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Don’t Move To Toronto: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)

Karen Tortora-Lee — Mon, 01 Feb 2016 17:00:14 +0000

Ten Questions. Ten Answers. And one Big Surprise in the audience …

Don’t Move To Toronto

produced by Fresh Hell

The show follows Daniels’ move from a contented collegiate life to the unpredictable big city, and will be familiar to anyone who has been dumped, evicted, threatened, fired, or bankrupted. Using a musical playlist of the most heartfelt love songs of the last generation and her years of experience as a stand-up comedian and storyteller, Daniels presents the brutally hilarious tale of a perfectly happy life absolutely ruined by moving to the Big Smoke.

Show Info:

Wed Feb 24, 2016 | 5:30PM
Fri Feb 26, 2016 | 7:10PM
Sun Feb 28, 2016 | 12:10PM
Tue Mar 01, 2016 | 7:10PM
Thu Mar 03, 2016 | 10:30PM
Sat Mar 05, 2016 | 5:30PM

Under St. Marks New York, NY $15/$18

Answers by Zoe Daniels

(writer/performer)

1. Forget the PR version. When you’re talking to your friends, how do you explain this show to them?
Zoe: This show is all true stories of the insane year I had after moving to Toronto. You know all the bad things that usually happen in your 20′s? Those all happened to me, all at once. At a certain point I was just like “Yes, yes, this is the worst. Bring it on. What else can go wrong? Show me.” Just bathing in my own tears.

2. Here’s a scenario: After the show some audience members go have a drink. What’s the part of the show you hope they’re discussing?
Zoe: Probably the part where my neighbour goes insane or where my boyfriend dumps me in the dumbest way possible.

3. What drives your show – character, theme or plot?
Zoe: Character + theme. I do a couple characters from my year who were just too silly not to mock, but the overall show is in my voice and the theme is a combination of “You gotta laugh or you’ll cry” and “Woo0o0o0owwww, life is absurd.”

4. In rehearsals, read-thrus, or prior incarnations, what’s the one thing someone said about the show so far that made you (or the team) the most proud?
Zoe: A friend of mine said “I laughed, I cried, I was on my period.” A reviewer from the Pioneer Press (the big newspaper in Minnesota) said

“Daniels offers a comedic voice for a next generation [and] tells her personal stories [...] with such wit, humor and sarcasm, that it has you wanting to know what happens next and laughing throughout”

5. If money and resources (and even reality) were no object what is the most lavish, luxurious, pointless prop, costume, effect – anything – that you would spend money on for this show?
Zoe: I would bring my audience to Toronto with me an perform a year-long show where I would recreate every day in painstaking detail, including the awful apartments, ridiculous jobs, and hysterically bad trip to Europe.

6. What’s the one thing you’re looking forward to regarding the FRIGID Festival itself?
Zoe: Verrrrry excited to see what people are doing back in the homeland. I live in Canada now so it’s always sort of novel to see American theatre. Also, I hope I see some dance shows because I never tire of being like “HOLY SHIT WHAT IS THAT I CAN’T DO THAT AMAZING.”

7. Is there a scene, a moment, a gesture … anything at all in the show that you anticipate may get a completely different reaction depending on the audience that night?
Zoe: Yeah, one of the big jokes in the middle is a kind of crushing moment – sometimes the audience gets sad instead of laughing because they’re worried about me but I gotta tell you, don’t be – it’s really, really funny.

8. What’s your favorite line from the show?
Zoe: “The owner was a 5 foot 2 lady the color and texture of beef jerky, she drove a pink Hummer with her initials on the side in pink and she had a ponytail facelift… and also a regular facelift.”

9. What’s the last thing you usually do before the beginning of a show?
Zoe: Pushups to waste my adrenaline.

10. You scan the audience and you see a face that stops you dead in your tracks – who is it? And why are you shocked?
Zoe: Oh, for sure my ex-boyfriend who features in the show but has 100% not seen it. But honestly, that is exactly the kind of thing that was happening during that first year in Toronto – huge, comically horrible bad luck – so I wouldn’t be surprised if it did happen.

For your sake, Zoe, I’ll cross my fingers and hope that of all the surprise guests that could show up, that ex isn’t one of them. Sounds like you’ve had enough comically bad luck.

The rest of you – don’t forget to check out Don’t Move To Toronto.

-*-*-

Horse Trade Theater Group will present the 10th Annual FRIGID New York Festival at The Kraine Theater (85 East 4^th Street between 2^nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1^st Avenue and Avenue A) February 16-March 6. All shows run 60 minutes, or less. Tickets are available for purchase in advance at http://www.horsetrade.info/

Almost A Genius (2014 Frigid New York Festival)

Geoffrey Paddy Johnson — Wed, 05 Mar 2014 02:17:25 +0000

Mental disorder is a prickly theme for a comedian, at once courting a humane sympathetic response all but extinguishing of levity, while summoning a degraded, inhumane call for ridicule – an entirely viler form of laughter. As a chosen topic it is demanding, requiring skillful handling, but there are some who seem qualified to do so, much the way there are some who can juggle chainsaws. Maria Wojciechowski is one of those artful jugglers. In her self authored comedic monologue, Almost A Genius, playing at this year’s Frigid Festival, she offers an account of her fairly recent diagnosis as a bi-polar personality. A devastating label to be handed at any stage of one’s life, with presently no known “cure”, the knowledge carries a heavy burden of responsibility. It provides, however, a framework with which to look back on past experiences and reappraise them. It seems Wojciechowski is presently at this point in her young life, but it doesn’t stop her from finding comedy in reflection. And perhaps it opens up understanding in larger, freer ways.

Witness, for instance, her opening act here as slowly, painfully almost, she inches from behind a curtain wearing a head-to-toe banana suit, her face a riven mask of angst. She closes on the microphone and haltingly commences in a cringing voice a sequence of bad to very bad banana puns and humorisms. It’s agonizing. And darkly, deeply funny. Everything is up for the cut: the performer, the audience, humor itself, and the banana – most maligned of fruits. This is clever stuff. Mercifully the lights go down, the banana suit comes off, and she stands before us as herself, launching into the story of her recent real life diagnosis. She has a soft, gentle voice and a slight and graceful physical presence. There is something mild and vulnerable about her, altogether at odds with the evident sharpness of her intelligence and the gritty humor she conjures in this clear-eyed, slightly self-mocking account of her harsh situation.

Punctuating her affecting confessional monologue are a series of sketches and performances that crank up the laugh factor and deepen the investigation. Away from herself, in character, she is a bold and brassy performer, committed to her creations with a vitality that is almost scary – that banana is really quite alarming. We get some singing, some dancing, and a bunch of impersonations shedding various degrees of light on her personal story – some hilariously on point (an earnest nun singing How Do You Solve a Problem Like Maria?) – and some more vaguely so (a chatty Whitechapel prostitute who quips her way through a near fatal encounter with Jack the Ripper). Breezily she moves from act to act, effortlessly shifting gears, but the break in continuity and character sometimes damages the rhythm of the whole, and the proximity between scathing take-downs and heartfelt confession is an awkward one. What are we to make, for example, of her plaintive pronouncement concerning a cherished family pet -”sometimes I wonder if I loved that dog more than some of my family”? Does she mean it, or is she being funny again, sending up the trite sadness of the situation? Both, most likely. And really that’s the fine steel hook she can catch you with in this piece. She can use the comforting language familiar to support groups in a way that plays at once as sincere and as ridiculous. Many will be lulled by her soft ingenuous-seeming voice, the tender reality of her plight, but this is only half the story. Even though there are some broadly comical moments few could resist, by and large she’s a sly one.

With direction by Natalie Sullivan Shipman, as a piece it could use a little tightening up to improve pace, a little polish, perhaps even a little squaring up as to where the humor is contained and the real self prevails. But that might be tampering with a rare and delicate concoction from a distinctive performer. In its current form Wojciechowski has given us something already suffused with a vivid comedic sensibility and a brave creative reach. It’s almost a work of genius.

~~~
Almost A Genius
Directed by: Natalie Sullivan

Remaining Performance:
Mar 07, 5:30PM

Click HERE for tickets

Running time: 0 h 45 min
Price: $10.00 – $15.00
Seating: General Admission

UNDER St Marks
94 St Marks Place
New York , New York 10009
1st Ave and Ave A

Horse Trade Theater Group will present the 8th Annual FRIGID New York Festival at The Kraine Theater (85 East 4^th Street between 2^nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1^st Avenue and Avenue A) February 19-March 9. Tickets are available for purchase in advance at www.FRIGIDnewyork.info or by calling 212-868-4444.