Young Newsies Star Gets Chance to Shine

Newsies, the high-energy, Tony Award-winning musical leaps into Providence for a limited run October 20-25 at the Providence Performing Arts Center. While on Broadway, the show broke numerous attendance records and received 23 theatrical award nominations. The show has developed an almost cult-like following of fans across the country. Joey Barreiro stars in the touring company of Newsies as Jack Kelly, leader of the rag-tag group of young boys who stand up against the larger-than-life newsmen of the time, Joseph Pulitzer and William Randolph Hearst, to fight for a better life.

“I’m ready,” says Barreiro in an interview this week. “I’ve been waiting for an opportunity like this for a long time. I can’t wait to get on stage.” The show is based on the real life newsboy strike of 1899. Newsboys were the kids who stood on street corners yelling, “Extra, extra!” to sell papers. At that time, a 13-year-old Kid Blink led a band of homeless newsies on a strike against the titan publishers in New York City. “It’s hard to get your head around the fact that those kids, the real newsies, were so young,” says Barreiro. “I can’t believe how hard life was for them.”

Understanding the history is as important for Barreiro as his character, the music and dance moves. Barreiro also gives credit to his fellow castmates for the show’s success. “It’s amazing what these kids can do,” says Barreiro, referring to the athleticism of the crew of newsboys who sing and dance every night at a high level of energy. “But it’s a show for everyone, not just for teens. It’s about taking action and making things happen.”

An enthusiastic Barreiro gladly admits it’s “the life of an actor” to leave home and travel wherever the opportunities take you. Barreiro joined the company at the end of September, after training for weeks in New York City for the show and the role of Jack Kelly. Despite his young 20-something age, Barreiro has many credits to his name including Saturday Night Fever, A Chorus Line, and Into the Woods, among many others. Originally from Miami, Florida, Barreiro resides in New York City, but received much of his training in Connecticut. He earned his Equity card while doing summer stock in Connecticut.

Traveling with a talented group of fellow thespians makes for a great experience, however, there are challenges. “When we rehearsed in New York, we didn’t have set pieces,” confides Barreiro. “So when we get to a venue and the giant grid towers are set up on stage, it can be interesting!” There are three giant, moving set pieces that his character, Jack Kelly, has to run around. “Sometimes, if I hesitate, one of the kids up on the grids will whisper, go left!” laughs Barreiro. But their dance captain, Andrew Wilson, makes sure everyone is set with their cues and ready to go before every performance.

Newsies is directed by Jeff Calhoun and choreographed by Christopher Gattelli. Although they do not travel constantly on the road with the cast, they do visit in certain cities and definitely leave their professional impression upon the actors. “We have to walk a fine line with our characters,” insists Barreiro, sounding like the well-trained actor he is. “We have to keep in mind the [culture] of the time, and the real ages of the people we are playing. I believe in truth on stage, and I want to be true to my character.”

At PPAC, Newsies tickets are available at the Box Office, 220 Weybosset St, PVD, 401-421-2787 and online at ppacri.org. The box office is open Monday through Friday, 10am to 5pm; Saturday, 10am to 2pm and two hours prior to all curtain time(s).

The Octette Bridge Club in Perfect Setting

The Players at the Barker Theater at 400 Benefit Street in Providence start their 107th Season with The Octette Bridge Club. The play, written in 1985 by P.J. Barry, has been performed in over 850 theaters since that time. Barry was born and grew up in West Warwick, Rhode Island. The Octette Bridge Club has been performed in more than 850 theaters since 1985, including on Broadway. The Barker has extended the stage out beyond the proscenium. It works wonderfully to bring the action right out to the audience.

The charm of the play is due to the details of ordinary family life of a bygone time. It’s a glimpse into Barry’s private life – a time long before cell phones, computers, and even television. The Octette Bridge Club is about the lives of his eight sisters in their large Catholic family. Like all families, they don’t always get along. In their adult lives, most married and with children, the eight sisters gather every other Friday night for a game of bridge, to play and chat. Set in Providence in 1934, names of places will be familiar, and the old, historic Barker lends itself perfectly to the sense of time, along with the music emanating from the old Victrola on set.

Cait Calvo has brought together this diverse group of actresses and formed them into a family. One can readily recognize their sibling behavior. Martha (Eliza Collins) is the no-nonsense, clearly dominant oldest of the sisters. She took on the role of substitute mother early in life and continues on, even though all of the sisters are grown. Martha insists that things be done her way, a directive no longer needed. It is difficult to break out of childhood roles, but we see how damaging that can be. The sisters’ quick patter is familiar, yet old figures of speech from the time make us listen carefully.

There’s always a clown, the cut-up in a group. That’s Connie (Nancy Winokoor), the third born sister. Winokoor throws herself into the persona of Connie. She acts up with abandon to divert attention from an awkward moment, or simply lighten the mood. Ann (Trisha McManus) and Alice (Pamela Morgan) are in the middle, age-wise, and make themselves useful being as knowledgeable and efficient as they can. Mary (Marcia A. Layden), the second born, is the calm presence when the group borders on cruel behavior. Layden gives a glowing performance, even when life deals her character a tough blow. Lil (Kim Harper) the self-absorbed, always hungry seventh-born, has a glorious singing voice put to good use in the play. Nora (Karen Besson) is the rebellious one, lucky in love, and chooses not to attend a service set up by Martha, the oldest.

Even in a large family, the youngest, the baby, can become demanding since they are often given all the attention. No so in this play. Betsy (Kathleen Povar), the youngest, is often ignored, stepped on, metaphorically when speaking, and appears to be a bit slow. So she has become neurotic, although her sisters don’t seem too concerned about it. Betsy worries that she’ll end up in an asylum.

The Octette Bridge Club continues at the Barker through October 9 and 10 at 8pm and on October 11 at 2pm. For more information or tickets please call 401-273-0590 or visit playersri.org.

Theater Company of RI Serves Best of Friends

The Theater Company of Rhode Island is celebrating its 30th year in a new venue in Chepachet. It’s a great benefit to theater lovers in Rhode Island to have companies from north to south. The September play, Best Of Friends by James Elward, is a lively comedy that takes us through family clashes, secrets and surprises. The Purple Cat Vineyard and Winery is a wonderful, distinctive venue for a non-musical play. Artistic director Michael Thurber says that the company will continue to use the Assembly Theater for the larger casts and sets of musicals.

It’s a beautiful drive on Rt. 44 West, past the lakes and trees, only about a half hour from Providence on Money Hill Road. In fact, make a day of it. Take the drive, and at the Purple Cat Vineyard and Winery, you can sample their wares at the bar and have a custom-made crepe at the café, the Philanthropy Tea and Coffee Co. where the owners give a portion of their profits to prevent human trafficking. Then sit on one of the many comfy couches and relax until it’s time for the play. Or take a stroll outdoors and sit beneath the trees in an Adirondack chair. The space for the Theater Company of RI is downstairs, in a lovely, wooden-floored, exposed-beam room. Thurber has the room currently arranged in an intimate in- the-round setup. This brings the actors and the action right into the audience’s lap. It is great fun for a comedy.

Steven Taschereau plays the globe-trotting, well-known author and cheating husband, Archer, who arrives with a beautiful, young assistant (Jane Addington-May) in tow to the family home. Taschereau keeps a high energy throughout the show. This family and the two, now grown children with one married (Derek Colantuano, Alice Bennett, Brooke Soltys) is the same Archer abandoned years before. Not to mention that the family thinks Archer is dead, since they received news his plane crashed. The fact that Archer is alive is only the smallest of surprises, compared to the rest of what happens. There are other infidelities, long-kept secrets, accusations, discoveries and arguments. Even the family’s lawyer (a manic Tobin Ferretti) gets embroiled in the drama. Archer never divorced his wife, now neither he nor she (a smooth and reserved Katrina Claflin) can decide if that can or should still happen.

These family interchanges could happen at any date in history. But this play was written and set in the 1960s. There are no cell phones or even computers, but there is mention of carbon copies. You can Google it, folks. It is interesting that protests, mentioned in the play, don’t need any explanation. Best of Friends continues at the Purple Cat Vineyard and Winery on September 25 and 26 at 8pm and on September 27 at 2pm. For more information about the Theater Company of Rhode Island, go to tcrionline.com. To check out the list of other events at the Purple Cat, go to purplecatwinery.com. Glasses and bottles of the wine are available during intermission. Home baked goods are also served free of charge, with a donation request if one has the means.

BTC Winds Down Summer with Love Song The Burbage Theatre Company, now fully ensconced in their downtown location at Aurora, is winding down the summer in Providence with a brief Repertory presentation. Red Light Winter by Adam Rapp is being alternately performed with Love Song by John Kolvenback. I attended Love Song, a charming, energetic, yet somewhat unsettling dark comedy.

The space at 276 Westminster Street is open and inviting. The audience set-up for the show is in the round. There is still a fully stocked bar with tables and chairs in the front of Aurora. One may also take a drink into the theater space. A few sparse set pieces are moved about on the stage to convey the time and place and tone of the play. At the start we see the lonely Beane (James Lucey) sitting by himself, sighing. Beane sits in the quiet under the light of a single bulb hanging loosely from a stand over his chair. He is clearly a lost soul. It seems for a moment we may be in for an elongated, dreary existential evening of morose vignettes. But the silence is broken with the noisy chattering of Beane’s sister, Joan (Allision Crews) and her husband Harry (Jonathan Fisher, Jr.).

It appears that Joan has fired yet another intern from her work, for what seems to be no good reason. Harry seems rooted firmly in reality, trying to get to the “why” of her decision. Joan is wound tighter than a child’s music box, threatening to keel over and cease running. The husband and wife clash, while Beane quietly enters the room. He is not acknowledged until the couple needs a third voice to settle their vague dispute. His answers to their questions are like a non-sequitur gag. Joan and Harry aren’t quite sure what to make of Beane, although his sister is very protective of him.

Fisher has a nice moment of teetering from calm sanity to rage while trying to administer a type of personality test to Beane. It is reminiscent of trying to argue with a 3-year-old. It all makes sense to the child. With just a touch of “theater of the absurd,” we are never sure if Beane is being truthful, evasive or simply making things up.

James Lucey as Beane is a frustrating delight. Lucey loves to inhabit his characters and obviously enjoys getting fully into the their physicality. It serves him well in this role that ranges from silence to shouting from the rooftops. In the first act we only see one side of Joan. But as Act II begins, we get to see Crews stretch her acting vocabulary into a ridiculous “slouch” of character, and a more ridiculous attempt at phoning sick into work.

The real surprise twist in this tale happens when Molly (Rachel Perry), an angry thief, scares Beane by being in his chair, waiting to taunt him, before escaping with Beane’s belongings. The appearance of Molly changes not only Beane, but everyone around him. Suddenly Beane can taste his food and smell wonderful smells. Perry has grown from a college student to a dynamite actress who can command the audience’s attention. It adds to the farcical tone of the piece for Molly to be the “heavy,” while being small in stature. She’s is the key that shows us what love is really about. The Burbage Theatre Company is now a 501c3 non-profit. For more information go to burbagetheatre.org. “Love Song” runs through September 6th. It’s the perfect show for a late summer evening.

Theater 82 Celebrates 10th Annual One-Act Fest

Theater 82, part of the Artists’ Exchange on Rolfe St in Cranston, celebrates the 10th season of its popular Summer One-Act Play Festival July 17 through August 8. An overwhelming 2,000 entries were received this year, so the committee read until their eyes were bleary. But they were able to choose the 16 best out of the mix to present to the public. The first group (known as Wave One) of eight plays is a terrific, energetic mix of comedy and action — there’s even a commentary on modern day behavior. These short plays, with fresh ideas, directed with a lively touch, can be seen again this weekend.

The One-Act Festival is a wonderful opportunity to see new work by both local and national playwrights. Each is short, so if one doesn’t catch your fancy, the next will. Three local playwrights have work in the first Wave: Kevin Broccoli’s We’re Still Fun, Right? is about a couple wondering if their party days are over; Ben Jolivet’s If Everyone Acted Like John Boehner is exactly as it sounds; and Roger Lemelin’s The Front Porch puts a twist on the age-old activity of people-watching. Adding to the local vibe, all music for the fest is supplied by local musicians through the 75orless Music Label. And “Paintings by Madeleine” are for sale, and included as part of the set.

There are two dark comedies included in this Wave, both directed by David Kane. Fixing Bob, by David MacGregor, is a favorite as two cheery mid-western wives, played with perfect accents by Jessica Chace and Lauren Annicelli, discuss a most unusual birthday present awaiting one of their husbands. The other is Anniversary by Sam Wallin, which starts out as sweet, but evolves into a brawl with overturned furniture. It is interrupted by a duo with a singing telegram. Thanks to David Ferranti and Bedros Kevorkian for the lovely melodic interlude.

Stefan Lanfer gives new meaning to Helicopter Parents for Hire as Kate Lester directs this rampant anarchy without harming any patrons. Wedding Belles by Brett Hursey gives the story of the harried bride a double twist. Goodnight Irene by Rhea MacCallum allows two people to salvage something out of disaster with the nuanced acting of Tom Chace and Lauren Annicelli.

It is also refreshing to see that this One-Act Fest has given equal opportunity to women writers and directors. Although artistic director Jessica Chace and music director Tom Chace said, “We found that the percentage of women-written plays submitted was about what articles claim is the number produced nationally. That’s about 17%.” So don’t hide your work at home, women writers, send it out.

Don’t forget to catch the “Second Wave” of eight new plays starting on July 31. There are snacks as well as alcoholic and non-alcoholic beverages available before the show and during intermission. For more information go to artists-exchange.org or call 401-490-9475.

Community Players’ “Doubt” Is a Quality Production The Community Players finish their 94th season this month with the tense drama, Doubt: A Parable, which plays at Jenks Auditorium July 10 through July 19. The play draws attention not only because of the screen version starring locally educated actress, Viola Davis, but also because any performance that involves Catholicism tends to draw attention. The stage play came before the film and follows the story of a Catholic School Principal, Sister Aloysius (Mary Paolino), who suspects the parish priest, Father Flynn (Joe Wilkicki), of improper contact with one of the students. There is no proof, only her suspicions.

The play was written by John Patrick Shanley in 2004 after the Boston priest abuse scandal story broke in 2002. Doubt: A Parable begins with Father Flynn giving a sermon on the theme of doubt. “When are you sure you aren’t sure?” Playwright Shanley set the play in 1964 shortly after Pope John the 23rd convened the Second Vatican Council in 1962, addressing relations between the Catholic Church and the modern world. Sweeping changes were overtaking the church. As in Doubt: A Parable, some members of the church immediately took up the new ways, Like Sister James and Father Flynn in the play, while others stubbornly held to the past, not sure the changes were for the good of all.

Paolino’s Sister Aloysius starts as a shallow, grim stickler for the rules. However, her character is revealed as the play progresses. Wilkicki’s Father Flynn is upbeat and positive, but becomes angry. Both are strong, well-matched actors portraying strong-willed characters. Even though Father Flynn is taller than Sister Aloysius, she doesn’t back down an inch when they confront each other over the suspicions. Paolino stands firm, as if a tank couldn’t knock her down. Excellent vocal skills on all the actors’ parts allowed the audience to hear the weight of each word spoken. I do wish director Eric Barbato had let these two “cheat” outward during the heat of their confrontation, however. Due to the design of the nun’s habit, it is often difficult to see Sister Aloysius’ face. Sonya Joyner makes an impressive impact as Mrs. Muller, mother of the boy suspected to be the object of Father Flynn’s “affections.” Dressed in a flattering pink suit and hat, Joyner is solid and sure onstage, fully inhabiting her character. She also does not give an inch in the confidence of her convictions. Aubrie Bagdasarian, as Sister James, gives a wonderful, balanced performance as the young, hopeful nun who teaches the 8th grade class. Her scenes with Sister Aloysius are emotional, but not saccharine or cloying. Bagdasarian stays grounded in her own beliefs and convictions.

The stage is set up with one-third representing the church and its garden outside. The other two-thirds represent Sister Aloysius’ office. It contains proper period furniture and pictures, but is three times the size of any normal Catholic school office. If the space were contained in a smaller area, it would have better lent itself to the claustrophobic feeling the conversations and actions of the play evoke. Lighting is right-on with timely cues and nuances. During the pre-show, organ music plays with appropriate dignity.

This battle of wills between priest and nun is epic, each waiting for the other to wither from the intensity. The summer production is no flimsy hot weather also-ran. It is a taut, quality performance that should be seen by all.

Doubt: A Parable is at Jenks Auditorium in Pawtucket July 10 through July 19. For more information and tickets, visit thecommunityplayers.org or call 401-726-6860.

Festival51 Is for and About Women’s Voices and Choices Festival51 is a new performance vehicle for original theater work in Rhode Island to showcase women playwrights and directors. The population is 51% female, thus the 51, but only 17% of produced plays are written by women. Even fewer plays showcase women directors. This festival helps to even the odds a bit. Festival51 producers, Leann Heath and Terry Shea, and participants are feverishly working to prepare performances for the public, and you are guaranteed to experience something different at Festival51 every Friday through Saturday, July 31 through August 15 at Pawtucket’s Mixed Magic Theater.

Festival51 is designed to provide opportunities for the “non-traditional student,” so to speak. Once off the college campus and on with life, fewer and fewer opportunities are offered for women who for one reason or another, cannot devote their creativity to a full-time theater career. An open call was made earlier this year, and the chosen pieces are “Bone to Pick” by Eugenie Chan, “The Waitress” by Ainslie Caswell, “Hope Throws her Heart Away” by Susan Goodell, “Echoes on the Peaks” by Deborah DeGeorge Harbin, and a short piece by Shannon McLoud called “Therapy,” which will be on film.

Leann Heath; Photo credit: Kelly Smith

“I noticed there are fewer opportunities for women like me,” said Leann Heath, the woman behind the festival who is also a mother working to support her family. Since Perishable Theater in Providence closed, there is no annual Women Playwrights Fest in the state. “We wanted to create more opportunities for women to tell their stories in their own way. Material for the stage can look very different when presented from the female point of view.” Continues Heath, “That’s why we insisted that women direct in Festival51.”

Heath has a master’s degree in theater and community from Emerson, although she has a resume many pages long with performances in all type of roles in many different theaters. Her heart lies in serving the community through theater. Terry Shea, actor, director, sound designer and theater critic for Motif, is her partner helping to pull together all the elements to make Festival51 a success.

To help support the fest, a fundraiser will be held at SEEN Gallery, 38 East Ave, Pawtucket, on Tues, Jul 7. Expect live performances, special guests, and auctions for arts-related goods and services, including season passes to select RI theaters. It is open to the public. Tickets and more information about the fundraiser, the festival and performances can be found at festival51.org.

Wilbury Group’s “Next to Normal” Is Powerful

The Wilbury Group has produced a powerhouse performance of the 2009 Tony Award and 2010 Pulitzer Prize winning musical Next to Normal, now playing at the Southside Cultural Arts Center in Providence. Next to Normal is a rock musical, yes, but this is not Grease. No, ladies and gentlemen, this is modern, grown-up musical theater piece with complex harmonies, mixed meters, and contemporary, realistic themes. It is art for our time, and this production is a must-see. It’s sad, yet funny and touching as well.

The music by Tom Kitt, and book and lyrics by Brian Yorkey are brilliant. Why make the subject of mental health into a musical? It is actually a clever method of communicating the harsh realities of both the disease and its devastating effects in a way that soothes us, yet hits us in the heart at the same time. Next to Normal can be challenging, but the rollercoaster experience is well worth the ride. A tremendous amount of preparation and work have gone into this production. The vocal harmonies in the final song about hope are simply spine-tingling.

Theaters in Rhode Island are fortunate to have access to a deep pool of talented, experienced actors. Rhode Island is also blessed with an enormous number of highly trained and talented musicians. The problem is often getting the best of both worlds to work well together. Congratulations to director Wendy Overly and music director Juan Rodriguez for working their talented people into a communion of creativity. Too often strong individual performers dominate a show, making for more of a Clash of the Titans atmosphere.

Thanks also to Josh Short, artistic director of the Wilbury Theatre Group for the courage and determination to produce such a high-level, complex show, and for the patience to find and cast the best people in all roles, including the musicians. All singers and players are top-notch. As a professional musician in one of my past lifetimes, it is rare for me to feel that the sound of a show lives up to my expectations. This one does. Proper credit is also due to an often unsung hero in the theater – the sound designer/engineer. This person, Terry Shea for this show, must balance many technical aspects including acoustics, power source, equipment, performers and quirks of an old building.

Moira Costigan-Carraher absolutely owns the part of Diana, the sad, depressed and alternately manic mom and wife trying desperately to get her life together. James Fernandes as her supportive, long- suffering husband, Dan, seems underplayed at first, but that is because he is the one stable personality on stage. If you live in a house full of drama, the one stable person sometimes seems dull. Julia Bartoletti, as the daughter Natalie, gives a very strong yet nuanced performance as the neglected child, seeking out what her own life should be. Andrew Iacovelli is the lost son, Gabe. Iacovelli takes over the stage when he appears. He lifts us up in the first act with his joyous, boundless energy. It is wonderful to see Iacovelli let it all out with his performance. His rendition of “I’m Alive” is amazing. Iacovelli has often played repressed or subservient characters. This is a refreshing change.

Jeff Church, a well-known, versatile actor hams it up as Dr. Fine, the pill-happy pusher, invoking the Three Stooges – Calling Dr. Fine, Dr. Howard, Dr. Fine. Then Church becomes the polished, refined, mesmerizing rock-god of psychiatry. Jesse Dufault is a lucky find — he delivers a fine acting performance as Henry, the daughter’s boyfriend, but also adds to the musical by playing lead guitar.

Are there imperfections? Of course; sometimes the instrumental overpowers the vocals. Diction is not always clear. There is an awful lot of running on and off stage, which doesn’t always fit the mood. The keyboard player needs a page-turner, and the theater needs a lift to its second floor location. It would also be helpful to have information in the program for mental health hotlines or local organization to encourage those in need to seek help.

Go for the story, go for the music, go for the humanity, but go. Next to Normal plays through June 13. For more information or tickets call 401.400.7100 or visit thewilburygroup.org.

Atomic Bride of X Minus One Invades AS220

The current show of Counter-Productions Theatre at AS220 is their delightful, every-other-year homage to classic stories of science fiction. This year, the show named Atomic Bride of X-1 is a collection of four one-act stories originally written as radio plays in the 1950s. Says Ted Clement, artistic director of the Counter-Productions Theater, “From the far horizons of the unknown come transcribed tales of new dimensions in time and space. These are stories of the future, adventures in which you’ll live in a million could-be years on a thousand may-be worlds.”

Do not scoff that these may be old-fashioned or dated stories. In fact, it is fascinating that in our contemporary storytelling (e.g., Interstellar), collectively we still pursue the same questions. Is there life on other worlds? Will the earth crumble and force us to move to distant outposts? What happens if Earth is invaded? These stories are cleverly transcribed for the stage. This time Clement serves as music coordinator and Host, with Christine Fox as producer. Clement’s additional notes to each story in between the plays is reminiscent of “The Twilight Zone.”

Along with Clement’s commentary, music from old sci-fi shows plays while clips of ancient space travel films display on the back wall when actors are not on stage. This time, there are four different directors, chosen by Clement, to direct each of the four stories. Rufus Qristofer Teixeira directs Junkyard, written by Clifford D. Simak. A great audience pleaser, this one-act opens the show with a “Star Trek” feel. The actors wear uniforms much akin to the “Star Trek” crew. They use phasers, communicators and even the whirling-sound gizmo used by the Doctor. It’s played with just enough camp to elicit laughs.

On a much creepier note is Perigi’s Wonderful Dolls, written by George Lefferts and directed by Erin Archer. Stuart Wilson gives an outstanding performance as the mysterious Perigi. No spoilers, but for goodness sake, if you ever inherit, find or are given a doll that shortly becomes weird or creepy, get rid of that thing! Costumes and vintage hairdos are wonderfully realized for this story.

Skulking Permit, written by Robert Sheckley, is directed with humor by Billy Flynn. This is a story with a unique twist on the “What if” premise of colonizing other planets or moons. It also demonstrates how communications can be warped over time and evolve into a completely different message. I particularly enjoyed Jeana Ariel Garcia as Tammy Fisher and Erin Archer as Edna Beer. No one is sure how things will work out. But the writing is very clever.

Laura Minadeo directs the chilling Zero Hour, written by Ray Bradbury. The story starts out innocently, with a normal family. Haley Pine plays the daughter, Mink. Pine has no problem holding her own with the adults on stage. She is playing a new game with her friend, Art (Alex Rotella). Parents often don’t understand the games their children create, but Mink’s mom becomes worried when she finds the game to be more and more puzzling after speaking to her sister in another city.

Overall, there is very fine acting and direction in this collection. I was a bit distracted by the slow set changes done in between scenes, which slowed down the pace at the top of the show. It was opening night — perhaps the stage hands will become more efficient as the run progresses.

The Atomic Bride of X Minus One continues at 95 Empire St., Providence, Nov 14 and 15 at 7pm, and Nov 16 at 2pm. For tickets go to brownpapertickets.com

Counter Productions’ Success Raises the Bar

Christine Fox (L) Executive Director and Ted Clement (R) Artistic Director for Counter Productions Theater pose in front of the set designed for the original play produced earlier this year, “Nico Was a Fashion Model”.

The Counter Productions Theatre (CPT) Company burst into the consciousness of the Rhode Island theater world this year with a bang. At the 2014 Motif Theater Awards, CPT was nominated in six categories, and won in four. Although the CPT just completed its third season in RI, Ted Clement and Christine Fox, the heart, soul and brains of CPT, both began their journey here. Fox originally comes from East Providence, Clement comes from Woonsocket. Both have impressive graduate degrees, awards and experience; both teach at CCRI; and together, they successfully manage their theater company. They stay in sync as a married couple through all of it, and remain humble about their accomplishments. That is rare, indeed.

The Counter Productions Theatre Company began in the Boston area, but a confluence of events brought them back to their native RI. As with many other artistic groups in this state, CPT found a good, affordable performance space nearly non-existent. Luckily, they’ve settled into the black box theater space at 95 Empire Street in downtown Providence. “The people at AS220 have been very helpful and supportive,” says Clement, the artistic director for CPT. He believes that move to a specific, visible space was key to their current recognition. Of course, talent, hard work and choosing a winning season are important too.

Their most popular show to date is Picasso at the Lapin Agile, written by Steve Martin. By the end of the second week’s run at 95 Empire, the show was so popular they were selling Standing Room-Only spaces. CPT believe they help bring a great reputation, as well as dollars, to the Ocean State, along with the larger institutions such as PPAC and other fine theater groups in the state.

Clement and Fox were quick to jump on the collaboration bandwagon in Rhode Island. Clement clearly admires “the really nice theater community” that exists in the state. Clement acted in Epic Theater Company’s Angels in America this year, and Epic’s artistic director, Kevin Broccoli, is already cast in CPT’s spring offering, Richard III. The original, Nico Was a Fashion Model, performed by CPT, was written by a colleague, J. Julian Christopher. The next production for CPT is an every-other-year favorite of theirs, the X-1 Series. Original radio plays from the 1950s and 1960s, written by science-fiction greats such as Isaac Asimov and Ray Bradbury, are staged by CPT with the original dialogue. The Atomic Bride of X-1 opens in November.

In addition to his directing and acting duties, Clement conducted a Meisner Acting Workshop, which was warmly received, at 95 Empire. He hopes to repeat that offering in the future. Fox, as executive director, makes sure everything stays on schedule and makes sense for their busy schedules. Fox has high level literary, literacy and English degrees. She is a published author, and has presented a number of scholarly papers at language conferences. Clement is co-vice chair at the Kennedy Center American College Theater Festival Region 1. And among his list of credits is study at the Actors Studio Drama School at the New School in NYC.

Awards garnered by the CPT from Motif this year are Best Supporting Female – Valerie Remillard Myette; Best New Work – Nico Was a Fashion Model; Production of the Year – Picasso at the Lapin Agile (the one they are most proud of) and Best Scene Design – Picasso at the Lapin Agile (most surprising according to Clement). With this kind of power-house talent and experience, Counter Productions Theatre has upped the ante for the rest of the Rhode Island theater scene.