Posts Tagged ‘Playwrights Horizons

12
Apr
18

This Flat Earth: My Review

This Flat Earth

March 16, 2018 – April 29, 2018
Mainstage Theater
Written by Lindsey Ferrentino
Directed by Rebecca Taichman

Let us not bandy about. This Flat Earth is an important play. It is among the first of its kind to arrive in the theatrical commercial mainstream. It will sadly not be the last. This production is a clear clarion call for a problem that is only now becoming locked into our national psyche even though it’s grown from a constant and seemingly unending set of events. This Flat Earth by Lindsey Ferrentino, now at Playwrights Horizons, is about the death of our young students, the individual impact this has on all our daily lives, the struggles that present themselves as we pay a repeated cost, and the message manifests itself as a subtly delivered yet powerfully landed punch to the societal gut.

Thirteen is a critical age. It’s the supposed time when teenagers begin that transition into adulthood. It’s a time of reality and responsibility. Reality comes crashing in on Julie and Zander. They’re both thirteen and living in an idyllic seaside town in New England. They also both attend a perfect middle school where a gunman has entered the building and shattered their lives. Both teens are trying desperately to process the event each in their own way. Ian Saint-Germanin as Zander is a wonder of awkward but deeply caring pubescent contradictions. Ella Kennedy Davis takes the role of Julie to heart and succeeds comically and gracefully in wrestling with the complex issues before them. We see a majority of the coping both good and bad through Julie’s eyes and they are the perfect lenses for viewing troubled understanding.

This Flat Earth

March 16, 2018 – April 29, 2018
Mainstage Theater
Written by Lindsey Ferrentino
Directed by Rebecca Taichman

While the kids are trying to find meaning in chaos the adults here are attempting to do the same. Julie’s single dad Dan, a former standup comic turned working class hero in order to make things better for his daughter, doesn’t have all the tools necessary to answer his daughters very real and sometimes abstract questions but he tries as hard as he can to help. Sometimes a little too hard. Lucas Papaelias is charming and endearing here as Dan. He’s the perfect slightly imperfect father fueled by well-meaning intentions. The other counter balancing grown up here is Lisa played by Cassie Beck who’s a powerhouse actress filling her role with jumbled nerves and tortured angst. As she comes and goes Lisa serves as a constant reminder of the incident. She lost her daughter that day. The energy of that loss is always with her and it impacts everyone in this world.

Rising above them all, quite literally due to the fabulous two-story set of scenic designer Dane Laffrey, is Cloris. She lives in the apartment above Julie and Dan and its from there that she rules the roost as the sage goddess figure of the proceedings. Lynda Gravatt’s performance is stellar and grounding. She brings a knowing gravitas that helps to provide a much-needed balm to not only Dan and the kids but to those of us in the dark as well. Cloris has been around, she’s experienced all that life has to offer, she understands that life is a set of patterns that are as predictable as they are unpredictable and that change for the better is sometimes hard fought and hard won.

This Flat Earth

March 16, 2018 – April 29, 2018
Mainstage Theater
Written by Lindsey Ferrentino
Directed by Rebecca Taichman

From the start of This Flat Earth author Ferrentino carefully sets about the business of layering in a narrative foundation and then methodically reverse engineering this emotional time bomb as she peels back each layer. By the time the ninety minutes are up she leaves you an emotional but much wiser mess. There is no hammer here pounding the nail home. There is no rallying cry driving you to action. There is just a constant sense of truth in the midst of heartfelt questions and genuine pain. Everyone in this world pays a price and because the writer never talks down to her audience we easily empathize with each of them.

The production is deftly directed by Rebecca Taichman but Ferrentino and Taichman both work together seamlessly to let their characters breathe the moments of their lives which enables us to witness our own in theirs. Writer and director both let these characters find humor in the dark, compassion in the light, and everyone is allowed their cathartic pangs without judgement. Whether at the blunt end of the barrel of a gun, or at the sharp point of a jointly crafted moment, This Flat Earth proves itself to be a significant work that never preaches as it enlightens in the midst of our current politically polarized climate.

Playwrights Horizons
Mainstage Theater
416 West 42nd Street
$49 – $89
www.playwrightshorizons.org/shows/plays/flat-earth/
212-564-1235
Mar 16 – April 29, 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.

28
Sep
17

For Peter Pan on her 70th birthday: My Review

Photo Sep 29, 4 50 56 PMTwo time Pulitzer Prize finalist and Tony Award nominee author Sarah Ruhl wrote For Peter Pan as a gift to her actress mother Kathleen Kehoe Ruhl who, in real life, joyously played Pan long ago. The play opens with Ann (Kathleen Chalfant), representing the embodiment of Ruhl’s mother, parting the closed curtains and stepping out to sweetly regale us with dulcet memories of her character’s Pan performance. The moment was so natural and well-acted that one wasn’t sure if this was part of the show or the beginning of a welcome to the Playwrights Horizons theatre.

Ruhl has set her semi-autobiographical drama, with hints of humor, within a framework of three movements. The first movement has us waiting in a hospital room with the family as they wait for their patriarch George (Ron Crawford) to shuffle off this mortal coil. It’s a long wait. With many lingering silences. Too many of them. In between those silences we are introduced to each remaining member of the clan. They include sister, Wendy (Lisa Emery), and brothers Jim (David Chandler), John (Daniel Jenkins), and Michael (Keith Reddin). It’s in these first moments together that we feel the hints of familial love and festering sibling rivalry that permeate their lives.

At the obvious conclusion of the vigil deceased dad sits up and gets out of bed. He takes a walk to the front door of the family’s Davenport, Iowa home where he’s greeted by the also deceased family dog, nicely played by adopted canine Macy making her New York theatrical debut. George and the pet then go inside. The father will physically yet silently haunt the remainder of the play like a specter at the awkward feast to follow.

For Peter Pan

David Chandler, Ron Crawford, Daniel Jenkins, Lisa Emery, Keith Reddin, and Kathleen Chalfant (Photo Credit Joan Marcus)

After a clumsy set change, all done to a live trumpet solo of “When the Saints Come Marching” in, we arrive at the second movement and the family dinner table. It’s there with handfuls of Chex Party Mix and copious amounts of Jameson whiskey that the now orphaned siblings truly let the catharsis fly in a verbal wake of suddenly forced adulthood.

This family venting is filled with remembrances both joyful and melancholy, growing expressions of sibling discontent and disconnect, a good dose of political regret for being both not enough or too liberal, and not enough or too conservative, in a world gone mad during the Clinton administration, and it’s all blended together with a healthy mix of Irish Catholic guilt.

It’s here that author and ensemble shine. These are all actors of a certain age and their real life skills and professional experience provide them with the tools to take what would at first glance appear to be a clichéd scene and make it sing off the page.

The third movement is somewhat magical but extremely perplexing. Its childhood fantasy rooted in the reality of age as the Pan story plays out in the children’s bedroom. Each sibling has a part to play. Ann returns to her crowing self as Peter, siblings Wendy, John and Peter become their namesakes, and brother Jim becomes a fabulous Captain Hook, even the family dog takes a turn as Nana but nothing here can help save this lost elderly children’s theatre-like conclusion.

Awkward moments abound in a crash of forced analogies, confusing concepts, and the technical requirements of attaching flying harnesses to both people and a bed. The clearly audible mechanical sounds of the pulley systems that make the magic of flight possible were painfully apparent. Whether this was deliberate to increase that feeling of encroaching reality or the theater space is just too small to absorb the mechanics involved will remain a mystery.

The end of all this returned us to a touching moment. With her brothers and sister choosing to return to being grownups Ann, as Peter, is left alone on stage to once again recall her original performance. She remembers the real magic of that moment. She remembers the audience, her friends smiling faces, and her father coming up the aisle to bring her a bouquet of roses. Ghost dad does just that and speaks for the first time with words of support and encouragement to a young Ann as she embarks on the rest of her life. This then allows Peter to take flight once more leaving the pains of the real world behind.

Photo Sep 29, 4 54 54 PM

Kathleen Chalfant David Chandler (Photo Credit Joan Marcus)

There’s a lot to be said about the Peter Pan myth and its connections to youth and lost youth, to living life and finding death, to hanging on and letting go. Unfortunately, this time, like a clumsy lost boy, the obviously gifted Ruhl overloads her quiver with tried and true tropes and takes aim at societies every day foibles, the structure of family, all the stages of death and dying, and the truths of how we can be our own worst enemies, but she ends up missing all the marks by half.

Under the direction of Ms. Ruhl’s frequent collaborator, Les Waters, the production is at times a tedious mix of misfires and missed opportunities and yet at others one can almost see the distant shores of Neverland, the mermaids and Indians and pirates that inhabit that magical place, and one can truly try to believe that if we clap hard enough Tinkerbell will live again.

The physical production is supported by scenic designer David Zinn, costume designer Kristopher Castle, lighting designer Matt Frey, original music and sound designers Bray Poor and Charles Coes, animal trainer William Berloni and flight and fly director Ryan Bourque.

 

Playwrights Horizons – Mainstage Theater

416 West 42nd Street
Tickets: $59-$99
http://www.playwrightshorizons.org
212-564-1235
August 18 – October 1, 2017

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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