Curio Theatre Company’s production of Beth Henley’s Pulitzer Prize winning tragicomedy, Crimes of the Heart, is the dark and hilarious tale of the Magraths — as twisted a set of sisters as you will surely ever meet.
Tessa Kuhn, Colleen Hughes and Rachel Gluck. Photo by Rebecca Gudelunas.
Crimes of The Heart, directed by Curio founding member Gay Carducci, is set in sleepy Hazlehurst, Mississippi, and presents a day in the life of sisters Lenny, Meg, and Babe Magrath, who all find themselves reunited unexpectedly at their Grandfather’s home.
Rachel Gluck plays eldest sister Lenny, who is celebrating her thirtieth birthday in typical Magrath fashion — alone and miserable. The play begins with her attempting to light a solitary candle atop the saddest birthday cookie, priming the audience for Crimes’ unique brand of melancholic humor.
Lenny, who is well on her way to spinsterhood, is brought vividly to life by Gluck — dejected mannerisms, southern drawl and all. She never once falters as the lovable, monotone, frump.
Colleen Hughes plays middle sister Meg, fresh from a California mental institution following the dissolution of her singing career. Hughes gracefully bounds about the stage, defiant in the face of her own crumbling life, and provides the perfect yin to Gluck’s downbeat yang.
Meg, a master in the art of passive aggression, seems to antagonize Lenny by her very presence. Much of the tension in the play is built upon their craggy relationship — and yet even as they are at one another’s throat, the audience roared with laughter, a testament to the sardonic humor the play shrouds itself in.
Colleen Hughes, Rachel Gluck and Tessa Kuhn. Photo by Rebecca Gudelunas.
Tessa Kuhn plays Babe, the angelic-faced youngest Magrath sister who may or may not be guilty of attempted murder of her abusive husband. Kuhn reminded me of a grown-up Alice in Wonderland — out of the rabbit hole and into the terrifying world of marital anguish.
The play revolves around Babe’s pending trial, her defense, and her grappling with the reality of an utterly bleak future. She, not to be outdone by her big sisters, is a character racked in pathos and dark comedic gold.
Supporting the loathsome and lovable trio is Lesley Berkowitz as Chick Boyle, the sisters’ condescending cousin. She’s perfect as the pompous, type-A ditz you can’t help but smile through your teeth at. Harry Slack plays Doc Porter, Meg’s laid-back former lover, and Chase Byrd plays Barnette Lloyd, Babe’s goofy defense attorney with a score to settle.
The play takes place entirely in the Magraths’ kitchen – but thanks to clever lighting design by Tim Martin, the passage of time, from afternoon to the early hours of the following morning, is clearly shown. Set designer Paul Kuhn also made the most of the minimalist set by constructing the outline of a house around the kitchen, giving the audience the illusion of loving home. Aetna Gallagher’s costume design was a perfect time capsule of the early eighties, making for a true period piece.
In a play which left the audience in a constant chorus of gasps and laughter, it would be hard to pick a standout. It was a joy to watch each actor breathe life into their characters — characters that will make you laugh, even if you should probably be crying.
Running Time: Two hours, with one 15-minute intermission.
Colleen Hughes, Tessa Kuhn and Rachel Gluck. Photo by Rebecca Gudelunas.
Crimes of the Heart plays through December 9, 2017, at Curio Theatre Company, performing at Cavalry Center for Culture and Community – 4740 Baltimore Avenue, Philadelphia, PA 19143. For tickets, call the box office at (215) 525 1350, or purchase them online.
An antagonym is a word with two opposite meanings, such as “left” which can mean “remaining” or “departed.” Rachel Gluck’s world premiere Antagonyms at Curio Theatre Company (“Curio”) centers around four young people who embody the deception and double-meaning intrinsic to that grammar anomaly. As the play begins, we meet Jonny (Andrew Carroll) and Mauve (Colleen Hughes), who are a rather odd couple. Jonny is a recovering alcoholic and artist, while Colleen is an uptight accountant. At a bar, with third wheel Charlotte (Alexandra Spadoni) in tow, they unexpectedly reunite with Mauve’s estranged brother Dorian (Alexander Scott Rioh). Charlotte and Jonny have a tumultuous history of lust and passion, and she has a knack for pushing Jonny dangerously close to the edge. And when Charlotte falls for Dorian, unrequited love rises to the surface and games of power and deception threaten their relationships, as well as their very lives.
Antagonyms takes place in present-day West Philadelphia but feels like an old-school noir film. Director Jack Tamburri elicits a nostalgic feel to the piece. There are dramatic pauses as Jonny takes cigarette breaks in the alley, illuminated by Dom Chacon’s sultry lighting design and sound designer Liz Atkinson’s moody saxophone-centric lounge music layered on top of silence and dialogue. Antagonyms ultimately succeeds because Tamburri and the actors create a believable world with real people inside, even though the dialogue is full of wordplay and droll, poetic verbal spars that may have been ripped from Casablanca. And indeed, they reference Casablanca throughout, a point-of-reference for their ideals of love and perhaps an inspiration of Gluck’s when writing the play.
Alee Spadoni. Photo by Rebecca Gudelunas.
Paul Kuhn’s set also juxtaposes the contemporary setting; always visible are a seedy saloon, and Charlotte’s brick-wall bedroom full of vintage furniture and tchotschkes. The visual and aural world Tamburri and designers build for Curio’s small black box theatre is remarkable. Gluck writes witty dialogue with a deftness that takes other playwrights several plays to achieve.
Playwright Rachel Gluck. Photo courtesy of Curio Theatre Company.
The play’s youthful voice with a retro tone crafts a unique vision of West Philadelphia, where Curio resides. Dorian, a transgender man, who is played by trans actor Alexander Scott Rioh, subverts and adds depth to noir film archetypes. The femme fatale Charlotte (a memorable performance by Spadoni) challenges the sexism inherent in that role; Charlotte is accused of playing with hearts despite the fact that she makes her intentions with her lovers quite clear. Even though she does revel in attention of men who can’t control their primal urges, she’s perhaps the most honest character of them all. There is also a funny meta-theatrical moment early on, illuminating the noir genre’s sexism, when Mauve declares “This is the first conversation we’ve had that passes the Bechtel test and all we’ve talked about is shoes!”
In these dark times, theatre like this provides hope for the creative future of the Millennial generation.
Running Time: Two hours, with a 10-minute intermission.
Antagonymsplays through December 17, 2016, at Curio Theatre Company – 4740 Baltimore Avenue in Philadelphia, PA. For tickets, call (215) 525-1350, or purchase them online.
Machinal by Sophie Treadwell, considered one of the most important Expressionist plays in the United States, premiered on Broadway in 1928. Inspired by the life of Ruth Snyder, who was convicted of and executed for murder, this dark play captivated audiences and earned accolades from its inception, including Burn Mantle’s The Best Plays of 1928-1929. In response to the 1954 TV production, the New York Times wrote, “Sophie Treadwell’s expressionistic and bitter poem for the theatre must rank among the video season’s finest accomplishments.”
Brenna Geffers. Photo courtesy of The Artist.
Brenna Geffers, an innovative director based out of Philadelphia, has directed a wide-range of plays from classical works to contemporary productions, in addition to creating her own theatrical pieces. She has served as Associate Artistic Director for Theatre Exile, a Literary Director for EgoPo Classic Theater, and an Artistic Associate for Flashpoint Theatre. Recently, as part of EgoPo’s all-women’s drama series, Geffers directed a shockingly beautiful production of Treadwell’s Machinal.
“When these kinds of artists get into a room together, it can be a wild ride.”
Henrik: You often use a collaborative approach with the cast. Could you give a few examples where cast members presented ideas that you were able to integrate into your production?
Brenna: The cast for this show is incredible; their imaginations and instincts are gold mines for any director. As EgoPo has three weeks to put up a play, this is invaluable. We all have to work hard and work fast. The cast and I met with Peter Andrew Danzig’s Philadelphia Theatrical Trainer for a few hours of workshopping before the rehearsal process started. Through different exercises and improvisations, we created many gestures and movement patterns, some of which were used in the production. For example, Mary [Tuomanen]’s first moment was derived from a series she made at the workshop that resonated with me and which I recorded.
Carlo Campbell, Colleen Corcoran, Steven Wright, Lee Minora, Mary Tuomanen, Chris Anthony, Kirsten C. Kunkle, and Shamus Hunter McCarty. Photo by Dave Sarrafian.
Steven Wright and I talked a lot about the movement language of the piece before we went into rehearsals and those conversations were essential to me. I had engaged Steven to work as a sort of ensemble captain with me on this piece because of the unique way he embodies his modern dance training into his own unique style. He created one of my favorite moments of the play where the four men accuse the Young Woman of being crazy and then execute this sweeping-side-step gesture. I love it and he taught the entire ensemble this sequence during the workshop day. His physical work as the priest in the final scene astounds me still.
Lee Minora, one of the funniest ladies in town, made so many strong proposals for the First Scene and really was the engine of that work. She set the bar early and high. Carlo Campbell made one of my favorite gestural proposals for a wicked moment in the Speakeasy Scene. Carlo’s natural athleticism also makes him a “Breath Captain” in the ensemble, as well as “Defense” to keep group movement strong and safe.
The first time Colleen Corcoran dropped to her knees with “morning sickness” in Scene 5, her fellow actors almost stopped the run. Colleen is one of my favorite collaborators in town; her choices come straight from the heart and have the added sugar-coating of her unflappable charisma.
Shamus McCarty is newer to me for this kind of work, so when his “ADA Jonathan Paramour” set the courtroom on fire with re-cap montage of a million gestures, I could barely take it.
Chris Anthony is truly blessed with natural scene chops as well as a physical grace and control that would make a dancer nod her head in approval. When I showed Chris my inspiration for the movement of Male Objectification, he nodded silently, thought about it, and came back with guns a-blazing.
When these kinds of artists get into a room together, it can be a wild ride. The hope is that we work together to make the rules of the language that then anyone can pull from to make a moment.
Mary Tuomanen and her guardian angel
Everyone I talked to after the two performances that I saw, went into raptures about Mary Tuomanen. Even my two guests from Germany who had never heard of her, wouldn’t stop talking about the play and Mary’s presence and performance in particular. What was it like working with her?
This is the first time I had the pleasure of working with Mary. I had seen her work many times and was always struck by it. Her work in the Arden’s Three Sisters was impeccable. Even if I see her in a script that is not my cup of tea, her dazzlingly specific work always makes me glad I came to the theater. Not only is she a brilliant performer, but I also admire her as an activist. Her work with Applied Mechanics (one of my favorite companies), Bearded Ladies, and her own solo work uses art to challenge society in a way that I find hard to even quantify. Her activism is present, but is delivered by the smart yet oh-so-delicious aesthetic, if that makes sense. I find it really inspiring as a human being. So I was really happy when she came on board for this show specifically.
Mary Tuomanen is smart, intuitive and a perfectionist. She is careful and knowledgeable about the work, but then is able to live freely and boldly in the moment in front of any audience. Her work is always her own. It is fully unique. It is a gift.
Your opera singer served as an important presence, standing on a platform, her voice flying through the theater, hovering over the cast.
One of the unique aspects of our production was the embodiment of the Guardian Angel, as played by Kirsten Kunkle. Her voice embodied the human longing within the Young Woman. Within all of the metal and harshness of the world, there was the voice calling out to the Young Woman, daring her to keep going. Kirsten is like a Siren from a dark sea, seducing the Young Woman to jump off the ship.
Mary Tuomanen, Chris Anthony, and Ross Beschler. Photo by Dave Sarrafian.
Kirsten and I have worked together as part of the Philadelphia Opera Collective for a few years now. Most recently, she was in my new opera Jump the Moon for the Fringe. Kirsten is an amazing artist. Obviously she is a gifted soprano with a powerful and beautiful voice. But she is also an amazing performer. She knows how to use her whole body to tell a story, not just her voice. I personally find her to be hypnotizing on stage and she is really willing to make bold choices. I always look for excuses to have her on the team. She and I have two projects this summer, including another new opera.
Wilma training spreading through the theater community
Ross Beschler and Ed Swidey are members of the Hothouse group at the Wilma Theater, with its intensive sessions by Blanka Zizka, who is committed to a wide range of voices, viewpoints, and styles, providing rigorous vocal and physical training. How did the Hothouse work influence your production?
Ross Beschler and Shamus Hunter McCarty. Photo by Dave Sarrafian.
I am a huge admirer of the Wilma, particularly of their dedication to the craft of theater via new viewpoints and acting methods. Blanka’s invention of the Hothouse ensemble is inspiring, but the master classes and the training she has been able to bring into the city go beyond the members of Hothouse. Many actors and directors have participated in Wilma master classes, workshops, and training sessions. I know my work has benefited from it, personally, but also through the actors I work with who have gone through some Wilma training. I am sure many directors also have had cast members who trained there. It makes the work all around the city stronger, deeper, and better.
For example last season, Ross Beschler and Ed Swidey led a workshop with the cast of the Hairy Ape [by Eugene O’Neill] to show some of the breath work they had learned in Athens, Greece via connections through the Wilma. Matteo [Scammel] had already been exposed to such training through the Wilma and was able to keep leading the cast though warmups for the entire process. In turn, many ensemble members from Hairy Ape returned for Machinal, bringing in that shared experience and passing it on to new cast members. They use it on their own to help each other in their ensemble work. Of course, this does not compare to the dedicated work Hothouse is doing, but I cannot thank the Wilma enough for bringing this training into Philly and allowing it [to] spread through the community.
SoLow Fest-ing and Fringe Fest-ing with an immersive opera
What are your creative plans for this year and next year?
Next up is the SoLow Fest, which I am rehearsing for now. I am working with KO DelMarcelle on one piece, as well as Colleen Hughs and Rachel Gluck on another. I have a few projects to take me through the summer in Cape Cod, Scranton Shax, and in the Pittsburgh area. I will be back in Philly in August to start rehearsals for the Fringe. At this festival, I am making an immersive opera at the Powel House. There are a bunch of different timelines for audiences to follow throughout the historic mansion, so I am very excited to craft that. It’s called Shadow House, and I hope you will see it.
Mary Tuomanen, Carlo Campbell, Lee Minora, Chris Anthony and Colleen Corcoran. Photo by Dave Sarrafian.
I would be delighted, even though I can’t imagine how one can go beyond your Treadwellian Machinal—one of the best productions I have seen in years.
Running Time: Two hours, with an intermission.
Machinal played through May 8, 2016 atEgoPo Classic Theater performing at The Latvian Society – 531 North 7th Street, in Philadelphia, PA.
After a somber Handmaid’s Tale, Curio Theatre Company sure changes directions with Eugene Ionesco’s hilariously absurd The Bald Soprano.
Ken Opdenaker, Maria Konstantinidis, Rachel Gluck, Aetna Gallagher, Brandon Pierce, and CJ Keller. Photo by Rebecca Gudelunas.
Director Charlotte Northeast updates this 1950’s English comedy with modern aspects. From Donald Trump to Atari’s Pong seen in the projections, these references add humor to the already hysterical piece.
Despite Ionesco’s use of repetition, this extremely talented and hard-working ensemble of six succeeds in evoking non-stop laughter from the appreciative audience.
Rachel Gluck and CJ Keller (Mr. and Mrs. Smith) open this nonsensical with wonderful timing, hitting every button, and Maria Konstantinidis and Ken Opdenake (Mrs. and Mr. Martin) ability to repeat lines and scenes and invoke laughter is fantastic. The couples really thrive when in the scenes with all four of them, specifically a scene with nothing but gibberish alliteration. Every single word is nonsense, repeated over and over, but their delivery gives it new meaning every time.
As the Fire Captain, Brandon Pierce plays the perfect fifth wheel, wooing the women onstage as well as the audience. Aetna Gallagher plays his love interest, Mary the maid, whose charming strangeness sits perfectly within this world. The monologues by both Pierce and Gallagher are impossibly long-winded, full of constant laughter.
Gallagher also designed the costumes, which flatter the actors and suit the time period beautifully with classic suits for Mr. Smith and Mr. Martin, as well as shapely, colorful dresses on the wives.
The skewed-perspective scenic design by Curio Artistic Director Paul Kuhn gives the off-kilter show a proper home, with widespread deco furniture and a raked floor bleeding into the audience. Chris Sannino’s sound and projection designs work cohesively with Kuhn’s effective set. The picture frame projections sometimes feels awkward (Ionesco would be proud!) in this classic 1950’s world, while other times, they often help to land the jokes themselves. The forever ticking clock got a laugh every single time!
The lighting design by Steve Carpenter switches from isolating the actors in framed lighting to bright, boisterous colorswithin the blink of an eye.
L to R: CJ Keller, Brandon Pierce, Rachel Gluck, and Maria Konstantinidis. Photo by Rebecca Gudelunas.
I walked out of The Bald Soprano thinking, “I’m not quite sure what just happened, but I can’t stop laughing!”
Need some laughs and want an experience in the theater you will never forget? Rush and buy tickets to Curio’s The Bald Soprano. Then call me – we’ll talk about it!
