68 THE QUEENS COURIER • BUZZ • SEPTEMBER 21, 2017 FOR BREAKING NEWS VISIT WWW.QNS.COM
A VIEW FROM
THE CLIFF
BY CLIFF KASDEN
‘Love Is Dead’ at Secret Theatre
Morality, civility and dignity
are hurled to the winds at the
Secret Th eatre. Th e very, very
dark comedy “Love is Dead”
is currently off ering a new
meaning to the word “love.”
Delivered by “Locked in the
Attic Productions,” it is a very
successful mirror of today’s
destructive emotions. Th ere is
no remorse and no lawful consequences.
No matter how fi erce
the brutality.
Written and directed by
Seanie Sugrue, the three acts
or “chapters” are without intermission.
Th ey are intertwined
into a mesmerizing and riveting
whole. Th e fi rst segment
includes Secret Th eatre’s founder,
Richard Mazda, as vicious
Walter. His less-than-charming
wife, Betsy, played by Julie
Reifers, is equally unsympathetic
toward their son Trevor (John
Warren). His partner Ginger
(Rachel Zapata) is the play’s fi rst
victim of extreme violence.
Ambiguities are everywhere.
Th ere are dozens of cardboard
boxes, placed randomly, to represent
apartment walls (set design,
Marie Th erese Walter). Th is irregularity
is well played in the second
“chapter.” In it, infi delity and
even more excruciating violence
bring bizarre humor. Th ere’s
“Two minute Kenneth” (Gerard
McNamee Jr.), Eugene (Patrick
Brian Scherrer) and Cindy (Ana
Roshelle Diaz). Th ey contribute
fi ercely with absurd, cruel,
comical actions and reactions.
Paradoxically, childlike Ashton
Foster as Nancy remains a sympathetic
character despite her
betrayal of one friend and comfort
in the arms of another.
Th e darkest comedy is Chapter 3.
Franky the fi sh is a real goldfi sh. He is
prominently displayed downstage as he
blissfully swims in his glass fi shbowl.
Maggie the prostitute (Hannah Jane
McMurray) constantly talks to the fi sh.
She considers him her moral compass
and best friend. Well, her violent behavior
requires more than fi sh scales to balance
her unhinged logic. Ultimately, ferocious
retribution comes full circle as Trevor,
Eugene and Daddy (Myles O’Connor)
meet their fate.
“Love is Dead” is soon to be a feature
movie. For information on this and
future productions, call the box offi ce at
718-392-0722 or surf to www.secrettheatre.
com. As always, save me a seat on
the aisle.
‘The Elephant Man’ roars at RTC
What if your features were hideous?
What if your heart and soul were beautiful?
Th e very true story of the Elephant
Man is told with taste and talent by the
Rockaway Th eatre Company. Although
unfolding in the 1880s, this stylized costume
drama has poignant relevance today.
Director Frank Caiati has a well-earned
list of credentials both onstage and behind
the scenes. In this production he delivers
another compassionate, powerful performance
as Doctor Frederick Treves. His
direction is also mesmerizing. He humbly
creates an eerie silence that overcomes the
audience. Th e message? Clearly, the “normal”
onstage humans in their greed and
prejudice prove far more grotesque than
the deformed Elephant Man.
As John Merrick, affl icted with a rare
disfi guring condition, Byron Hagan
(debuting at RTC) does not use theatrical
make up to display the deformities.
Instead, he amazingly contorts his face,
torso, hands and legs. Th e result must
be truly painful and leaves the audience
breathless. Verbally, his speech becomes
deliberately slurred. Th ey are in stark
contrast to his sensitive observations on
life’s cruelties. Bravo!
Producer Susan Jasper’s cast plays multiple
roles. Sometimes benevolent, other
times cruel. Always pointed and meaningful.
Kudos to Th omas J. Kane, Fred
Grieco, Robert Mintzes, Brian Sadowski,
Frank Freeman, Adele Wendt, Dana
Mongelli and Susan Warren Corning.
A particularly well studied and sensitive
performance is off ered by O’mer
Komen. Portraying worldly Mrs. Kendal,
she reveals physical and emotional vulnerabilities
with dire consequences.
Th e sets (designed by Caiati) are somber
and striking. Th ough harshly refl ective
of 1880s Victorian England, there is a certain
beauty in the brushed strokes and colors.
Costumes (Tristan Kerry O’Connor)
are impeccable. Sound (Richard Louis-
Pierre, Daniel Fay, Alex Stabiner), lighting
(Andrew Woodbridge, Jessica Mintzes)
and tech (Tony Homsey) are also above
expectations. Th e overall presentation is
once again far above regional level with
additional bows for Suzanne Riggs (stage
manager), Peggy Page (house manager)
and the numerous backstage participants.
For information on this and future productions
call 718-374-6400, “like” them
on Facebook or surf to www.rockawaytheatrecompany.
org. As always, save me
a seat on the aisle.
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