Moo-moo, moo moo moo moo! Moo! As Daisy would say, which for those of you who don’t speak cow, is translated to say “There is a fabulous story happening at The Pumpkin Theatre right now! Come see it!” And Daisy the cow is right! A new rendition of Jack and the Beanstalk— The Story of Jack and Daisy, has surfaced on the stages at Pumpkin. Written by the company’s Artistic Director, Jimi Kinstle, with Music by Ryan Haase, and Directed by James Hunnicutt, the show takes the familiar fairytale and brings Jack’s best friend, a cow named Daisy, along for the ride!
Jack (Derek Cooper) and his best friend, and Daisy (Kelsey Painter). Photo courtesy of Pumpkin Theatre.
Artistic Director Jimi Kinstle has taken a unique approach to the classic tale and shown the importance of friendship to audiences of all ages with his new take on Jack and the Beanstalk. Choosing to have Jack’s best friend be a cow named Daisy that only Jack can understand is an excellent way to display the theme of acceptance among friends regardless of their differences. Composer Ryan Haase adds his signature flare to the production with music written to underscore talking scenes as well as accompany lyrics Kinstle has written to make this show a semi-musical. The tunes are catchy and straight forward; a perfect hybrid of Kinstle and Haase’s creativity in this musical endeavor.
Scenic Designer Heather M. Mork handles the challenge of growing an enormous beanstalk in the quaint space with a most clever approach. Her two main scenes, the house of Jack and his mother and that of the castle in the clouds, look as if they were torn straight from the pages of a treasured old book of fairytales and nursery rhymes. The color schemes are simple and the designs basic to let the vibrant characters do all of the attention-grabbing when it comes to engaging the audience.
Costume Designer Wil E. Crowther focuses on creating differences in the characters. Jack and his mother wear patchwork rags to show their state of poverty while Mr. and Mrs. Giantlady wear costumes of a shinier quality with eccentric accents like feathered head pieces and top hats to show their riches. Crowther even gives a nod to the tweedy underhanded style associated with traveling salesmen by putting the traveler in a checker-printed suit.
The cast proves that they know how to have fun, tell a story, and sing songs all at the same time. With voices that are bold, clear, and well tuned; all six members of the performance handle the little musical numbers with energetic enthusiasm, especially Jack (Derek Cooper) and Jack’s Mother (Cheryl J. Campo).
Playing Mr. Giantlady and Mrs. Giantlady are Thomas Purdy and Kay-Meghan Washington. Their big booming voices are perfect for the roles of giants, and they hide their villainy and trickery well in coy turns of phrases. Having just the right level of unease in their characters both Purdy and Washington become gicamean nasty monsters without being too scary in this production targeted at young children.
Daisy the Cow (Kelsey Painter) is a real treat to have as a best friend, just ask Jack (Derek Cooper) and he’ll tell you so! Painter never ‘speaks’ but does all of her communication through ‘mooing.’ But with Painter’s expressive eyes and gestures, and the way she forces emotions into her moos, it is easy to tell her feelings on various situations. It also creates a great deal of humor for the audience to watch her communicating so effectively with nothing but her moo.
Cooper is an exceptional performer for young audiences. With a childlike vibrancy in his portrayal he makes Jack a relatable character to boys and girls of all ages. It’s Cooper’s ability to flawlessly handle unexpected interruptions from the audience that makes him truly magical; incorporating accidental audience interaction into the scene so that everyone can continue to enjoy the story.
It’s a perfectly entertaining performance that will keep the kids smiling and it provides a great exposure to musical theatre in a short period of time where little members of the audience’s attention spans will stay right with the story.
Running Time: Approximately 50 minutes, with no intermission.
Jack and the Beanstalk— The Story of Jack and Daisyplays through April 27, 2014 at The Pumpkin Theatre performing at Har Sinai Congregation— 2905 Walnut Avenue in Owings Mills, Maryland. For tickets call the box office at (410) 902-1814, or purchase them online.
The freak flag is flying up at The Milburn Stone Theatre as they present Shrek the Musical to kick off their fall season! Directed and Designed by S. Lee Lewis, the popular fairytale characters, based on the DreamWorks Animation motion picture and the book by William Steig, are full of lively song and make a fun journey for the whole family.
Matt Cannon (Thelonius), Rebekah Latshaw (Gingy), Steve Flickingers (the Captain), and Jamie Mikijanic (Lord Farquaad). Photo by Scott Serio and Cecil Scene.
Whimsical magic is at its finest with Lewis’ sensational scenic design. Spilling out into the audience for the ‘all-inclusive’ effect, the house is decorated to be a part of the enchanted forest. Sparkly jungle foliage is draped from the balcony overhangs and there are surprises galore that drop from the catwalk throughout the production! Lewis’ attention to detail in the scenery painting is beautiful and precise; vibrant greens and rich browns furthering the wooded swampland look. Lewis leaves no stone unturned when it comes to this scenic masterpiece.
Lewis’ directional choices leave the audience on a bit of a roller coaster. For as brilliant as some of his blocking is – the Act I Finale is as ill-executed as some of his more thematic elements. Choosing to have the dragon actor in the balcony in a faerie costume with a spotlight focused on her while she sings “Forever” completely detracts from the enormous gorgeous puppet that is flying around onstage chasing Donkey. Lewis also makes use of the house having the characters running on and off the stage into the house and coming down through it, but every time they do there is a full house-lights cue that is harsh and distracting.
The Duloc Dancers, while looking conformist in their costumes, don’t actually sing “What’s Up, Dulock?” and the ensemble that is singing it is hard to hear, losing a lot of the brilliant humor that is written into that song. Lewis does, however, make a really clever choice when it comes to setting up Farquaad’s solo “The Ballad of Lord Farquaad,” having the miniscule king in the bathtub with bubbles raining down over the audience. All in all, the show is enjoyable, and really entertaining when it comes to what’s happening technically.
Choreographer Bambi Johnson is up and down as well in the execution of her dance routines. The Duloc Dancers are not synchronized, and as the lyric says they’d be getting the rack for their mistakes. But Johnson’s skills show through in the intense tap-routine featured during “Morning Person.” Her intricate movements again shine during “Freak Flag,” and everyone has a good time during the big finale dance party featured during “I’m A Believer.”
Costumiere Gay Lynn Price gets all the enchantments this storybook tale has to offer in full visual array. The fairytale creatures that have been relegated to Shrek’s swamp look magnificent, as if they were plucked up from the pages of their own storybooks. Price’s one misstep is that Farquaad’s capes are too short. They do not at times properly cover his feet and completely shatter the tricky illusion of the half-pint character.
The ensemble, musically directed by Niki Tart, is strong and powerful but at times has trouble staying with the musical recording. For the most part – they do manage to slow down or match up and catch the pace, but during the opening number and “Story of My Life” the moments are extremely noticeable. Despite the pacing issues, the ensemble is enthusiastic and it is visibly clear that they wish to entertain the audience.
Featured performers like Pinocchio (Gannon Webb), Mama Ogre/Bear (Barbara Walker), and Gingy (Rebekah Latshaw), really become the glue of the ensemble. Webb rocks the character voice of the squeaky wooden puppet-boy and really owns “Story of My Life,” making it his personal tragedy for all to hear. Walker, featured in the same number, and later in “Freak Flag,” has a distinctive voice that can clearly be heard whenever she sings. And Latshaw takes the ensemble’s cake when it comes to standout performances. Providing that shrill voice expected of the character, she’s ‘all attitude,’ especially when it comes to dealing with Farquaad, and her belted intro to “Freak Flag” is sensational.
Shrek (Dickie Mahoney) is a bit on the deadpan side of things in this production. While Mahoney may not have a handle on the Scottish accent, as it wavers drastically throughout the performance, but he makes up for it with rich emotional depth and serene vocals. Despite losing his lines halfway through “Who I’d Be,” he gave a soulful rendition of the song belting every feeling the ogre has ever had into it. And when he performed “Build A Wall” it was nothing short of a powerful blast of scorn and rejection that really tugged at my heartstrings. His natural gruff nature lent an ease to the character.
Fiona (Shereen Ahmed) is a perky peppy princess who wouldn’t be put out. Ahmed literally has the songbird voice that carries clear as a bell across the audience. During her featured solo -“I Know It’s Today”- she gives a dynamic portrayal of a woman pushed over the edge in desperation, creating an honest depth to the otherwise static, albeit, humorous character. Ahmed is a talented dancer, leading the rats during “Morning Person” and her timing for “I Think I Got You Beat” is impeccable, showing a keen understanding of rhythm.
It’s a battle of comedy kings when it comes to who plays their character more over- the-top, Donkey (Eyvo) or Lord Farquaad (Jamie Mikijanic). Eyvo is an absolute ham, mugging out to the audience every chance he gets. Generally this would be horribly distracting but it suits the character so well, in this instance, that you wish he’d do it more. Throwing in hilarious local and pop cultural references, Eyvo really wrangles in the laughs from those listening. His voice is strong and pure, especially for “Don’t Let Me Go.” And when he starts his crazy spastic dancing in “Make A Move” it’s uproarious. A true comic king, Eyvo is one of two reasons you must see this show.
The other reason may look small but he’s a hilarious force to be reckoned with; Jamie Mikijanic taking the Farquaad character to new hilarious heights. Playing the miniature king with an extreme flamboyance to the point of melodramatic caricature-likeness, Mikijanic is the funniest thing to set foot on the stage. Whether he’s flipping his hair or prancing about – he gives Farquaad a radiantly flaming lifestyle the likes of which you’ve never seen. His voice is pitch-perfect and his belts are astounding, especially for “What’s Up, Duloc?” And when he digs into “The Ballad of Farquaad,” he shows the versatile ability to go from deep brooding belts to hilarious hijinx. Mikijanic steals the show, hands down, and is well worth the trek to see in his comic musical.
Gannon Webb (Pinocchio), Eyvo (Donkey ), and the Fairytale Ensemble. Photo by Scott Serio and Cecil Scene.
It’s time to sing a song, yes a travel song, because you’ve got to go somewhere. And that somewhere is up to The Milburn Stone Theatre to see Shrek the Musical before it finds its happily ever after on the 8th of September.
Running Time: Approximately Two hours and 30 minutes, with one intermission.
Shrek the Musicalplays through September 8, 2013 at The Milburn Stone Theatre—1 Seahawk Drive, in North East, MD. For tickets, call the box office (410) 287-1037, or purchase them online.
“I wish— I wish to go to the festival! I wish to lift the magic spell that’s cursed upon my house!” I wish — I wish— so many wishes, but they’ll only come true if you venture Into The Woods at the Annapolis Summer Garden Theatre for their final production of 2013. Directed by Darnell Morris with Musical Direction by Trent Goldsmith, this Sondheim Fairytale isn’t like any fairytale you’ve ever heard before. With Cinderella running away from the Prince, and a giant stalking the land wreaking havoc on all in her footfalls happily ever after might be but a pipe dream no matter how deep these storybook denizens venture into the woods. Set with modern framework and a very impressive set of costumes, this dark and foreboding musical is one of composer/lyricist Stephen Sondheim’s finest.
Little Red Riding Hood (Lauren Winther-Hansen), Baker’s Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines), and Jack (Harrison Smith). Photo by Rachel Parker.
Director Darnell Morris, doubling as the show’s Set Designer, creates a dark and whimsical forest in shades of purple yellow and green; an enchanted backdrop with a dark twist that makes the woods a spooky place even if the woods are just trees and the trees are just wood. Morris keeps the fantasy element of the show alive with the help of Scenic Artist Sue Tilberry, who gets the storybook look well-grooved into these trees.
Morris’ unique framing for the show brings a more modern element to the familiar musical. Choosing to make the narrator a little boy who has run away from home because his parents are fighting, the show kicks off with the frightened little boy now alone in the woods telling a story to keep himself entertained. Compressing Sondheim’s work into the dreamscape and nightmare of one small child really hones the focus of the fantasy element of this production. It does at times cause minor confusions as the young Narrator, played by Andrew Sharpe, is at times soft spoken and inarticulate. But Morris’ choice is becomes a flash of horror; a well-suited payoff that fits the Sondheim bill, when the characters turn on the narrator early in Act II.
Costume Designer Linda Swann rounds out the imaginative look with her fusion of modern cos-play style costumes, infused with hints of Steampunk, gentle whimsy and bright colors. The step-sisters wear large garish dresses in pink and lime green plaid and purple and black stripes. Little Red Riding Hood and The Wolf have costumes that most strikingly resemble people from a comic convention, and the Steampunk influence is seen here as well as in the Princes’ outfits. Swann’s hodgepodge of assorted fabrics gives the show an eccentric feel to it; more than fitting for this fractured fairytale.
Musical Director Trent Goldsmith works diligently to hone some of the voices in the ensemble to perfection, but there is a slight imbalance throughout the production with everyone’s singing. At times the lead characters present crystal clear sounds with perfect pitch and articulate so that the clever Sondheim lyrics can be heard, but at other times, particularly during the more difficult rhythm sections of the performance, and large group numbers like “Into The Woods” the voices fade, crack and slide out of key. As this occurred in minor spots throughout and to no one person more so than any other, Goldsmith’s work was uneven. He did, however, manage to coax a rousing enthusiastic sound from the ensemble as a whole when they sing in unison toward the end of songs like “Into the Woods” and “Ever After.”
The cast is chock full of powerful serene voices. Rapunzel (Carol Ann Drescher) who sings but briefly from her tower; Cinderella’s Mother (Anastasia Sophia Herne) whose voice is featured in “Cinderella at the Grave,” and Stepmother (Erika Knepp) who has solo lines scattered throughout. These three women have simply divine voices that soar high into the rafters and sound heavenly, adding a beautiful blend to the many group harmonies performed throughout the show.
A precocious spunky character, Little Red Riding Hood (Lauren Winther-Hansen) is anything but the sweet innocent little girl from the children’s story. Winther-Hansen brings her own unique brand of panache to the character, particularly when singing “I Know Things Now.” Her interactions with the Wolf (Kelston Thomas) during “Hello, Little Girl” are creepy bordering on flirtatiously devious. Thomas, as the Wolf, is made to look like a cross between Jack the Ripper from Victorian London and a Time Traveler, but his peculiar look doesn’t hamper his villainous ability. Thomas is on the prowl, physically and vocally for this number, becoming a truly unsavory character alternating between jaunty and charming when singing with Red, and treacherous while singing at her.
Thomas doubles up as Rapunzel’s Prince, a flamboyant narcissistic character whose effeminate charm is matched only by that of his brother, Cinderella’s Prince (Alex Xourias). Thomas and Xourias are debonair, dashing, charming, and above all hilarious. When they swoop onto the stage, forever entering and exiting in a series of high-arching leaps, it’s impossible not to laugh. The pair couples up for “Agony,” turning this sweet ballad into an irreverent duet, pining over their women and showcasing what we in the modern world call “first world problems.” Thomas and Xourias pair up again for the song’s reprise in Act II, throwing themselves fully and even more comically into the number.
The Baker’s Wife (Malinda Markland) is quite the character. Forever bickering with her husband the Baker (Scott Gaines) she insinuates herself into situations that often end up causing trouble. Markland has an exceptional voice, particularly when it blends with Gaines’ in duets like “It Takes Two,” a song that grants a brief reprieve from the couples’ arguing to show that deep down they truly are in love. Markland delivers an excellent rendition of “Moments in the Woods” splitting herself apart as she is torn between a dreamy doe-eyed fantasy existence and the pragmatic reality in which she’s been thrust.
Little Red Riding Hood (Lauren Winther-Hansen), Baker’s Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines) and Jack (Harrison Smith). Phot by Rachel Parker.
Gaines, as the Baker, doesn’t get a chance to fully showcase his vocal prowess until near the end of the show. “No More,” a harrowing duet, carried mostly by Gaines, breaks the Baker wide open, revealing the raw emotions of his consternation and strife after all that has happened. Gaines’ voice is powerful and well suited for this role.
Jack (Harrison Smith) is a boy described by his Mother (Cristina Shunk) as ‘touched.’ Smith’s acting proves this notion as he is a bit silly, fitting into the strange reality of Sondheim’s fairytale. His voice, however, is miraculous. Belting with pure enthusiasm and wide-eyed wonder during “Giants In The Sky” he astounds the audience with this concentrated sound, after playing the fool for the better part of the first act. Smith’s determination makes his character well grounded, despite his many flights up the beanstalk.
Cinderella (Sarah Treanor) has an equally stunning voice. Carrying many of the main lines in the large ensemble numbers it is easy to hear her voice above the others. With a sweet disposition and a dulcet tone that could easily lull you to sleep for how comforting it is, Treanor pours heart and soul into each of her songs. As the maid turned princess, she delves into all of the emotional baggage her character carries, giving a wide range of feelings from melancholy to excitement and everything in-between. Her song “On The Steps of the Palace” showcases her belt and her range, while “No One Is Alone” shows a tender cajoling side as she tries to comfort Red.
Without a witch you’d have no story, even if she is really just misunderstood. The Witch (Katrina Ellen Sillaman) is the epitome of vocal versatility in this production. Rapping her way through the garden segment of “Prologue: Into The Woods,” her pinched nasally voice is more than suitable for her gnarled and grisly figure. But after her transformation her voice becomes enigmatic and almost ethereal. There is raw broken emotion flowing from her heart in “Stay With Me,” showing her humanity and how deeply the world misunderstands that she is just lonely. “Witch’s Lament” is filled with anger that burbles under the surface, and her most epic number “Last Midnight” is a stunning finale that sends chills up your spine; a truly gifted performer placed in the perfect role.
Dally about and be in the woods, but you must make it out to ASGT before this show goes dark!
Running Time: Approximately Two hours and 45 minute, with one intermission.
Into The Woodsplays through September 1, 2013 at the Annapolis Summer Garden Theatre— 143 Compromise Street in Annapolis, MD. For tickets, call the box office at (410) 268-9212, or purchase them online.
Someone to Watch Over Me is nothing but a pure DC fairytale. That is the simple way to describe the plot of this politically charged new drama of the Federal Theatre Project as part of the Capital Fringe Festival.
It was rather slow to start, but after the plot picked up it was simply one of those shows that a DC audience could possibly get behind. Aerith Gainsborough (Stefanie Garcia) decides not to vote in the election because she is so fed up with the idea of politics and how convoluted of a system it is she gets inspired to create a website, “We The People,” to inspire Americans to contact their Congressmen to speak up about what they think is wrong or write in the area. With the support of her friends Barret (Thony Mena) and Cloud (Paul Thomas Truitt) and her lover Yuffie (Genna Davidson), the website becomes an instant success.
This causes major issues for Utah Congressman Sephiroth (Paul J. McLane) and the President of the United States (Paul Thomas Truitt). The major plot twist at the end of end of the show is clearly the only way Aerith’s popularity and intelligence can be made useful to the government.
The overall sentiment of the show is that our government system is very inefficient, and something needs to be done to correct that. That is a very easy idea to support, but this play still has a great amount of work that needs to be done on presenting that message in a more attractive way by writer and Director Kevin Finkelstein.
Some of the characters could be refined more, specifically the Barret and Cloud. They were clearly the comic reliefs of the show but the “bros” sexual innuendos were not so funny after a while. Also, the plot transitions of the show could use some more development. Currently they consist of asides by different fictional, but obvious references to familiar media outlets of today, sharing their coverage of the “We the People” scandal. However, they seem repetitive to the action that just occurred in the previous scene.
Although, Someone to Watch Over Me in theory is a dream come true for many politically active Americans, the dream could use some refinement, but if there is any place to experiment with theatre, the Capital Fringe Festival is an excellent place to do so.
Running Time: 60 minutes.
Someone to Watch Over Meplays through July 27th at the Goethe Institut – Gallery 812 7th Street NW, in Washington, DC.. For performances and tickets visit their Capital Fringe page.
La Voce to Me is a powerful original play about love, sacrifice, death, and rebirth. And believe it or not, it all started with a mermaid.
“Since I was a child, I loved the story of The Little Mermaid, Playwright Jeremy Pace explains. “As I got older, I discovered the original fairytale by Hans Christian Andersen and learned more about his life. We had more in common than I realized. Even the life of the lyricist for the Disney film, Howard Ashman, seemed to overlap with my own developing story.”
Beyond the surface level parallels, the themes in all of their stories echo across time in the gay experience. The deeper (and darker) side of La Voce to Me speaks to struggles with identity, addiction, HIV and AIDS, and recovery. It is a true example of the infinite loop of art imitating life.
Director K.W. Kuchar shares his impression of Pace, “I’ve worked with a lot of actors, playwrights, and directors in the area and I can tell you – Jeremy is tearing open some very personal wounds and letting the audience in on some very real pieces of himself that I don’t think everyone has the courage to do. He is being brave here, really brave.”
“Rather than it feeling like a one-man personal essay,” Kuchar continues. “he has captured some imagery that is unique and compelling. It will be exciting to see how La Voce to Me develops over time. That’s part of the beauty of what Capital Fringe brings to the stage.”
“This experience has been by far the greatest challenge I have faced as an artist,” Pace admits. “Thankfully, it has been the most cathartic and rewarding as well.” He suggests that the intimate connection between fairy tales and real life is not only common, but universal, “I believe these stories are destined to become our own in some way.”
Brendan O’Connell, playing the role of Howard Ashman, says, “We have each rediscovered the magic behind the fairy tales we grew up with. I am inspired by the strength and courage from the entire cast and hope this story has the wonderful future it deserves.”
For Natalie Piegari, playing role of The Little Mermaid herself, “Working on La Voce to Me has been challenging and intense in the most wonderful way.”
George Tralka Jr., playing the role of Hans Christian Andersen, recognizes the entire cast for their hard work and the collective attempt to bring Pace’s script to life and to do it justice. Tralka Jr. shares, “La Voce To Meis leaving me with a clearer perspective on life.”
“When I started this production,” Pace describes, “I was so humbled by the gift I had been given in my inspiration that I was aiming low and trying to keep things simple. But thanks to one of the most gifted and dedicated cast and crew, I have watched this production soar to heights I never imagined.”
We hope that those who attend this production might discover their own story and reclaim their own voice. La Voce to Me. The voice to me.
La Voce to Meis part of the 8th Annual Capital Fringe Festival: July 11– 28, 2013.
Featuring: K.W. Kuchar (director), Jeremy Pace, Natalie Piegari, Brendan O’Connell, and George Tralka Jr.
PERFORMANCES at Goethe Institut – Gallery
812 7th St NW in Washington, DC
Corner of Eye St NW and 7th St NW
Nearest Metro: Gallery Place-Chinatown (Red Line)
Thursday, July 11th — 5:30-6:45pm Sunday, July 14th — 5:15-6:30pm Saturday, July 20th — 5:15-6:30pm Wednesday, July 24th — 6:30-7:45pm Saturday, July 27th — 3:45-5:00pm
Attending The Princess and the Sprout is a little like popping in for a Christmas toddy with the kooky neighbors – the British – and discovering they’ve planned “an entertainment” — drapes on the gazebo, construction paper taped to the risers and the posts on the deck (And is that really colored construction paper taped over the risers on the stairs, I kept asking myself? Yes: it was), enough folding chairs in the backyard for all the other neighbors, most of whom have popped in too!
King Kindhearted (Colin Davies) gives instruction to his staff (Diane Wurzer). Photo by J. Andrew Simmons.
The production is billed as “a traditional British pantomime,” which does not mean white gloves, white makeup, and Marcel Marceau, I discovered. Nothing that quiet or restrained. It turns out the lady of the house is actually a man, the knight in shining armor is actually a woman in a chainmail cowl, and the golden boy, Prince Fussypants is actually a girl who doesn’t wear pants at all, just fishnet stockings and stiletto boots under a royal tunic that stops an inch above the bottom of her bum.
“The pantomime first arrived in England as minor acts between opera pieces,” according to the British Players’ website. “In Restoration England, a pantomime was considered a low form of opera, in fact.” So it’s clearly not a silent form. Traditional pantomimes are based on children’s stories or fairytales, though their “plot lines are often adapted for comic or satirical effect, and certain familiar scenes tend to recur, regardless of plot relevance.” They’re fairy tale farces, in other words, laced with the absurdity that one associates with Monty Python’s Flying Circus.
Sir Missabunch (Eileen Kent) and the Head Groom (Karina Gershowitz) scheme. Photo by J. Andrew Simmons.
The gender-switching is also traditional in pantomimes: the prince, who’s usually on the marriage market, is always played by a woman, and his mother is always played by a man. In this case those roles are filled by Karen Minatelli as Prince Fishnetstockings and Charles Hoag as Queen Snobalott. One imagines that cross-dressing might have been harder to pull off in Restoration England than it is in Washington DC, hence its association with absurdity and semi-ribald celebration.
The children’s story at the bottom of this pantomime is The Princess and the Pea: the royal family tries to determine whether the girl who shows up at their door is a true princess by serving her brussels sprouts, which everybody finds disgusting but which high-born people choke down anyway to be polite. She fell off the pile of mattresses they tried to make her sleep on.
The British Players were originally The British Embassy Players, a group of embassy staffers who decided to enhance Anglo-American relations by staging British plays at the British Embassy. The group incorporated as a non-profit organization in 2006, and since then it has raised more than $400,000 for British and American charities.
The current production involves a cast of twenty people, some of whom are accomplished actors while others are beginners. Colin Davies (King Kindhearted) was trained at Oxford, and he has performed all over the world. Karina Gershowitz studied in England and worked in London’s West End theaters for many years. Holding down the other end of the experience spectrum are first-timers Kylee Sanders, a fourth-grader at Carderock Elementary School, and Emma Nalls, a fifth-grader at De Chantall School in Bethesda. Emma convinced Kylee to give pantomime a whirl.
The credited production staff includes nearly fifty people in roles that range from Transportation Coordinator Peter Nerenstone to Costume Designer Joan Roseboom, whose work is the highlight of the show. Stephanie Miller’s choreography includes some passages that are fun to watch, and Gershowitz plays Equine, the show’s anchor, with charm and charisma.
The production is fueled by great enthusiasm, on the part of both the players and the audience, many of whom must be Brits or friends of Brits or embassy employees who created a backyard party atmosphere of laughter and conviviality. One gentleman even accepted the invitation to join the cast on stage for a chorus of “Head, Shoulders, Knees, and Toes.” But the fuel of enthusiasm starts to run lean after the prince marries the princess who was posing as his maid; that event should probably be the end of the show, but it isn’t.
The Princess’s Destiny: Jai Ho (Mallory Shear and Ensemble). Photo by J. Andrew Simmons.
Running Time: Two and a half hours, with one intermission.
The Princess and the Sproutplays at 7 PM tonight and tomorrow at 1 PM at the Kensington Town Hall – 3710 Mitchell Street, in Kensington, MD. For tickets, purchase them online. Tomorrow’s 1 PM performance is Sold Out!
