Theatre Review by Ron Fassler . . .

Attending showcases in New York of new works is almost always a mixed bag. Sometimes you see some lovely acting in a not very good play, or sometimes it’s something with promise that may need a better directorial hand and more seasoned actors in order to shine. In a perfect world, you get the whole package: an excellent ensemble in a rich and original piece, guided by a director confident of the material in service to both play and cast. Such is the delight I had Friday evening seeing Forrest Mallloy’s new comedy Nina, directed by Katie Birenboim under the auspices of the female and artist-led Theaterlab. The exemplary five leading women in this production form a unit also makes one yearn to see them in an actual play by Anton Chekhov, instead of one that only offers some choice moments from The Seagull, from which Nina borrows a character and its title.

The entirety of the action takes place from Fall to Spring 2015-16 in the communal dressing room at a New York City acting conservatory (Julliard, though never called out by name). We see five actresses in their senior year first working on Shakespeare’s The Winter’s Tale, then an acting showcase for prospective agents, and finally Chekhov’s The Seagull. Even though the characters might seem like stock types, they’re not conceived or performed that way. Briefly, they are Cate (Francesca Carpanini), persistently upbeat but also relentlessly aggressive; Lillith (Nina Grollman), a fresh-faced Minnesotan who might not have the gut instincts it takes to succeed in the outside world; Kyla (Jasminn Johnson), a self-doubter but a survivor; Erika (Aigner Mizzelle), an outsized personality whose talent and drive are going to take her far; and Zoe (Katherine Reis), the ingenue’s ingenue whose stubborn nature might prove her downfall. Throughout the twists and turns in their stories, we are flies on the wall to their comradery and competitiveness—all of it all too real. 

Nina Grollman as Lillith in “Nina.”

As a confirmed Chekhov-file, whenever I see one of his plays revived I always enter with high hopes that are rarely met. The reason for that is the playwright was a master at creating fully realized characters right down to one that might only enter briefly and spout a few lines. His work requires ensemble acting of the highest order; hard with actors usually thrown together who are expected to feed off one another in harmony over a short rehearsal period. It’s important to note that Chekhov’s plays were first developed at the Moscow Art Theatre with a company of actors who used their shared intimacy to great advantage. Here, a high percentage of those involved with Nina, including playwright and director, are graduates of the Julliard acting program. And though still quite young, the quintet of actors all possess Broadway credits. This homogeny makes for a high stakes evening with a freedom of staging and movement that feels lived in and real.

Malloy has a fine ear for dialogue, which make sense due to his Julliard training as an actor. And though he could have fallen into the trap of aping specific ways in which Chekhov characters often speak, or even spoofing that, Malloy avoids it assidiously. And for those concerned that a play where actors bicker about actor stuff for a hundred minutes might be alienating for an audience not well versed in that world, fear not. Even though the night I attended the intimate space was filled with people reveling in every obscure inside theatre joke, the strength of the situation and the depth of the characterizations should not be a concern for those with minimal knowledge of the actors’ process or even Chekhov’s writing. Anyone can relate to a situation in which people are working towards a common goal but have to deal with strong personalities in order to succeed. The plot machinations here may sometimes feel familiar, but they’re dealt with in forthright and bold ways that keep interest high and never sag under the weight of pretentiousness. 

Nina Grollman as Lillith and Aigner Mizzelle as Erica in “Nina.”

Shout out to director Kate Birenboim and her ability to craft such precision work from her cast. Working in a small space that seats the audience on two sides of the stage, the dressing room is believable in every way (scenic design from Broadway regular Wilson Chin). The furniture all looks rescued from the Salvation Army and the plethora of small rugs on the floor are properly dingy. As a former conservatory actor myself, even the text books on stage were familiar to me—and I attended fifty years ago (some things never change). Costumes by Ásta Bennie Hostetter are spot on and the lighting by Wheeler Moon is effective. And the actors are all special, each contributing in vital ways to the play’s verisimilitude. Again, the highest of praise for Francesca Carpanini, Nina Grollman, Jasminn Johnson, Aigner Mizzelle, and Katherine Reis’s performances. When this play is done again (and I certainly hope and believe it will be), it needs this ensemble as sure as Chekhov needs subtext.

Nina is playing a strictly limited engagement at Theaterlab from January 23–February 9, 2025, at 357 W 36 Street, NYC. For further information, please visit https://theaterlabnyc.com/nina-january-23-february-9-2025/

All photos by Emilio Madrid.

Feature Photo: Francesca Carpanini as Cate in “Nina.”