Why are school shootings the norm and why have grown-ups done nothing about them? That is the question looming in Lindsey Ferrentino’s This Flat Earth which focuses on how trauma affects children in school shootings. This timely play tells the personal story of two 13-year-olds. Julie (Ella Kennedy Davis) and Zander (Ian Saint-German) have recently lost a number of friends and are trying to make sense of it all as they return back to the scene of the crime…. school. As they watch movies, Zander is trying to figure out how to bring his relationship with Julie to the next stage, after all, teenage hormones are raging. Julie’s mom is dead, so it is up to Julie’s dad, Dan (Lucas Papaelias), to cope with this issue. Julie lost a classmate, Nicole, and her mother Lisa (Cassie Beck) shows up on her doorstep grieving. Upstairs, Cloris (Lynda Gravátt) plays a cello album (brilliantly played live by the Grammy-nominated Christine H. Kim). This elderly lady lives in her own world until Julie and Zander climb up the exterior fire escape and bring their pain to her door. As normal life resumes, a visit from the vice president – who has really bad breath – and an uplifting concert cannot sooth the questions or the feelings of dread inside.
We never learn what really happened, and it seems a little out of touch for Julie to not know that these school massacres are becoming more and more frequent. Sadly, the questions are way too relevant, and unlike the show Office Hours at The Public which took on the shooter, we do not hear the answers or a version on how to truly cope with this out of control epidemic. Nobody actually talks about the shooting, but the focus is more on class and privilege.
Kennedy Davis and Saint-German are well cast, bringing a strength of emotion to their parts. Mr. Papaelias, Ms. Beck, and Ms. Gravátt all add their talent in support of the two leads.
Ferrentino’s play is compelling and brave but misses plausibility and is too overstuffed with ideas. She is, however, on the right track about speaking about issues and getting the conversation started.
I normally love Rebecca Taichman’s direction, but here it seems a little out of focus and a little too intense.
Dane Laffrey’s excellent two-tier set and Christopher Akerlind’s lighting is subtle and well done.
I can understand why children think, “Yes, we are angry, yes we are frustrated, but we need answers, we need to take a stand and we need solace.”
This Flat Earth: Playwrights Horizons, 416 West 42nd St., until April 29.
Primary Stages’ “DIG” Does Exactly That Into What’s Underground
By Dennis White
The theater is filled with eerie almost tribal music with birds chirping as the audience finds their seats for Primary Stages’ production of DIG at 59E59 Theaters. It’s a new play written by Theresa Rebeck (Bernhardt/Hamlet) who also directs and as the name implies, DIG is not going to let us just see what’s on the surface. This story wants us to DIG to find out what we don’t see going on underground. The play’s setting is a garden shop that we’re told is failing but is filled with what looks like thriving plants.
Roger, the owner, played with elegant restraint by Jeffery Bean (Broadway’s Amadeus, Bells Are Ringing) seems content with keeping his shop even though developers are buying up the neighborhood. But Roger is unaware of how his complacent life is going to change thanks to his longtime friend Lou played by Triney Sandoval (Broadway’s Bernhardt/Hamlet), a man who reluctantly has his tormented daughter Megan come live with him. Megan deftly played by Andrea Syglowski (Broadway’s Pass Over) is a woman lost but even though it seems futile, she has not given up – completely. Entering the shop Megan takes a seat in the corner facing the wall attempting to camouflage herself in greenery covering her face with a hoodie.
She has committed an unforgivable act that has made national headlines. After a failed suicide her father agrees to supervise his daughter’s release even though he cannot forgive her. Megan reaches through her pain and within minutes she offers to repot a plant hoping to convince Roger he needs her help and she’ll work for free. You can feel how Syglowski’s Megan feels caught like the plant’s bound roots pushing against the sides of the pot, trapped and in pain. But she sees hope in the garden shop and Roger. The relationship between Roger and Megan is tenuous at first but the actors reel in the audience. The garden shop is coming alive as a place where they can both grow but it’s not as easy as they find out.
The rest of the cast is vital as they build the grotesque puzzle pieces of Megan’s horrifying past with pros like Mary Bacon (Public’s Coal Country) as Molly. Bacon does a good job as the judgmental nosy customer who turns into a helping hand. Stoner Everett aptly played in what can be described as a life lived in a pot cloud haze by Greg Keller (Playwrights Horizons’ The Thanksgiving Play) seems like a comical diversion but there’s a darker side coming. A surprising element is the appearance of Adam, Megan’s ex-husband, played with the intensity of a caged animal by David Mason (Broadway’s Pictures from Home) who makes the most of this small part. You can feel the audience cringing through the entire scene as writer/ director Theresa Rebeck finally gets her chance to see her play fully realized as she saw it in her mind, line by line.
DIG takes us to places we could not imagine when we first meet the characters. She builds relationships, tears them down, and then gives them some hope by the end. The play’s surprising revelation leaves the audience stunned, gasping at the turn of events and the secrets revealed. Rebeck’s direction seems effortless, moving her actors in the garden shop through this story of realization, forgiveness, and redemption. The scenic design by Christopher and Justin Swader (Off-Broadway’s The Boy Who Danced On Air) fill the garden shop with life, growing and changing reflecting the events of the play. Lighting by Mary Ellen Stebbins (MCC’s Space Dogs) helps set the mood with deep shadows and the original music and sound design by Fitz Patton (Broadway’s Choir Boy) give us an ominous melody to add to the tension, giving DIG a chance to get a lot of it right. The cast led by Syglowski and Bean hit all the right notes as they travel through tormented waters, some raging, while others swirl below the surface. Rebeck’s play with its unexpected twists and turns wrenches our guts and we follow gladly to the end.
Ken Fallin’s Broadway: Dracula: A Comedy Of Terrors
Dracula: A Comedy of Terrors, is now playing at New World Stage, 340 West 50th Street, until January 7, 2024 or beyond.
In this caricature you will find James Daly’s Dracula and clockwise: Andrew Keenan-Bolger, Arnie Burton, Ellen Harvey and Jordan Boatman who make up this amazingly talented cast.
You can read T2C’s mouth watering review here.
Theatre News: Wicked, The Wiz, Hypnotique, Female Troubles and Love In The Time Of Crazy
Broadway’s blockbuster Wicked, in partnership with National Day Calendar, has announced that October 30 will officially become National Wicked Day, in honor of the hit Broadway musical’s debut at the Gershwin Theatre (245 West 51st Street) on October 30, 2003.
This marks the first time that a Broadway show will have its own official day in the National Day Calendar. With this inclusion, Wicked joins some of the most recognizable National Day celebrations, including National Barbie Day, National Star Trek Day, National Scrabble Day, National Winnie the Pooh Day, and National Teacher Appreciate Day, among others.
Read the official announcement HERE.
Currently Wicked 4th longest-running show in Broadway history, and will celebrate its 20th Anniversary on Broadway this October 30th.
The Broadway production of Wicked currently features Alyssa Fox as Elphaba, McKenzie Kurtz as Glinda, John Dossett as The Wizard, Michele Pawk as Madame Morrible, Jordan Litz as Fiyero, Jake Pedersen as Boq, Kimber Elayne Sprawl as Nessarose, and William Youmans as Doctor Dillamond.
Emmy Award®-winning music director and Grammy Award®-winning writer, Adam Blackstone, joins the creative team as Dance Music Arranger for the revival of The Wiz. The Wiz will launch a national tour on September 23, 2023 in Baltimore, MD before returning to Broadway for a limited engagement in the 2023/24 season.
“Joining The Wiz’s creative team has been a very surreal moment. I remember watching the film on VHS daily for years, wondering how it sounded so incredible, how MJ transformed into the Scarecrow, and the score and orchestrations truly told a story all of its own. Fast forward to today, I get to musically partner with Terence Vaughn and reunite with my brother, super choreographer and creative director JaQuel Knight, and explore our own interpretation for a revival of this masterpiece. I am excited and look forward to this body of work changing lives, just like it did for me in the 80’s!” stated Adam Blackstone.
The cast will include previously announced Wayne Brady to lead the production as the Wiz on Broadway in Spring of 2024, San Francisco (January 16 – February 11, 2024) at the Golden Gate Theatre, and Los Angeles (February 13 – March 3, 2024) at the Hollywood Pantages Theatre. Alan Mingo Jr. will star in the role of the Wiz in the following cities of The Wiz National Tour this fall, kicking off with the tour launch in Baltimore, including Cleveland, OH, Washington, DC, Pittsburgh, PA, Charlotte, NC, Atlanta, GA, Greenville, SC, Chicago, IL, Des Moines, IA, Tempe, AZ and San Diego, CA.
The cast will also feature Nichelle Lewis as Dorothy, Deborah Cox as Glinda and Melody A. Betts as Aunt Em and Evillene, Kyle Ramar Freeman as the Lion, Phillip Johnson Richardson as the Tinman, and Avery Wilson as the Scarecrow. The Wiz ensemble includes Maya Bowles, Shayla Alayre Caldwell, Jay Copeland, Allyson Kaye Daniel, Judith Franklin, George, Collin Heyward, Amber Jackson, Jackson, Jones, Jones, Kindle, Mariah Lyttle, Kareem Marsh, Anthony Murphy, Rae, Matthew Sims Jr, Avilon Trust Tate, Keenan D. Washington, and Timothy Wilson.
The production will include ‘Everybody Rejoice’ music and lyrics by Luther Vandross, as well as the ‘Emerald City Ballet’ with music by Timothy Graphenreed.
The McKittrick Hotel (530 West 27th Street, NYC), home of Sleep No More, announced the opening of Hypnotique – A Late Night Sultry Spectacle. Performances have been extended on Friday and Saturday nights through October 14, 2023. The all-new Hypnotique revue offers a unique after-dark experience that envelops you. Audiences are captivated by spontaneous performances and mesmerizing dancers, accompanied by daring sonic soundscapes in a surreal ambiance in The Club Car.
The cast features Chloé Lexia Worthington, Courtney Sauls, Fabricio Seraphin, Haley Bjorn, Jacob Nahor, Jesseca Scott, Maurice Ivy, Maya Kitayama, Samantha Greenlund, Victoria Edwards, and swings Alex Sturtevant, Cameron Arnold, Kennedy Adams, and Stacey Badgett Jr..
Cocktails inspired by the experience, including the signature Hypnotonique (an electrifying punch made with cucumber-infused vodka, elderflower liqueur, and grapefruit juice), are available from The Club Car’s bar.
Performances are offered on Fridays and Saturdays at 10:30PM. General Admission tickets with standing room are currently priced from $65 per person.
Two industry readings for Female Troubles, an original musical comedy, will happen next week at Open Jar Studios. Female Troubles is a completely original musical comedy featuring lyrics by two-time Tony Award nominated and Grammy Award nominated songwriter Amanda Green (Mr. Saturday Night, Hands On A Hardbody, Bring It On), music by three-time Emmy Award nominee Curtis Moore (“The Marvelous Mrs. Maisel”), book by Emmy Award-winning writers Gabrielle Allan and Jennifer Crittenden (“Veep,” “Arrested Development,” “Seinfeld,” “The Simpsons,” “HouseBroken”) and directed by Tony Award winner Christopher Gattelli (Disney’s Newsies, My Fair Lady, “Schmigadoon,” “Schmicago”).
The cast for the readings will includeKrystina Alabado, Kevin Del Aguila, Amanda Green, Lilli Cooper, Lillias White, Lesli Margherita, Ryann Redmond, Kate Rockwell, Matt Saldivar, Alanna Saunders, Trent Saunders, Jake Swain, Sav Souza, Rachel Stern and Frank Viveros.In Female Troubles, Elinor Benton finds herself surprisingly and undeniably “knocked up” — and, since she’s unmarried and this is 19th century England, she has a very big dilemma. Facing ruin, she and her girlfriends embark on a raucous journey to find the one notorious woman who can help them with their “female troubles.” Their misadventures change the course of each of their lives. This uproarious musical comedy asks the trenchant question “Can you believe this sh*t is still happening in 1810?”
I attended the reading of Love In The Time Of Crazy withbook and lyrics by Peter Kellogg (Outer Critics Winner for Desperate Measures), music by Stephen Weiner (two-time Richard Rodgers Award winner) and David Hancock Turner (orchestrator for Desperate Measures and Penelope), directed by Lauren Molina (Desperate Measures ). The cast stared Philippe Arroyo, Stephen DeRosa, Robin Dunavant, David Merino, Josh Lamon, Roe Hartrampf and Alexis Cofield .
Love in the Time of Crazy is a riot, but, you know, in a good way.
Arms and the Man Meet The Press
Gingold Theatrical Group next show is a new production of George Bernard Shaw’s Arms and the Man.
The cast of Arms and the Man will feature Shanel Bailey (“Grease: Rise of the Pink Ladies”)
Delphi Borich (Camelot)
Ben Davis (New York New York)
Keshav Moodliar (Queen)
Evan Zes (The Kite Runner),
Tony Award winner Karen Ziemba (Prince of Broadway).
Understudies for this production are Mazvita Chanakira (Gap Year)
René Thornton Jr (The Tempest)
and Matthew Zimmerman (A Midsummer Night’s Dream).
Arms and the Man will be directed by David Staller.
The production will feature set design by Lindsay Genevieve Fuori
lighting design by Jamie Roderick
costume design by Tracy Christensen
and sound design by Julian Evans. Prop design is by Emmarose Campbell.
Production management is by Allie Posner. Hair design is by Cassie Williams, and Stephanie Yankwitt of tbd Casting Co. is the Casting Director.
Logan Gabrielle Schulman is the Assistant to the Director and Ariel Kregard is the Assistant to the Costume Designer.
The production stage manager is April Ann Kline and Jade Doina will serve as assistant stage manager.
Arms and the Man is one of Shaw’s most popular comedies. The plot follows a hunted soldier who, seeking refuge in a young lady’s boudoir, starts in motion a series of highly engaging and unlikely comedic events. His unusual philosophies about love, war and life in general open up a world of thought she’d never previously entertained–certainly not with her dashing war-hero fiancée who also arrives unexpectedly. This early work of Shaw’s is remarkably pithy.
The play’s title, Arms and the Man, references the first line of the epic Virgil poem, The Aeneid, in which we’re reminded of how foolish humans can be by fighting each other and struggling against the best of human nature: “Arms and the man I sing, who, forced by fate / And haughty Juno’s unrelenting hate, / Expelled and exiled, left the Trojan shore.”
Arms and the Man will play Theater Two at Theatre Row (410 W 42nd St, New York, NY 10036) from October 17 through November 18, 2023. Opening night is set for October 26. The performance schedule is Tuesday–Thursday at 7pm; Friday at 8pm; Saturday at 2pm & 8pm; Sunday at 3pm. Cast and guest-moderated talkbacks will take place after each Sunday performance.
“Relapse” Musically Releases Some Compelling Voices in Our Heads
By Dennis W
Vinny Celerio (as Intrusive), Nicole Lamb (as Intrusive), Mia Cherise Hall (as Melinda), Zummy Mohammed (as Intrusive), and Audree Hedequist (as Intrusive) Photos by Thomas Mundell.
Relapse: A New Musical is filling Theatre Row with the sound of music from voices patients in a psychiatric hospital hear only in their heads. The 100-minute production captures the audience and brings them into the foggy, erratic, self-destructive world of this group who have lost their grasp on reality. It’s a difficult feat to write a musical about mental illness and get it right. The approach J. Giachetti takes in the book and lyrics, with music supplied by Louis Josephson, is quite inventive and works. The play takes place in group therapy sessions for four patients. But the music is about what’s going on in the minds of these people as they struggle with their sanity. And there are four more players called, ‘The Intrusive’ (the voices in the patients’ heads) doing whatever they can to keep the people in the group from breaking through to reality.
Bryan is played by Randall Scott Carpenter and this is his Off-Broadway debut. Bryan has an eating disorder and Carpenter captures a man searching for control right down to the nervous tick of shaking his leg. The schizophrenic in the group is Melinda played by Mia Cherise Hall. She has just the right spin on the character’s detachment from reality while still being part of the group.
Kendra is played by Becca Suskauer (Pretty Woman, National Tour) making her Off-Broadway debut. Kendra is a sociopath who torched her home and killed her father. Rounding out the cast is Adam played by Jacob Ryan Smith (Lizard Boy, Off-Broadway) who is new to the group. He’s an alcoholic and this is his fourth relapse. All the characters have a singular goal: to get out. They are joined by ‘The Intrusive’ played by Vinny Clear, Audree Hedequist, Nicole Lamb, and Yummy Mohammed. They swarm around the patients blocking their way to progress, as well as, filling the void as a well-voiced chorus.
The lyrics by J Giachetti do the job of filling out the characters with titles like Psych 101, Outta Here, Shattered Brain, and What Would You Do. The rock edge to the music by Josephson (Composer, Additional Lyrics, Orchestrations, Julliard) adds to the chaos nicely.
Dr. Carlisle and Margot, the nurse, are played respectively by Troy Valjean Rucker (Romeo and Bernadette, Off-Broadway) and Ashley Alexandra (Tootsie – National Tour) who have a kind of antagonistic relationship. Margot is not completely happy with the doctor’s handling of the group and is not shy about speaking out. They also talk about how funding for the group session may be cut off. This is where the plot begins to wander somewhat unnecessarily.
Director and Choreographer Joey McKneely (West Side Story, Broadway) keeps all the characters moving to highlight their stories in the ensemble musical using all of the stage space. The eerie swarming of ‘The Intrusive’ works but as the show progresses their movements become somewhat repetitive.
The scenic design by Sheryl Liu (The Memorial, A.R.T.) is adequate, with six blue chairs in a semi-circle as you would expect. It’s easily moved around as needed. Liu, as costume designer, dresses the patients in simple scubs-like tops and pants. Except for Bryan who has a slouching muddy brown cardigan that he uses to his advantage as he nervously rubs it between his fingers hinting at his lack of control and obsessive-compulsive behavior.
This ensemble production of Relapse: A New Musical takes us inside mental illness. The problem comes within the optimistic ending. We really have mostly seen how the characters deal with their specific problems and how the voices in their heads keep holding them back. The doctor says he is moving a patient to the next level facility even though he isn’t ready just to show some progress on paper. Relapse isn’t perfect but it is definitely an evening of entertainment that will give you a lot to talk about when you leave the theater.
For more go to frontmezzjunkies.com
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