Elle Crane, FCRH ‘16, along with the rest of the cast, gives a striking performance of “Bloody Bloody Andrew Jackson.” Samuel Joseph/The Ram

By Liam Paris 

Fordham Experimental Theater’s Blackbox is a tricky space to maneuver. It is small, the light board is from the 1800s and the audience can get tired of being cramped during a 20-minute improv set, let alone a five-act play. Despite all of this, FET’s Production of “Bloody Bloody Andrew Jackson” (written by Alex Timbers with music by Michael Friedman) not only conquered the tight, dark space, but went above and beyond with what the musical should be: a screw-the-establishment pop-punk ballad led by one of history’s most controversial presidents.

Dealing with the issues of space, Director James Demetriades, FCRH ’15, turned the set into something bizarre yet appropriate: Pollock-esque splatters on the walls and newspapers recounting the stunning moments in Jackson’s life added to the show’s excitement and audacity. For example, an additional platform protruding out into the audience seemed unnecessary and a little clunky, but the piece was justified the minute Jackson leapt onto it and stuck out his tongue like a true rock star. Choreographer Matt Mayer, FCRH ’17, was able to adapt to the space, making the dances energetic and powerful with minimal foot movement (though they still ac-complished a flip on stage). Oddly placed, the orchestra was fantastic with musical director Ricky Bordelon, FCRH ’15, leading on drums (his energetic “yeah’s” may have been my favorite part ), Katie Dolan, FCRH ’18, assisting musical direction on the piano and Pat McCarthy, GSB ’15, looking as cool as possible on guitar, the band was as alive as the rest of the cast.

Now, the cast was by far the most integral part to a gritty, minimalist show like BBAJ. Despite the gender swap, Elle Crane, FCRH ’16, was a fantastic, angsty and in-your-face-yet-tortured-soul president, fully embodying the character and really bringing life into the show through both her mannerisms and defiantly strong solos. Andrew Jackson’s personal demons and public struggles create obstacles for his presidency. Crane accurately depicted all of his internal turmoil.

Sally Beriont, FCRH ’17, played Jackson’s wife, Rachel, and accomplished the role with a strange duality of both over-exaggeration and genuine emotion that she wrapped up nicely with a beautiful voice. Speaking of beautiful voices, Sarah Hill, FCRH ’17, and Tara Minogue’s, GSB ’15, rendition of “Ten Little Indians” brought the right amount of chills while remaining a catchy tune: as the women sang on stage, their presence reminded us all of the horrific events inflicted on the natives. Funny guys Nick Motlenski, FCRH ’16, as James Madison and Phillip Reilly, FCRH ’15, as John Quincy Adams were the perfect light-hearted foils to the sometimes too-gritty rest of the cast.

New to the Fordham theatre scene, Monica Fafaul, FCRH ’18, and Biddy Bacos, FCRH ’18, played a variety of parts with grace and energy, holding their own with upper classman. Ensemble Christopher Pedro, FCRH ’15, Matt Conrado, GSB ’17, and Gavin Barba, FCRH ’17, kept the jovial sense alive with certain characters and history lessons, but also rocked the mic when the time came. Their ensemble was one of the most professional I have ever seen. Mary Kate Glenn, FCRH ’17, (as the Indian chief Black Fox) took the play to serious places when she needed to, and gave an incredible performance. Finally, Michelle Corr, FCRH ’17, showed off her fantastic range of characters and beautiful voice playing both a mid-western narrator and an angel.

“Bloody Bloody Andrew Jackson” has been the coolest show to be put on campus this semester. It was serious at moments, but was never afraid to take it all back and flip off the audience a second later.