Life After Bush

It’s no small coincidence that the stock market is plunging, the war is ongoing, and the scathing critiques of the current administration are all coming to a head currently. We are but a few short weeks from the 2008 Presidential election; with the lines between our nations free economy and the storied images of freedom blurring into nothing; it’s ever more important that we be paying extra special attention to this one people. So it goes that Nero Fiddled is spelling out their final chapter (one can hope) of the Bush Legacy with their latest work “Life After Bush” playing at hERE (145 Sixth Avenue) in Manhattan’s West Village.

This show could have easily been called “The Idiot’s Guide for Reasons to Vote Obama in 2008,” as anything else, but despite the play’s very left-leaning sensibilities, neither side was spared the rod. With Joe Biden dressed as Peter Pan, Hillary singing her “Evita”-laden concession, and Barack Obama done up in a Super-Bama outfit, even the democrats were not beyond caricature.

“Life After Bush,” was conceived in reality but written by cast members Noah Diamond and Amanda Sisk (who are also co-artistic directors of producing agent Nero Fiddled). The rest of the cast includes Kim Moscaritolo, Avi Phillips, Tarik Davis, and AEA members Brian Louis Hoffman and Sadrina Johnson. David Hancock Turner is listed as the accompanist in the playbill and he did a fine job playing DJ Thacker’s musical arrangements.

The real thing which this reviewer took away from this musical-comedy was actually the dire seriousness about this year’s election. There were a number of fun and funny moments like nearly every time the “McCain” or “Bush” actors entered the scene, with their military fatigued helmet and “Barney” the dog, respectively; the tune “Corporations Are People Too,” and Rudy Giuliani’s eponymous number. While all art is satire and life should never be taken too seriously, the fact is that for all its fun and bravado, “Life After Bush,” never strays too far from the actual reality of what has happened and the stakes which we all will be subjected to.

Two examples which stood out to me occurred at the beginning and the very end; “It’s Been A Bad Eight Years,” and “The American Dream.” During “…Eight Years,” there was a startling photo montage which came up along the back of the auditorium where we are reminded of all the horrific events which have gone on during this current administration: the levees in New Orleans, Terri Schiavo, Cheney grabbed his gun, the tragedy of Tony Snow, “shock and awe” in Iraq, the even sadder tragedy of America’s Mayor, Bush as “the decider” and so much more. These were all made fun of, yes, but the photographs actually were real; these events actually happened outside of the realm of The Soup; an unsettling realization, indeed.

The rest of the action in this musical includes things which we’ve all seen (unless you’ve been living underneath a rock since the late 1990’s) and swoops around full circle to the end. The cast of characters all come on in plain clothes during the stirring “The American Dream” and each take their turn at the mock voting machine, driving home the importance of every person doing their part. For a comedy piece, this song is a somber piece which tags the shows closing and tugs on all the right reflexes with lines like:

“The American Dream is starting with nothing, arriving at something, finding a way
The American Dream is faith in the future; The American Dream will be real someday.”

The show had its technical problems (in a space like hERE, especially when you’ve got such fun and cutting lines, everyone should have had mics) but the performances were all pulled off with an insightful amount of skill, humor, and attention to detail.

Many people have already had enough of this year’s election; they’d rather not consider the repercussions of the last eight years; they may just be ready to turn the page. However for others, all the psycho drama leading up to the events which will go down on November 4th and beyond, we geeks are totally jazzed and ready to roll. In “Life After Bush,” there is humor, there is pathos, there is reason to laugh, there is reason to cry, but most of all there should be reason to have hope. That was the driving message in this musical; that all we can hope for, for our future; is some kind of hope for some kind of change.


** Tarik Davis as Barack Obama, Avi Phillips as John McCain. photo by Tom Huben
**Brian Louis Hoffman as George W. Bush. Photo by Tor-Evert Johansen.

Carnage: A Comedy

I was pumped to go into The Actors Gang Theatre (9070 Venice Blvd - Culver City, CA) and see a really amazing evening of theatre with their current revival of “Carnage: A Comedy.” I felt like the show held promise and with a well respected name like Tim Robbins attached as one of the writers of this 20 year old satire, I knew I was in for the full treatment. I must say though it never quite congealed for me. When I was watching it, the acting was good and everything appeared to be as it should; upon further reflection, I have a few problems.

Perhaps it was the fact that, as Mr. Robbins, the artistic director, says in the liner notes “The play you will see tonight is the same play (which premiered in 1987). Except for one line referencing our current war in the first scene the play is unchanged.” Why would this be a problem? We’re still parsing our syllables over Shakespeare 400 years after the fact. To go back to the liner notes, “(When) we first performed “Carnage: A Comedy…we were a young and impassioned group and the play addressed issues that concerned us at the time. It was a vital and visceral experience…”

Okay. That’s fine. We’ve all had “vital” and “visceral” experiences which have helped to shape who we are today. But, haven’t you changed from those young minds at all? Yes, there are still hucksters telling us lies, trying to blow smoke back in the exhaust, turning water into wine and urine back into water; and yes, the sad but true fact is that statistically there is a sucker born every minute ready to buy what that shyster is selling, but really? Is that all there is?

We’re an educated group that goes to the theatre; what you’re telling us as an audience is that we don’t deserve any more nuance than one sentence from what you’d written twenty years ago when you were in your twenties yourselves! That’s not progress! I’d like to hope that everyone that was in that audience doesn’t still hold the same set of beliefs about people that they did twenty years ago. Yet, when Cotton Slocum gets into the cannon and the lights go black except for the little plastic action figure on a string lit up above the audience head by a spotlight to simulate “distance” I had a sudden realization that felt like Paul Reubens giving me his Big Top Pee Wee impressions of the way of the world. The Gospel According to Pee Wee. Let Us Pray.

More to the point of what your play was trying to say; Jerry Falwell is no longer with us; Pat Robertson is not nearly as relevant as he once was. We’re moving away from this type of thought into a more enlightened moment. With re-hashing of old stories and the airing of old grievances, we’re not moving the discussion forward in any kind of a productive manner.

Not to even get into the army segment of your show! I felt like I was in an Orwellian/Heller nightmare there for half of your play. But we can’t keep talking about the present as though the past were the only viable template. The Wild West, bible thumping, halleluiah that ya’ll were peddling is yesterday; let’s talk about right now. And tomorrow. That is our only course for safety and salvation on this earth.

I can’t go back to that place. I fell out with Pee Wee a long time ago. So, I think, did Reubens!

Because of Beth & Live! Nude! Girl! Hit the Street

There is always a lot of buzz about the theatre scene in New York City; there are a pair of shows popping up in the next couple of days which you may regret not finding out a little more about when you had the chance.

The New York Premiere of “Because of Beth” is currently up at the Workshop Theatre (312 W 36th St 4th floor) and will continue its run until the 20th of January.

“Because of Beth” deals with familiar and very difficult themes that all of us will need to deal with at one point in our lives. Beth is a recently deceased mother, ex-wife, and fiancé. The problems here are a common one in any family who has gone through a divorce; her children are quarreling, their father, her ex-husband has been long estranged and is only reintroduced with the passing of Beth. Introduce the players who have been there the whole time with an outsider, in a sense, and you’ve got a powder keg which is just waiting to burst.

“Because of Beth” was written by Elana Gartner and directed by Clara Barton Green. If you’d like more info on this powerful show you can visit the SmartTix page for all ticket and scheduling information (https://www.smarttix.com/show.aspx?showcode=BEC6)

Another new show which is generating a lot of buzz is the Equity reading of “Live! Nude! Girl!” at the Bleecker Street Theatre (45 Bleecker St – Lafayette & Mott) According to the shows press information: "What if a 1950s Midwestern housewife got so sick of making meatloaf every Tuesday night that she snapped — and ran away to Las Vegas? What if her mother could drink like Dean and her daughter entertain like Sammy? And what if this housewife went from the silent and submissive bottom to the tough, impulsive and calculated top of the heap? Live! Nude! Girl! is an original musical that tells the story of a once in a lifetime chance for one woman to break out of her rut into something original and cool."

The show is at 7PM on January 14. With book and lyrics by Donna Kaz and music by Wayne Barker, there has been a lot of positive chatter for this pending showcase. For even more info check out (http://www.playbill.com/news/article/114058.html)

Summer Playwright’s Festival Goes “Public”

January 7th, 2008

The Public Theatre Hosts Festival of New Works

By Jesse Schmitt

For playwrights all over the nation there is a great festival which anyone and everyone who is able should try to be a part of. The Summer Play Festival, which, this coming July, is celebrating its fifth anniversary, has recently went Public with its forthcoming information and with its locale.

Running for the first time this year at the legendary Joe Papp’s Public Theatre on Lafayette Street, the 2008 Summer Play Festival promises to be the most exciting event yet. Anyone who knows anything about the downtown theatre scene in New York City will tell you that The Public is one of those revered places which so many talented artists have passed through. Under the skilled direction of Mr. Papp and in his name since then you could say that The Public has shaped the landscape of plays, playwrights, and the theatre scene all over the world.

Bringing in challenging new works was a signature of The Public Theatre from it’s first production; the legendary musical “Hair” as well as the show which eclipsed anyone’s expectations, “A Chorus Line,” which went on to an uber-impressive fifteen year run on Broadway (and is currently back on the Rialto).

Papp is no longer alive and thus no longer running things day to day at the theatre; but his legend lives on. There have been a number of artistic and critical successes as of late including “Bring in ‘Da Noise; Bring in ‘Da Funk,” the critically praised but commercially unsuccessful “The Ride Down Mt. Morgan,” and one of the many riveting breakout works of Richard Greenberg “Take Me Out.”

So the fact that The Summer Play Festival is coming to The Public is a no-brainer pairing in many people’s eye. The Public Theatre has remained one of New York’s and the world’s preeminent cultural institutions; the pairing of The Summer Play Festival with the wide and varied selection of cutting edge writers and excellent new theatre only makes sense.

This year The Summer Play Festival will run from July 1 to July 27, 2008 in the East Village of Manhattan. While this year’s submissions have closed many people are getting very excited about the prospective lineup of new plays just due to the success of past participants in The Summer Play Festival. If you’d like more information about the upcoming festival or about other partnerships and events which are going on with The Summer Play Festival you should certainly check out their website. The site also offers you the ability to keep an eye out for their current and forthcoming news.

www.spfnyc.com

Frankie & Johnny Return to Tinsel Town–Screen & Stage Collide in Hollywood in Terrance McNally’s Classic

January 4th, 2008

Frankie & Johnny In The Clair De Lune emerge from the vaults and make their move on the
Hudson Mainstage Theatre

By Jesse Schmitt

Who could forget Al Pacino and Michele Pfeiffer in the move of the same name? You don’t chose love, love chooses you; fuhugetaboutit! But the real truth remains still a mystery to many of those who were even familiar with the film. The fact remains that the 1987 play written by Terrance McNally originally starred not Michele Pfeiffer but Kathy Bates (!) in a dramatic departure from the film version and was much more stark than what Hollywood portrayed.

But as they say, everyone deserves a second chance and so under the associate production of renowned acting teacher to the stars, Larry Moss comes this exiting revival “Frankie & Johnny In The Clair De Lune.” Set to open in previews on January 17th & 18th with the official opening on January 19th for an impressive length run until March 1, 2008 at the Hudson Mainstage Theatre (6539 Santa Monica Blvd) in Hollywood, this production promises to be a gem.

Set around the adroit story of Johnny, a short order cook and ex-con who is able to con his way into the lonely life of drifter waitress Frankie, this is a timeless love story for our modern times. It would seem that all at once too many of us are too consumed by ourselves to see the bigger picture or too immersed in the day to day melodrama to not be able to see the next foot in front of the last or to even know where that next step may lead. This is the plight of Frankie and it takes a one night stand and a Romeo pose from Johnny to show her that the only thing stronger than her desire to be left alone is his will not to let that happen.

We are all asked in seeing this play to hold up the looking glass and peer inside of our own lives and try to piece together the missing links. Many times when people speak of “life imitating art” they are being trite and are ignoring the much larger point that all of life imitates all of art because art is created from life. But the characters in Frankie & Johnny In The Clair De Lune will still reach down to that most special, deepest part and the words of Mr. McNally will elicit both a laugh and a tear as you bring your hands together in applause.

If this restaging is anything like the recent revival on Broadway with Stanley Tucci and Edie Falco, then the Los Angeles theatre goers are in for quite a treat.

www.plays411.com/frankie

323-960-7863

Big Baby Comes to The Lounge Theatre in Hollywood

January 3rd, 2008

Stick Your Head In Gravy

By Jesse Schmitt

Los Angeles likes to do things in high style and they are kicking off 2008 in such style with a number of exciting new theatrical openings which are taking shape as we speak.
One of these very exciting openings is “Big Baby,” which opens up January 10, 2008 and is slated to run through February 9, 2008. “Big Baby is playing at The Lounge Theatre (6201 Santa Monica Blvd; Hollywood).

This play was written by Joe Keyes, a playwright who has brought about such classics as “Bob’s Holiday Office Party” and “Pete’s Garage.” This show is one which has been cleverly directed by Matt Roth. Mr. Roth has a long and rich resume which includes his work as an actor, has appeared in many well respected circles such as Steppenwolf Theatre Company in Chicago among others. Roth has also been a star of the stage and the small screen in a number of situations.

Big Baby is the story of Kile. A mentally ill grown adult man, Kile lives in the mid-west; he lives in an apartment; he lives in drudgery. But this is not a drudgery of his own design, really, because he still lives with his mother. As stern as the day he was a boy, the mother keeps Kile in a regimented, restricted, abusive routine. Kile sees no end to his dreary existence; no end until a new neighbor comes in next door. Nancy is not only mysterious and exciting; she’s also a dominatrix.

Big Baby is a play which should keep you in stitches in spite of yourself. A common story told in uncommon tenor, Big Baby is about the fight we all fight all our lives; the search for companionship, the struggle for understanding, the quest for love.

With searing, swooping, epic themes, Joe Keyes touches on many of our most primal, gut issues including the mother son relationship, religion, sex, shame, gluttony, fear, the sadomasochistic impulse inside of us all and an addiction to baloney which could have you cringing in your seat.

Touted as a “funny, frightening, brutal and sad” story; Big Baby seems to be as much about the playwrights search for answers as it is about his characters. And in this world as we all struggle for meaning and grapple with these larger questions which plague us every day, an understanding of self is about as close as any of us should be able to get before we make that last great ascent.

plays411.com/bigbaby

Naked Yoga Bares All at the Unknown

January 4th, 2008

Show Yours Naked

By Jesse Schmitt

Many people have opinions on alternative lifestyles, alternative diets, and alternative exercise methods. It’s actually sort of silly; where did we get the idea to eat cow and not decide that we needed to scour the Pacific Ocean bottom for fish eggs? When did we decide that staying awake in the daytime was what we were supposed to do? A lot of it has to do with tradition and the fact that we had to make due with what we had. It’s true that today there are 24 hour cities all over the world, there are all manner of food we can eat, but the truth is that year and years ago there was decidedly less option, less ability to maneuver around, and we had to get all our work done before the sun sets or vampires would come out of the hills!

While many myths have been debunked (ever seen Myth Busters?) there are some things which have always worked and that’s the reason we keep doing them. Take for example, jogging. It raises the heart rate, gets the blood flowing, makes you sweat, and when done in handy enough fashion keeps you in shape.

But there are always alternatives! There has to be! Yoga has been around in the east for thousands of years; in some marketing department in the 80’s some marketing department came up with the idea that people in America would love Yoga! Women loved Jane Fonda videos but while the men were playing racquetball and talking about their Triple Crown picks at the club, the women didn’t need to leave their 13 channel VHS equipped LCD TV (ah, memories)

Fast foreword to today; men are trying to get back ahead as it’s increasingly becoming a woman’s world (listen to Jane Fonda tell it like it is) and thus came about “Naked Yoga.” This is a world premiere of a new play about sexual politics turned on it’s head, playing at The Unknown Theatre (1110 Seward St; Los Angeles) from writer/director Alex Carter.
Mr. Carter explores the world of Yoga politics in his debut turn as writer/director. Based on a true story, Naked Yoga takes comedy up a notch as there is a whole new rulebook for sexual politics in the modern world.

With a teaser like “She came! She saw! She kicked his butt! And he never knew what hit him.” You can’t help but be intrigued. Weak men are everywhere but the old dynamic of man in a constant position of power just doesn’t apply anymore. Naked Yoga hopes to explore, expose, and exploit this fact with humor and humanity.