by Grace Lisandrelli

During regularly scheduled meetings called Plogger Bootcamps, teen ploggers learn of the latest occurrences at TDF, hone their writing skills, and exchange ideas about effective plogging. At the most recent Plogger Bootcamp, the ploggers had the pleasure of meeting with TDF Online Content Editor and fellow critic, Mark Blankenship. In initiating a discussion, Mark posed a simple question: Why did you want to become a plogger? Some said they wanted to broaden their theater repertoire, while others sought a medium in which to fuse their love of theater and writing.

One plogger’s answer in particular has remained with me since that meeting. This plogger relayed her experience as an artist and the sort of criticism she receives from her peers. A person would approach her drawing, for example, and negatively comment on the size of her subject’s sketched hand. When the plogger would ask the critic to elaborate on his or her criticism, the critic offered neither a detailed explanation nor a route by which to correct the problem. Many people, particularly critics, are quick to disparage but few can clearly articulate the reasons behind their critique.

Mark presented a method to avoid this pitfall in the form of three questions, which he uses as a framework for all his reviews:

What was the artist trying to accomplish? – Critics should look beyond the art’s exterior and search for the message being portrayed.

Did the artist accomplish his/her goal? – Once the art’s meaning has been deciphered, the critic should determine whether the artist has successfully communicated his/her message to the audience.

Was the subject matter worth exploring? – After answering the first two questions, the critic must question if the overall theme has any bearing on society.

I found these questions thought-provoking and capable of leading a critic to uncover multiple dimensions of a work of art. They will prove a useful tool as I write my next review.

by Sabrina Khan

It’s 1958 and Sylvia, Philip and Oliver are struggling to find love and come to terms with their sexuality. Shoot forward to 2008 and now they are trying to discern the fine line between love and lust and find true companionship. Caught in “an erotic time warp,” The Pride tells the story of two sets of three individuals with the same names and how they deal with the hardships of love amidst each society’s sexual attitudes during the two different time periods.

In 1958, Philip is in deep denial of his sexual orientation. An incredibly virile man who finds “effeminate” men “offensive,” Philip finds his world turned upside down when his wife Sylvia introduces him to Oliver, and the two develop a private relationship that he eventually deems the cause of a mental disorder.

Heavily manipulated by the 1950s views on the issue, Philip refuses to accept the truth and tries to lead a “normal” life with little consideration for Sylvia who, in turn, never gets the chance to feel the kind of bond with her husband that he once shared with Oliver. Victims of his betrayal, Oliver and Sylvia recognize their positions, but the pressures of the era silence their emotions and their lives are forcefully and heart wrenchingly dictated by Philip’s actions.

The production fast-forwards to 2008, where Oliver personally identifies himself as a sexual deviant. He is completely in love with Philip but constantly seeks meaningless encounters with anonymous men. As a loyal partner, Philip cannot accept this and leaves Oliver. A weakened and heartsick man, he finds solace in their mutual best friend, Sylvia. Sylvia meanwhile tries to find her own happiness, but often finds herself wedged between Oliver and Philip, helping them to solve their issues. In the present, all three realize how much has changed, but they also know that as “free” as they may finally be, obstacles still exist. Amidst this thickening drama, Sylvia dramatically and comically reveals that there is more to the gay community than a great knowledge of draperies and culinary instinct. There is a whole past of struggle and hope that enables them to show their pride.

Led by a stellar cast, The Pride is a passionate and potent play that recounts the progress of homosexuality in the public eye. It is a truly intense show with moments of profound and frightening impact that will be memorable to all those who open their minds to it.

TICKETS: $15 student rush thru 3/28 – Lucille Lortel Theatre, 121 Christopher St

by Ben Ellentuck

When I entered the BAM (Brooklyn Academy of Music) Harvey Theater, where As You Like It is playing, I was immediately struck. The theater is absolutely enormous. It also looks like it’s about to collapse. Old columns just barely hold up the balcony. The walls and ceiling are crumbling: I would not have been entirely surprised if a piece of debris had fallen on me. Also—a warning—the seats are very flat and not ideal for sitting in for long periods of time. And yet, the space, especially in combination with the set, is breathtaking.

Ah, the set! The set designer has hit a home run, beautifully capturing the essence of the forest, where most of the action takes place. The trees are like telephone poles, the back wall like an infinitely tall prison barrier; first snow on the ground, then what looks like wheat—the whole set up is weird and wonderful. The lighting design, too, is great; there is a very nice chemistry between the lighting and the set that results in some very cool effects throughout the performance.

Ah…the performance. Is it a bad sign that I enjoyed looking at the set more than at the performers?

As You Like It is a comedy by William Shakespeare (remember him?). As such, you can be sure that there will be a woman (Rosalind) dressing like a man, lovers (her and a guy named Orlando, among others), fools, nobility, singing and general merriment, and of course many happy marriages at the end (As You Like It features a quadruple marriage). Yes, of course there is a plot, but it’s much too complicated to write here. (The program attempts a synopsis that is so confusing I almost didn’t bother to pay attention at all—but don’t worry, I’m sure you’ll get the basics…by intermission.)

Sure, there are the famous speeches—“all the world’s a stage,” among others—that can’t possibly go wrong. There are the gags that are funny no matter what. There are some moments that inevitably work—the writing is just that good. But in this production, at least for me, these were the only moments that I really enjoyed.

The production, directed by Sam Mendes (he directed American Beauty and Revolutionary Road, among other movies—along with many other plays), is not played as a comedy—or at least it isn’t particularly funny. (But then again I didn’t find American Beauty particularly funny, either.) As a result, I didn’t really have that much fun watching the actors speak—and they speak quite a bit; the production is three hours long.

Additionally, Mendes sprinkles in a bunch of conceptual elements—some modern costumes here, some English accents there, some color-blind casting, a lot of the cast playing multiple roles—that feel more like afterthoughts than anything else. They’re never really fleshed out, and I didn’t feel like I “got” what Mendes was going for in the end—but perhaps I’m just stupidly inattentive. I don’t know. Maybe it was my flat seat, after all.

HOW TO SEE THE SHOW: $10 student rush tickets • BAM Harvey Theater, 651 Fulton Street, Brooklyn

Kid’s Night On Broadway is an event presented by The Broadway League in which children ages 6 to 18 can see a participating Broadway show for free as long as they are with a full paying adult. The Broadway League began the program in 1996 to allow young people to experience the thrill of live theatre.

Participating shows include: Billy Elliot, Chicago, Fela! , Hair, In The Heights, The Lion King, Mary Poppins, Mamma Mia!, Memphis, Next To Normal, The Phantom Of The Opera, South Pacific, West Side Story, Wicked, Avenue Q and Stomp.

In NYC, the celebration kicks off at Madame Tussauds (234 West 42nd Street between 7th & 8th Avenues) on February 2 with a Fan Festival hosted by Corbin Bleu (from High School Musical). KNOB tickets are also available for both the matinee and evening performances on Sunday, February 7th.

All participants receive a special souvenir Playbill from tdf (hey, that’s us!) that also qualifies them for discounts at eateries in and around the midtown area, pre-theatre parties, and discounted parking. The playbill includes behind-the-scenes information on many of the participating shows. Look closely – many PxP ploggers contributed their writing!

Some of the KNOB festivities include a theatrical makeup station, Broadway karaoke and dance (with host Corbin Bleu and other Broadway actors), a Broadway tattoo parlor, Autograph Alley with Broadway casts, and Camp Broadway and Broadway Green Alliance special activities.

For more info visit: www.kidsnightonbroadway.com

By Desmond Sam

The musical Chicago is raw and has an awkward structure that proves originality. Everything from the set to the costumes and cast is different, but captivating.

Chicago focuses on a woman named Roxie who is an inspiring actress. She is married, but has an affair and ends up killing her lover. She goes to jail and becomes a star because of the publicity surrounding her trial. Velma, Roxie’s cellmate, also wants to be famous, so she and Roxie have some issues. In the end, they realize that they need each other to reach their goals.

The cast makes this show a spectacular piece of art. Deidre Goodwin (Velma Kelly) and Roz Ryan (Matron “Mama” Morton) each have amazing voices that really stand out. Goodwin begins the show with a favorite by all Broadway lovers, “All that Jazz”. Then, Ryan performs “When You’re Good to Mama” a song made famous by Queen Latifah in the movie version. Ryan even talks to the audience, making us part of the festivities.

The orchestra is unique because the pit is right in the middle of the stage. The conductor is also a standout performer because she communicates with the cast throughout the show. She isn’t just a conductor, but also a character in the show.

The dancing made my jaw drop. It had a bit of jazz, contemporary and even ballet. The music sometimes creates a Spanish feel or a Blues touch that affect the dancing and the mood of the theatre. The show is able to exploit the glitz and glamour of the vaudeville era by using only chairs, simple black costumes and an occasional ladder. With so few props and costumes, the cast is really able to express the show’s true spirit, proving that less is more.

I recommend Chicago because many teenagers crave fame. Many people believe that criminal acts are the easiest gateways to fame. One thing that they never notice is that fame doesn’t last forever, especially when you use murder as your main talent. This is the theme of the show and makes it one of the top dogs of Broadway.

HOW TO SEE THE SHOW: $31.50 general rush • Ambassador Theatre, 219 W. 49th St.