Boy

Boy

Keen Company

The Clurman Theatre / Theatre Row

February 27, 2016

Photo courtesy of Keen Company

Keen Company is partnering with Ensemble Studio Theatre to present the world premiere of Boy, written by Anna Ziegler.  Based on true events, the script brings to light the nature vs. nurture debate with the respect to gender.  The action of the play takes place between 1968 and 1990.  This well constructed script is sensitively directed by Linsey Firman and brings a proven perspective on the topic of gender identity.

After the botched circumcision of one of their twin boys, Sam (played by Bobby Steggert) is raised as a girl, Samantha.  He/She is treated and studied by Dr. Wendell Barnes (played by Paul Niebanck), who believes that gender roles can be nurtured.  When Samantha’s parents (played by Heidi Armbruster and Ted Koch) realize that the strong rejection of the imposed gender is proof that this theory is wrong, they decide to reverse their decision.  The play is an emotional chronicle of struggle, betrayal, and facing the truth.

Bobby Steggert is honest and subtle in his portrayal of the main character.  We see him play him/her from age six through twenty-three.  His range and transitions are strong and smooth.  He is matched by Rebecca Rittenhouse, who plays his love interest at age 23.  Her performance is genuine and her character is filled with a pragmatic level of heart and hope.  Paul Niebanck, Heidi Armbruster, and Ted Koch all play their characters’ objectives with a strong commitment that allows their points of view to be clearly voiced and understood. 

Linsay Firman’s direction finds the right balance that permits the science and emotion of this play to reverberate without bias.  Anne Ziegler’s writing provides strong evidence for heated debate on the topic of gender identity.  Sandra Goldmark’s set design clearly reflects the theme of duality that turns the world of the characters upside down.

Boy runs through April 9 at the Clurman Theatre on Theatre Row.  It is a well-produced play on a controversial topic that is well worth seeing. 

Domenick Danza

John & Jen

John & Jen

Keen Company
The Clurman Theatre / Theatre Row

Sunday, February 15, 2015

John & Jen is the second production I have seen at Keen Company this season.  The first was Lee Blessing’s A Walk in the Woods with Kathleen Chalfant and Paul Niebanck.  Expertly directed by Keen’s Artistic Director, Jonathan Silverstein, these productions have made me a big fan and follower of Keen Company.

Kate Baldwin and Conor Ryan in John & Jen
Photo courtesy of Keen Company

John & Jen is a heartfelt, two-character musical by Andrew Lippa (music and book) and Tom Greenwald (lyrics and book).  It tells the story of John and Jen, a brother and sister, how close they were growing up, how they grew apart, and how love and fears of letting go transfer through a generation.  I purposely do not want to tell any more about this unique musical so you can experience the journey first hand.  Personally, I was carried back to memories of my relationship between me and my youngest brother, and how that has transferred down to my young nephew.  It is clearly relatable story that should not be missed. 

Jen is magnificently played by Kate Baldwin.  I saw her in the Broadway production of Big Fish last season.  She was marvelous in that as well.  John is tenderly played by Conor Ryan.  He was previously seen in the Public Theatre production of The Fortress of Solitude.  Their chemistry is magical as we watch their characters grow up before our eyes.  Their transformation from childhood through puberty into adolescence and then young adulthood is seamless and magically crafted.

Director Jonathan Silverstein is gifted at finding the moments where the growth in the relationships between the characters intimately moves the action forward and allows the audience to ride through the story.  The musical staging is by Christine O’Grady.  Her movement fills the space and develops the characters with care, precision, and detail.

The set, by Steven C. Kemp, is a mixture of geometric structures that are utilized in various and imaginative ways.  It works very well as a unit set for this story that travels through decades of time and numerous settings.  It is painted in dark and intense colors that, unfortunately, do not allow the space to illuminate with the range of emotion the play spans.  Josh Bradford’s lighting is very well done, but hindered by the darkness of the set structures.

John & Jen is sure to be well received.  Go see it!  I am looking forward to returning to Keen Company for their next production.

Domenick Danza