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FACTS OF LIFE • Brooklyn Paper

FACTS OF LIFE

Acting up: Theater for the New City presents "Access Upheaval" in three Brooklyn venues in August. The President of Worldcon Corporation (Primy Rivera) is a puppet, too.
Jonathan Slaff

Two years ago, Theater for the New City
took on polluters ("Biotech"). Last year, the company
searched for compassion and sanity in an insane world ("The
Patients Are Running the Asylum"). This year, they are challenging
the War on Terrorism and the Bush Administration.



"Access Upheaval" is a musical comedy with some very
serious and timely messages. Written and directed by Crystal
Field, a veteran of street and protest theater, the play depicts
the lives of three very different native New Yorkers.



Craig Meade plays an African-American born at 113 W. 103rd St.
in Harlem. Alexander Bartenieff plays an Italian-American born
at 3570 17th Ave. in Bensonhurst. And Michael Vazquez portrays
a "New Yo-Rican" born at 2504 Zerega Ave. in the South
Bronx.



Each man has his own cultural heritage, which is reflected in
the music that surrounds him – gospel, Sicilian tarantellas,
Latin rhythms. But they all come together when the chorus croons,
"Be proud of your race. Take your place little fella."



The three men celebrate birthdays and graduations. They grow
up and look for employment. Bartenieff scalps tickets in front
of Madison Square Garden. Vazquez becomes a teacher. Meade ends
up a doorman, who says ruefully, "I can always catch a taxi
– when I’m in uniform."



Life goes on with its ups and downs until the men’s world is
shaken by the events of Sept. 11, after which New York City’s
diverse neighborhoods are wracked by paranoia, racism and the
desire for revenge. At the same time, corporate greed destroys
the economy, budget cuts cripple the educational system and real
estate interests make affordable housing no more than a dream.



President George W. Bush, portrayed by a puppet, declares war
from behind and above the stage. Masked actors portraying Vice
President Dick Cheney and Osama Bin Laden argue over which side
God is on and complain about their respective heart and kidneys.
The FBI and CIA enter dressed in black and sing "Homeland
Security Blues."



In the meantime, the three young men camp out at the foot of
the Brooklyn Bridge where they meet Butterfly (Terry Lee King),
an idealistic, unisex creature who envisions the world as it
should be, and Digger (Mark Marcante), an itinerant bum who teaches
the hard realities of life and the difficulties in changing them.



In a manner more slapstick than didactic, Butterfly and Digger
provide the spiritual guidance the men need to prevail. It is
community as expressed in the city’s small, flourishing gardens
that can save New York City and the country. And community is
made up of individuals – the individuals onstage and the individuals
in the audience.



But with its wicked humor, straight from the ’hood dancing and
spirited music, "Access Upheaval" has the spoonful
of sugar that makes the medicine go down. And the talented, energetic
performers make sure it does indeed go down in a most delightful
way.



"Access Upheaval" is not only very entertaining theater,
it is also a call to action. The play speaks for those who cannot
speak for themselves, or speak but are not heard. And you don’t
have to agree with all its premises to recognize that here are
opinions that need to be expressed.



"Access Upheaval" features the exuberant and earthy
music of Joseph Vernon Banks; and scenic design by Walter Garbo,
who created the movable flats and set pieces, and Mary Blanchard,
who designed the 9-foot by 12-foot running screen, or "cranky,"
which provides continuous movement behind the actors.



Theater for the New City travels with crates and shopping bags.
A wheelchair is transformed into a pushcart for a vendor selling
Italian ices. Familiar figures like "Martha Stewheart"
and John "Ashcraft" are represented by funny, lifelike
masks.



All of this makes the production appear so spontaneous it takes
an effort to realize all the organization and industry that lie
behind the very intelligent antics seen on stage.



Like this country, street theater is very much "by the people
and for the people." As long as companies like Crystal Field’s
Theater for the New City keep creating community-based theater
that is vital to our civic wellbeing, it will most certainly
remain alive and well.

 

Theater for the New City’s production
of "Access Upheaval" will have three performances in
Brooklyn: Aug. 11 at 2 pm, at Herbert von King Park (Marcy and
Tompkins avenues in Bedford-Stuyvesant); Aug. 16 at 8 pm, at
Coney Island Amusement, Boardwalk at West 10th St.; and Aug.
24 at 2 pm, in Prospect Park’s Oriental Pavilion (enter the park
at Ocean Avenue and Lincoln Road). All performances are free.
For more information, call (212) 254-1109.


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