By Acorn JonesSomething stunning is going on; a group of young actors are lighting up the off-off Broadway scene at The Flea Theatre, where Artistic Director Jim Simpson and Producing Director Carol Ostrow are presenting Kaspar Hauser: a foundling’s opera. Kasper is composed, co-written and directed by Elizabeth Swados, and co-writer Erin Courtney, and features The Bats, the Flea’s young resident company.
Having seen and heard several of Swados’ works, this one does not disappoint, and my fandom continues. The script is lean, the score is lush, gorgeous and quirky, but most importantly, the acting is phenomenal. Now for those of you following my reviews, so far I’ve not written anything bad, a strange occurrence for a difficult-to-please skeptic like myself. But yet again, I’ve been wowed and stunned. The actors commit fully to every moment, every outlandish movement and dance and cavort like fiends from a madhouse, all the while perfectly portraying the mass of “community at large” that they represent.
Standout performances include Carly Zien, Marshall York, Hannah Shankman, Amy Jackson, Nicolas Greco, Eliza Poehlman and Adrienne Deekman. The real star of the show, and the title character is Kaspar Hauser, a masterpiece of a role played brilliantly by Preston Martin. Martins’ work is such a standout that the company must fight to stay on his wave, and the ebb and flow that is created and maintained by the full company led by Martin results in an astonishing ride for the audience. Martins’ role is similar to that of Bat Boy, but this is a role containing substance and is well thought out.
Poehlman, with a crystal voice, plays Kaspars’ lost mother and her expression of loss, longing and hope is always filled with honesty. Carly Zien, who was recently in the Flea’s production of Cato also gives a wonderful performance throughout the piece, and is an actress to watch out for in coming years. She’s tapped into something and gives the play an extra light of brilliance.
Spoiler!: The score is entrancing; just after Kaspar has been murdered, the funeral is one of the most stunning pieces of choral music, beautiful, arousing and glorious. Then they turn on a dime and become the fickle audience again always wanting the freshest news and gossip to feed their excitement.
A tiny theatre, the set is wide and shallow, but well used. Lighting, sound and costumes were all present and accounted for, and the orchestra, led by Music Director Kris Kukul accompanied the piece with great care and heart.
This is a must see. It is absolutely worth the ticket, and a great company to get to know if you aren’t already aware of them. If you don’t see anything else this year, I highly recommend Kaspar Hauser. Swados is one of New York’s top composers, and once you hear her music, you’ll understand why.
Kaspar Hauser plays through March 28th at the Flea Theatre, 41 White Street, where you can also see the world premier of Itamar Moses Love/Stories (or But You Will Get Used to It), which has extended to the 30th.
