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Julie Voshell, Patrick Dooley, Bendan McDonough, Becca Ballenger, Rachel B. Joyce, and Adam Weppler (Photo: Hunter Canning)

Julie Voshell, Patrick Dooley, Bendan McDonough, Becca Ballenger, Rachel B. Joyce, and Adam Weppler (Photo: Hunter Canning)

Ask yourself a question and be honest. Why do you go to the theater? You can be entertained in a crowd at the movies. You can see live music and dancing at a club. You can get first rate dramas with name actors on your phone during your morning commute, if that’s what turns you on. On Broadway, you might shell out two hundred dollars to see a “name” actor in the flesh, but why spend twenty on a bunch of anonymous Millennials in a home grown production? You may visit one of New York City’s many “classical” theaters to see productions of historically important plays — if you’re a historian — but does anyone, anyone outside of the theater that is, think that plays are educational or politically influential?

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Ryan and Jenni on a rock in CO

Ryan and Jenni on a rock in CO

Adolescence is a special time, when boys and girls become men and women, and the inherent fantasy experience of childhood meets the brutal reality of adulthood. Less Than Rent (the name makes me think of Bret Easton Ellis’s novel Less Than Zero and the musical Rent) theater company’s production of Words, Razors, and the Wounded Heart at Under St. Mark’s Theater offers the connoisseur of teen angst a stage full of beautiful, young, white kids at the center of an adolescent vortex, gyrating to popular music, addicted to sex, drugs, and drama.

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