Ever been in a dead end job and it seemed like you were going nowhere?  Everyday the same routine?  Well the title characters of the play Ye Elizabeths have been doing just that for the last several years – and they couldn’t be happier.  They work as reenactors for the Old Salem Township Living History Museum, and are very content  (at least in a superficial way) with the set routines and repetitive but amusing dialogue they have as historical figures.  They also find comfort in the predictable ways their friendship plays out.  But what happens when the perfect job (dead-end or not) goes away?  Who will they be then? 

As the lights dim and then the spot lights come up again, we are launched suddenly into the world of Ye Elizabeths with a fun musical number outlining the premise of the story.  The two heroines (both named Elizabeth) introduce themselves and their world with expert piano accompaniment by Evan Gregory.

We’re reenacting history
From the 17th century
Through our characters we live vicariously
Because we don’t have lives of our own …

They have adventures (like the time when blood from the chicken slaughterers got in their eye and didn’t go away for a month), and gossip about the newbies.  They endure the curse of Wilawamat, and drool over (or disparage) the popular “Pilgrim Plantation” (a reality show about reenactors of the Pilgrim era which we get to see snippets of via a multimedia component of the show expertly and entertainingly done by Jeremy Mather). They also have numerous competitive verbal jousting matches about who is more desperate in one way or another.  Oh and there’s running. “Running’s our favorite”.

Mockucomedramady should be a term made especially for this show.  It quite successfully walks the fine line between slapstick and broad humor, highlighting the special tension between the two Elizabeths played by  Erin Leigh Schmoyer and Alicia Barnatchez.   One such moment is captured perfectly in the song Break-up which they perform in the climactic scene of the show.  With belting power ballad performed by Alicia  interlaced with the beating drum of Erin eviscerating her with rapid staccato in between her notes, we all hold our breath waiting to see how long the spell of their banishment from each other will take to weave. This is a really fun piece showcasing the talent of all three performers – Schmoyer,  Barnatchez and Gregory.

There are at least 3 strong threads weaving through this play.  There is the musical, which in and of itself is very catchy.  Then there is the mockumentary aspect which follows the same vein as Christopher Guest films.  The final and most thoughtful thread is the actual theme: What does it mean to have “a life”?  If you are feeling trapped, maybe you are.  It’s good to be good at what you do and be comfortable, but sometimes you just need to try something else if you’re going to get anywhere.

Alicia Barnatchez and Erin Leigh Schmoyer (Photo by Mike Gregoreksm)

One of the duo is dubbed “Elizasmith” for her aptitude for historical re-enactment of copper smithing and other tinkering, and the other is called “Elizabox” since she is an oxen interpreter who stands upon  a wood box  for the tourists who come through the stations each day.  She relays what the oxen are trying to communicate (“They don’t speak English”).

Elizasmith (Schmoyer) was born into the job being a “duo” with her mom since she was a baby.  In a way, Elizasmith is the more bitter of the two, but also sharper in many ways usually winning the verbal jousting matches the Elizabeths have with each other.  However, she is definitely much less worldly.

Elizabox (Barnatchez) is passionate for her work, and just wants to be the best at it what she is doing.  She wants to stay happy and stable with her friend who seems even more lost than she is.

One humorous meta-comic joke that recurs is simply the style of acting.  Even though the characters are in love with the idea of living in the times of the Pilgrims, in many ways they would fit more in the times of Vaudeville, what with their slapstick antics. It is almost a neo-Vaudvillian style taking the best of slapstick and inserting other more modern improv techniques.  Director Leah Bonvissuto’s hand is well played as she seamlessly moves from one form of story telling or multimedia expression to another while never missing a beat.

In terms of multi-media, the film clips range in style from that of reality show to classic silent movie which illustrates the duo transitioning from the world of Old Salem Township to the more alien outside world of imaginary motel rooms.  The two co-musical directors, Sarah Gregory and Evan  Gregory incorporate a diverse score – one that includes everything from the classic show tune to a smoky jazz song sung by the piano player during a scene change to a power ballad or two.

Erin Leigh Schmoyer and Alicia Barnatchez (Photo by Mike Gregorek)

Though there were a few rough edges in the production Barnatchez and Schmoyer do a great job showcasing the fun of this show, and Evan and Sarah Gregory have written some charming and amusing songs.

The ending might have been a little too pat, but for Ye Elisabeths it actually worked.  It drove home the message that maybe we can’t expect a perfect happily-ever-after for ourselves like we see in Ye Elizabeths, but we can sure try.

If you’re feeling down, this show is just the thing to perk you up.  It’s definitely funny and energizing, and it’s a little like hiding spinach in brownies: you get something good for you in what you though was just something basic and sweet.

~~~

Ye Elizabeths
Benefiting: Girls, Inc.
Produced by Easter Punny Productions
Written & Performed by Alicia Barnatchez and Erin Leigh Schmoyer
Directed by Leah Bonvissuto

$18 General Admission
$9.00 for Film/Music Participants
FREE for Theatre Festivity Participants

Saturday 6/2/12 – 5:00pm = Performance #1
Thursday 6/7/12 – 7:00pm = Performance #2
Friday 6/15/12 – 8:30pm = Performance #3
Saturday 6/16/12 – 3:00pm = Performance #4
Tuesday 6/19/12 – 8pm = Performance #5

50 minutes

At Bleecker Street Theatre (Upstairs)
45 Bleecker Street, New York, NY 10012
Conveniently located near:
Bleecker St (4 & 6)
Broadway – Lafayette St (B, D, F, M)
Prince St (N, R)
click here to purchase tickets

Related Posts:

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• Pageant Princess – Music, Make-Up And Meltdowns (2012 Planet Connections Festivity)
• Cake: When All Else Fails, Eat It (Planet Connections 2010)
• What The F* Is Going On? F*It Club’s Spring Fling!
• The Extraordinary Fall of the Four-Legged Woman: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)

Peter Sabri

Ah, New York is not as big a place as one would think. At least not when it comes to theatre – sometimes, you can meet interesting actors, directors, and producers by walking across the hall in your building.

My neighbor and dear friend asked me to join him for an evening of theatre sometime last year.  “My nephew is in this great play – you should meet him, he’s into theatre like you!” he said happily. Little did I know that my friend (who’s name is also Peter – I wonder how many of them are in the clan) was taking me to a wonderful staged reading of Visiting Mr. Green starring Eli Wallach and Peter Sabri…his nephew. As I watched this young man share the stage with one of the most legendary actors of the 20th century, I was impressed with his work and his craft; he made interesting choices, was a joy to watch and the reading was beautiful, heartfelt and heartbreaking.

Upon hearing he was in Penang, a war drama by James L. Larocca, I was thrilled to see him working again, amused by the “Wow, it’s a small world” thought that went through my head, and eager to talk to Peter about his experiences working on this show that earned him a nomination at the 2008 Midtown International Theatre Festival, one of five that the show received. Now, brought back by Madison Street and Boo-Arts Productions, he has a chance to work again on a piece that is an intense drama whose tagline is: In war the only thing that matters is the guy next to you.

DM: Peter, this is not the first time you have worked on this show – you actually were nominated for it previously in the MITF last year. What are some of your favorite aspects of this play having worked on it so much?
PS: When I think back to the first time I read Penang I remember how impressed I was with the depths with which the characters and their stories are explored in a nuanced, articulated way. It’s not only the protagonist who gets to reveal his inner struggle, but almost every supporting character as well, in one way or another. The play is certainly topical for today’s audience, but captures the distinct spirit of potential social, moral, and political issues that existed for many different demographics throughout, in the late 1960′s. I’ve had so many people come up to me after the show expressing how relate able it was to their experience or telling me how insightful it was into that time period.

DM: Having worked extensively on it, what, if any, new things did you find this time around, both in the character and in the show?
PS: The gift of getting to work on a character a second time is what new things you can bring to what you’ve already done. In the show, I’m playing an Italian American soldier from Queens named Richie “Luke” Deluca who meets the central character, Tim Riordan, while they’re both on leave from Vietnam in Penang, Malaysia. While at points he serves as comic relief, he also is sensitive and introspective. This time around, it’s been my goal to try and find the balance between the two in a richer, more specific way. While Luke has certain stereotypical behaviors that make him quite affable, he’s definitely not two dimensional. It’s been great, working to hone in on the distinction.

DM: What do you hope the audience walks away with after seeing the show?
PS: I keep hearing about what an emotional journey it is from an audience perspective. For me, that’s one of the highest compliments. To touch your audience on a personal level, where they’ve become truly invested in the story of the play and the outcome, that’s the key objective for any theater.

In war the only thing that matters is the guy next to you (photo: Antonio Minino)

DM: Part of the main title is “In War the Only Thing That Matters Is the Guy Next to You”. How is this play different than just being a play about the effects of war?
PS: I’ve had the chance to talk with the playwright, James Larocca, in depth about this. I think the differentiation is that a lot of the material you see about the effects of war suggests that the trauma endured causes people to lose sight of their humanity, their sense of morality, and turn on one another. While there’s no doubt in my mind that the nature of war itself challenges these virtues, this play explores the bonds that are formed between those who are out there struggling to stay alive and find meaning in a very complicated, senseless situation they’ve been thrown into.

DM: Do you think working on this show has given you a different outlook on what it means to serve in War?
PS: From the very beginning, I’ve tried to imagine what it would be like to put your life at risk and endure and partake in terrible acts of violence far from home for something you may or may not believe in. It still escapes me. The character I play is a few years younger than I am now, and its incredible to me that for many men and women throughout our country’s history and today, this has been their reality. It’s a humbling experience, to say the least, and it’s a reminder of the respect we should all have for those individuals who have served in War.

Scott Raker (Tim Riordan) and Peter Sabri (Luke DeLuca) in James L. Larocca's "Penang" photo credit: Joshua A. Michaels

DM: Now, a little more about you: I had an opportunity to see you in “Visiting Mr. Green” opposite Eli Wallach. It was a great reading – both of you were wonderful. What was that like, to work with an actor whose has made such an important mark in the entertainment industry?
PS: Thank you. When I first heard that I might have the opportunity to work opposite Eli Wallach, I immediately went over to my movie collection and pulled out The Misfits. I stood there looking at the poster for this film written by Arthur Miller, directed by John Huston, and starring: Clark Cable, Marilyn Monroe, Montgomery Clift, Thelma Ritter, and none other than, Eli Wallach, and thought to myself….Holy Shit! Eli is one of the few remaining living legends who was directly involved in many of the visionary efforts made in film, theater, and style that directly influence contemporary work today. He also happens to be at 93 one of the sweetest, most generous, most talented people I’ve ever had the pleasure to work with. Regardless of whatever future achievements I might have, it will forever remain a highlight in my career.

DM: What made you want to go into acting – when did you know that was what you wanted to do?
PS: My Mom would have to remind me for sure, but I think it was when I was the emcee for my kindergarden show or first had to recite a nursery rhyme in front of the parents at my pre-school graduation that I realized I wanted to perform. It was one of those things as a kid where I’d always say I wanted to be a doctor or a lawyer AND an actor when I grew up. Had to get the secure profession in there as well. When we were sitting in my high school guidance office talking about colleges and I said that I wanted to major in theater as an actor, at first my Dad was like, “Really? That’s it? Nothing else?;” but, I’ve been lucky in that both my parents and, in fact, my entire extended family have been so supportive of me and my career throughout the years. They come to everything I do and are my biggest fans. I can’t image doing this without them. It’s been my greatest gift.

DM: Who are some of your favorite actors and inspirations for your work?
PS: Like every young male actor I can recite the list of actors throughout the decades who have inspired and informed my work. It’s almost a cliche but at the same time it’s very true: Brando, DeNiro, Pacino, James Dean, Paul Newman, Dustin Hoffman, Robert Duvall, Gene Hackman, Sean Penn, Daniel Day Lewis, Liam Neeson, Peter Saarsgard. That’s just off the top of my head, and I haven’t even touched the amazing female talent we’ve been a witness to over the years.

DM: What would be some of the characters/plays you would love to work on in the future, to really climb that artistic mountain and tackle?
PS: I would love to work on some of Tennessee Williams’ characters some day. Brick in Cat on a Hot Tin Roof or Stanley in Streetcar. I’ve always really enjoyed John Patrick Shanley’s works: Aldo Scalicki in Italian American Reconciliation, Danny in Danny and the Deep Blue Sea, The Dreamer Examines His Pillow. I was into Neil Labute for a while and Kenneth Lonergan. I just went in to read for Rodolfo in the new version of Arthur Miller’s A View From the Bridge coming back to Broadway. That would be amazing.

DM: What’s coming up next for you after Penang?
PS: Who’s worried about after Penang? After two hours of deep contemplation and my strongest efforts to sound like a reasonably intelligent individual, I’m just thankful I managed to finish this interview.

_____________________________

Indeed, Peter! Intelligent and talented. Uncle Pete’s gonna be proud!

You can see Peter Sabri in Penang, running Nov. 5th through Nov. 22nd at The Workshop Main Stage Theater (312 West 36th Street, New York, NY 10018, 4th Floor).

THM’s own editor Karen Tortora-Lee will be reviewing the show very soon!

Tickets are only $18 – please check out www. BOO-Arts.com for more info.

Related Posts:

• In “Penang” The Only Thing That Matters Is The Guy Next To You
• Delving Into DARK WATER With Diánna Martin
• Coyote On A Fence – FREE Staged Reading – 5 Things To Know About The Show Before You Go (2012 Planet Connections Festivity)
• Ye Elizabeths: Living Vicariously Because … (2012 Planet Connections Festivity)
• Women’s History Month: Celebrating Women In The Arts – Spotlight On Diánna Martin