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The Seeing Place Theater is quickly becoming one of my favorite off-Broadway companies. They always select excellent plays that reflect elements of the world in which we live. In The Maids and Measure for Measure, Brandon Walker and Erin Cronican have chosen stories about women living in societies that do not grant them the power of choosing their own destiny or the credibility their voice deserves.  

The Maids

The play opens with the maids in the midst of their role play, and it takes a moment to catch on with their game. There a few things that make it difficult to catch onto the absurd tone of the piece. The first is that the pacing is a bit slow in challenging places. Christine Redhead heightens the energy of the scene and visibly generates a reaction from Erin Cronican and Gaia Visnar. After her exit, Ms. Cronican and Ms. Visnar explode into a world where they are the best of scene partners. They turn the tables on each other with ease and the love/hate that is unique to a pair of sisters.

Christine Redhead and Gaia Visnar in The Maids by Jean Genet. Photo by Russ Rowland.

This delightful absurd French play by Jean Genet centers on two maids who engage in the ceremony of roleplaying the murder of their employer. Claire (Gaia Visnar) and Solange (Erin Cronican) are sisters and maids for Madame (Christine Redhead). They dislike their employment and loathe their employer, who both dotes on them and insults them in the same breath. Written in an era that glorifies criminals, Claire and Solange revel in their sadomasochistic fantasy, and yet they are not brave enough to make it reality.

The sound design by Brandon Walker feels too obviously ominous at first, but once the absurd tone of the work sinks in, it is absolutely appropriate. Erin Cronican’s costumes fit the setting and also stand apart from the scenic design in color.

Erin Cronican and Gaia Visnar in The Maids by Jean Genet.
Photo by Russ Rowland.

As a director, Ms. Cronican makes excellent use of the layout of Mike Mroch’s scenic design. The scenic elements are spaced out well in the Paradise Factory’s small black box theatre and the colors help to convey the era in which the play takes place. Additionally, the same scenic elements serve Measure for Measure incredibly well. Every single element is designed to serve both plays. The difference between the productions is the placement of set pieces and set dressing. No material is wasted in this repertory production.

Measure for Measure

In this Shakespeare’s lesser produced works, the injustices of a corrupt system are revealed through cunning manipulation. The Duke (Brandon Walker) leaves Angelo (William Ketter) and Escalus (Jared Mason Murray) in charge of the city while he pretends to be away. Angelo immediately enforces a law that sentences Claudio (Robin Friend) to death. Claudio’s friend, Lucio (Rusty Flounders) appeals to Isabella (Sabrina Schlegel-Mejia), Claudio’s sister, to plead with Angelo. Of course, Angelo takes his best to take advantage of Isabella’s position, while other similar injustices are being revealed regarding secondary characters like Mistress Overdone and Mariana (Candice Oden). Disguised as a Friar, the Duke sets in motion several tricks that will, in the end, reveal to all the corrupt behavior so that the Duke himself can condemn it.

Rusty Flounders, Candice Oden, William Ketter and Sabrina Schlegel-Mejia in Measure for Measure by William Shakespeare. Photo by Russ Rowland

All of the actors have a keen sense of delivering Shakespeare’s verse which makes this production incredibly enjoyable. The actors who excel at this are Rusty Flounders (who honestly is so good, he actually creeps me out) Jared Mason Murray and William Ketter. Brandon Walker (who directs as well) is in a league of his own because he excels at the dialogue and displays intentional and bold physicality.

Additionally, the play is presented through a lens that makes The Duke the manufacturer of events – which means that Brandon Walker is arranging the set pieces during scene transitions. This lens is made more obvious through the active use of The Prince by Machiavelli. This well-divined storytelling device places emphasis on the Duke, which moves the audience away from the female voices in the play. I cannot decide if this device works against the desired theme (highlighting the lack of female voices) or if it further proves the point.

My two primary criticisms of the piece are this: If an accent is unnecessary, don’t add one; and if you want an actress to portray a strong minded woman, then she needs to embody that. Sabrina Schlegel-Mejia delivers Isabella’s strong minded monologues with strength of voice yet her physical gestures and posture is that of an uncertain teenager.

The design element that interacts with the action of the play the most here is the lighting design by Eve Bandi. Every scene and section of the stage has its own particular color and shape. Shadows also play a large role in the production, which is fitting for such a corrupt world.

Despite all of the serious elements that arise in these two productions, the not-so-subtle humor of The Maids and the more (sometimes) subtle humor of Measure for Measure are more than enough to remind me that there is always something to laugh about.

I encourage support for The Seeing Place Theater because their mission is simple and clear, and evidence demonstrates their achievement of it.

The Maids, Measure for Measure, The Seeing Place Theater, Paradise Factory, 64 East 4th Street. Closes April 14th. Tickets at http://seeingplacetheater.com/

Virginia Jimenez is a writer, dancer and teaching artist in New York City. She teaches for various companies focusing on dancing for musical theatre, ballroom dancing, theatrical skills and story building. Bringing arts education to students in NYC is incredibly rewarding for her because she is passionate about arts integration and using the arts to facilitate an emotional education. As a writer, Virginia believes in the power of words and stories to challenge and encourage audiences to seek growth and modes of expression. She likes tequila and ice cream - though not necessarily together. www.vmjimenez.com

Off Broadway

The Opposite Of Love A Devastating Look At Where We Are At Sexually

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Ashley Griffin (Trial)  new play The Opposite of Love, is an uncomfortable, truthful, devastating and brave play about sexual intimacy, trauma, sexual abuse, assault, suicide and the sexualized world we live in today. This piece shows how the misuse of sex has permeated our culture, our minds and our feeling. We no longer truly date or have relationships, but look to satisfy our needs with not love, but sex. When you have grown up sexually abused, without a solid family background how do you navigate this world, that your heart tells you is instinctively wrong? That is at the crux of The Opposite of Love.

Ashley Griffin and Danny Gardner Photo credit: Jeremy Varner

The play follows trust fund baby Eloise (Ashley Griffin) who has been sexually compromised since she was a small child by a relative. Though not penetrated in the true sense of the word, her boundaries and trust issues have been violated. Wanting a loving, intimate romantic relationship she is ill equipped to function. Enter Will ( Danny Gardner), a male prostitute she has hired to take away her virginity. Unable to connected in any way Eloise sends Will away, but Will seeing a potential cash cow, suggests that they meet weekly to just…talk.

Ashley Griffin and Danny Gardner Photo credit: Jeremy Varner

During the course of several weeks the two share the trauma’s of their lives until they finally connect and Eloise feels safe enough. We learn about both of their insecurities, their deepest wants and lies they tell the world until they both feel seen.

Intimacy director Crista Marie Jackson has allowed us to see just enough without crossing the line, but the real kudos goes to director Rachel Klein, who does not play down to us. She crafts this play with heart, soul and intelligence allowing us to go on this journey without falling completely apart with it’s honest look at where we have come to.

Ashley Griffin, as a writer has a wonderful way with words as she expresses what we all are feeling. She shows us that we are both Will and Eloise. Who we are depends on our financial circumstances and upbringing.

Griffin as an actress needs to slow down on her delivery. Her words have so much to say but we miss some of the text due to her rushing and projection. Her charactazation fares better as she takes us on the rollercoaster of this journey. You are never going to expect the ending and that is where she really shines.

Gardner’s Will is organic as we follow his transformation with anticipation. He goes from shallow cad to a broken man who has finally allowed himself to care. We see his mind work as he lies, then tells the horrors of his actions and his the trauma’s of his life, than are even more devastating than Eloise’s as he is told by society that he can not feel. In the end when he finally let’s his guard down we feel his pain and heartbreak.

Gardner, who is primarily known for his tap dancing work on Broadway’s in Dames at Sea and Flying Over Sunset, wow’s as a dramatic actor. I look forward to seeing him do more straight acting.

Griffin and Gardner have chemistry, which allows the play to go even deeper.

The scenic design by Brendan McCann and lighting by Zach Pizza, do well in such a small space and on a small budget

The Opposite of Love, could easily upset and anger those who have not come to terms with the shadows within, but if you are willing to face those devils you just might find a fabulous piece of theatre. I hope this show gets a longer run, where audiences will have a chance to experience this intimate look at the reality of where we are now. I know it is Tony season and there are only a few more performances but if you get a chance, I highly recommend this show.

The Opposite of Love: New York Rep at the Royal Family Theater (145 West 46th Street, until June 15th.

We did a Live From The Hotel Edison Times Square Chronicles Presents with Ashley Griffin and Danny Gardner. Click here to see this interview and learn even more about The Opposite of Love.

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Broadway

Drama Desk Awards Backstage In The Press Room

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T2C was backstage at the Drama Desk Awards last night. Here is a look at the action.

First in the room:

Kara Young

Celia Keenan-Bolger

Celia Keenan-Bolger and Jessica Lange

Jessica Lange

Sarah Paulson

The Cast of Stereophonic-Will Brill, Sarah Pidgeon, Juliana Canfield, Andrew R. Butler, Tom Pecinka, Chris Stack and Eli Gelb

Nikiya Mathis

JR Goodman, Ray Wetmore and Camille Labarre

Nikki M. James

Patrick Page

Enver Chakartash

Paul Tazewell

Cole Escola

How to Dance in Ohio cast members that includes-Liz Weber, Jeremy Wein, Ava Xiao-Lin Rigelhaupt, Nicole D’Angelo and Becky Leifman

Paul Tate dePoo

Avran Mlotek, Motl Didner, Dominick Balletta and Zalem Miotek

Jane Cox

Brian MacDevitt

Brian MacDevitt and Jane Cox

Isabella Byrd

Ryan Rumery

Walter Trarbach, Cody Spencer and Kai Harada

David Yazbek

Itamar Moses

Lady Irene Gandy

Nathan Lane and Matthew Broderick

Matthew Broderick

Nathan Lane

Will Butler

Marco Paguia

Shaina Taub

Justin Peck

Daniel Aukin

Jessica Stone

Corbin Bleu and Sarah Hyland

Andre Bishop and James Lapine

Keisha Lewis

Maleah Joi Moon, Brian d’Arcy James and Kelli O’Hara

Maleah Joi Moon

Keisha Lewis and Maleah Joi Moon

Kelli O’Hara

Brian d’Arcy James

Peter Nigrini

Carole Rothman and Branden Jacobs-Jenkins

Amy Herzog

David Adjmi

Adam Greenfield, David Adjmi

Sarah Hyland and Debra Messing

 

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Broadway

The 2024 Winner’s Of The Drama Desk Awards The Red Carpet

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The 2024 Annual Drama Desk Awards were announced last night at NYU Skirball Center. Tony Award Winners Sutton Foster and Aaron Tveit hosted the ceremony.

Sutton Foster and Aaron Tveit

Aaron Tveit

Sutton Foster

T2C was on the red carpet.

Andrew Durand

Jeff Kuperman and Rick Kuperman

William Jackson Harper

Shaina Taub

Peter Nigrini

Kecia Lewis

Celia Keenan-Bolger

Jocelyn Bioh

Laura Benanti

Jesse Robb and Shana Carroll

Jessica Lange

Camille Labarre, Ray Wetmore and JR Goodman

Michael Starobin, Andrea Grody and Shaina Taub

Will Brill

Sarah Paulson

Richard Ridge

Sarah Hyland

Maleah Joi Moon

Patrick Paige

Brooke Shields

Brooke Shields, Maleah Joi Moon

Brian D’Arcy James

Will Keen

Michael Stuhlbarg, Will Keen

Mary Louise Burke

Isabella Byrd

Justin Peck

Kara Young

Marco Paguia

Miss New York Rachelle diStasio

Josh Breckenridge

Lorin Latarro

Ricky Ubeda

Glauco Araujo

Dorian Harewood and Nancy Harewood

Mark Williams

Brody Grant

The Cast of Stereophonic-Andrew R. Butler, Will Brill, Tom Pecinka, Juliana Canfield, Eli Gelb, Chris Stack and Sarah Pidgeon

Paige Davis and Patrick Page

James Monroe Iglehart

Sarah Pidgeon

Nikiya Mathis

Montego Glover

Cole Escola

Tom Pecinka

Chris Stack

Leslie Kritzer

Miriam Silverman

Andrew R. Butler

Pat Swinney Commissioner of the Mayor’s Office of Media and Entertainment with Juliana Canfield

Juliana Canfield

Enver Chakartash

Robert Pickens and Katie Geil

Will Butler

David Adjmi

Daisy Prince

Debra Messing

Lena Hall

Debra Messing

Nikki M. James

Michael Stuhlbarg

Paul Tazewell

Camille A. Brown

Marin Ireland

How To Dance in Ohio-Liz Weber, Jeremy Wein, Ava Xiao-Lin Rigelhaupt, Nicole D’Angelo and Becky Leifman

Jacob Karr

Dylis Croman and Robert Montano

Eli Gelb

Walter Trarbach

Steven Valentine

Peter Charney and Brendan George

Rebecca Frecknall

Lady Irene Gandy

Timo Andres

 

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Broadway

The 2024 Winner’s Of The Drama Desk Awards With Interviews

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Photo Aaron Tveit and Sutton Foster Photo by Genevieve Rafter Keddy

The 2024 Drama Desk Awards were a star-studded ceremony at NYU Skirball Center co-hosted by Sutton Foster and Aaron Tveit. This is the only major NYC theater awards for which Broadway, Off-Broadway, and Off-Off-Broadway productions are considered in the same categories. Two recipients in each of the gender-free performance categories were announced and in some categories not only were their ties but three winners selected.

The winners are:

Outstanding Play: Stereophonic, by David Adjmi, Playwrights Horizons

Outstanding Musical: Dead Outlaw

Outstanding Revival of a Play: Appropriate, Second Stage Theater

Outstanding Revival of a Musical: I Can Get It for You Wholesale, Classic Stage Company


Outstanding Lead Performance in a Play:
Jessica Lange, Mother Play, Second Stage Theater

and Sarah Paulson, Appropriate, Second Stage Theater

Outstanding Lead Performance in a Musical: Brian d’Arcy James, Days of Wine and Roses, Atlantic Theater Company, Maleah Joi Moon, Hell’s Kitchen and Kelli O’Hara, Days of Wine and Roses, Atlantic Theater Company


Outstanding Featured Performance in a Play:
Celia Keenan-Bolger, Mother Play, Second Stage Theater and Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Outstanding Featured Performance in a Musical: Kecia Lewis, Hell’s Kitchen and Bebe Neuwirth, Cabaret at the Kit Kat Club


Outstanding Direction of a Play:
Daniel Aukin, Stereophonic, Playwrights Horizons


Outstanding Direction of a Musical:
Jessica Stone, Water for Elephants

Outstanding Choreography: Justin Peck, Illinoise, Park Avenue Armory


Outstanding Music:
Shaina Taub, Suffs

Outstanding Lyrics: David Yazbek and Erik Della Penna, Dead Outlaw

Outstanding Book of a Musical: Itamar Moses, Dead Outlaw

Outstanding Orchestrations: Marco Paguia, Buena Vista Social Club, Atlantic Theater Company


Outstanding Music in a Play:
Will Butler, Stereophonic, Playwrights Horizons

Outstanding Revue: Amid Falling Walls, National Yiddish Theatre Folksbiene

Outstanding Scenic Design of a Play: David Zinn, Stereophonic, Playwrights Horizons

Outstanding Scenic Design of a Musical: Paul Tate DePoo III, The Great Gatsby (includes projections)


Outstanding Costume Design of a Play:
Enver Chakartash, Stereophonic, Playwrights Horizons


Outstanding Costume Design of a Musical:
Paul Tazewell, Suffs

Outstanding Lighting Design of a Play: Jane Cox, Appropriate, Second Stage Theater


Outstanding Lighting Design of a Musical:
Brian MacDevitt and Hana S. Kim (projections), The Outsiders

Outstanding Projection and Video Design: Peter Nigrini,Hell’s Kitc

Outstanding Sound Design of a Play: Ryan Rumery, Stereophonic, Playwrights Horizons


Outstanding Sound Design of a Musical:
Nick Lidster for Autograph, Cabaret at the Kit Kat Club, Cody Spencer, The Outsiders and Walter Trarbach, Water for Elephants


Outstanding Wig and Hair:
Nikiya Mathis, Jaja’s African Hair Braiding, Manhattan Theatre Club


Outstanding Solo Performance:
Patrick Page, All the Devils Are Here: How Shakespeare Invented the Villain

Unique Theatrical Experience: Grenfell: in the words of survivors, St. Ann’s Warehouse, National Theatre, and KPPL Productions

Outstanding Fight Choreography: Cha Ramos, Water for Elephants

Outstanding Adaptation: An Enemy of the People, by Amy Herzog


Outstanding Puppetry:
Ray Wetmore, JR Goodman, and Camille Labarre, Water for Elephants

SPECIAL AWARDS

Ensemble Award

The cast of Stereophonic – Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack – who execute David Adjmi’s hypernaturalistic text with extraordinary care and precision, while also performing Will Butler’s music with the freshness and life that makes us believe we are witnessing, first-hand, the creation of a new American classic.


‘Sam Norkin Off-Broadway Award

Cole Escola, who both wrote and stars in one of this season’s biggest hits Off Broadway, Oh, Mary! Following in the long legacy of queer artists who write themselves into American history, Escola’s new “gay fantasia on national themes” is a hilarious reminder of why we must continue to interrogate our past.

ADDITIONAL SPECIAL AWARDS

How to Dance in Ohio Authentic Autistic Representation Team – Sammi Cannold, Nicole D’Angelo, Becky Leifman, Ava Xiao-Lin Rigelhaupt, Liz Weber, and Jeremy Wein  – for their steadfast support of autistic theatermakers, and their strides toward true accessibility for neurodiverse individuals both on and offstage.


Lighting designer Isabella Byrd, whose self-described technique as a “darkness designer” has earned her a cache of nominations and awards in the United States and abroad. During this season, Byrd illuminated two Broadway shows done in the round, An Enemy of the People and Cabaret at the Kit Kat Club. Off Broadway, her spotlight on quiet, small-scale stories both enchanted us in Primary Trust and mesmerized us in Infinite Life, with a parking-lot sky that marked the passage of time.


Lady Irene Gandy, for career achievement. A press agent extraordinaire for over five decades, Lady Irene has always demonstrated her passion, dedication, and love for theater. A Broadway producer and Sardi’s honoree, she is a zealous advocate for inclusion, diversity, and equity in the arts.

 

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Events

Live From The Hotel Edison Times Square Chronicles Presents David Zayas Jr.

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We are so pleased to announce our guest this week is David Zayas Jr.

David Zayas Jr. is making his Off-Broadway directorial debut with Simpatico at The Chain Theatre, 312 West 36th Street 3rd Fl. Simpatico plays until June 29th. David most recently directed the Jesus Hopped the A Train staged reading starring Common, John Ortiz, and David Zayas. David also directed LABs 30th Anniversary and the Barn Series, which included three New Works in progress by Stephen Adly Gurgis. A Bronx Native, theater and film Director, Actor, and Photographer, David is a member of The Actors Studio’s Playwright/Directors Unit and LAByrinth Theater Company. He has directed with Planet Connections, Actors Theatre of NY, NY Theater Festival, Samuel French OOB Festival, and Chain Theatre along with award winning films in over 20 festivals.

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a show filmed at the iconic Hotel Edison, before a live audience. To see our past episodes; First episode click here second episode click here,  third episode click here, fourth episode click here, fifth episode click here, sixth episode here, seventh episode here, eighth episode here, ninth episode here, tenth episode here, eleventh episode here, our twelfth episode here, thirteenth episode here, fourteenth here, fifteenth here , 16th here, 17th here and 18th here.

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