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.

Reviewed by Amy M. Frateo

Updating Shakespeare has been around for decades. Whether it’s putting Hamlet in a suit or writing a new script with an old message or adding a musical score, retelling the Bard’s work is pretty common – unless you’re Genesis Repertory. This group “holds a mirror up to nature” and takes Shakespearean text and collides it into new locations and time with a bang. Their locally-infused NC-17 Romeo & Juliet has a Russian Romeo sneaking into a private party and meeting Palestinian Juliet. Sparks fly – literally.

The play opens with a film sequence depicting the supporting characters feuding along Bay Ridge and Bensonhurst before the lights come up – not on the stage – but right next to the audience’s heads as Muslim and Russians, Italians and Irish, battle it out over a word and a gesture. Agile actors fling over audiences heads, curses in old Englishe, Russian, and Arabic are heard, and police come to break up the (literally) bloody fray. And that’s the first five minutes.

Mary Elizabeth MiCari’s in-your-face interpretation puts the play literally in our laps, we know these characters are real – we feel them breathing – until they stop… breathing – right in front of us. She packed on the grit in this production, presenting realism starting at the top: the two titular teens are played by two teens! Nelson Gonzalez was engrossing and superb as a sharp-tongued Romeo, a punk spoiled by his immigrant parents (a thuggish Russian-accented Jay Michaels and a comedic Jewish mother, Kristin O’Blessin) hanging with cousin, Benvolio (Anna Frankl-Duval) and her two boyfriends (John Stillwaggon as Mercutio and Kevin Sheynerman as a new character called Vanechka). Frankl-Duval’s Benvolio was a well-meaning soul trapped in the downward spiral of the family feud, Shaynerman’s Vanechka was an anchoring force allowing us to see the wildness through quiet eyes and Stillwaggon did true justice to Mercutio. Here, one of Shakespeare’s favorite characters became a wild neighborhood guy behaving far too badly to get attention. Stillwaggon, while excellent in the comedic moments, was also powerful in the deeper sections, especially during a stirring “Queen Mab” sequence complete with music and imagery. Rounding Romeo’s crew was guest artist Francis Callahan as the local priest. Callahan gives us much-needed subtlety and efficiency of word as the local cleric. Ironically, a Jewish Romeo might spend more time in the Catholic community center so the choice to not alter the religion of the role shows MiCari’s deft understanding of neighbor mores.

The Capulet’s side was equally well-played. Aileen Lanni’s Juliet had brains – a teen with a plan. This unique choice – if anything – enhanced the tragedy. Her brisk delivery and high voice made us laugh in Act I and weep for and with her in Act II. The Capulet family was a true well-oiled machine. Robert Aloi’s superb Capulet was – in good spirits – vaudeville in manner, while his dark side was chilling and, when directed at Juliet, almost too harsh to watch. As Lady Capulet, Lisa Tosti was thoroughly marvelous. A focal point in every scene, Tosti’s mastery of the Shakespeare and the Arabic was brilliant and her restrained emotion and subtext were to be savored with every word. Courteney Lynn Wilds played the Nurse like a grand dam, laugh and wailing, striking melodramatic poses even just to sit. Like Lanni, this proved to give us a joyous Act I and heart-wrenching Act II. Capulet kith and kin included Louis Tullo’s Paris, clear and crisp of voice and learned in his text; Mohammed Saad Ali, John Karcher, and Christopher Sirota (displaying genuine comic timing) gave rich performances and worked well in support; and finally, Miguel Angel Sierra as the captain of cats, Tybalt, moved like a dancer, made every breath a story, and doled out strong portions of rage. The climatic fight sequence between him and Stillwaggon was worth the price of admission alone.

Callahan shared religious duties with a new character called The Imam played beautifully by Lorenzo Valoy. He imbued this character with wisdom and proved perfect chemistry in a pivotal confessional scene with Friar Lawrence. The local royalty became the local law played by Eric Fitzgerald and Theresa Chow; and Jennifer Stella made the Apothecary an honest pharmacist.

Additionally Tara Abyssinia-Klang as – are you ready – a belly dancer rented for the Capulet’s party and Basem Esa as a robbery victim allowed us to see a whole neighborhood.

Precision fight choreography headed by Lisa Tosti, clever film sequences by Jay Michaels and Christopher Sirota and a stirring musical soundtrack prepared by Mary Elizabeth MiCari placed us firmly in present day.

Romeo & Juliet is exciting and fast-moving. It plays until May 22 and at $15 a ticket, not attending would be – well – tragic.

I hear they’re doing Hamlet next.

From Editor-in-Chief, Sue Parker:

Yelp and Nightlife columnist, Natasha Dawsen, will take over the reigns of
Drama-queens.net.

Our entertainment webzine, initially started as a forum for art and culture events in Queens and Long Island but before long, requests came in from all five boroughs and Westchester to cover events, was on hiatus due to staffing issues. Happily, those issues are resolved with the entrance of Natasha Dawsen.

Normally an independent writer for music and theater periodicals, Ms. Dawsen is thrilled to be taking the reigns of our little ‘zine.

“I’ve been looking for a place to write regularly but still get creative input from a team – and along came Sue and Drama-queens, let’s get started!”
says the 27-year-old media professional. “I hope we can not only tell the stories but link to other places cross-promoting events as well as each other.”

From all of us… welcome aboard.

Sue Parker

And Then There Were None by Agatha Christie at The Narrows Community Theatre, Bay Ridge, Brooklyn

Reviewed by Amy M. Frateo

Agatha Christie is arguably one of the finest mystery writers of our time. She has given us intricate plots and twists that always leave them gasping … if not screaming… on stage and in the audience. Narrows Community Theatre delivered just such a scream/laugh/gasp night with its version of Christie’s “And Then There Were None.” How PC of them to NOT call it “Ten Little Indians” and to have the famed rhyme be ten soldier boys.

First a bravo is to be given to the 35+ year-old company for delivering a classic drama when so many companies of its ilk stick to all tuners for their season.
The next bravo is to director George Ferencz for bringing a generally brisk (act one plodded just a bit) paced night of murder and mayhem and for some nice stage pictures.

The plot is all too well-known: bunch of pedestrian ne’er-do-wells invited to a lonely island where they are picked-off according to a nursery rhyme (of course kids are warped with rhymes like “ten little soldier boys” and “rock-a-bye baby”). The fun is in the condemned company’s reactions and deductions.

Toshi Nakayama & Anne Govin as the Itos, the manor’s faithful retainers played it camp thus lighting the mood and setting us up for intermittent laughs. The parts seemed written for older actors as the reactions (such as Mr. Ito’s decision to keep working after his wife is found murdered) seemed meant for those of another era. This made it hard for Nakayama & Govin to come across as real as the other characters but the two supplied a nice humorous set-up for the story. Equally camp was Rob Aloi as the bumbling seaman escorting the guests to their doom. Aloi’s bug-eyed glances and bugs bunny style exits again harkened back to a campier time.
The lovers – and there has to be at least one pair – were played commandingly by Dain Alexandra & William Doyle. Here we have solid murder-mystery characterizations complete with blunt honesty from the heroic Doyle and damsel-in-distress jitters from Alexandra. Their characters were sturdy enough to make them visible even in the background.

As Marston, the weaselly wise-guy, Rocco Buonpane was really excellent. Tough-guy tones and ugly jacket, Buonpane turned the camp to gallows humor and – as the first to suffer at the hands of the mysterious killer, Mr. U.N. Owen (or unknown) – set the pace nicely for the rest of the night.

It is the first rule of the murder play that each death must be rationalized as to prepare the audience in a Greek tragedy sort of way. This production gave us twists and turns allowing us to usher each victim to their deaths. David Forsyth as the in-disguise private detective commanded the stage. He came out strong giving us a hard-bitten cop on a case but showed his cowardly side by the third act; Ted Lewis as the grief-stricken military man added a new twist by making him shell-shocked, creating a wild mad-scene for him; Dawn Barry gave a us a Hitchcockian Mrs. Brent complete with bible-belting solo all to cover her evil heart; Larry Gutman’s Dr. Armstrong was the tensest nerve specialist you will ever meet, complete with his own mad-scene done under great mood lighting of practical lights and candles; and Al Whidden’s soft-spoken almost timid Judge Wargrave masked a powerful revelation in latter moments. Whidden’s presence was solid and compelling, and the scenes with him, Doyle and Alexandra were the best of the night.

The set was a bit big for the stage impeding some of the company’s movement; the lighting, when sparse was terrific, but lost the atmosphere when up to full; the costumes implied a modernized production but did not root us exactly where, which was most likely intentional, giving us an unconfined vantage to identify.

The title of community theatre has taken a beating over the last generation or so. Happily, NCT brings us back to it’s real meaning: quality theatre and affordable prices for the cultural betterment of the community. After seeing this production and their rousing “Music Man” last season, the community is certainly better for their presence.

The Bronx Opera’s spring season at Lehman College and Hofstra University

by Mitchell S. Liegh
So here’s the pitch: Max and Leo want to put on an opera. They need money so they call a gangster type to front them the bucks. He wants his two molls to be the stars. One is a tough chick covering her rough edges in furs, diamonds and phony accents, the other is a blonde glittery bimbo with plenty of chest … voice. No, this is not The Producers 2: Deep Throat Culture, this is The Bronx Opera’s 40th anniversary send-up of itself in the form of Mozart’s quickie romp, The Impresario. The production, under the direction of Ben Spierman, hands us a Carol Burnett sketch with perfect pitch. Ed Friedman and Mathew Rzomp play a Bialystock & Bloom of the classical circuit complete with sharp to-the-audience quibs by Friedman followed by high-pitched exclamations and innuendos by Rzomp. It is a tribute to the actors that the oldest of jokes seemed perfect in this setting. The boys were almost outshined by a terrific performance by Gary Giardina as the corporate capo with a taste for the sopranos – pardon the pun. And as the sopranos: two excellent actresses with really impressive pipes. Katherine Wessinger teased the audience more than her hair with her dumb-blonde take on the second mistress wowing them with her lovely voice, but Nicole Lee Aiossa wins the night as the grande dam of the opera complete with rapid-fire delivery and a genuinely beautiful and enthralling voice.

The back stage set seemed too bare and would have been helped if maybe we saw the lighting instruments thereby making the excellent lighting seem part of the action.

Laugh at all the demeaning comments made in the translation (also by Spierman) about The Bronx Opera and then go home and think about it. Clever very clever.

The second of the double bill was Pagliacci, utilizing the stage wonderfully as the theatre was transformed into a band shell somewhere in a borough park. The story of Pagliacci, which comes straight from a police desk blotter as the playbill synopsis implies, fitting perfectly into the modernized translation. A few moments of suspension of disbelief are needed but nothing that stops the enjoyment or the story.

This highly recognizable opera tells us of a commedia style theatre troupe and the lead performer’s discovery of his cheating wife. The eventual accusation and grim finale is played out “on stage” during one of the free shows. Considering its era and its “ripped from the headlines” nature, it seems to fit with France’s Grand Guignol of the same era.

Roger Ohlsen delivers a terrific performance as the clown with the broken heart. His rendition of the opera’s famed aria was breathtaking.  Matthew Rzomp returns and stands out in this piece in the somewhat thankless role of Beppe; Jenny Searles and Jeremy Moore played the conspiring lovers brilliantly. Moore’s inner character life made his presence undeniable, even when skulking in the background. Jerett Gieseler opened the show for us and then became the undesirable Tonio filled with leers and shifty-eyed glances.

The company double-casts its works and word is the standouts of the other cast are Kirsten Chambers as Nedda, the unfaithful spouse, and Juan Jose Ibarra as the damaged Tonio. Accolades on the entire production were made but special mention goes to these two.

The production scheme implies that this company brings gorgeous works to those who cannot normally afford to see them… and they are beloved for it. Cry at the pagliacco’s pain, and then go home and think about it. Clever very clever.