Reviewed by Ilana Novick
Anita Bryant has long been seen as a punchline: she’s most known for getting pied in the face by protestors who hated her anti-gay activism. But David Carl Lee wants to earnestly tell her story—Pie Face: The Adventures of Anita Bryant—and of how she affected his own identity as a gay man. His subtle use of drag allows us to mock her politics and take them seriously at the same time, and this makes Bryant’s transformation from a promoter of products (a beauty queen for orange juice) to a promoter of hate.
Lee’s got the dress, the big hair, and colorful makeup, but his gestures are restrained, and his voice is softened: he straddles the line between campy and sincere. He clearly hates her work, and yet he’s making a conscious effort to get inside her head, to understand her. When he portrays Bryant being pied, his lip quivers and his eyes widen in disbelief, as if empathizing with how that feels. But as the pies keep coming, the shows falls squarely into camp, and that’s when it goes downhill. Equal rights and gay marriage are timely issues, but the play doesn’t have enough time (or performers) to fully explore all of the issues it hints at. It seems rushed, the stage constantly turning from a hotel room (meant to represent Bryant’s national tour) to her home in Florida, to the Miss America set, using only a few changes in lighting, and barely any changes in furniture.
Also, the question remains why Lee would want to bring Bryant up in the first place—though the movement she led is very much alive, she’s more of a historical footnote now. In 2009, which Proposition 9 fresh in America’s memory, and slew of recent cases where states pass their own laws allowing gay marriage, it’s just not as satisfying seeing pies thrown in the face of the intolerant, no matter how successful they were in 1977. Despite a great performance from Lee, the play itself can’t quite maintain the balance of satire and biography.
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Pieface (Run Time; Intermission(s)?)
Showing posts with label Fringe Festival. Show all posts
Showing posts with label Fringe Festival. Show all posts
Thursday, September 10, 2009
Monday, September 07, 2009
Fringe/A Midsummer Night's Dream
Reviewed by Nicole C. Lee
It’s all about the actors in The BAMA Theatre Company’s production of William Shakespeare’s A Midsummer Night’s Dream. Simplicity is the governing theme: the set design is simple; the performance space is denoted by blue masking tape laid down by the actors at the start of the show. This allows all focus to be on the performers, and the audience is not disappointed. The eight-member cast takes on all 22 characters in this comedy about what happens when supernatural beings meddle with love.
A Midsummer Night’s Dream is perhaps one of the more confusing Shakespeare tales to tell, so to aim for simplicity with this show is wise. It features three interlocking plots among three completely different groups of people: supernatural creatures, royalty, and the lower class. The eight-member cast takes on the task of portraying characters that total nearly three times their number. Notable roles such as Puck and Bottom are challenging in and of themselves, but Chris Roe and William Brock, respectively, put on strong performances. All of the actors do a superb job of not only differentiating each of their multiple roles, but making them their own. Nick Lawson, for instance, portrays an edgier Lysander. One could see him as easily comfortable on the streets of contemporary New York as in the palace in Athens, where the play is set. Simple and distinct items of clothing assist the swift transitions between characters and scenes. For example, a black pair of broken glasses is all Alison Frederick needs to go from playing Moonshine among the troupe of actors to the regal Hermia at the palace. The simple costume changes allow the cast to avoid confusing the audience about which character they are portraying at any given moment.
Director Peter Macklin is very loyal to Shakespeare’s text, and the simplicity of the show – in lighting, set, and costumes – allows the actors to bring the story to life. Much like Olympic gymnasts, the actors never step past the blue line unless they are “off-stage”.
Overall, BAMA’s production of A Midsummer Night’s Dream is a delightful interpretation of one of the more difficult Shakespeare plays to perform. Though there are as many leading roles as there as actors in this cast, the production highlights the strength of a good ensemble of actors.
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FringeNYC 2009: A Midsummer Night’s Dream (2 hours and 15 minutes, including one 10-minute intermission)
The Cherry Lane Theatre (38 Commerce Street)
Tickets: $15 (www.fringenyc.org)
Performances: concluded August 29
It’s all about the actors in The BAMA Theatre Company’s production of William Shakespeare’s A Midsummer Night’s Dream. Simplicity is the governing theme: the set design is simple; the performance space is denoted by blue masking tape laid down by the actors at the start of the show. This allows all focus to be on the performers, and the audience is not disappointed. The eight-member cast takes on all 22 characters in this comedy about what happens when supernatural beings meddle with love.
A Midsummer Night’s Dream is perhaps one of the more confusing Shakespeare tales to tell, so to aim for simplicity with this show is wise. It features three interlocking plots among three completely different groups of people: supernatural creatures, royalty, and the lower class. The eight-member cast takes on the task of portraying characters that total nearly three times their number. Notable roles such as Puck and Bottom are challenging in and of themselves, but Chris Roe and William Brock, respectively, put on strong performances. All of the actors do a superb job of not only differentiating each of their multiple roles, but making them their own. Nick Lawson, for instance, portrays an edgier Lysander. One could see him as easily comfortable on the streets of contemporary New York as in the palace in Athens, where the play is set. Simple and distinct items of clothing assist the swift transitions between characters and scenes. For example, a black pair of broken glasses is all Alison Frederick needs to go from playing Moonshine among the troupe of actors to the regal Hermia at the palace. The simple costume changes allow the cast to avoid confusing the audience about which character they are portraying at any given moment.
Director Peter Macklin is very loyal to Shakespeare’s text, and the simplicity of the show – in lighting, set, and costumes – allows the actors to bring the story to life. Much like Olympic gymnasts, the actors never step past the blue line unless they are “off-stage”.
Overall, BAMA’s production of A Midsummer Night’s Dream is a delightful interpretation of one of the more difficult Shakespeare plays to perform. Though there are as many leading roles as there as actors in this cast, the production highlights the strength of a good ensemble of actors.
-------------------------------------------
FringeNYC 2009: A Midsummer Night’s Dream (2 hours and 15 minutes, including one 10-minute intermission)
The Cherry Lane Theatre (38 Commerce Street)
Tickets: $15 (www.fringenyc.org)
Performances: concluded August 29
Saturday, September 05, 2009
Fringe/Testify
Reviewed by Cindy Pierre
Etch Dance Co.'s Testify is a display of athleticism and dance tricks that is high on energy, but low on tangible emotion. Artistic Director and Choreographer Elisha Clark Halpin's 30-minute, contemporary dance presentation is supposed to embrace what lurks in women's hearts, but the execution is frenetic instead of heartfelt, and overwrought when it could have been simpler. Not that emotions are simple. But the way they are packaged here-in “jagged and angular” movements that are piled on top of one another too quickly to ponder-is offputting instead of inviting. As a result, the troupe of six often look like gymnasts approaching difficult moves when they dance. The soundtrack, consisting mostly of Jazz tunes by Nina Simone and Etta James, tries to tell us that the dancers have the blues, but only Allison Alemi in “Since we met” and Halpin in “All I could do” express themselves in a manner that befits the love songs. They are the only dancers that are convincing, even if Halpin's dress isn't: the fabric doesn't have enough give for the electrifying steps that she has designed. “Stepping into Darkness'” story about warfare in Darfur is poignant, but Megan Moore, Lauren Steinke and Caitlin Rogowski have way too much to do in the time allotted. Testify may make many statements, but too many of those are witnesses against the importance of emotion instead of for it.
-------------------------------------------
Testify (Running time: 30 minutes)
The Robert Moss Theatre (440 Lafayette Street, 3rd Floor near Astor Place and East 4th Street)
Tickets: $15. www.fringenyc.org
Etch Dance Co.'s Testify is a display of athleticism and dance tricks that is high on energy, but low on tangible emotion. Artistic Director and Choreographer Elisha Clark Halpin's 30-minute, contemporary dance presentation is supposed to embrace what lurks in women's hearts, but the execution is frenetic instead of heartfelt, and overwrought when it could have been simpler. Not that emotions are simple. But the way they are packaged here-in “jagged and angular” movements that are piled on top of one another too quickly to ponder-is offputting instead of inviting. As a result, the troupe of six often look like gymnasts approaching difficult moves when they dance. The soundtrack, consisting mostly of Jazz tunes by Nina Simone and Etta James, tries to tell us that the dancers have the blues, but only Allison Alemi in “Since we met” and Halpin in “All I could do” express themselves in a manner that befits the love songs. They are the only dancers that are convincing, even if Halpin's dress isn't: the fabric doesn't have enough give for the electrifying steps that she has designed. “Stepping into Darkness'” story about warfare in Darfur is poignant, but Megan Moore, Lauren Steinke and Caitlin Rogowski have way too much to do in the time allotted. Testify may make many statements, but too many of those are witnesses against the importance of emotion instead of for it.
-------------------------------------------
Testify (Running time: 30 minutes)
The Robert Moss Theatre (440 Lafayette Street, 3rd Floor near Astor Place and East 4th Street)
Tickets: $15. www.fringenyc.org
Friday, September 04, 2009
Fringe/Muffin Man
Reviewed by Nicole C. Lee
Do you know the Muffin Man? Lyla sure does – and she loves more than the muffins he brings. Muffin Man follows her adventures as a new barista who, on her first day of work, falls all over again for her childhood crush, Justin (the “Muffin Man”). Camille Harris writes and directs this sweet, light-hearted musical, combining the addictive nature of a good cup of java with a handful of zany characters.
The opening begins with bars from the play’s familiar namesake, but from there, it’s Harris’ own secret recipe. The ingredients are all good, too: the set is a simple, little coffee station, and there are a plethora of costumes for the nine-person cast and their multiple roles. Over the course of an hour at The Perky Coffee Bean, Lyla (Samantha Blain) and her spunky yet charming boss, Sadie (Shaye Troha), deal with the unpredictable characters and situations that come their way. In one instance, two businesswomen enter the shop and offer to pay for the other’s coffee. What begins as a friendly and polite gesture turns into a competition of who can persuade Lyla to take her credit card first. Harris manages to include many of these comical moments that also poke fun at America’s addiction to coffee (Starbucks, anyone?).
People of all ages will be able to relate to the teenage angst aspect that Lyla is suffering. At one point, Lyla is just about to reveal her true feelings to Justin when her mother appears and embarrasses her by offering to drive Lyla home (“but Mom, Justin offered to take me home!”).
It’s not often these days that audiences are treated to a classic romantic musical. Muffin Man delivers a charming one and does so in a modern way. The show’s tunes allow the actors to show off their vocal chops without being taxing on the audience. All in all, Muffin Man is a delightful show that will leave a smile on your face.
-------------------------------------------
FringeNYC 2009 Encore Series: Muffin Man (60 minutes, no intermission)
The Actors Playhouse (100 Seventh Avenue)
Tickets: $15 - 18 (www.fringenyc.org)
Performances: September 16, 23 @ 7PM, September 26 @ 6PM, September 27 @ 3PM
Do you know the Muffin Man? Lyla sure does – and she loves more than the muffins he brings. Muffin Man follows her adventures as a new barista who, on her first day of work, falls all over again for her childhood crush, Justin (the “Muffin Man”). Camille Harris writes and directs this sweet, light-hearted musical, combining the addictive nature of a good cup of java with a handful of zany characters.
The opening begins with bars from the play’s familiar namesake, but from there, it’s Harris’ own secret recipe. The ingredients are all good, too: the set is a simple, little coffee station, and there are a plethora of costumes for the nine-person cast and their multiple roles. Over the course of an hour at The Perky Coffee Bean, Lyla (Samantha Blain) and her spunky yet charming boss, Sadie (Shaye Troha), deal with the unpredictable characters and situations that come their way. In one instance, two businesswomen enter the shop and offer to pay for the other’s coffee. What begins as a friendly and polite gesture turns into a competition of who can persuade Lyla to take her credit card first. Harris manages to include many of these comical moments that also poke fun at America’s addiction to coffee (Starbucks, anyone?).
People of all ages will be able to relate to the teenage angst aspect that Lyla is suffering. At one point, Lyla is just about to reveal her true feelings to Justin when her mother appears and embarrasses her by offering to drive Lyla home (“but Mom, Justin offered to take me home!”).
It’s not often these days that audiences are treated to a classic romantic musical. Muffin Man delivers a charming one and does so in a modern way. The show’s tunes allow the actors to show off their vocal chops without being taxing on the audience. All in all, Muffin Man is a delightful show that will leave a smile on your face.
-------------------------------------------
FringeNYC 2009 Encore Series: Muffin Man (60 minutes, no intermission)
The Actors Playhouse (100 Seventh Avenue)
Tickets: $15 - 18 (www.fringenyc.org)
Performances: September 16, 23 @ 7PM, September 26 @ 6PM, September 27 @ 3PM
Thursday, September 03, 2009
Fringe/Face the Music....and Dance!
Reviewed by Cindy Pierre
Despite the title Face the Music...and Dance!, there isn't a lot of confronting going on in this collection of mostly excerpts of choreography designed to tackle everyday struggles. There may be some strong choreography and beautiful lines from the dancers, but only one piece earns the title. As a result, the uneven, 75- minute show zigs and zags from pieces with gravitas to pieces that are beautiful, but ultimately fluffy in comparison.
For instance, Noa Sagie's “Degas duck dag's” take on the roles of women may be lighthearted and quirky -with Hysun Choi capitalizing on the fun-but it immediately sets a tone for the show that undermines its mission. Julian Barnett's “Wooden Heart” has a wonderful part in which Jocelyn Tobias mimics Barnett's movement and he appears to be wearing her like a cloak, but this tale about the difficulties in relationships doesn't have enough of a struggle. Maura Nguyen Donohue's “Jet Stream” is a great blend of talented flautists (Rick Ebihara, Brian Nishii and Perry Yung) and synchronized dancing from Donohue and Barnett, but again, there are no altercations.
Only Heidi Latsky's “What Would You Have Done” succeeds in battling its subject matter: hate associated with the holocaust in the film version of Bernhard Schlink's The Reader. Jeffrey Freeze and Luke Murphy rage, beat their bodies, comfort each other and quiet down in a powerful display of emotion.
Finally, Tina Croll's “The Stamping Group” uses 17 dancers to make a statement about unity “in this dark age”, but we never experience darkness or unity. The dancers pile onto the stage gracefully, but proceed to bump into each other and misstep, causing great confusion. And because Scott Lewis is the only male dancer, you'll wait and wait for him to distinguish himself from the rest, but that never happens. We shouldn't be waiting for a sign of independence when the dance is supposed to be about sameness.
Face the Music...and Dance! may have plenty to say about various themes, but don't expect too much confrontation, conflict, or cohesiveness. But if you're looking for some inspired movement and unusual expressions of feeling, you'll get that and then some.
-------------------------------------------
Face the Music....and Dance! (Running time: 75 minutes)
The Robert Moss Theatre (440 Lafayette Street, 3rd Floor near Astor Place and East 4th Street)
Tickets: $15. www.fringenyc.org
Despite the title Face the Music...and Dance!, there isn't a lot of confronting going on in this collection of mostly excerpts of choreography designed to tackle everyday struggles. There may be some strong choreography and beautiful lines from the dancers, but only one piece earns the title. As a result, the uneven, 75- minute show zigs and zags from pieces with gravitas to pieces that are beautiful, but ultimately fluffy in comparison.
For instance, Noa Sagie's “Degas duck dag's” take on the roles of women may be lighthearted and quirky -with Hysun Choi capitalizing on the fun-but it immediately sets a tone for the show that undermines its mission. Julian Barnett's “Wooden Heart” has a wonderful part in which Jocelyn Tobias mimics Barnett's movement and he appears to be wearing her like a cloak, but this tale about the difficulties in relationships doesn't have enough of a struggle. Maura Nguyen Donohue's “Jet Stream” is a great blend of talented flautists (Rick Ebihara, Brian Nishii and Perry Yung) and synchronized dancing from Donohue and Barnett, but again, there are no altercations.
Only Heidi Latsky's “What Would You Have Done” succeeds in battling its subject matter: hate associated with the holocaust in the film version of Bernhard Schlink's The Reader. Jeffrey Freeze and Luke Murphy rage, beat their bodies, comfort each other and quiet down in a powerful display of emotion.
Finally, Tina Croll's “The Stamping Group” uses 17 dancers to make a statement about unity “in this dark age”, but we never experience darkness or unity. The dancers pile onto the stage gracefully, but proceed to bump into each other and misstep, causing great confusion. And because Scott Lewis is the only male dancer, you'll wait and wait for him to distinguish himself from the rest, but that never happens. We shouldn't be waiting for a sign of independence when the dance is supposed to be about sameness.
Face the Music...and Dance! may have plenty to say about various themes, but don't expect too much confrontation, conflict, or cohesiveness. But if you're looking for some inspired movement and unusual expressions of feeling, you'll get that and then some.
-------------------------------------------
Face the Music....and Dance! (Running time: 75 minutes)
The Robert Moss Theatre (440 Lafayette Street, 3rd Floor near Astor Place and East 4th Street)
Tickets: $15. www.fringenyc.org
Tuesday, September 01, 2009
Fringe/Romeo and Toilet
Reviewed by Nicole C. Lee
What do you get when you take a classic Shakespearean tale, Romeo and Juliet, and mix it with Japanese interpretive dance and…a toilet? We’re never exactly sure in this 60-minute performance entitled Romeo and Toilet, presented by Kaimaku Pennant race. Written and directed by Yu Murai, six male actors engage in intense, physical actions that never seem to compliment or build a clear plot. While the names Romeo and Juliet are often thrown around, as well as some other lines in both English and Japanese, there is virtually no comprehensible speech or dialogue. In one scene, the characters engage in an intense argument that is little more than muffled speech because each man has a pacifier in his mouth. The performance relies heavily on choreography involving such stunts as imitating horseback riding with only the actors’ bodies. The music is perhaps the best part of the show. Featuring a mix of alternative rock ‘n’ roll and jazz, it is reminiscent of a Quentin Tarantino film or a Japanese cartoon. And while the work put into the show and the physical demand on the performers is laudable, I doubt an even cursory knowledge of Japanese will illuminate this show for you.
-------------------------------------------
FringeNYC 2009: Romeo and Toilet (60 minutes, no intermission)
HERE Arts Center – Mainstage Theater (145 6th Avenue)
Tickets: $15 (www.fringenyc.org)
Performances: concluded August 29
What do you get when you take a classic Shakespearean tale, Romeo and Juliet, and mix it with Japanese interpretive dance and…a toilet? We’re never exactly sure in this 60-minute performance entitled Romeo and Toilet, presented by Kaimaku Pennant race. Written and directed by Yu Murai, six male actors engage in intense, physical actions that never seem to compliment or build a clear plot. While the names Romeo and Juliet are often thrown around, as well as some other lines in both English and Japanese, there is virtually no comprehensible speech or dialogue. In one scene, the characters engage in an intense argument that is little more than muffled speech because each man has a pacifier in his mouth. The performance relies heavily on choreography involving such stunts as imitating horseback riding with only the actors’ bodies. The music is perhaps the best part of the show. Featuring a mix of alternative rock ‘n’ roll and jazz, it is reminiscent of a Quentin Tarantino film or a Japanese cartoon. And while the work put into the show and the physical demand on the performers is laudable, I doubt an even cursory knowledge of Japanese will illuminate this show for you.
-------------------------------------------
FringeNYC 2009: Romeo and Toilet (60 minutes, no intermission)
HERE Arts Center – Mainstage Theater (145 6th Avenue)
Tickets: $15 (www.fringenyc.org)
Performances: concluded August 29
Monday, August 31, 2009
Fringe/George and Laura Bush perform...Our Favorite Sitcom Episodes
Image Courtesy of George and Laura Bush perform...
Reviewed by Nicole C. Lee
In George and Laura Bush perform…Our Favorite Sitcom Episodes, writer Ryan Gajewski unsuccessfully attempts to mock the former President in a new way. The show begins with a re-enactment of a favorite “I Love Lucy” episode, featuring President Bush as Ricky Riccardo – using a stereotypical Cuban accent – and Laura Bush over-emphasizing mechanical actions as Lucy. Peter Zerneck and Jennifer Tullock are funny as George and Laura, capturing the personas so often satirized by the media. But the overall pace of the 60-minute show is slower than George W. Bush’s manner of speaking. Though it has comical moments, often at the expense of the former President, the end result falls flat.
It is amusing to see George W. Bush venting about his actions as former President and passive-aggressively bickering with his wife. Yet the double-crossing twist at the end, which absurdly involves Laura Bush and former Friends star Matt LeBlanc (John J. Isgro), isn’t enough to salvage this show.
Overall, George and Laura Bush perform… is a trite attempt at mocking a President we already know is doltish.
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FringeNYC 2009: George and Laura Bush perform…Our Favorite Sitcom Episodes (60 minutes, no intermission)
The Players Theater (115 MacDougal Street)
Tickets: $15 (www.fringenyc.org)
Performances: concluded August 28
Friday, August 28, 2009
Fringe/Sex and the Holy Land
Reviewed by Ilana Novick
Watch out! It’s Jews Gone Wild! In Melanie Zoey Weinstein’s Sex and the Holy Land, Lili (Weinstein) travels to Israel with her two best friends, hoping for adventure, knowledge, a connection with Jewish History, and and—hopefully, —and orgasm. She’s hounded—in her head, at least—by a chorus of Jewish mothers (pitch-perfect Yiddish accents from Susan Slatin, Michelle Slonim, and Goldie Zweibel), much to the dismay of her good friends Orr (Sarah Doe Osborne) and Chaya (Ruby Joy), who worry that she’ll spoil their fun. Instead, despite the insight, in-jokes (like the “Jew-Bu”), and “in all seriousness” moments (Or may be pregnant, Chaya wanted to go to Israel to come to terms with the death of her father), Sex and the Holy Land spoils itself by focusing on the forced drama of three reasonably privileged girls. It’s a bit indulgent, given the background.
The characters go a long way, too, from hiking in the Negev to trying to hook-up with soldiers; from praying for a deceased parent to attempting to live up to the ideals of one’s parents. The atmosphere doesn’t fare as well: a bench and blankets serve as a plane, a beach, the Western Wall, army barracks, and more. In that light, it’s hard to make out the duality of this land as a party town and a minefield, a country with its own privilege, yet a strong current of hardship borne of religious conflict. Sex and the Holy Land manages to capture the inner conflicts of these girls, but not the complexity of the country.
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Sex and The Holy Land (2 hours, one intermission)
Closed.
Watch out! It’s Jews Gone Wild! In Melanie Zoey Weinstein’s Sex and the Holy Land, Lili (Weinstein) travels to Israel with her two best friends, hoping for adventure, knowledge, a connection with Jewish History, and and—hopefully, —and orgasm. She’s hounded—in her head, at least—by a chorus of Jewish mothers (pitch-perfect Yiddish accents from Susan Slatin, Michelle Slonim, and Goldie Zweibel), much to the dismay of her good friends Orr (Sarah Doe Osborne) and Chaya (Ruby Joy), who worry that she’ll spoil their fun. Instead, despite the insight, in-jokes (like the “Jew-Bu”), and “in all seriousness” moments (Or may be pregnant, Chaya wanted to go to Israel to come to terms with the death of her father), Sex and the Holy Land spoils itself by focusing on the forced drama of three reasonably privileged girls. It’s a bit indulgent, given the background.
The characters go a long way, too, from hiking in the Negev to trying to hook-up with soldiers; from praying for a deceased parent to attempting to live up to the ideals of one’s parents. The atmosphere doesn’t fare as well: a bench and blankets serve as a plane, a beach, the Western Wall, army barracks, and more. In that light, it’s hard to make out the duality of this land as a party town and a minefield, a country with its own privilege, yet a strong current of hardship borne of religious conflict. Sex and the Holy Land manages to capture the inner conflicts of these girls, but not the complexity of the country.
-------------------------------------------
Sex and The Holy Land (2 hours, one intermission)
Closed.
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