Just a couple of days ago, the Milwaukee Rep announced that it would be opening-up for indoor performances starting April 27th with its production of Ella Fitzgerald: First Lady of Song. Smaller stages still wait for the COVID to clear enough to allow live audiences back in. There are quite a few shows popping-up online this coming month as COVID continues to run its course. Here’s a look at some of them:
Cosmic Fairy Tales
Theatre Gigante’s next big project turns out to be 31 Cosmic Fairy Tales written by Slovene writer Rok Vilčnik. The 31 stories are available in video format for 31 days...each one told by a different storyteller. There’s quite a range of impressive talent involved including Megan Kaminsky, Nathan Danzer, Mohammad ElBsat, Posy Knight, Evan Koepnick, Jason Powell, Nate Press and more. Gigante’s own Mark Anderson and Isabelle Kralj are also featured. Gigante refers to the project as “Thirty-one winking, blinking, curious Fairy Tales in the cosmos, offering uniquely bizarre adventures in search of the earthling heart in all of us.”
All videos are available beginning March 1st. For more information, visit Gigante online.
Milwaukee Chamber Theatre presents a free show online this month which also becomes available March 1st: Athol Fugard, John Kani and Winston Ntshona’s The Island. DiMonte Henning and Sherrick Robinson play a couple of cellmates in a maximum security prison. By day the two inmates work back-breaking manual labor. By night they rehearse for a prison production of Sophocles’ Antigone. The Apartheid-era drama continues to hold the kind of resonance one would expect from one of the most resepcted playwrights of the late 20th century.
The show is available for viewing with Milwaukee Chamber Theatre online starting March 1st.
Cooperative Performance returns to the web this month with a new show. The group’s recent Embodied Truth was a compelling fusion of small-stage aesthetics that were firmly-rooted in Milwaukee. The group’s latest explores the nature of human connection in a world of digital connections made through the forced isolation that continues to impose itself on contemporary society. Andrew Coopman devised the piece. There’s a really interesting mix of talent involved in the show including Ashley Retzlaff-Rogaczewski, Allison Chicorel and a whole lot of people I don’t recall ever seeing before. If the last Cooperative Performance show was any indicator, this should be a really, really good show.
RE: Social/Divide streams on-demand March 12th-April 11th for more information, visit Cooperative Performance online.
BTC Spotlight Artist Virtual Cabaret
Brand-new local performance group Bombshell Theatre Company introduces itself with a one-night-only Virtual Cabaret featuring Broadway showtunes from Les Miserables, My Fair Lady, Chicago, Guys and Dolls and more. Eric Welch and Tim Albrechtson are joined by local talent including Eric Begendahl, Morgan Clarey, Laura Monagle and more.
Virtual Artist Cabaret hits the internet March 19th at 7pm. For more information, visit Bombshell Theatre online.
It was a little over ten years ago when Marti Gobel starred in playwight Charlayne Woodard’s one-woman show Neat with Renaissance Theaterworks. This March, Gobel reprises her role as Aunt Beneatha “Neat” Harris, who teaches black pride and a love of live through the ’60s and ’70s. Gobel is a great talent. The intimacy of a one-woman show online should be a great deal of fun with Gobel’s charm.
Neat runs March 19 - April 11 for more information, Visit Renaissance online.
Milwaukee Opera Theatre hosts another fun, informal distance performance event late this winter as it welcomes the work of two-piece string/vocal group SistaStrings. Monique and Chauntee Ross’ distinctive violin/cello sound is presented in a fully-produced music video developed by Traveling Lemur Productions. Once again, MOT fosters a fun evening of conversation and performance for a limited audience in the latest of its Zoom-based soiree “zoirees.” There’s a vibrantly playful mood about the program as artists of various types discuss their craft in an open online setting.
Milwaukee Opera Theatre Artistic Director Jill Anna Ponasik hosts a three-part evening. After introductions, the small Zoom audience is introduced to the artists by way of pre-recorded interview that precedes the performance. This is an interesting choice. It allows the audience and opportunity to get to know the artist a little bit before seeing their art. It really brings across the feel of casually meeting a couple of people at a party, finding out they are musicians and then seeing them perform. Then after the performance, there is an opportunity for an audience back which was followed by a live performance this past Saturday night.
A pre-recorded performance plays like a music video. The video was put together by Traveling Lemur productions added features reef and soul for appearances by a couple of cute, fuzzy puppets courtesy of designer Bill Olsen and Angry Young Men, ltd. SistaStrings’ unique blend of wistfully impassioned vocals and classical sounding strings is at the forefront of a video package which combines their performance with footage of demonstration and puppets playing along in a dreamy superimposed shadow on violin and cello. Deeper statements that might have been made in combining street protest footage with violin, cello and puppets seem to be a bit lost in the dream he miasma of the video presentation. It’s a remarkably pleasant experience, but it is difficult to draw the deeper meaning which is clearly there in the substance of the work devised by SistaStrings. A truly unique pair of performers are given a truly unique platform in which to present their material.
Video conferencing still feels a bit stiff as a vehicle for performance. As pleasantly informal as it is, it’s still very much like a work meeting over Zoom. And though it is kind of cool to see the artists in their natural environment accompanied by appearances of accompanying vocalists and Angry Young Men puppeteers, the overall experience isn’t quite as relaxing as it could be in a format that is so often used for more formal meetings. SistaStrings manage to soften the experience. They are a great deal of fun to hang out with before and after a performance. (And Ponasik is always fun.) Saturday night, Monique and Chauntee played together on zoom in a live performance of “Amazing Grace that round it out the evening quite nicely.
Milwaukee Opera Theatre’s The Sound with SistaStrings continues through Feb. 28. For ticket reservations and more, visit Milwaukee Opera Theatre online.
COVID has continued to have its impact on local theatre. There have been quite a few different responses to the unique challenges posed by online video presentation. Video can be like any other factor in performance. It can add, detract, enhance or distract from any given production. It’s interesting to see what video does to Oscar Wilde’s Salomé in the new production being streamed by The Village Playhouse this month. The fully-produced studio theatre staging of Wilde’s one-act is presented in a full-color, low-res Zoom format that does interesting things to the themes being presented in Wilde’s take on the biblical tale.
It’s a very comfy staging. The set is small and humble. The lighting has a cool, relaxing blue about it in the foreground and a brightly overpowering red about it in the background. Hannah Kubiak is enjoyably haughty in the title role. She feels an aloof fascination with John the Baptist and demands things of him that he’s not willing to give. Later-on Eric and Stacy Madson appear onstage as Salomé’s parents Herod and Herodias. They’re just as arrogant and entitled as she is. He wants his daughter to dance for him. His wife doesn’t want her to dance. Things get weird and ugly.
Wilde’s unique talent for showing the overwhelming pettiness of the ruling class is put to good work here. These are epic characters from one of the most widely-read books in human history, but they might as well be the people living next door. There isn’t anything larger-than-life abotu them in the way they are presented onstage for screen. Kubiak could have played the haughtiness of Salomé in full-blown knock-down drag-out Kardashain-esque exaggeration, but she plays it casual. Similarly the dialogue between her parents could have been blown-up to heroically arrogant proportions, but the Madsons play it casual. This is a kind and a queen in a throne room, but it could really be any married couple anywhere at almost any point in history.
With very little glamor and very little editing, there’s something vaguely hypnotic about bringing this story into one’s living room. The low-res video isn’t so faded as to be a distraction from the comedy and drama of Wilde’s script, but it. In its own way it’s quite beautiful. It casts everyone in the same sort of pleasantly lurid blurriness. This could be surveillance camera footage of a particularly ugly night between a mother, a father, a daughter and a dismembered human head. There’s no sense of elevation here. The viewer is bearing witness to the ugliness of human desire without limitations on human power. Hubris. Anger. Frustration. Decapitation. It’s all there. And it’s all so very, very cheap. No need to exaggerate it. No need to blow it out of proportion to make it look epic. Humanity can be very, very ugly.
The Village Playhouse’s production of Salomé runs through Feb. 21st via Zoom. For more information, visit The Village Playhouse online.
Milwaukee stages remain kind of quiet. The Milwaukee Rep may have recently announced cancellation of all of its live performances through April, but there’s still quite a lot going on in and around the edges of everything. Theatre finds itself slowly making intermittent appearances live onstage outside of the city as online theatre maintains its presence. Here’s a look at some of what’s coming up:
Local playwright Matthew Konkel’s hardboiled radio detective spoof Jake Revolver: Freelance Secret Agent makes its way to a live performance this month as Waukesha Civic Theatre stages a production of the comedy that runs Feb. 5 - 21. “Some say he’s not human. Others say he’s only just a man. Only a small percentage say he’s a woman.” In addition to the live performances throughout the month, Konkel’s play will have livestream performances Feb. 13 and 19, which is particularly cool for an old time radio noir format. For more information, visit Waukesha Civic Theatre online.
The Last Five Years
Years ago I’d had the opportunity to see a Skylight production of Jason Robert Brown’s The Last Five Years. (I believe that it was directed by Norman Moses if I’m not mistaken.) It’s a remarkably intimate, little two-person romantic musical with a non-linear narrative structure that’s absolutely gorgeous. Deep romantic love doesn’t obey standard linearity...and TLFY does a good job of representing that. This month, Ghostlight Theatre is presenting a live, socially-distanced production of the musical at Kewaskum High School Theater in Kewaskum, WI. Kathryn Flynn and Joseph Gallo play the romantic couple in a staging directed by David Pecsi. The Ghostlight Theatre Co.’s staging of Feb. 18, 19 and 20. For more information, visit the show’s page on Showtix4U.
Next Act Theatre continues its season with a the Wisconsin Premiere of Principal Principle. The charmingly dynamic April Paul plays a woman who quits her corporate job to get into teaching on Chicago’s South Side. Marti Gobel directs a talented cast that includes Milwaukee theatre veteran Flora Coker, the vibrant energy of Ericka Wade and more. I’ll be watching this downstairs in the living room at night. My kids’ classroom? Upstairs in the office during the day. A celebration of teaching that should play well in the age of COVID when so many students are taking classes from the same homes this show will be streamed into.
Next Act’s Principal Principle runs Feb 15 - March 7 online. For more information, visit Next Act online.
Cosmic Fairy Tale a Day Keeps the Doctor Away
The work of Slovene writer Rok Vilčnik serves as the basis for a show that’s being brought to life by Theatre Gigante on March 1. Gigante’s ability to distill a tremendous amount of material into single, isolated moments of intensity should get a workout in a program that promises to bring no less than 31 of of Vilčnik’s stories into a single performance. For more information, visit Theatre Gigante online.
All this AND Tim Albrechtson and Eric Welch recently announced the establishment of a new local theatre company. Bombshell Theatre has a number of really cool people involved with it already. They’ve already announced their first show: a Spotlight Artist Virtual Cabaret. Local musical theatre types perform selections from Les Miserables, My Fair Lady, Chicago, Guys and Dolls and more. It’s a one-performance-only virtual show on March 19th. For more information, visit Bombshell online.
According to Wikipedia, William Shakespeare is likely to have written 827 lines of Pericles, Prince of Tyre. The Jacobean play which debuted in 1619 makes its way to the internet this year courtesy of a fully-produced multi-episode serial courtesy of Optimist Theatre’s No Hold Bard project. Each episode will be roughly ten-minutes long. The first two episodes became available just last week. Shot in and around Milwaukee in warmer months, the first couple of episodes of the serial are a refreshing echo of political drama from antiquity that recall vivid memories of Optimist Theatre’s Shakespeare in the Park programs from the pre-COVID era.
Each episode is accompanied by a recipe foran accompanying cocktail on the No Holds Bard website. It’s a nice, little interactive interaction with the show. And as one cocktail every ten minutes might sound like a lot of homework for anyone’s liver, No Holds Bard suggests both an alcoholic and a non-alcoholic cocktail for each episode.
The series opens with a suggested Amaretto Sweet and Sour as Lauryl Sulfate sings an opening pop tune in the role of Gower: the poet who wrote the poem that appears at the top of each act. She’s singing the first song at the Washington Park Bandshell in a catchy casual rock moment. The song is captured to video in a simple presentation that (intended or not) captures the feel of a modest video from the dawn of MTV: no special effects. No clever editing. It’s just a catchy tune with lyrics drawn from the poet John Gower. It’s a fun lead-in.
The Washington Park Bandshell also serves as the site of the first scene: the court of Antiochus: the ruler of Antioch who has offered his daughter’s hand in marriage to anyone who can answer his riddle. Anyone hearing the riddle who can’t answer it is put to death. So y’know: no pressure. Andrew Varela makes a suitably regal appearance as the Sphynx-like monarch. Ethan Miles Perry wields formidable charisma as Pericles: Prince of Tyre, who wishes to challenge Antiochus. He knows the answer to the riddle, but asks for more time to think. Antiochus grants him 40 days.
The second episode sees Pericles retuning to Tyre. Standing-in for Tyre is Lake Park. It’s instantly recognizable by the placidly heroic lion statues which can be seen in the background. Caught in a lush, green mood, Lake Park feels like a calm, inviting contrast to the harsh intensity of the bandshell that is Antioch. Pericles has unwittingly brought a souvenir back from Antioch: the assassin Thalliard, played with a subtly stylish sense of menace by Tom Reed, who closes-out the second episode with a few thoughts spoken in front of the lions. Reed also hosts the opening couple of episodes from a basement bar with ML Cogar, who wrote the adaptation. Reed and Cogar are gracious hosts introducing each episode and closing out the initial two episode by answering questions from viewers online. It’s a very smooth bit of video that mixes formal drama with a cozy, casual atmosphere before and after each episode.
Optimist Theatre’s No Holds Bard production of Pericles will continue in the months to come with two episodes every two weeks. There will be a total of 16 episodes in the completed project. The initial webcast will be a YouTube live showing. The video will then be available on Optimist Theatre’s YouTube channel.
Here’s the entirety of the first video. There’s a long countdown lead-in to the actual content. Cogar and Reed pop-into the video after a brief intro at 14:20.
January continues unabated. Distance theater continues to be presented online from locally-sourced talent. There are a few really promising shows coming-up in the weeks to come:
In only a couple of days, The Constructivists will stage the next in their Under Construction play development series. They're presenting a reading of a completely new show live on their YouTube channel.
From the website: "Eliza on the Ice is a psychological thriller set in Slinger, Wisconsin. It's been forty days since Eliza went under. Forty nights since she's seen family, freedom, the light of day. Now today, with a storm on the horizon and time running out, Eliza is determined to make her escape."
Eliza on the Ice takes the screen January 14th at 7:30 pm. For more information, visit The Constructivists online.
Optimist Theatre has been busy bringing Shakespeare to the small screen in an upcoming free video serial on YouTube. Starting on Jan. 13, OT will be presenting a No Holds Bard adaptation of the lesser-known Shakespearian drama Pericles, Prince of Tyre. It’s an ambitious 16-episode serial with new chapters going live every Wednesday. The cast includes Andrew Varela, John Kishline, Deborah Clifton, Libby Amato, David Flores, Kelly Doherty, Rebekah Farr and more. For more information, visit No Holds Bard online.
Voices Found Repertory is going to be staging a Sunday afternoon “theatre and chill” reading of Reginald Rose’s 12 Angry Jurors. Better known as 12 Angry Men, the title of this reading leaves the company open to have a jury of men AND women, which should be really, really cool considering how very, very good the talent pool is with VFR. The staged reading takes place Sunday, January 17th at 2pm. For more information, visit the show’s Facebook events page.
The interesting thing here is that Reginald Rose originally wrote the play for TV on CBS’ Studio One back in 1964. Over half a century later, VFR brings the show to the streaming service Twitch for a staged reading that could be viewed...on TV. (I watch their shows on the Twitch Apple TV app when I have the chance to do so.)
Milwaukee Opera Theatre’s first Distance Commission arrives on the 22nd. With music, book and lyrics by Matt Zembrowski (who is also the mind behind the popular Wisconsin musical Dad’s Season Tickets,) In The Cloud is billed as “a story in three songs.” Catie O’Donnell directs a three-person cast including Milwaukee theatre veterans Norman Moses and Marilyn White. They’re playing the mother and father of a daughter played by the magnetically appealing Rae Pare. The performance is the first in the company’s “Zoirèes.” It’s an intimate Zoom-based experience limited to no more than 18 devices per performance. It’s online. It’s intimate. It’s MOT. It’s going to be fun. In The Cloud runs Jan. 22 - 31. For more information, visit the show’s Eventrbrite page.
2021 moves into existence this week. Though COVID still has its grip on local stages, a few shows for the new year have already been announced. Here’s a look at a couple of shows coming in the coming month.
Kettle Morraine Playhouse will be staging a one-night-only virtual puppet theatre show. The Ruby is retelling of an ancient fable. Performed by Kristin Bayer, Deanna Gibeau, Bill Gibeau & Peter Gibeau, the strange, little experimental show looks promising. The performance will be presented for free. For more information, visit KMP online. Here’s a look at the promo video:
Water Street Dance has been conscientiously embracing the idea of live theatre. This month, they present a series of performances in Cedarburg that are already selling-out. Each socially-distanced performance is limited to 14 audience members. The performance space on a big 6,000 sq. foot facility on W62 N226 Washington Ave. in Cedarburg. For more information, visit Water Street Dance online. Water Street Dance has put together a promo video. The show is called Reveal. Here’s a look:
First Stage is bringing a new show to the stage at month’s end. Written by Finegan Kruckemeyer, the online virtual playhouse show Escape From Peligro Island is billed as a “createe your own adventure” play in which audience votes on the hero’s path. Callaway Brown is stranded on a desert island and it’s up to the viewers to help him out.
From the promo: “Will Callaway time travel to the Wild West and meet a talking horse? Develop superpowers and fight crime in the future? Or have a crush on a vampire? The choice is yours!”
The show runs Jan. 29 - Feb. 6. For more information, visit First Stage online.
UWM Theatre alum Michael Cotey has created a nationwide program to tap into the voices of high school students from all over the country. #ENOUGH is a program of shorts written by those growing-up in an increasingly dangerous world of mass shootings and increased awareness of police-related assault and homicide. Many scripts were submitted. A few chosen scripts are being performed by theatre groups all over the country. Last night Sturgeon Bay’s Third Avenue Playhouse presented a live reading of the shorts on YouTube.
The opening short Loaded Language started with a group of students talking about plans and strategies on how best to survive a shooting at their school. The dialogue is written by high school senior Elizabeth Shannon. In an earlier era this would have been morbid idle thought in a study hall, but in the modern world this is practical planning for a potential tragedy. It’s a stark introduction to the program. In the second scene an offhand remark about a troubled classmate bends the talk of potential tragedy into active drama.
Former Milwaukee Chamber Theatre Producing Artistic Director C. Michael Wright directed the second short on the program: Debkanya Mitra’s Malcom. A quartet of voices remember one person...a victim of a police shooting. There’s real anger and frustration fused into the story of one life lost in police/civilian altercation that has become all too tragically common. It’s a very vivid character sketch that is delivered before the account of his death. It’s a very powerful moment.
Ms. Martin’s Malaise follows the story of Malcolm. A teacher is juxtaposed against students, reports of a firearm and the fates themselves. Written by Adelaide Fisher, it’s a drama with intensity that is amplified by the videoconference format of the show. It’s just people. With no other distractions, the complexity of issues surrounding firearms in the US get a striking close-up in a provocative, little drama.
Probably the most memorable short on the program was California Sophomore Sarah Schecter’s Hullabaloo. Milwaukee’s Ryan Schabach playing a showman named Hunter in a Wild Bill-style political satire on the bloody history of the United States’ relationship with firearms. There’s a charismatic poetry about it that engages the slicing satire that feels bombastically oversimplified in places, but Schecter casts quite a bit of light on aspects of the past that aren’t often explored in pop entertainment formats. Schecter levels a suitably potent photonic cannon at the history of guns in America. It’s a clever contrast to the heaviness of much of the rest of the program. Of all the shorts on the program, this one feels like it might be the one that would feel most dynamic expanded into a feature-length show. The history of this country’s relationship with guns is a long and sordid one. It’s a history that needs to be seen in all its vicious ugliness.
#ENOUGH will be presented in a hybrid production online from a few different theatre groups from all over the country will be presented on Broadway on Demand. For more information on that and the ambitious program, visit #ENOUGH online.
It’s December 24, 1615. Shakespeare is hanging out at the Windmill Inn in Stratford upon Avon. Naturally a modern actor would find himself walking into the place. He had just been at a post-show talkback in Illinois. Playwright/actor/Milwaukee theatre veteran John Kishline plays Shakespeare himself in a staging of the play that’s being presented by Door Shakespeare. Kishline is joined by a talented cast of actors in a drama that’s presented videoconference-style with each actor appearing in front of the same backdrop suggesting a 17th century tavern.
In the course of the play’s sole hour onscreen, the staged reading format of the show gradually melt into the background. The first actor making unexpected meeting with Shakespeare is played by Neil Brookshire. He’s charismatic as an actor suddenly found himself in the presence of one of the most legendary writers in history. He performs a bit as Friar Lawrence with Shakespeare before a couple of fellow actors enter. Cassandra Bissel and Deborah Clifton play the other two contemporary actors entering the tavern to inadvertently stumble into the legend. Bissel is particularly warm as an actor suddenly in awe at Shakespeare’s presence. Before long, the others perform a little bit of Shakespeare’s work with him.
Director Michael Stebbins has done a good job of finding the perfect minimalist framing for the drama. The simple backdrop works well enough. Stebbins himself reads the stage directions. Not much longer later, Duane Boutté appears as the final member of the modern cast to run into Shakespeare. Kishline’s script serves as a fun backdrop for a simple reading of excerpts from Shakespeare. Bissel, Boutté, Clifton and Brookshire carry the Shakespeare.
Delivering Shakespeare in videoconference is always difficult, but Door Shakespeare makes it work. The ensemble’s greatest victory, though, lies in bringing the distinct social atmosphere of a group of actors to the screen. It’s a scripted dialogue over videoconference, but the ensemble brings it all together like it’s a casual soiree between actors after a talkback. Kishline’s dialogue is stiff in places as he dives into history with Shakespeare. The ensemble does a brilliant job of keeping it all very light and social even on those few occasions when Kishline’s script feels awkwardly historical.
An ancient playwright and a group of actors spend some time together on a video screen. It’s a fun bit of light and classy entertainment that might inhabit a cozy corner of any holiday get-together on the journey out to the middle of the month. Outside of COVID, Kishline’s script has great potential to be a holiday standard. Classy snippets of Shakespeare would be a welcome alternative to traditional holiday fare in almost any theatre market. Casts of contemporary actors meeting Shakespeare could be adapted to fit the market. Here it’s Neil and Cassie and Deborah and Duane, but it could just as easily be any othe quartet in any other region interacting with Shakespeare for a holiday show set on Christmas Eve in 1615. Kishline’s script is a fun diversion from the usual type of thing that makes it to stages for the holidays.
Dream Upon Avon is available for free online through December 13. For more information, visit Door Shakespeare online.
The coronavirus continues unabated. A lot of local theatre talent has been sitting around waiting as patiently as possible for an opportunity to perform. Theatre has been extremely difficult to transfer to the internet in the age of COVID. There have been numerous attempts to bring the feel of theatre to the screen. Some attempts have proven to be better than others. The Masked Collective did a truly admirable job of delivering a completely new, locally-written drama to the screen in the premiere of No “Serious Stuff.” The two-person drama written by local playwright Emily Elliott is endearingly captivating. It’s a one-hour conversation between two friends over Zoom.
Sarah Zapiain and Deena Turkomani play a couple of friends who haven’t talked in a long time. Zapiain cleverly treads the dichotomy of a self-confident vulnerability as Billie. It was Billie’s idea for the two to get together for a video chat. She has a list of possible topics that both could discuss if anything becomes too awkward. Turkomani is charmingly scattered as her friend Parker, who has a very rough series of months behind her. Things start-off warm and pleasantly social, but they gradually descend in to emotional territory far too murky for any list of topics to adequately defend against.
Director Emmie D’Amico has done a hell of a job pulling together a very organic feel between two actors who are never allowed to be seen together directly. It’s all one scene. It’s a one-hour video chat that plays out in realtime. All that’s ever revealed about the two is revealed directly in the course of their conversation. It’s simple and refreshing. Zapiain and Turkomani have developed a very organic emotional dynamic. Elliott has crafted dialogue that feels very real. There are very few moments in the course of the drama that feel like they’re scripted. D’Amico has allowed for poignant silences to occasionally punctuate something that has a great sense of depth and vitality about it.
There’s a kind of a murky emotional power in a conversation that’s written entirely to be performed in video chat. Serious two-person dramas onstage have so many distractions. No “Serious Stuff” is a crushingly intimate portrait of two people. It’s rare that two actors are looking directly at the audience in a talking-heads format for an entire hour in an earthbound emotional drama. It’s been so very, very difficult for theatre to deal with the challenges of internet drama. Emily Elliott’s No “Serious Stuff” fully embraces the opportunities presented by live online drama.
The recorded video of The Masked Collective’s No “Serious Stuff” is now available on YouTube. The video can't be embedded in this page, but it CAN be viewed here. (The show is under an hour. It’s a two-hour video with a long title card. The actual show starts at the 01:05:36 mark.)
For more information about this and more, visit the Masked Collective online.