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The Edge of Our Bodies at the Edge of Our Seats

The Edge of Our Bodies at the Edge of Our Seats
Be careful of the curtains, we are told, as we enter the small theater space at 59E59 Theaters. It’s unclear why, but we oblige, and carefully maneuver to our seat in order to take in the space that has been so meticulously designed by Martin Andrew (Southern Rep’s The Norman Conquests) for this TUTA Theatre production. The thrust acting space for The Edge of Our Bodies is enclosed by a thin black curtain, a fabric so fine that we can see right through into what appears to be some sort of tranquility den, with a old reel-tape sound system and a sofa that reminds me of a Freudian therapy couch.  There’s a great animal rug snarling out at us, and numerous lights hung with a modern flair projected a seriously somber mood and a tense air. All of it makes therapeutic and internal emotional sense, telling us a tale all on its own, created with a flare for the dynamic by lighting designer Keith Parham (2ST’s Man from Nebraska).  The sporadic placement of the light fixtures illuminate like numerous electric synapses pinpointing her rapid thoughts and heightened passions. The music and reverberations piped in, with sound design by Joe Court (Emerald City) and props by Letitia Guillaud (TUTA’s Gentle) pulsate, playing the soundtrack of her mind, rewinding and recording when necessary. It’s vibrant and engaging, this creation, pulling us into the edgy recesses of her mind, throwing light and darkness on the all the inner workings and cravings of this lost young woman.
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Carolyn Molloy.. Photo by Anthony LaPenna
Where are we?“, we ask, being as lost as she turns out to be, but the answer evades us throughout. A chill of anxiety hangs in the air and a complex twinge of nervousness becomes attached to our bodies.  A young woman, Bernadette, shadows the space that is a room, looking around, but for what remains unclear. Dressed in a trench coat and a private school uniform, courtesy of costume designer Branimira Ivanova, the atmosphere hangs heavy and the energy electric with an edge that radiates beyond the confines of her body and the draped space.
Playwright Adam Rapp, a Pulitzer Prize finalist and author of numerous plays including ART’s Nocturne and PH’s Essential Self-Defense, holds the premise of this coming-of-age story close to his breast, not giving us much instruction as to how to take this tale in or where to place it.  Carolyn Molloy (USA’s ‘Sirens‘) wonderfully intricate in her performance, gives us very little cues as she moves into her story, inhabiting this 16 year old teenage with every nervous and anxious fiber that exists on the edge of her body. Her voice transforming her personal entry into something dynamic. Bernadette, as directed fearlessly by Jacqueline Stone (TUTA’s The Silent Language) with movement directed by Aileen McGroddy (TUTA’s Music Hall), is privileged and determined, a young private school girl and woman, mature in many ways beyond her years, but as desperate as any teenage girl would be for love and attention. She tells us a tale that is etched with need and confusion, lying to others, but hopefully not to us. She ventures into New York City on a train ride from school, recounting the details in length, hoping to find some comfort and salvation in the arms and eyes of her equally young distant boyfriend.
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Carolyn Molloy. Photo by Anthony LaPenna
It’s a compelling tale, that borders on the mundane at times, recreating and recounting every moment down to its most insignificant minutia, as if we were her living diary. Molloy somehow, quite mysteriously, keeps at least a few strong fibers of connection going at all times, compelling us forward into the unknown.  Is she trapped in this space, confined by her own doing, or there because of another?  Or is it both at the same time, clamoring for prominence? Is this a story of abduction? Or are we being given some sort of abstract invitation into her head, literally, to bare witness to the struggle of her uncertainty and teenage yearnings?  At one point a man, played by the earthy Robert James Hickey (TV movie ‘Shady Pines‘) enters in, jolting us out of our introspection and casting a few more questions over the procedure as the light blares down on us. It definitely snaps out out of the lull, but doesn’t quite help us in our ponderings. Theories spin around our heads, colliding together in the air above her. I can’t say I was mesmerized or so thoroughly engaged that I cared that desperately about her in the end, but I was intrigued and curious throughout. The last image is beautiful, but as abstract as the whole.  The maintenance man, at least, got to touch the fabric that separated the sad desperate young girl from all of us, moving it away so, in some way, we could see her more clearly.  It didn’t really help overall, but it also didn’t hurt either.  She remains as intriguing, mysterious, and ultimately confusing as any young teenage girl generally is.
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Carolyn Molloy stars in TUTA Theatre’s production of THE EDGE OF OUR BODIES by Adam Rapp, directed by Jacqueline Stone, at 59E59 Theaters. Photo by Anthony LaPenna

For more go to frontmezzjunkies.com

Off Broadway
@#frontmezzjunkies

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

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