Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Jose speaks to the creative minds behind Black Feminist Video Game. In the play, Jonas, a biracial teenager with autism, learns about feminism through a classic video game. Playwright Darrel Alejandro Holnes talks about discovering a safe space in gaming. Director Victoria Collado explains how the digital world lent itself to an immersive theatrical experience.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Brittani and Alexi review Shadow/Land at the Public Theater. The show explores the relationship between a mother and daughter who are forced to stay in New Orleans as Hurricane Katrina engulfs the city. Both Brittani and Alexi agree that the piece is part play, part poem as they recite their favorite lines. The poetic language clearly outlined the systemic barriers that put black people’s lives at risk during Hurricane Katrina. You can listen to the play for free here.
The friends also reviewed ‘A’ (What The Black Girl Found While Searching For God) by Taji Senior. The show follows the protagonist’s intimate and vulnerable journey towards understanding her identity as a black woman. The play is the latest episode released by The Parsnip Ship and can found here.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Alexi and Murtada talk about the March on Broadway organized by the Actor’s Equity Association. They discuss the need for systemic reform to prevent future manifestations of abusive behavior within the theatre industry. Both hope that this reckoning is just the beginning of an industry-wide effort towards transformational change.
The friends also review the film Limbodirected by Ben Sharrock and the play Honduras written by Sara Farrington. Both pieces portray the experiences of immigrants and asylum seekers leaving their homeland and establishing their lives in new countries. Limbo takes a whimsical approach that Murtada likens to Waiting for Godot, whereas Honduras tells the stories of 3 Honduran mothers in very much the same style as Anna Deveare Smith’s one-woman show Fires in the Mirror. Limbo opens in theatres April 30th and Honduras will be available to stream May 3rd-8th.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Alexi and Juan review Romeo Y Julieta at The Public Theater. The show’s bilingual translation reminded Alexi of the chismes in his family spilling the tea (some might say he himself is the chisme). Both agreed that maybe it was best to leave behind the old English and bring this Shakespeare classic into a full Spanish telenovela setting.
The friends also reviewed Twenty-Six by Ang Bey. The show was part of Jouska Play Works New Play Showcase at Simpatico Theatre. Juan points out that these characters are MESSY, but nothing less is expected as the play provides an unvarnished view of what it means to figure out your gender identity and sexual orientation.
References
Romeo Y Julieta directed by Saheem Ali at The Public Theater
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Ayanna and Alexi get in their feels as they reminisce over the last in-person shows they each saw before the pandemic began 1 year ago (for most of us). They have high expectations for the first season of in-person shows and make one request: NO musicals about pandemics please! That means no theatrical adaptation of Michael Bay’s Covid-19 drama, Songbird.
The Friends review Monuments, a short film directed Sara Aniqah Malik in collaboration with Donmar Warehouse in the U.K. The film features the oral histories of BIPOC youth in London as they recount their experiences with racism. Ayanna gushes over the production of Simply Sondheim at the Signature Theatre and tells us how “Being Alive” takes on new meaning in light of the pandemic
References:
Monuments directed by Sara Aniqah Malik at Donmar Warehouse.
Simply Sondheim directed by Matthew Gardiner at Signature Theatre.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Jose talks to Saheem Ali and Ricardo Pérez González. The director and playwright discuss their bilingual adaptation of William Shakespeare’s Romeo and Juliet. Now titled Romeo y Julieta, the audio-play transforms Verona into a sonically layered version of Latin America. The star-crossed lovers are played by Juan Castano and Academy Award winner Lupita Nyong’o.
Ali talks about the first time he saw Nyong’o as Juliet almost two decades ago, while Pérez González recounts how the Spanish of San Juan, Puerto Rico shaped the adaptation. The two also discuss what it was like to work on a script remotely, and why audience members ought to let the beauty of the Spanish language wash over them. Even if they don’t exactly know what the words mean.
References:
Romeo y Julieta by William Shakespeare, adapted by Saheem Ali and Ricardo Pérez González, at the Public Theater.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
It’s been one year since theaters shut down all over the world. We’re all still processing our new reality in different stages. The way to commemorate this strange anniversary couldn’t be one of just sadness over what we lost or admiration at the perseverance of artists. Instead we thought our tone should reflect what’s mostly in our hearts: gratitude.
This is the first episode in a series called “Thank You Theater-makers.” We talk to artists who have been experimenting with new mediums, rediscovering skills or realizing untried dreams. We talk to artists who have been holding space for their mental health and experiencing grief. We talk to artists who gave us their gift in new ways, and to those who we are sending love to, while they resume the practice of their craft.
We begin this series with one of our favorite guests, Daniel K. Isaac. The versatile actor who has charmed us with his warmth and immense love for theater. Over the past year he has showcased his natural talent as a playwright and delighted us on social media with his book recommendations. We talk to Isaac about returning to his TV work on Billions, and what’s next for him as a writer.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Jose talks to Tony winner André De Shields. The legendary performing activist talks about his upcoming performance as Frederick Douglass in Mine Eyes Have Seen the Glory. The piece is part of Flushing Town Hall’s Black History Trilogy, a celebration of Black History Month.
During the conversation, De Shields speaks about the clash of evolution and history, and his role as a messenger. He also talks about the circularity of history and the spirits of the theatre. It’s a delightful talk emboldened by De Shields’ charm and wisdom.
Bells are ringing on the snow-globe inspired stage of The Civic Theatre’s Pride and Prejudice, as young women assemble around a table filled with golden varieties of the instrument. Their fascination quickly turns into urgent, yet elegant, hoarding. A more composed young lady picks up a tiny, rather plain looking, bell almost left behind. She stares at it wishfully before she hides it in her pocket…
Hello, Lizzie. Long time, no see.
As this prologue, and its ringing, end the Bennets settle into their onstage home to a string quartet version of the 2019 electro-pop hit “Dance Monkey.” It’s the correct way to press all the right buttons for the 2021 Jane Austen lover.
Since the pandemic started, Austen has gained a particular kind of traction. The option to meet prospects face-to-face vanished, and dating seemed to regress to a more romantic (albeit physically distant) time. From funny to hopeful, memes, tweets and articles flourished on the subject. The phenomenon climaxed with the record-breaking Bridgerton, currently the most watched show in Netflix’s history. The series delves on the lives, and more-erotic-than-Austen, romantic hopes of young Britons in Regency London. It’s also set in the same year Pride and Prejudice takes place.
One of Bridgerton’s trademarks is the use of string versions of recognizable pop hits, like “Dance Monkey.” Their inclusion (alongside a dozen additional selections, including Ocean Away from the Bridgerton TikTok musical you didn’t know existed) makes the Civic a ten-thousand-pounds-a-year-worth winker to Austen contemporary audiences. It also shows how theatre can, and should, be part of multimedia storytelling universes, while still being just theatre.
The actors wear face masks that match their outfits and alternate in removing them for certain lines. The masks dangle as unobtrusively as grandma specs until they go on again. Anne Beck choreographed each movement following CDC procedures.
The stage is set up à la multi-camera sitcom, the play was recorded from the empty audience. Director Emily Rogge’s set-up makes it easy to stay invested in Kate Hamill’s adaptation, while occasionally focusing on specific details. The simplicity of the space and complementary pops of colors, from backdrop to wardrobe pieces, creates a captivating presentation.
The female actors easily dominate the stage. Megan Tiller does beautifully as Lizzie, with a precise Frankie Bolda as her best friend, Charlotte Lucas. The genuine warmth in their scenes feels the most Austen in the entire show. Bolda, also doubles as Mary Bennett. She’s one of six performers playing dual roles.
Jennifer Sims knows how to fully occupy the stage and Mrs. Bennet’s shoes. She does so in a boisterous manner that makes it quite easy to side with Darcy. Kelsey Vanvoorst fearlessly assumes the comedic relief as both Miss Bingley and Mr. Collins. Gender-bending a character like Mr. Collins is as fascinating as it is entertaining, but it doesn’t go beyond the blatant clashing of Austen’s usually inconspicuous brand of comedy.
Aside from Mr. Wickham, of course, the main enemy of this production is the use of a laugh track. For the Feb. 12th live stream, the track was “manned” by The Civic’s Executive Artistic Director, Michael Lasley, who introduced the tool to the audience and assured them that it would only be used in the parts he genuinely considered deserving of a laugh.
As a promoter of camaraderie, especially in socially distant environments, a laugh track is a great idea that needed a more democratic and, dare I say, female approach. There were worthy comedic moments that did not get the benefit of the track, while others, especially at the end of act two, were overindulged. But technicalities do little to overshadow the genuine charm of this Pride and Prejudice.
References:
Pride and Prejudiceadapted by Kate Hamill from the Jane Austen novel. Streaming at the Civic Theatre.
Every week, the culture critics at Token Theatre Friends bring their fresh perspectives to the performing arts on their podcast and video series. You can find the podcast on Spotify, iTunes, and Stitcher (look for the all-red logo). The video series is available on YouTube. The TTF theme song is by Sean Mason (with vocals by Angela Ramos). The video animation is by Brad Ogden, with logos by Jason Simon.
In this episode, Andrew and Brittani celebrate carnival and discuss their favorite soca musicians. This leads them to imagine, and cast, a soca-driven Broadway show. Make it happen, producers! Then they review two pieces. First they talk about iN-Hale MEGA VEE’s reading of All Boys Aren’t Blue, by George M. Johnson. This is followed by a review of Judas and the Black Messiah, a biopic of Fred Hampton, the revolutionary socialist and chairman of the Black Panther Party in Chicago, who was murdered by the FBI at age 21.
This is followed by an interview with Kwame Kwei-Armah, the playwright/performer/director who is also the Artistic Director of the Young Vic Theatre in London. The three talk about their Caribbean heritage and wonder why it’s taking so long for the “dam to break” when it comes to producing works by Black artists.
Token Theatre Friends 