FringeNYC 2013: cal and grey
Cal and Grey are enemies of the state. Their bond could ignite a revolution, or be the end of all they've ever known. Through shared strength and unimaginable loss, they will learn that some fires cannot be contained.
Official production websiteShow details/ticketing at FringeNYC
Review by Gianfranco Lentini · August 11, 2013
Orphans sentenced to rigorous work with scraps of bread in the hazardous environment of a shelter that the majority wants nothing to do with. Whether in literature, film, or stage, it's hard to brush any genre in today’s market without picking up a few of these stories. Cal and Grey, written by Becca Schlossberg and directed by Madeleine Rose Parsigian, takes the stage at the 2013 New York International Fringe Festival.
In this, the first installment of The Orphan Policy trilogy, we meet Cal (played by Justin Blake Broido), the persistent “trouble maker,” and Grey (played by Nicholas Robert Martin), the lone wolf of the boy’s dormitory, as they quarrel, banter, and grow to find a friend in each other. Taking late night sanctuary in the solitude of the bathroom, we watch as our two leads discuss everyday ordeals from the Warden and his enforcers to learning how to read and write.
The world in which Cal and Grey is set sparks much curiosity from the audience to want to pursue more details and facts about this debilitated society. Catching bits and pieces of talk of a “cleanse” and a “takeover” in the current nation, I couldn’t help but to let my mind race through this Hunger Games-esque civilization. However, given the limited hints about time and place we’re given, it’s difficult to place a finger as to whether this is a pre- or post-apocalyptic social order. Taking a glimpse at set pieces that state “Support the orphan policy” and “Support the true population,” the audience can’t help but to question what any of this means to our characters and the orphanage unless we’re made to understand this “policy” and this world’s definition of “true.”
The information given by our only characters, being a two-person cast, doesn’t leave us which much to infer. Regardless of discussion of other workers and boys in the orphanage, the audience is missing vital information about how our characters have come to live in such a destitute world where revolts and food rations are the norm. Granted, as the first installment of a trilogy, there leaves ample time to answer these questions, but without the initial, generous distribution of knowledge to gain an immediate trust from the audience, it’s hard to want to return for more.
Frequently Cal and Grey becomes an exclusive experience playing towards those who've already been given a breakdown or synopsis of this world (i.e. the cast and crew). Though this world is very innovative and stimulating (and gives the impression that it has much more to say) it lacks a clarity that would make viewing the production easily enjoyable. It is evident that those working on the play from cast to crew truly understand their part in making this production happen, but the communication seems to stop there leaving the audience to use context clues to fill themselves in - there are audiences that enjoy a challenge, but not everyone is an expert in deciphering theatre.
Of course, as the title of this show states, the main focus should fall upon our characters, Cal and Grey, who repeatedly ask each other and themselves “Who cares?” Responding to their question as a fellow thespian, it’s with good intention that I say that the theory of Cal and Grey is much better than the practice of it. The idea of the production can stand for itself, but the performance needs closer evaluation. With some polishing and continued development, this production has the great potential to become a hit with contemporary audiences.
Preview: Interviews with Artists from cal and grey
We're asking artists from each show to answer questions about themselves and their work to help our readers get a detailed advance picture of the festival:
Theater is Political · Jaime Lamchick (Designer)
- Are there boundaries as to what kind of theatre you will take part in?
Yes and no. Working in theater in relative anonymity means you don't always get to be terribly selective - if you want to do the work, you sometimes have to take whatever comes your way. The other side of that coin, of course, is that when you remove any sense of monetary gain, you're free to ONLY create the kind of theater you love and support. Our production company, Sunglasses After Dark, is dedicated to creating and mounting work that deconstructs gender, sexuality, and race in vibrant and enriching ways. I very specifically choose to align myself with groups I know will create theater with a political conscience - and a pulse. - Can theater bring about societal change? Why or why not?
Absolutely! Unequivocally! (Do people really answer "no" to this question?!) Historically, theater has been used to give voice to silenced communities and populations - with an immediacy that other art forms sometimes lack. Unfortunately, the ever-increasing commercialization and commodification of mainstream theater has made it hard for messages of activism onstage to become widespread. The best live performance is certainly entertaining, but it's also got something to say. It takes advantage of its position as the most visceral, immediate form of performance and ignites people into action. Cal and Grey is seriously good theater: it's a beautifully-told story about love, but it's got an righteous heart and revolution flowing in its veins. - Are there things you do as a designer that reflect or reinforce the political views of yourself and/or the play?
My job as a designer for Cal and Grey is to bring the story to life using the medium of sound. The play takes place in the bathroom of an orphanage, but there's an angry world raging and battering just outside the window. Speaking purely logistically, I got to explore a very political world in my search for soundbites from protests and riots from different places and times, trying to find the right ones to create this particular world. The other layer to this work was composing an original score, which I did with the help of Alex Engquist, my co-designer. The play is a journey from solitude to togetherness, and the strength that lies within that bond. My compositions echo this notion, employing a single theme in different iterations. First, it's whistled solo into a vast, empty space, but by the end of the play it's transformed into a rallying cry: sung, stomped, and yelled by too many voices to ignore. - Which political figure would like your show the best: Chris Christie, Hilary Clinton, Rand Paul, or Al Sharpton?
I've got to imagine Hilary would find a lot to love here - at least, I'd certainly want her to! Governor Christie would appreciate at the very least our cast and crew, who represent for NJ, where many of us grew up and went to college. Actually, you know what? I bet Rand Paul and Al Sharpton would like this play, too. Who doesn't like a smart, funny, exciting love story? - Groucho, Chico, Harpo, or Zeppo?
Harpo every time. Like I said, we're all about the voiceless over here at Team Cal and Grey!
The Folks Back Home · Justin Blake Broido (Other)
- Who are your role models as an artist?
Well, I have my big famous celebrity role rmodels like Denzel, Laura Linney, Mark Ruffalo, and Pacino, but I'd like to talk about the kids I grew up acting with. I went to a public high school in San Antonio, TX, in the middle of football country. Theatre was stereotypically for the geeks/nerds/goths, but I was blessed to find a Drama Department that demanded a high level of sophisticated work from its actors, and that level of sophistication was enforced not by the teachers, but by the students. Winston Churchill High School had a tradition of upperclassmen passing down knowledge and decorum to the incoming freshmen. It was from the senior class of 2005 that I learned almost everything I know today about what it means to be an actor, and how I should conduct myself accordingly. Thank you Jordan, Samantha, Anthony, Paige, Sam, and thank you Jack, Brendan, and Cristina. Ya'll taught me everything. - How has the place where you grew up influenced your work as an indie theater artist?
Texas always has been, and always will be my home. There's a spirit of generosity that exists in Texas that is unlike anything you will find anywhere else in the world. We're huggers. If you come see Cal and Grey and introduce yourself to me, I will probably try and give you a hug. My upbringing in Texas made me a kind human being, but with just enough country grit to hold my own in a high stakes city like New York, and not feel pressured to change my morals. - Are you a New Yorker? If not, would you like to be?
Am I a New Yorker? Well my friends back in Texas might joke with me that I am, but no. They know as well as I: once a Texan, always a Texan - Who would like your show the best: Mom, Dad, High School Teacher, College Roommate?
My mother definitely will like this show the most. Besides the existence of two characters, there's an incredibly fascinating dystopia that the play is set in. Our playwright Becca has done an incredible job creating a very complex world, told from the two characters who we only see in a dank, damp bathroom. The world alone is reason enough to see this play, but Becca has also weaves together a brutally beautiful story of love overpowering dire straits. - Where would be your ideal working environment: New York in 2013, Shakespeare’s Globe, the theater of Sophocles and Euripides, Stanislavski’s Moscow Art Theater?
After spending a year acting and training under Tim Carroll (his Twelfth Night starring Mark Rylance is coming to the States soon) at Shakespeare's Globe, I gotta say that there's not a theatre in the world that can compare. It's the most magical place on Earth. BUT I've always been a fan of the structure of amphitheaters. I think the audience should look down on a play, not up at it. I love the idea of looking down into something that exists, as if the actors themselves are completely unaware that anyone is watching. It's like watching a surgery from up above. For that reason I think I would love to work in the theatre of Sophocles and Euripides.
Many Faces of Theater · Madeleine Rose Parsigian (Director)
- What type of theater do you like most to work on?
I am most drawn to character driven pieces. That is one of the reasons Becca (playwright) and I are so fused to each other. She has always had an incredible talent for crafting characters that come off the page. When we first moved to New York City and were sharing a studio apartment, composed largely of beds, I would come home and find her perched on her bed, hunched over her laptop in deep conversation with her characters. At this point I do it as well, there is something so innately human about everyone she puts on stage. Actors have also always connected strongly with her work and often go on to use her monologues to land other roles. I have always been fascinated by the relationship between actor and audience. I think too many directors forget that actors are not vessels they are storytellers. At the end of the day they are the people responsible for sharing this story with the audience. I find when working on character driven pieces that if I can get my actors invested in the character, the audience will follow suit. - What is your signature style or aesthetic as a director?
Collaborative. I have always believed that a team is only as strong as their weakest link. If one person isn't on board the whole ship sinks. Having worked in most on and off stage positions (actor, designer, stage manager, director) I work to create a personal dialogue with every member of my team. I foster an environment where questions are welcome and ideas are encouraged. When everyone is excited about what they are individually contributing; the final product it at it's best. - Are audiences in New York City different from audiences in other cities/countries where you’ve worked? If so, how?
Definitely. New York has the largest dedicated theater crowd and tourist volume than anywhere I have ever been. Because of that, as artists, we have the space to create a wide variety of theatrical experiences; and still have an audience. - Where would be your ideal working environment: New York in 2013, Shakespeare’s Globe, the theater of Sophocles and Euripides, Stanislavski’s Moscow Art Theater?
New York 2013, no question. It is such an exciting time to be a female director in New York with recognitions like Paulus and MacKinnon at this years Tony Awards. The tides of the city are definitely changing and it is a very inspiring movement to be a part of. - Groucho, Chico, Harpo, or Zeppo?
Groucho. We have a shared love for making silly faces with glasses!
Journey to FringeNYC · Becca Schlossberg (Writer)
- Where were you born? Where were you raised? Where did you go to school?
I was born and raised in Livingston, New Jersey. L-town, as I call it. I also went to Livingston High which was about two blocks from my house. I wish I could say I walked to school every morning, but most of the time my parents drove me. I think they were so paranoid that I would get kidnapped or something on the way there. That being said, the only time my mother could drive me to school was at 6 AM. So I’d get there at six, and just hang out by myself until school started. I’d memorize my lines if I was in a play, or nap, or type out the morning announcements on the teleprompter (our school had a T.V. morning announcement program.) - What are some of your previous theater credits? (Be specific! Name shows, etc.)
Stuff I wrote: 3boys at NYC Fringe 2010 (available from Original Works), Just Like I Wanted (available from Playscripts Inc.), Hands (Red Shirt Reading Series, American Globe Festival), Punches (Ugly Rhino Best of 2012), Guidance (Sunglasses After Dark, New Group Reading Series), Unkempt (Playwrights Theater of NJ Reading Series) Glenhawk (still in process, Sunglasses Workshop Reading.) - Why did you want to be part of FringeNYC?
We really wanted to share this show with a downtown audience. We were hoping we might meet more people who dig Sunglasses (our company). Fringe is such an exciting festival to be a part of because you see such a variety of work from all over the world. It really opened up a lot of opportunities for our company when we participated three years ago, so we wanted to come back with an even bigger show! - What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
It’s hard to pinpoint any specific moment, quite honestly; the entire experience has been very memorable/funny/bizarre. Watching Justin and Nick (Cal and Grey) bond has been truly delightful. - Be honest: how many drafts have you written of this play so far? Are you still re-writing? What’s the process been like?
Oh god, at least a dozen, but it’s probably a way higher number than that. And yes, I am still making cuts and edits. In rehearsal last week we ended up cutting off two pages, definitely for the better. It’s actually really nice to know that at this point in the game we are still opening to discussing the text and the ways we can make the script the strongest it can possibly be. The process of developing this play has actually been totally ideal. I came into rehearsal with a pretty solid foundation, and I think everyone sorta felt that way too, but at the same time there were things that needed to be fixed. Maddy (my fabulous director) Nick, and Justin (our lovely actors) all spoke up about what was working for them and what wasn’t (as well as the rest of our great Sunglasses Production Team). It was hearing those problems/questions that pushed me to do revisions. It was also nice that they left it in my hands on how exactly to revise. There was a lot of really great support all around.
All About My Show · Nick Martin (Actor)
- Complete this sentence: My show is the only one in FringeNYC that...?
focuses on two semi-futuristic, sexually ambiguous, and overall hopeful orphans in the grips of a terrifying and cruel government that takes place in the bathroom of an orphanage at 3am in the morning... not to be too specific. - Tell us about the character or characters that you portray in this show.
I play the character Grey. He is a boy that has grown up in unimaginable circumstances. He was put into a state run orphanage at a very young age where having any sort of connection to anyone was a threat, a mistake. He has learned overtime to just stay silent, out of the way, and to never make any waves. I always think of him as a silent strategist. He never stops thinking of what's happening whether its in the other room or even outside. He doesn't really understand how to stand up for himself or anyone else until he meets Cal. - What moment or section in this show do you really love to perform? Without giving away surprises, what happens in that moment and why do you love it?
There is a point in the show where Grey uses what Cal has taught him about being strong and the roles get a little reversed. Cal comes into the scene questioning whether or not he should stand in the face of all the oppression going on and wants to throw in the towel. It is Grey, surprisingly, that urges him to keep going. Grey shows what he is really capable of, he pushes Cal in a way that Cal hasn't been pushed. I love that moment. Grey is a little shocked by how strong he is and Cal is surprised that it is Grey that convinces him to keep going. Its fantastic. - Which school or system of acting has been most useful to you in your career, and why (examples: The Method, Uta Hagen, Viewpoints, etc.)?
None. I don't really prescribe to any specific school. I think it is important to have the tools that these systems create in your pocket, but I honestly think that following any system is limiting in one regard or another. You lose a piece of the character when you follow one specific school. I believe that you have to approach every character in a very natural manor. You have to learn their intricacies, the way they think, move, react, and feel. In order to do this you have to learn about them in any and all ways possible. You have to find ways that you as an individual can relate to them. As an actor, you have a really amazing opportunity to give voices to those who have none. These characters cannot speak, their stories cannot be told without you there giving them their vehicle. Any method that you follow, to some degree, gets in the way of what they are trying to say. - What's your favorite pastime when you’re not working on a play?
Honestly? Netflix and I have a really unhealthy relationship. There's that moment when you've literally watched everything on Netflix that you have wanted and it makes you so incredibly sad, until that magical day when you see they've released new shows and stuff. That day is my favorite day.
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