Los Grumildos (HERE Arts Center)

By Kitty

BOTTOM LINE: Debachery, decadence and disco balls.

This is my Amsterdam fantasy. Inside the basement space of the HERE Arts Center, Peruvian artist Ety Fefer builds a kooky cabaret whose guests include demented dollhouse denizens, rodent hybrid rock stars, and insects with spiky shells to match their gold spiked heels. These creatures drink, sing, smoke and make love in a world resembling that of a European cabaret club circa 1940 complete with red lighting, simulated cigarette smoke and a soft, swing jazz soundtrack.

Los Grumildos, though described as "kinetic theatre", is more a play in the philosophical sense. Human beings are replaced by puppets. Movement is manipulated by strings. Ideas are conveyed and emotions shared in the assembling of the atmosphere rather than in spoken word.

Yet, it seems a disservice to classify Los Grumildos as simply an art installation. Strangely, there is a sense of "different every night." Each creature possesses its own inner life and even though they are retarded by their plasticine parts, they are free in their personal expression and seem to bring a different energy with each look.

(Los Grumildos' bizarre magic has finished its short run at HERE Arts Center in New York. However, Ety Fefer continues to tour her puppets throughout the United States and Europe. To learn of future installations, visit www.grumildos.com.)

hospital 2009, episode one (Axis Company)

By Kitty

BOTTOM LINE: Be sure to make some space in your head

Hmm. Or maybe, hmm? Such was my response to Axis Company's opening weekend performance of hospital 2009. hospital, now in its tenth year, is a serial play that explores the cerebral inner workings of a terminally comatose man. Each annual cycle employs a different scenario as a metaphor to illustrate the man's dissension into darkness. This year finds him floating in a small escape pod in outer space having accidentally detached himself from his mother ship. He is not certain as to how or why these events have occurred and what's more, he is not entirely convinced that these events have happened at all for in his dream-like state, he experiences vague flashes of his Earth-bound life which persuade him otherwise. Unfortunately, the audience is left just as confused and aimless as the play's main character. Maybe that's the point...?

Despite an interesting premise, a capable cast and a style-savvy creative team, hospital 2009 is a tough sell. The script lacks clarity, the characters are deficient in definition and the dialogue is so heavy with outer space techno speak, it is nearly impossible to follow the movement scene to scene or even sentence to sentence. In addition, the relationships between characters are so aggravatingly ambiguous that the audience is left asking themselves, "Who are these people and why should I care about them?"

At times, it feels as if hospital 2009 isn't really concerned about what the audience thinks, feels or even understands. Other than the set up outlined in the production's program, hospital does not attempt to aid the audience in the navigation of the script's complex storyline nor does it encourage the investment into what they do know about the characters and the circumstances surrounding them. Strange elements appear unexpectedly, but because they are never fully explained, rather than adding interest, depth or comedy, they instead create a component of superfluous frivolity which leaves the audience resentful of the production's pretension.

Regardless of hospital 2009's shortcomings, the production value is noteworthy. Axis Company's space, located in the beautiful West Village, sports an ultra-modern design complete with chrome accents, leather furniture and flat-screen television monitors embedded in the walls. The theater itself, a basement space, possesses perfect dimensions, comfortable audience seating and superior technical capabilities. As soon as one steps into the space, it feels as though one has taken a field trip to the city planetarium, an effect which serves the production well considering the celestial location of this year's installment.

(hospital 2009 includes 4 episodes and plays through July 25 at One Sheridan Square. Performances are Thursday through Saturday at 8pm. For the complete schedule visit axiscompany.org. Tickets are $12, student and senior tickets are $6. To purchase tickets call 212.807.9300.)

Le Serpent Rouge (Company XIV)

By Kitty

Gioia Marchese as the Devil, John Beasant III as Adam and Laura Careless as Eve in Le Serpent Rouge.

BOTTOM LINE: Sin is the new black.

To describe Company XIV's original production, Le Serpent Rouge, as fantastic and marvelous or even wonderful would simply not suffice. This production may very possibly have been sent directly from heaven above because the advanced levels of artistry and the skill in their execution are of biblical proportions.

The story begins with Lilith, Adam's plaything pre-fling with Eve. Once Eve arrives in Eden, Adam carelessly discards Lilith. Now scorned, she transforms into the serpent sent to undo Adam and Eve's idyllic existence. Oh, and what a temptress she is! Yeva Glover's sultry Lilith oozes sinful sex as she slithers in and out of scenes in various stages of undress. Laura Careless' Eve, a beauty in her own right, fights to hold the attention of her supposed soul mate often with mixed results and at one point, even relents to the idea of a threesome in order to satiate Adam's lust.

Writer, director, and choreographer Austin McCormick chooses one character, the very present Gioia Marchese as the Ringmistress, to provide the verbal commentary for the goings-on in the Garden. The remaining communicative responsibility is left to the emotive ensemble which is truly a testament to their talent and clearly an indication of McCormick's unwavering trust in his actors. This clarity is achieved through breath-taking, back-breaking movement...the most gorgeously affecting choreography I have seen in years which is flawlessly executed by each member of the ensemble. Their bodies, smooth and toned, are stunning and add so much sensuality to the piece. McCormick accompanies his choreography with various musical selections from artists as diverse as James Brown and Marilyn Monroe and genres as eclectic as classical opera and bluesy jazz. Despite the broad range of his selections, each piece finds it's place in this bizarrely beautiful puzzle.

Having succeeded in all of this, McCormick also manages to assemble a remarkably creative technical team. Zane Philstroms' sets are beautifully detailed, from the brightly bulbed proscenium arch and its ruched curtain to the light fixtures that follow the edge of the circular stage. Olivera Gajic's costumes add to the decadent European cabaret feel with flamboyant fabrics and textures of satin, tulle, velvet and patent leather. Lighting and sound engineering is smooth and amazingly glitch-free.

Most refreshing about this production is its seemingly flawless execution. So often, productions open under-rehearsed, technically inadequate, and poorly-planned. This production, however, is ready from the word "go" and it is obvious much time, energy, and thought was put towards realizing the potential of this project. Eat the apple and enjoy Le Serpent Rouge!

(Le Serpent Rouge plays through June 6th at Company XIV, 303 Bond Street between Union and Sackett Streets in Brooklyn. Performances are Thursday through Saturday at 8pm. Tickets are $20 for adults and $15 for students and can be purchased online at www.SmartTix.com or by calling 212-868-4444. Mature content – no one under 17 admitted. Running time is 75 minutes with no intermission. For more information visit www.CompanyXIV.com.)