‘Mandela’ An Intense Look Back

Nadijah Abdul Khaliq and Robert Greene play Winnie and Nelson Mandela in the new play Mandela. Photo courtesy of East Harlem Repertory Theater

A Review of Mandela

As live, in-person theater begins to reopen, we remember what an impressive medium it can be. Stories told with impact can help us remember significant events of years past. This is the case of a new Off-Broadway show now playing at Actors Temple Theater in New York City. Mandela is the story of the legendary leader who endured years of cruel imprisonment which helped lead to world-wide movements to bring his case to light. Nelson Mandela was representative of the unfairness of the Apartheid system that dominated South Africa. The play uses critical scenes and superbly delivered monologues to bring out the suffering and unfairness created by segregationist policies against non-white citizens of that country. However, it ends on a note of hope as Mandela’s election to President of South Africa is celebrated.

The play has a large order to fill, and it fills that order with a script co-written by John Ruiz Miranda and Yolanda Brooks. Mr. Miranda also directs this production and Ms. Brooks produces. Actors are from The East Harlem Repertory Theater and they turn in superb performances. Additionally, good quality staging and special effects add much to this fine production.

The Story is Based on History

When watching Mandela, is important to remember that this is a historic documentary being told. Memories tend to fade as years go on, but plays like this bring the events back into sharp focus. The play opens years before Nelson Mandela goes to prison to show the work that he and his group were doing with the ANC (African National Congress). Attempts are made to stay on more peaceful sides of protest. However, eventually the inclusion of guns occurs and violence breaks out. Arrests are made but the lengthy imprisonment does not occur until Mandela and his core group are sentenced for acts of treason.

Running along side of the South African story is what happens in the United States in this time period. There are a few scenes about the rise of the Black Panther Movement and the actions of the Ku Kluk Klan. Mention is made of the CIA and their involvement with South Africa as well.

Most Intensive

Some of the most intensive scenes in the show occur during Mandela’s imprisonment. The conditions he endured are shocking. Robert Greene as Nelson Mandela and Nadijah Abdul Khaliq as Winnie Mandela both give powerful performances as they recreate the couple who lost so many years of their marriage when Nelson was imprisoned. They both deliver monologues that are standout moments in the play where they trace the thinking of their characters. The monologues provide a wealth of information about what they go through during this period of incarceration and how they feel as people.

Another startling monologue is given by Warden Van Rensburg who appears to be based off of a Nazi style SS officer. John Shortt in his role as the Warden provides a forceful speech as Mandela and his fellow prisoners arrive on the unforgiving Robben Island. More understanding a is a guard, played by Tyler McCall, who attempts to give some sort of humane treatment to Mandela as he describes in a final monologue of the show.

Additional members of the acting ensemble include James R Garrett, Ivan Goris, Lamine Thiam, Thaddeus Birkett, Jaray Hunter,  Keith L.T. Wright,  and Arlene McGriff.

Immersive Additions to the Show

Photo by K. Nowosad – Prop style handcuffs from Mandela

Upon entering the Theater, audiences have the option of accepting a set of handcuffs and placing them on themselves as they walk through a cleverly designed entrance way that resembles a jail. This represents solidarity with Nelson Mandela and his cause. The concept and use of this device is very moving and it opens one’s thinking immediately. NOTE: The handcuffs can be taken home as a souvenir of this show.

Video is used to identify critical moments of time in history. Footage from scenes from the time periods of the show are effectively woven into the play to give a keen note of accuracy to what the audience sees.

There are several scenes where guns come out on stage. Most of the guns seen are handguns and obviously they are theatrical prop models. If you look at them, you will see orange colored plugs in them so there is no confusion about what type of a piece they are. Audience members will feel the intensity of those moments as guns are pointed at them. If you are uncomfortable being around gun representations, you might want to get a seat further back rather than a front row.

About Mandela

Mandela has an open-ended run at the Actors Temple Theatre, 339 West 47th St. Performances are on Saturdays and Sundays at 4:30 p.m. For more information visit: https://www.telecharge.com/Off-Broadway/Mandela/Overview  and https://mandelanyc.com. Check with the Theater for questions or concerns about CoVid safety procedures.

Final Thoughts

I highly recommend this play for anyone who has an interest in historic events particularly those related to Nelson Mandela. The production is powerful and well performed. If you have missed going to live shows, this is an amazing way to get back. It is a show that will stay with you for a very long time. It captures the struggles and eventual triumph of an unforgettable man and movement. But it also shows the price paid to achieve it.

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‘It’s Only a Play’ – What Happens after the Show is Over

(L to R) Zach Shaffer, Greg Cuellar, Doug Harris, Andy Grotelueschen, Christine Toy Johnson, & Julie Halston in IT’S ONLY A PLAY.

It’s Only a Play: A Review

Remember what an Opening Night is like for a new play? The lights go down. The curtain comes up and the stage comes alive with a new production. If you are lucky, you attend the After Party where a celebration of the new creation takes place. And then the reviews arrive. What will they say about the new show?

Since CoVid-19 forced the closing of live theater, it’s been a long time since a scenario like that happened. So it is very appropriate that George Street Playhouse chose to run It’s Only a Play as what will likely be their final selection in their virtual series. Theater goers are looking forward to a return to live shows. But in meantime, virtual productions like this one are an excellent way to help fill the gap.

It’s Only a Play is a first rate production filmed on the stage at the New Brunswick Performing Arts Center. Cinematography is by Michael Boylan.

The play was written by Terrence McNally. It first opened off-off Broadway in 1982 and then Off-Broadway in 1996. Playwright McNally updated his work when it opened on Broadway in 2014. Those updates are evident in this version by George Street Playhouse and they add to the comedy of the events.

This production is directed by Kevin Cahoon. who does outstanding work using humor to relay the pathos of the moment. Mr. Cahoon brings the characters up to full volume to show the ups and downs of those who work in the theater.

The Story

This humorous play depicts what goes on backstage on Opening Night after the performance while waiting for the reviews. An elaborate party paid for by the dedicated and somewhat ambitious producer Julia Budder (Christine Toy Johnson) provides the setting for those involved with the show to gather. First on the scene is actor James Wicker (Zach Shaffer) making a phone call to check in on his West Coast acting gig. Wicker turned down the male lead in the play but has come to support his friend, Peter Austin (Andy Andy Grotelueschen), who is the writer of the play. Wicker’s underlying intentions are rather crass in that he’s hoping to see the play be a failure since he did not take the part.

As the night goes on more and more people arrive at the party. There are some very funny lines as people arrive at the party and you can hear significant Broadway shows being mentioned. Handling the coats is Gus P. Head (Doug Harris) who just coincidentally is an actor aspiring to be on Broadway. He tells everyone who has arrived as he places the coats down with words like “the cast of Lion King just arrived.” When he explains that this set of coats is from the from the cast of Rock of Ages, someone says “I thought Rock of Ages closed.” He replies it did but no one told them.

Early on, someone states, “waiting for Ben Brantley’s review in the New York Times is what tonight is about!” So as the wait for the reviews continue, other characters emerge. The arrogant director Frank Finger (Greg Cuellar) tells the cast that he has only had good reviews and he wants a bad one. This is not well received by Virginia Noyes (Julie Halston), the play’s leading lady who had some issues on stage with her ankle tracking bracelet from a most recent drug incident.

The Review Arrives

Producer Budder arranges a special drop off of the New York Times Review 30 minutes before general publication. The text message arrives with the review. A special selfie photo is taken to commemorate the historic moment that most everyone is counting on to be fabulous.

The cast of IT’S ONLY A PLAY. (L to R) Triney Sandoval, Christine Toy Johnson, Zach Shaffer, Greg Cuellar, Doug Harris, Andy Grotelueschen, & Julie Halston.taking a selfie to commemorate the moment the review arrives

In a word, the review is brutal. And it provides some of the most humorous moments of the show. Just the name of the play alone, “The Golden Egg” gives a clue to what is about to come. The review is written in an over-the-top style. Basically, the review levels everyone in the room except the help. Comments such as the producer should have taken the money she spent on the show and opened a mental hospital to have her head examined are placed throughout the article.

Hearing the review read from the cellphone text and seeing all the reactions is worth the price of admission to watch this play. This is a definite parody on what a review might be. The exaggeration through comedy of the materials brings out the concepts of how rough a review can be.

Post Review

After the review, everyone starts to question how the show will survive after such a brutal review. They keep looking for that one good quote they can pull out to add to the marquee. They also debate if so much power should be given to one review. Will word of mouth about the play bring in enough of an audience. And the most crucial question of all – should they close the show that night.

Another character emerges who has been more in the background. That character is Ira Drew (Triney Sandoval) who identifies himself and is recognized as a tough critic. But he is also writing plays under an assumed name. His discovery of how brutal reviews can affect a show is enlightening.

The play ends on a more hopeful note and everyone tries to look ahead to new ventures. It is a tribute to the theater community’s ability to keep going on and not let life get them down.

It seems appropriate that this should be where the play ends and where the next phase of theater heads post pandemic. For the group of players in It’s Only a Play, “The Show Must Go On!” And go on it will.

How to See “It’s Only a Play”

It’s Only a Play streams virtually now through July 4th. Go to the George Street Playhouse website to purchase a Virtual Household Ticket. Once the purchase is complete, and email with the link arrives. You may view this on-demand at your leisure. However, once the link is clicked to begin viewing, you must finish within 48 hours.

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‘The Office! A Musical Parody’ Reopens Off-Broadway

“The Office! A Musical Parody” reopened last Friday, April 9 in the Jerry Orbach Theater at the The Theater Center on W. 50th Street.  The unauthorized version of the hit TV series is among the first Off-Broadway shows to resume in-person performances in New York City. NOTE: Performances currently are allowed to run at 33% capacity.

The production originally opened in the Fall of 2018 but came to halt on March 15, 2020 – one full year ago – just as the Coronavirus pandemic was declared and small entertainment venues closed. 

Reports indicate that ticket sales for that 33% capacity went well.

Adherence to Safety Precautions

According to a press release, the reopening at The Theater Center includes numerous safety precautions, upgrades and protocols being put in place:

Everyone who works in the building (actors, stage managers, dressers, technicians, treasurers, house managers and ushers) will all be fully vaccinated.

Everyone entering The Theater Center must wear masks and follow social distancing protocols. All audience members and staff will wear masks at all times. The Theater Center has worked with Ticketmaster to create an easy-to-use contactless ticketing service as well contact tracing. 

Newly installed ten Atmosair Matterhorn 1002 “Air Scrubbers,” an innovative Bi-polar ionization system that will catch and kill contaminants in the air throughout the entire complex.  It is the same system used by NASA and many hospitals across the country. These units fill the venue with hospital grade air that captures and neutralizes viruses, bacteria, and VOC’s as they happen in real time.  

Added Sensedge Air Quality monitors on each floor so patrons can check the quality of the air throughout the space when they first enter the lobby. 

Upgraded its HVAC filters to utilize MERV13 filters.   

Staff are following all the CDC and NYDOH guidelines for hourly and daily deep disinfection cleaning. 

Covid Compliance Officers are on staff to ensure safety protocols are in place and adhered to at all times

All audience members will be seated in “pods” with the people they came with.  Each pod is socially distanced from the next. 

Building capacity limits will always be posted in plain sight and followed accordingly to state and local guidelines.

Cast and Creatives

Cast of ‘The Office! A Musical Parody’

The cast for the reopened show includes Emma Brock as Michael Scott, Laura Mehl as Pam, Danny Adam as Jim, Devina Sebnis as Kelly, Nathan David Smith as Dwight, Emily Qualmann as Phyllis, Gabrielle Filloux as Angela, Bob McSmith as Creed, Kevin Bruce Harris as Stanley, and Marissa Hecker and Andy Martinez in various other roles.

The Office! A Musical Parody features a book and lyrics by Bob and Tobly McSmith, music by Assaf Gleizner and direction and choreography by Donald Garverick.  Scenic designer is Josh Iacovelli, lighting designer is Alex Stevens, sound designer is Matthew Fischer and costume designer is Dustin Cross. 

Performances

The initial performance schedule is as follows:

Thursdays at 7:30 PM

Fridays at 7:30 PM

Saturdays 2:00 & 8:00 PM

Sundays at 3:00 PM

Tickets range in price from $52 – $80. Call the box office at 212-921-7862 or go to ticketmaster.com for tickets or for more information.  

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