Motif

Author: Alison O’Donnell

  • Someone Will Remember Us: Reflecting on the ripples of conflict

    Someone Will Remember Us: Reflecting on the ripples of conflict

    In 2006, Trinity Rep told the true, poignant stories of Rhode Islanders deployed in Iraq with the play Boots on the Ground. Nearly 20 years later, they now ask important questions as this legacy lives on. What have we forgotten? How have these very different people come together to heal? Someone Will Remember Us interlaces the real-life testimonies of US military veterans, a Gold Star family, Iraqi civilians, and resettled refugees living in RI. As military conflict wages on multiple fronts across the world, this meaningful production, directed by Christopher Windom, and created by Dr. Michelle Cruz, Deborah Salem Smith, and Charlie Thurston, paints a moving portrait of the innumerable tolls of war, and how we find connection through our shared humanity.

    “When we did Boots on the Ground, soon after the US invaded Iraq, everything about the war felt sudden — changing individuals, families, and entire communities,” says playwright Salem Smith. “Two decades later, we still have troops in Iraq. Those touched by the war are still coming to terms with the profound impact it has on their lives and the lives of others. I am struck by the fact that, although there are heartbreaking moments in these stories, there is also humor, sweetness, and hope. It has been such an honor to meet so many incredible people, both for the original project, and now many years later for this new play.”

    Interspersed between tragic stories are the comedic backstories of these individuals, intertwining with a common thread. The eight-person ensemble portrays multiple roles throughout the production, as they circulate about the stage sharing snippets of their experiences. They execute their lines with precision, heartbreak, and comedic finesse. Especially notable are Allison Jones (Millareisha), and Ashley Aldarondo (Angelica), who have us in stitches from the start, yet leave us with barely a dry eye in the place. The cast also features resident company members Stephen Thorne and Rachael Warren, returning guest artists Jihan Haddad and Dereks Thomas, and the Trinity Rep debuts of Josephine Moshiri Elwood and Jade Ziane.

    The setting is reminiscent of a bus or airport terminal, with rows of adjoined chairs, and sliding glass partitions creating entrances and exits (impressive scenic design by Tanya Orellana). Light cases with words or years on them (think “Wheel of Fortune”) light up and ding as the characters indicate a year, timeframe, or place (lighting design by Emma Deane). You have a good indication of who the characters are before they speak, as they wear a uniform, or garb from their country of origin (costume design by Shahrzad Mazaheri).

    “This show is incredibly necessary right now because it is about how people have a remarkable ability to come together after conflict,” says artistic director Curt Columbus. “It shows us that no matter what side of a conflict someone is on, people face the same struggles and consequences. It shows Rhode Islanders and their stories from a global perspective and gives us hope for the future.”

    In Someone Will Remember Us, lives shaped by war — whether on the front lines or caught in the crossfire — unite in shared resilience. •

    Contains discussions of death during armed conflict, violence against political opposition, mourning a (grown) child, PTSD, and trauma experienced by veterans and civilians. Playing now thru Feb 23. Run time is about an hour and 45 minutes with no intermission. trinityrep.com

  • hang: What if someone’s life were in your hands?

    Burbage Theatre Co. is proud to bring you hang, by debbie tucker green and directed by Lynne Collinson. According to BTC, a crime has been committed, and the victim has a choice to make. The criminal is waiting, his life in her hands. With shades of Harold Pinter, tucker green’s hang is a shattering and meticulously crafted three-hander about one woman and the unspeakable decision she must face alone.

    Here’s how it happens. Three unnamed characters are in what looks like an interrogation room, where tea and water are persistently proffered. A suited man and woman sporting official lanyards oversee a judicial process, while the third— a frazzled, irritated woman— is morosely contemplating the fate of a man who has committed a crime against her and her family. The mystery as to why this trio came to be in this room gradually unfolds in an infuriatingly frustrating banter between the suits and the woman. The jawing can be so annoyingly tedious that you just want to scream STFU!! It doesn’t go unnoticed that we spectators can see ourselves distorted in the two-way mirror at all times, like a hung jury during an extended deliberation (set design by Trevor Elliott).

    The casting for this production couldn’t have been more perfect. The irksome suits, portrayed by Margaret Melozzi and Aaron Morris, seem and sound exactly as the earnest screwballs you would expect. MJ Daly shakes with anxiety as emotion rises in the woman. Only a superbly strong cast can pull that off, keeping us interestedly on edge for the outcome.

    BTC Artistic Director Jeff Church says, “We have an amazing cast and team, and a play that will provoke, evoke, and challenge your expectations.” He explains, “At Burbage, we strive to thrill, to surprise— to make you think and feel something with each production. So much of staging a play is carefully crafting how information is revealed to the audience— how should the play’s action unfold to tell its story most effectively? In this way, hang presents a unique challenge— green’s play reveals its contents in a way I’ve never quite experienced— a one-room, one-scene slow burn that is provocative, visceral, and not without a dark sense of humor. My first read made my heart race and brought me to the edge of my seat.”

    Over the course of the play, the woman must decide what punishment the perpetrator will face, and whether or not she will read the letter he has written to her. Will it change her mind? The power of this stinging satire is understated as it exposes our vulnerabilities to things like crime and punishment, and maybe the value of having a good support system. We can’t help but reflect on how we would behave if we were in that seat.

    BTC presents HANG through February 16. Run time is 80 with no intermission. For more information, visit https://www.burbagetheatre.org/hang.

  • Someone Will Remember Us: Reflecting on the Ripples of Conflict

    Someone Will Remember Us: Reflecting on the Ripples of Conflict

    In 2006, Trinity Rep told the true, poignant stories of Rhode Islanders deployed in Iraq with the play Boots on the Ground. Nearly 20 years later, they now ask important questions as this legacy lives on. What have we forgotten? How have these very different people come together to heal? Someone Will Remember Us interlaces the real-life testimonies of US military Veterans, a Gold Star family, Iraqi civilians, and resettled refugees living in Rhode Island. As military conflict wages on multiple fronts across the world, this meaningful production, directed by Christopher Windom, and created by Dr. Michelle Cruz, Deborah Salem Smith and Charlie Thurston, paints a moving portrait of the innumerable tolls of war, and how we find connection through our shared humanity.

    “When we did Boots on the Ground soon after the US invaded Iraq, everything about the war felt sudden— changing individuals, families, and entire communities,” says Someone Will Remember Us and Boots on the Ground playwright Salem Smith. “Two decades later, we still have troops in Iraq. Those touched by the war are still coming to terms with the profound impact it has on their lives and the lives of others. I am struck by the fact that, although there are heartbreaking moments in these stories, there is also humor, sweetness, and hope. It has been such an honor to meet so many incredible people, both for the original project, and now many years later for this new play.”

    Interspersed between tragic stories are the comedic backstories from these individuals, intertwining them with a common thread. The eight-person ensemble portrays multiple roles throughout the production as they circulate around the stage sharing snippets of their experiences. They execute their lines with precision heartbreak and comedic delivery. Especially notable are Allison Jones (Millareisha), and Ashley Aldarondo (Angelica), who have us in stitches from the start, yet leave us with barely a dry eye in the place. The cast also features resident company members Stephen Thorne and Rachael Warren, returning guest artists Jihan Haddad and Dereks Thomas, and the Trinity Rep debuts of Josephine Moshiri Elwood and Jade Ziane.

    The setting is reminiscent of a bus or airport terminal, with rows of adjoined chairs, and sliding glass partitions creating entrances and exits (scenic design by Tanya Orellana). Light cases with words or years on them (think Wheel of Fortune) light up and ding as the characters indicate a year, timeframe or place (lighting design by Emma Deane). You have a good indication of who the characters are before they speak, as they wear a uniform, or garb from their country of origin (costume design by Shahrzad Mazaheri).

    “This show is incredibly necessary right now because it is about how people have a remarkable ability to come together after conflict,” says the Laura H. Harris Artistic Director Curt Columbus. “It shows us that no matter what side of a conflict someone is on, people face the same struggles and consequences. It shows Rhode Islanders and their stories from a global perspective and gives us hope for the future.”

    In Someone Will Remember Us, lives shaped by war— whether on the front lines or caught in the crossfire— unite in shared resilience. Experience the powerful, humorous, heart-wrenching, and heartwarming stories of Someone Will Remember Us. Contains discussions of death during armed conflict, violence against political opposition, mourning a (grown) child, PTSD and trauma experienced by veterans and civilians.

    Now playing through February 23. Run time is about an hour and 45 minutes with no intermission. For more information, visit https://www.trinityrep.com/.

  • Grit & Polish: An exhibition by The Steel Yard residents

    Grit & Polish: An exhibition by The Steel Yard residents

    The WaterFire Arts Center (WFAC), the multi-use arts venue on Valley St in PVD, is hosting a month-long group exhibition by Steel Yard metal artists titled GRIT & POLISH, highlighting the stories, skills, and artistry that shape our shared creative landscape. A public opening was held on January 9, and an artist talk on January 16. “WaterFire is pleased to host this extraordinary and impressive exhibition by artists from The Steel Yard’s residency program,” says Barnaby Evans, founder and artistic director of WaterFire. “The artists’ work interacts beautifully together, with elegant, graceful, exquisite works offset wonderfully by more robust structures of great mass and dynamism. Every piece is original, strong, and worth your attention.”

    The nine residents, who come from diverse backgrounds and perspectives, weave many personal narratives through the storied community space with multimedia explorations in ceramics, jewelry, and metals. Traé Brooks, Brittany Dias, Katie Han, Nyala Honda, Dana Heng, Anne Irving, Prinshu Gautam, Kit Grindeland, and Alex Tum invite you into their journeys in progress as beginning, returning, year-long, and short-term residents- embracing what it means to be refined and unfinished. The Steel Yard is a non-profit industrial art center and non-traditional craft school that offers educational programs in blacksmithing, welding, jewelry, foundry, and ceramics. Outside of the classroom, artists can access the studios through open studio hours, rentals, and the residency programs. Residencies support emerging and mid-career artists, providing full access to studios and equipment, with paid fellowships and other professional development opportunities. In addition to studio access, The Steel Yard fabricates functional, design-driven public art installed throughout Southeastern New England, through its Public Projects department.

    You’ve surely seen the decorative bike racks, trash cans, benches, and fences found at businesses and along main streets from Western Massachusetts to Block Island, with custom metal sculptures installed along waterways, parks, schools, and public spaces across the region. Check them out at thesteelyard.org.

    “This will be the first group exhibition for our year-long cohort, and they’re looking forward to inviting the community to see where the residency has taken their practices so far,” says MJ Sanqui, residency coordinator for The Steel Yard. “Each resident is bringing their own unique experiences with their mediums, and they’re all working quite cross-disciplinarily. GRIT & POLISH is a chance for them to show the expansiveness of the work that gets made at the Yard.” Director of WaterFire Creative Services Laura Duclos says WaterFire Providence’s mission is to creatively transform the urban experience and foster meaningful community engagement. “GRIT & POLISH highlights the incredible works of artists who are creating right here in the Valley neighborhood in Providence, alongside the Woonasquatucket River at The Steel Yard. Partnering with a fellow arts nonprofit allows us to expand the network of creative voices and give visitors a deeper sense of place — connecting them to the rich stories, skills, and artistry that shape our community.”

    Stay tuned for their upcoming Anne Frank exhibit, Annelies, this spring. GRIT & POLISH runs through February 9, with a crossover exhibit you’ll also want to see, coming to the WFAC the first week of February. To give careful consideration to each piece, you’ll want to allow about 40 minutes of reflection time. For more information about this particular exhibition, visit waterfire.org/events/grit-polish. •

    Photo by Alison O’Donnell

  • The Father: Play review; a tragic farce

    The Father: Play review; a tragic farce

    Winner of the Molière award for France’s best play, The Father, by Florian Zeller and directed by Wilbury Theatre’s Artistic Director Josh Short, flirts with the cruel nature of time while exploring the limits of patience. Shrewdly told with humor and empathy that treats audiences to a heart-wrenching glimpse into despair from the loss of self, it’s not all gloom and doom. While heartbreaking at times, there are many comedic moments that make us smile in the face of dementia. 

    As Wilbury tells it, André, now 80 years old, was once a tap dancer. He lives with his daughter, Anne, and her husband, Antoine. Or was André an engineer, whose daughter Anne lives in London with her new lover, Pierre? The thing is, he is still wearing his pajamas, and he can’t find his watch. He is starting to wonder if he’s losing control— but accuses others of just that! Anyone who has cared for a loved one with Alzheimer’s will surely relate. As the confusion sets in, you follow the wave of befuddlement to the end.

    Portraying the lead character is Richard Donelly, who is no stranger to the stage as well as TV/film. Donelly delivers up a lovable character who is also capable of shocking us at times. You can’t help but feel empathetic toward him as he questions reality, while simultaneously directing sympathy toward his daughter, Anne, adeptly portrayed by Jeanine Kane. Also a veteran of many Rhode Island stages, Kane reminds us what it means to be human in the wake of challenging duty. The love is there, as is the hurt and frustration.

    Says Short, “This play has been a gift to work on, and we are so fortunate to have the great Richard Donelly and this amazing cast and creative team come together and bring this touching and complex story to our audiences. When Richard shared the script with me, I was struck by the play’s use of theatre as a medium to present a unique point of view about a universal experience. This is a moving story about how relationships between children and their parents change as they grow older, and what we hold on to the tightest once everything else starts to fade away.”

    Short goes on to say, “As artists working in the theater, so much of our focus throughout the rehearsal process is on ensuring that we are communicating a story to our audiences with as much clarity as possible. With The Father, our challenge is to abandon this practice, and make peace with the intentional confusion and disorientation the play calls for. During the rehearsal process, we challenged ourselves to see the story through André’s lens, even if it was fragmented, out of order, and blurred the lines between truth and fantasy. Throughout this process, I’ve been consistently reminded of how fortunate we are to be among such talented and creative minds in this amazing artistic community. We’ve been able to explore these daunting themes with grace and curiosity, and it’s been a privilege to bring this haunting, poignant play to our stage.”

    Marvin Novogrodski, who portrays Pierre, adds another perspective. “Acting is about solving a puzzle. The pieces include discovering intentions, mixing in movement, hitting your mark, allowing emotions to unfold, playing off the other characters, accessing your vulnerability. It’s a tall order, and The Wilbury Group is a fun place to put it all together. I’m grateful to be part of it.”

    Scenic Design by Monica Shinn includes an open floor with various doors leading to exits and other rooms, doubling as the entryway to another dimension of the mind. Sound and light design by Andy Russ is subtle but telling. Lights dim as characters exit, and become bright as action escalates. Heartbeats and other rhythms can be heard during powerful moments.

    Wilbury presents The Father through February 9. Run time is 90 minutes. For more information, visit https://thewilburygroup.org/.

  • GIRLS & BOYS: Love and the dark truths that lie beneath

    GIRLS & BOYS: Love and the dark truths that lie beneath

    Girls & Boys is a one-woman production by British playwright Dennis Kelly, directed by Rachel Walshe, that unleashes a tale of love, marriage, and family violence as told from the perspective of an unnamed woman. It’s a powerful and unflinching exploration of love’s highs and lows. Brace yourself for a neat mix of humor and horror that will grip you from start to finish. 

    The tale starts as a painting of modern love when girl meets boy and they begin a whirlwind romance seemingly destined for greatness. Their life is filled with passion, success, and the joys of parenthood. Eventually, though, cracks begin to appear in their foundation as ambitions grow. Suddenly, their nearly idyllic world takes a fortuitous dark turn as they spiral toward love’s annihilation.

    When preparing for the show, Walshe said, “I do not yet know all the different ways Girls & Boys will offer up its heresies. But (t)here are a few that I feel certain await you in this beautiful, funny, arresting piece of art. Unbearable pain lives in the same place as transcendent joy. I will let the play tell you about that.”

    Our leading lady is portrayed by Donnla Hughes, who is no stranger to The GAMM Theatre. She is veracious and flawless as she runs you through the gambit of emotions, telling her story in a 105-minute monologue. It boggles the mind how easy she makes it look, memorizing all those lines. Being a cast of one can have other challenges as well, like portraying the character as authentically as possible.

    “I think in this situation, the one component that’s missing is, usually the other actors that you’re playing with teach you a lot, when you get to rehearsals, about the character,” says Hughes. “So I think maybe it requires just a little bit more work from me, and from Rachel … to really get to know her and decide who she is.”

    “Dennis Kelly, in typical Dennis Kelly style, has a knack for writing really funny characters, so there’s definitely some entertainment,” Hughes says. “What he’s really doing is asking us to think quite deeply about some pretty serious questions around whether there’s enough room for the innate differences between men and women, and the differences that sort of are a result of the gender that we are given.” She goes on to say, “I think that it’s a play that will hopefully reverberate quite deeply with the audience. Yeah, I think it’s a really important play.”

    Set designer Jess Hill Kidd provides a small platform with a large hovering box above for lighting. The only prop is a single chair, which sees its share of action. ​​Lighting by James Horban changes in hue to signify the passage of time, leading us into each new scene. Not much more is needed when the focus is on brilliance. You’ll be sure to laugh and cry through this one.

    Grab your tickets now, as this has a limited run. The GAMM presents Girls & Boys through January 19. Play is approximately 105 minutes with no intermission. Some strong language. For more information, visit gammtheatre.org/girls.

  • NOISE Musical Dazzles at Wilbury Theatre Group in Providence

    NOISE Musical Dazzles at Wilbury Theatre Group in Providence

    NOISE Musical at Wilbury Theatre Group in Providence

    Prepare yourself for something uniquely amazing as Wilbury Theatre Group presents NOISE, a deeply introspective new musical directed by Dante Green. NOISE, the brainchild of writer/composer César Alvarez, brings together an exemplary team of interdisciplinary musicians, actors, and creative collaborators for an exploration on what musical theater can be.

    NOISE Musical Feels Like a Party of Music History!

    Wilbury bills NOISE as an incisive and joyful new work. A musical-in-the-making. A kind of party! A bunch of musicians decide society is broken, and since music is the blueprint for everything, they set out to make music that models a society they actually want to live in. If something is broken, you must tear it down to rebuild it. Here, “To create a new society, we need to create new music!” At one point, the performers individually give their name then tell us, “Society isn’t working for me today because…,” sharing whatever personal peeve, or perceived flaw they have.

    Wilbury also says NOISE is a participatory theatrical celebration that sings across the history of music, and into the future, in a collective effort to invent a better world. As the show unravels into a dreamlike explosion of song and dance, the audience steps into a creative role. All performers are talented singers—many also play musical instruments—and share their enthusiasm with you as you’re prompted to join in.

    “We’re incredibly proud to be bringing another one of César’s genre-pushing works to our stage,” says Wilbury’s Artistic Director Josh Short. “I became aware of NOISE when I went to see César’s earliest workshop production of it in 2016, and since then I haven’t been able to get it out of my head. It’s a smart, funny, and beautiful work of art that leads with a community-based approach in a way that resonates so strongly with the work we do here at Wilbury Theatre Group. And with the cast of amazing local artists, musicians, and actors we’ve assembled, I couldn’t be more excited to see how they help shape the evolution of this new musical in collaboration with our audiences.”

    The cast of 13 features Cat Ashley (rocking the synthesizer and bass guitar with longer fingernails. Respect.), Perry Barkett, Zan Berry, Michael Yussuf Greene, Brien Lang, Cedric Lily, Teddy Lytle, Riley Nedder, Jomo Peters, Dave Rabinow, Tessa Sacramone, Claudia Traub, and Am Wyckoff. Berry plays conductor for an immersive experience after separating everyone into a triad, and also uniquely straps his cello to his chest. Greene is a fabulous mermaid, singing about body perks and quirks. You have to be there.

    Ready yourself to be pleasantly surprised. You will be invited to come on stage—no pressure—and be a part of the experience. As performer/guitarist Rabinow indicates in the production, “We’re not forcing anyone to perform. We are, however, making sure you’re not invisible!” Step outside of introversion and onto the stage. Be seen. It’s a safe space where you will feel uplifted and empowered! “Eat that snack food!” You may never again see lollipops, cheese balls or sweet potatoes the same way.

    Noise is presented through December 22. Read about the participatory experience at www.thewilburygroup.org or choose to be completely surprised!

  • PPAC Presents Shucked: Well, Yeah, It’s corny

    Shucked is a Tony Award–winning musical comedy featuring the book by Robert Horn, a score by the Grammy Award–winning songwriting team of Brandy Clark and Shane McAnally and directed by Tony Award winner Jack O’Brien; this corn-fed, corn-bred American musical promises to satisfy your appetite for great musical theater.

    The lighthearted story starts with the typical boy-meets-girl, boy loses girl premise you corn surely relate to, and shucks, it sure is corny! PPAC asks, “What do you get when you pair a semi-neurotic, New York comedy writer with two music superstars from Nashville? A hilarious and audacious farm-to-table musical about the one thing Americans everywhere can’t get enough of: corn. Shucked is the new musical comedy that proves sometimes tearing down a few walls, rather than growing them, is the only way to preserve our way of life. Shucked is turning musical theater on its ear and is offering a kernel of hope for our divided nation.”

    Right out the barnyard gate, we hear surprisingly strong vocals from powerhouse Miki Abraham as Lulu, Tyler Joseph Ellis and Maya Lagerstam as Storyteller 1 & 2, Jake Odmark as Beau, and Danielle Wade as Maizy (see what they did there?). We want to feel scorn for Gordy, portrayed by Quinn VanAntwerp, but he’s hard not to like. With all this fun singing and dancing, we wish we’d heard more from the uber limber Ryan Fitzgerald, who also has amazing vocal quality. All the funny, punny lines are delivered with precision timing by cast members, and the corny zingers just keep on coming! Most zings come from Mike Nappi, who amuses us as dim-witted Peanut.

    Scenic design by Scott Pask gives us a realistic shabby yet attractive barn, outside which the action takes place. The design team also includes lively and fun choreography by Sarah O’Gleby, music supervision, direction, orchestrations and arrangements by award-winning Jason Howland, costume design by Tilly Grimes, Japhy Weideman’s lighting design, and John Shivers’ sound design.

    It was 10 years ago when the Grand Ole Opry contacted Horn to create a Broadway version of the TV variety show “Hee Haw.” “The Corn Play,” as Shucked was initially dubbed, turned out to be anything but corny. According to Horn, “Shucked tells the story of a small town in America’s heartland where corn farmers choose to be shut off from the rest of the world yet need to venture out for help when crops start to fail. They’re scared of the outside world.” More than that, he also believes it shows us what we have in common, “and how you can’t grow if you don’t ever open your heart to people who are different from you.” 

    This is no garden variety tale of growth though. You’ll surely get some knee slappin’ hee-haws out of this one. There are lots of shucks and clucks in the barnyard, so come on down!

    PPAC presents SHUCKED through October 27. Production is 2 hours and 15 minutes, with one 15-minute intermission. For more information, visit https://www.ppacri.org/.

  • Audiences Love Ms. Holmes and Ms. Watson at Trinity Rep!

    Audiences Love Ms. Holmes and Ms. Watson at Trinity Rep!

    Get ready for a rollicking rollercoaster ride full of hilarious twists and turns! Ms. Holmes & Ms. Watson – Apt 2B, presented by Trinity Rep in a rotating repertory with POTUS, will make you laugh out loud! Come sporting your sleuth cap. Half the fun is in following the clues. It is a mystery, after all!

    According to Trinity, “The Hound of the Baskerville meets Thelma and Louise in this contemporary retelling of Sir Arthur Conan Doyle’s iconic mystery novels. Join brilliant, eccentric ‘deductive consultant’ Sherlock Holmes and her American roommate Joan Watson as they crack cases in post-pandemic London. This quirky, clever buddy comedy from the playwright behind 2018’s Pride & Prejudice is sure to delight hardcore Holmes fans and novice sleuths alike. Whether you’re a fan of classic detective stories or are just looking for a fun night out, Ms. Holmes and Ms. Watson is the perfect escape from reality.”

    “This season at Trinity Rep has been all about sharing women’s stories,” says Artistic Director Curt Columbus. “I am thrilled to introduce our audience to Kate Hamill’s scintillating, women-led adaptation of Sherlock Holmes. This great version, penned by one of America’s most-produced playwrights and directed by our great friend Laura Kepley, perfectly complements our production of POTUS this fall.”

    Kepley returns to Trinity Rep, where she first flourished as a professional director. “I can imagine no better homecoming than by directing Kate Hamill’s fast, fun, high-stakes comedic adventure, Ms. Holmes and Ms. Watson – APT 2B,” she says. “This adaptation of Sir Arthur Conan Doyle’s stories presents the mysteries and characters we love from the classic series in a new light. The raucous production is a mash-up of the Victorian era and the present day, investigating how we survive and thrive in this ever-shifting, post-pandemic world.”

    The electric cast of four features resident company member Angela Brazil, a super versatile force who adeptly portrays six different eccentric roles within the play. Guest Artists Jeff Church, Renata Eastlick, and Madeleine Maby round out this ultra-animated, comical cast with a symbiosis that would make a clownfish and his anemone envious. The energy is nonstop!

    The creative team includes scenic design by Collette Pollard, who gives us one room that serves as many including a train station. The latter is cleverly created with lighting design by Dawn Chiang and sound by Sartje Pickett. Fun yet realistic brawling is due to the fight coordination talents of Mark Rose. You may also be treated to a few surprises, including brief appearances of orange things, like cheese dust and a certain former president. It’s elementary!

    The production runs through November 17 at Trinity Rep. It contains profanity, depiction of marijuana use, discussion of pornography, trauma experienced by healthcare providers during the COVID-19 pandemic, flashing lights, theatrical blood, and the sound of gunshots. For more information, visit www.trinityrep.com.

  • What the Constitution Means to Me: Positive Rights Are Active Rights

    What the Constitution Means to Me: Positive Rights Are Active Rights

    Wilbury Theatre Group presents Heidi Schreck’s What the Constitution Means to Me. Schreck is also a screenwriter and performer. As a teenager, she earned her college tuition by winning Constitutional debate competitions across the country. Her semi-biographical play was named a Pulitzer Prize finalist and won the New York Drama Critics’ Circle Award for Best American Play, and also received two Tony Award nominations for Best Play and Best Performance by an Actress in a Leading Role in a Play. Directed by Wilbury’s resident artist Brien Lang, the production features Charlotte Kinder as Schreck at age 15, Legionnaire Ricky Waugh, and teen debaters Madison Donnelly and Hayley Pezza taking turns. On opening night, it was Donnelly who skillfully and maturely persuaded us with her intel.

    According to Wilbury Theatre Group, “Since its premiere in 2019, Constitution has taken the theatrical world by storm, breathing new life into our Constitution by imagining how it will shape the next generation of Americans. In this hilarious, witty, and refreshingly honest play, she revisits her fifteen-year-old self to trace the profound relationship between four generations of women and the lasting impact of the document that shaped their journey.”

    Wilbury’s Artistic Director Josh Short says it’s no accident Wilbury chose this play during a contentious election season. “Questions about the rights of those who were left out of the Constitution are top of mind for many of us right now, and in this play and the subsequent plays of our 2024-2025 season, our audiences will undoubtedly recognize a recurring question that’s on my mind more than ever these days, ‘How do we build a world in which we want to belong?’ As we head into a historic election season, the personal and political ramifications of the Constitution are the forefront of everyone’s agenda. We’re eager for this opportunity to create space for those important conversations to happen with this moving work by one of America’s most exciting playwrights working in the field today.”

    Yes, it’s very political, but don’t let that scare you off! Charlotte Kinder is a powerhouse as Schreck. It’s a wonder how she can go for 95 minutes without missing a beat. There are moments when she’s so wonderfully animated and unashamedly upbeat. You actually believe Kinder is 15! She’s also super funny. As the debate opens, she skillfully races against the clock while debating one point after another.

    As the production evolves, she mounts her soapbox as an adult woman in a play, relaying real-life, sometimes gut-wrenching stories throughout America’s history. Let’s just say, you will learn a lot.

    The action takes place in one room with no pieces moving — it’s all about the players. Scenic design by Monica Shinn gives us the look and feel of a typical American Legion post, where Ricky Waugh moderates yet gets stifled more often than not. That is, until he takes his initially tear-eliciting then comical monologue down memory lane. Bring tissues.

    Keep those tissues handy — and consider this your content warning — as three quarters of the way in you will hear somber statistics and mention of such traumatizing issues as Battered Woman Syndrome, rape and molestation, teen pregnancy, abortion, depression, injustices by Justices, murder, and death (of a sock monkey; no worries, he gets a replacement).
      
    There’s a fun Q&A at the end you’ll want to see! What the Constitution Means to Me runs through October 13. For more information, visit thewilburygroup.org.