Hansel & Gretel reviewed by Joseph Conway

In the realm of fairy tales, the story of Hansel & Gretel is among the most familiar. A pair of hungry children wander off into the deep, dark woods and find a house made of candy. Inside the house lives a mean old witch who tries to eat the children, but is ultimately outsmarted by the children and shoved into her own oven. It’s a simple, lighthearted cautionary tale filled with all the magic and whimsy one would expect from a children’s fable.

The Bronx Opera’s production of Engelbert Humperdinck’s Hansel & Gretel is no less magical, though a measure less whimsical. The title roles of Hansel & Gretel are played fantastically by Jennifer Caruana and Allison Pohl, respectively. In roles with such equal stage time, it would be easy for one to upstage or outperform the other, yet both Allison and Jennifer manage to do a remarkable job of matching each others childish enthusiasm at every turn. Richard Bozic performs the role of Peter, the children’s father, with all the overblown regality and dramatic resonance you would expect from a talented and experienced opera singer. Elizabeth Perryman’s interpretation of Gertrude, the mother, lived up to every expectation in terms of vocal flair. However, it was her acting ability that truly shined, simultaneously able to portray an aggravated old shrew and a deeply concerned parent.

Rosina TastyMouth (hold your giggles) the evil witch of our story, is played by Gilad Paz, who thankfully didn’t even bother to shave his manly beard before going on stage. As excellent as his time on stage is, I can’t help but feel that he never quite went all the way with the inherent humor of the role.

The witch’s helpers, the skull-faced Forest Ghouls played by John Carr and Marie Chantal Landais, do a great job at being creepy. Perhaps too creepy. Their deathly visage almost seemed inappropriate to a children’s fairy tale. In roles that can be best described as “ancillary” are Hannah Rosenbaum and Julie-Anne Hamula, who play the Sandman and the Dewman, two fairies with criminally limited stage time. Both Julie-Anne and Hannah make exquisite use of every second they get, but their characters ultimately feel like little more than filler used to pad out the score. And speaking of filler, I never expected to spend so much time staring at the curtains or at projected imagery listening to the orchestra while absolutely NOTHING happened on stage. These were obviously written into the score to cover up scene changes, but the minimalist set design makes that wholly unnecessary.

Thankfully that set design works quite well, especially when paired up with the excellent use of a projector. I don’t think I’ve ever seen a more delicious looking candy house! The forest seemed a slight bit drab at first, but seeing the children flee from ghouls as the forest shifted and turned around them was a fantastically well choreographed piece.

Once again, the highlight of the performance was without a doubt, the magnificent orchestra. Michael Spierman has done a fantastic job bringing together a large and varied orchestra together and keeping them together for the entire score. What’s more, it hearkens back to a time when live orchestra’s were the rule, not the exception. Sadly, live music on such a grand scale just isn’t heard much these days.

Overall, The Bronx Opera does a good job in bring Hansel & Gretel to life. My one and only major complaint is that it just lacks a certain lighthearted flair. A certain “enchanting” tone that could really reach out to the younger audience the original tale was intended for. While treating Hansel & Gretel with the stoic respect of a Wagnerian epic is admirable, I can’t help but feel that the story would be better served by loosening up a bit, and really letting the immaturity and absurdity flow through the work.

But perhaps I’m nit picking. At the end of the day, The Bronx Opera has pulled together a talented cast, a wonderful orchestra, and a great artistic vision to bring us a fine production of an obscure opera. The show may lag a bit during the obvious padded sequences, but it does nothing to diminish the sheer value of this performance.

More than just Saint Patrick was smiling this past March 17 in Brooklyn thanks to a stirring concert featuring soprano, Debra M. Williams at Trinity Baptist Church.

The church’s contribution to Women’s History Month was predominantly the angelic tones of Ms. Williams, a professional singer both of classical and contemporary material. Ms. Williams understated demeanor as she graciously spoke to her audience was the opposite of the powerhouse sounds emitted by her through a canon of songs ranging from Gospel favorites (“Oh the Glory of Your Presence,” “O, Glory!,” and the enduring “Jesus Loves Me”) to Negro Spirituals like the heart wrenching “Lord, How Come Me here?” to inspired interpretations of contemporary tunes like “Grandma’s Hands” and “His Eye Is On The Sparrow.” Ms. Williams displayed a beautiful sound, knowing when to hold back and when to give us both barrels. She was as comfortable with a simple jazz favorite as with a rafter-shaking gospel standard.

The afternoon also featured the flawless ensemble work of Created to Praise and The Voices of Praise. Effortlessly these choirs lifted the spirits of the audience as they joined in with Ms. Williams as well as on their own for “I Love to Praise Him” and “How I Got Over.” Also sharing the stage was newcomer, Janokeil Clark, an aspiring singer and producer (he is currently preparing an off-off Broadway production) whose renditions of “I Look To You” and the heartfelt, “Tomorrow” showed a great promise in the voice of this young singer.

The singers were backed up by a three-piece ensemble consisting of Dennis Nelson on piano, Darryl Austin on drums, and Lino Gomez on bass. By the way they were introduced you got the sense they were just sort-of volunteering to help, but the exquisite sound that came from this tight-nit ensemble, and the precision by which they followed their singers was the stuff of professionals.

The final member of the concert was the audience. En masse they were moved by the gospel, hands flew in the air, heads nodded in soulful praise, voices joined either with the lyric or a quick “AMEN” punctuating even word. Laughter came from the crowd often and freely. Not the kind you get from humor or from derision – certainly not. The kind you get from when your soul has been touched.

Sponsored by Trinity Baptist Women’s Benevolent Circle, Rev. Dr. Glenmore Bembry, Jr., Pastor, the concert was the fastest – and most joyous – 2+ hours followed by the heartiest refreshments.  But it should be of no surprise that the concert would be so magnificent… considering their most important backer.

Go Where Laughing Don’t Cost A Thing!
The Improvisational Repertory Theatre Ensemble joins the scene.

HINT! An Improvised Murder Mystery

Monday, March 19 & Monday, March 26 - 8:30 p.m. - Luca Lounge, 222 Avenue B, NYC
and Monday, April 2 - 7:00 p.m. - Parkside Lounge, 317 E. Houston St., NYC

Watch their sneak preview: http://www.youtube.com/watch?v=_2F7WbtzhkY

New York – The latest is made up of the greatest as seasoned professional actors, writers, and improvisers have banded together to create IRTE, The Improvisational Repertory Theatre Ensemble, an ensemble of theatrical actors and writers who will develop, produce, and perform a season of original themed improvisational shows and video sketches following the basic model of traditional repertory theatre. Their first season opener is HINT! A long-form performance in the style of the grand old murder mysteries. As further incentive to the audiences to join the fun, all IRTE performances of “HINT” are FREE! Long form improv is longer, story-based improvisation focused on developing character and plot so that an audience becomes invested in the work being done on stage.

IRTE’s roster of merrymakers – led by artistic director Nannette Deasy – include Robert Baumgardner, Alex Decaneas, Curt Dixon, Adam Leong, Donna Lobello, Jamie Maloney, Danielle Montezinos, and Johnny Zito. What makes this group unique is their back-story: this is a group of professionals with celebrated careers on stage and film coming together to create on-the-spot humor. This group’s credits reads like a who’s who of the American theater including off-Broadway theater and feature film, with performances at The Public Theater, The Kennedy Center, Second City, Upright Citizens Brigade, and the Groundlings; and stand-out showings at Tony ‘N’ Tina’s Wedding and Paul Sills’ Wisconsin Theater Game Center.

“I couldn’t be happier,” says Ms. Deasy, “I have the brightest, funniest, and quickest on my team” she exclaimed. “Here’s to a great season!”

IRTE’s 2012 season continues with

vIRTEgo (April 16 & 23, 8:30pm @ Luca Lounge, April 30 @ TBA) a whirl-wind audience participation event.

Mrs. Carrol’s 3rd Grade Houghton Mifflin Spelling Class (May 14 &21, 8:30pm @ Luca Lounge, June 4 @ TBA) imagine the words this group can come up with … and then using them in a sentence!!??

vIRTEgo returns to the Luca Lounge on June 18 & 25 at 8:30 p.m. and July 9 @ Location TBA.

That Kick-Ass Time-Jump Show – please don’t sue us, Scott Bakula (July 23 & 30, 8:30pm @ Luca Lounge and August 6 @ TBA) IRTE takes you on a spontaneous sci-fi thrill ride filled with references ranging from Quantum Leap and Star Trek to Doctor Who!

Contact Jay Michaels at WrightGroupNY Communications
(646) 338-5472 or WrightGroupNY@gmail.com

Meredith’s Ring
Reviewer: Kristin O’Blessin

Author and actor, Andrew Rothkin takes us on a trip down memory lane that is simultaneously funny and heartbreaking as he transforms, before our eyes, from a bitter middle-aged divorcee into a geeky teen falling in love for the first time in Meredith’s Ring. The object of his affection is the bristly Meredith (played well by Amanda Szymczak). She is a tough foul-mouthed girl made that way by a home life fraught with secrets. The lonely A.J. (Rothkin’s character) finds her irresistible.

It was delightful watching these two performers bring all the extreme emotions of teenage love to life. Having suffered through high school during the play’s flashback time period (the mid 1980s), the music and pop culture references woven into the dialogue vividly brought back all the uncomfortable feelings most of us try so hard to forget. The rich dialogue allows Meredith never to be a one-note character; within minutes of her arrival, hints of the vulnerable girl who wants to be loved slip through the almost-invisible-but-definitely-there cracks in her armor, and later, as Meredith sings to A.J., we see the happy little girl who grew into the young woman who fears she can’t escape destiny. An undercurrent of melancholy shades the play as A.J. is forced to come to terms with his feelings for Meredith against the harsh reality they must face. Mr. Rothkin walked an excellent line by showing us how bitterness is created when you mix sadness of reality and hope of something better. The flashback motif serves as an engrossing psychological study of how we are shaped by our surroundings and unforeseen – as well as unknown – elements.

The play is short – 45 minutes. The run is too short – it ends with a Saturday matinee at 2:00 p.m.

Reviewed by Joseph Conway

Reading a simple plot synopsis of Ralph Vaughan Williams’ The Poisoned Kiss leads one to believe that the production will transport its audience into a whimsical and wondrous medieval fairy tale where love and sorcery intertwine in complex webs of intrigue and romance. The reality is a bit less fanciful but no less whimsical, and about a thousand times more hilarious than anyone in the audience could have expected. The end result of Williams’ obscure opera is an adventurous romp through the often violent clashes between the mortal enemies of musical comedy and high drama. If you can forgive the almost audible “clunk” heard when the show abruptly changes gears between delightfully dry, self-referential humor and far-too-serious-to-be-serious drama, then you’ll find a lot to love in this rarely seen opera.

Musically, The Bronx Opera does a fantastic job of bringing the gorgeous score to life. Conductor Michael Spierman pulls the orchestra and cast together with fluidity and grace, even on the thankfully rare occasions when the chorus stumbles off beat. The entire cast deserves a nod for being almost universally excellent in the vocal arts, projecting resonant power and articulation throughout the theater. When the cast is rallied behind the often commanding leads, the performance sounds second to none.

As good as the show sounds, however, the visual aspect can be incredibly bland throughout much of the show. The bare, spartan set is at first given life and depth by way of a projector, transporting the show into a surprisingly beautiful enchanted forest. Once into the second and third acts, however, the projections only serve to enhance the bleakness of the stage. At times, the imagery even served to distract me from the actors on the stage. Costumes deserve a special note here, as well. The more modern attire worn by the cast is often underwhelming, with chorus members being almost criminally bland. The odd juxtaposition of the ensembles simple white clothing and silly hats or masks completely took me out of the show and just screamed of a lacking budget.

Thankfully, all can be forgiven thanks to the shows fantastic brand of biting, B-movie humor, which comes across especially well in the gloriously overdramatic gesticulations of Michael Blake O’Hearn as Dipsacus, magician extraordinaire. Tynan Davis’ interpretation of Angelica is marvelously dry, jaded and witty. Her, alongside the bumbling antics of Gallanthus, played by Jason Coffey, make me almost wish they weren’t a mere subplot. Amaryllus and Tormentilla (what a name) played by Rogelio Penaverde Jr. and Julie-Anne Hamula respectively, complement each other quite nicely on stage. Her rampant vapidity underscores a very dark sense of humor, making it easier to digest. Sadly, Amaryllus’ ridiculous costume doesn’t go down easy and makes it difficult to take him seriously. It’s such a shame that these two charismatic individuals are wasted in the more serious parts of the show, all of which seem out of place and somewhat unwelcome.

Ultimately, it comes down to Carolyn Sebron as the Empress to bring back the subtle, yet hilarious, sense of humor in the show and drag us back out from the oppressive drama that so defines the second act. A “Three Stooges” esque trio of hobgoblins played by Andrew Klima, Luis Gonzalez, and Robert C. Joubert, always brightens the mood onstage as they strike an excellent balance between playful tomfoolery and devious mischief. I can’t help but think that these tricksters were playing a joke on the audience when the cast goes up for a faux curtain call, only to go on with the remaining 5 minutes of the show.

In all, The Bronx Opera’s performance of The Poisoned Kiss will provide a good laugh or two, if not always a laugh that the cast intended. The music is excellent even if the visuals suffer. This kiss is one you may very well enjoy, but beware the venom laced within.

The wizards revive a long-lost romance in The Bronx Opera's production of "The Poisoned Kiss" (photo: Andrew Liebowitz/WrightGroupNY)

Joseph Conway writes for several ‘zines on topics of theater, film, and music. 

Reviewed by Amy M. Frateo
Edited by Sue Parker

Genesis Repertory – known for its innovative reworking of the classics – came together with Brooklyn Association of the Performing Arts to give Bensonhurst and Bay Ridge the golden age of Broadway by doing justice to Frank Loesser’s Guys & Dolls. Paying what you would have probably paid in 1950 when the show first opened, the audience was treated to amazing talent and great music, even a concession stand that comes to you!

The musical, combining the works of Damon Runyon, gives us two love stories. Sky Masterson (John Stillwaggon) and Sister Sarah Brown (Carolyn Dellinger) and the comic turns of Miss Adelaide (Kelly Petlin) and Nathan Detroit (Michael Whelan). The leading ladies were truly praiseworthy: Carolyn Dellinger was in perfect voice and exuded such charisma while Kelly Petlin commanded the stage with every line. The leading men were familiar faces: John Stillwaggon proves his versatility with a bravura performance as Hamlet last year at Genesis and now displays a proud set of pipes as Sky, while Michael Whelan, leading member of Staten Island’s HFP Players, brought in a Nathan Detroit loaded with humor and abundant charm.

Along the way, we meet a kaleidoscope characters right off a busy street in Times Square circa 60 years ago. Notables include TJ D’Angelo’s great performance as Benny Southstreet, Cynthia Granville touching as Sarah’s guardian, Robert Liebowitz very believable as an old-time gumshoe, Shaun S. Orbin as an hilarious crapshooting hood, and four Hot Box girls (Amanda Szymczak, Sarah Winchester, Erin Johnson, Nora Moutrane) whose flair for comedy turned two filler numbers into prime moments.

Jay Michaels directed the company to move at lightening speed yet filling each moment well. The ensemble members were unique personalities so even true devotees of the show had new images to enjoy. Eric K. Johnston gave us expert harmonies while Dustin Cross gave us high-kicks and lots of backsides. The sparse New York backdrop highlighted expert costuming by Mary Elizabeth MiCari and a photo montage by Christopher Sirota.

The Block Theater is intimate and out of the way but houses some of the best work you will see in Brooklyn. Guys & Dolls plays four more shows. Go.

Nicely-Nicely Johnson (Jay Paranada) leading the showstopper, “Sit Down You’re Rockin’ The Boat.”

Photo Credit R.J. Abbate.

ACT-OUT Acting School
in association with Genesis Repertory
presents a master class final project:

Twelve Angry Men

Adapted by Sherman Sergel.
Based on the Emmy award-winning television movie by Reginald Rose.
Produced by special arrangement with The Dramatic Publishing Company of Woodstock, Ill.

An ACT-OUT Master Class

Saturday, March 12 @ 8:00 p.m.
Sunday, March 13 @ 5:00 p.m.

The Theater at Christ Church
7301 Ridge Boulevard, Brooklyn

$10 suggested donation

in Brooklyn – TWELVE ANGRY MEN
John Stillwaggon’s celebrated acting school opens its new master class program with a presentation of one of the American theater’s best ensemble dramas. An open and shut case for a deliberating jury takes a dramatic turn when one juror questions “reasonable doubt.” The cast blends exceptional newcomers with continuing education artists: Christine Kahaly, Eric Fitzgerald, Raja RG, Joyce Adams, William Doyle, Olga Privman, Andrew Guzman, Andy Marcillo, Robert Aloi, Christopher Sirota, Robert Saunders, John Harrison, Mohammed Saad, Kristen O’Blessin. Saturday, March 12 @ 8:00 p.m. and Sunday, March 13 @ 5:00 p.m.; The Theater at Christ Church, 7301 Ridge Boulevard, Brooklyn; $10 suggested donation.

ACT-OUT has served individuals and organizations throughout the five boroughs, Long Island, and New Jersey. ACT-OUT instruction is individually-based, exploring improvisation, physical and vocal preparation, action and obstacle work, character analysis, and script analysis approaching monologues and scenes. Over the course of the class sessions, students will learn to trust the impulses and the life inside themselves, as they structure these impulses toward the goals, the character, and the scene at hand. Students have reported that training with ACT-OUT has helped them not only with auditions and performances, but also with public speaking, social interactions, goal-setting, conflict resolution, and self-esteem.

JOHN STILLWAGGON is a former adjunct professor at Brooklyn College’s MFA Acting Program and holds a Bachelor of Science in Elementary Education at Saint Joseph’s University. Professor Stillwaggon has lectured at numerous universities and specialized schools and programs.
GENESIS REPERTORY’s college theater project, R.E.A.C.T. (repertory of emerging artists from college theater) gave internship opportunities to students from Kingsborough College starting in 2005.