Not a review, just a plug.
It has come to my attention that the fantastic NYC based Five Flights Theater Company is performing at the Woodstock Fringe Festival through August 30. They will be performing both of their original works, You Are Cordially Invited to the Wedding of Andrew Pepperidge and Allison Short and their staple Don't Step on the Cracks. If you did not get a chance to see either of these shows in their New York runs and are looking for an end-of-summer getaway (possibly to upstate NY?) I urge you to check out the work that these exciting and inspiring artists are doing.
For more information, go to www.woodstockfringe.org or www.fiveflightstheatercompany.org.
Friday, August 22, 2008
Saturday, August 2, 2008
Cutting 'Edge' at the Cherry Lane Theatre
Those of us who were in high school on September 11, 2001, remember what it was like to have a wrench thrown into our teenage years. We also remember what it was like to try to have a ‘normal’ high school experience through the code-red drills the rest of our adolescence.
The characters in Edgewise, a new play at the Cherry Lane theatre, do not remember when the world turned upside-down. They have been living through war, panic and air strikes their entire lives. For them, it’s just the world. The play, written by Eliza Clark, takes place in the near future and its characters—high school seniors in the play—are probably in seventh or eighth grade right now.
Marco (Justin Levine), Ruckus (David Gelles-Hurwitz) and Emma (Jessica Howell) all work at Doogle, a hamburger chain. Ruckus has just become manager—because his father is the owner. Marco arrives early, but falls asleep on the job. Emma arrives to find that nothing’s been done. Just an ordinary day in war-ridden New Jersey. That is, until an unidentified stranger in army boots covered in dirt and blood stumbles in and collapses. (We will later learn that this man—played by Jedadiah Schultz—is named Louis.)
So, what to do now? This is the question that playwright Eliza Clark poses to her audience. In war times who can you trust? How can you tell who is the enemy and who is not—especially when the radio just said two soldiers of the enemy are on the loose?
The play offers many different perspectives about war. Ruckus can’t wait to join up. Marco lost his father to a group of traitors. Emma’s mother has just been called up. Louis has seen more than he can bear. And more than that—Louis remembers the way things used to be. All of these stakes and emotions are guided skillfully by director Lila Neugebauer. The staging is daring, often giving us actors’ backs—a Grade A No-No that Neugebauer utilizes with grace and power.
The performances carry great weight and energy in the three protagonists who are diverse characters with a feeling of unified ensemble. Shultz brings the necessary gravity to the piece in his role as an older and wiser soldier who brings not only years, but real life experience. A surprising comic turn comes about half way through with the entrance of Eric Gilde as a seemingly innocent customer. The necessary relief of tension lasts only long enough for us to catch our breath before the action starts up again.
There are a few flaws, I’m sorry to say. They are minor in the grand scheme, but glaring in comparison to the excellence of the rest of the play. Far too often characters would disappear—frequently to the bathroom—for extended periods of time, allowing for expository one-on-one scenes for those still in view. Not a terrible convention if they weren’t gone so long. Too frequently the absences would be longer than one would assume they ought to be, convenient for them and for those still onstage, but odd, especially given the circumstances. The second comes in a specific moment when Emma, just after closely escaping a pair of scissors in her throat, offers her attacker an Advil. The exchange has no clear dramatic purpose and makes the audience wonder just how nice a person can actually be.
Still, the point of the play is vibrantly clear in this energetic and powerful production. Clark gives us a world that is much like our own. The daily lives of these teens are much like every day life now. But the climate is tense. She reminds us that life in a police state is not normal, even for people who grew up with it.
It is not the first play to discuss where we are in danger of heading if we’re not careful. The genius of the play lies in the constant reminder of war’s affect on civilian life. The main cast is comprised of a generation of kids who only know war. Perhaps not quite what Senator McCain had in mind when he proposed that we stay in Iraq for a hundred years.
For more information on Edgewise, go to www.CherryLaneTheatre.org.
The characters in Edgewise, a new play at the Cherry Lane theatre, do not remember when the world turned upside-down. They have been living through war, panic and air strikes their entire lives. For them, it’s just the world. The play, written by Eliza Clark, takes place in the near future and its characters—high school seniors in the play—are probably in seventh or eighth grade right now.
Marco (Justin Levine), Ruckus (David Gelles-Hurwitz) and Emma (Jessica Howell) all work at Doogle, a hamburger chain. Ruckus has just become manager—because his father is the owner. Marco arrives early, but falls asleep on the job. Emma arrives to find that nothing’s been done. Just an ordinary day in war-ridden New Jersey. That is, until an unidentified stranger in army boots covered in dirt and blood stumbles in and collapses. (We will later learn that this man—played by Jedadiah Schultz—is named Louis.)
So, what to do now? This is the question that playwright Eliza Clark poses to her audience. In war times who can you trust? How can you tell who is the enemy and who is not—especially when the radio just said two soldiers of the enemy are on the loose?
The play offers many different perspectives about war. Ruckus can’t wait to join up. Marco lost his father to a group of traitors. Emma’s mother has just been called up. Louis has seen more than he can bear. And more than that—Louis remembers the way things used to be. All of these stakes and emotions are guided skillfully by director Lila Neugebauer. The staging is daring, often giving us actors’ backs—a Grade A No-No that Neugebauer utilizes with grace and power.
The performances carry great weight and energy in the three protagonists who are diverse characters with a feeling of unified ensemble. Shultz brings the necessary gravity to the piece in his role as an older and wiser soldier who brings not only years, but real life experience. A surprising comic turn comes about half way through with the entrance of Eric Gilde as a seemingly innocent customer. The necessary relief of tension lasts only long enough for us to catch our breath before the action starts up again.
There are a few flaws, I’m sorry to say. They are minor in the grand scheme, but glaring in comparison to the excellence of the rest of the play. Far too often characters would disappear—frequently to the bathroom—for extended periods of time, allowing for expository one-on-one scenes for those still in view. Not a terrible convention if they weren’t gone so long. Too frequently the absences would be longer than one would assume they ought to be, convenient for them and for those still onstage, but odd, especially given the circumstances. The second comes in a specific moment when Emma, just after closely escaping a pair of scissors in her throat, offers her attacker an Advil. The exchange has no clear dramatic purpose and makes the audience wonder just how nice a person can actually be.
Still, the point of the play is vibrantly clear in this energetic and powerful production. Clark gives us a world that is much like our own. The daily lives of these teens are much like every day life now. But the climate is tense. She reminds us that life in a police state is not normal, even for people who grew up with it.
It is not the first play to discuss where we are in danger of heading if we’re not careful. The genius of the play lies in the constant reminder of war’s affect on civilian life. The main cast is comprised of a generation of kids who only know war. Perhaps not quite what Senator McCain had in mind when he proposed that we stay in Iraq for a hundred years.
For more information on Edgewise, go to www.CherryLaneTheatre.org.
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