DC Theater Arts

Tag: Cat

Review: ‘Tame.’ at Avant Bard

Audiences of all generations and emerging Millennial-aged playwrights should rejoice at Avant Bard’s production of DC playwright Jonelle Walker’s TAME. Avant Bard took a risky budgetary and audience development step to bring a full production of a new script by an emerging playwright likely unknown to many mainstream theater ticket buyers. Good for Avant Bard.

Playwright Jonelle Walker.

Walker is clearly a playwright with a roaring talent to nurture. Her script for TAME., especially the central character “with an attitude” named Cat reminded me of a favorite line from a Baby Boomer classic for those of us with that generational pull. It was Ken Kesey’s One Flew over the Cuckoo’s Nest with this, if I recall correctly. “Rules? PISS ON YOUR FUCKING RULES!”

Much Avant Bard marketing material described TAME. as a “rejoinder” to Shakespeare’s The Taming of the Shrew. Several program notes provided connections to female writers from previous generations such as Zelda Fitzgerald and Sylvia Plath. Let me write that I was immediately struck with the script’s acid tones about rootless characters out of America’s West living bleak lives as I was with early Sam Shepard. Walker knows her away around deeply caustic, self-destructive voices herself.

Directed with a searing outlook by Angela Kay Pirko is a dark menacing production that chronicles an understandably enraged, but clearly self-destructive combatant named Cat. She is a poet who has found her way back home to a small East Texas town to find herself surrounded by those who see her as a young woman needing to be somehow repaired and brought into a more controlled submissive state of mind; without highs or lows. Those who surround her including a mother, father, younger sister and an“almost” Minister of a local church.

The show is set in the early 1960’s. Cat (short for Cathryn) is in the midst of a major depression. She is grieving for the suicide of her lesbian lover. On top of that Cat’s foray in a northern college did not go well. Nor did her venture in New York City to find “her tribe” of Beat poets. When her money runs out, her “tribe” had discarded her. Home she went, with no other place to go or people to take her in. The audience first meets Cat as she paces up the dark of a kitchen, snapping a Zippo lighter, and pulling on a couple of cigarettes. She startles her mother who has awakened early. Then all Hell breaks loose.

Always on the alert with an inability to ever sit still, Jill Tighe’s Cat is full of a powerful menace. Her laughter comes out-of-nowhere, sometimes as a piercing gaggle. She has the nervous energy of one always on the edge. When she speaks her lines, it’s with the voice of someone lashing out to be noticed and have someone near-by take her pain seriously. Examples include when she says “set me free” it comes with a real despair to it. “I am being myself—that’s the problem!” is a moment of clear self-revelation. Tighe is a brooding, wounded presence to be reckoned with. I wanted to reach out and somehow soften her pain.

Jill Tighe and Karen Lange. Photo by DJ Corey Photography.

As Mama, Karen Lange gives a performance full of manipulative behaviors, and outright delivery of words that are as powerful as any physical punch. The adage that sticks and stone can break bones, but words can never hurt, are bullshit when Mama speaks to hurl lightning bolts of verbal vengeance.

Younger sister Bea, as played by Madeline Burrows, is a prim, prissy, self-absorbed presence on stage. Then again, she has reason to be since she is not as proper and prudish as first thought. She may be a regular church goer, but we come to learn why she finds church attendance sometimes she likes to do.

John Stange is Daddy. He is a ringer for that laconic, Marlboro man-type from old Marlboro cigarette ads of days gone by. Stange may speak plenty of “hug” lines, but his is a truly a complex man who clearly loves his family, but has an oil-rig job that takes him away from home for long periods of time. If he had sons who acted out, he would probably strike them, but with daughters, he is at a loss to know how to discipline so he leaves it to Mama.

John Stange and Madeline Burrows. Photo by DJ Corey Photography.

Then this is the “almost” minister Patrick. Well, Brendan Edward Kennedy nails it as a genial, charismatic charlatan with a deep past. He is a man with a hidden hot-headed temper that is sparked by Cat’s relentless nature that comes with his line “I am not finished speaking.” Let’s just say that saving Cat for Jesus seems to have any number of other meanings and with is abusive aspects, purifying is not a first thought. Let me use a more contemporary notion, the character Patrick if he lived now, would be way too easy to provoke with a quick Tweet.

The design team for TAME. included Set Designer Eric McMorris with his battered, dusty look of the home the show occupies. Lighting Designer E-hui Woo makes moods galore especially during the various scene changes thru brown-out. Costume Designer Danielle Preston totally hits the mark for the early 1960’s time period of prim women’s fashions for Bea and Mama. Needless to say, Cat is more a jeans type. Props Designer Becky Mezzanotte outfits the set with lots of carefully placed details including bloody sheets that represent major motifs and a white dress that takes on a life of its own.

Special kudos to Violence/Fight Choreographer Danny Cackley with a production that demands slaps, punches, and plenty of stage assaults that cross the genders. Sound Designer Mehdi Raoufi moves scenes changes with wonderful selected music that includes gospel songs from both church hymnals and pop voices.

TAME. is for anyone interested in the future of theater. At times it comes across as an angry screed. But, so what? It is an opportunity to take in a new generation’s sense of the world.

TAME. is bracing, cruel, and rebellious. It will raise hackles as it taps into issues of repression and restrictions. It has physical assaults and raw emotional outcries that might scare some. I do suspect it will become a touchstone for many.

Running Time: Approximately, two hours, with one intermission.

TAME. plays through December 11, 2016, at Avant Bard performing at Gunston Arts Center, Theatre Two – 2700 South Lang Street, in Arlington, VA. For tickets, call the box office at (703) 418-4808, or purchase them online.

LINK:
Meet the Cast of Avant Bard’s ‘TAME.’ Part 1: John Strange by Joel Markowitz.

Meet the Cast of Avant Bard’s ‘TAME.’ Part 2: Brendan Edward Kennedy by Joel Markowitz.

Meet the Cast of Avant Bard’s ‘TAME.’ Part 3: Jill Tighe by Joel Markowitz.

RATING:

November 9, 2016
Meet the Cast of Avant Bard’s ‘TAME.’ Part 1: John Stange

In Part 1 of a series of interviews with the cast of Avant Bard’s production of TAME., meet John Stange.

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

John Stange. Photo courtesy of Avant Bard.

John: Busy year. Working backwards: Antony & Cleopatra with Brave Spirits Theatre, 22 Boom! with Nu Sass Productions (at Capital Fringe), The Merry Death of Robin Hood with LiveArtDC, The Maid’s Tragedy, again with Brave Spirits Theatre, Middletown with NextStop Theatre Company, and The Dealer of Ballynafeigh at The Keegan Theatre. I’m also one of the producers of Shakespeare in the Pub, so if those shenanigans are your thing, you’ve probably seen me emceeing.

Why did you want to be part of the cast of TAME.?

I was part of the Avant Bard Scripts in Play Festival cast in the spring. It’s rare for me to read a new play and get so completely caught up in it. Usually with a workshop piece I’m very aware of the gaps, the ill-fitting parts, all that stuff you’re working to help the playwright navigate. It takes you outside of the life of the piece a bit as you think about mechanics and problem solving. TAME. had me securely in its world from top to tail. Even the audience talkback sessions were riveting. I went around telling people for weeks that it was the most artistically fulfilling workshop reading I’d ever done (also things like “I hope they put this one in their season” and “I hope I get to audition” :).

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

I play Daddy, whose daughter is Cat (played by Jill Tighe). I’m a big guy with a deep voice, so in the absence of matinee idol looks I end up playing a lot of villain roles, and that means painstakingly cultivating the humanity of a lot of superficially scary or otherwise unlikable dudes. TAME. is too smart to need all that. You start reading this script, and before Daddy even shows up you think you’re in some well-understood “scary authoritation father” trope… and then it pulls the rug out from under you. He’s a big guy with a certain temperament and a certain history alright… but that’s not the whole of who he is, or even the most important part.

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

A complex relationship with violence. The forces that keep apart the people who should be the closest to each other in the world. Opportunities to do the right thing—missed.

Playwright Jonelle Walker wrote TAME. in response to Shakespeare’s The Taming of the Shrew. For you as a performer, what do you especially like about her play and your role in it?

Jonelle’s writing is actor candy, in that it’s riddled with secrets. There’s a mountain of subtext in every scene. Entire novels live in the silence between the things we actually say. When a playwright is giving you material this sophisticated, accessing the inner life of a character and living with it moment-to-moment, is… well, it’s still hard, because that’s always hard. But let’s just say you don’t have to drill too far before you hit a nice thick vein of theatrical truth.

TAME. is set in the 1960s—a time before the sexual revolution, the Women’s Movement, Stonewall, and other dramatic social changes. What does the play have to say to audiences today?

That we’re not so far removed from that world, and that our society’s impulses to isolate, exclude, and normalize “uncomfortable” people are always still there under the surface… or, who are we kidding, right out in the open. On a completely unrelated topic, we’ll be opening the night before Election Day.

What is your favorite line or lines that your character says, and what is your favorite line that someone else says in the show?

Daddy’s the laconic one. There’s a book written in every “huh.” He’s got a page full of them in a scene I absolutely adore. I assure you you’ll know exactly what he’s thinking with just a handful of monosyllables.

My favorite line of the piece overall is one of Cat’s, which I’m not actually going to repeat here. Partly because it’s a major spoiler, and partly because it’s just so vicious. It’s the voice of someone lashing out because she can’t get anyone around her to even acknowledge that her own trauma is real.

What are you doing next on the stage?

I actually have no idea! My life’s been so overloaded that I haven’t been auditioning. I’ve got nothing booked past December right now.

What do you want audiences to take with them after seeing TAME.?

I’m hoping for a few heated arguments in the lobby that spill out into the rest of the world. This is a piece that deserves to be talked about, with a lot of difficult themes that also deserve to be talked about more than they are.

TAME. plays November 3 to December 11, 2016, at Avant Bard performing at Gunston Arts Center, Theatre Two – 2700 South Lang Street, in Arlington, VA. For tickets, call the box office at (703) 418-4808, or purchase them online.

November 2, 2016
Review: ‘Wyrd Sisters’ at MAD at Goddard Space Flight Center

In 1999, living in Denmark, I happened upon Terry Pratchett’s novel Wyrd Sisters on a friend’s bookshelf. I opened it up and saw “the night was as black as the inside of a cat” – a line that immediately became, and remains, my favorite sentence of all time. So it was with some excitement that I learned that the MAD club at NASA’s Goddard Space Flight Center was putting on the play from that novel, adapted for the stage by Stephen Briggs.

John McCloskey and Cathy Barth play the evil duke and duchess. Photo by Jon Gardner.

Directed by Jon Gardner, the play includes the joyful word play that makes Terry Pratchett so delightful. Wyrd Sisters tells of three witches and their efforts to meddle – without really meddling – in the affairs of the kingdom of Lancre after the King is murdered and the throne usurped. And the MAD players keep the rollicking play crackling along like lightning.

There is no stage for this production; the action takes place on the floor. No matter where you sit, at some point actors will be facing you and at another point they may well have their backs to you; this is a play which uses all 360 degrees. Because there’s no stage, there’s no set. Instead, the scene changes – and there are a lot of them, twenty-two! – are done with props and a large screen TV on one wall providing images of the settings. A wheeled cart is a table for a magic ball in one scene and a cauldron for another; the throne room is created by a chair with a golden cushion upon it. These prop-driven scenes work; the setting for each scene is clear and the changes between them happen quickly.

Linda Pattison as Nanny Ogg is inspired. Terry Pratchett fans know Nanny Ogg as a joyful, rosy-cheeked, rogue; Pattison plays her with gusto. I could easily believe Pratchett met Pattison and then developed Nanny Ogg based on that meeting, so perfect was she for the role. She is particularly amusing when being threatened with torture; she delivers her cheeky lines with a twinkle in her eye that would have made Pratchett proud.

The play’s villains are the Duke and Duchess Felmet, played by John McCloskey and Cathy Barth respectively. McCloskey does a terrific Nixon impersonation and gets the audience squirming in their seats as he tries – in increasingly dramatic measures – to wash the blood off his hands. Barth is a stand-out as the Duchess. She’s one to watch – her facial expressions as the Duke talks are hilarious, and she is able to convey with body language alone frustration, anger, and despair.

The youngest cast member, Clara Holland, plays the demon. Here the marriage of excellent costume, make-up, and special effects are on display; the demon arises in a cloud of fog, delivers a few lines with great drama, and descends again to – on the two nights I saw the show – applause from the audience.

The real show stealer, however, has no lines. Marie Nearing as Greebo the cat is without question the stand out performance of the play, and it’s worth going to the show twice just so that one time can be spent watching what old Greebo gets up in each of her scenes. From coughing up a hairball to batting at audience members’ shoes to catching a mouse, Nearing does an incredible feline performance that is entertaining, amazingly accurate, and frankly riveting.

Without a traditional set, costumes, make-up, sound, and special effects take on increased importance and the designers of these elements meet the challenge. Special effects and sound, designed by Steve Beitzell, and managed by Kathryn Breon for the performances, create ambience and, of course, the magic used by the witches. Along with the smoky demon, there are flames, flashes, bangs, and an earthquake. Make-up and costumes capture time, place, and characters beautifully. Pattison as make-up designer does a stand-out job; of particular note is her work in creating the demon, the cat, and the ever-increasing blood on the Duke’s hands.

Witches: Granny Weatherwax (Anne Hull), Greebo (Marie Nearing), Nanny Ogg (Linda Pattison), and Magrat (Margaret Hudson) gather around the cauldron. Photos by Jon Gardner.

Costume Designer Susan Neff has helped create the characters – the matching gold regal robes for the Duke and Duchess, the inspired (in so many ways) Greebo, the ghastly horns for the demon. The wildly different personalities of the three witches are enhanced by their clothing; Nanny Ogg’s are purple-themed and boisterous; Granny Weatherwax wears the black hat and dress of the “traditional” witch from our childhood imaginations; Magrit Garlick wears a variety of dresses, all with a hint of green, the kind of dresses a young woman from a certain time might wear…

Wyrd Sisters plays at MAD through May 21, 2016 at MAD performing at Rge Goddard Space Flight Center’s Rec Center- 8800 Greenbelt Road, in Greenbelt, MD. Remaining performances are this Friday and Saturday, May 13th and 14th at 8pm; Sunday the 15th at 3 pm, and the following Friday and Saturday, May 20th and 21st at 8 pm. The gate to the rec center opens 45 minutes before the show begins. For tickets, buy them at the door, or purchase them online.

Kyla Hanington is a writer and speaker whose work has appeared in magazines and newspapers such as University Affairs, Mothering, HipMama, the Greenbelt News Review, the Terrace Standard, and the Clackamas Literary Review, among others. Her essays have also been broadcast on Drum: A Literary Magazine for Your Ears and on CBC Radio. She currently lives in Greenbelt with her two children, two cats, and very patient husband.

May 9, 2016
Review: ‘The Diary of Anne Frank’ at Compass Rose Theater

Compass Rose Theater’s production of The Diary of Anne Frank, directed by Steve Tobin, is a powerful piece of theater, recounting one of the saddest stories of World War II. Strong acting and directing, as well as a striking set by Joann Gidos and creative lighting by Alex Brady, help make the play a moving account of ordinary people in an extraordinary situation.

Mia Goodman (Anne Frank). Photo by Stan Barouh.

The play, written by Frances Goodrich and Albert Hackett, first appeared in 1955. It won both the Tony Award for best play and Pulitzer Prize for Drama in 1956. According to the production notes, Lillian Hellman had originally been asked to adapt Anne Frank’s book. She instead recommended Goodrich and Hackett for their “lighter touch.” This production has many such touches, important to help bring a little humor to what would otherwise be an oppressively dark tale.

In 1942 Anne (Mia Goodman) moves into hiding with her parents (Steve Lebens and Alicia Sweeney) and older sister Margot (Jenny Donovan), into an attic over Mr. Frank’s business. They are joined by fellow Jews Mr. and Mrs. Van Daan (Bryant Centofanti and Jill Kyle-Keith) and their son Peter (Eli Pendry). Later, Mr. Dussel (Edd Miller), another Jew escaping the Nazi roundup, joins the attic. They remain there until captured in 1944. It is a memory play, bookended by Mr. Frank’s (Steve Lebens) return to the attic where he finds Anne’s diary recounting their time in hiding.

Because there is construction in the building during the day, during that time they must keep absolute silence, and never leave the attic, relying on their benefactor Miep (Rachael Murray) to come up daily with food and other supplies. Even at night they must be careful, as any loud noise (such as Anne’s nightmares), could attract unwanted attention from the street.

Goodman plays an Anne full of energy. At the start, she constantly runs around the attic and lays on the floor. Her impulsive movement causes trouble when she accidentally spills milk on Mrs. Van Daam’s fur coat, leading to a gasp from at least one audience member.

She is also extremely talkative, leading Peter to nickname her “Ms. Quack-Quack.” Being the two youngest, their relationship soon changes from frustration to a kind of romance, with Anne spending long periods of time in Peter’s room, to the consternation of both sets of parents.

Lebens’ Mr. Frank is a remarkable portrayal of a man staying calm under incredible pressure. He offers wisdom and tries his best to keep the peace. At one particularly low point, he remarks, “The Nazis didn’t destroy us, we’re doing it to ourselves.” His bond with Anne is especially strong. After waking from a nightmare, he comforts her. They seem more like friends than father and daughter.

Sweeney as Mrs. Frank struggles to create a sense of normalcy in an extraordinary situation. Late in the play she has an emotional moment that reveals just how difficult it has been for her to keep things together. Her relationship with Anne is complicated. She wants her youngest daughter to be a “proper young lady” like Margot, while Anne is wild and independent, with dreams of her own.

Pendry is a joy to watch as Peter. He begins the play shy and awkward, “a lone wolf” as he puts it. He has a fierce boldness at times, though. At the start, he removes the yellow star pinned to his jacket and wants to burn it. When Anne is uncertain about taking such a step herself, he questions her for not wanting to destroy something she “was branded with, something other people forced you to wear.” Seeing his growing relationship with Anne gives hope in a bleak scene. Towards the end, together in his room, he wraps his arms around her waist.

Jill Kyle-Keith (Mrs. Van Daan). Photo by Stan Barouh.

Centofanti and Kyle-Keith do a remarkable job with the Van Daans, well-off, assimilated Jews who consider themselves Dutch suddenly confronted with the possibility of death. They argue like a long-married couple, with Mr. Van Daan tired of hearing how many suitors his wife had when she was young. He makes a decision one night that almost tears this little community apart, then weeps over the near-destruction he creates.

The actors’ reactions when they hear a noise below during a Hanukah celebration is of sheer terror, fearing the worst and not knowing what to do. In the course of two hours they leap from joy to despair, hope and sorrow, showing the best and worst of humanity.

Joe Powell’s set helps bring the claustrophobia of so many people living in such close quarters, forced to remain quiet, to life. It is divided into three tiers, the first one the “common room” with a small couch that pulls out into a bed for Mr. and Mrs. and Margot Frank, along with chairs, small tables that can combine into one large dining room, and a sink. Above and to the right is a small room with two beds for Anne and Mr. Dussel. Above that are two lofts, one for Mr. and Mrs. Van Daan and, the other, facing a skylight, is Peter’s room.

The costumes by Beth Terranova have an authentic, 1940’s feel, with the men and women all dressed up even when they only see the nine of each other. There are numerous costumes changes, as the cast dresses for sleep and each new day; they make the changes swiftly. At the beginning they also wear the yellow star marking them as Jewish, a quiet yet forceful reminder of the measures the Nazis took to identify those they wished to oppress.

L to R: Eli Pendry (Peter), Jenny Donovan (Margot), Alicia Sweeney(Mrs. Frank), Steve Lebens (Mr. Frank), and Mia Goodman (Anne). Photo by Stan Barouh.

With such a large cast, all engaged in different stage business, Brady’s lighting helps keep focus on the main action. It also helps mark the transition from day to night.

Tobin has done an excellent job directing, with the actors’ movements across the stage feeling natural, and never crowding each other despite the tight quarters.

Mr. Frank’s last words, said in reference to Anne, are “She puts me to shame.” It is a powerful line in a moving drama at Compass Rose Theater that should not be missed.

Running Time: Two hours, with a 10-minute intermission.

The Diary of Anne Frank plays through Sunday, April 17, 2016 at Compass Rose Theater – 49 Spa Road, in Annapolis, MD. For tickets, call the box office at (410) 980-6662, or purchase them online.

RATING:

March 22, 2016
‘Pinocchio’ at Creative Cauldron

Creative Cauldron’s Learning Theater Workshop is an excellent program for children interested in exploring the art of live theater. The program is recommended for kids, third grade through high school, and provides professional performers, who mentor the young actors through the rehearsal process and the run of the show. For their fall session, The Learning Theater’s Ensemble worked on an original interpretation of the story of Pinocchio.

The Adventures of Pinocchio was written by Carlo Collodi and first published as a series in the paper from 1881-1882. It is from this version, and not the more widely known 1940 Disney film, Pinocchio, that the workshop took as the basis for their production. A team of Directors worked to create the adaptation: Laura Connors Hull and Ellen Selby created the book, Matt Conner composed original music, and Stephen Gregory Smith provided the lyrics. Through their collaboration, along with improve activities with the students, which were set within the confines of Collodi’s original tales, the group created a new adaptation of Pinocchio.

I went to see Creative Cauldron’s 2nd premiere of this production with my family, and we all thoroughly enjoyed it. The original music was beautiful, and the set and costumes were simple, yet creative. My three boys all thought it was incredibly cute and especially raved about the imaginative way that the actors created the shark that plays a vital part in the tale.

Fox (Hazel Feldstein), Puppet Pinocchio (Caden Mitchell (center), and Cat (Emma Hill). Photo courtesy of Creative Cauldron.

Each of the kids involved in the production did a wonderful job. Some standout favorites were Puppet Pinocchio, played by Caden Mitchell, who was equals parts adorable and mischievous, Nora Hill as the Cricket, who had my boys cackling quite frequently, and Libby Brooke’s Snail, who illustrated with perfection the art of milking a scene.

Appearing as the poor, kind-hearted Gepetto is E. Augustus Knapp, the only adult in the production. Knapp conveys the pure, unwavering love Gepetto has for Pinocchio making his performance simple but perfect for this production.

Some other notables were the hilarious puppets, Harlequin and Punchinello, played by Morgan Beltson and Constance Meade respectively who both greatly captured the physicality of puppets on strings. The conniving Cat (Emma Hill), and Fox (Hazel Feldstein), were appropriately cunning and creepy. And the beautiful Blue Haired Fairy, who sees the good in Pinocchio despite his many missteps, was played by Maia Vollen.

Everyone in this hard working, talented ensemble deserves to be mentioned, though. So, also appearing in this fun production, were Owen Theibert, Madeline Aldana, Adam Batchelor_Riera, Miri Brooke, Emily Martin, Amira Miller-Muro, Alessandra Simons-Robles, Gabriela Simons-Robles, Leif Trejo Hernandez, Marissa Seiken, Champe Mitchell, Madeleine Aykens, Talia Cutler, Emma Coleman, and Nicholas Riehm.

By nature of Creative Cauldron’s Learning Theater Workshop, Pinocchio is a show that can be seen over and over again, with a different experience every time. Part of the learning process for the young actors is for them to be able to adapt to change and to grow and improve in a performance. The audience was told that after each performance the actors will get notes that are to be incorporated into the next performance. It’s a lot of work but an amazing experience for the kids involved and the audience, who gets to experience the collective output of all of their hard-work, imagination, and creativity.

Running Time: 70 minutes, with no intermission.

Pinocchio plays through November 22, 2015 at Creative Cauldron at Art Space Falls Church – 410 S Maple Avenue, Suite 116, in Falls Church, VA. For tickets, call (703) 436-9948, or purchase them online.

RATING:

November 2, 2015
The Women’s Voices Theater Festival: ‘Alice in Wonderland’ at Synetic Theater

Yes, a high time to be had. All you need to do is follow the simple directions; “eat me”; then “drink me.” And whoosh, with music building into powerful, echoing crescendos, I found myself swirling into tangled nonsense and colorful adventures galore just down a tight rabbit hole through a barely visible door. All this takes place in Crystal City with Synetic Theater’s own singular take on a dialogue-rich and a visually stunning Alice in Wonderland.

Kathy Gordon (Alice) and Vato Tsikurishvili (Caterpillar). Photo by Johnny Shryock.

With plenty of Lewis Carroll’s original un-logic intact, Synetic’s Alice in Wonderland written by Lloyd Rose, a one-time theater critic for The Washington Post, has invented a savory, dark chocolate toffee confection with plenty of rewarding sweetened morsels. It is an inverted, roguish world that fed my head quite satisfactorily. No need to dig out a dog-eared Annotated Alice, or listen to a scratchy vinyl of Surrealistic Pillow with Grace Slick’s mind-altering version of White Rabbit or even locate my daughter’s long ago copy of Robert Sabuda’s pop-up Alice to be in the mood.

Playwright Rose and the talented Synetic folk have concocted a fertile diversion into Carroll’s timeless, and now 150 years young, Alice. In his program notes, Paata Tsikurishvili, Synetic’s Founding Artistic Director, provided a taste of what to expect. Synetic is “not focused on the sunniness and delight of childhood.” Tsikurishvili described the “decided darkness” he found in the Wonderland characters. To him, they “seem intent on either manipulating, trapping, confusing or abusing her [Alice].” This is clearly not a Disney animated version, indeed.

So, let’s start with Daniel Pinha’s gymnasium-like set design. It is a visual that greets patrons as they enter the theater; a very jumbled underground world. There are hanging rope-like roots in disarray, bits-and-pieces of what are usually out-of-sight, animal paths and burrows melded with untidy, fancifully sculpted objects later put to many a good use. With fog floating in at critical times, overall there is the visual and mental impact of being in a topsy-turvy, confused nether world. Several rows of chairs at audience left and right have also been removed from the usual proscenium stage to add two play spaces separate from the main-stage’s underground world. One play area includes many small dolls; some cute and adorable, while others are cute in-their-own flip-flopped way.

We meet Alice (an effervescent, animated, wide-eyed Kathy Gordon), her loving, soft-spoken mother (Tori Bertocci in white outfit) and a fiendish, rough speaking new governess (Ranata Veberyte Loman in goth-black attire) who tells Alice a puzzling Jabberwalky story. As Alice falls asleep and then “awakens,” a new world opens up. A world that she unearths while following a jumpy White Rabbit with a large necklace-like timepiece (Bertocci again). Alice begins a dreamy journey to discover herself in a world with its own rules and logic. Her trek includes a meet-up with an enigmatic, smiling Cheshire Cat (Alex Mills with a bright presence and limber catlike acrobatic movements).

Dallas Tolentino (The Mad Hatter). Photo by Johnny Shryock.

From these modest beginnings come twelve scenes (chapters) of Alice’s journey into her Wonderland. Along the way Alice meets many a fanciful character. These include the likes of all an expressionistic, off-center Mad Hatter (Dallas Tolentino), a nervous dormouse (Zana Gankhuyag), the confounding doppelgangers Tweedledee and Tweedledum (Augustin Beall and Thomas Beheler), a with-reason, fearful ballerina Dodo (Eliza Smith), a kooky, nervous March Hare (Justin Bell), along with a smotth-talking “suck-up” King of Hearts (Bell again) and the impulsive, heartless Queen of Hearts (Veberyte Loman again). And, as two very vividly brought-to-life comic characters who lighten and brighten the production, is Vato Tsikurishvili. He plays a hookah-smokin’ Caterpillar and then a very superior Humpty Dumpty who knows less than he thinks he does and pays a big price for his snooty affect.

Some of Alice’s twelve scenes and some of the numerous characters were more memorable than others. Some spoken dialogue better registered with me than others. At times it felt like a striking wave moving between a high points and then a trough always in motion, with motion being the key. Then again, I can ask myself, how could child-like absurdity that is mocking mainstream values be anything else?

If you know Alice the adaptation doesn’t overlook lines such as “Off with her head!”; “You are just a pack of cards”; and a personal favorite: “We are all mad here.” A key line for this Synetic production is asked of Alice not long into her trip: “And who are you?”; with the production providing Alice the opportunity to learn who she is.

Choreographer Irina Tsikurishvili has her minions, including some uncredited ensemble members, move and cavort terrifically helter-skelter as the chase one another about the stage. A caterpillar curvy line dance composed of a five-actor caterpillar was a sinuous hoot. The tea-party scene was well-timed pushing-and-shoving to a fare-thee-well. A ballerina dance by Eliza Smith was a classic, classy Swan Lake turn.

The proceedings were well-animated with the original work of Sound Editor and Resident Composer Konstantine Lortkipanidze. He provided a vivacious, driving score appropriate for each of the twelve scenes. Thomas Sowers’ sound and Colin K. Bills’ lighting created a visually and aurally colorful underground world with sweeps of light as well as well-placed rope-lighting, along with a simply lovely touch with blue LED lights forming flowing drops of tears. There were a plenitude of well-placed, well-used props from Props Master Jason Alpern.

Not enough can be said about Kendra Rai’s costume design. From Alice’s changeable white pinafore, a spiffy latex wearing Queen of Hearts with a skirt having heads and faces as a design element, to cats, rabbits, a rotund egg and plenty more, the costumes were a delightful blur that identified each character well to a T.

Veberyte Loman (Queen of Hearts). Photo by Johnny Shryock.

I can’t resist this. As a very special Queen from my own by-gone days sang and taught me, “Remember what the dormouse said, feed your head, feed your head.” Off I go down stairs to place a scratchy well-used piece of vinyl on a turntable.

Alice in Wonderland is part of the Women’s Voices Theater Festival of Washington, DC. You don’t have to remember or even know Alice in Wonderland to be engrossed by Synetic’s visually jaw-dropping take on a 150 year-old classic.

Running Time: 90 minutes, with no intermission.

Alice in Wonderland plays through November 8, 2015 at Synetic Theater – 1800 South Bell Street, in Arlington, VA (At the Crystal City Metro). For tickets, call the box office at (866) 811-4111, or purchase them online.

The production is suitable for children aged 9 and up. There are moments that younger children may find frightening.

RATING:

October 5, 2015
‘Garfield, The Musical With Cattitude’ at Adventure Theatre MTC

Garfield: The Musical With Cattitude Provides Plenty of Laughs for All Ages

Adventure Theatre MTC serves up the charm for all ages with its original musical Garfield: The Musical with Cattitude, packing in enough laughs and songs to keep even that famously grumpy cat satisfied.

Evan Casey as Garfield and his furry friend. Photo by Bruce Douglas.

The book, written by original Garfield creator Jim Davis and ATMTC Artistic Director, Michael J. Bobbitt, stays true to the beloved characters while making them fully realized creations. The basic plot is simple and geared for younger audiences, yet retains enough humor and tongue in cheek slyness to keep older siblings and adults belly laughing as well. The music and lyrics by John L. Cornelius, II. are clever and catchy and serve to drive the plot forward, giving the very talented ensemble moments to shine. William Yanesh is the Musical Director.

ATMTC’s production of Garfield, The Musical With Cattitude does not disappoint. This production – targeted at the youngest theatergoers – is both charming and magical. With only five actors and minimal scenery, they strip the story to its essentials, focusing on the friendship, and humor that set Garfield apart.

Garfield (played by a perfectly grumpy, sarcastic, and sly Evan Casey) is a chubby and sarcastic tabby cat who fantasizes about having the most amazing birthday in the history of birthdays. His daydreams collapse under the combined weight of perpetually ringing alarm clocks, the weight of that dreaded Monday, a diet of (gasp) cat food instead of lasagna for breakfast, and the feeling that his birthday – his day of days – has been forgotten by his friends.

Director Nick Olcott skillfully helps this talented professional company find the right combination of telling the story truthfully and keeping the young audience engaged in the fast-moving plot. His staging is as smooth and delicious as the three layer chocolate cake Garfield fantasizes about having for his birthday! Luciana Stecconi’s set design pops with color and detail, spilling out of the Sunday comics with magical effect. Kendra Rai’s costumes are whimsical and effective at suggesting the cartoon characters while giving the actors plenty of room for individual expression.

Evan Casey delivers a smashing performance as Garfield. Emily Zickler excels at sassy, comic delivery in her role as Arlene the Cat – and she has an incredible singing voice as well.

John Sygar, Evan Casey, Emily Zickler and Bella Brody. Photo by Bruce Douglas.

Joshua Dick is earnest and goofy as Garfield’s owner, Jon Arbuckle, and does a delightful turn as the animal control officer who tries to track down Garfield and his elusive friends when they escape to the alley.

Eli Schulman is adorable as Garfield’s nemesis kitten friend, Nermal (a role shared with Isabella Brody). John Sygar delivers a scene-stealing turn as the drooling dog, Odie. Sygar’s facial expressions and ability to speak volumes without using words is worth the price of admission.

Make Garfield, The Musical With Cattitude part of your summer adventure plans! It’s a fast-paced musical comedy that is vastly entertaining and perfect for kids (and grown-ups) of all ages.

Running Time: One hour with no intermission. Recommended for All Ages.

Garfield, The Musical With Cattitude plays through August 23, 2015 at Adventure Theatre MTC- 7300 MacArthur Boulevard in Glen Echo Park, in Glen Echo, MD. For tickets, call the box office at (301) 634-2270, or order them online.

LINK
‘Garfield, The Musical with Cattitude’ Now Playing at Adventure Theater MTC by Amanda Bradley.

RATING:

June 21, 2015
‘The Gift of Nothing’ at The Kennedy Center

Looking for a new, fun and entertaining way to spend the afternoon in a historic setting with the kids this holiday season? Introducing a brand new musical for the first time anywhere, The Kennedy Center presents the world premiere production of The Gift of Nothing, which opened last Saturday in the Family Theater, an inviting 324-seat facility that allows for more audience space and movement.

The Cast of ‘The Gift of Nothing.’ Photo by Scott Suchman.

Commissioned by The Kennedy Center, The Gift of Nothing is based on the New York Times best-selling book by Patrick McDonnell, creator of the 20-year-old daily comic strip Mutts (praised by Peanuts creator Charles Schultz as “one of the best comic strips of all time.”). The story, featuring the Mutts characters, has been innovatively adapted for the stage by McDonnell, Aaron Posner, and Erin Weaver, with catchy music and lyrics by Andy Mitton.

Playful and reminiscent of Dr. Seuss’ styling, the resplendent stage immediately draws the audience in with its clean, all-white, simple décor that appears to be something like cut outs from the pages of a book, displaying the characters’ neighborhood and homes. Whimsically decked and designed by Luciana Stecconi, the quaint production opens with Earl the dog (inspired by McDonnell’s own longtime Jack Russell terrier, and energetically portrayed in the show by Maggie Donnelly) panting and sliding about the stage, tail-wagging blissfully. The audience, a well-balanced mix of little ones paired with their accompanying adults, laughs and cheers excitedly. Mooch the cat (Nickolas Vaughan), lounging and lolling, really moves — sparked out of his initial indifference by a teasing “Little Pink Sock.” The youngsters erupt enthusiastically.

Under Director Aaron Posner and Associate (movement) Director Erika Chong Shuch’s lead, each of the cast showcases, not only their versatile acting and vocal talent, but highlights their creatively choreographed movements throughout the entire theater. Whether Mooch was doing cartwheels on stage or Millie, Frank, and Ozzie were roaming throughout the aisles looking for Mooch and Earl, every entrance and performance platform were maximized.

In addition, each actor seemed to be cognizant of some of their audience’s very limited attention span and made a conscious effort to both captivate and control the boisterous youngsters, striving to keep their proclivity to incessantly interact with the characters to a minimum. Nickolas Vaughan, as Mooch, is particularly adept and persuasive at silencing the kiddos on cue; at one point, getting nearly everyone in the theater to hold still for a few moments and even persuading most to close their eyes when he nicely requested.

Closely following McDonnell’s book of the same name, the The Gift of Nothing’s storyline is straightforward, yet heartwarming and enriching: Mooch (Nicholas Vaughan) is a charming, as curious cat, wanting to get the “purr-fect” holiday gift for his best friend Earl (Maggie Donnelly), a delightful, loveable pup. Of course, Earl already seems to have all he needs: a bowl, a bed, and a squeaky chew toy. So, what do you get someone who has everything? Well, nothing, of course! So, Mooch decides to get him nothing — but every nothing he finds is actually something.

The 60-minute musical artfully and cleverly attracts the participation of the children, and hearing their intermittently humorous replies and attempts to assist Mooch provides abundant entertainment for the adults. Nickolas Vaughan, as Mooch, comfortably connects with the audience, alongside ample assistance from Maggie Donnelly as his best pal, Earl; Joseph Patrick O’Malley as Earl’s kindhearted owner, Ozzie; Sakile Lyles as the phone-gripping little girl, Doozy; and Rachel Zampelli and Michael John Casey as Mooch’s owners, Millie and Frank (Casey also doubles as the show’s drummer/percussionist). The ensemble also includes Stephen Russell Murray, Cory Cunningham, and Nora Palka.

With lively piano and sprightly drum/percussion accompaniment, the songs, with the exception of the more theatrical, multi-colored light-enhanced department-store number, “Any Something Everywhere” and the moving “Waiting at the Window,” are light, spirited and carefree. Rachel Zampelli (Millie), Michael John Casey (Frank) and Maggie Donnelly (Earl) beautifully harmonize in “Waiting at the Window”, simultaneously conveying each character’s feelings of joy, love, fear, worry, disappointment and loneliness. “A Special Day” and “Finale” also effectively exhibit each of the ensemble’s solid singing ability in exuberant, unifying fashion.

The Kennedy Center’s The Gift of Nothing is a fanciful, family-friendly musical that has a little bit of everything for everyone. This holiday season, introduce your loved ones to the magic of live theater in an intimate and interactive venue and give the gift of igniting the imaginations of children and adults alike.

Running Time: Approximately 60 minutes, with no intermission.

The Gift of Nothing plays through December 28, 2014 at The Kennedy Center’s Family Theater – 2700 F Street, in Washington, DC. For tickets, call (202) 467-4600, or purchase them online.

November 25, 2014
‘Cats’ at Compass Rose Theater

Compass Rose Theater puts on an abbreviated version of Andrew Lloyd Webber’s Cats. With a cast that sings and dances their way through the top numbers, this is a likable production that is both fascinating and entertaining.

Left to right Anne Shroeder, Megan Schwartz, Ishmael Edwards and Jess McKay. Photo courtesy of Compass Rose Theater.

Directed by Lucinda Merry-Browne, choreographed by Emily Frank and music directed by Anita O’Connor, with set design by Joe Powell, Sr. and Joe Powell, lighting design by Joey Guthmann, and costume design by Renee Vergauwen, Cats, based on Old Possum’s Book of Practical Cats by T. S. Eliot, tells the story about a tribe of cats called the Jellicles. On this night they make their “Jellicle choice” – a cat will ascend to the Heaviside Layer and come back to a new life. An alley-like ambiance under a full moon, the set is a series of platforms with gold cat scratches that makes for a fun-filled feline playground. The varying levels allow the performers to move about the stage, demonstrating their cat-like agility.

The opening number, “Jellicle Songs for Jellicle Cats” shows the casts ability to dance in a small space as they prance about the stage revealing true cat qualities. A lovely jazz number, choreographed by Emily Frank, it sets the tone that this is just a playful production for all. “The Naming of Cats” is a lyrical number that offers a rhythmic beat that sticks after the song is over with the cats moving about in a slick way.

Victoria (Megan Schwartz) is a pure white kitten that has been blessed with the gift of dance. Her solo is a beautiful ballet number that is curvilinear in movement as well as posed. Schwartz shares the stage with Munkstrap (Ishma’el Edwards) in a duet that expresses the communal relationship between two cats. Schwartz also doubles as Rumpleteazer and Edwards doubles as Mungojerrie. These two notorious cat-burglars are lithe as they tumble about the stage and perform on swinging ropes.

“The Rum Tum Tugger” is a great tap number showing the slinkiness of a cat’s mannerisms. Terrence Bennett as Rum Tum Tugger is fantastic in this number and a bit on seductive side with his flashy behavior. This is a retro-jazzy number reminiscent of the Broadway show, Rent. He doubles as “Skimbleshanka: The Railway Cat,” in Act II. This is a toe-tapping number along with the lighting design that turns the moon into train wheels.

“The Cat About Town” is known as fat-cat Bustopher Jones (Anne Schroeder) is a twenty-five pounder that dresses in a snappy tuxedo and spats. As the lyrics go, he is “respected by all, as the upper class St. James’s Street Cat.” Schroeder as Jenny Any Dots, the “Old Gumbie Cat” song can be compared to the melody of songs of the 1940s and the beat of the Charleston (dance )but ironically she sits all day and rules over the mice and cockroaches at night.

“Old Deuteronomy” (Michael J. Begley) is an old shaggy cat that at first it is difficult getting past his mop-like costume but once Begley sings, his magnificent operatic voice fills the little black box that makes everything else seem insignificant. Still, he might want to reconsider what he wears under his costume.

Grizabella the Glamour Cat (Alison Rose Munn) has no sparkle after leaving the tribe in her younger years. A recluse in cat society, Grizabella sings of smiling at her old days in the popular song, “Memory.” Munn is amazing, hitting all the right notes. As “Gus – The Theater Cat,” it is easy to imagine him at the theater door, as he and Jellyorum (Jessica McKay) sing of his career heydays. Stricken with palsy, it’s sad watching him shake. McKay is sweet as Jellyorum, who along with Jenny Any Dots, watches out for the kittens. McKay as Mr. Mistoffelees, a young tom with magical powers that he can’t fully control, manages wonderful choreography along with imaginative magic tricks.

Cassandra (Mallory J. Holson) is an Egyptian sphinx and a dance number that is great homage to the cat, considering the cat’s origins and how they were revered in that era. The ensemble performs some very distinctive dance moves with a hint of Bollywood quality. Rounding out the cast is Demeter (Cassie Bednall) is a skittish cat that is a fan of “Macavity – The Mystery Cat.” This number is sultry with a burlesque quality.

Megan Schwartz as Victoria and Ishma’el Edwards as Munkustrap. Photo courtesy of Compass Rose Theater.

This is a unique production with the actors playing dual roles. The stand-out is Renee Vergauwen’s costuming that sets one cat apart from the other. White, black, brown, or gray, the dances are costumed in shiny spandex leotards that are accentuated with stripes, fur, ears designed out of their hair/wigs, and of course stunning make-up to complete their cat features. The cast’s ability to dance and move about on the stage in this space is exceptional. So special kudos to Choreographer Emily Frank and Music Director Anita O’Connor for their magical contributions.

Compass Rose Theater’s Cats is purr-fect family entertainment.

Running Time: One hour and 45 minutes, with a 15-minute intermission.

CATS plays through December 21, 2014 at Compass Rose Theater – 49 Spa Road, in Annapolis, MD. For tickets, purchase them online. Tickets can be purchased online.

November 19, 2014
Capital Fringe 2014 Review: ‘TAME.’

(Best of the Capital Fringe)

When the DC Women’s Voices Theatre Festival rolls around in October, 2015, I sincerely hope Playwright Jonelle Walker will be among the voices represented. In TAME. (ably directed by Medha Marsten), Walker not only demonstrates the chops to write strong and dynamic female characters, she has the rare ability to write scenes with sky-high stakes that cut right to the most uncomfortable and intriguing of situations.

TAME. is not so much a deconstruction of Shakespeare’s Taming of the Shrew as it is a hate letter to The Bard and all posterity for justifying violence against women. Set in 1960’s Louisiana, the plot involves a hot-tempered young woman named Cat (Haely Jardas) who is being “reformed” by Christian evangelist-in-training Patrick (Henry LaGue) at the request of her Daddy (Deryl Davis).

I don’t want to disclose much of the plot, other than to say it is consistently gripping and disturbing. The cast is uniformly solid, though Jardas and LaGue give particularly engaging performances. Jardas has a type of magnetism that allows her to speak volumes with a subtle eye roll or eyebrow lift. LaGue is so natural and convincing as the despicable Kool-aid-drinking youth pastor that he could have a career in televangelism. Director Marsten orchestrates a Grand Guignol-like discomfort in the scenes between them, and sparks fly. I hope to see Hardas and LaGue continue to develop these roles in the post-Fringe life of TAME., which should be very bright, indeed.

Running Time: 75 minutes.

TAME. plays through July 25, 2014 at Gearbox-1021 7th Street NW 3rd Floor, in Washington, DC. For more information and to purchase tickets, go to their Capital Fringe page.

July 11, 2014
‘Pinocchio’ at The Puppet Co.

The Puppet Co. presents Pinocchio, the classic story of a wooden puppet’s adventurous quest to become a real, live boy! Directed by Allan Stevens, this production is adapted from Carlo Collodi’s Book by Vera C. Hughes, and is recommended to be enjoyed by children ages five and up.

The action takes place in front of a screen, which changes locations of the setting throughout the show. Designed by Allan Stevens, the illustrated backgrounds look as if they are plucked from a whimsical storybook, and range from the interior of a cozy cottage to inside the jaws of a whale! My favorite setting was one that was drawn to resemble the “Popcorn” shack, a sweet nod to a notable fixture of Glen Echo Park. Stevens also designs the delicately crafted rod puppets, as well as the magnificent Fire Eater costume. This is one busy man! Lighting design by Dan Brooks compliments the changing tones of the plot, and the performers (Christopher Piper, Mayfield Piper, and (again!) Allan Stevens) work together harmoniously.

Photo courtesy of The Puppet Co.

The production begins as a poor, elderly carpenter named Geppetto surveys a large block of wood, wondering what to make out of it. When he finally decides to make a puppet, the blocks of wood comes to life, and, not too keen on being carved and cut, is chased around the cottage by Geppetto in a fun scene, until he is finally caught and carved into a handsome puppet. However, Pinocchio is not a very polite puppet. He is selfish, and dismisses warnings from a wise cricket, who warns, “Those who will not listen and will not learn will become perfect donkeys.” This is an interesting and rare depiction of Pinocchio, who is usually portrayed as sweetly naive instead of disrespectful and naughty.

Photo courtesy of The Puppet Co.

Geppetto decides to send Pinocchio to school, where, on the way, he becomes entangled with many different characters. A sneezy Fire Eater (which is really Piper in an elaborate, impressive puppet costume) takes pity on Pinocchio and gives him some money, which is then stolen from a conniving cat and fox. Frustrated and distressed, Pinocchio is visited by the Blue Fairy, who lets it be known that his true wish can be attained through bravery, selflessness, and honesty. Pinocchio does not get off to a great start, as his nose visibly grows inches with every lie he tells. What follows this proclamation is a wild adventure, involving donkeys, magic, brave feats…and more lies. Can Pinocchio prove himself worthy of his wish?

The Puppet Co. is known for favoring traditional, well-loved stories for their productions, and I have yet to see a youngster disappointed. While the audience is usually familiar with these tales, they are also shown a rawer version of them, instead of the sugar-coated versions audiences are accustomed to. This is a wonderful idea, and guarantees that while the children are interested and engaged, they are also shown that there is more than one way to tell a beloved story. I see imagination encouraged and uplifted every time I visit The Puppet Co., and I highly recommend Pinocchio for an afternoon of family fun!

Running Time: 45 minutes, without an intermission.

Pinocchio plays through June 8, 2014 at The Puppet Co. -7300 MacArthur Boulevard, in Glen Echo Park, in Glen Echo, MD. For tickets, call (301) 634-5380, or purchase them online.

May 5, 2014
‘Peter and the Wolf’ at The Puppet Co. by Julia L. Exline

The Puppet Company Playhouse presents Sergei Prokofiev’s musical adventure, Peter and the Wolf, a classic Russian composition. This story has been told many different ways throughout the years, with every medium having one binding factor – music. Looking for this answer, performer and puppeteer Christopher Piper asked the young audience, “If you’re going to tell the story of Peter and the Wolf, what do you need?” When one child shouted out, “Puppets!” Piper responded with, “I like your attitude.”

Christopher Piper (Center) and Peter and the Wolf. Photo courtesy of The Puppet Co.

A set by Allan Stevens shows a raised platform, on which stands the interior of a humble cottage, with a high-backed wooden chair in one corner, and a modest fireplace in the other. The set pieces are turned to show a leafy meadow, and turned again to reveal a wolf cave, while lighting by Dan Brooks uses shadows to create the illusion of a forest. Performer and Puppet Designer Christopher Piper stands behind this platform, on which he attends to several marionettes at once, each with a distinct voice and personality. Piper is extraordinarily skilled at performing multiple characters in a solo act, lending each one a specific voice and unique mannerisms. This wide range is very impressive, and it makes him a joy to watch.

Before the show begins, Piper explains to the children how each character is revealed through his/her own instrumental score. For instance, a playful flute is used for a bird, while the brassy intimidation of the French horn signals the wolf. The slow, building baritone of the bassoon is perfect for the old grandfather, while plucky string instruments are a great match for the young, lively Peter. Instrumental melodies play a huge role in individualizing these characters, which I found very interesting.

The story begins with Peter asking his grandfather if he can go wolf hunting, as an ominous yowling sounds in the distance. His grandfather insists that Peter is still too young for the dangerous mission, but Peter is determined to show that he is mature and courageous enough, and sets a trap in the meadow anyway. While waiting for his prey, Peter visits with his friends, Boris the Cat and Jaja the Bird, who have their own (humorous) difficulties while hunting. When Peter’s trap and catches nothing but Peter himself, he decides to go looking for the wolf’s lair. His friend Natasha, a duck (accompanied by the bold oboe) decides to go help him, but she finds the wolf first, and lands herself in a bit of trouble. Can Peter save his friend from the wolf’s clutches? Will he be able to capture the wolf himself, or was his grandfather right…so is he not ready for such a task?

I always have such a fun time when I visit The Puppet Co., and today was no different. With a great score and playful, fun marionettes, Peter and the Wolf is a hit with both children and their parents. This was made even clearer when, upon leaving, I spotted Piper being nearly tackled by excited children, eager to pose with him and his puppet while their parents take pictures.

Unfortunately, the government shutdown took a sizable chunk of The Puppet Co.’s scheduled performances, as Glen Echo Park was closed, but there is still time to catch up!

For a fun family afternoon out, I highly recommend taking in a showing of Peter and the Wolf!

Peter and the Wolf plays through November 22, 2013 at The Puppet Company—Glen Echo Park, 7300 MacArthur Blvd., Glen Echo, MD. To purchase tickets, call (301) 634-5380 or order them online.

Running time is 40 minutes, without an intermission

Rating: 5 Stars

October 27, 2013
‘Sleeping Beauty’ at Encore Stage & Studio by Julia L. Exline

Encore Stage & Studio presents Sleeping Beauty, a popular fairy tale re-told by Vera Morris and brought to the stage by kids, for kids! Executive Director Sara Strehle Duke and Director Meghan Smith lead a large cast of youths in this ambitious production, which is recommended for ages 4+.

Cursed under Evilina’s spell, Princess Briar Rose (Maggie Keane) falls into deep sleep as she waits for true love’s kiss to wake her. Photo by Larry McClemons.

Artistic Director and Set Designer Susan Allison Keady creates the courtyard of the Kingdom of Never Nod, including Venus statues, airy nets used to resemble columns, and a pair of glittery golden thrones. The evil witches’ cobweb-covered cobblestone tower (say that ten times fast?) is wheeled onstage when needed, and a flowery garden fit for a princess concludes the action. Lighting Designer Gary Hauptman and Sound Designer Matthew Heap cover both ends of the emotional spectrum by pairing thunderous roars with red lightning strikes, as well as pastel spotlights and cheerful music. Costume Designer Debra Leonard makes the era obvious through the throngs of sleeved dresses and royal robes; we are in the medieval times.

Queen Eleanor (Abby Huston) and King Rudolph (Hugh Vasquez) are planning a party to celebrate the birth of their daughter, Briar Rose (Maggie Keane). When it is discovered that there are only six golden plates and seven Wise Fairies, the decision of who to leave out is an easy one; the disliked Evilina (a great diva-like performance by Brandi Moore). Of course, when she realizes that she hasn’t been invited, she is furious and vengeful (“if I can’t be the life of the party, I’ll be its death!). As the fairies are bestowing gifts of virtue to the princess, Evilina crashes the party with a gift of her own…death upon the age of sixteen!

Wild attempts are made to save the princess. The fairies pull together to lighten Evilina’s curse from death to a deep sleep awakened by true love’s kiss, and the Prime Minister (Garrett O’Donnell) outlaws spindles, the instrument from which Evilina promised the princess’s death. However, you of course know that Evilina finds a way around this, and Briar Rose inevitably ends up in a magical slumber. Will Evilina be able to keep her true love (Topher Wagner as Prince Alexander) from awakening her?

Prince Alexander (Topher Wagner) arrives to save Princess Briar Rose (Maggie Keane). Photo by Larry McClemons.

This show starts out strong, but flames out towards the end, with rushed, disjointed scenes that are broken down to a couple of hurried sentences, and a plot twist that, in my opinion, robs the fairy tale of one of its most magical elements. However, it is encouraging to see children honing a craft that they love. Standouts and scene stealers include Thomas Schindler and Kaitlyn Beckwith as the bickering Spider and Cat, Alex Weinstein as a harried chef, and Sarah Fahrenkrug as the sweetly-mannered Queen Samantha, mother to Prince Alexander.

I’ve seen a lot of productions with young casts, and every time, the equally young audience is thrilled to see their fellow peers onstage. It gives them a sense of familiarity and empowerment. If your child is interested in theater, then I would definitely make Sleeping Beauty a Must See!

Running Time: 90 minutes, including one 15-minute intermission.

Sleeping Beauty plays through June 16^th, 2013 at Encore Stage & Studio – The Thomas Jefferson Community Theatre – 125 South Old Glebe Road, in Arlington, VA. For tickets, call (703) 548-1154, or purchase them online.

https://vimeo.com/67903708

June 11, 2013
‘Cinderella’ at The Puppet Co. by Julia L. Exline

The Puppet Co. presents Cinderella, arguably the world’s most beloved fairy tale. This version, set in the opulence of 17th Century France, provides a different perspective on a childhood favorite, which I find very welcome in our world where Disney reigns supreme.

The Prince and Cinderella. Photo by Christopher Piper.

Performers Christopher Piper, Allan Stevens, and Molly MacKenzie use beautifully detailed rod puppets (by Christopher Piper, who also provided the script) to tell the story of a young maiden and her prince. Director Allan Stevens is also the Set Designer for this production, where elegant blue drapery is lifted to reveal painted backgrounds like rolling hills, a cottage kitchen, and a plentiful pumpkin patch.

As I always find when I visit The Puppet Co., the puppets are real pieces of art. They are adorned with elaborate dresses for the masquerade ball (which were common in 17th Century Paris). Though, as beautiful as the dresses are, they do not soften the mean, pinched faces of Cinderella’s stepmother or her stepsisters, Mimi and Fifi, who order Cinderella about in cruel tones. The sisters are used for comedy in this production, screeching at each other and fumbling about as they hurry along in a harried state. Cinderella, on the other hand, is of course sweet and virtuous, tending to a lost wanderer who seeks refuge in their home before her snobbish stepsisters throw him out. Impressed with her kindness, he asks Cinderella to save a dance for him at the ball, and she gladly accepts. It may turn out, however, that he is not who he seems to be.

When Cinderella’s stepmother ruins her only gown, her dreams of dancing with the kind stranger are dashed. In swirling mounds of feathery mist, her godmother appears. This puppet is not at all what one would imagine when thinking of a fairy godmother…she is bald, and has a somewhat ethereal quality about her, dripping in flowy green robes with hands that resemble tree branches. This is another aspect of the show that I found interesting. With more mist and a few encouraging words, a pumpkin is turned into a grand carriage, rats into glittery white horses, and Cinderella’s rags, a luxurious ball gown. Cinderella’s playful and funny cat (aptly named, “Prince Charming”) becomes her coachman, and they take off for the ball, where her masked stranger awaits. Of course, she has until midnight until these gifts wear off…

The Puppet Co.’s Cinderella will give your children (and yourself!) a different angle of the classic told through puppetry and filled with elegance.

Treat your family to a new twist on an old favorite. You’ll have a ball!

Running Time: 45 minutes, without an intermission.

Cinderella and her Stepmother and Stepsisters and ‘Prince Charming.’ Photo by Christopher Piper.

Cinderella plays through June 9, 2013 at The Puppet Co.—7300 MacArthur Boulevard, in Glen Echo, MD. For tickets, call (301) 634-5380, or order them online.

April 27, 2013
‘The Magic Finger’ at Imagination Stage by Julia L. Exline

Imagination Stage presents Roald Dahl’s The Magic Finger, adapted for the stage by David Wood and directed by Kathryn Chase Bryer. Young Lucy has a magical finger that doles out justice when she gets angry…but when the magic goes too far, can Lucy save the situation?

Lucy (Megan Graves) wields her magic finger. Photo by Margot Schulman.

Scenic Designer Milagros Ponce de Leon creates a dual-leveled house frame – much like a life-sized dollhouse, interior rooms are shown, as if one side of the house was removed. A garden fence covered with flowery vines and a paper-mache apple tree help complete the country farm setting. Lighting Designer Cory Ryan Frank and Sound Designer Christopher Baine work together to create effects like thunder storms, as well as the electric flashes and zaps that happen when Lucy uses her magic finger. To help enhance the fantastical elements of the story, Costume Designer Kendra Rai uses vibrant colors and bold patterns for the characters, and the larger-than-life duck costumes are a sight to see!

Audience interaction is a key player right from the get-go, as an angry man begins to chase his dog throughout the audience. When he finally catches him, the man raises a stick as if to hit it, when Lucy (Megan Graves) jumps onstage and demands that he stop. When he does not, she shoots power from her magic finger—wherein the man becomes the dog, and the dog, his owner. She explains this phenomenon to the audience, and begins to tell her story.

When Lucy is angered by an offensive scenario, her finger serves justice. This usually fares out well, for example, in a playful scene where her nasty teacher Mrs. Winter (Lauren Du Pree) is turned into a cat after chastising Lucy for misspelling the word. However, one day while visiting her friend William Gregg’s (Matthew Schleigh) country home, Lucy is disgusted when she discovers that him and his family (Eric Messner as Mr. Gregg and Leigh Jameson as Mrs. Gregg) hunt ducks for sport. Her finger does its thing, and the Gregg family is transformed…

The scenario is a ridiculous one – and also extraordinarily funny. Highlights of the show include scenes where the duck family: Phillip Reid (Master Duck), Lauren Du Pree (Mrs. Duck), and Joe Brack (Mr. Duck) attempt to acclimate themselves to their new home, getting tangled up in toilet paper or their bills caught in cereal boxes. The Greggs are adjusting as well – to the idea of eating worms and living in a nest! Can Lucy remedy this wild outcome?

I loved everything about this production – from the strong performances and beautiful scenery to the excellent comedic timing. The Gregg’s haughty English accents added to the hilarity, and Impressive rod puppets designed by Matthew McGee were a wonderful component. The ensemble worked together flawlessly, which I’m sure is due to Kathryn Chase Bryer’s wonderful direction.

(L to R) Lucy (Megan Graves) and William (Matthew Schleigh) feed the birds. Bird puppeteers L to R: Lauren Du Pree, and Joe Brack. Photo by Margot Schulman.

I had a great time at The Magic Finger – and so will you!

Running Time: 90 minutes, including one 15-minute intermission.

The Magic Finger plays through June 2, 2013 at Imagination Stage – 4908 Auburn Avenue, in Bethesda, MD. Purchase tickets by calling (301)280-1660, or order them online.

https://youtu.be/Y1KwzQiPR9s

April 22, 2013
‘Honk, Jr.’ at Encore Stage & Studio by Julia L. Exline

Encore Stage & Studio presents Honk, Jr., based on Hans Christian Anderson’s beloved tale, The Ugly Duckling. With book and lyrics by Anthony Drewe and music by George Stiles, Honk, Jr. is an upbeat musical adaptation of a classic recommended for the enjoyment of children 4+, directed by Marji Jepperson and with music direction by Matthew Heap.

Tyler Lazzari (Ugly) and Emily Richter (Ida). Photo by Larry McClemons.

Artistic Director Susan Alison Keady and Set Constructor Michael Holland transform the stage into a country farm, complete with a blue-sky backdrop, a wooden fence with flowers wound about it, and a large hen house. As the plot unfolds over a number of seasons and settings, snowfall and frosted trees make their appearances, as well as thick forestry and brush. Lighting Designer Gary Hauptman helps separate the seasons with bright yellows and somber blues. Costume Designer Debra Leonard uses a variety of fleece body sacks and colorful tights to dress the young cast as barnyard animals such as ducks, chickens, turkeys, frogs, and a cat, amongst others.

It’s springtime, and Ida (Emily Richter) banters with her husband Drake (Gus Hebner) about his lack of enthusiasm over their impending family, shown in the background as five large eggs nestled in a nest, with one noticeably larger than the rest. Ida sings a song called, “The Joy of Motherhood,” while waiting for her chicks to hatch. In an amusing and adorable moment, they do — as the cardboard eggs crack open and four little chicks peep out their heads. Drake takes them down to the lake while Ida waits anxiously for her largest egg…who arrives with a loud and startling “Honk!” He is different from the rest — much larger, and with dappled grey feathers instead of the soft yellow plumage of his siblings. Ida immediately accepts him, and sings a song to him called “Hold Your Head up High,” while teaching him how to swim.

However, it seems the others are not nearly as welcoming, branding him with the name Ugly (Tyler Lazzari) and jeering at him in a song entitled “Look at Him.” This barnyard bullying continues, leaving Ugly disheartened in the song, “Different,” lamenting that “different isn’t hurtful, different isn’t wrong, so why can’t we all just get along?” Simple and fun choreography by Sarah Conrad accompanies the songs. Lonely and friendless, Ugly finds himself charmed by the hungry farm Cat (Arami McCloskey) whose false kindness succeeds in luring him away from his mother and into her kitchen! Noticing that her son has disappeared, a worried and determined Ida sets out to find him…but will she be too late?

Arami McCloskey (Cat) and Tyler Lazzari (Ugly). Photo by Larry McClemons.

I must commend the Direction of this show, as the cast if made up of youths who all manage their roles without any trouble. However, trouble did appear at my showing in the form of technical difficulties–including premature light cues and a tangled curtain that took several awkward attempts before finally descending onto the stage during a scene change. Despite these hiccups, the young cast maintained their poise throughout the production.

Standout performances include Rosie Coolidge as Bullfrog, who practically stole the show with her playful song “Warts and All,” reassuring Ugly that looks aren’t everything. Arami McCloskey’s sly song “You Can Play with Your Food” shows immense talent-in-the- making, and Emily Richter gave an impressive vocal performance as well.

A child watching their peers perform on stage is highly encouraging, which is why I recommend Honk. Jr., as well as for the uplifting message it gives: that everyone is deserving of kindness and respect, no matter what they may look like.

Catch a showing of these birds before they fly away!

Running time is 90 minutes, including one 15-minute intermission.

Honk, Jr. plays through January 19, 2013 at Thomas Jefferson Community Theatre – 125 S. Old Glebe Road, in Arlington, VA. For tickets, call (703) 548-1154, or order them online.

January 13, 2013