Marko the Prince tells a compelling story from the beginning of the Yugoslav Wars.  That is more difficult than it sounds.  Our minds, at least the empathetic parts, tend to shut down in the face of devastation.  It’s a difficult trick to convey mass violence, while allowing us to care for the survivors when people are dying all around them.  Playwright Jovanka Bach does this admirably, spinning a suspenseful mystery set amidst the onslaught of civil war.  As the plot climaxes, so does the resonance between its story and the war against which it is set.

Herman Petras as The Guslar &  Trezana Beverley as Mala

The playwright and production frame the tale as a heroic folk story, which allows us to stay emotionally invested in the characters and the state of their world.   A Slavic minstrel, the Guslar (Herman Petras), performs folk ballads that comment on the story and narrates the story in verse.  While there are times where a little context would help the tales resonate with an American audience, the Guslar functions like the Chorus of Henry V, deftly weaving images that help us process what we’ve seen and prepare for what’s to come.  Art Rotch’s set neatly captures this heroic spirit by abstracting old Eastern European architecture and enshrining a grainy print of a village square in the central arch.

The play is set in Sabor, a town on the border between Serbia and Bosnia, where the population is at war over which ethnic group owns the single cemetery.  A prominent Muslim man and a prominent Serbian man have been murdered and their sons, childhood friends, grieve and search for the killers.  Their efforts are manipulated by the corrupt police chief and his assistant.

Marko the Prince is part of a trilogy about the Yugoslav Wars.  While it’s meant to be performed independently, the play begins mid-action, with the fight over the cemetery having begun in the previous play.  There is also little explanation of each character’s nationality and how they relate to burgeoning national conflict.  It requires attentive listening through much of the play to place the character’s actions within the backstory of the previous play and the larger context of the war.

Engagement, however, has its rewards.  Hristo Hristov and Tony Naumovski are charismatic and intriguing as Vuk and Cerni, the villainous police.  Even when you don’t know their reasons, it is clear they believe they have justice on their side and this makes them fascinating even when they are loathsome.  Jelena Stupljanin and Josh Clayton are charming as two people from different worlds finding commonality in confusion.  While the play’s final scenes contain several powerful portraits of grief, Ms. Stupljanin does something extraordinary.  She manages to fall apart without hysteria, showing us a mind trying to retain control while the body is raving.

The Serbian son, Chicha (Aaron Lohr), drives the play in his efforts to find his father’s killer and protect his fiancee, Boyana, (Lanna Joffrey) and his widowed mother, Mila (Trezana Beverley).   His journey, unfortunately, is where the production falters.  The writing, especially the narration, seems to be calling for a charismatic leader, and for much of the play Chicha is abrasive and dismissive of family and friends.  The narrator describes Chicha and Boyana as an eternal love, but even their halcyon scene they spend talking past each other.  Mr. Lohr deals well with difficult twists of language and builds his climactic speech into a soaring revelation.  One can only imagine what a different interpretation of Chicha could have yielded.

While this is not a flawless experience, it is an impressive effort.  It depicts the cycle of retribution without falling into propaganda or complacency.  And it does so with a story that keeps your mind intrigued even as your heart is moved.
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Immigrant’s Theatre Project &
John Stark Productions present
Jovanka Bach’s
Marko the Prince
June 20-July 13 (Wed-Sun @ 7:30pm; Sun matinee @ 2:30pm)
The Barrow Group Theatre

Tickets are $20 available at www.theatermania.com or by calling 212-352-3101. For more information visit www.immigrantstheat.org

The Barrow Group Theatre | 312 West 36th Street, between 8th & 9th Aves. | Manhattan.

Thirteenth Street Repertory Company has been around since 1972. Established by Edith O’Hara, they are home to one of the longest running Off-Off Broadway plays, Line, by Israel Horovitz, now in its 34th year.

Thirteenth Street Repertory Company brings us the new musical comedy No More Waiting, with book & lyrics by Chris Widney, music by David Christian Azarow and direction by Samantha Salzman.

No More Waiting is as refreshing as a mint mocha frapuccino on a hot summer day. No More Waiting follows five waiters-actors that work at a Cabaret. When the night is over, and the boss is not around they put on their own shows. The sketches serve as a glimpse of who these actors really are. Although the book seems properly outlined, the dialogue itself falls short. Right when the stories are going somewhere fantastical, they linger on that found note and lose momentum. Chris Widney has a better grasp on his lyrics than he does on the book. The shows strongest suit is the music by David Christian Azarow.

Director Samantha Saltzman made sure she camped it up, in the best sense of the word. There’s even a roller skating sequence in great Xanadu style.

Jenny Paul is darling as Samantha; her scenes with Benjamin Mirman who plays Elliot are golden. The rest of the ensemble is a riot as well, exceptional vocals by Dustin J. Harder (Steve), and great comedic timing by Brian C. Curl (Robert).

Choreographer Lynn Spector kept it simple and to the point. The technical aspects of the show were also minimal.

No More Waiting is right on 13th Street and closes tomorrow. If you are celebrating Gay Pride, and are in the area for the Parade, I suggest taking a break from the sun and the crowds, and cooling down in this refreshing show.

If the show is not incentive enough, the Thirteenth Street Repertory Theatre is in a legal battle to save its space from real estate developers who want to tear it down. Supporting their shows is a great way to make a difference and take with you a great experience.
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Thirteenth Street Repertory Theatre presents
No More Waiting
May 23-June 29th, 2008 (Fri & Sat @7pm; Sun @3:30pm).

Tickets are $18.00 available at www.theatermania.com or by calling 212-352-3101

13th Street Repertory Theatre | 50 West 13th St |Manhattan.

Eric C. Bailey has been acting in NYC almost 10 years now. He moved to New York the day before Princess Diana died, although he doesn’t think the two were related. His first acting job was doing Children’s Theatre a few weeks later at the Grove Street Playhouse-which no longer exists. He also doesn’t think those two events are related. Eric is starring in Duncan Pflaster’s Prince Trevor Amongst the Elephants at The Midtown International Theatre Festival this July.

Do you consider yourself a native New Yorker?

I don’t consider myself a native. I wasn’t born here, I was born in Central, PA. Though I don’t consider myself a native of Central, PA. either. NY is home to me now, but I still haven’t acquired the swagger nor the accent of a native New Yorker.

Most memorable performance-show experience?

My most memorable theatrical experience is still my first national tour. It was a year long contract touring 3 shows with a cast of 4 and no set travel plans. As long as we made it to the next venue on time the company wasn’t concerned how we got there. So I saw a lot of the Midwest, including the Precious Moments Chapel in Carthage, MO. So basically I took a year long vacation across the country while doing some random dinner theatre along the way.

photo credit: www.eric-bailey.com

You are an available bachelor. Do you think being a working actor has anything to do with your being single at the moment?

I am an available bachelor. I think being a working actor can make it difficult to date because my schedule can be kind of wonky- but on the whole I think being an actor actually makes me more fun to hang out with… and on.

Eric C. Bailey as King Kartofflepuffen &
Daniel Luke Strandquist as Grumbelino.
photo credit: Prince Trevor Amongst the Elephants

You are involved right know in Duncan Pflaster’s Prince Trevor Amongst the Elephants-what a title!

Prince Trevor is a satire of Contemporary Politics, as reflected in the magic mirror of Fairy Tales, injected with 42ccs of Shakespearean Poetry, and dissected through the Ridiculous style of Charles Ludlam. At least that’s what the post card says.

Is this your first time collaboration with Duncan?

This is the first time I’ve collaborated with Duncan as director and actor. I did a production of Twelfth Night last year and had the pleasure of playing Sir Toby opposite Duncan’s Andrew Aguecheek.

I hear something about Nudity amongst the Elephants. What will you be wearing?

There is nudity galore in Prince Trevor and though I am never nude on stage, I am often near the nudity- if not the cause of it. So once you’re done looking at a stranger’s genitals please look up and to the left and I’ll probably be there, I’m the not naked one with the beard. I have no idea what my costume is at the moment, perhaps it’s a burka, in which case you should look for the guy with the beard in the burka.

When can I catch Prince Trevor Amongst the Elephants, and where can I get tickets?

Prince Trevor performs: July 16th @ 9pm; July 19th @6:15pm; July 22 @6:30pm; July 25th @9:30pm; July 28th @8:30pm and August 2nd @9:30pm.

All performances are at the June Havoc Theatre (321 West 36th St 1st Floor). Tickets can be purchased at www.ticketcentral.com or by calling 212-279-4200

The New York premiere production of Cinephilia, presented by the PossEble Theater Company at The Studio Theatre at Theater Row, is an energetic and entertaining evening of theater. And although you may leave feeling the show hasn’t quite lived up to its potential, it is still a worthwhile ride.

The play centers around two young twenty-somethings, Arden (Katie Cappiello) and Johnny (Brandon Scott), who have been lovers for years – Arden wants a relationship, Johnny does not. These two deal with each other, and life, so it seems, through the world of movies – discussing, debating and non-stop quoting. This is a clever device by playwright Leslye Headland, which can be quite amusing for the audience. The characters spout out snippets from dozens of films – from Say Anything to Breathless, from Reds to Reality Bites – slipping in and out, blurring the line between movies and ‘real’ life. Of course, this is also their way of hiding, escaping; incapable of speaking their own thoughts, these are lost, lonely people who don’t seem to know who they are or what they want from life.

A similar statement might also be made about the play. We are presented with issues of inaction, obsession, denial – but it is unclear what exactly is being said. No one in this play seems to want to be honest about the way things really are, or to care about anyone but themselves, which can make it difficult at times for the audience to care about any of them. Luckily, there is well-written dialogue, plenty of comedy and above-average acting to keep us happily distracted, so we don’t bother to wonder where the play is going.

Brandon Scott gives a wonderfully subtle, true performance as the introverted Johnny. Katie Cappiello as Arden bounces deftly from hysterical freak-out to tearful stillness and back again. Rounding out the cast are Christian Durso as Johnny’s roommate, Plato, and Nila K Leigh as Natalie, Johnny’s new girlfriend, both of whom give capable and charming performances. The cast and director Michael Silverstone deserve praise for their proficient handling of the many comedic moments.

Silverstone has the actors using just about every inch of the set (designed by Daniel Zimmerman). The chaotic nature of the characters is reflected in the staging – dialogue, people, and even the occasional can of beer fly around Johnny’s apartment; but this sometimes feels forced and overdone – that rather than supporting the scene, the audience is being bombarded with this frenetic energy purely for the sake of energy. Perhaps this might not have been an issue if the script was tightened up a bit, cutting out some of the redundancies.

Cinephilia as a whole may ultimately fall short of the possibilities glimpsed in certain moments, but it leaves me looking forward to seeing more work from these artists in the future.

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PossEble Theater Company presents
Leslye Headland’s
Cinephilia
May 29-June 15, 2008 (Show is now closed)
The Studio Theater -Theatre Row

“I put in all the things I’d always wanted to see onstage: propulsive freestyle rap scenes outside of bodegas, salsa numbers that also revealed character and story. I tried to write the kind of show I’d want to be in.”

- Lin-Manuel Miranda
*(describing In the Heights in his Broadway.com First Person (1/9/07))

A Perfect Couple, by Brooke Berman, is having its world premier at the beautiful DR2 Theater on Union Square. WET (Women’s Expressive Theater) continues their tradition of tight, well-worked productions presented by female writers and directors with this crisp evening. Berman’s anthropological look at what happens when you finally have everything you ever wanted in a relationship and are still unhappy is the event that brings a fantastic team of artists together.

James Waterson as Issac & Annie McNamara as Emma

Amy (Dana Eskelson) and Isaac (James Waterson) have everything at forty that Amy ever wanted. After fifteen years of dating, Amy has finally convinced Isaac that he wants it too. They are a happy couple that lives in the country—in a home inherited from Isaac’s eccentric stepmother—and gladly gives advice on how the people around them need to fix their lives to be as perfect as they are. Perfection does come at a cost, the fresh-faced forty year olds have learned to compromise on many things in order to get on Amy’s “baby track”, but on the surface they seem like any functional couple at that stage. Perhaps that is what is so frightening. A weekend in their country home with the New York single friend, Emma (Annie McNamara), and the twenty-three year old stoner next door, Josh (Elan Moss-Barach), leaves Amy wondering if these lost souls might have more going for them in the long run. Having everything together soon proves that Amy is left with nothing for herself. Amy’s world seems to be shattered when she finds the diary of Isaac’s deceased stepmother, which claims that Isaac always truly loved Emma (although he never knew it). This revelation—unsubstantiated by any evidence—destroys the relationship Amy has with both Isaac and Emma. The revelation of course is that Amy was always looking for an out. She had grown tired of always looking for the right track, taking care of friendships she may have outgrown, and living up to standards that ultimately are unfulfilling.

Dana Eskelson as Amy & Annie McNamara as Emma

WET’s production of A Perfect Couple is excellent. The cast is formidable, headed by the lovely Dana Ekelson as Amy. Her voice is perfectly matched with the role, finding easily the humor and pathos of her character. James Waterson is lovely as the handsome Isaac, who appears to have everything a woman would want in a partner, yet somehow falls short. A real standout is the whimsical Annie McNamara as Emma. Ms. McNamara is captivating on the stage, with many quirks and witty remarks, yet always maintaining a grounded sensibility. She is easy to watch with a wonderful presence. Elan Moss-Barach is an audience favorite as the comic relief of the evening in the role of Josh. Although his presentation of the stoner garnered many laughs, it came a little too easy and at the loss of some more subtle nuances that I think lurked in the text.

The immaculate set by Neil Patel is stunning. The blue image of a perfect home serves as the backdrop that works perfectly for the many short scenes taking place both inside and out. Matched marvelously by Matthew Richards’ lights, the technical aspects of the show are beautifully effective. Maria Mileaf’s direction is solid and clean. There is not a misstep in her staging and in the many transitions.

Annie McNamara as Emma & Dana Eskelson as Amy

A clean and crisp evening for a sophisticated mind interested in the study of a woman forced to breaking by a seemingly meaningless event, a Perfect Couple is sure to please any avid theatergoer.
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WET presents
Brooke Berman’s
A Perfect Couple
June 9th-July 12, 2008 (Opening Night June 19th); Mon-Sat @8pm
DR2 Theatre

Tickets range from $25 - $35, available at 212-239-6200 or www.wetweb.org.

DR2 Theatre | 103 East 15th Street | Manhattan.

If I told you that a famous Hollywood film star and a sought after composer were responsible for the development of unique technology that ultimately gave us cell phones, would you believe me? Actually, why take my word for it? Go see for yourself…

Joseph Urla as George & Erica Newhouse as Heddy
photo credit: Dixie Sheridan

Frequency Hopping is the unbelievable true story of Heddy Lamarr, an Austrian born actress who became famous in the 1940’s and George Antheil, an Avant-Garde composer also known as the “bad boy of music”. After meeting randomly at a party, they developed an unlikely friendship that gave birth to one of the greatest inventions of our time. Between personal conversations and subtle flirtations they schemed to develop a special communication system. A system that would benefit the military forces and be able to control armed torpedoes over long distances without the enemy’s ability to detect or block them. Their invention made history!

This two character, Multi Media play, was presented at the 3D Technical Art Center. As soon as you walked in the room you could feel that something special was going to happen. The stage was set in between two transparent screens that were used for video installations and special effects. Both the left side and the right side of the stage were graced with a beautiful orchestra made out of several gorgeous Yamaha pianos and percussion instruments that were hanging from the ceiling. What’s so special you say? Well, here’s the kicker- they were all programmed to play on their own. A robotic orchestra! What an amazing concept. The visuals were absolutely exhilarating! And when it all came together you really felt like you were transported into another world.

Erica Newhouse as Heddy & Joseph Urla as George
photo credit: Dixie Sheridan

This wonderful play was both written and directed by Elise Singer who obviously did some research. In her development of the relationship between the two stars she made funny leaps between childish games and serious foreplay, all while keeping us on our toes and expecting some big dramatic climax. Unfortunately the climax failed to come and the play felt somewhat repetitive. The lack of dramatic arc gave the feeling of being stuck in one place. At a certain point the sexual flirtations between the two characters developed into a passionate kiss that once was over, was never brought up again leaving me a bit confused. On another note I was slightly overwhelmed by the many technical details that were discussed and though I personally happen to know a thing or two about the subject, I found myself needing to focus hard in order to take it all in. Still I enjoyed myself and even learned something new.

Joseph Urla as George & Erica Newhouse as Heddy
photo credit: Dixie Sheridan

Erica Newhouse who played Lamarr was just as beautiful as the real girl, bringing out her sexy and feminine side. She was needy, lonely and manipulative all at the same time. George Antheil who was played by Joseph Urla was sweet, honest, sad and playful, making him very relatable.

I would definitely recommend checking it out, if not for the interesting history then at least for the fantastic technology.
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Hourgalss Group presents
Elise Singer’s
Frequency Hopping
directed by Elise Singer; Original Score by Joshua Fried
May 29th-June 29th; Wed.-Sat. at 8pm & Sun. at 3pm
3LD Art & Technology Center

Tickets are $20. To buy tickets, call 212-352-3101 or visit www.frequencyhopping.net.

3LD Art & Technology Center | 80 Greenwich Street | Manhattan.

Sarah Hankins as Claire
photo credit: Brooklyn Scalzo

While researching Post Traumatic Stress Disorder for her graduate thesis, Hannah Swindon comes across suspicious files regarding a WWII survivor of the Bataan Death March. Slowly becoming friends with Mr. Edwards, she becomes engrossed in the incredible story of three friends that created a ‘university’ while POWs in order to survive brutal Japanese treatment. When Hannah finds out the incredible truth to Mr. Edwards’ time at Bataan, she is forced to decide whether to protect a friend or use his story to graduate.

Starring: Jim Heaphy, Christine Vinh, Sarah Hankins, Christopher Simon, Tamara Cacchione, Jade Rothman, Michael Weems, Annie Pesch, Patrick McGhee.

Tickets: $20; Reservations: (212)627-2961; Tickets online at www.wingstheatre.com; For more information, please go to www.myspace.com/danceatbataan

The Wings Theatre | 154 Christopher Street | Manhattan.

On Monday, June 16th HERE’s brand new space will be enlivened by performances in every nook and cranny!  Join us for:

• A snazzy cocktail reception with the benefit committee
• Sexy selections from the new collaboration between Dream Music Puppetry Program director Basil Twist and legendary chanteuse Joey Arias, Arias With A Twist
• A live auction of fantabulous items conducted by longtime Christie’s auctioneer Stephanie Landess
• Star-studded highlights from work by HERE’s Obie Award-winning Artist Residency Program including: Eve Ensler, Taylor Mac, Corey Dargel, and Young Jean Lee
• A swank party with DJ Johnny Dynell, open bar, fancy finger food, and environmental performances throughout the building

$1000 & $500 tickets:
6:30 VIP Cocktails
7:30 Arias With A Twist
8:30 Auction
8:45 Resident Artist Highlights 9:00 DJ Party
($1000 ticket buyers take home a special gift!)

$250 tickets:
7:30 Cocktails
8:30 Auction
8:45 Resident Artist Highlights
9:00 DJ Party

$100 tickets:
8:30 Cocktails
9:00 DJ Party

HERE wishes to thank the following Gala Sponsors:
4over4.com, The Bubble Lounge, Bulldog Gin, Clement Rhum, Dewar’s, Dogfish Head Ale, Korhogo 126, Le Tourment Vert Absinthe, Sexy Beast, SKYY Vodka, The Village Voice, Yamaha 

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Visit www.here.org for more information