Schooling Giacomo (New York Dramadies Company)

By Le-Anne

5 POINTS OR LESS
heartwarming story • flashbacks • drama with many laugh-out-loud moments • great cast • solid production

Kevin Trotta as Mr. Fanuchi and Hugh Scully as Jake Montalto in Schooling Giacomo. Photo by Rick Klein.

BOTTOM LINE: “What’re ya gonna do?” “Fugetaboutit!” and “Thank you for coming.”

In the summer of 1970, a young Bronx boy learns the lessons that will make him the man he is today. Playwright Richard Edwin Knipe, Jr., glides back and forth between the past and the present in his entertaining drama, Schooling Giacomo. With flashbacks, funny but true stereotypes, and a talented cast, this humorous and heartwarming tale is a show worth seeing.

When the play opens with a scene from the past, the lovable Mafioso Vukey Fanuchi, (Kevin Trotta), educates a young Jake (ably played by young actor Jordan Adelson) that Giacomo is really Italian for James not Jake. The young boy is taught what days are best to go to confession–Thursday night, after 6 o’clock so the Father has time to digest and never on Friday night because that is when Monsignor Riley is in the confessional, and never confess your sins to an Irish priest! Moments of sincere bigotry like this are confronted with a witty hand throughout the play. The play then fast-forwards to a grown-up Giacomo, skillfully portrayed by Hugh Scully, who is raising his sickly daughter Abbey (Alanna Heraghty) by himself. Then again, maybe those lessons learned almost forty years ago are helping Jake raise his daughter more than he knows. The play continues in this fashion, with one moment from one scene inspiring a memory or a leap in time to the next.

Trotta is genuine in his portrayal of a classic Italian stereotype. Anyone who has an older immigrant family member, for whom English is not there first language, Italian or otherwise, will identify with Trotta’s performance and Knipe’s use of malaprop as well as an old-world code of conduct for this character. Completing the stereotype of the quintessential, loudmouthed, know-it-all, “fugetaboutit,” Italian-American family in New York are Jake’s uncles Dominic, (Andrew Lionetti), Charlie (George Petkanus), and Joe (Rick Apicella).

Lionetti is Larry to Petkanus and Apicella’s Moe and Curly as this comic trio commands every scene they are in. Rolls of laughter flooded the house as Charlie and Joe argued over “shit rye bread” from competing neighborhood diners and a particular type of “napkin” being the catalyst for a neighbor’s adultery, while Uncle Dominic does his best to guard young Jake’s ears from such inappropriate language and subjects. In a climactic moment in the play, and Jake’s life, the three uncles come together with Mr. Fanuchi in a scene that is as gripping as it is gut-busting.

Jake’s lessons may begin with the death of his father and then witnessing his Irish/German-American Mother Irene (Robin Peck) deal with alcoholism and her abusive boyfriend Pete Murphy (Kevin Nagle); they even include a street-guide practicum from unlikely teachers and a message from the grave by way of The Beatles' last album ever recorded, but they end with a lesson from the greatest teacher of all: life. Schooling Giacomo will not only will keep you highly entertained but you may just a learn a thing or two about what is important in your own life along the way.

*Note: This show was reviewed on March 13. The role of Vukey Fanuchi was played by Kevin Trotta, Giacomo (Young Jake) by Jordan Adelson, Dominic by Andrew Lionetti and Irene by Robin Peck. The above roles are double cast. On alternating nights, they are played by Joe DeSpirito, Justin Adelson, Glenn John Arnowitz and Marian McCabe, respectively.

(Schooling Giacomo plays at the American Theatre of Actors, 314 W. 54th St, between 8th & 9th Avenues. The show runs 2 hours with one 10 minute intermission. Performances run through April 26th, Thursday through Saturday at 8pm and Sundays at 2pm. Tickets are $35 and can be reserved by calling 888-220-6284, or by visiting www.schoolinggiacomo.com)

Blithe Spirit (Shubert Theatre)

By Dan

5 POINTS OR LESS
a perfect role for Angela Lansbury • very funny • grand set design • your parents will enjoy it • your kids will too

BOTTOM LINE: A dolid production of a classic Noël Coward play, and a great choice if you’re trying to please several different people

I must admit, I’ve never seen a production of Noël Coward’s Blithe Spirit, and I haven’t read it in quite some time. It may be that this production pales against others (I’ve heard some complain, for example, that they dislike how this production turns a three act play into a two act one
–it “ruins the rhythm”, they say). So if you are a Coward connoisseur, I can’t promise you will love this production. Especially since for some Coward fans, this is one of his lesser works. But I think everyone else will enjoy this tremendously. There are a lot of great things about this Blithe Spirit, and while it isn’t perfect, I’d say that its strengths mainly lie in its appeal to a broad audience (it is on Broadway, after all), without pandering or dumbing down the play.

The play is not modernized, or set in a space ship, or anything “revolutionary”– it is a pretty traditional version of Coward’s British drawing-room comedy, in which Charles Condomime (Rupert Everett) is being haunted by his first wife Elvira (Christine Ebersole) after a séance held by the medium Madame Arcati (Angela Lansbury). Of course, Condomime’s current wife Ruth (Jayne Atkinson) is none too happy about this.

All in all, the cast is terrific, but for me, Angela Lansbury was a standout; whenever she was on stage, I was riveted, and found myself focusing mostly on her. Much celebration was made when she returned to Broadway a few seasons back in Deuce but unfortunately, most people didn’t like the play (although I did). For those who love Lansbury but were disappointed in Deuce, or missed that show altogether, go see Blithe Spirit; Madame Arcati is a great role for this legendary actress. To be sure, it seemed as if Lansbury went off on her lines a few times (she IS 83 years old), but she played it off very well. My guess is that most in the audience didn’t even notice.

Also terrific is Christine Ebersole–I had no idea carrying a vase of flowers could be so hilarious. Ebersole is perfectly ethereal, and knows how to work her costume to keep the audience laughing. As an added bonus, she sings the Noël Coward songs that are played during the scene transitions. Jayne Atkinson is also wonderful. She is an incredible actress, and does the dry British humor thing quite well. Rupert Everett is enjoyable, and a perfect fit for a fussy British husband. He is quite handsome, which makes him seem markedly younger than either of his wives. I didn’t mind this, but it certainly puts a slight twist on the roles. Finally, I MUST also mention Susan Louise O’Connor, who plays the maid Edith. From the very beginning, she had me in stitches. I didn’t realize until the intermission that I had seen O’Connor on stage once before, in a much smaller theatre. She was hilarious then too so it is exciting to see this talented and very funny actress making her Broadway debut.

The set is quite grand, and almost beautiful. There is a line in the play about how Ruth’s tastes are somewhat “artsy-craftsy”, and you can see this in the selection of the sofa (its dowdiness seems somewhat out of place but I’m guessing this was intentional). But the set nevertheless got an applause when the curtain went up. The lighting deftly changes based on the different times of day (morning, late night). And the costumes are also well done, especially Madame Ducati’s eccentric outfits and Ebersole’s “spirited” gown. However, I must also add that I really had trouble with the sound design, which made everyone sound like they had their microphones set at different volumes. Atkinson didn’t seem to be miced at all, and Deborah Rush (who plays Mrs. Bradman, a friend of the Condomimes) was extremely loud. This may have been part of the reason why I didn’t like Rush in this play at all–she was the one cast member who didn’t seem to belong on that stage.

I had a wonderful time at Blithe Spirit, and I think this is a great choice for many different audiences. As my friend and I were leaving the theatre, we heard a teenage boy exclaim on his cell phone that he thought the show was “hilarious." And I could tell the older women around us loved the show. My friend (who did NOT like Deuce) loved it as well- he predicts it will be very popular, even with those who don’t see all that much theatre. It’s so great to walk out of a show with a sincere smile on your face, and that is how I left this show.

(Blithe Spirit plays at the Shubert Theatre, 225 W. 44th St. Opening Night is Sunday March 15th. The general performance schedule is Tuesday at 7 pm, Wednesday through Saturday at 8 pm with 2 pm matinees on Wednesday and Saturday and 3 pm matinee on Sunday. Running time is approximately 2 hours 40 minutes. Tickets are $36.50-$116.50, slightly cheaper for Wednesday matinees. Right now, 40% off discounts are available (check broadwaybox.com). There are also student rush tickets available at the box office for $26.50. For more show info visit blitheonbroadway.com.)

Red Haired Thomas (Soho Think Tank)

By Molly

5 POINTS OR LESS
sort of a political allegory • sort of theatre of the absurd • intellectualized and insightful • well acted • poses interesting points worth discussing

BOTTOM LINE: Too many good points are raised in Red-Haired Thomas.

Soho Think Tank's new play Red-Haired Thomas, by Robert Lyons, resurrects Thomas Jefferson and gets his insight about the current state of American politics. Our kindhearted founding father is not pleased. This play also offers speculation on the notion of luck and circumstance; whether you're born into fortune in America or born into volatile conflict in the Middle East, we're all essentially after the same common desires. At the same time, it also ponders the principles surrounding the American Revolution in connection with worldly events of today; if the colonists were rebelling today would they be considered terrorists? Red-Haired Thomas offers a lot of food for thought.

These queries are presented among an otherwise simple story of family strife and growing up. Cliff (Peter Sprague) is a gambling addict enabled by his power-suit-wearing wife Marissa (Danielle Skraastad, at right). Their 12-year-old daughter Abby (Nicole Raphael) is beginning to distance herself from childish things and Cliff is reaching an existential crisis of what matters and what doesn't. Although that sounds linear and easy to follow, this is where we break from reality. Thomas Jefferson (Alan Benditt, at right) presides over this story as the not-so-imaginary, not-really-a-figment-of-anyone's-imagination ex-president slash ex-father of Cliff and his brother Ifthikar (Danny Beiruti), a Middle Eastern man working at Cliff's local bodega, in a sort of nature vs. nurture experiment.

The plot of Red-Haired Thomas underlies the message of the play, and it's really the timely words of wisdom regarding our current political state that serve as the takeaway, rather than the story itself. And that's for the best because this plot takes on a lot without much explanation. The absurdist presentation of the piece takes precedence, sucking time that could've been used to offer insightful dialogue (or at least to let Jefferson say more...Benditt plays a hilariously woeful ex-pres). I would've loved to hear Jefferson dissect new-millenium America further, rather than, say, the uninspired song and dance break intended to develop a character that didn't need further development. When this script hones in on a point and offers a unique perception it is right on the money.

Certainly, Red-Haired Thomas leaves its audience with much to think about. If you like political commentary and are interested in the historical ramifications of our past, this is definitely a piece worth checking out. Through Jefferson's disappointed eyes, it's clear that the world is, in many ways, missing the boat on issues of equality and happiness. Red-Haired Thomas is a compelling play that provides great conversation starters.

(Red-Haired Thomas plays at the Ohio Theatre, 66 Wooster Street, through March 28th. Performance times are Thursday through Saturday at 8pm and Sunday at 7pm. Run time is 80 minutes with no intermission. Tickets are $18 and $12 for students and seniors. Tickets are available at smarttix.com or by calling 212.868.4444. For more show info visit sohothinktank.org.)

Fool For Love (Living Theatre)

By Le-Anne

5 POINTS OR LESS
great design elements • see you some Shepard • some nice stage violence • not for the kiddies (language, violence, content)

BOTTOM LINE: It’s always a good idea to check out a Shepard play. Not quite as risky of a production as I was hoping for, but in all, a solid show.

Lots of anger is hurled about in The Bull’s production of Sam Shepard’s Fool For Love at the Living Theatre. This self-proclaimed “pulp revival,” directed by Katherine Krause, promises a “knock-down, drag ‘em out fight.” Shepard’s play, though touted as being raw and passionate, is also seen as one of his weaker works. It was first produced in 1983 during a time of social and political clash and opposition, as the United States was barely recovering from a five year long recession, although hope was on the brink. It is interesting then, that The Living Theatre chose to remount this play during a time in our country that is both eerily similar and yet couldn’t be more dissimilar to it’s state twenty-five years ago...a time when our country’s social and political climate is a walking contradiction, much like the characters May and Eddie in Fool For Love.

On-again-off-again lovers, May and Eddie have deep secrets and even deeper wounds and struggle with each other like a fat kid loves cake (thanks fiddy). The two, played by Katie Bender and Kevin Shaffer respectively, duke it out on stage in a game of who can yell more, be meaner, and slam the door the loudest. Incidentally, fight choreographer Dan Zisson lends his sharp talents to some rousing and exciting violence throughout the production. His stamp is clear and carnal, especially during the fight in the middle of the show that seamlessly binds Eddie from a domestic brawl with May to a line of defense with Martin, May’s new boyfriend (played by Jonathan Wilde).

Wilde, though he plays a secondary character, is oddly the glue that holds this production together. Grand entrance included, the scenes Wilde is in are decidedly more magnetic, particularly in a moment shared between Shaffer and Wilde in which Eddie offers the secrets of his sordid past with May. Wilde’s depth of character, both archetypal and sincere, draws out from Shaffer what was lacking in his earlier scenes with Bender, which consisted mostly of yelling. From the moment the lights come up on Shaffer’s Marlboro Man physique, the archetype is clear but we are waiting to see that Lost Boy buried beneath the dirt and horse sweat of a Cowboy, which is finally revealed when he pairs with Wilde. Wilde is genuine in his performance and garnered big laughs with his portrayal of this honest simpleton. Wilde, never over-thinking, presents a versatile, uniquely Shepardian character.

While archetypes are prevalent in Shepard’s work, what makes the characters so interesting are their subtle contradictions while being absorbed and trapped within those passionate types. In Fool For Love, Shepard understands and plays with the idea that passion is warmth and wrath, suffering and ecstasy, rage and rapture. This production has the wrath, suffering, and rage part down.

One of the things that provided some interesting depth to this production was the creative lighting design by Christina Watanabe. She ingeniously took risks with surreal lighting choices, like a vast, violet, starry, sky splashed across the confined and ugly motel walls against the more realistic, dirty, colors of the harsh reality that’s imagined by May and Eddie. Krause pairs Watanabe's stimulating lighting design with moments of contrasting symbolism. For instance, the first time the dreamy universe is displayed is when The Old Man (Bill Weeden) explains to Eddie what realism is. Then, the last time we see it is at the end of the play, when the truth of the story hits home. Together with a thorough costume design by Tod Michaels, right down to the sweat stain running down the middle of Eddie’s back, a stirring sound design by Justin Zalkin providing a couple jump-in-my-seat moments of explosions, horses, and car alarms, and a stark and gritty scenic design by William George McGarvy, the designers really help to bring this production to life.

Like many of Shepard’s plays, it is what is behind the words and actions that are most powerful in Fool For Love. If you’ve ever struggled with a relationship that was a “can’t live with ‘em, can’t live without ‘em” battle or where the love was foolishly worth the pain, then pop on down and give Fool For Love, at The Living Theatre, a shot.

(Fool For Love is at The Living Theatre, 21 Clinton Street (below Houston) through March 22nd. Performance times are Tuesday through Saturday at 8pm and Sunday at 2pm. It is one hour with no intermission. Tickets are $25, available online at www.livingtheatre.org.)

Frigid New York: The Hefner Monologues

By Le-Anne

5 POINTS OR LESS
one-man show • based on true stories • anecdotal • clever writing

BOTTOM LINE: A one-man show about the life of a black sheep trying to discover who he is.

Upon looking at the title The Hefner Monologues one might expect to hear the charismatic tales of a modern-day Casanova, or perhaps true stories inspired by the infamous namesake. Well, the above is partly true. While the original Playboy does have an influence on our subject, (they are related to each other, albeit somewhat estranged), this comedy is focused on anything but a “playboy.” Playwright and performer, John Hefner, spins endearing tales and laugh-out-loud anecdotes of his very un-Hef-like life in this one man show of strife, first loves, and coming of age, in the shadow of this notable name. Hefner’s performance is endearing as he fumbles through his amusing and awkward history. The use of specificity in his writing provides for instant camaraderie with the audience. A particular “X-Files” reference was greeted with guffaws from the house. One may identify with a job at Bennigan’s, a trip to JoAnn Fabrics, or that life-changing experience during a trip abroad. His description of his first encounter with the elusive alcoholic elixir, absinthe, is entertaining, modern-day poetry. The Hefner Monologues is making a tour of festivals all over North America. Check out the website www.TheHefner.com for more information.

(The Hefner Monologues is at The Red Room, 85 E. 4th St., NYC. Thurs., Mar. 05 @ 10:30pm, Fri., Mar. 06 @ 7:30pm, Sun., Mar. 08 at 1pm. Tickets are $12 available by calling Smarttix at 212-868-4444 or online at www.FRIGIDnewyork.info)

ZOMBIE (Theatre Row Studio)

By Scott

5 POINTS OR LESS
disturbing • one-man show • 75 Minutes • left me cold

Bill Connington as Quentin P. in ZOMBIE. c Dixie Sheridan

BOTTOM LINE: This story wouldn’t lure me into a van.

I don’t really know what to say about ZOMBIE. On paper it has all the makings of a big hit, and it probably will be. It is a carryover from last summer’s New York Fringe Festival where it enjoyed a sold-out run. It has been getting rave reviews all over town. It is based on a novella written by Pulitzer Prize nominated author Joyce Carol Oates. It is adeptly adapted and performed by Bill Connington. The production values are all crisp and top notch. Everything about this play points towards the hit that it probably will be. And yet I hated it.

Okay, maybe “hate” is too strong, but I didn’t like it. Now there is a very good chance that my strong reaction, albeit negative, is exactly what the creators of ZOMBIE are trying to achieve. And if that is the case, and if that is what you want from a theatrical experience, then you should definitely go see it. But the main problem I had with ZOMBIE was not so much the subject matter (a gay serial killer who kidnaps and mutilates young men in the Detroit area) or even the narrative structure (one man onstage breaking the fourth wall and telling his story directly to the audience), it was the complete lack of humanity revealed by Quentin P, Connington's character. I understand, of course, that we are dealing with a serial killer here, but if I am going to be asked to invest time in someone's story, particularly a monster, I need something – a hint or suggestion that there is a wounded, vulnerable human being in there that just flipped a circuit and went the wrong way – and that he needs to tell me his story for his own redemption...that he needs to be heard in order to be healed. I will listen to that. I can identify with that. I can potentially see myself in that and can project all my fears about the worst potentials of myself onto that. But ZOMBIE is written and played with an emotional distance that left me not only cold, but out in the cold.

From the moment the play started, I found it very hard to be engaged or to stay focused. This story of a man who was able to lure men into his van could not lure my attention for more than two or three minutes at a time. My mind continually wandered, and when I forced my attention back on the play, I felt only disgust for Quentin, not the requisite pathos or sympathy or even curiosity for the details of his depravity that would make this play work for me. Eventually even the production values, the harsh lighting and sparse antiseptic set started to work against me. About twenty minutes before it ended, I wanted to get out of there. The entire event was stifling.

Clearly, however, it seems to be just me. As I mentioned, the notices for this play have been incredibly positive, and the audience I saw the play with was incredibly responsive. Connington’s character work is flawless and his focus onstage effectively disturbing. But it just wasn’t enough to draw me in. And I really wanted to like this play. I really did. And while I concede that everything it does it does exceedingly well, I have to admit that all it did for me, was give me seventy-five minutes to contemplate where I was going to go for drinks after the show.

(ZOMBIE plays at Theatre Row's Studio Theatre, 410 West 42 Street, through March 28th. Performance times are Thursday-Saturday at 8pm and Sunday at 3pm. Tickets are $21.25 and can be purchased online at ticketcentral.com or by calling 212-279-4200. For more info, visit zombietheplay.com.)

Frigid New York: habeas corpus

By Le-Anne

5 POINTS OR LESS
in the style of a “happening” • contact physical improv • philosophical • interactive-ish • you get a little surprise gift at the end!

BOTTOM LINE: True performance art.

This year Frigid presents, habeas corpus, a performance art piece driven by the question “What would you like to be rid of?” This experience, produced by “the real kim harmon,” not only asks audience members to contribute by writing something they would like to be rid of on a blue card and depositing them in a case minutes before the show begins but also by inviting people to submit responses to therealkimharmon.com to be incorporated into the current production. Various responses, presumably from said online submissions, as well as past mailings, voicemails, and e-mails from the original conception of this project a year ago, are projected on the back wall. Things such as “The dress I lost my virginity in,” “unnecessary speechification,” and “rape” flash by.

Meanwhile, the three actors, (Kim Harmon, Laureen Briggs, Denzil Meyers), and guitar player and musician, (Wilson Novitzki), use repetition of action, such as the smashing of various gifts, aggressive contact improv, talking over one-another simultaneously, and direct audience address to encourage the act of acceptance. Meyers reads the blue cards aloud, giving these “things you would like to be rid of” back to the audience members, either by guessing who wrote what, or just random assignment. Novitzki takes a break from his guitar and assists Meyers in this project. Both men show a sense of humor and provide some welcome laughter with this part of the show. During all of this Meyers is wrapped by the other actors in a symbolic clear barrier of saran wrap, saying that the very things we attempt to get rid of are the same things that are always there, so rather than trying to rid ourselves of them, we ought to embrace them. One blue card said, “box of old toys;” Meyers asked if he could have them.

The artists involved in “the real kim harmon performance collective” proudly present habeas corpus as an ever-evolving work in progress. More like a living art exhibit than a play, this theatre piece is sure to get you thinking.

(habeas corpus is performed at Under St. Marks Theater, 94 St. Marks Place btwn 1st Ave and Ave A., on Tues. March 03 at 7:30pm, Wed. March 04 at 6pm, and Sun. March 08 at 2:30pm. Tickets are $13 -- bring an object you want to get rid of and get a $3 discount! Call Smarttix at 212-868-4444 or online at FRIGIDnewyork.info.)

Frigid New York: Are We Freaks?

By Le-Anne

5 POINTS OR LESS
slap-stick style humor • four short stories sharing a theme • has an “and the moral is” kind of feel • science fiction-y

BOTTOM LINE: Unusual people experience some not so unusual feelings. The question is proposed, “what is a freak?” both literally and figuratively through side-show freaks and more.

The title of Bricken Sparacino’s new play, presented in this year’s Frigid Festival, asks Are We Freaks? According to Webster’s New World College Dictionary, Fourth Ed., a freak is “a sudden fancy; odd notion; whim, b: an odd or unusual happening.” So based on this definition then, no. No real freak occurrences happen to anybody in Are We Freaks?

Sure, the Wonder-ful Twins (Sparacino and Jennie Inchausti) can’t be separated so they walk around holding each other, fashioning their own “Siamese twin” posture, but they justify their actions by explaining that they don’t like to be without each other. Nothing whimsical there. A bit codependent, but not whimsical. Two friends and coworkers, Caitlin the Cat (Melanie Wehrmacher) and Leslie the Lobster Girl (Kara M. Tyler), are trapped in a trailer after a big storm. Not too unusual. Unpleasant? Yes. Unusual? Not really. Then three sorority sisters have a falling out because two of the girls, Pam (Hannah Wolfe) and Devon (Annalyse McCoy), are bad-mouthing their friend, Abby (Joy Gabriel). Being terribly hurt, Abby lashes out and takes revenge on her mean-spirited sisters. While immature and certainly not the best way to handle the situation, sadly this is not an unusual response at all. Lastly, best friends Annabelle (Sparacino), and Lizz (Uma Incrocci) wish that they could find a man that they liked as well as each other. Annabelle buys a magic mask and wishes for a man who is exactly like Lizz. In “Freaky Friday” fashion, her wish comes true. This is maybe a stretch of the imagination but freakish? No, not according to the above. She asked for something, she got it. Fantastical, sure. Technically speaking though, not odd.

Did I fail to mention that Caitlin the Cat really is part human and part cat, complete with excess fur and long tail, or that Leslie the Lobster Girl has red claws for hands? Did I forget to tell you that Abby harnesses telekinetic powers and is able to curse Pam and Devon so that Pam is grossly disfigured, literally showing her insides on her outsides, and that Devon has no control over saying her inner thoughts out loud? Also, small detail, the Wonder-ful twins never, ever, let go of each other in any -- that’s right -- any, situation. This is perhaps on the abnormal side. Webster’s continues to say a freak is, “any abnormal animal, person, or plant; monstrosity.” All right ladies, I hate to break it to you but yes, technically speaking, you are freaks. No worries, since a freak is also “a devotee or buff,” anyone who reads this is now a freak definition freak.

See Are We Freaks? if you are interested in seeing “freaks” experience some not so freaky emotions. The play shows us that, in life, we are all freaks but that none of us are alone or experiencing abnormal lives. Unless, by chance, you happen to be “a postage stamp with an error that occurred in the printing or perforation process,” because that would be freaky.

(Are We Freaks? performs at The Kraine Theater Wed. March 04 at 10:30pm, Sat. March 07 at 7pm and Sun. March 08 at 2:30pm. It is 45 min. with no intermission. Tickets are $15 and available at smarttix.com. Or go to frigidnewyork.info for more.)

Kaspar Hauser (The Flea)

By Molly

5 POINTS OR LESS
a "musical theatre piece" • a little Brecht, a little Fosse • high quality production with talented singers • only $25 and definitely worth the price • too big for its space

Preston Martin and Nicolas Greco in Kaspar Hausen

BOTTOM LINE: A remarkably well-executed, near-opera, off-off-Broadway. For-serious.

Off-off-Broadway can be a tricky class of theatre and as an audience member you never really know what to expect. On one hand, off-off productions are generally affordable (Kaspar Hauser is just $25). On the other hand, the off-off world usually offers new work, generally of an experimental nature. And with that comes the gamut of quality: self-important crap on one side and creative genius on the other with myriad stops in between. The two most important factors for good off-off theatre are talent and money. Enter: The Flea, a leading off-off company in New York that has both the people and the cash to illuminate their stage. Their latest production, an operetta called Kaspar Hauser, is a wonderful new musical production well worth the price of admission.

Kaspar Hauser, by Elizabeth Swados and Erin Courtney, is an acutely developed, gloriously produced "musical theatre piece" as the press notes say. I'd call it an operetta: it's almost entirely sung and the musical patterns mimic the drama and conversations as the plot develops. At the same time, it's not light and farcical like operettas tend to be, but it is upbeat and also maintains some qualities of traditional musical theatre. Ok fine, we'll go with "musical theatre piece."

This new production is based on a true story from the 1800's in Germany. Kaspar Hauser is a boy kept in captivity as a child and released into society when he is 14. Without any interaction and socialization, he emerges a feral child, unable to communicate and without any skills to live on his own. He is embraced by the Germans though, and becomes a celebrity in his own rite. He is given care and nurturing and quickly adapts to his new way of life. The story turns tragic though, when Kaspar is taken away from the town and locked up again. Turns out he is royalty and his aunt had him removed from the family as a baby to give her own son a chance to gain royal rank without competition from his cousin. Kaspar's notoriety makes the aunt nervous that his true background will be revealed.

Preston Martin plays Kaspar and his interpretation of this character's innocence, intrigue and pain is brought out in the most finite of ways. Martin truly becomes Kaspar, his performance is endearing, disturbing, and above all fully-committed. The chorus of 18 plays all of the other roles, many times as a big group of party guests or villagers. Their voices are tremendous and the orchestrations show off their choral abilities. For such a small space, the amplification is brilliant as well; there is no need to mic anyone, yet the sound carries with perfect balance.

My only beef with Kaspar Hauser is that it desperately needs a bigger performance space. Although it's well-staged by director and composer Elizabeth Swados and the set is creatively crafted making use of levels and movable pieces, there's just a lot happening right up in your face. There is certainly an intimacy when presented in this fashion, but ultimately I felt a strong desire to lean back so I could take everything in from one vantage point, rather than swing my head from left to right and back again. The talent, story, music, costumes, light and set are all presented well and would blossom even further with space to move.

But that shouldn't be a deterrent if you like experimental musical theatre. Kaspar Hauser is an awesome work in many ways and hopefully it will get a life after The Flea's premiere. With a weird and creepy vibe, it's refreshing to see new, quality work taking a risk.

(Kaspar Hauser plays through March 28th at The Flea Theatre, 41 White Street between Broadway and Church Street. Performances are Wednesday through Friday at 7pm and Saturday at 3pm and 7pm. It runs 90 minutes with 1 intermission. Tickets are $25. For a complete performance calendar and tickets, visit www.theflea.org or call 212-352-3101.)

Frigid New York: Recess

By Le-Anne

5 POINTS OR LESS:
one woman show • uses multi-media • a bare-bones production

BOTTOM LINE: Recess is a raw look at life through the eyes of seven-year-old NYC public school children as told by one young woman.

Hats off to the New York Frigid Festival. The Horse Trade Theatre Group in association with Exit Theatre (the theatre company that runs the San Francisco Fringe Festival) and CAFF (The Canadian association of Fringe Festivals) have created a festival that stands out from the crowd. Unlike it’s popular counterparts, the New York Musical Theatre Festival (NYMF), the Midtown Theatre Festival, and the popular summertime Fringe Festival, this wintertime version strives to stay true to the grassroots experiment. The Frigid gives 100% of the box office sales back the artists. They also do not take any royalties from future productions. Because they are not focused on the commercial success of each production the Frigid is a real hot bed for creativity, experimental theatre, and freedom of expression. This also means that they are able to keep their ticket prices down...way down, shows are only $8-$16 or you can purchase a Festival Pass and see three shows for $30. At $10 a pop, that’s cheaper than a movie! Another uniquely Frigid thing is that they rotate the over one-hundred-fifty performances among Horse Trade’s three intimate theatre spaces in the East Village, (Under St. Mark’s, Kraine, and The Red Room). So while other festivals have gone quite mainstream and bougie, Frigid has a very proletariat feel. You can make a day of it, enjoying the eclectic ambiance of the East Village you pound the pavement trucking between shows, maybe even grabbing a quick bite from one of the great hole-in-the-wall eateries or cafes that the Village has to offer, filling your day with art, theatre, and the spirit of community.

Recess, by Keep it Movin’ Productions, is one of the thirty productions being presented at Frigid. This one-woman show is written and performed by Asian-American actress, Una Aya Osato and directed by Moises Belizario. In this fiercely honest piece Osato explores the youth of the NYC public school system, in particular the students of a second grade class in the Bronx. Through an innovative use of mixing live performance with projected video performance, Osato is able to interact with herself as she portrays a wide range of characters. Through the eyes of these children, we see a heartbreaking range of potential and lack thereof. Osato humorously portrays one young boy who has no idea that he has any sort of potential and juxtaposes him with another character, Sherita, a young girl who knows her potential but doesn’t believe she has any way to achieve it. This character was the spring board for Recess, inspired by the 5-year-old daughter of one of Osato’s best friends. The little girl announced at her mother’s wake, “It’s ok to cry everyone, crying’s ok, but it’s not gonna change nothing, it’s not gonna bring my mommy back.” A direct quote, Osato delivered this line in her play, and you could almost feel the eerie sadness mixed with a desire to create change and hope for our youth spread through the audience.

(Recess performs at The Kraine Theater/ 85 East 4th St., New York, NY 10003. It runs 1 hour with no intermission. Sun., March 01 @ 4pm, Thurs., March 05 @ 7:30pm, Sat., March 07 @ 1pm. Tickets are $15, $12 for students and seniors and are available by calling Smarttix at 212-868-4444 or online at www.FRIGIDnewyork.info.)