Tributes in the Arena. Photo credit imaginary beasts.
Presented by imaginary beasts Directed by Matthew Woods Written by Matthew Woods & Noah Simes Costumes: Cotton Talbot-Minkin Visual Design & Illustration: Lillian P.H. Kology Production Stage Management: Sophia Nora Giordano Video Editing & Design: Sophia Nora Giordano Technical Direction: Bob Mussett Puppet Design & Construction: Sophia Nora Giordano & Jamie Semel Cast: Michael Chodos, Laura Detweiler, Molly Kimmerling, Catherine Luciani, Tara Harbert, Colin McIntire, Amy Meyer, Bob Mussett, Elizabeth Owens, Jill Rogati, Kiki Samko, Jamie Semel, Noah Simes, Derek Smith, Jennifer Taschereau, and Matthew Woods with Sara Kenney and Hannah Uher
March 13, 14, 20 at 4:00 pm ET and March 19 at 7:30 pm ET on Zoom New show added! March 21 at 4 pm! Tickets: imaginarybeasts.eventbrite.com All tickets are Pay What You Wish with a $0 minimum imaginary beasts on Facebook
Review by Kitty Drexel
ZOOM — The imaginary beasts yearly panto is a Massachusetts theatre institution. It doesn’t feel like wintertime without it! So thank goodness the beasties rallied and produced their February family-show in March. Continue reading →
Home Office Created & Written by John J King & Ramona Rose King A J-RexPlays Production Quick, Fun & Dirty, for the People www.J-RexPlays.com Venmo: @JRexPlays
Review by Kitty Drexel
ASTORIA , NY — Creators and Boston community members John J. King and Ramona Rose King moved to New York City! During a pandemic! Home Office: Season Two follows their adventures in their new city. They find work, new friends, and opportunities all within a two-block radius.
A summary from YouTube: Home Office returns for a second season, following Mona and Jonathan as the couple moves to New York City mid-pandemic and struggles to get jobs, forge friendships, and take on their most collaborative project yet.
The second season is brief. It’s five episodes. The first season was was twelve. The stakes are higher but the circumstances are just as twee. Watch them navigate their relationship in a minuscule Astoria apartment without killing each other. As John says in episode three, “It’s nice!”
Also available to stream:
Mr. Parent presented by Theaterworks Hartford Based on stories from Maurice Parent Playwright: Melinda Lopez Conceived with and directed by Megan Sandberg-Zakian Video Multimedia Production Jared Mezzocchi Associate Video Editor Katerina Vitaly ASL Video Editor Cassandra Saulski Audio Mix/Mastering Matt Berky, Massive Productions
Presented by Hub Theatre Company of Boston Written by Trent England Directed by Daniel Bourque Stage management by Madeline Hartrich and Kelsey Whipple Sound Design by Kyle Lampe Digital Design by Justin Lahue
Feb 20 – Feb 27 2021 Youtube Presentation Boston, MA 02116 Hub on Facebook
Critique by Kitty Drexel
YOUTUBE — Anxiety is a feminist issue. Women are told they are too emotional, too sensitive, and too fragile. Our responses to stimuli are so criticized that we disbelieve our own experiences. We distrust our own instincts – no matter how perceptive.
Believing women is the basis for the #MeToo movement. Trust women, we say. The message should carry a caveat to emphasize that society must grant women the benefit of the doubt in all situations. Believe us when we’ve been assaulted and at other times, too. Believe us all the time.
Hub Theatre premiered Solitaire Suite by Trent England on February 20. Marty Mason is Celeste, a conscientious mother on a car ride with her husband Pete (Cristhian Mancinas) and their son, Tiger (Michael Lin). Celeste tells the viewer about how her family came across an unidentified flying object on their way home from retrieving Tiger from a failed sleepover. The family follows the UFO and has an unexpected engagement with the unknown. Continue reading →
Central Square Theater 450 Massachusetts Avenue Cambridge, MA 02139 CST on Facebook
Critique by Kitty Drexel
ZOOM/Cambridge, MA — Central Square Theatre’s presentation of Fannie Lou Hamer: This Little Light was a hot and sticky mess. This event didn’t have technical difficulties; it had technical catastrophes. An evening that should have been about civil rights warrior Hamer was rife with distractions instead.
The audience was told at the beginning of the event that Dr. Young wouldn’t be able to perform for us that evening but that a recording of her performance would be played. While this was unfortunate, we could sympathize with Dr. Young. Her body is her instrument and instruments can be fickle. The Women’s Vote Centennial Panel would continue as scheduled. Continue reading →
Produced by the Player’s Ring Theatre An original play by Irene Kelleher With Emily Karel Directed by Peter Josephson Presented by Glass Dove Productions
October 2 – 11, 2020 105 Marcy Street Portsmouth, NH 03801 Player’s Ring on Facebook
Critique by Kitty Drexel
Portsmouth, NH — According to an email press release from Player’s Ring Theatre in New Hampshire sent on September 8, the company will open its doors to the public beginning on October 2 for its production of Mary and Me by Irene Kelleher.
The company closed its doors in March due to the pandemic. It is reopening for live performance after making adjustments for audience safety. These include a new air handling and ventilation system, reduced capacity, social distancing at six feet, a health check at the door, and a mandatory mask policy.
The theater seats 75 patrons at capacity but only 33 seats are for sale to ticketholders. Only bottled drinks will be for sale. Seat assignments will be allocated by the Player’s Ring box office.
Production manager Margherita Giacobbi said in the press release, “Our number one priority in our decision to reopen has been the safety of our artists, volunteers, and audiences. We are following all State and CDC guidelines to ensure a safer environment (emphasis mine).”
Image via http://www.judithkalaora.com/i-now-pronounce-you-lucy-stone.html. Kalaora looked as luminous during the performance as she does here.
Presented by History at Play’s Pay-Per-Hap program Researched, written, produced and performed by Judith Kalaora Music by Deborah Goss Friday, August 21, 7:30 – 9 PM
Livestreamed on Facebook History At Play on Facebook An Upcoming Schedule of Performances
Critique by Kitty Drexel
Apologies to Judith Kalaora and the History At Play team for the tardiness of this post – we were without internet for five days and unable to post this review.
FACEBOOK LIVE — The one-woman show, I Now Pronounce You Lucy Stone, began with a light, off-camera folk song performance minutes before 7:30 PM on August 21. Stone’s (Judith Kalaora) vibrant, full-bodied voice was heard as she puttered just offstage. As we learned, she had a lot to prepare for. MA native Lucy Stone fought for women’s right to vote in the 1840s. She nearly did it too. Unfortunately for all female-identifying individuals, women would have to wait another 80 years before wringing the privilege from men’s totalitarian grasp. Continue reading →
“What do you call an anti-vaxxer in the 1920’s? …Dead!” – Edith Shlivovitz
Trigger warning: screen kissing
YOUTUBE — Edith VS. Quarantine: 89 & One Tough Cookie opens on Edith Shlivovitz up to her elbows in household detritus for donation, ropes of pearls swinging around her neck, plastic-framed glasses matching perfectly her cheetah jumpsuit. Edith is a character: she won’t take any of your crap. She’s stir crazy and has no more fucks to give.
EVQ is what happens when a one-woman-show has reached peak performance. Edith, a widowed, Jewish, octogenarian housewife from New York who hasn’t left her apartment since March, is over the top archetype of old lady.
Miller’s character shoots through Zoom, past the door of your bedroom and into the street like porn on an iPhone at a family reunion. Edith is holding her tits, listening to “Memory” and quoting Deepak Chopra. As the late Joel Schumacher said of his movie disasters, “nobody pays to see under the top.”
EVQ is a an emotional journey. Folx who don’t enjoy a bit of the absurd with their raunch won’t get this show. Edith’s antics read like a peculiar Only Fans site for gawkers with very particular kinks. Edith references her dead husband Winston, chats with her taxidermied cat Clementine, and reenacts her favorite scenes from the thee-atre.
Edith treats you, her guest, to several photo montages. She pitches her app idea, quotes Anaïs Nin’s erotica, and segues to her reality TV show. That’s what I remember from before I blacked-out from the silliness.
Edith VS. Quarantine is not high art. It’s not everyone’s cup of tea, either. It is a character sketch that depicts one woman going as far as she can go because the rules no longer apply. These are unprecedented times, and Edith is no longer at the mercy of society’s rules. If that isn’t inspirational, I don’t know what is.
My sincere apologies to Miller re: review tardiness. The pandemic kills productivity like a mother.
Next performance of Edith VS. Quarantine: 89 & One Tough Cookie: Friday 7/24 at 7:30pm
FestivalPVD runs July 19 – August 1, 2020 Information about the 2020 festivalHERE FringePVD onFacebook
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
YOUTUBE — The Sparkhaven Theatre Company’s anticipated series Camp Strangewood opened last Sunday, July 19 at 8PM. It’s fans gathered on YouTube to watch the first installation, The Puritans. Similar to Sparkhaven’s previous endeavors, it was spoopy, silly and uncannily relatable. Continue reading →
Originally streamed on Wednesday, July 15 at 7 PM EDT
AATAB on Facebook
Featuring: Roxanne Y. Morse, Kendra Jain, Lisa Yuen, Vijaya Sundaram, Emily Kuroda
Critique by Kitty Drexel
ZOOM/HowlRound — The characters in Incredibly Annoying Women by Rosanna Yamagiwa Alfaro are unapologetic. These women take up space with their bodies and emotions like a cis man on the T at rush hour: legs sprawling to the left and right, arms resting on seat backs, backpack taking up a fourth seat. They aren’t inherently annoying but their unfounded entitlement is. Continue reading →