Reisterstown Theatre Project is presenting its spring selection, Narnia – the Musical, with a cast of all ages. The magical production is directed by local teacher Kathy McCrory. The adventure opens Friday, March 2nd and runs through this weekend. Here Kathy tells us about her foray into the world of Community Theater and why she chose to direct Narnia .
Teresa: Tell us about your journey into theater life.
Kathy: I was recruited to help our pastor put on a musical for our parish about 12 years ago. I had never sung or been on stage before, but ended up with a part as well as helping to direct The Music Man. Another teacher and I were only supposed to observe so that we could learn how to work with middle school children and set up a drama department in our school. It opened up a whole new world for me, and I have never looked back. We were a group for 5 years and put on five years before our pastor left and most of our group fell away. I met some wonderful people and it opened doors to other community theatres in the Baltimore area.
RTP is a small community theatre that is struggling to bring the theatre experience to the Reisterstown area. All the members of our group are close friends and work closely together with the rest of the group to choose plays that will get the community interested in theatre. I think Narnia is one of those shows that we hope the community will enjoy.
What drew you to Narnia – the Musical?
Director Kathy McCrory. Photo provided by Yuriy Benkler.
I had stage Managed Narnia about 6 or 7 years ago for another company and fell in love with it. I thought it would be a great show that would draw both young and old to see and take part in the show. So far I think that is so. We had 80 people audition for the show of all ages. Now we hope that we get many community members to come out and see it.
What is your favorite scene and song from the show?
There are a couple of scenes that I like best. One of them is when we open the curtains to see the witch’s castle for the first time, and the song I like best is “From the Inside Out.” That is [sung] between Aslan and Edmund. It shows Edmund realizing he made a mistake and wants to change and forgiveness.
Narnia has some iconic archetypes: heroes, villains, and coming of age all wrapped into one. What character or characters do you relate to?
Not sure that I identify with any one character, but I like the children, and watching them go from being children, to growing up a little and taking responsibility for each other. I am the oldest of five, and can relate to Peter keeping track of his younger brother and sisters.
What is your vision for the magical and imaginary land of Narnia, and how are you bringing it to life?
Cast of 'Narnia the Musical.' Photo from Reisterstown Patch.
We have very little in the way of resources to make things really magical, but with the use of lights and the characters themselves making the magic. .
How would you describe your style of directing?
My style of directing is like my teaching style. As a stage manager, I watched different directors, and picked up little tips that I figured would work for me. As a teacher, I have learned to work with children and adults. I like to keep things moving and everyone engaged. Encourage everyone to do their best, and never worry about mistakes. It will all come together in the end.
Narnia – the Musicalplays through March 17, 2012, at Reisterstown Theatre Project at Franklin Middle School – 10 Cockeyes Mill Road, in Reisterstown, MD. For tickets call the box office at (443) 246-6401.
Do you like American Idol, The Voice and…[insert competitive reality show here]? Do you like “March Madness”? Then you’ll love Washington Improv Theater (WIT)’s cheerfully exuberant mash-up Fighting Improv Smackdown Tournament (FIST). For five weeks, 58 teams will battle each other for the right to be crowned FIST champion. In its sixth year, FIST features three-person improv teams who are allotted 12 minutes to win over the crowd with no holds barred. The format is longform improv – there are no rules and nothing is sacred – and the performance I saw included riffs on Krispy Kreme, snake/man love, gnomes, and mall food courts. Even the team names reflected that kind of random humor: “Mama’s Got an SUV”; “Mission Improvable: In 3D”; “Steamed Broccoli”; and “Shark Tank.”
Like many competitive reality shows, there were innocuous hosts/improv guides (Juliet Mazer-Schmidt and David Sewell for the performance I saw) but the fates of the teams are ultimately left to the audience who vote via paper ballots. While the votes are being tabulated, one of WIT’s house improv teams “(Commonwealth” on my night) performs. This is a clever way for WIT to showcase and advertise their in-house talent, which also included a plug for their classes.
What I found the most interesting is that WIT improv-ers of any skill level could enter their own three-person team so you are never sure what you’ll see in terms of experience and quality. One of the unique features of improv is that it clearly shows the strengths and weaknesses of both individual players and the chemistry of the team from the first time a word is collected from the audience. As a result, I enjoyed two of the four teams very much and spent much of the time the other two were performing cringing as awkward silences and unfunny jokes took over. But because each team is only allowed 12 minutes, no one overstays their welcome. This is a perfect night of entertainment for folks with short attention spans.
But ultimately even the teams I didn’t really enjoy elicited some laughs and I realized that’s what I love about improv. Good or not-as-good, the players are fearless, it’s a different show every night, the jokes are often hilariously inappropriate and in the case of FIST, everyone loves a good competition. So wear your team colors, DVR that important basketball game, and be ready to laugh all month long.
FIST plays through April 7, 2012 at Source – 835 14th Street NW, in Washington, DC. For tickets, call (202) 204-7770, or purchase them online.
The ground breaking, innovating, guitarist Jimi Hendrix became a legend of rock and blues music in his brief life. Forty years after his death his legacy lives on with the Experience Hendrix tour. The tour blends some of the best contemporary musicians with classic artists to pay homage to the guitar hero. Waves of distorted, feedback fill guitar solos rocked The Music Center at Strathmore on Tuesday, March 6, 2012. The real Jimi Hendrix Experience and his Band of Gypsys was represented by Billy Cox who played bass in both of those bands on this tour. Blues legend Buddy Guy – who influenced Jimi Hendrix – also played a tribute. Brad Whitford, from the classic rock super group Aerosmith, also performed.
The night really belonged to the younger guitar slingers. There was the second generation musician Dweezil Zappa, and former teenage blues prodigies Johnny Lang and Kenny Wayne Shepherd, who have become rock-solid guitarists, stole the show with their performances. Eric Gales and Mato Nanji also showed they could hold their own with a Fender Stratocaster.
The show started with a brief video on Jimi Hendrix, then the screen rose above the stage and the artists took over. The first song was “Stone Free,” featuring Gales and Nanji on guitar along with Billy Cox on bass. Eric Gales brought a flashy, exciting approach to his guitar playing and it shined on “Foxy Lady.” After a couple of songs the cast changed. Dweezil Zappa played guitar for a few songs but EricGales – who provided most of the vocals – played more leads.
Kenny Wayne Shepherd. Photo by Mike Spain.
The next rotation featured Aerosmith guitarist Steve Whitford playing with Johnny Lang, who was one of the stars of the show. They covered “All Along The Watchtower,” a song made famous by Hendrix, but originally a Bob Dylan song. Johnny Lang performed the song on acoustic electric guitar and provided the vocals as well, while Steve played electric. The blend was nice and was a refreshing take on the song. They also covered another Dylan song – “Like a Rolling Stone” (at this point everyone was playing electric guitars). The set included “Fire,” “The Wind Cries Mary,” and ended with “Spanish Castle Magic.” Johnny played inspired solos giving his all on the stage. He showed his guitar work had improved over the years – since he entered the scene as a prodigy in the early 90s.
Lang was followed by another guitar prodigy of his era -Kenny Wayne Shepherd. Kenny was joined by his vocalist Noah Hunt for his set. Kenny rocked out to “I Don’t Live Today,” followed by “Let The Good Times Roll.” His set ended with a long, version of “Voodoo Chile,” which included some very long and impressive guitar solos from Shepherd, who even played the guitar behind his back, which earned his playing a standing ovation from the Strathmore crowd. It is important to note that drummer Chris Layton of Stevie Ray Vaughan’s Double Trouble Band provided drums for most of the evening. He is an exceptional drummer.
Johnny Lang and Buddy Guy. Photo by Mike Spain.
Billy Cox returned for the closing set which featured blues legend Buddy Guy. He apologized that his voice was not there tonight- but he gave it a good effort. His guitar playing was great and his playing was one of the highlights of the evening. He started with “Rock Me Baby” and was joined by Johnny Lang – who stayed along with Billy Cox for “Hey Joe.” Guy could hold his own with the guitarists from the younger generations. Simply put – he could show a bit of flash – but more importantly- he could get more out of one or two notes than someone else could do with a flashy guitar solo. Buddy Guy brought Kenny Wayne Shepherd up for the finale of “Red House.”
The cast. Photo by Mike Spain.
It was a wonderful opening night for the 2012 Experience Hendrix Tour. As great as the evening was – the rest of the tour will only get better as more guests join the tour at later dates.
Saturday, March 3, 2012 was declared ‘Smokey Robinson Day’ in Washington, D.C. by Mayor Vincent C. Gray shortly before the legendary musician took the stage at the sold out Kennedy Center Concert Hall. However, the night belonged to Duke Ellington School of the Arts who benefited from the show. The school was also able to highlight some of the incredible performers from the school’s past and the amazing talent the school is producing now.
The student band featured Joshua Allen, Daniel Azi, Taylor Forte, John Hunt, Corbin Johnson, Emily Jordan, Yolanda Maybry, Jacob Rosenberg, Julien Spires, Jonathan Stewart and Michelle Thorton. They were equally at ease providing a groove for the dance department or backing up the school’s vocalists. he school’s vocalists included Jordan Aanrud, JeJuan Everett, Randyn Fullard, Niya Norwood, India Reynolds, and Cornelius Williams who displayed technical mastery and professional stage presence.I mention the names of the student musicians names because the odds are you will hear from them again. he musicians backed Ellington Alumnus and recording artist Sylver Logan Sharp as they performed a dynamite version of Smokey Robinson’s “Since, I Lost My Baby.” The Duke Ellington School is more than music and the band provided the background music as poet Lauryn Nesbitt delivered a moving tribute to Mr. Robinson. Lauryn is further proof the school produces creative minds.
Actor Lamman Rucker gave testimony on how the school has helped his career. Duke Ellington’s children, April and Edward, were present as well. The Mayor and radio personality Donnie Simpson also filled in time before the main attraction.
Smokey Robinson did not disappoint. He went way back to his Miracle days to open the show with “Going to a Go Go.” He started the show wearing a white suit, but before the night was over he would be sporting his purple leather pants. Smokey left most of the wardrobe changes to the beautiful dancers Tracie Burton and Linda C. French.
Robinson was backed by vocalists Karri Benoit, Amon Bourne, and Serena Henry. Keyboardist James Pappas served as the musical conductor of the band which included keyboardist S’von Ringo, Jr., Robert “Boogie” Bowles on guitar, Kenneth Gioffre flutist and saxophonist, bassist Gary Foote, and drummer Harold “Tony” Lewis.
Singer Smokey Robinson, left, is greeted by students from Duke Ellington School of the Arts, including Niya Norwood, right, uponhis arrival at the school in Washington, Friday, March 2, 2012, where he spoke to students. Robinson will perform at a benefit concert for the school on Saturday at the Kennedy Center. (AP Photo/Jacquelyn Martin).
Smokey played lots of old hits including “I Second That Emotion,” “You’ve Really Got a Hold on Me,” “Ooo Baby Baby,” “The Tears of a Clown” from his Miracle Days. He also through in a strong set of songs he wrote for the Temptations including “The Way You Do The Things You Do,” “Get Ready,” and “My Girl.” Throughout the evening Smokey threw out colorful antidotes about The Temptations, Stevie Wonder and the remarkable Motown days. One of the more humorous stories was about Stevie Wonder wanting to drive him to the studio to record something right then, but saying he declined because Stevie drove too fast.
Robinson could have filled the whole set with songs he has written however he chose to play some covers. He covered Vanessa Carlton’s “Don’t Know Why” which shows the 72 year-old singer still pays attention to recent music. He also performed some standards such as “Fly Me to the Moon” and “I Can’t Give You Anything But Love.” He also performed songs spanning his entire career including “Quit Storm” to his latest hits “Time Flies” and “That Place.”
During his show Smokey praised the musicians from the Duke Ellington School who opened for him. Robinson said the evening’s cause was important to him as he knows schools are dropping music and arts programs. He stated he “I wish we had art in all schools,” as he explained how music helped him and changed his life.
Smokey Robinson speaking to students at Duke Ellington School of the Arts. (AP Photo/Jacquelyn Martin).
Smokey Robinson finished the show off strong with the classic “Tracks of My Tears.” He followed that with a long version of “Cruising.” The last number turned into a group sing-along. It also included an incredible saxophone solo from Kenneth Gioffre which garnered a standing ovation. Smokey’s voice might be softer now however he can still hit all the notes. His age did not stop him from doing dance moves that made the crowd worry he was going to break something.
Smokey Robinson delivered a two hour show celebrating his incredible past while helping to pave a brighter future for the next generation of musicians. It was memorable event!
Featured picture: Singer Smokey Robinson.
Running time: Approximately 3 hours, including the opening act and speakers.
Making great theatre is “all in the timing.” How could Act Two @ Levine have known their production of Legally Blonde The Musical would fall during a week of tense national discussion over women’s rights, fueled by Rush Limbaugh’s controversial comments and delicate political posturing by primary election candidates? As a result, for perhaps the first time in the history of this fluffy pink musical confection, Act Two’s superb production of Legally Blonde put a fine point on its message of the importance of “Girl Power” with knockout performances by spirited young women who represent the next generation of America.
Casey Klein (Emmett). Photo by Carmelita Watkinson.
Chalk “clairvoyance” up as another one of genius Act Two Director Kevin Kuchar’s many artistic gifts. He and his team of directors and designers (kudos to vocal coach Jennifer Suess, Music Director/Conductor/Keyboardist Billie Whittaker and her full pit orchestra) have positioned Act Two as a premiere hub for training young actors in the art of Musical Theatre. His students consistently demonstrate Broadway-bound skill, and Act Two makes them look incredible with production values on par with many professional theatres.
Based on the 2001 film starring Reese Witherspoon, Legally Blonde The Musical tells the story of Elle Woods (played by Maya Bowman and Kelley Semple in alternating casts), a sorority girl who follows her hunky ex-boyfriend Warner (Sean Watkinson) to Harvard Law School in an attempt to win him back. A tough choice evolves for Elle: win back the boy, or embrace her destiny of helping people as a high-powered attorney?
Act Two employs the technique of rotating actors through multiple roles in different performances, which is a skill they need to develop to work in Broadway and National Touring Company productions. I enjoyed the Saturday afternoon cast performance so much that I brought my family back with me to see the Sunday afternoon cast performance.
Maya Bowman lead the “Friday Night and Saturday Matinee” cast as Elle with professional-caliber musical phrasing, and a thoughtfully restrained characterization that supports a realistic transition from sorority party girl to serious law student. Casey Klein was endearing as Elle’s unlikely love interest Emmett, and his soaring tenor duets with Bowman were highlights of the production. Sean Watkinson made the ideal Warren with super-suave physicality and smooth pop-style vocals. Sophie Spencer-Zavos charmed the audience as hair-stylist Paulette, the role originated on Broadway by Orfeh. Alexander Greenberg brought an edge of ruthlessness to his deceptively-smarmy Professor Callahan. Kayla Dixon stole the second act with her commanding presence and electrifying vocals as fitness guru turned prison inmate Brooke. As Warren’s new girlfriend Vivienne, Julia Bernstein also unveiled powerful vocal skill late in the show. Adin Walker demonstrated versatility through a variety of small comedic roles, most particularly the studly UPS man of Paulette’s dreams and a pool boy of ambiguous persuasion (“gay or European?”). Other stand-out comedic performances included Rachel Hahn as mega-feminist Enid and young Justin Marks as the foul-mouthed Dewey.
The “Saturday Night and Sunday Matinee” cast brought the same level of talent, but characterizations differed in some delightful ways, truly making this production worth a second viewing. As Elle, Kelly Semple set the tone for this cast by embracing the comedy of the role, and won the audience with a star quality performance. Eitan Mazia made a similarly goofy and charismatic Emmett, and together they matched the vocal power of their Friday cast counterparts. Katie Gerard was a standout in this cast as Paulette. Her understated performance hit all of the right comedic notes, and her Earthy vocal quality might someday land her a career as a solo music artist. Bryce Gudelski portrayed a perky Brooke, and Emily Cochrane’s Vivienne successfully captured the dour essence of Selma Blair’s film turn. Adam Winer showcased some serious dance ability, and it was fascinating seeing Rachael Schindler blend seamlessly into the ensemble after her hoot-of-a-scene-stealing performance as party-animal Serena in the Friday cast – this young actress is a pro!
The cast of 'Legally Blonde' at Act Two @ Levine. Photo by Carmelita Watkinson.
Act Two@Levine’s production of Legally Blonde The Musical is now closed, but if there is an aspiring young performer in your household, check out Act Two for information about upcoming auditions and productions.
Last Wednesday the swashbuckling Captain Ross Poldarkswept into town and into the salon of prominent Georgetown socialite, Nancy Taylor Bubes. Well actually it was Robin Ellis, star of the BBC series Poldarkwho held court in the Q Street mansion to a swarm of adoring aficionados of the Masterpiece Theatreclassic. It seems the elegant British actor still has the same draw with the ladies. “Downton Abbeycan’t hold a candle to Poldark,” quipped one starry-eyed fan.
But we were there for a book signing, weren’t we? A polite query on the coveted invitation asked guests to consider preparing a dish from Ellis’s new Mediterranean style cookbook, Delicious Dishes for Diabetics – Eating Well with Type 2 Diabetes. Recipe cards would be forwarded. That was all the prompting needed to get an astonishing array of delectable low-carb, no sugar dishes for the gourmet potluck.
Ellis told the assembled foodistas that both he and his darling wife, Meredith, had discovered they had Type 2 diabetes, prompting him to compile and share his collection of favorite go-to recipes, including treasured ones from his notable friends. A cold cucumber soup from Donald Douglas, his former nemesis Captain McNeil from the series and now a neighbor, is included in the bespoke book.
Fellow Brit actor, Catherine Flye, glowing from her recent nomination for a Helen Hayes Award as Outstanding Supporting Actress Resident Play for her performance as Mrs. Bennet in Pride and Prejudice at Round House Theatre, was there to cheer on her compatriot. “It was lovely to see him this side of the pond. I loved his book. It’s simple, direct and easy to follow. It’s like cookery from the heart.”
Robin Ellis and Katherine Tallmadge watch as Janis McLean demos a recipe from the book. Photo by Jordan Wright.
The posh get-together, organized by noted local dietician and nutritionist, Katherine Tallmadge, also featured a cooking demo by Janis McLean, Executive Chef of Cleveland Park’s Bistrot Le Zinc. Many of the recipes have been adapted from (and graciously credited to) notable cookbook authors like Marcella Hazan or Jaime Oliver, two of Ellis’s favorite chefs. Charming illustrations by Hope James of the Ellis’s laidback life in Southwest France, a place where we’d all like to cook, fill the pages of this evocative cookbook.
And now please excuse me while I watch the new Poldark double DVD set while “Charlotte’s Chicken Tagine” simmers happily in the pot.
Charlotte’s Chicken Tagine
Serves 4
1 large chicken – jointed in 8-10 pieces
3 onions – peeled and quartered
2 medium fennel bulbs – outer leaves cut off, cored and quartered
6 cloves of garlic chopped
1 tsp. each turmeric, cumin, paprika, cayenne, and ground ginger
1 tsp. saffron threads
Salt and pepper
1 cup vegetable stock
Olive oil
Handful of green olives
1 preserved lemon – rind only, cut in strips
2 tsp. chopped cilantro or parsley
– Put the chicken pieces in a casserole, or tagine, if you have one.
– Pack in the onions and fennel pieces.
– Sprinkle over the garlic and spices. Season with salt and pepper.
– Pour over the stock and drizzle over some olive oil.
– Bring to a very gentle simmer. Carefully turn over the contents in the liquid. Cover and cook for one hour, basting occasionally. The chicken pieces should be sumptuously meltingly collapsed when ready.
– Add the olives and lemon rind and continue cooking for 10-15 minutes more.
– Add the cilantro or parsley just before serving with a steaming plate of basmati rice.
We are the modern fairytale. But waiting in a New York City subway station for the fairytale to come to us; the fairy godmother to fix our lives – it doesn’t always work that way. And Glass Mind Theatre’s production of Adapting Cinderella sets out to show us that everyone can have a happily ever after – but it isn’t always as easy as waiting around for the prince to show up or the shoe to fit.
Two historical takes on Cinderella— one set in China and the other set in Egypt, with a modern framing set in the New York City subway station this tale combines interpretive movement-based dances as well as exploratory techniques to help the audience get the message.
Director Andrew Peters worked with his ensemble to develop this piece to deconstruct the ideas, themes, and imagery that are generally associated with the term “Cinderella Story.” Using familiar text excerpts as well as popular songs Peters and company incorporates everything from Disney Magic to grungy homeless people into this exploration of what being in a fairytale really means. The overriding performance method, aside from storytelling, is interpretive dance. Choreographer Sarah Ford Gorman worked extensively with the actors to create fluid movement-based pieces, often task driven in nature to illustrate the story as it unfolds. One of the most beautiful pieces is during the Chinese story of “Yeh Shen” where Yeh Shen (Cori Dioquino) shares a dance with the magic fish (Sarah Ford Gorman.) The pair mimics and imitates the movements of water, each guiding the other through the dance sharing joyful giggles of youthful innocence. Coupled with the serene sounds of music underscored with the ocean, compliments of sound designer Andrew Porter, this dance piece symbolizes the innocent curious young girl inside all Cinderellas.
The piece is filled with both words and silence, relying heavily on both to tell the story. Cori Dioquino as Yeh Shen spends that entire story segment in silence but manages to express through her physicality all the words that she never speaks. Her body movements are as articulate as her words would be and her facial expressions give the audience every emotion her intonation would provide. Dioquino gives a stunning silent performance, racing through wave after wave of changing feelings and tasks, using her body as her instrument to play her song for eager on-lookers. We see another poignant execution of silence in place of words from Siobhan Beckett as Jin, the evil step-mother, in that same story. Beckett uses piercing gazes and sharp facial movements to express her fury, ultimately painting her up to be the epitome of evil.
The loquacious side of these stories comes mainly from Gus (Peter Blaine) who acts mostly as the narrator, telling his tale to all who will listen in the subway station. He also lays out the setup for each of the new Cinderella stories as they begin. Blaine uses a lot of his own text, created during rehearsals, to express his disenchantment with the Disney notion of fairytales. He expounds upon his bitterness with more words, creating a drastic comparison to the characters who feel similar emotions but express them with their bodies. Blaine’s startling realizations throughout the piece are raw and genuine as if he were speaking from the heart.
The company further dazzles audiences with their unique use of shadow play. Actors during the “Yeh Shen” story stand in front of the scrim acting out the motions of trying on shoes while a shadow of a shoe appears on the curtain. The shadow mimics the action on stage creating a parallel between the two. There is also a use of quazi puppetry during the “Rhodopis” story set in Egypt. Sarah Weissman, Siobhan Beckett, and Francis Cabatac, use animal heads on sticks to interact with Rhodopis (Elizabeth Galuardi) during her time of self-doubt. These animals overlaid with their audio calls create the magic in this story as these animals are meant to be the Gods in an earth-bound form.
There are many other monologues and movement pieces throughout the show that tie the dreariness of reality into the bright sparkling magic of fairytales creating a comparison and a fusion. It is a unique adaptation; designed for interpretation and exploration of the audience’s mind and preconceived notions regarding Cinderella and other fairytales that start with “Once upon a time…” and end “Happily Ever After…”
Running Time: 90 minutes no intermission.
Adapting Cinderellaplays through March 25, 2012 at Glass Mind Theatre, in The Loft – 120 West North Avenue, in Baltimore, MD. For tickets, purchase them online or at the box office in person as early as 45 minutes prior to show time.
Children’s Theatre Encore Stage and Studio presents The Magical Lamp of Aladdin, a lively production directed by Chuck Leonard. By engaging children and adolescents in every facet of their productions (not only as the primary audience, but in both backstage and onstage aspects as well), Encore Stage and Studio’s goal is to actively foster and encourage new generations of theater lovers– and they seem to be doing a fantastic job.
Set Designer Michael C. Null keeps it pretty simple – most of the action takes place in front of a curtain backdrop. A merchant’s stall is used for the city setting, and gilded curtains frame a hefty heap of cushions for a palace scene. Null is also the lighting designer for this production, and keeps the stage well-lit. Artistic and technical director Susan Alison Keady uses sound cues such as construction noise, as well as gongs and other percussion instruments to announce a characters presence or sudden tension shift. However, the best feature of this production has to be the costumes and make-up designs, created by Debra Leonard. An evil magician and his sister sweep the stage in glittery black robes, with a ring sparkling from every finger. Patched, frayed beggar’s clothing lends way into boldly colored sashes, shawls, and scarves. Beaded dresses and printed tunics of every color, as well as daring make-up and hairstyles, make up a well-dressed cast.
Speaking of the extensive cast, it ranges in children of seemingly all ages, without a single adult in sight. Directing a stage-full of children and young adults cannot be such an easy feat, and Leonard successfully pulls together a good show from his talented team of youths. Aladdin, played by a highly energetic Andrew Ruhnke, is a simple but determined young boy that charms his way into the lives of the people around him (though somewhat begrudgingly…he manages to even make friends with merchants that he has stolen from!) With his playful monkey Alakazam (Eva Gary -who is a clear crowd favorite) by his side, his lighthearted nature makes it hard not to like him, and royalty is no exception, as Princess Jasmine (a sweetly delicate Abby Huston) falls in love with him in an instant. However, Aladdin must please his way into Jasmine’s parent’s hearts and their approval (Thomas Kelty as the somewhat timid Sultan, and Honora Logsdon as his greedy, bossy Queen Sultana) through way of their pockets. How can Aladdin win his love when he has nothing to offer but love itself.
Andrew Ruhnke (Aladdin) and Abby Huston (Princess Jasmine). Photo by Larry McClemons.
His chance comes when a wicked magician named Jammal (Hugh Vasquez) disguises himself as a long-lost uncle and strikes up a deal for Aladdin to consider. Jammal desires a magical lamp that only Aladdin can fetch, and together they embark on a dangerous adventure, full of dragons, carpet-rides, and genies. Though Aladdin is clever enough to sense that Jammal is up to no good, he is also eager to obtain wealth. Can Aladdin out-trick a powerful magician, as well as overcome other risky obstacles? Will he find his way out of Jammal’s clutches and back to his true love and family?
What is most refreshing about this production is that it is full of enthusiastic youths that are clearly having a wonderful time. Particularly talented performances came from the hilarious Meghan Mack as Chop-Chop, the royal executioner, and the huffy disdain of Honora Logsdon’s Queen Sultana. While these children are only beginning to hone their craft, and the acting can be rough-around-the-edges, it is encouraging for other children to see their peers onstage. The effect is an inspiring one, and if your children are interested in theater, I especially recommend that they take in this production and see that they too, can be a star.
Running time is 90 minutes, including one 15-minute intermission.
Feature Logo by Laury Sendek.
The Magical Lamp of Aladdin runs through March 18, 2012 at Encore Stage and Studio at Kenmore Middle School – 200 S. Carlin Springs Road, in Arlington, VA. For tickets, call (703) 548-1154, or order them online.
GrooveLily band member and powerhouse electric violinist, Valerie Vigoda, talks with Jordan Wright about the group’s meteoric career and what fans will hear at their March 16th concert date of Sleeping Beauty Wakes at Wolf Trap.
Jordan Wright: How do you feel about performing for the first time at Wolf Trap?
Valerie Vigoda: Well, I grew up going to Wolf Trap so I’m very excited.
What does it mean to you as a local?
It’s something I’ve dreamed of doing in my younger days. I grew up going to Wolf Trap. My family and I came to many shows here as well as every Fourth of July. I remember one of my favorite concerts was seeing Jonatha Brooke playing solo at The Barns. I even ushered there one summer. It’s a place that’s been dear to my heart my whole life.
Can you talk about your group’s autobiographical show, Wheelhouse?
It has been on the back burner for many years. The show concerns the events of our lives over ten years ago. It is about the period when we gave up everything to tour in a used RV. It was a bad decision and everything went wrong almost immediately. It turned into a physical and symbolic millstone around our necks. Because after three months it sat at a repair shop and needed a ton of money to fix it. It was like a Catch 22 because we needed it to get to our gigs, which was our main source of income, which could ten pay for repairs. So we just spiraled down to the lowest point we have ever been. It was really tough. Part of what makes the Wheelhouse interesting and funny is that after all these years we now have the distance to look back at the situation and find the humor.
It took us a while to be very honest with ourselves and write about it. And Gene, our drummer whose character arc has always been of someone who had been very cautious with his life has been able to take a leap. Now Wheelhouse is about to be produced and will be directed by Lisa Peterson. We open in Palo Alto on June 6th.
When we come to Wolf Trap to do Sleeping Beauty Wakes we’re hoping to do some numbers from the show. We’ll do a concert version of some of our numbers but not in costume. We’ll also be able to give people a glimpse into the writing process.
Can you talk about your work with Disney?
We have been doing a lot with Disney since we moved to Los Angeles. The first thing was a one-hour musical adaption of the Toy Storyfilm. It’s a story that has always been one of our favorite Disney productions, because it was one of the first dates that Brendan and I went on. That project led us to meet some people that work at DisneyToons and they are the people who are putting out the new Tinkerbell movies. They are coming out with new movies about once a year.
The first one we got involved with was the second movie Tinkerbell and the Lost Treasure. We wrote the opening and closing songs for that as well as Tinkerbell and the Great Fairy Rescue. From there we have written forTinkerbell and the Secret of the Wings and we wrote two songs for that one as well as Tinkerbell and the Pixie Hollow Gamesthat was a TV special that came out around Thanksgiving 2011. Up until that film the sound they wanted was very Celtic, like Enya, with pennywhistles and Irish bodhran drums. It was very lush. But the songs were not going up on the charts.
Lately they are using more pop songs and we wrote “Dig Down Deeper” for them. It was performed by the very charismatic performer, Zendaya, who sung it on the Build-a-Bear float at the Macy’s Day parade last year. It was very exciting and the song was nominated for our first 2011 Annie Award (industry awards for animated films). We are getting to explore a wider breadth of song styles under the Disney umbrella and we’ve loved working with them over the past six years.
Lately your musical Striking Twelve has been staged by other groups who often perform it by expanding the roles to the size of the cast. Do you think that will continue?
GrooveLily band members (l to r) Brendan Milburn,Valerie Vigoda, and Gene Lewin. Photo by Leslie Lyons.
After 2007, we adapted it for larger casts like high schools who could have 25 people in one cast. It depends on the size of their cast and musicians how they put it on. It seems to really work well whether they have a cast of three like we do or many more. This past year there were productions in Helsinki in Finnish as well as Korea and Zimbabwe. We look forward to the opportunity to see other people performing it.
What is the future of your solo performing?
I’m thrilled about it. On a personal level, and in our household, the desire to perform is different between Brendan and myself. He doesn’t miss it but I really need it. In order to make us each be our happiest we put together something that I could perform on my own and we are currently producing a musical we wrote called Ernest Shackleton Loves Me.
Can you tell me about your use of live ‘looping’?
We realized we could take music from Ernest Shackleton Loves Me. We got a copy of Ableton Livewhich is an incredibly powerful program that people use for looping and deejaying and we put that together with my electric violin and the vocals and out of that what is possible is for me to create from scratch for the audience in real time. I can create soundscapes and full background rhythms and harmonic backgrounds to the vocal as well. It’s as if I have a band behind me that created it. It’s a really interesting way to build a song.
What we realized is that we could take music from Ernest Shackleton… along with mashups and stand alones of cover songs done in a new way I put together a whole solo concert. We plan to add some songs from this show to our March 16th concert.
Using this technology I have done two full-length solo concerts around the country that are on my website. It’s one of the projects that we are currently juggling.
The group performs together less frequently than we used to since we live on opposite coasts, so when we do get together it’s extra special and extra fun. Now that we’re all parents the central story is even more resonant to us and performing together is one of the most beloved things we do. And in a wonderful venue like Wolf Trap, I can’t think of anything better.
Featured Picture: Valerie Vigoda. Photo by TracyMartinPhotography.com
Last night the Washington Area Theater Community Honors ‘WATCH AWARDS’ for excellence in Community Theatre were announced at Birchmere in Alexandria, VA. The big winner was The Little Theatre of Alexandria’s foot-stomping production of the musical Hairspray, which danced away with 15 awards.
Here are the list of nominees with the winner(s) in bold.
Outstanding Musical Hairspray at The Alliance Theatre 25th Annual Putnam County Spelling Bee at Damascus Theatre Company Ain’t Misbehavin’ at Elden Street Players Hairspray at The Little Theatre of Alexandria Annie at Rockville Musical Theatre
Outstanding Play Grace and Glorie at Bowie Community Theatre The Shape of Things at Colonial Players of Annapolis A Midsummer Night’s Dream at Elden Street Players Noises Off at The Little Theatre of Alexandria Stones in His Pockets at The Montgomery Playhouse Auntie Mame at Providence Players of Fairfax The Shadow Box at Providence Players of Fairfax
OutstandingDirection of a Musical
Stephanie Bonte-Lebair for The 25th Annual Putnam County Spelling Bee at Damascus Theatre Company
Annie Ermlick for Hairsprayat The Alliance Theatre
Richelle “Rikki” Howie for Ain’t Misbehavin’ at Elden Street Players Sue Pinkman for Hairspray at The Little Theatre of Alexandria
Joshua Redford for The Drowsy Chaperone at Reston Community Players
Outstanding Direction of a Play
Bob Benn for One Flew Over the Cuckoo’s Nest at Silver Spring Stage
Joanna Henry for Rabbit Hole at The Little Theatre of Alexandria
Evan Hoffmann for A Midsummer Night’s Dream at Elden Street Players
Estelle Miller for Grace and Glorie at Bowie Community Theatre Roxanne Fournier Stone – Stones in His Pockets – Montgomery Playhouse
Outstanding Lead Actress in a Musical
Maya Brettell as “Annie” in Annie at Rockville Musical Theatre
Laura Fontaine as “Audrey”at Little Shop of Horrors at The Alliance Theatre Shannon Kingett as “Tracy Turnblad” in Hairspray at The Little Theatre of Alexandria
Kate Merryman as “The Narrator” in Joseph and the Amazing Technicolor Dreamcoat at McLean Community Players
Chrissy Barnett Miller as “Audrey” in Little Shop of Horrors at Damascus Theatre Company
Anya Randall Nebel as “Velma Kelly” in Chicago at St. Mark’s Players
Outstanding Lead Actor in a Musical Christopher Harris as “Edna Turnblad” in Hairspray at The Little Theatre of Alexandria
Anthony Ingargiola as “Seymour” in Little Shop of Horrors at The Alliance Theatre
Eric Kennedy as “Guido Contini” in Nine at The Arlington Players
Gabriel Potter as “Seymour” in Little Shop of Horrors at Damascus Theatre Company
Christopher Smith as “Nathan” in Thrill Me Elden Street Players
Outstanding Lead Actress in a Play
Sherry Berg as “Una”in Blackbird at Capital City Players of DC
Lolita-Marie as “Mattie Cheeks”– No Niggers, No Jews, No Dogs at Port City Playhouse
Jo Black Sullivan as “Glorie” in Grace and Glorie at Bowie Community Theatre Sandra Cox True as “Grace” in Grace and Glorie at Bowie Community Theatre
Beth Whitehead as “Auntie Mame Dennis” at Auntie Mame Providence Players of Fairfax
Robin Zerbe as “Irma Grese” in Angel: A Nightmare in Two Acts at Port City Playhouse
Outstanding Lead Actor in a Play
Mark Lee Adams as “Dr. Farquhar” in Mindgame at Port City Playhouse J. McAndrew Breen as “Charlie Conlon etc.” in Stones in His Pockets at The Montgomery Playhouse
William Cassidy as “Randle P. McMurphy” in One Flew Over the Cuckoo’s Nest at Silver Spring Stage
Adam Downs as “Ralph” in Frozen at Elden Street Players. Kevin S. Dykstra as “Jake Quinn etc.” in Stones in His Pockets at The Montgomery Playhouse
Outstanding Featured Actress in a Musical
Michelle Harmon as “Armeila McQueen” in Ain’t Misbehavin’ at Elden Street Players
Rikki Howie as “Charlayne Woodard” Ain’t Misbehavin at Elden Street Players Jade Jones as “Nell Carter” in Ain’t Misbehavin’ at Elden Street Players
Brenda Parker as “Motormouth Maybelle” in Hairspray at The Little Theatre of Alexandria
Miriam Urquart as “Star to Be” in Annie in Rockville Musical Theatre
Jaclyn Young as “Penny Pingleton” in Hairspray at The Little Theatre of Alexandria
Outstanding Featured Actor in a Musical
Alex Bedont as “Audrey II voice” in Little Shop of Horrors at The Alliance Theatre Chaz Coffin as “Seaweed Stubbs” in Hairspray at The Alliance Theatre
Adrian Cubbage as “Seaweed J. Stubbs” in Hairspray at Little Theatre of Alexandria
Patrick Doneghy as “Andre DeShields” in Ain’t Misbehavin’ at Elden Street Players
Gabriel Potter as “Leaf Coneybear” in The 25th Annual Putnam County Spelling Bee at Damascus Theatre Company Christopher Prince as “Ken Page” in Ain’t Misbehavin’ at Elden Street Players
Outstanding Featured Actress in a Play Bernadette Arvidson as “Juanita” in Sordid Lives at Bowie Community Theatre
Joanne Bauer as “Sissy Hickey” in Sordid Lives at Bowie Community Theatre
Karen Elle as “Saint Monica et al” in The Last Days of Judas Iscariot at Silver Spring Stage
Ruth Neaveill as “Vera Charles” in Auntie Mame at Providence Players of Fairfax
Jaclyn Young as “Hermia/Snout/Wall” in A Midsummer Night’s Dream at Elden Street Players
Outstanding Featured Actor in a Play
Scott Beadle as “Earl “Brother Boy” Ingram” in Sordid Lives at Bowie Community Theatre
Adam Downs as “Garry Lejeune” in Noises Off at The Little Theatre of Alexandria
Tom Flatt as “Mason Marzak” in Take Me Out at Dominion Stage Brendan Murray as “Butch Honeywell et al” in The Last Days of Judas Iscariot at Silver Spring Stage
Pat Reynolds as “Paul Gauguin” in Inventing Van Gogh at Colonial Players of Annapolis
Outstanding Cameo in a Play
Carolyn Cameron as “Maggie” in The Women at Prince William Little Theatre
Victor Maldonado as “Lou Tanner” in The Gingerbread Lady at Chevy Chase Players
Lisa Nichols as “Olga” in The Women at Prince William Little Theatre
Laura Rogers as “Girl” in Blackbird at Silver Spring Stage
Sally Zatkoff as “Candy Starr” in One Flew Over the Cuckoo’s Nest at Prince William Little Theatre Robin Zerbe as “Crystal Allen” in The Women at Prince William Little Theatre
Outstanding Cameo in a Musical
Taurean Maray Barber as “Fred Casely”in Chicago at St. Mark’s Players
Micky Goldstein as “Burt Healey” in Annie at Rockville Musical Theatre
Andy Izquierdo as “Blind Man” in Frankenstein: the Musical at Taking Flight Theatre Company
Scott J. Strasbaugh as “Mr. Pinky” in Hairspray at The Little Theatre of Alexandria Gina C. Tomkus as “Matron/Gym Teacher” in Hairspray at The Little Theatre of Alexandria
Mark Williams as “High School Principal” in Hairspray at The Little Theatre of Alexandria
Outstanding Music Direction
Mayumi Baker & Valerie A. Higgs for Jekyll & Hyde at Kensington Arts Theatre
J. Michael d’Haviland for Ain’t Misbehavin’ at Elden Street Players
Paul Nasto for Nine at The Arlington Players
Keith Tittermary for The 25th Annual Putnam County Spelling Bee – Damascus Theatre Company Christopher A. Tomasino for Hairspray at The Little Theatre of Alexandria
Outstanding Set Design in a Musical
Melissa Gilpin & John Merritt for A Funny Thing Happened on the Way to the Forum at Port Tobacco Players
Mark Hamberger for Annie at Rockville Musical Theatre
Grant Kevin Lane for Thrill Me at Elden Street Players Myke Taister for Hairspray at The Little Theatre of Alexandria
James Villarrubia for Ain’t Misbehavin’ at The Elden Street Players
Outstanding Set Design in a Play Amanda Acker in The Seagull at The Arlington Players
John Coscia et al for Auntie Mame at Providence Players of Fairfax
Chip Gertzog & John Coscia for The Shadow Box at Providence Players of Fairfax
C. Evans Kirk & Dan Remmers for Noises Off at The Little Theatre of Alexandria
Andrew JM Regiec for The Twilight of the Golds at Reston Community Players
Outstanding Set Construction in a Musical
Sara Birkhead for The Drowsy Chaperone at Reston Community Players
Chris Feldmann for Hairspray at The Little Theatre of Alexandria
Jim Korte et al for Little Shop of Horrors at Damascus Theatre Company John Merritt for A Funny Thing Happened on the Way to the Forum at Port Tobacco Players
James Villarrubia et al for Ain’t Misbehavin’ at Elden Street Players
Outstanding Set Construction in a Play
John Coscia & Chip Gertzog for The Shadow Box at Providence Players of Fairfax
John Coscia et al for Auntie Mame at Providence Players of Fairfax
Chris Feldmann for Move Over, Mrs. Markham at The Little Theatre of Alexandria
John Merritt for Duck Hunter Shoots Angel at Port Tobacco Players
Arthur Pleasants et al for The Seagull at The Arlington Players Dan Remmers for Noises Off at The Little Theatre of Alexandria
The Dynamites: Zaria Stott, Amanda Corbett, Samantha Williams, with WATCH AWARD winner Shannon Kingett as Tracy Turnblad in 15-time WATCH AWARD winner for Outstanding Musical 'Hairspray' at The Little Theatre of Alexandria. Photo by Doug Olmsted.
Outstanding Set Painting in a Musical
Erin Cumbo for Oliver at The Little Theatre of Alexandria
Malca Giblin et al for Annie at Rockville Musical Theatre Kevin O’Dowd for Hairspray at The Little Theatre of Alexandria Cathy Rieder & James Villarrubia for Ain’t Misbehavin’ at Elden Street Players
Cathy Rieder, Sabrina Begley, Maggie Cotter for The Drowsy Chaperone at Reston Community Players April Dawn Weimer et al for A Funny Thing Happened on the Way to the Forum at Port Tobacco Players
Outstanding Set Painting in a Play
Mary Hutzler for Move Over, Mrs. Markham at The Little Theatre of Alexandria
Ronna Johnson for Duck Hunter Shoots Angel at Port Tobacco Players
Karl Meier & Kate Meier for A Midsummer Night’s Dream at Elden Street Players
Kevin O’Dowd for Noises Off at The Little Theatre of Alexandria
Melanie Papasian for Translations at Rockville Little Theatre Kate Roehr for The Seagull at The Arlington Players
Christa Westall for The Twilight of the Golds at Reston Community Players
Outstanding Set Decoration and Set Dressing in a Musical
Nancyanne Burton for Oliver at The Little Theatre of Alexandria
Marian Holmes & Russell Wyland for Hairspray at The Little Theatre of Alexandria
Dawne LeKang for Little Shop of Horrors at The Alliance Theatre Maria Littlefield for Little Shop of Horrors at Damascus Theatre Company
Nancy McLaughlin et al for Annie at Rockville Musical Theatre
Bea and Jerry Morse & Barbara Wilson for The Drowsy Chaperone at Reston Community Players
Joe Stine & John Merritt for Willy Wonka at Port Tobacco Players
April Dawn Weimer & John Merritt for A Funny Thing Happened on the Way to the Forum at Port Tobacco Players
Outstanding Set Decoration and Set Dressing in a Play
Mary Dalto & Nancy Eynon Lark for Translations at Rockville Little Theatre
Ingrid Helvig David for Auntie Mame at Providence Players of Fairfax Lindsey Hays for The Seagull at The Arlington Players
Evan Hoffmann for A Midsummer Night’s Dream at Elden Street Players
Bea and Jerry Morse for Moonlight and Magnolias at Reston Community Players
Outstanding Properties in a Musical
Derek Critzer & Dawne LeKang for Little Shop of Horrors at The Alliance Theatre
Mary Jo Ford for The Drowsy Chaperone – Reston Community Players Judy Kee & Margaret Snow for Hairspray at The Little Theatre of Alexandria
Maria Littlefield for Little Shop of Horrors at Damascus Theatre Company
Elli Swink for The 25th Annual Putnam County Spelling Bee at Damascus Theatre Company
Outstanding Properties in a Play Avery Burns for The Seagull at The Arlington Players
Mary Dalto & Nancy Eynon Lark for Translations at Rockville Little Theatre
Rebecca & John Johnson for Move Over, Mrs. Markham at The Little Theatre of Alexandria
Jessie Roberts for Loose Knit at Taking Flight Theatre Company
Nicole Zuchetto for Rabbit Hole at The Little Theatre of Alexandria
Outstanding Lighting Design in a Musical Franklin C. Coleman for Hairspray at The Little Theatre of Alexandria
Ryan Desmond for 42nd Street at The Arlington Players
Tom Epps for Thrill Me at The Elden Street Players
Noam Lautman for Annie at Rockville Musical Theatre
Rick Swink for Little Shop of Horrors at Damascus Theatre Company
Outstanding Lighting Design in a Play
AnnMarie Castrigno for The Seagull at The Arlington Players Ken & Patti Crowley for Widdershins at The Little Theatre of Alexandria
Ken & Patti Crowley for The Twilight of the Golds at Reston Community Players
Jennifer Lyman for Almost Maine at Vienna Theatre Company
Liz Owens & Nancy Owens for Move Over, Mrs. Markham at The Little Theatre of Alexandria
Outstanding Sound Design in a Musical
Keith Bell for 42nd Street at The Arlington Players David Correia & David Hale for Hairspray at The Little Theatre of Alexandria
David Correia for Oliver at The Little Theatre of Alexandria
Bill Johnson for Hairspray at The Alliance Theatre
Kenny Neal & Daniel Tobiassen for Annie at Rockville Musical Theatre
Vitol Wiacek for The 25th Annual Putnam County Spelling Bee at Damascus Theatre Company
Outstanding Sound Design in a Play Ben Allen for A Midsummer Night’s Dream at Elden Street Players
Wes Bedsworth for The Diviners at Colonial Players of Annapolis
William Chrapsynski for Moonlight and Magnolias at Reston Community Players
Jonathan Powers for Almost Maine at Vienna Theatre Company
Alan Wray for The Seagull at The Arlington Players
Outstanding Costume Design in a Musical
Mary Ayala-Bush for Frankenstein: The Musical at Taking Flight Theatre Company
Michelle Bogert for Hairspray at The Alliance Theatre
Kevin Lane for Nine at The Arlington Players
Charlotte Marson & Judy Whelihan for The Drowsy Chaperone at Reston Community Players Jean Schlichting & Kit Sibley for Hairspray at The Little Theatre of Alexandria
Outstanding Costume Design in a Play
Lory Levitt & McKenna Kelly for The Seagull at The Arlington Players Susan Schulman, Stacey Thomann, Mary Wakefield for Romeo and Juliet at Silver Spring Stage
Robbie Snow & Christian D. Faulkner for Auntie Mame at Providence Players of Fairfax
Annie Vroom for Widdershins at The Little Theatre of Alexandria
Annie Vroom for Noises Off at The Little Theatre of Alexandria
Outstanding Makeup Design in a Musical
Kat Brais & Andy Izquierdo for Frankenstein: The Musical at Taking Flight Theatre Company
Jaimie Nelson for A Funny Thing Happened on the Way to the Forum at Port Tobacco Players Robin Parker for Hairspray at The Little Theatre of Alexandria
Jaclyn Young for The Drowsy Chaperone at Reston Community Players
Sammi Zanelotti for Willy Wonka at Port Tobacco Players
Outstanding Makeup Design in a Play Scott Beadle – Sordid Lives – Bowie Community Theatre
C. Evans Kirk for Widdershins at The Little Theatre of Alexandria
Howard Vincent Kurtz for Move Over, Mrs. Markham at The Little Theatre of Alexandria
PJ Mitchell for Psycho Beach Party at Dominion Stage
Sue Pinkman for The Seagull at The Arlington Players
Outstanding Hair Design in a Musical
Kat Brais for Nine at The Arlington Players
Maureen Clum, Julie Perez, Derek Critzer for Hairspray at The Alliance Theatre Anna Michelle Jackson, Irene Kasotakis, Margaret Murphy, and Sue Pinkman for Hairspray at The Little Theatre of Alexandria
Melodie Wilson for Frankenstein: The Musical at Taking Flight Theatre Company
Jaclyn Young for The Drowsy Chaperone at Reston Community Players
Outstanding Hair Design in a Play Beth Harrison & George Smith for Auntie Mame at Providence Players of Fairfax
Howard Vincent Kurtz for Move Over, Mrs. Markham at The Little Theatre of Alexandria
Molly Hicks Larson for A Streetcar Named Desire at Taking Flight Theatre Company
Denise A. Levine for Same Time Next Year at Greenbelt Arts Center
PJ Mitchell for Psycho Beach Party at Dominion Stage
Sue Pinkman for The Seagull at The Arlington Players
Scott Ross & Kaeti Bradley for Sordid Lives at Bowie Community Theatre
Mary-Anne Sullivan for The Women at Prince William Little Theatre
Outstanding Special Effects
Ben Allen for Almost Maine at Vienna Theatre Company
Ken & Patti Crowley for Widdershins at The Little Theatre of Alexandria Denise Gilmore, Lydia Tyburski, Mark Hamberger for Annie at Rockville Musical Theatre
Keith Linville et al for Willy Wonka at Port Tobacco Players
David Timmermann for A Christmas Carol at Port Tobacco Players
Outstanding Stage Combat Choreography
Steve Custer for Hair at Kensington Arts Theatre William T. Fleming for Romeo and Juliet at Silver Spring Stage
Katherine Frattini for A Midsummer Night’s Dream at Elden Street Players
Richard Koster for Company at Colonial Players of Annapolis
Karen Schlumpf & Brian Farrell for Moonlight and Magnolias at Reston Community Players
Outstanding Choreography Iván Dávila for Hairspray at The Little Theatre of Alexandria
Andrea Heiningef for The Drowsy Chaperone at Reston Community Players
Rikki Howie for Chicago at St. Mark’s Players
Pam & Kathleen McCormack for Joseph & the Amazing Technicolor Dreamcoat at McLean Community Players
Duane Monahan for Annie at Rockville Musical Theatre John K. Monnett for 42nd Street at The Arlington Players
Every dreamer has to find their own little corner of the sky and that is exactly what you might find in the dreamy hopeful production of Pippin at the Greenbelt Arts Center. Directed by Franklin Akers, with a lovely score by Stephen Schwartz, and musical direction provided by Juliana Marin – this high spirited production reminds audiences that even the most ordinary life can be extraordinary and that you don’t need all the razzle dazzle of life’s ‘magic’ to make it so. As the Son of Charlemagne and certain that his destiny is to do something extraordinary with his life, Pippin (Ben Harris) sets forth on a journey to find his place in life after. He tries education, then war, assassination, and even life on the run and the road, but will he find the life he seeks? Will there be satisfaction? That is the story that unfolds on this magic stage.
Leading Player (Hana Cai) and Pippin (Ben Harris). Photo by Stephen Yednock.
The magic of this well-known musical comes flooding onto the stage largely in part through the amazing Costume Designs provided by Alison Rollins. We see a circus of gowns, lacy bodices, corsets, and tunics outfitting the players, creating the wonderment of the show through visual delights. There are bright blue and purple gauzy costumes for the harem women in the number “With You.” But the real eye-popper in Rollins’s work is the costume designed for the Lead Player (Hana Cai.) A shimmery silver half-jacket with full tails and a rainbow studded skirt with multi-colored frills extending from her sleeves; this outfit completes the part of the show master creating the spectacle that you would expect from someone who promises a grandiose show as the Lead Player does at the beginning of the show.
The show is defined by its heavy choreography appearing in many of the large ensemble numbers. Choreographer Renee sets up brilliant complex dance routines that often mimic a jazz cabaret style. The most poignant example of her choreographic style are displayed in the number “Glory” where the Lead Player (Hana Cai) leads the troupe in pyramid shaped chorus line each dancer mimicking her moves culminating in the ultimate position where the entire troupe slinks forward, hunched over snapping their fingers to the jazzy beat. Renee’s group choreography is as catching and entertaining as her solo choreographed moves. King Charles (Brian Binney) performs a classy tap dance at the end of “War is a Science” which really shows off some fancy footwork. Renee’s work is more than appreciated by the audience as each dance number leads to strong applause and thorough enjoyment.
The difficult concept of a play within a play is not lost here as director Franklin Akers guides his players to really live up the roles floating in and out of being actors and being characters. We see this best played out with the King Charles (Brain Binney) who plays to the audience in moments when he’s simply the actor, with intentional smiles and cheery gestures but fits the role of the king with his astute mannerisms worthy of royalty. This tactic is often seen frequently with the Lead Player (Hana Cai) as she interrupts several scenes with her ruling authority and knowledge of the way the play is meant to unfold.
The one problem this show has is the mismatched performance of the Lead Player (Hana Cai.) While Cai does have a very powerful lower register, proven during various songs where she is belting loud and clear, when she attempts to sing higher notes her voice completely washes out and you can’t hear her. She exudes an almost sexual prowess when enticing the audience to believe in the mirage and miracle of the play that’s about to unfold but when she takes the more obnoxious approach to her character, like when she interrupts Catherine (Jen Retterer) her character is so obnoxious and over the top with her commanding voice and unstable demands that you stop enjoying these little interruptions. There is something to be said for subtly when trying to be obnoxious but Cai does not master this approach. She creates a conflicting character, one that you really enjoy and one that you are so annoyed with that you simply wish she’d shut her mouth and go away. The same happens when she sings; you desperately want to hear more of her when she’s belting the lower notes in “Simple Joys” and “Glory” but then she washes away and you strain to hear her at all when her voice goes higher. She’s just a little too all over the place and while the split of the character is called for, the performance suffers from her inability to reign it back in various places.
Pippin (Ben Harris) has a stunning vocal quality and he sings with strong emotions during his solo “Corner of the Sky.” Harris’s voice is full of hope and optimism during this number as he struggles to find his purpose and place in life. His emotional turmoil throughout the show is well displayed as the character grows. And his duet with Charles (Ben Binney) is riot for all to see. “War is a Science” has Harris and Binney dueling for the spotlight as Binney takes the verses only to be interrupted by an eager Harris who steals the chorus and the attention of the troupe as well as the audience. This back and forth banter carries over from the song into their interactions; both actors adding to the true chemistry of a confused son and over-expectant father. Harris’s interactions with all of the other players feel genuine as he interacts with old relatives and new encounters along his journey.
Pippin (Ben Harris) and Catherine (Jen Retterer). Photo by Stephen Yednock.
One such interaction results in a great song and dance from his grandmother Berthe (Erica Drezek) who bursts into the number “No Time At All.” This song becomes twice as much fun because she branches out into the audience and encourages a sing-a-long but not before demanding that the audience only take the chorus as the verses belong to her. A quirky outstanding performance delivered in this cameo of a role. The other surprise talent from Catherine (Jen Retterer) whose sweet and mellow voice enchants the audience during her solo “There He Was.” She is expressive and soulful during “Kind of Woman” and when she shares brief scenes with Harris you can feel the undercurrent of budding romance swimming to the surface in her character.
So celebrate the simple joys and come find your own little corner of the sky with Greenbelt Art Center’s production of Pippin.
Running time: 2 hours and 30 minutes, with one intermission.
Irish playwright Conor McPherson’s Shining City is a beautiful, poignant play with an almost preternatural ring of truth to it. Upon seeing the original production of it in London, the reviewer for the Daily Telegraph pronounced McPherson “the finest dramatist of his generation.” Watching a performance of the writer’s work, and this play in particular, makes that ostensibly outrageous declaration seem downright reasonable. In fact, one would be hard-pressed to contest it.
The Capital City Players of Washington, DC capably brought McPherson’s play to life on Friday night with the opening performance of the production’s three-weekend run. Directed and produced by David Dieudonne in the tiny black-box theatre of the Capitol Hill Arts Workshop, this version of Shining City quickly pulls the audience into a story that is at once ordinary and fascinating.
Ted Schneider and James Raby. Photo by Rachel Duda.
When critics write about Shining City they often extoll the power and eloquence of its silences. That’s a well-deserved accolade. McPherson masterfully gives his audience just enough information to enable it to hear and comprehend what his characters leave unspoken.
Less commonly remarked, however, is the extraordinary amount of story and feeling that is expressed verbally in this play. The honesty and detail with which the character John tells his tale make his lengthy speeches riveting. McPherson’s greatest talent as a writer – and he has many -might be the patience, persistence, and artistic courage with which he allows a story to unfold, often in lengthy monologues that other writers would shrink from, wisely if they lack McPherson’s skill, as most do.
Ian, a therapist, is the central character of Shining City. He has recently set up shop in a Dublin walkup with inadequate amenities. John, a new patient, has been wracked with grief since the death of his wife in a car accident. Of greater concern is the fact that he has seen her ghost in their house on more than one occasion and consequently has been unable to live there.
John tells his story, almost uninterrupted by Ian, in a series of visits to the office. In between these therapy scenes, we learn more about the ex-priest Ian, who is arguably more in need of therapy than John. First we see Ian arguing with his girlfriend, from whom he is estranged, a condition he is determined to make permanent. Later, he brings a young prostitute to his office, in an awkward, anxiety-ridden effort to finally act on his homosexual inclination.
In the CCP production Ted Schneider is captivating as John, skillfully leading the audience through his alternately funny, sad, cringe-inducing, and ultimately unsuccessful foray into the world of extramarital sex. His ability to convey the character’s guilt and regret is most impressive. When he describes his unprovoked verbal attack on his wife, we want to cry for both of them.
James Raby, as Ian, is clearly well rehearsed and plays his part with authority. But his Ian is high-strung, jumpy, sometimes angry, and always loud. Any prospective patient would walk the other way after spending a minute in the presence of this ball of nerves. In this role, the highly accomplished and renowned Raby lacks the subtlety necessary to allow the audience to see inside of him while plausibly withholding that view from the other characters.
Ashley Kelly plays Ian’s girlfriend Neasa with a nice mix of strength and vulnerability. In one brief scene, she ably expresses a wide array of emotions. Robert Burden makes his theatrical debut as Laurence, the prostitute. It is clear that Burden lacks theatrical education and experience, but he shows solid promise and should be encouraged to do more.
One prominent failing of the entire cast, and presumably of dialect coach Mary Macfarlane, is the inability to speak in Irish accents. Schneider’s otherwise excellent performance was slightly marred each time he had to use a U.K. expression, such as “your man” or “arse-backward.” Kelly comes the closest to believability with her dialect, but even she has trouble with consistency.
The cast also has difficulty with the hyper-realistic speech patterns of McPherson’s characters, replete with “you knows” and many incomplete thoughts and sentences. This came off wonderfully in Schneider’s monologues, but almost all of the dialogue seemed studied in that regard and failed to achieve the naturalistic effect intended.
The simple set, designed by Macfarlane and built by Steve Leshin, served its purpose in cramped quarters. It was jarring, however, for one wall to be absent, replaced by a black curtain. It becomes clear eventually why this choice was made, but the designers should have come up with a more clever way to bring about a certain special effect. Said effect — which would be spoiled if described further here — was diminished by an actor becoming visible to part of the audience too early.
Lighting Designer Peter Caress achieved the goal of every lighting designer of this sort of play: No one noticed or talked about the lighting. Sound Designer Jamie Coupar provided appropriately haunting music during scene changes. But lack of volume on an important sound cue further hampered the aforementioned special effect.
James Raby and Ashley Kelly. Photo by Rachel Duda.
The set dressing and props, also Mcfarlane’s charge, suited the play well. One very noticeable problem, however, was a gift given by one character to another late in the show. He carried in a large, open, unwrapped cardboard box, in which the gift seemed to have been carelessly thrown. Another problem that will hopefully be remedied soon is the poor coordination of the scene changes. They were sometimes excruciatingly slow and noisy.
Dieudonne’s staging of the script was appropriately straightforward and gimmick-free. One oddity of the play’s blocking was that when the two men meet for the last time, they are uncomfortably close to each other. It’s not clear whether this was accidental or meant to signify something about the moment.
CCP’s production of Shining City has some wonderful moments and more than a few flashes of great acting. The company should be proud of its success in tackling such difficult material in a challenging space.
Featured Picture: The Capital City Players’ logo.
Shining City plays through March 24, 2012, at The Capital City Players in The Blackbox at Capitol Hill Arts Workshop (CHAW) – 545 7th St SE, in Washington, DC. Purchase tickets online.
Today all anyone ever seems to be talking about is the economy — money problems. It fills the newspapers and the speeches of the political candidates. Yet one of most effective commentaries I’ve seen recently about the prominence of money in our lives was at the University of Maryland’s performance of Edward Albee’s Everything in the Garden. The production was directed by Scott Reese.
Despite some rather “stagey” performances from some in the cast, overall, the production was highly effective. Albee’s play is both a comedy of manners and a farce, set in suburban Westchester, New York in the late 1960s. We follow Jenny and Richard as they cope with money problems and the problem of keeping up with the Jones’s, and the consequences of choices made in order to keep up with said Jones’s.
Laura Gepford (Jenny) and John Wahl (Richard). Photo by Tom Fedor/The Gazette.
The cast included Laura Gepford as Jenny, John Wahl as Richard, James Sakamoto-Wengel as their drunken rich friend Jack, and Juliette Ebert as Mrs. Toothe. Although their performances at the beginning seemed rather studied and over-acted, they seemed to disappear into their roles as the play went on. I was especially impressed with John Wahl, as he reacted to the news of what exactly his wife has done to try and alleviate their money problems. Over-the-top it may have been, but such an overflow of emotion at the same time helped me to connect with the character and the betrayal that he feels.
James Sakamoto-Wengel’s performance was also noteworthy and he managed to provoke the biggest laugh of the night, while also giving perhaps the most nuanced performance. His character – and the dimensioned portrayal – served as the emotional touchstone and helped to ground the farcical qualities of the other characters.
The design of the show served well to support and underscore the play, while not being distracting due to Scenic Designer Collin Ranney. Lighting Designer Jedidiah Roe used the lighting effectively to communicate the mood of the scene, while the costumes designed by Aryna Petrashenko were beautiful, an interesting contrast to the decidedly un-beautiful characters of the people in the play. The music however was excellent – both before the play began to set the mood, and throughout as it underscored and enhanced the action happening on stage, thanks to Sound Designer Neil McFadden.
Juliette Ebert (Mrs. Tooth) and Laura Gepford (Jenny). Photo by Tom Fedor (The Gazette)..
However, the play itself was what most made an impression. Especially with the current economic crisis, this exploration of what we will do for money, and how money or lack of it influences everything in our lives, really resonated. The unthinkable suddenly becomes not just thinkable, but even desirable. Without ever moralizing, Everything in the Garden leaves the modern viewer with much to think about.
Everything in the Garden plays through tonight March 10, 2012, in The Ina & Jack Kay Theatre at the Clarice Smith Performing Arts Center at the University of Maryland – at the intersection of Stadium Drive and Route 193, in College Park, MD. For tickets, call (301) 405-ARTS (2787), or purchase them online.
Angela Gheorghiu almost lives up to the hype. At a time when many of opera’s reigning stars are relentlessly overpraised by the public relations machine, Gheorghiu represents the genuine article: a bona-fide diva with an unforgettable voice.
In recent years, the temperamental Romanian soprano has made news more for her high-profile cancellations and tempestuous personal life than for her singing. In concert with the Washington National Opera on Saturday night, Gheorghiu returned our attention to her artistry, offering a familiar selection of arias ranging from Handel to Puccini. Despite the undeniable glories of her voice, the evening, which sometimes had the feel of a “greatest hits” album played one too many times, achieved only mixed success.
Angela Gheorghiu
Looking resplendent modeling three evening gowns, Gheorghiu put her vocal riches on display: a dark yet lustrous tone, effortless portamento, a gorgeously floated pianissimo, an instinctive musicality, and elegant expressivity. Yet she also exhibited her limitations as an artist. Her diction often lacked clarity, and her top notes, while secure, were not quite effortless. Dramatic characterizations were often incompletely realized. Diva mannerisms, like willful tempi and self-conscious poses (as well as a last-minute program change), also got in the way of the music making.
Gheorghiu’s opening two arias were the least successful. Relying on sheet music, she lost her way in Handel’s “Ombra mai fu,” with conductor Eugene Kohn struggling to keep soprano and orchestra together. Mozart’s “Deh vieni, non tardar” while sweetly sung, called for a lighter, lesser fussy approach and clearer enunciation. The unidiomatic singing in both arias did not show her off to great advantage.
Gheorghiu clearly is a singer much more at home in the 19th century repertory with which she has long been identified. Dvořák’s “Song to the Moon” from Rusalka, sung with romantic urgency,ached with longing. In the recitative preceding Manon’s “Adieu,” Gheorghiu rushed ahead of the orchestra, obliterating the phrase-by-phrase shifts in the drama. Yet she settled in to sing the main aria, an acute psychological portrayal of conflictedness and longing, with great sensitivity and tristesse.
With her seamless legato and darkly beautiful timbre, Gheorghiu captured the personal anguish and dramatic intensity of “Pleurez mes yeux,” Chimène’s monologue from Massenet’s Le Cid. Yet Gheorghiu opted for the aria’s higher, alternate ending, which she delivered with clenched fists and without the concluding diminuendo, conveying more outward suffering and defiance than inward resignation. Vocal effect took precedence over dramatic fidelity.
As Adriana Lecouvreur in 2010. From her website.
Gheorghiu was at her best when she let go of her oppressive sense of calculation. Spontini’s “O nume tutelar,” delivered with exemplary simplicity, showed off the soprano’s breathtaking way with phrasing and ravishing mezza voce in a dramatically convincing number. And in the aria from La Wally, Gheorghiu sang with thrilling abandon and directness – her most expressive and freely delivered performance of the night.
Accompanying the soprano with obsequiousness, conductor Kohn strove mightily, if not always successfully, to keep up. He also led the Washington National Opera Orchestra in a handful of sloppily played and seemingly superfluous program fillers.
Gheorghiu may be the real deal and not merely a media creation, but nearly two decades after being propelled to international stardom by her triumph as Violetta at Covent Garden, there still remains a sense of incompleteness to her artistic development and of limitation in her repertory. Undeniably talented, she is still not yet the singer the world has been waiting for.
Feature Picture: Angela Gheorghu by Cosmin Gogu.
Angela Gheorghiu performed one night only, March 3, 2012, with the Washington National Opera Orchestra at the Kennedy Center.
Ahh the cherry…luscious fruit and symbol of spring in our Nation’s Capitol. But why? The cherry trees whose airy pink blossoms grace the Tidal Basin at this time of year will never bear cherries – but no matter – local chefs and mixologists have been falling all over each other to create cherry-inspired concoctions to celebrate the 100thanniversary of the National Cherry Blossom Festival. Here are some enticing examples of what you can expect around town during the five-week festival. I’ll be posting more in the upcoming weeks.
At Station 4 they’ve added a fixed price cherry-laden three-course meal. Chef Orlando Amaro proffers a seared foie gras with Marcona almond powder, dried cherry jelly and rosemary crusted lamb loin and sous vide cherries, finishing the dinner with cherry essence chocolate lava cake with cherry cabernet sorbet.
Hank’s Oyster Barhas a cherry salad is made with bibb lettuce, Gorgonzola cheese, cherries and cherry vinegar. Beverage Director Dana Mosbarger’s dazzles with her festival concoction called Cherry Stone Blossom made with a combination of vodka, sake, lemon juice and a splash of tart cherry juice.
Top Chef Spike Mendelsohn’s Good Stuff Eatery in Crystal City, Georgetown and Capitol Hill is where the Obamas drop in for burgers and shakes and you should too. During the festival they’ll feature a cherry blossom shake made with the restaurant’s homemade custard and fresh cherry puree topped with a bing cherry.
In Dupont Circle,Agora, the Mediterranean-centric eatery, is pouring a special cocktail, the Kiraz Cicegi, which translates to cherry blossom in Turkish. This delicious elixir is made from a combination of Southern Comfort, Yeni Raki, cherry juice, fresh mint and agave nectar.
Poste Moderne Brasserietakes a more Asian approach with a sake-based cocktail called For Heaven’s Sake made with house-made pomegranate soda, Tozai sake, vodka, Maraschino liqueur and fresh lemon juice.
Torsade cerises, twisted artisan Bread studded with cherries. Photo credit Paul Bakery in Penn Quarter.
Stop by Paul Bakery in the Penn Quarter or the newly opened Georgetown location where they’ll start baking up cherry treats from March 20th – April 29th.
Any of these should satisfy. Torsade cerises, twisted artisan Bread studded with cherries, Croissant aux cerises, a crusty and buttery croissant filled with hand-made pastry cream and cherries; Cramique aux cerises a mouthwatering brioche with sweet pearls of sugar and sour cherries; Flan aux cerises, flan in a sugary shell filled with handmade pastry cream and cherries; Millefeuille aux cerises, a Napoleon of crispy puff pastry encasing a delicious mix of cherries and fresh pastry cream; or the Éclair aux cerises, a crispy choux pastry éclair filled with a delicate balance of cherries and pastry cream.
In Alexandria The Grille at Morrison House look for both sour and smoky cherry cocktails to celebrate the season. The Sour Cherry Fizz is made with sour cherry juice, Tanqueray gin, lemon juice, simple syrup, egg white and a splash of club soda. But try a Smoked Cherry Old Fashioned made with Maker’s Mark, bitters, house-smoked cherry syrup and garnished with a smoked cherry and a slice of orange for a new twist on an old classic.
Also in Alexandria Jackson 20celebrates with the Cherry Picnic made with ginger liqueur, spiced rum, fresh sour mix and Campari wash.
Firefly’s Sakura Sling is cherry and vanilla bean infused Ketel One with Leopold Brothers Michigan tart cherry liqueur, simple syrup and a splash of soda.
These concoctions should keep you in the pink!
Deals and Steals
Station 4has a cool option for theatregoers. You gotta love this one with valet parking for $10 per car and only steps from Arena Theater. Enjoy a three-course menu for only $29 per person (excluding tax and gratuity) and walk to the performance leaving your car in the care of the restaurant’s valet. You could also opt for the first two courses of the pre-theatre dinner then return for dessert after the show.
A Washington institution701 Restaurant offers Modern American cuisine by Executive Chef Ed Witt. Enjoy a three-course pre-theatre menu for $30 per person from 5:30 p.m. to 6:45 p.m. Monday – Saturday and 5 p.m. to 9:30 p.m. on Sunday. Valet parking Monday – Saturday for $8.
The award-winning Rasikarestaurant offers Chef Vikram Sunderman’s pre-theatre menu for $35 per person (excluding tax and gratuity). The menu is available Monday – Friday from 5:30 p.m. to 6:30 p.m. and Saturdays from 5 p.m. to 6:30 p.m. Validated valet parking for $8.
Happenings
If you miss this one, you’d better hop a plane to Mexico, because you won’t find this anywhere else! Oyamel Cocina Mexicanahosts their Fifth Annual Tequila & Mezcal Festival from March 5 – 18 the two-week festival will have informational cocktail sessions, open to the public, and intimate dinners complete with tequila and mezcal tastings.
In honor of the festival, Oyamel will offer special bar antojitos. These small plates are served only at the bar and include garbanzos fritos –crispy roasted spiced garbanzo beans and alas de pollo con salsa naranja –chicken wings in a sauce of orange, spices and chile pequin.
Chef Omar Rodriguez is also crafting a special menu highlighting the flavors of Oaxaca and Jalisco in Mexico. Dishes from the Jalisco region include Sopes de ostiones, traditional corn flour cake topped with an oyster, tomato salsa, lettuce and queso fresco; Pozole de camarón, shrimp and hominy soup with Hawaiian blue prawns, guajillo and ancho chilies, served with garnishes of onion cabbage and slice radishes, and Lomo de cerdo relleno con chorizo en mole manchamanteles, chorizo stuffed pork loin with a mole of almonds, chilies, tomatoes, plantains and pineapple. Authentic Oaxaca flavors can be found in Tortitas de patas de puerco, crispy pork trotters served with a salsa of tomatillos, avocado, Serrano peppers, and cilantro, and Chuletas de cordero en chileajo con frijoles borachos, grilled lamb T-bones marinated in Guajillo chiles and garlic with drunken navy beans with pork belly and Negra Modelo.
Drinks are the highlight of every Tequila & Mezcal Festival at Oyameland the beverage team at Oyamel has created unique cocktails just for the occasion. Libations featuring mescal include the Oaxacan Swizzle, Del Maguey Mezcal “Vida”, ruby port, fresh pressed apples, lime, ginger and house-made orange bitters; El Bahio, Sombra mezcal, roasted pineapple juice, lemon and cardamom; Joven avocado, avocado-infused mezcal, Cocchi Americano, grapefruit syrup, grapefruit juice, Hellfire bitters, and avocado leaf; and the High Tea, Los Nahuales Reposado Mezcal, chamomile tea, honey, and house-made tobacco bitters. Drinks featuring tequila are the Mexican Tailor,house-infused “Gin-quila” fresh pressed apples, lemon and basil; El Pescador, Herradura Tequila three ways, grapefruit juice, Curacao, maraschino liqueur, Honey and Velvet Falernum, and the Champs–Elysees;Don Julio 70th Anniversary Añejo, Remy VSOP, Green Chartreuse, Lemon, and Peychaud’s bitters. A complete calendar is online.
New and Notable
Jordan Wright
Cahal Armstrong’s latest Alexandria food adventure, Society Fair, has just opened on Washington Street a few blocks from The Little Theatre of Alexandria. The pretty gourmet shop featuring fresh baked breads, a butchery, upscale food market and wine bar has some smallish eat-in tables for enjoying delicious sandwiches and cheeses with a wide range of wines by the glass offered on tap. As the weather complies there’s an outdoor patio.
In Columbia Heights the hot buzz is all about Mintwood PlacewhereExecutive Chef Cedric Maupillier, formerly of Puro Café in Georgetown, has at last found his niche serving French food with an American twist. Nibble on escargot hush puppies or maple pork cracklin’ to start. Spring has arrived with the shad. Try the delicate fish served with it’s own roe accompanied by black trumpet mushrooms and lardo. You get the idea.
Featured Picture: National Mall cherry blossoms.
Stay tuned for lots more news and updates from Nibbles And Sips Around Town. To read more -go to my website Whisk and Quill.
There are few relationships as complex as those that are created by actors and directors working together. They’re soggy with shared experience and emotion. They’re dry and cracked like the kindling that bursts into flame when the match is struck (the match being any other human in the room that dares to speak when the two of you are having a “discussion” {yes, screaming matches about your character that degenerate into an acrid commentary about the sexual proclivities of parental units can [technically] be called a “discussion}). And they take such solid root in your heart and mind that, given time, they can destroy just about any emotional wall or pretense that you might care to offer up to the gods of theater. So this should be interesting.
Knowing that I would need some help traversing this spiky (though, somehow welcoming) landscape I decided to knock upon the door of one Kathleen Akerley. First, let me say that if you ever need to be shaken free of your own pretensions, she can do it in three sentences or less. So she was a great choice to help me clear the fog that surrounds the shifting (I would say “unmapped”, but the maps have been written {though altered so quickly and thoroughly as to make them unrecognizable to their own cartographer within approximately 15 minutes}) face of this beautiful, if bizarre and complex symbiosis.
About Actors: Dear God. Dear God help us all. I have been (and am), directed, worked for, and dated them (the first two are great, the second two…not so much {though I’m sure YOU are a total catch and have no issues or drawbacks….except that one thing that we talked about earlier [being a pyromaniac]}). I will sum up in a few sentences the things that must be said here. No one is at “fault” because your opinion didn’t line up with someone else’s. And, by that same token, no one is at “fault” when they explain to you that everyone else in the room doesn’t need a diatribe on how EVERY play you have EVER been in is pertinent to the three lines you have in this scene.
Cyle Durkee
And here we are at the first component of the director/actor relationship: Censorship. Part of the job of the director is to censor you without censuring you. They must shape the play without confining an actor or stifling their creative abilities. This is a knife’s edge that every show must maneuver (and many shows julienne themselves on the sharp edges of spiny egos {leaving the audience with something akin to a half skinned rabbit to stare at on stage [don’t let it happen to your show as julienned rabbits and mixed metaphors are unattractive]}).
To Directors: Yes. All actors are, in fact, working in tandem to ruin your day. They have not done their homework. They don’t know their lines. They are late, lippy, lazy, lackadaisical landscapes of lethargy and libido. And you have to convince them to do what you want them to do, by helping them realize that they actually want to do it themselves (and then deal with the fact that they are now totally certain that it was their idea all along).
So here we are at the second realization about this relationship. No one is ever going to be able to meet every single initial expectation of anyone else (except for that one time that you managed to get your leg all the way behind your head).
Kathleen Akerley. From Adam Szymkowicz.
Creation takes a caring, strong hand. You cannot create with a fist (though it’s a great tool for breaking though facades and allowing truth to shine through). As you careen through the dance of artistic expression, expectations fall away while the basis for a play is sculpted. And those expectations that do make the leap into reality through the rehearsal process then grow reefs of thoughts and interactions. And slowly, using both the forces of creative freedom and controlled shaping, a show develops in the waters of inspiration.
If all parties remember that they are not the only artists in the room, and accept the help and thoughts of those they are working with this reef can become something extraordinary. What began as a stone sculpture in the mind of the director can be given life. Using it as a seed and as a base, a beautiful, coral ecosystem will emerge. As it branches and evolves it attracts life and beauty in a multitude of varieties. New facts emerge as families of fishy backstories and shark infested interactions create an entirely new biosphere that surrounds, engulfs, and invites the audience. And, in the end, a thoughtful and wistful guardian allows the new world to float off on it’s own as its emotional gravity creates a swirling atmosphere of art.
Now, I’m going to eat some sushi (because some of those thoughts need to be caught and eaten before they have a chance to reproduce).
Thanks Kathleen!!
Kathleen Akerley (Artistic Director for Longacre Lea Theater Company) is currently directing On the Waterfront for American Century Theater. Next up for this whirlwind of talent is Sam Shepard’s Tooth of Crime to be committed by WSC Avante Bard at Artisphere. And the final feather in her trifecta of shows for this season will be Goldfish Thinking for her fabulous company Longacre Lea. In addition to all this Kathleen is in her final semester at Massage Therapy School. Let her get her hands on you and you’ll feel true artistry! See you all at the show!
Check Out what Cyle’s doing next!
On The Waterfront at American Century Theater March 30 to April 28, 2012
Directed by the Fabulous Kathleen Akerley.
Every family has one. This family happens to have 25. Broadway Across America takes you into a deep dark hole – and yes, you do want to go there with their astonishing production of The Addams Family. A new musical comedy with a complete revamp from its time on Broadway lands itself at the France-Merrick Performing Arts Center at The Hippodrome Theatre. The timeless characters from the brilliant mind of Charles Addams rise up from their gloomy graves to encourage audiences everywhere to find their inner Addams, embrace it and move toward the darkness. Tony Award-winning director Jerry Zaks achieves a smashing success with this sensational production in all its dreary glory as number after number has audiences thundering with applause, laughing until they cry and snapping their fingers right along to the familiar introductory tune.
Patrick D. Kennedy (Pugsley), Pippa Pearthree (Grandma), Sara Gettelfinger (Morticia), Douglas Sills (Gomez), Tom Corbeil (Lurch), Cortney Wolfson (Wednesday) and Blake Hammond (Uncle Fester) in 'The Addams Family.' Photo by Jeremy Daniel.
Gomez Addams (Douglas Sills) is confronted with every father’s worst nightmare; his little daughter all grown up and wanting to get married. And what’s worse— Wednesday’s (Cortney Wolfson) asked him to keep it a secret from his darling wife, Morticia (Sara Gettelfinger.) Add to that her normal fiancé, Lucas (Brian Justin Crum) and his normal parents coming to dinner in the not-so-normal Addams Family household you and you have a recipe for hilarious disaster.
Phelim McDermott and Julian Crouch are the inspiring scenic designers. Using a red velvet drape to conceal portions of the stage, genius is executed as the drape shifts and undulates to reveal various parts of the Addams dwelling, almost giving the house the sense that it alive and moving – a perfect creepy fit for such a kooky family. The graveyard scene is perhaps the most intense and impressive scene to be revealed throughout the musical. As the red drape draws open, assisted by a very special member of the Addams’ clan, the looming iron gates conceal the vast derelict family cemetery. Headstones jut out from the floor, the family crypt stands in waiting and you’d swear it was a portrait of the Addams Family standing just behind those gates until they fly open and the opening number, “When You’re An Addams,” begins.
And we find further perfection from the vastly creative minds of
McDermott and Crouch as they are also responsible for the costumes – including Morticia’s drop-dead gorgeous dress cut down to Venezuela. The spidery black number hugs Gettelfinger’s body with accents of purple, restricting her legs just like the original Morticia. And a range of historical costumes, all in powder white, can be found outfitted to the ancestors. From ballooned pantaloons and a Spanish conquistadores hat to a turn of the century flapper-style dress there are a myriad of entertaining, eye-catching costumes for these ghostly ensemble members as they are raised from the grave to assist with present dealings of love in the family.
The real treat lays in the numerous dance numbers as provided by Tony Award-winning Choreographer Sergio Trujillo. “When You’re An Addams” provides perhaps the best example of Trujillo’s choreographic excellence, showcasing most of the cast in a celebratory dance number which involves a line dance, the bunny hop, the twist, and many other unique dance styles showcased as the ancestors and Addams Family sashay through the cemetery to a tango-type beat. We see further incredible examples of large group choreography in numbers like “Secrets” and “Just Around the Corner,” which puts the ancestors to their best use yet as they flank Morticia (Gettelfinger) on either side in both numbers giving breath-taking displays of perfectly synched dancing acrobatics. But the shocker comes from “Tango de Amor” where Morticia (Gettelfinger) and Gomez (Sills) as well as the ancestors own the stage in a complex and perfectly executed tango routine.
And you will never see such iconic characters played to perfection the way you find them here. Wednesday (Cortney Wolfson) and Lucas (Brian Justin Crum) youthful star-crossed lovers that would turn the heads of even Romeo and Juliet; their powerful duet “Crazier Than You” speaking volumes of their crazy feelings. This duet is joined by the Beineke’s Alice (Crista Moore) and Mal (Martin Vidnovic) who in their own right are pretty crazy. Wolfson has a glistening voice that consumes the entire stage in her solo “Pulled” while perfecting her torn emotions – one minute cheery and the other sarcastically doomed. This couple takes the focus when they’re on stage and they let that jovial spry feeling of young love bounce eagerly between them from their huddled make-out sessions to their sporadic fights.
And let’s not forget her pain-loving brother, Pugsley (Patrick D. Kennedy) who sets the whole night in motion with his desperate act to bring his sister back to him. Kennedy has an adorable solo “What If,” where he displays true uncertain terror at the prospect of never being tortured by Wednesday (Wolfson) again. His comic interactions with Grandma (understudied that night by Christy Morton) keep the audience laughing as he hatches a diabolical scheme to break-up his sister and her new boyfriend.
Blake Hammond (Uncle Fester) in 'The Addams Family.' Photo by Jeremy Daniel.
Serving as the medium between ancestors and family, between audience and actors is the great Uncle Fester (Blake Hammond.) His comic well-placed one-liners keep everyone entertained. Hammond has a beautiful love ballad “The Moon and Me” where he croons and swoons to the moon in a romantic whimsical number that drifts his love to the sky. He is the epitome of the character both in looks, vocal quality, and even some of the crazy dancing he does from time to time. His narrative moments directed at the audience are witty and well-timed, providing a more than astonishing experience for all involved. And there’s a scene stealer who plays opposite Hammond, though he is really caught interacting with Fester, Lurch (Tom Corbeil) the family butler has laugh out loud moments throughout the show- but I won’t spoil them! Be sure to keep an eye out for him toward the end.
But what would a musical about the Addams Family be without its matriarch and patriarch? Gomez (Douglas Sills) and Morticia (Sara Gettelfinger) take on the leading roles in this fantastical production leaving nothing to be desired from their stellar performances. Sills exudes the wild Spanish heat of his ancestry with his heavily accented but perfectly articulated voice. His facial expressions tell it all from the giddy hysterics when discussing his devices of torture with Mal (Vidnovnic) to his panicked fear when confronted by his wife and daughter. Sills is a dancing fool so to speak, shaking his body in every number that will let him. His performance is beyond lively while still being rooted in Gomez’s dark death obsession. His two solos “Trapped” and “Happy/Sad” are a phenomenal display of his talented voice. He well matched against Gettelfinger whose expressions remain stoic as expected from Morticia but her voice tells it all. She too dances like mad, despite her costume’s restrictions and owns her character to the fullest extent. Gettelfinger displays the perfect dichotomy of concerned mother and ardent wife, both dictated by her deep seeded tendencies of gloom and doom. Her voice calls like a siren from beyond the grave in her solos “Secrets” and “Just Around the Corner.”
The chemistry between Sills and Gettelfinger is outstanding! There is a vivacious life to their marriage, governed by dark humor and underlined with sexual poignancy. But the tempestuous fire that rages within their hearts bubbles up like hot lava and explodes between them when they are confronted with the everyday problem of keeping secrets. They are well matched in their acting talent as well as their vocal abilities and a more perfect pairing could not have been made for this dynamic duo.
So here’s my addition to the Addams Family’s dinner game — the secret that I’ve never told anyone — you must see this show!
The Addams Familyis a non-stop roller coaster ride of enjoyment, laughs, and dark humor. You’ll jump into a grave if you miss it. Full Disclosure.
The Addams Family plays through March 18, 2012. At The France-Merrick Performing Arts Center at The Hippodrome Theatre – 12 North Eutaw Street, in Baltimore, MD. For tickets, call (410) 547-7328, or (410) 837-7400, or purchase them online.
Adventure Theatre presents Alexander and the Terrible. Horrible, No Good, Very Bad Day, a production based on the classic children’s book by Judith Viorst. Gail Humphries Mardirosian directs this energetic, musical feast that brings the beloved book to life for a new generation to enjoy, with musical direction by Joshua Morgan.
Ben Lurye and Parker Drown in 'Alexander and the Terrible, Horrible, No Good, Very Bad Day.' Photo by Bruce Douglas.
Scenic Designer Douglas Clark frames colorful, intersecting beams before a deep, glittery-blue backdrop, creating the feel of a unique sort of jungle gym, and the actors use it as such, climbing and sitting on them throughout the production. The set is comprised of many shapes and colors, and large props such as a checker-print bed, dentist chair, and shoe displays are swiftly wheeled on and offstage by the actors to change the setting. The geometric shadows cast from the beams creates an almost 3-dimensional effect, while Lighting Designer Andrew Cissna follows the characters with dimmed spots.
Sound Designer Brandon Roe uses effects such as alarm buzzes and school bells, accompanied by cheery melodies that turn ominous at appropriate times (like a fun scene when Alexander visits a cackling dentist that wields torture devices). To go along with the colorful set, Costume Designer Adriana Diaz clothes the actors in bright, bold colors, while using patterns that stay true to those of the book, such as Alex’s green-and-white striped shirt. Children don vivid pajamas that have blankets tied around them as capes, as well as imaginative school clothes with prints and accessories that fit the persona of each character. Even the adults, while wearing age-appropriate clothing, are dressed in vibrant colors that pop, with fun accessories like winged eyeglasses.
Alexander, played by Helen Hayes Award recipient Parker Drown, is having a bad day, starting from the moment he wakes up to find gum in his hair. Drown perfectly mimics the pitchy whine and scrunched face of a grumpy child as he trips over his toys, is scolded for singing too loudly in school, and is unceremoniously dumped by his best friend (a wonderfully nerdy Ben Lurye), among other things. Declaring, “I think I’m gonna move to Australia,” the cast sings about the joys of life in Australia while dressed as kangaroos and koalas, in an energetic and memorable number choreographed by Kate Arnold Wernick.
After school, Alexander’s mother (a terrific performance by Broadway’s Sandy Bainum) takes him and his rambunctious brothers (Ashleigh King and S. Lewis Feemster) to a shoe store, the dentist, and to pick up their father (Benjamin L. Horem) from his office…where a gleaming copying machine catches Alexander’s eye. Each outing yields worse results for Alexander, and he wonders how much more bad luck he can take. It truly is a terrible, horrible, no good, very bad day!
This production is a real knockout! The set, effects, music and choreography are all masterfully executed, and the entire cast is hilariously talented. The script is filled with fun songs and upbeat dance routines, and the riotous interaction between the actors is great fun to watch. Everyone in the audience, both young and old, had a great time, myself included. This production is bound to be as adored as the book that inspired it. Grab your tickets while you still can, because the showings are selling out!
Running time is 70 minutes.
Featured Picture: Benjamin L. Horen, Parker Drown, and Sandy Bainum in ‘Alexander and the Terrible, Horrible, No Good, Very Bad Day.’ Photo by Bruce Douglas.
Reston Community Players’ production of I Love You Because is delightful. A romantic and humorous homage to the dating scene in current day New York City, this show is full of witty observations about relationships and the rules for finding ‘Mr. or Ms. Right.’ I Love You Because had a successful stint Off-Broadway and the Reston production is the first one I have seen in the Washington DC area.
Tim Adams (Jeff Bennet) and Diana Bingley (Evie Korovesis). Photo by David Segal.
The show is very loosely based on the Jane Austen novel, Pride and Prejudice, and is sprinkled with references to that classic book, for example through the names of the characters – Austin Bennett, Marcy Fitzwilliams, Diana Bingley. The story follows the romantic relationships between two couples: (1) Austin, a set-in-his-ways greeting card writer intent in wooing back his ex-girlfriend Catherine, and Marcy, an adventurous and neurotic photographer and (2) Austen’s brother, Jeff, who is just out to have fun, and Marcy’s roommate Diana similarly seeks something casual as a detour to true love.
Marcy chooses to spend time with seeming ‘Mr. Wrong,’ Austin, while she waits out her requisite rebound time – so she can find ‘Mr. Right’ – while Austin is too focused on winning back his ex-girlfriend to notice his emerging feelings for Marcy. Meanwhile, Diana and Jeff both are expecting to have only a fling – but find that they can’t stay away from one another.
The fabulous number “The Actuary Song,” in which Diana musically describes a mathematical calculation for the appropriate amount of rebound time (‘RT’) before one is ready to embark on a new serious relationship after a failed one, is as insightful as it is tuneful. It is sung brilliantly by Evie Korovesis, who is a real scene stealer in this production.
The score is filled with other wonderful songs by Joshua Salzman and Ryan Cunningham, including “Coffee”, “Maybe We Just Made Love,” “Just Not Now,” “That’s What’s Gonna Happen,” and “Even Though.” Susanna Todd is also terrific as Marcy. She has a very strong singing voice and is very likable in the role. Joshua Redford and Tim Adams, as the brothers Bennett, and while not as vocally strong as their female counterparts, they are still both very appealing.
Joshua Redford (Austin Bennet) and Susanna Todd (Marcy Fitzwilliams). Photo by David Segal.
The ensemble, Terry Barr and Jolene Vettese, do a great job in numerous roles (including bartenders and a Chinese waiter), and the device of using them as a Chorus that provides witty commentary on the romantic developments between Austen and Marcy, is effective and very funny. All six actors, under the fine direction of Lisa Anne Bailey, make a winning ensemble and when they harmonize on a few of the songs, they sound great together.
The orchestra, under the musical direction of Elisa Rosman, does justice to the worthy score. The set by Michael Schlabach made up primarily of pieces of furniture, works well. The costumes by Sam Nystrom give authenticity to the characters and add to the humor.
If you are a romantic that likes a good funny musical, head over to Reston Community Players’ exuberant production of I Love You Because…because you’ll love it!
Running Time: 2 hours and 30 minutes, including one intermission.
I Love You Becauseplays through March 24, 2012 at CenterStage, at The Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500, or purchase them online.
When two sons of Adam and two daughters of Eve sit enthroned at Cair Paravel the prophecy of Narnia is fulfilled. Reisterstown Theatre Project’s sets about to fulfill this prophecy with their production of Narnia the Musical. Directed by, Kathy McCrory, this show takes the classic C. S. Lewis story The Lion, The Witch, and The Wardrobe, arguably Lewis’ most famous in the chronicles, and turns it into a musical translation of the very first adventures of Peter, Susan, Edmund, and Lucy Pevensie in the kingdom of Narnia. It’s a community theatre production that’s great for the youngsters. With a mixed cast of adults, youths, and children on stage there’s a little something for everyone.
Cast of 'Narnia the Musical.' Photo from Reisterstown Patch.
Set Designer Sharon Weaver really creates scenes straight out of the books. The iconic wardrobe occupies a far corner of the stage set amid the Professor’s mansion. There are large evergreen trees flecked with snow on the stage once they children travel through the wardrobe and the big gray castle in the far back makes up the White Witch’s castle. All the locations from the book are present, even the stone table. But the most stunning piece of scenery comes from the mind of Prop Master Carol Sorenson who creates a large white sleigh for the White Witch decorated with silvery tinsel and glittery accents. This sleigh captures the frosty demeanor of the White Witch too perfectly as she rides through Narnia aboard it, pulled by two reindeer.
And the costumes are equally impressive – the most impressive perhaps being The White Queen’s. Costume Designers Gretchen and Shelby Hylton start by layering her in a huge puffy white gown completely with silver tinsel accents and a white furry muff for her hands. But as Aslan returns to Narnia and spring breaks through her curse of eternal winter the witch is stripped down to just a plain gray dress. Even her elaborate crown just becomes a simple three-point gold dollop atop her head. The various woodland creatures are outfitted to varying degrees of cuteness but none so cute as the little unicorn (Megan Benkler) whose dress is a mini white wedding dress with a white string wig and a swivel horn atop her head. Another costume triumph comes from the White Stags (Shelby Hylton, Ava Ertel, and Lily Ertel.) They have large beautiful antlers that are dusted with glitter and shimmery white tutus as they dance around the stage to help them look elusive.
The kids try their best to make the show work. With a live orchestra and singing support from the adults some of the tunes are actually quite catchy. The singing stars of the show are found in Tumnus (Lauren DeSha) who enjoys a wonderful solo during “Narnia, You Can Imagine.” DeSha’s voice is so haunting and sweet as she fondly reminisces of the times when Narnia had Christmas and spring that you feel her soul mourning for the lost times and are entranced by the simple melodious tune. The show stealer, however, comes from the angry and terribly evil White Witch (Kat McKerrow). Her frightful persona oozes from her body in the way she walks, talks, and certainly in the way she sings. When her first number “Turkish Delight” takes to the stage she belts and bellows the song, a duet along with the Dwarf (June Frank,) that will send shivers up your spine. It has a gypsy feel to it but something truly evil seeps out through McKerrow’s expressive face during this number. She has a second duet, this time with Aslan (Raphael Shaw) where they sing “Deep Magic” and her pompous personality bubbles over onto the stage possessing it like a living evil that cannot be contained.
Aslan (Raphael Shaw) makes a stunning first impression when he leaps onto the scene with a roar. But it would have been slightly more impressive had they really made him look like a lion. Donned in white Jesus style robes with golden accents the only thing Shaw wears to show that he’s a lion is a makeshift mane, which is so well hidden by his natural hair that you don’t even see it until the Dwarf is ordered to cut it off in act II. But looking like a lion or not, Shaw has the powerful voice of this king of Narnia character, belting out powerful numbers like “Cair Paravel” and “Catch Me If You Can.” He shares the stage with McKerrow in many scenes and their interactions really bring life to the show.
It’s a great outing for the kids, bring them along to enjoy Narnia: The Musical at the Reisterstown Theatre Project.
Running Time: 2 hours and 40 minutes, with one intermission.
Narnia – the Musicalplays through March 17, 2012, at Reisterstown Theatre Project at Franklin Middle School – 10 Cockeyes Mill Road, in Reisterstown, MD. For tickets call the box office at (443) 246-6401.
