The Ridgefield Theater Barn, now halfway through its 60 th season, has two weekends
left of it’s wonderful An Evening of One Acts which I highly recommend you find a way
to attend. If you are in any way like me, in this Topsy Turvey uncertain world, one acts
are just what the Dr. ordered; just long enough to engage me, but not too long to lose
me back into the miasma spinning in my head. It’s a bit like getting lost in “Reels” on
Facebook, but in real life, with real people, with other people present, to validate what
I’m feeling while watching.
The difference from “Reels” or, dare I say it, “TikTok” is that real people curate this
evening, and have done so with a remarkable hand for guidance on a journey that does
helps us through these times, and lowers, at least for a few moments, the self-defenses
that the outside world demands these days.
This year’s ONE ACTS COMMITTEE, led by Chairperson Paulette Layton, working with
Mark Hankla, Timothy Huber, Nancy Ponturo, and Bill Warncke, has done a wonderful
job curating a selection of original, unpublished plays, striking just the right notes, at just
the right time.
Much like a gallery show, they take you, the audience, through various scenarios,
couched in laughter and smart dialogue, which in a one act, can be difficult since every
line and every movement and gesture cannot be wasted and must move the arc of the
story forward.
Overall, the one acts are well done, with great acting and direction, with many different
styles and subjects. If I were pressed to pull together a Log line or arching theme for the
evening, I think I would be most comfortable saying that-In times of change, our
authentic selves are stronger than we think, and to trust them and embrace the change.
But that, like most themes, is completely subjective, and has more to do with what I
bring to the table on any given evening. The magical elixir consists of the talent of the
ensemble, playwrights, directors, lighting designers, sound designers and stage
managers, creating the space for one to find the theme they need while sharing the
moment with others.
The evening kicks off with “Stay Golden” written by Jessica Moss, and directed by
Carin Zakes, featuring Bruce Apar as Gordon, Robin Browne as Cleo, Deborah Carlson
as Rosalie, Marcy Sansolo as Patricia and Denise Hubbard as Diane.
Ms. Moss’s absurdist comedy sets us up right out of the gate with the entire ensemble
working well together and moving the play forward with a solid arc of action, and yes,
I’m intentionally being vague here, because it’s not the gold you are thinking. Through
the laughter, a little bit of relevancy gets massaged regarding our increased ability to
extend life, and what that really means for those living it.
Now I’m going to jump around a bit, since the experience of the curated order is for you
to enjoy in person, but I will describe some of the stops along the way.
Two of the plays that hit very close to home, and made me want to stand up and cheer
when the lights went down, on the one hand, and also made me want to take them out
on the road immediately because I though everyone needs to see them yesterday, were
“Right Field of Dreams,” by Stephan Kaplan and “Sea Change” by Lucas Hasten.
In “Right Field of Dreams” director Danielle Roth, adroitly navigated the material with
actors Liam Gallary as Timmy, and Matt Donavan as Coach/Dad, which could have
been taken right out of the story of my life. It was spooky, but in a good way. Add to that
a ghost of a very famous female baseball star, played by Laurie Schaefer Fenton, and it
all is taking place in the outfield of a little league game and you have a great little play.
So well-acted by all three, hitting the beats just perfectly, without overdoing it, or rushing
it. Impressive. IF only my story had turned out as well as Timmy’s.
In “Sea Change”, directed by Marilyn Olsen, Craig David Rosen as Dan and Katie Kelly
as Bobbi, are hilarious as two clown fish. And just as anyone who watches fish in an
aquarium notice the dance, these two do a pas de deux with such depth and
understanding of flow of the script it is a pleasure to have the opportunity to watch. As
mentioned earlier, there is not a breath that is not in service to the script, and not a”y” or
an “i” that is left to chance.
Two more of the plays, “Improv” written by Kevin Curley and directed by Alexis
Vournazos starring Carri Ocean as Ann McKinley, Rob Mayette as Paul O’Malley and
Sheri Rak as Tina Bradley and then “A Flicker” Written by Guy R. Newsham, directed
by Brian DeToma with Michael Bud as Person A and Bill Warncke as Person B .
Loss is a big part of both plays. They are both very well-directed and written. I think they
the gravitas it needs to be able to laugh through it.
I do not in any way mean to disparage the production, I would just encourage both
playwrights to consider continuing what they have started
All the performances are spot on, with one of my fav moments in “Improv” being when
Mr. Mayotte and Ms. Ocean are speaking downstage Right, and Ms. Rak is
eavesdropping. Take a moment to look at Ms. Rak’s eyes, and you’ll see what I mean
about loss.
–In “A Flicker” Mr. Bud and Mr Warncke navigate the waters of male bonding of shared
loss and walk the TMI tightrope as they learn more about who they are. Each gives
heartfelt performances and leaves you wanting more. Maybe another act?
In “The Objection Seat” By Scott Mullen, beautifully directed by Pia Haas, we are
served
Laurie Schaefer Fenton As Mary, and Andela Armand As Kat in a different take on
bonding and self-discovery They are both hilarious, and have such well-defined
characters, Although the man they speak of is never seen, it does make you want to
meet him.
Then there is the glorious spoof of the New York Public Library called “One of the Great
Ones” written by Chris Widney, with direction by Matt Pagliaro. It stars Elayne Gordon
as Enid Stump, with Lucy Manos as Lee Katie Kelly as Jamie and David Michael Tate
as Hank.
This one act uses the inherent arc of a time deadline instigated by a “scavenger hunt”
against the closing of the library and the “greatest” Librarian of them all. What fun this
script is, while also reminding us that these people, these librarians, are human and
important, and committed. The whole cast make every laugh their own without a single
punch line missed or pause held incorrectly.
In “Juliet Wakes Up” written by Laura Neill and directed by Nancy Ponturo, Juliet,
played by Lucy Manos runs in with a bloody blade, herself covered in blood having
awakened, with Romeo purportedly dead beside her.
She runs into Rosaline, hilariously played by Danielle Fitzsimmons who draws out of her
why, if Romeo was already dead, she and the blade are covered in blood. Then enters
Willow played by Colleen White, who is yet another Capulet, trying to cover the tracks of
the potion that was used in the double suicide/not suicide.
Eventually, and as one might expect, against all odds, a dying Romeo, played by Matt
Donovan arrives.
I will not give away the whole plot, but I will say, that the Capulet ladies, are very much
post “Me-too” women in the hands of both Ms. Neill and Ms. Ponturo and I could not
stop giggling throughout the entire play. So smartly scripted and performed. Truly a joy
to watch. With the insight Shakespeare had of the soul of his time, were he here today,
He would completely approve of this interpretation
“Hornswaggle” the 8 th and final play to mention, starring Eric Novak as Cogs, Allison
Valentino as Scuzzy and Michael Ferrara as Bilges is a classic Pirate melodrama in one
act.
Written by James Nelson under the direction of David Fritsch the cast hits all the marks,
and does a Yeomans job with the script and direction. I will say I am not the biggest fan
of the pirate melodrama, but that has nothing to do with how this one was performed as
much as it has to do with having done so many of them in high school that as soon as I
see a scarf on a head, I have a bit of PTSD from my youth.
Kudos to the crew, Led by Production Manager – Paulette Layton, with Stage Manager
– Tina Morrissette, Assistant Stage Manager – Jean Mazzelli, Lighting Designer – Mark
Hankla and Sound Designer – Addis Engel. Without these folks, the magic of theater
could not exists.
Take the time, go spend an evening with these folks, and let go and laugh, and take the
ride. I can honestly say, you will feel better. And we all need to feel better right now.
The Ridgefield Theatre Barn is located at 37 Halpin Lane, Ridgefield CT 06877
203-431-9850,
Remaining shows are Friday March 14 at 8PM, Saturday, March 15 8PM, Sunday
March 16 th at 2PM Friday March 21 st -8PM, and Saturday March 22 nd -8PM
Tickets are $35. ALL SALES ARE FINAL. Tickets can be purchased at
ridgefieldtheaterbarn.org. Seating is cabaret style, and the audience is invited to
bring food and drinks (concessions are also available). Doors open one hour
prior to curtain. More information is available on their website,