The Mentee
By Steven Fechter; Directed by Thom Fogarty
Off Off Broadway, New Play
Runs through 10.28.12
The Bridge Theatre @ Shetler Studios, 244 W. 54th Street
by Benjamin Coleman on 10.22.12
for www.theasy.com
Lulu Fogarty, Walter Brandes, and Christine Verleny in THE MENTEE. Photo by Carolina Kroon.
BOTTOM LINE: A mother, a daughter, and the man who unexpectedly comes into their lives, occupy the stage in this wrenching new play that blurs the line between truth and illusion.
Who's Afraid of Virginia Woolf is not the only play in New York City concerned with blurring the lines between truth and illusion. In the modest black box occupied by the Bridge Theatre on 54th Street, a new play, The Mentee, has its small ensemble tearing at each other, determined to expose truths and lies, or at the very least feel that bit of vindication from spewing their venomous words. Steven Fechter's play lives in the gap between naturalism and expressionism, and jerks the audience between these styles as it weaves together stark truthfulness and heightened poetry. One may leave the theatre unsure about the actuality of the play's events, but the bitter impact of the evening will linger, like a strong shot of Irish whiskey as it burns after being gulped down.
The play begins on the porch of Dana's (Christine Verleny) house as her daughter, Mel (Lulu Fogarty) calls for her lost cat. It is a sunny day in upstate New York, but a tiny cloud sits on the horizon; an ominous harbinger of the storm that awaits. As the clouds roll in, an unusual guest appears at their doorstep. Even though the stranger claims to know both women, neither can recall the man. It is shortly revealed that the man is Chet (Walter Brandes), who was the protege (or mentee) of the family's late patriarch. Chet, a poet, has come to uncover the lost manuscripts of Dana's husband, who committed suicide ten years earlier. The three characters battle over each other's affection, as Chet tries to absorb the life and family of his late mentor. Stories overlap and the characters contradict each other until everyone is turned upside down, rendering the truth as cloudy as the sky above.
There is something inherently theatrical about the play itself; it leaps from moments of quiet, to grand and horrific storytelling. Thom Fogarty's stylized direction harnesses Fechter's artistic voice, and causes his actors to interact earnestly at times, and at others deliver their dialogue faced out to the audience, severing their personal connections. This disconnect allows the production to draw attention to those moments when characters savagely cut into each other, and the effect is powerful and rightfully exhausting.
The full-blooded performances by the actors stand out against the black walls and the two-dimensional chalk-drawn set (by Mark Demaio). Verleny's callous performance as the stretched-too-thin mother, has an earthy quality that collides with Brandes's Chet who brings a poetic loftiness to his role. As the disturbed daughter Mel, Ms. Fogarty (the daughter of the director), commands the stage with her drastic character shifts. Sweet and seductive one moment and cruel and biting the next, Fogarty's performance is an emotional roller coaster, and she demands that we ride with her.
The Mentee is not what one may call an "enjoyable" night in the theatre per say. It is a nasty little play, and by the end of the performance the audience may feel as though they too were put through the ringer. But when shows like ...Virginia Woolf, Death of a Salesman, Cat on a Hot Tin Roof, etc. reappear on Broadway every few years, we have to admit that we theatre folk enjoy the self-flagellation of sitting through painfully wrenching dramas. The Mentee is a similar experience, difficult and confounding at times, but worth the wounds.
(The Mentee is part of Other Side Productions and plays at The Bridge Theatre @ Shetler Studios, 244 W. 54th Street, 12th floor, through October 28, 2012. Performances are Wednesdays, Thursdays, and Fridays at 7pm, Saturdays at 2pm & 7pm, and Sundays at 3pm. Tickets are $18. For reservations call 212-924-4142.)
By Steven Fechter; Directed by Thom Fogarty
Off Off Broadway, New Play
Runs through 10.28.12
The Bridge Theatre @ Shetler Studios, 244 W. 54th Street
- An emotionally draining evening of family turmoil
- The play lives in a heightened state of reality
- Strong performances, with standout Lulu Fogarty
by Benjamin Coleman on 10.22.12
for www.theasy.com
Lulu Fogarty, Walter Brandes, and Christine Verleny in THE MENTEE. Photo by Carolina Kroon.
BOTTOM LINE: A mother, a daughter, and the man who unexpectedly comes into their lives, occupy the stage in this wrenching new play that blurs the line between truth and illusion.
Who's Afraid of Virginia Woolf is not the only play in New York City concerned with blurring the lines between truth and illusion. In the modest black box occupied by the Bridge Theatre on 54th Street, a new play, The Mentee, has its small ensemble tearing at each other, determined to expose truths and lies, or at the very least feel that bit of vindication from spewing their venomous words. Steven Fechter's play lives in the gap between naturalism and expressionism, and jerks the audience between these styles as it weaves together stark truthfulness and heightened poetry. One may leave the theatre unsure about the actuality of the play's events, but the bitter impact of the evening will linger, like a strong shot of Irish whiskey as it burns after being gulped down.
The play begins on the porch of Dana's (Christine Verleny) house as her daughter, Mel (Lulu Fogarty) calls for her lost cat. It is a sunny day in upstate New York, but a tiny cloud sits on the horizon; an ominous harbinger of the storm that awaits. As the clouds roll in, an unusual guest appears at their doorstep. Even though the stranger claims to know both women, neither can recall the man. It is shortly revealed that the man is Chet (Walter Brandes), who was the protege (or mentee) of the family's late patriarch. Chet, a poet, has come to uncover the lost manuscripts of Dana's husband, who committed suicide ten years earlier. The three characters battle over each other's affection, as Chet tries to absorb the life and family of his late mentor. Stories overlap and the characters contradict each other until everyone is turned upside down, rendering the truth as cloudy as the sky above.
There is something inherently theatrical about the play itself; it leaps from moments of quiet, to grand and horrific storytelling. Thom Fogarty's stylized direction harnesses Fechter's artistic voice, and causes his actors to interact earnestly at times, and at others deliver their dialogue faced out to the audience, severing their personal connections. This disconnect allows the production to draw attention to those moments when characters savagely cut into each other, and the effect is powerful and rightfully exhausting.
The full-blooded performances by the actors stand out against the black walls and the two-dimensional chalk-drawn set (by Mark Demaio). Verleny's callous performance as the stretched-too-thin mother, has an earthy quality that collides with Brandes's Chet who brings a poetic loftiness to his role. As the disturbed daughter Mel, Ms. Fogarty (the daughter of the director), commands the stage with her drastic character shifts. Sweet and seductive one moment and cruel and biting the next, Fogarty's performance is an emotional roller coaster, and she demands that we ride with her.
The Mentee is not what one may call an "enjoyable" night in the theatre per say. It is a nasty little play, and by the end of the performance the audience may feel as though they too were put through the ringer. But when shows like ...Virginia Woolf, Death of a Salesman, Cat on a Hot Tin Roof, etc. reappear on Broadway every few years, we have to admit that we theatre folk enjoy the self-flagellation of sitting through painfully wrenching dramas. The Mentee is a similar experience, difficult and confounding at times, but worth the wounds.
(The Mentee is part of Other Side Productions and plays at The Bridge Theatre @ Shetler Studios, 244 W. 54th Street, 12th floor, through October 28, 2012. Performances are Wednesdays, Thursdays, and Fridays at 7pm, Saturdays at 2pm & 7pm, and Sundays at 3pm. Tickets are $18. For reservations call 212-924-4142.)
BAD CONNECTIONS?
Review: Bad Connections? (directed by Thom Fogarty) 2012 Toronto Fringe Review by Crystal Wood
Stop. Look. Listen. I almost feel like I should thank Bad Connections? for reminding me to do this in my daily life. This solo show by New York playwright Michael Levesque is all about stopping and listening, to avoid the miscommunications that we all experience.
Paul Cosentino plays nine interrelated characters, from a new-age guru to a pregnant woman to a 4-year old boy, all dealing with a variety of personal issues. The play starts out as a series of monologues, but really picks up the pace in the second half when the characters interact and Cosentino is playing two-handers opposite himself.
I thought it was a really interesting choice to have one actor play all the roles, because it highlights the fact that we need to try harder to understand both sides of any conversation. The sets and sound are minimalist, just Cosentino alone onstage with a chair, so it’s all in the characters and performance to hold our attention.
Here is where I think Cosentino really delivers; he shifts personalities with excellent timing, being both funny and dramatic as the scenes dictate. I especially enjoyed one scene in which he describes what it’s like for a woman in her 50’s to feel ignored by society. In another male actor’s hands, this scene could come off as a patronizing caricature, but Cosentino is completely believable and sympathetic.
If there is one thing I could say against Bad Connections? – and it’s really a minor thing – it’s that the Fringe guide lists it as a comedy/drama. Though there are a handful of funny moments, there are many more quiet and contemplative ones, so I felt it was solidly in the “drama” category.
Stop. Look. Listen… Om…
__________________________________
Review: Sandra Carr for the Orlando Sentinel - May 25, 2012
Chosen One of the ORLANDO FRINGE FESTIVAL'S TEN BEST
Actor Paul Cosentino portrays nine interrelated New York characters experiencing loss, pain, understanding and forgiveness while soul-searching and seeking happiness in playwright Michael Levesque's "Bad Connections?"
The story begins with a yoga instructor reminding his class, as well as the audience, to stop, look and listen and think about the connections made that day.
Cosentino mesmerizes as he brings the characters to life with only chairs and lighting changes to enhance the scene's mood.
His characters are diverse: He brilliantly portrays a gay yoga instructor, a pregnant African-American woman, a middle-aged Jewish wife to an anxious Italian man trying to let go of his past. The characters show us that we're all connected through the good and bad times — though we may have to make some changes along the way.
The production reminded me of the movie “Magnolia,” in which interweaving characters and stories come together -- except the film didn’t have masterful Cosentino. Make a connection with this gem and witness Cosentino’s hilarious, heartfelt and unforgettable show.
Make a connection with this gem and witness Cosentino's hilarious, heartfelt and unforgettable show.
Review: Bad Connections? (directed by Thom Fogarty) 2012 Toronto Fringe Review by Crystal Wood
Stop. Look. Listen. I almost feel like I should thank Bad Connections? for reminding me to do this in my daily life. This solo show by New York playwright Michael Levesque is all about stopping and listening, to avoid the miscommunications that we all experience.
Paul Cosentino plays nine interrelated characters, from a new-age guru to a pregnant woman to a 4-year old boy, all dealing with a variety of personal issues. The play starts out as a series of monologues, but really picks up the pace in the second half when the characters interact and Cosentino is playing two-handers opposite himself.
I thought it was a really interesting choice to have one actor play all the roles, because it highlights the fact that we need to try harder to understand both sides of any conversation. The sets and sound are minimalist, just Cosentino alone onstage with a chair, so it’s all in the characters and performance to hold our attention.
Here is where I think Cosentino really delivers; he shifts personalities with excellent timing, being both funny and dramatic as the scenes dictate. I especially enjoyed one scene in which he describes what it’s like for a woman in her 50’s to feel ignored by society. In another male actor’s hands, this scene could come off as a patronizing caricature, but Cosentino is completely believable and sympathetic.
If there is one thing I could say against Bad Connections? – and it’s really a minor thing – it’s that the Fringe guide lists it as a comedy/drama. Though there are a handful of funny moments, there are many more quiet and contemplative ones, so I felt it was solidly in the “drama” category.
Stop. Look. Listen… Om…
__________________________________
Review: Sandra Carr for the Orlando Sentinel - May 25, 2012
Chosen One of the ORLANDO FRINGE FESTIVAL'S TEN BEST
Actor Paul Cosentino portrays nine interrelated New York characters experiencing loss, pain, understanding and forgiveness while soul-searching and seeking happiness in playwright Michael Levesque's "Bad Connections?"
The story begins with a yoga instructor reminding his class, as well as the audience, to stop, look and listen and think about the connections made that day.
Cosentino mesmerizes as he brings the characters to life with only chairs and lighting changes to enhance the scene's mood.
His characters are diverse: He brilliantly portrays a gay yoga instructor, a pregnant African-American woman, a middle-aged Jewish wife to an anxious Italian man trying to let go of his past. The characters show us that we're all connected through the good and bad times — though we may have to make some changes along the way.
The production reminded me of the movie “Magnolia,” in which interweaving characters and stories come together -- except the film didn’t have masterful Cosentino. Make a connection with this gem and witness Cosentino’s hilarious, heartfelt and unforgettable show.
Make a connection with this gem and witness Cosentino's hilarious, heartfelt and unforgettable show.
The Artifacts by Steven Fechter April 2012
Review: THE ARTIFACTS reviewed by Martin Denton · April 18, 2012
Written By Steven Fechter
Directed By Thom Fogarty
Starring: Armand Anthony, Lulu Fogarty*, Caitlin Rose McMahon and Amy Newhall
If you just happened to meet Laura Wingfield one day, would she know that her glass menagerie was a symbol of her own fragility and uniqueness?
This is one of the potent ideas in Steven Fechter's engaging and entertaining new play The Artifacts, which is debuting this month courtesy of Other Side Productions and Thom Fogarty, who also directs. It's a play with a neat premise: a young theatre graduate student, Beth, is taking her comprehensive exams, and during the test she is visited by Ibsen's Hedda Gabler and Strindberg's Miss Julie. Of course, it's one thing for a playwright to get a cool idea and quite another to actually develop something interesting and rewarding from such an idea. Happily, Fechter delivers. The play is great fun to watch and also loaded with intriguing notions that will keep audience members reflecting and discussing for hours after the curtain comes down.
Obviously, a good play needs some conflict, and Fechter doesn't rely on the 19th century masters for that. Beth's antagonist is Professor Nelson, a middle-aged hack who embodies everything that's disappointing in the world of academic theatre. He brags about how he once had lunch with Beckett and gleefully tears down works of theatrical art simply because he can. Hedda, he declares (for example), only makes sense if portrayed by a man—much to the consternation of the lady herself, who happens to be standing right there in the room with him when he makes this silly pronouncement.
Fechter goes much deeper in The Artifacts than to simply puncture the presumptuous pomposity of the talentless. He's interested here in separating a work of art from its creator, and appreciating a work of art on its terms rather than within any kind of imposed framework or context. Shouldn't the greatest of plays (like Hedda and Miss Julie) be fundamentally visceral rather than purely intellectualized experiences?
Fogarty's production is lean, quickly paced, and always interesting. Selections from "Blue" Gene Tyranny's latest album provide striking musical background for the proceedings. The cast does fine work, with Lulu Fogarty and Caitlin Rose McMahon standing out as Julie and Hedda, respectively, perhaps because they play so strongly to our own expectations of these women; Amy Newhall and Armand Anthony bring vivid life to the modern characters of Beth and Professor Nelson.
The place where Fechter ultimately takes Beth and us in the play surprised me. I appreciated how much I had to react to and think about when The Artifacts was through.
reviewed by Martin Denton · April 18, 2012
Review: THE ARTIFACTS reviewed by Martin Denton · April 18, 2012
Written By Steven Fechter
Directed By Thom Fogarty
Starring: Armand Anthony, Lulu Fogarty*, Caitlin Rose McMahon and Amy Newhall
If you just happened to meet Laura Wingfield one day, would she know that her glass menagerie was a symbol of her own fragility and uniqueness?
This is one of the potent ideas in Steven Fechter's engaging and entertaining new play The Artifacts, which is debuting this month courtesy of Other Side Productions and Thom Fogarty, who also directs. It's a play with a neat premise: a young theatre graduate student, Beth, is taking her comprehensive exams, and during the test she is visited by Ibsen's Hedda Gabler and Strindberg's Miss Julie. Of course, it's one thing for a playwright to get a cool idea and quite another to actually develop something interesting and rewarding from such an idea. Happily, Fechter delivers. The play is great fun to watch and also loaded with intriguing notions that will keep audience members reflecting and discussing for hours after the curtain comes down.
Obviously, a good play needs some conflict, and Fechter doesn't rely on the 19th century masters for that. Beth's antagonist is Professor Nelson, a middle-aged hack who embodies everything that's disappointing in the world of academic theatre. He brags about how he once had lunch with Beckett and gleefully tears down works of theatrical art simply because he can. Hedda, he declares (for example), only makes sense if portrayed by a man—much to the consternation of the lady herself, who happens to be standing right there in the room with him when he makes this silly pronouncement.
Fechter goes much deeper in The Artifacts than to simply puncture the presumptuous pomposity of the talentless. He's interested here in separating a work of art from its creator, and appreciating a work of art on its terms rather than within any kind of imposed framework or context. Shouldn't the greatest of plays (like Hedda and Miss Julie) be fundamentally visceral rather than purely intellectualized experiences?
Fogarty's production is lean, quickly paced, and always interesting. Selections from "Blue" Gene Tyranny's latest album provide striking musical background for the proceedings. The cast does fine work, with Lulu Fogarty and Caitlin Rose McMahon standing out as Julie and Hedda, respectively, perhaps because they play so strongly to our own expectations of these women; Amy Newhall and Armand Anthony bring vivid life to the modern characters of Beth and Professor Nelson.
The place where Fechter ultimately takes Beth and us in the play surprised me. I appreciated how much I had to react to and think about when The Artifacts was through.
reviewed by Martin Denton · April 18, 2012
DESDEMONA by PAULA VOGEL September 2011
Review: DESDEMONA - A Play About A Handkerchief
Written By Paula Vogel
Directed By Thom Fogarty
Starring: Lulu Fogarty, Colista K. Turner and Christine Verleny
Director Thom Fogarty has a gift for finding reimagined works by hugely talented writers and reimagining them one step further with his own quirky and dramatic twists. This visionary director also has an inherent gift for making the very most with the very least by staging his productions with minimal scenery and maximum storytelling. I believe one of his greatest gifts is being able to corral a gifted cast to carry out his vision.
Desdemona is now the third production of Fogarty’s that I’ve had the pleasure to see and his work is only getting stronger. The first play I saw that Mr. Fogarty directed was MOMENTS AND LEMONS, by Fred Giacinto. Here Fogarty took a two actor piece, involving eight characters, and a set consisting of two chairs and created a world so full, that we, the viewers, felt as though there were eight different people on a stage full of scenery and props. Next up was his production of EURYDICE, by Sarah Ruhl. This production featured a few more props (very few) but because of the staging and acute direction, we were transported from New York City to Hell (some might consider this one in the same) and back so effortlessly that again the black-box theater stage felt as full as any Broadway production and the very same applies to DESDEMONA.
With little more than a table, a clothesline and a basket of continuously folded laundry, nimble direction and stellar acting transports us exactly where the director wants us to be. This Desdemona, (Lulu Fogarty) is a bit of a tart to say the least, and the main character is skillfully brought to life by the gifted Ms.Fogarty who manages to capture a naughty and slightly naive Desdemona, all the while being judged and lectured by her condescending servant Emilia in an inspired performance by Colista K. Turner. These two characters handle most of the stories heavy lifting until two thirds of the way into the show when we are introduced to Desdemona’s friend and temptress Bianca played with (almost) over the top exuberance by Christine Verleny. When these three power-houses are on stage at the same time, one could almost envision Meryl Streep, Bette Davis and Alfre Woodard tearing it up, that’s how good they are together, but it is the confidence in their craft and their generosity as actresses that shines through as they share the stage, as opposed to trying to hold it hostage from one another. I don’t want to give much away here but the lest me say that the last two or three minutes of this show are simply dramatically and artistically breathtaking!!!
As I mentioned earlier, the casting of Thom Fogarty’s productions is a major key to their success both artistically and spiritually. Although most of the major players change from each production, the one constant is oddly enough, Fogarty’s own daughter Lulu Fogarty. This may seem like a Francis Coppola sized case of nepotism on the surface but the fact that Ms. Fogarty is such a massive talent quickly dismisses that notion.
Armed with a BFA from Syracuse University, Lulu Fogarty is a force to be reckoned with. Her dramatic skills are underscored by her ability to carry any production and not chew the scenery. She has a subtle restraint that belies her years, young in age and yet she seems as seasoned an actress as one could find. It’s striking how this unusual paring of father and daughter works on so many levels. It’s obvious that both of these professionals are able to separate familial ties to create their art and yet draw on a comfort, and trust only a bond this tight could enjoy, not an easy balancing act I’m sure, but one that is carried out perfectly. Please by any means necessary see DESDEMONA and if you’re not able to, make sure to keep your eyes open for the next production by Thom Fogarty, and with a little luck perhaps Lulu will be it’s star. You WILL NOT be disappointed.
Mark DeMaio, Editor
Soho Journal Online
Oct. 2011
[This review was not published]
Written By Paula Vogel
Directed By Thom Fogarty
Starring: Lulu Fogarty, Colista K. Turner and Christine Verleny
Director Thom Fogarty has a gift for finding reimagined works by hugely talented writers and reimagining them one step further with his own quirky and dramatic twists. This visionary director also has an inherent gift for making the very most with the very least by staging his productions with minimal scenery and maximum storytelling. I believe one of his greatest gifts is being able to corral a gifted cast to carry out his vision.
Desdemona is now the third production of Fogarty’s that I’ve had the pleasure to see and his work is only getting stronger. The first play I saw that Mr. Fogarty directed was MOMENTS AND LEMONS, by Fred Giacinto. Here Fogarty took a two actor piece, involving eight characters, and a set consisting of two chairs and created a world so full, that we, the viewers, felt as though there were eight different people on a stage full of scenery and props. Next up was his production of EURYDICE, by Sarah Ruhl. This production featured a few more props (very few) but because of the staging and acute direction, we were transported from New York City to Hell (some might consider this one in the same) and back so effortlessly that again the black-box theater stage felt as full as any Broadway production and the very same applies to DESDEMONA.
With little more than a table, a clothesline and a basket of continuously folded laundry, nimble direction and stellar acting transports us exactly where the director wants us to be. This Desdemona, (Lulu Fogarty) is a bit of a tart to say the least, and the main character is skillfully brought to life by the gifted Ms.Fogarty who manages to capture a naughty and slightly naive Desdemona, all the while being judged and lectured by her condescending servant Emilia in an inspired performance by Colista K. Turner. These two characters handle most of the stories heavy lifting until two thirds of the way into the show when we are introduced to Desdemona’s friend and temptress Bianca played with (almost) over the top exuberance by Christine Verleny. When these three power-houses are on stage at the same time, one could almost envision Meryl Streep, Bette Davis and Alfre Woodard tearing it up, that’s how good they are together, but it is the confidence in their craft and their generosity as actresses that shines through as they share the stage, as opposed to trying to hold it hostage from one another. I don’t want to give much away here but the lest me say that the last two or three minutes of this show are simply dramatically and artistically breathtaking!!!
As I mentioned earlier, the casting of Thom Fogarty’s productions is a major key to their success both artistically and spiritually. Although most of the major players change from each production, the one constant is oddly enough, Fogarty’s own daughter Lulu Fogarty. This may seem like a Francis Coppola sized case of nepotism on the surface but the fact that Ms. Fogarty is such a massive talent quickly dismisses that notion.
Armed with a BFA from Syracuse University, Lulu Fogarty is a force to be reckoned with. Her dramatic skills are underscored by her ability to carry any production and not chew the scenery. She has a subtle restraint that belies her years, young in age and yet she seems as seasoned an actress as one could find. It’s striking how this unusual paring of father and daughter works on so many levels. It’s obvious that both of these professionals are able to separate familial ties to create their art and yet draw on a comfort, and trust only a bond this tight could enjoy, not an easy balancing act I’m sure, but one that is carried out perfectly. Please by any means necessary see DESDEMONA and if you’re not able to, make sure to keep your eyes open for the next production by Thom Fogarty, and with a little luck perhaps Lulu will be it’s star. You WILL NOT be disappointed.
Mark DeMaio, Editor
Soho Journal Online
Oct. 2011
[This review was not published]
BAD CONNECTIONS? by MICHAEL LEVESQUE SUMMER 2010
“MESMERIZING” – EDMONTON JOURNAL
“PITCH-PERFECT PERFORMANCE!” – Bryant Kirkland
“A Truly Satisfying Piece of Theatre” – A. Steed, Los Angeles Theater Review
THE EDMONTON JOURNAL
Reviewed by: Richard Helm Venue: Stage 10, Acacia Hall Rating: 5 stars
The first truly mesmerizing performance I’ve witnessed at this Fringe transports us to rainy day Manhattan and a cast of characters wounded by the ragged shear of love.
These sort of shows seem to pop up every other year at the festival — solo efforts by some adrenalin junky who conjures up a dizzying array of multiple players on the stage. Three years back, American comedienne Susan Jeremy animated a cast of 20-plus characters in P.S. 69, her one-woman tribute to life as a New York substitute teacher.
The whirlwind of theatrics is always impressive but sometimes the work can come off as a bit of a stunt. Well, the Paul Cosentino show now spellbinding Acacia Hall is no stunt. The moment-to-moment veracity that this California actor packs in every scene actually pulls you to the edge of your seat.
At first they seem a random bunch, these nine souls that Cosentino brings to life on a barren stage, largely due to their differences. The first character we meet is a guru, one of those placid beneficients so mellow and calming you might find yourself actually following along with his deep-breathing cues. The next is a pregnant Puerto Rican woman spitting fire into a subway pay phone after losing her purse. There’s a sad cardiologist, his woefully unfulfilled, woefully Jewish wife; a young Italian shopkeeper and his ailing grandfather; a child who’s seen a bit too much of the household drama; and a yoga instructor with his stuff locked down so tight and true he’d never dream of admitting that he’s absolutely miserable.
There are a lot of laughs with this self-deprecating bunch, as their various missed connections and evolving relationships weave slowly and intricately to the dramatic climax, and it’s to Cosentino’s great credit — as well as playwright Michael Levesque — that our anticipation builds unbearably for those moments when one character crashes into another.
Read more: http://www.edmontonjournal.com/entertainment/festivals/3301893/story.html#ixzz0x4Poo9Ho
___________________________________________________________________________________________
EDMONTON SUN
BAD CONNECTIONS? — 5 out of 5 Reviewed By CHAD HUCULAK August 19, 2010
“The universe is perfect,” announces an East Indian guru to the audience gathered to see Bad Connections?, “and if you are here it was because you were meant to.”
Stop, look, listen — the universe is trying to tell you something: try and nab a ticket to the one man show Bad Connections?
Paul Cosentino plays “nine eccentric New Yorkers” on a rainy Manhattan day in the play directed by Thom Fogarty. Don’t read into “eccentric” as being sitcom archetypes, rather these characters are each fully-defined thanks to Cosentino’s breathtaking skill at switching from one voice to the next.
A diverse assortment of hapless beings are on display: the after-mentioned guru, a sassy pregnant Puerto Rican woman unleashing obscenities to everyone within earshot after losing her purse; a wise-guy Italian shopkeeper wrestling with his dying grandfather; a young boy innocent to the turmoil overtaking his family; a doctor who can seemingly help others but not himself and his Jewish wife who yearns for some attention; and a gay yoga instructor trying hard to keep his life together.
All live separate lives yet they are connected through their actions and the forces of fate.
Characters wrestle with their feelings while on the phone, face to face, or in Catholic confession.
“I don’t take pleasure in making you cry,” the doctor tries to make clear to his wife, who has admitted to her therapist that she’s become the Invisible Woman in her 50s.
The ailing man confides to the other patient in his hospital room about “seeing the light” and looks forward to passing to a place where “you’re always forgiven.”
During a downward facing dog stretch, the yoga instructor frets over his secret lover’s indecisiveness: “What’s the point of having free will if you don’t exercise it?”
Sometimes their lines of communication break down, but as the guru says, “the connections either help or hinder you.”
Playwright Michael Levesque builds the storylines until the crucial juncture where everyone comes together. No detail is overlooked, even a simple pair of Pez dispensers carry significance that becomes apparent as the 90-minute play unfolds. Cosentino proves to be a master of his craft as he handles every accent and nuance with flair. Excited audience members were seen after the show counting the different characters with their fingers, recalling favourite lines.
“Miracles don’t happen, they are always there,” the guru reiterates to the audience towards the end.
Bad Connections? is a miracle of theatre, a Fringe connection you must make.
___________________________________________________________________________________________
LA THEATRE REVIEW
BAD CONNECTIONS? by Ashley Steed June 25, 2010 Five out of five.
Stop. Look. Listen. Sage advice from the placid, amiable guru who serves as an anchor in the interweaving lives of the 8 other characters – each played distinctly by Paul Cosentino. The guru asks the class participants to think over the connections they’ve made that day and to look deeper. From the middle-aged Jewish wife, to the young pregnant black girl, to the gay Yoga instructor – these characters remind us that we’re all connected.
Michael Levesque’s script craftily interweaves the story lines, each one beginning where the previous one leaves off, eventually building up to interaction between characters. With Thom Fogarty’s simple and genuine direction, Cosentino seamlessly flows from one
Although the script is not perfect (at times the text is contrived and the ending needs sharpening) between Cosentino’s stage presence and the humor that catches you off guard, it is a truly satisfying piece of theatre.
The show relies heavily on Cosentino’s acting prowess with subtle lighting shifts to set each scene. There are no gimmicks, highly charged dialogue or even that much action – what there is, however, is a reminder that there is no such thing as a bad connection. That if we take the time to stop, look and listen, then maybe we can get through.
“PITCH-PERFECT PERFORMANCE!” – Bryant Kirkland
“A Truly Satisfying Piece of Theatre” – A. Steed, Los Angeles Theater Review
THE EDMONTON JOURNAL
Reviewed by: Richard Helm Venue: Stage 10, Acacia Hall Rating: 5 stars
The first truly mesmerizing performance I’ve witnessed at this Fringe transports us to rainy day Manhattan and a cast of characters wounded by the ragged shear of love.
These sort of shows seem to pop up every other year at the festival — solo efforts by some adrenalin junky who conjures up a dizzying array of multiple players on the stage. Three years back, American comedienne Susan Jeremy animated a cast of 20-plus characters in P.S. 69, her one-woman tribute to life as a New York substitute teacher.
The whirlwind of theatrics is always impressive but sometimes the work can come off as a bit of a stunt. Well, the Paul Cosentino show now spellbinding Acacia Hall is no stunt. The moment-to-moment veracity that this California actor packs in every scene actually pulls you to the edge of your seat.
At first they seem a random bunch, these nine souls that Cosentino brings to life on a barren stage, largely due to their differences. The first character we meet is a guru, one of those placid beneficients so mellow and calming you might find yourself actually following along with his deep-breathing cues. The next is a pregnant Puerto Rican woman spitting fire into a subway pay phone after losing her purse. There’s a sad cardiologist, his woefully unfulfilled, woefully Jewish wife; a young Italian shopkeeper and his ailing grandfather; a child who’s seen a bit too much of the household drama; and a yoga instructor with his stuff locked down so tight and true he’d never dream of admitting that he’s absolutely miserable.
There are a lot of laughs with this self-deprecating bunch, as their various missed connections and evolving relationships weave slowly and intricately to the dramatic climax, and it’s to Cosentino’s great credit — as well as playwright Michael Levesque — that our anticipation builds unbearably for those moments when one character crashes into another.
Read more: http://www.edmontonjournal.com/entertainment/festivals/3301893/story.html#ixzz0x4Poo9Ho
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EDMONTON SUN
BAD CONNECTIONS? — 5 out of 5 Reviewed By CHAD HUCULAK August 19, 2010
“The universe is perfect,” announces an East Indian guru to the audience gathered to see Bad Connections?, “and if you are here it was because you were meant to.”
Stop, look, listen — the universe is trying to tell you something: try and nab a ticket to the one man show Bad Connections?
Paul Cosentino plays “nine eccentric New Yorkers” on a rainy Manhattan day in the play directed by Thom Fogarty. Don’t read into “eccentric” as being sitcom archetypes, rather these characters are each fully-defined thanks to Cosentino’s breathtaking skill at switching from one voice to the next.
A diverse assortment of hapless beings are on display: the after-mentioned guru, a sassy pregnant Puerto Rican woman unleashing obscenities to everyone within earshot after losing her purse; a wise-guy Italian shopkeeper wrestling with his dying grandfather; a young boy innocent to the turmoil overtaking his family; a doctor who can seemingly help others but not himself and his Jewish wife who yearns for some attention; and a gay yoga instructor trying hard to keep his life together.
All live separate lives yet they are connected through their actions and the forces of fate.
Characters wrestle with their feelings while on the phone, face to face, or in Catholic confession.
“I don’t take pleasure in making you cry,” the doctor tries to make clear to his wife, who has admitted to her therapist that she’s become the Invisible Woman in her 50s.
The ailing man confides to the other patient in his hospital room about “seeing the light” and looks forward to passing to a place where “you’re always forgiven.”
During a downward facing dog stretch, the yoga instructor frets over his secret lover’s indecisiveness: “What’s the point of having free will if you don’t exercise it?”
Sometimes their lines of communication break down, but as the guru says, “the connections either help or hinder you.”
Playwright Michael Levesque builds the storylines until the crucial juncture where everyone comes together. No detail is overlooked, even a simple pair of Pez dispensers carry significance that becomes apparent as the 90-minute play unfolds. Cosentino proves to be a master of his craft as he handles every accent and nuance with flair. Excited audience members were seen after the show counting the different characters with their fingers, recalling favourite lines.
“Miracles don’t happen, they are always there,” the guru reiterates to the audience towards the end.
Bad Connections? is a miracle of theatre, a Fringe connection you must make.
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LA THEATRE REVIEW
BAD CONNECTIONS? by Ashley Steed June 25, 2010 Five out of five.
Stop. Look. Listen. Sage advice from the placid, amiable guru who serves as an anchor in the interweaving lives of the 8 other characters – each played distinctly by Paul Cosentino. The guru asks the class participants to think over the connections they’ve made that day and to look deeper. From the middle-aged Jewish wife, to the young pregnant black girl, to the gay Yoga instructor – these characters remind us that we’re all connected.
Michael Levesque’s script craftily interweaves the story lines, each one beginning where the previous one leaves off, eventually building up to interaction between characters. With Thom Fogarty’s simple and genuine direction, Cosentino seamlessly flows from one
Although the script is not perfect (at times the text is contrived and the ending needs sharpening) between Cosentino’s stage presence and the humor that catches you off guard, it is a truly satisfying piece of theatre.
The show relies heavily on Cosentino’s acting prowess with subtle lighting shifts to set each scene. There are no gimmicks, highly charged dialogue or even that much action – what there is, however, is a reminder that there is no such thing as a bad connection. That if we take the time to stop, look and listen, then maybe we can get through.
Playing with Time
by Kelly Aliano for OFFOFFONLINE
Moments and Lemons reviewed February 19, 2010
Moments and Lemons, written by Fred Giacinto and directed by Thom Fogarty, is a truly meaningful work of theater. The performance is made from the bare bones elements of performance -- two actors, four chairs, some basic lighting tricks, a superb story to convey, and a beautiful utilization of a theater space -- but the result is so much greater than just the sum of its parts.
Tony King plays Casper, a man who is bent on telling the audience his life story. He comes on with some hesitation and is egged on by Jessica Day, who portrays Pepper. Casper is willing to carry on with his tale so long as she agrees to enact every part in the play he is constructing, beside his own. She agrees, and we in the audience are lucky she does.
The forward moving action is told in and out of time; Casper tells an anecdote and then jumps years ahead in time for his next detail, then steps out of the story completely to comment on the events with Pepper, who often also stands outside of the narrative frame. Casper's story is a difficult one: he speaks of his dog's death, his father's paralyzing and ultimately fatal accident, his tumultuous affairs, and his all-too-well-remembered stint in prison. It is this episode, more than any other, that he suggests had the power to define who he was and who he would become. Yet, his trying and at times overpowering circumstances are not without the glimmers that only interpersonal connections can provide. At all of his lowest moments, someone is there to comfort him, to protect him, even to save him. This forces him to remember that life is not a one-way, dead-end road. Casper must contend with the fact that no matter how bad things get, with some effort and a lot of determination, a person can transcend his or her past.
Jessica Day plays all of the supporting roles with grace, strength, and an immense depth in her character development. She carries herself in each role with poise, using both her voice and her body to create distinct, profound individual personages. Tony King plays off of her with bravado; he is at turns angry, bitter, sweet, melancholy, charming, and confused. These two performers make the world of this play come alive for the viewer with the assistance of little more than their selves and the poignant text.
This play is remarkably well-written. The storytelling is both believable dialogue and compelling poetry. The narrative arc builds beautifully to an honest and powerful moment of catharsis. A motif of yellow items -- for example: some mustard, lemon cupcakes, and sliver of yellow ribbon -- provides a wonderful thread to follow throughout the work and it is woven in with perfect consistency.
The lighting design by Alexander Bartenieff adds to the overall production's structure. The cues are extremely well-timed and executed and they work nicely at accentuating important moments and creating stark contrasts for the transitions. One particular instance, in which Casper finds himself in solitary confinement, is pulled off totally realistically with nothing more than a corner and an intense spotlight effect.
Moments and Lemons is one of the most worthwhile theater experiences imaginable. The performances are incredibly strong and the direction is satisfyingly simple. This simplicity facilitates the telling of a story that is difficult to confront but necessary to hear. It reminds its viewers of how dark life can be, but it never leaves them in that dark place for too long. It tackles important issues, but always leaves a sliver of hope that things can and do improve, no matter how bad things get. Life is made up of various moments -- some good and some total lemons -- but all worth remembering and sharing.
JESSICA DAY and TONY KING
SOHO JOURNAL WINTER 2010
FRED GIACINTO'S "MOMENTS AND LEMONS" IS OH SO SWEET.
by Mr. Norman Maine
I’m not a fan of plays, they generally put me to sleep, I like musicals only slightly more. The theaters are either too small, often to hot and the seats are for the most part quite uncomfortable. Having said all of that, the other night I was invited to one of the final rehearsals of an amazing play written by Fred Giacinto entitled Moments And Lemons. Shockingly this is Mr. Giacinto’s first produced work, but I can’t imagine everything else he’s written not being scooped up by clever producers on the hunt for remarkable new talents. This is a one-act play with no intermission and honestly it’s so good that if there were an intermission I think I’d stay seated so as no to miss a minuet of the next act.
Moments And Lemons is honest, brave theater skillfully, and masterfully directed by New York performing arts veteran Thom Fogarty. To say this is thought provoking and clever direction is an understatement of biblical proportions.
This story of a man’s life, his ups and downs and his struggle to put the pieces of his life back together after he suffers the consequences of bad decisions, his journey from late teens to his 80’s is brought to life by the gifted Tony King. As the main character Casper, King showcases his agile ability to transform from 18 to 80 with nothing more than a twist of his face, or a subtle vocal inflection, it is quite astonishing and I believe this handsome young man has a very bright future ahead of him.
Sharing the stage with King is Jessica Day, and I say this with all humility and sincerity, Jessica Day is BRILLIANT. This is a Meryl Streep like performance. Giacinto crafted a play with 7 characters played by two people. Mr. Kings as I said plays Casper and Ms. Day plays six other characters, five women and one man. This is a daunting task and in the hands of a less capable actress it could come across as laughable or hokey but Day brings individual voices and gestures to each of her charges so you almost feel like she’s changing clothes and adding a wig when in fact she never changes anything, except her voice and her nuanced movements, this is Obie or Drama Desk worthy performance, I’d say a TONY but I’m not sure if they give them to Off Broadway productions, but if they do…Jessica Day is absolutely deserving. I also firmly believe if she didn’t have the stability of the very talented Tony King to play against, she may not have felt confident enough to explore and delve into the depths that she has.
None of this, none of Mr. Giacinto’s brash, smart bold, often harsh words and intelligently written and shocking situations, none of Mr. Kings wonderfully powerful monologues, and none of the quirky, charming, violent, sexual and innocent characters brought to life by Ms. Day would be possible without the guiding hand of Thom Fogarty.
Thom Fogarty is an artist of many talents, actor, dancer, choreographer, director etc…etc…etc…and has been a fixture on the downtown arts scene for many a year; his resume and of list achievements, nationally and internationally are to long to reprint. Fogarty has drawn upon all of his many gifts and talents and they all culminate here, where he has reached an artistic pinnacle and directed his way into theatrical legend.
He takes us into a vivid, colorful world full of life, love, loss and more love with nothing more than two actors, four chairs, a couple of lights, no costumes and one tiny prop that makes its only appearance at the end of the show. WOW!!! I mean really, I’ve seen movies with 200 million dollar budgets and every effect known to man that couldn’t hold my interest like these four artists, Day, Fogarty, Giacinto, and King have done with nothing more than words, and their talents.
This is an impressive, inventive piece of theater and art and no one should miss it. Like I said I don’t like plays, but I’m going to see this again and I’m bringing friends and I suggest you do the same. When this ends up on Broadway or as I suspect, as a movie you can say you say it’s first run in the East Village. I don’t give stars for reviews but if I did, four would be the highest so I’d give this five!
MOMENTS AND LEMONS
Written By Fred Giacinto
Directed By Thom Fogarty
Starring; Jessica Day and Tony King
February 18th –March 7th
Theater For The New City
155 1st Avenue (between E 9th and 10th Sts)(212) 254-1109
