DC Theater Arts

Tag: Chris Hardy

‘The Tempest’ at Aldersgate Community Church Theatre

Aldersgate Church Community Theater presents Shakespeare’s The Tempest, directed by Amanda Coffin. For this production, Aldersgate ditches the elaborate sets and costumes in favor of a minimalist experience, hoping to strip down distractions and letting the material breathe in its rawest, truest form.

When I first set eyes on the somewhat barren set (simply decorated by Amanda Coffin with found objects like large trunks and a clothing rack), I’ll admit that I decided to expect a little disappointment from the get-go (where was the scattered ship wreck? And no lush island greenery?). However, what I didn’t consider (and later discovered), was that this method left much more room for creativity, which made it all the more interesting to watch.

Sound Designer Keith Tittermary and Lighting Designer Chris Hardy work together to create the howling winds and angry lightening of a tempest, and the ensemble itself work as one to become prop pieces. For instance, when the narrative called for a character to be imprisoned in a cloven tree, the actors gathered around her and lifted her high into the air, twisting and manipulating their own bodies to become that tree. Common theatre artifacts were transformed as well; where one once saw only a ladder, now saw the creviced entrance to Caliban’s cave. Amanda Coffin is also responsible for the modest costumes, dressing the actors plainly for the most part and adding touches of character with well-thought-out accessories. I particularly liked how the characteristics of the ridiculous, booze-loving pair Stephano and Trinculo were captured simply by adding leis and grass skirts to their otherwise ordinary outfits.

It turns out I found this lack of distractions very welcome, as it left me able to focus on the Shakespearean language itself. Having not read or experienced much Shakespeare since college, I had forgotten how beautiful the language is; dense, rhythmic, and complex, using pages of script to describe what we would now use only sentences for. Truly, I had not known that I needed to prepare myself for the emotional reaction that I found myself having; reminded that the possibilities of our language is limitless, rich, and nowadays woefully underutilized. For this nostalgic reality check alone I recommend seeing this production. And if you need a refresher, a helpful synopsis of the plot can be found in the program.

The nuances of the plot (and sub-plots) of The Tempest can be argued at extreme length, but for the sake of this general review, I’ll wittle it down to the most standard version; Prospero (Travis Downing), a self-taught magician and the rightful Duke of Milan, has been cheated out of his title by his scheming brother Antonio (Juli Tarabek), and banished to a lonely island with his daughter Miranda (Emily Wilson). After living there for years, Prospero sees an opportunity when Antonio, the King of Milan Alonso (Howard Soroos), his son Ferdinand (Andrew Schurr), and some other companions sail close to his island on their voyage back from the King’s daughter’s wedding. Prospero creates a heavy tempest in order to wreck their ship and bring them onto his island…and into his power. With help from his whimsical sprite, Ariel (an energetic and impressive performance by the young McKenzie Rivera), Prospero hopes to regain his lost title through manipulation and magic. However, numerous threats arise that endanger his plan, from murderous plots to schemes for power and wealth. These struggles become the true tempest of the island…and will Prospero be able to weather the storm?

While there were some performances that could do with some polishing, for the most part the exquisite material was delivered by a talented, solid cast. Che’ Tate was remarkable as the tortured, rueful Caliban, Prospero’s unwilling slave and arguably the rightful heir to the island. Tate’s hunched, animalistic movements and raw, passionate fury does the role justice, breaching the gap between terrifying and pitiable. Jessica Poole gets many laughs as Sebastian, and Corey Latta and Hilary Canary make a great comedic pair as Stephano and Trinculo, two crude servants who fancy themselves nobles (my favorite line being, “I do smell all of horse piss—at which my nose is in great indignation!” Emily Wilson does a fine job with the sweet, naïve Miranda, and Andrew Schurr compliments her well as Ferdinand, a prince who is awed by her purity. With his calm authority and beautifully delivered soliloquys, Travis Downing IS Prospero.

Setting aside an evening for Shakespeare is always a great idea, and Aldersgate’s production of The Tempest is a worthy candidate!

Running Time: Approximately two hours, including one 15-minute intermission.

The Tempest plays through August 3, 2014 at Aldersgate Church Community Theater—1301 Collingwood Road, in Alexandria, VA. Purchase your tickets at the door or online.

July 21, 2014
‘Shiloh Rules’ at Port City Playhouse by Jenna Miller

PortCity Playhouse presents Shiloh Rules by Doris Baizly and produced by Mary Beth Smith-Toomey. Smart writing tells the story of a Civil War re-enactment by a group of women. They’re in a National Park in modern day Tennessee reliving the Battle of Shiloh which was the bloodiest battle of the Civil War. It’s a behind-the-scenes look at the people who participate in “living history” events. It’s from the perspective of 5 female re-enactors trying to keep the authenticity of women’s roles during the battle. The 6^th female cast member is the park ranger who is trying to enforce the modern day rules of the park.

Jean Hudson Miller (Clara) & Jennifer McClean (Meg). Michael deBlois.

Light design by Chris Hardy was kept simple. Dim lighting was used throughout to set the tone of nighttime in the park. Bright lighting was used to evoke the drama of the battlefield. Sound design by Sean Doyle was very effective. Though somewhat distracting to the audience, loud noises signifying cannon and gunfire during the battle re-enactment enhanced the feeling of the chaos that the characters are experiencing in the play. Sound and lighting worked together in harmony to create the effect of thunder and lightning in Act 2.

Mary Ayala-Bush, the director also did the costuming and set design. The set design was 2 simple canvas tents on either side of the stage representing the North and South.

Costuming was authentic. The women wore long skirts, corsets, petticoats, white aprons, small capes and boots. The park ranger wore a brown uniform complete with walkie-talkie, hat and flashlight. She presents the play in the round. The staging of the story moved smoothly. She also maintains the dramatic themes of the play thru the debate of the reasons behind the war while keeping the ladies sarcastic humor alive in the lighter moments. Comedy and drama converge when these 6 women meet in the park on the battlefield.

Widow Beckwith (Adriana Hardy) shuffles onto the stage pushing her shopping cart of wares and ice cooler of refreshments. Ranger Wilson (Nyla Rose DeGroat) marches onto the stage with the aura of the sarcastic modern world wondering “why are crazy people doing this?” mentality. These two were the highlight of the production. They stole every scene they were in and brought the laughs with them.

Ranger Wilson, an African-American views the re-enactors as “loons”. Why would they want to relive that period of history? It causes major inconveniences in her park as she tries to hand out tickets to the ladies for various infractions. Widow Beckwith is a senior citizen who is a member of the authenticity committee going around to the various “living history” events selling her refreshments and souvenirs.

They had great comedic timing and chemistry in their scenes together. At one point, Ranger Wilson asks Widow Beckwith “Yank or Reb?”

She replies, “Oh no, I’m not playing in this. Just profiteering! Here to make the good old U.S. Greenback and keep things authentic.”

How can you not like that sassy granny?

Clara (Jean Hudson Miller) and Cecilia (Karen Lawrence) are middle aged ladies who take the re-enactments more seriously. They compete each year for the award of best re-enactor. Clara is the reigning champ on the Union side with the nickname of “Angel of Antitam.” Cecilia is a mystery woman who appears to take living in 1862 on the South side too realistically. They provide the focus of the drama in the story with their rivalry and insistence on staying true to their 1862 characters. They each have a younger protégé under their wings. Meg (Jennifer McClean), a nursing student in real life, is participating in order to gain extra credit in her classes on the North side. Lucygale Scruggs (Shaina Higgins) is an over-eager young girl who thinks this may be a way to combat the rut of her everyday life on the South side. In the middle of Act 2, the two younger ladies come into their own, maintaining the authenticity of the event when their older role models have started to give up. They have a great dramatic scene after Lucygale is accidentally shot for real and Meg must attend to the wound using the Civil War supplies at hand.

Karen Lawrence (Cecilia) & Shaina Higgins (LucyGale). Photo by Michael deBlois.

The play was both lively and memorable. I recommend it, especially to anyone who is a fan of re-enactments or happens to be a civil war buff. It’s an amusing look at that world to someone who has been exposed to it. And a great reminder that women helped shape history during wartime.

Running Time: It is 90 minutes, with a 15-minute intermission.

Shiloh Rules plays through November 23, 2013 at Port City Playhouse – 1819 North Quaker Lane, in Alexandria, VA. For tickets, purchase them at the box office one hour before the performance or online.

November 17, 2013
‘A Chorus Line’ at The Arlington Players by Derek Mong

Forget one singular sensation! A Chorus Line at The Arlington Players is a full line-up of seventeen triple-threat sensations!

The cast of ‘A Chorus Line.’ Photo by Peter Hill.

With music by Marvin Hamlisch and lyrics by Edward Kleban, and book by James Kirkwood, Jr. and Nicholas Dante, A Chorus Line is truly an iconic, classic piece for all true musical theatre lovers as it traces the career trajectories and ambition of seventeen dancers auditioning for spots on a chorus line. Bob Bell’s scenic design places a row of mirrors towards the back of the stage which allows the audience to see a reflection of themselves as if in a dance studio, and the lack of props and large set pieces mimics a Broadway theatre during a high-stakes audition. Much of the set changes are performed by raising and lowering a curtain over the mirrors and carefully adjusting pools of light to distinguish between various spaces—creating an efficient, yet extremely effective, way of navigating the stage and directing the audience’s focus, provided by Chris Hardy’s lighting design.

Under the direction of Susan Devine and the production team of Amanda Acker and Leah Aspell, the energy on stage was electrifying, and the chemistry and camaraderie between the entire company was apparent. From the starting number “I Hope I Get It” to the final reprise of the classic “One,” the entire company is on stage for the better half of the show, which is performed without an intermission. Although, in the narrative arc of the plot, each individual character is competing against one another for a coveted spot in the chorus, there is a sense of unity in the way in which each cast member complements and is complemented by one another, which is poignantly reflected in the final number “What I Did For Love,” in which the company reminisces about the sacrifices they have made to pursue their dreams.

When the cast of young performers sings “We did what we had to do/Won’t forget, can’t regret, what I did for love”, you can’t help but get a sense that the young actors are too—like their characters—chasing their limelight. Among the cast of rising stars, there were several standout performers. Kristine (Nadine Rousseau) and Al’s (Mark Allen) performance of “Sing!” was remarkable—capturing the whimsical quintessence of the song without devolving into mockery or overbearing caricature. Mark (Sean Cator) and Connie’s (Gina Santos) portrayal of pre-adolescent teens in “Hello Twelve, Hello Thirteen, Hello Love” was also well-performed, leaving the audience both laughing in recognition of the oddities of adolescent life, yet reminiscent of bygone days in the years of becoming.

The cast of ‘A Chorus Line.’ Photo by Peter Hill.

Amanda Kaplan’s (Diana) solo in “Nothing” was another stand-out performance of the afternoon; her chilling vibrato perfectly captured the essence of a star waiting to bloom. Kaplan has a powerful belt and vibrato, which she shares in her solo in the finale number “What I Did for Love.”

With choreography by Stefan Sittig, Alison Block’s performance of “The Music and the Mirror” was a lyrical interlude that showcased the power of solo dance—a refreshing break from the larger dance numbers with the full company.

Under the musical direction of Paul Nasto, the orchestra situated below the stage in the pit is not to be understated. One major commendation for the show is the great balance of the vocals of each individual singer and the band overall by Sound Designer Dave Correia, which allowed for the audience to experience the production with all of the instruments and voices coalescing to form one, singular sound.

A Chorus Line at The Arlington Players —like the characters and actors in the show—is a triple-threat, delivering the perfect mix of song, dance, and dialogue to captivate you for an evening. Be sure to check it out before it closes on October 12th!

Running Time: Approximately One hour and forty mintutes, with no intermission.

A Chorus Line plays through October 12, 2013 at Thomas Jefferson Community Center – 125 South Old Glebe Road in Arlington, VA. For tickets, purchase them t the theatre or online.

September 30, 2013
‘Dial “M” For Murder’ at The Little Theatre of Alexandria by Julia L. Exline

The Little Theatre of Alexandria presents Frederick Knott’s Dial “M” for Murder, a quiet thriller that lures the audience into its twisty web. Carla Scopeletis directs this deceivingly calm, enthralling production.

John Henderson (Inspector Hubbard) and James Myers (Max Halliday). Photo by Heather Norcross.

Set Designer Dan Remmers creates a poshly decorated ground-floor London apartment, with a large window framed by sweeping burgundy drapes, a marble fireplace, and elegant furniture and art pieces, with set construction lead by David Doll, and painting by Kevin O’Dowd. Lighting Designer Chris Hardy streams daylight through the window, glows embers in the fireplace, and impressively employs what is known in the industry as “practicals,” that is, light switches that actually work. Sound Designer Alan Wray uses effects like radio music, doorbell rings, and the shrill shriek of the telephone. The time period (late 1950’s) is best represented through Costume Designer Susan Boyd, who uses crisp business suits for the men, and a selection of chic dresses for the female character, accessorized by mink shawls, elbow-length gloves, sparkly brooches, and lacy headpieces typical of the fashionable period.

The play opens with Margot Wendice (Jenni Patton) chatting in her living room with visitor (and ex-fling) Max Halliday (a fine performance by James Myers) while they wait for her husband Tony (Richard Isaacs) to come home. They discuss Max’s detective writing, but more importantly, their past infidelity, and the guilt and remorse that stems from it. Margot declares that her once loveless marriage and husband has transformed—seemingly overnight becoming kind, attentive, and goal-oriented. Upon her husband’s return, a friendly Tony tells the pair that he unfortunately cannot join them at the theatre because he has to work, and they leave. It turns out, however, that Tony has invited over a friend of his own—ex-acquaintance Captain Lesgate (Jerry Hoffman) whom, due to some researched information, he is able to blackmail into murdering his wife. Tony has planned, down to the last, perfectly timed detail, the perfect murder and alibi…but what happens when wrenches are thrown into the mix? Plot twists, hiccups, and overlooked details thrust Tony onto his toes; is he clever enough to keep up with the ever-changing circumstances? John Henderson plays the cautious Inspector Hubbard, and the two become engaged in a battle of wits and cunning. Who will win?

This dialogue-driven drama creeps into your psyche—with thrills bubbling just beneath the surface, and well-awaited moments of gripping tension that is beautifully performed by the talented cast. Richard Isaacs shows great range with Tony—going from charismatic and charming to thunderous in mere seconds, and Jenni Patton is endearing as his unassuming wife. Jerry Hoffman has a certain chill about his calm, collected demeanor—somehow you know that this is not a virtuous man. John Henderson’s Inspector Hubbard is sneaky and smart—and proves to be a real match for Tony.

Jenni Patton (Margot Wendice). Photo by Heather Norcross.

The well-kept, stealthy pace of this production and wonderful ensemble work is proof of Carla Scopeletis’ solid direction.

Mystery enthusiasts everywhere will find a great night of entertainment in LTA’s Dial “M” for Murder!

Running Time: Approximately two and a half hours, including one 5-minute scene change and one 15-minute intermission.

Dial “M” for Murder plays through March 16, 2013 at The Little Theatre of Alexandria—600 Wolfe Street, in Alexandria, VA. For tickets, call (703) 683-0496, or order them online.

Running time is approximately two and a half hours, including one 5-minute scene change and one 15-minute intermission.

February 26, 2013
‘Robin Hood’ at Elden Street Players’ Theatre for Young Audiences by Julia L. Exline

Elden Street Players’ Theatre for Young Audiences presents Robin Hood, a childhood favorite about a lively outlaw and his gang of followers, whose life of adventure and merriment is threatened by the plots of an ambitiously evil Lady Merle and her bumbling sheriff. Directed by Sue Klein, this is a tried-and-true production that appeals to both boys and girls—perfect for an outing involving a sizeable number of children, as there is something for all tastes!

Mary Frances Dini, Andrew Lent, Kirsten Burt, and Ann Kutyna. Photo by Doug Kutyna.

The set displays three circular platforms, with a tree stump rising from the center circle. Lighting Designers Mary Ann Hall and Chris Hardy project shadows onto the curtain in the form of branches to create a forestry feel, and when the curtain is finally pulled back, a background painted by Sabrina Begley, Maggie Cotter, and Cathy Rieder shows Sherwood forest: dense and green, with a stately castle standing in the distance. Panels that depict other settings, such as a colorful county fair and the inside of a castle room, are wheeled on and offstage throughout the show. Costume Designer Kathy Dunlap uses aproned dresses, flower wreaths, and veiled headpieces atop elaborate gowns to depict the twelfth century, as well as chainmail and helmets for soldiers and the typical plumed hat, vest, and bow and arrow associated with the merry bandit. Sound design by Beth Atkins completes the atmosphere.

With King Richard the Lion-Hearted away on a crusade, the despicable Prince John has taken his place, much to the displeasure of the citizens, who are taxed to near starvation by the Sheriff of Nottingham (Andrew Lent) and convene in the Sherwood Forest under the care of Robin Hood (Shanelucas Ramsey) an outlaw who steals from the rich in order to feed the poor. It happens that one day, a caravan carrying the cowardly Sheriff of Nottingham himself travels through Sherwood Forest, where he is promptly robbed of everything except his undergarments! Traveling companion Lady Merle’s (a cool, calculating Kirsten Burt) necklace is taken, and, embarrassed and enraged, she promises revenge on Robin Hood. With them is the sweet Maid Marian (Claire Smallwood) a ward of King Richard with whom Robin Hood played with as a child. He is greatly upset to learn that she is promised to marry Prince John, and hopes to save her from her miserable fate. An opportunity comes when a fair comes to the county, planned by Lady Merle so that he may be lured out of the forest and into her grasp. Will Robin Hood, with the help of his merry gang, be able to save Maid Marion without becoming a victim himself?

This production provides a mixed bag of performances: some are fantastic, others quite rough. However, the cast is an enthusiastic one, and encourage the audience to shout their support (or displeasure) throughout the show, which they do so happily. Standout performances include Mary Frances Dini as the Sheriff’s Wife, a silly woman who is obsessed with climbing the social ladder while pulling her unrefined, wacky daughter Salome (Ann Kutyna) along behind her. The duo is greatly entertaining, and Dini is especially interactive with the audience, showing them a playful and friendly energy. Fight Choreographer Jim Campanella leads the actors in several fight scenes (at one point, playfully using light sabers instead of swords) which can get a bit cramped and clumsy due to the large cast and small stage, but it was still enjoyable.Worried about providing entertainment for a group of children with a large, varying scale of interests? Taking them to see Robin Hood is a good choice.With bandits, sword fights, swashbucklers, and merriment, there is something for every child to enjoy!

Running Time: 60 minutes, without an intermission.

Robin Hood plays through February 17, 2013 at Elden Street Players’s Industrial Strength Theatre – 269 Sunset Park Drive, in Herndon, VA. For tickets, call (703) 481-5930, or order them online.

February 4, 2013
‘What I Did Last Summer’ at McLean Community Players by Francine Schwartz

McLean Community Players’ production of A.R. Gurney’s What I Did Last Summer is beautifully directed by Adriana Hardy, and is a showpiece for young actors whose ability to inhabit a collection of teenagers from the fifties is quite remarkable.

Forrest Browne (Charlie) and Jessie Roberts (Anna Trumbull). Photo by Traci J. Brooks Photography.

The play is set in a summer colony during World War II, round 1945, just before the war ends. It is sometimes cast with adults looking back on those formative years of their lives, but here the actors only occasionally step out of their roles to speculate about the meaning of these events for their eventual character development.

Charlie, a rebellious fourteen-year-old, (Forrest Browne) is summering with his mother and sister while his father is fighting in the Pacific. He is going off to an expensive boarding school in the fall, and intends to spend the summer loafing and socializing with his friends. To get some spending money and to demonstrate his manliness to a local girl, he takes a job as handyman for an iconoclastic, bohemian art teacher, Anna. Sensing a kindred spirit in Charlie, she tries to stretch his mind by teaching him painting and sculpture – and exposing him to “radical” ideas about life, love, naturalism and the limits of materialism. The result is a family crisis and, more specifically, a showdown between Anna ( an assertive Jessie Roberts) and Charlie’s conservative mother (a very stressed out Roberta Chaves). These events provoke a clash of philosophies that shapes the man Charlie is destined to become.

The staging uses pantomime creatively to augment Dinnie Whitson’s clever set, turning benches into cars and back again, with amusing sound effects credited to Jon Roberts. Lighting Designer Chris Hardy create some magic with a backdrop that evokes the pastoral setting of the Lake Erie lakeside.

Forrest Browne’s Charlie exudes an innocence and sincerity that helps keep the audience engaged. He is a terrific young actor and I look forward to seeing him in future productions. Maria Berkowitz’s Bonny is quite charming (though at times a little too shrill), and she is sure to have a bright future in musical comedy. 15 year-old Thomas Kelty, who is already a veteran of over 30 productions, has fun playing a Canadian version of ‘The Fonz’ from Happy Days, and Catherine La Valley is well cast as older sister Elsie.

Running Time: 90 minutes with no intermission.

The cast of ‘What I Did Last Summer’: Back row: Catherine La Valley, Thomas Kelty, and Maria Berkowitz. Front: Roberta Chaves, Forrest Browne, and Jessie Roberts. Photo by Traci J. Brooks Photography.

What I Did Last Summer plays through November 4, 2012, at McLean Community Players, at The Alden Theatre at The McLean Community Center – 1234 Ingleside Road, in McLean, VA. For tickets, call (703) 790-9223, or purchase them online.

October 29, 2012
‘And Then There Were None’ at Aldersgate Church Community Theater by Julia L. Exline

Aldersgate Church Community Theater presents Agatha Christie’s And Then There Were None, a captivating murder mystery directed by Roland Gomez. Originally a novel (that became one of the best-selling novels of all time) And Then There Were None has undergone several adaptations for film, radio, and of course, the stage. True to her reputation as ‘The Queen of Mystery,’ Christie keeps the audience guessing (and gasping!) up until the very last second!

Set Designers John Downing and Bill Glikbarg create a wealthy sitting room, constructed by Stuart Travis and his assistants, with sliding glass doors that open onto a patio with a beach view. Elegant furniture sits around a stone fireplace, on top of which ten delicate soldier figurines sit beneath a framed rhyme. Sound Designer David Correia lends to the physical atmosphere with effects such as crashing waves, whistling winds, and horns booming from incoming boats, while Lighting Designer Chris Hardy dims the stage according to the time of day, with bright oranges for mornings, a blueish hue for evenings, and once during a blackout, light only from candlesticks placed throughout the set. Costumer Kathy Dodson dresses the wealthy characters in fine clothes, completing the effect.

Ten strangers have all been invited to a small, isolated island for a vacation, and upon arrival are told that their hosts, a “Mr. and Mrs. Owens” that no one knows personally, have been detained elsewhere and will arrive later on, leaving them with hired attendants Mr. and Mrs. Rogers (Bailey R. Center and Amy Wolf). Among the guests include the spoiled, vain Anthony Marsten (Evan Milberg), World War 1 veteran General MacKenzie (Jim Howard), rational Vera Claythorne (Jenni Patton), bold ex-soldier Philip Lombard (Richard Isaacs), retired judge Sir Lawrence Wargrave (David James), mysterious William Blore (Gary Cramer), Dr. Armstrong (Bob Cohen), and the highly religious and conservative Emily Brent (Bonnie Jourdan).

When Mr. Rogers plays what he thinks is a musical record, an angry voice booms throughout the room, accusing each and every guest of a separate instance of murder, complete with the names of their victims and details of the accusation. After sharing their collective stores, it is clear that each guest had a clear motive for their accused crime, including job promotions and inheritance, though all of them fiercely maintain their innocence. Who is truly innocent, and who is not what they seem?

The plot really gets going when, one-by-one, the guests are murdered, each in a way that eerily mirrors the “Ten Little Soldiers” poem, with a figurine falling to pieces after each death. Upon searching the island and house, it becomes clear that the murderer has to be a member of their own party. Theories and accusations abound, and guilty pasts are resurfaced, as the characters struggle to unveil the murderer before they become the next victim. Full of suspense, twists, and surprises, this is a “whodunit” that keeps you on the edge of your seat until the very last moment.

While some circumstances of the plot are a bit far-fetched and there are some melodramatic moments, if you are willing to suspend your disbelief, then you are in for an exciting evening! The intermissions were spent with people eagerly sharing their theories, and even taking bets on who the murder was! The ensemble did a fine job, and the stage elements were solid, but the real pull comes from Ms. Christie’s writing; the quick-witted dialogue lulls you into false securities before shocking you like the snap of a rubber band!

Take some friends to Aldersgate Church Community Theater’s And Then There Were None, and share your own theories of who-dunnit!

Running Time: 150 minutes, including two 15-minute intermissions.

And Then There Were None runs through October 28, 2012 at Aldersgate United Methodist Church’s Wesley Hall – 1301 Collingwood Road, in Alexandria, VA. Purchase your tickets online.

October 15, 2012
2012-2013 Season Preview for McLean Community Players by Chris Hardy and Joel Markowitz

McLean Community Players (MCP) just concluded their 2011-2012 season with a highly successful production of Legally Blonde. To find out what they have in store for next season, I interviewed Chris Hardy, their Artistic Vice President.

Joel: Your current season certainly ended with a bang. Legally Blonde was well-liked and very well attended. What are you doing for an encore to open the new season?

Chris: Our first production for the 2012-2013 season will be What I Did Last Summer by A. R. Gurney.

The same A. R. Gurney who wrote Love Letters?

None other.

Isn’t that a stark contrast to a high-energy, up-beat musical like Legally Blonde?

Yes, and a deliberate one. We at MCP strive for variety, inviting those who like flashy musicals to try something like this, and those who like serious drama to try zany comedy or up-beat musicals. So, this kind of back-to-back contrast is an appropriate demonstration of the range of our offerings. The choice of a Gurney was dictated by practical considerations. There were improvements of the Alden Theater scheduled to be completed close to the time we would be opening. Although the Alden is the cleanest, best equipped and best managed facility that a community theater could hope for, we felt that there was a possibility that unforeseen delays would leave us with less than pristine conditions for load in. Accordingly, we decided to pick something for this slot for which the dialog carries the interest, with minimal requirements for sets and props.

And Gurney filled the bill?

Yes. Gurney is a master of dialog. His words alone are good enough keep our rapt attention for a couple of hours while two persons sit side-by-side at a desk reading Lover Letters to each other. What could be better?

But why this particular Gurney?

What I Did Last Summer is a story about a young teenager’s coming of age while his father was away during World War II, which reviewers have hailed as being quintessentially American, providing us with an intimate “…sojourn into the discreet heart of America’s leisure class…” that is “…warm, touching and humorous.” In addition, the show offers a plus for us by including a number of good roles for young people. It is not always appropriate or possible, but when the choice comes down to equally appealing contenders, we give the nod to the vehicle that provides more opportunities for talented young actors to take on a challenge.

Then what comes next?

Our second show for the season, in January, will be the newly released musical, Next to Normal.

It’s one of my favorite musicals and it seems that everyone is producing it in the ares. Will this be a regional premier for Community Theaters?

You are right. Because of its notoriety, Next to Normal has already been produced by other Community Theatres in the area, and will surely be mounted by others in the near future.

Tell me about Next To Normal.

Next to Normal is a musical drama. The storyline concerns a mother who struggles with worsening bipolar disorder and the effect that her illness has on her family. It touches on such issues as grief, suicide, and drug abuse. The show was the winner of three Tony Awards in 2009 and the Pulitzer Prize for drama in 2010. The score is terrific and won the Tony Award over that year’s 10-time winner Billy Elliott.

So, I guess that means that you’ve lined up some lighter-hearted fare for the rest of the season?

Precisely. Our third show of the season in April will be a Neil Simon comedy.

So which of the many Neil Simon plays have you selected?

One that was a Neil Simon experiment. He decided that he wanted to try his hand at mimicking the traditional British farces, with improbable situations, misunder-standings galore, rampant confusion, and a fast-paced plot sprinkled with sight gags. And so, he produced Rumors.

Was it well received when it opened on Broadway?

Let’s just say that most of the critics didn’t rave about it. I think that was because this comedy is broader than the usual Simon, which derives the humor from realistic situations that are spiced up with sophisticated one-liners. However, British farces are well-attended by appreciative audiences nowadays, so we’re out to prove that those critics just had no appreciation of a good, rollicking comedy of errors that can be enjoyed just for the fun of it.

You end the season with a damn good classic musical.

To maintain the kinds of contrasts I have been describing, it had to be an up-beat, high-energy, traditional favorite. Something that everyone can recognize with a smile, and maybe even hum a few bars of some of the songs. The one we picked was selected in recognition of two facts.The production slot was in July, in the heat of the baseball pennant races, and the Washington Nationals have grown to be a team to be reckoned with, rekindling the team fondness that we used to feel for their hapless predecessor – The Washington Senators…

And I am assuming that this musical is Damn Yankees?

You hit a home run with that guess! We’ll close the season with this popular musical baseball fantasy in which the Senators beat the Yankees for the pennant with some devilishly clever help from an unlikely source.Damn Yankees should be familiar to everyone, evoking such memorable musical phrases as “You gotta have heart,” “We’re two lost souls on the highway of life…” and “Whatever Lola wants, Lola gets…”

Well, it looks like you have certainly managed to cover the spectrum with this season’s selections. It will be interesting to see how your audiences take to this schedule. I’ll be watching to see how it all works out, and my reviewers will give us their opinions.

Wishing everyone at McLean Community Players a successful and enjoyable 2012-2013 season! And thanks for schmoozing with me.

Thank you. It’s been my pleasure.

LINK
McLean Community Players’ website.

October 4, 2012
‘Funny Money’ at The Little Theatre of Alexandria by Julia L. Exline

The Little Theatre of Alexandria presents Funny Money, a British farce by Ray Cooney about an ordinary man who finds himself in an extraordinary situation. Shawn G. Byers directs this comedic whirlwind, and a talented cast rises to the (extremely) chaotic occasion.

Gayle Nichols-Grimes (Betty Johnson), Charlene Sloan (Jean Perkins), and Erik Harrison (Henry Perkins). Photo by Doug Olmsted.

The Little Theatre of Alexandria is known for its elaborate sets, and Funny Money is no exception. Designer Marian Holmes shows the interior of a charming home, with polished wooden furniture, floral arrangements, and framed artwork. David Doll, Dan Remmers, and their team construct a set of handsome sliding doors, which offer a peek into an offstage dining room, and a staircase that leads to an upper level. Sound Designer David Correia uses special effects like talk-radio and a ringing telephone, and the stage remains well-lit throughout the production by Lighting Designer Chris Hardy. Beverly Benda chooses costumes fit for the upper-middle class, utilizing suits, overcoats, and housedresses paired with pearls.

Jean Perkins (Charlene Sloan) is busily preparing a birthday dinner for her husband, Henry (Erik Harrision), when he enters the home in a zombie-like state that quickly dissolves into a manic frenzy, during which he insists that she pack a bag so that they can leave the country at once. Henry explains to his startled and confused wife that he mistakenly picked up someone else’s briefcase upon leaving work…and that briefcase happens to hold a large fortune in cash. What follows is a frenzied evening full of visitors, accusations, mistaken identities, and other various falsehoods. Gayle Nichols-Grimes and Ted Culler play Betty and Vic Johnson, friends of the couple who arrive to celebrate Henry’s birthday, and instead find themselves woven into a tangled web that includes two federal agents (Larry Grey as Inspector Davenport and Marisa Johnson as Slater) and a put-upon cab driver named Bill (a riotous John Shackelford).

Harrison is fantastic as the quick-thinking Henry, who piles lie upon lie in order to satisfy his curious visitors, while trying desperately to keep his hysterical wife and slow-minded friend from ruining everything. These two characters are particularly annoying (Jean seems to do nothing but nag her husband in a increasingly shrill shriek, and Vic’s dumbfounded nature gets particularly frustrating) but they are played well by the actors. Gayle Nichols-Grimes is also particularly enjoyable as Betty, who embraces the situation as if she is starring in her own personal soap opera. Will Henry be able to pull of the scheme of a lifetime?

The ever-changing plot is incredibly fast-paced, and it can be tough to keep up with. However, if you’re able, then the well-directed actors do not disappoint. If farcical humor is your cup of tea, then Funny Money is a must-see!

Erik Harrison (Henry Perkins) and Charlene Sloan (Jean Perkins). Photo by Doug Olmsted.

Running Time: Approximately two hours, including one 15-minute intermission.

Funny Money plays through September 29, 2012 at The Little Theatre of Alexandria – 600 Wolfe Street, in Alexandria, VA. For tickets, call (703) 683-0496, or order them online.

September 11, 2012
‘Aladdin and the Wonderful Lamp’ at Elden Street Players

Elden Street Players present Aladdin and the Wonderful Lamp, a re-imagining of the classic tale that draws inspiration from The Arabian Nights. Directors Laura Fontaine and Meredith Walker shed a unique light on a universal story in this coming-of-age adventure.

Aladdin Axis of Evil: L to R: Andrew Lent (Chancellor/Grand Vizier), Stuart Orloff (Accountant/Grand Vizier's Son), and Shad Itschner (Jester/Magician). Photo by Richard Durkin.

The set, constructed by Marty Sullivan, immediately draws you into the story. A painted backdrop shows a palace balcony overlooking a starry night sky, and drape-covered archways give a luxurious feel to the environment. The same is done with chairs and loveseats – brightly patterned fabrics spill onto the floor, as well as velvet cushions and throw pillows. The atmosphere is elegant yet comfortable, and richly colorful. Lighting Designer Chris Hardy favors red and gold shades, and sound designer Stan Harris meets every cue. Kathy Dunlap does a fine job with costumes, especially in her choice to dress the Queen and Duchess in matching orange-silk gowns and tiaras, which is a charming effect. Embroidered vests, sandals, and colorful scarves are staples for this production, as well as uniforms such as a general’s suit, a fur-lined crimson king’s cape, and a jester’s hat, among others.

This version of Aladdin begins with a plot drawn from The Arabian Nights – a snobbish Queen (Holly McDade) and her small, look-alike Duchess (a feisty Melinda Goldfedder) are bored, and demand entertainment from their court. Shahryar (Luke McDade) is called upon for a story, and if it fails to please the Queen and Duchess – he will be banished from the kingdom! Shahryar decides on the story of Aladdin, and transforms his fellow court members into characters, who begin to act out the story while he narrates.

The enthusiastic court musician wins the part of Aladdin (Matt Takane). While the character of Aladdin is usually portrayed as clever, brave, and daring, Takane plays him as a frightened and somewhat timid child, who is doubtful of his skills. The jester-turned-evil-magician (Shad Itschner) easily talks Aladdin into fetching a magical lamp for him (for it can only be taken by an innocent person), but runs when he is spotted by the townspeople, who know his true nature. This leaves Aladdin with the lamp, and he soon realizes that it houses a magical Genie (a hilarious Patrick Graham), who makes his every wish come true. There is audience participation and the children were eager to participate.

The cast of 'Aladdin': Front, L to R: Nikki Pope, Annie Begley, Matt Takane, Yvonne Ramirez, Luke McDade Center, L to R: Patrick Graham, Melinda Goldfedder, Holly McDade Back, L to R: Katie Klopfer, Jarrett Goldfedder, Andrew Lent, Stuart Orloff, and Shad Itschner. Photo by Richard Durkin.

The Genie leaves Aladdin to do his own bidding, but he could not have done this at a worse time – Aladdin realizes that the Grand Vizier (Andrew Lent, whose nasally whine is excellent) is plotting to marry off his son (Stuart Orloff) to the unwilling Princess (Annie Begley) through evil, treacherous means, and overtake the kingdom! Can an immature Aladdin save his kingdom and the princess without any help from his genie? Does the production please the picky Queen and Duchess?

As someone who has seen her fair share of Aladdin productions at children’s theaters, I was impressed with the unique qualities of this one. The plot and characters embed different qualities than we are used to seeing with this particular story, and the result is refreshing. The acting is energetic, and the actors interact with audience throughout the performance, much to the children’s delight. People all around enjoyed themselves, myself included.

For a fun afternoon with your child (and their friends!) I recommend Aladdin and the Wonderful Lamp!

Running Time: 60 minutes without an intermission.

Aladdin and the Wonderful Lamp plays through April 7, 2012 at Elden Street Players at The Industrial Strength Theatre – 269 Sunset Park Drive, in Herndon, VA in the Sunset Business Park. Purchase tickets by calling (703) 481-5930, or order them online.

March 27, 2012