nytheatre Archive
FringeNYC 2003

SHOW REVIEWS ON THIS PAGE: Mary, Poseidon! An Upside Down Musical, Peas and Carrots, Lead Heavy Sky, Henry 5, I Vermin, a Hollywood Success Story, And You Gave Me Music, Me, The Devil and Other Friends, Suspect!, The Geldings

MARY by Leslie Bramm
I ended my fringing this year with David Simpatico’s Mary. Part political satire, part religious "what if’," Mary takes on the myth of immaculate conception. He does this by using the President of the United States and a blow job from an intern as metaphor. Sound familiar? According to the press release, the play was written well before the real President, the real (or surreal) blow job and the forcing down the public’s throats of all the gooey details. The play opens with an old-fashioned fire and brimstone sermon. This role was handled by the author himself. Simpatico shows us his skills as actor, writer and even vocalist. I enjoyed his preamble, but it comes across as an add-on, designed to showcase Simpatico’s many talents. But what the hell, if you got it flaunt it. Next we see the President uptight and stressing. He’s less than an hour away from delivering a speech that holds within it the fate of the world. Enter Mary. Eager to please and driven by a sense of higher destiny, she is there to help the President in any way she can. He uses his power and position to coax her into an altogether different one. Until finally the question is asked, will her little game of swallow the leader result in the coming of the next messiah? I decline to give away the ending of the play. Robin Haynes is believable as the President. He’s able to round off this man, making him more complex than the text demands. As Mary, Russell Arden Koplin anchors the play with a powerful and raw emotional performance. The text is weighty and often gives the actors quite a mouthful. Both are up to the task. The direction is by Daniella Topol, who has put together a first class production team that serves the play well. She’ll be a name to look for in the future I would like to say I loved this play… Its style seemed dipped in situation comedy; Simpatico’s gift for language and ability to articulate his rants had me expecting more along the theatrical lines.. Simpatico does leave us with a sense of hope—a belief that maybe miracles can happen. And what if they do.
POSEIDON! AN UPSIDE-DOWN MUSICAL by Lee Ramsey
Parody is extremely difficult to do well, especially when your subject matter is something as well known as the grandfather of all disaster films, The Poseidon Adventure. Poseidon! An Upside Down Musical comes to NYC from Chicago where, according to the press release, it has been playing for a long time to sold out audiences and has been extended twice. That said, I wonder why the production is so sloppy and unwieldy. It comes across like a quickly thrown together high school play. The humor for the most part is just sophomoric rather than clever. And it's just too long. You all know the storyline. Luxury liner Poseidon is hit by an enormous tidal wave on New Year's Eve, it turns upside down, and a handful of colorful passengers must make their way through the capsized hull to a location above sea level to be rescued. That seems like enough material for ten parodies right there, but Hell In A Handbag Productions feels the need to add a lame framing device to the mix. Several "Poseidonites" (fans of the film) have gathered in costume (Too Tan Lady, Indian Lady, etc.) for a thirtieth anniversary party to watch the movie and reminisce about their personal Poseidon experiences. In the actual Poseidon parody there are several nice performances amidst the mayhem. Joshua Campbell is absolutely wonderful as Robin Shelby (the Eric Shea character); he totally understands what the style of the piece should be, is full of energy and has a lovely singing voice. When Campbell is onstage the production truly rises to a higher level. There is also very nice work from Molly Faithe as Linda Rogo, the Stella Stevens character; Jennifer Connelly as Reverend Scott, the Gene Hackman character; Ed Jones as Nonnie, the Carol Lynley character; and Michael Miller, doing a dead-on imitation of Jack Albertson. I would also be remiss not to point out a very strong performance from one of the chorus members who appears in the Poseidonite section. (Unfortunately I can’t tell from the program what her name is, so hopefully someone will write in and tell us.) She performs her monologue about meeting Red Buttons beautifully and is fantastic in the opening sequence in a brief stint as a fan dressed as Belle Rosen, the Shelley Winters character. If the producers had been smart they'd have used her more and had her play the Shelley Winters role in the actual Poseidon parody. She's a real asset to this rather disappointing production. (Her name is Lori Lee, from Chicago)
PEAS AND CARROTS by Jared Robinson
The New York International Fringe Festival has its share of lemons, but luckily it also has its Peas and Carrots. Look for this evening of six short plays by Stephen O’Rourke, which is sensationally directed by Jase Draper. The show opens with a rousing parody of itself and then quickly rounds the corner into the first play. The opener appropriately features the ladies of the cast because they soon steal the show. Peas and Carrots then speeds into a slightly twisted period piece. Kay Gayner and Ellen Reilly are stellar in this play. As a man from the audience, Joel Van Liew brings more laughs as he effortlessly slips in and out of character. This piece pokes fun at the concept of the theatre’s "fourth wall," that magical force-field between the actors and the audience. The pace quickens in the next play, as two actresses (played by Shay Gines and Kay Gayner) passionately hijack a taxicab. Gines and Gayner are not only dynamic, they are really funny. Of course, this play would not be complete without the outstanding work of Nick Balaban as the cabbie. The next play lets us into the minds of a couple on a Dinner Date. William Franke and Ellen Reilly are impeccable in this play where two lonely and neurotic people meet, greet, and fall right on their insecurities. The evening continues apace, featuring great work by Shay Gines and even the playwright himself in a cameo appearance. The acting is comic and the writing is inventive, smart, and fun. Speed to see Peas and Carrots!
LEAD HEAVY SKY by John Jordan
Lead Heavy Sky, written and directed by Patrick Meagher and Gregg Bellon (the latter is also in the cast), may suffer from the fact that its creators are spreading themselves too thin. The shaky plot involves three video-store-clerk roommates stuck indoors on a stormy Sunday night (with no sign of a storm, audibly or visually). They are worried about their fourth roommate, Leo, who has been "comatose" (not literally) for the past year, and "much worse this week" as it is the eve of the first anniversary of his wife’s death. The subplot, which oddly enough involves the protagonist (Leo), is the more interesting story. He is making a last-minute video delivery to Mike, a despondent yet perky AIDS patient. They are two men alone in this world who, for a brief moment, find non-sexual comfort in each other’s company. The "main" plot basically involves the remaining three roommates whining about their significant others, bickering at each other and playing records. From their discussions, we learn of Leo’s story, but once we see Leo and Mike, we get a repeat of the same exposition we already had. The script is filled with obvious inside jokes, bathroom humor; and Winona Ryder shoplifting jokes. Matt Hussong and David Benson both do fine work as Leo and Mike respectively. Their scenes together are heartwarming, funny and contain the initial ingredients for a fine play. Unfortunately, the rest of Lead Heavy Sky never reaches this level. The dual set design by Glenn Cunningham works well, enabling the cast/crew to switch back and forth between the two apartments quickly and efficiently.
HENRY 5 by Tim Cusack
I was online, about to write this review, when one of the hottest items on the toy market caught my attention: the Elite Force Aviator: George W. Bush―U.S. President and Naval Aviator 12" Action Figure. This purports to be an exact replica of the infamous fighter pilot get-up Mr. President wore when he “landed” the jet on that aircraft carrier on May 1 of this year. I think Thaddeus Phillips should immediately begin negotiations with this doll for any future productions of his Henry 5, a very loose adaptation of the Shakespeare play that was recently produced in Central Park. Phillips’ version of the history play features him playing all of the characters while manipulating dozens of action figures, toy soldiers, and doll houses. Video, live cameras, projections, and Perrier bottles (representing the French court) also come into play in the highly imaginative mise-en-scène (the most sophisticated I’ve seen in this year’s FringeNYC). George II would make an excellent addition to the cast since Phillips has slyly changed all references to "England" in the original text to "America" and especially because on the video that accompanies the battle scenes, Baghad serves as a stand-in for Paris. This is an admirably ambitious undertaking, which unfortunately doesn’t entirely work. The director, Tatiana Mallarino, hasn’t quite figured out all of the transitions, and there are too many moments of awkward stage management that Phillips’ relaxed performance style—he acknowledges our presence from the very first moments—doesn’t quite justify. There are problems, too, with the script. It didn’t seem to me that Phillips had gotten the mix of Shakespeare and his own material quite right. He either needs more Shakespeare to make the story clearer (I was at times completely lost, not being familiar with the play), or more of his own politicized commentary to make the social critique stronger. Even though my attention wandered in spots, I was mesmerized as Phillips creepily set up an entire squadron of toy soldiers while George C. Scott’s famous speech to the troops in Patton played on the monitors. I hope Phillips and Mallarino keep working on this. If the polls for next year’s presidential race are any indication, the piece is in no danger of dating any time soon.
I VERMIN, A HOLLYWOOD SUCCESS STORY by Debbie Hoodiman
This satirical comedy by Philip Kaplan and Stephanie Walter tells the story of Aldo Natz (Jeremy Rabb), who was abandoned as an infant in a city garbage can and raised by a family of cockroaches. Because of Aldo's upbringing with roaches (and therefore his attraction to trash, the play tells us), he is perfect for the entertainment industry. So, he goes on to be the toast of Hollywood, finding success as an actor, producer, and agent. The play begins with his introduction to the public at his agent Penny Nimwell (Carole Healey)’s party and ends with (I’ll be vague here) the end of his career. On the way, there is plenty of making fun of everything—ranging from what made Marilyn Monroe famous to reality TV shows to Hollywood spiritual gurus—and plenty of droll pop culture references. The large cast, with many actors playing more than one role, does a great job. I loved how the audience was directly addressed several times in the play, whether by Eddie the Janitor (the hilarious Lawrence Arancio); by Honey Harding (the fabulous Regan Thompson), reporter for an Entertainment Tonight-type gossip show; or Doug Humperdinck (John Morgan), a motivational speaker who promises to make you a star in one weekend. I loved the clever sound cues. I loved the many different characters, notably Aldo’s parents and two fans (played by Joshua Sidis and Danielle Alderman) and his two wives Lina and Lana (both played by Sorrel Tomlinson). I loved Penny’s many costumes. While watching this production, however, I couldn’t help but feel that I was seeing a shadow of the show’s potential. A few points confused me (e.g. Aldo’s repeated disappearances and reappearances in the public eye), and though in Act II it was clearer, I felt confused about what made Aldo a star in Hollywood in the first place. I’d like to see what I Vermin would look like with tighter direction and a tighter script. I also think the script could be adapted for film. Over all, it is an enjoyable, intelligent, and fun show with a lot of funny jokes, and I hope it is produced again.
AND YOU GAVE ME MUSIC by Codie Fitch
Ever watch someone do something they never thought they could? It can be thrilling, nerve-racking, but most of all joyful. Although at times discordant and a bit shocking to the ear, the evening of musical experimentation by Maria Logis, a cancer survivor, is meant to be a celebration by a music therapy advocate which serves as more of a testimonial to this alternative medicine than a fully realized theater piece. Logis decided to seek out alternative therapies for her cancer rather than subject her body to the evils of chemotherapy for her non-Hodgkins lymphoma. She’s not shy about her vocal ability and openly shares that she knows she’s no "Billie Holiday," but from the beginning we understand that this is a celebration of survival and bravery by a woman who has found her voice and cherishes the ability to use it. Logis, along with directorial consultants Tamar Rogoff and Ariel Rogoff-Heitler, experiments with her own Greek roots to use the ensemble of Charley Hayward, Valois Mickens, Sophie Poletti, and Marisa Sullivan as a kind of Greek chorus, including a masked character who behaves much like that inner-voice that too often tells us what we can not do. Logis rises above the taunting voice of self-doubt and her fear of death and learns to celebrate her newfound voice with an incredibly talented group of musicians (Justin Flynn, Jeremy Manasia, John Conte, Helen Yee, Frank Vacin and Glen Fittin) to beautifully back her up. There is much joy, reflection and courage in Logis’ performance in And You Gave Me Music, and one can only say, "You go girl!"
ME, THE DEVIL AND OTHER FRIENDS by Codie Fitch
BackStage Theatre Company‘s Me, The Devil and Other Friends is an attempt to bring Greek Tragedy into the urban arena. Three years ago, Chicago playwright Fannon Holland approached director Melissa Young with three scenes; they have been developed into this current production. The play’s multiple locations and numerous scenes provide a dark view of today’s society and what it is that drives the human condition and relationships. Dude (Aaron Graham) is doomed to live his life over and over again in a bar simply called "Dive," forced to examine his choices repeatedly, and tortured by the irreversible effects of their outcome. A chorus of characters including an all powerful bartender (Sara Sevigny), a Heckel & Jeckyl team of potheads named Mick and Mack (Mark Konold and Fannon Holland), a porn-loving priest (John Luzar), a performance artist/activist Black Lady (Vallea E. Woodbury), a homeless man called Mr. Swing (Tracy Livingston), a maniacal drug dealer, Thomas (Rob Smith), and Dude’s over-accommodating girlfriend Carrie (Sara Oliva) all seem to have been dragged down to partake in a reenactment of Dude’s less than impressive life. As inventive and clever as the story is, it lacks clarity. The number of scenes, each titled on a screen center stage, keep the evening rolling at a radical pace, but I found myself stumbling into each location not exactly sure where we were or why we were there. I was left feeling that the playwright tried to do too much without fully developing each archetype into a character. There was often a feeling of listening to an inside joke or anecdote that I didn’t have the pleasure of knowing. Nevertheless, the dialogue is intelligent and there are a lot of witfully humorous moments. A particular highlight is a performance by Vallea E. Woodbury in a spoken word section of the play wherein her character Black Lady performs "…sick and tired" with true expertise and inspiration. Although it has a dark outlook on humanity and our relationships to one another, Me, The Devil and Other Friends, will leave you pondering your own choices and ability to make something of your own life. I would hope that BackStage Theatre Company continues its work together and we see more of Fannon Holland’s work in the very near future!
SUSPECT! by Jeff Lewonczyk
The opening moments of Suspect! gave me pause. Two young Victorian men enter a briefing room at Scotland Yard and argue in hushed tones about their secret homosexual affair. Immediately following this, a young clerk reveals to the head Inspector that she was raped by a detective and demands justice. The next thing we know, these assembled individuals begin to present the facts in a sensational murder case, acting out all the parts themselves—complete with costumes and funny voices—as a musical. Huh? The proceedings jumped from straight-faced melodrama to cheeky whimsy so quickly and clumsily that I was convinced I was in the hands of incompetents. But over the course of the next two hours something funny happened: thanks to composer Keith Herrmann, book/lyric writer Barry Harman, director James Warwick, and a uniformly excellent cast, I became entranced by a show that, despite its overburdened structure, sucked me in every bit as effectively as a good detective story should. The case in question revolves around the Contessa Nerona, a grifting femme fatale accused of many crimes, including the murder of her husband, Lord Montbarry. The detectives recount the histories of the individuals involved as they tie together numerous testimonies, assuming the roles of the relevant players as they do so. They inhabit a range of characters that includes the sham noblewoman and her shady brother, the Baron Rivar; a dewy-eyed theatre producer; a cockney washerwoman; adenoidal insurance investigators; and many others. The most successful numbers are the ones presented in the spirit of fun, such as "Letters from the Courier," in which one of Montbarry's former servants describes his master's difficult personality; and "A Terrible Tragedy," in which Baron Rivar coyly distracts the nosy insurance inspectors. The songs that periodically intervene to remind us of the plights of the "real" characters are generally less engaging, though one ("One More Empty Morning," a lament sung by one of the secret lovers) is a first-rate ballad. The idea of a group of police officers presenting evidence in the form of musical theatre is a stunningly campy premise, and Suspect! could have benefited by exploiting this just a little more. But though the show's creators need to work harder to reconcile its precipitous tonal shifts into a more coherent package, Suspect! remains an entertainment to be reckoned with.
THE GELDINGS by Tim Cusack
The Freudian equivalent of a 90-minute long fart joke (with neigh-ry a punch line in sight), The Geldings could also equally be described as a horse opera, especially whenever the cast deposits Wm Seebring’s limp penile one-liners on the stage. The sheer volume of jokes having to do with the male member or lack thereof makes for a perfect sandstorm of juvenility hitting the audience full in the face. You see, all the men in the Gelding family have had their peters shown to the Pearly Gates by Ma Gelding (played by a man in the worst drag performance since Rudolph Giuiliani’s cross-dressing heyday) for reasons having to do with the kind of religious fanaticism that only exists in puerile comedy sketches and horror films. Add to that the spectacle of women playing some of the men, and the opportunities for the kind of lazy comic ironies found on late-night TV abound. Now if the idea of an entire show populated by castrati (and females) doesn’t appeal to you, than, dear reader, this is not the entertainment for you. However, if the idea of an entire show populated by castrati (and females) who then put small furry mammals down their pants in order to simulate intercourse with the local widowed brothel keeper is your idea of a hootenanny, than mount your steed pronto and git yerself down to the the-a-ter. Other things happen in the play besides PETA nightmare scenarios—something about a drought and a lost girl who was raised to think she was a castrated boy and some desperado who turns out to be gay. However the production as a whole is so inept, that halfway through I gave up all pretense of paying attention to anything that was happening on stage. Instead I watched as the audience reverted to the behavior of seventh-graders at a particularly lame assembly.