DC Theater Arts

Tag: Matt Williams

Review: ‘Book of Days’ at Rockville Little Theatre

Written in 1998, Book of Days is one of the final writings from Pulitzer Prize-winning playwright Lanford Wilson. The play is set in a fictional rural Missouri town of 4,500 or so residents, and follows 11 of those residents and one outsider at the “cusp of the new millennium,” whose lives and stories are all connected around tragedy. The seemingly simple, yet poignant, staging of this piece by Director Jeff Mikoni, coupled with a remarkable cast make this production a noteworthy and well-rounded triumph for Rockville Little Theatre this Spring.

David Dieudonne (Boyd), Paige Fridell (Ginger), and Marnie Kanarek (Ruth). Photo by Harvey Levine.

I cannot say enough about how Director Mikoni, with Set Designer John Decker and Lighting Designer Jonathan Zucker, created this seamless and beautiful display with just the right touch of light or slight movement of the actors. A slight adjustment in light and movement around the multi-tiered set, brought the audience in and out of each scene with ease.

However, the authenticity of this story could not be achieved without the very exceptional cast assembled by Mikoni. The reality of their characters brought the audience in, each nuanced and believable within their own stories, and with each other. This was most notable with the heroine of the evening, Ruth Hoch, played with a raw authenticity by Marnie Kanarek. Kanarek plays a Bookkeeper and amateur actress who is cast as Joan of Arc in a production of George Bernard Shaw’s Saint Joan, Kanarek effortlessly builds her character and shows the undeniable and sometimes obviously stated connection between Hoch and the Joan of Arc character she is playing within the play. She is also paired well with husband Len (Erin Kelman) the couple has faultless chemistry, Kelman playing the earnest and convincing Len with a reserved and sincere appeal.

This incredible ensemble ‘nails it’!

Standout performances came from Natalie McManus who played Len Hoch’s mother and former Hippie, Martha Hoch, and Nicholas Temple who played Reverend Bobby Groves. McManus had some of the brightest laugh-out-loud moments of the evening adding much needed and well-timed levity, while Temple maintained a strong, yet somehow reserved stage presence, that captured my attention whenever he was on stage. He was an audience favorite.

Rounding out this talented ensemble are David Dieudonne as the outsider and fallen theater director Boyd Middleton, Paige Fridell (the beautiful temptress Ginger Reed), Michael Sigler (the domineering yet subtly vulnerable cheese factory owner Walt Bates), Jill E. Goodrich (the acquiescing wife Sharon), Spencer Knoll (the ne’er do well son James Bates), Sara Collins (his scorned wife LouAnn), Matt Williams (the factory worker Earl Hill), and Jeff Asjes, as the seemingly unaware small town Sheriff Conroy Atkins.

Book of Days is great theater! There is only one more weekend to see it, and you don’t want to miss this dream cast.

Running Time: Two hours and 30 minutes, with one 15-minute intermission.

The cast of Book of Days. Photo by Harvey Levine.

Book of Days plays through May 14, 2017, at Rockville Little Theatre performing at the F. Scott Fitzgerald Theatre – 603 Edmonston Drive, in Rockville, MD. For tickets, call (240) 314-8690, buy them at the box office, or purchase them online.

May 9, 2017
Columbia Festival of the Arts: Part 3: Last Day at Lakefront

Mother Nature was kind to the Festival this weekend. Thunderstorms were predicted but there was only one close call. So, though many were sweltering, it was a wonderful day to listen to good music. Sunday featured many jazz ensembles.

The Columbia Jazz Band is a non-profit group made up of 30 members and under the direction of Peter C. BarenBregge. The members work at “regular” jobs but their love of music and exceptional talent has created this jazz group. They have played all over the local area and, really, all over the world.

Their music is mostly swing and what we call today, pop. After opening with “The Theme from MASH” their vocalist, Matt Williams, sang “A Foggy Day” and the Drifters’ “Save the Last Dance for Me” among others. Some of the rhythms were Latin and some were swing. The highlights were Sonny Bono’s “I Got You Babe” done as a jazz song instead of hard rock, and Benny Goodman’s “Stompin’ at the Savoy.”

Later on I caught the Navy’s Commodores, a premiere jazz ensemble under the leadership of Cpt. Brian O. Walden. Due to a late start and looming storm clouds, I only heard a bit. I will definitely try to catch them again if they are in the area and highly recommend them to you from just the two pieces I heard.

Finally, closing the Festival was The Glenelg Jazz Band. Sadly, this was the performance for their highly respected band director of 41 years, Barry Enzman. The director of this wonderful group made up of high school students is retiring. The band has also performed all over the metro area and even in Europe. They have performed with the Count Basie Orchestra and with Maynard Ferguson. The music is mostly progressive jazz a la Dave Brubeck. However, they also did the song from Roar of the Greasepaint called “You Know How I Feel” with a terrific vocal accompaniment from one of the students. They also did some Stevie Wonder, the final planned number “Final Star.”

In that last rendition Enzman did an incredible flute solo showing off his own talent to perform jazz. They did an encore as the huge crowd which included alumni, parents and other well wishers would not have allowed otherwise. As they played “Hey Jude” by Lennon and McCartney, many alumni of the band grabbed their instruments to play one more time with their former director. Toward the end the crowd rose and clapped in unison to pay tribute to the work Enzman has done for four decades. You forget as you listen to the Glenelg Jazz Band that the members have not yet graduated from high school.

If you did not get this weekend this are two weeks of wonderful performances ahead.

Schedule and ticket information visit the the festival’s website. Tickets can be purchased online or by phone from Tickets.com, or by calling (800) 955-5566.

LINKS
Columbia Festival of the Arts Part 1: Opening Night at the Lakefront.

Columbia Festival of the Arts: Part 2: Day Two at the Lakefront.

June 15, 2015
Rooftop Productions’ ‘Incorruptible’ Opens May 1st at Keller Theater at Center for the Arts by Jay Tilley

Welcome to Priseaux, France, circa 1250 AD: The river flooded again last week. The chandler’s shop just burned to the ground. Nobody’s heard of the wheelbarrow yet. And Saint Foy, the patron of the local monastery, hasn’t worked a miracle in thirteen years. In other words, the Dark Ages still look pretty dark. All eyes turn to the Pope, whose promised visit will surely encourage other pilgrims to make the trek and restore the abbey to its former glory. That is, until a rival church claims to possess the relics of Saint Foy – and “their” bones are working miracles. All seems lost until the destitute monks take a lesson from a larcenous one-eyed minstrel, who teaches them an outrageous new way to pay old debts. – Dramatists Play Service

Show Dates and Times:

Friday, May 1 – 8 PM
Saturday, May 2 – 8 PM
Friday, May 8 – 8 PM
Saturday, May 9 – 8 PM
Friday, May 15 – 8 PM
Saturday, May 16 – 8 PM

Kellar Theater at the Center for the Arts at the Candy Factory
9419 Battle Street
Manassas, VA 20110
(703) 330-2787
______

Cast:

Brother Charles – George Kitchen
Brother Martin – Ted Ballard
Brother Felix – Matt Williams
Brother Olf – Joe Bersack
Peasant Woman – Sallie Willows
Jack/Brother Norbert – Jay Tilley
Marie – Jennifer Reitz
Abbess Agatha – Carolyn Cameron

Directed by Vincent Worthington

$18 for Adults; $15 for Students and Seniors (Age 65+).

PURCHASE TICKETS HERE.

April 22, 2015
Capital Fringe 2014 Review: ‘About a Girl’

Eddy Roger Parker both wrote and produced About A Girl, his debut play. The byline is “Drugs, Sex, and Texas.” It takes place in 80’s and is indeed a drama about a girl, her best friend, her boyfriend, and his best friend living their life in suburban Texas in the 80’s. Director Eddie Page has done a fantastic job conjuring up the decade with an endless series of awesome t-shirts from bands, movies, the D.A.R.E. program and more. Matt Williams (Meat McKenzie) is a local, but he sounds like he’s from down South and brings depth to what could be a stereotypical role. Ben Norcross (Ashley) plays his character’s unravelling well, as does Jenni Patton (Justine Courson). Heather Norcross (Jett Briggs) is a standout with her very dry sense of humor.

They are all teenagers exploring the darker underbelly of most suburban neighborhoods — spending much of the play drunk or high and dealing with abuse and pregnancy. Parker has a good ear for dialogue and in many scenes he gets in some good zingers. I hope he also explores writing comedy as well as drama because there were some pretty funny moments, which helped lighten the tough topic. Parker doesn’t shy away from a detailed character study of these kids falling apart and trying to pulling themselves back together again. Overall the play shows a lot of promise. In the heat of the action, it’s very powerful, but there are a some over-the-top moments where the story gets lost in the lessons. The play also seems to start at a pretty big emotional pitch and stay there, which leaves less room for the actors to really evolve in their roles. The main strength of the play are these characters that Parker has created with a lot of heart.

Running Time: 75 minutes.

About a Girl plays through July 26, 2014 at Goethe Institute – Gallery – 812 7th Street NW, in Washington, DC. For performance times and to purchase tickets, visit their Capital Fringe Page.

Visit their preview article on DCMTA.

https://youtu.be/OJCZ8HOMHhQ

July 12, 2014
Capital Fringe 2014 Preview: ‘About A Girl’ by Eddy Roger Parker

I am thrilled to have my first full length play About A Girl receive its premier performance as part of the Capital Fringe Festival. It’s been over three years since I started writing it, and what an amazing journey.

There has not been a time when writing was not a part of my life. When I was in 2nd grade I wrote a poem about a Halloween cat. My teacher had it blown up on an overhead projector onto a big sheet of paper taped to the black board. The entire class drew little pictures on it and I had the honor of drawing the cat. I was hooked.

My background is narrative history. I have had a few books published, but after years in this field I had hit a major writer’s block. I just could not get into the project I was working on. I still wanted to keep writing, but what to write?

I was working at The Historic New Orleans Collection. The Collection not only is the leading institution on the history of the Crescent City, but it is the largest holder of the papers of Thomas Lanier Williams, publishing the Tennessee Williams Quarterly and even owning a house where young Tom rented a small attic apartment on his first stay in the city. The ghost of Tennessee was looking over my shoulder and gave me the idea to start writing for the stage.

I moved to Alexandria, Virginia in 2010 with the determination to write plays, but how? I didn’t have a clue. I got lucky. One of the leading community theaters in the country is The Little Theater of Alexandria. Their Governor of Education, Roland Gomez, had just begun play writing classes under the amazing teacher Rich Amada. I volunteered at the Little Theatre doing anything and everything to learn the ropes. Community Theatre is an excellent classroom, much cheaper than an MA, and started taking Rich’s classes. He was Obi Wan to my Darth Vader, and I soaked up his lessons on plot, character, dialogue and stakes; all actions must have consequences, big ones.

I had finished a ten minute play and was determined to write a full length for the first time, but what to write about? I had heard it said that you should write what you know. My high school sweetheart came from an abusive background. My first experience with love was also an experience of being ill equipped to help her in her struggle with the anxiety, depression and substance abuse that was the result of being a child of an alcoholic and abusive father. How do you cope with that when you’re only eighteen years old and don’t have your own answers, much less hers?

About A Girl is not autobiographical, at least not entirely. I had seen this little girl that I cared so much about struggle with the most intense feeling of powerlessness. She was in her own mind a victim, but what if she had stopped being a victim and took control? One of the lines in the very last scene of the play reads “I want to tell you a story. It’s about a girl.” This is a story about that girl, Justine in the script, who finds the courage to take control; but it is also the story of another kind of girl. It’s the story of Jett Briggs, a kick ass, take names kind of girl. She thinks she can handle anything that life throws at her, but can she?

So I had written a play about a girl, wither its Justine or Jett it’s up to the audience to decide, but what to do with it? Again fate steeped in. Roland Gomez and Rich Amada selected my play for a table reading. They cast the actors, but at the last minute the actress set to play Jett dropped out. I had to find a replacement. Heather Norcross stepped in. Heather had come on the LTA scene around the same time as I did, and I knew what an amazing actress she was. I asked her to read the part, and luckily she agreed. She was my ringer. When none of the other actors asked any questions about their characters, she did her homework to find out who Jett was and what her motivations were. I knew in a play about choices I had chosen well. Heather was every inch the bad ass that her character is supposed to be, but also had the instincts to show Jett’s vulnerability. Little Miss Norcross has been with About A Girl ever since.

So how do I go the next step and get About A Girl on the stage? Capital Fringe Festival 2014. I knew of Capital Fringe’s reputation as a first rate organization with the resources to insure that my play would not die an untimely death. I filled out the paper work, and low and behold, I was accepted.

Now what do I do? I had to find a director that not only had the skill to get this play up and running and answer all the technical questions I didn’t even know I ‘d be facing, but with the intelligence and artistic sensibilities to interpret the story. Again I got lucky. I had worked with Eddie Page when he directed Witness for the Prosecution at LTA and knew he had all the qualities that I was looking for in a director. He has kept his firm hand on the wheel throughout the process, clearly understands the subtext of my story and my characters, and has been an amazing captain of the About A Girl ship. I have been blessed to have him direct this play.

Eddie and I decided that we’d workshop the play to get it ready for production. We already had Heather, now we needed to find three other actors. The male lead, Ashley Cooper, had a solution close at hand. Heather’s husband, Ben Norcross, is an up and coming actor who has the looks and that certain panache needed to be a leading man. Problem solved on that one.

Now for Justine. This is a role that calls for talent with a capital T. The audience has to make her pain their own and realize her underlying strength. She has to cry, puke, have a panic attack and be funny, all in the course of seventy-five minutes. The only person I knew who could do all of that was Jenni Patton. Jenni can pull off both comedy and drama with equal amounts of success. She is a quick study with deep understanding of character and is so easy to work with. Once again, I got lucky with the perfect addition to the cast.

We were not able to fill the role of Meat McKenzie. It’s a difficult role and not anyone can do it. It calls for a redneck with intelligence, and that’s not easy to find. We decided to wait and hopefully we could find that perfect actor with the talent needed for the part.

It was late winter of this year, way too early to go into full rehearsal for a play that was going to go up in July, but we didn’t want to wait around. We wanted to work. We were able to present the final scene of the play, which we knew was one of the most challenging, as part of an Open Stage Event at The Fridge on 8th Street in DC. The scene calls for a fight scene, and this is when Michael Page stepped in. Michael is a multitalented young man who became not only our fight chorographer, but our lighting designer and much much more. We could never have pulled this show off without him. This production was such a success that Star, the head of Open Stage Events, allowed us to put on another in the spring. Both of these performances allowed us to rehearse parts of the play, put them on stage, realize that an audience would respond positively to our work, and build a base of support for the Fringe show in July.

Promotional photographs forced our hand on who the perfect Meat was going to be. Heather suggested the talented Matt Williams. I knew Matt from his work primarily in musicals (he has the most amazing singing voice), but could he pull off Meat with all Meat’s rowdy ways? The first time Matt put on the cowboy hat and started drinking straight from a bottle of Southern Comfort, we knew we had our Bubba. The cast was complete.

We have now been in rehearsals for over two months getting ready for the stage. We have recruited other very talented members of the crew including Sound Designer Alan Wray, Assistant Stage Manager Austin Fodrie, and Stage Manager/Public Relations Director Becky Patton. I do not know what I would have done without Becky and her excellent and well-designed public outreach for the show.

Please come out and support About A Girl. We worked very hard getting the show ready for your enjoyment. So kick your boots off, sit back and enjoy the show. Thank you for your support.

CAST
Ashley Cooper- Benjamin Norcross
Justine Courson- Jenni Patton
Jett Briggs- Heather Norcross
Meat McKenzie- Matt Williams

Our Venue:
Goethe Institut- Gallery
812 7th Street, NW
Washington, DC 20001

Out show dates and times:
Friday July 11: 8:15 pm
Tuesday July 15: 6:00 pm
Sunday July 20: 4:45 pm
Wednesday July 23:8:15 pm
Saturday July 26: 4:45 pm

PURCHASE TICKETS HERE, OR CALL (866) 811-4111.

Box Office locations:
Fort Fringe, 607 NY Ave NW WDC 20001
The Atlas Performing Arts Center, 1333 H St. NE
WDC 20002
Tickets can also be purchased at the door.

Our Facebook Page

Our Twitter:
@AboutAGirl14

https://youtu.be/OJCZ8HOMHhQ

July 3, 2014
‘The Great American Trailer Park Musical’ at Rockville Musical Theatre

When a show begins with a “Greek chorus” that is part Sorority girls, part Girl-Band, and a lot of “trailer trash,” you know you are in for a great time. The perfectly mismatched set of Rockville Musical Theatre’s The Great American Trailer Park at the Gaithersburg Arts Barn was a welcome eye-sore as you enter the small theater and what was about to unfold was an enjoyable look at how those live on “This Side of The Tracks.”

Elizabeth Hester (Lin), Elissa Borzilleri (Betty), and Julia Donato (Pickles). Photo by Bruce Rosenberg.

The show is a full evening of thoroughly enjoyable (and hummable) songs by David Nehls that are strung together by a silly plot (Book by Betsy Kelso) about an agoraphobic housewife who’s toll-booth collector husband is having an affair with a stripper who has a Sharpie-sniffing/gun wielding ex-boyfriend chasing her. Like I said, silly. And that didn’t matter one bit, because the cast executed the silliness impeccably.

Leading the madness was stripper Pippi, played with passionate fervor by Amanda Spellman. As the forlorn stripper, Spellman plays the emotion of the character with a joyful sadness and brings depth to a character with not too many redeeming qualities. As the cheating spouse/toll collector, Matt Williams, brings a simplicity to the loveable loser, Norbert. Williams has a pleasant voice that was engaging and sweet. Filling out the rest is Jason Damaso as Duke and Meghan Williams Elkin as the agoraphobic Jeannie.

While the show centered around this odd love quadrangle, the real stars of the show were the three girls who act as a narrator of sorts, giving us their unique commentary on the action on stage and filling out the scenes playing other characters from male clientele at the strip club to road kill. Elissa Borzilleri as a trailer park madam, Betty, commands the stage and has a great moment playing a hybrid of Sally Jesse Raphael and Dr. Phil. Joining Borzilleri is the adorable Julia Donato who plays the “kid” of the trio, the perpetually pregnant Pickles. Filling out the trio is the vigorous Linoleum, Elizabeth Hester, who has the strongest voice and stage presence amongst the very adept cast.

The cast of ‘The Great American Trailer Park Musical.’ Photo by Elli Swink.

I give a lot of credit to Director Lee Michele Rosenthal, for not only assembling the perfect cast, but for managing to keep the actors from crossing the line into caricature and giving life to these very broad painted characters. Rosenthal made great choices with the simple set (designed by Rosenthal and Bill Brown) and effective lighting design by Rick Swink.

The Great American Trailer Trash Musical plays through April 20th, so make sure you stop by the park and pop a beer with the ladies and see how those who live on “This Side of the Tracks” live.

Running time: 1 hour and 20 minutes, with no intermission.

Contains adult language and sexual situations.

The Great American Trailer Trash Musical plays through April 20, 2014 on the weekends at Rockville Musical Theatre performing at The Gaithersburg Arts Barn- 311 Kent Square Road, in Gaithersburg, MD. For Tickets, call (301) 258-6394, or visit the Gaithersburg Arts Barn website for details. To purchase tickets online, click the “Winter Classes” link on the right side of the page, then click “Arts Barn Theater” on the left. You are required to be registered with the City of Gaithersburg Recreation program, which may take 1-2 business days if you are requesting a new personal ID. Call –it’s easier!

LINKS

Rockville Musical Theatre Opens ‘The Great American Trailer Park Musical April 4th at The Arts Barn by Ellen Ryan.

The Great American Trailer Park Musical official website.

April 12, 2014
Rockville Musical Theatre Opens ‘The Great American Trailer Park Musical’ April 4th at The Arts Barn by Ellen Ryan

How does a group of strangers coalesce into an ensemble that moves together, laughs together, and entertains together? In the case of Rockville Musical Theatre’s The Great American Trailer Park Musical, here’s the formula: Take an engaging director, a script she likens to The Jerry Springer Show, and a rich score; mix for something over two months; and present in an intimate venue.

Elissa Borzilleri (Betty), Julia Donato (Pickles), and Elizabeth Hester (Lin). Photo by Bruce Rosenberg.

While the director and choreographer are RMT veterans, only three of the seven actors have done an RMT show—and not at the Arts Barn, the 99-seat Gaithersburg theater where Trailer Park is playing April 4-20. Some came for the show; some for Director Lee Rosenthal, who directed last season’s Nunsense A-Men!; some for Vocal Director Arielle Bayer. All have developed an affection for their characters and the little “family” they’ve created.

“I like quirky,” says Elissa Borzilleri of Kensington, “and this is a quirky show.” Like four of her castmates, she’s worked with Damascus Theatre Company (DTC) and elsewhere and quickly got a bead on her character. Betty “is a read badass,” she says with a grin. “She’s a strong woman who takes care of everyone in the trailer park. I can relate to her: She’s very caring, tough; she’s been on her own a long time, and she thinks fast.”

“There’s more to Pippi than there appears,” says Amanda Spellman of Gaithersburg, who plays a stripper on the run. ”She’s from the wrong side of the tracks but deeper than that. She’s on a huge journey, and it’s great to discover who she is as she moves along.” Spellman has a degree in musical theater from James Madison University and is one of three cast members who recently appeared with Rosenthal in DTC’s Seussical the Musical.

Derwood’s Meghan Williams Elkins credits Bayer for pulling her in—not a surprise considering that Elkins is a professional vocalist and multi-instrumentalist. Her agoraphobic character, Jeannie, hasn’t left her trailer in 20 years. “She’s adorable but very naïve,” Elkins says. Hinting at Jeannie’s problems with husband Norbert, Elkins ads, “She’s a very forgiving person. I wouldn’t be the same in her place!”

The show’s two men are Virginians. Jason Damaso of Alexandria plays bad guy Duke. Damaso had seen the show and loved it because, “it’s so different from most other musicals—irreverent, silly characters, atypical subject matter, but with a beautiful score.” Duke is completely different from himself and anyone he’s ever played, he says; dare you not to laugh when he sings in “Road Kill” about running down woodland creatures. “It lets me experiment and be as outrageous as possible without having to worry about being believable. That’s freedom!” he says.

Matt Williams of Centreville plays Norbert, Jeannie’s husband, who takes up with Pippi the stripper. “He’s not a complicated man, but he makes egregious errors in judgment and has to figure out what to do about it, and that makes him interesting,” says Williams, who has performed with companies primarily in the Old Dominion.

Damoso works in Rockville, so rehearsal nights are relatively easy—the commute home is “at speed,” as traffic reporters say. As for Williams, who has driven to Greenbelt to appear in Cabaret, “If it’s a role you really want, you’d better strike while the iron’s hot—while you’re still in the 10-year window to play the part. Same with this show and the music. I didn’t realize the sacrifice [of driving to Gaithersburg] until I did it, but it’s worked out.”

Like Damoso and Spellman, Elizabeth Hester auditioned because she wanted to work with RMT stalwart Lee Rosenthal. Hester knew “how clever the show is” and appreciated that it hasn’t been overdone in the area. Her character, Lin, is fun to play: “I can’t say my [real] husband has ever been to prison. But she’s willing to stand by him no matter what, and that’s certainly something we have in common.”

Meghan Elkins (Jeannie Garstecki), Matt Williams (Norbert Garstecki), Jason Damaso (Duke), Amanda Spellman (Pippi), Elissa Borzilleri (Betty), Julia Donato (Pickles), and Elizabeth Hester (Lin). Photo by Bruce Rosenberg.

Seemingly speaking for the tight ensemble and RMT’s spring production as well, Hester adds: “That’s really what makes these characters so lovable—no matter what else goes on, they are their own little dysfunctional family and willing to go to great lengths to keep it that way. They may not have money or fancy cars, but they have each other.”

The Great American Trailer Trash Musical plays through April 20, 2014 on the weekends at Rockville Musical Theatre performing at The Gaithersburg Arts Barn- 311 Kent Square Road, in Gaithersburg, MD. For Tickets, call (301) 258-6394, or visit the Gaithersburg Arts Barn website for details. To purchase tickets online, click the “Winter Classes” link on the right side of the page, then click “Arts Barn Theater” on the left. You are required to be registered with the City of Gaithersburg Recreation program, which may take 1-2 business days if you are requesting a new personal ID. Call –it’s easier!

March 28, 2014
Matt Williams on Playing Seymour in ‘Little Shop of Horrors’ at Providence Players of Fairfax by Joel Markowitz

Matt Williams and Audrey Two. Photo courtesy of Providence Players of Fairfax.

Matt Williams is having bloody-good time playing the nebbishy Seymour in Providence Players of Fairfax’s production of Little Shop of Horrors. I fed him these questions.

Joel: Tell our readers about yourself.

Matt: I’m a native Virginian, but I grew up in a more rural setting, about 2.5 hours south and west of the Northern Virginia area. I moved here in 1998, and have been working all over the area since I got here. I consider NOVA to be home for me now.

Is this your first time working with the Providence Players? What did you sing at your audition?

It is my first time working with the group. I actually knew several people who are active with the group, and they spoke so highly of Providence Players that I couldn’t turn down an opportunity to get involved with this group. And they have lived up to all I’ve heard about them! For the audition, I actually committed an “audition no-no” and sang a snippet from “The Meek Shall Inherit” from the show. It’s a part where Seymour really gets to cut loose a bit. We were allowed to sing from the show, which is something I typically wouldn’t do.

Tell us about Seymour. Have you played this role before? If so, how is your performance different now?

I actually did play Seymour about two years ago with a slightly smaller company in the area. I had so much fun, I couldn’t pass up the chance to do it again. I definitely made changes to Seymour, especially in Act Two. I really wanted to show that although Seymour has lived his life without the ability to really choose things, he makes some very poor decisions, and does so knowing full well the implications of his choices. So, I think I’m a bit less gentle with him, especially in Act Two.

What do you love about Seymour? How do you relate to him? What are his strengths and weaknesses?

Let me answer that last part first. Seymour’s strength is his basic decency. He’s very much like all of us, which is why I think people root for him. He’s certainly far from perfect, and he does some pretty horrible things. But he STRUGGLES with them, it doesn’t come easily at all. I think it’s his strength, and something I find connective about the character- who amongst us doesn’t struggle? I think his obvious weakness is the low self-esteem that comes from a lifetime of really having no options whatsoever. He’s really not sure what to do once he has options, so he allows himself to be subjugated by a stronger-willed entity.

How did you prepare for your role?

I can’t say I read anything specific. The one thing I did was spend a lot of time reflecting on the story of Dumbo. I find a lot of parallels between Seymour and Dumbo, and really wanted to contemplate that the plant is sort of like Dumbo’s “magic feather.” Only green, seven feet long, and evil. But just like Dumbo, Seymour probably could have gotten all he ever really wanted without any help at all.

What is your favorite scene and song that you perform?

There are so many moments I love in this show. As far as scenes go, I really enjoy the ending of the show. I don’t want to spoil the ending for those unfamiliar with it, but its a wonderful chance to pull some raw emotion into a show that is generally more silly than serious. I also love singing “Skid Row” in Act 1. The whole cast sings it, and I think it really introduces the themes of desperation and hope that drive the entire show. Plus, it’s great fun to sing.

What do you like the most about working with the Providence Players’ team?

This entire company is pretty amazing! I have seen shows here before, and loved the sets. I never imagined the amount of manpower it took, and am also really proud that the cast played a part in helping with set construction. The director and Technical Director, Chip and Jimmy Gertzog (father and son) have been a blast. Our music director, Madalaine Vander-Linden is a joy, and we’ve worked together as performers in the past, so it’s a treat to work with her again. There are really too many individuals to name them all, but I think it’s amazing that some of our running crew has been attending rehearsals for nearly a month, just to get a feel for the show!

I am having such a blast with this show, and with this company. It’s great to see a company that can simultaneously emphasize the words “community” AND “theatre” without devaluing either word. The cast has been wonderful, and everyone has worked so hard. Our crew is amazing! They are all performers I’ve seen onstage with Providence, I’m just so awed at the level of commitment of everyone that is part of this company!

Matt Williams (Seymour) and Toby Nelson (Audrey). Photo courtesy of Providence Players of Fairfax.

This show opened in Broadway in 1982, and the audiences still “eat it up!” Why do you think the show is still thriving after 31 years?

I think the show works for a number of reasons – firstly, it has great songs- Alan Menken’s music is wonderful, and you can hear his songs in Disney movies like The Little Mermaid, Aladdin, and Beauty and the Beast. Secondly, I think the story at its core is about hope, which is a widely appealing theme. Of course, add to that that it’s a very clever spoof of those wonderful B-movies like Attack of the Killer Tomatoes, and I think the show can continue to thrive for another 31 years!

There is currently more than one production of Little Shop of Horrors running in the DC/NOVA area. What sets the Providence Players production apart from the rest?

The other production currently running conflicts with our rehearsal and performance run, so I’m not sure we’ll get a chance to see it. It’s also a bit further away from those of us in the NOVA area! In our production the set of course is very cool- the details are just wonderful. I really feel like I’m playing in a run-down flower shop. I have lots of different gardening tools to play with, and I think it’s the first time I’ve worked on a floor that had actual tiles installed on it. The other thing that I think is great about our production is the growth of Audrey II during Act Two. Because of how we’ve set the stage, you’re able to see Audrey II slowly take over the flower shop!

Little Shop of Horrors plays through October 19, 2013 at Providence Players of Fairfax at The James Lee Community Center Theater – 2855 Annandale Road, in Falls Church, VA. For tickets, call (703) 425-6782, or purchase them online.

LINKS

Toby Nelson on Playing Audrey in ‘Little Shop of Horrors’ at Providence Players of Fairfax by Julia L. Exline.

Julia L. Exline’s review of Little Shop of Horrors.

October 7, 2013
‘Little Shop of Horrors’ at Providence Players of Fairfax by Julia L. Exline

Providence Players of Fairfax presents the cult classic musical Little Shop of Horrors, with Book and Lyrics by Howard Ashman and Music by Alan Menken. Named a “bucket list” item by Director Chip Gertzog, and with enthusiastic Musical Direction by Madalaine Vander-Linden, this production of Little Shop is a true labor of love. Full of fresh, passionate performances, it’s clear that everyone involved is having a blast, a thrill that radiates off the stage and through the audience!

Matt Williams (Seymour) and Toby Nelson (Audrey)// Photo courtesy of Providence Players of Fairfax.

Set Designers Chip Gertzog and John Coscia bring Skid Row to the stage, with construction led by Chip and Jimmy Gertzog. A live orchestra (the “Skid Row Gutter Band”) is tucked into the back corner, next to the heavily graffitied delivery entrance to Mushnik’s Skid Row Florists. Battered signs with statements like,”Danger!” and “No Trespassing!” surround the dreary shop, with the entrance sliding away to show a row of truly pitiful bouquets. It’s a bleak atmosphere, upheld by opening number “Skid Row (Downtown),” sung with anger and frustration by the hopeless public.

Technical Director Jimmy Gertzog’s lighting bursts and fades with the tempo of the music, and surges blood red (appropriately) with the number, “Feed Me.” Sound Designers David Sher and Jimmy Gertzog include effects like motorcycle engines and drilling instruments. The actors are all mic’d, making it easy to hear them over the live music. Costume Designers Robbie Snow and Susan Kaplan bring out the 1960’s setting with pleated skirts, feather boas, bowler shoes, and big hair.

Du-wop group Crystal (Becca Harney) Chiffon (Shanice Jones) and Ronnette (Audrey Suarez) herald in the miserable world of Skid Row, where the shy, nerdy Seymour Krelborn (Matt Williams) toils his days away in Mr. Mushnik’s (Mike Khatcheressian) failing flower shop alongside his sweet co-worker Audrey (Toby Nelson). Business begins to boom when Seymour gets his hands on a “strange and interesting” flytrap, which he names “Audrey II.” Williams lends Seymour a geeky voice and lisp, which makes his strong voice that much more of a surprise when he sings, “Grow for Me,” to his dying plant. To his horror, Seymour discovers that his beloved needs more than ‘Miracle Grow’ to thrive. Meanwhile, poor Audrey has troubles of her own, as she is entangled in an abusive relationship with sadist dentist Orin Scrivello (Glen Bartram). Bartram’s number “Dentist” is an entertaining one, with typical 60’s dance moves supplied by Choreographer Liz Mykietyn. Will Seymour be able to control his plant’s appetite?

Little Shop is full of wonderful performances, especially the leading roles. Toby Nelson is stellar Audrey – a charming, though victimized woman who hides her sadness beneath an upbeat, plucky facade. Her solo, “Somewhere That’s Green” is wistful and sweet, tinged with a bit of melancholy gloom that grips the audience. Matt Williams has the awkward, well-meaning Seymour down pat, as he twiddles his fingers nervously and gazes down at the floor. Mike Khatcheressian is grumpily perfect as Mr. Mushnick.

However, the real star of the show is Audrey II, a prop so massive that it is manipulated in tandem by Jimmy Gertzog, Mike Khatcheressian, and Ari Post. Tom Mirenda provides the intimidating voice of Audrey II, which was designed by Martin P. Robinson. The plump lips, thorny leaves, and gnarly teeth make the oversized prop a real sight to see! At Audrey II’s most powerful, a trio of actors are sheathed head-to-toe in stretchy material and move about the plant’s base as oversized vines, weaving their limbs around the plant’s victims. The effect is creative, artistic, and a bit creepy!

If, like me, you’ve only ever experienced the musical movie version of Little Shop of Horrors, then be prepared for the shock of an entirely different and stunning ending!

For a great night of entertainment, I highly recommend Providence Players of Fairfax’s Little Shop of Horrors.

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

Little Shop of Horrors plays through October 19, 2013 at Providence Players at The James Lee Community Center Theater – 2855 Annandale Road, in Falls Church, VA. For tickets, call (703) 425-6782, or purchase them online.

LINK
Toby Nelson on Playing Audrey in ‘Little Shop of Horrors’ at Providence Players of Fairfax by Julia L. Exline.

October 6, 2013
Toby Nelson on Playing Audrey in ‘Little Shop of Horrors’ at Providence Players of Fairfax by Julia L. Exline

It was so much fun interviewing Toby Nelson, who is starring as Audrey in Providence Players of Fairfax’s production of Little Shop of Horrors.

Toby Nelson (Audrey). Photo courtesy of Providence Players of Fairfax.

Julia: Hi Toby! Why don’t you tell us something about yourself? Where have we seen you onstage before?

Toby: Hey! Well I grew up right down the road from Providence Players in Falls Church and I’ve been doing theatre since the age of five. I’ve gotten back into community theatre in the last two years starting with playing Paulette in Legally Blonde the Musical with McLean Community Players and most recently as Audrey in As You Like It with The Fat and Greasy Citizens Brigade.

Is this your first time working with the Providence Players? What song did you audition with and what was the process like?

I actually found Providence Players online through an audition announcement for this play. I sang “Special” from Avenue Q, which is my ‘go-to audition’ song for a rock musical. At the first audition we sang our songs and did cold readings from the script. Callbacks were similar, except we sang from the show.

What do you love about this production team?

Honestly this is one of my favorite teams I’ve ever worked with. Providence Players is a close-knit group that has a similar team for most of their shows. Chip and Jimmy Gertzog are a father and son team who directed and tech-directed respectively, and it’s entertaining watching the two of them work together. It is clear that everyone on the production team enjoys each other’s company and respects each other’s ideas. It also helps that they are really fun.

Tell us about Audrey. Have you played this role before? If so, how are you changing up the character in this production?

Ever since my mom and I watched the movie musical Little Shop of Horrors when I was in middle school it has been a dream of mine to play Audrey. The well-meaning but down on her luck New York chick is directly in my wheelhouse.

What do you love about Audrey? How do you relate to her? What are her strengths and weaknesses?

Audrey has a sensitivity and purity to her that transcends what she thinks of as a shameful past. In response to this I’ve seen a lot of people play her as kind of vapid, specifically as a “dumb blonde” kind of stereotype. Chip made it very clear from the outset that he had no interest in playing any of the roles as caricatures (this was part of his decision to simply style my normal hair and forgo the usual platinum blonde wig) so I hope to bring a nuanced view of her to the audience.

I love that! We all know that Little Shop of Horrors is a pretty wild show! How has this experience been for you?

This has been one of the best times I’ve had in theatre, and frankly, in my life. It helps that the cast is terrific and pretty great people besides. For a theatre company that specializes in straight plays I was really impressed and pretty intimidated by the talent of the singers in this show.

Tell us about “Audrey II.” A lot of productions rent the massive prop piece, did Providence Players do the same?

The plant was rented, the company that rents the rights to the show also rents the four stages of the plant. We have two different operators for the plant because it is so physically demanding. Jimmy Gertzog, our technical director, actually built an Audrey LL for his high school production of Little Shop and wanted to do the same for ours, but it made more sense for us to rent it. Ari and Jimmy rock out the plant, though, working hard in tandem with Tom, the voice of Audrey II.

This show opened in Broadway in 1982, and the audiences still “eat it up!” Why do you think the show is still thriving after 31 years?

The musical itself is fantastic and the songs are a ton of fun, but under all of the satire and wit it is an honest story (happening to feature a talking and man-eating plant from outer space). The characters are real people with real hopes and dreams and downfalls. The feeling of hopelessness of the denizens of Skid Row is relatable to anyone, but rings very true in this economy. Finally it is a fun and funny take on the classic Faust tale. Seymour is a good and decent person, but the temptations of the plant are too much for him and he essentially sells his soul for the things he wishes to gain.

What is your favorite scene and/or number to perform?

My favorite number is Audrey’s big solo, “Somewhere That’s Green.” I think it is one of the defining moments of her character, the real first time the audience gets to see her sensitivity and sadness.

How did you prepare for this role?

I know I should say I did tons of research and table work on the character, but I actually didn’t. I made up a backstory that worked for me and I play from that a lot of the time, but a lot of the role just comes from inside me.

Matt Williams (Seymour) and Toby Nelson (Audrey). Photo courtesy of Providence Players of Fairfax.

There is currently more than one production of Little Shop of Horrors running in the DC/NOVA area. What sets the Providence Players production apart from the rest? I’m partial to the set design.

Having not seen the other production (we have almost the exact same run) I can’t really speak too much to that. I know that we are having a freaking blast and our show comes from the heart and I think that shines through onstage. And yes, Providence Players is known for their amazing sets, and for good reason. Apparently much of our set construction team works in the real construction world and they are almost too talented. For example, we had to take a storm guard off of the door of the shop because it made the door take a little too long to open. Had we been in a real building, however, you can be sure our floors would have remained dry!

October 6, 2013
‘Tomfoolery’ at Elden Street Players by Andrew Baughman

Let’s get one thing out of the way. Tomfoolery, Cameron Mackintosh and Robin Ray’s 1980 revue of “words and music of Tom Lehrer,” is nerdy. Some might even consider it dated, but Lehrer’s patently dry and dark brand of wit withstands the test of time; it just feels “old fashioned” because no contemporary humorist knows how replicate it. This ain’t Weird Al.

In other words, you need to use more than a couple brain cells to enjoy the jaunty production currently playing at Elden Street Players. Professor Tom Lehrer is best known for pithy ditties like “Poisoning Pigeons In The Park” and “The Masochism Tango,” each laced with heady highbrow “Hah-vard” lampoonery and a dash of hippy-pinko anarchism. Director Adriana Hardy and Scenic Designer Ian Mark Brown evoke colors and images of the 1960’s to transport us back to Lehrer’s musical hay day.

The cast of ‘Tomfoolery’ by Matt Rose.

The two standout performers of the cast are Matthew Moose Thompson and Matthew Scarborough. Thompson reveals a gorgeous voice and nimble comic versatility, ranging from hilariously understated delivery in “My Home Town,” to appropriate Harvard grad twittery in “When You Are Old And Gray.” His interpretation of “The Hunting Song” is, I dare say, even funnier than Mr. Lehrer’s original performance, and it is one of the rare instances in this production where an “over-the-top” characterization truly works.

Scarborough makes us realize that even singers like Pavarotti are relatively dime-a-dozen compared to those who can patter the Periodic Table of Elements and new math equations with such ease. I suspect by day he works as an astro-physicist, or a hacker, or a cryptologist, or something along those lines. One thing is certain, when “we all go together,” Scarborough is the man I want engineering my fall-out shelter.

The remaining ensemble members achieve winning chemistry as a group, but mixed results in their individual performances. Matt Williams, while a dynamic and funny performer, has some diction issues that prove problematic in some of Lehrer’s busier verses – most particularly when essaying French and German accents. Becca Harney is a formidable vocalist, proving equally proficient as legit soprano and belter, but she lacks the comedic nuance and timing to nail the satire of “In Old Mexico” and “We Will All Go Together.” Caroline Simpson brings an adorably charismatic and expressive stage presence, but she is woefully underutilized in this production, serving no good purpose other than to be a featured dancer in a show where dancing serves no good purpose. The libretto was originally written for an ensemble of four actors, and while some productions feature an extended cast, expanding to five actors without some redistribution of material leaves a fifth actor looking like a fifth wheel.

Music Director Tom Fuller tinkles the ivories to perfection, with periodic deadpan narration. His simple solo performance of “The Old Dope Peddler” is a highlight of the evening, suggesting we might find equal (or greater) enjoyment in his “solo show” of Tomfoolery at a local piano bar.

Which brings me to my only real gripe with Mackintosh and Ray’s adaptation: the ensemble staging concept frequently undermines and undercuts the comedic potential of Lehrer’s music, specifically in literal stagings of songs like “I Got It From Agnes,” “I Hold Your Hand In Mine,” and “The Masochism Tango.” To her credit, Hardy’s staging manages to elevate the comedy on a couple occasions: “The Vatican Rag” is a hoot (with frantic choreography by Robyn Avalon), and Hardy puts a clever and timely spin on the seemingly chauvinistic “When You Are Old And Gray.”

Quibbles aside, Tomfoolery is rarely produced these days, and Elden Street’s production is solid and entertaining. It ends with a “Springtime for Hitler” worthy bang that I’ll be giggling about for weeks. Judging by last night’s sold-out audience, you’re going to want to get tickets quickly. This show will sell out.

Running time: 1 hour and 50 minutes with one intermission.

Tomfoolery runs through February 16, 2013 at Elden Street Players at The Industrial Strength Theatre – 269 Sunset Park Drive, in Herndon, VA. For tickets, call (703) 481-5930 or order them online.

January 27, 2013
‘Tomfoolery’ musical to Open at Elden Street Players January 25th By Matthew Thompson

Tomfoolery musical to Open at Elden Street Players January 25th
with Apologies from Producer; Tom Lehrer to Blame

Although many of those involved with Elden Street Players had high hopes for the 25th Anniversary Season, the excitement is quickly turning to embarrassment because of Tom Lehrer.

Lehrer’s show, Tomfoolery, directed by Adrianna Hardy, is unfortunately set to open on January 25, 2013 and laboriously continue through February 16 at the Industrial Strength Theatre in Herndon, VA. It would appear that all the royalties are paid to the publishing company and the show must go on no matter how offensive it is.

Lehrer’s musical satire is produced by Susan d. Garvey, music directed by
Tom Fuller, and stars the wasted talent of Matthew “Moose” Thompson, Matthew Scarborough, Matt Williams, Becca Harney, and Caroline Simpson. They are all very sorry to have to invite you to the show, and extend their most heartfelt apologies.

Fetid songs from the show are being rehearsed by the cast with as much lackluster enthusiasm as they can muster. Songs include: “Poisoning Pigeons in the Park,” “The Elements,” “New Math,” and “We Will All Go Together When We Go,” and what feels like hundreds more. Other members of the team include Stage Manager Don Peterson, Set Design and Master Carpenter Ian Mark Brown, Sound Designer Brian Christensen, Lighting Designer Brian Christensen, Choreographer Robyn Avalon, Costume Designer Farrell Hartigan, Properties/Set Dressing Mike Smith, Scenic Painter Cathy Rieder, and Makeup/Hair Design Kat Brais.

Additional assistance on the production is being painfully provided by ESP Executive Producer Jeff Boatright, Music Rehearsal Laurie Corkey, Dance Captain Angela Ramacci, and Marketing/PR Maria Benzie. They would not wish for their closest enemies to attend this squalid show and give their apologies to the season subscribers who have already secured tickets.

Tom Lehrer.

Tomfoolery plays at Elden Street Players from January 25-February 16, 2012 on Fridays and Saturdays at 8 pm, with a 3 pm matinee on Sunday, February 3rd. There’s an additional Sunday performance on February 10 at 7 pm, and a distasteful Valentine’s Day show on Thursday February 14 at 8 pm. Tickets to this regretably unforgettable night may be purchased online starting January 5, 2012, by phone at phone at (703) 481-5930, or in (thankfully) very limited supply at the door before each performance.

December 13, 2012
‘August: Osage County’ at Reston Community Players by Katie Elizabeth Quinn

In an article on the Steppenwolf Theater Company’s website, Tracy Letts writes that his play August: Osage County was inspired by the desire to create for the Steppenwolf ensemble a play that drew on the shared family history of Midwesterners whose parents and grandparents had lived through the Great Depression. The three-act, thirteen-character play he produced as a result won him the Tony, the Pulitzer and the Drama Desk Award for Outstanding Play for its exploration of what he calls “the politics of tribalism” (common, he notes, to theatrical ensembles as well as families). And indeed, although August: Osage County is without question a family drama, the group dynamic comes closer to Lord of the Flies than to Three Sisters.

The cast of 'August: Osage County.' Photo courtesy of Reston Community Players.

In Reston Community Players’ outstanding production, the curtain rises on Beverly Weston (Mark Yeager), the family patriarch and “a world-class alcoholic,” delivering a meditation on suicidal poets to Johnna (the unflappable KJ Jacks), a young Cheyenne woman he hires to cook, clean, and watch over Violet, his drug-addicted wife. When Beverly disappears without explanation shortly thereafter, the Weston clan descends en masse: Vi’s sister Mattie Fae (the comically vulgar Gayle Nichols-Grimes), the three Weston daughters, and their various husbands, lovers, and hangers-on. Perky Karen (Marisa Johnson), the youngest, arrives from Miami freshly engaged, her aggressive newfound happiness hopelessly out of step with the family crisis. Fragile Ivy (Leta Hall), the only sister who stayed in Oklahoma, is brushed aside as useless by her mother; the bleak cynicism beneath her diffidence, and the sole ray of hope that leavens it, are one of the play‘s most surprising slow reveals. And Barbara (the superb Lee Slivka), the eldest, whose arrival is eagerly anticipated by Violet, makes her entrance determined to hold her mother to account for crimes past, present and future.

The cast, under the deft direction of Andrew JM Regeic, is uniformly excellent. Letts’ play gives each character his or her moment, and no one shirks either the broad comedy or the emotional heavy hitting the script calls for. Regeic keeps the pace up (the three and a half hours fly by), skillfully choreographs moments of chaos, and conveys the claustrophobia of an overcrowded house through his characters’ constant invasion of one another’s personal space. (Maggie Modig’s arresting set features a fractured roof and newspaper-covered windows tilted at unsteady angles, visually echoing the unstable dynamics of the family.)

But the centerpiece of the family, and the play, is unmistakably Violet (Mary Suib). Her motives, her lucidity, and the extent of her drug addiction are in constant, shifting question for both her daughters and the audience; she must be by turns vicious, affectionate, bewildered and libidinous. I had both read the play and seen a previous production, and still Suib kept me guessing. It dawns on the audience only gradually that Vi may not always be quite as confused as she appears, and her ability to snap out of a tear-stricken panic attack long enough to deliver a crisp slice of hell to her family members is both funny and terrifying. Suib gives Violet all her mercurial contradictions and ambiguities without ever being vague; the slur of her brain-damaged, pill-addicted speech never prevents us from hearing the story, and her Vi never forgets how to drop the act and command the room. As she lingers in the house, Barbara undergoes her own psychic deterioration, and Slivka mimics Suib’s symptoms so persuasively one believes they share the same genetic code. The convergence of their personalities climaxes in a scene with Ivy, who has come over to announce a major life decision, one neither Barb nor Vi is interested in hearing about. Johnna has made catfish for dinner (“Bottom feeders,” Barb says, “my favorite”) and, in a play about power and cruelty within a family, the fish becomes the catalyst for one of its most hilarious and brutal scenes.

The lighting, by Ken and Patti Crowley, is fluid and unobtrusive, and works well with Modig’s set to establish the rooms of the house, as well as a much-used imaginary television set and the arrival and departure of cars outside. The transition music (sound design by Rich Claar and Rich Bird), played on drums and wooden flute, sounds both vaguely Native American and dimly evocative of Ennio Morricone’s haunting score for The Good, the Bad and the Ugly: lawless and primitive, with a whiff of the exotic. Either would be an appropriate reference for the story of a house built over the bones of the ousted Native Americans (Johnna their lone, near-silent representative), and a family whose ghosts don’t ever seem to depart, but are birthed again with each generation.

August: Osage County completes its run tonight at 8 PM at Reston Community Players at The Reston Community Center’s CenterStage – 2310 Colts Neck Road, in Reston, VA. For tickets, purchase them online, or by calling the box office (703) 476-4500.

LINK

Article on writing August: Osage County by Tracy Letts.

May 12, 2012