of “The Tomater”, who becomes his lover, temptress, and savior. Throughout the play, we witness The Kid grow into a greater awareness as he finds himself becoming a man.

“The Old Broad” is the female representation of the snake. Annie Henk’s character is sexy and smart; she slithers seductively across the stage as a woman who has seen it all, done it all. Henk shines as the most worldly character in the play, whose role is to both tempt and awaken the other characters.

“The Tomater”, played with moxie by Anna Lamadrid, is the woman brought to the work-farm to be a companion for The Kid. This Eve balances naivete and fragility with nerve and an iron will. The scene where she first arrives is one of the best in the play. The dialogue sparkles with wit and tenderness as the Adam and Eve characters meet each other for the first time, touch each other, learn and create a language for the body, and each other.

The eroticism in The Myths We Need -Or- How To Begin is tempered with suggestion, revealing a natural sexuality that is neither exploitive nor explicit. Moments of sexual reveal are accompanied with a certain degree of joy, as the pleasure to be found in the body is accepted without fear.

The apple in this story is ”Apple Jack”, the Boss’s hidden stash of illegal liquor, which brings us back to 1930s prohibition and governmental control. Tasting the prohibited brew gives them “big ideas” and makes them question and challenge the rules laid out by “The Boss”.  Their sin lies in this uncovering, this ultimate reveal. They are fired by The Boss and cast out, but in a twist from the original tale, they grasp the opportunity and embrace the chance to recreate the world anew.

Karen: Director Jose Zayas is obviously accomplished and does extraordinary work to bring Kunofsky’s world to life.  The production team has created not only a play but a feeling — an atmosphere — an experience.  You are not only watching this world but connecting to it as it creates itself.  Plays like  The Myths We Need -Or- How To Begin are rare: filled with beauty, truth, erotic power, and healing humor.  Beyond a simple retelling of a creation myth, this play redefines what it means to go back to the beginning.

~~~
PURPLE REPRETORY THEATER COMPANY

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©Matthew Murphy

“Bad shit in life makes for good art. Things that challenge us emotionally, politically and socially propel us to create. Having this terrible thing in my life has motivated me in a way. I have sort of resolved to not only not let it get me down but use it as a way to improve myself. And don’t get me wrong, I have very dark days. I have days where I sit around and mope ‘why me’ and wish I could travel back in time and change things. But ya know, that only gets you so far. So yeah, the old adage ‘what doesn’t kill you…’“

This is how being HIV positive has changed  Dan Horrigan’s life as an artist, and has propelled him to debut as a solo performer with his show MY AiDS now playing at Urban Stages. “What started out as an exercise in trying to put together a sort of comedy act really evolved,” says Horrigan.”I decided that I would accept the encouragement of those around me who think I’m funny and try to create a sort of comedy act but I thought it would be a greater challenge to wrap all of my humor around something that is really difficult for me… which is being HIV positive.”

And a great sense of humor it is, Horrigan could coax a smile from Victoria Beckham;  he ascribes it to watching a lot of television, and a tool he initially used as a defense mechanism and as a away of comforting himself. “If you make a joke about something that’s upsetting or confusing, you sort of exorcise the demon in it.”

AM-When did you feel you were ready to share your story and with what purpose?

DH- Ohmygod, I still don’t feel ready to share my story! But that kind of fear and always trying to get over it is motivating in a weird way. The purpose has changed over time. What started out as an exercise in trying to put together a sort of comedy act really evolved. I decided that I would accept the encouragement of those around me who think I’m funny and try to create a sort of comedy act but I thought it would be a greater challenge to wrap all of my humor around something that is really difficult for me… which is being HIV positive.

AM-Do you feel your story has taken a life of its own?  That it has morphed from just your story to something more universal?

DH-It is starting to take a life of its own. I intend for it to take a life of its own. The more the show gets out there, the more people see it, the more it will. I did a reading of an earlier draft of MY AiDS a little over a year ago for a good friend who afterwards told me he was HIV positive. He didn’t know until I read the piece that I was positive. I didn’t know he was either. We’d both been kind of keeping it a secret. He found a kind of connection and comfort in the play. Then it all hit home how much it’s really universal. And not just if you have HIV but if you’ve ever had something totally terrifying and upsetting happen to you. (I have a whole posting about this on my blog that I invite everybody to read). There are nights at the show when I know so and so is coming and she lost her Mom a year ago or this guys coming and he’s battling cancer and that’s just the people I know! Bad shit is universal. So hopefully we can all just get together and have a good laugh about it.

©Matthew Murphy

AM-So you’ve popped your cherry as a solo artist. Do you feel more in control and safe performing by yourself, or is it an even bigger challenge?

DH -I love a good cherry poppin’! It’s still all so new to me. I never expected to ever write anything in my life and after college I was certain my performing days were over, so it’s all really, really surprising and wonderful. So yes, of course I have nerves and insecurities but with this piece which is mostly conversational, I’m actually not alone. I have a whole audience I am with. Once I establish that connection and relax it’s a little smoother sailing… and aren’t those the best kinds of conversations? Where you get all the attention?!!

AM-Who have been Dan’s little helpers in making this piece a reality.

DH-No little helpers. Only great big gigantic ones! And here’s where I get nervous about leaving anybody out! My roommate, Nick Catania has been listening to MY AiDS since I started scrapping it together and been my biggest supporter. At Hand Executive Director, Producer Extraordinaire and the Romy to my Michele, Justin Scribner! My director Dave Solomon has helped me craft the piece and keeps me from bullshitting.  Scenic design -stress Shoko Kambara reached into my little brain and pulled out a fabulous homey, cozy environment for me… Zach Blaine our lighting designer has literally illumined my thoughts. Then there’s Angela Kiessel our stage manager who puts me in my place when I need it and keeps the whole thing going.

AM-You performed MY AiDS at The LGBT Center here in NYC before this production, how is this experience different?

DH -I loved doing it at the Gay Center. It was so off the cuff, informal and intimate. We’ve really tried to keep that vibe with the current production and I think we’re succeeding. It’s a bigger space and a more traditional theatre so I’m learning how to reach my audience because I can’t see every single person in the room with the lights and all. But the connection is still there. I do however look forward to performing it for whoever, wherever I can in any kind of space (conference room, college, Broadway, YOUR house) as long as I am connected to everyone in the room. The piece itself has changed a little in terms of story as things in my life have changed since the performance at The Center. I just want to keep it honest and fresh, so I think there will always be little changes here and there as time marches on and I continue to perform it.

AM-You are working alongside a lot of LGBT charities and foundations with this show. Why is philanthropy important to you?

DH-Justin Scribner (At Hand Executive Director) said it best. To paraphrase, it’s really wonderful and important to us (and to me) to be supporting a community AND to be supported by the LGBT community. It puts all of us in it together. I also think art is really inspiring and transformative. Working with these groups puts that transformative experience into action. You’re in the audience and you hear a story about a guy with HIV and realize that you in your own way have experienced that kind of shit. Then after the curtain call you hear about a group that helps people with HIV or helps victims of abuse, or works with gay youth, or provides shelter and NOW it’s universal. (back to that!) You identify, you sign up for their mailing list, you give what you have in your pocket, you write a check. Because it’s not just about me. It’s not just about you. So yeah, it’s a thrill to use my art to raise that kind of awareness.

MY AiDS will be playing at Urban Stages through March 1st. For more information visit www.athandtheatre.com

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Victor L. Cahn’s new play Embraceable Me at Theatre Row’s Kirk Theatre is attempting to be a tennis match of the sexes where Allison (Keira Naughton) is your egocentric, focused, determined woman, whilst Edward (Scott Barrow) is shy, mousy, and amazing at what he does, which Allison uses to further herself during college and ever after. You wouldn’t think these two would develop a romance together, but they do. And what could have been a flavorful “who would have thought” love story, never catches our fancy due to the underdevelopment of these characters. There is no indication as to why these two belong together.

Scott Barrow as Edward (©Jon Kandel)

The play is a retelling, starting with Allison’s visit to Edward’s rural home to make the announcement that she is engaged.  Or – as we learn later and easily predict – rather she is there to give him another chance and give herself one more excuse to call off the engagement and rekindle the possibility of being back together with “the one.” The audience is addressed constantly, a device Cahn utilizes to move the story along which only creates distortion, losing our interest when moments are about to happen.

The most Embraceable aspect of this production is Scott Barrow’s thoughtful performance; he gives Edward a fantastic balance of wit, naïveté and maturity as we watch him evolve from a college kid to a grown man who learns to embrace his copy editing abilities and enjoys a tranquil life by himself (albeit one he would toss out the window for a moment with Allison).

Keira Naughton proves to be a seasoned actress, but her calculated, put-together (but only on the surface: the character has a disorganized home and unbalanced checkbook), cold portrayal of Allison does not exceed the character’s potential complexities, but rather simply suffices the written word.

Director Eric Parness does a good job at creating some sense of place and tension in his staging, which is unfortunately obstructed by the direct address in the text. Parness also helms a talented design team, with set by Sarah B. Brown, costumes by Sidney Shannon, lighting by Carolyn Wong and sound by Nick Moore.

Although  in this tennis game the players are mostly serving at the audience, when they are involved with each other, the seasoned cast and Cahn’s wit make for an entertaining match.

———
Rachel Reiner Productions LLC present
Victor L. Cahn’s
Embraceable Me
Oct 23-Nov 14, 2009
The Kirk Theatre at Theatre Row

Tickets are $35.00 and are available by calling 212-279-4200, or visiting www.ticketcentral.com.

The Kirk Theatre at Theatre Row | 410 W 42nd Street | Manhattan

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