Stacy Fischer pretty in pink as Trisha Lee in “The Pink Unicorn.”
Presented by SpeakEasy Stage Company
Written by Elise Forier Edie
Directed by M. Bevin O’Gara
Featuring Stacy Fischer
Video production design by Ari Herzig
Music by John-Allison Weiss
Dialect coaching by D’Arcy Dersham
Post-show Panel: “Learning the Impact of Language” Panelists: Taj M. Smith (he/him), Katie Omberg (she/they), Mx. Chris Paige (they/them), Leo Austin-Spooner (he/they)
March 5-18, 2021
The performance is available to stream
RUN TIME: 80 minutes, followed by a post-show panel discussion exploring the themes of the play
SpeakEasy on Facebook
Critique by Kitty Drexel
SpeakEasy Stage’s Content Advisory: “The Pink Unicornfollows one mother’s journey to accept her genderqueer teenager. In telling this story, this play contains multiple instances of transphobia and misgendering as well as ableist and fatphobic language.”
VIMEO — If it takes a white person to reach a white person on issues of racial inequity (it does), then one could reason that it takes a cis-hetero person to reach a cis-hetero person on issues of gender diversity. I’m not saying that these issues are at all equal. Hardly. What I am saying is that the compassionate tactics of one righteous cause will work on another equally as valiant cause.
SpeakEasy presents The Pink Unicorn through March 18. It is about a mother, Trisha Lee (Stacy Fischer in an endearing performance), coming to terms with her teenager’s genderqueer identity. Trisha is sharing her story through the virtual family and faith summit series, Walking Together. She sits at her kitchen table, sips tea and tells the anecdotes that culminate in her acceptance of her beloved child, Jo. Continue reading →
My sincere apologies to low re: review tardiness. The pandemic kills productivity like a mother.
ZOOM — Maximum Verbosity presents a holiday allegory to beat that tired one told every single Christmas. Get Thee Behind Me, Santa features cursing, sexuality, blasphemy and other microaggressions.
Get Thee Behind Me, Santa is an exceedingly fast-paced holiday allegory with an occasional rhyme scheme that pulls no punches. Jesus of Nazareth, Saint Nick, two angels with a greater appreciation for the physical form and a cast of other characters are determined to live in a better timeline, a timeline without a Santa cult.
It makes fun of the Da Vinci Code but it’s more similar to the popular 2003 mystery novel than it isn’t. GTBM,S jumbles together art, religion, science fiction, film noir, and other seemingly incongruent references into one tale. Therein lies the intended humor.
In humorous narratives of this ilk, the jumble of references is the point. Lists are par for the course. Except, GTBM,S is told at such breakneck speed that we aren’t able to absorb all of phillip andrew bennett low’s puns and scenes. They aren’t funny if we can’t savor them. The image of elves with super soakers is funny but, with low’s telling, blink and you’ll miss it. The same goes with many of the other clever bits concerning the Bible, popular soft drinks, and the Mayan civilization.
The funniest moments of GTBM,S are when low pauses after a character’s one-liner. Jesus said, “Howdy-do?” Low gave us time to react, so I did; I laughed.
Someone said (I couldn’t catch the character’s name), “I am amazed at how useless I find your vowels.” Low paused again; I laughed again.
I was able to respond in real-time to low’s work. It felt amazing. Audiences of artists want to respond to an artist. Please let us.
Theatre shouldn’t be a race to the finish… Unless it is. If the point of GTBM,S was to impress the audience with how quickly and how much low can spit a monologue, low succeeds. But, we couldn’t tell that this was his goal. He needs to indicate this to us.
Some of this can be excused by the medium of Zoom. A one-person show without an audience is torture for an artist. We create with the presumption that an audience will share the room when we perform. Without the audience, we fly by the seat of our pants. It’s anyone’s guess how things will turn out. We can only hope for the best.
Based on the GTBM,S trailer from the 2019 Minnesota Fringe, I’m going to make an educated guess that low’s speed is intentional. If low’s intent truly was to tell a convoluted story overflowing with references across modern and archaic world history while ripping Christianity a new one, he needs to slow down so the audience can receive the story.
Storytelling can be as alinear as the space time continuum but, if it’s for an audience, it also has to be available to that audience. Artists need to perform at the same speed that an audience listens. Anything else is masturbatory.
Next performance of Get Thee Behind Me, Santa: Friday 7/24 at 9:00pm
FestivalPVD runs July 19 – August 1, 2020 Information about the 2020 festival HERE FringePVD on Facebook
(Boston, MA) I’ve never understood how some people can believe that it’s acceptable to be drastically unkind to others because “God told (them) to.” God is a terrible excuse for being a bad person. Morality structured around a potentially imagined creator that lives in the sky is not stabilized morality. Yet, plenty of people are beholden to this creator, if there is one, for their good behavior. Continue reading →
(Boston) In a television studio’s newsroom, sentiment is well known. It’s strange that The Power of Duff’s main conceit is that news anchor Charles Duff (the excellent David Wilson Barnes) scandalizes a nation by praying on air at the end of the show’s broadcast. While the reactions to Duff’s sermons are difficult to swallow, especially in the play’s first half, it’s fascinating to watch the everyday lives of these characters unravel as they reach out to connect with one another. Continue reading →
(Cambridge) This Cirque du Soleil meets Fosse production of “Pippin” tells the tale of the Everyman, a youthful personification of any adult tentatively beginning the journey toward self-knowledge. Our young hero seeks the meaning of life in all the wrong places: violence, sex, politics, and other follies of inexperience. What the audience soon realizes is that Pippin, son of Charlemagne (the Emperor who not only made Christianity famous but mandatory), for all his proclamations, isn’t special. He is on the same journey that all young adults travel in their search for self – plus or minus some fantastical hardships and an orgy or two. What our hero discovers on this epic ego-trip is that, after he finds and secures a lasting relationship with meaning, he doesn’t know what to do with it. Continue reading →
Martin Rayner as Freud and Mark H. Dold as Lewis c 2010 by Kevin Sprague
Freud’s Last Session by Mark St. Germain, Barrington Stage Company Production, The Marjorie S. Deane Little Theatre at the West Side Y. (Off-Broadway). 1st Run: July 22-November 27, 2010, 2nd Run: 1/14/11-open run.
Reviewed by Becca Kidwell
What would happen if Sigmund Freud and CS Lewis took a meeting? That is the premise of Mark St. Germain’s play Freud’s Last Session. Freud, played by Martin Rayner, invites the young scholar CS Lewis, played by Mark H. Dold, to find out how someone who had been a rational atheist could be deluded into believing in the “myth” of Christianity. Dr. Armand M. Nicholi, Jr.’s book, The Question of God, influenced St. Germain to posit what might transpire between these strong individuals. Continue reading →