THEATER TALK on the RAPTURE and

Armor of Wills

A man zips in and out of the past, present, fantasy and reality while trying to keep his "maker" from snuffing out his life. This 70-minute show is sometimes clever and never boring, but it gets diminished by cartoonish characters. Still, borrowing from the movie 12 Monkeys and the poem Dante's Inferno makes for a good laugh, and of the cast of six, Harrison Williams distinguishes himself as the one to watch. ................................................................................

Kalib's mother Norma, grossly overplayed with the appearance of an Edna Marie "E" Mode-type caricature (from The Incredibles) by Jennifer Harder, is quite perturbed. She can't seem to get her weak and whiny son Kalib (Brian Morgan) out of his fiance Beth's clutches in Randy Anderson's Armor of Wills. Beth's not as easy to get rid of as his father Doc, the monkey-bone circus owner that she fled from and lied about his existence to her son. Yes, monkey-bone circus; a direct reference to the 1995 time-traveling and reality-bending film 12 Monkeys. But Beth is not the only person that Norma has to worry about. Her son has gone overly-dramatic and crazy.

When Kalib busts through the door, claiming to be running from his Maker, a being that's not quite God but has God-like qualities, try as he may, Morgan can't convey a real sense of urgency. Sure, he pants and limps around, holding his stabbed leg, but the mild red stain that's supposed to emulate blood from a femoral artery wound doesn't even come close. It doesn't help that Norma tries to apply a tourniquet to the dry stain. From there, Kalib goes into the story about how and why he must keep running to stay alive.

Armor of Wills is a jumble of various symbols, characters, and concepts from literature and pop culture. From the Dante's retreat bar that begins Kalib's journey to the characters that resemble comic-book villains, there's never a dull moment in the show, and there are even some clever ones. However, the clever parts of the show are superseded by the overacting and underacting. As Beth, Kristi Funk is the straight, neutral character, and in turn, makes very little impact. As Doc, Harrison Williams is the exact opposite. Although his antics and mannerisms are slightly overcooked, he is engaging, fun, and completely committed to delivering a zany performance.

The fluid scene changes are remarkable, and reflect the collaborative spirit of the cast. Anderson's concepts of the interchanging of time frames and settings are sound and provide an exciting frame for the play. Patricia Ju's sound design, with the exception of a false-sounding heart monitor, is the pulse of this play. Coupled with lighting design by Justin Sturges that seems to take on a life of its own, they are integral to making the wacky plot make sense.

Armor of Wills may be ridiculous in some points and convoluted in the rest, but it's still imaginative with a throwback to popular or formerly popular symbols. The Horse Trade Theater Group and the Beggars Group, known to produce provocative theater, keep in line with their mission with this show. Anderson's purgatory is full of adventure and fantasy, and provokes a subconscious consideration of free will, life and death. Armor of Wills may not be a heavy philosophical, religious, or even theatrical piece, but it doesn't need to be. Sometimes, light, quick and dirty is enough.

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Through May 17th. Tickets: $18. http://www.smarttix.com/. Under St. Marks, 94 St. Mark's Place, New York, NY 10003

A Year in the Life of Twenty-five Strangers Living in a City by the Lake

The lives of 25 strangers intersect in 12 vignettes that correspond with the months of the year. Spread across 75 minutes, this production moves quickly with fluid set changes and nimble direction. However, the material and execution of the scenes are hit or miss, lacking consistency in entertainment value.

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Matthew Fotis' A Year in the Life of Twenty-five Strangers Living in a City by the Lake is a walk through of different emotions, situations, relationships, and problems that are strung together by the months of the year and Brian (Adam Ferguson), a repeating, gay waiter character. The show is presented by Ten Grand Productions, the resident theater company at the Algonquin Theater. The modest space at the Algonquin can barely house the 23-member cast, but director Shaun Colledge does a good job of maneuvering the actors on and off the stage.

They start off cleverly and festively with January, a skit about conceiving a baby that takes place right after a New Year's Eve Party. From henceforward, Fotis picks out the most remarkable event of each month, i.e. Valentine's Day, St. Patrick's Day, April Fool's Day, etc, and turns them into plays that are roughly five minutes. Yes, the number 12 is promoted, from the 12-month format to the 12 geometric, four-sided shapes that comprise the background. Gimmicky, yes, creative, yes, but always entertaining and successful, no.

Part of the problem lies in the fact that some of the scenes are incomplete. Wrapping up a story with a beginning, middle and end in 5 minutes or so is hard work, and to his credit, Fotis takes a strong stab at it. Plus, he's dealing with micro plays within a larger play and trying to correlate them all. His intentions are admirable, but they sometimes fall short. For instance, February's V-Day pity party, in which two friends dine at a restaurant is a slice of woe is me life, but doesn't go anywhere by the time it ends. Statements like "at least you're not dead" by Theresa (Sabrina Gibbar) to her excessively loud (even for the character), crass and surprisingly single friend Evelyn (Stephanie Bush) may be discomforting food for thought, but the story doesn't end, not like January's story that gets a reprise and conclusion in December. March's St. Patrick's Day celebration and suicide attempt, all between gulps of PBR beer, seems like a throwaway within the dynamic. Although there is some good sibling banter between brothers considering going to a funeral (Eric Orive and Dan Faraguna) in April, the skit never quite lifts off of the ground. Though September's ex-girlfriend reunion does have the most heightened drama, it fails the most at not being complete and believable.

However, Fotis' knack for capturing a brief moment or conflict in time does shine in some of the scenes. In spite of May's Mother's Day fiasco not having a credible ending and posing a question about logic (there are some background couples in some of the far too many restaurant scenes, but not in others), it is a fine and funny exhibit of mother-child quarrels. And though the right atmosphere isn't created for July's doctor's office, two people do find some common, likable ground. June's Paris trip in which a couple (David Stadler and Michele Rafic) tries to rekindle their romance is the best example of what the press materials calls "chilling accuracy" in both acting and writing.

One particular scene that stands out, and not for good reasons, is November, a monologue about...well, it got me. George (Matthew Murumba) stands around and kicks back a few brewskies, talking about this and that but nothing in particular. He has a point of reference on stage that he keeps addressing, but doesn't validate. The props (chairs and tables) are set up in a peculiar configuration with chairs on top of tables on top of other tables with no justification. These reasons and the fact that Murumba is the sole African-American presence in the production are what sets apart this scene from the rest.

A Year in the Life...is a predominantly smart look at Chicago life, but the weaving of the stories is not as tight as it can be. This New York premiere has heart, but some of the scenes need work. Imports can be a great thing, particularly when a good piece of theater meets the thriving NY theater industry. However, it's no Pizzeria Unos yet. Some fine tuning here and there, and it can rival the popularity of the deep dish. Yes, I know, theater isn't food, but that's the whole point. Theater should be at least as satisfying, if not more. We've got a sampling here, but not a whole meal.

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Through May 18th. Tickets: $15. http://www.smarttix.com/ or 212-868-4444. Algonquin Theater, 123 East 24th street, New York, NY.

Dunmore closes....

Canara Price, Cheryl Davis and Weez Tomlinson in "Dunmore Bad and Good"

Tonight, Dunmore Bad and Good closed. We have sustained quite a few setbacks, including losing our director the last week before the opening and losing Zach, our sound and lighting guy, for the final performance. We were down to the wire for sound and lights when Cheryl came through in the clutch: her friend Nicole agreed to help us out. We were able to get into the booth 15 minutes before the doors opened. Thank God Nicole learns fast. She was able to pull off most of the cues, with the exception of the last sound one, but it was the one at curtain that didn't take away from the show. Thank God for small miracles. All in all, it was a very trying experience, but a learning one. Let God reign.

The Importance of Being Earnest

The Pearl Theatre Company concludes its 24th season of producing classical material with Oscar Wilde's comedy of manners. As usual with the Pearl, it is a sound production, with great acting, costumes and set. I've seen the last four productions from this season, and I am happy to report that this success is a trend; the Pearl Theatre Company never ceases to delight and entertain. They do comedy exceptionally well, and take Wilde's text to new heights.
Rachel Botchan and Bradford Cover

ALL PHOTOS BY GREGORY COSTANZO

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What's in a name? Some people believe that your name determines your path to success or failure, a jumping off point to your respect or your ridicule. Oscar Wilde believed it too. Or at least, he knew that people put enough faith in the idea to exploit and make fun of it. The Importance of Being Earnest chronicles the story of two best friends, adult orphan John Worthing (a sadly predictable Bradford Cover) and Algernon Moncrieff (Sean McNall), who, at one time or another, both use the name "Ernest" to impress their romantic interests. But, neither of them fully understand the ramifications of taking on this pseudonym in the beginning; they each soon learn the importance of being and remaining "Ernest."

Sean McNall and Ali Ahn

The Pearl Theatre Company is quite adept at delighting the senses. TIOBE opens with a delectable visual spread to sample, from the lush costumes (made possible, in part, through the contributions of Barbara J. Hill and Darlene & Brian Heidtke) by Devon Painter to the beautiful set by Harry Feiner that evokes paradise; illustrations of peacocks against a forest backdrop are part of Moncrieff's flat in London. McNall is a brilliant Algernon, astute, wily, calculating, and a strong presence onstage. He discusses "bunburying" with Worthing, a term that he uses fondly to describe his way of appearing to be responsible in the midst of avoiding responsibility. Little does "Algie" know that, despite Worthing's righteous indignation, he too is a bunburyist. Worthing is Jack at home in the country with his ward, 18-year old heiress Cecily (Ali Ahn), but assumes the name Ernest in London; each name is packaged with a different personality. As Cecily, Ali Ahn is a breath of fresh air with a melodious voice and a youthful exuberance. Not content with his own brand of bunburying, Algie decides to cash in on his friend's by claiming the name Ernest as well to woo Cecily. But all good bunburying must come to an end, and it isn't long before the "Ernest" cover is blown to the sky.

Ali Ahn and Rachel Botchan

The Importance of Being Earnest, performed in three acts here instead of four, is Wilde's way of making fun of the Victorian era. Its main source of humor is characters inventing identities to escape social obligation. The Pearl Theatre Company handles the humor with panache; their version of this social class satire is non-stop entertainment, and a fine display of acting prowess.
In addition to the impressive leads, the production also boasts a memorable supporting cast that includes chameleon Joanne Camp as Cecily's governess, Miss Prism, Dominic Cuskern as Lane and Merriman, Algernon and Jack's butlers, respectively, Carol Schultz as Gwendolen's mother, Lady Bracknell, and TJ Edwards as Miss Prism's love interest, Reverend Canon Chasuble. Under J.R. Sullivan's direction, they are able to showcase Wilde's wit and flair for fancy wordplay. Wilde was possessed with a confidence in his abilities, and this company carries itself with that same assurance. Like all of his comedies, The Importance of Being Earnest deals with double lives, a subject that Wilde knew all too well as a married man carrying on homosexual affairs. But Earnest is different in that it was the first one with a devil may care attitude. Wilde reveled in the sheer fun of having secrets, and the Pearl actors do as well. The cast's ability to have fun and look like they're having fun is what makes this production so scintillating. Prepare to be dazzled.

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Through June 8th. Tickets: $25-50. 212-598-9802. The Pearl Theatre Company, 80 St. Mark's Place at 1st Avenue, East Village, www.pearltheatre.org.

Cherry Docs

A Jewish lawyer makes a Skinhead on trial for murder determine his own defense in the David Gow scripted and directed Cherry Docs. Theatre of the Expendable, whose mission is to encourage a reconsideration of preconceived notions and beliefs about the "undesirables" of society, packs a mean punch in the New York premiere of this racial piece. But it's the pure and unadulterated performance of the actors that make this show a killer. Despite monologues that are occasionally tedious and a tiresome two-person scene to monologue and back format, the raw and explosive emotions are a thing to experience...and remember. (L to R) Maximilian Osinski and Mark Zeisler

ALL PHOTOS BY CALEB LEVENGOOD

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Kike, Easy-Bake Nigger, Hymie, 10% off, Bar Code, Christ-Killer, Clip-tip. They read ugly, don't they? Those are but a few racial slurs against Jewish people, with some of them dating all the way back to World War II. Racial prejudice in general has been around a long time, and in this day and age, not slowing down in momentum. It's easy to hate the prejudiced, the discriminators, the haters, but what if we tried to understand them? What if we took a cold, hard look at what set the hatred in motion? David Gow does just that with Cherry Docs, a provocative play that challenges the beliefs of both the oppressed and the oppressors. But like any belief that's been ingrained and nurtured with ignorance, misconceptions, fear and pain, they're hard to suppress. They need to be processed before they can be expunged.

Maximilian Osinski

When Mike (Maximilian Osinski), a Neo-Nazi Skinhead that wears cherry-colored Doc Martens, accidentally kills a South-Asian man (whom he refers to as a "Paki") during a violent encounter, he can't get a defense lawyer to take his case. No one will touch this racially-motivated case with a ten-foot pole. Except for Danny (Mark Zeisler), a court appointed liberal Jewish lawyer that naturally, is his most hated opponent. Cherry Docs begins with monologues from each character to introduce them, and from henceforward, continues in an alternating pattern between monologues and 2-person scenes. It is a practical device, but one that grows tiresome and predictable. Through these monologues, we learn about their positions on ethnically-integrated societies, immigration, and employment laws. And the variance in their opinions makes a working relationship tempestuous. Despite the revulsion that they each feel towards each other, they each understand the need to work together. For Mike, it's desperation and the confidence that Danny will represent him to the best of his ability because of his liberal views. For Danny, it's the case's career-making potential, even in the face of ridicule from his peers and his own aversion towards Skinheads. And for both, there are other, more important reasons that they may not embrace in the beginning, but will come to accept at the end of the court trial and their own personal trials.

(L to R) Maximilian Osinski and Mark Zeisler

Because Mike doesn't want to be tried as a Skinhead (he wants to spare his brothers the association and the embarrassment), Danny has to work another angle. He can't possibly conceive of a logical argument against this crime, given his integrity and his own sensitivities, so he forces Mike to come up with it instead. Through deliberations dragged through turmoil and distress, the audience is able to see exactly what Danny and Mike are made of: they are two sides of the same, volcanic coin. And Osinski and Zeisler are both terrific at excavating their characters' fears. Osinski's layer of hubris over his childish core is wonderful. He is versatile and able to distribute feelings of pity, horror and antipathy to the audience like a marksman. Zeisler's discomfort with his client is like a puncture in our own subconscious, prompting us to dredge up our own founded and unfounded prejudices. He is a commanding presence onstage, even when Gow's often descriptive and lively words meander.

Maximilian Osinski

Cherry Docs benefits greatly from Gow's robust direction. Under his hand, the actors are able to display a range of emotions that pull the audience into the drama. The direction is stylish and, coupled with the lighting design by Ryan Metzler, gives the play a very film noirish feel. Incidentally, the play was turned into Steel Toes, the 2006 film starring David Strathairn. Apart from a prop malfunction where a chair falls apart prematurely, all of the action is solid and strong. The scenic design, although stark and plain the way a cell should be, does not look wholly uncomfortable. It's hard to imagine that Mike is in an isolated cell block. But these are minor issues that don't take away from the show's power. Cherry Docs is a meeting of narrow minds that broaden from the encounter. It is as much an anthropological piece as it is a theatrical one, a sociological study as much as a dramatic one. And in spite of all of the ugliness on display, hope succeeds in parting the vile waves. It is the instrument of change that these characters need, and the motivation to re-evaluate our own thinking. The greatest achievement in theater is to leave the audience with something to think about. On that end, Cherry Docs is more than triumphant.

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Through May 18th. Tickets: $11. 212-352-3101. Workshop Theater, 312 West 36th Street, 4th floor, New York, NY 10018

DUNMORE MAKES ITS DEBUT!!!!

Me, Cheryl Davis, Canara Price, and Weez Tomlinson

Tonight was the first of two performances of "Dunmore Bad and Good." Things went pretty well, considering the multitude of obstacles that we've had since the production process started. Three and a half hours before the first performance, we had a wardrobe malfunction that luckily, was ironed out just in the nick of time. We were sandwiched between a piece about Icarus and Persephone and a piece about Sophocles. I was really impressed by the Sophocles piece. My co-worker Zach did an awesome job on the sound and lighting, particularly since he had never used that kind of board before and he had to operate the equipment with a flashlight during the show. Way to go, Zach! Weez' cousin took pics of all of the productions that night, and I hope to post a mini-slide show of Dunmore soon....We miss you Lanie, and hope that you are able to see the fruits of your labor at the second showing. Stay tuned for more....