Review: A Haunting Journey of Loss

Death. “We all have it in common, like sports or the weather,” the Woman says in Hamish Linklater’s hauntingly exquisite play The Vandal. Death is the common thread for the three characters, none of who are afraid to talk about it. Each character in the play has experienced loss, as a result of death, that ultimately shapes their grievance in very different ways.

The Vandal follows the chance meeting of Woman and Boy at a bus stop in Kingston, New York. Woman has finished a visit at the hospital while Boy has finished a visit at the adjacent cemetery. While the small talk of lies lead to secrets and revelations, Boy convinces Woman to buy him alcohol, leading to the chance meeting between Woman and Man, owner of the nearby liquor store, both of whom lost their spouse. Without revealing any of the intricate and clever plot twists, Woman forms a bond with both Man and Boy and discovers the mysterious relationship between Man and Boy. Through stories and deceit, no one is truly who they appear to be.
It’s difficult to talk about the plot in detail because Linklater has crafted a realistic yet supernatural script so clever and whole that you can only urge someone to see the play and experience the beauty for themselves. The language in which Linklater writes is colloquial and significant. Some of the best moments are during Boy’s comedic, insightful monologues with Woman brought delightfully to life by Noah Robbins. Robbins gives an A+ performance as Boy, bringing spirit and impact to the truly lost soul. Robbins is greatly aided by his always-tremendous scene partner, Deirdre O’Connell. O’Connell, the only actor who never leaves stage, leads us on this journey with ease. O’Connell has such power and heart as Woman that you feel for her the more she opens up and reveals her past. Rounding out the cast is Zach Grenier as Man. Grenier has a bit of gruffness in his performance that is drastically different form Robbins and O’Connell, but that may be the direction he wanted to take his character.
Jim Simpson does a sublime job leading the cast through Linklater’s script. By the end, Simpson takes great consideration of keeping the story real when the plot could potentially lead toward a bad joke if gone in the wrong direction. The overall design of the show is cohesive. David M. Barber does a nice job allowing the multi-location play to live in the intimate theater. The only choice that I would have wished was a bit cleaner was the downstage scenic element that was covered with fabric until it is revealed for the last scene. The only other criticism I can find in this near flawless production is the sudden blackout when the bus does pass by.
If you’re looking for a beautiful night at the theater that will captivate you from start to finish, look no further than The Vandal at The Flea. From first rate acting to a timely script, The Vandal soars and offers a well-rounded production.

Spotlight On...Nick Paglino

Name: Nick Paglino

Hometown: Detroit, Michigan

Education: NYU’s Tisch School of the Arts

Select Credits: An Impending Rupture of the Belly (Clay, Theatre Row); In the Heat of the Night (Sam Wood, 59E59 Theatre);  Slaughterhouse-Five (Roland Weary and others, 59E59 Theatre)

Why theater?: Theater allows a kind of creativity that can often times be stifled in other mediums. Being able to connect with a live audience and perform a piece from beginning to end is unique to theater and offers great rewards in addition to great challenges.

Tell us about The Pilo Family Circus: The Pilo Family Circus revolves around the character of Jamie, who, like it or not, is forced to join a circus that exists in another dimension. More specifically, Jamie is forced to become a clown, and he is tormented by clowns who already exist in the circus until he is finally brought in and forced to co-exist with them and the rest of the “performers.” Once he arrives in the circus, he is forced to wear clown make-up, and the magic properties of the make-up turn Jamie into JJ The Clown, who eventually becomes the most mischievous and evil of the clown division. Jamie then has two battles to fight - one between himself and JJ, and one to free himself from the confines of the circus.

What is it like being a part of The Pilo Family Circus?: It’s a phenomenally challenging experience because I am playing two roles in the show, and at times I am playing them simultaneously. So it’s been quite a process finding the nature of two characters in one play, and two characters that offer completely different ends of the human spectrum in terms of behavior.

What kind of theater speaks to you? What or who inspires you as an artist?: Forward thinking, out of the box, edgy (but not for the sake of being edgy) theater is what truly inspires me. I’m moved by artists that create theater with the intention of changing the world because it’s what they feel they need to do. I don’t necessarily mean change the world in a political or social way, but I enjoy the kind of theatre that makes me say to myself, “wow, that just changed the way I perceive this medium.”

Any roles you’re dying to play?: If they ever do a staged version of "Nell" they better cast me.

What’s your favorite showtune?: "Send in the Clowns" as performed by Judi Dench. Check out the “Hey Mr. Producer!” performance, it’s one of the best show tunes, or any tunes for that matter, you’ll ever hear.

If you could work with anyone you’ve yet to work with, who would it be?: In film, I would want to work with Woody Allen. I know, it’s a cliche actor thing to say, but seriously, he’s who inspires me the most. I would work with him in any capacity. Even if it’s carpet laying.

Who would play you in a movie about yourself and what would it be called?: I think a movie about me would be called “Stop Talking,” and I would be played by Daniel Day-Lewis, who would win yet another Oscar. Or I would be played by Freddie Prinze, Jr., who would give an incredible performance as me, but Daniel Day-Lewis would still win the Oscar.

What show have you recommended to your friends?: Go see “Peter and the Starcatcher” on right now. I mean like right now. Stop reading this interview and go see “Peter and the Starcatcher.”

What’s your biggest guilty pleasure?: For some odd reason I like to watch really bad comedies over and over and over again. No joke, I think I’ve seen "You Don’t Mess With The Zohan" about 20 times. I also love Third Eye Blind.

What’s up next?: Well first I’m gonna get a sandwich, but long-term I am co-writing my first screenplay with two colleagues which I hope to finish up soon, and I want to start writing more. Godlight Theatre Company also has some really interesting things in development right now, which could potentially include a tour, so I think 2013 will be a busy and exciting year.

Magneto and Professor X to Unite on Broadway

Sci-Fi Nerds and Theater Nerds come together as it's been announced that Ian McKellen and Patrick Stewart are bound for Broadway in repertory in both Harold Pinter's No Man's Land and Samuel Beckett's Waiting for Godot, the latter having been performed in London in 2009. Though no dates or theater have been announced, Sean Mathias will direct both. Are you excited to see this dynamic duo on Broadway or are you still remembered the dreaded Godot Roundabout did a few years back?

Review: A Bold Collision

Shock value is no stranger to entertainment. In fact, it’s become more and more customary in order to keep the masses engaged. The Amoralists too, are no strangers to presenting gritty theater that reflects the American condition with a tinge of complexity. In their production of Lyle Kessler’s Collision, we find ourselves watching three students, a professor, and a stranger reflecting on just that, ending with a shock that leaves you questioning everything you just saw. Collision follows the chance encounters of five individuals who set forth on a mission to create order of chaos. The result is catastrophic.
The entirety of the play takes place inside the dorm room of two college students, Grange, a self-involved philosophical intellect, and Bromley, a kid who just wants to find something to live for. Luckily, this random pairing of roommates couldn’t work out better. They both get something from each other. Grange gets a movie-making “partner in crime” out of Bromley, and Bromley gets a purpose and a friend. On the way they meet, and through persuasion both sleep with, the innocent and pure Doe and Grange’s philosophy teacher who won’t call on him in class, Professor Denton. Doe and Denton are brought into the half scripted, half documentary scheme that slowly turns into a hatefest of society. When the fifth member of the story, a gun dealer named Renel enters the picture, we soon learn that this movie is a little more realistic than anticipated. Grange purchases four guns, and ammunition to match, that are believed to only be props, but by the end of the play we discover that they’re not for play but for action. Foreshadowing that Chekov could have predicted. Kessler has written a play that presents four socially disregarded individuals who make it their mission to make a change. Through high-intellectual dialogue, occasionally laced with subtext, the four characters’ journey of discovery is clear but their reason is muddy. When they reach their climatic execution, pun intended, the justification for their action is missing. The reason could be the unfortunate lack of backstory and history of the characters. We learn little, if not anything, about the characters that would lead them to shooting up the not-so-innocent, as they believe. All we really know about Grange, Bromley, Doe, and Professor Denton is that they are incredibly intelligent. We know more about Renel, who appears on stage for a very short amount of time comparatively, and his history, making him one of the more interesting characters in the piece.
Despite the lack of character, there were some wonderful performances. Craig ‘muMs’ Grant as Renel was tremendous as Renel, bringing perseverance and trust to the fateful gun dealer, our “in” to the world of the play. Nick Lawson packed heart into the ill-guided Bromley. Director David Fofi guides the troupe with precision and intention despite the missteps in the script. Alfred Schatz’s set evoked the quintessential college dorm room. One of the odder design choices in Collision was Evan Roby’s lighting design. The play, for the most part, is a realistic play but there were moments that the lights became moody and without any practicals, the design didn’t quite work.
The overall theme of Collision was bold choices. And nothing was bolder than the end of the play, a gun spree sound cue. The play brought quite possibly the biggest news story in the national spotlight right now into action. Having it be the final moment of the play, it is bound to be the most talked about part of the play. I am always a fan of bold choices, but personally, this choice did not sit well with me. 

Spotlight On...Anna Stromberg

Name: Anna Stromberg

Hometown: Wilmington, NC

Education: American Academy of Dramatic Arts. I got connected with The Amoralists because Nick Lawson saw me in Dracula and put my name in when they were looking to do Bring Us the Head of Your Daughter. The rest, as they say, is history.

Favorite Credits: Playing drunk is always fun. I was in love with Jackie from the moment I read the sides from Daughter. Working on HotelMotel was amazing. Getting to be intimate with Byron Anthony every night is something I’ll never forget. And Daniel Aukin, our director on The Bad and the Better, can do no wrong. I think I’m in love with him.

Why theater?: Cameras intimidate me. I like having people right there. I love hearing laughter. Laughter is a great sound. I love hearing people respond to a show.

Tell us about Collision: It’s about three college students and a professor, who are all seeking to fill a void. One of them seems to have the answers, but in the end is questioning things himself. My character, Doe, has changed the most since Lyle’s original version. One of the challenges of the process has been working with our director, David Fofi, to find the balance between being a pure, young girl and an intelligent college student.

What inspired you to participate in Collision?: I was out of town doing a show at Linda Lavin’s theater in North Carolina, and was contacted by [Amoralists Ensemble member] Jordan Tisdale, asking me if I was ever going to come back to New York. Shortly thereafter I got an email asking me to play Doe and we started doing readings of the show. It was maybe 6 readings before we actually started putting it on its feet.

What kind of theater speaks to you? What or who inspires you as an artist?: Edward Albee has always inspired me. The Goat, or Who Is Sylvia? is one of my favorite plays. Working with The Amoralists constantly doing original works is really inspiring because to originate a role is really challenging and it’s a collaborative process. That’s the best part about it, you know you’re part of a team. It’s amazing working on an original script.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with Matt Pilieci and William Apps. I’ve always admired their work and they’re two of the people from The Amoralists who I’ve yet to really work with. Also, Sam Rockwell and Michael Shannon because they’re fly. And of course, I want to work with muMs. All the time.

What shows have you recommended to your friends?: Jerusalem. It was fantastic. The performances were amazing. The energy of Mark Rylance is something I’ve never seen before. Sleep No More because it’s a show that you can take whatever out of it that you want to. Really, you’re a participant in it, which is so cool. And I love that it’s such a secret. That’s fun. I like theater that takes you by surprise.

Who would play you in a movie about yourself and what would it be called?: I’m in need of some work, so I’d love the role! It would be called "The Anna Stromberg Story" on the ION Television network.

What’s your biggest guilty pleasure?: I’m reading "It" right now and it’s awesome. Is that a guilty pleasure? I feel like I should be reading something else. I don’t have a television, but I’m sure I would be watching ridiculous cooking shows all day if I did. And I like walking by pet shops because puppies make me happy.

If you weren’t working in theater, you would be _____?: I’d probably honestly be smoking cigarettes and drinking wine all the time. But career-wise, I’d love to do glass blowing or be a sound mixer for films. Or a deep-sea diver. But that would be scary. I’d just have to get over it.

What’s up next?: The answer to everything is cigarettes and wine. Red wine. None of that rosé or white wine, I can’t handle it. Hopefully muMs and I are going to be making a movie. Me and muMs, baby!

Spotlight On...Mark Harris

Name: Mark Harris

Hometown: Ontario, CA

Education: I was trained as an actor at The American Academy of Dramatic Arts

Favorite Credits: Writer/Director (You mean my credits, right?)

Tell us about The Lost Children: The Lost Children is a Transmedia project about The Lost Children cult. There is a short film that tells the story of the lead character Evelyn Hamilton finding the cult, a feature film about Evelyn's deprogramming, a live event that places the audience in the position of potential cult recruits and a science lecture designed to keep the audience's mind balanced and grounded as they deal with the cult's mystical claims. You can get a full sense of the world at the site: http://thelostchildrenmovie.com. The self-help organization's site is here: http://www.chancesturges.com

What inspired you to create The Lost Children?: A conversation with a friend about a court case she studied in college. In this court case, a young woman had sued her parents for kidnapping her out of a cult. Beyond that, I have always had a fascination with faith, belief, mankind's need to believe in something beyond what we can see, and the lengths people will go for belief. I find cults a good lens for viewing these issues.

What kind of media speaks to you? What or who inspires you as an artist?: Right now, live immersive experiences mostly. And video games. I am becoming more and more interested in art that creates a space for the audience to play. Ann Hamilton's recent show at the armory was a good example of this. This element is certainly a part of The Lost Children live event, but even more so in my next play, which includes an actual game. I love filmed stuff. But more and more I am drawn to TV over movies, due to the complexity of character and storyline it affords. I'm very inspired by a lot of fellow Transmedia people. Lance Weiler, Mike Monello & Steve Coulson. They are all very generous with their knowledge. Lance inspires me to not care so much what people think and just work on what I want to work on. I am constantly amazed with the wide and bizarre range of his work. Steve and Mike have taught me a lot about focusing on human behavior, rather than technology, say. I am kind of known as a "technology person" in the Transmedia world, so am working hard to make sure I focus on character/story first, tech second.

If you could work with anyone you’ve yet to work with, who would it be?: Punchdrunk. Secret Cinema. I'm actually getting to work with some amazing people right now, and into 2013. Marisa Jahn, Murmur, some great young actors. I love working with my wife. She is an artist and makes some things for my projects.

What show have you recommended to your friends?: Epic's Dispatches from an Amended America. James Carter's NY_Hearts LES. Vampire Cowboys. The Underdeveloped and Overexposed Life & Death of Deena Domino. There's a lot of amazing theater in the city right now, and this year I vow to work less and see more of it.

Who would play you in a movie about yourself and what would it be called?: “Does Not Play Well with Others", starring Nick Nolte

What’s your biggest guilty pleasure?: Downton Abby

What’s up next?: I was just up in Amherst Mass on a playwriting residency, workshopping a new piece. It's an immersive zombie apocalypse experience with a game, an embedded play, an explorable environment and technology integration. I will continue working on that this year. Otherwise, there are a couple of new Transmedia client projects coming up I'm excited about.

Oscar Will Hear the People Sing

Oscar will get a moment of Tony on the February 24th telecast. The cast of "Les Miserables", led by nominees Hugh Jackman and Anne Hathaway are set to perform live at the Academy Awards. What song they'll be singing? No official word, but expect that raw emotion, filled with snot bubbles and shaky vibrato, you saw on the big screen translated to the small screen. What song do you think they should belt out in front of Hollywood's finest?

Blazing Saddles the Musical a Reality?

According to the man himself, "Blazing Saddles" may actually get the musical treatment. At a PBS panel, Mel Brooks stated that he's seriously thinking about turning the western comedy into a Broadway musical. He said, "A lot of it is musical already. It has a rather fanciful and fantastic tone to it. and now that "Django Unchained" has literally used the N word, I think I’m in the clear. I don’t look so bad. He really used that word a lot." If it does happen, will it be The Producers hit or Young Frankenstein flop? Are you excited for another Mel Brooks musical? Start casting!

Smash Season Premiere Teaser is Live

Have you been anxiously waiting to see what's next "Smash", our favorite Broadway themed drama series? What's happened to our friends Karen and Ivy and Tom and Julia and McSleazy and Ellis...wait, he's been written off...and Dez...he's gone too...the rest of the Bombshell gang? Well, wait no longer! The first hour of the two hour season premiere is live on nbc.com, among other outlets, for your viewing pleasure! The link is right here: http://www.nbc.com/smash/video/on-broadway/n31452/ If you don't want to watch now and wait for the full thing, February 5th is right around the corner! No spoilers here! And make sure you check back after the first episode for my Smash Recap!

Mary Poppins to Fly Away to Make Room for a Magic Carpet Ride?

If the rumors are true, Disney will have a new show coming to the Great White Way very soon. The New York Times and NY Post are reporting that Mary Poppins will be closing on Broadway so Disney can renovate the New Amsterdam Theater to bring in a new production of their hit movie Aladdin. Though no official announcements were made, previous productions of the Aladdin stage musical at 5th Avenue in Seattle and The Muny in St. Louis could be the form the Broadway production follows. What do you think? Will Aladdin be a The Lion King/Beauty and the Beast hit or a Tarzan/The Little Mermaid flop? Are you still like me wishing the folks at Disney would get their brains churning on a Broadway production of "Hercules"?

The Normal Heart Movie Official

As previously reported a long time ago, Larry Kramer's Tony Winning AIDS drama The Normal Heart will get the TV movie treatment by HBO. Directed by "Glee" creator Ryan Murphy, the movie will star Julia Roberts as Dr. Emma Brookner, Mark Ruffalo as Ned Weeks, and newly announced Matt Bomer as Felix Turner. Kramer will adapt the stage play for the screen which will debut in 2014. Are you excited? I am! Who else is on your wish list to round out the cast?

Magic to Do This Spring; Pippin to Broadway

The A.R.T. revival of the musical Pippin directed by Diane Paulus is set to head down to New York this Spring. Beginning previews on March 23rd, with an opening on April 25th, the Stephen Schwartz musical will play the Music Box Theater. Though no official casting is announced, the current company includes Patina Miller as the Leading Player and Matthew James Thomas as the title character Pippin. Are you as ecstatic as I am? Glory glory!

Spotlight On...Cory Einbinder

Name: Cory Einbinder

Hometown: Brooklyn

Education: Brooklyn College, MFA Performance and Interactive Media Arts, University of The Arts, BFA Theatre Arts

Favorite Credits: Director and Production Designer for Adhesive Theater Project's NOIR, Spring Awakening, and Chantecler.

Why theater?: I have many different interests and like to try my hand in different mediums. Theater allows me to explore all of these interests, whether it is video design, stage design, interactive technology, choreography, music, or performance.

Tell us about The Service Road?: The story is about a Brooklyn nature guide who is trying to do penance for a very bad thing she had done when she was out of her mind.  A violent storm of mythic proportions hits Prospect Park.  The once peaceful service road turns strange as the nature guide attempts to find a lost child.  On her quest she meets the denizens of one of the few natural places left in a large city.  The nature guide is a modern day Hercules. The play examines what it means to be of service and the true nature of forgiveness.

What inspired you to create The Service Road?: My wife and I have always loved Erin Courtney's work. We've known Erin as a friend and mentor, and approached her to write a piece for us that would use her knowledge of us as artists and individuals. This is a very personal project, even the character of the “big headed toddler” was inspired by our boy Emmett.

What kind of theater speaks to you? What or who inspires you as an artist?: I enjoy theater that involves all the senses and that uses theatrical spectacle to serve the story telling. I'm a sucker for metaphor and allegory. I love using paintings to inspire my stage pictures. I often return to the work of de Chirico, Anselm Keefer, Duchamp, and Marc Chagall.

If you could work with anyone you’ve yet to work with, who would it be?: Since I run a theater company that is dedicated to working with professionals and artists who have never before worked in the theater there are a plethora of people I'd love to work with. I'd love to develop a science fiction piece with writer Neal Stephenson. How about a set designed by sculptor Richard Serra? I'd also love to work on a video tracking system for the theatre with Johnny Chung Lee who helped develop the Microsoft Kinect sensor.

What shows have you recommended to your friends?: Any piece by The Debate Society or Big Dance Theater. Erin's last play “The Map of Virtue.”

Who would play you in a movie about yourself and what would it be called?: Peter Dinklage, “No sleep til Brooklyn”.

What’s your biggest guilty pleasure?: Tickling my son until he screams.

If you weren’t working in theater, you would be _____?: In a Research and Development department working with magnets and optics.

What’s up next?: European Tour?

For more, visit http://www.adhesivetheater.com/

Starcatcher to Re-Open Off Broadway

Superfans of the Tony Winning play Peter and the Starcatcher rejoice! Originally set to close on January 20th on Broadway, the play will find new life Off-Broadway at New World Stages. Though no casting or dates have been announced, the original design team is set to bring the show to the new stage. Are you excited that you'll get more starstuff?