4 $tages By Anthony J. Piccione
Planet Connections Theatre
The Clemente, The Flamboyán
107 Suffolk St, New York, NY 10002
Review by Alexa Garcia

Anthony J. Piccione adeptly reveals how society looks today – and you ain’t gonna like it!

Society that is; the play was marvelous.

A tale of greed, corruption, and revolution done with abstract movement that uncovers some of the biggest issues facing American society in this century. In its brief time on stage, this one-act play explores the issues plaguing America and our political and economic systems – from wealth inequality to runaway imperialism. This play reveals all and, through 4 stages, you’ll see how America got to where it is today as well as the possibility of what could come next.

4 $tages is running as a double bill with Arabella but this production is benefiting Our Revolution. Our Revolution is a nonprofit organization that is dedicated to electing candidates who are fully committed to promoting social equality, and economic justice.  4 $tages is written by Anthony J. Piccione and directed by Jami Chokachi. Ensemble-driven pieces seen to take a front seat at this year’s Planet Connections Fest and 4 $tages is a shining example of it done well. The superior cast included Shana Danielle Casey, Mikaeli Cruz, Silvia Dionicio, Elena Du Pisanie, Monica Howe, Jessica Lee, Finty McBain, Rita McCann, Niamh Ryan, Victor Steel, and Shane Zimmerman.

The cast did an amazing job with visualization of expression, dance/movement, and projection. Piccione – like the sparse dialogue in The Handmaid’s Tale – gave us so much to think about with just a few words and he and Chokachi molded foreboding scenarios beautifully. The unapologetic message of the production was to inform the audience of all the corruption, greed and ugliness society tries to hide and ignore. Personally, I was enthralled with their inference of change – or there will be a revolution coming.

Piccione is a surely prophetic playwright.

Twelfth Night Review

Free Shakespeare in the Park at the Delacorte Theater

By Robert Viagas

The Public Theatre’s free Shakespeare in Central Park series delivers a joyous, fun-and-games musical adaption of Twelfth Night with a cast of dozens, representing multiple ages, ethnicities and genders.

Shakespeare’s story of romance, cross-dressing, and mistaken identities on the shore of Illyria has been stripped down to a 90-minute intermissionless playdate that includes only the most famous speeches and scenes from the Bard’s original, intercut with swirling color and heartfelt melody.

Those melodies (and lyrics) are supplied by Shaina Taub, who serves sextuple duty, also playing the piano and accordion, co-conducting the orchestra, and still finding time to perform the role of Feste the jester.

Andrew Kober steals the show as the fussy, bossy servant Malvolio. His song “Count Malvolio” captures his flight of ego-driven fantasy. The idea of imprisoning him in a port-a-potty instead of a cell provides the production with a funny visual.

Nikki M. James brings a sweetness that ripens into toughness as Viola/Cesario. She sings the soul-flavored ballad “Is This Not Love?” as a duet with Ato Blankton-Wood as Orsino.

“You’re the Worst,” a comedy number for Sir Toby Belch (Shuler Hensley), Maria (Lori Brown-Noang) and Sir Andrew (Daniel Hall), is full of funny twists and turns.

Staged by Public Theatre Artistic Director Oskar Eustis, the production packs the Delacorte Theater stage with as diverse a cast as ever seen there, including mobs of children, a Malvolio who winds up in a couple with Antonio, and the whole production signed for the deaf throughout by the cast members themselves.

In keeping with the production’s playful concept, the audience invited on stage before the show starts, to skip rope, work a giant checkerboard, play instruments with the cast, etc.

Twelfth Night is scheduled to run through August 19 at the outdoor Delacorte Theater in Central Park.

CAST ANNOUNCEMENT: 
PLAYWRIGHTS FOR A CAUSE 
TO BENEFIT FOR THE ALI FORNEY CENTER:

“my sexuality is __________”

PLANET CONNECTIONS’ 2018 PLAYWRIGHTS FOR A CAUSE EVENT.

This year, Planet Connections’ signature event, designed to address a powerful social and topical issue facing our society today through engaging stage works, will explore the distinctions between gender and sexuality. The event will benefit THE ALI FORNEY CENTER, whose mission is to protect LGBTQ youths from the dangers of homelessness and empower them with the tools needed to live independently.

The event will be the evening of August 27 at 7:00 p.m. at the Theater at the 14th Street Y, 344 E 14th St, New York City.

“We decided to put the event at the Theatre at the 14th Street Y as their mission is one of social awareness and change and is Inspired by the immense diversity the East Village has to offer,” said Glory Kadigan, founder and artistic director of Playwrights for a Cause. “In this way, the venue and the subject matter meld into a collaboration of art and education,” concluded Shaun Peknic, Planet Connections’ producing artistic director.

World Premieres by Lucy Boyle, Migdalia Cruz, Gabrielle Fox, Catherine Filloux,
Regina Taylor, and Lucy Thurber will be presented that evening.

Performers include Tony nominee, Elizabeth A. Davis; Drama Desk Nominee and Obie Winner, Eddie Korbich; along with Broadway notables, Maria-Christina Oliveras and Donna Vivino.  Other renowned artists appearing that night include David Anzuelo, Kim Blanck, Lucy DeVito, John DiMino, John Fico, McKenzie Frye, Esco Jouléy, James B. Kennedy, Bethlehem Million, Susannah Perkins, Bradley James Tejeda, Christina Toth and Kita Updike.

The event will be emceed by Planet Connections artists Laura Sisskin-Fernandez and Mateo Moreno. Tickets are now on sale at https://web.ovationtix.com/trs/pe.c/10308796

ACCEPTING APPLAUSE by Catherine Filloux
Directed by Susan Tenney

featuring

ANNA: Kim Blanck
RUDOLPH: John Fico
KENYON NOBLE: John DiMino

——————————————————————-

ANY OTHER NAME by Regina Taylor
Director – Shira-Lee Shalit

featuring

SERENA: Christina Toth
CYNTHIA: McKenzie Frye
ONE: Bethlehem Million

——————————————————————-

BANK by Lucy Thurber

featuring

DENISE: Lucy DeVito
CHARLIE: David Anzuelo

GENDER FLUIDS AND OTHER DANGEROUS LIQUIDS by Migdalia Cruz

featuring

TAR: Esco Jouléy
CADI: Kita Updike
BLISS: Maria-Christina Oliveras

Both directed by Glory Kadigan

——————————————————————-

HOOTERS by Gabrielle Fox
Directed by Antonio Miniño

featuring

BECCA: Donna Vivino
SAMMY: James B Kennedy

——————————————————————-

MANUEL OR THE SOLDIER THAT WASN’T by Lucy Boyle
Directed by Shaun Peknic

featuring

ANNE/MANUEL: Elizabeth A. Davis
KINGSLEY: Eddie Korbich
LYDIA WATTS: Susannah Perkins
JAMES KNOX: Bradley James Tejeda

——————————————————————-

Understudies for all plays include Planet Connections Award winners Ramiro Batista, Carlotta Brenton, Mle Chester, Molly Collier, Isra Elsalihie, Michael Gnat, Gina LeMoine, Vinny Eden Ortega and Sarah Grace Sanders.

—————————— —————————— ——-

THE ACTING COMPANY

DAVID ANZUELO (Charlie, Bank) – Theater acting credits: Fish Men (Intar); The Surgeon & Her Daughters (Cherry Lane Mentor Project);12 Angry Men (Northern Stage); The Motherf#cker With the Hat (Kitchen Theater); Oedipus El Rey (Woolly Mammoth). Film: A Walk Among the Tombstones; Remember Me; Prime. TV: The Americans; Elementary; Blue Bloods; White Collar; Mercy; Deadbeat. 

KIM BLANCK (Anna, Accepting Applause) – NYC credits include this summer’s Shakespeare in the Park production of TWELFTH NIGHT and FOLK WANDERING with Pipeline Theatre Company. Regional fare includes La Jolla Playhouse and Tantrum Theater; usual suspect at The Back Room Shakespeare Project and co-creator of “Basic Witch” (JASH/Amazon Prime). MFA, UC San Diego.

ELIZABETH A. DAVIS (Anne/Manuel, Manuel Or The Soldier Who Wasn’t)  – Elizabeth is a Tony Award & Drama Desk Award Nominee, & a NYMF & Innovative Theatre Award winner. BFA, MFA in Theatre Performance. Visit www.elizabethadavis.com for extensive theatre, tv, film & writing credits. www.RevealUnseen.com / www.IndianJoeMusical.com

LUCY DEVITO (Denise, Bank) Theatre: Bump, Hot Mess, How My Grandparents Fell in Love, Love, Loss & What I Wore, The Shoemaker, In Quietness, Lucy, Steel Magnolias (BCP), Bureau of Missing Persons, The Electric Baby (Two River), Any Given Monday (DTC), Miracle at Naples (Huntington), The Diary of Anne Frank.Film: The Comedian, Dumbo, Curmudgeons, Sleepwalk With Me, Leaves of Grass. TV: “Deadbeat”, “Girls”, “Alpha House”, “Melissa & Joey”.

JOHN DIMINO (Kenyon Noble, Accepting Applause) received his BFA in Drama from NYU Tisch and has been performing in NYC since. He was in last year’s festivities in Alex Riad’s The Floor is Lava and can be seen in November at Theater for the New City in Frank J. Avella’s daring, dangerous and beyond relevant play; Lured. www.johndimino.net

JOHN FICO (Rudolph, Accepting Applause) Planet Connections: Monica Bauer’s MADE FOR EACH OTHER and ANNE FRANK IN THE GAZA STRIP (Outstanding Featured Actor – Comedy).  Also AS I LAY DYING (Live Source) A.R. Gurney’s SCREEN PLAY (Flea Theater), IRON CURTAIN (Prospect Theatre), THE MOST RIDICULOUS THING YOU EVER HOID ( NYMF – Outstanding Ensemble). TV/Web: THE BLACKLIST, I LOVE YOU BUT I LIED, THE OUTS.

MCKENZIE FRYE (Cynthia, Any Other Name)  is a multi-disciplined artist & songwriter from Detroit, MI and a Howard University alum. Off Broadway/ Regional Credits include: Syncing Ink, Wig Out!, Damn Yankees! River Deep and Harriet’s Return. Film and TV credits include: wishing…, The Stronger and Law & Order. Workshops include: The Lady Killer’s Love Story, Girl Shakes Loose and Pussy Valley.

ESCO JOULÉY (Tar, Gender Fluids and Other Dangerous Liquids) is an actor, singer, dancer and movement artist originally from Washington DC. NYC Credits: Interstate (Carly), Runaways (Esco), Soft Butter (Soft Butter/ Cold Butter), Galatea (Chorus), The Demise (Magic Theater Player), Beowolf (Warrior), Marisol (Angel), Girl Shakes Loose (Luc), Room For Cream (Sidney). Regional Credits: Man of LaMancha (Sancho Panza), Unnecessary Farce (Bille Dwyer), The Three Musketeers (Porthos), The Marvelous Wonderrettes (Betty Jean), Legally Blonde (Pilar), Anything Goes (Purity). escojouley.com

JAMES B KENNEDY (Sammy, Hooters)  is a Brooklyn based actor. Recent theatre credits; “The Hunting Season”(Teatro Latea, Planet Connections), “All is Bright”(I.R.T., NYC), “Clover” (LaMama, NYC), & “Sousepaw : A Baseball Story” (NYC, MN, INDY, SF Fringe Festivals). Recent film credits; THE Z LIST (web series), MY DINNER WITH SCHWARTZEY (short), SEEKING SUBLET (web series), JACK AND DODGE (web series). Outstanding Actor Award from Planet Connections on their inaugural season.

EDDIE KORBICH (Kingsley, Manuel Or The Soldier Who Wasn’t) Broadway: A Gentleman’s Guide to Love and Murder, A Christmas Story (Santa), The Little Mermaid (Scuttle), The Drowsy Chaperone (George-Drama Desk nomination), Wicked, Seussical, Carousel (Mr. Snow-LCT) and Sweeney Todd (Tobias-Circle In The Square). Off-Broadway: Assassins, Godspell, A Little Night Music, and Taking a Chance on Love (Obie Award). Film/TV: “Blue Bloods”, “Elementary”, “Law & Order”, “The Deuce”, “Doug” and “Quiz Show.”

BETHLEHEM MILLION (ONE, Any Other Name) Of Ethiopian descent and growing up in Switzerland her recent projects have been “Onward: a concert to benefit good chance theatre”, Celebration! and the NYU Reality Show.

MARIA-CHRISTINA OLIVERAS (Bliss, Gender Fluids and Other Dangerous Liquids)  Broadway: Amelie (cast album); Machinal; Bloody Bloody Andrew Jackson. World Premieres: Soft Power (CTG/Ahmanson); Here Lies Love (The Public; cast album); Pretty Filthy (The Civilians; cast album); Taylor Mac’s 24 Decade…(St. Ann’s Warehouse); And Miles to Go (PCP); Reading Under the Influence (DR2); The Really Big Once (Target Margin); After (PCP). Other Off-Broadway: Bloody Bloody Andrew Jackson (Public); Romeo and Juliet (NYSF/Public); Zorba! (Encores); Night Sky (BPAC). Regional: Yale Rep, Berkeley Rep, Williamstown, Long Wharf, Huntington, Baltimore Centerstage, Sundance, O’Neill, among others. Selected Film/TV: Manhattan Night, St. Vincent, “The Blacklist,” “Nurse Jackie”, “Law & Order:SVU”

SUSANNAH PERKINS (Lydia Watts, Manuel Or The Soldier That Wasn’t) Off-Broadway: The Low Road (The Public), The Wolves (Lincoln Center/Playwrights Realm), The Rape Of The Sabine Women… (Playwrights Realm). Other New York: Sisters On The Ground (PHTS/Clubbed Thumb), Every Angel Is Brutal (Clubbed Thumb). Regional: Night Of The Iguana (ART), The Wolves (NYSAF). TV: Marvelous Mrs. Maisel. BFA: NYU Tisch. Obie and Drama Desk awards.

BRADLEY JAMES TEJEDA (James Knox, Manuel Or The Soldier That Wasn’t) Recent graduate of the Yale School of Drama in 2016, recent projects include: Two River Theatre’s Productions, El Coquí Espectacular and the Bottle of Doom, The Bridge of San Luis Rey, Nebraska Repertory Theatre’s The Lord of the Flies, and The Light Fantastic Mobile Theatre Co.’s A View From The Bridge. Born and raised in south San Antonio, TX, he works on playing guitar and writing poetry and plays.

CHRISTINA TOTH (Serena, Any Other Name) is a graduate of the Neighborhood Playhouse School of the Theatre. Her latest credits include Netflix’s Orange Is The New Black Season 6 (Recurring: Annalisa), LAZARUS (New York Theatre Workshop) directed by Ivo van Hove and The Woolgatherer (LaTea Theatre) directed by Chazz Palminteri, for the which she won Best Actress at the Planet Connections Festivity Awards.  www.christinatoth.com

KITA UPDIKE (Cadi, Gender Fluids and Other Dangerous Liquids) Recent Theater Credits: Reckoning… (Public Theater, dir. Billy Porter), Click (Westport), The Village (Workshop) Film/TV: The Misandrists, Difficult People (Hulu).  Instagram @chippewajane

DONNA VIVINO (Becca, Hooters)  – Broadway: “Wicked” (Elphaba), “Les Miserables”, “Hairspray”, “Fame Becomes Me”, “Saturday Night Fever”. TV/Film: “Submissions Only”, “Sopranos”, “All My Children”. Most recent: “Finks” (Theatreworks Silicon Valley),  “Merrily We Roll Along” (Best Actress Los Angeles Ovation Nomination). Twitter/Instagram @donnavivino

Staff of PLAYWRIGHTS FOR A CAUSE

Founder & Producer: Glory Kadigan
Associate Producer: Shaun Peknic
Managing Director: Jenna Lazar
Assistant Managing: Director Ashley Nickas
Associate Artistic Director: Vinny Eden Ortega
Green/Charities Director: Akia Squitieri
Marketing Director: Ariel Estrada
Special Events Director: Ariel Francoeur
Technical Director: Mary Greene
Director of Public Relations: Jay Michaels
Lighting Designer: Benjamin Ehrenreich
Sound Designer: Jacob Subotnick
Costume Designer: Ariel Pellman
Casting Director: Robin Carus
Production Stage Manager: Katheryn Meister

2018 marks Planet Connections’ 10th year
and Playwrights for a Cause’s sixth year.

Shinka By Ren Gyo Soh
Planet Connections Theatre
The Clemente, The Flamboyán
107 Suffolk St, New York, NY 10002

Review by Alexa Garcia

The body can tell a story with as much vigor as the finest prose. Shinka explores the mystery of living beings. We are all human beings living in a society that has developed rapidly. Fear of death, hope for life. We live in an ecosystem evolving every moment together. Yet we struggle, create, and destroy. Using Butoh Dance and Physical Theatre, we are offered a chance to witness the exploration of life itself physically, mentally, emotionally, and spiritually through Shinka.

Ren Gyo Soh’s Shinka has been developed under the Ume Group’s support since 2013. Shinka is both directed and choreographed by Yoshiko Usami assisted by Rui Dun. The inspired costuming was created by Deepsikha Chatterjee, and the alluring sound design by Ren Gyo Soh (creator). Bob Lyness, proeuced. Perfectly staged and mesmurizing charactersisation by dancers,  Miles Butler, Zak Ma (performer-understudy), Annie McCoy, Jennifer Marinelli, Dustin Maxwell, Efren Sanchez, and Yoshiko Usami hyponitzied the appreicatiuve crowd. This production benefits World Wildlife Foundation.

Shinka was unique and strange … and honest. This format gave us a purity that would not have been there with dialogue at the helm. I came away thinking we’re in a race … the human race … and we might not win.

Raft of the Medusa By Joe Pintauro
Planet Connections Theatre
The Clemente, The Flamboyán
107 Suffolk St, New York, NY 10002
Review by Alexa Garcia

An explosive AIDS support group session, where the members of the group discover the diseases they share can divide as effectively as it conquers. Each member differs from one another: homosexuals, heterosexuals, and bisexuals, conservatives and liberals, black, white and Hispanic, rich and poor. Together they discuss, discover and hope for what is happening in the present and future.

Raft of the Medusa sports powerful direction by Francisco Solorzano (PCTF director of a staged reading, 2017), assisted by Bianca Puorto. The electrically charged ensemble included Gil Ron (Jerry Rizzo); Jeremy Brena (Michael McDermott); Perri Yaniv (Donald Miller); Delissa Reynolds (Nairobi); Charles Everett (Doug Forester); Christopher Whalen (Larry Smith); Zac Porter (Tommy Carson); Czarina Mada (Cora Dobbs); Bobby Daniel Rodriguez (Alan Hernandez); Francisco Solorzano (Jimmy Horando); Michael Billingsley (Bob Garfield); Robert Montana (Alec Quinn); Raiane Cantisano (Felicia Fuentes); and Anthony Michael Irizarry (Alan Hernandez (U/S).

Dramatic and deeply, deeply moving; alarming, depressing, inspiring, painful, witty and the list goes on to describe this play – both as a play and as a production. The intensity and commitment was such that the play seemed to end and reality began. I felt like I was sitting in on a group session and not a theatre. Even after decades in the public consciousness, Pintauro’s words enlighten and create a renewed sense of empathy regarding this awful disease.

A successful piece makes you root for the characters. Here, we pray for their survival.

Raft of the Medusa is dedicated to the memory of longtime collaborator and Barefoot Theatre Company Advisory Board member (and playwright), Joe Pintauro.

A Hand Across the Bridge 
By Jonathan G. Galvez
Planet Connections Theatre
The Clemente, The Latea
107 Suffolk St, New York, NY 10002
Review by Alexa Garcia

Every young teen dreams of college. The stereotype implies all you do is party all the time and get drunk. But playwright Jonathan G. Galvez shows us, apologetically, that it’s not so easy! Ten years after their kick-off into the real world, six former friends are brought back together to reflect on their last year at Sycamore University. Not paying attention to lots of things back then, these friends discover the truth about that one night, that one choice, and how it affected them all.

A Hand Across the bridge is a story about what some don’t realize happens in college. Written by Jonathan G Galvez and directed by Kristen Keim, supporting the Cohen Esophageal Cancer Initiative, and dealing with issues such as rape and sexual assault, A Hand Across The Bridge is a production that must be seen by many. The cast was able to tell the story and perform well without revealing the shocking twist. Alex Andrews (Carrie), Alanna Dachille (Karla), James Johnston (Ross), Devonte McCray (Kurt), Kat Moreno (Dina), Josh Bartosch (Bradley), Lauren Gunn (Kimberely), Kate Elaine Jones (Catherine), Jordan Merimee (Mark), Canning Robb (Stacey), Cassandra Borgella (Mary), Alice Hale (Maggie), and Sam Lopresti (David) were exemplary in performance and in relating the play’s message.

I’m excited to hear that A Hand Across The Bridge is a part of Jonathan G Galvez’s Bridge Series meaning if anyone who has seen this production is curious about what happens to some these characters then see what happens this fall in Skylar. I would certainly love to see what happens. While watching this play i was absorbed in it, and appropriately surprised by the ending. This production breached a topic not oft-discussed. The aim, to me, of this production was to inform and persuade others about what may happen in college and to not stay silent about it. People choose to ignore whatever happens in college thinking it’ll all be over and forgotten soon enough. However that’s not true because the past will always haunt you unless its properly dealt with. Which is why silence is not an option it shouldn’t be.

I had the opportunity to see “This Stretch of Montpelier” by Kelley Nicole Girod on Tuesday July 24th at the Flamboyan Theater as part of the Planet Connections Theater Festivity.  This slice of life piece told the story of three pairs of characters, all taking place along a quiet stretch of Louisiana backroad on a hot summer day.    The themes of racism, progression, and identity are strongly shown throughout the piece which was staged and executed masterfully.

The show starts off with a visit of Felonius (Donovan Christie Jr.) to Miss Janice (Geany Masai) on a hot day in Montpelier Louisiana.  Janice was an absolute firecracker performance.  What started off slow was absolutely electrifying by the time the first scene ended.  I cannot commend the performances of Christie and Masai enough.  Felonius’ manic energy underscoring the deep conflict inside him exposed the feelings I see in myself from time to time: a false cheer covering for deep flaws.  Janice was quick to provide a good old fashioned dressing down to the Doctor of Words, which pushes him to grow as a person.

The second pair was an interesting dichotomy: a childless widow, and a soon-to-be widow.  Ruby (Carole Monferdini) was distracted, and ranting about how things had changed, ignoring her friend in a deep depression.  She pined for the days when white supremacy was the norm, and it was a jarring experience for those of us living in a significantly more progressive space.  It underscored handily how no matter how far we come, there’s always going to be people who do not feel the way we do.  My only real criticism of this scene was the inclusion of [old woman] saying a racial slur.  While I understood its purpose, I felt it was distracting almost.  Shock for shock’s sake.

The scene between  Frances (Alisha Spielmann) and Bonnie (Lamar K. Cheston), had little impact on the plot, and left me questioning its place in the piece.  They felt like an outside interaction compared to the rest of the show.

The themes here were deeper and more subtle than most I’d come across.  Serenity and surety vs chaos, judgment vs pragmatism, professional envy.  There were quite a few currents to keep track of, and I felt they were extremely realistic.

The final portions of the show had all of the characters interacting.  The dialogue was well performed and interesting but it didn’t leave much of an impression.  I’m not sure if the conversation between Felonius and Ruby was genuine or not, but the interaction wasn’t enough to change the characters opinion’s she ranted about for an entire scene in my eyes.  It left me questioning a lot of the interactions I’d seen behind closed doors, and I suspect that might have been the point: outward civility hiding an undercurrent of prejudice.

I would recommend this show to anyone who enjoys slice-of-life shows, or shows which can leave you conflicted.

THE BRUTES

Written By: Casey Wimpee

Planet Connections Festivity

Theaters at the Clemente

107 Suffolk Street

NYC

Review by Amanda Kavaja

This the story about the Booth family both in and out of the theater, was really compelling and powerful and captured its audience – adept in the bard or not. Casey Wimpee’s juxtaposition of the time periods of the death of two leaders was clever and – even today – quite uniquely done. We, the audience were taken into a very tense time in the mid 1800’s and then to the very night before John Wilkes Booth killed Abraham Lincoln. We sit and watch this volatile family having a deep political argument throughout Thanksgiving dinner causing the Booth of history to take matters into his own hands and ending it all.

Sara Fellini did an excellent job of portraying Mrs. Asia Booth Clarke, I found her to be remarkably believable. Her character was more of a rebel and Fellini’s liberal use of flirtatiousness made for welcome laughs. Her fine direction was also apparent all through the piece as well.  She lifted the piece with artistry and intrigue.  Samuel Adams was alluring as Seymour. Odd word to describe a man but he looked the part of the ladies’ man drenched in need-to-succeed. Adams played the sarcasm and self-assurance easily. Adam Belvo, as Edwin Booth gave us a great portrayal of a troubled man. We watch him go through his recurring visions of his father making him almost a puppet. His father, Junius Brutus Booth, Sr., played with aplomb by Mick O’Brien, played the alcoholic abuser to the hilt. John Hardin as Booth used his beautiful voice creating his vexation towards the world and towards his family.  Peter Oliver stood out as a narrator and did W. Hanley was the comedic relief in this show.

These actors were amazing, professional and very powerful.  I loved this show and would gratefully see it again.  Directing, Costumes, lighting and especially acting as well as a true look at the mind of not only an actor but a murderer all add up to an interesting and intriguing time well spent in the theater.

Meshelle: Diary of a MILF

Joe’s Pub at The Public Theater

Reviewed by Robert Viagas

Comedian Meshelle brought her latest solo show, Meshelle: Diary of a MILF (“Mom I’d Love to FOLLOW”) to Joe’s Pub at the Public Theatre July 26, and showed why she belongs in a theatre and not just in a comedy club.

Billing herself as “The Indie-Mom of Comedy,” Meshelle (pronounced MEE-shell, original name Meshelle Foreman Shields), put her personal spin on some familiar material about being a mother (she affectionately refers to her husband and three children “terrorists,” “a mixed bag of nuts,” and “dreamkillers”), but she took her work to a higher level with her skills as a master impressionist—not of Hollywood celebrities, but of eccentric family members, grossly entitled helicopter parents she meets at her kids’ private school (and their kids, “Piper and Pepper”), and those that the African-American comedian delicately terms “melanin-free people.” The impersonations were so vivid, it seemed at times that the stage was filled with these alter-egos.

A veteran of Nickelodeon’s Search for the Funniest Mom in America 3 and the stage play Woman Thou Art Loosed, Meshelle, spun her everyday suburban life into comic gold. “When did I have to start leasing a minivan?” she observed as she mourned about her loss of status as a “Cutie on duty,” and came to the startling realization, as she looked around her home, that “everybody in the house has been inside my body.”

For a show being presented in July, she included lot of humor about Kwanzaa and Christmas, perhaps because this one-night show was part of a national tour that is scheduled to take her to the United Solo Theatre Festival this fall, with more stops beyond.

The landmark American Theatre of Actors, one of the last bastions of the famed off-off Broadway movement, which began in the 60s and reached a zenith of sorts in the 80s, is still presenting the best of the brightest and the freshest of the first. This summer the ATA will host a classics series which included Ilia Volok’s wildfire production of Diary of Madman. The ATA part unveils new renderings of Chekhov and Strindberg.

The ATA Classic Summer Series
ONE-ACTS: CHEKHOV/STRINDBERG
THE BOOR by Anton Chekhov
directed by Jessica Jennings features Monica Blaze-Leavitt,* Michael Bordwell, Stephen Goodin.
THE STRONGER by August Strindberg directed by Monica Blaze/Leavit features Jessica Jennings,* Siw Myrvold.
THE PROPOSAL by Anton Chekhov
directed by Jane Culley features Michael Bordwell, Stephen Goodin, Francesca Shipsey.

July 19 @ 8:00 pm; July 20 @ 8:00 pm; July 22 @ 3:00 pm
July 25 @ 8pm pm; July 28 @ 2:00 pm; Aug 4 @ 2:00 pm
Tickets $20 – sold at the door/ Tix also on sale at smarttix.com

THE CHERRY ORCHARD
Dalrymple award-winning director, Jessica Jennings, sets this seminal work of Anton Chekhov in the USA, 1965. Features Monica Blaze Leavitt,* Johnny Blaze Leavitt, Elizabeth Chappell, Alexander Chilton, Jane Culley,* Joy Foster, Cait Kiley Eli Douglas LaCroix, Joyce Lao, Shayna Lawson, and Susan Ly.

July 28 @ 8:00 pm; July 29 @ 3:00 pm; Aug 1,2,3,4 @ 8:00 pm; Aug 5 @ 3:00 pm
Tickets $30 – sold at the door also on sale at smarttix.com

The Festival will be performed at the American Theatre of Actors
314 W 54th St, New York City 10019

While the senior James Jennings first opened the doors, his daughter, Jessica Jennings, is rapidly gaining notoriety throughout the indie theater community. She is an integral part of the legendary ATA and a founder and board member of Ripple Effect Artists, who change the world with art.

Tell us About Yourself as an Artist?

I consider myself collaborative. I also come form an extensive dance background and work toward body language to match the emotional landscape of characters and the stories being told.  As Martha Graham said: “the body never lies.”  I am picky in this way – it really bugs me to see an actor too formal when it’s inappropriate, or too casual when they are playing formal characters.  There’s always exceptions and that’s fun to find.  I do my best to teach these small nuances and challenge actors: does this character look people in the eye? Do they eat space or shy away?

With ATA founder, James Jennings

I gather theater was always in your blood. What’s it like growing up in the theater … literally?

Yes – I am born to a theatre family and they put me in Macbeth when I was just 3 weeks old.  It sounds horrific!  But to me it’s all normal. We grew up staying up late; learned to sit still in the theatre.  As soon as we could read we were reading Shakespeare,  helping our mother learn lines, seeing our father bring his plays to the stage – cringing when it was a nod to our own family problems.  I still remember how easy it is as a child – I could remember anyone’s lines and blocking.  That fades as we grow up.

What is your personal mission as an actress and a director? 

For me, it’s the same answer for acting and directing.  I want to play and create something really provoking.  I never want an audience to get bored.  I want them to be compelled, to feel, to think.  They should feel an array of things, lean forward and want to get more invested in what’s happening on stage.   If that happens then I feel successful.  

Tell us something about this festival … something we won’t see in the press kit? 

Haha! American Theatre of Actors asked to direct Merry Wives of Windsor and I just couldn’t get into it. So I took a few weeks to read and find a classic that I could sink my teeth into.  The first piece I fell for was The Boor by Chekhov. That lead down a road toward presenting all of these One-Act Classics in a festival while giving mean extra 10 days to rehearse a full length.   I hosted around and found a rare play of Chekhov’s.  That’s where my heart is – but it’s going to take a lot more planing. The Cherry Orchard was sort of my fall-back plan – that’s hysterical right? – It’s considered a masterpiece.  

with Jana Robbins at an event for Ripple Effect

Tell us about Ripple Effect? 

Ripple Effect Artists is a production organization that I’ve raised up with Jessie Fahay.   We focus on social justice theatre: presenting masterful plays that align with a major issue facing our world.  I am really proud of the work we’ve done over the past 8 years.  We’ve worked with a dozen organizations form The Trevor Project to GEMS to the League of Women Voters.  We present plays and give a platform for activists and advocates to educate the audience on real-world issues that are presented in the plays. Right now we have Chuck Gorden’s Guarding The Bridge up at The Triad Theatre (158 W. 72nd St.).  It’s a short play that looks at generational racism. We’ve paired it with a powerhouse spoken word artist who presents immediately after – Dawn Speaks.  The last performance will be July 30th at 7pm.  For more info go to rippleeffectartists.com/productions and you can read about it, sign a petition to better moderate police violence, and learn more – or text the word RIPPLE to 77948.  Next season we are leveraging theatre to address climate change issues.

How important is legacy to you? 

This question feels like the elephant in the room!  For me, the most important piece of my family legacy is laying our own path and following our dreams, in the face of all odds.  I work for myself, so do my parents, so does my husband.  Expressing myself as an artist is a huge and important part of my life.   The director in me loves the legacy of creating opportunities for other people.  The parent in me – and it’s important to mention I have a 5 year old son – is not fond of the year-round grind.  Late nights are tough on a family, so I try to find balance.  I’ll rehearse daytimes and make sure I’m available to read my son to sleep.  I’ll take on maybe 3 or 4 big projects annually. That means the late night performances are periodic, but not a life-style.

What’s next?

Technically there’s a lot potential projects but no dates in my calendar – I’m available for hire!    I’m flattered to be in a few conversations about directing and choreographing.  I’m exploring a new musical with Mark Barkin.  I still want to direct that Chekhov play that’s rare (but I’m not going to mention the title right now).  Ripple Effect Artists will present a play on climate change in the Spring of 2019.