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. At first, the idea sounds iffy, not unlike private house concerts, but the conceit, in this case, is perfectly executed, with a small audience gathered outside on the lawn, preshow, not knowing what to expect. Eventually, we are invited inside to a cozy, purposefully stuffy, old-fashioned kitchen by a deliciously sulky maid (played by stage manager Nicky Mariani) who dishes out cookies and hot cider, and Idle is surreptitiously underway. While wonderfully tacky Christmas jingles waft through the air, we peruse the guest book and realize that we are now part of a continuum of annual themed Christmas gatherings, some of which appear to have involved some undefined nastiness. The book reads like a schoolgirl’s scrapbook and it’s clear that the pageant is considered a big deal by … someone. Tina, the maid, makes mention of “the twins” almost being ready, and soon they burst into the cramped kitchen for a quick and peculiar hello before we are ushered into the living room.

Jed Hancock-Brainerd and Casey Seymour Kim, both recently featured to great effect in The Gamm’s Marie Antoinette, have created a duo on par with the best of Monty Python (see the “Upperclass Twit of the Year” sketch for a reference). Their interplay is beguiling, over-the-top and amusingly offensive as these old money siblings with their Little Lord Fauntleroy hairdos make the maid “speak like they do in Johnston” and bemoan the lack of burnt cork, preventing a blackface presentation. As mentioned, the pageant actually takes place in the living room of this stately Newport house, but has been transformed (by the twins) into a home theater, complete with curtains, footlights and sound cues. We are invited to sing along and given sheet music in order to do so. Now, all of this might wear thin quickly, no matter how addictive the performances, but an undercurrent of sadness and tragedy is deftly woven into the proceedings. We get hints that the old money may be running out (“I think it’s Obama”), but more unsettling is the mention of an unseen sister whose existence is teased throughout the guestbook, if you’ve looked carefully enough. We’re warned of supernatural occurrences being a possibility, hidden stashes of liquor are retrieved by Tina and a general sadness pervades the jocularity even if the show must go on at all cost. And it does so, wondrously.

Idle is essentially sold out for the remainder of the run, but it would be a disservice to those who have reservations and those who may be able to snag a seat by cancellation to reveal more of the action. Suffice it to say that what seems like a loose, almost improvisational romp is carefully crafted (Rebecca Noon directs) and Clara Weishahn (recently seen at both The Gamm and Wilbury Group) has a large and beautifully eerie part in all of this. While the twins give us the most sublimely uncomfortable dance moves since Little Miss Sunshine, Weishahn’s performance is ethereal, hilarious and intensely creepy all at once.

Idle is a gem and audience members feel as if they’ve been let in on a precious secret that few will ever share. It is hard to imagine this production taking place in a black box theater or larger venue, simply by its very nature, so we can only hope that Strange Attractor resurrects the performances again in the same place or the show will simply have to fade into “you had to be there” infamy. Keep your eye on their website and sign up for the email list, for Strange Attractor deserves notice among this crowded Rhode Island theater scene, especially five years in. You have been notified.

Strange Attractor presents Idle in Newport July 18 and 19 at 2pm and July 18 at 6pm (with some availability remaining). Email [email protected] for reservations and location. For more information, visit strangeattractor.org. FringePVD Celebrates Art in a Week-Long Festival

When Josh Short decided to join the Fringe fray and include the Creative Capital in the ever-growing list of cities producing annual festivals, he was a reluctant curator. Not wanting to stray too far from his role as Wilbury Group’s Artistic Director, Short was certainly willing to lend his name, his theater and his experience toward jumpstarting an event for new, often offbeat, performance pieces that don’t normally have a home base. With so many theaters and performance options available in Rhode Island alone, it is mind-boggling that we still have several artists who don’t have a niche or a venue for their particular creations. FringePVD addresses that need and, in its second year, Short is still on board and working to expand last year’s boundaries. Motif spoke to Short and Associate Director Kate Kataja in order to get an update on what to expect from FringePVD 2015.

MOTIF: Tell me something about FringePVD 2015 that’s not in the press releases.

Kate Kataja, Associate Director, FringePVD: Something that isn’t in the press release … hmm … well, this year we have an incredibly varied collection of performance, which we’re very excited about. There is everything from fabric sculpture to a Shakespeare/Where the Wild Things Are mashup to performance being created in real time, covering the mediums of dance, theater, music, spoken word, mixed media, performance art and more.

MOTIF: What are your thoughts on how this year has developed from last year’s FringePVD debut?

Josh Short, Executive Director, FringePVD: The major change between this year and last is the creation of the steering committee. Last year it was basically myself and Steven Pennell (from URI Providence) muscling our way through the planning process by ourselves. When we started planning this year’s festival we knew we wanted to put together a committee made up of performing artists, venue stakeholders and leaders from the local arts community who would not only help to share the workload, but bring important new points-of-view to the festival as a whole. With their support, the planning process has been much smoother, and it’s enabled the rest of the staff to pursue new ideas (like the Family Fringe Festival, and site-specific performances at The Dean Hotel) that we wouldn’t have had time to pursue otherwise.

KK: It’s really inspiring to not only see the caliber of artists that the growing national attention of this festival has attracted, but even more so, the increased number of local artists we are able to support and highlight this year. FringePVD has doubled in size (both in number of participating venues and number of participating artists) from its first year, and that is due in no small part to the dedication and hard work of everyone involved, and the support from the city of Providence. I think that the anticipated success of this year’s festival is two-fold: it clearly shows the interest from a strong community like ours in celebrating art of all kinds and the artists who make it, and Josh’s unwavering vision and desire to help support those artists. It’s because of that passion and vision that people like me are involved this year. You don’t have to put in that last sentence … Okay, you can tell Josh I said that, I don’t mind!

MOTIF: What are you, personally, most excited about this time around?

KK: I’m most excited about all the new things we have this year: pop-up performances, Family Fringe Day and site-specific performances at The Dean Hotel. I think these additions make our festival even more exciting and unique. I’m also really thrilled that our community will get to experience so many different kinds of art and artists throughout the week that they might not normally get to see. That’s what FringePVD is all about — providing artists a platform on which to show their work, and giving audiences the opportunity to see that work in a truly affordable and accessible way.

And, although events such as the Out of the Box Festival occur in Boston, FringePVD is still the only true Fringe event of its kind in the area. July 21 – 25 will bring a dizzying array of performances in venues such as the AS220 Black Box, Aurora, The Wilbury Group, Mathewson Street Black Box Theater, Chifferobe Atelier, The Avenue Concept, Peace and Plenty Park, URI Downtown campus and many others.

One of the most intriguing (or the creepiest) may be at The Dean Hotel downtown, in Room 212, specifically. From July 22 – 25 at 8pm, you can see Where the Wild Things Are by Andrew Polec. The event description simply states “Max, upset with his mother, ventures to Where the Wild Things Are to find murder, Shakespeare, betrayal and ultimately, himself.”

If such intimate surroundings give you pause, you can take in another round of Roadhouse: The Musical (July 21) or IS/ISN’T by Antonio Forte and Paul M. Cote (July 25) at the spacious Wilbury Theatre on Broad St. The choices are many and one can either plan ahead and map out a route of performance places and times, or simply stumble across whatever happens over the course of the week. Either way, there is something for everyone and even some things for those who feel as if they don’t quite fit in with anyone.

FringePVD 2015 is presented by The Wilbury Theatre Group, in collaboration with URI Providence Campus and with support from the Providence Tourism Council and Motif magazine. Performances begin with an opening celebration at Aurora on Monday, July 20 and continue through Saturday, July 25. For a complete listing of performances, visit fringepvd.org.

2015 Motif Theater Awards – Vote Now!

We polled the local theaters and theater writers, and the nominees are in. Now it’s up to you to select the winners.

Vote here

Your participation lets our locals – professional, community and college – know that you value and appreciate the great work they do. Thank you!

No Doubts about “Doubt”

The Community Players are finishing their 94th season July 10 – 19 with Doubt, A Parable by acclaimed playwright John Patrick Shanley.

Doubt takes place in a Catholic school in the Bronx in the early 1960s. Father Flynn, a charismatic priest, is supected of paying too much personal attention to a young student. The unfolding drama engulfs the school’s staunch principal Sister Aloysius, who finds herself in a battle of wills with Flynn.

In 2007, the play was adapted into the Academy Award nominated film Doubt with Meryl Streep and Viola Davis.

The story holds a lot of fascination for director Eric Barbato, who tends to gravitate toward what he refers to as “edgy” material. Doubt also has an ambiguity that appealed to the director. “It’s the type of show where it doesn’t make a conclusion for its audience,” Barbato told Motif.

Barbato has high praise for his cast, which features Aubrie Bagdasarian as the hopeful young Sister James, Mary Paolino as the stoic principal Sister Aloysius, Sonya Johner as the boy’s mother Mrs. Muller and Joe Wilkicki as Father Flynn. “They’re a great crew, they work hard, they laugh a lot,” Barbato said. Barbato’s involvement with the Community Players began 14 years ago. He served as an assistant director on Jesus Christ Superstar and Thoroughly Modern Millie, and went on to direct I Hate Hamlet.

Barbato hopes audiences will leave Doubt with reflections on how people treat each other in modern society. “We live in an age where it’s so easy to spread a bad or malicious word about anything or anyone,” Barbato noted. “The message (of the play) is make your own choices based not only on what you feel, but on what you see and what you hear and don’t be so quick to judge and destroy a person’s reputation.”

Performances of Doubt are Friday and Saturday evenings at 8pm and Sunday matinees at 2pm. All shows are performed in the Jenks Auditorium, 350 Division St, Pawtucket. For more information, visit their website at thecommunityplayers.org or call 401-726-6860.

My Fair Lady: When a Man Loves a Woman…

Last year’s first-rate production of My Fair Lady at Ocean State Theater Company set the bar pretty high for other acting companies to reach. Fortunately, Theatre By The Sea managed to capture the magic with some charming performances accented by a brilliant book and music by Alan Jay Lerner and Frederick Loewe.

Television star Charles Shaughnessy (“The Nanny,” “Days of Our Lives”) stars as the refined linguistics professor Henry Higgins, who discovers Eliza Doolittle selling flowers on a London street. Higgins hopes to teach the crude and uneducated woman some proper decorum in order to fit into English society.

At first, it seemed Shaughnessy was playing the role too broadly, but his performance really grew on me. Shaughnessy displayed some sharp comic timing and was superb on “A Hymn to Him” when Higgins wonders “why a woman can’t be more like a man.” Another highlight was “I’ve Grown Accustomed To Her Face,” when Higgins proclaims his love for Eliza.

The real star of this production, however, was Kerry Conte, who showed the right amount of grit and determination as Eliza. Conte also is a fabulous singer. She excelled on “Just You Wait,” “Wouldn’t It Be Loverly” and “I Could Have Danced All Night.”

The supporting performances were outstanding across the board, especially Tom Gleadow as Colonel Pickering and Bill E. Dietrich as Eliza’s drunken father, Alfred. Dietrich brought a madcap zany energy to the role and had a ball with “Get Me to the Church on Time.” Zachary Berger was charming as Freddy, who becomes smitten with Eliza. He sings the sweet ballad, “On The Street Where You Live.”

Overall, this version of My Fair Lady delivers. It’s sweet and has some wonderfully funny moments. The interplay between Eliza and Higgins anchors the drama and makes one think of how men and women treat each other in contemporary society. Their relationship is alternately tender and fractious and is one of the reasons why this show continues to endure.

My Fair Lady runs Jun 24 – Jul 18, Tues through Sun. Check the website for exact dates and show times. Tickets are on sale by phone at 401.782.8587, online at theatrebythesea.com, or in person at 364 Cards Pond Road, Wakefield.

One-Hour Theater Challenge: Never the Same Show Twice

Writing about something like the One-Hour Theater Challenge, CTCs’ current offering, is a bit like trying to nail a bag of jelly to the wall – there’s no way to keep it contained or centered. In one sense, it’s a new play festival, with short works written primarily by CTC company members and associates. In another sense, it’s an acting challenge where that night’s assembled cast attempts to deliver 25 of these new works within an hour or face some unknown consequences. Both are true, but neither is exclusively the point. Director Ryan Hartigan takes these elements and forces an audience to engage in what could amount to something like a theatrical game show, but plays out as an immersion into what he terms “micro-theatre.” Each short play, selected by audience members based purely on title alone (Hint: Don’t assume that the wackier a title, the stranger the play) is given a fully serious treatment, complete with lighting, sets and props. The fourth wall is removed for as long as it takes to explain the rules and set up each piece, but once the timer starts, they’re going for all the marbles, whether it’s the surreal, dark family comedy of “Figgy Pudding” or the spine-tingling seriousness of “Terry Simpson Starring Terry Simpson” (which may or may not star CTC stalwart Terry Simpson).

The One-Hour Theater Challenge contains many elements familiar to regular attendees of the CTC’s non-mainstage events, such as Micetro, the superb weekly improv show. Challenge is not improvised in any way, but the audience engagement and the familiar, bright tshirts are present and the cast has scant time to prepare their performances after seeing the final 25 plays selected right up to showtime. CTC’s annual 24-Hour Play Festival starts with prompts to the playwrights in order to grease the wheels, and all of these plays are also based upon similar prompts from CTC Artistic Director Chris Simpson. And, of course, anyone who saw the production of Too Much Light Makes The Baby Go Blind from several years ago will notice some of the key inspiration for the format. However, Challenge combines all of these characteristics into something new and unique. The format begs repeated viewings, not only in order to see all of the possible plays, but to see some of the same plays with different actors. The possibility also exists (and this is where the audience, especially a repeat audience, has power over the proceedings) to see the same plays in a different order. The effect is not unlike what would happen if you constantly hit shuffle on a 90-minute playlist, but only gave yourself an hour to listen. Sometimes, randomization will create an eclectic feast, or you may wind up in sentimental pool of tears.

Hartigan states that One-Hour Theater Challenge may be “a cult classic in the making,” and he is not incorrect, especially since there is no room for complacency. New plays are constantly being added to the rotation and new actors constantly prepping for inclusion. Those who follow a band around because “it’s never the same show twice…and you don’t want to miss a classic” holds true here as well. Some of the pieces may hold up better than others, but that’s ok. If something doesn’t quite work, you only have a few minutes until it’s over and the next completely different one begins.

The only fault that seemed evident in this early performance (Motif attended the second night) was the lack of urgency leading up to the time limit. The much ballyhooed “audience punishment” that would be meted out if the cast failed to perform all 25 plays in one hour did, in fact, occur. Perhaps it was because two of the slower, more thoughtful pieces occurred right before the clock ran out, but one would expect some frantic race toward the finish line and much gnashing of teeth. Instead, the clock politely ran out, the (admittedly nasty) punishment was delivered by a volunteer, and then the cast picked up right where they left off. It was hard not to feel a little slighted by the premise after that, but the payoff was that we got to see a few more terrific short plays instead of being sent out into the street wanting more. It would be tempting to end things that way, but it is the cast that is meant to be punished, not the audience. And, as the run progresses, they will find ways to raise the stakes a little more as the minutes tick closer towards the moment of truth. Another case made for repeated viewings of the One-Hour Theater Challenge. Bring your stopwatch.

CTC presents the One-Hour Theater Challenge through Sept 5. 327 Main St, Wakefield. Call 401-218-0282 or visit contemporarytheatercompany.com for more details. Venus in Fur: Pleather and Plays

Playwright David Ives is a polarizing figure: audiences either love him or hate him. His work often has an irreverence that some find hilarious and others find off-putting. At his best, Ives can be as funny as Monty Python, as in his classic six-minute short play Philip Glass Buys a Loaf of Bread (performed by 2nd Story Theatre a few years ago). If you’re the sort of person who watches Spamalot (or Monty Python and the Holy Grail) and questions why the knights are riding coconuts instead of horses, Ives is not for you.

A bit of background is helpful for those not already familiar with 19th Century German-language pornography. In 1870, Leopold von Sacher-Masoch published an autobiographical novella Venus in Fur about his unconventional relationship with the writer Fanny Pistor, who in real life used the alias (and fake title) “Baroness Bogdanoff.” In the novella, the narrator, presumably von Sacher-Masoch, introduces a book-within-the-book, Memoirs of a Suprasensual Man, in which the author creates fictional versions of himself and his lover as “Severin von Kusiemski” and “Wanda von Dunajew,” respectively, where Severin pretends to be Wanda’s servant “Gregor” so that he can be humiliated and mistreated by her because he finds this erotically exciting. (After von Sacher-Masoch’s death, his widow Aurora von Rümelin published her memoirs under the pseudonym “Wanda von Dunajew,” taking the name of the fictional character who was, ironically, not based on her.) The real-life novella was pretty much the Fifty Shades of Grey of its day and would be deservedly forgotten except that it gave rise to the word “masochism,” coined in 1886 from the name of the author without his consent by early Austrian sexologist Richard Freiherr von Krafft-Ebing. One could make a plausible case that two world wars might have been prevented if the Germans had better porn.

Skipping ahead 140 years before this all becomes a meta-meta-meta swamp of confusion, Ives’ 2010 play, also named Venus in Fur, is about a modern director, Thomas (Richard Derry), who is overwhelmed and harried trying to stage his own adaptation of the historical novella. Thomas is pussy- whipped, to use an extremely non-politically-correct phrase that nevertheless perfectly describes his situation, by his unseen fiancée who repeatedly telephones while he is working.

Ives’ ear for dialogue is as good as it gets, and this presents a formidable challenge to his actors, especially in the two-character Venus in Fur where the female lead is not only not what she claims to be, but is not even what she claims not to be. (The character of Vanda is a showcase for virtuoso acting, and Nina Arianda won the 2012 Tony Award for creating the role on Broadway.) Rising to the challenge at 2nd Story, Lara Hakeem as “Vanda” brilliantly runs the gamut from a Fanny Brice-like aspiring actress with a touch of Brooklyn accent to the 19th Century Austrian aristocrat character for which she is auditioning. It seems a remarkable coincidence that the actress, arriving so late to her audition that everyone except the director has gone and he is on his way out, shares the same name as the character she wants to play. The eagerly anticipatory Vanda brings a bag of tricks she must have borrowed from Felix at the cathouse.

Although the 1870 novella is often mistaken as a proto-feminist endorsement of female empowerment, it is no such thing to any greater extent than disposable romance novels could be regarded as feminist because the girl protagonist always gets the guy. The dichotomous pair of the dominatrix and her submissive calls into question the underlying idea of role-playing: we the audience are watching two actors playing two characters in a modern play who are playing actors in a play-within-the-play that is an adaptation of an old novella about two characters in a book-within-the-book who are based on a real- life dominatrix and submissive, the latter of whom is the author of the novella. All of this meta- theatricality is fun, like watching the knights in Spamalot riding their coconuts: the knights know they’re not horses and we know they’re not horses, but we never do find out what the coconuts think.

Ives’ modern play, however, is overtly feminist. At the outset, the power dynamic between Thomas and Vanda is heavily unbalanced in his favor, as she is an aspiring performer auditioning for the play he wrote and is directing. As the situation evolves by increments, the power between them begins to be exchanged, first by her winning her battle to get him to stay and let her read for the part, and then because he realizes she is a natural for the role. How much of Thomas has he written into the male character in his play? How much of Vanda is in the female character Thomas has written? What happens when fantasy threatens to become reality, and should the opportunity be seized? Or is it too dangerous?

Venus in Fur, directed by Ed Shea, 2nd Story Theatre, 28 Market St, Warren. Mature subject matter unsuitable for anyone under 18, including core themes of bondage, discipline, sadism, and masochism. One act without intermission, about 90 minutes. Thu (6/25, 7/23, 7/30) 7:30pm, Fri (6/26, 7/24, 7/31) 7:30pm, Sat (6/27, 7/25, 8/1) 7:30pm, Sun evening (6/28) 7:30pm, Sun matinee (6/28, 7/26, 8/2) 2:30pm. Handicap accessible. 2ndstorytheatre.com/show/venus-in-fur/ Tickets: app.arts- people.com/index.php?actions=4&p=1

The 1870 novella, translated into English: gutenberg.org/ebooks/6852

Academy Players has a “Great Big Hit” with Dirty Rotten Scoundrels

I always believed that big flashy musicals don’t work in intimate black box theaters. You need the large stage, the cat walks and the separation of the house from the stage. I am happy to announce that Academy Players’ production of Dirty Rotten Scoundrels has proven me wrong. This production envelops you in the world of the French Riviera from the moment you step in. Rita Maron’s set design welcomes you to the coast of France, and as you sit there you can’t help but wish for flip-flops and a drink with an umbrella in it. The show’s opening number is the overture, which is generally the time to check out your playbill, and double check that your phone is off. Maron’s choreography, however, sucks you right into the story, and the ensemble plays their part perfectly! The show opens with Lawrence Jameson, played by Jack B. Klaus and his “bodyguard” (the chief of police) played by Zach Searle. After tricking another target out of her money, Muriel played by Justine Durvin, Andre warns Lawrence of a new con man in town, “the jackal.” Lawrence then witnesses Freddy Benson swindle a woman out of $20, and assumes he is the jackal and will have to run him out of town. Through a series of events, Freddy convinces Lawrence to tutor him in the fine art of the con. On opening night, Freddy was played by Kevin Broccoli. By Act Two with the introduction of Christine, played by Alison Kelly, things get a bit more complicated. It’s a large cast, and not everyone can be mentioned, which is not to diminish their talent. However, here are some highlights.

Jack B. Klaus plays the polished, experienced con man well. Watching him slip between cons was a true delight! Zach Searle shows a range of emotions from the bored “bodyguard” to the crazed lovesick man in Act Two. Even when he would do something as simple as fiddling with his cigarette he embodies the character fully and keeps the audience laughing. And his voice shines through in his songs. A definite highlight of the production is Durvin’s portrayal of Muriel. She was hysterical, a true comedic actress. Kevin Broccoli had me in stitches almost every time he was on stage! And his rendition of “Great Big Stuff” was truly memorable. Alison Kelly’s Christine is endearing.

It’s always nice to hear live music in a theatrical production. The pit sounded great, albeit they sometimes were a bit too loud. Thankfully powerhouse voices like Broccoli’s and Searle’s could carry over it, but it is a bit more difficult when you’re hitting those high notes. It didn’t diminish from the performances, however.

Rita Maron is Academy Players. She has her hand in everything, and is so experienced and talented at it all; she is a true gift for this group. Maron directed, and designed the choreography, set and props. This multi-talent put her own mark on the show with a hilarious nod to Les Mis, and even little Rhody at one point! To say that it is difficult meshing teens in with adults would be a gross understatement. Maron accomplishes this with ease, and so seamlessly that you forget there are younger people mixed in with older cast members. She is clearly showing them that they have to take this seriously, and it is clear that they do. This is not an easy show to put on between the big musical numbers and, of course, the accents. I checked the production staff list and saw that a dialect coach wasn’t listed, so I can only assume this was handled by Maron as well. Job well done!

What I really loved about this production was what it stood for. This was a show that had not children, but some people on stage who are under 20. Oftentimes it is difficult for younger people to get an opportunity to perform onstage, especially in such well-known shows. However, that is not the case at Academy. I love that these young performers are learning about their craft in such a wonderful environment. And these kids are being taught the correct way to do theater. They are in a nurturing environment, learning from seasoned theater veterans. You watch the ensemble, and you can see the future of theater in Michael Pion, Genesis Johnson and Maressa Maron.

If you need a good laugh and want to kick off your summer, you NEED to go online to the Academy Players website at www.academyplayersri.org to purchase tickets. The show runs until Jun 28.