A Piece of My Heart - Ivoryton Playhouse

War is hell.  And since the Vietnam War, it has been brought into our homes via the airwaves – the death, destruction, and, occasionally, lighter moments.   Today, the impact of what seems like daily reports from around the world, while not dulling our senses, has numbed our attitudes and impressions of conflicts.  This is the issue with the well-acted and directed play, A Piece of My Heart, at the Ivoryton Playhouse.  Playwright Shirley Lauro’s 1991 work (based on interviews she conducted with 26 women who served in the Vietnam War in 1986) feels dated, like watching an old newsreel.  This is not to negate their sacrifices and horrific conditions they faced in Southeast Asia or their troubles acclimating back into society.  However, most of the time, I was just not too engaged with the scenes that unfolded on stage.

 

The cast of A Piece of My Heart.  Photo by Jonathan Steele.

Lauro has synthesized the conversations with her subjects into the creation of six characters, mostly young women nurses who volunteered for their assignments thinking of glamour and travel.  The beginning of Act I relates their varied backstories and then, when they arrive in Vietnam, the harrowing realism of war.  Lauro pulls no punches with graphic descriptions of life during wartime, the medical facilities, operating room, and post-op recoveries.  Every so often she leavens the nightmarish conditions with levity, mostly singing, led by entertainer Mary Jo.  Act II brings forth their lives stateside as all six women seek normalcy as they reenter society. 

 

Members of the cast of A Piece of My Heart.  Photo by Jonathan Steele.

Director Jacqui Hubbard keeps the action and actresses in constant movement on Kim Zhou’s appropriately designed minimalistic set that includes platforms, ramps, pieces of corrugated metal, and chain-link.  She incorporates Qier Luo’s fitting lighting design and Rhian Franchebois’ punctuating sound effects of gunfire, explosions, and approaching helicopters.  The show unfolds as ever-changing tableaux under Hubbard’s adept guidance, allowing each story a chance to breathe.  She deftly blends in music from the 60’s and 70’s, which adds to the backdrop of the time period.  The show would have more impact if condensed into a single Act.  Some scenes run too long, such as the Act II subplot of a daughter suffering from Agent Orange.

 

Oliva Fenton, Alicia Kaori, and Autumn Eliza Sheffy in A Piece of My Heart.  Photo by Jonathan Steele.

The strength of A Piece of My Heart is the ensemble of actresses (and one sole actor) that bring to life the accounts of the women who served their country.  Too often their stories were pushed to the side.  But the performers - Mandy Evans, Olivia Fenton, Angela Hall, Alicia Kaori, Allie Seidbold, Autumn Eliza Sheffy, and Galen Donovan, who plays an assortment of the male roles in the show – wonderfully bring the angst, horrors, and resilience of the women to the fore.  For whatever shortcomings of the play, the actresses bring an emotional grist that animates the assorted stories. 

 

Alicia Kaori, Galen Donovan, and Oliva Fenton in A Piece of My Heart.  Photo by Jonathan Steele.

A Piece of My Heart, playing at the Ivoryton Playhouse through October 25.  Click here for dates, times, and ticket information.

A Lesson From Aloes - HartBeat Ensemble

A Lesson from Aloes, by South African playwright Athol Fugard, is being given a noteworthy production by HartBeat Ensemble, playing at the Austin Arts Center on the Trinity College campus. 

 

Brian Jennings, Rebecka Jones, and Godfrey L. Simmons in A Lesson From Aloes.  Photo by Nick Caito.

 

The play, written in 1978, during the heightened conflict of the apartheid regime in the country, takes place in 1963.  We learn that Piet (Brian Jennings), an Afrikaner and former bus driver, has, years earlier,  left his position and taken up the cause of racial injustice with Steve (Godfrey L. Simmons Jr.), a Black South African and leader of the resistance.  In the process, the two have become fast friends.  But the years have not been kind.  Steve has just been released from jail for his actions, and Piet’s wife, Gladys (Rebecka Jones), is on the verge of another mental breakdown after previously being institutionalized.  Piet is alone with his aloe plants after being shunned by friends and colleagues on suspicion of being the police informer who sent his friend to prison.

 

Brian Jennings, Rebecka Jones, and Godfrey L. Simmons in A Lesson From Aloes.  Photo by Nick Caito.

Act I has Piet and Gladys in preparation for a farewell meal for Steve and his family, as the one-time activist is being forced to leave for England.  We learn about the lives Piet and Gladys share, and the emotional turmoil they have experienced in the police state.  In Act II, Steve arrives…alone.  There is a mistrust in the air as he suspects Piet of being the traitor.  In bitter, highly charged conversations, the politics of freedom, loyalty, and friendship are dissected and, in the end, obliterated.

 

 

Godfrey L. Simmons in A Lesson From Aloes.  Photo by Nick Caito.

 

Fugard, who knew firsthand the devastating impact of apartheid on his people, slowly builds the tension of the play from playful banter to the shattering finale.  There is a passionate emotional quality that weaves its way throughout the production.  While the encounters between characters can be riveting, some portions of the show, primarily in Act I, could have been shortened to make the play leaner and even more captivating.

 

Brian Jennings in A Lesson From Aloes.  Photo by Nick Caito.

Director Vernice Miller allows the action to unfold at an unhurried pace, letting Fugard’s dialogue be the guide.  There are many instances of silence and patience, which heighten the verbal sparring between husband and wife, and the two friends. 

 

Rebecka Jones and Brian Jennings in A Lesson From Aloes.  Photo by Nick Caito.

The three seasoned performers are superb, fully realizing their characters’ strengths and weaknesses.  Brian Jennings imbues Piet with an inner fortitude and an outward effusiveness that belies his private struggles.  The actor is at his best when just standing, staring, and allowing the accusations to pelt him.  Like the aloe plant in the title of the play, he is hardy sole even in such a hostile environment.  Rebecka Jones effectively infuses the character of Gladys with a somber, anxiety-ridden dread that encapsulates the mistrust and fright from a political state.  As with Jennings, her silent terrors speak volumes.  Godfrey L. Simmons Jr., the Artistic Director of HartBeat Ensemble, but also an accomplished actor who has recently graced the stages of Theaterworks Hartford and Hartford Stage, is like a cornered large cat waiting for the opportunity to strike.  He prowls the stage, eyes searching for potential dangers as he confronts Piet and is verbally goaded by Gladys.  Simmons doesn’t just appear in Act II.  He envelopes it.

A Lesson From Aloes, playing at the Austin Arts Center on the Trinity College campus through October 17.  Click here for dates, times, and ticket information.

The Happiest Man on Earth - Playhouse on Park

With the Holocaust fading into history, and denier’s falsehoods and fabrications continuing to take hold, The Happiest Man on Earth is a show that needs to be seen.  Based on the memoir of Holocaust survivor Eddie Jaku, Playwright Mark St. Germain has fashioned a one-man play that is at times harrowing and gripping.  But throughout Jaku’s remarkable account of survival and resilience, there is a humanity that weaves its way throughout his story.

Robert Resnikoff in The Happiest Man on Earth.  Photo by Meredith Longo.

The play begins as the actor Robert Resnikoff (Jaku) welcomes the audience as his new friends.  He asks if he can practice a presentation he will be making at his son’s synagogue the following day on the Holocaust.  That is the catalyst for a summary of his life, beginning as a young Jewish boy in Leipzig, Germany.  From there, with the Nazi Party taking hold of Germany, Jaku and his parents’ lives are forever changed.  The events of his life, from 1939 to 1945, include stints in the Buchenwald and Auschwitz concentration campus, captivating tales of heroism, life-saving escapes, friendship, and love.  They are at times breath-taking in detail and scope.  As with Jaku’s memoir, St. Germain doesn’t pull his punches as the memoirist relates his story.  Sometimes you wince at the atrocities inflicted upon him.

Robert Resnikoff in The Happiest Man on Earth.  Photo by Meredith Longo.

The Happiest Man on Earth works as compelling drama due to the outstanding performance of Robert Resnikoff.  Working in front of Scenic Designer Chris Ostrom’s unassuming, deeply rich, wood-paneled set, the actor, whose comportment would not be out of place at a Temple Brotherhood brunch, comes across as a natural born storyteller.  He eloquently and movingly conveys the angst, horror, and desperation his character faced in wartime Europe.  Throughout the production, Resnikoff also nimbly switches his vocal tone and facial expressions to portray a number of different characters during the timeframe of the show.

Robert Resnikoff in The Happiest Man on Earth.  Photo by Meredith Longo.

The Director Sasha Bratt has molded St. Germain’s script into a production that has drama and a touch of humor.  These are traits the playwright has brought to his other works that have graced Connecticut stages (Freud's Last Session and Becoming Dr. Ruth).  Bratt, incorporating Chris Ostrom’s well-appointed Lighting Designer, and Xi Lin’s opportune Sound Design, brings a sensitivity and straightforwardness that compels audience members to listen and be engrossed.  He brings movement into the show – Resnikoff is constantly prowling the stage, sometimes engaging with the audience – which prevents the action from becoming too static.

 

The Happiest Man on Earth, playing at Playhouse on Park through October 18.  Click here for dates, times, and ticket information.

The Snow Goose - Goodspeed Opera House

The musical The Snow Goose, receiving its world-premiere at the Goodspeed Opera House, is based on the beloved 1940 novella of the same name.  It is an intimate tale of friendship and the cyclical nature of life.

The cast of The Snow Goose.  Photo by Diane Soboelwski.

In the book, Philip, an artist, lives in an abandoned lighthouse, afraid to interact with others because of his disability.  He is befriended by a local girl, Fritha, who brings a wounded snow goose to him to nurse back to health.  Once the snow goose has healed, she returns each year to be at the side of Philip and Fritha.  At the end of the story, Philip volunteers his boat to be part of the famous Dunkirk evacuation of British troops during WW II, risking his life for others and, in the process, saving numerous lives.

Ashlyn Maddox and Eric Graise in The Snow Goose.  Photo by Diane Soboelwski.

The Goodspeed production has enlarged this simple tale, adding many new characters and plot points not found in the book.  The resulting, expanded musical comes across as overstuffed with side plots, and characters not fully developed.  The results are mostly unsatisfying and ends up diluting the central themes of the book.

 

The show begins with The Bard, a troubadour (a new character), acting as a type of narrator, setting the scene for what will occur.  Fritha, who now has three friends – Wilf, Clara, and Farley (all new characters) – gets separated while exploring the marshes of Essex, England.  Fritha finds a wounded snow goose and brings it to the lighthouse where, according to townsfolk, “the monster” resides.  There resides Philip, a double amputee, who grudgingly agrees to nurse the bird.  This begins a tentative, then lasting friendship between the two as the snow goose returns each year during her migratory journey. 

Matthew Davies, Leah Hofmann, Kiersten Kelly and the cast of The Snow Goose.  Photo by Diane Soboelwski.

In between the yearly reunions, trouble brews for Fritha as her aunt (new character), who has raised her since she was a child, forbids the young girl from seeing Philip.  Wilf, her would-be boyfriend, also disallows her from visiting the lighthouse.  Ignoring their edicts, Fritha clandestinely continues her rendezvouses.  Fritha urges Philip to come to town to show the towns folk he is not a monster, but when he arrives he is verbally and physically assaulted because he is different.  Later, when boatmen are recruited to help save soldiers at Dunkirk, Philp pushes aside the hate and prejudice heaped upon him to volunteer, sacrificing his life in the process.

Ashlyn Maddox in The Snow Goose.  Photo by Diane Soboelwski.

 

The central issue with the book by Scott Gilmour and Claire McKenzie is the inclusion of so much additional material that blunts the unadorned earnestness of the source material.  Storylines are not fully fleshed out, and characters are not completely developed.  There is now a large ensemble, with uneven choreographic flourishes by Misha Shields, filling the stage.  Emmie Finckel’s Scenic Design are at its best when the staging is minimal.  Philip’s sailboat is especially well-done.

 

The strength of the Snow Goose is the performance of Eric Graise as Philip and the puppeteers manipulating the snow goose.  Graise, a double amputee, adds a high degree of realism to the Goodspeed stage.  He effortlessly exudes strength, independence, and melancholy in his role.    The snow goose has been designed by Nicholas Mahon and manipulated, primarily by Leah Hofmann.  The puppet comes alive within the practiced arms of his handlers, exuding playfulness, joy, and fear.

Ally Bonino and the cast of The Snow Goose.  Photo by Diane Soboelwski.

 

Ashlyn Maddox’s Fritha is at her best as a young lass, struggling with her own feelings and the decisions she wants to make.  The actress is less successful as she ages, a full ten years by the musical’s conclusion.  While a forceful presence on stage as Harper, Fritha’s aunt, Ally Bonino is not given enough of a backstory to establish her character beyond a nagging relative.  Out of the new characters, Charlie Webb’s Wilf receives significant stage time.  He brings youthful energy, timid emotions, and a degree of intimidation to his portrayal.

 

The score by Scott Gilmour and Claire McKenzie can be unabashedly exuberant and reflective.  There are some Broadway styled songs, but the majority of the numbers are tinged with the folk music of the area.

 

Eric Graise and Ashlyn Maddox in The Snow Goose.  Photo by Diane Soboelwski.

Director Marshall Pailet, who helmed the outstanding musical Private Jones at the Norma Terris Theatre a few seasons ago, works hard attempting to make all the diverse elements of the show coalesce into an entertaining whole.    He partially succeeds, with the more intimate scenes involving Philip, Fritha, and, to some extent, the snow goose – as a prime example.

 

The Snow Goose, playing at the Goodspeed Opera House through October 18.  Click here for dates, times, and ticket information.

 

 

 

Harmony - Music Theatre of CT

  

To begin its 40^th Anniversary Season, the Music Theatre of Connecticut is presenting the regional premiere of the musical Harmony.  The show, which had a short life on Broadway, has music by Barry Manilow and lyrics/book by Bruce Sussman.  It is based on the German singing group The Comedian Harmonists, one of the most popular musical ensembles in the world during the 1920’s and 1930’s.   The soaring fame of the six-person group, comprised of three Jewish and three non-Jewish members, coincided with the rise of Nazism which, eventually, led to the end of their storied career.

 

Michael Alonzo, Constantine Pappas, Jeff Raab, Dominic Pagliaro, Christian Libonati, and Cameron Edris in Harmony.  Photo by Alex Mongillo.

Director Kevin Connors has done an outstanding job assembling a cast of talented performers, especially the actors that play members of the singing group.  Music Director Zachary Anderson, working with Brian Salvia’s flawless Sound Design, receives kudos for taking these actors and exquisitely blending their voices into aural magic. 

 

The musical is an emotional roller coaster, with Sussman’s streamlined book emphasizing the highs and lows of the group.  Even though the finale – including a moving, angst-filled monologue by the superb Frank Mastrone – will bring a tear to the eye, Harmony is also filled with joy and wondrous singing and comedic bits by the cast.  Choreographer Chris McNiff’s provides stylish dance routines for the Comedian Harmonists.

 

Michelle Pauker in Harmony.  Photo by Alex Mongillo.

The story follows the six young men as they form their group and move from dive establishments to star billing at the fanciest nightclubs.  Sussman provides enough of a back story of each member to present wholly defined characters.  Along the way, two Harmonists marry, and they begin to travel the world, including a sold-out engagement at New York City’s Carnegie Hall.  The plot turns from upbeat and hopeful to chilling at the end of Act I as the rise of Nazism begins to take hold in Germany.  In Act II, while still performing and traveling – the Third Reich feels their performances are good for their image, but they are eventually reined in due, primarily, to the Jewish members of the group.  In the end, the Harmonists are disbanded, never to see each other again.

 

To hold the show together and push the action forward, Sussman has structured the musical with an aged narrator – Frank Mastrone as Rabbi, a member of the Comedian Harmonists in his younger days (Constantine Pappas plays Young Rabbi in the production).  Matrone pops up to add texture to the story and play several characters, including Albert Einstein.  He is the moral compass that gives expression to inner thoughts and outrage from years before.  The actor is a natural storyteller.  He is at times funny, moving and passionate as he delivers a marvelous performance.

 

Michael Alonzo, Cameron Edris, Christian Libonati, Dominic Pagliaro, Constantine Pappas, and Jeff Raab in Harmony.  Photo by Alex Mongillo.

The six members that comprise the Harmonists are equally distinguished.  The group – Michael Alonzo, Cameron Edris, Christian Libonati, Dominic Pagliaro, Constantine Pappas, and Jeff Raab – have tremendous chemistry and comfortability with each other.  While all the actors bring a complexity and their roles, Pappas, a member of the original Broadway production, stands out as Young Rabbi. 

 

 

Integral to Harmony are two women, who play key roles in the show.  Jazmin Gorsline, as Mary, Young Rabbi’s future wife, is initially low-key in her role but, as the show develops, the actress brings more confidence and strength to the part.  Michelle Pauker is dynamic and assured in her role of Ruth, the future wife of the singing group’s Chopin.  A firebrand seeking change to an unjust system, the actress delivers passion when on stage.

 

Constantine Pappas and Jazmin Gorsline in Harmony.  Photo by Alex Mongillo.

The score by Barry Manilow and Bruce Sussman can be affecting, upbeat, frisky and, for the most part, very tuneful.  In my opinion, in the past few years, there are only a handful of original Broadway musicals that have had better scores.  Manilow has co-written purely theatrical songs that will also be very satisfying to his legion of fans.  Standout numbers include the upbeat title song, the rousing “Every Single Day;” the stirring “Stars in the Night;” the excitement of “This is Our Time;” and the haunting ballad “Where You Go,” sung by Gorsline and Pauker.

 

Connors’ pacing and scene changes are smooth and efficient within Sean Sanford’s minimal, but effective, Scenic Design.  The Director brings an emotional depth to the production, whether they are intimate, poignant moments or raucous assemblages by the large cast.  I do wish, though, that Connors could have somewhat leavened the finale, with the character Rabbi’s anguish-laden speech, even though Sussman has written it with grief and sorrow. 

 

While Harmony is a triumph, it should be noted that the anti-semitic and right-wing political rhetoric that underlines the musical, is as present today as it was during the timeframe of the show – almost 100 years ago.   It is a distressing commentary of where we are as a society and should serve as a warning on complacency and ignorance.

Jeff Raab, Dominic Pagliaro, Cameron Edris, Frank Mastrone, Constantine Pappas, Michael Alonzo, Christian Libonati in Harmony.  Photo by Alex Mongillo.

 

Harmony, playing at the Music Theater of Connecticut through September 27.  Click here for dates, times, and ticket information.

Music City - Off-Broadway

I am not a country music fan, so I had a bit of trepidation when I entered Off-Broadway’s St. Luke’s Theater for the jukebox musical Music City.  Fortunately, whatever concerns I held were misplaced.  Music City is a buoyant, engaging, sometimes soap opera-ish, show that is chock-full of hook-laden songs composed by JT Harding.  The songwriter has written hit tunes for country artists including Uncle Kracker, Darius Rucker, Keith Urban, Blake Shelton, and Kenny Chesney.  They are delivered by a top-notch on-stage band.

Lauren Lolo Pritchard and Stephen Michael Spencer in Music City.

The show takes place in the Wicked Tickle, a Nashville dive bar that hosts open mic nights.  Two brothers, the younger TJ (Stephen Michael Spencer) and his older sibling Drew (Jonathan Judge-Russo), are fan favorites who are prepped to make the big time per Tammy (Leenya Rideout), a recording label scout.  However, complications ensue.  The boys need money to record a demo.  Step in the fiendishly expressive neighborhood drug dealer Bakerman (Andrew Rothenberg) to lend them the funds as long as they help him deliver his goods.  One of TJ’s clients is a drug addicted mother, Leanne (also played by Leenya Rideout), whose daughter,  23 (Lauren Lolo Pritchard and, yes, that’s her character’s name), he has fallen for.  Of course, the two start making beautiful music together, but life and relationships aren’t easy.  By the time the musical concludes, there are also break-ups, reconciliations, possible sexual harassment, and one character’s harrowing stint in the army.

Leenya Rideout as Leanne in Music City.

Librettist Peter Zinn wraps up most of the storylines into a neat bow.  The plot could easily have been taken from one of JT Harding’s songs – which range from raucous party tunes to tender ballads.  Zinn has crafted characters whose dreams we believe in, portrayals we care about as well as lowlifes we want to boo.

Director Eric Tucker, working within Scenic Designer Clifton Chadick’s appropriately low-brow décor and Eric Southern’s garish Lighting Design, keeps the pacing brisk while utilizing the entire space in St. Lukes.  There are two staging areas that serve multiple purposes, but he doesn’t limit the performers to just those spaces.  Tucker also has the actors and actresses consistently around the cramped table seating area where the audience sits.  Placing the four-piece band on-stage adds to the realism of the honky-tonk bar setting.

Andrew Rothenberg as Stucky Stiles in Music City.

The cast, energetic and fully committed to their roles, is led by Stephen Michael Spencer as TJ.  While he begins his journey as a party animal looking for a good time and to make it big in the music industry, he nimbly shifts his character to a more layered trajectory.

Jonathan Judge-Russo, as older brother Drew, perfectly complements his on-stage sibling.  More low-key and introspective, the two have a well-worn chemistry.  Lauren Lolo Pritchard is the most complex character in the show – moving from thoughtful and meditative singer-songwriter to parental caregiver to worried spouse.

Andrew Rothenberg is marvelous in the dual roles of the nefarious drug dealer Bakerman, and the smooth-talking, over-the-hill country star Stucky Stiles.

Also, in dual roles (Tammy and Leanne), Leenya Rideout, in her primary role of Leanne, effectively brings heartache and resolve to her character.

Music City, playing at St. Lukes Theater right in the middle of Restaurant Row on 46^th Street between 8^th and 9^th Avenues.  Click here for dates, times, and ticket information.

Masquerade - Off-Broadway

Masquerade is an entertaining and enjoyable rebirth of Andrew Lloyd Webber’s The Phantom of the Opera, which closed in 2023 as the longest-running musical in Broadway history.  This show is an immersive multi-floor version of the original, produced in a warehouse on West 57th Street just off Broadway.  This is a walk-through show – audiences are on their feet for most of the 2 ¼ hour run time, occasionally walking up and down flights of stairs – and is presented six times during the evening.  Theater-goers, in groups of 60, enter at 15-minute intervals to experience up close and personal the story of The Phantom.

Most of the story and songs are the same from the original musical, which racked up almost 14,000 performances on Broadway.  There are some differences, most notably a newly invented backstory for The Phantom as a young circus freak, but the overall production is very similar to the earlier version, which ran for almost 35 years.

A thumbnail recap of the story – The Paris Opera House has been besieged by a mysterious phantom, who falls in love with Christine Daaé, a chorus girl he secretly tutors to become a star.  Enter Raoul, a friend from the past who falls in love with her, which antagonizes The Phantom.  Undeterred, The Phantom, who hides behind a mask because of a facial deformity, writes an opera for his beloved.  Raoul and the Opera House management see this as an opportunity to catch the shadowy figure.  However, their plans go awry; chaos and mayhem follow as The Phantom seeks to secure his love and defeat his enemies.  Or does he? 

What makes Masquerade so much fun is the closeness to the action and performers.  Sometimes very close.  James Fuhr’s wide-ranging, eclectic production design, is both eerily and gaudily crafted.  Theater-goers proceed their way around the building’s dozens of rooms, which include a dressing room (with just a handful of audience members in attendance); a circus sideshow; The Phantom’s Subterranean lair, including his gondola eerily floating by; and, of course, the a room with the infamous chandelier.   

Director Diane Paulus has masterfully conceived the production, which employs six different actors and actresses portraying The Phantom and Christine.  The logistics alone, which has six simultaneous performances, are a marvel to behold.  In addition, Ms. Paulus is able to tease out heartfelt, passionate performances by the acting troupe.  Sometimes it can be silly, but for most of the evening, it is a grand time.  The Director has added little flourishes that bring the audience more into being part of the show.  When entering the first room, while being serenaded by a lone violinist - in my performance the virtuosity of Bryan Hernandez-Luch - the audience is taught a few basic dance moves by ballet mistress Madame Giry.  Through the night’s journey, we are treated to a glass of celebratory champagne and a candle (fake) to illuminate our way. 

On the night I attended, all the performers were superb. Ryan Vona was a strong-voiced Phantom, yearning for compassion, while also dispensing havoc on those who crossed him.  Addie Morale’s Christine was vulnerable, yet also strong, and showcased a magnificent voice.

Other members of the production team include Emilio Sosa, and his lavish costumes, and Ben Stanton’s shadowy lighting.  Brett Jarvis’s sound design of distant voices and effects radiates throughout the building, never letting up the aural sensation. 

While the grandeur of the original production is missing, there is enough stagecraft, charm, and mystery in Masquerade to make this reconceived, immersive show a wholly satisfying experience.  Note:  management encourages theater-goers to dress up in black and bring a mask.  Lacey, black masks are distributed free-of-charge upon entering for those audience members, like myself, that don't possess one.

Click here for dates, times, and dates of Masquerade.