Theater Review: Gay Slave Handbook (Wings Theatre Company)

Text © Robert Barry Francos
Play logo photo by Brooklyn Scalzo (brooklynscalzo.com)
Actor photos from the Internet

Gay Slave Handbook is the latest play staged by prolific writer and director (and Emmy winner) Blake Bradford. It is nearing the end of its run at the Wings Theatre, home of the Wings Theatre Company, at 154 Christopher Street, in New York.

The title is a bit misleading for a play that is actually quite an intimate study of three friends who are brought together in high school by a tragedy in rural North Carolina, and follows them over the next 12 years through three non-intermission acts.

[Justin Maruri plays Sebastian]
We are introduced at first to Sebastian and Jimmy at the funeral of a teen (who dies before the story begins, via a fire). Sebastian is played intensely by Justin Maruri. From the first moment, the audience’s eyes are drawn to him. He emotes well just by moving his face in reaction without overreacting, the sign of strong performing skills in this reviewer’s opinion. Sebastian is a bundle of nerves, and the heart of the trio. Though he is out, he holds secrets that bring his life into turmoil by the second act. His is the driving force that moves the characters into action, sometimes for the better and, well, sometimes not.

[Peter Carrier is Jimmy]
Jimmy is introduced as someone who is a gazer in life. He is a devout Mormon, and tries to stick to his beliefs though his heart is with Sebastian. His church’s strict, homophobic tenets force him into a conflicted closet. Jimmy is the spiritual and childlike part of the trio, and is as confused as everyone, but in a more obvious way. Boston-born actor Peter Carrier presents him as quiet, but in a bubbling under, constricted way, until the last act (don’t worry, I won’t divulge too much). Peter has a wide range, from the blank deer-in-headlights self-blinding innocence, to the thunderous realization of what the effects his suppression has on others.

[Jackie Byrne is Giulia]
As the dead teen’s best friend and emotional id of the bonded trio, is Giulia, a natural force played by Jackie Byrne. While she is loud, vulgar and speaks her mind (often at the top of her lungs), it is a simple stare near the end of the first act that brought tears to my eyes. Jackie plays her at full speed, as her character is trying to get past her emotions and bad health, and especially her fears of being alone, through bravado and self-medication. Jackie portrays her unabashedly, without making her a joke (though she does have some of the best comedic dialog, she never becomes a clown, which would cheapen the character). I’m not quite sure why, however, she is the only one with an accent.

These three strong characters fade in and out of each other’s lives, sometimes for the betterment, and at others for the detriment, but they all need each other. For, you see, they have no problem being brutally honest with each other, but it seems they cannot be honest to themselves, and need the others to hold up their own mirrors.

[Blake Bradford, writer/director]
The first act, which takes place in 1997, is a series of vignettes, taking place over the first months of the relationship between the three. While it develops the core affection between Sebastian and Jimmy, and how they interrelate with Giulia, it shows their growing bond and sets the grounding for what follows. Despite a couple of cliché moments (e.g., Giulia threatening Jimmy if he hurts Sebastian, which I can remember as far back as the film Bed of Roses in 1996), the story line keeps one’s attention to the lives to these recent high school graduates as they try to find themselves by finding each other.

The next act takes place in a solo location a few years later, which is an apartment in New York City, as they are in young adulthood, still on the path or trying to realize what their place is in the world, or in one case, if there even is such situation. But even that turns into something else that places a catalyst in the story for the third act, but I jump ahead. While there are still some funny moments, such as a Giulia meltdown during the 2003 blackout, this act is a lot more serious as information bursts into the forefront, and where some characters can handle this and grow from it; others have further problems because of it.

The final act, and I won’t give it away, takes place in the present. It has a sort of redemptive quality for one character, but sort of leaves others in self-made limbo. This act finds the humor level in the middle, with some very humorous moments, and some blatantly shocking ones. The play leaves off on a sort of dissonant tone, but in a way that makes the audience wanting more, even after an hour and a half.

I would like to make a quick kudo about the set design, which varied from both simple to eloquent, and the designer handled them both well.

This was the first production I have seen at the Wings Theatre, and I congratulate them for acknowledging this work, which is a new play that had only been staged before (to crucial acclaim) at the Scottish Fringe Festival. Meanwhile, Blake is already busying his next project, which includes actors Sara Towber and Molly Church, with whom I shared a drink after we saw this play. I look forward to seeing them all work together.

Theater Review: Psychomachia

Text © Robert Barry Francos
Images from the Internet

Play information at the end

Anyone who has been reading these blogs knows that I am a fan of theater, and have a warm place in my heart for the independents, aka off-off-Broadway. Then I heard about a production group called The Bridge Theatre Company, a DIY (with sponsors) troupe that sponsors readings of new, yet produced plays. In this case, it was Jennifer Lane’s Psychomachia.

The definition of psychomachia (translated as "Soul Warrior") is, according to (I kid you not, it was the best definition I found) muppet.wikia.com, “a literary concept named for a Latin poem by Prudentius. The poem dealt with the inner conflict within one's soul, between virtue and vice, through allegorical representations.” In other words, the old devil and angel on one’s shoulders trying to influence one.

This was not a standard theatrical production, but rather A Next Stop Workshop, where the actors are lined up on stage with the script, sitting on chairs, while they read their parts. Due to the static nature of the actors, the stage directions are read out loud, here ably by Matthew Groff. This reading was directed by Robin A. Paterson.

If I may digress here, when I was editor of a college newspaper many years ago, I saw a reading that I thought was terrible and gained the public wrath of the theater director of the school. Now I see what the process is supposed to be, and it is quite powerful.

The play is a well-written family drama with some sparks of humor, but it is inevitably going to be compared to August: Osage County. As I describe parts of it below, anyone who has seen or read A:OC may catch on to it as well. Please note that while I don’t think this play is derivative, all I’m saying is there are similarities.

[Ashlie Atkinson]
The story centers on Lydia, played by Ashlie Atkinson, and let me make this clear right out, this woman can act, Jack! She’s been in a number of indie films (5 of which are in post-production) and was a semi-regular on the cable show, Rescue Me. Ashlie handles Lydia strongly, never letting her slip into a cliché, and puts on her character like a second skin. And I’m not saying this because she also skated for Gotham Girls Roller Derby’s Manhattan Mayhem team, under the name Margaret Thrasher. Next thing you know, she’ll be playing bass with Suzy Hotrod, though the acting world needs her more.

[Christian Campbell]
Lydia is the surviving twin, as her brother, Johnny has committed suicide in a schizophrenic manic attack. Lydia still has conversations with him, both through flashbacks and within her mind (hence the play title). Christian Campbell plays Johnny as focused, yet subtly insane, with high intelligence (the type of role Freddy Rodriguez may play). Actually, Johnny is verbally one of the hardest roles in the show, with lots of patters of information and thick philosophical leanings. Christian manages to keep the dialog flowing despite this, as it would be easy to make Johnny sound like a nutcase rather than hyper focused. Canadian-born Christian had pretty much started his career in the cult classic Degrassi Junior High (as Todd), and continued on as semi-regular in such shows as TekWar, Malibu Shores, The $treet, All My Children, The Book of Daniel and quite a few films.

[Jennifer Laine Williams]
Their younger sister, Charlotte, is played by Jennifer Laine Williams, whose previous show, The View From Here, was reviewed at this blog, dated November 12, 2008. Charlotte’s character is somewhat muted in the early stages of the show, but becomes a key fulcrum to the story. Jennifer, who is physically smaller than anyone in the cast, brings the entire theater to a complete standstill at one point in a very shocking moment that would make Edvard Munch proud. This character is very different than the one she played in the earlier play, and Jennifer brings some nice layers to the role, rather than having her fade into the background in the early stages of the story.

[Debra Jo Rupp]
The mother of these siblings, Margaret, is played by Debra Jo Rupp. Margaret is a loud and self-centered alcoholic, who almost seems intent on single-handedly bringing the family to its knees in the wake of her son’s death. Debra is widely known for her comedic acting (the mother in That ‘70s Show, Jerry’s agent in Seinfeld, Phoebe’s sister-in-law in Friends, and so many others), but even with the humorous bits (and Margaret gets both the most laughs and some of the strongest pathos), Debra shows just how good she is on the dramatic side, as well. While she pulls some of the painful and pained lines in the show, she never fails to be a sympathetic character under Debra’s interpretation.

[Kevin Geer]
Her husband and father to the brood is Edward, portrayed nobly by Kevin Geer, a character actor of note who appears regularly on stage, screen and television; one of those “I’ve seen you in everything, but I can’t remember your name…” In other words, he is a true journeyman actor. Again, this character could be played for a buffoon, or emotionally unstable, but Kevin not only makes him sensitive, but gives a wonderful slow burn that builds through the entire piece right until the end, when he (and Debra) left me wanting more, to know what happens to the characters.

[Eric Michael Gillett]
Eric Michael Gillett’s role of Dr. Harold Telsey is also a pivotal one, if quite short. Though not in the play much, Telsey is sort of like a moon whose gravitational pull has a decaying affects on both generations of the family. Eric plays him quietly, and thereby subtly, never giving an indication on the surface to the internal turmoil that he causes. While the character could be made to be antagonistic, which would be the easy way to play him, by holding back Eric becomes more of an enigma, strengthening his place.

[John Calvin Kelly]
The last character is Lydia’s boyfriend, Ezra Stark, who is aptly named because he is the most underwritten character in the piece. John Calvin Kelly breathes life into Ezra, which is required. But there needs to be more interaction with him, to flesh him out. Perhaps if he showed up at the hospital and became part of the drama there? I’m not sure, since I can’t do fiction. While there are two important scenes with him in the second half, he comes across more as a place for Lydia to react to, rather than being, well, there. John makes as much as he can with the role, making a 2 dimensional role into 2-1/2.

The story is mostly a drama, with some very strong comedic bits, and a few shocks as well. As a workshop, I’m not sure if this is a reading of a final product, or one in transition. There are a couple of places where characters can be fleshed out a little more (mostly Harold and Ezra, and perhaps Charlotte), but it is well on its way.

On a personal note, again, I thank the company for its splendid work. By just sitting in a chair, they managed to convey real tears, strong emotions, and a clear purpose, one that could easily have been lost by the static nature of the stage. I have a newfound respect for theatrical readings, and look forward to others.

Theatre 54 @ Shetler Studios
224 West 54 Street, 12 Floor
February 20th - 3:00pm & 8:00pm
February 21st - 8:00pm
Reservations: rsvp@thebridgetheatrecompany.com
www.thebridgetheatrecompany.com

Mission Statement: The Bridge Theatre Company is a New York-based ensemble of American and Canadian theatre artists dedicated to the cross-border development, workshop and production of new plays. Founded in 2004, The Bridge is a division of Theatrical Development Groups (TDG)…and the resident theatre company at Shetler Studio, a theatrical complex comprising 22 upscale rental studios including two theatres in the heart of the Theatre District – offering a unique infrastructure to support Bridge projects form discovery through development to performance and beyond.

Theater Reviews: SLAMMER / The Shadowbox

Every once in a while, I get to see some good theater, which is all the more special when a friend is involved.

SLAMMER: A New Women-in-Prison Musical, New York Fringe Festival, Skirball Center for the Performing Arts, September 2007
Previously, I had never attended the New York Fringe Festival. For those who don’t know, it’s the chance for independent playwrights to have a forum to get their works staged and noticed. My interest was definitely piqued when I had learned that “SLAMMER”, was one of the entrants.

While I haven’t met co-author Chan Chandler, the other half of the co-, Steve Adams, has been a good friend for over a decade. Hey, I even had the pleasure of reading a very early draft.

At the Skirball Center for the Performing Arts, part of the NYU complex, I waited on line next to a couple of theater “critics” who were, at best, obnoxious, saying things like, “They BETTER have my tickets ready,” and sighing “This is the X Fringe show I’ve seen, and I STILL have to see X more.” Generally they were loud (“Look at me, I’m privileged.”) and abhorrent. I’ve been a performance reviewer for years, and have always taken it with graditude, acknowledging the graciousness of a free entrance. But I digress…

It was a Monday in September, opening night for the show. The theater was surprisingly large, with a good crowd; the stage was filled with bunk beds and moveable “bars”, on which held the “SLAMMER” logo on a banner.

Considering they had about two weeks to mount the play, the stage setting looked sparse, and very professional. As it was basically set in a women’s prison, a sparse set was intended and appropriate.

The initial set up of Tabitha (Merrill Grant), the main character, being wrongly sent to prison is summarily set during the early moments, so the action can get started. From this point, the play is like a sandwich; on one side, there is a vicious warden, a rapacious guard, and various levels of prisoner tension, and the other is the corporation and sponsorship of the privatized prison, and Tabitha is the fresh meat between.

Now, women-in-prison is a sub-genre of exploitation films popular in the ‘60s (e.g., “The Big Bird Cage”, “Terminal Island”, “Red Head”, “Reform School Girls”), and anyone familiar with the style knows that there are going to be fights, death, lesbians, and shower scenes. Yes, SLAMMER Has them all, though the shower scene is more implied than gratuitous.

From the start, we’re introduced to the key players, such as the uncaring, hard-nosed and sexually ambiguously warden, Eva Danka (Lannyl Stephens) and avaricious guard, Smiley the Screw (Saverio Guerra, aka Bob, lately of the TV show “Becker”). Then there is the protective Reverend Mama (the excellent Sandra Reaves-Phillips), her helper/protégé Caramel (Tammi Cubiette) who plays tough but with a heart-o-gold while doing what she can to survive, rival Cat (Tess Paras, who I’m guessing has some serious dance training), and lovers Tina (Courtney Wissinger) and Spike (Ariela Morgenstern). Of course, it will take newbie fish Tabitha to bring them all to the same side.

I know Steve and Chan have been writing for years, both together and individually, but musicals are something that is somewhat unfamiliar territory. However, one would never know that listening to the memorable tunes played here, such as “I Refuse to Live Without Love”, the powerful “What Country Is This?” (which could be a powerhouse with the right singer), “Different on the Inside”, and especially Reverend Mama’s moment to shine: “Along the Road,” which is a solid gospel raver.

Reverend Mama’s Sandra Reaves-Phillips is a gem, and a real coup for this production. She has a long history of performing at the likes of the Cotton Club, the Supper Club, the Village Gate, and other highly touted venues. Courtney Wissinger and Ariela Morgenstern are also standouts as inmates who start out being scary, but end up being a touching and heartbreaking focal point.

I’m not going to go deeply into the story because it is such sheer fun (and at times scary) so I am hoping the play gets into a regular theater run (perfect for Off-Broadway) once it is out of workshop mode.

* * *

The Shadowbox, Matthew Corozine Theatre, October 2007
Not too many years ago, my friend Joe, a Boston-based music publicist, sent me a CD of chanteuse/Broadway-flavored songs by actress Ingrid Saxon. I wrote a favorable review of it, and somehow, we ended up seeing Lesley Gore at Joe’s Pub together (my photos of the show: http://entertainment.webshots.com/album/545717660UbijPa). Recently, I saw on her MySpace page (www.myspace.com/ingridsaxonmusic) that she was going to be appearing Off-Off- in Michael Cristofer’s “The Shadowbox” at the Michael Corozine Theatre, on 8 Avenue and 43rd Street, NYC. An invite soon followed.

In a nutshell, the play takes place in a hospice on the West Coast, with three concurrent stories that take place in three cottages in 1977. Interestingly, the cause of dying is never discussed.

In one story, Maggie (Ingrid Saxon) is a wife who comes to visit her dying husband, Joe (Jacob Mirer). She is in denial, and refuses to enter the cottage because it would mean acceptance. Ingrid give a sensitive, strong and textured performance, howling against the darkness, sometimes literally, in contrast to Joe, who has an almost meditative quiet, though Mirer aptly conveys a fear and anger beneath the surface. They both play their roles as a dance between trying to maintain normalcy and what is lurking. JD Brookshire plays their young, guitar-playing son.

A second story concerns Brian (Lee Barton), his lover Mark (Ryan Link) and his high-strung/-maintenance party-girl ex-wife, Beverly (Robyn Kay Pilarski). Brian is close to both, but Mark and Beverly because, in their own way, they both love the dying Brian. And you know that there is going to be an explosion, and then some understanding between Mark & Bev, with some respect growing in the process. Barton plays the emotionally frail artist type with assurance, bouncing back and forth between trying to accommodate the two most important people in his life, and his own egocentricity. Link plays ex-hustler Mark as smoldering, torn between his distaste/jealously of Bev and his own feelings toward Brian. His slow emotional breakdown is played well with great restraint. Equally, Pilarski could easily let her character turn to caricature, but she admirably makes Bev into a sympathetic full-flushed person. Her training in comedy gives an additional inflection.

The final story focuses on a semi-senile elderly woman, Felicity (Heidi Zenz) and her overburdened caretaker daughter, Agnes (Jillian Prefach), who is pretty much ignored by her mom, who is waiting for a visit from her prodigal daughter. Zenz doesn’t have much to do in the play other than call out for her other child, but Zenz does convey hope and fear mostly through her eyes, thereby giving more substance and depth to her role. At first, the role of Agnes is subdued, much as is her character, but as the play progresses, her part becomes one of the strongest, including a powerful centerpiece monologue that Prefach absolutely nails.

The lynchpin to the three stories is an interviewer/therapist (David Lipman, who is also known as the arraignment judge on “Law and Order” – Ta-DEM), who at various times talks to the various characters. All of this is from the back of the theater, but his presence is also strong to the events.

Showcases can be iffy as actors try (and sometimes over-try) to impress, but none of that happened here, as every single member of the large cast in the small, cramped – yet intimate – theater was in top form. Much credit for this should be given to the director, Matthew Corozine (who employs the Meisner Technique, FYI) for getting such strong work out of his group, ably helped by AD Mark J. Paynter.

After the show, I stayed around to congratulate Ingrid for her fine performance, and had the opportunity to say hello to a number of the actors, including Ryan Link. He gave me a CD of his band, Kill the Camera, which will be reviewed at another time. Also Jacob Mirer and director Mathew Corozine were quite generous with their time and were gracious with their company.

Now, let’s see this play make it from Off-Off- to Off-.