The Goat or Who is Sylvia?

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Edward Albee‘s The Goat or, Who is Sylvia? is an absurdest play with subtle references to ancient Greek tragedy. It poked fun at modern liberal ideals, and taboos. It is not an easy play to digest. In the first scene Martin (Allan Whitehead) has turned 50. He seems to have it all a very successful career as an architect and a loving wife, Stevie (Merritt Anne Cooke-Greene). They joke with each other clearly loving each others company. Martin’s friend, Ross (Mark Anthony Kelly) is a reporter and he sets up his video camera to record an interview with his longtime friend. Though Martin is at the pinnacle of his career it became clear that he was not happy about turning 50.

I had sketched a reading of Edward Albee’s play back in 2010, so I knew what was to come in the second scene. Thought Martin had been faithful for his whole marriage, he had recently met Sylvia and fell  deeply in love. Perhaps it was the country air but he was different around her. He confessed this affair to Ross who immediately wrote a letter to Martin’s wife to warn her. What followed was a long confession my Martin to his wife while she broke just about every delicate item in the living room. I have to confess that there was so much yelling that I began to tone it out. The entire scene seemed hell bent on a single note of frantic yelling and emotional destruction. Martin’s Son, Billy (Adam Minossora) was home through the confession and he didn’t take the news well. Though Martin was out doing unimaginable things in the name of love he was not accepting of his son’s homosexuality. This was strange double standard for this father son relationship.

I will say it again, this is a hard show to watch. It is unnerving. It was a daring choice for Director Marco DeGeorge to bring it to Theater on the Edge (5542 Hansel Avenue Orlando FL). The first evening’s performance was sold out. Perhaps Orlando is ready for some really unsettling and cutting edge theater.

CREATIVE TEAM:
(Producer / Set Designer)
Elaitheia Quinn (Asst. Director / Creative Asst.)
Riley Walden (Directing Asst.)
Chris Ivers (Builder)
Megan Raitano (Associate Producer / Stage Manager)
Derek Alan Rowe (Graphic Designer)
DeeDee Strauss (Box Office).

The Goat, or, Who is Sylvia? is running April 2, 2019 to May 5, 2019. Tickets are $23 to $35.

Boom at Theater on the Edge

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 In the Boom pre show, video monitors announced the upcoming performance as if we were in line for a theme park attraction like Carousel of Progress at Disney World. Barbara, (Elaitheia Quinn) is the audience’s guide in her orchestrated show about the end of civilization thousands of years earlier. She begins oddly enough by banging on a timpani drum. She then twists dials and pulls leavers bringing the action to life.

Jules, (Adam Minossora) a grad student in marine biology, and Jo, (Megan Raitano) a journalism student, meet on Saturday night in Jules’s small underground laboratory on a university campus, after Jo answers Jules’s online personal ad offering an encounter that promises “sex to change the course of the world.” Corrugated cardboard was duck taped to the ceiling and an obsessive chart tied together many fragments of research all leading to one ominous vortex. It is the type of chart you might expect from a mad man.

As Jo aggressively invited Jules’ advances, while he tried to quickly fill the awkwardness with fast paced conversation. Both characters were manic and and full of energy. Jo kept flopping down on the mattress on the floor. She spoke with a thick Flushing accent. When the two of them finally kissed it was awkward. It may have been the worst kiss Jo had ever experienced.

There was a small fish tank at the back o the stage. Jules began to explain that his research on a deserted tropical island, uncovered patterns of behavior among the fish that seemed to indicate that they feared extinction. He began his research which verified that the earth would experience a devastating impact from an asteroid similar to the extinction event that wiped dinosaurs off the face of the earth.  So he turned his tiny lab and apartment into a place to wait out the disaster and begin remaking humanity. It turns out that Jules was a virgin and he thought he might be gay. When his research prediction proved to be true, it turned out he must live out his days with a woman who hates him.

Jules and Jo’s dreams and aspirations for freedom seem to mirror Barbara’s feeling of confinement in her dead end job running the museum attraction. When she ignored her duties running the attraction things went haywire. The play seemed to indicate that our differences are minor. We are a mere speck in the universe, yet life finds a way.

Boom at Theater on the Edge (5542 Hansel Ave, Orlando, FL 32809) began November 2, 2018 and runs through December 9, 2018. Tickets are $20 to $32. This is another cutting edge performance that will keep you on the edge of your seat.

Proof by David Auburn at Theater on the Edge.

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On the eve of her twenty-fifth birthday, Catherine, (Megan Raitano) a troubled young woman, has spent years caring for her brilliant but unstable father, Robert, (Allan Whitehead) a famous mathematician. She enters the stage crying and beside herself with grief. She consoles herself with some bubbly and then her father enters the stage to wish her a happy birthday and to talk about the good times they had. For some ominous reason he always spoke it int past tense until it becomes clear that he isn’t really there.

Following he father’s death, she must deal with her own volatile emotions; the arrival of her estranged sister, Claire (Elaitheia Quinn); and the attentions of Hal (Barry Wright), a former student of her father’s who hopes to find valuable work in the 103 notebooks that her father left behind.

Over the long weekend that follows, a burgeoning romance and the discovery of a mysterious notebook draw Catherine into the most difficult problem of all, namely, how much of her father’s madness, or genius, will she inherit? In one scene her father sits outside at the table in the freezing cold excitedly writing away in one of his notebooks. As he put it all cylinders were firing and the math problems were finding creative and inspired solutions. Catherine was excited for him and when she reads the paper, we watched her expression slowly change as she realized that the inspirations were nonsense having little to do with actual math.

Proof is a 2000 play by the American playwright David Auburn. Proof was developed at George Street Playhouse in New Brunswick, New Jersey, during the 1999 Next Stage Series of new plays. Theater on the Edge always brings the latest cutting edge plays to Orlando allowing the small audience a front row set into contemporaneity dreams and aspirations often with a touch of madness.

This incredible play rips out your heart and stomps on it for good measure. It runs through March 31st. Get your tickets at theaterontheedge.org at Theater on the Edge 5542 Hansel Avenue Orlando FL 32809.

Tape by Stephen Belber

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Tape by Stephen Belber tells the story of Jon (Joey Ginel), an aspiring filmmaker on the verge of hitting it big, hooks up
for the weekend with his best friend from high school, Vince (Zack Roundy), a
volunteer fireman who makes his money selling dope. Jon’s new film is
being shown at a festival in Lansing, Michigan, and Vince has come from
Oakland to see it. During the course of the pre-show Zack lived in the space watching to and rolling a joint.

Over the course of the evening, Vince finally gets Jon to admit that
ten years ago he date-raped Amy Randall (Megan Raitano), a girl whom they both dated in
high school—only then to reveal that he’s taped their entire
conversation. And not only that, he’s invited Amy to have dinner with
them that night.

Beneath its suspenseful, high-stakes surface, Tape examines questions of motive, memory, truth and perception.

Zack is very believable as a directionless youth with a short fuse. He becomes menacing when confronting his friend head on. Joey comes across as someone who can rationalize anything. He feels his films serve a greater purpose so it is surprising when his dark youth is unearthed. Megan’s role was an inspired surprise. Now a District Attorney she never seemed to be a victim. Instead she confronted and cornered both men with her wits and anger. No one stands on solid ground when she sparked to life. This was a stellar production that kept me guessing. I have to give credit to the set designer Sam DiGeorge. She creates incredible lived in and worn sets that suspend disbelief and immerse the audience in a very visceral world. It is amazing how she transformed the space.

The Show runs from March 3rd-March 19th

Theater on the Edge 5542 Hansel Avenue Orlando FL 32792

Tickets are $19 and $22

Remaining show dates.

March 4th 8 pm

March 5th 2pm

March 10th 8 pm

March 12th 2 pm

March 15th 7 pm (industry night)

March 18th 2 pm

March 18th 8 pm

March 19th 2 pm (closing night)

Seating is limited!