The Happiest Medium » William Shakespeare

The Bardy Bunch – Keep On Singing And Dancing All Through The Night

Karen Tortora-Lee — Mon, 31 Mar 2014 19:41:42 +0000

For the Brady Kids it’s a beautiful morning and it’s gonna be a beautiful day. And why not? It’s 1974, they’re movin’ and groovin’ all through the night, and The Partridge Family is getting hot under the collar as the Bradys tread on their turf — a sure sign that they’re worthy competitors. But in seventies sitcom land one does not simply unseat the royals. Tracy Partridge, get your triangle … there’s gonna be a musical throw down.

Brady Kids of THE BARDY BUNCH [photo by Katie Settel]

Welcome to The Bardy Bunch: The War of the Families Partridge and Brady, and if you’ve been here before – welcome back! In 2011 playwright Stephen Garvey showed Fringe audiences what happens when you take a little bit of The Brady Bunch canon, A little bit of The Partridge Family canon, and handfuls from the Shakespeare buffet and shake them all up together. The result is one giant molded-salad of puns, quotes and interlocking story lines all set against a vivid avocado and burnt orange background. “This is one show I wish I could go back and see again,” I’d said in my 2011 Fringe review and now, thanks to the good sense of the theatre gods, my wish came true.

In the hands of Garvey The Bardy Bunch is musical comedy genius, and watching this reboot now playing at the Theatre at St. Clements was like settling in to watch a re-run of a beloved show. There was a rush of familiarity coupled with a tingle of expectation at what I’d remember. I was also excited to see some new scenes added in that only made the show better.

Choreographer Lorna Ventura once again sets up the show with a powerhouse number of both nostalgic and new moves. Ventura faithfully recreates the Bradys’ iconic twirls as they fly down the road in their makeshift Model T A – so familiar that you are doing the moves along side them in your head. But then quick as a wink the Partridge kids bear down and Ventura swirls the warring kids up in a West-Side-Story rumble that ignited the audience and set the pace for the entire night.

From here on in it’s Brady verses Partridge at every turn with shades of Macbeth, Hamlet and Romeo & Juliet ringing the big bells with a few other Shakespearean references tinkling throughout. You’ll be tickled regardless of how extensive your knowledge of the Bard’s body of work. And rest assured, in case you miss a reference there’s bound to be a show-off in the audience ready to point it out by laughing loudly at an allusion you might have missed. That’s okay – there’s plenty of fun to go around and everyone’s there to have a good time.

Director Jay Stern (who also directed Bardy at Fringe 2011) knows the material well – pulling just the right moments of silliness and fun to warm the fans of the corny TV shows while still understanding when to control the effect of the Shakespearean references in order to have them hit their mark. Stern’s balanced hand ensures that Bardy is a delicate melange rather than a chaotic jumble – something that easily could have happened in the hands of a less perceptive director. This is most evident when Stern succeeds in making a brutal bloodbath work as it plays out behind a crooning love song – no small feat, but just what the Bard ordered.

The cast is effervescent and fresh – despite simultaneously being spot-on in their retro interpretation. Shag haircuts and far-out clothes can’t disguise the dynamic exuberance they bring to every number. With several alums from the original Fringe cast it’s obvious that this show is as fun to perform as it is to watch. All involved – from Brady Kids to Partridge Family and even Rubin and Alice come together in big numbers like the showstopping “(You’ve Got The)Sunshine In Your Hands/Think I’ll Go For A Walk Outside” arranged by musical director Logan Medland. Moments like this one – and there were many – had the audience clapping along exuberantly and whooping at the end of the number.

Partridge Kids of THE BARDY BUNCH [photo by Katie Settel]

The entire show is written with a wink to the audience, both a love letter to the shows of childhood as well as a lampooning of the hackneyed, rehashed plots favored by both shows. But as the Bard himself said in “As You Like It” - ”I like this place and willingly could waste my time in it”. Corny? Yes. Sappy? Definitely. But we like that mid-century modern place that Mr. Brady designed. We like that Mondrian-painted bus that Mrs. Partridge drove around. We willingly waste our time in the corridor of 1970s land where Marcia is lovely, Keith Partridge is dreamy, and everything is groovy on a daily basis. If you didn’t have the chance to spend some time with this bunch a few years ago … now is the time to catch it and willingly waste some time of your own. You’ll be glad you did.

~~~

The Bardy Bunch: The War of the Families Partridge and Brady

Written by Stephen Garvey
Directed by Jay Stern

March 20-April 13, 2014

Theatre at St. Clements
423 West 46th Street
New York, NY 10036

CLICK HERE for tickets

Twelfth Night, William Shakespeare, Bama Theatre Company (Fringe Festival 2012)

Geoffrey Paddy Johnson — Thu, 23 Aug 2012 17:49:42 +0000

BAMA Theatre Company have been regular and welcome participants at the NY Fringe festival the past few years, presenting a memorable production of Hamlet last year. In 2012 they return with Twelfth Night, and a clutch from that same illustrious cast. Emerging from residencies at the Alabama Shakespeare Festival, the outfit are consummately versed in the articulation of Shakespeare, and characteristically favor a minimum of props and scenic effects – just one large on stage travel trunk and its contents. In addition, a compact cast list requires actors to play more than one role and the theatrical effect is typically honed, imaginative, and impressive. There’s a confident familiarity in their presentations, one that permits license for interpretation, the exploration of a fresh perspective. Expectations in this regard are not disappointed in the opening sequence of their Twelfth Night. The cast of eight actors take the stage and commence by serenading the audience with the play’s concluding song – “- hey, ho, the wind and the rain.” It’s a rousing, folky rendition – all the more stirring for its simplicity, and it chimes elegantly with the play’s following opening lines – “If music be the food of love, play on”.

Love, as ever, is at the heart of Shakespeare’s best comedies, and there’s no shortage here of the wooing of it. But it’s the human machinations of the winning of it that promote folly, misunderstanding, and mirth. In short order we are presented here with a web of schemes and cross-plots as this party deploys that party to win the other party for the first party. Indirection and deception, the quickest way (or so they believe) for Shakespearean characters to get what they desire, are epidemic. It’s the graceful interweaving of any several plots, and their delicate untangling that old Will is such an expert at. That and the astounding language he deploys in getting there. One of his most accessible comedies, Twelfth Night does not disappoint. But there are some questions I would ask about BAMA’s version in this production.

I have no argument with broad playing on the part of some of the actors – indeed there’s something perhaps more genuinely period in the approach. It’s no surprise to find a cut-up comic turn in the role of Sir Andrew Aguecheek (an hilarious Matt Renskers), but its peculiar to find the same sort of over-bite being employed – and clearly enjoyed – in the roles of Olivia (Alison Frederick), and the shrewd-tongued clown, Feste (Nick Lawson). Both are delightful, but tilt the performance unduly in their direction. Conversely, there’s a positive calm sobriety about Greg Foro’s Malvolio, a character traditionally, next to Sir Andrew, played as the butt of all humor. Director Casey McClellan may be trying for something new here, but the effect works to shuffle the focus of attention about, somewhat to the detriment of the play’s balance. Lauren Anne Martin’s more low key Viola, despite all her stage time, gets bumped from prominence, a situation not aided by a down-playing of any sexual spark between her and Duke Orsino while she’s disguised as the youth Cesario. Nathan T. Lange as Orsino registers hardly any “special” interest in her as his messenger boy. Apart from the obvious Olivia/Cesario infatuation, the misguided same-sex attractions – such a rich seam of Shakespearean comedic tension – get only subliminal play here, and in a few peculiar places. There’s some juicy innuendo around the foppish Sir Andrew – “I’m a great eater of beef” – and leers he throws in the direction of Feste, even some roving curiosity in Sir Toby Belch’s drunken horseplay (a splendid William Brock) with Sir Andrew, but there’s an alarming burst of passion from the pirate, Antonio (Lange again) when he declares his devotion to Viola’s twin brother, the rescued Sebastian (Foro). Think Peter Jackson’s Sam Gamgee and Frodo Baggins. It’s perplexing, as if the roles all got shunted about at the last minute but the actors are still firing up around the cast member they had previously been assigned to fixate upon. There’s too much heat in places it’s not needed, and not enough in situations that require it. McClellan could tweak his cast; Frederick’s and Lawson’s scene-stealing could be reined in, and Martin’s and Foro’s tighter turns loosened up.

Regardless, the piece entertains royally. Technically the production flows, and once again the performance convinces that less is more. The costuming, by Sarah Walker Thornton, is clever and subtle, and she rounds out the cast as a deft Maria. On this side of the Atlantic, BAMA company are in a league of their own doing Shakespeare. Standing ovations greeted the obviously talented cast at curtain. Perhaps I’m just quibbling, but even the best laid plans of the redoubtable bard can be rumpled with some fiddling. Oh cursed spite that ever I should be the one to think it not quite right.

~~~

Twelfth Night
BAMA Theatre Company
Writer: William Shakespeare
Director: Casey McClellan
Getting into disguise is easy, getting out of it…that’s another story. BAMA Theatre Company is BACK at FringeNYC for the 4th straight year to bring you Shakespeare’s most acclaimed musical comedy! 8 actors. 14 roles. 1 trunk. If music be the food of love, rock on!
2h 15m   Local   Manhattan, New York
Comedy   FringeHIGH
Staycation: Literary Lane   Ride the Rollercoaster of Love
www.bamatheatrecompany.org
VENUE #12: Cherry Lane Theatre
Fri 10 @ 5*  Sun 12 @ 1  Fri 17 @ 8:30  Sat 18 @ 2:30  Thu 23 @ 4

Pulp Shakespeare – The Bard Would Be Proud (Fringe Festival 2012)

Linnea Covington — Wed, 15 Aug 2012 14:54:41 +0000

Occasionally an idea comes around that makes you think, how was this never done before? With Pulp Shakespeare, directed by Jordan Monsell, I had such a moment, and yes, it’s exactly what you are thinking; the 1994 movie Pulp Fiction done in the manner of William Shakespeare.

Now, this could have gone wrong, but I am pleased to report that between the smooth directing skills, the flawless cast, and a darn good script, Pulp Shakespeare was hilariously engaging, and made me want to revisit the movie. It started just as I remembered it, with the couple in the diner. But instead of modern day profanity, they spewed words that I barely knew the meaning of, but were perfect for the Elizabethan era.

After the first scene, we come to the main characters, who you may remember, are Julius Winfield and Vincent de la Vega, respectively played by Dan White and Aaron Lyons. Both channeled their movie counterparts beautifully (Samuel Jackson and John Travolta), and if we were actually in England in the late 1500s, they would have been terrifying. As it was, the whole play turned into a comedy, as iconic scenes from the movie unfolded with campy fodder for the actors, all of whom played their roles well. Aside from White and Lyons, another performer who really stood out was Christian Levatino, who played the Butcher. At times, you could actually see Bruce Willis in his performance as he madly stalked around the stage. And yes, he totally quoted, “Zed is dead,” and the audience erupted in cheers, laughter, and applause.

Pulp Shakespeare ran for about an hour and a half, meaning they cut some of the scenes from the movie. However, nothing was missed. We still had the part where Vincent dances with Mia Wallace, played by Hannah Beck, in the club, and the pair mix their modern dance moves with some classic Elizabethan ones. There is plenty of violence too, but instead of guns, they have broad swords and daggers. Even without props, props to the fantastic cast and crew for producing a one-of-a-kind performance.

~~~

Pulp Shakespeare
Her Majesty’s Secret Players
Writer: Ben Tallen, Aaron Greer, Brian Watson-Jones, and Jordan Monsell
Director: Jordan Monsell
What if William Shakespeare had written Pulp Fiction? This wildly entertaining parody pays homage to the films witty dialogue and colorful characters, while staying firmly grounded in the language and rhetoric of Shakespeare’s time.
1h 30m   National   Los Angeles, California
Comedy   Drama
Staycation: Literary Lane   Fantasy Island Excursion
www.pulpshakespeare.com
VENUE #12: Cherry Lane Theatre
Sun 12 @ 4  Tue 14 @ 8:30  Sun 19 @ 5:30  Thu 23 @ 9:15  Fri 24 @ 2

Macbeth, Aquila Theatre; Macbeth, Epic Theatre Ensemble

Geoffrey Paddy Johnson — Wed, 09 May 2012 14:33:46 +0000

New York City is host to two concurrently running productions of Shakespeare’s Macbeth this Spring: Aquila Theatre‘s presentation at the Gym at Judson (April 18th – May 6th), and Epic Theatre Ensemble‘s interpretation at the 47th Street Theatre (April 20 – May 26th). A stable of many a theatrical company’s portfolio, apart from its matchless, vivid language, Macbeth as drama has much to attract aspiring ensembles, not least the challenge presented in portraying two of Shakespeare’s most unsympathetic lead roles. We watch as Macbeth and his wife are enticed into evil by the lure of power and then, as good stage villains, are punished for their crimes. The trick, however, is in making them into more than stage villains, for in that resides the case for tragedy and its capacity to ennoble human existence. It is a tricky bit of the equation as both of these productions can testify.

Aquila Theatre is devoted to the classics of western theatre, in restating their claim to preeminence as timeless pieces, triumphs of human artistry and culture. As such they tend toward language focused productions that are light on the use of contemporary stagecraft elaborations. For their Macbeth Desiree Sanchez wears both directorial and production designer hats. She is spare in her approach. A minimum of props are deployed in the expansive and lofty space Judson’s Gym theatre offers. There is an economy and subtlety at work in the way she groups the action about the squared arena. An innovative, momentary introductory prelude scene which highlights a blood-soaked, battle worn Macbeth in one corner, and a bereft Lady Macbeth on bloodied bed sheets following unsuccessful labor in the opposite corner, acts as a startling, punched signature of this director’s suggestion for the fatal couple’s motivations. The Macbeths are traumatized people, destabilized, estranged, in search of a project into which they can pour themselves, erase the past, and reunite. This prelude dispatched in an instant, there is little other tinkering with the body of the play and all unfolds to order.

The performances are vigorous, emotive, well spoken and, most importantly, psychologically grounded. If you have an ear for Shakespeare this is a wonderful production to hear his words delivered eloquently and with conviction. Rebecca Reaney as Lady Mabeth is nuanced and bold, spectacularly benefiting from Peter Meineck‘s well-judged lighting, which is at once lavishly theatrical and self-disciplined. Guy Oliver-Watts, working to uncover an aspect of post traumatic stress disorder in the role of Macbeth, has a more complex part. He is thoroughly convincing, but in so doing projects a weakened, dependent quality in the man who would be king and, strangely, this deflates the character somewhat, puncturing the fullness of the play’s tragic reach. He is doing well what he has been directed to do but herein lies the rub, and a very fine rub it is for the measure of what might be deemed tragic theatre. The rest of the cast are for the most part assured in their roles, with Peter F. Gardiner, (Banquo), James Lavender (Macduff), and Rachel Barrington (Lady Macduff) especially commendable.

Coincidentally the notion that the Macbeths, and especially Lady Macbeth, are grieving former parents, is made central in Epic Theatre’s version of the play. This idea is evident in the presence on stage of a small shrine with a framed photograph of a toddler, to which Lady Macbeth touchingly returns for some of her scenes. Also, it is manifest in the large projected photo image of the Macbeths, tenderly converging about a drowsy infant, which is thrown up on the broken surface of the rear wall. This projection is relentless, hanging like a grey cloud above the proceedings, at once lugubrious and sentimental. Interpretation, with a capital I, is the strategy of this production. Set in a more contemporary world, we are treated to off-stage electronic voices in ear pieces, and a video screen displaying action elsewhere. The Weird Sisters are a heterogeneous mix of sexes and ethnicities, and hang about the stage throughout the action on overhead ladders and walkways, like jaded demi-gods, stonily unmoved by the unfolding drama below. Innovation appears one of director Ron Russell‘s chief concerns with his production. In the banquet scene where a guilty Macbeth is plagued with visions of the murdered Banquo, the bloodied apparition is suddenly encountered in a dance embrace by the newly crowned king. This shift works dramatically, as do some of the other re-imaginings. Richard Easton as Duncan, hailing from the video monitor, is a treat as a telegenic royal talking head, at once hammy and calculating. However, a growing awareness dawns as it becomes plain that Russell as director, engaged with innovation it seems for innovation’s sake, completely loses the plot in the finest sense. This might have been more immediately evident if I had read the production’s publicity notes which describe the play as “a brutal and darkly funny exploration of the banality of evil.” Really? Macbeth? Funny? If the line had been offered by Mel Brooks I might have taken closer note, but otherwise it seems merely, but utterly, wrong-headed. And how wrong-headed becomes dismayingly clear in due course as Russell stokes up moments of sour humor (one of the witches sings her lines in a borrowed tutu as a karaoke turn) and rubbishes any solemnity. It’s as if the idea of theatrical tragedy is unknown to him. The most damaging turn occurs amidst some rapid fire scene shifts toward the conclusion which require one actor to change swiftly between two characters. This is done on stage by the actor (James Wallert) taping and un-taping a fringe of hair to his brow to distinguish between roles. In the duration a cry is heard off stage. Jumping from left to right, Wallert, fringed one moment, un-fringed the next, delivers the news of Lady Macbeth’s death. It is, richly, a Mel Brooks moment, and there was more than one chuckle in the audience.

Can Russell actually hear the language Shakespeare is putting in his characters’ mouths? The evidence is scarce and the actors suffer from the inability to sound as if they mean their words. Who is to blame them if the director has no feeling for the real emotion of the play? Apart from Easton in the role of Duncan, and Julian Rozzell, Jr. (with presence to burn) as one of the witches, everyone seems merely focused on unburdening themselves as rapidly and succinctly as possible of their Shakespearean metre. Russell is not the director who can marry them to their lines. As Macbeth, Ty Jones actually commences the soliloquy – “Is this a dagger I see before me?” – with his back to the audience. No chance here for an actor to convey facially the extremity of the moment. Russell, it seems, is not interested in psychological subtleties (witness the never-changing backdrop projection) merely the chance of creating something different. Well sad to say, something different definitely this way comes, but you’ll be lucky if the pricking you feel is confined to your thumbs.

Entrevista: Shakespeare In The Garden (A MidSummer Night’s Dream)

Antonio Miniño — Thu, 01 Jul 2010 14:22:25 +0000

A professor once told me –”If you want to be cast in the kind of plays that you really believe in, if you want to do work that is meaningful to you, with actors trained in the same way as you, and have the same aesthetic… create your own theatre company together, the most important thing in this business is networking, and that starts NOW, in this classroom”– great advice from a very wise man. Seems to be that Rachel McPhee and Jackie LaVanway, cofounders of On The Square Productions, received the same words of wisdom.

Their company strives in non-traditional casting, and community outreach, which might give us a clue as to why their production of William Shakespeare’s A MidSummer Night’s Dream takes place in a garden in Astoria.

Here’s a Q&A with both ladies regarding their upcoming venture.

How did you guys meet?

Rachel McPhee

RM: Jackie and I met while attending the University of Wisconsin-Madison where we were actively involved in the undergraduate theater program together and also worked at a campus catering center (hilarious!). I graduated in 2005 and went to study in London at the Drama Studio London for a year. When Jackie graduated in 2006 she was moving to New York to attend Michael Howard Studios and I was moving to NYC as well. Jackie needed a roommate and I slipped right on in. We have been roommates and BFF’s for the past 4 years! People interchange us for one another, ask us if we are sisters, and since I am getting married next year have even assumed that Jackie and I will continue living together with my soon to be husband! HA!

JL: That would be a little too bohemian- even for us!

How did On The Square Productions come about?

Jackie LaVanway

JL: On the Square Productions was birthed over the stuffy kitchen table of our old apartment on 78th and York. One night, Rachel and I were hashing out our day (a common occurrence at Chez McPhee-LaVanway) and decided that we wanted to provide opportunities for our talented friends/colleagues and chose material that we felt inspiring or thought provoking. We wanted to play by our own rules. Coming from a professional theatrical environment at UW, it was really important to us maintain that structure in every project we do. Rachel and I really strive to treat our cast and crew with respect, and let them know that we couldn’t do it without their help! We are BIG believers in the collaborative process.

Why MidSummer?

JL: It’s true, there are multiple productions of this piece planned for this summer, and there will continue to be for infinite summers to follow. Why MidSummer? Well, I think the nature of the piece (as for many of Shakespeare’s work) lends itself to the collaborative environment that Rachel and I love. We have a 25 person production and everyone has helped us in “getting this show on the road,” so to speak. The light, jovial nature of MidSummer celebrates the magic of theatre. A lot of our previous productions and readings have been on the darker side, so it’s nice to do something less heavy. Everyone loves a happy ending right?

Did you choose your garden because that is how you envisioned it, or did cost come into factor when making that decision?

RM: That’s a great question! Let me tell you a little bit more about the venue first. Jackie and I are fortunate enough to live in a beautiful Astoria apartment that also features a gorgeous backyard garden complete with a fig tree, peach tree, pear tree, and apple tree. We love entertaining and all our entertainment biz friends who have ever been back there always comment on how the space would be perfect for a show because it has a very special, “outside NY,” almost magical feel to it. Like other indie theatre companies, OTSP has definitely struggled since/during the recession and the thought of a FREE venue and rehearsal space (weather permitting!) was music to our ears and we thought also an exciting way to bring theatre to Astoria and create an outdoor celebration of Shakespeare and Art. Since it’s such a community based production, we have also been lucky in getting local businesses to sponsor us. Once we got the go-ahead from our landlord, neighbors, and Actors’ Equity, it was full steam ahead!

What makes your MidSummer different (aside from the garden)?

JL: That Astoria is our co star! This response we’ve had from our neighborhood has been overwhelming as Rachel previously mentioned. The independent business owners and restauranteurs have really thrown their support behind us, and that’s a wonderful feeling. We are also sponsored by some of the local bars in the area, who we will be patronizing after some of our performances. We want this particular production to be a celebration of theatre, friendship, and all things Astoria! We are in love with our neighborhood, and we want our audience to fall in love as well.

You’re both producers on the show, you’re both in the show, and you both have day jobs. Give us a glimpse into your busy days leading up to the show.

RM: Jackie and I both don’t typically take roles in our productions, but this summer the opportunity was too hard to pass up! Like most actors living in NYC, I’m a self-proclaimed “hustler” and have basically worked every “for money only job” under the sun! A typical day for me would be up at 6 to work at my restaurant where I waitress, composing email submissions for my acting career and also communicating with designers and other team members and fulfilling other OTSP duties during stolen 5 minute breaks, then hitting auditions by 3ish, rehearsal starts at 6 or 7 and if I’m not at rehearsal I can most likely be found at the theatre, following up with sponsors, attending networking events, promoting our shows/special events, talking to people at Actors’ Equity, reading scripts, line learning, or planning for future projects. I truly feel like I’m living the dream and am so proud of the work we create at On the Square.

JL: A day in the life of Jackie can be whirlwind: Get up around 8am to be at work by 10am at New World Stages. Work til 6pm, or longer (if I can’t get it all done). I am the Executive Assistant at New World and Stage Entertainment USA. In addition to managing a staff of 13, I am an administrative catch all. If I’m not at rehearsal that evening, I’m can be found at my computer coordinating things for OTSP, including blogging, facebooking, tweeting, designing the ad space for our programs, raising funds, drafting press releases, communicating with various personnel, meeting new talent, and trying to get the word out about our fabulous company! Non OTSP activities include, doing my work-study at S Factor and seeing shows around the town. Go to bed around 1am and try NOT to think about what craziness will enfold tomorrow. There are many 12-14 hour days during productions, but it’s all worth it in the end. It feels good to say we have our own company, and that we are active on the scene!

Talk to us a little about the director and cast members.

Part of the cast in rehearsal

RM: We are so lucky to have a phenomenal group of people working so hard to create this piece. The cast and production team are a mixture of old standbys, new finds via auditions, and some friends of friends we have had our eye on. Michael Swartz (In Fields Where they Lay), I met on one of my first shows here in NYC. He is a talented actor and director and is doing a great job doing double duty both directing and playing the role of Puck! Michael also resides in Astoria. Through him, we have been friends and admirers of his DeSales classmate, Marnie Schulenburg (Daytime Emmy nominee for her work on As The World Turns) who plays a delightfully innocent and hilarious Hermia. Every single person in the cast is an utter joy to work with, not to mention the talents and skill of our production team!

JL: Everyone in the show has a diverse body of work. Kane Prestenback, who plays Flute, just completed the TS Eliot Exchange Program at the Old Vic in London. Colleen Harris (Peter Quince) received raved reviews for her recent cabaret show debut, This Time, at Don’t Tell Mama. We could go on and on- seriously, everyone is wonderful and worth gushing over.

Lets say I’m new to hanging out in Astoria, want dinner before the show, and drinks after… what are your favorite nearby spots?

RM: Jackie and I are obsessed with Diwine Bar which is located on 31st ave between 43rd and 44th streets (also a hop, skip, and jump away for our venue!) .Winegasm and Brick Café are also fabulous favorites of ours and also close to our performance space.

JL: Great pub food can be found at Sweet Afton (try the fried pickles!) and Bareburger has the MOST AMAZING burgers and everything on the menu is organic. Vitality and Health Natural Market is a great local organic market that you’ll see right when you get off the R at the 46th street stop. Grab some coconut water before heading to the show!

___

On The Square‘s production of William Shakespeare’s A MidSummer Night’s Dream will play from July 8th through the 18th. For more information and to purchase tickets visit www.OnTheSquareProductions.com.

If you are interested in donating to On The Square Productions, there is an easy and secure way to do it online, by visiting Fractured Atlas.

Titus Andronicus: The Bard Would Be Proud, Methinks

Diánna Martin — Sat, 20 Mar 2010 05:37:01 +0000

I was just having a conversation with a fellow actor who is also the Literary Manager for one of my favorite theatre companies, and we were discussing how incredibly difficult it is to stage a successful production of Titus Andronicus. Considered by most to be Shakespeare’s most bloody and violent play; one based on the many faces of revenge while still maintaining the despair of an almost Lear-like character whose mistakes compound upon one another to bring about the demise of his family and himself, ultimately. Despite the gore, the mutilation, the madness – American Globe Theatre’s production of Titus is remarkable in its simplicity and ability to tell one of my favorite tales in a manner that is palatable and WORKS.

Overkill is a word that is so often synonymous with attempts at mounting this production. From the amount of blood, the losing of limbs, necessary set changes and even a baby; not only is it technically difficult, but there is often a thin line between being able to do it well dramatically, and not having it turn into a circus freak show. This production exceeds expectations, and anyone (including Artistic Directors and actors) who has reservations about a viable production of this play should come and take notes. Not only has director John Basil been able to tell the tale in the most serious of voices and provide the audience with as much of the full effect of said issues without going over the top; he has also directed the actors to maximize the use of the language of the Bard while engaging in difficult physicality that is not trite or expected. I really was blown away.

I am familiar with the work of a handful of the actors, and expected a good show on their part; but kudos to the choices that were made to find the humor as well as the pain – and again, not at the expense of artistic integrity. Some standouts for me were the sexy and sultry Tamora (Elizabeth Keefe) whose murderous intent is quite believable; a stoic Lucius (Jon Hoche) whose emotional pain is a brilliant contrast to the comedic roles I’ve seen him in (most recently Fight Fest); Nick Vorderman’s comedic timing of the whining and annoying Saturninus (some of the delightful moments of the play); Aaron (Lamont Stephens) as the diabolical Moor whose only weak spot is the love of his son – whose use of the language was fantastic. Another wonderful pairing was Demetrius (Gabe Bettio) and Chiron (Adrian Saunders), both of whom showed different colors to their depravity; while Bettio’s full choices in his work kept him the more reserved until completely unleashed, Chiron was obscenely gleeful. They complemented each other well and made what could have been a distasteful rape scene into a well-choreographed horrific event.

Adrian Saunders, Erica Knight and Gabe Bettio

Erica Knight’s Lavinia was so tragic, and I felt the actress carried the role quite well. I did, however, have moments where I was wondering if she was making specific choices of being in shock to the point that she was often devoid of the emotion that one might think a person who had lost her husband, was raped, and mutilated would have. It didn’t distract me to the point of not enjoying most of her performance, though. I actually look to the director with questions about those choices. Richard Fey’s portrayal of Titus Andronicus was, for the most part quite moving; however, I think I may have come on a night when it just wasn’t cooking for him as well as it could have been. The man’s talent is not to be questioned, nor his ability and mastery at Shakespeare’s work; however, I honestly felt it took him a good third of the play to really get cooking and for me to believe the snap he has as he sinks lower and lower into madness. Often I felt that he was pushing for emotion instead of allowing it to happen; that moments that might have happened on another night were being chased after. That said, I truly, truly enjoyed the show very much.

Hats off to Vincent A. Masterpaul’s set design; combining a spartan rotating stage, video projections (although they were sometimes a bit distracting), and stairs/cubbyholes, he created a world where all of this was possible – and where many other shows have tried and failed.

I look forward to seeing more productions by Basil’s American Globe, “Times Square’s longest-running Off-Off Broadway theatre.”

Richard Fay, Jon Hoche and Rainard Rachele

~~~

TITUS ANDRONICUS (full production) by William Shakespeare

Directed by Artistic Director, John Basil

American Globe Theatre

145 West 46th Street, 3rd Floor New York, NY 10036

February 25 through March 21, 2010

Thursdays through Saturdays @ 7:30 PM, Sundays @ 3:00 PM

Tickets: $18 - click here for ticket information

Ever Seen A “NewBorn” Play? (Part 1)

Antonio Miniño — Wed, 13 Jan 2010 16:25:36 +0000

Developed 3 years ago, The National NewBorn Festival is the flagship program of a non-profit theater company very dear to me, Maieutic Theatre Works; or as we like to call it MTWorks – that way we don’t have to get into the whole “Maieutic is pronounced /meɪˈjuːtɪks/”.

New plays that have yet to receive a New York production are read in a festival setting and free to the general public from Thursday, January 21st through Sunday, January 24th. This year we are showcasing new plays by Barrie Kreinik, Jacqueline Goldfinger, Carol Carpenter, Gwydion Suilebhan and Cody Daigle.

The audience also gets to pick and vote for the recipient of the Audience Favorite Award. The winner receives a second reading on Sunday night after the resident reading of A Song for St. Michael’s by one of the NewBorn creators and Artistic Director of MTWorks, David Stallings.

What I appreciate about festivals is the networking opportunities it creates for dramatists, actors, directors and companies. This week I asked all 6 dramatists some questions about their work and inspirations.

AM-How did you hear about NewBorn?

(Barrie Kreinik – A Thousand Shapes) I’m an MTWorks company actor and my first performance with the company was in NewBorn 2008, so I’ve already had some experience with the Festival.

(Jacqueline Goldfinger – Slip/Shot) I read about the NewBorn online two years ago, and submitted my play The Oath. MTWorks liked The Oath so much that they produced it in 2009! It was an incredible experience! Slip/Shot is my first new play since The Oath and the fab MTWorks company offered to include it in the NewBorn Festival.

(Carol Carpenter – Good Lonely People) I read about artistic director David Stallings’ work in an article or blurb online. When I realized we were graduates of the same college, I decided to reach out to him.

(Gwydion Suilebhan – Faithkiller) I’m almost too embarrassed to admit this… but I found it on Facebook.

(Cody Daigle – A Home Across The Ocean) MTWorks produced my play Providence in 2008, and the experience was fantastic. When I finished the new show, I sent it to them, eager for a chance to work with them again.

AM-Describe your play in one sentence:

(Barrie Kreinik – A Thousand Shapes) Three women at an American university face the consequences of crossing boundaries and discover the shape-shifting nature of love.

(Jacqueline Goldfinger – Slip/Shot) It’s about people trying to make sense of a situation that simply makes no sense and, in doing so, create “truths” that may or may not be very truthful.

(Carol Carpenter – Good Lonely People) Election night 2008 transforms a family in a small conservative town.

(Gwydion Suilebhan – Faithkiller) The exploits of an atheist superhero in a 1940s New York radio studio, a run-down apartment in present-day Los Angeles, and a not-too-distant theocratic future: what do the stories we tell reveal about the things we believe?

(Cody Daigle – A Home Across The Ocean) A 13-year old foster child and a poet from London help a family and a gay couple face loss and redefine itself.

(David Stallings – A Song For St. Michael’s) A young boy is taught how to grieve within the cold rules of his structured community.

AM-What makes your work stand out from the rest?

(Barrie Kreinik – A Thousand Shapes) The play’s subject matter twists familiar tropes. The issue of teacher-student relationships has been addressed in other plays, but what happens when the teacher and student are both female? It’s about relationships and feelings that defy labels, where everything happens under the surface, where the characters are afraid to address what’s really going on — where they aren’t sure what’s really going on. There’s a lot of language, a lot of quoting other people, but also a lot of unspoken communication. I don’t know if this makes it stand out from everything else per se, but these are some characteristics of the piece.

(Jacqueline Goldfinger – Slip/Shot) My plays have been described as “Southern gothic” so I think that makes my work different from the others.

(Carol Carpenter – Good Lonely People) My work is grounded in the people and places of the American Southwest. There, I explore the tension between oppositional ideologies and cultures: between progress and tradition, urban and rural, professional and working class, religious and secular. My journey as a writer is to find beauty and value in those I judge, to uncover paradox and hypocrisies within myself through the insights of characters I would deplore in real life, and to harmonize conflict through humor and reconciliation.

(Gwydion Suilebhan – Faithkiller) My work is very post-modern: multi-racial and multi-generational casts, interwoven narratives and meta-narratives, and a variety of media juxtaposed for a Twitter generation of theatergoers.

(Cody Daigle – A Home Across The Ocean) Ah, the dreaded “sell-yourself” moment. I think my work stands out because it’s quiet, simple, but the emotions are big. I’m very interested in the poetry of who we are in private, with the people we’re closest to, and I think that comes through in the work.

(David Stallings – A Song for St. Michael’s) It is the second piece in a trilogy about a town in Texas and the dysfunctional traditions passed down through generations based in stubbornness and ignorance. Those who have seen the development of Barrier Island will enjoy seeing a different and equally entertaining part of the community.

AM-Whose work do you admire – who inspires you?

(Barrie Kreinik – A Thousand Shapes) Caryl Churchill, Tom Stoppard, Diana Son, Joanna Murray-Smith, Timberlake Wertenbaker, Wendy Wasserstein… to name a few. This play in particular was influenced by the works of Virginia Woolf. And I’m also inspired by Shakespeare — his incredibly rich language and raw emotionality. His use of language. I’m fascinated by language.

(Jacqueline Goldfinger – Slip/Shot) I’m a huge fan of early 20th Century Southern literature – Kate Chopin, William Faulkner, Flannery O’Connor, Katherine Anne Porter, and Carson McCullers come to mind.

(Carol Carpenter – Good Lonely People) Sam Shepard, Horton Foote, Leila Buck.

(Gwydion Suilebhan – Faithkiller) I’m inspired by playwrights who look beyond their own lives for inspiration… who use their plays to ask broad, penetrating questions about being human in the modern world. David Hare, August Wilson, and Sarah Kane come to mind — diverse stylistically, but all of them big.

(Cody Daigle – A Home Across The Ocean) Tony Kushner, because of his incredible gift with language. Christopher Shinn, Sarah Ruhl, Melissa James Gibson, Paula Vogel, Terrence McNally.

(David Stallings - A Home Across The Ocean) Shakespeare’s. His universality and specificity are a paradox that few have been able to reinvent.

AM-What do you hope the audience will walk away with after this reading?

(Barrie Kreinik – A Thousand Shapes) I hope they walk away in deep discussion with each other! I’d love to inspire conversation, dialogue, examination. They might wonder about the ambiguity of relationships, about our need to name things, to label them. Hopefully they’ll wonder about what the characters do after the play ends. Whatever happens, I hope they’re thinking.

(Jacqueline Goldfinger – Slip/Shot) I hope that the audience will laugh a lot, cry a little, and walk away thinking a little bit about how they tell their own stories and create their own personal “truths.”

(Carol Carpenter – Good Lonely People) Respect for uneducated, uncultured, underprivileged working class white folks.

(Gwydion Suilebhan – Faithkiller) A glimpse, perhaps, of a way to get out of the ideological complexity and deep emotion underlying the religious culture clashes that have paralyzed American life for at least a century… and (I would be remiss in not adding) a very strong desire to buy a ticket to a full production of the play.

(Cody Daigle – A Home Across The Ocean) I hope they walk away feeling as though they watched something that felt deeply true, something funny, something moving, something real.

(David Stallings – A Song for St. Michael’s) My favorite reaction from an audience is a gasp!

AM-What other projects do you have lined up in 2010?

(Barrie Kreinik – A Thousand Shapes) I’m still in the process of lining up specific projects, but I’ve got ongoing work as a voice-over artist, singer, and dialect coach, and I’m working on a couple of new play ideas. I put on a lot of hats!

(Jacqueline Goldfinger – Slip/Shot) So far, I have a world premiere of my commissioned adaptation of Little Women in San Diego and a production of my dark comedy the terrible girls in Philadelphia. My short play, His Last Fight, will also be published in the anthology “Best Ten-Minute Plays of 2010″ by Smith and Kraus.

(Carol Carpenter – Good Lonely People) Good Lonely People is in the final running for the High Desert Play Development Series at Southwest Repertory Theatre. I am currently conducting research for a new book whose near-impossible goal is to convince working class conservatives that their economic interests are not being served by their party.

(Gwydion Suilebhan – Faithkiller) My play The Constellation will be running in DC this winter, and I’ll be workshopping a new play called Reals this spring… more importantly, though, I’ll be having my first child — which is the greatest project I can imagine!

(Cody Daigle – A Home Across The Ocean) I’m working on two new plays – a play about architecture, real estate and theater (seriously!) called The Lasting and a relationship comedy called Cuddleman.

(David Stallings – A Song for St. Michael’s) Barrier Island with MTWorks opening April 30th and A Daughter of Israel with BOO-Arts in the fall.

* * *

The 2010 National NewBorn Festival takes place at The Asya Geisberg Studio (526 West 26th Street, No 1017. Between 10th and 11th Ave). The admission is free but you do need to reserve your seats as the space is limited. For a complete schedule and reservation information visit www.MTWorks.org.

Next week we will bring you an interview with the directors involved in the festival, including our very own contributor Diánna Martin. I leave you with a short conversation with one of the many writers that have inspired the dramatists participating in NewBorn, Tony Kushner.

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