tag:blogger.com,1999:blog-45830616987724572102023-11-16T05:29:20.319-08:00The Georgina Presswww.searchingforsincerity.com,
www.GeorginaYoungEllis.com,nerd-girlsromanticsandtime-travelers.blogspot.comGeorginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-4583061698772457210.post-89126463072584611502011-08-17T08:28:00.000-07:002011-08-17T08:28:22.671-07:00Retro Two Gents is Great Outdoor Fun<div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFQatCeBTVd01Sd5F71MMRwz5p4TjXXohd1ZIILuCskDrmL_kcWr_8EGuGtkuloDArccjJd-U3H2nEoPvHepvw8x-_JtnWmba3IEP79fjSgiRWfEPGrQcVwPlM8F09mpG4v-QR_vpTDLE/s1600/krystine.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFQatCeBTVd01Sd5F71MMRwz5p4TjXXohd1ZIILuCskDrmL_kcWr_8EGuGtkuloDArccjJd-U3H2nEoPvHepvw8x-_JtnWmba3IEP79fjSgiRWfEPGrQcVwPlM8F09mpG4v-QR_vpTDLE/s200/krystine.JPG" width="192" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Krystine Summers as Launce<br />
and Lola as Crab</span></td></tr>
</tbody></table><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">By Georgina Young-Ellis</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The music of Styx and some crazy 1980s fashions sent me sailing away into the past, as the sun set over the East River, Friday, August 12th, 2011.<sup> </sup>I was enjoying Curious Frog Theatre Company’s production of Two Gentlemen of Verona in Astoria Park. This quick, hour and a half version of Shakespeare’s light-hearted comedy of love letters and disguises grabs your attention from the first moment and never lets go. There is some wonderful new talent on the Curious Frog (CF) stage, and some company members that I was pleased to see there again. Many of the performers do double duty in their roles, as is director Ren<span class="Apple-style-span" style="line-height: 17px;">ée</span> Rodriguez’s way: make the most of what you’ve got and keep the cast small. One stand out is the irrepressible Krystine Summers who we enjoyed last summer as Puck in A Midsummer night’s dream, bringing her quirky physical comedy and wry interpretations to her roles as Launce and the Third Outlaw in this production. Let me just say this: if you can manage to be onstage with an adorable Chihuahua (the lovely Lola who played the part of the dog, Crab) as Ms. Summers is so much of the time, and not be upstaged, you’re doing your job as an actor. </span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Angela Sharp as Julia<br />
and Umi Shakti as Lucetta</span></td></tr>
</tbody></table><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another returning member of the company, Bushra Laskar, plays Silvia, the irresistible love interest to Proteus and Valentine. While snooty and self-centered, parading around the grass in her "Candies," she manages to enchant the audience with her expressive eyes and ease with the language. The "gentleman" in Verona are all exceptional actors: Justin Maruri, riveting as Valentine, Emilio Aquino engaging and funny as Proteus, and Antonio/Duke played by James Ware, an exciting new presence at CF, whom, I learned, will be playing Caesar in that simultaneously running Curious Frog production. I loved seeing Robert Dyckman on the Astoria Park stage for the first time; an exceptionally versatile and energetic actor, he plays the roles of Speed, Eglamour and the Second Outlaw. Angela Sharp is a standard at CF, and though I have enjoyed her performances in the past, she tends to be a little shrill in her role as Julia as she works to project in the open air venue.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8dIPJgeE5ljUaTBRgEkKEx7hQS3QWKT2WGBQhpPnbm3mGjbbm-0tXkHzBOKVciTqOlbWVOUkKXupA2pJ0_kSjYNnNSpNEm00PUL1VQzuP71jUyiVeD0JlB2XHpYWzLuQvXg4kAKuqtQ/s1600/valentine.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8dIPJgeE5ljUaTBRgEkKEx7hQS3QWKT2WGBQhpPnbm3mGjbbm-0tXkHzBOKVciTqOlbWVOUkKXupA2pJ0_kSjYNnNSpNEm00PUL1VQzuP71jUyiVeD0JlB2XHpYWzLuQvXg4kAKuqtQ/s200/valentine.JPG" width="155" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Justin Maruri as Valentine<br />
and Krystine Summers as 3rd Outlaw</span></td></tr>
</tbody></table><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The production is non-stop action and laughs, the kind of spectacle that has children from around the park running to check out, and staying to watch (however, it's not specifically a production for kids as it contains some rather bawdy humor). The fight choreography is precise and original, something Ms. Rodriguez is particularly adept at, a hallmark of all CF's Shakespearean productions. The color blind casting that is part of their overall mission as a theater company also makes for interesting visual dynamics. But though the '80s theme is a good gag, I wasn't sure it really added to the story in any necessary way. All in all, if you're a fan of cool, innovative Shakespeare with bare bones sets but complete attention to acting, language, physicality and spirit, you won't want to miss either of Curious Frog's productions this summer. You can catch them at these locations and dates:</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Two Gentlemen of Verona: <span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 15px;">Fort Greene Park (8/22 7pm); Central Park/Cherry Hill (9/3 6pm); Inwood Hill Park (8/27 4pm); Waterside Plaza/Manhattan (8/30 7pm); Pelham Bay Park (9/4 4pm). </span></span></div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><span class="Apple-style-span" style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 15px;"><br />
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<div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 15px;">Julius Caesar: Prospect Park (8/20 4pm); Fort Greene Park (8/23 7pm); Central Park/Cherry Hill (8/26 6pm); Inwood Hill Park (8/27 6pm); Battery Park/Castle Clinton (8/29 6pm; 9/1 6pm); Queensbridge Park (8/31 7pm); Pelham Bay Park (9/4 6pm); Waterside Plaza/Manhattan (9/10 4pm).</span> </span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">www.curiousfrog.org</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 15px;"><br />
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</span></div><div class="MsoNormal"></div>Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-30834244334990830962011-06-19T18:05:00.000-07:002011-06-19T18:05:49.832-07:00Fabulous "Fabulous Darshan"by Georgina Young-Ellis<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiidE52myfJZl2GZER8GT0SMzt01yCgGp8Gv1ZzkTr2ImEVGXzMNxnSuipYJJ4zyd7I5BmcDAiTMz-bhKuucpaRO-gxxPm4AjWkQ7sZVL6Ny_f6LANMZ5kBCtRjhhc-Gg_LQ14rb1bhI4/s1600/FABULOUS+DARSHAN-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiidE52myfJZl2GZER8GT0SMzt01yCgGp8Gv1ZzkTr2ImEVGXzMNxnSuipYJJ4zyd7I5BmcDAiTMz-bhKuucpaRO-gxxPm4AjWkQ7sZVL6Ny_f6LANMZ5kBCtRjhhc-Gg_LQ14rb1bhI4/s200/FABULOUS+DARSHAN-3.jpg" width="200" /></a></div>Workshop Theater Company's production of Fabulous Darshan, written by Bob Stewart and directed by Susan Izatt, is an extremely funny and terribly moving play about friendship, loss and celebration of life. A concentrated 90 minutes on a minimal but elegant set, Fabulous Darshan is really all about the acting.<br />
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Tim Cain plays Ken Satchel, an aging Broadway veteran of color who befriends a young, confused actor, Stu, played with fitting intensity by Evan Bernardin. Cain has an appealing physicality, and flawless comic timing that drives his character's self-deprecating gay jokes straight home. Ken's long-time friend and ex, Edmond, played with spectacular flair by Spencer Scott Barros, is the person Ken turns to when he needs someone near his own age to appreciate his references to old movies and Broadway shows. However his middle aged friend also shares the disease that the young men in the story do not yet understand or fear quite enough.<br />
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Mike Smith Rivera plays "Actor 1," taking on various characters including the Indian god Ganesh, a flamboyant talent agent, and a couple of Stu's promiscuous heartthrobs. Each character is so distinctly different, and each so entertaining, his presence on the stage assures plenty of laughs, as well as a thrillingly heightened tension.<br />
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It's clear that Ms. Izatt is an actor's director, equally clear that Mr. Stewart writes for them. The dialogue is sharp and fluid, the kind that actors can really dig into. There's high emotion as well, and each of these well-cast performers maneuvers it beautifully. Fabulous Darshan is a fun and joyful evening of theater; also a heart-wrenching one - well-balanced, well-produced and handled with love and expertise by all involved. The show runs through June 25th; go to <a href="http://workshoptheater.org/">Workshoptheater.org</a> for times and reservations.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-7460220838843633682011-06-07T08:23:00.000-07:002011-06-07T08:23:46.516-07:00Curious Frog's Ropes of Sands Hits Home<div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_OluApsLrPC0sMALFdEGvw3EkNneVqqrGQEZnQ0di3-F7hw4yhbsI8u7vIAof_jhTvceq6UrzqoTuiNVRNXE3i7Lol2bqSN9y7z-sjtb0FMXDY3Ml5L3mCz9u9Wa5asvE_NVy0sLa5U/s1600/curious+frog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_OluApsLrPC0sMALFdEGvw3EkNneVqqrGQEZnQ0di3-F7hw4yhbsI8u7vIAof_jhTvceq6UrzqoTuiNVRNXE3i7Lol2bqSN9y7z-sjtb0FMXDY3Ml5L3mCz9u9Wa5asvE_NVy0sLa5U/s1600/curious+frog.jpg" /></a>By Georgina Young-Ellis</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I first saw Ropes of Sands as a staged reading at Curious Frog Theatre Company’s gala fundraiser back in May, 2011. I was impressed overall at playwright Toni Seger’s ability to dabble in the surreal and the ironic, as in the three short-short one acts we saw that night, and the straight-forward realism of Ropes of Sands. Now featured in Planet Connections Theatre Festivity, the forty-five minute play shows us a slice of American family life in the weeks after a tragic death. We cringe at uncomfortable exchanges between repressed father and self-righteous son as they try to take the chill off of the night and the situation with small talk and copious amounts of brandy. When the free-spirited cousin drops by to try to gain some perspective on the tragedy, and to share with the others her particular method of dealing with it, the sparks really fly. I cannot say it is a happily spent forty-five minutes, but it’s a meaningful span of time in which the audience is forced to look at family dynamics, and the ways different people deal with grief. The actors are well cast in their various roles, and further interest is added by Curious Frog’s famous color-blind casting (though it certainly isn’t unrealistic to think that there can be white and black cousins in the same family). The father and son, played respectively by Barry Phillips and DeSean Strokes, portray their straight-laced characters to perfection, while Angela Sharp as flighty cousin Meredith provides a jarring contrast. Directed by the strong and sure hand of (Artistic Director) Ren<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>e Rodriguez, the play makes a strong impact and leaves us with much to think about. You can see Ropes of Sands in conjunction with dark comedy The Stranger to Kindness, June 14<sup>th</sup> at 6:30 PM, June 15<sup>th</sup> at 8:45 PM and June 18<sup>th</sup> and 23<sup>rd</sup> at 4:00 PM. Proceeds from the Theatre Festivity benefit various charities.</div>Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-52739402020037229172011-06-07T07:48:00.000-07:002011-06-07T07:51:18.951-07:00APAC’s The Human Comedy – Satisfying on Many Levels<div class="MsoNormal" style="text-align: left;">By Georgina Young-Ellis<br />
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<i style="mso-bidi-font-style: normal;">The Human Comedy</i>, Astoria Performing Arts Center’s musical offering for its tenth anniversary season, opened to a sold out house Thursday, May 5<sup>th</sup>. Set designer Michael P. Kramer has worked his usual magic, transforming the space into the mythical town of Ithaca, California, circa 1943. The inviting wooden set perfectly depicts a telegraph office and a modest front yard, while an enormous Service Flag (the official banner for families who have loved ones serving in the armed forces) occasionally serves as a scrim through which we witness flashback scenes. A small band dressed in World War II uniforms sits on stage as orchestra. In the opening number, the cast marches in singing, “In a Little Town,” and proceeds to seat themselves on risers facing the audience – a kind of mirror for our emotions as the play unfolds. They also serve as chorus and alter ego for the characters center stage.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Written by Galt MacDermot (<i style="mso-bidi-font-style: normal;">Hair</i>) and William Dumaresq, and based on a story by William Saroyan, the play tells the story of the impact of World War II on the good people of Ithaca, focusing mainly on the Macauley family, who has already lost their father in the war. In the tradition of rock opera, nearly every word is sung, and even has a certain rock edge that is not unexpected from the writer of <i style="mso-bidi-font-style: normal;">Hair</i> though the score is also infused with Swing era songs and some beautiful anthems.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There was one aspect to the show that remained unclear to me. In “Hi Ya, Kid,” the second song of the first act, Ulysses Macauley (played by adorable eight-year-old Anthony Pierini), waves to a trainman, (Douglas Lyons) and as he wonders where the man is going and why his home is far away, he learns from his mother that, because the trainman is black and the Macauleys are white, their homes are far apart. It is a small moment, seemingly insignificant in the scope of the story, which is not about race or racism. However, it set me up for confusion later on. We see both black and white soldiers go to war and end up in the same platoon. Together they sing a song, “My Sister Bess,” in praise of Marcus Macauley’s sister, and Marcus expresses a wish that his comrade, who happens to be black, could meet her and date her. But I couldn’t forget that the army was definitely not integrated in WWII, nor would there be such a nonchalant acceptance of an inter-racial relationship, especially in a small town. I don’t think the racial harmony was part of Saroyan’s story nor Dumaresq’s libretto, and so I left feeling perplexed: why would director Tom Wojtunik ask us to accept a color-blind reality when the script pointed out a distinct difference between black and white? Did he intend to slip in a subtle message of love and understanding between the races, or give us an optimistic preview of the Civil Rights movement to come? I found the lack of explanation distracting.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Though occasionally the music requires strange transitions and possesses atonal qualities that some of the singers had trouble with, overall, the excellence that is the hallmark of all APAC productions is infused throughout <i style="mso-bidi-font-style: normal;">The Human Comedy, </i>and for this I applaud Wojtunik. From the gorgeous, period-perfect costumes designed by Hunter Kaczorowski to the subtle and effective lighting by Dan Jobbins, the show is delightful on so many levels. The cast of singers and actors are top notch, especially Aaron J. Libby as Homer Macauley, Rachel Rhodes-Devey as Mary Arena, Jonathan Gregg as Thomas Spangler, Rayna Hickman as Diana Steed, and Marcie Henderson as Beautiful Music. The show runs until May 21<sup>st</sup>, Thursday, Friday and Saturday nights at 8:00 and Saturday afternoon at 2:00. You can reserve tickets at <a href="http://www.apacny.org/">www.apacny.org</a> but don’t wait because, if APAC’s history is any proof, these performances will sell out fast!</div>Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-86332970698676467272010-11-03T10:53:00.000-07:002010-11-03T10:55:30.041-07:00Astoria Performing Arts Center Kicks Off 10th Season with Sensational and Surreal Piece<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<div class="MsoNormal" style="text-align: left;"> By Georgina Young-Ellis</div><div class="MsoNormal"><br />
</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7aOLqtESv_McAHP_F16apSMP5TM1QCA9HnqdyvhAwuSI1htVBPkAbJW6BLg-hiHbaAyFCtthPIMlWxK3mTf34hfv6ZD-OMyiWixxslcs-pzxBwLnagoHxQB7KVTTggrJCVvUtt3hEyo/s1600/5120349671_04da0a3fa3_o.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7aOLqtESv_McAHP_F16apSMP5TM1QCA9HnqdyvhAwuSI1htVBPkAbJW6BLg-hiHbaAyFCtthPIMlWxK3mTf34hfv6ZD-OMyiWixxslcs-pzxBwLnagoHxQB7KVTTggrJCVvUtt3hEyo/s200/5120349671_04da0a3fa3_o.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jennifer Harder, Nikole Beckwith and Andy Phelan</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table><div class="MsoNormal">It’s hard to find words to describe Astoria Performing Arts Center’s production of MilkMilkLemonade; yet, brilliant, hysterical, surreal and mind-blowing are a few that come to mind. To be more specific, it is a performance piece that defies all expectations and preconceived notions of what theater is or should be. Fortunately, the narrator, or, as the program informs us, the “Lady in the Leotard,” who steps out at the beginning to introduce the play, gives us fair warning of what’s in store by her shell-shocked demeanor. It’s as if she’s been living in the reality of the play all too long and has somehow been traumatized by it. She informs us that she’ll be translating for the talking chicken. Talking chicken? Yes. Our protagonist, Emory, an eleven-year old boy, played by grown-up actor Andy Phelan, lives on a farm with his infirm grandmother, and his refuge is Linda the chicken, his best friend in whom he confides his heart’s desires. She is the one who understands him and supports his dreams of Broadway and reality-show fame. Not so the case with his oxygen machine-bound, chain smoking Nanna, who takes away his favorite doll and tells him it’s wrong to be effeminate, to be “different.” She predicts that he’ll never get off the farm; a<i>nd</i> she murders chickens (it is, after all, a chicken farm). She’s happy to discover, however, that he’s friends with the scrappy, tough kid down the street, Elliot, played by Jess Barbagallo. Elliot torments Emory while secretly in love with him. Together, they “play house:” bizarre, Tennessee Williams-esque parodies of sad adults stuck in hum-drum realities. They also share some kind of sexual relationship<span>―</span>to what extent it isn’t quite clear even though they appear “nude” together at one point, little fake genitalia sewn on to their underwear. Elliot is ashamed of his sexual tendencies – equally a bully and a lover. Ultimately, he is also betrayer and redeemer. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The versatility of the five actors who make up the cast is remarkable. Andy Phelan as Emory effortlessly transforms from sweet, joyful young boy to tragic housewife in his play-acting with Elliot. Ms. Barbagallo is so convincing as a male, my theater companions had to look twice at their programs to confirm the reverse. Her character is alternately twitchy and tortured, tough and tender. Michael Cyril Creighton as Nanna is eerily precise as a bitter, dying woman. Jennifer Harder, who won the 2010 Innovative Theater Award for Best Supporting Actress in her role as Linda when she portrayed it in the original production, is astonishingly bird-like in her body movements one minute<span>―</span> the next, she’s a bawdy, Brooklyn stand-up comedienne<span>―</span>the chicken’s alter ego. She’s funny and heartbreaking, riveting us every moment she’s on stage. Finally, our narrator, chicken translator, sound effects provider, and portrayer of evil ghetto spider, Lady in a Leotard Nikole Beckwith, exhibits the most wonderful physicality. She seems at first so stiff and awkward, then in her many incarnations, becomes flexible and freaky in myriad ways. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">MilkMilkLemonade is completely unpredictable and utterly unlike anything you’ve ever experienced in the theater. As fellow audience member Teresa Barile concisely commented, “It was the best play I’ve ever seen.” APAC Executive Director Taryn Sacramone remarked that in its brief run at UNDER St. Mark’s Theater last year audiences were turned away. Now, there’s a chance to see it under the direction of newcomer to the show, Jos<span>é</span> Zayas, as well as to experience it on the colorful, child-like and fantastical set designed by Jason Simms. Tickets are available at <a href="http://www.apacny.org/"><span style="color: windowtext; text-decoration: none;">www.apacny.org</span></a> or at 212-352-3101 and the show runs through November 13<sup>th</sup>, Thursdays and Fridays at 8pm and Saturdays at 2pm and 8pm. Please be advised that due to the mature content of the play, no-one under the age of sixteen will be admitted. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The program notes carry a quote from Artistic Director Tom Wojtunik who chose MilkMilkLemonade for APAC’s tenth anniversary season. “I’m thrilled for APAC to bring this terrific new play, with the original cast, to Astoria audiences, and to give it a much-deserved extended run in New York City.” Referring to the gay youth who all too often feel disenfranchised from society to tragic results, he continues, “I beg you, please, let’s work together to make sure the Emorys of this world have an opportunity to dream big.”</div>Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-65307606974221038842010-10-27T17:07:00.000-07:002010-10-27T17:11:55.615-07:00Astoria Performing Arts Company Brings a Challenging New Work to Astoria<div class="MsoNormal" style="text-align: left;">By Georgina Young-Ellis</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79zWjfY6Er-GqoIAysexhc6Rs6v9YQA9vfCzn8IZ5kLvky84IEwK7zkdJYzNn-qJ4YSr0IcYdtDb9pJEM6EU3SWH2IjzS9iizcFFzqo_zP4IZFxQCGhW9r2sJJa4WOzF8_mIhj2BKieA/s1600/composite-web-199x300.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79zWjfY6Er-GqoIAysexhc6Rs6v9YQA9vfCzn8IZ5kLvky84IEwK7zkdJYzNn-qJ4YSr0IcYdtDb9pJEM6EU3SWH2IjzS9iizcFFzqo_zP4IZFxQCGhW9r2sJJa4WOzF8_mIhj2BKieA/s1600/composite-web-199x300.jpg" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Imagine an eleven-year-old gay farm boy with a talking chicken for a best friend; he’s having a relationship with the bully down the road, and being raised by a grandmother who’s desperately trying to undo his effeminate ways. This is all a part of Astoria Performing Arts Center’s (APAC) new production, MilkMilkLemonade, “a bitter, hip, edgy, satirical, very funny and moving play about a person growing up in the wrong home,” says APAC Executive Director Taryn Sacramone (until her recent marriage, Taryn Drongowski). Ms. Sacramone stressed that it is a play for adults, performed entirely by adults, with mature content; no one under sixteen will be admitted. She went on to explain that, though not at all autobiographical, the story came out of playwright Joshua Conkel’s nightmares. The set is “surreal,” as Ms. Sacramone describes it, “dreamlike and non-realistic;” a reflection of the “imaginative and fantastical” story. </div><div class="MsoNormal"><br />
When asked why the play was chosen as the first show of their 2010/11season, she remarked, “APAC is a theater company that is growing artistically; we don’t want to limit the selections. We want to challenge ourselves and tell a broad range of stories. We asked ourselves, ‘can we do a small, intimate, hip play along these lines?’”</div><div class="MsoNormal"><br />
MilkMilkLemonade was done in 2009 for a nine performance run at the forty five-seat UNDER St. Mark’s Theater. Ms. Sacramone stated that so many people wanted to see it at the time, audiences were turned away. She added that it got great reviews, and was named best Off Off Broadway Play by NYPress. APAC’s Artistic Director Tom Wojtunik was drawn to it, partly, she said, because he didn’t get to see it at UNDER St. Mark’s either. “The great thing about theater,” she remarked, “and the tough thing about it, is that it’s a moment in time. You either get to see a production or you don’t.” For those who didn’t see it, APAC is bringing back the original cast, including Jennifer Harder, 2010 Innovative Theater Award Winner for Best Supporting Actress for MilkMilkLemonade, as well as many of the original designers.</div><div class="MsoNormal"><br />
Other than the run at UNDER St. Mark’s and subsequent productions that “caught fire” around the country, the Executive Director stated that the play is considered a new work, stressing that new works are exactly what APAC wants to do more of. “Part of the appeal of doing new works is the relationship the company gets to have with the playwright,” she stated. “With a revival, you don’t get that.”</div><div class="MsoNormal"><br />
Mr. Wojtunik also had something to say about his choice of MilkMilkLemonade. He said that he wanted to give audiences a new opportunity to see it, especially as it’s being directed by José Zayas, the first gay director the play has ever had. Equally, he remarked, since APAC’s space at the Good Shepherd United Methodist Church on Crescent and 30<sup>th</sup> Road is so ample, it gives the designers, “a chance to dream bigger and to prove the play can be done on a bigger scale.” “It’s not just a play for the East Village,” he added. Though Wojtunik has directed APAC’s last few main stage productions, he opted not to direct MilkMilkLemonade, stating, “I want to do the musical this year, but the intention was not for me to direct every main stage [piece]. It’s healthier for the organization to have other directors, bring in new people. Also, if I’m not directing, I can help produce it.” About Zayas he remarked, “José is a very exciting and talented up and coming director. He is a 2009-11 recipient of the NEA/TCG Career Development Program for Directors.”</div><div class="MsoNormal"><br />
Finally, Mr. Wojtunik commented on the timeliness of the piece. “Something interesting has happened since the play first ran. It’s more relevant now. It’s become at the forefront of the news in a sad way and the play addresses that.” At the same time, he remarked, “It’s frustrating: is it that suicides [among gay youth] are increasing or are we just paying more attention now? It’s something that the playwright is passionate about.” He concluded, “What’s inspiring is that the main character, Emory, still has so much hope. Even though he experiences bullying, he still has hope.” </div><div class="MsoNormal"><br />
MilkMilkLemonade opens October 28<sup>th</sup> and runs through November 13<sup>th</sup>, Thursdays and Fridays at 8pm and Saturdays at 2pm and 8pm. For tickets go to <a href="http://www.apacny.org/">www.apacny.org</a> or call 212-352-3101.</div><div class="MsoNormal"><br />
</div>Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-33169436208288571102010-09-09T17:21:00.000-07:002010-09-09T17:45:28.044-07:00Her Fearful Symmetry - Not for BedtimeAfter <i>The Time Traveler's Wife</i>, one of my favorite books of all time, I was a-tingle at the prospect of reading <i>Her Fearful Symmetry</i>. The build-up was exquisite. My husband gave it to me for Christmas, but, as we celebrated out of town, the gift I opened on Christmas day was a poem he'd written that spelled out the title of the book in the first letters of each line, while the hardback copy lay at home on my pillow. Symbolic, because I always read at bedtime. But <i>Her Fearful Symmetry</i> is so creepy that it was hard for me to get to sleep once I was immersed in it. As a matter of fact, it literally gave me nightmares - well at least one. I woke up one night frantic because it felt like my spirit had left my body and I was fighting and clawing to return. I was sobbing and my husband had to soothe me back into sleep. I attributed the experience to the book's theme, which in my opinion encompasses the idea of the tenuousness of the soul's connection to the physical plane.<br />
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This book is not your typical scary: there's no bloodshed, hacking or stabbing, simply a back-of-the-neck prickling, goosebump-producing, ghostly good read. It is also touching, sad and sensitive, with vividly drawn characters and an incredibly unique plot with mind-blowing twists. Ms. Niffenegger forces you to shift your sympathies more than once as her characters surprise and shock. It is a book by a master-storyteller, but not one who follows a formula or conforms to the convention of genre. Just as <i>The Time Traveler's Wife</i> defies category (though the film seemed to relegate it to romance) <i>Her Fearful Symmetry</i> transcends it.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-60327428384305305642010-08-06T07:50:00.000-07:002010-08-06T07:50:58.881-07:00A Magical, Marvelous Midsummer Night’s Dream from Curious Frog<div class="separator" style="clear: both; text-align: center;"></div>By Georgina Young-Ellis<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpD4jJ4zDCN2sb1YaokAhIKfJoQWNfG9yARhsgCMunnLJFt2NOg_sQ4bO4K82AecOBNFAtNi0EoOnTpBaJFKY4tX4c5joZ7ImuUh8Sya4wmI8eHLePNysu6CaNgHJZN36L9ID_a9PGjf4/s1600/IMG_0428.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpD4jJ4zDCN2sb1YaokAhIKfJoQWNfG9yARhsgCMunnLJFt2NOg_sQ4bO4K82AecOBNFAtNi0EoOnTpBaJFKY4tX4c5joZ7ImuUh8Sya4wmI8eHLePNysu6CaNgHJZN36L9ID_a9PGjf4/s320/IMG_0428.jpg" /></a></div><br />
A Midsummer Night’s Dream is a Shakespeare favorite for many theater-goers and, when done right, is among the bard’s funniest and most charming stories. Fortunately, Curious Frog Theater Company’s A Midsummer Night’s Dream: The Scavengers gets it right and then some. July 31st in Astoria Park, under the trees, with no stage and almost no set, a sign announces a “Greek Scavenger Hunt” and actors come into the performance space wearing tee shirts that sport the names, in Greek, of a fraternity or sorority. We understand that they are college kids about to compete in a scavenger hunt, a brilliant premise on behalf of director Renée Rodriguez. <br />
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The frat boys and sorority sisters open the show shouting decidedly non-Shakespearean cheers to get themselves pumped for the competition. One of the girls, Hermia, is in love with frat boy Lysander, who adores her, though Hermia’s father forbids the union. He has chosen for her Demetrius, whom sorority sis’ Helena loves, though Demetrius only has eyes for Hermia. Hermia and Lysander run away into the woods, followed by Demetrius, followed by Helena. When fairies enchant both the men to fall in love with Helena, they become enemies, and the women, once fast friends, become rivals. There follows a knock-down, drag-out, wildly funny fight, the likes of which I’ve never seen in any production of Midsummer. All four of the lovers are fully committed physically and vocally to the high emotions they experience. Brandi Bravo as Helena is a real standout, teetering around the park on giant platform shoes in a mini-skirt and sunglasses – the ultimate girly-girl, her big eyes and expressive face drawing the audience’s attention like a magnet. Alex Gould as Demetrius is the perfect ditzy, dopey match for her.<br />
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Then there are the “Mechanicals,” a group of dimwits who are rehearsing for a play to put on for the marriage of the Duke and Duchess of Athens. Bottom, an egotistical idiot who wants to perform every part in the “play” that his group is preparing for the Duke, is portrayed by Brent Yoshikami as a smarmy jock in tiny yellow shorts and black knee socks, abusing an obnoxious whistle. He is pure magic on stage, an actor of incredible comic abilities. Tai Verley, playing Petra Quince, the much put upon director, never loses her commitment to playing straight woman to Bottom, her character every second invested in the seriousness of their endeavor. A brilliant choice for Snug is Sora Baek, whose character plays the “lion” in the play within a play. Snug is afraid to speak; therefore Ms. Baek’s heavily accented English lends the character an attribute of adorable, frightened innocence. Flute, played by Manuel de la Portilla, is forced to play a girl in the performance for the Duke. Flute is an hysterically bad actor who at the end of the Mechanicals’ little drama suddenly commits to his part in earnest, causing the lovers, looking on, to weep tears of sorrow, while we, the real audience, weep tears of laughter. <br />
<div style="text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl24Ez-BLaLsxgA6WkxxLxbrfKKSRb-_1rBVUWGDAh_5fXbKhoMvOyTvCF5KgCxv4OCzEniCLLsGDlvOsnte3f8CWTc_w-4nsjPNnGCK8Bc7QV0T0-BoGh-T7ZRlIIDE83fn2HIQzWudQ/s1600/IMG_0388.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl24Ez-BLaLsxgA6WkxxLxbrfKKSRb-_1rBVUWGDAh_5fXbKhoMvOyTvCF5KgCxv4OCzEniCLLsGDlvOsnte3f8CWTc_w-4nsjPNnGCK8Bc7QV0T0-BoGh-T7ZRlIIDE83fn2HIQzWudQ/s320/IMG_0388.jpg" /></a></div><br />
Krystine Summers, as the mischievous fairy Puck, is so quick and agile she convinces us that she could “put a girdle round about the earth in forty minutes,” as her character claims. She expresses herself with wry wit, her lines delivered with natural ease. Somewhat weaker verbally, though not physically, are Edie Monroy and Michael Kennen Miller who play the king and queen of the fairies, Titania and Oberon, respectively. Though both beautiful of face and body, I feel that, at times, they fail to do justice to the exquisite poetry that their parts require. During one of Titania’s principle speeches, truly some of the most beautiful verses that Shakespeare ever wrote, her physical gymnastics diminish the power of the words. The only other weak point in the play is Matt Casteel as Egeus, Hermia’s father, who opens the story with a monologue and, in this first performance, doesn’t seem to yet know his lines. But the play soars thereafter and keeps going at break-neck comic speed until the two hours seem to fly by. <br />
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All in all, there is magnificent attention to detail in A Midsummer Night’s Dream: The Scavengers, thanks again to Ms. Rodriquez and her vision. The show will be in Astoria again Sunday, August 8th at the Astoria Water Walk. It then runs in parks throughout the city until September 5th; the schedule can be found at CuriousFrog.org. Take the kids. They will love it; you will love it; it is simply not to be missed!Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-63644025638295949532010-05-10T14:55:00.000-07:002010-05-16T16:25:33.991-07:00Children of Eden Soars<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5oYF3Dl_gDD_hOgST6Qy5n2yP2QOzgw-6aSEkd-YdFR0scve32GQVRE6CfUgAm0Ua3h8S80QVb7Q-eMoD766PsbA_HEN36rrxSdTmH4CDHASLXZtAkNpdZyXLOfbXBklJ-5jmYeZedsw/s1600/DSC_0795.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 100px; height: 66px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5oYF3Dl_gDD_hOgST6Qy5n2yP2QOzgw-6aSEkd-YdFR0scve32GQVRE6CfUgAm0Ua3h8S80QVb7Q-eMoD766PsbA_HEN36rrxSdTmH4CDHASLXZtAkNpdZyXLOfbXBklJ-5jmYeZedsw/s320/DSC_0795.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5470128715482311154" /></a><br /><br />by Georgina Young-Ellis<br /><br />Photo by Kate Northern<br /><br /><br />My jaw literally dropped when I walked into Astoria Performing Arts Center's space on May 7th to see their latest production, Children of Eden. APAC has mastered the art of transforming the church gymnasium that is their venue into fantastical settings for their various productions. But this one, designed by Michael P. Kramer, is the most astonishing so far in the two years they’ve had their home at Good Shepherd United Methodist Church on Crescent Street. The stage area stretches from one end of the enormous room to the other – entrances are made in the front, at the back, on the sides, upstairs and downstairs, while the seats for the audience run along the sides in a kind-of elongated three-quarter round with those in the front row a scant two feet from the action. <br /><br />The set has a rustic quality: stones and wood that appear to be from an ancient time – appropriately enough, since Children of Eden is the re-telling of the iconic stories from the book of Genesis, in musical form. The music and lyrics were written by Broadway legend Stephen Schwartz, who gave us such shows as Wicked and Godspell, and the Disney movies Pocahontas and the Hunchback of Notre Dame. The book is by Les Miserables' John Caird, and is based on a concept by Charles Lisanby. <br /><br />Beginning from the beginning of biblical time, Father is the first character to appear onstage, and he brings with him light to illuminate the earth. He is soon joined by what seem to be the bringers of night, stars, water, etc., and together they create the world with a lively opening song, "Let There Be." These elemental characters later evolve into the show’s chorus and are responsible for transforming the set into the Garden of Eden, the wasteland beyond Eden, and Noah’s Ark. Each of these performers are versatile singers, dancers and actors, of every color, size and shape. Some of them later take on roles such as Cain and Abel and Noah’s sons and daughters-in-law. <br /><br />But of course, the first human characters to appear after Father are Adam and Eve, who in the second act become Noah and his wife. I was glad for their continued presence on stage because they are each so delightful in their respective parts. Emmy Raver-Lampman as Eve is as enchanting as the first woman ought to be. Physically beautiful, with an equally beautiful voice, she infuses her character with a combination of exuberant innocence and earthy sensuality. Joseph Spieldenner, playing Adam, is charming in his seeming naiveté, a powerful singer and actor as well. His Adam is as obedient, and slightly dumb, as Eve is curious, questioning – a problematic child to her Father. Still, we cannot blame her when she finally succumbs to the temptations of the serpent – brilliantly enacted as an ensemble character by the chorus members. The sexy dance number, "In Pursuit of Excellence," is a highlight, the chorus writhing and gyrating as one giant snake.<br /><br />The first act takes us through the expulsion from the Garden, to the story of Cain and Abel, to the appearance of Adam's third son, Seth, and to Adam’s death. Eve’s final return to her Father, with whom she’s had such a difficult relationship, had the entire audience in tears at the end of the first act with the beautifully delivered title song by Ms. Raver-Lampman and Company.<br /><br />The second act brought us the family of Noah obediently building the ark, though not knowing exactly why or what would ultimately happen. Miraculously, the animals begin to appear two by two - a show-stopping romp. The wonderful physicality of the chorus members who portray the folksy animal puppets in the song, "The Return of the Animals," is as hilarious as it is astonishing - equally so the reaction of Noah’s family as the animals come aboard. As the deluge comes, and then continues unabated for so long, the family questions why God would punish them in such a way. Yonah, lovingly portrayed by the gifted Stacie Bono, is a daughter of the tribe of Cain who has stowed away on the boat at the behest of Noah’s son, Shem. When the family discovers her, they blame her for bringing God’s wrath upon them. But finally the dove comes to bring them a sign of land; the flood is abating. It is at this moment in the show that we are made to think about the earth's fragility. Is it because of God that destruction and calamity occur or is it our doing? My interpretation: we have the free will to stop the man-made disasters, but perhaps the natural ones are in someone else's hands. The song "Ain't It Good," a Gospel-type number, is one of hope and liberation, gloriously led by Ms. Raver-Lampman. <br /><br />The final piece, "In the Beginning," is sung by the remarkable James Zannelli, who plays Father. His moving performances through-out the show bring us face to with a parent who wants the best for his beloved children and cannot understand why they would want to rebel against his loving protection. We do not need to be religious to relate - either as children or parents or both. The themes of this show are universal: will we destroy the gift of the planet that we were given or will we honor it? Will we live obediently as part of a family unit or will we strike out on our own to see what the world holds? <br /><br />Director Tom Wojtunik assisted by a team of technicians and artists that outnumber the seats in theater, in particular Choreographer Christine O'Grady, Musical Director Lilli Wosk, Costume and Puppet Designer Erica Steiner, and Lighting Designer Dan Jobbins, have created an exquisitely unique theatrical experience that should resonate whether you are a lover of musical theater or not. Reserve tickets now at www.APACny.org. The show runs only until May 22nd, and is sure to sell out before you know it.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-22982393727372208452010-05-06T14:24:00.000-07:002010-05-07T13:50:03.141-07:00Two Coves Community Garden Benefits from Bike Tour Leftovers<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjedKncAH4TcgGwgZzRgFt4bCju_6mTKIbEy0s6zDtgmJEx6tHghf8UT-4ruehOJ9YqJVDMnfZgd4_Sf9euZQhea_Dsev_aqZjlRlG1iGI3PgE6Q0LVywekBvW2aboQKqscuBB6hku0v34/s1600/mail.google.com.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjedKncAH4TcgGwgZzRgFt4bCju_6mTKIbEy0s6zDtgmJEx6tHghf8UT-4ruehOJ9YqJVDMnfZgd4_Sf9euZQhea_Dsev_aqZjlRlG1iGI3PgE6Q0LVywekBvW2aboQKqscuBB6hku0v34/s200/mail.google.com.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5468633228545882018" /></a><br />By Georgina Young-Ellis<br /><br />The booming voice of Master Composter Stephanos Koullias resounded throughout the parking lot of Astoria Park on Sunday, May 2nd, the morning of the TD Bank Five Boro Bike New York Tour: “Orange Peels, Banana Peels!” This odd cry was an attempt to encourage the bike riders to conscientiously contribute their fruit rinds to the composting efforts of the Two Coves Community Garden (TCCG), rather than allow them to go into the landfill. The mountains of peels piled up in the TCCG bins, but so did the mounds in the overflowing trash cans as the unaware deposited their fruit peels in the trash receptacles, along with food wrappers, napkins and other garbage. Mr. Koullias pointed out, however, that the Queen Botanical Garden was also hosting a composting station near the Con Ed plant on Vernon Blvd., and that last year, at the end of the 2009 Bike Tour, Bike New York volunteers, under the direction of Emily Crotty, sifted through the garbage there to reclaim six times as many fruit peels as they did at the TCCG station at Astoria Park. He hoped that similar efforts would be made this year. <br /><br />The Two Coves booth was also bagging up as many water and juice bottles as they could get a hold of for recycling, but it was evident that a strong recycling effort was also being made by the Bike New York volunteers. Geoff Cohen, a Bike New York Transportation Captain, was confident that the huge pile of gallon-sized water jugs would be flattened and recycled, as would the stacks of cardboard boxes that the supplies were delivered in. He stressed that this year the emphasis was on having the riders use refillable bottles, rather than supplying them with individual water bottles or plastic cups. <br /><br />As the riders began to filter out of the Astoria Park rest station, Bike New York volunteers scurried about, gathering up the fruit rinds that had been scattered on the ground, and delivering them to the TCCG bins. The community garden folks were careful to specify that no plastic bags or other non-organic waste be put into the bins, as compost, the breaking down of vegetable matter into fertilizer-rich soil, must not contain any meat, dairy, oils or household trash other than bio-degradable things like tea bags, coffee grounds and egg shells. It is generally accepted that all components of fruits and vegetables make good “green” compost, as long as they’re not cooked in oil or with meat, but in order to break down efficiently, must be layered with “brown” matter, generally dried leaves, dried lawn clippings or shredded newspaper. <br /><br />Leaves for the brown layers were collected to the tune of around two thousand pounds by TCCG last fall, according to Master Composter Shirley Chai, who pointed out an enclosed area near the parking lot where the leaves are stored. With the assistance of Greenshores/Astoria Park Alliance, a total of four thousand pounds were ultimately collected from Astoria households and NYCHA's Astoria Houses in 2009. <br /><br />The Western Queens Compost Initiative helps manage the composting effort at TCCG and is working on collecting green compost material from local Greenmarkets, CSAs (Community Supported Agriculture) and the other annual bike events. They are also accepting donations towards purchasing a work trike, a human-powered vehicle capable of transporting one thousand pounds of compostable waste from these various sites to the compost bins at TCCG, and also to help collect fall leaves in the years to come. (See: http://cli.gs/wqnscompost-kickstarter)<br /><br />Mr. Koullias was eager to point out that composting not only creates beautiful, organic gardens and delicious vegetables for individual gardeners, but keeps vegetable waste from entering the landfills – waste that contributes to greenhouse gases and polluting run-off that flows into water sources. As the Bike Tour riders continued on their route, fed and sustained by an army of Bike New York volunteers, <br />Mr. Koullias expressed his satisfaction that almost triple the amount of fruit peels had been collected that day than the previous year’s TD Five Boro Bike Tour, with the help of TCCG volunteers Eric Mathews, Kristen Magnini, Shirley Chai, Matt de la Houssaye, Leanne Spaulding, Brian Monteverd, Mark Messer and Jules Corkery. He hopes that as a result of all their efforts, future events, the Two Coves community and the earth will benefit.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-59789458928708779362010-04-27T14:35:00.000-07:002010-04-28T12:12:07.714-07:00"The Maids" Lives Up to Curious Frog's Usual Level of Excellence<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2CLpZIZQQoAZpntQDzbB0MpUAAHTu9ARuFr9ErPjJTrxA1hCDS71pM9_u-Oo5kC1OaR0z7yj8byJ9U2U2vZ-kyKlYJJjLFYPGuhDEZNkUyys2AKYSBblpn7m59sBtTHyrF7RiuT_3MAU/s1600/DPP-TheRealm-dir.+Jess+Fisch-Photos+Sam+Hough-6318.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 133px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2CLpZIZQQoAZpntQDzbB0MpUAAHTu9ARuFr9ErPjJTrxA1hCDS71pM9_u-Oo5kC1OaR0z7yj8byJ9U2U2vZ-kyKlYJJjLFYPGuhDEZNkUyys2AKYSBblpn7m59sBtTHyrF7RiuT_3MAU/s200/DPP-TheRealm-dir.+Jess+Fisch-Photos+Sam+Hough-6318.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5465266366067707058" /></a><br />By Georgina Young-Ellis <br />Photo by Sam Hough<br /><br />As with many of Curious Frog Theater Company's productions, "The Maids," by Jean Genet, begins before it begins, with a character making herself at home in the space while the audience members wander in and take their seats. That space, designed by Laura Taber Bacon, a pink loft, rose bed in the center, fuschia Betsey Johnson garment bags plastering the walls, is as much a character as the actors. We, as spectators, are an afterthought, taking up only a quarter of the area while the actors roam the length and width of the room. There is no stage. Nothing divides us from the action. The lighting, designed by Michael Megliola, is incorporated into the set by use of lamps which only the actors control. To me, that level of realism in theater is exhilarating. It indicates that people are living in the space, rather than merely reacting to it. <br /><br />The realism pretty much stops there. The play opens with a kind of dance, representing the characters' relationships to their "Madame" and to their surroundings. They then play out their own melodrama of servant and mistress. The beautiful language in Genet's piece (translated from the French) is poetry, and we must interpret as we follow the plot. We are not always sure what is real and what is in the characters' minds. This creates levels of surprise throughout the show: some of the playwright's making, some of the director's. They are surprises that make you gasp. <br /><br />For the most part, the acting was strong. The ability of all the actors in regard to movement and how it was used to define character was fascinating, and executed to perfection. The director, Tracy Cameron Francis, obviously had a strong hand in choreographing where and how the actors would move, which left them free to explore the depths of emotion that their parts called for. Iracel Rivero, as Claire, was by turns regal, haughty, subservient, groveling, and pathetic. Bushra Laskar portrayed her sister Solange as a frighteningly deceptive minion - able to transform from submissive to dominatrix in a flash. Alex Runnels, as Madame, was a wonder. The character seemed the personification of aloof upper class, so caught up in her world that she could not conceive of her servants as human. All three actors more than accomplished, in my opinion, what the playwright intended, and that is no easy task given the language. I was a little distracted by one sister having a British accent and the other American, though their difference in race was of no consequence. <br /><br />Curious Frog's productions always surprise, delight and challenge convention. "The Maids" fulfills the theater-goer in all those ways. It runs April 30th, May 1st, 2nd, 7th and 8th, shows starting at 7:30. Go to Curiousfrog.org to purchase tickets. Be advised that they tend to sell out fast because the seating is quite limited, so reserve your tickets now if you're up for a gorgeous, unusual and unsettling theatrical experience.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-31099510558999975682009-09-16T12:04:00.000-07:002010-04-27T16:25:20.931-07:00Romeo & Juliet and Greek Comedy - Great Theater in the Park By Georgina Young-Ellis, Photo by B. Josh Young<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5NZVykVHI97DLGlXAIixAATpQvrz0Ufxo-Xz2Mj80MnWtCKbORq0ROZ8NmtjWI-bzaYSPaw6Wfo8LXxX4pLOFNuQX-mrUzK3YqpCLIxdzhVIZOiEcI9DEO1gtnrM1tN2l9qT6VCUZD0/s1600-h/Romeo+and+Juliet+2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 218px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5NZVykVHI97DLGlXAIixAATpQvrz0Ufxo-Xz2Mj80MnWtCKbORq0ROZ8NmtjWI-bzaYSPaw6Wfo8LXxX4pLOFNuQX-mrUzK3YqpCLIxdzhVIZOiEcI9DEO1gtnrM1tN2l9qT6VCUZD0/s320/Romeo+and+Juliet+2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5382900382399356754" /></a><br />What could be more appropriate entertainment for Astoria than a really good Greek comedy? How about a really great Italian tragedy? This summer we get both for free, outdoors, courtesy of Curious Frog Theater Company’s Summerfest. The Greek offering is Plutus, by Aristophanes, and the tragedy is Shakespeare’s Romeo and Juliet, famously set in the town of Verona, Italy.<br /><br />Plutus, directed by Whitney Aronson, is a wonderful one hour romp that I saw performed at the Astoria Park Water Walk on August 9th, its opening day. Actors in togas and sneakers, banging rough hand instruments and strumming blues guitar, opened the show before a backdrop of cardboard columns. A Greek chorus in drag then greeted us with a Beyonce tune, after which the story began. It is about how Plutus, the God of Money, regains his sight and endows a Grecian city with all the riches of their dreams, though the Goddess of Poverty warns that they’ll regret the God’s favors, and how her prophecy ultimately comes true. The tale is punctuated with Music Director Alvin Chan’s inspired use of modern musical references including a sing-a-long to the tune of American Pie. There are also countless bawdy jokes, endless gags about breaking wind, well-executed pole-fighting (courtesy of choreographer Rocio Mendez), crude but engaging puppetry, and a visit to a wellness spa.<br /><br />Using broad gestures, loud voices and uproarious slapstick, the actors had everyone from toddlers to hipsters in the palms of their hands. Allen Hope Sermonia stood out with his borscht-belt-comedian style Plutus, as did Larissa Dzegar’s ferocious Poverty. Jodie Pfau, as the slave Cario, was adept with physical comedy, using dance and yoga to great effect, and Sergio Castillo, Lauren Ashley Smith and Derby Thomas rounded out the cast in various roles, all demonstrating amazing skill with song, dance, and comic timing.<br /><br />Beware: though young and old alike will love it, anyone over the age of 10 will probably understand all too well the steamy sexual references. All in all, however, it is great fun and I encourage you to check it out on Sept. 19th at Queensbridge Park, 4:00p.m. It will be in the other boroughs until then, and you can find out where at www.curiousfrog.org.<br /><br />A week later, on August 16th, I was on Astoria Park’s great lawn near the train bridge, cooled by a breeze off the river and shaded by giant trees, amongst which was nestled the staging area for Romeo and Juliet. I call it a “staging area,” rather than a set, because the only set was a string of lanterns and a rustic chaise lounge. The only other stage dressings were the trees, and the only backdrop the rushing river.<br /><br />After a masked dance illustrates the prologue, young men clad in jeans and t-shirts hurry onto the scene. They have ipods and cellphones in hand – they might be any guys out roaming the streets of Astoria, but their restless energy tell us that they are looking for action: a fight, a girl, a good time. Juliet and her nurse/pal skip in soon after with laptop in tow and join a Facebook group for an upcoming party, while updating their “status.” It is the only moment, really, when director Reneé Rodriguez takes liberties with Shakespeare’s language, other than cutting away large swaths of the work, in order to trim it down to the sleek ninety minutes that the show runs.<br /><br />We are then plunged into the familiar story: the Montagues and Capulets are enemies, but the young lovers from the two different families oppose all odds, and marry. The mortal battle of their friends and family members result in Romeo’s banishment, and a series of miscommunications take their toll. Juliet takes a potion that makes her appear dead so she won’t have to marry her mother’s choice for her, a man named Paris. Romeo rushes back to town thinking Juliet is indeed deceased, and finding her in the tomb, kills himself with poison. Juliet comes to, sees her love lying dead and uses his knife to end her own life. The family comes on the bloody scene and they learn the ultimate lesson: parents can’t choose who their kids will love, but should trust the choices they make and not pass on their own prejudices.<br /><br />The miracle of this production is that six actors play all the roles. Leo Giannopoulos as Romeo, and Elizabeth Spano as Juliet, are the only two who play no other parts. Giannopoulos is a sexy, vital Romeo and the adorable Spano displays a slightly goofy charm in an untraditional type of Juliet. She’s grossed out by the thought of marrying some guy her mother has set up for her, and embarrassed by her first kiss with Romeo. Both of them exude the epitome of adolescence on the brink of the discovery of love. Reneé Rodriguez does triple duty as director, Mercutio, and Lady Capulet, and she works magic in all three roles. As Romeo’s friend Mercutio, she’s a randy punk, a tough girl in every sense. As Juliet’s mother, she’s a shrill, drunken housewife, abusive to her child. Though I wasn’t completely convinced by Shannon Pritchard’s Nurse, her dual role as Juliet’s cousin, Tybalt, was electrifying. When she and Rodriguez get into it with knives drawn, it is a cat fight like you’ve never seen. They spare each other nothing, rolling in the dirt, jabbing and sparring, leaping and darting with unbelievable agility, owed to their own physical prowess and the masterful fight direction of Jacob Grigolia-Rosenbaum. When Rodriguez’s Mercutio is finally slain, her death is one of the best I’ve ever seen portrayed on stage. Similarly when Romeo and Paris (played by Nick Maccarone) duel with rapiers, it is a riveting and dangerous dance infused with martial arts. Maccarone, who also plays the level-headed Benvolio, has a natural quality with the language that connects us with his characters and Allen Hope Sermonia as Escalus and Friar Laurence brought me to tears at the end with his final observations on the tragic events.<br /><br />I’ve seen and read this play many times and didn’t think it was possible to be moved so deeply by a story I know so well, but Curious Frog’s interpretation made it new for me. All of the clever touches, Romeo delivering his “But soft, what light through yonder window breaks…” speech from in the midst of the audience, Juliet languishing behind a tree instead of on a balcony, actors handing out fliers and posting them around the park to advertise the Capulet party, are representative of the theater company’s creativity and originality – something evident in every production of theirs I’ve seen. You can catch Romeo and Juliet again in Astoria Park on September 20th, at 4:00, and it is playing on several other dates around the city. Go see it, and fall in love with Shakespeare all over again, or perhaps even, for the very first time.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-74676184442096747392009-08-28T15:19:00.000-07:002009-08-28T15:24:23.688-07:00The Greek Cultural Center Asks, “Are You a Prime Number?”by Georgina Young-Ellis<br /><br />Modestly tucked away at the back of a garden walkway, the Greek Cultural Center has been bringing great performances to Astoria and the world for more than thirty years. Currently, they are presenting the international premiere of Prime Numbers, an intriguing, avant-garde theater piece by Fulbright Scholarship recipient Gianni Skaragas. Though the play is in English, the Director, Set /Costume and Lighting Designers all hail from Greece. The multi-cultural cast reflects one of the main purposes of the Greek Cultural Center (GCC), as Board President, Demetres Beryeles, expressed, “to blend with the greater community and bring cultures together.” <br /><br />To summarize the plot, Eddie, the main character, played by Stephen Lundberg, has written a novel about an author trapped in his own work with the characters he’s created. Eddie wakes up after an accident to find himself in a Tijuana motel during a hurricane with an odd collection of individuals: Julietta (Tereza Grimani), an attractive but troubled young pharmacist, Marguerite Gautier (Stacey Salvette), a former torch singer with a likable, cynical edge, Oedipus (Andreas Tselepos), a math genius with a big heart, Medea (Kalliope Koutelos), a transplant from Iraq trying to escape from her anguish, and Cain (Ceasar Nixon), the landlord, a tough guy with a swagger straight out of 1950’s Film Noir. When Eddie finds his lost manuscript, he realizes that the five characters are of his own creation; now he must kill them before they kill him. <br /><br />Through-out the play, each character exposes some tragic or terrible truth about themselves in a series of well-interspersed monologues. Most notable are the two stories borrowed from the ancient Greeks: Oedipus, complete with complex, who is searching for the tender love he knew with his mother, and Medea, who rails against the country that has wreaked havoc in her own, and who reveals that in her desperate attempt to escape from her Marine husband, has inadvertently killed her children in a car accident. All the actors handle the challenging material with great power and energy while they adeptly change the sets, and control the lighting by use of pull chains attached to overhead lamps.<br /><br />Projections are used to suggest different locations within the motel, and in order to change the mood. By employing slides and shadows, it seems that Director Fotini Baxevani was trying to suggest experimental film on stage, and did so with success, aided by expert lighting designer Orpheas Emirzas. Petros Sakelliou’s eerie music added to the overall effect. <br /><br />Prime Numbers is the latest one of hundreds of productions that the Greek Cultural Center, located at 27-18 Hoyt Avenue South, has shared with the world since 1974. Well-known abroad, in many parts of the U.S. and throughout New York State, they are famous for their dance, music and puppetry presentations, as well as the classes they offer in traditional dance from the various geographic areas of Greece, instrumental instruction, and singing workshops led by renowned performer Christos Alexandrou. The center has participated in events in many of the major venues all around New York City and the East Coast, winning numerous, prestigious awards for their work, and, as Program Coordinator Fotis Michelioudakis pointed out, regularly receives invitations to perform at colleges, universities and cultural institutions far and wide. <br /><br />President Beryeles stressed the charitable work the GCC participates in, such as blood drives and benefits, as the organization strives always to “reach out and help all the people of the community.” He noted that the GCC is about collaboration with everyone, not just within the Greek Community, and that their space is shared with many other cultural and ethnic groups. <br /><br />Prime Numbers runs until April 5th , Fridays and Saturdays at 8:00 and Sundays at 7:00. The Center is a little hard to find, but signs on the sidewalk point you toward a pathway that leads to the basement theater. Tickets are $20.00, or $15.00 for students, seniors and children and can be purchased by calling 718-726-7329 or via e-mail at reservations@greekculturalcenter.org. It is an evening that requires you to think, analyze and explore the depths of human emotion; all in all, a fascinating theatrical foray.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0tag:blogger.com,1999:blog-4583061698772457210.post-31278196240524193222009-05-27T14:17:00.000-07:002009-08-28T15:25:48.287-07:00Curious Frog's Theater Co's True West - a Thrilling Experienceby Georgina Young-Ellis<br /><br />Last summer I made the wondrous discovery of Curious Frog Theater Company when I stumbled upon their production of Shakespeare’s Much Ado About Nothing in Astoria Park. As summer 2009 approaches and I eagerly await this season’s outdoor Romeo and Juliet, I made a point to catch their current offering, True West. Staged in an East Village apartment, the audience is as immersed in the play as the actors. The theater-goers are seated within the set of this Sam Shepard classic, some less than two feet from the rambunctious unfolding of the plot. It is not a complicated one: Two brothers confront each other in their mother’s California suburban home. Austin, played by Alvin Chan, appears to be the level-headed screenwriter. Lee, portrayed by Edward Chin-Lyn, is his twisted, petty-criminal brother. Austin is trying to finish a script for which he has almost secured a deal. Lee barges into his solitude, demanding to borrow Austin’s car so he can go thieving around their mother’s neighborhood while she’s out-of-town. He’s come from spending months in the desert and the first thing on his mind is getting his brother’s car keys while disrupting his peace and concentration in the process. Lee meets Austin’s producer, Saul Kimmer, played by John Gardner, and convinces the man to fund Lee’s own half-baked idea for a Western movie rather than invest in Austin’s project. This infuriates Austin, who considers his brother an idiot, and his frustration drives him to drink. Slowly the tables turn as Austin feels the urge to flee civilization and run away to the desert himself, while Lee, who’s barely literate, much less able to operate a typewriter, struggles to bring his idea to fruition. The situation has devolved into a bread-flinging, typewriter destroying, knock-down, drag-out fight nearly to the death, when Mom walks in, a fragile flower steeped in denial, played by Mami Kimura. She resigns herself to the destruction of her home and leaves her sons to settle their issues. We are left not knowing how it will turn out, only that the two brothers have somehow started to inhabit each other’s insanity. <br /><br />I had forgotten how funny Sam Shepard could be – this play is possibly one of his most humorous - made even more-so by the brilliance of Chan and Chin-Lyn and their remarkable fraternal chemistry. Though we are laughing, we are terrified by Chin-Lyn’s Lee from the moment he walks in (the entrances were made from the front door of the apartment). His quirky vocal cadence and his continual physical tics fascinate like a train wreck. Chan’s Austin draws us in at the outset with his calm ability to listen and respond to the barbs and ravings from his brother with cool detachment. We admire his patience as he attempts to stay focused on his work – the big brother putting up with the younger, the one that has fallen far short of ever becoming a productive member of society. Yet this younger brother is a physical menace, and our nerves are set on edge as we wonder when he’ll snap. Therefore, it’s even more surprising when it is Austin who snaps first, Chan having so thoroughly established his character as the stable one. <br /><br />The acting throughout is what we always hope for when we venture out to see theater in New York. We want the best and that’s what we get here. John Gardener’s portrayal of Saul Kimmer is delightfully smarmy. Kimura’s “Mom” floats surreally above the chaos. Because of her bizarrely detached perception of what has happened, we’re almost able to understand why her sons have turned out as they did. <br /><br />The wonderfully detailed set was designed by David Ogle, with props by Chelsea Chorpenning. Nothing is present on the stage that wouldn’t have existed before 1981 when the action takes place, and the actors make use of it all. The subtle and cleverly placed lighting, designed by Ross Graham, is mostly what would already be inherent in the average home. Sometimes, it’s only candlelight. Every aspect of the production lends itself to the intense realism that is, in essence, Sam Shepard. <br />The decision of Artistic Director Reneé Rodriguez and Director Isaac Byrne to cast the main characters as Asian was an interesting one, reflecting a racial reality as basically American as the iconic playwright himself. The choice was in keeping with Curious Frog’s mission: “… to present new, modern and classical works with the goal of showing a new, multicultural perspective through non-traditional casting…” In this case, it added another fascinating layer to the timeless script and the actors’ craft.<br /><br />True West can be seen at 181 Avenue B until May 31st. Tickets are $25.00, Thursday, through Sunday. Wednesdays’ admission is $10.00 cash and a regular-sized loaf of bread. You can make reservations at www.curiousfrog.org. Though its headquarters are in Astoria, with strong ties to the community, Curious Frog seems prepared to go anywhere to bring an excellent caliber of uniquely-envisioned theater to New York City. I urge you to go and have the experience.Georginahttp://www.blogger.com/profile/04726404742267116995noreply@blogger.com0