Retro Two Gents is Great Outdoor Fun

Krystine Summers as Launce
and Lola as Crab

By Georgina Young-Ellis


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. 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 Renée 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. 

Angela Sharp as Julia
and Umi Shakti as Lucetta

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.

Justin Maruri as Valentine
and Krystine Summers as 3rd Outlaw

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:

Two Gentlemen of Verona: 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). 

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). 

www.curiousfrog.org

A Magical, Marvelous Midsummer Night’s Dream from Curious Frog

By Georgina Young-Ellis

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.

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.

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.

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.

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!

Romeo & Juliet and Greek Comedy - Great Theater in the Park By Georgina Young-Ellis, Photo by B. Josh Young

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.

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.

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.

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.

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.

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.

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.

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.

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.