Short Takes: November II - Theater

Reviews: Nollywood Dreams, Fairycakes, Autumn Royal, Letters of Saresh

Nollywood Dreams (c) Daniel J. Vasquez

Theater: Nollywood Dreams 
Manhattan Class Company 

It’s 1990, Laos, Nigeria. The vibrant film industry is growing. Famous director Gbenga Ezie (Charlie Hudson III) and superstar heartthrob Wale Owusu (Ade Otukoya), think Tom Cruise in his prime, are auditioning local girls to play the title character of their new film, “The Comfort Zone.” Young travel agent Ayama (Sandra Okuboyejo) has dreams of becoming an actress and auditions, even though the rumor is that actress Fayola (Emana Rachelle) already has the part. Playwright Jocelyn Bioh wrote the successful and wildly entertaining adaptation of “The Merry Wives of Windsor” for Shakespeare in the Park last summer, and this play is just as fun. It’s hard to argue against a show that is such a crowd pleaser – its slightness being part of its charm – but it’s hard to distinguish this play from, say, any theatrical comedy output of Tyler Perry. But even the Oprah Winfrey-inspired character of Adenikeh (Abenda) who is the closest to an oversized Madea type character still has humanity in addition to all her droll line-readings. I was hoping for a little more insightful social commentary that made Bioh’s “School Girls; Or the African Mean Girls Play” such a success a few seasons back, but “Nollywood Dreams” is a refreshingly light and enjoyable diversion in our ongoing pandemic life. 

Shorts Takes: November I - Films

Reviews:  Spencer / Eternals / Summer of 85

Spencer (c) Neon

Film: Spencer 
In Cinemas 

“Spencer” begins with a caravan of British cars heading to the Sandringham estate to prepare for the Royal Family’s arrival for Christmas. The cars don’t notice there’s a dead pheasant in the road. Any of the cars could run it over at any minute – and that’s probably the most subtle image director Pablo Larraín gives us on why Princess Diana finally decided to divorce Prince Charles soon after this holiday. That Diana is played by indie darling Kristen Stewart (who would have thought that she and her “Twilight” co-star Robert Pattinson would be the most risk-taking actors of their generation) is not even the boldest choice in this fascinating but ultimately tepid film, not unlike Larraín’s previous “Jackie”. Essentially a horror movie disguised as a comedy of manners (Did you know the Queen requires everyone to weigh themselves when they arrive and leave to see who gained the most Christmas weight?), “Spencer” is replete with specters, body horror hallucinations and spooky noises portentously warning, to paraphrase Whoopi Goldberg from another ghostly movie, “Diana, you in danger, girl.” Once I was on the film’s wavelength, the gimmick got tiresome and I wished for more insight. Stewart, whose main acting choice is breathy whispering, is fine, but if she wins the Oscar for this, I will pretend it was for her more deserving turn in a better otherworldly movie, “Personal Shopper.” The best scenes are the naturalistic and loving ones with Diana and her sons. I yearned for more moments like that. 

NewFest 2021: The Features

The Sixth Reel (c) The Sixth Reel

NewFest: The Features 
Film Festival: Oct 15-26, 2021 

After going virtual last year, NewFest, New York’s LGBT+ film festival, returned to in-person screenings while also keeping a streaming option. This hybrid model made the festival accessible to people around the country to enjoy a diverse and intriguing line-up this year. 

Film: Last Night in Soho

Last Night in Soho  (c) Focus Features

Film: Last Night in Soho 
In Cinemas 

Premise: Ellia (Thomasin McKenzie) is a small-town Brit moving to London for fashion school. Her grandmother is happy for her and tells her if she ever needs anything to call, especially if she sees her mother. That Ella’s mother is dead is a red flag - Ella has seen her reflection in mirrors. And sure enough, not long after moving into a creepy old house run by Mrs. Collins (the late Diana Rigg in her last movie, a great send-off), she begins seeing the past being played out in her dreams, particularly that of Sandie (Anya Taylor-Joy), who in the groovy 1960s is a promising young singer with the help of her new manager–boyfriend (Matt Smith). Ellie is enchanted by Sandie’s story and her glamourous life, even dying her hair blonde to emulate her (although she looks more like a young Nicole Kidman ala “To Die For”). But as Sandie’s story progresses, Ella realizes Sophie is in danger, which may spill over to Ella’s present. 

My Play: "Our House (in the middle of our street)" to be streamed live

Queens Theatre (c) The Interested Bystander

You can see my short play, "Our House (in the middle of our street)" live on YouTube on Saturday, November 6, at 8pm ET / 5pm PT.  It's tentatively the fourth play of six.  The play will be streamed live, and won't be saved to YouTube.  Enjoy.  

Here's more info:

Queens Theatre's New American Voices Reading Series marks its first in-person play readings since the start of the pandemic with two evenings of performances. “SHORTS! An Evening of Short Plays” on Saturday, November 6th at 8 PM ET and “MORE SHORTS! Another Evening of Short Plays” on Saturday, December 4th at 8 PM ET feature plays written and directed by artists who identify as Asian.

Featured playwrights include Kitty Chen, (“Rowing to America”), Mrinalini Kamath, (“Smooth Transition”), Nina Ki, (“Primary Colors,” “One Small Step,” “Broken English”) Nandita Shenoy, (“To The Stars”) Lucy Wang (“A is for American,” “Suffragette,” “Bad Chinese Daughter,” “Walkable Feast,” “Two Artists”) and Cary Wong [“Our House (in the middle of the street)”].  The directors are Dennis Yueh Yeh Li and Aneesha Kudtarkar.