Review: Local improviser unearths darker side in Gravedigger

Last week I got a chance to catch Gravedigger: The Plays of Mark Borkowski at the Walking Fish Theatre. Now in its final week, the production features three one-acts penned by the award-winning playwright and Kenso native.

The first act was The Mutilation of St Barbara, featuring Kirsten Quinn and Billy Edwards as a couple in their apartment, arguing about art, arousal and how they’ve come to find themselves so far from where they started as a couple. Edwards plays his character a bit too heavy handedly, and unfortunately as such comes off a little over the top to allow the scene to resonate the way I was wanting. Quinn throws out some nice anger, although the level and depth on her face plays much more piercingly than her vocal performance, and as such she owns her character best when left to silently boil. Michelle Pauls harnesses the tension well with her direction of the players moods and movements, while playing very subtly with the levels of contrast in this darkly comedic scene about an even darker relationship. While the best moments were silent and Mutilation ended up being my least favorite of the three, it still served as a nice primer for the rest of the acts.

The second act, A Gravedigger’s Tale, features Rob Cutler as the titular character. As an improviser, I’m well versed in Cutler’s comedic side, and it was nice to see him unleash a grittier, more bleak character than I’m used to. You might not expect to sympathize with a character that is so clearly little more than a heroin-addicted sychopant (so much so that he doesn’t even get a name beyond that of his job), but Cutler manages to use the purely pathetic nature of the Gravedigger to his advantage. Throughout the scene he leverages the character’s meagerness to play the fool for laughs, but more endearingly, wins us with a quiet empathy he shows for a drugged-out whore (played decently by Karina Croskrey). Kenneth John McGregor kills as a rough-and-tumble street kingpin who has the Gravedigger under his thumb. McGregor manages to make us laugh while never doubting his seriousness… and his booming voice coupled with his towering stature command the pace of the scene, for which he does not falter. Edwards makes another appearance in this act as a mid-level low-life, and redeems well as the character to hate in a graveyard full of hateful people. Kudos to Stan Heleva for his brave use of A LOT of dirt in a very intimate space. While some patrons might object, the dust on my tongue made me feel less like I was sitting in a theater and more like I was watching from behind a tombstone.

Twilight’s Child finds us joining a grieving couple in a diner for the final act, where the pace is slowed considerably. We get to enjoy Pauls onstage this act, playing a lamenting mother, inches away from complete madness. Pauls draws us in from the start, as I could have sat there an hour, entranced and unnerved by her sitting in a catatonic state of loss and pity. We quietly watch as the father, played superbly by Dennis Smeltzer, tries with all his waning energy to pull his wife back from nothingness. Juggling grief, anger, public embarrassment and desperate hope for a love he no longer can see, Smeltzer nails what I so long for in theater – a transparency where Smeltzer the actor disappears and all I’m left with is the character. I would be quite startled to find a happy, appreciative actor after the curtain falls. Whatever he’s tapped into for this role, I hope each audience gets to see it throughout the run. McGregor returns as the diner’s  proprietor, with just enough wit staccatoed  in as to not pull us down with the couple. Twilight’s Child is an incredibly slow and exacting reveal, thanks I’m sure in no small part to having Borkowski at the helm. It’s nearly always fantastic when a playwright can direct their own work, and I could find no exception here. Finally, the last moments leave us with an act of desperation so absurd, so contrastingly ridiculous, it can’t help but lift our spirits as we walk out the door.

Although the hometown Kensington angle doesn’t quite resonate through the work as something that could only happen here… I’m sure glad this show happened in my neighborhood.

Be advised, this show contains strong language, nudity, sexual themes, violence, sexual violence and drug use.

GRAVEDIGGER: THE PLAYS OF MARK BORKOWSKI
THROUGH MAY 23RD
WALKING FISH THEATRE | 2509 FRANKFORD AVE
$18 GENERAL ADMISSION / $12 STUDENTS & SENIORS
TICKETS AND DETAILS AT walkingfishtheatre.com

PJIs Cecily and Gwendolyn run begins tonight

Over the past few months, the PHILADELPHIA JOKE INITIATIVE has presented a number of single night showcases, including the Mike Connor Travelogues and a fundraiser featuring music from the Hopper Brothers. Beginning tonight, this small production company launches its largest endeavor to date, and plans to do so with a little Victorian class.

CECILY & GWENDOLYN’S FANTASTICAL BALLOON RIDE opens tonight and runs through January 31st at the Latvian Society in Northern Liberties.

The show, featuring KELLY JENNINGS and KAREN GETZ in the eponymous roles of Cecily and Gwendolyn, is a fully improvised imagining of two slightly mad Victorian ladies who fancy themselves anthropologists. When all is said and done and chronometers have been synced, each evening explores the notion that these time traveling ladies find themselves 175 years through space and time via their hot air balloon in present day Philadelphia – where each night’s audience will serve as lab rats of sorts… from whom they’ll extract their conclusions about the “modern” society in which we live.

I was fortunate enough to attend a private performance this past weekend, and can honestly say that I’ve never been quite so excited to see how audiences will react to a show. Karen and Kelly (as pictured L to R above) have taken the idea of audience participation, and replaced it with complete audience immersion. The entire show is an evening that we’re all invited to take part in. Everything from the set to the seating, the costumes to the conversation, all welcome the audience member in, begging to be engaged, hoping to engross. Sitting there with only a handful of people, I’ve never felt so unconscious of my contribution. Getz and Jennings do a remarkable job of captivating with ease. Something that while I know from talking to them has taken years to develop, comes across as simple and organic.

As you can tell, I’m really excited about how it all drew me in and am excited to hear how audiences respond to this level of participatory immersion.

If you’re interested in reading  more about the show, more can be found in this recent writeup in the CityPaper. You can also get to know these ladies by watching their YouTube videos or by joining them on Facebook.

During its three week run (Thursdays through Sundays, excepting tonight’s opening) the show will play host to a myriad of comedy guests, including local talent the likes of Chip Chantry, Cubed, Rare Bird Show, BWP, Leo Callahan, the N Crowd, Real Housewives of Philadelphia and ComedySportz Improvised Shakespeare as well as Hello Laser from the Magnet Theater in NYC.

CECILY & GWENDOLYN’S FANTASTICAL BALLOON RIDE
THE LATVIAN SOCIETY | 531 N 7TH ST
JANUARY 13-31, 2010 | 7PM
PRESENTED BY PJI WITH SUPPORT FROM FREEFALL PRODUCTIONS

Philly Fringe Review – Debbie Does Dallas: The Musical

Porn Classic Turned Off-Broadway Musical Tickles with Tongue-In-Cheek Raucous Comedy

Debbie Benson has a dream. As high school cheer captain, she wants nothing more than to become apart of the illustrious Dallas Cowgirls Cheerleading Team. Invited to come to Dallas, her dreams are within reach… but there’s a problem. Her parents think it a fruitless endeavor and won’t pay for the trip. And there we find Debbie; all assets and no cash. What’s a girl to do?

And so goes the plot of the ever-infamous porno, Debbie Does Dallas. And this was about all the info I had going into this show. I saw this listed quite some time ago as an upcoming Fringe show, and was intrigued. Did the writer have what it takes to merge the worlds of classic porn and musical theatre? After seeing this show last night, I can say with all confidence that Erica Schmidt and Susan L. Schwartz nailed it when they collaborated on this adaptation for the NYC Fringe Festival back in 2001. My applause go out to director Dawn Kalani Cowle, who made a smart move in bringing this show to Philly.

In what I can only hope is complete intentional irony, the delight of this year’s Philly Fringe is awkwardly nestled upstairs in Philadelphia’s only lesbian club – Sisters. Although the seating may prove difficult with sightlines, the actors make up for it with a quite literally in-your-face performance. I went with a friend and sat in the front row; which in my opinion, is the only way to see this show.

They’ve taken out the sex scenes and replaced them with ridiculously catchy, simple and always campy musical numbers. Still ringing in my head are “I Wanna Do Debbie” and “Dallas… I’m Coming”. Truth be told, I’ve already ordered the soundtrack this morning.

Senich takes on the title role and is instantly adorable. She hits just the right mix of naiveté and nudge-nudge playfulness that makes you root for her from start to, ahem, finish. Senich gives the strongest vocal performance of the ensemble, bubbling out playfully fun and ludicrous lyrics. There was a great moment when in realizing she can name the cost for sexual indiscretions, the audience cheered her on to raise her prices.

Cowle did a wonderful job with casting this production, particularly with the women. Although the men (Rory X. Donovan, John Greenbaum & Matthew Mastronardi) had a heavy hand in playing multiple roles – complete with Keanu Reeves inspired dialogue and Steven Tyler-esque musical numbers, it was the ladies that stole this show. Debbie’s cast of cheer co-conspirators was rounded out with the clichéd characteristics of stupid, nerdy, trampy and gay.

Taking up their friend’s cause, the girls are able to raise money by offering “Teen Services” to their respective employers. Each of the women really took their characters to heart. Lisa is played to a despicably slutty T by Mara Jill Herman. While not a particularly strong vocal performance, Herman is easily forgivable with the delivery of her saucy lyrics and Samuel Reyes graphically bold choreography. Caitlin Elizabeth Reilly puts forth what is easily the most honest and engaging performance of the night as Tammy, the closeted lesbian of the squad, who splits her time avoiding the “duties” her friends have taken on, pining after her friend Donna during stretching sessions and climbing her way into a position in the US Senate. Alex Keiper gives a delightful turn as the dizzyingly ditzy Donna. Utterly clueless to Tammy’s unrequited lust, Keiper is a complete joy to watch; giving the audience not only a seemingly endless parade of vapid expressions, but a cut-up musical number advocating the “educational implementation” of the common banana. Finally we come to Roberta, the geek whose libido climbs to insatiable heights once she finally gets a taste of flesh during the first of two locker room orgies. Kathryn M. Lyles owns Roberta in a strangely compelling way. While many actors can make themselves disappear into character, with the absurd and over-the-top energy on display here, it’s even more impressive and difficult to see where Lyles ends and Roberta begins.

I spent the evening covering my mouth and wiping away tears of laughter. Although the actual sex and nudity have been removed, this production leaves little to the imagination and is, as you might suppose, not for the prudish among you. But if you delight in the stripping down of societal taboos and love to laugh… this show is a hell of a way to spend an evening. And at $20 a ticket, it’s worth every bra-stuffed penny.

PS – If you take me up on my suggestion for the front row, just beware of squirt guns and flying dildos.

Debbie Does Dallas: The Musical
Sisters Nightclub | 1320 Chancellor Street
Remaining Showtimes: 9/13, 14 & 15 @ 7:30pm
Runtime: 90 minutes | Tickets: $20

Reports from CSz National Tournament – Part Two

Despite a rollicking game of Arms Expert and superb efforts from the hometown crew, Philly fell last night to the team from Milwaukee by a final score of 20-5. Alexis captained us within one moment of victory, but the team fell just short in a tightly called game of Free-For-All Freeze. Kudos to the Milwaukee team, from the city where ComedySportz originated.

Of course, the story here isn’t in the winning or the losing. It feels so great to play with people from all over and to share in an art that we all live for. And to be able to do it non-stop, if only for a few days, is amazing. It’s a reminder of what the world should be like.

And the moments are so memorable. Starting each day off at 10:30 AM with a rousing version of the CSz Anthem (lyrics rewritten daily by Dick Chudnow, CSz founder). Playing board games in the hotel lobby until 4am. Making new friends over Root Beer Floater ice cream at the local cafe.

There is an energy present around us at all times. It’s strange how I can dread going to my 9-5 after 8 full hours of sleepytime, but how after just four hours of sleep here I’m ready and pumping to go. Being here reinvigorates the mind and soul of my inner artist; I feel like I can conquer the world by just making stuff up.

Tonight, we play Chicago, then it’s riverboat gambling and perhaps some more board games. Our time remaining is short, but I plan on making it last.
:0
Jason

Now Boarding: the Conchords

Ever watched Tenacious D and wished, “If only these dudes were from New Zealand, slightly more attractive than Jack Black and Kyle Gass, had less energy and were parodying folk music”?

Enter Flight of the Conchords, HBO’s new comedy series, as the answer to your shameful prayers. Bret McKenzie and Jermaine Clement are two hapless Kiwi musicians struggling to make it in NYC. They live in a crappy apartment, can’t get gigs and occasionally burst into sometimes hilarious songs like “Robo Boogie.” Along the way, they try picking up chicks and fending off their giddily creepy, married rabid fan Mel (Kristen Schaal, whom you might remember as “Event Organizer” in the cinematic masterpiece Norbit).

It’s all pretty mellow and dry (not in a bad way), sometimes especially witty, sometimes boring, but days later you’ll find yourself singing lyrics like, “When you’re on the street, depending on the street, I bet you’re definitely in the top three good lookin’ girls on the street (depending on the street).”

Check out the musical portions of the show at http://www.myspace.com/hboflight

or watch them on HBO on Sunday nights (check for listings).

These dudes also played recently at the TLA. Anyone catch them?

Industrial On The Outs & In Good Form

Venue lockout drives improv to the streets and players step it up in return.

Last Friday marked the first annual Delaware Improv Mini-Fest in Dover, DE. It was hosted by Delaware Comedy Theatre of Rehoboth Beach and boasted groups from across Delaware as well as guests from Philadelphia and Boston. Among the groups to perform were Rare Bird Show, MakeOut Clinic, The Late Night Players, Tongue & Groove, U of DE Rubber Chickens, Pickle Splash and Industrial Improv.

The night experienced a few delays at the outset due to theatre management holding the door; as a result the roster of groups was put behind schedule. Later, another issue with delays during intermission set things back another half hour.

As the evening wound down to the last few groups, it became apparent that time was already a big issue. The theatre management was adamant about closing the theatre at 11:15pm, and while accounting for delays, the final group, Industrial Improv, was set to go on at 11:10pm.

In true “the show must go on” bravado, the players donned their trademark red jumpsuits and hit the stage. The got a quick suggestion from the audience and hopped into the aisles… encouraging the audience out into the streets to watch their show. Rarely do you see an entire audience clamoring after performers to make sure they don’t miss a word. This strange and interesting gamble paid off; Industrial had the audience’s strict attention. Under the lights of the marquee, they went into their monologue symphony and had a ridiculously high energy set. At one point, they even incorporated a passing vehicle into their show; surrounding it at a stoplight and dancing around it while the driver chortled with confused delight.

Although by all accounts a success, David Warick, the festival’s producer, plans to make sure his festival doesn’t have the same hiccups twice. “Overall, a fun night; love the space… [but] the management… [we] won’t do stuff there again.” So what, you may ask, are the plans for next year? Says Warick, “we do so much better locally at the beach; and it’s more fun [with] sand and sun”

The 12 Seed takes Round Three of Troika

Our monthly competitive smackdown took a little twist this month with the inception of the Rookie Round. Last night promised to be quite interesting… and it certainly didn’t disappoint.

First on deck was Spring, Summer, Fall, Winter Spring, with Charles Rosen, Mark Dames & Nick Gillette. They were coached by Jen Toner (of The Cabal). They took us through the seasons of life with a time-jumping format that explored birth, glory, decay, demise and rebirth.

Next up was The Spirit Squad, with Chris Schofield, Renee Migeot & Terrel Willis. They were coached by Patti Cleary (of Slavoj Zizek Wet Dream). They had a set inspired by gospel ministries and audience sing-a-longs.

The last group of the night was The 12 Seed, with Gregg Gethard (of sketch group The Sixth Borough), Kristin Mellor & Todd Shaeffer. They were coaced by Cubby Altobelli (of The Cabal, ZombieShark, Whipsuit & Hypnotoad). They had a series of high energy scenes invoked from a conversation circle sharing real life confessions.

It was the closest overall round in the history of Troika, with a final vote count of 14-13-12. The 12 Seed will join other round winners ‘Z’ For Effort and Knots Gordian at the Season Two Finals on July 19th.