14 Preserves Innocence

by Jenni Morin

In the wake of the Orlando shooting, 14 Creator and Director Roberto Prestigiacomo offers a glimmer of joy and a sense of peace in youthful naivety. In its last weekend at the Carlos Alvarez Studio Theater at the Tobin Center, AtticRep’s 14 is a beacon of hope for a better future through the post-9/11 generation.

AtticRep's 14 at the Tobin Center. Photo by Siggi Ragnar.

Exploring the life experiences through the eyes of a rising teenager, Prestiagiacomo creates a fantastical world of beauty, light, and freedom. Even with the challenges of childhood – fitting in and finding an identity – the main character, Maia, retains her childlike virtuosity. She finds strength after nearly being blown away, learning to float and fly. Her curiosity is not dampened by an onslaught of social media, visual stimuli, or commercials, which she’s able to mute in the background since her entire life experience has always consisted of these things. As she grapples with making sense of history and iconic figures, such as Santa, in her life, she learns to distinguish and analyze, but never loses her sense of wonder. Maia embodies the simplicity of childhood and 14 captures an age just before the superficialities of teenage angst take over.

A refreshing piece of performance art, 14 showcases the strength of not only its dancers, but of dance as an emotive art form. Just as Prestigiacomo described, the theatre is transformed into a safe place void of tragedy, war, and hate. The show opens with an almost robotic building of the New York skyline with books. The movement choreographed by Mireya Guerra seems to represent the clockwork dependability and structure of the twin towers and world economy prior to the terrorist attack. A toppling of rectangles of light, a virtual set hauntingly designed by Stefano Di Buduo, is the precursor to the world Maia will enter. Corie Altaffer portrays Maia with an unbreakable confidence as she exhibits great control in her dance and aerial pieces and intense emotion in more stylized scenes. Choreographed by Julia Langenberg, aerialists Jenny Been Franckowiak and Elise Thea Sipos were mesmerizing as they twirled and posed in midair, eliciting gasps from the audience as they plummeted to the floor only to be caught by their fabric harnesses. Even though the contemporary dance pieces felt repetitious at times, choreographer Seme Jatib produced a comfort through consistency as well as a sense of identity. From the naked umbrella, which provides no shield from the elements, to the primary metallic Mylar balloons, to the ominous glowing masks, to the onstage slip and slide, each detail echoes the uncertain world where nonchalance is unattainable and fear is inevitable, yet happiness may always be just within grasp. Movers Georgette Lockwood, Mike Maria, Sarah Modisette, Maggie Tonra, and Gabriela Vazquez anchored the production’s tone, set the mood, and brought life to a silent, yet deafening, world.

At the intersection of dance and media, 14 is the innocence and glee seemingly long forgotten, but alive and well within the theater walls. AtticRep gives testament to the power of art and live performance to transport audiences to another place and time, rejuvenate the soul, and remind of the good and beautiful in the world.


AtticRep’s 14 plays at the Carlos Alvarez Studio Theater at the Tobin Center through June 19, 2016 with final performances on Saturday at 8 p.m. and Sunday at 2:30 p.m. For more information and to reserve tickets, visit atticrep.org.

Moms take the field

by Jenni Morin

The mommy wars have come a long way since Kathleen Clark penned Secrets of a Soccer Mom in 2008, but many of the play’s messages bare repeating to keep the gender equality fight on course. Energetic directing and a talented trio of actresses keep the conversation, and the game, going in AtticRep’s production now showing in the Carlos Alvarez Studio Theater at the Tobin Center through April 17.

Maggie Tonra, Anna De Luna, and Georgette Lockwood in
AtticRep's Secrets of a Soccer Mom.

Alison, Lynn, and Nancy gather at their sons’ soccer field for a spirited mother-son scrimmage on a Sunday afternoon. As they fight the boredom of the bleachers, they each reveal how frustrated and lost they feel with the choices they’ve made, yet don’t seem to regret. Alison struggles with infidelity after marrying young and giving up athletic competition at the request of her oppressive husband. Lynn immerses herself in PTA duties, planning class trips, and organizing activities for the kids after giving up a career in social work. Nancy reveals how isolated she feels as an introvert who has suppressed her ambition to be a photographer, wondering if it’s already too late for her to follow her dreams. The women gossip, talk about their marriages, sex, and how they’ve become those scary mothers who yell at their children. Not able to decide if it’s best to let their sons win the match or not, they decide to throw it to make them happy, that is until their competitive nature kicks in and they feel the need to prove to their sons, husbands, coaches, and any onlookers, but especially themselves, that they are capable of achieving goals in more way than one.

As Lynn, Georgette Lockwood employed an expressiveness in both face and body to give her character an unparalleled depth. She presented Lynn with an ease and her reversion to her cursing uninhibited former self felt rather natural. Anna De Luna tackled some very awkward phrasing in the script with grace, while allowing Nancy’s anxiety shine through. Maggie Tonra’s Alison confidently held the stage, admittedly with some of the juiciest moments. Despite some of the seemingly stilted language in the script, the women easily bonded in friendship, albeit a little too conveniently.

Clark’s Secrets of a Soccer Mom may very well feel dated for young mothers even only eight years out. The conversation about motherhood has been rapidly transforming into a wider discussion of gender equality. Unfortunately, Clark focuses on only a specific set of mothers who are financially well off enough to not need to work, dabble in volunteer work, and pursue expensive hobbies, which unfairly paints a picture of bored housewives rather than the majority of mothers who struggle with work-life balance and making ends meet. Even by including diversity in casting, the script doesn’t allow for an alternative storyline since none of the characters reference working mothers, differing backgrounds, or tensions outside of their own personal perspectives. What is most notable, however, is the idea that mothers cease to be individuals, or even women, with their own desires or aspirations when they give birth. Loss of identity is the overarching theme in the script and while absolutely universal, seems to be an issue especially with American women who live in a culture where keeping a child happy is more important than teaching independence or equality. Even as the characters reject the label of “soccer mom,” they embody it. In the end, if parenting is just a guessing game, all the stress seems unnecessary. The most important takeaway should be to encourage women to not surrender their needs or their womanhood to motherhood.

Director Marisela Barrera expertly used movement to keep the action fresh in a stagnant setting. Mike Maria infused the workout-worthy tunes into the soundtrack for a fun and athletic atmosphere, but could have been slightly more subtle with some specials in the lighting design. Many of the scene transitions felt labored and interrupted the momentum of the show. Designed by Martha Penaranda, the set, made up of a grass turf and standard bleachers littered with soccer paraphernalia, created a nice backdrop for her athletic wear costumes. The production design as a whole gave the characters a lift from the stereotypical while providing a playful canvas for a somewhat enlightening conversation.

A lighthearted show, The AtticRep production of Secrets of a Soccer Mom illustrates how experiences and sensibilities can span cultural divides. AtticRep entertains while presenting many issues to mull over concerning women and motherhood.


Secrets of a Soccer Mom runs at the Carlos Alvarez Studio Theater at the Tobin Center through April 17 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m. Sunday. For more information and to reserve tickets, visit atticrep.org.

The Amish Project: A reflection on school shootings

by Jenni Morin

The Amish Project by Jessica Dickey exposes the residue tragedies leave in individuals’ lives with a frankness that is uniquely human. The AtticRep production, showing at The Tobin Center’s Carlos Alvarez Studio Theater through February 21, depicts the raw and stark reality a community must face as they are forced to find themselves in the aftermath.

In 2006 in Nickel Mines, Pennsylvania, a local milk truck driver opened fire in a one-room Amish schoolhouse, killing five girls and injuring five more all between the ages of 6 and 13 before killing himself. A national media story, the Nickel Mines shooting most notably showed the grace, compassion and ability to forgive on the part of the Amish people. Dickey’s script features fictional representations of people affected by the shooting, including the gunman’s widow, townspeople and shooting victims, all played by a single actress.

Sarah Gise excellently portrayed the individual characters in body and tone, exhibiting an enormous talent. The delineations between each individual were evident and the transitions fluid, while the gender of the male characters remained less obvious. Although some accents faded and mannerisms crossed as the final scene approached, the seemingly unvaried facial expressions were what kept the characters from coming alive. Director David Connelly highlighted the staccato moments of quick transitions and created time for the audience to digest some of the more poignant and thought-provoking lines. Altogether, the production felt seamless with a pace that made the subject matter approachable as well as affecting.

The technical aspects of the production helped define the characters as much as Gise’s voice and stance did. The lighting design by Tim Francis featured colors that evoked an almost visceral response to the characters they represented. Whether a pastel colored cyc, a distinctive pattern for texture, a shadow-casting television, or a sharply focused square spotlight, the lighting distinguished emotion from scene to scene. Furthering the tone of each scene were the sometimes light, often natural, mostly ominous musical selections and effects of Cole Wilson’s sound design. Of particular note was the evolution from light and carefree to dark and stormy during the pre-show, followed by chillingly deep strings and whispering winds throughout.

Dressed in a simple blue dress with white apron and bonnet, Martha Penarand’s costume design anchors the production, providing an opportunity for audiences to reset and truly consider how the lifestyle of these people has persevered their faith, innocence and, possibly, sanity. Along the lines of simplicity, Jeremiah Teutsh’s bare set, save for a sturdy wooden chair, confined Gise to an angular platform backed by a horizontally slatted fence—a nice metaphor for the seemingly random horrors the Amish see as part of a larger plan.

Whether it’s anger, grief, helplessness, fear or confusion motivating the response to tragedies like Nickel Mines, The Amish Project offers a means of processing the event and encourages a dialogue about society’s need to answer the why. Perhaps the relative pacifist nature of the script, lack of intense re-enactment, and media coverage saturated with shootings since has dampened how jarringly powerful The Amish Project was when it premiered in 2008. While today’s audiences may be jaded or numb, the messages still resonate.

All the elements of the AtticRep production of The Amish Project melded into an interesting study of human nature in the face of tragedy to create a graceful and engaging experience. In addition to a well-executed show, AtticRep encourages audiences to reflect on how these events shape personal and societal reactions and how changing those reactions can strengthen a community rather than divide it.


The Amish Project runs at the Carlos Alvarez Studio Theater at the Tobin Center through February 21 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m. Sunday. For more information and to reserve tickets, visit atticrep.org.

Dance, interpretation, mysticism and the Mahabharata

by Jenni Morin

When a new original work comes onto the scene, it is surrounded by curiosity, excitement and obvious creativity. From the Mahabharata: The Great Dance-Off, AtticRep’s latest production to grace the Carlos Alvarez Studio Theater stage at the Tobin Center, embodies all the anticipatory energy encompassing its premiere, along with a welcome mysticism.

AtticRep's From the Mahabharata: The Great Dance-Off.
Photo by Amitava Sarkar.

Billed as part of the San Antonio International Festival of Performance, the impetus behind From the Mahabharata hails back to last summer’s Forum Theatre Project, a collaboration of experimental theatre tackling the subject of skin tone between AtticRep and Chennai, India-based Crea-Shakthi Theatre. In an effort to continue infusing international views and aesthetics into the AtticRep season and bring cultural appreciation to local audiences, Producing Artistic Director Roberto Prestigiacomo created and directed From the Mahabharata with the help of choreographers Kausi Subramaniam and Seme Jatib, local dancers, and composer Reena Esmail who devised the original score recorded by San Antonio’s SOLI Chamber Ensemble. Carrying on the theme of Indian culture, the dance-theatre production is inspired by and mimics the story of the ancient epic poem, the Mahabharata. Presented as a dance company debating whether contemporary or traditional style of dance is the appropriate means for illustrating the great Indian saga, From the Mahabharata employs the theme of war, which predominates the Sanskrit text, to bring the action to the climax of the dance-off between the rivaling dance styles.

Since the premise of the production is that the dance company is in rehearsal, the dancers are not quite synchronized or as crisp as a polished recital. This rawness reiterates the experience of attending a premiere, especially as the audience is invited to feel as though they are part of the process in creating this work. While the acting leaves something to be desired, the few scenes of prose readings are both entertaining and insightful. One storyteller chronicles the confusing genealogy of princes as another exchanges offers insight into Dharma, karma, serenity and the path to enlightenment. These scenes speak to the complexity, tradition and constant need for self-evolution in not only Indian culture, but all of humanity.

A string box contains the dance floor as a balanced display of both Indian and contemporary styles set the scene and crescendo into the dance-off in perfect rhythm with Reena Esmail’s original score. Seme Jatib’s modern choreography seems ethereal as the long lines of the dancer’s bodies play against a somewhat smokey bare stage. Just as the staccato movements of Kausi Subramaniam’s traditional dances begin to feel repetitive, a change in tempo and mood revitalizes the action. Violinist Ananda Nadayogi enhances the experience with live accompaniament while Scenic Designer Jeremiah Teutsch brings puppets to life. Along with an evocative lighting design by Gaila Raymer, an undulating liquid seemed manipulated by the dancers as they moved in front of the projection, their shadows cast against the colored forms. The production design coupled with the choreography reflects the magic and mystery synonymous with Indian culture.

Not a traditional theatre production in the least, or an expected dance performance, From the Mahabharata is more of an experience, a behind-the-scenes look at the process of creating performance art. It offers an energetic and exciting escape into an unfamiliar culture with a different take on the battle waged between old and new, contemporary and traditional. AtticRep’s From the Mahabharata: The Great Dance-Off is at times exhilarating, inspiring and thought-provoking if approached with an open mind and willingness to embrace a new cultural experience.


From the Mahabharata: The Great Dance-Off runs at the Carlos Alvarez Studio Theater at the Tobin Center through June 14 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m.  Sunday. For more information and to reserve tickets, visit atticrep.org. 

The Shamed Schlongless

by Jenni Morin

It's not every day to be privy to the inner-workings of the male psyche, especially when discussing the particularly sensitive topic of penile measurements. This is the centerpiece of The Irish Curse, the 2005 New York International Fringe Festival hit by Martin Casella. AtticRep's production of The Irish Curse, now playing at The Tobin Center for the Performing Arts Carlos Alvarez Studio Theater through April 5, is a humorous yet poignant search for male identity beyond the cock.

The Irish Curse refers to the notion that Irish males have small penises and so the play centers around a support group of men dealing with their cursed fate. While Rick, Joseph and Stephen have been meeting with Father Kevin Shaunessy in the church basement every Wednesday for months, Keiran, the newcomer for the evening, shifts the group's complaining session to one of real therapy and discussion. As each man details his life experience centered on the size of his member, Keiran pushes each to divulge a little more. Father Kevin finally reveals his story and then it is up to Keiran to finish the meeting with his.

The play is exactly what is expected and at the same time is suspenseful and surprising. It is as raw as it is cliche as the characters rattle off every cultural and ethnic stereotype about penis size, then reveal how this one small member has profoundly shaped their lives. Casella's script is so well crafted that it gently pushes ruckus humor to earnest confessions nearly imperceptibly. The discussion is uncomfortable in nature, but the constant barrage of cursing and derogatory name-calling makes it even more ridiculous that the men can't move past a popular belief and be comfortable with all the other features that define them. The men find freedom, reprieve and solace in camaraderie as they try to explain the reasoning and truth behind their actions, but they still must carry this new self awareness beyond the group and into their everyday lives. In their defense, the matter of size is at the root of everything from vehicle selection to war to racial tensions and politics. It is their self-esteem that takes a beating as they make comparisons in the locker room and the increasingly sexualized media defines their worth and the expectations of romantic partners. At its core, The Irish Curse is about discovering what it means to be a man, defining masculinity and acknowledging the true curse of the perceived inadequacies inflicted on them by society.

Before the production even begins, a soundtrack of humorous small penis tunes gets the audience chuckling during pre-show. Directors Seth Larson and Roberto Prestigiacomo start the show lighthearted and usher the audience through waves of emotions ranging from laugh-crying to heart-wringing empathy. Purely in blocking, the seeming game of musical chairs the characters play to make sure each one is seen by every side of the audience is masterfully choreographed. Scenic designer Rick Frederick and lighting designer Gaila Raymer display their talent through realism and detailing. While the lighting is mostly stagnant, save for rain pounding on the small windows, it nicely compliments the stale basement set dressed to the nines with an angelic birdbath statue, light fixtures and dusty crucifixes.

From the awkwardness to the sock-stuffing to the soul-bearing, each and every actor in the cast makes a lasting impression. Alejandro Cardona as Rick Baldwin kicks off the show with cheerful bravado and a false sense of security. His youth, hopefulness and willingness to keep fighting the urge to let the curse win gives each one a little faith. Tyler Keyes plays Stephen Fitzgerald, the tall handsome tough gay cop, with a gruff exterior and empathetic heart. Keyes' booming voice reminds the men to butch up and play the offensive to avoid rejection and pain. As Joseph Flaherty, Lawrence Coop embodies the most devastating backstory of a shy man foolish enough to believe love triumphs all. It is his cautionary tale that inspired the formation of the group and what keeps them coming back. Rick Frederick takes on the internally conflicted Father Kevin Shaunessy with poise and virtue. His confession compels each of the men to dissect how they have faced the curse. Finally, Sam Mandelbaum as the sweet lost soul Keiran Riley is endearing from soaking wet entrance to confident exit. By his prompting, every man shares, feels and thinks more about the power the curse really has.

This incredibly talented cast is expertly directed and manages to entertain, possibly offend, all while exploring a clandestine topic that rocks the very core of gender identity. AtticRep's The Irish Curse is the mirror theatre holds up to the world with a spotlight on humor and a new perspective as the takeaway. It is a roller coaster of emotions as it uncovers fresh perspectives to get the real answer to what truly is the Irish curse.


The Irish Curse runs at the Carlos Alvarez Studio Theater at the Tobin Center through April 5 with performances at 8 p.m. Wednesday through Saturday and at 2:30 p.m. Saturday and Sunday. For more information and to reserve tickets, visit atticrep.org.

True West: A true theatre experience

by Jenni Morin

Sam Shepard's Pulitzer Prize-winning True West, now playing at the Tobin Center, is a testament to the power of of an honest and simple story. AtticRep's production highlights the script with incredible talent and attention to detail in its technical execution. True West allows audiences to reflect on their capabilities and tolerance for life-altering change.

Andrew Thornton and Rick Frederick in True West
at the Tobin Center. Photo by Siggi Ragnar.

A successful Hollywood screenwriter, Austin attempts to pitch his latest script to a producer amidst the distractions of his estranged uninvited brother. When Lee convinces the producer to run with his simple western instead, Austin becomes unhinged, catapulting the brothers into opposite roles. The action unfolds as each tries to cope with their newly dealt hands and reveals chaos, sibling rivalry and violence.

Andrew Thornton as Lee is an invading force of unkempt burping, fully committed to the disgusting vegabond brother. Rick Frederick as Austin may flop and flail in his exasperation, but he is consistently the tightly wound brother who has lost his pedestal. As the producer, Guy Schaafs is appropriately fake and nearly emotionally leveled. While Rita Crosby as Mom doesn't quite match the volume or boisterousness of her sons, she brings a welcome dose of humor to a tense scene.

Director David Connelly kept the reality of the script while adding humor, movement and plenty of telling looks executed perfectly by his cast. Production Designer Martha Penaranda brought the show together with great technical details. Robin Crews' lighting at times felt haphazard, but colored the mood well throughout. Costumes were on point and well aged, especially the stains on Lee's shirt and trench coat thanks to Angelina Mata. Even the pre-show music was chosen with purpose by Jeremiah Tuetsch while the sound design brought the show to life. Ed Diaz created an immaculately detailed set, although the entire layout of the house seemed somewhat of a mystery based on the staged section. Set dressings were important characters, especially the house plants, as with Rex Harder's props.

True West examines the human need for identity. Without it, Shepard asks if we become someone else or if we are just lost. Shepard also pokes fun at the frills and assumptions of Hollywood and blockbuster movies, making it even more obvious that this well written script is a masterpiece in its simplicity. Marked as a tragicomedy, this gradual descent into desperation begs audiences to examine the characteristics which define identity and if those are purely oppositions to those well-defined, self-confident individuals or counterparts.

The AtticRep production of True West exemplifies theatre as a craft without the unnecessary bells, whistles and gimmicks. True West is a quality theatrical experience boasting unparalleled talents and production value.


True West runs at the Carlos Alvarez Studio Theatre at the Tobin Center through February 8 with performances at 8 p.m. Wednesday through Saturday and at 2:30 p.m. Saturday and Sunday. For more information and to reserve tickets, visit atticrep.org.