Saturday, May 30, 2020
Review: The Blank Theatre Takes NATHAN C. JONES: A LOVE STORY Online
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| Amir Levi in Nathan C. Jones: A Love Story |
“May you live in interesting times,” has taken on new meaning in 2020 amid the current world health crisis. No one could have imagined a scenario like this where theater doors would be forced to close indefinitely. And yet, they have. But you can’t dampen the heart of an artist for they will always find a way to create. That resilience is what should inspire us all as we continue to look to the future.
The Blank Theatre has a long history of keeping its eye on the future. For the last 30 years, The Blank has nurtured countless artists with its Young Playwrights Festivals, developmental Living Room Series, and fully-produced mainstage productions, all led by the impeccable Daniel Henning. And while the Living Room Series is unable to continue in person for now it has found a new outlet online, just as compelling. Two thought-provoking solo works are currently being presented: Nixon on Nixon, a new play by Sean Waldron starring Rob Nagle, and Nathan C. Jones: A Love Story?, a new musical by Vanessa Claire Stewart and Brendan Milburn starring Amir Levi.
On the surface, Nathan C. Jones appears to be an unassuming little show about a young man and his new romance. But, as the audience is drawn further and further into the story, it becomes clear that the writers are exploring much deeper questions about loneliness, the desire to be loved, and what happens when reality sits on shifting sands.
The 50-minute piece plays out episodically in Nathan’s living room beginning with a call from Chad that establishes their ongoing relationship. As Nathan realizes Chad could be the one, it brings out all of Nathan’s hopes, dreams, doubts, and insecurities in a series of stream of consciousness scenes and songs that provide a window into the thought process of a mentally fragile individual.
Milburn’s music is light and airy, with a decidedly upbeat musical theatre sensibility that functions as a running “soundtrack” for Nathan thinking through his days. The exception (and best of the lot) is a song in which Nathan builds up the courage to friend Chad on Facebook. It captures the wistfulness of wanting to be accepted and loved, giving depth to both the character and the overall production. Lyric duties are shared by Milburn and Stewart, whose deceptively simple book keeps its secrets until the big reveal but drops clues along the way.
Henning directs with a light touch. He knows exactly when to highlight a moment and when to pull back and let the writing do the work. This is a recorded and edited version of a theatre piece - with none of the artists working in the same space - and a unique example of modern-day guerrilla theatre reinvented for a new age. The world they’ve created is intentionally elusive and Levi never overplays his hand. He makes Nathan an odd, but likable sad sack of a human being; at times, a vulnerable underdog you really hope gets his happy ending and, at others, a train-wreck you can’t look away from. Chances are you know a Nathan or two without even realizing it. Don’t leave before the epilogue which brings everything into perspective.
Nathan C. Jones: A Love Story? is a quirky slice of life that hits home in today’s off-kilter reality. It may not be the musical you expect but it is most definitely the musical we need. Relevant? There’s no question about it.
Two additional performances will stream live on June 4 and 11 at 5pm PDT/8pm EDT at www.youtube.com/TheBlankTheatreCo. You can comment in the chat box while the show is streaming which creates a fun way to engage with the rest of the audience, or you can eliminate the chat if you want to watch the production full screen. The show will be available for three weeks and will then move to The Blank’s Third Stage on Patreon. There is no charge to watch the performances however you are encouraged to make a donation which will go to the artists who created the show HERE. For more about the Blank Theatre visit www.theblank.com.
Photos courtesy of The Blank Theatre
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Tuesday, March 20, 2012
The Blank's Sukie & Sue: Their Story Casting is Complete
Based on actual events, Sukie & Sue: Their Story tells the creepy yet funny tale of two young nurses who have everything to live for ... great boyfriends, jobs that actually help people, and as much weed as they can smoke. That is until their Raggedy Ann doll becomes possessed and destroys their lives. Packed with laughter, this play is likely to send audiences home checking under their beds for demons with hair made of red yarn.
The cast is Nick Ballard, Lindsey Broad (The Office, 21 Jump Street), Elena Campbell-Martinez, Eddie Driscoll, Rae Foster, Lenny Jacobson (Nurse Jackie), Mary-Beth Manning, and Mackenzie Phillips (One Day at a Time).
Along with an original underscore by Michael John LaChiusa, the design team for Sukie & Sue: Their Story includes set by Eric Broadwater, lighting by Stephanette Smith, costumes by Bethany Jane Bohatila, props and special effects by Stephen Weston, and sound by Warren Davis. Producers are Matthew Graber, Daniel Henning, and Noah Wyle, and the stage manager is Liana Dillaway.
Sukie & Sue: Their Story begins previews on Saturday, April 21. Opening night is set for Saturday, April 28 at 8:00. Tickets are on sale now and may be purchased by visiting www.TheBlank.com, or by calling (323) 661-9827. The Blank’s 2nd Stage Theatre is located at 6500 Santa Monica Boulevard (at Wilcox), in Hollywood. Secured valet parking is available for evening performances.
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Thursday, February 17, 2011
THE CRADLE WILL ROCK Rocks The Blank
Rex Smith (center) with the cast of The Blank Theatre Company'sThe Cradle Will Rock. Photos: Rick Baumgartner
The 1985 original cast recording of Marc Blitzstein’s The Cradle Will Rock contains a twelve-minute legendary introduction by director John Houseman. In it he talks about the creation of the 1930s Federal Theatre Project, of which The Cradle Will Rock was a part, and the remarkable story of how the highly controversial musical was shutdown by the bureaucrats - theatre doors padlocked, materials confiscated, and actors and musicians forbidden to perform by their own unions. But for the passion, dedication and integrity of all the amazing theatre people who believed in The Cradle, it might never have been seen by the public.
The story had a profound effect on me when I first heard it and I still can’t help getting choked up when I listen to it now. In 1937, 18 million Americans were unemployed and labor unions were just beginning to challenge the monopoly of big business. It was a dangerous time, marked by strikes, lockouts and increasing violence.
It may be 2011 now, but an article this month in the Huffington Post reported that more than 29 million Americans are currently out of work, and the daily news still highlights stories of unions and government entities locked in contentious power struggles. Companies like Blackwater, AIG, Goldman Sachs and Enron, who betrayed the trust of hard-working Americans, are now being forced to answer for their actions.
How appropriate then that The Blank Theatre would choose to revive this musical as part of its 20th anniversary season. Artistic Director Daniel Henning first directed The Cradle in 1994 and has remounted it in Hollywood at the Stella Adler Theatre, a perfect venue for the production with its vintage ambience and unassuming style.
The show begins cold, without an overture, as Musical Director David O. walks to the piano and announces “Scene 1, Street corner, Steeltown USA,” then plays the first haunting notes of “Moll’s Song” just as Marc Blitzstein did in 1937.
Blitzstein described his musical as a “labor opera in a style that falls somewhere between realism, romance, satire, vaudeville, comic strip, Gilbert & Sullivan, Brecht, Weill, and Agitprop” (a term that describes any kind of highly politicized art). And he’s right. It’s all in there. The sophisticated score is full of hidden comedy, like the phrases from the “Star Spangled Banner” that he uses in his “Night Court” sections and the way he tweaks wrong notes to stick out in “Croon Spoon.” Nothing is quite as simple as it appears. David O. brings out every nuance, innuendo and parody that lives between the notes and you can tell he’s having a great time doing it.
The cast is a powerful collection of players that falls into two camps; the working class, championed by union man Larry Foreman (Rex Smith), and the privileged elite, led by Mr. Mister (Peter Van Norden). Norden, who was part of Henning’s ’94 cast, is terrific as the unscrupulous businessman who bulldozes everyone in his path; everyone that is, except Smith. With his chiseled good looks and charismatic intensity, Smith mobilizes the workers to defy Mr. Mister and stand together for a better future.
Matthew Patrick Davis, Rob Roy Cesar, David Trice,
Roland Rusinek, Christopher Carroll and Jim Holdridge
Among those lining up behind Mr. Mister are the members of the Liberty Committee, six bobble-headed yes-men who represent the various realms of corruption. They are a perfectly disjointed sight-gag, loud and brittle in their cacophony, yet deliciously tuned in 6-part Barbershop harmony at a moment’s notice.
Christopher Carroll is the sellout Reverend Salvation, who first hawks peace, then war, as dictated by his benefactress Mrs. Mister (an outstanding Gigi Bermingham). Jim Holdridge and Roland Rusinek are artists whose lewd, crude and indulgent lifestyle is also afforded by the tacky, yet rich Mrs.
Roland Rusinek, Gigi Bermingham and Jim HoldridgeWith them are Editor Daily (David Trice) who sacrifices his freedom of the press, President Prexy (Matthew Patrick Davis) who echoes the Mister’s self-serving war efforts, and Dr. Specialist (Rob Roy Cesar) who lies about a man’s death to protect his own reputation. Mr. Mister’s spoiled rotten children, Junior Mister (a crass and wonderful Adam Wylie) and dim-witted Sister Mister (Meagan Smith) complete the wealthy family.
In contrast, the common man’s troubles are represented by Harry Druggist (Jack Laufer), Moll (Tiffany C. Adams), Gus and Sadie Polock (Matt Wolpe and Penelope Yates) and Ella Hammer (Lowe Taylor), honest citizens who can’t catch a break. Their stories are heartbreaking and bring a weighty realism to the production. All turn in powerful performances, with Taylor’s show-stopping number “Joe Worker” a true standout. An interesting side note: Matt’s father Lenny Wolpe was the Druggist in The Blank’s ’94 production.
Completing the cast are utility players Mikey Hawley and Will Barker, who along with Matt Wolpe, play several roles each, comedic to dramatic.
I loved Kurt Boetcher’s stripped down set and Naila Alladin Sanders’ vintage 1930s costumes. JC Gafford’s lighting was also really effective, especially when highlighting the social commentary within songs. Ah, the glow of the imagined footlights and the stark black and white contrast of the news reel.
A show’s vision begins and ends with the director, and in the case of The Cradle Will Rock, Daniel Henning has proven once again that The Blank is worthy of its many accolades. With impeccable taste and an undeniable respect for the message of the show, he has made it look easy. So get thee to the theatre before this cradle falls on closing night. You’re not likely to see a production like this again.
For more information and tickets go to www.theblank.com.
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Labels: daniel henning, review, rex smith, the blank
Thursday, December 16, 2010
Rex Smith Heads Cast of THE CRADLE WILL ROCK for The Blank
Casting is complete for The Blank Theatre Company's production of Marc Blitzstein's The Cradle Will Rock. Directed by The Blank's founding artistic director Daniel Henning, and featuring musical direction by David O, the show will begin previews on Saturday, February 5, 2011 and is set to open one week later on Saturday, February 12 at 8pm. The engagement will run through Sunday, March 20.
Along with stage, television, and recording star Rex Smith (playing the role of Larry Foreman), the cast, in alphabetical order, is Tiffany Adams, Will Barker, Gigi Bermingham, Christopher Carroll, Rob Roy Cesar, Matthew Patrick Davis, Mikey Hawley, Jim Holdridge, Jack Laufer, Roland Rusinek, Meagan Smith, Lowe Taylor, David Trice, Peter Van Norden, Matt Wolpe, Adam Wylie, and Penelope Yates.
In The Cradle Will Rock, corporations and churches use their influence to shape laws to their favor, unemployment hits new heights, and millions of Americans are losing their homes. Sound like the new millenium? In 1937, Marc Blitzstein's musical called these issue into question with his scathing satire of greed, corruption and politics in the U.S.A.
So scandalous, in fact, was The Cradle Will Rock that the U.S. government tried to shut it down. But Blitzstein's humor, music and agitprop parody ruled the day and the public got to hear this terrific, fun, jazzy score. Snappy tunes, wonderful characters and deep questions about our nation will take you on a roller-coaster ride through the American patriotic psyche.
The Blank Theatre Company first presented The Cradle Will Rock in 1994, directed by Henning, and the production received two Ovation Award nominations (Musical in an Intimate Theatre, Director of a Musical), three Drama-Logue Awards (including Production and Direcotr), and the L.A. Weekly Award for Musical of the Year.
A complete recording of the score was released by The Blank in 1995; that recording will be re-released in celebration of this new production and The Blank's 20th Anniversary.
Tickets are available at www.theblank.com or by calling 323-661-9827.
The Stella Adler Theatre is located at 6773 Hollywood Blvd. in Hollywood.
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Labels: daniel henning, david o, the blank
Friday, April 23, 2010
See What I Wanna See's Truth
(L to R) Perry Ojeda, Lesli Margherita and Doug Carpenter
Photo: Rick Baumgartner
Photo: Rick Baumgartner
Truth is slippery. Intangible. It is can be elusive, complicated, and even misconstrued, yet it always exists, hiding somewhere within the details. The trick is in coaxing it out of its hiding place because, unfortunately, everyone has their own version of it. Ask six witnesses at a crime scene what they saw and you’ll get six different stories based on their perspective at the time. Yes, truth is a slippery little devil and not so easily courted into the light.
The Blank Theatre Company explores the nature of truth in Michael John LaChuisa’s See What I Wanna See, a musical that will challenge your perspective of what you think you see. Rich with subtext and a raw intensity bubbling beneath the surface it asks - do you see the truth? Or do you see only what you want to see?
It is based on three short stories by Ryūnosuke Akutagawa. The first, Kesa and Morito, is told in two scenes that function as a prologue at the beginning of each act. The audience meets two lovers (Lesli Margherita and Doug Carpenter) involved in an illicit affair in medieval Japan, each about to kill the other after a final night of lovemaking. It establishes that the world of this musical is a dangerous one in which lust, greed, and power have a seductive impact on the impulses of its players. Indeed, each of these three stories deals with seduction – of the senses, of the body, and most certainly of the mind.
The remainder of Act I is based on R Shoman set in 1951 New York City, and concerns a tangled love trio (Margherita as the Wife, Carpenter as the Thief, Perry Ojeda as the Husband) and a crime of passion a la film noir. The thief encounters the couple leaving a movie theater and a series of events ensues with disastrous consequences for the husband.
What we know for sure is that he dies. What we are left to decide for ourselves is who has committed the crime. Is it the tormented wife, humiliated by years of cruel treatment by her husband? Is it the thief, goaded into the deed in a fit of passion? Or is it the husband himself, in a final desperate attempt at reclaiming his honor. And then again, there’s also the curious janitor (Jason Graae at his best) who just happened to be walking through Central Park and found the “dead” body. Is he nervous by nature or is his a new nervousness born out of recent events?
Director Daniel Henning has assembled an outstanding cast of five actors who turn up the heat and deliver performances that stay with you long after leaving the theatre. Margherita’s woman in red is a fiery pistol of a dame with a gutsy singing voice that conjures up images of smoke and dirty martinis, a luscious vixen with flashes of unexpected little girl vulnerability. Carpenter is sexy, cynical and delivers a grittiness in his character that is provocative at every turn.
Ojeda, offering his version of the truth by way of a Medium (Suzan Soloman), is the perfect third side of the triangle. His voice drips with a mixture of disdain and longing, a lost soul in search of an answer where none can be found.
(L to R) Perry Ojeda, Suzan Solomon, Jason Graae,
Doug Carpenter and Lesli Margherita. Photo: Rick Baumgartner
The third story, Gloryday, is set in present day New York where we find a priest questioning the validity of his faith following the devastating events of a tragedy, presumably 9-11. We watch as Graae (the priest) wrestles with the devil in his mind and ventures into the dark side of his psyche. He is, quite simply, brilliant here, alternating between the pain of uncertainty and the arrogance of superiority.
Building in intensity throughout the act, he leads the others – Margherita as a coked-out disfigured actress, Ojeda as a morally defunct now homeless CPA, and even his own Aunt Monica (Soloman’s plum role of the evening) – to the feverish culmination of the miracle he has invented. It is a strong statement on man’s search for redemption that surfaces in even the worst of us at the moment of truth. Ironically the priest observes, “I understand now how the myth of Christ took root.”
None of this depth would be possible without the impeccable musical direction of David O, who handles Michael John’s LaChiusa’s sophisticated score with a finesse that elevates the entire experience beyond ordinary, everyday musical theatre. Like a heartbeat the music rises and falls in waves in The Blank’s wonderfully intimate space.
See What I Wanna See is one of those rare musicals that requires an audience to take responsibility for what they see before them and decide what is real and what isn’t. With director Daniel Henning leading the way, the result is defiant, raw, intriguing theatre - some of the finest to be found in L.A.
The show runs through May 23. Tickets may be purchased by calling 323-661-9827 or online at www.theblank.com/.
A final note – make sure you take a second look at the graphic design for See What I Wanna See. I had the postcard pinned up on my bulletin board and happened to glance at it from across the room and at an angle. What an incredible optical illusion designed by, I believe, Rick Baumgartner. Did I see what I thought I saw…or did I see what I wanted to see? I wonder.
Labels: daniel henning, david o, the blank