2007
Holidays 2007 our first childrens show - Sleeping Handsome
A gender bending childrens holiday show!
‘This was great and I loved the diversity of the actors - this gives the kids a message that to be different is ok!’ Lori Castro, Preschools of America
Spring 2007 - Tales of the Lost Formicans
by Constance Congdon
In Tales of the Lost Formicans, Constance Congdon’s satirical critique of 1980s suburbia, a cadre of friendly aliens — amusingly outfitted with almond-shaped sunglasses — is replaying scenes from American suburbia to puzzle out the complexities of the family unit. It’s a sad fact that the play seems just as fitting nearly 20 years after its first production. Nicu’s Spoon’s current season is dedicated to exploring issues of disability and working with disabled artists; with Formicans, the company tackles the subject of Alzheimer’s disease and has in the cast an actor with cerebral palsy. Jerry Portwood, Backstage
“Formicans is a brilliant play. The language that Congdon invents for her alien characters is specific and often hilarious, full of the kinds of insights that come from refusing to look at anything in the usual way. In sum, this production of Formicans has some kinks that need working out, but the play is a modern masterpiece, generally well acted. Its small, odd, funny, and haunting world is a place well worth visiting.†RL Nesvet, OffoffOnline
They say that ants can pull 50 times their weight, but the disabled humans do plenty of hauling as they seek their ideal forms in Constance Congdon’s poignant tale of aliens, Alzheimer’s and adolescence, produced by Nicu’s Spoon. The play is a wonderful metaphor for the function of theater. One could accomplish a great deal by sitting and listening. And the point of all the lifting of chairs? “Never force anything.” Congdon has lent an ear to Plato in this sequence of terse epitomes about finding one’s form: “All you have to do is gather it in.” Deborah Greenhut, OOBR
Nicu’s Spoon is an extraordinary company in that they celebrate the diversity of acting talent in the city by casting multi-racial, multi-abled, multi-aged, and multi-gendered talent. The cast of Formican’s certainly is true to that mission. And then there are the aliens. Rather than writing a basic family drama, Congdon presents the audience with an anthropology lesson, as a group of aliens observe and attempt to understand the lives of this group of humans. They get most of it wrong, but of course, that’s the point. The results force us to view ourselves and our lives in a different light. Byrne Harrison, Stage Buzz
Summer 2007 - ‘RICHARD III’
by William Shakespeare
A villian? Maybe. But in reality a disabled man, reviled by all, finally fighting to make his way in an ‘abled’ world.
“The most fascinating device is that Richard is also played by Andrew Hutcheson, billed as co-player for Richard, who is upstage in a corner, behind a lectern, speaking Richard’s monologues. Hutcheson is tall, imposing, deep voiced and well-spoken, and the contrast with Holden, who is smaller and speaks Richard’s lines with an evil-pixie demeanor when in scenes with others, is striking. This Richard clearly has a different sense of himself than how he is seen by others, and this goes a long way in explaining how he manipulates his way to being crowned king. ” David Mackler, OOBR
“It would be difficult to review this show without mentioning the performance of Wynne Anders in the role of Queen Margaret. That’s a fantastic role, and she was absolutely riveting every moment she was on stage. But for me, the standout performance of the show was in the role of Queen Elizabeth, played by Rebecca Challis. In the scene with Richard, after he has killed her children, I could really feel her pain and hatred. That’s a tough scene (my favorite), and she nailed it. Also, having two actors playing Richard highlighted the contrast between Public Richard and Private Richard. The director also had the freedom to underscore the more poignant moments by having a character deliver a line addressed to Richard to Hutcheson instead of Holden, or to have both actors speak a line in unison. And Hutcheson turning off his reading lamp to signify Richard’s death was a nice touch.” ShakespeareTeacher.com Reviews
“Amber Allison, who creates such a distinct characterization with her Duke of York that I had no idea it was the same actress who was also playing Lady Anne. Lauren Duke directs the play with broad strokes, emphasizing buffoonish comedy and dark melodrama, throwing together seemingly disparate elements that blend into a thoroughly entertaining mix. The fascinating thing about this production was how much I thought about the choices the director was making at the beginning, and by the end, how much I had given over to the sheer entertainment of the show. This Richard III is bold, strong, and enjoyable.” Anthony C.E. Nelson, NYTheatre.com
Fall 2007 - The US Premiere of ‘Kosher Harry’ by Nick Grosso
What is the true nature of disability? In this US Premiere of a Bristish play we explore that notion.
“The lesson of Kosher Harry is exceedingly timely and apt: Hatred is most dangerous when embedded and normalized into the daily rituals and conversations of our lives. They have much method to their madness in giving this play its U.S. premiere.” Christopher Murray, BACKSTAGE Reviewers Pick*
“The main theme of Kosher Harry, is, according to the playwright, damage ” the characters are all damaged, and they inflict damage upon each other. But underneath each character’s vitriol and hatred and animosity, there is an aching beating heart. Ted Merwin, The Jewish Week
