Drama Queens Reviews

Shani Tabia Interview

Shani Tabia will be playing the role of Anjelica in The Buffalo Hero of World War I: The Wayne Miner Story.  She started performing when she had a song in her heart from a young age.  Five years ago, she was bitten by the acting bug.  We had a chance to chat with Ms. Tabia about her artistic journey and her experience in this play. 

“I’ve been in the acting world for the past 5 years or so. I grew up immersed in the performing arts, but in the music side, as a singer. I felt a strong urge to become an actor in 2016 while living abroad. Then in 2018 I decided to move to New York City to develop my craft, fell in love with it and I haven’t looked back. I feel like it is a call on my life from the most high. I love sharing my gift of empathy through the art of storytelling. I’ve been studying at Woody King Jr’s New Federal Theatre over the past three years and have been taking other classes sporadically. I am thrilled to be returning to this production of The Buffalo Hero of World War I: The Wayne Miner Story.”

Ms. Tabia made sure to utilize history when creating her character especially because this is a play about true historical events. “History played a big role in my development of the character Angelica. I had to really immerse myself in what it was like to be a black woman during that time. How hard we had to fight to be seen, heard, respected, validated, cared for, etc. While being responsible for doing most of the “caring for”. Many things have changed since then, but unfortunately so much has not. If you look at the play, there are only two women present, the mother, and the nurse or “Angel”. Now initially one might feel a way about that, (I know I did). But I do believe it accurately reflects the realities or at least the mentalities of that time period as it pertains a woman’s role in society and in war. That’s all HIStory.” 

Ms. Tabia’s creative process involves carefully reading the script and then identifying an objective from which she builds her character.   “Hmm I don’t know if I can clearly lay out my creative process. I like to read the script, make sure I have a clear understanding of what it’s all about. And then I dive into my character and identify my objective. Everything else is built around that. How they speak, what they look like, how they move, how they interact with others is shaped around my objective. Kenthedo, our director, and playwright, was really great about sharing his inspirations for the characters with us, so that helped with further character development.”

Sometimes artists portraying a real character in history might feel an added responsibility to bring the character to life accurately.  Ms. Tabia shared her thoughts on that.  “I think in general most artists/actors have a responsibility to tell a truthful and honest story. As a black artist sharing a historical perspective of racism in this country, that burden always feels a bit heavier.” 

 Ms. Tabia would not only like for the audience to enjoy the show but it would make her happy if they come away deeply touched and contemplative.  “I want the audience to come away reflective. Reflective of where we’ve been, and where we are today. I want the audience to feel inspired to research and find more untold stories of Black American heroes. I ultimately want the audience to leave this show feeling more connected to purpose, faith, courage, and the power of love.” 

Ms. Tabia is taking away wonderful memories and words of wisdom from this production.  “In addition to the pleasure of working & growing with such a strong cast of talented actors, there are so many gems in this play I am taking with me. There is a line from Mama and Miner that has stuck with me since my first run in the production… “In war and life, you got to see the big picture. Not just the little battle in front of ya!” I think that’s a message everyone can hold on to.”

Ms. Tabia won’t be too much relaxing after this play is over.  She’ll be too busy nurturing her artistic skills.  “What’s next for me is more learning, studying, growing, playing, & Living! :)” 

For many reasons, there is a melancholy feeling surrounding this production.  First and foremost, this beloved talented man is not around to drop by rehearsals to have lovely interactions with the cast and creatives or to see the fruits of his labor.  “I have mixed feelings.  This play was originally scheduled to run back at the end of April 2020.  Theatre got shut down in the beginning of March and sadly Irving passed on April 1,2020.  He has sent me an email just a couple of days before his passing that I never got to answer.  I regret that to this day.  Four out of eight cast members had the pleasure of working on one of his plays and got to meet him.  I miss him stopping by rehearsals to see how it was going and chat with the cast.  I miss grabbing a meal after our Sunday Matinee.  I miss picking up Irving and Anita and driving them to and from the theatre on any given Sunday.  Even during football season.  I miss his wit, our conversations and the way he told his stories through his writing.  His voice will be missed.”

“The next play is based on a true story. Irving received an article from the librarian in Bisbee, AZ that all his books were going to be banned.  Irving had written a series of books called the Depth Forces Series.  The bookmobile was in town and the mayor’s son was looking for a Garfield book but instead he picked out a Greenfield book and once he didn’t understand some of the words, he asked his mother who was upset by the subject matter and the mayor banned all his books not just the depth force series.  The play brings the Captain of the Submarine and his first mate out of the books into a dream of the mayor and his family.  The captain and his first mate are attempting to right a wrong.  In this play there were some special effects that my wonderful technical director was able to make happen.  Irving had written himself into the play and I thought we could just tape his voice, but Ken had a different idea.  We video his responses and hit the cues when needed.  It enhanced the production.  Along with the smoke and additional sound effects.”

Artists of all disciplines can sometime be temperamental or difficult.  It was nothing but green pastures with Mr. Greenfield!  “Was he tough? No.  I loved having conversations with him.   We would email each other and even talk on the phone about the current play of his I was working on.  Once he and his wife Anita moved to Staten Island, I would pick them up on a Sunday and drive them in to see Irving’s play.  We spent time after some of his plays with doing dinner.  They were a lovely couple and I enjoyed getting to know both.”

Luckily Ms. Waugh is in touch with Mr. Greenfield’s family and his work and memory will live on in future productions.  “I am in touch with his son.  Keeping him up on the progress of the play “WALTER”.  I have asked if I can direct the last play I have of Irving’s.  I got a yes.  I was also given the story behind the play.   The funny thing is I read the play as a short story first and asked Irving to turn it into a play.  He did and I will be directing it next year.”

The stage will continue to call upon Ms. Waugh and her expertise with plays by Mr. Greenfield, his son and other talented playwrights.  “Next I have several plays that I am looking to direct next year.  Irving’s last play, MY MOTHER’S BOOKIE.  I also have a play from Irving’s son Nathan Greenfield that I want to do along with a couple of plays from Norma Mortimer.”  Having personally seen Ms. Waugh’s work, Mr. Greenfield’s work and several productions at The American Theatre of Actors, I highly recommend supporting these professionals and this institution.

Article edited by Natasha Dawsen

Noy Marom is an Israeli actress, active in Israel and NYC. She was born and raised in Israel and moved to New York in 2014 to pursue acting. Noy is a graduate of The Stella Adler Studio of Acting, class of 2017.She is a founding member of the Virago Ensemble, an International all-female theater company, striving to empower women’s voices by sharing old and new works created by female-identifying writers.

“Ring” is a short film about a nightly encounter between a stressed bartender and a drunk patron. Taking place in a dark bar in Brooklyn, New York, this Chekhov influenced piece holds a mirror to the absurd reality of today’s society- how we’re all constantly surrounded by people yet feeling so isolated and lonely and craving a real human connection. 

Noy Marom plays the leading role of the overworked bartender.  She faces a lot of challenges in her personal life, trying to balance it all and is left feeling drained and lonely. We see her in different situations during what seems like a very long work night, surrounded by dark and single dimensional characters. She is hungry for a warm interaction with another, as a mysterious stranger (Hary Bhaskar) comes by the bar and turns just another gloomy night into a surreal one.

What at first seems like just another exchange between a tired overworked bartender and a drunk patron, turns into a heartfelt conversation about life, love and loneliness. The two strangers find a shard language and comfort by feeling seen by each other.

It’s a beautiful story about finding connection and warmth within the cold, fast paced nightlife world and how love can find its way in even under the most surprising circumstances.

Noy: “When I first read the script, I was a bit hesitant about taking on the role. The character of the bartender seemed tougher than the characters I usually take on and I felt very much out of my comfort zone. Also, my character’s dialogue was relatively short compared to Hary’s character (I later learned that that was an intentional decision of the director who wanted show that the character- who’s working environment demands her to be constantly lively and vocal, finds ease and authenticity during this surprising nightly encounter). That was very challenging at first, since many of my reactions were mainly physical and expressive, but viewing the final result, it all makes sense and certainly helps with telling this unique story. Another interesting shift that was made during the filming was the change of my character’s name. As originally discussed, Hannah was the chosen name in the original script, but after digging deeper into the universal aspect of the message of the story, the director wanted to show the characters as people represented by the titles they carry into the scene- the way they are initially viewed and judged by each other, before they form this human connection, so the character names changed to simply Bartender and Bar Patron. I think it’s a beautiful decision made by the director.

Working with this wonderful team was an absolutely wonderful experience and I can’t wait to share this unique piece very soon.“

The film is currently being submitted to festivals world- wide.

Written and directed by: Sahej Sidhu

Actors: Noy Marom and Hari Bhaskar

Cinematographer: Pedro Garcia- Maurino

Sound: Samual Sadovnik

Filmed: August 2022 inDowntown NYC

The cast of FIVE FEISTY FEMMES presented by Ripple Effect Artists weighed in on the topic of Post-Pandemic “Funny.”

Cher Landman (Carolines Breakout Artist Series; Compound Media; Superficial Intelligence podcast on YouTube and Spotify)

What does “funny “ look like in the new paradigm?

Now comedians and artists can develop their own fan base and self produce and be paid directly by those fans. You don’t have to be anointed by some network or late night show. It’s interesting to see entertainers becoming popular who would have never ever made it on network tv. In the same breath, network tv continues to under serve those audiences. 

Dara Jemmott (Just For Laughs; BET+; Black Women in Comedy Festival) 

Stand up comedians are truth tellers. Truth and humor shift with time and perspective. So as long as we are tapping into truth (based on social agreement) we can explore the spectrum of funny, regardless of living in a new paradigm. I think audience sensitivity has increased. Which just means it requires additional effort when we approach certain topics. However, I think because the world is such a heavier place, with so much craziness happening on a daily basis, laughter has become a coping mechanism for all of us, and a welcomed much needed distraction. 

Helaine Witt

Helaine Witt started comedy in the 80’s, being trained by members of Robin Willliams’ improv troupe.  

She wrote jokes that Joan Rivers performed on the Late Show with Johnny Carson.  (One can be seen on the Peacock special: Good Timing (2021, nominated for a Critics Choice Award).

Helaine keeps busy after retiring from teaching in New York City.  She writes greeting cards, helps other comics write jokes, did voice over work, appeared in 3 documentaries, and performs mostly on Long Island and Manhattan. Helaine’s versatility ranges from emceeing fundraisers, to performing for seniors and younger crowds.

When the pandemic hit, headlining, touring comics were instantly forced to STOP! STOP HAVING GIGS! STOP GETTING PAID! STOP TRAVELLING! STOP STANDING ON A LIVE STAGE!
Now, 2 1/2 years later, your favorite headliners are starting back, performing on cruise ships, theaters, the few (Sebastian Maniscalcos)- selling out stadiums!  Jerry Seinfeld, showing up to surprised audiences expecting to see ‘lesser knowns’….perhaps to sharpen their ‘bits’ for their theater shows. Comics are using social media platforms to tell their jokes, some spoon-feeding faithful AND NEW fans, one joke at a time (TIK TOK).  They are showing up on youtube channels, Dry Bar (squeaky clean, taping in Utah), Netflix specials, superstars like Steve Harvey asking questions on Instagram like, “What’s a dish that always ruins a potluck?”  If you are a fan and comic striving to get a name for yourself (like me), you hope your answer gets repeated by HIM AND THEREFORE THOSE WHO SEE HIS RESPONSE!!

Those who appeared on Zoom during the pandemic, joking about seeing their spouses daily for 2 years when they hadn’t been home for 2 weeks at a time for decades, showing their children, finally starting to get out of their family’s hair by touring again!

Zoom was and is a saving grace during the pandemic.  For me, I have Zoom classes, Zoom shows, Zoom mics, Zoom seminars, Zoom joke help, you name it – Zoom is fantastic for my comedy.  My biggest  lifesaver has been “www.jokezoom.com“. 

There’s another factor – POLITICAL CORRECTNESS – Comics are being stifled … AND THIS ONE – VIOLENCE TOWARD THE COMIC ON STAGE!

These are factors that keep comedy from being ‘fun’!

I haven’t covered EVERY ASPECT because I don’t know (for example), if clubs are losing money….that’s not my area of expertise.  I used Zoom every day for 130 weeks. I’m an expert on ThAT!

Comedy will continue, it will thrive or not, but we will still automatically make fun of the news, write greeting cards, get on stage, and we won’t stop

Jampacked with myriad references to theater, film, culture–and even the Bible–as well as the processes of acting, living, and dying, Auditioning for Eternity gives the audience a lot to chew on.

Dying actress Mary, played by Mary Tierney, does double duty as she lives out the urgency of crafting her last star turn, even as the audience has already seen her on her death bed with little time left. Mary is writing her final exit. And she is the star of her own play–much as we all are.

The drama we see takes place in Mary’s head, as her estranged actress friend Roz, played by Carla Susan Lewis, returns from her very recent death to help Mary–and also herself–to the next plane (or play) of existence.

Roz’s love for her friend shines through, like the sparkle of her shimmering gown–even though this is not a role she ever wanted or expected.

Roz has been given this assignment by two figments who appear in what seems to be the legendary Players Club mansion in New York City, founded by esteemed actor Edwin Booth in 1888.

But what seems to be this prestigious and storied social club, is really the Bardo, the space between death and the next life. Booth, played by Kevin G. Shinnick, is joined by former “First Lady of the Theater” Helen Hayes, played by Beth Griffith.

Together, the two figments prod Roz, sometimes comically, sometimes frustratingly quizzically, onto this unexpected assignment upon the heels of her unexpected death.

The piece touches on the themes of love, compassion (even in adversity), the nature of existence, and the notions of art imitating life (and vice versa).

Playwrights Coni Koepfinger and Dan Carter (who is also the director) certainly know the history and tumult of creating art for the stage. And they certainly have grappled with (and give reference to) various concepts of eternity.

Auditioning for Eternity will give you many things to think about, and much to talk about. It certainly did for me.

Julia Fein Interview by Jen Bush

Julia Fein can be seen in the exciting new musical re-telling of Rip Van Winkle called Impossible But True.  Most babies first vocalizations are “ba ba ba”.  Ms. Fein’s were “la la la” followed by full-fledged songs.  Her academic studies at a highly prestigious university were both satisfying and practical.  “I was bitten by the acting bug early, singing melodies before talking and performing in my first musical at age six. I went on to study theater (& psychology) at Brown University. What I appreciated most about Brown’s theater program was that I left with an actor’s toolbox, which comprises a myriad of practices that I draw upon today.”  

In creating Ms. Fein’s character, she utilized details that dealt with the physicality of how people conducted themselves during the period in history in which the play takes place.  “Details are incredibly important always, but are especially so in historical pieces. On top of my own research, Cailín Heffernan directs with helpful specificity. She’ll say: “You would hold your skirt like this,” or “You can put your arm here, but not here,” for example. It’s fun to discover not only the differences, but also the similarities between the world of the play and the present day.”   

Ms. Fein’s creative process varies by project.  This musical maven is enjoying the fact that she can spend quality time working with the brilliant score.  “My creative process depends on the project! This show is mostly music, so I spend a lot of time digging into Dan Furman’s complex and gorgeous score. Cailín has cultivated a playful environment in the rehearsal room, in which I feel free to take risks. There’s no failing, because anything I try that doesn’t work for the show leads us to what does best serve the story.” 

  Impossible But True represents a specific time in American History being performed in a historic location.  Presenting the material could make the cast feel an added sense of responsibility in terms of authenticity.  “I always feel a responsibility to truthfully represent my characters and the time and place in which they live. In this case, Dan did most of the work in his book, so I can just focus on lifting his words off of the page. I’m so excited to perform in Old Stone House, as it will add such depth to the piece.

Ms. Fein would like the audiences to walk away from the show inspired, uplifted and a bit curious.  “The show ends with the beautiful song, Things Are Possible, and I think that’s a great ending note. While the song is uplifting, there is also room to wonder about the possibility of tragedy. The brilliance of Dan’s music is that, similar to the show’s title, and with real life, it contradicts itself.” 

When doing a play dealing with the American Revolution, one can’t help but think of the events that took place on January 6^th.  Ms. Fein has her own unique perspective on the similarities between the two events.  “My circle of family, friends, and collaborators are very left leaning, so it sometimes feels like I’m in a bubble. Staying in that bubble is naive and dangerous, therefore I try my best to pop it, whether I’m phone banking, writing letters, or simply reading the news. January 6 didn’t just randomly happen; it reminded me that there is no small election.”

Ms. Fein is doing all the right things to ensure future employment in the arts.  She is also availing herself of this artistic playground known as New York City.  Her creative toolbox is open and ready to be used at a moment’s notice.  “I’m currently looking for representation and keeping up with my voice and acting classes. I also try to see as much art as I can in this vibrant city!”

Interview by Jen Bush

Carla Susan Lewis is about to star in Auditioning for Eternity.  The piece is about a ghostly encounter between two friends, one dead and one alive.  Ms. Lewis has had extensive training in her craft from some of the most sought-after scholars in the industry. She has amassed an impressive body of work on stage and screen. 

Ms. Lewis gets great enjoyment from embodying the characters she portrays.  “I adore storytelling and opportunities to “live the life” of a character as we find them within ourselves. There is always a thread between myself and what is on the page that gets triggered, sometimes subconsciously and that connection, when it is true radiates to the audience. We become one. I feel them breathe. Miss that in on-camera work.”

Ms. Lewis has a comprehensive creative process.  “I work on multiple layers using a range of tools and instincts that play out in the moment after intense script analysis and fine-tooth combing of text. I use a lot of very specific imagery, imagination, and body work as well as fictional projections to enrich the history of the character and relationships — kind of like a more visceral biography.”

Ms. Lewis was drawn to this play for the creatives involved and for the story itself.  “Coni and Dan and their brilliance, the spectacular wit, dramaturgical richness and existential answers in an absurdist framework that communicates the profound beauty and power of love.”

 When a piece has serious subject matter, sometimes artists feel an added sense of responsibility to present the material in a more sensitive manner.  Ms. Lewis feels a strong sense of responsibility to the work regardless of the topics presented.  “My sense of responsibility to playwrights is always fiercely present no matter what the subject matter. It is a privilege for me to raise the text from the page and flesh it out with as much dimensionality as I can muster.”

Though COVID is still present, Ms. Lewis is elated to be on stage again.  “It is a dream come true that we are live again on stage. That reality felt frighteningly far away in 2020. I had just signed a contract to play Susan B. Anthony when the Equity COVID protection policy pulled the plug. It was warranted of course pre-vaccine.”

Ms. Lewis has some lovely ideas for what theatre should look like post-COVID.  “More reflective, more celebrated, more treasured, more inclusive.”

When this project ends, there will be no shortage of work for this talented artist.  “My rep will hopefully have some juicy projects lined up but I would love to see this play taken to the next level. I am also enjoying the indie film festival circuit playing the mother of the protagonist. And hope to travel to another screening this Fall.”

by Jen Bush

Leslie Lynn Meeker will be portraying Carson McCullers in an exciting new play about to premiere called Carson & Huston. 

Since using her flashlight as a microphone under her quilt during her super-secret radio program at the age of five, she has been lighting up the stage and the screen with her artistic prowess.  The world turns with her recurring character of Nurse Fredericks on that popular soap opera.  Some of Mr. Meeker’s notable theatre roles have been Lady Capulet and Mrs. Bob Cratchit.  Speaking of quilts, she can make you one or a dozen being the designer and creator of Second Life Quilts.

To say that Leslie Lynn Meeker is thrilled to portray Carson McCullers is an understatement.  She’s doing cartwheels because she can actually do cartwheels.  She honored this literary luminary by taking the time to do comprehensive research into her life and her work to lend genuine authenticity to her portrayal. Ms. Meeker tells us about her creative process in her own words:

“I was familiar with some of Ms. McCullers’ works when we began our rehearsals, but I did not know much about her personal life. I have thoroughly enjoyed exploring her on every level.  She had a great passion for life. That passion was conveyed not only through her work, but also her relationships.  It is exciting to me to portray a woman of such strength in spite of her many physical challenges and vulnerabilities.

She had a spine of steel when confronting her goals. Her artistry survives as a testimony to her powerful determination to speak her own voice regardless of criticism or public judgement.  I feel quite fortunate to have this opportunity to embrace this powerful woman through Mr. LeVrier’s story.”

Trading a flashlight for a spotlight, you can see this lovely leading lady step into the shoes of a great American wordsmith in Carson & Huston starting on August 30,

Interview by Jen Bush

Sarah Rosa enthusiastically lends her talents to the cast of the exciting new musical opening on August 18th, A Symphony for Portland.  It’s safe to say her heart is in the arts.  “What can I say about being an artist that hasn’t already been said? I can tell you, as an artist, I think it requires a certain level of passion and enjoyment for any of the arts, and I honestly think I have a lot of passion that makes up for my lack of experience.” This is Ms. Rosa’s first on on a professional stage.

When crafting a character Ms. Rosa’s creative process consists of research and trying different things until the character feels complete.  “My creative process is pretty standard. I’d say, it requires lot of research, as well as experimenting with types of looks & personality I bring to my own characters. I always go over it in my head, what works well and what doesn’t quite stick.”

Ms. Rosa was drawn to this play because of the characters and the unique way in which they are portrayed.  “To me, this play is about the underdogs. I don’t often see works about the struggling homeless, which is surprising considering that I live in New York. Poverty and young runaways is such an important topic that I feel, isn’t talked about enough. Seeing this play show the unsuspecting strength of such hardened people, being brought together as they hurdled on is both commendable and fascinating.”

A play with serious subject matter sometimes gives the actors an added sense of responsibility to execute the material more sensitively.  Ms. Rosa concurs.  “Oh, absolutely. I think representation is important. Especially when such a topic is dealing with the current issues of today. The world isn’t perfect and this play, exactly shows that, when we step into this world of the outsiders most people tend to ignore. It’s such a humane subject, and it has certainly changed the way I view things.”

Covid is far from over, but the performing arts have returned with a myriad of feelings from cast, crew and audience members about its’ return.   “It’s nerve wracking. I want to give the audience a good show, without worry over exposure. I will says, with vaccines and proper precaution (such as taking tests, wearing masks when needed, etc.) helps a ton. I’m truly grateful to preform despite these rough times.

There are also a multitude of ideas about what theatre should look like post-covid.  “I will say it… safe. We all enjoy the theatre and if we want to see more works on the stage, ideally safety precautions will have to be focused just as much as performances. We all want to be safe and healthy, and to achieve that, I believe, some guidelines need to be made and followed to insure the health of the everyone on stage and in the audience.”

Ms. Rosa is not sure what’s next, but she is on the right path to secure future employment in the arts.  With her wealth of passion and enthusiasm, she would be a welcome addition to any project.  “What’s next?  That’s a good question. I’m hoping a lot more projects. I am practicing honing my craft and will hope to apply that to any future projects that may come my way. With this experience, I’d be grateful to showcase other important issues or even something suited to my own strengths.”