Hungover Together: mostly true stories that we sort of remember

A cabaret these days has become a great way for artists soon to depart our Land of Enchantment to give their swan song. However, "Hungover Together" was less of a swan song and much more a true life love story between four friends, two of which have left after the run of the show to pursue their NYC dreams.

Written and conceived by Gilbert Sanchez and Jessica Fisher, the autobiographical musical weaves together events from the forgotten night before by going through the clues left behind. Each clue leads the friends into another scene from their debauchery, and each becomes a new story to tell, all of which they insist are true. Drinking from the barrel of a shotgun (novelty glass) to wearing a Marilyn Monroe dress commando style, and even a naughty red headed wigged, Ariel the Mermaid impression... all true? For real?

Performed with Jonathan Gallegos and Marilyn Valencia and accompanied by Paul Roth, the humor of the cabaret was bawdy and bright. Trading off karaoke and modifying existing musical numbers were other numbers performed by the group, in solos, and duets as well. One particular favorite I had, "What the f*** was that?" takes place as Jessica (playing Jessica) clutches Gilbert (playing Gilbert) as they stumble through the horrors of the late night bar crowd.

Staged at the Musical Theatre Southwest Black Box theater, and directed by Hal Simons, the intimate setting allowed the performers to sing without body mikes, and with the kind of audience immediacy that sitting mere feet away from the drama onstage can produce. 

 

While drinking, and drinking, taking videos and pictures of each other and their escapades, and still drinking, Jess and Gilbert spend the evening singing, dancing, fighting, and making up, like any duo is prone to do under the influence of alcohol and devoted friendship.

Best of all was how they chose to end the show... by sharing via projector screen the real life evidence of their many nights of true debauchery, just as the show depicted it... pictures and videos of the times they've shared, and exactly how they played them out for us to see in the cabaret.

I have a soft spot for these two, we performed together in "Jesus Christ Superstar" in Fall 2012 and so it is bittersweet yet joyful to see them leave for other opportunities. Sending best wishes to these talented two performers, and hoping they take many more bows from many more stages in their future.

Invaders of the Heart:Revival by Mosaic Dance Company

This past weekend "Invaders of the Heart: Revival," a belly dance showcase of the Pomegranate Studio's three companies, delighted many within the intimate setting of the Maria Benitz Cabaret at the Lodge of Santa Fe. As the studio's founder, primary choreographer, costume designer and artistic director, Myra Krien brings her unique vision of belly dance to the stage in a grand fashion each Spring, coincidentally in the same place this year where the company first performed in 1998, over 15 years ago.

The "Revival" program featured traditional Oriental choreography, as well as American tribal style and flamenco fusion pieces, and Krien's Belly Baile style, her own creation. A dazzling smatter of props added to the show, including not only traditional veilwork, but also Burlesque-style fluffy feather fans, and Asian veiled fans which made a delightful dragon effect in the number, "Geisha's Tears." Solo numbers and ensemble pieces comprised the two sets, with moments of humor, and personal expression, interspersed.

 Click HERE to hear Myra Krien discuss this year's show

The special guest performer this year was award-winning dancer, filmmaker and graphic artist Cecilia Rinn, who not only performed, and taught workshops during her visit, but also held a special screening of her film, "Belly," a documentary that explores family, body image, sisterhood, female empowerment and spirituality through the medium of belly dance.

Jade McLellan's performances were particularly strong this year, an artist who has developed on stage for us to watch since 2006. Now the Acting Director for their apprentice company, her own solo numbers were powerful in characterization as well as technical ability. The program notes Jade is moving on, and it was a joy to witness her artistry once more before her possible Pomegranate Studio departure.

Creative costuming is second nature to Krien, whose design skills are put to use creating her clothing line, as well as her creative expressions onstage. This year, cute fedoras and pantaloons adorned the gypsies, while other more traditional costumes were seen, and flamenco accents within the second act allowed greater characterization for the dancers to express themselves with.

Local dancers may wish to attend Krien's upcoming workshop, on May 19 at Farfesha's in Albuquerque, and her upcoming performances can be seen in Santa Barbara, Ca. as well as Maui, Hi. This summer, she will be starting her current session of her SEEDs Teacher Training program. SEEDs was originally developed as a way to nurture and educate young women in a positive fashion, using belly dance as well as other means of self expression and empowerment, a model which now has 14 other programs nationwide based on the same model. Unique to this year, Krien will also be offering her first Sophia workshop, a four-day retreat in July based on the SEEDs program but designed for women. For more information about Pomegranate Studio, visit www.pomegranatestudio.org or email pomegranatesfnm@yahoo.com.

Sweet Charity at Musical Theatre Southwest

"Sweet Charity" has everything to offer the audience, and Musical Theatre Southwest's production, with a score by Cy Coleman and book by Neil Simon, revives a piece of the '60s for audiences at the African American Performing Arts Center (AAPAC).

Charity Hope Valentine has no luck when it comes to men. But it's her charming nature and down to Earth personality that win people over, time and again, everywhere she goes. Played by Stephanie Burch, the role requires a strong actress who can sing well, and dance even better, which Stephanie delivers in plentitude.

With support from the Fan Dango dance hall girls where she works, most notably the friendship between Helene (Stevie Nichols) and Nickie (Dawn Durkin), Charity's unflagging optimism and her love for all comes through. The trio they share for "There's Got to be Something Better" allows their dynamic to shine, showcasing the women's strengths.

  Click HERE to listen to Stephanie, Stevie & Nickie discuss the show

"Without love, life has no purpose," and so Charity finds herself falling in love...again, and again.  Playing opposite her are Bryan Daniels as Vittorio, as well as Leonard Hughes as Oscar, who is perhaps Charity's best hope at finding a love match. The variety of situations written into the script allow for comedic elements to intertwine with dramatic moments for each of the men as they interact with Charity.

Noteworthy cameo roles are also a part of this musical, with Tim Nuzum's strong performace as Daddy Brubeck, singing,"The Rhythm of Life," a hippie piece, and Brian Clifton's Herman, the gruff dance hall manager who heartfully reveals in song, "I Love to Cry at Weddings."

Major props to Robb Sisnernos, the director, for his innovative "Rowan & Martin's Laugh In" set design, which effectively handles the many roles written into the work, as well as the Fosse-inspired choreography by Larry Aguilar, which is integral to the show and delightfully appropriate to the period piece. The show runs until April 28th, and tickets can be bought online at www.musicaltheatresw.com/

Cat on a Hot Tin Roof at Albuquerque Little Theatre

Classic works make for unique challenges for actors, especially when so many before have brought their interpretation to long standing roles such as Tennessee Williams' characters in "Cat on a Hot Tin Roof." Tackling this challenge, local actors Kate Costello and Peter Diseth are currently navigating their own course as the iconic couple Brick and Maggie Pollitt over at Albuquerque Little Theatre, playing until April 28th.

  Click HERE to listen to Kate Costello & Peter Diseth discuss the show

Photo credit Billy Nguyen

Spying, lying and deceit are constant themes throughout the play, and watching how each of the characters choose to  manipulate each other by what they reveal, and what they conceal, keeps the 1955 setting relevant to today's audience. Maggie carries the majority of the first act, a daunting challenge that Kate effectively meets, while Peter, as Brick, must remain relevant to the scene, and to Maggie, often without saying a word.

When supported by strong actors in the roles of Big Daddy (Tom Pentecost) and Big Mama (Carolyn Hogan), the directions of the play range from sinisterly comic to darkly dramatic. Brick's cry for his crutch as he lunges for the bottle, and glimpses of Big Daddy's own abusive behaviors when alone with Big Mama shade the work darkly, allowing the actors to successfully push the storytelling beyond the script itself. Big Mama's desperation to make things alright easily becomes a pathetic attempt to thwart Big Daddy's rages, and Maggie's desperation to connect with Brick, who withdraws from her every attempt, only reveals and exacerbates her own insecurities. In true Southern style, it takes strangers to deliver the distasteful truths, to reveal the lies and to bring forth the issues that the family can't bring themselves to discuss, despite what they already know.

Photo credit Billy Nguyen

Directed by Denise Schulz, the show builds to the end, with exquisite lighting design by Ryan Jason Cook which is especially noteworthy, a moonlit backdrop which turns from a balmy, Southern night to a dark and stormy Summer squall.

The show runs Friday, Saturday and Sunday until April 28th, as well as a Thursday performance on April 25th. For tickets and info online, visit albuquerquelittletheatre.org or call 505-242-4750. 

Farfesha's Showcase at the South Broadway Cultural Center

It was an evening of world dance, as Farfesha studio presented their 11th annual student showcase, featuring nearly 80 performers, both students as well as teachers and choreographers, at the South Broadway Cultural Center on Saturday. Folk dancing from many countries and cultures around the world were skillfully presented, allowing performers of all ages, body shapes, and abilities to gain confidence in displaying their art on stage.

Belly dance (or Oriental dance) was not the only type of folk dancing featured, but a more global approach to the evening included hula and flamenco as well, the same as their studio offers, and dancers danced in everything from cowboy boots, to character shoes, and of course, barefoot. Prop work is essential to many of these works, so everything from veils, shawls, sticks and swords were used throughout the evening. Strong solos, as well as small group and larger ensemble pieces made for a varied program, and dance legend Amaya had a guest performance, a veil dance in the 2nd act, which provided another highlight to the evening.

  Click HERE to listen to Amaya discuss her career as a belly dance performer

While photos were prohibited, I did get this shot during intermission, which was adorable! It is always a joyful experience to see performers learning to present their work to others, and fascinating how one's eye is drawn to different dancers. Regardless of age or body type, there is such beauty to be found in any dancer who owns their movements, which Farfesha's students understand. And with bows set to the "Harlem Shake" they left the audience smiling.

For more information about Farfesha Belly Dance visit http://www.farfesha.com. 

Venus in Fur at the Aux Dog Theatre

You may not have yet heard of Venus in Fur, the play currently in production at the Auxillary Dog Theatre, right? Written by David Ives, the two-person play opened off Broadway in 2010, on Broadway in 2011, received 2 Tony nominations (for Best Play and Best Actress in a Play), and is just now having its first round of regional showings. As a self-professed champion of new art, it pleases me so very much to review this show.

Set in present day New York City, Brennan Foster introduces us to his character Thomas, the playwright and director who laments the need to audition yet another dingy actress for his show. Vanda, who is auditioning for the part of Vanda, played brilliantly by Sheridan Kay Johnson, enters and immediately allows her comedic elements to keep the pace upbeat. As the two begin to read from the script for her audition, complete with numerous onstage costume changes for both actors from Vanda's seemingly never-ending bag, more subtle aspects of the story begin to come forward.

Ives pulls from literary sources to create the play within the play, most prominently the novella Venus in Furs, by Leopold von Sacher-Masoch (whom we derive the word masochism from). As such, dominance and submission are prominent themes in every time period we are steered through, but more often in a subtle and non-sexual context than as a by product of desire. Feminist messages are certainly part of the text as we watch the two change collars, and change positions of dominance, alternatively taking control of the situation and giving direction to one another, however there is a playfulness that sustains the larger questions of gender equality which surface.

  Click HERE to listen to Brennan and Sheridan discuss the show

A "phony continental accent" is directly referenced, allowing the accent as well as the dialect to shift, a feat which can be painful if not done well, and these two handled their characterizations quite well and often with extraordinarily funny moments. As modern day and 1870-something come in and out of focus, a greater range is provided for the actors to navigate, and both have strong soliloquy moments as well as light hearted dilagoue to find together. The choice of no intermission allows the show's momentum to build and the end leaves the audience feeling electrified and wondering what exactly they've just witnessed. "Don't F@!% with a goddess!" is the take away line, and as you might guess, the show is definitely rated R. Saucy, provocative, and raucous, the two play together brilliantly and their ability to sustain each other, with no exits and only each other to work with, allow the pace to flow and, ultimately, crescendo.

Directed by Kristine Holtvedt, and costumed by Jaime Pardo, the show was championed by the Aux Dog's Producing Artistic Director, Victoria Liberatori who is expanding events at the theatre as well. "Friday Night Live" improv shows are happening at 10:30, after the main performance.

Get to the Aux Dog this weekend, you have until Easter Sunday (!) to catch the Southwest regional premiere of this show and you can always get tickets and info on their website, www.auxdog.com. 

La Cage aux Folles at Albuquerque Little Theater

Remember that movie The Birdcage with Robin Williams and Nathan Lane? Most everyone does, but did you know the musical comedy "La Cage aux Folles" was the movie's original inspiration?

Photo Credits John & Carolyn Hogan

Like the screenplay, the stage comedy currently running at the Albuquerque Little Theatre revolves around a gay couple, Georges and Albin, whose son Jean-Michel wishes to marry Anne, daughter of a political conservative who seeks to shut down drag clubs. One invitation to dinner later, and the complications ensue.

Photo Credits John & Carolyn Hogan

Ron Bronitsky's Georges finds himself trapped between his love for his child, as well as his devotion to his partner, Albin, whom he is asking to disguise his true self, or simply to disappear. As Albin, Dean Eldon Squibb must find the nuances between love and betrayal by the family he loves, while still being the great performer Zaza that the people demand.

As their foils, the conservative Dindons' bombastic rigidity, played by Rick Huff and Carolyn Hogan, allows the preposterousness of hiding who you are to be seen. Throughout the show, the message of being true to one's self is emphasized in both script and song, despite the paradox we each live when we disguise ourselves by putting costumes over our authentic personality. As true in metaphysics as it is in theater, "We are who we are, and who we are is an illusion."

 Click HERE to listen to La Cage cast members talk about their performances                

Not to be forgotten are Les Cagelles, the nightclub's showgirls, an energetic ensemble of talent led by Jonte Culpepper, as the ferocious Hannah, and her team of fabulosity, James Camacho, Joey Grider, Andrew Melendez, Ty Shoemake and Roan Velasco. Energizing the pace of the show, the Cagelles' costumes and choreography dazzle and delight.

Photo Credits John & Carolyn Hogan

Directed by Henry Avery, with choreography by Larry Aguilar and musical direction by HollyBeth and William Williams, the expert guidance behind the scenes shines through in each actors' performance before the audience, who gladly ended the night cheering on their feet.

Currently in their 2nd week and closing on March 24th, that means you still have time to catch this show, as well as a bonus Thursday performance on March 14. The show is rated PG-13. Check www.albuquerquelittletheatre.org for prices and online ticket sales.