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Reviews
By Julie Halpern
Theater critic for the Off-Off Broadway Review (OOBR)
Melting pot
One Act Festival - Series A
42nd St. Workshop
Equity showcase (closed)

The 42nd St. Workshop's third annual one-act festival spotlighted four diverse plays written and performed by members of their active 200-member workshop. The company is known for their exceptional classical productions and innovative new works, and, as usual, the evening fulfilled the audience's expectations. Using little or no sets, the bare-bones look of the stage did not detract from the high quality of the work.

"Three O'Clock in the Morning" ,
written and directed by Ben Alexander, is the tale of Larry and Kitty, a couple whose marriage lacks the passion Kitty craves. Kitty has taken to getting up in the middle of the night and leaving Larry alone in bed to spend hours in a chat room. Kitty has indulged her desire for romance by drifting into a steamy cyber-relationship with Don, whose sensual description of his own desires sends Kitty into ecstasy. Jennifer Sage was an adorably earthy Kitty, and John Lisanti was likably agitated as the frustrated Larry. David Copeland was a sensually sleazy Don. Alexander directed his subtly hilarious play with a deft touch.

"Serious Poker",
written and directed by Frank Hertle, was all its name implies and more. JL, a detective, and Harry, an accountant, play poker for the highest possible stakes. The winner gets three million dollars, and the loser dies. The game is presided over by Martin, who tortures his companions, driving them to distraction with his uncanny skill in identifying aspects of their personal lives by their body language and behavior. JL reacts with posturing arrogance, but Harry, who has bet his children's college money and is obviously losing, is destroyed. Al Goudy was intense and charismatic as the macho JL, and Jeff Taylor's fragile, intellectual Harry had the audience at the edge of their seats. Eric Walton's cold, ruthless Martin was fascinating to watch. The play is reminiscent of Alfred Hitchcock's psychological thrillers, and Hertle directed with the taut energy his complex script required.

"State of the Art",
written and directed by Mike Vogel, is a vulgar, black comedy that is so funny it's pointless to complain about its tastelessness. Robert Weller, a descendant of Otto Frank, wants to revive The Diary of Anne Frank, but is having trouble finding a producer. Scraping the bottom of the barrel, he finds Flip Langston, the proprietor of a combination Off-Off-Broadway theater, copy shop, and God knows what else. Langston agrees to produce the show but wants to update the classic by setting it in a bowling alley, adding rock music, and casting one of his copy-shop employees - a sexy bimbo named Tawny - as the teenaged Anne. Morty, another employee, has provided some insipid 1970s-style music. Tawny's over-the-top dance routine and Morty's feeble guitar-playing finally push Robert to the limit. Timothy Harris was wonderful as the beleaguered Robert, and Rick Eisenberg was a hilariously smarmy Langston, appropriately outfitted in a ghastly Hawaiian shirt. Andrew Fitzsimmons was a riot as the languid, clueless Morty, and Amelia Borella managed to find some genuinely funny and sympathetic moments as Tawny, avoiding the traps most actresses playing this type of role might fall into.

"The Antique Shoppe",
written by Scott C. Sickles and directed by Paula D'Alessandris, is a delightful story of two residents of a retirement community who meet at a dance and connect romantically. Hilary is a patrician beauty whose son Emmett appears to be endlessly meddling in her life. Jack is a lively widower who has been alone for many years and is ready to love again. Emmet is involved with Gladys, the recreation director of the facility. The script has a feel-good quality. Patricia O'Connell's Hillary undergoes the greatest change, at first coming across as cold and distant, and later blossoming into a warm and vibrant woman due to Jack's attention. Mack Harrell was loaded with charm and subtle humor as Jack. D'Allessandris's direction enhanced the warm and fuzzy ambience

"The Merchant of Venice"
By William Shakespeare
Directed by Carol Bennett Gerber
42nd St. Workshop
432 W. 42nd St., 5th floor (695-4173)
Equity showcase (closed July 22)

Director Carol Bennett Gerber conceived this innovative production of Shakespeare's controversial masterpiece while visiting her husband Charles Gerber's relatives in Chicago. Gerber's Hungarian Jewish ancestors arrived in San Francisco in the late 1840s at the time of the California gold rush. Their unique experience as Jews and foreigners in this rough-and-tumble environment created an intriguing premise that fits perfectly with the anti-Semitic world of Shakespeare's play. Never has an Orthodox Jew looked more out of his element than when contrasted with the hard-living, southwestern-accented saloon denizens of this era. Although the theme of anti-Semitism resonates most strongly for post-World War II theatregoers, the plots of the caskets and the rings worked effectively as well.

Charles Gerber's Shylock was a triumph for this exceptional actor, best-known for his comic characters. Skilfully walking Shylock's emotional tightrope, sympathetic one moment and maddening the next, Gerber explored every inch of the usurer's complicated and contrary psyche. Jennifer Jiles's glamorous, patrician Portia was beautifully realized, and her glittering intelligence added great depth to her work. Judd Rubin was a handsome, fun-loving Bassanio; Jenny Greeman a gentle, romantic Jessica; and Jeff Taylor an ardent blond dreamboat as Lorenzo, her Christian husband. Nicole Taylor's Nerissa was a fragile, sensual beauty, creating sparks with Peter Farrell's Gratiano. G.W.Reed was a likable good ol' boy Antonio, Bill Corry an elegant presence as Salerio, and Walter Hyman a befuddled bundle of energy as Solanio and Balthasar. Sandy Moore was a strikingly noble Prince of Morocco, and Jerry Less an effete, spineless Prince of Aragon. Doug Stone's Launcelot Gobbo connected with his character's repulsive qualities but missed his sly humor. Craig Braun was enjoyable in the small roles of old Gobbo and the Duke and John Lisanti was effective in the brief role of Shylock's friend Tubal.

 

"SECOND CHANCE"
By Tony Sportiello
Directed by Michael Mislove
The 42nd Street Workshop
432 W. 42nd St. 5th fl. (212 695 4173)
Equity showcase (closed Jan. 20)

What if you could save the life of someone you love by dying in his or her place? Would you do it? This provocative question was the premise for Tony Sportiello's intriguing new play. A young husband in the heat of passion declares he would lay down his life for his beautiful young wife. He doesn't realize that he is about to be held to his promise.

Three successful young suburban couples are celebrating New Year's Eve at the home of Doug and Karen, whose obvious adoration of one another causes the other couples to reevaluate their marriages. Karen is a dedicated doctor and her husband Doug is a successful sportswriter, as are the other two husbands. Mitch and Amy are about to leave for the Far East, and the sorry state of Dan and Jackie's marriage is revealed, fuelled by excessive drinking by all. Karen remembers an errand, promising to return in five minutes, but she has a car accident and is killed instantly. The grieving Doug is soon visited by two stylish figures named Leila and Jake, who seem to have stepped out of a Noel Coward play. They are spirits from the other side who ask Doug if he was serious about giving up his life for Karen. They give him the opportunity to make good on his pledge, and give him six weeks to think it over. Time is turned back six weeks and Doug must live with Karen aware that one of them will die. After a great deal of soul-searching, Doug reaches a decision.

Sportiello's twists and turns had the audience at the edge of their seats, with the help of Mislove's taut, snappy direction. The incisive writing and talented ensemble brought empathy to the unremarkable characters, reminiscent of novels by Jay McInerney.

Greg Skura was outstanding as the sensitive, conflicted Doug, and Dee Dee Friedman was irresistible as the intense, glamorous Karen. Holly Hawkins was magnificent as Karen's bored, promiscuous sister Jackie, and Michael Rhodes's Dan complemented Hawkins with his intense, self-depracating humor and sensuality. Dave Konig and Jennifer Jiles as Mitch and Amy had underwritten roles, but infused them with charm and energy. The strongest work of the evening was contributed by Lane Binkley and Bill Tatum as the decadent, martini-quaffing spirits. Binkley's gentle, balanced performance was spellbinding, particularly in the final scene.

The set and lights functioned smoothly, and the costumes were appropriate for each character.

 

 "TARTUFFE"
By Molière with a new translation by Paul Weidner
Directed by Carol Bennett Gerber
The 42nd Street Workshop
432 W. 42nd St. 5th fl. (212 695 4173)
Equity showcase (closed Dec. 9)

 In this age of born-again Christian fervor, Molière's masterpiece is as relevant today as it was in 1667. Paul Weidner's lively new translation retains the 17th-century French feel, using English blank verse with rhymes slipped in at appropriate moments, creating a refreshingly modern result. The decision to update the story to the burnt-orange, paisley, mini-skirted world of 1967 was truly inspired. Director Carol Bennett Gerber seized upon the comic opportunities Weidner's script presented, resulting in tightly controlled but very humorous contributions made by the talented ensemble.

Orgon, the patriarch of a wealthy family, has become enamored of a down-and-out religious fanatic named Tartuffe, and has brought him into his home, where he creates endless disruptions. In typical Molière fashion, the zealot Tartuffe is in reality a sleazy womanizer with a police record a mile long. Orgon goes as far as to arrange a marriage between Tartuffe and his young daughter, Marianne (who is in love with the handsome, young Valère), and signs away his fortune. When Orgon's glamorous wife, Elmire sets Tartuffe up in a seduction, his transparency becomes obvious and Orgon finally banishes him from the household. The wily Tartuffe is determined to hold on to his ill-gotten gains, but eventually is apprehended.

Charles E. Gerber was a slyly uproarious Tartuffe, resplendent in his caftan, dragging around a huge cross. Peter Newman as Orgon was a skilled physical comedian whose befuddled presence was a delight. Debra Whitfield's stylish Elmire was sexy and very funny. Patricia LoPiccolo was a gentle, sympathetic Marianne. Tom Berdik's Cleante breezed through his lengthy speeches, creating a fun-loving voice of reason. Holly Hawkins was a riot as the tart-tongued housekeeper Dorine. Jeff Taylor's gallant Valère was a pleasure, as was Shade Vaughn's hotheaded, excitable Damis.

Strong support was contributed by Jennifer Sage, Carrie Edel, Chris Jones and Walter Hyman.

The simple, uncredited set and lights worked well enough, and the groovy period costumes, also uncredited, flattered the attractive cast. Lively jazz favorites helped enhance the period ambiance.

 "BEST OF THE FEST"
Reviewed by Nick Brandi in "Show Business Weekly"
"Best of the Fest 2000"
42nd Street Workshop
Jim DeMarse, artistic Director

42nd Street Workshop's "Best of the Fest 2000" is a fun little lineup of their season's best one-acts that managed to pack the house to the rafters.

Written and performed by Laurie Graff and directed by Manfred Bormann, "Shiksa Syndrome" was the afternoon's kickstarter. Graff's one-woman showcase tells the story of her life as a young Jewish woman in a world of Jewish men who can't seem to shake their fascination with that willowy Waspy creature referred to in the title. The sad reality of such a world coerces "Liba" to pass as gentile in order to fill her dance card. An amiable piece, "Shiksa Syndrome" actually included a little story arc, though I would enjoy seeing Graff have at it again while not trying quite so hard in the performance aspect. A more relaxed conversational style might better support the text's irony as well as its folksy tone.

"Lewis' Creation" boasted the lineup's biggest cast, at seven. Set in a NYC scene-study/playwriting class, the story alights with deliciously sinister mirth upon the preening vanity and neuroses of acolyte actors who take themselves way too seriously-a portrait that anyone who's spent time in such midst could tell you was dead on the mark. Providing the most yuks of the afternoon, Stephen Roylance scored an impressive hat trick here as writer/director/actor of a multi-layered one-act that managed its brevity to offer glimpses of several distinct character studies and conflicts while ending on a sympathetic note for his perennial-loser title character.

The cleanup hitter was actually one I had the pleasure of seeing before. "The Real Long Day's Journey Into Night" is P. Seth Baur's witty romp that shows what happens when a callow upstart rouses the spirit of American playwriting icon Eugene O'Neill after the former desecrates the legendary home of the latter. Chock full of laughs as well as an intimate apprehension of his subject, credit Baur for a taut cyclone of a script that was gobbled up like raw meat by a Doberman in the almost palpably salivating mouths of talented actors Charles E. Gerber and Tommy Walsh, both of whom left scorch marks on the stage by play's end. Kudos, too, to director Carol Bennett Gerber, who shored up the choreography and timing in addition to her masterful use of the space.

The lineup's after-dinner mint was served in the form of "To Be the Next Connie Hudson", an unassuming piece by Ben Alexander that couold have been cast off as fluff until one scrutinizes its theme and subtle tone. Actress Sauda Jackson was utterly charming. "Connie Hudson" was the understated punctuation mark to a line-up whose thematic structure rested upon a foundation that juxtaposed self-delusion and harsh reality, offering a satisfying afternoon of one-act entertainment by a theater company with heart as well as chutzpah.

"SKERRYS"
Reviewed by Minda Cowen in "Show Business Weekly"
Written by Christopher Jones
Directed by Manfred Bormann
At 42nd St. Workshop

 Skerrys, a new play by Christopher Jones at the 42nd Workshop, is the story of four Irish sisters who spend one last evening together before the eldest sister's marriage. What starts out as a sweet soiree, with three of the sisters singing while one plays the piano, turns into a long night of shared intimacy, tension and revelation.

All of this is sensitively portrayed by the playwright, who sheds light on the hopes, dreams and fears four young women might have had growing up in a small town in southern Ireland, circa 1935. Maisey, the eldest, whose only experience outside of their sheltered home was the convent, is worried about what to expect on her wedding night. She also craves her father's love and attention, which she never seemed to get. Fanny, who arrives in the middle of the evening, pale and shaking from the pouring rain, has just been rejected after a ten-year courtship and wants to die. Madge, the pianist, desperately longs to get out of town and is waiting for a promised letter to join a musical tour, while Betty, the youngest, works in Dublin and has her heart set on her boss, an older, married man.

What makes Skerrys so interesting is the various sister's reactions to each other's wants and problems. Both jealousy and love are intricately intertwined, and each character continues to grow throughout the play. It is both the director's and the playwright's attention to detail in gesture and dialogue, while the conversations and songs spin throughout the evening, which make the play so captivating.

The actors do not miss a beat. Their sensitive and contrasting portrayals of the sister's interactions is wonderful to watch. The self-deprecating gestures and morose carriage of Susan Barnes Walker's Maisie effectively portrays a psyche that words alone could only hint at. Carey Urban as Madge is flamboyant and airily self-absorbed as the rebellious artist, and she plays the piano with equal flair. Deshja Driggs, as Fanny, shows remarkable depth in her portrayal of a young woman on an emotional roller coaster whose spirit ultimately cannot be broken. Liz Brown gives a sensitive and moving performance as Betty&endash;an interesting study of an extremely quick and intelligent young woman who is less mature than she pretends to be.

The music adds much to the nostalgia and flavor of the play. Musical director Charlie Alterman selects old standards which really bring one back to the 1930s. Equally effective is the charming and cozy set of an Irish parlor with carpet, lace tablecloth and fireplace, enhanced by the intimacy of a 40-seat theater.

Despite the effectiveness of each aspect of the production, however, when all is said and done, what finally stands out most is the play itself. It is to the credit of the director, actors and the rest of the production team that their contributions enhance but never overpower the exceptional quality of this play. It is a pity that such a fine piece of work can be viewed by so few people during its short run. Hopefully producers will see the merit of this gem of a production and take it to where it can be more widely appreciated.

The Workshop Theater Company's evening of one-act plays&emdash;Series C, at least&emdash;is a delightfully entertaining night of theatre. Take note that this is not at all the usual sort of praise you hear for an evening of one-acts: generally, the words "great showcase for promising talent" or "more of the plays hit than miss" would headline a review of a show like this. But what struck me about this particular collection of extremely well-produced short plays was how consistently excellent their quality was. There's no need to make excuses here: Workshop's One Acts are worth seeing on their own merits. They deserve an audience of disinterested theatregoers, rather than the usual cheering sections of friends and family members who typically congregate at programs like this. Here's some of what you'll experience at this particular line-up of plays, which runs one more week through September 14th: Marc Geller in supercool artist drag (and severely blond hair) entertaining an apparently vapid but sexy girl (played by Dee Dee Friedman) in Timothy Scott Harris's twisty dark comedy "The Big Nil;"

Mark Hofmaier as a slightly sagging investment banker whose outlook on life gets an unexpected boost after an unexpected encounter with a smart hooker (Marlene Ammon) on a Manhattan street in P. Seth Bauer's surprising, bittersweet "Bumbershoot;"

Laurie Graff, exalted but still single as she recites a Hebrew prayer with dazzling fervor in her own comic monologue "Shiksa Syndrome;"

A devilishly cool Eric Walton as a professional gambler facing off with Albert Michael Goudy as a fiercely negative competitor and Jeff Taylor as a sadly desperate one in Frank Hertle's icy noir-infused playlet "Serious Poker;"

A fantastical New Jersey Transit train ride involving a self-involved businesswoman (Susanna Frazier) and an unexpected visitor (Hofmaier, again) who teaches her an important life lesson in Tony Sportiello's "Tickets, Please!"

Five very different plays, themes, styles, and moods; ten remarkable actors bringing them to life, abetted by four talented directors (Manfred Bonmann staged "Tickets, Please!" and "Shiksa Syndrome;" Elysa Marden is responsible for "Bumbershoot," while Hertle and Harris each directed their own work).

Three of the stories tackle literally life-and-death issues in surprising modes, from the ironic to the unabashedly sentimental, always with intelligence and incisiveness. Three plays deal, resonantly, with people making choices about what matters most to them. Three of the five pieces leave us glowing with the warmth of humanity after they're over with, while the other two have the capacity to chill us to the bone. What more can you ask of an evening of theatre?

I can't, of course, guarantee that Series D will yield similar results, but I'd say the odds are pretty good that it will. The Workshop, which has just relocated to a lovely new space on West 36th Street (and rechristened itself; it used to be known as The 42nd Street Workshop), is absolutely coming into its own as an off-off-Broadway company to watch. This evening is certainly a great place to start doing just that.

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