One-Act Play Festival at the Ritz Theatre Company
Friday June 30 by Cassidy Scherz
Saturday July 1 by April Johnson
FRIDAY JUNE 30 - CASSIDY SCHERZ
(scroll below for July 1)
The Ritz Theatre Company’s Third Annual One-Act Play Festival is unlike any that
we’ve seen in the past. Presented in two acts with one 15 minute intermission, this year’s show strays from the short comedies we have previously enjoyed. Instead, we are presented with intricate and thought-provoking pieces that explore self discovery, relationships, and finding a place in the world.
In the first act, “From Whence We Came,” we are introduced to an expecting couple on a whale watching trip, a father-daughter duo learning to navigate life changes, and an uncle
desperate to get through to his depressed niece. Writer Michael Towers implements an oceanic theme that remains present throughout the act as a constant reminder that this world is ever changing, and our stories are tiny pieces of a much larger puzzle. Towers’ natural dialogue and relatable conflicts captivate the audience, allowing them to root for each character and sympathize with their struggles. Director Lori Alexio-Howard complements Towers’ style by utilizing simplistic sets and costumes. In doing so, she draws focus to the dialogue, so as not to lose the meaning or intensity behind each piece. Working in a black box theatre presents a hefty challenge, as it is often difficult to accommodate the whole audience. I applaud Alexio-Howard’s use of the space, and with even more variety, the audience will feel fully transported to each location.
Alex Levitt and Hannah Lee DeFrates open act one in “The Right Whale.” As the lights
come up, we are immediately met with the puking noises of a seasick Levitt, DeFrates adding to the comedy by eagerly reading whale facts from a pamphlet. The two make a hilarious pair, DeFrates’ bubbly excitement a stark contrast to Levitt’s sarcastic humor and building frustration. DeFrates does an admirable job of conveying her character’s passions, and her sweet innocence makes it impossible for the audience to be angry with her, despite her actions. Levitt’s lively personality adds color and keeps the scene light, even during tense moments.
In scene two, “Molting,” we meet a father and daughter enjoying a lobster dinner. The
chemistry between the two actors is phenomenal; they have a wonderful ability to bounce off of each others’ lines. Juliet Howard plays an inquisitive young girl with the professionalism of an adult. Her humor is dry and raw, a skill that many actors only dream of acquiring. In the scene, we come to learn that her father, played by Doug Suplee, is gay, and they must discuss what their life, and their relationship, will look like moving forward. Suplee is warm and charismatic, and his guilt over causing his daughter pain is heartbreaking. Both actors know exactly how to tug at our heartstrings, and their connection is touching.
The last scene of act 1, “Hatched,” introduces us to Uncle Bobby and his niece, Madison. Madison, played by Jenna Spagnolia, has come to believe that life is meaningless, and that the world would be better off without her. It is no easy feat to convey such dark emotions to an audience, but Spagnolia did it magnificently. In an effort to break down her walls, Bobby, played by James Van Nostrand, takes Madison to the beach to show her the baby turtles’ migration to the ocean. Van Nostrand creates a dynamic character, allowing both his desperation and his compassion to influence his actions.
“The Frontier Casino” is, by far, the longest act of the festival. Director Matthew Weil
gives us a brief disclaimer at intermission, informing the audience that they had only been given two weeks to work the scene. We are encouraged to ignore the scripts in the actors hands and focus on the dialogue - an easy task. There are truly no words to describe the caliber of these actors and their incredible ability to work under pressure. Every character is well rounded and has a backstory, lines are memorized, and relationships are complex and moving. Writer Derek Kenney tells the story of a homeless man named Bud who forms a friendship with a supposedly independent thinking AI hologram, placed on the side of the highway. The hologram, who Bud calls Angel, explains that she is an advertisement for the local casino, and Bud begins to visit her daily. Though she confesses that she is not real, Bud becomes reliant on her companionship, eventually admitting that he loves her. He is later informed by Kevin, the IT guy who works at the casino, that Angel is an actress, and that her hologram is being decommissioned due to her lack of customers. While this piece may initially seem a bit outlandish, a further analysis reveals themes of companionship, the dangers of ignorance, and loneliness. Weil brings this scene to life through his costuming choices, lighting shifts, and use of the space.
Stephen Kreal does an exceptional job at conveying Bud’s overwhelming feelings of
loneliness and emptiness. Although the audience is not privy to Bud’s backstory, Kreal honors his character’s history and draws on emotions from his past. Kreal also designed a lovely character arc, giving Bud moments of clarity and understanding that help the audience to feel more confident about Bud’s future. From his speech to his limp, it is obvious that Kreal took time to nurture this role.
Noelle McLeer’s performance as Angel is bright and playful, a ray of light in an
otherwise dark show. Her energy never wavers, and she brings every scene that she is in to life. Angel is a difficult character, as the actor must play a role who is playing a role (think about it as if she is a double agent). To be able to separate each character and give them unique personalities is extremely impressive, and I am awed by McLeer’s attention to detail.
Dylan Corbett rounds out the main cast with the disinterested and sarcastic Kevin. His
comedic timing and humorous delivery of lines keep the scene moving and the audience on their toes. Corbett’s character nicely breaks up the tension between Kreal and McLeer, and his stage presence is captivating and enriching. Hannah Lee DeFrates’ Treasure is the perfect way to round out this scene, leaving the audience pondering the future.
Due to the layout of the theatre, it is easy for lines to get lost. Better projection would
enhance these pieces even more, and would guarantee that important points are not missed by audience members. It is also vital to mention that not only were Alexio-Howard and Weil in charge of directing, but they also took on the roles of costumer, lighting designer, and sound designer for their respective scenes. The beautiful lights and music helped to move the stories along and keep the audience engaged.
Though different from what we have come to expect from the Ritz’ One Act Play
Festival, I am confident that this change will bring new perspectives, ideas, and most
importantly, new art.
SATURDAY JULY 1 - APRIL JOHNSON
Saturday, in the park….uh, no…sorry Chicago. It was Saturday in the Ritz Theater in
Collingswood. And it was the 1st of July.
It was day two of the third annual One Act Play Festival presented by The Ritz Theater Company which was part of the New Works Initiative, a two-day theatrical experience bringing to life original pieces written by practiced and promising playwrights from around the country. Set in a black box theater, in the round staging, we as the audience are given a up close personal view along with room for imagination.
“Communal Table,” written by Jenny Lyn Bader, is a story where people from different walks of life congregate at a popular coffee bar and engage in conversation about anything from coffee, chocolate, to the abyss of the universe. Minna, dazzlingly portrayed by Liz Mattera, is a neurotic who works at a planetarium and complains about how the barista asked if she would like skim milk in her coffee; leading to the conversation on how her order was placed, how life used to be, wishing that the world would stop changing “default settings”. Sara Viniar performs as the voice of reason and numbers playing the analytical day trader Allie who pretty much remains quiet until enough was enough. Brian Graziani Herrick intelligently lessens the table talk tension as the tranquilizing yet enchanting Gary. Allie was quietly sitting at the table on an ordinary day performing her customary tasks sipping her chocolate with decadent whipped cream until Minna comes unpacking her bag with frustration about her choice of drink and day. As her anxiety heightened, it seems that Allie’s patience shortened. After Gary comes along casually asking about Allie’s beverage topping, he decides to order the same and join the two. This tends to irritate Minna even more until she abruptly interrupts the conversation assuming that Gary is using the art of conversation as a way of flirting. As a result, Allie loses her cool, addresses the two, and then proceeds to leave the table for a more non-communal crowd. Minna and Gary continue the conversation and come to the realization that they have more in common with the woes of the world than expected; until one point humbles Minna to reflect that one thing that is certain in life--change.
Brian Herrick’s stye of directing shows how much the world is constantly in motion, however folks choose to sit still, keep nostalgia. As a result, irritation ensues. Others could be
unaffected by the change because they tend to go with the flow. Either way, as the song goes, “people make the world go ‘round.”
Jonathan Edmundson’s “Playback” is a performance piece about a scorned pop artist who returns to the studio where she started following an awards afterparty. Skyler Gonzalez shines as the precocious yet problematic Zora as Dawn McCall blazes as Ashton, Zora’s studio tech and best friend. Zora rushes the studio wanting to work after being released from her label unbeknownst to Ashton until a viral post comes up about her tirade with the executive. Ashton asked what happened, yet Zora kept deflecting about just wanting to lay a track when all he wanted to do was lie down. Passions and feelings would come up as they got closer as if in a duel, but it seemed like they could never get to the bottom of the issue due to pulling away. Zora showed her vulnerable side as she spoke about a former lover, even sang a few lyrics of love and admiration toward them; adding a spot exposing her openness as if it she was the only one in the room. Ashton looks on and tells her that this beautiful piece needs to be recorded. However, Zora breaks away from the keyboard and deflects once again. Ashton tries to get to the bottom of things, yet no avail. Emotions flare up as to why he didn’t go to be with Zora, until he speaks of how he missed the times they had with his mother, leading to his profession of true love for his best friend. This pricked Zora’s heart and finally she decided to let go of her injuries from the industry and focus on her yearning for home.
Elliot Colahan’s direction was undeniably strategic in how the two would come together in the conversation, break away in the conflict, and simultaneously show their sentiments toward each other from a distance throughout the production. It wasn’t until the moment when the true feelings were shared at the center of the room and the tension melted.
“Madness to the Method,” is a story that depicts a conversation between the comic silent movie actor and director Charlie Chaplin and the up-and-coming esteemed actor Marlon Brando on the set of A Countess from Hong Kong. It opens as press conferences for the two on how they feel about the upcoming feature and the hopes they have because of the collaboration. The fateful day begins when Jerry Epstein, Charlie’s assistant, and friend,
frantically delivered the news that Marlon will remain in her dressing room because she didn’t “feel” her motivation. This incensed Charlie to the point to demand Marlo to arrive on set immediately, yet Jerry insisted that Marlon refuted to leave. Charlie then asked for other
options, including pausing the production. Jerry reminded her that this project is manned by
Universal Studios, meaning the show will go on even if they must find replacements. Charlie
then stormed to Marlon’s room and asked why she will not come to set. Marlon protested
because of the way she witnessed Charlie’s abusive behavior toward her son, Sydney. This
segues into the familial memories of fatherhood or the lack thereof. Charlie reflects and
reconsiders how she treats her son then proceeds to asking why Marlon still refuses to leave
the dressing room. Marlon explains that she is a method performer who studied the great
Stella Adler and cannot act until she feels it. Charlie disregards the method and explains what true acting is. Marlon reinforces the method and then compliments that Charlie is indeed a genius regarding her work. “I’m no genius, I’m just a great pretender.” At this point, it appears that some kind of compromise occurs. Years rolled by after the completion of the film and Jerry meets with Charlie about her honorary Oscar award along with nomination after re-releasing her earlier works. Marlon is then mentioned about her stance with the Oscar ceremony and her disdain for the industry.
Mike Bencivenga thoughtfully wrote this act of two great icons showing that there is more than one way to present a thought, a view, an act of emotion and it does not necessarily mean that it’s wrong; the approach can still bring the greatest result. Connor Twigg’s direction shows how seasoned and not so seasoned performers are so parallel and bends and twists to the point of crossing paths and then parting ways. Charlie Chaplin was wholly and vocally understood by Jillian Starr-Renjbor’s impeccable performance. Mackenzie Smith’s presentation of the meticulous Marlon Brando was contained, captivating, and made me “feel” her method was indeed the best one. Lisa Croce vividly delivered as the concerned friend and assistant Jerry Epstein.
“Destiny is a Careless Waiter” depicts a hilarious turn of events written by Julie Zaffarano. What starts as an intimate dinner date turns into a fiasco of misunderstandings. Two couples are having small talk at their separate tables until a cupcake with a ring hiding in the icing is placed on the wrong one. Angelina Canaven, comically entertaining as Bria, looks down at the cupcake and screams in shock. This surprises her date, Justin, equally and amusingly performed by Taye Hopkins; who planned on scaling back their relationship after dating a few weeks. Bria places the ring on her left ring finger and takes the excitement to social media, leaving no room for Justin to ask or even explain. As the post tends to increase with likes and unsolicited comments from Bria’s family along with Justin’s other “friends,” he becomes more flustered in trying to explain. The other couple on the other hand, speak on topics such as books and tv shows; finding that they themselves, have nothing in common. Skye Maldonaldo sweetly approaches the role of the intellectually inclined Emily. She converses about her interests while Sean, performed by Cade MacFee, proceeds to make the banter about himself, which leads to her frustration about their relationship. They tend to overhear the conversation at the next table and congratulate the new couple. While Emily proceeds to take a picture of Justin and Bria, Sean discovers that Bria is wearing his grandmother’s ring which was intended for Emily. He proceeds to ask for the ring and Bria was insistent on keeping it. Cade erratically spills a drink on Justin to run to the bathroom and come up with a plan without any other hitches, except for the horse and carriage that is waiting. Meanwhile, Bria and Emily speak on their relationships and find that they really don’t have much in common with their “significant” others. After formulating a plan, the men speak with the ladies and attempts to remove the ring….but it is stuck! As Sean runs to get soap to loosen the ring free, conversation continues, and connection commences. Bria concludes that she barely knew Justin and Sean realized that he was in the same boat regarding Emily. As a result, relationships end and new ones begin…while riding off into a horse and carriage with the proverbial sunset.
Zaffarano expressed an amusing and eventful story of how one mistake and conversation can change folks’ lives forever. Kayla Bowe’s directorial skills was well executed and presented this piece as lighthearted, humorous, and lesson filled. In this case, the incognito server left a gratuity for the audience to compensate for life.
All of the directors coordinated costuming and sound, which were befitting for the scenes and intended periods. Matthew Weil collaborated with each director for stage lighting, simple and effective for the moments. Lisa Palena served as the Festival Stage Manager.
Each piece was deliberated by the festival judges and the top three gave an encore
presentation at the 8 pm show on Saturday, July 1st .
