Rita is a Goat at the Theater for the New City
Rita Is A Goat, now playing at Theater For The New City, is a daring take on sibling rivalry, on the obsession of religion, the over stimulation of ego that pushes the boundaries of decency, on jealousy, and the festering hatred that lives within.
It’s a modern take on the violently-tragic jealous-ridden tales of the Greek and Roman gods and goddesses. It is a tale of sacrifice of the other for personal cause. Sacrifice of the purest and most innocent. Rita (Danielle Aziza) is the youngest of three and she is the favorite of their mother, Mother Haint (Valerie Donaldson). The eldest daughter, Genny, (Melanie Maria Goodreaux) is a nightmare of a human, taking after her mother, and Rita’s brother, Gerry (Jonathan Duran) a mindless follower. The suffering induced by the siblings to their innocent lamb, Rita, is ugly butchery of body and soul. Their greed that seeks revenge and the longing for the love of a mother who is wrapped up in herself, in her belief that she is the chosen child of God and has only love for self, ends in their downfall and the inevitable of this tragedy.
Let’s See Where This Goes
Writer Melanie Maria Goodreaux packs a lot of murder, witchcraft, mythology, hauntings and horror into her ambitious 110 minute production. I appreciate the grit and “hell yes let’s see where this goes” attitude. It is the basis for any theatrical experience that aims to push the audience emotionally, mentally, and physically far beyond their comfort zone and have them thinking and rethinking what is story and how it can be told.
The play opens with the vial self-absorbed Mother Haint writing out her will and preparing her good daughter Rita to help in her burial. The will states that Rita will get everything and that sister Genny will get nothing. NOTHING. And Mother Haint has put in the will that if anything happens to Rita then son Gerry will get it all benefiting himself and his forever fiancee, known by the family as Dark Cloud (Tiffany Renelle). Nothing is mentioned of the other member of the family that hasn’t left the hornet’s nest, the half-forgotten but loved by all Nene (India Stachyra). She is the product of rape and the daughter of Genny. Genny has birthed thirteen children, all dead or lost but for Nene, the child that Genny drugs to sleep in order to not have to deal with.
Bright, Blinding, Terrifying Light
This biblical catastrophic override of a story is thought-provoking, disturbing, and intriguing.
The fabulous cast is committed to this mayhem. Tiffany Renelle is masterful as the “possible” wife of one who might just get handed over the entire family inheritance. She shows that this dark cloud has a lot of life and light – bright, blinding, terrifying light. India Stachyra as the forgotten child, Nene, beautifully portrays one caught on the outside and stuck in the middle. Jonathan Duran, as the one who only understands how to follow never to lead or think on his own, is wonderful in his lost wandering life and hilarious in his fear. Goodreaux is all fire and brimstone, rage and horror, as a sister out for blood. Reynolds’ Mother Haint is a frightening devil wrapped in sacred cloth. And Aziza, as the kindhearted and loving Rita, is heartbreakingly spectacular.
Partially There and Partially Nowhere
The set at TFTNC was a half-baked creation of the front of a monochrome home with partial walls, partial paint. A partial set. Confusing or possibly deliberately showing that this family lives partially there and partially nowhere.
Ultimately, there is a lot of potential here both on the page and on the stage. It’s a deep play drawing on historical references, bible lore, myth, high tragedy, over-the-top comedy, mystery, murder, and tapping into the depth of human emotion. It’s still a work in process though, yet to make a fully satisfying evening of theatre. The treasure of the play is in the chest but still hidden, waiting to be discovered, dug up, cleaned, and prepared for its debut.
Rita Is A Goat written by Melanie Maria Goodreaux, co-directed by Melanie Maria Goodreaux and Christopher Bello.
With: Danielle Aziza, Valerie Donaldson, Jonathan Duran, Melanie Maria Goodreaux, Alexandria Thomas, India Stachyra
Creative Team: Set and Props: Lytza Colon, Sara Jane Munford, Lighting Design: Jason Sturm Sound Design: Urb Alt, Luke Santy, Anthony Harper, Costumes: Sarah Shah, Stage Manager: Christopher Bello
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THEATER FOR THE NEW CITY 155 First Avenue (between 9th and 10th Street) New York, NY 10003
November 7 – 24, 2024
Thursday, Friday, Saturday at 8:00 PM, Sunday at 3:00 PM
Tickets HERE: $20, Students & Seniors $15,
Pay What You Can on Sundays
Running Time: 2 hours including one intermission.
Readers may also enjoy The Sound of Music and Woman on a Ledge.