Philly Theatre Talk is Looking for Writers!

Philly Theatre Talk is looking for writers!

I’m moving to Scotland to pursue my Master’s degree, and I can’t very well continue to write about Philadelphia theatre if I’m not around to see it!

So I’m looking for writers – if you’re interested, drop me an email at colleen [dot] r [dot] coffey [at] gmail [dot] com. I’ll end up asking for a writing sample, preferably some kind of review or some type of critical work focusing on theatre, as well as a copy of your resume.

I look forward to talking to you and seeing what you have to say!

Brief Hiatus

Due to unfortunate circumstances, Philly Theatre Talk will be taking a brief hiatus from regular reviews.

The website will be available for reference.

In the meantime, there will be periodic updates. We expect to be back in the full swing of things by late May or early June of 2010.

Thank you very much for your patience! If you have any questions of concerns, feel free to email Colleen Coffey at colleen.r.coffey [at] gmail [dot] com.

Concrete Dinosaur by Nicholas Wardigo

“She has to come out sometime. Her percocets are here.”

The Bryn Mawr Historical Society, or so they call themselves, meets to play croquette. The only history that is ever discussed is the aristocracy of their Main Line families – the business, the money and sometimes, even, the scandal. Throughout Concrete Dinosaur, written by Nicholas Wardigo and directed by Carol Laratonda, the boundaries of friendship are tested, along with the ties that hold a family together.

“Marta, precious, are you on drugs? Would you like to be?”

Angelica Busso (Peggy Smith) is conniving, cruel and a bit cold hearted. Her daughter, Marta (Aileen Goldberg), is brilliant, but has no social skills whatsoever – she’s more at home with science and things that are concrete, much like the dinosaur in her family garden. We learned over the course of the play what exactly has Angelica in such a guarded state, something that she doesn’t want to admit, not to anyone, including her daughter. And with the sudden departure of Dennis (Armando Batista), the ‘help’ in the Busso home, both mother and daughter are left distraught and distant, but both for completely different reasons.

“I will send your dog to hell in a very special way.”

Plays and Players definitely found a cast that understood the characters they were cast to play.  Each character was extremely real and each had their own, unique personality, even in portraying characters who are all guarded, and to an extent, fake. Peggy Smith (Angelica) had the audience wrapped around her finger from the moment she opened her mouth to speak. Sincere and a bit scary, she knew what she wanted and wasn’t at all afraid to say it.

“Perfection demands precision.”

Enter a mansion garden. The set, which winds around the seats that are on various sites of the stage, is made to feel as if you are sitting in the garden of a Main Line home. Exquisite in everyway and complete with trees, plants and dirt, everything about the garden felt real and there was no doubt in the audience’s mind that they were part of the environment and seeing the events that unfolded first hand.

“It’s like there’s an ocean of jibberish around you.”

Although this piece may not make sense to anyone who doesn’t know the Main Line bureaucracy, it was still a touching piece, with its fair share of deep laden humor.

Plays and Players presents Concrete Dinosaur, written by Nicholas Wardigo and directed by Carol Laratonda. January 7^th to January 24^th. Plays and Players Theatre, 1714 Delancey Street. www.playsandplayers.org, 215-735-0630.

Becky Shaw by Gina Gionfriddo

“Love is a happy byproduct of use.”

Becky’s not quite normal, but none of the characters in Becky Shaw are exactly what anyone would consider typical. The Wilma Theater’s production of Becky Shaw, written by Gina Gionfriddo and directed by Anne Kauffman, is hilarious from start to finish.

“Five bucks says he thinks 401K is a band.”

Danielle Skraastad As Suzanna Slater And Jeremy Bobb As Max Garrett In Becky Shaw At The Wilma Theater

After the death of her father, Suzanne (Danielle Skraastad) is devastated. She can’t – won’t cope. And as much as Max (Jeremy Bobb), the not-really-son her father adopted as a child, tries, nothing really helps. Instead, the romantic feelings the pair have for each other develop. Soon after, Suzanne meets and almost immediately marries Andrew (Armando Riesco) after meeting on a ski trip. Andrew feels obligated to set Max up with his co-worker, and the plays namesake, Becky Shaw (Brooke Bloom). Somehow, her presence causes the tragedy in this comedy.

This is the type of show that doesn’t allow the audience to feel one way or another – you’re completely torn about what you want to happen. It’s almost sadistic that way, not ever giving the audience what they inevitably expect.

“Sometimes lying is the most humane thing you can do.”

It began with a simple white room. Then, the set turned to reveal a NYC hotel room. Then, a Rhode Island apartment. Then, a park. Then, a Boston apartment. Then, a Virginia estate. An absolutely brilliant idea, the rotating set created such an original and ingenious use of space and time. At first, it was the surprise use of space that had the audience in awe, but then, after time, it became undeniably natural and yet still incredibly impressive.

It’s rare to see a cast that is so talented throughout. There was no weak link – every actor on stage knew exactly how to perfectly portray his or her character, and in all honesty, it was a phenomenal performance.

“Pocket of mystery sounds an awful lot like code for gay.”

Becky Shaw is both funny and unforgiving. Sometimes, there aren’t happy endings. And sometimes, those not-happy-endings are as happy as they’ll ever get.

The Wilma Theater presents Becky Shaw, written by Gina Gionfriddo and directed by Anne Kauffman, December 30^th, 2009 extended through February 7^th, 2010 at the Wilma Theater, 265 South Broad Street. www.wilmatheater.org, 215-546-7824.

When You Comin Back, Red Ryder? by Mark Medoff

New City Stage Company’s production of When You Comin Back, Red Ryder?, written by Mark Medoff and directed by Micahel Brophy, is a piece of theatre that’s trying to make a point but at the same time provides an intriguing piece of theatre.

It’s the late 1960’s – in Southern New Mexico – in a dingy little diner off the highway. Here, where the day starts out about as typical as it gets, everything goes wrong. The arrival of Teddy, a war vet, (Russ Widdall) and Cheryl, his quiet girlfriend, (Melissa Lynch) triggers a series of disagreements, fights and so much yelling. In the end, however, it’s all conveniently tied together and there is a happily ever after in sight.

This show begins slowly, with a long exposition of Red, or Steven (Robert DaPonte) that I’m still not sure advances the plot. However, from there, everything picks up with the arrival of Russ Widdall on stage. He’s easily the biggest highlight of this production – his character is dead on and leaves the audience feeling as though they’ve really experienced something.

The only really problem with this show may be in the script – it’s a little dated. You can feel when it was written and it’s obvious that this show, although it may have in the past, isn’t breaking any barriers today. The concept of showing the effects on war on the individual, however, is timeless and definitely applies on so many different levels today.

Overall, When You Comin Back, Red Ryder? reminds the audience of a different time – a place with a different mindset. The world of the play definitely isn’t something typical, but at the same time, it’s identifiable. People are able to find a piece of themselves within the situation – and the characters.

New City Stage presents When You Comin Back, Red Ryder? written by Mark Medoff and directed by Michael Brophy runs through January 10th, 2010 at The Adrienne Theatre, 2030 Sansom Street. 215-563-7500, www.newcitystage.org. 

Scapin adapted by Bill Irwin and Mark O’Donnell

This is a strong season for theatre and Lantern Theater’s production of Scapin proves it. Adapted from Moliere’s classic by Bill Irwin and Mark O’Donnell and directed by Aaron Cromie, Scapin is absolutely hysterical and undeniably amazing – everything from the chemistry between the actors, to the puppet work, to the music created what really is one of the best shows of the year.

Benjamin Lloyd as Scapin, Leah D. Walton is Argante (left), Bradley K. Wrenn is Geronte (right). Photo by Jeffrey Stockbridge.

Two sons of two nobles want two women that they aren’t supposed to have and Scapin (Benjamin Lloyd), who has his own views on what’s right and what’s wrong, doesn’t mind going to extreme lengths to help the boys get what they want. Over the course of the play, Scapin manages to hoodwink everyone. And somehow, even after every lie, trick and scheme, every last character gets a happily ever after.  

The story isn’t very creative, or very original, and has several of what the play itself mocks as ‘unbelievable coincidences’. But the show is done with an undeniable creative flair. From start to finish, it’s non-stop funny. Quite literally, the audience did not stop laughing, and that can’t be said for many things.

All extremely talented, this cast was flawless. It’s really an amazing thing to see a performance with so much talent and such a strong chemistry. To watch performers use puppets, and do it so fantastically, really leaves a distinct impression upon the audience. Then, on top of having such a spectacular cast, the sets were beautiful. It felt as though you had stepped into another world and they really just added such dimension to the production as a whole.

The best thing that can be said about the Lantern Theater’s production of Scapin is that you forget that there are puppets in use – it becomes natural, and that’s really a hard feat to accomplish.

Lantern Theater Company presents Scapin, adapted from Moliere’s classic by Bill Irwin and Mark O’Donnell and directed by Aaron Cromie, December 3rd – January 3rd at St. Stephen’s Theater. www.lanterntheater.org, 215.829.0395.

David Sedaris' The Santaland Diaries

“Santa no longer traffics in coal. Instead, if you’re bad, he comes to your house and steals your things.”

Crumpet (Derick Loafmann) is not a good elf. He tries to be, but he’s not. Crumpet is the kind of elf that likes to toy with the Christmas geared minds of children and parents alike. And in Flashpoint Theatre Company’s 5^th annual presentation of David Sedaris’ The Santaland Diaries, adapted for stage by Joe Mantello and directed by Meghann Williams, Crumpet depicts the life and struggles of being Santa’s elf.

“Congratulations sir, you are an elf.”

For an hour, Crumpet goes on, in detail, about the more amusing aspects of being an elf. Derick Loafmann is fabulous at this. He’s absolutely hysterical and the show flies by, leaving the audience feeling as if no time has passed. This is a really witty Christmas comedy, one that doesn’t necessarily give you a Christmassy feeling, but it’s definitely a great time.

“An elf in Santaland is one thing. An elf in sportswear is another thing entirely.”

Technically, this show is very understated, which works. The set is very simple, a chair, tree and whiskey bottle. Audience seating on the stage creates a very intimate feeling throughout the show.

“I sang it the way Billie Holiday would have if she had put out a Christmas album.”

Flashpoint’s The Santaland Diaries produces the promise of a great time – it’s fun, touching and a little ridiculous. If you’re the smallest bit cynical when it comes to Christmas and the holiday season, this show will just inflate those feelings, but in the best way possible.

Flashpoint Theatre Company presents David Sedaris’ The Santaland Diaries, adapted for stage by Joe Mantello and directed by Meghann Williams, December 3^rd to 20^th at the Second Stage at the Adrienne at 2030 Sansom Street. 215-665-9720, www.flashpointtheatre.org. 

Hunters Gathers @ Theatre Exile

I’d like to recommend, from the very bottom of my heart, that everyone get out to see Theatre Exile’s Hunter Gathers by Peter Sinn Nachtrieb and directed by Deborah Block. This is easily the best show I’ve seen this season, and although I was did not attend to review the show, I felt obligated to mention how great it was.

It was, quite literally, insane. But in the best way possible. And, in all honesty, I’m not sure that any review I could write would do it justice.

So listen to me and go see it before it closes on the 22nd.

http://www.theatreexile.org/ or 215-218-4022 for tickets and information.

Like I said, go see it! Or you’ll definitely regret it.

Early in the Mourning by Seth Bauer

Early in the Mourning, written by Seth Bauer and directed by Daniel Student and presented by Plays and Players, is the story of an older Jewish couple whose son dies unexpectedly. However, even on the day of his funeral, he’s still there – at least, in ghost form anyway.

“I’m not visiting. I’m stuck.”

Very early in the show, we learn that Daniel (Mark Cairns) and his parents have a variety of issues with one another. Eventually, Daniel’s former student, Jacob (Robert DaPonte), shows up at the home of Daniel’s parents to pay his respects, he never expect Danny to still be there. Over the course of the play, the issues between Daniel and his parents escalade, as his parents begin to project onto Jacob all the traits in a son that they had always wanted.

“Just because you’re a ghost doesn’t mean you can’t have good manners.”

With a beautiful set and new risers for seating in the Skinner Studio, it was impressive from the beginning. However, the high expectations set by entering a newly improved and beautifully designed theatre space were not met. The cast itself was extremely strong, and a high point was watching Robert DaPonte as Jacob run around screaming when he sees Daniel’s ghost. The play itself was rather long, and felt drug out. It was as if it took entirely too much time for the play to set itself up for the end. There weren’t many new arguments, and the disagreements between Daniel and his parents were like beating a dead horse. This script, if trimmed and tweaked, would work. But as it was, it did not. Ultimately, the end of the play was definitely a strong point and moving to the audience, but it took too long to get there.

“We’ve had this carpet long enough.”

Don’t let that keep you back, because it was interesting and it was entertaining. And the beauty of the set and the comfort of the new seating in the studio space really improved the show a great deal.

Plays and Players presents Early in the Mourning by Seth Bauer and directed by Daniel Student, November 5^th to 22^nd at the Skinner Studio at Plays and Players at 1714 Delancey Place. 215-735-0630, www.playsandplayers.org.

(Photo courtesy of Plays and Players.)

I Love You, You're Perfect, Now Change

If you want to see something mildly amusing, this is it.

If you want to see something mildly interesting, this is not it.

I Love You, You’re Perfect, Now Change may be one of the longest running Off-Broadway musicals, but that doesn’t mean it’s good.  It’s a combination of different songs and skits that depict the life of love. It focuses on both the good parts of love, but also some of the less appealing aspects of any romance. It’s actually a little depressing, if you think about it. There is a long monologue by a woman who has recently been left by her husband, and although it seemed like it was suppose to be funny, it wasn’t. It was just gloomy and depressing.

Bristol Riverside Theatre’s production isn’t bad, it’s actually quite good – the sets are nice, the very deliberate lighting is well done, the musicians are good and the actors are phenomenal. But when you’re working with material that is only mildly anything, it’s hard to find the positives. It’s a shame when you have a show that, production wise, is extremely well done and thoughtful, but the material just isn’t up to par. I Love You, You’re Perfect, Now Change is just another easy to sell musical that doesn’t contain any actually substance.

There were some very funny moments and there were bursts of laughter, but it’s hard to look at the positives when there are some parts that were just so bland that you almost wanted to leave the theatre.

Don’t waste your time coming out into the suburbs for this show; you’ll just be disappointed. Unless, of course, you like that sort of thing. 

Bristol Riverside Theatre presents I Love You, You’re Perfect, Now Change, November 3^rd to 22^nd.  215-785-0100, www.brtstage.com.

(Photo of Kevin Duda & Greg Mills. Courtesy of Bristol Riverside Theatre.)