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The Queens Players present Present … The Knight of The Burning Pestle An unwitting theatre troupe gets more than they bargained for when a trio of unruly spectators disrupt their play. Kevin Dodd directs this energetic new production of an oft-forgotten Jacobean gem. The Knight of the Burning Pestle at The JACKSON AVE THEATRE, 12-23 JACKSON AVE., L.I.C 11101 DATES July 12- 23), 8pm; 2pm Matinee on July 16 & 23 TICKETS: $15 [children $8] RESERVATIONS/INFO: 347 724-4056 Credit Card Sales: www. theatermania.com www.thequeensplayers.com/ QUEENS PLAYERS PRESENTS RARE ELIZABETHAN FARCE New York, NY (May 20th, 2006) – The Queens Players newest production revives an obscure Jacobean comedy, The Knight of the Burning Pestle, adapted by Director Kevin Dodd. As a troupe of young actors begin The London Merchant, a quaint play centering on middle-class characters, a pair of rough-and-tumble peasants and their servant Rafe interrupts the action and demands to see a play about a Grocer-Errant battling bloodthirsty giants, wooing exotic princesses, and leading armies into battle. The players do their best to maintain their dignity and continue their play as they are forced to perform impromptu scenes with the Rafe, the quixotic knight. The play was most likely written entirely by Francis Beaumont in 1613, although his sometimes collaborator John Fletcher is often credited as a co- author. Knight… was one of the first (if not the very first) play to parody it’s contemporaries and to break the forth wall by bringing the groundlings up onto the stage. “This play is unique in that underneath the various bisecting plots, the real story is about the interplay between audience and artists,” says director Kevin Dodd. Dodd believes that Knight of the Burning Pestle is “particularly relevant today, when the most popular entertainment involves a television audience calling in to a show in order to affect the outcome of a story. This brings up two things in my mind: first of all, it is impressive that television has been democratized to the point that each citizen can make their voice heard. But we must ask, what does this mean for the role of the artist, the role of the writer?” A fore-runner to modern satires, Knight… spares no one. It is at once an homage to and parody of The Merry Wives of Windsor, Henry V, Don Quixote, and countless other period comedies and chivalric romances. At the same time, it gives a biting portrayal of Jacobean audiences through the Grocer and his wife, who are never satisfied with the earnest efforts of the players. The New York Times said that “imaginative care is what pulls you into” Dodd’ s previous directing work, which was praised as “mysterious and cathartic.” The cast includes Queens Players’ regulars Dana Di Angelo, Cameron Hughes, and Alyssa Van Gorder and plays for a limited engagement at the Creek Theatre in L.I.C., Queens. The run time is approximately one hour and forty-five minutes. Cast: Dana DiAngelo - Stage Manager Cameron Hughes - Citizen Cate Bottiglione - Wife Matthew Gregory - Rafe Katie Braden - Merchant Venturewell Andy Stokan - Jasper Alyssa VanGorder - Lucy Isaiah Tanenbaum - Humphrey/Barber Tom Hughes - Master Merrythought BarbaraAnne Smilko - Mrs. Merrythought Erin Malley - Tim/Various Liz Stanley - George/Various Kacie Leblong - Michael/Pompiona LeAnne Garland - Tapster/Servant 2 Producer:Richard Mazda, The Queens Players Director:Kevin Dodd Assistant Director:Ali Silva Stage Manager:TBC Costume Designer:Grace Koh Scenic Designer:Alexis Achilles Props/Set painter:Grey Jewett |
http://www.nytheatre.com/nytheatre/knig3708.htm
Follow the link above to read the full review on NYtheatre.com
CAST
Dana DiAngelo, Cameron Hughes, Cate Bottiglione, Matthew Gregory, Katie Braden, Andy
Stokan, Alyssa VanGorder, Isaiah Tanenbaum, BarbaraAnne Smilko, Erin Malley, Liz
Stanley, Kacie Leblong, LeAnne Garland
DIRECTOR :Kevin Dodd Asst. Director Ali Silva
nytheatre.com review
Richard Hinojosa · July 13, 2006
Playwright Francis Beaumont's original intention in The Knight of the Burning Pestle was to
satirize the rising class of nouveau riche and to show how chivalry had become snobbery.
The Queens Players (according to a note by director/adaptor Kevin Dodd) have taken
Beaumont's theme and used it to make a statement on the emergence of interactive
entertainment. Now I didn't actually realize this until I read the note. I saw this play at its face
value, which is as a very funny and highly entertaining comedy. I love the idea of taking two
things to create a unique third and Beaumont does a fantastic job of this in this play.
The play is actually two stories in a sort of "mashup" style. A troupe of players are trying to
put on a production of The London Merchant but are forced to wrangle with a couple who
insist on having the players take their dim-witted son Rafe on as their leading man. The
frustrated Stage Manager agrees to take Rafe but Rafe does not want to play any of the
roles in the play and instead creates his own role and story—that of an errant knight with a
burning pestle as his chivalrous symbol. While he tries to save the princess the
characters/actors of the other play try to work with and around him and his intrusive parents.
The connection between this play and modern interactive entertainment is weak at best* but
that matters little because what this production boils down to is pure tongue-in-cheek fun.
Dodd most certainly guides his extraordinary ensemble to a style that's sort of slapstick,
sort of melodramatic (melodramatic in the contemporary sense). He creates some great
stage pictures and bits and has obviously allowed his cast to explore outrageous characters
all their own. He also allows for some hilarious improvisations.
The cast is absolutely fantastic. I had a great time watching this play scene by scene as
opposed to absorbing the play as a whole. I never knew what to expect and I love that.
Some highlights include Isaiah Tanenbaum as the bumbling and fruity suitor, Katie Braden
as the stern merchant and actress who must go on with the show, Dana DiAngelo as the
Stage Manager who must deal with the meddling parents, and Matthew AJ Gregory as the
obtuse but lovable Rafe.
But in the end it was Le-Anne Garland and Cate Bottiglione that I was still laughing about as
I walked to the subway. Garland plays an insanely ghetto Elizabethan Innkeeper (among
other roles) and she brings a fresh and funny perspective to every scene she's in.
Bottiglione is an absolute scream as the mother of Rafe. She is a gum-smacking, big-
earring-wearing, camel-toe-sporting local Queens woman with so much attitude she can
hardly contain herself. She even sits there and chats with the audience while flossing during
intermission. She steals the show.
The Knight of the Burning Pestle is pure good times. Written 400 years ago in Elizabethan
English (and spoken by some here with a Queens accent) it still has all the elements that
make for a great comedy even for a contemporary audience. One note: the theatre is
actually in a restaurant so when you go (and you should definitely go), enter the steak
house and then make your way to the back room.
Follow the link above to read the full review on NYtheatre.com
CAST
Dana DiAngelo, Cameron Hughes, Cate Bottiglione, Matthew Gregory, Katie Braden, Andy
Stokan, Alyssa VanGorder, Isaiah Tanenbaum, BarbaraAnne Smilko, Erin Malley, Liz
Stanley, Kacie Leblong, LeAnne Garland
DIRECTOR :Kevin Dodd Asst. Director Ali Silva
nytheatre.com review
Richard Hinojosa · July 13, 2006
Playwright Francis Beaumont's original intention in The Knight of the Burning Pestle was to
satirize the rising class of nouveau riche and to show how chivalry had become snobbery.
The Queens Players (according to a note by director/adaptor Kevin Dodd) have taken
Beaumont's theme and used it to make a statement on the emergence of interactive
entertainment. Now I didn't actually realize this until I read the note. I saw this play at its face
value, which is as a very funny and highly entertaining comedy. I love the idea of taking two
things to create a unique third and Beaumont does a fantastic job of this in this play.
The play is actually two stories in a sort of "mashup" style. A troupe of players are trying to
put on a production of The London Merchant but are forced to wrangle with a couple who
insist on having the players take their dim-witted son Rafe on as their leading man. The
frustrated Stage Manager agrees to take Rafe but Rafe does not want to play any of the
roles in the play and instead creates his own role and story—that of an errant knight with a
burning pestle as his chivalrous symbol. While he tries to save the princess the
characters/actors of the other play try to work with and around him and his intrusive parents.
The connection between this play and modern interactive entertainment is weak at best* but
that matters little because what this production boils down to is pure tongue-in-cheek fun.
Dodd most certainly guides his extraordinary ensemble to a style that's sort of slapstick,
sort of melodramatic (melodramatic in the contemporary sense). He creates some great
stage pictures and bits and has obviously allowed his cast to explore outrageous characters
all their own. He also allows for some hilarious improvisations.
The cast is absolutely fantastic. I had a great time watching this play scene by scene as
opposed to absorbing the play as a whole. I never knew what to expect and I love that.
Some highlights include Isaiah Tanenbaum as the bumbling and fruity suitor, Katie Braden
as the stern merchant and actress who must go on with the show, Dana DiAngelo as the
Stage Manager who must deal with the meddling parents, and Matthew AJ Gregory as the
obtuse but lovable Rafe.
But in the end it was Le-Anne Garland and Cate Bottiglione that I was still laughing about as
I walked to the subway. Garland plays an insanely ghetto Elizabethan Innkeeper (among
other roles) and she brings a fresh and funny perspective to every scene she's in.
Bottiglione is an absolute scream as the mother of Rafe. She is a gum-smacking, big-
earring-wearing, camel-toe-sporting local Queens woman with so much attitude she can
hardly contain herself. She even sits there and chats with the audience while flossing during
intermission. She steals the show.
The Knight of the Burning Pestle is pure good times. Written 400 years ago in Elizabethan
English (and spoken by some here with a Queens accent) it still has all the elements that
make for a great comedy even for a contemporary audience. One note: the theatre is
actually in a restaurant so when you go (and you should definitely go), enter the steak
house and then make your way to the back room.