NEW YORK—The Ensemble Studio Theatre (EST) is now presenting its 31st festival of original one-act plays, with the five Series B offerings comprising a range from two intimate twosomes (two women friends, a father and daughter) to a tragic depiction of an incident in Iraq, to the political rivalries inside a TV production firm, to an imaginary confrontation between Old West luminaries.
Leslie Ayvazian’s Carol & Jill depicts two women friends of long standing. Jill (Janet Zarish), the younger and more adventuresome of the two, is always going off on far-out trips, to the Amazon River Jungle, for example. Carol (Ms. Ayvazian) worries about her. “Why can’t you go to Rockefeller Center in December?” she exclaims, rather than dangerous Machu Picchu.
They are presently at a bed and breakfast, waiting for their husbands to return from buying charcoal. The women discuss Carol’s impending birthday—she is about to turn 60, an anxiety-provoking crossroads for her—and the major purpose of this particular excursion. Their conversation is wide-ranging, turning to their feelings about men and their own sexuality.
Their intimacy is tangible; the piece draws one in; the acting is superb. Obviously, Director Daniella Topol and cast achieved a close collaboration.
In Jeanne Dorsey’s Blood from a Stoner, a father and daughter meet for lunch in a West Village coffee shop. They are at odds with one another, not only from different generations, but with different mind-sets. The father (David Margulies) is hypercritical. Whatever the daughter (Patricia Randell) has to say, for instance, telling him of her approaching writing fellowship, meets with little enthusiasm. Of course, the father’s variety of medical ailments makes him cranky, thus he has taken a few whiffs on the weed prior to this date.
The perceptive waiter (Thomas Lyons) adds some wisdom to the mix, creating a more patient attitude in the daughter. Late in the play, an unexpected accident causes the daughter to draw closer to the father, an end for which he had hoped, but was too ornery to express.
Nice performances from all, as is to be expected from Marathon efforts, under the guiding hand of Director Maria Mileaf.
Billy Aronson’s ambitious Little Duck deals with the behind-the-scenes competitiveness of a team of creative people in TV land. The title of the play refers to the children’s show they’re working on. Company president Robert (Paul Bartholomew) expends his energies keeping everyone in line and hewing to his concepts. It’s not easy.
Anne the writer (Geneva Carr) often works at cross-purposes with director of content, Dr. Jill (Julie Leedes) and artist RJ (Steven Boyer). The intern Holly (Jane Pfitsch) serves as a go-between and tries to keep the peace.
The piece builds to quite hilarious heights, which I won’t give away. Director Jamie Richards has orchestrated this rather complex piece very well indeed, which offers excellent performances all around.
The most serious and somber piece of the evening is Cassandra Medley’s Daughter, which deals with a young woman, Monique (the lovely Kaliswa Brewster), who has volunteered for the U.S. Army and is to be sent to Iraq. She is told that she will be kept in the Green Zone and behind a desk. But things don’t work out that way.
The play, told in flashbacks, first shows her in happier days, with her loving mother Alma (Gayle Samuels), gleeful over Monique’s engagement to a promising young man (not seen in the play). Her mother’s friends in the community, Viola (Natalie Carter), and her godmother Louise (Lynne Matthew) support Monique’s dreams and rally round when tragedy strikes.
Some potent truths regarding war and politics come out, as well as the often hopeless efforts of less powerful citizens. The thought-provoking Daughter is well acted under Petronia Paley’s incisive direction, with particular mention deserved by Natalie Carter, who displays a resounding gospel singing voice.
M.Z. Ribalow’s Sundance, is initially quite comic. Set in a saloon “somewhere,” the major characters include Hickock (Richmond Hoxie), Jesse (David Deblinger), The Kid (JJ Kandel), and Sundance (Rob Sedgwick). The Barkeep (Ean Sheehy) brings drinks. These men are all killers, with Jesse bragging that he enjoys killing. Hickock, however, shines a moral viewpoint onto his behavior. But the late-arriving Sundance is completely devoid of feeling.
The viewer may infer a connection with past or contemporary political regimes. Thus the ultimate effect of the piece is chilling.
Sundance is very effectively staged by Matthew Penn, and well acted by all. Scenic designer Maiko Chii and costume designer Suzanne Chesney do yeoman service for all the plays.
(Note: Series B runs in repertory with Series A, which closes June 19. Contact the theater for schedules.)
EST Marathon Series B
Ensemble Studio Theatre
549 West 52nd Street
Tickets: 212-352-3101 or www.ensemblestudiotheatre.org
Running time: 3 hours
Closes: June 27
