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We Might Be Heroes Shows We’re All Heroes Potential alien invasion is Hollywood’s forte, but EPIC Theatre’s Kevin Broccoli has adapted the notion for the stage in his sixth mammoth monologue marathon, We Might Be Heroes, running through July 26 at their 50 Rolfe Square location. At this point, there are very few actors in the region who haven’t tackled one of Broccoli’s tailored monologues, most of which have been custom written for these sprawling, multi-evening themed pieces involving literally hundreds of actors. This time around, he’s pushed the envelope with over 500 performers exploring the notion of impending doom from the skies and the government search for those “special” individuals who may possess some power, some extraordinary ability that could potentially be exploited in the effort to save the planet from annihilation. Of course, we don’t ever see any aliens and Heroes is hardly a sci-fi romp. Like most of Broccoli’s work, the struggles are rarely external, with each short piece exploring the nature of humanity as desperation begins to creep in around the edges. Some simply know they are superheroes and their concern is how people will react to the necessity of them being naked while they battle (the comics and movies always leave out the possibility of gargantuan genitalia when a hero morphs into monster form). Others are far more reluctant or not sure if their abilities are even useful (the ability to *slightly* levitate, for instance). Some of these pieces are monologues, others are small scenes, but all have one thing in common – the notion of being a hero is sometimes in the small things we do every day and superpowers do not a hero make. As Broccoli states, it’s about people with “great potential and potential greatness.” Obviously, no two nights of We Might Be Heroes is the same, with different actors and different pieces at each performance. Some pieces do repeat, however, so seeing Lynne Collinson perform a sweetly sentimental scene with her real-life granddaughters is worth trying to find. Some performances are one- offs, such as a particularly well-executed variation on the theme featuring Andrew Conley as a young man off to sign up for the war, with only a vague idea of his special ability to not die – as long as he isn’t killed first. He is met by a young woman, portrayed by Jeana Ariel Garcia, who has the ability to know exactly when someone *will* die. It’s a simple scene, but it covers a lot of philosophical ground in that slacker way that imparts some deeper thoughts without sounding ponderous or pretentious. Broccoli is careful to order each evening’s actors in order to give some kind of chronological order to the shifting moments of focus. However, the first evening ended with Geoff White inviting us into his world, a la Mr. Rogers and summing up the themes of the evening. It is the piece slated to end every performance as a way to break the walls down for a little while and engage the audience directly. It’s a schmaltzy moment, but a nice cap to a stretch of performances that, on opening night, varied in execution and success. However (and Broccoli states this explicitly), if something doesn’t quite work or excite, there’s always the next one, which may bowl you over. It’s not as patchy as it sounds and Heroes certainly satisfies on the level it’s meant to. The theme is fun and interesting and the recurring ideas of inner strength and the ability of mankind to step up to the plate in times of crisis is worth seeing across multiple nights, if, for no other reason, than to witness such a magnificent collection of actors in the same place. The notion that it doesn’t take an alien invasion (or it shouldn’t) to make a hero is both sound and entertaining. We Might Be Heroes shows us all of the myriad ways that heroism is possible, with or without uniforms, or even clothes. EPIC Theatre Company presents We Might Be Heroes, written and Directed by Kevin Broccoli. Performances: July 17, 18, 24 and 25 @ 8pm, and July 26 @ 7pm. All performances at the Artists Exchange, located at 50 Rolfe Square, Cranston. For tickets go to artists- exchange.org/epictheatrecompany.html 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. Idle Brings Christmas in July to Newport Photo credit: Shea’la Finch While many of Rhode Island’s theater companies enjoy (or suffer from, depending on their point of view) a freedom from having to perform in a particular venue, Strange Attractor Theatre Company isn’t pinned down to a particular city or even a particular state. They have roots in Rhode Island, Pennsylvania and Alaska, so it’s no wonder if you’re struggling to recall their name. However, since 2010, Strange Attractor has been offering up innovative, challenging and unique pieces that often defy traditional expectations of the theatrical experience. Much like the oft-missed Theater of Thought’s site- specific productions, Strange Attractor often brings the audience inside the piece and walks a perfectly fine line between actively engaging spectators and traditional storytelling. 2011’s If You Shoot A Boot You Might Get Wet was beautifully baffling, exploring the lives of a couple who live in a house made of suitcases. One of their first productions, Special Happy, was “an absurdist birthday party thrown for the audience.” Their latest local offering, Idle, follows in similar tradition as we are invited into a private home in Newport for an annual Christmas pageant hosted by a pair of uncomfortably close, possibly inbred, and ultimately laugh-out-loud adorable twins who quarrel, sing, dance, tell stories and unwittingly allow us into their Flowers in the Attic-esque lives. Idle has been in development for over a year, with initial workshop performances taking place at the Mathewson Street Black Box Theater, but now the show is fully formed and actually happening in a living room in a private residence in Newport.

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