Curtain Chronicles

It’s not uncommon to wince a lot whilst watching an off off off Broadway production on a rainy weeknight in downtown Manhattan. However, Oppressed in Heels and director and writer Nathaniel P. Claridad’s production of The Trojan Women has audiences doing so for all the right reasons.

Behind the scenes, the groups of people behind this evocative version of Euripides’ classical text are taking on social issues. Founded by Lynnsey Ooten (who has acting and directing chops to boot), Oppressed in Heels is a three part series showcasing theatrical works of the past (the first installment was an all-chick Shakespeare) and pairing them firmly with the very real battles faced in the present by women (and everybody). With the help of another organization called A Letter for You, which collects anonymous letters of encouragement for survivors of abuse in all of its forms, this version of The Trojan Women incorporates interviews with real women. From sexual abuse, to the loss of a child, to police brutality, no heavy topic is left unexplored onstage at the Access Theater.

A Greek chorus (commanded by Malloree Hill, Jay Reed, and Tania Chelnov) invites the audience into the piece with fast-paced laughs and an even speedier summary of the events leading up to the war that straddles the line between history and mythology. Dressed in shades of aqua, these ladies are who you wish you had had to guide you through the seven-syllable names in high school; while some of the story points are inevitably lost in the rush, the bit (and it’s just that) is a requisite to -- shall I say -- cleanse the palate for what’s to come in the following 70 minutes or so.    

As the players weave between ancient Greece and modern day, their monologues break hearts and transport the audience to the darkest corners of the mind; this is the kind of theatre that begs attendees to look, not at the performance but at the white hot lights on the inside. That uncomfortable debate or harrowing memory -- it’s closing in. All four of the walls in the space are used to convey this idea, and it’s an excellent creative choice, especially in such close quarters. Eulone Gooding, Nicole Kang, Ooten, Cherrye Davis, Brandon Garegnani -- none are afraid to look the audience in the eye as their characters recount their rape or play devil’s advocate for Black Lives Matter. All this on top of stepping in and out of their counterparts in Euripides’ play.

To be sure, there are moments where Euripides’ classic gets a little lost, and running out seems like a good idea. Catharsis is the supposed to be the glorious reward in witnessing tragedy, but at what cost? Blood-curdling screams are used generously and are not entirely necessary; moments of silence as Kang’s or Gooding’s eyes remember are far more effective. And no one knows what horrors those sitting in the seats have faced or are facing. 

However, this is precisely why such opportunities for dialogue are necessary. The Trojan Women is exactly that -- an opportunity for dialogue. The best theatrical productions are (or should be). And it is one that is not to be missed.

 “Statesmanship is more than entertaining peasants,” a soldier snarls upon the election of Juan Perón in Andrew Lloyd Webber and Tim Rice’s quintessential historical snapshot, Evita. The mixing of politics and celebrity does not cease to capture the attention of onlookers – even half a century later. (Just take a look at the carrot-topped imbecile currently dominating media coverage surrounding the 2016 election.)

What a time for Music Theatre of Connecticut to revive this musical, bringing the “circus” that is how we the people view seemingly larger-than-life characters into its snug Norwalk space. Whether one worships or loathes the tale of Eva Perón’s Icarus-like rise to the height of Argentine political power and beyond in the 1940s, one cannot deny how transfixing it is.

As with Donald Trump’s candidacy today in 2015, we flock to our smart phones, thumbing through his outlandish Twitter feed, making quips about how preposterous the idea of him leading the free world seems – at the same time, relishing the spectacle and resultantly, prolonging it.

Unlike the Donald, the character Eva has a likeability to her, at least in the enchanting way songbird Katerina Papacostas portrays her; MTC front man Kevin Connors tasks the audience with judging the title heroine saint or sinner in his director’s note. Her voice fills the intimate space, which the effervescent ensemble uses very well. High kicks in a 110-seater? Yes, please.       

Dance captain Rachel Macisaac brings enthusiasm fit for a Great White Way production. All of the voices blend nicely together; however, the ladies win this round as far as clarity is concerned. Carissa Massaro’s bits in “Another Suitcase in Another Hall” are particularly nice storytelling moments.

Luckily, a Tony-winning Webber story about an icon once played by Madonna hardly needs a rehashing of the events that transpire: peasant girl rises to high society. The way in which she gets there is morally questionable, as is the way she takes her place at the throne once there. The instant queen, a cross between a fantasy in the bedroom and a saint.

Not as fortunately, many of the lines and lyrics are lost in this production. To the cast’s credit, the band behind them is giving it their all – Thomas Martin Conroy and Mike L’Altrella on the keys, Jim Andrews on bass, and yes, I’m looking at you on the drums, Chris Johnson. Striking down the band is not an option; however, neither is forgoing to hone in on one’s diction as a performer. (I’m picking on Daniel C. Levine here because the man’s got some serious Broadway credits under his belt.)      

All in all, both first timers and those experiencing Evita all over again will witness some pretty pictures. A load of that credit should be bestowed upon costume designer Diane Vanderkroef. Evita’s wardrobe is exquisite; the entrance where she wears the “Don’t Cry For Me Argentina” gown received well-deserved gasps on opening night. And what fun for an ensemble to not be tied down to one signature garment (sometimes not even within the same musical number).

With Broadway credits, national tours (Spring Awakening and War Horse, no less), and the firecracker role of Barbara in August: Osage County under her belt, Angela Reed has done it all. However, the Westport Country Playhouse first timer is currently learning a lot in rehearsals for Arthur Miller’s intense Broken Glass.

You play Margaret, the wife of Dr. Hymen. Tell me about your character.

Unlike everyone else in the play, who are New Yorkers and Jewish, Margaret is from Minnesota and not Jewish. This does have significance because the play deals a lot with identity and relationships and how religion and society shapes you.

What have you learned about yourself from playing her?

That I enjoy being an observer more than I thought I would. And Margaret is very astute. She has very little information, but she is intuitive about her husband and the people around her. She talks about being a talker, but for somebody who is so talkative, she’s also a great observer. I myself have enjoyed observing and not having to be in the thick of it in a way that maybe I would not have appreciated as much years ago. I’m OK with contributing what I can to tell the story. Mark [Lamos] has been great. I’ve never worked with him before. It’s a really good group.

This particular work of Miller’s touches on some dark historical events. What kind of research did you and the cast conduct for the production?

We have a fantastic dramaturge Marlee Koenigsberg. That’s been really great because she has given us so much source material to constantly be going back and looking through.

This is your first time acting in an Arthur Miller play. What’s your favorite thing about performing his work?

What’s so interesting about his work is how he writes nuances for relationships. There are married couples. There are sisters in this play. There are doctor-patient relationships. The conversations that we often do always have are a lot of two-person scenes. There’s so many nuances going on and layers and things not being said, but they're intuitive from what he’s writing. He’s brilliant in that way. He was 79 when he wrote this play. He was creating work well into his seventies, and that’s remarkable to me.

What is your least favorite thing about performing the work of Arthur Miller?

The woman who plays Sylvia [Felicity Jones] and her husband Phillip [Steven Skybell] really go on a difficult journey. They are really carrying the weight of it. It’s about secrets or truths that you did not reveal entirely, that you didn’t reveal to someone you’ve been married to for 25 years. There are a lot of dark and scary places that the characters have to go and therefore the actors have to go. The three of them are exhausted by the end of the day. I have the great fortune of watching their process and journey, and I feel really lucky that I’ve been able to witness it. I want to feel like I’m in the same world. I like being there when they’re rehearsing their scenes that I’m not in, and figuring out ways I can make myself part of that world.

You have quite the theatrical resume. Is there a favorite past role you’ve played?

I would say it’s probably Barbara in August: Osage County. She’s a force. Parts like that come along, and I loved doing it. Sam Gold directed it, and he’s a fantastic director. It did feel at the time that it was a once-in-a-lifetime kind of role.

Do you have a favorite current or upcoming role or project?

I did one upcoming Girls episode, and it was a lot of fun to shoot.

Do you have a dream role?

There are so many hot classic roles that I think people are dying to play. I’m not dying to play Hedda Gabler. Those really brilliant parts have been done over and over and over. I’m more interested in finding those kind of undiscovered parts and things that haven’t been written yet. I think Barbara was a part that just fulfilled so many things in me. I don’t think I want the pressure of coming up with a brilliant Blanche or a brilliant Hedda. It’s been done brilliantly. Many times.

You’ve got a dog?

Yes! Butley. He’s been on two national tours. He’s driven over 50,000 miles.

An hour feels like no time at all, and on September 26, those filling the seats at The Duplex on Christopher Street will yearn to stop the speediness of 60 minutes when Alex Mollica takes the stage. Mollica himself will be savoring every moment of his second stint on the cabaret circuit.

Several months ago, the 23-year-old tenor approached the mic at Don’t Tell Mama in the heart of Times Square; despite the instruction of the venue’s title, his wildcard singing range and one-liners got people talking, laughing, and shedding a tear or two. A YouTube video and a whim resulted in Doing It My Way, Mollica’s upcoming autobiographical cabaret.

Though Mollica has been rehearsing fastidiously with musical director Christine Riley, his show is sure to have endearing candidness, a dash of self-deprecating humor, and a whole lot of heart.  

How did you happen upon the cabaret circuit?

I was looking on Backstage, and [discovered that] Seth Bisen-Hersh does a talent showcase every week at Don’t Tell Mama. I auditioned for him, and I got to do that cabaret. There was a video made of it. I took that video, and I sent it to the booking agent at The Duplex on a whim, saying “If there’s an opportunity to perform, please let me know.” And he got back to me within the week and said that they would offer me a show of my own. I’m very grateful for that, especially to Seth because he gave me the first opportunity.

Oh God, you’re not singing “Cabaret,” are you?

No. (Laughs) I will not be singing Liza’s classic.

As you know by now, an hour is a long time to fill. How have you gone about selecting your material?

I’ve been singing my whole life, so I’ve been exposed to many different types of music; my inner catalog is very vast. There’s gonna be some jazz standards; John Mayer’s gonna be in there. There’s some Disney - some obscure and some well-known. And of course, no cabaret is complete without a Sondheim or two. It definitely runs the the gamut.

So - Doing It My Way. Why is that the title?

When I went to school for musical theatre - it’s a lot of trying to figure out your type or what box you fit in. What songs you should sing because of how you look. I kind of lost the joy of performing in my pursuit of trying to find a box to fit into. So I named it that because I am doing it my way. I’m not waiting for a chance to perform. I’m not waiting for an opportunity to work on myself. I’m just going to do the work for my own enjoyment. I perform because it makes me happy. I always feel, after performing, that I’ve accomplished something, and that in some weird way, I’ve gotten closer to the person I’ve always dreamed of becoming.

If you could take a master class from anyone alive or dead, who would it be?

I mean if I ever had the balls to sing a song in front of him, it’d definitely have to be Stephen Sondheim. His songs are like a Shakespeare monologue. They are very rich and complex and deep. And there’s no such thing as nailing it. There’s always a new shade that you can find. There’s always something you can bring to it. And it changes every time you sing it because of the way that it’s written.

What’s great about his songs - yes, they can be taken out of context - but the lyric rarely ever repeats. It is like a monologue, so the best thing to do is to learn it separate from the music and let the lyrics speak for themselves because they’re strong enough to do so. He’s just brilliant. To be in the same room as him would be a gift.

If I could mass produce t-shirts for this event, what should be on them?

(Laughs)

I promise this isn’t a leading question. I’m not going to do that.

  (Laughs) Alright. Hashtag my way?

If you could play any role EVER, what would it be?

Ideally, I would love to be in a room and create an original role from the ground up, whether it be in a musical or a play. If it had to be written already, there’s two of them: Charley from Merrily We Roll Along. Sondheim again. That score is just brilliant. They start at the end of their friendship where everything has fallen apart, and you see their journey in a backwards progression. I think that’d be a great challenge as an actor.

And then - I don’t care if you’re a man or a woman - but Anita in West Side Story. I just think it’s the best musical theatre role ever written. I mean, that’ll never happen. (Laughs)

Ok. So we’re gonna play a little game.

Oh my God.

It’s called “Screw, Marry, Kill.” I’m gonna give you three names, and you’re gonna have to tell me who you would screw, marry, or kill.

Oh my God. Ok.

Audra McDonald. Kelli O’Hara. Jessie Mueller. GO!

Oh no! (Laughs) I would definitely have a hot affair with Audra. Oh god...Is there any way, I could kill one of them and like, bring them back?

Fine.

I think I would marry Jessie just because I’m obsessed with her in the most safest, non-restraining order way possible. I guess I would have to kill Kelli.

I mean, she got her Tony, so she’s good for now, right?

No. Actually, I just refuse to answer that question. They all are too perfect.

Alright. Tori Kelly. Sara Bareilles. Megan Hilty. GO!

Oh my God - screw Megan Hilty. And then, marry Sara. Kill Tori. Sorry, Tori.

Meryl Streep. Patti LuPone. The exceedingly wealthy Red Robin spokeswoman. Go.

(Laughs) Marry Meryl Streep. I guess I would have to screw the Red Robin lady. And then I would have to kill Patti, I guess. She would probably kill me before I got the chance. Although I love her.

Susan Blackwell. Alysha Umphress. Beyonce. Go.

I would definitely have to have sex with Beyonce. I couldn’t marry her ‘cause that’d just be a lot to handle on a daily basis. I guess, I would kill Susan Blackwell. I would marry Alysha.

What’s your favorite breakfast sandwich?

Oh my God. The fried egg sandwich from - I think it’s called ‘wichcraft? The one I go to is in the Lincoln Center Atrium. It’s like a fried egg with bacon, lettuce, this like balsamic vinaigrette thing with blue cheese on like a brioche roll. It’ll make you need a napkin - and not just for your mouth.

What Italian dish do you identify with the most?

I mean, chicken parm. It’s just a classic. You can’t go wrong with it. (Laughs)

What will your show tell those who know you well?

I don’t really talk about my love life or the lack of a love life to my friends or family that much. I think people who know me really well won’t know that side of me.

What will your show tell those who are meeting you for the first time?

Everything. I think you get a really good sense of who I am as a person and my philosophy towards life. We are literally here for a very limited amount of time. I’d much rather die failing at something that I love than live my life succeeding at something that I hate.

What do you want people to leave your show with?

I want them to pursue what they want to pursue, whatever that may be. Whether it be becoming a best-selling author or being the best parent they can be. I hope them watching me pursue my dream of being a storyteller will inspire them to follow whatever their passion is.

Missed Mollica’s Don’t Tell Mama debut? Watch the full vid below, and book tickets for The Duplex here.

L-R:   Scott Drummond, Carson Elrod, Sarah Manton, and Claire Karpen in “Bedroom Farce,” written by Alan Ayckbourn, directed by John Tillinger, at Westport Country Playhouse, now playing through September 13.  (203) 227-4177.  www.westportplayhouse.org      Photo by Carol Rosegg

Cozy Up with Bedroom Farce at Westport Country Playhouse

The cast of “Bedroom Farce” at Westport Country Playhouse August 25 – September 13:  L-R – Matthew Greer, Nicole Lowrance, Scott Drummond, Claire Karpen, Cecilia Hart, Paxton Whitehead, Carson Elrod, and Sarah Manton.  Photo by Peter Chenot

Back at It: Bedroom Farce’s Sarah Manton Tackles Ayckbourn’s Comedic Edge for Another Westport Summer

Sarah Manton is a delight. I figured this out last summer when she lit up the Westport Country Playhouse stage alongside Geneva Carr, Matthew Greer, and Michael Mastro in the uproarious production of Things We Do For Love by (Sir) Alan Ayckbourn. I also figured this out when she was kind enough to chat to me at 8 p.m. on a Tuesday evening following a rehearsal at the Playhouse and a commute back to New York City. 

It is fitting that juggling is not a problem for an Ayckbourn play vet; his works (of which there are over 70 - he nabbed the Lifetime Achievement Award at the Tonys in 2010) are glorious hybrids between pure shenanigans and unapologetic truth. According to Manton, Bedroom Farce will be no exception. 

This is not your first time in an Ayckbourn play. What is your favorite thing about performing his writing?

I actually worked with him in England. My sister is working with him right now on his new play in England. It’s called Hero’s Welcome. We go back quite a long way. The thing that I love is that his plays are very funny, but there’s also - you have to play the truth. You have to have a slightly heightened awareness that it’s a comedy. John will say “Just pause a bit there to get the laugh.” But you have to play the truth of the situation. Just as with last year’s production, this is about middle class couples with marital issues. It’s electrifying playing that very seriously, and people aren’t really sure just how much to laugh. I really love that edge. The audience has to wonder: “Am I supposed to be uncomfortable, or is this really funny?”

Do you have a favorite play of his?

From the ones I’ve done, I really did like Time of My Life. One couple goes forward in time, and one goes back in time. Actually, some of his new ones have been quite interesting. My Wonderful Day is another favorite of mine. It’s dark in places but also funny. 

How does Bedroom Farce compare to Things We Do For Love?

It’s the same team. Same director. Same playwright. Matthew Greer is also in this one again. It is still dark, but it’s a little more energized. There’s great, quick banter between the bedrooms. My impression right now is that it has a little more of a farcical energy. It’s going to be really interesting to see how the audience reacts. That’s the joy of doing a comedy.

How do the theatre scenes differ in London or New York? Do you have a preference?

The experience of auditioning is very different. In London - there’s so many less people for each role, so if you’re getting called in, you stand a reasonable chance. You go in and have a chat, and you know the director or you have something in common. That’s half the audition. Here, you go in. There’s a lot more people. It’s a lot quicker. I kind of like it in a way - you have to just cut to the chase and be prepared.  

How has the Bedroom Farce rehearsal process been for you thus far?

Everybody is just wonderful, and that helps. I like working with John. He casts it well, and then he trusts his actors. That brings out the best in me, having a director that let’s me find it. If I’m way off track, he’ll get me back on track. But he’ll also know when not to say anything.

Any advice for love triangles?

Well, in Susannah’s case, they have a big blow-up, and that actually seems to be good for them. (Laughs)

Any bedtime rituals?

One thing that I find really helps is to limit my Netflix watching. My husband also just bought me a load of books. I’ve been reading Lena Dunham’s book. There’s a book called The Girl on The Train that one of the girls in the cast lent me. 

Any weird dreams lately?

I love these questions! It’s hard to remember. I did have some flying dreams at some point. Which was amazing. I’ve definitely had the ones where you feel like you can’t move. Quite the opposite!

Do you remember your first sleepover ever?

I used to go to Claire Stretton’s house. She lived just down the road. We were telling ghost stories or something, and she decided if she covered her feet, the ghost wouldn’t get her. And I decided that if I covered my head, the ghost wouldn’t get me. (Laughs) I even now find myself wrapping my head in the duvet sometimes.

Early bird or night owl?

Ideally, I’m an early bird. Mornings are great when I can get up for them.

What are your jammies of choice?