By Michela Arlia
The latest production to hit the BC Theater Department stage is “Concord Floral,” which opens on Apr. 8 in the New Workshop Theater. Over the next two weeks, the cast and production team are preparing for another round of live performances.
“Concord Floral,” written by Jordan Tannahill, is a drama and horror fiction play that takes place in a one-million-square-foot abandoned greenhouse of the same name in Staten Island, which serves as a refuge for local teens. Hidden within the walls and floors of the greenhouse is a deep and dark secret, and when two teens discover it, they set off an unstoppable chain of events to follow.
For director Nicholas Browne, an alum from the class of 2021, the production of this show is a full-circle moment, as he originally pitched it pre-COVID shut down in March 2020 and is finally able to see it on its feet two years later.
“I think the idea of exploring how we’re all connected after being kept apart for so long is extremely important,” said Browne. “The inspiration for directing this story was the possibility of exploring the magic and questions of the play with an audience, and I thought that it would be a good play for the BC community.”
Something that allows “Concord Floral” to stand out from the rest is the use of music and choreography throughout the show. While often considered a straight play, this BC production has two roles that you wouldn’t normally see in their shows: a choreographer and music director/composer.
Samer Chiaviello, a senior in the BC Conservatory of Music and one of the play’s two musical directors, found that there was an opportunity for him and his fellow music director, Isabel Bruschi, to not only help in the play’s vocal performance process but to create original compositions as well.
“I was also given the opportunity to write an original song to go with the lines (now lyrics) of the original script,” said Chiaviello. “A big passion of mine is composition so when Niluka [the play’s production manager] told me I was going to have the opportunity to create something original, I was ready to sign on the dotted line.”
Both Chiaviello and Bruschi had to train the cast to sing a vocal piece written around the high Middle Ages in Corsica and a composition written to be performed by the cast.
Chiaviello says the composition is inspired by the hyperpop sound and pulled from the sound of mainstream artists such as Labrinth, Tame Impala, and more.
“This original song is supposed to capture not only a particular moment in the play but also puts you in the naïve realm of which these teenagers exist,” said Chiaviello.
As choreographer, Emily Hin was able to enhance the show’s themes by creating dynamics and texture through movement.
“All of the movement was created or inspired by myself or the actors,” said Hin. “A big part of my process is to give direction and allow the actors to take ownership of that movement in the way their character would.”
While these roles tend to belong to every version of “Concord Floral” that exists, it is a step in a different direction for the Theater Department, as it does not commonly put on shows with vocals or much movement.
For cast member Greta Rustani, a second-year BFA student who plays Nearly Wild, her role helped her realize how much she needed to work with and become her character for the rehearsal process.
“I have to admit that I wasn’t familiar with the character or play when I first auditioned, and I wasn’t aware of how much I needed her,” said Rustani. “I was at a point in my life where I was feeling very lost, and I still am, but I’m exploring myself right alongside Nearly.”
Rustani expressed how she is pushed to “be messy” with her character in rehearsal and enjoys playing someone so close to her own personality.
A big change comes for the Theater Department as CUNY recently announced the end of a mask mandate on campus, and “Concord Floral” gets to be the first production on campus that will be performed maskless.
“I will never forget when we got the email from CUNY lifting mask mandates and began screaming, hugging, and jumping up and down in rehearsal,” said Rustani. “It was such a huge milestone after a grueling couple years, being unable to fully connect with fellow artists again.”
With all the happy news that comes with the milestone of this production, Browne says he only wants audience members to take away thoughts of what their responsibility within their community is.
“This is a time of compounding crises, but when we take responsibility and think holistically about our roles in our circles, we can shape real change,” said Browne. “Even amongst crises, there is still hope. I think people will feel that from experiencing the show.”