Displaying items by tag: Carly CB Carson

A quick history lesson: Anne Bonny and Mary Read are two of history’s most famous female pirates. Both women disguised themselves as men and sailed under the command of Captain Calico Jack Rackham, where they became part of the same crew. There has long been speculation that they may have had a romantic relationship, though there is no widely accepted historical evidence to support it.

That essentially sums up the history covered by yo ho., SMJ’s original play which reimagines Anne and Mary’s story in a very queer, very explicit way. Described as “equal parts historical fantasy and introspective sexual and gender exploration,” the production has far more interest in the latter than the former. It uses these historical figures less as a subject to interrogate than as a launching point for a silly, raunchy, gay pirate adventure.

This is not inherently a bad thing – director JD Caudill’s production is clearly committed to creating both queer joy and comedic sexual exploration on stage, and for queer artists to come together to make something. yo ho. may not be as historically based or polished as it markets itself to be, but with accurate marketing, there is definitely an audience to love the show.

The cast is the heart of the production. The outrageous script makes room for the entire cast to throw themselves into spicy, raunchy, hilarious, and sometimes sacrilegious moments for multiple characters, whether that be ensemble playing multiple roles or one character with two alter egos. Two particular standouts were William Delforge (Chad/James) and Brittani Yawn (Vanessa) – both cast members carried the production, playing multiple roles with great comedic timing and execution, and larger-than-life physical comedy. Funny on their own, Delforge and Yawn only became more powerful when playing off of each other.

(L to R) Rachel Sleek Bañuelos and Sierra Bryn in the world premiere of yo ho.

This constant-humor approach does limit the nuance of character relationships that can be developed; however, it does not mean that the show was void of emotionally moving moments. Rachel Sleek-Banuelos’ eleventh-hour monologue is stunningly moving; despite the moment feeling a bit out of place in the script overall, Banuelos temporarily silences the theatre and lands it perfectly regardless. However, in the end, the play’s ending unfortunately does lean into a gimmick that feels more abrupt than satisfying.

For a company called Babes with Blades, though, the clearest strength is exactly where it should be: the fighting. The stage combat is consistently impressive, but the swordplay in particular is fast, dynamic, and genuinely intimidating from only a few feet away. Even when the choreography is visibly choreographed, it never becomes mechanical. Carly “CB” Carson’s fight choreography has momentum and danger, nearly intimidating to be sitting mere feet from.

The technical production also feels surprisingly considered for the polish of the show. The set creates a convincing pirate-world atmosphere within The Edge’s black-box space, though some scene changes feel more complicated than the material requires. In general, yo ho. can feel disproportionately unserious compared with its technical ambition: the energy is closer to an enthusiastic college-theater production than the fully realized historical fantasy its marketing material promises.

Still, there is an audience for this show. The theatregoer who wants a messy, high-energy night of queer pirate smut – perhaps with friends after a nearby Edgewater happy hour – may have a genuinely great time. For everyone else, yo ho. is best approached with the understanding that it is not a sweeping historical drama, but an overwhelmingly unserious fantasy which features strong sword fighting and a few flashes of something more.

yo ho. is running Thursdays through Sundays at The Edge Off-Broadway through August 29th. Tickets are available at BabesWithBlades.org