Cab 47 Recap

Season 47 of the Yale Cabaret has ended its run as of April 25th, which must mean it's time for a re-cap of the season. A re-cap wherein I try to recall and celebrate my favorite contributions to the magical basement that is the Yale Cabaret. Ready? Here are a baker's dozen of categories with my five exemplars in each (in chronological order, but for my fave pick), for a total of 65 citations: New Play: This year’s top five never-before-seen, new plays were: Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time, in which Alice in Wonderland—or rather Liddy in Wonderland—meets “Little Miss” beauty pageants, written with verve for a cast of crazies by Emily Zemba; The Zero Scenario, in which every Cleveland in these United States is threatened by the Ticks of Death but for a special plucky band of heroes, written by Ryan Campbell; The Untitled Project, in which a collective of black male YSD’ers create self-portraits in the context of racial profiling, conceived and directed by Ato Blankson-Wood and created by the ensemble; Sister Sandman Please, in which three sisters put it out there for a cowboy, with varying degrees of passion, irony and intention, written by Jessica Rizzo; and ... 50:13, in which an incarcerated black man about to be freed tries to tell it like it is, with candor, wit and a variety of character sketches, to a young prison-mate, written by Jiréh Breon Holder.

Adapted Play: Impressive pre-existing plays adapted for Cab 47 included four translations and an English-language opera: Don’t Be Too Surprised, written by Geun-Hyung Park, translated and directed by Kee-Yoon Nahm, lets us know in no uncertain terms that familial dysfunction can still take surprising forms on stage; MuZeum, translated and directed by Ankur Sharma, tells stories from ancient sources and contemporary headlines, to dramatize powerfully the victimization of women; Quartet by Heinrich Müller, translated by Doug Langworthy, directed by David Bruin, revisits Laclos’ Dangerous Liaisons as a wickedly entertaining pas de deux and psychologically fraught cat-and-mouse; The Medium, an opera by Gian Carlo Menotti, directed by Ahn Lê, creates a world of mystery, loss, and deep feeling and gives further credence to the notion that opera is not just for opera houses; and ... Leonce and Lena by Georg Büchner, translated by Gavin Whitehead, directed by Gavin Whitehead and Elizabeth Dinkova, presents a play of aristocratic ennui that torches the well-made play, and this time with puppets!

Set Design: After all, the Cab is a basement with a kitchen, and convincing us we’re in a new space each week takes some doing. Here are some set designs that went beyond all expectation in their achieved artistry: Kurtis Boetcher’s set for Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time made a door where there’s a window and had the coloring and style of a child’s playhouse; Joey Moro’s versatile set for Hotel Nepenthe breathed a seedy charm, like we imagine Hotel Duncan does, or should; Chika Shimuzi and Izmir Ickbal’s stunning set for MuZeum lent aura aplenty and eye-catching beauty to its revue-style presentation; Christopher Thompson’s set for The Zero Scenario seemed to defy space itself in cramming so much busy-ness into the Cab, including a motelroom and a hidden headquarters, and ... Adrian Martinez Frausto’s moody set for The Medium was so fully achieved in its seedy gentility it might be a film set inviting a camera’s scrutiny.

Costumes: Dressing actors for their parts often goes beyond the norm, creating inspired additions to the visual flair of a show. Some of the tops in costumes were: Grier Coleman’s range of captivating dress for ancient characters of India and contemporary folks in MuZeum; Fabian Aguilar and Alexae Visel’s super cool get-ups for the agents protecting us from Tick Apocalypse in The Zero Scenario; Alexae Visel’s authentic mock-ups of the cartoonish costumes of the old Batman series “fit just like my glove” in Episode 21: Catfight; Haydee Zelideth had a field day with modernist Enlightenment-era costuming in Leonce and Lena; and ... Soule Golden and Montana Blanco rendered camp versions of the White Rabbit, Hatter, White Queen, and Tweedledum/dee we won’t soon forget in Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time.

Lighting: It doesn’t just help us see, it also selects and shows and evokes, sometimes making for quite magical effects. Illuminating dancers with lights that added to both movement and music in Solo Bach: Caitlin Smith Rapoport; creating a wealth of visual effects that kept us entranced in MuZeum: Joey Moro; putting on a show and putting-on the trappings of a storybook world in Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time: Joey Moro; using light to complement stories and to add drama in 50:13: Elizabeth Mak; and ... creating an Old World atmosphere both spooky and authentic in The Medium: Andrew Griffin.

Sound: It can be used in striking or surprising ways, or to create an aural texture to accompany the action. Creating a wintery world with bursts of music and broadcasts in Rose and the Rime: Jon Roberts, Joel Abbott; maintaining a sustained eerieness and B-movie aura in Hotel Nepenthe: Sinan Zafar; incorporating music and a range of emotional tones in MuZeum: Tyler Kieffer; bringing together recorded voice, spoken voice, and background music into a collage in The Untitled Project: Tyler Kieffer; and ... merging voices, sound effects, loops and his own music to create a shifting aural space in Sister Sandman Please: Chris Ross-Ewart.

Music and Movement: We don’t always get both, but it can make for entrancing theater when we do: MuZeum featured essential music by Anita Shastri, played on stage by a crew of musicians/actors and interacted with by the actors; The Untitled Project used recorded music tellingly and featured a show-stopping dance sequence by Ato Blankson-Wood; The Medium presented a stirring reduction of Menotti’s score into a solo piano tour de force by Jill Brunelle, expressive miming from José Ramón Sabín Lestayo, and impressive vocals from the cast; Sister Sandman Please benefited from Chris Ross-Ewart’s compositions amidst the aural textures, and delighted with a raucous “O Holy Night” from Ashley Chang; and ... Solo Bach showcased Zou Yu’s amazing solo violin performances, combined with the inventive, cryptic and dramatic choreography by Shayna Keller and her actor/dancers: Paul Cooper, Chalia La Tour, Julian Elijah Martinez, Leora Morris.

Special Effects: An ad hoc category that includes whatever doesn’t fit into other categories, such as: the combination of lights and star chart backdrop to create a sense of wonder in Touch: Joey Moro; the evocative projections-as-scenery in Solo Bach: Rasean Davonte Johnson; the B-movie monster ticks and blood and projections and other effects in The Zero Scenario: Rasean Davonte Johnson, Mike Paddock; the varied creepy puppets, hand-held and string-operated, in Leonce and Lena: Emily Baldasarra; and ... the use of projections and clips to tell stories and create context with images in The Untitled Project: Rasean Davonte Johnson.

Acting (ensemble): Ideally, the acting in a play is a group affair, in which everyone plays a part, of course. Still, it’s worth remarking on when a cast is more than the sum of its parts, as in these shows: Look Up, Speak Nicely and Don’t Twiddle Your Fingers All the Time, the big kick-off extravaganza of the season featured a gallery of colorful characters by Sarah Williams, Celeste Arias, Aubie Merrylees, Shaunette Renée Wilson, Yahya Abdul-Mateen II, Melanie Field, Andrej Visky, Libby Peterson; The Zero Scenario, the crowd-pleasing first semester closer, pulled out all the stops with Ariana Venturi, Tom Pecinka, Sara Holdren, Ankur Sharma, Aaron Profumo, Emily Zemba, Ryan Campbell; The Untitled Project, an ensemble-derived show that focused on the subtle distinctions and broad stereotypes of race, was created and enacted by Taylor Barfield, Ato Blankson-Wood, Cornelius Davidson, Leland Fowler, Jiréh Breon Holder, Phillip Howze, Galen Kane; Leonce and Lena, in which actors and puppet-handler/actors interacted to create a zany theatrical world of kingdoms and encounters, with Sebastian Arboleda, Juliana Canfield, David Clauson, Anna Crivelli, Ricardo Dávila, Edmund Donovan, Josh Goulding, Steven C. Koernig, Lynda A.H. Paul, Nahuel Telleria; and ... Hotel Nepenthe, a comic tour de force of changing roles, repeating characters, and linked situations that ran from the creepy to the farcical, all created with manic intensity by Bradley James Tejeda, Annelise Lawson, Emily Reeder, Galen Kane.

Acting (individual): For individual performances, I’m going with some standouts, whether in accomplished ensemble work, or showcased in two-handers, or in the unrelenting spotlight of the solo show. Ladies first: Celeste Arias, hilarious as an unhinged mommie dearest in Look Up, Speak Nicely and Don’t Twiddle Your Fingers All the Time; Sydney Lemmon, riveting as Mme Merteuil but even more so as Mme Merteuil/Valmont in Quartet; Maura Hooper, chameleonic as a series of characters, including a disaffected nun and a happy hooker, in Shiny Objects; Zenzi Williams, demonstrating a range of attitudes in four characters, from spiritual to demur to quietly confident in Shiny Objects, and ... Tiffany Mack, unforgettable as a heart-wrenching victim of an acid attack in MuZeum.

Acting (individual): And from the men: Jonathan Majors, finding himself in an unbearable situation and quietly going to pieces in Touch; Tom Pecinka as a highly verbal passenger monologuing his anxiety in The Zero Scenario; Edmund Donovan, riveting as Valmont but even more so as Valmont/Mme de Tourvel in Quartet; Ricardo Dávila as the slippery, caustic and fascinating Valerio in Leonce and Lena; and ... Leland Fowler as a stand-up guy feeling the longings of the jailed and acting out a quick lesson in family history and racism in 50:13.

Directing: For the vision behind the whole shebang that makes it all hang together, we celebrate directors: for the all-out campy and creepy charm of Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time: Ato Blankson-Wood; for keeping the hopscotch logic and many shifts in tone of Hotel Nepenthe on point: Rachel Carpman; for creating the interplay of stories, including humor, confrontation, and violence in MuZeum: Ankur Sharma; for showing a dramatic and thoughtful grasp of the resilience of a human spirit trapped in a cage in 50:13: Jonathan Majors; and ... for providing the comic highpoint of the season with wild charm, horror surprises and relentless verve in The Zero Scenario: Sara Holdren.

Production: From the above, it’s obvious which shows seemed tops to me, but to bring them all together for a final nod: Hotel Nepenthe, Sarah Williams, producer, Taylor Barfield, dramaturg, Avery Trunko, stage manager, the kind of shifting and surprising show that keeps me coming back to theater; MuZeum, Anita Shastri, producer, Maria Ines Marques, dramaturg, Emily DeNardo, stage manager, a strong and cathartic import to our shores; The Zero Scenario, Ahn Lê, producer, Helen Jaksch and Nahuel Telleria, dramaturgs, Anita Shastri, stage manager, a crazy sci-fi ride that screams “sequel!”; 50:13, Jason Najjoum, producer, Taylor Barfield, dramaturg, Lauren E. Banks, stage manager, an important and meaningful addition to the one-person play and the "black lives matter" movement; and ... Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time, Kelly Kerwin, producer, Nahuel Telleria, dramaturg, Avery Trunko stage manager, “the gang’s all here” type of theater, presenting a lively riff on the rigors of growing up female in our media-ized Wonderland.

Thanks again to our hosts for 18 weekends—plus a Drag Show: Molly Hennighausen, Will Rucker, Tyler Kieffer, and Hugh Farrell. And ... see you next season, at the Cab!

The Yale Cabaret Season 47 September 18, 2014-April 25, 2015

All in the Family

Review of Don't Be Too Surprised, Yale Cabaret This weekend the Yale Cabaret is dark. Last weekend, Cab 2 offered Don’t Be Too Surprised by Korean actor and playwright Geun-Hyung Park, translated and directed by Kee-Youn Nahm, a YSD dramaturg. As a production, the show was indicative of the ad hoc approach the Cab often boasts, as none of the performers in the play were actually actors and two were non-YSD students. A chance to work outside discipline is one of the attractions of the Cab for YSD students and others, so we shouldn’t be too surprised.

The show’s menu featured the names of all dishes in both English and Korean and that gave immediate indication of the kind of hybridity the play sported. Finding a Korean equivalent for “lemon madeleines” might be as interesting as finding English equivalents for the dynamics of Park’s offbeat play, as filtered through Nahm’s translation. At times we might wonder how what we’re seeing would sound and feel in its native language, where the odd family dynamic featured in the play might be embraced as obvious satire or maybe even as tragi-comic melodrama. The playbill statement from the Artistic Directors and Managing Director asserts that “this production tackles a cultural translation—one that offers a fresh perspective on the absurdity of our everyday.”

Indeed, the humor of absurd theater keeps the play unpredictable and enigmatic, where Father (Helen Jaksch) seems to be in low-key mourning for a colleague who recently committed suicide and then, to the surprise (though not too much) of his Second Son (David Clauson), hangs himself in the bathroom. That might not seem the least bit amusing but for the fact that he continues to hang in plain view of the audience every time the door to the bathroom is open—as it frequently is due to Second Son’s constipated but determined attempts to void his bowels. Clauson crouched on the commode grunting beneath his dead father’s more or less sympathetic eye becomes a regular “gag,” if you will—one that might have, depending on how you view such things, considerable symbolic meaning for anything from customs of potty-training to customs of burial and commemoration. Or it might just be a protracted bathroom joke.

The other members of this dysfunctional family include First Son, played by David E. Bruin as a self-involved filmmaker who barely notes in passing late in the play that his wife (Caitlin S. Griffin) gave their child up for adoption. The child, as his wife reveals, also in passing, had a blood type that indicated the child could not have been her husband’s. Other shenanigans: in addition to Second Son’s constipation he is also unwilling or unable to leave the house; the wife seems to occupy the role of waitress/exotic dancer/escort at a local bar, a position she says her husband urged her to take. And why not, her fees for her services there—including bringing home a client (Justin Meadows)—seem to be the household’s only real income.

The latter might seem a minor point, but as the play goes on the “absurdity” of its situation seems to teeter more to a kind of “toilet seat realism” where the throes of this family hitting rock bottom is buoyed only by their rather odd and amusing detachment from what they’re going through. A situation which might seem potent with plenty of O’Neill-like psychic misery and verbal breast-beating is instead delivered with a zest only a few notches lower than a sit-com. We could even say that its sit-com nature predominates when—as occurs several times—characters enact karaoke routines that appear, sometimes, on their living room console (in Ni Wen’s colorful projections) and also on flatscreens strategically placed in the theater. Griffin in particular does a great job of presenting the at-times brutally direct speech of the play with engagingly forthright delivery. Similarly, Meadows as the rather nonplussed “gentleman caller” in one little scenario is hilariously off-hand when meeting his escort’s husband, brother, and the corpse of her father-in-law. In perfect he-handyman fashion, he offers to fix the fan in the bathroom to help with the stench.

In the midst of all this are moments, gestures, speeches that may cause us to contemplate the precariousness of family relations, the difficult accommodations that any of us might have to make with our place and time, and even fable-like tales of an octopus and a crab, as well as talismanic memories—for Second Son, of his mother—that create a kind of post-Freudian (in the West anyway) fabric of potential symptoms, regressions and repressions. While that might sound heady, the play’s language is so precise in its casual rhythms we don’t really feel confronted, though we may well be uncomfortable.

The costumes and set by Chika Shimizu combine to form what we might call an aesthetic of the second-hand. The TV console is an ungraceful embarrassment that might be salvageable as a kitschy keepsake. And the same applies to the vaguely hipsterish look of First Son’s jacket and pants and the economy-store eroticism of his wife’s costume. As an elderly man with a certain dignity in his depression, Jaksch does most to remind us that these characters were written as modern day Koreans. That aspect of the play—its relation to a where and when that Park might have in mind—becomes tenuous as we progress, despite kowtows by First Son and Second Son to their father’s hovering corpse—or is that to the toilet bowl?

Don’t Be Too Surprised is an oddly engaging and amusing play that keeps us guessing about its intentions long after we’ve seen it.

A week from this Thursday, the Cab returns with American Gothic, a newly derived work combining short stories by three exemplars of the form: Jorge Luis Borges, Flannery O’Connor, and Raymond Carver.

Don’t Be Too Surprised Written by Geun-Hyung Park Translated and directed by Kee-Yoon Nahm

Dramaturg: Helen Jaksch; Costumes: Chika Shimizu; Set: Chika Shimizu; Lights: Carolina Ortiz; Sound: Kate Marvin; Projections: Ni Wen; Stage Manager: Emily DeNardo; Technical Director: Kate Newman; Producer: Sally Shen

Yale Cabaret September 25-27, 2014

Yale Cabaret Season 47: Down the Stairs We Go

Next weekend the Yale Cabaret returns—Cab 47—helmed by Artistic Directors, Hugh Farrell, a dramaturg, Will Rucker, a stage manager, Tyler Kieffer, a sound designer (who have participated in 19 shows at the Cab and/or Summer Cab amongst them), and Managing Director Molly Hennighausen, who ably managed the Summer Cabaret of 2013.

The Cab is the go-to spot for the unusual, the off-the-wall, the below-stairs (it’s literally in a basement, which this year’s logo capitalizes on, creating the look of a movie ad from the Sixties where a trip down the stairs may lead to unimagined things). It’s a place of creative ferment, where students see what they can do—often in areas they aren’t being officially trained in—and what they can get away with. The audience can be a mix—as Molly Hennighausen says—of many first-timers, drawn by the word-of-mouth of a specific show, and many dedicated regulars, who come no matter what’s on offer.

It’s also a convivial place to dine, thanks to Anna Belcher’s kitchen skills, with a changing menu that always offers 3 entrees, a number of small plates, a salad, a soup, and a choice of desserts, not to mention a fairly varied wine-list and a selection of beers. All the dining business is over before the show begins, with tables cleared, generally, so there’s little of the distraction of plates and forks while the play’s playing.

If you like your theater up-close and personal, with, as it were, the strings showing, then the Cab is a dream. And, if you come more than once, you’re likely to see the people who, one week, put on the show doing the service and such another week. It’s a “we all muck in together” entity, even more so now that Work Study support has been withdrawn. Previously, Work Study picked up half the wage of the Cab’s workers, so now the Cab, to stay on budget, will lean upon generous donors and sponsors—and full houses—more than before. The Cab’s site lists the different levels of patronage available, including the popular “show sponsor”—an innovation begun by Managing Director Jonathan Wemette in the 45th anniversary season, 2011-12. Check back here to get a brief preview of the shows when they’re announced, then hand over a check for the show you want to back. And if that’s too big a commitment, smaller donations—as Enthusiast, Friend, and even “Starving Artist” level—are available. The Cab is a unique institution, well worthy of support.

The site claims two mantras for this season: Make Happen the Make Believe—a good imperative for any creative endeavor—and Now or Never, which certainly puts an emphasis on timeliness and limited time. Theater, more than any other creative work, requires presence in the here and now.

The first three shows of the season have been announced, and the new décor—which features a classically appointed entranceway/lobby that will be complete with tech features, such as piped-in music or live audio feeds from inside the theater—is developing. The team—Hugh, Will, Tyler, and Molly—stress an “open door” policy and their accessibility as a team to audience input, and likewise to the students who may have ideas for proposals. They looked at 7 proposals for the first 3 slots and take a supportive, enabling role in all projects they accept, and can help teams get together for resubmitting proposals not successful at first. The teamwork of the projected work is key.

Hugh says the proposal by the Cab 47 team focused on “community and collaboration”—the community of YSD, certainly, but also the community that the theater serves, with “collaboration” a broad term that extends from the various talents of the people involved in the show—from those who build the sets and make the costumes to those who research and write and act and direct and keep the place running—to those who provide attention and feedback as audience. Will stresses “generosity without expectation” which is a way of saying “just show-up, ready for whatever.” It’s different each week and what you get should be something other than what you expected. The team wants to make a season “full of that Cab show”—the one everyone talks about and remembers. And that’s not necessarily to say it’s all about love and praise. Making people grapple with what they’ve seen, or offer personal insights, is part of the Cab experience.

First up is Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time—a new play by third-year playwright Emily Zemba, who collaborated on last year’s crowd-pleasing season opener, We Know Edie LaMinx Had a Gun. Look Up will feature a “sort of mash-up” of Alice’s Adventures in Wonderland with Toddlers and Tiaras. Directed by third-year actor Ato Blankson-Wood, who’s been turning in worthwhile Cab performances since the Summer Cab of 2013, and featuring Celeste Arias, ditto, the play follows Liddy, a young girl coping with the pressures of a child beauty pageant while encountering a series of characters right out of Lewis Carroll by way of whatever cultural associations the team tosses in. September 18-20

Cab 2 is a new translation by Kee-Yoon Nahm of Geun-Hyung Park’s Don’t Be Too Surprised. Nahm, trained as a dramaturg at YSD, also directs the cast, which will not include YSD actors, in “a really dark comedy” from 2009. Park is a prolific Korean actor—on screen, TV and stage—who also writes, and his play is about a fraught relationship between father and grown son, that features karaoke and an on-stage suicide. September 25-27

The third of the first three shows is American Gothic—no, not the painting by Grant Wood, nor the novel by William Gaddis, but an ambitious combining of three stories: Jorge Luis Borges’ “The South,” Raymond Carver’s “Popular Mechanics,” and Flannery O’Connor’s oft-anthologized and taught, “A Good Man is Hard to Find”—which puts the “Southern” in Southern Gothic. Proposed by two dramaturgy students, Eli Epstein-Deutsch and Nahuel Telleria, and directed by Telleria, the play represents a collaboration by students in YSD, the Yale School of Music, and the Yale School of Art, and features an “installation-like set” by Sam Vernon. October 9-11

When speaking about the Cab 47 team’s leadership and guidance in soliciting, aiding, and choosing proposals, Molly stresses how “safe” the Cab is: in the sense that almost anything can get a try-out there. Its small size means the house is frequently sold out, and that creates an exciting environment for both audience and performers. As a “safe house” for theatrical experiment, the Cab is truly a New Haven treasure.

It’s now or never: help make happen the make believe. Your eyes and ears are required.

Yale Cabaret 217 Park Street New Haven, CT

It's Not Easy Being Blue

The most recent Yale Cabaret offering was inspired by the art theory of Wassily Kandinsky, the modernist painter and Bauhaus instructor who earlier was a founder of the avant-garde group The Blue Rider.  If you’re wondering how art theory can supply the basis for drama, you have to imagine a series of dialogues between blue and yellow. For Kandinsky, these two primary colors represent the first principles of color in painting—yellow, terrestial warmth; blue, celestial coolness.  In Out of the Blue, written by Kee-Yoon Nahm, a dramaturgy student at YSD, and directed by Elliot B. Quick, the Cab’s Associate Artistic Director this semester, Blue and Yellow become, respectively, an artist (Jack Moran) and his model (Jillian Taylor).  “Art can only begin at the point where love and compassion end,” Kandinsky wrote, and with that statement as the tagline for the play, you can intuit that whatever the desires of the individuals might be, the pursuit of art is going to overwhelm any attempt at intimacy.

In the play, Yellow represents the aggressive nature of human interaction, always trying to make something happen between people, and Blue represents the withdrawal from interaction, the attempt to remain solitary and unprovoked.   If that sounds incredibly abstract, that’s appropriate to Kandinsky’s view of art, but in practice it produced several amusing vignettes in which the artist figure became a French monk, a Russian explorer, and an American Man in the Moon.  In each case Yellow became the figure for human interest, the busy destroyer of solitude, arriving to insist on a relation to other people.

Back at the painting studio, the artist has to explain to his mother why he dropped out of art school, and overcome his model’s aggressive suggestion that he represent her entire body, not just her hands.  Both actors expressed the qualities of their respective colors, with Moran moody and detached, Taylor bright with bonhomie.  The set (Kristen Robinson, designer) and lighting (Yi Zhao, designer) added dimension by providing painted blue shadows to objects—a chair, an easel, a bookshelf—bathed in yellow light.  And there were slide projections (Hannah Wasileski, designer) that seemed derived from a personality test in which the viewer was asked to describe the relation between a yellow triangle and a blue circle.  The fact that the circle seemed at times like an ovum subjected to the triangle’s efforts to penetrate only added to the old notion that the artist is “feminine,” and the imagination a world unto itself.  And yet, the play suggested, looking at art, no matter how detached from the everyday worlds we inhabit, might still bring us together.

Out of the Blue, written by Kee-Yoon Nahm; directed by Elliot B. Quick

The Yale Cabaret, February 10-12, 2011