FringeNYC 2013: For a Good Time, Call Kathy Blanchard
Lawrence is breaking down. His family won't leave the house until someone wins the Stanley Cup. Everyone's prepared for a devastating loss. But, Lawrence has a plan. A comedy about hockey, heartbreak and the places we used to call home.
Official production websiteShow details/ticketing at FringeNYC
Review by David Fuller · August 10, 2013
There is a comment late in this play where a character threatens another by saying if she doesn’t behave she will write her name on the wall of every washroom across America. I am guessing this is the allusion for the title of this comedy-drama, but, For a Good Time, Call Kathy Blanchard has nothing to do with anyone named Kathy or Blanchard.
It is a four hander by Michael Ross Albert about Lawrence and his best friend/cousin Mary,and their interactions with Sky, Lawrence’s brother-in-law, and Amanda, Lawrence’s hopeful fiancé. This quartet is skillfully played by Ross Wellinger (Lawrence), Hannah Timmons (Mary), David Dempsey (Sky) and Kaitlyn Huczko (Amanda). These are four charismatic actors who acquit themselves well and are fun to watch in this contemporary piece.
The play seems just a little bit too long: even at 75minutes I found myself wandering mentally at times. It may be that Albert has not yet found the spine of his play, or perhaps rather that he has a core of action but needs encouragement to stick with it. This dramaturgical meandering doesn’t serve the play: I thought the play had ended more than once before it actually did.
But this is not to overly belittle the play, which is an interesting story. Lawrence is at the family homestead, where the scene is set, moonlighting from the hospital where his mother is in intensive care and where his eight siblings, extended family and father are all keeping vigil. Cousin Mary has been at the house acting as watchman over the property. Sky comes over after a row with his wife (Lawrence’s sister). Amanda comes by for a date with Lawrence. Sky wants to stay because his wife has kicked him out for an alleged affair (plus he has already been renovating the homestead), Lawrence wants to cook a nice romantic dinner for Amanda (hampered by the fact that the renovations have scattered the kitchen appliances and accoutrement throughout the house), Amanda wants to set their relationship straight, and Mary, well, she wants a number of things, including watching the fourth game of the Stanley Cup finals, which is coming in and out on a television with particularly bad reception.
What transpires is a sort of contemporary meditation on family, especially the vicissitudes of dealing with the passing of elderly family members and the transitioning of estate ownership in the 21st Century, couched in an almost Christopher Durang like situation comedy. Indeed, there is much promise in this playwright Albert – he has a nice imagination for character and action, plus a good ear for dialogue. If this particular production didn’t completely grab me, it may be that it felt more like a padded out one act than a fully fleshed out piece. Whatever, call me old school, but I really do wish that the title referenced something or someone in the play.
Preview: Interviews with Artists from For a Good Time, Call Kathy Blanchard
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 · Kaitlyn Huczko (Other)
- Are there boundaries as to what kind of theatre you will take part in?
I don't think I have boundaries as long as the writing is strong and the ends justify the means. I think my boundaries are defined by the quality of the work, the integrity and passion of the people involved, and the attention and commitment to the story. "For a Good Time, Call Kathy Blanchard" hits the bullseye, so come see it! - Should “hot button” topics be the subject of theater works?
Oh totally! Sometimes, those topics are the most exciting to perform in front of a live audience and to witness as part of an audience. However, I don't think that theater should be a mere vehicle for people to declare their opinions. I don't usually appreciate a playwright who says, "I want to write a play that shows why my opinion is right," or a director who says, "I want to use this play to state my argument," or an actor who says, "I want my character to stand for this." If we don't do what's best for the art and the story, then we've failed. And if we don't do our best to see things from all sides, then we've failed. I think the most successful, thought-provoking theater raises questions, but never claims to have one answer. - How important is diversity to you in the theater you see/make?
Pretty darn important. Diversity is such a big word--race and cultural background come to mind first, but equally important is the diversity of ideas, theater genres, language, age, gender... the list goes on. I love when the theater world can run all over the spectrum. It's disheartening to make theater for only those who agree with you, or only those who share your background... open minds make good theater, and good theater opens minds! - Can theater bring about societal change? Why or why not?
Absolutely. Theater has changed my life. Theater has changed the lives of anyone who does theater--there are countless people who have committed their entire lives to theater, and a force that powerful can bring about change in others, on scales great and small. - Groucho, Chico, Harpo, or Zeppo?
Why choose one? They're magical when they're together--I'm all about ensemble!
Theater Beats Movies · Ross Wellinger (Actor)
- Why do you do theater (as opposed to film, or TV, or something not in the entertainment field)?
Well, because I haven't been cast in too many films or TV shows! No no no, nothing beats live theatre. I love walking into the theater before the show with that nervous and excited focus, and I love walking out of the theater after the show knowing that I just accomplished something pretty cool. That's if I didn't screw anything up. hi ho. - What jazzes you about having a live audience to perform for?
There's a certain danger that comes along with it. Anything can go wrong in any moment, and it needs to be dealt with in the moment. You must keep your composure. I came from a background of competitive sports so I missed that "rush." A live audience gives me that "rush." And I'm not talking about rush tickets! hi ho. - Do you prefer to read plays by yourself, read them aloud, or perform them?
This is a funny question, as I consider reading plays and performing them to be two completely different things. Depending on what the play is, I'm sure I'd prefer to perform them. But if I'm just going to read a play, I'd prefer to read it by myself. I'll maybe dim the lights, light a candle, pour myself a glass of Chianti, and let the play work on me. hi ho. - 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?
For most of this play, I'm pretty depressed. I'm down and out. I'm blue. But I have this big plan that I think is going to change my life forever. There's a scene where I have to open up and tell my plan to the one that I love. It's not easy. It's one of the biggest decisions of my life, and I'm very excited, I'm nervous, I'm giddy, and I really think it's going to work. Then, in this same scene, I fall flat on my face again. My great plan doesn't pan out. Our wonderful playwright (Michael Ross Albert) creates these natural ups and downs that makes it a very fun ride for the actors. I love it because I just sort of go along with the ride. I don't really have to do anything but hold on. hi ho. - People who like which iconic film would like this show: THE SOUND OF MUSIC, STAR WARS, AIRPLANE, or FELLINI’s 8 1/2?
Definitely all of the above. hi ho.
The Five W's · Andrew Dunn (Designer)
- Who is more important in the theater: the actor, the playwright, or the director?
The sound designer, of course (kidding). One of the most intriguing things about theater is its artistic necessity for collaboration. Audiences think that theater is getting thirty people in a room together with the same vision. On the contrary, theater is getting thirty visions in a room together and seeing how they mix. The director with no script and no performer is an artisan with no tools. A playwright with no channel to interpret and spread his words is a poet without an ear. And an actor with no words and no vision is a mime... which is just unacceptable. - What aspects of design are you responsible for, and what exactly does that entail? Please be specific, e.g., if you’re the sound designer, what are the things that the audience will experience that you’re responsible for?
I am the sound designer for For a Good Time, Call Kathy Blanchard. You can certainly be on the prowl for a realistic experience. I try whenever I can to find not only the sound best suited for the specific scene, but also a way to send that sound to the viewers' ears in a manner that is as natural and unnoticeable to them as possible. The worst proverbial knife I could feel would be an audience member telling me they noticed the sound and how great it was. I want the characters and their delivery of the story and message to be the focus, and I never want to be the reason our viewers are pulled out of the false world we've created and dropped back into their seats in a theater in New York City. - Where do you get inspiration for your designs?
Mostly from the script and the people I work with. I try to work with directors and playwrights I know well enough to envision an outline of the show from the audience's seat. With the full collaborative nature of this art, the show will always be different than what I imagine. When I do this I'm not trying to picture the entire show, but rather what I want the show to sound like. If I know the actors I can usually hear their voices while I read the script. If I know the director very well I can hear their intentions. Then I listen for what needs to go in between. Usually while I read the stage direction that says a sound is heard, I try to hang on to my first impression. It's usually the right one. I also know enough from experience working with sound design and computers in general that I look for the specifics. Little things. Does the sounds cut abruptly, fade out, or echo through the theater? Is the bell electronic or manual? Is the ringer for the phone the right one for the decade? And this is where collaboration becomes critical. Because at this point I ask, "Should it be?" What is the vision, and how can I use my knowledge, inspiration, and art to help it grow? - When did you know you wanted to work in the theater, and why?
As arrogant as this sounds, it was when I realized I was better at it than everyone else. I come from an environment where everyone wanted to perform, but nobody wanted to work for it. All of my friends and acquaintances thought their careers would fall out of the sky and into their laps at a coffee shop, or that a Hollywood agent would approach them after seeing their stunning rendition of Hello Dolly at a community theater in Ohio. It just doesn't work that way (for most of us). I wanted to work. I've always worked my hardest at everything I ever did. I thought theater was fun, realized I worked harder at it than anyone around me, and then realized that people actually get PAID to be involved with theater. What a concept. And who doesn't like getting paid to play all day? As I got into the profession and moved to New York, I found hundreds of people willing to work just as hard as I do in my same field. This probably should have intimidated me, but it only invigorated and motivated me. Finally, people I could communicate with! I could lay out my ideas in a totally thorough outline and not have the response be, "You take this too seriously." And I could finally rest assured that when my small contribution to whatever project I was working on was handed off, it would be in competent hands. - Why is your design discipline important?
It's not. No more than the position of Key Grip #3 or the intern who fetches the coffee. We're all working towards a greater message. We each have one small voice. What's marvelous about theater is that, while it may not stand out individually, your voice will be heard. It will be part of a great sound that spreads through the walls of a theater and echos in the minds of an audience.
Journey to FringeNYC · Kaitlyn Samuel (Director)
- Tell us about the process you used to achieve your vision of this play in this production.
I believe in ensemble and ensemble based work. And this is one hell of a dream team. Michael Ross Albert is one of my favorite authors (and people), and we have somehow convinced four other extremely talented Actor Studio Drama School graduates (two of whom are life time studio members) to join us on this journey. We spent a lot of time building the right sort of rapport between all the actors. They are four truly fabulous and unique people (and all quite cheeky in their humor), and I wanted that to show through on stage. And if it's not fun, I don't want to do it. We did a lot of trying silly things and giggling. I stand by that giggling is one of the best tools to build a strong ensemble. - What are some of your previous theater credits? (Be specific! Name shows, etc.)
I've had the awesome adventure of an internship at Shakespeare Santa Cruz when I was still in undergrad. I worked on Endgame and Playboy of the Western World. I remember being there and going YES, this is what I want to do forever and ever. In L.A. I worked at The Victory Theatre Center and worked on shows like My Old Friends (a musical about a retirement home, the cast was all 65 years old and older) and Ten Cent Night that taught me a lot about working with newer works/living playwrights. There I met Gangbusters Theatre Company(an LA based theatre company dedicated to 're-staging the modern classics with their original speed and violence') and worked on Woyzeck with them. Once I moved to NYC and started graduate school, I directed The Individuality of Street Lamps, The Lesson, Time Flies, scenes from In the Continuum, Give It Away, and my thesis project was scenes from Top Girls. I've been blessed to stay pretty busy. - 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?
Oh, no. This is my FIFTH year in a row doing FringeNYC, and I am very proud to say that I've been involved for so many years. I've done Woyzeck '09, Julius Ceasar '10, Chagrin '11, Night of the Auk '12, Baldy '12, and now For a Good Time, Call Kathy Blanchard '13. My first two shows where with Gangbusters Theatre Company. I've had three fantastic years producing shows with my current company OUTSIDE INSIDE (which Michael Ross Albert is a founding co-artistic director). Baldy is produced with The Ume Group and is my dear friend Yokko's very personal and brave one woman show that I've had the great honor to work on for two years. We just returned from taking it to the Hollywood Fringe Festival this June. I thankfully got back just in time for me to be a part of FringeNYC '13 with Michael Ross Albert's newest play. I'm a lucky lady. - Why are theater festivals important?
They build community. It's a gathering place for artists to try the newest experiments they are working on, put out their craziest and dearest ideas, and to see that they are not alone in their work. The strength of the title festival concentrates everything and it becomes a fantastic beckon to bring in new audiences as well as the repeat audience that has become familiar with what that festival produces. The FringeNYC audience base is a particularity magical and loyal fan base that is specifically FringeNYC and lovely. - What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
Just getting the entire cast in one room was a memorable feat. Our prolific playwright lives in Cananda, one actress just got married and was on her honeymoon, two of the actors had family reunions in other states, one actor was in Ireland for a wedding, and I was in L.A. for almost a month. We all have other jobs, projects, etc. Let's just say this jet-setting group relied on a lot of funny e-mails with huge reply chains and Skype sessions that I am thankful were not recorded.
All About My Show · Michael Ross Albert (Writer)
- Complete this sentence: My show is the only one in FringeNYC that...?
...places the spiritual significance on the outcome of the Stanley Cup finals - What do you think this show is about? What will audiences take away with them after seeing it?
The play is about home. It's about generation of family trying to re-discover something they think they've lost in order to figure out where they're headed. It's also, in a sort of melancholy way, a slapstick comedy. So hopefully the audience will walk away realizing how many pratfalls a family takes before they can learn to watch where they're going. - Why did you want to write this show?
Honestly, when I sat down to write this play, I didn't know what it was going to be. And I think the characters mirrored my own uncertainty, on their own dramatic levels. Their lack of direction in life, their own individual crises became so endearing to me that I pretty much couldn't stop writing about them. I wanted to see how they figured everything out. - Who are some of the people who helped you create this show, and what were their important contributions to the finished product?
Kaitlyn Samuel, first and foremost. She's the founding co-artistic director of Outside Inside, she's directing this piece, she's been involved since I wrote the very first draft, and she's handling all of the nitty gritty details of putting the production on its feet in FringeNYC. She's this play's rock. There's also a ton of people who've helped me during the script's development, including Edward Allan Baker, Iris Turcott, and Alla Ilyasova to name a few. And, of course, there's the flat out, hands down, greatest cast I could've hoped for to bring this play 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 King Lear: He's got a pretty dysfunctional family, he likes to have a good chuckle, and he just wants someone to tell him how much they love him.
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