DC Theater Arts

Tag: Tom Lehrer

  • Review: ‘Tomfoolery’ at Act II Playhouse

    Review: ‘Tomfoolery’ at Act II Playhouse

    “Life is like a piano. What you get out of it depends on how you play it. “ ~ Tom Lehrer

    Tom Lehrer’s Tomfoolery, as directed by Tony Braithwaite, is a wickedly wonderful celebration of musical wit and wordplay. Featuring superbly performed selections from Lehrer’s top satirical songs, interspersed with tidbits of the songwriter’s life and times, Act II Playhouse’s Tomfoolery goes beyond the rollicking revue to extend an incandescent look at the influence of Lehrer’s art in our present culture.

    Patrick Romano, Tracie Higgins, Jamison Foreman, and Tony Braithwaite. Photo by Bill D'Agostino.
    Patrick Romano, Tracie Higgins, Jamison Foreman, and Tony Braithwaite. Photo by Bill D’Agostino.

    Now retired, Lehrer, a Harvard alumnus, mathematician and professor at various prestigious academic institutions, is infamous for his lyrical lampoons of the popular culture of the 1950s and ’60s, such as “New Math,” “Poisoning Pigeons in the Park,” “The Old Dope Peddler,” and the unsanctimonious “A Christmas Carol.” The show includes the above numbers, plus social commentaries like “National Brotherhood Week,” which skewers race relations; “I Got It from Agnes,” which gets laughs out of the unlikely subject of venereal disease; and “The Folk Song Army,” which mocks the deadly earnestness of folk singers:

    We are the Folk Song Army,
    Everyone of us cares.
    We all hate poverty, war, and injustice,
    Unlike the rest of you squares.

    Also included are Lehrer’s parodies of the Cold War-era obsession with nuclear apocalypse, which retain their relevance. They include “The Wild West Is Where I Want to Be,” “So Long, Mom (A Song for World War III),” and an audience participation version of “We Will All Go Together When We Go.”

    Braithwaite does doubly well as director and spirited performer, creating a solid, invigorating connection with his audience in both roles. High energy percolates throughout the show, with nicely orchestrated variations in the tempo of the tunes, interspersed with interesting and entertaining commentary (Cameron Mackintosh and Robin Ray are credited with the stage adaptation). Braithwaite and his fellow performers – musical comedienne Tracie Higgins, keyboard wizard and vocalist Jamison Foreman, and all-around talent Patrick Romano – form a foursome of fun onstage.

    Higgins, moving elegantly in her sapphire blue frock, particularly shines with her voice and expressions in “The Masochism Tango” and “Oedipus Rex.” Forman’s performance of “The Elements,” in which the periodic table is pattered à la Gilbert and Sullivan’s “Major-General’s Song,” garnered much worthy applause, and his sparkling accompaniment perks up every piece he plays. Patrick Romano’s candid expressions and physicality light up his every number. Choreographed by Sonny Leo, “The Vatican Rag,” a group number spectacularly led by Braithwaite wearing a glittering gold trimmed papal headpiece, is a holy riot.

    Patrick Romano and Tracie Higgins. Photo by Bill D'Agostino.
    Patrick Romano and Tracie Higgins. Photo by Bill D’Agostino.

    Each number sports distinct style in terms of staging, lighting (designed by James Leitner), sound (John Stovicek), and Parris Bradley’s simply chic set, which is especially well-utilized during Lehrer’s educational songs “Silent E” and “L-Y,” composed for the children’s television program The Electric Company. Delightful movement onstage is enhanced by stylish costumes reflective of the 1950s and ’60s, designed by Jillian Keys.

    This show offers constant entertainment. Never a dull moment!

    Running Time: 75 minutes, with no intermission.

    Patrick Romano, Tracie Higgins, Jamison Foreman, and Tony Braithwaite. Photo by Bill D'Agostino.
    Patrick Romano, Tracie Higgins, Jamison Foreman, and Tony Braithwaite. Photo by Bill D’Agostino.

    Tomfoolery runs through April 2, 2017 at Act II Playhouse – 56 E. Butler Ave., in Ambler, PA. For tickets, call (215) 654-0200 or order them online.

  • ‘Tomfoolery’ at Elden Street Players by Andrew Baughman

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

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

    The cast of 'Tomfoolery' by Matt Rose.
    The cast of ‘Tomfoolery’ by Matt Rose.

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

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

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

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

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

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

    TomFoolery-logo use this one

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

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

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

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

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

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

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

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

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

    Tom Lehrer.

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




  • ‘Incorruptible’ at The University of Maryland Baltimore County by Amanda Gunther


    The Dark Ages bring about a plethora of negative connotations: plague, pestilence, death, etc. But if I told you there was comedy to be found amid this dreary bleak time perhaps you might be the one laughing at me. But you will find that dark humor at the University of Maryland Baltimore County Theatre Department’s production of Michael Hollinger’s Incorruptible.

    Directed by Assistant Professor Colette Searls, this show delves into the darkness of a struggling monastery in France 1250 A.D. Their miracle relic, the bones of Saint Foy, have failed to produce a miracle in nearly 13 years and the monks are facing financial and spiritual peril. What do you do when your miracle saint runs dry? Dig up a new one of course. Come along and watch this cataclysmic event unfold as Hollinger (whose note says “…this sort of thing really happened…”) uses Catholic Church as a vessel for corruption.

    Brad Widener (Brother Martin) and David Brasington (Jack). Photo by Rich Riggins.

    The most striking thing about this production comes from the ridiculous costume that is showcased at the end of Act II. Costume Designer Elena Zlotescu lets her creativity flourish in Sister Agatha’s ensemble. Her dress is reminiscent of a quilted white wedding gown with a giant glitter gold cross that streaks down the front. And her habit looks like an enormous Faberge Egg that has been spun out of pink candy floss and cracked open to reveal a golden interior. This ensemble makes her character all the more comical as she storms onto the stage with accusations shooting from her mouth like gunfire at high noon. Zlotescu also extends her creative imagery to the set with crumbling brick walls that are literally leaning in toward the audience to create the illusion that the monastery is collapsing and in disrepair.

    And a nod is well-deserved to Sound Designer Adam Mendelson who creates a great montage of humorous songs loosely based on the Christian faith to play both before the show starts and after the show dismisses. Songs like “Vatican Rag” by Tom Lehrer and “If Jesus Were A Pirate.” Mendelson gets the audience prepared for the dark humor of the show with his song choices and helps enhance the comical nature of the production.

    The main problem with this production comes from the director and actors’ execution of their comedy. Searls allows the actors to develop strong characters with their own distinctive quirks and personalities, but their comic timing is virtually non-existent. Hollinger has written hysterical jokes into the show but many of them are missed or fall flat due to the delivery of the lines, particularly with Brother Martin (Brad Widener) – an over-the-top dramatic character with a flippant tongue and sarcastic biting wit. It felt as if Martin and his fellow actors knew a line was funny and tried to make it funnier by really hamming it up or playing it up. Unfortunately, this just killed the joke for the audience, making it feel forced and unnatural.

    The person who executed perfect comic styling on stage, however, was Sister Agatha (Jessica Ruth Baker). Exploding onto the stage in a furious rage Baker’s character brings it all together at the end of the show. She is talked about throughout the production, her reputation proceeding her arrival so that when she finally bursts through the monastery’s door it is every bit as hilarious as you would expect it to be. Baker commands her presence on stage by playing her role with serious anger and stoic frustration. The more serious she becomes – the funnier her character gets.

    The physicality of the actors is rather impressive. We see a fantastic series of pantomime gestures coming from Marie (Sydney Kleinberg) throughout the show. She first appears as a mime dancer and then later as the “incorruptible” on the alter wherein many of her emotions are expressed silently through gesture.

    Character development is key in this show and is well executed despite the faults of the ill-timed comic delivery. Each of the four brothers and the traveling minstrel develop an individual personality that distinguishes them from one another. Brother Charles (Anderson Wells) presents a humbled man with unending blind faith. Wells carries a heavy energy in his character, moving slowly and purposefully about the space as he tries to run the monastery, doing what he believes is best to keep their order from perishing. He uses a centrally focused anger when expressing his resentment and rivalry with his sister, deep enough to let the audience feel his pain. We find the opposite in Brother Martin. His character is tightly wound with a shaky energy that gets released through his biting wit. Widener has very expressive eyes and uses his whole body to express his frustration and anxiety over the troubles of the order, especially when the churchyard runs out of bodies.

    Brother Felix (Christopher Dews) is the novice of the order and his portrayal is the most realistic of the bunch. Dews is dynamic in his presentation; one moment racing through his tale of what happened in Berne with a youthful exuberance that belays his inexperience. But when he speaks of his love before joining the cloth his voice is slow and well paced, lingering over each word as if it were a song attesting to his heart.

    And then we have Brother Olf (Daniel Friedman) the stereotypical ‘stupid man.’ Friedman does not fall victim to the physical attributes of being the dumb muck at the bottom of the pecking order, but rather exudes his ignorance through cleverly crafted facial expressions and the way in which he asks his questions.

    When the four brothers encounter the minstrel Jack (David Brasington) their interactions are wildly entertaining. Watching a mass of monks crowd around a man they are about to impart nefarious deeds upon is a rather amusing sight. Brasington has perfect chemistry with Friedman, the pair acting out the roles of master and stooge with an exceptional balance every time they are on stage together. Brasington carries a large portion of the show, being a sounding board and then a catalyst for the action.

    So bring a shovel, and get ready for the darkness of UMBC’s Incorruptible. 

    Running Time: Two hours with one intermission.

    Incorruptible plays through April 28, 2012 at the UMBC Theatre Building – 1000 Hilltop Circle, in Baltimore, MD. To make a reservation, call the box office at (410) 455-2476. To purchase tickets, order by phone with a credit card by calling (410) 752-8950, or by purchasing them online.