Recap: Yale Cab 46

Yale Cabaret Season 46 is now just a memory. So let’s test our memories. Surveying the season, I’ve come up with five top picks in thirteen categories, as I have done for Seasons 45 (’12-’13) and 44 (’11-’12). Picks are listed in order of the show’s appearance, except the last named is my top choice. First up, the category of pre-existing play adapted to the unique opportunities afforded by the ever-intimate Cab space: All of these had something to do with power dynamics and each was a gripping experience: Dutchman, the challenging provocation about erotics and racial profiling by LeRoi Jones/Amiri Baraka; erotomania as a work ethic between sisters in Jean Genet’s The Maids; He Left Quietly, Yaël Farber’s dramatization of the incarceration of an innocent man sentenced to death in apartheid South Africa; YSD alum Tarell Alvin McCraney’s exploration of the bonds and frictions between brothers as archetypes in The Brothers Size; and . . . Edward Bond’s daunting look at a world bereft of goods and memories, Have I None.

New plays inaugurated at the Cab this season, as usual, were a mixed bag, trying out eclectic forms: We Know Edie La Minx Had a Gun, by Helen Jaksch (*15), Kelly Kerwin (*15), Emily Zemba (*15) is a drag-show drama with music, comedy, and pathos; The Most Beautiful Thing in the World, conceived by Gabriel Levey (*14) and devised with Kate Tarker (*14), is a performance piece that invites the kinds of pitfalls theater is prone to, and brought the audience into the performance; The Defendant, by Elia Monte-Brown (*14), commands the attitudes and language of its teen characters, while walking a difficult line between comedy and unsettling social reality; The Mystery Boy, adapted by Chris Bannow (*14), is a frenetic theatrical romp as weird and vivid as the mind of a pre-teen; and . . . A New Saint for a New World by Ryan Campbell (*15) is a funny dialogue-driven exploration of faith and defiance through the figure of Joan of Arc.

For Sets, the created space wherein everything happens: the runway by way of Warhol for the camp and glam denizens of We Know Edie La Minx Had a Gun, by Christopher Ash (*14); the gritty prison space open to our view to make theater of incarceration for He Left Quietly, by Christopher Thompson (*16); the posters and atmosphere of a bygone theatrical era that lent much visual interest to The Crazy Shepherds of Rebellion, by Reid Thompson (*14); the striking combination of modern and ancient ruin that served as backdrop to graffiti art in We Fight We Die, by Jean Kim (*16); and . . . the improbable rooms within a room, meticulously outfitted and wrought for The Maids, by Kate Noll (*14).

For Lighting, that magical aspect of theater that adds so much atmosphere and affect to our viewing experience: Elizabeth Mak (*16) for the highly effective illuminations of the will-of-the-wisp figures in Crave; Oliver Wason (*14) for the use of light and dark to evoke the uncertain occurrences in The Small Room at the Top of the Stairs; Oliver Wason (*14) for the intricate lighting of actual interior space in The Maids; Oliver Wason (*14) for the different lighting for the different worlds—from domestic earth to prison to another planet—in A New Saint for a New World; and . . . Andrew F. Griffin (*16) for playing with light and dark in an almost musical way in The Brothers Size.

For Costumes, that aspect of the experience that helps us suspend our disbelief, and helps actors convince us of their characters’ reality: Hunter Kaczorowski (*14) for the stylish retro outfits of Radio Hour; Elivia Bovenzi (*14) for a cast of regular people and inspired clowns in Derivatives; Asa Benally (*16) for costuming a cavalcade of different plays in a short compass in The Crazy Shepherds of Rebellion; Fabian Aguilar (*16) for the varied habiliments of Joan of Arc’s ordeals in A New Saint for a New World—including space-age angels; and . . . Grier Coleman (*15) for the pastiche and aplomb, charm and chutzpa of We Know Edie La Minx Had a Gun.

More ethereal even than Lighting is Sound, but a telling aspect of any production in augmenting the action and creating a mental space to support the visual: Joel Abbott (*14) for tying together all the moods and styles of We Know Edie La Minx Had a Gun; Tyler Kieffer (*15) for the use of scored moments in the presentation of The Most Beautiful Thing in the World; Brian Hickey (*15) and Steve Brush (*14) for the razzle-dazzle TV-esque documentary and comedy productions of Derivatives; Tyler Kieffer for letting us eavesdrop so effectively in The Maids; and . . . Tyler Kieffer (*15) and Steve Brush (*14) for the radio soundscape and Foley art of Radio Hour.

For some productions, the visual element doesn’t end with Lighting, Sets, and Costumes, but acquires more presence through the use of projections and other special Visual Effects: Christopher Ash (*14) for the enhancement of the performance space of We Know Edie La Minx Had a Gun; Nick Hussong (*14) for the various charts and logos and floating backdrops in Derivatives; Kristin Ferguson (*15) for the striking and lyrical use of photographic projections in Bound to Burn; Joey Moro (*15) for the creation of different visual moods so important to Joan of Arc’s odyssey in A New Saint for a New World; and . . . Rasean Devonte Johnson (*16) for the graffitied visuals of We Fight We Die, and for adding to the fluid visual experience of The Brothers Size.

Use of Music is another element that, for some productions, is almost like adding another character or a special effect to color the action or complete it: Steve Brush (*14) for the songs and jingles and accompaniment so crucial to the aural world of Radio Hour; Jenny Schmidt (*14) for adding to the tensions and suggestiveness of The Small Room at the Top of the Stairs; Pornchanok Kanchanabanca (*16) for the enlivening musical asides that fleshed out the variety of The Crazy Shepherds of Rebellion; Mike Mills for the percussion that acts as Greek chorus to comment musically on—and even control—the action of The Brothers Size; and . . . Joel Abbott (*14) for the sensitive accompaniment that helped render the range of possible motives and actions in We Know Edie La Minx Had a Gun.

Another aspect of the experience of the play’s physical presence is how it moves—sometimes that means actual choreography and the creation of dance, other times it has to do with how much activity and physical interaction takes place in the show; choice examples of how intricate Movement greatly enhances a play are: the choreography of the drag queen sleuths by Kelly Kerwin (*15) for We Know Edie La Minx Had a Gun; the fluid use of the entire space and the highly expressive interactions directed by Hansol Jung (*14) in Crave; the dance numbers that told stories with movement and mime, choreographed by Rob Chikar (*14) and Alyssa Simmons (*14), in Bound to Burn; the incredibly active interludes bursting out of The Brothers Size, directed by Luke Harlan (*16); and . . . the prop-happy cast, creating sound effects and a variety of characters in different costumes while constantly on stage, of The Mystery Boy, directed by Chris Bannow (*14) and Helen Jaksch (*15).

In terms of Performance, some roles and actors move beyond the traditional “actor”/”actress” dualism, but as such is still the norm of awards shows, I’ll follow suit; for the xy chromosomes: as the one, the only, the much maligned and deeply mourned Edie La Minx: Seth Bodie (*14) in We Know Edie La Minx Had a Gun (*14); as Claire, “the pretty one” that Mistress should have designs on: Mickey Theis (*14) in The Maids; for his show-stopping turn as a Lena Horne impersonator in We Know Edie La Minx Had a Gun, and for acting out the gripping ordeal of Duma Kumalo in He Left Quietly, Ato Blankson-Wood (*15); as Ogun, the god of iron in the form of a paternalistic and truly fraternal car-shop owner in The Brothers Size, Jonathan Majors (*16); and . . . as the alleged brother who brings death to his sister in Have I None, and as the manipulative “sister” in The Maids, Chris Bannow (*14).

And in Performance, those actors with xx chromosomes: as Lula, the mercurial provocation on a subway car in Dutchman, Carly Zien (*14); as the introducer forced to provide the presentation, with improvised patter and invited responses, Kate Tarker (*14) in The Most Beautiful Thing in the World; as the curious, distraught and distrustful wife in The Small Room at the Top of the Stairs, Chasten Harmon (*15); as a Joan of Arc forced to be normal and then again extraordinary, Maura Hooper (*15) in A New Saint for a New World; and . . . as a woman at her wits’ end in a world of deprivations, Ceci Fernandez (*14) in Have I None.

For the task of somehow orchestrating all this diverse input and making decisions that create a coherent theatrical experience—for Directing, in other words: Jessica Holt (*15) for the harrowing world, driven by complex language and meaningful actions and silences, of Have I None; Cole Lewis (*14) for the mounting tensions and effective contrapuntal presentation of The Small Room at the Top of the Stairs; Sara Holdren (*15) for keeping a handle on comedy with cosmic dimensions, and drama with unsettling implications in A New Saint for a New World; Luke Harlan (*16) for the combination of movement, music, intense dialogue and strong characterizations in The Brothers Size; and . . . Dustin Wills (*14) for the challenging presentation and darkly comic tone of drama queens seduced by death behind closed doors but bare windows in The Maids.

Finally, for overall Production, which means having the wherewithal to make this thing happen, as enablers and aider-abetters, the producers and dramaturgs of the shows that impressed me most: We Know Edie La Minx Had a Gun: Emika Abe (*15), producer, and Helen Jaksch (*15), dramaturg; Have I None: Molly Hennighausen (*15), producer, and Hugh Farrell (*15), dramaturg; A New Saint for A New World: Sally Shen, producer, and Helen Jaksch (*15), dramaturg; The Brothers Size: Alyssa Simmons (*14) and Melissa Zimmerman (*14), producers, and Taylor Barfield (*16), dramaturg; and . . . The Maids: Lauren Wainwright (*14), producer, and Tanya Dean (*14), dramaturg.

Some of those mentioned have completed their time at YSD—best of luck in all you do!—and others have a year or two to go. Thanks to all for their dedication, talent, and spirited engagement with the special performance space that is the Yale Cabaret. And to this year's departing team, Whitney Dibo, Lauren Dubowski, Kelly Kerwin, and Shane Hudson, many thanks for a lively season.

Coming soon: a preview of the Yale Summer Cabaret, with Artistic Directors Jessica Holt and Luke Harlan, and Managing Director Gretchen Wright.

See you next year, at the Cab!--with Artistic Directors Hugh Farrell, Tyler Kieffer, Will Rucker, and Managing Director Molly Hennighausen.

A Cab of Many Colors

Every year the Yale Cabaret enstates new artistic directors—Yale School of Drama students whose vision of and commitment to theater will guide the choices of shows for the coming season. For Cab 46, almost ready to kick-off this month, the people running the show are three dramaturgs—Whitney Dibo, Lauren Dubowski, Kelly Kerwin—as co-Artistic Directors, and Shane Hudson, as Managing Director. All have previous background with offerings at the Cab—particularly, for the ADs, The Twins Would Like to Say, the penultimate production of Cab 45. Dibo and Dubowski co-directed the play and Kerwin was the production’s dramaturg. Those who saw the play will remember its use of the entire space of the Cab (there was no “back stage”) and its encouragement that the audience move about during the show, which was staged, at times, in different locations simultaneously. Hudson has already become a familiar face at the front desk of the Cab, particularly during the Yale Summer Cab of 2012.

The tag words for this year’s Cab are “invention – urgency – artistry,” and the three ADs stress “risk” as an element of what they’re looking for in choosing the shows that will be staged this year. Being “allowed to fail” means having the luxury to try out approaches, plays, collaborations that might be something less than a “sure thing.” If everyone only does what they’ve already done and know they’re good at, all sense of exploration, innovation, and challenge goes out the window. As regulars of the Cab know, there’s always a mix of amazingly spot-on shows and shows that reach for something they might not grasp, this time ‘round. There’s also a beguiling sense of not knowing what you’ll get until you arrive and the show starts. The Cab’s mystique is largely predicated on the unexpected and the untried before.

The questions that Dibo, Dubowski and Kerwin—sounding a bit like a law firm or agency when you say it like that—ask of their colleagues, in the application process, apply to time and place. “Why here?” is a question about the use of the specific space and implies a sense of community as well. Why the Cab, both as a uniquely intimate and amorphous space, but also, why the Cab, in the sense of its audience and its larger context within the School of Drama. D,D,K are committed to tapping the unique ability of the Cab to serve their colleagues in YSD as the premiere locus for artistic investigation.

The complimentary question, of course, and one that every theatrical venue should ask when setting up its season is “why now?” The “here and now” of any play is what convinces audiences that they should be present to see this particular show and not some other.The Cab shows, in their short lives (only three nights for each play), arrive with a sense of urgency, a sense that the story to be told is worth all the sweat and toil for such an ephemeral run.

With shows that are completely generated by graduate students—usually in a mix of already existing plays and plays originating before our very eyes—the Cab can’t get us in the door with stars and celebrities. The venue’s allure has to do with the possibility of discovery: what future greats may even now be honing their talents for audiences at a ridiculously low price? (A non-student flex pass of 9 shows makes each show cost $10, which is the standard price for students.) A host of top notch theater people have worked at the Cab in its 46 illustrious years: Meryl Streep, Sigourney Weaver, Paul Giamatti, John Turturro, Christopher Durang, Anna Shapiro, to name but a few. We’ve no doubt that their fellows can be found working with devotion on the “passion projects” at the Cab (no show at the Cab counts toward graduation for any of its participants; these shows are all ends in themselves—unless they go on to future development, as some do).

This year, the ADs have instituted a deviation. Usually the ADs of the Cab reserve a few slots for their own projects. Our three ADs have chosen to waive that perk but have replaced it with a different kind of participation: each approved play will have one of the three ADs assigned to it as Creative Producer. That role will be a vantage from which to offer notes before a show goes up, and, more importantly, to facilitate the show in any way necessary. The role of CP lets D, D, or K have a creative role in how a project shapes up—not that ADs are traditionally hands-off entirely about the shows they accept. The CP role will mean that the ADs are a bit more invested in each show than might sometimes be the case.

As students of dramaturgy—the text-based, historical consciousness of the theatrical community, we might say—Dibo, Dubowski, and Kerwin have paid their dues: both Dibo and Kerwin have worked in Chicago with the famous Steppenwolf Theatre, as well as other innovative companies, and Dubowski has worked with Headlong Dance Theatre in Philadelphia, and at the Yale Rep as dramaturg on last year’s comic satire American Night: The Ballad of Juan José. Dibo and Dubowski also collaborated on Cab 44’s The Yiddish King Lear, and the trio have worked on thesis shows and Carlotta Festival shows at YSD. In other words, D,D,K have run the gamut of the kinds of shows YSD produces as well as having experience with the kind of theater that takes place off-the-beaten-track.

And now the first three shows . . .

Cab 1: September 19-21: We Know Edie La Minx Had a Gun by Helen Jaksch, Kelly Kerwin, and Emily Zemba; directed by Kelly Kerwin. Using live music—including a tango—to tell the tale, based on a real story, of a fictional legendary drag queen, Edie La Minx explores “the grit behind the glam.” Edie, it seems, not only has a gun, she also has an unexplained mummified body in a garment bag in her apartment, complete with a gunshot wound to the head. Who is it, and what’s it mean for Edie? Seth Bodie assays the role of Edie (those who braved the biggest blizzard in recent memory last winter to see the First Annual Yale Cab Drag Show may remember Seth’s performance, which may or may not be relevant to the role of Edie). The show purports to have the lively and unpredictable elements so crucial to season kick-offs, and that’s reason enough to see how it plays.

Cab 2: September 26-28: The Dutchman by LeRoi Jones/Amiri Baraka; directed by Katherine McGerr. Jones’ play was incendiary in its time, making free use of “the n word” and exploring the vexed issue of inter-racial attraction and antagonism on a New York subway in 1964—the year after Dr. King’s “I have a dream” speech at the Lincoln Memorial. In these “post-racial” days of the Baraka administration, an event like the murder of Trayvon Martin and the trial of George Zimmerman (to say nothing of more distant events such as the O.J. trial in the ‘90s) shows us that, in the U.S., race is never “in the past.” McGerr has done notable work at the Cab in staging already existing plays that featured the grisly (Howard Benton's Christie in Love), the timely (Arthur Kopit's Chamber Music), and the unpredictable (Nassim Soleimanpour's White Rabbit/Red Rabbit).

Cab 3: October 3-5: The Most Beautiful Thing in the World; conceived and directed by Gabe Levey. If you’ve been around YSD in the last few years, you probably know Gabe Levey—his Andy Kaufmannesque one-man show, Brainsongs, in Cab 44, or his comic role as the Shoemaker/Puppet-master in the Summer Cab’s enactment of Lorca’s The Shoemaker’s Prodigious Wife, or perhaps his memorable turn as a young girl in a pinafore in Margot Bordelon’s thesis production of Caryl Churchill’s Cloud Nine last spring. This time he’ll be directing Third-Year playwright Kate Tarker in play that promises one of “the world’s most renowned motivational speakers” and a pitch to put the "you" in “universe.” Levey and Tarker share a penchant for the techniques Christopher Bayes teaches in his clown classes at Yale (Bayes is the comic vision behind such recent Rep hits as The Servant of Two Masters and A Doctor in Spite of Himself), so this show will be nothing if not funny.

Another innovation of Cab 46 will be the use of actual images from the productions in the support materials, such as the playbills at the shows, and a logo that provides grounds for seeing this as “a Cab of many colors.”

The remaining seven shows of the first semester will be previewed here some time in October, and, until then, see you at the Cab!

(photographs by Christopher Ash; courtesy of the Yale Cabaret)

Yale Cab Recap

The 45th Season of the Yale Cabaret closed last month, and before this month is out the latest version of the Yale Summer Cabaret—titled “A Summer of Giants”—will open. In the meantime, here is my recap of last season, picking my favorite shows and contributors in thirteen categories. In each, plays are listed in order of appearance, except for my top choice which comes last. Play (pre-existing work): Small casts—often only two actors—dominated the choices the Cab presented this year: White Rabbit, Red Rabbit, Nassim Soleimanpour’s interrogation of freedom, artistic purpose, and the value of theater was one of the more challenging nights at the Cab; Cowboy Mouth, Sam Shepard and Patti Smith’s riff on the agonistic love affair with rock’n’roll of two second-generation beat poets boasted great language and expressive movement; The Small Things, Enda Walsh’s speech-driven and static two-character play made almost all its bizarre and frightening action take place in the audience’s minds; Arnold Schoenberg and Alberg Giraud’s musical and poetic extravaganza, Pierrot Lunaire, was a feast for both eyes and ears, a dramatic achievement of the religion of art; and . . . The Island, Athol Fugard’s collaborative play with John Kani and Winston Ntshona, combined the intimate talk of two inmates in South Africa with their chosen roles as Antigone and Creon to create a powerful portrayal of the politics of art under repressive regimes.

Play (original): The plays originating with YSD students ran quite a gamut, the ones I liked best provoked visceral responses hard to ignore: Ain’t Gonna Make It, conceived by Nicholas Hussong, Cole Lewis, Masha Tsimring, Lauren Dubowski, and created by the Ensemble, presented entertaining songs and a stand-up routine about terminal illness early in life; Phillip Howze’s All of What You Love and None of What You Hate is a multi-character drama about teen pregnancy and coping, full of vibrant language and characterizations; Jackson Moran’s All This Noise offered one man’s take on a family tragedy and his personal outrage at mental health treatment in our country; The Bird Bath, created by the Ensemble, was an expressive and harrowing account of an artist’s mental dissolution told via expressive movement and voice-overs; and . . . This., script by Mary Laws, dramatized personal memories about moments of connection and disconnection in the New Haven and Yale communities to telling effect.

Sound: Sound can be a subtle category, sometimes a bit difficult to assess after the fact, and, when most effective, one tends not to notice it; my choices represent strong impressions that stayed with me: the busy soundscape of The Fatal Eggs (Matt Otto and Joel Abbott); the brash echoes on the voices of the poets in Cowboy Mouth (Palmer Hefferan); the aural mosaic of voice-overs, music, cell calls, and sound effects in All of What You Love and None of What You Hate (Pornchanok Kanchanabanca and Sang Ahm); the sound effects, voice-overs, use of music, all with a dated feel in Lindbergh’s Flight (Tyler Kieffer); and . . . the very effective interplay of sound, voice-over, and original music in The Bird Bath (Palmer Hefferan).

Music: Cab 45 was strong in shows involving original compositions, and for use of music as a major ingredient of the show: the songs of life, death, disease and defiance created and performed by the on-stage ensemble—Timothy Hassler, Hansol Jung, MJ Kaufman, Sarah Krasnow, Jenny Schmidt, and Lico Whitfield—in Ain’t Gonna Make It; the music created by Mickey Theis to accompany his character’s rock star posteuring in Cowboy Mouth; the tunefully Terpsichorean offerings—both in writing and playing—by Timothy Hassler and Paul Lieber in Cat Club; the moods of Palmer Hefferan’s original score for The Bird Bath; and . . . the first-rate performance of Schoenberg’s challenging score for Pierrot Lunaire, by Dan Schlosberg, piano; Clare Monfredo, cello; Jacob Ashworth, violin and viola; Ginevra Petrucci, flute and piccolo; Ashley Smith, clarinet and bass clarinet; and Virginia Warnken, soprano.

Lighting: To enjoy a play, you have to be able to see it, of course—but often Lighting goes well beyond mere illumination to become an expressive part of the play; some instances I was particularly struck by: Meredith Reis’s diverse sources of illumination and fun lighting effects in The Fatal Eggs; Oliver Wason’s dramatic lighting of tableaux moments in This.; Masha Tsimring’s evocative illuminations of the tripartite action of The Bird Bath; Joey Moro’s nimble lighting of the wacky subversions of Lindbergh’s Flight; and . . . Oliver Wason’s highly effective visual enhancement of Pierrot Lunaire.

Puppets, projections, props, and special effects: More than a few shows this year indulged in puppetry—shadow puppets and actual puppets—as well as a fair share of projections, videos, and engagement with unusual props; here are some stand-outs: the use of projections and props in All This Noise, Nicholas Hussong, projection designer; the shadow puppet miniatures that illustrated the story of Ermyntrude & Esmeralda, Lee O’Reilly, Technical Director; Joey Moro, Assistant Technical Director; Carmen Martinez, Puppetry Captain; the playful use of shadow puppets to tell one of the wild stories written by the twins in The Twins Would Like to Say, Whitney Dibo and Lauren Dubowski, Co-Directors; the projections and special effects that punctuated the lurid tale of The Ugly One, Nicholas Hussong, Projection Designer, Alex Bergeron, Technical Director; and . . . the evocative projections (Solomon Weisbard and Michael F. Bergmann) and flying puppets (Dustin Wills, with Nicole Bromley and Dan Perez, Technical Directors) that enlivened The Fatal Eggs.

Scenic Design: One of the great joys of the Cab is seeing how, with each new production, the space changes to be made to be what it has to be; some remarkable transformations include: the busy set and shenanigans, like swinging doors, in The Fatal Eggs (Kate Noll and Carmen Martinez); the sprawling Chelsea bohemia of Cowboy Mouth (Meredith Ries); the cartoonish play space of Milk Milk Lemonade (Brian Dudkiewicz, and Samantha Lazar, Assistant Set Designer); the three spaces with three different personalities of The Bird Bath (Mariana Sanchez Hernandez); and . . . the conceptualized prison commissary space with raised stage of The Island (Kristen Robinson).

Costumes: When it comes to transforming a group of actors, the effects are sometimes subtle, sometimes outlandish: the colorful clothing—where the shetl meets vaudeville—of The Fatal Eggs (Nikki Delhomme); the spot-on pre-punkdom, plus lobster suit, of Cowboy Mouth (Jayoung Yoon); the Edwardian filigree of Ermyntrude & Esmeralda (Seth Bodie); the dowdy get-ups and clownish make-up of The Small Things (Nikki Delhomme); and . . . Milk Milk Lemonade (Soule Golden): I’ll never forget Lico in a chicken suit, and whenever penis-pajamas catch on, say you saw them here first.

Ensemble: Just as technical effects are often achieved by collaboration, so are dramatic effects—the Cab thrives on ensemble work and here are some special commendations: the entire cast of The Fatal Eggs—Chris Bannow, Sophie von Haselberg, Dan O’Brien, Ceci Fernandez, Michelle McGregor, Mamoudou Athie, Ilya Khodosh—presenting a bizarre collection of types; the entire cast of This.—Jabari Brisport, Merlin Huff, Ella Monte-Brown, Mariko Nakasone, Hannah Sorenson, Mickey Theis—for superlative interactions and transformations, independent of gender considerations; the entire cast of Milk Milk Lemonade—Xaq Webb, Bonnie Antosh, Melissa Zimmerman, Lico Whitfield, Heidi Liedke—some of whom aren’t YSD students, for their game enactment of this colorful tale; our avatars and others in the audience-participation odyssey, Dilemma—Ben Fainstein, Hugh Farrell, Sarah Krasnow, Rachel Carpman, Zach LeClair, and Dan Perez—for taking us where we told them to go; and . . . Zie Kollektief—Kate Attwell, Gabe Levey, Brenda Meaney, Mitchell Winter—who broke down the Brechtian effort to break down “the walls,” with a vengeance, in Lindbergh’s Flight.

And special mention to the volunteers who bravely enacted, with audience members, White Rabbit, Red Rabbit, script sight-unseen: Sara Holdren, Monique Barbee, John-Michael Marrs, Hugh Farrell, Gabriel Levey, Brian Smallwood.

Actor: We’re always looking for a star, even in the midst of ensemble; for notable individual performances by a male actor: Timothy Hassler, as the terminally ill and memorably entertaining Eric in Ain’t Gonna Make It; Mickey Theis, as Slim, the guitar-wielding shit-kicker turned rocker in Cowboy Mouth; Paul Pryce, as John, the apartheid inmate with a vision of Antigone in The Island; Christopher Geary, as the self-questioning survivor in The Small Things; and . . . Jackson Moran, in All This Noise, for playing, more or less, himself in a one-man show that confronts the drama, sorrow and joys of real life and the realities of mental problems.

Actress: What moves us most in watching acting varies, but we know when an actress makes a part her own: Michelle McGregor, as the poet-groupie-Svengali called Canavale in Cowboy Mouth; Zenzi Willliams, as the teen, passive to the point of persecution in All of What You Love and None of What You Hate; Ceci Fernandez, as the innocent but pining for knowledge Esmeralda in Ermyntrude & Esmeralda; Emily Reilly, as the lonely woman with a tale to tell in The Small Things; and . . . Hannah Sorenson, as the schizophrenic Lenora Carrington—vomiting, bathing, withdrawing, and transcending—in The Bird Bath.

Direction: With so much going on that’s worth watching, who keeps it all together and makes sure it all comes off? The director, we assume; some special mentions: Dustin Wills, for the zany Soviet sci-fi extravaganza of The Fatal Eggs; Kate Attwell, for the gripping anti-apartheid drama of two prisoners learning what they represent in The Island; Monique Barbee, for the three-at-once manifestation of psychic distress and coping in The Bird Bath; Ethan Heard, for the creation of actions to illuminate rich compositions of poetry and music in Pierrot Lunaire; and . . . Margot Bordelon, for the subtle and sensitive enacting of the stories people tell (and don’t tell) about themselves in This.

Production: For overall production, it's no surprise that the favorites in other categories line up at the end; I've already acknowledged the directors of these shows, now it's time for the producers: This., produced by Whitney Dibo, with its strong ensemble work and vivid presentation, gave us insight into one another and ourselves; The Island, produced by Lico Whitfield, with its strong dialogue and innovative set, presented us with a visceral sense of theater’s power; The Bird Bath, produced by Emika Abe, with its mystery and misery, provided a sense of convulsive beauty (a surrealist mantra); Pierrot Lunaire, produced by Anh Le, showed us the sublime possibilities of musical theater; and . . . The Fatal Eggs, produced by Melissa Zimmerman, immersed us in the wild energy, complex staging, and surprise effects possible only at the Yale Cabaret.

That’s it for this year. Our thanks and best wishes to all who participated in the shows of the 45th season, and to all the staff, especially Artistic Director Ethan Heard, who chose the season, and Managing Director Jonathan Wemette, who kept it running so smoothly, and . . . see you next year for season 46: Whitney Dibo, Lauren Dubowski, and Kelly Kerwin, a trio of YSD dramaturgs will be, collectively, the Artistic Directors, and Shane D. Hudson will be the Managing Director, a post he filled in last year’s Summer Cabaret. Speaking of the Summer Cabaret, stay tuned for a preview with Artistic Director Dustin Wills of its offerings, which begin May 30th and end August 18th.

The Yale Cabaret 45th Anniversary Season Artistic Director: Ethan Heard Managing Director: Jonathan Wemette Associate Artistic Director: Benjamin Fainstein Associate Artistic Director: Nicholas Hussong