Posts Tagged ‘New World Stages

03
Feb
18

Puffs: My Review

Puffs2An owl has arrived to deliver a message to a young boy. The lucky recipient of this owlgram has been accepted into a little known world renowned school of magic. He is to be taken from his humdrum life and set upon a new course and the magical adventure of his life. The catch is that this is not merry old England and this is not the boy legend in the making Harry Potter. This is New Mexico in the good old US of A and the boy is an awkward, and not that much of a gifted wizard to be, named Wayne. Nonetheless, Wayne is whisked off to England to experience ‘seven increasingly eventful years at a certain school of magic and magic’ just like the infamous Harry.

While Harry does make occasional appearances in this tale this story belongs to Wayne and all his fellow Puffs, the magical house he’s sorted into for his time at the school. This is a mirror world of the Potter books and if you don’t know them you will have some problems catching all the jokes in this very clever, fast paced, hysterically funny farce. While elements of the books play out in the periphery, this version is all about the Puffs and their mutual adventures of just getting through school and dealing with all the mayhem that Harry creates in his wake. The Puffs are endearing misfits but they know it and that always seems to empower them forward through their mutual endeavors.

The ensemble cast is exactly that in every sense of the word. They are frenetic poetry in zany motion and to lose any one of these skillful cartoon treasures would be to collapse this magical school’s house of cards. In total the company of thirteen players portray fifty three characters and features the talents of Langston Belton, Madeleine Bundy, Jessie Cannizzaro, Nick Carrillo, Anna Dart, A.J. Ditty, Julie Ann Earls, James Fouhey, Jake Keefe, Andy Miller, Zac Moon, Eleanor Philips and Stephen Stout.

Puffs1The design work on this production is clever to the max with every department delivering excellence. Madeleine Bundy’s set, costume, and prop designs are at the center of it all. Her set gives the reigning Broadway work of The Play That Goes Wrong a run for its money. Its backstage reverse world look and feel serves as the visual foundation in this frenzied world. Her hodgepodge of costumes is in all actuality a well-organized balance of quick change mastery that fits well within the mania and lets the audience keep track of the many characters and their houses as they fly by.

It’s writer Matt Cox’s book of secrets that drives this glorious insanity. His work reveals a true and genuine love of the parodied Potter source material. He provides not only comedic reverence to the proceedings but also isn’t at all afraid to skewer its revered cannon with right-on-the-mark pokes at its fabled facade. Cox has scripted an intermissonless one hour and forty five minute speeding magical locomotive that makes for a wild and wonderful ride.

One would think that a show and a cast that moves this quickly and delivers this many punch lines per second would be allowed to run amok to achieve those goal. That thinking would be incorrect. There’s a slow and steady hand at the helm of this madness that makes it all work and it belongs to director, Kristin McCarthy Parker. Reigning in all that creative energy and then knowing exactly when to unleash it is no simple task and her skill is to be admired.

Tilted Windmills Theatricals and producers John Arthur Pinckard and David Carpenter are to be commended here as well. They took great steps to protect, package, and promote this gem of a production in such a way that allowed it to be found by its adoring audience. They knew what they had and nurtured it wisely. Puffs began at the Peoples Improv Theater, where it gained its first momentum, before moving to the Elektra Theater where continued critical acclaim brought it to its current home at Stage 5 at New World Stages.

Puffs has broken two New World Stages box office records to date and is well on its way to break others as it repeatedly plays to sold out houses. It is primarily word of mouth support from its loyal and growing fan base that drives this well-deserved success. With Harry Potter and the Cursed Child opening shortly it’s easy to see how Puffs may just become a permanent fixture on the New York theatre scene as scores of fans flood into the city from all over the world to catch two of the hottest wizarding tickets within reach.

New World Stages
Stage 5
340 West 50th Street
New York, NY 10019
http://www.puffstheplay.com/
212.239.6200
$52-$97
Now Playing Through Nov 4, 2018

From an original post on TheaterScene.

Edward MedinaEdward Medina is an Amazon KDP bestselling author of high fantasy, dark horror, and epic adventure books, short stories, and poems. To date his combined works have earned over one hundred and fifty Amazon and Goodreads five star reviews from readers, reviewers, bloggers, teachers and fellow authors.

He is a native New Yorker who over time has built a significant and multifaceted career. He has been a producer, director, and writer for both digital media and the New York Off and Off – Off Broadway stages. He also had the honor and the privilege to work for the late great Jim Henson creator of the Muppets.

Edward founded a successful independent production company dedicated to family entertainment and children’s causes. He also established a multimedia company in order to assist nonprofits achieve their own cause related goals. He went on to become a theme park designer. For fun he became a steam train engineer and has been since childhood a sometime magician.

Currently Edward is a critic and feature entertainment columnist covering Broadway, Off Broadway, Off-Off Broadway, Clubs and Cabarets for TheaterScene and The Fire Island Sun. He also maintains his love of theatrical production by continuing to create new works for both stage and screen. And his dream of building a fully realized world of fantasy on tropical shores is still very much alive and well.

If you’d like more detailed information on Edward’s work, visit his LinkedIn profile or his website. You can also explore his books, follow him on Twitter, like his page on Facebook, and subscribe to his blog on WordPress.

Edward Medina is proud to be a member of the American Theatre Critics Association, the Dramatists Guild, the Society of Children’s Book Writers & Illustrators, and the Horror Writers Association.

11
Oct
17

A Clockwork Orange: My Review

Pete (Misha Osherovich), Alex (Jonno Davies), Georgie (Matt Doyle) and Dim (Sean-Patrick Higgins). (Photo Credit Caitlin McNaney)

Pete (Misha Osherovich), Alex (Jonno Davies), Georgie (Matt Doyle) and Dim (Sean-Patrick Higgins). (Photo Credit Caitlin McNaney)

Welcome to New World Stages Theatre Four. Welcome to a Brechtian black box presentation of testosterone driven madness. Welcome to a space where the aesthetics of naturalism as theatrical illusion is nuked out of existence and the poetics of epic theater abounds in its place.

As you take your seat you will swear you hear the announcers call of a WWE wrestling match. Sitting there in that heavily raked bowl of a space you’ll be subjected to pounding music, a heavy dose of atmospheric fog, and fixed and focused lights that keep the space lit yet dim. You’ll be surrounded by a forced to be too loud crowd, and hawkers of peanuts and drinks. Until an unannounced street gang of four begin to make their way down the aisle. The thespian cage match is about to begin.

They call themselves Droogs. They speak in a patois of their own making called Nadsat which is a mix of Cockney slang, Shakespearian poetry, and Russian vocabulary. They drink gads and gads of a drugged milk drink they call Moloko. They fight amongst themselves. They fight with others of their kind. They appear merciless. A gay man is beaten and raped. A rich woman is raped and killed. This cacophony of ultraviolence dance fighting galore is all done to a soundtrack of Beethoven, Bowie, and Frankie Goes to Hollywood, just to name a few.

An ensemble of male actors Jimmy Brooks, Matt Doyle, Sean Patrick Higgins, Brian Lee Huynh, Misha Osherovich, Ashley Robinson, Timothy Sekk, Alekssander Varadian is led by the impressive Jonno Davies as Alex deLarge. Other than Davies this ensemble will morph into a variety of characters, both male and female, that tell Alex’s tale and in that they all do an exemplary job within the parameters they’ve been given.

Our ne’er-do-well anti-hero is eventually imprisoned where he becomes Prisoner 6655321 and a subject of experimental aversion therapy to cure him of his evil ways and turn him into a guinea pig of government reform. His love of music is turned against him. It only serves to remind him of mental horrors forcibly projected into his mind. It results in his ability to manifest violence being taken from him. The thought alone pains him. He becomes a weakling before his enemies.

Brian Lee Huynh (left) and Jonno Davies (right). (Photo Credit Caitlin McNaney)

Brian Lee Huynh (left) and Jonno Davies (right). (Photo Credit Caitlin McNaney)

The newly reformed Alex is granted early release as a reward for subjecting himself to the cure of the state. His return brings him to a changed home life. His parents reject him more than usual. There’s a new boarder occupying his old room and his space in the family unit. His former Droog playmates are now on the side of law enforcement. Ex-villains being used to catch real villains. Alex ends up becoming a stranger in his own strange land and in his closing monologue, delivered directly to us, he reminds us that there are many Alex’s out there, there are also Droogs to be wary of, and they are creations of our own making.

Anthony Burgess is credited with writing the play though he passed in 1993 without actually writing a version for the stage. His dystopian novel, initially inspired by the violent assault on his wife Lynn who was robbed, beaten, and raped by US Army deserters during a World War II blackout, was first published in 1962. The film adaptation of his work by Stanley Kubrick followed nearly a decade later in 1971 but the singularly violent tone it set was created from the American version of the novel which had its most important twenty first chapter removed. The final chapter, in a structure set by Burgess to correspond with the established number of years in a young life, is one of redemption and change for Alex and seems to be restored in this interpretation.

Here in the twenty first century the reprobates in this theatrical incarnation appear more punkhipster chic than truly dangerous theatrical architypes. Even the once shocking violence while still disturbing in a live setting seems to be tame by the standards our current society has become all too familiar with as of late.

Alexandra Spencer-Jones’s all-encompassing directing style here is predicated on faster, bigger, louder, and more grotesque. This lack of finesse results in a very loud one note presentation. The complex jabberwocky like poetry of language that marks Burgess’s work gets lost as it blows passed the ear. The humor in this intended satire becomes so broad that it only registers in the lowest common denominators. The ensemble is forced into overmodulation and with everything playing at level eleven on the amp there’s no place to go but down, and down while refreshing when it does make a rare appearance, reads as weakness here.

The Cast of 'A Clockwork Orange' at New World Stages. (Photo Credit Caitlin McNaney)

The Cast of ‘A Clockwork Orange’ at New World Stages. (Photo Credit Caitlin McNaney)

Epic theatre exists in the realm of disconcerting alienation. Actors playing multiple roles to blur the lines between protagonists and antagonists. Focused specific lighting forces the eye to see only what is meant to be seen. Abstract scenery deconstructs the normal.  The clash of modern and classical music further confuses the senses. All these tricks are on display here, and while they are successful individually they fail to coalesce and deliver a whole. Bertolt Brecht once said that art is not a mirror with which to reflect reality but a hammer with which to shape it. A hammer would have been useful here instead of the unwieldy use of an ax.

New World Stages
340 West 50th Street
New York, NY 10019
$59 – $89
www.aclockworkorangeplay.com
212-239-6200
Sept 25 – Jan 6, 2018

From an original post on TheaterScene/The Fire Island Sun.

Edward MedinaEdward Medina is an Amazon KDP bestselling author of high fantasy, dark horror, and epic adventure books, short stories, and poems. To date his combined works have earned over one hundred and fifty Amazon and Goodreads five star reviews from readers, reviewers, bloggers, teachers and fellow authors.

He is a native New Yorker who over time has built a significant and multifaceted career. He has been a producer, director, and writer for both digital media and the New York Off and Off – Off Broadway stages. He also had the honor and the privilege to work for the late great Jim Henson creator of the Muppets.

Edward founded a successful independent production company dedicated to family entertainment and children’s causes. He also established a multimedia company in order to assist nonprofits achieve their own cause related goals. He went on to become a theme park designer. For fun he became a steam train engineer and has been since childhood a sometime magician.

Currently Edward is a critic and feature entertainment columnist covering Broadway, Off Broadway, Off-Off Broadway, Clubs and Cabarets for TheaterScene and The Fire Island Sun. He also maintains his love of theatrical production by continuing to create new works for both stage and screen. And his dream of building a fully realized world of fantasy on tropical shores is still very much alive and well.

If you’d like more detailed information on Edward’s work, visit his LinkedIn profile or his website. You can also explore his books, follow him on Twitter, like his page on Facebook, and subscribe to his blog on WordPress.

Edward Medina is proud to be a member of the American Theatre Critics Association, the Dramatists Guild, the Society of Children’s Book Writers & Illustrators, and the Horror Writers Association.




Edward Medina Author

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