DC Theater Arts

Tag: The Wild Party

  • Review: ‘The Wild Party’ by Ovations Theatre Senior Company

    Review: ‘The Wild Party’ by Ovations Theatre Senior Company

    By Andy Arnold

    Ovations Theatre’s Senior Company ended the 2017-2018 season with Andrew Lippa’s The Wild Party playing June 15 – 17. And what a party it was thanks to Darnell Patrick Morris’ direction, Theresa Cunningham’s vocal direction, Robert Mintz’s choreography and a superb cast that played far more mature than it was. Morris doubled as the costume designer and his bloomers, flappers, and feather headbands for the women were fine. The men could have used more variety with straw hats of the era or a Good Time Charlie suit thrown in for variety.

    Ovations Theatre Senior Company concluded its 2017-2018 season with Andrew Lippa's Wild Party. Photo by Lock & Company.
    Ovations Theatre Senior Company concluded its 2017-2018 season with Andrew Lippa’s The Wild Party. Photo by Lock & Company.

    The musical is based on a book-length poem published by Joseph Moncure March in 1928. Drinking alcohol was prohibited by federal law in 1920. To set some context: Prohibition (the prohibition of alcohol) opened the door to organized crime. Women won the right to vote in 1920, and the U.S. economy was still roaring following the First World War.

    The poem and musical are set in decadent Manhattan, where sin, sex, drugs, and rock and, uh, jazz, are religious activities for some. The mindset is “live for the moment.” These folks are going to Hell and enjoying the trip.

    Stage Manager Jenna Ballard’s wheeled props and ensemble members working with production assistants to move sets worked. The seven-member orchestra never missed a beat. The students did a wonderful job of creating a 1928 Manhattan apartment party in a Rockville auditorium for an evening. For the moral purists out there who want to argue children shouldn’t do this sort of thing, my reply is that it is called performing. And these players did an outstanding job at it.

    Recent graduate Yasmin Ranz-Lind portrayed Queenie. A fantastic singer, Ranz-Lind also brought acting and attitude to the role of a hard-drinking vaudeville dancer living on the downside of a relationship with an abusive, but popular with the ladies, vaudeville clown named Burrs (Sam Nasar, another recent grad).

    “Queenie was a Blonde” opens the show with the male members of the company in their newsboy outfits, swooning with delight. Ranz-Lind was excellent in the song. “…With those shoulders, What a back she had, Her legs were built to drive men mad…” she sang introducing herself and a men’s chorus repeated. “She liked her lovers violent, And she liked her lovers vicious, But until she found the one man, Who could answer all her wishes, Queenie was sexually ambitious…”

    Yasmin Ranz-Lind as Queenie in Wild Party. Photo by Lock & Company.
    Yasmin Ranz-Lind as Queenie in Wild Party. Photo by Lock & Company.

    But the latter part of the song explains her relationship with Burrs: “And, yes, he played the girlie game, But behind the scenes; He was mean and rough, He was mean and rough, He was made of vile and violent stuff, They liked him tough.”

    That lasted until the next number when a bored Queenie sets out to hurt the object of her desire with a party to end all parties. Fed up with the depraved life she lives and the emotional and physical pain Burrs puts her through, she decides to throw the party to shake things up a little. Burrs agrees and they invite a whole slew of colorful characters to their home.

    The party features boot-legged liquor, dames offering some hip-grinding dances for the few men in attendance, cocaine and horny lesbian Madelaine True (Amanda Primosch) who can’t find a date in spite of the great number of women.

    Queenie wants to make Burrs jealous. Her plan works too well when a high-priced hooker, Kate (Meghan Carey) shows up with a recently found boy-toy, Mr. Black, played by Jonah Swartz, who is completing his sophomore year in high school. Queenie goes a little too far and begins to fall in lust for Black. Burrs rejects Kate’s best plays, his jealousy becomes too much for him, and he turns to violence.

    Carey, an Ovations vet, with another year of high school to complete, threatened to steal the show in the role of Kate with her performance of Life of the Party opening act two. Kate is the nemesis to Queenie. The ladies, Burrs, and Black form a forbidden love rectangle essential to the story.

    Oscar (Declan Feldhusen), Phil (Max Grecht), Queenie, and Burrs are hilarious in “A Wild, Wild Party.” The song turns a disrespectful sway on the creation story. Primrosch as Madelaine also brings the house down with “Old Fashion Love Story.”

    Bravo to everyone involved in this production.

    Running Time: Two hours, with one fifteen-minute intermission.

    The Wild Party, presented by Ovations Theatre Senior Company, plays through June 17, 2018, at Kreeger Auditorium, 6126 Montrose Road, Rockville, MD. For tickets, call the box office at (301) 881-0100, or purchase them online.

  • Review: ‘The Wild Party’ at Constellation Theater Company

    Review: ‘The Wild Party’ at Constellation Theater Company

    In 1928, Joseph Moncure March wrote a racy narrative poem that was received quite successfully, despite a ban resulting from its controversial content, called “The Wild Party.” And in 2000, a musical of the same name, with books, lyrics, and music by Andrew Lippa, made its world-premiere. With the original poem as its inspiration, the musical centers around two insatiable lovers, Queenie and Burrs, and the raging party they throw.

    Emily Zickler, Jimmy Mavrikes, Farrell Parker, Tiziano D’Affuso, Patricia “Pep” Targete. Photo by Daniel Schwartz.

    Constellation Theatre Company opened Lippa’s The Wild Party on Monday and their production more than lives up to the title. Director Allison Arkell Stockman has put together a cast that is stacked with talent. And a live band performs the Jazz Age styled score, with Walter “Bobby” McCoy conducting. McCoy also served as Musical Director for the production, with superb sound design by Justin Schmitz. Put all of that together and you get two and a half hours of high-energy, jaw-dropping performances that blow the roof right off the joint.

    Scenic Designer, Tony Cisek, created a fantastic set with pieces that roll in and out as needed. The band sits upstage on a raised platform, walled in by ornate panels and a beaded curtain doorway that become partially transparent and appear to change color when lit by A. J. Guban’s stunning light design.

    Dynamic choreography by Ilona Kessell fits perfectly with the fluctuations of the show’s tone – from couples dancing lively to writhing in sexual ecstasy – and includes the use of a rotating bed and some creative, sensual bed-ography.
    The couple at the center of it all is Queenie (Farrell Parker) and Burrs (Jimmy Mavrikes). “Queenie Was A Blonde” opens the show and lays out the groundwork. Both are vaudeville performers (Queenie is a dancer; Burrs is a clown) with no shortage of admirers. After many lovers that never quite satisfy, they finally find each other and fireworks ensue.

    Ian Anthony Coleman and Farrell Parker. Photo by Daniel Schwartz.

    Burrs has a tendency towards violence, which originally attracts Queenie but, after a time, she tires and their relationship grows stale. In an attempt to reignite the passion that brought them together, Queenie suggests throwing a party, with “Out of the Blue,” and Burrs readily agrees.

    An eclectic group of characters surge in with the company number, “What A Party,” and Queenie appears as the belle of the ball to work and woo the crowd. Parker’s subtle but stunning voice matches Queenie’s character. She floats through the scene and the attention flocks to her. But despite Queenie’s efforts to incite a reaction in Burrs, he immediately seeks out the fresh meat, which comes in the form of Nadine (Patricia ‘Pep” Targete), a lovely, naïve, under-aged girl. Queenie quickly finds her means for revenge and hones in on seducing a new party arrival, the dashing Mr. Black (Ian Anthony Coleman). But the tit-for-tat jealousy battle does not end there. Black has arrived with Kate (Kari Ginsburg), an old friend of Queenie’s, who sees right through Queenie’s game and in-turn decides to seduce Burrs.

    But that is only the beginning. The party is fraught with scuffles and hookups, as booze and debauchery lead the way. There is never a question of if something will go wrong, but merely when, what, and how.

    Mavrikes, as Burrs, exudes passion and is a master of the intense, seductive stare, offering no question to why women melt in his arms. His voice is incredibly powerful and clear, causing a collective exhalation from the audience each time a song ends.

    Parker plays Queenie’s coldness with perfection. She uses her sexual nature and appeal to get what she wants (if only she could figure out what that was). And, together, Mavrikes and Parker make a couple with sizzling chemistry that seems neither healthy not sustainable, but still altogether irresistible.

    Ginsburg as Kate is a complex character with her confident persona at war with her self-deprecating tongue. She truly cares for Burrs and her journey is a heartbreaking one to watch. Ginsburg has her own killer set of pipes, as proven when she first bursts into the party singing “Look at Me Now.”

    Emily Zickler, James Finley, Tiziano D’Affuso, Calvin Malone, Christian Montgomery, Julia Klavans. Photo by Daniel Schwartz.

    Madelaine True, played by Rachel Barlaam, is a lesbian on the prowl. She sings of her desires to find a lover in “An Old-Fashioned Love Story.” Barlaam’s vocal command, combined with her comedic brilliance, made this number perfectly outrageous and incredible. Barlaam plays the raunchy side of True but with such an endearing, love sick-way that the audience can’t help but hope she finds someone to stumble home with her.

    Then there’s Eddie (Calvin Malone), the pugilist, and his doll-face woman, Mae (Emily Zickler). Malone and Zickler make an adorable couple: One slays with beauty, the other with brawn. They’re like that couple, who borders on nauseating but you can’t help but love them because they’re so perfect. They sing the upbeat “Two of a Kind.”

    Phil and Oscar d’Armano, played by Tiziano D’Affuso and Christian Montgomery respectively, are the composer/brother/lover duo who are trying to convince producer, Sam (James Finely), to have a look at their work. In the spectacularly funny number, “The Wild, Wild Party,” they finally get their chance. Burrs and Queenie play Adam and Eve, while one of the partygoers, Max (Carl Williams), does the most fabulous portrayal of God that ever was.

    Lippa’s The Wild Party is a non-stop ride of a musical, and Constellation Theatre Company’s production is bursting with life. The show is fun and uplifting, while simultaneously dark and deeply heart-breaking. By no means considered a feel-good show, the musical will leave you feeling sated and inspired. The gorgeous score is reason enough, but knockout performances of the ensemble make witnessing this show a must.

    Kudos to the cast and crew of Constellation for an outstanding production. You have indeed put on a wild, wild party!

    Running Time: Two hours and 30 minutes, including one intermission.

    The Wild Party plays through October 29, 2017 at Constellation Theatre Company performing at Source Theater – 1835 14th Street, in Washington D.C. For tickets, buy them at the door, or purchase them online.

    NOTE: Recommended for ages 18 and up.

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  • Review: ‘Side Show’ at The Media Theatre

    Review: ‘Side Show’ at The Media Theatre

    Come look at the freaks
    Come gape at the geeks
    Come examine their aberrations

    Is this any way to begin a Broadway musical? Well, if the subject matter is any individual who has been the victim of prejudice, ostracism, or even the feeling of not fitting in or wanting to belong, then yes. Side Show, with book and lyrics by Bill Russell and music by Henry Kieger, is an extremely necessary piece of work. Though it debuted on Broadway in 1997, it is only now receiving it regional professional premiere at the Media Theatre. The Media spends most of its season presenting classic crowd pleasers, but it should be noted that dedicated theater lovers have been able to see Thrill Me, The Wild Party, The Desert Song, and Dogfight in this historic building. Thanks are due to Artistic Director Jesse Cline, who has presented memorable productions of all of these.

    Jenna Pastuszek and Ashley Sweetman (center), Bob Stineman (lower right), and Company. Photo by Maura McConnell.
    Jenna Pastuszek and Ashley Sweetman (center), Bob Stineman (lower right), and Company. Photo by Maura McConnell.

    Side Show tells the story of the Hilton Sisters (1908 – 1969), two twins who were joined at the hip. A surgery was never performed because it was felt that it might kill one or both of them. Forced to live every moment together, they developed very different personalities. Violet (Ashley Sweetman) longs for a simple, quiet life, while Daisy (Jenna Pastuzek) wants fame and excitement. The times (the 1920s and the Depression) being what they are, the only work they can find is being gawked at in sideshows or in vaudeville, which turns out to be only an upper class freak show. The two actresses are totally convincing as sisters, talented singer/dancers, and conjoined twins. Their performance of the theme song “I Will Never Leave You” or the unforgettable “Who Will Love Me As I Am?” creates powerful audience sympathy and identification.

    The supporting cast is first-rate as well. Darnell Abraham, as the sisters’ guardian and best friend, Jake, strikes sparks when he tries to convince the girls not to leave the sideshow with “The Devil You Know.” Later, he tragically answers their question with one of the scores most moving moments, “You Should Be Loved”. Two promoters, the shy and secretly gay Buddy (Derek Basthemer) and the more cynical Terry (Bob Stineman), oversee the sisters’ rise to fame. These actors manage to be likable in spite of the fact that the characters are obviously using the girls for their own financial gain. Brian Michael Henry, as fellow vaudeville performer Harry Houdini, beautifully renders the song “All in the Mind,” while Kelly Briggs is a malevolent presence as the girls’ abusive stepfather. The ensemble makes a strong contribution as reporters, bystanders, and various sideshow freaks.

    Bob Stineman, Jenna Pastuszek and Ashley Sweetman. Photo by Maura McConnell.
    Bob Stineman, Jenna Pastuszek, and Ashley Sweetman. Photo by Maura McConnell.

    The Media Theatre’s production uses the songs and script from the 2014 Broadway revival version of Side Show, with additional book material by Bill Condon. Owners of the original cast album will notice that nearly half the songs have been eliminated and replaced by equally excellent numbers that better define the characters and the period. This includes a long sequence telling the sisters’ fascinating backstory. (However, I missed the horrific “Tunnel of Love,” which was a highlight of the original production.) Lyricist Russell goes right to the agonizing heart of the situation with new, chipper vaudeville numbers such as “Very Well-Connected” and “Stuck With You” (where “you” rhymes with “glue”). Composer Krieger (of Dreamgirls fame) captures all of the offstage angst and is a skilled pastiche artist with the many onstage numbers.

    Director Cline, abetted by Scenic Designer Matthew Miller, actually creates a sideshow atmosphere. The audience walks through the deserted theater, past historical sideshow banners, onto the stage, which has been converted into a tent-like atmosphere with chairs on risers. Slides projected on a large screen set the scenes, while historical photographs of real sideshows remind us that this is a part of our shameful history. Troy Martin O’Shia’s lighting not only skillfully lights the stage, but also creates a carnival-like atmosphere for the audience. Jennifer Povish’s costumes carefully span the eras from Mary Pickford to Jean Harlow, while Patricia DelSordo’s wigs complete the illusion. Dann Dunn’s choreography works for both the jovial vaudeville songs and the more sensuous “Private Conversation.”

    Carl Park’s sound design does not use body microphones. This offers the rare opportunity to hear the human voice unadorned. The three-quarter staging and the subdued musical direction of Christopher Ertelt result in a “chamber” Side Show that is much more intimate that the original production. During the quieter moments, I actually had to lean in to catch the lyrics. Bravo!

    Side Show plays through March 26th. Catch it now, for who knows when it will be presented again? This is one production you do not want to miss!

    Running Time: 2 hours and 30 minutes, with an intermission.

    Jenna Pastuszek and Ashley Sweetman. Photo by Maura McConnell.
    Jenna Pastuszek and Ashley Sweetman. Photo by Maura McConnell.

    Side Show plays through Sunday, March 26, 2017, at the Media Theatre – 104 East State Street in Media, PA. For tickets call the box office at (610) 891-0100, or purchase them online.

  • DCMetroTheaterArts’ Best of 2016 #7: Best Performances and Ensembles in Musicals in Professional Theaters in DC/MD/VA

    DCMetroTheaterArts’ Best of 2016 #7: Best Performances and Ensembles in Musicals in Professional Theaters in DC/MD/VA

    Here is the staff of DCMetroTheaterArts’ Best of 2016 #7: Best Performances in Musicals in Professional Theaters in DC/MD/VA:

    Scean Aaron as Riff Raff in The Rocky Horror Show at Iron Crow Theatre.

    Scott Ward Abernethy as Doctor Madden in Next to Normal at The Keegan Theatre.

    Nicklas Aliff as Caldwell B. Cladwell in Urinetown at Constellation Theatre Company.

    Hasani Allen as J.D. in Heathers at Red Branch Theatre Company.

    Robert Ariza as Che in Evita at Olney Theatre Center.

    Jessica Lauren Ball as Belle in Disney’s Beauty and the Beast at Imagination Stage.

    Henry Baratz as Colin Craven in The Secret Garden at Shakespeare Theatre Company.

    Andrew Baughman as Fred Graham/Petruchio in Kiss Me Kate at Washington County Playhouse Dinner Theater and Children’s Theater.

    Shannen Banzhoff as Louise in Gypsy at Washington County Playhouse Dinner Theater and Children’s Theater.

    Jessica Bennett as Kate in The Wild Party at Iron Crow Theatre.

    Jenna Berk as Little Sally in Urinetown at Constellation Theatre Company.

    Iyona Blake as Caroline Thibodeaux in Caroline, or Change at Creative Cauldron.

    Heidi Blickenstaff as Katherine Blake in Freaky Friday at Signature Theatre.

    Kelli Blackwell as Motormouth Maybelle in Hairspray at Toby’s Dinner Theatre. 

    Kaylee Bloom as Jo-Jo in Seussical The Musical at Children’s Theatre of Annapolis.

    Kurt Boehm as Enoch Snow in Carousel at Arena Stage.

    Allison Bradbury as Queenie in The Wild Party at Iron Crow Theatre.

    Megan Bunn, Tiara Whaley, and Geocel Batista as the Three Heathers in Heathers at Red Branch Theatre Company.

    Ryan Burke as Stone in City of Angels at NextStop Theatre Company.

    Evan Casey as Floyd Collins in Floyd Collins at 1st Stage.

    Teresa Castracane as Susannah Mullally in Black Pearl Sings! at MetroStage.

    Reilly Claxton as Gertrude McFuzz in Seussical The Musical at Children’s Theatre of Annapolis.

    JP Coletta as Jerry Lee Lewis in Million Dollar Quartet at Infinity Theatre Company.

    Brevan Collins as King Triton and Chef Louie in Disney’s The Little Mermaid at Mount Vernon Community Children’s Theatre.

    Annlouise Conrad as Ursula in Disney’s The Little Mermaid at Mount Vernon Community Children’s Theatre.

    Amanda Jane Cooper as Galinda in Wicked at The Kennedy Center.

    Ben Crawford as Starbuck in 110 in the Shade at Ford’s Theatre.

    Teresa Danskey as Nellie Forbush in South Pacific at Toby’s Dinner Theatre.

    Katie Davis as Mabel in The Pirates of Penzance at Shenandoah Summer Music Theatre.

    Aaron De Jesus as Frankie Valli in Jersey Boys at Hippodrome Theatre.

    Wyn Jake Delano as Jud Fry in Oklahoma! at Riverside Center for the Performing Arts.

    Cleavant Derricks as Chimney Man in Jelly’s Last Jam at Signature Theatre.

    Susan Derry as Mary Shelley in Monsters of the Villa Diodati at Creative Cauldron.

    Matt Dewberry as Officer Lockstock in Urinetown at Constellation Theatre Company.

    Marcus Dowd as Ralphie, in A Christmas Story, The Musical at Riverside Center for the Performing Arts.

    Caroline Dubberly as Natalie Goodman in Next to Normal at The Keegan Theatre.

    Daisy Eagan as Martha in The Secret Garden at Shakespeare Theatre Company.

    Christine Nolan Essig as Penelope Pennywise in Urinetown at Constellation Theatre Company.

    Julia Fanzeres as Eve/Mama Noah in Children of Eden at Young Artists of America at Strathmore.

    Crystal Freeman as Bloody Mary in South Pacific at Toby’s Dinner Theatre.

     Bobby Gallagher as Japheth in Children of Eden at Young Artists of America at Strathmore.

    Eleasha Gamble as the Baker’s Wife in The Fiasco Theater’s Into the Woods at The Kennedy Center.

    J. Harrison Ghee as Lola in Kinky Boots at The Kennedy Center.

    Kari Ginsburg as Diana Goodman in Next to Normal at The Keegan Theatre.

    Ari Goldbloom-Helzner as Adam/Noah in Children of Eden at Young Artists of America at Strathmore.

    Andrea Goss as Sally Bowles in Cabaret at The Hippodrome.

    Christie Graham as Tracy Turnblad in Hairspray at Toby’s Dinner Theatre. 

    Leo Grinberg as Frank ‘N’ Furter in The Rocky Horror Show at Iron Crow Theatre.

    Sylvern Groomes, Jr. as Black in The Wild Party at Iron Crow Theatre.

    Ryan Haase as William Barfee in The 25th Annual Putnam County Spelling Bee at StillPointe Theatre Initiative.

    Kathy Halenda as Lita Encore in Ruthless! The Musical at Creative Cauldron.

    Kathy Halenda as Aunt Eller in Oklahoma! at Riverside Center for the Performing Arts.

    Randy Harrison as The Emcee in Cabaret at The Hippodrome Theatre.

    Russell Harvard as Tommy in The Who’s Tommy at Open Circle Theatre.

    Tracy Haupt as Janet in The Rocky Horror Show at Maryland Ensemble Theatre.

    Will Hayes as The Voice of Tommy in The Who’s Tommy at Open Circle Theatre.

    Corey Hennessey as The Narrator in Murder Ballad at StillPointe Theatre Initiative.

    Karen Heyser-Paone as Rose in Gypsy at Washington County Playhouse Dinner Theater and Children’s Theater.

    Autumn Seavey Hicks as Mrs. Walker in The Who’s Tommy at Open Circle Theatre.

    Matthew Hirsh as Frank Abagnale, Jr. in Catch Me If You Can at NextStop Theatre Company.

    Alan Hoffman as Ali Hakim in Oklahoma! at Riverside Center for the Performing Arts.

    Emma Hunton as Ellie Blake in  Freaky Friday at Signature Theatre.

    Erich Izdepski as George Banks in Mary Poppins at Encore Stage & Studio.

    Molly Janiga as Heather in American Idiot at The Keegan Theatre.

     Kristen Jepperson as Winifred Banks in Mary Poppin at Encore Stage & Studio.

    Ashley Johnson as Deloris Van Cartier in Sister Act at Toby’s Dinner Theatre.

    Eric Jones as Frank ‘N’ Furter in The Rocky Horror Show at Maryland Ensemble Theatre.

    Nicole Jones as Ariel in Disney’s The Little Mermaid at Mount Vernon Community Children’s Theatre.

    Anne Kanengeiser as Madame Giry in The Phantom of the Opera at The Kennedy Center. 

    Isabel Keating as Madame Morrible in Wicked at The Kennedy Center.

    Katie Keyser as Gabby in City of Angels at NextStop Theatre Company.

    Katie Keyser as Hope Cladwell in Urinetown at Constellation Theatre Company.

    Lizzie Klemperar as Lily Craven in The Secret Garden at Shakespeare Theatre Company.

    Manu Kumasi as Absalom Kumalo in Lost in the Stars at Washington National Opera.

    David Landstrom as Gabe in Next to Normal at The Keegan Theatre.

    Nick Lehan as Harold Bride and William Hartley in Titanic The Musical at Signature Theatre.

    Bobby Libby as Stine in City of Angels at NextStop Theatre Company.

    Aarron Loggins as ASL Cousin Kevin, and Carl Williams as Cousin Kevin in The Who’s Tommy at Open Circle Theatre.

    John Loughney as Buddy Fidler in City of Angels at NextStop Theatre Company.

     Sam Ludwig as Frederick Barrett and Benjamin Guggenheim in Titanic The Musical at Signature Theatre.

    Brian Lyons-Burke as King Arthur in Monty Python’s Spamalot at Way Off Broadway Dinner Theatre & Children’s Theatre.

    Chris Mann as The Phantom in The Phantom of the Opera at The Kennedy Center. 

    Laura J. Martin as Lilli Vanessi and Katherine in Kiss Me Kate at Washington County Playhouse Dinner Theater and Children’s Theater.

    Dave Martinek as Horton in Seussical The Musical at Children’s Theatre of Annapolis.

    Justin Mazzella as Burrs in The Wild Party at Iron Crow Theatre.

    Kevin McAllister as File in 110 in the Shade at Ford’s Theatre.

    Darius McKeiver as Loganne Schwartzandgrubenierre in The 25th Annual Putnam County Spelling Bee at StillPointe Theatre Initiative.

    Katie McManus as Oolie in City of Angels at NextStop Theatre Company.

    Katie McManus as Judy Denmark in Ruthless! The Musical at Creative Cauldron.

    Mark G Meadows as Jelly Roll Morton and Elijah Mayo as Young Jelly Roll Morton in Jelly’s Last Jam at Signature Theatre.

    Todd Meredith as Buddy Holly in The Buddy Holly Story at Riverside Center for the Performing Arts.

    Lee Merriman and Russell Nye as the Gangsters in Kiss Me Kate at Washington County Playhouse Dinner Theater and Children’s Theater.

    Vaughn Ryan Midder as Bobby Strong in Urinetown at Constellation Theatre Company.

    Christian Montgomery as St. Jimmy in American Idiot at The Keegan Theatre.

    Christian Montgomery as Henry in Next to Normal at The Keegan Theatre.

    Lawrence B. Munsey as Edna Turnblad in Hairspray at Toby’s Dinner Theatre. 

    Alan Naylor as Sylvia St. Croix in Ruthless! The Musical at Creative Cauldron.

    Mackenzie Newbury as Brenda in Catch Me If You Can at NextStop Theatre Company.

    E. Lee Nicol as The Beast in Disney’s Beauty and the Beast at Charm City Players.

    Henry Niepoetter as James in James and the Giant Peach at Adventure Theatre.

    Tracy Lynn Olivera as Lizzie Curry in 110 in the Shade at Ford’s Theatre.

    Tracy Lynn Olivera as Alice Bean in Titanic The Musical at Signature Theatre.

    Eric Owens as Stephen Kumalo in Lost in the Stars at The Kennedy Center.

    Jobari Parker-Namdar as Lumiere in  in Disney’s Beauty and the Beast at Imagination Stage.

    Belle Perkins as The Vixen in Snow White at Encore Stage & Studio.

    DJ Petrosino as Jacob in La Cage aux Folles at Signature Theatre.

    Lawrence Redmond as J. Bruce Ismay in  Titanic The Musical at Signature Theatre.

    Ayana Reed as Carrie in Blackberry Daze at MetroStage.

    Vanessa Reseland as the Witch in The Fiasco Theater’s Into the Woods at The Kennedy Center.

    Russell Rinker as The Old Man in A Christmas Story, The Musical at Riverside Center for the Performing Arts.

    Russell Rinker as Carl Hanratty in Catch Me If You Can at NextStop Theatre Company.

    Russell Rinker as Emile de Becque in South Pacific at Toby’s Dinner Theatre.

    Kate Rockwell as Carrie Pipperidge in Carousel at Arena Stage..

    Nicholas Rodriguez as Billy Bigelow in Carousel at Arena Stage.

    Anya Rothman as Mary Lennox in The Secret Garden at Shakespeare Theatre Company.

    Matthew Schleigh as The Prince/The Beast in Disney’s Beauty and the Beast at Imagination Stage.

    Kyle Schliefer as Jigger Craigin in Carousel at Arena Stage.

    Allison Semmes as Diana Ross in Motown: The Musical at Hippodrome Theatre.

    Thomas Adrian Simpson as Professor Henry Higgins in My Fair Lady at Riverside Center for the Performing Arts.

    Bobby Smith as Albin/Zaza in La Cage aux Folles at Signature Theatre.

    Bobby Smith as Thomas Andrew in Titanic The Musical at Signature Theatre.

    Lynn Sharp-Spears as Mother Superior in Sister Act at Toby’s Dinner Theatre.

    Yvette Spears as Pearl in Blackberry Daze at MetroStage.

    Russell Sunday as Sweeney Todd and Janine Sunday as Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street at Red Branch Theatre Company.

    Elizabeth Stanley as Francesca and Andrew Samonsky as Robert in The Bridges of Madison County at The Kennedy Center.

    John Sygar as Homer Collins in Floyd Collins at 1st Stage.

    Emily L. Taylor as Belle in  Disney’s Beauty and the Beast at Charm City Players.

    Frankie Thams as Frederic in The Pirates of Penzance at Shenandoah Summer Music Theatre.

    Ethan Van Slyke as Noah Gellman in Caroline, or Change at Creative Cauldron.

    Dawn Ursula as Grace Kumalo in Lost in the Stars at the Kennedy Center.

    Quinn Vogt-Welch as Eliza Doolittle in My Fair Lady at Riverside Center for the Performing Arts.

    Jessica Vosk as Elphaba in Wicked at The Kennedy Center.

    Tori Weaver as Lady of the Lake in Monty Python’s Spamalot at Way Off Broadway Dinner Theatre & Children’s Theatre.

    Chad Wheeler as Dan Goodman in Next to Normal at The Keegan Theatre.

    Aidan White as Sebastian in Disney’s The Little Mermaid at Mount Vernon Community Children’s Theatre.

    Roz White as Alberta “Pearl” Johnson in Black Pearl Sings! at MetroStage.

    Laura Whittenberger as Johanna in Sweeney Todd: The Demon Barber of Fleet Street at Red Branch Theatre Company.

    Matthew R. Wilson as the Major General in The Pirates of Penzance at Shenandoah Summer Music Theatre.

    Juan Winans as BeBe Winans and Deborah Joy Winans as CeCe Winans in  Born for This: The BeBe Winans Story at Arena Stage.

    Kirsten Wyatt as Tammy Faye Bakker in Born for This: The BeBe Winans Story at Arena Stage.

    Rachel Zampelli as Eva Peron in Evita at Olney Theatre Center.

    ____

    BEST ENSEMBLES OF 2016:

    Black Nativity at Theater Alliance: Catrina Brenae, Frank Britton, Demitrus (Demie) Carter, Amaiya Holley, Jocelyn Jenkins, Derrionne Key, Branden Mack, Shanté M. Moore, R. Joshua Reynolds, and Awa Sal Secka.

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    Come From Away at Ford’s Theatre: Jane Bunting, Geno Carr, Jenn Colella, Joel Hatch, Rodney Hicks, Kendra Kassebaum, Alyssa Wilmoth Keegan, Chad Kimball, Lee MacDougall, Kevin McAllister, Happy McPartlin, Caesar Samayoa, Q. Smith, Astrid Van Wieren, Sharon Wheatley, and Harry A. Winter.

    ____

    The Hypocrites’ Production of The Mikado at Olney Theatre Center: Mario Aivazian, Kate Carson-Groner, Eduardo Xavier Curley-Carrillo, Matt Kahler, Brian Keys, Amanda Raquel Martinez, Tina Munoz-Pandya, Dana Omar, Shawn Pfautsch, and Lauren Vogel.

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    James and the Giant Peach at Adventure Theatre: Eli Shulman, Henry Niepoetter, Keith Richards, Karen Vincent, Awa Sak Secka, Suzanne Stanley, Jimmy Mavrikes, Joshua Simon, Emily Zickler, and Tobias Young.

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    Knuffle Bunny at Adventure Theatre: Scott Harrison, Suzanne Lane, Emily Zickler, Simone Lewis, and John Sygar.

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    Monsters of the Villa Diodati at Creative Cauldron: Susan Derry, Catherine Purcell, David Landstrom, Alan Naylor, and Sam Ludwig

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    Next to Normal at The Keegan Theatre: Kari Ginsburg, Chad Wheeler, David Landstrom, Caroline Dubberly, Christian Montgomery, and Scott Ward Abernathy.

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    Over Her Dead Body at Pinky Swear Productions at The 2016 Capital Fringe Festival: James Finley, Karen Lange, Rebecca Phillips, Rebecca Speas, Brittany Alyse Willis, Dead Men’s Hollow.

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    Shake Loose at MetroStage: Anthony Manough, Roz White, Lori Williams, Roz White, and Rayshun Lamarr. 

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    The Mystery of Edwin Drood (Symphonic Metal Version) at Landless Theatre Company: Alexis Turbat, Andrew Lloyd Baughman, Ally Jenkins, Andre Brown,Shaina Kuhn, Karissa Swanigan, Jason Hoffman, Matt Baughman, Mary Patton, Eric Jones, Dylan Ngo, and Malcolm Lee.

    ____

    Nick Fruit, Nick Fruit, Leo Grinberg, Brice Guerriere, Danielle Harrow, Kelly Hutchison, Nancy Linden, Chelsea Paradiso, Emily Small, Eduard Van Osterom.

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    The Secret Garden at Shakespeare Theatre Company: Alex Alferov, Brittany Baratz, Henry Baratz, Jared Michael Brown, Mary Jo Dugaw, Daisy Eagan, Catherine Flye, Jason Forbach, Charlie Franklin, Sean G. Griffin, Lizzie Klemperer, Maya Maniar, Happy McPartlin, Anya Rothman, Greg Stone, Hayley Travers, Vishal Vaidya, Ethan Watermeier, Billie Wildrick, Michael Xavier, and Josh Young.

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    The Who’s Tommy at Open Circle Theatre: Russell Harvard, Will Hayes, Autumn Seavey Hicks, Malcolm Lee, Carl Williams, Aarron Loggins, Mikey Cafarelli, Maggie Leigh Walker, Molly Janiga, Chloe Mitchiner, Kira Mitchiner, Joey antonion, Elver Ariza-Silva, Rachel Barlaam, Jen Bevan, Tina Ghandchilar, JP Illarramendi, Christian Kelly, Monica Lijewski, Jackie Madejski, Amy Maniscalco, Jose Martinez, Edward C. Nagel, D’Arcee Charington Neal, Lynley Peoples, Michelle Mary Schaefer, andEric Teran.

    ____

    The Wild Party at Iron Crow Theatre: Scean Aaron, Allison Bradbury, Jessica Bennett, Adam Cooley, Kathryne Daniels, Terrance Fleming, Fred Fletcher-Jackson, Nick Fruit, Sylvern Groomes Jr., Brice Guerriere, Rose Hahn, Valerie Holt, Jesse Marciniak, Justin Michael Mazzella, and Emily Small.

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    Titanic The Musical at Signature Theatre: Hasani Allen, Iyona Blake, Christopher Bloch, E.J. Smith, Sean Burns, Matt Conner, Erin Driscoll, Jamie Eacker,Katie McManus, Nick Lehan, Florence Lacey, Sam Ludwig, Kevin McAllister, Katie McManus, Christopher Mueller, Tracy Lynn Olivera, Lawrence Redmond, Chris Sizemore, Charles Clarke, Bobby Smith, Stephen Gregory Smith, Russell Sunday, and John Leslie Wolfe.

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    HOW WE SELECTED OUR HONOREES

    DCMetroTheaterArts writers were permitted to honor productions and concerts, dance, and operas that they saw and reviewed and productions and concerts and dance performances that they saw but did not review. Every honoree was seen. These are not nominations. There is no voting.

    The staff is honoring productions, performances, direction, and design in professional, community, university, high school, and children’s theatres, and are also honoring the same in musical venues. We are honoring work in Washington, DC, Maryland, Virginia, Philadelphia, PA, New Jersey, and Delaware.

    LINKS:
    DCMetroTheaterArts’ Best of 2016 #1: Best Musicals in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #2: Best Musicals In Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #3: Best Musicals in Professional Theaters in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #4: Best Plays in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #5: Best Plays In Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #6: Best Plays in Professional Theaters in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #7: Best Performances and Ensembles in Musicals in Professional Theaters in DC/MD/VA.

    The Complete List of The ‘Best of 2015’ Honorees on DCMetroTheaterArts.

  • Review: ‘The Rocky Horror Show’ at Iron Crow Theatre

    Review: ‘The Rocky Horror Show’ at Iron Crow Theatre

    “Are you a virgin?” You may be asked this by one of the cast members as you enter the theatre at The Motor House to see Iron Crow Theatre’s raucous and riotous production of The Rocky Horror Show, the musical on which the classic film is based. And if you are a virgin, meaning you have never seen Rocky Horror before? Well, prepare to branded (I won’t reveal how) and have your cherry popped during this two-hour camp classic that includes everything from audience call outs, cast ad libs, and a goodie bag containing, among other things, rice, confetti and a water gun to toss and spray at appropriate moments in the show.

    Photo by Rob Clatterbuck.
    Photo by Rob Clatterbuck.

    When I was just a wee queerling, I went to see The Rocky Horror Picture Show at a mall in a suburb of Richmond, Virginia, almost every Saturday at midnight. And I saw the 2000 Broadway production. I can confidently say, without hesitation, that I have never had as much fun seeing this material as I did seeing Iron Crow’s version.

    Now, no one goes to Rocky Horror for the story, which involves a young couple, Brad Majors and Janet Weiss, whose car breaks down and leads them to seek refuge in a castle inhabited by aliens. After all these years, I still find it incomprehensible, especially in the second act. We go to Rocky Horror because it is a phenomenon. We go to hear the excellent score by Richard O’Brien. We go to participate and be part of a community. But most of all, we go to have fun.  And this production has all of these things in spades, from Betty O’Hellno and Whiskey Joy’s deliciously campy costumes, to the multi-purpose set (also by Betty O’Hellno), to the smart and surprising lighting by Kel Millione, to the top-notch performances.

    I don’t think a production of Rocky Horror can be successful without a strong performance by the actor playing the role of Frank ‘N’ Furter, the transvestite woman of the house  And it’s not an easy task to erase from he memory the iconic performance of Tim Curry, who originated the part on stage and also played it in the film. But Leo Grinberg rises to the task and surmounts it.  He gets the narcissism and ruthlessness of the character, but his performance reminds us that at heart, Frank is the ultimate showman and is most at home with an act and an audience. He could very well be the transsexual alien love child of Joan Crawford and P.T. Barnum.

    In a similar vein, the challenge with doing this show is to not fall in to the trap of copying the iconic film. Director Sean Elias does this most successfully with his casting choices. As the innocent couple that just wants to use the phone, Nick Fruit as Brad and Sarah Burton as Janet have created fully fleshed out characters that have an emotional arc, without sacrificing any of the wit or giddiness inherent in the script. Elias has cast the house servants Riff Raff and Magenta, who may be brother and sister, as African American. Scean Aaron, in a hilarious wig, plays Riff Raff as a prissy queen who just cannot be bothered.  Danielle Harrow, who has a killer voice, plays Magenta as the quieter, but no less sinister maybe sister. Both the Narrator (Nancy Linden) and Eddie/Dr. Scott are played by women. This play on gender roles reflects the queering of tradition that seems to be inherent to Iron Crow’s work.  Similar swapping of gender was also explored in their hit production of The Wild Party, seen earlier this season.

    In addition to eschewing memories of the film, Elias’ work is clever and swift. The staging of “Touch-a Touch-a Touch” me was particularly smart (the gyrating, bouncy and often X rated choreography is by Quae Simpson). And Eddie may have the best entrance seen in some time during the song “Hot Patootie.” To reveal more would ruin the many surprises that are in store. But I think Elias made a significant mistake by having the narrator sit in the middle of the audience. Those sitting behind her, couldn’t see what she was doing and her voice projected toward the stage, not away from it making many of her lines inaudible. I hope he will consider, this when Iron Crow stages Rocky Horror.

    Having reviewed Iron Crow’s first show of their season and now this, I am extremely impressed with their high production values and organization. This is a serious theatre company and they deserve our support. That being said, it’s a shame that The Rocky Horror Show’s run is so brief. You only have five more chances to see it. It’s familiar enough that fans will have a ball. And for the newbies, don’t worry.  It won’t hurt a bit…unless you’re in to that sort of thing.

    Running Time: Two hours with one 15-minute intermission

    rocky

    The Rocky Horror Show Show runs through October 31, 2016 atThe Motor House -120 West North Avenue, in Baltimore, MD. Tickets may be purchased online.

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  • Review: ‘The Wild Party’ at Iron Crow Theatre

    Review: ‘The Wild Party’ at Iron Crow Theatre

    Queenie was a blonde and her age stood still,

    And she danced twice a day in vaudeville.

    So begins Joseph Moncure March’s 1928 narrative poem “The Wild Party” about a group of show people and the hedonistic event of the title, which is its setting.  It’s also the first line in Andrew Lippa’s musical version of the material, which is being staged by Baltimore’s Iron Crow Theatre in its most ambitious season to date. If Iron Crow, Baltimore’s only queer theatre, is not loyal to its source’s Jazz Age place and time (more on that later), it certainly evokes a decadent world teetering on the brink and people who live on its fringes with nothing to lose.

    the cast of Iron Crow Theatre's 'The Wild Party.' Photo by Rob Clatterbuck.
    the cast of Iron Crow Theatre’s ‘The Wild Party.’ Photo by Rob Clatterbuck.

    Program notes from Director Sean Elias tell us that Iron Crow’s season is one of “dark play” and his staging certainly serves that theme. I would actually go so far as to say that this is an almost macabre interpretation, one that pushes the envelope on depravity.  But I think this is precisely Elias’ intention and, on that point, he succeeds. Actors writhe and contort on each other and every set piece, almost everyone disrobes down to their undergarments, cocaine is snorted off of every surface, including a toilet seat, and the company grope themselves (and each other) in every combination before the two hour running time has concluded.

    March’s poem and Lippa’s musical are essentially structured as an introduction to each of the colorful guests, before dissolving in to a tale of sex, deception and violence, in rather quick succession.

    Allison Bradbury and Justin Michael Mazzella. Photo by Rob Clatterbuck.
    Allison Bradbury and Justin Michael Mazzella. Photo by Rob Clatterbuck.

    Allison Bradbury is remarkable, in her professional debut, as Queenie, the hard vaudeville performer and hostess of the evening’s festivities. Dressed in a sequin bra and panties (the over the top, fetish costumes are by Betty O’Hellno), she resembles Madonna (from the Truth or Dare years) and Lady Gaga. On stage for almost the entire evening, she shows tremendous range, be it on one of the up-tempo numbers like “Raise the Roof,” or one of her ballads.

    As her abusive lover, Burrs, Justin Mazzella is both alluring and menacing. His breakdown in Act II called to mind one of the Loveland sequences in Sondheim’s Follies and he handled it skillfully with the right amount of both desperation and hysteria.

    As Kate, Queenie’s “frenemy,” whose arrival really sets the events of the evening in motion, Jessica Bennett is big-voiced and bold and her first song, “Look at Me Now” is a highlight of the evening. As her lover, Black, Sylvern Groomes, Jr., brings a quiet restraint that juxtaposes nicely with the frenzy of the other goings on. And his voice is just stunning.

    The rest of the cast serve Elias’ vision. I particularly enjoyed Valerie Holt as Madeline True, who gets the funniest number in the show, although technical difficulties on opening night made it very hard to hear. Jesse Marciniak as Eddie is also quite good, and whether intentional or not, his “guy next door” body provides a visual joke for his character’s alleged superhuman strength.

    Fred Fletcher-Jackson and Valerie Holt. Photo by Rob Clatterbuck.
    Fred Fletcher-Jackson and Valerie Holt. Photo by Rob Clatterbuck.

    Ryan Hasse’s askew unit set is effective and lit in a smoky, dim haze that recalls those late (early?) hours when the celebration of a party is overcome by the first tiny glimpse of daylight. Robert Mintz’s choreography is simple, but impressive and makes maximum use of the small stage at Baltimore Theatre Project. The five-piece band led by Musical Director Ben Shaver is fantastic.

    I’m still not entirely sure that resetting a piece that is so tied to a place and time in history was the best decision. But the commitment to it here is unwavering and total and it is to be commended.

    “Go big or go home,” they say. And Iron Crow has done that with this impressive and uncompromising season opening production of The Wild Party.

    Running Time: Two hours with one 15-minute intermission.

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    The Wild Party plays through October 9, 2016, atIron Crow Theatre performing at Baltimore Theatre Project – 45 West Preston Street, in Baltimore, MD. For tickets, purchase them online.

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  • ‘Very Well-Connected’: Meet Cast Members of Montgomery College Summer Dinner Theatre’s ‘Side Show’: Part 3: Da’Von Moody

    ‘Very Well-Connected’: Meet Cast Members of Montgomery College Summer Dinner Theatre’s ‘Side Show’: Part 3: Da’Von Moody

    In Part 3 of a series of interviews with the cast of Montgomery College Summer Dinner Theatre’s production of Side Show, meet Da’Von Moody.

    Joel: Please introduce yourself and tell us what other shows and roles you have performed at Montgomery College and elsewhere on our local stages.

    Da'Von Moody.
    Da’Von Moody.

    Da’Von: My name is Da’Von Moody I’m a student here at Montgomery College (MC) and I’ve performed In the Heights as Graffiti Pete as well as the Falcon in MC’s production of Conference of the Birds.

    When did you audition for your role, what did you perform at your audition, and how long after you auditioned did you receive ‘the call’ that you had the role?

    The Summer Dinner Theatre’s auditions were halfway into March and I sang “What is it About Her” from The Wild Party. A week after auditioning I received the call that they wanted me to play Jake for the summer. I was elated because I really wanted to play this role.

    Who do you play in the show and how do you relate to your character? Are there any personal experiences that you brought with you that helped you develop your performance?

    My character is Jake, the local Negro in the sideshow; he acts as a sort of big brother to the freaks as well as a right hand man for the Boss. He is in love with Violet but cherishes both of the twins as his babies and dares not to tell her for fear of what would happen. The one thing that stands out the most about Jake is his selflessness, which is a trait through which I truly can relate to. He often looks out for people on his own volition without asking anything in return. I come from a big family as a middle child in which there’s not much room to be selfish, so I brought that feeling of family to the freak show.

    What were some of the challenges you have had in fine-tuning your performance? What has changed in your performance since auditions? And how has Director Walter Ware III and Musical Director John Henderson helped you to resolve these challenges and to improve your performance?

    Da’Von Moody as Jake.
    Da’Von Moody as Jake. Photo by Richard Church.

    While myself and Jake share qualities, the truth rests that I am in fact not Jake. This is only my third show and making this separation provided to be a bit of challenge. Naturally, I sought out help from my director Walter Ware who was extremely patient and understanding. He knew exactly how to approach it. He told me to create a backstory, to actually create an entire life that differed greatly from my own in order to harness that uniqueness that permeates only through the character. Now having no prior musical training, our music director John Henderson also knew where a lot of my discrepancies lied. At this point I had accrued quite an array of bad habits having no training so John was able to bring many things to attention that weren’t even a thought before.

    The show is sung-through. How would you describe Henry Krieger and Bill Russell’s score? What song that you are not singing moves you the most and why? And how are you resting your voice between performances?

    The score is very clever in that it establishes motifs and incorporates them into a wide variety of music that is so strategically placed for a smooth and witty flow of the show. Not to mention that this score was written twenty years ago and here we are today bringing it back to life.

    “Who Will Love Me As I Am” is by far the song that moves me the most. I feel as though it’s a song to which everyone can relate, through the extended metaphor of the freak show it begs the question: who actually will accept me for who I am, who will be part of the circus that is my life and how will I accept someone else’s? Well, we must first accept our afflictions before we can offer ourselves up to anyone else. To rest my voice, I stay away from anything that dehydrates my voice too much, and there’s an herbal supplement I get from the international market that is really good for throat health.

    Talk about your solos? What do we learn about your character that we didn’t know before you sang the song?

    Jake is a very cautious person, being a black man in the 30s you have to be, and this is prevalent in “The Devil You Know.” Afterwards, however, during “You Should be Loved” this shows how Jake is weak only to his emotions; specifically his love for Violet. His caution abides, and in a final attempt to save the twins he sacrifices himself exercising no caution, again displaying his selflessness. The audience learns the depth of Jake’s sentiment and how far he’s willing to go to save those he loves.

    The design of the show helps tell the story. What impresses you most about the designers’ work and how does their work help to tell the story of your character? Give me an example or two.

    And how would you describe Jocelyn Isaac’s choreography? What was the hardest song or scene’s choreography to learn, and why?

    My favorite part if the show is by far the set and costumes! I feel as though the essence of the times and the freak show are captured so accurately, such that the audience’s immersion into the world of sideshow is seamless. While Jake doesn’t dance very much in the show there are brief segments in which I have a bit of modern choreography, at the very beginning of the show as well as during you should be loved, traditionally, I am a hip hop/Latin dancer so some of the movement is foreign which presented a bit challenge in learning it.

    What has been the most fun working at Summer Dinner Theatre 2016 and how has it made you a better person, food server, and actor/singer? What memories will you take away from your experience?

    The most fun about Summer Dinner Theatre is most definitely working with professionals and getting the additional on stage experience. The atmosphere definitely differs from that of just a regular school show. Most of all I’m grateful to have been given this opportunity to meet and learn from such amazing people. Now I’ve been working in restaurants for quite some time so the dinner aspect of the process was in fact the most familiar. It was nice to see theatre and restaurant atmospheres coming together though – definitely an interesting mix. Growing close with a cast is always a pleasant byproduct of being in a show, the blend of personalities makes for a unique set of memories to take on marking the time in your life of growth and self-discovery with people who are on the same journey as you. Those memories I’ll cherish the most.

    Da’Von Moody in 'Side Show.
    Pencil Man(Kevin Ortiz ), Canible King  (Da’Von Moody), and his handler (Andrew Looney). Photo by Richard Church.

    What’s next for you on the stage?

    Well, I acknowledge that I have quite a bit to learn, I’m still new to the whole theatre thing so I’m in the process of exploring what I like as well as what works for me. The learning never ceases so I’m currently taking advantage of Montgomery College’s amazing theatre program and look forward to doing their shows in the future as well as any local theatres should the opportunity arise.

    What do you want audiences to take with them after seeing you perform in Side Show?

    After watching this performance of Side Show, I would like audiences to take away the fact that in some way or another we are all freaks and in order to stay unaffected by the unkind outside world, we must accept ourselves as we are. One cannot offer themselves to love someone else if they do not first practice self-love.

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    Side Show ends its run tomorrow at 2 PM on July 2, 2o16 at Montgomery College – 51 Mannakee Street, in Rockville, MD. Performances are held at The Theatre Arts Building located at the center of the Montgomery College’s Rockville Campus.

    One Remaining Performance is:

    -Tomorrow, Saturday July 2nd Matinee Lunch Buffet and Show: Doors open at 12:30 p.m., Curtain is 2 p.m. Purchase tickets here, or call (240) 567-5301.

    LINKS:
    ‘Very Well-Connected’: Meet Cast Members of Montgomery College Summer Dinner Theatre’s ‘Side Show’: Part 1: Anna Phillips-Brown by Joel Markowitz.

    ‘Very Well-Connected’: Meet Cast Members of Montgomery College Summer Dinner Theatre’s ‘Side Show’: Part 2: Jehan Silva by Joel Markowitz.

    ‘Very Well-Connected’: Meet Cast Members of Montgomery College Summer Dinner Theatre’s ‘Side Show’: Part 3: Da’Von Moody.

  • McLean Theatre Company Performs ‘Big Fish’ at International Thespian Festival, as the Show Garners 21 Cappies Nominations with Encore Shows June 13 and 14th at McLean HS and June 20th at GMU by Brent Stone

    McLean Theatre Company Performs ‘Big Fish’ at International Thespian Festival, as the Show Garners 21 Cappies Nominations with Encore Shows June 13 and 14th at McLean HS and June 20th at GMU by Brent Stone

    The McLean High School Theatre Company (MTC) was invited by the International Thespian Association to perform the musical Big Fish at the International Thespian Festival, Lincoln, Nebraska on June 25, 2015.

    Edward Bloom (Alex Stone) and Ashton townsfolk teach young Will (Linus Stroik) to "Be the Hero." Photo by Michelle Logsdon.
    Edward Bloom (Alex Stone) and Ashton townsfolk teach young Will (Linus Stroik) to “Be the Hero.” Photo by Michelle Logsdon.

    The company also recently earned 21 Cappie nominations, the most of any national Capital Area high school theater company. Led by Director, Amy Poe, and Music Director, Bobby McCoy, the award-winning group brings four encore performances of this big-hearted musical to DC area stages.

    Karl the Giant (Matt Lucero) leads Ashton townsfolk "Out There on the Road." Photo by Michelle Logsdon.
    Karl the Giant (Matt Lucero) leads Ashton townsfolk “Out There on the Road.” Photo by Michelle Logsdon.

    Big Fish Unhooked goes up Saturday June 13-14, 2015 at McLean’s Burks Auditorium.

    Two performances of the even bigger rendition of Big Fish, prepared especially for the Thespian Festival, take place June 20, 2015 at George Mason University’s Harris Theater. Advance tickets available online.

    Big Fish centers on Edward Bloom, a traveling salesman, who sweeps the audience into a fantasy as he recounts his seemingly impossible life stories. Edward’s far-fetched tales represent his unique outlook on the world; he sees life as an adventure and himself as the hero. This musical reminds us why we love going to the theatre for an experience that’s richer, funnier and BIGGER than life itself. Based on Daniel Wallace’s novel and the film directed by Tim Burton, Big Fish features music and lyrics by Andrew Lippa and book by John August.

    Young Will Bloom (Linus Stroik) fights the dragons with help from dad, Edward (Alex Stone). Photo by Michelle Logsdon.
    Young Will Bloom (Linus Stroik) fights the dragons with help from dad, Edward (Alex Stone). Photo by Michelle Logsdon.

    “Throughout the year, we send screeners to evaluate shows being considered for coveted Thespian Festival main stage slots, with only about ten schools ultimately being selected to perform,” explains Nancy Brown, Thespian Festival director. “McLean High School’s production of Big Fish ranks among the best high school productions previewed by screeners. Festival delegates from across the United States, Canada, and beyond will enjoy this and the other wonderful productions presented during Festival week.”

    Director Amy Poe.
    Director Amy Poe.

    MTC Director Amy Poe added,“It’s huge for us because it puts us on a national stage. Sometimes you think, ‘Wait, we think it’s really good, but maybe our family and friends are just being nice’ but to have somebody say,’No, you’re top ten in the nation’ makes us feel really, really great. [It shows] that what we spend all of our time doing is making a difference and actually working.”

    Thespian representatives adjudicated MTC’s February 28, 2015’s Big Fish performance, the same show that welcomed nearly 70 Cappies critics as well.

    DCMetroTheaterArts’ Joel Markowitz raved about the production in his 5-star review on February 20, 2015:

    “Attention all Broadway producers of a musical that shuttered much too quickly on Broadway: bring that show to the ‘Show Doctors’ at McLean High School’s Theatre Company and let Surgeon/Director Amy Poe perform some CPR on your show and – voila! – you won’t believe your eyes and ears!…This new Big Fish – with its kooky (and sometimes confusing) duel storylines – felt fresh and heartfelt – all due to the knockout performances of its leads and its talented ensemble and dancers, and the fine musicians conducted by Musical Director Walter “Bobby” McCoy….McLean Theatre Company’s Big Fish is a huge undertaking and a major accomplishment by one of the most accomplished and honored theatre programs anywhere. I urge you to grab a few tickets and enjoy all the talent on and off the stage. There’s dazzling vocals, gorgeous costumes and design, and great dancing. You’ll be hooked like I was. Come on – just go  for the halibut!”

    For the 2014-2015 theater season, MTC garnered a 21 Cappie nominations—the most of any national Capital Area high school company. Big Fish brought in 14 nominations – nine for the show’s technical elements and overall achievement and five for specific performances. Nominations highlights include for Best Musical, Lead and Supporting Actor, Choreography, and Ensemble. In addition, MTC received seven Cappie Critic nominations.

    MTC is proud to bring four encore performances to DC area stages this June.  Big Fish Unhooked, a restaged, concert-style version, goes up Saturday June 13th at 7 p.m. and Sunday, June 14th at 2 p.m. at McLean’s Burks Auditorium.

    Two performances of the even bigger rendition of Big Fish, prepared especially for the Thespian Festival appearance, take place June 20th, with shows 2 p.m. and 7 p.m. at George Mason University’s Harris Theater.

    Advance tickets are available online.

    Big Fish is presented through special arrangement with Theatrical Rights Worldwide (TRW).

    McLean Theatre Company is comprised of students, parents and teachers at McLean High School working together to produce challenging and award winning theatrical productions. The home of McLean Theatre Company is the 600 seat Burks Auditorium and the more intimate 75 seat Black Box Theater – 1633 Davidson Road, in McLean, Virginia.

    It's a "Showdown" between Will Bloom (Jack Posey) and Edward Bloom (Alex Stone). Photo by Photo by Michelle Logsdon.
    It’s a “Showdown” between Will Bloom (Jack Posey) and Edward Bloom (Alex Stone). Photo by Photo by Michelle Logsdon.

    The Thespian Festival is an annual, weeklong event for high school theatre students, celebrating student achievement in theatre arts. The event features workshops presented by theatre professionals, individual and group performances, programs for technical theatre students, and opportunities to audition for college admission and scholarships. The Thespian Festival is currently held each June on the campus of the University of Nebraska-Lincoln and is presented by the International Thespian Society (ITS), the student honorary of the Educational Theatre Association (EdTA).

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    The Cappies (Critics and Awards Program) is an international program for recognizing, celebrating, and providing learning experiences for high school theater and journalism students and teenage playwrights. Created in the summer of 1999 by Bill Strauss, founder of the Capitol Steps, and Judy Bowns, the Fairfax County Public Schools theatre resource teacher, in co-operation with theatre, music and journalism educators in the Washington D.C. area.  There are currently 15 Cappies programs in the U.S. and Canada, ranging in size from five to fifty-five participating high schools.

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    Big Fish Creative Team

    Director (Amy Poe)

    Music Director (Walter (Bobby) McCoy)

    Stage Managers (Breezy Johnson, Thomas Kelty)

    Choreographers (Marielle Burt, Rebecca Stewart, Jamie Wertz)

    Big Fish Lead Cast List

     Edward Bloom (Alex Stone)

    Sandra Bloom (Rachel Lawhead)

    Will Bloom (Jack Posey)

    Josephine Bloom (Emma Gold)

    Young Will (Linus Stroik)

    The Witch (Helena Doms)

    Karl (Matt Lucero)

    Amos Calloway (Will Stockton)

    Jenny Hill (Nicole Sheehan)

    Don Price (Thomas Kelty)

    Zacky Price (Jeffrey Nolan)

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                    Cappies Nominations

    For McLean Theatre Company’s Big Fish 

    Sound (Zach Alvarez, Jared Jacknow, Emma Knapp, Max Speil)

    Lighting (Tristan Froats, Jared Jacknow, Avery Madore, Max Speil)

    Sets (Faris Assaadi, Ben French, Luke Gagorik, Joe Miller)

    Costumes (Miranda Creason, Marzanne DeLapp, Breezy Johnson, Jessica Scarano)

    Props (Camille Calderon, Havi Carrillo- Klein, Kevin Pfeil, Brittany Regas)

    Special Effects and or Technology (Kate Callahan, Isabel Zapata)

    Stage Crew (Marielle Burt, Breezy Johnson, Thomas Kelty, Blue Morph Suit Crew)

    Choreography (Marielle Burt, Rebecca Stewart, Jamie Wertz)

    Ensemble in a Musical (The Company)

    Featured Actor (Matt Lucero)

    Supporting Actor in a Musical (Jack Posey)

    Lead Actor in a Musical (Alex Stone)

    Song (“Be the Hero”)

    Musical (Big Fish)

  • Mark Nadler: ‘Runnin’ Wild: Songs and Scandals of the Roaring ’20s’ at Starthmore’s AMP

    Mark Nadler: ‘Runnin’ Wild: Songs and Scandals of the Roaring ’20s’ at Starthmore’s AMP

    Raconteur. A word seldom used nowadays. In the era of Twitter and short attention spans, good luck finding “a person who excels in telling anecdotes.” But flip open the Merriam-Webster Dictionary to the word and don’t be surprised if Mark Nadler‘s headshot is the illustration.

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    Nadler is fresh out of the recording studio, having curated a brilliant selection of songs epitomizing the 1920s. Interest in the period spiked around the turn of this century–most notably, perhaps, seen in the musical Ragtime and two musicals of The Wild Party, March’s 1928 raucous poem. Raucous poetry — that pretty much sums up the Roaring 20s and Mark Nadler. And how exciting that I was there to watch him launch his new CD of his new show Runnin’ Wild at the Strathmore’s new AMP.

    Nadler arrived on stage handsome, dapper, and beaming with cheer and charm. Two delightfully wicked, lesser known songs bookend the evening, starting with Cole Porter’s “Let’s Misbehave” and closing with Irving Berlin’s “Pack Up Your Sins (And Go to the Devil).” His travelogue of the decade makes stops in New York, Hollywood, London, Berlin … Winston-Salem, North Carolina, and Waterloo, Iowa. Songs are anchored to both social history and folklore, to the famous and the notorious — Mae West, Clara Bow (Nadler makes it crystal clear that The IT Girl sobriquet had nothing to do with Information Technology), Cab Calloway, Aimee Semple McPherson, and other assorted denizens of Vaudeville and speakeasies.

    Some of the finest moments showed Nadler’s genius for reinventing a familiar song as well as for grounding his interpretation in the era. His rendition of “Limehouse Blues” was stunning (little similarity to the Julie Andrews version heard in the 1968 Gertrude Lawrence biopic, I assure you). “Willie the Weeper/Minnie the Moocher,” “Body and Soul,” and a chilling “Die Moritat von Mackie Messer” (aka “Mack the Knife” from Weill and Brecht’s The Threepenny Opera) were also enthralling.

    ‘Triple threat’ doesn’t begin to do Nadler justice. It’s clear why he is an acclaimed musician, vocalist, humorist, dancer and actor. What’s more, he’s also a born storyteller and a damn good social historian. And I understand he’s also genius at making a martini that’s as dry as the Mojave.

    Clarinetist Janelle Reichman and Elaine Burt on trumpet were delightful accompanists.

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    Mark Nadler performed Runnin’ Wild: Songs and Scandals of the Roaring ’20s on Friday, May 29, 2015 at Strathmore’s AMP – 11810 Grand Park Avenue, Suite 400, in North Bethesda, MD. For future AMP events, go to their website.

    LINK
    A Chat with Mark Nadler on his Show Runnin’ Wild: Songs and Scandals of the Roaring ’20s ,This Friday, May 29th at 8 PM at Strathmore’s New AMP by Joel Markowitz on DCMetroTheaterArts.

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  • ‘Big Fish’ at McLean High School’s Theatre Company

    ‘Big Fish’ at McLean High School’s Theatre Company

    Attention all Broadway producers of a musical that shuttered much too quickly on Broadway: bring that show to the ‘Show Doctors’ at McLean High School’s Theatre Company and let Surgeon/Director Amy Poe perform some CPR on your show and – voila! – you won’t believe your eyes and ears!

    he world is a circus for Edward Bloom (Alex Stone and friends) in MTC's production of 'Big Fish.' Photo by Isabel Zapata.
    he world is a circus for Edward Bloom (Alex Stone and friends) in MTC’s production of ‘Big Fish.’ Photo by Isabel Zapata.

    Big Fish moved to Broadway in the Fall of 2013 after a critically acclaimed production in Chicago. It had everything going for it, especially its magical cast: Tony Award winner Norbert Leo Butz (Edward Bloom), Kate Baldwin (Sandra Bloom), Bobby Steggert (Will Bloom), and DC’s own Brad Oscar (Amos Calloway). Tony Award winner Larry Hochman provided the beautiful orchestrations, and the production was choreographed and directed by multiple Tony Award winner Susan Stroman.

    The score (music and lyrics) is by Andrew Lippa and the book is based on the 1998 novel, Big Fish: A Novel of Mythic Proportions, by Daniel Wallace, and Tim Burton’s 2003 wacky movie Big Fish, written by John August, who adapted his screenplay for the stage.

    Big Fish officially opened on October 6, 2013 after four weeks of previews at The Neil Simon Theatre. After playing  34 previews and 98 regular performances, they frankly, could not ‘reel in’ any theatregoers and it, excuse the pun, ‘floundered’ at the box office, and closed on December 29, 2014.

    So here I am, a huge fan of McLean High School productions, sitting with my notebook and pens with a box of fish gummies in my top shirt pocket, just in case I needed a little Vitamin E…

    And what I saw in front of me in the very packed Burks Auditorium was a production of the highest caliber because of contributions made by:

    -The innovative Director Amy Poe and Assistant Director Emma Gold

    -Choreographer and Set Designer Marielle Burt and her Assistant Choreographers Becca Stewart, and Jamie Wertz.

    -Lighting Designer Jared Jacknow.

    -Technical Supervisor Aaron Fensterheim.

    -Set Construction Head Ben French, Faris Assadi, Luke Gagorik, and Joe Miller.

    -Costume Heads Miranda Creason, MarzanneDeLapp de Anaya, Jess Scarano, and Breezy Johnson, who also served along with Thomas Kelty, as the very busy Stage Managers.

    -Hair and Makeup Head Sydney Studds.

    -Sound Heads Zach Alvarez, Emma Knapp, and Sound Head and Live Sound Mixer Max Spell.

    -Special Effects Heads Avery Madore, Isabel Zapata, and Leo Grandinetti.

    -Props Heads Camille Calderon and Brittany Regas, and so many others who made up the designer crews (too many to list here)-who all helped to create magic!

    The dream of Edward Bloom (Alex Stone) takes an ugly turn with son Will (Jack Posey) leading the pack. Photo by Isabel Zapata
    The dream of Edward Bloom (Alex Stone) takes an ugly turn with son Will (Jack Posey) leading the pack. Photo by Isabel Zapata

    The McLean Theatre Company’s set crew pushed the limits of their space by using sliding walls, staircases on tracks and a motorized platform to bring both the fantasy and reality elements of Big Fish to life. The entire stage, from floor to walls, was covered with plywood, and it looked like a mini-Wolf Trap. Against this naturalistic backdrop, the mechanized and moving elements delivered various scenes seamlessly, providing a multi-tiered space suitable for everything from the big ensemble dance numbers to intimate duets among the leads. It was awesome and a visual treat!

    This new Big Fish – with its kooky (and sometimes confusing) duel storylines – felt fresh and heartfelt – all due to the knockout performances of its leads and its talented ensemble and dancers, and the fine musicians conducted by Musical Director Walter “Bobby” McCoy.

    Big Fish is about Edward Bloom (Alex Stone), a traveling salesman, who spins outrageous stories which everyone in his town loves, especially his wife Sandra (Rachel Lawhead). The only person who does not appreciate the stories and questions their validity is Edward and Sandra’s son Will (Jack Posey). Will is about to get married to his girlfriend Josephine (Emma Gold) and the relationship between father and son is strained. The lack of communication, mistrust, frustration, the arguing and the making up, and the love we all experience, and finding out what ‘the real story is’ – is the heart of this musical.

    When Mclean Theatre Company’s Big Fish dances and sings and acts out Edward’s crazy stories there is beaucoup joy that permeates over the audience. And when Giants slither across the stage, and dancers are twirling from the ceiling – a la Cirque du Soleil, and a Witch (Helena Doms) appears, and we are at the circus – the show is awesome!

    And when a field of Daffodils envelopes the stage- it’s a glorious and sunny filled with lots of big smiles all around the place, and lots of cheers from the appreciative audience.

    When the Second Act opens with a tap extravaganza called “Red, White, and True,” it’s breathtaking and ‘toe-tapping.’ And when there is sadness there is hope, and love, and family, and the realization that the new generation – Will’s young son  and Edward’s grandson – must hear his grandfather’s tales and learn from Edward’s stories. And the tears that are wiped away all around me – they’re real.

    Time stops for Sandra (Rachel Lawhead) and Edward (Alex Stone) as their story begins. Photo by Isabel Zapata.
    Time stops for Sandra (Rachel Lawhead) and Edward (Alex Stone) as their story begins. Photo by Isabel Zapata.

    From the moment Alex Stone’s Edward walks on the stage he grabs the audience in the palms of his hands and never lets go. His rousing rendition of ‘Be the Hero” sets the stage ablaze for his energetic ‘Harold Hill-ian’ performance, and the amount of energy Stone exudes throughout the show is Herculean. His rendition of “How it Ends” at the end of the Second Act is heartbreaking and displays Stone’s exceptional vocal skills.

    Alex Stone is a rare singer who knows how to ‘sell’ each and every lyric and the all-time greatest’ lyric seller’ – Frank Sinatra – I bet – would have loved watching Stone’s sell Andrew Lippa’s lyrics.

    Rachel Lawhead is a pillar of strength and patience as Edward’s devoted wife Sandra. Not only is Lawhead a fabulous actress, but she is also a fine singer. She shows her vocal and acting skills in the moving “Two Men in My Life” and “I Don’t Need a Roof.” She and Stone have so much chemistry on the stage, and their love for each other peaks in “Time Stops” and “Daffodils,’ which ends the First Act.

    Will (Jack Posey) (RIGHT) helps his father, Edward (Alex Stone), imagine what's next. Photo by Isabel Zapata.
    Will (Jack Posey) (RIGHT) helps his father, Edward (Alex Stone), imagine what’s next. Photo by Isabel Zapata.

    Jack Posey is perfection as their frustrated son, Will. Posey is also both a fine actor and a terrific singer and his rendition of “Stranger” is delivered with great emotion, as is “What’s Next” with Stone in the Second Act.

    I have seen all three of these performers in other productions all through the DC Metro area. I am a big admirer all these ‘Rising Stars.’ Here, in Big Fish, they have done some of their finest work.

    Edward Bloom (Alex Stone) and his young son Will (Linus Stroik) Fight the Dragons. Photo by Isabel Zapata.
    Edward Bloom (Alex Stone) and his young son Will (Linus Stroik) Fight the Dragons. Photo by Isabel Zapata.

    Other performances that deserve praise are Emma Gold’s Josephine – Will’s new and devoted wife, and mother to their new son. Linus Stroik, who plays Young Will, and Alex Stone make the perfect grandfather and grandson during “Fight The Dragons,” and Matt Lucero is great as the lovable Karl the Giant. Thomas Kelty was so convincing as the jilted Don Price, while Helena Doms makes a perfectly-scary witch. Will Stockton is creepy as Amos Calloway, while Stephanie Bourland made a lot of waves as the Mermaid, Jeffery Nolan is priceless as Zacky Price, and Nicole Sheehan is convincingly sad and disappointed as the mysterious Jenny Hill.

    McLean Theatre Company’s Big Fish is a huge undertaking and a major accomplishment by one of the most accomplished and honored theatre programs anywhere. I urge you to grab a few tickets and enjoy all the talent on and off the stage. There’s dazzling vocals, gorgeous costumes and design, and great dancing. You’ll be hooked like I was. Come on – just go  for the halibut!

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    Big Fish plays Friday, February 27th at 7 pm;Saturday February 28th at 2 pm;Saturday February 28th at 7 pm, and Sunday March 1st at 7 pm at McLean Theatre Company, performing at the Burks Auditorium’s Black Box Theatre-633 Davidson Road, in McLean, Virginia. For tickets, purchase them at the door or purchase them online.

    LINK:
    McLean Theatre Company Presents the Musical ‘Big Fish’ on February 16, 19-22nd by Brent Stone. 

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  • Meet the Cast of ‘I Hate Hamlet’ at 2nd Star Productions: Part 5: Daniel Douek

    Meet the Cast of ‘I Hate Hamlet’ at 2nd Star Productions: Part 5: Daniel Douek

    In Part 5 of a series of interviews with the cast of I Hate Hamlet at 2nd Star Productions, meet Daniel Douek.

    Daniel Douek.
    Daniel Douek.

    Joel: Please introduce yourself and tell our readers where they may have seen you in the past year on local stages?

    Daniel: My name is Daniel Douek and I am an Engineer and Project Manager. I was very active with theater last year. Two classics, Edward II at the Spotlighters and the Spanish Tragedy at Mobtown. Also, Tales of Ordinary Madness at Fells Point Corner Theater and the musical The Wild Party at Laurel Mills Playhouse. Also, I directed for the first time, Picasso at the Lapin Agile by Steve Martin at Salem Players. I just love the stage!

    Why did you want to be part of I Hate Hamlet?

    I have the greatest respect for 2nd Star Productions. I really wanted to work with them. Then I researched the play and was fascinated by it. Then I thought I was too old for Andrew, I’m not quite a Barrymore, but maybe I would be able to play the other guy, Gary.

    What does the show have to say to audiences of all ages?

    Follow your dreams. If the path is difficult your passion will energize you!

    Who do you play in the show and how do you relate to your character?

    I play Gary. The thing we have in relation is that we both have a lot of energy. The things that drive us could not be anymore different but we both have energy and we aren’t afraid to go for it. And…we both can move our hips really well!

    Have you appeared in other productions of I Hate Hamlet before and who did you play and how is this production different and unique?

    I am an I Hate Hamlet virgin.

    What is your favorite scene in the show that you are not in and why? What is your favorite scene that you are in and why?

    There are many, but I would say that my favorite scene is the interaction between Barrymore and Andy when Barrymore confesses to Andy his issues during his acting career, his problems with alcohol and women, and then he talks about how he took the easy path. He desperately tries to convince Andy to avoid the same mistakes. Barrymore strikes me like a father advising his son “do not be like me”. Be better!

    My favorite scene I am in is when I describe the new show I propose to Andy named Night School. I think the scene is very physical and a lot of fun to do.

    Which character in the show is most like you and why?

    I would say Andy. He tries to follow his dreams and would not compromise.

    Daniel Douek as Writer-Producer-Director Gary Peter Lefkowicz in 'I Hate Hamlet.' Photo courtesy of 2nd Star Productions.
    Daniel Douek as Writer-Producer-Director Gary Peter Lefkowicz in ‘I Hate Hamlet.’ Photo courtesy of 2nd Star Productions.

    What do you admire most about your fellow castmates’ performances?

    Each character has a very well defined and distinctive personality. Its just a pleasure to watch those characters developing day after day. But here are some details of what I admire the most in the characters: Barrymore-Presence and classic skills (he is a King every year after all)!/ Andy-how truthful he is with the character, I followed Zak since he played Christopher Wren in The Mousetrap in 2008 he is a great actor, Malarie – how well she plays this naïve Deirdre, her energy and her voice when she “pretends” not having a good one! Lillian: I admire the way she plays a woman with a tumultuous past in a way you would never tell…, Felicia- her ability to perform a sweet and pushy real estate agent and for being the only one liking Gary..

    How did you prepare for your role and what were the biggest challenges you faced and how did you resolve them?

    I played obnoxious hyper-energetic roles in the past. I felt immediately identified with Gary. I would say my biggest challenge is opening champagne bottles in time (chuckles here!)

    What was the best advice or suggestions your director gave you about playing your character?

    Pause, pause, pause (chuckles….)! Love the way John envisioned my character. I also got the task to check past performances of Evan Handler in Californication as reference. BTW we both strike same hair style as well.

    Why should audience goers bring their families to see I Hate Hamlet?

    Because it is going to be a lot of fun, it includes some great classic lines and finally because it shows that following your dreams will make you happy at the end.

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    I Hate Hamlet plays through this Sunday, February 22, 2015 at 2nd Star Productions performing at Bowie Playhouse – 16500 White Marsh Park Drive, in Bowie, MD. For tickets, call (410) 757-5700 or (301) 832-4819, or purchase them online.

    LINKS
    Meet the Cast of ‘I Hate Hamlet’ at 2nd Star Productions: Part 1: Fred Nelson.

    Meet the Cast of ‘I Hate Hamlet’ at 2nd Star Productions: Part 2: Zak Zeeks.

    Meet the Cast of ‘I Hate Hamlet’ at 2nd Star Productions: Part 3: Carole Long.

    Meet the Cast of ‘I Hate Hamlet’ at 2nd Star Productions: Part 4: Malarie Novotny.

    Review of I Hate Hamlet on DCMetroTheaterArts by Wendi Winters.

  • Meet the Cast of ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre: Part 5: Carl Williams

    Meet the Cast of ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre: Part 5: Carl Williams

    In Part 5 of a series of interviews with the cast of The 25th Annual Putnam County Spelling Bee at Kensington Arts Theatre, meet Carl Williams.

    Carl Williams.
    Carl Williams.

    Joel: Please introduce yourself and tell our readers where they may have seen you in the past year on local stages?

    Carl: My name is Carl Williams and some of the past productions I’ve been involved in this past year were Pirates Of Penzance at Toby’s Dinner Theatre, The Wild Party at Laurel Mill Playhouse, and Big Nate The Musical at Adventure Theatre.

    Why did you want to be part of Kensington Arts Theatre’s Spelling Bee?

    Because I love this show. It’s so smart and well written. It’s also a blast seeing the audience volunteers interact with the actors on stage.!

    Have you appeared in or seen other productions of Spelling Bee before and who did you play and how is this production different and unique?

    Yes, I’ve been fortunate enough to do this show two other times. The first time was with Damascus Theatre Company and the second time was with the Little Theatre Of Alexandria and both were phenomenal productions and both of those times I played Mitch Mahoney. This production is different from the others because I feel like our director, from the beginning of the rehearsal process was so invested in making sure that each character’s individual quirky personality was really clear so that the audience might find bits of pieces of a certain character that they might remember from their own childhood and may find themselves empathizing and rooting for that particular character that they’ve connected with.

    What did you perform at your audition and where were you when you got the call that you had the role?

    At the audition I performed “Prayer Of The Comfort Counselor” and then they asked me to perform part of “The I Love You Song”. They cast me on the spot.

    Who do you play in the show and how do you relate to your character?

    In the show I play Mitch Mahoney, an ex-con out on parole, doing his community service at the Putnam Spelling Bee. He has an epiphany about halfway through the show that it’s his job to help these kids understand that not winning this bee doesn’t mean the end of the world and that a loss is more of a stepping stone to success than a setback. I can relate to that because those same ideologies were taught to me when I was younger so I’ve internalized them.

    How did you prepare for your role, and what were the biggest challenges you faced and how did you resolve them?

    I prepared for the role, believe it or not, by watching a lot of Master Chef Junior (at the suggestion of my director Bobby) so I could get a feel for how kids react when faced with different challenges and how authoritative figures interact with them in an encouraging way. My biggest challenge was not just “copy and pasting” my Mitch from the other productions which was hard at first however Bobby thankfully had a very clear view of what he did and did not want Mitch to be and through working with him we were able to find a different Mitch that better fit this particular production.

    What advice and suggestions did Bobby Libby and your Musical Director Sam Welch give you that helped you prepare for your role? Have you worked with Bobby and Sam before? And how would you describe their styles of directing and musical directing? 
     
    I’ve never worked with either Bobby or Sam before but they both had very similar directing styles. They both knew specifically what they wanted from each character,  however they were both very open to suggestions and if they liked what you did, they let you keep it. They were both very easy to work with.

    What is your favorite scene and  song in the show that you are not in and do not sing  and what is your favorite scene that you are in and favorite song that you do sing and why?

    My favorite scene in the show that I’m not in has to be the beginning of the show where we’re first introduced to all the different kids and we see each of their little quirks and habits that make them who they are. It’s just so entertaining to watch. My favorite song in the show that I don’t sing is “My Unfortunate Erection”. It’s hysterical. My favorite scene that I am in is the scene where we first get introduced to Logainne’s fathers. It’s a really funny scene and we get a quick glimpse into their family dynamic. My favorite song that I sing in the show is hands down, “The I Love You Song.” The dark undertones of this seemingly sweet ballad are just perfect and honestly it’s just a very beautiful sounding song.

    Which character in the show is most like you, and why?

    Will Barfée. I was always that weird, socially awkward kid when I was younger.

    What do you admire most about your fellow castmates’ performances?

    They’re so unique. They did more than just listen to the cast recording and copy verbatim what they heard. They’ve each worked at trying to put a little bit of themselves in their characters and it’s great.

    Why should audience goers bring their families to see Spelling Bee?

    Because it’s a fun show with a really great message that resonates with people of all ages. The cast and crew have worked really hard to bring you this amazing production and we know you’re going to love it.

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    The 25th Annual Putnam County Spelling Bee plays through March 1, 2015 at Kensington Arts Theatre performing at Kensington Town Center – 3710 Mitchell Street, in Kensington, MD. For tickets, purchase them online.

    LINKS
    Jessica Vaughan’s review of The 25th Annual Putnam County Spelling Bee on DCMetroTheaterArts.

    Meet the Cast of ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre: Part 1: Dylan Echter.

    Meet the Cast of ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre: Part 2: Matt Baughman.

    Meet the Cast of ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre: Part 3: Emma Lord.

    Meet the Cast of ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre: Part 4: Teresa Danskey.

  • Review Just Posted. McLean Theatre Company Presents the Musical ‘Big Fish’ on February 16, 19-22nd by Brent Stone

    Review Just Posted. McLean Theatre Company Presents the Musical ‘Big Fish’ on February 16, 19-22nd by Brent Stone

    Update: Here is Joel Markowitz’s review of Big Fish.

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    The McLean High School Theatre Company (MTC) premieres the musical Big Fish to the Metro DC area this February. Led by Artistic Director, Amy Poe, and Music Director Bobby McCoy (1st Stage, Keegan, McLean Community Players), the award-winning company brings this big-hearted musical of a father’s story, a son’s journey and life’s epic adventure

    PrintBased on the celebrated novel by Daniel Wallace and the acclaimed film directed by Tim Burton, Big Fish is a new Broadway musical featuring music and lyrics by Tony nominee Andrew Lippa (The Addams Family, The Wild Party) and a new book by esteemed screenwriter John August (Charlie and the Chocolate Factory). Big Fish centers on Edward Bloom, who sweeps the audience into a fantasy as he recounts his seemingly impossible life stories. Edward’s far-fetched tales represent his unique outlook on the world; he sees life as an adventure and himself as the hero. Complete with acrobatics, juggling, ariel silks and thrilling big-stage dance numbers, this musical reminds us why we love going to the theatre for an experience that’s richer, funnier and BIGGER than life itself.

    Director Amy Poe shares “We are very excited that the McLean Theatre Company will debut this magical and moving adventure to the Metro DC community. After premiering Catch Me If You Can last spring and thrilling audiences with the outrageous The Addams Family this fall, our company is ready for the challenge of the spectacular that is Big Fish. The show’s technical elements and stunning performances will create an atmosphere where it appears the impossible is achieved. We want the audience to embrace Edward Bloom’s incredible interpretation of the mundane. Through witnessing Edward’s “big fish” tales, the audience learns that reality is relative and perception is possibility.”

    Following his recent recognition as a National YoungArts Finalist and nomination as a Presidential Scholar in the Arts, Alex Stone appears as Edward Bloom while recent DCMetroTheaterArts Best of 2014 award recipients Jack Posey and Rachel Lawhead, appear as Will and Sandra Bloom respectively, join Best of 2014 DCMTA winner Stone. Principal characters round out with Matt Lucero as the giant, Karl, Will Stockton (Amos Calloway), Emma Gold (Josephine Bloom), Thomas Kelty (Don), Jeffery Nolan (Zacky Price), Helena Doms (The Witch), and Nicole Sheehan (Jenny Hill).

    Big Fish premieres with a special Feb. 16, 2015  President’s Day preview show, 2 p.m. followed by a single weekend run February 19-22, 2015. Performances are: Thursday through Saturday, 7 p.m. with Saturday and Sunday matinees, 2 p.m. Performances are in the intimate 600-seat Burks Auditorium Black Box Theatre-633 Davidson Road, in McLean, Virginia.

    MTC welcomes the CAPPIES and National Thespian adjudicators to Saturday evening’s performance. Big Fish is presented through special arrangement with Theatrical Rights Worldwide (TRW).

    You can order your tickets here.

    McLean Theatre Company is comprised of students, parents and teachers at McLean High School working together to produce challenging and award winning theatrical productions. The home of McLean Theatre Company is the 600 seat Burks Auditorium and the more intimate 75 seat Black Box Theater.

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    Big Fish Creative Team

    Director…………………………………………………………………….. Amy Poe

    Music Director ………………………………………………… Walter (Bobby) McCoy

    Stage Managers ………………. Breezy Johnson and Thomas Kelty

    Choreographer…………………………………. Marielle Burt

    Technical Director…………………………………. Ben French

    Big Fish Lead Cast List

    Edward Bloom…………………………………………. Alex Stone

    Will Bloom………………………………………. ……… Jack Posey

    Sandra Bloom………………………………………….. Rachel Lawhead

    Karl………………………………………………………….. Matt Lucero

    Amos Calloway………………………………………. Will Stockton

    Josephine Bloom…………………………………. Emma Gold

    Don Price………………………………………………. Thomas Kelty

    Zacky Price…………………………………………… .. Jeffrey Nolan

    Helena Doms……………………………………………. The Witch

    Nicole Sheehan……………………………………………. Jenny Hill


  • DCMetroTheaterArts’ Best of 2014: Special Awards

    DCMetroTheaterArts’ Best of 2014: Special Awards

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    The staff of DCMetroTheaterArts is honored to announce that their 2014 Special Awards have been awarded to:

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    Julia Robey Christian, left and Adele Robey. Photo by Darrow Montgomery for City Paper.
    Julia Robey Christian, left and Adele Robey. Photo by Darrow Montgomery for City Paper.

    Since it opened in July 2013, The Anacostia Playhouse has become home for several of our most creative smaller theatre companies in the DC Metro area, including Theater Alliance and Scena Theatre. Thanks to Julia Robey Christian and Adele Robey for your vision, leadership, and dedication.

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    ARTS COLLECTIVE AT HCC LOGO 200X200

    ragtime150X150Arts Collective @ HCC had a banner year with their exceptional productions of Ragtime and It’s a Wonderful Life. Under the leadership of Executive Producer Valerie Lash, Producing Artistic Director Susan G. Kramer, Associate Artistic and Managing Director Grace Anastasiadis, and Office Manager Darius McKeiver, they have touched so many lives and continue to produce high-quality and moving productions, and improv (WHAT IMPROV GROUP?!?!) and dance events (ACDC Dance Company).

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    SARAH BARKER

    WSC Avant Bard Acting Company member Sara Barker as boy and woman Orlando. Photo by C. Stanley Photography.
    WSC Avant Bard Acting Company member Sara Barker as boy and woman Orlando. Photo by C. Stanley Photography.

    Sara Barker for her gender-bending performance as Orlando in Orlando, by Sarah Ruhl, at WSC Avant Bard.

    From Playing (with) Gender in WSC Avant Bard’s ‘Orlando’: Acting Insights from Sara Barker and Jay Hardee by John Stoltenberg:

    “Sara then explained her cross-gender role in Orlando: “I’ll be playing a boy who’s 16 years-old at the beginning, an aristocrat in Elizabethan England. He’s a young poet, he has poetry in his heart, he wants ever so much to write a great poem—yet he can’t, because as an aristocrat he’s never had to want for anything in his life, and that prevents him from getting at the real, the sublime. So he has to live some—in this play he has to live about 500 years. He’s earnest but he’s naive. He’s also at the same time incredibly charming.”

    “I asked Sara how her performance as boy Orlando will differ from her other cross-gender characters. “He’s a wannabe poet,” Sara said. “And there’s something embodying that kind of heart and that kind of soul of poetry—something more grounded, more real. Maybe because Orlando is a poet, I don’t think it’s that much of a stretch, or that over-the-top, for me to be playing as a boy. I feel very close to him. Because teenagers, you know—whatever gender you identify with, you’re all going through some raging hormones. There’s a lot of insecurity that is very common to both male female gender roles as teenagers. When we meet Orlando, we get to see him through his 20s, and when he hits 30 he turns into a woman. To me, something about being a young poet always comes through.

    Even though Orlando talks about cracking men over the head, running them through with a sword, he’s not like Hotspur, who’s an actual warrior. There’s not a huge amount of machoism to him.”

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    Charm City Players
    Charm City Players

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    Two theatre companies have many families performing in their productions: Charm City Players and Glyndon Area Players.

    The Wizard of Oz. Courtesy of Charm City Players.
    The Wizard of Oz. Courtesy of Charm City Players.

    A short drive on Greenspring Avenue through the autumn trees that leads to the Hannah More Arts Center on the campus of St. Timothy’s School is a hidden gem: Charm City Players. Founded in 2011 as a 501(c)(3), Stephen and Chrissy Napp are celebrating Charm City Players‘ 1st birthday with four successful shows –Annie, Legally Blonde, The Sound of Music, and The Wizard of Oz.  And to watch families working together on the stage is so heartwarming and charming. Chrissy says, “The most rewarding are the families that participate with their children in the show; mom helps with the costumes or dad takes on a role. Siblings, twins – it’s a family affair.”

    images (29)As for The Glyndon Area Players. the troupe describes itself as “the theatre-in-residence at Sacred Heart Parish.” Founded in 1998, GAP was established as a creative outlet to showcase the talent of Glyndon, Reisterstown, and the surrounding Maryland communities. To accomplish this, every GAP show encourages and embraces participation by all groups in the local, and (now) greater Baltimore community, both on-stage and behind the scenes. Their production of Les Misérables was riveting.

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    The DC Black Theatre Festival this year offered some 45 shows. Organized annually by the DC Drama Department, a nonprofit educational theater company, the festival featured performances in four categories: drama, deaf artists, family, and inspirational. Though less well covered local theater media than Capital Fringe, the DC Black Theatre Festival is every bit its equal in its provocative range of artistic talents, forms, and content that matters. The DC Black Theatre Festival is a unique annual event deserving of much wider attention. The essential diversity of Metro DC’s theater world is all the richer for it.

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    DCMetro Area Children’s Theatres

    A big thank you to all the children’s theatres in the MD, VA, and DC area that entertain and inspire young theatre goers and their families.

    Adventure Theatre MTC

    Black Rock Center for the Arts

    The Children’s Playhouse of Maryland

    Children’s Theatre of Annapolis

    Columbia Center for Theatrical Arts

    Creative Cauldron

    Discovery Theater

    Encore Stage & Studio

    Imagination Stage

    InterAct Story Theatre

    Kennedy Center’s Performances for Young Audiences

    Maryland Ensemble Theatre

    Mount Vernon Community Children’s Theatre

    Riverside Center Dinner Theater’s Children’s Theater

    Roanoke Children’s Theatre

    Saturday Morning at The National

    Pied Piper Theatre

    Pumpkin Theatre

    The Puppet Company

    Virginia Rep’s Children’s Theatre at Willow Lawn

    Way Off Broadway

    Wolf Trap’s Children’s Theatre-in-the-Woods

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    Ford’s Theatre and A Christmas Carol for partnering with Thrive DC to raise money for the homeless.

    “This is the sixth year that Ford’s Theatre has partnered with a local non-profit during its run of A Christmas Carol. In the past five years, the acting company has raised more than $375,000 for local charities, including Covenant House Washington, Martha’s Table, Miriam’s Kitchen, So Others Might Eat (SOME) and Bread for theCity, to help sustain their work with thousands in the D.C.-area who struggle with hunger and homelessness.”

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    It was a banner year for the Gay Men’s Chorus of Washington, DC which performed serious-themed chorale music to outlandish spoofs of Broadway musicals (Von Trapped) and send-ups to cabarets (Love Stinks!). Everything on stage was a collaborative effort from the chorus members singing in beautiful harmony to the soloists to the more theatrical members of the chorus engaging in parody and outlandish satire. The musicianship of this vigorous group was always of the highest order.

    Their recent program Rockin’ the Holidays was a joyous smash hit! As our reviewer David Friscic said, “It was a watershed moment in the trajectory of the GMCW, and this was due in no small part to the appointment of the new Artistic Director, Dr. Thea Kano.” We can’t wait to see what the “Kano Era” will bring, but what we saw earlier this month excites us, and we’ll be there to enjoy it and to cover it.

    And more exciting news has come from the Chorus this past week with the announcement of the creation of the GenOut Chorus: “the youth outreach program of the Gay Men’s Chorus of Washington, DC, empowers lesbian, gay, bisexual, transgender, questioning and allied youth, using the mission of the Chorus to create and nurture positive and affirming life experiences for all people.”

    We can’t wait to see what the “Kano Era” will bring, but what we saw earlier this month excites us, and we’ll be there to enjoy it and to cover it.

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    This is the 3rd straight year that we have honored Don Michael Mendoza and Regie Cabico’s La-Ti-Do. As they are about to start a new chapter in their new venue–James Hoban’s Irish Restaurant and Bar – 1 Dupont Circle, NW, in Washington, DC, starting on Monday, January 12, 2015 at 8 pm. La-Ti-Do has filled a void in the DC arts scene, with their weekly cabaret performances of music and spoken word. Their events not only simultaneously showcased up-and-coming and professional artists, but they fostered the community of artists in the DC/MD/VA area.

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    Maureen Rogers.
    Maureen Rogers.

    Every year Laurel Mill Playhouse under the leadership of Maureen Rogers reaches out to diverse groups in their community. They run Saturday kid’s training programs and senior programs at local community centers.  The theater then gives these groups a forum to present productions from a teen Shakespearean play (The Taming of the Shrew) to a chance for these young thespians to perform productions in their Young Adult One Festival. They even produced Peter Pan Jr. in August. LMP also encourages these future theatrical individuals to learn backstage technical mechanics.  It is not unusual to see a young person running lights or doing props.

    This year they had production with only seniors, Love Letters, from a group that meets at the local community center.  It gave these, sometimes beginning, actors a chance to perform in front of an audience.

    LMP also does a wide range of productions from classics, You Can’t Take it With You, to more edgy works like  The Wild Party and For Colored Girls Who Have Considered Suicide When the Rainbow is not Enuf. 

    They also occasionally do original scripts. Somehow, they manage to do this in a tiny theater, doing whatever they can to keep their funding and bring in enough money to stay open.

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    We honor Providence Players of Fairfax not only for its high-quality productions, but also for its community outreach with its Theater Community Inclusion Project. “To serve, providing quality, affordable theater to existing patrons while building new audiences for the future, particularly youth and underserved communities.” They provide concessions for each mainstage production, where the proceeds from concession sales are donated to that organization. They provide free tickets to students and their teachers and families and guests and work local non-profit partners- including Young Hearts  and Capital Caring. In fact, their current production of The Lion, The Witch and The Wardrobe is raising money for Young Hearts). We salute Providence Players of Fairfax for their fine work and for their generosity.

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    Special Award to NextStop Theatre Company and Director Dr. Lindsey D. Snyder, for creating a Richard III in which Richard is actually deaf, reliant on American Sign Language and other men to communicate with the public, at the Court, and even in his own family.

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    1463891_10152147232939887_1449590294_n2Columbia’s little Red Branch Theatre Company enjoyed a growth spurt in 2014. The cozy neighborhood playhouse cemented a bond with Broadway composer Jason Robert Brown, not only through its stagings of his musical shows, but via an intimate cabaret with the man himself. In March, Brown journeyed to Howard County to perform live in I Could Be in Love With Someone Like You, even surrounding himself with some of Red Branch’s rising young talents. Workshops don’t get any more direct or valuable than that. Congrats to Managing Director Tiffany Underwood Holmes and Co-Founder, Executive Producer, and Director Stephanie Lynn Williams, and Resident Dance & Fight Choreographer Jenny Male.

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    Ari Roth. Photo courtesy of theatreWashington.
    Ari Roth. Photo courtesy of theatreWashington.

    “Ari Roth’s season programming at Theater J has set Metro DC’s highest bar for consistently intelligent and engaging theatergoing experiences. Every play he selects is not only a work of extraordinary artistic craft; it’s a principled insight into what matters in the real world. For frothy and insular theatrical illusion, look elsewhere. For the uncompromising power of theater to illuminate our times, look to what Ari picks to put on stage. Nobody in town does it better.”

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    With 2nd Star Productions you are always assured of seeing top-notch plays and musicals and in 2014 their productions of Children of Eden and Twelve Angry Men were filled with many of this area’s most talented actors and singers. Lead by their superb designer Jane Wingard, 2nd Star Productions is a real community of volunteers who work together to produce some of the best work in the DC Metro area.

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    images (26)To Taffety Punk Theatre Company for 10 years of exciting and innovative theater, and especially for the new production of The Devil in His Own Words by Marcus Kyd. This merry “theatre band” has charmed the District for 10 years, linking acting, dance, and music to create vivid, relevant, and affordable theatre.

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    VENUS THEATRE COMPANY

    Deborah Randall.
    Deborah Randall.

    Venus Theatre Company, under the artistic direction of Deb Randall, reached an extraordinary milestone this year: 50 productions in eight years—all at its intimate and homey-funky storefront Play Shack in Laurel, Maryland. Among of the longest-running women’s theaters in the world, and one of the very few such professional companies, Venus Theatre is committed to producing work that raises the volume of women’s voices. To which we say, “Hear hear!”

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    MATTHEW R. WILSON

    Matthew R. Wilson.
    Matthew R. Wilson.

    Matthew R. Wilson of Faction of Fools Theatre Company for expanding appreciation of commedia dell’Arte and physical theatre and making it contemporary while staying true to its roots.

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    We honor Matthew R. Wilson of Faction of Fools Theatre Company for expanding appreciation of commedia dell’Arte and physical theatre and making it contemporary while staying true to its roots.

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     Here are DCMetroTheaterArts Special Awards of 2013.

  • ‘The Wild Party’ at Laurel Mill Playhouse

    FOUR AND A HALF STARS
    Laurel Mill Playhouse is having a wild, WILD party and they’re inviting you! There’s excitement! There’s sex! There’s dancing! There’s scandal! It’s a roaring good time guaranteed on the pernicious planks of the old main street playhouse; a scintillating musical thriller where one raucous night turns wickedly disastrous right before your very eyes. Stunning vocal talent under exceptional direction, Andrew Lippa’s The Wild Party flourishes in all its iniquitous glory. A sinfully stellar production Directed by Michael V. Hartsfield, with Musical Direction by Alice Laurissa, there’s a wild invitation with your name on it if you’re bold and daring enough to take it.

    Queenie (off-center right: Samantha McEwen) and Burrs (Stephen Deininger) with the cast of 'The Wild Party.' Photo by John Cholod.
    Queenie (off-center right: Samantha McEwen) and Burrs (Stephen Deininger) with the cast of ‘The Wild Party.’ Photo by John Cholod.

    Scenic Designers Alice Harris and Stephen Deininger create the thrumming atmosphere of the party life of the 1920’s in their rich red and black set design. The fancy black marbling on the walls juxtaposed against the red accents creates a thrillingly scandalous atmosphere that sets the tone for the entire plot of the musical. Harris and Deininger craft intricacy into simplicity in this fashion, enabling the actors to play their emotions fully without distraction. A tasteful set with hints of creative minimalism, the designers put just the right touch of flare into their work to echo the sentiments of the show.

    Costume Designers JoAnna Cross and Hayley North accentuate the atmospheric design with their ravishing aesthetics. In screaming tribute to the 20s, North and Cross showcase a plethora of styles for the women— including bugle bead dresses, feathery fascinators, and spidery fishnet stockings—while unifying the men in sharp suits and snappy suspenders. The flashiest piece of their combined efforts shows up in a sparkly sequined dress featured in sassy scarlet for Kate. It’s a razzle-dazzle spectacle on the stage in the costume department.

    On the intimate stage of the playhouse, largely choreographed numbers in the theme of the 20’s can be quite the task. Choreographer Terrence Bennett lays the groundwork for success with his simplistic yet clean routines. Numbers like “What a Party” feature basic but intense full ensemble shuffling that gives the song movement without clutter. Bennett’s work during “The Juggernaut” is remarkable as the ensemble gives a rousing rendition of sexy dance that captures the epitome of the 1920’s dancing scene.

    Musical Director Alice Harris leads the live orchestra— hidden by the panels of Queenie’s bedroom— with great vigor. At the beginning of the musical the orchestra does seem to have difficulty with sudden tempo and key changes but these minor faults fade entirely as the musical progresses. Harris does an exceptional job of keeping the orchestra’s sound under control; they hardly ever wash out the principles singers.

    Burrs (l- Stephen Deininger) and Eddie (Daniel Douek). Photo by John Cholod.
    Burrs (l- Stephen Deininger) and Eddie (Daniel Douek). Photo by John Cholod.

    Directed Michael V. Hartsfield brings a tremendously talented cast to the stage in this unconventionally daring musical. Out of the ordinary for Laurel Mill’s season, this refreshing and ravenously riveting show has scurrilous appeal to denizens of theatrical parties everywhere. Hartsfield brings a vision to the show; playing it in its truest form and letting the story speak for itself.

    The ensemble is powerful, though at times their harmonies are not the smoothest. Echoing triumphantly in numbers like “Raise the Roof” and “A Wild, Wild Party,” the strength in their limited numbers is displayed without hesitance. There are moments, particularly when Burrs attempts his solo lines above this thunderous ensemble, that the principle sounds are washed away but only on occasion does this become an issue.

    Featured soloists like the concupiscent Madelaine True (Felicia Akunwafor) and the vaudevillian duo Oscar (James Raymond) and Phil (David Hale) make their presences felt and heard throughout the performance. Akunwafor delights the audience with her prodigious personality and equally big belting sounds during “An Old-Fashioned Lesbian Love Story.” Bringing an intensity to match her character’s libidinous desires, Akunwafor carves out the comedy in her desperate tale. Hale and Raymond are like two splendiferous peas in a pod, playing well off one another and rarely featured apart. Their big show-stopping number, “A Wild, Wild Party” really gives them the opportunity to work each other’s angles for maximum audience enjoyment.

    Mae (Joanna Cross) and Eddie (Daniel Douek) are another inseparable pair; though unlike Phil and Oscar there is no doubt they are lovers. Cross brings an ear-splitting nasally sound to the character, while Douek’s natural Argentinean accent creates an enigmatic charm to Eddie. Their cloyingly sweet advances toward one another are so disgustingly mushy that it becomes a parody of romantic lovers. Their duet, “Two of a Kind” reiterates this syrupy sentiment, but is sung brilliantly by the duo.

    Black (Carl Williams) appears on the scene with a smooth edge to his persona. Williams’ sound is unique in the most indescribable fashion; a quality sound that hits the correct pitch and solidifies notes without having words to do it justice. His harmonies with Queenie during “Poor Child Reprise” and the quartet swells of “Poor Child” are welcoming but mellow, edgy but soft; an utter vocal paradox. His genuine emotional outreach toward Queenie and overall hostility toward Burrs is grounded in his physical stature and radiates outward into his songs.

    Kate (Emily Sergo) is nothing short of a show-stopping hussy that steals everyone’s thunder, lightning, and storm clouds the moment she blasts through the door in “Look at Me Now.” A vocal knockout with belts that shake the roof, Sergo asserts her domineering personality all over the stage with a confidence in her strut that is second to none. Bursting at the seams with sass and passion, Sergo imbues all of her musical numbers with volcanic pizzazz that showers all over everyone within earshot. Her solo “Life of the Party” makes her the song’s namesake as she blasts out her “Wham! Bam! Thank you, ma’am” style and owns the number without apology.

    Queenie (Samantha McEwen) and Burrs (Stephen Deininger) are fit to be tied when they match up. Both performers bring their own brand of eruptive expressions to the performance and rile so thoroughly against one another that it is hard to imagine their characters were ever once pleasant lovers. The chemistry between the two on stage isn’t just volatile; it’s caustic bordering on the edge of fatal. From their body language to their intense glares, McEwen and Deininger have corrupted a passion into something far darker and more sinister than your average loathing.

    Deininger’s voice is astounding. McEwen’s voice is sensational. The descriptors could be reversed and the statements would still stand as fact. McEwen exudes sexuality when slinking all over Black during “The Juggernaut” while Deininger glowers with vehement fury waiting to erupt from within him. There is something to be said for McEwen’s ability to thoroughly nail the syncopated rhythms of “A Wild, Wild Party,” while Deininger excels at the complexities of ballad style numbers like “What is it About Her?” The pair is vocally, emotionally, and physically unstoppable in this performance; an intensity the likes of which has previously never been experience at Laurel Mill Playhouse. “Let Me Drown” is Deininger’s most intense number; a culmination of every emotion his character has developed throughout the play while McEwen’s defining moment comes at the end of the piece during “How Did We Come to This?” where she is forced to bare the vulnerability of everything that has been torn asunder in her character’s existence.

    The Cast of 'The Wild Party.' Photo by John Cholod.
    The Cast of ‘The Wild Party.’ Photo by John Cholod.

    The Wild Party musical is powerful and the actors are astonishing. Who doesn’t love a party? And Laurel Mill Playhouse is certainly having one hell of a party!

    Running Time: 2 hours and 20 minutes with one intermission.

    Andrew Lippa’s The Wild Party plays through May 17, 2014 at The Laurel Mill Playhouse— 508 Main Street, in Laurel, MD. For reservations, call the box office at (301) 617-9906.