Tick, Tick…Boom! is an autobiographical musical, telling of Jonathan Larson’s early years, when he has yet to discover the genius that was to be RENT. At this point in time, he is workshopping on his musical Superbia, which just doesn’t want to come together. His 30th birthday is coming up, and he feels as though his life has become this time bomb; for he hasn’t reached the success he had imagined he would by this age. Does he keep trying or should he give up on his dream and move out to the suburbs?

Along with Jonathan (played by Ian Michael Stuart), we meet his roommate and best friend Michael (played by Kevin Cordova) and his girlfriend Susan (played by Andrea Dennison-Laufer), who, like Jonathan can understand both sides of the fence, but have made their decisions in life and have their own opinion as to what Jon should do.

We already know going in which path he decides to take–we have RENT to prove it–regardless,  I was nervous, sitting on the edge of my seat,  mentally encouraging him to keep at it, that he’ll eventually make it.

The problem with Tick, Tick…Boom! is that we do know that he made it. Most who see the musical, probably have seen its more famous, well-known sibling, and one can’t help but compare the two. Tick, Tick…Boom! is to RENT, like Salieri is to Mozart–it has a whole lot of ambition and tries its little heart out to stand out, but once Mozart came along (or RENT) tick, tick, Boom was forever left to stand in it’s shadow. It is a good enough musical of its own, but since we all know what Larson would come to create, unlike its namesake implies, it never truly takes off. There are a few catchy songs, “No More” and “Therapy” being the stand out ones for me, but there were some places that just fell flat. I realize this is a minor detail, but I do have to say that if there is a song called “Green Green Dress”, the actress should be wearing one. Another issue, although it was nice to have the band live and on stage, it did cause problems, drowning out the un-microphoned singers at times.

The Empire Theatre is a small theatre, so it certainly does an impressive job. If you are a Jonathan Larson or RENT fan, you should definitely check out Tick, Tick…Boom! just to see where he got his start. I would like to recommend that you not compare the two, but I don’t think that will be possible, since many of the issues raised in RENT are brought up here as well. My advice is to see this as the starting block for what was to come.

Or in terms of the running joke of Tick, Tick…Boom!: Tick, Tick…Boom! is like Newark Airport–lesser known than JFK, but it came first.

For tickets and and times please visit Theater Out

STAGEStheatre is a non-profit organization, that strives to cultivate the theatrical arts by working with local schools and organizations to provide educational opportunities, along with internships for student artists and technicians. They are constantly evolving, creating a venue for actors, directors, writers, designers and artists with a creative environment and a wide array of opportunities at all “stages” of the process.

To begin it’s 18th year, STAGEStheatre is performing the West Coast premiere of Joshua through the month of January. Joshua begins with Faye, a young woman who has spent the last year in the city, returning to her small town, to help her sister, Luetta, take care of their mother, who has been ill. Awaiting her return is her former boyfriend, Ace, although she’s not too thrilled about seeing him again, being as he was a major part of her leaving. It’s Faye and Ace’s disparate views on the town’s healer, Joshua that causes conflict not only between them, but amongst many members of the town as secrets best left hidden are brought to light, forever changing everyone.

For me, the strongest part of Joshua was the acting. Ken Dalena’s Joshua is a calm, God-fearing, harmless man, yet he has been this blessing and curse of a power which seems to bring the worst out of some, and the fear from most. You can sense the quiet intelligence of Joshua–that he may be a man from a small town and doesn’t hold the knowledge of the big city folk, but he’s no simpleton either. Of the characters, he’s the most aware–being the keeper of dark secrets gives him part of this advantage (or disadvantage–with Joshua, many things are this double-edge sword), but even in moments of silence you get the sense of gears turning in his head. He seems conflicted over his power, wanting desperately for it to be God’s work, but all evidence seems to point to the contrary.

Joshua’s antithesis, is Ace, played by Chad Glazener, who does a wonderful job playing the troublemaking, yet charming man, who is clearly in love with Faye, and is trying everything to win her back. However, the one thing he will not do is join her approval of Joshua. He sees him as a crock, all show but nothing ever coming from it; and when he does have an idea of what Joshua is doing, he plans on showing the supposed healer’s true colors to the town. Although he doesn’t have all the facts straight, and the final moments of the play show the world’s (God’s?) cruel irony (or perhaps karma?) working.

To purchase tickets to see Joshua please visit STAGEtheater’s website here

New York, New York.

A place everyone seems to be drawn to.  And why not? It offers a bit of everything, something for everyone if you will. Artists, restaurants, subway, history, diversity, plays. A place you can get lost in yet also find yourself.

Which is the case for four young New Yorkers in the West Coast premiere of Ordinary Days: Deb, a grad student; Warren, an aspiring artist; Claire and Jason a couple who have decided to move in together.

What’s so wonderfully delightful about Ordinary Days is that it sounds cliche. New York. People finding themselves. Commitment issues. Yet it’s so fresh, funny, so true. Even if you don’t live in New York City. (Although be warned: it may cause you to have a stronger desire to go.) Although New York City is as much a character as the four actors–each one of them falls in and out of love with NYC, both loving being there and wanting to get the hell out.

Claire and Jason are a couple who have decided to take the next step, by moving in together. Or rather, you get the sense that Jason is enthusiastically ready to take this relationship forward, while Claire is reluctantly going along, holding back for a reason, Jason, and we the audience, don’t know.

Then there’s Warren. He works for an artist…feeding his cat. He wants to be noticed, but is continuously ignored, yet remains eternally optimistic, seeing the beauty in the ordinary. He often will pick up things discarded or lost, like a photograph, an unopened valentine, or a book covered in someone’s notes.

I have to say I identified the most with Deb. I went to college, hoping to find me, my place yet left even more confused. My solution? Apply to grad school! She’s yet to figure out what exactly she wants in life, but knows she wants to take it all on, even if she fails. She wants her space and wants to leave her mark on the world.

The actors did a fantastic job, not only with their stellar singing, but for those 90 minutes I was completely absorbed in their world. The stage for the performance is rather small, which is fitting since several times the characters mention a want/need for space, and I was rather impressed that the appearance of the set never changed, yet served as apartment and museum, the projections on the set changing, making the transitions smooth and believable.

It’s a play that re-invigorates you, reminds you that this, this is what living is all about. It’s not about perfection, because all of these characters screw up, make messes of themselves and their lives, and spend some portion of it just feeling lost. It’s about knowing everyone feels that, and sometimes you have to muddle through it, and when you do and land on the other side of it all, you’re better for it.

And it’s always nice to know you’re not alone, especially when you’re in the big city. Life lessons told through song are always better–you won’t forget them later since you can hum them to yourself. The song writing was remarkable–not only were they catchy, but very conversational. It just seemed different and new to me; that it truly was life set to music. Who knew I could’ve turned all my frantic emails to my professors into a humorous ditty?

To see this witty and engaging musical, visit South Coast Repertory, where it’s playing at the Julianne Argyros Stage (which always features “adventurous new work, contemporary hits and intriguing premieres”) until January 24; visit www.scr.org for specific days and times.

With a handful of audience members sitting onstage adding to the ambience of the simple set, a small band which included a synth-keyboard (that was played to perfection), a cast of performers taking on two to four characters, 80s pop references that make your head spin, a lead with long flowing blonde locks that is not afraid to use them, a pair of tiny cut off denim shorts worn by the male lead, and way too many awkward battements, fan-kicks, arabesques, and “Toyota” jumps (all the official dance moves of the 80s) to count paired with a good sense of humor and an imagination really leaves me with no room to write anything ill about Xanadu The Musical now at OCPAC Dec. 15-27^th.

I just want you to close your eyes and imagine all things previously listed.  Yes, it is that ridiculous and yes it is that amazing.  Sadly I neglected to mention the roller-skating and the plethora of accents that are so bad they are endearing.  So, if you couldn’t get a clear picture of the surprise hit musical, now you can.

This clear picture you have made for yourself is still probably not as great as the experience you will have watching this show.  Xanadu is not a big show stopping musical, it’s an experience that breaks the fourth wall in the first few seconds and continues to keep you smiling and tapping your toes the whole intermission-less show.

As a big fan of the cinematic genius of the 80s, including the blockbuster film Xanadu, for which the much better musical was loosely based on, it is so easy to fall in love with the portrayal of the character Clio or later renamed Kira performed by Elizabeth Stanley.  Stanley’s loveable muse character that becomes the object of the vacuous Sonny’s affection, excellently played by Max Von Essen, goes through 3 accents, a pair of roller skates, and so much drama you are reminded of the not so subtleties of the 80s onscreen heroine.

The small cast takes on each of their roles with so much energy and vigor you are drawn to each of them.  Luckily each of the hard working cast has a few characters so that you can keep your eye on the same dynamic performers throughout the show.

This is the only time the national tour of Xanadu is performing in Southern California so make sure you don’t let this great show whirl right past you.

The wonderful performers in Xanadu The Musical can be seen at the Orange County Performing Arts Center’s Segerstrom Hall December 15-27, 2009 with show times Tuesday-Friday at 7:30PM, Saturdays at 2 and 7:30PM, and Sundays at 1 and 6:30PM. Tickets start at $20.  Check out www.ocpac.org for additional information and call 714.556.2787 for more information as well.

Photos taken by Carol Rosegg

“Should we start the soup with who we love and who we don’t?” –King Henry II,  The Lion in Winter

Well I returned to Hunger Artists Theatre to see The Lion in Winter, which is quite a different play from Frankenstein in Love. It was rather remarkable how different the stage looked from the rather elaborate set before, representing several locations, to the now almost bare stage; the only props were a table with chairs and a throne, with a few Christmas decorations to remind one of the season.

The premise of the play is this: It is Christmas Eve, year 1183, at King Henry II’s court, where his wife Queen Eleanor (whom King Henry has had imprisoned in a tower), and three sons, Richard, Geoffrey and John have all gathered to settle certain affairs. These affairs are who is to be the next king? Eleanor wants their eldest, Richard, while Henry wants their youngest John to take the throne. Geoffrey constantly switches sides, playing whichever one seems to (currently) be giving him the best offer. King Philip of France pays a visit, adding another twist to their strategizing, for he comes to remind Henry of a treaty he signed several years earlier, promising to have the heir of the throne to marry Philip’s sister. However, Alais has been Henry’s mistress for the past seven years so he is reluctant to give her to any of his sons.

When I read the premise of The Lion in Winter beforehand, it sounded very much like a drama–actually it brought to mind Shakespeare, and it definitely has similar elements, however it has many marvelous moments of humor. (Which is Shakespearean too–Hamlet always makes me laugh out loud at moments. Is that just me?) Although the parts that stuck with me the most were the performances of Mark Coyan and Amber Scott, who gave such life to their Henry and Eleanor, respectively. I could feel how much this couple hated yet loved each other. They wanted to cheat and deceive each other out of everything and anything, just to say they were the victor, yet they knew this about each other and loved every minute of it. I don’t think they truly cared about the outcome, but enjoyed the scheming so much. You can definitely see where their children get it from.

What is so ironic, is the main argument is whom is to become the next king, which son will get chosen, yet I felt that Henry and Eleanor cared more about themselves, obviously but also about each other than they did their sons; that their sons were mere devices and excuses to see each other, to spend time together. Theirs is a relationship that has gotten lost along the way, fallen apart so many times you wonder what’s holding them together, but when they share that stage you feel that spark, that sexual tension that’s so delightful. Truly, they steal the show, for I look forward to any scenes they share together. Scott as Eleanor was especially enchanting–she was wonderfully conniving and charming.

The script of the play itself seems so fresh, it’s rather interesting to think of it as “historical”–either because of the 12th century time period of the characters or the 1960’s of the time it was written–yet I find it remains relatable in the 21st century. Although the plot is historically based, the main themes are really family, and even royalty has dysfunctional lives (perhaps more so, since we can’t really start a war over a family tiff).

It was a nice play for the season–what better defines December than Christmas and dysfunctional family? And I remain impressed with the Hunger Artists Theatre, not only for their choices of scripts, but their stellar actors. It may be a small theatre, but certainly not small on talent. If you have a chance, see The Lion in Winter–it plays until December 20, Fridays and Saturdays at 8PM and Sundays at 7PM, with a special performance on Thursday, December 17 at 8pm. And if you go this coming Friday or Saturday you can catch a performance of the OC Underground Burlesque Society. Now if that doesn’t say Christmas, I don’t know what does.

Photos provided by The Hunger Artists Theater Company

Starting last Thursday through December 12, Grand Central Theatre is performing Dog Sees God: Confessions of a Teenage Blockhead. Although the theatre itself is in Santa Ana, it’s run by CSUF, and is a small, intimate theatre, which was a perfect set-up for this production. It allowed the main focus to be on the actors, who did an amazing job of inhabiting their characters, especially Ben Sargent, who plays CB (Charlie Brown).

To be honest, I’ve never really thought of what the Peanuts gang from Charles Schulz’s comic strip (and later television specials) would be like when they were teenagers. At first Dog Sees God: Confessions of a Teenage Blockhead’s portrayal seems rather out of sorts, almost shocking, until you remember that a) Charles Schulz’s classic cartoon was created in the 50’s and 60’s so many of the topics raised in this performance aren’t things that would’ve ever made publication then and b) that high school often does bring out the most extreme changes in people, when they’re starting to figure out who they are, yet also craving to fit in, which is CB’s constant struggle throughout the play, along with what happens after people (and animals) die?

For the first part of the play, I spent most of the time just trying to figure out which character they were–either because of publication rights or because they wanted to have a slight degree of separation, none of the characters in the play have their original names, (except Marcy, but even she spells it differently) so part of the fun is the hints they give you (i.e. that the pot head is indeed Linus, as they discuss smoking his blanket and that the wannabe playboy is none other than Pig-Pen who now despises any mention of “filth” or “swine” directed towards him, and borders on germaphobe.)

Once you’ve met each character you can settle in a bit more, focusing on more the play’s plot itself rather than the guess who and tongue-in-cheek parody of it all. And let me say this–it’s a pretty heavy play. What starts as a frothy look at modern high schoolers, slowly things start getting beneath the surface and we see CB isn’t the blockhead we all took him for–here he’s presented as a contemplative youth, so beaten down by everyone telling him that everything he does is wrong, that he’s self-conscious about even the way he dresses. His friends all rely on his predictability, his lack of change, that when he does something completely out of character they are shocked–yet that’s when our man CB finally feels comfortable in his own skin. The second part of the play focuses on the aftermath of Charlie’s revelation, the rest of the cast reacting each in their own way, coming upon their own epiphanies as they work their way into the adults they meant to be, not the child we know from the comic strip.

Knowing the Peanuts‘ characters and history is helpful for watching, and without it you may miss some of the inside jokes, however it’s not necessary to fully enjoy the play. I am myself am not an avid reader/watcher of Peanuts, but know the basics (i.e. characters’ names, love interests, and that Charles Schulz is the creator) and that was more than enough for me to appreciate the humor. As I mentioned the focus was on the actors, so the sets were rather sparse, but that was something I enjoyed about the play–no flash, no glitz–just up close and personal with the Peanut gallery.

Photo taken by Christine Benjamin

Well Broadway’s new musical and eight-time Tony-Award winning show has come to the OC, playing at the Orange County Performing Arts Center, with musical score by playwright Steven Sater and singer/songwriter, Duncan Sheik.

“Come with an open mind.” That’s what Sarah Hunt, the cast member I interviewed, told me. I consider myself pretty open-minded–I read up on the musical, I knew of the sex, the masturbation, and all the other taboos that were to come. So when I went to see the musical opening night I wasn’t shocked nor was I surprised by what was to come–yet it still moved me. Days after I was thinking about what exactly all happened on that stage, what the songs were really about, what I was supposed to walk away from it with. Basically I was feeling all the confusion, the mixed emotions the teenagers in Spring Awakening felt.

Feelings what every generation of teenagers feel–from 1891 when the play was originally written, to the 2009 production I saw, and before and after all of this, teenagers have and will still feel all this angst. You can call it cliche, you can call it timeless, but whatever you call it, it’s going to be there. It’s part of growing up. And the actors capture it exquisitely. It helps that most of the cast are teenagers themselves, or just recently coming out of those teenage years, giving them an understanding, yet also still that innocence–they themselves are at that awkward stage between naivete and experience. When they sing Duncan Sheik’s score, they sing it with all their heart and soul–you feel it down in your bones.

And although the songs are rock, and catchy enough you’ll hum some of them days later (for me it’s been The Bitch of Living–although I might be biased since the phrase “looks so nasty in those khakis” just was a real selling point for me), there is still a shadow of sadness accompanying every song. Which is fitting, because I feel more then being open to sexuality, one should be prepared for a dark musical–this isn’t Mary Poppins or Music Man–this is reality, sometimes worst case scenario, so don’t expect Spring Awakening to show the world through rose-colored glasses. The weight of it all didn’t hit me until it was all over. It’s a different from many musicals in the sense that it makes you think–most have you check your brain at the door, which isn’t a bad thing, sometimes it’s nice to just sit and watch fluff, but let it be known this isn’t that–this is a night where you’re going to look back at your own teenage years, whether that was yesterday or 40 years ago, whether it be fond remembrance or relief that they’re over with.

It’s been recommended for parents to go with their teenagers, and that can be a great idea, but be ready to talk after. If those years are far behind you, this will be a reminder of that youth and that you need to be prepared and prepare your teenager of what’s to come, but if you just came out of those years or maybe are smack in the middle of them, this will have a haunting effect, a warning if you will, that yes, enjoy the times, enjoy your innocence (and loss thereof) but with every decision, there’s consequences.

For me what remains the most shocking part is that fact that this musical is based on a 1891 play written by Frank Wedekind–and most of the the taboo topics were all there in the original. It was banned in Germany when it first was produced, not being performed until 1906. Why hadn’t I heard of this play sooner and why isn’t it in my bookshelf?

Whether you’ll enjoy it really depends on you–but if you’re open to a night of great rock songs that also have a deeper message, want an honest portrayal of teenage sex (you know, that everyone is thinking about it, and it happens, but it’s not like the movies) and are prepared to mull things over afterward, then you’ll appreciate Spring Awakening. Warning: The Duncan Sheik song, Barely Breathing will not be heard…whether that’s a good thing or a bad thing is also up to you.

As we all know–and are excited about–Spring Awakening, Broadway’s hit musical has made it’s way to Orange County! One of the cast members, Sarah Hunt, has taken time to tell us about herself, the play, and to always keep an open mind.

Liesl Prentice: So first off, tell me a little about yourself, and your background with theatre.

Sarah Hunt: Well I was cast out of high school for Spring Awakening, so I was 17, and have been doing this for 1.5 years. I went to LaSalle High School in Oregon, graduated in ‘08 and after graduation left directly for NYC for rehearsal.

LP: Had you always known you wanted to be involved with theatre or performance?

SH: My sister, Nicole, who’s three years older and I would sing together at family and community events, we were called Sibling Rivalries, dorky I know. We had wanted to get into country music, but I knew my sister’s heart wasn’t in it, but for me, I knew I wanted a job that somehow involved performing.

LP: What was your first theatre performance?

SH: My first show was in 7th grade, in the musical Music Man. It was also my first kiss, which was awkward since I’m 5′10…and he was about 5′. But after that and all through high school I knew I wanted to be involved in theater. But I didn’t know how one went about that, how you got an agent, or anything like that. Then early on in my senior year, one of my high school teachers showed me the information about auditioning for Spring Awakening, and I said “are you crazy?” I didn’t know much about the musical and wasn’t going to go. Then two days before the audition I realized I was an idiot if I didn’t go, so that night I had a voice lesson so my teacher helped me put together something for the audition. I didn’t want to tell my mom about it, because I’m superstitious about those things, so I told her to write me a doctor’s note and I skipped school. But I was a straight A student and my mom knew it wasn’t like me to miss class so wanted to know what was up, that she knew I was lying. I told her I was auditioning for a part, but that’s all I was going to say, but I’d tell her afterward.  Then I went, made it through the first round of auditions, and eventually got the part.

LP: Which character are you, and what’s her story:

SH: My character is Martha. She isn’t the happiest character, she suffers from issues at home, and is abused by her father, and we find out in her song that she is molested by him. Some say Spring Awakening is taboo, but I just like to see it as honest. There is masturbation, sex and awesome rock music. It makes society look in a mirror and if you like what you see, then great, if not, then change it.

LP: What’s it been like touring?

SH: I’m having the time of my life. I told myself before I went that this will be an experience if nothing else, and you take what you can. It’s interesting to see how the audience reacts to the play. It’s not Mary Poppins, so they come in expecting one thing and then to see their response after they’ve seen it. Some, it’s not for them, others have come up and told us “thank you for telling my story.” Even if people don’t like it, it gets them thinking and talking.

LP: What is your favorite part about the play?

SH: One is the song, “My Junk”, a sweet song about who you love. The other is “Totally Fucked” which is so true–you have that moment when you’ve talked yourself into a corner and realize you’re fucked, and seeing it, we can all laugh about it. Moments like that make me  think it’s fantastic to have this job, that I’m so fortunate that I’m being paid to do this on stage. I get to sing about people who make me angry and I love it.

LP: Do you think the public here, in Orange County, is going to like it and/or well respond well to it?

SH: I hope so. When we were in LA we had a fabulous crowd and even in Sacramento where we were told it’s more conservative we got a positive response, so hopefully they’ll respond the same. Who doesn’t like rock music and angry teenagers? It’s a new twist on the musical, it’s a rock concert with a plot.

LP: Can you relate to the story?

SH: Absolutely, if I can’t personally relate to a story I have a friend or family who can relate; there’s nothing on stage that doesn’t really happen in life. I had a friends who got pregnant in high school and had to deal with it, and you know people who have bad family life and teachers who have their favorites and that cause stress for kids and kids struggle in school in finding themselves and it’s an awkward time. The fact that everyone on the stage is a teenager or just out of their teenage years makes it easy for them to relate to the awkwardness and the new ideas. Wendla [the female lead] asks what sex is, what these feelings are, and often you can’t go to your parents to guide you through this time and/or they aren’t there.

LP: Any advice for people seeing it for the first time?

SH: Come with an open mind, and be ready to be entertained. It’s funny, honest, a lot of rock, just a good night of theatre.

LP: Anything else you’d like to add?

SH: What’s interesting is that it’s based on a 1891 play that was banned in Germany, and it’s neat to see this dated show have the characters sing rock music  and to break scene to talk about what just happened, to say, “look at what’s going on.” It’s just a totally different take on the modern musical.

Although the theatre itself is small, and it’s location makes you wonder what you’re getting yourself into, once you sit down and the (bloody) curtain comes up, you realize it masks the fact that truly stellar work is done here.  The theatre is the Hunger Artists Theatre Company in Fullerton, right near CSU Fullerton. As best put by the managing director, Anthony Galleran “It was founded in 1996 by a group of longtime friends who met while studying at OCC’s repertory theatre. Our vision/mission/goal is to produce a combination of new, classical, and alternative works for the Orange County community, while fostering an environment for actors, directors, writers, and technicians to hone their craft.”

My first experience with Hunger Artists Theatre was in seeing Frankenstein in Love. El Coco, a character from the play, utters this line towards the beginning: “without Plato or heroin I’d be a lunatic.”

And that’s when I knew this was going to be quite the ride.

If I were to sum up Frankenstein in Love with a cliche it would be “expect the unexpected.” And just like clocks, even overused cliches ring true twice a day. I have to admit I went into the play expecting a love story–a slightly bizarre one seeing as Frankenstein is one of the lovers, but a love story nonetheless. Don’t get me wrong, love is an element, but really what isn’t in Clive Barker’s play? (Yes, THAT Clive Barker, the one known for his horror stories, especially the Hellraiser series. )

The story begins with Maria Reina Duran, a prostitute, erm excuse me, I mean a palm reader who just happens to get paid for bringing pleasure to her clients, telling us she is already dead, a ghost telling us what happened to lead up to her death, and also what happened after, for even after her death she is a part of this post-apocalyptic world. It all takes place in a fictional Central American country, run by the dictator, President Perez, but is currently in the process of being overthrown by guerilla forces, the leader of them being Cesar Guerrero, aka El Coco. While hunting down Perez, El Coco and his faithful goon, Cockatoo, discover an underground lab run by none other than Dr. Frankenstein whom they learn has been performing experiments on humans.

Where is the love story, you ask? (As I’m sure you are because I was. Well actually a lot of questions were running through my brain while watching.) There is actually a love triangle between Dr. Frankenstein, El Coco, and Veronique, Frankenstein’s creation.

But before we get to that, we are treated to a very multi-layered, intense story involving life and death, (of course), along with politics, sexuality, cannibalism as well as a little cross-dressing. Think Rocky Horror, but a lot more serious, no music, and less camp. Well, a bit campy, but all the best things are. As the director, Andrew Vonderscmitt said “you have to be crazy to stage this.” And I for one, love me a little crazy. Vonderscmitt also loved the fact that the play had so many possibilities, and that it’s very different from anything else out there.

What truly held all the craziness for me was the acting–it was superb. You were pulled into their world immediately, coming up for a breath during the 15 minute intermission while you tried to wrap your head around everything you’ve seen and heard, to dive right back into the second act. These actors are all professional, having acted in many other productions prior, and they loved this script so much, that they donated their time, forgoing a paycheck to get to work on it. That’s passion and commitment to one’s craft. And as I said, you could see that in their performances–because this play has so many elements, and often out-there ideas, that the wrong cast could have completely ruined it! Instead Barker’s work was raised up by their and Vonderschmitt’s dedication, to do the play justice.

Frankenstein in Love isn’t a play for everyone, but that’s not a bad thing–it’s not trying to appeal to everyone and instead is a fascinating thing to feast your eyes on–it’s visually graphic, literally and figuratively, but it also makes you think, makes you question, makes you pause afterward. It will haunt you with its image of a hell on earth–you best be a firewalker if you dare to proceed.

photos courtesy of Hunger Artist Theater