Even the briefest skim of my Mad Men coverage on this blog will reveal my undying love for all things Peggy Olson. You can imagine my delight at being able to sit with the actress who plays her and chat about The Heidi Chronicles, a thoughtful Broadway revival of a thought-provoking feminist play. Assuage your grief over the imminent end of Mad Men by checking out my Backstage cover story featuring Elisabeth Moss! She’s just the best.
Wonderful internet wormholes you should fall into:
- Web series!: Good Cop Great Cop (superb absurdist comedy), Paragon School for Girls (if you want to feel a liiittle bit high), SRSLY (proof that creating your own online content can lead to lucrative work!)
- Kate McClanaghan, now a contributing Backstage Expert, has some really excellent advice for actors looking to break into the voiceover industry. Ditto Jennifer Ashley Tepper of NYC’s 54 Below when it comes to cabaret.
- Although the fervor of awards season has (blessedly) subsided, it may tickle you to learn where all this year’s acting nominees got their start on screen, especially if you’re still enraged about Patricia Arquette’s Oscar snub for A Nightmare on Elm Street 3: Dream Warriors. Also – my apologies – I wrote about next year’s Oscars too.
- I interviewed the writer behind Let the Right One In, the only horror theater I’ve ever seen that actually made me leap out of my seat like a ninny.
- David Ives is a theater genius! I got to pick his genius brain a little bit about his invigorating new collection of one-acts at Primary Stages, Lives of the Saints.
- Check out my alliteration: 9 Fabulous February Films!
My Wicked-obsessed teenage self was very excited to sit down with the one and only Kristin Chenoweth recently. If you are in the New York area at all, get your hands on a ticket to On the Twentieth Century. It’s all-out musical hysteria and this diva completely nails it. Check out my cover story over at Backstage! And stay tuned!
There are only two more chances to see Antonia Lassar’s rip-roaring, thought-provoking, solo-clown show Post Traumatic Super Delightful, at the New York Frigid Festival: Wednesday, March 4 at 5:30pm and Friday, March 6 at 8:30pm. See it! See it if you consider yourself a feminist, see it if you or someone you know identifies as a survivor of sexual assault, see it if you’re a college graduate. Lassar and director Angela Dumlao are using the power of theater to both educate audiences on an increasingly hot-button issue and offer a revolutionary way of discussing it: through laughter. Read my review below or over at TheatreIsEasy.com.
BOTTOM LINE: Equal parts incisive and hysterical, Antonia Lassar’s one-woman show investigates sexual assault on college campuses using clowning and laughter as a means of healing.
Can sexual assault be funny? As one character in Antonia Lassar’s Post Traumatic Super Delightful points out, laughter “means connection with someone.” What better way, then, to cope with the lingering anguish of rape than finding a way to collectively laugh about it?
Lassar’s solo show, now playing at the Kraine Theater as part of the aptly named Frigid New York Festival, opens with a series of fart noises interrupting a tormented confession from a survivor. The scene invites you to laugh — in fact it dares you not to — just as the play later invites you to sympathize with an alleged rapist. Continue reading
First of all, let’s get best dressed out of the way:
My initial reaction: “What is that, seaweed?? WTF she looks like an alien!” Second reaction: “Ohmygosh it’s like. Seaweed. Like sexy glamorous seaweed. She’s a sexy glamorous bug-eyed alien.” By the end of the night: “Wait, everybody at this year’s Oscars is dressed so conservatively and here’s Emma Stone, national treasure, resident alien supermodel, dressed in a wildly unusual and eye-catching color. Not only does nobody else on this carpet stand out like she does, nobody in all of awards season dared to wear something as bizarre and striking as this! And look at that face!! She freaking KNOWS. All hail, bitches!!!”
Anyway. Patricia Arquette’s speech was great, and Meryl and JLo’s joint reaction was even better. I’m happy for Julianne, I don’t really have words for what happened with Menzel and Travolta, and seeing Julie Andrews did my heart good. The ceremony was full of some unexpectedly cathartic moments; in defiance of #OscarsSoWhite we were treated to a rousing performance of Selma‘s “Glory” followed by an unabashedly political speech from John Legend and Common. Here’s hoping the Academy can pull their head out of their asses a bit more and open their minds to films that aren’t only biopics centering on brilliant misunderstood white dudes.
But for me, I must admit, the most emotional part of the broadcast – tears spring to my eyes just thinking about it – came somewhere in the middle….
I know I’m late to this party, but Bob’s Burgers has been getting me through the cold hellish madness of February in NYC. As the snow outside lather-rinse-repeats itself into grotesque gray slush, I’ve been curled up with Bob, Linda, Tina, Gene, and Louise Belcher, laughing at their endearing foibles and astonishing comic timing. It’s a show about losers, but a family of losers – there’s too much heart for us to ever be laughing at their expense. The above clip is from the season 5 premiere, where the cast to sings the title song from their theatrical mashup of “Working Girl” and “Die Hard,” joined by Carly Simon.
“Work Hard or Die Trying, Girl” is basically my 2015 motto.
Over at TDF Stages I wrote about Little Children Dream of God, an enchanting, funny, and voodoo-infused new drama from Jeff Augustin. I was lucky enough to chat with Augustin and director Giovanna Sardelli about how they evoked Haitian magic in Roundabout’s underground black box theater. See the show!
Some demons are imaginary and some of them are real, and during a climactic moment in Little Children Dream of God, they all engulf the stage.
Jeff Augustin’s play, now in Roundabout’s Underground series, follows a Haitian immigrant named Sula, who has floated to Miami on a car tire in search of a better life. Eventually, though, her past catches up with her, which leads to an explosion of voodoo power: Frantic drums tear through the speakers; dazzling light fills the tiny black box stage; and actress Carra Patterson stamps her feet and waves her hands, controlled by something guttural and fierce.