As We Speak

Photo/Leigh Celentano

Let me be clear; I left As We Speak in a rage triggered not at all by a single word in this (re:) Direction performance, but rather by the feeling of wasting two hours of my life. I am not proud of bashing plays, I still find it to be reductive, but after sitting on this review for two days, I feel obligated to express what I truly felt about this empty play, from the simply bad aesthetics (an unlit stage, missed cues, a bland set) to the terrible acting (mumbled, hard to hear, recited), and on a larger scale, the overall problems with Tom Berger's static direction and John Patrick Bray's thoughtless script. Do I think it is easy to write a play, let alone to act or direct one? No. Does that give this group the right to lower off-off-Broadway's reputation? No.

[Don't read on]

All About Eve

There's a limit to how critical I want to be of this on-stage reading: plenty of people donated their time and talent to raise money for the worthy Actors Fund cause, and I can trust on that score that it was a great success. I'll only say that too many roles were miscast and that it took three hours for the actors to read this adaptation of the screenplay: snappy quips don't fly in slow motion. Here's who was good: Brian Bedford as Addsion DeWitt - his characterization was spot-on and his line readings assured, you'd have thought he'd been playing it for years; Keri Russell as Eve Harrington - you could feel an edge in the character's strategic false modesty; and Jennifer Tilly who, in the "Marilyn Monroe" role of Miss Caswell, handily stole the evening with only a handful of deliciously delivered lines.

Saturn Returns

Reviewed for Theatermania.

The Sexual Neuroses of Our Parents

Photo/Thomas Hand Keefe

The Sexual Neuroses of Our Parents throws around the word "fuck" a lot, especially from the mouth of its protagonist, Dora (Grace Gummer), an emotionally challenged girl who is, for the first time in ten years, "pulling down the pharmaceutical curtain." But the show's about sexual awakening just as fucking's the same as making love: and this is where Kristjan Thor's direction (every bit as closed off as Dora) works small miracles. For instance, the Fine Gentleman (Max Lodge)--who is actually a sleazy door-to-door salesman--seduces Dora by talking about how perfume is made from ox shit, and soap from pig fat: the underlying lies are given up by their surfaces, and that's what makes Dora's slow awakening so tragic. This is Gummer's play, and she commands the play despite a necessarily restrained performance. Beyond the dull surface of "I dunno"s and her energetic parroting, this girl, described as "almost not being involved," actually has feelings. "No big deal," she says, after revealing that she hates wearing pants, but also when describing what it felt like to have her baby sucked out of her. It's the cold, casual tragedy of the everyday, and it's the bitterest sort of love story.

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8 Little Antichrists

Photo/Johnna Adams

If 8 Little Antichrists is supposed to be taken seriously--which it might seem, if you've seen the first two parts of the trilogy--then it has some very hefty problems. Thankfully, Flux takes it only as seriously as it needs to--and the thought of black-winged angels facing off bloody-horned heroes in California, 2028, is already sort of ridiculous--and takes a tongue-in-cheek approach that lets us suspend our disbelief in a cheesy Max Headroom sort of future. For all the creative satire that goes into fashioning a Philip K. Dick plot for Claudia (Candice Holdorf), a detective investigating the death of her clone sister, or to Melanie's (Rebecca McHugh) attempt to get the vessel of God back from Clockwork Orange-style drizz-heads Thump and Fibber (Jake Alexander and Joe Mathers), it's really just an excuse for over-the-top action that Vampire Cowboy Theater fans will be proud of. So long as you don't think about it for too long.

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Rattlers

Photo/Justin Hoch

The second part of the Angel Eaters trilogy finds Johnna Adams at the top of her game, starting with a box full of rattlesnakes and a madcap kidnapping, jumping to a creepy encounter between a local undertaker and a drunk husband who share the same love, and flipping with a Southern Gothic romance between a young boy and a grieving mother. Jerry Ruiz jumps neatly between the three disparate parts of this play--a trilogy on the micro level--but what really makes this play is that for all the plot, the emphasis is on the characters first. (The cast is outstanding, too.) When she's not rushing, Adams has a terrific voice, and her stories work on multiple levels: as her characters grow more and more desperate, we see clearly that there's no price we won't pay to get back the ones we love.

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