Motif

Author: Alison O’Donnell

  • Merrily We Roll Along: “I’d rather be me any day!”

    Merrily We Roll Along: “I’d rather be me any day!”

    The Community Players proudly present Merrily We Roll Along. The production follows three friends— Frank, Charley, and Mary— in reverse chronology, from the 1970s to the 1950s. In 1976, Franklin Shepard is a wealthy Hollywood producer, and as the story moves backwards in time the audience learns of his meteoric rise from penniless dreamer to successful sellout— and what he lost in the process. Merrily We Roll Along is based on the original play by George S. Kaufman and Moss Hart, with music and lyrics by Stephen Sondheim, book by George Furth, and orchestrations by Jonathan Tunick.

    Directed by John McElroy II, with music direction by Richie Sylvia, and choreography by Julia Gillis, this production has it all— comedy, tragedy, love, anger, friends and family feuds, talented voices with awesome harmonies for great song and dance. We’re talking nearly 30 songs here!

    Rarely is the orchestra on an upper level. Whether intentional or not, you can partially see the musicians through two windows, as though they are a neighborhood band practicing in one of the members’ apartment. Kudos to set designers Luca Ialongo, Andrew Lugo, Michael Viveiros Jr. and Michael Viveiros Sr. for creating this simplistic staging for such varied settings. These include another apartment, television station set, tiki bar, courtroom and more! This is a large cast, and at times they all take the stage, but it never feels stuffy.

    There can be many hurdles in a production this active and complex. Producer Emily Fisher says, “I think one of the biggest challenges in producing the show is working with the conceit of the show— in that it’s moving backwards— and how to effectively communicate that to the audience in a way that’s still fast paced and fun.”

    The production could have been shorter in length, but then you might not get the full scope of all that’s happening with the various lives, portrayed by all the many capable cast members. Tyler Rebello as Charley Kringas is nothing short of a one-man riot! Meghan Smith as Mary Flynn plays sad like no tomorrow. Little Lynden Miles Ley tugs at the heart strings as Franklin “Frankie” Jr.

    “Merrily is one of Sondheim’s less-known musicals,” says McElroy. “This show, for me, is about friendship, and a love story about friends, and having an opportunity to get my hands on this piece and tell my story and share the experience of what it means to have a real true friend or two in your life and how powerful that can be. It was just something I was really drawn to.”

    McElroy believes it’s all up to us. “I’m hopeful that people will leave remembering how important it is to hold onto the friendships in your life,” says McElroy. “It’s our friends who really round us and keep us sane, for the most part, and I really want that to be the thing that audiences take home with them.”

    Merrily We Roll Along is presented through April 13. Production runs 2.5 hours including a 15-minute intermission. Refreshments served in the cafeteria. All donations benefit The Community Players’ Special Projects Fund. For more information, visit www.thecommunityplayers.org.

  • Fat Ham: Reinventing a Shakespearean classic

    Fat Ham: Reinventing a Shakespearean classic

    FAT HAM by James Ijames, directed by Don Mays, is a funny, poignant play that deftly transposes Hamlet to a family barbecue in the American South to grapple with questions of identity, kinship, responsibility, and honesty. Wilbury Theatre presents this 2022 Pulitzer Prize winner for Drama in a candid, hilarious and thought-provoking tragedy that presents more as a comedy! This modern-day reinvention of the Shakespearean classic will have you roaring along with the cast!

    According to Wilbury, Juicy is a queer, Southern college kid, already grappling with some serious questions of identity, when the ghost of his father shows up in their backyard, demanding that Juicy avenge his murder. It’s a familiar story, well-versed in Hamlet’s woes. What’s different is Juicy himself, a sensitive and self-aware young Black man trying to break the cycles of trauma and violence in service of his own liberation. From an uproarious family barbecue emerges a compelling examination of love and loss, pain and joy.

    Dana Reid portrays Juicy with calm style and perfect grace. You’ve gotta love his sincerity and dimples! Brace yourself for Jeff Ararat portraying Tio, a rather vulgar individual the audience adores. His audacious behavior is a riot! Also outrageously funny— and super animated— are Maria Albertina as Juicy’s mother, Tedra, Autumn Jefferson as Opal, and Jermaine L. Pearson doing double duty as both Juicy’s father and uncle, Pap and Rev. You can’t take your eyes off these folks as they vehemently work the floor. You’ll also love the unrestrained antics of Michelle L. Walker as Rabby, and Mamadou Toure as Larry.

    Set designer Shanel LaShay Smith sets the stage in Tedra’s down-home back yard. Rev cooks up some ribs we can actually smell, giving us the sensory perception of being there with the family to celebrate his wedding reception with Tedra. At times, Juicy and the others talk directly to the audience, including us in the rib-tickling fun! Yet in the world of Shakespeare, things aren’t always as they seem…

    “Reminding us that we’re not the sum of our mistakes, Ijames asks us to consider what our lives would be like if we would choose ‘pleasure over harm.’ Fat Ham practices what it preaches by lavishing laughter and delight as it encourages us to take our destinies caressingly in hand,” said Mays in a recent Boston Spirit interview. “There’s a lot of universal feeling in the play, such as discovering who you are, the classic pursuit for young adults, and that’s where Hamlet comes in.”

    Mays adds, “We’re a small theater that pushes the boundaries and looks for work that’s going to engage folks in ways we don’t often see here. Fat Ham isn’t your typical theater stuff, but Wilbury audiences are progressive-minded and looking for challenging theatrical experiences.”

  • Dead Man’s Cell Phone: One ringy dingy….

    Through the Glass Theatre Ensemble presents Sarah Ruhl’s surrealist comedy Dead Man’s Cell Phone at AS220’s Black Box. Ruhl is known for her probing humor, vivid imagination and poignant humanity. Director Olivia M. Sahlin artfully takes on challenging topics in a world of ordinary people living extraordinary lives, and small coincidences opening into quirky metaphysical conundrums.

    An incessantly-ringing cell phone in a quiet café. A stranger at the next table, who has heard quite enough. A dead man, with a lot of loose ends. So begins Dead Man’s Cell Phone, a piece about how we remember the dead, and how that memorialization changes us. It’s the journey of a woman forced to confront her presumptions about morality, redemption, and isolation in a technologically obsessed society.

    Jean (Ricci Mann) can’t give up Gordon’s (Mario K Sasso) cell phone, and must face confrontations from his family, associates and others to explain his death and, in her mind, repair their relationships and feelings. It’s a big job— a thankless one she doesn’t need to accept— but whole-heartedly takes on the altruistic mission with full conviction. Dwight, Gordon’s brother (Kurt Nelson) also has a heart of gold, but doesn’t feel the need to address Gordon’s loss or his private business. Mann is especially fun to watch, as she smiles through every uncomfortable rough patch she encounters. She is believably expressive and gleefully energetic. Sasso and Nelson also deliver great performances with both comical and heart-felt emotions.

    At one point, Gordon speaks directly to the audience in a thought-provoking reframing of the moments leading up to his death inside the café. He expresses his disgust with the current state of the world, and tells of the illicit dealings he made money on. As he begins to suffer a heart attack, he considers calling someone- but isn’t thrilled with his choices. Alas, he dies while watching Jean eat the last bowl of lobster bisque that, in a perfect world, would’ve been his. We can all relate to not getting what we want, and for Gordon, this is literally hell.


    The grieving widow, Hermia, is a fall-down drunk portrayed by Rachel Hanauer, who has an amazing singing voice. The Other Woman/The Stranger (Jhoira Walsh) also adds comic relief with dramatic notes of her own. Mrs. Gottlieb, Gordon’s Mother (Lucid Clairvoyant) appears the ever-stout figure, but we know the death of her favorite child hurts. Ensemble includes Tim Bric, Lionel LaFleur, Ayla Lapointe, Kira May Santos and Chris Schulthies.

    “I feel deep gratitude for the talent, dedication, and collaborative spirit of this marvelous cast and crew,” says Sahlin. “We strove to serve the messages of this beautiful script using all the artistic elements and resources available to us, supporting the themes and imagery, and establishing a surreal world populated by compelling and charismatic individuals. The production explores celebration and mourning, loneliness and connection, stagnation and growth, and second chances. Directing this show has been a heartwarming and fulfilling experience, and it is my hope that our audience feels the same about the experience of seeing it.”

    The production feels a bit longer than it needs to be, yet takes us out with an oddly surprising ending that explains much, and will leave you contemplating your universe.

    Dead Man’s Cell Phone is presented through April 5. Show is about two hours with a 10-minute intermission. For more information, visit http://www.throughtheglasstheatre.com.

    Photography credit: Christopher Lapidas
    https://www.throughtheglasstheatre.com/img/deadman2.jpg
    (L-R, Sasso, Clairvoyant and Nelson)

  • The Curious Incident of the Dog in the night-time: Frailty of genius needs an audience!

    The Curious Incident of the Dog in the night-time: Frailty of genius needs an audience!

    Burbage Theatre Co presents The Curious Incident of the Dog in the Night-Time, based on the novel by Mark Haddon, and adapted by Simon Stephens. Its title refers to a short story that features a Sherlock Holmes mystery. Director Karen Carpenter delivers a production that is as funny as it is moving. 

    Meet Christopher, a 15-year-old boy with autism. As he probes the mystery into the odious death of his neighbor’s dog, Wellington, Christopher uncovers secrets that throws his world into utter chaos. While Christopher is exceptional at mathematics, he is unable to interpret everyday life, including the complexities of his fractured family. He struggles with social cues and interactions, affecting his ability to fully engage with his environment, as he detests being touched and distrusts strangers. Finding himself under suspicion, Christopher is determined to solve the mystery of Wellington’s murder, carefully recording each fact of the crime. Having never ventured beyond the end of his street alone, his detective work, forbidden by his father, proves challenging as it takes him on a thrilling late-night journey, upending his extraordinary world. 

    Elijiah Russell more than adeptly portrays Christopher, taking us into the young man’s scattered but otherwise brilliant mind. Exhibiting tics— such as tapping his thigh with his fingers, staring off into the distance, sudden outbursts— he skillfully and capably represents one with autism. You just may walk away from this with a new respect and patience for those with sensory processing differences and hypersensitivity.

    “Don’t we all long for the support of a community to understand?” asks Carpenter. “What has made this production wonderful has been the contributions to the storytelling by the cast and production team. Theatre artists thrive when we create and foster a community of collaboration. We understand that often the world is ill equipped when a human develops outside this norm— requiring patience and compassion as they work to answer those big questions of identity and belonging. We wanted the audience to climb into Christopher’s notebook and share his world. Each person crafting this production has worked to honor Christopher’s love of math, space, storytelling, and truth seeking through imaginative movement, hand drawn projections, and a passion for sharing this story that invites our audience to become a part of Christopher’s community.”

    Cast includes Burbage veteran Allison Crews as Siobhan, Christopher’s paraprofessional and mentor (basically narrating to us) who teaches him how society works and how to behave within its complex guidelines. Michael Thibeault portrays Ed, Christopher’s father, who has many hurdles to deal with concerning Christopher’s late mother. Amie Lytle portrays Judy.

    Set designer Trevor Elliott treats us to moving eye candy in the hand-drawn projections. These are sometimes high-speed, reminiscent of Christopher’s thinking. What’s really striking about this production is how people serve as props. The fun and frenzied ensemble consists of H. Avery, Paula Faber, Mireya Hoffens, Philip Iredale, Omar Laguerre-Lewis and Teddy Lytle. ATD Brittany Costello provides entertaining physical items as well.

    “At Burbage, we are always looking for plays that take full advantage of what makes live theatre unique,” says Artistic Director Jeff Church. “The Curious Incident of the Dog in the Night-Time is a deeply theatrical, heartwarming, and life-affirming story— a fast-paced, three-dimensional look at the inexhaustible variety of life and family, through the eyes of 15-year-old Christopher and his extraordinary mind. A production that promises an intimate interplay of movement, design, and storytelling. We are thrilled to have Karen Carpenter, longtime Gamm actor and drama teacher at Pawtucket’s JMW School for the Arts, making her Burbage directorial debut. We have an exceptional ensemble cast, and a design team that has been waiting patiently to bring Simon Stephens’ liminal London to life. This is a truly special play— a perfect fit for Burbage— and we can’t wait to share it with you. Don’t miss it.”

    Burbage Theatre Co’s production of The Curious Incident of the Dog in the Night-Time 

    closes April 13. Contains occasional loud sounds. For more information, visit https://www.burbagetheatre.org/curiousincident.

  • Lend me a Tenor: A Rollicking Whodunit-to-Whom

    Lend me a Tenor: A Rollicking Whodunit-to-Whom

    Rhode Island’s oldest community theatre, The Community Players is proud to present Ken Ludwig’s award-winning comedy, Lend Me a Tenor. The title is a pun on “Lend me a tenner,” as in a ten-dollar bill. Directed by Jay Burns, the production opened on Valentine’s Day, and there was lots of love in the air for sure.

    World-renowned tenor Tito Merelli (Ronald Martin) has signed on to play the lead in Pagliacci at a Cleveland opera company in the fall of 1934. He arrives late and, through a series of crazy circumstances, passes out after mixing wine with a large dose of tranquilizers. Believing the divo to be dead, the excitable opera manager (Chris Sabatino) taps his hapless assistant, an aspiring singer named Max (Aster Kallman), to suit up as the clown and replace Merelli. Meanwhile, the tenor’s jealous wife Maria (Camille Terilli), his ambitious female co-star, Max’s young girlfriend Maggie, and the flirtatious head of the opera guild are on the scene fighting—sometimes literally—for the star’s attention.

    The production also features the talents of Elizabeth Jacques as Maggie, Katie Weeks as Julia, Izzy Labbe as Diana, and David Mann as the bellhop. This cast is an octet with a lot of heart. Despite having a distinct height advantage in his opera clown costume, when Martin is serendipitously replaced by Kallman, the shenanigans begin, and no one is the wiser! Dialogue is an added bonus here, as these folks can pull off the physical comedy without uttering a word, so the script just adds to the merriment!

    According to Burns, “Ken Ludwig is on the Mount Rushmore of comedy playwriting, and to me, Lend Me a Tenor is one of his greatest. It’s two hours of just good, plain fun. When the Community Players asked me about directing this show, it was an offer I couldn’t refuse.” The director adds, “And I think as well, we are in a world that has a lot of stressors and difficulty. This show is such a great distraction from the outside world.”

    Distraction is putting it mildly. The open two-room set replicates a split hotel suite with an adjoining door. On the left is a sitting room with a sofa and chairs. A center divider partitions off the right half, a bedroom with closets. You can see what’s happening in both rooms simultaneously. There are five functional doors through which the actors come and go, and with perfect timing to create just the right amount of playful chaos. It’s a rollicking whodunit-to-whom fun time! You will love the unexpected thrills!

    The Community Players present Lend Me a Tenor through February 23. Intermission snacks provided, donations benefiting their scholarship fund. For more information, visit www.thecommunityplayers.org.

  • The People Vs. Frankenstein: The measure of a sentient being

    The People Vs. Frankenstein: The measure of a sentient being

    Attleboro Community Theatre (ACT) presents The People vs. Frankenstein by Nicola Cuti and Kevin M. Glover. Things aren’t always what they seem, and the truth is about to be put on trial. The legendary creature stands accused, but is he truly a monster, or a victim of fear and misunderstanding? As the courtroom drama unfolds, the lines between justice and prejudice blur. There is horror right in the courtroom with this new take on Mary Shelley’s timeless and influential classic, set in the late 18th century, following a scientist’s creation of life and the terrible events precipitated by the eventual abandonment of his creation. 

    A cunning Southern attorney, Cornwall Bellini, and a tenacious lab assistant, Olivia Hoffner, join forces to defend the legendary monster charged with the murder of Dr. Frankenstein. Director Anthony J. Cox not only designed the courtroom set, but also doubles as the egotistic, odious Bellini, who defends the monster. In court, the sympathetic lab assistant, adeptly portrayed by Ruthie Withers, sits at the defense table in support of Maxwell Berg (aka Frankenstein’s monster). She brings compassion to the table, even when her loyalties start to waver. Geoff White doesn’t speak much in his role of monster Max, but his breathy grunts and chilling wild-eyed stares say it all. 

    Cox says, “For me, this play is all about me taking the time to allow for due process— something I fear a large majority of society has forgotten to do, whether it’s in a court of law, the court of public opinion, or weighing the scales of morality and ethics within ourselves. As you watch the story unfold, think about the judgments you’re making, why you’re making them, and what scales you’re using.”

    The part of Petra— the ‘bride’ of Max— is portrayed by Marissa Simas. She is a force to be reckoned with! Simas, an ACT veteran, not only adds comic relief with her accented attitude, but is a maverick vixen you can’t take your eyes off of.

    Horror and Sci-fi aficionados may catch the references to Shelley’s novel, as well as Star Trek: The Next Generation’s episode entitled “The Measure of a Man.” In this episode, the rights of android officer Lt. Commander Data are threatened by a scientist who wants to dismantle him and produce replicas. Captain Picard argues in a Starfleet court for Data’s right of self-determination, not to be declared mere property of Starfleet, while Commander Riker is obliged to argue on behalf of the scientist. Sound familiar?

    “From ACT’s standpoint and mine as Artistic Director,” says ACT Producer Jay Burns, The People vs. Frankenstein was the right choice because it gave us a new take on a classic story. As a world premiere, it has been wonderful collaborating with Kevin Glover— one of the writers— and seeing this story bloom as actors and designers bring it to life.”

    The People VS Frankenstein runs through March 16. Simulated gunshot sounds. For information, call (508) 226-8100 or visit www.attleborocommunitytheatre.net.

  • &Juliet: What if she didn’t end it all?

    &Juliet: What if she didn’t end it all?

    Redefining the standards of modern theater, the highly acclaimed & Juliet is presented by the Providence Performing Arts Center (PPAC) for a limited time. Deliberately altering the fate in one of the best works in history, Director Luke Sheppard has masterfully outdone himself with this remade narration of Juliet’s life had she chosen a different path from the original tragedy.

    According to PPAC, “& Juliet features a predominantly female cast who, juxtaposed with their personalities in the play, finally unveil their true selves after their escape from Verona. By fully maximizing pop music, unique outfits, and a remade script, the musical is aptly able to focus on the development of women empowerment as seen in today’s age and shows it through the new play. A production of the theater world’s crown jewel in post-modern playwriting, & Juliet highlights all the modern methods staged plays offer. The musical’s story, which focuses on Juliet breaking free from the expectations set by others on how a woman should make the most of her life is a stark change from the ingrained plot in the original play.” While experiencing new friendships and lessons along the way, Juliet and her companions make a conscious choice to live fully.

    The musical shows its audience two varying perspectives via William Shakespeare and his spouse, Anne Hathaway (who is suspiciously reminiscent of the doe-eyed Hollywood actress by the same name), who at various moments throughout & Juliet rewrite the play based on their differing perspectives and what should transpire for these characters. Disagreements, interjected with the separate scenes of Juliet and her friends in Paris, make the play as entertaining as it is educational. The musical connects contrasting themes present in both the classic tragedy and this production. It’s a masterclass on putting an inventive new spin on a beloved old tale, making its characters fully relatable.

    Sheppard says, “William Shakespeare’s original Romeo & Juliet ultimately highlights love as the plot’s dominant theme, showing both the highs and lows of true relationships. The continuation of Juliet’s history in the jukebox musical on the other hand is all about empowerment and living life on your own terms, while placing emphasis on the decisions which you make. The two differing tropes that arise from scripts that were created in two absolutely unalike decades embody at what level the dramatic arts and its stories have adjusted over the past times.”
     
     The play opens with a very diverse cast freestyling and interacting with the audience, as did Shakespearean actors back in the day. The set is expanded with projections on the beautiful ceiling and walls. Hats off to Soutra Gilmour’s amazing scenic design. The many seamless set changes are often captivating backdrop projections. Gorgeous, fun props give us seemingly unlimited eye candy, including a carriage drawn by a carousel horse— on a tricycle. 

    This production puts a modern spin on a familiar tale. Shakespeare (Corey Mach) explodes onto stage looking like he jumped out of a boy band, especially during the song “Tell Me Why.” Even Romeo (Michael Canu) smacks of Lance what’s-his-name, straight out of NSYNC, but with Elizabethan garb meets Gen Z hip-hop verve, accented by corsets, puffed sleeves, tights, and even a cod piece! Kudos to costumer Paloma Young for such creative vision on these captivating designs. 
     
    Angelique (Kathryn Allison) is a hysterical spitfire, commanding the stage with her mere presence, while Juliet (Rachel Simone Webb) is a bouncy, fun angel with a lofty voice. Clever lyrics, and strong vocals from all just adds to the exuberance. Interesting to note, all ensemble members have character names, atypical of most theatrical productions. These names are all somehow Shakespeare inspired. In line with Shakespearean sensibilities, gender norms are challenged and the humor is characteristically bawdy.
     
    Gone is iambic pentameter, replaced by the rhyming schema of some of the biggest pop hits of the 21st century. You’ll dance in your seat to familiar lively tunes, including 27 #1 hits by Max Martin, who now holds the record for most #1 hits written and produced. Choreographer Jennifer Weber gives us a hip-hop party we want to be a part of. Whether an enthusiast of Shakespeare’s plays or a new viewer of contemporary theater, this acclaimed musical is something you shouldn’t miss. This fun, enthusiastically high-energy romantic comedy proves there’s life after Romeo. The only thing tragic would be missing it!

    Hurry, PPAC presents & Juliet through March 2. Run time is 2.5 hours with intermission. For more information, visit www.ppacri.org.

  • Deadline: A Fun Whodunit!

    Deadline: A Fun Whodunit!

    Nestled in the shopping center of West Warwick’s Arctic village is the small but mighty The Arctic Playhouse (TAP). This old, converted department store comfortably seats 90, and is currently celebrating its 11th season as a community supporting the arts. Patronage is vital to bringing accessible, high quality theater to our communities. “With your support, we will continue to produce engaging performances, nurture local talent, and create a welcoming space for the Arts to thrive— a mission that our non-profit takes seriously,” says Chairman Bryan Sawyer.

    TAP currently presents Deadline by Don Zolidis, and directed by Jeff Massery. When eight mystery writers arrive at a legendary writer’s fog-shrouded island mansion in the North Atlantic, they think they’re ready for the Deadline Challenge— 24 tranquil hours to write as much of their new novel as possible. However, the Deadline Challenge is anything but peaceful! In reality, the writers are brought together to solve a murder— the victim yet to be determined, and the killer yet to strike! If one of these novelists can design and execute a perfect murder— and get away with it— they’ll win a million dollars (which is a lot of money for a writer). Who will survive the Deadline?

    Massery says he chose to direct Deadline for a few different reasons. “The first being that I enjoyed the script and had to put on a Don Zolidis play last year. But the second and most important reason is that it’s brand new! At the time of applying for the rights, only four theaters in the world had ever put on the play, with its first performance in January 2024. It also takes place in the present day with references to Tik Tok and social media influences. And lastly, it reminds me of the modern day Clue, which I hope to direct someday.” The director goes on to say, “Deadline’s setting is perfect to get younger generations interested in theater and acting. It’s also why I chose to cast Morris and Norris as youth actors. Plays like Deadline can be a great way to get new actors into the art in a fun way, and in a language they understand.”

    The setting is a gathering room adorned with sportsmen’s gear, including a couple of mounted non-assuming buck heads. Who done it is anyone’s guess. Despite the angst amongst the characters, there is a cohesive symbiosis between the actors. This makes for an entertaining mystery as they play off each other well. It seems all the characters have an air of arrogance, an arguably necessary trait among murderers. Show stealers Morris and Norris— respectively, young Crosby Lowe and Atticus Gomes— are no strangers to the stage. The pair of bratty slackers are no different, adding a welcome element of juvenile arrogance, and their belligerent delivery adds a smile-producing joy to the tension. Their passion for acting is apparent. Gomes is especially captivating, and is one to watch for future endeavors. At just 12 years of age, he is a proud Mensa member, and has been acting since age five, having performed in over 25 theatrical productions and short films. Surely he won’t stop there on his road to higher education and ultimate fame.

    Come experience a bit of nostalgia at this unique playhouse. They even offer free popcorn, fresh-baked cookies and decaf coffee to patrons, and there’s a cash bar. Be sure to check out the cabaret and open mic shows offered on the last Tuesday of every month!

    Deadline will run through March 9. For more information, visit www.thearcticplayhouse.com .

  • Life of PI: An Epic Journey of Endurance and Hope

    Life of PI: An Epic Journey of Endurance and Hope

    Maybe you’ve read the philosophical novel by Yann Martel, or seen the movie, but you’ve seen nothing like this theatrical adaptation by Lolita Chakrabarti! PPAC presents Life of Pi, an epic tale of perseverance and hope. Told with incredible visuals, masterful puppetry and amazing stagecraft, Life of Pi creates a visually stunning journey that leaves you filled with awe. You’ll enjoy the cutting-edge visual effects of this global phenomenon celebrating family, resilience, survival, and the natural world.

    Pi, short for Piscine (French for pool) is a 16-year-old boy who grows up in India, where his family owns a zoo. There he has learned a thing or two about animals. After a shipwreck leaves him adrift on a lifeboat in the middle of the Pacific, he struggles alongside the only other survivors— an unlikely mix of zoo animals, including a hyena, zebra, orangutan— and a 450-lb Royal Bengal tiger named Richard Parker! Amazingly, this story was born of some true elements, as told to Martel.

    Pi’s journey of survival, lasting 227 days, is both physical and spiritual. As he ponders issues of spirituality and metaphysics, we ask ourselves, is this a tale of theology, or survival? As art is open to interpretation, thoughts vary. Many will consider the two stories told in parallel— that of the humans, and that of the animals. One could argue the tiger is a figment of Pi’s imagination, symbolizing his determination to survive. Alternately, the tiger also is highly motivated to live, both doing what needs to be done to endure. Martel has no definitive answer but does say, “If you lose the story of the people, that’s fine. The real story is the animals.”

    Portraying Pi is Taha Mandviwala, who gives an outstanding, moving performance. He is an absolute pleasure to watch, nailing the fear and desolation of an impish boy lost in every possible way. While Pi and the tiger are the main characters on stage throughout most of the play, others are briefly seen or mentioned. There’s a cast of about 20, but it doesn’t appear so as many meld into the puppetry.

    Kudos to the puppetry team for giving us this visual delight. Puppet Designer and Movement Director Finn Caldwell feels each puppet must have a strong sense of character. “The most important thing to remember is that the audience needs to believe the puppet is alive. If that doesn’t happen, everything else is lost. Puppets appeal to the audience’s sense of play, and there is a silent contract between the audience and the puppeteers to suspend all disbelief.”

    It’s curious why Pi’s hospital bed is on the raft. One could argue this is for leveling, giving some height in order to enhance the visual impact of the scene and direct our focus. It might be for some fluid cohesion between the ebb and flow of the raft’s momentum and Pi’s state of mind, as time flip-flops from sea to post-rescue. Director Max Webster says, “Life of Pi is a challenging novel to adapt because of the interpolation of the scenes at sea, with the more conversational scenes in the hospital. We have to ensure that we don’t lose momentum and tension in those scenes— that we sustain the audience’s engagement and interest.” It does begin to feel a tad stagnant toward the end, but concludes on a joyous note.

    There have been other challenges adapting this tale for the stage. “One of the main ones is how we stay honorable and give answers in the play, but still allow the mystical element of religion and of life to live within it, when the audience leaves the theatre,” says Chakrabarti. The playwright’s adaptation also brings women to the forefront. “I’ve taken characters from the novel who are men, or who are in the background, and made them more prominent female characters. I love the representations of lots of different kinds of people in the play.”

    PJ Prokop, director of marketing at PPAC, says, “We are pleased to collaborate with the Roger Williams Park Zoo and support the real-life animals at the zoo through this promotion. In Life of Pi, the zoo animals are depicted on stage using beautiful, world-class puppetry. It is a story about hope, survival and resilience, which matches the zoo’s mission to save wildlife through conservation and education.”

    Don’t miss out on this breathtaking production!

    Life of Pi runs through February 16. Contains violence, smoke, haze, flashing and strobe lights throughout. Run time is 2 hours 10 minutes, including intermission. For more information, visit ppacri.org.

  • Are you dating a narcissist?

    We all have narcissists in our lives, whether in our family, friendships, workplaces, or our beds. One in every six persons around the world has narcissistic personality disorder (NPD), and that number is growing. We think of narcissists as people who love their reflection (actually self-loathing), but it is so much more disruptive than that. For the purposes of this article, the focus will be on romantic relationships, and the pronoun ‘they’ will be used, as this disorder is not gender biased.

    Narcissists are not capable of healthy relationships. They may brag about how they’ve had long-term relationships, but that doesn’t mean they were healthy. It means someone tolerated their abuse for so long that they became trauma-bonded or couldn’t leave due to financial, family, or religious obligations. What makes it worse is they still loved the narc, and clung to the hope they would change. They won’t.

    The psychological abuse — and it is indeed abuse — is punishment for not enforcing safe boundaries for yourself. Maybe you were raised by a narcissist, became a people pleaser, and put everyone else’s needs before yours. Narcs are extreme takers, and they know exactly what they’re looking for when they meet you — someone they can manipulate into taking care of their every need. Yours don’t matter.

    There are varying degrees/subtypes to narcissism. Therefore, your friend may also be dating a narcissist, but when you compare notes, you may not see similar patterns. Even a good psychologist would have a hard time diagnosing NPD initially, which is partly why the narc won’t stick with therapy. It’s exhausting hiding behind their mask, so eventually, it comes off, briefly exposing their truth. It’s a confusing mask-on, mask-off fiasco for their victim. It should be said though, just because someone exhibits some narcissistic traits doesn’t mean they have NPD. We have no business diagnosing them, but it helps to know what we’re dealing with.

    Narcs generally lack empathy. If you say your friend died, their reaction might be, “Oh well, he was weird.” If your beloved dog dies, you might hear robotic sympathy like, “Awwww. Just get a new one.” Empathy means feeling your hurt, not weakly sympathizing.

    Lying is second nature to a narc, almost reflexive, and promises are empty. This self-preservation allows them to maintain their grandiose narrative and idealized self-depiction. 

    Some other character traits of NPD include: self-entitlement; arrogance; bullying; manipulation; lying; controlling; superficiality; shame; insecurity; image-conscious; attention/ approval seeking; infidelity; victim mentality; impulsivity; emotional immaturity (age 5-11); emotionally dysregulated/ rageful; abusive; unapologetic, without taking responsibility. 

    Typically spoiled in childhood— told they were special— narcissists then go out into the world to discover that they’re ordinary. Now, constantly feeling bad about themselves, they hungrily seek validation. Because you are empathetic, you feel sorry for them. They’re charismatic, fun, helpful, complimentary— all to manipulate you. It’s all about control. This makes for a confusing roller coaster ride that continuously repeats three phases.

    Phase one: Love Bombing

    You meet the person of your dreams, almost too good to be true. You get mushy texts all day. “I’ve never connected with anyone this deeply before… Could stare at you all day… Finally found true love…!” They want exactly the same things you want! This is no mistake; they’re mirroring. Seemingly interested in getting to know you, you’re interviewed as they intently listen to your history. 

    Once you’re hooked, there’s a shift. They ain’t listening to a word you say. Because they just. Don’t. Care. They are wearing a mask, which is exhausting, so they must rope you into loving them ASAP! They coerce you into cohabitating quickly— “We’ll save money and won’t have to travel!”— even talking about marriage. Once you’re smitten, they can relax a bit. Mask on, mask off. You see snippets of the real person behind the mask. Your gut tells you something’s off, but you dismiss the red flags waving because you want this to work! 

    After the love bombing fizzles— 12 weeks to a year, if they’re well practiced— you may start to pull away. One tactic they’ll use to keep you hooked is future faking. “We’ll buy a house by the water, travel the world…!” mirroring what you want. There’s always some excuse why the goal posts keep moving though – These things are Never. Gonna. Happen! 

    They’ll badmouth your family and friends, soon alienating you from them. This way, you’re focused solely on them, meeting their every requirement. If you do go out with friends, narcs will either invite themselves or pester you with spirited texts so they can check up on you. “Send me a picture!” They’ll scrutinize your photo for any competition at your table, enviously doubting your loyalty. They have few or no friends.

    Phase two: Devaluation

    This is where you go from amazing to, “Hey, what’re those spots on your face? … Why apply for a job you’ll never get?” Welcome to your devaluationship. Other fun psychological tactics include the gas light (“I never said that!”), blame (“I wouldn’t need to cheat if you were more attentive.”), shaming (“You’d be attractive if you lost weight”). Projection, an immature defense mechanism, is a tactic employed if you’re angry with them, shifting it back onto you to avoid dealing with difficult emotions. You’re constantly walking on eggshells, trying not to set them off, instead of feeling safe to express yourself.

    Ignorant of this narcissism thing, you wonder what changed. You consider leaving, but you think the person you fell in love with is still in there. Plus, they’re throwing you occasional crumbs – a nice gift or compliments could stay you for another six months.

    The childhood stories they gleaned early on are now being pulled from the gunny sack for weaponizing. “Maybe you’re a cheater, just like your mother!” Since they’re all about controlling your actions and emotions, they love when they can break you to tears, then pull you in for the sympathetic hug. If you’re becoming narcissist resistant, they may give the silent treatment.

    Phase three: The Discard

    By now, you’re tired of hearing the same stories, having the same tired arguments, catching them manipulating the truth several times, maybe even recognizing the gas lighting. 

    Being discarded doesn’t necessarily mean a breakup. One of you has your foot out the door, and something needs to change. They know when they’ve been found out and will try hard to retain you— while lining up their next victim, maybe triangulating you into jealousy. Narcs don’t like being alone and must have a constant supply of attention. Often having abandonment issues, they may threaten to leave you, hoping to snap  you back into submission. 

    Lather, rinse, repeat. This tiresome, dizzying pattern continues, as narcs thrive on chaos.

    Should I stay, or…?

    ]When you keep sacrificing parts of yourself until there’s nothing left, you lose your identity. At some point, you may decide being alone beats all this. If your body says this doesn’t feel good, run! Sadly, you’re learning the person you love never existed, faked the future you thought you’d have, and used but didn’t love you. This calls for radical acceptance.

    You may try fixing them (Not your job! You deserve a whole person!), but it’s very rare a narcissist will change. They can’t admit there’s anything wrong with them; their ego wouldn’t allow it. Consequently, you should never tell a person you suspect them of narcissism; it could be psychologically damaging. On the surface, they wouldn’t believe you anyway. 

    If you break things off, they will plead for another chance. They’ll try to Hoover you (yes, suck you back in like the vacuum) by promising to get help. Changing your personality is extremely difficult and requires years of dedicated inner work with a skilled therapist. As a way of manipulating you into staying, they may actually go to therapy, but wouldn’t stick with it long, quickly declaring themselves cured. If their supply is in place, it’s much easier to discard you— or lead you into discarding them, playing victim to their team and yours. Whether they break it off or manipulate you into doing so (maybe by cheating), once the gig is up, they will completely reinvent themselves, moving on so fast your head spins! 

    If this resonates with you and you’d like to delve deeper, educate yourself on NPD abuse so you can heal and avoid other narcs. Check out YouTube videos by the world’s leading expert on NPD, Dr. Ramani, and her best-selling book, It’s Not You. Dr. Ramani offers a support group for NPD survivors because this is NOT a normal breakup! Only those who’ve been through it themselves will understand what you’ve experienced. 

    Alison O’Donnell is the author of the very funny self-help book, Stupid Cupid ~ A Survivor’s Guide to Online Dating. Available on Amazon.