Backstage @ New Rep

"ART" is for Everyone

2012-01-19T20:41:00.004-05:00

By Jana Pollack, New Rep Reviewer

Yazmina Reza’s 'ART' is a brilliant piece of writing. It is a playwright’s play: whip-smart from start to finish, each line deliberate and, well, artful. It follows three middle-aged male friends as they are systematically torn apart by a disagreement over a painting – over what is really art and what it’s worth. Of course, the fight is really about what they’ve been through and what they owe each other, but a newly-purchased white canvas is the catalyst for these cataclysmic discussions.

New Rep gives 'ART' the performance it deserves. Doug Lockwood, Robert Pemberton, and Robert Walsh (as Yvan, Marc, and Serge, respectively) are all powerful performers and a huge amount of fun to watch. So much of the language in 'ART' talks around the point, which could grow tiring in the wrong hands; however, the physicality and comic timing of each actor make it mesmerizing, almost like watching a game of tennis as the power shifts again and again.

The technical aspects of this production are also noteworthy for their contributions to the storytelling. Justin Townsend’s set and lighting are clean and clear, leaving room for the dialogue to do all of the mucking around. David Remedios’ sound design also adds to the complete feeling of the production (as well as getting a few well-deserved laughs).

This is a joy to watch. It raises questions about why we choose the friends we do and why we keep them around; about what kind of people gravitate towards what kind of people and why. It is also simply a riot a whole lot of the time (a major highlight is Yvan’s frantic rant about the women in his life, which drove the audience to applause). This is a great play performed with greatness. 'ART' is for everyone.

"ART" Not About Art, at Root

2012-01-18T17:52:00.003-05:00

Johanna Ettin and Shauna Shames
New Rep Reviewers

'ART', the witty and stylish production now on stage at New Rep, is a terrific post-holiday theatrical event choice. It is bold, funny, unsentimental, and at times deeply poignant. Perhaps we could call it a black comedy whose clever humor masks an underlying seriousness.

'ART' isn’t really about art. Oh, various esthetic notions are mulled (and fought) over in the course of the play. And the central painting becomes something of a fourth character. But what it’s really about is the nature of friendship, its strength and its fragility, and the underground streams of meaning, affection and ego that sustain it. It is a riveting evening, beautifully set, lighted and directed. The actors, all veterans of the Boston theater scene, are simply superb.

Serge, a prosperous plastic surgeon with a developing interest in modern art, has just purchased a painting by the artist of the moment from a prestigious gallery. The canvas, roughly three feet by four feet, is all white. Serge displays his new acquisition with eagerness and pride to his old friend Marc, practically dancing on his toes as he waits for Marc’s appreciation and envy. Marc has a veritable intellectual fit and seems unduly angry, concerned about Serge’s welfare and perhaps his sanity. He shares his concern with their mutual friend, the easy-going and sweet-natured Yvan, who quickly becomes the monkey-in-the-middle between the two battling alpha-males.

We can’t help but sympathize with both Marc and Serge. Serge's delight in the painting -- and in his ownership of it -- comes across beautifully, making Marc's cutting disapproval tough to watch. At the same time, we gradually learn that Marc's concern and outrage has little to do with the painting itself, and everything to do with what the painting symbolizes about the new direction of Serge's life. Marc finally reveals how upset he is to be losing his oldest friend to this new world of "deconstructionist" art (which Marc detests). The argument becomes more and more heated with Serge and Marc saying unforgivable things to and about each other (think: the older couple in Who's Afraid of Virginia Woolf, but with two men fighting about a friendship, not a marriage -- although it feels quite marital by the end). Poor Yvan, caught in the middle, tries to mediate and revive the bonhomie, only succeeding in diverting venom to himself. Tension builds to a peak moment which is shocking, but oddly sweet.

Robert Pemberton as Marc, Robert Walsh as Serge, and Doug Lockwood as Yvan disappear completely into the characters they portray. The play bristles with ideas and words, but several of the best and funniest moments of the evening came in silence -- or, rather, in the space between lines.

The director constantly added subtle touches to the play, adding a depth that perhaps it doesn’t inherently possess. Yasmina Reza is clearly the playwright of the moment with her Gods of Carnage playing elsewhere in town and Carnage, the Polanski movie based on that play, showing in local theaters. She certainly has a way with sharp, sophisticated dialog and gives it the sense of excitement and danger that keep the audience on edge, as if watching a swordfight instead of an esthetic disagreement among three middle-aged and rather pretentious men. But then, as we said before, that’s not really what it’s all about.

The Price We Pay for Art

2012-01-18T17:27:00.004-05:00

by Frank Furnari, New Rep Reviewer

'ART' explores the relationship between three longtime friends and how the dynamics of their relationship change when one of them acquires an interesting piece of art. 'ART' won the Tony Award for best play in 1998; the show later went on tour and played Boston in 2000. Twelve years later, it is back in the area in New Rep’s new production and except for the references to French francs, the play still feels new.

‘ART’ opens with Serge (Robert Walsh) alone on stage admiring his new painting by Antrios (the artist must be famous when he’s known by just one name, right?), which he bought for 200,000 francs. The painting is an unframed canvas with a white background and white lines on it. The painting is “plain, at the same time magnetic” and “artificial light doesn’t do it justice.” Serge admires the painting from every angle and is giddy at his recent acquisition. Marc (Robert Pemberton) arrives and is asked his opinion of the painting; Marc does not take kindly to his friend's recent purchase and views it akin to a personal insult. Later, Yvan (Doug Lockwood) visits, Serge gets a much more positive reaction. When the three men get together, we see each man's true emotions come out and learn what they really think of each other.

The play asks questions about what constitutes art and its value. Art is also used to represent each character, we get to see three very different pieces of artwork, and each has its own significance. How much value do we place on the painter’s fame and name recognition? The artwork is also a vehicle to questions about the three men and their relationships. Through harsh words and humor we learn more about each man's situation.

'ART' is also a good counterpoint to “God of Carnage” – Reza’s other Tony Award-winning play running in town, and as the basis of the new movie “Carnage.” While there are similarities between them and both are great works, ‘ART’ draws you in more, the characters feel more relate-able, and it does not rely as much on the physical, almost slapstick comedy.

Director Antonio Ocampo-Guzman assembles a great cast with chemistry – it really appears that they have been friends for fifteen years. The actors also do a good job at drawing in the audience. One could see this on opening night where during one scene audible gasps came from the audience in response to one of the character's actions. It's little things like this that help make live theater fun.

"Art" Artfully Performed at New Rep

2012-01-18T08:42:00.001-05:00

Victoria Petrosino, New Rep Reviewer

New Rep’s production of Yasmina Reza’s 'ART' is a comedic look at the friendship between three very different men and their reaction to a newly acquired piece of art. In the production, Serge (Robert Walsh) purchases a painting for a large sum of money. The frame-less, modernist piece consists of a white canvas with stripes of white. Serge’s friend Yvan (Doug Lockwood) cautiously describes the work as “plain,” while Serge amends the description to “plain, but MAGNETIC.” Their mutual friend Marc (Robert Pemberton) is less diplomatic.

On the surface, the production prods the question: What determines the value of art? Serge loves his new painting. He stands in his living room examining the piece from every angle with smile lines creasing his face. He emanates satisfaction with his new Antrios, and for the eternally tolerant Yvan, that is enough. Marc, on the other hand, instantly dismisses the painting. This spurs an argument over the value of art: Can a person judge a painting without a formal understanding of contemporary artwork? What makes a single painting worth $200,000?

The argument cuts deeply into their fifteen-year friendship, allowing each actor the opportunity for bitingly sarcastic commentaries about the others’ actions. Like the subtleties of white lines on a slightly different white background, the friends’ attacks on each others' characters predominately target subtle flaws, from the others' tone of voice to his choice of restaurant. Marc laughs too “sardonically” for Serge. Serge says “the artist” too pretentiously for Marc.Yvan agrees with both to the point of self-contradiction. The actors are endlessly comedic in their truthful portrayals of these characters.

Walsh, in particular, is masterful in his relentless needling. He flaunts this cold, easy power, targeting Marc’s wife, whose habit of waving away cigarette smoke is particularly irksome. Pemberton digs his nails into the bar, gritting his teeth and waiting, while Walsh sits easily on the couch, instigating and mocking. The two spar with clever dialogue amid quickly escalating stakes, and the expressive Walsh is captivating to watch. When the argument finally reaches its climatic end, Marc returns the favor with one final jab, and the scene closes as Walsh silently fumes.

Lockwood’s role is more self-mocking. He delivers a hilarious monologue (seemingly all in one breath) about his “catastrophe” over wedding invitations. He plays the victim well, and his honesty about both himself and his friends is refreshing (though infuriating to Marc and Serge).

Scenic designer Justin Townsend uses paintings to differentiate the friends’ apartments, and it is interesting to see the object that threatens to disintegrate their friendship used in a way to reference the setting. It draws attention to how important this one object has become in the friends’ lives and how differently these friends live.

The humor of the play is critical and sarcastic. The characters are quick to gang up on the third, and turn on each other almost impossibly fast. The result is tense, hilarious, and captivating.

Old habits die hard

2012-01-17T17:38:00.001-05:00

Old habits die hard

By Emily Kaye Lazzaro

I started this project because I was bored. The last two plays I wrote were about people being people, with human problems, like their families are falling apart, or their friendships can’t last, or they don’t know how to treat each other well. And I decided that was boring! So I started my new play, The Circus. It’s about an elephant and a tiger and their trainers who run a very small mom-and-pop type circus. The circus has money problems but they have a great opportunity coming up: an audition for a big circus that might hire them all and save them from bankruptcy. But the elephant has reservations about the possibility of great cruelty to animals at the big circus, and she realizes that she has real power in their small circus, to be treated well, to have a say in her own life. So the elephant decides to stand up for herself. That’s as far as I’ve gotten.

The play is about captivity and capitalism, mainly. I wanted to write a play that could explore the notion that we are all trapped by our society, by our obligations, by our finances, and ultimately, by our mortality. So that seems like a real departure from family drama, right?

Funnily enough, not really. Because try as I might to break free of my style of writing, the process seems to remain largely the same. I write from beginning to end, chronologically. The elephant and the tiger, though they are animals, are really people. People I know, people in my own family, myself. And the small circus I’ve created is really nothing more than a little family. They care about each other and they hate each other, equally. And maybe I’m discovering that that is what every play, every story, is about: the human struggle for happiness and understanding. We hate how much we need each other, but we need each other all the same.

And In This Corner.....'ART'

2012-01-17T10:25:00.008-05:00

by Jack Craib, New Rep Reviewer

'ART', New Rep’s latest production, is one of the most frequently performed contemporary works throughout the theatrical world, and it’s easy to see why. Cynics might say that this is because it requires only three actors and a unit set that with minor changes can easily represent three different apartments, but they would be only partly correct. Because the playwright, Yasmina Reza, is also an actress, she has the uncommon knack of being able to create dialogue that seems natural and true to life. Reza, in this work, the 1998 Tony winner as best play (in, it must be said, a very uncompetitive season), shows herself to be an actor’s writer. This comedy of ill manners, not unlike her more recent play, “God of Carnage,” features a small set of characters whose interactions, if a bit exaggerated, often mirror incidents familiar in our everyday lives. Reza herself has stated that she views both plays as tragedies as much as comedies.Unlike “Carnage,” however, this far superior work is not a series of shouting matches, but necessitates more nuanced performances, more intricate and modulated Pinteresque pacing, and more precision in direction.

Fortunately, New Rep has assembled a team that is keenly aware of these expectations. As Serge, a dermatologist whose artistic pretensions may be only skin deep, Robert Walsh is painfully funny as he solicits validation for his recent purchase of a new painting by an artist currently in vogue. The four foot by five feet white monochrome (or is it?) strikes his friend Marc, expertly played by Robert Pemberton, as something of a cruel joke, evoking a truthful if blunt reaction that injures Serge’s vulnerable defenses. The foil for both these verbal combatants is their mutual friend Yvan, hysterically portrayed by Doug Lockwood, as eager to be agreeable as to be accepted. His sheepdog hyperventilated preoccupation with the familial tensions unleashed by the politics and protocols of wedding invitations is alone worth the price of admission. (One can’t help wondering, though, how this bundle of neuroses was ever befriended by these two pseudo sophisticates). Keeping these three characters in orbit is the direction by Antonio Ocampo-Guzman, who knows how to utilize silence and subtlety. Scenic and Lighting Designer Justin Townsend provides a venue that aptly suggests a boxing ring, and Sound Designer David Remedios contributes musical interludes that ably assist several scene transitions.

Ocampo-Guzman has written that although we inherit the family members we have, we get to choose our friends, and the best of them are those who tell us the truth. It may hurt, especially when it involves the very subjective and emotional reactions to creative expression. This brief tale of revolving loyalties and alternating alliances exposes both Reza’s greatest strength and her most glaring weakness as a writer. With pithy wit and economy of words, often with what is withheld as much as with what is said, she clearly can cut straight to the jugular. Her characters, however, border on the stereotypical, perilously close to the world of sitcom. That said, this is still quite an enjoyable ride. Like the controversial piece of art around which the play revolves, 'ART' may be a slight piece of monochromatic minimalism, but its beauty surely lies in the eyes of this beholder.

Playwriting As Open-Heart Surgery

2011-12-28T13:08:00.000-05:00

Playwriting As Open-Heart Surgery
By Anna Renée Hansen

I wrote a play about Haiti in 2008 because no one was talking about Haiti. A family friend traveled there with a humanitarian aid organization. In spring 2008 she got stuck in the riots over rising food prices under Préval’s (the president at the time) leadership. The protests continued into 2009 and I think the only substantial news coverage I saw about it was on Democracy Now! hosted by Amy Goodman. Now that I’m in Boston I’m aware of the discrepancy of coverage on Haiti; California is not home to a large number of Haitians, but Boston is. Even with this in mind, I still think it took the devastating earthquake of 2010 before people really started thinking about Haiti and how important it is that we help in whatever way we can. I noticed a surge in Haitian plays and literature, pieces set in Haiti or with a Haitian character. In the back of my mind I thought I wanted to revisit my 2008 play.

So, guess what? The New Voices @ New Rep Playwriting Fellows opportunity is providing me a way to do that, and I am deeply grateful. I feel that for this play to work, it will need to come out of a more collaborative process. With New Rep’s program, I not only have the beneficial feedback of my peers to draw from, but also an insightful dramaturg, actors, and other design collaborators when I am at a stage in the process where that would be appropriate.

The first step was re-reading the script (and the subsequent comments I made to myself like, “Wow, that was a terrible play”). I had about 10 storylines and maybe as many characters. I decided to take some elements from a couple of the more coherent and interesting storylines and about 2 characters that I wanted to spend quality time hanging out with, and basically scrapped the rest. For one thing, it was written pre-earthquake, and you can’t talk to a Haitian without hearing the words, “after the earthquake.” That changed everything, even for Haitian Americans who weren’t in Haiti for the quake. I think a way of looking at it is this: The old play died, but it turns out it was an organ donor, so I surgically removed its strongest organs to implant into something new, young, full of life. I was going to use a less brutal image, like a phoenix rising or something, but I settled on the brutal one for a reason that anyone who has ever had to massively edit themselves will understand.

And yet (Elie Wiesel’s favorite words). It was all for the best because I am charged and enthusiastic about the possibilities with this new venture. I found the heart of the play: Redemption, or the hope of it. And I think now that that is in place, it will pump invigorating blood into the play’s more systematic elements: plot, character, structure. How do we outrun the demons of our past that seek to destroy us? What do we owe our country? Our family? How do we not just overcome loss, but transcend it? Is it possible to transmute that pain, that sorrow, into something noble, something beautiful? Or do we only try because we feel guilty? These are the questions I am interrogating myself and my characters with as I write this play, currently entitled The Loas. “Loas” comes from VooDoo tradition, signifying spirits that have influence over the living—some are good, some are warlike. The world of this play is full of dualities – light and dark, home and foreign, good and evil, mysticism and slice of life and everything in between. I am looking forward to developing it further along this process of discovery and revival.

Over 200 Students Attend A CHRISTMAS STORY

2011-12-15T17:32:00.000-05:00

This morning, over 200 students from Watertown Middle School and Gateway Arts filed into the Charles Mosesian Theater to attend New Repertory Theatre and arsenalARTS holiday production of A Christmas Story. For many, it was the very first time they experienced live theatre.

After the show the students' exciting experience continued. Thanks to Clarks, the students were treated to a delicious holiday lunch-- pizza!

That's a lot of pizza!

New Rep staff waiting for the students to arrive for their holiday lunch.

Watertown Middle School students line-up to enjoy their pizza.

A room filled with happy theatre-goers.

"A Christmas Story" Provides The Correct Dose of Holiday Cheer

2011-12-15T12:36:00.002-05:00

By Jana Pollack, New Rep Reviewer

I must begin this review by admitting that I always approach holiday-themed theater with a pre-determined judgement. As a rule, I am disgruntled and annoyed by the holidays, and I've never liked the idea of devoting plays to their singular theme. And so, I reveal here that I entered the theater on Monday night expecting to not really enjoy the show.

But here is my Christmas truth: by the end of the show, I was feeling warm and sentimental. I was also feeling grateful to New Rep for making a new and inspired choice for this year's holiday show, one that did eventually embrace the shmaltz of the season, but only alongside a healthy dose of sarcasm and good humor. "A Christmas Story" is earnest, true to the world of childhood, and really, at its core, quite sweet. New Rep's version is all of those things, and it is also a very entertaining two hours.

This show was universally well-done. Each actor was really excellent, adults and kids alike. As young Ralphie, Andrew Cekala stood out with exceptional stage presence and pitch-perfect delivery. Owen Doyle also drew many laughs as The Old Man, and Stacy Fischer gave a very smart performance as Mother. In the small but influential role of the teacher, Margaret Ann Brady was hilarious. Each child actor showed talent beyond his or her years, and gave a confident, true performance. Although these are stock characters that could easily be one-dimensional, in this production each one appeared fully rounded and complete, and I found myself invested in these people and their day to day lives.

At the very end of the show, the narrator (Barlow Adamson, doing as much as he could with a frustratingly limiting part) extols on the virtues of love, family, and christmas. This is the moment that I was dreading, and I can't say that it won me over completely. But I'd had so much fun, and was feeling so happy for the family I'd just been a watchful part of, that I didn't mind at all.

2011-12-15T11:33:00.004-05:00

"A Christmas Story" is a Delight!

Okay, let me just admit it up front. I was really puzzled asto why anyone would want to meddle with the perfection of A Christmas Story(the movie, that is) by putting it on stage.

The New Rep’s wonderful production put my skepticism torest. It was a delight, and, by the way, totally appropriate for children. Theywon’t get all the jokes, but they’ll have fun. I can’t imagine a better way fora family to spend an evening in retreat from the chaos of the holidays thanwatching a comic take on this family’s chaos.

And it’s all there, from the notorious lamp that appears tohave been lifted from a bordello to the bored and cynical department storeSanta. All through the play I puzzled about how the neighbor’s obstreperoushounds could do their part. I won’t tell, but it was hilarious.

Philip Grecian’s adaptation of Studs Terkel’s charmingscript captures the spirit of the original and brings it to life in acompletely new way. Of particular note was the appearance of the narrator as acharacter. Barlow Adamson’s performance was a highlight of the evening withoutdetracting from the story itself. The director knew just when to have himinsert himself into the action and when he should stay in the shadows as hetells the story.

The children in the cast, many of whom have impressiveacting resumes, were perfectly rehearsed. Of particular note are Andrew Cekalawho maintains the far-away dreamy look on Ralphie’s face as he schemes anddreams of his Red Ryder rifle. Owen Doyle is outstanding as The Old Man. His disguisedprofanity rings across the theatre as he vents his frustration with thefurnace, the inadequate electrical wiring and the dogs who bark only at him.And he let us see the kind father underneath, somewhat baffled by his family,but soldiering on. He is, of course, as much an ambitious dreamer as his son.

The sets cleverly rearrange themselves from the perfect 50’skitchen to the schoolroom to the department store Santa’s throne. And GerardSlattery does a fine job of the bored, cynical – and clearly weary – Santa,terrifying the little children who he has clearly come to loathe. He andMargaret Ann Brady fill out the cast by assuming multiple roles.

I long to tell you about how the dogs manage to ruinChristmas dinner, but you’ll have to go and see it yourself.

~ Johanna Ettin (with Shauna Shames)

"A Christmas Story": You'll Shoot Your Eye Out

2011-12-15T07:36:00.005-05:00

by Jack Craib, New Rep Reviewer

When New Rep announced that its holiday show for the current season would be “A Christmas Story”, based on the popular film, and not yet another revisit to “A Christmas Carol”, this reviewer was relieved indeed (despite a practice of reading the original Dickens every Christmas season for more than four decades). Hopes were high that another holiday treat would join the ranks of “It’s a Wonderful Life”, “The Nutcracker Suite”, “Santaland Diaries” and of course Scrooge, under the theatrical tree, garlanded with hefty dollops of originality. Ah, but as the saying goes, be careful what you wish for, or as one of the characters in this play version states, “stay within the margins”.

Adapting any work for the stage from another source is always fraught with peril, especially when it’s a film so dependent on visual gags and voiceover narration. Stephen Sondheim once stated in his memorable lyrics, “the choice may have been mistaken, the choosing was not”, but this may have been the initial and fatal mistaken choice by the playwright Philip Grecian. A theatrical production is always the result of directorial and acting choices, all subjective (as is theater criticism, for that matter). Here Director Diego Arciniegas and his cast of twelve (seven of whom are child actors) have also gone astray. From the exhausting performance of Barlow Adamson as the elder Ralph/Narrator (at times in dire need of some Ritalin) to the over-the-top emoting of Ralphie’s parents, Owen Doyle and Stacy Fischer (still relatively sedate when compared to their filmic counterparts, Darren McGavin and Melinda Dillon), there is surely a lot of energy on stage. The children are especially enthusiastic, despite their incomprehensibly differing ages and heights (and, in one strange choice, transgender), some occasionally miked, some not, another misguided choice.

Many of those visual highlights from the film get short shrift here because they can’t survive the adaptation. One boy’s rescue (to unstick his tongue from an icy pole) is rendered virtually offstage; the movie’s overhead shot of an overdressed younger brother’s immobility in the snow when he falls over is another casualty of the transition to stage; the climactic turkey theft by the neighborhood canine pack is embarrassingly awkward. So is the fantasy scene wherein a teacher is turned on by a student’s essay, one of only two original playwright touches. Happily, the other bit of originality pays off, when Santa encounters an incontinent urchin, and this happens only once. Grecian’s script and its screenplay source both tend to repeat the same schtick several times in case you didn’t catch it the first time, such as Ralphie’s slow-mo moments, his parents’ dueling struggles with a lamp, and his mother’s dinner of red cabbage and meatloaf. (Bah, hamburg).

As most of the audience will probably know from the film, this is a very slight story about a nine-year-old boy’s wish for an air rifle for Christmas. At least three adults in the work (his mother, his teacher, and ultimately Santa Claus himself, or at least a department store’s version of him) warn our young hero “you’ll shoot your eye out”. By the end of this ninety minute play (which seemed considerably longer than that), you might be forgiven for asking Ralphie to shoot you (well, not literally) and put you out of your misery. Would that the people responsible for this creation had stayed within the margins and left the original film (and its source, a Jean Shepherd tale first published in Playboy, no less) alone. Scrooge, where are you when we need you?

A Family-Friendly Christmas Story

2011-12-13T14:16:00.000-05:00

-- Victoria Petrosino, New Rep Reviewer

New Rep’s version of "A Christmas Story" is a family-friendly glimpse at the weeks leading up to a 1940s Christmas.

The classic Christmas tale tells the story of Ralphie Parker’s mission to convince his parents that all he wants for Christmas is the "Legendary Red Ryder BB Gun with a compass and 'this thing which tells time' built right into the stock!" The theater version has all the iconic images from the movie: the "Fra-gil-le" box, the leg lamp, the pink bunny pajamas, the irate department store Santa, and the oft quoted "You’ll shoot your eye out!" Seeing the yearly portrayal of this American family is like hearing a favorite Christmas carol: a beloved reminder that our own Christmas is right around the corner.

The story is told by the adult Ralphie (Barlow Adamson) reminiscing on this pivotal childhood Christmas. This allows for a satirical glimpse at events acted out by the young ensemble. Adamson fulfills this role enthusiastically, with a helpful dose of cynicism. He explains the etiquette of a "triple-dog-dare," the lung-crushing layers of clothing needed to walk to school in an Indiana winter, and the pride of finding the perfect gift for his parents. The Parker children, the determined Ralphie (Andrew Cekala) and the alternatively silent and shrill Randy (David Farwell), are both excellent, as are the rest of the young ensemble, whether groaning about writing a theme over Christmas break or spoiling Christmas as the Bumpuses' hounds.

The scenery features a profusion of Christmas images; even the walls are printed with blue snowflakes. Subsequent scenes reveal the warm glow of a Christmas tree in a room covered in wrapping paper, Santa seated on top of a glittering snow mountain, and Ralphie’s father (Owen Doyle) dickering with the crotchety tree salesman.

There is, of course, the idea of too much of a good thing. Hearing "you’ll shoot your eye out" is not infinitely humorous, and for the most part, the audience knows which joke is coming as the cast assemble for each scene. But the production is wonderfully familiar, and the cast's exuberance breathes new life into an old story.

Getting to GOOD

2011-12-06T16:26:00.000-05:00

Getting to GOOD

by James McLindon

New Voices @ New Rep Playwrighting Fellow

Like most of my plays, this one had several separate origins that eventually coalesced into the story that GOOD tries to tell. (The play is called GOOD this week; it’s had several previous names and may have a few more before I settle on one.)

I’ve been puzzled by the rash of stories over the last several years of people in the public eye who padded their resumes and got caught: puzzled both by the fact that they thought they could get away with it and the fact that they often did for so long. I’ve similarly been intrigued by less frequent but persistent stories of people who manage to fake their way into prestigious colleges and grad schools, sometimes by forging transcripts and recommendations letters, but sometimes simply by showing up, attending classes and telling anyone who asks that they were a late admission for whom the paperwork has yet to catch up. Finally, I’ve been astonished to read stories about journalists who make up people about whom they write and for whose stories they even win journalism awards.

At the same time, I live in a college town and have heard from friends of mine on the faculty of various colleges about the various forms of cheating that they encounter, the services that offer term papers to order for sale on-line or in person, and the types of students who use these services: those who have money and are lazy, those who struggle academically, and those for whom English is not their first language. The countermeasures were equally intriguing: software programs that purport to detect plagiarism in the papers that they scan.

All of this got me pondering about how someone who does something like this – resume padding, term paper buying, etc. – justifies this sort of action in her head. I started with the premise that it is the rare person who admits to himself that he is doing wrong; I think people have a remarkable capacity for justifying their actions, or at least their intentions, to themselves. In addition, outside forces make it easier for us today to hold ourselves to less exalted standards. The world in this respect has changed tremendously in the post-Viet Nam/Watergate/Iran-Contra/Monica Lewinsky/Iraq world. The most casual comparison between the world of Mad Men, for example, and our world shows one how much credibility our institutions – the government, the press, and organized religion to name a few– have lost. I don’t think we’re less moral; immorality is just far more visible now than it was, which I think makes it easier for people to justify brief vacations from morality, especially when they believe their goals are good.

This is the moral world of GOOD, as much its world as the college town in which the play is set. I began researching the play last winter, and then completed a draft a few months ago. Prior to working on it with the New Rep this fall, I let the piece lie fallow for a while so that I could come back to it with fresh eyes. In October, I got to hear the first act of the play out loud, read by professional actors, which was a tremendous help in and of itself, and then got a lot of very helpful feedback from my fellow Fellows, Bridget and the actors.

Since then, I have rewritten both acts and am looking forward to hearing the second act next week at our December meeting. It’s been a great process so far: the meetings are close enough together to make the sessions feel like a continuing process rather than disjointed, and yet far enough apart to permit unhurried rethinking and rewriting. At the same time, following the progress of the other Fellows’ plays has also been helpful, albeit indirectly, to my writing. I always feel like I learn something useful from watching other writers and their processes, and New Voices has been no exception.

Not one, but TWO Farwells this New Rep Season!

2011-12-05T13:04:00.000-05:00

For the last five years, Paul D. Farwell has excited New Rep audiences during the holiday season as the ever-famous Scrooge in Charles Dickens' A Christmas Carol. Now, as New Rep's 2011-2012 Season offers a new approach to the holiday show, we have a new Farwell in our midst.

Paul D. Farwell as Scrooge in Charles Dickens' A Christmas Carol

This year brings a new work to the Charles Mosesian Theater: A Christmas Story, based on the beloved 1983 movie and featuring Andrew Cekala, Owen Doyle and Stacy Fischer. No Scrooge onstage this holiday season. Instead, Paul will have the opportunity to join the audience as his son, David Farwell, performs as Ralphie's little brother Randy on the big stage.

David Farwell will be playing Randy in
A Christmas Story this December at New Rep.

Though Paul may not be on New Rep's stage this holiday season, he'll be back soon in New Rep's musical, and final production of the season, Little Shop of Horrors as Mr. Mushnik! Don't miss the Farwells in this season's new shows...get your tickets today!

A CHRISTMAS STORY
December 11 - December 24, 2011
adapted/written by Philip Grecian
directed by Diego Arciniegas
BUY TICKETS HERE

LITTLE SHOP OF HORRORS
April 29 – May 20, 2012
book and lyrics by Howard Ashman
music by Alan Menken
directed and choreographed by Russell Garrett
BUY TICKETS HERE

First Rehearsal: A New Rep Family Christmas Story

2011-11-23T12:07:00.000-05:00


Cast and production team of A Christmas Story

We’re always saying that New Rep is a family, and it was never so evident as Monday night at First Rehearsal for A Christmas Story. Director, designers, adult and child actors, and extended members of the New Rep family, including guests and donors, settled into the Charles Mosesian Theater to hear how New Rep’s production will be brought to life with holiday magic. Although the kids began rehearsing over the weekend, it was the first time the whole cast had come together.

The cast of A Christmas Story

After brief introductions, director Diego Arciniegas spoke about his vision for the production. “Why do people take time out of their busy lives during the rushed holiday season to come to the theater?” Arciniegas answered his own question by saying that holiday theater is all about the “reclamation of the holiday spirit:” Audiences come to see Mr. Scrooge or Ralphie Parker find the holiday spirit on stage, and then bring it with them out into their own lives.

Arciniegas speaks about his vision for the production.

Arciniegas also spoke about why holiday classics like A Christmas Story, A Christmas Carol, and It’s A Wonderful Life become classics. According to Arciniegas, it’s because they all utilize the dramatic device of time travel. In A Christmas Story, Ralph, now grown, reflects back on the Christmas of his childhood that he spent in pursuit of the “Official Red Ryder 200 shot Carbine Action Range Model Air Rife with a compass and this thing that tells time built right into the stock!” Time travel is especially poignant at the holidays, because it is by the holidays that we measure the passage of time: how children have grown, which family members have passed, and the mishaps and mayhem of holidays past.

Model of Dahlia Al-Habieli's set design

Scenic designer Dahlia Al-Habieli then spoke about the inspiration for the set. The colors are based off of the commercialism of the advertisements of the 1940’s and 1950’s: teals, pinks, reds, and faded color photographs. The main focus of the set is the kitchen, and the rest of the world expands outward from there, including many other locations, such as the school yard, the school house, and the Christmas tree lot.

Costume designer Katherine O'Neill takes costume measurements.

Katherine O’Neill, costume designer, also drawing from Al-Habieli’s inspiration of vintage advertisements, has designed the costumes to represent the notion of “what you strive for, versus what you’ve actually got.” The costumes would be a cacophony of colors and patterns, which she says is representative of the time period. In the post-depression era, people could maybe only afford a couple of new articles of clothing a year, which were integrated into whatever wardrobe they already had. This year’s pants with last year and the year before’s shirts, creates a mix of colors and patterns that will pop onstage.

After the director and designers finished speaking on how the holiday spirit and the world of the play will be brought to life, the actors dove into a table reading of the script.

Viewers examine Al-Habieli's model up-close.

New Rep staff and Behind-the-Scenes @ New Rep participants enjoy conversation and refreshments.

A Christmas Story starts on December 11 and runs through Christmas Eve, December 24, 2011. Get your tickets at http://newrep.org/christmas_story.php.

If you would like to attend First Rehearsals @ New Rep or any of our other Behind-the-Scenes @ New Rep Events, please visit http://www.newrep.org/behind_the_scenes.php!

A Commitment to new plays

2011-11-23T11:18:00.000-05:00

I just spent this past weekend in Philadelphia at the National New Play Network’s annual Showcase. Each year the 25 member organizations, which New Rep is a part of, along with affiliate members, agents, and playwrights meet for a weekend to watch readings of plays that could potentially wind up in our upcoming seasons. During these weekends I get to talk to a lot of different people from all over the country who are passionate about new work and dedicated to producing and developing it. New play development is something that New Repertory Theatre has long believed in. Over the years we’ve produced many World and Regional Premieres – several thru our relationship with the NNPN.

This year I was really excited to attend the conference because I had some important news to share with my colleagues. In September, New Rep embarked on a new program. We invited four area playwrights to join us for the year to work on developing a full length play on a subject matter of their choosing to be read in June. They are our New Voices @ New Rep Playwrighting Fellows. During my 3 ½ years with New Rep I have been very struck by our audiences’ interest in new work. The attendance at the readings has been very impressive and the talk backs with the playwright following the readings are always lively and engaging. So, when we started to brainstorm different ways that we could increase the impact and awareness of new plays for our audiences we decided to explore the idea of a creating a celebration surrounding the work. This year, for the first time, we will embark on a Festival of New Voices, the weekend of June 9^th and 10^th at the Arsenal Center for the Arts. We will read four plays over the course of the weekend and surround each play with opportunities for the audience to engage with the playwrights about their process.

One of the things that was very clear to me this weekend was regional theaters across the country are beginning to increase their commitment to developing plays and playwrights within their community. Most companies rely heavily on individual and foundation support to help fund these kinds of programs. The ability to commission a new work is usually out of our means. So, we do our best to identify plays that can be furthered developed in a rehearsal process. But often this isn’t enough time for playwrights. Over the years we’ve done our best to find creative solutions and ways that we can better serve the playwrights whose work we rely so heavily on.

I’m really excited about this season’s endeavor. The playwrights we’ve invited I found through our open submission policy for local playwrights and readings I’ve attended in the Boston area. New Rep would like to increase our already strong commitment to producing new work by helping playwrights develop their work here. Throughout the rest of the season, the New Voices @ New Rep Playwrighting Fellows will be blogging about their plays, what their working on, and how they are collaborating. You will be able to follow our process thru Backstage @ New Rep, our blog, and on Facebook and Twitter . We look forward to continuing to talk to you about what were up to and we hope to see you at the Festival of New Voices in June.

By Bridget Kathleen O'Leary, Associate Artistic Director, New Rep

Three Viewings: First Rehearsal

2011-11-09T12:31:00.000-05:00

The afternoon of Tuesday, November 9th brought a fresh start to New Rep, as it prepares to produce its first Black Box show of the season, Three Viewings. Directors, cast, staff, and spectators gathered in the rehearsal hall for a deep discussion of monologues, stories, death and life.

Three Viewings takes place in a funeral parlor, but its stories branch into the realms of love, blackmail, and thievery. As all of the designers were quick to point out, the emphasis of Three Viewings is not so much on death, as it is on remembrance.


Costume Designer Molly Trainer shows her collages for each character.

Virginia

Mac

Emil

Sound Designer David Reiffel plays selections of music to the crowd.

Christina Todesco, Set Designer, describes her visions for the Chihuly-inspired floor.

Many of the designers discussed the desire to work flowers into the set, but in a nontraditional method. Set Designer Christina Todesco and Lighting Designer Chris Brusberg described projecting abstracted flowers onto the back wall, treating the wall as a painting. Meanwhile, the floor of the set will display a beautifully lit Dale Chihuly image of glass sculptural flowers, with an array of color lighting the floor.

Viewers were given the chance to handle and explore Todesco's set up close.

Jim Petosa, director of Three Viewings.

The man who, by far, stole the show was Three Viewings Director Jim Petosa. Fresh off directing Boston Playwright Theatre's The River Was Whiskey, Petosa's deep insights on Three Viewings were as thought-provoking as they were eloquently put--embracing the power of Autumn as a time of beautiful endings, rather than being bleak, harsh, and negative.

Christine Power, Mac in Three Viewings, laughs with the rest
of the cast as they prepare for the reading.

By the end of the Meet and Greet, all participants seemed charged by the energy in the room, and by the visions of the designers, cast and crew. Three Viewings runs November 27, 2011 - December 18, 2011. For more information, or to purchase tickets, visit http://www.newrep.org/three_viewings.php.

If YOU are interested in attending First Rehearsals @ New Rep or any of our other Behind-the-Scenes @ New Rep Events, please visit http://www.newrep.org/behind_the_scenes.php!

Tell Us YOUR "Memorable" Holiday Experience

2011-10-24T16:59:00.003-04:00

With New Rep and aresenalARTS' production of A Christmas Story right around the corner, it's time to start sending us YOUR most "memorable" holiday experiences. We'll choose our favorite story, and give the lucky winner 4 tickets to our holiday show! For more information on how to enter, visit our website.

We've already received our first letter in the mail, along with a beautiful letter from Santa. Take a look! (Click on each page to view it larger.)

Send us YOUR memories, and enter to win tickets to A Christmas Story today!

“Collected Stories” Is a Powerful Tale

2011-10-18T12:40:00.001-04:00

by Jana Pollack, New Rep Reviewer

In New Rep’s “Collected Stories,” a complex, intricate relationship takes shape, evolves, and explodes in an extremely intimate setting. In one wonderfully realized room, we see professor and accomplished writer Ruth Steiner (the amazing Bobbie Steinbach) and writing graduate student Lisa Morrison (the equally talented Liz Hayes) meet and get to know one another. Although the play consists only of scenes between these two women, the power balance is always shifting and the stakes are always high.

This is a common tale – student surpasses teacher – that comes freshly alive in this production. Director Bridget O’Leary, who consistently produces powerful work, has helped her actors create two unique, completely realized women. When Liz first enters, there is just one moment of worry that she is perhaps a caricature of a harried graduate student. But within a few lines of dialogue it is clear that Ms. Hayes knows Lisa in and out. Ms. Steinbach captured my attention from her very first appearance, moving her shoulders to the beat of an old jazz record as she finished working on a typewriter.

As the play continues, it raises questions about youth and aging, truth and fiction, friendship and, ultimately, ownership. Ms. Steinbach expertly removes layers, scene by scene, letting Lisa in little by little, while Ms. Hayes conversely begins to put up thin and then thicker walls. By the end, each woman appears quite changed from her initial appearance, but we can see that really these strengths and weaknesses were there all along.

The passage of time is expertly depicted by costume designer Tyler Kinney, as one woman come into herself and another struggles with letting go. Ultimately, the audience is in the difficult position of choosing a side. As an audience member, I was completely wrapped up in the moral implications of the story, and in the days since seeing the play I’ve thought a great deal about the sadness of what the relationship between Ruth and Lisa becomes. “Collected Stories” is good theater: consistently entertaining and inherently complex.

Who can collect your story?

2011-10-12T21:52:00.003-04:00

by Frank Furnari, New Rep Reviewer

Collected Stories by Donald Margulies explores the relationship between two writers – first as a student and a mentor and later as colleagues and the tensions caused by the relationship. Lisa Morrison, a first-semester grad student rushes to visit her advisor and favorite author Ruth Steiner to discuss a writing assignment. Ruth invites Lisa into her home and Lisa is overcome by the fact she is in her idol's apartment. There’s a bit of a misunderstanding, Ruth just sees that as a regular meeting with a student that happens to be at her apartment; Lisa thinks she’s being invited as a guest into Ruth’s apartment. Lisa is nervous and intimidated – speaking in a frenzied manner. She's a young writer with a lot of potential that wants to be shaped by Ruth. Over the course of the evening, through the interactions between the two women we see her progression as a writer and the shift in their relationship. We see Lisa grow to the point where Ruth seeks Lisa's advice on new writings but then challenges her interpretation of the new piece not able to relinquish control. The play explores the relationship between teacher and student – between mentor and protégé as well as what is fair game when writing. When is it appropriate to write about stories others have told you about? It does not try to pose judgment, but rather allow the audience to decide who was in the right in this instance.

In lesser hands, this play may not be very interesting, but under the capable direction of Bridget Kathleen O'Leary and with outstanding performances by Liz Hayes (Lisa) and Bobbie Steinbach (Ruth), this play shines. Lisa evolves from a nervous, intimidated, mousy novice writer into a writer who will do what it takes to get ahead. In the first scene you see her anxiety of embarking on her graduate career – a believable portrayal. Over the next couple hours, Hayes demonstrates Lisa's growth while maintaining vulnerability - a desire to still need approval from the one woman who is unfortunately incapable of providing such support. Bobbie Steinbach inhabits Ruth at her core and is great at as the intimidating, experienced professor who can never be pleased. She commands attention and shows great depth of emotion in the role.

Upon entering the Mosesian Theater, one immediately notices the lovely apartment of Ruth Steiner, masterfully designed by Jenna McFarland Lord with properties design by Joe Stallone. The opening scene and the angles make it feel like it is on the top floor and hidden away - Ruth’s hidden sanctuary. Great detail is put into it with a wall of books, a manual typewriter, and well-worn furniture. You immediately get the impression that this is a place Ruth has lived in for years. I also give credit to the whole team for ensuring that the actors do not get lost in such a large space – while everything around adds to the production, your focus is always on the actors and their compelling story. Credit should also be given to the David Reiffel's sound design – when you enter the space, you can hear the traffic outside the apartment. Deb Sullivan's lighting design also adds texture to the production through good use of light and color.

Overall, this is a strong production with a great team all around and standout performances by both Bobbie Steinbach and Liz Hayes. The story is an interesting one and will leave you evaluating the relationship between the two women after the show.

2011-10-12T13:39:00.002-04:00

"Collected Stories" Powerful, Intense

The set for New Rep's terrific new production of"Collected Stories" draws in the audience even before the figurativecurtain rises. Any booklover will droolover the floor-to-ceiling bookshelves, the comfy leather library sofa andchair, the assembled New Yorkermagazines, and the cozy oriental rugs. (Wedecided we wanted to live in that apartment!) Three cheers to Jenna McFarland Lord for set design. Kudos also to Deb Sullivan for lightingdesign; in this two-character play, the lighting becomes something of a thirdpresence, cleverly evoking the seasons, time of day, and New York skyline.

Ultimately, however, it is the acting that astounds. Local great Bobbie Steinbach has created sucha completely real, believable, flawed, contradictory, passionate, and human character in Ruth Steiner that weleft convinced we had met this person before. Ruth is a writer and professor, a tiny, fierce, quintessential NewYorker who feels and expresses everything withsuch intensity that her hands tremble and she appears about to levitate at thepeak of a discussion. Steinbach'sperformance is so powerful that we risk siding too much with her in theeventual show-down Ruth has with her graduate student mentee, Lisa (playedconvincingly by Liz Hayes) -- more on this later.

Lisa is ambitious andwants to surpass her teacher (witness the prickly conversation about why Ruthnever wrote a novel, for example). Theplay, a terrific work by Donald Margulies, which was nominated for a Pulitzer, isultimately about ownership of one’s story. It evokes the danger ofsharing too much, making yourself vulnerable, even while it shows us the beautyof this as well. The work is aboutteachers and students, artists and acolytes, and the moment where the studentbegins to overtake the teacher. But thisraises a critical question: whose stories belong to whom? Can a an “innocent ‘ unsophisticated artistic newbie appropriatean entire culture, e.g. New York artistic Jewishness, about which she has onlyheard? The artistic process can devoureverything in the environment, appropriating other people's lives and preciousstories. We have a hint of what Lisa can do with her art when sheincorporates her father’s love life in a story and then chooses to share justthat story with him, then seems puzzled by his reaction. (Ruth keeps asking herwhy that story and never gets a clear answer.)

Without giving away too much, suffice it to say that Lisa crosses a boundary in ways thatRuth can’t forgive. It is hard to tell if she is smart enough to know what shehas done, and we're never quite sure why she did it. The script is unclear on this point. More conviction on the part of Hayes -- andperhaps some righteous anger or indignation in that final argument -- mighthave helped her explain herself better. Thefinal argument felt one-sided. We left the theater not sure if it was oursympathy with the older character (who is no saint, who takes advantage of thelicense of being an elder who can say whatever the hell she wants), theplaywright’s intention, or the effect of the unequal skills of the twoactresses. Haynes is skillful, but she doesn’t summon up the anger to make heran equal combatant in the final scenes. You see a flash of it when Ruth pushesher too far; we would have liked to see more. (Though standing up to Bobbie Steinbach certainly can't be easy, we'resure.)

On the whole, this isan excellent production. New Rep hasdone itself proud with this one!

~ Johanna Ettin &Shauna Shames, New Rep Reviewers

"Collected Stories" Collects Applause

2011-10-11T20:47:00.000-04:00

New Rep's production of "Collected Stories" by Donald Margulies is a candid glimpse at the relationship between two female authors, one a venerable teacher and one a student of the craft. The story of their friendship unfolds over 6 years and through a series of successes, misunderstandings, and confidences, creating a complex and believable bond between these two women.

Bobbie Steinbach as Ruth Steiner is masterful in her role. She carries herself with the grace of an accomplished writer and professor, engaging the audience with her lively story-telling, her face alight with passion as she tells of her affair with the self-destructive poet Delmore Schwartz. She is the sage professor, casting piercing looks at Lisa (Liz Hayes), who spills tea and gratingly phrases each sentence as a question. She is the endearing grandmother who offers cookies and complements to her young protégé. She is jealous and vehement and vulnerable, and she is completely natural and convincing in all of these roles.

Hayes creates the perfect foil to Steinbach’s confidence. She is the fumbling, star-stricken grad student, ready to leave her mark on the writing world, but desperate for approval before she does. While at times her mannerisms seem stilted next to Steinbach’s, her awkwardness works with her character’s struggle to impress her mentor.

The backdrop for the play is Jenna McFarland Lord’s beautiful set design. A projector screen bathes Ruth’s Greenwich Village apartment in late afternoon sunlight, the orange sunrise dissolving into shadows over her leather couch and stacks of books. A row of track lights above the bookcases casts the room in a warm glow, aiding the feeling of coziness for an apartment made a home for 31 years.

"Collected Stories" is both expertly acted and stunningly set. The play provides an intimate glimpse of the complex relationship between two women as they each evaluate their self-worth and expound on their views of the boundaries of an author.

"Collected Stories": Whose Life Is It Anyway?

2011-10-11T07:23:00.004-04:00

by Jack Craib, New Rep Reviewer

New Rep’s production of “Collected Stories” is theatrical heaven, a miraculous melding of profound writing, superb direction and impeccable acting, resulting in the best work this company has done in a handful of seasons. Playwright Donald Margulies is perhaps best known for his 2000 Pulitzer-winning “Dinner with Friends” and the recent Broadway production of “Time Stands Still” (so fine a piece that it was revived, again on Broadway, a year after its initial run, with an incandescent Laura Linney and most of the original cast intact). “Collected Stories”, first performed off-Broadway four years earlier, and on Broadway in 2010, is unaccountably much less renowned, despite having been itself a finalist for the Pulitzer and a Drama Desk nominee as best play in 1996.

The most astonishing fact about the play is that it’s taken this long for it to appear on a local stage, apart from a production in the western part of the state a decade ago. This may be in part because its original off-Broadway run and its more recent Broadway iteration were so short-lived, while several deep-as-a-birdbath mega musicals continue to pack in adoring crowds. It may also be due to the deceptively fluid naturalism of the work; not for a moment does the dialogue seem inauthentic or inappropriate, and this can be deceptive. Without divulging too much of the plot, it can be said that elements of the play are reminiscent of “Educating Rita” (roles being gradually reversed), “All About Eve” (adulation morphing into rites of succession), and especially “Doubt” (a theatergoer left to decide for herself or himself who is a victim or a villain, and how consciously this occurs).

At the base of this work, about the collection of stories, are some rather heavy dilemmas, notably the questions of who owns a person’s life story, privacy invasion, and the inevitable march of time. Margulies complicates the moral question himself when he makes use of real facts from the life of poet Delmore Schwartz and his fictionalized portrayal in Saul Bellow’s “Humboldt’s Gift”. Thus we’re dealing with several layers of borrowed (or burgled?) narrative. While a writer is expected to write about what she or he knows, when is including someone else’s story a tribute and when it is appropriating a life?

The part of Ruth, a writer, teacher and mentor, has been played by such acting luminaries as Uta Hagen, Helen Mirren, and Linda Lavin (on stage, in a Tony-nominated performance, and in a televised version on PBS). Bobbie Steinbach, a local treasure, inhabits the role. As her student and mentee Lisa, making her New Rep debut, Liz Hayes (so memorable in the 2010 SpeakEasy Stage production of “Adding Machine: A Musical”) holds her own in this tightly wound two-hander. It’s terrific to see where their verbal virtuosity and the consistently mesmerizing direction by Bridget Kathleen O’Leary mesh. The technical aspects of the production, most notably the set by Jenna McFarland Lord and costumes by Tyler Kinney (one is tempted to call them “seamless”) also help to make this a resounding success.

Toward the end of the play, Ruth makes the decision to unbolt her door, in a reversal of sorts of a certain Ibsen play, leading to an inevitable confrontation between creative freedom and the duty to claim responsibility for one’s actions. How infrequenty these days is an audience so challenged. Theatrical heaven indeed; number this critic among the saved.

From Audience to Actor: Robert St. Laurence Describes "One Song Glory"

2011-09-29T17:24:00.000-04:00

Yesterday, audience member Andrew Caplan posed this question for Robert St. Laurence (currently playing Roger in RENT) on New Rep's facebook page. Today, Robert has answered in great depth! Let New Rep's facebook page be a forum for your questions. Like us, write us: http://www.facebook.com/newrep

Andrew Caplan:

I have a question for Robert St. Laurence: What goes through you mind as you sing "One Song Glory," and how do you think the song affects the rest of the opera?

................................

Robert's Response:

Dear Andrew,

One Song Glory is a tough number to perform, mainly due to the fragmentation of the thoughts expressed. I mean, just getting the lyrics right is an enormous task, with all the random 'one song' and 'glory' lyrics scattered about the number. The song mainly expresses Roger's feeling behind the need to write this "one great song." These thoughts and feelings are what drive his actions throughout the story.

There are many layers-- the first being his need to connect with the world and the people around him. He is so plagued by his inability to open himself up to his friends, and he works to do that the only way he knows how, through music. Part of the reason he fails to connect to the world is his constant reliving and inability to accept the past; the main events relevant to this song being the loss of April and contracting HIV. He has already declared his life to be over, and sees his only hope in making a mark on the world as leaving behind "one great song," before he dies.

As the number begins, Roger is in a place of doubt, mocking his 'mantra' of writing one great song. It's the one thing he's held on to for the last couple months/years, and as time passes he loses faith that he can complete this task or that he is even worthy or capable of writing something worthy of glory. He jabs at himself, mocking his previous image and lifestyle as the "pretty boy front man." This is one of Roger's go-to defense mechanisms: to deflect or push away. He grapples with what glory even means, and what is deserving of it. He resents April for taking the easy way out and leaving him to suffer a seemingly endless life of self-imposed isolation and torment. He repeatedly tries to block out his demons, refocusing on the task at hand. Toward the end of the song, a large truth is revealed when he questions a greater power condemning a "young man" to such a bleak fate, and expresses his fear and desire for release from the prison of life.

One Song Glory encompasses much of what drives or inhibits Roger, and much of the drama of the show regarding his character's arc focuses on how this objectives and beliefs hold-up or change when in direct conflict with other characters'. The biggest moment being the final song: Your Eyes. He finally finds the song that will leave his mark on the world and allow him to connect to Mimi, but realizes that the 'perfect song' can't do what an honest and open 'I love you' can. He spends most of the play building a wall to protect himself from the outside world, while others chisel away at it, and in the end he makes the decision to take it down completely. And in that moment, he completes his growth into embracing his loved ones and the fragile present he lives in.

That was a really long answer to a short question, but I hope that gives you an idea of in inner process throughout the song and show.

Sincerely,
Robert St. Laurence

Collected Stories: First Rehearsals @ New Rep

2011-09-22T15:17:00.000-04:00

With RENT extended to October 2nd, it may be easy to forget that Collected Stories is opening just one week later! (Previews October 9th, Opening Night October 10th) This past Tuesday afternoon, staff, supporters, actors, and designers gathered for Collected Stories' First Rehearsals @ New Rep event.

A smaller production than RENT, this first rehearsal provided a much more intimate experience for its viewers, who were welcomed first by Director Bridget Kathleen O'Leary.

O'Leary described her own involvement with the play as an undergraduate student, compared to her perception of the play now. "I understood the concept of a mother...a maternal relationship," she explained, "I did not yet understand the relationship between a mentor and a mentee." O'Leary played the role of Ruth, soon to be performed in New Rep's production by Bobbie Steinbach.

As the designers spoke, the characters and their surroundings began taking form. Props Designer Joe Stallone is searching for (and happily accepting) donated books to line the front of the stage to create an old-shelf feel to even the boundaries of the stage itself. If you are interested in donated your books, please contact Joe Stallone at joe.stallone@verizon.net.

Meanwhile, Scenic Designer Jenna McFarland Lord showed viewers her beautiful model of the set, describing her visions for both warm and cool tones to balance the scene.

The decor of the apartment is trapped in the 60s, a time when Ruth felt life was at it best, and Lord plans to add little hints of the modern world and Lisa's presence in Ruth's life through small bouquets of flowers and other minimal touches. Lighting Designer Deb Sullivan complements Lord's work with the concept of using the cyc to portray a textural space, even movie-reel-esque in feel. Sound Designer David Reiffel furthers the experience with the use of speakers in key locations to bring sounds of the city streets to Ruth's window, and music to her record player. His take on the music was fascinating; his concept being to use both old and new interpretations of Miles Davis' work to replicate the relationship of the two characters.

Costume Designer Tyler Kinney finished the presentation before the actors began their reading of the play. He and O'Leary spoke of a casual, put-together style for Ruth. He then displayed before and after images of "College Lisa" and "Successful, Sexy Lisa."

If this first rehearsal is any indication, Collected Stories promises to be an intimate, touching play with rich context, sets, lighting, and sound. Buy tickets now at http://newrep.org/collected_stories.php.

RENT still has an impact

2011-09-10T14:49:00.000-04:00

by Jana Pollack, New Rep Reviewer

Like many theater people, I have a special place in my heart for RENT. Despite my inner cynic, the opening chords of "One Song Glory" can bring tears to my eyes in an instant. I know all the lyrics and, when I hear them, I’m instantly transported back to high school, when I first saw and fell in love with the show. As a teenager, the youthful rebellion it projects seemed to be giving voice to my own confusion.

Now, coming to New Rep’s version as a 25-year old working adult, I was surprised to find myself less invested in the journeys of these characters - to find myself questioning their economic situation and their dedication to the abstract idea of being an “artist”. Still, Jonathan Larsen's final work presents some concrete, lovable characters; and while there are soap opera moments, there are moments of truth that continue to resonate.

Under Benjamin Evett's direction, New Rep’s RENT provides much to be admired. Chiefly, I admired Nick Sulfaro's performance as Angel, the transvestite whom we first meet busking on the streets of Manhattan. As the only character who seems to lack flaws, Angel can be hard to make into a whole person; here, I felt that I knew Angel and I loved her, and the credit goes to Sulfaro’s full-bodied performance.

John Ambrosino's Mark also stands out. As the narrator, Mark is not given a whole lot to work with; we never get to know him and he doesn't really have a point of view of his own. However, as a performer, Ambrosino stands out: he was always on - on key, on point, exactly where he needed to be. I believed him as Mark, the detached filmmaker, and I loved watching him.

Robert St. Laurence, as Roger, was not as strong on opening night. In that performance he seemed nervous, and he was never able to fully embody his character. While he is clearly very talented and has a beautiful and resonant voice, he didn’t quite seem comfortable on stage and in Roger’s skin.

Evett makes a number of choices to distinguish his version of RENT. Perhaps the most daring is his use of full nudity towards the end of the show. Unfortunately, this choice serves to divert attention from the agony of the moment, and I wished the clothes had remained on and the audience had been allowed to experience grief without distraction.

Overall, this production is just RENT - it does not stray too far from the original formula, and therefore embodies all of the flaws and strengths inherent in the piece. It is often corny (it charts the course of a year in holidays, starting with Christmas Eve and moving through New Years, Halloween, etc) and melodramatic (someone comes near death and then returns having seen a tunnel of light), but still manages to soar above those calculated moments and touch something real. These characters seem to be suffering greatly without any real explanation (many have seemingly well-off parents who turn up in funny voicemail messages), and yet they make us believe that their struggle for their art and for love is not just worthwhile, but valiant.

New Rep's RENT

2011-09-08T17:04:00.001-04:00

by Frank Furnari, New Rep Reviewer

I love RENT. There, I said it. I’ve loved from the first time I saw the Original Broadway Cast in 1996 through the many incarnations I have seen since. Now that we have established my bias, we can talk about New Rep’s production. The performance opening night was uneven and while there were many strong points, there were others that still need to be addressed. Director Benjamin Evett and Choreographer Kelli Edwards make a real effort not to duplicate the Broadway production (let's not mention the movie) – some of the choices work, while others didn’t seem necessary.

Nick Sulfaro’s Angel was wonderful, from the time he enters early in act one, you’re drawn to his character and the warmth, love, and later vulnerability and pain emanating from Angel. His two big numbers, “Today 4 U” and “Contact”, (both of which are often done with pre-recorded tracks, but were instead played live with a reduced orchestration), are two of the best numbers in the show. My other favorite moment (and performer) in this production was Aimee Doherty’s Maureen and her rendition of “Over The Moon.” One rarely gets to see Aimee in this type of a role, but she excels and brings down the house. The chemistry between Maureen and her lover, Joanne (Robin Long) was also great as evidenced in their number “Take Me.” There were other nice touches to this production that I appreciated, including the interplay during “Another Day” between the life support group and Mimi/Roger which really added to the number. Also, don’t miss the cute Monty Python reference in “La Vie Boehme.” I’d be remiss if I didn’t mention Kathyrn Kawecki’s set – it was great and incorporated many elements including a cool street lamp.

While there was a lot that I enjoyed, the production was not without its flaws. Many of the issues I feel could be remedied; for example sound issues with microphones as well as issues of balance where I couldn’t hear the ensemble well. For me, this really detracted from some of the powerful moments in the show. The band in the opening number seemed muted and restrained. The opening number, “RENT” lacked the energy and tempo I was hoping for – it wasn’t the big rock number I had hoped to hear. This seemed to be the case for the majority of the first act with some exceptions. There are additional directorial decisions - the changing of the orchestration in “I’ll Cover You” and Mimi’s actions during “I’ll Cover You” which I thought detracted, but unless you are a diehard RENT fan, you will likely not notice them.
I’m glad that New Rep chose to tackle RENT and forge a new direction by not mimicking other productions. I may see this production again later in the run in the hope that what I observed in one performance were anomalies. I still love RENT and I hope if you see this production, you will share my love for the show.

"RENT": Overdue

2011-09-08T09:54:00.006-04:00

by Jack Craib, New Rep Reviewer

After twelve years on Broadway, a 1996 Tony Award for Best Musical and a Pulitzer Prize, a video of the final performance, a film version, and a recent Off-Broadway revival, it’s safe to say that the New Rep production of “RENT” is probably well overdue. At the time of its first production it was notorious for its upfront treatment of the AIDS epidemic as well as the fact that its triple threat creator Jonathan Larson (book, music and lyrics) died suddenly just before its first preview performance. He had loosely based it on Puccini’s “La Boheme”, exactly one hundred years after the opera premiered, substituting HIV for tuberculosis as the central crisis. “RENT” was then, and still is, considered a watershed for rock operas, with over three dozen songs and seven major characters.

That’s a lot of territory to cover in just over two hours, and therein has always been its most significant failing. With so many protagonists to follow, there’s not much back story time left in which to get to know or care about most of them. A production that doesn’t involve its audience can seem as though it lasts all of 525,600 minutes (the total time in a year as given in its most famous song, “Seasons of Love”). This is the fourth version this reviewer has seen, and it’s also the first to (almost) overcome the challenge.

Credit for the success of this production must first go to the extraordinarily fluid direction by Benjamin Evett and choreography by Kelli Edwards; their collaboration is certainly a marriage made in theatrical heaven. It’s the definition of the word “seamless”, as they managed to keep their sizable cast constantly moving as integral parts of the central action without upstaging one another. They are aided in large part by the versatile scenic design by Kathryn Kawecki and the incomparable musical direction by Todd C. Gordon. At times the far reaches of the set and the volume of the four piece orchestra can conspire to drown out some of the lyrics, but this is a welcome trade-off for the intrusive and distracting wraparound concert microphones used in most productions of the work.

Credit should of course also go to the enthusiastic performances by Robert St. Laurence as Roger, Eve Kagan as Mimi, John Ambrosino as Mark, Robin Long as Joanne, and Maurice E. Parent as Tom Collins. The incredibly versatile Aimee Doherty as Maureen shows off a totally new side (at one point quite literally), though her biggest number, the hilarious performance-art “Over the Moon”, literally stops the show, and not in a good way; she’s terrific, but the momentum of the plot is derailed. In the pivotal role of Angel, Nick Sulfaro comes closest to presenting a believable, fully realized person, emotionally involving perhaps more for his/her representing many victims rather than truly having had much opportunity to develop his individual character.

Those reservations aside, the musical surprisingly earned the Tony for best book, but less surprisingly best score. With songs such as “Without You”, “I’ll Cover You” and even a few gratuitous nods to Puccini‘s “Musetta’s Waltz”, as well as almost continuous recitative, it outshines most of its subsequent rock score imitators. There are some missteps (would these street people really break out in a song such as “La Vie Boheme”?) but Larson’s achievement is ultimately memorable. While this will never be this reviewer’s favorite musical, in New Rep’s version, fans of the work should feel that this “RENT” pays off.

New "Season of Love" at New Rep

2011-09-08T09:20:00.000-04:00

While watching New Rep’s RENT, the audienceforgets that they have already seen the movie, that they know the plot-line andthe characters’ fates even before Mark (John Ambrosino) rolls his videocamera. Watching the cast, you can’t help but be re-absorbed into thelives of the characters presented.

Robert St. Laurence performs Roger brilliantly. He walks through each scene stricken with sadness, his face gaunt and hiseyes rimmed in red. Even while singing the flirtatious duet “Light MyCandle” with the coy exotic dancer Mimi (Eve Kagan), he manages to lookexhausted. He sings “One Song Glory” proudly, but with a note ofdesolation in his voice that makes the song unforgettable.

Nick Sulfaro, who is endearing and funny as Angel ashe sings about getting paid to kill a yapping dog in “Today 4 U,” has aninstant chemistry with everyone else on stage. Aimee Doherty is equallyquirky as Maureen with her avant garde protest and exasperated outburst that “Therewill always be a woman in rubber flirting with me!”

The scenery of the play is not so much bounded, assketched. The framework for an apartment, and performance space, anddoorstep, and cafe are all there, but it takes the actors to bring life tothis framework. Their vitality turns even a wood-burning stove and afire-escape into a home. From the multi-colored flyers lining the wallsof the theater space to the industrial scaffolding framing Roger and Mark’swarehouse apartment, the stage has a 3-dimensionality that emphasizes thecomplexities of the characters' lives. As the cast takes the stage for anAIDS support meeting, Roger is off-center in the shadows, quietly strumming onhis guitar, reinforcing his solitude. The complexity is also seen asmembers of the ensemble periodically watch from the second story, revealingthat the story is bigger than the lives of this group of friends, that thereare lives going on outside of the performance.

Several choruses repeat the line: “There’s only us/there’s only this/ forget regret, or life is yours to miss.” RENT is, at itsheart, a celebration of life. As the homeless warm their freezing handsover the fire or the artists “moo” along with Maureen, the audience is struckby their togetherness, and that is the most memorable part of the performance.

-- Victoria Petrosino

RENT: Better than Broadway

2011-09-07T18:28:00.001-04:00

Having seen RENT on Broadway over a decade ago, I was concerned about how it would fit on the smaller New Rep stage. It’s such an enormous, explosive show! I needn’t have worried.

The Charles Mosesian Theater has cleverly been transformed into a persuasive replica of a mid-90s New York City street and loft, complete with endless colorful posters dotting the walls of the set and extending into the audience area. This intentional rupturing of the “fourth wall” continues throughout the performance, as the actors draw the audience in through song, direct address, and, at one point, collaborative mooing. The gritty, industrial set is the first clue that, if you come to see RENT, you’re in for a wild ride.

Know this before you go: RENT is not for the faint of heart. It’s an energetic show, one that demands heart and soul from both its performers and its viewers. The musicians and actors/singers in New Rep’s staging of this classic are top-notch, across the board. For the most part, the opening-night audience was right there with them; only a few poor, startled souls left at intermission shaking their heads. RENT is a raunchy, joyful, foul-languaged, heart-wrenching, nudity-strewn, make-you-laugh-and-cry-at-the-same-time kind of show. You have to know that going in.

Once you accept (dare I say love?) the swearing, sexual fluidity, the transvestism, the unflinching look at AIDS and death and drugs, the ribaldry, the in-your-face-ish-ness of it all, you can start to appreciate the high quality of this particular performance. It’s better than the one I saw on Broadway, all those years ago, which, then several years into its run, had grown stale and somewhat rote. New Rep’s version quivers with new energy, fresh pain, and a whole lot of talent. Never mind that most of these actors were babes-in-arms when AIDS began to ravage the gay, street, and artistic communities portrayed here; they have taken up the mantle and gestalt of that time and reawakened it for all of us.

Kudos to the director, the musicians, and the actors. Of particular note are the star performers, not a weak link among them. John Ambrosio as Mark carries the show, moving it along at a rapid clip with nary a voice falter (although, unfortunately, the sound system was not so steady; here’s hoping that will be fixed shortly). Eve Kagan, recently seen in “Passing Strange,” is achingly young, jittery, and haunted as Mimi, who brags that she has the “best ass below 14^th street.” That title is contested by Maureen in her skin-tight black pants and chains. (What a joy to see Aimee Doherty get to play the bad girl for once!). Robin Long is pitch-perfect as the whip-smart, jealous Joanne, while Danny Bryck is perfectly sleazy. Robert St. Laurence is appropriately angsty and moody as Roger, and Maurice Parent slips smoothly into the skin of Tom Collins. But really it is Nick Sulfaro, in his New Rep debut, who steals the stage. His playful flamboyance lights up the stage whenever he makes an entrance but doesn’t obscure his wisdom and good heart as the others revolve around him.

~ Shauna Shames, with Johanna Ettin

RENT: A fun prop!

2011-09-06T15:05:00.000-04:00

by Joe Stallone, Properties Designer

With every show I work on, I always have a "favorite" prop and a "most fun to make" prop. For RENT, my favorite prop is the squeegee.

I like its unique shape and size and the red handle gives it some spark - even when scratched, broken, and faded. I like that I knew exactly what it would look like the instant I read it in the script. This prop tells a whole story about its owner. This mundane, broken-and-fixed odd little cleaning implement tells us of his resiliency, his desperation to keep a grasp on his pride and his dignity before it is lost forever along with any remembrance of who he was and could be again. The squeege is his livelihood and his lifeline. And... it's a fun, quirky thing with a fun, quirky name. Go on, say it: "Squeegee!"

Coming next... My "most fun to make" RENT prop.

RENT: The Set is Here!

2011-08-31T15:36:00.000-04:00

For those of you who read our earlier entry RENT: Words and Images from the Scenic Designer, take a look now! The set is going up, and you get to view it in action.


Monday: The set looks sparse, with only the first tier of scaffolding, a free-standing door, and some fake brick facades scattering the stage.

Tuesday: The set looks beautiful with its multiple levels,
hung windows, painting, and lighting. Still at work in
this shot, but looking much more similar to Kathryn's
design plans from our previous post!

Come see it for yourself this Sunday at the opening of RENT!

The Line Starts Here...Free Fun Friday Fills the House!

2011-08-30T13:27:00.000-04:00

And the line did start...as early as 3:00pm! New Rep staff hustled their preparations for their Free Fun Friday performance of The Adventures of Huckleberry Finn this past Friday, sponsored by Highland Street Foundation. Though tickets would not be released until 4:30 and the house would not open for seating until 5:30, a crowd of 30-plus people filled the sidewalk by the Arsenal Center for the Arts by a mere 3:30pm.

Some awaited more anxiously than others...

Being a bright, sunny, pre-hurricane afternoon, individual viewers and full families attended the event from a variety of locations and theatrical interests. It was wonderful to see such a diverse presence from the community, as the company shared the first performance of New Rep On Tour.

Whole Foods' generous donation of concession items helped New Rep's programming, while cooling viewers and quieting the younger attendees.

In addition to the show, ticket-holders were given the chance to enter New Rep's raffle to win four tickets to the holiday show A Christmas Story. Viewers young and old participated excitedly, and the three lucky winners were thrilled Monday morning after receiving their congratulatory calls. (View who won on our website.)

By house opening, we were down to five tickets. By show time, we were completely sold out! All 340 seats of the theater bustled with nervous energy. An hour later, New Rep staff were still turning people away at the door, having long since reached full capacity.

As Facebook follower @Lori Holmes Fournier posted,

Just came home from watching Huckleberry Finn and it was AWESOME! Love you guys, we have always come home so happy with the theater experience. Thank you for all your hard work, it shows. Can't wait for Little shop of horrors & Tales of Poe.

So thank you to all who came out on August 26th, and thank you to Highland Street Foundation. It was a beautiful event, happily shared with as many members of our community as we could hold in our seats!

RENT is due…

2011-08-29T12:21:00.005-04:00

by Joe Stallone, Properties Designer

…due to open at New Rep on September 6th! I’m the Props Designer, or as the position was known back in the day, the Properties Master. (Consider the irony; my professional day job could have the same title: I have a real estate brokerage. Theatre imitating life?)

I have been living inside this piece of theatre for the past few weeks and have a unique and interesting perspective of both the production and the play as well as some unique and interesting tasks and design challenges. I love doing props because I not only get to see and hear this play, but I get to touch it and feel it and engage with it through the things that help create the look and feel of the atmosphere in which it takes place, and also through the variety of items used by the characters. So I get to experience this play internally as well as externally through the hands and fingers and bodies and eyes of each character as well as from a position of overview. I get to live in the play and in each character for bits of time with each prop or set piece that I make or find or choose. And each time it brings me deeper inside myself. It’s a mind-blower.

During RENT rehearsals, I laugh, I cry, I sigh and I dream. But most of all, I remember. I remember my friends, lovers, and family that are gone. I remember the skin-tightening stress of wondering if I had “it” or if he or she had “it” or who would be next. I remember that this epidemic is not over. I remember that it claims lives every day. We must all remember.

RENT: Words and Images from the Scenic Designer

2011-08-19T17:29:00.000-04:00

At this week's Meet and Greet, Scenic Designer Kathryn Kawecki showed viewers her beautiful 3D model for RENT. But this was by far not the first rendition. Read below for images of her earlier designs, and a description of her process.

In the words of Kathryn Kawecki:

[Here] are some early sketches that show a few different set-ups. Some things have changed, like the dumpster, which was cut for cost & practicality reasons. Also, some of these are before the addition of the onstage staircase & don't show all of the posters.

I created these particular sketches using Photoshop predominantly, but not just Photoshop. I have a sort of multi-media approach to making sketches.

When I'm working in a proper studio (instead of out in freelance limbo somewhere), I start out by making a super quick 3-D white model and working out the real structure of the space; I take a digital photo of the model and import it into my computer and "sketch" on top of the photo to figure out the textures, colors & surfaces that are right for the piece. Sometimes my process goes back and forth between model and sketch; I learn things in the sketch that inform the actual structure, so I make changes to the model, which sometimes also calls for changes in the "materials" in the sketch.

For RENT, there were actually 4 versions going between model and sketch as the design developed. Some of these stages were also shared with the rest of the creative team, so I could hear what felt right to them as well. For RENT, part of the process was really an editing back and honing in on the right structure and the right structure. From the beginning, we knew we were interested in bringing together multiple urban textures that we liked. The first versions of the design really crammed all the things we liked into one composition, but it had too much going on at once and was almost visually overwhelming. In the final version, I edited down the number of different textures; there is still a collision of urban textures, but with a more controlled palette.

[The image above] shows side by side a sketch and model for a different project (MARAT/SADE for URI later this fall) I'm designing which is simpler structurally, so it makes it a little easier to see the connection between the start and end of the process.

Come see Kawecki's finished product on September 4th when RENT opens the New Rep 2011-2012 Season!

RENT: First Rehearsal

2011-08-16T13:52:00.001-04:00

With just 19 days until the opening of New Rep's 2011-2012 Season, the cast, directors and crew of RENT gathered with New Rep staff and supporters in the rehearsal hall at the Arsenal Center for the Arts this morning to discuss the artistic, visual and physical intentions of the show.

director Ben Evett addresses the large crowd

Director Ben Evett began the Meet and Greet with his thoughts on RENT and the message he wishes to share with his audience. Evett stressed that while he plans to keep the time period true to the original performance, he also aims to go beyond the topic of AIDS by encompassing human fragility as a whole.

director Ben Evett

A husband and wife team, Evett will be working closely with choreographer Kelli Edwards, who recently received the 2010 IRNE Award for Best Choreography, Small Theater, for New Rep's Hot Mikado.

John R. Malinowski, lighting design

Several of the designers spoke about their own ideas on lighting, props, set design and costuming. Costuming received the largest commotion from cast and viewers, as Frances Nelson McSherry flipped through pages of collaged 90's styles. McSherry pointed out that many of the performers in the Ensemble perform multiple roles. She then emphasized her plan to add and subtract costuming elements during these quick changes, while avoiding a full erasure of any character's identity. (View some of the collages here.)

Props, contributed by properties designer Joe Stallone.

Kathryn Kawecki, scenic design


The beautifully meticulous and visually dynamic set design model by Kawecki.

Frances Nelson McSherry, costume design

Cast, staff, and New Rep supporters laugh and applaud the designers as they speak.

With the Meet and Greet concluded, everyone takes five. All are excited to begin rehearsing, and those watching offer support, while enjoying a behind-the-scenes look at the process of producing the kickoff to New Rep's 2011-12 Season. More to come in the next few weeks, and don't forget that you, too, can see the show. For more info, visit our website.

Nick Sulfaro, Angel, begins studying the libretto.

Todd C. Gordon, musical director, plays a few chords in preparation for the afternoon ahead.

RENT: A taste of what's to come...

2011-08-09T15:32:00.000-04:00

With RENT right around the corner, a production meeting was held on Friday, August 5th to discuss artistic visions for the show. Check out these fun collage-style images presented by Costume Designer Frances Nelson McSherry--A small taste of what's to come!

More to come soon after our first rehearsal...

A little Liza in The World Goes 'Round

2011-07-18T17:25:00.000-04:00

Do you recognize the New Rep favorite standing next to Liza Minnelli?

**It is David Costa who is currently in our production of The World Goes ‘Round!**

David Costa, a New Rep favorite, recently shared his thoughts and stories with Edge's Kilian Melloy regarding the performance and his relationship with Ms. Minnelli:

"Somehow -- I don’t even know how it happened -- she would call me when she would be on a television show, and I would tape it for her," Costa continued. "I would tape all her shows and send them to her, and then if I ever wanted to see her in concert, she would get a seat for me, front row center.”

You can read the full preview HERE.

New Rep would also like to congratulate Liza Minnelli for recently being awarded France's Legion of Honor, the country's highest cultural decoration. What an incredible accomplishment! Read more HERE.

So don't forget, it isn't too late to buy your tickets to The World Goes 'Round, and see David Costa and the rest of the talented cast, Leigh Barrett, Aimee Doherty, De’Lon Grant, and Shannon Lee Jones, bringing a little Liza to the stage...

“The World Goes Round” Spans the Multilayered Catalog of Kander and Ebb

2011-07-14T22:33:00.001-04:00

by Jana Pollack, New Rep Reviewer

New Rep’s summer show is “The World Goes Round,” a collection of Kander and Ebb songs performed in cabaret style. Although the show begins with a hefty dose of schmaltz, as it continues it allows its talented performers numerous chances to display moment after moment of genuine emotion – genuine joy, genuine sadness, and true hilarity.

Kander and Ebb have a very large catalogue of songs, and while “The World Goes Round” is a lovely tribute to their repertoire, its dedication to the range of subject matter has a bit of a jarring effect. One of the most famous pieces Kander and Ebb produced is the title song from the musical “Cabaret.” “What good is sitting alone in your room?,” it asks, and it is often performed as an opening to musical revues; an invitation to come out and enjoy life. In the context of the show for which it was written, though, it is a deeply sad song, a song sung by a woman on the brink of desperation. This disconnect between the original intent of the song and the way it is often used is a prime example of the largest problem with “The World Goes Round” – an imbalance between heavy and light.

While all of the songs are enjoyable as individual entities, it is disconcerting to hear “The Grass Is Always Greener” – a hilarious little duet – and then to soon after be treated to a version of “Money Money,” which was written to portray the pain of poverty that struck during the Holocaust. The show can’t decide on the overall effect it wants to have, and that hurts the piece as a whole.

Despite this organizational flaw, however, “The World Goes Round” offers many moments of great entertainment. Leigh Barrett is the first to cast a spell, with a moving rendition of “Colored Lights.” Shannon Lee Jones turns heads with “Arthur in the Afternoon,” as well as a fresh take on the often-performed “All That Jazz.” Although some lesser tunes are also done (such as the fairly ridiculous “Sara Lee”), they detract very little from the strength of the more powerful numbers. This show is valuable for the moments in which the genuine sneaks in – as Leigh Barrett recounts her loneliness in “Isn’t This Better?”, as Aimee Doherty describes love as “A Quiet Thing” – for these glimpses into the human spirit, this is a piece of theater worth seeing.

A Summertime Musical Treat

2011-07-13T22:46:00.001-04:00

By Frank Furnari, New Rep Reviewer

I entered the theatre for New Rep’s production of The World Goes ‘Round not in the best of moods. After two hours, I left smiling and humming a few good songs. This is the sign of a good summertime musical revue.

The World Goes ‘Round was conceived in 1991 as a revue of the work of John Kander and Fred Ebb who wrote wonderful musicals such as Cabaret and Chicago as well as recently premiered works, Curtains and The Scottsboro Boys. Thankfully, this work, conceived by Susan Stroman, Scott Ellis, and David Thompson did not seek to insert a narrator or add scenes of dialogue to try string together songs. They simply let the songs speak for themselves and tell their own story. What they weave together is an enjoyable night of many tunes you know as well as some that you may not.

New Rep favorites Leigh Barrett and Aimee Doherty are a joy to watch and hear sing this great music – their performance of Class is stellar – it’s a joy to see them perform. In addition Shannon Lee Jones, David Costa, and De’Lon Grant – all of whom have appeared in New Rep productions – deliver solid performances. Ilyse Robbin’s direction is uneven with some truly outstanding and greatly conceived moments, as well as a few times when the actors seem to lack direction. The funnier moments, especially the numbers Coffee, Sara Lee, and Class are the standout numbers of the show and make the evening a memorable one. I wonder if the show itself would be tighter if a few numbers were eliminated and it be made into a slightly shorter intermission-less piece. These are simply minor qualms to an overall enjoyable piece.

The set is, simple art deco inspired, and provides the actors lots of room to shine. The orchestra is comprised of four players – keyboard, wind, string bass, and percussion. They are located on stage in what reminded me of a big band look and provide good sounding accompaniment.

The show was a great way to end New Rep’s year. It is was a very enjoyable evening and is highly recommended for Fans of Kander and Ebb.

"The World Goes 'Round": the Candor Never Ebbs

2011-07-13T21:52:00.005-04:00

by Jack Craib, New Rep Reviewer

To call New Rep’s current production “The World Goes Round” a nearly perfect summer evening’s entertainment would be an understatement. It’s a show for all seasons regardless of temperature, but this show is hot. Twenty years ago, this compilation of songs by composer John Kander and the late lyricist Fred Ebb was created, with input by Kander and Ebb themselves, by librettist David Thompson, director Scott Ellis, and choreographer Susan Stroman. The genius of their collaboration lies in the fact that, unlike other “and then I wrote” shows, this consists not of a string of tenuously related show tunes, but a carefully constructed series of vignettes, each song or medley managing to convey a more or less complete story or mood. The show survives as a tribute to the first twenty-nine years of the body of work by Kander and Ebb. Thus there are no echoes from their later works; there is no “Steel Pier”, no “Curtains”, and especially no “Scottsboro Boys”. There are twenty-nine numbers from their extraordinary output for Broadway, films, television and even an industrial show, running the gamut from mega-hits like “Chicago” and “Cabaret” to the lesser-known “Zorba”, “The Rink” and “The Happy Time”. Above all, this show illustrates how these two men, throughout their careers, emphasized the downtrodden and the unsung….until they made them soar in song, the truth of their characters always flowing.

Kander and Ebb, like many of their contemporaries, wrote primarily for women who need no surname introduction (Barbra, Chita, Gwen, and most frequently, Liza), so it shouldn’t be a surprise that the women in this company, all familiar to New Rep audiences from previous appearances, have the best opportunities to shine. And shine they do, but often in surprising ways. Leigh Barrett confirms her status as a true Broadway belter, but she also gets the chance, in such numbers as “My Coloring Book” (the first song the team ever wrote), to create several very moving quiet moments. Shannon Lee Jones, remembered for her contribution to New Rep’s previous production of “Cabaret”, while exhibiting solid talent in songs like “A Quiet Thing” (from Liza’s first show, “Flora the Red Menace”) exceeds expectations as a comedienne in another Minnelli number, “Arthur in the Afternoon”. The most pleasant shock, given her prior serious roles at New Rep, is the comic artistry of Aimee Doherty, who equals the comedy chops of Leigh Barrett in their duets of “Class”, unforgivably dropped from the filmed version of “Chicago”, and “The Grass Is Always Greener” from “Woman of the Year”. The latter song is a good example of how a number can alter its meaning when not heard in the original context of its source but still be hilarious.

The men in the company have a tougher time. The title song from “Kiss of the Spider Woman”, sung by De’Lon Grant, is meaningless out of context (and, curiously, was included in the 1991 original “And the World Goes ‘Round” even though it was to be another year before “Spider Woman” opened in London and two years before its opening on Broadway), as is the number “Marry Me”, sung by David Costa, who at least gets to sing the unforgettable “Mr. Cellophane” from “Chicago” and the haunting “Sometimes a Day Goes By“ from “Woman of the Year“. The other men in the company who provide the music for the magic are Musical Director Todd C. Gordon on electronic keyboard (sadly, not a piano), Brian Grochowski on bass, and Jim DeLorey on percussion (and kazoo). There is a fourth excellent woodwind musician who is uncredited in the program. The technical contributions by Erik D. Diaz (scenic design), Deidre McCabe Gerrard (costume design) and Deb Sullivan (lighting design) are all first-rate.

When all is said and done, however, the success of this production rests squarely on the shoulders of Director and Choreographer Ilyse Robbins (with an occasional homage to Bob Fosse). Without her consistently fluid overall approach, as well as her countless amazing little touches, this could easily have been a flat and dispassionate bunching of disjointed star turns. It’s hard to believe that this is only her second professional directing effort, much less that, according to the background information from New Rep‘s website, she accomplished this with just two weeks of rehearsal. Thanks to her vision and the talents of this impressive cast, the sweat never shows, but the heat sure as hell does.

Review of the Revue

2011-07-13T14:56:00.000-04:00

You know those shows that just make you happy? This is one of those shows.

For their 2011 Summer Show, New Rep has collected a startlingly talented group of performers, and given them a long list of some of the catchiest songs you've ever heard. At intermission, we heard milling audience members humming the tunes in the lobby, at the snack bar, and even in the bathroom!

If you're looking for plot, or deep emotional upheaval, this ain't it. But if you want a fun, frisky night out, you couldn't do better than the award-winning musical revue of Kander & Ebb tunes, "The World Goes 'Round," done with classic New Rep panache.

The cast features several New Rep favorites, including the talented and versatile Leigh Barrett and Aimee Doherty. Barrett and Doherty's duet of "Class," from "Chicago," is a comedic highlight of the show. Shannon Lee Jones rounds out the production with a jazzy, breezy Broadway style (and how did she fit into that stunning black jumper at the end of Act 1?). Two terrific male performers complete the set, both of whom have graced New Rep stages before. De'Lon Grant, recently seen in "Passing Strange," is funny and poignant by turns, and demonstrates some astonishing upper body strength in "Arthur in the Afternoon." David Costa shows off some fancy dance moves throughout, especially shining in "Sara Lee."

The cast rarely all congregate; rather, this show is a venue for each performer to shine, mostly individually, although the duets and overlapped songs were some of my favorite parts. The format also showcases acting as well as singing talent; each song creates a character, and a particular situation, that the actors make immediately apparent. If there was a weak link in the cast, we couldn't spot it.

Ditto for the production values; direction, music, choreography, lighting, set, props, and costumes all worked together beautifully. Three cheers also for the band, who are playing almost continuously, without missing a beat. We especially appreciated the flautist, whose name unfortunately does not appear in the program, but whose talents were much in demand in nearly every song. Kander and Ebb apparently appreciated woodwind emphasis to evoke all kinds of moods.

While we've long loved their shows, we knew little about these composers before last night. We're grateful to New Rep for showcasing their collective creative genius in a show that left a smile on the face of everyone there. Great fun!

~ Shauna Shames & Johanna Ettin

First Rehearsal for The World Goes 'Round

2011-06-29T16:12:00.000-04:00

Yesterday morning, New Rep Subscribers, donors, observers and staff gathered at the Arsenal Center for the Arts for The World Goes 'Round's first rehearsal. Viewers were greeted by the New Rep family, a warm and welcoming group of performers, designers and directors, and many laughed when invited to taste the assortment of Sara Lee desserts--an homage to Kander & Ebb's song "Sara Lee."

Though brisk in nature, the one-hour Meet & Greet served as an opportunity for both cast and viewers to better understand the direction of the musical. Director and choreographer Ilyse Robbins explained her vision to the crowd, supported by the artistic visions of set designer Erik Diaz, costume designer Deirdre McCabe Gerrard, props designer Joe Stallone, lighting designer Deb Sullivan and music director Todd C. Gordon. After the formalities had finished, it was time to jump into rehearsal--all ten hours of it! Stay tuned for more photos soon...


Ilyse Robbins, director and choreographer, explains her views on the play to the cast and observers. l. to r. Ilyse Robbins, David Costa, Leigh Barrett, and Erik Diaz.


With a day full of singing and dancing ahead, it's good to have a coffee break!

What better way to kick off The World Goes 'Round than with a globe...


The colorful and fun set design by Erik Diaz.

Music director Todd C. Gordon helps the cast learn their songs.

"My mother bakes well, but you can't compare her, not with Sara Lee." - Kander & Ebb

Passing Strange Review

2011-05-06T23:13:00.001-04:00

By Frank Furnari, New Rep Reviewer

Passing Strange takes us on the journey of a young African-American youth in the 70s as he tries to discover his path in life. The narrator, an older, wiser version of the Youth introduces scenes and adds commentary as well as servers as part of the band. We meet the Youth in South Central LA in 1976 where is mother tries to get him to go to church. He ends up joining the church choir led by the reverend’s flamboyant son. While in the choir he gets to experiment with drugs and gets the idea to go to Europe. The Youth makes the decision to leave home and head first to Amsterdam then to Berlin where he indulges in sex, drugs, and his music. While in Europe his mother longs for his return, but he keeps putting it off, in part because he doesn't want to go back to his home town. At one point near the end of the play, the Youth asks "Why be with people who don't understand you?" the response he gets from one of his fellow artists is "Because they love me." In the end he learns that even when you find your art, you still need your family.

The performance opening night got off to a rocky start with some sound issues and the narrator (Cliff Odie) wasn’t able to grab me in. Odie's acting was solid, but his singing was not up to task. Fortunately, after a little bit of time with the amazingly talented ensemble’s entrance it all changed and I was hooked. Each of the ensemble members had a great voice and were adept at portraying a range of characters. Cheo Bourne masterfully portray's the Youth's journey to find himself and his art. Cheryl D. Singleton portrays Mother with both lovingness and humor – from her occasional lapses into her 'African-American dialect' to her touching phone calls to her son far away. De'Lon Grant, Eve Kagan, Maurice E. Parent, and Kami Rushell Smith all shine in the performances, it is a joy to watch them.

I had tried to watch Passing Strange on PBS when the aired a taping of the Broadway production starring the show's creator Stew. I didn't really care for it and sadly didn't make it through to the end. I'm glad that I got to see New Rep's production of this show as it convinced me that this is a good show once it gets going and a really enjoyable night of theatre.

"Passing Strange": Growing up in Pursuit of "The Real"

2011-05-06T06:53:00.001-04:00

By Jana Pollack, New Rep Reviewer

New Rep's final production of the 2010-2011 season is "Passing Strange," a rock musical that tells the story of a young artist's life. It is a very cool piece of theater - a shape-shifting journey from LA to Amsterdam to Berlin and back again that employs a variety of storytelling methods and explores what it means to grow up in the pursuit of "the real."

Backed by a rock band, the Narrator (Cliff Odle) starts the show, and we soon meet the central character, simply called "Youth." Cheo Bourne infuses this role with just the right mix of naivete and unbridled youthful passion, and he's a joy to watch. As his mother, Cheryl D. Singleton also hits all of the right notes, and their opening scenes are quite funny. The story moves from the Youth's bedroom in their LA home into the church, where the Youth discovers music. It follows him as he starts a band with his choir friends, but is the only one who wants to stick with it, and as he then leaves home to find what's real: to devote himself to art and see what the world has in store for him.

Bourne and Singleton are joined by a supporting cast of characters who play many roles - first members of the LA church, then members of the artist colonies in Amsterdam and Berlin. Kami Rushell Smith stands out here, bringing passion and presence to all of her pieces. Unfortunately, Eve Kagan consistently overdoes it, which distracts from the rest of the group.

As the Narrator, Odle brings maturity and wisdom to his songs. His voice is not quite up to the task, however, and on songs that he shares with the other members of the musically gifted cast, he sometimes takes away more than he contributes.

Despite these missteps, this is a great show. It is very different, and better for it. Towards the end of the journey, the narrator says: "What do you do when you find yourself living a life that was planned by a teenager?". This elicited a chuckle from the audience, but it gets at one of the central questions of the piece: as we enter adulthood, is there a way to maintain a youthful, artistic sense of possibilities, while still living up to the responsibilities that come with growing up? I certainly hope so; the success of "Passing Strange" may be evidence that we can.

"Passing Stange": with Flying Colors?

2011-05-05T07:17:00.002-04:00

by Jack Craib, New Rep Reviewer

In the last show of its current regular season, New Rep’s version of the musical “Passing Strange”, there is on stage as much talent as has ever graced any off-Tremont stage in recent Boston theater history. New Rep’s production of Stew’s 2008 semi-autobiographical Broadway creation makes a case for being arguably the best possible presentation of the work. The original production in New York lasted just over four months, perhaps primarily due to its sole Tony Award for the best book of the season (not all that impressive, given its only serious competition was the excellent “In the Heights“; the others were the amiably air headed “Xanadu” and the flop “Cry Baby”).

Whereas most often musicals find their biggest challenge in forming a coherent and engaging book, this happens to be this musical’s strong point. Stew’s book and lyrics, for which he alone gets credit, are often witty and sometimes wise, as in the memorable line “my porno films feature fully dressed men making business deals”, or “no one on this stage knows what it‘s like to hustle on the mean streets of South Central (L.A.)”. Some of it is predictable and too often polemic; still, there is more than enough there for coherence and engagement. It must be said that Stew at least tackled some heavyweight issues. Can meaning be found in art? Is life “a mistake that only art can correct”? Do we really spend our “whole adult lives acting on the decisions of a teenager”?

Yet this is a musical, and there’s the rub. The musical score, credited to Stew and Heidi Rodewald, is by and large repetitive, undistinguished and instantly forgettable. Stew himself has his main character, the Narrator (played by Cliff Odle, the only performer who didn’t seem comfortable with his or her part) admit at one point that this would be a good place to include a show tune about a youth (identified only as, uh, Youth, played by the extraordinary Cheo Bourne) planning to travel to Europe; the only hitch is that he admits he can’t write that kind of show tune. This seems obvious by this point in the work, which isn’t necessarily a deal-breaker. Other productions (notably “Spring Awakening” and “In the Heights”) broke new musical ground with their alternative rock and salsa.

Here Stew and Rodewald dish up lukewarm rock, punk, funk and gospel, and, with a few brief exceptions (“Mom Song”, and snippets of “Amsterdam” and “Keys”) they disappoint. Later in the production, Stew has the gall to ridicule the showtuniness of “On the Street Where You Live” (that somewhat memorable little ditty from a musical you may have heard of, “My Fair Lady”). Even Sondheim has been known to indulge in self-deprecating humor about his atypical scores (as in “Merrily We Roll Along” when a character sings that he likes a song you can hum, then references “Some Enchanted Evening”), but he has the musical chops to get away with it. If you’re going to dis an entire musical genre, you’d better be prepared to back up your own claim to fame. On the basis of this score, Stew fails to do so.

Who don’t fail, and in fact do pass with flying colors, are the creative talent on and behind the stage. One standout, Cheryl D. Singleton (as Mother) has an all too brief scene near the end and provides the single moment of heart of the entire evening. All of the performances by the rest of the cast, including De’Lon Grant, Eve Kagan, Maurice Parent, and Kami Rushell Smith, as well as the direction by Kate Warner and choreography by Kelli Edwards, contribute seamlessly to a production that caps off a memorable season of works of transformation.

The only misstep is a musical finale, after a rather abrupt and flat ending, in which the entire cast gets involved in one of the oldest and most overdone theatrical clichés, the forced audience participation game. As they belt out the hypothetical question “Is It All Right?” and their own answer, “Yeah, it’s all right”, one is tempted to paraphrase Stew from elsewhere in the book: “Yes and No. That is, Yo”.

"Passing Strange" Not to be Missed

2011-05-04T15:18:00.001-04:00

What a trip! The final offering of New Rep’s season is not to be missed. Passing Strange is a tale of a young black man’s pilgrimage of self-discovery, told almost entirely in music. The narrator (Cliff Odele), an older and wiser version of the young hero, introduces and comments minimally on stages in the journey, but the real story is in the music, witty, rocking, poignant and moving – in more ways than one – by the end the audience is dancing in the aisles. Cheo Bourne is affectingly naïve and confused as a young black man growing up in a middleclass home in Los Angeles. He rebels against his mother’s church going (or rather her insistence on his church going) only to discover his first artistic family in the church choir where he is mentored by the choir director. Trapped by his own dependence on his minister father, the closeted gay choir director teaches our hero to smoke weed and implants in him a driving ambition to explore life, his true identity and artistic ambition in Europe.

He will one day have to deal with the mother (Cheryl D. Singleton) who created him, but for now the hero is off to seek a more authentic life and, though he would never admit it, find the substitute family where he can be the self he would like to be. He concedes Paris to his predecessor ex-pats James Baldwin and Josephine Baker, but announces his ambition to conquer the new capital of bohemianism, Amsterdam. With his mind blown by the experience of seeing hashish on a café menu, he is easily seduced by a young woman who offers him her keys in one of the play’s most haunting songs. He finds family in a squalid squat which to its blessed out inhabitants feels like paradise. The singers who populated the LA choir become his Amsterdam housemates, and with them he explores what it means to be an artist whose first creation must be himself. The young man is delighted and bemused by his companions’ combination of sexual and intellectual freedom, exemplified for him by his lover explaining the ramifications of Dutch colonialism with her shirt off.

But paradise cloys, and we’re off again, this time to Berlin where our pilgrim encounters yet another family, this time a radical anti-capitalist heavy metal collective. This family is more demanding, if somewhat silly in their intellectual pretentiousness. When they threaten to evict them, he wins their allegiance with a fake ghetto act – the middleclass black man still can’t be himself, still has to fit into someone else’s stereotypes.

There’s not a single weak spot in this multi-talented cast. The four actors who form the hero’s “family” in each new place, function as a chorus and are particularly striking in their chameleon ability to change vocal and movement styles to fit LA, Amsterdam and Berlin. Each member has moments in the spotlight, though Maurice Parent almost steals the show at a couple of striking moments.

The minimal set mimics a rock concert set-up and we are always conscious of the superb work of the four musicians who provide guitar, drums and keyboard back-up.

Passing Strange is a fitting conclusion to the season (although there is an added summer production to come). The staging and choreography are ingenious and well-executed and the musicians and dancers are definitely up to the task. It’s great fun. Don’t miss it.

~ Johanna Ettin

Jet Plane: Sex, Drugs, and Rock 'n Roll

2011-04-27T13:56:00.003-04:00

by Steve Black, assistant director of Passing Strange

Our story progresses. No one can resist Todd Gordon's voice as he yells "Jet Plane" repeatedly to stand in for a sound effect, underscoring the youth character's journey from L.A. to Amsterdam. The youth finds freedom from inhibitions as he discovers "hashish on the menu" of a local cafe, interacts with sex workers, and later discovers himself through avant-garde performance art in Berlin. While I've discussed the actors' focus on their various European dialects, now we are focused on each character's progression and each actor's portrayal of European artists and squatters during the 1980's. If you'd like to read more about the background info., I have just the program notes you've been waiting for! Just click here!

We have had the band in a couple of times this week and the rock concert experience that they add to the show has inspired the cast to make strong choices and let loose. Audiences will find that the band is not your traditional pit band, even if they are familiar with rock musicals. The band does not support the show, they are an essential part of the staging and the overall story that is told. The band members are on stage with the actors. They interact with them, sing, and even have lines. Audiences are in for a treat with the feeling of
community that this production provides. Today we will be on stage and use the set for the first time. Although simple, the set is very impressive. It provides our performers with many levels and options for climbing, jumping, and swinging. I look forward to reporting back on how things look once we use the stage later today!

Get your tickets today!

Passing Strange Set

2011-04-26T17:21:00.000-04:00

Here is a quick sneak peak of the Passing Strange set being built. Performances of Passing Strange start this Sunday, April 30th! Hope to see you at the theatre soon.

Passing Strange Week 1 with Maurice E. Parent

2011-04-21T13:26:00.001-04:00

Maurice E. Parent

Wow, I'm no longer a dinosaur! I've finally entered the world of blogging. Oh, who the heck am I? Well, if you ask my mom I'm the next DENZEL WASHINGTON, but I guess I should introduce myself to everyone else. My name is Maurice Parent. I've been acting in the fair city of Boston off and on for about four years and the majority of my work has been on New Rep’s stage. I'm currently in rehearsals for Passing Strange, a rockin’ rock musical set to rock New Rep audiences starting May 1st. I’m here because the wonderful staff at New Rep has unleashed me into cyberspace to talk about the rehearsal process. So let's get down to the nitty gritty and start dishin' about Passing Strange.....and Aimee Doherty (another New Rep favorite).....because she deserves it.

We've been rehearsing Passing Strange for about a week now, and I have to say I am awed by the talent of this cast. Everyone is so good. Like not in that "I'm obligated to say everyone is good because I don't want someone to pull a 'Showgirls' trick on me by dropping some marbles on the stairs right as I come off stage kind of way.” (What's 'Showgirls' you ask? On mon frere /ma soeur, it's only the EPICLY amazing, so BAD it's GOOD movie starring a post-Jessie Spano, Elizabeth Berkley, and a pre-Desperate Housewives Kyle MacLachlan. Run, don't walk to your netflix account and add it. I'll give you a few minutes to do so.)

Ok, I've gone a little off topic here, let's focus, Passing Strange and Aimee Doherty. Why? Because she deserves it (and because I love her). Passing Strange tells the story of one young man’s search for "The Real," which means something different to everyone. The young man (played by uber-talented Cheo Bourne, who was last seen as Nanki-Poo in Hot Mikdado) lives out his journey with the help of a narrator (the rockin' Cliff Odle), an actor portraying his mother (the mesmerizing Cheryl Singleton, who was in DollHouse), and four actors playing various characters the young man meets on his way to self discovery (the enchanting Eve Kagan, the golden voiced Kami Rushell Smith, the magnetic De’Lon Grant, and the SO-SO / How’d he get this job? Maurice E. Parent). Although this is my fourth time to work for New Repertory Theatre, this is my first time working with Artistic Director Kate Warner and I’m having a blast! Kate is awesome. She gives off a creative, experimental energy that encourages actors to explore themselves and their characters all the while knowing you can trust her to keep the story telling true and the play moving forward. In addition to my role as the mediocre cast member, I’m also the dance captain (I make sure the cast stays on track with the choreographer’s, Kelli Edward, fancy dance moves once we end rehearsals.) This is not a typical musical in many ways. It’s part rock concert and part Brechtian theatrical experience. So the show’s dance / movement element has to be handled in a very specific way. Kelli is the perfect choreographer for this challenge. She is a master of making movement be an organic extension of what is happening in the scene and her wide and varied dance vocabulary is an invaluable asset. Not to give to much away but we have bits of Pop, African, Vaudevillian and Modern dance in this bad boy, just to name a few.

I could go on and on but I’ll leave you for now (that is, if anyone beside my mom is actually reading this thing. (By the way mom, I’ll call you on Thursday, LOVE YOU!) I’ll be keeping you updated on how rehearsals are going and on Aimee Doherty sightings. Long live the king of Gondor!

Passing Strange & Stew

2011-04-20T11:04:00.001-04:00

Kami Rushell Smith, Eve Kagan, and Stew.

What I love about rehearsal is the process of exploration, the journey, the discovery that comes from play. And let me tell you, no one plays harder than us! After a very productive day of rehearsal on Saturday, blocking the first act of the show, we drove up to Portsmouth to see Stew and Heidi play live. (Stew and Heid Rodewald wrote the book, lyrics, and music for Passing Strange.) It was incredible! Stew is larger than life on stage - dynamic, funny, spontaneous, bold, and completely genuine. Not to mention the fact that he is just the sweetest man. He thanked us for putting up the show and both he and Heidi said they can't wait to see it!

The thing I appreciated the most about Stew is that he is not afraid to speak and sing about controversial issues and some of what he speaks about relates directly to the work I've been doing with the students at Brighton High for the Tell Your Story project. In working with teenagers and asking them to speak about their lives all of the issues relating to identity come pouring out including race, ethnicity, gender, and sexuality. My job has been creating a space for them to engage with these issues in a safe and creative way. My hope is that the project will give our audience a little taste of the day-to-day lives of these students, from struggle and challenge to inspiration and delight. Youth's journey in Passing Strange is a journey we can all relate to - the process of becoming who you are is both painful and beautiful. I'm beyond excited to be involved with both of these projects and look forward to sharing them with the New Rep audience.

"The Last Five Years" a Gem

2011-04-18T16:49:00.003-04:00

New Rep's latest blackbox show has been playing to packed houses -- and with good reason! Directed by Jim Petosa, New Rep's production of "The Last Five Years" is a true delight. You'd be hard-put to find a show that is a more perfect blend of good acting, strong writing and direction, and high production values.

The musical, by writer and composer Jason Robert Brown, tells the bittersweet tale of the beginning and end of a young couple's marriage -- with a twist. The husband, Jamie (played ably by Mark Linehan), tells his part of the story from the beginning of the marriage to its end, five years later. (He starts with a terrificly funny song, "Shiksa Goddess," which doubles as a nice little biography of his character.) Meantime, his wife, Cathy (played brilliantly by Aimee Doherty), tells the story backwards, starting with a poignant song about the couple's break-up, and ending by falling in love. You might think that this would be confusing, but the trick becomes immediately clear in the first few minutes. The actors transition in and out of moments in time with ease and aplomb, suggesting that good acting and good direction are both at work.

While only these two actors set foot on stage, numerous superstars stand behind them. The music is catchy, and the book is quirky, current, and fun. The set is beautiful -- curved Chagall-stained-glass-style set pieces frame the action in a sort of "fishbowl," set off to exquisite effect by the excellent lighting design. And the live music was top-notch; it served to heighten all the sensations produced by the show (which run the gamut from joy to laughter to compassion to deep sadness).

All in all, New Rep has given Boston theatergoers a real gem in this lovely production.

~ Shauna Shames

The Last Five Years

2011-04-18T11:50:00.002-04:00

The Last Five Years and its author, Jason Robert Brown, certainly attract a loyal following. The couple next to me appeared to know all the words and got excited for certain songs. After the show, I overheard another group talking about how they would go out of their way to see him or his works performed. I will admit that I am not one of his loyal followers. I've seen a few of his musicals (this was my second time seeing a production of The Last Five Years), and while they are pleasant, none have really struck a chord with me.

The play is a two character 80minute series of vignettes that show glimpses into a five-year period in the relationship of Cathy and Jamie. We get the see the journey of their relationship from when they are meeting, through marriage, and then separation. The work is inspired by the authors own relationship with his ex-wife. There is little interaction between the two characters as each is often either on stage alone or singing at the other person who isn't really there. There are some good numbers each gets to sing including "The Schmuel Song" as well as an entertaining audition sequence.

New Rep's production takes place in the Black Box where the space is reconfigured from the way it is often set up. The performance area is a strip in the middle of the space with the audience on either side. The set consists of two curved columns that feature a lot of blue and green and are illuminated from within as well as two stools. It works well for this show and in this space.

Aimee Doherty gives a stellar performance, as always. She does a great job at portraying Cathy throughout the relationship. She has a great voice that carries well in the space and manages to frequently connect with both sides of the audience. Mark Lineham also does a great job in his New Rep debut. His best moment (possibly the best in the show) is his performance of the very sweet Schmuel Song. At other times I found his character a little frantic going to each side of the audience, but an overall solid performance.

If you're a fan of this show of the show or composer, you will definitely love this production. If you're not an avowed fan, you will still have a good time with a short evening of theater.

Frank Furnari, New Rep Reviewer

"The Last Five Years": No Ampersand Need Apply

2011-04-17T14:30:00.002-04:00

By Jack Craib, New Rep Reviewer

New Rep’s production of “The Last Five Years”, Jason Robert Brown’s self-described “personal, not autobiographical” 2001 examination of the relationship between two artists, is a searing and soaring musical. It proved him a triple threat, as he was responsible for the music, lyrics, and, atypical for a composer outside of opera, his own orchestrations. Yet when it opened off Broadway, despite a Drama Desk award for Best Lyrics and Music and a handful of other nominations, it lasted just two months. Two years prior, Brown had won a Tony Award for “Parade” (for which he also wrote the music and lyrics) which also won Best Musical. The disappointing reception to “The Last Five Years” was inexplicable, except perhaps for its back story.

Before “The Last Five Years” was to open (at Lincoln Center), Brown’s ex-wife declared it way too autobiographical and personal, necessitating some basic changes to the plot and the substitution of a song. Meanwhile, the planned opening on Broadway was delayed, and the first production in New York (after a Chicago tryout) was at an Off-Broadway theater in its present form, with two future megastars, Norbert Leo Butz and Sherie Rene Scott. Even with two actors in their prime, the work never caught on, but has become a bit of a cult musical with numerous productions throughout the country as well as overseas. A fine version was done in the Boston area, not long after its New York premiere, by SpeakEasy Stage Company.

It’s an intense and absorbing work of theater, requiring a great deal of focus. As such, the choice of the Black Box Theater as a venue was a smart one, as is the New Rep’s set design. Since the plot evolves from the points of view of two characters, the stage is at the center of the house, with audience members sitting on opposing sides. The action takes place within a stunning fragmented Chagall-like globe, thanks to the brilliant creative vision of scenic designer Cristina Todesco. The taut direction by Jim Petosa avoids the pitfalls of typical theater in the round as much as humanly possible without making the audience dizzy from the necessary stage movement. (Some may recall, as does this reviewer, the halcyon days of the Carousel Theater in Framingham some decades ago with the players’ frantic efforts to keep from upstaging themselves for half the audience at a time).

The story is told forward by Jamie (Mark Linehan, in his New Rep debut) and backward by Cathy (Aimee Doherty, familiar to New Rep audiences from several previous productions). They meet onstage midway for a wedding song, the only appearance of an ampersand. Here they are referred to as “Jamie & Cathy”, as opposed to all the other numbers which are either solos or presented as separate antiphonies (“Jamie/Cathy” and “Cathy/Jamie”). This could be seen as a mere gimmick in lesser hands, but Brown manages to keep the two story lines involving and coherent. Not since Sondheim‘s “Merrily We Roll Along” has a work toyed so successfully with time.

The varied score includes elements of pop, jazz, rock, folk, classical, and even Latin and Klezmer influences, and is well served by both leads as well as by the excellent contributions from the five piece orchestra led by Todd C. Gordon. Linehan has the easier task with a logical progression from boyish excitement to maturing disillusionment, while Doherty must progress from mutual marital disconnection to the recapturing of their initial attraction and exuberance. It doesn’t hurt that each can hold her and his own with a demanding range of vocal challenges while remaining totally in character.

“The Last Five Years” in its New Rep incarnation would appear to have made more converts to the work. As the final production of the current season nears, (yet another very personal musical, “Passing Strange”), theatergoers can look forward with renewed interest to the New Rep’s next five years, and what that legacy will hold.

Inside the Rehearsal Room: Passing Strange

2011-04-15T10:34:00.001-04:00

Hello everyone, this is Steve Black, assistant director of Passing Strange. I’m very excited to be working together with Kate and this talented cast! The set, although simple, will be remarkably effective and industrial, giving the story the edge that it needs. Audiences will feel as if they are in a rock concert and will be able to focus on the story told by each of the actors on stage. The various levels of platforms involved in the set have given us interesting challenges in blocking, however, this is what helps keep things interesting and effective on stage.

We are in day three of the rehearsal process and well on our way to having a rocking show. We have sung through the show, some staging has begun, and choreography for one of the large group numbers has been taught. Although the majority of the time has been spent breathing life into the music, the cast is already showing how incredibly energized and fun this production is going to be. This group was very prepared coming into the rehearsal process and this has resulted in time for them to play while creating the many characters that appear throughout this work. We are currently researching and experimenting with the Dutch, German, and French accents/dialects that appear throughout the show. There have been many laughs and audiences are not only going to experience a rock concert, but more importantly a story that is compelling, heartfelt, funny and full of energy!

Inside the Rehearsal Room Part 2: The Last Five Years

2011-03-25T12:01:00.000-04:00

by Steve Black, Assistant Director

We have now brought our first week of rehearsals to a close and are off and running in our second (final week) of rehearsing! The end of the first week concluded with a run through of the entire show. It was
really great to see the whole picture and establish each character's journey through the work. This was treated as a designer run (a run through where the design staff is present so that they can better understand how their visions will be incorporated into the staging). I loved having an audience there for the first time. It is helpful to
see how people react to certain moments and get a feel for what works and what we could possibly clarify.

Aimee and Mark have been extremely compelling as they share the story of Jamie and Cathy. As is typical for any New Rep production, the audience will leave this production with a lot to contemplate. I'm interested to hear which character audience members side with. Let me know! Share your thoughts and comment on this after you see a performance.

Last night we had two cellists play for the run through. These great musicians are in addition to our wonderful musical director, Todd Gordon, on piano. The final two musicians, a violinist and guitarist, will be added tonight. Adding these instrumentalists has proven to inspire the performance choices and add a new level of nuance to the production. The orchestration, although fairly simple, is very lush and helps to add great depth to the characters. There are some interesting string harmonics and glissandi that help to create and
foreshadow tension at key moments.

Tomorrow we start tech and I'm excited to see how the lighting and costuming will continue to affect and support performance choices and intent. More info. soon. Get your tickets before they are gone!

The Last Six Days - by Mark Linehan

2011-03-22T11:40:00.002-04:00

One of the facets of this profession that I used to find frustrating but I have learned to embrace is the understanding that no matter how long I rehearse, or how hard I work to perfect my role, I will still be able to look back ten years later and discover ways to make certain moments more active, more specific and more alive. I try my best to banish this future specter of judgment while I’m working on a new show, but it’s always been a struggle of mine. I can hide it from most directors. A particularly good director will call me out on it after a week or so. It took Jim Petosa two days.

The two characters in The Last Five Years both express a desire to escape where they are from, and to a certain extent, who they are. Jamie wishes to escape his Jewish heritage and community and Cathy wishes to overcome her small-town, blue-collar upbringing. Although one story is told forwards through time and the other goes backwards, we see how their separate histories begin to re-assert themselves as their marriage falls apart, and how a mutual desire to escape is a weak foundation for a relationship. There are many clichés that seek to define the need for change, the urge for something different, the wonder of the unknown. However, this personal battle for identity and its perceptions and realities is universal. Who am I? Where am I going? And since the only thing I am sure of is where I’ve been and where I’m from, how much does that matter? Is it a determined value or a variable that I can alter to suit my needs?

Laurence Olivier writes in his autobiography, Confessions of An Actor, that acting is not much more than convincing lying. While I must give Lord Olivier his due, I have to say that my challenge is not so much to lie well, but to be totally honest to the world of the play and its truths. However, the trick along with that is to be true to myself. I can’t allow myself to get caught up in how Jamie has been played before or how other men may play this role and I cannot allow myself to edit my own performance while I perform it. I have to be all at once accepting and embracing of who I am, who I was, and not spend time worrying about how it might turn out or be perceived. This play is about a relationship between two people. Like love, this play does not seek to boast or condemn or judge, but allows the story to unfold in the way that this relationship’s story must be told. And my full challenge is to allow myself to tell this story, while being true to Aimee and Todd and Jim and this beautiful story we’re all telling.

Inside the Rehearsal Room: The Last Five Years

2011-03-21T11:26:00.001-04:00

Hello everyone, this is Steve Black, assistant director for The Last Five Years, submitting my first blog. Rehearsals have been well underway for the past few days and the production is looking amazing, already. Jim Petosa, our fearless director, is helping the actors get to the heart of the piece by allowing Aimee and Mark to find the inner truth of who Jamie and Cathy are and how they behave in the many circumstances they find themselves in throughout the work. Since Aimee and Mark were so prepared and knew the music so well going into the first rehearsal, they have been able to reach an incredible amount of depth in their character work already.

In case some of you don't know, the story follows five years of a relationship between Jamie, a writer, and Cathy, an actress. The story is told forwards and backwards at the same time, backwards via Cathy, and forwards, via Jamie. The two meet for a brief moment together, living in the same time, in the middle of the work. For the rest of the show, even though the other character may be on stage, the person singing is playing to an imagined figure, or memory. We've discovered how difficult this whole timeline can get when each character presents the other with a gift, or prop. Questions prior to or after that moment, like: "do you know about this yet?, Are you wearing that yet?," keep popping up. We're being really faithful to timeline and I think that it will be really interesting for audience members to see the production and even come a second time to see if they notice little details that they maybe didn't pick up on during their first visit.

Jim discussed Jamie's life as a writer and how difficult reaching fame at a young age can be (Jamie is 23 we he begins the show). Fame can be difficult at any age. Jim referenced an essay written by Tennessee Williams about his success with The Glass Menagerie and how it changed the writer's life. Williams suggests that sometimes fame isn't for the better, but it certainly gives us perspective on life. The essay can be found online at http://truegoodbeautiful.com/uncategorized/the-catastrophe-of-success-by-tennessee-williams/

Today we will finish staging approximately three quarters of the material and then run the first twelve songs/scenes. I'm excited to see how everything flows together. I can see that things are shaping up and I know that audiences are in for a moving, heartfelt, story. More from the rehearsal room, soon!

"DollHouse": Grand Slam?

2011-03-04T07:05:00.001-05:00

By Jack Craib, New Rep Reviewer

New Rep’s production of Theresa Rebeck’s “DollHouse”, described as a “drama based on Ibsen”, presents an audience with a couple of basic questions. At its final moment, will there be that iconic door slam heard round the world of theater? And since this is an adaptation rather than a translation, is it fair to compare it to the original? The answer to both these questions would be a resounding yes…and no.

Ibsen wrote his “A Doll House” in 1879, the sixth of what are generally accepted as his major plays. Many scholars consider it the birth of modern naturalistic drama. No less a pundit than George Bernard Shaw declared that “Nora’s revolt is the end of a chapter of human history”. It is generally considered a seminal feminist play, although it is much more than that. While Ibsen’s Nora gradually evolves from a self-described lark or squirrel to a more human being, it is at a price. Not only does she give up her home and family, but she dispenses with the parameters that society allowed. Yet she is by no means the only puppet manipulated by others’ expectations. Her husband (Torvald in the original, Evan here) is equally constrained by what he knows he must do and how he must comport himself. All of Ibsen’s characters are doll-like; they are human in form but far from free to express their human attributes.

Rebeck’s “DollHouse” takes place in a contemporary Connecticut suburb, just the first of many alterations to the Ibsen model. Her Nora has a passion for chocolates, not macaroons; her husband’s controlling ways prohibit this as well as smoking, one of her other secret habits. Her crime is more one of embezzlement than forgery, which resonates in these troubled financial times. Her home is a trophy house designed by her and Evan rather than an apartment as in the original. Her newly rediscovered friend Christine and her would-be blackmailer Fitzpatrick have no prior history together but begin an unexpected (and not wholly believable) relationship. There are numerous other changes, omissions and additions, but one gets the general idea that Rebeck has cleverly utilized the fundamental arc of Ibsen’s story while updating it to speak more to today’s audiences. Shortening the plot to two acts rather than three also makes some of the plot points a bit hurried (as when Christine suddenly, almost magically, manages to produce a flamenco recording for Nora to dance to). Finally, while it is interesting to compare this iteration to Ibsen’s original, it should and does stand on its own as a commentary on today’s societal prohibitions in America rather than on those of Norway in the late nineteenth century.

New Rep’s cast and crew have managed to pull this one off. The direction by Bridget Kathleen O’Leary and the acting of the entire cast are triumphantly successful in making this a work that can be judged on its own merits for its own times. Sarah Newhouse (Nora), Will Lyman (Evan) and Jennie Israel (Christine) are especially memorable. Gabriel Kuttner (Neil Fitzpatrick) and Diego Arciniegas (Damien) do their best with roles that are imperfectly written, the former with an unbelievable metamorphosis, the latter with desires more explicit than platonic and thus discomforting in a best friend of the family. Claudia Q. Nolan makes the most of her few scenes as nanny for the well-played children, Bob (Julian Schepis) and Julianna (Cheryl D. Singleton). In this version, though, Nora seems insufficiently detached from them, making her final leave-taking less credible. Given her more positive interaction with them earlier in the play, we might well expect this Nora to divorce Evan and take the children with her.

The costumes by Rafael Jaen, lighting by Chris Brusberg, and sound by Scott Nason (with music box interludes between scenes) are all equal to New Rep’s usual level of technical achievement, as is the scenic design by Kathryn Kawecki (if one overlooks a couple of posts that tend to obscure action at times, and the curious Norfolk pines growing outside in the snow).

And what of that other question, that unforgettable door slam at the final moment of Ibsen’s thunderous work? Both plays begin with Nora and end with her husband, each of them alone on stage. In Ibsen, it is profoundly effective, in that just before the sound of the door, Torvald has a moment of ephemeral hope that they might just patch things up with a fundamental change, a “miracle of miracles”. As he voices this hope, his back to the door, the sound of its slamming shut is one of theater’s great non-verbal moments. Rebeck’s version ends with less of a grand slam and more of a whimper, though the angst on Evan’s face is certainly a painful moment as created by Will Lyman. In the end, this is a satisfying and memorable deconstruction; it’s just not your grandmother’s dollhouse.

Review: DollHouse

2011-03-03T23:33:00.003-05:00

We’re never so vulnerable as when we trust someone – but paradoxically, if we cannot trust, neither can we find love or joy. – Walter Anderson

By Richard Martin

Nora has a secret.

Of course we all have secrets. Some we keep to ourselves and tell no one. Some we share with those closest to us, but conceal from everyone else. And some we’ll confide to a trusted friend, but carefully hide from a lover or a spouse. That’s the kind of secret that Nora has. But things have happened, and Nora is now standing on a slippery rock between the devil and the deep blue sea, which is beginning to get a bit rough.

In “DollHouse,” New Rep’s presentation of Theresa Rebeck’s modern day adaptation of Ibsen’s “A Doll’s House,” directed by Bridget Kathleen O’Leary, Nora is the wife of Evan, a once-again powerful banker, who had been sidelined for some time by a heart condition and a demoralizing lack of income. Now, on Christmas Eve, with Nora at his side, Evan is preparing to reenter the fray at a costume party hosted by the chairman of the bank where Evan is about to take charge.

Evan (Will Lyman) is still cautious about their own finances, but Nora (Sarah Newhouse, with just the right blend of intelligence and flightiness) feels finally able to exhale after such a long period of belt-tightening, as evidenced by the array of shopping bags she’s just set down in their stylish, suburban Connecticut home (a bright, elegant, expansive design by Kathryn Kawecki).

Her relief is short-lived, however, when she discovers that her secret is in jeopardy, and consequently her comfortable life. When her and Evan’s close friend Damien (Diego Arciniegas) mentions offhandedly that Evan had been phoned, seemingly out of the blue, by a Neil Fitzpatrick, Nora tries to hide her shock at hearing the name, but Damien notices. Life is suddenly becoming complicated.

Fitzpatrick, it turns out, was the accountant for her father’s business. And when Evan was ill and unemployed, Nora was able to obtain enough money to see them through by conspiring with Fitzpatrick to skim from the business. Evan thinks Nora’s father, who was dying at the time, gave her the money. Fitzpatrick got caught and went to prison. Nora didn’t, and took Evan to Italy for six months of rest, then came home to decorate the house.

Nora’s fears escalate when Fitzpatrick (Gabriel Kuttner) appears at the house, telling her that Evan has snubbed his request for a job, and threatening her with exposure unless she intercedes on his behalf. Nora says she needs time to think about all this, but Fitzpatrick is insistent. Nora’s holiday spirit is quickly turning into the ghost of Christmas past.

Now she doesn’t know where to turn. She’s afraid to tell Evan. She won’t tell Damien, for whom her feelings are quite conflicted; he’s in love with her, and has told her as much. She doesn’t want him to think less of her, nor does she want to compromise his friendship with Evan. But when an old high school friend, Christine, comes to visit and asks for help finding a job at Evan’s bank, Nora recalls that Christine was always good at keeping a secret, and she finally has someone to confide in. Although when she does, Christine succinctly responds, “…So you stole money?” Nora winces at the directness and replies, “It wasn’t stealing. It was embezzling.”

As much as we want to know what happens in the end – that’s how we know it’s a good story – the more interesting moments, I think, are earlier. What keeps Nora from telling Evan what happened? She clearly loves him very much. It’s why she did it. Her greatest fear, no doubt, is that he won’t return that love. So it’s when she puts her trust in the truth, in telling it to Evan, in exposing herself, that she takes her biggest risk.

In the end, of course, the truth will out. But in the long history of “A Doll’s House,” the question has always been, what truth will we hear, and what will Nora and her husband do with it. Some playwrights are far ahead of their time, and Ibsen is near the top of that category. So it’s not surprising that his perspectives were often unwelcome, not only among his contemporaries, but by later generations as well. Since the play was first published in 1879, dozens of producers, directors, and adapters have remolded the ending to suit their own, or what they perceive as their audiences’, sensibilities.

Ms. Rebeck’s “DollHouse” is faithful to Ibsen’s intent. Those who know the play will enjoy seeing how that is presented. Those who don’t know the play have even more to look forward to.

(With Claudia Q. Nolan, Julian Schepis, and Cheryl Singleton)

“DollHouse”: Nora Finds New Life as a Modern Woman

2011-03-03T10:29:00.003-05:00

"DollHouse," Theresa Rebeck's adaptation of Ibsen's classic play, "A Doll's House," is a well-crafted and meaningful re-imagining. As presented at New Rep, it is a sharply acted and clearly presented piece of theater. Beyond that, "DollHouse" is something greater: it is relevant, and its relevance is somewhat of a shock.

Aside from time and place, Rebeck hasn't made the differences from the original play terribly stark. In many ways, she has hardly re-written the Torvald character (here called Evan, and played brilliantly by Will Lyman) at all. Evan's life is a performance, and his wife is his prized posession. He starts and ends the play firmly unable to see her as anything other than decoration: living and breathing proof of his sucess and masculinity. And, like Ibsen's heroine, Rebeck's Nora (Sarah Newhouse) is at first able to delude herself enough to play that role (her opening line is "I am happy"). As the plot thickens, though, that delusion cannot be maintained.

All of the elements that made the original so powerful are in place: Nora is coveted by Evan's best friend, Damien (Diego Arciniegas), and has a terrible, money-related secret that threatens to ruin everything her husband has worked for. (Neil, the man who seeks to blackmail her, is played with understated grace by Gabriel Kuttner.) With the help of her old high school friend (Jennie Israel), she tries to keep that situation at bay while literally putting on a show - at one point, she does a suggestive dance right there in the living room - to keep the pretend perfection afloat. She is, as the title suggets, a plaything for Evan and Damien, living in a perfect house that Evan, as he often mentions, built for her.

Reviewers have criticized this adaptation for leaving the character of Evan mired in Victorian-era sensibilities, while bringing the rest of the cast to the modern day. While there is some weight to this argument, I felt, alarmingly, that the fundamental essense of Evan still rings true. And Trebeck does give Evan some modern touches. At one point, for example, he acknowledges to Nora that he enjoys having a wife his best friend covets, and apologizes for the situation this has put her in (though he makes no moves to change it).

Nora's transformation, when it happens, does seem sudden, and that is one of the play's few flaws. We see her hopes and expectations shatter in an instant, but not enough groundwork has been laid to make her subsequent actions seem entirely in line with the character.

Still, this is a minor quibble with a piece that is simply good, all around. Director Bridget O'Leary has a clear vision, which her actors execute brilliantly, and Kathryn Kawecki's set is an ideal space for the action. With the choice of this play, New Rep has raised feminist issues that are important and often overlooked at this particular cultural moment. When Nora makes her final stand, she represents the modern woman who is still struggling to be viewed as a complete, complicated human being, and her triumph is something to be relished.

by Jana Pollack, New Rep Reviewer

Welcome to the DollHouse

2011-03-02T23:56:00.008-05:00

DollHouse is Teresa Rebeck’s updated version of Ibsen’s A Doll’s House. I will admit that while I have probably read the Ibsen play, I do not remember many of the details and will not try to compare the two. We meet Nora, a woman returning to her beautiful house after a day of Christmas shopping at high end stores. Her husband, Evan is about to start a new high-power job running a bank. He recently suffered a heart attack and having had a second chance, he likes to inform others of the dangers of sugar. While Evan was sick, the couple ran out of money, and Nora gets help from Neil to embezzle money to help them maintain their lifestyle without Evan’s knowledge. Nora learns from family friend Damien, (who by the way, has a thing for Nora and is dying), that Neil has been released after serving 18 months and has gone to Evan looking for a job. Evan and Nora have understandably different reactions to this and it is not until the end of the play that Evan discovers what Nora did. In addition (this is a busy Christmas), Nora’s childhood friend, Christine shows up looking for a job after having fallen on hard times herself. All these factors collide early Christmas morning while the children are upstairs sleeping and the couple is faced to deal with what happened.

I found myself fascinated with the whole second act wanting to know how it would end. I did, however, find myself disappointed with the way the play ends. Director Bridget Kathleen O’Leary does a great job at directing a talented cast. She keeps the show tight and the audience engaged. Sarah Newhouse plays an interesting Nora coming across at times as confident and smart, and other times naïve. Will Lyman portrays Evan as your typical businessman, a husband who doesn’t fully get his wife and is great in the final scenes of the play. Kathryn Kawceki does an amazing job designing the interior of a beautiful house. Something I noticed a few times were the support columns, which divide up the set and are sometimes in the way of seeing the actors – at first this was a distraction but then I wondered if it might have been symbolic. Overall, this is a well-directed solid production of an updated classic.

Frank Furnari, New Rep Reviewer

Sometimes you just have to do it

2011-02-21T12:13:00.001-05:00

My involvement in DollHouse began under rather understated circumstances. I was part of the run crew for the previous show (afterlife: a ghost story) and I happened to come to the theatre early one evening because of unpredictable traffic patterns. I ran into Joe O’Dea, the Production Manager, and started making small talk. I asked Joe questions related to the music that he listens to, his family, and the theatre. When I asked who was responsible for props for DollHouse, he replied by asking me if I was interested in the position. Despite the fact that I hadn’t previously considered doing props, I knew I just had to do it.

I have worked for New Rep more or less steadily for the past year and a half, in multiple capacities. During that time, I have been given the opportunity to know many people in the New Rep family and many fantastic actors and designers. I first worked with Bridget O’Leary (New Rep’s Artistic Assocaite and the director of DollHouse) and Chris Brusber (lighting designer) on boom last February. It was a great experience and one that I hoped I could repeat someday. Little did I know that the future was so quickly becoming the present. This past fall I worked on Boston Marriage with Rafael Jean (costume designer) and Jennie Israel (who played the role of Claire in Boston Marriage and will be playing the role of Christine in DollHouse). When I heard that I would have the opportunity to work with them again, I knew I just had to do it.

As I mentioned, I have worked for New Rep in multiple capacities. I have been a Production Assistant, Assistant Stage Manager, Scenic Carpenter, and over hire electrician, but never Props Supervisor. When I heard my new title, I was excited about being a Supervisor of something. I started thinking of this new challenge in the terms of an Indiana Jones adventure. Against the odds of budget restraints and conflicting opinions, I have been tasked with bringing the perfect piece of furniture to the theatre before the gigantic rolling stone of deadlines crushes me. Like Indiana Jones, I know that I will make mistakes and that in the end I will triumph. When faced with such an amazing challenge and bestowed with such an exciting title, I knew I just had to do it.

Sometimes you just have to do it.

DollHouse: Archetypes and Dress Codes

2011-02-16T19:09:00.001-05:00

By Rafael Jaen

Theresa Rebeck’s DollHouse revisits Ibsen’s original with a twist; she presents contemporary characters, preoccupied with survival during economically unstable times. These individuals are multilayered psychological studies rather than period specific social archetypes. Nora (the wife) is an affluent woman looking after her husband's welfare and preoccupied with past deeds. Evan (the husband) is looking at the future, focused on staying healthy after a heart attack and trying to gain back his financial status. Christine (Nora’s childhood friend) is all about the present; she needs a job to get back on her feet after her divorce. There are other characters as well, each with specific agendas. We learn about their burdens and secrets while we watch Nora’s character arch unfold. Her focus shifts from being the model housewife to being a courageous individual who steps out into self-discovery.

Kathryn Kawecki's Wonderful Set Elevation

The situations, in this script are not uncommon to us today. We read about and watch high profile individuals who have survived heart disease; we learn about their psychological ups and downs (think Bill Clinton and Barbara Walters). We learn via the media all about fraudulent schemes involving banks and high status personalities. We watch reality TV shows and read magazine rags filled with stories about messy divorces and situations. But Rebeck’s Nora is not a pop star from a Housewife of Connecticut reality TV show, this Nora is a different “Doll”. Her house may be spectacular and her sense of style chic and expensive, yet there is a lot brewing under the façade.

Nora's Closet: Notice the Color Palette Progression;
from White (Ghost of Christmas Past) to Black (Ghost of Christmas Future)

As a costume designer, dressing contemporary multilayered characters is the biggest challenge. When working in modern day shows I have learned that everybody is a designer… Just look at reality TV fashion shows or peruse fashion magazines; they are filled with “how to” tips regarding styling. So, how do I come up with character specific dress codes for a modern day production? I look for anchors; I look for touchstones. Rebeck's script has plenty of expository material; we learn about Nora’s tastes right away, there is even mention of where she shops, etc. But for me what most grabbed my attention was a line in Act I, when Doctor Damian says to Nora that she “looks like the Ghost of Christmas Past”. This specific line has become the gestalt (touchtone) of my design metaphor.

Evan (The Husband's) Closet. He is Sharp and Icy

My design approach is equal parts Dwell magazine (palette), European silhouettes (style); Barneys NY-meets-Nordstrom-meets-Good Will (we have a shoestring budget!) and Dickens… Yes, that’s right, Dickens! My metaphor includes Nora as the Ghost of Christmas Past in off-whites, moving into the Ghost of Christmas Future in blacks, with grays & browns in the middle foreshadowing what's to come. Christine being the Ghost of Christmas Present in festive greens. No Scrooge in the mix though, Evan (the Husband) is not the miserly curmudgeon in Charles Dickens’s novel. He is a complex man; who has survived financial disgrace and a heart attack, who is doing what he things is right or expected of him. So are the rest of these contemporary characters; regardless of the empathy or disgust that we may feel for them, one point will remain true to Ibsen: we are all human first.

Posted by Rafael Jaen

Somewhere, Beyond the Sea

2011-01-20T23:45:00.002-05:00

REVIEW | AFTERLIFE: A GHOST STORY

By Richard Martin

Perhaps Dylan Thomas was onto more than he realized when, in his “Reminiscences of Childhood,” he recalled having blithely watched “the fierce religious speakers who shouted at the sea, as though it were wicked and wrong to roll in and out like that . . . .”

In Steve Yockey’s “Afterlife: A Ghost Story,” now in its premiere at New Repertory Theatre in Watertown, Danielle, full of anguish, and empty of much else, kneels on a beach near the booming waves and shouts fiercely at the sea, accusing it of being wicked and wrong to roll in and out like that, and in one swift, terrible moment to have taken her son.

She is engulfed by grief.

At first we don’t know why Danielle can scarcely bear to step into the small, well-ordered house by the sea. Her husband, Connor, strolls right in and makes ready to put up the storm shutters as the wind picks up and the ever-louder thunder cracks ominously. But by the middle of the night, when Danielle goes to the ocean’s edge, we understand. The funeral for their son is over. They have escaped their families to return to their home, but not to stay, just to board it up before the storm.

With funeral, family condolences, the return home, arrangement of the storm shutters, and other steps toward moving on, Connor has silently organized his grieving process. Danielle, who shifts from composure to petulance to anger to isolation and perhaps hallucination, has not.

Stranded on separate emotional planes, Danielle (Marianna Bassham in a wonderful performance) and Connor (nicely underplayed by Thomas Piper) now have no idea how to talk to each other or even to be with each other. Danielle, who understands this better than Connor, tells him, “It’s hard to start talking again when you get used to not talking.” Which brings her down to the ocean.

What they want most will never happen. What they need most – each other – seems almost unreachable because in every way except for their physical location they are in two different places. Connor wants to fix them, and he’s started with himself. So the hard is about to get harder.

Mr. Yockey draws us into this void with remarkably affecting and truthful dialogue, completely absent of any melodrama. We care about Danielle and Connor and want to know whether they can reconnect and reconcile themselves to what has happened. But that’s not where the story goes.

Instead, we’re transported to an afterlife, and the focus moves abruptly from the personal to the metaphysical. What is the afterlife? Where is it? What do people do there? And do they connect with the world we live in? I suppose the play’s title is a clue.

The problem is that Act 2 is a different play. It is not unrelated to the first act, which ends on a note that I won’t give away here, but the change in focus and character, in rhythm and tone is so abrupt and far-reaching that it leaves us suspended in midair. Here a young man spends his time looking out into – space? – and otherwise writing letters to his parents. Each day, a postman visits, listens patiently to different things the young man tells him, accepts a letter, but then tears it up and throws it away. At one point the young man says that he almost drowned once, but was washed up somewhere far away.

Here, time is fluid and amorphous. Although the young man is certainly Danielle and Connor’s son, he is not the small child we had envisioned, and the two images feel disjointed.

There are others in the afterlife, who also interact with a resident functionary like the postman. Although never clear, it seems that the task for each person is to spend the time necessary to come to terms with his or her life on earth.

But while many of us may be interested in what an afterlife might be like, it’s living here and now that most of us want to understand. How can we do it well, or at least better? When confronted with tragedy and heartbreak, how do we face them? And how do we then find a way back to our daily lives when someone we love deeply is no longer there? Few of us will escape these hardships.

Still, “Afterlife” is a play you should see, and not just for the first act. Mr. Yockey’s writing is exceptional, and the play is skillfully paced by the direction of Kate Warner, who is also New Rep’s artistic director. Cristina Tedesco’s warm and tidy beach-home set creates just the right counterpoint to those who live there. And special accolades must go to David Remedios, whose sound design is in essence another character in the play.

You may not get any answers, but the questions are important. Oh, and keep your eye on the letters.

(With Adrianne Krstansky, Georgia Lyman, Karl Baker Olson, and Dale Place)

A Divided “Afterlife”

2011-01-19T22:42:00.001-05:00

By Jana Pollack, New Rep Reviewer

Steve Yockey’s “Afterlife: A Ghost Story” is a puzzling piece of theater. In examining the way a couple deals with losing a young child, it takes two entirely different approaches. The first act is grounded in reality, the here and now – the play opens with the couple, Danielle and Connor, returning to their beach house for the first time since their son drowned there. For the entirety of the act, we watch them struggle in different ways. Danielle is unable to escape her deep sorrow and guilt; Connor claims to have let his go. The disconnect causes a rift between them, and the push and pull as they try to find a way to survive together is fascinating and deeply sad.

When act two opens, though, it is clear that the previous play – the play set in this world – is over. Yockey has now placed Danielle and Connor in an alternate reality of sorts, where they must try to come to terms with the tragic death of their son. Gone is the lovely beach house setting, and in its place is a dark, unrecognizable land. Gone, too, is the realistic, relatable dialogue – now, for the most part, the characters speak only in long, cryptic speeches. A whole new cast of characters is introduced, and it’s not clear what is going on, or what the point is.

This is a jarring, disjointed change, and it came as a bit of a shock. In the first act, Yockey’s script begins to uncover insights into the human condition, despite the realistic trappings of the setting. In the second act, where insights are meant to be plentiful, I found the setting and language to be overly symbolic, and the cost of that was the loss of meaningful discoveries about the human ability to survive devastation.

As always at New Rep, though, this play is exquisitely acted. In the role of Danielle, Mairanna Bassham gives a beautiful performance. From the moment we see her, placing her bag on the ground before she steels herself and enters the house, her suffering is both real and muted, and she carries this intensity throughout the piece. In the role of Connor, Thomas Piper is the perfect foil for Danielle; immediately, his forced cheer gives away his pain.

The show is also technically excellent. David Remedios’ sound design is a large, effective presence, as is Karen Parsons’ lighting. These combine to make the ocean a palpable presence throughout, which Yockey’s script demands.

This play is supposed to present an idea about the afterlife, and it does put forth ideas about what might happen when we die. However, the part that allows its characters to navigate loss in this life is ultimately the most compelling, and the most insightful.

"afterlife: a ghost story": Good Grief

2011-01-19T22:08:00.004-05:00

by Jack Craib, New Rep Reviewer

Even before the lights go up on New Rep’s production of Steve Yockey‘s “afterlife: a ghost story”, subtle clues begin to suggest what the author has in store. The program lists the cast in alphabetical order rather than in order of appearance, and only two have been given names. The sounds of the ocean are audible before any of the actors make their appearance, establishing the omnipresence of the sea which precedes and ultimately endures beyond them. The seemingly welcoming beach house awaits the return of its owners, but something isn’t quite as it should be, as it contains several picture frames from which photos have been removed. The audience is presented with such subliminal stimuli as though discomfort is intended, which indeed it is. The sense of impending crisis, existential dread, even inexorable doom, is palpable. Then there’s that titillating title.

Suddenly a young couple enters the house, and from their first words it becomes apparent that they’re only superficially communicating. Danielle (Marianna Bassham) is visibly distraught and distracted, while Connor (Thomas Piper) is unnaturally chipper. Something has definitely happened. Gradually, as though peeling back an onion of layers of repression, the author reveals what that something was, and the antithetical responses of each to their shared tragedy. It also becomes clear that, while each is grieving the same loss, their process of survival could not be more different. Clearer still is the undeniable reality that, as close as two people may be, each must necessarily make the voyage through the process of grieving alone. As the first act ends, it’s apparent that we still lack sufficient information to grasp what these two protagonists are feeling, but not to worry, just let it all wash over you.

If the first act evokes memories of Albee’s “A Delicate Balance”, the next act is reminiscent of the second act of Wilder’s “The Skin of Our Teeth”, as well as Carroll’s “Alice in Wonderland”. As it begins, we swiftly realize that, as Dorothy said to Toto, “We’re not in Kansas anymore”. We are presented with a third protagonist, identified as Young Man (Karl Baker Olson) and a menagerie of supporting players, including the proprietress of a bizarre tea house (Adrianne Krstansky), a seamstress who would be at home in “Great Expectations” (Georgia Lyman), and a brusque postman (Dale Place, who also plays another role that is supporting in more than one sense). Each will have their individual parts to play in easing the main characters through their process of grieving.

As amazingly directed by New Rep Artistic Director Kate Warner, this cast is flawless. They are aided and abetted by the incredibly pitch perfect sound design by David Remedios which is calibrated to every nuance in Yockey’s text. Kudos are also due to the lighting design by Karen Parsons, scenic design by Cristina Todesco, costume design by Frances Nelson McSherry, and puppet design by Pandora Andrea Gastelum. (No, that’s not a typo, there is puppetry afoot as well). The most amazing accomplishment of the production is that all these technical efforts combine seamlessly to produce a theatrical environment that would convert the most devout agnostic. What results is part profound tragedy and part divine comedy. Youthful theatergoers who have not yet experienced unfathomable loss may not identify with all that transpires by play’s end.

Truth to tell, the play doesn’t really end, and that’s as it should be, one suspects, in the afterlife. There are three distinct resolutions, one for each of the protagonists. In one case, endless anticipation and false hope are given closure when the character, Young Man, is no longer able to search for written communication. In another, Connor finds he must let go of all his remaining baggage to find true relief. Lastly, Danielle must surrender to the inevitable memory loss that she has sought in order to move beyond her pain and reestablish order. In the strictest dramatic sense, there is no end to the play, but a sense of perpetual denouement.

This may well be the best production New Rep has done in recent memory, due in large part to Yockey’s brilliant poetic new play. One feels like echoing Oliver Twist: “Please, sir, may we have some…more?”

A different kind of ghost story..

2011-01-19T21:51:00.001-05:00

New Rep begins 2011 with a premiere of a new play, afterlife: a ghost story. In the first act we meet a couple, Danielle and Connor, who have just returned to their beachfront property to prepare the house for an impending storm. We slowly learn that their 3 year old son got lost in the ocean and is presumed dead. The premise reminded of the play Rabbit Hole, but that may have been due to the fact that I saw the movie last week. Getting back to Danielle, she has not yet accepted that her son is dead – she still sees him and hears him. Her husband, while still grieving, comes to accept the loss of his son. The first act ends as the storm finally arrives taking everything in its path.

The second act brings us to the afterlife of the three characters (we meet the son now, although a bit older). The act incorporates ideas of the afterlife from various traditions. Many questions are raised in the second act and you can tell that the playwright is trying to address deeper issues, although it is sometimes confusing. The character that brings some levity to the second act is The Proprietress (Adrianne Krstansky) who is a personification of the ocean. Danielle stumbles upon this place and is invited in by the Proprietress to a sort of tea ceremony. It is here where Danielle is finally able to come to terms with all that has transpired. We meet a few other characters that are there to help on this journey. The play ends with many questions unanswered. I felt the play to be somewhat uneven and while the second act seems like a logical place to start after what happens right before intermission, it is rather jarring and feels disjointed – this may have simply been the author’s intent.

Kate Warner assembles a solid cast including Marianna Bassham as Danielle. From the moment she appears on stage you can feel her unease and anguish. She is able to convey emotion to the audience that serves to draw them in. Thomas Piper is great as the husband trying to deal with the loss as best as he can. In the second act, Adrianne Krstansky provides a great performance delivering some of the best lines in the show. She also incorporates great background action making you want to occasionally glance at what she is doing. I would be remiss if I did not mention the sound designer, David Remedios’ work. In the first act the audience is constantly aware of the ocean and the impending storm – in some shows the sound will be there at the beginning of the act but then fade away; however, in this work it is so central that you always are aware of it in the background. Also, kudos to the entire technical team for the theatrics at the end of the first act, the whole effect was very effective and well done in New Rep’s space.

-Frank Furnari

The Storm of "afterlife"; or Learning to Release

2011-01-19T13:31:00.001-05:00

New Rep’s latest production starts slowly, but don’t be fooled: great emotion is in store. The play explores grief, release, and that immortal question, what happens after we die? Playwright Steve Yockey’s answer, borrowing lightly from several religious traditions, winds its way to a theory of letting go. The production is strong; the direction, sound, and set design meet New Rep’s high standards. The script needs further development, but presents a fresh and thoughtful bout of wrestling with important concepts.

The first act takes the audience inside the anguish of two parents who have just lost their young son. The actors are appropriately fragile and distant, especially from each other. Marianna Bassham as Danielle gives a heart-rending performance of a woman slowly unraveling. Thomas Piper, as her husband Connor, is exactly right as a too-cheerful, soldier-through guy trying desperately to find control after a terrible tragedy. The two characters are diametrically opposed in their methods of dealing with grief, and thus they are each working through it alone, sadly – but realistically. The first half of the first act is slow, but action and tension build with the imminent storm.

The storm breaks, both literally and metaphorically, over Danielle and Connor’s heads. From this moment until the end feels like a different play entirely – and a better one. The different coping mechanisms the two characters display in Act I set the stage for their “afterlife” challenges. We enter a purgatory of sorts, reminiscent of Dante, with Eastern religion overtones, where each character (now including the dead son) must confront a vital truth before their soul can move on. All must accept the loss of life and release false hopes of reunification – yet each tackles this in a wholly disparate way.

The second act introduces strange, enchanting characters. Dale Place deserves special mention for his skillful puppetry as the Black Bird; with only one wing and a head, he creates a startling and delightful illusion of avian motion. Georgia Lyman as the Seamstress is haunting and disturbing (which is her mandate), and Adrianne Krstansky as The Proprietress mixes exasperation with humor, providing some of the best laughs of the play. This second act – or really, second play – is rich, thought-provoking, and worth waiting for.

We wish the play had moved to its central questions more efficiently. The playwright spends too much time in Act I making us guess the nature of the tragedy racking these two; it seems a bit gimmicky and unnecessary. What is tedious in real life needn’t seem so on the stage. (Also, the timing of the oft-referenced storm is odd; at moments it’s about to break, and then suddenly the threat recedes; this happens several times.) The end of the first act is emotionally shattering, even terrifying, as the audience experiences the power of the storm. The play would be stronger if we reached that critical moment in half the time, the intermission was eliminated, and the transformation to the afterlife followed immediately. Still, the production is well worth the trip to Watertown.

-- Shauna Shames & Johanna Ettin

Sound designing afterlife: a ghost story

2011-01-11T10:59:00.000-05:00

My involvement with “afterlife: a ghost story” began when Kate Warner invited me to attend an informal reading of it in the Fall of 2009. I am happy that she invited me to join her on this production, and am excited to incorporate my own ideas with Steve Yockey’s specific stage directions. The challenge is how to realize the effects and soundscapes in the script, and my presence in rehearsals has helped me make choices alongside Kate’s and the actors’ work.

Without giving too much away, the ocean is a strong presence in the story, and its changing mood has to be conveyed over the course of the first act. I have assembled a palette of ocean sounds to select and have begun to make selections in rehearsal. Loudspeaker zones above and behind the audience, as well as onstage specials and the fixed main speakers will give me flexibility to move and isolate sounds in different parts of the space, giving depth and texture to an “oceanic vocabulary.”

The second act introduces other characters whose individual worlds I will help to convey with sound. Cristina Todesco’s scenic design has been invaluable to me I try to aurally represent the physical environments she has created.

Sound will be a constant voice in this production, so working with the actors has been helpful as I create sounds that both support them and serve a narrative function alongside them. At this point, I have established a framework of specific sounds and events, and will spend the next few days creating cues from the ideas I’ve developed in rehearsals. By the time we reach technical rehearsals later this week, I will have a selection of pre-built cues and individual sonic elements to mix in the theatre space.

I hope the New Rep audience enjoys our efforts, and that the production provokes much discussion!

David Remedios
afterlife: a ghost story Sound Desginer

afterlife: a ghost story Notes on the Production

2011-01-04T12:36:00.000-05:00

The cast and crew of afterlife: a ghost story are hard at work putting togehter this National New Play Network Rolling World premiere. New Rep is the second theatre out of three theaters to put this new production on the stage in the 2010-2011 Season. The show runs from January 16 - February 6, 2011 in the Charles Mosesian Theater at the Arseanl Center for the Arts. To enhance your theatrical experience we have posted the production notes for afterlife: a ghost story below in order to allow you to read them before you see the show!

THE AFTERLIFE THROUGH HISTORY AND CULTURE
The afterlife has always been a mystery. All cultures have their own theories as to what happens after death, though none have been able to come up with a definitive answer.

Ancient Egyptians believed that once a person reached the underworld, she had to plead her innocence and declare her good deeds according to the Book of the Dead. Afterwards, her heart was weighed against a feather. If the heart was heavier than the feather, the soul was destroyed, but if the heart was lighter than the feather, it was allowed to enter Skeet Aura, the equivalent of heaven.¹

The Greeks believed that the soul journeyed down into the underworld, where it crossed the river Styx and entered Hades, an afterlife that was neither heaven nor hell.² In the myth of Persephone, a young girl is kidnapped to Hades, where she succumbs to eating food from the underworld and is trapped there eternally.

Hinduism teaches reincarnation, the philosophy that people repeatedly die and are reborn until their soul finally transcends the cycle. At the end of reincarnation, one achieves Moksha and is reunited with Krishna, the Hindus’ highest god.³

Buddhism also believes in rebirth; however, it is a person’s karma which determines into which body he or she is reborn.⁴ The worse your karma, the higher the odds you’ll be reborn as a dung beetle.

Christians believe that after death, a soul is judged and either sent to Heaven or Hell, depending on the deeds that one committed during life. Dante Alighieri created a detailed description of the Christian afterlife in his epic poem The Divine Comedy.

JAPANESE INFLUENCES

Noh Theater is an ancient Japanese form of theater, still popular and significant today, that focuses on emotion and the trials of the human heart. Originally created in the 14th century by Japanese actor and playwright Zeami Motokiyo, Noh Theater portrays its subjects through dance, poetry, and music. Zeami wrote many of the original Noh plays and a treatise about Noh techniques, that are still studied and performed by Noh actors today.⁵ Noh plays are divided into five categories: God plays, warrior plays, woman plays, realistic plays, and demon plays.⁶ The play itself is then divided into three musical sections: the jo (introduction), the ha (development), and the kyu (climax).⁷ The three standard roles in Noh Theater are shite (protagonist), waki (secondary actor), and tsure (companion).⁸ Noh is very visually distinct, with a specific stage and costumes necessary to create the production.

Noh Theater was revolutionary in its theatrical conventions and its bending of time and space. This flexibility and imagination is compatible with Yockey’s handling of the unknown physics of the afterlife. Noh Theater encourages willful suspension of disbelief and uses this suspension to its advantage. The stylized poetic and musical quality of Noh Theater is also very influential to Yockey as an author. The poetry of the second act of afterlife: a ghost story evokes strong emotions associated with loss, just as the poetry of Noh accentuates emotion with dance and music.

Japanese puppet theatre, or Bunraku, is known for its precision and beauty. Influenced by traveling storytellers and puppeteers, Bunraku was officially created in 1684 by Gidayu Takemoto, who opened the first puppet theater.⁹ In Bunraku, three puppeteers operate one puppet. The ashi-zukai puppeteer operates the feet and legs, omo-zukai operates the right hand and head, and hidari-zukai operates the left hand.¹⁰ The puppeteers are visible on stage, yet do not speak; a single narrator creates all the voices of the play. The puppets, which are incredibly realistic and detailed, possess movable eyes, mouths, limbs, and even eyebrows. A three-stringed shamisen creates accompanying music for the puppets and narrator.¹¹ In 1984, the National Bunraku Theater was founded in Osaka, Japan in order to preserve this ancient and beautiful art form.¹²

The Japanese tea ceremony is an ancient ritual of hospitality. Originating as a Buddhist practice, the ceremony is still studied and performed today as an example of precision and beauty. Generally, guests must purify themselves before entering the tea house. “The tea ceremony captures all the essential elements of Japanese philosophy and artistic beauty, and interweaves four principals—harmony (with people in nature), respect (for others), purity (of heart and mind), and tranquility.”¹³ Yockey uses the tea house as a representation of the afterlife, in which the characters are purified of life.

PRODUCTION HISOTRY
The National New Play Network (NNPN) is a group of leading nonprofit theaters with a common desire to develop and support new plays. NNPN was originally founded by David Goldman and George C. White with the vision that new play development should be regionalized by uniting developmental theaters and their playwriting communities. Since its founding 1998, NNPN has commissioned over one dozen playwrights, provided paid residencies for MFA graduates, and sustained nearly 100 productions through its Continued Life of New Plays Fund. Over the past ten years, NNPN has given nearly half a million dollars to theaters and artists.¹⁴

Yockey found New Repertory Theatre through his work with artistic director Kate Warner during their time at Dad’s Garage Theatre in Atlanta, Georgia. In February 2010, New Rep presented afterlife: a ghost story as part of New Voices @ New Rep, a staged reading series dedicated to introducing New Rep’s audience to emerging playwrights, and bringing attention to new works by established writers. Through NNPN’s Continued Life of New Plays Fund, afterlife: a ghost story will receive a Rolling World Premiere, first presented at Southern Rep in New Orleans this past October, and moving on to Edgemar Theatre in Santa Monica, California this spring. New Repertory Theatre is pleased to join in the world premiere of Steve Yockey’s afterlife: a ghost story.

Endnotes
1 Lewis, James. “Afterlife Beliefs and Phenomena.” Near-Death Experiences and the Afterlife. 2010. < http://www.near-death.com/religion.html>.
2 Ibid.
3 Leaman, Oliver. Key Concepts in Eastern Philosophy. London: Routledge, 1999.
4 Ibid.
5 Binnie, Paul. “Japanese Noh Theater.” July 2001. Artelino Japanese Prints. 2001-2010.
6 Keene, Donald. Twenty Plays of the No Theatre. New York: Columbia University Press, 1970, xi.
7 Ibid, 13.
8 Ibid, 6.
9 “Bunraku.” May 2007. Osaka-Info: Osaka Tourist Guide.culture/2007may/04.html#>.
10 Ibid.
11 Ibid.
12 Ibid.
13 Pettigrew, Jane. The Tea Companion. New York: Macmillan, 1997, 12.
14 Loewith, Jason. 2010 .

Bibliography
Binnie, Paul. “Japanese Noh Theater.” July 2001. Artelino Japanese Prints. 2001-2010 .

“Bunraku.” May 2007. Osaka-Info: Osaka Tourist Guide. .

Chopra, Deepak. Life After Death: The Burden of Proof. New York: Harmony Books, 2006.

Johnson, Matthew. “A Brief Introduction to the History of Bunraku.” August 14, 1995. The Puppetry Home Page. .

Keene, Donald. Twenty Plays of the No Theatre. New York: Columbia University Press, 1970.

Leaman, Oliver. Key Concepts in Eastern Philosophy. London: Routledge, 1999.

Lewis, James. “Afterlife Beliefs and Phenomena.” Near-Death Experiences and the Afterlife. 2010.

Loewith, Jason. About NNPN: Overview. 2010 .

“Noh Drama.” Contemporary Japan: A Teaching Workbook. .

“Noh Drama and Kabuki.” May 2007. Osaka-Info: Osaka Tourist Guide. .

Pettigrew, Jane. The Tea Companion. New York: Macmillan, 1997.

Verwoerd, Leo. “Moon of Pure Snow at Asano River.” Yoshitoshi. 2008-2010. .

Wiencek, Henry. The Lords of Japan. Chicago: Stonehenge, 1982.

“Yoshitoshi’s One Hundred Aspects of the Moon.” Carolyn Staley: Fine Japanese Prints. 2008. .

Photo Credits (top to bottom):

http://e-ducation.net/aestheticians.html
http://www.flickr.com/photos/77673826@N00/2433366559

"Darling Divas" Brings Holiday Joy

2010-12-27T18:06:00.002-05:00

“New Rep’s Darling Divas Deck the Holidays” is a light, enjoyable night of Christmas cheer. In choosing to turn away from the traditional production of “A Christmas Carol,” Kate Warner has instead produced a show that has all that and more of Christmas spirit given off by Scrooge and Tiny Tim. This cabaret-style show includes traditional Christmas songs (and a number of lesser-known Chanukah songs), as well as readings from beloved holiday tales such as “The Gift of the Magi” and “The Night Before Christmas.”

The Divas themselves are a talented bunch, and all are good company for the duration of the show. The star, though, is Bobbie Steinbach, the oldest Diva, and the one who seems most at home in the cabaret setting. Ms. Steinbach’s delivery is both hilarious and touching; her renditions of “The Eight Days of Chanukah” and “Santa Baby” both brought down the house, and her reading of a story of a forbidden Chanukah celebration in the midst of persecution is quite moving.

This balance of funny and touching is nicely held throughout the show. Each Diva shares a childhood memory, and there are those readings of holiday stories; on the comic side, Michele DeLuca has a great performance of “Baby It’s Cold Outside” with the pianist and musical director, Todd C Gordon (Mr. Gordon doesn’t sing, he just speaks loudly), and Miss Steinbach is consistently funny.

Aimee Doherty and Kami Rushell Smith don’t stand out as much among the foursome, but both are appealing ladies with lovely voices, and they do quite a serviceable job.

The “Darling Divas” is well-paced, and leaves you feeling cheerful. And that, I suppose, is the point.

The All-Nighter

2010-12-14T22:54:00.003-05:00

REVIEW | FRANKIE AND JOHNNY IN THE CLAIR DE LUNE

By Richard Martin

Frankie and Johnny were lovers, goes the old song. There were many versions, all of which bore out in the grimmest way Shakespeare’s observation that the course of true love never did run smooth.

But how things develop with “Frankie and Johnny in the Clair de Lune,” Terrence McNally’s romantic comedy now playing at New Rep’s Black Box Theater, is only vaguely connected to the song, although Johnny (Robert Pemberton) feels the romance of its legend, perhaps having forgotten the outcome. A short-order cook on his first date with Frankie (Anne Gottlieb), the waitress he’s been working with, Johnny sees destiny in their names.

Still, he’s leaving nothing to chance. From the moment we see them – well, actually we hear them for a while first – feverishly coupling on a pullout couch that has instantly turned Frankie’s living room into her bedroom, Johnny is on the move. In the space of however long their afterglow lasts – and it’s not that long – Johnny has pledged his undying love to Frankie, proposed marriage, and envisioned a modest-sized family. To which a completely perplexed Frankie wonders, “What ever happened to a second date?”

But for Johnny, there’s a sense of urgency, not for sex, although that’s never very far from center stage, literally and figuratively, but for Connection with another human being, a bond of intimacy, which he holds is much harder to achieve than what two people do in bed. So begins the quest for which Johnny is determined not simply to enter into the dance of courtship, but to launch an all-night campaign for Frankie’s heart.

Frankie is so panicked by all this that she tells Johnny to leave. It’s not simply that she prefers the slow getting-to-know-you, getting-to-know-all-about-you approach. It’s that she’s had such pain and disappointment in relationships that she’s reluctant to move beyond sex.

Where Johnny longs to find love before it’s too late, Frankie is afraid it’s already too late. The truth is that they both desperately want the same thing, but they don’t think in the same way or have the same openness to emotional risk. As their night plays out, it is often contentious, relieved by some tender moments, occasional humor, Debussy’s Clair de Lune playing softly on the radio, and the night sky’s clair de lune streaming through the window.

McNally wrote “Frankie and Johnny” in the 1980s, at a time when friends were dying of AIDS and many others were deciding to forgo intimate connections. AIDS and its tragic losses do not play a part in the play, but McNally seems to be grieving the decline of close relationships, as if large parts of society had written and produced “Intimacy Lost”. Perhaps he envisioned “Frankie and Johnny” as “Intimacy Regained”.

But if a play is to stand on its own merits, a question that must be asked here is whether such intimacy can be reached in a single night, particularly when at least one person resists the idea. If the dialog had more gradually moved Johnny to appreciate Frankie’s reluctance, it might have made the possibility more convincing. But at times the doggedness of Johnny’s pursuit seems overpowering.

Ms. Gottlieb and Mr. Pemberton immerse themselves in their roles. Only the once or twice that Johnny was moved to tears was he not quite convincing. And despite spending some of their time naked in front of an audience that is close enough to make the fourth wall disappear, the actors are completely without self-consciousness.

The single set, a low-rent, one-room New York apartment that barely qualifies as a studio and can be appreciated only by somebody who’s been inside one, is the brilliant creation of scenic designer Erik Diaz. Its moody, gray-blue hues are deepened by the subdued lighting designed by Chris Brusberg, who lets us see by the light of the moon.

It’s here that Frankie and Johnny are lovers. But is it love?

A Real -- and Terrific -- "Fairy Tale"

2010-12-14T15:43:00.002-05:00

If you haven’t made out to Watertown to see New Rep’s “Frankie and Johnny in the Clair de Lune,” get a move on! Time is running short and you don’t want to miss this wonderful production. The play opens (and stays) in a typical cramped New York apartment, as the playwright explores themes of isolation and connection in a world as gray as the walls of the set. McNally calls the play “a romantic fairytale,” and for most of the first act you can’t imagine what he means. We see this room and these two people as disarmingly “real;” we believe in them completely.

Anne Gottlieb and Robert Pemberton brilliantly inhabit the skins and the souls of these two middle-aged people who have fallen into bed at the end of a first date. Frankie is the more cynical of the two. She’s got a wisecrack or a smart answer to repel Johnny’s every attempt at emotional intimacy. Johnny is just as unhappy as she, but his basic exuberance has driven him past despair to a determination to start over, to make a good life, to find the happiness that has eluded them both. And he’s gonna do it tonight and Frankie is gonna be the One. The play consists of his struggle to persuade Frankie to join him in this quest.

But Frankie is done. She wants him out. She is, in turns, puzzled, intrigued, irritated, and frightened by his garrulous persistence. When she pulls mace from her purse, we’re sure many women in the audience were wondering what took her so long. But Johnny charms her, in the oldest sense of the word. He weaves a spell around her, with the aid of the moonlight they can just barely see between two buildings across the way, the music they hear on the radio – the classical DJ plays Debussy’s “Clair de Lune” for them – and the power of his vision. If his utter refusal to give up on Frankie were based only on his needs, he would never succeed, but he pulls her out from behind her own wall of cynicism and despair. He treats her with great gentleness, admiring her body extravagantly, tenderly wrapping a bandage around her cut finger, and affirming the dream she reluctantly reveals. In short, for all his gabbiness, Johnny is not just a narcissist. He “sees” Frankie as each of us wants to be seen, sees the intelligence, the sweetness, the tenderness, and the need hiding behind her wisecracks.

The audience is seduced, too. McNally, two fine actors, and superb direction persuade us to willingly suspend disbelief and choose – as Frankie must choose – to believe in this romantic fairytale that takes place in the light of the moon.

-- Johanna Ettin & Shauna Shames

"Frankie and Johnny": Moonlight Becomes You

2010-12-13T14:53:00.003-05:00

By Jack Craib, New Rep Reviewer

As the unseen radio commentator puts it in New Rep‘s current production of a 1987 play, “Frankie and Johnny in the Claire de Lune” by Terrence McNally, “maybe I’m crazy, but I still like to believe in love”. What better holiday gift than a play with a point like that?

With this latest choice by New Rep Artistic Director Kate Warner, she continues her season-long theme of transformative storytelling. This time it’s about two seemingly ordinary co-workers in a downscale eatery, Frankie the waitress and Johnny the cook, on a first date that ends up in Frankie’s bed. McNally is on record as having first identified with Johnny as he was writing the work, only realizing as he saw it first performed (in a workshop by Kathy Bates and F. Murray Abraham) that he was really Frankie. He saw the play as a romantic drama with overtones of a modern day fairy tale, where passion is what connects his characters and thus transforms them.

Initially, Johnny states that there is “no such thing as too hard when you want something”, to which Frankie retorts “yes there is….the other person.” Johnny is perhaps too ready for commitment, whereas Frankie bears both physical and psychological scars from a previous horrific affair as obstacles to her ability to commit. Yet as they listen to the radio broadcast of Debussy’s “Claire de Lune”, declaring it “the most beautiful music in the world”, they begin to discover uncanny similarities in their lives. How these two apparent opposites end up dancing to the same inner music in the last traces of moonlight, even as the radio programming progresses to Wagner and Dvorak, makes for an engaging evening in the theater.

Though they may seem at first a rather uncultured couple, some of the things they have to tell one another are surprisingly profound. Frankie declares that “romance is seeing somebody for what they are and still wanting them, warts and all”, expressing her dream to be a teacher, adding “I hope I have what it takes to be something.” Johnny affirms his conviction that “my life was happening to me; now I’m making it happen.” By evening’s end, they’re ready for anything, even simultaneously brushing their teeth. Life doesn’t get much more intimate than that.

As presented in the real intimacy of New Rep’s Black Box Theater, the performances by the cast of two have to be pitch-perfect, and that they most certainly are. Robert Pemberton, in the showier role of Johnny, and Anne Gottlieb in the even more challenging part of Frankie, couldn’t be better. Director Antonio Ocampo-Guzman has drawn two impressive, emotionally (and often literally) naked performances from them. The scenic design by Erik D. Diaz illuminates the claustrophobic clutter of Frankie’s life, and the costumes (what there are of them when the two actors aren’t providing just what nature gave them) by Deidre McCabe-Gerrard and lighting design by Chris Brusberg create the perfect mood.

As Johnny says, “Something is going on in this room, something important; don’t you feel it?” To paraphrase Johnny, pardon my French, but this is one %#&-ing great show.

Holiday Memory - New Rep Family Member

2010-12-01T11:21:00.000-05:00

It is time for another New Rep family member's holiday memory! Join the fun - submit your favorite holiday memory/tradition to holidaytraditions@newrep.org and you'll be entered to win a New Rep Gift Package! For more information about the prize package and contest rules please click here!

Ok, I asked my Daughter if it was okay to tell...she said ok. My daughter decided that she wanted to host Thanksgiving dinner to impress a new Boyfriend. I advised her that it was a rather pressure filled choice but she was determined. I arrived early to help and she really did have it all under control....I helped her a little here and there but she was doing fine. The table looked great and all was going well.........While we were in the kitchen one of our cousins dropped in with a rather large dog....an Irish Setter I think. Well I called everyone to the table just as my daughter was bringing the bird to the table.....well the dog came running up to her and knocked her over...she went one way and the bird went the other way....and before we knew it the dog had grabbed the turkey and ran out of the room! Well my daughter was in tears.....and everyone was chasing the dog....not that we could eat the turkey! My Cousin felt so bad that he went to the nearest Chinese Food restaurant and ordered up a storm.......and dropped it off before he took the dog home.......it was a strange dinner...yams and moo gu gai pan...lol....I don't think my daughter has ever cooked another Thanksgiving dinner. We go out to eat ! Merry Christmas and Happy Holidays to everyone!

- Claire

a goof

2010-11-30T14:55:00.000-05:00

I have to confess to a goof I made in our program letter for Frankie and Johnny in the Clair de Lune.

Preparing to write the letter, I pulled two favorite books off the shelf for a little inspiration, The Razor’s Edge by Somerset Maugham and Howard’s End by E.M. Forrester. I ended up using the Howard’s End quote about “Only connect!” I liked how the quote was appropriate to the production. And then with both books sitting on my desk, I typed in Maugham’s name for the quote. I didn’t catch it until I saw it in print. Oops.

I am now preparing myself for a month of “hey do you know that you mixed up the names?” Yes, yes I do.

Kate Warner

Artistic Director

Favorite Holiday Memories/Traditions - from New Rep Staff & Board

2010-11-24T10:22:00.001-05:00

Maybe it was the budding young director in me, but I loved the holidays because it always felt like getting ready to put on a big show. There were lighting effects, set design, costumes and always a certain amount of drama.

I have an affection for the old variety show style holiday specials. I can remember getting to stay up late to watch them.

In 2nd grade, I had my very first speaking line in her elementary school holiday play! Friends and family gathered that holiday season to cheer me on in my debut performance with the line: “I’m soooo tiered!”

When me, my brother, and sister were kids, we used to beg our mom to let us open Christmas presents early. She remained firm until we finally wore her patience through, and she agreed to let us open one present—and one present only—on Christmas Eve. My favorite memories of Christmas are of examining all the presents under the tree, trying to guess what they were, and finally selecting the one that I could open on Christmas Eve. It was usually worth it, except for the year that the present turned out to be a boring pair of socks.

As Jews, my kids and I celebrate December 25th by spending the day creating four elaborate pizzas, which we make from scratch. Then we open tons of Channukah gifts!

Share your favorite holiday memory with us and you will be entered to win a New Rep Gift Package. For complete contest rules visit http://www.newrep.org/holiday_memory.php,

Holiday Memories- from the New Rep Family

2010-11-22T15:39:00.000-05:00

As we all get ready for the Holiday season ahead of us (and New Rep's Darling Divas Deck the Holidays), we want to know what your favorite holiday memory or tradition is. Check out what some members of the New Rep family think about when they reflect on the Holidays. Share your favorite holiday memory with us and you will be entered to win a New Rep Gift Package. For complete contest rules visit http://www.newrep.org/holiday_memory.php,

We just sadly bid goodbye to our beloved feline family member, “Smokey”. An unhappy Holiday season start. Looking through “Smokey’s” photographic remembrances, we found pictures of “Freeway” another “kitty” pet from years ago. We laughed realizing that nearly every photo was of “Free” under the Christmas tree. Although beds, chairs, couches, etc. were “his” normal chosen sleeping areas, when we prepared the Christmas tree, he’d sit waiting patiently watching the decoration process, until the red felt skirt was finally spread. Then, as though claiming his territory, he carefully crawled under the tree, rarely moving unnecessarily for the next two weeks. -Anthony

Before becoming retired & a “Grandma” I jokingly penned a “letter from Santa” to a co-worker/friend. Impressed, another requested letters for her children. Therefore, with my first grandchild, I started my own family tradition of annual letters from Santa. Keeping notes throughout the year of my 3 grandchildren’s
exciting happenings & activities, Santa reminds them he knows all and sees all. I illustrate the letters reflecting the subject matter. Last year Santa was adorned with New England Patriots gear and rode on a Tony Hawk skateboard for my grandson. He was depicted dreaming of my granddaughters’ gymnastics, dance & cheerleading prowess. -Dianne

A Darling Divas Favorite Holiday Memory:

2010-11-18T13:43:00.000-05:00

In our family, although we were not observant we did celebrate Hanukkah especially when my grandparents were still with us. From the moment I tasted my first latke (potato pancake) when I was about 3 I think, I was hooked. Both my Nanas--Fannie and Becky-- made them, and they were masters. A great latke is crispy, thin, not gummy, melt-in-the-mouth sublime. Some like 'em with applesauce, but I like to pile on the sour cream. Both fried them in schmaltz (rendered chicken fat--I know, carbs galore...but my Nanas, originally from Russia, where they didn't get nearly enough to eat, served up banquets of high fat, delicious, who cares about calories yumfests.

As she entered her 80's Fannie, with her painfully arthritic gnarled fingers spent hours trying to teach me her latke and challah-making technique. We had such a good time, but I never was able to recreate the sublime perfection of her recipes. I say recipes, but of course there was nothing written down. it was in the hands and in the heart and in the love.

- Bobbie Steinbach

Don't forget to tell us what your favorite holiday memory or tradition is! When you submit a story you will be entered to win a New Rep gift package, which includes four opening night tickets to New Rep's Darling Divas Deck the Holidays, a $25 gift certificate to Strip-T's, four concession vouchers, and two tickets to afterlife a ghost story! For more information on contest rules click here.

Win a New Rep Gift Package!

2010-11-18T13:31:00.001-05:00

New Rep’s Darling Divas Deck the Holidays is about sharing favorite holiday stories, traditions, and songs! This holiday season, we want to hear from you - our New Rep Family.

Share your favorite holiday story with us, and you’ll automatically be entered to win a New Rep Gift Package, which includes:

FOUR tickets to the Opening Night performance of New Rep’s Darling Divas Deck the Holidays on Friday, December 17th at 7:30pm
$25.00 gift certificate to New Rep's restaurant partner, Strip-T's
TWO tickets to afterlife: a ghost story
FOUR vouchers for complimentary items at concessions (only valid on December 17th)

Please submit your story to holidaytraditions@newrep.org by Tuesday, December 14th. Submitted stories will be posted on the blog.

New Rep will randomly draw the lucky winner’s name from individuals who submitted stories. The winner will be notified through e-mail by Wednesday, December 15th.

Stay tuned for more favorite holiday stories from the cast of our holiday cabaret and staff.

Thank you to Strip-T's for their generous donation to New Rep's Gift Package!

Contest Rules: To enter the What is Your Favorite Holiday Memory or Tradition? contest, submit a 50-100 word paragraph about your favorite holiday tradition or memory to holidaytraditions@newrep.org by 12/14/10. When you submit your story you will automatically be entered to win the New Rep Gift Package. By submitting your story you are allowing New Rep to post your story on its blog, Backstage @ New Rep, as well as use it in New Rep's publicity efforts.

2010-10-20T23:16:00.002-04:00

In New Rep’s production of David Gow’s “Cherry Docs,” two men are placed together in a small, confined room. One is Danny (Benjamin Evett), a Jewish, middle-aged lawyer, who begins the play with an explanation of his religious background and a humorous description of the ethnically diverse neighborhood he has chosen to settle in. The other is Mike (Tim Eliot), a young skinhead, whose first monologue compares the white male to the foot - an essential but oft stepped on part of society.

Danny has been assigned to defend Mike, who has been accused of (and has admitted to committing) a violent hate crime. This situation is undeniably ripe for exploration of issues deeply important to human co-existence. Unfortunately, in “Cherry Docs,” the handing of this important conflict lacks the nuance necessary to have real impact. The play consists of talking; circling the small cell, repeating and repeating. There is also a great deal of kicking and yelling in “Cherry Docs;” in almost every meeting the lawyer has with his young convict, one or the other of them throws a chair or violently bangs the table. Harsh words are hurled around. The problem is that all of their words are too obvious - the path of the plot is clear from the moment the two characters meet. I never doubted that Danny really liked Mike, despite his disdain for skinheads, because I never believed that Mike really felt anything negative towards Danny, despite his proclaimed hatred for Jews. Similarly, I never wondered if Mike would eventually come around and see the error of his racist ways; it was clear, from the start, that he would.

The major turning point in the script comes from Danny’s decision to force Mike to come up with his own defense: to think long and hard about what he’s done, and come up with a way to speak about it. This is much of what I found lacking in the script itself; these characters are never given a chance to organically come to a conclusion. They are on an obvious path, and the resolution arrives too easily. Danny and Mike go through the necessary motions – initial dislike, gradual friendship, ultimate lesson learned – but nothing about it feels genuine.

I know that my opinion of this play puts me in the minority, and I don’t mean to undermine anything powerful that other audience members experienced. For me, “Cherry Docs” brought to mind the Oscar-winning film “Crash;” clearly, many found it to be an important movie about race in our society today. Personally, I found it to be preachy and obvious. Simply choosing an important and difficult subject does not guarantee that a piece of theater will achieve depth and power.

Technically, the show works quite well. Jenna McFarland Lord’s small set is strangely beautiful, and Karen Perlow’s subtly powerful lighting is the most communicative part of the production.

“Cherry Docs” ends with an epilogue, in which the playwright explains that he has chosen the names “Daniel” and “Mike” as an allusion to the Bible – Daniel entered the lion’s den, and was unharmed; Michael, God’s Archangel, fell to the depths and then ascended. That the playwright felt it necessary to explain this allegory to the audience is in keeping with the rest of his script; again and again, Cherry Docs chooses not to allow the message to seep through the material, but to deliver it with a heavy hand.

Jana Pollack

Cherry Docs - Walking in someone else's boots

2010-10-20T22:36:00.002-04:00

by Frank Furnari, New Rep Reviewer

As you enter the theatre for Cherry Docs, New Rep’s latest production, you see a small, sparse, angular room, with industrial florescent lighting, various grates and vents, as well as a very bright light off to the side emitting a cool light you might expect to find in a parking lot. This sets the stark tone of the play directed by David R. Gammons, who directed New Rep’s amazing production of The Lieutenant of Inishmore a few years back, and proves again that he can handle such material.

Mike (Tim Eliot), a young skinhead from Toronto commits a hate crime, violently attacking a man he doesn’t know with his cherry docs – Doc Martin steel-toe boots (the program contains a note saying that the play is in no way associated with the shoemaker who has taken issue with its contents) - the man is critically injured and later dies from the injuries. Mike is defended by court appointed attorney Danny (Benjamin Evett), and is presented with a dilemma as Danny is Jewish. Danny also must decide whether to defend someone who says that in his ideal world, he would see Danny eliminated. The audience is taken on an intense journey exploring the relationship of the two, motivations for the crime, and how each copes with the situation on hand. The play rings true today with thoughts of hatred post 9/11 and most recently with news about GLBT youth and offers up some interesting ideas of how to address people who spread the hatred as well as is society’s role.

David Gow crafts a smart play with much Jewish imagery, some a little more subtle, others, such as the epilogue where both characters talk about the Biblical meaning of their names, are interesting thoughts, but seem over the top to have the characters spell it out for you.

Both actors shine in this production. Tim Eliot portrays many sides of Mike - at times he is terrifying, others afraid of what might happen to him, and still at other times that he might have just fallen in the with wrong crowd and got brainwashed. Benjamin Evett’s Danny is also complex, matching Mike’s intensity and emotions, as well as showing his own struggle of whether to take on such a case. David Gammons does a great job at keeping the pace and the intensity of this play going, it makes the 90-something minutes of the show go by quickly. This is definitely a production to see this season and is one that reminds us why we still go to see live theatre.

Daniel in the Lions' Den

2010-10-20T21:25:00.003-04:00

Cherry Docs | Review

By Richard Martin

Well, most of you are probably wondering what they are. Cherry Docs, I mean.

They’re shoes. Or boots. Doc Martens. Red ones. With air-cushioned soles and tightly stitched leather that support the parts of you that support the rest of you. You can even get them with steel-reinforced toes. You could kick in a wall with one and not even say, “Ouch!” And wouldn’t that feel good? Well, it would to Mike Downey, the young Canadian skinhead who’s at the center of this two-man drama by David Gow. In fact, Cherry Docs are his weapons of choice, the ones he used while drunk at a concert to kick a man senseless because . . . well, Mike doesn’t really seem to know why. Maybe it’s because the man looked Pakistani, or Indian, or just different, but in any case Definitely Not White.

By the time the man died three weeks later, Mike (Tim Eliot) was being held in one of Her Majesty’s frugally furnished Canadian jails, soon to be charged with first degree murder. That much unfolds very quickly at New Rep’s fine production of “Cherry Docs,” which began its New England premiere on Monday night. Now, appointed by the court to defend Mike is – and this must be a jailed skinhead’s worst nightmare – a Jewish lawyer.

Danny Dunkelman (Benjamin Evett) is as smart and tough as his client is bigoted and hateful. But how does he defend a man who has admitted to the crime, shows no remorse, and is likely to be torn apart in court because of what he represents? And since Danny’s faith and religion are vilified by the skinhead credo of hate, why would he want to? This isn’t just a difficult case; it’s personal.

A conscientious if not devout Jew, he fights the growing urge to walk away by clinging to the knowledge that his obligation to defend this man is rooted not only in professional ethics, but in this faith that he finds both a comfort and a burden.

This is personal for Mike too. He may hate anyone who’s not a white, Christian male, but he’s scared and he’s smart, and he knows that he needs Danny perhaps more than he’s ever needed anybody.

It’s an uphill battle.

The meetings between Danny and Mike – seven in seven months – are no intellectual exercise. These two are so up in each other’s face that there’s never a risk of sounding preachy.

At one point, Danny is so angry with Mike that he growls at him through clenched teeth, “If I started hitting you, I might not be able to stop.” To which Mike replies, with an air of superiority, “Now you know how it feels. That’s my starting place.”

Over time, in between the dialogues, under downlights (by lighting designer Karen Perlow) that effectively transform Jenna McFarland Lord’s spare, single set from a prison interview room to solitary monologue spaces, each man reveals the very personal beliefs and doubts that underlie his tentative public viewpoints until the unspoken and the spoken become one. And we see how fear can spawn anger and hatred.

Mr. Eliot and Mr. Evett literally inhabit the roles so skillfully crafted by David Gow. Only once, near the end, does Gow risk sermonizing, but the situation makes it credible, and by then he’s earned it. And David Gammons’s excellent direction has given us a production so natural and seamless that it never seems manipulated.

In the end . . . well . . . you should see it.

"Cherry Docs" Explodes at New Rep

2010-10-20T10:41:00.002-04:00

New Rep’s production of David Gow’s Cherry Docs is a startling, explosive, and touching experience. Both actors must be exhausted – emotionally and physically – by the show’s end, but their efforts are worth the toll it must take. The play and New Rep’s production tackle some of the most complex issues of our time with a compassion and seriousness of purpose often missing from political discourse. The production values are brilliant; in particular, the set and the lighting design evoke a prison interview room layered with complex emotions. The masterful direction keeps the tension high, even at moments of silence.

Tim Eliot plays Mike, a white supremacist awaiting trial for the brutal murder of an immigrant. Benjamin Evett plays Danny, Mike’s politically-progressive, Jewish lawyer. The play thus begins with hatred on both sides; Mike’s hatred toward non-whites (including Jews) is met by Danny’s hatred of Mike’s ideas and actions.

Both actors give excellent, albeit quite different, performances. Eliot endows Mike with a combination of incredible kinetic energy, touches of ADHD, and painful vulnerability. Despite the menace Mike exudes, Eliot shows us a man who is deeply sad and lost rather than evil. Evett’s Danny is a self-contained, cynical workaholic, whose rage boils below a rational, professional surface. He mocks and provokes Mike, ostensibly pushing him to build a better defense for the trial. But we sense that Danny’s rage is real as well as pedagogic. As he comes to understand himself he is able to become something of a mentor and father figure to the childlike Mike.

Mike meets provocation with anti-Semitism, nearly succeeding in drawing Danny down to his own level in some of the most telling moments of the play. Mike’s skill in evoking violence is both instinctive and practiced, as if it is a language he has mastered (unlike the language of court, which eludes him). At one tense, brilliant point, Mike urges Danny to hit him, as Danny clearly wants to do. Mike explains: “It will get rid of the feelings.” Here, finally, we see the reason he killed his victim; it is a revelation that is both upsetting and unsettling.

At one point, watching Mike’s anger and fear spill out on the stage, the patron behind me whispered to her companion, “He could plead insanity.” This conclusion, however, is exactly the opposite of what the playwright and the production seem to intend we learn. The point is that Mike is as “normal” as any of us, certainly as “normal” as Danny, who also hates and fears that which he does not understand. In several monologues Danny tells us of menacing encounters with groups of young people who seem entirely alien to him. “I hate these kids,” he mutters, then: “No. I’m afraid of them.” The problem is not that Mike is insane, but that his fear and ignorance are all too common.

Cherry Docs doesn’t provide easy answers to the problem it presents, but sends us out of the theatre moved and thoughtful.

-- Johanna Ettin & Shauna Shames

"Cherry Docs": Making a Point

2010-10-20T09:35:00.002-04:00

by Jack Craib, New Rep Reviewer

Fasten those seat belts, it’s going to be a bumpy night. New Rep’s second production of the season is the New England premiere of David Gow’s 1998 play, “Cherry Docs” (a reference to the colorful steel-pointed Doc Martens combat boots said to be preferred by nine out of ten skinheads), and it’s quite a ride. Unlike many of today’s two character plays, (or “two-handers”), this work is not the result of economic considerations; this is an intentionally tight and focused story of two haunted men and their conflicting values. At first it seems to be about a mutually desired outcome of a crisis, namely successfully defending an imprisoned skinhead who has kicked to death an unknown victim he assumed to be a Pakastani immigrant. It soon evolves into a struggle of wills between the Jewish public defender assigned to the case and his young anti-semitic client. Above and beyond this, however, it is nothing less than a searing probe into the nature of hatred and forgiveness, and whether there ever can be atonement for truly horrific acts.

Gow has constructed seven scenes or days corresponding to seven major Jewish holidays, and this is by no means the only allusion, explicit or implied, to Judaica. He references the seven dimensions in the universe that are interconnected, and proceeds to show how his two seemingly diverse protagonists are themselves interconnected. Before the ninety minutes or so of intense drama is through, his characters, each in his own way, is revealed to be a prisoner of his personal fears and prejudices. Set in Toronto, the play involves some unfamiliar court procedures, but the themes are universal. Gow has stated that “as soon as we look at hatred as being outside our own experience, we have separated ourselves from accountability”. By his powerful representation of how both men are confined by their own demons and how they are transformed when freed from them, the playwright makes the point that all of us are fundamentally connected by our common humanity even as our assumed diverse beliefs divide us.

Benjamin Evett (seen in New Rep’s last season in both “Indulgences” and “Opus”) displays yet more versatility as the lawyer Danny Dunkleman. First portrayed as a self-absorbed liberal attorney seemingly motivated mostly by the chance to advance his own career, he discovers he must change his preconceived notion of humanity in order to accept his innate compassion and forgiveness. As he says to Mike Downey (played by Tim Eliot in his New Rep debut), “I am taking you through the eye of the needle; you are the thread of a cloth, a divine cloth. You want to be a lone thread, go ahead. You want to rip that fabric, go at it”. At first, Mike boasts “in an ideal world, I’d see you eliminated”. Later, he admits to Danny “I like you, you’re smart”, to which Danny retorts “I want to punch you”. Director David R. Gammons has the actors roam the compact stage like two primeval animals intent on intimidating one another. Technically, the team of designers are a part of the seamless fabric. The lighting by Karen Perlow, sound and video by Adam Stone and set by Jenna McFarland Lord combine to produce a believably claustrophobic cage. They effectively complement the sparse dialogue, the intelligent direction, and the amazing acting. Evett and Eliot are giving two of the finest performances of the decade, and are surrounded by an equally superb creative team.

There is little that one could reasonably criticize with this work, other than perhaps the author’s epilogue ensuring that his audience hasn’t missed the significance of the names he has given his cast of two, Michael (God’s Archangel) and Daniel (in the lion’s den). That minor criticism aside, New Rep has set the bar high with this one. There is one word for this production: unmissable.

First Rehearsal in Snap Shots

2010-09-30T12:53:00.000-04:00

Cherry Docs Team at First Rehearsal

Model of Cherry Docs set. Scenic Design by Jenna McFarland Lord.

Set pieces for Cherry Docs. Scenic Design by Jenna McFarland Lord.