Motif

Author: Alison O’Donnell

  • THE SCHOOL AT WILBURY: They have a class for you!

    THE SCHOOL AT WILBURY: They have a class for you!

    You may know the Wilbury Theatre in Providence for its cutting edge theatrical productions, but did you know they offer thespian classes? Whether you’re acting professionally, emerging in the field or simply curious, the Wilbury Theatre Group (WTG) offers classes in everything from auditioning and on-camera acting, to scene study, playwriting, and more. Whatever your interest or skill level, all classes at The School at Wilbury are taught by local professionals and are tailored to meet the individual needs of the students. 

    WTG has a longstanding commitment to community engagement through various outreach and education programs. They continue this tradition by providing access to high-quality inclusive theater education for aspiring artists, while fostering a vibrant arts community in Rhode Island, emphasizing values that distinguish it from traditional performing arts institutions. Current offerings include the transformative two-year certificate program in Theatrical Creation, designed to provide accessible, high-level actor training within a community-focused environment. The certificate program features three courses. Each class typically has 10-12 adult students.

    Founder and director of The School at Wilbury, Mycah Hogan, created and launched the certificate program after four successful years of a drop-in model that he teaches called Embodied Action. This weekly drop-in experience serves as an entry point for those interested in exploring acting, regardless of their skill set. It’s designed to get people into the state of play and help them build capacity. Students interact with shared written and verbal reflections. They may play games such as Seven Bells, experimenting with sound, movement, breath..  Movements get bigger and louder with each toll of the bell, up to the seventh chime. This can foster a connection to desire, calling you to go after what you want despite any obstacles. Classes are held at night, and Part II of this course may be taken first if the timing better fits your schedule.

    Booboisie (a term for the public as stupid people, i.e., boobs. Yes, seriously!) is a two-year structured certificate course, intensive in physical theater forms, which are complemented by monthly performance opportunities to help sharpen individual hard and soft skills. (Clown nose optional!) All participants who are in the ensemble for two years will graduate with a certificate from The School at Wilbury.

    Community Performance Lab is a cohort for those who wish to develop original productions. This class offers mentorship, teacher training, plus performance opportunities to enhance personal artistic styles and creative perspectives. 

    Also offered is The Director’s Forum, a roundtable discussion of theory and practice — a new community program offered by the Brown Arts Institute (BAI) in collaboration with the WTG. Led by WTG Artistic Director Josh Short, participants engage in weekly Monday night sessions, exploring different artistic themes tied to WTG, BAI, and Providence-based performance work through a unique blend of theoretical study and practical exploration. Here, participants can explore content and discuss concepts with the creators. 

    “I think for me it’s all about community. I think people really like to come together, move around, eat together, make noise and process their work. They can decide what they want to create and make it work together,” says Hogan, whose wealth of experience as an educator and theater-maker, along with his diverse background in clowning at the International Theater Workshop in Amsterdam, and teaching at Brown/Trinity Rep’s MFA Program, influences his teaching approach. 

    “We are currently at the end of the first inaugural year of a two-year program,” adds Hogan. “It’s about community members coming together to learn how to make and create the theatre that they want to see. We are building towards a performance on June 21 at Movement Ground Farm in Tiverton, which is a devised immersive rendering of A Midsummer Night’s Dream.”

    The WTG occasionally offers weekend workshops you can — and should — check out. Many community programs have also turned to TWG for their theatre education programs. 

    Hogan

    To learn more about outreach programming, or for more information about the certificate program in Theatrical Creation and other fun and educational offerings, visit thewilburygroup.org or contact Education Programs Manager Mycah Hogan at mycah@thewilburygroup.org.

  • THE LEGEND OF GEORGIA MCBRIDE: A Dazzling Dive Into Drag and Identity

    THE LEGEND OF GEORGIA MCBRIDE: A Dazzling Dive Into Drag and Identity

    One of the best things about live theater is its ability to surprise, shifting from the mundane to the spectacular in the blink of an eye. Burbage Theatre Company’s production of The Legend of Georgia McBride delivers just that, with a performance so rich in energy, wit, and heart it leaves the audience breathless in the best possible way. A particular kind of alchemy happens when a great script meets the right cast, and that’s exactly the magic conjured here. Written by Matthew Lopez, The Legend of Georgia McBride is a story of reinvention, self-discovery, and the boldness of embracing the most outrageous parts of ourselves. This high-heeled drag show within a play is a love letter to transformation, with sequins, soul, and more than a little sparkle!

    In Burbage’s version, directed with gutsy elegance by Gia Yarn, the play centers on Casey, a struggling Elvis impersonator who finds himself thrown into the world of drag when the club owner, Eddie (Brien Lang) brings in a new act to revive the failing business. Casey’s young, broke, his landlord’s knocking, and his pregnant wife, Jo (Sabrina Youn), is hormonally challenged and fiercely balking. As Casey falls into his new role, he finds he has much to learn about show business, and himself. Played by Burbage stalwart Michael Yussef Greene with a subtle, aching vulnerability, Casey doesn’t just carry the show — he floats it, even as Casey’s world collapses, rebuilding itself with lipstick. It’s a performance that balances bravado and bewilderment in equal measure, allowing the audience to root for Casey as he fumbles through fake eyelashes and real fears, grounding the play in both humor and profound moments of human connection.

    Opposite him is the radiant Anthony DeRose as Miss Tracy Mills — part mentor, part diva, all heart. DeRose commands the stage with old-school cabaret charisma and a modern wisdom that gives the play its moral core. Her delivery is razor-sharp, her lip syncs electric in timing. In one scene, she delivers a dressing room monologue that pulls the air from the room like a well-landed punch. Jason Omar Laguerre-Lewis is hysterical as the inebriated, smack-talking Rexy, who gloats over Casey’s misfortune; he doubles as the laid-back landlord.

     “I confess, when selecting this production for our 13th Season, I was excited to present a fun, frothy comedy centering drag culture and performers that would overlap with Pride month,” says Burbage Artistic Director Jeff Church. “It is noteworthy that this play and production have, in recent months, become – rather unfortunately – more timely, poignant, and relevant to our current national discourse than originally anticipated. In a time where the LGBTQ+ community and the drag community are under fire from an intolerant and large subset of the American population, The Legend of Georgia McBride is a call to action in ways we couldn’t have anticipated over a year ago. We’ve assembled an incredible team of creative minds to bring this play into full and vibrant life. We are very excited to welcome Gia Yarn to the helm as director. We promise this play will be a source of joy, pride, and laughter, but also a thought-provoking and life-affirming challenge to our Burbage audience.”

    Yarn’s direction leans into the play’s more absurdist, fish-out-of-water energy while never abandoning its emotional depth. Transitions are fluid, the pacing taut. Staging is a triumph, smartly using Burbage’s intimate space to create both spectacle and sincerity while delivering a good amount of shimmer and grit. The set, designed by Grey Rung, includes a nightclub dressing room and apartment, both feeling worn and alive, a microcosm of the story’s heart. Paired with Trevor Elliott’s careful use of lighting, every transformation feels both external and internal. 

    Aaron Blanck’s costume design/choreography deserves its own round of applause. The drag looks are both camp and classy, perfectly capturing the play’s celebration of theatricality — a journey of self-worth told through wigs and waist cinchers elevating the performance. Stephen Millis’ makeup brings these ladies to the forefront of protest and glam.

    Georgia McBride is more than a glittery romp; it’s also a nuanced exploration of masculinity, and what it means to perform identity. It’s not just about drag or theater, but finding your place in a world that often tries to make you fit into boxes that don’t quite fit. Burbage never shies away from these themes, resulting in a show that’s both laugh-out-loud funny and surprisingly poignant. 
    If drag is a form of protest — truth-telling in disguise, then Georgia McBride is a fabulously honest and fun time. Bring your boa and an open heart. Production runs through June 8. For more information, visit burbagetheatre.org.

  • ALWAYS…PATSY CLINE: A Heartfelt Homage to a Country Legend

    ALWAYS…PATSY CLINE: A Heartfelt Homage to a Country Legend

    Theatre by the Sea (TBTS) is presenting Always… Patsy Cline, a musical that intertwines the soulful tunes of country music legend Patsy Cline with the heartfelt true story of her friendship with devoted fan Louise Seger. Directed by Kat Moser-Priddy, this production isn’t so much the life story of Patsy Cline as an intimate and engaging portrayal of a unique bond that transcends celebrity and fandom. The script captures the essence of Patsy and Louise’s relationship, offering moments of frivolity that resonate with the audience.

    One of the standout elements of this production is its ability to balance humor and poignancy. While the story delves into themes of loss and longing, it also celebrates the joy and resilience of friendship. Told through Louise’s perspective, the emotional storytelling guides the audience through the growth of her friendship with Patsy, from their chance meeting in a Texas honky-tonk to their enduring correspondence. This approach highlights the personal connection between the two women, allowing for a deeper observation of Patsy’s character beyond her public persona.

    “I’ve always been a big fan of Patsy Cline’s iconic music,” says TBTS owner and Producer Bill Hanney. “Although she left us at the young age of 30, she inspired numerous singers and was the first solo female artist elected to the Country Music Hall of Fame. I couldn’t think of a better way to kick off the season than with the celebration of the life of an American icon.”

    The musical features over 20 of Patsy’s greatest hits, including “Crazy,” “I Fall to Pieces,” and “Walkin’ After Midnight.” These songs are seamlessly integrated into the narrative, with Patsy’s performances serving as both a showcase of her vocal prowess and a reflection of her emotional journey. The live band, The Bodacious Bobcats, serves as a third character in the production, providing a rich musical backdrop that enhances the authenticity of the honky-tonk and Grand Ole Opry settings.

    Commanding the stage in standup comedy style is Mary Callanan as Louise. Callanan is a delight to watch as she toys with the audience and keeps us roaring throughout the production. Meagan Lewis-Michelson portrays the celebrated singer as Patsy herself would appear in live performances. Although it’s nearly impossible to truly replicate the country singer’s unique, sultry richness, Lewis-Michelson has a lovely, powerful voice that fills the rafters, gracefully emulating the nuances particular to Patsy. The two boot scootin’ ladies create big moves with the little space they share.

    Theatre by the Sea’s intimate setting allows for a close connection between the performers and the audience, making the experience feel personal and immersive with audience participation. The set design by Cassie McKnight effectively transports viewers to the various locales significant to Patsy and Louise’s story, from the bustling honky-tonk to the serene atmosphere of Louise’s home.

    With its compelling performances, memorable music, and emotional depth, Always… Patsy Cline offers a nostalgic and touching experience for audiences of all ages. It’s a celebration of the timeless music of Patsy Cline and the lasting impact of genuine human connections. If you love the legend, this is a must-see. Be sure to stay for the post-curtain call fun!

    Always… Patsy Cline runs through June21. For more information, visit theatrebythesea.com.

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    I really like this pic! But here’s the link to the production photos: https://www.theatrebythesea.com/patsy.html

    Photo by Michael Derr

  • AMERICAN IDIOT: Rocking with raw energy and rage

    AMERICAN IDIOT: Rocking with raw energy and rage

    Photo: Erin X. Smithers.

    There’s something electrifying about watching a stage tremble under the weight of pure, unfiltered angst, and that’s exactly what happens at Wilbury Theatre when American Idiot explodes onto the boards, bringing with it Green Day’s snarling punk ethos, a barrage of raw emotion unleashed by Billie Joe Armstrong’s intense lyrics, and more black eyeliner than a Hot Topic clearance sale.

    The rock opera is based on Green Day’s Grammy Award-winning, multi-platinum, seminal 2004 album by the same name. Set in the early 2000s, American Idiot follows the exhilarating journey of a new generation of suburban American youths living unhappily in “Jingletown, USA” as Johnny, Tunny, and Will struggle on diverging paths to find meaning in a post 9/11 world. 

    The musical features the iconic album hits “Boulevard of Broken Dreams,” “21 Guns,” “Wake Me Up When September Ends,” “Holiday,” and the blockbuster title track, “American Idiot.” The show also includes several songs from Green Day’s 2009 album, “21st Century Breakdown,” and a previously unreleased love song entitled, “When It’s Time.”

    Turning a Grammy-winning punk rock album into a musical walks a tightrope between daring and disaster. In this staging, Wilbury Theatre Group’s Artistic Director Josh Short sidesteps the trap of overwrought spectacle and zeroes in on the heartbreak and fury pulsing beneath every guitar riff. This isn’t just a jukebox musical; it’s a guttural scream from a generation disillusioned by war, media overload, and a creeping sense of existential dread.

    “We have been wanting to produce this musical for many years, and this seemed like the perfect time,” says Short. “American Idiot captures the disillusionment and resilience of a generation grappling with chaos, and its themes feel just as urgent today as they did when the album was first released. At a moment when so many of us are searching for hope and direction in a rapidly changing world, this production reminds us of the power of music, art, community and youth to inspire change and light a path forward.” 

    The cast and crew are wholly present and completely absorbed. “We’ve built this production with urgency and heart,” says Short, “with a cast of fearless performers, creative team members, and crew who throughout the rehearsal process have dared to pour themselves into every inch of this performance and our black box theater. I’ve been inspired and energized by the passion of these incredible artists time and time again, and together we’ve tried to honor the spirit of American Idiot while making space for what it means to be young, angry, hopeful and human in this exact moment.”

    Though the narrative is intentionally fragmented, the emotional arc is anything but. Fed up with the state of the union, the company explodes in frustration during “American Idiot.” Johnny begins to tell his story in “Jesus of Suburbia,” revealing his dissatisfaction with the world. Michael Eckenreiter as Johnny is magnetic, teetering between rebellion and collapse with a performance that burns from the inside out. His rendition of “Boulevard of Broken Dreams” is a highlight, finding a quiet, aching stillness in a show otherwise thrumming with motion.

    Tunny’s descent into military fantasy and trauma is poignantly portrayed by Alexander Boyle, underscored beautifully by the soaring “Extraordinary Girl” sequence with Elisabet Ober. The visual storytelling here deserves a shout-out. The use of billboard-style projections (sound/video design by Andy Russ) give the production a graphic-novel quality that’s modish without ever veering into the superficial. Meanwhile, Will’s stagnation on the home front is a quieter counterpoint, but one that lands with real weight thanks to Henry Stanton’s grounded delivery.

    Another powerful moment comes in “Letterbomb,” when Jenna Benzinger gives an astounding performance as Whatsername, the voice of truth, forcing Jesus of Suburbia to confront the fact that St. Jimmy, deftly played by Paige O’Connor, is just a fabrication. Whatsername holds up the proverbial mirror, showing him who he really is. Although she doesn’t hang around, she serves as the catalyst leading to St. Jimmy’s metaphorical death when Jesus of Suburbia finally lets go of that persona.

    Musically, the ensemble is tight, and the live band rips through the score with just the right mix of polish and punk grit. Kudos to Milly Massey’s musical direction on this masterpiece. The songs feel as potent now as they did in 2004, maybe even more so. Stylized choreography by Ali Kenner Brodsky channels the twitchy restlessness of youth with a physicality that verges on violent. There are no jazz hands here, folks — just clenched fists and bodies in free fall.

    That said, American Idiot isn’t subtle. It’s a Molotov cocktail of unapologetic rage and vulnerability. Some moments blur together in the chaos, and if you’re looking for traditional character development, you might feel unmoored, but that’s the point! This show meets its audience in the pit — sweaty, spinning, and screaming into the void. Every inch of the set, designed by Scott Osborne, is utilized for a big F*ck you! to the system.

    What makes this production sing isn’t just the music but also the urgency. You know why people yell? Because they want to be heard. In a world still spinning with uncertainty, American Idiot feels like a punch to the gut and a rallying cry rolled into one. It reminds us that disillusionment can be beautiful, and sometimes, screaming is a form of hope.

    Wilbury presents American Idiot through June 15. For more information, visit thewilburygroup.org.

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  • SLY FOX

    SLY FOX

    Greed Never Felt so Funny!

    BY ALISON O’DONNELL

    Attleboro Community Theatre’s production of Sly Fox, Larry Gelbart’s uproarious adaptation of Ben Jonson’s Volpone, delivers a fun and farcical comedy. Directed by Jeanne Smith, this play marks her 19th production with ACT. Set in 19th-century San Francisco, Sly Fox traces the deception of Foxwell J. Sly, bent on extracting the fortunes of Gold-Rush era opportunists. Feigning illness, Sly deceives a trio of townsfolk into competing for his inheritance, offering a delightfully comedic look at the lengths greed can drive people to.  

    “Sly Fox is a play about greed and transformation,” says Smith. “Nine weeks ago, we started with a blank stage, a cast of 15 or so people, a partial crew, and a vision shared by myself and my assistant director, Doug Greene. Together we all experienced the reality of transformation as we worked together to bring the story to life and to the stage. Together, we were able to add some unique ideas to the hysterical comedy. We were blessed with a truly talented cast, including some new to the stage and some seasoned performers, who were eager and excited to help us transform this rather complicated stage production into an outstanding comedy that will, hopefully, give you, our patrons, a rib-aching theatre experience!”  

    At the heart of this whimsical production is the conniving Foxwell J. Sly, as portrayed by Fred Wambolt, whose impeccable timing and commanding stage presence bring the character’s cunning and charm to life. Wambolt, who also portrays the Judge, makes Sly appear both despicable and endearing. Supporting roles are equally strong, with all actors embracing the absurdity of their characters. The interplay between Sly and his loyal servant, Simon Able — portrayed by Chase Struss — showcases a master-servant relationship filled with comedic tension and mutual respect. Connie Denesha as the Court Clerk doesn’t say much, but when she does there’s practically an audible punch in the air.

    p/o David Cantelli

    Set design by Tammy England and Smith effectively captures the opulence and decay of the era, with lavish interiors contrasting against the characters’ moral bankruptcy. Many of the production crew members at ACT fill various roles, such as set building and costuming. The period-appropriate costumes add authenticity to the visual storytelling, perhaps none more so than that of flashy Miss Fancy, seductively portrayed by Dawn Ferrisi.

    ACT’s cozy setting helps to create an illusion of intimacy between the performers and audience, further enhancing the patron experience. Although at times the production feels longer than it needs to be, the laughs are constant. A cleverly hilarious script and Smith’s direction ensure the farce unfolds at a steady pace, maintaining audience engagement throughout.

    Sly Fox is a testament to the power of community theatre to entertain and delight. ACT’s commitment to providing quality theatre experiences is evident in every aspect of the show. With its sharp humor, strong performances, and cohesive direction, the production offers a memorable theatrical experience, promising laughter and enjoyment.

    Sly Fox runs through June 22. For more information, visit attleborocommunitytheatre.net.

  • 545 Pawtucket Avenue, Pawtucket: Shopping and more!

    Located in a historic mill building at 545 Pawtucket Ave. in Pawtucket, RI— just a stone’s throw from Hope Artiste Village— you could truly make a shopping day of it by tagging on this locale!

    As soon as you enter the building from the parking lot, you are headed into Jordan’s Jungle, a 10,000 SF tropical oasis for plant people! Whether you’re a plant enthusiast or just beginning, they surely have what you’re looking for. With 7,000 square feet full of lush tropical plants and an extensive pottery room, the Jungle Team can assist you in selecting the perfect plants— from the everyday to the rare and exotic— and offer a large variety of planters, quality soils, potting mediums and plant nutrients. Plus, they’re always willing to take questions over the phone or via email to assure your success!

    You must access the Pawtucket Farmers Market inside Jordan’s Jungle, so it would be very hard not to spot something you love as you move through! Once in the Farmer’s Market room, you’ll have options ranging from teas and smoothies, to funky-flavored potato chips, loaded waffles, cookies, gifts and more! Vendors often rotate, so you’ll want to keep coming to see what’s offered each week besides produce. 

    Under the Sun Farm is a regular vendor, providing the majority of the market’s produce. Here you can find not only farm-fresh produce like lettuce and apples, but also herbs, flowering plants, local honey, local dairy, eggs, meat and grocery. They also offer seasonal items such as pumpkins and mums, Christmas wreaths, etc. And yes, they do welcome SNAP & HIP. 

    Check out the beautiful wooden cutting boards and spoons skillfully handmade by the market’s Assistant Manager Juan Ferrer, proprietor of Spoon & Board. The folks at Karakatoa offer healthy powdered drink mixes in unique, tasty flavors. You might consider patronizing them as they are very active in Operation Stand Down collections for food and personal hygiene items. 

    Zoe Barbano Grinder is a seamster, quilter and mender. If you’ve got a favorite old pair of jeans or holey sweater that has seen better days, but hate to part with it, bring it in for Zoe to fix!

    Currently the Pawtucket Farmer’s Market is open Fridays 4:30-7:30 pm. Find most timely updates available on https://pawtucketfarmersmarket.wordpress.com/ , Instagram and Facebook.

    Upon exiting Jordan’s you’ll see The Map Center, New England’s oldest map store. Here you can find prints, antique originals, order custom map projects and buy travel guides to take you on your next adventure.

    Foundation Performance is a sports medicine and fitness company whose goal is to improve the physical performance and overall health of their clients. Here they apply a multi-faceted system of health, fitness, and rehabilitation specialists to offer the tools needed to achieve your goals. They are sought after by athletes at all levels and have demonstrated popularity and success with runners throughout New England. In fact, three of their clients competed in Beijing at the 2008 Olympic Summer Games, and many currently competing at the world class level.

    Aikido is a traditional martial art for adults and children, practiced cooperatively in a fun and safe environment. At Providence Aikido, students learn to blend with an attack and neutralize it without using brute force. Students improve concentration, awareness and self-confidence while getting fit and having fun!

    Untapped Games has been serving value seeking gamers since 1999. Back then, they were a one-man show selling trading cards in online auctions out of a small room. That tiny venture grew into an online storefront known for its competitive prices, quality products, and great customer service. Their product line-up has expanded to include Magic: the Gathering, Yu-Gi-Oh!, Pokemon, Cardfight Vanguard, Force of Will, board games, HeroClix, dice, playmats and more. Their reputation for low prices and staunch advocacy is the reason their customers keep coming back. 

    Founded in 1995, GLAD WORKS is a full-service ad agency offering a wide span of services. Everything from design to delivery, provides clients with opportunities to increase their return on investment. Since every facet of production is kept in-house, projects are completed on time, within budget and with strict attention to consistency and detail. Simply call them with a need and they’ll make it happen!

    There are many artists and other business offices here as well, not to mention the home of Motif’s offices! Pamper yourself with a fresh new style at the Donna Ware hair salon while you’re here! Be sure to check hours before heading out if you’re coming in for a certain vendor.

  • The Legend of Georgia McBride: A dazzling dive into Drag and Identity

    The Legend of Georgia McBride: A dazzling dive into Drag and Identity

    One of the best things about live theater is its ability to surprise, shifting from the mundane to the spectacular in the blink of an eye. Burbage Theatre Company’s production of The Legend of Georgia McBride delivers just that, with a performance so rich in energy, wit, and heart it leaves the audience breathless in the best possible way. A particular kind of alchemy happens when a great script meets the right cast, and that’s exactly the magic conjured here. Written by Matthew Lopez, The Legend of Georgia McBride is a story of reinvention, self-discovery, and the boldness of embracing the most outrageous parts of ourselves. This high-heeled drag show within a play is a love letter to transformation, with sequins, soul, and more than a little sparkle!

    In Burbage’s version, directed with gutsy elegance by Gia Yarn, the play centers on Casey, a struggling Elvis impersonator who finds himself thrown into the world of drag when the club owner, Eddie (Brien Lang) brings in a new act to revive the failing business. Casey’s young, broke, his landlord’s knocking, and his pregnant wife, Jo (Sabrina Youn), is hormonally challenged and fiercely balking. As Casey falls into his new role, he finds he has much to learn about show business, and himself. Played by Burbage stalwart Michael Yussef Greene with a subtle, aching vulnerability, Greene doesn’t just carry the show — he floats it, even as Casey’s world collapses, rebuilding itself with lipstick. It’s a performance that balances bravado and bewilderment in equal measure, allowing the audience to root for Casey as he fumbles through fake eyelashes and real fears, grounding the play in both humor and profound moments of human connection.

    Opposite him is the radiant Anthony DeRose as Miss Tracy Mills — part mentor, part diva, all heart. DeRose commands the stage with old-school cabaret charisma and a modern wisdom that gives the play its moral core. Her delivery is razor-sharp, her lip syncs electric in timing. In one scene, she delivers a dressing room monologue that pulls the air from the room like a well-landed punch. Jason Omar Laguerre-Lewis is hysterical as the inebriated, smack-talking Rexy, who gloats over Casey’s misfortune; he doubles as the laid-back landlord.

    “I confess when selecting this production for our 13th Season, I was excited to present a fun, frothy comedy centering drag culture and performers that would overlap with Pride month,” says Burbage Artistic Director Jeff Church. “It is noteworthy that this play and production have, in recent months, become – rather unfortunately – more timely, poignant, and relevant to our current national discourse than originally anticipated. In a time where the LGBTQ+ community and the drag community are under fire from an intolerant and large subset of the American population, The Legend of Georgia McBride is a call to action in ways we couldn’t have anticipated over a year ago. We’ve assembled an incredible team of creative minds to bring this play into full and vibrant life. We are very excited to welcome Gia Yarn to the helm as director. We promise this play will be a source of joy, pride, and laughter, but also a thought-provoking and life-affirming challenge to our Burbage audience.”

    Yarn’s direction leans into the play’s more absurdist, fish-out-of-water energy while never abandoning its emotional depth. Transitions are fluid, the pacing taut. Staging is a triumph, smartly using Burbage’s intimate space to create both spectacle and sincerity while giving a good amount of shimmer and grit. The set, designed by Grey Rung, includes a nightclub dressing room and apartment, both feeling worn and alive, a microcosm of the story’s heart. Paired with Trevor Elliott’s careful use of lighting, every transformation feels both external and internal.

    Aaron Blanck’s costume design/choreography deserves its own round of applause. The drag looks are both camp and classy, perfectly capturing the play’s celebration of theatricality — a journey of self-worth told through wigs and waist cinchers elevating the performance. Stephen Millis’ makeup brings these ladies to the forefront of protest and glam.

    Georgia McBride is more than a glittery romp; it’s also a nuanced exploration of masculinity, and what it means to perform identity. It’s not just about drag or theater, but finding your place in a world that often tries to make you fit into boxes that don’t quite fit. Burbage never shies away from these themes, resulting in a show that’s both laugh-out-loud funny and surprisingly poignant.

    If drag is a form of protest — truth-telling in disguise, then Georgia McBride is a fabulously honest and fun time. Bring your boa and an open heart. Production runs through June 8. For more information, visit https://www.burbagetheatre.org/.

  • Laughter on the 23rd Floor: Wit, warmth, and a wink to mid-century chaos

    Laughter on the 23rd Floor: Wit, warmth, and a wink to mid-century chaos

    In an age when comedy writers are influencers and punchlines are tweets, Laughter on the 23rd Floor is a nostalgic trip back to when humor came with nicotine, neurosis, and the steady clack of a typewriter. This production captures the manic charm and underlying melancholy of Neil Simon’s semi-autobiographical play with an effervescent energy that never overplays its hand. Offering a hilarious and poignant glimpse into the chaotic world of 1950s television comedy writing, The Arctic Playhouse’s recent production, directed by Ida Zecco, brings this ensemble piece to life with sharp wit and heartfelt performances.

    Set in a New York City writer’s room, the play follows a team of comedy writers working on a live TV variety show. The narrative centers on Lucas Brickman, a novice writer navigating the eccentric personalities and pressures of the team. Drawing heavily from Simon’s own experiences as a young writer for Sid Caesar’s Your Show of Shows, the play imbues the script with both adoration and exhaustion. The result is a layered love letter to the Golden Age of Television, as well as an exploration of immigrant identity, political paranoia, and the uneasy coexistence of brilliance and breakdown. 

    Laughter on the 23rd Floor is about comedy, but it’s also about survival — personal, political, and professional. This production understands that. It leans into the lunacy without losing sight of the stakes. What’s particularly resonant is its attention to the undercurrent of anxiety that runs beneath the laughter. The specter of McCarthyism looms, and the jokes are tinged with the knowledge that to be Jewish, immigrant, or just outspoken in that era was to risk the blacklist. The laughs don’t cover the tension — they coexist with it in true comic tradition.

    The production’s strength lies in its ensemble cast — each member bringing depth and humor to their roles — as tightly tuned as a Marx Brothers routine. It features all the attendant comic drama as the harried writing staff frantically scrambles to top each other with gags while competing for the attention of the show’s star madman and resident storm cloud, Max Prince. Richard Griffin commands the room as Prince, delivering a performance that veers from volcanic rants to tender vulnerability in a single breath. His portrayal never lapses into caricature — a real risk with a character this oversized. 

    Zecco wisely lets the actors lead the rhythm, as this play thrives on the pace and punch of its dialogue. The cast delivers a dynamic portrayal of the diverse characters, each with their unique quirks and comedic styles. The characters’ interactions are both comedic and revealing, reflecting the tensions and camaraderie of a creative team under pressure. 

    At the heart is Lucas, played with guileless sincerity by Greysen Mortimer, the Simon stand-in, who navigates the madhouse as both observer and apprentice. He provides a grounded perspective without feeling like a mere narrator. The supporting cast, especially Ed Carusi as the mordant Milt and Paul Oliver as the droll Val, play off each other yet find individuality within the archetypes, bringing fresh life to roles that can easily fall into shtick. The second half doesn’t seem to have the same zeal as Act I — that is until Jay Burns re-enters as hypochondriac Ira Stone, bringing the laughter full throttle. His unsettling physical comedy makes you want to call for a medic!

    “I have been blessed with an amazingly gifted cast,” says Zecco, who gives her heartfelt thanks to all nine. “Each of you worked diligently to successfully bring these iconic comedy writers and one of the most famous comedians from the Golden Age of Television to life on stage. I couldn’t be prouder. Working with you has been a joy.”

    Visually, the set by Lloyd Felix is a character in itself: desks cluttered with scripts, coffee cups, cigarette butts and mysterious bagels. There’s a studied chaos to the design that echoes the characters’ mental states. Lighting shifts subtly to underscore mood without ever detracting from the momentum of the dialogue.

    The Arctic Playhouse’s rendition is a testament to the enduring appeal of Simon’s work and the talent of Rhode Island’s local theater community. The result is a show that’s not only hilarious but hauntingly relevant. Treat yourself to this funfest of jocularity and insight into the world of television comedy. Laughter on the 23rd Floor runs through June 1.

    For more information, visit https://thearcticplayhouse.com/. Photo by Sandy Smith.

  • Some Like it Hot: Depression never looked so spectacular

    Some Like it Hot: Depression never looked so spectacular

    Winner of four Tony Awards, including Best Choreography and Best Costumes, Some Like It Hot is a non-stop fun fest of top-notch singing, dancing and heartfelt jocularity! PPAC presents this tap-dancing, razzle-dazzling Broadway hit that won more theater awards than any show in its season, including a Grammy Award for Best Musical Theater Album. Based on the classic MGM film by the same name, which has been named the “Funniest American Movie of All Time” by the American Film Institute, this production features direction and choreography by Casey Nicholaw.

    It’s 1933, in Chicago, when Prohibition has everyone thirsty for excitement. Saxophonist Joe and his bassist buddy, Jerry, find themselves forced to flee the Windy City after witnessing a mob hit. They improvise a risky plan to escape with their lives. With gangsters hot on their heels, they disguise themselves as dress-clad lady musicians, join an all-female jazz band and catch a cross-country train in an attempt to reach Mexico, creating some rather awakening escapism.

    While Joe pretends to be a millionaire to win over the band’s sexy singer, Sugar, Jerry finds himself pursued by an actual millionaire. The role of Joe/Josephine was played on opening night by Michael Skrzek, who is originally from Worcester, Mass., making his Broadway national tour debut. Together with Tavis Kordell, who portrays Jerry/Daphne, this duo is unstoppable! They play off each other like two unleashed peas in a pod. Their hysterical antics keep the audience laughing all throughout this stunning production featuring 18 amazing musical numbers. The two tap like no tomorrow, and Kordell couldn’t be more believable as a divine diva in heels.

    Sugar is portrayed by Leandra Ellis-Gaston, the sweet-as-molasses party gal who falls fast for Joe—the running man (who she first meets as her fellow lady band member) who is also posing as a German Hollywood producer. She’s mesmerizing to watch, bootylicious with a glorious voice!

    The production has an authentic speakeasy jazz feel using brassy strings to create tension when Spats’s (Devon Goffman) gangsters appear. Powerhouse Tarra Connor Jones portrays Sweet Sue, the no-nonsense commanding band conductor. You love to love her and her comedic delivery as she keeps everyone in line. She could blow that beautiful ceiling off with her puissant, five-octave robust voice if allowed.

    Marc Shaiman (music & lyrics; Scott Wittman lyrics also) says, “As songwriters, our challenge on Some like It Hot was to celebrate the musical styles of Jazz Age icons like Duke Ellington, Fats Waller, Cole Porter, Cab Calloway, Jimmy Lunceford, Louis Jordan, Billie Holiday and Ella Fitzgerald, but also through our lyrics, to deal truthfully with the dilemmas and discoveries our characters are wrestling with, issues still prevalent today. We were especially inspired by the collaborations between songwriters like Harold Arlen and performers like Ethel Waters and Lena Horne, which proved that white and black artists could— and should— work side by side. Music has always broken down barriers, and that kind of kinship forms the foundation of our score: “Let different rhythms move your seat/For I have always found/We all dance to a different beat/And that’s what makes the world go ‘round!” And thanks to our brilliant director and choreographer, Casey Nicholaw, the show does move to its own special beat.”

    Scott Pask delivers attractive, seamlessly sliding quick-change sets that keep your eye on the fun. Resplendent costume design by Gregg Barnes keeps the ladies as alluring or absurd as needed. With all this, what more could you ask for in a great entertainment? This ‘funtastic’ musical is so worthy of your time!

    PPAC presents Some Like It Hot through April 27. Run time is about 2.5 hours with a 20-minute intermission. For more information, visit www.ppacri.org.

  • Picnic: Sometimes the ants show up uninvited!

    Picnic: Sometimes the ants show up uninvited!

    The Arctic Playhouse presents “Picnic” by William Inge and directed by Karen Besson. In 1953, when the play premiered on Broadway, Picnic won the Pulitzer Prize for Drama as well as the New York Drama Critics Circle Award for Best Play. Picnic explores themes of love, family, sexuality, repression, rites of passage, disappointment, and the complexities of human relationships, not to mention the consequences of following one’s heart in a small Kansas town.

    It’s Labor Day Weekend in the joint backyards of two middle-aged widows. One house belongs to Flo Owens, who lives there with her two maturing daughters, Madge and Millie, and their boarder Rosemary, a spinster school teacher. Flo is protective of her daughters and wary of Hal’s influence. The neighboring house belongs to Helen Potts, who cares for her elderly and invalid mother. This female energy is disrupted when a hot young drifter named Hal arrives and his alluring spirited vitality stirs the group. The product of dismissive parents, Hal is an interesting character, albeit self-conscious of his failings and his position in life. Madge, eager to be more than just the pretty girl in town and drawn in by Hal’s charisma and energy, sacrifices her prospect for a wealthy and secure marriage for the excitement a substandard life with Hal promises. Her tomboy sister, Millie finds balance for the first time through the stranger’s attentions (even though she also crushes on her sister’s boyfriend Alan). Meanwhile, Rosemary questions the dangling courtship that has brightened her otherwise dreary life.

    The setting, by Lloyd Felix, is simply two back porches with no set changes. It’s a bit ironic that, while the play is called Picnic, there are no actual picnic scenes. When the different characters dance together and get to know one another better, the conflicts begin. As Millie cheerfully gets twirled around, happiness brings with it a sense of freedom. Let the picnic begin!

    “Love and family. Letting go. The innate power of physical beauty. William Inge believed the act of living was the search for and maintenance of our own identity,” says Besson. “Hopeful widows, idealistic teenagers, embittered spinsters, restless wanderers. Inge gathers under his roof of repression and beauty a group of people who will go to any lengths to explore the quest of self-discovery. As I watch the members of this small Kansas town letting go of their various social differentials, unhappy beauty, poverty and affluence, intelligence and vapidity, I am reminded of the words of Thich Naht Hahn. ‘Birth and death are only a game of hide-and-seek, and letting go is one of the highest practices.’”

    The play is very fun and funny. Even when things seem dire, there’s a smile to be had. This has much to do with the cohesion of the hilarious cast. Members include Nancy Vitulli (Mrs. Helen Potts), Paul Simmons (Hal Carter), Addison Magiera (Millie Owens), Wally Driscoll (Bomber Gutzel), Alyssa Oliver (Madge Owens), Karen Gail Kessler (Flo Owens), Lee Rush (Rosemary Sydney), Benjamin Davis (Alan Seymour), Lynda DiStefano (Irma Kronkite), Emma Kerr (Christine Schoenwalder), and Paul Oliver (Howard Bevins).  You’ll surely enjoy the highs and lows of this great production!
     
    The Arctic Playhouse presents Picnic through April 13th. For more information, visit www.thearcticplayhouse.com.