Be More Chill @ Two Rivers Theater Company

The World Premier of Be More Chill, opened at the Two River’s Theatre this June. An inventive musical with a fantastic cast of Broadway’s young finest, Be More Chill deserves to be seen and appreciated!

Young Jeremy is a loser, he’s barely able to get through high school, he doesn’t have a girlfriend, and his father wanders the house without his pants on. Enter in “The Squib,” a super computer that enters in your bloodstream and invades your consciousness to give you all the tools to succeed at life, but as we all know, there is always a price.

Will Connolly(Once) stars as Jeremy. With poignancy and teenage innocence, we see him transformed from the lovable nerd to the kid at the top of the food chain. Eric William Morris(Mamma Mia) plays his squib, bent on world domination. Oozing sex appeal, he commands the stage and is the epitome of chill. Stephanie Hsu(Girl Code) demonstrates the vivacity that high school drama geeks are known for with flair and kick-ass converse. Also starring: Jake Boyd, Gerard Canonico, Katlyn Carlson, Katie Ladner, Lauren Marcus, George Salazar, and Paul Whitty.

Be More Chill is full of choreography and music reminiscent of Green Day’s’ American Idiot, with just enough musical theatre to paint it’s tonality. But the one number that stood out was “Michael in the Bathroom,” performed by the incredibly talented George Salazar. If, and I hope this is the case, Be More Chill continues its climb to the Broadway stage, I hope they do not change one iota of this ballad. It was perfect.

Do yourself a favor and make your way down to the Jersey Shore for this piece of theatre conceived by Joe Iconis and Joe Tracz and directed by Stephen Brackett. It’s a misfist’s dream and captures high school, friendship, and what it means to be an individual with laser definition. Be More Chill runs until June 21st.

Review By: Aziza Seven
Photos By: T. Charles Erickson

Hand to God @ The Booth Theater

Robert Askin’s satirical new play, Hand to God, goes to all extremes in a rich look into a religious family’s broken home and the foul-mouthed sock puppet determined to unleash the devil in us all. 

The play mostly takes place within the blue painted cement walls of the church’s basement-a place for hope and God’s love, as the poster’s on the wall would have you believe anyway. Here we open to a puppet class, a welcome distraction for Margery(Geneva Carr) whose husband died six months earlier and is now at a loss as to how to fill her time. Enter Jason(Steven Boyer), shy, good hearted and seriously crushing on hipster Jessica(Sarah Stiles), while Timothy(Michael Oberholtzer) makes snide comments(he after all needs a place to crash during his mother’s 12 step) while simultaneously trying to woo Marg, in a Stacy’s Mom sort of fantasy. The puppet class is hardly something to be proud of with only Jason finished, his sock puppet Tyrone lovingly placed on his left hand and a rendition of “Jesus Loves Me” in his back pocket. Nevertheless, the show must go on as insisted upon Paster Greg(Marc Kudisch), whose “empty arms” need to be filled and whose “empty ears” need to listen. 

All is as it should be until Jason delivers a fabulous rendition of the famous “Who’s on First”  monologue in the hopes of wooing Jessica. Accepted immediately, Jessica wonders aloud if he made that up himself, “Yes.”

“Liar,” replies the previously voiceless Tyrone in what escalates as full out war on morality led by what might be the devil himself.

Boyer shines in his dual personality role, somehow able to convey both party’s emotions and lines. Though we can see his mouth moving the entire time, the audience cannot help but recognize Tyrone as another player. Unable to dismiss the rest of the cast as caricatures despite their hilarious idioms, Stiles deadpan delivery and Oberholtzer’s physical comic timing come to mind, one cannot help but be pulled into their very real struggles. 

The noteworthy Carr delivers as the frantic Texan mother, hell bent(see what I did there) on being good and honoring her dead husband’s memory, but quite unable to quell her very bad decisions. Her decline into humanity is both achingly familiar and entertaining to observe. 

Directed by Moritz von Stuelpnagel this triumphant Cinderella-esque story for theatre, Hand to God started Off-Broadway at the MCC Theatre, only to be enriched on the Broadway stage. Scenic design by Tony award winner Beowulf Borrit, Lighting Design by Jason Lyons, Costume Design by Sydney Maresca, Sound Design by Jill BC Du Boff, and Puppet Design by Marte Johanne Ekhougen. 

Philosophical, at times horror driven, intelligent, and all the while incredibly funny, Hand to God brings a rousing good time to the theatre stage

Review By: Aziza Seven 
Photos By: Joan Marcus

Wolf Hall: Parts One & Two @ The Winter Garden Theatre

Adapted to the stage by Mike Poulton and Directed by Jeremy Herrin, Wolf Hall Parts 1 and 2 should be savored slowly and all day. Part 1 tackles the annulment of Catherine of Aragon, Henry’s first wife, as he decides that the younger, more beautiful Anne Boleyn is the only one that can bear him a male heir, after Catherine’s many miscarriages. Denied by the church and unable to bed Anne without marrying her, Henry is at a loss until Thomas Cromwell, blacksmith’s son, and lawyer, comes along with an ingenious plan, have Henry be the head of his own church therefore granting him absolute power over the state of his own marriage. Catherine now in exile, Anne carrying his presumed heir, and Mary declared a bastard, everything seems to go swimmingly until Elizabeth is born and there is no son. Two years later and not only has Anne not been able to carry a son to term, King Henry’s wandering eyes have caught sight of Jane Seymour, and his current wife’s shrew behavior and loose ways are finally brought to the court. And so Part 1 ends, with an audience on the edge of their seats, knowing full well what history has entail for Anne Boleyn but unable to help the indrawn breath that inevitably happens with good theatre.

And so we’re back after a two hour reprieve to recover and savor the previous hours’ entertainment only to find King Henry is in a bit of a moral pickle and Cromwell at a loss as to how to proceed. Henry, convinced Anne is a witch who bewitched him wants another annulment, and Cromwell, well established at court with the respect he never had before, is going to get him one. Cromwell not only finds her “lovers” but in a trial that can only be described as fixed, he manages to find “evidence” of incest, adultery, and ultimately treason effectively tying the noose around the five men accused and Anne Boleyn, herself. In a gripping scene we see the terrible corruption of absolute power as King Henry signs away six lives for immediate execution. King Henry marries Jane 11 days later and once more the audience is left knowing the end, but enraptured nonetheless.

Ben Miles shines at Thomas Cromwell. He portrays the hero protagonist so well that the audience can’t help but remember and question their history lessons. An emotional performance that speaks volumes, Miles is the epitome of virtue, a man with the morals of a saint as he navigates the treacherous waves of the court he grew up so far from filled with the likes that had no respect for his common stock. From losing his mentor, the Chancellor Wulsie(Paul Jesson), to his wife Lizzie(Olivia Darnley), and his daughters, Miles portrays a new, more sentimental anti hero, one that the public can identify with, even as his actions are directly responsible for the death of possible innocents. Bravo Miles!

Lydia Leonard tackles one of the most memorable female characters of history with flourish and grace. Her conniving planning to become Queen of England is admirable even as her fading French accent grates. Playing both innocent ingenue and knowing seductress, she seamlessly floats between personalities, a trait one would most certainly find in the royal women of those days. Her ambition shines through her performance, but there is nothing sympathetic about her character.

Nathaniel Parker as King Henry VIII is an overworked, petulant boy/man. His sole desire is to be in love with a family full of heirs, but can’t seem to find a wife suitable to his growing religious needs. Parker also creates an empathetic character, one the audience hopes will be happy with his current state, but who know that it is an impossible feat. Bending, breaking, and ignoring the rules, he breaks down in what can only be called a paradox of character, when he must sign the death warrant of Francis Weston. “Weston? But he’s so young…” the line trails into silence as the quill is put to paper. Rules are rules, and if one must be erased for a monarch’s pleasure, than they all must be.

What is a show without the myriad of actors that make up all the other players? It should be noted that this troupe is filled with talent and skill. Eight hours of theatre is no easy feat and this cast was impeccable. Their timing, both comedic and dramatic kept the audience engaged to the very end and I cannot help but applaud such fortitude.

A character unto itself, the scenic and costume design by Tony and Olivier winner, Christopher Oram is flawless. The set is minimalistic providing a backdrop for movable set pieces that create and break down each scene perfectly. The solid greyness of the walls provide the canvas for the impeccably designed period costumes to be displayed against. Academy Award winning composer Stephen Warbeck’s music is breathtaking. One cannot help being acutely aware of the music heightening one’s feelings, while also being helpless to it’s pull.

Ironic laughter and hushed silence is what awaits you at The Garden State Theater for this fifteen week engagement.

Review By: Aziza Seven
Photos By: Johan Persson

The Events @ New York Theater Workshop

The Events grips you with the expertly woven contemporary telling of a massacre that mirrors the 2011 killings in Norway, when a young man open fired on a Youth Camp.

Often combative and vulnerable, Neve McIntosh brings to life the quickly dissolving character of Claire, the community choir leader and protagonist whose journey follows through the stages of grief after a gunman opened fire on her choir. Playing all of the other characters, whether real or imagined, is Clifford Samuel. The two backed by local choir East 4th Street Singers, bring together classic and contemporary.

In Greece, it was counted as a civic duty for the community to attend theatre to consider important issues. Amateur choirs joined the professional actors onstage and here is where our world’s meld. Creative minds Ramin Gray and David Greig capture the delicacy of the event with the tentativeness of a new ensemble at every show.

Neve’s abrasiveness, coupled against Clifford’s more often calming masculine energy clash, helping the audience realize that what we are experiencing is the inside of Claire’s mind as she interviews the killer’s parents, friends; fights with her partner, and then finally speaks the The Boy himself. She tackles this character with such strength and vulnerability, it’s easy to relate even as you find yourself repulsed by her crumbling moral. Clifford Samuel plays his characters, switching with such subtlety that it highlighted his more manic co-star, leaving the audience at times confused as to who is the real villain of this story.

We are left at the end, with unanswered questions, a normal occurrence for such a tragic event as this. If you’re looking for theatre that makes you think, go see The Events.

Review By: Aziza Seven

Photos By: Matthew Murphy

The Money Shot @ The Lucille Lorte Theatre

A biting farcical brush is painted over Hollywood’s elite in Neil Labute’s newest play, The Money Shot. Karen(Elizabeth Reaser) and Steve(Fred Weller) are desperately trying to hold on to their careers and in doing so, put the relationships with their respective partners, Bev(Callie Thorne) and Missy(Gia Crovatin), and any remaining self-respect, at risk. Directed by Terry Kinney, the show both elicits non-stop laughter and thoughtful silence at all the right beats.

The cast shines onstage. It is not a least bit surprising that these actors portrayed their whinier, ego driven characters with an aplomb that can only mean they intimately know the characters they are playing. Elizabeth Reaser(The Twilight Saga) both manages to make fun of herself and “aging” actresses in general as the flighty, dramatic femme. At once calm and collected, at others on the floor in hysterics, she is diva incarnate with a flair that is hard pressed not to enjoy. Fred Weller(Mother and Sons) begins the show as a macho, self-possessed, blustering male, eager to explain away his age with his much younger wife, Missy, and ends the show a great deal more thoughtful than he started when his ignorance becomes too much for Bev, who takes him down several feet of pegs. Weller is fantastic. He drives the script along with the force of an oncoming train, but the points where he really shines are the almost muttered lines of stupidity that are the real catalyst for the tension onstage. Callie Thorne(“Necessary Roughness”; ...Judas Iscariot) was by far the most comfortable onstage. She was so interesting to watch, even when she was silent. Her character refuses to allow even the slightest misinformation slide with Weller while she battles with Reaser regarding their private life. Gia Crovatin(reasons to be pretty) provides much enjoyed humor as the flighty, yet oddly touching younger woman. Trying to be a good wife to misogynistic Weller, her character actually sees the most growth in the play. The least jaded of the group, Crovatin is by no means overshadowed by her more experienced scene partners, but instead delivers quips and cheerleading with the enthusiasm of fresh talent. To say that this cast was perfectly suited to play their counterparts would be an understatement.

As a southern California native, I was pleasantly surprised at the nuances in the play. The set design was beautifully done by Derek McLane, with sound design by Rob Milburn and Michael Bodeen, costumes by Sarah J. Holden, lighting design by David Weiner and stage managed by Christine Lemme.

The world premier of The Money Shot opened at Labute’s resident theatre in the West Village and has an extended run through October 19th. Get your tickets now for a wonderful night in theatre that will have you laughing till your sides hurt.


Review By: Aziza Seven
Photos By: Joan Marcus

The Valley of Astonishment @ The Polonsky Shakespeare Center @ The Theatre for New Audience

What if when you listened to music, you saw colors? Or you had enough memorized words in your brain that you could fill a 10,000 page book? These are just some of the brain phenomenons explored in Peter Brooks and Marie-Helenes Estienne unique play "The Valley of Astonishment." 

Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. How does one convey that to an outside listener in a way that they can not only grasp, but relate to? Kathryn Hunter, Marcello Magni, and Jared McNeill take the stage as a mirage of characters that do just that, 

Equally human and brilliant, the characters portrayed bring to life a story both profound and simple. Brilliant minds in ordinary bodies, creating, feeling, and experiencing life at an intensity that invokes fear and awe in "normal" company. Blending stories, characters, accents, mannerisms, the actors are both heartbreakingly vulnerable onstage as they are fascinating to watch. 

Against a bare back drop, minimilistic stage design, and tailored lights by Lighting Designer Philippe Vialatte, there is nowhere for the actors to hide. Their humanity is stripped bare for all the audience to see and while this is the goal of every actor, this cast does it so effortlessly one cannot help but admire it. 

Musicians Raphael Chambouvent and Toshi Tsuchitori add another level of sensory pleasure with their gorgeous accompaniment. 

A three week only event, "The Valley of Astonishment" closes October 5th, so do yourself a favor and go experience synesthesia with a group of people who will let you live it with them. 

Review By: Aziza Seven
Photos By: Pascal Victor

When I Was Young and Unafraid @ The Manhattan Theatre Club

On occasion, we as theatre goers, are given a gift, a brief interlude where we may experience something we'd never get to otherwise, through the expert storytelling of talent actors. Such is the case in When We Were Young and Unafraid. As bittersweet as its title suggests, this play takes you into the life of Agnes, a retired nurse who runs a Bed and Breakfast that also houses abused women before women's shelters existed in the US. 

Cherry Jones(Doubt) leads this talented cast as Agnes, retired nurse, mother, and business owner. Her daughter, Penny, played by Morgan Saylor(Disney’s McFarland) begins the show as a feminist spouting teenager and then devolves into a school skipping “normal” teenager more interested in boys than her schoolwork, with the bad advice of Mary Anne, played by Zoe Kazan(A Behanding in Spokane). Life for these women are directly effected by each other as well as the lone guest at the B&B, Paul, played by Patch Darragh(Our Town), and foul mouthed feminist revolutionary, Hannah, played by Cherise Boothe(Milk Like Sugar). 

Jones shines. Her compassion and heartbreak are palpable. You cannot help but admire her character. Despite being fired for her convictions, Agnes continued to create a safe place for abused women. When Mary Ann’s problems become personal though, she is forced to examine her feelings behind the women she protects. Jones’ unyielding serenity fills every moment in the play. Kazan holds her own as the emotionally and physically battered young wife of an abusive husband. Equally alluring and pathetic, Kazan makes you recoil from the stage even as you recognize yourself in the character. Boothe’s foul mouth, no nonsense attitude is a little hard to handle until she becomes surprisingly vulnerable. She is dedicated to her beliefs which could not be more apparent. The quips traded between her and Jones provide much needed laughter, reminding the audience that even in the hardest of times, there is still room for humor. Darragh’s character is both achingly average and revolting. A man so threatened by strong females, he cowers easily, while using subtle bullying to manipulate the situation. While not an abusive male, he is an unfortunate caricature of the “nice guy;” when, in reality he uses belittling to get what he wants. While her over enunciated consonants, inappropriate emphasis pauses, and slight over acting betray her naiveté when compared to the rest of her seasoned cast, Saylor has moments of vulnerability that show the potential of this young woman. If she would only slow down her sentences so that they might be understood, I would have enjoyed her performance more. As it is, Saylor has the capacity to be a great actress. 

Directed by Tony Award Winning director, Pam MacKinnon(Who’s Afraid of Virginia Woolf), When We Were Young and Unafraid is a must see. The show is running through August 10th, so be sure to get your tickets here! 

Review By: Aziza Seven
Photos By: Joan Marcus

Fly By Night @ Playwrights Horizons/The MainStage Theater

 Fly By Night is an off-beat bittersweet love story set against the backdrop of the 1965 blackout on the east coast. Filled with original music and well scripted dialogue, this musical is a refreshing piece that leaves the audience hungry for romance and surprisingly hopeful in the face of reality.

Conceived by Kim Rosenstock(Tigers Be Still) and written by Will Connolly (performer, Once), Michael Mitnick (Sex Lives of Our Parents, the upcoming film The Giver) and Ms. Rosenstock, Fly By Night explores the life of melancholy sandwich maker, Harold(Chanler-Berat), after his path crosses with two equally enchanting, but different sisters, Miriam(Case) and Daphne(Murin).

The cast features Allison Case(Mamma Mia!), Adam Chanler-Berat(Next to Normal, Peter and the Starcatcher), Tony Award nominee and Obie Award winner Peter Friedman, Michael McCormick(Chaplin), Patti Murin(Lysistrata Jones), Drama Desk Award nominee Bryce Ryness(First Date) and Obie Award winner Henry Stram(Titanic, The Crucible).

This show was filled with a great deal of talent. Stram's classical training shows as he morphed into several different genders, ages, and ethnicities. Each of his characters were different from the other and despite him not changing costume at any point during the show, his switches were seamless and complete. Murin and Case were exquisite as the sisters. Chanler-Berat brought his quirky charm to stage. Friedman was incredibly memorable as Harold's father, while Ryness' grumpiness added to the "hum drumness" of Harold's life as the sandwich maker's boss. 

Directed by Carolyn Cantor (The Great God Pan and After the Revolution at PH; Arlington, Pumpgirl) and choreographed by Sam Pinkleton (Mr. Burns at PH; Natasha, Pierre…). The production features scenic design by David Korins, costume design by Tony Award winner Paloma Young, lighting design by Tony Award winner Jeff Croiter and sound design by Ken Travis and Alex Hawthorn.  The FLY BY NIGHT band is Foe Destroyer.  Musical Director is Vadim Feichtner.  Production Stage Manager is Kyle Gates.

Fly by Night officially opens at the Playwright's Horizons in their Mainstage Theatre on June 11 and runs until June 29th. Do yourself a favor and go see this beautiful show before it closes.  Get your tickets here! 

Review By: Aziza Seven
Photos By: Joan Marcus

Drunk Shakespeare @ Quinn's Bar

 A night of debauchery, of olde English spoken in the way it twas meant to, with a lilting slur that delights the ears and tantalizes the senses. That is what awaits you at an upper floor bar in Hell's Kitchen - Drunk Shakespeare!

   Made up of a team of "professional drinkers with a Shakespeare problem," this show presents a delightful mix of Shakespeare's greatest works, comedic improv, and audience participation for a night that is sure to leave you gasping with laughter.

   An open tab for guests encourage the audience to get as "happy" as their leading player who at the start of the show is required to consume 4 shots of the liquor of their choice. Once the liquor has been consumed, all bets are off on how good ole Bill's works will be presented. 

  

 I had the particular pleasure of seeing Macbeth in a way I had never seen it before. Kristin Friedlander starred as Lady Macbeth/Witch and led as fool with tequila to hold her up. Playing her ill-fated husband, Macbeth, was Lou Sallan. Damyir Shuford and Kate Gunther filled in the necessary characters, a feat that both took with grace as they fluidly stumbled through genders, names, and lines. Lastly, Josh Hyman served as host/Ross/sound effects bringing this hilarious team to life with his comedic timing and spot on impersonations as famous comedic actors such as Chris Rock, Woody Allen, and Bill Cosby.

This show only runs through June 14th, so grab your best friends and go! So much fun you will leave wishing you could be in the show yourself.  Buy your tickets here!

18+ only

Review by Aziza Seven 

Inventing Mary Martin @ The York Theater Company

 Mary Martin, famous for originating the roles of Nellie(South Pacific), Maria(The Sound of Music), Venus, and Peter Pan, had a career that spanned 40 years filled with Hollywood movies and tours overseas. Earning four Tony Awards and an Emmy in her lifetime, she famously invented herself and reinvented herself to match the needs of pop culture and was hugely respected by such composers as Rogers and Hammerstein and Cole Porter, and beloved by audiences all over the world.

 This revue honors her achievements with stunning performances by Emily Skinner, Lynne Halliday, Cameron Adams, and hilariously narrated by Jason Graae. A show filled with laughter, it is unafraid to dig up the flops of Martin's career as well as the achievements, poking light hearted fun at her earlier disappointments reminding the audience that she too as human, while at the same time boasting of her talent by pointing out that Martin beat out Ethel Merman for a Tony.

   Emily Skinner(Tony nominee) is enchanting, representing the sensual nature of Mary, her voice consistently draws you in and keeps you on the edge of your seat. Young, peppy Cameron Adams, brings Mary's youth to life with her lilting soprano voice and sweet, yet spunky demeanor. Lynne Halliday, is graceful, creating the illusion of old Hollywood glamour. Together, these women weave Mary's story.

   Jason Graae, the narrator and host of what can only be called a party, is both comic relief and responsible for moving the storyline along. Representing as many males as he needs to, his shining comedic moment was actually reenacting Mary's "Women's Fashion in 50 years." To the direction of an off-stage voice, Graae races through 50 years of women's fashions, complete with heels and hats galore - absolutely the funniest moment in the show.

   Written and directed by Stephen Cole and co-directed and choreographed by Bob Richard, Inventing Mary Martin is quite obviously a labor of love and the admiration for the woman is apparent in the show. While the script can be somewhat lagging at times, the numbers are beautiful, and the cast incredibly talented.

  Inventing Mary Martin opened at the York Theatre, April 27th and will be playing through May 25th, be sure to get your tickets here!

Review By: Aziza Seven
Photos By: Jenny Anderson

Casa Valentina @ The Samuel J Friedman Theatre

    How does one create a riveting story about discrimination in the gender fluid world while still creating an empathetic audience? By telling the truth of course. Casa Valentina explores this world in its infancy, taking the audience on an incredibly insightful journey fill with laughter and poignancy. 

In 1962, there was a resort where men could gather together and don the feminine identity in privacy and acceptance. When sorority leader Charlotte, asks the ladies to sign away their anonymity in order to register with the government and become legalized members of society, able to live freely as cross-dressing men, the ladies balk unwilling to give up their privacy or sign the affidavit claiming they are not “disgusting homosexuals.” Her presence creates a storm that no one could see coming, forcing the ladies to explore themselves and in Valentina/George’s case, his/her perfectly not-normal relationship with his/her supportive wife and fellow resort owner, Rita. 

   Mare Winningham(Rita) does a stellar job. As one of only two affectionately called GG’s(genuine girls) onstage, Mare delivers a poignant role as the wife of a transvestite. Delivering one liner quips with ease, she caused as much laughter as she did sighs of sympathy during her more serious moments thinking of the life she had walked into “eyes open.” Patrick Page(George/Valentina) is alternately gentlemanly and ladylike, his dual personalities as separate as they are cohesive. His legs alone were enough to make the ladies in the theatre jealous! Tom McGowan(Bessie) was the comedic relief. With enough personality to match his name, Tom creates a larger than life role not to be dismissed but rather savored. Larry Pine(The Judge/Rita) probably had the most heartbreaking scene in the entire play. Without saying a word, he conveyed more feeling than a monologue could ever. There was not a single person in the audience who didn’t feel as if their heart wouldn’t break during his performance. 

Nick Westrate(Gloria) was feminine, haughty, and sexy. His compassionate speeches were as real as he was. Gabriel Ebert(Jonathan/Miranda) was the epitome of innocence. Girlish as Miranda, hopelessly foolish and sweet as Jonathan, he created the blossoming debutante role effortlessly. John Cullum(Terry) was the voice of reason in the play. His insight provided the looking glass for Valentina to observe her hypocrisy. Lisa Emery(Eleanor) was only onstage for a moment but she was the catalyst in the second act. The daughter of Amy/The Judge, she confronted the seemingly perfect couple Rita and George on all the questions they had smoothed over, forcing them to see things they perhaps had been ignoring in their relationship. And last, but certainly not least Reed Birney(Charlotte) was riveting. His performance was spot on, from the way he held his hands, to how he stood, his speech, all reminded me achingly of my grandmother. Desperate for recognition by the society that shunned her, Charlotte was perhaps the perfect villain zealot, preaching discrimination against homosexuals in order to gain acceptance as a straight male transvestite. 

    Written by Harvey Firstien and directed by Joe Mantello, Casa Valentina explores the ideology of American society and the ease in which it discriminates against every type of individual. Promoting acceptance of gender fluidity and uniqueness in all its forms without shoving it down your throat, you cannot help but leave the theatre better informed and more empathetic to all types. 

Casa Valentina opened at The Samuel J. Friedman Theatre opened April 2014 and runs through June 15th. Get your tickets here!

Review By: Aziza Seven
Photos By: Sara Krulwich

The Speakeasy Dollhouse: The Brother's Booth @ The Players Club

   

   Ushered into the back alleyway situation somewhere in the lower east side of Manhattan, an audience is beckoned quietly up a rickety staircase to The Speakeasy Dollhouse: The Brothers Booth. The 20’s have just begun, prohibition is newly underway, and sin and debauchery run the local speakeasies. Audience members are encouraged to dress up and are handed small cards upon entering with special instructions for them to follow throughout the night as they enter interactive theatre. 

   

   The plot, while thin, is enough to captivate. What happened the night Abraham Lincoln was killed? Did John Wilkes Booth really die that night? Why would he shoot a man his brother had respected and had even become somewhat close to after saving Lincoln’s son from a would be fatal train accident? How did renowned actor, Edwin Booth react to the news? All of these questions and more are explored and not actually answered during this night of debauchery and mayhem. 

Audience members are encouraged to explore the many rooms of the The Player House and find out for themselves what the mystery will reveal. Throughout the home are a host of characters that reveal more of the storyline before the end is climaxed in the main ballroom. Dancing girls, burlesque, a brass band, seances, and the odd Shakespeare monologue fill in the gaps between the two main theatrical moments for two hours of fun. 

   

   Performing onstage with a clear separation between the audience and the cast is difficult enough, but throwing a party and performing sword fights and emotion filled scenes with an audience that is literally touching you takes an enormous amount of energy and this cast tackled it with aplomb. 

   

   Created by Cynthia von Buhler and directed by Wes Granton, The Speakeasy Dollhouse is a magical experience that provides everything an audience could wish for. Cast of the show is as follows: Eric Gravez(Edwin Booth), Ryan Wesen(John Wilkes Booth), William Otterson(Junius Brutus Booth), Skylar Max Gallum(Young, John Wilkes Booth), Jonas Barranca(Young Edwin Booth), Samantha Rosentrater(Edwina Booth Grossmna), Victor Barranca(Edmond Quinn), Dan Olson(Henry James), Chrissy Basham(Opal Jones), Russel Farhang(John Drew), Tansy(The Hostess), E. James Ford(John Singer Sargent), Lord Kat(Mark Twain), Katelan Foisy(Violet James), Justin Moore(Officer Crane), Jennie Harder(Annie Hines), Allen Wilcox)Howard Kyle), Silent James(Himself), Travis Moore(Benjamin Crane), Natalie Rich(Georgina Rich), Chris Fink(Guy Nichols), Daniel Burns(Newsboy), Taxi Dancers: Hannah Rose, Sarah Vogt, Alexandra Kopko, Ashley Grombol, and Laura Epperson, Puppeteers: Erin Orr and Stacee Mandeville, featuring the burlesque skills of Deylsia La Chatte, and music provided by Grandpa Mullelman and his Syncopaters. 

Be aware, this is a 21 and older event so leave the kids at home! It only runs for five more Saturdays so get your tickets while you still can!

Review By: Aziza Seven

King Lear @ The Polonsky Shakespeare Center @ The Theatre for New Audience

King Lear presented at the Theatre for a New Audience is an intimate, minimalistic portrayal of the Shakespeare classic. Directed by Arin Arbus, whose other Shakespeare credits include, Much Ado About Nothing, The Taming of the Shrew, and Othello, creates a stunning world in which the audience is given only the barest essentials of a set, leaving them able to concentrate on the actors’ imaginations.

Michael Pennington(King Lear) shines, his abundant work  in Shakespeare clear as he commands the space around him. Both powerful in his reign as King of Britain and pathetic as his madness takes over his body, Pennington straddles the inconsistencies of his character with grace and ease. Opposite in the roles of his daughters, Rachel Pickup(Goneril), Bianca Amato(Regan), and Lilly Englert(Cordelia) play their parts well. Rachel’s sexual manipulation compliments Bianca’s more political stance and together they are a force to be reckoned with as they plot to bring their father down and claim more power. Unfortunately for them, they sink their claws into the same man and in the end are done in by their own thirst for power and misplaced love. Lilly is the loveliest of the sisters and portrays her part perfectly. Innocence shines through her consistently. Her love for her father is the realest emotion among the women and she holds on to it with everything she is.  

Startling performance by Jake Horowitz as the Fool. His energy onstage was a joy to watch. Both comical and wise, joyful and in the end suicidal, Jake navigated a stage full of seasoned actors with a drive that was surprising in one so young. Chandler Williams(Edmund) is a more passive villain. His actions dictated by selfishness rather than pure evil. I found his performance a tad lackluster. Jacob Fisher(Edgar) while bland at the start of the play found his own when he took on the crazed role of Poor Tom after being set up by his brother. On the lam and running from a father that believes wanted to kill him, Jacob adopts the role of poor beggar but falls into the good graces of King Lear and eventually is responsible for leading his blinded father to safety after his brother frames their father for treason.  

Other talented cast members include Timothy Stickney(Kent), Terry Doe(King of France), Mark H. Dold(Oswald), Christopher McCann(Gloucester), Saxon Palmer(Cornwall), Graham Winton(Albany), and Robert Langdon Lloyd who all stood out in the parts as excellent speakers and actors. The ensemble includes Benjamin Cole, Jason Gray, Jonathan Hooks, Patrick McAndrew, Ryan McCarthy, Jon Stewart, Jr., Ian Temple, and Ariel Zuckerman.

As with all of Shakespear’s tragedies, this play contains several messages for the audience. Greed, power seeking, lust are just a few things that condemn the players and lead to the demise. Very few players escape death by the end of the play and the sins of those involved are to blame for the early demise of Cordelia and the consequent death of her father, Lear. Reunited briefly, they are only granted a moment respite before Edmund’s assignation order is completed leaving Lear to die of a broken heart after he carries the still body of his youngest onstage.

The set design was by far the most interesting tech element, with lights and sound design rounding out the feel of the play. The costumes I found to be incredibly distracting, as they didn’t fit the time that the play was clearly set in. Lastly, the music provided by Michael Attias, Pascal Niggenkemper, and Satoshi Takeishi was gorgeous.

King Lear runs at The Theatre for a New Audience in Brooklyn, NYC until May 4th, be sure to pick up your tickets here.

Review By: Aziza Seven