Unmasking Ancient Myths

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Bruce caricatureBruce The Blog Beyond Broadway  

BY BRUCE APAR

When Bruce The Blog Watches… People Act!

The Mask of the Jaguar King
by Stuart Warmflash
Directed by Bram Lewis
Through April 23, 2017 (weekends)
The Schoolhouse Theater
3 Owens Road, North Salem, N.Y. 10560
(914) 277-8477
Order Tickets on Website


It’s safe to say that dedicated theater-goers wouldn’t mind seeing more richly-themed dramatic offerings like The Schoolhouse Theater’s beguiling production of The Mask of the Jaguar King.  

Described by the producers as “Part battle of angels, part ghost story, part ritual dance, using indigenous and original sound landscapes with live music,” it is now on stage at the absolutely charming Croton Falls theater, playing weekends through April 23 (see ticket info above).

Review continues below photo…

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MAN ON A MISSION. Actor O.V. Daniels commands the stage as the quixotic Quetzal.  Photo courtesy The Schoolhouse Theater. 

NOTHING LIKE LIVE THEATER
Faced as we are these digital days with images washing across screens of all sizes, plus the reclusive obsession of binge-watching, the intimacy, immediacy and electricity of live theater grows more appealing as a flesh-and-blood antidote to electronic entertainment. That’s one good reason there is a groundswell forming for local live entertainment. It’s spreading and drawing crowds.   

Walking into the Schoolhouse Theater, the audience instantly is thrust into the recesses of a remote jungle in Guatemala in June 1933.

AIR OF AUTHENTICITY
Our real-world state is willingly suspended by the painstaking detail and artistry of a campsite setting in the shadow of the forbidding facade of an ancient Mayan temple. We see a makeshift brick stove, lantern, suitcase and other totems of the time. The set design’s air of authenticity wafts across the audience.

The crown jewel is the jade- and onyx-studded mask of The Jaguar King. The priceless artifact is the prize in a tug-of-war pitting the witty, bull-like Quetzel against the disarming rope-a-dope style of Sophia, who gives as well as she gets. Let’s just say the two have entirely different reasons for coveting the mask.

At times, it feels like a Disney set piece, with monkey sounds and other ambient sound effects. Most welcome at regular intervals is the virtuoso guitar-playing of Peter Calo. His credentials are solid gold, having played with everyone from Carly Simon and Andrea Bocelli to Willie Nelson and Leonard Bernstein. The only cavil in this corner about the incredible Mr. Calo is that we don’t see and hear more of him. He adds wonderfully to the show’s dream-like spell that it casts on the audience.

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DIG SHE MUST. Meghann Garmany as archaeologist Sophia gets in her disarming digs at the combative and proud Quetzal. Photo courtesy The Schoolhouse Theater.

DECLARATIONS OF INDEPENDENCE

Schoolhouse’s compact, 99-seat black box space is ideally scaled for this production, directed by Bram Lewis with verve and vitriol, which make for some explosive declarations of independence.

Conflict is the heart and soul of all drama. At the heart of Jaguar King is the stark contrast between its only two characters:  Sophia (Meghann Garmany) and Quetzal (O.V. Daniels).

She is a tightly wound, frosty archaeologist from Manhattan who is all business and focused on bringing back priceless artifacts from a dig. He is a passionate revolutionary who is intent on spiriting way those very same artifacts, which to him represent oppression and familial tragedy.

TO WHOM DOES HISTORY BELONG?

As the press material more fully explains, “The Mask of The Jaguar King is a religious mystery pitting the politics of imperialism against the desires of the heart,” press notes state. “In 1933, a battle of the sexes breaks out when an American archaeologist finds herself stranded at the site of a Mayan Temple with a dangerous Hispanic revolutionary intent on stealing priceless ancient artifacts. As they slowly unmask each other’s dark personal secrets it remains unclear, who is the real outlaw? To whom does history belong? And does the value of preserving the past justify the injustices of the present?”

The character of Sophia, says playwright Stuart Warmflash, is modeled after 1930s archaeologist Tattiana Proskouriakoff. Quetzel represents the rise of the outraged underclass, ruled by the heavy hands of oppression and exploitation. It was a time of colonial expansion into Central America, and, to native revolutionaries like Quetzel, imperialism was the curse of evil empires wanting to tame and harness the working class in vulnerable nations.  He understands the laws of the jungle and unabashedly uses them as his survival kit.


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KING MAKER. Bram Lewis, artistic director of The Schoolhouse Theater, directs The Mask of the Jaguar King with his usual theatrical flair. Photo by Bruce Apar


FROM SEETHING TO SPIRITUAL
As Quetzel, the salt-of-the-earth, cocksure protagonist of the piece, O.V. Daniels is a theater goer’s gift. His is a masterly performance of power and nuance. One minute he’s railing rabidly against “those corporate bastards the United Fruit Co.,” and the next minute he is exuding other-worldly spirituality.

Meghann Garmany effectively cools down and counters her nemesis with swan-like elegance, although, despite appearances, life for her isn’t all sweetness and light. 

Mr. Warmflash has given his feisty creation some choice observations, even epigrams, like, “The law is whatever those in power decide it is.” Or, “There is no God. Only the divinity of a gun.” I call them Quetzel’s Quotes.

A SUPER POWER WITH SMALL VISION
Quetzel’s mischevious and growling persona comes through con brio when he says to the stuck-up scientist, “It may surprise you to know we have schools in this part of the world.”

Another zinger is “You Americans have such small vision.” Therein lies a persistent undercurrent of the writer’s theme: Things are not always as they seem. America certainly is a land of opportunity. At times, that privilege can bleed over into self-delusion about how omnipotent and omniscient we are about foreign cultures we study from afar but still don’t truly understand up close. 

The play’s production notes tell us that “The Jaguar King history, the scepter, and the mask are fictional, but loosely based on the region’s folklore and archaeological history.”


Bruce Apar is Chief Content Officer of Pinpoint Marketing & Design, a Google Partner Agency. Its Adventix division helps performing arts venues, including The Schoolhouse Theater, increase ticket sales. He also is an actor, a community volunteer, and a contributor to several periodicals, including Westchester Magazine. Follow him as Bruce The Blog on social media. Reach him at bapar@pinpointmarketingdesign.com or (914) 275-6887.


A Lot to Like in ‘Lot’s Wife’

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Bruce caricatureBruce The Blog Beyond Broadway  
BY BRUCE APAR
When Bruce The Blog Watches… People Act!

Lot’s Wife (American Premiere)
by Albi Gorn
Directed by Karina Ramsey
Through March 25, 2017 (weekends)
Westchester Collaborative Theater (WCT)
23 Water Street, Ossining, N.Y. 10562
Order Tickets on Website
(914) 271-2811


Albi Gorn started writing Lot’s Wife more than 20 years ago, then recently reworked it in theater workshops . Considering how this pithy parable about survival, faith, assimilation and intolerance resonates today, the prolific and talented playwright either is visionary or an astute student of historical cycles. Let’s call it both.

His work – now on stage through March 25 at the new home of Westchester Collaborative Theater (WCT) in Ossining – is not only close to the bone in how it mirrors the prevailing, authoritarian political climate, but also sticks to the bone well after you’ve exited the performance space. (Review continues below photo…)


WHY? Julie Griffin (top) is in the title role in Albi Gorn’s “Lot’s Wife,” with Justina Dieck (c) as Shira and Jessica Hickey as Geula. Photo courtesy Westchester Collaborative Theater

Mr. Gorn has taken the biblical tale of the wayward denizens of Sodom – and their wholesale punishment at the hands of a vengeful God – and has modernized it with his usual deft hand and highly literate sensibility. As in all of his diverse body of work, the award-winning dramatist likes to challenge glib assumptions and look at life a bit askance, with humor lightly salted throughout. (In this version, however, we do not witness Lot’s wife’s lot in life, which is to be a-salted for turning her back on God.)

In the Gornification of the story of Lot, we are treated – and a treat it is – to a female-voiced God, a choice that is refreshing and no less plausible than the age-old conceit that an omniscient spirit is identifiable by any gender at all.

THE MAGNIFICENT 10
The author leaves the Genesis storyline intact: Abraham (Kurt Lauer) is God’s earthly emissary who informs Lot (Ron Schnittker) — along with Lot’s wife (Julie Griffin), and their daughters, Geula (Jessica Hickey) and Shira (Justina Dieck) — that they must find 10 innocents among the unholy populace to spare the entire town a fiery death for forsaking God (the voice of Ms. Griffin).

The Lots themselves have lots to be thankful for, because they are protected by a pair of angelic messengers mercifully dispatched by God, Yael (Michelle Daneshvar) and Ashonael (Jason Fineberg).

The setting of Lot’s Wife still is antiquity, but some of the vernacular invokes today’s idioms, as when 13-year-old Shira giddily tells the angel Ashonael he’s “hot.” Or when the symbolic villain of the piece, 18-year-old Sodomite Horab (Ralph Vandamme) — an appropriately intimidating presence who is dutifully vigilant about rooting out undesirable Hebrews — menacingly avers, “There are some people here who should have their butts kicked.” The strapping young actor is all too convincing that he could do it, too.

DEALMAKER, DEALMAKER, MAKE ME A DEALHe also knows how to balance playful with tasteful. When Abraham pleads with God to reduce to 10 from 50 the number of worthy Sodomites who must be found to save the town, the playwright manages to turn the exchange into a charming, laugh-inducing negotiation, as if the father of the Hebrews had just read “The Art of the Deal.” Not. One of the signal accomplishments of Lot’s Wife is how its author packs a lot of timeless themes rather neatly into a tight, well-paced package:

In 16-year-old Geula (Jessica Hickey), daughter of the Lots, we are reminded how the next generation is given to its own agenda at times, as well as its doubts that can disconnect it from the experience and teachings of their parents.

In Lot, a wealthy man whose “go-along-to-get-along” submissiveness to the Sodomites is in sharp contrast to his wife’s proud and disciplined defiance of their oppressiveness, we are reminded of the wages of sin when more faith is placed in the almighty buck than in the almighty. Sound familiar?

DRAMATIZING, NOT MORALIZING

That kind of gentle nod to current culture places the teachable moments of the story in both a more relevant and a more diverting context. The symbolism in Lot’s Wife – with its pitch-dark overtones of holocaustic witch-hunting and genocide – is readily available to the audience, but in artful brush strokes. We thankfully are not bludgeoned by it, as can occur in theater pieces that veer off into moralizing at the expense of dramatizing. Mr. Gorn proves masterly in the elusive writer’s credo of “show, don’t tell.”

In Lot’s Wife, we empathize with the guilt of survivors — whether it’s a natural disaster, the sudden loss of a loved one, or genocide — and with the unanswerable question they are plagued by the rest of their days: Why?

There are several revelations of this production that are worth savoring for any local theater-goer.

GENERATIONS OF TALENT ONSTAGE

One is the energy and the talent of the four young actors on stage, three of whom are in the drama program at Ossining High, with one a student at John Jay Middle School. Placed alongside accomplished adult actors – all of whom prove their mettle with fine performances – the younger actors hold their own and mesh beautifully with their elders.

In the principal roles, Julie Griffin, Kurt Lauer and Ron Schnittker make a strong trio of veterans who propel the story with conviction and dramatic weight.

Also worth noting in smaller roles are impressive thespian Donna James as Abraham’s wife Sarah and Pat O’Neill as an Innkeeper in a flashback scene.

Another revelation is the resourceful use of Westchester Collaborative Theater’s newly-occupied space in a former furniture cabinet factory on Water Street, next to the Metro North station. Considerable kudos are due WCT executive director Alan Lutwin and executive producer and director Karina Ramsey, as well as set designer Jonathan Curns and the rest of the production staff – including costume designer Libby Brennesholtz – for making the most effective and practical use of a compact space. Their efforts evidence a lot of industry and ingenuity that are the saving grace of many a local theater company.


TAKE A BOW! The cast of “Lot’s Wife” takes a bow at Westchester Collaborative Theater’s new theater on Water Street in Ossininig: (from left) Ralph Vandamme, Donna James, Kurt Lauer, Jessica Hickey, Justina Dieck, Julie Griffin, Ron Schnittker, Jason Fineberg. (Not pictured on right) Michelle Daneshvar. Photo courtesy Westchester Collaborative Theater


Media and marketing specialist Bruce Apar is Chief Content Officer of Pinpoint Marketing & Design, a Google Partner Agency and Certified Google AdWords Professionals. As “Bruce The Blog,” Apar is a weekly columnist for Halston Media newspapers. He also is a contributing writer for Westchester Magazine and an actor. Follow Pinpoint Marketing & Design on Facebook and LinkedIn, and as @Pinpointments on Twitter and Instagram. Follow Bruce The Blog on social media. Reach him at bapar@pinpointmarketingdesign.com or (914) 275-6887.


A Memorable Play on Memory

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Bruce caricatureBruce the Blog Reviews Theater
BY BRUCE APAR
When Bruce The Blog Watches… People Act

 

You Will Remember Me (American Premiere)
by Francois Archambault
Directed by Dan Foster
Executive Produced by Denise Bessette & Olivia Sklar
Through Oct. 29
Whippoorwill Hall (at North Castle Library)
19 Whippoorwill East, Armonk, N.Y. 10504
Hudson Stage Company
HudsonStage.com
(914) 271-2811

As I sat watching “You Will Remember Me,” I found myself nodding. Not nodding off as in falling asleep. Not even close. I was nodding in recognition and agreement with many of the viewpoints being channeled through the characters on stage.

Montreal playwright Francois Archambault has a lot on his mind. He’s interested in ideas. Alas, “people aren’t interested in ideas, they only want to feel,” bemoans his lead character Edouard Beauchamin. The retired professor of history is short on memory but not on grievances about the declining state of culture.  

Cast-You Will Remember Me

Cast and creative team of You Will Remember Me: (from left) Susannah Schulman Rogers (Isabelle), playwright Francois Archambault, John Hutton (Edouard), director Dan Foster, Ella Dershowitz (Berenice), Susan Pellegrino (Madeleine), producer Denise Bessette, Chris Kipniak (Patrick), choreographer Tony Yazbeck, producer Olivia Sklar, script translator Bobby Theodore. Photo by Bruce Apar

 

The author calls ours “an era of extreme intellectual mediocrity,” in part because “being angry and name-calling isn’t thinking — it isn’t even particularly serious behavior.” As we’re all too familiar from fact-free, emotionally-charged social media posts — especially about politics — “you don’t even have to know what you’re talking about.”

He coins a lot of choice lines along those lines. I could fill almost this entire space with the slings and arrows he aims — with unerring accuracy — at our collective foibles.

EDOUARD IS BOUNCED AROUND LIKE A RUGBY BALL IN A SCRUM

All those sentiments are expressed by Edouard, whose frustrating struggles with progressive memory loss, while still in his sixties, are ironic and made more tragic because he is such a conscientious thinker.  He could pinpoint a litany of historical dates and events but, as the cliche goes, don’t ask him what he ate for breakfast.

He also keeps forgetting the identity of the young lady (Ella Dershowitz) in her 20s watching over him, even though her dad Patrick (Chris Kipniak) is dating Edouard’s daughter Isabelle (Susannah Schulman Rogers). Save for Ms. Dershowitz, all the actors are members of Actors Equity.

The twentysomething’s name is Berenice, which connects her in Edouard’s addled mind to a long lost family member whose middle name is the same. As Edouard’s condition worsens, and becomes unbearable for his wife and daughter to handle, he is bounced around repeatedly, and not very gently, much like a rugby ball in a scrum.

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Edouard (John Hutton) isn’t certain about who Berenice (Ella Dershowitz) is, but he is certain about who he wants her to be. Photo by Rana Faure

REMARKABLY CONVINCING AND TOUCHING PORTRAIT OF DEMENTIA 

Patrick’s distracted daughter warms to the task of an attentive nursemaid, accepting the guise he assigns to her of his absent loved one.

Francois Archambault told me at the play’s opening night that he was inspired to write about the subject of dementia by someone close to him who has Alzheimer’s. The person would ask Mr. Archambault what he was working on, and “five minutes later, he would start talking about the same thing. I started making up the answer.” That scenario is mirrored in the play.  

However, other than what the he observed about this person’s behavior, he relied on his own writer’s instincts to conjure the story and its dialogue. “I tried to imagine how it is to struggle with that,” he said. 

Based on what we witness on stage, he did a praiseworthy job of it.

Mr. Hutton is remarkably convincing and touching in the challenging role of a proud intellectual whose joy for life and for big ideas is not about to be dimmed by the ravages of a devastating disease. The cast members who orbit around his star turn form a solid ensemble of alternating emotional connection and mistrust.

A bonus of sorts is an unexpected brief but delightful dance interlude that is used to lyrically illuminate the various relationships. It is choreographed by Broadway’s multi-talented Tony Yazbeck, who was a Tony Award nominee for “On the Town” and was in “Finding Neverland.” There is judicious use in other scenes as well of arresting sound (William Neal) and visual imagery.

Andrew Gmoser’s masterly lighting schemes always deserve mention. Guided by cerebral director and stage magician Dan Foster — who is co-producer of Hudson Stage with Denise Bessette and Olivia Sklar — it all adds up to an engaging, compelling theater experience.

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Edouard’s wife Madeleine (Susan Pellegrino, left) informs daughter Isabelle (Susannah Schulman Rogers) of her plans. Photo by Rana Faure

HUMANS ARE LIKE PLANT SPECIES THAT INVADE ALIEN TERRITORIES

I found Edouard an inspiring character from whom I could learn new things. He likens humans to plant species in how both exhibit a natural inclination toward expanding their territories.

His curiosity about ecology lends itself to the elegant stage design, which is a proud signature of every production at Hudson Stage. Here, Steven Kemp earns applause for his striking ingenuity. The monochromatic motif fills the proscenium space with white cylindrical shapes that emulate stalagmites and stalactites, to connote trees in a forest. There also are outbursts of silver flora to represent common phragmites. Even if you’re unsure how to pronounce it (frag-mighties), you’ve surely seen it around northern Westchester. 

Phragmites are tall and slender amber reeds that populate fields or roadsides and sway lazily in the gentlest breeze. Their notoriety for crowding out other plant life reminds Edouard of mass culture killing off high-minded culture, or of superpowers like the U.S. and China bulldozing whatever obstructs their path to world domination.

For me, the strands of the phragmites stood as apt analogs for the frayed synapses tormenting both Edouard and those in his thrall.

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John Hutton as Edouard (l) repeatedly asks Patrick (Chris Kipniak) what he does for a living.                   Photo by Rana Faure

 WE LET NOISE DROWN NUANCE

Edouard’s onsetting dementia, in my mind anyhow, is a metaphor for a self-induced dementia in society at large, as we give ourselves over to simulated reality and ersatz emotions rooted not in passion but in pretense. We bicker over weighty matters we don’t even take the time or energy to fully understand. We talk before we think. We let noise drown nuance. We let superficial party labels dictate who we are and what we think. We don’t work hard enough to distinguish ourselves through rigorous introspection and the humility of self-doubt. We let ourselves down through sheer laziness.

There’s an existential overlay to the goings-on in “You Will Remember Me,” articulated in Edouard’s dismissive declaration that “You are all prisoners of an endless present moment.” On its face, that observation is an indictment of how we mock the substance of ourselves through social media, which glibly devolves character into caricature and ideas into idiocies. What Edouard says doubles as a depressing description of Alzheimer’s patients, who steadily lose their grasp on the continuum of personal content and context.

As we watched the play, my wife Elyse and I happened to be sitting next to a woman from the Hudson Valley Alzheimer’s Association, Jonelle Ward, director of outreach. Afterwards, she explained to us the distinction between the terms dementia and Alzheimer’s. The former is a general term that encompasses many different conditions, of which Alzheimer’s is the most notorious and prevalent. In some cases, said Ms. Ward, other forms of dementia are reversible.

ADVANCED CARE PLANNING

The Alzheimer’s Association hosts free informational sessions in cooperation with Westchester Jewish Community Services (WJCS). The next is Tuesday, Nov. 15 from 7:30-9 p.m. at Temple Shaaray Tefila in Bedford Corners. It will offer “advice on how to handle tough topics when a loved one has dementia.” For more information, visit Alz.org or call 800-272-3900.

Another free opportunity is offered on Saturday, Oct. 29, at the offices of elder law attorney Salvatore A. Di Costanzo in Yorktown Heights. He is hosting an informal “Fireside Chat” for adult children who want to learn more about such topics as estate planning. Additional free Fireside Chats are scheduled for Nov. 29 and Dec. 29. For more information, contact Melanie Harrison at mharrison@mfd-law.com or (914) 245-2440.                      

ADDITIONAL PRODUCTION CREDITS

Translated by Bobby Theodore
Costumes by Charlotte Palmer-Lane
Stage Managed by Katie Kavett (Actors Equity)
Casting by McCorkle Casting Ltd.


Media and marketing specialist Bruce Apar is Chief Content Officer of Pinpoint Marketing & Design, a Google Partner Agency and Certified Google AdWords Professionals. As “Bruce The Blog,” Apar is a weekly columnist for Halston Media newspapers and PennySaver, and a contributing writer for Westchester Magazine. Follow Pinpoint Marketing & Design on Facebook and LinkedIn, and as @Pinpointments on Twitter and Instagram. Follow Bruce The Blog on social media. Reach him at bapar@pinpointmarketingdesign.com or (914) 275-6887.


Lives as Fragile as Origami

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Bruce caricatureBruce the Blog Reviews Theater
BY BRUCE APAR
When Bruce The Blog Watches… People Act

 

Animals Out of Paper
by Rajiv Joseph
Directed by Stephen Nachamie
Through May 14
Whippoorwill Hall
19 Whippoorwill East, Armonk, N.Y. 10504
Hudson Stage Company
HudsonStage.com

Who would dare to hinge a stage drama on the exotica of origami? (which the dictionary describes as “the Japanese art of folding paper into decorative shapes and figures.”) Only a writer with the confidence, skill and rigor to employ it as a metaphor for the fragility and myriad twists and turns that define every life.

Meet playwright Rajiv Joseph, whose “Animals Out of Paper” holds us in thrall as it unfolds to reveal the inner workings of its three strongly delineated characters. Thanks to first-rate acting and direction, Mr. Joseph’s clever and insightful play is well worth seeing in a splendid production by Hudson Stage Company at North Castle Library’s Whippoorwill Theater in Armonk (HudsonStage.com). It runs through May 14.

As the play begins, we are inside the apartment of origami guru Ilana (Jenny Sheffer Stevens, Actors’ Equity). Brought to life by Broadway-quality set design, it’s a living space that is as much of a mess as the life of its occupant. Ilana’s in divorce mode and her toothless, earless, 12-year-old three-legged dog has run away. Ilana, by her own admission, is not a people person.

Eccentrically engaging Andy (MIchael Guagno) finds that out quickly enough when he comes knocking and Ilana doesn’t bother to disguise her discomfort when this garrulous stranger lumbers clumsily into her reclusive world.

Ilana may be an indifferent host but she’s enough of a renowned origamist that high school calculus teacher Andy beseeches her to tutor one of his students, whose brilliance is blinding.

Michael Guagno-Jenny Stevens-Animals out of Paper

Andy (Michael Guagno) sheds his anxiety to show his feelings for Ilana (Jenny Sheffer Stevens).

THE ‘JIMI HENDRIX OF ORIGAMI’

Like Andy before him, student Suresh (Adit Dileep, Actors’ Equity) barrels his way into Ilana’s apartment, posing with hip-hop swagger, grooving to the music plugged into his ears. He’s a whiz not only at calculus, but, to hear Andy tell it, is also “the Jimi Hendrix of origami.” Flaunting his many-splendored gifts, Suresh milks an opportunity to impress Ilana further by creating freestyle rap lyrics without blinking.

Analogous to Ilana’s escaped canine, this trio resembles a lost, three-legged creature that teeters its way through a progression of naked truths and raw emotions that reveal the vulnerability, confusion and potential for salvation in all of us.

If that sounds oh-so-heavy, leave it to a crafty, cerebral dramatist like Rajiv Joseph to pull it off with the elegance and lightness epitomized by Ilana’s origami, whether it’s an oversize pterodactyl mobile or a heart-shaped mesh that could revolutionize non-invasive cardiac surgery.

Along the way, we witness a clash of attitudes and even cultures (when Ilana comments on how Suresh speaks, he replies, “You think I should sound Indian?”). Each character lives fully within his or her own world, and needs to let others in, but struggles to figure out how.

We also peer in on the various sides of each character, mirroring origami as a geometry of surfaces connected by creases.

Suresh’s outward brio masks his emotional needs and the profound pain he lives with after losing his mother in a fatal hit-and-run accident.

COUNTS HIS BLESSINGS… ALL 8,000 OF THEM

Andy lives in a bubble of blessings, which he literally counts by writing them down in his not-so-secret diary that Ilana ends up reading one night. “When I was 12,” he tells her, “a fortune cookie said ‘Count your blessings,’” and so he does, every day. His obsessive-compulsive tendencies have resulted in almost 8,000 “blessings.”

When Ilana questions how “pain” qualifies as a blessing, as Andy has entered in the diary, he observes, “it’s not pleasant, but it’s real.” That is how Andy, who says he’s never been truly hurt, conditions himself to both feel and to see the bright side of life, even when it’s melancholy. After all, how would we know mirth without knowing melancholy?

Ilana, who hasn’t “folded” since her dog Demba flew the coop, as if in mourning, warms to Andy and to Suresh, almost to her surprise. Sparks start to fly in separate semi-trysts she has with each of the two men, both signs that Ilana finally is returning to the fold. 

Jenny Stevens-Michael Guagno-dinner-Animals out of Paper

Literal-minded Andy (Michael Guagno) gets down on his knee to suddenly propose to Iliana (Jenny Sheffer Stevens) on — what else — Valentine’s Day.

Early on in the proceedings, Andy philosophizes, “Life is short, opportunities are scarce, love is rare.” Suresh tells her, “Meeting you is a blessing.” By the final curtain, all have grown aware of their respective blessings and ready to move on.

“Listen to your heart,” advises Andy. “It’s a reliable narrative.” I felt the same about the enlightening and thoroughly enjoyable “Animals Out of Paper.”

The three actors create palpable stage chemistry throughout, and are well served by the sure-handed direction of Stephen Nachamie. The pacing is as crisp and wise as the dialogue.

As always with Hudson Stage productions, the technical proficiency is first class. Sound design (William Neal) plays a prominent role in this show and it is coolly dynamic, whether hip-hop or Sinatra on the speakers.  Andrew Gmoser’s lighting is as illuminating as ever, maintaining his status as the gold standard.

Special mention also is due the authentically detailed and impactful set designs by Shoko Kambara, and the smooth, efficient set changes governed by stage manager Genevieve Kersh.

Costumes are by Charlotte Palmer-Lane. Executive producers are Denise Bessette, Dan Foster and Olivia Sklar.

Adit Dileep-Jenny Sevens-Animals out of Paper

Adit Dileep (l) as Suresh shows his talent for origami to Jenny Sheffer Stevens as Ilana. All photos by RANA FAURE


 

Media and marketing specialist Bruce Apar, also known as Bruce The Blog, is Chief Content Officer of Pinpoint Marketing & Design, a Google Partner agency.  He also owns APAR All-Media, a Hudson Valley marketing agency that works with The Winery at St. George, Yorktown Feast of San Gennaro, Jefferson Valley Mall, Yorktown Stage, Axial Theatre, Armonk Players and others. He writes a weekly column for several periodicals and hosts public access TV series Hudson Valley WXYZ with Bruce The Blog. Follow him on Hudson Valley WXYZ on Facebook, Twitter & YouTube. Reach him at bapar@pinpointmarketingdesign.com or (914) 275-6887.