Tulis McCall

This is a rich ensemble. Rich in talent and rich in generosity toward one another and to us. Chowdhury’s direction is seamless. The action is deceptive because it is choreography on so many levels. The scene changes are more akin to hand-offs in a relay. And no one drops the baton. Mention must be made of the many characters that almost every performer takes on with what can only be called raw glee. Don’t let the title, “Prince Faggot”, put you off. Fasten your seatbelts and open your mind. You will be surprised at how much new information you can stuff into that noggin of yours.

I wish there had been more “there” there, because these two actors are clearly up to the bit. I am sure of thief because as mild mannered as the text was, Birney and Emery made us believe that these two were the real deal. As performers and characters their bond is mighty. And that, my friends, is pretty much the whole deal.

The combination of talents has achieved a comic lift-off that is precise and surprising. This is a very smart script. Hatcher may have taken a page or two from the style of Coel Escola’s “Oh Mary” – which is a compliment to both authors. Just when you think you have a handle on the proceedings, they spring a new plot twist on you. Not only a new plot twist but several costume changes along with the requite exits and entrances that make your head spin.

If Ryan J. Haddad‘s script for “Hold Me In The Water” were any more spare it would disappear. As a mater of fact, this enchanting piece already does that. This is a master class in turning story into magic. A sense of precision runs through this production from the tipity-top where Haddad emerges from out of nowhere to the final graceful denouement where he returns whence he came. In between, Haddad holds us in the palm of his hand. He is a gentle guide, beginning with his description of a a “Relaxed Performance.” That means a few things. The house lights are dim but not fully out. Please feel free to come and go as you need, you will always be allowed re-entry.

I don’t read the PR (Egad!) materials sent o me for most productions I see. I had enough of people telling me what to think in the Catholic Church. These days I go in unprepared and wait to see what happens. So it came as a surprise to me that I had seen a production of Lia Romeo‘s STILL last year And I repeat what I said at that time. Ditch the first act. The very little that is accomplished could be swept directly into the second act with no one the wiser.

With the exception of Tovah Feldshuh’s “Wigged Out” and to a lesser extent Behar’s “The Touch” the monologues were litanies of boorish and sometimes dangerous behavior with which these women put up. Until they didn’t or until they gave up. If these were stand-up routines each would have lasted a few minutes. As it is, the writing wanders from pillar to post until we lose the thread.