Trump Lear at Under St. Marks

This review of Trump Lear at Under St. Mark's Theater was written by Christopher M. Struck and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!

Trump Lear
Written & Performed by David Carl
Co-Created & Directed by Michole Biancosino
Sound Design & Voiceovers by David Carl
Videos by Mark Stetson & David Carl
Tech by Michael Montalbano
Under St. Mark's Theater
94 St. Mark's Place
New York, New York 10009
Reviewed 9/30/17

I walked into Trump Lear with two lingering questions/doubts revolving around the idea of how Lear relates to Trump because Lear is a much different character. These questions were: "How respectful is the story to King Lear as a play?" and "How exactly does this play relate to Donald Trump?" David Carl, playing the role of Carl David, answers those questions pretty quickly. The first bit of the play discusses the literary and theatrically important significance of King Lear, even listing off a bevy of iconic actors who have mantled the role over the years including Ian McClellan, to which Trump responds, "Gandalf?"

In fact, David seemed to get two things mainly right with this play which made for an entertaining spectacle filled with laughter - Lear and Trump. Pitted against himself with a slim chance of saving his own life. David must perform his one-man King Lear for a tyrant Trump under bright interrogation lights. Trump, a disembodied voice "attached to a camera," says things like "Do you think I'm losing my mind, Carl?" and uses it as an opportunity to garner internet fame by live streaming the performance on YouTube revealing this to David only after he has broken down crying. Trump also breaks for commercials which simply portray him as the richest, smartest man alive. So far, so good.

The funny thing really was that David didn't have to stretch the truth to make a great play. He won his right to live from Trump by telling the truth. At the same time, the fictional Trump presses a lot of David's buttons and even makes reference to the fact that David should be thanking him; the stark reality being that David has made a decent living off of impersonating Trump. David responds, "Art was doing just fine before you came along."

David did a fantastic job putting it all on the line for art. While Trump Lear may not deserve the same level of virtuoso praise the original garnered, David has captured lightning in a bottle with this brilliant comedy. Ultimately, you don't need to hate Donald Trump to enjoy the show. Loving King Lear will not negatively impact your opinion. Loving Donald Trump might, but I'm not sure. I don't think much about and don't hate Donald Trump - and I love King Lear. I enjoyed this show. It's worth more than a few laughs for less than a few bucks. Better than expected. To see it, check out:www.trumplear.com 

Photo from David Carl's website - see here: http://davidcarlonline.com

Stand up and Take your Clothes Off! at the Kraine Theater

This review of Stand Up & Take Your Clothes Off! at The Kraine Theater was written by Christopher M. Struck and published in Volume X, Issue 7 (2017) of the online edition of Applause! Applause!

Stand Up & Take Your Clothes Off!
Various Performers
Produced by Jillaine Gill & Kerryn Feehan
Music by DJ Stevie C
Stage Kitten was Flora Carnivora
The Kraine Theater
85 East 4th Street
New York, New York 10003
Reviewed 9/3/17
 

The Stage is set at the Kraine.

Jillaine Gill and Divina Gransparkle (filling in for Kerryn Feehan) co-hosted and curated an excellent line up of comedy and burlesque at the historic Kraine Theater in the East Village. Their comedy accentuated a night of laughs and sexy strip teases that kept viewers engaged and left them wanting more. Typically, this monthly variety show is co-hosted by Jillaine and Kerryn Feehan who will be back next month, but the chemistry between Jillaine and Divina was a pleasure to watch. For example, Divina dropped that she was coaching Jillaine to win the "Miss Coney Island" title this year and there happened to be a challenger in the crowd. It was a fun sequence which Divina followed up later by prompting Jillaine to read a prepared monologue. She read the part of the Judge's wife in Thinner. Jillaine got deep into character for the read with some campy retorts followed by a thrilling and conclusive shouting match. The audience responded enthusiastically. The duo also introduced the acts which included the female comics, Joyelle Nicole Johnson, Jen Mutascio, and Amber Rollo, as well as the burlesque performances of Sweet Lorraine, Miss Frankie Eleanor, and Clara Coquette.

Joyelle Nicole Johnson did a clever bit that combined political angst and sexual shock appeal revolving around a date with a white Trump supporter. He told her, "Black Lives Matter was a terrorist organization," and she decided that she has to do the deed as her part to help bring the nation back together. I'm loosely paraphrasing that because she also joked that the only reason she brought him home was "because he had weed." The funniest part, however, was her take on white privilege which culminated in, "he's mad because he didn't do anything with his whiteness." It had me laughing the next day too as I reflected on the performance. She also reminded us "you're about to see some titties, loosen up."

Sweet Lorraine, the founder of Shades of Burlesque, followed her and was easily my favorite act of the night. She strutted in wearing a wire mesh dress with a black corset to the song, "I Will Take That Ride" by Bette Davis. She had a classy, vintage hair style which hung just above her eyes which were painted to look like little almonds. As the song sensually chanted, "Lord have mercy...I'm mighty thirsty," Lorraine pulled off her opera gloves and shimmied out of her layers revealing her voluptuous figure. At one point she leaned over one of the audience members and began pulling off a glove with her teeth. She teased both guys and girls with sensual and sexual hand gestures.

Jen Mutascio came next and earned a lot of laughs. She made a number of self-deprecating jokes such as "I did grow up in Jersey. That is why I am so feminine" as well as one involving the guy in the front row who was sitting alone. She addressed him saying, "Hey, I'm a female comic. I'm not picky." Another highlight of her set was her joke about her mom finding her brother's gay porn in her closet. Her mom was appalled and Jen responded that is indeed what got her hot "because you can't get pregnant taking it in the back."

Miss Frankie Eleanor strutted on stage next in a beautiful golden dress with flowing, long, black hair. She moved smoothly to the Latino beat of Desatre by Pilon. She showed a lot of leg as she sensually removed various shimmering gold garments to reveal sheer underwear. She had incredible confidence and didn't even bat an eyelash when her bra caught as she removed it. In one deft swoop of her wrists, she snapped it off and tossed it aside to laughs, claps, and whoops from the women in the crowd.

Amber Rollo rounded out the comedy for the evening. She was a little in-between the other two comics with a mix of self-deprecating jokes that had some clever build ups as well. For example, she introduced that as a stripper, she made money by providing a "Girl Friend Experience." She listened, made eye contact, and didn't touch their dick." She also joked that she trades nanny service for a haircut and that the three-year-old was asking to be exclusive. She's "still got it," she laughed, and then dropped that improv (something she also does) was the lowest of the low as a performer because she could still be "booked as a stripper."

Clara Coquette upped the tension in the room coming out in full latex to the hard rock song "Feed My Frankenstein" by Alice Cooper. After pulling off her flowing cape, she caressed her curves and then turned up the intensity of her act. She made aggressive strikes into the air as she violently threw zippers and straps aside. Where only her eyes and lips had been revealed, she showed hand, arm, and leg until she went down to her bare chest. When she finally let her mask fall to the floor, the only thing remaining was her panties and high-heeled boots. Electric performance!

Ultimately, all the performers did a good job. The comedy was entertaining and included some very funny jokes. Props again need to go to Jillaine for delivering a solid monologue. The October show next month will be the show's six-year anniversary. Additionally, Divina will be back to her burlesque routine, which if it includes as much sass and attitude as her stand up, promises to be fun. Tickets can be found on The Kraine Theater's website for $10 (or $15 at the door). See link here: http://www.horsetrade.info/event/4e8273d0c379530633751cbc53de0221