Ensemble Studio Theater

Subterms

    Latest story

    125 Shares179 Views

    ‘Franklinland’ Review: A Founding Father, but Not the Best Dad

    by

    Lloyd Suh’s nimble period comedy about Benjamin Franklin examines a timeless struggle: the unmet expectations that divide parents and children.Lloyd Suh’s “Franklinland,” now running at the Ensemble Studio Theater in Manhattan, finds Benjamin Franklin (Thomas Jay Ryan) at a crossroads: balancing his roles as a founding father of a young nation and floundering father to his naïve son, William (Noah Keyishian). In six tight scenes, Suh whisks us through three decades of their turbulent relationship, starting in 1752 when William is an eager young adult and ending with the men at odds in 1785.The result is a nimble period comedy — with enough spoonfuls of droll humor to help the history lessons go down — but Suh’s play is just as concerned with a more timeless struggle: the friction of unmet expectations that can divide parents and their children.“Franklinland,” developed through the EST/Sloan Project in 2011, had its premiere in 2018 at Chicago’s Jackalope Theater. It shows the playwright’s early fascination with great historical figures and movements and the personal wreckage left in their wake. These themes resurface in works like “The Chinese Lady” and “The Far Country,” a 2023 Pulitzer Prize finalist in Drama.Suh paints a narcissistic portrait of Benjamin. His obsession with progress — first scientific, then political — is exemplified by his purchase of 20,000 acres in Nova Scotia (the real Franklin did own land there), with the intent of building a “playground of imagination and possibility” he calls Franklinland.Though Benjamin’s inventions — harnessing lightning for electricity, creating bifocals, adding flexibility to the urinary catheter — are undeniable societal improvements, his work sessions with William consist of bullying jokes at his son’s expense. This is not your grandmother’s Benjamin Franklin. In Ryan’s mischievous hands, the old man is downright sassy — quick with an eye-roll and oozing condescension. The actor’s antics convey a man obsessed with control, but blind to the familial cost.As a young William, Keyishian is an awkward goof who begins the play unexceptional and prosaic. But by the middle of the show, Suh levels the playing field. William — now in his 30s — is appointed royal governor of colonial New Jersey, though his moments of self-empowerment are weighed down by spurts of pedantic dialogue. Veering away from the playfulness we’ve enjoyed so far, the script resorts to playing out a melodramatic truth we’ve already gleaned: life is cold in Benjamin Franklin’s shadow.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 88 Shares129 Views

      in Theater

      ‘Smart’ Review: A.I. in the Living Room

      by

      Three women seeking companionship turn to an Alexa-like digital presence in this family drama at Ensemble Studio Theater.Artificial intelligence has lately proven that it can write Hollywood screenplays, ace the bar exam and maybe even develop a twisted crush. Jenny, the Alexa-like device in “Smart,” which opened on Thursday at Ensemble Studio Theater, asks philosophical questions about A.I. that by now feel consolingly benign, like whether it can replace the care we owe one another or fulfill our need for love.The short and perhaps obvious answer is no. Jenny, as conceived by the playwright Mary Elizabeth Hamilton, functions as a home health aide that Elaine (Kea Trevett) sets up for her mother, Ruth (Christine Farrell), a widow who has suffered a stroke and increasingly stumbles over her words. Ruth’s skepticism thaws once she gets Jenny to play her favorite musician (the Brazilian artist Antônio Carlos Jobim) and order her favorite candy (Werther’s Originals). The insomniac Elaine also warms up: As she adds groceries to Instacart and composes texts to her ex in the middle of the night, Elaine talks to Jenny (voiced by Sherz Aletaha) like a much-needed companion.Ruth’s home is crowded with relics of the past, including her late husband’s worn-out sofa, where she occasionally talks to him, and yesterday’s dishes and trash (the set design is by Yi-Hsuan (Ant) Ma). Jenny’s glowing orb is a lone marker of the present tense. The future is there with them, too: Gabby (Francesca Fernandez), a programmer working to improve Jenny’s language skills, is listening remotely, her desk nestled in among the clutter. The boundaries between them further collapse when Gabby turns up in person, drawn to what she’s heard and seeking mutual connection.A.I. powers up the plot of “Smart,” which traces the fraught and imprecise networks of memory, obligation and necessity that bind parents and children (Gabby often talks to her own ailing father on the phone). Later, it pivots to capture the sparks that fly between new lovers. The production, co-presented by the Alfred P. Sloan Foundation, which supports the intersection of arts and science, is ably directed by Matt Dickson on the compact stage and well acted by members of the small cast, particularly Ferrell, as the fog surrounding Ruth thickens and engulfs her. But the play feels like a composite of disparate parts that’s missing an engine.Beyond demonstrating that a smart speaker is no substitute for family, and an especially creepy way for a lonely software engineer to initiate an affair, “Smart” doesn’t mine fresh insight about what it means for relationships to be mediated by technology. Nor does the play resolve the conceit it takes two acts to set up, of a romance built on deception, despite promising its revelation as the primary source of narrative momentum. Even tech that seems mundane is worth deeper scrutiny, but here that examination detracts from the possibility of more cohesive and compelling human drama.SmartThrough April 23 at Ensemble Studio Theater, Manhattan; ensemblestudiotheatre.org. Running time: 1 hour 40 minutes. More

    • 138 Shares149 Views

      in Theater

      In a Marathon of One-Act Plays, Boundaries Are Pushed and Pulled

      by

      Ensemble Studio Theater’s 38th Marathon of One-Act Plays showcases what can be accomplished in short-form productions, and how, in some cases, they hem ideas in.In Harron Atkins’s multigenerational saga “Still…,” artistic ambitions rub up against personal relationships. Careers wax and wane. A couple forms, bickers, ends — and may or may not be reborn on different terms. We even hear exquisite renditions of “Doo Wop (That Thing)” and “Valerie.”All of this in only 40 minutes.The scope and length of “Still…” make it an outlier not just in Ensemble Studio Theater’s 38th Marathon of One-Act Plays, but in short-form theater in general, which tends to focus on economical vignettes and snapshots. Not here: Atkins follows Noah and Jeremy, starting with their meet-cute as tweens, then tracking them as young adults uploading songs on social media before they eventually make moves in the music industry, and going all the way to their reminiscing — but also looking ahead — when they are in their 60s. Much of the time is spent with the young-adult versions of Jeremy (Eric R. Williams) and Noah (Deandre Sevon) as their friendship morphs into love, which in turn becomes strained when Noah’s career takes off while Jeremy’s stalls.At times it feels as if we are watching a live pitch for a movie or television series, a connection Atkins does not shy away from with a joke about the TV show “Empire.” (Referring to a character played by Taraji P. Henson, Jeremy asks Noah, “Did you think I was about to roll in there causing a scene like Cookie Lyon?”) But “Still…,” directed by Cameron Knight, also functions on its own terms and has a genuine breadth that works within the boundaries of its current format.Atkins’s piece closes Series A, part one of this year’s two-part marathon, which is resuming for the first time since 2019. The theater marathon features a lineup of 11 plays — 10 in person and an extra one, presented with Perseverance Theater out of Juneau, Alaska, available via streaming — by artists who are Black, Indigenous or people of color. The playwright Mike Lew (“Teenage Dick”) and the writer-director Colette Robert (“Behind the Sheet”) curated the project, and their efforts pay off most in Series A, which is not only superior to Series B but also to the other Ensemble Studio Theater marathons I have attended in the past. (This year’s marathon runs through Nov. 13.)At their best, the works in the first series introduce distinctive writers who make me crave more. One of them is Dominic Colón, whose “Prospect Ave or the Miseducation of Juni Rodriguez” had already been performed, beginning in 2020, as part of “The M.T.A. Radio Plays,” an audio anthology from Rattlestick Theater. It’s a pleasure to revisit the lovely chance meeting of Juni (Justin Rodriguez) and Macho (Ed Ventura) on a 2 train, when an overheard phone conversation leads to something more direct and, maybe, more real. Bonus points for an excellent Foot Locker joke and the apropos use of McDonald’s takeout.From left, Brenda Crawley, Cristina Pitter and Denise Manning in Vivian J.O. Barnes’s “Intro To.” Carol Rosegg“Intro To,” by Vivian J.O. Barnes (“Duchess! Duchess! Duchess!”), also boasts a superb use of language — florid, funny, and suggestive in every sense of the word — which is especially fitting for a piece set during a class where erotic writing is being taught. With the instructor delayed, Kara (the Off Off Broadway darling Cristina Pitter) takes charge and leads the participants in readings of their stories. The shy Shanice (Denise Manning), a biology student, has come up with a surprisingly evocative tale, but it’s when the older Mary (Brenda Crawley) steps up that the play takes a turn for the weird — halfway between heavy-breathing sensuality and body horror.Another pleasure to be found in “Intro To,” which is directed by Keenan Tyler Oliphant, is Manning’s terrific comic performance, driven by precision timing and constant inventiveness. She makes the most of the material, then fills the silences with a hilariously fidgety presence. Other superlative turns can be found in the Series B closer, “blooms,” by a.k. payne. This evocative slice of life about a pair of lovers, played with rare warmth by Alisha Espinosa and Kai Heath, takes place in the 10 minutes before the grocery store that employs them opens. Decisions must be made, and payne sketches the situation with tenderness and sympathetic humor.Fernando Gonzalez, left, and Will Dagger in Keiko Green’s “Prepared.”Carol RoseggAnother fine performance lurks in Series B’s “Prepared,” by Keiko Green, in which Will Dagger portrays a Boy Scout trying to survive the apocalypse with what’s left of his troop. Unfortunately, unlike the aforementioned cast members, Dagger must make the most of a rickety piece that tries way too hard for whimsy and is burdened by the tiresome monologues that the Scoutmaster (Fernando Gonzalez) delivers on a radio. As short as it is, the play feels padded, a problem that also afflicts Bleu Beckford-Burrell’s “Tr@k Grls (pt1),” which runs in circles. Since the play is about two teenagers training for the track team, this might be pushing form and function a little too far.Goldie E. Patrick’s “Breath of Life: a Choreoplay of Black Love,” directed by Jonathan McCrory and also featured in Series B, is trickier to appraise. It begins with a suspenseful urgency suffused by pervasive, realistic dread. It’s 2020 and the asthmatic Drew (Biko Eisen-Martin) finds himself in the middle of a Black Lives Matter demonstration; his partner, Toni (Ashley Bufkin), is becoming increasingly panicky because she can’t reach him. Patrick skillfully builds tension as Drew, fearing both police violence and catching Covid, works his way through the throngs. About two-thirds of the way through, the piece’s four actors start switching roles: for example, Margaret Odette portrays Drew after having played his friend Ayo — meaning that Toni and Drew are now both women. As the story continues, more permutations follow that might suggest that love is love is love. As for the “Choreoplay” subtitle, that remains confounding since there is no dancing.Dance does, however, play a big role in Vera Starbard’s streaming piece “Yan Tután,” set during a rehearsal by an Indigenous group in Alaska. The piece moves in a fairly herky-jerky manner until Ernestine Hayes enters and takes command as the elder Auntie Dolly, who recounts a harrowing story of cultural erasure with a happy epilogue. In a flash, we see all that was lost but also all that might be gained, and Starbard builds to an emotional finish that feels entirely earned. More

    • 138 Shares189 Views

      in Theater

      Review: In ‘What You Are Now,’ Memory Is a Dangerous Thing

      by

      In Sam Chanse’s affecting play, a daughter tries to understand her mother, who resists any reminder of her escape from the Khmer Rouge.Trying to understand our parents’ past lives can feel like fumbling through the dark, especially for the children of immigrants. Recollections are selective, and many people have lived through things they’d rather forget. The challenge — and heartbreak — of bridging that chasm is the subject of “What You Are Now,” an affecting study of memory and migration by the playwright Sam Chanse that opened on Thursday night at the Ensemble Studio Theater in Manhattan.Pia (Pisay Pao) knows hardly anything about her mother’s experience fleeing Cambodia in 1975, amid the country’s deadly takeover by the Khmer Rouge. But the pain of her mother’s experience has shaped Pia’s life, like an imprint, she says, seared into her cells. It’s why Pia is pursuing neurological research, looking for a scientific solution to her mother’s mental suffering.Pia’s mother (Sonnie Brown) carries herself like a ghost, looking lost behind the eyes and staunchly resisting any reminders of Cambodia. She’s also held herself at arm’s length from Pia and her brother Darany (Robert Lee Leng), whom she raised on her own in small-town Massachusetts. (The height of their mother’s physical affection is a stiff-elbowed pat on the shoulder.) If Pia can’t enter or soothe her mother’s mind, she channels that desire into studying the brain.Chanse’s play shifts back and forth over a 10-year span in Pia’s study of memory and its potential for manipulation. When she speaks to her mom on the phone from the lab, their conversations are limited to the mundane, like what’s for dinner and how Pia’s career is advancing. But when Darany’s ex-girlfriend (Emma Kikue) comes around gathering testimony for a nonprofit from survivors of the Khmer Rouge, Pia’s mother refuses to open up about the past.“What You Are Now” isn’t propelled by incidents or dramatic action, but ideas about how the mind works and the gradual revelation of personal histories. Pia dates and breaks up with a co-worker (Curran Connor) with whom she cleans rat cages. Darany and his girlfriend, who is half white, smoke pot and swap stories of how they relate to their shared Cambodian heritage. Pia’s mom loses her temper when she walks in on her kids dancing to Cambodian rock.As Pia, Pao is spiky and guarded, observing and responding to her mother’s behavior with the cool remove that a scientist might keep for her subject. As her chill (and way cooler) older brother, Leng makes for a loose and grounded contrast, all street-slang and curious heart. And Brown is quietly arresting as a woman both fragile and imperious, slouched like a comma but with a will of steel.Directed by the Civilians artistic director, Steve Cosson, the smartly minimal production unfolds against a cool-gray monochrome interior, like a slate wiped clean. Frames that might display family portraits hang empty, and what could be a wall clock has no markings of time (the set design is by Riw Rakkulchon). Characters appear isolated in the dark, as they connect at a distance on the phone or retreat into their own perspectives (the lighting design is by Jeanette Oi-Suk Yew).Pia explores whether it’s possible to alter what we remember, and memory’s relationship to identity, by delving into empirical study rather than excavating and sorting through emotions. The play includes perhaps one too many descriptions of real-life experiments, which are limited in dramatic potential.But “What You Are Now” excels in unforced revelations about the human struggle to connect, and to share the messy and sometimes painful stories that make us who we are. Everything we hear and experience, and how we remember it, reshapes our brains, Pia says. It’s a scientific testament to the power of storytelling to change minds.What You Are NowThrough April 3 at the Ensemble Studio Theater, Manhattan; ensemblestudiotheatre.org. Running time: 1 hour 40 minutes. More