DC Theater Arts

Tag: Arts on the Green

  • The ensemble shines in ‘Merrily We Roll Along’ at Gaithersburg Arts Barn

    The ensemble shines in ‘Merrily We Roll Along’ at Gaithersburg Arts Barn

    Bursting with dreams, catching at dreams, practicing dreams, dreams that will explode… The characters in the Stephen Sondheim/George Furth musical Merrily We Roll Along, now presented at the Gaithersburg Arts Barn by the Damascus Theatre Company, dream big. Their dreams become nightmares. How?

    We see the nightmares first. At a 1976 celebratory party for Franklin Shepard’s (Ethan Kahwaty) latest successful but vapid movie, his wife Gussie (Kristina Friedgen) publicly leaves him, after first throwing iodine in his girlfriend’s face. His longtime friend Mary Flynn (Neva Keuroglian Sullivan), by now an out-of-control alcoholic, drunkenly rebukes him and leaves. His friend and former collaborator, Charley Kringis (Adam Esrig), is absent, having long given up on a relationship with Frank.

    The Company in the opening number of ‘Merrily We Roll Along.’ Photo by Elli Swink.

    The structure of the show, like that of its source material, a 1934 play of the same name by George Kaufman and Moss Hart, runs retrospectively. Each scene chronologically precedes the one before it. The play becomes something of an archeological dig, each scene peeling away another layer in the characters’ lives, excavating the choices that led them away from the deep friendship and idealistic hope they felt on their first meeting in 1957.

    So it is that, in 1973, Charley, distraught over Frank’s focus on money over music, melts down on live TV, blowing up what is left of their friendship. “Franklin Shepard, Inc.” is one of the most challenging numbers in the Sondheim canon, and Esrig delivers it with admirable clarity. Esrig’s Charley is eager, needy, and nerdy, less powerful than Frank in their relationship, but a survivor whose life remains the most intact of the three principals. He loses a friend and collaborator but not himself.

    Mary, hopelessly in love with Frank, is not so fortunate. She stands by watching him marry and then divorce his first wife, Beth (Faith Wang), allow himself to be seduced by Gussie, and grow distant from Charley. Mary does not make demands on Frank or try to manipulate him. She tries to stay close to him by helping to maintain his other relationships. She attempts to mediate the growing estrangement between Frank and Charley and warns Beth about Gussie’s designs on her husband. With somewhat mixed motives, she urges Frank to take a vacation after his divorce from Beth. Sullivan’s “Like It Was” and “Old Friends,” and above all, the second act version of “Not a Day Goes By” mark her as the most affecting character in the show.

    As Sondheim notes in Finishing the Hat, Frank, in the early part of the show, is “entirely unsympathetic… He is arrogant, an adulterer, a betrayer of his best friend and the cause of near-suicidal alcoholism [by Mary].” In “Growing Up,” Kahwaty shows Frank as he considers his choices, rationalizing making the wrong ones. Emotionally unaware, Frank is the hollow center of the show, around whom the other characters and the ensemble revolve. Kahwaty cannot (indeed, should not) make the character likeable, but as we see more of Frank’s past, he becomes at least more understandable.

    TOP: Ethan Kahwaty (Frank), Kristina Friedgen (Gussie), and Ensemble perform ‘The Blob’ in ‘Merrily We Roll Along.’ Photo by Elli Swink. ABOVE: Adam Esrig (Charley) and Neva Keuroglian Sullivan (Mary) perform ‘Old Friends/Like It Was’ in ‘Merrily We Roll Along.’ Photo by Kenneth C. Visser.

    Of the three major supporting characters, the most interesting one to me in this production was Joe Josephson, the very commercial producer who wishes Frank would write more “hummable” melodies (Sondheim’s rejoinder to people who made that criticism of his work). In a role that can sometimes get lost in the shuffle, Bill Brown gives a very relaxed, unassuming portrayal of a man of limited imagination who influences from behind the scenes. There’s a very funny, well-executed moment as Joe exits humming a somewhat off-kilter snatch from “Some Enchanted Evening.”

    Gussie, clawing her way up from working class roots, first marries Joe and then, her ambition unsatisfied, sets her sights on the even more successful Frank. She knows how to use people: her version of “Growing Up” is a master class in manipulation. Friedgen plays Gussie’s brassiness for all it is worth. Frank, lacking a solid core, is easy prey for her unsubtle seduction, which feels as much about her star power, and what that means to Frank, as it is about sex.

    Wang’s Beth seems a somewhat fragile figure, her first act version of “Not a Day Goes By” — probably the show’s best-known number — emphasizing her sadness, without the high-wattage fury one sometimes hears in the number. In their early days, she does have moments of happiness, particularly in “Bobbie and Jackie and Jack,” in which she, Frank, and Charley in 1962 perform a lighthearted spoof of the Kennedy family. (I suspect younger members of the audience might need footnotes to identify some of the White House denizens and visiting artists mentioned in the song.)

    Merrily We Roll Along is a great ensemble show, and Damascus Theatre Company’s ensemble shines, not only in group numbers like the “Transitions” and “The Blob” but in small but important character bits. Examples include Tianna Leon as Meg (Frank’s first scene girlfriend), Nicki Mazza as Beth’s disapproving mother, Julianna Cooper as K.T. (the TV host in “Franklin Shepard, Inc.,” and Ryan Muha as Tyler (who tries to sell Joe on his wonderful new invention, the answering machine). While Merrily is not a dance-heavy show, choreographer Megan McNellage keeps the movement crisp and well-organized, “The Blob” being a particularly nice moment.

    Between Sondheim’s full and complex score, the show’s many vivid characters, and its reverse chronology, Merrily can be a challenging show to mount. Director Keith Edward meets the challenge in a production that is tight, trusts the material and the cast, and makes optimal use of the Arts Barn’s limited playing space. Details are clear and specific. Music Director Owen Posnett’s small band accompanies the singing effectively. My favorite lighting moment in Rick Swinks’ design came in the second act version of “Not a Day Goes By,” when Mary, sitting apart from Frank and Beth as they plan their marriage, is highlighted in her sorrow.

    There is some wisdom in the retrospective structure of Merrily. People in middle or older age have the opportunity to look back on the choices they’ve made and, perhaps, reconsider where they are going by reviewing where they have been. It’s interesting to think about whether there is any hope that Frank — in despair, facing upstage, head down on the piano at the beginning and end of the show — might somehow find a means to redeem his life. Sondheim thought not, saying that Frank is left “sinking into the hell he has created.” May the Theater Gods forgive me, but I am not sure he was necessarily right. Having realized that all is lost, perhaps such a person could pick a different road, getting to know the countryside in a different way. We’ll never know, but a show of this emotional complexity invites the speculation.

    Running Time: Approximately two and a half hours, including one intermission.

    Merrily We Roll Along plays through March 23, 2025 (Friday at 8 PM, Saturday at 2 & 8 PM, and Sunday at 2 PM), presented by Arts on the Green in partnership with Damascus Theatre Company performing at the Arts Barn, 311 Kent Square Road, Gaithersburg, MD. For tickets ($25; $23, students 15–21; $16, youth 14 and under), buy them at the door or purchase them online. Online ticket sales end two hours prior to the performance. Tickets may also be purchased in person at the Arts Barn box office or by calling 301-258-6394.

    Merrily We Roll Along
    Music and Lyrics by Stephen Sondheim
    Book by George Furth
    Based on the original play by George S. Kaufman and Moss Hart

    Directed by Keith Edward
    Choreographed by Megan McNellage
    Produced by Carol Boyle & Elli Swink

  • Entertaining ‘Revolutionists’ at Arts Barn entertains multiple feminisms

    Entertaining ‘Revolutionists’ at Arts Barn entertains multiple feminisms

    Lauren Gunderson’s The Revolutionists, a quasi-historical play about feminism and revolution set in Paris, seems an obvious choice to stage and open on Bastille Day 2023. This ambitious production, staged by Silver Spring Stage, features four ideologies and approaches to feminism and revolution embodied by four historical figures.

    An argument can be made that The Revolutionists is less relevant in 2023 than when it was written, even just five years ago. Topics including white, moderate feminism; Black abolitionism; violent uprising; and the privileged detachment of the wealthy are all explored through four historical women: Olympe de Gouges, Marianne Angelle, Charlotte Corday, and Marie Antoinette, respectively. Each is given a unique voice, and the message of the script suggests that each form of feminism is valid and necessary to the revolution of gender equity. However, a play that depicts a Black abolitionist and former French Queen Marie Antoinette embracing and finding common ground, while suggesting that their approaches to feminism and revolution have equal importance, may not be the most relevant artistic choice to make in 2023.

    Mary Wakefield (Olympe de Gouges), Alex Greenberg (Marie Antoinette), Emma Wesslund (Charlotte Corday), and Rachel Johnson (Marianne Angelle) in ‘The Revolutionists.’ Photo by Pam Burks.

    Despite this, the production was overwhelmingly enjoyed by the audience, even with a heavy-handed script and sometimes questionable artistic choices, the audience was entertained, but perhaps not as challenged as the production intended them to be.

    The technical aspects of the production were charming and intimate, but not always well utilized by the actors and direction. The set design, by designer and director Jen Katz, was minimalistic but visually unified — however, it was not well utilized by the actors’ blocking until after the first act. The costumes, by Mary Wakefield, did not always appear to live in the same “world.” Whether this was a hint at the meta-nature of the play was unclear. While the design choices for Olympe de Gouges and Marianne Angelle were aesthetically pleasing, they told little of the life and story of the characters, which was in deep contrast to the designs of Charlotte Corday and Marie Antoinette, which clued the audience into the characters as soon as they came onstage. The sound and lighting design, by Lucien Reubens and Steve Deming, respectively, shined as the most cohesive technical aspects of the production, especially aiding in the tonal shift between the first and second acts of the play. Overall, the designers utilized the small, intimate theater with deep knowledge and understanding of the space and its audience, even when that same level of familiarity was not always shared in the direction.

    Mary Wakefield as Olympe de Gouges, our protagonist as the playwright of the meta-play, gives a commendable performance in her first full-length Silver Spring Stage show. The opening scene is difficult, as it requires the performer to clearly establish the tone of the play, as well as its meta-narrative; however, blocking choices and choices by the actor did not clearly establish either until much later in the first act, when Charlotte Corday enters. Overall, Wakefield’s choices are interesting enough to capture the audience and hold our attention, but awkward pacing and lack of discovery hinder the establishment of the overall story until much later in the play.

    Rachel Johnson as Marianne Angelle (the only character in the play that was not based on a historical figure, but an amalgamation of several Black abolitionists of Saint-Domingue and other French colonies of the time) does her best with a poorly written character, who seems to function less like a real person than as an archetype whose sole purpose is to provide relief to the conscience of white feminists. Despite the limitations of the script, Johnson’s performance is funny, sharp, and full of heart — she makes the character her own and elevates her from an idea to someone the audience can believe truly existed.

    Emma Wesslund (Charlotte Corday) in ‘The Revolutionists.’ Photo by Pam Burks.

    Emma Wesslund as Charlotte Corday was an electric force from the moment the audience could hear her voice offstage. Perfect for the role of the passionate Charlotte Corday, Wesslund’s performance brought the necessary energy that the production was lacking in the opening scene, with the other players quickly matching her energy when they shared the stage. For better or worse, the play did not feel like it had properly begun until she was onstage.

    Alex Greenberg as Marie Antoinette was funny, charming, and an overall delight to watch. Greenberg understood the character’s function in the narrative, and it was easy to be enamored by an unlikeable historical figure in her comedic yet nuanced performance. Had the audience been given more time to savor her performance through more favorable pacing, Greenberg’s performance would fully embody the larger-than-life personality that the legend of Marie Antoinette has become.

    While The Revolutionists faced challenges such as difficult pacing, unclear tone, and inconsistent comedic delivery, the actors managed to navigate these obstacles and make the most of an increasingly irrelevant script. The cohesive and minimalist design elements added depth to the production, creating a visual clarity that aided in the often-murky tonal shifts. Despite its flaws, the play was enjoyed by the audience, and I highly recommend it to fans of Lauren Gunderson’s work. While it may not fully resonate with the current times, the production’s strengths and the dedication of the performers make it a worthwhile theatrical experience.

    Running Time: Two hours and 10 minutes, including a 15-minute intermission.

    The Revolutionists plays through July 23, 2023, presented by Arts on the Green in partnership with Silver Spring Stage performing at Arts Barn, 311 Kent Square Road, Gaithersburg, MD. For tickets ($22; $20 student), buy them at the door, or purchase them online.

    COVID Safety: Masks are encouraged but not required.

  • Call for proposals for the 2023/24 theater season at the Arts Barn

    Call for proposals for the 2023/24 theater season at the Arts Barn

    Arts on the Green, the City of Gaithersburg’s home for the performing and visual arts, which includes the Kentland’s Mansion and Arts Barn, is now soliciting production proposals for the theater season beginning July 2023 through June 2024. Located in the Kentlands, the Arts Barn (theater venue) is housed in a Victorian-era renovated stable with a charming 99-seat theater.

    Gaithersburg’s Arts Barn

    Productions accepted for the Theater Series will be part of the Theater Arts Partnership Program (TAPP). A production partnership is created between the production company and the Arts Barn/City of Gaithersburg. The City provides use of the Arts Barn and its many resources (fully equipped theater, rehearsal space, box office, advertising and marketing support) without the high rental rates of other facilities in the area. The production company is responsible for the direct production costs of the show (royalties, set and construction, props, costumes, etc.). The box office proceeds are then split between the production company and the City. This unique program provides TAPP partners affordable, quality production space while helping the City fulfill its commitment to a robust arts and cultural environment for its residents.

    The theater season is July 2023 through June 2024. The FY24 season marks the 21st Anniversary of the Opening of the Arts Barn! We are seeking strong proposals of musicals, plays, youth theater, and theater for young audiences. Theater productions generally run either two or three weeks preceded by a week of tech time in the theater. Rehearsals may take place in either the Gallery or Theatre, 3-4 times a week, for 8-10 weeks prior to tech week.

    Groups may apply for up to four production slots and may offer up to six shows to be considered. The Request For Proposals process is conducted annually. Selections are recommended by a peer review committee based on the strength of the proposal and the credentials of the theater group. The City of Gaithersburg supports principles of Diversity, Equity, Inclusion, and Accessibility. No group, regardless of past TAPP participation, is assured of inclusion in the theater series. The Arts Barn reserves the right to decline any or all proposals submitted.

    Factors to consider before making your proposal:

    • With regards to a 2-week slot (not a youth theater production), the Arts Barn is open to having two performances on one day (i.e., Saturdat at 2 & 8 p.m.). Companies selecting a 2-week slot are also encouraged to consider adding a Thursday evening performance in lieu of a brush-up rehearsal. We will consider shortening a 3-week slot to a 2-week slot.
    • Theatre for Young Audiences (adult performers) and Youth Theatre (youth performers) productions typically have performances on Saturdays at 11 a.m. and 1 p.m. and Sundays at 1 p.m. and 3 p.m. We will also consider adding a 7:30 pm performance on Friday evenings if selecting a 2-week production slot.
    • The preference is for large, family-oriented musicals in July and August. Additionally, the Arts Barn will open the academic year (September) and close the season (June) with strong productions such as familiar musicals, mysteries, comedies, and children’s shows.
    • The Arts Barn seeks to develop a season that includes all genres (comedy, drama, mystery, musical) and has something for everyone.
    • Please think thematically. For example:
      • Strong choices for the November/December slot would include a holiday theme that the whole family can enjoy. (Note: Production may open on the Friday after Thanksgiving, or as early as November 17. An early load-in schedule is available.)
      • Romance-themed productions, or shows highlighting Black History Month, are sought for February.
    • The Arts Barn seeks quality theater and puppetry geared for children and youth.
    • The Arts Barn will consider remounts or encore performances of successful shows that your group recently produced.
    • The Arts Barn seeks a balance of the familiar along with the new and edgy.
    • The Arts Barn welcomes proposals that include marketing ideas that will bring in new and diverse audiences.
    • If selected, theater companies are required to follow all COVID-19 safety protocols as set by the Arts Barn and local and state regulations.

    HOW TO APPLY
    Applications are made via an online form. Supplemental material (scripts, librettos, or musical CDs) are welcome, but not required unless requested by the Theatre Program Coordinator. If sending supplemental materials digitally, please direct them to the Theatre Program Coordinator, Laura W. Andruski at laura.andruski@gaithersburgmd.gov. For snail mail:

    Laura W. Andruski
    City of Gaithersburg – Arts Barn
    311 Kent Square Road
    Gaithersburg, MD 20878

    All online applications must be complete by December 16, 2022, at 11:30 p.m.

    • If requested, all supplemental material must be delivered to the Arts Barn by December 30 by 5:00 p.m.
    • Decisions will be made by March 1, 2023.
    • To complete an application, use this online form. 

    For any additional questions, please contact Laura W. Andruski, Theatre Program Coordinator, at laura.andruski@gaithersburgmd.gov or call 301-258-6394.

  • Arts Barn previews compelling 2020–2021 season

    Arts Barn previews compelling 2020–2021 season

    Arts On The Green, the organization that provides indispensable arts programming at a collection of venues on the beautiful Gaithersburg campus, has recently offered audiences a sneak peek at the upcoming season at the Arts Barn. Though multiple significant changes have been made due to a prolonged closure, Arts Barn plans to continue offering enriching arts experiences this autumn. Their new season features a compelling range of productions that focus on stories of romance, comedy, and history, with children’s shows and musical offerings to lighten the mood. As usual, they will collaborate with other local organizations to produce their shows, including The Montgomery Playhouse, Landless Theatre Company, Damascus Theatre Company, Sandy Spring Theatre Group, Rockville Little Theatre, KAT-2nd Stage, and ANKH Repertory Theatre. 

    Michael Beder, Scott Nunn, Helen Aberger, and Madison Halla in ‘Little Red’s Most Unusual Day,’ performed at Arts Barn in 2019. Photo by Harvey Levine.

    The Arts Barn 2020-2021 season is as follows. Unless specified, performance times are Fridays and Saturdays at 8 PM, and Sundays at 2 PM. Online ticket sales will open 30 days prior to the event.

    She Kills Monsters by Qui Nguyen
    In partnership with The Montgomery Playhouse
    July 10-26, 2020
    A comedic romp into the world of fantasy role-playing games, She Kills Monsters tells the story of Agnes Evans as she leaves her childhood home in Ohio following the death of her teenage sister, Tilly. When Agnes finds Tilly’s Dungeons & Dragons notebook, however, she stumbles into a journey of discovery and action-packed adventure in the imaginary world that was Tilly’s refuge. In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres, and ’90s pop culture, acclaimed playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all. Recommended for ages 14 and older.

    The Fantasticks
    Music by Harvey Schmidt and Lyrics by Tom Jones
    In partnership with Landless Theatre Company
    Aug 7-23, 2020
    A charming and romantic musical about one young couple, two “feuding” fathers, and an infinite love that transcends time, The Fantasticks whimsically whisks audiences on a journey of imagination into a world of moonlight, magic, and memory. Along the way, love is found, lost, and rediscovered after a poignant realization that “without a hurt, the heart is hollow.” Recommended for ages 14 and older.

    You’re A Good Man, Charlie Brown
    Based on The Comic Strip ‘Peanuts’ by Charles M. Schulz
    Book, Music and Lyrics by Clark Gesner
    In partnership with Damascus Theatre Company (35th Anniversary)
    September 11-27, 2020
    Charlie Brown and the entire Peanuts gang explore life’s great questions as they play baseball, struggle with homework, sing songs, swoon over their crushes, and celebrate the joy of friendship. Recommended for ages 7 and older.

    Frozen Jr.
    Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
    In partnership with KAT-2nd Stage
    Oct 24–Nov 1, 2020
    Performance times: Saturdays 11 a.m. and 2 p.m.; Sundays 1 p.m. and 3 p.m.
    A story of true love and acceptance between sisters, Frozen Jr. takes us on a journey with Princesses Anna and Elsa. When faced with obstacles, the two discover their hidden potential and the powerful bond of sisterhood. With a cast of beloved characters—and loaded with magic, adventure, and plenty of humor—Frozen Jr. is sure to thaw even the coldest heart! Recommended for ages 4 and older.

    The Christmas Express by Pat Cook
    In partnership with Sandy Spring Theatre Group
    Nov 27–Dec 13, 2020
    No evening performance Dec. 12. Additional 2 p.m. matinee performances on Nov. 28, Dec. 5, and Dec. 12.
    When Leo Tannenbaum appears from nowhere on December 23rd, things begin to change around the Holly Railway Station. A long defunct radio springs to life, the local carolers suddenly sound like the Mormon Tabernacle Choir, and everyone seems to be filled with an unusual Christmas spirit. This nostalgic theatrical greeting card is filled with eccentric small-town characters and punctuated with memorable moments. A perfect holiday treat for the entire family! Recommended for ages 7 and older.

    The Mountaintop by Katori Hall
    In partnership with Rockville Little Theatre
    Feb 12-28, 2021
    A gripping reimaginating of events the night before the assassination of the civil rights leader Dr. Martin Luther King, Jr. On April 3, 1968, after delivering one of his most memorable speeches, an exhausted Dr. King retires to his room at the Lorraine Motel while a storm rages outside. When a mysterious stranger arrives with some surprising news, King is forced to confront his destiny and his legacy to his people. Recommended for ages 14 and older.

    Steel Magnolias by Robert Harling
    In partnership with The Montgomery Playhouse
    Mar 12-28, 2021
    Truvy’s salon is Chinquapin, Louisiana’s go-to place for a beauty fix with a hearty side of gossip. Along with her overeager assistant Annelle, Truvy pampers her small-town clients with hairdos, manicures, and all kinds of unsolicited advice. Anybody who’s anybody is a regular: There’s the doting M’Lynn and her soon-to-be-married daughter Shelby, the moody Ouiser and the well-to-do widow Clairee. Through witty banter and wisecracks, this hodgepodge group of women form friendships as strong as steel, which they are forced to lean on when tragedy strikes. Recommended for ages 14 and older.

    Finding Nemo Jr.
    Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
    In partnership with KAT-2nd Stage
    April 17-25, 2021
    Performance times: Saturdays 11 a.m. and 2 p.m.; Sundays 1 p.m. and 3 p.m.
    When little Nemo swims too close to the surface, he is captured by a diver and taken away. His father Marlin must brave the open ocean to find him. On the way, he teams up with a friendly but forgetful blue reef fish named Dory. Together, they encounter sharks, jellyfish, and turtles on their way to bring Nemo back home. Recommended for ages 4 and older.

    Ain’t Misbehavin’
    Book by Murray Horwitz and Richard Maltby Jr.
    In partnership with ANKH Repertory Theatre
    May 7-23, 2021
    No evening performance May 22; 2 p.m. matinee only.
    The rollicking, joyous, and infectious music of Fats Waller will have you singing and dancing in the aisles! Equal parts pianist, singer, songwriter, and comedian, Fats Waller was one of the seminal figures of 20th-century jazz and Tin Pan Alley, with such standards as “The Joint Is Jumpin’,” “Honeysuckle Rose,” “Handful of Keys,” and more. Recommended for ages 15 and older.

    Clue, The Musical
    Based on the board game Clue
    Book by Peter DePietro; Music by Galen Blum, Wayne Barker and Vinnie Martucci; and Lyrics by Tom Chiodo
    In partnership with Damascus Theatre Company
    June 11-27, 2021
    Was it Colonel Mustard in the kitchen with a knife, or maybe Mrs. Peacock in the ballroom with a candlestick? Or perhaps Professor Plum in the study with a lead pipe? The internationally popular game is now a fun-filled musical that brings the world’s best-known suspects to life, and invites the audience to help solve the mystery: who killed Mr. Boddy, in what room, and with what weapon? Recommended for ages 12 and older.

    The Arts Barn mission is to provide residents and visitors with enriching arts experiences that include exploration, education, and observation. The Arts Barn nurtures community artists and arts groups by providing professional services and facilities in which to creatively develop. Education programs inspire people of all ages and backgrounds to explore their own creativity. Registration is open for summer camps and workshops. Sign up for long-time favorites and brand-new additions for all ages and interests in performing, visual, and literary arts, fine crafts, art history, and artist business. Register online, visit the Arts Barn website, or call 301-258-6394 for more information. You can also follow them on Facebook.

    Tax-deductible contributions for the community can be made at the Arts Barn website.

  • Gaithersburg’s Arts on the Green concert season returns in December with Rochelle Rice’s ‘Cool Yule’ and much more

    Gaithersburg’s Arts on the Green concert season returns in December with Rochelle Rice’s ‘Cool Yule’ and much more

    Gaithersburg’s Arts on the Green presents a new season of engaging concerts featuring an eclectic mix of Americana, jazz, classical, contemporary, traditional, and world music in an intimate and inviting setting. Enjoy authentic music and lively conversation as well as special workshops before select performances. The series is sponsored by Hampton Inn and Suites. The Singer-Songwriter Series is presented by O’Hair Salon + Spa.

    Gaithersburg’s Arts Barn

    Cool Yule with Rochelle Rice
    December 14
    8 p.m. • Arts Barn
    Tickets $25/$18 Youth (18 & under)

    Join award-winning singer and songwriter Rochelle Rice for an evening of familiar holiday classics performed through a new musical lens. Inspired by the spirit of the great songwriters of the ‘70s and guided by her study of jazz and Black American Music, Rice’s sound is a woven tapestry of jazz-inspired pop and soul.

    Sunday Music Salon in the Mansion
    Folk Re-Imagined 1, España & Beyond
    January 12
    2 p.m. • Kentlands Mansion
    Tickets $30/$18 Youth (18 & under)

    Cellist Tanya Anisimova and guitarist Matt Palmer introduce the audience to Spanish-influenced compositions and long-time favorites from Spain itself.

    Seán Heely Trio – Robert Burns Night
    January 24
    7:30 p.m. • Arts Barn
    Tickets $40/$30 Youth (20 & under, whiskey tasting not included)

    A fun evening of music, poetry, whiskey and haggis celebrating the life of poet Robert Burns. Inspired by their Scottish ancestry, the Seán Heely Trio breathes new life into the rich traditions of Celtic music, engaging audiences with every bow stroke. 7:30 p.m. whiskey tasting and haggis, followed by music and poetry. Traditional instruments and dress. Patrons are encouraged to wear Scottish dress or anything plaid.

    Sunday Music Salon in the Mansion
    Folk Re-Imagined 2, Chopin and the Russians
    February 9
    2 p.m. • Kentlands Mansion
    Tickets $30/$18 Youth (18 & under)

    Elena Kushnerova explores the mystical world of Alexander Skriabin and Sergei Rachmaninoff, also performing excerpts from her piano arrangement of Prokofiev’s Romeo and Juliet. Violoncellist Tanya Anisimova performs original pieces in Russian style.

    Steve Herberman & Lena Seikaly
    February 29
    8 p.m. • Arts Barn
    Tickets $25/$18 Youth (18 & under)

    This guitar and vocal jazz duo enjoy spontaneous interaction while performing live, offering something new each time.

    Gretchen Peters – Singer-Songwriter Series*
    March 28
    3 p.m. Workshop, 7:30 p.m. Concert • Arts Barn
    Tickets $30/$50 Combo

    Gretchen Peters is one of Nashville’s most beloved and compelling artists. Her songs immerse listeners in a world of emotion, digging underneath to expose what is fueling the fire. She’s been described as heartbreaking and heartwarming.

    The Minimalists
    in partnership with New Orchestra of Washington
    April 18
    8 p.m. • Arts Barn
    Tickets $30/$18 Youth (18 & under)

    Prepare to be hypnotized and amazed by the music of America’s popular modern composers. Explore the music of Samuel Barber, Philip Glass and Steve Reich, pioneering giants who helped establish America as the center of the cultural landscape in the 20th and 21st centuries. Becky Anderson, violin; Alan Richardson, cello; Grace Cho, piano.

    Seth Glier – Singer-Songwriter Series*
    May 2
    3 p.m. Workshop, 7:30 p.m. Concert • Arts Barn
    Tickets $25/$45 Combo

    Grammy-nominated musician Seth Glier continues to gain momentum with his superb song-crafting skills and his elegantly emotional voice.

    Danielle Wertz, Jazz Songstress
    June 6
    8 p.m. • Arts Barn
    Tickets $25/$18 Youth (18 & under)

    An award-winning jazz vocalist, educator, composer, and arranger, Danielle Wertz provides a unique, honest and refreshing experience.

    *Singer Songwriter Concert Series: Experience inspiring performances and explore your creativity with this series presented by O’Hair Salon + Spa. It celebrates musicians who write, compose and sing their own original material. In addition to the concert experience, patrons can participate in special workshops with the artists for a unique insight into the world of the singer-songwriter. Local musicians will be featured before the nationally and internationally known headliners.

    Attendees to all performances are invited to come early and enjoy wine by the glass, beer, and non-alcoholic beverages in a bistro setting. The Arts Barn Pub is open one hour before the show and during intermission.

    All performances take place at the Arts Barn, 311 Kent Square Road, and Kentlands Mansion, 320 Kent Square Road, in Gaithersburg, MD. For more information or tickets, call the box office at (301) 258-6394 or go online. 

  • Call for Proposals for the 2019-2020 Theater Season at the Arts Barn

    Call for Proposals for the 2019-2020 Theater Season at the Arts Barn

    Arts on the Green, the City of Gaithersburg’s home for the performing and visual arts which includes the Kentlands Mansion and Arts Barn, is now soliciting production proposals for the theater season beginning July 2019 through June 2020. Located in the Kentlands, the Arts Barn (theatre venue) is housed in a Victorian-era renovated stable with a charming 99-seat theater.

    Productions accepted for the Theater Series will be part of the Theater Arts Partnership Program (TAPP). A production partnership is created between the production company and the Arts Barn/City of Gaithersburg. The City provides use of the Arts Barn and its many resources (fully equipped theater, rehearsal space, box office, advertising and marketing support) without the high rental rates of other facilities in the area. The production company is responsible for the direct production costs of the show (royalties, set and construction, props, costumes, etc.). The box office proceeds are then split between the production company and the City. This unique program provides TAPP partners affordable, quality production space while helping the City fulfill its commitment to a robust arts and cultural environment for its residents.

    The theater season is July 2019 through June 2020. Due to an anticipated summer shutdown of the Arts Barn for capital improvements, the September slot may be canceled.  Please make sure to select an alternate slot if submitting a September show. Theater productions generally run three weeks preceded by a week of tech time in the theater. There are also five 2-week slots available in the 2019-2020 season.

    Groups may propose up to five productions and may select as many performance slots as they wish. This selection process is conducted annually and selections are based on the strength of the proposal and the credentials of the theater group by a peer review committee. No group, regardless of past TAPP participation, is assured of inclusion in the theater series. The Arts Barn reserves the right to decline any or all proposals submitted.

    Factors to consider before making your proposal:

    • For a 2-week slot (not a youth theatre production), the Arts Barn is open to having two performances on one day (i.e., Saturday at 2 & 8 p.m.). Companies selecting a 2-week slot are also encouraged to consider adding a Thursday evening performance in lieu of a brush-up rehearsal. A Sunday evening 7:30 p.m. performance may also be proposed.
    • Children’s Theatre (adult performers) and Youth Theatre (youth performers) productions typically have performances on Saturday and Sunday at 11 a.m. & 2 p.m. only. We will also consider adding a 7:30 p.m. performance on Friday evenings if selecting a 2-week production slot.
    • The preference is for large, family-oriented musicals in July and August. Additionally, the Arts Barn will open the academic year (September) and close the season (June) with strong productions such as familiar musicals, mysteries, comedies or children’s shows.
    • The Arts Barn seeks to develop a season that includes all genres (comedy, drama, mystery, musical) and has something for everyone.
    • Please think thematically. For example, strong choices for the November/December slot would include a holiday theme that the whole family can enjoy. (Note: Show may open on the Friday or Saturday after Thanksgiving.  An early load-in schedule is available.) Romance-themed productions are sought for February.
    • The Arts Barn seeks quality theater geared for children and youth.
    • The Arts Barn will consider re-mounts or encore performances of successful shows which your group recently produced.
    • The Arts Barn seeks a balance of the familiar along with the new and edgy.
    • The Arts Barn welcomes proposals that include marketing ideas that will bring in new audiences.

    HOW TO APPLY:

    Applications are made via an online form. Supplemental material (scripts, librettos or musical CDs) are welcome, but not required unless requested by the Theatre Program Coordinator. If sending supplemental materials digitally, please direct them to the Theatre Program Coordinator, Laura W. Andruski at landruski@gaithersburgmd.gov. For snail mail: Laura W. Andruski, Arts Barn, 311 Kent Square Road, Gaithersburg, MD 20878.

    • All online applications must be completed by midnight on December 14, 2018.
    • If requested, all supplemental material must be delivered to the Arts Barn by December 28 by 5:00 p.m.
    • Decisions will be made by March 1, 2019.
    • To complete an application go online.

    For any additional questions, please contact Laura W. Andruski, Theatre Program Coordinator, at landruski@gaithersburgmd.gov or call 240-805-1276.

  • Review: ‘The Bridges of Madison County’ at Damascus Theatre Company

    Review: ‘The Bridges of Madison County’ at Damascus Theatre Company

    Directed by Stephanie Bonte-Lebair and presented in conjunction with Gaithersburg Arts Barn/Arts on the Green, Dasmascus Theatre Company’s The Bridges of Madison County is a crowd-pleasing musical that fans of the original 1992 novel by Robert James Waller or the 1995 film starring Meryl Streep and Clint Eastwood are sure to enjoy. With a book by Marsha Norman and music and lyrics by Jason Robert Brown, this devastating and romantic musical is executed in near-perfect fashion by this cast and crew.

    Photo by Elli Swink.

    Elizabeth Hester plays Francesca, who embarks on a weekend affair with Robert, a National Geographic photographer played by Chad Wheeler. Both actors do a fantastic job in these roles; hitting all the right notes both musically and emotionally. Their vocal talents are on full display in the stand-out romantic number, “Before and After You/One Second and a Million Miles.”

    Bob Schwartz is Bud, Francesca’s husband who has taken their two children to a state fair to have their daughter’s prize steer judged. The daughter, Carolyn (Sophia Anthony), is equal parts defiant and anxious. She and her brother Michael (Payton O’Keefe) offer the perfect balance of neediness and spitfire which leads to Francesca’s pivotal decision in the musical.

    Photo by Elli Swink.

    Liz Weber as the aging, nosy neighbor Marge was a special treat, both saucy and humorous in her solo number, “Get Closer.” Hugh Gordon portrays a realistic tenderness towards her as her husband Charlie.

    One notable, though small, role is that of Robert’s ex-wife Marian. Caitlin Connolly has a gorgeous voice and carries “Another Life” like a pro. I expect to see her and Laura Searles, who plays a State Fair Singer, stepping into lead roles any time now.

    The impressive set design by Bill Brown, makes full use of the small space they had to work with. Combined with brilliant lighting from Lighting Designer Rick Swink, the set embodied the emotional weight which the story required. Costume Designer Carol Boyle had no trouble taking us back to rural 1960s Iowa.

    Photo by Elli Swink.

    Due to the smaller stage, I feel it would be remiss not to mention the skill of the cast and crew in making scene transitions. The space was unforgiving and the cast and crew managed to navigate it without breaking the spell this wistful musical holds over the audience.

    The Bridges of Madison County from Damascus Theatre Company is one of the best musicals I have seen this year. There isn’t a weak cast member and the technical skill of the crew involved is apparent. I highly recommend this production.

    Running Time: Three hours, with one intermission.

    The Bridges of Madison County plays through June 24, 2018 at Damascus Theatre Company at Gaithersburg Arts Barn- 311 Kent Square Road, Gaithersburg, MD. Tickets can be purchased online.

  • Review: ‘A Christmas Carol’ at Kensington Arts Theatre

    Review: ‘A Christmas Carol’ at Kensington Arts Theatre

    Reviewed by Meredith Fogle

    Prepare to be swept into the holiday spirit alongside Ebenezer Scrooge by the Ghosts of Christmas Past, Present, and Future in Kensington Arts Theatre’s production of A Christmas Carol, presented in partnership with Arts on the Green and directed by Jordan Clifford.

    A troupe of carolers garbed in velvet capes and woolen cloaks opens the show and, along with talented musicians, provides a picturesque backdrop effectively setting the mood of each scene and infusing the story with the holiday spirit through performances of traditional Christmas standards.

    Prepare to be swept into the holiday spirit!

    Dino Coppa is fantastic as delightfully curmudgeonly Ebenezer Scrooge alongside an energetic and enjoyable cast, including Chris Penick, who gives a moving performance as Bob Cratchit, Kyle Sprankle, gregarious as Fred (and Young Man Scrooge), Heather Andrews, who provides angelic guidance as the Ghost of Christmas Past and Mrs. Cratchit, and Miriam Bowden, who joyfully delivers sobering news as the Ghost of Christmas Present (she also plays a Gentlewoman).

    As Scrooge is ushered into the spirit world by Marley’s Ghost, forbiddingly frightening as played by Bob Gudauskas, a centerpiece clock casts an eerie glow over the creatively minimalistic set, which the actors transition from scene to scene with a seamless choreography. The hands of the clock fly forward when directed by the chilling gestures of the Ghost of Christmas Future, played by Shomari Fortson (who also plays Dick Wilkins), freeze, or disappear as Scrooge watches his past and future play out before him in vignettes at a Christmas party hosted by Mr. and Mrs. Fezziwig (Peter Wolff and Joy Gerst bringing a jubilant levity to the roles), the Cratchit household, and the home of Scrooge’s nephew, Fred, and his lovely if acerbic wife, played by Jennifer Feuerbach.

    The cast, many who also play multiple roles including carolers or musicians, is rounded out by a lively group of young actors playing the Cratchit Children (Julia Feller as Martha Cratchit, Bella Gilmore as Belinda Cratchit, Nate Kauffman as Peter Cratchit, Katie Musick as Ned Cratchit, and Samantha Penick as Dorritt Cratchit), Boy Scrooge (Helena Latiri), villagers and party guests (Samantha Kotok, Ellie Helgeson, Isabella Larson, and Jennifer Feuerbach). Tiny Tim, played by the adorable Henry Penick, delivers the show’s famous final line with a poignant simplicity, leaving the audience, like Scrooge, transported, and filled with true spirit of Christmas.

    Running Time: One hour and 20 minutes, including one 15-minute intermission.

    A Christmas Carol plays through December 10, 2017, at the Gaithersburg Arts Barn–311 Kent Square Road in Gaithersburg, MD.  Purchase tickets online.

  • Review: ‘Twelve Angry Men’ at Sandy Spring Theatre Group and Arts on The Green

    Review: ‘Twelve Angry Men’ at Sandy Spring Theatre Group and Arts on The Green

    What goes on in the secret deliberations of juries? And what lessons are there for all of us in terms of group dynamics and how to persuade people?

    The answers to these interesting questions are the lessons of Twelve Angry Men, now playing at the Gaithersburg Arts Barn. In partnership with Arts on the Green, Sandy Spring Theatre Group brings this iconic masterpiece to life. The play was written by Reginald Rose who adapted it from his 1954 teleplay developed for a television show. Skillful Director Bill Spitz guides the twelve nameless jurors—who are known only by their juror numbers—in a thrilling journey into the depths of human emotion and bigotry.

    Stephen Swift, Micky Goldstein, Scott D’Vileskis, Danny Santiago, Stan Rosen, Marc Rehr, Omar Latiri, Robert Mostow, Bob Schwartz, Phil Kibak, Jason Damaso, and Jim Kitterman. Photo by Joey Rushfield.

    The story seems amazingly simple. The twelve men (no women; the story was written a long time ago) on a jury have to decide if a teenage boy is guilty or not guilty of knifing his father to death. But, the stakes are incredibly high because, if the jurors find the defendant guilty, there is a mandatory death sentence. There are eyewitnesses and some physical evidence but eyewitness testimony is notoriously unreliable and physical evidence can sometimes be misleading. And what do you do if you are the only person in a room who feels a defendant may not be guilty, or if you are the only person in any room who is trying to convince others to agree with you?

    In the 1954 setting, the characters unabashedly use politically incorrect language, and it is fascinating to watch as seemingly solid evidence is torn apart and as even the most convinced and sometimes bigoted people come to see the facts differently. Of course facts, rather than opinions, are always what we should rely on and that lesson is as important in January 2017, as it was over 60 years ago when the play was first written.

    The individual performances in this production are superb from Stephen Swift, Micky Goldstein, Scott D’Vileskis, Danny Santiago, Stan Rosen, Marc Rehr, Omar Latiri, Robert Mostow, Bob Schwartz, Phil Kibak, Jason Damaso, and Jim Kitterman.

    Each man has his own personality, his own life experiences, and his own biases. Yet, it is truly an ensemble endeavor. For example, it is supposedly the hottest day of the year and the fan isn’t working, so when each actor periodically wipes his face with his handkerchief, we could almost “feel” the heat and the sweat.

    Stephen Swift does a fantastic job in his portrayal of Juror #3. He is obviously the angriest of the twelve angry men and is prone to acts of violence against his fellow jurors. Swift gets red in the face as he has to be pulled away from another man while screaming “I’m going to kill you!” He is accused of being a sadist because he not only believes the defendant is guilty, but he wants to “pull the switch” on the electric chair.

    Juror #8 is the iconoclast and is beautifully played by Omar Latiri. In the first vote, he is the only one who believes the defendant is not guilty and he has to control his anger and try to convince the others. Latiri gives a nuanced performance as he thinks through the evidence and comes up with counter-arguments one at a time.

    Micky Goldstein gives a brilliant performance as Juror #4, the only juror who does not perspire. He believes the defendant is guilty but he controls his anger by logically and methodically enumerating each piece of evidence.

    The role of Juror #9 is played by Rob Mostow as an old man with a sharp mind. One of the eyewitnesses was an older man and Mostow is excellent as he empathizes with the witness and explains to his fellow jurors that the testimony might have been influenced by personal, rather than probative, factors.

    Bob Schwartz is wonderful as Juror #10, an anti-intellectual bigot who does not control his anger. He exclaims that he is “tired of facts” and tells another juror that he “thinks too much.” He talks about “those people” who drink too much and for whom violence is a way of life, so he just assumes that the defendant is guilty. Nevertheless, when he finally pushes away from the jury table to silently reconsider, we could almost see the wheels turning in his head.

    And that’s just a sample of the performances!

    Twelve Angry Men is a scintillating blend of raw emotion and high stakes where individual life stories are gradually revealed. It is rather like eating an artichoke, peeling off one leaf at a time, and will keep you riveted to your seat until the very end.

    This classic drama should not be missed, so get your tickets today!

    Running Time: Approximately one hour and 45 minutes, with one 15-minute intermission.

    Twelve Angry Men plays through January 22, 2017 at Sandy Spring Theatre Group, performing at the Arts Barn – 311 Kent Square Road in Gaithersburg, MD. For tickets, call the box office at (301) 258-6394 or purchase them online.

  • DCMetroTheaterArts’ Best of 2016 #8: Best Performances and Ensembles in Musicals in Community Theaters in DC/MD/VA

    DCMetroTheaterArts’ Best of 2016 #8: Best Performances and Ensembles in Musicals in Community Theaters in DC/MD/VA

    DCMetroTheaterArts’ Best of 2016 #8: Best Performances in Musicals in Community Theaters in DC/MD/VA Area:

    Lauren Alberg as Lucille Frank and Tommy Eyes as Leo Frank in Parade at Drama Learning Center.

    Gabrielle Amaro as Olive Ostrovsky in in The 25th Annual Putnam County Spelling Bee at Arts Collective@HCC.

    Michael Baker as Fagin in Oliver! at The Sterling Playmakers.

    Alan Barnett as Sancho Panza in Man of La Mancha at Laurel Mill Playhouse.

    Sean Bartnick as The Baker in Into the Woods at Upper Room Theatre Ministry.

    Loghan Bazan as Maureen and Andy Greenwald as Joanne in Rent at Annapolis Summer Garden Theatre.

    Kevin Belanger as Roger in Rent at Rockville Musical Theatre.

    Jean Berard in Frau Blücher at Young Frankenstein at Silhouette Stages.

    Danny Bertaux as Gabe in Next to Normal at Silhouette Stages.

    LeVar Betts as Jimmy Powers in Lady Day at Emerson’s Bar and Grill at Spotlighters Theatre.

    Adam Blackstock as Billy Crocker in Anything Goes at Other Voices Theatre.

    Lucy Bobbin as Millie Dillimount in Thoroughly Modern Millie at The Heritage Players.

    Sarah Jane Bookter as Sally Bowles in Cabaret at Kensington Arts Theatre.

    Frankie Brown as Motormouth Maybelle in Hairspray at Port Tobacco Players.

    Steve Cairns as Aldolpho in The Drowsy Chaperone at Damascus Theatre Company.

    Steve Cairns as Shrek in Shrek at Rockville Musical Theatre.

    Mike Cash as Uncle Fester in The Addams Family at The Alliance Theatre.

    Patrick Campbell as Jim Conley in Parade at Drama Learning Center.

    Kate Collins Brown as Eileen Evergreen in Nice Work If You Can Get It at The Arlington Players.

    Brian Lyons-Burke as Uncle Ernie in The Who’s Tommy at Kensington Arts Theatre.

    Lila Cooper as Allison in First Date at Drama Learning Center.

    Cheryl J. Campo as Eve/Mama Noah in Children of Eden at Damascus Theatre Company.

    Nicholas Carter as Angel in Rent at Annapolis Summer Garden Theatre.

    Marissa Chapman as Abigail Adams in 1776 at McLean Community Players.

    Morganne Chu as Terry Thompson in Babes in Arms at The FrederickTowne Players.

    Jordan Clifford as Cousin Kevin in The Who’s Tommy at Kensington Arts Theatre.

    Brevan Collins as Tobias Ragg in Sweeney Todd: The Demon Barber of Fleet Street at St. Mark’s Players.

    David Colton as Jonny Walker in Zombie Prom at Greenbelt Arts Center.

    Maddy Curtis as Nancy in Oliver! at The Sterling Playmakers.

    Cornelius “C.J.” David as Robert of Huntington/Robin Hood in Robin Hood at Victorian Lyric Opera.

    Paul M. Davis as Pete White in Memories & Legends at Wolf Pack Theatre Company.

    Samantha McEwen Deininger as Sarah in Ragtime at The Memorial Players.

    Stephen Deininger as Tateh in Ragtime at The Memorial Players.

    Hans Dettmar as Miguel de Cervantes/Alonzo Quijana/Don Quixote in Man of La Mancha at The Arlington Players.

    Kevin Diana (Sweeney Todd) and Taunya Ferguson (Mrs. Lovett) in Sweeney Todd: The Demon Barber of Fleet Street at St. Mark’s Players.

    Erich DiCenzo as Tulsa in Gypsy at Reston Community Players.

    Daniel Douek as Jacob in La Cage aux Folles at Other Voices Theatre.

    Corey Dunning as Coalhouse Walker, Jr. in Ragtime at The Memorial Players.

    Diego Esmolo as Charlito “Chip” Tolentino in The 25th Annual Putnam County Spelling Bee at Arts Collective@HCC.

    Lindsay Espinosa as Lily Craven in The Secret Garden at The Colonial Players of Annapolis.

    Ward Ferguson as George Banks and Amanda Jones as Winifred Banks in Mary Poppins at Reston Community Players.

    Elizabeth Ferrante as Marian in The Music Man at Fairfax Theatre Company.

    Ariel Friendly as Shelley Parker in Bat Boy: The Musical at Prince William Little Theatre.

    Clare Galvin as The Baker’s Wife, in Into the Woods at Upper Room Theatre Ministry.

    Ashley Gerhardt as Elizabeth in Young Frankenstein at Silhouette Stages.

    Elizabeth Gillespie as Louise in Gypsy at Reston Community Players.

    Emily Gilroy as Tracy Turnblad in Hairspray at Port Tobacco Players.

    Jeremy Goldman as Dan Goodman in Next to Normal at Silhouette Stages.

    Jeremy Goldman as Dr. Frederick Frankenstein in Young Frankenstein at Silhouette Stages.

    Maureen R. Goldman as Billie Bendix in Nice Work If You Can Get It at The Arlington Players.

    Micky Goldstein as Sancho Panza in Man of La Mancha at The Arlington Players.

    Ella Green as Martha in The Secret Garden at The Colonial Players of Annapolis.

    Brice Guerriere as Tommy in The Who’s Tommy at Kensington Arts Theatre.

    Bob Gudauskas as Horton the Elephant in Seussical at Greenbelt Arts Center.

    Mark Hamberger as Captain Walker in The Who’s Tommy at Kensington Arts Theatre.

    Brett Harwood as Mark Cohen in Rent at Rockville Musical Center.

     Warren C. Harris as William Morris Barfee in The 25th Annual Putnam County Spelling Bee at Arts Collective@HCC.

    Lee Hebb as Moonface Martin in Anything Goes at Other Voices Theatre.

    Madi Heinemann as Mary Lennox in The Secret Garden at The Colonial Players of Annapolis.

    Dominique Herring as Elle Woods in Legally Blonde: The Musical at Fauquier Community Theatre.

    Liz Hester as Fiona in Shrek at Rockville Musical Theatre.

    Ginny Hornbeck as Mother in Ragtime at The Memorial Players.

    Sam Huffer as Georges in La Cage aux Folles at Other Voices Theatre.

    Claire Iverson as Mistress in Evita at Spotlighters Theatre.

    William Jeffreys as Donkey in Shrek at Rockville Musical Theatre.

    Melanie Jennings-Bales as Aldonza in Man of La Mancha at The Arlington Players.

    Carolyn Karcher as Cinderella in Into the Woods at Upper Room Theatre Ministry.

    Lars Klores as Harold Hill in The Music Man at Fairfax Theatre Company.

    Rikki Howie Lacewell as Deena Jones in Dreamgirls at Tantallon Community Players.

    Rikki Howie Lacewell as Joanne in Rent at Rockville Musical Theatre.

    Jennifer Lambert as Rose in Gypsy at Reston Community Players.

    Aimee Lambing as Kate Monster in Avenue Q at Vagabond Players.

    Sheron LaSha as Lorrell Robinson in Dreamgirls at Tantallon Community Players.

    Kevin James Logan as Adam/Noah in Children of Eden at Damascus Theatre Company.

    Lauren Lowell as Muzzy Von Hossmere in Thoroughly Modern Millie at The Heritage Players.

    James Maxted as The Emcee in Cabaret at Prince William Little Theatre.

    Jasmine Mays as Annabel in Robin Hood at Victorian Lyric Opera.

    Garrett Matthews as Jimmy Smith in Thoroughly Modern Millie at The Heritage Players.

    Grace McCarthy as Morticia in The Addams Family at Alliance Theatre.

    Brian Mellen as Nathan Detroit in Guys and Dolls at 2nd Star Productions.

    Jamie Erin Miller as Miss Adelaide in Guys and Dolls at 2nd Star Productions.

    Jim Mitchell as Gomez in The Addams Family at Alliance Theatre.

    Duane Monahan as Bert in Mary Poppins at Reston Community Players.

    Luis “Matty” Montes as Cain and Japheth in Children of Eden at Damascus Theatre Company.

    Emily Mudd as Josephine in H.M.S. Pinafore at 2nd Star Productions.

    Aly Murphy as Casey in First Date at Drama Learning Center.

    Nicky McDonnell as Little Edie in Grey Gardens at The Little Theatre of Alexandria.

    Lexie McEntire as Maria in West Side Story at The Little Theatre of Alexandria.

    Erika Miller as Sarah Brown in Guys and Dolls at 2nd Star Productions.

    Shaina Murphy as Mary Poppins in Mary Poppins at Reston Community Players.

    Corisa Myers as Effie Melody White in Dreamgirls at Tantallon Community Players.

    James Myers as Edward Rutledge in 1776 at McLean Community Players.

    Anya Randall Nebel as Billie Holiday in Lady Day at Emerson’s Bar and Grill at Spotlighters Theatre.

    Fred Nelson as Miguel de Cervantes/Alonzo Quijana/Don Quixote in Man of La Mancha at Laurel Mill Playhouse.

    E. Lee Nicol as Sky Masterson in Guys and Dolls at 2nd Star Productions.

    Pamela Northrup as Miss Deilah Strict in Zombie Prom at Greenbelt Arts Center.

    Viki Nova as Maureen in Rent at Rockville Musical Theatre.

    Michael Nugent as Henry in Next to Normal at Silhouette Stages.

    Azaria Oglesby as Danielle in Bring It On at Drama Learning Center.

    Jonathan Ohmart as Anthony Hope in Sweeney Todd: The Demon Barber of Fleet Street at St. Mark’s Players.

    Christopher Overly as Oran Tobin in Memories & Legends at Wolf Pack Theatre Company.

    Ben Peter as Tony in West Side Story at The Little Theatre of Alexandria.

    Ryan Phillips as the Artful Dodger in Oliver! at The Sterling Playmakers.

    David Porterfield as Albin/Zaza in La Cage aux Folles at Other Voices Theatre.

    Katie Puschel as Sally Bowles in Cabaret at Prince William Little Theatre.

    Jonathan M. Rizzardi as the Emcee in Cabaret at Kensington Arts Theatre.

    David Robinson as Tom Collins in Rent at Rockville Musical Theatre.

    Tahara Robinson as Anita in West Side Story at The Little Theatre of Alexandria.

    Kayla Rothstein as Little Red Riding Hood and Stephen Porter as The Wolf in Into the Woods, Jr. at Aldersgate Church Community Theater.

    Daniel Santiago as Lee Harvey Oswald in Assassins at Laurel Mill Playhouse.

    Aimee Santone as Mimi in Rent at Rockville Musical Theatre.

    Jesse Saywell as Angel in Rent at Rockville Musical Theatre.

    Kevin Schellhase as Little John in Robin Hood at Victorian Lyric Opera.

     Susan Schindler as Diana Goodman in Next to Normal at Silhouette Stages.

    Katie Shaffer as Mrs. Walker in The Who’s Tommy at Kensington Arts Theatre.

    John Sheldon as Trekkie Monster in Avenue Q at Vagabond Players.

    Pam Shilling as Buttercup in H.M.S. Pinafore at 2nd Star Productions.

    Kendall Nicole Sigman as Janet Van De Graaf in The Drowsy Chaperone at Damascus Theatre Company.

    Kendall Nicole Sigman as Yonah in Children of Eden at Damascus Theatre Company.

    Emily Small as Toffee in Zombie Prom at Greenbelt Arts Center.

    Christie Smith as Natalie Goodman in Next to Normal at Silhouette Stages.

    Christopher Smith as Jimmy Winter in Nice Work If You Can Get It at The Arlington Players.

    Kevin Sockwell as Father in Children of Eden at Damascus Theatre Company.

    Jack Stein as Lord Farquaad in Shrek at Rockville Musical Theatre.

    Brett Stone as John Adams in 1776 at McLean Community Players.

    Jennifer Strand as Big Edie in Grey Gardens at The Little Theatre of Alexandria.

    Devin Taylor as Bunny Byron in Babes in Arms at The FrederickTowne Players.

    Jay Tilley as Reverend Shaw Moore in Footloose at McLean Community Players.

    Keith Tittermary as the Man in Chair in The Drowsy Chaperone at Damascus Theatre Company.

    Aaron Verchot-Ware as Reverend Hightower in Bat Boy: The Musical at Prince William Little Theatre.

    Eric Verchot-Ware as Edgar/Bat Boy in Bat Boy: The Musical at Prince William Little Theatre.

    Becca Vourvoulas as Eva Peron in Evita at Spotlighters Theatre.

    Mary Wakefield as Aldonza in Man of La Mancha at Laurel Mill Playhouse.

    Rob Wall as Che in Evita at Spotlighters Theatre.

    Liz Weber as The Drowsy Chaperone in The Drowsy Chaperone at Damascus Theatre Company.

    Liz Weber as Fraulein Schneider and Chuck Dluhy as Herr Schultz in Cabaret at Kensington Arts Theatre.

    Liz Weber as Sarah McKendree Bonham in Quilters at Rockville Musical Theatre and Arts on The Green.

    Jeffery Westlake as Benjamin Franklin in 1776 at McLean Community Players.

    Matt Wetzel as the Balladeer in Assassins at Laurel Mill Playhouse.

    Taylor Whidden-Knapp as Reno Sweeney in Anything Goes at Other Voices Theatre.

    Stephen P. Yednock as The Cat in the Hat in Seussical at Greenbelt Arts Center.

    Joel Yetzbacher as Winthrop in The Music Man at Fairfax Theatre Company.

    Kristen Zwobot as The Witch in Into the Woods at Reisterstown Theatre Project.

    BEST ENSEMBLES:
    A Grand Night for Singing at Montgomery Playhouse: Danny Santiago, Lauren-Nicole Gabel, Brian Lyons-Burke, Jennifer Georgia, and Rachel Weisenthal.
    ____
    Assassins at Laurel Mill Playhouse: Stephen Yednock, Joe Mariano, Meg Nemeth, Stephen Deininger, Morrigan Condo, John Scheeler, Jordan Essex, Brianna Scheeler, AnnaBelle Lowe, Maureen Rogers, Ron Able, Cassandra Ferrell, Stuart Deininger, Daniel Santiago, Penni Barnett, and Patrick Pase.
    ___
    Avenue Q at Vagabond Players: Calla Fuqua, Taylor Washington, Ryan Gunning, Emily Boling, Michael McGoogan MacKay. Second row: John Sheldon, Michael Paradiso, Jim Baxter, Aimee Lambing, Linae’ C. Bullock, and Andrew Worthington.
    ____
    Children of Eden at Damascus Theatre Company: Kevin Sockwell, Cheryl J. Campo, Kevin James Logan, Matty Montes, Kendall Nicole Sigman, Nick Cox, Katherine Worley, Rob Milanic, Katelyn Avon, Matthew Rubin, Noah Haren, Brianna DeLauder,
    Stephanie Bonte-Lebair, Jessie Dulaney, Paul May, Jonah Schwartz, Michele D. Vicino-Coleman, Sophia Anthony, Elissa Borzilleri, Brittany Broadus, Katherine Judge, Melissa Law, Nicki Mazza, Amy Nisonger, Emma Shankman, Elizabeth Weiss, Zoë Zindash, Beth Hays, Tatiana Sollod, Samantha Vidas, Lindsey Ehrenfried, Cadence Frey, Kendall Rill, Maria Sales, Christina Williams, Elizabeth Weiss, and Michelle Williams.
    ____
    DAS BARBECÜ at Spotlighters Theatre: Andrea Bush, Allison Comotto, Jim Gross, Clare Kneebone, and Rob Wall.
    ____
    I Love You, You’re Perfect, Now Change at Other Voices Theatre: Will Heyser Paone, Karen Heyser-Paone, Steve Custer, Adam Blackstock, Taylor Whidden-Knapp, Katherine Worley, Lee Hebb, and Jeanine Evans.
    ____
    Quilters at Rockville Musical Theatre and Arts in the Green: Liz Weber, Hillary Templeton, Megan Evans, Maisie Irene Rocke, Valerie Hubert, Amy Winter, and Zoe Alexandratos.
    ____
    Ragtime at The Memorial Players: Skye A. Barber, Marcos Santiago Calderon, Eden Deininger, Samantha McEwen Deininger,
    Stephen Deininger, Stuart Deininger, Corey Dunning, Arden Fisher, Brinley Fisher, Jill Fisher, Karis Fisher, Jamie Griffith, Fred Gorman, Sue Arthur Gorman, Steven Gross, Renata Hammond, J. Purnell Hargrove, Darlene Harris, Carley Heck, Amber Hooper, Ginny Samford Hornbeck, Walter Montgomery Howard, Kendra Sweren Keiser, Valerie Konou, Sonia Korn, Beth Lesser, Miles Light, Thomas Light, John Lisch, J.R. Lyston, Randi Bradley Martin, Tracy McCracken, Janet McMannis, Jesse Milan Jr., Kenna Mitchell, Nicole Mitchell, Myles Jaden Muse, John O’Brien, Debby Phinney, Cecelia Rafferty, Sally Ratrie, Charlie Roberts, Elena Russinoff, John Seeley, Clarence Simmons Jr., Jeff Tegeler, Marian Tibrey, Mike Ware, Nathaniel Wells, Tyler McKay White.
    ____
    Seussical at Greenbelt Arts Center:  Bob Gudauskas, Jim Pasquale, Marie Nearing, Joanna Andrus, Win Britt, Tiffany Chadwick, Beatrice McNabb, Anna Shenk-Evans, Mayumi Griffie, Bridget Adams, Heather Babin, Laura Adams, Silas Fishburne, Elizabeth Gardner, Shawday Graves, Jamie Miller, Jeffery Lesniak, Jason Britt, Stephen P. Yednock, Harper Chadwick,  Amanda Dees, Rachel Pino-Elliott, Julie Dixon, John Carter, Kathleen Marilyn Moors, Joey Rolandelli, Isabela Martins, Carlin Wells, Findley Holland, and Sophie Cooper.
    ____
    1776 at McLean Community Players: Bob Ashby, Michael Bagwell, 
    Matt Bogen, Jonathan Cagle-Mulberg, Marissa Chapman, Bob Cohen, Shawn Cox, Richard Dahl, Michael Doan, Michael Gerwin, Scott Scott Gustaveson, Jerry Hoffman, Mike Holland, Derek Marsh, Mytheos Holt, Leslie Lewis, Derek Marsh, James Kevin McCormack, Bob McGrath, Todd Meikle, James Myers, Sam Schwarz, Jon Simmons, Brent Stone, David Weaver, and Jeff Westlake.
    ____

    HOW WE SELECTED OUR HONOREES

    DCMetroTheaterArts writers were permitted to honor productions and concerts, dance, and operas that they saw and reviewed and productions and concerts and dance performances that they saw but did not review. Every honoree was seen. These are not nominations. There is no voting.

    The staff is honoring productions, performances, direction, and design in professional, community, university, high school, and children’s theatres, and are also honoring the same in musical venues. We are honoring work in Washington, DC, Maryland, Virginia, Philadelphia, PA, New Jersey, and Delaware.

    LINKS:
    DCMetroTheaterArts’ Best of 2016 #1: Best Musicals in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #2: Best Musicals In Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #3: Best Musicals in Professional Theaters in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #4: Best Plays in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #5: Best Plays In Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #6: Best Plays in Professional Theaters in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #7: Best Performances and Ensembles in Musicals in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #8: Best Performances in Musicals in Community Theaters in DC/MD/VA.

  • Call for Proposals for the 2017-2018 Theater Season at the Arts Barn

    Call for Proposals for the 2017-2018 Theater Season at the Arts Barn

    Arts on the Green, the City of Gaithersburg’s home for the performing and visual arts which includes the Kentland’s Mansion and Arts Barn, is now soliciting production proposals for the theater season beginning July 2017 through June 2018. Located in the Kentland’s, the Arts Barn (theatre venue) is housed in a Victorian-era renovated stable with a charming 99-seat theater.

    arts_on_the_green

    Productions accepted for the Theater Series will be part of the Theater Arts Partnership Program (TAPP). A production partnership is created between the production company and the Arts Barn/City of Gaithersburg. The City provides use of the Arts Barn and its many resources (fully equipped theatre, rehearsal space, box office, advertising and marketing support) without the high rental rates of other facilities in the area. The production company is responsible for the direct production costs of the show (royalties, set and construction, props, costumes, etc.). The box office proceeds are then split between the production company and the City. This unique program provides TAPP partners affordable, quality production space while helping the City fulfill its commitment to a robust arts and cultural environment for its residents.

    The theater season is July 2017 through June 2018.  Ten productions will comprise the 2017-2018 theater season. Theater productions generally run three weeks preceded by a week of tech time in the theater. There are also three 2-week slots available in the 2017-2018 season. 

     Groups may apply for up to four production slots and may offer up to six shows to be considered. This selection process is conducted annually and selections are based on the strength of the proposal and the credentials of the theater group. No group, regardless of past TAPP participation is assured of inclusion in the theater series. The Arts Barn reserves the right to decline any or all proposals submitted.

    Factors to consider before making your proposal:

    • Due to the installation of a new cooling tower and HVAC system, the Arts Barn will be closed for approximately 2 weeks sometime during mid-August through mid-September.  (Alternative rehearsal space will be available for TAPP members.)  Arts on the Green will present ten productions in a 12-month season.  Most production slots are for a 3-week run (Fri & Sat at 8pm and Sun at 2pm) but there are some designated 2-week productions slots. With regards to a 2-week slot, the Arts Barn is open to having two performances on one day (i.e., Sat & Sun at 2pm). Companies are also encouraged to consider adding a Thursday evening performance in lieu of a brush-up rehearsal.
    • The preference is for large, family-oriented musicals in July and August. Additionally, the Arts Barn will open the academic year (September) and close the season (June) with strong productions such as familiar musicals, mysteries, comedies or children’s shows.
    • Children’s Theatre (adult performers) and Youth Theatre (youth performers) productions typically have performances on Saturday and Sunday at 11am & 2pm only.  We will also consider adding a 7:30pm performance on Friday evenings if selecting a 2-week production slot.
    • The Arts Barn seeks to develop a season that includes all genres (comedy, drama, mystery, musical) and has something for everyone.
    • Please think thematically. For example:

    Strong choices for the November-December slot would include a holiday theme that the whole family can enjoy. (Note: Show will open on a Saturday.)

    Romance-themed productions are sought for February.

    • The Arts Barn seeks quality theater and puppetry geared for children and youth.
    • The Arts Barn will consider re-mounts or encore performances of successful shows which your group recently produced.
    • The Arts Barn seeks a balance of the familiar along with the new and edgy.
    • The Arts Barn welcomes proposals that include marketing ideas that will bring in new audiences.
    • For the FY18 season, the 15th Anniversary of the Arts Barn, Arts on the Green is developing a signature series across performing and visual arts genres that focus on celebrations and anniversary events. Approximately six to seven arts presentations will be selected as part of this series. We anticipate including one or more theatrical productions in the series as well as music, dance, visual art and more.  If you can tie your proposed show to a significant anniversary or celebration event, please note that in your proposal. (A few examples of anniversaries in FY18:  bicentennial of Mary Shelly’s “Frankenstein”; centennial of women’s suffrage; 65th  anniversary of “Charlotte’s Web”; 76th anniversary of Rodgers & Hammerstein’s first musical collaboration, “Oklahoma!”; 150th anniversary of Laura Ingalls Wilder’s birthdate; and the centennial of the United States’ entry into World War I.)

    HOW TO APPLY:

    arts_barn_001

    Applications are made via an online form. Supplemental material (scripts, librettos or musical CDs) are welcome, but not required unless requested by the Theatre Program Coordinator. If sending supplemental materials digitally, please direct them to the Theatre Program Coordinator, Laura W. Andruski at landruski@gaithersburgmd.gov

    FOR SNAIL MAIL:

    Laura W. Andruski
    Arts Barn
    311 Kent Square Road
    Gaithersburg, MD 20878

    • All online applications must be complete by December 16, 2016.
    • If requested, all supplemental material must be delivered to the Arts Barn by December 30th.
    • Decisions will be made by February 24, 2017.
    • To complete an application go to:   https://fs30.formsite.com/ArtsBarn/form5/index.html

    For any additional questions, please contact the Laura W. Andruski, Theatre Program Coordinator, at landruski@gaithersburgmd.gov or call 301-258-6394.

    The article is by Laura Andruski.

  • City of Gaithersburg’s ‘Singer Songwriter Series’ Presents ‘Cruz Contreras’ Tomorrow, Saturday, October 22nd at 7:30pm

    City of Gaithersburg’s ‘Singer Songwriter Series’ Presents ‘Cruz Contreras’ Tomorrow, Saturday, October 22nd at 7:30pm

    Gaithersburg, Maryland’s Arts on the Green invites you to experience the music of Cruz Contreras on Saturday, October 22, 2016, as part of the City of Gaithersburg Singer Songwriter Concert Series presented by O’Hair Salon + Spa. Contreras will lead a workshop at 1 p.m. at Kentlands Mansion – 320 Kent Square Road, followed by a concert at 7:30 p.m. at the adjacent Arts Barn – 311 Kent Square Road.

    Tickets are $50 for the workshop and concert, $30 for the concert only.

    Cruz Contreras. Photo courtesy of City of Gaithersburg Arts on the Green.
    Cruz Contreras. Photo courtesy of City of Gaithersburg Arts on the Green.

    Cruz Contreras performs Americana roots music, built on a foundation of traditional country, blues and folk. As front man of the Americana band, The Black Lillies, Contreras has laid a musical foundation by tracing the history of America’s highways and byways. He draws inspiration from myths and legends he’s encountered down the open road. “Stories are the biggest part of my life,” says Contreras. “It’s an honor and a responsibility to be out there performing and telling other people’s stories.”

    Lauren Calve, a new energy to D.C.’s Americana scene, opens for Cruz Contreras. A Washington Area Music Association-nominated singer-songwriter, Calve is known for her strong, soulful vocal style and skillful acoustic and lap steel guitar playing.

    Attendees are invited to come early and enjoy wine by the glass, beer, and non-alcoholic beverages in a bistro setting. The Arts Barn Pub is open one hour before the concert and during intermission.

    The Singer Songwriter Series celebrates musicians who write, compose and sing their own original material. In addition to the concert experience, patrons can participate in special workshops with the artists for a unique insight into the world of the singer songwriter.

    Arts on The Green Generic Digital Ad

    Cruz Contreras performs one day only on Saturday, October 22nd, 2016 at 7:30pm. He will also be leading a songwriting workshop at 1:00pm. For tickets call (301) 258-6394 or purchase them online.

  • ‘An Evening with Edgar Allan Poe’ This Thursday, October 20th at 1 PM and 8 PM at Gaithersburg Arts Barn

    ‘An Evening with Edgar Allan Poe’ This Thursday, October 20th at 1 PM and 8 PM at Gaithersburg Arts Barn

    AN EVENING WITH EDGAR ALLAN POE

     Adapted by Robert Mason and Lindsay Price

    AN EVENING WITH EDGAR ALLAN POE

    ONE DAY ONLY! TWO PERFORMANCES!

    THURSDAY OCTOBER 20, 2016, at 1 and 8 PM

    Just in time for Halloween, The Montgomery Playhouse in partnership with Arts on the Green 
    Presents a staged reading of;

    An Evening with Edgar Allen Poe adapted by Robert Mason

    Enter the wonderfully creepy world of Edgar Allen Poe, with six faithful adaptations of some of his most haunting works.

    The horror stories of Edgar Allen Poe are performed as a staged reading and includes old favorites such as “The Cask of Amontillado” and “The Tell-Tale Heart,” to lesser known gems like “The Oblong Box” and “The System of Dr. Tarr and Professor Fether.” This collection of short plays represents Poe at his most horrifying.

    Recommended for ages 12 & up.

    Thursday October 20, 2016

    Only two performances at:

    1 PM and 8 PM

    Tickets: $20/$12 Youth (14 and under)

    Performances at the Gaithersburg Arts Barn

    311 Kent Square Road

    in Gaithersburg, MD

    Admission Tickets

    For Reservations, Call (301) 258-6394 

    Or Purchase Online Here

    www.montgomeryplayhouse.org

    The article is by Bruce Hirsch.

  • Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 6: John Van Eck

    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 6: John Van Eck

    In Part Six of a series of interviews with the cast of The Foreigner at Sandy Spring Theatre Group, performing at The Gaithersburg Arts Barn, meet John Van Eck.

    Joel: Please introduce yourself and tell our readers where they may have seen you perform before on our local stages.

    John Van Eck.
    John Van Eck.

    John: Hi, Joel! Thanks for taking the time to talk with me.  I have been performing in community and local theater for over 40 years, the last 15 in the Washington metro area. Most recently I played Richard Hannay in the SSTG production of The 39 Steps. I have also been in Montgomery Playhouse’s Miracle on 34th Street (Fred Gailey), RLT’s California Suite (Sidney), Full Circle Theater’s Turn of the Screw (Two person show), Pieces of Eight’s “Don’t Dress for Dinner” (Bernard), and Aurora Studio Theatre’s Mousetrap (Sgt. Trotter). My favorite roles of these shows were Sidney and Trotter, but I liked them all.

    Why did you want to become a member of the cast of The Foreigner?

    I didn’t know much about the show when I auditioned, but I have great trust in Bruce and the SSTG board. Separately each seem to consistently pick good shows, and with both Bruce and SSTG I expected a great selection. I have not been disappointed J.

    Who do you play in the show and how do you relate to this character?

    In this play I am cast as Charlie, the “Foreigner.” Charlie is an embodiment of some basic insecurities we all share to varying degrees. This makes him easy to relate to, albeit in a farcical fashion much of the time. I try to find the humanity in roles, especially in farces, because I feel the contrast of poignancy and farce helps to highlight an enhance both.

    What were some of the challenges you faced while learning your role and how did Director Bruce Hirsch help you with these challenges?

    I am always challenged by comedic roles, and farce especially. My easiest role, and natural tendencies, are towards the darker/tragic sides of human nature. Bruce, on the other hand, has an excellent grasp of farce and comedy, and has helped me immensely in getting the nuances of this role nailed down. I love working with Bruce.

    What does The Foreigner have to say to today’s audiences?

    It is interesting that this show was selected months ago, because I feel it is becoming more relevant to our current political climate as we proceed towards November. Without offering any spoilers, I think this show helps illustrate the point that there is no “They” there – that people who are different, be they foreigners or from a different section of the country or background or what have you – everyone is just someone trying to get along and live their life.  We are not all that different, once we get past the surface front we all have.

    Which character is most like you and why and how?

    Charlie of course. His playfulness harkens back to my childhood, and has an almost wistful innocence at times. For other characters — I think it would have been easy to cast me as David. No spoilers as to why, but in a broad sense David can be an iron fist in a velvet glove. I play those types of characters well.

    What are your favorite lines that you recite and your favorite lines that other characters recite in The Foreigner?

    A lot of my lines are in Foreign speak, and I love them all. I got my all-time favorite direction in this show: ”Use lots of accents” Bruce said. Not sure he is entirely pleased with the results right now, and it may change by opening, but I have taken that note to heart. My favorite English line, without giving away anything (do I sound like a broken record?) is “And we have a stupid plan.” My favorite line that someone else says is when Betty, the owner of the house, says “Charlie don’t understand English much, not hardly even when it’s REAL LOUD!”

    Where are you appearing next on the stage after The Foreigner ends its run?

    I don’t know, ask my wife ;-).Seriously, community theater can be a strain on family life, and one needs to have a very patient and forgiving spouse to navigate through that stress. In my case the stress sis magnified because we have five children, ages 10-20. This makes for a complicated schedule when one parent is gone 3-4 nights a week for a month and a half. As a result I try to limit myself to one or two shows a year, which seems a good balance for us. If I am able to do another show this year, it will likely be a Fall Production with RLT – they have an interesting show coming up in that time slot.

    What do you want audience members to take away with them after seeing you perform in The Foreigner?

    I hope that they laugh more than once – and I hope they walk away with an understanding that the world has always had conflict between those who want to live and let live and those who want to attack the “other.” That what we see in today’s world is no different than what was seen in 1983 (setting of play), or even 1773. Just with a different set of players and lines determining who is “us” and who is “them.”

    The-Foreigner-Ad_728x90

    The Foreigner plays from May 13-29, 2016 at Sandy Spring Theatre Group performing at The Gaithersburg Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call the box office at  (301) 258-6394, or purchase them online.

    LINKS:
    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 1: Rob Milanich.

    Meet the Cast of ‘Sandy Spring Theatre Group’s ‘The Foreigner’ Part 2: Paul Noga.

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 3: Marc Rehr.

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 4: Becca Sears.

    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 5: Dave Scheele.

    Meet The Cast of Sandy Spring Theater Group’s ‘The Foreigner’ Part 6: John Van Eck.

  • Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 5: Dave Scheele

    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 5: Dave Scheele

    In Part Five of a series of interviews with the cast of The Foreigner at Sandy Spring Theatre Group, performing at The Gaithersburg Arts Barn meet Dave Scheele.

    Dave Scheele.
    Dave Scheele.

    Joel: Please introduce yourself and tell our readers where they may have seen you perform before on our local stages.

    Dave: I’m Dave Scheele, and here in Maryland you might’ve seen me on the stage at Wootton High School before I graduated, in shows like Fools, Hairspray, and Romeo and Juliet. I’ve also recently performed at the American Shakespeare Center in Staunton, VA.

    Why did you want to become a member of the cast of The Foreigner?

    I had just moved back from a brief stint in Florida, and I was really looking for some acting opportunities. I really missed being in a show. I love comedy, so this seemed like the perfect match.

    Who do you play in the show and how do you relate to this character?

    I play Ellard Simms; he’s a younger brother; he’s not that smart, and just trying to help as best he can. I really do relate to Ellard in how he’s underestimated and at times brushed off from a first impression. He tends to fall into just accepting who people tell him he is, but throughout the play I think he really finds his own sense of confidence!

    What were some of the challenges you faced while learning your role and how did Director Bruce Hirsch help you with these challenges?  

    Bruce has been really great to work with, he’s really helped me evoke Ellard’s thinking process on stage. I tend to move a little fast, so he reminds me of how slowly Ellard’s cogs  are turning, which has really helped me with my delivery and presence.

    What does The Foreigner have to say to today’s audiences?  

    I think it’s best described in a line from the play, “Nobody is like anybody.” I think a big  takeaway from this show is that people can always suprise you, wether you’ve known them for years or only just met. We’re all individuals with different stories and lives that look completely different depending on who’s eyes are seeing it.

    Which character is most like you and why and how?

    I say this not just because I’m playing him, but definitely Ellard. We both struggle to define ourselves over what other people tell us we are, and we’re both the babies of the show; he’s the youngest of the characters and I of the cast!

    What are your favorite lines that you recite and your favorite lines that other characters recite in The Foreigner?  

    My favorite line has got to be “Sellin’ vegetables. Sometimes people sell vegetables from the backs of those,” because it’s very random and absurd, but in that moment Ellard is confident in it as a possibility, which I find very endearing. My favorite line from another character is “Charlie’s nice! He wouldn’t say nothin’ about bees!” which I’ll give with no context, because it’s just too hilarious of a moment.

    Where are you appearing next on the stage after The Foreigner ends its run?

    Not sure yet! I’m already starting to line up auditions, so hopefully I’ll be back up soon!

    What do you want audiences members to take away with them after seeing you perform in The Foreigner?

    I hope they leave knowing that theres no “right” way to be smart. Everyones path to a conclusion is a different lenght and has different obstacles, and we should never tell someone they’re stupid because they learn and process differently from us.

    The-Foreigner-Ad_728x90

    The Foreigner plays from May 13-29, 2016 at Sandy Spring Theatre Group performing at The Gaithersburg Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call the box office at  (301) 258-6394, or purchase them online.

    LINKS:
    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 1: Rob Milanich.

    Meet the Cast of ‘Sandy Spring Theatre Group’s ‘The Foreigner’ Part 2: Paul Noga.

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 3: Marc Rehr.

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 4: Becca Sears.

    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 5: Dave Scheele.

  • Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 4: Becca Sears

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 4: Becca Sears

    In Part 4 of a series of interviews with the cast of The Foreigner at Sandy Spring Theatre Group, performing at The Gaithersburg  Arts Barn, meet Becca Sears.

    Becca Sears.
    Becca Sears.

    Joel: Please introduce yourself and tell our readers where they may have seen you perform before on our local stages.

    Becca: Hi, my name is Becca Sears and you might have seen me in Damascus Theatre Company’s production of Fiddler on the Roof last November.

    Why did you want to become a member of the cast of The Foreigner?

    I heard about auditions for a comedic play with an interesting cast of characters and was automatically intrigued. Comedy is one of my favorite things to do and I have not done a show with the Sandy Spring Stage before so I was interested to do that as well.

    Who do you play in the show and how do you relate to this character?

    I play the role of Catherine Simms. I relate to her in many ways. She’s very sarcastic and sassy and she is a force to be reckoned with. With that said, she tends to keep her emotions to herself, and can’t really talk to just anyone about them. This is something I don’t struggle with; my emotions are usually on my sleeve.

    What were some of the challenges you faced while learning your role and how did Director Bruce Hirsch help you with these challenges?

    A big challenge for me was finding the balance of Catherine’s character. Her disposition is dramatically different between the two acts and I needed to figure out how to make the audience understand where she’s coming from.  Bruce was great in helping the entire cast in this challenge. We had discussions about character backgrounds and our “motivations,” if you will.  Bruce is always open to suggestions and if it works, he keeps it. He always answers questions either directly, or he helps you discover the answer on your own which is a skill that strong directors have. They make sure you understand when you are unsure and they help to bring out the best in your performance.

    What does The Foreigner have to say to today’s audiences?

    The Foreigner is about humanity and relationships. It focuses on the bonds that people have and develop through mutual understanding and empathy. Even when there may be a language barrier or conflicting values, this play teaches us all to be aware of how others are feeling and what we can do to help out when others are at low points in their lives.

    Which character is most like you and why and how?

    I would say I’m a combination of characters in the show. I have the uncertainty of Charlie, the hospitality of Betty, the sarcasm of Catherine, and sometimes, the awe and wonder of Ellard.

    What are your favorite lines that you recite and your favorite lines that other characters recite in The Foreigner?

    Some of my favorite lines in the show belong to Betty Meeks.

    Betty: “Charlie’s nice. He wouldn’t say nothin’ ‘bout bees!”

    Betty: “Dooley, dooley?”

    Betty: “Ezzard Purkypile’d come up, I know. Course, he’s missin’ both arms.”  (This line makes me smile or laugh every time she says it, but I’ll keep a straight face during the performances).

    Where are you appearing next on the stage after The Foreigner ends its run?

    I’m not 100% percent sure. But I can guarantee you will see me onstage whether it be in plays or musicals nearby throughout the summer.

    What do you want audience members to take away with them after seeing you perform in The Foreigner?

    Anytime I have the opportunity to perform is a blessing. I am always thrilled to present a show that takes the audience away to another place where they don’t have to worry about anything but the present moment. The cast is wonderful and I know the audience is going to see all of the hard work and timing we have put into this show. I hope that audience members leave with smiles on their faces and I hope the show inspires them to attend more performances or join us onstage someday themselves for the experience.

    The-Foreigner-Ad_728x90

    The Foreigner plays from May 13-29, 2016 at Sandy Spring Theatre Group performing at The Gaithersburg Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call the box office at  (301) 258-6394, or purchase them online.

    LINKS:

    Meet The Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 1: Rob Milanich.

    Meet the Cast of ‘Sandy Spring Theatre Group’s ‘The Foreigner’ Part 2: Paul Noga.

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’ Part 3: Marc Rehr.

    Meet the Cast of Sandy Spring Theatre Group’s ‘The Foreigner’: Part 4: Becca Sears.

  • Review: ‘A Grand Night for Singing’ at Montgomery Playhouse and Arts on the Green

    Review: ‘A Grand Night for Singing’ at Montgomery Playhouse and Arts on the Green

    Question: Where can you hear more than 30 wonderful songs from the legendary team of Rodgers and Hammerstein performed by talented local artists? Answer: The current production of A Grand Night for Singing by Montgomery Playhouse in partnership with Arts on the Green. With music by Richard Rodgers, lyrics by Oscar Hammerstein II, musical arrangements by Fred Wells, and concept by Walter Bobbie, A Grand Night for Singing is a tuneful and funny revue of familiar and not so familiar numbers from the Rodgers and Hammerstein repertoire.

    Rachel Weisenthal, Lauren-Nicole Gabel, and Jennifer Georgia. Photo by Scott D'Vileskis.
    Rachel Weisenthal, Lauren-Nicole Gabel, and Jennifer Georgia. Photo by Scott D’Vileskis.

    Considered by music historians to be the greatest musical theatre writing team of the 20th century, Rodgers and Hammerstein produced five hugely popular Broadway shows, Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music, as well as a very successful television production of Cinderella, during the 1940s and 1950s—the so-called “golden age” of Broadway. However, the title A Grand Night for Singing comes from one of the fabulous songs in the dynamic duo’s 1945 feature film State Fair. Not surprisingly, Rodgers and Hammerstein’s productions garnered numerous accolades, including thirty-four Tony Awards, two Grammy Awards, and a Pulitzer Prize.

    A Grand Night for Singing is an homage to the remarkable canon of Rodgers and Hammerstein. Produced more than three decades after the team’s final collaboration, the 1993 revue takes a fresh look and a modern interpretation of their unforgettable show tunes. It’s been said that Rodgers and Hammerstein’s songs are like snowflakes—no two are alike.  This infinite variety requires tremendous talent and versatility and the Montgomery Playhouse cast and crew are clearly up to the task.

    In this production, Director Kevin Sockwell, Music Director Arielle Bayer, and Choreographer Melanie Barber combine to lead a cast of five superb performers through a nonstop compendium of sensational music, dance, and comedy. Bayer not only serves as pianist and conductor of a talented three-piece orchestra, she also gets into the act at one point and displays her comedy skills.

    Set Designer David Jones keeps things appropriately simple, with two small tables and chairs on either side of the stage and a platform upstage for the orchestra. McKenna G. Kelly’s costumes consist mostly of colorful and attractive formal wear and cocktail wear with a few extra touches appropriate to each song.

    Danny Santiago, Lauren-Nicole Gabel, Brian Lyons-Burke, and Rachel Weisenthal. Photo by Scott D'Vileskis.
    Danny Santiago, Lauren-Nicole Gabel, Brian Lyons-Burke, Jennifer Georgia, and Rachel Weisenthal. Photo by Scott D’Vileskis.

    The ultra-talented company consists of Lauren-Nicole Gabel with her lovely and confident voice, Jennifer Georgia who is the epitome of a powerful female with a singing voice to match, Brian Lyons-Burke with his deep, rich voice and impeccable vocal dynamics, Daniel Santiago who has a remarkable flair for physical comedy, and Rachel Weisenthal with her pure and sweet soprano voice and impressive acting ability.

    To open the show, the entire cast joins in a wonderful rendition of “It’s a Grand Night for Singing” but, because there are three women and only two men, the song becomes a comedic game of “musical chairs” as the women aggressively change dance partners. Later, Lyons-Burke leads the company in a show stopping version of “Honey Bun” from South Pacific, as the other cast members form a back-up group, complete with scat singing, chorus line dancing, and “playing” of musical instruments–using only vocal effects and pantomime.

    Comedy is king once again in a brilliant individual performance by Weisenthal. When she sings “I Cain’t Say No” from Oklahoma!, she virtually “acts the part” of Ado Annie using only her singing voice, facial expressions, and body language—and the result is raucous fun.

    Other standout individual performances include Lyons-Burke in a beautiful and seemingly effortless version of “Oh What a Beautiful Mornin’” (also from Oklahoma!) as well as a heart-breaking rendition of “This Nearly Was Mine” from South Pacific. In another song from South Pacific, Gabel is delightful as she declares she’s in love with “A Wonderful Guy.” Georgia shines brightly in the passionate love song “Something Wonderful” from The King and I and Santiago is nothing short of hilarious in his boy-loses-girl version of “Maria” from The Sound of Music.

    When it comes to group performances, the three women get down and dirty in a blues rendition of “Gonna Wash That Man Right Outta My Hair” from South Pacific, ending with the now iconic Charlie’s Angels pose. Weisenthal and Santiago perform a funny, yet endearing, version of “Shall We Dance” from The King and I.

    Back Row: Brian Lyons-Burke and, Jennifer Georgia. Front Row: Lauren-Nicole Gabel, Rachel Weisenthal, and Danny Santiago. Photo by Scott D'Vileskis.
    Back Row: Brian Lyons-Burke and, Jennifer Georgia. Front Row: Lauren-Nicole Gabel, Rachel Weisenthal, and Danny Santiago. Photo by Scott D’Vileskis.

    The entire company performs a thrilling and emotional finale with “I Have Dreamed” from The King and I. Their rich, dramatic harmonies and stunning individual performances demonstrate that this production is truly A Grand Night for Singing!

    Running Time: Approximately 1 hour and 45 minutes, with one 15-minute intermission.

    A Grand Night for Singing plays through February 27, 2016 at Montgomery Playhouse in partnership with Arts on the Green, performing at the Gaithersburg Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call the box office at (301) 258-6394, or purchase them online.

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    A Grand Night for Singing plays through February 27, 2016 at Montgomery Playhouse  and Arts on The Green performing at The Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call (301) 258-6394, or purchase them online.

    LINKS:
    Meet the Cast of The Montgomery Playhouse’s ‘A Grand Night for Singing’: Part 1: Brian Lyons-Burke.

    Meet the Cast of The Montgomery Playhouse’s ‘A Grand Night for Singing’: Part 2: Jennifer Georgia.

    Meet the Cast of The Montgomery Playhouse’s ‘A Grand Night for Singing’: Part 3: Lauren-Nicole Gabel

    Meet the Cast of The Montgomery Playhouse’s ‘A Grand Night for Singing’: Part 4: Danny Santiago.

    Meet the Cast of The Montgomery Playhouse’s ‘A Grand Night for Singing’: Part 5:  Rachel Weisenthal.

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  • Call for Proposals for the 2016-2017 Theater Season at the Arts Barn

    Call for Proposals for the 2016-2017 Theater Season at the Arts Barn

    Call for Proposals for the 2016-2017 Theater Season at the Arts Barn

    Arts on the Green, the City of Gaithersburg’s premiere center for the performing and visual arts which includes the Kentlands Mansion and Arts Barn, is now soliciting production proposals for the theater season beginning July 2016 through June 2017 Located in the Kentlands, the Arts Barn (theatre venue) is housed in a Victorian-era renovated stable with a charming 99-seat theater.

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    Productions accepted for the Theater Series will be part of the Theater Arts Partnership Program (TAPP). A production partnership is created between the production company and the Arts Barn/City of Gaithersburg. The City provides use of the Arts Barn and its many resources (fully equipped theatre, rehearsal space, box office, advertising and marketing support) without the high rental rates of other facilities in the area. The production company is responsible for the direct production costs of the show (royalties, set and construction, props, costumes, etc.). The box office proceeds are then split between the production company and the City. This unique program provides TAPP partners affordable, quality production space while helping the City fulfill its commitment to a robust arts and cultural environment for its residents.

    The theater season is July 2016 through June 2017. Twelve productions will comprise the 2016-2017 theater season. Theater productions generally run three weeks preceded by a week of tech time in the theater. There are also three 2-week slots available in the 2016-2017 season.

    Groups may apply for up to four production slots and may offer up to six shows to be considered. This selection process is conducted annually and selections are based on the strength of the proposal and the credentials of the theater group. No group, regardless of past TAPP participation is assured of inclusion in the theater series. The Arts Barn reserves the right to decline any or all proposals submitted.

    Factors to consider before making your proposal:

    • Effective immediately, the Arts Barn will present twelve productions in a 12-month season.  Most production slots are for a 3-week run (Fri & Sat at 8 pm and Sun at 2 pm) but there are some designated 2-week productions slots. With regards to a 2-week slot, the Arts Barn is open to having two performances on one day (for example: Fri & Sat at 8 pm; Sat & Sun at 2  pm) for a total of 8 performances versus the 9 performances usually found in a typical 3-week run. Companies are also encouraged to consider adding a Thursday evening performance in lieu of a brush-up rehearsal in the 2-week production slot to make the run nine (9) performances.
    • The preference is for large family-oriented musicals in July and August. Additionally, the Arts Barn will open the academic year (September) and close the season (June) with strong productions such as familiar musicals, comedies or children’s shows. One Act Festivals are encouraged to apply for a 2-week slot.
    • Children’s Theatre (youth performers) and Youth Theatre (adults performing for children) productions typically have performances on Saturday and Sunday at 11 am & 2 pm only. We will also consider adding a 7:30pm performance on Friday evenings if selecting a 2-week production slot.
    • The Arts Barn seeks to develop a season that includes all genres (comedy, drama, mystery, musical) and has something for everyone.\
    • Please think thematically:

    o   Mystery or thriller-themed productions are sought for October/November.

    o   Strong choices for December would include a holiday theme that the whole family can enjoy.

    o   Romance-themed productions are sought for February.

    • Arts Barn seeks quality theater and puppetry geared for children and youth.
    • Arts Barn will consider re-mounts or encore performances of successful shows which your group recently produced.
    • Arts Barn seeks a balance of the familiar along with the new and edgy.
    • Arts Barn welcomes proposals that include marketing ideas that will bring in new audiences.
    • For the FY17 season, AOTG is developing a signature series across performing and visual arts genres that focus on arts and culture that are considered part of the American cannon. Approximately six to seven arts presentations will be selected as part of this series. We anticipate including one to two theatrical productions in the series as well as music, dance, visual art and more.

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    • HOW TO APPLY:
      Applications are made via an online form. Supplemental material (scripts, librettos or musical CDs) are welcome, but not required unless requested by the Theatre Program Coordinator. If sending supplemental materials digitally, please direct them to the Theatre Program Coordinator, Laura W. Andruski at landruski@gaithersburgmd.gov.

      For snail mail:
      Laura W. Andruski
      Arts Barn
      311 Kent Square Road
      Gaithersburg, MD 20878

  • ‘Painting Churches’ at The Montgomery Playhouse and The City of Gaithersburg at The Arts Barn

    ‘Painting Churches’ at The Montgomery Playhouse and The City of Gaithersburg at The Arts Barn

    It’s sheer joy watching three performers execute their craft with passion. Add in an incredibly-written, intelligent and thought-provoking narrative and a warm and intimate venue, and with The Montgomery Playhouse’s production of Tina Howe’s Painting Churches, you have an unforgettable evening for the most demanding theatergoer.

    David Jones and Jane Squier Bruns. Photo by Scott D’Vileskis.
    David Jones and Jane Squier Bruns. Photo by Scott D’Vileskis.

    First, the setting. The Arts Barn in Kentlands is a great place to see a show. The theater space is small, but the audience is comfortable and drawn directly into the action onstage. The overall production quality is outstanding. David Jones’ set design is spare but perfectly implemented. Black walls offset by brilliantly white furnishings perfectly evoke the Boston mini-manse, home to the Church’s.

    As they wind down their lives together, Gardner and Fanny Church plan a permanent move to their Cape Cod beach bungalow, necessitated by their dwindling financial resources and their inability to maintain their large home. That process of preparing to move helps create the essential conflict, and stage manager Anne Vandercock and her tech crew execute the black-out scene changes perfectly. You really do feel as though you’re watching the movers, while at the same time you anguish over the Church’s need to move. It’s obvious that Director Mary Beth Levrio found the perfect acting trio and tech team, and shared her vision and then let them go to work. You will not see a director’s heavy hand, which to me means she’s very talented.

    A superior script, a warm and comfortable venue, and an artfully conceived set would be wasted if the individual performances in a family drama didn’t reach out and embrace the audience. In Painting Churches, the three actors do exactly that, and for the entire show.

    David Jones, an award-winning regional performer, shows us once again how the power of a subtle, nuanced performance can captivate a room. As aging Pulitzer Prize-winning poet Gardner Church, David gently introduces us to Gardner’s onset of dementia, a difficult performance for the most-capable performer. There are several moments throughout the show where Jones subtly shifts his character’s visage from a direct connection to his surroundings to a confused, distracted appearance using nothing but the look on his face. His character’s joy when he is with his wife and daughter is offset later in the show as he confronts the need to relocate to a more humble setting.

    Jane Squier Bruns, David Jones, and Shanna Riddle Ridenour. Photo by Scott D’Vileskis.
    Jane Squier Bruns, David Jones, and Shanna Riddle Ridenour. Photo by Scott D’Vileskis.

    As the Gardner’s daughter Margaret (Mags), Shanna Ridenour is perfectly cast. A very successful painter working in New York City, Mags doesn’t get up to Boston to see her parents more than once a year. She loves returning home, though. Her plan is to convince her folks to do the one thing they’ve always avoided, to pose for a portrait. In the course of her few days visit, the challenge of painting her parent’s portrait is compounded by the discovery of her father’s deteriorating condition and her mother’s many sacrifices to provide for his well-being. Ms. Ridenour’s soliloquy as she describes a defining moment from her past is one the most intense and demanding emotional performances I’ve seen.

    Finally, Fanny Sedgwick Church is played to absolute perfection by Jane Squier Bruns. Witty, tough, poignant and proud, Fanny faces the most difficult moments of her life as well as she can. She understands what’s happening, but that doesn’t mean she has to be happy about it. Fanny loves life’s finer things, and she ruminates over her past as a Beacon Hill high-society patron as she boxes up treasures to be auctioned or donated. Once a shopper in the best stores, Fanny is now relegated to browsing thrift store shelves for her outlandish hats. Ms. Bruns gives an incredibly moving performance, especially when directly confronted over the quality of care she provides for her beloved Gardner. Her laugh is like a fine wine, improved with age and appreciated at the most difficult moments.

    The three performers converse casually in the same manner as any family ever has. None of the occasional cue line hesitation, the words flowed out, often overlapping and mixing with one another in the most realistic and believable manner. They have literally become the family that they play, a compliment meant in the most sincere manner.

    Painting Churches is an actor’s show, a great script that left in the hands of a talented cast and crew makes a moving and emotional night of theater. In the hands of Director Mary Beth Levrio, David Jones, Jane Squier Bruns, and Shanna Ridenour, this is a not-to-be-missed production.

    Running Time: Two hours, with a 15-minute intermission.

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    Painting Churches plays through November 22, 2015, at Montgomery Playhouse and the City of Gaithersburg performing at the Gaithersburg Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call (301) 258-6394, or purchase them online.

    LINKS:
    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 1: David Jones.

    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 2: Shanna Ridenour.

    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 3: Jane Squier Bruns.

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  • Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 3: Jane Squier Bruns

    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 3: Jane Squier Bruns

    In Part 3 of a series of interviews with the cast of Montgomery Playhouse’s Painting Churches, meet Jane Squier Bruns.

    Jane Squier Bruns.
    Jane Squier Bruns.

    Joel: Where have local audiences seen you perform recently on stage?

    Jane: I just played Lettice Douffet in Quotidian Theatre Co.’s production of Lettice and Lovage. Also, Quotidian’s production of The Veil and Silver Spring Stage’s Other Desert Cities.

    Why did you want to be part of the cast of Painting Churches at MP?

    Actually, I came in late in the rehearsals as a replacement for a cast member who had to drop out.

    Who do you play in the show? How do you relate to her?

    I play Fanny Church whose husband is developing dementia. I am her age and having some personal experiences within my own family that are similar to hers.

    What’s the show about from the point of view of your character?

    The play is about relationships (what else are plays ever about?) Fanny is coping with her husband’s condition and also with her daughter who has come home to help her parents move from their big house. However, the daughter, a professional artist, also wants to paint her parents’ portrait. The various multi-faceted relationships between husband/wife, mother/daughter and father/daughter create the crux of the story.

    What is your favorite line or lines that your character says?

    My favorite line as Fanny is this one that she says to her daughter who is obsessed with painting her parents: “Paint us? What about opening your eyes and really seeing us?”

    I think that line reflects the main message of the play – that it is so difficult for each of us to really see and know others, even when they are the people we are closest to.

    What have you learned about yourself as an actor while preparing for your role and in rehearsals?

    I’ve learned that it’s REALLY hard to learn a script this complicated in 2 weeks!!! As an actor, I love the character of Fanny, but then I find that one always falls in love with whatever character one is playing. Fanny is rather eccentric and dramatic – lots of layers.

    What have been some of the challenges you have had in rehearsals and how did your director, Mary Beth Levrio, help you to solve them?

    I just haven’t had enough time to really do the work I usually do in preparing a role. Mary Beth has been very supportive and patient. She’s an excellent director. It’s also quite a physical role which adds to its demands, and she’s a superb coach of movement.

    What lessons and themes does Painting Churches have to offer the audience?

    As I mentioned before, the theme of how difficult it is to really know another person and then accept them as they are. And that, finally, life is precious with all its challenges, and the most precious thing about it is love – especially, in this case, for family.

    Left to Right: Jane Squier Bruns (Fanny Sedgwick Church), David Jones (Gardner Church), and Shanna Ridenour (Margaret “Mags” Church). Photo by David Jones.
    Left to Right: Jane Squier Bruns (Fanny Sedgwick Church), David Jones (Gardner Church), and Shanna Ridenour (Margaret “Mags” Church). Photo by David Jones.

    What are you doing next on the stage?

    Nothing scheduled at the moment.

    What do you want audiences to take with them after seeing Painting Churches?

    Even though a primary topic in the play is dementia, it is not heavy or gloomy. Rather it is about the love we have for each other – especially for our family. And about how difficult it is to really see another person and totally accept them as they are. There is a sweetness, a poignancy and, finally, a warmth and hopefulness that, I think, the play conveys.

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    Painting Churches plays November 6 – 22, 2015, at Montgomery Playhouse a and the City of Gaithersburg performing at the Gaithersburg Arts Barn – 311 Kent Square Road, in Gaithersburg, MD. For tickets, call (301) 258-6394, or purchase them online.

    LINKS:
    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 1: David Jones.

    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 2: Shanna Ridenour.

    Meet the Cast of ‘Painting Churches’ at Montgomery Playhouse: Part 3: Jane Squier Bruns.