Full of Easter eggs and a time hopping storyline, this cleverly titled production lives up to its name many times over and reveals a family secret near impossible to see coming. Sponsored in part by the Mass/NH Chapter of the Alzheimer’s Association, Breadcrumbs is a mysterious piece of theatre about the meeting of two individuals and how they fit into each other lives.
Jennifer Haley’s Breadcrumbs, Theatre Kapow’s most recent production, ran live and in person February 17 to 19 at the Bank of NH Stage in Concord NH before streaming live on February 24 and 25. Directed intuitively by Catherine Stewart, Breadcrumbs is 80 minutes with no intermission and is part of Recent Remote Remember, the theme of Theatre Kapow’s 15th season. Click here for more information and here for more on Theatre Kapow.
Stark blue lighting evoked a haunting quality as Alita, a hardworking, unassuming, and reclusive writer depicted perceptively by Katie Collins, knows there is something is missing. Collins, in a multilayered performance, portrays Alita with an increasingly brisk and suspicious manner as she struggles to connect with what is occurring around her. Rachel Chapin Longo commands a challenging and multi faceted role as compassionate, talkative, impulsive, resourceful, but needy Beth who seemingly cannot get her life together to Alita’s rising frustration. Beth admires Alita’s work which often focuses on metaphorical fantasy which is a surprising contrast to Alita’s practical sensibilities.
What is fascinating about this meticulous production is each item, scene, and aspect including Alita’s writing plays an integral and significant role within a sometimes unreliable viewpoint. Longo and Collins seamlessly navigate a number of vivid, stirring and mercurial scenes together and there isn’t a piece of dialogue that strays from this insightful look at these two individual’s lives. The production also serves as an informative vehicle for an all too common life altering impairment.
Tayva Young’s nostalgic and evocative lighting combined with Matt Cahoon’s vintage and eerie sound and projection design navigates each sudden flashback and time leap in an innovative and engrossing manner. Barbara Holbrook’s distinctive costume design boosts each character’s personality with subtle hints on what they mean to each other.
Jennifer Haley’s Breadcrumbs cultivates a rich and unique path through trauma and struggle to reveal what is ultimately important. Directed intuitively by Catherine Stewart, Breadcrumbs is 80 minutes with no intermission and is part of Recent Remote Remember, the theme of Theatre Kapow’s 15th season. Click here for more information and here for more on Theatre Kapow.
An unusual walk, a wordless journey spoken in song, a hollow room, and bittersweet scenes from the past is just a peek into ROOM, a series of three one-act plays by two Irish playwrights. It explores three people who see the world through their isolated circumstances yet share so much.
Directed by Rachael Chapin and Matt Cahoon, New Hampshire’s Theatre Kapow embarks on their final virtual show of their 13th season themed ‘We will get through this’ with ROOM, a poignant and meaningful journey into loss, isolation, regret, and hope continuing to live stream through Sunday, May 2. Click here for more information and tickets.
Through Edna Walsh’sRoom 303 and A Girl’s Bedroom as well as Ailis Ni Riain’sI Used to Feel, each actor take in their surroundings, reflect on happier and more sorrowful times, and take in what they can of the present while depicting the meaning behind their “room.”
In A Girl’s Bedroom, ethereal special effects portray a rich countryside and more as Emily Karel reflects on a significant childhood memory. Karel offers a captivating portrayal as the girl as her world becomes vast in her small, colorful bedroom. Her bright inflections, enthusiasm, and surety are also tinged in sadness and loneliness as she reminisces on her young life.
Heidi Krantz embraces an emotional journey of loss and misunderstanding in I Used to Feel. In this brief musical portrait, Krantz evokes the frustration and heartache of misunderstanding due to a disability and the longing for connection again in any way possible. The visual imagery tied into a solitary clarinet makes this piece particularly poignant.
Perhaps the most powerful piece is in Room 303. Peter Josephson delivers a raw and moving portrayal of a bedridden man reflecting on his past and his future in his current circumstances. His journey calls to mind those who have been sick and alone with only the comfort and betrayal of their thoughts and imagination in these uncertain times. Anxious and bitter through his steely and weakening eyes, Josephson struggles with his recollections as his world becomes smaller.
Theatre Kapow’s ROOM continues live streaming through Sunday, May 2. Click here for more information and for tickets.
It is no surprise that Theatre KAPOW added Peter Josephson’s A Tempest Prayer, based on Shakespeare’s The Tempest, to their 13th season entitled, ‘We Can Get through This.’ Having lived through the Great Plague of London, Shakespeare was sadly familiar with the anguish of isolation and solemnity that encapsulates a person during a pandemic and the closing of theatres. It is a perfect choice for this indelible year.
Peter Josephson’s A Tempest Prayer, a solo retelling of William Shakespere’sThe Tempest also starring Peter Josephson, was live streamed at various times from Theatre KAPOW’s studio in Manchester, NH from November 13 through November 15. Click here for more information on season 13 and how to support them on Giving Tuesday on December 1.
Theatre KAPOW company member and award-winning actor Peter Josephson takes on quite a lot capturing the essence of a Shakespearean classic while displaying a full range of emotions not only as Prospero, but as other mystical figures. It is a harrowing journey within a man’s psyche stranded with his daughter on a mystical Mediterranean island imprisoned by his thoughts. He knows there is a way to escape, but must come to terms with himself in order to find freedom. If the show’s surroundings and lead actor’s struggles do not seem a bit familiar in this odd year of 2020, maybe you’re adjusting better than you might expect.
Though A Tempest Prayer is a solo retelling, Josephson portrays other mystical characters on the island in innovative ways while simultaneously making him look that much more unhinged. He uses marionettes for the illusion of interaction and Prospero’s daughter Miranda looks lifelike in a moving CGI portrait. Multiple camera angles, the dark and ominous island setting, and stirring sound effects by Matt Cahoon, Tavya Young, and Jake Hodgins all contribute to Peter’s captivating torment.
Josephson gives a fierce and gripping performance as Prospero expressing his inner turmoil as he struggles to forgive, the weight of his ills threatening to drive him mad unless he can let go. He’s menacing, fearful, shrewd, and human. It is easy to witness this turmoil and have empathy while he is wracked by loneliness and confinement. He paces and ponders the insignificance of life as he attempts to propel himself into a brave new world and appreciate what he does have.
Perhaps you are your own worst enemy. Perhaps more than anyone surrounding you, the unbearable truth is that the biggest struggles are the ones you endure within yourself. Letting go is the key to making things better if only it were that easy.
Sleepless Critic had the honor of interviewing Peter Josephson on a past production he performed with Theatre KAPOW. Click here for the interview.
Theatre KAPOW’s 13th season is underway. Click here for more information about Theatre KAPOW, their mission, and how you can support them on Giving Tuesday on December 1.
Megan Gogerty’s interactive and dynamic Feast makes you part of this production and it won’t be long until you get reeled into dinner conversation. New Hampshire’s Theatre Kapow brings back theatre in a unique way all while delivering real dessert (and a little extra) and as a person starved for the arts, Megan Gogerty’s Feast will leave you full while remaining behind the computer.
Directed by Matt Cahoon who offers an insightful introduction, Theatre Kapow presented Megan Gogerty’s Feast live with select performances from Friday, September 25 through Sunday, September 27. This show contains mature content and has its own share of dark notes. Click here to learn more about Theatre Kapow’s 13th season, We Can Get through This and much more.
Feast is an intriguing blend of the classic and contemporary featuring to-the-minute pop culture references while unraveling an ancient mystery. Cleverly self-aware through its philosophies and contextual principles, Carey Cahoon is the hostess of this part conversation and part confessional one-woman show in 75 minutes – no small feat for one person. Opening night had a few technical glitches, but Carey didn’t miss a beat, picking up the moment she left off.
Feast acts as much a warning as a mystery and does not shy away from raw and difficult topics, but Carey’s candor makes these subjects easier to swallow. From government to grief, Feast is not preachy or “political” per se, but you’d be remiss if the conversation doesn’t cause you to look inward.
Carey Cahoon is refined, biting, powerful, but most of all compelling as Agathae, an upper-class socialite getting to know the company she is keeping. She handles this complex personality with zeal through her gripping, slow-burn performance and combined with Megan Gogerty’s innovative script, keeps the tension rising as revelations are unveiled.
The show could have been one note and a bit long, but Matt Cahoon’s discerning staging and Tavya Young’s ominous lighting made interesting use of the limited space and various props, especially for an evocative scene involving a curtain. Multi-faceted, shrewd, and on its own calculated mission, Feast also markedly holds onto the famous proverb, ‘Revenge is a dish best served cold.’
Making its debut in New Hampshire, Mr. Burns, a Post-Electric Play, written by Anne Washburn, is a powerful, wildly funny musical that may offer a whole new perspective on the beloved, long-running television series, The Simpsons, all while staying true to its characters. Directed by Matt Cahoon, theatre KAPOW proudly presents Mr. Burns, a Post-Electric Play for one weekend only Friday, March 2 through Sunday, March 4 at Pinkerton Academy in Derry, New Hampshire. Click here for more information and for tickets.
Sleepless Critic: You work as a Professor of Politics, but you are also a director, you train and teach acting workshops, and have won quite a few New Hampshire Awards for your art. It’s safe to say theatre is your other love.
Peter Josephson: That’s true. I performed quite a lot in school and in my 20s, but left when I went to graduate school. For almost 20 years, I didn’t perform and got back into it again almost 10 years ago. Since I was very rusty, I sought out training and still train as well as teach. It’s been terrific to get back to it over the last decade.
SC: What is it like to perform with theatre KAPOW again? I understand you have taken the stage with them a few times.
PJ: Quite a few times and I find it valuable to go to other groups. I have friends there and learn a lot from them. I hope I bring something to them, but theatre KAPOW is home base for me in terms of performance. Since my first show in 2010, I’ve typically done 2 or 3 theatre KAPOW shows a year and help lead their trainings.
Matt and Carey are wonderful human beings and have built a theatre company that is always looking for the next exploration, the next way of learning how theatre works, and what we can do with it. Matt curates the season so we are not just doing a series of shows. We have an idea of how shows connect and build on one another. Last year, we did our first musical and Mr. Burns is our second.
Nicole Viau, Emily Karel, and Rich Hurley in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno
SC:Mr. Burns, a Post-Electric Play is a unique opportunity to do that. The Simpsons have been part of the pop culture landscape for decades and have made commentary on politics, entertainment, science, and current events. What do you think draws people to the Simpsons and as a professor of politics, do you think the Simpsons are insightful?
PJ: When The Simpsons first started, a lot of controversy surrounded the show because it seemed to snub its nose at family values and traditional morality. Some scholars take it very seriously as a contemporary text of America. I have had colleagues at other schools write about it and find it as a way to talk to students about serious concerns in contemporary politics. People wouldn’t watch it if the show weren’t crazy and funny. It helps them see more clearly what is going on in their own lives.
SC: Lately, The Simpsons have predicted a number of things that have come to fruition.
PJ: Unfortunately, that’s true. Hopefully the plot of the play doesn’t come true.
SC: Mr. Burns, a Post-Electric Play has many layers to it. It’s about surviving an apocalypse and using stories from The Simpsons as a means for survival.
Matt and Carey brought the script to me last spring and I was really struck by how funny it was. It’s scary, shocking and underneath all of that, it’s an interesting story about how people use culture to work through their problems and how ideas of sacred truths develop culturally. It’s fascinating and I think Anne Washburn and the actors she worked with when she was writing the script are brilliant.
Rachael Chapin Longo, Rich Hurley, Nicole Viau, and Emily Karel in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno.
SC: You play dual roles as Gibson and Homer. Setting up a cartoon onstage and portraying a cartoon must have been a new kind of challenge.
PJ: Yes, it’s kind of weird and crazy. I would expect just about everybody in the audience knows who Homer is and I’m supposed to do that in some way, which isn’t really possible. I had to find a central trait about Homer, express that, and remind the audience who the character is. I play Homer in Act 3 and he is put into a different, darker environment. His response to that is what one would expect Homer’s response to be and that is everything is going to be wonderful.
SC: Mr. Burns is Homer’s adversary.
PJ: Yes, Rich plays Mr. Burns in Act 3 and Washburn’s script has taken the cartoon character, identified his corruption, and made that part the most essential thing. I would guess that if a Simpsons fan sees the show and then watches The Simpsons on television, they are going to see Mr. Burns in a different way.
In the second act, two actresses debate about what we do when we perform a play and whether the primary purpose is entertainment or to express some deeper meaning. I think Washburn’s script accomplishes both. Having worked on this play and going back and watching The Simpsons, I don’t look at Mr. Burns the same way anymore because I am aware of what Washburn saw in him and he’s deeper than I thought.
SC: Bringing the cartoon to life onstage is its own challenge. Some of the masks for the show are amazing.
Yes, they are wonderful. We’ll be using masks in late June for an original show we are working on. It’s an interesting acting challenge. The masks’ design elements are goofy crazy and I think we have really captured the cartoon-ish quality of the characters and the challenge is to take that quality and put it into actual living human beings.
Rachael Chapin Longo, Rich Hurley, and Emily Karel in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno.
SC: Regarding the musical element of the show, I understand it features popular songs from the last ten years.
PJ:Lady Gaga, Britney Spears, Eminem, and Ricky Martin show up as well as some Gilbert and Sullivan. There are three acts and in the second act, we’re following a traveling theatre troupe and part of the show features a commercial jingle that we sing and part of the show features six or seven pop hits the audience might remember from a time when we had electricity. Act three is all singing in a peculiar operetta that is funny, crazy, and frightening.
SC: What do you think is the best reason people will enjoy Mr. Burns, a Post-Electric Play?
PJ: I think audiences will attach themselves to it because it speaks to something we are all looking for in wildly entertaining ways. It invites the audience in and makes them part of what is happening. I’m confident the show will resonate deeply with the audience and keep them laughing.
Click here for more information and for tickets as theatre KAPOW presents Mr. Burns, a Post-Electric Play from Friday, March 2 through Sunday, March 4 at Shepard Auditorium at Pinkerton Academy in Derry, NH. Follow theatre KAPOW on Facebook and Twitter for upcoming events and more.