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The Burkinis Proudly Present Great Moments in Feminist...eh....blah, blah, blah....burp!

Reviewed by Julia Giolzetti

Yes, that's actually the title of this sketch comedy/theater hybrid. Since I'm having a hard time explaining what this show is, I'll let the show program illuminate. The Burkinis are "young, 21+, id's checked, scantily clad men and women [who] cheer themselves towards assimilation, have full plastic plastic surgery, marry their own brothers, straighten out, have their first and last periods, become implanted with I.E.i.u.Ds and run the road towards destruction of the entire human species through fornication." Still confused? So was I. But in a way that wasn't really all that bad. A whirlwind of almost 40 sketches in less than two hours, the cast of ten take the audience on a strange, sexually charged, entirely inappropriate, and thoroughly hilarious ride. This show is certainly not for everyone, and if you would use the word "prude" or "serious" to describe yourself, stay far away. The rest of you should get ready to laugh (and cringe, and scream in horror, but mainly laugh.) Basically, the overriding themes are gratuitous male nudity (nothing graphic), absurdity of religion, discovering one's sexuality, Islamaphobia (and Islamaphilia), and something that can only be described as "accidental sodomy."

It's pretty much impossible to break down all the vignettes and performances, so here are some of my favorite moments. The multi-part "Star Gazers" concerned a group of teenagers looking through a telescope and discovering their world was about to end as they knew it. Inspired Bruce Willis/Armageddon related banter ensues from Michael Fisher and Gregory Plunkett. Plunkett also performs the oddest striptease I've ever seen in another sketch, starting with a full burqa and ending with just some briefs. This guy is fearless. In "Teenage Vampire", a frustrated mother (Melissa Pinsly, pitch-perfect) takes her daughter, who insists she's a vampire to a therapist (Robbie Baum). The teenage angst is palpable in Sarah Wharton's inspiring take on the teen vamp, something pop culture can't seem to escape these days. The surprise ending is pretty funny too. In "Dieting With Shelly", we learn that Drano can really help you lose weight fast-- with Nicole Serra at her zany best, chugging Drano and quarreling with ex-lover/show announcer played with gusto by Lena Cigleris. Fisher is great here as an unwilling participant caught between the two. John DiSciasio and Plunkett get some major laughs as President Lincoln and also-ran Stephen Douglas, the latter completely ruining the Gettysburg Address with his interrupting fans and snark. "DnD Sex" was another crowd pleaser, with Pinsly as an awesomely nerdy dungeon master trying to stop the budding love between Wharton and Desi Domo, who fantastically portray dudes syhly writing their characters' love scene. And who could forget "Toenail Fungus"? With Fisher as a timid, overweight Jesus, DiSciasio as a sexy but sort of dumb God, Annie Chang with the sluttiest portrayal of the Virgin Mary probably ever, and Baum in a star turn as the Holy Ghost, Christianity will never be the same again. And Chang's beautiful Spanish maid (with a tail), and Baum's mankini, and all the burqa-clad cast members doing a pretty impressive kick line--I could go on forever.

My only complaint was the length. With no intermission the comedy was able to flow uninterrupted, but some segments did have a tendency to lag in pacing. But a minor note on an otherwise great, strange show. You can find out more about the show at www.theburkinis.com. Remaining performances are August 24th, 25th, and 28th at 8pm.

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Hampton Theatre Company's BEDROOM FARCE

"Take This 'Farce' Seriously"
Reviewed by Julia Giolzetti

The Hampton Theatre Company is located in beautiful Quogue, a short trip from the city limits. But in this picturesque Long Island town, there were some serious laughs echoing throughout the Community Hall, where Alan Ayckbourn's breathless comedy "Bedroom Farce" was staged through June 13. It's fitting that I saw the performance the night Mr. Ayckbourn received a Lifetime Achievement Tony Award--this play is witty, outrageous, campy, and luckily it was in the hands of some very competent actors and production staff.

Co-Directors Sarah Hunnewell and James Ewing (who also designed the set) takes us to 1975 through the lives and bedrooms of three British couples constantly being disturbed by a tumultous fourth couple. Ernest and Delia (George A. Loizides and Diana Marbury) are the eldest couple, seen shuttling to and from dinner and in their many failed attempts to get to sleep. Jan (Rebecca Edana) is off to a party, leaving her husband Nick (Paul Bolger) in bed with severe back pains. The hosts of the party are the happy couple Kate and Malcom (Kristi Artinian and James Patrick Cronin), who are slightly worried that Jan's presence may ignite a confrontation between Trevor and Susannah (Peter Connolly and Stephanie Nieman). Susannah is emotionally unstable and suspects Trevor is unfaithful to her, and Trevor is at a loss when he finds Jan (his ex-lover) alone at the same party. Hijinks ensue.

It takes very talented actors to pull off farce and sustain its breakneck pace for a full two acts, and most of this company succeeds, some better than others. Loizides is perfect and steals several scenes with his well-timed straight man reactions to his flighty wife. He and Marbury were the most believable couple, making their relationship seem very lived-in. Connolly is fabulously befuddled throughout and has palpable chemistry with Edana in their scenes together. Artinian is exquisite throughout, making the most of her rather undeveloped character. Her and Cronin's sincere attempts to please each other and their friends really give this show a heart, and the household objects they kept hiding in the bed to get a laugh were a hilarious touch (a frying pan even makes it in!) My only complaint with the all-American cast were the company's uneven British accents--some were impeccable, others faded in and out, and still others were barely existent.

If you ever find yourself in need of a change in scenery or temperment, visit Quogue and definitely check out the Hampton Theatre Company. The quality of the production was such that I would actually (gasp!) recommend looking outside of the city limits for some great theatre. Sadly, "Bedroom Farce" has since closed but keep tabs on the company at www.hamptontheatre.org.

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Karen Brelsford: A True 'Producing Artist'

By Julia Giolzetti

Karen Brelsford is, to paraphrase an old saying, a woman of many hats. Literally. "I love hats, hats and jackets", she told me in a Chelsea coffeehouse one afternoon. "It's the detailing!" Brelsford sat down with me to shed some light on her unique creative presence in the New York theater scene, encompassing producing, directing, costume design, publicity, modeling and acting as well. I've worked with Karen on two shows at the Wings Theatre and have witnessed firsthand her frenzied, multitasking, and ultimately productive existence.

Brelsford grew up on Vancouver Island in scenic Victoria, British Columbia. She spent her childhood as a tomboy, getting muddy, and having a good time. She loved watching Mr. Dress-Up, the "super popular Canadian version of Mr. Rogers," who had something called a Tickle Trunk that he used to create stories and build young imaginations. Brelsford was fascinated by the idea of dressing up as different characters, and she soon amassed her own tickle trunk of clothes donated by her parents and relatives. She also helped develop the Willis Point Youth Players, in a way training for her future career in the arts. "We did a Christmas show in a very small town. Santa would come by on a firetruck." However, while dress-up and theater were present in her childhood and adolescence, she entered the University of Victoria and left with a BSc and MSc, specializing in dendrochronology. She ended up with a job in government, which she enjoyed, but she was unable to shake the artistic drive within her; finally, she basically abandoned a promising scientific career, packed her bags, and moved to New York City.

"I was scared my first day in New York," Brelsford admits. "Thank God for friends. I had a friend who lived here who met me on my first night, she walked me to a restaurant and then back to my place," she recalls with a laugh, "but I eventually adjusted."
It didn't take long for Brelsford to find her artistic home in the big city: she began training at the legendary American Academy of Dramatic Arts. In addition to the stellar theatrical training she received (her contemporaries at the school formed the highly successful Amoralists Theatre Company), she also found a place to hone her costuming skills. Steven Daniel, AADA's costuming supervisor, taught Brelsford the ropes. Since graduating, she has costumed 60 shows in two years just with AADA.

"It's like a painting," Brelsford says about costuming a production. "You have all these characters, and they're gonna be in all these different scenes together, but they have to look good, but you can't overdress them or underdress them....then you also want to take creative risks, you want them to be like 'Oh what is she wearing? That's awesome!' so it's a great creative outlet." She remembers one unique costuming challenge a show presented. "I pulled all these wonderful costumes for a show that I'd been in before that ran in the early 90s, kinda grunge," she recalls, "and the director came up and said, 'Oh no these are all wrong, we're doing it contemporary'! The script said modern times but that was in the early 90s, so now it's 2010...all the clothes are different, but its a team process, you can't complain, you have to say OK, so I had to change everything in about a week, which was doable." Her ability to take difficult situations and see the solution without becoming overly-stressed is admirable. As many wardrobe makers do, Brelsford has a favorite piece she's made, a hat made for Maude in Cloud Nine at AADA. "I built a straw hat-which was basically dead-up with lace, satin, flowers, feathers, it was fabulous. It stills gets used."
It turns out Brelsford's great-aunt lived in New York decades earlier as a costumer as well. "When she passed I got a lot of costumes from her which she made, jackets/skirts/dresses. Part of me feels like the costuming is a gene passed down."

Recently, she has branched into costuming for Zephyer Rep, the resident company of the Wings Theatre. With a core group of artists including Emmy winners Blake Bradford & Joan Darling, and prolific comedienne Linda Hill (who has performed beside the likes of Whoopi Goldberg and Robin Williams), Brelsford can't believe her good fortune. "It's amazing working with professionals like that. It's nice to be considered in their company." Through Zephyer Rep, Brelsford is able to indulge all of her creative talents. "I've been nonstop producing, directing, costuming, being the publicist..." But which sensibility fits her best? "I can't pick, not anymore...it developed from being an actor but now I'm a theater artist. I guess you could call me an artistic director or....artistic producer...is that a word? Producing artist!" She laughs with the satisfaction of finally putting a name on her self-made career.

Her duties as a "producing artist" include becoming a publicist and producer in addition to costuming and, occasionally, performing. Publicizing Off-Off Broadway theater is "a lot of work, you don't want to badger people. You want to be respectful. If they do bite, you want to draw them in even more and suggest things they could do in the area before the show." Effective publicists, according to Brelsford, have to be "organized, diligent, and kind of a hardass." She deals with a lot of adversity, basically competing with Broadway shows for reviewers and press. Building relationships is key, plus having great shows to promote doesn't hurt. With the five other Zephyer producers, she works as a unit to make sure everything functions, from running box office to concessions to running lines with actors in rehearsals. They are constantly making sure that the machine keeps running, she explains. "Producing is the umbrella. Making a production with the team at Zephyer, organizing the auditions, casting, contacting, setting up rehearsal schedules, making sure directors have what they need, getting stage managers involved or going to outside sources, getting people in." She also has the unique opportunity to sit in on auditions and contribute to the casting process. "Being in auditions is exciting, especially when you're reading with someone and you get that energy from them, they're giving it to you. You create all that artistic magic in that moment." When asked which part she enjoys most about the entire production process, a wry smile brightens her face. "I kinda like the day after it's all done the best, which is funny. When you're done, the day off after is like a high. You think, I did all this amazing work, sacrificing sleep and what not, and with these other people I made it happen." So how could one follow her footsteps, how can one facilitate a truly multifaceted career in the arts? "You just have to do it, New York will teach you that," Brelsford says. "You have to be really assertive with what you want. Contact these theaters. If you audition with someone and don't get a callback, follow up, send them an email, say thank you, ask if you can start working with them as an intern and move from there. Most of the time if you offer to help someone they'll say yes, and you can get involved in costuming, producing, or stage managing, and if they like you it'll grow from there. You really have to have the courage to go for it and not be scared of failing because we're all scared of that!

Karen Brelsford is indeed a woman of many hats. From her small town upbringing, abrupt career change, big city dreams, and the realization of her true artistic calling, she has been through it all. So what's next for this theatrical chameleon? "The dream right now is to keep working with Zephyer Rep. We want to tour next--for me that'll be communicating with regional theaters and finding out who their producing markets are. We're planning a trip to Washington DC to contact theaters down there and try to create a relationship." After their DC trip, Zephyer Rep will begin production on their next round of shows, with two shows running in tandem. Brelsford says auditions and rehearsals will be in May and the TBA productions go up in June. In typical Brelsford fashion, she'll be costuming, producing and publicizing. When looking back on her achievements, she remarks, "Hindsight isn't 20/20, it's rose-tinted glasses...I was giving up a career, been to school for so long, my roots were established. But when that little seed starts in your gut and gets bigger and bigger, you have to listen to that inner voice say, 'no I'm not a scientist for the rest of my life, what I want to be doing is artistic'. You know what? As far as I know, you get one life, one shot, and I didn't want to be 80 and regret not trying to achieve my real dream." That level of conviction and self-awareness would benefit anyone who's having a change of heart about their ambitions. We're just lucky she chose to share it with New York.

For more info about the reviewer please visit http://giolzetti.blogspot.com/.

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"Haines" is a Toe-Tapping Good Time

Reviewed by Julia Giolzetti

I have a confession: I've always envied the precision and grace that truly gifted tap dancers have. So when the dance number began during the first few minutes of Looking For Billy Haines as part of the lead character's audition nightmare, my eyes lit up. It set the scene perfectly for the rest of the night. Billed as a "new comedy with dance", it is a strangely satisfying production for anyone who works in show business or has to handle showbiz types on a daily basis. It's also a fitting tribute to a long-forgotten movie star who gave up fame for true love.

Billy Haines (Joseph Cullinane) fought prejudice, MGM, and even the KKK in the Golden Age of Hollywood--an openly gay movie star, something that even today is seldom seen. So when Jamie (Jason T. Gaffney), a struggling actor, scores an audition for an upcoming Billy Haines biopic, he begins a journey of exploration that ultimately informs some decisions he has to make about his life. For one, he is dating a closeted lawyer (Jason Michael Butler) who has rules for how they can behave in public. And then there are his roommates, three equally stressed and slightly insane actors: Sugar (Annie Kerins), whose sleazy boyfriend may or may not be screwing an Irish girl while on tour; Lynn (Apolonia Davalos), whose not-boyfriend is stationed in Iraq and frequently proposing to her via email; and Alan (Eric Ruben), a shlub with a penchant for reading people's auras and dealing with identity theft. To make matters more complicated, the more Jamie becomes immersed in discovering who Billy Haines was, the more Billy himself (an imagined fantasy of who he may have been) becomes a living breathing tangible person. In the end, Sugar's brother who comes to visit strangely looks like Billy, suggesting some sort of reincarnation or coincidence or maybe it's just all in Jamie's mind.

Written by novelist Suzanne Brockmann and Will McCabe, the play feels very much like a novel at points. The fast-paced shifting between fantasy and reality and the constant narration by Jamie became distracting and repetitive at points. Also, because I found the real-life story of Haines to be the most compelling aspect of the show, it was a little confusing to me that so much time was spent on the roommate's drama; the Iraq subplot was the point where I thought the play had veered off course. However, most of the show was fantastic with many great performances to spare.

Cullinane is the standout by a mile. He is effortless, playful, passionate, and all-around joyful in his portrayal of Billy Haines. The show works on his charisma alone--since we love Billy from the first time we meet him, we're eager to hear his story. He is also listed as choreographer, which is even more impressive considering I found the dance sequences to be the show's highlights. Gaffney holds his own with Cullinane in the dances, and one in particular (where Jamie imagines himself as Billy's lover Jimmie Shields) is just stunning. Otherwise he's an effective narrator and very likeable. Butler is convincing as Harlan in his struggle to make Jamie happy while trying to keep his homosexuality hidden from the rest of the world. The roommates also double as the people Jamie encounters, and I enjoyed them most while they were playing other people--Davalos as the shrewd audition monitor, Kerins as Jamie's adorable mother, and Rubens as the gay-loving mother Harlan never had.

See Looking For Billy Haines for the spectacular dancing, great acting, free button that says "I Found Billy Haines" (!), and the chance to learn more about a true pioneer for the gay community. It's a love story that should be better known.

Performances of LOOKING FOR BILLY HAINES will be through May 22, Mondays at 8 PM, Wednesdays through Saturdays at 8 PM, with matinees Saturday at 2 PM and Sunday at 3 PM. Tickets are $49 and are available through Ticket Central at 212-279-4200 or www.TicketCentral.com. For more information visit www.LookingForBillyHaines.com.


The cast of Looking for Billy Haines
Photo: Shirin Tinati

For more info about the reviewer please visit http://giolzetti.blogspot.com/.

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"The Book of Grace"

Evidence of Good Things

Reviewed by Julia Giolzetti

Suzan Lori-Parks has already established herself as a provocative and compelling writer for the stage. In the Public Theater's stirring production of her new work, The Book of Grace, she has once again created an evocative, tense, and compelling tale.

The Book of Grace is a family portrait gone sideways, shadowed by deep-set rage, betrayal and sexual abuse. When a young soldier returns home to South Texas to see his father and stepmother for the first time in 15 years, the homecoming soon morphs into a terrifying fight for life. The young man, Buddy, has a strict moral code that has brought him to the point where if his father makes three transgressions he must pay for them. Meanwhile, Grace, a diner waitress struggling to keep her family and her life together, uses a secret book she's writing as a means to escape the abusive confines of reality. And Vet, the booming patriarch, is one of the most subtly terrifying creations I've ever seen on stage. He taunts, manipulates, menaces, and drinks his way to ultimate power over his domain. The plot is thickened by incest, more kept secrets, unfulfilled desires and ultimately homicidal rage. The climax, after so much buildup and so much intensity, did fall a bit flat. However, the final scene regained the pace and the last few lines closed the show perfectly.

James Macdonald has expertly staged this complicated piece, which has characters interrupting the action with their own short scenes. Macdonald has used these interjections subtly and humorously, and sometimes with devastating implications for the scene they paused. The three actors in the play were a committed ensemble, completely dedicated to the material and all produced fearless portrayals rooted in their character's circumstances. Elizabeth Marvel as Grace was simply incredible, commanding the stage with a quiet confidence and undying joy, even in devastating situations. She convincingly represents the little goodness that exists in the play's world, which makes it all the more heartbreaking as her world crumbles beneath her. The scene where she reads excerpts from her book aloud to her empty dining room chairs was captivating. Amari Cheatom as her stepson Buddy also puts in a powerhouse performance. Cheatom, a Julliard grad, had the balance of his character down perfectly; he always seemed to be fighting to be in Grace's world of good while being constantly pulled toward sin by his father. His video diaries became a little repetitive with few place to go, but it was a minor flaw in an otherwise great performance. Last but definitely not least, John Doman as Vet was a piece of work. His energy was phenomenal, his stakes were always huge, and his final moments on stage are so brutally rash you almost had to laugh at the absurdity of it. But Doman is such a pro he made it work, and I know that his Vet will be haunting my dreams for a while. Haunted is a good way to describe how I felt at the end, and the stunned silence of the audience indicated I wasn't alone.

Also of note are Eugene Lee's sandy, seedy set, Susan Hilferty's costumes that really help define each character, and Jeff Sugg's chilling projection effects. The Book of Grace is now playing at the Public, and I recommend you get tickets as soon as possible...I have a feeling this one will be popular.

For tickets phone (212) 967-7555 or visit PublicTheater.
The Public Theater is located at 425 Lafayette Street in Manhattan.



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"Happy in the Poorhouse"

Why Are All These People Yelling?

Reviewed by Julia Giolzetti

It was a dark and stormy night. Rather, it was the night of one of the worst Nor'easters in the history of ever. But, since I am adventurous, I made the trek to the beautiful Pearl Theater to check out the Amoralists Theatre Company's opening night of Happy in the Poorhouse. And despite the torrential rain and a few problems with the show itself, I ended up having a great time.

The story revolves around Paulie "The Pug" (James Kautz), a Coney Island amateur MMA fighter who's having intimacy issues (as in, they're not intimate at all) with his wife, Mary (Sarah Lemp). They are throwing a Welcome Home party for Mary's ex-husband, also a fighter (William Apps), who Paulie is afraid is looking to bash his brains in for stealing Mary away (and he is). Mary's brother Joey (Matthew Pilieci) is in some trouble with some bumbling goons named Sally and Sonny (Mark Riccadonna & Morton Matthews) over his not-very-appropriate relations with their niece Flossie (Meghan Ritchie). Flossie is also the target of a hit caused by her uncle's inability to pay back a mob boss, and is being sought out by a hitman (Patrick McDaniel) who is also, conveniently, an MMA fighter and invited to the same party (but he only does it cause he needs the money, he really is a gentleman). Meanwhile, poor Joey also has to deal with the love of his life (and Paulie's sister) Penny (Rochelle Mikulich) returning home after becoming a successful country singer--with her lesbian soul mate Olga (Selene Beretta). Oh, and there's a gay nurse (Nick Lawson). Now, did you get all that?

Derek Ahonen, the resident playwright of The Amoralists Theatre Company, has written and directed this insane piece with gusto, and while often it fell apart and became disjointed, there are some seriously funny moments. However, most of the actors seemed to suffer from a compulsion to yell the majority of their lines. While this makes sense in the world of the play and the characters they are portraying are indeed loud creatures (many of them reminded me of my equally loud Italian relatives), but just because it's accurate doesn't mean it translates well on stage. The intensity was great, but if the yelling was just a few notches quieter my ears would have been very grateful. In this large cast there were several standouts, chiefly Pilieci, Lemp, Kautz and Apps. Their characters seemed the most grounded and I felt attached to them the most. Apps in particular had a moment as Petie where he was looking at Mary with a desperate pleading that was heartbreaking and satisfying all at once. Lemp and Kautz have the most time on stage and carry the show with their complicated and strangely beautiful love story. And it's hard not to say I liked Pilieci the best after seeing him in his underpants. But even while pantsed, his manic, confused, passionate, and vulgar Joey was a treat to watch.

All in all, I'm glad I got to visit these Coney Island wackos, even if it meant trekking home in that wicked rain. I will be on the lookout for the Amoralists next production as this troupe continues to grow and improve.

Happy In The Poorhouse, running through April 5, takes place on Thursdays, Fridays, Saturdays and Mondays at 8pm and Sundays at 5pm. Previews begin March 11 for a March 13 opening. Tickets are $40 for adults and $20 for students and can be purchased online at http://www.Theatre80.org or by calling 212-388-0388. Running time is 2 hours including one intermission.


Paulie and Mary
Photo Credit: Larry Cobra


Cast of Happy In the Poorhouse
Photo Credit: Larry Cobra

For more info about the reviewer please visit http://giolzetti.blogspot.com/.

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"The Weird"

Reviewed by Julia Giolzetti

A Weird Night at the Theatre

Take six actors, two directors, and six wacky short plays by Roberto Aguirre-Sacasa and you have a fast-paced and fun show. Performing in the Manhattan Theatre Source's intimate upstairs space, every seat has a great view of the mayhem. Over the course of about an hour, the up-and-coming company Wake Up Marconi! deftly plunges the audience into several tales of supernatural-romantic-horror where anything can and will happen.

The show opens with Bloody Mary, an appropriate introduction for what we're about to witness. Lucky Gretzinger and Allison Hirschlag are pitch-perfect as the typical horror-movie lovesick teenagers who are doomed to a gory fate. After that we meet our grim host for the evening, the aptly named M.T. Grave (Mark Rosenthal). Rosenthal is a delightfully creepy host throughout, and really brings the audience into the action so we feel like we've stumbled into an episode of The Twilight Zone.

The entire cast, most of whom play multiple roles, has brilliant comedic timing and each had memorable moments that left me in stitches. Gretzinger is delicious throughout, and thrived in Bloody Mary as his Ben went to extreme lengths to terrify his girlfriend. Hirschlag has many standout moments; chiefly as the horrified Girl who is forced to bear Satan's spawn in The Ten Minute Play About Rosemary's Baby and as the sultry, alligator-petting, and hilarious Abigail in Swamp Gothic. Mark Stetson is excellent as the grotesque slob Harold in Morning Becomes Olestra and a pathetic waiter named Bibbo obsessed with SuperGirl in Dinner With The Superfriends. My favorite piece by far was Insect Love, a strange tale of a mad scientist pining after his beautiful secretary. Matthew Cohn and Melissa Pinsly are outstanding here. Their timing is impeccable, their tongue-in-cheek delivery of the 1950's dialogue superb, and in the end it was the play I remembered most.

Directors Celine Rosenthal and Erin Gilmore had a perfect feel for the styles of each pieces, and with minimal sets and props they were able to differentiate between the pieces while still making them cohesive and supportive of the night's theme: love conquers all. A special mention must be made as well for Emily Lynn's spooky make-up effects that really enhanced the night. All things considered, The Weird is indeed pretty weird; but it is also disturbing, creepy, adorable, romantic, quirky, and most importantly a very funny show.

Wake Up Marconi! Presents:
Roberto Aguirre Sacasa's The Weird
February 18-20 and 25-27 at 8pm, February 20-21 and 27-28 at 2pm
Manhattan Theatre Source
177 MacDougal St.
New York, NY 10011

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"Duet for Solo Voice"

Reviewed by Julia Giolzetti

A Pleasing Duet

If you're a fan of intrigue, mayhem, and laugh-out-loud gags, head over to Theater for the New City for David Scott Milton's raucous dark comedy, Duet for Solo Voice. As you enter TNC's intimate, almost spooky downstairs cabaret space, you encounter the run-down 43rd St hotel's night manager, Leonard Pelican, furiously pounding on his typewriter and occasionally surveying the crowd, as if he's aware (and suspicious) of our presence. The pre-show speech is made by a bag lady who seems to have wandered in off the streets. The phone won't stop ringing, mostly because a sex-starved hotel guest is looking for a prostitute. And to make matters worse, the couple in Room 204 won't stop making fervent, earth-shattering (and ceiling shattering) love, much to the chagrin of Leonard. The couple, hilariously portrayed by David Zen Mansley and Rachel Krah, also provide many of the hotel's ambient sounds, making the lobby come alive in a brilliantly executed way.

Without giving away too much of the plot, Leonard believes he's being hunted by a vicious Russian assassin by the name of Vassily Chort, and by the time Vassily finally shows up the play really takes off. Jonathan Slaff is both Pelican and Chort, who start off as polar opposites and eventually mesh together in a final sequence that in the hands of a less capable actor could have descended into something ridiculous. Mr. Slaff, however, is more than capable and handles the two personalities with such a presence that I always felt comfortable watching him, even in the long silences that he was allowed to simply exist in front of us. His constant switches between the two were seamless. Thanks to Mr. Slaff, Stanley Allen Sherman's well-paced and even-handed direction, and Mark Marcante's expert eye for making a set look lived-in, I felt like a voyeur witnessing Pelican's paranoid misadventures through a keyhole. When he declared to the empty room, "I know you're there!", I was so invested in this world I thought I had been discovered as some sort of creepy peeper.

This is one of the darkest comedies I've seen in a long time, and the humor comes from Pelican's frenzied attempts to keep order and keep his sanity in a seedy hotel--a place where nothing is considered too weird. Mr. Slaff has such a great grasp on the nature of the play's comedy, and he had the sold-out crowd in his hand by the time he took his final bittersweet moment on the stage. My only real complaint with the experience was the four young adults sitting next to me who wouldn't stop texting or checking their phones the entire time. On behalf of performers and audience members everywhere, PLEASE keep your phones off and away from you during a show--it ruins the magic for everyone around you, plus they had no idea what they were missing! Running only a little over an hour, it was a great lesson on how to perform a solo show. After a lengthy round of applause from the audience, Mr. Slaff thanked us all and hoped we would tell others to come check out the show. I am happily and eagerly fulfilling his request: go see Duet for Solo Voice; I'm glad I did!

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