Events

Join the Club, If You Can

Preview of Latinos Who Look Like Ricky Martin, Yale Summer Cabaret

The final show of the Yale Summer Cabaret’s Verano season opens this week, a new comedy by Emilio Rodriguez in which three college-student members of a Latino Student Union meet to decide how to make their club both inclusive and authentic. This goal quickly leads to having to “out Latino each other” to become the president the club needs.

The question, as the Summer Cabaret’s co-artistic director Jecamiah M. Ybañez, who directs the play, says, is about “how we shape identity and how people respond.” The three students—Xavier, Monica, and Isaac—have different ideas about how to appeal to other students who may or may not identify themselves with the group’s interests. In fact, the trio may have little in common other than a desire to represent Latinx culture, and even that shared interest might be a bit too amorphous for the kind of solidarity that Xavier and Monica—who want to “put the unidad in communidad”—aim at.

unnamed (2).jpg

The play’s title, Latinos Who Look Like Ricky Martin, is itself a test of sorts. Ricky Martin, born Enrique Martin Morales in San Juan, Puerto Rico, became known as the King of Latin Pop, with a worldwide fan base, beginning in the mid-90s, and a cross-over hit that topped American charts in 1999, “Livin La Vida Loca.” Does his fame and his looks make him an instant spokesperson for Latinos everywhere, or only those who “look like” him—in terms of features or coloring—or sound like him, or who would like to? And what if you’re not even much into a figure who becomes some kind of emblem for “people like you”?

For Ybañez such questions aren’t merely academic. Raised in San Antonio, TX, Ybañez doesn’t speak Spanish and, as a kid in the ‘90s when Ricky Martin’s first fame came, didn’t identify with the Spanish-language hits that made the singer’s name early on. For the director, Martin made a bit more of an impression when he finally came out as gay in 2010. A fact that adds another dimension to Martin’s identity and so complicates the very question of whether anyone can be a normative figure to unite a people’s full diversity.

And that’s the point, for Ybañez, of doing the play. As our social world becomes increasingly polarized and exclusive, with many preferring to communicate only within a bubble that ostracizes other members of the population, comedy can help portray some of the unsavory aspects that come with policing borders—in day-to-day exchanges, or as national policy.

Jecamiah M. Ybañez

Jecamiah M. Ybañez

The idea that “all people of a particular culture share one particular identity” is one that Ybañez said is not uncommon among advocates for identity politics. Such views can lead to “shaming,” where some members of, for instance, a Latino Student Union, may be “too Latin,” or “not Latin enough,” depending on their genetic and cultural antecedents. To Ybañez, instead of questioning others’ commitment to a given trait or attribute in order to dismiss those who “don’t get to be ‘in,’” such questioning should be “aimed to understand, to get to know” others and their differing backgrounds.

Further, what should the club—or any community based on free association—be? Each of the characters has a slightly different emphasis: the club could be simply “a hangout” for whoever likes Latinx culture—the food, the music, the look; or must it have initiatives to give Latinx culture a voice and an agenda in the larger culture at the school; or should it aim above all to welcome those who might not feel they fit in elsewhere?

The different views of those questions are dramatically relevant to the play, and are handled comically. Only one of the three will get to be the club’s president. Is winning a matter of having a vision and leading? Is it giving the people what they want? Is it making allegiances with allies who can help convince others? While the stakes are small for the dwindling numbers who make up the club, the play’s sense of how deep emotional need can readily escalate to absurd lengths is all-too American.

The cast features Robert Hart as Xavier and Jackeline Torres Cortes as Monica and Dario Ladani Sanchez, who was already seen at the Cab this summer in The Swallow and the Tomcat, as Isaac. Shows are this week, Thursday, Friday, Saturday at 8 p.m. and at 11 p.m. Friday and Saturday; and at 8 p.m. next week on Wednesday, Thursday, Friday and Saturday, with 11 p.m. shows the latter two nights.

For tickets, dining menu and other information, go here.

 

Latinos Who Look Like Ricky Martin
By Emilio Rodriguez
Directed by Jecamiah M. Ybañez

Yale Summer Cabaret—Veranos
August 8-17, 2019

A Show For All Ages

Preview of The Swallow and the Tomcat, Yale Summer Cabaret

The Yale Summer Cabaret’s Verano season continues this week with a show that’s sure to be a crowd-pleaser. Adapted by Co-Artistic Director Danilo Gambini and dramaturg Emily Sorensen from a new translation of Jorge Amado’s children’s book, The Swallow and the Tomcat, the show is aimed for families, young adults, and audiences of all ages—six and up.

The grumpy Tomcat is seen as a horror and a threat by the animals in the garden, but for some reason the sassy Swallow isn’t afraid and tries to get to know him. Their affection is the talk of the garden and makes life difficult—especially as the Swallow’s parents are convinced she should marry the Nightingale. A story of identity and of the social strictures that make some forms of love “forbidden,” The Swallow and the Tomcat asks, Can enemies learn to love one another, and can that love find acceptance? Showtimes have been adjusted to allow for young audiences, with a Sunday 2 p.m. matinee show, and on both Fridays, special 11 a.m. performances. The show runs approximately 70 minutes.

To call the book upon which the play is based a children’s book is a little misleading, according to director and co-adapter Danilo Gambini. The book, in its original Portuguese, was written solely by Jorge Amado for his infant son and was never meant to be published. Amado is best known in the U.S. as the author of the play Dona Flor and Her Two Husbands, which was made in 1976 into a film that was a huge box office success in Brazil and in the States as well. Amado’s son, with his father’s blessing, chose to publish his childhood gift, and found an illustrator, Carybe, who helped create one of the seminal works for children in Brazil. The book “screams for adaptation,” Gambini said, and there have been two approaches that he is familiar with. One is “to play it strictly for children,” much as one would in a storybook session; the other is make it more avant-garde, with a definite allegorical emphasis.

For Gambini, who dislikes the earlier plays adapted from the book, creating a new adaptation was crucial. When Sorensen told him that she was translating a Spanish version of the book into English for a translation class, he knew he’d found his second show of the Verano season. As a director, Gambini is attracted by the levels of storytelling in the play he and his collaborators are creating. “The play lets us investigate which storytelling devices are theatrical, engaging, and fun.”

The Cast of The Swallow and the Tomcat (front: Julian Sanchez, Adrienne Wells, Zoe Mann; rear: Anula Navlekar, Dario Ladani Sanchez, Reed Northrup); Set: Elsa GibsonBraden; Costumes: Stephanie Bahniuk; Lighting: Evan Anderson

The Cast of The Swallow and the Tomcat (front: Julian Sanchez, Adrienne Wells, Zoe Mann; rear: Anula Navlekar, Dario Ladani Sanchez, Reed Northrup); Set: Elsa GibsonBraden; Costumes: Stephanie Bahniuk; Lighting: Evan Anderson

There are two layers, he said, to the presentation: a chorus of six animals is telling the story of a swallow and a tomcat who fall in love, and as they tell it, they take on and act out the parts of the story, which involves a host of comical roles, quite in the manner of Disney cartoons. For Gambini, “the theatricality of the play depends upon the virtuosity of the players.” And, of course, there are songs, all of which are original to this production and have been developed by Gambini and Sorensen with recent Yale College graduate Solon Snider, the show’s composer and music director.

The main cast consists of the Cat (Reed Northrup) a loner who finds himself intrigued by the Swallow (Zoe Mann); a Parrot (Julian Sanchez) who has definite ideas about decorum; a rather laconic Cow (Dario Ladani Sanchez), a rather pretentious Toad (Anula Navlekar) and a busybody Owl (Adrienne Wells), with additional roles, such as Swallow’s parents, the Duck family, a Snake, as well as Wind and Morning, taken up by the ensemble as needed.

The attractions of the show, for its director, is that “it’s engaging to see actors play animals,” and that, as a family-oriented play, it will entertain children while also depicting social types and attitudes. It’s “about love and seeing how others react” to the choices we make. For Gambini, there is always the question of what he calls the “five daemons” in creating theater. The first is to have a “marvel” that children can enjoy—such as talking and singing animals; next is a “passion” that appeals to the teens in and among us, wanting theater to be intense and convincing; third is a civic or social or political element that addresses what the young adult finds compelling; for the fully adult, perhaps more detached, there must be intellectual satisfactions, such as artistic virtuosity; finally, for mature audiences, a feeling that the show “lives in the now,” providing something that hasn’t already been overdone. The challenge of a show that accents the first and second “daemon” is how well it can still satisfy the other three.

Gambini’s first show of the Verano season adapted Anne Carson’s recent translation of Euripides’ Bakkhai, a show which foregrounded, perhaps, the fourth daemon while fully engaging with the second and third. It also featured Dionysus, an androgynous god who considers himself a daemon—a daemon that oversees the creation of theater since ancient Greek times. While the emphasis, mood and nature of The Swallow and the Tomcat will be very different from the season’s first show, the need to please the theater-god remains. And that means, for Gambini, addressing, even in a children’s story, important themes such as “living with the consequences of how we live and what we do.”

What kind of consequences? Gambini ended the interview by citing a line from the play, spoken by Wind: “Every morning is a chance to make a little revolution.”

The Swallow and the Tomcat
By Jorge Amado
Translated and Adapted by Danilo Gambini and Emily Sorensen
Directed by Danilo Gambini
Yale Summer Cabaret—Verano
July 18-27, 2019

For more information about the cast and creatives, and for tickets and dining menu and reservations, go here.

poster.jpg

Conducting "The Conduct of Life"

Preview of The Conduct of Life, Yale Summer Cabaret

The second show of the Yale Summer Cabaret’s Verano season opens tonight. The Conduct of Life, written by María Irene Fornés, was first produced in 1985. Fornés, who died last year, was one of the foremost avant-garde U.S. playwrights of her time. Jecamiah M. Ybañez, a Co-Artistic Director of this year’s Summer Cabaret and a 2019 MFA of the Yale School of Drama, directs. For Ybañez, who admits being drawn to “gritty material,” one of the attractions of doing the play at this time comes from its poetic handling of political questions. 

As Ybañez sees it, we, as a culture, are “more educated, knowledgeable, and aware” than ever before. We have so much information easily available, but “the question becomes: how do we behave? How do we move forward—do we act on what we know or ignore it? How do we respond to the inequalities in our society?” Fornés play, as the title suggests, is about how we conduct our lives—whether we “blatantly or subversively” take action.

62384295_2255779337824769_550022535652048896_o.jpg

Like Martin Zimmerman’s Seven Spots on the Sun, which was Ybañez’s thesis show at YSD last winter, The Conduct of Life takes place in a “nondescript Latin American country under a military dictator.” At the time the play was written, the events of the play could be in “almost any of a number of Latin American countries,” Ybañez said. Indeed, Fornés’ play, in focusing on the domestic life of a couple whose husband, a military officer, is attempting to rise in political power, recalls a couple in Seven Spots where the brutality of military service during a civil war impacts a soldier’s relation to his wife. Fornés’ play more directly confronts “the obsession with power” on the part of a military man in a corrupt system, Ybañez said. Conduct depicts acts of violence “in a specific context,” where scenes of “child abduction, sexual assault, and interrogation” show the impact of abusive power on “othered bodies.” Ybañez mentioned the audience advisory on the Summer Cab’s website: “This production contains depictions of sexual violence, disturbing and explicit images and audio, coarse language, and simulated gunshots.”

For Ybañez, the attractions of the play are twofold. He sees the play as “a thriller” where “information is withheld.” The audience has to react to the imperfect evidence Fornés provides within a context of political unrest and violence. The typical element of the thriller—that secrets will come to light—is complicated by Fornés’ method. Fornés’ earliest influence as a dramatist was a production of Beckett’s En attendant Godot she saw in Paris. At the time she was a painter who had studied with the abstract theorist and artist Hans Hoffmann. In Conduct, Fornés uses an avant-garde form of nineteen vignettes, some too short to be considered individual scenes, where the narrative connections are not always clear, so that viewers must infer the particular connotations of what they see.

Jecamiah M. Ybañez

Jecamiah M. Ybañez

The play has a cast of five, all of whom have done memorable work at the term-time Cabaret. Orlando (John Evans Reese) is a ruthless man married to Letitia (Juliana Aiden Martínez), who speaks with some social conscience. Orlando’s friend, Alejo, is played by Devin White and Letitia’s maid, Olimpia, by Nefesh Cordero Pino (the only cast member also seen in Bakkhai, the season opener). Amandla Jahava, who graduated from YSD in May and worked on several projects at the Cabaret last season, returns to play Nena, a child Orlando has kidnapped. Outside the house in which the action takes place, Ybañez said, the government is trying to obtain absolute power over its people.

In working with his cast, Ybañez has been concentrating on the rhythm and the tempo of the vignettes. Each has “a time signature,” he said, and it is necessary to “feel the shift” in a scene. Fornés eschews naturalistic dialogue, preferring to let characters speak in ways that suggest unspoken thoughts. Her theatrical palette includes Theater of the Absurd and the Brechtian effort to alienate audiences from naturalistic comforts for the sake of political effect. Her style and intentions are mercurial and make for challenging theater.

“There’s no neat tie-up,” Ybañez said of the play’s conclusion, but he stressed how the play suggests that even the powerless “have a certain agency,” and that even victims of unjust systems, Fornés indicates through Nena, must decide how “to live each day the best way possible.” The notion that even those who perpetrate criminal violence may be in pain is one that Fornés is able to bring to light through the tensions between her characters. In a time when we find polarized accusations of evil on each side of our political divides, Fornés’ play may have a resonance relevant to how we might conduct ourselves differently.

 

The Conduct of Life
By María Irene Fornés
Directed by Jecamiah M. Ybañez

Yale Summer Cabaret Verano
June 21-29, 2019

For tickets and information regarding showtimes and dining, go here.

The Theater God is Present

Preview of Bakkhai, Yale Summer Cabaret

Last summer, Danilo Gambini, the Co-Artistic Director of this year’s Yale Summer Cabaret, took a trip to Greece, a longstanding goal from the time of his study of mythology in college and his reading of all the Greek tragedies in 2009. As he sat in the theater of Dionysus in Athens, he began “crying compulsively.” He also had a nosebleed, which may have had to do with the atmosphere and the physical exertion of hiking. In any case, the event was for Gambini an epiphany, which might be an actual manifestation of the god, Dionysus, the guiding spirit of ancient Greek drama, there “where the craft and art” Gambini practices “was born.” Gambini says he “made a pact with Dionysus” that day, a “renewal of vows” as a theater director, that “at the next opportunity I would do a Greek tragedy.”

That opportunity is the opening show of the Yale Summer Cabaret’s Verano season. Euripides’ Bakkhai, in Anne Carson’s recent translation, opens June 6 and plays for sixteen performances through June 15.

62223808_2242064302529606_4797577073491181568_o.jpg

His choice of Bakkhai, Gambini said, comes from the fact that Euripides’ audacious play puts Dionysus himself on stage. The play has been getting a variety of revivals of late, including at Brooklyn Academy of Music last season, and Girls, a modern adaptation by Branden Jacobs-Jenkins, will open the Yale Repertory Theatre’s next season. Gambini discussed the play’s message for our times with his cast and said the consensus was that “it was clear that the play is about women and female power and the suppressed voice of women finding a release.” He added that Pentheus, the king of Thebes in the play, says things that are “too familiar from Trump.” So, in a way we might say that the current attention to the play is the theatrical equivalent of the 2017 Women’s March in protest over Trump’s election. Gambini quoted a line in the play that describes the women “overjoyed by the sheer absence of men.” Gambini’s six-person cast is comprised of female actors.

For Gambini there’s a deliberate camp element in that choice, which he defines as “having fun with theater.” Pentheus and Dionysus, in Gambini’s staging, are played as “drag kings” by Eli Pauley and Sarah Lyddan respectively, a distancing effect that Gambini spoke of as a deliberate element of current theater’s approach to gender politics. The choice of gender in casting roles, he said, “explores how to tell the story from one side, or extreme, or the other.” He lets his actors have a lot of agency in how they choose to tell the story, including the music of the chorus which was worked out by the actors in ensemble with sound designer and composer Liam Bellman-Sharpe.

There is humor in the play and Gambini finds that Anne Carson’s contemporary language helps the comedy land. Gambini described Carson’s writing as “visual,” a form of “concrete poetry that talks to me and inspires me in seeing the play’s spatial construction.” She writes, he said, “the way I stage.” For Gambini, an attraction of the Cabaret is that its intimate setting, without the usual separation of actors from audience, allows him to explore the kind of theater that is most meaningful to him. In his view, “text is a pretext to create an event” and the “audience is always seeing what they are seeing.” Which means that the idea of theater as an illusion of action happening elsewhere is dropped in favor of treating theater as an event at which both the cast and the audience are concurrently present.

Gambini sees Bakkhai as a play that questions a society’s beliefs, which includes religious faith and the status of the occult. The play was first produced late in Euripides’ career, and is “fully mature,” Gambini says. But with that maturity comes a definite interest in “how to transgress” further. Putting the god on the stage and having him argue for the vanities of the gods indicates, for some, Euripides’ cynicism toward religion, but also shows him addressing the very powerful social force of religious belief.

Danilo Gambini

Danilo Gambini

Gambini says that, originally, tragedy for the ancient Greeks was an “outlet—it enabled them to live what they didn’t want to live.” And he sees the same purpose provided by theater today, as well as TV and film. He stated that the etymology of the word “tragedy” derives from “chant of the goat,” which means that the poetry of tragedy was conceived as the song of the dying animal—a goat—sacrificed in religious ritual. While tragedy, Gambini said, “can be dark and even heartbreaking,” he sees the form as “voluptuous,” celebrating “joy and pleasure” in the physical body.

Greek tragedy, Gambini said, “survived because the plays keep speaking to our times.” The battle between an oppressive government—Pentheus often seems more a bureaucrat than a king—and a wildly inspired populist cult, and the status of faith in capricious gods versus a more reasoned ideal of humanity are themes that, it’s easy to see, have never ceased clashing in human society. At the Yale Summer Cabaret that drama plays out once again—with the added attraction of watching director Danilo Gambini fulfill his pact with Dionysus.

 

Euripides’ Bakkhai
Translated by Anne Carson
Directed by Danilo Gambini
Yale Summer Cabaret
June 6-15, 2019

For information about the season, season passes, individual tickets, the menu and dining reservations, go here.

58616564_2175218369214200_6814969559414472704_n.jpg

New Haven Theater Company Goes Cuckoo

Preview, One Flew Over the Cuckoo’s Nest, New Haven Theater Company

If you’re a regular at New Haven Theater Company shows, you might remember the time the company built what looked to be a functional luncheonette in their theater space in the back of English Building Markets. That was George Kulp’s set for William Inge’s Bus Stop, which he directed. Last year, there was the set for Neil Simon’s Rumors that turned the space into a two-story living room with numerous doors to slam. That was Kulp’s too.

Beginning this Thursday and running for the next three weekends, the space will be the dayroom at a mental hospital where a host of inmates live placid lives under the purview of a controlling nurse as Kulp directs NHTC’s next offering, Dale Wasserman’s stage adaptation of Ken Kesey’s One Flew Over the Cuckoo’s Nest. Kulp, who says this is “the most ambitious and challenging” play he’s directed yet, seems to like plays with a lot of characters and a very focused set.

If you were around in the 1970s, you no doubt remember the film version of the novel, directed by Milos Forman, which won Oscars for picture, director, actress (Louise Fletcher as Nurse Ratched), and actor (Jack Nicholson as Randle Patrick McMurphy), and adapted screenplay. Indeed, the role of McMurphy was easily the most famous of Nicholson’s impressive career—until he took an ax to a bathroom door in The Shining.

57038255_10157485758387642_7975591506591350784_n.jpg

McMurphy is a boisterous ne’er-do-well who considers a stint in a mental hospital preferable to prison. His fellow inmates are an odd assortments of “lifers” who prefer the hospital to trying to get along in the outside world. And Nurse Ratched is there to make sure everything runs the way she likes. The confrontations between McMurphy and the nurse become a battleground over the quality of life. In the film, you just have to root for McMurphy as Fletcher’s version of the nurse is so inhumanly impersonal.

Kulp is wary of expectations derived from the film. First of all, the film was adapted from the novel, not from Wasserman’s play. And, while the drama’s trajectory runs much the same, the filmed versions of certain characters sometimes aimed for comic caricature. Kulp stresses that his cast is “very careful” to avoid that pitfall, and that means creating useful backstories for the characters to give them fuller dimension. Which might be a way of saying that Kulp is urging them to put some method in the madness.

McMurphy will be played by Trevor Williams who directed NHTC’s previous offering, Marjorie Prime. Williams acted under Kulp’s direction as the naive cowboy, Bo Decker, in Bus Stop and was one of the two hitman in Harold Pinter’s The Dumb Waiter last season, directed by John Watson. McMurphy’s nemesis, the maternal Nurse Ratched, will be played by Suzanne Powers, who worked with Kulp in Rumors.

Other NHTC members on hand include John Watson as Dr. Spivey, who tends to back the authoritarian nurse; Erich Greene, the other hitman in Dumb Waiter, as Cheswick, an anxious patient; and J. Kevin Smith, the obstreperous neighbor in Rumors and the boozing professor in Bus Stop, as Harding, the patient with the most self-control.

That leaves many parts featuring actors who will be appearing in a NHTC production for the first time, though, in most cases, Kulp has worked with each before. They include: Al Bhatt, Tristan Bird, Ralph Buonocore (who appeared in NHTC’s Urinetown), Robert Halliwell, Ash Lago, Empress Makeda, Joseph Mallon, Jodi Rabinowitz, John Strano, and Aaron Volain.

For Kulp, much of the challenge, with so many characters “and so much going on”—including a basketball game—is to keep the play “moving at the right pace.” His approach, he said, is to tell his actors “to go for the moon and then pull back.” The casting is key and his previous experiences with the cast make for a lot of trust.

The play was chosen in part because of its name recognition, its diverse cast, and because, Kulp said, it’s “an entertaining and timely story to tell.” He suggested that the issue of how our society treats mental illness and the play’s convincing sense of “the misuse of authority” are meaningful in our time, as they were when the novel was published in 1963 and when the film version was released in 1975, both key works of the Vietnam era of American culture.

Is it “cuckoo” to place such a largescale play in the New Haven Theater Company’s intimate space? Get your tickets and find out (the play is running for three weekends rather than two because seating is limited).

One Flew Over the Cuckoo’s Nest
By Dale Wasserman, from the novel by Ken Kesey
Directed by George Kulp
New Haven Theater Company
April 25-27, May 2-4, May 9-11

For tickets and info, go here

See my review here

What's Up and What's Coming

Last week, Yale Repertory Theatre opened Carl Cofield’s lively, hilarious, and hi-tech version of Shakespeare’s Twelfth Night which features a very engaging cast. The show is up until April 6th. My review can be found here.

Sir Toby (Chivas Michael), Feste (Erron Crawford), Sir Andrew Aguecheek (Abubakr Ali) in the Yale Repertory Theatre production of Twelfth Night, directed by Carl Cofield

Sir Toby (Chivas Michael), Feste (Erron Crawford), Sir Andrew Aguecheek (Abubakr Ali) in the Yale Repertory Theatre production of Twelfth Night, directed by Carl Cofield

 On Monday, Long Wharf Theatre announced three of the four shows of its 2019-20 season, which will be the theater’s 55th. As the season that precedes 2020-21, which will be the inaugural season of recently hired Artistic Director Jacob G. Padrón, next year was billed as transitional, as Padron spoke of Long Wharf’s will to “lead a revolution that will redefine American theater.” Citing managing director Joshua Borenstein’s comment that “all great movements have local beginnings,” Padrón outlined the three characteristics his team looked for in choosing plays: 1.“Undeniable excellence,” 2. Plays that reflect the demographics of the city of New Haven (which is over 42% white, over 35% black, over 27% Hispanic or Latinx, and over 4% Asian); 3. Plays that are “in conversation with the world.” Padrón said, “the world is on fire,” and he sees theater as “a catalyst for social justice.” In terms of emergent strategies, theater can either be advancing and progressing, or regressing into stagnation. Padrón wants Long Wharf to be known for its inclusiveness, as a theater that welcomes everyone, for its artistic innovation, and for its ability to forge connections with community.

First up, from October 9 to November 3, is On the Grounds of Belonging by Ricardo Pérez González, directed by his longtime collaborator David Mendizábal of the New York-based Sol Project, of which Padrón is founder and artistic director, and which partnered with Yale Repertory Theatre on El Huracán, the opening show of the Rep’s current season. The play is a “breathtaking new story of forbidden love in 1950s’s Jim Crow Texas.”

In the Thanksgiving to Christmas slot is “a modern adaptation of a classic work” (that’s not the title, though sounds as if it might be). The play, yet to be announced, will be one “in conversation with new work,” in a production that “breathes new life” into an important, older work of theater.

The new year begins with I Am My Own Wife, by Doug Wright, a Yale grad, with a director still to be determined. The show is a Pulitzer Prize-winning play “about survival and identity” of a transgender person in East Berlin during and after World War II, with a single actor playing over 40 roles. February 5-March 1, 2020.

Mid-March to mid-April is The Chinese Lady by Lloyd Suh, a member of the Ma-Yi Writers Lab. In its third production, the play, “inspired by the true story of America’s first female Chinese immigrant,” will be directed by Ralph B. Peña, a founding member and current artistic director of Ma-Yi Theater. March 18-April 12, 2020.

Work by a female playwright and a female director will by featured in The Great Leap by Lauren Yee, a Yale grad and member of the Ma-Yi Writers Lab, and directed by Madeline Sayet, a CT native noted for her work incorporating the stories and traditions of the Mohegan tribe. The play is “a thrilling underdog story of basketball and foreign relations in 1980s China.” May 6-31, 2020.

This week the Long Wharf’s current season continues with tonight’s press opening of An Iliad, Lisa Peterson and Denis O’Hare’s adaptation of Homer’s Iliad (in Robert Fagles’ translation), directed by Brooklyn-based theater person Whitney White. It’s a two-person play with Rachel Christopher as The Poet and Zdenko Martin as The Muse and runs unti April 14. My review can be found here.

AI_homepage.jpg


Tomorrow night, Yale Cabaret opens its fourth annual Satellite Festival, which runs Thursday, 3/28, through Saturday, 3/30. My preview can be found here.

Cab16-hero_720_405_88_sha-100.jpg

Tomorrow night, Thursday, March 28, Collective Consciousness Theatre opens its third and final show of the 2018-19 season, Marco Ramirez’s The Royale, directed by CCT’s Jenny Nelson, a play set in the racially segregated world of boxing in the early 20th century. The show runs 3/28-3/30, 4/4-4/6, and 4/11-4/14. For Brian Slattery’s preview go here.

53728873_2311522762204585_378436264304574464_o.jpg

Rasheeda Speaking Starts Tonight

Preview of Rasheeda Speaking, Collective Consciousness Theatre

Collective Consciousness Theatre returns tonight with its second show of the season: Joel Drake Johnson’s comedy-thriller Rasheeda Speaking, which runs Thursday through Saturday for the next three weekends: January 17th-19th, January 24th-26th, and February 1st-3rd, at Erector Square in New Haven, at 8 p.m.

The play was a success Off-Broadway, directed by Cynthia Nixon, with Dianne Wiest and Tonya Pinkins in the main roles of Ileen and Jaclyn, two office assistants working for a surgeon who manages to poison their working relationship. Collective Consciousness Theatre (CCT) is a “community-based theatre dedicated to social change” and calls Rasheeda Speaking “an incisive and shocking dark comedy” that “examines the realities of so-called ‘post-racial’ society.” The production features Susan Kulp, of New Haven Theater Company, as Ileen and, as Jaclyn, Gracy Brown who has appeared in Elm Shakespeare productions in Edgerton Park, most recently Love Labour’s Lost.

Jaclyn (Gracy Brown), Ileen (Susan Kulp), photo courtesy of Collective Consciousness Theatre

Jaclyn (Gracy Brown), Ileen (Susan Kulp), photo courtesy of Collective Consciousness Theatre

Those who saw the first show of CCT’s season, the tense and expansive, character-driven drama Jesus Hopped the A Train will find a surprising transformation in the theater at Erector Square. Gone is any sign of the twin outdoor penitentiary cells of that show’s set. The wizards of CCT—set-designer David Sepulveda and lighting designer Jamie Burnett—have created the bland, placid space of a doctor’s office, complete with wall-paintings I swear I’ve seen on the walls at Yale-New Haven. The space is realistic enough to make you check if you’ve brought your insurance card.

That level of realism is important to this show, which enacts the kind of office shenanigans that have become very familiar from shows like The Office (in both its British and American versions). As Artistic Director Dexter J. Singleton put it, the aim is to be “as professional as possible on a shoestring budget.” In terms of set, the goal has been achieved. And, in light of the previous show at CCT, the set might make you consider if this modern workplace, its twin big desks in an L, is really so different from a prison yard’s adjacent cells.

At the dress rehearsal I attended, the production’s director Elizabeth Nearing, Long Wharf Theatre’s Community Engagement Manager, spoke of the play as geared to address “the indignities of the office place,” particularly the “microaggressions” that soon become their own rationale. The play runs without intermission for about 100 minutes, taking us through four days in which tensions between Ileen and Jaclyn begin and run their harrowing course.

At the beginning of day one, Dr. Williams (Ethan Warner-Crane) confers with Ileen, who he has just made office manager, about her co-worker. Jaclyn has been out on sick leave for five days and is due back that morning. Williams, who’s a bit timid, a surgeon who might not be at his best managing staff, takes the opportunity to let Ileen know that he needs some documentation of dereliction of duty on Jaclyn’s part so that he can convince HR to transfer her elsewhere. He has a great candidate in mind for her job and Jaclyn, he insists, doesn’t really “fit in.” Ileen tries to shrug off his complaints by taking her co-worker’s part, but eventually she’s on his page, cautioned that they must avoid any playing of “the race card.” So, before Jaclyn arrives, we’ve got an “us against them” workplace that could become incendiary. Jaclyn, we soon see, is a no-nonsense type with more than a few complaints of her own—the toxins in the office, the fact that Ileen has neglected the office’s many plants (needed to help with those toxins), and that Ileen—whose desk is something of a mess—has managed to let her work spread to Jaclyn’s desk. The two keep up banter and friendly jousts, but we’re ready to see this get ugly.

For costume designer Carol Koumbaros, who has been with CCT since the production of Topdog/Underdog, the show’s lack of intermission presents an interesting challenge. Ileen and Jaclyn barely leave the stage and yet we have to be given a sense of four distinct days. She has achieved this in subtle differences to basic “uniformlike” outfits, which, she noticed, tend to be the norm at medical offices these days. Indeed, to all appearances—including the sliding window outside of which patient Rose (Debra Walsh) impatiently demands attention—this is a place of tranquil calm. Like most workplaces, appearances can be deceiving. Mismanagement—or what Shakespeare called “misrule”—is the order of our day and here it sets up a heap of ammunition and then sets fire to it.

Who and what will carry the day? The collusion between Ileen and Dr. Williams, or Jaclyn’s self-defense? Head on over to Erector Square one of the next three weekends to find out.

6feea8_3628ce6b36fc4b7498b5caa35296f926~mv2.jpg

Rasheeda Speaking
By Joel Drake Johnson
Directed by Elizabeth Nearing

Collective Consciousness Theatre
January 17-19, January 24-26, February 1-3, 2019
Erector Square
Building 6 West, 2nd floor, Studio D
319 Peck Street
New Haven

Tickets are $25 Adults, $10 students and available for all performances at: collectiveconsciousnesstheatre.org.

New Haven Theater Company Plays a Love Song

Preview of Love Song, New Haven Theater Company

When it comes to selecting plays, the New Haven Theater Company goes for whatever the entire company approves. The troupe is entirely democratic in its selections, though sometimes a work selected takes a while to get a production. If a play is likely to be done by a bigger theater anywhere in the vicinity, it’s unlikely that the small production capacities at NHTC will get the rights. That’s the case with Love Song, by John Kolvenbach, the first show of their 2018-19 season and the 17th production that the venerable New Haven company has staged at their performance space on Chapel Street. The run begins this Thursday and continues through two weekends.

According to the directors of the show, Margaret Mann and John Watson, the process of choosing a play begins when someone in the company pitches a choice they are willing to direct. And much of the talk at that point, Watson said, is about “our audience, fairly sophisticated people who see a lot of theater and who may also know some of the players.” One feature of that familiarity is that audience members may have ideas for the company. In fact, Love Song was first suggested by a friend of former company member Megan Chenot. Getting the rights caused a delay and now that the time has come, the show goes forward without Megan and her husband Peter, both longtime members of NHTC who have gone west, to the San Francisco area. Never fear, the show, which always seemed a good match for the company, has found suitable casting.

LoveSongGraphics3-1200wcropped.jpg

The Chenots weren’t the only couple in the company. The married couple in the production—Harry and Joan—will be played by the Kulps, George and Susan. And Molly, the love interest for Beane, Joan’s brother, will be played by the Kulps’ daughter, Josey, last seen in Urinetown (2012), the only musical the company has done. Beane will be played by Christian Shaboo, who has often taken leading man or love interest roles, as in Proof (2016), Shipwrecked! (2014) and Our Town (2013). George Kulp directed NHTC’s final show of last season, Neil Simon’s farce Rumors, which featured Susan as one of the more memorable characters. George was responsible for the truly impressive set built in the company’s space at the English Markets building, and part of that set will serve as the living room of the home of Joan and Harry in Love Song.

Susan Kulp and George Kulp

Susan Kulp and George Kulp

The other section of the set is decidedly more derelict, and that’s where Beane lives. The play, which Mann and Watson call, “provocative, funny, sexy,” while eliciting “serious thoughts,” involves the relationship between the siblings and how that plays out when a new person—dubbed a “mystery woman”—comes into Beane’s life. The couple in the play are in a longtime marriage, and their dialogue, Mann said, is “a dance, brittle and amusing.” Watson stressed that the company cannot be held accountable for how playing a couple onstage affects the Kulps as a couple offstage. Both directors praised their cast, actors “with a good grasp of who they are playing” and “how to land it.”

Josey Kulp and Christian Shaboo

Josey Kulp and Christian Shaboo

Speaking of siblings, fans of NHTC will remember that Watson played a single-man looking for love while more than a bit burdened by a sister in The Last Romance, the mature love story that began the 2016-17 season. Mann played the love interest in that one, a single lady with a dog. Together, the two directed last season’s tersely funny two-hander The Dumb Waiter, by Harold Pinter, featuring Trevor Williams and Erich Greene, who returns in Love Song as (wait for it) a waiter.

For Mann and Watson, collaborating as directors seems to work well, since neither felt entirely sure which did what. Watson said that Mann takes care of the more detailed aspects of the show, “a lot of things I don’t handle,” and that she “covers the bases” while he is more reactive. Mann, however, sees Watson as the one “more plotted out beforehand,” while she “likes to see things up and moving.” What it comes down to, on Love Song at least, is that Watson brings “the vision” of knowing how he wants things to play, while Mann is attentive to what’s missing or what needs encouragement.

In any case, they both see the script, which runs through 11 scenes in a continuous 90 minutes, as “funny as hell” and “dark, but not depressing.” The main question, Watson said, is “can Beane be healed” from the effects of some earlier damage, “and how will that affect others?” As Mann said, “there is baggage all over the place” between the siblings, with Harry acting as a strong support for his brother-in-law. In the end, she said, we don’t necessarily know “what then,” and, in a certain sense, it’s “not over,” but we have grounds to be optimistic.

When asked about how they know a play will work for the company, Mann said, “the goal is something really good that we can do a good job with,” a play, Watson said “that’s not fluff, or a sitcom, something with enough to chew on.” Mann complimented Kolvenbach’s ear for dialogue which she characterized as “idiomatically idiosyncratic.” And dialogue, more than action, is what makes the plays NHTC produces work. The main criteria for a play being done by New Haven Theater Company—a troupe of 11 most of whom also direct—is that it suits their company and their audience. Both have grown and changed over the years, but NHTC has maintained a keen sense of how to keep doing what they do well.

 

Love Song
By John Kolvenbach
Directed by Margaret Mann and John Watson

 

New Haven Theater Company
Thursday, Friday, Saturday, November 8-17, 2018

For tickets and more info, go here




Switching Gears in Middle-age: The Roommate opens at Long Wharf

Preview of The Roommate, Long Wharf Theatre

Mike Donahue is a Yale School of Drama graduate back in New Haven to direct Jen Silverman’s The Roommate at Long Wharf Theatre, which begins its run tonight until November 4th. Donahue directed the premiere of the play at the Humana festival in Louisville in 2015. Last season he directed Silverman’s The Moors at Playwrights Realm in New York, and his acclaimed production of Silverman’s Collective Rage: A Play in Five Betties recently closed at MCC, New York. So one could say he is familiar with Silverman’s work and her knack for, as he put it, “setting up expectations, then quietly, delicately subverting them.”

During his time at YSD, Donahue served as the artistic director of the Yale Summer Cabaret for two seasons, a good background for the diverse range of plays Donahue has directed. In style, The Roommate could be called a bit of a bait and switch. Sharon, a middle-aged woman, now divorced and living alone in Iowa, takes in a roommate, Robyn. You’re thinking maybe a female Odd Couple? Or maybe a plot with a mysterious man in it—like the late romance of last season’s Fireflies at Long Wharf? Donahue says the play “seems naturalistic” initially, but tends toward the absurdist style of theater he prefers. One thing that interested Donahue in the play is the fact that it’s about mature women and “not vis à vis men, the characters are not defined by relations to men.”

show1-1.jpg

The play was reworked for its run last year at the Williamstown Theatre Festival, which Donahue also directed. The goal each time, for the director, is to see the work anew, through the process of collaboration. “So much is about the particular chemistry of the two people playing the two characters, finding different layers of who they are.” In the Long Wharf production Tasha Lawrence plays Robyn, the role she originated at Humana, and Sharon is played by Long Wharf veteran Linda Powell (Our Town, A Doll’s House). For Donahue, the play is “about the power of transformation,” what happens when people not alike find something they can share, to find out “how another person sees you.”

While the play is “very, very funny, it goes to places,” Donahue said, “very sharp, with an edge.” Those viewers who saw Silverman’s The Moors at Yale Repertory Theatre in 2016 will remember the play’s surprising comedy, and its dark and rich irony as it subverted a Gothic tale with its wild sense of comic situations. For Donahue, Silverman’s plays have “real heart, and a strong sense of language that is tonally off-kilter,” a quality that attracts him to her work. She’s “incredibly funny and unbelievably talented” and he finds “thrills in the turns her plays take.”

Revisiting the play at Long Wharf’s mainstage takes the play closer to its earliest incarnation at the Actors’ Theatre in Louisville where it was done completely in the round. Each staging “changes the dynamic,” Donahue says, but each new staging has to find the “kind of spark” that makes theater “transcendent and overwhelming.”

Mike Donahue

Mike Donahue


The Roommate kicks off the Long Wharf 2018-19 season, described as “a comedy about what it takes to re-route your life—and what happens when the wheels come off.”

 

The Roommate
By Jen Silverman
Directed by Mike Donahue

Long Wharf Theatre
October 10-November 4, 2018

For my review of The Roommate at Long Wharf, go to the New Haven Independent, here.

https://www.newhavenindependent.org/index.php/archives/entry/long_wharf_finds_a_likable_roommate/

Consider the Nutria of the Swamps

Preview of Rodents of Unusual Size, film screening at Real Art Ways, Hartford

Yo, dude. Got an urge to hunt and kill in large numbers? Then grab your arms and your ammo and get down to the Louisiana bayou where the scourge known locally as “nutria,” from the Spanish for “otter,” but more formally, myocastor coypus, and sometimes “coypu,” is eating its way through any and all vegetation that might give the coastal swampland a chance for survival. These “rodents of unusual size,” as the surprisingly amusing and enheartening documentary by Quinn Costello, Chris Metzler, and Jeff Springer calls them (with a nod to The Princess Bride), can weigh as much as 20 lbs. and are generally 24 inches long, with a tail of a foot or more. They breed like rabbits and they are never dormant. As one spokesman for the local taskforce assigned with exterminating the critters puts it, “they are an invasive species that needs to be deleted.”

How did they get there? Do they have any advocates? Can they be acculturated? What’s the price on nutria tails? How long does it take to skin one? What do they taste like?  All these questions and more are answered in this gritty documentary that—like the local Cajuns, we’re told—is not afraid to get its hands dirty.

The documentary, from Tilapia films, followed by Q & A with Jeff Springer on opening night, will be featured at Real Art Ways, Hartford, from October 5th to 11th.

Thomas Gonzales walks the decimated wetlands of southern Louisiana. (Still photos courtesy of Tilapia Film)

Thomas Gonzales walks the decimated wetlands of southern Louisiana. (Still photos courtesy of Tilapia Film)

In a nifty animated sequence, the film gives background on the phenomena. Apparently the same family that brought you Tabasco sauce, decided, during the Depression, that these “swamp rats,” imported from Argentina, could sustain a poor-man’s fur industry. With muskrats more scarce and too dear, nutria pelts did become a thing and Louisiana was in the forefront of our national fur industry for decades. But—as the locals tell it—when, in the 1980s and 1990s, animal activists came down on the fur industry, many trappers found their yields much less lucrative and decamped to other resources. And that left the prolific nutria without a predator.

As the film opens, the nutria are fair game and we see the work of local hunters who get $5 per tail through the “bounty incentive.” The tail is the proof of a kill; the Coastwide Nutria Control Program (in place since 2002) doesn’t want the animal carcass. And that leaves the question of whether or not there’s a market for other aspects of nutria.

Thomas Gonzales defending Delacroix Island, Louisiana, from the invasion of nutria.

Thomas Gonzales defending Delacroix Island, Louisiana, from the invasion of nutria.

Through the film, we mostly follow the fortunes of Thomas Gonzales, descendant of the original Spanish-speaking peoples who settled on Delcroix Island, a shrinking landmass way down the bayou. He’s been working the waterways since age 13—crabbing, fishing, trapping, hunting alligators and nutria. Now, more than half-a-century later, he has survived major hurricanes, though his house and property haven’t. He, with his wife and son, are our main guides to the world the nutria has invaded, already a perilous environment. As his wife says, the water is your livelihood, but it’s also your enemy.

Musician Kermit Ruffins frequently BBQs nutria before his shows.

Musician Kermit Ruffins frequently BBQs nutria before his shows.

Folk wisdom is on warm display in this film about people who have been formed by an environment and whose fierce identification with the land and water of the place gives them each a unique character. We also meet jazz musician Kermit Ruffins who tells us “cooking is improvisation, just like jazz,” as he tries to make nutria meat palatable to his community at block parties outside a club. The advocates of nutria-based cuisine say it’s “like” rabbit or maybe dark turkey meat, is very lean and, because nutria are vegetarians, very clean. Award-winning chef Susan Spicer says she does what she can to make the meat a treat, likening it to zucchini in its versatility. She also points out, sensibly, that people object to eating rabbit because bunnies are too cute. “No one will ever say that about nutria.” Indeed, most people can’t abide the notion of eating rodent, no matter how cheap its meat.

Then there are those who are trying to bring back the fur industry’s use of nutria. Calling her company Righteous Furs, designer Cree McCree thinks that the opprobrium placed on fur will be lifted when people realize that killing nutria is necessary for conservation, and that harvesting only the tails is a waste of very fine fur. We also meet Tab Pitre, whose family worked in the fur trade when it was an industry in Louisiana and, as a fur dealer, he is one of a dying breed. He knows that the harvesting of pelts won’t happen unless there’s a monetary incentive. Otherwise, the carcasses are left to rot in the marsh.

Cree McCree designs new fashion for Righeous Fur, her organization that is promoting nutria fur as a stylish way to save the wetlands.

Cree McCree designs new fashion for Righeous Fur, her organization that is promoting nutria fur as a stylish way to save the wetlands.

There’s lots more—like an interesting discussion of how nutria tear up golf courses in the area, and the way that trappers must negotiate the sensitivities of “the rich folk” who consider exterminating the creatures shameful. There are some who have domesticated nutria—mostly, it seems, for the oddity of it—and others who seem quite willing to adopt the furry critters, with their prominent orange, beaver-like teeth, as mascots and local fauna. As one person says, the nutria have been in the bayou long enough to become honorary Cajuns.

The film saves the most fitting tribute to the last, as Thomas Gonzales admits that, when other forms of sustenance are scarce, you can always count on harvesting nutria. The nutria has been “a good friend” and fellow survivor in this unique environment. “I’m not going anywhere, and neither are they.”

Filmmakers Quinn Costello, Chris Metzler, Jeff Springer

Filmmakers Quinn Costello, Chris Metzler, Jeff Springer

Quinn Costello, Chris Metzler, and Jeff Springer specialize in interesting subcultural documentaries. Rodents of Unusual Size, like Plagues & Pleasures on the Salton Sea, their study of the Salton Sea area of California, a vast salt-flat where once were resorts, and the oddballs who still make it their home, captures the unique feel of a place and its people. Everyday Sunshine, their documentary of the fortunes of the band Fishbone and its fans is celebrated for its grasp of the many facets of show-business life. Rodents of Unusual Size has won documentary awards in a variety of festival venues from Nevada to Alabama, from Mississippi to California. The film’s pacing is exemplary, giving us just enough of each perspective on the nutria situation, and finding lots of quotable moments. My favorite was from a prayer written especially for the bayou community: “Spare us from the tragedies to come.” Amen.

 

Rodents of Unusual Size
From Tilapia Film
Chris Metzler, co-director, producer
Jeff Springer, co-director, cinematographer
Quinn Costello, co-director, editor
Wendell Pierce, narrator
Music by the Lost Bayou Ramblers

Real Art Ways Cinema
56 Arbor Street
Hartford, CT

October 5-11, 2018

New Plays, Long Wharf Theatre

Preview: Contemporary American Voices Festival, Long Wharf Theatre, September 21-22, 2018

This year, the fourth annual festival of staged readings at Long Wharf Theatre, curated by Long Wharf literary manager Christine Scarfuto, arrives a month earlier than last year. And that means it’s easier to take advantage of this always interesting sneak peek at plays on the way to major productions, before the New Haven theater season opens.

When I spoke to Scarfuto last week, she was taking a break from watching a staged reading. For her job at LWT, she reads about 150-175 plays a year, for both the Long Wharf season and for the festival. She believes a staged reading of a play is preferable to reading it oneself. And sometimes, I’d add, it can be better than a full production where unrealized factors can distract from a play’s virtues.

The advantage of the staged reading as mounted at the Festival—with actors, a director and some staging—is that not only might we hear the voice of the play more clearly, but, as Scarfuto points out, “audiences get to be ears and eyes in the room” for the ongoing development of the play, as it becomes more solidified. “A Talk Back follows each play and the author and the director of the production are present” to engage with the audience about the play, its process, and to take comments and questions.

NWF_WEB-1024x854b.jpg


This year, a play that was featured two years ago in the Festival—Boo Killibrew’s Miller, Mississippi—will receive a full production in the Long Wharf Theatre’s 2018-19 season, a development that, Scarfuto said, was one of the hopes for the Festival. While virtually all of the plays featured in the Festival have gone onto productions, this is the first time that a Festival play will be produced by Long Wharf, a gratifying outcome.

The means by which plays come to Scarfuto’s attention varies from play to play, but she’s always on the lookout to “find new voices, different perspectives.” The plays selected for the Festival have generally been worked on, and most have had productions, but, as unpublished plays, the works at the Festival can still be considered in process.

“The purpose of the festival is to introduce our audience to exciting new plays and playwrights and to create a pipeline for future productions at Long Wharf Theatre,” Scarfuto said.

Three playwrights are featured this year: Kevin Artigue, Angella Emurwon, and Torrey Townsend.

Kevin Artigue

Kevin Artigue

Kevin Artigue (Sheepdog) writes plays, TV, and film. Raised in Redlands, CA, he lives in Brooklyn, and his plays have been developed with Page 73, the Public Theater, South Coast Rep, the National New Play Network, New York Theater Workshop, Portland Center Stage, Golden Thread, Theatre of NOTE, the Playwrights Foundation, SPACE on Ryder Farm, Great Plains Theatre Conference, University of Iowa, and the Playwrights' Center in Minneapolis. A former member of Interstate 73 Writers Group and the Public Theater's Emerging Writers Group, Artigue holds an MFA from Iowa Playwrights Workshop.

Angella Emurwon

Angella Emurwon

Angella Emurwon (Strings) is a writer, award-winning playwright, stage director, and screenwriter based in Tororo, Uganda. Of her three radio plays (Blackberry Girls!, 2009; The Cow Needs a Wife, 2010; and Sunflowers Behind a Dirty Fence, 2012), two have won BBC Audio Drama Awards. Strings, her first full-length stage play, received a dramatic reading directed by Rogers Otieno at the 2014 Kampala International Theatre Festival. She is a Sundance Institute East Africa fellow, a member of the 2013 Lincoln Center Theater Directors Lab, and a Maisha Film Lab screenwriting and youth mentor.

Torrey Townsend

Torrey Townsend

Torrey Townsend (Night Workers) received an MFA in Playwriting from Columbia University. Townsend’s most recent play, The Workshop, was produced by theater incubator SoftFocus, directed by Knud Adams, and starred Austin Pendleton. A New York Times “Critic’s Pick,” The Workshop was described as “an incisive and insightful tale of ambition and envy, inspiration and mediocrity,” and by Sara Holdren at vulture.com as “one hell of an evening of theater.” Other works include A Night Out and Home Universe (Knud Adams, director).

For Scarfuto, “new work is the lifeblood of the theatre, it’s what keeps the art form vital and alive. We’re thrilled to bring these new voices to our audience.”

Strings, by Angella Emurwon, directed by Leah C. Gardiner, kicks off the festival Friday, September 21, at 7 pm. Scarfuto has known of the play for a few years and is very excited to be able to include it this year. Set in a village in Uganda, the play is “a gorgeous, rich family drama,” both “comical and poignant.” A patriarch returns to his family after an absence of 20 years, during which time the image his family has given him of their lives is markedly different from the reality. The play uses different voices in its telling, including African song chants and is, Scarfuto said, ultimately about “coming to terms with what life is, and the choices we make in our lives.”

Sheepdog, by Kevin Artigue, directed by Leah C. Gardiner, is next up, on Saturday, September 22, at 5:30 pm. Artigue is a writer Scarfuto has known since their days at Iowa. Already familiar with his work, she chose Sheepdog because it “speaks to this moment,” particularly in light of a recent killing of a black man in his own home by a white female police officer without apparent cause. In Artigue’s play, set in contemporary Cleveland, an interracial love story between two police-persons, one female and black, the other white and male, becomes fraught with “fall-out” after the male officer, in the line of duty, shoots a black man, raising questions and issues in his lover’s mind. The play, Scarfuto said, “speaks to a lot of the issues America is facing right now surrounding police violence in the black community, both from an intellectual and emotional perspective. It’s also a riveting story. It really pulls you in.”

Night Workers by Torrey Townsend closes the Festival on Saturday, September 22, at 8 pm. Townsend’s play came to Scarfuto through director Knud Adams, who has worked with the playwright on several of his plays. Scarfuto knew of Townsend’s work, as The Workshop “got lots of press,” and she found Night Workers particularly relevant while reading it this summer. Set in an Alcoholics Anonymous meeting held in a repurposed bar in Brooklyn, the play, Scarfuto said, is “deeply human and not sentimental” as it treats of “resilience on the road to recovery.” With the dismaying number of overdoses requiring medical intervention on the New Haven Green this summer, the play struck a chord in its sympathetic treatment of substance abuse and the way disparate lives can touch one another through common difficulties.

Each of the plays has distinctive situations to offer audiences and unique perspectives on our times. There will be a Happy Hour with half-off drinks before each reading and other refreshments available. “It’s a great opportunity for people in the community to meet and mingle with artists and fellow theatergoers, to see great work and have a good time. That’s the energy we want to cultivate at the festival,” Scarfuto said.

Tickets are $10 each, or all three readings for $25. Reservations can be made by calling 203-787-4282 or visiting longwharf.org.

The festival is sponsored by the National Endowment for the Arts and the Burry Fredrik Foundation.

Long Wharf Theatre
September 21-22, 2018

The Yale Cabaret Returns

Preview of the Yale Cabaret’s 51st season opener

Yale Cabaret, the distinguished basement theater at 217 Park Street, celebrated 50 years of existence last season. A black box into which current students in the prestigious Yale School of Drama place their passion projects—favorite works, brand new collaborations, original plays, devised pieces, and theatrical provocations—the Yale Cabaret provides challenging and vibrant theatrical experiences.

Latiana “LT” Gourzong (Co-Artistic Director), Molly FitzMaurice (Co-Artistic Director), Armando Huipe (Managing Director)

Latiana “LT” Gourzong (Co-Artistic Director), Molly FitzMaurice (Co-Artistic Director), Armando Huipe (Managing Director)

The team for Cabaret 51 consists of Co-Artistic Directors Molly FitzMaurice and Latiana “LT” Gourzong, with Managing Director Armando Huipe, all third-years in the YSD program. FitzMaurice studies Dramaturgy and Dramatic Criticism, Gourzong is a student of Technical Design & Production, and Huipe of Theater Management. FitzMaurice directed last season’s closer, Camille, and has been a producer of at least five other shows at the Cab, in addition to dramaturgical work for the Yale Repertory Theatre (Native Son). Gourzong has worked on shows in YSD and the Yale Rep, and served as the Yale Cabaret Production Manager last fall. Among Huipe’s affiliations are the steering committee of the national Latinx Theatre Commons as a member of the Cultivation and Governance Committee, Yale’s Graduate and Professional Student Senate, and the YSD Latinx affinity space, El Colectivo. Huipe served last year as Assistant Managing Director for YSD and Yale Repertory Theatre.

The sixth decade gets underway this weekend with a production of Marita Bonner’s The Purple Flower, conceived by Mika H. Eubanks, a third-year costume designer, and directed by third-year director Aneesha Kudtarkar. The play falls into the category of “overlooked masterpiece.” Originally published in 1928 and never produced in the lifetime of its author, The Purple Flower, is “credited as the first known experimental work” by an African American woman, mixing “biblical imagery and political allegory” to “disrupt the thin skin of civilization.” Bonner’s text, said FitzMaurice, who worked on the production, “has already proved a fertile meeting ground for our team of collaborators, and I cannot wait to share this vividly theatrical and still too-urgent revival with our audiences.” Gourzong praised the team’s “love, joy, and compassion that will inevitably explode through the work in truly beautiful ways.”

The show plays only two nights this weekend, Friday, September 14, and Saturday, September 15, with two shows each night, at 8 pm and 11 pm. Full dinner service begins at 6:30 pm before the 8 pm performances, and a late-night menu is offered beginning at 10 pm for the 11 pm performances. Beer and wine are available.

During the summer, Huipe announced the hiring of Dana Cesnik Doyle of Queen of Tarts Catering as Chef for the 2018-19 season. Though the Cab’s artistic and managing directors change each season, this marks the first change-over in the Cab kitchen in fourteen years. Huipe extended the team’s heartfelt thanks and appreciation to Chef Anna Belcher, who helmed the dining experience at the Yale Cabaret since 2004, for all her fine work with the students of the Drama School.

Queen of Tarts began in Ojai, California, in 2012, but Cesnik Doyle, originally from Chatham, New Jersey, moved back to Connecticut in 2016. She has catered events for the Yale Sustainable Food Program, as well as the Medical School, the Divinity School Library, and the Yale University Library Council. Cesnik Doyle’s cuisine is “influenced by her time in California,” and features ingredients from “local farms, farmers markets, and her garden in Hamden.”

“Dana’s food is delicious,” Huipe said, “she brings an ambitious energy to the kitchen that matches the talents and efforts of everyone working on the performances onstage. Our goal is to provide a full, cohesive, and continuous experience from dinner and drinks through the performance.” The team, said FitzMaurice, is “thrilled to partner with Dana for her inaugural season. Her food delights—with fresh ingredients, inventive flavors, elegant presentation, and a witty sense of fun that feels right at home in the Cabaret.” Gourzong added that “opening our doors, minds, and artistic selves to a new human at the Cab” adds excitement to the start of the season, as “Dana herself brings such joy to the kitchen,” and the opportunity to “create memories and share stories” with the Cabaret community.

This year’s team stresses the importance of its many supportive patrons in helping the Cabaret continue its mission in entertaining and thought-provoking theater. Patrons are encouraged to donate in whatever capacity suits their budget, from Season Sponsors, at $5,000, to Friends of the Cabaret at $50. Cab 51 continues the practice of allowing patrons to sponsor individual shows, at $500. An opportunity to put your money to good use, supporting talented artists early in their careers, such as the incredible roster of names who worked at the Cabaret as students, including Meryl Streep, Angela Bassett, Christopher Durang, Paul Giametti, Lynn Nottage, Sigourney Weaver, Lupita N’yong’o, Henry Winkler, Tony Shalhoub, and the Pulitzer-winning playwright of 2018, Martyna Majok.

image001.png


For information about tickets, dinner reservations, donations, and sponsorships, go to the Cabaret website at www.yalecabaret.org, or call (203) 432-1566 during regular box office hours (Tues.-Sat., 2:30 pm - 5:30 pm, and 90 minutes before performances). Tickets range from $12-$25.

Next up: Fade by Tanya Saracho, a Chicago playwright from México, who writes for HBO; directed by second-year director Kat Yen, September 20-22: “Two Latinos at a Hollywood studio: one writes; one cleans. Can they subvert the stereotypes of a whitewashed TV show? Tanya Saracho’s timely play explores race, class, and the politics of belonging within the Latinx community.”

 

Yale Cabaret 51, 2018-19 season

Recap of Cab 50

Yale Cabaret’s 50th Season, Some Highlights

The 50th Anniversary season of the Yale Cabaret has been and gone. Much thanks to its artistic directors, Josh Wilder and Francesca Fernandez McKenzie, associate artistic director Rory Pelsue, and its managing director Rachel Shuey for a challenging season.

Josh Wilder, Rachel Shuey, Francesca Fernandez McKenzie, Rory Pelsue

Josh Wilder, Rachel Shuey, Francesca Fernandez McKenzie, Rory Pelsue

Cabaret 50 offered plenty of off-beat fare, in the sense of plays in which the performers stood in a theatrical space between fiction and fact. We might think that Reality TV is having an impact, likewise we might think that the irreality of our current political climate makes fiction, no matter its intentions, seem a bit escapist. So, even the shows this season that were pre-existing plays seemed to take their tone from the tensions of our time, perhaps to an unusual degree.

Or maybe not. The way we—or each member of the audience—experiences what gets done before our eyes onstage takes its tone from our own conflicts, I expect. It seems to me that the Yale School of Drama students making theater in the basement at 217 Park Street in 2017-18 were particularly aware of the conflicts.

Here’s my own individually chosen favorite bits, in thirteen categories, with shows listed in chronological order but for my top choice, the choices in no way reflective of the views of any existing or imagined demographic.

Speaking of pre-existing plays, here are five I’m glad Cab 50 tackled:
Re:Union by Sean Devine (proposed by Wladimiro A. Woyno R.): Violent protest of the Vietnam War era and the sins of the fathers, including the bland bureaucrat Robert McNamara, is visited upon the next generation
This Sweet Affliction by Blake Hackler (proposed by Stephanie Machado): Treats comically the scary social effects of vying for attention and acting out
The Ugly One by Marius von Mayenburg (proposed by Lucie Dawkins): Plays fast and loose with our desire to be the most desired one in the room
Camille, A Tearjerker by Charles Ludlam (proposed by Michael Breslin and Molly FitzMaurice): Finesses a mix of melodrama and comedy in the name of Ridiculous Theater
and . . . Mud by María Irene Fornés (proposed by Danielle Chaves): A harrowing and uncomfortable allegory of how our bodies betray us

In the new play arena, some unusual offerings that lived up to the Cab’s brief of experiment and exploration:
Fuck Her by Genne Murphy: Call it science-fiction burlesque, a tale of a future where procreation by copulation is a status service
the feels… (kms) by Jeremy O. Harris: A script of inspired self-excoriation and abrasive ideas for ending it all
the light is… by Jake Ryan Lozano: A fascinating combination of poetic words and interpretive movements in atmospheric lighting
The Guadalupes by Noah Diaz: A funny, touching, and awkward remembrance play as real as anything onstage can be
and . . . This American Wife by Michael Breslin and Patrick Foley: The foley à deux of two gay guys who find the meaning of life in the bad behavior of televised housewives as a way of unmasking/masking themselves

Tech. Where would we be without it? These remarkably talented people do surprising work in a basement. Everyone who undertakes that task earns our gratitude. The samples here are simply those I can most readily call to mind.

Scenic Design:
Ao Li, The Apple Tree: Eden as a clean, white, well-lighted place . . . with a curtain
Sarah Nietfeld, This Sweet Affliction: Uniting the Cab space with several locales to up the intimacy
Gerardo Díaz Sánchez, Mud: Creating a simple but memorably derelict space
Emma Weinstein, Camille: Turning the entire Cab into a boudoir with a stage at the center
And . . . Stephanie Osin Cohen, Ni Mi Madre: A beach, a memory space, a museum, a shrine (and, oh, the colors)

Costumes:
Matthew Malone, The Apple Tree: From the white shorts & white first formal of innocence to the red everyday wardrobe of shame, plus one helluva snake suit
Stephanie Bahniuk, For Your Eyes Only: What the creative sex worker wears depends on the task at hand, with much showing and suggesting
April Hickman, Non-Character Player: Avatars dress for success (with props by Alexander McCargar) to add to the ambiance of the virtual world
Alicia Austin, Camille: Dress-up taken to the extremes of a fantasy-world of fashion, both comic and lovely
And … Beatrice Vena, Fuck Her: A future where clothes make the client and the client chooses the look

Lighting Design:
Krista Smith, with Emma Deane, The Apple Tree: A range of effects for this fanciful musical’s trajectory
Erin Earle Fleming, the feels… (kms): When the action is everywhere, even in the audience
Dakota Stipp, the light is… : The light, and the dark, as expressive elements with subtle cues
Emma Deane, Wolf/Alice: Gothic, moody, fascinating
And … Evan Anderson, One Big Breath: From shadow forms to indoors/outdoors spaces to in your face

Video/projections:
Wladimiro A. Woyno R., with Brittany Bland, Re:Union: Many events in the past exist for us as video; in this play, the action of the present took on the “pastness” of video
Erin Sullivan, The Guadalupes: Video here becomes a kind of self-surveillance, in an in-between theatrical space of public/private
Brittany Bland, Sea Witch: Opaque shadow-puppet foregrounds over colorful transparencies to create bewitching visuals
Christopher Evans, Jack Wesson, Non-Character Player: When theater becomes a virtual, digital space, and vice versa
And … Brittany Bland & Wladimiro A. Woyno R.; Michael Breslin; Amauto Marston-Firmino, This American Wife: The edited video from the television show provided context, the video within the performance, expressive device

Sound Design:
Megumi Katayama, One Big Breath: Total environmental theater with a varied soundstage
Frederick Kennedy, Re:Union: An interplay of video and live sound, including historical enactments and interpolations
Kathy Ruvuna, Sea Witch: Foley and musical effects, to create a textured aural backdrop in this wordless narrative
Roxy Jia, Megumi Katayama, Non-Character Player: What’s a digital video game without sound effects?
And … Liam-Bellman Sharpe, The Ugly One: Live Foley as a performance to the side of the main performance, which included onsite video

Music:
Frederick Kennedy, Liam Bellman-Sharpe, Mud: Moody background sounds that worked to focus us on the surprising events in Fornés’ world
Michael Costagliola, Hey Secret Service… A brave stand-up, proto-musical revue that considers the vexed relation between our twit(terer) of a president and the cultures of guns and of theater, and trumps its penciveness with wit and humor
Sylvia D’Eramo, Roxy Jia, Wolf/Alice: The singing by D’Eramo was stunning, the use of music atmospheric and eerie
Liam Bellman-Sharpe, Camille: Bellman-Sharpe is the great in-the-wings performer of Cab 50; here, at the piano, he added immeasurably to the play’s effectiveness
And … Jill Brunelle, music director, with Jenny Schmidt and Emily Sorenson; music by Jerry Bock, lyrics by Sheldon Harnick, sung by Erron Crawford, Danilo Gambini, Courtney Jamison, The Apple Tree: I often say I’m not the target audience for musicals, but when they’re directed by Rory Pelsue I change my tune, and Jill Brunelle is the maestro of musical adaptations for the Cab. Bravo!

Choreography:
Shadi Ghaheri, One Big Breath: The season opened with a memorable dance routine done by shadows with Jakeem Powell stealing the show
Ensemble, This Sweet Affliction: A topflight group of actresses as cheerleaders, strutting their stuff
Jake Ryan Lozano, the light is…: The range of emotions that movement and music inspires finds its focus in the many mute gestures of these mini-dramas of dance
Michael Breslin, Arturo Soria, Camille: An orchestration of movement—duels, dances, entrances/exits—very colorful and busy
And…Yasin (Ya-Ya) Fairley, Commissioned Choreographer, with Alex Vermilion and Chelsea Siren, For Your Eyes Only: Choreography, as dance, is only part of it; Vermilion’s show walked a fine line on the wild side, where every move is part of an elaborate fantasy trying to be reality, or vice versa

Acting takes many forms. One of its forms is a well-executed merging of a range of characters that feels as satisfying as a good band that’s got it together . . . Ensembles:
This Sweet Affliction, Stella Baker, Marié Botha, Patricia Fa’asua, Courtney Jamison, Rachel Kenney, Stephanie Machado (directed by Francesca Fernandez McKenzie): A group of girls, plus a few adults, coming apart, coping, not coping in a sharp social satire
the feels… (kms), Abubakr Ali, Michael Breslin, Patricia Fa’asua, Amandla Jahava, Jakeem Powell: A mercurial troupe acting out the different strands of a darkly comic use of theater as coping mechanism
The Ugly One, Danilo Gambini, Steven Johnson, Patrick Madden, Emily Reeder (directed by Lucie Dawkins): A frenetic collective caught up in the before-and-after benefits of radical surgery
Enter Your Sleep, JJ McGlone, Ciara McMillian (directed by Rachel Shuey): A two-hander that puts a pair of actors through their paces in a series of free-associated character turns
And . . . the light is…, Marié Botha, Shadi Ghaheri, Louisa Jacobson, James Udom, Seta Wainiqolo, Curtis Williams: I’m not sure what it was all about but I’d watch this group of actors read from the want-ads; here, they inspired a range of emotions in intricate choreography worked out by the cast and creator Jake Ryan Lozano, with a riveting Cab debut by Williams

Individual performances, because all roles aren’t created equal:

For playing his larger-than-life mother as himself or vice versa: Arturo Soria in Ni Mi Madre
For being both uncomfortably ugly and commandingly attractive, without benefit of make-up in either case: Patrick Madden in The Ugly One
For a scary yet pitiful version of toxic masculinity: Devin White in Mud
For a dream role as a dying diva in this period life: Michael Breslin in Camille
And … for letting us in and letting (some of) us have it, while working the slippery line between truth and appearance: Patrick Foley in This American Wife

For charming the first man, the serpent, and us (her children): Courtney Jamison in The Apple Tree
For hard truths and hard lessons handed down from the fathers: Louisa Jacobson in Re:Union
For a funny and chilling lesson in what happens when a theater person gets rejected (good thing she was an actress, not a dramaturg): Stephanie Machado in This Sweet Affliction
For a dream role as a mercurial and devious diva: Antoinette Crowe-Legacy in Fuck Her
And … for existential truth in its hunger, need, and abject beauty: Danielle Chaves in Mud

Directing, because someone has to be in charge:
Rory Pelsue, The Apple Tree: For a touching and amusing evocation of the pleasures of old-fashioned sexism set to music
Lucie Dawkins, The Ugly One: For finding the tone of absurdist satire for an image-conscious world
Emma Weinstein, The Guadalupes: For showing real life and real death in one life, almost as it happened
Molly FitzMaurice: Camille, A Tearjerker: For unleashing a cross-dressed extravaganza of wild indulgence
And … Patrick Madden, Mud: For rendering one of the most thoughtful and thought-provoking plays of the season

And, for overall production (or, simply, the shows I liked best overall):
The Apple Tree, producer Gwyneth Muller, dramaturg Molly FitzMaurice, Stage Manager Abby Gandy: A relentlessly entertaining and tuneful version of how we went from Eden to domesticity to death
This American Wife, producers Melissa Rose & Lucy Bacqué, dramaturgs Ariel Sibert & Catherine María Rodriguez, stage manager Olivia Plath: Ever-reflective reflection on how we like to imagine ourselves through others
This Sweet Affliction, producer Caitlin Volz, dramaturg Rory Pelsue, stage manager Sarah Thompson: Great fun at the expense of our obsession with belonging to the in-group and becoming more famous than our friends
Camille, A Tearjerker, producer Sophie Siegl-Warren, dramaturg Catherine María Rodriguez, stage manager Madeline Charne: A multivalent gender study and an entertaining exercise in flamboy/girlant acting
And … Mud, producer Leandro Zaneti, dramaturg Nahuel Telleria, stage manager Olivia Plath: A rich and mysterious play, Old School but undimmed

So, fifty years. Let’s see where they go from here…

20842194_10155681997044626_35706139470397158_n.jpg

The team for Cab 51 will be Artistic Directors Molly FitzMaurice and Latiana Gourzong and Managing Director Armando Huipe. There will be no Yale Summer Cabaret for 2018.

Much gratitude to all who took part in Cab 50 and in signature events like the 3rd Satellite Festival and the 5th “Dragaret.”

Yale Cabaret
2017-18

Three Drag Nights

Preview of Dragaret, Yale Cabaret

In talking about the relevance of drag to general culture, Danilo Gambini, the first-year Yale School of Drama director who is directing this year’s “Dragaret” at the Yale Cabaret, quotes drag superstar RuPaul: we’re “born naked, the rest is drag.” The idea being that, whatever you identify as, your persona is a matter of hair and clothes and grooming and, sometimes, make up. It’s all about “self-presentation,” and becomes a matter of “political and social discourse. Is it a critique of normativity? It can be, and it can not be,” Gambini said.

For the celebration of drag, opening tonight in its fifth year at the Yale Cabaret at 217 Park Street, it’s all about the performance of performance.

unnamed.jpg

Gambini sees “the bloom of the recent culture of drag” as a result of the popularity of RuPaul’s Drag Race. The TV show is in its 10th season but, according to Gambini, it really became mainstream in the last six years, which would indeed position the initial Yale Cabaret Drag Show within that time-frame. The first Cab Drag revue, back in February, 2013, coincided with a record-breaking blizzard. Those who performed and attended earned a certain legendary status in the annals of the Cab. Thereafter, the show has been a high point of the YSD school year, but only last year did the show become part of the official Yale Cabaret season, and this year the show has expanded beyond its modest beginnings.

“There will be three different nights,” Gambini noted. The current artistic and managing team of the Cab—Francesca Fernandez McKenzie, Rory Pelsue, Josh Wilder, Rachel Shuey—wanted to do “a big thing for the Cab’s 50th year.” For the first time, there will be involvement by the vital professional drag community of New Haven and areas further afield. (For coverage of the relation of the drag community to the Cab’s shows, see Lucy Gellman’s article in the Arts Paper, here.) The local drag queens will be hosted by the Cab for two shows on Thursday night, February 15. On Friday, the Cab will present a “party featuring special guest drag performances” from some alums of previous drag shows lured back to revisit former glory. For both nights, the showtimes are 8 p.m. and 11 p.m., the typical showtimes at the Cabaret.

On Saturday, there are three shows—8 p.m., 10 p.m., and midnight—for the currently enrolled students of YSD to perform drag routines specially designed for the occasion. That evening, which Gambini is directing, will be hosted by Bianca Castro (aka Jiggly Caliente), a trans-woman, drag queen and former contestant on RuPaul’s program, who also starred in a 2016 production at the Cabaret of A. Rey Pamatmat’s Thunder Above, Deeps Below.

Gambini, who used to DJ for and organize drag queen parties in his native Brazil, worries that drag is becoming “mainstream,” so that, when a new crop of queens and kings learn their method from the TV show, there may be a certain loss of the local dynamics that he associates with drag culture. He sees his task as director to be a question of “not imposing norms but setting boundaries, aware that they will be broken.” The technical team—lights, sound and projections—is the same for each show, but the performers are all responsible for their own costumes and performances which, Gambini said, entail both lip-synch and a growing tendency to sing in situ.

For Gambini, drag is a form of performance art, and, like performance art, there is always an implied stretching of limits in what performers choose to do. “There are standards, having to do with artistry and the difficulty” of the performances—which often involve mimicry of well-known celebrities and styles, or unconventional mash-ups—and “there’s an ongoing questioning of the politics of gender, informed by a gender queer outlook that sustains a non-binary idea of gender, seeing gender as an option.”

Gambini, who directed Arturo Soria’s solo show Ni Mi Madre in the fall at the Cab and appeared there in both The Apple Tree, directed by Rory Pelsue, and The Ugly One, directed by Lucie Dawkins, sees the Cab as one of the more challenging theatrical venues in New Haven, and the Drag show is “very special for the way it involves the whole school” more so than any other show produced at the Cab. He said there is “less control and more trust” involved in directing the Drag show than a typical Cab show, and that he hopes to be “supportive and excited about everything” the performers want to try.

Michael Breslin, a second-year dramaturg who performed a memorable routine as Kellyanne Conway in last year’s Drag Show, agreed that a certain “mainstream commercialization” threatens the more “intentionally local” aspects of drag. Breslin has been active in the drag community in New York City and done research of drag communities abroad, and said that he heard about the Yale Drag show before he ever considered applying to the school, and saw the student-run drag show “as a good sign” about the School. For him, the political dimension of drag is a constant, and he hopes the Cab show will “step it up this year” with more routines that “parody the culture of the school” and “push boundaries.”

Drag, Breslin stressed, is “a legitimate art form totally tied up with theater” so that Drag Night at the Cabaret is an event that lets students of theater engage in role play and dress-up in ways that foster “implicit critique” of gender norms, and of the codes of performance. And, of course, it’s “really fun” with a giant dance party afterwards. He noted that his Conway interpretation engaged with the question of what “can and cannot be put on the stage,” as some see a drag performance as celebratory of its objects, while others are more in tune with performance as a method of resistance.

In discussing the various techniques of drag, Breslin said he prefers lip-synch because it entails a certain factor of “realness” in the artistic presentation. The performance, in closely mimicking a known performer, makes representation a theme, where “pulling off an illusion flawlessly” calls attention to the nature of illusion as an element of self-presentation. Breslin feels that the Cab is a great space for the more punk elements of drag, which takes some of its cultural force from small, packed houses, as opposed to RuPaul’s television set or the traveling show that comes to the Shubert stage annually. For Breslin, a good drag revue should feature both “joy and danger.”

The program—all three nights—at the Cabaret will feature the traditional “catwalk,” a walk-way space, reminiscent of the staging of fashion shows, that stretches between a mainstage and a smaller stage close to the audience. “It’s very important,” Gambini said, “for the performers to be seen in the round” and to have options about how to work the crowd.

This will be my fourth foray into the Cab’s drag performance space (unfortunately, I missed the inaugural blizzard year) and the evening has been, each year, one of the most high-energy, creative, gorgeous, surprising and entertaining shows in the YSD calendar. This year, with the door held open for a greater range of styles, levels, and aesthetics of performers, the Dragaret may become a noted New Haven event, rather than simply a valued Yale tradition.

 

Dragaret
Yale Cabaret

Thursday, February 15th
NEW HAVEN DRAG

2 performances, 8 p.m., 11 p.m.
Emceed by New Haven’s fabulous Kiki Lucia, featuring 12 New Haven drag performers:
Laiylah Alf wa Laiylan, Scarlett Bleu, Bella Donna, Kendra Fiercex Rose, Clits Jenner, Xiomarie LeBeija, Tiana Maxim Rose, Rarity Moonchild, Dixie Normous, Lotus Queen, Sativa Sarandon, Giganta Smalls, Loosey LaDuca, Mia E Z’Lay

Friday, February 16th
DRAG COCKTAIL PARTY
2 performances, 8 p.m., 11 p.m.
With special alumni guest appearances

Saturday, February 17th
YALE SCHOOL OF DRAG || SOLD OUT ||

3 performances, 8 p.m., 10 p.m., 12 a.m.
Performances by current Yale School of Drama students

The house will open 30 minutes prior to performances. 
The wait list will open 1 hour prior to performances.

There will be no dinner service for the Dragaret, but light snacks will be available and the bar will be open.

A Story of Fathers and Sons: The Chosen Comes to Long Wharf

Preview of The Chosen, Long Wharf Theatre

Novelist Chaim Potok is best-known for stories about the clash of values between fathers and sons, particularly within the codes that govern conduct among modern Jews. His novel My Name is Asher Lev, adapted into a play by Aaron Posner, centered on a young Hasidic man trying to follow his creative inclinations as an artist within a religious tradition that forbids figural representation. Directed by Artistic Director Gordon Edelstein, the show was a strong close to the 2011-12 Long Wharf Theatre season and went on to win an Outer Critics Circle Award as Outstanding New Off-Broadway Play at New York’s Westside Theater.

The Chosen, in a new revival at the Long Wharf, may be following a similar path. The play is based on Potok’s best-known novel; in fact it made his name upon its publication in 1967. Adapted into a film and a short-lived musical, The Chosen, as a play, was first produced in 1999 at the Arden Theatre in Philadelphia, much as Asher Lev received its first production there. The current show repeats the teaming of Aaron Posner’s text and Gordon Edelstein’s direction, but The Chosen is less about the restrictions of remaining faithful to Judaic tradition and more about how paternal expectations find or miss their fruition in the sons of willful men.

The focus of the play is on two young men, Danny Saunders and Reuven Malter, who begin as rivals on the baseball field and then become friends as they grow. Their fathers, Reb Saunders and David Malter, represent two opposing value systems. Reb Saunders wants Danny to become a religious leader, but Danny wants to be a psychologist. David, a Zionist, wants his son to become a mathematician, but Reuven has interest in becoming a rabbi. Director Edelstein sees the play as “a beautiful story about the complicated relationship between parents and their children and how a friendship grows.” The tensions between the Saunders and Malter households illustrate how we sometimes “seek our fathers in places other than our own homes.”

Steven Skybell plays David Malter. A graduate of the Yale School of Drama in 1988, Skybell has been nominated by the Connecticut Critics Circle for recent performances in the area, in Arthur Miller’s Broken Glass at Westport Country Playhouse, where he gave a very nuanced performance as Phillip Gellberg, and in Brecht’s The Caucasian Chalk Circle, at Yale Repertory Theatre, where he was the Narrator and Azdak, a comical judge with perhaps a touch of Groucho. Though he has acted in the state several times, this is his debut on the Long Wharf stage.

Steven Skybell

Steven Skybell

While growing up Jewish in a small town in Texas, Skybell “knew of” the novel The Chosen without being familiar with it, but when he read the part he immediately wanted to do it. Gordon Edelstein, Skybell said, “was delighted to find out that I’m Jewish,” because it means less work in trying to explain the context of the play. And yet, Skybell added, “it’s not simply a play about Jewish issues, it’s a story about a father and a son. A moving drama about distance and closeness between generations.”

The challenge of David Malter, as a part, Skybell said, is that he’s very likeable—“almost the perfect father” who wants everything to be “beautiful and right for his son.” The script, he said, “is detailed in reality,” so that Malter, as a character, is “fully written” and not simply a foil to Reb Saunders.

Malter, through a chance meeting with Danny Saunders, becomes “almost a surrogate father” to the boy. It’s not an effort to undermine Danny’s father but rather to support Danny’s own interests. “It’s the age-old question in families. You want to like what your parents’ like but you also want to do what you want with your life.”

“Each son, in a way, desires what the other’s father wants.” A situation that Skybell sees as having great significance for the intolerant times we live in now. “The play shows the positions of two different types of Jewishness, within Judaism. And it shows that someone can be quite diametrically opposed to someone else and that there can be truth in both views. It’s not necessary to obliterate the other view.”

Previews begin this Wednesday, November 22, with the press opening on the 29th.

Long Wharf Theatre

Chaim Potok’s The Chosen, adapted for the stage by Aaron Posner, directed by Gordon Edelstein, with Ben Edelman, George Guidall, Steven Skybell, Max Wolkowitz

Three New Plays Find Readings This Weekend

Preview: Contemporary American Voices Festival, Long Wharf Theatre, October 20-22, 2017

In its third year, the Contemporary American Voices Festival at the Long Wharf Theatre is a growing event and one of the more welcome local theater presentations. It showcases new work, most often plays that haven’t received full productions or which are undergoing further work. The dramatic readings, with each play matched to a director who is often already an admirer of the play, let audiences in on the process of how plays develop.

Long Wharf Literary Manager Christine Scarfuto chooses the plays for presentation and sees the Festival as a helpful event both for playwrights and for the Long Wharf, contributing to the theater’s reputation for new work and giving younger playwrights greater visibility.

“New work is the lifeblood of the theater. It’s what keeps the art form vital and alive. And how better to support new work than to give opportunities to today’s most exciting young writers?” Scarfuto said. She reads 100-150 new plays to find the three that will be presented on Long Wharf’s Stage II, this Friday through Sunday.

In selecting the plays, Scarfuto draws on a network of literary managers and playwrights. Key to her consideration is “where the plays are at.” Some may be programmed for future productions, some may be brand new, with no production yet scheduled, others may have had a production but are in search of an opportunity to revisit the script. Several of the plays featured during the first two festivals have gone onto to award-winning productions. In general, as Scarfuto put it, “the plays are really in good shape, almost ready for production.” The Long Wharf festival gives them an important opportunity to let audiences into the room.

CAV_hp_0.jpg

 

The schedule this year is:

Passage, by Christopher Chen, directed by Saheem Ali, on Friday, October 20, at 7 p.m.

Poor Edward, by Jonathan Payne, directed by Tyne Rafaeli, on Saturday, October 21, at 7 p.m.

All the Roads Home, by Jen Silverman, directed by Lee Sunday Evans, on Sunday, October 22, at 3 p.m.

Christopher Chen, Scarfuto said, is the author of one her favorite newer plays. Caught, which was included in the 2016-17 season at the Yale Cabaret, is a “really smart” play that asks some probing questions about art and politics in the globalized world. In Passage, Chen’s play at this year’s Festival, seven actors take on twelve roles. The play adapts elements of E. M. Forster’s 1924 novel A Passage to India for “a new view of colonialism,” Scarfuto said. Set in “two imagined countries” in order to undermine “preconceived notions,” the play, Scarfuto said “is really about perceptions and prejudice.”

Christopher Chen’s plays include The Hundred Flowers Project (The Glickman Award and Rella Lossy Award), The Late Wedding, Mutt, Caught (The Obie Award and The Barrymore Award) and You Mean To Do Me Harm. Other honors include the Lanford Wilson Award; the Sundance Institute/Time Warner Fellowship; and the Paula Vogel Playwriting Award. A San Francisco native, Chen is a graduate of U.C. Berkeley, and holds an M.F.A. in play-writing from San Francisco State. He is currently resident playwright at Crowded Fire Theatre Company.

Jonathan Payne is a playwright Scarfuto has known for a while through friends. Currently a student at Julliard, Payne works with the homeless as a social worker in New York city. His play at this year’s Festival, Poor Edward, follows the fortunes of Opal and Eddie, two homeless persons who share a hovel in a homeless community that is about to be bull-dozed. Scarfuto described the two-person play as “dark and funny,” combining elements of some of Scarfuto’s favorite playwrights: Suzan-Lori Parks, Edward Albee, and Samuel Beckett. Payne, Scarfuto said, has “a really exciting imagination” and his play adapts a Czech fairytale about a tree root into a story about contemporary social issues.

Jonathan Payne's work has been produced and developed at the Tristan Bates Theatre (UK), Ars Nova, Fringe Festival NYC, The Bushwick Star, and the Fire This Time Festival. He has been a fellow at New Dramatists, Playwrights Realm and The Dramatist Guild, as well as an Ars Nova Play Group member 2014-15. Awards include the Princess Grace Award (2015), Holland New Voices Award (2014), Rosa Parks Award (2011), John Cauble Short Play Award (2002). He holds a BA from the GSA Conservatoire (UK) and an MFA in Playwriting from Tisch School of the Arts, and now attends the Lila Acheson Wallace American Playwrights Program at the Juilliard School.

Jen Silverman’s The Moors, at the Yale Repertory Theatre in 2016, showed a striking ear in its dialogue and visited a revisionist sense of the Gothic story on the situation of women across class and education and erotic inclination. All the Roads Home considers the legacy of parent to child across three generations of “headstrong women,” from the 1930s to the present. Scarfuto called the play “moving, poignant, and heart-warming” with the “off-beat comedic tone” that made The Moors so successful. The play, which includes live music with two guitars, addresses sacrifice, the influence of the past, and “fighting for your dreams.”

Jen Silverman’s theater work includes The Moors (Yale Rep premiere, off-Broadway with The Playwrights Realm, Susan Smith Blackburn finalist); The Roommate (Actor’s Theatre of Louisville premiere, produced across the U.S. including South Coast Rep, Williamstown Theatre Festival and upcoming at Steppenwolf); and Collective Rage: A Play in 5 Betties (Woolly Mammoth premiere). She is a member of New Dramatists, an affiliated artist with the Playwrights Center and SPACE on Ryder Farm, and is a two-time MacDowell fellow, recipient of an NYFA grant, the Helen Merrill Award, the Yale Drama Series Award, and the 2016-2017 Playwrights of New York fellowship. She was educated at Brown, Iowa Playwrights Workshop, and Juilliard.

Tickets are $10 for each play, or all three readings for $25. Reservations can be made by calling 203-787-4282 or visiting longwharf.org.  There will be a happy hour with half-priced drinks an hour before the beginning of each reading, and a Talk Back after each reading, with the respective playwright.

The festival is sponsored by the Burry Fredrik Foundation, Helen Kauder and Barry Nalebuff, and the National Endowment for the Arts.

Contemporary American Voices Festival
Long Wharf Theatre
October 20-22, 2017

The Carlotta is Coming Soon

Preview of the Carlotta Festival of New Plays, Yale School of Drama

A West African folktale with a Brechtian treatment; a story of inter-generational intimacy set in the great wide open of Alaska; a revisiting of Shakespeare’s The Merchant of Venice from the view of Shylock’s daughter—these are the new offerings to be seen at the 12th annual Carlotta Festival of New Plays, a theatrical tradition of presenting new work from Yale School of Drama students at the end of their three-year stint in the playwriting program. The three playwrights—Tori Sampson, Miranda Rose Hall, Sarah B. Mantell—are paired with graduating directors—Elizabeth Dinkova, Kevin Hourigan, Jesse Rasmussen, respectively—to bring their plays to the stage at the Iseman Theater, featuring casts drawn primarily from first and second-year actors in the program.

Tori Sampson

Tori Sampson

Tori Sampson’s play, If Pretty Hurts Ugly Must Be a Muhfucka, subtitled “an understanding of a West African folktale,” draws on a story Sampson was first told as a child by an uncle, “The Beautiful Girl and Her Seven Jealous Friends.” The story treats beauty as a determining factor of social standing. Sampson, who was a student of sociology before becoming a playwright, sees the story as a way to speak to women today when some standards may have changed, to some extent, but not for all.

The play could be said to come out of a frustration with double-standards, not only about who can be beautiful in a racist world, but also about what stories get told by the dominant culture. Sampson said she was “frustrated early on” in her studies at the School of Drama because the canonical playwrights were all white and male. One such writer was Bertolt Brecht and Sampson gradually decided to “investigate what I was not drawn to,” finding a certain common currency in the way Brecht’s work incorporated folk tales and what he found useful in other sources. For Sampson, the task of recreating other’s material “leads to a shared knowledge” and a way of interrogating what is known. As artists, Sampson said, drama students have “to allow ourselves to criticize what we study.”

The setting of Sampson’s play is a fictional place, Affreakah-Amirrorkah, a name that suggests a “freaky mirror” of Africa-America, and uses what might be called an Americanized dialect. It’s a poetic language relying on rhythm and sound more than everyday speech does. Last year, Sampson co-authored a Carlotta play with Jiréh Breon Holder, Some Bodies Travel, a very entertaining challenge to black cultural stereotypes, and in the Yale Cabaret season she directed Tarell Alvin McCraney’s reworking of Yoruba folk material, In the Red and Brown Water.

Plays, Sampson said, “are not about solving issues.” The issue of beauty, which our culture treats so seriously, she said “intrigued” her and she sees her play as “adding to the conversation” about what our standards say about us as a culture.

In choosing a play for this year’s Carlotta, Sampson was asked: “What is going to make you most happy?” One thing that gives her joy is making people laugh, and hers is a comic play, with jokes that may be “in your face,” but which should connect with a contemporary audience. Laughter and meaningful themes go hand-in-hand, for Sampson, and working with dramaturg Catherine Maria Rodriguez and director Elizabeth Dinkova, whose work has been marked by both, has been a positive experience for all.

Miranda Rose Hall

Miranda Rose Hall

The plays by Miranda Rose Hall that have been seen at YSD have tended to be comic, with decidedly satiric elements. But there’s another side to her work—more than two, in fact. Hall’s The Hour of Great Mercy allows her to move into domestic drama, in this case set in remote, rural Alaska, and to examine a key theme for her: “the nature and limits of love”

The play is based on a setting where Hall lived for a time, working in a care-giving facility she was assigned to through “a kind of domestic Peace Corps.” Her task was providing company and solace to people near the end of their lives. Her play allows Hall to look back at a place that, she said, is with her always, with its mix of “sublime environment and human dysfunction,” a combination she just had to write about. Hall’s play creates a situation to examine questions that loom large at the end of life, like “forgiveness, and the ways in which we love each other and suffer with another’s suffering.”

The story occurs five years after a tragic event in the community of Bethlehem, Alaska, where Ed, a Jesuit priest in late middle-age, returns to reconcile with his estranged brother and finds himself falling in love unexpectedly in the isolated wastes. For Hall, the play is “irreducibly Alaskan” because her time there, in which she drank up many stories from the locals, most having to do with “a wild cast of characters in spartan conditions,” caused her to reflect on questions of “survival and the ethos of mortality.” The landscape, she said, made her feel “in the presence of something greater” that was “impossible to ignore.”

Choosing a Jesuit as hero for her play is a testament to the Jesuits who ran the volunteer corps Hall joined, and it also was a way to work with Catholic themes. Though raised Presbyterian, Hall is descended from Italian immigrants, and said she feels “culturally Catholic.” Georgetown, where she received her undergraduate degree, was founded by Jesuits and their stated values of “service, education, and justice” are important to Hall. It’s also important that the play be set during the papacy of a former Jesuit priest: Pope Benedict, who denounced gay marriage.

Though ultimately fictional, the play draws on Hall’s real love for Alaska and the people she met there. Though no one who knew her could quite understand why she was going with a small team of total strangers into one of the remotest and wildest states in the nation, her experience has made her more confident about her ability to find the themes she wants to explore in her art. The characters in The Hour of Great Mercy are not Alaskan natives but have lived there a long time, and reflect for Hall “the heart, humor, and tough defiance” of the people she came to know there. Kevin Hourigan and Gavin Whitehead, Hall’s director and dramaturg, were her first collaborators in her first year project at YSD, so, in a way, she’s come full circle.

Sarah B. Mantell

Sarah B. Mantell

Kevin Hourigan’s second-year studio show, Shakespeare’s The Merchant of Venice, figures as a major catalyst for the third Carlotta play. In viewing that production, Sarah B. Mantell finally saw a play she had always avoided, not wanting to experience a Jewish villain given canonical weight by the greatest writer in the English language. Mantell began writing Everything That Never Happened last summer, making this “the shortest possible process” in bringing a play to the stage. The play, she said, “could only be born at the Yale School of Drama” because she would not have encountered Merchant anywhere else. What’s more, Hourigan’s production, which featured Elizabeth Stahlmann in the key role of Shylock, staged the humiliating conversion scene that the Jewish merchant is condemned to undergo.

And yet Merchant is considered a comedy and Mantell sees the relation of humor to tragedy in the play as “very Jewish,” and that has motivated her to write with Jewish speaking voices, to create, in fact, “everything that never happened” in The Merchant of Venice. Particularly, Mantell’s play dramatizes the story of Shylock’s daughter Jessica, in love with Lorenzo, who realizes she must run away. A key plot point is that she is ethnically ambiguous and can pass as something she’s not—a gentile.

In pursuing her process of “taking Shakespeare’s characters and making them my own,” Mantell had conversations with playwright Sara Ruhl who has adapted classic texts, such as Virginia Woolf’s Orlando, in her work. Mantell cites as well Paula Vogel’s Desdemona: A Play About a Handkerchief, a reworking of Othello with a very different emphasis. Mantell has also been working on a play called “Fight Call”—the term for working through all of a play’s fights in sequence for rehearsal—that would be a walk-through of the deaths of many of Shakespeare’s female characters. The key element uniting such reinventions of Shakespeare is considering how the sexist assumptions of his plays can be overturned or dramatized.

Everything That Never Happened wants to take such revisionism a step further. Not only is Jessica a female hero for this reworking of Merchant, but she is also ethnically other than the dominant culture. Working with Jesse Rasmussen, who staged the violent misogyny of ‘Tis Pity She’s a Whore as her thesis show, has “been tremendous” for Mantell, as “Jesse can do a lot with little,” and her dramaturg, Chad Kinsman, and others she consulted have been incredibly helpful in keeping straight details of the time period and other factors relevant to the adaptation.

Mantell, whose early play, Mrs. Galveston, was one of the most engaging plays at this season’s Yale Cabaret, may find at last the heart of Shakespeare’s always somewhat problematic Merchant.

Three graduating playwrights, three new plays with heart, humor, and new perspectives.

 

The Carlotta Festival of New Plays
Yale School of Drama

If Pretty Hurts Ugly Must Be a Muhfucka: an understanding of a West African folktale
By Tori Sampson, directed by Elizabeth Dinkova
May 5, 8 pm; May 9, 8 pm; May 11, 2 pm; May 12, 8 pm

The Hour of Great Mercy
By Miranda Rose Hall, directed by Kevin Hourigan
May 6, 8 pm; May 10, 2 pm; May 11, 8 pm; May 13, 2 pm

Everything That Never Happened
By Sarah B. Mantell, directed by Jesse Rasmussen
May 7, 8 pm; May 10, 8 pm; May 12, 2 pm; May 13, 8 pm

Canon Redux

Sneak Peak at Yale Summer Cabaret 2017

The upcoming season at the Yale Summer Cabaret will be announced today. Co-Artistic Directors Rory Pelsue and Shadi Ghaheri have planned four plays, “adaptations of four pre-20th century European works, updated and directed by living women, queer artists, and artists of color as a radical and provocative response to the theatrical ‘canon.’”  Called “Canon Balle,” the 43rd season of the Summer Cabaret looks to be a provocative interrogation of canonical works, reconfigured by the pressures and interests of contemporary theater-makers and theater-goers.

The Yale Summer Cabaret team: Rory Pelsue and Shadi Ghaheri (seated); Trent Anderson, Dashiell Menard, Leandro A. Zanetti (standing)

The Yale Summer Cabaret team: Rory Pelsue and Shadi Ghaheri (seated); Trent Anderson, Dashiell Menard, Leandro A. Zanetti (standing)

First up, June 2-11, is Shakespeare’s Antony + Cleopatra, adapted by Rory Pelsue. Pelsue, a rising third-year director at the Yale School of Drama, presented a staging of Othello as his second-year Shakespeare project that was a dramatic enactment of passions held to a knife’s edge, exploring the sexual tension between Othello and Iago, as well as Othello and Desdemona. While it is well-known that all parts in Shakespeare’s theater were enacted by men, Pelsue’s all-male Antony + Cleopatra will bring a decidedly drag element to the play, described as “playful and anarchic,” with a “butch” Antony having to face his feelings for a seductively femme Cleopatra.

Next, Shadi Ghaheri, also a rising third-year director at YSD, whose presentation of Titus Andronicus this spring was a take-no-prisoners assault of political vengeance and victimization, undertakes Euripides’ Trojan Women, a play about the fate of women in Troy after the death of the hero Hector and the fall of the city in the famed war against the invading Greeks. This all-female production of a 1995 translation by Ellen McLaughlin takes its cue from the war in Bosnia, but addresses the role of women in war from 400 BC to the present day. June 23-July 2

August Strindberg’s Miss Julie is a classic, late nineteenth-century play of the conflict between class and gender. As adapted by South-African playwright Yaël Farber, Mies Julie, set on a remote farm in post-Apartheid South Africa, ratchets up the drama with interracial and colonialist tensions not present in the original. Directed by Pelsue, July 14-23

Young Jean Lee is an experimental artist known for provocative approaches to theater. The final show of the season is her take on the story of King Lear. In Lear, directed by Ghaheri, the focus is on the twenty-something children of raging and abused parents, Lear and Gloucester. Will the change in perspective humanize the younger generation or show them to be as mad as their suffering parents? August 4-13

Stay tuned for previews and reviews of the individual plays as the summer gets closer. For information about tickets, including 4-ticket passes at $100 or 8-ticket passes for $192, check out the Summer Cabaret’s website, beginning May 8.

In summer in New Haven, the Yale Summer Cabaret is the hottest show in town.

Yale Summer Cabaret
Season 43
Canon Balle

Artistic Directors: Rory Pelsue, Shadi Ghaheri
Managing Director: Leandro A. Zaneti; General Manager: Trent Anderson; Production Director: Dashiell Menard

June 2-August 13, 2017

Regular Townies

Preview of Middletown, New Haven Theater Company

New Haven Theater Company tends to thrive on dialogue-driven plays with small casts, but, once a year or so, they go for something bigger and busier. Coming up for two weekends—the last weekend of April, the first weekend of May—is just such a project, third in the unofficial “town trilogy” that the NHTC probably weren’t even thinking about: Urinetown (in 2012), Our Town (in 2013), and now, Middletown.

Written by Will Eno, one of the most consistently interesting and entertaining writers in theater today, Middletown, which was first produced in New York in 2010, has been called a “modern Our Town,” which is to say that its setting—a kind of “Anytown, USA”—recalls Thornton Wilder’s evocation of the perennial attractions of Grover’s Corner, while its view of what makes America tick is infused by a self-conscious irony toward the normative. Then again, in the Our Town at Long Wharf a few years back, the town onstage extended to the audience and vice versa; in Eno’s Middletown, an “audience” is present onstage between acts to let us know we’re right in the middle of the world it portrays. A world that includes an astronaut in outer space and a local n’er-do-well having to serve time portraying a Native American. Both Wilder and Eno have a sense of America as a place older than the United States and with an ethos always somewhat futuristic.

What attracts the Company to “townie” plays we can only surmise, but I suspect it has something to do with the fact that NHTC is specific to our town—New Haven—and has a feel for plays with a strong sense of regular folks in a place. This time Peter Chenot directs; he starred in Urinetown, and had a part in Our Town, directed by Steve Scarpa. Now he turns the tables and directs Scarpa, as John, the lead male character, in Middletown. Chenot was also at the helm of one of the non-town-based big productions the troupe has staged: Donald Margulies’ Shipwrecked! in 2014, which was very fluid in its execution of space.

In reading the play for consideration—it was Steve Scarpa who originally proposed Middletown to the Company—Chenot said he saw it as “a challenge, for sure,” as the play calls for various locations and will require reusing the pieces of the set in different configurations. There are “scenes inside houses, outside houses, at a monument, in separate rooms in a hospital and on its loading dock, and in outer space.” It will take some ingenuity to render “so many places in the NHTC’s shallow space, but the challenge is part of the fun.”

From the start, Chenot was attracted by the fact that the play calls for much of the cast to play more than one part, and the play’s deliberate evocation of Our Town struck a chord as well. “We all know that play,” he said, and, like Wilder’s best-known work, Middletown’s “main selling point is that it left me moved and uplifted though I don’t get it yet. There’s always more to know about the best plays where you don’t grasp all the subtleties at once.” Chenot likened working on the play to doing a jigsaw puzzle, getting more of the picture the more pieces fit.

Chenot called the play “human, quirky, and intriguing.” The people in the play are “normal, and speak in a matter-of-fact way that is not lofty” but conveys “what it means to be alive right now. It’s so smart and tackles big mysteries” about the human condition. The play also keeps the audience aware of the provisional aspect of theater as there are deliberate “moments of glitch in the play,” something of an Eno trademark.

Middletown comes along now because, while the company has been considering it for almost two years, the schedules of the NHTCers aligned sufficiently to make it possible. Only three current NHTCers are not appearing in Middletown: Christian Shaboo and Deena Nichol-Blifford, who both appeared in last spring’s production of Proof, and playwright Drew Gray, who directed Trevor, the most recent NHTC project. Otherwise, who you’ll see onstage is everybody who calls NHTC home—Megan Chenot, Erich Greene, George Kulp, Margaret Mann, Steve Scarpa, J. Kevin Smith, John Watson, Trevor Williams, enhanced by a few key non-NHTCers: Chaz Carmon, who played the animal care professional in Trevor; Chrissy Gardner, a composer and player in Broken Umbrella Theatre who plays Mary to Scarpa’s John; and Aly Miller, a child actor who plays “Sweetheart,” a girl in the audience.

Reading through the play convinced Chenot at once that it was a perfect fit for NHTC, as he could imagine a role for everyone. And “since directing is 75% casting, my work is done,” he joked. Part of the fun for regular attendees of NHTC productions is seeing what parts the familiar members take on in each new show, and it’s always a special treat when a play allows almost everyone to find something to do. Plays about towns instill a sense of community, as does the camaraderie of the New Haven Theater Company.

 

Middletown
By Will Eno
Directed by Peter Chenot
New Haven Theater Company
839 Chapel Street, the English Building Markets

April 27-29; May 4-6

Poems of Wry Reflection

Review of Houses, New and Selected Poems by Don Barkin

 

Are there consolations of aging in place? For New Haven poet Don Barkin, poetry lends a kind of formal ascendancy over the quotidian feelings and everyday events that make up a life. In his earlier volume, That Dark Lake, Barkin earned respect as a patient observer able to make music of the unspectacular, as he does here with the “flaking stucco wall of Magruder’s Service Station.” There are poems that find their apt subject in a ruined swimming pool or getting stuck in the snow; others that let a gentle symbolism creep into a deft image, as in “The Persistent”’s description of a swimmer who disappears “for a frightening while” only to reappear on a rock “so far away / he seems almost to be standing on air.”

In Houses, his new and selected poems published by Antrim House with a handsome cover painting by Peter Van Dyck, Barkin’s eye for the detail that inspires a poetic reflection remains, but his concerns have expanded somewhat. There are several poems that make gestures to that old poetic procedure of justifying the ways of God to man; poems such as “He Plays No Favorites” and “Erratum to an Elegy for a Doomed Youth” take a certain satisfaction in deeming the almighty to be rather indifferent and only looking for amusement: “slowly you start to realize / that God must surprise himself, or no dice.”  I like the way that often a key line in Barkin’s poems, always close to the matter at hand, can expand to complete a thought we didn’t know he was thinking. As, for instance, how the question of God’s surprise at how things turn out mirrors our own, and, perhaps, suggests why one bothers to write poems.

Then, there are the poems, in Part II, where Barkin the rhymester gains ascendancy, a tendency that lets Barkin’s often wry humor turn toward the act of poetry itself, letting us take some of his grimmer insights with a smile: “Still if you find such pining thick, / you’re right. And love’s a dirty trick.” With rhyme, Barkin is willing to jingle if that helps us acknowledge how cloying the commonplace can be, where a moon may appear “round as a baby’s naked bottom / yet yellow as a leaf in autumn” (in a poem about the girls that got away), or where a poetic teen, getting dropped by a girl, can long to “see the late light glaze / the rock-face of her gaze.”

I tend to like the unrhymed poems better, though there is sometimes an air of Housman in some of the rhymes, with occasionally a deliberate cadence of Yeats. Then there are times when rhyme sets up a pattern that pays off with off-rhyme in apposition:

Now it’s a ski-loud lake,
words crumble like stale cake.
To a mind that’s walked the plank
itself is what it’s like.
And the sky above it blank,
and beneath that sky, your bank.

While “the plank” may primarily be there for the rhyme — though there may be a plank over the lake — the key line “itself is what it’s like” lands with more force for sticking out — like a plank — from the fluid supports of the rhyme. The natural scene suggests the rhymes, but the mind detached even from its own versifying effort to, as in the previous verse, say what something is “like,” maintains an unrhymed diffidence.

Indeed, Barkin’s verse has a tendency to let diffidence keep the upper hand, sometimes to good effect, as for instance in what seems, with its easy rhymes, a little parody of what might be a Frostian scene that ends: “I’ll sit here till I hear the front door close. / A man must fight the devil that he knows.” We watch a scene play out and let the final line take us beyond the everyday situation — a wife yelling at a husband who is burning up his motor trying to get out of the snow — to Barkin’s greater purpose. Here one finds a suitable proverb in the moment, but sometimes, more tellingly, we might see the poet finding out what lurks in his own heart.

There are such glimpses, but the lyric for Barkin seems less an occasion for self-exploration than for keeping the self at bay. A teacher, Barkin, in “Schooled,” when asked “did you always want to teach?” says “I never did. I’m not sure why I’m here. / When you start out, you do things on a dare— / to test your strength, and then to pay the rent / as you guys go to school because you’re sent.” The poem’s conclusion — which takes us back to the text being studied (Wordsworth) — gestures toward the poetic imagination, in which earth and moon “praise the sun while trading doubtful looks,” but lets the “doubtful look” control the entire enterprise: both the speaker as a teacher and as a poet. Too much paying the rent? Too much going where one is sent?

The consolations of age are that one is no longer doing things on a dare or to test one’s strength; one can look back on the ones that got away and take stock: “You knew / way back when you held love at bay / you’d flourish in your own way / like wildflowers in their dark array.” It’s a nice thought — that “dark array” for a poet fond of keeping in mind “that dark lake” to which we tend — but the poem’s rhyme scheme, with its terza rima, skims across the important central verse of five, with verbs as rhymes: “show, know, go.” The “love at bay” looked back on, in other words, scarce causes a pause for thought, in the poem; all effort is to make the lesson of wildflowers the departed lover left become manifest — “the darkest gold, the deepest blue.” Do we trust the terms, the image, the lesson? Form and rhyme, after all, can be a manner, a way to dodge all those notions of life that don’t opt to be apt.

Don Barkin

Don Barkin

 

Don Barkin reads today from his verse at Mitchell Library in Westville, New Haven, 3 p.m.

Houses, New and Selected Poems
By Don Barkin
Antrim House, 2017; 88 pages