“Someone Else’s House: Worth A Virtual Visit @ Geffen Stayhouse

I received my gift box, in suspenseful anticipation of the Geffen Stayhouse’s newest virtual show, “Someone Else’s House,” written by award winning multimedia artist Jared Mezzocchi, and directed by Margot Bordelon, in collaboration with Virtual Design Collective.  The box’ contents included a sage scented candle to set the mood amidst dimmed lights, (the most ideal way to view the show), and a packet of photo cards, replete with historical birthdates and genealogy of the Johnson family who resided in a 200 year old New England house, in Enfield, New Hampshire, with a tale of a true life haunting in its very walls.  A mix of ‘scary ghost story, told around a campfire and a delving into a haunted family tree, aiming to get to the ‘root,’ “Someone Else’s House” is an interactive show, where each audience member’s input makes up an intrinsic part of the story. 

We all have an innate sense of curiosity and wonder especially of things supernatural , macabre or haunting nature.  As a child, I was scared to death of ghosts; now, as an adult, I seek them out as glimmers, spirits, and remnants from my past. Something creepy this way comes in this production, as each new revelation and plot twist has the viewer mesmerized.   Haunting melodic music enhances the intrigue of the story, a true asset to the show.  So much history within the walls , floors , windows , roof of this one home, leads to a mention of a slaughtering cellar. Incidents in this house caused  such trauma to Mezzocchi’s brother (revealed, third person) that, no doubt, terrorized him for his whole life.  The house is a symbolic time  capsule, where the family history was never deleted, but rather was captured in little moments of time.  

The audience is provided with authentic looking snapshots and genealogies of the Johnson clan, replete with captions and backstory from one generation to the next. The photos look realistic, as if frayed, yellowed, and from another era long past, with only ghosts lingering,  yet nowhere in sight.Rather than moving on to the future, the presenter wishes to delve into the past and explore myth or reality; it’s up to the audience to ultimately decide. The viewers virtually enter ‘someone else’s house,’ and cross  the secret portal from the living to the dead, meeting the ghosts that linger in this weird creepy space. Just as one hopes to run as fast as possible, what appears to be real blood is found splattered out of nowhere.  This leads to an inventory and assessment of the room and situation. as the plot thickens. In the age of 23 and me, how could one not be engaged in knowing where one’s family came from and biological roots, the genes that make up each individual, as part of the whole.  We encounter people we  didn’t know, yet yearn to discover  their secrets and mysteries. 

As curiosity is a simple fact of human nature, the show’s narrator does a superb job in encouraging each viewer to think, “What do I do now?”  “Someone Else’s House” is a literal metaphor for Thomas Wolfe’s premise, “you can’t go home again.”  The audience is virtually taken hostage to be an engaged part of the story, putting on their super sleuth thinking caps.  Upon opening the Pandora’s box of sorts, one becomes an integral  part of the story, as each person is assigned to represent and introduce two or three of the family members, telling the history or ‘her story.’  One is compelled to believe horrifying, traumatizing events occurred, and the notion of ‘you can hide but cannot run,’ becomes surreal.  In the world today, rampant with childhood traumas, this story is a top chiller, the making of a quintessential horror movie, or Broadway production.  Grand special effects and ghost silhouettes would be wonderful additions in a live setting for a future date. Disclaimer: this show is not for the faint of heart: one may  vicariously  feel the narrator’s visceral descriptions of pricking sensation in eyes , worry building up in chest; and  gathering in throat. We tend to think one dimensionally about houses and buildings rather than what goes on behind closed doors. 

Watching the story of someone else’s house is sure to ensure the viewer’s appreciation of one’s own abode, no matter how humble, particularly in this year of sheltering in place. 

‘Someone Else’s House’

Where: Geffen Stayhouse virtual theater via Zoom

When: 6 p.m. Tuesdays, 8 p.m. Wednesday and Thursdays, 6 and 9 p.m. Fridays and Saturdays. Ends July 3.

Tickets: $75.00 per household. (subject to change).

Info: (310) 208-2028 or www.geffenplayhouse.org

Running time: 1 hour, 10 minutes

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Mary Todd Lincoln, Interrupted…in “The Ghosts of Mary Lincoln”

The stuff of good theatre involves the storytelling of real people, real life ordeals and struggles, complex situations, and ability to endure. And that’s what fine drama should be all about. Such is the case in “The Ghosts of Mary Lincoln,” written and performed by Tom Dugan, and directed by Shelby Sykes. In a post show ‘talk-back’ at a recent performance, the question arose: ‘what made Mary tick,?” certainly a question many a psychiatrist pondered. Madness? Insanity? Manic Depression? After spending many a day in either the attic or cellar, Mary Todd Lincoln, and her state of mind remains to this day, a subject of much controversy. Dugan portrays quite a sentimental moment between her courtship with President Abraham Lincoln, when he approaches her and states, “I want to dance with you in the worst way.” Mary teases back: “you have fulfilled your request, dancing the worst way possible.” This choice of dialogue adds the much needed levity to a rather dark sequence of tragic events in Mary’s life, including the sudden assassin of her husband and devastating loss of her children. The trauma and loss she endured creates layer upon layer of character depth and dimension which Dugan’s solo show impeccably offers. Dugan uses creative license to reveal her character, both strengths and struggles. In a most creative surprise, Dugan actually took on the role of Mary Todd Lincoln, as the original actress had to bow out. This incident indeed proves the adage, “the show must go on!” He found a refreshing way to portray a difficult figure in history, one who is often unlikeable and hard to understand. Although many previous stage, page, and screen depictions of this infamous First Lady have been far harsher, in this production we get a glimpse of the ‘brains behind the president,’ as his closest, cherished advisor. She is given a fair shake, quite a breakthrough to achieve. As one theatergoer observed, “we got a glimpse of Mary Todd Lincoln on a good day!” The drab, muted colors of the set decor further add to the tone of the show and flavor of the story. Despite reaching her breaking point with little or no coping skills, Mary Todd Lincoln had a husband with unwavering loyalty. One most poignant, vivid scene in the show was the reenactment of that fateful night at Ford’s Theatre, a play within a play, as it were, where dark pools of blood stained Mary Lincoln’s clothes, as her husband, sitting beside her, is shot. She loses her heart of hearts, her soul mate, as well as her children, all the loves of her life. When she was young, she was afraid of ghosts, yet later in life, she wished to draw them near. Ghosts and spirits haunted the widow Lincoln throughout her life, and in this show we see her emotions get the best of her, with the consuming grief burning within.

Tom Dugan’s ‘backyard playhouse’ is the ideal venue to illustrate and elevate the history playing out onstage. At every twist and turn throughout the production, we learn a new aspect of Mary Todd Lincoln’s formative years that shaped her into the extraordinary woman she grew to be. How incredible that this one person show brought her story, her struggles, her ultimate survival, to life onstage. Her spirit will remain with us forever.

through May 1st

Fridays and Saturdays 8 pm

reservations: dbptickets@gmail.com

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Mind Blowing Magic @ Theatre 40

A night of magic, mentalists, mimes, and mystery brought the audience back to the vaudeville days of the Orpheum Circuit Tour, as Felix Jones hosted and entertained an enchanting evening, so real it was almost hard to believe it was virtual, on a screen! Jones introduced the evening’s theme and performers, all who have performed at the illustrious Magic Castle, and reminisced back to the days of Harry Houdini. The ensemble included Simone Turkington, and mime (Faust) Chris Herron, each waxing nostalgic with vintage costumes and acts. Perhaps the greatest trick of all was that this show, for its entirety of ninety minutes, allows the zoom audience to let all worries disappear. True theatre escapism at its core. All pandemic related fears and thoughts vanished as Felix Jones transformed the evening into a complete narrative of magical feats, illusions, and sleight of hand amazement. Since performers live for the excitement of applause and accolades, the zoom viewers were allowed to unmute themselves, and even step into the action, as the show was interactive and engaging throughout. A personal connection between performer and audience was part of the inherent magic. Perhaps, the wise magician, Felix Jones, said it best,: “It’s not in the stars to hold our destiny, it is within ourselves.” Replete with X-ray specs, and enchanting music boxes, this magic show extraordinaire brought sparks of joy to last much longer than only one evening.

http://www.theatre40.org

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Rethinking the Culinary World in “Bollywood Kitchen” @ the Geffen

In a world currently inundated with the most creative and innovative culinary reality shows streaming on cable networks, the Geffen Stayhouse takes a similar leap in presenting “Bollywood Kitchen: Culinary Theatre.”  Distinguished writer/director/producer Sri Rao takes us on a dazzling, delicious journey through his home kitchen in a virtual show where life story meets cooking demo.  One can ‘virtually’ taste the spices of curry, cumin, cocoa, and chai as they sizzle and come to life on screen.  “Bollywood Kitchen,” based on the writer’s book of the same title, is the epitome of theatre in its rawest form.

As we zoom in from our own living room into Rao’s kitchen, we are transported into an intimate space, where we learn the secret recipe to the performer’s signature recipe, chicken curry, his Indian mother’s most prized dish.  The audience immediately feels an emotional connection, as we enter Rao’s comfort zone and visceral memories of childhood, the most acute ones associated with the taste, smell, and nourishment of his cultures’s food, which defined his formative years.  This one man show is a love letter, an homage of appreciation to his parents and a testimony  to the grounded person he has come today, with both roots and wings. As many brilliant Indian directors and screenwriters such as Mira Nair (Mississippi Masala; Salaam Bombay,) this immersive show provides an opportunity to combine the art of cooking and entertainment, sure to please a foodie’s palate and a theatregoer’s experience.  A central task in many spiritual practices is  let go of fixed habits or rigid ideas such as a traditional  theatre space, and the Geffen has faced the challenge of this pandemic in creating the ‘Stayhouse’ format.  The new and unknown, always frightening, is handled amazingly, as we vicariously cook, eat, and live through Sri Rao’s colorful stories and family anecdotes. 

In advance, the Geffen delivers an impressive “chef’s table Bollywood box,” package to the ticket patron’s door, a delectable, essential kit of Indian spices and ingredients, replete with recipe cards. If one dare wishes, he/she has everything needed to follow along with the live cooking demo in theatrical form.  It’s clear how Rao has soul searched and kept true to his identity as  a connection to his ancestors while also crafting his own life, career and passion in his daily work as an actor, performer and writer. Now he can add ‘culinary creator/chef’ to his impressive list of credits. It’s evident he was drawn to this pursuit almost as a calling, a history he never wanted to forget , yet also a way to reinvent and share this enthusiasm with others. The show is a clear, concrete way to offer the precious gift of his culture, a way to make an ordinary act into something extraordinary.  Sri Rao literally brings to the table, the question of ‘who am I?’ and finds the  answer: the power of self love.  The show’s sights and sounds are brilliant and visceral, bursting off the screen. I found myself more than once, craving each dish and drink, inspiring my own culinary endeavors in the future. As Rao explores how his family, immigrants to America adopted their own way of life, to be themselves, work hard, integrate into the culture, yet remain connected to their past, so too, Rao reveals his way to blend into the melting pot and stay secure within his roots, in this innovative theatre construct. 

In front of our eyes, we see this moment of blossoming and transformation. Theatre at its core exceeds all borders, as it taps into a solo show performer’s life journey, and “Bollywood Kitchen” is exquisite in doing just that.  Experimenting and adding trendy twists of flavor to his childhood meals is a defining element of the show, not only revealing the close bond and respect for his parents, but also honoring their tradition. From generation to generation, he embraces his ‘inner Indian’ culture, feeds his soul, and becomes whole.

The central process of much theatre is  self discovery and a coming of age, coming  to terms with childhood and moving forward. Bollywood Kitchen is Rao’s therapeutic way to discover his life purpose.  The story is one part talk/monologue, but chalk full of delicious memories and backstory, allowing each of us to relish and savor the foods and drinks of India’s cuisine, even including the proper way to cup a scoop of curry into the rice, using one’s hands, rather than utensils! He gives his parents the words they never had the chance to say verbally and this show will definitely change the way one thinks about food, love, and life, and how they constantly intertwine. The show is a universal art piece, filled with life lessons and cooking courses, sure to resonate with every culture, gender, and age. It’s a refreshingly new theatre story and premise, and so necessary at this time when we all seek spiritual nourishment and are hungry for meaning.Eat, drink, pray… sit back, have a cuppa chai and go see and taste “Bollywood Kitchen: Culinary Theatre.”  

http://www.geffenplayhouse.org

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Richard Shelton Channels Frank in “Sinatra: Raw” at the Sorting Room @ the Wallis

This one man show, performed by the magnificent Richard Shelton, brings one back to the nostalgic, romantic  time when nightclubs such as the Ruby Dunes and the Purple Room in  Palm Springs reigned supreme.  Starring Richard Shelton, who magnificently embodies the essence and aura of ‘ol blue eyes’ himself, the show “Sinatra: Raw” is set in the purple room at the luxurious Club Trinidad in Palm Springs.  His tribute to the late, great Frank Sinatra is a love letter to this legend, especially comforting at this time of the coronavirus.  His show, with soulful words and nostalgic stories down memory lane, reminds us of simpler, gentler times, when people hugged and sat together, cozy in cabaret lounges, not socially distanced through a zoom screen.  Yet, even through this technological medium, we feel Richard’s passion clearly on display.  His amazing ability to belt and croon Sinatra’s classic ‘oldies but goodies,’ like “Fly Me To the Moon,” and “My Way” transports the audience to another place in time.  
Both singers’ (Shelton/Sinatra) enduring, romantic impact on their audience, in the heyday of the nightclub and thereafter, prove their timeless talent as entertainers.  Richard Shelton perfectly portrays all things Sinatra, and brings showbiz royalty back to the stage, as we recall Sinatra’s lasting mark on American culture.  Frank Sinatra is one of the greatest singer/actor of all times, with Richard Shelton doing him complete justice, bar none.  Despite a love life filled with tumultuous romances and tawdry affairs, Frank’s songs were iconic romantic, evoking spark and sizzle.  Shelton’s inflections, voice, smile, authentic American accent are all completely on key, with the precise cadence and understanding Sinatra’s words and moves, which were absolutely brilliant.  He could take a simple song far beyond the surface.  Sinatra’s ability to attract friends far and wide, from kings, celebrities, presidents, and the common folk speaks to his start from humble beginnings in Hoboken to the soaring height of ultimate fame and fortune.  Richard Shelton is like Sinatra himself. He uncannily grasps each idiosyncracy of such an iconic figure, a daunting task indeed.  This talented suave Englishman has taken upon himself an understanding of a legend as American as apple pie, with an impeccable, authentic portrayal. 

The Wallis has gone above and beyond in honoring Frank Sinatra and his remarkable contribution to the great American songbook.  The Sorting Room transforms itself into the Purple Room, as Richard not only sings, sounds, and looks like Sinatra, but his physical mannerisms and energy personify the legend as well.   The beloved songs of the evening were:  “I Get A Kick Out Of You,” “I’ve Got You Under My Skin,” “A Very Good Year,” “My Foolish Heart,” “I’m A Fool To Want You,” “Angel Eyes,” “Fly Me To The Moon,” “That’s Life,” and “My Way.”

What a beautiful way to celebrate, remember, and be transformed to another place and time. 

http://www.thewallis.org

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An Aha Moment to Hold Onto

Lots of layers and intricacies, as revealed in the Braid’s newest show, .   It’s the moment in one’s life that serves as a wake up call, a figurative shofar call.  Now a common, everyday term in the lexicon, aha moments are anything but ordinary. The talented ensemble of Lisa Cirincione, Vicki Juditz, Dion Mucciacito, Brianna Gurdzhyan, and Judy Carter each tell his/her own moment of awakening with each story mesmerizing.  The zoom feature has the amazing ability to make this show feel as if the viewer is in a private living room or salon, the precise intent of the Braid’s productions, from its very start. Writer Maureen Rubin’s  piece, “Breaking Up is Hard to Do“, is a prime example of how, despite a curveball thrown at her, she’s lived her best life, and how her unique experience expands to a universal level, sure to resonate.  An aha is one of inspiration and insight.  Such is the case with Susan Morganstern’ s “Goodnight, My What?,” in which she meets her forever beshert at a steamy bar.  These stories will provoke the viewer to look within and never see a personal, pivotal situation at surface level, going forward. It also gives  our next generation, l’dor v dor, the needed awareness and tools to face similar scenarios.  Ronda Spinak, artistic director, explained during a talk back post show, the depth  of thought and continuity goes into the curation of each show.  “” These  performers bring the best of themselves as they present insights and pearls of wisdom that resonate with each individual viewer in a unique, personal way. Their stories pave the way to learn from life’s curveballs, one prime example being the year of 2020, the unexpected pandemic.  One such vignette, “Can I Feel More Free During Covid?,” written by Emma Peretz, explores the writer’s aha gleanings on her sheltering  in place during the pandemic. Watching this show is the best example of how to unearth an aha moment… and move forward. 

http://www.the-braid.org

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Suspense in the Air in “Citizen Detective” @ the Geffen

“Citizen Detective” is yet another gem from the creative forces at the Geffen Playhouse. Written and directed by Chelsea Marcantel, and featuring Paloma Nozicka and Mike Ostroski, is a suspenseful whodunnit, actively engaging the zoom audience, to solve the crime, just as police often welcome public citizens as supplemental, essential detectives on the case at hand. In this case, audience members are divided into teams (mine was the gut followers). The audience embraces the cues and clues and take the Hollywood murder mystery into their own hands. At first, it may seem like a challenging virtual game of Clue, with viewers jumping into dangerous waters and unchartered territory, but each person discovers his/her own inner instinct; ultimately working together to analyze each detail of the scene of the crime. The two main characters (Nozicka and Ostroski) serve as both guides and foils to help aide in getting to the truth of the matter, yet also at times confuse the teams with twists, turns, and mistaken identities, much in the same style of Alfred Hitchcock, Agatha Christie, and Rod Serling. Finding the hidden kernel and solving the crime is almost as amazing as the production itself. To get the last piece to the big puzzle is the ultimate reward for all. Citizen journalism and detective work has become all the rage and so necessary in matters of life and death, both on the street and on this stage. In this show, it’s obvious that each audience member gets completely invested, devoting their entire being, mind, and soul into logical deductions, based on both physical evidence and gut instinct. Similar to the recent HBO Max’ “I’ll Be Gone in the Dark,” intriguing problems and cases can take experienced police forces 30 years to solve, and stymie breakthroughs, until ‘citizen detectives’ and ‘third eyes’ step in. Everybody loves a scintillating game of clue or whodunnit, especially during a stifling pandemic. “Citizen Detective” is brilliant in inspiring attention to detail among the audience sleuth members in a fun, engaging, interactive virtual escape room on screen. This show will leave you mystified and empowered in one. Get your crime drama/mystery genre game on and check out “Citizen Detective.”

through Feb 7, 2021

http://www.geffenplayhouse.org

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Angel Gains her Wings in “Through My Eyes” @ The Whitefire

Angel (Angel Guice) floats in her own little bubble of light and love, as she performs a soliloquy of liturgical poetry, dance, and song. She conveys to the audience viewing on zoom, an intimate sense of her self perception as goddess warrior, as she emphasizes the phrase, “I am strong.” She practices what she preaches, in the form of a daily affirmation: “I matter. If it is to be, it is up to me.” She relays a personal story of visiting her brother while in jail, eliciting empathy from her audience, even at a social distance. She offers tough love, drizzled with encouragement. Her performance mixes a tone of melancholy with vibrant dialogue and powerful music, presenting a one woman show that is anything but one dimensional. She gives glimpses of her family life and the heirlooms of treasures she has inherited, all in the name of staying alive. She prays aloud for bubble to never deflate, reaching up, stating, “God, you’re up there, so I keep my head up and stay focused. It’s clear, from her passion and presence of mind, that the ‘have nots’ must beat the system to get off the streets to become ‘haves,’ and that the pain should be released and transform into joy. Her wisdom and philosophy enables her to find the light out of her darkness, and in turn, allows the audience members to release internal negativities, finding a clear pathway out of hurt, harm, and danger. At show’s end, she proclaims, when recollecting memories of her life in the projects in Atlanta, “I’ll always be street smart, and that bubble of my family…no one could pop it… til one day…” Angel miraculously transforms from a young woman pained by a first love, to a queen, cherished in a second love.

http://www.whitefiretheatre.com

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Natasha McCrea Tells Her Story & Changes Lives in “Evolution of a Love Addict” @ the Whitefire

Loving…letting go…moving on…finding one’s soulmate. Many a self help book, poem, song, film, and theatre performance has been created on said subject. Now, unlike any other, in a superb class of its own, comes renowned author and love healer Natasha McCrea, reprising her one woman show, “Evolution of a Love Addict.” Having performed this show in 2012 in Atlanta, and then four years later in New York, Natasha now graces the stage in Los Angeles, live-streaming from the Whitefire Theatre. Comparing the show from then to now, she states,”back then it was, let me tell you my story for me; eight years later, it’s let me tell my story for others.” Not only has she evolved from a woman addicted to love, sometimes in all the wrong places, but has evolved into a performer, a talent, a star, glistening on stage, carrying a one woman wonder show, with an important message for audiences to hear. As Natasha retells many an anecdote of her first dates to first loves to first marriages, and then repeating the cycle, she shares the sensitive theme of love and loss, and ‘this too shall pass,’ with such vulnerability and pathos, sure to resonate virtually with each audience member, male and female alike. Between blind date, speed dates and meet ups, she finds one man after another, that she must say ‘puff puff pass,’ until the final vignette in the show, a culmination of sorts, where she finally, and in a quite fulfilling moment, states ‘puff puff exhale!’ In the post show q&a, Natasha told viewers about her writing process, and how journaling her own experiences and life lessons has infused her with the ability to empower and encourage others, as a love coach of sorts. One question posed was: “how do you forgive family and people in past relationships, rather than becoming jaded?” Her response : “its much easier to move on, if you can have open dialogue rather than sweep it under the rug.” In remounting her show in 2020, this talented performer is coming from a new stage in her life, “grounded, centered, loving life, bringing my full self to the table.” This life story, filled with gems of wisdom, is sure to land upright into the hearts and minds ready to receive.

http://www.whitefiretheatre.com

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Tell Your Friends to Go See “Tell Him It’s Jackie” @ Dugan’s Backyard Playhouse

Tom Dugan (Wiesenthal, The Ghosts of Mary Lincoln, Robert E. Lee- Shades of Grey) is an innovative playwright/historian, bringing biopic solo shows to the stage, highlighting iconic historic figures. In “Tell Him It’s Jackie,” Dugan’s current production, being performed in the intimate venue of his own backyard, Kait Haire delivers a spot on, larger than life performance of Jackie Bouvier Kennedy Onassis. In the post show Q&A, when asked how she impeccably ‘nailed’ Jackie’s exact physical expressions, mannerisms, and accent, Kait  stated, “I consumed numerous videos and documentaries of live footage, garnered after her death, as well as studying Natalie Portman’s portrayal in the film, ‘Jackie.’”  Tom added, “I wanted to give her the three dimensional sense of human being” that she truly embodied.  Not only does Kait physically resemble the late First Lady, but she also captures her aura and essence. The audience does not only see a woman filled with grace and dignity, but also gets a glimpse  of obstacles, drama, and temptations in her personal, private life.
At show’s start, Jackie reveals facts about her unusual upbringing, breeding and college life, comparing the title, First Lady,  to a thoroughbred race horse. She also, in two separate lines of dialogue, explains the myth/reality of her young  son being called John John by the public, while John at home.  Life wasn’t as charmed as it seemed, in Camelot, as depicted by her incessant drinking of scotch and whiskey throughout the show.  A poignant, visceral line of dialogue was “this scotch tastes like tragedy.” Her insecurity and ‘on the verge of suicide’ state of mind is real, as she  throws objects throughout the set, almost breaking lamps, and she describes how on that fateful night, she threw a crystal champagne glass, which shattered her television screen, like ‘glass confetti breaking into tiny pieces,” she recalls. The night is June 5, 1968, when Robert Kennedy is shot and killed at the Ambassador Hotel, Los Angeles. The entire show revolves around Jackie, her reaction that night, while home in New York, and the tension felt by the audience is palpable.  The history of that specific night comes to life once again, center stage, amidst a simple yet detailed set, as Jackie vividly tells her story through tears, shock, and anger.  Each move and gesture tells a thousand stories.  Each word of dialogue precisely depicts Jackie’s intense pain and grief, knocked too many a time by tragedies befalling the Kennedy family.  This period of history is a lot to pack into one single performance.  Adding some much needed levity, she invites a hint of promising new romance into her life with Aristotle 0, towards show’s end.  
Ultimately, Jackie’s story stands for hope, not despair, and she, like each one of us, has a right to be understood.  The playwright, Tom Dugan, is brilliant and masterful at bringing the audience from the worries of current day pandemic to that memorable era, where each viewer is lost in another time and place for at least seventy five minutes, which is truly what good theatre does.

Through Nov. 21

Dugan’s Backyard Playhouse 

Fridays and Saturdays 8pm

Reservations: Tom.dugan@outlook.com


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