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 enable javascript to browse this site, please. new, known & emerging. culture, literature, essay, arts. berlin, edinburgh, glasgow, kansas city, lisbon, los angeles, new york, prague, paris, stockholm, zurich – et. al. main welcome to the new home of , the leading autochthonous literary and arts publication from glasgow/edinburgh and paris. we've simplified: the focus is on the writing and imagery, not internet noise. on the home page the latest posts appear - enjoy! or, you can click a 'category' to sort for specific things - one blogs, a specific issue, author or subject. finally, you can use the general 'search' feature. thanks for reading. comments and debate are welcome. del rosso review: tell me how i did tell me how i did there was a time in manhattan circa 1970 when actors performed “in the many places actors do plays in new york: churches, coffeehouses, bars, basement lofts, little theaters upstairs, little theaters downstairs, elt (equity theatre library), off-broadway, on broadway, everywhere,” said michael shurtleff, the late, great acting teacher and author of “audition.” i thought of that and of him while watching “tell me how i did,” an evening of one-acts on august 6th & 10th, by up-and-coming playwright justin mcdevitt, courtesy of cloudbusting productions; not least because i had no idea the duplex down on christopher street in the village had a little theatre upstairs. and i do mean little. a small space forces a playwright as well as the creative team to be inventive. clever. they deliver, with precision directing by jessica harika, lights and sound by armando bravi, and making the most of that space, stage manager crystal bellant. mcdevitt does not disappoint, particularly with the title one-act, “tell me how i did.” set in a farcical, dystopian future that is not too far away, lent, a waiter (steven ralph, sympathetic as a symbol of all the long-suffering service industry workers everywhere) has just arrived at his spare apartment, exhausted after a long shift. he drinks bourbon out of what appears to be a cat saucer, if he had a cat, and then collapses onto a chair. enter two sleek women in black, axby and bet (cat capece and kayla king, clearly enjoying the bad cop-worse cop routine) from cps – consumer protection services, who are not to be messed with. they taunt lent, rough him up, and all because of a negative consumer review on the tell me how i did site. one mariella (thea k. lammers, having a high time as a spoiled brat diner), complained that lent made a face when she gave him her gum to dispose of, and worse, sang “happy birthday” to her off-key. it doesn’t end well, but it is worth noting that absolutely everything is subject to plebeian review on tell me how i did – including cps. with the second one-act, “the happy,” we are in the hybrid territory of docu-drama crossed with edward albee – and it works. “the happy” depicts a haverhill, massachusetts, family: kara (jennifer pace, wonderfully manipulative), rose (cat capece, a study in arrested development), duds (tyler adams, playing that guy who’s along for the ride), and claudette, the grandmother (steven ralph – i’ll get to him shortly). kara has won the lottery, so she and the rest of the family have turned up at an orlando motel room at the behest of her embittered step-son gabriel (thea k. lammers, unrecognizable and astonishing). gabriel has also contacted a documentary film maker (kayla king) who happens to be streaming the meeting live – unbeknownst to gabriel. he wants to expose the family for what they are – and he does, but that comes with a terrible price. mcdevitt has a natural way with witty dialogue that does not feel forced, and he is very, very funny. consequently, the casting of steven ralph as claudette equals everything that comes out of her mouth is absolutely hilarious. this is both good and bad: good because the first half of this one-act plays like comedy-drama; bad because once most of the family, including claudette, exit, the comedy goes with them. so the play takes a turn that bisects it into two neat halves, and i would like to see those two halves integrated. i suspect, with all of that material, that there is a full-length play in there. we who will now follow the talented justin mcdevitt will just have to wait until it comes to fruition. published on 14 august, 2018 4:08 pm. filed under: uncategorized tags: del rosso review: tell me how i did del rosso review: ptp/nyc (potomac theatre project) 32nd season – howard barker +bertolt brecht + caryl churchill i can find no better way to illustrate the significance of the ptp/nyc’s 32nd season than to offer this excerpt from brecht’s poem “again and again”: the rain can’t go back up when the wound no longer hurts the scar does. indeed, again and again, history repeats itself because those in power learn nothing from history except, inadvertently, that absolute power corrupts absolutely. the time periods shift but little has changed, whether it is the early 20th century charting brecht’s life, work and music in “brecht on brecht,” barker’s “the possibilities,” written in 1989, and churchill’s “the after-dinner joke,” written a decade earlier. the more things change, the more they stay the same. brilliantly directed by jim petosa, “brecht on brecht” which, to our happy surprise, turned out to be a musical, with dynamic musical direction by ronnie romano, opens on scenic designer hallie zieselman’s well-appointed, almost stately room: a black grand piano, expensive-looking persian carpets, and four music stands facing the audience. four corresponding company members come out: harrison bryan, christine hamel, carla martinez, jake murphy. they look at the sheet music, groan, toss it into the air, knock over the stands, create chaos, upending convention and stolidity and social order. what follows is a carefully curated collage of brecht’s words, politics, music and how he took all of these elements and made them into theatre, into poetry, into singing, into art. the company, including miguel castillo, olivia christie, sebastian lapointe, and ashley michelle, many of whom are new ptp faces, is uniformly excellent. “brecht on brecht” is both intermission-less and seamless. i mention the latter because there were highlights when the impulse was to burst into applause and jump out of one’s seat, but pauses were not encouraged. i am sure most people are familiar with the swing version of bobby darin’s “mack the knife,” from brecht’s “the threepenny opera” or ella fitzgerald’s version on the1960 live berlin album (when she improvised the lyrics she had forgotten). then comes the incomparable harrison bryan, and what he has done with “mack the knife” is a staggering work of genius that rattles the bones. seated on top of the piano, with no props, nothing fancy, just that voice and a few simple hand gestures, the man bryan is singing about is by turns charming and absolutely terrifying. he is not a man you would want to have a beer with. he is a man you avoid at all costs. bryan withholds, lets loose and then reels all that emotion back in. he made mack the knife a cutthroat murderer’s torch song. unforgettable. one scene, featuring christine hamel, consists of four phone calls followed by a monologue. she is in the process of saying goodbye to family and friends because she is leaving. we learn it is 1935. she is a jew in germany and has suffered betrayal on all fronts: by her spineless husband whom she still loves and by her country. if she does not leave now, if she waits, she risks being sent away. hamel’s face conveys all of this. the conversation with her husband that she rehearses alone and then what she actually says to him when confronted is a heartbreak. the parallels to today are… brechtian. “the tango ballad,” a vicious, co-dependent relationship song, performed by carla martinez and jake murphy, walked a tightrope between farce and violence. neither one of them will be leaving t

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