2008
Spring 2008- Elizabeth Rex (a NYC Premiere and NY Innovative Theatre Award Winner for Best Performance by a Lead Actress) by Timothy Findley
‘Nicu’s Spoon Theatre Company is an inspiring group with a unique message all theatergoers in NYC should learn from. They pride themselves in working with talent of varying “colors, ages, genders, abilities, and talent. The diversity of the company is literally heart-warming as the casting always seems organic to the piece and never forced. The evening is filled with drama, as it is the night before Elizabeth executes her former lover, Essex. Her primary opposition is actor Ned Lowenscroft who plays all the female leads in Shakespeare’s plays. He contrarily seems to have forgotten how to be a man in affecting always the part of a woman. The world of the play is marvelous, ingenious, and delightful in concept and synopsis. A play with several beautiful moments, I do not wish to leave unsaid that Findley’s use of language is mesmerizing and his concept unique. The cast fares well and the company is commendable. I would be a bitter man indeed to not say that I leave Nicu’s Spoon always learning a powerful lesson in humanity.’ THE FAB MARQUEE, David Stallings
‘Happily, Findley’s take is not the usual historical sweep but just one imagined dramatic evening, with Will Shakespeare and his troupe thrown in for good measure. Playwright Findley’s original concept is to pit the reckless, campy Ned against Elizabeth, a woman who must always act as a man. This theme of male and female role-playing is the play’s most innovative feature.’ BACKSTAGE, Karl Levett
‘A CROSS DRESSER, THE Queen, the Bard, and a merry band of actors… No, this is not the opening to a very bad Elizabethan joke. What it is is the set up for a very well done play by Timothy Findley at Nicu’s Spoon Theatre. With such a finely tuned script it seems that just anyone could pull it off, I mean really where are the holes for them to slip through? Not true, it is the skill with which the play was written that makes it all the harder to play. And, much like that fateful night, all the players are in place. A final word on Mr Findley’s script. It mirrors the problems and issues facing modern America, and fits perfectly into the season of Nicu’s Spoon geared toward women and gender identity. It’s as if Mr Findley has held up a looking glass to modern society to say, “this is who you are, as you were.” It is truly one of the most refreshing pieces of this season, and I wonder what has taken the New York theatre world so long to bring this play back to audiences. Elizabeth Rex is a superb play, performed by a fabulous troupe of actors, even more intimate in the space of Nicu’s Spoon Theatre. It is a timely piece that is about the journey we all take to find who we are by accepting who we were. Bravo to Nicu’s Spoon for bringing this piece to life in the time they have.’ BROADWAY BULLET MAGAZINE, John R. Delamar, Jr.
‘Elizabeth Rex is a solid production of an intriguing and compelling play. Nicu’s Spoon continues to produce theater that challenges and entertains. Elizabeth Rex. Elizabeth the King. A great title for a play about a ruler who is a woman, even though she is not truly allowed to behave like one.’ OOBR, Byrne Harrison
‘Despite its success, however, it has enjoyed relatively few productions, and is only now arriving in New York, courtesy of Nicu’s Spoon.
Nicu’s Spoon was founded to promote non-traditional casting in challenging plays. This season’s theme is ‘Women & Gender’, which fits Elizabeth Rex perfectly. What precedes and follows this line is one of the most unabashedly emotional, intense and intellectual plays in recent memory. As the night drags on and the execution draws nearer, Ned and the Queen test and torment each other to find hidden strengths and emotions. Nicu’s Spoon may well be one of the most heart-full production companies in New York. Their mission to open up challenging plays to diverse casts is immensely praiseworthy. They are still the first company in New York with the courage to take on this difficult play. That alone speaks volumes about them.’ BROADWAY WORLD, Jena Tesse Fox
Summer 2008 ‘No Niggers, No Jews, No Dogs’ by John Henry Redwood
‘No Niggers, No Jews, No Dogs is an interesting play dealing with the difficult subjects of rape, anti-Semitism, and racism. Nicu’s Spoon should be applauded for once again producing meaningful and intriguing work. Their willingness to take risks is needed in today’s theatre.’ Natasha Yannacanedo, NYTheater.com
‘No Niggers, No Jews, No Dogs is a play of worthy intentions that has powerful moments. It is a plea for tolerance, for acceptance of racial and religious differences. Redwood even includes a likable Jewish character and draws parallels between Jewish and African-American persecution. The play takes its title, the playwright explains, from signs that can be seen entering some small Southern towns. Set in small-town North Carolina, the story follows the trials of a strong black woman, Mattie Cheeks, played beautifully by Pamela O. Mitchell, and her family. Mattie has been raped by a white man but does not tell her husband, Rawl, fearing that his justifiable rage would end in his own destruction.’ Irene Backalenick, BACKSTAGE
Fall of 2008 a World Premiere of ‘Kite Cut Loose in the Middle of the Sky’ by David Greenberg
Fall 2008 is the world premiere of a new play ‘Kite Cut Loose in the Middle of the Sky’ by David Greenberg - running Oct 8-26, 2008 at Spoon Theater! The play, told in real time, follows the story of Rosie and her differently abled friends as she battles her gender, abilities, lack of abilities, love, hate and possible death. *Note, strong language and sexual imagery - nobody under 15 admitted.
NY TIMES says “There are some crackling moments as the quadriplegic with a death wish squares off against the criminal with contempt for life.
Ms. Challis and Mr. Tully, under Russell Waldman’s direction, give us real theater.”
‘Rosie takes us into her idle mind, while the language keeps it raw and honest, there were times I was in my seat cringing in my seat over the language… just wasn’t ready… So in my lack of knowledge of (or can I dare to say ignorance) to what quadriplegics go through, this play will help you peep in the mind of not just quadriplegics, but paraplegics, and other people who have severe disabilities. After awhile watching this play, to watch all the different disabilities in one room getting high was a sobering experience. This is a play that should be on a bigger theater… One women leaving the play was in love with the performances and I have to agree with her…even the weakest performances were better than some you see anywhere on regular Broadway.’ DJ Baker, DooDirty
