Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Pandemonium and Nonstop Laughs at the Faux-Real Theatre Company’s Lysistrata

Somehow the Faux-Real Theatre Company has found a way to make Lysistrata even funnier than the original. Their performance of Aristophanes’ filthy antiwar feminist polemic last night at the Nuyorican Poets Cafe, directed by Mark Greenfield, mixed in-your-face punk rock shock value and carnivalesque pandemonium into an orgy of hilarious sexual innuendo and battle-of-the-sexes humor whose relevance has never waned in the span of more than two millennia. While dramaturge Aaron Poochigian has taken some liberties with the original by sprinkling in some droll contemporary references, the script follows the original more closely than you’d think from this adaptation, emphasis on sexual politics which even by this era’s standards might seem risque.

Men do not get off very well in this play to begin with, a springboard for this production’s most side-splitting moments. See, the never-ending war between Athens and Sparta has not only sent all the guys off to battle, it’s also cut off the sex toy trade. So one, or two, or…um….maybe a handful of them (or, more accurarely, an armload of them) make an appearance throughout the show. The sight gags, and how they’re directed, are too good to spoil. Suffice it to say that the Greeks in this cast may want their wives first, but they’ll settle for their fellow soldiers in a pinch. Arguably the funniest moment of the entire play involves a demigod cast as a lubed-up drag queen, another moment that the cast relishes: the sold-out crowd was howling.

In a nod back to ancient tradition, everybody plays multiple gender roles, but in this case so do the women in the cast. Stephanie Regina imbues – and sings – the titular role with an unexpected, tongue-in-cheek gravitas in contrast to Elena Taurke’s sardonic Calonice, Josephine Wheelwright’s cynical Myrrhine, Emma Orme’s irrepressible chorus girl, Dominique Salerno’s self-centered Lampito and Layna Fisher’s feisty sexy-grandma role. The men in the cast are all pretty much the same lunkheaded guy, easily manipulated and unable to think outside the box, but the group as a whole – Jason Scott Quinn, Tony Naumovski, Alan Fessenden, Aaron Scott, Dorian Shorts, Ricardo Muniz, Tom Metzger and Aidan Nelson – have a stomping, dionysian good time setting themselves up to be pussywhipped and then brought to embrace the womens’ ironclad pacificist logic.

Greenfield has fashioned an entertainingly vaudevillian acoustic score where the cast join in singing several of the chorus parts, plus a couple of what sound like originals that suggest what John Waters might do with this, played with tightness and wry verve from many corners and a considerable distance by multi-instrumentalists Jeff Wood and Jim Galbraith. You will be offered wine by a tunic-garbed cast member as you enter (grape juice and grapes are an alternative), and you may become something of an extra in the play’s most comedic moments if you take an aisle seat. The final two dates in the currrent run are tonight, Oct 21 and tomorrow, Oct 22 at 7 PM at the Nuyorican Poets Cafe, 263 E 3rd St. between Aves A and B. Admission is $18/$15 stud/srs.

October 21, 2015 - Posted by | drama, Live Events, New York City, review, theatre | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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