PxP

WE'VE MOVED!

2010-11-07T19:37:00.004-05:00

We have a new home!

Please visit www.tdf.org/pxp

What (Not) To Do With PxP

2010-11-02T17:23:00.005-04:00

Sometimes the staff of PxP gets a little ~~crazy~~ creative...

see what we got up to this time:

4Play

2010-10-28T12:25:00.004-04:00

By Ben Wolfson

11th Grade, Hunter College High School

Okay, so you’ve had a long day and you have too much homework. Or maybe you’re sick and tired of having nightmares about college applications. Or perhaps you’re just looking for something to do…

If this even vaguely describes you, then 4Play, performed by The Flying Karamazov Brothers, is just what the doctor ordered. It’s got everything needed to cheer you up and distract you from your troubles.

The show centers on juggling, but not the boring meh-he’s-a-street-performer-of-reasonable-skill type juggling. Rather, it’s juggling that’ll have you sitting on the edge of your seat, fearing for the lives of the Brothers as they perform difficult routines — including juggling with their eyes closed.

Maybe you’re not a juggling fan and you’re contemplating putting down this article. Please don’t! Amidst their juggling extravaganzas, the Brothers work in funny skits and jokes. Furthermore, hecklers are welcome to scream out their remarks.

If there happens to be some free time on your schedule, don’t dally and procrastinate. Instead, let more qualified professionals do it for you, in a doubtlessly more entertaining way.

TICKETS: $20 • Minetta Lane, 18 Minetta Lane, www.4playtheshow.com

Next to Normal

2010-10-28T12:00:00.002-04:00

By Larissa Heron

9th Grade, School of the Future

Next to Normal is a fascinating story about Diana, an erratic bipolar suburban mom, who tries to hold the threads of her family together.

Diana has been depressed for years. Her psychiatrist prescribes medication and finally resorts to horrific treatment to help Diana overcome her condition. Diana fails to improve and the family plunges into chaotic mayhem.

Meanwhile, Diana’s daughter, Natalie, feels ignored—she focuses on schoolwork and an upcoming piano recital instead of dealing with what is going on in her family. Dan, Natalie’s father, tries to help Diana get better and attempts to return the family to how it used to be.

From the outside, this family seems perfect, but when you get a glimpse inside, it is far from normal. The dramatic rock music accompanies the powerful voices of the performers. All of the actors are convincing in portraying their characters.

I highly recommend Next to Normal to teenagers. Although the content is serious, the performance is upbeat and thought-provoking.

Music by Tom Kitt, book and lyrics by Brian Yorkey.

TICKETS: $25 lottery rush • Booth Theatre, 222 W. 45th St. www.nexttonormal.com

Next to Normal Dramaturgy

2010-10-28T11:57:00.004-04:00

By Sabrina Khan

*Warning – this article contains spoilers about the play*

Next to Normal is a rock musical about a psychologically ill mother and the conflicts she faces as she and her family cope with her problems. The musical bursts with powerful language portraying the gravity of grief, frustration, depression, and love this family feels and shares.

Next to Normal was originally called Feeling Electric when it was conceived as a 10-minute sketch in 2002. The story then revolved around suburban mother Diana Goodman receiving electroshock therapy as her husband Dan and daughter Natalie react to it and its effects on her. This draft focused heavily on a criticism of the medical practice, instead of the family’s pain.

It transformed into that much later with several changes through readings at different stages of its journey. And in 2008, Next to Normal was produced off Broadway at the Second Stage Theatre for the first time under its current name.

Throughout the show, Diana undergoes many different treatments because psychological disorders often cannot be classified as single illnesses with simple labels. Each person experiences their conditions differently and is treated on a custom basis, often mixing drugs and therapy. On a particular tragic occasion, Diana has a serious breakdown and her doctor recommends electroconvulsive therapy (ECT).

ECT is the standard course of treatment for drug-resistant patients who are imminently suicidal. One side effect of ECT is memory loss, which is a major point of contention in the story. Diana decides to go through with it, and though she seems to improve, she also suffers considerable amnesia. The treatment ends up solving little, and the show portrays only shows the downsides of the practice.

Next to Normal so attempts to have a musical conversation about psychological disorders and the means to alleviate them through the breakdown of this family. It’s worth gaining a fair knowledge about the issues it discusses before going in blind to this heartbreaking production.

Tigers Be Still

2010-10-26T16:03:00.004-04:00

By Olivia Munk

11th Grade, Bronx High School of Science

Tigers Be Still is a down-to-earth, wonderfully crafted play that follows the Wickman women and how they “get out of bed.”

Sherri Wickman is a recent graduate of art therapy and newly employed art teacher. Besides her job, Sherri cares for her bedridden mother and perpetually intoxicated sister, Grace, who has just broken off an engagement with her less-than-faithful fiance. Sherri also provides art therapy for the principal’s son, Zack. Throughout the play, the fear of a recently escaped tiger plagues the characters, sparking a range of emotions.

The dialogue in Tigers Be Still flows well, allowing the audience to become absorbed in the natural banter between the characters. When Zack, facing the audience, asks the middle school students if they would prefer a trip to the playground rather than building popsicle stick basketball hoops, it is hard not to raise your hand.

The tiger, a symbol of the looming danger outside everyone’s comfort zone, is something every character must overcome. Slowly but surely, everyone comes to realize that they can teach their own personal tigers to “be still”.

I strongly recommend Tigers Be Still to teenagers — we’ve all had those days when we don’t want to get out of bed. Although it is in a small theatre, Tigers Be Still exceeds the confines of its small space.

Written by Kim Rosenstock.

TICKETS: thru 11/28 • $20 tickets • Roundabout Underground, 111 W. 46th St. www.roundaboutunderground.com

Tigers Be Still Dramaturgy

2010-10-26T15:56:00.004-04:00

By Michele Tram

Tigers Be Still tells the story of Sherry, a recent college graduate, who has just earned her masters in Art Therapy.

Art Therapy is a form of communication between art therapists and their patients. It was first recognized as a profession in the 1940’s. There are two methods to art therapy: the first where art therapists show art to their patients in the hopes that in the end, it will invoke an emotional connection which will lead to self-discovery; the second method is for the therapist to analyze the art created by the patient so that it will hint at subconscious patterns or emotions through art. Often times, these methods are used together.

There is no limit as to who can use art therapy. Art therapy has been known to treat anxiety, depression, substance abuse, addiction, trauma, loss, and more. For more information, visit www.americanarttherapyassociation.org.

In The Heights

2010-10-25T17:39:00.003-04:00

By Kerline Batista

11th Grade, Marble Hill High School for International Studies

In The Heights is an extraordinary musical that tells the tale of Usnavi and his community in Washington Heights, the primarily Hispanic neighborhood located at the top of Manhattan. As a person who was born and raised in the Dominican Republic, this is the closest connection I have ever felt to a play.

Usnavi is a twenty-year-old orphan who runs the corner bodega. He takes care of Abuela Claudia, the woman who “practically raised him” and his younger cousin Sonny, while also dealing with his feelings for Vanessa, a friend who works down the street. Usnavi’s neighbor, Nina, returns from Stanford for the summer and struggles to tell her parents that she lost her scholarship. She becomes involved with her father’s employee, Benny. There is a scene in which Nina teaches Benny some Spanish. This is a common thing for Latinos — to want to share our language with our friends.
A highlight of the show is Jordin Sparks (from American Idol!) as Nina, along with the music and choreography, which are completely astonishing — mixing up salsa, meringue, and even rap. The set, with the view of the George Washington Bridge behind the picture-perfect bodega, looks completely authentic.

In The Heights is the story of people dealing with decisions, struggles and relationships— everyone will be able to relate to it.

Music and lyrics by Lin-Manuel Miranda, book by Quiara Alegría Hudes.

TICKETS: $26.50 lottery rush • Richard Rogers Theatre, 226 W. 46th St. www.intheheightsthemusical.com

In The Heights Dramaturgy

2010-10-25T17:29:00.004-04:00

By Christa Tandana

There’s a new face “in the heights” and her name is Jordin Sparks. The American Idol winner and pop sensation is now playing Nina in In the Heights on Broadway. Jordin made her theatrical debut on August 19th and will continue until November 14th.

There has always been a tendency for movie stars and singers to try their hand at theatre. Some have been successful and others have been...less so. In fact, just before Jordin came on the scene, High School Musical star Corbin Bleu had a run as Usnavi. Corbin was a hit and his run was extended for three months.

Creator Lin-Manuel Miranda started writing In the Heights during his sophomore year at Wesleyan University. Four years later, it became the first original musical on Broadway about the Dominican community in Washington Heights. It went on to win four Tony Awards, including Best Musical, in 2008.

Jordin and Corbin bring new young faces to the theatre - and isn’t that just what theatre needs?

Mrs. Warren's Profession

2010-10-21T16:59:00.006-04:00

By Reyna Schaechter

Everyone makes his or her assumptions before going to see a show. And often, these assumptions are correct. Going into Mrs. Warren’s Profession, my expectation was that I was going to have to sit through a three-hour play revolving around tea and scones.

I was wrong. Mostly.

Mrs. Warren’s Profession, by George Bernard Shaw, starts off with an encounter between Vivie Warren and Mr. Praed. Mr. Praed is horrified to discover that Vivie’s prudish tomboy-like disposition is not at all reminiscent of her mother, Mrs. Kitty Warren,’s glamorous charm. Though a bit slow-paced, wordy and sedentary in the beginning, the first interaction firmly establishes Vivie’s character, which would be the basis for all conflict throughout the rest of the show.

The show soon picks up pace when the diva-like Mrs. Kitty Warren enters with her “business partner,” Sir George Crofts. An impish Frank Gardner soon comes on with his father, Reverend Samuel Gardner, and teatime commences.

Shaw did a stellar job of writing the play so that not everyone is onstage at the same time, allowing for personal relationships to be made between each character. For example, during the first act, Vivie and Mrs. Warren leave Mr. Praed and Sir George alone in the garden while they go prepare tea. This man-on-man time establishes camaraderie between the two men. During the second act, Vivie announces that there are only four seats for teatime and therefore, two of the six attendees would constantly have to wait in the parlor. At this point, Vivie and Frank’s amorous relation is exposed.

Act Two is also the act in which the scandal of the play is revealed: Mrs. Warren works as a prostitute. The revelation is slightly tedious and verbose, but with Cherry Jones’ phenomenal portrayal of Mrs. Warren as a blasé survivor, it all works.

Sally Hawkins, on the other hand, whose performance as Vivie Warren is her Broadway debut, feels slightly amateur for the role. Her voice is wavering throughout all four acts and she repeats the same stereotypical expressions of bewilderment and disgust over and over again.

I was right in assuming that there would be tea and scones. My error was that this was only an insignificant detail in the broader scope of things. Mrs. Warren’s Profession shatters all preexisting notions that the Victorian Era was prim-and-proper. More importantly, it explores how a daughter deals with her mother’s seedy entrepreneurship.

Though I would hope that none of you readers can identify with Vivie so closely, I’m sure that you all can say that you occasionally disagree with your parents. What I took away from Mrs. Warren’s Profession is that if we come to a point that we are blatantly ashamed of our parents’ actions, it is best not to follow in their footsteps. In these instances, independence must be sought in order for us not to repeat the same mistakes our parents made.

TICKETS: $22 general rush, American Airlines Theatre, 227 W. 42nd St. www.roundabouttheatre.org/aat/

Hip Hop Theater Festival

2010-10-01T14:50:00.004-04:00

By Julia Rosenfeld

I'm not going to lie - I can't breakdance. It's not even a skill that I've tried to master.

However, while watching the Hip Hop Theater Festival's presentation of olive Dance Theatre's SWIFT SOLOS - a performance honoring legendary b-boy Ken Swift and showcasing his most famous routines - I really wished that I could bust a move. The dynamic dancers were dressed in bright colors, clean sneakers and big smiles with feet that moved faster than seemed humanly possible.

Although this particular show only runs for a couple more performances, the Hip Hop Theater Festival continues through October 16th with more than 25 events. One show that you don't want to miss is Young, Gifted & Hyped on October 6th - a one-night-only event featuring performance work from New York City high school students.

Busy that night? Check out the website for other options.

Green Day IN American Idiot

2010-09-28T17:51:00.002-04:00

Have you heard the screaming yet?

Billy Joe Armstrong (lead singer of Green Day) will be playing St. Jimmy in American Idiot on Broadway this week ONLY! It's his first time performing on Broadway, but definitely not his first time singing these songs in front of a cheering crowd.

Do you think that's a good idea? Bad idea? Are you excited or appalled? Tell us in the comments!

Fringe Wrap-Up

2010-08-27T17:30:00.004-04:00

FringeTastic 2010 was a great success! To sum it up:

14 Ploggers saw plays

24 plays were reviewed

15 plays were recommended as Plog Picks

2 Ploggers went behind-the-scenes to interview the artists

1 editor is very happy...and tired

FringeNYC isn't over yet! Read our reviews and find out what YOU want to see!

When Lilacs Last

2010-08-27T17:21:00.001-04:00

By Monikha Reyes

Set in South Philadelphia in 1955, When Lilacs Last is a coming-of-age tale of two boys struggling with their sexuality and the bigotry in society. The naming of the Walt Whitman Bridge has created a revolt in the community due to the poet’s “revolting homosexual imagery.” At the same time, Brendan, the jock, needs to understand the poetry of Walt Whitman in order to pass English. He seeks the help of Jackie, the smartest kid in school, who gets bullied for his interest in literature. Linked by poetry, the boys must suffer through their fathers’ abuse while trying to understand their own feelings.

The acting overall is unsatisfying. The actors seem more concerned with being onstage than with the play itself. They don’t listen to each other or allow another person’s lines to affect them. The movement seems rehearsed and it is distracting to watch the actors give way to their arbitrary movement. The fourth wall is often broken by the actors, which becomes uncomfortable to watch at times because it is clear how nervous the actors are onstage – some avoid eye contact and fiddle with their costumes, while others play with their nails or fingers.

In between scenes, the actors seated in the front row recite Whitman’s poetry. However, more often than not, the lines come out forced, making it seem as though the actors do not know the meaning behind them.

At times, the play itself is unbearable. The relationship between the two boys and their fathers is a bit over-the-top, and the scenes that are not as intolerable are too long, repeating the same pushing and pulling between the actors.

I would not recommend this play. By the end, I felt unmoved by the performance; it left me hanging, and not in a good way. As an audience member, the time invested did not match the return in the slightest.

Schedule and ticket information here.

One Thumb Out

2010-08-27T12:26:00.005-04:00

By Audrey Alunan

One Thumb Out is a play that takes place in a fictional Australia. Throughout the play, average Australian citizens are conflicted about sending soldiers to aid the United States in an imaginary World War III that begins after the 9/11 attacks.

A unique aspect of the play is how the playwright uses monologues – two characters stand onstage in two different settings and speak similar dialogue at the same time, yet are engaged in completely different conversations. This technique is interesting, but makes it extremely

hard to follow what the characters are actually saying. Overall, it simply sounds like two people talking over each other.

Despite the creative qualities of One Thumb Out, it may be too complex for the average theatergoer to comprehend. It struggles to give the audience a grasped understanding of the actual conflicts at hand.

Schedule and ticket information here.

American Gypsy

2010-08-26T13:41:00.005-04:00

By Oumar Berte

Put a little bit of comedy, a large dose of magic, and lots of storytelling in a pot, mix them all together, and you have American Gypsy.

American Gypsy shows the transmission of a passion for magic from a famous magician to his apprentice. All of the characters in the play are played by one actor, Ben Whiting. The play is influenced by his own experiences of learning magic.

Ben’s goal is to share with us his love of magic, as he says in the play, “Magic is to make difficult things seem easy, and make simple thing beautiful.” I’m not personally a fan of magic, but Ben Whiting made me respect his art.

American Gypsy is a captivating play built on strong relationships surrounded by magic.

*Plog Pick

Schedule and ticket information here.

Masks

2010-08-25T12:54:00.001-04:00

By Desmond Sam

Masks is a powerful piece that tells the story of two juvenile dilquents and their pasts. This play is thought-provoking and hard-hitting. It shows the importance of friends and how pain can be destructive.

TG and Jason live in “the system”. TG has a lot of hatred towards his father and he uses drugs as his escape. Jason has anger management issues and is in and out of prison. They are shunned by society because of their criminal history, but never give up on their hopes and dreams – Jason wants to be a poet and TG wants to be a DJ. Throughout the play, TG and Jason transition from boyhood to manhood, and reach the crossroads of choosing between letting their anger go or allowing it to destroy them.

My favorite part of the play is how they incorporate music, playing popular songs from each year they represent. They also use comedy to lighten up moments of the play.

Masks is a brilliant show with a lot of potential and an amazing future ahead.

*Plog Pick

Schedule and ticket information here.

The Princes of Persuasion

2010-08-25T11:59:00.004-04:00

By Sabrina Khan

The Princes of Persuasion: Recipes for Romance, a humorous musical performed by a cast of puppets and their human band mate, is a one-of-a-kind show even for the New York International Fringe Festival.

The stars of the show are the puppets Destiny, Linda, Domingo, and Lil’ Bo-tique; and their guitarist, Ithai. They begin the show even before the curtain rises, bickering loudly enough for the audience to hear, which instantly draws laughter from the crowd. The rest of the show is a like musical debate about each character’s perception – or recipe – of romance. Destiny understands it to be one thing, and it’s unlike what Linda thinks, or what Domingo feels, or even what Lil’ Bo-tique sees. Ithai simply listens and strums the guitar.

The Princes of Persuasion begins with a conversation about romance and goes off on random tangents that turn into songs. None of the songs relate to each other, but they are all quite funny. There is little plot to this musical (other than the central topic of romance, which you may soon forget), but it’s still an enjoyable show.

The Princes of Persuasion is a good time for all audiences, especially for young kids. Though it does include a song about “animal assholes,” it’s still fairly clean and fun to watch.

Schedule and ticket information here.

BUNKED! A New Musical

2010-08-24T12:40:00.002-04:00

By Monikha Reyes

To top off my FringeNYC experience this year, I went to see BUNKED! A New Musical. Allow me to review this show in two words: PURE FUN.

For five camp counselors at Lake Timberlake, this summer will be the last hoorah before having to face their first steps towards adulthood. Oliver, openly gay and with a fierce wit and big dreams to match, and Anabel, the “hot-mess” sister who is just aching to break out of her prim and proper shell, are the first to arrive. The two then meet Stewart, who is tired of following his parents’ wishes, Carmen, who, underneath her touch exterior and resistant behavior is struggling with herself and an all too recent misfortunate event. Last to be introduced is Max, who has nothing but warm thoughts when it comes to camp. Each character has a unique back-story, allowing the audience to truly care.

This musical has the whole package – the songs are creative and catchy, the storyline is entertaining, and the actors are outstanding. BUNKED! is a worthwhile show – you’ll be sorry if you miss it.

*Plog Pick

Schedule and ticket information here.

Dear Harvey

2010-08-24T12:31:00.002-04:00

By Olivia Munk

Dear Harvey paints a touching picture of Harvey Milk, the activist and the first openly gay politician elected to public office.

More a collection of monologues than a play, the performance includes a solid biography recounting the major life achievements and tragic death of the politician. The rest of the play is comprised of monologues composed from interviews conducted with people who either directly knew, or were touched in some way by Harvey, as relevant photos and letters are projected onto a backdrop.

Tales of being inspired by Harvey to run for local office, organize community protests and come out to friends and family are only some of the touching topics. The most striking letter is read by a college student named Thomas, who brings a moving perspective that brings the beginning of the gay rights movement into today’s context. The essence of who Harvey Milk was is ultimately shaped from the exterior by how his legacy has reached out to anyone willing to be accepting – regardless of race, age, or sexual preference.

Although this play lacks distinction between the characters, the sincerity in the message of love and tolerance is undeniable. Unfortunately, this message is somewhat disjointed by the continual series of monologues and very little actual human connection, which is ironically a major theme throughout the production. However, this play is still imperative for teenagers to see, as we are the next generation to learn and spread Harvey’s tolerance. With a little work in cohesion and character development, Dear Harvey has a promising future.

Schedule and ticket information here.

Behind the Fringe - Made in Taiwan

2010-08-23T16:50:00.004-04:00

By Christa Tandana

I’ve always heard that it’s difficult for Asian Americans to find work in theatre and film. So, to have the chance to speak with successful actress Michelle Krusiec was really exciting to me. She is the creator and star of Made in Taiwan, an autobiographical one-woman show that is one of the most in-demand shows in this year’s New York Fringe Festival.

Michelle has led a very busy career in television and film. She starred in the movie Saving Face, acted in The Secret Life of the American Teenager, and even travelled the world with the Discovery Channel! It all began in the suburbs of Virginia, where she grew up. She started acting professionally when she was 12-years-old. One of her earliest roles was a “token Asian role” in a car commercial, where Michelle was told that her hair wasn’t Asian enough, so she had to wear a wig.

Made in Taiwan started as a paper in college, where she was majoring in theatre and English. It turned out to be a 14-page “play of sorts” that was intended for performance. Years later, in an acting class, she had to depict an event from her life, and she chose the night her mother bit her (True story! You’ll have to see the play!). People urged her to continue working on the story, so she went back to her 14-page collection of stories.

It has taken Michelle five or six years to slowly piece the story together and rework it. The play has grown since its inception, and so has Michelle. She feels that her show is more successful now than in earlier interpretations because she has a different perspective. She said, “I always thought, ‘I feel really boring and I don’t know who I am’. And I would struggle because, well, at that age, I didn’t know what my point of view was. That’s the whole point of the piece. I didn’t have a point of view.”

This multi-talented actress has been successful in television and film, yet she returns to theatre to tell a story.

Michelle explained, “The reason writers write is because they have a story to tell. And I think theatre allows for those stories to be told. You’re some facet of that story, whether you’re an actor, or a writer, or you’re setting the lights, or you’re creating the ensemble, or you’re interpreting the material. It’s all generated from a person who has a need to tell a story.”

She continues, “Those stories are really vital to the way we communicate with one another as human beings…Artists need to express themselves. And they need to be witnessed by someone.”

Made in Taiwan is Michelle’s story. It’s about growing up and finding out who you are. Michelle says that her play is perfect for young people. “I don’t even think you look at your life at that age,” she said, “You’re still enjoying life and you’re still dealing with whatever life is throwing at you. This story is meant to just start you along that process.”

Watching Made in Taiwan and chatting with Michelle certainly challenged me to think about my life and who I am. I could go on and on about the insight that Michelle gave, but I will leave you with some of her advice.

“Keep checking in with ‘what do I want?’ Keep asking that question.” Michelle told me with wisdom.

After seeing Made in Taiwan, I can tell that Michelle asked herself that question – and really listened to the answer.

Read Christa's review of Made in Taiwan here.

Hamlettes

2010-08-23T14:26:00.004-04:00

by Delaney Gibson

If the title Hamlettes evokes thoughts of, “Oh, wow, that sounds really cute,” you’re in for a major surprise. It is an insightful and creative modern adaptation of Hamlet, set in an all girls school. Playwright Patrick Shaw makes audience members feel a surprising closeness to Shakespeare’s Hamlet when three pre-teen girls -Alex, Chloe, and Ophelia - decide to start a drama club, and, of course, perform Hamlet! Being committed actors, the trio refuses to break character – ever – which leads them to a pre-pubescent tragedy or their own, full of the betrayal, angst and lies that is Hamlet.

The casting is perfect; the actors embody their characters completely, bringing the entire audience back to when we were twelve. Working with a simple, but brilliantly composed set, the play ignites questions of betrayal, love, loss, and blame, and will leave you thinking of William Shakespeare’s Hamlet – and your own life choices – in a brand new light!

Anyone interested in literature will enjoy this production. With the production’s outstanding direction, strong, and capturing script, and remarkably flexible actors, Hamlettes is a great show bordering on amazing.

[Photo Credit: Brian Hashimoto]

*Plog Pick

Schedule and ticket information here.

The Nightmare Story

2010-08-23T14:13:00.001-04:00

By Oumar Berte

The Nightmare Story is a play performed by college students who come from Pittsburgh to New York for the New York Fringe Festival.

The play uses magic realism to tell the story of a son who goes in search of a flower to save his mother who is suffering from nightmares. He has to find the flower because one day his mother doesn’t wake up.

The play is a mix of jokes, shadows and music. I think that the goals of the play are to show a different side of nightmares and to make people have fun – and these goals are reached.

I’ve seen a lot of plays (both high and low budget), but I’ve never had so much fun in a theatre in my entire life. The Nightmare Story is the should-see-play of this year’s Fringe Festival.

*Plog Pick

Schedule and ticket information here.

Behind the Fringe - Mobius

2010-08-22T17:23:00.004-04:00

Playwright of FringeNYC show Mobius, Michael Lopez-Saenz, answered some questions about his play.

PxP: What was your inspiration for this play?

ML: The play started as an assignment in a playwriting class that I was taking at NYU. The assignment was to take an occurrence from your own life that happened within the last couple of days and write a scene around it. The original scene (which appears in this incarnation of the play in a slightly modified form) was built around a young man and his contentious relationship with his mother. From there, the play became a one-act, and then after I finished my graduate school work, the characters cried out to be more fully fleshed out.

PxP: Is this your first play? If not, what sets this play apart from the rest?

ML: I have written a couple of other plays, none of which have been produced. This play is very different from my others in the non-chronological aspect. It is also much more lyrical in its use of language.

PxP: What made you decide to include nudity?

ML: The scene in which the nudity occurs is about exposure - literal and figurative. The character Montgomery takes a great risk and in the process is punished for it. Nudity is a risky thing for most people - it makes a lot of people very uncomfortable, and I wanted them to be as uncomfortable as Montgomery is in the face of such open and blatant nudity. I also think that adolescence is a very sexual time; as an adolescent, Montgomery is struggling with his sexuality and it is very much at the front of his mind.

PxP: Is there a specific message you wanted to tell the audience members through the play?

ML: Purely and simply: people and events are not always what they seem; a person is more than the surface of their actions. And there is a great danger to dismissing a person's cries for help.

PxP: Montgomery is a very intellectual kid. What kind of research did you have to do when it came to writing the script for Mobius?

ML: God bless the internet. And the Discovery Channel. And all the books I read as a young man. While I'm no genius, there is a bit of Montgomery in me, and I tend to pick up all sorts of information all over the place. As the play began to take its current shape, I did a lot of specific research on the subject of genius and stumbled across some truly interesting factoids (most interesting to me is that Poe predicted the work of Einstein in his prose poem Eureka).

PxP: What advice do you have for young writers?

ML: It took me several decades to discover this: if you're passionate about your writing, do something with it. No one is going to come to you and ask you to take it off the shelf and get it out there. Especially in these tough artistic times, artists need to be willing to be their own promoters. Submit your work to writing competitions, to festivals, to publications.

Read a review of Mobius here.

Mobius

2010-08-22T15:37:00.002-04:00

By Michele Tram

The play Mobius takes place the week of spring break in 1984. It tells the story of 15-year-old Montgomery, his less than perfect family, and his struggle to gather up the courage to tell his controlling mom and absentee dad that he is gay. Mobius is a dramedy (drama-comedy) that will leave you with a truly lasting impression.

What is a mobius? A mobius is a surface with only one side and one boundary component. Described by Mackenzie, the mobius strip is similar to his brother’s mind with all the twists and turns of its appearance.

RJ Barnett gives a brilliant performance as Montgomery; making me root for him to achieve the happiness and independence that he is searching for. Montgomery’s intellect separates him from almost everyone, making him an outcast. His brother is his only source of comfort, but as the play unravels further, it is important to remember everything is not what it appears to be.

Every second left me wanting more and anticipating what would happen next. When the play ended and the lights came on, the cast filed out one by one to the center of the stage in a straight line to take a bow. I was silent. I couldn’t believe that it was already over.

Although Mobius contains nudity, it is the raw emotions of the characters that is sure to resonate in your mind long after it is over.

*Plog Pick

Schedule and ticket information here.

Two Girls

2010-08-22T14:23:00.003-04:00

By Grace Lisandrelli

Two Girls, a play written and performed as a one-woman show by Gabrielle Maisles, chronicles the lives of two young women growing up in South Africa during the turbulent apartheid era. One of the girls, Lindiwe, rallies alongside her fellow black South Africans for equality among the races. Corinne, a young Jewish girl whose family employs Lindiwe’s mother, supports the anti-apartheid cause as well, aspiring to one day fix South Africa’s many issues. Following Nelson Mandela’s election as President of the “new” South Africa in April 1994, Corinne, Lindiwe and many other South Africans believe the battle for justice has been won. They soon face the sobering reality, however, that several of the country’s problems would persist long after Mandela’s inauguration, including the AIDS epidemic and soaring unemployment rates. Lindiwe eventually marries a South African revolutionary and bears a daughter. Corinne marries a physician and has a daughter and son. Corinne and her family later emigrate to Boston at the height of another momentous political situation – the 2008 presidential race between Senator Barack Obama and Senator John McCain. Lindiwe accompanies Corinne and her family to Boston in order to earn a college degree and money to support her unemployed husband and daughter back home. Corinne and Lindiwe find themselves engaged in the revolutionary spirit of the U.S. election and promoting change, once again, in a country that so desperately needs it.

I was surprised to find one actress playing not only Corinne and Lindiwe but also every other character in the play. I commend Gabrielle Maisels’s efforts in memorizing an incredible amount of dialogue and commanding the stage with great ease. Other than Maisels’s impeccable performance, however, I found the storyline difficult to follow. The transition between characters was muddled and it was challenging to decipher the heavily South African accented dialogue.

While Two Girls has a great deal of potential, it sadly fails to deliver due to the limitations of being portrayed by a sole performer.

Schedule and ticket information here.

Playing by Air

2010-08-21T18:05:00.001-04:00

By Desmond Sam

Playing By Air is a thrilling performance that makes you question the impossible. The four jugglers astound with their unique tricks.

Each juggler tells a story, combining juggling with music, lights, colors, magic, comedy, and even a little bit of puppetry. By fusing these elements together, they create a mystical aura in the theater. It is a small, intimate space, and the bright colors of the props and set illuminate the theatre as the music blends with the mood.

My favorite part of the show is the partnership between the music and juggling. The genres range from electronic to folk, and the performers are still able to juggle with the rhythm. The performers play the violin and oboe in very odd ways. They balance music stands and instruments on their faces. They use a Chinese yo-yo called the Diablo. This gives the show an extra flare by using something new that really impresses the crowd.

Playing by Air is a hidden jewel in the 2010 FringeNYC Festival.

*Plog Pick

Schedule and ticket information here.

When Last We Flew

2010-08-21T13:54:00.002-04:00

By Serra Akyuz

When Last We Flew revolves around the lives of two teenagers: Paul, who has to hide from his mother that he’s gay; and Natalie, who has to hide the confident, strong woman inside of her. These two teenagers from a small town in Kansas experience for the first time what it feels like to clip on wings and fly. Fly out through the roof and become the bird that was suppressed inside.

The play is funny, the dialogue is smart, and the story is inspiring. The actors are entertaining and their presentation of their characters’ journeys is spot-on. Although the scenery lacks props (except for a bathroom toilet and a few chairs), the cast fills the stage with something that isn’t tangible, but more valuable: the ability to engage the audience. Harrison David Roberts’ story is a small town Kansas version of Tony Kushner’s play Angels in America.

When Last We Flew challenges us to break the cage of the birds within us and evolve into something unstoppable.

*Plog Pick

Schedule and ticket information here.

A Separate Peace

2010-08-20T18:53:00.004-04:00

By Zoe Wolfe

A Separate Peace, by John Knowles, is considered to be one of those “great American novels.” It was written sometime in the first third of the 20^th century and usually incites a chorus of groans after the title is even mentioned. Ok, maybe it’s just me who groans at the very title, but I was surprised to see that anyone had decided to turn it into a play. And not just any play, but a solo show. As I sat down to watch, I had thoughts of boring English classes and readings swirling in my head, but as soon as the show started, they all disappeared. The star of the show, Brian Foyster, captivates the audience immediately.

With a slight southern accent, he tells the story of the summer of 1942 at an all-boys boarding school. As in the novel, Foyster takes on the role of Gene, the narrator, but he often interjects himself, becoming Phineas, Gene’s best friend or other, less important characters. Even though he is just one person and does not change clothes, it is always clear which character he is. There are times when the difference between Phineas and Gene is just a leg being extended. Foyster captures the feelings of both young men very well. He has a reckless but nervous energy about him and he isn’t afraid to dive into the characters.

As the play progresses and the close friendship between Phineas and Gene is compromised, having one actor play both characters shows the audience just how similar both of the friends are. Their friendship falls apart over petty jealousy and some misunderstandings. Phineas and Gene seem to be very different people, but their similarities are revealed. These similarities are not a flaw in Foyster’s acting or an inability to separate the two characters, but rather a deep understanding of the two friends.

*Plog Pick

Schedule and ticket information here.

The Girl in the Park

2010-08-20T12:54:00.003-04:00

By Audrey Alunan

The Girl in The Park is a play performed by an intimate cast of four, who perhaps are a little too intimate.

The play revolves around the twisted, romantic lives of these four people. Allan is forced to encounter the Girl in the Park, but ends up kissing her, then confessing the kiss to his wife, Hannah. However, Hannah also has a secret - she's been sleeping with his brother, Will. When Allan moves out to pursue a relationship with the Girl, she repeatedly warns him that she is nothing but trouble, yet Allan jumps to take that risk. The Girl never truly reveals her name to the audience.

Allan's life is never the same after the kiss. Through the twists and the complications, this play has a simple message: one moment can completely change the status quo.

Overall, I have mixed feelings about this play. Each individual scene was humorous and very well-acted. However, each scene was not in chronological order and switched back and forth from "three months earlier" or "later on that night". The show is difficult to follow and the audience is forced to put the pieces together.

The show ends three months in the past and leaves the ending open to interpretation. The playwright had a unique concept pertaining to the personality of each character, but the play simply needed straight-forward closure.

Schedule and ticket information here.

Hip Hop High - The Musical

2010-08-19T16:02:00.006-04:00

By Kerline Batista

Drew Moore is the new kid in town who attracts chaos everywhere he goes in Hip Hop High - The Musical. Soon after moving to a new town from Philly, Drew finds himself facing trouble after he witnesses the robbery and the murder of his local bodega man. He quickly recognizes the murderers as Trench and his crew from school. Throughout the show, we see Drew face a battle within himself over whether or not he should keep his mouth shut or tell the detectives who did it. At the same time, he sets his eyes on Kassie - better known as "the next Christina Aguilera." Meanwhile, we see Drew's friend, Pyro, trying to persuade Drew into joining his dance crew.

The storyline has been done million of times and leaves plenty to be desired. The first rap battle seems a bit familiar to that one of Eminem's in 8 Mile and the whole feel of the musical is almost the same as the Step Up movies. Nevertheless, this show is able to stand on its own with a surprise twist at the end.

The great amount of talent that the actors have is completely astonishing.The young actors stand out, but so do the adults, who do a bit rapping of their own.

If you're looking to see a show that requires you to connect emotionally, then this probably isn't the right choice. However, If you're looking to have a careless fun time while watching a show, then this is most definitely the right show to see. Hip Hop High - The Musical is an hour and ten minutes of pure excitement.

*Plog Pick

Schedule and ticket information here.

Monetizing Emma

2010-08-19T13:05:00.004-04:00

By Michele Tram

Thump. Thump. Thump. Loud music fills the theater. Moments later, the lights are slowly dimmed and faintly in the background you can hear several voices echo throughout the theater. Monetizing Emma has begun.

Monetizing Emma is a play that takes place three years from now. It tells the story of an independent, witty, sarcastic 15 year old teenager named Emma. Emma is at that age when indecisiveness and uncertainty begins to settle in, making her question every decision that she makes. Emma, like a majority of teenagers, is worried about the costly tuition of Ivy League colleges. Her concerns are put to rest when she is recruited by Genius Trust (GT) as a result of her ability to be a “good asset.” However, things are never quite what they appear to be.

Monetizing Emma is a play teenagers can relate to because at one point or another in our lives we seek independence to make our own decisions and choices. Nitya Vidyasagar, who plays Emma, brilliantly captures the conflicting emotions that teenagers feel.

I have a confession. Before seeing this play, I researched Monetizing Emma and stumbled upon the many awards this play has received. This meant that I already had high hopes for the play before it began. Often times, with high hopes, comes great disappointment. Monetizing Emma lives up to its praises and every second of the play kept me engaged with its witty humor and sharp one-liners. This modern comedic play of Monetizing Emma is definitely not to be missed!

*Plog Pick

Schedule and ticket information here.

Tristan & Isolde

2010-08-18T11:10:00.004-04:00

by Larissa Heron

Tristan & Isolde takes place in Ireland and England in 750 A.D. It is a story of love, betrayal and alliances. Isolde, the Irish Princess, is in love with Tristan, but is promised to Tristan's uncle King Mark. The Irish Princess must marry the English King to make peace and join allied forces. She is promised to the English King for political ties, and it is too late to flee and live with Tristan, her true love. Without realizing it, both Tristan and Isolde drink a potion from the same glass – and now, their true feelings are shown; Their hearts pump and their love is too obvious to be hidden anymore. When the King learns that both his nephew and his bride have betrayed him, he seeks revenge and banishes Tristan from his Cornwall palace. Will they be reunited or be forever torn apart?

This show never took off. There were no surprises, and it was very predictable. There were minimal props, which included a few swords, a table and a couple of chairs. The simplicity of the dark set was sparse. The few dull lights did not enhance the show at all. The setting of the story took place in Ireland and England, however, the accents were not consistent overall; half of the cast did have an accent and the other did not.

The actors did not engage much of a reaction from the small audience of only 21. However, King Mark’s acting ability played by Adam Baritot did stand out. He was well rounded, projected clearly and his character was believable!

I would not recommend this show.

Schedule and ticket information here.

In Loco Parentis

2010-08-18T10:55:00.004-04:00

By Monikha Reyes

Fringe NYC is like a basket of apples: Some may be sour and bitter, while others may be sweet and ripe. You never know what you’re truly going to get. Luckily, In Loco Parentis is a sweet pick.

When a teacher is forced to help a student after-school due to an uncomfortable subject brought up during class, they become closer, inciting rumors that may or may not be true. Even before the play was over, I knew it was excellent.

The lines are quirky and funny at some points, and meaningful the next. The conversation between characters are true to the play and the time - so much so that I can picture people I know saying the same thing. For example, one of my favorite characters, the teacher, Mr. Browning, is definitely a cross between the TV character House and my own English teacher. The characters have their own personality - they aren't two-dimension - and the acting is a treat to watch.

The plot is refreshing. How many plays do you know show the taboo of a teacher-student relationship circled around college, death and Hamlet? Whether you like the play or not, by the end, you will step out of the theatre with a better knowledge of Hamlet.

In Loco Parentis is a must-see, two-thumbs-up show. Every second is worth watching.

*Plog Pick

Schedule and ticket information here.

UBA Bounce

2010-08-17T12:37:00.005-04:00

By Zoe Wolfe

Dance is an interesting form of performance. Virtually any type of movement can be classified as “dance”. In UBA Bounce (UBA is pronounced oo-ba), the chosen form of movement is – no, not bouncing – rolling. The performers slide, glide, twirl and even walk on large exercise balls and circus globes. This style of movement is very intriguing. It’s not commonly used outside of the circus, but it clearly has its place in this dance piece. Using the balls gives the dancers freedom that feeds into a playful quality. In one dance, the performers dive off of the balls over and over again. It is clear that they are thoroughly enjoying themselves.

This deliberate carefree-ness, however, is not followed through in all of the dances. In many, it seems as though the balls have control over the dancers, forcing the dancers to struggle with the balls. This struggle is apparent from the moment the lights come up. We see a dancer standing on a green ball, trying to be as still as possible and yet quivering with a look of two parts concentration and one part horror on her face. While I understand that working with rolling objects is hard, as an audience member, I don’t want to see the work that the performers have to put in.

UBA Bounce is presented as a series of dances. While each one is good in its own way, they do not work together as a cohesive piece. All in all, UBA Bounce is like many shows at the Fringe Festival; it shows much promise, but it isn’t quite there yet.

Schedule and ticket information here.

Lemonade: A Play Of World Domination

2010-08-17T11:58:00.004-04:00

By Michele Tram

Based off the name alone – Lemonade: A Play Of World Domination – I didn’t know what to expect. How could lemonade possibly be tied in with ruling the world? In Lemonade, playwright Jais Brohinsky has created a world in the future where corporate tycoons get rich off of selling sunlight and scientists are advanced enough to be able to clone humans.

Lemonade is a play performed by eight talented cast members who individually embodied their characters very well. There is no denying that there was great chemistry between two of the main characters, Henry and Henrietta, two of the richest corporate tycoons who went from plotting mischievous plans against each other to uniting with a plan to take down the richest tycoon by assassination.

My favorite aspect of Lemonade was the clever use of live film projection and the foley artist. The live foley artist played a keyboard to match the cast’s every movement was genius.

A play inspired about the economic times of our world today, Lemonade was overall decent. There were several moments when I questioned what the main idea of the play was and it was only until the very end that the play really started to come together. Although we can certainly relate to the economic woes that Lemonade revolved around (such as $30 for a cup of lemonade), I feel like the playwright’s vision got lost in the excessive plot and slow pacing of the play. As the light gradually dimmed and the play came to an end, only some audience members grasped the concept, but others simply left the theatre still confused and befuddled.

Schedule and ticket information here.

Made in Taiwan

2010-08-16T14:53:00.005-04:00

by Christa Tandana

The room is pitch black. You hear a strange noise, something like a rudder. It sputters, louder and louder, increasing to a climax. Gradually, the lights turn on, revealing the perpetrator - a young woman eating a bowl of noodles.

Made in Taiwan is the story of Michelle Krusiec and it’s about more than how she eats her noodles. With a hysterical Chinese mother and a tall, blonde-haired blue-eyed father, Michelle had her share of identity struggles. Her mother tried to raise her to be a good Chinese girl, but like many Asian parents, she can never be pleased. Michelle takes you through her awkward lunch moments, freedom in college, dancing in an all African-American dance company, and just being her mother’s daughter!

This character is easy to relate to, even if you’re not Chinese. Her story is filled with hilarious antics and difficult struggles with being both Chinese and American. Michelle’s relationship with her mother may seem somewhat insane to most people, but, at the heart of their relationship lies a common fear in all relationships – the fear to be alone.

Michelle Krusiec wrote and acted in this autobiographical one-person show. If you’ve never been to a one-person show before, it means that the cast has only one actor. That one actor plays a number of different characters. As you can imagine, that is really difficult to do. Michelle brilliantly executed the flow between herself to her mother to her quirky aunties and other characters without pause, guiding the audience smoothly along her life story.

You might not realize it, but it is very difficult for Asian Americans to work in theatre. It’s already enough that most Asian parents pressure their children to find a “real” job like a doctor or a lawyer. Add to that there are not many characters for Asian Americans to play and there aren’t many plays that address Asian American issues. There have been a few films that address these concerns like The Joy Luck Club and Saving Face, but certainly not enough. Some, like Michelle and David Henry Hwang, have decided to write something on their own.

The Fringe Festival is known to have some oddities, and when you pick a show, you don’t really know what is going to happen next. Made in Taiwan is sharp, witty, relevant and meaningful. It is a wonderful marriage of comedy and heartfelt struggle that I would recommend it to anyone!

*Plog Pick

Schedule and ticket information here.

GirlPower: Survival of the Fittest

2010-08-16T13:50:00.007-04:00

by Audrey Alunan

GirlPower: Survival of the Fittest is a collection of original monologues, scenes, and songs written and performed by members of the Project Girl Collective, a group of girls between the ages of 12 to 21.

GirlPower: Survival of the Fittest speaks for itself. The beginning of the play is like a simile put to life onstage - two military commanders thoroughly criticize their cadets under pressure, representing mean teenage girls. The cadets struggle under each commander's cruel words such as "fat" "weak" and "ugly." Sound familiar? We live in a world filled with obstacles such as body image, insecurity, being bullied, school, relationships, and simply feeling the urge to make change.

No, this isn’t just some unrealistic, cheesy, feminist show. Each girl in the cast shares a different story based on their personal realities, showcasing their diversity and strength. During each scene, I recognized the circumstances that these girls were undergoing. After all, I am a teenage girl, too. Their messages really sank in during one of the scenes when a girl asked: "Who are you to tell me what I'm supposed to look like?"

I left the theatre feeling inspired and uplifted. Every girl will leave with a sense of empowerment and everyone else will leave with a renewed amount of feminine respect.

*Plog Pick

Schedule and ticket information here.

My Dad's Crazier Than Your Dad: A Scientific Inquiry

2010-08-14T17:25:00.005-04:00

By Kerline Batista

My Dad's Crazier Than Your Dad is a solo act brought to you in a unique form - it's carried out as a lecture in a college class. Katharine Heller tries to convince you of just how crazy her father is by conducting a science experiment. She recalls countless stories of her and her dad beginning from her childhood and continuing all the way through her adulthood, as she goes through the steps of the scientific method.

At the beginning of the show, I wondered why she was so driven to prove that her dad is crazy. However, after Heller began telling us how Mr.Heller and his wife wore matching Disney sweatshirts, how he faked his own death, and how at a graduation he sat in a handicapped seat just so he could get the best seat, I started to believe her. Though the show will make you laugh hysterically, it will also cause you connect with your emotional side, as Katharine presents the audience with letters and email exchanges between her and her dad.

By the end of the show, I think the audience reached a consensus that Katharine's father is actually nuts. As she says in the show, her dad really seems to be "an equation that won't add up."

If you have a chance to see this show, do it. You won't regret it. Katherine shines with her wittiness and her comedic timing. The show is only fifty minutes long - and you'll be laughing for about forty nine minutes and fifty nine seconds.

*PLOG PICK

Schedule and ticket information here.

FringeTastic 2010

2010-08-13T16:14:00.005-04:00

We're getting SO excited for FringeNYC!

Have you heard of it?

Over 200 performance arts companies (big and small) are presenting work all around the city for two weeks. Ploggers are spending every waking moment seeing and writing about these shows to tell YOU what to see.
Keep checking back to see what we've seen - and what we recommend!

And check out these $5 tickets to some of the shows through High5!

Our Town

2010-08-11T14:10:00.005-04:00

by Monikha Reyes

Our Town, by Thornton Wilder, has been performed time by many theatre companies and schools alike. This play is a classic, known for its slice of life of the early twentieth century. Depending on the performers, it can either be a thrill to watch or an unbearable experience. Luckily, this production of Our Town was absolute fun.

In three acts, the audience gets a view of the everyday lives of the townspeople, focusing in on George Gibbs (the son of the town’s doctor), and Emily Webb (the daughter of the newspaper editor), and their families. We see the milkman and his heifer, the newspaper boy, the drunken choir director, and the other townspeople who make this play colorful. Our narrator, the Stage Manager, guides the play along, pointing out facts and observations about the world of the play that we might overlook.

The play is always done with the minimum of props. That means that all the plates, cupboards, and food are all not there - that is, unless you’re really into the play. However, this version had a surprising twist in the end that was something I have never seen before - it took me aback.

The beginning of the first act can be a bit tedious, if only for the language (keep in mind the play takes place at the start of the 1900's). And though the speech is old, the wardrobe is modern-day.

I would encourage play-lovers to see this classic - it’s entertaining, fun, sad and happy -everything you need in a great play.

TICKETS: THRU SEPTEMBER 12th ONLY! $20 student rush • Barrow Street Theatre, 27 Barrow St.

The Merchant of Venice

2010-07-27T15:49:00.003-04:00

By Reyna Schaechter

This summer, Shakespeare in the Park, housed in Central Park’s Delacorte Theater, is reviving The Merchant of Venice. Shakespeare in the Park has become an annual tradition, and because demand for tickets is so high, I arrived at the park at 7:00 AM to receive two tickets for that evening’s performance of “The Merchant of Venice”.

The Merchant of Venice, written by Shakespeare between 1596 and 1598, addresses the anti-Semitism in society at the time. Bassanio, a Christian Venetian, turns to Jewish moneylender Shylock for a loan, naming Antonio as the loan’s guarantor. Shylock agrees under the condition that if Antonio does not repay him by a specific date, Shylock gets to cut a pound of his flesh off. When Antonio defaults on Shylock, Shylock takes him to court, prepared to take his revenge. However, when Portia, a rich heiress, points out a flaw in the contract, the law turns on Shylock and he is forced to convert to Christianity against his will.

I will confess, I had to read the plot summary through a few times to grasp all that was happening. And that was after I saw the show.

Shakespearean English is more difficult to comprehend than the English we’re used to. I think that productions of Shakespeare must be very active in order to keep audiences awake and attentive. Though the court scene in which Shylock’s future is determined was gripping, it was more a result of Shakespeare’s brilliance than the doing of any director or actor. In other scenes, I often found my mind wandering.

Although we have all come to love Al Pacino, his accent threw me off. He spoke in a heavy modern Brooklyn accent, which led me to believe that director Dan Sullivan was attempting to modernize the storyline. However, the Elizabethan costumes screamed “17^th century” to me. Bodices, stomachers, kirtles, ruffs and cloaks were all present in the production. Brooklyn didn’t even exist when these garments were fashionable.

The one thrill of the show was seeing famous figures live. Al Pacino, for example, received an ovation when he entered the stage. In addition, at the end of the show, a bunch of fans crowded around the stage door (myself included). I was lucky enough to take a picture with him.

If you’re in the mood to get up at 5:00 in the morning, wait for six hours in Central Park, sit through an almost three hour show, but then have the opportunity to take a photo with Al Pacino at the end, then go see The Merchant of Venice.

TICKETS: Free tickets for Shakespeare in the Park are distributed via the free line at the Delacorte Theater in Central Park, and on the web via our Virtual Ticketing system. Visit www.shakespeareinthepark.org for more info.

Summer Re-View

2010-06-18T14:00:00.003-04:00

School's over...what now?

The PxP Summer Re-View, of course!

Ploggers take a second look at shows already covered online or in print, reminding you of the shows that you have been meaning to see.

Do you have a Re-View of a show that we've already covered? Email it to juliar@tdf.org!

Fuerza Bruta

2010-06-18T13:46:00.007-04:00

by Sam Norton

For those of you who have seen one too many abstract performances and have declared “Enough!” I may just have the performance to shake you off your wagon. Aesthetically and sensationally pleasing, Fuerza Bruta (which in Spanish means “Brute Force”) may be abstract, but it is much, much more.

Upon entering the Daryl Roth Theater, the first sign that this is no ordinary show comes with the complete absence of seats. Instead, you find yourself thrust into a throng of people, huddled at the center of an enormous fog filled room. The show follows the story of a lone man, ever persevering through the endeavors with which life unabashedly chucks at him, while he walks on a giant treadmill. This would seem to be the plot, however as the actors begin to dance, you begin to realize that the story has taken an unexpected turn. The very ground on which you are standing becomes a dance floor, and you are expected to shake your hips. If you are the kind of person who stiffens with the prospect of dancing, you may think that this is a cruel joke, but as the audience starts to flail and jump wildly with the dancers, you feel the music’s infectious techno-funk rhythm impossible to resist. You, too, become another flailing jumping idiot in the middle of a flailing jumping crowd.

“Look Up,” say the poster, which you noticed upon entering the show. "For what?" You might ask yourself, until you notice a woman, illuminated by bright beams of light, sifting through a small see-through pool directly above your head. She descends as if from the heavens joined by three others, until the pool becomes close enough to you to touch your nose to the pool.

The true oddity of Fuerza Bruta, is that the show is just as alive as the performers. At any time, it might awe you from one end, creep around you from the corner and tap you on the shoulder. No one movement can be expected--every action as authentic as the next. For better or for worse, Fuerza Bruta has been burned into your head, standing out above all the rest. The originality of the show leaves you flabbergasted; its zany dances and delectable imagery are enough to warm the heart of even the iciest critic. While the plot still remains a mystery, you leave the show feeling invigorated. You want to bring this feeling out onto the streets, and give everyone in New York City a taste of Brute force.

Tickets: $25 general rush • Daryl Roth Theatre, 101 E. 15 St.

Next Fall

2010-06-09T14:58:00.009-04:00

By Ben Ellentuck

Next Fall brings together the past and the present to tell a story of family and faith. Much of the play takes place in flashbacks, which chronicle the romantic relationship of Adam and Luke. Luke, a devout Christian, meets Adam, a sarcastic, culturally-Jewish-but-really-atheistic urbanite There is an instant attraction and a very serious romance blossoms, despite the fact that they have opposing views of faith.

The other part of the play, the present, takes place in a hospital waiting room after Luke is hit by a car. The accident brings together Adam, Luke’s parents, and friends, who all try to cope with the situation.

The play explores different kinds of family: There’s the biological family, who are there whether we like them or not, and the family of friends, whom we’ve chosen for ourselves.

Adam’s accident incorporates everyone into one big family —where they, even literally, catch each other when they fall—united for a common cause, at least temporarily. Though, it seems that something lasting may be forming in that waiting room.

TICKETS: $26.50 student rush, 2 per valid ID • Helen Hayes Theatre, 240 W. 44 St.

The Addams Family

2010-06-08T15:16:00.004-04:00

By Grace Lisandrelli

The delightfully dismal The Addams Family has returned as a musical.

Gomez and Morticia’s daughter, Wednesday, has fallen in love with Lucas Bieneke, an all-American boy from Ohio. Wednesday forsakes her affiliation with all things grim and gruesome in favor of a positive approach to life, much to her family’s dismay. When Lucas’ parents arrive for dinner, Wednesday begs her family to act “normal” for just one night. Lucas asks the same of his parents, two rather conservative Midwesterners. Hilarity ensues when these polarized families spend the evening together, posing an interesting question: what, exactly, is “normal”?
The Addams Family is irresistibly funny, full of clever one-liners that had the audience laughing out loud. The script did have an overabundance of modern political jokes, though, which fell flat and affected the show’s equilibrium.

The strong bond among the members of The Addams Family is clear. The cast interacted naturally with one another, which made them appear very much like a real family.

The Addams Family is a fun relic for fans of this “creepy, kooky, spooky” but loveable family.

TICKETS: $41.50 student rush • Lunt-Fontanne Theatre, 205 W. 46th St.

The Addams Family Dramaturgy

2010-06-08T14:53:00.004-04:00

By Christa Tandana

Do you remember that cartoon show The Addams Family? Is the theme song stuck in your head now?

Well, guess what? The ghoulish cartoon about the beyond abnormal family has been transformed into a musical which is now on Broadway, starring Nathan Lane as Gomez and Bebe Neuwirth as his wife Morticia!

Before it was even a television series, The Addams Family was an original single-panel cartoon that appeared in The New Yorker Magazine in the 1930s. It was created by an American cartoonist named Charles Addams. These cartoons were about a not-so-typical American family. But as far as they were concerned, what was normal?

The cartoon evolved into a television series in 1964 which lasted for two seasons. The original characters in the cartoon were nameless, but Charles Addams was asked to come up with the names for them for the television show. The bizarre family did not get their own cartoon show until 1973. After this, the family went on to star in other cartoon shows, tv movies and films and have been part of pop culture history.

The most recent of The Addams Family is now on the Broadway stage. The musical opened on April 8th, 2010, and was recently announced to hit the road on a national tour in September of 2011.

American Idiot on PlogTV

2010-06-07T16:33:00.000-04:00

American Idiot

2010-06-07T16:27:00.003-04:00

By Nunny Reyes

American Idiot follows Johnny (John Gallagher, Jr. from Spring Awakening) and his friends, a group of young people trying to break free from the society they have grown to know and hate. These characters don’t want to slip between the cracks of our hypocritical society. The play highlights how easily someone can self-destruct when rules don’t apply anymore and freedom is taken in large doses. For example, Johnny meets a girl, Whatsername (Rebecca Naomi Jones from Passing Strange), and they choose drugs to enter an alternate world.

Those of us heading off to college or making a new life transition can easily relate to the difficulties Johnny and his friends face. We are afraid of looking back, but share the same passion to find an escape and discover something new about ourselves and the world. With music by Green Day, the cast fills the theater with unforgettable vocals. The elaborate set displays images, sounds and videos of events that have made a significant impact on our lives.

In theater, we expect to be challenged. American Idiot goes beyond that and truly depicts what life is like for teenagers in our time. With each passing song, the musical became more realistic and more truthful.

Read Nunny's Interview with John and Rebecca here

American Idiot Dramaturgy

2010-06-07T16:07:00.004-04:00

By Christa Tandana

Green Day is back onstage…on Broadway? Yes, my friends, it’s true! The hit song “American Idiot” is also now the name of the newest rock musical to hit Broadway!

Packed with angst and set to a punk rock soundtrack, American Idiot is certainly not your average trip to the theatre. The story is a coming-of-age story about American youth in suburbia who are trying to find meaning in a post 9/11 world.

Director Michael Mayer came up with the idea for this show by listening to Green Day's Grammy Award winning album. He then collaborated with Billy Joel Armstrong from the band to write the book for the show.

Michael Mayer won a Tony Award for Best Director of Spring Awakening. John Gallagher Jr., who played Melchior in Spring Awakening, is now starring in American Idiot as Johnny. Rebecca Naomi Jones, who was in the rock musical Passing Strange, is now playing Whatsername – (Note: I didn’t make a mistake, that’s the character’s actual name.) These are just a few names of the best and talented in theatre today – and they all collaborated on one show!

Fences

2010-06-04T15:18:00.000-04:00

By Monikha Reyes

For me, Fences can be summarized simply—a father doesn’t approve of his son’s interest in football. Denzel Washington plays that father, Troy Maxson, who is a garbage collector in Pittsburgh in the 1950’s. He once dreamed of having a career in baseball, but by the time black players were admitted into the major leagues, he was too old to join. In order to “protect” his son from disappointment, he attempts to prevent him from following a similar path.

Family is a crucial part of Troy’s life. However, finding a balance between his home life and job causes him grief—so much so that he begins to stray from his path as the perfect husband and father. He is the type of man who wants to fence in his family, which only backfire.

When intermission came, I blinked in surprise, realizing that the world on stage wasn’t real. The actors stay true to their roles in the play and the dialogue flows naturally.

If you can handle rough language, you will enjoy Fences.

TICKETS: thru 7/11, $26.50 standing room only • Cort Theatre, 138 W. 48th Street

Fences Dramaturgy

2010-06-04T15:05:00.001-04:00

by Sabrina Khan

Fences, by August Wilson, is a 1983 play that reflects of the African American struggle for life, liberty, and the pursuit of happiness—rights owed to every US citizen—during the Civil Rights Movement era. Set in 1957 through 1965 in Pittsburgh, Pennsylvania, the play explores complex themes of family conflicts and relationships, unwavering friendship during trying times, and integration among blacks and whites.

The play portrays the reality of the Black experience in the US in the midst and wake of Jim Crow laws. One such way the play alludes to historical context to serve as the foundation of the story is through the family name “Maxson,” a play on the words Mason and Dixon, from the Mason Dixon line, which was an imaginary border that separated the slave states from the free in 1820. It conveys the connection Troy bears between the unjust South he had leaves early on to become an urban citizen and the North that serves him little better.

Late playwright August Wilson, a prolific and influential writer to this day, told such a story by weaving together the threads that were the conditions of his own life. Wilson was born in Pittsburgh, Pennsylvania in 1945 and was raised in an environment where he became intimately familiar with poverty and racial discrimination. A remarkably intelligent individual, Wilson felt his academic curriculum unchallenging and often encountered prejudice in school. He educated himself in the local library, immersing himself in great works, and wrote poetry and short stories. Though Wilson wanted to be a writer, he and his mother were at odds because she wanted him to be a lawyer, and so he was compelled to leave home. He then enlisted in the US Army in 1962 for a year and returned to working odd jobs afterward.

In the 1960s, Wilson established himself as a playwright through the Yale School of Drama where the Dean of the Drama School, Lloyd Richards, saw extreme potential in him. Wilson and Richards collaborated on Broadway, and Wilson created the first of many works thereafter, Black Cart and the Sacred Hills. Fences soon followed, along with Joe Turner's Come and Gone, The Piano Lesson, and more. Fencesand The Piano Lesson both won Pulitzer Prizes for Drama in 1987 and 1990 respectively.

Fences opened in 1987 to great critical acclaim, and earned many Tony Awards, including Best Play. Since then, an entirely new cast has taken the responsibility to show another generation the still extremely relevant and poignant the story of Fences.

La Cage Aux Folles

2010-06-03T17:03:00.001-04:00

By Alyssa Zakaryan

La Cage Aux Folles is filled with snappy jokes, attitude, long legs and feather boas.

Kelsey Grammer plays Georges, owner of the nightclub La Cage Aux Folles. He is married to the star of the club Albin—known onstage as Zaza—played by Douglas Hodge. Grammer and Hodge work very well together, making their characters’ 20-year marriage seem very authentic.

Georges has a son, Jean-Michelle, who was raised by Albin because his birth mother left when he was four years old. When Jean-Michelle falls in love with a woman and proposes to her, he wants to introduce the families. The only problem—his fiancée’s parents are not only conservative, but are trying to shut down Georges and Albin’s beloved club. In a desperate attempt to hide his family, Jean-Michelle begs everyone to “straighten up”—which means that Albin has to leave the picture.

The musical leaves you not only with laughter, but with questions that make you reevaluate who a mother is—is it someone who gives birth to you or is it the person who takes care of you, stays up with you when you’re sick, and sacrifices for your benefit?

TICKETS: $36.50 student rush • Longacre Theatre, 220 W. 48th St.

Blue Man Group

2010-06-03T16:42:00.001-04:00

By Sami Bonilla and Adina Abercrombie

SAMI: Blue Man Group is an amazing show for all ages. It takes music and humor to a whole new level.

ADINA: The Blue Men don’t speak, but that doesn’t stop them from being heard. They express themselves through color, sound and art.

SAMI: During the show, two lucky people are chosen to come onstage and “help” the group with a skit. I was lucky enough to be given a bowl of cereal. No, I didn’t eat it, but I did feel awfully special!

ADINA: The way that the performers interact with the audience show that without the audience, there wouldn’t be a show at all. The Blue Men make you feel as though you are a part of the cast and just as important.

SAMI: I love the way they interact with each other. If one of them does something wrong, the other two give him the “why are you like this?” look—the look an older brother gives to his younger brother. They are a family.

ADINA: Blue Man Group shows that you can express yourself loudly without saying a word. How cool would it be to have a whole conversation without uttering a single word?

TICKETS: $29 student rush (except Fri/Sat night) • Astor Place Theatre, 434 Lafayette St.

Lend Me a Tenor Interview

2010-05-20T15:11:00.005-04:00

Plogger Sabrina went backstage to talk with Mary Catherine Garrison about her role in Lend Me a Tenor!

Sabrina: You've done a variety of plays that include Accent on Youth, The Man Who Came to Dinner, and many others. Do you like doing period pieces? What attracts you to this era of the '30s and '40s?

Mary Catherine: I actually really do like doing period pieces, but I don't necessarily seek them out. That time period was sort of a golden time for American theater so there are frequent revivals of plays from then, and, like our play, you have writers who have a lot of affection for that genre and then set plays in that time period. Personally, I enjoy doing GOOD plays--whether modern or a revival. But I do have a special place in my heart for the 20s, 30s, and 40s. I love films and music from then--and I'm al

so fascinated by their lifestyle. The hair, the clothes, the social norms--I love seeing inside a diner from the 30s--all the little details just fascinate me.

Sabrina: After having done both, what do you think is tougher, drama or comedy?

Mary Catherine: The honest answer is that they're both tough, but in different ways. I would say that a rehearsal for a comedy is tougher--only because you spend a lot of time not being funny until you find the funny, or doing the same jokes for the same people in the same room who can't laugh at it anymore. But doing a run of a play that asks a lot of you emotionally--eight shows a week of screaming and crying--that's a whole other animal. Right now, I'm really happy to be in a light, silly comedy!

Sabrina: In the play, your character, Maggie, wants a fling. What do you think that really means in terms of 1934? In your opinion, do you think this want ever really gets satisfied?

Mary Catherine: The writer, Ken Ludwig, obviously wrote this play in the 1980s and set it in 1934, so I'm thinking there are some liberties taken with some period behavior here :) The truth is, though, that people in the 30s--and any other time period, for that matter--were having sex and fooling around and had sexual desire and all of that. Whether you would have announced it to your fiance at that time, I'm not so sure. I think the want gets satisfied in a way she wasn't expecting: she had underestimated Max (played by Justin Bartha) and gets to experience him in a whole new light--which ends up being much better than a fling could have been.

Sabrina: Can you relate to Maggie? Or is she different from yourself or anyone you've ever played?

Mary Catherine: I almost always feel like there is plenty to relate to in any character I play. They may not be exactly like me or want exactly what I want, but they are people who want something so we always have that in common--after that you just have to get into and believe in the specifics.

Sabrina: What is your typical warm-up before getting on stage? Is there any particular song or exercise that pumps you up?

Mary Catherine: I'm finding that every show is different for me. I do a little yoga and a short vocal warm-up in my dressing room in this particular show, I want to go onstage (since I start the show) with my energy high so I've been blasting music that I don't normally listen to--like Guns-n-Roses and AC/DC and other random pop stuff to get the blood pumping.

Sabrina: What is it like working with such a dynamic and star-studded cast?

Mary Catherine: As famous and dynamic as they are--they are also an incredibly generous group of people who know a lot about comedy and about finding the jokes and I love them all immensely. We're still thrilled to be onstage together and still working. An example: the other night I was backstage with Tony and Justin and told them about a laugh I had lost which I had been getting since the beginning and I couldn't figure out what I was doing differently and what I needed to do. So in the dimly lit backstage area while whispering, the three of us talked it out and tried out a couple of things and solved it and I got my laugh back! They're also a hilarious group so we laugh a whole lot. There's nothing better.

Sabrina: What has been your most memorable onstage or backstage experience?

Mary Catherine: Fortunately or unfortunately, this particular cast has quite a few individuals who break easily on stage (by 'break' I mean laugh) and because there are some funny moments with some real funny actors, we have all--except a few who seem to be made of steel and are clearly more professional than the rest of us--lost it on stage. The audience loves it so my feeling is that if its genuine its fine. But as much as the audience loves it, we're having an even better time. It's such a wonderful job to be able to make people laugh!

Read Sabrina's review of Lend Me a Tenor and check out a backstage video here!

Sound Off: Ingredients of a Good Play

2010-05-14T16:12:00.000-04:00

What are the ingredients of a good play? How should they be put together?

Give us your recipes in the comments!

Family Week

2010-05-07T14:12:00.007-04:00

by Sam Norton

Family Week is a twisted, yet undeniably funny play that tells the story of a family, their hardships, and how they learn to cope with the rough hand that life has dealt them.

Claire has checked herself into a rehabilitation center in the Arizona desert, far out in the middle of nowhere, after the death of her 17-year-old son. Claire's mother, sister and and daughter arrive for Family Week to help Claire, they find themselves in need of help themselves. Trying to compensate for her pitiful previous attempts at motherhood, Lena arrives in a desperate attempt to reconcile her mistakes. Kay copes with the death of her only sibling, her abusive mother’s frail state, the fresh divorce of her parents, and the unforgiving pains of puberty and high school. Claire’s sister Rickey would seem to be the only comic relief, but as the play delves deeper into her character, there is nothing funny about her. Together, these four women probe through their pasts, under the watchful eye of the staff, to discover a way to live with the horrors that haunt them.

Family Week is a beautifully written, sassy, well-acted play. It’s fast-paced and packed with loose ends that allow the audience to understand for themselves what the characters are going through. Each line is delivered and written in the most poignant manner so as to twist and mold your emotions.

When it comes to the tragedy of life, this play does not beat around the bush. When you exit the theatre, you feel every bit as empty and alone as the characters of the play. Family Week, with it’s very real people and very real emotions, will bring a pang to your heart.

TICKETS: thru May 23 • $15 student rush • Lucille Lortel Theatre, 121 Christopher St.

Million Dollar Quartet

2010-04-30T14:03:00.006-04:00

by Desmond Sam

Million Dollar Quartet is a tribute to four musical geniuses of rock 'n' roll and allows you to join in on the fun.

Million Dollar Quartet is a recreation of a legendary moment in music history. This musical retells the impromptu jam session of Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins held at Sun Records Studio the day before Christmas in 1956. The show focuses on their brilliant music and barely touches upon their unstable lifestyles.

Million Dollar Quartet is a showcase of nostalgic remembrance of a time when youth expression was starting to explode and become a key component of the fabric of America. The show helps young people today understand the roots of our music. The performer who stands out the most is Dyanne, Elvis Presley's girlfiend, played by Victoria Matlock. She is the only woman in the show and her vocals take control.

The music is a collection of hits that have become household favorites, including Fever, Great Balls of Fire, and I Walk the Line. The music has people dancing in their seats, reminiscing about the first time they heard each song. The actors' impressions of each singer is completely believable.

Million Dollar Quartet is an easy-going musical that will delight your soul and make you tap your toes.

TICKETS: $30 lottery rush • Nederlander Theatre, 208 W. 41st St.

It's a Small World

2010-04-23T14:27:00.001-04:00

If you're a young and talented Broadway star, that is.

Ever wonder what happens to your favorite performer when he or she leaves a show? For some, they don't go very far.

Take a look at the new Broadway musical American Idiot. John Gallagher Jr., who played the unhappy Moritz in Spring Awakening, is currently starring as another angsty teenager. His love interest in the show is performed by Rebecca Naomi Jones, who you may have seen in Passing Strange.

Remember Sonny from In the Heights, played by Robin de Jesus (he also appeared in the musical theatre movie Camp)? You can catch him in the new Broadway production of La Cage Aux Folles.

Karen Olivio, who played Karen in In the Heights, has been appearing for over a year as Anita in West Side Story.

And we can't ignore the slighly larger move of the two ill-fated lovers from Spring Awakening, Wendla and Melchior, played by Lea Michelle and Jonathan Groff. Chances are you've seen them on the silver screen as they sing and dance their way through prime time on the new hit TV show Glee...coincidentally (or not), their characters are dealing with some of the same issues as their Spring Awakening characters did onstage.

Is it hard to see an actor perform a different role than what you are used to? Tell us in the comments!

Lend Me a Tenor

2010-04-16T16:24:00.000-04:00

by Sabrina Khan

When it comes to comedy, delivery is everything. The cast of Lend Me Tenor makes that clear in every single scene of the hilarious play written by Ken Ludwig and directed by Stanley Tucci. Set in a hotel suite in Cleveland, Ohio, in 1934, the stage is divided into two elaborately decorated rooms. The atmosphere is vibrant and classic, costumes similarly glamorous, and the tones of the actors appropriately melodramatic.

When neurotic Cleveland opera producer, Saunders (Tony Shaloub, Monk), hires the world renowned Italian tenor, Tito Morelli (Anthony LaPaglia, Without a Trace), to star in Othello, he expects him to arrive on time and be ready to perform. Max (Justin Bartha, The Hangover), his daughter, Maggie’s (Mary Catherine Garrison, Accent on Youth) foolish boyfriend, is his assistant and responsible for ensuring that Tito is focused on the premiere. The three, expecting him to arrive solo to his hotel room, are surprised to find him finally enter with his hot-tempered wife, Maria (Jan Maxell, The Royal Family). She proceeds to yell at her husband for eating too much on the way and accuses him of having women in the hotel room.

Saunders leaves Max to convince him to take a nap. Max secretly mixes a tonic in his drink to do the trick, totally ignorant of the fact that Tito had already taken pills in an impassioned response to his wife‘s bickering. Completely intoxicated, Tito even has Max sing to him after Max tells him about his own vocal ambitions. He finally falls asleep, distraught because he finds out moments before that his wife has left him.

When Max attempts to wake Tito, he finds him completely still and panics that he is dead.He informs Saunders, who goes mad with rage because he thinks of the tickets that must be refunded. He devises a plan to have Max sing the tenor’s part and wear the costume for Othello, with blackface and all. He would fool the audience and the company until having to announce Tito’s death early the next morning. “Nobody will know,” he convinces the reluctant Max. Little do they realize that Tito is still alive. It’s one farce after another and the actors do a tremendous job of refreshing the humor.

A play of operatic proportions, Lend Me Tenor, is a surefire hit. Each role, large or small, has its own flair and the dynamic between the characters is well balanced. The actors truly compliment each other, making the play an arena for witty verbal jousting. Lend Me Tenor is simply genuinely funny and suitable for all audiences.

TICKETS: $26.50 general rush • Music Box Theatre, 239 W. 45th St.

God of Carnage

2010-04-08T17:35:00.006-04:00

by Dalia Wolfson

God of Carnage, by Yasmina Reza, reveals the violence and animal instincts of daily, mundane encounters in the living room in Cobble Hill, Brooklyn. Eleven year-old Benjamin, armed with a stick, hit his peer Henry, knocking out two teeth. This incident brings their parents – Veronica and Michael, Annette and Alan – to discuss the next step in educating and disciplining their sons. The fast-paced 90-minute play tracks the unraveling of a polite discussion into a safari of sorts, with the two couples’ attacking each other and themselves as their social barriers crumble.

God of Carnage is particularly enjoyable because of Matthew Warchus’ directorial talent. The characters rearrange themselves throughout the play, sitting in different seats, collapsing on couches, strolling around the stage and, in the final moments, all are found to be in states of disarray with their knees on the floor – a sort of descent of man to the most primitive, crawling form of mobility. The set is also used masterfully, so that each prop – be it yellow cleaning gloves, white tulips or a limited-edition Kokoschka art book – is not merely a stage piece, but an object that merits interaction and attention. The roles of the characters conjure up a nice balance: one couple consists of an art history teacher and a department store owner who gleefully discusses toilet fittings, while the other pair includes a lawyer and a job in wealth management. The socioeconomic differences in the two sets of parents are outlined by their speech and clothing and, eventually, verbalization of values through the dialogue.

The root “carn” (flesh ) in Latin reveals itself in many forms: carnage, carnal desire, reincarnation and other visceral, instinctual words. These concepts are introduced throughout the play, placed as focal points in the struggle between high society’s discipline (upheld by Veronica, the art history teacher who respects sophistication) and raw, animalistic behavior (represented by Michael, the ‘neanderthal’ who settles for a “second rate” lifestyle). While a philosophical thread runs through the performance, God of Carnage skirts around this conflict with a generous dose of physical humor and a rapid hour-and-a-half long duration that leaves the audience feeling that somehow, the issues have not been fully fleshed out.

God of Carnage illuminates the tension between the primitive and the civilized, and ultimately this play is rather relevant to our generation; the slow, painstaking process of maturity is a concept that teens encounter in our daily existence. God of Carnage may not explore these issues to a point of satisfaction, but is worth seeing because it does raise vital questions about human nature that are pertinent to adolescents as they attempt to find a balance in this helter-skelter world.

TICKETS: $26.50 student rush • Bernard B Jacobs Theatre, 242 W. 45th St.

Ching Chong Chinaman

2010-03-31T15:59:00.005-04:00

by Olympia Zipitas

Ching Chong Chinaman is a fun play full of laughter and cliffhangers. It follows a Chinese American family that seems normal at first, but then the teenage son, Upton, imports a Chinese man to do his homework so that he can spend all of his time playing computer games. We watch as this stranger forces the family to learn more about themselves as individuals and as a family.

Many creative aspects of the play really stood out to me. The man from China coudn't speak English, but instead of speaking Chinese, he communicated only with body language. He and Upton's sister, Grace, had entire conversations that made me forget that they didn’t speak the same language until Grace said something like, "You still don’t speak English.”
After the play, I was able to ask the actors some questions about their characters and the rehearsal process. I learned that they only rehearsed for a couple weeks, which surprised me because they all seemed so comfortable with each other. They explained that because of the small number of Asian actors in the theater industry, many of them had previously worked with each other at one time or another. I also asked James Chen, the actor who played the man from China, how it felt to not speak for a big part of the play. He said that it was difficult because he wanted people to realize that he didn't understand his surrounding, not that he actually couldn't speak.

Ching Chong Chinaman is a lot of fun. The actors all played their roles very well and the chemistry between them was excellent. I definitely recommend this play to teenagers.

TICKETS: Playing thru April 11 • $20 student tickets • West End Theatre, 263 W. 86th Street, 2nd floor

World Theatre Day

2010-03-26T12:06:00.002-04:00

By Christa Tandana

Do you think theatre is worth celebrating? Then World Theatre Day is the perfect holiday for you!

Join the rest of the globe on March 27 to celebrate the many forms of theatre. Created in 1961 by the International Theatre Institute, or ITI, World Theatre Day is a day devoted to celebrating the creating and sharing of theatre.

Why should we celebrate theatre? Theatre is a great form of expression that goes beyond boundaries to connect people through emotion and creativity. Theatre arts does not mean just all plays. It includes drama, dance and musical theatre and even just watching it is part of the whole theatre experience!

Every year, the ITI partners with theatre communities all over the world to promote international exchange of knowledge and practice in theatre arts. Their purpose is to help create connections across the globe through theatre arts in order to create peace and increase understanding between communities in theatre and beyond.

Participators include countries like the UK, Ghana, Indonesia, Canada, Australia, France, the US. Right here in the New York, the New York City World Theatre Day Coalition is organizing a mass flash mob! A flash mob is a group of people who get suddenly crowd together in a public place to perform something and then quickly disperse. Bystanders are usually confused, amused, curious, or even wanting to participate! The one that will occur in NYC on March 27 will include a poetic reading, a song, theatre games and other mass theatre fun! One of them is called "Cheers to You" where they will start a mass applause.

You can find out more about how to participate here: www.nycwtd.com

So, whether you celebrate by joining the flash mob, seeing a show, or reading your PxP, take part in this international effort to celebrate theatre arts!

The Miracle Worker

2010-03-23T14:23:00.002-04:00

by Ben Ellentuck

I called up a friend and said I had an extra ticket to a show and would he like to come. "Of course," he said, "But what show is it?"

"The Miracle Worker," I said.

"Oh," he replied. I could tell what he was thinking. And quite honestly, I was thinking the same thing myself. Going to a show about Helen Keller did not seem like the most thrilling excursion in the world. In fact, it seemed quite boring.

I’m not going to lie and tell you that the show is hilarious or ground-breaking or full of energy because it isn’t. That said, it sure as hell is moving.

The plot follows the journey of Annie Sullivan (played by Alison Pill), from being a Boston boarding school student to becoming an astoundingly successful teacher of blind and deaf Helen Keller (played by Abigail Breslin—the little girl from Little Miss Sunshine; she looks very different now).

Before Annie arrives, no one knows how to communicate with Helen. Annie sets out to not only discipline Helen, but to also educate her. Of course there are obstacles in her way (such as Helen's parents and Annie's past), but Annie's experiments become progressively more and more successful. Helen learns about Annie, Annie learns about Helen, and the two grow to really care about one another.

You may be reading this and thinking, "Well…it still sounds kind of stupid." Fine; I get it. Maybe I’d still even feel the same way if it weren’t for the very last moments of the play. However, those final moments (this production does them SO well) are some of the most tender, poignant, uplifting—in short, some of the BEST—I’ve ever experienced through a work of art, any work of art, EVER. You feel hope, not a blind optimism, but a real, tangible hope, welling up in your chest, for yourself, for the characters, for humanity as a whole. It feels wonderful just being alive.

If you’ve ever truly felt this, you know exactly what I mean. If you’ve yet to, I would highly recommend the experience.

I really don’t want to ruin the ending of the play by revealing the specifics to you (yes, it’s that good), but I will say this: whether or not you’re interested in Helen Keller, if you care at all about people, you WILL be moved by The Miracle Worker.

TICKETS: $26.50 lottery rush • Circle in the Square, 235 West 50th Street.

Fuerza Bruta

2010-03-16T12:10:00.002-04:00

by Ben Wolfson

You would think a show with the title “Brute Force” would be about street thugs and cocaine smugglers. Wrong. Fuerza Bruta is about the collective experience of participating in an audience. There is no plot, no main character, not even a spoken word. And there are no seats.

The lights come on. A man in a white suit runs on a treadmill. A shot rings out. The man kneels over, examines his red stained suit, sheds it, and keeps running. Soon he is hit by a wall made of confetti-filled cardboard boxes. The confetti and box pieces fly over the audience.

You move to another part of the stage, where a wild dance party begins. The guy next to you starts head banging, even the man in the fancy suit starts tapping his foot. The actors jump into the audience and dance with you.

A pool of mermaids descends from above and you crane your neck to see with a sense of wonder. The pool is shallow and it starts to rain. The girls start diving and whirling, the shallow water allows for infinite grace. There is art in the way the water follows them, splashing in hypnotizing formations. The pool descends over your head; you can reach up and touch it. You are invited to dance as you get doused from above with water.

As you walk out of Fuerza Bruta, you feel you know everybody in the cast and the audience. The only thought in your head: “Let’s do that again.”

Tickets: $25 general rush • Daryl Roth Theatre, 101 E. 15 St.

Race

2010-03-15T14:17:00.004-04:00

by Zija Lubin-West

Race, the newest David Mamet play (which he both wrote and directed), is a very bold piece of work. The writing is straightforward, and in the midst of all the bickering and anger, it is quite entertaining.

Jack Lawson is a cynical lawyer who is approached by a messed-up billionaire charged with raping a black woman. Lawson’s partner, Henry Brown, is a man of morals, but is by Lawson’s side most of the time. Susan, a young and eager intern with strong views, helps on the case. As the case unfolds, Lawson and his team uncover secrets about Brown and themselves.

The raked stage was an interesting choice. Though it was easier to see all of the actors onstage, it must have made it harder on the actors to move around. It is uncommon to have a raked stage in contemporary theatre.

The office took up the entire stage and was used very well. No one seemed to be moving just for the sake of it, or because that’s where they were told to go. Each of the actors seemed to really understand what they were saying and who their character was.

Though Race is bold, it is also very funny. This is a play that could easily offend people, but with the right crowd and the right attitude, it is a heavy and heavily humored show.

TICKETS: $26.50 student rush • Ethel Barrymore Theatre, 243 W. 47th St.

Race Dramaturgy

2010-03-15T12:53:00.004-04:00

by Jahnesha Huertas

David Mamet’s plays Oleanna, Race, and Speed-The Plow have countless similarities. Not only does Mamet shine light on the dynamics of power, class, and authority between men and women, but the driving catalyst of his plot is almost always the sinister actions of a female. Whether this is the manifestations of sexist views on the behalf of the playwright is not completely apparent. Mamet shows women using their assets and positions in society to take advantage of male authorities.

In Oleanna, Carol, is a college student who can't handle the pressures of college and seeks out extra help from her professor. She makes it very clear that it is unfair that the authorities who hold the power to decide if she fails are human beings just like herself - they are people who aren't less lacking in their perfections, so why do they hold so much power over her and society? Susan in Race is also a young woman, an intern to be exact, and is surrounded by men in the workplace. She is the one with less professional experience, yet she ends up being the biggest threat to the case. Karen in Speed-The-Plow portrays herself as pure and naïve and is significantly younger than Gould, the film producer, who is obviously attracted to her. She wants a film idea to be produced and she knows that she can use her sexuality to get what she wants. She is very honest and upfront with Gould about his desires and romanticizes his need for love as virtuous. She makes him think that they both are searching for the same thing.

Mamet has a very specific formula. All of these plays have only one woman in them and he places the female in a male-dominated atmosphere. Mamet gives most of the social and professional power to the men in his pieces. By making Carol the student, Susan the eager intern and Karen the secretary, they seem the least threatening. His plays communicate that still in today’s world, men hold most of the power. Mamet puts his female characters at different social statuses than their male counterparts to mirror the dynamics of authority in the real world and their efforts on their inferior subjects. Also, Mamet makes age a prominent factor in all the characters of his plays - the women are all the youngest.

Race takes this a step further by making race a prominent issue in the plot. One of Susan’s mentors is also black like herself. By doing this, Mamet makes the statement that gender trumps race. Even though both characters are black, Susan’s position does not hinder her efforts to stand up for the alleged rape victim - another black woman. Both characters are more married to the bigger picture than their current situations. They are willing to risk everything to prove a point. Even though the alleged rapist never commits foul play against Susan personally, she still wants to make him an example.

Susan’s character challenges the definition of right and wrong. She has a very strong feeling that the alleged rapist is indeed guilty, however, she doesn’t act on her strong emotions until after her mentor asks her to play the victim in a reenactment of the encounter. Such an act would be her admitting that a white man was innocent of the rape of another black woman. Susan believes that since the alleged rapist confessed to the crime, thus proving that he was guilty, all of her foul play up until that point simply does not count. Susan is actually an aid in uncovering the truth. Her male colleagues are loyal to their client, but not necessarily loyal to the truth. As lawyers, they aren't interested in revealing the truth, they only want to protect their version of the truth.

The female characters in Race, Oleanna, and Speed-The-Plow are more loyal to the principles of their life situations than to the situations themselves. Susan, Karen and Carol are interested in making a statement about justice and truth in the society that we live in and Mamet uses them as a literary device to not only forward the plot, but as a symbol. Mamet shows that though men do not hold all of the power, woman are still highly underestimated. Mamet's female characters show that it doesn’t matter how mature and professional a male may be - a younger woman who appears defenseless can fool any man into doing what she wants.

Stomp

2010-03-12T14:26:00.006-05:00

by Melissa Miranda

Stomp is musical entertainment for all ages. This performance doesn’t have a storyline or characters, just music. And not the type of music that you hear a band play or listen to on the radio — this music is made by objects that we see and use every day. The performers use garbage cans, brooms, newspapers, plastic bags, stop signs, sinks, lighters, and more to create different beats and patterns.

The theatre is unlike any other theater I have been to. The stage is small and there are what seem to be millions of things hanging on the walls. These objects turn out to be what the performers use to make music.

The eight “stompers” move their bodies to the rhythmic beat of the music, dancing like they are at a party, not onstage. Although there’s no speaking, the performers use phsyical comedy and facial expressions to make the audience laugh. The show makes me feel empowered and energetic. I feel the urge to dance and to make music with everything around me.

Stomp is perfect for teenagers who enjoy music and love to laugh. It takes music and movement to a whole other level.

TICKETS: PxP Special 2 for 1 ticket offer • Feb 16th-Mar 25th, Tue-Fri @ 8, Sat & Sun @ 3 • Code PLAYBY • Phone, box office or online • Orpheum Theatre, 126 2nd Ave.

A View From the Bridge

2010-03-12T11:38:00.001-05:00

by Sara Aronbayev

Broadway’s A View From the Bridge is packed with love and deceit. Set in the mid-1950’s, the play follows Eddie Carbone, a longshoreman living in Red Hook, Brooklyn, with his wife Beatrice, and Catherine (played by Scarlett Johansson), his 17-year-old orphaned niece. Eddie dotes on Catherine. This becomes more pronounced after Beatrice’s cousins come from Italy to start a new life in America. Sheltered Catherine falls for one of the immigrants, and Eddie’s passionate jealousy propels the play towards a series of tragic confrontations.

The actors’ portrayals of Arthur Miller’s character are spot on. Scarlett Johansson gives a remarkable performance in her Broadway debut, really committing to her role of an overly protected young woman itching to experience the world around her. The set played a significant part in creating the melancholy mood of the play. It revolves on a turntable, showing different locations, but keeping the same atmosphere. The dark lighting and cramped rooms highlight the anxiety that radiates from the characters’ inner conflicts: Catherine with her lack of freedom, Beatrice with her confusion over Eddie and Catherine’s relationship, and Eddie’s inappropriate desire for Catherine.

The central theme in A View From the Bridge — jealousy — is very relevant to modern teenagers. It’s like the forbidden fruit on the tree: you always want what you can’t have. Though written fifty years ago, this play has withstood the test of time.

TICKETS: $26.50 general rush • Shubert Theatre, 225 W. 44th St.

A View From the Bridge Dramaturgy

2010-03-12T11:36:00.004-05:00

by Christa Tandana

Did you ever imagine Scarlett Johansson on Broadway? Well, she is now, starring in A View from the Bridge alongside Liev Schreiber.

Enter the world of Eddie Carbone (Schreiber), a longshoreman who lives with his wife, Beatrice, and his orphaned niece, Catherine (Johansson), in an Italian American neighborhood in Red Hook, Brooklyn in the mid-1950's.

The 1950's were the age of McCarthyism. Citizens were scared of being considered a communist, coming into the country was extremely difficult and immigration laws and procedures were harsh and tightly enforced.

Arthur Miller, the playwright of A View from the Bridge, grew up in Brooklyn and had a particular fascination with the community of longshoremen in Red Hook. Before he wrote A View from the Bridge, Miller wrote a screenplay in 1950 called “The Hook”. The film was supposed to be about corruption on the docks and was never produced because Miller refused to change the villains from corrupt union officials to communists to give it a more “pro-American” feel.

A View from the Bridge was then introduced in 1955 as a one act play on Broadway. Since then, it has been made into a movie and performed as an opera.

The last Broadway production was done in 1997 and starred Anthony LaPaglia, Allison Janney, and the late Brittany Murphy. It won several awards including a Tony for Best Revival of a Play and Best Leading Actor in a Play for LaPaglia.

Arthur Miller has written such famous plays as All My Sons and Death of a Salesman. A View from the Bridge may not be his most famous play and one might ask why there is any need for another revival, but with a new cast and new director, this might just be a new way at looking at this kitchen-sink drama!

Memphis - Backstage

2010-03-11T17:04:00.001-05:00

Memphis Dramaturgy

2010-03-11T15:21:00.003-05:00

by Sabrina Khan

Memphis, a new musical that soulfully narrates the birth of Rock ‘n’ Roll, is Broadway’s live history book of a time when music engaged the nation to acknowledge and take action
against racial discrimination.

In the show, young Huey Calhoun has a passion for rhythm and blues, and he visits an underground black club to listen to music. There he meets Felicia Farrell, a young black singer, who becomes Huey’s inspiration to bring “race music” to mainstream culture. Although the genre gains instant popularity among American youth, Huey is constantly met with hostility from conservative (often older) white people who want to censor it from the media.

Based on actual accounts, Memphis is set in a period of American history spanning The Great Migration, leading into the Civil Rights Movement, all amidst the origins of Rock ‘n’ Roll.

During the years of 1910-1970, over six and a half million black migrants moved from the South to the North in the hopes of escaping segregation and gaining greater standards of living. In 1910, 80% of the black population lived in the South, and because of The Great Migration, by 1970, only 25% remained. Unfortunately, the North didn’t offer the haven the migrants had hoped for and racism was rampant.

Facing discrimination in all walks of life, harsh treatment from employers, violence from the Ku Klux Klan, and segregation in the South, African Americans began to fight for equal opportunities and rights. Major strides were made in this fight: the Brown v. Board of Education decision that declared segregation in schools unconstitutional, Rosa Parks’ protest and successful Montgomery Bus Boycott led by Dr. Martin Luther King Jr., and the integration of Central High School in Little Rock, Kansas, to name a few. The Civil Rights Movement of the 1950s paved the way for greater change in the next decade.

Finally, Rock ‘n’ Roll emerged as a youthful and rebellious call for change that defied the structure and rules of the past generation. The music enveloped all that conservative America tried to suppress - a sense of freedom and raw energy that was heavily influenced by black musical roots. A fusion of rhythm and blues, soul and gospel, Rock ‘n’ Roll, was much too political and risqué, but radio stations, a platform for divide, were willing to take a chance on it and made legends of artists like Elvis Presley. With a voice criticized for sounding “too black”, Elvis sang and danced controversy in his tunes and demonstrated the feel of the time. And when disc jockey Alan Freed coined the term Rock ‘n’ Roll in the early 1950s, he made an amazing addition to the recording industry and mainstream media.

Read a review of Memphis here

and an interview with the stars here

Sound Off: How Do You Speak?

2010-03-05T17:24:00.002-05:00

In the spring issue of PxP (coming out next week!), we review shows that explore different ways of speaking - with words, with music, with dance, with sounds.

PxP Wants to Know...

How do YOU speak?

Tell us in the comments!

Lessons Learned

2010-03-02T12:33:00.000-05:00

by Grace Lisandrelli

During regularly scheduled meetings called Plogger Bootcamps, teen ploggers learn of the latest occurrences at TDF, hone their writing skills, and exchange ideas about effective plogging. At the most recent Plogger Bootcamp, the ploggers had the pleasure of meeting with TDF Online Content Editor and fellow critic, Mark Blankenship. In initiating a discussion, Mark posed a simple question: Why did you want to become a plogger? Some said they wanted to broaden their theater repertoire, while others sought a medium in which to fuse their love of theater and writing.

One plogger’s answer in particular has remained with me since that meeting. This plogger relayed her experience as an artist and the sort of criticism she receives from her peers. A person would approach her drawing, for example, and negatively comment on the size of her subject’s sketched hand. When the plogger would ask the critic to elaborate on his or her criticism, the critic offered neither a detailed explanation nor a route by which to correct the problem. Many people, particularly critics, are quick to disparage but few can clearly articulate the reasons behind their critique.

Mark presented a method to avoid this pitfall in the form of three questions, which he uses as a framework for all his reviews:

What was the artist trying to accomplish? – Critics should look beyond the art’s exterior and search for the message being portrayed.
Did the artist accomplish his/her goal? – Once the art’s meaning has been deciphered, the critic should determine whether the artist has successfully communicated his/her message to the audience.
Was the subject matter worth exploring? – After answering the first two questions, the critic must question if the overall theme has any bearing on society.

I found these questions thought-provoking and capable of leading a critic to uncover multiple dimensions of a work of art. They will prove a useful tool as I write my next review.

Hair

2010-02-25T14:56:00.009-05:00

by Nat Marcus

I was totally unfamiliar with the musical Hair until seeing it. I knew that there were hippies, a whole lot of flowers, and most obviously, a lot of hair. My preconceptions all turned out to be correct, but it was a musical that struck me in many more ways than just beautiful flowing locks.

The show follows a Tribe of young bohemians camping out in Central Park, practicing the ways of love, peace, and tolerance. Claude, the troubled leader of this group of hippies, serves as the narrator. The songs speak of the political and social problems the activist youth face in the 1960’s fighting against sexual and cultural repression, but also of the love that’s spread in the Age of Aquarius and the mind-opening hallucinogenics that are shared throughout the Tribe. As the pressure to join the army fighting in the Vietnam War increases and the Tribe begins to fall apart, Claude wonders if fighting for one’s identity at all times is better than having no identity at all. One thing that sets Hair apart from other musicals is the lack of dialogue between songs; instead, the plot is almost entirely moved forward by song. I enjoyed simply listening to the psychedelic melodies the cast sings to develop the story (and was spared from the agonizingly corny musical acting). One of the most unique about the show is the energy that the ensemble brings onstage and reatins throughout the whole musical. This energy is brought into the audience as well - during some songs, the Tribe comes down into the seats and dances with audience members, which adds a whole new layer of excitement to the performances.

Although Hair takes place more than 40 years ago, I can relate to the desire to fight against repression and fight for what I think is right. It is a show that I would recommend to anyone in the mood for an uplifting, funny, and powerful musical. Especially if you're not usually into musicals (like me), Hair will make you think differently.

HOW TO SEE THE SHOW: $25 lottery rush 2 hours before show; $25 student rush • Al Hirschfeld Theatre, 302 W. 45th St.

The Pride

2010-02-18T13:21:00.002-05:00

by Sabrina Khan

It’s 1958 and Sylvia, Philip and Oliver are struggling to find love and come to terms with their sexuality. Shoot forward to 2008 and now they are trying to discern the fine line between love and lust and find true companionship. Caught in “an erotic time warp,” The Pride tells the story of two sets of three individuals with the same names and how they deal with the hardships of love amidst each society’s sexual attitudes during the two different time periods.

In 1958, Philip is in deep denial of his sexual orientation. An incredibly virile man who finds “effeminate” men “offensive,” Philip finds his world turned upside down when his wife Sylvia introduces him to Oliver, and the two develop a private relationship that he eventually deems the cause of a mental disorder.

Heavily manipulated by the 1950s views on the issue, Philip refuses to accept the truth and tries to lead a “normal” life with little consideration for Sylvia who, in turn, never gets the chance to feel the kind of bond with her husband that he once shared with Oliver. Victims of his betrayal, Oliver and Sylvia recognize their positions, but the pressures of the era silence their emotions and their lives are forcefully and heart wrenchingly dictated by Philip’s actions.

The production fast-forwards to 2008, where Oliver personally identifies himself as a sexual deviant. He is completely in love with Philip but constantly seeks meaningless encounters with anonymous men. As a loyal partner, Philip cannot accept this and leaves Oliver. A weakened and heartsick man, he finds solace in their mutual best friend, Sylvia. Sylvia meanwhile tries to find her own happiness, but often finds herself wedged between Oliver and Philip, helping them to solve their issues. In the present, all three realize how much has changed, but they also know that as “free” as they may finally be, obstacles still exist. Amidst this thickening drama, Sylvia dramatically and comically reveals that there is more to the gay community than a great knowledge of draperies and culinary instinct. There is a whole past of struggle and hope that enables them to show their pride.

Led by a stellar cast, The Pride is a passionate and potent play that recounts the progress of homosexuality in the public eye. It is a truly intense show with moments of profound and frightening impact that will be memorable to all those who open their minds to it.

TICKETS: $15 student rush thru 3/28 - Lucille Lortel Theatre, 121 Christopher St

As You Like It

2010-02-11T17:50:00.001-05:00

by Ben Ellentuck

When I entered the BAM (Brooklyn Academy of Music) Harvey Theater, where As You Like It is playing, I was immediately struck. The theater is absolutely enormous. It also looks like it’s about to collapse. Old columns just barely hold up the balcony. The walls and ceiling are crumbling: I would not have been entirely surprised if a piece of debris had fallen on me. Also—a warning—the seats are very flat and not ideal for sitting in for long periods of time. And yet, the space, especially in combination with the set, is breathtaking.

Ah, the set! The set designer has hit a home run, beautifully capturing the essence of the forest, where most of the action takes place. The trees are like telephone poles, the back wall like an infinitely tall prison barrier; first snow on the ground, then what looks like wheat—the whole set up is weird and wonderful. The lighting design, too, is great; there is a very nice chemistry between the lighting and the set that results in some very cool effects throughout the performance.

Ah…the performance. Is it a bad sign that I enjoyed looking at the set more than at the performers?

As You Like It is a comedy by William Shakespeare (remember him?). As such, you can be sure that there will be a woman (Rosalind) dressing like a man, lovers (her and a guy named Orlando, among others), fools, nobility, singing and general merriment, and of course many happy marriages at the end (As You Like It features a quadruple marriage). Yes, of course there is a plot, but it’s much too complicated to write here. (The program attempts a synopsis that is so confusing I almost didn’t bother to pay attention at all—but don’t worry, I’m sure you’ll get the basics…by intermission.)

Sure, there are the famous speeches—“all the world’s a stage,” among others—that can’t possibly go wrong. There are the gags that are funny no matter what. There are some moments that inevitably work—the writing is just that good. But in this production, at least for me, these were the only moments that I really enjoyed.

The production, directed by Sam Mendes (he directed American Beauty and Revolutionary Road, among other movies—along with many other plays), is not played as a comedy—or at least it isn’t particularly funny. (But then again I didn’t find American Beauty particularly funny, either.) As a result, I didn’t really have that much fun watching the actors speak—and they speak quite a bit; the production is three hours long.

Additionally, Mendes sprinkles in a bunch of conceptual elements—some modern costumes here, some English accents there, some color-blind casting, a lot of the cast playing multiple roles—that feel more like afterthoughts than anything else. They’re never really fleshed out, and I didn’t feel like I “got” what Mendes was going for in the end—but perhaps I’m just stupidly inattentive. I don’t know. Maybe it was my flat seat, after all.

HOW TO SEE THE SHOW: $10 student rush tickets • BAM Harvey Theater, 651 Fulton Street, Brooklyn

Kids Night on Broadway

2010-02-02T15:19:00.006-05:00

Kid’s Night On Broadway is an event presented by The Broadway League in which children ages 6 to 18 can see a participating Broadway show for free as long as they are with a full paying adult. The Broadway League began the program in 1996 to allow young people to experience the thrill of live theatre.

Participating shows include: Billy Elliot, Chicago, Fela! , Hair, In The Heights, The Lion King, Mary Poppins, Mamma Mia!, Memphis, Next To Normal, The Phantom Of The Opera, South Pacific, West Side Story, Wicked, Avenue Q and Stomp.

In NYC, the celebration kicks off at Madame Tussauds (234 West 42^nd Street between 7^th & 8^th Avenues) on February 2 with a Fan Festival hosted by Corbin Bleu (from High School Musical). KNOB tickets are also available for both the matinee and evening performances on Sunday, February 7^th.

All participants receive a special souvenir Playbill from tdf (hey, that's us!) that also qualifies them for discounts at eateries in and around the midtown area, pre-theatre parties, and discounted parking. The playbill includes behind-the-scenes information on many of the participating shows. Look closely - many PxP ploggers contributed their writing!

Some of the KNOB festivities include a theatrical makeup station, Broadway karaoke and dance (with host Corbin Bleu and other Broadway actors), a Broadway tattoo parlor, Autograph Alley with Broadway casts, and Camp Broadway and Broadway Green Alliance special activities.

For more info visit: www.kidsnightonbroadway.com

Chicago

2010-01-26T14:30:00.002-05:00

By Desmond Sam

The musical Chicago is raw and has an awkward structure that proves originality. Everything from the set to the costumes and cast is different, but captivating.

Chicago focuses on a woman named Roxie who is an inspiring actress. She is married, but has an affair and ends up killing her lover. She goes to jail and becomes a star because of the publicity surrounding her trial. Velma, Roxie’s cellmate, also wants to be famous, so she and Roxie have some issues. In the end, they realize that they need each other to reach their goals.

The cast makes this show a spectacular piece of art. Deidre Goodwin (Velma Kelly) and Roz Ryan (Matron “Mama” Morton) each have amazing voices that really stand out. Goodwin begins the show with a favorite by all Broadway lovers, “All that Jazz”. Then, Ryan performs “When You’re Good to Mama” a song made famous by Queen Latifah in the movie version. Ryan even talks to the audience, making us part of the festivities.

The orchestra is unique because the pit is right in the middle of the stage. The conductor is also a standout performer because she communicates with the cast throughout the show. She isn’t just a conductor, but also a character in the show.

The dancing made my jaw drop. It had a bit of jazz, contemporary and even ballet. The music sometimes creates a Spanish feel or a Blues touch that affect the dancing and the mood of the theatre. The show is able to exploit the glitz and glamour of the vaudeville era by using only chairs, simple black costumes and an occasional ladder. With so few props and costumes, the cast is really able to express the show’s true spirit, proving that less is more.

I recommend Chicago because many teenagers crave fame. Many people believe that criminal acts are the easiest gateways to fame. One thing that they never notice is that fame doesn’t last forever, especially when you use murder as your main talent. This is the theme of the show and makes it one of the top dogs of Broadway.

HOW TO SEE THE SHOW: $31.50 general rush • Ambassador Theatre, 219 W. 49th St.

Smudge

2010-01-20T16:53:00.001-05:00

by Alyssa Zakaryan

Smudge begins with an expecting couple, Colby and Nick, confused by the ultrasound photo of their baby. They can’t even determine the baby’s gender. When the baby is born, to say that Colby and Nick are surprised is an understatement – the baby comes out with only one puny “leg” and one “Caribbean Sea colored eye.” The rest of play shows how both parents react and cope (or at least try to) with their daughter, their “little monster”, Cassandra.

Cassandra’s birth summons fear, resentment, pity and denial. She invokes an unconventional array of emotions in those who interact with her. The characters are very complex – their outer appearances are only shallow representations of their true feelings and expectations. While Nick appears to be the ideal father by interacting with Cassandra, he is in fact in denial of her terrible disposition, constantly telling her to “reach for the carrot” with the arms she does not have. On the other hand, Colby is very upfront with her detestation towards “it,” but resentfully grows to care for Cassandra – this is after tormenting Cassandra with a plush toy made with many limbs protruding everywhere.

Smudge explores an area that seems untouched – can a parent really love their child no matter what? Parents are expected to love their child unconditionally right off the bat. Usually parents are portrayed as all loving, and if the baby is defective, they rush to take care of it. With Cassandra, the baby becomes the enemy because she is different and because of her parents’ difficulty in loving and accepting her.

Playwright Rachel Axler (from The Daily Show and Parks and Recreation) shows the diverging sides of a possible reaction to such a tragic and unexpected situation. Smudge is a play that will make you think – what would you do in this situation?

HOW TO SEE THE SHOW: $20 general rush • thru Feb. 7 • Julia Miles Theater, 424 W. 55th St.

Safe Home

2010-01-14T18:29:00.002-05:00

by Ben Ellentuck

I must admit: going to see Safe Home I was not particularly optimistic. A family drama set in the 1950s about a son going off and dying in the Korean War does not strike me (I can only speak for myself here, though I suspect I am not alone) as making for an “enjoyable” theater experience. Perhaps the play would be weighed down with facts? Or politics? Fortunately it was neither of these things. In the end, however, the premise seemed to get the best of it.

The son is a 19-year-old version of the person who would have grown up to be the playwright’s uncle; the piece was inspired by one of his “shockingly poignant” letters “from a cold and lonely outpost in Korea” (I’m quoting the Playwright’s Note on the first page of my program, if you’re curious). It chronicles the lives of his family—him, his two teenage brothers, his stressed mother and burnt-out father—jumping back and forth between the time before he left for Korea (1951) and the time after his death (1953). His enlistment tears the family apart only to bring them back together again, and his death brings the family back together only to tear them apart once more. Of course, the boy has a romantic interest, and in the end we see that even in the face of death love conquers all (awww…). (Not to marginalize the romance per se—the actress who plays the romantic interest, Claire, brings an interesting 21^st century take to the role; I almost wished we saw more of her—but it is just that: the “old-fashioned” token teen romance in the family drama.)

In the end, the play just didn’t excite my emotions. There wasn’t anything about it that I found particularly disturbing, or funny, or moving. There wasn’t anything particularly anything: the piece was very nebulous. It certainly wasn’t whimsical; rather, the playwright seemed to be going for something grittier. But the play’s feet weren’t planted firmly enough in the ground for it to be earthy. It seemed to be stuck in a sort of purgatorial blandness that really didn’t excite my interest in any of the characters. I got to know what they were like, but I never felt like I knew who they were. (The exception, perhaps, was Claire, but this seemed to have more to do with the actress’s take on the role than anything else.)

Perhaps the letters from the son really are shockingly poignant. (I do not doubt this, in fact—especially if that son is your would-be uncle.) The playwright, however, seemed to have trouble translating this emotion into something theatrically exciting.

HOW TO SEE THE SHOW: $10 student rush tickets • Women's Interart Center • 500 West 52 Street • Friday & Saturday at 8PM; Sunday at 5PM; Monday at 7PM

Once and For All We're Gonna Tell You Who We Are So Shut Up and Listen

2010-01-12T15:32:00.007-05:00

by Sami Bonilla and Adina Abercrombie

Sami: For a play with such a long name, it’s really quite simple.

Adina: Once and for All We’re Gonna Tell You Who We Are So Shut Up and Listen is a show about rebellion and misunderstanding. It is full of energy, excitement, and even confusion. Though this show only had a few words of dialogue, it still had a lot to say about teenagers and the issues that we face as we try to figure out who we are and where we are going. This show was a chance for teenagers to speak out without interruptions.

Sami: At first, I was confused about what was going on as the actors destroyed the set by writing on the floor, throwing cups around, and more. It was a disaster! I found myself thinking that these teenagers were nothing better then a pack of animals with their boundless energy. However, even though it looked destructive, it showed something else – that you can only set boundaries after personally finding out what they are, and that’s what these teenagers were doing.

Adina: The show explained that, as teenagers, we’re often called out of control, when we are really just trying to find ourselves. Telling a teenager not to make the same mistake you did isn’t going to stop them from making that mistake because they have to experience it for themselves. Teenagers are going to bend, break and try to change rules that can’t be bent, broken or changed.

Sami: Near the end of the play, one of the female actors says that you are free to tell her what to do, like giving her a curfew, but she will always come home after it. “And I will be piss drunk,” she comments, which made me laugh. She explains that it isn’t because you tell her not to, or because you have or haven't done it, but for the simple fact that she hasn't tried it yet.

Adina: The message to teenagers is that everyone has that point when you don’t know who you are or what you want, but do what you can to figure it out. Never hold back because holding back will make that process painful.

Sami: Once and For All We're Gonna Tell You Who We Are So Shut Up and Listen is not about teenagers being destructive and wanting to do bad things, instead it shows that teenagers are not meant to be stereotyped or called ignorant. I was able to connect to them because I know how it feels to be to told, “You're just a kid so you won't understand!”

Adina: There was a character who said it was hard for her to express herself, so she writes what she thinks about people on a post-it note and sticks it to them. This is someone I relate to because often times, when asked my opinion, I find it hard to say what I am thinking out loud. However, when I have my journal, I can express myself without a problem. I believe it comes from my fear of judgment. No one likes to be judged, so often times, we don’t share our opinions.

Sami: I kept on thinking, “I could have been in this!"

Adina: I heard one teenage girl say “I’ve done that before,” and I heard another girl say, “Maybe my mom should come see this.” Once and For All We're Gonna Tell You Who We Are So Shut Up and Listen made me think, and when a show does that, it is successful.

HOW TO SEE THE SHOW: $25 tickets • The Duke on 42nd • 229 W. 42nd • Performances: Thursday, January 14 @ 7:30pm; Friday, January 15 @ 7:30pm; Saturday, January 16 @ 2pm; Saturday, January 16 @ 7:30pm; Sunday, January 17 @ 3pm

Editor's Note: All shows are currently sold out, but don't despair! Call 646-223-3010 for tickets other people cancel, or sign up for the wait list at the theatre 1 hour before the performance.

Race

2010-01-08T16:25:00.002-05:00

by Jahnesha Huertas

David Mamet’s (playwright and director) new play Race will definitely keep fans of his past work (such as Oleanna) pleased as he once again puts his signature spin on society’s opinions of power and status.

The play begins with Charles Strickland, a white man charged with the rape of a black girl, coming to the law firm of Jack Lawson and Henry Brown. Lawson and Brown are suspicious that there is more to the story than Strickland is telling. Susan, the office intern, strongly feels that the suspect is guilty from the beginning. The debate goes into whether the alleged victim was a true lover of Strictland or if the whole ordeal was racially motivated. Secrets from Strictland’s past sprout up from nowhere, and Susan does everything in her power to make sure that justice is served.

Race puts a strong focus on the different interpretations that the white and black community puts on race, what is viewed as politically incorrect, and if foul play against a guilty person is justified. The fast and intense dialogue of the play is a pleasure to watch, however, some of the conversations seem very choppy and abrupt, as if the actors are reciting their lines mechanically and don’t fully internalize what they are saying.

The entire play takes place in the law firm and the only indication that we have of the passage of time are some minor costume changes. The set is kept simple to allow for more of an emphasize on the plot. The whole cast does a very good job of telling the story, however, James Spader (playing lawyer Jack Lawson) was the most dynamic onstage and portrayed a lawyer very naturally and realistically (perhaps because he played a lawyer on the TV series Boston Legal).

Mamet’s newest play Race made me think about a question that I never paid much attention to before: If you are guilty of sinister acts against a guilty person, does that somehow make you less guilty?

HOW TO SEE THE SHOW: $26.50 student rush • Barrymore Theatre, 243 W. 47th St.

Sound Off: Best Play of 2009

2009-12-29T13:14:00.002-05:00

PxP wants to know...

What is the best play you saw in 2009?

Why was it so great?

Tell us in the comments!