The Beauty of An Unhinged Pursuit of Self in The Jag

Blissfully mundane yet quietly chaotic, The Jag invites audiences into a world where anxiety—both pre-existing and born from messy interpersonal dynamics—becomes its own driving force. Written by Robin Schavoir and directed by Paul Felten,  the production's two week run at the Brooklyn Center for Theater Research unfolds as a series of tension-driven events that feel randomly niche and profoundly universal.

At its core, The Jag follows Tyler (played by Gilles Geary), a trouble-bound and ambitious yet wandering protagonist navigating a web of personal crises, as he embarks on a self-appointed stay in a house outside of his native Brooklyn, where he intends to finish his perpetually developing film. There, he meets the homeowner, Brian (played by Mickey Solis), a Jaguar-driving, tightly-wound foil to Tyler that often mistakes dedication to menial detail for passion. Juxtaposed passion drives both Tyler and Brian, one for an endeavor for the creative connection and attention of a scorned ex-lover, Cori-Elizabeth (played by Giovanna Drummond), and the other for a demand of subjective order and the attention of a yearned-after Heather (voiced by Chloë Sevigny). Rather than relying on high drama or explosive reveals, the play luxuriates in the small awkwardnesses, tensions, and fleeting moments that shape human relationships. But rest assured - if the escalation for fever-pitched conflict and the appreciation of petty moments is what you're looking for, this play is also sure to satiate your searches. 

The Jag's performances are delightfully prideful of the awkward and unafraid of the divulgence into prescribed personalities. Geary gives an organically uneasy standout performance as Tyler, capturing the anxious push-pull of the pursuit of influence and self-sabotage. Solis' striking play on the wealthy home-maker Brian added an airy and reassured element to the cast, made complete with delicious comedic timing and the accuracy within a sad yearning that comes with a demand for greed and order. Drummond's unwavering and holistic presence as Cori-Elizabeth compliments the chaotic dynamic of Tyler and Brian, grounding them to possibilities of fulfillment while constantly reminding them of the selfish elaboration of obsession by both parties.  I'd be regretful not to appreciate the omnipresent Heather (played by Chloë Sevigny), whose very existence catalyzes the drama and offers a literal voice of muffled reason. 

Director Paul Felten ventures into stillness and subtle pacing, allowing scenes to breathe even when discomfort droops heavy in the air. The set design by Bree Merkwan reflects the play's emotional beats, evoking a sense of transient attention and misplaced care. The sound and lighting design by Emi Verhar and Henry Mont are generous in giving back to the center's immersive space and the vulnerability of co-living in the story. 

While The Jag thrives in its attention to life's quieter catastrophes and unlikely epiphanies as a result of likely tensions, there are moments where its restraint risks slipping into stagnancy. The production rewards attention to the subversion of roleplaying with flashes of brilliance and piercing reflection on self-preservation. 

This 2-hour dance, wonderfully produced by Sophia Englesberg, Nick Newman, and Emily Lincoff, is a lovely exploration of self-description and purpose found in a Woodstock craftsman in the Hudson Valley. For audiences craving theater that finds beauty in the unhinged and humor in the banal, this run is a "jagged" triumph.

Written by Ann Tankersley

Cab Ellis’ Self-Titled Third Album Refuses To Sit Still

Cab Ellis is the type of band that is truly dedicated to making music for themselves. Their sounds veer away from mainstream, mass-produced music played in an arena, preferring to provide the soundscapes of an intimate concert in an underground venue. You can hear in the clashing, atmospheric instrumentals and the lead singer’s unpredictable vocals that this is music that is first and foremost creatively driven.

The Brooklyn-based band’s third studio album is reminiscent of early emo bands in that perfectly clean, precise technique takes a back seat to expression and artistic passion. But that is not to say there aren’t some talented musicians at the helm. The band consists of lead vocalist and guitarist Connor Abeles, drummer Chris Cotton, guitarists Devlin Tenney and Olin Clark, bassist Josh “Ugi” Uguccioni, saxophone player Greg Carleton, and trombone player Gabe Fraivillig.

The album has a complex sound profile blending the genres of indie rock, country, blues, jazz, and just a touch of folk to create an arrangement that feels like taking a road trip outside of the city. There is a distinctly Americana tinge to each of the tracks that is heard in the vibrant guitar riffs and jazz-inspired interludes that occasionally come between choruses.

The opening track, “Brand New Chair,” is an excellent introduction to both Cab Ellis’ chaotic brand as a whole and the album itself. The band’s press release describes the track as having “an eerie, neurotic, explosive energy,” creating a “tonal haven for organized chaos.” Rather than being a gentle entry into the band’s sound, you are pulled into an almost discordant clash of jazz and rock music that seems to fight with each other. You may be slightly confused until you start to hear traces of a melody, and slowly the various sounds start to come together like pieces in a jigsaw puzzle. Abeles utilizes a distorted effect on his percussive voice similar to some production techniques used by Dallon Weekes during his Brobecks days. At the same time, the spoken-word delivery—an homage to Abeles’ background in rap—evokes Twenty-One Pilots with some of the emphatic pronunciations of Johnny Rotten in “God Save The Queen.” 

The second track, “You’re Too Far Along,” is a stark contrast from the energetic opening. The album loves to keep listeners guessing both within songs and between tracks. This time, Cab Ellis opts to lean more into their penchant for country/blues with a slightly more cohesive harmony. Far from suddenly going country in a general indie/alt rock album, there is still an element of surprise by switching between a smooth wind orchestral arrangement and brash acoustic guitar strums. Abeles’ voice is stripped of the distortion in “Brand New Chair” to be placed front and center. What I found so interesting about this song is how it leads you into believing it is one thing (symphonic wind piece) before morphing into another song part way through (rough acoustic folk song) and proceeds to jump between the two.

“Just Like Napoleon” picks up where this track left off. More of Abeles’s vocal ability is shown off as he leaps between a falsetto, a yell, and more spoken-word delivery. It’s not quite rap, more like the type of talk-singing heard in musical theater or the kind of rhythmic speech you would hear at a slam poetry reading. Shifting significantly from largely acoustic sounds, “Just Like Napoleon” lands somewhere between Peter McPoland and The 1975.

One standout track, and my personal favorite, is the short interlude “I Hope Your Baby Get It All.” Leaning into a vintage, nearly archaic sound with a sparkling, chiming sound in the background, accompanied by a piano tune. This song is very atmospheric; there is a lot more harmony present rather than the musical parkour that the band tends to prefer. The interlude acts as a palate cleanser from the  packed, complex arrangements of “State Became A Country” with its echoic chorus and the loud, bashing chords of “Taste of Iron.”

The 10th track and single, “Crumbs of the Crumbled World,” feels like the true heart of the album. The opening chords of the intro are similar to those of the Regrettes, creating a surfer-rock sound with the kind of warmth that immediately brings the listener to the beach and boardwalk. / Abeles intertwines his spoken delivery with his distinctively jumpy singing style. His vocal style in this track could be likened to the style of Manchester-based indie artist Seb Lowe in songs such as “iPhone” and “Terms and Conditions.” The backing vocals provide a sleek backdrop, contrasting with some of the rougher, messier main vocals. While Abeles said, “I wanted it to be an ice-cold industrial New York City album,” this number has a certain warmth that brings the listener closer to the beaches of Montauk rather than the “ice-cold” city.

Cab Ellis is out now and available to stream on Spotify!

Written by J.D. Valdepenas

Photos by Colin Lane 

Cover Art By Mark Chamberlain

Harvey Brittain's Latest EP my heart keeps score

With the continuous rise and popularity of female pop stars, there seems to be a shortage of male pop stars… or is there? Harvey Brittain is proving that wrong with his new EP, my heart keeps score. With eight heartfelt and honest tracks, Brittain has curated a sound encapsulating a multitude of emotions alongside infectious melodies.

So who is Harvey Brittain? Originally from the UK, he is a 23-year-old singer-songwriter and producer blending sounds of modern pop, a hint of rock, and jazz inspirations sprinkled throughout. Now in LA, Brittain has been working on his music career, focusing on his sound and image, creating music that is both personal to his life experience and also relatable and catchy. This past year, Brittain has released songs one after the other, leading up to this EP release. 

Photo credit: Jake Ottmann

While the EP not only sonically demonstrates Brittain's experience of moving to a different country to chase his dreams in music, it also showcases the complexities within his self-discovery and romantic relationships. The lyricism displays how he writes from the heart, sharing a more intimate version of himself with listeners. Here I’ll highlight the EP and a few tracks, which I recommend listening to as you read!

Strategic with the order of the tracklist, “tangerine” is first, an already released single. It has an addictive melody that pulls you in immediately, starting with a finger-picking electric guitar, and Brittain’s songwriting paints the picture for us simply. A catchy, upbeat chorus–you can’t help but dance along to it. A perfect depiction of what good pop music sounds like. This is personally my favorite track, so overall a great introduction to the rest of the EP.

Now, an unreleased song, “obsessed” follows, further showcasing this feeling of yearning after someone, as portrayed in the first track. A beautiful piano trickles in as his vocals softly echo behind, in which you expect a slower song. The build-up to the pre-chorus is enticing and teases you with a heavy beat until it continues back to the keys. As the song carries on, the persistent drums and keys blend seamlessly with the guitar that comes in during the bridge. Brittain's strong vocals gravitate you to hitting that replay button as the sparkling keys close out the song.

The third (title) track, also unreleased, “my heart keeps score” is more of a ballad, with emotional lyrics and vulnerable vocals. Throughout, the production of the track shows a playfulness in the instrumentals, but it still stays true to the core of the song being personal. Here, Brittain’s writing is unrestrained and honest, depicting the hardships of dealing with a myriad of emotions through the end of a relationship. Vocals as intense as the lyrics, you truly feel everything he sings.

The sixth track, “eyes shut” was released in late 2024, with clever lyricism and alluring vocals. This being his most-streamed song makes sense; with a passionate delivery and punchy drums, it is hard not to love this song. To wrap up with his songs, “still hurting” the seventh track, is a broken love letter to a past lover. Once again, a ballad with a piano traveling alongside lyricism of hurt and honesty. It is one of those tracks that you can feel as closure, something that needed to be written. Choosing to be open and writing such a raw song is powerful, but it shows true dedication to his art. 

His closing track is a cover of “Somewhere Only We Know” by Keane. Truly making the song his own, Brittain’s vocals are strong and have this depth that reels a listener in. A beautiful way to close out his first EP release, showcasing his talent, his urge to create and share music, as well as connect with others. There is a beauty in writing reviews for new music, but there is nothing like listening to it yourself. Everyone will resonate with different songs for different reasons!

Listen to Harvey Brittain’s my heart keeps score and follow his socials for all future releases!

Written by Amy Kapel

Photography: Phil Allen