Fundamental Theater Project Reading on June 11th...

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This is cool.  My partner and I had a fundraiser for Minnesotans United for All Families a few weeks ago.  My partner's family lives in Minnesota, and friends are working on the campaign of Minnesotans United for All Families.  A couple of our good friends run The Fundamental Theater company. They couldn't donate a lot of money - which was no problem, but they have decided to do a reading to help raise awareness.
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Here is their blurb...
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Links are here:  Fundamental Theater Project  & Minnesotans United for All Families
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Please come if you want, RSVP through info@fundamentaltheaterproject.com.  I say a scene or two from this done at a Fundamental Theater project fundraiser, and it is great!  It will be a kick.
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If you just want to support Minnesotans United for All Families - also cool.

This cause  means a lot to me because my partner and I were married in California in 2008.  Since then, Prop 8 passed and same sex marriage is no longer legal in California.  As a Los Angeles native, it broke my heart to see my state pass this law.  I am dedicated to fighting this and work to try to keep my marriage legal.

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I am proud of our friends at Minnesotans United - and proud of my straight friends at Fundamental Theater Project that are helping to bring awareness to this effort.

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Thank you seems inadequate, but it is heartfelt.

Take What Is Yours explores an interesting time in our history

Take What is Yours brings to life a fascinating story from the history of the United States.  It is the story of Women’s Suffrage in general, and suffragette Alice Paul in particular.  The Women’s Right to Vote, is rarely thought of as a contentious issue.  This play illuminates the struggle that was all too real for women in the 1910 and 1920s.

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The story takes place in 1917, Alice Paul and other women were silently picketing outside of the White House and were arrested for obstructing traffic.  Tempers ran hot during the "Great War", and so the women were incarcerated for 3 weeks to 7 months.  Defining herself as a political prisoner, Alice Paul began a hunger strike, which resulted in her being committed to a prison’s psychiatric ward and forcibly fed.  Take What is Yours is an exploration of this episode in our history.  Erica Fae plays Alice Paul excellently.  Ms. Fae also conceived and co-wrote the piece.

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This is not a show with character arcs, complex interactions and major dramatic tension.  Co-writer, Director and scenic concept artist Jill A. Samuals stages the performance remarkably well, bringing a vitality to what is essentially an expository story about the Women’s Vote through the eyes of Alice Paul.  There is also some excellent video footage and music to bring life to the play.
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But it is still an expository story, and the introduction of other characters is awkward.  “The Man” exists as a character only to provide a sounding board for Alice.  Wayne Maugans does a fine job with the character, but he is essentially there to keep Alice talking.

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At other points, for example when Alice Paul speaks to Congress or Judges, Erica Fae plays both roles – sometimes telling the audience what they said, and sometimes speaking their lines.  It feels like a one woman show which the creative team has tried to open up.  The effort to open up the story has been reasonably successful and engaging, but the character of Alice Paul is rather static.  She is a heroic, stoic figure which doesn’t give the audience much chance to invest themselves in her plight.  It is too bad, since many in the audience wanted to connect with Alice; but, by the end of the show, the unrelenting suffering put nearly everyone off.

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Take What is Yours has extra resonance, opening on May 9^th, the day President Obama came out in favor of Same Sex Marriage.  The obvious parallels do expand the story beyond simple the right of Women to Vote, and grow the story to encompass the right of all minorities to participate in our Democracy.  It is an interesting story to watch unfold.

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Take What Is Yours at 59E59 Theaters

Playwrights: Erica Fae and Jill A. Samuels

Director: Jill A. Samuels

Cast: Erica Fae, Wayne Maugans

Website

Upcoming: DESPERATELY SEEKING THE EXIT

DESPERATELY SEEKING THE EXIT

May 3 - 18:

.Triple Crown Underground, 330 7th Ave at 28th St.

In 2007, American playwright Peter Michael Marino wrote a musical based on the film “Desperately Seeking Susan” featuring the music of Blondie. It opened on London’s West End…and closed a month later. 

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DESPERATELY SEEKING THE EXIT offers a behind-the-scenes peek at how this £4 million musical was made and unmade: deals with MGM, Debbie Harry and even Madonna; the workshops, the previews, the scathing reviews and the closing night. Thursdays & Fridays at 7pm. 

Tickets are Pay-What-You-Can, available on a first come-first served basis, no reservations taken. More info at www.SeekingTheExit.com.

 

The Runner Stumbles: Intense and Explosive

The Runner Stumbles, now onstage at the Arclight Theater, is an emotionally intense, neo-gothic tale of a missing nun in the early 1910s in Michigan.  It is based on true events, which give poignancy to the proceedings.

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The action starts with the arrest and trial preparation of Father Rivard, a riveting turn by Christopher Patrick Mullen.  Father Rivard is being charged with the murder of Sister Rita, a missing nun.  The story then unfolds as a series of recollections as he tells his story to his lawyer, and as the trial progresses.

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Pictured (l-r): Christopher Patrick Mullen (Father Rivard), Casandera MJ Lollar (Sister Rita) and Alisha Spielmann (Erna Prindle) in Milan Stitt's THE RUNNER STUMBLES, directed by Peter Zinn, at The Arclight Theatre (152 West 71st Street). Photo by Kristen Vaughan.

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Sister Rita is a young nun, sent to the church to help with the school that Father Rivard has built.  She shares the convent with two other (unseen) nuns.  Her youth and new ideas challenge the Father and order of things, upsetting the housekeeper and the other nuns, as well as Father Rivard.  Before too long, the other nuns suffer from consumption, and Sister Rita has to move into the rectory.  This raises the suspicions and gossip in the town and with the clerical hierarchy.  When Sister Rita goes missing, the same night as Father Rivard leaves town, suspicion turns to accusations and a trial takes place.

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The Runner Stumbles is a very serious play; there are few moments of laughter, but the overall tone is fairly bleak.  We understand Father Rivard has been sent to this remote parish for being too impassioned about his duties, which is a trait that Sister Rita shares.  Unfortunately, for the majority of the show, his animation is too far under control.  Father Rivard is obviously attracted to Sister Rita, and the attraction makes him question his faith and judgment.  His attraction also makes him rather angry with himself, and he takes it out on everyone around him.

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Mr. Mullen has a tough character to bring to life.  Father Rivard spends nearly the entire show in turmoil that erupts occasionally; this can be off-putting in a character.  Mr. Mullen has to vary a performance that is written at the edge of control.  Casandera M.J. Lollar plays Sister Rita, a role with a much greater range of emotions.  Sister Rita’s shortcoming is that she was raised in a convent and doesn’t understand men’s emotions.  Father Rivard is a mystery to her, although not to the audience.  Ms. Lollar brings Sister Rita life, a young woman ahead of her time.

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Heather E. Cunningham plays housekeeper Mrs. Shandig.  Mrs. Shandig is a convert to Catholicism who runs the Rectory and Convent.  As innocent as Sister Rita is, she is well aware of men’s more base natures.  She tries to protect both Sister Rita and Father Rivard from their emotions.  Ms. Cunningham is excellent – as are the other supporting players.

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The quality of this production is excellent (Set Deisgners Jack & Rebecca Cunningham, Lighting Designer Jacqueline Reid), and makes great use of the Arclight space.  Peter Zinn handles the Direction ably, in this tightly strung drama.  The one issue with The Runner Stumbles is the play starts at a high level of angst, and stays there throughout the show.  The show in general, and the character of Father Rivard in particular, would benefit from a variation in tone.  All the characters are able to sustain the level of dread, but the audience could do with more variety.  Luckily for all involved, the payoff for the audience is great,The Runner Stumbles is a very good show.

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The Runner Stumbles at the Arclight Theater

Playwright: Milan Stitt

Director: Peter Zinn

Cast: Christopher Patrick Mullen, Casandera M.J. Lollar, Heather E. Cunningham, Alisha Spielmann, Ric Sechrest, Joseph Mathers, Nat Cassiday, Richard Waddingham, Becky Byers

Website (Retro Productions)

Evolution is a Magical Journey

Evolution takes the audience on an wonderful journey and is now playing at 59E59 theaters.

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What do you think of when you hear the term “evolution”?  Do you see it as the process of changing a mind-set, intellectual growth?  Do you view it as the biological process of species change?  Or do you think of it as the unending process that takes place  across time and ecosystems?  Among those definitions is one other (from dictionary.com online):

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5.  a motion incomplete in itself, but combining with coordinated motions to produce as a single action…

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All of those definitions apply to varying degrees in the new play at 59E59 Theater, Evolution.  It explores both biological progression and the changing mind set of individuals.  But it is the “combining with coordinated motions” that make Evolution such a powerful and interesting piece of theater.

To some, the description “powerful and interesting”, might make it sound static, dull and dry.  It is anything but that.  It swings between hilarious and insightful, often achieving both at the same time.  Evolution is a wonderful play.  It is the story of sisters Minnie and Pam, with plenty of input from an overly invested Mother.

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All three characters, plus a few others, are expertly brought to life by Patricia Buckly, the playwright and performer.   Ms. Buckly seamlessly transitions between the characters as they interact with each other, carry on one-sided phone conversations or rant at the world in general.  Each character brings a different point of view to the proceedings.

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Minnie is a young woman in the middle of a mental breakdown.   She has eschewed her medications and is in the process of succumbing to her delusions.   Minnie is the catalyst, but not the main character, in this dramatic comedy.   The prime story driver is her sister, Pam, an evolutionary biologist working with whales.  Pam has written a successful book and is balancing a busy life of seminar appearances and teaching demands.  Pam is the vehicle Ms. Buckly uses to provide the observations about evolution, sibling rivalry and the bonds of family.  Pam is funny, intelligent and just bitter enough to be a stand in for the New York audience.

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Mother, no other name is given or necessary, hovers about.  She tries to support Minnie, clueless as to how invasive she is, and tries to guilt Pam into spending more time with the family.  She is stereotypical without ever becoming a caricature.

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The sisters are entranced by the ocean, something they inherited from their unseen and barely mentioned father, long gone.  Mother is not a fan of the seaside, with its sand and impossibly big ocean.  

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Scenes from the ocean are shown on various screens, illustrating Minnie’s imagination.  The show features expert  video presentation and scenic design by Jim Findlay accompanied by great music by Marc Mellits.  The entire set design is wonderful.  

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The set suggests a homey space, but provides a plethora of compartments and shelves.  Every time Ms. Buckly pulls something off a shelf, it is like the character is accessing another memory.  These characters have all compartmentalized their lives, causing chaos as they travel into unknown territory.  Director Michele Chivu paces the show excellently for the most part.  The show does slow down in the final few minutes.  It is appropriate for the story, but is a change from the excellent flow achieved by most of the show.

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Evolution @ 59E59 Theaters

Playwright: Patricia Buckly

Director: Michele Chivo

Cast: Patricia Buckly

Website

The Electric Lighthouse: Making it in London

The first of The Flea’s trio of new plays is The Electric Lighthouse, by Ed Hime.  The title refers to a London Art House Cinema, a common bond between this group of friends and acquaintances. There are six characters, and they normally interact in various sets of 2.  It is the type of story where happenstance meetings abound and each interaction multiplies the complexity of the story.  Often times, these type of plays wrap everything up with a pat and happy ending.  The Electric Lighthouse avoids the expected route, but is extremely satisfying in its conclusion.

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The primary couple is Marie and Rick.  They are an estranged couple with unresolved feelings still at play.  As Marie, Margaret Odette carries much of the emotional heft of the show admirably.  Ms. Odette is able to hold your attention whether in silence or at full throat.  Even standing still, Ms. Odette’s Marie twitches with constrained energy.  Rick, well played by Seth Moore, is no match for Marie.  Rick is a slacker with dreams of success, but not the initiative to pursue them.  Rick is emotionally younger than his years.  He is confident in his sexual prowess and little else.  Rick can’t really commit to Marie, until she breaks up with him.  Mr. Moore and Ms. Odette have a natural rapport, honest in both tender and raw moments.

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Margaret Odette & Seth Moore in The Electric Lighthouse

Kerri and Keith, Allison Buck and Jack Corcoran respectively, work or worked at the Electric Lighthouse Theater.  For Kerri, the job is a step towards independence, her first job in London.  For Keith, it is a safe haven and sanctuary from the city.  Both Kerri and Keith need the sense of family the job provides.

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Stephen Stout plays Chaz, a London hipster video artist (with an appalling choice in pants).  Mr. Stout is the catalyst for a great deal of action, and he manages it with a light touch.  His character is outgrowing his impishness, but isn’t sure what he is growing into.  Glenna Grant plays Cynthia, the most adult of the characters.  She has made it in London already, but life isn’t living up to her expectations.

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The direction, by Kristan Seemel, was simple and well done.  The action moved well and grew in intensity as the play progressed.  The actors brought these characters to life, and made the audience care about them.  All of the actors used a British Accent, with varying degrees of success and consistency.  In a story about London, this makes sense, but a bit less cockney wouldn’t hurt.

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Kat Foster does the Set Designer duties and creates a number of unique and recognizable spaces with a minimal amount of set changes.  She has created an appropriate amount of space that these actors fill well.

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The Electric Lighthouse is an excellent start to the Trio of new plays.

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The Electric Lighthouse @ The Flea Theater

Playwright: Ed Hime

Director: Kristan Seemel

Cast: Margaret Odette, Seth Moore, Alison Buck, Jack Corcoran, Stephen Stout, Glenna Grant

Website

Vassar's Powerhouse Theater Announces the Season

If you are near Poughkeepsie New York this summer, then maybe schedule a trip t the Powerhouse Theater.  I haven't been yet, but I have heard really good things about it.  Here is the Press Announcement.
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NEW YORK STAGE AND FILM

ANNOUNCES 2012 POWERHOUSE SEASON

FEATURING NEW PLAYS BY

R O B E R T O  A G U I R R E - S A C A S A

S T E P H E N  B E L B E R

AT VASSAR COLLEGE

SUBSCRIPTIONS AVAILABLE MAY 16; SINGLE TICKETS AVAILABLE JUNE 1

New York, NY – New York Stage and Film (Johanna Pfaelzer, Artistic Director; Thomas Pearson, Executive Director, Mark Linn-Baker, Max Mayer, Leslie Urdang, Producing Directors) and Vassar College (Ed Cheetham, Producing Director) have announced the line-up of their 2012 Powerhouse Theater season. The full season is as follows:

Mainstage (fully staged and designed works-in-progress)

In the Powerhouse Theater

Wednesday, June 27 – Sunday, July 8

ABIGAIL/1702

By Roberto Aguirre-Sacasa

Directed by David Esbjornson

Ten years after the events of The Crucible, Abigail Williams is living under a new identity in Boston and haunted by her past.  When a mysterious figure appears, she confronts Salem’s dark history head on and must atone for her role in it.  Roberto Aguirre-Sacasa (The Mystery Plays, Good Boys and True, Glee and Big Love) makes his Powerhouse debut with this suspenseful tale of a young woman’s quest for forgiveness.

Wednesday, July 18 – Sunday, July 29

THE POWER OF DUFF

By Stephen Belber

Directed by Peter DuBois

Charles Duff, a news anchor in a mid-market backwater, has an unexpected spiritual awakening on live TV.  His prayers, and their answers, change his audience, his family, and his own life forever. Stephen Belber (Tape, Match, Dusk Rings a Bell, Fault Lines) returns to the Powerhouse alongside Peter DuBois (Sons of the Prophet, Becky Shaw, Jack Goes Boating, All New People).