Lockdown Lives

We’re approaching the first anniversary of the pandemic lockdown that prematurely ended the theater season of 2019-20 and spawned a variety of coping mechanisms in the form of online theater approximations into 2021. The “watch-when-you-will by following a link” style of online event is the more prevalent and Playhouse on Park in West Hartford is currently offering a zoom playlet in that format. Elyot and Amanda: All Alone could be called a pandemic adaptation of Private Lives, Noël Coward’s popular comedy of mannered, sparring couples, from 1930 (last seen locally at Hartford Stage, directed by Darko Tresnjak, in 2015). Directed by Sean Harris, what Ezra Barnes and Veanne Cox, as Elyot and Amanda, respectively, have devised is a glimpse of a couple walking their wits as they have nothing but one another’s company to sustain them. A situation familiar to so many of us who abide by the restrictions on socializing beyond the most immediate.

Elyot and Amanda: All Alone features only the second act of Coward’s three act—it’s the part where E and A, formerly married to each other, have ditched their respective newer spouses and hole up together in Amanda’s Paris flat to see if they can let the world go by and just abide together. Turns out they can, if by that is meant that they can both stimulate and aggravate each other by turns. All reference to their most recent marriages has been omitted from the current script (with the Coward estate’s appreciated OK) and so we can imagine the couple are in the midst of their original marriage’s long durée. Their dialogue is best as the kind of repartee that many a stressed couple might indulge in: part fond reminisce, part fulsome recrimination, part provocation, part appeasement, sometimes witty, sometimes sad, sometimes not at all sure what it’s getting at beyond simply keeping open the possibility of chat. The allure of such exchanges, among the locked-down, is that they are live and in person, as so little else is.

Elyot (Ezra Barnes) and Amanda (Veanne Cox) in Elyot and Amanda: All Alone, Playhouse on Park

Key to the success of this experiment in repurposed Coward is the way the show is relayed. It’s by camera, but not in a single static perspective. There’s enough movement—from a  high fish-eye shot that takes in almost the entire room to more partial views to a shot very nicely framed in the doorway late in the play—to keep the viewer’s interest. And Barnes and Cox move about as if fully at home in the space (and why not, it’s Barnes’ apartment). Clad in very becoming silk pajamas (Amanda) and a somewhat nebbishy dressing-gown (Elyot), the couple at times seem like people we’re watching surreptitiously because they’ve left their laptop’s camera on. The show feels much more like the invasion of privacy that perhaps Coward intended than any onstage version could likely manage.

There are a number of high points but the one that probably best says it all is when Elyot, feeling amorous, tries to move to second base with Amanda only to be repulsed because “it’s too soon after dinner.” He’s irked, and it’s a good scene showing them as both agreeable and at odds, but what places the exchange in a new age of comedy is the way Barnes immediately grabs the hand sanitizer on the coffee table and sets to cleansing his hands—an automatic act—that is also washing his hands of the failed forward pass. A similar high-spirited moment is when Amanda puts on a record that annoys Elyot and proceeds to step lightly to it, underscoring a blithe spirit lacking in her spouse. When she later breaks the record on his head—after he scratches it—it seems less like violent pique and more like an echo of passionate slapstick. Something we suspect this couple knows a lot about.

Amanda ( Veanne Cox) and Elyot (Ezra Barnes) in Elyot and Amanda: All Alone, Playhouse on Park

Ezra Barnes’ Elyot is blustery when he needs to be, but not really truculent. He seems thoroughly domesticated, even though there are hints of plenty of past exploits. Veanne Cox makes Amanda his easygoing match—she’s more likely to goad for amusement than to draw blood or discomfit. The show has the even tone of the long haul, where even the outbursts can only go so far. And when the couple gets into the same act, as when affecting posh Brit accents, there’s obvious life-of-the-party sparkle left in the old ceremony.

A few songs at the piano create an agreeable musical intermission of sorts and shows how the couple can do it if they want to duet. In the end, after Amanda storms out—not without her mask—and then storms back, the act’s actual denouement (the arrival of those pesky spouses) is dropped in favor of a bit of hanky-panky patty-cake that provides a suitably upbeat sendoff. Elyot and Amanda—like their audience, one hopes—is weathering the storm, outlasting the lockdown, and generally keeping their spirits up in “glorious oblivion.” What more is there?

Elyot (Ezra Barnes) and Amanda (Veanne Cox) in Elyot and Amanda: All Alone, Playhouse on Park

Elyot and Amanda: All Alone
From Noël Coward’s Private Lives
Starring Ezra Barnes and Veanne Cox
Directed by Sean Harris
Playhouse on Park
February 10-28, 2021

NOTE:
Streaming of Elyot and Amanda: All Alone has been extended to March 7.

Seasonal Cheer

Christmas on the Rocks, TheaterWorks

 Merry Covid Christmas! The best meme I’ve seen on the current mood is “Don we now our plague apparel” above masks hung like stockings. Still, it is the holiday season and that means certain tried and true Christmas favorites are available in the online streaming environment.

One such is Rob Ruggiero’s durable Christmas on the Rocks at TheaterWorks. The show works because it assumes that much of the cultural glue of Yuletide, among the TV generations anyway, was provided by the Christmas perennials: the programming that the networks foist upon viewers every year when December rolls around. These are the kind of shows often called ‘beloved,’ but they can also cloy as time goes by, except, maybe, with children still experiencing their buoyant wonder for the first time.

Which is a way of saying that the tone of Christmas on the Rocks—the whole thing takes place in a bar—is for adults, particularly adults who may have soured on ersatz Christmas cheer somewhere around the turn of the millennium. So be prepared for nuttiness, desperation, depression, laughs and, through it all, the kind of warm, fuzzy values that Christmas shows foster to raise the spirits of us fellow humans.

This year, Love Boat regular Ted Lange is back as the bartender just trying to get through his Christmas eve shift, when what to his wondering eyes should appear but … Ralphie (from The Christmas Story), Zuzu (from It’s a Wonderful Life), Herbie the elf/dentist (from Rudolph the Red-Nosed Reindeer), Karen (from Frosty the Snowman), Tiny Tim (from A Christmas Carol), Clara (from The Nutcracker), and Charlie Brown (from A Charlie Brown Christmas), who is joined by a special someone. This year Jen Harris again plays all the female guests, Randy Harrison returns as Ralphie and Tiny Tim, Matthew Wilkas plays Herbie, and Harry Bouvy plays Charlie Brown.

The innovation in our distanced days is that this time Lange, who is in California, provides the voice of the Bartender while the camera gives us the latter’s POV on the evening. It’s more static than watching the play onstage, and of course we miss Lange’s non-verbal reactions, but it does make for an even stricter intimacy. We see what the camera shows us and all the visitors are perforce addressing us directly. It’s another example of TheaterWorks’ grasp of the necessary artistry of taping theater for streaming purposes.

The seven cleverly scripted scenes are written by seven playwrights, with Harris and Wilkas teaming up on Scene Four, “My Name is KAREN!”, and Jacques Lamarre authoring two: Scene Two, “It’s a Miserable Life,” and Scene Seven, “Merry Christmas, Blockhead.” The best scenes are those in which Lange has more to do verbally, so that he is actually interacting rather than just passively viewing. It’s best when he’s trying to understand the plight of his customer, as in Scene One—“All Grown Up,” by John Cariani—and Scene Two. Both of those are entertaining because Ralphie and Zuzu are seen as suffering, as grownups, from the long shadow of the heart-warming anecdotes of their childhood. It’s good stuff, in the early going, and it pulls us in.

In Scene Four, the Bartender is gagged and bound as Harris’s Karen interacts with her online fanbase. The streaming POV this year lets us be at times the online audience and at times the Bartender, seamlessly. It’s a wild and over-the-top performance, so manic that we welcome the more modulated and touching Scene Five—“God Bless Us Every One”—in which Lange comes on strong in taking Scrooge’s part against Tiny Tim’s flippant dismissal.

Watching this year, I felt that Harrison’s departure out that door, as a re-inspired Tim giving his trademark sign-off (too bad the kid didn’t copyright that saying!) would be a satisfying and resonant ending. The last two episodes—Harris’s nutty Clara and Bouvy’s dullsville Charlie Brown—tended to dampen my spirits rather than raise them. One might reflect that there’s a reason Charlie Brown never had a solo show—he’s just not funny! Granted, On the Rocks wants to end with its one romantic moment, and it’s never wrong, I guess, to aim for the “date” tie-in (not something that’s going to be a factor for me, frankly). To my mind, it might be time to shake up the formula with a different sequence of scenes. Even some versions of A Christmas Carol, after all, alter the sequence of ghosts.

In any case, ‘tis the season to seek out distractions from the sad state of affairs in our poor beleaguered country, and maybe from the same-o, same-o replays of the too-often viewed and overly familiar paeans of our snuggly past and other reassuring panaceas. In becoming a seasonal staple, Christmas on the Rocks has it both ways, drawing us in by reactivating braincells that have stored these stories for decades, and then giving us something a bit different, like when someone spikes the cookies instead of the eggnog. In the end, it wants us to believe that, even if all those folks in those fairytales didn’t live happily ever after, they can still have a good time. And give us one too, with just enough ho-ho-ho’s to make the season bright . . . or at least less dim.

Christmas on the Rocks
Conceived and Directed by Rob Ruggiero|
Written by: John Cariani, Jenn Harris & Matthew Wilkas, Jeffrey Hatcher, Jacques Lamarre, Theresa Rebeck, Edwin Sánchez

Set Design: Michael Schweikardt; Costume Design: Alejo Vietti; Lighting Design: John Lasiter; Sound Design: Michael Miceli; Wig Design: Mark Adam Rampmeyer; Stage Manager: Kate J. Cudworth

Cast: Harry Bouvy, Jenn Harris, Randy Harrison, Matthew Wilkas, And Ted Lange

TheaterWorks
Streaming December 1-31, 2020

Life With Father

The Who and the What, TheaterWorks

Ayad Akhtar writes plays in which dialogue has a way of being emotional, at times amusing, and often freighted with the weight of ideological themes. His plays Disgraced and The Invisible Hand both had powerful stagings in Connecticut, the latter at Westport Country Playhouse and at TheaterWorks in Hartford. Now TheaterWorks brings us The Who and the What, which dates from 2014.

Before discussing the play, a word about how the production is brought to its audience. Staged at TheaterWorks, directed by Aneesha Kudtarkar, the four-person play has been taped for online viewing with considerable skill. Which means credit for camera director Dan Garee and cinematographers Evan Olson and Ally Lenihan, S.R.’s sound design and the video production of Miceli Productions. If you’ve ever watched plays videotaped for television—which used to be a fairly common event—you’ll find the TheaterWorks production as capable and professional as most you may have seen. Except, instead of a soundstage in a studio, the play uses TheaterWorks’ stage, with set design by Brian Prather (adapted from Michael Schweikardt’s design), costumes by Mika Eubanks, and lighting by Amith Chandrashaker. It looks and sounds like a TheaterWorks show, viewed in one’s own home.

Mahwish (Sanam Laila Hashemi) in The Who and the What, by Ayad Akhtar, directed by Aneesha Kudtarkar, TheaterWorks

The play takes place in a few key locations, mostly domestic interiors and park benches, as Akhtar’s script covers several years in a succinct presentation of what could be called scenic highlights. The details of these characters’ lives could sustain much further explication but Akhtar is a playwright able to make exposition and backstory come out in the course of dialogue. It’s a method that lets each scene portray what is dramatically relevant to the story at hand. And the story has several dramatic cruxes.

To begin with, it’s the story of Afzal, a doting but also domineering Muslim father, played by Rajesh Bose with a wonderfully compelling sense of how bullying is often a matter of both sweetness and implied threat. He has two daughters, Zarina (Jessica Jain), the elder, and Mahwish (Sanam Laila Hashemi). Mahwish already has a fiancé approved by Afzal, so now his task is to find a mate for Zarina so she can marry before her younger sibling does. We later learn that Zarina did have a beau interested in marrying her but he was rejected by Afzal because he was a Christian.

Right there, of course, we’re in a conservative “old world” way of doing things, which we imagine will not sit well with daughters raised in America. Yet what interests Akhtar is how the twin engines of “modern” and “traditional” drive the contemporary Muslim family. The play opens with Afzal meeting with Eli (Stephen Elrod), a blind date for Zarina that Afzal has arranged by pretending to be Zarina in an online dating service! The fact that Eli, who sees this meeting as awkward if not grotesque, manages to deal with this romantic vetting in a way that doesn’t antagonize Afzal means that maybe he’s got son-in-law potential. And Afzal is at his charming best in his man-to-man chats with Eli. The tenor of such talks—after Eli does indeed become his son-in-law—never preclude Afzal’s sense of what is right for the couple and how his daughter needs to be handled so that her willfulness, as a modern woman, is properly “broken.”

Afzal is a widower who has become a success managing a fleet of cabs in Atlanta, and his great ambition is that his daughters start families of their own. His machinations to achieve that end, we might guess, will be the subject of the play as he offends against his daughters’ progressive views. To further that plot line, we hear that Zarina—Harvard educated with an MFA—is working on a book on gender politics. The scene where she has a first date with Eli, as a subservient gesture to her father, runs a potential minefield as Eli is white, a convert to Islam, and possibly more enthusiastic about the faith than Zarina herself. Which leads us to the main plot point: Zarina’s book isn’t simply critical of such practices as arranged marriages and wearing the hijab. It’s a novel in which the prophet Mohammad is viewed as a man with a man’s many imperfections and at times hurtful attitudes toward women.

Eli (Stephen Elrod) and Zarina (Jessica Jain) in Ayad Akhtar’s The Who and the What, directed by Aneesha Kudtarkar, TheaterWorks

The possible tensions between Eli and Zarina increase once he reads her manuscript, and their arguments about the portrayal of the prophet constitute another of the play’s interests: how sacred materials become profane within a secular form like the novel. The contentious nature of this couple is evident from the start and Jain and Elrod are fun to watch as they try to score points off one another. Zarina knows she’s writing fiction but sometimes speaks as though her version of Mohammad is truer than the one received from the traditional and pious anecdotes shared by the faithful. Eli shows himself to be able to reason within a dialectics in which fiction can feel true and received truth may not be fact. Not so Afzal who sees the book as a blasphemous affront, and the play—in Bose’s strong performance—does not shortchange his visceral outrage. That the denigration of the prophet (as he sees it) is also a denigration of the father is the obvious subtext to his rage.

Zarina (Jessica Jain), Mahwish (Sanam Laila Hashemi), Afzal (Rajesh Bose) in Ayad Akhtar’s The Who and the What, TheaterWorks

What holds our attention (admittedly, a deliberately secular “our”) in the play is less the question of how or whether holy figures can be portrayed in speculative ways, and more the question of how these two women navigate the fraught terrain of life with father. The play’s situation certainly feels genuine, keeping in mind clashes of Islamic fundamentalism and Western satire as for instance the much publicized fatwa against the novelist Salman Rushdie in 1989 for depictions of the prophet Mohammad in The Satanic Verses or the Charlie Hebdo killings in 2015. Afzal’s fear that Zarina will suffer persecution or assault for her novel, if published, certainly are justified. But the play, whose title is the same as Zarina’s book, doesn’t take on the task of showing us media response and cultural backlash, other than in passing reference. Instead, it remains focused on the seismic disturbances in the family unit. Which might make us wonder whether the book itself is something of a McGuffin. It doesn’t really matter except that it brings Zarina’s questions to light for her husband and her father to read and react to. The arguments would likely have come about even without such an overt questioning.

Well-staged, well-played, well-taped, The Who and the What is also well-written in giving us “the who” of these characters and “the what” of the differences in viewpoint, orientation, and expectation that make for family drama across generations and between cultures. The who and the what of the book Zarina writes may carry huge impact or seem much ado about nothing, depending on one’s view of Mohammad and the Muslim faith, but it’s importance could be made more of as something beyond a family matter. What’s more, the episodic nature of the play creates an effect a bit like watching “season highlights” of an ongoing TV serial or sitcom. We get the scenes wherein something major happens, but not the scenes that help to create genuine interest in these characters. The play ends with a punchline, a “joke’s on Afzal” jab that might be easily followed by “tune in next week.”

The Who and the What
By Ayad Akhtar
Directed by Aneesha Kudtarkar

Set Design: Brian Prather (adapted from a design for the stage by Michael Sweikardt); Costume Design: Mika Eubanks; Lighting Design: Amith Chandrashaker; Sound Design: S.R.; Video Production: Miceli Productions; Production Stage Manager: Kate J. Cudworth

 Cast: Rajesh Bose, Stephen Elrod, Sanam Laila Hashemi, Jessica Jain

TheaterWorks
November 15-28, 2020

A Life in Interesting Times

RFK, Music Theatre of Connecticut

It’s interesting that this election season has featured two very similar plays at area theaters. First, Playhouse on Park in West Hartford offered Bobby’s Last Crusade; now, Music Theatre of Connecticut is staging Jack Holmes’ RFK, directed by Kevin Connors. Both plays heroize and humanize the one-term New York senator, former U.S. attorney general, and assassinated Democratic presidential contestant Robert Francis Kennedy, the seventh of nine children and the third of four sons in the celebrated Kennedy clan. RFK was a charismatic, thoughtful and youthful politician—he died at age 42—who fathered eleven children, served in the administration of his elder brother President John Fitzgerald Kennedy where he took on organized crime, in the person of Jimmy Hoffa, and clashed with the F.B.I.’s domineering head, J. Edgar Hoover, and became, for a brief period in 1968, a figure for the hope for change in the Democratic Party which, at that point, had controlled the presidency for seven years and the U.S. Congress for thirteen and was embroiled in an undeclared war in Vietnam.

Chris Manuel as Robert Kennedy in RFK at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

The dramatic core of RFK is only indirectly the legacy of Kennedy’s brother and former boss, President Kennedy. It’s a play about how Robert Kennedy found himself more and more convinced that he might be the man of the hour, and that the hour was getting late. His break with the policies of Lyndon Johnson, the sitting president and presumed candidate for reelection, was gradual and his decision to run against Johnson for the nomination came late in the election season. (One can’t help wondering if the return to 1968 in staging these two Kennedy plays is a way to remind us of how, once upon a time, members of the party in power took it upon themselves to run against sitting presidents when events warranted it.) At the end of March, Johnson announced his refusal to run for re-election and a surge of popularity for Kennedy indicated that perhaps a candidate other than one with “his pecker in [Johnson’s] pocket”—as the president put it—might carry the day. Then Kennedy was murdered early in June after winning the California primary.

As Kennedy, Chris Manuel—who has graced the stage in two previous excellent productions at MTC—is better at the more personable side of Kennedy, as when he talks about his reputation for making enemies as his brother’s campaign manager and then attorney general, or when he speaks of his relations with his family, including quips about “Teddy” (Senator Edward Kennedy who went on to serve over 45 years as a Massachusetts senator). The more rousing, public-speaking bits seemed to me lesser, but that may be only in comparison with the focus on the latter in Bobby’s Last Crusade and the way the candidate’s stump speeches were dramatized and contextualized in that play. At certain moments Manuel’s physical manner does recall the Kennedys—he most resembles RFK’s eldest son, Joseph, as a young man.

Chris Manuel as Robert Kennedy in RFK at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

In any case, the strength of RFK is not the public Kennedy so much as the man behind the scenes. And here we get some well-chosen vignettes that go a long way to making us feel ourselves Kennedy’s confidantes. The play is staged on a nicely divided set by Jessie Lizotte: on the one side a desk, on the other a comfy chair. Holmes wants to register both the public and private man, but a scene of Kennedy in the armchair while being interviewed and interrupting himself to upbraid and beseech his obstreperous children makes the clash of the two sides more abrasive than amusing.

Most of the first part deals with Kennedy’s political career from 1964—when he found that Johnson would not offer him the VP spot in his bid for election as president—to 1966 and Kennedy’s inspired speech as a U.S. Senator visiting a South African university to give the Day of Affirmation Address. The speech, which closes Part 1, achieves the play’s rhetorical high-point, with its “ripples of hope” line, and with Kennedy saying:

“There is a Chinese curse which says, ‘May he live in interesting times.’ Like it or not, we live in interesting times. They are times of danger and uncertainty; but they are also the most creative of any time in the history of mankind. And everyone here will ultimately be judged—will ultimately judge himself—on the effort he has contributed to building a new world society and the extent to which his ideals and goals have shaped that effort.”

Challenging words to hear at this point in American political history, as they were then. And the second part of the play finds Kennedy trying to live up to the burden of that speech’s incentive.

Chris Manuel as Robert Kennedy in RFK at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

In Part 2, Holmes chooses to juxtapose Kennedy’s imagined outbursts at “Johnny” (JFK) with Robert’s decision to run, making the announcement on the heels of a reflective recollection of his brother’s death and funeral. The words attributed to RFK have a groping quality, as if the situation—certainly unique to Kennedy—were being played simply for dramatic effect. The first half of the play, in its focus on Kennedy trying to decide what to do when no longer his brother’s attorney general, let us see Kennedy as a pragmatic political figure, and Bobby’s Last Crusade covers better the turn to becoming a presidential candidate. What RFK tries to give us, in Part Two, is the emotional underpinnings of that decision: we get a powerful story of Kennedy’s growing horror at the realities of poverty in the U.S. of the late 1960s, and stagey outbursts at JFK.

The details of Robert Kennedy’s death are narrated by Kennedy himself, though without directly addressing the fact of the assassination, much as he makes no comment about the cause of his brother’s death. In life, RFK spoke publicly about his belief in the findings of the Warren Commission’s report on the president’s assassination, but some who knew him denied that he accepted it or its methods. Holmes imagines RFK’s reaction to his brother’s death as a wail that it was he and not Jack who was the one “everyone hated.” Such comments, whatever their merit as off-the-cuff suggestions of character, downplay and undermine the drama of contested perspectives on the deaths of both men. There’s a huge area of uncertainty about those murders and it’s hard to say what the play RFK wants them to mean, offering us the drama of tragic loss rather than the drama that leads to tragic loss. The latter—as most great plays in the form show—is more telling.

Chris Manuel as Robert Kennedy in RFK at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

What we have instead of a play about the Kennedys that might put their lives and deaths into perspective is a play ostensibly from Robert Kennedy’s perspective that speaks with immediacy of his decisions, his reactions, his losses and victories, and ultimately shapes the major loss—his death—as ours.

RFK
By Jack Holmes
Directed by Kevin Connors

Scenic/Prop Design: Jessie Lizotte; Lighting Design: RJ Romeo; Costume Design: Diane Vanderkroef; Sound Design: Will Atkin; Production Assistant: Jack Parrotta; Stage Managing: Jim Schilling

Cast: Chris Manuel

Music Theatre of Connecticut
October 23-November 8, 2020

Fridays at 8pm, Saturdays at 2pm & 8pm, Sundays at 2pm.
In person performances at MUSIC THEATRE OF CONNECTICUT 
Live streamed performances will be shown online through a link provided to ticket holders an hour before their show time

Adrift

Men on Boats, Connecticut Repertory Theatre

At this point in the pandemic that has altered so greatly the protocols of our daily activities, the idea of theater is in flux. The possibility of permitting audiences to sit in theaters with live actors on the stage is unlikely in the near future (with Broadway in New York projecting re-openings, possibly, some time in 2021). And yet, some kind of theater must go on, particularly for programs in theater, such as that offered at the University of Connecticut, where young talent has to take on the changed circumstances as part of what it means to do theater in 2020.

That challenge is something to bear in mind as one views “Zoom theater.” It’s not what anyone really means by “theater,” and it’s not really what those whose preferred medium is video mean by video. What we get is an odd hybrid. It’s live, in the sense that all the performers, in their individual screens, are doing their parts synchronously with the viewing. And yet it’s also remote. (The alternative is theater that has been taped to watch later, which does away with the synchronous element that is at least one of the traditional aspects of theater that many don’t wish to lose. We can’t be in the same place, but we can be at the same time. Which is appropriate, as this is a time we can’t choose but to inhabit.)

The Connecticut Repertory Theatre production of Men on Boats runs for nine performances October 8-18, each streamed live on a dedicated Zoom platform complete with a handsome background set by David Calamari (which we see in an image of the stage at UConn) and appropriate costuming by Xurui Wang. Directed by Beth Gardiner, the cast consists of two Equity actors, Margaret Ivey and Anaseini Katoa, and eight actors who are a mix of New York-based actors, recent MFA acting alum, and current students at UConn. The play reimagines the true-life adventure story of John Wesley Powell and his commissioned exploration, with four boats, of the Colorado River in 1869. The all-male expedition is recast by playwright Jaclyn Backhaus as women-as-men or as individuals of non-binary gender.

The experience of the play, then, is hybrid in several ways, all potentially interesting, but also potentially frustrating: live/onscreen; male/female; historical/contemporary.

The cast of Men on Boats at Connecticut Repertory Theatre, directed by Beth Gardiner; streamed via Zoom platform, October 8-18, 2020

First, the technical aspects. No doubt, on stage, there would be the fascination of seeing how four boats on rough waters are staged—there are plenty of spills and tense moments of navigation. On screen, such effects are largely a matter of one’s imagination. We see numerous squares with faces in them, mostly (monotonously) in medium shot. The Zoom feature whereby a speaker’s square lights when they speak is helpful for otherwise it would not be easy to see, at any distance from the screen, who is speaking. It can also be hard to keep focused on who is in which boat (initially, there are two boats with three, and two boats with two, and there is some switching about). This makes much of the physical business of the play glide by without much dramatic effect. Though it should be said that the uses of scenery and lighting (Alex Glynn) and sound (Daniel Landry) help, as do creative configurations of the screens onscreen. At one point, late in the play, Powell (Alex Campbell) appears in what amounts to a close-up. It helps wonderfully to bring dramatic focus, so that one wonders if more could have been done with the Zoom feature that lets a speaker fill the screen.

The purpose of the male/female aspects of the play elude me—other than giving male adventurer roles to female actors (which may be reason enough). The notion that masculinity is itself a performative role might be implied, but none of the actors made much effort to create the illusion of masculine characters. Which brings me to what disappointed most about the play—the hybridity of historical/contemporary: whatever the nature of these individuals were—since they are based on actual people—gets lost in favor of a contemporary gloss that does little to make the story exciting or amusing. It all seems to transpire as if communicated by texts between phones.

For some, that may be a strength, as converting the historical record to the terms of our times is a playwright’s purview. For me, it’s a fault that the script favors a contemporary idiom that does little to illuminate or entertain. The prospect of being among the first English-speakers of European descent to behold the Grand Canyon is conveyed by reiterations of “holy shit!” Even if I try to put myself into the mindset of someone for whom the lingua franca onstage is a refreshing level of diction, I can’t say I would be compelled (were I not a reviewer) to follow these explorers to their ultimate destination.

There are some elements that help to keep us onboard. Mostly, a kind of earnest engagement with the material that we expect from capable student actors. The best in that regard is Alex Campbell as John Wesley Powell who comes across as a figure of patience and courage by no means overbearing. Others in the cast provide some cross purposes to the main forward thrust of getting down river, including GraceAnn Brooks as Goodman, a somewhat daffy Brit who does not see the journey through. There is also a meet-up with indigenous inhabitants of the area, played by Margaret Ivey and Anaseini Katoa as smugly superior if reticently agreeable to their white visitors. Whatever the actual encounter might have been, it’s dressed in contemporary irony so as to show an awareness that whatever the whites thought was happening probably wasn’t.

At the end of the play things get a bit interesting but then mysterious with the fact that “fake news” of the expedition’s failure and the explorers’ death stole some of the glory of their accomplishment. Rather than ride that particular bugbear of our moment—media distortion as a way of life—the play ends with a look askance at the historical record itself. Leaving me, at least, wondering what was gained by dramatizing these events in this way.

Men on Boats
By Jaclyn Backhaus
Directed by Beth Gardiner

Scenic Designer: David Calamari; Lighting Designer: Alex Glynn; Costume Designer: Xurui Wang; Sound Designer: Daniel Landry; Technical Director/OBS Consultant: Audrey Ellis; Voice and Text: Julie Foh; Production Stage Manager/OBS Programmer: Tom Kosis; Dramaturgs: Eddie Vitcavage, Ellis Garcia

Cast: Anaseini Kotoa, Margaret Ivey, GraceAnn Brooks, Alex Campbell, Camille Fortin, Emma Joy Hill, April Lichtman, Lily Ling, Pearl Matteson, Jasmine Smith

Connecticut Repertory Theatre
University of Connecticut
October 8-18, 2020

Up Next:
November 12-21, Connecticut Repertory Theatre will produce, for the first time, a radio play. It’s A Wonderful Life, the 1946 film directed by Frank Capra, starring James Stewart in one of his best-known roles, became a Christmas classic on cable television in the 1990s. Adapted by Philip Grecian and directed by UConn Professor of Vocal Training, Jennifer Scapetis-Tycer, “this production will be a pre-recorded performance, with eight opportunities to tune in via zoom. In this production, Director Scapetis-Tycer reimagines (through sound) this heart-warming story featuring a huge cast of characters complete with ‘commercials’ and a Foley sound artist.”

Asking What If and Why Not?

Review of Kennedy: Bobby’s Last Crusade, Playhouse on Park

This election season, fraught as it is with peril—in the form of a pandemic the U.S. has handled badly—chaos—in the form of showdowns between heavily armed squads and protesters enraged by unconscionable and racialized acts of police violence—and a do-or-die aura for our beleaguered electoral system, why not return to a period just as anxious and portentous? Well, except there was no internet then.

In 1968, the Democratic party had a sitting president, Lyndon Johnson, who was becoming increasingly unpopular with many of his constituents, particularly those who wanted the undeclared war in Vietnam to end. That led to divisions within the party that, to a certain extent, never got completely healed. Senator Eugene McCarthy was running against the president on a ticket mainly aimed at young voters who had the most to lose by the war dragging on and who were becoming increasingly vocal. 1968 was the year student unrest closed many campuses during spring session, and May ’68 is well known as the fulcrum moment when protests by French students and workers shut down Paris. It was also the year of Mao’s Cultural Revolution in China.

Goaded into running by a sense that history was passing him by, Robert Francis Kennedy, brother of assassinated and much mourned president John Fitzgerald Kennedy, and former attorney general in his brother’s administration, entered the race for the Democratic nomination in March. In June, two months after the assassination of Dr. Martin Luther King, Jr., Robert Kennedy was assassinated, having just won the California primary.

David Arrow (Bobby Kennedy) in KENNEDY: BOBBY‘S LAST CRUSADE, filmed for Playhouse on Park. Photos by Russ Rowland

Kennedy: Bobby’s Last Crusade by David Arrow, who plays Kennedy, directed by Eric Nightengale, tours the series of stump speeches Kennedy made in those heady times. Much of the power of the play comes from hearing literate, compassionate speeches that don’t sound like mere rhetoric or designed merely to score points off opponents. We see Kennedy is fond of quoting “his favorite poet” Aeschylus (well, a Kennedy probably should have a tragic view of life), and that he has taken up the war on poverty that was one of the better aspects of the Johnson administration. We hear some of his candid asides on his own performance, see his personable sense of his developing public persona, and live through some touching and, now and then, light-hearted moments. The play documents how in the course of those three months Kennedy, an inheritor of incredible privilege thanks to his father’s wealth and power, transformed himself into a man of the people. It wasn’t an act, and that, if nothing else, is why people still get misty when they talk about “Bobby.”

And that’s mostly the tone of the play, a kind of tempered hagiography, with each successive speech, most in the Midwest, a stop on a kind of Via Crucis. Whatever you may think about the Kennedys, the fact of their brutal and untimely deaths—for political reasons, no matter which account of guilt you believe—makes them at once more sinned-against than sinning. We don’t hear much about what made Kennedy a man with so many enemies, nor do we get much of a sense of Kennedy as the tough and shrewd politician he was. By which I mean to say that he was under no illusions about how nasty it all could get, yet the feeling of the man the play gives us is a bit of a naïf. I don’t doubt he was overwhelmed by the Sinatra-like (or Beatles-like) hysteria he was often greeted with—remarking on how often someone in the crowd stole his shoe—but any chance he had for election meant stirring and feeding and riding just such a reaction. The five years of shock, mourning and disquiet since the death of his brother made the mere presence of a Kennedy an oracular and revelatory moment to his followers. The Kennedy phenomenon was in full swing.

David Arrow (Bobby Kennedy) in KENNEDY: BOBBY‘S LAST CRUSADE, filmed for Playhouse on Park. Photos by Russ Rowland

The two immediate targets of the excerpts we hear from Kennedy’s speeches—McCarthy and Johnson—are men Kennedy respects, though, having been in the JFK administration with Johnson, he has no illusions about the kind of hardball political animal he’s dealing with. Then, in a speech on the eve of April Fool’s Day, just days before King’s assassination, Johnson announced he would not seek or accept his party’s nomination. The ostensible reason (no, not to spend more time with his family) was to put all his efforts into ending the war. Thereby quenching, potentially, the fire of much of the McCarthy and now Kennedy campaigns. If you believed him. Eventually Vice President Hubert Humphrey would take up the mantel of running as the preferred DNC front-runner. And what we witness in the play, as history shows, is that Kennedy, in just three months, was mounting a formidable challenge. Thus engendering one of the great “what-ifs” of party politics for that generation.

And that’s the main effect of the play: inspiring—besides admiration for the articulate, thoughtful, driven Kennedy, who never loses his sense of humor—thoughts of “what if.” And maybe, “what now?” Or “why not?,” recalling the famous tagline, stolen from George Bernard Shaw, with which Kennedy ended many of his speeches during the campaign: “Some men see things as they are and ask why? I dream things that never were and ask why not?”

As Kennedy, David Arrow does a remarkable job. He has the Kennedy quaver at times, and he can drawl out certain Boston inflections well enough to bring back those familiar voices. More keenly, his Kennedy takes us into his confidence, giving a chummy backstage access to the events as he lives them. There’s an immediacy that no documentary portrayal could achieve and that makes the play riveting—which is amazing, considering that most of the time we’re listening to campaign speeches (generally one of the lowest forms of theater). There are videos to show us newspaper headlines, views of crowds, and some of the faces of key figures of the time. The set has the look of the shambles of campaign headquarters after a grueling night.

For those who remember RFK (I was eight when he died, and can still recall getting up for school on June fifth, my brother’s second birthday, with the television proclaiming the news from California of the shooting; Kennedy died in the morning of the sixth), the play helps jog the memory—like the very real unease with the length of Kennedy’s hair in those days when such things were emblems of embracing the dangerous youth culture. For those who didn’t live through those times, the play is bound to feel a bit remote—Kennedy was dead before current presidential candidate Joe Biden was elected to his first term as senator—but it may be just the thing to stir youthful belief in the power of change.

The play is apropos in the way that some of Kennedy’s characterizations of current events describe our own times, but more importantly it reminds us that political leaders can sometimes galvanize the best and brightest hopes. As Kennedy said in his early campaign speech at the University of Kansas: “…hundreds of communities and millions of citizens are looking for their answers, to force and repression and private gun stocks - so that we confront our fellow citizen across impossible barriers of hostility and mistrust and again, I don't believe that we have to accept that.  I don't believe that it's necessary in the United States of America.  I think that we can work together - I don't think that we have to shoot at each other, to beat each other, to curse each other and criticize each other, I think that we can do better in this country.  And that is why I run for President of the United States.”

David Arrow (Bobby Kennedy) in KENNEDY: BOBBY‘S LAST CRUSADE, filmed for Playhouse on Park. Photos by Russ Rowland

The heartbreak of the story—which wouldn’t surprise Aeschylus—is that the gods are cruel.

Notes from Playhouse on Park:

This is a film of the play. This play was originally scheduled to be produced by Playhouse Theatre Group, Inc. live at Playhouse on Park. As a result of guidelines put forth by both Governor Ned Lamont and Actors Equity Association, the play could not be produced in front of a live audience, nor could it be filmed in CT. The play was filmed for Playhouse on Park audiences at the Theatre of St. Clements in NYC. This is the same place it had its world premiere in 2018. The film is available to stream at home between September 16 - October 4 for $20; NOW EXTENDED TO OCTOBER 11.

On Saturday, October 10, Playhouse on Park is bringing the filmed play KENNEDY: BOBBY’S LAST CRUSADE to Edmond Town Hall for The Ingersoll Auto Pop-Up Drive-In. The film will start at 7:30pm (gates open at 7pm). $20 per car. Playwright/Actor David Arrow and Director Eric Nightengale will be in attendance. We are working on a creative way to conduct a Question and Answer Session! Please plan on joining us. For tickets: here

Kennedy: Bobby’s Last Crusade
By David Arrow
Directed by Eric Nightengale
Starring David Arrow as Bobby Kennedy
Filmed for Playhouse on Park
Available for streaming: September 16-October 11, 202

Remote Post

Fully Committed, Music Theatre of Connecticut

When Becky Mode’s comedy Fully Committed was playing on Broadway in 2016, critic Charles Isherwood of the New York Times quibbled about the changed attitude toward the kind of conspicuous consumption displayed at the ultra-exclusive restaurant featured in the play at the time as compared to 1999, when the play first ran at Vineyard Theater. It was a canny reference to how context can change what we laugh at or not in a play that gently ribs a certain stratum of society.

Now, in the midst of the COVID-19 epidemic that closed theaters last spring, the antics of Sam, an actor between roles who works on the reservation desk in the basement of a “world-renowned, ridiculously red-hot Manhattan restaurant,” comes freighted with not a little nostalgia. Once upon a time people gathered in theaters and in restaurants, and you could pack both to capacity. Not so now. Music Theatre of Connecticut is one of very few theaters given the go-ahead by the state of CT and by Actor’s Equity to reopen, and MTC’s in-person seating has been shrunk to 25. Others may view the show live online. Which is how I saw it on opening night.

Matt Densky as Sam in Fully Committed at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

The play is a one-person show. Sam, played by Matt Densky, arrives for work in the de rigueur mask of our times, then is able to get on with his job unmasked. The play’s action, without any face-to-face contacts, seems only too apropos. In his post, a sort of remote frontlines, Sam must man all alone multiple phones spread across the space where calls overlap and interrupt. Densky acts out a tour de force of the voices and mannerisms of all the callers, while Sam deals with ricocheting situations and considerable comic crosstalk, and comes out of the whirlwind “with his soul untouched” (as The Boss might say). It’s all enacted by Densky in split-second changes that are likely to make you a bit punchy, and, while more wit in the lines would be welcome, Densky is a versatile comic actor able to score delighted laughs with shifts in voice and attitude.

Matt Denksy in Fully Committed at Music Theatre in Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

There’s the fussy French Maître D, the louche head chef—who sounds suspiciously at times like a certain overbearing political figure of our day—a co-worker calling in with MIA excuses, a wise guy, a big name actress’ manager, and a dizzying array of would-be clientele, some the height of pretentiousness, others the height of cluelessness. And all of it is handled by Sam like a candle burning both ends while he also deals with a few matters on the home-front: his disarmingly sweet dad wants him home for Christmas, his acting friend is having a big break, and Sam is sweating out the wait for a potential callback at Lincoln Center. All within the realm of reality in Manhattan.

And that’s the fun of the play but also—now—its poignancy. We took all this for granted, now look. What’s more, the fact that restaurants are re-opening with much more limited seating makes vying for that one table by the window (or what have you) more anxious than ever. The play, formerly a kind of high energy lark on the madness of multitasking (in the days before ubiquitous cellphones), has been updated a bit, so that Sam’s personal calls are on cell while the landlines are all for work. We see before us a kind of wonderfully choreographed chaos. It’s still high energy, it’s still a lark, but now we’re apt to be more than a bit apprehensive about that man on the flying trapeze, so to speak. Won’t someone give Sam a break—from the calls and in his career? Won’t someone drop a food pellet to the poor creature on his dreadful treadmill?

Matt Densky in Fully Committed at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

Our attitude toward the action might take its cue from what we take Sam to be. Is he an actor who has to work a desk, or a worker who wants to be an actor? Unlike on Broadway with a name actor like Jesse Tyler Ferguson giving the show some celebrity box office, here Matt Densky is a native of CT who has done comic wonders at MTC in The SantaLand Diaries and The 39 Steps (and is on pandemic hiatus from the Broadway tour of WICKED) and he makes Sam’s situation feel that much more earned. Directed by Kevin Connors on a wonderfully detailed set by Jessie Lizotte, Densky’s Sam is beleaguered but never quite beside himself. He’s got great turn-on-a-dime timing and plenty of panache. We believe he could become as good an actor as Densky is. In other words, there’s hope for the performer of even the most thankless task—at least in Manhattan. Back then.

Seeing the show online provides its own sense of paradox. What makes a theater like MTC a treat is its intimacy; every seat is close to the action. Online, the show is viewed at a distance that’s a bit like having a Broadway mezzanine seat (which critics are never given!), though the broadcast sound leaves a bit to be desired, as the surrounding space creates more distortion than the direct-feed of computer-to-computer hook-up does on Zoom streams. Perhaps that can be improved, but in any case Fully Committed—which is the catch-phrase for a restaurant totally booked—is a good choice for those of us not yet fully committed to sharing public spaces with our fellow sufferers in the current state of affairs. It’s a play rather light on plot but strong on presence, and that serves to remind us of why live theater helps make life worthwhile. And it’s therapeutic to see someone onstage again! The make-believe of theater can’t always keep chaos at bay, but theater as make-believe chaos can be an apt diversion.

Only commit.

Matt Densky in Fully Committed at Music Theatre of Connecticut, directed by Kevin Connors (photo by Alex Mongillo)

Fully Committed
by Becky Mode
Directed by Kevin Connors
With Matt Densky

Scenic/Prop Design: Jessie Lizotte; Lighting Design: RJ Romeo; Costume Design: Diane Vanderkroef; Sound Design: Will Atkin; Stage Managing: Jim Schilling

Music Theatre of Connecticut
September 11-27, 2020

From the press release:

MTC is thrilled to be reopening its doors as one of three professional theatres in the country to be given permission to host indoor events via the approval of the state of CT and Actor’s Equity Association. Alongside this reopening comes health & safety protocols to assure the safety of the audience, crew, and actors. Some of these protocols include staggered arrival based on seating, no more than 25 audience members in the theatre, and masks required at all times. Until further notice, all performances will not only be presented in person, but through live stream as well, so that the shows may be watched live from the comfort of your home. Both in person and live stream tickets are available. For more information on MTC’s reopening protocols you can go here.

A Cafe with a Difference

Review of The Van Gogh Café, Yale Cabaret

FLOWERS, Ka.—For those passing through or living fulltime in the area, Van Gogh Café offers homey décor and comfort food galore. I mean, that Emmie Finckel has done wonders with the place. It’s a downhome oasis with sunny yellow walls, where Formica tables sit beside some with homemade wooden planks, where mismatched chairs of all descriptions abound, where a sturdy counter—presided over by Marc (Mihir Kumar), the proprietor—is apt to be peopled with regulars on a first-name basis, where assorted knick-knacks and bric-a-brac decorate the tables, the bathroom walls are adorned with painted hydrangeas, and the record player intuitively grasps the song you need to hear.

Clara (Shimali De Silva), Marc’s charming ten-year-old daughter, will take your order if you show up in the hour before school starts. With Marc somewhat conflicted about his lot in life, Clara is clearly the VGC’s biggest devotee, an enthusiast who finds every visitor a source of fascination and believes there’s an enduring magic in the walls of the café. Well, why not, the café was once a storied theater and who knows what feats have occurred there. For Clara, who might be nursing a hurt now that her mother has moved to New York, the possibilities of the place are endless, as anything might happen.

She may have a point, or at least that’s my takeaway from a recent visit. There were doings a-plenty. A source of considerable amusement was the way a stray gull had taken up residence on the roof, only to be befriended by Clara’s cat. The lovestruck feline kept snagging articles of clothing from Lon (Faizan Kareem), a hapless regular—a boot, a scarf, a glove—to award to the visiting bird. Eventually, a flock of gulls were hanging out there, only to be dispersed in a providential fashion through the agency of some passers-through, Kelly (Lily Haje) and Jack (Devin Matlock). The lady is an ornithologist, really!

That’s often the way things go around The Van Gogh Café, Clara insists, as, for instance the visit of the Fancy Lady (Jocelyn Knazik Phelps), a stranger who left behind some seeds that magically became gardenias which were, of course, the favorite flower of that aged actor (Danilo Gambini) who visited later, to recall his former glories and to await an old friend.

Events can sometimes be a little disconcerting—like a thunderstorm that knocked out the power and, according to Clara, made the food able to cook itself. Which was a good thing as Marc had a period there where he saw himself as a poet, a passion perhaps inspired by some changes in his romantic outlook. Then there’s the time Maria (Rebecca Kent)—she’s sort of a peremptory type, but really very nice—found herself face to face with her daughter, Ella (Jocelyn Knazik Phelps), who left years ago. And, guess what, she’s pregnant! So Maria gets to be a grandmother after all.

Meanwhile Sue (Lily Haje) and Ray (Nicholas Orvis) occasionally argue over nothing, but it’s worth it just to hear Sue get all agitated with that little piping voice she has. And did I mention the person at the table adjacent to me? A playwright (Taiga Christie) who wrote a lot at every visit—so, who knows, we may all be in a play one day. Kinda like that old Beatles song—“and though she feels as if she’s in a play / She is anyway.”

That’s the feeling at The Van Gogh Café, alright. Watch where you sit because the regulars have some chairs all to themselves, but there’s plenty of seats all around to catch the comings and goings (of which there are a lot!). I won’t say there’s never a dull moment—I mean, this is Kansas, after all—but the cheer is infectious, the locals likeable, the food not bad. (I had the Greek salad as a starter, then the roast turkey with mashed potatoes and green beans—all of which was very satisfying, but I found myself eyeing the fried mozz appetizer and the slab of meat loaf I saw on other plates). Marc, according to the regulars, burns pies more often than not, and there’s a general opinion that the lemon meringue isn’t up to what it was when his wife was on the premises. My slice was fine, though the crust was a bit heavy maybe. I hear that the coffee is much improved, though, and the waitstaff are like people you might see in a real play sometime. Speaking of actors, I’m really glad I got to see that old star’s visit. What a charming guy, so sweet and gracious! You’d never know the career he had, he was so humble. Very touching. That’s the kind of thing I’ll be dining out on for a while. Maybe even on that meat loaf . . .

Oh, and I should mention. The Café is open for dinner at 8 p.m. tonight and Saturday. It also offers a late night snack menu tonight (I guess since it’s a Friday it’s OK for Clara to be up that late.) And on Saturday, a brunch menu at noon. That features a menu and a show that schoolkids should appreciate, especially any that have an interest in theater. Like the Yale Cabaret—which has storied walls in its own right—The Van Gogh Café assumes that the magic of childhood extends into our joy in the arts, no matter how old we might be (I’m not saying—but I did know all the songs from the Sixties that record player played.)

There’s magic in theater, certainly. And there’s magic—theatrical and otherwise—at The Van Gogh Café. Get in on it while you can (like, before you grow up too much).

The Van Gogh Café
Proposed, directed and adapted by Emily Sorensen and Madeline Charne, based on the novel by Cynthia Rylant

Set Designer: Emmie Finckel; Costume Designer: Miguel Urbino; Lighting Designer: Tully Goldrick; Associate Lighting Designer: Matthew Sonnenfeld; Sound Designers: Liam Bellman-Sharpe & Bryan Scharenberg; Technical Director: David Phelps; Producers: Madeline Carey & Sarah Scafidi; Stage Manager: Zak Rosen

Cast: Taiga Christie, Shimali De Silva, Danilo Gambini, Lily Haje, Faizan Kareem, Rebecca Kent, Jocelyn Knazik Phelps, Mihir Kumar, Devin Matlock, Nicholas Orvis

Yale Cabaret
March 5-7, 2020

yalecabaret.org

The Sherlock of Swindon

Review of The Curious Incident of the Dog in the Night-Time, CT Repertory Theatre

Simon Stephens’ Tony-winning stage adaptation of Mark Haddon’s best-selling novel, The Curious Incident of the Dog in the Night-Time is curious indeed. It’s a story full of dysfunction, including various kinds of abuse and the killing of a dog, that tries to be upbeat and heartwarming. It mainly succeeds due to inventive staging that keeps us apprised of the world according to Christopher, a Brit teen in Swindon who has exceptional math skills and is firmly forthcoming about his issues with most other things—like the colors brown and yellow, and the use of metaphors in speech, and the tendency of most humans to lie or playact—and because Tyler Nowakowski, a third-year actor in the MFA program at UConn, makes Christopher, for all his quirks, an engaging and interesting fellow to spend time with.

Christopher (Tyler Nowakowski), center; ensemble, left to right: Elizabeth Jebran, Matthew Antoci, Mauricio Miranda, Justin Jager, Nicolle Cooper, Alexandra Brokowski, in the Connecticut Repertory Theatre productioin of The Curious Incident of the Dog in the Night-Time

The play keeps us amused by little oddities, such as having the show’s ensemble enact furnishings and appliances in the home Christopher shares with his father Ed (Joe Cassidy), and the projections by Taylor Edelle Stuart keep us impressed as they simulate the tangled signals that Christopher, described as neuroatypical, must process. A trip to London in Act Two is rendered as a near psychic overload, kept benign by the fact that Christopher has written his story for his helpful teacher Siobhan (Thalia Eddy) and she has made it into the play we’re watching. That means that Christopher is at first narrated by Siobhan reading his narrative aloud, and then enacts himself as the hero of his own story, which is a bit of a mystery story and a bit of a domestic drama.

When Wellington, the dog of his neighbor Mrs. Shears, gets impaled by a garden fork, Christopher sets off as a neighborhood sleuth. His encounters with the locals are entertaining due to the way he interacts with others, two factors being his inability to lie or to endure physical contact. He’s played with many of the behavioral tics familiar from Dustin Hoffman’s character in the film Rain Man, though the precise nature of Christopher’s condition is never gone into. As a stage character, Christopher keeps our interest because we’re never sure what he may say or do nor how he will react to others, and that makes the introduction into his view of things very lively.

Christopher (Tyler Nowakowski), Mrs. Shears (Elizabeth Jebran), and ensemble (Matthew Antioci) in the Connecticut Repertory Theatre production of The Curious Incident of the Dog in the Night-Time

What’s less lively is his relations with his parents, who are played as mostly patient and considerate. Exempt there’s a backstory of infidelity that Christopher’s questioning brings to light, along with outright lies and a surprising act of violence. The segment of Christopher in London, in Act II, drags because there’s so little in the way of new development, in the plot or in Christopher. At that point the big question is: will he get back to Swindon to sit for his A levels?

The problem is that the parents Ed and Judy (Margot White) are not only not very interesting, they are deliberately flattened, it seems, in an effort to present them as Christopher sees them. And since Christopher’s consciousness of others is his weak point, they mainly stand around looking pained as he acts out his inner turbulence. The encounters with strangers—such as a policeman in London (Matthew Antoci), or some people (Justin Jager and Alexandra Brokowski) waiting for the tube while Christopher hunts the tracks for his pet rat Toby (a very charming puppet by Bart P. Roccoberton, Jr.)—are much more appealing. There’s also a problem with the credibility of Judy—who tells us how hard it is to deal with Christopher—welcoming him with open arms in London, though she’s now living with a guy (Mauricio Miranda) who doesn’t want the kid around. And Cassidy’s Ed never seems troubled enough to do what the plot makes him do.

As a story, the mystery about the dog isn’t much of a dramatic crux and the domestic drama is even less of one (and it’s not really much of a spoiler to say that they are entwined, much as the absence of Mom is explained by the absence of a neighbor). The point is that Christopher, in solving the mystery, learns something about the people around him. Is it a lesson that has much purchase for him? Probably not, and not much for us either. In any case it all pales beside the question of how well he will do on his A level exam and the answer to his favorite mathematical problem. What keeps us involved is Christopher’s perspective and that’s a consistently positive aspect of the show.

Engagingly staged by director Kristin Wold with imaginative choreography well enacted by the ensemble, most of whom are MFA candidates at University of CT’s School of Fine Arts, featuring great command of the role of Christopher by Tyler Nowakowski, supported by able efforts by Equity actors Joe Cassidy and Margot White, The Curious Incident of the Dog in the Night-Time works. The story of its unlikely hero shows us a that a unique sensibility can find its own way in life and flourish, and that’s not simply a curious fact.

The Curious Incident of the Dog in the Night-Time
Based on the novel by Mark Haddon
Adapted by Simon Stephens
Directed by Kristin Wold

Scenic Designer: Dennis Akpinar; Lighting Designer: Allison Zerio; Costume Designer: Sofia Perez; Sound Designer: Mack Lynn Gauthier; Technical Director: Aubrey Ellis; Dialect, Voice, & Text: Julie Foh; Movement Directors: Marie Percy & Ryan Winkles; Fight Director: Greg Webster; Projections: Taylor Edelle Stuart; Stage Manager: Tom Kosis; Puppet Designer: Bart P. Roccoberton, Jr.; Dramaturg: Eddie Vitcavage

Cast: Joe Cassidy, Margot White, Tyler Nowakowski, Thalia Eddy, Elizabeth Jebran, Mauricio Miranda, Justin Jager, Matthew Antoci, Alexandra Brokowski, Nicolle Cooper

Connecticut Repertory Theatre
UConn School of Fine Arts
February 27-March 8, 2020

The Choice Bits

Review of Cock, Yale Cabaret

The first thing you probably notice is that the stage set (by Lily Guerin) is a giant cage with four openings, one on each side, and with little seats attached to each corner. The next thing you probably notice is that the Yale Cabaret has new tables for the audience. Instead of round, they are long and rectangular, like the kind you might sit at to pass judgment. The audience is surrounding an arena where some kind of contest may take place. A cockfight, perhaps?

Cock by British playwright Mike Bartlett, directed by second-year director Alex Keegan, and proposed by John Evans Reese, who plays the only named character, John (the others are M, Daniel Liu; W, Zoe Mann; F, Thomas Pang, for Man, Woman, Father), sort of assumes that when you read or hear “cock,” you don’t automatically think of the two-legged, feathered creature. And that’s germane, certainly. But it’s also the case that a phrase like “the cock of the walk”—describing someone who struts around like he owns the place—may be implied. John is “the cock” here and as such he’s the prize to be fought over by his two lovers—M and W. The gist of it is that they discover this cock is something of a dick.

If that were all, that might be enough, but Bartlett seems to have a bit more on his mind, turning up the heat on the awkward dinner party trope and letting his characters get a bit unhinged, verbally, if not physically. The driving idea is sexual ambiguity as instanced when a member of a long-standing couple leaves that couple and opts for a lover that is not the same gender as the former lover. It may be that the locus classicus is a man, married to a woman, who, having already done the family bit, takes up with a man. Here, it’s the flip of that: John is with M; they seem to have hit a snag and John calls it quits, insisting that they are “fundamentally different” in how they approach life. While on his way to work one day, John is approached by W. They’ve noticed each other but haven’t spoken. Dancing and flirting ensues and, for the first time in his life, John confronts the question of whether he could have sex with a woman.

The play, which has been funny in showing us the sparring and at times passionate locutions of John and M—extremely well played by Reese and Lui—gets funnier when it becomes a question of John’s exploration of the—to him—unprecedented organ known by that other “c” word. Zoe Mann is wonderful as a woman being explored “like a science project” while also getting aroused. And John’s cock gets to do its cock of the walk bit as well, thus demonstrating that, for him, arousal isn’t only for gents with gents.

The dickness of John comes in his leaving W in the lurch and going back to M, then being unable to call it off with either M or W. A fact which appalls both of his lovers, since neither is inclined to accept that he might be bi and simply need a little of each (I say “each” because the play only gives him two choices). John vacillates at such a pitch that one might wonder why either M or W stays in the game. Even John wonders and the best he can determine is that it’s because of his eyes.

About that awkward dinner party. It’s offered by M (who does the cooking) as a way to let W down, and is put to W, by John, as an opportunity for a united front to end the thing with M. F, who is M’s dad and who has been invited by M as “backup,” adds to the tension with an aria about how he came to accept M with John as a genetic matter having to do with chemicals in the brain. The chemicals in his own brain seem to cause him to treat W as a manipulator and to look too often at her breasts—in W’s opinion. The outing going on at this point—of masculinist, sexist, “gay” and “straight” assumptions and prejudices—comes thick and fast. It’s mostly fun because, however you feel about these things, someone is bound to say something you’d argue with, were you in that cage.

John at one point disputes old-fashioned usages like “gay” and “straight” as though he’s about to manage a proclamation of sexual freedom. But it never quite comes to that. In fact, it ends up rather badly for John, more or less fetal while M stops just short of singing “who’s afraid of Virginia Woolf?”

Bartlett was born in 1980, and the Eighties is when sex became “an identity,” for political purposes, and a genetic predisposition, for normative purposes, and that’s the legacy that Cock wants to engage, to question why either/or is the only thing that makes sense, sexually. As a playwright, he’s of the type for whom a stance—and a nimble tongue—is enough to merit the name “character,” so we don’t ever have to delve into why W thinks being a gay man’s first girl is “the one” for her (though I imagine she’s not alone in that), nor into why John needs M to keep him in thrall or why M needs his whipping boy.

The actors are all wonderful, and the energy crackles. The pacing is rapid-fire, and the interrelations are all vividly realized. The interaction between Liu and Reese is a driving force in the play because so much derives from an implied situation that precedes the initial break. Caustic and lambent, Liu’s M generally pushes John’s buttons in a way that must work for both. And Reese and Mann make John with W seem equally viable, not just as an escape valve, but as a way to be a different person. As the father, Pang sounds sufficiently of a different generation as to be out of place but also—in his view—the voice of normality. Finally, Reese, in Stephanie Bahniuk’s costume and hair, has a certain look and plays so convincingly the charismatic man-child that we can believe he’s the cherished fetish M and W take him for.

In the end Cock made me stand—to applaud.

Cock
By Mike Bartlett
Directed by Alex Keegan

Artistic Consultant: Yura Kordonsky; Set Designer: Lily Guerin; Costume Designer: Stephanie Bahniuk; Lighting Designer: Evan C. Anderson; Sound Designer: Bailey Trierweiler; Co-Dramaturgs: Margaret E. Douglas & Sophie Greenspan; Co-Technical Directors: Yaro Yarashevich & Andrew Reidermann; Producer: Caitlin Volz; Stage Manager: Fabiola Syvel

Cast: Daniel Liu, Zoe Mann, Thomas Pang, John Evans Reese

Yale Cabaret
February 27-29, 2020

Where Better to Make a Beginning

Review of The Zoo Story, New Haven Theater Company

How do you feel when approached by a stranger? No doubt there may be a wide variety of answers to that question, depending on who you are, where you are, and the appearance and demeanor of the stranger. Edward Albee’s The Zoo Story explores several possibilities—including uncomfortable, companionable, amused, bemused, and contentious—and drives toward a surprising conclusion.

The play’s original text dates from 1958 but was updated in 2004 and consists wholly of the encounter between Peter (J. Kevin Smith), a comfortably off middle-aged gent who works in publishing and who is seated on a public park bench in New York city, reading a textbook his company published, and Jerry (Trevor Williams), a self-professed “permanent transient” who wanders up and gets Peter’s attention, in a somewhat peremptory manner. Jerry’s appearance in the New Haven Theater Production, co-directed by Steve Scarpa and George Kulp, with his long mane of blonde hair pulled back and very casual clothing, might give some pause; then again, his early mention of some little-known fact about Freud shows the kind of verbal assurance that tends to put others at ease. He seems friendly, interested in Peter, and no more invasive than any random person you might chat with on a bus or in a bar or, indeed, on a park bench.

Jerry (Trevor Willilams), Peter (J. Kevin Smith) in The Zoo Story, New Haven Theater Company

The play is a finely tuned little machine centered on the nuances of a give-and-take where any number of social codes may be in play, where any statement becomes the material of the exchange. Jerry initially announces he has been to the zoo; he says he’s been walking north—or northerly; he says, more than once, that sometimes he “has to go a very long distance out of his way to come back a short distance correctly.” The early emphasis on Peter—his job, his marriage, his two daughters with their two cats and two parakeets, and the fact that no more children will be forthcoming—swiftly is elided to concentrate on Jerry, who shares information about his parents and his sex life and the rooming-house where he resides, way up on the upper-upper West side.

The running time of The Zoo Story, called “a play in one scene,” is about an hour, and yet it can be seen as a very compressed three act. The first act is the set-up of us getting to know a bit about Peter and understanding that he, like us, is becoming interested in Jerry, largely because of how he expresses himself. The second act is Jerry’s detailed account of his relationship to a dog owned by his landlady, a dog that regularly threatens him each time he returns to the house. The third act, with Jerry finally sharing the bench with Peter, would seem to be concerned with what happened at the zoo, a story that Jerry seemed poised to tell all along. But then doesn’t. Instead, there’s the question of the bench.

As Peter, J. Kevin Smith displays a certain patient tolerance, the feeling that most liberal city-dwellers pride themselves on perhaps. He also stays in the game by reacting to Jerry’s lengthy speeches. Jerry is emphatically not someone talking to himself. He’s speaking to Peter and Peter’s attention is of paramount importance. He’s a stand-in for the theater-goer, certainly, but he’s also a character in his own right, with his own grasp of how what Jerry says affects him. And when he finally gets riled, the play might for a moment morph into something in Neil Simon territory—The Prisoner of Second Avenue, for instance. It then takes a decisive turn away from simply needling the comic upset of a prosperous New Yorker.

Jerry (Trevor Williams), Peter (J. Kevin Smith) in The Zoo Story, New Haven Theater Company

What keeps the play in a different register throughout is Jerry. In Trevor Williams’ bravura turn, he’s a very engaging fellow, the kind of person who takes pleasure in thinking aloud and does so in an appealing way. And yet Williams, in subtle glances off or thoughtful pauses, gives us the idea that Jerry has something in mind, a point or argument that he’s building, and when he gets confrontational we’re not entirely sure it’s not a joke—or was this a territorial grab all along?

The stories Jerry tells and the persons who people them let Peter have a glimpse of a level of existence he would likely never encounter directly. That, we might think, is Albee’s point: to make a self-satisfied bourgeois meet—fleetingly but in such a way as to change their lives forever—a member of an underclass who possesses the interpersonal aplomb of a born raconteur, and maybe a steely—malevolence? Determination?

But there’s more, lots more.

The play is almost parable-like, an effect helped by the way the NHTC production, in Kulp’s set with Adam Lobelson’s lighting, surrounds the simple bench and walkway with hanging curtains and thrust seating. The everyday and the theatrical are in immediate relation. And what ultimately transpires there has a lot to do with such matters as what separates humans from animals, what constitutes connection between creatures, and what is the value and benefit of what Jerry calls “the teaching moment.” In the end, he seems sincerely grateful for what Peter has done for him. And we should also be grateful for what Jerry has given us.

The Zoo Story, as one of the simplest of stories, is also one of the deepest New Haven Theater Company has enacted. This collaboration between longtime members Kulp, Scarpa and Smith with “newer” member Williams (this is only his tenth production!) showcases the troupe’s grasp of how dialogue and interaction are what matter most in great drama. Albee’s text gives the actors playing Jerry and Peter a lot of leeway in how to make the play work—whether more naturalistic, more absurdist, and with differing degrees of subtext. What makes NHTC’s production work so well is the way Williams and Smith are both willing to play what might be some version of themselves, and then to take that where it has to go. Inevitable, but surprising. And even if you know the outcome, seeing the play get there—to watch it go a long way to come back a short distance—is the fascination of “the zoo story.”

The Zoo Story
By Edward Albee
Co-directed by George Kulp & Steve Scarpa

Stage Manager & Board: Stacy Lupo; Set Design: George Kulp; Lighting Design: Adam Lobelson; Sound Design: Tom Curley

Cast: J. Kevin Smith, Trevor Williams

New Haven Theater Company
February 20-22, February 27-29, March 5-7, 2020

Hartford Stage Takes to the Eyre

Review of Jane Eyre, Hartford Stage

Charlotte Brontë’s Jane Eyre has the distinction of being one of the first great first-person narratives in British fiction and probably the earliest great first-person narrative by a female author. Most other early examples of a woman narrating her own story—Moll Flanders comes to mind—were written by a man in character as a woman. Brontë’s Jane tells her own story and addresses her “dear Reader” directly. The intimacy is key to the story. It’s a confession, of sorts, but a confession in which the point is how one becomes who one is. Jane, come from obscurity with only harmful relatives (she believes), makes her way in the world with gumption, an enduring sense of her own dignity, a passionate sense of right and wrong, a perhaps revolutionary sense of woman’s due, and an admirable way with a story.

John Reed (Grayson DeJesus), Child Jane (Meghan Pratt) in Elizabeth Williamson’s adaptation of Jane Eyre at Hartford Stage (photo by T. Charles Erickson)

Adapted the novel has been before, often. Many film versions—I’ve seen at least three—and no doubt stagings. At Hartford Stage, Associate Artistic Director Elizabeth Williamson directs her own adaptation and, in this era when Kate Hamill has engendered a cottage industry of comic adaptations of the kind of British—and even American—classics formerly the stuff of Masterpiece Theater (her Pride and Prejudice has been produced twice this theater season in Connecticut), it’s important to say what Jane Eyre isn’t. It’s not a light-hearted rewrite in the arch tones of contemporary feminism. It’s very faithful to our beloved Jane—and it wisely leaves out the years at the grim Lowood school, a sequence which, though based on real experience, might seem too Dickensian.

And, despite its lack of big whizbang effects (for that famed fire at Thornfield or for moody moors and encounters with a rearing horse), this Jane Eyre works. And that’s because Helen Sadler, as Jane, and Chandler Williams, as Mr. Rochester, are doing very fine work. Certainly, it’s the best romantic pairing of the season.

Mr. Rochester (Chandler Williams), Jane Eyre (Helen Sadler) in Elizabeth Williamson’s adaptation of Jane Eyre at Hartford Stage (photo by T. Charles Erickson)

Rochester, for starters, is a figure so familiar in his gnomic oddity as to be easily lampooned or sent-up. All the trappings of the Gothic—the peremptory Master of a mansion who has a mysterious past, the hapless but helpful governess who arrives and must somehow set things right, the knowing but not-forthcoming servants, the forbidding clime—are here, and Williamson manages to keep them in play without making them clichés. And that’s because Jane, in her forthright effort to show things as she lived them, isn’t the kind to overdramatize or satirize. Getting her tone is essential, and Williamson’s script does.

Jane (Helen Sadler), Mr. Rochester (Chandler Williams) in Elizabeth Williamson’s adaptation of Jane Eyre at Hartford Stage (photo by T. Charles Erickson)

Jane is right in what she thinks and says, and Sadler looks and sounds right as Jane. When she misreads something, we see her error and can watch her come to terms. Her outbursts carry a force that never gets teary or—that great Victorian affliction—overwrought. Her interactions are never too good to be true because Jane’s sense of others is apt to be realistic, for our benefit. She is cautious but not captious. And she’s stirred by her belief that Rochester might actually be her match.

And Williamson’s grasp of Brontë’s tone means that Chandler gets to render an enduring Rochester, a figure who feels like what a female author enamored of Byron and Shakespeare would fashion. He’s mercurial in temper, given to having his way, and, of course, wonderingly struck by a kind of woman he hasn’t encountered before. Chandler lets his body language and an entertaining array of vocal mannerisms create a Rochester as fascinating as Jane feels him to be.

Jane (Helen Sadler), Mrs. Fairfax (Felicity Jones Latta) in Elizabeth Williamson’s adaptation of Jane Eyre at Hartford Stage (photo by T. Charles Erickson)

All the other characters are ancillary but that doesn’t mean there isn’t still real pleasure, as always, in seeing two veterans of various Connecticut stages—Felicity Jones Latta and Steve Routman—play a variety of roles. Latta is all the elder women in Jane’s life, which makes for an interesting alignment of Mrs. Fairfax, the helpful housekeeper who hired Jane; Aunt Reed, the vindictive relation who dismissed her and who on her deathbed still rejects her; Lady Ingram, the snooty mother of a belle out to snare Rochester; and Bertha, the madwoman in the attic. Routman gets to move through the distinct ranks of British society, the peasant, the military man, the aristocrat, and the cleric. Grayson DeJesus enacts two important potentially spoiler roles, quite different in effect, as Mason, the man who knows of Rochester’s past, and as St. John Rivers, the man who may have a future for Jane. Marie-France Arcilla plays Jane’s rival, her kindly nursemaid when a girl, and a servant with a secret Jane needs to know. Megan Gwyn is primarily Jane’s honorary sister in a family who helps her, and Meghan Pratt is both the child Jane, mistreated and outspoken, and little Adèle, Jane’s French-speaking charge at Thornfield Hall.

The cast of Jane Eyre in Elizabeth Williamson’s adaptation of Jane Eyre at Hartford Stage (photo by T. Charles Erickson)

The Hall itself is suggested, in Nick Vaughn’s set, by a handsome array of sliding partitions that can open at times to suggest a house beyond, but that can also withdraw to present a stand of trees. There are some nicely done effects with silhouettes and with a turning stage that allows Jane’s narrative to move people on and off as needed. As with Hartford Stage’s popular adaptation of A Christmas Carol, scenery is kept to a minimum and the story moves through an amorphous space that leaves much to our imaginations.

Old-fashioned? Certainly. Jane Eyre is a classic revisited for the satisfactions this intricate and involving story can still deliver and, in Elizabeth Williamson’s succinct and affecting adaptation at Hartford Stage, deliver them it does.

Jane Eyre (Helen Sadler) in Elizabeth Williamson’s adaptation of Jane Eyre at Hartford Stage (photo by T. Charles Erickson)

Jane Eyre
Adapted from Charlotte Brontë’s novel and directed by Elizabeth Williamson

Scenic Design: Nick Vaughn; Costume Design: Ilona Somogyi; Lighting Design: Isabella Byrd; Sound Design: Matt Hubbs; Original Music: Christian Frederickson; Wig & Hair Design: Jason Allen; Dialect Coach: Claudia Hill-Sparks; Fight Choreographer: Greg Webster; Dramaturg: Fiona Kyle; Production Stage Manager: Hannah Woodward; Assistant Stage Manager: Kelly Hardy; Production Manager: Bryan T. Holcombe

Cast: Marie-France Arcilla, Grayson DeJesus, Megan Gwyn, Felicity Jones Latta, Meghan Pratt, Steve Routman, Helen Sadler, Chandler Williams

Hartford Stage
February 13-March 14, 2020

Drag Yourself Underground

Review of Dragaret Underground, Yale Cabaret; with photographs by Linda Young

February and drag go together, if only because, in New Haven, February is often a drag, a month where—as our most recent Nobel laureate puts it—“anyone with any sense had already left town.” But at the Yale Cabaret, February is a drag in quite another sense. It’s the month of Dragaret, an annual celebration of drag performance, as, in the words of co-director (and DJ in Village-People-leather-boy retro) Danilo Gambini, an occasion to “bring joy into the conversation of consent and pleasure.” And that can be worth sticking around for. This year the theme was “underground,” as a place, co-director Alex Vermillion said, “to explore and be safe and sexy.” All are welcome to what should be seen as a “queer utopia.”

Danilo Gambini, Gregory St. Georges

Dragaret is in its eighth year and this is the third year in which Friday night’s two shows, at 8 and 11, were reserved for Connecticut queens while Saturday’s three shows, 8, 10, and midnight, were for students in the Yale School of Drama to perform. Patrick Dunn of New Haven Pride hosted the Friday night shows as Kiki Lucia, Dunn’s drag-queen persona, and David Mitsch, a third-year costume designer in YSD, hosted Saturday’s shows as Tipsy Von Tart.

Tipsy Von Tart

Both nights share great costumes, much lip-synching, surprising moves—artful ways to remove clothing seems de rigueur—and an inspired reach into a grab-bag of cultural references, styles, and personae. The main rule—tip your queens—was enthusiastically adhered to at the shows I attended (Friday, 11 p.m. and Saturday, 10 p.m.) but I have no way of knowing if the show’s mantra—“consent is sexy”—yielded its desired results.

Kiki Lucia

The CT queens of Friday night presented two entirely different shows. The show I saw had a crisp, deliberate professionalism that made for a parade of striking presentations, which included pole-dancing, striptease, and comic or emotional elements. All the performers were memorable in their own ways, but those numbers with a somewhat satiric side—such as Lotus Qween’s hilarious takeoff of Hillary (to the tune of, among other things, “Wedding Bell Blues” with its address to “Bill”) and Laiylah Alf Wa Laiylah’s evocation of Randy Rainbow’s sharp send-up of our national embarrassment, “The Don” (to the tune of “Gaston,” from The Beauty and the Beast)—were favorites for me.

Lotus Qween

Laiylah Alf Wa Laiylah

Other acts were notable for their graceful appearances, such as transgender performer Casey Fitzpatrick, and the moves of Rarity Moonchild, Xiomarie LeBeija, and Sparkle Diamond.

Casey Fitzpatrick

Rarity Moonchild

Xiomarie LeBeija

Sparkle Diamond

Frizzie Borden, billed as a bio-diva, is a woman who does drag as a woman, making a case for how diva-dom can be not only an inspiration but also an oppression. One of the more affecting performances on Friday, for me, was Rory Roux-Lay Heart’s deconstruction of her gorgeous femme persona to the tune of Bowie’s “Is There Life on Mars?”

Frizzie Borden

Rory Roux-Lay Heart

Kiki Lucia closed the show with a driven display to Cher’s “Woman’s World” with couture from The Handmaid’s Tale. A gay man dressed as a woman celebrating the power of women felt entirely appropriate, and if it didn’t, YSD night, when many more women took the stage as bio-divas, opened the question of drag as a way of positioning femininity as a performance art.

Kiki Lucia

The performance of maleness was rather less in evidence, with Jaime Hellfyre (Emma Perundi-Moon), on Saturday night, the only female-as-male performer.

Jaime Hellfyre

On Saturday at 10, our gently ironic hostess Tipsy Von Tart quipped that the jokes had already been said at the 8 p.m., implying that she might get in trouble for going off-script. She interacted with the crowd with perfect aplomb and was a welcome presence between numbers.

Tipsy Von Tart quips with “F. Murray Abraham”

Many of the acts worked as performance art, with the element of drag (however we might define that) of minimal import: JJ McGlone dressed as a solstice maiden in his hysterical evocation of Midsommar;

Midsommar Night’s Scream

The Dollar Bells cavorted in cut-offs and showed-off pole-riding skills because they can;

The Dollar Bells

Zardoz Hologram (Meg Powers) evoked Aladdin-Sane-era Bowie in makeup and her silent cyberbots (Madeline Pages and Bryn Scharenberg), while performing to his “TVC15,” complete with projections upon a TV-prop that eventually, as per the lyrics, consumed her.

Zardoz Hologram

You Can’t Be in the Show (Maia Mihanovich, Jackeline Torres Cortes, Daniel Liu, Julian Sanchez) mystified me with the import of their performance but it ended with what seemed an entirely consensual orgiastic oneness.

You Can’t Be in the Show

Stripping off a costume to reveal a decidedly different subtext was the order of the evening for many routines: Prettiest Little Devil (Zak Rosen), the only undergraduate performer, sported red wings under his gown;

Prettiest Little Devil

Georgia O’Queef (Alexandra Maurice) opened her number as a demure lady complete with picnic basket, mouthing a ‘60s torch song, only to transform before our eyes into a bumping-and-grinding diva;

Georgia O’Queef

Lady Lilith (Alex Vermillion) began zir piece as a distressed princess desperately beseeching a bald, bespectacled Dean (Matthias Neckermann) for an MFA, only to strip off all pretense at supplication in order to spank the abased academician on his leather-clad bundy, er, booty;

Lady Lilith and Dean

and Cerebral Pussy (Jessy Yates) came forward as a devotee of Jesus in a wheelchair who, filled with grace or something more carnal, took off her clothes and danced.

Cerebral Pussy

Two routines that earn special mention: the somber and studied manner in which Shabbos Queen (Adam Shaukat) put on clothes to become herself;

Shabbos Queen

and the ladies of El Cibao (Ilia Isorelýs Paulino, Nurilys Cintron, Noemi Paulino, Nefesh Cordero Pino, Jackeline Torres Cortes, Maia Mihanovich, Tyler Cruz) who performed in two different patterns of rhythmic unison and ended by waving flags of different countries.

El Cibao

Finally, our gracious hostess, Tipsy, ended the evening with a rousing performance recalling one of the greatest of all drama queens, Blanche Dubois, who seemed only too glad to depend upon the kindness of a hirsute stranger—an embodiment of the male principle as a rather randy bear (Brandon E. Burton).

Tipsy Von Tart and friend

Credit and accolades to Jimmy Stubbs who designed an impressive catwalk with wings as well as a cage for terpsichorean celebrants; Liam Bellman-Sharpe for sound; Emma Deane and Nicole E. Lang for lights; Hannah Tran for projections, and Kitty Cassetti and Aiden Griffiths for costumes that inspired—and at times left nothing to—the imagination.

Doireann Mac Mahon, Sarah Karl

For the midnight show other acts were added, but this ends my account of Dragaret 02/20. The Yale Cabaret has our permission to do it to us again next year…

Riw Rakkulchon (YSD MFA *19)

Dragaret Underground
Co-directed by Danilo Gambini and Alex Vermillion

Co-Producers: Sarah Cain and Jason Gray; Set Designer: Jimmy Stubbs; Co-Lighting Designers: Emma Deane and Nicole E. Lang; Projection Designers: Hannah Tran; Co-Costume Designers: Kitty Cassetti and Aiden Griffiths; Sound Designer: Liam Bellman-Sharpe; DJ: Danilo Gambini; Dramaturg: Madeline Pages; Technical Director: Libby Stone; Assistant Technical Directors: Doug Kester and Kat McCarthey; Stage Manager: Sam Tirrell; Assistant Stage Managers: Julia Bates and Edmond O’Neal

Hosts: Kiki Lucia, Feb. 21; Tipsy Von Tart, Feb. 22

Performers, Feb. 21: Kiki Lucia, Casey Fitzpatrick, Lotus Qween, Rarity Moonchild, Frizzie Borden, Xiomarie LaBeija, Sparkle Diamond, Laiylah Alf Wa Laiylah, Rory Roux-Lay Heart

Performers, Feb. 22: Christopher D. Betts, Brandon E. Burton, Estefani Castro, Nurilys Cintron, Jackeline Torres Cortes, Tyler Cruz, Danilo Gambini, Sarah Karl, Daniel Liu, Sarah Lyddan, Doireann Mac Mahon, Juliana Martinez, Alexandra Maurice, JJ McGlone, Alex McNamara, Maia Mihanovich, David Mitsch, Ciara Monique, Matthias Neckermann, Reed Northrup, Madeline Pages, Eli Pauley, Ilia Isorelýs Paulino, Noemi Paulino, Emma Pernudi-Moon, Nefesh Cordero Pino, Meg Powers, Zak Rosen, Julian Sanchez, Bryn Scharenberg, Adam Shaukat, Alex Vermillion, Adrienne Wells, Maal Imani West, Devin White, Jessy Yates

Yale Cabaret
February 21-22, 2020

The Dating Game

Review of Pride and Prejudice, Playhouse on Park

The production of Pride and Prejudice currently running at Playhouse on Park in West Hartford does Kate Hamill proud. Adapting one of Jane Austen’s best-known novels, Hamill casts a contemporary screwball eye on the Bennet family and their efforts to wed—or not—and takes these familiar characters through their paces with a renewed sense of how wryly comical “the game” of match-making is, at all times, and how fraught with peril it can be when one’s entire livelihood depends upon it, as it does here.

Directed by Jason O’Connell, who not only played the surly Mr. Darcy to Hamill’s Lizzy Bennet in the first two productions of the play, but is married to the author, this version gets the zaniness right. A defect of the recent Long Wharf production of the same play was less zest in rendering Hamill’s brand of comedy, which sees a virtue in silliness. Here, with bathroom jokes and disco dance moves added to the gender-bending that the script calls for, the show has an irreverent and irrepressible spirit. And that’s all to the good—because this Pride and Prejudice is much more fun than most rom-coms of recent memory.

Jane (Nadezhda Amé), Lydia (Kelly Letourneau), Mrs. Bennet (Maia Guest), Charlotte Lucas (Sophie Sorensen), Lizzy (Kimberly Chatterjee) in the Playhouse on Park production of Pride and Prejudice by Kate Hamill (photo by Meredith Longo)

Once upon a time there were four young ladies named Bennet: Jane (Nadezhda Amé), the eldest and acknowledged looker; Lizzy (Kimberly Chatterjee), the bookish and ironic one; Mary (Jane Bradley), the unappealing one (though why, particularly, is never made clear, which in itself is a joke that arrives in a variety of ways); and Lydia (Kelly Letourneau), the lusty youngest. Mrs. Bennet (Maia Guest), their mother, is a nervous wreck in trying to marry them off despite the taciturn indifference of her husband (Sophie Sorensen) and the fluctuating feelings of the young ladies themselves.

The problem, of course, is the lack of beaux. And that’s where the story finds its rom-com dimensions, for we will find that everyone—except Mary—may find a someone. And that includes Lizzy’s bestie, Charlotte Lucas (Sophie Sorensen) whom Mrs. B is afraid will scarf up one of the few eligible bachelors about, before her daughters can. Bachelor #1 is Mr. Bingley (Jane Bradley) who is something of a frisky pup of a fellow, and whom his snooty sister (Matthew Krob) will keep out of the Bennet clutches no matter what. Bachelor #2 is Mr. Darcy (Nicholas Ortiz), whom Lizzy deems insufferable because of the way he dissed them at a ball. Bachelor #3 is the seemingly dashing Mr. Wickham (Matthew Krob) who has had his own run-in with the ever-unpleasant Darcy. Bachelor #4 is the hilariously unctuous Mr. Collins (Krob, yet again) who has his eye on whichever Bennet girl might not turn him down. He, a Bennet cousin, is to inherit the Bennet property when Mr. Bennet dies, due to patriarchal rules of descent. The girls, without a staunch male at their respective sides, are doomed to penury, or at least to a level of life quite below their present rank.

Jane (Nadezhda Amé), Lizzy (Kimberly Chatterjee), Charlotte Lucas (Sophie Sorensen) in the Playhouse on Park production of Pride and Prejudice by Kate Hamill (photo by Meredith Longo)

Thus it’s all a very middle-class ladies affair in which one either marries up or level or down, but no one can simply stay where they are. The bachelors—except for Wickham who is, alas, merely a lieutenant—all have anything from comfortable to extravagant fortunes. And so there are some upper-class ladies in the game as well. Miss Bingley might have an eye out for Darcy, as does Miss DeBourgh (Nadezhda Amé), daughter of Mr. Collins’ grand patron Lady Catherine DeBurgh (Kelly Letourneau) and a rather fearsome—and quite comical—wraithlike figure.

What makes Austen’s novel run is the way in which pairing off is fraught with misgivings, misunderstanding, and, sometimes, misinformation. The comedy here is to take these familiar types and tweak them toward the contemporary. So that when, for instance, Mary takes to the piano forte and sings, it will be a very emo affair. Or when the dancers hit the floor they will do The Hustle (and to see Mr. Bennet giving it his rendition is no small comic matter). There are broadly played types—such as Krob’s phrase-making Mr. Collins—and more subtle types, such as the superciliousness both female and male Krob brings to Miss Bingley and Mr. Wickham respectively. Guest’s Mrs. Bennet is fully in the spirit of both Austen’s and Hamill’s sense of a relentless woman who uses all her wits to live within the strictures set upon her—she’s seemingly a born manipulator and gossip, and is apt to love best whichever daughter marries best.

Lydia (Kelly Letourneau), Mrs. Bennet (Maia Guest), Mr. Bennet (Sophie Sorensen), Mary (Jane Bradley), Jane (Nadezhda Amé) in the Playhouse on Park production of Pride and Prejudice by Kate Hamill (photo by Meredith Longo)

Sorensen brings a twinkling irony to Mr. Bennet, and Ortiz makes Darcy a bit of a conundrum even to himself. His attempt at romance falls like a stone, and his grand comeuppance—and deliverance—arrives with a wonderful bodily tremor that fully captures a man overcome by conflicting emotions. For we must keep sight of—to render Austen faithfully—the class-bound strictures that might, at any turn, prevent a happily ever after. That’s most clear in what becomes of poor Lydia, who is kept just dim enough to not be fully cognizant of how, in “winning,” she has lost.

In the most rewarding—and demanding—double role, Bradley makes Mary not only a figure of fun but also of a kind of darkly pointed distaste, and, as Bingley, gives a very different comical turn. Dressed sometimes as both characters—or, rather, half and half—Bradley is the potentially loose cannon in every scene, and a late transition between the two roles earns a delighted burst of applause.

Miss Bingley (Matthew Krob), Mr. Bingley (Jane Bradley) in the Playhouse on Park production of Pride and Prejudice by Kate Hamill (photo by Meredith Longo)

Kimberley Chatterjee’s Lizzy, who is our heroine however much she might find that beneath her, sticks to her guns as we might well hope she will, and when she wavers does so with a forthright appraisal of herself that is a fine dramatic turn. For the only truly worthless people—in both Austen and Hamill—are those who can’t improve.

The show is well-served by an open playing space that helps to keep things lively, and by a wall of period-appropriate doors in Randall Parsons’ capable set. We have just enough suggestion of the level of comfort enjoyed at the different estates where the action takes place, and the costumes by Raven Ong have the requisite plainness—for the Bennets—with the necessary ostentation where required for the others, as for instance the ever-superlatively-announced Lady Catherine DeBourgh.

This Pride and Prejudice has laughs aplenty and an earned sense of all’s well that ends well.

Pride and Prejudice
By Kate Hamill
Adapted from the novel by Jane Austen
Directed by Jason O’Connell

Scenic Designer: Randall Parsons; Costume Designer: Raven Ong; Sound Designer: Kirk Ruby; Lighting Designer: Johann Fitzpatrick; Choreographer: Joey Beltre; Dialect Coach: Jen Scapetis-Tycer; Stage Manager: Mollie Cook; Props Master/Set Dresser: Eileen OConnor

Cast: Nadezhda Amé, Jane Bradley, Kimberly Chatterjee, Maia Guest, Matthew Krob, Kelly Letourneau, Nicholas Ortiz, Sophie Sorensen

Playhouse on Park
February 19-March 8, 2020

Boys to Men

Review of littleboy/littleman, Yale Cabaret

A  first year playwright at the Yale School of Drama, Rudi Goblen demonstrates, in littleboy/littleman, a captivating exuberance of language. Two half-brothers, Bastian (Dario Ladani Sanchez), the elder, and Fito (Robert Lee Hart) share an apartment together—or rather, Bastian suffers Fito to stay in his apartment, on the couch. The play opens with Fito, alone in the apartment, rehearsing his street performance act, complete with red cones to separate the crowd from the playing space. The audience at the Cab stands in for the one in his head as he coaches us how to respond, urging us to—whether we like the show or not—make some noise.

Fito is making noise, and that’s one of the things Bastian will harangue him about, at length. Fito, able to give as good as he gets, will use any pretext to launch into tirades of his own, whether about a cop—a former bullying classmate of Bastian—who harasses him, or about a (literally) shitty job Bastian insists he take to help defray the costs of inhabiting the apartment (and don’t get him started on having to clean ladies’ lavatories). When he’s not lecturing Fito about not pulling his weight, Bastian can be seen and heard on a headset, either trying to find out about the delay in his petition for a name-change or trying to hoodwink clients for a “donation” to a police program to fight drugs and juvenile crime. Bastian’s impending name-change spurs some comic badinage between the brothers about ridiculous names but also gives Bastian an occasion to lecture his brother about how a Nicaraguan name is a handicap in job applications.

Like Stephen Adly Guirgis, Goblen is a playwright with a good ear for street-speak as Fito employs a mix of hiphop rhythms and Spanish phrases and, like Guirgis, Goblen likes to let his characters talk. In addition to their individual routines, Fito and Bastian share a reminiscence of a home invasion that took their grandmother’s life and left them permanently traumatized. But it’s really the fate of their mother that has unmoored the brothers. When Fito waxes poetic about the sacrifices their late mother endured in smuggling her two young sons and their grandmother into the States from Nicaragua and then raising them on her own, Bastian snaps back about the fact that Fito contributed nothing to their mother’s last days and throws him out.

There follows another street performance from Fito with audience participation (the night I saw the show, Ilia Isorelýs Paulino, recently seen as Alice in Alice, the third show in the Yale School of Drama season, chose between a magic quarter and a piece of paper) and a collection at the close. The piece of paper contains a poem, a litany of situations summed up as “It’s all just a bag of halos and horns,” and offered as “a toast,/to us.”

I thought the show would end there, but we still have Fito’s final confrontation with that bullying police officer and the outcome of Bastian’s name-change to go. Goblen’s play comes packed with incident and overflows with speech. It aims for the company of other notable plays in which two males navigate a fraught relationship colored by street tensions and a variable grasp of how to get along—such as Suzan-Lori Parks’ Topdog/Underdog and Antoinette Nwandu’s Pass Over—though here the status of both brothers as immigrants adds a further timely dimension.

The wealth of material in littleboy/littleman may feel a bit overwhelming in the compass in which its offered. Or perhaps a full-length play has been crammed into the Cab’s shorter running time. In any case, there could be more: it would be good to see Fito somewhere other than the apartment and the street; and with all the evocation of the mother going on, we feel the lack of a scene or two in which we get to see her for ourselves.

What really resonates here is Robert Lee Hart’s full command of Fito. He so inhabits the role that there seems no division between himself and his character, and that makes Fito’s scenes more vivid at times than the play he’s a part of. Dario Ladani Sanchez puts across the way in which Bastian, for all his better grasp of pragmatic realities, is overshadowed by his brother’s spirit. He’s best when he’s on a headset, trying to use his whitest voice to steer some cash his way.

Hart and Sanchez—who played off one another as antagonists in Seven Spots on the Sun in YSD’s 2018-19 season—make the most of Goblen’s way with words and make us believe in their grudging intimacy. Marcelo Martínez García’s set, which includes musicians on a drumkit and a bass guitar (the latter is used to great effect as the other end of a phone conversation Bastian gets caught up in), gives us a ratty apartment that’s also the street, while Emma Deane’s lighting design is—well—spot on. Second-year director Christopher D. Betts—in his third play of the Cabaret’s 52nd season—keeps the action very mobile, showing again his inspired grasp of how to use the Cab’s amorphous space to enhancing effect.

littleboy/littleman
By Rudi Goblen
Directed by Christopher D. Betts

Set Designer: Marcelo Martínez Garcia; Costume Designer: Stephanie Bahniuk; Lighting Designer: Emma Deane; Sound Designer: Anteo Fabris; Technical Director: Cam Camden; Producers: Sami Cubias & Caitlin M. Dutkiewicz; Stage Manager: Leo Egger

Musicians: Margaret E. Douglas, Tyler Cruz

Cast: Robert Lee Hart, Dario Ladani Sanchez

Yale Cabaret
February 13-15, 2020

Keeping the Faith

Review of Godspell, ACT of Connecticut

The show opens in a dilapidated church that still has lovely stained glass windows and impressive arches but with construction materials littering the floor, in Reid Thompson’s fascinating set. It’s a down-at-heels sacred building, now the home to a group of squatters, many of them children. They come from the shadows to occupy the space and then go into hiding when a troupe of would-be renovators barges in, all giddy with the place’s possibilities as high-end condos.

The newcomers discover a huddled child, then the other kids and their adult leaders present themselves, and presto! the eight interlopers—Jacob (Jacob Hoffman), Katie (Katie Ladner), Alex (Alex Lugo), Andrew (Andrew Poston), Monica (Monica Ramirez), Phil (Phil Sloves), Morgan (Morgan Billings Smith), and Emma (Emma Tattenbaum-Fine)—are transformed into disciples of Jesus (Trent Saunders) and John the Baptist (Jaime Cepero), who proceeds to give Jesus a sponge-bath.

Jesus (Trent Saunders), seated; kneeling: Andrew Poston, Jaime Cepero, Morgan Billings Smith; standing: Phil Sloves, Monica Ramirez, Alex Lugo, Jacob Hoffman, Emma Tattenbaum-Fine, Katie Ladner in The ACT production of Godspell (photo by Jeff Butchen)

In its original incarnation, Godspell, with music by Stephen Schwartz and book by John-Michael Tebelak, dates from the early 1970s and arrived in the context of the hippie movement and the effort by U.S, churches to reach out to the young (remember the invention of the guitar mass?). Jesus’s teachings—with their communal emphasis and their ethical embrace of the poor rather than the rich and powerful—and his leadership of a band of guys who gave up their day-jobs to follow him certainly had immediate appeal in that period. Which may have something to do with reviving the show now. We would seem to have reached an all-time low for ethical behavior in the U.S. of A.

The show, which acts out stories and parables derived from the Gospels of Matthew and Luke, interspersed with songs, mostly of the uplifting variety, has been updated at ACT by Schwartz and director Daniel C. Levine, and that means there are topical references from our day and some new lyrics. An early example, bound to be a favorite bit, features Jesus preaching to “Save the People” while the would-be disciples keep working in comical references to major Broadway shows. Any guesses which ones?

The cast of the ACT production of Godspell, directed by Daniel C. Levine (photo by Jeff Butchen)

What really makes the show at ACT is the spiritedness of the troupe, which manages to shun for the most part the insipid cuteness that may still dog the show from the film version of 1973. Here, the cast is fun and inviting and their professionalism never flags—whether leading the group in the vibrant radio-hit “Day by Day” (Katie), or hitting a pure high note in “All Good Gifts” (Andrew), or belting out “Bless the Lord” (Morgan), or hamming up as fallen goats for “We Beseech Thee” (led by Jacob), or enacting a contrite Magdalene (Monica) in “By My Side,” or demanding we heed the teachings, in “Learn Your Lessons Well,” led by Alex, or putting audience members on the spot as Emma leads off Act II with “Turn Back, O Man.” There are also many nice touches to make the preachiness of all those parables (even a church service is generally limited to a few!) go down easier, including a biblical king (Phil) like Trump by way of Alec Baldwin, and a sleazy judge by the name of Weinstein (Phil), as well as puppetry for the story of the Good Samaritan, interesting use of a painting for a grilling by those pesky Pharisees, some nimble stepping by Jesus and Judas to strobe lights in “All for the Best,” and captivating work with lights in “Light of the World,” led by Phil.

Jesus (Trent Saunders) and Judas (Jaime Cepero) in the ACT production of Godspell (photo by Jeff Butchen)

Throughout Act One, Saunders is a genial and soulful Jesus and casting has wisely eschewed the blond heart-throb type of the most recent New York revival. Saunders is a performer of color and he brings to the role an easy-going gentleness that suits it. In Act Two, when he has to chastise—“Alas For You”—the lyrics get a bit buried by the blasting band, but his passion in the song is convincing. As John the Baptist and Judas, Jaime Cepero is a great asset as well, always commanding attention and playing like a dutiful second lieutenant even when that means a betrayal (which Judas can barely bring himself to do—Jesus kisses him rather than vice versa).

Monica (Monica Ramirez), Jesus (Trent Saunders) in the ACT production of Godspell (photo by Jeff Butchen)

Unlike Jesus Christ Superstar, which visits much of the same hallowed text, the libretto of Godspell stresses the parables of Jesus and avoids presenting his trial before Pilate. The death of Jesus is depicted, and seems a sacrificial gesture by someone whose death is meant to be a good thing. And yet, if you don’t know the story you might be baffled by the mystery of what exactly transpires. The lovely song “Beautiful City” is sung late in the show by Jesus at his most beatific and holds out the hope of “a city of man” rather than a “city of angels” (meant to be a way of saying we need to take responsibility for this world and not expect an otherworldly reward, unless it just means to imply that New York is better than LA).

With its eager effort to make the audience feel themselves in the midst of the action—and the spacious amphitheater at ACT aids greatly in that effect—and its many enthralling effects of light (Jack Mehler) and color and costuming (Brenda Phelps), its engaging cast and its very tight band, this 2020 revival of Godspell is bound to inspire more true believers.

The cast of the ACT production of Godspell, directed by Daniel C. Levine (photo by Jeff Butchen)

Godspell
Conceived and originally directed by John-Michael Tebelak
Music and new lyrics by Stephen Schwartz
ACT production conceived and directed by Daniel C. Levine

Choreography: Sara Brians; Music Supervision: Bryan Perri; Music Direction: Danny White; Scenic Design: Reid Thompson; Lighting Design: Jack Mehler; Costume Design: Brenda Phelps; Sound Design: John Salutz; Props Designer: Abigail Bueti; Production Manager: Tom Swetz; Production Stage Manager: Michael Seelbach

Band: Danny White, conductor, keyboards; Miles Aubrey, electric guitars, acoustic guitars, mandolin; Arnold Gottlieb, electric bass, fretless bass, acoustic guitar; Dennis Arcano, drums & percussion

Cast: Jaime Cepero, Shaylen Harger, Jacob Hoffman, Katie Ladner, Alex Lugo, Cameron Nies, Andrew Poston, Monica Ramirez, Trent Saunders, Phil Sloves, Morgan Billings Smith, Emma Tattenbaum-Fine

Children: Nikki Adorante, Marley Bender, Nate Cohen, Sully Dunn, Adelaide Kellen, Colby Kipnes, Jack Rand, Amélie Simard, Caroline Smith, Dean Trevisani

ACT of Connecticut
February 6-March 8, 2020

What Happens There

Review of The Lifespan of a Fact, TheaterWorks, Hartford

TheaterWorks is back with another play seemingly ripped from the headlines, though these days, in terms of their lifespan, facts could said to be on life support, or even in hospice care.

The story behind the play (what seem the agreed-upon facts): author John D’Agata, an essayist who has issues with the practices of journalism and the concept of nonfiction, wrote an essay inspired by the death of Levi Presley, a teen who jumped from the tower of the Stratosphere Hotel in Las Vegas in 2002. D’Agata’s essay was about Vegas, suicide, and other issues he deemed relevant. Harper’s passed on the essay; The Believer took it on and assigned Jim Fingal to fact-check it. Fingal found numerous inaccuracies and questioned, rigorously, much of D’Agata’s authorial license. In 2010, The Believer published the essay, titled “What Happens There.” In 2012, The Lifespan of a Fact was published, a book that revealed the years of dickering over the essay that went on between D’Agata and Fingal, edited by Jill Bialosky. In 2018, a play by Jeremy Kareken & David Murrell and Gordon Farrell based on the book opened on Broadway with an all-star cast of Daniel Radcliffe, Bobby Cannavale, and Cherry Jones.

John D’Agata (Rufus Collins), Emily Penrose (Tasha Lawrence), Jim Fingal (Nick LaMedica) in The Lifespan of a Fact at TheaterWorks (photo by Lanny Nagler)

The Lifespan of a Fact plays at TheaterWorks through March 8, directed by Tracy Brigden and starring Nick LaMedica as Jim Fingal, Rufus Collins as John D’Agata, and Tasha Lawrence as fictional editor Emily Penrose. The play adds drama by making Fingal a new recruit at a publication where D’Agata’s essay is accepted who wants desperately to please his boss—and he has only a weekend to complete the job of checking D’Agata’s facts. He contacts D’Agata, first by email then by phone and, in a nice theatrical touch, is revealed sleeping on D’Agata’s couch, having gone to Vegas—where D’Agata lives in his recently deceased mother’s home—to check on some facts such as the color of the tower’s bricks and the number of lanes involved in what D’Agata calls a traffic jam at its base. Eventually, against any kind of expectation of how editors work, Penrose shows up too. And the showdown begins: to publish or not to publish, since D’Agata seemingly won’t accept any changes. However farfetched her presence is, Lawrence’s bristly impatience, familiarity with D’Agata’s ways, and archly maternal attitudes are welcome.

Nick LaMedica, a very capable comic actor, keeps the proceedings amusing. The play focuses on his truculent insistence on holding D’Agata to account. It’s not so much a pursuit of truth as an effort to protect the world from the kind of bullshit that passes for poetic license or rhetorical sleight-of-hand and which flows blithely through much reporting, most advertising copy, and many-too-many political speeches and presidential tweets. It’s hard not to be on Fingal’s side even if he is a somewhat manic nerd. And even if D’Agata were less of the pompous ass Collins plays him as. There’s physical humor, double-takes, joking asides, and a rather sitcom sense of character and situation.

Jim Fingal (Nick LaMedica) in The Lifespan of a Fact at TheaterWorks (photo by Lanny Nagler)

Certainly, there’s enough here to wax editorial about. As a book, Lifespan might be an interesting exhibit of how two different minds interpret events and the task of turning events into writing. As a play, the treatment gives more importance and impact to D’Agata’s stunts than they outwardly merit. Some examples—such as D’Agata’s claim that a caller who hung up on him when he worked a Vegas suicide crisis line was Presley—aren’t so much factual deviations as suppositions. Something an editor should decide on the value of, for the essay, and either strike or alter or let stand. D’Agata’s sense of truth assumes that emotions are facts. What he feels he is free to write as his view of the facts. And yet the notion that his inaccuracies might cause emotional distress in others doesn’t faze him in the least. Collins makes us register that there is some issue at work in D’Agata, but the play never comes close to deciding what it might be, other than the loss of his mother.

In any case, what’s at stake isn’t so very much, ultimately. Given the kind of publication D’Agata’s piece would appear in, a writerly persona giving a “take” on the events is more or less assumed. In his own mind D’Agata may be the like of Norman Mailer, a titan of prose able to bend the facts of the world to his literary authority, or maybe a “gonzo journalist” like Hunter S. Thompson who once claimed the only source of objective reporting was a ticker-tape machine. Mostly, one assumes, that any readers who stick with D’Agata’s account from beginning to end do so because they simply love what he “does.” His writing is the kind that treats the world as if in need of an author’s intervention to make any sense at all.

In its delivery, Lifespan is one of those plays where topicality trumps any effort to make things interesting or surprising. Which is a way of saying that perhaps it hues too closely to the facts of D’Agata and Fingal and is in need of more writerly license. And yet the play does entertain and, at 85-90 minutes, does not overstay its welcome. One of its nicest theatrical touches, among several, is having the three discussants sit silently for the alleged timespan that Presley sat on the tower before jumping. It’s a moment where—with no words to describe what they feel or think—the three simply expose themselves to a fact: time passes.

Jim Fingal (Nick LaMedica), Emily Penrose (Tasha Lawrence), John D’Agata (Rufus Collins) in The Lifespan of a Fact, TheaterWorks (photo by Lanny Nagler)

The questions about exactitude that Fingal doggedly pursues are more relevant than ever in an era so given to spin and the finessing of facts. At one point, Fingal beseeches D’Agata to consider that, on the internet, anything can be fact-checked or disputed by the intrusive legions ready to find fault. And yet that argument may be in D’Agata’s favor. Since the world will twist, bend, pull apart and repurpose any statement as it likes, why not at least go on the record with the world according to John. D’Agata knows, after all, that a writer has nothing but his words, and they are only his if he believes in the purpose of each one, regardless of how well that suits someone else’s sense of what happened.

The Lifespan of a Fact
By Jeremy Kareken & David Murrell and Gordon Farrell
Directed by Tracy Brigden

Set Design: Brian Prather; Costume Design: Tracy Christensen; Lighting Design: Brian Bembridge; Sound Design: Obadiah Eaves; Projection Design: Zachary Borovay; Hair Consultant: Mark Adam Rampmeyer; Production Manager: Bridget Sullivan; Stage Manager: Kate J. Cudworth

Cast: Rufus Collins, Nick LaMedica, Tasha Lawrence

TheaterWorks
January 30 through March 8, 2020

Call Me Up in Dreamland

Review of Alice, Yale School of Drama

One of the great attractions of Alice, the third show of the Yale School of Drama 2019-20 season, directed by third-year director Logan Ellis, is the prospect of hearing the songs of Tom Waits and Kathleen Brennan sung by someone other than Tom Waits. (And I’m someone who loves listening to Tom Waits!)

That aspect of the show is key because the songs in Alice are sung by characters, most of whom bear some resemblance to characters in Lewis Carroll’s classic and incomparable Alice stories, Alice in Wonderland and Alice’s Adventures Through the Looking Glass (one of the few literary sequels better than the original).

Filtering the adventures of Alice through Waits and Brennan’s Beat carnival sensibility provides a curious and delicious oddity not to be missed. Then filter those songs through arrangements by music director Dan Pardo as sung by some fine voices from the Yale School of Drama that lend them the heft and glow of opera and Broadway and that indeed should be attraction enough.

But consider: Alice, the musical, was developed by avant-garde theater director Robert Wilson, and his stamp on the proceedings, with a libretto developed by Paul Schmidt, further twists the familiar if quizzical terrain in other directions, mainly because Wilson/Schmidt are more interested in real life Alice Liddell (inspiration for our Alice) and Charles Dodgson (Carroll’s actual name) than in Carroll’s creation per se. So the space we travel through here is called Dreamland and watching the show recalled to me one of my favorite puns in Finnegans Wake about “we grisly old Sykos who have done our unsmiling bits on alices, when they were yung and easily freudened.” The Liddell/Dodgson relation is, indeed, frighteningly easy to freuden.

And that lends more than a little perfunctory psyching of the pedophiliac psyche—having to do with Dodgson’s proclivity for photographing pre-pubescent girls, sometimes nude—in what Wilson/Schmidt hath wrought. That aspect mainly impinges in the second half as the script reaches for a through-narrative to hang its symptoms upon, all hinging upon Alice solving “the riddle” of Jabberwocky (the poem of monster-decapitation Alice finds in a book) and, perhaps, beating time. That, for those in need of a plot, may serve as well as anything might, but what matters here is what Waits/Brennan did with their part in all this and it is wonderous indeed, brought vividly to phantasmagoric life by Ellis and his astounding team and cast.

The cast of the Yale School of Drama’s production of Alice, by Robert Wilson, Paul Schmidt, Tom Waits and Kathleen Brennan, directed by Logan Ellis, February, 2020 (photo by T. Charles Erickson)

We begin with screens upon screens that replicate images of Alice (Ilia Isorelýs Paulino) to suggest Dodgson’s photographic fetish (Brittany Bland, projections). Dodgson (Sola Fadiran) opens the show with “Alice,” a song of obsession and melancholy that sets the tone at once. And yet the inspired nature of these characters and their eye-popping costumes by Meg Powers works against Dodgson as a pining pedophile bedeviled by whatever we want to imagine him bedeviled by (Dodgson, a deacon, mathematician and logician, is not a surrealist, not even avant le lettre). What the show makes us face is—yes, obsession and the melancholy of unrequited desire, but it’s the kind we’re apt to have for the figures in our dreams, which may include material from websites, films, shows, books, poems, myths, ritual, and anything in our inner grab-bag.

Mad Hatter (Julian Sanchez), Alice (Ilia Isorelýs Paulino) in the Yale School of Drama production of Alice by Robert Wilson, Paul Schmidt, Tom Waits and Kathleen Brennan, directed by Logan Ellis, February 2020 (photo by T. Charles Erickson)

Anna Grigo’s scenic design creates an open space where the various encounters—each featuring a song or a poem—take place, some—a torture-chamber-like kitchen—having a certain dimension, others— the boat/shop the Sheep (Daniel Liu) navigates—are free-standing sets in their own right. The changeableness of the set perfectly complements the amorphousness of Alice’s imagination as she moves through Dreamland. Done up like a doll, Alice is a mostly willing witness to whatever she encounters. “We’re All Mad Here,” as a song suggests, and Alice gamely takes a “when in Rome . . .” attitude to her interlocutors. Within that world, Dodgson/Carroll is perhaps the Oz-like Wizard behind it all, or at least the dream-father-figure who might help her find a way out. Since Dodgson is also the White Knight and the White Rabbit, he is a kind of all-in-all stopgap; we can call “foul” for the egotistical artist-teacher-master who must insist on his centrality in his protégé’s imagination, but we’re also encouraged to see how the Waits/Brennan songs Fadiran sings—“Fish and Bird” and “Poor Edward” particularly—give us insight into how Dodgson/Carroll understands his own plight. The first ends Act One with a sort of Never-Neverland tableau and duet with Paulino and reprises at the start of Act Two; the second comes late in Act Two and, in Fadiran’s performance, instills a moving sense of the pathos of a creator plagued by his creation.

Charles Dodgson (Sola Fadiran) in the Yale School of Drama production of Alice by Robert Wilson, Paul Schmidt, Tom Waits and Kathleen Brennan, directed by Logan Ellis, February 2020 (photo by T. Charles Erickson)

It’s remarkable how readily Waits/Brennan find beguiling analogs for Carroll’s characters that extend our sense of their possibilities. In a show-stopping moment in Act One, The Caterpillar (Julian Sanchez, in a baroque fantasy of a costume) proclaims his alter ego “Table Top Joe,” a scatting Vegas act that might be Waits’ alter ego as well. Grigo’s design gives Sanchez a thrust space into the audience, and having the Caterpillar undulate into position while singing creates a visual and visceral feat not easy to top. Indeed, Sanchez is a major asset—he gets to wear two amazing get-ups as Mad Hatter (his work with hand-puppets is impressive)  and, with Liu, enacts a teasing number—“Altar Boys”—that, while not derived from Wonderland characters per se, plays campy fun with the clerical trappings of Dodgson as an Anglican deacon.

Other stand-out moments include the lovely, demented-Disney of “Flower’s Grave,” sung by a family of flowers (Robert Lee Hart, John Evans Reese, Jackeline Torres Cortés, Adrienne Wells); “Fawn,” in which Paulino and Wells vocalize beautifully; “Kommienzuspadt,” wherein Robert Lee Hart as the Cheshire Cat channels Waits wonderfully; “Reeperbahn,” with Jessy Yates as a kind of BDSM king on a throne of a wheelchair, stirring up tales of naughty indulgence enacted by the ensemble; “Barcarolle,” in which Liu too blends into the Dodgson persona, this time as a motherly, androgynous sheep, and finally, and very memorably, Paulino—as the aged Alice on a cane—singing “I’m Still Here” as a statement of endurance but also of immortal presence within the Dreamland that, for all we know, might go on without us. Paulino’s Alice is childlike, capricious, and slyly reactive throughout, the giddy kid we might like to be again. Being an audience to Paulino’s emotive and moving way with a song has been a joy of her time, now in its third year, at the Yale School of Drama, and her “I’m Still Here” caps that wonderfully. 

Humpty Dumpty (Jessy Yates), Alice ((Ilia Isorelýs Paulino) in the Yale School of Drama production of Alice by Robert Wilson, Paul Schmidt, Tom Waits and Kathleen Brennan, directed by Logan Ellis, February 2020 (photo by T. Charles Erickson)

There are a few disappointments: the poems “Jabberwocky” and “You Are Old, Father William,” two of my favorites in the books (and add “The Walrus and the Carpenter,” not referenced here, as a third) sort of get lost in the sauce; the Tweedledee (Cortés)/Tweedledum (Reese) segment, while fun and silly, lacks the manic, violent quality Carroll gives it; and “Lost in the Harbour” is sung by Yates as Humpty Dumpty presented as a projection upon a large, suspended egg. The device seems to limit Humpty Dumpty who, in the book, is a key figure and whose song, here, could use more of the wistful doom found in Waits’ rendition on Alice.

As a musical, the Alice of Wilson, Schmidt, Waits and Brennan, is based on a merging of spectacle and song that creates a world more than a story. Logan Ellis and company fully fulfill that imperative, imaginatively, creatively, and with lasting impressions to spare. “There’s only Alice.”

Alice
Concept by Robert Wilson
Music and Lyrics by Tom Waits and Kathleen Brennan
Libretto by Paul Schmidt
Directed by Logan Ellis

Music Direction, Arrangements, and Orchestrations: Dan Pardo; Scenic Design: Anna Grigo; Costume Designer: Meg Powers; Lighting Designer: Riva Fairhall; Sound Designer: Dakota Stipp; Projection Designer: Brittany Bland; Production Dramaturg: Evan Hill; Technical Director: HaoEn Hu; Stage Manager: Bekah Brown

Musicians: Jillian Emerson, cello; Nate Huvard, guitar; Dan Pardo, piano; Epongue Ekille, violin; Calvin Kaleel, bass; Jose Key, saxophone; Leonardo Marques Starck von Mutius, trombone

Cast: Sola Fadiran, Robert Lee Hart, Daniel Liu, Ilia Isorelýs Paulino, John Evans Reese, Julian Sanchez, Jackeline Torres Cortés, Adrienne Wells, Jessy Yates

Yale School of Drama
February 1-7, 2020

The Recourse of History

Review of Manahatta, Yale Repertory Theatre

Two vexed histories circulate through Mary Kathryn Nagle’s fascinating Manahatta, now playing at Yale Repertory Theatre, directed by Laurie Woolery. In the play’s present, Jane Snake (Lily Gladstone), a descendant of the Lenape tribe that once occupied a major portion of the mid-Atlantic region of what we generally call North America, is working on Wall Street, where she becomes a rising star at Lehman Brothers about the time that it all goes bust—2008. In the past, we see how Jane’s ancestors got euchred out of the island of Manahatta by Dutch traders eager to secure land holdings. The two strains act as background—or analogies—to the other story in the present: Jane’s father, who dies during surgery while Jane is getting hired by Joe (Danforth Comins), leaves to her mother, Bobbie (Carla-Rae), enormous bills and scant means to meet them. The ultimate fate of the family’s home in Oklahoma is the point to be decided; history has already shown us what happened to Manahatta and Lehman Brothers.

Jakob (Danforth Comins), Se-ket-tu-may-qua (Steven Flores), Le-le-wa’-you (Lily Gladstone), Peter Minuit (Jeffrey King), Toosh-ki-pa-kwis-i (Shyla Lefner), Mother (Carla-Rae) in Manahatta at Yale Repertory Theatre (photo by Joan Marcus)

And yet. The play’s nimble overlaps urge us to relive these pivotal moments in our nation’s history with at least some consideration of the Lenape’s perspective. Laurie Woolery’s inventive staging of the play does much to help achieve a porous, simultaneous effect. Huge boulders grace Mariana Sanchez’s scenic design in which a sturdy table can anchor scenes separated in space and time. A beautiful backdrop of forests is lit or projected upon to create eye-entrancing spaces that suggest the wonders of our land before development (Emma Deane, lighting; Mark Holthusen, projections), only to become a riot of numbers and digital phrases. An image of Se-ket-tu-may-qua (aka Black Beaver) hovers over the proceedings. In Nagle’s play, this leader of the Lenape in Oklahoma is the descendant of the Native American who rather unwittingly trades away Manahatta when, we suppose, he really thought he was giving hunting permits.

Jane (Lily Gladstone), Dick Fuld (Jeffrey King), Joe (Danforth Comins) in Manahatta at Yale Repertory Theatre (photo by Joan Marcus)

Scenes in the present quickly shift to the past and back again as every actor plays a character in each time period. The most interesting overlap in that regard is Jeffrey King’s dual role as Peter Minuit, who brokers that major real estate steal, and as Dick Fuld, the man at the helm when Lehman went under. In both roles he’s apt to seal a deal with his own very fine brandy, but it’s as Fuld that he adds considerably to the show’s brio, giving the CEO a kind of devil-may-care grasp of how tenuous being on top can be.

Peter Minuit (Jeffrey King), Jakob (Danforth Comins), Le-le-wa’-you (Lily Gladstone) in Manahatta at Yale Repertory Theatre (photo by Joan Marcus)

Another strong double role goes to Lily Gladstone as both Jane and Le-le-wa’-you. It’s not a sense of tribal ways or historical injustices that drive her as Jane, but rather her grasp of mathematics (there’s a somewhat fatuous sense that she alone adds math capabilities to a group of guys content merely to compute appreciation). Jane is winning, charming and smart, and seems fully on her way to a Working Girl (1988) moment of showing that under-represented populations can succeed in the white man’s world of cut-throat capitalism. As Jane’s ancestor Le-le-wa’-you, she amazes the Dutch by learning English and being able to trade. In both eras, Gladstone’s character is a comer.

Debra (Shyla Lefner), Bobbie (Carla-Rae), Se-ket-tu-may-qua (Steven Flores) in Manahatta at Yale Repertory Theatre (photo by Joan Marcus)

At the heart of the play is Carla-Rae’s Bobbie. She is about as far removed from the world where her daughter succeeds as can be, in part because Bobbie still considers the land as her ancestors understood it—which means past and present center in her as someone who will never see ownership as a matter of contracts and rights and payments. Her supportive but at times head-shaking daughter Debra (Shyla Lefner) is the character most concerned that Lenape language and customs continue in the 21st century. The play’s strong sense of how the Lenape move and speak and gesture (Ty Defoe, movement director), and of how they conduct themselves—whether in trading furs or accepting or giving wampum—adds human interest to the play’s rich theatrical space, as when Le-le-wa’-you extends her foot into a space where Paul James Prendergast’s sound design creates a running brook. Costumes, by Stephanie Bahniuk, brilliantly transition with ease between times and places and cultures.

Some elements of the production don’t fully jive—such as Steven Flores’ performance as Luke, a male admirer of Jane; the pair went to school together and Flores plays Luke as though he’s still in high school while Jane is poised and professional. Flores fares better in the past as Se-ket-tu-may-qua who seems exemplary of the tribe’s dignity, and his ultimate fate foreshadows theirs.

Michael (T. Ryder Smith), Bobbie (Carla-Rae) in Manahatta at Yale Repertory Theatre (photo by Joan Marcus)

Other aspects of the play jive in a way that feels more than a bit contrived. It’s good to see T. Ryder Smith back at the Rep after his notable performance in Scenes of Court Life (2016) and here he helps bring needed nuance to a role that invites clichés of prejudice. As Michael, he’s both a church warden and a banker—so that we may see how he leeches away Bobbie’s property as well as her spiritual separatism; in the past, he’s Jonas Michaelius, the first clergyman of the Dutch in North America, who set about “saving” the natives’ children. In both cases, he seems to be present mostly to suggest that Christianity and toxic capitalism go hand-in-hand.

Provocative and fast-paced, Manahatta, which debuted at the Oregon Shakespeare Festival, does better at bringing together the worlds of Manahatta, in the 17th century, and Manhattan, in the 21st than it does at bridging the Manhattan and Oklahoma of 2008. The history in which Se-ket-tu-may-qua and his descendants figure is but sketchily suggested and there’s a sense that the story of Bobbie and Debra exists to provide a homeland backdrop to the reconquest of Manhattan by Jane. And yet, as a New York story, Manahatta isn’t likely to command much urgent attention from twenty-first-century inhabitants of the place.

Jane Snake (Lily Gladstone) in Manahatta at Yale Repertory Theatre (photo by Joan Marcus)

Manahatta
By Mary Kathryn Nagle
Directed by Laurie Woolery

Movement Director: Ty Defoe; Scenic Designer: Mariana Sanchez; Costume Designer: Stephanie Bahniuk; Lighting Designer: Emma Deane; Composer and Sound Designer: Paul James Prendergast; Projection Designer: Mark Holthusen; Hair and Wig Designer: Matthew Armentrout; Production Dramaturg: Madeline Charne; Technical Director: Yaro Yarashevich; Lenape Cultural Consultant: Joe Baker; Vocal and Dialect Coach: Louis Colaianni; Fight Director: Rick Sordelet; Stage Manager: Julia Bates

Cast: Carla-Rae, Danforth Comins, Steven Flores, Lily Gladstone, Jeffrey King, Shyla Lefner, T. Ryder Smith

Yale Repertory Theatre
January 24-February 15, 2020

Earthless is Worthless

Review of Elon Musk and the Plan to Blow Up Mars The Musical, Yale Cabaret

In Liam Bellman-Sharpe’s sci-fi musical, Elon Musk and the Plan to Blow Up Mars, Elon Musk, the entrepreneur behind Tesla, SpaceX, and other tech concerns, is a man with a mission. After commiserating with a group of billionaires—including Jeff Bezos (Eli Pauley)—who confide to us that it’s great to be rich but it’s hard to be rich, Musk (David Mitsch) comes forward with a song describing his love of Mars, a view that seems true of the actual Musk with his dream of a colony there someday.

It comes as a surprise, then, when the crew of a spaceflight to Mars—Captain (Nomè SiDone), Eyes (Madeline Seidman), Hands (Maal Imani West), Navigator (Isuri Wijesundara)—learn that Musk is aboard, that he chartered the flight, and that he has plans to destroy the Earth’s nearest neighbor. Musk’s change of heart—from colonizing Mars to destroying it—comes via “the Voice of the Night Sky,” a kind of burning-bush moment that converts Musk from a proselytizer for humanity’s destiny among the stars to a kind of interplanetary terrorist, willing to obliterate the red planet to save the blue one.

The absurdity of the musical’s plot could be said to be an intentional mirroring of the absurdity of financial titans becoming space-age saviors, but the show also features the kind of daffy shenanigans that have been the basis of grade B sci-fi films for decades. And that makes for some very entertaining bits, such as Patrick Young as a quintessential mad scientist enlisted by Musk to plumb the possibilities of antimatter, which is key to his scheme, and some offbeat satirical science presentations.

In the first, Maal Imani West delivers a “thought experiment” on how scientific breakthroughs, in affording new products, can solve problems that are more lucrative to leave unsolved. Using dentures as her example, and aided by great graphics by projection designers Erin Sullivan and Hannah Tran, West reflects on how a demand for new teeth could lead to plans to undermine tooth and bone to make the general populace dependent on new products to save them from conditions created by the breakthrough itself. Sound familiar?

Bellman-Sharpe’s target in all this isn’t simply the absurd wealth and power of Musk or Bezos but the system that has enriched and empowered them. And if their grasp of capitalist principles weren’t enough, we’re faced with their space manias as a prospect of what the rich may do when they decide they needn’t be stuck on this woefully mismanaged rock with the rest of us. As Educational Host (Isuri Wijesundra) delivers a bouncy science lesson on “slime molds” and their ability to proliferate and form bonds with the complexity “of the interstate system,” Bezos is desperately trying to reach Musk to dissuade him from making Mars extinct. The dovetailing of Bezos’ fear of capitalism imploding and the Host’s upbeat ditty about the wonders of single-cell lifeforms works as an ironic commentary on how far we’ve come—in evolutionary terms—and how far we can fall.

While not quite a full musical in its lack of a big finale musical number, Elon Musk . . . does boast the requisite romantic interlude. Here it’s a wonderfully comic and spirited encounter between Eyes and a being made of Antimatter (Patrick Falcon). The pas de deux and duet (Antimatter’s lovely voice provided by Taylor Hoffman) puts both heart into the show and a spanner in the works of Musk’s plan, as Eyes, now in love with Antimatter, wants to preserve the creature at the cost of not destroying Mars.

The show’s oddity is its saving grace, but its narrative arc tends to be a bit hodgepodge, including a vaudeville routine about speeding in space and a song by a Drag King (Maal Imani West in male drag that smacks a bit of Little Richard, with a sumptuous smoking jacket) about the world not being a place to bring children into. Thanks to West’s great singing voice, the song is a standout even if we might wonder how it fits in, exactly.

All in all, one might say, that whether you’re trying to destroy a planet or to save one, a kitchen-sink approach is best, and one wouldn’t want to underestimate the enormous profits to be made by capitalizing on either project. In Elon Musk and the Plan to Blow Up Mars the Musical, science as a means to get rich and science as a means to save the Earth and/or mankind has reached its tipping point. That timely reflection and the possibilities of a sci-fi musical with big name power players in its dramatis personae certainly gives Bellman-Sharpe’s play remarkable potential. Per aspera ad astra.

Elon Musk and the Plan to Blow Up Mars the Musical
Music, Text, and Direction by Liam Bellman-Sharpe

Choreographer: Mariel Pettee; Set Designer: Alex McGargar; Costume Designer: David Mitsch; Lighting Designer: Noel Nichols; Sound System Designer: James T. McLoughlin; Projections Designer: Erin Sullivan; Associate Projections Designer: Hannah Tran; Associate Stage Manager: Kevin Jinghong Zhu; Dramaturg: Henriette Rietveld; Technical Director: Jonathan Jolly; Producer: Carl Holvick; Stage Manager: Sam Tirrell

Cast: Patrick Ball, Patrick Falcon, David Mitsch, Eli Pauley, Madeline Seidman, Nomè SiDone, Bailey Trierweiler, Maal Imani West, Isuri Wijesundara, Patrick Young

Musicians: Sharon Ahn, keyboards; Roberto Granados, guitar (alternate); Thomas Hagen, drums; Satchel Henneman, guitar; Taylor Hoffman, vocals; Paul Mortilla, violin; Adin Ring, bass

Yale Cabaret
January 23-25, 2020