Theater Review: Theatre Odyssey's Ten-Minute Play Festival

The short form is a tough form. Creators of short stories, short films and the author of the Gettysburg Address all agree on that. As a wise man once said, “Say what you have to say, then stop.” But it takes great wisdom to know when. Theatre Odyssey’s Ten-Minute Play Festival showcases the wise work of eight local playwrights (and a wise child for good measure).

Bernard Yanelli’s “Dream On, Merry Mae” is a wry comedy sketch involving a grandmother’s Broadway career and a grandfather’s skills with Photoshop. To say any more would spoil it. But it’s warm, funny, charming bit.

Robert Kinast’s “Nimby” pits a powerful woman in a power suit against a homeless musician down on his luck. The playwright puts strong words in the mouth of the homeless guy — along the lines of Shylock’s “If you prick us, do we not bleed?” speech. But the play seems like a delivery system for the speech — and hits the nail a little too squarely on the head.

Marvin Albert’s “Why?” shows an adopted daughter’s conversation with the mother who gave her away. It’s poignant and might bring a tear to your eye. But again, it’s a little too on-the-money. We’re painfully familiar with the characters, situation and motives. Their stories are the stories of countless others, not a story we don’t know that turns our head around. The playwright takes the direct approach — where subtext and implication would’ve worked better.

Ron Pantello’s “It’s Time to Move On” is a howling funny bit involving two twins considering the merits of leaving the womb. (The talking sperm of Woody Allen’s “Everything You Wanted to Know About Sex” come to mind — though that’s an entirely different phase of the gestational process.) Basically, Pantello sees the situation from a baby’s point of view and takes it seriously. The comedy flows naturally from there.

Mark Leib’s “The Locket” is a funny sketch with an irresistible premise. Ever since he was a kid, a man’s been wondering about the picture in his aunt’s locket. It’s somebody she loved and lost. He’s seen her crying over it, though she always snaps it shut before he can see who it is. After his aunt’s death, he leads his family on a treasure hunt to find the locket.

Dylan Jones’ “The Coward” puts a spin on the Gilgamesh legend. A curse condemns a Sumerian warrior who fled in battle to constant rebirths (and re-deaths) on somebody’s losing side. He wakes, weapon in hand, at The Alamo, The Battle of Little Big Horn, Dien Bien Phu, etc. His latest last ditch stand is a skirmish in Iraq. No facile antiwar statement. Jones takes the warrior’s code seriously, and credits the audience with knowing that war is bad.

Connie Schindewolf’s “Dancing Lessons” is an oblique little fable. A daughter caring for her cognitively impaired mother goes through a box of souvenirs. Mom can’t speak or react. Her consciousness is locked inside. But other actors reveal the memories the mementos spark to life.

Arthur Keyser’s “High School Reunion” is a hilarious meditation on the rituals and rigmarole Kurt Vonnegut calls “granfalloons.” Here, a 101-year-old curmudgeon has been attending a high school reunion of one for a decade or so. When a notice gets printed, the guest list doubles. Once the new guy establishes his bona fides, they follow parliamentary procedure, get old business out of the way, and plan for next year.

These eight offerings will be judged — as of this writing, the decision isn’t in. As a bonus, the festival includes the winner of Theatre Odyssey’s Student Ten-Minute Playwriting Festival. Julien Freij’s “As Long as the Moon Shines” isn’t part of the competition, but it’s a winner indeed — a simple tale of brother and sister in need of a home. Judging by this, Freij (a sophomore at Saint Stephen’s Episcopal School) has a future as a writer.