This year’s gala honored playwright Lynn Cottage and educator Leonard Majzlin.
Review: ‘Purlie Victorious: A Non Confederate Romp Through The Cotton Patch’ is A Must Watch Revival
As the actors of “Purlie Victorious” step onstage in the first few minutes of the show, we see them set up furniture, share glances at each other, and talk so low that words can’t be made out. While that moment is brief, you begin to understand a great deal about them.
The original production of “Purlie Victorious” ran in 1961 and has never been revived until this year. Ossie Davis’ satirical comedy may seem a bit outdated, but the themes behind it are just as impactful as they were in the 60s.
Purlie Victorious Judson (Leslie Odom Jr.) is simple preacher who hires a woman Lutiebelle Gussie Mae Jenkins (Kara Young) to dress up as his long-lost cousin to trick harsh cotton plantation leader Ol’ Cap’n Cotchipee into giving them money to save the community church Big Bethel.
The revival, directed by Kenny Leon, is a marvelous tribute to Davis. Leon stays true to the original material completely from dialogue to overall creative direction. It’s a refreshing choice for the revival to remain on par with Davis’ vision. Furthermore, Leon proves his ability to translate a work from the past to be taken as something of our present. “Purlie Victorious” is about how communities are the catalyst for change, In this production, the community bonds over rebuilding Big Bethel, and today we come together though common interests and fighting for social issues that will change the future.
“Purlie Victorious” isn’t only about community, but it’s additionally about hierarchy and masculinity. Ol’ Cap’n is a white Southern man and his position in society is far greater than Purlie’s. Therefore, it’s up to him if the church shall be built. Ol’ Cap’n son Charlie (Noah Robbins) is viewed as shrill by his father. Their relationship is quite rocky as a result with Ol’ Cap’n often pressing Charlie to “man up.” Ol’ Cap’n represents the old-fashioned perception of manhood as bearing control over others. This is additionally personified by a leather whip he carries. Ol’ Cap’n’s ideology permeates into his relationship with his employee Gitlow Judson (Billy Eugene Jones). Ol’ Cap’n sees him as less than due to his whiteness and furthermore his manhood. The play examines traditional notions of masculinity and interrogates the ways in which power dynamics operate within society. “Purlie Victorious” challenges societal norms and invites the audience to critically reflect on the intersections of race, gender, and power.
Leslie Odom Jr. as Purlie Victorious | Photo by Marc J. Franklin
Leslie Odom Jr.makes an excellent returns to Broadway in “Purlie Victorious.” Odom Jr. brings depth and authenticity to every moment of the production, leaving a feel of awe throughout the audience. His delivery and nuanced expressions made the character come to life onstage. Davis originated the role, and Odom Jr. gives a touching tribute to the writer and performer. It was a true pleasure to see the award winning actor on stage since he left Hamilton seven years ago.
Odom Jr. and Kara Young truly outstanding together. Their chemistry on stage is palpable, bringing sheer authenticity to the story. Their communication with each other created a captivating dynamic that kept the audience engaged throughout the entire performance. Young’s dramatic portrayal of Lutiebelle, combined with her impeccable comedic timing, made her one of the standout performances in the show. She isn’t alone though, the entire cast delivered. It’s no surprise as they’re a number of eminent actors part of the production including Sanders, Jones, Heather Alicia Simms, and Vanessa Bell Calloway.
With its intricate set and historical costumes, “Purlie Victorious’” production design successfully transports the audience to the Jim Crow era. One noteworthy aspect was the attention to detail within the setting. Shelves are filled with props that exactly mirror the time period. The plot is made more vivid by the attention to detail, which also improved the immersion factor overall.
The entire cast of “Purlie Victorious” | Photo by Marc J. Franklin
All things considered, “Purlie Victorious” is an excellent production that deftly combines history, humor, and social criticism. It offers a thought-provoking and enjoyable experience while illuminating the difficulties experienced in a post-slavery society. The production design is striking, the script is brilliant , and the performances are outstanding. “Purlie Victorious” is a real gem that will make you think about the nuances of our shared past while also leaving you with a smile on your face.
Purlie Victorious will run until February 2024 at the Music Box Theatre. Tickets are available now.
Giving us all a well needed disconnect from reality, ROLL THE BONES (RTB) theatre company transformed audience members to simpler times with immersive theatre experience, No. 9.
A delightful excuse to bond, No. 9 is designed for pairs who are willing to unplug for an hour to escape into one of three worlds: Asheville, North Carolina in 1986, Redding, Connecticut in 2007 or where we ended up; in 1993 chilling outside of a trailer in Twentynine Palms, California with our host, Lynne. Before the experience began, each pair received a watch preset to go off after an hour; which marked the end of our visit.
It was a starry night in Twentynine Palms on October 13, and friends and partners were kicked back on lawn chairs with a cooler full of beers and powdered sparkling cider. In addition to the dim lighting, sounds of crickets and life like set; Lynne’s nomadic and welcoming spirit ignited an eclectic mix of conversations ranging from constellations, the vibrations crystals and humans share and the emergence of TLC.
Created and directed by RTB Artistic Director, Taylor Myers, and Michael Ryterband, No. 9 is “ a human-centric answer to the loneliness epidemic of the digital age.” The production was accompanied by a seamless shift to the Dead Letter Restaurant and Cocktail Lounge where audience memembers were served chili, pizza, and other comfort foods and cocktails.
Opened to the public on October 14, No. 9 is set to run through early November. Tickets can be purchased on their website.
“The Refuge Plays” is a powerful play that delves into the lives of three generations of a Black family who find solace in the depths of the woods. The play takes the approach of telling the story backwards as the latest generation takes center in the first act.
The family is led by matriarch Early (Nicole Ari Parker) who’s story is the basis of the play. Early is living with her daughter-in-law Gail (Jessica Frances Dukes), Gail’s daughter Joy (Ngozi Anyanwu), and Joy’s son Ha-Ha (JJ Wynder-Wilkins). The family all live in a cabin built by Early’s late husband Eddie (Daniel J. Watts). The cabin is small in size, but holds a great history to it.
The cast includes Nicole Ari Parker, Jessica Frances Dukes, Ngozi Anyanwu, Jon Michael Hill, Jerome Preston Bates, Mallori Taylor Johnson, Lizan Mitchell, Daniel J. Watts, Lance Coadie Williams, and JJ Wynderas.
The synopsis of “The Refuge Plays” isn’t striking on the surface, but as the story paces through things take a turn. The cabin and woods are haunted by deceased family members who often aid the characters, reveal certain secrets, and foreshadow events. The major event we see in Act I is the death of Gail which is foreshadowed by her late-husband Walking Man (Jon Michael Hill) who appears in ghost form one night.
Produced by Roundabout Theatre Company in association with New York Theatre Workshop, the play was written by Nathan Alan Davis and directed by Patricia McGregor. Davis does a fantastic job of thoroughly examining the roles that each member of the family plays. Some characters are only on stage for one act or a few minutes, and yet we learn a great deal about them. Davis additionally pens a story with a noteworthy comedic tone. The performers deserve praise for their skills, but Davis is equally as responsible for carrying the dialogue. The family often bickers and certain lines are super witty to the extent that it feels reflective of one’s own family.
For a production of this caliber, the cast is rather enormous. However, the production was not hindered by the large cast, in fact, it helped the audience comprehend the dynamics of the entire family. The actors are excellent at playing off one another. They made room for other performances by making space where it was needed metaphorically. It was simpler to follow each actor as a result. When it comes to the most engaging performance among the entire show however, look now further than Nicole Ari Parker. She is on stage for every act and excels in each. She’s able to translate Early’s feelings from each generation and carry them. It’s an amazing feat to see as the play is told backwards. McGregor deserves praise as well for her ability to balance the cast’s chemistry where needed. A well rounded performance by an entire cast is the result of having a great director leading.
Walking Man (Jon Michael Hill) and Gail (Jessica Frances Dukes) Photo by Joan Marcus
The matriarch of the family, Early, is a symbol of strength and perseverance. She imparts a heavy amount of wisdom to her children and grandchildren from the beginning and we come to understand why she does by act three. Her resilience is what keeps her family alive. The setting of the woods serves as a metaphorical space of freedom for the family. In the midst of a world that often devalues their lives, the woods become a place where they can be themselves, away from the eyes of a society that seeks to marginalize them. It was refreshing to see the use of fantasy in the production. Black folktales are renowned for their perspective on spirits. In fact, it’s often seen in many cultures that those who lived before you are the ones that guide you today and that can highly be said for “The Refuge Plays” as the spirits provide not only guidance, but provide a layer of security too. We learn through “The Refuge Plays” that solace is not just found in a place, but with people.
“The Refuge Plays” is a thought-provoking production that explores resilience, identity, and the enduring power of family bonds. Through its powerful storytelling and themes, it celebrates a family who have survived hardships to create a better life for themselves. This life starts with the actions of their matriarch who never gave up in the face of adversity.
The runtime for The Refuge Plays is 3 hours and 20 minutes. The production is running now at the Harold and Miriam Steinberg Center for Theatre until November 12.
The cast of JaJa’s African Hair Braiding received a warm standing ovation after putting on a stellar performance at the Samuel J Friedman Theatre in New York. This comedic play had audiences share lots of laughter as the show told a remarkable story through the lens of Ghanaian-American playwright, Jocelyn Bioh.
Jaja’s African Hair Braiding follows an eclectic group of West African immigrant hair braiders creating masterpieces on the heads of neighborhood women over the course of a day. This bustling hair braiding salon in Harlem is home to black women who not only are in need of a protective style but also their daily fix of community gossip. As the story unfolds, we get a sneak peek into the lives of this tight-knit community while they confront what it means to be an outsider on the edge of the place they call home.
The outstanding performance of this ensemble gets five stars as each character didn’t fail to make a lasting impression on the viewers. The play opens up with Marie, played by actress Dominique Thorne, running late from having insufficient funds on her MetroCard — The joys of living in New York. Marie, who although wants to secretly be a writer, runs the shop for her mother, Jaja (Somi Kakoma). Joining her was Miriam (played by Brittany Adebumola), a quiet but fierce Sierra Leonian who also is pretty hands-on at the salon.
After finally opening the front gate, we immediately see the stage transform into a dazzling African braiding salon. This production set captures very intricate details that mimic a real-life braiding shop you would see in most cities, From the array of hair photos plastered on the walls, to the packs of braiding hair hung for customers to choose from. Seeing the characters interacting with their environment added a nice touch making audience members feel as if they were eavesdropping in on the gossip.
Hairdressers Bea (Zenzi Williams) and Aminata (Nana Mensah) completely stole the show the moment they stepped on stage. They both serve as comedic relief in the play and kept audiences entertained with their reckless banter. Ndidi (Maechi Aharanwa) is the other hairdresser that works at JaJa’s hair shop, braiding the fastest and makes the most money. This of course causes conflict with Bea, a veteran braider, who often times feels unappreciated as Ndidi gains a new client.
Throughout the story, we see the different types of pesky customers the braiders had to encounter during their salon visits. Jennifer (played by actress Rachel Christopher), was one of the customers who had front row seats to the circus that went on at the shop. Her facial expressions watching the chaos unfolds represents what the audience members felt in those crucial moments of conflict. Actresses Kalyne Coleman and Lakisha May did a fantastic job embodying those very pesky customers. With each encounter, we learned more and more about the interesting dynamic between the hair braiders while they all try to achieve the same goal — living the American dream. Actor Michael Oloyede made unforgettable appearances playing hilarious characters that sell random items to the ladies like socks, DVD’s, and even Jewelry. Again — the joys of living in New York.
The Afrobeats music playing in between scene transitions added another layer of authenticity that brought the story together. We got to hear some song from today’s mainstream African artist and the audience couldn’t help but catch the rhythm from their seats.
It’s admirable that even though the story was told from the perspective of Africans, it still hits home for many who experience life as an immigrant or being a child of an immigrant.
Now, for the star of the show, the phenomenal wig designs! These wigs were designed by Nikiya Mathis and each hair had a unique look that shows the diversity of protective styles we often see black women rock in modern-day society. Whether it be the straight-back cornrows with the designs or small (and time-consuming) micro braids, we know the African aunties are going to have their customers leaving the salon satisfied.
JaJa’s African Hair Braiding has been extended to November 5th and you can purchase your tickets online or at the Samuel J. Friedman Theater.
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!
UPDATE: The run of Jaja’s African Hair Braiding has been extended for a second time, making the new closing date November 19. Click here for tickets!
In the dimly lit theater, a lava lamp background casts an otherworldly glow as a bright spotlight illuminates a motorcycle center stage.
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.
The Steven Spielberg multi-verse continues to expand.
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.