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Giant Invinsible Robot by Jayson McDonald FRIGID New York Festival Under St. Marks Theater February-March 2008 A charming and funny one man show, 'Giant Invinsible Robot", written and performed by Jayson McDonald, at the cozy and "cool" Under St. Marks Theater was a pure joy to watch. The premise of the leading character having an imaginary friend, The Invinsible Robot, and not being able to separate himself from his fantasy was wonderfully executed by McDonald. With basically no light design and no sound design, except those created live by the actor himself, the leading character took the audience on a roller coaster ride full of well constructed and well delivered characters. McDonald came into his own when acting out a scene where a southern military man is talking to the President and many subordinates as to when to push the button to send off the big bomb that would destroy the Invinsible Robot. In a later scene he talks to his thearapist about what landed him on the couch to begin with. The character describes to the insistent therapist how his father abused his mother, and how in defense of her he killed him. It was a very touching scene. The play is well directed by Scott Holden allowing McDonald to show off his acting abilities in the comedic moments as well as the more serious ones. I can only imagine how terrific this performance would be with the benefits of better light and sound designs. Yet, it is a show not to be missed.
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Clinical Depression (The Funny Kind) by Drew Wininger presented at the FRIGID New York Festival Kraine Theater February-March 2008 It is hard to review a theatrical piece when it is devoid of all theatrics. Hence, "Clinical Depression" performed by Drew Wininger is not really a play, and therefore difficult to discuss as such. This work is more of a lecture for high school students on how to avoid the pitfalls that come from being chronically depressed. Wininger's story is clever and at times moving, and some of the material could be funny, only the delivery by Wininger was all too monotone. The lack of direction by Bilgin Turker probably contributed to this most monotonous performance. Overall the performance lacks energy and levels to maintain audience interest. "Clinical Depression" performed by Drew Wininger and directed by Bilgin Turker has potential, but is in need of work.
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Stuck! by Jennie Franks presented at the FRIGID New York Festival Kraine Theater February-March 2008 "Stuck!", written and performed by Jennie Franks, puts forward a good premise with poor execution. The play, which deals with a woman being trapped in a bathroom in some coffee shop in New York City, is not entirely innovative. Although maybe not in a woman's bathroom per se, this scenario has been done time and again. Still, it is a good premise for a story line. Unfortunatelly, this production lacks a clear and concise script, direction, and acting chops to carry this one person performance. I think in the case of this play the writer and performer should not have been one and the same, and the director Sasha Cucciniello could have taken more control over the project. The set design was workable, depicting a bathrrom/garbage room; the lighting, basically a stage wash, was adequate, and there were no other notable effects. The performance was approximately thirty-five minutes in duration, with no conflict or resolution, leaving this audience member asking, "why?".
******************************************************************* Speedo & The Straight Man by Gerard Karabin presented at the FRIGID New York Festival Kraine Theater February-March 2008 Witnessing a performance of "Speedo & The Straight Man" is like witnessing a whirlwind of emotion and energy. The play, written by Gerard Karabin, focuses on a man's struggle with self-worth and self-identity...however it is so much more. The work is incredibly layered and complex, and with a message that although different to each and every audience member, is one that we all can relate to. The main character Jerry is a man trapped in his own isolation. His only friends are his alter ego, an imaginary mouse he calls Speedo, and his best friend, a transexual named Jo who he talks to on his cell phone. Jerry is just as caught in a trap as is Speedo. He is caught in between the two extremes, his transexual friend and his macho father. Everything in this production works beautifully, a pleasant surprise this being a festival. From the start, one is captivated by the set design by the director of the production Peter DuBo. It consists of a table, a chair, and seven full length mirrors suspended from the ceiling. The mirrors are dirty and discolored, as is the life of the central character. Once the play begins and progresses, you realize the main character Jerry is unable to relate to them directly, and that is because he cannot look at himslf in fear of what he may find. He says, to paraphrase, "I hate looking at myself... I avoid mirrors cause I'm afraid of what I may see. Who am I?" Only at the end of the play, and once he has embarked in confronting his reality can he face himself in the mirrors. The clever thing is that the mirrors are hung in a way that they slightly face the audience, forcing us all to look at ourselves. The character of Jerry is beautifully realized by actor Lucio Fernandez. Impressive is his energy and complete physical and emotional commitment to the work. He goes from playing Jerry, to Jerry's father, to a television game show host with masterful technique. Most effective is when he plays his father, a drunken, homophobic, abusive individual. However scenes where Fernandez plays Jerry as a child at a baseball game are tender and very moving. From the tragically comic moments to those of simple honesty, the audience was completely captivated in the emotional web expressed by Fernandez. His facial and physical disfigurations and contractions are note worthy. Only an actor of great technical proficiency and experience could have accomplished this most complex of characters. Peter DuBo's direction is innovative and well-crafted. He is also responsible for the set design as previously mentioned, and the sound design. The sound was supportive of the performance, but needed a little tweaking. "Speedo & The Straight Man" is a thrilling production with innovative direction and set design, accompanied by first-rate acting. This play is what live theatre is all about.
***************************************************************************** Two in the Bush by Tracey Erin Smith presented at the FRIGID New York Festival Under St. Marks Theatre February-March 2008 "Two in the Bush!" written and performed by Tracey Erin Smith and directed by Anita La Selva is a performance lost in search of being a play or a cabaret act. Although at times funny and innovative, the performance left the audience at times scratching their heads. This one character performance suffers from the writer and performer being one and the same, and maybe not trusting the director. This is not to say that Ms. Erin Smith is not talented, for she is a terrific actress. The production just needed much more attention from the director's standpoint. The trasitions between characters were sluggish and at times not complete. Individual character definition was also lacking. The performance is however charming, at times funny, and overall well acted. This production just needed to define itself as a play or as a cabaret act.
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Great Hymn of Thanksgiving for three speaking percussionists & Conversation Storm for three actors presented at FRIGID New York Festival Kraine Theater February-March 2008 These two combined works must be the best executed performances of the FRIGID Festival. The piece performed beautifully by the three actor/musicians Rick Burkhart, Andy Gricevich, and Ryan Higgins was mesmerizing. In the first section, "Great Hymn of Thanksgiving", a mostly musical piece, the three performers demonstrated a complete mastery of rhythms using ordinary everyday objects and a few musical instruments. Most innovative was the use of violin bows on crystal glasses. The rhythms, complete with vocal sounds using a cowbell were very complex and almost symphonic in nature. The performers were at all times connected through sounds. Interesting in this section, and maybe hinted in the title, is all that too familiar Thanksgiving dinner where the family gathers and all the noise that accompanies it. Maybe if one was to stop and pull out of the confusing and often loud conversation, some kind of pleasant sound of music is heard. The second part, "Conversation Storm", was delivered with as much gusto. Although with dialogue, the performers maintained an admirable sense of rhythm. This second part was of a political vein. Rapid discussion of military torture, of any kind, as a way of obtaining that most needed bit of information in order to hinder or stop terrorist threats brought front and center the problems associated with, and often discussed, the war in the Middle East... does the means justify the end? The assumption in this performance is no. This performance was in its entirety very creative, very well conceived, and superbly performed. A pleasant surprise and a must see!
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