RADIO-ACTIVE SATIRE (WITH SONGS)
And now for something completely different.
Presented for your amusement is a skillful skewering of the approach to fundraising—or, to put it more plainly, begging for money—in campaigns by public radio stations. These include frequent breaks in programming for on-air speakers’ earnest, self-congratulatory reminders of the uniquely crucial, indispensable value of the station and its embrace of a cornucopia of culture and essential information. A kind of groveling gratitude is expressed, flattering the would-be contributor (“None of this can happen without the support and generosity of listeners like you” and “Any amount will do”).
Kendal Hartse
The lengthy title of this song-stuffed, satirical, two-character, too-funny play—the inaugural production of the group called Harlow Radical—is itself smile-inducing. It incorporates both the real name of its fearless female singing star—the company’s co-founder and resident artist Kendal Hartse—and spells out the reactive punctuation marks: Uh Oh: Exclamation Point Kendal Hartse Question Mark Live and in Concert Question Mark. The chameleonic performer authored the script, co-creating this quirky endeavor with director Austin Regan.
Kendal Hartse
This one-act, one-hour, one-of-a-kind show showed its sass and smarts in a well-received debut on June 14 and 15 at The Gym at Judson Church near Washington Square in Greenwich Village. While elements of this mock radio marathon echo those seen in music specials interrupted by payment pitches on public TV, the choice to present a radio show has one distinct advantage: We, the real-life audience, actually get to see what radio listeners would miss—nervous movements; worried facial expressions; unwieldy multi-page sheet music sliding off the piano; tension-filled looks or whispered conversations between vocalist and pianist; moments when the singer falls down or runs offstage mid-song; and other incidents that may prompt UH OH!’s theatergoers to mutter, well, “Uh oh!” The increasingly frantic antics and mounting “mistakes” correspond with what’s not happening: much time has passed, but the onstage red telephone hasn’t rung once. Not a single listener has responded with even a token donation.
Alexander Sage Oyen, Kendal Hartse and Mike Cefalo
Tuxedo-clad Mike Cefalo is at the piano; his character is a dignified, dutiful accompanist for the high-octane singer, silently suffering while calmly keeping his eye on the ball—and the sheet music—also soloing with grace, bowing with an overdose of modesty. He’s a quietly charismatic presence. He does get to sing himself, quite attractively, and it’s worth the wait. Another fine musician, Alexander Sage Oyen, is the unsung contributor (guitar, drums, electronics, and arrangements), though he’s semi-hidden behind the piano most of the time. Perhaps a later version of the show will incorporate him more fully into the proceedings as a character with lines or visible reactions.
Kendal Hartse
One laugh-out-loud key element: the powerhouse chanteuse and the mega-mellow-voiced announcer commenting on her songs are the same woman. This cute conceit—the charade that they are two different people—suggests a low-budget “mom-and-pop” production. And, since it’s a radio show, the wasted effort in changing outfits for each number (unseen by listeners!) just adds to the wonderfully wacky tone.
We gather that those out there in Radioland, casually tuned in, are unaware that things are unraveling. The duo’s exasperation builds as the air remains donation-free. Like their real-life counterparts, they offer “incentives” for donations: “And on those nights you’re feeling lonely, think back to a time when live art made you feel less alone, and wrap yourself up in this UH OH! sweatshirt. Call! Please!!” Other tempting treats include a tote bag, an UH OH! coffee mug, and a CD box set of singer Hartse’s genre-hopping recordings.
Kendal Hartse and Mike Cefalo
Indeed, Hartse showcases her range with full-length renditions in an array of styles—from a dazzlingly deft Puccini aria to lighter pop fluff. There are two potent numbers from Jeff Buckley’s Grace, two Broadway treats—Irving Berlin’s “I Got Lost in His Arms” from Annie Get Your Gun and “He Needs Me Now” from the underappreciated Golden Rainbow—and “Needy” from Ariana Grande’s catalogue. The latter two might hint—subtly or not—at the show’s theme of desperate financial need.
Mike Cefalo and Kendal Hartse
The ending veers in another unexpected direction. No spoilers here, but—uh oh!—a dark note sneaks in before the finale. There’s a seductively subversive undertone, and a sighing reality check for those in the arts weary of constantly “selling” their work. One might think of the Sondheim line from “Putting It Together”: Art isn’t easy… Advancing art is easy. Financing it is not.
The creators could go further with the absurdity—adding new plot twists, more references to other station shows, or new characters—but even as-is, this is a satisfyingly spirited spoof. While the survival of the radio station may be in question, there’s little doubt that the brave Harlow Radical company—and this clever, 60-minute production—have prodigious potential for a bright future.
As they say in the world of broadcasting: stay tuned.
photos by Cat Washington
UH-OH
Exclamation Point Kendal Hartse Question Mark Live and in Concert Question Mark
Harlow Radical
The Gym at Judson Church, 243 Thompson St
played June 14 & 15, 2025
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