Brooklyn Book Festival Bingo


Two Marxist Independent Press Booths Right Next to Each Other

You walk past someone named Kendall

A woman who looks like Zadie Smith walks by with her toddler

A Lending Library full of books you don’t really care for

That white, male author whose name you recognize but don’t know anything about

Bored child being lugged around by book-obsessed parents

The lone romance novel booth sticking out in a sea of Literary Brooklynite stands

Someone wearing a homemade knit cabled sweater

Booth selling classic novels with covers taken from fanart

The coolest and/or weirdest pair of eyeglasses you’ve ever seen

That black, female author whose name you recognize but don’t know anything about

Booth selling Kurt Vonnegut merchandise

Middle-aged, long-haired, hipster dad carrying child on his shoulders

A book that supposed to be a sequel to “Pride and Prejudice”

Marty Markowitz talking about how awesome Brooklyn is

An author signing table where the author avoids eye contact with everyone

“Rubber Ducks and Sunsets” @ Gene Frankel Theatre

A story about twenty-somethings in Brooklyn discovering the meaning of life would usually have me running for the hills.

Or just have me changing the channel.

But there is something intriguing about Ground UP Productions’ new play Rubber Ducks and Sunsets, now playing at the Gene Frankel Theatre. Written by Catya McMullen, Rubber Ducks takes place in the weeks after the death of Al, a photographer who is survived by his sister Amy (Christine Mottram), his boyfriend Walter (JD Taylor), his assistant Petey (Zac Moon), and his friends Casey (Anna Stromberg) and Eli (Josh Evans). Each character has their own way of dealing with Al’s death. Eli begins training for the “Iron Bro,” a competition that combines “athleticism, recreational drug use and stamina.” Amy, who has been estranged from Al for years, tries to build relationships with Walter and his friends. (Warning: results will vary.) Petey is curating some of Al’s possessions for a Vanity Fair spread, and despite her dislike for Petey, Casey decides to help. Meanwhile, Walter plays his guitar alone in the bathroom, where Al died.

JD Taylor as Walter in Rubber Ducks and Sunsets.
Walter (JD Taylor) during one of his bathroom sets.

The action takes place in Al and Walter’s Brooklyn apartment. The characters mention how “awesome” the apartment looks, and they aren’t lying. Designed by Travis McHale, Rubber Ducks’ set captures the magic of a realistic Broadway set in a much smaller venue. When you look at the set, it feels as if you are looking into the interior of a Brooklyn photographer’s apartment, ironic animal trophy head and all. Speaking of New York real estate, it was refreshing to see that Al had the apartment because he was rich enough to afford it, and not through some rent-controlled-elderly-cousin-luck that’s been trotted about in way too may New York-based narratives.

Best friends forever. (L-R): Josh Evans as Eli, JD Taylor as Walter (sitting) and Anna Stromberg as Casey.
Best friends forever. (L-R): Josh Evans as Eli, JD Taylor as Walter (sitting) and Anna Stromberg as Casey.

Playwright Catya McMullen is one to watch. Her dialogue is fresh and rings true, and it’s sweet to see Casey and Walter have their imaginative bouts of one-upmanship: “Would you still be my friend if I talked to pigeons? / If I was turned on by cacti? / If I exfoliated with falafel? / If I had a lucky merkin?” The actors bring a earnest vibrancy to their performances, from Josh Evans’ goofy Eli to Anna Stromberg’s ballsy but vulnerable Casey to JD Taylor’s troubled Walter. If the cast was sometimes a little too fast with their dialogue, it can be attributed to their enthusiasm for the text (and opening night excitement). And Scott Klopfenstein’s original music is beautifully complex, underscoring the grief felt by Walter and his friends.

The play’s ending felt a bit abrupt. Amy and Petey’s stories get short shrift (what happened to the Vanity Fair piece?), while Eli, Walter, and Casey reaffirm their bonds of friendship. But the plot isn’t necessarily the focus of Rubber Ducks and Sunsets. The characters are, as they forge new identities, support each other, and wear their hearts (unironically) on their sleeves.


Native New Yorker that I am, I had never been to the Brooklyn Museum before. This was recently rectified when I attended its Target First Saturday,when the museum is open at night every first Saturday of the month and features special art and entertainment events.

Unfortunately, I didn’t catch any of the special events besides a hip hop group performing in the lobby. Instead, I got to see the fantastic collection the museum has, from an extensive Egyptian collection to contemporary installations littered throughout the museum. My favorite piece is The Dinner Party, Judy Chicago’s feminist installation artwork that has been a part of the Brooklyn Museum since 2007. The Dinner Party showcases famous women throughout history in an elaborate dining room. Each place setting denotes a different woman, with ceramic Georgia O’Keefe-esque plates as the centerpieces. What makes the work even more significant is that each place setting represents scores of other women, as outlined in a series of displays outside the room.

I’ll just have a salad.

The atmosphere of the museum during July’s First Saturday had a fun, youthful edge—as if it was a field trip for well-dressed twenty-somethings. And once the museum closes, there are several bars in the area to continue one’s weekend studies.

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