A Delightful Double Feature at the American Theatre of Actors

Tango in the Rockies and The Rubber Band Company Bow at the Beckmann

The 50^th year of the American Theatre of Actors continues to go from strength to strength, as evidenced by the coupling of two compelling new works to kick off November. Tango in The Rockies is written and directed by ATA Artistic Director James Jennings, while The Rubber Band Company is written and directed by Meny Beriro.

Following the strains of Marty Robbins’ classic ballad “El Paso,” Tango begins as a two-hander, as mature couple Albert (Tom Crouch) and Millie (Ginger Kipps) seek refuge in a cabin from an as-yet unseen adversary that has been following them in a car after Albert’s initial evasion of them. “They want us to sign some papers,” is all Albert knows, revealing that they had come to the house and “tried to force me to do it there”. Millie’s imagination regarding their identity runs from bill collectors, to CIA, and even ICE “They’re certainly trying to get something from us,” says Albert, “and I don’t know what the hell that can be.” When Millie realizes that the cabin is the one they used for a family trip years ago, some emotional memories come to the surface—skiing with the kids, cooking them eggs, and Albert’s time as a baseball player.

“Time slipped by so fast,” she says sadly, noting that their time with family is now near non-existent.

“And now here we are, trapped in a cabin,” Albert sighs. “Victims of the current times.”

“Victims of our age,” Millie adds.

“Maybe victims of some AI program that we’ve had nothing to do with,” Albert speculates ominously, grounding their dilemma in the here and now.

Crouch and Kipps display fantastic chemistry as they go from reminiscing wistfully to raging against the forces outside their makeshift sanctuary. Their depiction of a decades-long relationship facing perhaps its greatest crisis is stunningly genuine. The sound design is well utilized to create the sense of impending doom, until Millie bravely goes outside and returns with Charles (Josh Bartosch), an amiable real estate agent who reveals what he needs from the couple. The denouement of the tense situation is well played and functions as a deep exhale followed by a laugh of relief. The three actors deftly deliver Jenning’s witty dialogue, and it’s all held together by his expert direction.

The Rubber Band Company is heralded by the sound of the Spinners’ hit “The Rubberband Man”, setting a very different mood in a very different setting, but continuing the darkly humorous vibe. It’s the office of the company revealed in the title, and it opens on veteran rubber band salesman Bill (Ken Coughlin) shooting samples of their product across the room. He’s having no luck getting them in the cup he hs placed to catch them, which he dismisses as “too small.” He later decides to blame the rubber bands instead: “They don’t stretch like they used to.”

The losing streak is interrupted by Ann (Stephanie Andujar), a young go-getter who is trying to make her way up the ladder and feels she has the perfect idea to propel her.

“I knew when I walked in here that rubber bands was the reason God put me on this earth,” Ann announces with a very amusing earnestness.

The uneasiness of the reluctant colleagues makes for some very funny dialogue; equally humorous is the varied types of rubber bands the company boasts about. There are the 540s, that are supposed to glow in the dark (but don’t, according to a customer Bill speaks to on the phone). “They just ruined some family’s whole camping trip,” Bill tells Ann, explaining that he sent them a free box of the renowned “1280s” as an apology.

“That was a bit extravagant on your part!” says Ann.

She suggests that Bill pick up the dozens of rubber bands on the floor as their boss Connors (Derek Donnellan) is coming to give an important presentation on a “whole new concept” that she expects will be a game-changer. The agitated (and apparently unwell) Bill dismisses the notion: “He wouldn’t know a 1280 from a 1690! The only knew concept he’s going to introduce to this company—is Chapter 11.”

The tension is further escalated when Tom Luke DiCostanzo arrives as Gary, the slimy lead salesman trying to get his Westchester territory back from Ann (despite having famously remarked “f—ck Westchester” in a previous rant). His kid has asked for free rubber bands for his whole class, but to Gary’s sadness a “new policy change” makes this impossible.

The slick and money-minded Connors finally arrives to give his presentation. After announcing the new line of “industrial-strength super-sized outdoor rubber band—the 2559,” he adds that he wants to give the brand an identity by selling rubber bands in only one color—but it’s not the one that Ann envisioned, to her hilarious chagrin.

The situation escalates to a series of fight sequences, initially comedic and of course involving some of the company’s famed product. These are fantastically executed by the cast under the excellent direction of Fight Director Juan Carlo Castillo. Then it takes an unexpected very dark turn that will you leave you gasping, and yet is the perfect ending to the piece and a strong indictment of power-grabbing and greed. You’ll neber look at a rubber band the same way again.

It all makes for enjoyable evening (or afternoon) of theatre and is another triumph for the ATA in its golden anniversary year.

Tango in the Rockies and The Rubber Band Company run together at the American Theatre of Actors through Nov 16, 2025.