A Dream Is to Be Had Here

After an acclaimed 2007 debut at the Ontological Hysteric Theatre Incubator, The New York Innovative Theater Awards honored the original production with Best Set and nominations for Best Ensemble, Best Performance, Best Sound Design, and Best Costumes.

photo credits: Ryan Jensen

Dreams leave as quickly as they come, and the shortest of them are usually most profound and more difficult to grasp upon waking.

This was my experience with Company SoGoNo's production of Art of Memory playing at 3LD Art and Technology Center.

Conceived and Directed by Tanya Calamoneri, written by Lisa Ramirez and performed with Heather Harpham and Cassie Terman, these four women create a remarkable ensemble together. Playing off of each other with such ease and grace, they at once take command and 'on our imaginary forces work.' Art of Memory is evasive and immediate, attainable and timeless.

This is both a discovery play and an imagination play, but like real dreams, the discovery will not arrive until the imagination has been indulged.



Part of the splendour comes from behind the scenes, by the technical staff. Sean Breaults' set design is a stunning work of art, with more specificity in scenic elements than I have ever seen. Live glass music and sound collage by Miguel Frasconi is not to be described, but felt viscerally deep within you. Along with Bruce Steinberg's exceptional lighting design, Mioko Mochizuki's decayed decadence in costume and Video/Animation created and Installed by Matt Tennie, James Short, Antonio Frasconi and Michael Woody, this production team certainly earns the many awards they've brought home.

I would run to see this again.

Theatre magic has come alive again, and we need to experience it once more.

To understand you need to soften your focus with this play--you cannot take it head on and analyze it. Pay more attention to shapes and sounds than specific faces and words.

When I left the theatre I didn't know what I thought of the piece, but the more and more I feel it play around in my head, the more profound and meaningful it becomes.

Art of Memory plays July 16th-August 2nd at 3LD Art & Technology Center, 80 Greenwich Street at Rector (1/R/W)

For Tickets please visit http://www.3ldnyc.org/

Acorn Jones Interviews THAT'S SHOWBIZ!

Actress Abigail Hardin, Director Marc Eardley and Composer / Book Writer Colin Chaston (who co-wrote That’s SHOWBIZ with Tony Clout) took time to answer a few questions regarding the production.

Acorn Jones: Abigail, how long have you been involved with the show?

Abigail Hardin: This is the American premiere of THAT'S SHOWBIZ! so this incarnation is my first involvement. On the first day of rehearsal Colin told us that we had permission to make these characters our own, which is a wonderful thing to hear. It has been an amazing collaborative experience. Half-way through the rehearsal process we decided to take my character in a totally different direction. We decided to enhance certain comedic elements of the script. It's been a fine line of making big, fun, choices while trying to hold onto some level of depth. Ultimately, Sophie Lee is a recognizable ditzy diva, but like many real life celebrities, she is a crafty business woman that did not get where she is now without talent.

AJ: And how do you see your character; how closely would you say your personalities liken?

AH: I play Sophie Lee, a young superstar diva who has risen out of nothing to become a performing sensation. She is not the brightest bulb, but she knows how to turn on the charm. There are elements of Sophie that exist in me, in an altar ego way. She is an exaggeration; she doesn't edit herself which can get her into trouble. Ultimately I think Sophie is looking for validation in the play. She comes on the show to prove her talent and lay claim on the bright career that is ahead of her. She has a determination and an unabashed belief in herself that is refreshing and contagious. If anything, playing Sophie has brought out my own playful side and enabled me to be a little bit grander in my every day life. And a little determination never hurt anyone.

AJ: What do you enjoy most about playing Sophie Lee?

AH: This has been a wonderful process! As a young actress it has been a privilege to step into Sophie Lee's mighty shoes. I often get stereotyped as the young innocent which is the exact opposite of who Sophie is. Sophie is loud, demanding, grand and pure fun. It is fun to be able to strut myself and be a larger than life persona.

AJ: Are there any challenges to playing a character far outside of your own personality?

AH: The difficult moments are making sure that Sophie doesn't become a pure caricature. The challenge lies in maintaining this level of high comedy while still being true to Sophie's vulnerable and sincere moments.

AJ: Marc, according to the program notes you intend to take the show further and elaborate on it more. I was wondering if you could describe some of the changes you look forward to making in future incarnations of the show.

Marc Eardley: When this show moves forward, the potential exists to take it in directions Theatre hasn’t explored yet. My thought is to truly make it like a live taping and making the audience really feel like a part of the show and that they are seeing things home audiences would never see, the behind the scenes stuff which happens at the same time as the on screen work. The most interesting parts of the story are what happens off screen so, I want cameras flying overheard capturing certain expressions and screens facing the audience so they see what the “home audience” would see and how it’s funny what’s happening around that small “box”...What we’ve created is essentially a farce, poking fun at Show Business and celebrity and talk shows while staying away from being cynical or negative and it’s a very exciting idea.

AJ: For both Marc and Colin, how has the experience with this production influenced your thoughts about further changes and future productions?

Colin Chaston: I'm loving my experience in New York. The pool of talent we're working with is outstanding. I believe musical theatre is a collaborative process, so should a producer come in for this, which is what I would like, I'll be very happy to work with them and make changes for future productions.

ME: Well, we are aggressively pursuing investors who see our vision and embrace it. As for changes, the script has come a VERY long way in a short amount of time but I foresee a healthy process of dramaturgy before us. The core idea can’t change and the characters are fun, as are the crazy plot twists, so I see it being more about specific moments; which work and which don’t and things like that. It’s all about the actors and me pulling it off the page in the right way.

AJ: Why did you want to write / direct this story, and what does it represent to you in today's world / is there a parallel to draw from?

ME: Originally I was only supposed to choreograph the show, but Colin saw that I had a high concept for what it could be and he handed over the big chair. I hope he’s happy with the direction I’m going. I think he is! And, oh my, the parallel to the world today smacks you in the face. Our society’s obsession with fame and beauty and money and gossip is front and center in the script in a big way. I mean, one character is aging and being replaced by a younger version and she denies it and hates it! Can’t get more contemporary than that.

CC: The show was originally titled Czarinas. The idea was to draw a parallel between today's stars and royalty of yesteryear. Kira Czar was Catherine the Great, of Russia, Sophie Lee (Sophie Augusta in the original) was Catherine's name when she was a German princess, before she became Catherine. Beau Cortez (originally Greg Orlov) was one of Catherine's many lovers and he killed Peter Mano, Catherine's husband.

One of Catherine's famous quotes has survived in the current show. "I shall be the world's greatest monarch (star) that's my trade and the good Lord will forgive me for whatever I have to do, that's his." However the original concept went over people's heads at the workshop performances in 2004. I decided to drop the parallel and focus on the celebrity talk show culture, believing it would be fun to have a talk show host who wasn't restricted by contracts and who could pretty well ask any questions and go to any place he liked. Many stars are actively seeking to protect their privacy while at the same time manipulating the press, which to me, reeks of double standards.

Thank you Abigail, Marc and Colin! I’ll be seeing the show this weekend and offering my thoughts here at Art Corrupted Collective. In the mean time, for more information visit http://janskiproductions.com or www.midtownfestival.org

The Joys of Fantasy or Our Town Revisited

review by Acorn Jones

Ordinary Theater Company is anything but ordinary. I recently saw their production of The Joys of Fantasy at Twelve21’s 8,000 square foot venue. Joys is a remix of a remix. The company presented Our Town Revisited back in April, but had to change the title for their New York run, especially as there is a production of Wilder’s Our Town currently playing off Broadway.

Ordinary Theaters’ Artistic Director, and director/writer of Joys, Mitchell Polin had an interesting concept to work with in revamping Our Town, but ultimately had a little too much going on. The original play itself is very minimalist, performed without sets, but set on a bare stage, with environments suggested to us by a Stage Manager / Narrator / God figure. It is a subdued and guided exploration of the value of life, and how we spend the time we have within that life.

Joys on the other hand introduces a rock band, and loses all form of text and the dual stage manager character seems to have no control over the story. With the original play set in a small town, Grover’s Corners, the play now takes place in New York City.

My main problem with the show was that throughout the first act the actors were whispering their lines to each other to a point where I couldn’t understand what they were saying. Part of this is due to them being drowned out by the band, but I honestly don’t think the band could play any softer. I understand the need for intimate moments, but if we can’t hear you, we can’t hear the play, so what’s the point of being here?

There were some wonderful moments too. During the second act, Caroline Gart and Teri Incampo share a few scenes together, and the actresses work well off of each other. These scenes were spontaneous, fresh, and the subtlety of performance was remarkable considering how much distraction they were set amongst.

Susannah Berard also has some nice moments in the performance and she does well holding her own on stage. I didn’t really understand the reasoning for the past and future version of her character, her other half played by Claire Kavanah. They both played their parts well, but I missed the reasoning for the device.

Over all is an interesting play, but I think would be better off as a music video/film. Tungsten 74 wrote some great music for the piece, and I think what the production is trying to attempt would work much better on screen and the explosive rock and roll nature can be better harnessed and used for their benefit. I think the play has potential, and just needs a little more tweaking. In the mean time, it’s a good experiment and a great concept.

The Joys of Fantasy runs July 8th-25th, Wednesday-Saturday at 8 PM. Twelve21 is located at 12 West 21st St, between 5th and 6th Ave. Tickets are $20 and available at 212.409.8662 or http://www.ordinarytheater.com/