The Secrets We Keep Examines Powerful, Painful Themes in Astounding Fashion

Slavic Folklore arrives in the present day to take on the tragedies of the past, and it’s unforgettable.

The Secrets We Keep is a musical fairytale, grounded in grim reality. A modern-day town in the Slavic region is haunted by the Rusalki (“Slavic mermaids”), beautiful nymph-like woman who reside in the waters among the forest trees. They were all once humans, and are now in an after-death existence of willful luring and killing (all while angelically singing). We meet Luba (Lynn Pineda), the newest Rusalka, who as a young Jewish Polish girl was beaten and drowned at the end of the second World War. She lives in eternal pain, grieving the violent loss of her life and of her great love, Bronislawa (Presley Zisk). “In the Night, I Am Alone,” she laments in song, as her Rusalki sisters dance menacingly around her, their feral manner clashing with their fairy-like appearance.

Luba’s confidant in the group is Dobra (Erin Yoffee), the second-youngest Rusaka. Luba and Dobra have the distinction of not having deliberately chosen to become Rusalki, unlike their peers. This coupled with their relatively recent arrival in the afterlife have allowed them to retain some semblance of humanity and conscience, while the others exist merely to woo and then destroy (as depicted in “Come to Me”).

Into this dark world arrive Kat (Megan Audette) and her partner Liesa (Sarah Reid Vinyard). Kat has come to see the land of her ancestors, many of whom perished in the Holocaust. The friendly, good-hearted Kat stumbles upon the Rusalki, and is saved from death at their hands by Luba, who is still trying to hold on to her own humanity. Kat sweetly offers Luba human snacks and friendship, and they quickly bond.

But a shocking twist regarding Kat’s ancestry threatens to extinguish Luba’s human heart for good and plunge her fully into the darkness under the lake. And “Trinity Week”—the time when the Rusalki are at their most powerful and dangerous—is looming. As Kat seeks to learn more from first the local library and then from a woman who lived through the war, Liesa finds herself in great danger from the Rusalki. Like Kat before her, she is also saved by Luba at first—but this time, recent revelations have threatened to make Luba the most vicious Rusalki of all.

Luba’s plight is an intensely moving one, as she tries to choose between vengeance and redemption, and slowly begins to realize that perhaps the best revenge is to seek none at all.

The musical is beautifully realized; the Rusalki are elegant in their white robes while their crimson-colored hands remain a stark reminder of their bloodlust. Their gorgeous songs and spirited dancing contrast the viciousness of their hunger and hatred. The powerful themes depicted—the horror of genocide, he subjugation and defiling of women, the cyclical human patterns of fear, hatred, destruction and vengeance—are brought to a life in a new context that is undeniably thought-provoking. It creates a powerful story that, while based on myth, tackles head-on the all too real horrors of the past in a time when many choose to forget—and threaten to repeat.

The Secrets We Keep is written and directed by Danielle Wirsansky, with music by Frank Sanchez and choreography by Elizabeth Kessler.

FIVE STAR chats with producers, Alice Camarota (AC) & Thoeger Hansen (TH) on the eve of the 80th Anniversary
Production of Jean-Paul Sartre’s existential classic
NO EXIT
The NuBox
John DeSotelle Studio754 Ninth Avenue, NYCReservations and further info:info@jaymichaelsarts.com

Special Preview: Thursday May 30 @ 7:00 pm
Opening: Friday May 31 @ 7:00 pm Saturday, June 1 @ 7:00 pm & Sunday, June 2, 3:00 pm Friday June 7 & Saturday, June 8 @ 7:00 pm Sunday June 9, 3:00 pm

Utilizing the Paul Bowles translation as well as elements from the original, director Alice Camarota transports us into Sartre’s version of Hell: A mysterious impenetrable room where individuals are trapped and forced to see themselves through the eyes of others. While — customarily — this is a depiction of the afterlife, Camarota’s scheme eerily opens us to the macabre parable of society seen through the lens of the social media avatar-engorged mirror.
“L’enfer, c’est les autres” or “Hell is other people”
The cast features Connor Wilson (Evil Dead, the Musical; Damn Yankees) as Garcin; Thoeger Hansen (E-Dreams) as Bellboy; Amie Margoles (Law & Order; House) as Inez; and Mandi Sagez (Cinderella 2020) as Estelle.

Five Star Arts Journals:  What made you decide to do this play?

TH:  When Alice and I met back in November to discuss co-producing, I had nothing more specific in mind than familiarity with and love for Waiting for Lefty by Clifford Odets, and Henrik Ibsen’s Hedda Gabler.  Towards the end of our meeting, I asked what was at the top of her list of plays she dreams about directing, and without hesitation she answered, “Titus Andronicus.”  Titus became my obsession for a week or so, until Alice talked some sense into me about how formidable a project it is and in particular the time needed to plan and execute it properly.  With the goal of getting something on stage by late winter or spring, we pivoted.  No Exit was a comparably viable option also at the top of her wish list.

AM:  When I first read No Exit, I was already a fan of Camus, so Sartre’s play instantly spoke to me.

MS: When you get an e-mail from a director you’ve worked with multiple times that reads: “At this point you are my top pick for the role of Estelle and the only person I’m reaching out to, so if you want it, the part is yours.”…you say yes.  I love working with Alice and trust her casting vision, so the decision was an easy one for me.

CW:  I’d worked with Alice, the director, on a few projects before and she said she wanted to work with me on this, I jumped at the chance.

FSAJ:  The initial message is that we are the sum of other people’s interpretations. Now, in the days of social media, avatars, and other “masks,” how has Sartre’s message stood up against the test of time?

AC:  For me, the message of this show is that we create our own Hell and we create Hell for the people around us.  This is more true now than ever when there are so many people physically and digitally around us that there is no escape.

TH:  This is such a mind-bender to think about.  Since the beginning of lockdowns in 2020, I have been obsessed with dystopian sci-fi and found myself reading or re-reading the relevant classics by Huxley, Orwell, Bradbury, et al and marveling at the predictive visions found in them.  Sartre’s portrait of Hell is a different kind of future vision when it comes to anticipating the technologies of devices and social media.  Incredibly dominant facets of our culture now require us to be camera-ready at all times, and to have our cameras ready to record whatever the thing is that’s about to happen.  The part about always being in frame wholly devours the very idea of human fallibility and fragility.  Yet every third moment of a normal person’s conscious life is a reminder of our humble limitations.  And the impulse to press record, and have a device/lens in between ourselves and the thing happening live in front of us is, more than metaphorically, a deprivation of oneself from reality.  In No Exit, all of the protagonists wrestle with aspects of it, but Estelle in particular embodies that notion of being unable to function without the comfort that someone or something can see her.  She even says it.  Humans’ simultaneous fear of and compulsion towards attention-seeking is part of why we are hooked on our devices and profiles.  Sartre anticipated that as well as anyone.

AM:  I think this play is still important, especially in this day and age of needing validation by the number of “likes” or “followers” one gets on social media.  It hopefully reminds us that the need for so much reassurance is a cause for a lot of misery.  One has to find the contentment in oneself and put aside what others think.  We don’t know what they’re thinking anyway, and to quote Inez, “you don’t know what they want you to do anyway,” so you may as well do what moves you.  I’m thrilled to be part of this group to help tell this story. 

CW:  I think it’s become more prevalent with the increase in “connectivity” and the explosion of social media.  Now, more than ever, it seems we’re looking for an identity and are beholden to everyone else to tell us who and what we are.  Before, when the play was written it was easier to get a more accurate opinion of who you were.  We as human beings have always tried to put our best foot forward when meeting and interacting with others.  After all, no one wants to air out their dirty laundry in public.  But it was still you.  Albeit a version of you that you created to make a good impression.  Now with social media, every moment of our lives is doctored and tweaked, to paint us in the best light.  And only the good parts of our lives.  In order to exist in the echo chamber of whose life is better than who’s.  But the principle is still the same now as it was then: We only exist as the image others conjure up in their minds about us and we are still trying to live up to that or chase this impossible standard instead of simply being what we are. 

FSAJ:  What is your creative process?

AC:  I always go into the rehearsal room with an idea of how the show is going to look.  I have a basic set design and basic blocking mapped out for the actors, but I like to give the actors room to explore their characters and play with each other.  I want the process to be as collaborative as possible.

TH:  My creative process as an actor is dry and studious.  I elaborated on it in a recent interview about this production I did for Review Fix.  Producing – at least the somewhat limited extent to which I’ve experienced it to-date – requires the type of creativity inherent in project management, since that’s basically what it is.  That’s to say: the active-mindedness and curious-mindedness to not only devise the best possible solution for every challenge that arises, but to be able to anticipate those challenges – ideally before they make themselves apparent enough to immediately need attending to.  It’s a different, probably less emotional and spiritual type of creativity than what’s available on the artistic side, and for that reason I enjoy it less overall.  But I don’t hate it.  It is a necessary part of life.

CW:  For me, whenever I begin a project I read it a couple of times and I typically don’t make any choices or assumptions or make any notes about the character.  And once I’ve a firm grasp on the story, only then do I start to play by allowing myself to create facts about the character.  Like where he’s from, what he does, what his life is like according to the text and then I compile all this data and allow myself to let that go when rehearsing and see what comes up.  And be open to whatever I happen to be feeling at the time informing what the character is feeling.  I find it to be to least effortful on my part, I’m not trying to play an emotion or an action, if I’m tired, or grumpy or especially giddy that day, the character is too.  And I think that the audience responds to seeing something real instead of an actor playing at something.  I know I do.  And that process doesn’t stop at rehearsal either.  Even to the moment I’m on stage in performance I’m allowing myself to be influenced by what I’m feeling, the energy from my cast mates, the environment, so on.  And I marry that with the actions of the text or other things we’ve cemented in rehearsal.  If the character is meant to pick up something on a certain word, or shout at a certain point in the story, I will do all of those things but I never force myself to “feel” a certain way about it.  Maybe I liked that another character touches me one night, maybe tomorrow I don’t.  And that feels real to me and it keeps it fresh and enjoyable. 

FSAJ: Do you feel an extra sense of responsibility in doing a piece so known; so historic?

AC:  To be honest, I didn’t think about that when I picked this play.  I have always loved this show and knew that I wanted to be able to tell this story when the opportunity came up.

TH:  I subscribe to the notion that we stand on the shoulders of those who came before us.  There may be many reasons why a certain play or other work of art becomes famous and time-honored.  They often begin with the sheer effectiveness and relevance of the art.  By doing our best to honor the play, we honor not just Jean-Paul Sartre, the person behind its vision, but everyone else who has worked on or appreciated the play since he created it, because they all have also contributed to its impact.  We line up to humbly take our places in that procession.

MS:  Every interpretation of a script will be unique to the actor/cast/director putting it on, so the responsibility I feel is the same as any other production – to honestly portray my character and to collaborate with the cast and director to create a cohesive story that resonates with audiences.

CW:  Anytime you’re working on a play, especially one as revered as this one, you do feel a certain responsibility toward to source material and the character.  But I usually try to stay in the mindset of “this is my shot at this story and as far as I’m concerned it’s never been done before” and that keeps pressure off of me for my own sanity and also allows me to not have to compare myself to previous iterations.  But trust in the director and other actors goes a long way and makes it a lot easier to allow myself to still do my job while also not fretting too much over the reverence of the piece.

FSAJ:  What is hell to you?

AC:  For me, Hell is over stimulation without rest.  I love to work hard and go hard, but I also need to take time just for myself.  Without that, life can become Hell.

TH:  Difficult to pin down.  I’m a pretty patient person.

CW:  Being trapped in a room full of Swifties during Super Bowl 58

The Memory Of Provides a Moving and Unique Look at the Lives of Friends and Lovers in the Queer Community

Written with poignancy and wit by Rachel Schulte, The Memory Of opens a window into contemporary connections that are familiar and relatable, and at turns both heartbreakingly sad and wonderfully amusing. We are witness to several years in the lives of nine New York friends, from February 2017 to June 2019. The scenes in the present are accompanied by interludes (“memories”) into the past, each giving crucial context to the events now unfolding.

At the center is Renee (Nikki Lyn Neurohr), a painter who is suffering from severe trauma following the shocking death of her girlfriend Brianna (Ria Meer). The suicidal Renee is haunted by the “ghost” of Brianna, who appears regularly to verbally torment her, appearing to intentionally sabotage her recovery. Already suffering from horrific PTSD due to tragic childhood events, Renee is unable to move on, and her ability to create art is stifled. However, to the horror of her friends and protective sister Kyle (a powerful Julie Thaxter-Gourlay), Renee is not sure she wants to be helped—if it means letting go of Brianna and everything that once was. “I know why she stopped going to therapy,” Kyle announces. “She wants to see Brianna.”

Hunter Hopkins Dunn is Renee’s BF Charlie, a writer who has strong feelings for Renee but suffers mostly in silence, helplessly watching the torment of the person she loves but can’t be with. (Morgan, played by Julia Baker, is a friend who comes to know them both intimately, in a way that will lead to climactic consequences later.) Renee is in love with Charlie as well, but is frozen in place, unable to exorcize the spirit of Brianna. “You are living in your own fantasy world,” Charlie challenges Renee. “While the rest of us try to keep up and make sure you don’t kill yourself.”

Her friends desperately try to help her to find a way go on, but no one is exactly certain what that should look like. Should Renee stay in NY to heal with the guidance of her friends while pursuing a life with Charlie? Or should she go back to San Francisco with Kyle to truly start all over?

Heather Abrado is a presence as the grounded, wise Carmen, who observes events through beautifully sung brief musical interludes. Tricia Mancuso Parks is Hannah, owner of the bar that Morgan and many of the friends work or hang out at, who is hoping for a relationship with Kyle despite the latter’s flitting in and out of town. Michael Thibeault and Russ Cusick are Dan and Tyler, there for all the joy and sorrow of their friends, and dealing with their own life stories and unrequited longings. Events reach a peak at a tense dinner party, where each of the friends face their fears, their pasts, and their true feelings for each other. As events transpire one finds themselves not just rooting for Renee’s happiness and safety, but for everyone’s.

There are several twists and turns along the way, one of which shockingly changes everything we have been told and alters the dynamic for the rest of the play. The Memory Of has the unusual effect of starting as an apparent tragedy, then lightening things slowly, and finally re-inventing itself as an uplifting story of true love and connection. The actors inhabit Schulte’s characters so adeptly and genuinely that they truly become a “friend-family” that it is a joy to spend time with.

Trigger Warnings: Suicide, Grief, Mental Illness, Emotional Abuse

The Memory Of is directed with a flourish by Alysia Homminga, with deft lighting design by Lauren Lee. It is presented at the Wild Project as part of the 2024 Fresh Fruit Festival, in Association with The Lipstick Project, LawnChair Theatre Company, and All Out Arts.

Alice Camarota & Thoeger Hansen present the 80th Anniversary Production of Jean-Paul Sartre’s existential classic, NO EXIT at The NuBox of the John DeSotelle Studio, 754 Ninth Avenue, NYC, Reservations and further info: info@jaymichaelsarts.com.

Special Preview: Thursday May 30 @ 7:00 pm; Opening: Friday May 31 @ 7:00 pm; Saturday, June 1 @ 7:00 pm & Sunday, June 2, 3:00 pm; Friday June 7 & Saturday, June 8 @ 7:00 pm; Sunday June 9 @ 3:00 pm

Utilizing the Paul Bowles translation as well as elements from the original, director Alice Camarota transports usinto Sartre’s version of Hell: A mysterious impenetrable room where individuals are trapped and forced to see themselves through the eyes of others. While — customarily — this is a depiction of the afterlife, Camarota’s scheme eerily opens us to the macabre parable of society seen through the lens of the social media avatar-engorged mirror.

“L’enfer, c’est les autres” or “Hell is other people”

The cast features Connor Wilson (Evil Dead, the Musical; Damn Yankees) as Cradeau; Thoeger Hansen (E-Dreams) as Bellboy; Amie Margoles (Law & Order; House) as Inez; and Mandi Sagez (Cinderella 2020) as Estelle.

One of the last of the originalOff-Off Broadway Movement Theatres, — the American Theatre of Actors — recentlyunveiled its ARCHIVE commemoratingnearly 50 years of new works in New York. Posters, articles, and photos retouchedmy master photographer, Dan Lane Williams, are now on display with many more beinguploaded every day. A year and a half shy of a halfcentury, ATA is infusing new energy and ambition into a theatre and companythat has been an open door to thousands of artists in New York and around the world. The American Theatre of Actors wasfounded in 1976 by James Jennings, who continues as its President and ArtisticDirector. It is a repertory theatre company consisting of 50 actors, 15playwrights and 8 directors. Its purpose is to promote the development of newplaywrights, directors and actors and provide them a creative atmosphere inwhich to work without the pressures of commercial theatre. The plays are dramas and comediesdealing with the social and ethical problems of contemporary society. Over 965new works have been presented and more than 11,000 actors have worked atA.T.A., including Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, ChazzPalminteri, Kevin O’Connor, William Fichtner, Edie Falco and Kathryn Hahn. BOARD OF DIRECTORS:President: James Jennings; Vice President: Jane Culley;Secretary: Joseph Krawczyk; Treasurer: Jacqueline Pace MEMBERS, Board of Directors: Gil Ancowitz, Ted Baehr, Courtney Everette, JosephKrawczyk, Suzanne McGrath, Terrence Fergus, McMillan JohnsonHonorary Board: Robert De Niro,Barbara Bel Geddes, James McManus, Peter Masterson, Vincent Sardi, PaulSorvino, Joseph Stein, Madeline Thornton Sherwood, Andrew Stein James Jennings is the founder and Artistic Director of A.T.A. and has producedthe works of over 965 new Playwrights over the past 46 years.As a director hewon the T.O.R. award for Best Director for the Off-Broadway play “The HolyJunkie” by John Quinn. He also won the “Jean Dalrymple” Award for Best Directorof the play “Blood Money” starring Dan Lauria, and he directed Celeste Holm onBroadway in “Salute to Clinton.” In addition he directed Harvey Keitel in “TheFuneral” at the Actors Studio and his own play, “My Fathers House”, wasproduced Off-Broadway starring Henderson Forsythe and was highly acclaimed. Hehas directed the full Shakespeare canon including Edward the Third. He isa member of the Actors Studio Director/Playwright Unit and worked with EliaKazan, Lee Strasberg & Harold Clurman visit the archive