#off-off broadway

[travsd]

For International 'Zine Month: On Some Close-to-Home Theatre 'Zines

July is International ‘Zine Month! The occasion has inspired a little navel gazing, for in those dim dark days before blogging was available, ‘zines were the only way many of us could self-publish with total freedom, and I myself plunged into that wonderful madness for a time. And like anything else, it has a history. There will be some of you who already don’t know what I’m talking about.…

For International 'Zine Month: On Some Close-to-Home Theatre 'Zines

[fearsmagazine]

FEEJEE MERMAID – Theater Review

SYNOPSIS: On the cusp of the 19th Annual International Taxidermy Championships, four esteemed experts within the trade find themselves congregating in a hotel room. Fueled by an abundance of alcohol and the tension of competition, what initially begins as a friendly rivalry is transformed into a somber exploration of professional and personal repercussions stemming from the preceding year's event. Central to their debate is the essence of creation, the pursuit of perfection, and the elusive capture of the enigmatic "spark." As the night unfolds, one among them will demonstrate the unfathomable lengths they are prepared to go to push the boundaries of their craft, surpassing all preconceived notions of possibility.

REVIEW: This season of frights witnesses the return of prolific author and playwright Clay McLeod Chapman to the stage with an uncanny tale. The story revolves around a group of colleagues who come together annually for a taxidermy competition. As the evening unfolds and alcoholic beverages flow, their darker secrets start to emerge, revealing the skeletons hidden deep within their closets. The consequences of their past actions unfold, leading to horrifying revelations.

As someone familiar with Chapman's works, I anticipated a chilling experience. The story presents four seemingly ordinary characters brought together for a peculiar contest. These distinct personalities gather in Lyman's hotel room, and their personal connections are gradually revealed, escalating the drama and tension. The characters engage in a theatrical display reminiscent of a traditional Agatha Christie play or the Grand Guignol, albeit without the gore. The narrative unfolds as a captivating tale, and Chapman cleverly misdirects the reader's expectations through one particular character and his fascination with creating cryptozoic creatures like the Feejee mermaid. As tensions intensify, the conversation deteriorates into cruelty, plunging the story into even darker territory. In the climactic moments, a shocking and horrifying truth is unveiled. However, Chapman quickly restores the viewer's sense of stability, only to swiftly conclude the tale, leaving us bewildered and questioning the veracity of the truth.

FEEJEE MERMAID is significantly enhanced by the introduction of P.T. Clear, a character inspired by P.T. Barnum, who famously exhibited the original Feejee Mermaid in New York City during the 1840s at Barnum's American Museum in Manhattan's Financial District. Chapman's P.T. character bears similarities to Victor Frankenstein, as he describes the process of meticulously sewing together his prize-winning creatures and imbuing them with the vital "spark." P.T. believes that his protégé, Lisette, possesses this gift of the "spark," and he presents her with a unique proposition. The dynamic that develops between P.T. and Lisette could invite some viewers to contemplate the potential interactions between Mary Shelley and Lord Byron.

Within the theatrical cauldron, an extraordinary cast led by Pete Boisvert's masterful direction brings Chapman's characters to life. As the players converge, the narrative assumes a vibrant autonomy, propelled by the surging energy and intensity of the cast. This symphony of emotions and revelations culminates in an electrifying crescendo that captivates the viewer, leaving them immersed in the aftermath of its resounding impact.

In her role as Lisette, actress Morgan Zipf-Meister gives a mesmerizing performance that gradually reveals her character's traumatic past and journey to this year's competition. Her portrayal captivates the audience, allowing her to deliver a profound emotional impact. Equally compelling are the emotional intricacies presented by actors Niccolo Walsh and Adam Files as they delve deeper into their characters' raw emotions and the tangled web they find themselves ensnared in.

Among those outstanding performances, Duane Ferguson stands out as a tour de force in the role of P.T. His portrayal is distinctive, passionate, and unforgettable. Chapman's writing provides him with exceptional material, leaving me eager to encounter more of the character's further adventures. P.T. is not merely a catalyst for the narrative but serves multiple purposes, expertly enhancing the tale's impact.

My first visit to the Flea Theater, an off-off-Broadway venue, left me greatly impressed. The production designs, lighting, sound, and other elements were all exceptional, rivaling those of an off-Broadway theater. Moreover, the production designs and costumes exhibited a unique freshness that enhanced the overall spellbinding effect of the production.

The narrative incorporated several flashback scenes involving Lisette that contributed to the story's mystique, necessitating smooth transitions. While these scenes were well-executed, I found that they momentarily disrupted the play's captivating atmosphere, and it took a while to re-immerse myself once they concluded.

FEEJEE MERMAID is a masterfully crafted production, directed with precision and featuring captivating performances by a talented cast. Chapman's writing weaves a compelling narrative, drawing the audience into his nightmarish worlds and culminating in a climax that stays true to his reputation as a storyteller of the macabre. Through this theatrical experience, he confronts viewers with the terrifying reality of a truth, leaving a lasting impression of horror. The play is an intense and thrilling emotional journey, wickedly delightful and perfect for the Halloween season. Venturing downtown to witness this production is an experience not to be missed.

FEEJEE MERMAID runs October 16 - November 2, Tuesday - Saturday at 7:30pm, in The Siggy at The Flea, 20 Thomas St, New York, NY 10007. Tickets are $30 - $45, available at www.dropsinthevase.com.

Review By: Joseph B Mauceri

[principiumindividuationis777]

[travsd]

On Grotowski and the Poor Theatre

I am astounded to realize this morning that Jerzy Grotowski (1933-1999) would only be turning 90 years old today. Absent the cancer that killed him at age 65 he could still be around, an aged guru leading a flock, like the present Dalai Lama. When my theatrical criticism perplexes you, when some of the theatre I’ve presented seems very much at odds with vaudeville and the Broadway tradition, you…

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[travsd]

R.I.P. Megan Terry

I was saddened to hear from my friends at Peculiar Works Project about the death on April 12 of Megan Terry (Marguerite Duffy, 1932-2023). Terry wasn’t just one of the top female playwrights of the off-off-Broadway generation, she was one of the best known of them all. Her most successful play was Viet Rock (1966), which was both the first play to protest America’s involvement in Vietnam, and,…

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[travsd]

Encomium for a Godmother (R.I.P. Ellen Stewart)

Encomium for a Godmother (R.I.P. Ellen Stewart)

January 13, 2011 Another sad passing today as we learn that Ellen Stewart, founder and artistic director of LaMama E.T.C. has taken her show heavenward. There can be no exaggerating her importance to the off-off-Broadway theatre community. Her passing away now at age 92 has a personal irony for me at this moment. Since moving to this city it has been a goal of mine to have a show at LaMama, the…

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[theatreinyourscreen]

月曜日、仕事・お掃除しながらいかがでしょうか。

"Ghost Quartet -ゴースト四重唱とかかな" ＠マッキトリックホテル 

NY Off-Off Broadway ミュージカル

Off-Off ブロードウェイ、と呼ばれるニューヨークで言うところの小劇場のようなスタイルです。「スリル・ミー」や「ヘドウィグアンドアングリーインチ」などもここから大きい劇場へと規模が拡大されていきました。

オープニングナンバーのの小気味よさ、ホテルの雰囲気と絶妙なミュージシャンの配置、サウンドトラックがわりにかけていても気持ちがいいかもしれない。

物語は４つの"Side"に分かれていて、舞台は４人のストーリーテラーの紹介から始まります・・ ４つの内容は不条理にも聞こえる・・ 「二人の姉妹、ツリーハウスの天文学者と怠惰で邪悪なクマについての歪んだおとぎばなし」 「エドガー・アラン・ポーのアッシャー家の崩壊の再演」 「シェヘラザートとセロニアス・モンク（アメリカのジャズピアニスト）の幽霊に関する追悼演奏」 「現代の寓話・地下鉄殺人事件」

不思議な言霊のように音楽が流れていきます。 かなりオススメです。日本でもやりたい。