A “Pause” That Engages

A PREGNANT PAUSE
REVIEW by INOLA McGUIRE

The American Theatre of Actors

314 West 54th Street, New York, NY  10019

Wednesday, April 13, 2016

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The performance that I saw is “A Pregnant Pause” written by Meny Beriro, directed by Laurie Rae Waugh, stage managed by Rachel Ladany; starring Calvin Knie, Carla Duval, Alan Charney, and Patrick Robert Kelly.

The audience sees a cozy apartment with a speechifying couple.  The topic of discussion between studious Bob and nagging Susan is the murder of a wife by her husband.  Susan discusses what she reads in the magazine to Bob from the sofa while he tries to study for his upcoming examination.  Bob tries to cope with his studies at his desk.  Susan wants to discuss with Bob the ramification of the murder in the family.  She thinks about the welfare of the children through this tragedy!  Bob wants to score a higher grade other than his 16 points out of 20 in his next examination.  He wants to study his books without interruption by Susan!  Susan needs his undivided attention, but Bob wants to smoke a cigarette and study.  Susan objects to his smoking for she knows the dangers of second-hand smoke.  He wants to consider buying a pack of cigarette just as a keep-sake gesture, for he visualizes the grim reaper coming his way not until 50 years from now.

The audience notices how Bob is oblivious to Susan’s need for his attention.  He gets into World History as it is one of his best subjects.  As an added bonus on murders to Susan, Bob makes reference to the French Revolution, and he also makes a comment about Cambodia and the Nazi.  The audience realizes that Bob got his money’s worth in college in history.  The Cambodian genocide happened between 1975 and 1979 in which approximately 1.7 million people lost their lives, and the Nazi regime carried out its reign of terror in Europe during World War II.  Susan appears not to be too interested in Bob’s History lesson, and he is not too interested in catering to her histrionics.  The telephone rings.  It is Bob’s friend, Scott, on the line and he wants to visit.  Bob tells him to come over, and Susan wants no part of that decision, but she spills the beans about her pregnancy.  Susan tries to hold Bob over his shoulder.

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Bob occupies his mind with Yacht racing, and he mentions Belgium as a competitor in the race.  Bob and Susan’s conversation changes to Scott and his girlfriend, Stacey’s relationship.  Susan continues to vie for Bob’s attention, and she tells him all about his lack of spending quality time with her.  Susan is hell bent on having an abortion.  She wants to visit her GYN’s office, and she paints a vivid picture to Bob about the impending medical procedure.  Bob tries to second guest Susan’s pregnancy.  He informs the audience that he was a careful participant in his love-making activities.  He took a shower with a rain coat over his body, so he has doubts on his mind about Susan’s so-called pregnancy.  She could have pricked the rain coat without his knowledge.  Bob is book smart, but Susan is a practical person.

Susan is saved by the doorbell literally!  There is someone at the door.  Both of them, Bob and Susan, inquire at the door.  Fred shows up outside the apartment.  He wants to see Mrs. Ketchener.  Susan gives him the third degree line of questioning.  The audience empathizes with Bob for his politeness towards Fred.  Fred tells Susan all about the Vice Presidents in American History, and he informs her that President John Tyler did not have a vice president.  Fred’s History lesson in America’s politics peaks the audience’s interest to investigate and clarify this fact.  President Tyler became the 10th president of the United States of America in April of 1841.  He became President William Henry Harrison’s vice president in 1840, and after his sudden death, John Tyler was sworn into office as president.

 

Fred decides to introduce himself after his History lesson to Susan.  He tells her that his name is Fred, but his friends call him Freddy.  The audience observes Susan carefully, for she continues to be very indignant to Fred.  Bob tells Fred to stay and he tries to learn from what Fred has to say about the changes in his life time.  Fred shocks the audience by his comment.  He says, “Young people don’t have respect.”  Bob offers Fred coffee, and he accepts Bob’s hospitality if it was not too much trouble for him.

 

While Bob prepares the coffee in the kitchen, Susan and Fred continue to converse and she inquiries about his first meeting with Mrs. Ketchener.  Fred refers to her as Emma, and he says that they met at his store.  Fred reminisces about their encounter at his place of business where Emma purchased a bottle of perfume.  Susan tries to challenge Fred as to why he did not give Mrs. Ketchener the bottle of perfume.  Fred shares with Susan how Emma saw him as an individual.  He claims that she thought he was able to charm the feathers off of a peacock.

 

The audience witnesses the decrease in Susan’s hostility towards Fred for the jiffy, and they bond on the loss of their fathers during their childhoods.  Susan reveals how old she was when her father died.  The audience empathizes with her, for its sees an 11-year old on stage.  Fred shares his loss with Susan.  He was a 15-year old teenager!  He states that was a very bad time for him to lose his father.  He imagines Susan can see her father, and she becomes very protective.  Susan says to Fred, “Leave my father alone.”  Fred listens to the sound in the room, and he hears Emma’s music.

 

Susan goes to the kitchen to see what Bob’s doing.  She and Bob discuss Fred.  Bob wants to know if Fred wants cream in his coffee.  They argue about what to give him with his coffee.  Bob suggests Susan’s mother’s cookies, and she objects.  However, they give Fred coffee and cookies.  He comments about the flavor of the coffee.  The taste is just the way he likes it.  Fred tells the couple about his baking skills, and he elaborates about how to make different types of cakes.  Fred peaks Bob and Susan’s interest in his baking skills.

 

Bob, Susan and Fred become serious about unexplained events.  Bob hints his suspicions about Susan’s illness, and she wants him to keep his mouth shut.  Susan simplifies some of Bob’s unwavering doubts about her.  Susan tells Bob that Stacey has tried to sabotage their relationship with manipulation, and she exposes Stacey’s secrets to Bob.  They argue with each other!  Fred tells Bob and Susan all about his story.  He breaks his silence to them about leaving Emma.  From his mouth to their ears, Fred tells the waring couple how he was not wealthy enough to cater for Emma, for she only ate off of fine china, the best.  In Fred own words, he couldn’t afford the woman he loved.  Emma imagined his wealth was more than he can afford.  Emma was born into wealth, and that was all she knew.  Fred assumed that words like downsizing and retrenchment were not in her vocabulary, so he left Emma because he was too embarrassed.  Susan surprises the audience with her compassion for Fred’s story, and he tells Bob to cherish their love.  Bob goes over to Susan and he assures her of his love for her.

 

The doorbell rings.  It is Scott at the door!  By the time he enters the apartment, he sucks up all of the oxygen in the room.  Scott tries to be nice to Fred, and they joke with each other.  Susan is upset.  The audience sees when Scott confronts her.  He says, “Why don’t you like me?”  Scott makes reference of helping old ladies.  Bob wants him to leave, but Scott stands on the table in the apartment.  Scott confesses to Bob, Susan and Fred that Stacey treats him like a dog.  He still loves Stacey!  Bob reminds Scott that they are like spoiled bathroom tissue.  Bob wants Scott out of the apartment, but Scott wants to talk about Susan’s pregnancy.

 

Susan defends her honor and she blames her troubles on Stacey for lying on her.  Bob tells Susan that he has no time for a baby.  The audience gets the idea from both Susan and Bob that she is not a learned woman.  She has a low-end job that doesn’t generate a high income for her.  They can’t afford children before he attends law school.  Susan listen’s to Bob’s promises of having many children when they are settled.  Bob and Scott leave the apartment!  Fred and Susan resume their conversation about his life with Emma.  He recalls that Emma died 40 years ago, and he wants to put flowers on her grave.  Susan tells Fred about her ordeal when she was sick and how she saw her father.  She tells Fred that she wanted to stay with him on her sick bed, but her father assured her that it was not her time.  Susan recollects how great her father was to her, and she cherished his memories.  Fred and Susan bond with each other on a spiritual level.  Before he leaves the apartment, he says, “Au revoir mademoiselle!”  Susan gets her pocket book and she leaves with Fred.  She wants to visit Emma’s grave with him.

 

The writer gets the message across to the audience on many levels.  It sees Bob an educated young man with a degree in history from college.  In addition, he wants to become an attorney and he is taking the appropriate steps to achieve his long-term goals.  Now, he is in love with his uneducated girlfriend who has issues with him and his friend Scott, but she wants to devour all of his free time to be alone with him.  Their days of spending the whole day in bed together are over between them.  Susan’s pregnancy, maybe on purpose, to trap him; but Bob doesn’t want a baby and a marriage to cramp his style before he gets to the top of his career ladder.  Bob is a college educated young man who has been manipulated by others, but Susan’s a graduate from the University of Life with high distinction.  In addition, the writer gives the audience a few history lessons to study on its free time.  I recommend this play to theatre goers without any reservation because it supports and empowers the audience.  The theme of the story resonates among all age groups despite their socioeconomically status.

 

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LINE!

Inola McGuire reviews LINE @ The 13th Street Repertory Theatre

50 West 13th Street, New York, NY  10011

Monday, April 4, 2016

 

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The performance that I saw is “Line” written by Israel Horowitz, directed by Jacqueline Wade, stage managed by Eternanda Fudge; starring Danquai Draughon, Eric Willingham, Melissa Denize, Jeremy Horton, and Tony Del Bono.

 

The audience hears the music of a baseball song, and it sees Flemming lying on the floor on the stage.  He gets up and he stands with a bottle in his hand.  Another guy appears and he asks Flemming if there is a line.  He is Stephen and he continues with his small talk in an uppity demeanor towards Flemming.  Some of the conversation goes over Flemming’s head for he talks about Mozart and the opera, The Marriage of Figaro.  In order to pass his time standing on line, Stephen sings and shows his appreciation for classical music.

 

By this time, Flemming gets an education from Stephen about the life of Mozart.  He tells him Mozart’s full name.  Stephen hints to Flemming how Mozart was the age of Christ, in his thirties, when he did his best work.  He states that Wolfgang Amadeus Mozart had a premonition about his life, and he was a young genius.  Later, Stephen wants to trade his wallet with Flemming, and he tells him how he can learn from his wallet.  Stephen updates poor Flemming on each piece of his identification in his wallet.  After, both of them sing the baseball song together; Stephen continues with his superior attitude about who is first on the line.

 

Another person joins the line.  She is vivacious Molly and Stephen tells her that she’s third on the line.  Flemming pulls Molly aside and he tells her all about Stephen’s behavior.  Flemming loses his position of being in first place on the line.  By this time, the audience sees Dolan, the West Indian, standing on line too.  Molly’s husband, Arnall joins the line as well; and he complains about his wife in ability to be domesticated.  Flemming tries to get back in the line.  He vies for his original position without luck.  Molly flirts with the men on the line.  Stephen becomes her first victim.  He chooses to select classical music to dance with Molly and he ends up on the floor.  As a result, he loses his position on the line.

 

Arnall looks on at his wife’s behavior.   Dolan gets his opportunity to dance with Molly to the tune of Reggae music.  The audience sees a scene like it is Reggae Festival in the tropics without a beer or other alcoholic beverages in full supply.  Molly moves her hips in a rhythmic motion, and Dolan wines in his dancehall style from the back of her with his twist and turns.  Arnall and Flemming look on in amazement, and Flemming tries to get in the act before it is too late.  Flemming now dances with Molly and they capitalize on the R &B music.  Arnall gets his chance to dance with his wife, too.  Molly is beside herself with her husband inability to act like a strong man who is in control of his emotions.  The audience empathizes with her because he is a weakling.  Arnall is too weak to handle his wife’s dancing appetite, and Flemming and Molly go for a second round.  They dance to Marvin Gaye’s song, “Let’s Get It On.”  Flemming tells Dolan to take another dance, and Stephen manipulates all of them and he moves the line.  Molly curses all of the men about their not satisfying her.  Dolan tells Molly about herself Caribbean style.  They push and outsmart each other to get first place on the line, and Molly breaks all of the rules.  The audience looks forward for the bickering among them for first place in the line.  Dolan keeps his cool most of the time as to strike when the iron is hot, and he succeeds with his strategy.

 

Uppity Stephen tries to outsmart the gang with his high level of thinking.  Arnall wants to know more about Mozart’s music, and he kindly obliges him.  Arnall talks about the drum and he sings about the Requiem.  With the exception of Stephen all of them say, “Boom, Boom.”  They drive Stephen crazy, and he uses the opportunity to his own advantage.  Molly tries to help him and he tricks them.  Stephen tells Arnall about himself, and the other say, “Boom, Boom.”

 

Molly, Flemming, Dolan, and Arnall look for the line.  Stephen tells them that he ate it.  Molly cries out to the audience surprise.  “What if I’m pregnant?”  “Flemming never finish.”  Molly is in crisis.  The audience wants to know who the daddy is, and it sees each guy in front of a line except Stephen.

 

The writer gets his message across to the audience because situation like this one plays out each and every day on television.  The Maury Show, Tabloid Talk show, is a perfect example of what to expect about the paternity of children in America.  It could be another scenario where dubious Arnall gets his kicks from seeing his wife’s interaction with other men.  This is an old practice that has been carried out for decades.

BIG, RICH & POWERFUL… AND FUNNY!

REVIEW BY INOLA MCGUIRE

BIG, RICH & POWERFUL @ The Producers Club

358 West 44th Street, New York, NY

Saturday, March 26, 2016

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The performance that I saw is “BIG, RICH & POWERFUL” conceived and directed by Robert Baumgardner; starring Curt Dixon, Nannette Deasy, Sam Katz, William Berg, Evie Aronson, Brianna Lee, and Carla Ulbrich.

 

The improvisation of the show allows the audience to reminisce about specific television shows of the 1980s.  However, this time around, the members of the family are not fighting over oil or wine. The main conflict is over pickles.  During the performance, the audience wonders if the family accumulates its wealth as old money or new money.  The audience sees indulgence and the pitfalls in the family dynamics.  Each member of the family has his or her own story to tell or life to live in excess along with greed, sex and betrayal.

 

One of the characters is Maximillian and he is a mama’s boy in his own right.  His s ex-wife and mother of his children marries his competitor in the pickle business.  His competitor’s brand of pickles is Vlasic.  Maximillian’s love interest wears a tiara and she is the sister of his rival.  He surrounds himself with the women who have emotional and blood ties with his arch rival.  He’s a glutton for punishment for his ex-wife seeks revenge on him, and Max is not aware that Chandelier had targeted him on her brother’s behalf in her nail salon.  Max enjoys his pedicure!  He is a man who likes to be pampered.

 

Max’s children have their own problems.  Dick is fed up with his cars!  Now, he wants to construct a hanger for his airplane.  His daughter wants more money for her allowance.  Three hundred dollars are not enough for her to spend, but her mother advocates for her allowance.  Max wants to know his daughter’s street name as an entertainer.  He thinks she can support herself.

 

Max’s ex-wife, Barbara continues to frequent his home.  The children don’t like Chandelier.  Chandelier and Barbara exchange blows with each other.  It is a skirmish like one on the television shows in the 1980s.  Grand mama, Max’s mother, intercede in the goings on in their home.  She voices her opinions on all aspects of her son’s life.

 

Between performances, a guitar-playing singer sings and entertains the audience with her salacious lyrics.  The songs give the audience something else to think about until the family of pickled cucumbers returns with their sweet and sour flavors.  Max’s pickle is juicy with the right brine for Chandelier.  Perhaps she is a connoisseur of pickles.  Her brother’s plans to destroy Maximillian backfire on him, for she becomes addicted to Max’s brand of pickle.  Chandelier settles for the Kirby that is shorter, stouter, and have more spines.  The Dill brand of pickles resonates with most customers.  It’s the ideal size to feast on!

Grand mama goes to the hospital, and all in the family visit her, and she tells them that she gave birth to two sons.  Grand mama has two waring sons in the pickle trade!  This is an Esau and Jacob experience. Chandelier wants no part of this scenario, but there are some unresolved differences between the brands, Dill and Vlasic.

 

The writer gets his message across through the performance to the audience.  It allows the audience to investigate what goes into the process of pickling cucumbers.  In addition, it forces the audience to see how wealth is generated from the basic things in life.  Through innovation; it sees how a family can become big, rich and powerful.

 

A good way to DIE

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

DieDie

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4th FL. New York, NY

March 7 – 27, 2016

 

“Die” written by Leonard D. Goodisman and directed by JC Sullivan; and starring Philip Feldman, Elisa Marti, La Rivers, Mikael Short, Desi Waters and Jayson Wesley.

 

The audience sees a performer as she enters the stage and the word welcome appears after the hashtag on an Ipad.  This play highlights the journey of a mother whose children died under suspicious circumstances, and a police officer and a reporter want to get to the bottom of the story.  The reporter wants to interview the mother to verify her story, and throughout the performance a word or phrases are seen after the hashtag for emphasis on the Ipad.

 

Throughout the act, the audience stays fixated on the plot as the mother meanders her way through the performance.  It is important to pay close attention to details, for the truth can be turned into another issue without getting to the bottom of it.

 

The writer’s message transcends loud and clear.  In the past, women have inflected harm on their own children, and they blamed innocent people to avoid prosecution.  Deception can only last for a specific time until the truth prevails in order to set the wrongfully accused free.

 

Peppy Peppermint

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

MissPepperMiss Peppermint

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

On Tuesday, March 8, 2016

 

“Miss Peppermint” written by and directed by Samantha Grassian; and starring Constance Cooper; Courtney Constantino, Judy Alvarez, David Green, and Sara Jecko.

 

This play examines the fortitude of the human existence, and the audience looks into the world of Miss Peppermint and how she confides in Maylis.  Maylis’ job at the nursing home allows her to interact with the frail Miss Peppermint who has a lot on her chest to unburden herself.  Maylis becomes the candidate to hear all about the mystery.

 

Case-in-point, the audience sees Miss Peppermint as she tells Maylis her life story in a few installments before and after her husband died.  It is a cradle to the grave story, but Maylis executes Miss Peppermint’s wishes willingly and she becomes the beneficiary of her estate.  The wealth Maylis inherited from Miss Peppermint did not go to her head, but she agrees with Ms. Rose, the administrator to continue working at the nursing home, as long as she can serve Peppermint tea to a selected few, whenever the need arises.

 

The writer’s message reaches its audience, for it realizes the importance of unburdening oneself.  Secondly, Maylis becomes a very rich young woman, and the wealth doesn’t change who she really is in terms of character.  Theatre goers can surely learn from this play.

SOMEWHERE IN THE MIDDLE

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

PassFail-copyPass/Fail

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

 

“Pass/Fail” written by Ashley Lauren Rogers, directed by Samantha Elizabeth Turlington; and starring by Ashley Lauren Rogers.

 

Ashley engages the audience about his Pass and Fail stories without holding back on any details that was news worthy.  He talks about his childhood and how his mother loved him.  Ashley says to the anxious audience that he refuses to allow others to put him down, and he is happy to be a part of the Trans community.  He dispels words of wisdom.  He says, “You should all fail!  Learn from failures!”

 

KID’S STUFF

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

MotherGooseRock’N Roll Mother Goose

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

 

“Rock’N Roll Mother Goose” created and performed by Judi Lewis Ockler, is an educational masterpiece for parents and children alike, and the audience’s participation gives it an added bonus.  Judi promotes the rich legacy of the Caribbean region in her illustration of the pirate ship in the form of a book.  The show encourages the audience to expand its mind through research about the vocabulary.

 

I will recommend this show to future theatre goers.  It has a long-lasting effect on its audience for it allow little children to dream.

Come to MITF’s CABARET

 

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

Elijah Howard: Serendipity——————————————–

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016
At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

 

“Elijah Howard: Serendipity” standup comedy routine is quite fresh and up to date.  Mark Anthony Ramirez opens up for Elijah, and he brings the audience into his own world as a father with real life scenarios about his children as to how expensive it is to care for them.  The audience holds on to each word from his mouth as a cautionary tale to parenthood in a very funny way.

 

After Elijah takes over from Mark, he takes the comedy up to another level.  No one was safe in his repertoire of salacious jokes, and the audience gets a belly full of laughs from the beginning to the end.  Elijah lets the audience know what he thinks is the driving force on television in advertising, and the audience thinks that this thing has been the weapon of choice since the beginning of times.

 

Chloe Cahill——————————————–

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

On Friday, March 18, 2016

 

“Chloe Cahill” cabaret performance by Chloe Cahill delivers an extraordinary show that elates the audience beyond words and admiration for her.  She is a consummate professional who conveys the best for the world to see and recognize.

 

Good Catch Comedy Musical Improv——————————————–

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

On Wednesday, March 16, 2016

 

“Good Catch Comedy Musical Improv” performed by Rebecca Bayard, Von Decarlo, Scott Wesley Hawley, Lisa Sperry, Kirk Stevens, Mike Wirsch and Laura Yoder Witt performed its repertoire of musical comedy to an anxious audience.  The rendition of songs brings out the meaning of the message.

 

Vickie Phillips: A Carousel of Colors with Brel, Weill, and Aznavour——————————————–

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

On Monday, March 14, 2016

 

“Vickie Phillips: A Carousel of Colors with Brel, Weill, and Aznavour” written by Vickie Phillips and Bob Ost, directed by Bob Ost, music director Gerry Dieffenbach, and starring Vickie Phillips.

 

Vickie delivers an outstanding performance to a diverse audience with whom she shares the backstory behind the life of each composer.  She educates the audience with the medley of Kurt Weill’s songs that resonates highly with the piano accompaniment.  Her rendition of songs composed by Brel takes the audience into a world that was seen only through his vision.  He traveled from the darkness into light.

 

The song ‘Sailor Boys’ composed by Aznavour takes the audience into a nostalgic mood.  Its interpretation highlights a broader picture that has consequences beyond borders mostly for women and children.  Vickie tells the audience about her quest to get Aznavour’s permission in order to sing his song.

 

After her performance, Vickie thanks John Chatterton, the executive producer of the Midtown International Theatre Festival, Gerry Dieffenbach, and others before she leaves the stage.

 

Lane Bradbury: Let Me Entertain You, Again——————————————–

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

On Thursday, March 10, 2016

 

“Lane Bradbury: Let Me Entertain You, Again” conceived and written by Doug DeVita; directed and choreographed by Elkin Antoniou; musical director, Joe Goodrich; and starring Lane Bradbury.

 

Lane charms the audience with familiar songs in her repertoire as a performer.  In addition, she lets the audience in on the number of years since she acted in Gypsy, and she intertwines her tea pot story in her presentation.  Lane shares her life story before and after she came to New York City from the state of Georgia, and her performance permeates a sense of warmth and grace on the stage.

 

Salacious Songs and Dirty Words——————————————–

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4th FL. New York, NY

March 7 – 27, 2016

On Friday, March 11, 2016

 

“Salacious Songs and Dirty Words” conceived and performed by Joe Diamond, Ralph Greco Jr ., Tom Kennedy, and Madam Marvelous.

 

The audience gets a good view of Madam Marvelous on stage doing a routine of her ex-rated material, and she reminds it of Lady Gaga in her outfit.  Next, Joe Diamond shares his information candidly about his career choices before Tom Kennedy takes over from him.  Following, Ralph Greco, Jr., entertains the audience with his business experience, and Madam Marvelous returns on stage as she portrays a Spanish woman in her pink outfit and a big Corona bottle.

Parental Warning worth listening to

sackofpotatoes

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

Like a Sack of Potatoes

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

 

“Like a Sack of Potatoes” written and performed by Ric Siler and directed by Bette Siler.

 

This one-man show gives the audience a glimpse of the Midwest or southern states of America in farming and how the other half lives.  The performer says to the audience. “Do you want a tomato?”  He tells the audience that he has a wife and two daughters, and he enjoys eating the fat of the meat on his plate at the table.  His wife and his daughters want him to avoid the fat on the meat.  The performer allows the audience to see or visualize the inner working of a father, a husband, a farmer, and a father in law at the same time.  The performer speaks candidly about his objects of choice to keep all potential suitors in line or even away from his daughters.  A shot gun and rock salt are his weapons of choice.  A man has to defend his daughters’ honor by any means necessary, for there are many means available in order to skin an animal.

 

He tells the audience that his youngest daughter brought home a guy who though he was better than him and his folks, for he was a few steps higher than the people in the farming communities although he tried to fit in miserably.  As the audience knows it, farming is big business in the United States of America, and at times the populace may not agree with the types of crops some famers grow on their lands.  Our performer, the tobacco farmer, speaks about the opposition he got from his soon to be son in law for his cash crop; and he lets the audience in on what he told the bombastic fellow, Jeffrey.

 

His description of his wife’s temperament clearly tells the audience who’s running that household as he outlines his coping mechanism as the husband of a strong-will partner.  The audience hears that a friend of the performer tried to force his wife’s hands, and he ended up falling and died in her presence.  In short, a man shouldn’t joke about a heart attack in the presence of his wife to test her resolve.  The grim reaper doesn’t like it!

 

The performer’s youngest daughter married her prince charming, and the young couple moved away, maybe out of state from her family.  He lets the audience know that his wife and his daughter did not allow him to be privy into the goings on in her marriage until his first visit.  After the festive occasion at his daughter’s home, he informs the audience that his daughter cleaned up and his son-in law smoked cigars and drank too much.  Jeffrey went to the kitchen, and the next thing he heard was a loud sound.  The performer and his wife exchanged eye contact, and he told her to mind her own business.

 

He went to his daughter’s aid.  As parents, the performer and his wife look for signs of abuse.  The performer shares with the audience that he couldn’t stop thinking about the punch Jeffrey gave his daughter.  At another family get together, the performer lets the audience know that Jeffrey saw him looking at him, and he offered him the fat of his meat. The performer lets it be known that he refused to accept it!  The daughter went home with a black eye and bruises on her body.

 

A farmer’s work is never done, so the performer had to go to his barn to hang up his produce.  Jeffrey wanted to be useful, too.  He volunteered to help his father in law, and he seek a little guidance from the performer.  Jeffrey asked, “What should I do?  Show me how to do it.”  Perhaps he obliged Jeffrey to the best of his abilities.  He lets the audience know that he climbed down from the rafters, and he left Jeffrey to complete the task.  Unfortunately, Jeffrey fell to the ground like a sack of potatoes.  The performer tells the anxious audience that he sat and smoked his pipe before he alerted his family about the tragic accident.   His daughter did not hold on to her husband.  Instead, she kicked up dust!  He wanted to hug his daughter.  His wife came into the bar, too; but he wasn’t too sure what she was thinking.  The audience wonders if Jeffrey’s fall were an accident or an actual murder.  He tells the audience that people come and go, and he mentions his shot gun, rock salt and the fat off the meat.  And he ends his performance with this question.   “Are you sure, you don’t want a tomato?

 

The writer gets his message across to the audience, for it is not wise to abuse someone who has very protective parents.  Giving a peace offering is not good enough to erase the hurt.  In Jeffrey’s case, he should have stayed away from the home of his wife’s parents. He abused their daughter emotionally and physically without realizing that blood is thicker than water.

… and the winner is…

INOLA MCGUIRE @ THE MIDTOWN INTERNATIONAL THEATER FESTIVAL

Men versus Women

THE MIDTOWN INTERNATIONAL THEATRE FESTIVAL, SPRING:  2016

At Jewel Box Theatre @ The Workshop, 312 West 36th Street, 4TH FL. New York, NY

March 7 – 27, 2016

On Tuesday, March 22, 2016

 

“Men versus Women” is written by Steve Gold, directed by Christopher James Weihert, and Brady Price; and starring Ken Carson, Regine Mont-Louis, Barbara Millicent Roberts, and Christopher Janes Weihert.

 

The video shows the audience a profound level of dysfunction between the male and the female characters.  The man and the woman maintain a combative approach towards each other throughout the duration of the film for the slightest infraction.  The confrontational discourse continues between them despite the introduction of two other characters, and their bad behavior permeates the scene.

 

The performer stops the video and he informs the audience that fish and relatives stink after three days.  This comment takes the presentation to a higher level of understanding, for the audience becomes overwhelmed with the constant friction among the characters.

 

The writer gets his message across to the audience in a very dramatic way, for he allows it to view a volatile situation in a man versus woman relationship that has toxic implication in the worse way.  It has a scared straight resolution.  The video deserves to be shown in domestic violence intervention workshops.