I’m pleased to learn that a play I’ve enjoyed twice during staged readings will be given a full production in fall 2010.
I was curious but had no high expectations when I arrived at the Hoboken Historical Museum last fall for a staged reading, presented by gaia studio, of “The Flora Dora Girls Weekly Sewing Circle.” I know some of the actresses who would be performing, and knew their enthusiasm about bringing life to this previously unproduced play by the late Louis LaRusso II, a Hoboken playwright who received Tony and Drama Desk best play nominations in 1976 for “Lampost Reunion.” That play told of some old pals drinking the night away with their famous singer friend (Frank Sinatra) after he does a show at Madison Square Garden. Word of mouth was that “Flora Dora Girls” was a Hoboken “Steel Magnolias” set in a past that’s largely gone.
Part of my curiosity came from having edited so many Jersey Journal obituaries in the 1980s and ’90s for Italian-American matriarchs who’d worked in sewing factories in Hoboken, Weehawken, Union City, West New York. Each woman’s life had been different, of course, but the obit facts hardly varied: Born in a little town in Italy, came to America as a girl or a wife in the 1920s, worked in a coat or dress factory for 20, 30, even 40 years, the factory’s name now forgotten, not important, but if she had been a “floor lady” who oversaw production, that was always worth noting. Many times a surviving child or grandchild had earned a Dr. or other title to put in front of their name or added an Esq. after it. Sometimes the woman had no survivors, at least in America. Fewer of these obituaries ran with each passing year; very few of these women are living today. All had built America, and done so in sweatshops doing boring work day after day, year after year, so their children could have better lives.
So it meant a lot to me, and to many in the Historical Museum audience who could remember these little old women who dressed mostly in black, that LaRusso’s play, set in the mid-1960s, brings their stories and passions to vivid life. As the producers observe, the characters “come together for a weekly sewing circle, the one place where they don’t need to be ‘ladies.’ They sew, gossip, laugh, cry, fight, curse, ask big questions, tell great stories and bond – like a fist!” By turns dramatic and hysterically funny, “The Flora Dora Girls Weekly Sewing Circle” is a human comedy, richly observed, with emotions and dialogue that pre-date political correctness.
It was fun to revisit “The Flora Dora Girls” on Sept. 26 when it was again performed as a staged reading, with many new faces in the cast, and this time at the Monroe Arts Center in Hoboken. Directed and edited by Taylor Keith, produced by Lillian Ribeiro, featuring Susan Bucci, Eileen Gaughan, Domenica Galati, Angela Kariotis, Sheila Mart, Ellen O’Neil, Florence Pape, Chelsea Lee Richardson, Angela Sharp, Trish Szymanski and Eva Visco. With judicious cuts, the play did seem tighter the second time around. I look forward to seeing it performed on a set with costumes and props.
“The Flora Dora Girls Sewing Circle” is an ensemble work, but Florence Pape had the leading role. She gave what I call a “whammo” performance last year, and she was in top form this year as well. Below is one of the faces Florence showed me in my studio. I applaud her every chance I get.
What casting directors and agents want to see nowdays is not necessarily the one perfect headshot, a mutual friend was explaining as I started taking pictures of Kathi Carlson a couple of summers ago. The people doing the hiring today want to see all the characters you can play, this actor and model said, and you need a selection of good shots so you can present an appropriate image for whatever part you’re seeking. Glossies with resumes on the back are still a necessity, but actors now are submitted for work with electronic images e-mailed to decision makers whose desks may be across town, or across the globe.
We were working with the available light streaming through Kathi’s living room windows, which was abundant (though variable, due to clouds, and eventually fading as the sun moved), and added fill light from incandescent bulbs in several lamps with their shades removed. I’ve always been comfortable using improvised lighting; it’s far preferable to flash-burning people’s faces. And digital cameras get better results with it than film cameras ever did.
As our friend Gary worked to call forth all the personas Kathi might take on for a stage play or a movie or commercial, I learned a lot about collaborating with performers. Gary and Kathi had just finished taking an acting class together, and with trust, trickery and a few acting exercises that afternoon we produced more than a dozen usable photos that suggest Kathi’s range. She was set to look for work. It was about that time that she quit an office job in the suburbs to put her energy into pursuing a show business career. It’s all paid off.
Flash forward two years, and Kathi’s been in one theater or film production after another in and around New York, and I’m now lighting my subjects with synced strobes that give consistent results frame after frame in my own well-equipped studio. And the trust and tricks still work their magic. Thanks Gary!
Last spring, Kathi hilariously played an android actress cast in TV soap operas and corny frontier family dramas in Alan Ayckbourn’s early-80s satiric comedy “Comic Potential.” (pictures way below).
Kathi has just been cast as Irina Arkadina in a new Americanized adaptation of Chekov’s “The Seagull” that will be performed in Manhattan by the Curan Repertory Company at The American Theater of Actors from Oct. 28 to Nov. 1. While Kathi often plays “mother” roles, Arkadina is not your run of the mill mom. I’m looking forward to seeing what she does as the big-ego stage actress reluctantly dealing with a neurotic son while trying to hold onto a fickle poet lover as well as her own fading stardom – a role of many nuances attempted by almost every great Russian, British and American actress of the past century.
Kathi Carlson is one of those performers who isn’t afraid of challenges, knowing how much they can stretch one’s talent and make the performing life exciting. Having gone skydiving for a recent birthday thrill, nothing will stop her from creating a memorable Arkadina this fall.
Gregory Nye has appeared in several recent Hudson Theatre Ensemble productions, playing various princes and kings for the kiddies, the hero’s best friend in Larry Shue’s comedy-drama “The Foreigner” and, most recently, a robotic actor playing both a TV soap opera doctor and a farmer in Alan Ayckbourn’s “Comic Potential.” Greg’s ready for paying work on stage and in television, movies and commercials — whoever hires him will be extremely pleased. He can do it all.
A heartfelt message from John Crittenden:
I’ve loved the theater as long as I can remember being alive! And I’ve been taking photographs for almost as long.
So welcome to my world, as I’ve seen it so far, up to this very minute. Have fun exploring, and if you need a photograph of yourself or someone you love, get in touch…
Show Me Your Faces!