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.

Jody Christopherson

AMP Electrifies


“No man chooses evil because it is evil; he only mistakes it for happiness.”

In AMP, now playing at HERE Theater, playwright performer Jody Christopherson forges a curious and vital bond between two women separated by 100 years. The first is Mary Shelley, she whose imagination birthed Frankenstein, the classic science fiction horror, on a bet in a Geneva cottage. The second is Anna, once an aspiring cellist, now confined to an asylum outside of Boston. The two don’t appear to have much in common at first, but common truths begin to emerge as the play moves forward.  

While Mary stalks the stage assembling pieces of the story of her childhood as the precocious daughter of early feminist Mary Wollstonecraft and philosopher William Godwin, of her abuse at the hands of her father’s second wife, and of her love affair with and marriage to poet Percy Bysshe Shelley, Anna remains locked on film. Her story is that of an unraveling, with intercut segments describing her removal from recess after an incident with another student—possibly and accident, possibly not—and dropped her in the school orchestra. 

“No human being is born a monster, something has happened to turn this innocent child into a frightening adult.” 

In both biographies, childhood talents are only just blooming when the girls fall victim to adults who deny them praise and applause, who could nurture their skills but instead choose to tear them down. The play’s title, AMP, can be read in two ways. The first is the scientific term for electric current. The second is a take on Mary Shelley’s most famous work, which features the subtitle “The Modern Promethues.” 

In the Greek myth, Prometheus gives humanity fire, and is punished for the deed by being chained to a mountaintop to daily have his liver eaten out by an eagle without dying. Every night the organ regenerates for the following day’s torture. The similarity to his plight and these two women’s is that they were all set up for failure. They are all given the tools for success and then denied that success by the very people who insisted they take up the tools in the first place. That rejection or gaslighting, rightly, infuriates them. To be true to themselves, they have to break their chains and disappear into the ether. 

Christopherson is a captivating performer. As Mary she exudes radiance that has nothing to do with the lightning and “laudanum.” Her cheeks are flush, her excitement palpable. As Anna, she is morose and sinister. Listening to her story, she doesn’t seem as honest and true Mary, as if there are a hundred details she refuses to admit. Yet she remains sympathetic, because like Mary and like so many women, her story doesn’t sound strange. It sounds familiar to the extreme to any woman who has been held back or told to stop being unladylike, that her interests aren’t becoming of a lady. 

The stage setting is simple but very effective, a light fog hanging over all that catches the lights in ways that make it alternately hazy, dreamy, stormy. Christopherson has spliced pieces of her subjects’ work into her own, and we hear their voices cutting in to have their say every now and then. The technical skill necessary of sound designer Martha Goode to make it come together so seamlessly is incredibly impressive. Special kudos also go to director Isaac Byrne for making the video segments so genuinely, incredibly chilling. 

AMP is a moving piece, with shocking moments that make it a truly visceral experience. It’s also worth experiencing as a feminist piece, of which the Marys—Wollstonecraft and Shelley—would have undoubtedly approved. 

Photos by Hunter Canning

Written and Performed by Jody Christopherson
Directed by Isaac Byrne
Playing at HERE Theater in a limited run through December 19, 2017

Like Money in the Bank and Other Stories


Perhaps too much of everything is as bad as too little—Edna Ferber

The dichotomy of Like Money in the Bank lies in the fact that though it is well written by Jerry Polner, skillfully directed by Shana Solomon and performed by a talented group of actors, it is too much of a good thing. It is about the establishment of the Federal Reserve Bank, the plight of immigrant workers, the American Progressive Movement, the United Garment Workers, corruption within the banks, union conflicts, the suffragists, strikes, temperance, and even the advent of the radio.

LikeMoney2_ShanaSolomonWhile it is true that these were, indeed, all things which were occurring during the same era of our country’s history does not lessen the danger of the audience feeling it is being prepped for a mid-term exam.

Fortunately, despite this, the show fulfills its designated category of romantic comedy. Rachel Mewbron as Louisa and Michael Zlabinger as Sully play the requisite lovers with great charm. The remainder of the cast– Jack Utrata, Sarah Sirota, Annalisa Loeffler and Richard Vernon – play multiple characters with aplomb.

The pre-show music is a delight. Sound Designer Harrison Adams has put together music that seems to be coming out of a gramophone and sung in the style of the period. Joseph Blaha’s costumes are consistently well researched and appropriate.

LikeMoney3_ShanaSolomonScene changes are announced with intertitles—a fixture of the silent films. In this case cards carried across the stage, opening with “A Small Bank Out West, 1907” and including “Chicago Steam Boiler Company,”  “A Makeshift Union Hall” and “Smith’s Bar.”

Special mention to Andrew Sellon for his role of Lockett (also Socialist and Sidney); his innate talent for comedy is a joy to behold, not only in his characters but as he carries title cards across the stage.

There is so much good to be said for the production of Like Money in the Bank that one can only wish it hadn’t taken on quite so much history.

At Theatre Row Studio Theatre, 410 West 42nd Street
Concluding a limited run through April 22, 2016
Photos by Jody Christopherson