Berkshire on Stage

In the midst of a frigid winter in the Berkshires, we had a sunny day where the above freezing temperature gave a hint of melting snow. The atmosphere was similarly bright and cheery on the stage of the St. Germain Theatre hosting the 15^th annual 10 X 10 New Play Festival. We can feel spring is coming.

Happily, all ten ten-minute plays are reasonably successful, a rarity, but not surprising given the competitive nature of having a play accepted into this festival, and the wonderful performers who bring the plays to life. Veterans, Robert Zuckerman, Matt Neely, and Peggy Pharr Wilson are back for their 8^th, 13^th, and 15^th performances, respectively. Maya Jackson returns for her third performance after a five-year hiatus. Raya Malcolm premiered with 10 X 10 last year. Newcomer, Avery Whitted makes a wonderful debut.

As always, the festival begins with a song parody written by Neely and performed by the entire cast. The mirrors that line the back wall suggest that A Chorus Line, the planned Barrington Stage summer musical, will provide the music. Sure enough, the cast is dressed in sequins and top hats trying their best with Michael Bennett-esque choreography and funny satirical lyrics.

Scott Mullen’s Best By Date, directed by 10 X 10 veteran, Matthew Penn, presents an adorable story of a couple in a restaurant concerned that the bottoms of their feet indicate an expiration date, possibly indicating their best days are ahead of them or may have passed. We immediately think of the food in our refrigerator. Do we pay attention to those best by dates? Do we throw away food when dates indicate it has expired? It is a clever metaphor acted by Jackson and Neely as a couple of ‘sole mates,’ with Malcolm as the cute, young waitress who has many healthy years ahead.

Cricket, by Erin Osgood and directed by Alan Paul, Artistic Director of Barrrington Stage, finds Wilson struggling to locate the cricket making an annoying chirp in her home, while interacting with her husband, played by Zuckerman. Her son, played by Whitted arrives encouraging her to get ready for a funeral for which she is giving the eulogy. She resists, and we soon learn why. The persistent chirp is yet another metaphor for what becomes difficult to let go. This piece is touching.

Paul also directs, Do You Hear an Echo? by Cynthia Faith Arsenault. Probably the silliest piece, and definitely played for laughs, we see Neely as a narcissistic husband who loves new gadgets, namely his Alexa. His CEO wife, played by Jackson, has concerns that Alexa could be recording personal information. She is uncomfortable keeping this gadget and requests her husband get rid of it. Alexa is ‘unwilling’ to be dumped and shows Neely the compromising information she has stored. Hysterics ensue.  Do our gadgets serve us? Do our gadgets rule us? Arsenault shows us our future as AI evolves.

Yet another comment on our future is seen in Top Shelf Tolstoy, by Maximillian Gill and directed by Moira O’Sullivan, Artistic Associate at Barrington Stage. Facing a bar filled with alcohol, Malcolm is confused when she comes in the library hoping to get a library card. Whitted, working behind the bar, is hoping to interest her in a drink. Library themed cocktails such as the Dewey Decimal Daiquiri are big hits. Apparently, the head of the library, played by Wilson, informs Malcolm that, due to lack of funding, selling alcohol has become necessary to keep the library afloat. At the same time, classics are no longer being offered, in favor of popular best-sellers. Horrified, Malcom watches Whitted display all the shaking performative moves of a seasoned bartender, while sounding like a cast member in Wayne’s World. He makes us laugh. Surprisingly, they bond over Anna Karrenina. Can a bar be like a library, a place to get away and find quiet and comfort? Are our libraries in danger?

The first act ends with a wonderful play by David MacGregor, A Modest Proposal II, also directed by O’Sullivan. In a state where abortions are forbidden, three State Senators get together to discuss how to deal with unwanted pregnancies. Neely plays the male wanting to punish Planned Parenthood. Jackson and Wilson are the two females who suggest an alternative mandatory surgical procedure for males over 12 to be imposed until a child-bearing woman gives consent for her partner’s procedure to be reversed. Unwilling to believe these women are serious, the male insists that men will never approve of this proposal. The women, however, have these concerns all figured out. Kudos to MacGregor, a male, for highlighting the unfairness women face in birth control and bodily autonomy. Jackson’s ironic line deliveries emphasize the lack of control women have always had over their own bodies, while allowing men to imagine their power being taken away.

Tannenbaum, by James McLindon and directed by Penn, highlights parent/adult-child relationships. Malcolm goes Christmas tree shopping on Christmas Eve with her easily angered homeless father, played by Neely. Whitted is in charge of selling the trees and must answer to a boss (played by Zuckerman) who insists he get top dollar for every tree. Malcolm recognizes her father cannot afford a tree and sees he has an elevated fear of being ripped off by the salesman. Negotiations ensue with each side trying to avoid the anger of each elder. A Christmas Eve story can only have a happy ending. Yet, this one happens with an unexpected twist. Everyone wins.

The Rebound Quiz, by Byron Nilsson, also directed by Penn focuses on an elderly man (Zuckerman) in a coffee shop reading a book about old movies. Seeing a young woman (Malcolm) crying over a recent marriage break-up, he references many movies from the 30s and 40s that relate to her pain and suggests she take a Rebound Quiz which he found on the internet to determine if she is ready to date again. In the meantime, another woman (Jackson) comes in the shop on cloud nine, having just fallen in love, despite still being unhappily married. Her husband enters and confronts her infidelity. While generally entertaining due to the quality acting, the story and relationships make little sense. The constant old movie references would be more relatable and amusing to my parents’ generation, most of whom are long gone. In ten minutes, new relationships begin without any resolution of the old ones.

Love Shovel, written by John C. Davenport and directed by Penn, has a zany premise. Neely and Jackson play a couple who dig a hole to bury Jackson’s annoying cousin whom Neely’s character was supposed to kill and put in the trunk. Whitted is the supposed victim who is not at all dead but seems delighted by his ride in the trunk. He has no awareness of his expected murder. Again, Whitted demonstrates hysterical physical comedy as he acts like a joyful, hyperactive young boy, not worthy of death, but, perhaps, medication to calm him down. Jackson’s murderous desires, while played comedically, are not understandable. Neely’s character’s love for Jackson’s also makes little sense. The surprise ending saves this upended story.

O’Sullivan directs Missed Disconnections by Samara Siskind. Often seen on Craigslist, Missed Connections are ads people place hoping to connect with people whom they missed the chance to approach. Whitted plays a man who meets up with a woman for whom he felt a spark while shopping at Whole Foods. Unfortunately, another attractive woman he also met shows up at the same time in the same place. All three characters have different reactions to this mix-up resulting in a funny, uncomfortable situation. Again, this story has an unexpected but satisfying resolution.

The final play, by veteran 10 X 10 playwright, Jessica Provenz and directed by Paul is Waking Greek. Zuckerman and Wilson play a couple waking up outside by a tree and dressed in ancient Greek costumes. Looking out and seeing an audience, they realize they are in a play and struggle to figure out which one. The only 10-minute play where the entire cast takes part, Zuckerman and Wilson discover they are the children in Medea, thankless roles. While many humorous lines are delivered by this talented cast, this piece lacks the punch and comedy of past Provenz plays.

These ten plays make for a very enjoyable evening/afternoon of theater and a thankful relief from an endless winter. Unlike past years, every play has a humorous theme, keeping everyone laughing and smiling. Whitted and Jackson, in particular, are memorable in all their roles for their terrific comic gifts. Sets and props (Prop Designer Leo Fuller) are simple and set up quickly, enabling each play to seamlessly transition to the next. Costume Designer, Peggy Walsh, dresses actors in mostly streetwear with exceptional standouts in the Chorus Line and Greek costumes. Lighting and Sound Design by Amina and Alexander and Nathan Leigh work exceptionally well with the many cues of ten different plays. Lively familiar music between each play, sets up the appropriate mood.

For annual lovers of the 10 X 10 New Play Festival, you will adore the veteran actors, be delighted by the new one, and revel in how many great stories can be told in ten minutes.