Marjorie Preston

“The Momologues” at Jackson Community Theater-Ohio Honest and Hilarious

By Marjorie Preston

Brava!

www.marjoriepreston.com/brava

Jackson Community Theater Ohio’s (JCT-Ohio) production of “The Momologues” by Stefanie Cloutier, Sheila Eppolito and Lisa Rafferty is a homespun, yet sharp production of a baudy, hilarious show aimed at moms and others looking to laugh at the challenges of motherhood.

The four actresses, Bridget Bazzinotti, Denise Dawson Geissinger, Chanda Marie Schmidt and Tawnya Schlabach Sutton, three of whom had never been on stage before, turn in a true-to-life performance. The show rarely feels like complaining, and though it’s not a traditional play with a plot line, it is a series of humorous monologues about mommy-hood book-ended with some equally funny group discussions.

Topics covered include the aches and pains of pregnancy and labor. The ladies ask: why take a pregnant woman’s blood pressure right after she gets off the scale? They discuss pregnant “charity sex” and the “access challenges” of pregnant sex. A late pregnancy baby is like “a guest that has stayed too long.”

Schmidt gets a laugh with her comeback to the doctor who tells her not to push: “Stop pushing? Fuck you!” Sutton suggests perhaps the doctor ask questions during labor of someone other than the pregnant woman – “Ask my husband – does he look like he’s busy over there?”

Bazzinotti delivers her line with aplomb about her emergency C-section: “She’s got the perfect C-section head. It’s not like those others…” and is immediately drowned out by peals of laughter from those familiar with natural birth and squeezed babies’ heads. A running gag has her repeatedly calling her mom with news, like her hemorrhoids or the sweet smell of a baby’s head. Finally she says of her baby daughter, “I think I finally forgave her, so we’re starting over now.”

The women commiserate over loss of privacy, the chance to eat lunch alone, and reading adult level literature. They discuss pregnancy tests, sick kids, and the cost of a date night for parents. Schmidt steals a scene with Geissinger by sliding – in slapstick fashion – out of a high stool while having coffee with her friend.

Director Holly Ellen Roby has put in the work to make scene transitions smooth, and the actresses genuinely seem comfortable and warm around each other. The cast and crew, acting as set designers, have pulled together a simple, no-frills set with wing chairs, pillows, childrens’ books and toys, plus a small coffee shop set to the side.

“The Momologues” finished its run on May 12, Mother’s Day. The production contained adult language and situations. For info on JCT-Ohio’s offerings, visit www.JCT-Ohio.com.

“Motherhood Out Loud” at Actors’ Summit An Eye-Opening Look at Mothering

By Marjorie Preston

Brava!

www.marjoriepreston.com/brava

The regional premiere of “Motherhood Out Loud” at Actors’ Summit, conceived and developed by Susan Rose and Joan Stein and written by a team of successful and prolific writers, runs the gamut from laugh-out-loud funny to moving and sad, while remaining for the most part a relatable and heartfelt show. The first half is mostly funny and relatable while the second half delves more into moving, and at times sad, subject material before returning to a touching and funny finale called “My Baby.”

Fourteen writers – Leslie Ayvazian, Brooke Berman, David Cale, Jessica Goldberg, Beth Henley, Lameece Issaq, Claire LaZebnik, Lisa Loomer, Michele Lowe, Marco Pennette, Theresa Rebeck, Luanne Rice, Annie Weisman and Cheryl L. West – have collaborated to create a collection of nineteen scenes depicting the struggles of mommies throughout their journeys. The topics include surrogacy by gay parents, mothering a boy who challenges gender identity norms, being the odd mom at the park and many other slices of life from birth to great-grandmotherhood.

The cast includes Shani Ferry, Paula Kline-Messner, Gabriel Riazi and Sarah Grewitt. Ferry’s sparkling, bubbly personality works best in her new-mom-with-sick-husband role in “Next to the Crib.” Moms will remember their worry over their newborn getting sick, questioning whether they are up to the task, and fierce protectiveness while trying to sleep on the carpet next to their baby’s crib. She humorously calls her baby “a sleep terrorist.”

Kline-Messner is consistently good and shines in “Queen Esther” about a son who likes to wear dresses and in “Stars and Stripes” about a mother’s anguish over not being able to protect her adult soldier son in a dangerous world. She brings a believability and a matronly gravity when inhabiting her roles. She delivers words of wisdom as the great-grandmother in “Report on Motherhood”: “Children do not like washing their hair; that is why they need less of it.”

Riazi misfires in two of his roles as some of his lines came off too perky for the material, but hits his stride in “If We’re Using a Surrogate, How Come I’m the One with Morning Sickness?” which surely will enlighten others explaining the process of a gay couple seeking surrogacy so they can be a family.

Grewitt is fun to watch as the cool, snarky mom of a rowdy boy in “New in the Motherhood,” the patient mom in “Baby Bird” and the empty-nester we see in “Threesome” and “My Almost Family.”

Director Constance Thackaberry brings this collection of different voices together nearly seamlessly, though the scene entitled “Elizabeth” seems oddly forced and out of place. Other than this speed bump, the rest of the pieces flow well and evoke reactions such as knowing laughter and nods of recognition as well as feelings of sadness at what time has taken away. Set Designer Neil Thackaberry has tacked a collection of childhood memorabilia to the back wall, giving a sort of homey, “cluttered attic” feel. These reminders of childhood – from the classic baby buggy to the wooden sled and teddy bear – remain constant throughout the production. The show will inform the unenlightened and bring recognition to the faces of others, but the scenes are a reminder of the growth process that kids and their parents go through.

“Motherhood Out Loud” runs Thursdays through Saturdays at 8:00 p.m. and Sundays at 2:00 p.m. through April 21. For tickets, call (330) 374-7568 or visit www.actorssummit.org. The show contains adult language and subject matter.

The World Premiere of “The Secret Social” at Cleveland Public Theatre Mysterious, Raucous and Delightfully Tacky
By Marjorie Preston
Brava!
www.marjoriepreston.com/brava

The World Premiere Cleveland Public Theatre production of “The Secret Social,” created by the ensemble under the direction of Cynthia Croot, is by turns mysterious, raucous and delightfully tacky, but never ceases to be a vibrant spectacle of an evening. “The Secret Social” also includes a borscht dinner and dancing, a free foxtrot/swing lesson and party games in its ticket price.

Guests of “The Secret Social” arrive through back passageways and are guided through a series of crumbling concrete passages to view mysterious relics and the fabled chamber of the twelve princesses. They then participate in a ritual paper boat launch before arriving in the grand hall where they will dine and be entertained by performers in berets, fezzes, princess garb and breakaway pants covered in stars.

The ensemble tells the story of how their mysterious and secretive order (of which the audience is now a part) called “the twelve and twelve” formed to reunite brothers who have been separated. They also are preparing to initiate new member Boris (Val Kozlenko) through a series of three trials.

The first of these trials is vanquishing the wild boar, played with enthusiasm during a strobe light sequence by Clarence, the reliquary (Tony Cintrony), who has never left his neighborhood and instead stays close to his relics. The second trial is for Boris to make himself invisible with the help of the dark, poetic, sleep-deprived Madame X (Lucille Duncan). Finally, he is asked to make a sacrifice with the help of his crush – sweet, bubbly Etude (Lauren Joy Fraley) – and he is not sure he can follow through.

Sassy, authoritative Piper (Dionne Atchison) is the welcoming President of the secret society, and delightfully tacky party animal couple Cady (Connie Hall) and Ray (Jeffrey Frace) have come in from the national chapter of the order to witness Boris’s initiation. Cady, in 1940s hair snood and fabulous dress, and Ray, complete with 1970s swagger and star-patterned suit, seem to have stepped out of some B-52s video. Sally (Amy Schwabauer) is still a child at heart and plays her role in a sweater adorned with Beanie Babies.

From the original opening number “The Secret Social” to the closing cover of “Last Chance for Love,” both fully choreographed, the first a Russian-inspired number and the last a 70s dance number with attitude, the cast shows great range, flexibility and humor. They play instruments, they take off some of their clothing, and though they host party games, the production never teeters into wedding reception cheesiness. Cady and Ray’s raucous cover of “Somebody to Love” is a highlight.

Director Cynthia Croot has created a unique and fun social experience that also happens some of the city’s best talent. The plot line gets a little hazy amidst all the party games, but the show is about having fun. Set Designer Ian Petroni has decorated the main hall with tapestries as well as utilizing space in the theatre not often seen. Let loose and enjoy the kitchy fun that is “The Secret Social,” a production that is anything but your typical dinner theater experience.

“The Secret Social” runs Wednesdays through Mondays at 7:00 p.m. through December 23 in the James Levin Theatre. For tickets, call 216.631.2727, x501 or visit www.cptonline.org. There are adult themes and partial nudity.