Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

East to Edinburgh

Remembering and Forgetting: Two Plays Go East to Edinburgh


As part of their annual East to Edinburgh series, 59E59 Theaters have given a temporary home to several small acts before they head to Auld Reeky for August. There is always a wide assortment of plays and one-person shows of varying levels of completeness. This year is no exception. Here are two:

Tales of life and Death 

There was an announcement made before Tales of Life and Death that a fifth short play had been added to bring the length to an hour and that, for that play, the actors would be reading from scripts. No problem there. What is a problem is when it’s impossible to tell which of the short plays that means as three of the five very clearly involved at least one performer reading their lines. Then it isn’t a case of not enough time to learn blocking and technical cues but not have lines down; it’s a case of lack of preparation.

Playwright Craig Lucas has some impressive credentials: Both a Pulitzer and Tony Award winner, his most famous work is Prelude to A Kiss, a play that went on to become a major motion picture with Alec Baldwin and Meg Ryan. Tales of Life and Death has neither that piece’s charms, nor its philosophical conundrums. These stories might have been provocative a few decades ago, like when AIDS was fairly new and the AIDS quilt movement started. For a current play it felt stale, out of touch — at least when limited to the few minutes in which that particular story ran its course.

The performance comprises a series of only loosely linked vignettes performed by two actors, Richard Kline and Pamela Shaw. Kline’s style is loose, and he seems perfectly comfortable onstage. On the night of the performance, even when he was “on script” he was mostly off it, delivering his lines with a natural ease. Shaw, on the other hand, seemed to have difficulty not only with the new material but with the greater part of it. This was made particularly evident in a vignette in which she’s the only one who does any speaking, with Kline’s character offering only nods and shakes of his head in reply to her questions and the pre-recorded comments. There was a lot of stammering and reading off notes on the “bar.” Her delivery, when it came, was consistently rushed and nervous throughout. It might have been a chosen style of performance, but it looked like lack of preparation.

News clips fill the silence and dark between scenes, but these too feel stale and irrelevant, other than possibly to clue the audience in to the dates when these stories may take place. Though that’s just a guess to their purpose. It isn’t clear if that was a directorial decision or the playwright’s prerogative, but the sound balance was off on the evening and so much of what was said in the clips was lost or very difficult to hear.

It’s true that this is a preview show, and that the cast and crew are preparing for their time in the world’s largest cultural festival, but with time running short, there is a lot of work to do.

As part of their annual East to Edinburgh series, 59E59 Theaters have given a temporary home to several small acts before they head to Auld Reeky for August. There is always a wide assortment of plays and one-person shows of varying levels of completeness. This year is no exception.


Where Tales suffered from stiffness and forgotten lines, Cece Otto’s one-woman show Hyperthymesia offers a dynamic narrator and a fascinating story. The monologue piece is about a woman who is one of only a couple dozen or so people who have been diagnosed with a condition characterized by highly superior autobiographical memory (HSAM). In these cases, a hyperthymesiac can recall even minute details about any day during their lives from the beginning of their memory on. While many people might think about how useful an ability like that could be, Otto’s show focuses on the other edge of the sword: Happiness is being able to forget the things that have hurt you. Breakups, deaths of loved ones, scares and disappointments — all feel as fresh as the day they happened. It’s no wonder someone in the position of possessing such an extraordinary memory would do anything they can to try to forget.

Much of the play runs parallel to the life of a woman named Jill Price, at least in terms of the techniques Price employed to try to calm her thoughts, like regular and extensive journaling. People with HSAM have talked about their memories crowding their heads in any calm, still moment. Otto describes it like a swarm of bees, and the amount of detail that she wrote into the play could be just as intimidating. In between descriptive and emotional recitals of life stories (and the dates on which they occurred), she performs various series of actions and gestures, borrowing from dance, that provide slow, smooth feeling to counterbalance her narrator’s sometimes frenzied words.

The stage design consists of a single chair, but Otto pantomimes whatever else might be needed, leaving the audience to form an idea from imagination. It’s a plain but touching performance about one person’s struggles with her own amazing mind. The script is thoughtful, and also asks the audience to question their own experiences with remembering and forgetting. There is empathy and kindness in the telling, making Otto a very endearing narrator. It’s a piece that demands a lot of her, both physically and mentally — which also explains the unusual running time of 40 minutes — but is very satisfying and ultimately very hopeful.  Hyperthymesia is directed by Robert Scott Smith.

Top photo: Balmoral Hotel, Edinburgh, Scotland

Two From East To Edinburgh (Fringe)


Every year 59E59 Theaters hosts a number of plays on their way to The Edinburgh Fringe Festival, giving the small productions an opportunity to breathe on their feet with an objective audience and the theater-going public an opportunity to see interesting, alternative theater. Here are two on the current roster:

Screw Your Courage (Or The Bloody Crown)
Written and Performed by Khlar Thorsen
Directed by Eileen Vorbach

Thrice to thine and thrice to mine/ And thrice again, to make up nine./ Peace! the charm’s wound up.  Shakespeare’s Macbeth– a witch

Screw Your Courage is an episodic play, each portion cleverly prefaced by witchy rhyme, part Shakespeare, part Thorsen. It tells the first person story of Claire who becomes obsessed with playing Lady Macbeth for the attention, the dress, and the party when she’s a girl “maybe even mommy will come to see me and even she will think I’m great”(mommy is angry, neglectful; mentally ill), and for the challenge as a working actress. Beneath these reasons lies the belief that she too is cursed and inhabiting the role may save her.

We see Claire in class, in hospital with mom (a bit more madness might help explain), at a quirky workshop, and disastrously trying to produce The Scottish Play herself when unable to secure the role. Finally, as an International Acting Fellow at Shakespeare’s Globe Theater in London, she gets her wish. Kind of.

Author/actress Khlar Thorsen was, in fact, a Fellow in the program she illuminates rather well. She plays all the characters in what is, presumably, her own story. Some are cliché (an acting partner who sounds like a stupid Brando); others exhibit freshness (the domineering leader of a theater workshop.) Accents are well executed. The piece flows with Shakespearean-like speeches adding color and glue.

Thorsen has the perfect exit line as originally intoned by her director at The Globe, but alas goes beyond it nine or ten sentences. ‘A case of not seeing the forest for the trees, perhaps. An interesting and entertaining concept that could be better.

Director Eileen Vorbach manages the switch from theatrically witchy to “real” life. Visually, only the poetry is engaging.

Costume design is hugely unflattering.
Uncredited Sound and Light Design are excellent.

Photograph of Keenan Hurley by Avery Bart

The Man Who Built His House To Heaven
Written and Performed by Keenan Hurley
Directed by Patrick Swailes Caldwell and Emily Mendelsohn

Bob was born in a bad neighborhood, but has lofty aspirations. Pursuing someone ostensibly ‘above him,’ he promises a new car, home, and lifestyle. They marry. As everyone likes him, he gets on…well enough to buy a nice little house which the couple floods with kids. “We’re too many,” he tells his wife. “I’m tired of all these bunk beds. Bob (as in Bob the Builder) builds another storey on his home.

Meeting our protagonist in short shorts, a tee shirt, and laced shoes does not fit the image of a conservative, working class schlub with dreams. Only when he covers these with a shirt, pants and utility belt does the author/actor appear to be Bob. Use of a microphone when playing the protagonist while turning away to voice other characters is also, at first, disconcerting. Like the outfit, however, this evolves.

Sound is imaginatively and skillfully employed. Manipulating a couple of onstage sequencer pedals, Hurley records and plays back his own layered sounds and voice to create both percussive rhythms and a cacophony of invisible players.

Finishing the next level, Bob is still unsatisfied. The house, he says, has potential. Each child must have his/her own room. Another storey is needed. We hear frenzied direction to construction workers in tandem with his kids’ friends’ comments their parents think Bob is crazy.

The structure becomes a tower, replete with games, rides, restaurants, athletic fields…others move in. Bob keeps building. His wife and children don’t see much of him. Shades of The Twilight Zone. Eventually he breaks through to Heaven and we hear the echoing voice of God questioning the enterprise. The end features Bob’s musings on legacy.

This is a well written piece with spiffy details. Dramatic notes: A flashback to promises made his wife is unnecessary and disruptive, we have no idea it’s God, when the Lord first speaks, Keenan Hurley doesn’t come into his own until he ‘changes into Bob. Once that occurs, however, he’s quirkily appealing, holding our attention throughout.

Directors Patrick Swailes Caldwell and Emily Mendelsohn utilize only an orange ladder and a tool box to terrific advantage as various props and structural ‘sets’ as well as occasional metaphors. Performance is smoothly executed even when the sequencer is needed.

Opening Photograph Khlar Thorsen by Karen Santos Photography

59E59 Theaters presents East To Edinburgh
New York’s Annual Edinburgh Festival
Through July 31, 2016
59E59 Theaters
59 East 59th Street
Click to view Venue Calendar for other plays