‘The Calling’ is a Remarkable New Play

Posted on January 13, 2018 by Karen Nowosad

Ames Adamson and Jared Michael Delaney in a scene from “The Calling,” a world premiere by Joel Stone playing at NJ Rep Photo credit: SuzAnne Barabas

The New Jersey Repertory Company is starting the new year off right with the world premiere of a remarkable new play. The Calling by Joel Stone was commissioned by NJPAC’s Stage Exchange in Association with the New Jersey Theatre Alliance and the NJRep. It was first introduced at an impressive initial reading at the NJPAC in April, 2017. Even then, there was a sense that the play had unique qualities about it that would deliver on a live stage. Now with it being performed on an well-designed set with two very strong actors, the promise from that reading has been realized. This play delivers a most unexpected series of events keeping its audience guessing until the very last minute of the show. Additionally, the marvelous development of the characters gives theater goers something to ponder as they leave the show.

Evan Bergman provides superb direction to this thriller.  The story of The Calling is set in a Catholic church following the funeral of Mrs. Callahan. Father Dan is straightening up after the service when he finds Carl sleeping on one of the pews. They begin to talk and as they do, Carl reveals that he is an ICU nurse who works the night shift at a nearby hospital. Mrs. Callahan was one of his patients and Father Dan is impressed that Carl took time out of his busy life to come to the service. Just why he came to the service becomes the springboard of all the eventual revelations and actions.

Playwright Stone carefully constructs the conversations so that each level of revelation comes out slowly and carefully. This approach allows the layers of the plot to unfold in such a way that the audience on opening day gasped at certain points.  That’s how startled they were at several points.

It would not be right to reveal critical turning points in this story. So suffice it to say, just when you think you have it figured out, something else is revealed leading to more information about the characters which in turn feeds the plot. The background and actions of the characters are what makes this play such a thriller to sit through.  Both Father Dan and Carl have many sides to them including some good and some very sinister.

“The Calling” demands a lot from the two actors. Both Ames Adamson as Father Dan and Jared Michael Delaney as Carl definitely deliver what is needed to bring these characters to life.  As a priest, Mr. Adamson both looks and acts the part. He allows the very human side of the priest to come through which intensifies the action taking place. At first, Mr. Delaney shows the uncertainty bothering Carl with a light flair. This allows a more intense approach as the deeper, more complex part of the character  emerges.  Not an easy thing to do, but it is well done.

As you watch, you realize these are not people who Mr. Stone decided to create out of nothing. No, they could easily be people right in one’s own community. The play demonstrates how people hide behind facades that relate to the work they do and how the community regards them. And that makes you feel a bit uncomfortable when the truth of what has happened comes out.

This play definitely lives up to the billing that NJ Rep is using: heart-pounding, mind-bending psychological thriller. Your own feelings about what each character does will determine how heart-pounding it is. But it is definitely mind-bending as the psychology of the characters becomes more exposed.

Additional Information

Running Time: approx. 90 minutes; no intermission

Location: New Jersey Repertory Company, 179 Long Branch, NJ

Performances: Thursdays and Fridays at 8pm; Saturdays at 3pm and 8pm; and Sundays at 2pm, through February 4, 2018

Contact for Info and Tickets: Reservations by phone: 732-229-3166 or online at njrep.org.

Posted in New Jersey Theater | Tagged , , , | Leave a comment

‘Here and Queer’ – A Cabaret Night of Song

Posted on January 12, 2018 by Karen Nowosad

Cabaret singers for ‘Here and Queer’ at the Green Room, Dec. 16, 2017. Photo credit Lianne Schoenwiesner

A unique and lovely evening of song took place on Dec. 16, 2017 at New York City’s Green Room. A cabaret show called Here and Queer took place on one of those very cold nights we experienced that month. But the atmosphere was warm and welcoming. The room was decorated for the holidays and it added to the festive feel provided by a marvelous group of all women singers. Their fine presentations of the songs was well received by the audience who appeared to want to stay even longer.

The premise of Here and Queer was taking classic and contemporary Broadway favorite tunes typically sung by heterosexual couples and having them performed all by women. The result is that songs which celebrate relationships and what they might bring with them become more universal in that everyone can relate, regardless of sexual identity.

Songs like “Somewhere” from West Side Story, “If I Loved You,” a duet from Carousel, and “You Matter to Me” from Waitress are examples of some of the lovely selections performed that evening. A finale of “I Am What I Am” from La Cage aux Folles concluded the evening on a perfect note.

There is no doubt that the idea of the evening was a very clever one. But what really made it standout were the strong, melodic voices from the cast of the show.  There was a lot of heart and soul added to each performance which both delivered a message and entertained at the same time.

The event was directed by Jenn Maley with music direction by Jake Turski.

A  comic served as emcee for the event who did a fine job keeping the event moving with quips that fit the event with a nice bit of humor.

The cast of singers included Lina Marie, Morgan Dean, Shazdeh Gabriel, Kat Griffin, Ilene Pabon, Emily Wronski, and Bridget Elise Yingling. Shown here are some photos of this event taken by Lianne Schoenwiesner of Spotlights Photography.

Photos

 

Posted in Special Events | Tagged , , | Leave a comment

‘Bulldozer: The Ballad of Robert Moses’ a Contemporary Look at a Legend

Posted on December 20, 2017 by Karen Nowosad

Constantine Maroulis and Kacie Shiek in ‘Bulldozer: The Ballad of Robert Moses’

A new show opened last week at the Theatre at St. Clement’s called Bulldozer: The Ballad of Robert Moses. It is a small show with five actors and a four piece on-stage band. It has a contemporary feel to it that fits perfectly in Off-Broadway theater. This show brings a unique approach to what could be a humdrum subject: history. Instead, it has an interesting story line about the legendary Robert Moses, all new songs, and a cast who work the layers and levels of the show with passion and intensity that delivers a satisfying performance theater goers will appreciate.

Bulldozer: The Ballad of Robert Moses takes a look at a very historic and important figure in New York City history, Robert Moses. Karen Carpenter directs the show about the man whom some call the “master planner” of New York. Starting around the 1930’s, his approach to city planning and development was paramount in creating much of the structure we see in New York today. When people sit in their cars not moving because of gridlock, his name is one that comes to mind. Likewise, when people use Jones Beach or the park system, his name also comes up in more favorable terms.

Peter Galperin and Daniel Scot Kadin co-wrote the book for the show. They attempt to cover a lot of ground in 90 – 100 minutes. Dialog and music both contribute to that attempt. The show opens with a view of Robert Moses as an old, defeated man having a blanket put across his legs as he scowls and begins to recall his life. As he reflects back, the audience meets an idealistic young man who dreams of making things as good as they could be in New York City. He meets a woman working in a nightclub and shows his kindness to her as he speaks of seeing the higher ups in their seats in the club. His ambition is hinted at here. That woman, Vera, later becomes his mistress and a composite of women in his life.

Time moves on and Moses has become more ensconced in his position. He forms a relationship with another power broker of the day, Nelson Rockefeller. At first, he and Rockefeller seem to be in tune. However, as Moses’ work becomes his obsession, he no longer is interested in outside activities. His prejudices and biases become more known and are skillfully presented to the audience as he lets the Brooklyn Dodgers leave with a mention of “that Robinson.”

Wayne Wilcox (l) and Constantine Maroulis (r)

Holding true to the real story, Robert Moses takes control to the point where no project can be done without it going through him. For him, a project is only something to be accomplished without concern for the people he “relocates” thus decimating neighborhoods such as what happened when the Cross Bronx Expressway was built.

The final showdown occurs with his plans to build a highway through lower Manhattan and bulldoze through Greenwich Village. At this point, Jane Jacobs, who is being secretly backed by Nelson Rockefeller, leads a crusade that successfully ends the plans. It also signals the end of Robert Moses’ career.

Ryan Knowles, Molly Pope, and Wayne Wilcox

Writer/composer Peter Galperin brings a fresh energy to the music by using a variety of styles, but most prominently, rock. There are six Street Musician songs designed to do the job of a storyteller. Although they are well done, their folk song approach just doesn’t meld in well enough with the rock in the show.  But the songs advance the plot well. They also allow more of the mood of the characters to shine through. Several highlights include “You and I” which is a very clever duet between Moses and Rockefeller as they fly over the newly constructed Palisades Park. Their optimism is evident and it signals the beginning of a strong alliance between the two. But then, a tense exchange between Moses and Rockefeller happens later which is not pleasant when they exchange barbs in “You’ll Do It My Way.” Jane Jacobs and Robert Moses square off in “Don’t You Dare “ with strong voices arguing it out and the activist, Jacobs, asserting that she can hold her own. The song “Straight Towards the Sun” opens and closes the show and is absolutely beautiful. Moses sums up his life’s work as he sings, “I couldn’t see a thing, because the light was in my eyes, I was heading straight towards the sun.” It ends the show on a very poignant note.

A strong cast includes Constantine Maroulis as Robert Moses. His fine acting lets the audience see Robert Moses transform from an old, embittered man in the beginning to a young idealist one and then age him back to that starting point. His portrayal shows the distance Moses put between himself and others. One of the highlights of Mr. Maroulis’ performance is his strong singing voice which soars as he romances Vera Martin and then it explodes in anger against Nelson Rockefeller.

Molly Pope as Jane Jacobs does not let her audience forget that she became a power to be reckoned with. She develops the character in such a manner that when we learn of her victory over the powerful Robert Moses, the feeling is one of gratitude towards Jane. Her powerful singing voice more than holds the place of woman in what was then, more of a man’s world.

Wayne Wilcox plays Nelson Rockefeller. His character is serious and thoughtfully developed and acted out. But when his ambition to run for higher office surfaces, there is no question that he will succeed. Kacie Sheik plays Vera Martin, the composite character. She is charming to watch. Vera develops the the tenacity to break away from Moses’ control and become her own person. Randy Knowles does several roles including the Street Musician and reporters who heckle Moses. His singing is enjoyable to listen to and his heckling is first rate.

This is a very enjoyable show to see. It is especially recommended for people who have an interest in the history of New York City or city planning.

Additional Information:

Bulldozer: The Ballad of Robert Moses plays now through January 7, 2018 at the Theater at St. Clements, 423 W. 46th Street, NYC.

The show runs approximately 90 minutes with no intermission.

Tickets are available at the theater’s box or online at the show’s official website at bulldozerthemusical.com.

Posted in Off-Broadway | Tagged , , , , , , , , , , | 1 Comment