Stockholm

Credit: Russ Rowland

Credit: Russ Rowland

Kali (Christina Bennett Lind) and Todd (Richard Saudek) are a combination of adorable and psychotic. As the play moves along their relationship and their characters darken. The audience is given a peek into the couple’s “Olympic Gold Medal” sex life; sometimes through interpretive dance.

Natalie Lomonte does a commendable job of choreographing the many dances between Kali and Todd—the pair adore dancing. The choreography is the most clean and entertaining part of the show. Lind and Saudek both perform with a certain energy that will take them far in the theater business.  The set designed by Nicholas Moreno catches the eye immediately once seated—there is just so much look at. The lighting designed by Mike Riggs is another plus. Visually the show is a treat.

That said, viewing this play brought forth a feeling never before felt by this reviewer. I couldn’t reach a clear emotion/reaction till after hours of thought. I teetered between loathing and loving the play.

The odd unhealthy relationship was uncomfortable, but this may have very well been the vision of the director (Nick Flint) and the playwright (Bryony Lavery). The main issue was with clarity.  For one thing, the script goes back and forth between first and third person in a that is jarring. It feels unnecessary and at time pretentious.  It is easy to get lost in the transitions between past and present. In addition, there moments where the characters speak in a monotone, almost an alien like manner, which leaves you scratching your head. Another problem that adds to the cloudiness is the nonfulfillment of sub-storylines like Todd’s relationship with his family. Many questions unanswered.

The decision to attend a performance of this show should rely heavily on whether or not you have a strong attention span. Missing a beat will leave anyone saying “what!?”

The play is sure to make the audience think, which is good, but there are overall production choices that are disappointing.

Stockholm – Directed by Nick Flint, written by Bryony Lavery.

With: Christina Bennett Lind (Kali), Richard Saudek (Todd),

James Dardenne (Scenie Designer), Kenisha Kelly (Costume Design), Lou Albruzzese (Technical Director), Estelle Bajou (Original Score), Janie Bullard (Sound Designer), Ianthe Demos (Artistic Director), Natalie Lomonte (Choreography), Sofia Montgomery (Stage Manager), Nicholas Moreno (Scenic Carpenter), Mike Riggs (Lighting Designer), and Russ Rowland (Production Photography). 59E59 Theaters from March 5th-29th. It is not suitable for children—high sexual content.

Jervelle Frederick

Author: Jervelle Frederick

Jervelle Frederick is a graduate of the Fame School (LaGuardia High School) where he studied music and took part in performances such as Hairspray as well as numerous Choral Concerts. At the age of fifteen Frederick made his Carnegie Hall debut with one of New York’s elite choirs Collegiate Choral. In October of 2010 Frederick returned to the Carnegie Hall stage to perform the New York premier of Rock Concerto by Alexander Markov.Carnegie Hall once again welcomed Frederick and the Collegiate Choral in April 2012 to perform The Mikado. In May 2011 he worked with Grammy Award winning jazz musician Arturo O’Farrill as a chorus member and gospel soloist featured in the premier of his piece “Still Small Voice” at Symphony Space. In 2011 Frederick started and finished his first novel and screen play. He has since been a mentee of Michael Mejias (Front Desk Administrator at Writers House/Playwright) and is working towards his debut novel. In the summer of 2013 he aided Mejias as the production intern of his play Ghetto Babylon at 59E59 Theaters. Frederick currently studies journalism at Long Island University and writes for Seawanhaka (The school paper). He recently earned an interning position at Ebony Magazine.

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