Interludes

VIEWPOINTS – Notable new voices in New York theater: Cameron Darwin Bossert’s BURBANK and Sophie McIntosh’s MACBITCHES

• By drediman
• September 13, 2022
• No Comments

Before the onslaught of fall openings, it was a pleasure to have had the opportunity this past weekend to acquaint myself with a pair of notable and distinct new voices in New York’s ever-evolving theater scene. Here are my thoughts on these playwrights’ promising new works.

BURBANK
Thirdwing at The Wild Project
Through September 18

Down at The Wild Project in the East Village, you’ll find Cameron Darwin Bossert’s new play Burbank, which is being presented by the ambitious fledgling theater company Thirdwing, whose hybrid in-person and steaming model is an intriguing way to immerse audiences on multiple levels. Taking place during the years before and after the pivotal cinematic release of Snow White and the Seven Dwarves, the smart, dialogue-drunk play chronicles the rocky early years (circa 1940) of Disney Animation Studio. Indeed, given the circumstances faced by the company during its nascency — namely, labor issues, run-ins with the mafia (!), financial insolvency, etc. — it’s amazing that many of its iconic feature length animated films ever saw the light of day. As Sondheim succinctly put it, art isn’t easy, and Mr. Bossert’s dialogue for three actors is an astute, organic piece of writing that excavates the tug-of-war dynamics of producing art in a heated commercial environment. The same qualities can be said of the acting, as well — Kelley Lord, Ryan Blackwell, and Mr. Bossert himself (taking on the role of Walt Disney) deliver mature, full-realized performances that belie their age. And although barebones, the staging is surprisingly thoughtful and sophisticated, making excellent use of The Wild Project’s intimate auditorium.

MACBITCHES
Chain Theater
Closed

On its closing weekend, I was also able to catch macbitches, Sophie McIntosh’s new play that’s based on the Shakespeare’s “The Scottish Play”. Set at a performing arts college, Ms. McIntosh’s play — whose premiere in New York is being presented by the folks at the Chain Theater — tells the story of a group of young women in the acting program who audition for the school’s upcoming production of Macbeth. Like Shakespeare’s play, macbitches is ultimately a take about unbridled ambition and it’s dark consequences. Luckily, the work opts to only very loosely follow the underlying play’s narrative trajectory (unlike Erica Schmidt’s Mac Beth, another adaptation of Macbeth enacted by young feral women, which very much closely tracks Shakespeare’s play). As such, the playwright is able to explore other themes — namely these young actresses’ crippling insecurities about their chosen career path, despite their overwhelming passion for acting — and tonal color (there’s a vicious but light touch, à la Mean Girls, to much of the play that’s a far cry from the pitch blackness that usually accompanies Macbeth). The solidly staged production feature a crop of lively, contrasting performances from its young cast, which includes Caroline Orlando, Morgan Lui, Natasja Naarendorp, Laura Clare Browne, and Marie Dinolan. Luckily, each gets the chance in the spotlight to show off their vivid characterizations, which they unapologetically take by the horns.