Reviewed by Nicholas Linnehan

How many times throughout history have minorities made significant contributions, only to be forgotten about because of prejudice and intolerance? Such is the case of Edgar and Rob, two gay men who were responsible for keeping Pendarvis running in Wisconsin during the 1930’s. They restored cottages and preserved the original architecture of Cornish-built limestone houses that were falling apart in Mineral Point, Wisconsin. Their heroic efforts were responsible for saving this lead mining town from certain extinction. The Pattern at Pendarvis by Dean Gray reveals their true story of charity and love. Until now, Rob and Edgar’s story has largely been an omission in historical books because of their lifestyle. In the 1930’s two gay men were seen as degenerates, nothing else. But thankfully, now, we can truly understand and appreciate what these to men did for the town and celebrate their love story.

In today’s theater so much emphasis is put into staging and spectacle, that we forget the profundity of simple connection between actors and audience and storytelling. Placed on a basic set with three main chairs, three men share their stories with us. When Rich, a gay author in his thirties, approaches Edgar he makes it clear that he is interested in interviewing Edgar and telling all of Edgar’s remarkable tale; everything from the saving of the town to the more intimate details of his relationship to his lover Rob. However, Norm, the conservative president of the Pendarvis board, wants the homosexual details left out of the interview. Forces clash as the interview continues.

What makes this an astounding production is the connection between Lawrence Merritt, Edgar and Gregory Jensen, Rich. The men are separated by 60 years and throughout the play they develop a deep understanding and respect for one another. Their newly formed companionship is beautifully poignant. Merritt is engaging, endearing, and forthright in his convictions about his 44 year long relationship with Rob. There is power in his stillness and we do not ever get tired of listening to his unbelievable story. He is every bit as compelling as Jensen, whose sincerity is never fake. The two have breath-taking chemistry. We believe every word Jensen says and are forever grateful that this character, based on a real person, took the time and care to unearth this unheard story. David Murray Jaffe plays Norm with panache and we love to hate him. A job well done!

These men, Edgar and Rob did not get the credit they deserved for their efforts in the 1930’s. Like many influential people, they were robbed of their place in history because of intolerance. But luckily, we have people today who are trying to change that. I love going to the theater and learning about something important that really happened. This is a definite must see and another perfect example of theater that matters!

The Pattern at Pendarvis plays now through Aug 5, 2018 at HERE 145 sixth ave. www.spincyclenyc.com/index.php/theater/397-pendarvis

Reviewed by Gregor Collins

Longtime Performance Artist Karen Finley’s current visits to the Laurie Beechman Theatre for staged readings based on her new book GRABBING PUSSY are not for the faint of heart—so that should have you seeing it. What to expect? I’ll let Finley tell you: “Breathless cascades of poetry and prose that lay bare the psycho-sexual obsessions that have burst to the surface of today’s American politics.”

If this sounds a little esoteric, I’ll simplify it for you: She makes art out of news. And the art she makes is hard to ignore. In the tradition of Allen Ginsberg’s 1954 poem Howl, Finley’s rapid-fire meditations cover a milieu of up-to-the-minute affairs including Spade and Bourdain’s suicide, the separation of families at the border, and the #MeToo movement.

Since I assume you read these reviews to get an honest, unpretentious critique from a regular person, I’ll describe my experience like this: If you were to have been my guest last Sunday when I attended the performance, and in the first two minutes you wanted to see how I was feeling about it, you would have gotten a very decided eye-roll. But if you had checked in with me around minute ten, I would have been too unwittingly seduced by her lilting musings to have given you a response. That sentiment carried through to the end.

Grabbing Pussy runs every Sunday at 7pm from July 15 – 29, 2018 at The Laurie Beechman Theater (inside West Bank Cafe at 407 West 42nd Street), General admission is $22, or $35 which includes a signed book. To purchase tickets, call 212-352-3101 or visit www.SpinCycleNYC.com.

Reviewed by Nicholas Linnehan

Lots of time I go to theater and it is good. Rarely, do I see a piece that’s exceptional. This is the case in Teenage Dick written by Mike Lew. It was so good that I gave a standing ovation at the curtain call. It’s gripping and awe-inspiring showing us that Persons with Disabilities are just as talented as the able-bodied world. Produced by Ma-yi theatre this is an awesome show

Think Richard III but with high schoolers. In this version Dick, short for Richard, has Cerebral Palsy, and as a result is bullied all the time, Thus he schemes to become class president. He manipulates and lies like Richard does in Shakespeare’s play, but unlike Richard, Dick struggles with his deception versus him better side, especially when he meets Anne Margaret, who eventually develops real feelings for Dick. Dick’s humanity is present along with his evil parts. We see him contemplate between deciding which path, and ultimately what kind of man he wants to be, he should choose, which makes us like this creep as we see he has a honest component in his make up.. His trickery causes him to to lose his one ally Buck. a fellow disabled person confined to a wheelchair.

Now for the great part; the actors. Greg Mozgala gives a superb performance as Dick. He is maniacal, yet comical when he delivers his soliloquies to the audience. Yet, what makes Mozgala unforgettable is his inner conflict between love and his plan for revenge. It is palpable and breathtaking simultaneously. His ability to show his inner conflict is unparalleled and rivals that of any leading man out there today. I would not be surprised if he gets a nomination for his performance. Equally Impressive is Shannon Devido as Buck. This actor is on top of her game and delivers every time we see her. She is hysterical, delivering some of the funniest plays in the play. Another actor I must mention is Tiffany Villarim as Ann Margret. Her journey is unbelievable to watch. Her last speech brought tears to our eyes. Witnessing her harrowing demise, caused mainly because of Dick, is heart wrenching. She is phenomenal in her role and holds her own.

Needless to say this is a must see! The time flew by and I didn’t want it to end. I do not think I will ever forget seeing this production. Simply put, go see this show NOW! I would not be surprised if the rest of the run is sold out. We can only hope for an extended run. This is a perfect example of theater that matters.

Teenage Dick plays now through July 29, 2018 at the Public Theater, 425 Lafayette St http://www.ma-yitheatre.com.

Reviewed by Gregor Collins

As an acute theatregoer I can’t help but form impetuous assessments about if what I’m being given in the very first moment feels “put on” or forced—in Colette Forde’s one-woman-play Innit, coming all the way from Ireland’s Limerick Fringe Festival to the Soho Playhouse from July 6 to August 5, there was, from my perspective, no deficiency of authenticity.

And Forde’s talent as an actor was cemented when her endearing grit kept circling around my head on the way home.

After beginning the show with footage of an irreverently sexualized music video set in a dingy warehouse starring Forde as the petulant Kelly Roberts, Roberts walks out from behind the video screen and bellows to the audience in her hard-nosed Irish brogue: “What am I doin’ ere’? Do I look like I need to see a psychiologist?”

The rest of the 55-minute play, set in 1990’s Manchester, chronicles a single session at her school’s “psychiologist” office, using us, the audience, to spew profanity-laced polemics about heartless classmates and boyfriends, her inattentive father, and her audacious mother who does absolutely horrible things like not even let her get her belly button pierced. In Roberts, Forde has crafted a kind of female Holden Caulfield, dramatizing her isolating teenage years with rebellious charm.

Forde also penned the script, which never really fully took us on the rollercoaster ride we wanted, and, aside from the final, affecting moments, we pined for more poignancy to offset the often one-note, acidic rants. In the end, though, Forde’s formidable stage presence made it worth the trip. I wouldn’t be surprised if headlining an Oscar-nominated indie film were in her future.

While touring Innit, Forde is writing another one-woman show, and going back to college in September to study ‘Youth and Community Work’.

Innit plays now through August 5, 2018 at Soho playhouse 15 Vandam St https://colette-forde.squarespace.com/.

Reviewed by Gregor Collins

As an acute theatregoer I can’t help but form impetuous assessments about if what I’m being given in the very first moment feels “put on” or forced—in Colette Forde’s one-woman-play Innit, coming all the way from Ireland’s Limerick Fringe Festival to the Soho Playhouse from July 6 to August 5, there was, from my perspective, no deficiency of authenticity.

And Forde’s talent as an actor was cemented when her endearing grit kept circling around my head on the way home.

After beginning the show with footage of an arbitrary, irreverently sexualized music video set in a dingy warehouse starring Forde as the petulant Kelly Roberts, Roberts walks out from behind the video screen and bellows to the audience in her hard-nosed Irish brogue: “What am I doin’ ere’? Do I look like I need to see a psychiologist?”

The rest of the 55-minute play, set in 1990’s Manchester, chronicles a single session at her school’s “psychiologist” office, using us, the audience, to spew profanity-laced polemics about heartless classmates and boyfriends, her inattentive father, and her audacious mother who does absolutely horrible things like not even let her get her belly button pierced. In Roberts, Forde has crafted a kind of female Holden Caulfield, dramatizing her isolating teenage years with rebellious charm.

Forde also penned the script, which never really fully took us on the rollercoaster ride we wanted, and, aside from the final, affecting moments, we pined for more poignancy to offset the often one-note, acidic rants. In the end, though, Forde’s formidable stage presence made it worth the trip. I wouldn’t be surprised if headlining an Oscar-nominated indie film were in her future.

While touring Innit, Forde is writing another one-woman show, and going back to college in September to study ‘Youth and Community Work’.

Innit plays now through August 5, 2018 at Soho playhouse 15 Vandam St https://colette-forde.squarespace.com/.