![]() Carefully crafted imagery artfully eases the audience into the vulnerability of two people navigating their way through life from tender lying down on the floor, to a literal river of salt being poured onto the stage, Lucky Stiff shapes a profound theatrical experiment upon the thrust staging of the Chopin Theater’s basement.Įmilie Modaff is a powerhouse of a singer and a gut-wrenchingly vulnerable band leader as Abigail Bengson. ![]() Lucky Stiff deftly weaves through the innocent intimacy of burgeoning romance, the jubilation of music-making, and the distress of grief. Hundred Days is dynamic, domestic, and frantic, which director Lucky Stiff takes in enthusiastic stride. The relationship between living and losing is a critical debate the Bengsons set to stage, resonantly answered with the joyful acceptance of pain as part of the package. Sweet ballads and dread-filled howling alike are centered in the exploration of life’s joys and its grief. These unkempt aspects are made whole through shared thematic simplicity. Part concert, part musical, part performance-art piece, Hundred Days is dense in content and an abundant feast for the senses the frenetic and disparate pieces of this musical work well to inhabit the emotional disarray and scrappy folk-punk aesthetic. While told truthfully and intimately, the tonal extremes of Hundred Days’ story are as fascinating as they are perturbing. Through their rich and often experimental music, they dive into their ugly struggles, their beautiful reconciliations, consolidating their meeting into a raw, vulnerable, overwhelming, and sweet concert of seventy-five minutes.ĭue to the intensity of the subject matter and narrative styling, this musical is not for the faint of heart. It tells the true story of how Abigail and Shaun Bengson met, struggled with deep-seated trauma and anxiety, and then married, all within the span of three weeks. ![]() Hundred Days is an actor-musician musical memoir with songs by the folk-punk duo The Bengsons and book by the band in tandem with Sarah Gancher. In this vein of holding space for the joys and pains of the heart, Kokandy Productions presents an existential query: how would you live as if you only had one hundred days left? Such times warrant reflection on seasons past, to remember all that’s been loved, all that’s been lost, and all that may hang in the space between. As leaves fall, as weather grows colder, and as skies darken at 4:30, ovens warm in preparation for another pandemic holiday season.
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