Posted By: Jacquelyn Claire     January 19, 2017     NewYorkTheatreGuide.com

“Lonely, I’m Not,” written by Paul Weitz, is like watching a theatrical version of a thrilling James Patterson novel. Usually, his chapters are only a page long with an intense cliffhanger, and this play echoes that structure with a series of punchy sound bites, ending on enticing upward inflections. It’s a scene turner best seller. Every vignette ended sharply and catapulted you into the next moment, piquing your curiosity. I was hooked and wanted to keep “reading,” torch under the covers, until morning.

. . .an intimate, heartwarming, question posing, stirring production that galvanizes the spirit. . .

We’re in the millennial zone –apparently. But the subject matter seems universal. Two young, lonely people actually find each other. What? In this disconnected “online” existence of virtual everything? Yes, they bump into each other with all their faults and flaws and failures. Porter is a “wunderkind” who fell off himself, burning out in a corporate meeting and finding catatonia and the solidity of the floor. (At least there is something underneath him.) He hasn’t worked for four years and needs to find a job, but can’t open the door back into the hell of it all.

He finds Heather, a blind, driven, hardworking, independent control freak who needs to find the edges of things to feel safe in the world. They find each other’s fault lines fascinating. Their worlds are peppered with a lush, lonely mother, a conman dad, a Latvian house-cleaner, an ex-wife, a mutual frenetic friend, a biased boss, an over-protective house mate, a burly barista, a wary administrator, and a loyal assistant. All of these characters sandpaper each other, leaving little moments of raw sensitivity.

Paul Weitz’s script is episodic and to the point. There is no extraneous over-writing. He condenses each moment into its most concentrated form – undiluted. It’s compulsive viewing. It’s like having a remote control in your hand and flipping channels between the different characters’ story lines. (I’m showing my age with a TV reference; remember TVs?)

Director Christopher Campbell-Orrock has done a truly brilliant job maximizing the challenges of the small space with innovative devices. He keeps the dance of the blocking smooth, with scenes flowing seamlessly into the next environment. The pace was electric, and yet each scene had its own perfect rhythm. I always think that true directorial magic lies in the transitions between scenes, and Campbell-Orrock perfects these segues. Hooray!

Adam Maggio as Porter, the man clawing his way back into the world, was magnetic. He was completely compelling and gave a heartwarming, invigorating performance that showed a variety of emotions. Rachel Goodgal was seriously impressive as the visually impaired Heather. She was utterly convincing as she confidently moved about the space as a non-seeing person, and yet we saw every visualization so clearly in her eyes. She delivers a powerful, mesmerizing performance.

Margaret Curry in her three roles showed her enormous versatility and experience. She crafted three unique characters with humor, truth, and talent. Leon Morgan’s three were clearly defined, believable beauties. I particularly loved his “Little Dog” corporate canine. He was on fire and rattled all surfaces with his huge energy.

Hannah Yi gave us obsessive, loyal, and loose cannon characters with the skill of a chameleon. She slipped in and out of the parts easily. Andrew Hamling gave us a great antagonist – the fraudster, conman dad. It was a pleasure to loath him. He keeps disturbing Porter’s equilibrium and is a fantastic “baddie.” He also plays the antagonist to Heather, the patriarchal, close-minded boss, with cringeworthy brilliance.

I have to sing the praises of set and props designer Wesley Cornwell for his inspired use of the small space. He transformed the Jewel Box magnificently with his simple and totally mind-blowing set elements. Joshua Langman’s lighting design complemented the set and the action superbly. TJ Burleson gave us a wardrobe full of gorgeous costumes. The actors must have been performing impossible quick change feats in the tiny backstage areas, but it’s worth it from out front. Patrick Lachance’s sound design kept the show’s momentum at a galloping pace and supported and enhanced the on stage action.

West of 10^th has produced an intimate, heartwarming, question posing, stirring production that galvanizes the spirit to want to go out and connect in the flesh.

Running Time: 90 minutes, with no intermission.

Actress Margaret Curry confronts grief, healing, family, friendship and the strong bond between dogs and humans starring in the new indie feature, STARFISH.

From writer/director Shira Levin, the film is currently on the festival circuit and will screen next as an 'Official Selection' at LA Femme, Mystic and Black Bear Film Festivals.

STARFISH follows Lily (Curry), a librarian and artist in a small seaside town, struggling with intense feelings of grief over the recent death of her dog, and of her father three years earlier. Unexpectedly, her estranged sister asks her to watch her teenage daughter for a couple of weeks, setting in motion a series of life changing events: an unavoidable confrontation between the sisters, the loss of a close friend, a bond between niece and aunt, a hint of love, and the stirring up of many emotions that require Lily to open her heart and re-engage with life.

Curry was excited by the opportunity to dive into this universal story that highlights the interconnected aspects of loss, healing and the cycle of life. Curry shares, "I read the description of this female-driven film in the casting notice and knew that I had to play this role. I had suffered a series of major losses several years before, including my parents, a brother and two beloved cats. I knew that I understood where this woman was and the way that grief can color one's life. I am so grateful for Shira Levin and her beloved real life dog, Tyler, who inspired her to create this film -- his story has changed and inspired me, through the making of this film."

Originally from Houston, Texas, Curry has earned a solid reputation as an award-winning actress and singer. She has extensive training and experience on stage, including over 300 performances as Titania in the Off-Broadway hit Fools in Love, The Musical and two Equity National tours playing Karin in the musical Church Basement Ladies. On screen, she shines as the cutthroat, out-for-justice Attorney Andrews in the action feature film, Diamond Ruff, directed by Alec Asten and produced by Young! Studios. As a singer, Curry has shared the stage with such luminaries as Leslie Uggams, Carol Channing, Billy Stritch, Amanda Green and Ann Hampton Callaway. She has appeared as a soloist or featured performer at the Kaplan Auditorium at Lincoln Center, the Allen Room at Jazz at Lincoln Center, The Hudson Guild Theatre and many of NYC's hottest nightclubs and cabaret venues.

Currently in production, Curry is working hard co-writing, co-starring and co-producing an original web series project. And coming in February 2019, Curry is directing the New York City premiere of JP Sclafani's new original one woman play, An Evening with Eva: Loving the Monster, as part of the Hudson Guild Theatre's Winterfest Festival.

by BWW News Desk  ©broadwayworld.com

By Malini Singh McDonald

February 16, 2008 – The Fifth Avenue Presbyterian Church Theatre Fellowship, New York, NY

Since its debut in 1939, The Man Who Came to Dinner has enjoyed two successful revivals on Broadway and is an academic and community theater favorite. And why not? Moss and Hart cleverly wrote a funny, chaotic, and twisted play told through 17 distinct characters. Written in three very entertaining acts for Alexander Woollcott, a critic and megastar, and friend of Moss and Hart, the play centers around Sheridan Whiteside, a dinner guest of the Stanley family in Mesalia, Ohio, and clear-cut analog of Woollcott himself.

Upon entering the theater, one can see that the small space is being utilized to its fullest - the set extends onto the floor in front of the stage. The brand new red curtains, courtesy of donations by a patron, seem to be a part of the room, as well as part of the set. Old photographs sit on a crocheted throw on the baby grand, and a '40s style coats are hung on a coat rack by the door.

As the lights dim and the curtains open, we are greeted by an upper-class living room designed by the director, Lindy Rogers. Through the dialogue between Mrs. Stanley (Janet Luhrs), the gracious hostess and Mrs. McCutcheon (Maureen Daly), her friend, we learn that Sheridan Whiteside (Burke Adams) has slipped on the front step on the Stanley’s home and has injured his hip. Whiteside becomes their ward – trust me, not by anyone’s choice. What follows is the reign of terror that he inflicts on the family and home. Simply stated, the Stanley family is taken over by the characters of Hollywood and New York. And characters they are.

The play by itself is hilarious but it’s the cast that really brings out the brilliance of Moss and Hart’s writing. Every actor on that stage invested completely in their character and the show. No matter the size of their role was, they brought something very special to the show and allowed us to enjoy every moment.

Burke Adams captures the intention behind each crass, disrespectful yet entertaining word that comes out of Whiteside’s mouth. His inner monologue is nonexistent. He says what most of us want to…but don’t. Margaret Curry as Maggie Cutler, Sheridan’s loyal personal assistant, engages us through her relationship with him. She and Adams have a wonderful rapport that demonstrates why she stands by such a man.

Steven Unger (Mr. Stanley) was perfect as the master of the house who is “trespassing” in his own home. Betsy Ross’ (Harriet Stanley) quirky behavior as the mysterious aunt made us yearn for her to have more stage time. Dana Panepinto (Lorraine Sheldon) is faultless as the sexy, sultry, ‘40s starlet. Bill Saunders’ Beverly Carlton truly stops the show. His impersonation of the never-seen Lord Bottomley was hysterically executed.

John Culver plays multiple roles, each distinctly different from the other, flawlessly transitioning from one distinct personality to another. Darrow Carson’s Banjo, a Harpo Marx-esque clown, eases comfortably into this role with his natural ability for physical comedy.

Suzie Gallehugh’s costume design is perfectly period. This is the directorial debut of Lindy Rogers, and a fine debut it is. As the orchestrator of this madness, she has guided her cast and her show into a glorious run.

This is their last week of performances. Be sure to be part of the madness!

Final Performances

THURSDAY FEBRUARY 21ST, 2008 7:00 PM
FRIDAY FEBRUARY 22ND, 2008 7:00 PM
SATURDAY FEBRUARY 23RD, 2008 7:00 PM
SUNDAY FEBRUARY 24TH, 2008 2:00 PM

Jones Auditorium
At the Fifth Avenue Presbyterian Church,
7 West 55th Street, NY, NY
Tickets: $18
Reservations: 212-868-4444

“… Spins the classic play A Midsummer Night’s Dream into a musical that young people will understand and even enjoy!”

“The Bard and the Beat: Your best bet this weekend… A Midsummer Night’s Dream meets Motown!”

Rated a “Voice Choice” by the Village Voice!

"The Arts - Monday, July 11, 2005"
Shakespeare Remains Goldest Oldie of Them All
Anita Gates

I have seen a few productions of "A Midsummer Night's Dream," beginning with Peter Brook's in 1971. On film, I have seen Mickey Rooney as Puck, Calista Flockhart as Helena and Rupert Everett as Oberon. But never has it all been clearer to me than when I watched the Millennium Talent Group's simplified one-act version, "Fools in Love."

"Fools in Love" is intended to introduce children to Shakespeare, and it does the job with exaggeration, pure silliness and 1950's and 60's pop music. The comedy is set in the era of "Happy Days" and poodle skirts, in a California town called West Athens, where four teenagers hang out at a diner and discuss their romantic problems and plans. Hermia (Erika Villalba) loves Lysander (Matt Schuneman) but is being pressured to marry Demetrius (Antony Raymond). On the sidelines, Helena (Annelise Abrams) pines for Demetrius, who finds her completely unappealing and tells her so.

When Hermia and Lysander decide to elope, they find themselves the victims of mischievous fairies. Oberon (Andy Langton, in a black leather jacket with macho black wings) obviously has nothing better to do than play tricks on humans and on his beloved Titania (Margaret Curry).

Spellbound by a magic herb, the victims wake up from naps to fall in love with unexpected objects: Titania with Bottom (Ryan Knowles), a weaver who has been turned into a donkey, and both Lysander and Demetrius with Helena. Helena has such low self-esteem that she believes both young men are just ridiculing her by pretending to want her.

There's no real need for a Greek chorus, but five singers known as the Doo-Wop Group comment on the action frequently with mostly a cappella excerpts from golden oldies like "Duke of Earl," "Baby Love," "Respect," "My Guy" and of course "All I Have to Do Is Dream." D. J. Paris, making his New York stage debut, does a particularly nice job on "Unchained Melody."

Sarah Rosenberg and Louis Reyes Cardenas, who are credited with the show's conception, have kept Shakespeare's language (accented with an occasional "huh?" or "oh, all right"), letting young theatergoers grasp meaning through context.

It's nice to see a cast of all shapes and sizes. The full-figured Ms. Villalba is highly lovable as Hermia, and when she calls Helena a "painted maypole," she strikes a blow for all women over size 10. The very skinny Brandy Wykes has an endearing "Laugh-In"-era Goldie Hawn quality as Puck. The very tall Mr. Knowles has a lot of fun with physical comedy as Bottom. And then there are the smallest performers, children from the audience who are invited onstage to dance and occasionally speak a line or two. Warning: The actors have been known to force a pink wig on small volunteers.

Doo-Wopping a Midsummer Dream

Alan Kaplan

By ANITA GATES
Published: March 24, 2005

I have seen a few productions of "A Midsummer Night's Dream," beginning with Peter Brook's in 1971. On film, I have seen Mickey Rooney as Puck, Calista Flockhart as Helena and Rupert Everett as Oberon. But never has it all been clearer to me than when I watched the Millennium Talent Group's simplified one-act version, "Fools in Love," at the Wings Theater in Greenwich Village.

"Fools in Love" is intended to introduce children to Shakespeare, and it does the job with exaggeration, pure silliness and 1950's and 60's pop music. The comedy is set in the era of "Happy Days" and poodle skirts, in a California town called West Athens, where four teenagers hang out at a diner and discuss their romantic problems and plans. Hermia (Erika Villalba) loves Lysander (Matt Schuneman) but is being pressured to marry Demetrius (Antony Raymond). On the sidelines, Helena (Annelise Abrams) pines for Demetrius, who finds her completely unappealing and tells her so.

When Hermia and Lysander decide to elope, they find themselves the victims of mischievous fairies. Oberon (Andy Langton, in a black leather jacket with macho black wings) obviously has nothing better to do than play tricks on humans and on his beloved Titania (Margaret Curry).

Spellbound by a magic herb, the victims wake up from naps to fall in love with unexpected objects: Titania with Bottom (Ryan Knowles), a weaver who has been turned into a donkey, and both Lysander and Demetrius with Helena. Helena has such low self-esteem that she believes both young men are just ridiculing her by pretending to want her.

There's no real need for a Greek chorus, but five singers known as the Doo-Wop Group comment on the action frequently with mostly a cappella excerpts from golden oldies like "Duke of Earl," "Baby Love," "Respect," "My Guy" and of course "All I Have to Do Is Dream." D. J. Paris, making his New York stage debut, does a particularly nice job on "Unchained Melody."

Sarah Rosenberg and Louis Reyes Cardenas, who are credited with the show's conception, have kept Shakespeare's language (accented with an occasional "huh?" or "oh, all right"), letting young theatergoers grasp meaning through context.

It's nice to see a cast of all shapes and sizes. The full-figured Ms. Villalba is highly lovable as Hermia, and when she calls Helena a "painted maypole," she strikes a blow for all women over size 10. The very skinny Brandy Wykes has an endearing "Laugh-In"-era Goldie Hawn quality as Puck. The very tall Mr. Knowles has a lot of fun with physical comedy as Bottom. And then there are the smallest performers, children from the audience who are invited on stage to dance and occasionally speak a line or two. Warning: the actors have been known to force a pink wig on small volunteers.

"Fools in Love" runs through April 9 at the Wings Theater, 154 Christopher Street, Greenwich Village, (212) 627-2961

© The New York Times

BACKSTAGE East
Off-Off Broadway October 07, 2004

Metropolitan Operas

Reviewed By Jeanette Toomer
"Metropolitan Operas"

Presented by Millennium Talent Group in association with Wings Theatre at Wings Theatre, 154 Christopher St., NYC, Sept. 13-Oct. 2. Sarah Rosenberg's creative direction and the finely tuned dialogue of playwright Joe Pintauro work brilliantly as one to lift "Metropolitan Operas" off the stage and into the hearts of theatregoers. These vignettes, unified by the theme of hearts on the mend, feature angelic choral singers and strong performances by several actors.

The first half presents drama mixed with comedic turns that succeed very well in "Seymour in the Very Heart of Winter," "Rosen's Son," and "Birds in a Church." Strained relationships are the subject of two of these scenes -- one between a couple dining at a restaurant and the other between a grieving father and the ex-lover of his deceased son.

In "Seymour," Matt Schuneman delivers a deft physical performance as the young working-class boyfriend of a disinterested fading actress. As his older girlfriend, Margaret Curry is a living portrait of upper-class snobbery and selfishness.

In "Rosen's Son," Louis Reyes Cardenas presents a riveting portrayal of a man who is trying to move on after his lover's death. When confronted by his partner's father at his apartment, he breaks down and mourns his irreplaceable love.

Burke Adams has a great career ahead of him in comedy, as he hilariously portrays an obsessed priest in "Birds." And in "Rex," he's a very reluctant meat-eater, with Lindy Rodgers as his wildly funny, guilt-ridden wife, who offers him cooked pheasant for dinner.

After intermission, serious dramatic scenes about intimate relationships that are at best tenuous offer more to think about. In "Soft Dude," Curry presents a gritty portrayal of a whore afraid to love. John Dillon, the waiter in the restaurant scene, returns for a larger, more revealing role in "Dirty Talk." Brandy Wykes shows off her acting and dancing dexterity coupling with Dillon in that play, and later with Nick Mazza in "Fiat." Rachel Balch, Andy Langton, Anthony Galluccio (subbing for Bill Barnett), and Kevin Smart complete the cast.

The harmonizing choral members are Johanna Bon, Ryan Darling, Jules Dudas, Evy Lutzky, Melissa Nook, Antony Raymond, and Nadine Zygaj. Bruce Dean deserves special mention for a versatile and beautiful set design.

©www.offoffonline.com

When you think of Shakespeare, many things come to mind: lofty language, intricate plot lines, doo-wop. Well, maybe not the latter, but after you see Millennium Talent Group's production of Fools in Love A Midsummer Night's Dream set to hit songs from the 1950's and 60's you will wonder how Shakespeare could be done any other way.

Keeping the text intact, with a few edits so the show doesn't lose its targeted younger audience, the play is presented with such simplicity that children and adults alike will leave the theater with a thorough understanding of what they just saw, a difficult feat when taking on the Bard.

The fairies in Fools in Love
Photo Credit:Alan Kaplan

	(l-r) Tom Falborn as Peter Quince and Louis Reyes Cardenas as Francis Flute in Fools in Love
	Photo Credit:Alan Kaplan