April 25^th, 2018 – The Marist College Club of Theatre Arts proudly presents “Festival 2018,” the culmination of a year-long playwriting competition whereby students submit short plays within constraints including up to five characters, set pieces, props and tech cues, and within fifteen minutes. Each short scene or play is not only written but directed and performed by fellow Marist students from the transformative and tight-knit space of the Black Box. The cast plays in tragedy, comedy, and in their combination, bringing range to the performance set and holding the audience in emotional limbo as it awaits the next performance.

In “The Many Adventures of Carole and Maude” written by Krista Piccotti, directed by Jill Craig, and starring Gabby Pryor and Caitlyn DeCaprio, Carole (Pryor) and Maude (DeCaprio) are two old and elderly friends passing time in a nursing home. In an "Odd Couple"-esque tone, the pair plays in polar opposites. While Carole sits straightly and neatly with ankles crossed and fingers daintily crocheting, Maude protrudes loudly in physicality, voice, and cutting curses. While Maude complains about the confinement of the nursing home and threatens to bust out, Carole calmly explains the comfort of the nursing home and her intention to stay. While the two argue throughout the scene, their rapport and care for one another is undeniable. In a sweet final gesture, Maude intently watches Carole’s fingers move between the thread as Maude teaches her friend her craft. It is funny and witty and altogether heartwarming.

In “Crazy,” written by Tenley Feinberg, directed by Maritza Puzino, and starring Alex Philbin, Anna McClear, and Ashana Neale, Adam (Philbin) and Elizabeth (McClear) set the scene as a happy couple ready to cook dinner, giddy about the prospect of a night alone together. Things quickly take a dark turn as Philbin and McClear’s relationship escalates to that of threatening fear. An ominous figure named “The Lady” (Neale) enters, a representation of the demons that haunt Elizabeth’s mind and transfix her husband. The relationship crumbles before our eyes, exploding in rage and debilitating emotional trauma. In a stunning performance, the audience finally learns the source of the destruction. Hearts break one by one. This is the acceptance of that which is out of our control.

In “And a Bottle of Wine” written by Isabella D’Addario, directed by Kelsey Beresheim, and starring Brielle Wheeler and Amanda Dettman, two friends reluctantly sit down at the table together and share a bottle of red. We can tell it’s been a long time since they’ve been this close. The tension is palpable. Fire burns beneath the surface of the skin, dying to break free from the wonder and the pain. It’s as if the memories are jolting between their heads although they gaze at one another in awkward silence. It’s that sinking feeling in your stomach. The absolute longing for another that one knows will never be fulfilled. It resonates deeply through impeccable writing and an enthralling delivery. The true meaning lies in what is left unsaid and what has gone unheard.

In “11:60 PM” written by Faith Mazzone, directed by Iglika Hadjlyska, and starring Erin McCurley and Danny Chon, the scene begins in the dark, the light set only on Nicole’s (McCurley) stern and blank stare as she sits at a long dining room table. The entrance of her husband, David (Chon), is a jolting contrast, eerily flippant in light of the undeniable darkness that lies before us. The course of the scene is prodding and probing proclamations of guilt and anguish over an object that is not revealed until halfway through our players’ dialogue. We are begged to understand amidst the trial of grief.

In “How to Say Goodbye” written by Laura Cantu, directed by Julia Franco, and starring Johncarlo Zani, Josh Socher, Vanessa Shepherd, Mike Pepsin, and Hayley Critchfield, a circle of siblings patiently sits outside a hospital waiting room. Toby (Zani) and Joey (Socher) lightly quip at each other while Tommy (Pepsin) interjects with quirky remarks. He is the little brother who longs to be included. The scene progresses and the banter runs heavier, adding insult to injury as years of disappointment are finally revealed. Andy (Shepherd) steps in as the level-minded sister, yearning to bring peace to her strained and hurting brothers. Yet upon the entrance of Aunt Marie (Critchfield), the siblings stand united in their love for their grandfather, sharing memories and an unbreakable bond. This is family.

“How to Say Goodbye” writer, Laura Cantu, shares her thoughts on her creative process:

“The biggest challenge was casting. The ages of each character are crucial for the context of the play, so finding actors that could pass for each specific character’s age was challenging. Yet, at the end, we were able to cast the show and it couldn’t have been better. Hearing my words out loud for the first time ever was the most rewarding feeling of this incredible experience.” - Laura Cantu