Fun Home—Portland Center Stage—Pearl District

Mapping Out A Life

This intense musical is based on the graphic novel by Alison Bechdel, music by Jeanine Tesori, book and lyrics by Lisa Kron.  It is directed by Chris Coleman (PCS’s Artistic Director), music direction by Rick Lewis and conductor/pianist, Eric Little.  It is playing at their space in The Armory, 128 W. 11^th Ave. (parking can be a problem in this area, so plan your time accordingly), through October 22^nd.  For more information, go to their site at www.pcs.org or call 503-445-3700.

It comes in with a whimper and goes out with a roar.  Those were my immediate thoughts when the play had ended, as it starts out like it might be just another ordinary, forgettable musical about a dysfunctional family, but ends up packing more than a one-two punch to the solar plexus by the time it’s over.  I’m sure everyone looks back on their life at some point, but it seems to be up to the writers to express those experiences on paper.  It is cathartic to examine one’s life, of course, but a writer/artist goes one step further, as when spilling their guts onto a canvas, they are also opening up the veins of others, so that they can emphasize with those situations and know they are not alone.  “And so it goes…” as Vonnegut would say.

Alison (Allison Mickelson) is just such a writer, in actuality, a graphic writer/designer of a novel.  She chooses to write of her growing-up years in PA during the 70’s.  She looks at herself when she was a young, school girl (Aida Valentine), and when she was a college student (Sara Masterson) and those formative years, mostly with her family.  She has a rather conservative mom, Helen (Faith Sandberg) and a dad, Bruce (Robert Mammana), who was a rather “free spirit.”  She, of course, identified more with her dad because of this semi-rebellious nature (what child wouldn’t).  And she also had two brothers, Christian (Karsten George) and John (Theo Curl).

Alison notices, as she’s growing up, that she’s beginning to change in her feelings toward boys and especially, girls.  She does not care for dresses but prefers jeans, likes getting dirty over being clean and proper, prefers alone time than being social, etc.  Only her father seems to sympathize with her, and for good reason, as he has had friends (Joe Knispel) over the years and they seem to disappear for long periods of time together.  It is only when she gets to college and meets Joan (Kristen DiMercurio) that she discovers love and her true self.  But through a tragic end to one of the family, she discovers also the pain of hiding one’s true self to satisfy an unforgiving and ignorant society.

Can’t tell you more without revealing plot devices but would have spent more time on certain songs, as they were not only well written and revealing and also well performed but, for some reason, they weren’t listed!  The best I can do is flounder around a bit and tell you some of the situations.  There is a very upbeat song from the “kids” regarding a commercial for their Dad’s funeral home; Joan has a song about her feelings; there is a song about a “raincoat of love;” Helen has a insightful song about living on Maple Ave.; Alison and her Dad have a touching song regarding telephone wires; and Bruce has a searing solo toward the end.  All of these are powerfully delivered and should be credited!

Coleman has done a marvelous job of connecting stories and characters over the years in a limited space and doesn’t leave us confused as to where and when we are in the story.  And his cast is spot-on, too, as they all are perfect for their roles.  I especially liked the two Alison’s of her youth (Valentine and Masterson), who were both top-notch in singing and acting.  Lewis/Little, too, and their orchestra add to the show’s success.  And the set, by master designer, William Bloodgood, was not only functional for such a complicated story but artistic as well.  Great job!

One might be inclined to say this is not for the young but I would disagree, as that is exactly who should see it, with appropriate guidance from professionals, of course.  True, it is about sensitive issues but it is also about real experiences in Life, too.  This may not only open your eyes but could save lives as well.  A couple of phone numbers that might be helpful are:  a Crisis Line at 503-988-4888 and a Gender identity line at 503-872-9664.

I recommend this show.  If you do choose to see it, please tell them Dennis sent you. 

Phantom—Brunish Theatre—downtown Portland

Music of the Night

This musical production has music and lyrics by Maury Yeston and book by Arthur Kopit, based on the very good novel, “Phantom of the Opera” by Gaston Leroux.  It is directed by Jon Kretzu, musical direction & conducting by Valery Saul and choreography by Sara Parker.  It is produced by Stumptown Stages at the above space, 1111 SW Broadway (4^th Floor), through October 15^th.  For more information, go to their site at www.stumptownstages.org.

This story has been through a few incarnations, including the famous Tony-award winner of a few years back.  Of course there was the silent, very effective version, with Lon Chaney, Sr., in the 20’s, the 40’s one with Claude Rains, the 60’s with Herbert Lom and an awful one with Robert Englund later on.  Of course it is really a remixing of the Beauty and the Beast story, also by a Frenchman.  This one goes more into the back-story of Erik.  But the actual book has never been truly explored on stage or screen, as it includes a major character, cut from subsequent versions, called simply, the Persian.  I recommend reading it.

This musical is not as memorable as its big brother but does have some good songs, terrific singers and a great chorus.  It is also told in a bit of a lighter tone (although a couple of characters do actually get killed).  It seems the Paris Opera House has a ghost who dwells, they say, in the underground mazes of the theater.  If you appease him, then things will run fine.  The rules are simple, he has to have his own private box, approve the singers and selection of operas for the Season, and never enter his domain.  Pretty straightforward, I’d say.  If all is to his liking, then the Season will run smoothly.

But, at this juncture of the story, the old manger of the house, Carriére (Gregory Brumfield), is being forcibly retired by their demanding diva, Carlotta (Elizabeth Hadley), and her mousey husband, Cholet (Sean Dodder), now the new manager.  But on the horizon is a fresh, young street singer, Christine (Laura McCulloch), who catches the attention (and the eye) of Count Philippe (Jesse Studenberg), a wealthy benefactor of the Opera, and directs her to be hired by them, which she is but as a costumer, not a singer.

This does not please Philippe, nor Erik, the Phantom (Pip Kennedy), who has heard her sing and is also smitten with her.  And if Erik is displeased…well, look out.  A couple of murders happen, some disruption of the Opera operations, a kidnapping and finally Erik is forced to take matters into his own hands…and it will not be pretty.  More I cannot tell you without ruining the story but know that, as I said, some of Erik’s past is revealed.

The simple staging by scenic designer, Demetri Pavlatos, to turn such a small space into a variety of playing areas is quite clever.  And the beautiful costumes, especially for the ladies, by designer, Margaret Louise Chapman, are amazing.  Lighting designer, Mark LaPierre, has some very expressive lighting, both for mood and set areas.  Choreography in such a limited space, especially of the chorus numbers, by Parker, is very effective.  Saul and her orchestra do justice to the score and do not overwhelm the singers.  Kretzu has done a remarkable job of casting, and developing an expansive story into compact surroundings, allowing our imaginations to create the rest.

I don’t know how, Kirk Mouser (Managing Artistic Director), finds all these remarkable singers for his productions, but he does it well.  McCulloch as Christine has a voice that would blow the top off the stage.  “Home” and “You Are Music” (w/Kennedy) being her highlights.  Truly a gifted young lady.  Hadley also was quite impressive as her foil, being both sad and humorous, as well as an accomplished singer.  “This Place Is Mine” being a standout number for her.  And Brumfield, as the ex-manager, has one of the best numbers in the show, “You Are My Own,” great voice and a very touching song.  And, as mentioned, the chorus numbers are also very impressive.

I recommend this show.  If you do see it, please tell then Dennis sent you.

A Midsummer Night’s Dream—The Steep and Thorny Way to Heaven—SE Portland

Immersed in Dreams

Speculative Drama and Susurrations present Shakespeare’s most famous comedy directed by Myrrh Larsen and Wendy Wilcox.  It is playing at the above space, on SE 2^nd & Hawthorne (near Madison), through October 14^th.  For more information, go to their site at www.thesteepandthornywaytoheaven.com or call 262-586-9774.

This famous fantasy has had many stage and screen incarnations, as well as taking place in all sorts of exotic places and time periods, such as Georgia, Alaska, the Hippie era of the 60’s, in a Circus and even a summer home in modern times, et. al.  Film has seen MGM in the 30’s have the story peppered with their stars including Dick Powell, Norma Shearer, James Cagney and Mickey Rooney, and company; the BBC of the 60’s had Diana Rigg, David Warner and Ian Holm, et al; the 90’s had Kevin Klein and Michele Phieffer and others; and Oregon has had stage presentations by Post 5, OSF, PAC, Beaverton, and PCS.  All quite good in their own ways.

The story, in short, is the mixing of oil and water and the ensuing results.  It takes place in and around the nuptial eve of the local royalty (all three voiced performances), Theseus (Todd Van Voris), Hippolyta (Sarah McGregor) and their friend, Egeus (Matt Pavik), father of Hermia.  They have invited to their celebration a couple of potential suitors for Hermia (Peyton McCandless), Lysander (Katie Mortemore) and Demetrius (Rega Lupo), the latter being the one that Egeus favors, as well as Hermia’s best friend, Helena (Myia Johnson).  But, as it so happens, both men are in love with Hermia.  This leaves her friend, Helena, as the odd wo-man out, but who also happens to have the hots for Demetrius.  “What fools these mortals be!” 

The local Fairies (Elisha Goodwin, Emily Helliwell, Kirsten Webb, Tora Holmes and Telo Walden), consisting of the King, Oberon (Rhansen Mars) and Titania (Megan Skye Hale, also company’s Artistic Director) and the King’s main man, the merry prankster himself, Robin Goodfellow, or Puck (Zed Jones), delight in causing even more confusion to these silly simpletons.  But, they are not beyond problems themselves, as the Queen has taken a Changeling Boy under her wing and is all but ignoring the King, who wants the boy for his own purposes.  But with a little magical love potion and some misdirection from Puck, the forest becomes a kaleidoscope of misadventures for all.

To further confuse the plot, some local tradesmen, the “rude mechanicals,” are attempting to entertain the royal court with a “tragical-comedy.”  Bottom/Pyramus (Matt Ostrowski), Flute/Thisby (Emily Hyde),   Snug/Lion (Megan Haynes) and their leader, Peter Quince/Wall/Moonlight (Elizabeth Neal) are making a mess of the play, to say the least, and Bottom becomes a real ass in the process.  I don’t believe it would be a spoiler to say that things eventually turn out “happily ever after” but, like all good things to be gotten, obstacles must be overcome, evils put at bay and love won, not taken for granted, so perhaps a better summation might be, and they lived…“hopefully” ever after!

This expansive story is beautifully rendered, like an imaginative painting or fine wine, in a diminutive setting, so that is can be more personally enveloped/absorbed into one’s being, to be savored and enjoyed.  It is amazing how universal the Bard’s works are, which can be translated to panoramic backdrop or, what is even better in my opinion, told simply in a story-book fashion, like this production, as a parent might do for a child, so that they can imagine the wonders of the surroundings and bring that world into their own.  Larsen and Wilcox have done just that and very well, too.  Also, a small but important point, perhaps, but I totally agree with the interpretation of Thisby’s last speech being given seriously, as these trades-people are not trying to be funny in their presentation, and so the humor comes from laughing with them, not at them.

The cast is exceptionally good, all the characters having their own unique twists.  I especially liked Jones as the mischievous merry-maker, the Pan-like Puck, as he romped about the forest, care-free and devil-may-care.  Mars was quite articulate and matter-of-fact as the demanding King of the Fairies, and Hale, as his not-to-be-trifled with Queen, standing her ground for feminine rights.  And Ostrowski was the perfect example of the blue-collared, gravel-voiced ugly duckling among the swans but, in his case, “ne’er the twain shall meet.”

If the Bard’s lingo scares you, this might be the ticket to bring you home, as it is disarming and accessible to ears and eyes that are open to new ways of appreciating things.  I recommend this production.  If you do choose to see it, please tell them Dennis sent you.

Human Noise—Imago Theatre—SE Portland

Tortured Souls

This avant-garde rendering of staged stories by Raymond Carver is directed, choreographed and designed by Jerry Mouawad (co-founder of Imago) and produced by Carol Triffle (co-founder of Imago).  It is playing at their space, 17 SE 8^th Ave., just off Burnside (street parking only, so plan your time accordingly), through September 30^th.  For more information, go to their site, www.imagotheatre.com or call 503-231-9581.

The fleeting spaces between our ears/loins/veins

Is only so much fodder for the burning emptiness we call Life.

We cling to breath, wringing out the last vestiges

Of memories in the explosive strands of what once was,

And can never be again.

We disconnect in imaginative ways,

Passing others like ships on a foggy night, seeing figures,

But never really knowing which ones are the phantoms.

We grope/gripe/grovel

Love/hate/search

For the something we deserve, we demand,

Just out of reach of our understanding.

It is in this moment

We begin again.

To review many Imago shows in the conventional ways seems downright rude and unsatisfying.  I believe they never mean for us to pick through a production with inadequate words but to go with the flow of kinetic energy that dominates their works.  They mean for us to feel and, in doing so, connect with a deeper understanding of our worlds and what makes us tick.

But for the conventional sorts, there are four stories here, which all have similar connective tissues.  The first, “Neighbors,” involves one couple, Bill (Michael Streeter) and his wife, Arlene (Carol Triffle), who are to cat-sit for their neighbors, Jim (Nathan Wonder) and Harriet (Danielle Vermette), who will be out of town vacationing for an indeterminate length of time.  But Bill and Arlene’s lives somehow become strangely intertwined by the lives of these people, and they seem to become absorbed into the fabric of their neighbors’ existence.

The second story, “A Serious Talk,” involves two exes, Burt (Nathan Wonder) and Vera (Danielle Vermette) who seem drawn to each other during the holidays, in this case, Christmas.  They can’t seem to stay away from each other and yet are destructive toward one another. They cling to and tear at each other, often at the same time.

The third episode, “Gazebo,” a couple who manage a run-down motel, Holly (Emily Elizabeth Welch) and Duane (Bryan Smith), seem to be at the end of their ropes, as they have both become drunks and have a love/hate relationship.    Duane has had an affair with one of the maids, Juanita (Sara Fay Goldman) and although it seems to be over, he really can’t forget her.  The most telling moment of the union (and my favorite of all these stories) is when Holly recalls a time meeting an old couple on a farm and the tale of them and their Gazebo.  It is the missing piece of this jigsaw puzzle.

And, lastly is the poem, “Torture,” which again, has two lovers, Wonder and Goldman in South America, who are not good for each other, and they know it, but can’t seem to keep their hands off each other, either.  All these stories have broken people and relationships who seem to be trying to reinvent themselves and become something they aren’t.  The human condition is like that, it just doesn’t give up.

It should be mentioned, too, that Mouawad and Triffle both have movement/dance heavily involved with their shows, which simply adds to the depth and pleasure of experiencing them.  I don’t pretend to understand all the purposes of the motions but I sense that it works on a deeper level in appreciating the pieces and it succeeds in this production, too, thanks to Mouawad’s leadership.  Every one of the actors is fully vested in their portrayals and I believed the plight of every one of them.  The characters are all very human, flawed perhaps, but identifiable.

I recommend the show.  If you do choose to see it, please tell them Dennis sent you.

Cabaret—Lakewood Theatre Company—Lake Oswego

"All the World’s a Stage…”

This classic musical has music by John Kander and lyrics by Fred Ebb and is based on Christopher Isherwood’s short novel, “Berlin Diaries,” and the play, “I Am A Camera,” by John Van Druten.  It is directed by Ron Daum, musical direction by Beth Noelle (also keyboard), and choreography by Laura Hiszczynskyj.  It is playing at their space, 368 S. State St. in Lake Oswego (parking lot in the rear), through October 15^th.  For more information, go to their site at www.lakewood-center.org or call 503-635-3901.

The above quote of my title, from the Bard, concludes that we are all performing a part in someone’s else’s  grand design and seemingly have no recourse but to play out our allotted roles to the bitter end, which is simply the absence of our material existence, “…sans teeth, sans eyes, sans taste, sans everything.”  This story seems to follow that dreary hypothesis to some extent.  But, “in the meantime, in-between time, ain’t we got fun.”  When you’ve got this, somewhat contradictory, volatile mix of these two ingredients, you’ve have, perhaps, “Cabaret.”

The story is based on Isherwood’s (in this guise, the character of “Cliff”) memories of his time in Berlin in the 1930’s.  The main body of action follows Cliff (Jon Gennari), a naive American, wannabe, writer, who lands in Berlin at the inopportune time that Hitler is moving into politics and the Nazis are beginning to strong-arm the German people, especially the Jewish population, into their own obscene brand of a totalitarian government.

A young German, Ernst (Chad Dickerson), who desires to learn English, befriends him and introduces Cliff to life at the Kit Kat Club, a type of underground amusement parlor, where anything, and anyone, can be available, for a price.  The oily, Max (Adam Elliot Davis), the owner of the club is bedding down with his star attraction, Sally Bowles (Kelly Sina), a popular belter of racy tunes.  But the one who runs the show, is the Emcee (Chuck Ketter), the musical narrator/commentator of the Cabaret lifestyle, in which everyone has their roles to play.

Cliff is housed into one of the boarding houses near the club, in which Sally Bowles is also a resident.  The owner of the establishment is the fastidious, Fraulein Schneider (Maggie Chapin), who has a romantic relationship with one of her boarders, a Jewish fruit seller, the kindly, Herr Schultz (Ron Daum).  Also in residence is the naughty, Fraulein Kost (Sydney Webber), who has hot-and-cold running sailors in and out of her room.  Love will make its mark with the golden-agers, as well as with Cliff and Sally and, under normal circumstances, there would be happy endings. 

But this is not the time nor place for that.  Smuggling, corruption, decadence, prejudice and cruelty are the orders of the day here.  Their world is held up to a mirror, broken several times in many places.  This mock world will trample the good, make demi-gods of the bad, and reflect the ugliness of a not-too-distant time and place of yesteryear.  And, perhaps, heed the warning nowadays, if we haven’t solved the mistakes of the past, we are bound to repeat them.

Although the play could be considered a bit of a downer story-wise, it does reflect well of a by-gone era.  And the songs from this musical are outstanding, both in writing and delivery.  The chorus numbers with the gals and guys and the Emcee, Sally and Bobby (Ethan LaFrance), “Don’t Tell Mama,” “Two Ladies,” “Sitting Pretty,” “If You Could See Her” and, of course, “Cabaret,” are fun.  The chilling, “Tomorrow Belongs to Me” by the company, is always a show-stopper.  And the dance numbers (Hiszczynskyj), “Telephone Dance,” “Tiller Girls/Kickline,” “Willkommen,” et. al., are well executed and exciting.

Both Daum and Chapin have beautiful and powerful voices, as can be evidenced by their rendition in their duets and solos.  Whenever the Emcee (Ketter) takes charge, they are showstoppers with him at the helm.  And Sina, as Sally, is amazing, both as an actor and singer.  Her powerful rendition of “Cabaret,” at the end, is haunting and heart-breaking, a searing moment.  The actors are in top form and they have voices to match.

Daum and Noelle, both seasoned pros, have produced a show that is thought-provoking, scary and professional in scope.  I predict his will be one of the top shows for this Season in theatre!  I highly recommend it.  If you do choose to see it, please tell them Dennis sent you.

Under the Influence—Funhouse Lounge—SE Portland

"Life is a Cabaret…”

This quirky musical is presented by Fuse Theatre Ensemble and the OUTwright Theatre Festival, written and composed by Ernie Lijoi (additional music by Kevin Laursen and Lawrence Rush) and directed, choreographed and designed by Sara Fay Goldman and Rusty Tennant (Artistic Director of Fuse) and musical direction/piano by Matt Insley.  It is playing at the Funhouse Lounge, 2432 SE 11^th Ave. (street parking only), through September 30^th.  (They also have a bar and serve pizza, and the infamous Clown Room, if you dare to enter.)  For more information, go to www.boxofficetickets.com

This sensational show simply sizzles with a scintillating smattering of sensual songs, scandals and sanctimonious scenes of scathing and startling screw-ups of a substandard species (yes, the play is ripe with word plays of this sort).  Think, “The Wizard of Oz” meets “Cabaret” via “The Fantasticks” and “ease on down that road.”  Mind you, this is not for everyone as it is an “Equal Opportunity Offender.”  Of course, it really may only be just a “Trumped” up dream and “Fake News” but, you decide, if you chose to indulge yourself.

In a word, it’s Stupendous!  It’s bound for Broadway, or should be, as it’s deserving, in story, music, lyrics, dialogue and cast of bigger horizons to follow, all in the capable hands of Ernie Lijoi, who conceived the whole experience.  Could we have another “Hamilton” creator on our hands with this musical?  I think so. 

It really is an amazing journey, as the main character of Anita (Sara Nightingale), like Dorothy, a sort of Every(hu)man, will travel down that yellow-bricked road (laden with booze, caffeine, nicotine, obsession, repression, depression, etc.) to find that elusive place called…home.  But the story is told as a flashback, complete with a Narrator, in the guise of the Emcee (Ithica Tell), who will take on other masks to reveal the tale.  She is aided by two minions, who play all the other characters in the story, Jessica Tidd and Ernie Lijoi.  And so she begins her travels of addiction to discover who she was/is/will be.

She begins by being under the hyper-influence of coffee, even to the makers of it (but watch out for the monkey poop); to the hazy world of alcohol; to her self-image and the anatomically incorrect Barbie-doll nemesis; to the cigarette-crazed society and her idol, Mr. Moose-man; as a Chocoholic; to the sex-obsessed stage of primeval development; and onto the religious factions on the far-right, goose-stepping to the tune of white purity is security.  Much of it is told in song and clever word play so wouldn’t be able to match that in expressing it in a review.  Also the songs were not listed so couldn’t focus on them, either, but know that they were all very good and well integrated into the story.

My favorite moments were the alt-right sections and the You’re a Nation anthem and Tell’s version of the “good ole boy” as their leader.  Also loved Tell as Mr. Moose-man, a combination of Mr. Rogers and Joe Camel (an excellent dark comedy about smoking is the film, “Thank You For Smoking”).  Nightingale’s rendition of her lovers in her Alphabet solo is priceless.  And Tidd and Lijoi, as the expanded chorus, are the life blood of the production and are extraordinary.  These are all pros at their professional best!

Tennant and Goldman have done a fabulous job of putting such a large subject onto such a small space.  It’s amazing how talent will out, no matter the circumstances.  Also the Swing (Alex Lugo) and lighting person (not listed).  And Insley is a true asset to the success of the show.  But the person of the hour is, without a doubt, the creator of this experience, Lijoi, a true genius!  His music is reminiscent of Kander and Ebb (Cabaret), as well as touches of Weber and Sondheim.  And his expertise with manipulating potent words and zippy dialogue is almost without equal. 

This is the show to see folks, if your constitution can handle it.  And, speaking of the Constitution, and since this is a highly-charged social/political script, I am reminded of three words from it that seem to have been forgotten for many years.  If we can reinstitute them into our Government, we might put ourselves back on track.  The words are, “We, the People…” not I or Special Interest Groups nor right, left or in-between, not one sect, sex or disenfranchised race or group.  We, meaning All!

Obviously, I highly recommend this production.  If you do choose to see it, please tell them Dennis proudly sent you!

The (Curious Case of the) Watson Intelligence—CoHo Productions—NW Portland

“The Infernal Machine”

This mind-bending play is written by Madeleine George and directed by Philip Cuomo (CoHo’s Artistic Director).  It is playing at their space, 2257 NW Raleigh St. (now only paid parking along some very busy streets), through September 30^th.  For more information, go to their site at www.cohoproductions.org or call 503-220-2646.

The above title is a bit of an enigma, like the play, and can refer to both human and artificial intelligence, as well as to Time, and even Life, itself.  “We are such stuff as dreams are made on, and our little life is rounded with a sleep,” as the Bard has said.  The play slips in and out of our universal clockwork, like a thief in the night,” giving no rhyme or reason for its existence (or for ours) and may even skip-jump dimensions as well suggesting, maybe, it all exists together.  After that introduction, if you think a reviewer could make sense on paper, what George has so smoothly done when gracing the stage with this material, you are mistaken.

What I can provide, though, is a bit of a thumb-nail sketch/outline of the events.  There is at least three separate time-periods that are visited during the two-hour course of the story, all of which have a “Watson” (Eric Martin Reid) as connecting tissue.  One Watson, in modern times, is an A/I (Artificial Intelligence), within the computer of Eliza (Sarah Ellis Smith), the designer, and has become a sort of lifeline to sanity.  She is estranged from her bombastic, politician husband, Merrick (Gavin Hoffman), who has become a stalker of her private life, via a somewhat inept, techno-expert, Watson (Reid), who does make a connection with her but not in the way Merrick anticipated…which morphs into another level of the story.

We also slip back in time to another “Waston,” this one having to do with the famous inventor, Alexander Graham Bell, in which he was his assistant.  He is a forgotten footnote in history, only valuable as a recorder of who Bell was, and the events leading up to the phone invention, as he finds out when being grilled by an interviewer, Eliza (Smith).  And one more “Watson,” in literary time, makes an appearance, that of the Doctor and supposed chronicler of the cases of Sherlock Holmes, who also discovers an eccentric inventor, Merrick (Hoffman), who is attempting some rather unorthodox experiments in which his wife, Eliza (Smith), would be involved.  Can’t give any more away of the story without exposing plot elements that should be discovered by the viewer.

Do all these stories connect?  Yes, actually they do, and explore something of the human condition, as well as our own artificial and imaginary worlds.  When we, as Creators, attempt to, ourselves, create a world we can control, do we not also let loose a Creation that may someday have a mind of its own and might surpass the intentions of its Creator, and become its own Creator?  Clearly, one must pause, at some point, to question our Purpose here on this tiny rock, within a vast universe of pebbles…only my take-away from it.  Yours, I’m sure, could be something quite different, and that’s as it should be with Art (in the “eye of the beholder”).

The cast is amazing, being able to jump time and space barriers with some quick costume changes and subtle, but effective, lighting (designer, Peter Ksander).  All three of the actors slip seemingly easily from one character to another and yet maintain a reality within that keeps the audience connected to them, and the story, as well.  Cuomo has managed to create an organic reality onstage that keeps ideas and plots connected, although seemingly disjointed in time and space.

Only one minor note on the script, I believe that play could have ended one scene earlier, as the finale to that scene was more powerful, in my opinion.  A couple audience members I talked to agreed.  But it’s a powerful, thought-provoking and chilling production and I recommend it.  If you do choose to see it, please tell them Dennis sent you.