FringeNYC 2013: Worst Year Ever

Welcome to a short presentation about why Charlotte Walker Miller, age 12, is having the worst year ever.
Official production websiteShow details/ticketing at FringeNYC
Review by Carissa Cordes · August 9, 2013
Worst Year Ever begins with a shy girl stepping up to a music stand. This music stand will eventually hold what appear to be hand-written sheets of lined notebook paper. In the background is a colorfully decorated poster board detailing the all too familiar Summer Vacation Oral Report. Above the sign is written “Worst Year Ever” in chalk on the wall.
The shy girl begins reading from her handwritten report and identifies herself as Charlotte Walker Miller aged 12 in the seventh grade (played by the playwright and adult Charlotte Walker Miller). While Charlotte may appear to be shy she is much more socially awkward and hyper self-aware. She doesn’t appear to have much of a filter when detailing the events in her life or when she openly insults her teacher, Mrs. Rogers.
Thankfully, these affects lend humor and pathos to what could be an angsty piece full of self-pity. The awkwardness Charlotte claims to have is the very thing connecting her with the audience.
The play starts the fall after Kurt Cobain died (1994), and her year really does seem to go from bad to worse. It folds out in four oral reports: the summer, Thanksgiving, Christmas, and Spring Break. Each Act can be its own piece but together they build on the previous story fleshing out details, and an awkward throughline in the teacher-student relationship eventually emerges.
These Acts merge together as more of a story rather than a play. The main conflicts for Charlotte aged 12 are the events in the past she is presenting as a story in her oral reports. She does not agree with Mrs. Rogers on the validity of her assignments; however, this does not present as an obstacle to overcome, but more as an act of aggression.
As a one-person play Worst Year Ever's character work relies primarily with the character of 12-year-old Charlotte. There are hints of other characters popping through, but these contrasts are not around for more than a few seconds.
While I did not know the real Charlotte Walker Miller aged 12, this presented version of her is likeable, a sympathetic heroine. Her stories are brutally honest. Her dry humor and the resolution at the end make her even more likable. The persistent insults directed towards Mrs. Rogers are over the top, but in the end, Mrs. Rogers must have made a positive impact. Mrs. Rogers must have been the most patient and understanding teacher of all time.
Overall, I would recommend Worst Year Ever for anyone who was an awkward seventh grader, or was a fan of the television shows My So Called Life and Daria.
Preview: Interviews with Artists from Worst Year Ever
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:
All About My Show · Charlotte Miller (Writer)
- Complete this sentence: My show is the only one in FringeNYC that...?
My show is the only show in the fringe that has Charlotte Miller in it. I love that question but I don't know the answer a) because I haven't seen all the shows yet and b) because I operate under the assumption that everything has been done before. Maybe my show is the only show that is almost completely based on my feelings about Claire Danes as Angela Chase in My So-Called Life. - What do you think this show is about? What will audiences take away with them after seeing it?
I think the show is about growing up. All of my shows are about growing up. It's about my seventh grade year and all of the sort of awful and chaotic things that were happening when I was that age. There were small things that seemed big and big things that seemed like awful fate. I can't know what people will take away from the show but I've gotten a lot of feedback already that's mainly "Yeah, me too!" - Why did you want to write this show?
My friend Nicholas Gorham, who is a brilliant performer and artist, asked me to do a little reading at his performance night Mama Said Sparkle that takes place once a month at the Spectrum in Brooklyn. I said okay, it was the day before and I wrote the first installment in a couple of hours, Worst Summer Ever. It got a good response so I came back in and did Worst Thanksgiving Ever and thought, "I'd like to string this together and do this in front of people more than once" so I wrote a third installment and submitted to the fringe. - Who are some of the people who helped you create this show, and what were their important contributions to the finished product?
I have to thank my friend Nicholas Gorham again for pushing me to perform and giving me the initial platform to do so. The Spectrum is a really safe space for me and there are a lot of outrageously talented folks performing and creating there. I've also gotten a lot of counsel on producing from people like Padraic Lillis, Daniel and Addie Talbott, traded war stories with other young writer/actor/producers and then had a blast making silly indiegogo videos with friends like Diana Stahl and my roommate Rachel Cole. Now I'm working with Stephanie Johnson as a director and we have so much common experience walking into the room even though we met through this project, so I have to give a big thank you to her in this. I also have to give a big thank you to Lanie Zipoy and Frank Winters who have also put in a lot of great work as publicity and producer respectively. - Which character from a Shakespeare play would like your show the best: King Lear, Puck, Rosalind, or Lady Macbeth -- and why?
I think Lady MacBeth. Maybe just because seventh graders are constantly jockeying for power and take everything so seriously, often to their detriment. Lady Macbeth would be like "Your boyfriend dumped you for another girl? Cut him."

