Sunday, September 14, 2025

Margin Notes: let's talk about anything else


Seen on: Friday, 9/12/25.
Gabriella O'Fallon, Sadithi De Zilva, Ry Albinus, and
Caroline Portante as Beck, Charley, Enda, and Meg.
Photo by Mikiodo.



Plot and Background
The Other Side of Silence presents Anthony Anello's new play about a group of friends gathering at a remote cabin a year after their friend Abby's sudden death. But when strange visions and visitations awaken dormant guilt, things take a turn.

What I Knew Beforehand
I knew that it was billed as one of TOSOS's queer horror stories.

Thoughts:

I loved it. This production was a true pleasure, even when it was deeply and viscerally upsetting. Full of plot twists that feel both earned and startling, Anello's writing takes us on a journey full of broken and unreliable memories, struggles toward healing and wholeness, and the utter uselessness of trying to recreate something--or someone--dead and gone. Rosalie begins the play recounting a hallucination she suffered in the wake of Abby's death, as her anxiety gets the better of her. As the rest of the friends arrive, it becomes clear that, although they are ostensibly gathering in honor of Abby, Abby remains top of the list for topics not open for discussion, with Charley (who found her body) holding final veto power. Full of overlapping dialogue (is there a word for seven people talking at once?), pointed looks, and defiant dives into pleasure and oblivion, the characters process their individual griefs and guilts through ultimately less than successful methods. It is only when an outsider, Wes, arrives that the carefully crafted stories each character tells themself begin to collapse like a house of cards. And under all of this is the ghost at the feast: Abby isn't onstage but the gap she leaves behind is palpable, as she seemed to have somehow been the emotional support for each of her friends. My scribbled notes include such gems as "found Chekhov's gun!" and "The Men Are A Problem [with a box drawn around it]" (in my defense, the men in this play are absolutely a Problem). This play is hilarious and honest and upsetting and messy and gorgeous. I love when I get to review something this good.

Monday, September 8, 2025

Weekly Margin 2025, W36: Saturday Church, Circle Theater Festival 2025: Between Us and Close Encounters

What: NYTW presents a new musical adaptation of the film of the same name, about a young man discovering his own sexuality under the watchful eye of his religious aunt, who wants him to mask his flamboyance. When he discovers Saturday Church, a haven for queer youth in the city, his world expands--with the help of Black Jesus.
And? It's still very much a work in progress and needs more tightening and focus, but its heart is in the right place, and the stage is full of talent, especially the luminous J. Harrison Ghee.




What: Circle Theater Festival 2025 presents twelve works at AMT Theater. I was able to see four of them.
And? full writeup here.




Sunday, September 7, 2025

Margin Notes: Circle Festival 2025: Between Us and Close Encounters

Circle Festival 2025:
Between Us and Close Encounters


Seen on: Saturday and Sunday, 9/06/25 and 9/07/25.

Plot and Background
RJ Theatre Company, in partnership with The Actor Launchpad, presents Circle Festival 2025 at AMT Theater. I was able to attend four of the twelve pieces presented:

Between Us combines two works: Into Your Hands, Nick Navari's solo show on loss and letting go; and Caity Ladda's Enmeshment, a monologue/duologue/movement piece about identity.

Close Encounters is another pairing: Elise Wilkes's Packed, a comedy about two strangers packing up the apartment of another couple who have just broken up; and Don't Push the Red Button by Zachary Mailhot, a comedy about the end of the world. 

Thoughts:

Overall: I've always had a fondness for unfinished portraits and earlier painted drafts. Like the handwritten corrections in the archived papers of a writer, it's a secret passage into the thought process of artistic creation. What's rather exciting about this festival--or at least the pieces I saw--is it feels like the same secret passage. These all feel like works in progress: explorations and iterations, dancing around the idea that will be the lodestone of the piece, but is not quite articulated into its final polished form. Some feel like spaghetti drafts, some feel like only the first half or third of a story, but they each have a core strength that can only get stronger with more time and depth.

See below for individual pieces.

Monday, August 25, 2025

Weekly Margin 2025, W34: Six, Death Becomes Her, Operation Mincemeat

 8/22/25: Six
a repeat visit, but five years later (it was the last musical I saw before Broadway shut down in March 2020).


a repeat visit

a repeat visit

Tuesday, August 5, 2025

A few more publications

My luck continues with getting pieces published! These are my most recent ones:

published by The Republic of Letters

A humorous rant about my frustrations with Eugene O'Neill's place in the theatrical canon.

published by Instant Noodles in their Sanctuary issue

A reflection on the physical memories we accrue over time: what we take with us and what we leave behind.