Don’t let the upbeat opening music fool you. This is one intense table.
Three individuals arrive at a poker game. One individual is earnestly present in spite of her current circumstances and two cannot escape their immediate pressures and distractions even though they all share a common goal – to be present together.
Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
Written and directed thoughtfully by Kevin T. Durfee, Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Due to a blizzard, this program had to be delayed a week. Click here for more information about the production and here for more information about Chain Theatre, which presents over 90 one act productions during its annual winter festival.
Mary McCarthy in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
A small, floral covered table should bring friends together, but they cannot help but misunderstand each other. In their own way, they all secretly plead for help, but cannot be heard. Durfee uses communication breakdown in a clever way to depict each individual’s perspective through Mary McCarthy as struggling mother One, Griffin Garnett portrays struggling worker Another, and Hannah Wu depicts unemployed Alternative. Athleisure, a business suit, and casually dressed respectively fittingly reflect their distinctive life perspectives. They all aptly underline their distress as they long for the comfort of each other’s company, but cannot escape their various individual pressures.
Griffin Garnett in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
Confiding and connecting are so important. Durfee was inspired to write this work through his own experiences meeting up with friends and everyone is so engulfed in their current circumstances, they catch up, but may lack genuine connection. Durfee uses potentially life altering circumstances, but lack of connection is so easy to do in friendship or in any relationship, especially when even the lure of a cell phone is enough of a distraction from making a genuine human connection. Listening, connection and confiding can lighten anyone’s struggles even when things happen.
Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
Scenes of (Dis) Connections provide just a snapshot of a friendship without a background story, but could be the foundation of a larger narrative. In its brief time, it begs a few questions about these three interesting characters. How they became friends, how they found themselves in these circumstances and how their friendship progresses would make for an excellent larger production.
Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Ryan Blaise and Shannon Adams Creative
Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Click here for more information about the production and here for more information about Chain Theatre.
Chance meetings and a string of random events bring a group of Bohemian artists together in profound ways as they struggle to survive in NYC. Spanning one year from 1989-1990, North Shore Music Theatre’sRent reveals a striking and darker interpretation than previous versions I have witnessed. Perhaps it’s a reflection of our troubled times, but its powerful and optimistic message still remains that the best way to cope with suffering is by holding onto each other.
Directed poignantly yet hopefully with sharp choreography by Marcos Santana and vigorous music direction by Robert L. Rucinski, North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28. This rock musical has adult themes and ran two hours and 35 minutes with one 15 minute intermission. Click here for more information and here what is next in North Shore Music Theatre’s season.
Having had phenomenal success as an acclaimed hit musical in the 90s and as one of the longest running shows on Broadway, Rent took the stage around the world and was adapted into a film of the same name in 2005. It recently celebrated its 30th anniversary since its stage debut and it has been nearly 30 years since its Broadway debut. In 2021, Lin-Manuel Miranda also directed the acclaimed film adaptation of autobiographical musical, Tick Tick Boom, based on Rent creator Jonathan Larson’s life starring Andrew Garfield.
Based on Puccini’s world famous opera, La bohème , Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City during the AIDS epidemic. It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.
A chalkboard graffiti-riddled floor, tattered rafters, scaffolding, glowing Christmas bulbs, street lights and a sporadically-lit and weathered neon sign illuminated by José Santiago’s vibrant lighting is just a portion of Jeffrey D. Kmiec’s industrial-inspired sliding set design depicting Mark and Roger’s East Village loft in Manhattan. Rent truly comes to life through video designer Beth Truax’s cinematic touch and Alex Berg’s bustling sound design.
Like nostalgia of the era displayed in North Shore Music Theatre’s previous production of Grease, Rent showcases its own remnants of 80s and 90s nostalgic flair in combat boots, flannels, pay phones, corded phones, amusing answering machine messages and newspapers.
After a quieter opening scene, Rent hits the ground running with fervor, urgency, and pulsing chorography in its title track. This theatre-in-the-round’s immersive experience featured various incidents of kindness and conflict occurring in several parts of the theatre and this trend continued several more times ranging from humor to frustration in building intensity.
Driven by powerful and edgy vocals, Rent’s characters are a combination of dreamers and those firmly planted in the present doing whatever it takes to get through everyday life. Aaron Alcarez depicts ambitious and determined Mark, an aspiring documentary filmmaker living with his contemplative and temperamental roommate Roger, portrayed movingly by Austin Turner. Roger is HIV-positive, a recovering drug addict and with guitar in hand, vows to write one amazing song before he passes demonstrated in rising triumph in One Song Glory. However, when Didi Romero as vivacious Mimi shows up at their apartment, life takes an unexpected turn demonstrated in a playful duet and instant chemistry with Turner in Will You Light My Candle and the sincere and tender, I Should Tell You.
In fishnet tights and layered clothing, Romero is daring, charming and bold as free spirit Mimi fueled by Romero’s provocative and soaring vocals Out Tonight, possessing more than a passing resemblance to Idina Menzel who portrayed Mimi in the 2005 film. Robert Garcia approaches complex Angel with a self-assured kindness and less splashy demeanor in Are You Okay while Aaron Arnel Harrington warmly portrays Collins with a distinctive deep baritone.
A jumble of ostentatious ego, stubbornness and high maintenance, Cate Hayman puts gusto in Maureen, especially in a gutsy and unhinged rendition of Over the Moon. Level headed and hardnosed lawyer Joanne, portrayed with powerful vocals and a guttural growl by Kat Rodriguez, rocks in Take me or Leave Me, but one of the best moments of the musical occurs between Alcaraz and Rodriguez in a catchy, chiming and playful harmony in Tango: Maureen.
Grave issues such as homelessness, capitalism, promiscuity and drug addiction are often laid bare in Rent and is partially demonstrated in the bold La Vie Boehme. Romance in this musical makes an impact, but what far exceeds the romance is the incredible harmony and camaraderie this group creates together. Christmas Bells, Happy New Year, and Another Day soar, but nothing quite compares to the musical’s iconic number, Seasons of Love in which the audience shared a moment of stunned silence in awe of the stirring power of that moment.
North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28. Click here for more information and here for here for what is next in North Shore Music Theatre’s season.
Commanding the stage and the audience is pitch perfect Aimee Doherty as conspiring Dolly Levi who sings for her supper as a successful matchmaker. A shrewd businesswoman, Dolly sees what life can hold for everyone else in Yonkers and beyond, but her confidence wanes when it comes to a second chance at love.
Aimee Doherty* (Photo by Mark S. Howard)
With innovative direction by Maurice Emmanuel Parent, uplifting Music Direction by Dan Rodriguez and buoyant choreography by Ilyse Robbins, Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. This immersive musical’s action is not limited to the stage and runs approximately two hours and 30 minutes with one intermission. Click here for more information and for tickets.
Having seen other versions of Hello, Dolly! before, I’ve always been impressed by the charm of fast talking and resourceful Dolly Levi. However, this particular production integrates modern and classic elements by having Dolly Levi not only at the cast’s service, but yours as well. Making a bustling entrance, Doherty passes out her business card to members of the audience and occasionally shouts out her services as the musical progresses and she always makes a sale.
Aimee Doherty* and Joshua Wolf Coleman* (Photo by Mark S. Howard)
It also infuses modern elements without losing the Golden Age atmosphere while satirically commenting on outdated ideas of a woman’s role in society. At one point, Joshua Wolf Coleman as Horace Vangergelder quotes one of his late wife’s expressions, ‘Marriage is a bribe to make a housekeeper think she is a householder.’ Hello, Dolly! delivers a bit of tongue in cheek humor through clever bits of improvisation from a contemporary perspective.
Stephen Caliskan, Aimee Doherty*, Sophie Shaw and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
Janie E. Howland cleverly makes the most of the space and the expansive nature of New York through multilevel staging, a worn sign of Yonkers on one side of the stage and Grand Central on the other punctuated by a sprawling map on New York on the ground. Images of the Statue of Liberty and the sparkling George Washington Bridge stands out in the distance while a glittering gold and black wrought iron staircase sits center stage adorned with Dolly’s signature white feather.
From tap to ballroom to a polka to lithe and athletic choreography, Robbins keeps this musical showcase lighthearted and lively especially demonstrated through a humorous Waiter’s Gallop, the patriotic Motherhood March, the elegance of Dancing, Put on Your Sunday Clothes and the its dazzling title track.
Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
With contagious steely eyed conviction and unrelenting confidence, Aimee Doherty shines as Dolly Levi who can hustle with the best of them. Her first velvet maroon and black gown, one of many stylish gowns of the Victorian era, shares some similarity to Mary Poppins, another dynamo problem solver who can make anything happen. Boasting an array of feathers, detailed parasols, lace, sequins, fans, boots, bustles and three piece suits, but costume designer’s Kelly Baker’s sharp and meticulously detailed floral hats are showstoppers.
Michael Jennings Mahoney*, Joshua Wolf Coleman*, and Max Connor (Photo by Mark S. Howard)
Doherty shares some amusing scenes with Joshua Wolf Coleman as gruff and old fashioned rich widower Horace Vandergelder who often do not see eye to eye as Dolly has been hired to find him a match. Coleman demonstrates old fashioned practicality through the upbeat It Takes a Woman. Meanwhile, Max Connor as Barnaby and Michael Jennings Mahoney as Cornelius work for Horace and make a naïve and humorous duo, longing for adventures of their own. Kristian Espiritu delivers a dreamy rendition of Ribbons down my Back and shares giddy chemistry with Mahoney as Cornelius. With flabbergasted facial expressions enough to make you laugh, Mark Linehan is a bit of a scene stealer as hilariously snooty frazzled head waiter Rudolph.
Jackson Jirard and Mark Linehan* (Photo by Mark S. Howard)
The show is also campy and the over the top excitement can be fun, but might not work for everyone. Hello, Dolly delivers a number of madcap high jinks, but also genuine heart in the cast’s earnest search for love. Featuring a few characters who are widowed, it is just as much about matchmaking as it about a second chance at love. Having not seen this musical for many years, this wistful aspect seems more prominent in all of its adventurous optimism. Doherty delivers a stirring rendition of Before the Parade Passes Me By with a building hopefulness and authenticity longing to truly embrace life again.
Kristian Espiritu,* Michael Jennings Mahoney* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
Lyric Stage’s Hello, Dolly may inspire you to forget your troubles for little while and immerse yourself in Dolly’s world. Mahoney as Cornelius at one point also delivers a tender rendition of It Only takes a Moment and wondrously proclaims, ‘Isn’t the world full of wonderful things?’ It just might help you notice them too.
Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. Click here for more information and for tickets.
A sky high bet, a saintly woman, and a group of gamblers are all on the line in a musical comedy custom made in New York City. Guys and Dolls is lighthearted and bustling with some of the most popular songs of Musical’s Golden Age such as Luck Be a Lady, Fugue for Tinhorns, I’ve Never Been in Love Before, Sit Down You’re Rockin’ the Boat and its beloved title track.
Directed and choreographed by Ceit Zweil, Greater Boston Stage Company continues Frank Loesser’s musical comedy classic Guys and Dolls live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through June 30. This slick production is approximately two hours and 30 minutes with one 15 minute intermission. Click here for more information and for tickets.
Arthur Gomez, Mark Linehan, Stephen Markarian and Greater Boston Stage Company ‘Guys and Dolls’ cast Photo by Gillian Gordon
Set on Broadway between Times Square and Columbus Circle, Greater Boston Stage Company reveals a little cozy but snazzy set by John Savage including vintage 1950s illustrated signs lit by marquis lights and an illuminated moving cityscape back drop. With lively music direction and conducted by Dan Rodriguez, this glitzy version of Guys and Dolls has a bit of a concert vibe with the orchestra performing center stage amidst all the action.
Arthur Gomez and Sara Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon
The show is as zippy as these fast talking gamblers ready for the next crap game. In stylish hat and a pinstriped suit, Arthur Gomez as lovable but scheming Nathan Detroit is always cooking up a plan and usually one step ahead, but now he is short on money to hold his next floating crap game. Enter Jared Troilo as smooth talking and high stakes gambler Sky Masterson and suddenly, Nathan has a new and seeming surefire plan to win big and finally marry his long suffering girlfriend, Miss Adelaide. However, Sky discovers he is in for much more than he ever bargained for.
Jared Troilo and Sarah Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon
Guys and Dolls is a classic for a reason. Not only did the 50s film adaptation star Marlon Brando and Frank Sinatra, but it’s an upbeat musical full of charm about love, the Big City vibe, taking risks and saving souls not necessarily in that order. The characters are all likable in spite of their shady ways because most of them can humorously talk their way out of just about anything.
Stephen Markarian and Mark Linehan in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon
In glasses and a bowler hat, Stephen Markarian captures the cheery and good natured charm of Nicely-Nicely Johnson from the slick and catchy harmonies in Fugue for Tinhorns with Mark Linehan as Benny and Christian David as Rusty Charlie. Their goofy chemistry and antics set the stage well along with the title track and bookended by Stephen Markarian’s exuberant and exciting classic number Sit down You’re Rocking the Boat which is not to be missed.
Allison Russell, Kaedon Gray and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon
Sara Coombs as Miss Adalaide could easily have entered over the top caricature territory, but Coombs sticks with dramatic yet a bit more realistic subtlety for Adelaide’s Lament. Hailing from Rhode Island, Miss Adelaide is not to be underestimated and knows exactly what she wants playing a long game of her own as Nathan’s girlfriend. She shares some endearing chemistry albeit with some understandable bickering with Nathan as they perform a quick paced and intense rendition of Sue Me. Alongside Hot Box dancers Hannah Shihdanian, Allison Russell and Abigail Martin, Coombs delivers some flirtatious and humorous scenarios decked out in Dierdre Gerrard’s timely, sparkling and playful costumes kicking off with a country coy Bushel and a Peck. Russell and Shihdanian both perform triple roles with Russell notably as the infamous big time, tough talking gambler Big Jule.
Sara Coombs, Abigail Martin, Allison Russell, and Hannah Shihdanian in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon
In a blue pinstripe suit and gleaming white shoes, Troilo depicts Sky Masterson with smooth talking swagger and shares some great scenes with Lisa Kate Joyce’s straight-arrowed and head of the Save-a-Soul Mission band, Sarah Brown. Joyce’s angelic and silvery soprano vocals nail the delightful If I were a Bell and I’ve Never Been in Love Before alongside Troilo in a lovely duet. Joyce also has a brief but memorable scene with Chip Phillips as lovable Arvide for the tenderhearted number, More I Cannot Wish You.
Lisa Kate Joyce and Chip Phillips in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon
Jared Troilo shines in My Time of Day, but nothing beats Troilo’s determined earnestness teetering toward desperation with the rest of the cast for Luck Be a Lady embellished by Ceit Zweil’s tight choreography and Corey Whittemore’s vivid and flashy lighting which just about brings down the house.
Jared Troilo and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Photo by Gillian Gordon
Directed and choreographed by Ceit Zweil, Greater Boston Stage Company continues Frank Loesser’s musical comedy classic Guys and Dolls live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through June 30. This slick production is approximately two hours and 30 minutes with one 15 minute intermission. Click here for more information and for tickets.
My Mother Had Two Faces explores beauty in all of its forms and how to accept the person in the mirror including the flaws on both the outside and on the inside.
Written by Karin Trachtenberg in a heartfelt performance and directed and developed by Jessica Lynn Johnson, The Rockwell presented the one woman self reflecting play, My Mother Had Two Faces: Reflections on Beauty, Aging, and Acceptance live and in person at The Rockwell in Somerville, MA through Sunday, March 3, but this production is currently touring. Karin will make her next stop at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission. Click here for more information and here for further details and for tickets.
Karin Trachtenberg in ‘My Mother Had Two Faces’ Photo credit to Karin Trachtenberg
The magnifying mirror is beauty’s classic frenemy. It stands out on a vanity counter strewn with jewelry, makeup and all the items it takes for a person to enhance their best features. The magnifying mirror enlarges all the remarkable parts of the face, but is also unrelenting and unforgiving for all the parts that glaringly need improvement. For Karin’s Swiss mother, it was a beacon of hope and an essential part of her daily routine that gave into an illusion that goes back generations that women must look perfect in today’s society. As the show most poetically asks, ‘What does it mean to be seen by the envelope and not the letter?’
This revelatory production is not just about beauty, but it is a memoir about healing. As a ritual for Karin’s Buddhist faith, it is a therapeutic journey into the past to get better insight into Karin’s struggles in order to achieve enlightenment. My Mother Had Two Faces delves into important moments for Karin, her mother, and her family’s history while masking family trauma.
Karin and Lindt chocolate Photo credit to Karin Trachtenberg
Offering free Lindt chocolates as a tribute to Karin’s family heritage, My Mother Had Two Faces is an engaging, bare, honest, and sincere portrayal of the good, the beautiful and the horribly ugly with humor, joy, fear, grace, and anguish in the sting and string of life’s revelations. Accompanied by slideshows, photos and much more shared through a multimedia screen by 3 Cubed, Karin shares some of her mother’s reflections in a thick and playful Swiss accent and an occasional lighthearted free spiritedness. Dressed in black, Karin is a blank canvas for her mother and her own various idiosyncrasies, frustrations, hypocrisies, earnest dreams and more. It is an eye opening journey accompanied only by the wise, sensible, and logical musings of the woman in the mirror exploring her most wonderful and toughest experiences. Eric Bornstein’s expressive and finely-detailed masks are effective aides during the production with well timed lighting while sound and tech designer Bobby Raps rewinds the clock with a vintage soundtrack that includes the theme song to Mission Impossible and Edith Piaf’sNon je ne regrette rien (No regrets).
Karin Trachtenberg and Eric Bornstein’s masks Photo credit to Karin Trachtenberg
Karin paints a well rounded portrait of her enigmatic and glamorous mother and therefore making invaluable discoveries about herself and her family on this healing journey. It is funny and moving and may encourage you to take a closer look in the mirror at what makes a person who they are.
Photo credit to Karin Trachtenberg
My Mother Had Two Faces: Reflections on Beauty, Aging, and Acceptance will next be at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission. Click here for further details and for tickets.
Some couples have a ‘pass’ from their partners when fantasying about celebrities. One person might get a pass from the other if by some possibility one gets a chance to meet or even date a famous celebrity and Lizzie Nguyen as Shannon never dreamed that this might actually happen. Self absorbed, giddy, and giggly, Shannon and her roommate Amy, depicted by Sarah Hoogenraad who is also the playwright, will find out dreams might not live up to reality and that over sharing can be more than dangerous.
Set in Los Angeles, Celebrity Crush’s dark humor and zippy storytelling keeps things light even when Shannon and Amy realize that the celebrity scene can be less than glamorous. With a fitting music soundtrack which includes perfectly appropriate Crush by Jennifer Paige, Celebrity Crush has a modestly colorful set and humorous props to add lightness to the progressive intensity of the production. Hoogenraad and Nguyen share some wild moments and they have a natural rapport together. Miciah Wallace, in a dual role, is especially engaging as Kyle boasting that snappy catchphrase, ‘Smile because you’re with Kyle.’
The Cast of ‘Celebrity Crush’ Lizzie Nguyan, Sarah Hoogenraad, Miciah Wallace, and Matthew Sheaffer Photo credit to Sarah Hoogenraad
It would have been nice to have known what led to Shannon’s date and to get to know the cast better to be more invested in its outcome, but perhaps Celebrity Crush could expand its storyline or become a series in the future.
Sarah Hoogenraad’s dark comedy Celebrity Crush (#15) was part of Chain Theatre’s Winter ’24 One Act Festival took place from February 8 through March 3 virtually as well as live and in person at The Chain Theatre, 312 West 36th Street in New York, New York. Click here for more information.
Lindsey Hope Pearlman in ‘Placemat’ Photo by Lindsey Hope Pearlman
Lindsey Hope Pearlman and Sean Welski’s Placemat
Sometimes life can become a mundane daily grind.
Fueled by an upbeat and ultramodern score by Andrew Lynch, Lindsey Hope Pearlman as Lindsey fantasizes about a rich and exciting existence. Wearing glasses and a blue and yellow floral blouse by Elizabeth May, Placemat takes a humorous look at finding excitement in the little things with an effective twist.
Photo by Daniel Rashid
Reilly Anspaugh and Daniel Rashid’s Chauncey
Zoe has a new boyfriend, but is also hiding a secret.
A different take on a coming of age tale blended with rom-com energy fueled by Daniel Rashid’s vintage, playful and catchy soundtrack, Chauncey is a charming story featuring Reilly Anspaugh, Daniel Rashid, Miya Kodama and Doug Tompos about what it is to reveal the real you and some things one does not have to outgrow.
Jeanine Bartol and Howard Hendrix Powell in ‘Overdue’
Photo by Melissa Skirboll
Sometimes music can create change. Your Silent Face focuses on a Peruvian mother, depicted by Anna Capunay, who is struggling with the decisions happening within her family. Though the production addresses trauma, mental illness and depicts some family turmoil, Your Silent Face expresses each character’s point of view in a balanced manner. The production is lightened by the upbeat and retro rhythms of the Bootblacks.
Hadley Durkee as Tara in Michael Quinn’s ‘Brooding’ Photo by Michael Quinn
Michael Quinn’s Brooding
Brooding is a searing drama and horror story about a talented nature photographer named Tara who is struggling. Her boyfriend Matthew, portrayed with a mix of stoicism and concern by Joseph Basquill, wants to get to the bottom of it. With an eerie sound design by Bailee Herrera, music by Griffin Robillard, and sound mixing by Devin Greenwood, Brooding has squeamish and haunting moments boasted by the cold stare, exhaustive mood swings and explosive temper notably portrayed by Hadley Durkee as Tara with an ending difficult to see coming.
Kwame Berry’s ‘Ursula’ Photo by Kwame Berry
Kwame Berry’s Ursula
Presented at first as a True Hollywood Story, Ursula is a drama about grief and trauma as a family fights over what to do with the family house.
Tiffany Adams depicts tough and driven screen star Ursula with finesse and LaVeda Davis makes a brief but lasting impression as Ms. Tate. Based on Kwame Berry’s Ursula: A Dysfunction in Two Acts, Kwame Berry’s complex portrayal as quiet, sympathetic, and mysterious Dominic make the character easy to root for as the production progresses. With an eerie and foreboding score by Vin Scialla and Darius James, Ursula is presented with originality, intrigue and a thought provoking revelation.
Rachel Handler as Lisa Edmunds and Wendy Lindell as Lashi in Rachel Handler’s ‘Unlucky in Love’ Photo credit to Rachel Handler
Rachel Handler’s Unlucky in Love
With upbeat direction by Catriona Rubenis-Stevens, Unlucky in Love is a lighthearted musical foray into one small town flash mob planner’s search for love with engaging narration by Imani Barbarin as Lucy Loveless. Rachel Handler as sensible Lisa Edmunds and Lashi as Wendy Lindell share breezy chemistry with a meaningful conclusion.
The eighth annual New York City Indie Theatre Film Festival returned this year and ran from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and to see the winners of the festival.
The eighth annual New York City Indie Theatre Film Festival is back this year and runs from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and for tickets.
Laura Butler Rivera as Laura in ‘Intermission’ Photo by David Skeist
Intermission
Ryan, portrayed by Michael Barringer, is smoking. In a white fur, a bun on top of her head, and large earrings, chatty Laura, portrayed with finesse by Laura Butler Rivera, has something to say about it.
In fitting black and white cinematography, Intermission is an unpredictable and seeming tongue in cheek foray into smoking. It is also a humorous and fascinating film featuring Rivera and Barringer who have peculiar chemistry. Rivera is mysterious, quirky and shrewd in a conversation with unexpected results.
Britt Vicars in Ryan Spahn’s ‘Router’ Photo credit NYCITFF and Ryan Spahn
Ryan Spahn’s Router
Hearing strange noises?
Being alone in the house can be creepy. A creak, shadows on the walls, and was that a scream? With intriguing cinematography by Thomas Brunot, just the glow of a cell phone to light the way and a cryptic message drives this twisty tale for a wifi signal. The wide eyes of Britt Vicars and a spooky and original score by Pablo Signori build the tension and reeling suspicion as Vicars inches her way in this battle through the dark.
Don Castro is LITO by the window in ‘Your Blue Heart’ Photo credit to NYCITFF and Don Castro
Don Castro’s Your Blue Heart
With expressive black glasses and red flip flops, Don Castro as Lito is making breakfast alone in the kitchen. Your Blue Heart is a moving journey into memory. Spoken in Filipino and shot in Woodside, Queens, Castro and Ron Flores as Rey have a sweet rapport featuring stirring and original music by Paul Aranus.
Kate Szekely in Still Photo credit to NYITFF and Kate Szekely
Ash Singer’s Still
The battle to be still with the jarring feeling of anxiety is overwhelming. Heart racing and breathing can be deafening. Still delves into the life of Kate Szekely who is arduously trying to shake that terrible feeling through various methods including the meditative phrase ‘I am surrounded by abundance.’ Composer Shira Bouskila and Somer Bingham’s haunting and unique sound composition ebbs and flows throughout the film in relatable unease, dread, and calm.
Matthew Modine’s ‘I am What You Imagine’ Photo by Adam Rackoff
Matthew Modine’ I Am What You Imagine
I am what you Imagine is a vivid, kaleidoscopic and visceral journey that explores the true meaning of life from the very beginning. With mesmerizing editing and visual effects by Terence Ziegler as well as surreal photography by Matthew Modine and Kevin Joseph Grossman, I am What You Imagine is a powerful film that should be experienced rather than explained and boasts a surprise ending.
Jeff Hathcoat and Ellen McQueen in ‘Late Sleeper’ Photo credit to NYITFF and Peter Hardy
Peter Hardy’s Late Sleeper
What happens to a late sleeper? A shadow sits at the window.
Filmed in black and white, Peter Hardy’s Late Sleeperdelves into this concept with creepy creativity and intriguing results featuring Jeff Hathcoat and Ellen McQueen.
The eighth annual New York City Indie Theatre Film Festival is back this year and runs from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and for tickets.
Having been invited to The Prom for the second time this year, it seemed best to celebrate this time around in a frilly dress. It was especially appropriate catching a show while away on vacation and with Jordyn Linkous’s festive and glittery wig and costume design, it was easy to fit right in.
Innovatively directed and creatively staged by Niko Stamos with lighthearted choreography by Jordyn Linkous, Titusville Playhouse presents musical dramedy The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe lighting and special effects. It runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.
Mandy Kerridge as Dee Dee Allen, Steven J. Heron as Barry Glickman and cast in ‘The Prom’ Photo credit to Titusville Playhouse
The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. Inspired by a true story, anxious Emma, depicted with self effacing humility by Delaney Sue McGough, invites a date to the Prom with none other than Myanell Enriquez as popular Alyssa, the daughter of the head of the Parent Teacher Association. Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town. The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. The Prom delivers plenty of humor ranging from silly to satirical with a sincere and underlying message about helping others.
Mandy Kerridge as Dee Dee Allen and Delaney Sue McGough as Emma Nolan in ‘The Prom’ Photo credit to Titusville Playhouse
With extraordinary music direction by Spencer Crosswell, The Prom boasts strong vocals from an amiable cast. Glamour takes center stage with Mandy Kerridge as Dee Dee Allan, a self absorbed and award-winning actress. Kerridge’s impressive vocal range and wonderful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with Steven J. Heron as warm, lovable, and lauded actor Barry Glickman, Danny Sanchez as no nonsense PR rep Sheldon, Corey Evans as openhearted Trent, and Sarah Ruth Joyner as inspirational Angie Dickinson, these seemingly shallow thespians bring some humorous moments, but their real charm is exposed by the people they meet in this fish out of water production.
Lit with soft and cheerful multicolored lighting by Davis Vande Steeg , The Prom features a dynamic set design by Niko Stamos including a digital screen that transforms settings in an instant including the store front of a 711, a monster truck rally, and the glittering festivities of a Prom. Some clever staging includes the transformation of an Applebee’s to a balcony seat during a beautiful rendition of We Look to You as well as veiled and translucent staging for the number, Tonight Belongs to You.
Steven J. Heron as Barry Glickman and the Executive and Artistic Director of the Titusville Playhouse and Delaney Sue McGough as Emma in ‘The Prom’ Photo credit to Titusville Playhouse
The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. McGough’s chiming vocals in forlorn yet earnest number Just Breathe is a compelling revelation while Holly Fuller’s tight lipped delivery proves fitting for tough and immutable antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.
Cast photo Photo credit to Titusville Playhouse
The Prom contains a wealth of welcome, inside Broadway humor and references as well as notable choreography including a sweet rendition of You Happened and the Fosse-inspired choreography of Zazz. The Prom provides a message driven and sparkling escape to fun and frivolity if only temporarily from the realities of life.
Titusville Playhouse presents The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe and special effects and runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.
A girl is starting to wonder if she is fall apart or is she just falling up?
Gianna Milici, Sophia Drapeau, and Lauren-Quigley in ‘Here I Fall Up’ Photo credit to Natalie Powers
Featuring chiming melodies, a girl is somehow tethered to her family’s seaside home in a way that makes her question her own sanity. Surrounded by her sisters who narrate the story, Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour. It was featured at New Ohio Theatre’s ICE Factory in NYC and was streaming through August 12. Click here for more information.
The girl, portrayed sympathetically and realistically by Sophia Drapeau, ventures into dark places that keeps the audience guessing whether the girl is actually experiencing something outside this world or is it all happening inside the girl’s head? Drapeau’s suffering throughout this production makes a real case for either and watching the girl attempt to cope with anxiety and a severe degree of agoraphobia is heartfelt, earnest, and a bit distressing to witness. The bluish and haunting shadows by Chris Voegels combined with the simple, multifunctional set by Jessie Baldinger are as imaginative as it is symbolic of a girl longing to make a connection outside the girl’s fears and vulnerabilities.
Rose Tablizo and Sophia Drapeau in ‘Here I Fall Up’ Photo credit to Natalie Powers
Here I Fall Up’s inviting, folksy, and intermittently catchy acapella harmonies from sisters and narrators Samantha Medina Chachra, Lauren Rose Quigley, and Gianna Millici combined with Rose Tablizo’s mysterious presence keeps the production a bit lighter while tackling some darker issues.
Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour. It was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.
Courtesy of CHUANG Stage
Does it matter where I put my roots down?
Identity should be not what one is, but who one is. Not the labels, but the person. That is not such an easy journey living in NYC.
Told from the perspective of six immigrant Asian individuals living in NYC, How I Disappeared is a bilingual production about grasping for acceptance in the world without assumptions or grief, but with understanding. Directed by Tianding He and produced by CHUANG Stage, it is done creatively, though not always clearly in this abstract and Avant Garde production.
Courtesy of CHUANG Stage
How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.
From an individual covered in overwhelming and all encompassing remnants of NYC including a liberty hat, Broadway sign, wearing a mask and carrying a suitcase subway map to the desolate and metaphorical marine characters on the NYC subway, How I Disappeared emphasizes the intimidating, overwhelming, noisy, and isolating city atmosphere.
The glassy reflections particularly stand out in this part projection by Brian Shin-Hua Ellis and part animated puppetry by Wilden Weihn production. From a Puffer fish to a whale wandering on a subway, each distinctive marine creature delivers a combination of bittersweet and relatable humor as the narrator describes each creature’s authentic capabilities and defenses. Steeped in soothing blue aquatic lighting by Will DeJianne, it seems absurd witnessing them on the subway, and yet it becomes a snapshot of humanity as the show progresses.
Courtesy of CHUANG Stage
The production does have lighter moments of dancing including catchy and original live music by John Tsung and Siyi Chen as well as its fair share of silliness with underlying messages of perseverance in the face of fears, doubt, and judgment. Staying true to oneself and anything is possible.
How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.
