Happenstance Theater presents ‘Juxtapose’- A Theatrical Shadow Box

By Alix Cohen

Genre-defying Happenstance Theater offers an arsenal influences, inventiveness, and subtlety. Collectively devised, the company landscapes a stage with fine-spun virtuosity. Juxtapose is prompted by the work of assemblage artist Joseph Cornell. (It will not affect enjoyment if you’re unfamiliar.)

Echoing Victorian cabinets of curiosity, Cornell combined found objects/ephemera into playful, poetic assemblages exploring memory and nostalgia. Everyday materials were transformed into what critics deemed “shadow boxes.” Cornell’s themes of whimsy, flight and birds, the cosmos, theater, ballet, film, romance and longing are apparent. The play should not be construed as 80 minutes of frothy, snow globe-like captivation, however. Its folly has teeth as well as heart.

An empty frame, perhaps 9 or 10 feet square is filled with unrelated objects that will later feature in narrative. When these are removed, the frame becomes a window.

Set in France or England during wartime, the play centers on inhabitants of a boarding house run by concierge, Rosabelle (Sabrina Selma Mandell) A wind-up gramophone plays Irving Berlin’s “What’ll I Do?” Rosabelle folds her laundry bag in triangles like a memorial flag intimating loss of someone in the military. A Red Cross nurse’s uniform and a black and white diamond pattern Pierrot blouse are hung on a clothesline. Rosabelle stands behind the uniform as if wearing it. She salutes.

Each tenant passes the window observing outside, revealing something of his/her character. Blue (Alex Vernon) is a wide-eyed, childlike figure the others try to protect. He often juggles or bounces a blue ball. Removing clothespins from the uniform, Blue finds himself stopped by an arm (his arm through the sleeve). He takes the dress down to waltz away with ‘her.’ It’s poignant.

Étoile – Star (Sarah Olmstead Thomas) is forced into ballet by her mother and Madame. She has agonizing stage fright. One of the few passages of spoken words ensues. Passing the clothesline, she slips her arms into the harlequin sleeves and dances to 1917’s “Poor Butterfly” like a jointed marionette. “I did it!”

Nattily dressed, The Collector (Mark Jaster) fastidiously compares the time on several pocket watches. Among his valued objects is a conch shell “…from the flotsam and jetsam of time.” A box received by mail (MacGuffin?) remains unopened. Infatuation of Rosebelle hovers. She has hopes.

We hear aerial rumbling. Spilleth (Gwen Grastorf) crashes through the roof. She’s apparently an alien, though in no way anatomically different. Rosabelle is not alarmed. She attempts to communicate. The visitor can only repeat with effort.
Her own voice sounds gull-like. She seems to disappear and appear surprising the others. Blue ‘plays’ with her.

Characters domestically interact. Moving about the stage, they walk in wide angles, turning sharply at corners as if within a hidden box. Mime is subdued, but vivid, facial expression eloquent. Chimes, bells, and otherworldly music are deftly integrated with period tunes. Visuals are intriguing. Stylization elevates.

A few spoken phrases allude to poor economic and social conditions during wartime. There could be more of these to support the play’s ending.

Mark Jaster and Sabrina Selma Mandel, founders of Happenstance, are experienced with every form of theater from Shakespeare to clowning. The latter emerged as musical vaudeville in their last production, Dreadful Episodes, but here is dignified. Jaster studied mime with the great Etienne Decroux. He moves with refined grace and specificity. Morphing into a bird is exquisite. Both thespians evince backstories we never learn. They’re completely credible.

Alex Vernon exhibits unshakeable conviction as guileless Blue. There’s nothing pitiable, pixilated, or cloying about the portrayal. We’re enchanted on a very human scale.

Sarah Olmstead Thomas is a natural comedienne. Additionally a puppeteer, she uses her body with unique imagination. Thomas excels with the wry and ironic. Countenance garnishes personality.

Gwen Grastorf’s background in dance augments her physical acting. Inarticulate vocal is disarming, bird cries irresistible. Spilleth’s awe at the newness of experience is palpable.

The program comes together like a mosaic. It’s wry and touching with a darker, surreptitious message. Direction is adroit. Happenstance is a unique and creative collaborative. Juxtapose is thoroughly engaging.

Lighting (Daniel Weisglass/Kris Thompson) and Sound Design (Madeline Oslejsek) featuring perfect musical selections as well as clarity symbiotically enhance.

Art mavens will find specific Cornell works linked to each character in the program.

Photography by Leah Huete

Happenstance Theater presents Juxtapose
A Theatrical Shadow Box
Collectively Devised
Directed by Mark Jaster & Sabrina Selma Mandell
Costume Design- Sabrina Selma Mandell- Even hair epitomizes personality and oh, the lobster gloves!
Props & Set- Mark Jaster, Sabrina Selma Mandell, Alex Vernon
59E59th Street Theaters
Through January 25, 2026
https://www.59e59.org/shows/show-detail/juxtapose-a-theatrical-shadow-box/