The Stronger and Playing with Fire Perfectly Complement Each Other at the ATA

August Strindberg was a true renaissance man of late 19^th Century Sweden—a prolific playwright, painter, novelist and poet. His plays are lauded examples of both naturalism and surrealism; he was quoted as saying, “I want to turn everything upside down to see what lies beneath.” The 10-minute monologue The Stronger and the farcical Playing with Fire are a fine sampling of his work and his worldview.

The semi-autobiographical The Stronger, written in 1889,features one actor in a brief but powerfully intense scene. Jennifer Patino triumphs in a solo performance as actress Madam X. There is another character, Amelia, AKA Mademoiselle Y. She is also an actress, and a rival to Mme X both on the stage and behind the scenes. Amelia has no dialogue, and though often portrayed by a second actor in productions of the piece, is here represented only by an empty chair.

Mme X, brandishing a basket of gifts for her “little piggies” (her children Liza and Henry), runs into Amelia, who is seated alone at an empty café.

“Good evening, sitting here on Christmas Eve like a poor old maid!” chides Mme X. “It worries me to see you this way,” she tut-tuts with fake sincerity and genuine condescension. She admonishes Amelia for giving up on her marriage, and threateningly waves around the pop gun she bought Henry. She then launches into a diatribe that escalates quickly, the main topic being Mme X’s own husband Bob, whom we learn Amelia is all-too “familiar” with. “You ought to have such a husband,” she says, twisting the knife and foreshadowing a revelation. Patino is riveting as she raises the temperature slowly and believably through her deft physicality and expert performance of the difficult monologue. In just over ten minutes she tears down her unseen rival who—in the audience’s imagining—heartbreakingly takes it all in, in stunned, defeated silence. “Thank you for teaching my husband how to be a good lover,” is a finishing blow far more deadly than any gunshot.

Playing with Fire is an unusually comedic turn from Strindberg, crafted in 1893, and also drawn from his own life experiences. Max Branciforte is Knut, a painter, and husband to the regal Kerstin (Annie Unger). The couple are entertaining visitors at the summer home owned by Knut’s parents (Amy Losi and Edmund McCarthy). The guests are young demure cousin Adele (Carolyn Best) and mutual friend Axel (Jessie Allen Hitner)—a jacket-, tie- and white tennis shoe-wearing writer who arrived in the middle of the night. The morning of the get-together begins cordially, but tensions rise when the true relationships among the characters—and what they truly think of each other—are slowly brought to the surface. Knut insists profusely that he is not jealous of the charismatic Axel; Adele is constantly cleaning, to the ire of Kerstin. “It’s her way of criticizing me and showing me up!” she observes. Knut is living off his parents’ allowance, while ungratefully dismissing them as “Philistines”. “You haven’t worked a day in your life,” fires back his mother. “And your father wasn’t a Philistine when he built this house for a scoundrel like you!” And circumstances (delightfully) escalate from there. It’s revealed that Knut is having an affair with Adele, who Knut’s father would love to make his own mistress. Adele is enamored with Axel—but confirming Knut’s suspicions, the charming writer is revealed to also be the true object of Kerstin’s desire. The reveal of the latter’s limerence sparks an unexpected response from Knut; he finds the competition is actually reigniting his dormant interest in his own marriage. Thus enfolds a hilarious, quotable tale of impropriety among the upper-class. Playing with Fire is the perfect main course after the appetizer of The Stronger; a love triangle storyteeming with sparkling discourse, it is presented with relish by a cast that is clearly enjoying the witty dialogue and delicious material.

The Stronger and Playing with Fire are stylishly directed by Sean Szak Prasso. There will be an encore performance at the American Theatre of Actors on March 2^nd, 2025.

Article by Anya Kai

Joshua Crone and Thoeger Hansen are a dynamic force in the world of theatre, bringing a unique blend of playwrighting, directing, producing, and acting to their projects. Their latest collaboration, “A House Divided,” explores the complexities of family dynamics amidst the backdrop of a politically and socially fractured America.

Joshua Crone: From Playwright to Theatre Builder

Joshua Crone’s journey in theatre began with a decisive choice at the age of 20: to be a playwright. However, Crone wasn’t content with simply submitting scripts and waiting for opportunities. He took control of his artistic destiny, learning to direct, produce, build sets and venues, and even make movies. This DIY spirit led him to establish Yellow Bicycle Theater, a black box space in Philadelphia. Named after the bicycle he used to park outside his apartment to make room for rehearsals and film shoots, Yellow Bicycle has become a hub for innovative theatre. Crone’s vision extends beyond Philadelphia, aiming to connect with the New York theatre scene, bringing shows like Thoeger’s “No Exit” and Megan Medley’s “Without God As My Lover” to the city and now taking his own work, “A House Divided” and “Ashes Ashes,” in the opposite direction.

Thoeger Hansen: From Actor to Director, Finding Focus in Grassroots Theatre

Thoeger Hansen brings a wealth of experience to “A House Divided,” having worked as a producer for several years and an actor for many more. Directing at this level represents a new chapter in his artistic journey, and he expresses excitement about working with Crone’s compelling script. Hansen’s path to theatre wasn’t always straightforward. He spent years navigating the challenges of the commercial/VO/print world before finding his true calling in grassroots New York theatre in 2019. This return to his roots, reminiscent of his early experiences with school plays and video production, reignited his passion. Hansen describes himself as a “gym rat” in the theatre world, finding joy in the daily grind of memorizing lines, practicing, and collaborating in the rehearsal process. This dedication and focus have been instrumental in his growth as an artist.

“A House Divided”: A Thanksgiving Play for a Divided America

“A House Divided” is a Thanksgiving play with a timely and resonant message. While Crone emphasizes that the play’s core themes are best articulated by its playwright, Hansen offers his perspective: the enduring power of human connection, particularly within families, even amidst deep political and social divisions.

Crone explains that the play was written in the tumultuous period leading up to the 2020 election and following the loss of his sister to cancer. Inspired by childhood Thanksgiving plays with his sister and their later adult disagreements, he wanted to create a play about a family gathering despite their differences. Set in 2021, a year marked by intense national division, the play fearlessly tackles a range of hot-button issues: mandates, Black Lives Matter, gender ideology, election integrity, and Trumpism. Crone’s goal was to present a balanced portrayal, avoiding straw-man arguments and ensuring that each character, with their flaws and finer qualities, has something at stake in these deeply personal debates.

The Power of Theatre to Bridge Divides

Both Crone and Hansen hope that audiences will be entertained by the play. Hansen expresses a desire for audiences to recognize the futility of the divisions that hinder human connection. Crone’s more playful hope is that any post-show arguments sparked by the play will ultimately lead to reconciliation.

They both believe that the recent election has little impact on the play’s relevance. Hansen points out that the play is set in the recent past and that the issues it explores would remain relevant regardless of the 2024 election outcome. Crone succinctly states that the play’s themes of division and conflict would persist regardless of which side prevails.

Looking Ahead: “Unicycle” and “Ashes Ashes”

Crone’s upcoming projects include “Unicycle,” a festival of solo shows at Yellow Bicycle Theater during Philly Theatre Week, featuring several shows from New York. He is also preparing for the New York premiere of his Hiroshima play, “Ashes Ashes,” at the American Theatre of Actors. This production, originally planned for the 75th anniversary of the bombing but delayed due to COVID, will coincide with the 80th anniversary in August. Hansen may also be involved in “Ashes Ashes” later in the year and is exploring other potential projects. For now, however, his focus remains firmly on “A House Divided.”

Joshua Crone and Thoeger Hansen represent a powerful force in contemporary theatre, creating works that not only entertain but also challenge audiences to confront the complexities of our time. Their commitment to exploring difficult topics with nuance and empathy makes their work both timely and essential.

Holly Doubet is poised to make her mark on the Broadway stage with THIS IS NOT A DRILL.

A graduate of the Royal Academy of Music in London and a double major in classical piano and voice from a California university, HOLLY DOUBET boasts a diverse musical background. Her career has encompassed a wide range of experiences, from working as a studio singer and songwriter to leading her own band and serving as a backup singer in both Los Angeles and Las Vegas.

Doubet’s creative talents extend beyond performance. She served as the songwriter for the beloved children’s television show “Barney and Friends” in Dallas, contributing to its enduring popularity. Her songwriting prowess has also garnered recognition in the pop music world, with several of her songs achieving commercial success, including one that earned a CableAce Award nomination.

Drawing upon her rich musical heritage, Doubet has now turned her focus to musical theater. Her debut musical, “This is NOT A Drill,” a poignant and powerful work inspired by a true event, has captivated the attention of industry luminaries on both coasts.

In a significant milestone, “This is NOT A Drill” was unanimously selected to receive the prestigious Donald Fowler Theatre Arts Memorial Grant in May 2021. This esteemed recognition further solidifies Doubet’s position as a rising star in the musical theater world.

“This is NOT A Drill” — after its highly acclaimed premiere in Dallas in 2021, Doubet sets her sights on Broadway, she is currently in development for an industry reading in New York. Details to follow when solidified.