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EntertainmentThe LatestTheater

Dominique Thorne takes Broadway by storm with her Debut in Jaja’s African Hair Braiding

by Jasawn Pryce October 2, 2023
written by Jasawn Pryce

Dominique Thorne, a true luminary talent, made her captivating Broadway debut performance as Marie in Jaja’s African Hair Braiding. She skillfully embodies Marie, seamlessly merging comedy, insight, and sorrow in her performance. Dominique’s portrayal powerfully breathes life into the untold immigrant stories, leaving the audience in awe of her remarkable talent.

Dominique’s artistic journey can be traced back to her humble beginnings as a student at the Professional Performing Arts School and MCC Theater, where she first delved into the world of acting. Dominique’s commitment to excellence in the artistry garnered her prestigious accolades. She proudly earned the title of U.S. Presidential Scholar in the Arts and was the recipient of the 2015 YoungArts Award for Spoken Theater. Beyond her creative roots, it is her rich immigrant heritage from the twin islands of Trinidad and Tobago that has provided her with a unique perspective sculpting her into the multifaceted artist we witness today. 

Thorne’s journey from her introductory role as Puck in A Midsummer Night’s Dream at the Professional Performing Arts School to this defining breakthrough performance is evidence that this is more than just a debut. It is a homecoming and a long-anticipated full-circle moment that stands as a heartwarming testament to her deep love of theater. Today, her connection to theater and relentless pursuit of excellence continues leading her to this remarkable milestone.

Jaja’s African Hair Braiding immerses the audience into the lives of West African immigrant entrepreneurs on a hot summer day at a lively Harlem salon. The women in the shop work their magic while exchanging stories about love, harsh realities, and dreams, creating a relatable experience. This storytelling gem, written by Ghanaian-American playwright Jocelyn Bioh and directed by Obie Award winner Whitney White, effortlessly combines moments of comedy and drama with a skilled cast.

The Knockturnal had the privilege to speak with the exceptionally skilled Dominique Thorne. Our conversation delved into her exciting journey to Broadway, her pivotal role in Jaja’s African Hair Braiding, and more!  

The Knockturnal: Congrats on your Broadway debut. How does it feel to be a part of the Broadway community and to represent immigrants and their stories in such a fun and purposeful way? 

Dominique Thorne: Oh man, thank you, first of all. It’s such a blessing. I feel like that’s the only word that is close to touching what I feel and what all of this means to me, at this point in my life. 

It also feels like… I’m feeling the weight of the responsibility of being an actor. I remember there was a period where I thought, if I’m so bold to decide I want to tell other people’s stories on screen or on the stage and if I’m going to make that commitment, I felt that should come with a certain level of humbling and a certain level of pride at the same time so you can commit yourself to doing that honestly. I think with this story, the truth of it hits so hard and hits so close to home that there’s no room to feel anything other than the responsibility to do that as truthfully as I can. So, it’s a huge blessing and it also feels like a reminder of what an honor and a privilege it is to be trusted with a story like this. 

The Knockturnal: Can you tell us about your character and what she represents?

Dominique Thorne: Yes, I play Marie. She is the daughter of Ja-Ja. I would describe her as dutiful, and a force, I’d say in her own way. She’s a leader in a space that doesn’t always clear a path for her leadership but she finds a way to lead nonetheless. 

 I’d say in this story, she represents the story of so many immigrant children, so many first-generation children, and what it means to dream and to believe that you are worth those dreams. That you deserve to experience those dreams, and also what it means to be excellent. She shoulders such a massive burden at such a young age, and yet she does a fabulous job of being a leader in this space. 

As we learn, she does a fabulous job of excelling at school and whatever her other commitments are. She’s really an excellent young child who’s striving for a future as bright as she is.

The Knockturnal: What aspects of your character do you find most intriguing or challenging to portray?

Dominique Thorne:  Honestly, it’s being able to balance her energy within and amongst the energy of all the other braiders in the shop.  We are truly taking a slice of life and putting it on stage for those who step into the theater and as in life, the shop is filled with so many vibrant, strong personalities. 

All of which, you know, are deserving of shining as brightly as they do, but then what does it mean for this girl who’s definitely the youngest among them all to also take up space? What does it look like for her to take up space in a room like that? What does it look like for her to share this place that is really a home to the women in so many ways, in a way that conveys the familiarity and the safety that home provides the audience a sense of comfort and ease with which she can command attention or command time or make demands of the other women in a space that she also feels comfortable in.

The Knockturnal: Rehearsing for a Broadway show must be intense. Could you share any special preparation or techniques you’ve used or learned during this process? 

Dominique Thorne: I would say for me, the most important thing was my vocal preparation. I was well aware that being on stage requires you to utilize your body as a holistic instrument, like the full instrument that your body is, and that’s what I love most about theater. That’s what I was most eager and excited to return to, that’s what I was longing for. I was most excited to jump into vocal readiness and go on the journey of getting back to that.

 Getting back to a state where my voice is strong enough and healthy enough to do this job eight times a week for however long we’re able to run. I met with a vocal coach as soon as I moved back to New York in July. 

 I started training, just putting the reps in, meeting with her twice a week and waking this throat back up, waking the diaphragm back up, and titillating those vocal cords. Just really getting back into it in addition to the fabulous vocal training that was provided for us at the theater.

 It’s the combination of those two vocal workouts alongside me returning to a more intentional movement of the body in my everyday life that I think really prepared me. Since I was on summer vacation, I was not doing the typical things I do when it’s time for a job.

So knowing that I was returning into work mode, getting back into regular daily yoga practice, for example, and just other ways to move my body so that my whole being is truly connected and ready for whatever the job requires.

The Knockturnal: Last question, What do you hope the audience will take away after seeing this play? 

Dominique Thorne: I’d say a sense of respect, if I’m being greedy, would be my ultimate wish here. The words that we’ve been using in the rehearsal room and throughout this process, amongst the cast has been silent dignity.  So either reminding or educating folks on what the demands of that type of dignity can be, what they can look like, and what it requires to lead your life with that type of dignity but also to do it silently without claims for attention or anything like that. 

And that, when people learn about the reality of so many people here in the city, the reality of so many folks who provide a service for us here in the city. What it can look like and what it must feel like to really step into their lives, to humanize them for those who struggle with that.

 I think also just to give a sense of encouragement for those who are ultimately familiar with that, those for whom I believe this story is written, so they are given a moment of recognition to say, “Hey, look, we see you, we love you, we are inspired by you, you are worthy of respect, you are the boss that you desire to be, you are that already”

Really again, the ultimate wish is that people can walk away from this, knowing that the city is only as vibrant as it is because of the people who come here to make it that. That’s always been what has made New York special. It’s a melting pot or a salad bowl of so many different cultures. There’s an endless amount of ethnic enclaves to find in the city.

And within each of them and across all of them, this story is so true and it’s so central for many of them. It’s a little bit of a reminder when folks leave the theater and they step back out into the city streets, that this is a group effort.  Everyone who’s coming together to make this city what it is is deserving of love, respect, and empathy, which I no doubt believe many folks who watch the show want to give to the characters.

Jaja’s African Hair Braiding is currently open for previews ahead of its October 3rd opening night at the Samuel J. Friedman Theatre until November 5.Click here for tickets!

October 2, 2023 0 comment
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ArtEntertainmentEventsThe LatestTheater

Tripping on Life: Love, Laughter, and Loss

by Truman Fritz September 25, 2023
written by Truman Fritz

In the dimly lit theater, a lava lamp background casts an otherworldly glow as a bright spotlight illuminates a motorcycle center stage.

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September 25, 2023 0 comment
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EntertainmentTheater

Adam Petherbridge and Brent Bateman Discuss Slapstick Comedy in New World Stage’s “The Play That Goes Wrong”

by Britt Trachtenberg September 21, 2023
written by Britt Trachtenberg

In New World Stages’ production of The Play That Goes Wrong, Adam Petherbridge (Max) and Brent Bateman (Robert) excel in their roles. They utilize their slapstick comedy skills in the high-energy production.

In the play, the fictitious Cornley University performed The Murder at Haversham Manor. The also-fictitious Susie H. K. Brideswell wrote the 1920s murder mystery script. Chris Bean welcomed the audience to the fake play. Many purposeful errors ensued. To learn more about slapstick comedy’s purpose, read the interview with Adam Petherbridge and Brent Bateman below.

The Knockturnal: Thank you so much for joining me today. My first question is for both of you. How did you prepare for roles that involve slapstick violence and characters within characters?

Adam Petherbridge: Brent, you want to take that? You were there for the first go-around of this show.

Brent Bateman: Yeah, sure. So, I think it goes back as far as training goes. The preparation for slapstick involves going back for education in the theatre and learning physical acting techniques from a relatively young age. This applies to this show as well.

Britt, if you’re familiar with the show, which I think that you are, you might consider two hours of craziness really overwhelming. You might think ‘Oh my god, how do they do that?’ We started with Page 1 of the script and blocked all the little bits until Page 5. Then, we went back and did them again and started adding pages to that. So, it never seemed like we had to get the whole thing down all at once. Instead, we focused on one section at a time and figured it out until we got comfortable. Then, we moved on.

I will tack on to that in terms of slapstick specifically, and the requirements of this show specifically, there’s a lot of there’s a lot of physical preparation as far as like stretching and warming up that goes into every performance. But the real unsung heroes of this show are of various safety pads that we wear, whether that be on our knees, or elbows or our butts that keep us in good shape and able to repeat them without too much discomfort.

The Knockturnal: Okay. You answered my second question as well, which is the process of rehearsing slapstick comedy scenes. But if you have anything to add to that, you totally can.

Adam Petherbridge: Yeah, I think also just each person is, is an individual within the company as well. And everybody has their own requirements for safety and for the way that their bodies work. As Brent just alluded to, we have, you know, pads on us to avoid injuries and everything. But we’ve all sustained injuries along the way of our own of our own kinds. And so everyone’s kind of coming at it from a slightly different place. So when we rehearse, we also have to be aware of the slight differences between the people that we might be working with, because sometimes we have understudies on, sometimes people are injured, and we have somebody come in for, you know, maybe three or four months at a time, two months at a time, something like that. And so there’s a lot of checking in as we go. So we didn’t just rehearse at the beginning. And then you know, that’s kind of been the show ever since we’re constantly checking in with each other and having safety checks and working out little tiny discrepancies, little tiny problems with bits along the way, and that happens almost every single day at the theater, we’re working on something. And then we have brush-up rehearsals that we’re doing regularly with the director as well. So a little things are also changing and growing kind of just as the show evolves, and as the years tick by.

Brent Bateman: Okay, that’s great. I want to touch but I want to touch on something that I didn’t in the first question. That is the concept of playing a play within a play, which can be a pretty complicated process. We try to keep it as simple as possible, in that, ultimately, we’re there as a theatre company to put on a murder mystery. That’s the goal for the night. And our play within the play characters. That is to say that the actors that we’re playing, who are playing the characters in the show, reveal themselves as the show’s title comes into fruition, like as things start going wrong, then you start seeing more and more of the actors themselves. And keeping that imbalance is a big part of what Adam was just talking about, of like the tweaks, and understanding, like the overall flavor and Symphony you will have the comedy that we’re presenting is making sure that we’re not leaning too far into the play within the play. Although that’s very individual depending on which character we’re talking about. For me specifically, I find greater success when I am really gung ho into a murder mystery, and you only see the frustrations of the actor that I’m playing in little snapshots here and there and moments where it can’t help but be broken. Other characters for instance, Max, whom Adam plays sort of live is within the within the first layer of I’m an actor, I’m just having a great time the murder mystery doesn’t always matter so much to him because he’s just really enjoying the attention that he’s getting, and the fun that he’s having and the mayhem that he’s causing.

The Knockturnal: That makes sense. I feel like that I feel like that was kind of echoed, where, where I think your character, Brent is drinking the paint thinner, and he but he doesn’t know it. And he keeps saying, ‘Wow, this is the best liquor I’ve ever tasted.’

Brent Bateman: Right. No matter what the cost is, I’m just sticking to the story and trying to figure it out.

The Knockturnal: So my next question revolves around the characters within the character’s idea. So how do the costumes that you wore communicate the personality of the actor who was playing the character that you’re trying to bring out?

Adam Petherbridge: Yeah, sure. I mean, first of all, our wardrobe team is incredible. And our wardrobe design is really, really something else. So when you get up close, you can see just how elaborate these costumes are. Everything is custom-made for us by hand. We don’t have any, you know, Breakaway snaps, or anything on our buttons on our shirts, or anything, every single piece of my clothing is actually the way that piece of clothing would have been constructed, you know, in the 20s, when that when the murder is the murder at Haversham Manor is set. And I think each of them is distinct. And I think that’s kind of the most important thing because we try not to be too broad with the comedy. And obviously, all of this kind of harkens back hundreds of years, millennia, even to early clowning, and Canadia. And there are archetypes within those art forms. And if you go see a Canadian show, you see the same characters every time, they’re not playing different characters, the whole idea is that they are these archetypes. And it’s easy for us to fall into that. And that would be, you know, one way to get through the shows just to fall into the archetypes that we are, but we try not to do that we try to be individuals, we try to each have our own take on the characters our own takes on the show, and we try to make that show as realistic as possible so that we aren’t being too broad. But those costumes help kind of center us in the world of the play and within our you know, our Tony Award-winning set as well. And, and, and have a standout and kind of make each of our characterizations distinct. Within, you know, the the picture that you’re seeing on stage, which is kind of ever-evolving and often getting incredibly chaotic, we can still kind of stand out that way.

Brent Bateman: And it’s in the same vein as the board game or the movie Clue. It makes it easy to remember, you know, he’s the yellow one, he’s the purple one, she’s the she’s the red one. So it helps when you’re getting to learn who we are as points of reference, that we all are colored very differently with our wardrobe. I’d like to add that first off, I love my costume. I think that it’s amazing. I think it’s ridiculous. But one thing that it does is like I’m definitely the biggest person on the stage. My costume makes me even bigger because of the super baggy pants. You know, the just the I’m really hitting you over the head with mustardy houndstooth patterns. And it just enhances the larger-than-life sort of performance that I’m giving anyway like it makes it seem more authentic because of the wardrobe that I wear.

The Knockturnal: That makes sense. I noticed that Florence, for instance, wears red. So my next question is specifically for Adam. So there are scenes in the show where your character Max breaks the fourth wall and speaks directly to the audience. He’s smiling and really just enjoying the applause. Sometimes you mime the actions of words that you’re saying. I wanted to ask if parts of that were ad-libbed. If so, how did you come up with those movements?

Adam Petherbridge: Oh, yeah, well, we do have a lot of bits in the show that are kind of written as ad-libs, where each of us has our own different take on those bits. And those usually those moments where we’re kind of like talking to one another trying to, you know, explain what’s going on to one another and we play it in such a way as to allow the audience not to quite hear us, but to understand that we’re kind of break Hang things here by talking to one another. And this isn’t how it’s supposed to be going on. Max takes that obviously to the nth degree. And at least in terms of the mimes, there are a few in there that I do that are kind of standards, not necessarily ones that everybody does. But, you know, our director has preferences for certain movements. And so I keep some of those in. But it’s really, it’s really nice and freeing because we are allowed to explore and try to find our own versions of these things. And so for the most part, like all of the kind of breaking that I do into the short ball is my own version of that. For the most part, it’s all happening at the same time as it would for anybody else playing the character. So the timing isn’t necessarily different. But the way that it manifests itself, I think most people would probably agree is kind of unique to that specific Max. I also am an incredible ham. And as Brent will attest to, I’m always goofing around on stage, and trying to have the most fun just generally as myself, and trying to, you know, find other ways to be more max. And so I’ve, I’ve, I’ve added in probably three or four places along the way where I’m doing a break the fourth wall myself that isn’t necessarily in the script and isn’t necessarily one that other maxes do. But I just find colors, the life of my max more, because ultimately, I just want all of our characters to be full, fully, fully embody the characters. And so those little bits of breaking for me Don’t just tell the audience to laugh, they aren’t just about being goofy or silly. They’re about building the character of Max so that by the end of the show, everybody loves him.

The Knockturnal: What do you think Max is trying to get from the audience?

Adam Petherbridge: I got pages and pages of backstory written down if you want me to go into it. It’s a lot of different things. I come from a dramatic method acting background. And so I approach my characters is trying to understand who the character is not necessarily what they’re supposed to be doing on stage. And so for me, Max is, has never done this before. is brand new to this. Chris had just asked him if he wanted to be part of the play, he thought it was going to be a great time. He’s enjoying himself. He likes working with everybody and has no idea what he’s doing but wants to do it really well. He’s seen a lot of movies, he really likes murder mysteries and detective stories when he sees them in the movies and wants to do that version of things, but doesn’t know how. And so when he gets out on stage, and people start laughing and smiling, he thinks that they’re laughing and smiling at him because he’s doing a great job. So he keeps doing that and keeps getting bigger and bigger and bigger, but that and that is having his own fun and doing what he thinks is acting, and what he thinks is doing the murder mystery. But really, he’s derailing it from.

The Knockturnal: Okay. Also, I wanted to ask you, Adam, about the larger implications of Max and Trevor’s scene. Earlier in the show, Florence is supposed to be having an affair with Max. He really doesn’t want to kiss Florence. It presents such a striking contrast when Trevor briefly plays Florence. Max is excited to kiss him. I wanted to ask about the larger implications of those two contrasting moments.

Adam Petherbridge: Yeah, sure. Well, there are many different ways that different Maxes in the past several years have justified those things and played them. So I can really only speak to my version of it. And, and that’s really just that he’s not super comfortable around girls. But by the time we get to the second act, he’s having such a good time. And everybody’s laughing and encouraging him and he’s just having fun. And so it just seems like a fun thing to try to do to kiss Trevor. And that’s really all that I come at it from is just the joy of getting a laugh from the audience. He’ll kind of do anything at that point. And I try to play that then he doesn’t realize what he’s done until afterwards. I’m when I cross the stage, and then Brent kind of snaps me back into reality as Robert. Then I realized that Oh, I just kissed somebody even though earlier I was I was uncomfortable with that.

The Knockturnal: Yeah, I think it shows how the character almost regains confidence throughout the play.

Adam Petherbridge: Yeah, exactly.

The Knockturnal: I noticed throughout the play that Duran Duran’s name came up a lot. At the beginning, Trevor asked, ‘If anyone finds a Duran Duran CD, that is personal property. Please return it to me.’ Eventually, your characters find the CD in the detective’s bag. After the curtains closed,  Girls on Film by Duran Duran played. Why was there so much mention of Duran Duran?

Brent Bateman: Now, I don’t know exactly the story. If you were in early, then you heard that sort of dramatic silly music that plays while Trevor and Annie fix things, welcome everyone, and look for Winston the dog. The themed music also plays at intermission, I believe. It’s my understanding that our original composer of that music was just sort of obsessed with Duran Duran as well. So they thought that it would be funny, and sort of anachronistic to the murder, mystery, and all of the things that we’re trying to do to put in references to something that doesn’t belong in the world at all. And further show Trevor’s sort of incompetence up in the booth by plugging little clips of Duran Duran music in when they’re not supposed to happen within our show, just as a comedic device. And also as a while, this guy really likes Duran Duran, How how, how wild is that? How much sense does that make? I don’t know if it’s any deeper than that. I don’t believe that it is, I think it’s just sort of silly. It would be a little bit like making a Nickelback joke in a way as well. I think there are a lot of a lot of bands or musicians that you could plug in, and they would be sort of effective. But I really like what Duran Duran does for the comedy of our show.

Adam Petherbridge: Yeah, the original person who composed all that music that we play, before and during intermission, was actually the original Trevor, Rob Falconer. And he started his life in the show, as actually just the stage manager, they just needed someone to play the music and change the lights and make an announcement. And he said, during one of their rehearsals, or one of their shows or something, do you mind if I just do it in character? And all the original, the creators of the show were like, sure, I guess we don’t know what that means. And so he just made Trevor kind of appear out of thin air. It wasn’t really supposed to be part of the show and wasn’t part of the show when it first happened. And so all of that is his kind of building this character that he just while he was sitting there, being the stage manager figured out would be a great addition to the show. And sure enough, it was.

The Knockturnal: Oh, okay. That’s great. So I also wanted to ask you, Brent, what changes do you feel that your character undergoes through the course of the play?

Brent Bateman: Yeah, that’s a tricky one. For me, the play as a large umbrella thing is about on a very basic level is about perseverance, and, and finishing the job that you set out to do. And if anything, Robert sort of doubles down over and over and over again, in what he believes in, as far in himself as far as true acting ability, domination. And I don’t know if any of that changes throughout, if anything, it just sort of he gets more and more emboldened, to regroup and to act harder as the play goes along. I think I think that’s the Robert story is that I get almost completely broken, and then finish triumphantly. See the thing through at all costs. I think it’s very similar to what Chris Bean goes through as well. I think the two have very similar trajectories because they’re the ones that are taking it the most seriously.

September 21, 2023 0 comment
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Review: ‘The Shark is Broken’ on Broadway Gets Five Fins Up

by Bianca Brutus August 29, 2023
written by Bianca Brutus

The Steven Spielberg multi-verse continues to expand.

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August 29, 2023 0 comment
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New World Stages Presented a Production of “The Play That Went Wrong”

by Britt Trachtenberg August 16, 2023
written by Britt Trachtenberg

New World Stages presented a hilarious production of The Play That Goes Wrong. The play-within-a-play contained visual jokes, physical humor, and immense irony. The farce broke the fourth wall many times. Before the production started, the stage crew characters made last-minute fixes. 

Annie duct-taped a broken mantelpiece to the lefthand wall. Then, Trevor duct-taped a leatherbound book to the shelf. Unfortunately, they said that a dog had run off as well. They hoped to find him before the second act. Then, they exited the stage. 

In the play, the fictitious Cornley University performed The Murder at Haversham Manor. The also-fictitious Susie H. K. Brideswell wrote the 1920s murder mystery script. Chris Bean welcomed the audience to the fake play.

The university’s previous plays included Two Sisters, The Lion and the Wardrobe, and Cat. During their production of James and the Peach, the peach rotted. The production became James, Where’s Your Peach? Travis gave a speech as well.

He warned the audience not to use cell phones in the theatre. Then, he quipped, “If anyone finds a Duran Duran CD, that’s a personal item and I want it back.” The addition defined Trevor’s character. The next scene started with immediate hilarity. 

Charles Haversham lay on a couch. Thomas Colleymore knocked on the door and called his name. Downstairs, Charles’ engagement dinner ensued without him. Unfortunately, Thomas could not open the door. He ratted with the doorknob and expressed frustration. Ultimately, he used the set’s side curtain. His butler, Perkins, followed him inside.

Upon seeing Charles, Perkins took his pulse. He placed two fingers on Charles’ forehead and felt no heartbeat. Thomas declared that Charles passed away. The characters glanced at the audience with gaped mouths. Red lights flashed and a dramatic sound effect played. Charles called other characters onstage, one at a time.

Florence dramatically expressed her love for her fiancé, Charles. In a red dress, she seductively posed next to his body. Cecil portrayed his shock with theatrical gestures. The audience laughed and he purposefully broke character. He smiled brightly at the audience. Also, the dramatic effects continued.

When a character said “murdered” or “died,” the red lights flashed and the sound played. Trevor sat in a make-believe AV booth above the audience. He produced the effects. Soon, the characters froze, but the effects did not occur. Florence glanced at the booth in confusion. Trevor scrolled on his phone and laughed. The production’s storyline continued.

Thomas declared that Florence had fits. She dramatically fell onto the couch. He said that she needed her medication. He dropped a pill into her hand and she took it. Then, she sat up with her hand on her forehead. The production progressed to another bit.

Perkins still could not get the door open. Soon, it swung open. The stage crew characters looked at the audience with gaped mouths. The play continued with more jokes.

Perkins said his lines nervously. He glanced at his hands several times on which he wrote his lines. It created hilarious and momentary pauses. Soon after, Florence and Cecil revealed a plot point. The characters called Inspector Carter to solve the case.

The two mentioned an affair behind Charles’ back. Florence declared that they could finally be alone. The secretive coupe mimed several kisses. Each time, a character entered to retrieve a prop or make a comment. 

Thomas came in for the inspector’s notebook but grabbed a vase of flowers. He searched for a pen but obtained keys instead. Soon, the characters stopped entering the stage.

She expressed gratitude that Charles could no longer interfere. She attempted to kiss Cecil for real. In response, he performed exaggerated movements. He bent over backward and leaned over the couch. He smiled at the audience. It prevented Florence from kissing him again. Soon, she kissed him. Quickly, he pulled away. Inspector Carter found out about their affair.

Inspector Clark called for his notepad and pen. Thomas brought him the keyring and vase of flowers. In response, Inspector Clark glared at Thomas. Next, he reluctantly took the objects.

While alone on the stage, he questioned Florence. She posed seductively on the couch. Unfortunately, the characters said each other’s lines. It stopped Inspector Clark from asking Florence about her relationships. Instead, Florence gave details about her love life.

She shrieked that she had an affair with Cecil. Then, the detective thought of a possible scenario. 

Perhaps she murdered Charles to date Cecil. Florence suggestively lay on the couch and denied the allegations. Inspector Clark pretended to take notes. He tapped the keys against the vase. Then, he declared that he wrote enough annotations.

The production included a fifteen-minute intermission. During this time, patrons bought snacks and candy from an attendant. Chris Bean welcomed the audience to Act 2. 

He thanked the viewers because they returned for the second half. He described Act 1’s issues as “one or two minor mishaps.” He declared that many things “did not go as rehearsed.” The audience chuckled at the thought. He mentioned the snack attendant’s items as well.

He advised anyone who “ate the salted nuts to seek immediate medical attention.” Trevor leaned over his pretend AV booth with a trash can. He puked into the trash can, which caused the audience to laugh. Then, Chris exited the stage. The curtain opened to reveal a funny sight.

The stage crew characters and actors cleaned the stage. Annie vacuumed and Thomas placed orange cones down. Perkins held up a can of paint thinner. A lady in a black shirt grabbed a ladder while another woman brought out a replacement window. The curtain closed again and reopened.

The stage crew people disappeared. The characters posed on stage as though nothing went wrong. In Act 2, the play displayed growth in Annie’s character.

A door knocked Florence in the head. Afterward, Annie wore the iconic red dress over her stained overalls. She read Florence’s lines from a binder. At first, she unenthusiastically read the words. The audience applauded her effort, which caused Annie to smile. She performed with more confidence.

She had a fit during which she danced around the stage. Also, she posed cutely at random moments. Both served as a call back to initial Florence’s traits. Soon, Annie smacked her head and fell. Trevor briefly played the role of Florence.

He read the character’s lines with no emotion. Soon, he said the line which contained Cecil’s cue. Trevor dropped the binder and refused to kiss Cecil. At this moment, Cecil’s Cornely University actor explored his sexuality.

Cecil’s actor, Max, passionately kissed Trevor. In response, Trevor pulled away with alarm. It contrasted with Max’s earlier behavior with Florence’s feminine actor. Max smiled at the audience with glee. Thomas entered the stage and gasped at the sight. It served as a callback to his earlier observations. 

A character banged into a wood beam, which caused the collapse of the upstairs study. The second floor fell on Trevor. On the floor, he bled and clutched his head. Fortunately, Florence’s initial actor stumbled back on stage.

She wore a pink tank top and polka-dot underwear. Thomas declared that she did not wear clothes and smiled confidently at the audience. Unfortunately, Annie still wore the dress and wanted to play the character.

The two women upstaged each other and said their lines in unison. Soon, they tackled and flung each other out the window. Annie duct-taped the other woman’s mouth shut. Then, she taped the woman’s arms together. Annie continued to read Florence’s lines. The production progressed to another plot point.

The characters grew suspicious of Inspector Carter. They searched his briefcase and found evidence. Thomas found the Duran Duran CD in the bag as well. In his AV booth, he slumped in his chair. He raised his arm and mumbled that he owed the prop.

The playbill included information about the fake Murder at Haversham Manor play. President of the Cornley University Drama Society Chris Bean wrote a letter to the audience. He wrote it in a funny typewriter font. The playbill contained a fictitious cast list as well.

Chris Bean played Inspector Carter. Also, he directed, produced, and designed the props for the play. His other fake credits included costume designer, vocal coach, and box office manager. 

Jonathan Harris played Charles Haversham. Robert Grove portrayed Thomas Colleymore. Dennis Tyde played Perkins, while Sandra Wilkinson acted as Florence Colleymore. Max Bennett took on the roles of Cecil Haversham and the gardener. Trevor Watson operated the light and sound. Annie Twilloli stage-managed the show. The playbill contained a real cast list as well.

The list identified the actors by their character names. Brandon J. Ellis played Trevor, while Ashley N. Hildreth excelled in the role of Annie. Chris Lanceley shined in the role of Chris. Clyde Voce portrayed Jonathan. Brent Bateman performed as Robert. Trevor Braun acted as Dennis. Caroline Chu played Sandra. Adam Petheridge played Max. The production stuck with the Duran Duran motif, even after its conclusion.

The house lights went up. “Girls on Film” by Duran Duran played in the theatre.

August 16, 2023 0 comment
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Review: A Tailor Near Me at The New Jersey Repertory Company

by Sydney Hargrove August 16, 2023
written by Sydney Hargrove

If you find yourself inside of Long Branch’s famous New Jersey Repertory Company this summer, you might just leave wondering whether knowing someone’s stance on the existence of the soul would render them your friend or not, thanks to the vivid imagination of playwright Michael Tucker.

The play, directed by the talented James Glossman, features a stellar cast including the accomplished actors Richard Kind and James Pickens Jr. The narrative unfolds around a relatable scenario—an individual visits a tailor to address the snug fit of his suit pants due to recent weight gain. Yet, what seems like a straightforward situation quickly transforms into a negotiation, leading to the creation of a bespoke suit and an unexpected journey of personal transformations.

In John Mulaney’s infamous for kids, by adults musical Netflix special John Mulaney and The Sack Lunch Bunch, we see Richard Kind sitting in a far too small chair at a campsite providing “girl talk” to some of the special’s young women. The 70-minute sack (no pun intended) of absurdity opens with the kids stating that they have so many guest stars, but then actually remembering that they only have one, which turns out to be the aforementioned star of Mad About You. The kids exclaim that the audience is about to see what’s on kid’s minds, since the guest star’s name is Richard Kind, thus leading into the hilarious Girl Talk with Richard Kind segment. 

The image of Kind giving girl-talk to the Sack Lunch Bunch kids (in which he ended most sentences with the phrase itself) combined with his laugh-out-loud roles on Big Mouth and American Dad are a stark contrast to his current role as Sam in Michael Tucker’s A Tailor Near Me, currently playing at the New Jersey Repertory Company in Long Branch. Though Kind’s iconic, booming voice would be recognized anywhere, the story he is telling on the Long Branch stage is a rather somber one.

Prior to first coming into contact with Kind’s Sam, James Picken’s JR. (Grey’s Anatomy’s Dr. Richard Webber) taps into the role of the rather complex Alfredo, inside of a basement tailor shop in New York City. When we meet the two men, Sam struggles behind the curtain of Alfredo’s fitting room, as he has been brought to the tailor shop due to outgrowing a suit. You know when you go to the doctor because you have a pain and when you get there the pain is gone?” He asks. “This is not going to be one of those times.”

It is soon revealed that Sam is going to a funeral for his closest friend, Robert. When Alfredo asks when the funeral is, he grimly replies that he isn’t sure, but it won’t be long now. The two men fall easily into a banter, especially when Sam is surprised to learn that Alfredo, who is from Argentina, is Jewish. This poses the question for both men, but mostly for Sam: what does being Jewish look like?

Alfredo comments that Sam himself does not look Jewish to him. “You’re too white,” he says. “My ancestors came over with Christopher Columbus -–the same year Queen Isabella threw all the Jews out of Spain.”

The play occurs in three parts, early Spring, three weeks later, and then two weeks after that. The men learn the in and outs of each other, with the conversation often shifting from a sharp, back-and-forth banter to a story told by one man while the other intently listens. The men quickly learn that they are more alike than different, possibly to their surprise.

Eventually, the conversation shifts to Robert, with Sam reveling in a grandiose story about the time that the pair skipped their college graduation to drive across the country to Los Angeles, in which they discussed cunning topics such as large breasts versus small breasts and the existence of the soul. In between the recollection of the trip and a rather long joke from Sam about a Jewish tailor, Sam reveals to Alfredo that he plans to spend two thousand dollars in Italy for a custom suit. Alfredo challenges that he can do it better, and for much cheaper, thus marking this visit the first of three that Sam would make to the tailor shop. 

The first visit ends on a rather heated note, with the pair arguing over Sam’s dismay for Alfredo’s unwillingness to tell jokes about his wife Couma. Sam grows agitated with Alfredo “putting his wife on a pedestal,” and Alfredo shuts the conversation down by telling Sam that it simply “isn’t for him.”

As the two men build a suit, and in turn a relationship, we begin to learn more about them, and we begin to see some of the prior stories unravel. On the third visit, after Robert has passed, an exasperated Sam reveals to Alfredo that he doesn’t seem to understand the nature of the relationship that the two of them had.

“I know that we were never easy with each other,” he says. “It was more like we wished we could be easy with each other. But we would never just hang out, you know? Sit around, shoot the shit. Unless I was asking him for advice or he was mentoring me in some way we never really had all that much to say to each other. Unless it was to proclaim to the world what old and great friends we were. We drove across the country in that Mustang fifty years ago to begin our lives as men. How many fucking times did we have to tell people that fucking story? Friends don’t have to do that.”

The revelation, while not entirely shocking, is a left turn as to the story that Sam had been previously establishing. As the play goes on, we see him try and pick up the pieces of what he knows about relationships, and in turn, asks Alfredo and Couma to have dinner with him and his wife Janet, but he vehemently declines. 

Kind and Pickens JR. deliver stunning performances and director James Glossman creates an environment that will make any viewer feel as if they are in the tailor shop, watching from a nearby chair. 

Tucker, not only a playwright but also an actor and author, is no stranger to the stage. Having debuted his first play, “The M Spot,” at NJ Rep, followed by “Fern Hill,” Tucker has now returned to present “A Tailor Near Me.” His extensive experience in the arts, spanning over five decades, has provided him with a deep understanding of the nuances of storytelling and character development.

In a recent interview with BroadwayWorld, Tucker opened up about his journey and the inspiration behind his latest work. He emphasized the significance of self-belief and the power of talent in navigating the challenges of an artistic career. Tucker’s insights resonate with aspiring artists and creatives, reminding them that confidence in their abilities is the cornerstone of success in the demanding world of the arts.

A Tailor Near Me finds its home at NJ Rep, a company dedicated to producing new plays for more than a quarter-century. Tucker’s affiliation with NJ Rep goes beyond a professional relationship; it’s a creative haven that has nurtured his work and allowed him to bring thought-provoking narratives to life. His admiration for the theater company is evident, praising its audience for their open-mindedness and the company itself as the “Little Engine That Could.”

A Tailor Near Me is playing at The New Jersey Repertory Company until August 27th. Purchase tickets here!

August 16, 2023 0 comment
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Here Lies Love: Blending Disco & Dictators in a Fresh New Musical

by Truman Fritz August 4, 2023
written by Truman Fritz

How does one write a disco pop opera about the life of Imelda Marcos, former Philippine first lady, and de facto dictator for over a decade?

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August 4, 2023 0 comment
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Exclusive: Rodrick Covington Talks New Off-Broadway Musical ‘Rock & Roll Man’

by Sydney Hargrove July 31, 2023
written by Sydney Hargrove

This summer, New World Stages welcomes back the talented Rodrick Covington in the exhilarating new off-Broadway musical “Rock & Roll Man.” This vibrant production celebrates the life of the trailblazing DJ Alan Freed and his significant impact on the rock music scene of the 1950s. Covington, a seasoned veteran of the New York stage, steps into the shoes of the legendary R&B and rock singer, musician, and songwriter, Little Richard.

Rodrick Covington’s impressive stage credits already include appearances at New World Stages in “Drumstruck” and on Broadway in Tony Award winning and Grammy nominated productions like “Once On This Island” and “The Lion King.” With such a remarkable stage presence, he is well-equipped to breathe life into the flamboyant persona of Little Richard.

Little Richard, famous for hits like “Tutti Frutti,” “Long Tall Sally,” “Good Golly Miss Molly,” and “Lucille,” left an indelible mark on the world of music. His unique style, marked by croons, wails, and screams, became an intergenerational influence on rock music, both in the 1950s and for years to come. “Tutti Frutti” itself reached impressive heights on the charts, peaking at number 21 on the Billboard Top 100 in America and number 29 on the British singles chart, eventually selling over a million copies. The song went on to be included in Rolling Stone’s list of the top 500 songs of all time, with critics hailing it as “the most inspired rock lyric ever recorded.”

When Covington isn’t on stage, he’s passionate about wellness, even owning his own wellness center. He is passionate about self care, both on stage and off, and offered some brilliant tips on staying grounded and mindful. We sat down with Covington to talk all things Rock and Roll man! Check out the conversation below!

 

July 31, 2023 0 comment
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The Cottage: Finding Love in Farce and Fornication

by Truman Fritz July 28, 2023
written by Truman Fritz

Love and freedom can be found in the most unlikely of affairs.

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July 28, 2023 0 comment
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New York Asian Film Festival Review: ‘Flaming Cloud’

by Julia Mazza July 27, 2023
written by Julia Mazza

As we know them, fairy tales often involve a protagonist lacking control over her or his fate. Snow White and Sleeping Beauty were driven into hiding, yet were doomed with a sleeping curse anyway—curses that could only be broken had their true love decided to awaken them. Rapunzel is locked away in a tower with no doors, needing a hero to rescue her. It’s exactly this what Siyu Liu set out to deconstruct in her directorial feature debut (and original screenplay) Flaming Cloud.

There are no villainous characters with wicked intentions to be found in Siyu Liu’s fairytale story, but Gods and Goddesses with voyeuristic tendencies and penchants for placing wagers pulling the strings. The story begins when two of the deities boldly place the most consequential wager any of them have ever witnessed—the existence of true love. Because of the wager, a randomly chosen baby, and the story’s hero, Sangui (played by Hu Xian Xu), is doomed to a curse of putting whoever he kisses to sleep, stripping him of agency over his destiny (or so we think?)

Branded a freak by his fellow villagers and socially ostracized at a young age, Sangui sets out on a hero’s journey, albeit one of a long period of loneliness, to the idyllic White Stone City. On his journey, he meets two women who represent fairy tale archetypes we’re well-acquainted with, each with their own wishes, but also unfulfilled needs.

Instead of making their own fairy tale wish come true, each character instead finds satisfaction in growing—by learning what they needed all along. For Sangui, this means finding the courage to confront his fears, and for the “wicked witch” character, who is very much the heart of this story, means facing her regrets. “Regrets can be curses too.” she whispers to Sangui in between exhausted breaths. In using surrealism, Siyu Liu reminds us that realizing what we needed all along can better than anything we can wish for. 

Siyu Liu’s use of anachronisms in the costumes beautifully speaks to the timelessness of fairy tales, from 1920s flapper headbands to 1970s boho dresses—even the 1950s Philco Predicta televisions, which the Deities huddled around in sport to watch Sangui for a long period of his life. Combining the motifs and lessons of European fairy tales (and classic Disney films, by extension) and Chinese mythology, she masterfully tells a cross-cultural story, as seen from the moment the story begins with a kingdom of deities placing a wager on a “flaming cloud.” 

Perhaps the biggest lesson of all from Flaming Cloud is that true love does indeed exist, but it does come to die one day—and yet, we all still reach for these stories for comfort. “Not everyone believes in true love,” Siyu Liu writes in the final frame of the film. “But we all long for that moment when it arrives with its magic.” Yes, yes we do.

July 27, 2023 0 comment
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