FringeNYC 2013: Certifiable
This dark rom-com follows the love triangle of Greg, Pam, and Marianne. A daring investigation into mental health, dependency and wine- begging Greg to answer the question: can he be her everything, when he is barely enough for himself?
Official production websiteShow details/ticketing at FringeNYC
Review by Cory Conley · August 11, 2013
Love is crazy, but so are Greg and Pam, the couple at the center of Certifiable, Molly Rydzel's wonderfully tense and vibrant play. Okay, I shouldn't call them "crazy." Pam, after all, has a legitimate case of schizophrenia, and a recent trauma to deal with. Greg has no medical excuse, but clearly, his uncontrollable obsession with Pam has led him to a place he never thought he'd be.
After a brief and eerie first scene set much later in the story, we see the pair in relative domestic bliss, with her thriving as a sommelier and him a successful finance man. Just as he's leaving for work, Pam reveals rather whimsically that she's pregnant, at which point they happily make plans for their future life together. They're a quirky couple, sure, but it works for them, and a baby is usually good news. What could happen next?
What happens next is that you see Greg with another woman--- his wife, Marianne. We're in the future, we surmise, because Marianne is asking Greg whether he's heard from "you-know-who" and decrying her as a "stalker." Uh-oh. She's talking about Pam, right? Where did she go? Why did Greg marry someone else? And what happened to the baby?
It'll all become clear, eventually, and although the scenes can seem to unfold in random order, Rydzel ensures that each bit of information emerges at exactly the right time. Rarely have I seen a play with such a simple story that's nonetheless so utterly full of narrative surprises; I never knew what was going to happen, nor could I guess. In combining that suspense with such likable and dynamic characters, the writer has sketched out a marvelously seductive piece of theater.
That's probably why she's attracted so much talent, both on stage and behind the scenes. As Pam, Crystal Arnette avoids the impulse to swallow the scenery whole by rooting her performance in specific action. Kett Turton's movie-star looks and easiness on stage might've lead him to an auto-pilot rendering of Greg, but there's something lurking beneath his eyes that keeps you on delightful edge. At first, Marianne threatens to be a more cardboard character (the perky, hyper-achieving blonde who orders a "Pinot Grigio, ice on the side") but Neka Zang charms her way to a genuinely sympathetic performance. The production is fluidly directed by Mark Karafin and inventively designed by Marcus Begala (sound), Izzy Fields (costumes), and especially Danny Morales, whose mood lighting is top notch.
At one point, during their courtship, Pam pushes Greg away and mocks him for talking to her like she's "a Manic Pixie Dream Girl"--- that is, a bubbly creature without an inner life whose only purpose is to open her boyfriend's eyes to the spontaneous possibilities of life. With Certifiable, Rydzel turns this prototype on its head, and suggests that not all zany adventures have a happy ending.
Preview: Interviews with Artists from Certifiable
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:
Many Faces of Theater · Mark Karafin (Director)
- What type of theater do you like most to work on?
I love directing real plays dealing with real people. I enjoy new original work as well as putting a spin on an old classic. To me, it's all about relationships and how we relate to the story being told. - What is your signature style or aesthetic as a director?
I consider myself an actor's director. I grew up as an actor before transferring into directing. I search for the truth of the moment and then allow the audience to become part of that truth. I leave space for them to lean in more and more, until before they know it, the story has ended. I refer to it as the surprising inevitability; in the end something ultimately has to happen, yet you are still surprised when it does. - Are audiences in New York City different from audiences in other cities/countries where you’ve worked? If so, how?
New York Audiences are very smart. They are typical theatergoers. It is easy for them to go see something. There are no car rides. No parking. It is very convenient for them. In New York City, there is a huge diverse population. Therefore, the material on stage, as obscure or as shocking as it may be, is not that much of a surprise to us compared to a regional production for someone who does not usually go to the theatre. There are more opportunities to see a broader range of theatre in New York. - 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?
My ideal working environment would be to always have a show running somewhere in the world. If I had to choose a specific place, it would be The Music Box Theatre on Broadway. I love the intimacy and the relationship of the audience to the stage. It is by far my favorite in New York. I would also love to work at The Globe, and join the ranks of all the historic artists who have graced that stage. - Groucho, Chico, Harpo, or Zeppo?
I would have to go with Groucho. He's the hairiest, like me. I may be all 4 of them, hence my first name, Mark. I kid. I kid.
The Folks Back Home · Neka Zang (Actor)
- Where were you born? Where were you raised? Where did you go to school?
I was born in Colorado, and lived in California and Arizona as a kid. - When did you decide to become an actor, and who or what inspired you to make that choice?
I was always performing as a kid. Dancing, and doing skits in my living room. A knee injury at 15 inspired me to start taking acting classes, and actually direct that energy somewhere. - What are the folks back home never going to forget about your performance in this show?
I hope they remember that this is has been such an amazing journey for me, that I love what I do, and how much I have learned and stretched just doing this play. - Does this show remind you of a particular person or place from your past?
No. I have never experienced any of these events that are being being presented in this play. This is all very new territory. - If grandma left you ten million dollars that you had to spend only on theatrical endeavors, how would you use the money?
Easy. I would produce all the new and incredible up and coming artists, writers, and shows that would not otherwise get a shot to be seen!
Gettin' Social · Marcus Bagala (Designer)
- Where were you born? Where were you raised? Where did you go to school?
I was born in Portland, Me and grew up in the greater Portland area. I was homeschooled till I was 14 and then enrolled in an early studies program at the University Of Southern Maine, where I studied music composition. I then transferred to the Berklee College of Music where I received a degree in Film Scoring and Songwriting. - What's your favorite pastime when you’re not working on a play?
I'm a mandolinist, guitarist and songwriter in a bluegrass duo with my girlfriend Megan. - Why should your friends “like” this show?
Molly's script is really raw and emotional and From my perspective one of the most "likable" things about the show is how its being presented. With minimal set and lighting Mark (The director) is really leaving room for that emotion and story to fill up the space. Mark's approach is also leaving a lot of room for sound design to help tell the story...I think thats an interesting unique approach, whereas sound design is often tactile and utilitarian, like footsteps and phone rings...essentially Sound FX's, Mark has asked me to get really creative about how we set up the tone and world of the show, through the use of music and odd sounds, whispers and ambiance I'm trying to create a unique world for the actors to play in. I think thats exciting. - How do you as a designer collaborate with the other artists on this show?
Ultimately it comes down to what the director and producers wants. But one of the great things about working with a director like Mark is that he's really excited about my artistry and my thoughts about the show. Which is how I wish I could work all the time! Really though it comes down to balance, making everyone happy and still pushing the limits and being creative. - If you had ten million dollars that you had to spend only on theatrical endeavors, how would you use the money?
I have a couple ideas....but I always thought it'd be cool to build a theater space that have 7.1 surround sound capabilities like they have in IMAX movie theaters. Maybe put an IMAX size digital screen in a theater for projections? Just something to bring the scope and impact you feel when you see a movie in an IMAX to the theater context.
Journey to FringeNYC · Krysta Hibbard (Other)
- What are some of your previous theater credits? (Be specific! Name shows, etc.)
This will be my first official credit. I'm currently involved in a couple developing musicals and Broadway recording artist albums with Silver Towers Productions. - If this is your first appearance in FringeNYC -- why did you want to be part of this festival? If you have appeared in FringeNYC before, tell us what show(s) you have done here previously. What about your prior experience led you back to this festival?
We see a lot of movies and other medias coming to commercial production in theatre and I really want to see new work, new ideas, and new names. I'm more interested in art for art sake rather than financial incentive. FringeNYC is one of the most respected places to find MY type of theatre! There is nowhere else I'd rather grow my career. - Have you seen a lot of fringe shows in the past, and what have you learned from them to help with this show?
I wouldn't say a lot. The biggest thing I've learned is that less can be more. FringeNYC is ONLY 16 days and 5 performances per show!! That means you don't have a lot of time, space, or money usually, to get too big. It's really interesting and educational to see what these creative teams can do with so very little. So KISS is my motto for the rest of summer! (Keep It Simple Stupid!!!) - What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
We still have a couple weeks! (Crunch time, GO!) We haven't had anything unusual or dramatic happen yet. Though Kett just got here, so now that the whole team is together, I am sure something wild will happen! Ask me at the end of August! :) - Which cartoon character would most like this show – Bugs Bunny, Marge Simpson, Charlie Brown, or Casper the Friendly Ghost?
Definitely Marge...she would want to have a glass of wine with Pam. She'd either be besties with Marianne or give her a piece of her mind (depends on the first interaction. And then she'd drink an additional bottle of wine with Greg! (Charlie would need a visit to Lucy's psychiatry booth after. Casper would enjoy the comedy even if it was a little over his head. And Bugs...there's no carrots or flannel involved so he wouldn't care.)
All About My Show · Molly Rydzel (Writer)
- Complete this sentence: My show is the only one in FringeNYC that...?
Features a New York City female Sommelier as a lead character - What do you think this show is about? What will audiences take away with them after seeing it?
This show is about True Love and the heartbreak that occurs when real life gets in the way. - Why did you want to write this show?
I didn't start out writing anything particular. I was doing exercises for a writing class at Primary Stages and the whole thing just tumbled out. I didn't want to write it - apparently I needed to write it. - Who are some of the people who helped you create this show, and what were their important contributions to the finished product?
The acclaimed actress Heidi Schreck who led the exercises that brought this incredible play to life. My crazy friend Pam who is the inspiration for all of my beautifully unbalanced characters. And of course, my favorite director Mark Karafin who made me believe that the whole thing could and should be brought to life. - Which character from a Shakespeare play would like your show the best: King Lear, Puck, Rosalind, or Lady Macbeth -- and why?
I think if Ophelia saw this play she would learn that there are stronger women than she that have been brought low by love.
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