Showing posts with label Briana Bartenieff. Show all posts
Showing posts with label Briana Bartenieff. Show all posts

Monday, May 27, 2024

The Surreal Adventures of The Angry Redheaded Lawyer: "Issue #9" by Briana Bartenieff at Theater for the New City

This show takes us smack into the 90s. Before the show even started, I heard Britney Spears’s “Oops, I Did it Again.” My sister would have loved this show’s soundtrack. In fact as I’m writing this review, the song “Supermodel” by Jill Sobule comes to mind (literally playing it as I type this). If you’re into 90s nostalgia and remembering your teen years, this show could well be your vehicle.

But...underneath the gloss and pop of the era is a very dark and dirty tale. I suppose these days that would sum up much of the 90s if various documentaries and behind the scenes tales are any indication. If you dealt with body shaming and weight issues as a teen in those days, you may find a kindred spirit in Lexi (Ada Victoria) a young girl who moves with her mother Natalie (Sandy Melissa Garcia) to a small NY town called Germantown. The year is 1995, THE era of the teen magazine.
Sandy Melissa Garcia and Ada Victoria. Photo by Jonathan Slaff

Lexi comes to town at 12 years old, presumably someone a little miserable having just lost her father and with money being tight at home. We learn that Natalie is working in her friend Sandy’s (Sarah Boess) gas station. Sandy’s younger sister Candy (Grace Bradley) is dealing with her own demons but more on that later.

Not long after getting to Germantown, Lexi meets Taylor (Amy Herzberg) and Ashley (Audrey Latt) who are obsessed with fashion, teen magazines and everything that flows from them. They are also obsessed with getting the perfect weight by starvation and embody the phrase “frenemies.” Lexi soon trades in her baggy Nirvana T-shirt for a yellow dress straight out of the fashion pages. Her birthday becomes an exercise in misery since she can’t even have a bite of her birthday cupcake though she really wants to. She doesn’t feel she can talk to her mother about her conflicts and Lexi later takes her own life, understandably devastating Natalie.
Audrey Latt, Ada Victoria and Amy Herzberg. Photo by Jonathan Slaff

Audrey Latt, Ada Victoria and Amy Herzberg. Photo by Jonathan Slaff

Sandy Melissa Garcia and Ada Victoria. Photo by Jonathan Slaff

We learn that Natalie went through her own body image struggles and downplays that in her daughter since she apparently got over that later on. Presumably she sees it as a teenage phase Lexi will eventually grow out of and overcome just fine.

After Lexi’s death, Natalie gets angry at the fashion mob and one frenemie’s attacks on suicide in the midst of Natalie’s grief definitely don’t help.
Sandy Melissa Garcia, Sarah Boess. Photo by Jonathan Slaff

You wonder exactly what revenge Natalie is going to enact. Is she going to confront the magazine publishers? Confront the fashion designers directly? Lash out at the media? No, not quite.
Sandy Melissa Garcia. Photo by Jonathan Slaff

Natalie takes more local action but it does lead to the death of that disrespectful frenemy. It also leads to the unintentional passing of Candy, a young woman facing a battle with drugs that turns very nasty as the years progress. The show ends with Natalie serving a jail sentence with Stage 4 brain cancer.
Grace Bradley. Photo by Jonathan Slaff

Sandy Melissa Garcia. Photo by Jonathan Slaff

The set design and costuming are great, the musical numbers and dancing are very much on point and I like that a larger lady was in this cast and killing it in the dance sequences. More people should see that sort of representation on the stage, especially in dance where weight pressures are a very real thing.
Ada Victoria, Audrey Latt. Photo by Jonathan Slaff

The presentation of death and how that was crafted in the story was respectfully done and not overly depressing though make no mistake, this show was quite dark.
Audrey Latt, Ada Victoria and Amy Herzberg. Photo by Jonathan Slaff

The show poses some interesting and provocative questions about the influence of teen magazines and their legacy (as presumably that era is dead or simply changed into quests for Instagram or TikTok fame). For one thing, which came first? Mass societal pressure to be thin or body image issues? Would people still have those issues if the media template changed? I suppose we’ll find the answer to that second question in a few years when today’s teenagers and those who lived in the era of Lizzo and body positivity are older.
Amy Herzberg and Audrey Latt. Photo by Jonathan Slaff

I actually recognized a few of those Kamikaze covers as issues I had since I was working in those days and had my own spending money. One thing I bought was magazine subscriptions to Seventeen and YM.

In 8th grade, the resident horndog in my class would offer me money to get a read of my magazines when I brought them to school to read during break times and lunch. He probably liked looking at the pretty girls. I was there for the fashion, the essays and the column on embarrassing stories.

No body shaming or weight issues with me; people thought I was TOO skinny and if I hadn’t been a quiet, smart, “nice girl” with bright red hair who came from zero and couldn’t tan to save her life, I probably would have been a popular girl. Or maybe the boys were just too intimated by me since I was laser focused on getting out of NC but I definitely got hate from a lot of girls and couldn’t get interest from the guys I crushed on. Think of me as someone with the body of Quinn Morgendorfer and the brain of Daria Morgendorfer if you recall that MTV show from the 90s “Daria”.

No eating disorders or unhealthy diets on my end; I’m just a naturally thin person lots of people hate and resent for it (probably even to this day). The difference between me and others is that I never went around body shaming people or calling them fat despite being asked directly if I was anorexic or constantly being told to eat the last of some food or to finish what someone else couldn’t since “you need it.” My tale would dive into the flip side of the coin.

Overall, despite this play dealing with very dark subjects and ending with a bleak outlook it was a good show and even had the infamous Hanson song in a scene change.

Monday, August 14, 2017

The Surreal Adventures of The Angry Redheaded Lawyer: "Checks and Balances" or Bottoms Up! -- a play by Crystal Field at Theater for The New City

"We can see your partisan bias showing!!!" That was the main thought in my head as I saw this show (I mean, the Trump head with swirly ice cream hair and all the evil taking place makes it obvious along with some of the songs) but I do have to admit it was damn funny & definitely had the ring of truth to it.

FYI: this show is literally being held outdoors.

When I came to the performance at Theater for the New City, I was trying to figure out which theater it was in & asked the staff, who directed me to go around the corner to 10th Street. If you're a pale butt who burns after 5 seconds in the sun like me you'll want to arm yourself with good sunblock during the show in case Mr. Sun peeps out. Despite an initially cloudy day, Mr. Sun did decide to peek out during parts so I applied some sunblock I had on me. Lots of passerby also stopped to watch this play as it was taking place.

Our story starts with the premise of the government being for sale and the election of Trump as the starting point for all the really bad stuff taking place (though maybe it was bad beforehand in the story? I'm not sure).

"The Suits" take over immigration policy. Photo by Jonathan Slaff.

Glory (Briana Bartenieff), a young girl in NYC who attends school with her friends and has an idealist “do gooder” history teacher in Mr. Keene (Michael David Gordon), starts her journey on a subway ride from hell to get to a performance of “Hamilton” that her class has been able to get tickets for.

Briana Bartenieff and Trump Puppet. Photo by Jonathan Slaff.

As many a NYC resident who has used the subway, especially this summer, knows what is supposed to be a simple subway ride leads to diversions and increasing frustration for everyone on board. The subway conductor (Justin Rodriguez) gets an earful from the passengers for the constant changes in service and is clearly stressed as well as overworked. The accuracy of subway travel could not have been depicted better.

Justin Rodriguez as subway conductor, under Trump Puppet. Photo by Jonathan Slaff.

Glory ends up separating from Mr. Keene in pursuit of truth, which devastates him.

Michael David Gordon as School Teacher. Photo by Jonathan Slaff.

She ends up in a homeless camp and chats with a few homeless people to learn that she's speaking with a Buddist monk (Mark Marcante), Mother Earth (Cheryl Gadson) and the Blue Fairy (Terry Lee King) who are hiding out as “New York is on the road to truth.” They show Glory a visual exercise of the concept of activism where if you see something, you DO something vs. just saying something & guide her along her journey to truth.

Homeless enclave: (l-r) Matthew Angel, Breana Bartenieff, Cheryl Gadson, Mark Marcante, (hidden) Natasha Velez, Danielle Hauser. Photo by Jonathan Slaff.

To avoid spoiling the ending and events, at first it seems that things aren't going well as the Blue Fairy ends up getting captured in DC while trying to spread “love dust” and “glittering truth” at an exclusive venue where a reporter (Alexander Bartenieff) is shunned. However, things ultimately work out in the end and the aforementioned Trump head is “killed” with the love dust and glittering truth as it spreads among the city dwellers.

"Suits" (Juan Villages, T. Scott Lilly, Lei Chin, Matt Angel) bury the Blue Fairy as reporter (Alexander Bartenieff) looks on. Photo by Jonathan Slaff.

In a twist I didn't see coming, the cast spreads the magic among those audience members sitting in the very front.

Mark Marcante and Terry Lee King dance with audience members in finale. Photo by Jonathan Slaff.

The beginning and ending of this show was definitely the most interesting I've seen since both were extremely impromptu. The opening dance number starts out very slowly then gets a faster freestyle groove to eventually morph into a hip hop routine. The closing number was literally the audience being welcomed to get up and dance as Lady Liberty (Crystal Field, once she is restored to her prior glory with the presence of love dust and glittering truth) invites us to do.

Statue of Liberty (Crystal Field) emerges to lead ensemble in "Forward March." Photo by Jonathan Slaff.

The songs are great. I especially loved “Fake News” with the costuming and the lyrics. There's also “Sanctuary City” and “Fusion” with the men in suits (who reminded me of the many lawyers I see in my day job) dismantling Lady Liberty which are standouts to me.

"Fake News" chorus line. Photo by Jonathan Slaff.

"Santuary City" -- L-R: Terry Lee King, Cheryl Gadson, Matt Angel, Mark Marcante, Natasha Velez. Photo by Jonathan Slaff.

I applaud the presence of live music, a diverse cast and dancers who felt accessible, like any one of us could get on stage and boogie even if we had two left feet. It didn't feel like an atmosphere where you were going to be judged for bad dancing though I personally did not get up and boogie, opting to maintain journalistic integrity.

If you're a liberal or more idealist than most, you'll definitely like this show. If you have a sense of humor, you will like this show regardless of which “team” you voted for.