The key to Josephine Baker’s success was simple: she was unique, magnetic, and unlike anything that audiences had ever experienced before.  While her talents were really rather standard it was her personality that was incomparable  and that’s what made her a star – one whose light is still felt almost 40 years after her death.

The trick, then, to portraying someone like Baker is to capture that spark, that “it”, that je ne sais quoi.   Cheryl Howard, who wrote and performs in the solo show The Sensational Josephine Baker, is undoubtedly talented as she shines brilliantly from stage – a triple threat of dancer, singer and actress – but her immense talent is still not enough to work the magic needed to weave a story that will do justice to Ms. Baker.

The Sensational Josephine Baker highlights the life of the famed, groundbreaking, exotic young woman who took Paris by storm simply by being herself.   The show begins with an aging, frightened, down-on-her luck Baker shrieking in despair at the thought of losing her home which houses not just herself but her many (adopted) children.  Loren Van Brenk’s ”Eighty-Three Million Francs,” comes off a bit like Rose begging her father for eighty-eight bucks in Gypsy, but it does set a tone of a strong woman with great resolve who will do whatever it takes to survive.  With shades of Garland packing up her kids and hitting the road – Baker is off to put on a show despite being panicked about returning to the stage.  Brenk’s other original songs interspersed with Baker’s oeuvre (““I’m Just Wild About Harry”  ”Who” ”Don’t Touch Me Tomato“) definitely define this as a musical, but never quite connect the themes, and often the songs feel dropped in.

We are immediately tossed to the past into Baker’s childhood to witness Josephine as the wild child of a wild mother –  the daughter of a mean drunk.  Howard’s portrayal of Baker’s mother is devastating and raw, she is so dismissive and loathsome that one is immediately amazed that Baker managed to make her way in the world at all, let alone manage to become so immensely successful. Though her mother harshly throws her daughter out to fend for herself, Josephine finds comfort and caring from her devoted grandmother who gives “Tumpy” a quarter – and a song filled with purpose – and encourages the young girl to go follow her dream.  Once again, Howard shows her suburb talent and range – though she is the only one on stage the actual relationship between grandmother and granddaughter was palpable.

Cheryl Howard in The Sensational Josephine Baker (Photo by Carol Rosegg)

From there we follow Josephine as she quickly takes advantage of the opportunities when they present themselves; though she is a dresser for The Dixie Steppers she makes sure to learn the routines and has no problem taking the place of one of the dancers when the other girl’s unfortunate circumstance forces her to quit.  Baker’s wild antics on stage which include eye rolling, comic steps, wild mugging and general scene stealing captures the eye of a benefactress who brings her to Paris where her skills were soon undressed in order to accommodate a “Savage” theme.  Thus Baker finds herself physically and emotionally bare.  Howard, however, chooses to stay clothed.

While so many of the moments of The Sensational Josephine Baker showcased Howard’s amazing abilities the show’s story lacked a clear through line.  It seemed to be a pastiche of  snapshots meant to tell a broad story quickly, which, unfortunately, left all the elements on equal footing.  Important turns come off as footnotes and interesting moments are cut short to give time to rather bland production numbers.  And while Howard is often riveting when embodying the people who lived in Baker’s world – specifically Miss Lydia Jones whose dismissive jealousy is deliciously sharp - her Baker is somewhat lackluster.  By definition it’s almost impossible to duplicate the talent of someone whose flair was so specifically unmatched.  The passing of the decades does a bit of damage as well: much of Baker’s groundbreaking and shocking behavior of the time simply comes off as quaint.   Other moments however –  facing prejudice when returning to the States with her caucasian lover – which might have been deeply effective to examine were left disappointingly unexplored. To perhaps focus on moments such as those in this woman’s life, rather than attempt to give a cradle-to-grave retrospective might have been a more interesting way to tell Baker’s story while still being true to the deep spirt of this fascinating woman.

Howard’s appreciation for Baker’s moxie, vibrancy and tenacity is obvious and her desire to showcase her subject from as many angles as possible is admirable.  However, in giving us Josephine the young girl, Josephine the ingenue, Joesphine the toast of Paris, Josephine the force to be reckoned with and Josephine the comeback queen Howard gives us a story which diverges into too many paths.  Despite strong moments I never quite made the emotional connection which allowed the final scene to deliver the triumphant blast that was intended. Howard seems to connect to the audience best when exploring the personal and intimate moments of Baker’s life rather than stepping into her larger-than-life persona.

Josephine Baker was sensational.  Cheryl Howard is sensational.  But bigger isn’t always better, and The Sensational Josephine Baker showed that much of what made Baker truly exceptional was not what she exposed so freely, but what she kept hidden.  Show more of that, and this show will live up to its name.

 ~~~

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Ever wonder what it might be like to hang out for a weekend with the casually wealthy?  Ever yearn to be part of a clique of old friends who sit around and poke fun at each other for small transgressions such as packing five pairs of shoes for a four day trip or dropping, say, 30K on a Birkin bag?  Then meet the people of playwright Molly Moroney’s Kithless In Paradise now playing at the Lion Theatre at Theatre Row. Hosts Tim McCall (David Wirth) and his wife Janice (Liz Forst) open their comfortable San Francisco home – as they do each year – to old friends Phil (Brit Herring) and Polly Barrett (Tracy Newirth) who come from Texas for the yearly shindig.  Casual.  It’s all very casual.  The way they catch up on what’s been going on since they last met, the way they drink and drink … and drink.  And drink.  The way they bring up their successes as well as their failures.  It’s all tossed off casually as they pass around the three thousand dollar bottle of wine and enjoy the hors d’oeuvres.  Drop in on them briefly and you’d wish you were one of them.  But stay awhile and you’ll start to miss your cramped apartment where the wine may come out of a box but at least you’re guaranteed a far better quality of kith.

As this quartet have their patter we get a rather complete image of who they are – while they’re all the same age and the same tax bracket the McCalls are a sturdier couple with heartier values – or so it would seem from the bits of weightier conversation we’re allowed to listen in on.  Their house guests, the Barretts, on the other hand come off as at least a decade younger.  They’re friskier (when Tim and Janice leave the room for a moment Phil wastes no time lunging for his wife’s breasts which have been on display and apparently calling to him) and just seem edgier and more fun-loving risk takers.  Together these rich folks seem to know all the best wines, the up and coming artists, the best shows and the hottest investments.  They’ve known each other so long that they can recall stories of high school, yet they can’t bring themselves to delve into a conversation any deeper than the eternal struggle of who should change the toilet paper roll. They’re all a friendly bunch, and while you’d be hard-pressed to find a nugget of meaningful conversation between the four of them they’re nice enough to spend an afternoon with.

Kithless in Paradise (Photo by Carol Rosegg) L to R: Bob Manus (Ken Loring) David Wirth (Tim McCall) Liz Forst (Janice McCall) Jill Melanie Wirth (Sandy Loring) Brit Herring (Phil Barrett) and Tracy Newirth (Polly Barrett)

Just when you’re wondering what could possibly go wrong here – red wine spilled on the pristine white couch?  Someone tearing a hole into the precious piece of art hanging prominently on the wall? – Two more guests arrive.  Ken Loring (Bob Manus) is another old high school friend but obviously not part of the inner circle.  That much is made clear as he and wife Sandy (Jill Melanie Wirth) seem to hover on the perimeter of the merriment.  Soon enough  – though small and somewhat meek – Sandy manages to drench the party in black humor.  Apparently the skittish Sandy can’t help but quickly mention that she’s dying imminently of leukemia.  This dark announcement brings the joyful gaiety of the party to a halt  – but only for a beat.  Soon enough the chatter bubbles up again and while everyone seems as if they know they should care the truth is no one of this bunch can seem genuinely concerned about anything for very long.  Within minutes Polly is distracted by the lovely sweater Sandy is wearing (going so far as to reach in and check her label) as well as her Chanel purse.  Sandy’s comments about her illness are simply peppered into this conversational mix as casually as the previous ingredients were — and no one stops to consider any of it.  Every comment is given the same weight regardless of worth.  Even as Sandy grows agitated and attempts to make a sweeping confession (to relative strangers) she is brushed aside because, after all, there is wine to be had.  Better to keep the conversation to cellulite and sports.

Moroney’s dialogue sounds real and flows quickly, however the story rings hollow as far too many issues are raised, only then left to wither, resolved only partially if at all.  While director Niki Flacks moves the piece along with a comedic bent and an upbeat tempo there is still too much ground to cover here.  The actors are enjoyable, but with dialogue which never amounts to more than cocktail party chatter it’s hard for us to come away feeling as if we’ve grown to know them, or what makes them tick.  While we certainly learn that these people can afford to buy thirty thousand dollar handbags we don’t find much more about what has kept them close over the years, especially with so much tension right below the surface.   Friends betray friends, men make plays at each other’s wives, women cheat on their husbands, secrets are kept with disastrous results … and ultimately the resolutions feel very thin.  If it can’t be waved away by a joke, a smarmy remark, another drink, or have money thrown at it then it’s simply ignored.  Apparently, if Kithless In Paradise is to be our blueprint, we are to believe that rich people really don’t process very deeply.

I came away from Kithless In Paradise unable to conclude if the play was meant to be served as nothing but a parody: highlighting the shallowness of the two-dimensional West Coast Rich and pointing out that money can’t buy happiness; or a sincere effort by  Moroney that simply misfired.  The big reveals which would truly shake a marriage do very little to either further the plot or change the trajectory of these character’s lives or their way of thinking.  By the end, despite having lived through – or witnessed – rather stark developments they remain as cavalier and as shallow as they were when we met them.  And while they celebrate this never-ending lovefest which brings them together year after year in a tradition that seems as solid as the ball dropping on Times Square, if this is what you become when you have millions of dollars, I think I’ll pass.

~~~

Related Posts:

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• Critical Mass – Revenge Can Be . . .
• “A Home Across The Ocean” – A Heart Right Here
• The Starship Astrov: Best Of Both Worlds (Midtown International Theatre Festival 2010)

Imagine if you could re-visit a tragedy and restore the hope; take away the shadows of doubt, the shudders of despair. Imagine if you could re-visit shabby rooms, where stale air does little but circulate the layers of dust and melancholy, and breath in fresh life imbued with optimism and energy.

Imagine if you could see a classic play such as Tennessee Williams’ The Glass Menagerie from a whole other persective, one of possibility, where the “bitter” of bitter-sweet is removed and all that is left is a revving of the heart at what is yet to come. The Pretty Trap currently playing at The Acorn Theatre (Theatre Row) does just that. Written by Williams as one of the earlier drafts of Menagerie it is a sparkling one-act starring Katharine Houghton as the matriarch Amanda Wingfield.

Katharine Houghton as Amanda Wingfield, Nisi Sturgis as Laura and Robert Eli as The Gentleman Caller (Photo by Ben Hider)

It’s nice to get a chance to visit with a family we think we know so well, put in a situation we think we understand, and see another experience emerge. Under Antony Marsellis’ direction this tightly staged piece brings us into the family of the Wingfields – aging southern belle Amanda; shy, flighty, distraught Laura (Nisi Sturgis) who is terrified of the evening about to unfold;  likeable, creative, not-too-ambitious brother Tom (Loren Dunn); and the reason for the evening’s excitement: the “gentleman caller” – charming go-getter Jim (Robert Eli).

What is meant to appear as nothing more than a dinner is really Amanda’s scheming intentions to have Laura set as the pretty trap for Jim. (“All pretty girls are traps. And men expect them to be.” she tutors her skittish daughter as they await the caller’s arrival.) It is obvious that with Laura’s temperament she is unfit for work (although she’s gone to business school) and with her mother getting older and her father long gone (save for the photo which looms large in the living room) her remaining choices are either to become the spinster aunt living off the charity of her brother (if and when he himself finds his own way in the world) or find herself a husband.

All the same notes of Menagerie are here – but rearranged and uptempo so that the song is very different … and how it sets your internal toe to tapping depends strongly on how cleanly you can delineate between what you know of this family, and what you want to believe of this particular melody. Taken at face value you’ll find yourself beguiled by this one act that is sweet, charming, magical, and yes … hopeful.

The entire cast is strong and each actor in turn gets their moment to shine; particularly Nisi Sturgis and Robert Eli as the gently tentative couple who share sly romantic moments in the dark and sweetly begin a romantic evolution; one that shows no foreshadowing of the ache that comes to bear in Menagerie.  It is particularly satisfying to watch Sturgis take Laura from terrified to tentative to triumphant as she opens up her world to this new man and allows him to see what she sees, to hold what she holds, to know what she knows.

It is Katharine Houghton, however, as the complex Amanda who sets the tone, draws the audience in, and lays the foundation for the entire play. Her incessant chattering about seemingly nothing is actually a finely woven spider’s web of intricately devised manipulation, and in Ms. Houghton’s delivery the smooth layering and complexity is almost imperceptible – a brilliant slight of hand that is almost unbelievably subtle but leaves the audiences with a wealth of knowledge upon which to draw in order to understand this family.

All of this takes place in Ray Klausen’s two-room set which is a beautiful combination of faded, delicate and fragile pieces, gently worn and all in varying shades of pink (or memories of pink) which at any given moment can remind us of Amanda’s faded blush of youth (“I was as pretty as Laura … prettier even, if you can believe it” she says often) or Laura’s deep stain of embarrassment as she is forced to move from her world of safe imagination to the world of real men … with real intentions.

Overall The Pretty Trap is a satisfying, beautifully done piece which is a refreshing night for those who would love to see a “what if” moment retold with a happier ending.

~~~

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Related Posts:

• The Sensational Josephine Baker
• “Kithless In Paradise” – The Rich Are Different
• Elysian Fields (Fringe Festival 2011)
• Critical Mass – Revenge Can Be . . .
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“A good review is never good enough . . . a bad review is devastating . . .”

Critical Mass (written by Joanne Sydney Lessner and directed by Donald Brenner) exposes a dirty little secret of reviewers: for some critics, reviewing is a bloodsport.  For those critics who are out for blood,  the review itself is an arena for them to not only grind their ax, but to then wield it in an effort to deliver that final blow that will not only cripple an artist’s confidence but – in some cases – kill their entire career as well.   Some critics approach their job with a delicious sense of malevolent relish – the more they dislike what they are seeing, hearing, reading or otherwise reviewing the higher they construct their dark tower from which to throw their prey, waiting in anticipation for that satisfying SPLAT at the end of the long fall.

Aaron Davis (Stefano), Shorey Walker (Francesca), Leigh Williams (Carrie) and Zack Hoogendyk (Norman) in CRITICAL MASS | | Photo Credit: Erin Unanue

Not all critics have this drive however, and when we meet husband and wife team Carrie Greenlea (Leigh Williams) and Norman Greenlea (Zac Hoogendyk) it’s obvious that Norman is of the kinder variety.   Both review opera – she in person, he via recording.  They are the yin and yang of the Opera world.  Norm keeps a layer between himself and the work – he reviews CDs from home and hopes to be as positive as he can be with just a slight dot of negativity.  Carrie likes to shoot from closer range – she attends live performances and loves her own combination of destructive words so much that she can often quote them – delightedly – from memory.  Whereas Carrie often thrusts the knife in deep so as to end the suffering quickly, Norman offers a glimmer of hope, peppering his reviews with helpful phrases that indicate that someday, perhaps, there’s a possibility that maybe . . . He brandishes a knife too – but it’s of the butter variety.

Right at the top of the show Carrie and Norman have a conversation one would expect they’ve had numerous times – he’s accusing her of being harsh, she’s accusing him of being weak, and they go over the rules of responsibility once more.  A critic has an obligation to 1) their editor who must maintain the integrity and credibility of the publication 2) the public who are expecting an honest opinion and 3) the artist whom they are doing no favors for if they offer false hope.

When two people do the same thing but in fundamentally different ways and based on two very different principles there is bound to be some friction, and this marriage is no different.  While you sense there’s a lot of love here, the foundation of respect is withering away with every filed review.  Thus, in the wake of this eroded mutual respect, it becomes hard to see Carrie and Norman starting a family, even though this seems to be something that both deeply want.

Aaron Davis (Stefano) and Marc Geller (Cedric) CRITICAL MASS | Photo Credit: Erin Unanue

Soon enough these two opera critics find themselves in a plot worthy of any opera buffa when an irate singer, Stefano Donato (Aaron Davis – slathering on the Italian accent with . . . a butter knife) comes to exact his revenge.  At this point, fans of the genre will recognize the many pat devices of classic Italian Opera: mistaken identity, falsely planted notions, blackmail, deception, plagiarism, lovers who must be apart in order for the plan to work, couples distanced by circumstance only to realize that they can’t live without each other, and an elaborate plot of retribution that involves a lattice work of lies which easily could collapse at any moment.  To explain the story any further would be to give too much of it away.

The comedy of Critical Mass is generally not in the set up (plot twists can be seen coming from a mile away) but in the finesse with which the twists are pulled off and the extremity to which a simple plan of revenge ultimately travels.  In these lives at least,  you can’t always get what you want, but if you malign sometimes you just might find  . . . you get what you need.

While the entire cast is wonderful, Marc Geller as editor Cedric West stole this show for me – not only acting as the fulcrum of the plot, the voice of reason, AND the voice of Bette Davis, but also as the one character who had the best sense of fun and playfulness.  Every time he came on the scene the entertainment quotient rose by 20 points.

Ultimately, Critical Mass is about  love,  loving what you do,  and doing what you love.   It also reminds those of us who write reviews to remember to be fair but compassionate while reviewing, and teaches that you shouldn’t embed yourself in between the lines of a review in some misguided sense of ego.  If this occupation makes you bitter, then find a way to do what you’re good at in a way that’s not going to leave bodies strewn across the stage.

~~~

Related Posts:

• The Sensational Josephine Baker
• “Kithless In Paradise” – The Rich Are Different
• The Pretty Trap – If “Glass” Had Never Broken
• “A Home Across The Ocean” – A Heart Right Here
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Being the editor and founder of The Happiest Medium has its privileges.  I’d like to think that I know how to delegate but I’ll be honest – when an opportunity came up to interview Ms. Alex Bond I took it for myself because I’d been wanting to meet this wonderful lady ever since I’d seen her show Late Nights With The Boys.   I was fortunate to also see Ms. Alex Bond in the MTWorks production of David Stallings’ Barrier Island. She is currently playing opposite David in Cody Daigle’s A Home Across The Ocean.

Ms. Bond is one of those rare performers whose light shines out so brightly that you can see her eyes twinkle from the back row.  I admit that I was nervous to meet her and sit down with her but, of course, Alex is as warm and dear as she comes across on stage and she not only gave me a great interview but she also shared some deep insight into A Home Across The Ocean.

We sat down for lunch earlier this month while rehearsals for this play were still going on. Now that A Home Across The Ocean is in its last week there’s still time to get your tickets, and I urge you to do so.  I’ll let my interview with Alex explain why  . . .

Alex Bond (Grethe) in MTWorks world premiere production of A HOME ACROSS THE OCEAN by Cody Daigle, directed by Dev Bondarin | September 16 - October 2, 2010 | Theatre Row Complex | Photo Credit: Antonio Miniño

Tell us a little bit about A Home Across The Ocean , and about your character, Grethe, in particular.

AB:I guess it’s best for me to speak mostly about my part because I wouldn’t dare speak for the other characters. As actors we bring ourselves to a part so I will mostly speak about about Grethe.

A Home Across The Ocean itself  is like a poem to the idea of forming families when perhaps the ones that we were born with or the ones we’ve had before don’t fulfill us. I play the mother – and it’s great because I’ve been forming families all my life, and you hope that they stick around with you for as long as you stick around. In some cases, they don’t… but moving on, and moving forward are also themes of our play.

So Grethe is the mother of a gay son – which frankly could not have been more perfect. If I had had children I would have wanted them to be gay- either male or female – simply because when I was younger and growing up it was such a stigma and I thought that was wrong.  I felt that people who are different need a little extra love. And I get being different . . . so that’s why I’d be a good mom of a gay person.

A Home Across The Ocean is a beautifully written play by Cody Daigle. I’m wondering if Cody had a lot of his own mother in my character . . . she’s a highly educated woman; maybe a little too educated. She likes to use big words when she gets ticked off … words like “incredulousness” . . . she pulls out the vocabulary when she wants to make a point!

Grethe has just lost her husband of 33 years and she has decided to move forward and in doing so maybe has made some choices that are precipitous (laughing). How’s that?

That’s a great ten dollar word!

Her son certainly thinks that Mom is moving too quickly after Dad’s death, so we have that contention going on between family members. In the meantime, her son, Conner, and his partner have adopted a child which they don’t tell Mom is a 13 year old girl . . . and Mom is anticipating a baby. Also, the child is African American, But that’s fine with Grethe because she herself has written a letter to a former lover (someone whom I’m convinced she lost her virginity to) who is an African poet who she had aligned herself with in college.

I think it’s one of those reactions:  “I don’t know what to do with myself, I’ve taken care of the business that has to do with my husband’s passing, now what?” So she writes to this man who now lives in London and probably thinks he won’t reply . . . or come to visit . . . but he does!

What follow are the labor pains of everyone forming this new family.

DAVID STALLINGS and ALEX BOND (Off-B'way: "Flamingo Court") appearing in MTWorks' world premiere of A HOME ACROSS THE OCEAN, by LGBTQ journalist CODY DAIGLE, directed by DEV BONDARIN | September 16 - October 2, 2010 at The Studio Theatre @Theatre Row | photo credit: Antonio Miniño

You’ve worked with David Stallings now for several projects in a row. He plays your son in A Home Across The Ocean. How does it feel to be playing his mom?

We love each other a lot already. But what I have to bring to this play is that “mother-judgmental” thing . . . which I would never do to David in real life. I admire him as an actor as well as a playwright. But Momma judges, as Mommas do. So I have had to bring in some things that are not in our daily friendship.

Does it feel strange?

Yes, it does. Because we’ll get through rehearsal after I have yelled at him or he’s gotten snippy with me in a scene and it is odd. We haven’t really talked about it, but it’s interesting. I have to bring something that isn’t there in our normal relationship. I don’t want to yell at him and I have to judge him and that’s something that I, Alex, wouldn’t do. So yes, it’s been tough.

A Home Across The Ocean is a very heartwarming play that’s nestled amid some very prickly issues. Do you see this as a message play, or just a play about people who happen to be in certain situations?

I think any play is a message play. Some hit you over the head with a jackhammer – this one does not. This one uses subtly and beautiful language.

One of the most interesting things I find about A Home Across The Ocean is that it’s not about gay adoption. It’s more . . . “okay, they’ve adopted her, and now how do they cope as parents?” So the conversations these men have about their daughter could be coming out of any adoptive parent’s mouths. And that’s what’s wonderful about the play. Yes, these are exceptional circumstances and that gets mentioned occasionally. But that’s not the big thing. So it starts from a point of gay adoption already being acceptable.

At the same time, Daniel and Conner worry about “are we able to do it?” [as a gay couple]. As much as you don’t agree with something that society is saying, you still hear it, and it still creates that grain of doubt. There’s a part where Grethe says to Conner “Everything you’ve done smacks of impermanence” . . . in Grethe’s eyes.

She brings out the questions of Why are you fostering instead of adopting? Why is [foster daughter] Penny 13? She’ll be out of the house in 5 years. Maybe Conner never thought of that but Mom knows how to provoke Son.

I feel that gay adoption is such a wonderful thing that I don’t see anything wrong with it in my own head. I have a neighbor who can’t understand “gay” anything, much less gay adoption. We were discussing it and I said “You know more children are abused by ‘traditional’ parents?” For me, it’s a no-brainer. And I don’t know when people will wake up to just celebrating goodness, no matter what package it comes in.

I’m right there with you.

LATE NIGHTS WITH THE BOYS: confessions of a leather bar chanteuse Pictured: Alex Bond in 1977

This feeds right into my next question – In your own show that you wrote “Late Nights With the Boys: Confessions of a Leather Bar Chanteuse”you take audiences back to a time when being gay meant hiding out in bars and putting on a different persona out in the “real” world. What does it mean now to you to be part of A Home Across The Ocean- a play that celebrates the relationship of a gay couple – and also shows the challenges of two men trying to adopt a child?

I think progress generally moves slowly. In thirty years strides have been made – and it’s high time but in retrospect, a shame. Some people say “We’ll take what we can get” and I say “Let’s open people’s eyes.” Late Nights is somewhat of an eyeopener in that it shows exactly how much progress has been made … but there are still [gay] people being beat up, there are still people being ostracized, there are still people being kicked out of their homes because they don’t fit the norm.  Equal rights shouldn’t have qualifiers or exceptions.  So we’re not done yet.

I don’t march anymore . . . but I do what I can, and so that’s what Late Nights is about. It’s for younger gay people to see how there has been progress and to keep it going; and for people who remember the old days who can be nostalgic about the crazy kick-up-your-heels days. People always find inequity in the world, and I’ll never change my neighbor’s mind, but I know that there are people who have changed their minds.

Without giving away too much of the plot, do you have a favorite moment or scene in A Home Across The Ocean, one that really gets you excited every time you come to it?

Yes – and it happens quite early – there is an airport scene. I’d mentioned that the African Poet comes for a visit. This is one of those moments that everyone would love to have – where they see their first love after 35 years come walking toward them in an airport . . .and all of a sudden, especially for someone who is . . . well Grethe’s 56 in the play (and I’ll say that’s how old I am) but you all of a sudden are 19 again. That is so cool and it’s so much fun to play with and to experience because I often act and talk younger than my years. Maturity is something that . . . well there are certain aspect of it of which I am not fond. So that is a favorite moment.

Bonus question time! You can tell me anything you want. It can be a favorite memory, or tell me about your favorite charity. You can give me a recipe or tell me a joke or just leave me with a quote. Anything at all. The mic is yours . . .

Well at the risk of sounding maudlin there is something that I don’t talk about a lot, it comes up in personal conversations, but it is now time for me to own and be proud of. And that is the fact that I am, twice, a TBI [traumatic brain injury] survivor. I’ve had two skull fractures in my life — both of which had me comatose. They were a long time ago. But they affect how quickly I memorize, and I have no peripheral depth perception and there are some things I’ve had to adjust to. And the fact that I’m still acting, and that people still want me, even though I take a little longer to learn things, that – to me – is a miracle.

So if other people got cracked up a couple times and feel they can’t do anything – I’m living proof that you can.

You are MORE than living proof! You are sparkling proof. You are the most dynamic, sparkling person I know!

Thank you! If anything, I want my life to be an inspiration. I want to inspire people and I want people to be tolerant of each other, because you don’t know their story . . . you don’t know them. And on a molecular level we are all the same. As a codicil (another good word) . . . as a codicil . . . guess what? I forgot what the codicil was! (laughs)

Well if you remember you tell me!

__________________

Alex did remember – her codicil was that there is ONE thing she herself doesn’t tolerate – and that’s a bigot.  I agree – bigotry is one thing we all can be intolerant of!

To see Alex Bond’s touching performance as Grethe, and to watch this entire talented cast experience the growing pains of forming a new family, make sure to get to A Home Across The Ocean this week.

~~~

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I’m sure it happens to you sometimes …  You’re walking down the street, pondering the inevitability of change and the hardship it’s apt to cause when you fail to adapt, and other foibles of the human condition…

Then suddenly you realize that the person beside you is reading your mind, and doesn’t like what they see, and is leveling their blaster at you to fire, when …

You get transported away.  

More than likely, you’ve been transported to The Starship Astrov, a play where playwright Duncan Pflaster (see an interview we did with him earlier here) takes the best of science fiction tropes and embeds many of the themes and characters of plays such as Uncle Vanya and The Cherry Orchard by Anton Chekhov.  The result is a play (delightfully directed by Eric Parness) that will tickle your funny bone with homages that run the gamut from Star Trek to Buck Rogers, but with an over arcing sense of  nostalgia for the times in your own life when you knew you had to move on to the next stage.  You can’t help but smile as what seems (at first) to be corny caricatures change into ideal vehicles which transport the story not just across the galaxy, but also to a meaningful conclusion for our own lives.  This is more than you would have expected from something billed as a comedy.

Like Chekhov’s plays, The Starship Astrov has a rich cast of characters whose archetypes help us see the different ways people navigate the world — all leading to different conclusions.   There is the noble captain of the starship, Commander Jonas January (played by Walter Brandes) who wants to treat every personal interaction as another time to invoke his belief in the proper codes of space travel.  Jenny “Sparky” Camilo (played by Christine Verleny) is the ship’s engineer who is so embedded in the life of the ship that she is a fish-out-of-water when planetside.  Space has been her life for so long she almost dismisses everything which occurred before she joined the space forces.  She admires the captain greatly and wishes he would notice her with something other than simply admiration for her great technicalal prowess and loyalty as a crew member.

Elizabeth A. Davis plays Celaria, a telepathic alien seductress with a mind of gold who comes from a beautiful corner of the galaxy with rich but confusing stories of trees and death and love and need that illuminate the audience, but which are often taken the wrong way by other characters.  She is married to Professor Jason Cole (played by Ariel Estrada), a genius amoung geniuses who invented the “star drive” that allows all the ships to go faster than light.  This invention has consequently spread humanity across the galaxy.  He is being taken to a conference to announce a new discovery and the able little tug Astrov will get him there in 4 days — just long enough for everyone to get bored.  The Professor knows all the secrets of science but is clueless when it comes to relationships . . . and has a mysterious illness to boot.

To help care for him is is Dr. Michael Rosy  (played by Philip Emeott).  Dr. Rosy is very strongly modeled on Chekhov’s character of Astrov in Uncle Vanya.   The shy doctor hungers for living someplace where he can make a difference, but is afraid to leave the security of the known.  He has been acquainted with the captain and his family for many years – including the captain’s daughter Ensign Ally January.  Ally (played by Jennifer Gawlik) is the the little ensign that could, but oftentimes doesn’t.  She works as communications officer (al la Uhura), where she often simply repeats what is already communicated across the loud speakers, but knows her craft well enough to make a difference when she needs to, though often she still is mostly worried about being a flighty happy young thing. Ally is still learning the ropes of life as a grown up; she works hard to not be taken for granted by the rest of the crew, namely the rough and rowdy First Mate Marcus Washington.  Washington (played by Rafael Jordan) is rude and obnoxious and generally always on the edge of getting in trouble.  He is the astrogator who is most needy of normal humanity in this super-scientific place.

Rafael Jordan and Elizabeth Davis | photo by Brad Fryman

Pflaster transplants these characters into a context  subtly yet richly pulled from the plays of Anton Chekhov.  The costumes by Mark Richard Caswell help complete the image of this exciting new space drama as Isabella F. Byrd’s lighting design hit the mark with intentionally cheesy and dramatic lighting effects that are the mainstay of science fiction TV throughout the ages. The musical interludes worked in by Nick Moore help draw the audeince into the nostalgia of classic space opera.

Like Chekhov’s plays Pflaster gives us lessons of how we can deal  with our own personal crises  in a world where change  is inevitable and transformation is a necessary tool for survival.   In a universe where the incredible miracle of interstellar flight has become humdrum the characters struggle to keep the armor of their once nobel professions in tact, as secrets at the heart of the galaxy threaten to unravel the only existence they know in a way that echoes the struggles Chekhov’s characters faced as the world modernized around them.

Sometimes you want a little cheesy science fiction, sometimes you want  a bittersweet reflection on the human condition.  Luckily in the case of The Starship Astrov you can have both.  See it this week while you can as it only runs through July 31st.

~~~

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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.

~~~

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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:

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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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