<p><br></p><p>The Ridgefield Theater Barn, now halfway through its 60 th season, has two weekends</p><p>left of it’s wonderful An Evening of One Acts which I highly recommend you find a way</p><p>to attend. If you are in any way like me, in this Topsy Turvey uncertain world, one acts</p><p>are just what the Dr. ordered; just long enough to engage me, but not too long to lose</p><p>me back into the miasma spinning in my head. It’s a bit like getting lost in “Reels” on</p><p>Facebook, but in real life, with real people, with other people present, to validate what</p><p>I’m feeling while watching.</p><p>The difference from “Reels” or, dare I say it, “TikTok” is that real people curate this</p><p>evening, and have done so with a remarkable hand for guidance on a journey that does</p><p>helps us through these times, and lowers, at least for a few moments, the self-defenses</p><p>that the outside world demands these days.</p><p>This year’s ONE ACTS COMMITTEE, led by Chairperson Paulette Layton, working with</p><p>Mark Hankla, Timothy Huber, Nancy Ponturo, and Bill Warncke, has done a wonderful</p><p>job curating a selection of original, unpublished plays, striking just the right notes, at just</p><p>the right time.</p><p>Much like a gallery show, they take you, the audience, through various scenarios,</p><p>couched in laughter and smart dialogue, which in a one act, can be difficult since every</p><p>line and every movement and gesture cannot be wasted and must move the arc of the</p><p>story forward.</p><p>Overall, the one acts are well done, with great acting and direction, with many different</p><p>styles and subjects. If I were pressed to pull together a Log line or arching theme for the</p><p>evening, I think I would be most comfortable saying that-In times of change, our</p><p>authentic selves are stronger than we think, and to trust them and embrace the change.</p><p>But that, like most themes, is completely subjective, and has more to do with what I</p><p>bring to the table on any given evening. The magical elixir consists of the talent of the</p><p>ensemble, playwrights, directors, lighting designers, sound designers and stage</p><p>managers, creating the space for one to find the theme they need while sharing the</p><p>moment with others.</p><p>The evening kicks off with “Stay Golden” written by Jessica Moss, and directed by</p><p>Carin Zakes, featuring Bruce Apar as Gordon, Robin Browne as Cleo, Deborah Carlson</p><p>as Rosalie, Marcy Sansolo as Patricia and Denise Hubbard as Diane.</p><p>Ms. Moss’s absurdist comedy sets us up right out of the gate with the entire ensemble</p><p>working well together and moving the play forward with a solid arc of action, and yes,</p><p>I’m intentionally being vague here, because it’s not the gold you are thinking. Through</p><p>the laughter, a little bit of relevancy gets massaged regarding our increased ability to</p><p>extend life, and what that really means for those living it.</p><p><br></p><p>Now I’m going to jump around a bit, since the experience of the curated order is for you</p><p>to enjoy in person, but I will describe some of the stops along the way.</p><p>Two of the plays that hit very close to home, and made me want to stand up and cheer</p><p>when the lights went down, on the one hand, and also made me want to take them out</p><p>on the road immediately because I though everyone needs to see them yesterday, were</p><p>“Right Field of Dreams,” by Stephan Kaplan and “Sea Change” by Lucas Hasten.</p><p>In “Right Field of Dreams” director Danielle Roth, adroitly navigated the material with</p><p>actors Liam Gallary as Timmy, and Matt Donavan as Coach/Dad, which could have</p><p>been taken right out of the story of my life. It was spooky, but in a good way. Add to that</p><p>a ghost of a very famous female baseball star, played by Laurie Schaefer Fenton, and it</p><p>all is taking place in the outfield of a little league game and you have a great little play.</p><p>So well-acted by all three, hitting the beats just perfectly, without overdoing it, or rushing</p><p>it. Impressive. IF only my story had turned out as well as Timmy’s.</p><p>In “Sea Change”, directed by Marilyn Olsen, Craig David Rosen as Dan and Katie Kelly</p><p>as Bobbi, are hilarious as two clown fish. And just as anyone who watches fish in an</p><p>aquarium notice the dance, these two do a pas de deux with such depth and</p><p>understanding of flow of the script it is a pleasure to have the opportunity to watch. As</p><p>mentioned earlier, there is not a breath that is not in service to the script, and not a”y” or</p><p>an “i” that is left to chance.</p><p>Two more of the plays, “Improv” written by Kevin Curley and directed by Alexis</p><p>Vournazos starring Carri Ocean as Ann McKinley, Rob Mayette as Paul O’Malley and</p><p>Sheri Rak as Tina Bradley and then “A Flicker” Written by Guy R. Newsham, directed</p><p>by Brian DeToma with Michael Bud as Person A and Bill Warncke as Person B .</p><p>Loss is a big part of both plays. They are both very well-directed and written. I think they</p><p>both crave being longer than one act. I’m not sure if one act is long enough to give grief</p><p>the gravitas it needs to be able to laugh through it.</p><p>I do not in any way mean to disparage the production, I would just encourage both</p><p>playwrights to consider continuing what they have started</p><p>All the performances are spot on, with one of my fav moments in “Improv” being when</p><p>Mr. Mayotte and Ms. Ocean are speaking downstage Right, and Ms. Rak is</p><p>eavesdropping. Take a moment to look at Ms. Rak’s eyes, and you’ll see what I mean</p><p>about loss.</p><p>–In “A Flicker” Mr. Bud and Mr Warncke navigate the waters of male bonding of shared</p><p>loss and walk the TMI tightrope as they learn more about who they are. Each gives</p><p>heartfelt performances and leaves you wanting more. Maybe another act?</p><p>In “The Objection Seat” By Scott Mullen, beautifully directed by Pia Haas, we are</p><p>served</p><p><br></p><p>Laurie Schaefer Fenton As Mary, and Andela Armand As Kat in a different take on</p><p>bonding and self-discovery They are both hilarious, and have such well-defined</p><p>characters, Although the man they speak of is never seen, it does make you want to</p><p>meet him.</p><p>Then there is the glorious spoof of the New York Public Library called “One of the Great</p><p>Ones” written by Chris Widney, with direction by Matt Pagliaro. It stars Elayne Gordon</p><p>as Enid Stump, with Lucy Manos as Lee Katie Kelly as Jamie and David Michael Tate</p><p>as Hank.</p><p>This one act uses the inherent arc of a time deadline instigated by a “scavenger hunt”</p><p>against the closing of the library and the “greatest” Librarian of them all. What fun this</p><p>script is, while also reminding us that these people, these librarians, are human and</p><p>important, and committed. The whole cast make every laugh their own without a single</p><p>punch line missed or pause held incorrectly.</p><p>In “Juliet Wakes Up” written by Laura Neill and directed by Nancy Ponturo, Juliet,</p><p>played by Lucy Manos runs in with a bloody blade, herself covered in blood having</p><p>awakened, with Romeo purportedly dead beside her.</p><p>She runs into Rosaline, hilariously played by Danielle Fitzsimmons who draws out of her</p><p>why, if Romeo was already dead, she and the blade are covered in blood. Then enters</p><p>Willow played by Colleen White, who is yet another Capulet, trying to cover the tracks of</p><p>the potion that was used in the double suicide/not suicide.</p><p>Eventually, and as one might expect, against all odds, a dying Romeo, played by Matt</p><p>Donovan arrives.</p><p>I will not give away the whole plot, but I will say, that the Capulet ladies, are very much</p><p>post “Me-too” women in the hands of both Ms. Neill and Ms. Ponturo and I could not</p><p>stop giggling throughout the entire play. So smartly scripted and performed. Truly a joy</p><p>to watch. With the insight Shakespeare had of the soul of his time, were he here today,</p><p>He would completely approve of this interpretation</p><p>“Hornswaggle” the 8 th and final play to mention, starring Eric Novak as Cogs, Allison</p><p>Valentino as Scuzzy and Michael Ferrara as Bilges is a classic Pirate melodrama in one</p><p>act.</p><p>Written by James Nelson under the direction of David Fritsch the cast hits all the marks,</p><p>and does a Yeomans job with the script and direction. I will say I am not the biggest fan</p><p>of the pirate melodrama, but that has nothing to do with how this one was performed as</p><p>much as it has to do with having done so many of them in high school that as soon as I</p><p>see a scarf on a head, I have a bit of PTSD from my youth.</p><p>Kudos to the crew, Led by Production Manager – Paulette Layton, with Stage Manager</p><p>– Tina Morrissette, Assistant Stage Manager – Jean Mazzelli, Lighting Designer – Mark</p><p><br></p><p>Hankla and Sound Designer – Addis Engel. Without these folks, the magic of theater</p><p>could not exists.</p><p>Take the time, go spend an evening with these folks, and let go and laugh, and take the</p><p>ride. I can honestly say, you will feel better. And we all need to feel better right now.</p><p>The Ridgefield Theatre Barn is located at 37 Halpin Lane, Ridgefield CT 06877</p><p>203-431-9850,</p><p>Remaining shows are Friday March 14 at 8PM, Saturday, March 15 8PM, Sunday</p><p>March 16 th at 2PM Friday March 21 st -8PM, and Saturday March 22 nd -8PM</p><p>Tickets are $35. ALL SALES ARE FINAL. Tickets can be purchased at</p><p><a href="https://www.hamlethub.com/brewster-new-york/stories/ridgefieldtheaterbarn.org." rel="noopener noreferrer" target="_blank">ridgefieldtheaterbarn.org.</a> Seating is cabaret style, and the audience is invited to</p><p>bring food and drinks (concessions are also available). Doors open one hour</p><p>prior to curtain. More information is available on their website,</p><p><a href="http://www.ridgefieldtheaterbarn.org/" rel="noopener noreferrer" target="_blank">www.ridgefieldtheaterbarn.org</a></p>