I admit this was the first time I have ever listened to an audio-only recording of a play, but Crowded Kitchen’s podcast of Charlie Barnett’s "Twelveness: A Play in Three Scenes" is the perfect introduction to a new way to experience theater, particularly since it explores the different ways we look at art.
The intriguing play imagines that real life composers Arnold Schoenberg and George Gershwin had in-depth conversations about their very different approaches to their music, while playing tennis and socially at a dinner party. Joining the two men is Schoenberg’s wife Getrud and Gershwin’s girlfriend, the dancer Ginger Rogers.
I saw the show originally when it premiered in 2017 at the Ice House in Bethlehem, and the podcast version produced and directed by Ara Barlieb and Pamela Wallace, has been trimmed to a enjoyably brisk hour and a half length. 
The show is nicely bookended by Easton composer Barnett’s moody jazz songs and Barnett also narrates the stage directions, which for the most part is not too complicated.
The production values are professional and, despite some cross discussions between the men and the women in the second act, it is not difficult to keep track of who is talking to who.
Dan Ferry’s George Gershwin is a bit brittle although full of himself and not afraid of baiting the older Schoenberg. As little signs of the brain tumor that would ultimately kill him begin to show, the composer who wrote American standard such as “Rhapsody in Blue,” “I Got Rhythm” and the opera “Porgy and Bess,” displays both frustration and vulnerability.
David Oswald’s Arnold Schoenberg is Teutonic and unyielding, a least at first. Schoenberg was known for writing highly respected classical music that was deeply influential but never approached the popularity of Gershwin’s music, something that makes Schoenberg both proud and jealous.
It is fascinating to listen to these two musical giants passionately debate about whether music is written for the composer or for the audience; and whether Schoenberg’s painstaking highly structured music is more “serious” than Gershwin’s written-on-the-spot “dance” music. Ironically, Schoenberg is envious of the ease at which Gershwin taps into his creativity and his legions of fans; while Gershwin worries that his music, while popularly successful, is not regarded as true art – the way he views Schoenberg’s compositions
Trish Cipoletti is charming and vivacious as Ginger Rogers who doesn’t put up with Gershwin’s moodiness and slowly pulls Shoenberg out of his self-imposed shell, teaching him something about art and himself.
Syd Stauffer is refreshingly straitforward as Gertrud, Schoenberg’s supportive wife who is obviously smart, but frustrated. More adapting to the American way of life after the couple emigrated from Austria, she is attracted to Gershwin and eager to experience more of life. Her soliloquy shows her determination to gently find her own path as she breaks away from her Old World past.
The first of Crowden Kitchen’s planned audio theater productions is thoroughly enjoyable and an enriching way to experience smart theater.
The title "Twelveness," refers to Schoenberg's development of the 12-tone method of composition.
For information go to www.crowdedkitchen.podbean.com
EDITOR'S NOTE:
Crowded Kitchen's theatrical production of 'Twelveness' premiered in June 2017 at The Charles A. Brown IceHouse, Bethlehem, Pennsylvania as part of its performance art series, 'The IceHouse Tonight'.
The play was directed by George Miller and featured Lehigh Valley actors Ryan Macnamara, Syd Stauffer, and Stephanie Gawlas Walsh.