Five Questions With Terri Weagant
Terri Weagant is one of the Seattle theatre community’s treasures: a brilliant, witty actor with diverse talents. She’s wowed us here at The SunBreak before, and we’re excited for her new solo show, Karaoke Suicide is Painless, which opened last night down at Theatre off Jackson as part of Solo Performance Fest #5. See the whole line-up and festival schedule online; tickets are just $12 advance.
1. Where did you grow up, and how did you end up where you are now?
I was born and raised in Lake Chelan, Wash.–population 2500, but part of my childhood was spent at the north end of the lake in Stehekin–population 100. There were no roads that led to the town. You had to boat or fly in. We mail ordered groceries. There was one telephone for the entire valley. I went to a one room log cabin school house with his and hers outhouses. I shit you not. Full-on Little House on the Prairie. Oddly enough, this was where I did my first play and decided that I wanted to be an actor. I became a theatre fanatic at 10 years old and read every play I could get my hands on. After I finished high school I got the hell out of town and came to Seattle to attend Cornish College of the Arts. I’ve been here ever since.
2. Which performance, song, play, movie, painting, or other work of art had the biggest influence on you and why?
Art has been in integral part of my upbringing. My father is an incredible landscape painter and he encouraged me to draw and paint when I was very young. My folks would drag us to museums and galleries all the damn time. I didn’t understand a lot of the pieces that I saw. Dad is a plein air painter and the whole family would often go on big day trips and he would take photos or paint studies. Once we went to a draft horse expo somewhere in Eastern Washington. Hundreds of horses were pulling old tractors and working the fields and Dad took tons of photos. I didn’t really think much more about it. Horses. Tractors. Fields. Blah. It all looked the same to me. A few weeks later he finished a huge painting of four draft horses pulling a some sort of tractor. I’ve never seen anything like it. They were individuals. Each horse had its own distinct personality, sense of humor and style of movement. He captured their spirit perfectly. I don’t know what kind of personal metaphor or what deeper message that is supposed to mean in my life, but that painting is still my favorite.
3. What skill, talent, or attribute do you most wish you had and why?
I would sell my feet for amazing musical ability. I plunk around on the ukulele and I can sing in my own way, but I wish that I was one of those people who could just pick up an instrument and play. I also wish that I was one of those musicians that plays better when I’m drunk. I’m not one of those people. At all.
4. What do you do to make a living? Describe a normal day.
I pretty much work piecemeal. I am the development director for Strawberry Theatre Workshop, substitute teach at Cornish, do voice-overs, babysit, cater for rich people’s weddings, pick up pennies off the road. I spend a lot of time at coffee shops and Than Brother’s House of Pho.
5. Why solo performance? What made you decide to pursue this show in this
I don’t know exactly why. Because it’s new to me. I never had the balls to do it until a couple of years ago. I was intimidated as hell by it, and that was reason enough for me to give ‘er a go. Some of the most incredible plays that I have ever seen are solo works: Robert LaPage’s The Far Side of the Moon, Julia Mackay’s Jake’s Gift, and Jane Wagner’s (and Lily Tomlin’s) The Search for Signs of Intelligent Life in the Universe. Most of my experience to this point has been doing interpretive work with a large ensemble cast. I want to start moving into generative work and crafting small, simple stories. A few other local theatre artist’s and myself have recently formed a collective called The Radial Theatre Project. We are creating new work that is geared towards touring. I want to take shows to rural communities similar to the one that I grew up in. I have an insatiable case of wanderlust and have a very hard time staying in one spot, but I also love theatre. I’m trying to figure out a way to meld my two loves together.
Seattle actress Terri Weagant works on both sides of the footlights at Balagan Theatre. After performing as an acclaimed Trudy the bag lady in The Search for Signs of Intelligent Life in the Universe, she’s back as the director of the roller derby comedy/drama The Jammer opening March 11 at the Capitol Hill theater.
How did you come to direct The Jammer at Balagan?
Balagan has become my second home since returning to Seattle a year and a half ago. I joined the company after performing in Arabian Nights and I created and co-host their monthly late night cabaret, Schmorgasborg.
Last year I directed a short piece in Balagan’s Death/Sex. It really whet my appetite for this aspect of production. As a company we planned this insane ten play season and I was invited to direct one. I wanted to find a fun, fast-paced, stylized piece that would allow a group of actors and myself to just come together in a room and play. While reading plays recently produced in the Edinburgh Fringe Festiva, I ran across The Jammer and it completely fit the bill. Rolin Jones is a wickedly smart writer who smacks you upside the head with witty banter but also layers in subtly profound thoughts and ideas….right before someone gets vomited on. This guy will keep you on your toes.
What’s harder: playing a role like Trudy or directing a roller derby smash-up?
Whenever I’m working on a new project I find myself saying, “This is the hardest thing that I’ve ever worked on.” I hope this remains true for as long as I do theater. Why would we do the work if we’re not challenging ourselves each time? Search for Signs was its own incredible beast, but this directing thing is really pushing me out of my comfort zone and forcing me to articulate what kind of theater I want to see.
After years of languishing in the pop culture closet, roller derby seems to be making a comeback: Drew Barrymore movie, regular event at KeyArena, and so on. What do you think is the appeal?
Roller derby is some of the most exciting theatrer that I have seen in years. To my mind almost every sporting event is a performance, but there is something that sets roller derby aside. They acknowledge and embrace the performance aspect of it. They include the audience. Back in the day, the audience almost dictated how the game was to be played. Players were paid to start fights and publicly razz opponents. It used to be a super violent sport where being punched in the face and then thrown over the rails was commonplace. Derby is immediate, electric, and completely unpredictable.
How much time do the actors spend on skates?
Not a single moment. On the first page of the script Rolin Jones begs “on his hands and knees” that the actors never appear on skates. He challenges the director to figure out an alternative movement based form to simulate the derby. This was one of the elements that drew me to his script in the first place. There is a very specific tone that the script requires in this production. With the help of the cast and choreographers, we have found an innovative, dynamic movement vocabulary. What I had originally thought was an obstruction turned out to be a huge freedom.
This comedy relies on fast pace and some fairly outrageous action: when casting, what were you looking for in the actors?
Courage, humor, and humility. I wanted to assemble a group of actors who hadn’t worked together before. I find that I am much less inhibited around strangers than I am peers, and this proved to be true of the cast as well. They bring their own crazy ideas to the piece and also will try whatever I ask of them….and I’m asking them to do some pretty crazy stuff onstage. They are diving head first into it.
For folks who haven’t come to Balagan before, what makes a play a Balagan production? And what should they expect when they come to your theater?
We are playing make-believe in the basement of a noodle house. We want everyone to come play too. Hang up pretensions outside the door, grab a drink, sit down, and enjoy the ride.
Published March 10, 2010
In Focus: Terri Weagant
If you’ve been around the Seattle theatre scene, you’ve probably seen her already. In the last year alone, she has performed in 4 plays, toured Washington in a 3-person production, become the host of Balagan’s monthly variety show Schmorgasborg, and is about to open the classic one-woman show The Search For Intelligent Signs of Life in the Universe.
How does one stay sane with such a hectic theatre schedule? TPS sits down with Terri as she searches for signs of a normal life in the theatre universe.
Every actor loves to stay busy. So it’s no surprise when a talented and charismatic woman like Terri Weagant ends up doing one show after another show followed by a project while hosting a late-night cabaret. Since returning to Seattle from her journeys abroad, Terri has acted in multiple plays up on Capitol Hill, toured with Book-It-All-Over, created and co-hosted Balagan Theatre’s Schmorgasborg late night cabaret, and is now about to appear in what is simultaneously an actor’s dream and nightmare: a 2 hour, one person show. In the midst of opening Jane Wagner’s The Search for Signs of Intelligent Life in the Universe, Terri took a moment to tell Theatre Puget Sound how she stays stable in the unpredictable world of fringe theatre.
Theatre Puget Sound: Okay.. first question.. when do you ever sleep?
Terri Weagant: You caught me at an interesting time. Normally it’s not an issue, but I am currently working on a solo show for the first time, so my sleep schedule is… well… I’ll pencil it in next week sometime.
TPS: What are your biggest influences to your acting style? (coaches, teachers, authors, etc.)
TW: I’m not sure if I have a specific “acting style, ” but I definitely gravitate more towards comedy. I grew up idolizing the great comediennes of the 60s, 70s and 80s: Gilda Radner, Madeline Kahn, Lily Tomlin, Bea Arthur, Eve Arden and my hero, Carol Burnett. As a kid I would spend countless hours in front of the mirror trying to contort my face like they did. I came to Seattle to attend Cornish College of the Arts and I can’t say enough about their faculty. It was an experience that I would never trade for anything in the world, but I don’t know if I could do it again. It was an immense challenge. The faculty push the students way out of their comfort zone and force them to think analytically as well as to act on impulse. The faculty are all working theatre artists. They teach technique, but they also give practical advice on how to survive as an actor. Since graduating I have learned a ton from observing other actors that I love and respect go about their own process. I could watch Ray Tagavilla and Emily Chisholm read the phone book. Not a bad idea actually. Consider this project in the works now. A 26 part mini-opera. You steal my idea and I’ll sue.
TPS: How do you balance so much theatre with earning a living and having any sort of a social life?
TW: I think that the key to finding balance is to be extremely flexible. It can be a big ole’ challenging at times, for sure, but no one ever said that this job was going to be easy. Ah, money. Most of the theatre that I have done in Seattle has been fringe work, and I think it’s no secret that it can’t financially support you. I have done many, many jobs just to try to pay the bills. Serving, bartending, elevator operating, landscaping. Big fun party. I have figured out a way to pare down my expenses to basic needs. I don’t think that I am sacrificing anything so much as making compromises. It forces you to be resourceful. I want to be doing this shit, so I’m going to do everything within my power to make it happen. That last bit of the question: Socia-what? That’s a new phrase. Is that French?
TPS: What are your recommendations for those just starting out in the Seattle theatre scene?
TW: Audition for EVERYTHING. TPS is great resource for all audition postings. Go out for as many auditions as possible. You may end up doing a lot of crappy theatre. I have done a ton of crappy theatre and chances are I will do more crappy theatre down the line. These experiences are very humbling, but where else are you going to cut your teeth besides going out and doing it? Great theatre connections are made with every show you do. In addition to auditioning for everything, be sure to go see as many shows as humanly possible. There is some really exciting stuff happening in this town. GO SEE IT! When I first started doing theatre here a good buddy of mine offered up this advice: “Just be cool.” Don’t worry about having to schmooze. Just do the work and let the chips fall where they may.
TPS: What keeps you here in Seattle ?
TW: I came back to Seattle a year ago after putting theatre on hold and traveling around the world for a couple of years. Mind you, I was having the time of my life while I was abroad, but there were many times I found myself pining to do theatre again. It wasn’t until I finally performed in Byron Bay, Australia, that I knew I had to get back to it. I found myself back in Seattle within a few months. Seattle is pretty happening town. There is so much theatre happening all around, but the community is small enough that you have wonderful opportunities to collaborate with other artists. As theatre artists we need to keep learning and honing our craft and I’m not sure how easy it would be to do consistent work in larger cities/markets. And Seattle is just a gorgeous town. I’m an outdoorsy person and I love that we are only an hour from the mountains. I do love the rain….most of the time.
TPS: What are your goals for the next 5 years?
TW: Shoot, am I supposed to know this now? I am currently in the process of applying to graduate school in Glasgow, Scotland, so we’ll see if that happens. Fingers crossed. The ultimate goal for me now is trying to figure out how to marry my love of theatre with my love of travel. There are hundreds of fringe festivals around the world and I want to head out and be a part of it. I would like to start generating my own work as well. Writing intimidates the hell out of me, so I figure I should do it.
TPS: How many things do you already have planned for the next year?
TW: I have a few acting projects coming up, but I am getting wicked excited about directing a full length show for the first time. The show, The Jammer, has been called the “King Lear of derby plays.” Sex, violence, live derby bouts. Ooh, too fun.”
Published August 1, 2009
Terri Weagant has long been a Seattle favorite, but taking on a one-woman show for which Lily Tomlin won a Tony has to be, to say the least, intimidating. There is no sign of this intimidation, nor is the audience in any doubt of Weagant’s skill in this masterful revival of Jane Wagner’s complex, clever and insightful piece. Weagant balances humor and pithy wisdom with a depth of understanding of the human condition, highlighting, without being pretentious, the play’s philosophical bent.
Trudy is a stereotypical bag lady whose massive contraption, some contrivance that puts one in mind of a Manhattan gypsy cart, provides props and metaphor for the show. The set is simple block pieces, highlighted by shards of mirror which reflect the fragments of people and lives that are played out before our eyes. While the space is difficult to light, Weagant and her director, Lisa Confehr, have created a world where the characters of the play somehow manage to believably inhabit Trudy, as she intermittently explains her take on reality (it’s only absurdity dressed up in a three-piece suit), her own insanity (maybe not a breakdown, but a breakthrough!), and life (for which the operative word is mystery, not meaning).
Weagant’s reversals are instantaneous and flawless, apart from a rather over-done and not terribly insightful portrayal of a teenager. Every moment that might be a cliche is molded into a wise and interesting comment on humanity, even down to a very humorous portrayal of pseudo-intellectual granola-eating hypocrites, to which we can all relate. Weagant somehow manages to endear us to every character of this classically well-written play, whose wit is refreshing in a world where clever observations are relegated to the world of stand-up comedians.” Examiner review by Letitia Harmon
“Weagant, who has impressed in her brief return to Seattle, always demonstrates boldness onstage. But she’s never shown so much bravery as in taking on this 1985 play so strongly associated with Lily Tomlin, whose multiple year tour of the show made a heralded Seattle stop in 2000.
The youthful Weagant brings talent and stamina, offering a whirlwind of emotion and laughs through her Fanny Brice features. She is enjoyable, but she is not as meticulous an observer…” Seattle Post Globe review by Gianni Truzzi
“And, as I said before, Seattle favorite Terri Weagant handles this piece of art with the respect and commitment it deserves. When people think of this play they associate it with the amazing Lily Tomlinand so the thought of someone else tackling it may sound absurd. But Weagant is able to weave in and out of these complex characters with seeming ease. She manages to give homage to Tomlin in her performance while still putting her own stamp on the characters. And with so many difficult characters flying about the stage you can run the risk of them all blending together. But Weagant has such a clear vision of each one that you always know which one is speaking at any given point. In fact there were several times I forgot there was only one person on the stage.
Now, I have seen the show performed by Tomlin in a large auditorium and performed in a small independent space such as Balagan’s and with a show like this I think it works better on the small scale. Of course nothing against Tomlin’s performance (as she is a master of comedy and an outstanding actress), but as this show is really just a conversation, the intimate setting of the smaller space lends itself well to drawing the audience in and getting them invested in the piece. And in the able hands of Weagant and director Lisa Confehr, you are sure to have a wonderful time at the show and even walk away (gasp!) thinking. And isn’t that the true definition of “art”? Or is it soup?” Broadway World review by Jay Irwin
“Weagant embraces the intense physicality of her role, rapidly shape-shifting from one character to another in a blunt display of the disillusionment, cynicism and exhaustion that haunts Wagner’s veterans of consciousness-raising in the Reagan era. Whether storming a stark space as a teenage punk-performance artist (abandoned by her own performance-artist mother) or personifying three, very different feminist friends in conversation or shuffling along as bag lady Trudy — who claims to be in touch with aliens — Weagant carefully delineates and realizes each character.
Her hard work pays off when the audience realizes Wagner is mirthfully interweaving many of the people Weagant plays in a comical, yet moving, mingling of destinies.” Seattle Times review Tom Keogh
“Terri Weagant is not Lily Tomlin; she’s her own exuberant, talented self. Her talents are on full display in a virtuoso performance of Jane Wagner’s one-woman show, originally written for her partner, Lily Tomlin. Weagant takes on an exhausting, over-two-hour script where she has to play upwards of eight other people, plus Trudy The Bag Lady, Wagner’s main spokesperson.
The script has been around for about 20 years now, and is a funny and sometimes sad reflection on modern life and our attempts to understand it and explain it to others. Trudy the Bag Lady has “space chums” that visit and to whom she is demonstrating what it means to be human. She had decided that losing her mind was possibly one of the best things that happened to her, and describes some of the horrors she has gone through to get it back, like electro-shock therapy. She begins the play by telling you that she is standing at the corner of “Walk” and “Don’t Walk,” and away we go.
Terri Weagant, as Trudy, pulls a most magical cart onto the stage area that the actress designed herself for this production. It has an awning, mirrors, a relaxation area, and room for all her stuff. She has a desk area for her Post-it notes, which she keeps all her knowledge written down on. Trudy has time shifts and can see into people’s lives when she wears her umbrella hat – her own invention.
Her umbrella hat shows her Agnes, a young teenager full of rage and a complicated desire to be seen, loved and accepted as she is. She’s been abandoned by her mother and raised by her grandparents, who can barely understand her, though they do their best to love her. Trudy also shows us the mother and her friends, and the story weaves together slowly as the script progresses. You may feel that it takes the script too long to get there. It is a fairly long two hours and about 20 minutes, and in the Balagan “basement,” that might feel like quite a long time.
However, Weagant’s energetic inhabitance of her characters has her jumping all over the stage area, neatly changing a voice or a gesture to show a different person is speaking. The trick to doing the one-person show is one that Weagant has mastered. And this range of characters, from young to old, challenges anyone taking on this project.
The audience was appreciative of her efforts, giving her a standing ovation for her exertions. There are many funny moments in the play, but another challenge is in giving the dramatic moments their due, which Weagant strongly manages as the story shifts from funny to sad. The end, might be a little too neatly wrapped up, but you try and explain a can of tomato soup and a picture of a can of tomato soup to a bunch of aliens to whom both look exactly the same! Or try to explain what goose bumps are and how they are entirely not related to geese. Then spend some time with Trudy and see how she manages to describe these concepts so that the aliens can understand.” Seattle Gay News review by Miriyam Gordon
“..with the gifted Terri Weagant as your cracked guide to a cracked universe. Besides women of a certain age, we wonder if 20-something women will flock to it as a way of bonding with mom or a cool aunt? (And men looking for cougars with a sense of humor? The basement of Boom Noodle is your new hot spot.)
Looking at the glowing, limber Weagant, we can tell you she did not live through the ’70s, or end up on the street in the ’80s, but that doesn’t detract from her performance. She greets you as Trudy the crazy bag lady, barking on about her space alien chums and making almost-funny jokes that Weagant delivers as if laughter comes as a slap to her alternate reality. It’s a bumpy beginning–in the ’80s, homeless people had just been discovered, and writer Wagner’s understanding of the condition was sketchy (pun intended).
The first act is a warm-up to what Wagner really wants to talk about. As Weagant loosens up, and the characters start popping up rapid-fire, the play gets to its feet, giving you glimpses of discontent leavened with humor. We’ve been enthralled simply by the texture of Weagant’s voice for some time, but here she displays a physical range–from languorous to hyper-twitchy–that leaves you exhausted for her by the end of the night.
Wagner eases into her story with quirky-funny fragments (ah, that’s why the broken-mirror appliquée’d set)–there’s a woman at yoga stressing about finding a job, a wealthy socialite bedeviled by her own boredom, a teenage-angst-ridden performance artist. (Weagant’s socialite is probably her best character, sounding like a cousin of Katherine Hepburn and steering with her chin as if it’s a sailboat’s keel.)
Then in act two, fairly abruptly, you get a set piece that rifles through the radical ’70s in about half an hour, from Indian cotton pants with drawstrings to transformational seminars to lesbian macramé. Today, the knowing, used-to-be-counter-cultural references to pot, organic foods, vibrators, and women trying to “have it all” feels a bit like a made-for-TV movie about The Feminist Pioneers.
But director Lisa Confehr and Weagant zero in on the core of frustration and anguish that Wagner’s nonstop, pop-cultural skewering can obscure, and it is this, even after Trudy returns to tie it all up in a bow of messy mystery, that will either get to you or not.” Seattlest review by Micahel van Baker
“Terri Weagant turns in a singular performance as the dejected Helena and inhabits the part with as much truth, and genius comedic timing as I have ever seen. With a mere look or tilt of the head she had the audience all at once feeling sorry for the poor girl and still giggling uncontrollably.” Broadway World review by Jay Irwin
“As for the young (human) lovers, whose affections are twisted by Puck’s spells, Terri Weagant is especially funny as the baleful odd girl out, Helena.” Seattle Times review by Misha Berson
“Terri Weagant also brings much-needed laughter as the spurned Helena when she becomes the center of Puck’s enchantments gone awry.” City Arts Magazine review by Gianni Truzzi
“…played with a hilarious blend of jealousy and indignation by Terri Weagant.” Crosscut review by Thomas May
“There are areas of great success and enjoyment. Weagant’s deftly comic portrayal of Helena is wonderful…” Seattle Gay News review by Miriyam Gordon
“…and the also gawky and very comedic charms of Terri Weagant as Helena, one of the chief assets of this production…” Seattle Gay Scene review by Michael Strangeways
“Of the four young lovers, it’s Terri Weagant’s Helena who steals the show. I am a long-time Weagant booster–she’s hilarious, I love the way her voice cracks in self-doubt and disbelief at each new horror life has to offer, and her white-wine take (no caressing each syllable for an “Ah, Shakespeare!” epiphany).” The Sunbreak Review by Michael van Baker
“Weagant brings an explosive, awkward sexuality to the role that speaks of a complex inner life.” Seattle Gay News review by Miriyam Gordan
“And I must mention Terri Weagant’s incredible portrayal of Melony, a young girl of Homer’s age at the orphanage. Melony is a young woman who battles with every emotion all fighting to emerge at the same time. And Weagant portrayed her with depth and verve and was a force of nature every time she entered stage.” Broadway World review by Jay Irwin
“But again I was blown away by Terri Weagant as the troubled Melony. A finely focused and borderline frightening performance that I think will stay with me for a long time. She went from angry little girl to troubled youth to strong and deeply feeling adult and manages to show the subtle changes in every age without ever losing her character or intent. A truly sublime performance.” Broadway World review by Jay Irwin
“The boy begins delivering babies before he’s even attended high school and falls for Melony (the fierce and bruising Terri Weagant), who conflates anger and sexuality. Each character in The Cider House Rules is a ball of conflict, desire, and pain—but keenly human and true.” The Stranger review by Brendan Kiley
Terri Weagant savors the plum role of Homer’s female counterpart, wild child Melony, investing her portrayal with bawdy humor and palpable heartbreak” Talkin’ Broadway review by David Edward Hughes
” Terri Weagant’s Melony evolves into perhaps the most compelling character in the tale.” Talkin’ Broadway review by David Edward Hughes
“Weagant’s ferocious Melony is tempered with potent vulnerability.” Seattle Times Review by Misha Berson
“Weagant is a standout as Melony in this particularly physical role of an overall athletically challenging production.” Queen Anne News review by Miya Cohen-Sieg
“Terri Weagant has already exploded onto the Seattle theater scene leaving her indelible mark with performances in “The Cider House Rules”, “Act a Lady” and “The Search for Signs of Intelligent Life in the Universe” to name just a few. So it should come as no surprise that she can pull off a one woman show with no difficulties. What may surprise you is the level at which you will be moved, both in humor and in heart by her latest endeavor.
Written by Celene Ramadan and directed by David Gassner, the show explores the archetypes and significance of Karaoke performers through the jaded eyes of a veteran KJ (Karaoke Jockey). Terri (as the character is named as well) has seen and been through it all. And because of that she has a few rules if you want in her Karaoke night. No musical theater duets, no yelling into the mic, and for God’s sake, leave a tip! And she is not shy about sharing with us the usual performers who have brought her to this level of Karaoke hell she has found herself in. If you’re familiar with Karaoke nights, I’m sure you’ll recognize some, if not all of these people. You may even be one of them! But more than just a funny list of characters, Terri breaks through these stereotypes and ultimately discovers more about her own choices.
If you’re lucky enough to see this, you’ll start with laughing your ass off. There were times I actually couldn’t breathe from laughing so hard. (Gotta love those “Sorostitutes”!) But then beyond the hilarity, we get to see what has made Weagant one of the shining stars of the Seattle scene as she takes this multimedia experience into an extremely thoughtful and poignant place. Basically, “Karaoke Suicide is Painless” is too many levels of AWESOMENESS!” Broadway World review by Jay Irwin
“I suppose you could say that Terri Weagant’s is confessional, too, but Karaoke Suicide is Painless worries at your funny bone from a very different angle. Weagant plays a fed-up karaoke hostess at a waffle house, presenting a typology of the karaoke singers that cause her the most grief, from car-singing divas and showtune-obsessed drama geeks, to one-note melancholics and drunken packs of sorority sisters. Weagant has a throaty alto (actually, what’s lower than alto?) and, here, the winning charisma of one of Hollywood’s brainy-but-nutty best friend of the lead. Her send-ups are hilarious not so much because they’re mocking, but because they’re so accurate, down to the a-musically shouted Lady GaGa song in the company of volunteers from the audience. Credit has to be given to writer (and, clearly, observational comic) Celene Ramadan and director David Gassner, who manages to interpolate video-to-human interaction without dragging things down at all. ” The Sunbreak review by Micahel van Baker