Mr Burns, a post-electric play
at Somerset Academy Arts Conservatory

Reviewed on February 19, 2016

Caden McGhie
North Broward Preparatory School
Submitted for publication to Floridatheateronstage.com

In a post apocalyptic world where all seems lost, one thing remains to unite the survivors... The Simpsons! In Somerset Academy's production of "Mr. Burns, a Post Electric Play" we see just how funny and unifying an imaginary cartoon world can be.

Written by Anne Washburn, "Mr. Burns, a Post Electric Play" takes place shortly after an apocalyptic event. The audience follows a group of survivors as they recount an episode of The Simpsons entitled "Cape Feare." The same story, characters, and morals from the episode are repurposed to fit the artistic and dramatic cultures decades after the destruction of civilization and reworked into… a musical. The Somerset cast also put on a hilarious dumb show, featuring the classic Simpsons characters "Itchy and Scratchy." The scenes of their dumb show kept the audience laughing every moment.

As the survivors share stories around a fire, we are introduced to Lamont Brantley's character, Gibson, who completely captivated the audience's attention with his enthralling personality and his animated physicality. From Brantley's first entrance, to his comedic ending of the Act One, to his build up and breakdown in Act Two, it's easy to say he had the entire audience entranced with his emotional investment and grandeur. Although the leads in this cast showed emotional investment and incredible relationships, they were not without error. Diction and projection were an issue that covered up key aspects of the performance.

Jessica Gomez as Quincy brought her sassy and controlling character to the audience's attention from the time she spoke her first line. Quincy was played powerfully, but Burns in Act Three, played by Gianna Milici, caught the entire audience off guard. Her shocking and malevolent disposition sent shivers down the audiences' spine with the gripping darkness she sent into the audience. The most honest way to describe Gianna Milici's role of Burns is Heath Ledger's Joker reincarnated.

The amazing a cappella harmonies of the ensemble's spot on vocals made jaws drop to the floor as soon as they walked on stage for the first commercial. The ensemble was completely engaged in every moment. They made us feel hopeful and empowered with their moving melodies in Act Two, and fearful in Act Three with their creepy physique. This remarkable ensemble made the entire ambiance of the show possible.

The technical aspects of this show helped leave a lasting impression. The set accommodated the variety of three different settings and times incredibly for a black box theater. The makeup and costumes captured the emotion of the whole show, but did a remarkable job in Act Three. Three fingered handprints, the faded resemblance of Simpson characteristics in the costumes, and all the other details exemplify the true devotion the crew had to excellence. The glow in the dark paint and makeup lit up the stage and gave a unique 4th dimension to the show.

This show as a whole had ominous energy and great delivery on the darker comedy. Although there were moments of honest intensity, there were moments where a lack of attentiveness from supporting characters took away from the atmosphere. Unfortunately, a recurring lack of diction and projection made key plot points difficult to understand. Luckily, strong cast members with lasting impressions made up for these issues.

The students of Somerset Academy succeeded in leaving a haunting and memorable performance of Mr Burns, a Post Electric Play.

Brooke Whitaker
Archbishop McCarthy High School
Submitted for publication to Floridatheateronstage.com

In a future decimated by nuclear explosions, how can people find comfort in surviving another day? In Somerset Academy's excellent rendition of Mr. Burns, a post-electric play, a simple cartoon episode becomes a moving testament to the power of art in rebuilding society.

Anne Washburn's dark comedy centers on a group of survivors retelling a Simpsons episode after a global catastrophe and explores how that recollection becomes a developing theater show seven years into the future and a full-length musical in seventy-five. Equal parts humorous and unnerving, the play embraces the nature of story-telling as a way for people to come to terms with their circumstances and their future however grim and hopeless both might seem.

The highlight of Somerset's production was the believability exuded by each of the actors. Both the initial survivors and the later Simpson family had a very natural chemistry that helped drive home the deeper emotional points the show was trying to convey.

Lamont Brantley (Gibson), a wanderer who stumbles upon the survivors camp, flowed very well from dramatic moments to more comedic ones, such as when he puts on a hilarious performance of "Three Little Maids From School Are We" for the rest of the group. Alexis Gowans (Maria), another survivor, exhibited great physicality and facials, always remaining completely engaged, especially during her emotional monologue describing her meeting with a man at Walmart. Other characters, such as Gabe Celik's Matt and Marlo Rodriquez's Colleen were well-defined and engrossing, exhibiting unique traits and perks that truly made them come alive on stage.

The third act musical was as vocally powerful as it was visually, partially due to the mutated and glowing Residents of Springfield. Their voices blended beautifully, especially considering most of the songs were sung a cappella. Bobby Morales (Homer) and Mandy Nikole Figueroa (Bart) also had crisp, clear voices that elevated the numerous musical numbers. Gianna Milici was fantastic as the delightfully twisted Mr. Burns, who cackled with murderous glee as she toyed with the Simpsons family in the final act. While overall projection and diction could have been improved, the actors' animated facials helped make up for the loss of words.

Makeup and costumes were very effective, contributing to the overall ominous mood. The neon hand-prints which adorned the Simpsons during the final act were reminiscent of radioactive material and the iconic outfits were a bit toned down to match the apocalyptic tone.

Somerset Academy's Mr. Burns is a complex, dark and humorous look at how stories give humanity meaning through troubled times, reminding them that beyond the darkness there is always light.

Kayla Goldfarb
Marjory Stoneman Douglas High School
Submitted for publication to Floridatheateronstage.com

In a post apocalyptic world, all hope for humanity is lost. Food is scarce, there is no power, and trust is nearly nonexistent. However, at Somerset Academy's "Mr. Burns: a -post electric play", there is one thing civilization can cling to - faint memories of the dearly beloved show, The Simpsons.

Written by Anne Washburn, Mr. Burns is a dark comedy of what would happen to pop culture in a shattered future. The story begins with a group of survivors trying to recount the popular episode of the Simpsons "Cape Feare" and progresses to the future of 7 and 75 years after trying to keep the story and entertainment alive. The play also interweaves modern day music, done by Michael Friedman, throughout the second and third acts to further elucidate the decline from today's world.

Lamont Brantley (Gibson) proved to be a dynamic actor throughout his time on stage. Whether he was impersonating the Simpsons, singing "Three Little Maids from School", or appearing in the show's featured commercials, Brantley managed to consistently bring light to this dark story. Yet his versatility was enforced when he shifted between comedic and tragic, especially during his character's breakdown. Alexis Gowans (Maria) and Gianina Mugavero (Jenny) also stood out in their performances. They appeared to be constantly engaged both with their characters and the setting throughout the show, even if other performers didn't. Their high attention to detail and particular mannerisms they developed made their performance appear authentic and realistic.

Portraying the titular character was Gianna Milici (Mr. Burns), who didn't come in until the third act. The wait, however, was well worth it. Milici gave a performance reminiscent of the familiar DC Comics villain, The Joker, yet still captured the essence of Mr. Burns himself. While some portrayals in the show felt too dramatic, her over the top delivery of this ominous character was spot on. Another memorable supporting performance came from Gabe Celik (Matt). Celik had fantastic comedic timing that was especially prominent in the second act.

As an ensemble, the cast worked together spectacularly. The chemistry between one another was organic and aided in creating seemingly effortless relationships. The artistic choices of the technical team collaborated with the actors nicely to provide such an intimate atmosphere. The musical aspects of the show were beautiful. The whole ensemble sounded exceptionally pleasing, especially powerhouse vocalist Mandy Nikole Figueroa (Bart). Despite some awkward moments, the play relatively captured the mood no matter if it was comedic, dramatic, or down right sinister.

When all else fails with our world, "Mr. Burns: a post electric play" proved that no matter what happens, the show must go on.

Carlo Feliciani
NSU University School
Submitted for publication to Floridatheateronstage.com

Take your favorite story. Try to retell it with every detail. You will probably forget some parts and make up others. Now imagine retelling the story seven years later as theatre. And now try to envision it 75 years after that, where it morphs into an operatic myth. The Somerset Academy Theatre Factory tackled this task with The Simpsons in Anne Washburn's Mr. Burns, a post-electric play.

Mr. Burns premiered at the Wooly Mammoth Theatre in 2012 and then at the Playwrights Horizons in 2013. Washburn's concept developed from her thoughts about how pop culture would survive after a nuclear meltdown. Washburn worked with The Civilians theatre company to develop the story by having them try to recount an episode of the Simpsons from memory.

The retelling of the, "Cape Feare," episode, where Bart is being threatened to death by Sideshow Bob, developed into the dialogue of the first act; six survivors of the apocalypse try to remember the story. Illuminated by candlelight and a fire in a trash can, Gabe Celik, as Matt, Gianina Mugavero, as Jenny, Alexis Gowans, as Maria, and Ryan Fernandez, as Sam, created the atmosphere of this retelling in a broken world. All of the actors worked well together to move through the rollercoaster of emotions, like Gowans, who told a story about buying duct tape that led to a friend's quest to save the reactors. Even though there were some issues with diction, the actors' dealt with the gravity of the situation well, adding certain physicality like shifting weight and biting their fingers, especially Celik and Mugavero, to create consistent reactions to the tragedy.

After a new survivor, Gibson, played by Lamont Brantley, joins the group, the story jumps 7 years ahead, where the same group with some additions rehearse as a theatre troupe that retells the stories through the currency of show lines, piecing together episodes with commercials and songs. Brantley commanded the space, either when creating a hysterical rendition of, "Three Little Maids," or when his character, whose memory fails, believes radiation affected him. The actors shifted in maturity, showing a clear transition in time between the two acts. A medley of chart hits punctuates the rehearsal, performed impressively acapella, with songs that resurface later like Britney Spears', "Toxic."

The third act jumps 75 years after the second, morphing the episode into an operetta set on a student designed house boat splashed with neon colors and a mural that was illuminated by black light. The makeup, which included four-fingered fluorescent handprints on the Simpsons family to represent their connection, and costumes, which were like the TV show but morphed into neon inspirations of each character such as Homer's bald head becoming a bright yellow bandana, complemented the set and tone. Reminiscent of a Greek chorus, the citizens of Springfield sing the story of the Simpsons being captured by Mr. Burns, played by Gianna Milici. Milici's portrayal as a sadistic and comical clown villain created an atmosphere where you could not take your eyes off her. Although there were some balance issues, the cast's real vocal power surfaced in the third act, singing in harmony with very little instrumental cues with highlights from Mandy Nikole Figueroa as Bart. The execution of these cues were made by the crew and stage manager Kayla Benedict, who performed with professionalism.

The cast and crew of the Somerset Theatre Factory fully committed to the complex and shifting effects of memory and a nuclear apocalypse, highlighting the power of storytelling as a form of survival and teaching us that, "Every story ends on a dark and raging river…"

Thomas Neira
Marjory Stoneman Douglas High School
Submitted for publication to Floridatheateronstage.com

Luke, I am your…brother? In Somerset Academy's hard-hitting performance of "Mr. Burns: A Post Electric Play," the concept of oral tradition is taken to a whole new level in a post-apocalyptic society in which entertainment organizations are willing to pay people who remember pop culture's most iconic moments.

Premiering in May of 2012 in the Woolly Mammoth Theater Company in Washington DC, Anne Washburn's dark comedy showcases the raw desperation and hopelessness experienced by survivors of an apocalypse. Each of the play's three acts consist of a different period of time: right after the disaster, seven years in the future, and 75 years after that. The complex plot is heavily influenced by a group of survivors who try to join the re-emerging entertainment industry by presenting their favorite episode of the Simpsons, "Cape Feare."

The group of survivors, Maria, Matt, Gibson, Jenny, Sam, and Colleen played by Alexis Gowan, Gabe Celik, Lamont Brantley, Giana Mugavero, Ryan Fernandez, and Marlo Rodriguez, respectively, commence the story around a campfire immediately setting the underlying somber mood. As a whole, the group clicked very well and gave a genuine performance showcasing their characters' inner turmoil and denial. Complete silence isn't something often found in the theater, but this group fearlessly explored silence as a form of communication and effectively built the intensity of their repressed emotions.

Gabe Celik (Matt) lightened the atmosphere with his confidence on stage. His excellent comedic timing and charisma allowed him to develop his character's desire to project happiness and laughter onto others to mask his own distress. Giana Mugavero's (Jenny) energy and physicality were memorable as she employed employing quirks to make her character unique. Lamont Brantley's (Gibson) performance was thrilling. Brantley's stage presence and clear devotion to his role culminated in a truly captivating portrayal of the raw emotion his character endured. Kara Negroni and Susanna Ninomiya commendably provided fitting and hilarious comedic relief in their innovative project as Dumbshow Performers.

Lit only by blacklights, the cast and crew boldly presented a stunning take on the play's final act. The third act is essentially a musical of the "Cape Feare" episode after 75 years of oral tradition. With glow in the dark make-up, the cast transformed into terrifying radiation-exposed mutations, which complemented the themes of horror, fear, love, and hatred experienced by the generation of apocalyptic survivors. Gianna Milici (Mr. Burns) embodied the sinister atmosphere of the musical transforming into a monster right out of a child's worst nightmare. Milici owned the role and all the attention with her fear-inducing facials and impressive vocals. The protagonist, Mandy Figueroa (Bart), also shone with her captivating vocal talent.

All in all, the cast and crew of Somerset Academy's "Mr. Burns: A Post-Electric Play" restored the importance of entertainment and the theater not only in times of hardship and distress but also in our human culture.

Ryan DelGaudio
American Heritage School
Submitted for publication to The Forum

How does society rebuild itself after a cataclysmic disaster? Because humanity naturally clings to the familiar and comforting in times of hardship, Anne Washburn postulates that storytelling will serve as the foundation on which civilization will reassemble in her play, Mr. Burns, a Post-Electric Play. The Somerset Theatre Factory produced Washburn's dark comedy and told the tale of how "The Simpsons" transformed from a frivolous cartoon series to the underlying mythology of a society.

In the context of what Washburn defines as a "post-electric" world, this brilliant play in three acts traces the evolution of an episode of The Simpsons from a campfire re-imagination to a theatrical production complete with commercials to an epic rock operetta with music by Michael Friedman. Along the way, each retelling features new additions to the story that reflect the vitality of the human spirit in times of crisis. After its premiere in 2012 at the Wooly Mammoth Theatre Company, the play had a short Off-Broadway run at Playwrights Horizons where it received a Drama League Award nomination for Outstanding Production of a Broadway or Off-Broadway Play.

The Somerset Theatre Factory put on an exemplary production. There was stellar individual work done by the actors. As time progressed, the performers realistically aged and maintained continuity of character. The actors tackled the challenging a cappella vocal score effectively. The cast and crew transformed a classroom into a theater to produce a provocative performance in an intimate space.

Lamont Brantley imbued humor and zest into Gibson. His playful demeanor and haughty physicality made his recital of Gilbert and Sullivan's "Three Little Girls From School Are We" in the first act hilarious. Yet, while Brantley initially partook in comical antics, he later masterfully shifted his demeanor to a graver tone with finesse and ease, such as when his character underwent a nervous breakdown.

Alexis Gowans gave depth to Maria, the passionate and often forgetful member of the travelers. Her natural delivery and sincere reactions to the other actors made the eccentricity of the story relatable and engaging, such as with her "duct tape" monologue. Gowans' exaggerated facial expressions and elongated dramatic pauses as a "bad cop" agent during the FBI scene in the second act highlighted her extremely entertaining portrayal.

Mandy Nikole Figueroa also had a notable performance as Bart Simpson in the third act. Her powerhouse vocals paired well with those of Gianna Milici, who portrayed Mr. Burns. Gabe Celik's impressions of Marge Simpson, Homer Simpson, and Sideshow Bob along with his storytelling gusto infused excitement into his depiction of Matt.

The crew employed the smaller space to their advantage. The technical aspects changed entirely for each act. While some set pieces seemed unrealistic, the efficiency of the stage crew during hectic scene changes within act two specifically is commendable. The creativity employed in the third act, including the black light, neon makeup, and neon set pieces added to the futuristic mood.

Overall, the Somerset Theatre Factory delivered an electrifying performance of Anne Washburn's Mr. Burns.