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by Karen Tortora-Lee on February 13, 2012
There’s a terrific moment in Eddie Antar’s The Navigator when main character, Dave, is beginning to realize the true capabilities of his GPS system. Not only did the soothing female voice guide him to the proper exit, but she (albeit a bit cryptically) pointed him toward a great stock tip, gave him some advice on how to discipline his daughter, and – if that wasn’t enough – anticipated a huge accident and directed him off the highway in the nick of time. Not quite sure how it’s all working, Dave says “I like having answers but… how do I know what the questions are?”
And that’s really the heart of the this little gem of a play: getting the right answers to some questions? That’s good … great, even. But if you’re going to have the equivalent of a Magic Eight Ball that’s omniscient at your disposal, you need to know which questions to ask … because if you’re not being selective about the questions, you’ll be tempted to ask that voice everything. Soon you’ll find you’ve given up the very thing that make you human: choosing. Failing. Getting back up again. What The Navigator does, and does wonderfully, is show the initial seduction, the subsequent joy, and the ultimate frustration of always knowing the next decision you make is absolutely the right one no matter how crazy it sounds.
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by The Happiest Medium on February 9, 2012
Five Questions. Five Answers. And One Big Decision: Rock, Paper, Or Scissors?
The Terrible Manpain of Umberto MacDougal
Written by and starring Emleigh Wolf
Directed by Bricken Sparacino
Also starring Mike Ogletree
Umberto MacDougal allows you to look through the window of his tragic manpain. With a beard full of tears and a melancholy guitarist playing a sorrowful tune, Umberto reveals the pain that men feel.
Show Times:
- Thu 2/23 @ 9:00pm
- Sun 2/26 @ 7:00pm
- Mon 2/27 @ 6:00pm
- Fri 3/2 @ 7:30pm
- Sat 3/3 @ 2:30pm
Answers by Emleigh Wolf
(Writer / Performer)
Karen Tortora-Lee’s Question
That’s some title. How did you come up with it – and what does it mean?
Emleigh: Umberto MacDougal’s mission in life is to educate people about manpain, the pain that men feel. To do this, he must relate his own personal manpain to the audience, and it is, indeed, terrible.
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by The Happiest Medium on February 6, 2012
Five Questions. Five Answers. And One Big Decision: Rock, Paper, Or Scissors?
Missed Connections – An Exploration into the Online Postings of Desperate Romantics
Company: Royanth Productions
Directed by: Ricky Dunlop
Drawing from the sometimes touching, oftentimes torrid (and almost always grammatically incorrect) postings on craigslist’s most notorious section, Missed Connections is a collection of the best and brightest.
Show Times:
- Wed 2/22 @ 7:30 pm
- Sat 2/25 @7:00 pm
- Mon 2/27 @ 6:00 pm
- Thu 3/1 @ 10:30 pm
- Sun 3/4 @ 1:00 pm
Answers by Ricky Dunlop
(Writer, Director, Performer)
Karen Tortora-Lee’s Question
That’s some title. How did you come up with it – and what does it mean?
Ricky: Missed Connections – An Exploration into the Online Postings of Desperate Romantics is directly inspired by the source of the material in our show. Check out Missed Connections on Craigslist.com if you don’t know what I’m talking about.
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by The Happiest Medium on February 5, 2012
Five Questions. Five Answers. And One Big Decision: Rock, Paper, Or Scissors?
Daughters of Lot (Marlena Kalm, photo by Rachel Kerry)
Daughters Of Lot
Company: Brain Melt Consortium
Directed by: Rachel Kerry
The evening’s entertainment is a sexy and silly retelling of an ancient story, until the performers do a trick that requires more than flexibility. Arousing and agitating in Biblical proportions, this is not your daddy’s burlesque club… or maybe it is.
Show Times:
- Thu 2/23 @ 7:30 pm
- Sat 2/25 @ 5:30 pm
- Tue 2/28 @9:00 pm
- Fri 3/2 @ 5:30 pm
- Sun 3/4 @ 4:00 pm
Answers by Alexis Roblan
(Playwright, Producer)
Karen Tortora-Lee’s Question
That’s some title. How did you come up with it – and what does it mean?
Alexis: Daughters of Lot takes place in a burlesque club where the performers conjur up a couple Biblical characters to play with — Lot’s daughters. So in one sense, the title’s pretty literal. It’s also a reference to the fact that Lot, from the story of Sodom & Gomorrah, has a name, but none of the women in the story (including his daughters) are ever given names.
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by Geoffrey Paddy Johnson on January 31, 2012
Stabat Mater Fabulosa
The Morningside Opera company offered up a quite singular interpretation of Pergolesi‘s Stabat Mater in their Fabulosa rendition on January 26th at Dixon Place, which proved, at once, a scholarly as well as a quite literal undressing of the original. Composed in 1736 – the year of Pergolesi’s death at the august age of 26 – the piece has been an iconic work in the canon of western sacred music ever since and has enjoyed an unbroken record of performance for nearly three hundred years. This surely says something about a work, to have endured so vigorously the vagaries of artistic, musical, and religious change, never mind or dare one say, taste. Which in many ways explains its attraction for Morningside Opera, who see their role as boundary-pushers wishing to invigorate dialogue between traditional and new modes of the form. Their stripped down presentation was both scholastically dense as well as visually provocative.
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by Karen Tortora-Lee on January 29, 2012
Flux Theatre Ensemble’s production of Menders (written by Erin Browne and directed by Heather Cohn) currently playing at The Gym at Judson will catch you by surprise – but not all at once. It will do so in subtle ways, often, and always differently than it did moments before.
First you will be drawn in by the simple aesthetics of the piece, which unfolds with a wisp of mystery but a promise of payoff in the end because, of course, that’s the way all good stories wrap up. Not necessarily with a good ending, or a bad ending, but a powerful ending which simply means one interlude has come to its natural conclusion. Director Heather Cohn understands how to build the perfect scaffolding around this story, which is a story of stories — each story within it also coming to not a good ending, or a bad ending … simply a powerful one.
Next you will be moved by the poem Mending Wall by Robert Frost which is recited in part by each character in kind as they move about the stage and gather items, disappearing and reappearing from behind several substantial walls that dominate the set (beautifully and cleanly designed by Cory Rodriguez). You’ll know what they’re reciting if you’ve read your program cover ahead of time — if not, it will come up soon enough and the elegance with which the symbolism is used is exquisite; each time lines from the verse are repeated they catch your ear differently, each iteration vibrating with a deeper meaning of what it means to keep people out, or in, or know precisely which it is that is being done. I’m sure those who have already seen the show were quick (as I was) to sit with the poem and see it through fresh eyes.
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by Geoffrey Paddy Johnson on January 26, 2012
- John Sowle in Horripilation!
/ Photo by Steven Patterson
The writer and performer of Horripilation!, John Sowle, is unquestionably a shining light in the fields of research and preservation of obscure global theatrical traditions, as well as being an imposing performative figure in the relating and embodiment of these same traditions. In 1973, with a Fulbright fellowship to research a doctoral thesis in dramatic art, he spent time at the Kerala Kalamandalam in southern India, where he was obliged to rise each morning at 3 a.m. in order to begin his day’s grueling training in traditional dance movement and actorly craft. Kept on his feet for hours at a time, in a highly repetitive form of dance stepping, his relief would come finally in the form of a massage administered by his teacher (asan), who would walk up and down his back while he lay in a formally controlled position. It should come as no surprise that classical traditions of drama and dance, wherever they originate, involved a regimen of severe physical hardship and mental discipline, but the sharing of these events in the performance by Mr. Sowle, as he reproduces the exercises nearly forty years later, is quite something to witness.
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by Karen Tortora-Lee on January 23, 2012
It isn’t easy to tell an entire story without one word of spoken dialogue, let alone give proper attention to two concurrent plots that run simultaneously but never intertwine, except emotionally. Yet SEASONS does just that, and with such deep resonance that sold-out houses were sobbing as they watched the four central characters of Elaine Pechacek and Katie Hammond’s original musical live through one very specific year that, for them, was filled with love, joy, regret, confusion, despair, birth, and death. Continue Reading…
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by Karen Tortora-Lee on January 21, 2012
“There is failure and there is success. What better way to measure this than the piano?”
If you were the child who spent your afternoons inside practicing the piano (or another musical instrument) while you could hear other children running around in the sunshine you no doubt have an ache in your heart when now, as an adult, you hear other people discussing their memories of playing in the streets, or even watching endless hours of after-school cartoons. Sure, you may have agile fingers which allow you to type an error-free 75 WPM but aside from that, are you really any better off? Was it worth it?
Let’s take it one step further. Imagine you are Mei (Lynn Craig), grown daughter of Lily (Satomi Hofmann), who monitors her daughter Kim’s practicing from the other room. Distractedly tapping away on her blackberry she suddenly hears the words of her mother boom from her own lips as Kim prepares for recital day: “You will practice that piece until you can play it 20 times perfectly!” Stunned, Mei realized she has stepped up and taken on the Legacy of the Tiger Mother.
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by Geoffrey Paddy Johnson on January 12, 2012
In a late hour email before I attended the first night performance of The Mad Ones‘ Samuel & Alasdair: A Personal History of the Robot War at the New Ohio Theatre, I was notified that Con Edison were currently addressing a problem with the theatre’s heating system and I should consider dressing in a thick sweater. I grumbled a bit putting on my thick sweater as I headed out, but was actually entirely comfortable in my seat for the duration of the performance. Thinking about it now, it is not inconceivable that this alert may have been part of the very clever, meticulously thoughtful and imaginative production team’s idea at generating a theatrical reality for their play. How very 1950s to deploy a thick sweater while attending a theatre in wintertime, be it in the U.S.S.R. or the U.S.A. The production might have been dressing the audience for their performance.
The reason I am left with this speculation is because it seems there is nothing, quite simply nothing, that this production has not given some sharp thought to in their dramatization; sharp thought and imaginative response to. The thoroughness with which the team at The Mad Ones have undertaken this self-authored work is as impressive as it is deeply satisfying. Originally premiered at Brooklyn’s The Brick in 2010 – a production that garnered them a deal of notice and a clutch of NY Innovative Theatre awards and nominations – the play, allegedly, has undergone some minor tinkering and some extra polish since then. The result is a real gift for theatre lovers.
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