DC Theater Arts

Tag: Prince Charming

A Preview with the Cast and Team of ‘The Vanity’ at Theatre Row in NYC

What do you get when you mix The Picture of Dorian Gray with Sunset Boulevard and Valley of the Dolls? A high-camp melodramatic parody on the consequences of aging in a profession where youth and beauty are prized, and on the temptation of leading a hedonistic lifestyle filled with sex, drugs, and alcohol versus recognizing the value of true love. Those are the themes of the new musical The Vanity, with original book, music, and lyrics by Peter Covino and dramaturgy by Erik Ransom, opening this month at The Clurman Theatre in Theatre Row, following a series of in-development previews.

The story begins in 1947, when southern plantation heir Julian Gray moves to Hollywood. His good looks immediately catch the attention of famed but disreputable director Hilton Wheelan, who casts him as the lead in his new film, and makeup artist Stella, with whom he shares an instant attraction. The plot thickens when Julian inherits a vanity table and mirror possessed by the spirit of a distant ancestor, who offers him eternal youth if he is willing to forgo love in pursuit of unbounded sensual pleasure. Fast forward to the 1960s; Julian and his offbeat coterie from the past, along with some curious new acquaintances, must face the ultimate consequences of his decision.

I had a chance to talk to members of the cast and team of The Vanity after their second preview performance. Director Rachel Klein, Music Director Luke Williams, and actors Patch David (Julian Gray), Brandon Haagenson (The Spirit), and Erik Ransom (Hilton Wheelan) shared their insights about the evolving show, its characters, and the protagonist’s enticing dilemma.

Deb: What is your vision of the show?

Rachel Klein. © 2011 Michael Blase.

Rachel: The Vanity is a Faustian tale whereupon Julian, the protagonist, is confronted with a choice between eternal youth and true love. It’s a straightforward concept, but what excited me most about the piece is that it’s set in the Golden Age of Hollywood, which allowed me to take risks with truly theatrical staging and larger-than-life characters. Making these over-the-top stylistic choices can be a crapshoot, but I find it to be a sandbox very much worth playing in. I sort of see it through a Pink Flamingos/Kenneth Anger/Douglas Sirk lens, a form of complex, postmodern camp, which is where the style currently sits.

The cast, Music Director Luke Williams, and the design and production team are some of the most talented people I have met, and it’s been a great experience to have the opportunity to work with them all on the development of a new project. New work is always a challenge, akin to solving a jigsaw puzzle, and although the show is currently in previews, we’re still continuing to place those pieces where they belong. I am incredibly fortunate to be working with such a wonderful group of artists, and my greatest hope is that they’re having a blast on––and off––the stage.

Luke Williams.

Luke: I’m incredibly proud of the cast, crew, and the whole production team; it has been a joy to work with these brilliant talents. Across the board, everyone has been terrific! The show is still a work-in-progress, and there has been a lot of effort going into it, but we’ve already made immense improvements, and Rachel is a paradigm of patience, hard work, and creativity.

Before I was brought into the project, there was a requirement to use every note of the score, so the orchestration had to include a lot of synthesizer. Moving forward, I’m looking for less synthesized sound and more period-style music. I love what Ilene did with her original reprise of “Prince Charming” [Ilene Kristen, the Emmy-nominated actress of stage and TV, who turns in an absolutely hilarious performance as Claudia Wheelan, the aging star and wife of Hilton]. It’s so period appropriate, it completely fits the style of the ‘40s. I like Rosalie Burke as Stella singing “What They Want”—there’s a lot of joy, and it’s also in keeping with the mood of the era. And I’m quite happy with “Wicked for a Day” [sung by the harmonious trio of Erik Ransom, Patch David, and Roger Yeh], which we adjusted a bit to fit the time and setting of the show. It brings a dose of ‘Old Hollywood’ vitality, and I like vitality!

Brandon: One of my favorite parts of doing The Vanity so far has been putting two styles next to each other: Oscar Wilde, as set in the Golden Age of Hollywood. ‘Beauty is a curse’ is explored deeply in The Picture of Dorian Gray, and 1940s/60s Hollywood has been a really fun setting in which to play with that theme.

Ilene Kristen and Erik Ransom. Photo by Nestor Correa Photography.

Erik: In the days when I was doing Coming: A Rock Musical of Bibical Proportions, Scott Johnston dubbed me the Oscar Wilde of Philadelphia, and even before that I was a big fan of Wilde and his particular brands of wit and tragedy. I know that The Picture of Dorian Gray is an oft-musicalized book, which is why I think it was important that this production went a different direction than a literal adaptation. I love the idea of setting the story in the Golden Age of Hollywood, a time and place where the themes of Dorian Gray are heightened in a different way. Obviously, I’m no stranger to kitsch and camp, and I’m thrilled that I get to inhabit such an exaggerated world in this piece.

How do you see your character?

Erik: My character Hilton Wheelan is a sort of 1940s parallel to Lord Henry from the source material–an opportunistic, libertine, pansexual film director with a Mid-Atlantic accent and plenty of snappy nasal punchlines. It’s a really fun role, and it’s been amazing working alongside such talented performers, designers, and directors. Once again, Rachel Klein has been able to work her magic, to enhance the over-the-top hilarity of this spoof on the old cinematic melodramas of the period in question.

Brandon: I play The Spirit, who is trapped in a vanity mirror and manipulates Julian, an aspiring young actor, into selling him his soul for eternal youth. The Spirit sees something of himself in Julian and someone to share in his decadence, so he entices Julian into living an indulgent carefree life. But they both learn that youth, beauty, and material pleasure are pointless without someone to share them.

Patch David and Brandon Haagenson. Photo by Nestor Correa Photography.

Patch: Julian is a true southern gentleman who wants to find love. He never moved to LA with the thought of being an actor . . . the opportunity just happened to fall into his lap. Even with all of the fame and glory, however, his main focus is to find someone to settle down with. Unfortunately, drugs, alcohol, and some unsavory characters distract him from all of that and he loses his innocence. He sells his soul to a demon in exchange for eternal youth. He cannot, however, rid his mind of the idea of true love. He is a lovely character who undergoes an incredible journey, wherein he eventually remembers that there is more to life than the way you look.

If you had the opportunity, would you take the deal that Julian was offered?

Rachel: I can’t even count the amount of times I have found myself in a sell-my-soul situation! I haven’t taken the bait just yet, but who can tell what the future holds?

Luke: I don’t think I would. Living forever sounds terrifying to me, plus it would take away the pressure of trying to do good work here and now. I think you need that fear to achieve.

Patch: Personally, I would not take the deal. I know too many amazing people in this world and I would not want to be left alone without them. I want to experience the full journey of life.

Erik: Well, this is my year of “Yes,” so I guess I’d be obliged to give the Devil his due. ?

Many thanks to all of you for your comments, as you continue to make progress towards opening night!

Rounding out the terrific cast of The Vanity in multiple roles are Remy Germinario and Kate Hoover, whose characters Declan and Betty provide some of the funniest bits in the show. The artistic design features a set and props by Joseph Croghan, lighting by Christina Watanabe, sound by Ashton Michael Corey, and choreography by Danielle Marie Fusco and Rachel Klein, who also did the costumes, all of which evoke the styles of the ‘40s and ‘60s, and the Victorian era of The Spirit.

Remy Germinario and Kate Hoover. Photo by Nestor Correa Photography.

And Luke Williams leads a top-notch live band on percussion and harp, with Brandon Sturiale on brass, Justin Fischer on strings, and Dan Pardo on woodwinds.

Running Time: At present, approximately two hours, with a ten-minute intermission.

The Vanity plays through Sunday, September 25, 2016, performing at The Clurman Theatre in Theatre Row – 410 West 42nd Street, NYC. For tickets, call (212) 239-6200, or purchase them online.

September 6, 2016
‘Snow White and the Seven Dwarves’ at The Puppet Company

The Puppet Co. presents Snow White and the 7 Dwarves, an adaptation of the Grimm’s classic with a mixed cast of actors and rod puppets. Playwright Christopher Piper uses intricately-detailed puppets and animation in this version to keep things interesting, while also celebrating the original plot.

Shayla Garfield (Snow White) with her Dwarves. Photo courtesy of The Puppet Co.

Allan Stevens is the director of this production, as well as set and costume designer. The stage (constructed by Eric Brooks, Ingrid Crepeau, and Allan Stevens) surrounds a circular frame, inside which silhouetted animation can be seen, as well as stained-glass scenery like a humble cottage and a stately castle perched atop a high, rocky cliff.

The costume that stands out the most in this production is that of the Rose Queen, who is dressed in a red-velvet cape, imperiously high collar, and towering golden crown. The menacing queen keeps her back to the audience while she is onstage, making her presence all the more ominous. In a great scene (perhaps my favorite), she uses some creative tricks to swiftly change her costume into that of an old woman wearing tattered rags (this transformation got a collective and impressed “ooooooh” from the audience).

Music and sound effects such as chirping birds and galloping horses by Eric Brooks and Lighting (again, Christopher Piper) work together to enhance the changing tones of the plot.

Performers include Christopher Piper, Allan Stevens, Shayla Garfield, and Chema Pineda-Fernandez as Snow White and her Prince. Rod puppets make up the group of dwarves, and instead of the dominant personality traits that we are used to associating with them (Grumpy, Happy, etc), each dwarf instead has a great skill. For instance, one dwarf has an exceptionally large nose, and with it, an extremely keen sense of smell. This follows with a dwarf with humongous ears and the hearing to match, one with protuberant eyes, and so forth. They work together with their super-abilities to try and protect Snow White from the queen’s wrath… ultimately in vain, as Snow White’s kind and gentle nature makes her easy prey. Can the prince save his beloved?

The acting is fair enough to get the story across, though at my performance, it could have used some polishing. The exceptional aspects of this show are, by far, the puppets; each made with detailed, unique traits and expertly maneuvered by the puppeteers. You may notice that the same names keep reappearing in all sorts of both technical and creative roles; The Puppet Company is made up of a tight-knit group of talented people who spread out an exhaustive workload among each other to bring about fantastic productions, and I am always impressed by their results.

Treat your family to an afternoon showing of The Puppet Company’s Snow White and the 7 Dwarves. You will have a great time!

Running Time: 40 minutes, without an intermission.

Snow White and the Seven Dwarves plays through August 9, 2015 at The Puppet Company – 7300 MacArthur Blvd., in Glen Echo, MD. For tickets, call (301) 634-5380 or purchase them online.

RATING:

July 2, 2015
‘Cinderella’ at The Puppet Co.

The Puppet Co. presents Cinderella, arguably the world’s most beloved fairy tale, with over thirteen hundred different versions of this story spread over countries and cultures. One thing about The Puppet Company that I have always loved is their affinity for the older, lesser-known versions of our childhood favorites, and such is the case with this version, set in the opulence of 17th century France.

Photo courtesy of The Puppet Co.

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

As I always find when I visit The Puppet Co., the puppets are real pieces of art. I especially loved the when they are dressed up with elaborate dresses for the masquerade ball (common in 17th century Paris, and a delightful scene in this production). Though, as beautiful as the dresses are, they do not soften the mean, pinched faces of Cinderella’s stepmother or her stepsisters, Mimi and Fifi, who order Cinderella around amidst fits of shallow, ridiculous hysteria.

The sisters are used for comedy in this production, screeching at each other and fumbling about as they hurry along in a harried state, squabbling over ribbons and other frivolities. Cinderella, on the other hand, is of course sweet and virtuous, tending to a lost wanderer who seeks refuge in their home before her snobbish stepsisters throw him out. Impressed with her kindness, he asks Cinderella to save a dance for him at the ball, and she gladly accepts. It may turn out, however, that he is not who he seems to be.

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

This production of Cinderella will give your children (and yourself!) a different angle of the classic, both in the sense that it’s told through puppetry as well as the aged elegance of the time and setting. Treat your family to a new twist on an old favorite…you’ll enjoy it!

Running Time: 45 minutes, without an intermission.

Cinderella plays through June 21, 2015 at The Puppet Co.—7300 MacArthur Boulevard, in Glen Echo, MD. For tickets, call (301) 634-5380, or order them online.

RATING:

May 13, 2015
‘Into the Woods’ at Annapolis Summer Garden Theatre by Amanda Gunther

“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 Woods plays 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.

August 2, 2013
‘Cinderella’ at The Puppet Co. by Julia L. Exline

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

The Prince and Cinderella. Photo by Christopher Piper.

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

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

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

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

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

Running Time: 45 minutes, without an intermission.

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

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

April 27, 2013