People go to shrinks for lots of different reasons – from those who go simply to download their gripes, thoughts, disappointments and vexations on a weekly basis to a nonjudgmental party, to those who are grappling with some serious disorders such as acute stress, obsessive-compulsive disorder, addictions of all sorts, panic attacks . . . the list goes on and on.  When we meet Tom Blander (Ryan Tramont) we find that his reasons for coming to Dr. Fine (Brad Fryman) are a little different.  Tom is convinced he’s possessed by a demon – and please don’t confuse this for the hallucinations of schizophrenia or the multiple personalities of a Dissociative.  No . . . Tom is convinced he has a real, living, fulling autonomous demon egging him on to do Bad Things.  So begins Christopher Stetson Boal’s Order (directed by Austin Pendleton) now playing at The Kirk @ Theatre Row.

Order (Fryman, Tramont, Bettio)

Tom is, aside from this “possessed by a demon” thing, a pretty decent guy.  Maybe he lets a little too much pass him by, like opportunities to connect with his wife, Maisy (Amanda Plant) who finds reading and re-reading the Harry Potter canon far more interesting than relaxing at the end of the day snuggled up with her husband to review the day’s events over a glass of mid-priced wine.  Tom also opts out of taking the opportunity to stand up to his ridiculously high-strung boss, Adam Jacoby (Mac Brydon).  Rather, he wordlessly sits at his desk as his manic boss fires high octane insults at him in rapid succession before finally hurling a cup of coffee at him.   Hell, Tom is so meek that when he’s greeted every day by the same homeless man (James Washington), he’s brow-beaten into giving the man not just some spare change, but the exact amount that the man demanded.

Is it any wonder than when the demon, who we come to find out is known as “Bathug” (Gabe Bettio), makes his presences known in Tom’s life, there’s plenty of room for him to move in?   Bathug – claiming to be an ancient creature who has always been part of humanity – seems to be the only one on Tom’s side; Dr. Fine (Brad Fryman) can only use their weekly therapy sessions to twist everything around and make it about himself, and even Tom’s good friend Joe (James Edward Becton) pokes at Tom’s simple ways, small happinesses and quiet hobbies (Tom’s biggest passion seems to be collecting old tie clips that were once worn by railroad conductors – - and then making up back-stories for these items).   So when Bathug starts whispering in Tom’s ear and nudging him towards “Power”, Tom – a little reluctant at first – really has nothing to lose by following his demon’s instinct.  Of course, the way he goes about getting that power is a little surprising.  Let’s just say – he takes “you are what you eat” to a whole other level.

Order is one part Little Shop of Horrors (Feed me!), one part Network (I’m Mad As Hell and I’m Not Gonna Take It Anymore!) and one part Sweeney Todd (because it’s cannibalism, but it’s FUNNY cannibalism, you see).  With enough black humor to keep you chuckling throughout the play, some of the stronger themes that Boal is illustrating go down much easier.

Pendelton’s direction allows for broad acting which keeps this play more wink wink than horrifying which – after all – is what you’d want from your demon plays.  Tramont’s Tom plays both sides of the scale convincingly; watching his transformation from meek yes-man to fast talking soulless wonder is easy to believe, and when he hugs his wife at the end you can feel his motivation surging through his new found persona.

Quirky, dark and a bit frantic at times, Order is a fun play that will have you questioning the possibility of your own inner demon.

~~~

Related Posts:

• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 2
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 4
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Order - Ryan Tramont as Tom Blander and Amanda Plant as Maisy Blander

Next up in our Oberon Theatre Ensemble Rep interview series is Brad Fryman, the Artistic Director of this esteemed theatre company, who produces the shows, and who essentially decides what will be running season after season. Not only is Brad producing two shows simultaneously at Theatre Row, he is also co-starring in Order, as the anything-but-sane psychotherapist, Dr. Fine. Having co-starred in numerous theatrical productions year after year with an impressive body of work, Fryman continues to strive toward providing the public with thought-provoking theatre, and if this season is any indication, then provoking the senses and minds of audiences are definitely a given.

I had a chance to catch up with Brad in between shows to find out his thoughts on this Summer Rep season and working on Order with Austin Pendleton and Christopher Boal. Here’s what he had to say:

Oberon Theatre Ensemble has been around for more than 13 seasons, with a long list of wonderful productions that have earned awards, recognition, and respect from the theatre community. What do you look for in picking your shows – and your talent?

First of all, I like working on something that I would enjoy seeing. That sounds like a no brainer. But it is seriously where I try to begin. A compelling story or, maybe something I haven’t seen before, is what initially grabs me. This season we have exactly that with a terrifically compelling story in Othello and an equally compelling story in Order that is told in a completely different way. That is what started the ball rolling as we looked at our options.

Then there have to be people that strongly want to tell these different stories. This is important because at this level those people have to give up so much, everything one might say, in order to finally bring these productions to life.

All the while, the talent we have available is always in our minds as to who might we have that might be perfect for a certain role. It is all part of the selection process.

What inspired you to include these specific plays in your Summer Rep for 2010? Are there any interesting stories behind your reasoning?

We’ve done a lot of Shakespeare and Othello was at the top of the remaining list. It is just an easier story for me to understand and I think one of Shakespeare’s tightest tragedies. I thought we could tell it in a simple, fresh and compelling way.

As Cara and I were discussing the season it was a play she was very interested in being involved with. It also just so happened that, all the while, Chris Boal and I had been discussing his play Order that shares a number of similar themes.
I feel that both plays deal with our personal “demons.” Iago’s envy, Othello’s jealousy and Tom Blander (ORDER) who had issues with his personal “demon” with its insatiable appetite for power are all aspects of these different “demons” told in these incredible stories.

Chris and I had been talking about working together for a long time and we were just waiting for the right project to come along at the right time. It just so happens that Order fit into the wheel well of the company as well its being a very original, compelling piece of theatre.

What do you think is the most important link between the two plays in Rep, and how do they relate to the state of the human condition?

As I talked about in the previous answer the plays are dealing with our “demons” in obviously completely different ways.

What drew you to the role of the therapist in Christopher Stetson Boal’s Order? Do you find it incredibly challenging to act in a play while you are producing it?

Dr Fine in Order is essentially your therapeutic nightmare. I have a background in psychology and knew immediately who this person was. I would never say this type of therapist is prevalent in the industry, but a number of folks have shared stories from their own experiences with me. It’s all very interesting. And I also think the play about a man trying to make a difference in small meaningful ways could maybe be a metaphor for all the folks trying to work and tell stories in the theatre. But, that’s a different article.

When a production is running smoothly and everyone is at the top of their game, it’s pretty easy to wear a couple different hats. When there are complications it can sometimes get difficult.

Order - Ryan Tramont as Tom Blander; William Laney as Detective Arlow; Gabe Bettio as Bathug

Do you see Order as more of a dark comedy or more of a tragedy about a man who is run over by everything in his life, and why?

I absolutely think it’s both. It’s a seriously funny tragic story of a man trying to do everything he can to make the world a better place and getting beaten down every step of the way until finally his “demon” takes over with an insatiable appetite for power.

What was it like being directed by Austin Pendleton?

Austin has been great. Every step of the way, he has surprised me with his incredible connection to the theatre. Whether it’s a brilliant note that gives an actor an entirely new and exciting path to take his character, or an idea for a specific moment on stage, or his ability to enable the actors to have the faith to fully embrace their characters. His adjustments with actors are often so insightful it’s frightening. His understanding of the play was immediate and intense. From day one, he was so fully committed to the text it was astounding and his freedom to play with theatrical conventions was refreshing.

These are pretty intense words, but I feel it has been a real gift and an honor to work with Austin. His energy and passion for American theater is something to be treasured.

What are one of your favorite aspects of Cara Reichel’s interpretation of Othello?

Cara’s direction and design within this space is brilliant. Her use of music always supports the action of the play moving it forward in complex and refreshing ways.

I think Cara is an exceptional storyteller and I am amazed with what she was able to do with Othello. I follow her work with Pete Mills and the Prospect Theater Company where they produce some of the most compelling new musicals in the country. Not to over do it but it has been fantastic working with Cara!

Having incorporated The Bard’s plays in your Reps, season after season, what would you say is your favorite Shakespeare play (if we had to twist your arm for one)?

Having just done this incredible tragedy, I am, sort of, in the mood for something quite a bit lighter. Maybe even A Midsummer Night’s Dream!

What’s up next for Oberon? I hear Duncan Pflaster’s play about Chekov in space is around the corner …

We did a reading of Duncan’s The Starship Astrov last year in our Oberon Originals Reading Series and truly enjoyed hearing this play. It is a hilarious ride. The audience had such a great time. Yes sure it is essentially, Chekov in Space, but really so much more, too. If anyone is a fan of Chekov or Star Trek, they are in for an incredible treat. If they are a fan of both, well, they won’t want to miss a single performance. Did I mention that tickets to ALL these shows are on sale NOW at ticketcentral.com???

Duncan’s script is incredibly sharp and finding actors who can handle both of those facets has been an interesting challenge. It’s going to be a great production directed by Eric Parness in the Beckett at Theatre Row in July.

Related Posts:

• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain
• Everything Is In “Order”
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 4
• The Starship Astrov: Best Of Both Worlds (Midtown International Theatre Festival 2010)
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 3

Who would you bring to Othello? Someone you love? Someone you once loved?

Summer. Not exactly the time of year a New Yorker wants to venture into Hell’s Kitchen on a Friday night. Tourists. Bad smells. Bad-smelling tourists. Every out-of-towner at this time of year wants to get drunk, screw one another, and go to musicals. And the Friday I was slated to see Oberon Ensemble’s production of Othello, directed by Cara Reichel, was no exception.

When assessing a play like Othello, the question is not, is it good? Of course it’s good. Shakespeare is—well, you know, pretty good. Was the production fresh, or was it rotten? That is the question.

The stage is sparse. A few lanterns hang from low ropes. As the lights dim, two musicians enter, one with a violin (Whitney Kam Lee), and one with a djembe (Rene Reyes) and they assume their positions on stage. As they play, Othello (Daniel Morgan Shelley) and Desdemona (Jennifer Blood) take the stage for a brief, choreographed dance as preface to the play, as Othello begins after they’ve already fallen in love and married. This dance was a new idea, I suppose, but I could take it or leave it.

The music, however, was one of the freshest components of Oberon’s production. Admittedly, when I heard that a djembe drum was to play a role in the production, it gave me pause—I pictured a kind of horrid vaudeville of non-Western stereotyping—but the East-meets-West duet was a subtle, effective accompaniment throughout the play, and the musicians were very skilled. The violinist even moved among the actors and, at certain poignant moments, such as Desdemona’s remembrance of Barbary’s song as she readies for bed (which turns out to be her deathbed), seemed to echo the pitch of the characters’ inner states.

Jessica Blood (Desdemona) and Daniel Morgan Shelley (Othello) | photo by Ann Bartek

As the play begins, we see Stewart Walker as Iago. With the clear candor of his voice, and his cheerful demeanor, he seems more like Benedick of Much Ado About Nothing fame than the infamous Iago. I was a little worried. How could he go from Benedick to the Iago we know and hate in just a couple of hours?

Jessica Angleskhan (Emilia) and Stewart Walker (Iago) | photo by Ann Bartek

Whether the actors successfully distracted me from a pompous Neanderthal seated beside me became a kind of odometer for their performances. Othello (Shelley) was mostly successful; Desdemona was largely unsuccessful. Where she should have been Desdemona, the daughter who, unbeknownst to her father, rebels against tradition and marries Othello, she acts as fragile and gullible as Ophelia, eyes downcast and body too stiff when still and too scattily hysterical when in motion, so that when others exclaim how great she is, “the divine Desdemona,” Cassio says at one point, I’d cock my head to one side and think, “Her?” She does redeem herself right before she dies, as Blood seems to play a repressed despair quite well, but she did have the violinist and Jessica Angleskhan as Emilia, whose performance was wonderful, to help her out. Angleskhan’s Emilia and Walker’s Iago, and their interactions, diverted my attention most from the Delta Gnu doofus—at times, I almost forgot he was there. Walker’s Iago, as it turned out, did successfully transform from a Benedick at the beginning to one of the most infamous villains ever written. Even the quality of Walker’s face, paired with some great lighting design, made him almost into a different person. The audience’s experience mimicked the experience of the other characters of the play, and were you new to the plot, Iago’s metamorphosis would be utterly shocking. Simon Feil as Cassio was pretty successful, and Jane Cortney’s great performance as Bianca, though a small role, also stole the spotlight from the Trumpish twit.

Othello, as many of us know, is the story of true love’s undoing at the hand of a sociopath who manipulates tiny, seemingly insignificant things. A lost handkerchief spells the end of Othello’s trust in Desdemona. A few choice words from Iago’s lips introduce the suspicion that would kill both Desdemona and Othello by Othello’s own hand. Strange creatures we are that impart so much meaning to a few words and the loss of a small token. Strange creatures we also are that a few tiny transgressions by our fellow man can so color our own experiences of life.

The play is good. Of course, it’s good. It’s Shakespeare. This Othello is fresh, and the acting is, overall, quite compelling.

~~~

Related Posts:

• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 2
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain – Pt. 3
• Oberon Theatre’s “Othello” And “Order” At Theatre Row: Interviews With The Madmen (And Woman) Behind The Curtain
• Something Wicked (2014 Frigid New York Festival)
• Something Wicked: 10 Things To Know About The Show Before You Go (2014 FRIGID NEW YORK FESTIVAL)