Displaying items by tag: Taylor Dalton

Spaceman, presented by [producingbody], touches down at The Edge Off-Broadway with a quiet, unnerving force, pulling audiences into the fragile headspace of an astronaut drifting far from home and even farther from certainty. Under Eric Slater’s beautifully calibrated direction, playwright Leegrid Stevens’ one‑woman odyssey becomes less a sci‑fi spectacle than a psychological excavation, using isolation, sound, and the illusion of the vastness of space to illuminate the even vaster, far more treacherous terrain of the human mind. What unfolds is intimate, disorienting, and strangely beautiful - a mission that feels as internal as it is interstellar.

Commander Molly Jennis, played with raw precision by Ashley Neal, anchors the entire piece, and Stevens places her in a cockpit that feels less like a command center and more like a sealed chamber where every thought ricochets back at her. Seven months from Earth and en route to Mars on a mission meant to help establish the first human colony, Molly exists in a liminal space where even the simplest exchange with Houston (a.k.a. Rob, voiced by Slater) arrives with a ten‑minute delay. That communication gap becomes its own form of psychological erosion - a constant reminder of how far she’s drifted from help, from home, and from anything resembling real‑time human connection.

But Molly’s mission is no longer just scientific. It’s personal. In this adaptation, the script’s original husband Harry is affectingly reimagined as Ari, Molly’s wife - also an astronaut - who died in a catastrophic space mishap, a loss that shattered her sense of purpose and left her clinging to a belief that borders on spiritual desperation. Convinced that Mars is the gateway to the afterlife, she pushes forward not only to complete her assignment but in the hope of finding Ari waiting for her on the other side of the red planet’s dust and silence. That longing becomes the engine of the play, fueling her resolve even as it accelerates her unraveling.

Life aboard the ship only intensifies that disintegration. Molly faces a barrage of indignities and challenges that chip away at her humanity: the crushing loneliness of months without touch or immediacy; the numbing boredom of endless routines; the hygiene compromises of sponge baths and wipes in place of a shower; and the messy, often humiliating realities of zero‑gravity bathroom logistics that turn even basic bodily functions into small disasters. These details aren’t played for cheap laughs - they’re reminders of how fragile the body becomes when stripped of comfort, privacy, and gravity itself. Each inconvenience compounds her grief, her remoteness, and her growing conviction that the only meaningful destination left is the one where Ari might be found.

Neal channels all of this with remarkable control. Her Molly is a woman split between duty and delusion, the clipped professionalism of a trained astronaut slowly fraying into paranoia, longing, and hallucinatory hope. Neal’s performance is built on micro‑shifts - the tightening of her jaw, the flicker of yearning behind her eyes, the way her voice strains to maintain authority even as her internal compass spins. She makes Molly’s belief in Ari’s presence feel both irrational and heartbreakingly human.

The plot circles her in increasingly suffocating loops, blurring memory, mission, and metaphysical longing until the audience is never quite sure what’s real and what’s the product of a psyche pushed past its limits. Yet even within that pressure, the play finds brief, unexpected flickers of levity - small human moments that remind us Molly is still fighting to stay tethered to herself. It’s a performance - and a character - shaped as much by silence, distance, bodily strain, and cosmic grief as by the script itself.

Ashley Neal in SPACEMAN from [producingbody] now playing through June 13 at The Edge Off-Broadway.

The production design at The Edge Off‑Broadway becomes an essential partner in Molly’s unspooling, transforming the cozy 50‑or‑so‑seat venue into an airtight capsule that pulls the audience directly into her orbit. A lone captain’s chair sits at the center of the cockpit, surrounded by glowing computer screens that flicker with data like a heartbeat she’s trying desperately to trust. Her only living friend is a small, responsive plant that tilts and bends as though it’s trying to understand her, a fragile tether to something organic in the endless dark. But she also has Jen (Sadieh Rifai) - the ship’s AI voice whose constant presence fills the silence with a companionable, sometimes unsettling intimacy. Throughout the play, the low, constant hum of the rocket engine underscores every moment, a sonic reminder of the machine that keeps her alive even as it isolates her. Lighting is used with surgical precision: tight, concentrated beams that lock onto Molly and amplify her intensity, then suddenly widen into sweeping celestial washes that pull the audience into the vast, indifferent expanse outside her ship. When a meteor strikes the hull, the sound design erupts with visceral force, rattling the space and Molly’s nerves in equal measure. And in one of the production’s most ingenious touches, Allyce Torres - dressed entirely in black and nearly invisible against the cockpit’s shadows - moves objects with ghostlike stealth to create the uncanny illusion of zero gravity. That she also portrays Ari adds an extra layer of resonance, as if her presence is haunting the space even when Molly can’t see her. Every element works in concert to heighten the story’s tension and fragility, making the production not just a backdrop but a powerful, immersive engine driving the narrative forward.

Amy Carpenter, who helps shepherd the production as a producer, also understudies Molly Jennis - a dual role that underscores her investment in the piece’s dramatic and technical precision.

The production’s technical artistry is anchored by a trio of designers whose work deepens the play’s immersive pull. Taylor Dalton (executive producer/set design/costume design), Angela Joy Baldasare (sound designer), and Garrett Bell (lighting designer) craft an environment that feels both meticulously engineered and emotionally charged, each element reinforcing the story’s tautness, precariousness, and sense of cosmic seclusion.

Ashley Neal in SPACEMAN from [producingbody] now playing through June 13 at The Edge Off-Broadway.

Even before the lights go down, Spaceman begins tightening its grip. Audience members are required to seal their phones in Yondr pouches - those soft, magnetic lock bags used at concerts and comedy shows - and the effect is immediate. In such an intimate venue, the simple act of surrendering your device creates a subtle but unmistakable shift: the outside world goes quiet, your digital bind snaps, and a faint echo of Molly’s own isolation settles in. It’s a small, clever pre‑show ritual that primes the audience for the loneliness, disconnection, and suspended‑in‑the‑void feeling that defines her journey. By the time you take your seat, you’re already living in a version of her world - cut off, contained, and waiting for contact that won’t come quickly.

Spaceman is a singular, deeply immersive theatrical experience, the kind that sneaks up on you and refuses to let go. I felt myself drawn in further with each passing minute, the tension tightening and the stakes rising as Molly’s journey pushed deeper into the void. What lingered with me was the sensation of being slowly enveloped - not by spectacle, but by atmosphere. The production creates a kind of emotional gravity, a pull that grows stronger the longer you sit with Molly’s loneliness, her determination, her fraying edges. By the time she reaches the farthest point from Earth, I realized I had traveled with her, carrying the same weight, the same longing, the same fragile hope that something - anything - might answer back.

At just 100 minutes with no intermission - and no re‑entry if you need to leave the theatre - Spaceman demands and rewards full immersion. It’s a tightly calibrated, deeply human piece of sci‑fi storytelling that lingers long after the final blackout, and it comes recommended. Spaceman runs May 19 - June 13 at The Edge Off-Broadway, with tickets priced $15-45. Tickets and additional information are available at www.producingbody.com.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

I’m amazed that it’s been 18 years or so since I first saw a Hell in a Handbag production. Though it seems like yesterday, my first experience with Handbag was taking in their production of The Poseidon Adventure at the cozy and artistic Chopin Theatre in Wicker Park. It was fantastic and it was funny - fantastically funny. The musical’s parody humor, clever innuendos and dry wit reeled me in immediately. I was instantly blown away by Founding Artistic Director and performer David Cerda and the company’s cast of very talented comedic singers and dancers - and I still am. Hell in a Handbag is a dependable theater company that consistently provides hilarious, high-quality productions of camp entertainment (i.e. Golden Girls: The Lost Episodes, Christmas Dearest, Caged Dames) to the appreciative Chicago community and, like so many others, I find myself always looking forward to their next production. 

Handbag’s current production is yet another gem. Also performed at Chopin Theatre, Poor People! The Parody Musical, was brilliantly written by Tyler Anthony Smith and is wonderfully directed by Stephanie Shaw. Poor People! is a dynamite brand-new production that creator Tyler Anthony Smith describes as being a tribute to the characters in shows like Annie and Les Miserables, “that despite dire circumstances, the characters were still belting their faces off and dancing in the streets. Anybody can be happy and sing but it takes something special to be on your deathbed and still be on key.”

In the gritty, smoke-filled streets of 1979 New York City, the story’s fiery-haired protagonist, Li’l Orphan Arnie (played by Dakota Hughes), is on the run. Escaping the clutches of a lascivious, meth-cooking, authoritarian head of the orphanage, Miss A (Sydney Genco), Arnie’s fate takes an unexpected turn when they encounter a mysterious feline dancer named Whiskers (Matty Bettencourt). Whiskers leads Arnie through a supernatural manhole, hurtling them back in time to 1815 Paris, France.

In this new period of time, Arnie trades one impoverished existence for another. The search for their birth parents takes a backseat as they join forces with a ragtag gang of pickpocketing prostitutes, masterminded by the enigmatic Fagin (David Cerda).

Life takes a darker turn when Mama Moneybags (Brittney Brown), a corrupt Republican hailing from the future, sets her sights on dismantling Fagin’s crew. But fear not! A motley crew of vibrant, down-and-out characters steps up to the challenge. Among them are the consumptive Pantene (portrayed by Caitlin Jackson), the wild and feral Beggar Woman (Elizabeth Lesinski), and Nance, the quintessential hooker with an unexpectedly golden heart (brought to life by Tyler Anthony Smith). 

Besides Annie and Les Miserables, the story also parodies a bevy of characters and songs from other favorite Broadway productions including The Phantom of the Opera (“The Groomer of the Flop’ra”), Oliver, and even a lampooned version of Mary Poppins’ “Feed the Birds (Tuppence A Bag)”.   

(front center) Sydney Genco with (back, l to r) Tyler Anthony Smith,Taylor Dalton, Caitlin Jackson and Patrick O'Keefe in Hell in a Handbag Productions world premiere of POOR PEOPLE! The Parody Musical.

So, let's get to the talented cast members…

Dakota Hughes plays Li’l Orphan Arnie with a childlike charm and sass. Not just gifted with comedic talent, Hughes has a tremendous vocal range and gets to show it off throughout the play. Caitlyn Jackson, who plays Pantene and Sydney Genco as Miss A have been longtime favorites of mine in the Hell and a Handbag Productions troupe throughout the years and were both very funny and also had great song and dance numbers, which I have come to expect and enjoy! Along with Genco and Jackson, Brittany Brown also gets to impress the audience with her sensational singing voice. Another favorite Handbag veteran of mine is Elizabeth Lesinski and she absolutely crushes in her role as the Beggar Woman, drawing laughs with just about each delivered line. She also shows us that she can manage a herd or ravenous squirrels while holding a tune. 

Warm, commanding, and consistently hilarious, David Cerda shines in his role as Fagin. Cerda’s presence exudes both comedy and a nurturing energy that envelops the entire cast. Audiences eagerly anticipate his every entrance. Meanwhile, Tyler Anthony Smith remains a beloved fixture from previous Handbag productions - and absolutely steals the show! Smith brilliantly adapted many numbers from well-known Broadway shows into rousing, funny, bawdy and touching ensemble performances that keep the entire audience laughing and cheering right up until the end of this wonderful full-length production.

To complete the ensemble, Matty Bettencourt sizzles as Fosse Kitty, and special recognition is also due for the outstanding performances of Taylor Dalton as Epipen, Shane Roberie as The Groomer, Patrick O’Keefe as Twinky, and Tommy Thurston as Pretty Rich Boy. There is so much to love about this gifted ensemble. Truly, every cast member delivers an exceptional and delightful experience for the audience. 

Poor People! is a fun show filled with one hilarious moment after the next that does not mind pushing the envelope as far as it can. Yet, no matter how ribald or risque the show may be, a Hell in a Handbag production always includes a heartwarming message to the audience of support and acceptance to all people, regardless of their gender, race or age - and this show is no exception. Tyler Anthony Smith delivers the timeless message of wisdom in the uproariously funny and endearingly adapted finale, “We’re All Gonna Die Soon!” Embrace the present moment! We’re all here now, but who knows what tomorrow holds. So, let’s have fun and enjoy life! 

Poor People! The Parody Musical with musical direction by Andrew Milliken and choreography by Christopher Kelley is being performed at The Chopin Studio Theatre (1543 W. Division St.) through June 16th. For tickets and/or more show information visit https://www.handbagproductions.org/.   

Highly recommended.

*Extended through June 23rd!