Annapolis Shakespeare Company’s special production of Poe…And All the Others is an imaginative and chilling spectacle, with a creative use of space. With just two actors, a chair, and lighting effects, they create a dark, intimate atmosphere full of the spirit of Edgar Allan Poe. Written by Tony Tsendeas and directed by Sally Boyett, the play delves into the life of the tormented 19th Century author, exploring his writings and his inspiration.
Brian Keith MacDonald. Photograph courtesy of Annapolis Shakespeare Company.
Brian Keith MacDonald plays Poe, walking to the front of the theater’s cabaret space to deliver a lecture on poetry. Dressed in a black jacket and pant, with a black vest and tie, he confidently begins his talk, reciting “The Conqueror Worm,” only to stumble in the middle. At this moment of weakness, She, played by Olivia Ercolano, emerges from the wings. A mysterious figure, wearing a light green dress and long, wild hair, She describes to the audience where they really are: a hospital bed at Washington Medical Center in Baltimore, where the dying writer speaks to himself in a state of delusion. She plunges into Poe’s memories, replaying past incidents with his first love Virginia, his disapproving father, and others. In between these scenes, Poe and She act out selections from his poems and stories, including “The Raven,” “The Cask of Amontillado,” “The Tell-Tale Heart,” “Annabel Lee,” “The Masque of the Red Death,” and others. The writer takes one last look at his life and work as his “tale is nearing its end.”
MacDonald plays Poe brilliantly, full of genius and mental anguish. He falls to his knees and climbs to the chair in pain several times. Throughout the play, while re-enacting his work, his voice gives drama and builds suspense, painting a macabre scene with his words. He interrupts himself during his reciting, remarking that he is “trapped in his own story,” desperately trying to escape but unable to. He begins “The Pit and the Pendulum” with the stage in darkness, and like the narrator, gropes around, trying to find his bearings. In “The Cask of Amontillado” he plays Fortunato, the victim, while She plays Montresor, the revenger and the narrator. He laughs hysterically while being walled up, and delivers the famous line, “For the love of God, Montresor!” with the right amount of fear and desperation. Occasionally verging on melodrama, it is still a powerfully compelling performance, like watching a person’s life flash before their eyes before the end.
Ercolano gives a remarkable range to She. In an instant, she transforms from a mysterious, slightly terrifying figure into Virginia, a young, southern girl in love with Poe, and again into Poe’s stepfather, a gruff and stern man angry with Poe, as well as a nurse commenting on his declining condition, and shocked onlookers. Each voice is distinct and immediately recognizable, so that despite the quick shifts, we know who Poe is speaking to. As Virginia, she embraces Poe. During “The Masque of the Red Death” She dances with Poe, alternating narration with him. When he recites “The Raven” She wanders the edge of the stage, gradually creeping closer to him as the poem reaches its climax. When he stumbles in his recitations, She interrupts him, encouraging him to continue. She provides the supernatural element perfectly suitable for a play about Poe.
Brian Keith MacDonald and Olivia Ercolano. Photograph courtesy of Annapolis Shakespeare Company.
The theater’s cabaret space is perfectly suited for this production. Small round tables are scattered throughout the space, covered in black tablecloths and short lit candles. At one point, while Poe narrates one of his stories, She goes around and snuffs each candle, gradually darkening the space even further. Poe and She frequently walk between the tables. It allows for a remarkably intimate performance, adding to the mystery and the suspense.
Adam Mendelson has done a wonderful job as Lighting Designer, changing the light to reflect the altering memories and stories. During “The Raven,” the stage is lit with blue light, setting the dark and dramatic mood. When Virginia speaks to Poe, it becomes light red, romantic and loving but with a hint of tragedy. “The Pit and the Pendulum” is lit with dark purples, darkening the stage just enough to create the atmosphere, but light enough for the audience to see. The hospital scenes use “normal” white light, allowing reality to feel harsh compared to the soft, mysterious colors used in the rest of the play.
Sandra Spence has done great work as Costume Designer. Poe’s outfit is dark and brooding, reflecting the author’s torment. She’s dress gives her a spirit-like quality. The costumes add to the spectacle of the performance without distracting from the acting or the story.
Nancy Krebs has helped the actors tremendously as Dialect Coach. The southern accent comes across clearly in MacDonald’s portrayal of Poe without being overwhelming. Ercolano’s male Scottish accent sounds remarkably accurate, and her southern accent as Virginia is a subtle one. They help balance all the other elements of the play while not being obtrusive.
Sally Boyett has done an excellent job as Sound Designer and Director. Mysterious sounds hit the stage throughout the play, adding to the creepy atmosphere. MacDonald and Ercolano work well together, seamlessly flowing from one recollection and recital to the next. While the script is certainly fantastical, they play it perfectly naturally, with a genuine feel. They use every inch of a small space, making it feel larger than it really is. This production shows how intimate spaces can create incredibly powerful theater. All the elements combine into a thrilling, chilling evening, like watching all of Poe’s work come to life. It is a terrific play for Halloween. Only five performances remain, and it deserves a large audience, so be sure to catch it!
Running Time: Approximately one hour, with a 15-minute intermission.
Poe…And All the Others plays from October 23 through November 1, 2017 at Annapolis Shakespeare Company – 1804 West Street in Annapolis. For tickets, call the box office at 410-415-3513 or purchase them online.
Annapolis Shakespeare Company’s production of Shakespeare’s The Tempest is a colorful, spirited spectacle. Co-directed by Donald Hicken and Sally Boyett, The Tempest is performed outdoors, in the gardens of the historic Charles Carroll House. It combines talented acting, directing, choreography, and lighting with a beautiful setting for a night of wonderful theater, with magic, romance, and revenge.
The Tempest at Annapolis Shakespeare Company. Photo by Joshua McKerrow.
Brian MacDonald radiates power and authority as Prospero, the exiled Duke of Milan turned sorcerer and ruler of the island. Even when not speaking, he hovers in the background, directing events and watching his plans fall into action. He’s used to being obeyed: his tone with Caliban (John Bellomo) is full of disgust and threats, while with Ariel (Laura Rocklyn), it’s commanding with a touch of admiration for her loyalty. His final speech is quietly, powerfully touching. Watching him is spellbinding.
Olivia Ercolano brings youthful innocence to the role of Miranda, Prospero’s daughter. The sadness in hearing her father’s woeful story shows in her face and voice; she kneels towards him when exclaiming “What trouble I was to you then!” She and MacDonald have wonderful chemistry, bringing out his tenderness and love. There is a sweetness to her relationship with Ferdinand (Jurdan JC Payne). Payne brings a joyful eagerness to the young man separated from his family. He is clearly smitten with Miranda on first meeting her, and she feels the same. They outstretch their hands towards each other. It’s almost enough to melt even Prospero’s heart.
John Bellomo is both angry and pathetic as Caliban, Prospero’s rebellious, monstrous servant. He frequently crawls onstage, moaning and yelling. Bruises covering his body, he hurls abuse at Prospero and Miranda, full of lust and rage. His struggle with MacDonald leads to a beautifully choreographed and tense fight scene. His sudden love for liquor is funny and sad at the same time; getting down on his knees to Stefano (Tony Tsendeas), he pledges loyalty to the owner of the bottle, changing one master for another. He plays the savage brute inside and out.
Laura Rocklyn brings the supernatural element to the play, as Ariel. With Jackie Madejski and Elizabeth Colandene accompanying her as spirits, she glides around the stage, performing all sorts of magical feats. Full of passion and enthusiasm, her devotion to Prospero, and her love for her work, is evident. Only once is her tone harsh towards her master. Her aspect changes depending on her task, from charming and seductive to menacing and fearsome, sometimes from moment to moment. She and the spirits carry blue streamers that are constantly spinning, almost hypnotically, as, crouching low to the ground, they stalk the other characters. The spirits growl and click, utterly inhuman in an incredible performance.
The Tempest at Annapolis Shakespeare Company. Photo by Joshua McKerrow.
Ian Charles as Trinculo and Tony Tsendeas as Stefano are the comic relief to the play. Tsendeas plays the role of drunken fool perfectly, staggering onstage carrying a homemade cask and singing. He proves a benevolent master to Caliban, approaching the monster and sharing his cask. He slowly leads the group onward towards the possibility of power. Charles is much more apprehensive about Caliban, especially after the monster grabs him by the neck and hurls him to the ground. The first meeting between Trinculo, Stefano, and Caliban is played with hilarious physical comedy, involving limbs and a tarp. They give the audience many laughs.
Dexter Hamlett plays Gonzalo, a courtier to the nobles, with eagerness and kindness. When speaking of the utopian possibilities for the island, his enthusiasm is infectious. He brings stability to the shipwrecked nobles, and gets a joyous embrace from Prospero.
Frank Mancino brings a quiet dignity to Alonso, the king of Naples. Although not as colorful or dramatic as some of the other characters, he plays the straight man, allowing their personalities to shine through. His most powerful performance comes at the end, when he faces his past misdeeds. Mancino plays it with quiet strength, making him a sympathetic character.
Steve Polite and Bill Dennison play Sebastian and Antonio respectively, two wicked nobles. Their words dripping with cynicism and sarcasm; they both give off slightly menacing airs. At one point, they draw their swords, taking advantage of weakness to attempt something treacherous.
Lighting Designer Adam Mendelson does wonderfully inventive work, creating lightning storms, multicolored flashes, and other effects when Prospero or Ariel use their magic. They help enhance the drama and add a supernatural tone to the play. It’s extremely effective.
Sally Boyett adds to the special effects as Sound Designer, bringing in music and other sounds to help with the magical atmosphere. During one scene, an offstage, otherworldly-sounding voice gives the blessings of the goddesses Iris, Ceres, and Juno to the proceedings. All the actors are miked, so that their voices come through clearly.
The Tempest at Annapolis Shakespeare Company. Photo by Joshua McKerrow.
Sandra Spence has done a wonderful job as costume designer, making each character’s outfit appropriate. Prospero wears a gold cloak and wields a long, wooden staff, looking every inch the powerful sorcerer. Ariel and the spirits wear flowing blue dresses, while Caliban is bare-chested and in rags below the waist, exactly as a wild savage might look like. Trinculo wears a striped shirt, purple cummerbund, and green cap. Stefano looks quite relaxed in a white shirt, brown pants, and a red kerchief tied around his head.
Donald Hicken has done a terrific job as director, and Sally Boyett as co-director and choreographer. The actors make excellent use of the outdoor setting, appearing and disappearing through the shrubbery. They navigate around each other easily and gracefully, at times almost looking like a ballet. They deliver Shakespeare’s language in a way that feels incredibly natural, melding it with action that helps explain the plot. All the elements come together for a truly enchanted evening.
Running Time: Two hours, with a 25-minute intermission.
The Tempest plays through July 23, 2017, at Annapolis Shakespeare Company performing at the Charles Carroll House Gardens – 107 Duke of Gloucester Street, in Annapolis. For tickets, call the box office at (410) 415-3513, or purchase themonline.
A Few Good Men at Off The Quill: Peter Orvetti, Andy De, Adrian Vigil, Leanne Dinverno, James Heyworth, Donald R. Cook, Roderick Bradford, and Michael J. Dombroski.
Angels in America: Millennium Approaches and PerestroikaCo-Produced by Round House Theatre and Olney Theatre Center: Jonathan Bock, Kimberly Gilbert, Mitchell Hébert, Thomas Keegan, Sarah Marshall, Jon Hudson Odom, Tom Story, Dawn Ursula.
Equusat Constellation Theatre Company: Michael Kramer, Karina Hilleard, Kathleen Akerley, Ross Destiche, Michael Tolaydo, Laureen E. Smith, Ryan Tumulty, Colin Smith, Emily Kester, Tori Bertocci, Gwen Grastorf, Ashley Ivey, Ryan Alan Jones, and Emily Whitworth.
Promised Land at Mosaic Theater Company of DC: Audrey Bertaux, Aaron Bliden, Gary-Kayi Fletcher, Awa Sal Secka, Brayden Simpson, and Kathryn Tel.
The Critic and TheReal Inspector Houndat Shakespeare Theatre Company: John Ahlin, John Catron, Robert Dorfman, Naomi Jacobson, Charity Jones, Hugh Nees, Robert Stanton, Sandra Struthers, and the voice of Brit Herring.
The Sisters Rosensweigat Theater J: Josh Adam, Edward Christian, Susan Lynskey, Susan Rome, Michael Russotto, Kimberly Schraf, James Whalen, and Caroline Wolfson.
The Flick at Signature Theatre: Laura C. Harris, Thaddeus McCants, Evan Casey , and William Vaughan.
When the Rain Stops Fallingat1st Stage: Scott Ward Abernethy, Kari Ginsburg, Sara Dabney Tisdale, Amy McWilliams, Dylan Morrison Myers, Frank Britton, Teresa Castracane.
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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.
Poe … And All the Others is an imaginative, entertaining production, with an incredibly creative use of space. With just two people, a minimum of props, and lighting, Annapolis Shakespeare Company creates a dark, atmospheric performance full of the spirit of Edgar Allan Poe. Written by Tony Tsendeas and directed by Sally Boyett, Poe … And All the Others delves into the tormented life of the 19th Century author during his last days.
Brian MacDonald and Renata Plecha. Photo by Joshua McKerrow.
At the center of the dining room of Reynolds Tavern stands Poe (Brian Keith MacDonald), delivering a lecture on poetry. Dressed in a black suit, with vest and his famous mustache, he seems to step right out of a portrait. After reciting “The Conqueror Worm,” he appears to stumble for words. This is when She (Renata Plecha) appears. A mysterious figure, wearing a light brown dress and dark makeup, She describes to the audience where they really are: a hospital bed at Washington Medical Center in Baltimore, where the dying writer speaks to himself in a state of delusion. She says enigmatically, “Who I am will become clear, or not, or both,” as she plunges into Poe’s memories, replaying past incidents with his first love Virginia, his disapproving father, and others. In between these scenes, Poe and She act out selections from his poems and stories, including “The Raven,” “The Cask of Amontillado,” “The Tell-Tale Heart,” “Annabel Lee,” “The Masque of the Red Death,” and others. The writer takes one last look at his life and work as his “tale is nearing its end.”
MacDonald plays a brilliantly anguished Poe. He is fairly quiet and restrained, letting the language carry the drama and weight. Throughout the play, while re-enacting his work, he finds himself “trapped in his own story,” desperately trying to get out of it but unable to. He begins “The Pit and the Pendulum” with the stage in darkness, and like the narrator, gropes around, trying to find his bearings. In “The Cask of Amontillado” he plays Fortunato, the victim, while She plays Montresor, the revenger and the narrator. He laughs hysterically while being walled up, and delivers the famous line “For the love of God, Montresor!” with the right amount of fear and desperation. To have the author not only recite his work but also perform it is a rather eerie experience, as though we are looking directly into his fevered mind.
Plecha is a tremendously talented actress. In an instant, she turns from a dramatic, spirit-like creature into a young, southern girl in love with Poe, and again into a gruff, stern father with a convincing Scottish accent, and a nurse commenting on his declining condition, as well as shocked onlookers. Each voice is distinct and immediately recognizable, so that despite the quick shift in scenes, we know who Poe is talking to. She frequently speaks to the audience, setting the scene and usually humorously commenting on the action. At the end of the first act, She invites the audience to enjoy themselves during the intermission. When the play continues, She tells Poe “Give the people what they want! Their appetite grows!” She wanders around the stage, occasionally, as Virginia, embracing Poe. When he recites “The Raven” She stays on the opposite side of the stage, gradually creeping closer to him as the poem reaches its climax. There are times when She’s style comes near melodrama, but it feels necessary given the dramatic atmosphere, and it forms a nice contrast with Poe’s quieter style.
Adam Mendelson’s wonderful lighting design works perfectly in this play, changing to reflect the altering mood and memories. During the “Pit and the Pendulum,”, blue light shines on the stage, making it just dark enough to feel like a dungeon but light enough for the audience to see the action. When Virginia speaks to Poe, it becomes light red, romantic, and loving but with a whiff of tragedy. There is one brief period of complete darkness, which perfectly captures that moment.
Costume Designer Sandra Spence has done a terrific job dressing Poe and She in outfits that feel authentically mid- 19th Century. They subtly add to the spectacle of the performance without distracting from the acting or the story.
Dialect Nancy Krebs has done fine work with the two actors. The southern accent comes across clearly in MacDonald’s portrayal of Poe without being overwhelming. Plecha’s Scottish accent sounds remarkably accurate, and her southern accent as Virginia is a subtle one.
Brian Keith MacDonald (Edgar Allan Poe). Photo by Joshua McKerrow.
Reynolds Tavern might seem at first glance to be an odd place to perform this play, but it turns out to be the perfect setting. A restaurant from colonial times, the rooms have the feel of history, which adds to the feeling of high drama as the play unfolds. The food and drink are also extremely good, with a nice selection among the three-course meal, and served at just the right times, so as to not interrupt the performance. It is dinner theater done exceptionally well.
Sally Boyett is a remarkable Director. The actors work well together, seamlessly flowing from one recollection and recital to the next. They play the script’s fantastical conceit perfectly naturally, and it feels completely real. They use every inch of a rather small stage, making it feel much larger than it really is. This production shows how intimate spaces can create incredibly powerful theater.
Poe … And All the Others is the perfect Halloween play!
Running Time: Approximately 90 minutes, with a 20-minute intermission.
Poe … And All the Others plays on Tuesday and Wednesday evenings through November 23, 2016 at the Annapolis Shakespeare Company performing at Reynolds Tavern – 7 Church Circle, in Annapolis, MD. Dinner is served at 6:30 PM with the performance beginning at 7:30 PM. For tickets, call the box office at (410) 415-3513, or purchase themonline.
This staged reading of Henry James’ story proves that a small, scaled-down production can produce chills and suspense; all it takes is a good script, excellent direction, and two talented actors. Adapted by Jeffrey Hatcher and directed by Donald Hicken, this show is performed in Annapolis Shakespeare Company’s intimate black-box theater to great dramatic effect, with ghosts, an unreliable narrator, and secrets brought to light.
Laura Rocklyn. Photo by Joshua McKerrow.
Set in England in 1872, over the course of a week, it tells the story of an unnamed governess (Laura Rocklyn), hired to look after two young children at a remote country estate called Bly House. Tony Tsendeas plays the other speaking roles: the unnamed Master who hires the governess at the start; Mrs. Grose, the elderly housekeeper who slowly reveals to the governess what happened to her predecessor; and Miles, a 10-year old boy who is “different from other boys,” and who “knows things” that he shouldn’t.
Mrs. Grose, the elderly housekeeper who slowly reveals to the governess what happened to her predecessor; and Miles, a 10-year old boy who “knows things” that he shouldn’t. The governess soon discovers what appears to be ghosts haunting the estate, spirits from the recent past that threaten to consume her and the children. She is determined to protect her charges and discover the reasons behind these seemingly supernatural events. But all may not be as she perceives it, and she may end up doing more harm than good.
Tsendeas does a remarkable job differentiating between the three characters. For Mrs. Grose, he dons a black lace shawl and sounds very much like an old woman. In one of her early conversations with the governess, she is careful to only say that the previous one, Miss Jessel “went away.”
Tony Tsendeas. Photo by Joshua McKerrow.
Miles comes across originally as a sweet-natured, rather precocious boy. He sits on the floor while talking with the governess, laying on the floor and sitting on his knees as he exchanges riddles with her. But there are unsettling elements about him, which we slowly learn about. When both he and the governess are eager for the Master to visit Bly, Miles explains that he can convince his younger sister Flora to do something that will get the Master to return; he tells the governess “I’ll take care of everything.” And you can only imagine how he takes care of business.
Rocklyn is excellent as the governess. She plays a young woman who loves the children she is in charge of, and who wants them to love her equally. She is also more than a little in love with the Master; she’s read Jayne Eyre and knows all the stories of governesses who married their employers, and hopes that this might happen to her too. Speaking and playing with Flora, one can almost see the little girl as she warms up to the governess, finally breaking into a smile. Rocklyn runs through the whole range of emotions throughout the play, from love and enthusiasm to anger at the children.
Both actors deliver exceptional performances.
The lighting helps set the atmosphere as well. Designed by Jacob Mueller, it darkens as the governess describes the ghosts she encounters, or the other mysterious and frightening experiences she witnesses, then suddenly brightens when reality intrudes. It makes for a terrific contrast between the two worlds. Mysterious music from off-stage also raises the suspense as well. Simple sound effects from Tsendeas, such as the creaking of stairs or the chiming of a clock adds to the creepiness.
Nancy Krebs does a commendable job as Voice and Dialect Coach. Rocklyn and Tsendeas’ accents sound authentically English, and reflect the characters’ different class backgrounds. Mrs. Grose, for instance, is more working-class, whereas Miles and the Master sound like upper-class men.
Donald Hicken has directed this production brilliantly. When the play begins, a spotlight shows Tsendeas sitting as he sets the stage for what is to come, while Rocklyn stands silently in near darkness. During quiet moments, they sit on two simple chairs with lecterns holding their scripts. During more dramatic scenes, they use the entire stage, walking about, kneeling, and spreading out on the floor.
Hicken also designed the black dress Rocklyn wears, reminiscent of the 19th Century; Tsendeas wears modern-day clothing. The actors work well together and are extremely comfortable with the material.
All the elements come together in The Turn of the Screw to create a spooky tale that keeps the audience gripping their seats until the very end. This production only runs a week, so see it before it’s gone. You may want to leave the light on when going to sleep afterwards!
Running Time: 70 minutes, with no intermission.
The Turn of the Screw plays from August 5, 2016, through August 14, 2016 at Annapolis Shakespeare Company – 111 Chinquapin Round Road, in Annapolis, MD. For tickets, call the box office at (410) 415-3513, or purchase them online.
It is not easy to reinvent the wheel let alone attempt it, but that is exactly what the ambitious Annapolis Shakespeare Company has done, with generally fine results, in its fully staged reading of Lerner and Loewe’s classic musical My Fair Lady, based on George Bernard Shaw’s play Pygmalion.
James Carpenter, Renata Plecha, Rob McQuay, Brian MacDonald, Olivia Ercolano, Tony Tsendeas, and Laura Rocklyn. Photo by Joshua McKerrow.
With a cast of seven (James Carpenter, Renata Plecha, Rob McQuay, Brian Keith MacDonald, Olivia Ercolano, Tony Tsendeas, and Laura Rocklyn), two keyboards, a simple, but elegant palette of black and white costumes, a bare stage and minimal but effective choreography, Director Sally Boyett transports us to Edwardian London and puts the focus squarely where it should be, on Alan Lerner’s rich book and lyrics and Frederick Loewe’s glorious music.
And her cast dives in with a sense of play and urgency that allows you to see this, one of the all-time, great musicals, with fresh eyes.
The cast is, on the whole, quite good, but for me, Olivia Ercolano as Eliza Doolittle, the cockney flower girl made a lady, and Tony Tsendeas, as her scheming father Alfred, shined so brightly. From the first lines of “Wouldn’t It Be Loverly?,” I was putty in Ms. Ercolano’s delicate porcelain hands. Tsendeas was a treat in every scene, making a scoundrel both very funny and very endearing.
Boyett, in a pre-show announcement, told the audience that, as this was a reading, the actors only rehearsed for eight days. They performed with scripts in hand. I was quite impressed, given the short rehearsal period, but, obviously, some of it doesn’t quite work. Several of the relationships and characterizations aren’t nearly deep enough, most significantly the one between Higgins (Rob McQuay, who is in fine voice) and Eliza (Ercolano), and parts of the first and second act, lack clarity, for instance as the settings shift from place to place, such that you may feel a bit lost, especially if you don’t know the show.
Olivia Ercolano. Photo by Joshua McKerrow.
But this is to be expected and it certainly won’t detract from your overall enjoyment of this lovely evening, because I think Boyett is on to something here and with more rehearsal and with the actors off-book, this chamber version, would make a fine addition to an upcoming Annapolis Shakespeare season. And wouldn’t that be loverly?
Running Time: Two hours and 10 minutes, with one 15-minute intermission.
My Fair Lady plays through August 14, 2016 at Annapolis Shakespeare Company – 111 Chinquapin Round Road, Suite 114, in Annapolis, MD. For tickets, call (410) 415-3513, or purchase them online.
Annapolis Shakespeare Company’s production of A Midsummer Night’s Dream, directed by Sally Boyett and Donald Hicken, is the perfect combination of play and space. Performed in the garden of the Charles Carroll House, designed in 1770 by the only Catholic signer of the Declaration of Independence, there are few props, but beautiful costuming, excellent use of lighting, and talented actors all help to create an enchanted evening’s entertainment down by the water.
With Doug Robinson, Brian MacDonald, and Renata Plecha. Photo by Joshua McKerrow.
The costumes, as befitting the setting, are 18th-Century inspired, with wigs and tricorner hats for the men, and big skirts for the women. Theseus (Brian Keith MacDonald) and Hippolyta (Renata Plecha) enter the stage from the top of the hill looking very much like King George III and his wife.
The nobility, Demetrius (Bill Dennison), Lysander (Doug Robinson), Helena (Olivia Ercolano), and Hermia (Laura Rocklyn), aren’t quite so elaborately dressed, but still elegant.
The Rude Mechanics Peter Quince (Ken Kemp), Bottom (Tony Tsendeas), Egeus (Johnny Weissgerber), Starveling (Kim Curtis), Flute (David Johnson), and Snug (Chris Rogers), are much simply dressed, like laborers. The fairies (Christine Jacobs, Eternanda Fudge, and Lauren Hardcastle), and Titania (Renata Plecha) have blue gowns and gloves that make them distinctive from the other actors.
Oberon (Brian Keith MacDonald), is shirtless, with a dark cloak and trousers, looking very much like a sorcerer. Puck (Matthew Pauli) is perhaps the most distinctively dressed: wearing a tricorner hat, shells attached to his vest and pants, looking as though he just emerged from the waters of the Chesapeake Bay.
The acting is simply excellent. Robinson’s Lysander and Rocklyn’s Hermia feel like a couple very much in love, while Ercolano plays Helena perfectly, in love with Demetrius and desperate for his attention. The disappointment on her face is clear when Lysander and Hermia announce they will elope, and her justification for telling of their escape to Demetrius seems completely understandable.
Dennison, Robinson, Ercolano, and Rocklyn show off their strong connections with each other and their physical talents once Demetrius and Lysander are both enchanted to fall in love with Helena. Helena, having longed for Demetrius’ love all this time, cannot believe that now he and Lysander are fighting for her attention, and accuses the other three of conspiring together to play a nasty trick on her, while Hermia grapples with confusion and anger at now being the rejected one. When Lysander and Demetrius’ conflict becomes physical, Hermia grasps Lysander’s leg, to keep him from moving. After Helena and Hermia begin blaming each other for the situation, Lysander and Demetrius pick up Hermia and carry her off, to keep her from hurting Helena. The physical comedy is splendid.
The Rude Mechanicals are hilariously funny; they know how to play bad remarkably well. They use physical comedy to great effect during the performance. Egeus as Wall hits Pyramus and Thisbe as they speak to each other. During his death scene Pyramus kills himself in three separate ways. Snug gets too much into his role as Lion, snarling and growling. Thisbe strikes Pyramus in the groin after he already dies.
Bottom is probably the most professional of the Mechanicals, offering suggestions for issues in their performance, real and imagined, and is eager to play all the roles. The ass’s head is delightfully oversized and furry, creating a great visual gag. When Titania meets him in his transformed state, he is surprised at first but takes it in stride, soon asking her for some “good hay.” After he’s returned to normal, his description of his “dream” is both funny and touching.
Pauli plays Puck with outstanding energy. He is always running on and offstage, and racing around to follow Oberon’s orders, whether to trick the lovers into regathering together or playfully chasing the fairies. After retrieving the magical flower, he barrels down the hill, “tripping” and landing on his stomach onstage. When retelling how the enchanted lovers are now fighting amongst themselves, he falls to the ground laughing. He can also be wonderfully subdued, as in his speech at the end when he asks the audience for their forgiveness if they have been offended. No forgiveness is necessary.
MacDonald and Plecha do a wonderful job in their dual roles as Theseus and Oberon and Hippolyta and Titania. They both have a regal, commanding air that puts them in charge wherever they are. Even enchanted and in love with the transformed Bottom, Titania acts like a queen, ordering the fairies to make her lover comfortable; they obey without question. The love between both royal couples feels genuine, even when Oberon and Titania are fighting. They set the model for how the other lovers should behave.Although the fairies don’t have many lines, they are a constant presence in this production, following the humans and interfering when needed. They keep the lovers from leaving the stage, and cause them to fall into each other. In one funny moment, they trick Lysander and Demetrius into hugging each other.
The actors take full advantage of the setting, using the bushes along the water to make some of their exits and entrances. In some occasions, for instance while Puck brings each lover to the stage to remove their enchantment, off in the distance the others are fighting and running around.
Adam Mendelson is an excellent Light and Sound Designer. The lighting turns light green during several scenes with the fairies, giving a beautiful mystical tone to the scene. Tsendeas’ lines are easily heard under the ass’s head.
With Tony Tsendeas and Renata Plecha. Photo by Joshua McKerrow.
Sally Boyett and Donald Hicken have done wonderful jobs directing this production. The actors work incredibly well together, and all the stage fighting and action flows perfectly. Everything came together to create a beautiful evening of Shakespeare in the open air.
Running Time: Approximately 2 hours, with a 15-minute intermission.
A Midsummer Night’s Dream through July 17, 2016 at the Charles Carroll House Gardens – 107 Duke of Gloucester in Annapolis. For tickets, call the box office at (410) 415-3513, or purchase them online.
Chekhov is a challenge for even the most experienced and skilled artists of our profession. It is not merely that his characters are the most psychologically dense in drama (which they are), or that his plays have very little action (which they do), or that after more than a century of productions no one has quite determined if his plays work best as comedies or tragedies, something in between, or something beyond either (which they could). It is that Chekhov’s own dialogue seems to confound any moment of lucidity, any attempt at interpretation itself. His characters in Three Sisters know pain, for sure (lost parents, suicidal spouses, a village on fire). They know frustrated longing (for love, for hope, for a new life). Yet they seem to wail and pontificate endlessly about their pain, to ultimately crave nothing more than to be validated as suffering people. So the artists engaging with such palpable material, and the audience responding to its execution, are often left uncertain as to whether to nod in sympathy or shake their heads in judgement, indeed to laugh or cry at the spectacle of pain and longing mixed with irony and self-aggrandizement.
James Carpenter (Andre) and Brian Keith MacDonald (Baron Tuzenbach) Photo by Joshua McKerrow.
Donald Hicken’s adaptation of the play doesn’t fear the ambiguities in the language, nor the conflicted nature of the characters. The production design is effective overall, with Hicken and Sally Boyett (ASC’s Artistic Director) providing set and costume design. There is a beautiful screen background that serves to demonstrate both the wealth of the family and act as a metaphor for the outside world. The furniture and costumes are aptly chosen, drawing the audience into a world of old Russian landholders and officers (high collars, petticoats, and gold buttons) while also establishing character. A standout is Chelsea Mayo’s costumes as Irina, which suggest she dresses herself for another life, as she reclines on her chaise staring out the window dreaming of what she will never have. Though for some reason, the general wash is uneven and dark lines cut across actors’ faces, distracting from some particularly intimate scenes, Adam Mendelson’s lighting work includes just the right clever lighting tricks (the fire in the distance and Anfisa burning the sconces on the wall are particularly noteworthy).
The 11-person cast, which is an almost even split between ASC residents (two of which are Equity) and guest actors, demonstrate the technical perfection, clear articulation, and vitality of true professionals. There is not a miscast player in the group; all bring qualities to the stage that match their roles with precision, from Teresa Spencer’s hardened frailty as Olga or Brenden Edward Kennedy’s exuberant sensitivity as Kulygin.The most engaging performances for me come from Olivia Ercolano as Masha and Tony Tsendeas as the patriarch of the family.
The cast: Tony Tsendeas, Joshua McKerrow, Steven J. Hoochuk, Olivia Ercolano, Brian MacDonald, Michael Reid, and Chelsea Mayo. Photo by Joshua McKerrow.
There are some shortcomings, as there often are in executing such as challenging piece of theatre. The performance pacing is slower than it should be and some of the longer speeches sound like rehearsed orations rather than immediate interactions with themselves and the world. Tsendeas’s drunken rant is a notable exception, however, as the actor flawlessly sails through regret and self-hate.
Ultimately, Hicken’s clever bits (moments where laundry overloads an actor or a kiss is avoided to humorous humiliation), the ironies in the text, and the consummate professionalism of this established company, make this a production well-worth seeing.
Running Time: 2 hour and 40 minutes, with 15-minute intermission.
Three Sisters plays through February 21, 2016 at Annapolis Shakespeare Company’s Studio 111 – 111 Chinquapin Round Road, in Annapolis MD. For tickets, call the box office at (410) 415-3513, or purchase themonline.
For as long as there have been movies, theater artists have tried to integrate film with live performance. Something about celluloid (these days, video) seems to inspire theater artists to break the fourth wall by putting up a projection screen instead. Whether motivated by cinematic vision or cinema envy or both, this mixed-media approach tends to have mixed results. Mikhail Baryshnikov’s multimedia touring production Man in a Case is a case in point. Storytelling, a sine qua non of theater for eons, doesn’t readily leap back and forth, much less bridge the gap or blur the line, between the forms. That’s not to say meaningful merger of the two media can’t be done and done well—but the bar is very high.
The production cryptically titled Jarman, (all this maddening beauty) just opened by force/collision at Atlas Performing Arts Center, valiantly and defiantly takes up the challenge. Billed as “a premiere work-in-progress performance,” the piece features live onstage in real time solely the engaging and versatile John Moletress (who also directed, with Jacob Janssen associate director), plus 14 others (A.J.Coley, Ryan Patrick Welsh, Elizabeth Van Den Berg, Tony Tsendeas, Jefferson Farber, Pu$$y Noir, Joshua Limbaugh, Stephen Benedicto, Scott Frost, Christin Meador, Matthew Cumbie, Jeffrey Brady, Dean Barnes, Craig Souza) who appear in little clothing in artfully crafted videos by Filmmaker Benjamin Carver.
The pretext for the text by Obie-winning playwright Caridad Svich is an homage to Derek Jarman, the exuberantly imagistic filmmaker whose bold influence on queer and indie cinema is getting a fresh round of recognition on the anniversary of his death in 1994 from AIDS. (If you’ve never heard of Jarman, or even if you have, I recommend force/collision’s terrific online background material about the artist and the production.)
The piece begins simply as Moletress addresses the audience directly (speaking a text he also delivers as voiceover for a striking video by Carter released to promote this production):
This is the story of a boy
This is the story of a boy who made pictures
In a place called England
This is the story of that same boy when he was a man
And kept making pictures, and books, and gardens too
This boy became an artist
…
This is the story of a man who made pictures
And one day got sick, very sick
From a terrible plague that was goin’ ’round
This is the story of an artist who went blind
But even in his last days, kept making
Pictures in his head, beautiful pictures
Do not be deceived by the promise of linear storytelling in those moving words, however, because formally this show is a wild melange of language, movement, sound, and image. How wild? Well, to give you some idea: About 30 minutes in we get Moletress twerking in Margaret Thatcher mask and Iron Lady drag to Madonna’s “Girl Gone Wild” whilst onscreen on either side of the stage we can ogle a go-go boy shaking his booty in Great Britain-branded undies. Not long after that, Moletress with his back to the audience heists up his Thatcher skirt and feigns a pee on a small gravel garden or gravesite around which posies grow. At another point Moletress—channeling Jarman as if to tip us off—puts a megaphone to his mouth and shouts: “Fuck narrative!”
At that the show succeeds.
Moletress becomes three individuated characters during the evening: Jarman himself, a younger man who’s discovering Jarman’s oeuvre and is in awe of it, and the male lover who in Jarman’s last years became his caretaker. Throughout there are references to Jarman’s life and work, his queer esthetic and gay-rights activism. But there’s no sense of biographical continuity. And don’t expect much plot beyond that pissoir gravel patch.
There are some brilliant visuals, however, not least Lisi Stoessel’s set, David Crandall’s projections (he also did the dancefloor-ready soundtrack), and Jedidiah Roe’s lighting. When Moletress from behind a projector reaches his hand in shadow as if to caress a beautiful young man in the video, for instance, or when Moletress abruptly smears blue paint over his eyes at the point Jarman goes blind, the effect is chilling. At times like these, the stagecraft and subject seem as one. At other times the show slows and loses focus, notably during several long passages when Moletress is off stage and our attention is meant to be sustained by audiovisual effects alone. That didn’t work for me (though in fairness I’m no audiophile or cineaste).
Decidedly a work-in-progress—with a talkback for audience input afterward the night I attended—this theater/video hybrid nonetheless warrants serious attention. Even as the show’s current iteration lacks the illuminating lucidity of this discussion of it by Moletress and Svich, and even as its visuals lack the evocative beauty of Carver’s videos, the company’s ambition is amazing: to find the theatrical correlative for a visionary filmmaker’s unique way of seeing that is as stunning and unforgettable to behold.
They’ve only just begun.
Running Time: 75 minutes, without an intermission.
Wolfgang Amadeus Mozart died at the young age of 35 in 1791, and there was a lot of mystery surrounding his death. Did he succumb to rheumatic fever? A kidney disease? Or was he poisoned? Mozart was a gifted, but troubled man. When he died he was buried in an unmarked grave and only five people attended his third class funeral. The Baltimore Symphony Orchestra, under the steady baton of Marin Alsop, attempted to put these mysteries to rest and try to conclusively determine the great composer’s demise through an enjoyable evening of comedy, drama, and a beautifully executed display of Mozart’s greatest works.
As the BSO did with CSI: Beethoven in 2008, Playwright-in-Residence Densie Balle crafted an enjoyable evening filled with some mysterious forensic analysis and playful reenactments. The main star of the evening was Maestro Alsop herself, who besides leading her expert musicians, became a bit of the “straight man” to the evening’s performers. Who knew that Alsop could deliver punchy one-liners and hold her own against the more season actors accompanying her on stage.
Marin Alsop.
Starring as the master himself, local favorite Sasha Olinick returned to the role he brilliantly played a few seasons ago at Round House Theatre. Olinick delivers a bravura performance as the man so gifted he was a ball of energy running around stage. Whether delivering some of Balle’s heartfelt monologues or playfully sparring with his librettist Lorenzo Da Ponte (Tony Tsendeas) or intently listening to the BSO, he inhabited the role and made an enjoyable evening even more so.
As for the script itself, Balle did a fine job creating a fun and informative story without becoming too technical and boring. Also in the cast was Hyla Mathews as both Mozart’s sister (Nannerl) and wife (Constanze) and Richard Pilcher in the dual role of his father Leopold, and rival, Anton Salieri. It was a playful script anchored by Alsop as narrator and Dr. William Dawson (Thomas Keegan) as chief forensic investigator. The real Dr. Dawson, who was a technical advisor on the piece, was present for the Q and A session with Ms. Alsop and Ms. Barre afterwards.
Densie Balle.
While the program was designed more as an episode of CSI, the BSO did not play second fiddle. Each of their excerpts where brilliantly mastered. Some of the standouts of the evening, was Mozart’s technically challenging Clarinet Concerto in A Major (K. 622) played exquisitely by BSO principal clarinetist, Steven Barta. His pleasantly navigated the wide range of the solo with great ease that we was very deserving of the brief pause in the program as the audience acknowledged him. Other soloists to show their fine craft was principal bassoonist, Fei Xie, and Steinway Artist, pianist Lura Johnson.
As an ensemble the BSO’s finest moment of the night came in their brief excerpt from Symphony No. 41 in C Major (K. 551), coined “Jupiter Symphony”. Mozart weaved together a progression of octave shifts throughout the motif, that the BSO brought to life with playful vigor. Ms. Alsop comes a from a musical family: her father K. Lamar Alsop, the principal violinist with the New York City Ballet recently passed away, as did her cellist mother, Ruth Alsop. Even though there was no indication that the evening’s performance was dedicated to their memory, you could tell that Alsop was honoring the legacy of her parents in this fine evening.
And to answer the question: How did Mozart die? Without spoiling the ending: Mozart the man, may have died, but his music and legacy is eternal.
The overwhelming need to believe in a story that is being told is a deeply compelling urge that will keep you on the edge of your seat as you listen; the little details and finely tuned emotions that unfurl as the story unfolds. A moving story of epic proportions comes to Rep Stage this autumn, a Pulitzer Prize and Tony Award-winning play, I Am My Own Wife, will have you enthralled from the moment you lay eyes on the set until the very last light fades out and the story has found its end. Written by Doug Wright and Directed by Tony Tsendeas, this inspiring dramatic work is based on the true life story of Charlotte von Mahlsdorf, a German transvestite who survived both the Nazi and East German Communist regimes and lived to tell the tale.
Michael Stebbins in ‘I Am My Own Wife’ at Rep Stage. Photo by Stan Barouh.
Scenic Designer Elizabeth Jenkins McFadden crafts a set of stunning beauty that is antiquated yet precious; a combination of majestic relics and timeworn atmosphere that encapsulates the essence of Mahlsdorf’s story, making it a palpable component of the work. The enormous sweeping spiral that hugs the space with its curvature makes the perfect frame; creating a momentary portrait of her life forever frozen as the audience looks upon it. The white framed shadowboxes to illuminate the menagerie of treasures in her museum are the perfect touch to this display. A well deserved nod goes to Properties Designer Vicki Sussman for incorporating all of the masterful furnishings of Mahlsdorf’s collection in a brilliant fashion that leaves the stage free from clutter. Each elegant piece, be it clock or sidebar, is plucked in miniature from a wooden box, the intricate detail of each item only enhanced by her vivid descriptions as she holds them up for all to see.
Playing numerous characters is a challenge in and of itself, but doing so where they all have varying accents and sounds to their unique voices compounds that challenge exponentially. Vocal and Dialect coach Nancy Krebs ensured distinguishing characteristics were drawn for each of the characters, a soft but clearly intelligible German accent for Mahlsdorf, sounding delicate and slightly feminine. A much harsher and lower pitch with a more pronounced approach to the German sound when playing Alfred. Krebs ensures that every time a character is introduced to the rotation, however briefly, that there is something unique about the way their sound is delivered.
Performing the role of Charlotte von Mahlsdorf, and everyone else that appears in the show, is the incredibly talented Michael Stebbins, under the direction of Tony Tsendeas. Stebbins and Tsendeas work together to create more than just a piece of provocative theatre; they truly recreate the life events of Mahlsdorf, with the guided words of Wright at work, and bring it to the audience with a vibrant reality that is shocking, captivating, and stunning to say the least. Tsendeas guides Stebbins into flawlessly crafting the illusion that there is more than one person present on the stage; when two characters are having a rapid-pace conversation with one another it feels like two people talking rather than just one actor switching back and forth between accents and words.
Stebbins does a sensational job of rendering justice to the playwright’s words. Having a vivacity that is always present in his voice, regardless of whether or not the moment in which he is speaking is an emotionally harrowing one or a lighthearted one, Stebbins keeps you hanging on every word as he glides through this story. Every moment of nostalgia, as retold by Charlotte, is grounded firmly in the bright recollection of that memory; Stebbins’ execution of each word or phrase drawing forth strings of brilliant imagery that connects the audience to that moment suspended in time. Balancing the emotional roller coaster of her life is no simple task, but the moments of pride and elation are equally as vibrant as the moments of horrific tragedy and sorrow.
Michael Stebbins in ‘I Am My Own Wife’ at Rep Stage. Photo by Stan Barouh.
Stebbins’ engages his face and eyes above all to create an additional vessel that carries the story even further. When recounting the tale of saving each piece of furniture from the bar his eyes are beaming with pride, his face aglow with triumph. The same can be said for the truly haunting recollection of Charlotte’s 16-year-old self with the Nazis; fear paralyzed in Stebbins’ eyes so present that you can nearly feel it.
A natural born storyteller, Michael Stebbins gives a sensational performance.
Running Time: 2 hours, with one intermission.
I Am My Own Wifeplays through November 17, 2013 at Rep Stage— at The Horowitz Visual and Performing Arts Center in the Studio Theatre at Howard Community College – 10901 Little Patuxent Parkway in Columbia, MD. For tickets, call the box office at (443) 518-1500, or purchase them online.
In Rep Stage’s first show of its 21st season, the setting is Late Spring, 1925. The journey to a small, nondescript Texas town unexpectedly seduces audiences with the compelling people of Harrison, TX, including a lively fifteen-year-old, young lady of property.
A Young Lady of Property opens with three southern accented females singing an Acapella tune of remembrance, as they sway together on a long porch swing on the left side of a divided, cleverly crafted, two scene set. We are quickly introduced to the intriguing characters: Wilma Thompson (Christine Demuth), a young lady of property, her devoted best friend Arabella (Kathryn Zoerb), and Wilma’s guardian aunt, Gertrude or “Ms. Gert” (Yvonne Erickson), as she’s affectionately called. The verisimilitude of the performances and the pure simplicity of the characters in this Horton Foote’s little jewel of a play are the qualities I enjoyed most about A Young Lady of Property. A moving play about the broken dreams of the ordinary, common folk that are relatable and familiar, this Rep Stage production is a lovely, high-quality escape to the spoken and unspoken memories of friendship, love, and loss. Former Rep Stage Producing Artistic Director, Michael Stebbins, returns to direct.
Yvonne Erickson, Kathryn Zoerb, and Christine Demuth. Photo by Stan Barouh.
Circumstances have rearranged Wilma’s ideal family and her home. For years, Wilma’s greatest wish is to share with her father the house that her mother left to her. Her mother is dead, and she has lived with her aunt ever since. Her father (Tony Tsendeas) is going to be remarried to Sibyl Leighton (Marianne Angella), a woman the town disapproves, and Wilma struggles to find her purpose in life. In the absence of a real family and an unreliable father, the house that Wilma once lived in has become her identity. The house “looks lonesome,” she says in a moment of introspection – mirroring the isolation and loneliness she feels since the death of her beloved mother. The house “is all in this world that belongs to me,” she confesses when she realizes that her father wants to sell the house before he remarries.
As Wilma begins to talk big about living in the house by herself, she soon realizes that what she really wants most is to be married with children and playing croquet in her home’s backyard. Searching for the definition of home and her place in this world, Wilma attempts to replace haunting memories of the past with the one possession she owns, and in an act of desperation discovers rescue and enlightenment from an unexpected source.
To say that this play has an old fashion, Hallmark Theatre quality about the realism expressed on stage is a true compliment and a rare find in the theater these days. There is nothing tired, artificial, or saccharine about this classic theater. On the contrary, it was refreshing to spend the near 90 minutes whisked away in this time piece of nostalgic recollections of the “better days” of the past – a time when life is remembered for a simplicity and slower pace, in spite of all of the surrounding drama. Themes of time and memory accentuate the brilliance of Horton Foote’s writing, and it is the complexity and insight into this family drama that quietly demonstrates, with gentle doses of humor, the turbulent realism that exists with every generation.
Horton Foote originally wrote A Young Lady of Property in 1953 as one of his early Golden Age of Television tele-plays for Philco Goodyear Television. Although it was never produced on Broadway, it is considered a staple in Foote’s canon of plays. His career is recognized as one of America’s most successful and honored dramatists for cinema, television, and theater. The Pulitzer Prize winning American playwright for Drama in 1995 for his play The Young Man From Atlanta (He was nearly 80 when he won.), Foote also was the winner of two Best Writing Academy Awards for the screenplays To Kill a Mockingbird (1962) and Tender Mercies (1983). In 1985, he garnered an Academy Award nomination for A Trip to Bountiful, a play in which Cecily Tyson won a Best Actress Tony Award this year for her performance in the lead role in the critically acclaimed revival.
Michael Stebbins’ direction choice of using the stark, isolated audience address of the characters speaking directly to the audience at times (and other times not) was initially emotionally jarring to me. I relish the emotional energy that is exchanged when actors are looking deep into each other eyes, feeding off the chemistry of the moment. But it doesn’t take long to realize the cleverness of this stylish technique that deftly highlights the mastery of Foote’s writing and language flair, creating moments for the different characters to drawn your focus and capture your heart. Stebbins’ direction finesses a tenderness and a genteel calmness in the midst of this family melodrama. It is an emotional journey that sneaks up on you and effectively engages your attention, and the smart direction weaves the audience and the production into a highly watchable, evenly paced, and alluring theater piece.
Stebbins reunites with three members of the Mary Rose cast he directed last season: Marilyn Bennett (Miss Martha Davenport), and Tony Tsendeas (Russell Walter/Lester Thompson/Man), as well as Christine Demuth, the lead in both productions. Marianne Angella, Yvonne Erickson, Erica Lauren McLaughlin (Minna), and Kathryn Zoerb showcase a fine ensemble that listens to and communicates with each other very well. That type of chemistry and cooperation is essential for a play such as this where there are few props and big scenes to hide behind. Their openness to listen and react with truth and authenticity is everything in making The Young Lady of Property a highly recommended production.
Christine Demuth, as Wilma, paints a vivid portrait to the angst and loneliness of a young girl who desperately misses her mother who “died of a broken heart,” and yet as the years pass she has forgotten the look of her mother’s face – only to be reminded by looking at a photograph found in a dresser drawer. Demuth’s charm in this role is not only in her believability to play a young girl – a quality that she’s got down to a science (She played the adolescent lead in Mary Rose last season) – she makes you care about her without the flash of dramatic antics. Reminding you of your family and friends (faults and all) is where Demuth excels as Wilma, gently capturing the knowing authority of a teenager at a crossroads.
The relaxed southern style of Yvonne Erickson as “Ms. Gert” is a comforting joy to watch on stage. Gertrude, (Wilma’s father’s sister) has a grace and dignity that are all her own. A woman of substance with a spitfire spirit, “Ms. Gert” serves as Wilma’s emotional anchor. With her backbone of good sense and self-determination, Gertrude helps the fifteen-year-old navigate her way through the delicate ups and down of being a motherless teenager. Erickson is striking as Gertrude, and I cannot help notice the uncanny physical similarity and on stage presence she reminds one of Joanne Woodward with her fine-tuned portrayal in this role.
Kathryn Zoerb makes her Rep Stage performance stealing debut as Wilma’s loyal and devoted friend Arabella Cookenboo. Arabella possesses a wholesome, girl next-door authenticity that reminds one of the best friend growing up you always imagined having. It’s the surrender of choreographed mannerisms and the often relied upon tricks in her honest characterization that makes the role of Arabella fascinating and Zoerb’s portrayal so enjoyable.
Christine Demuth and Erica Lauren McLaughlin. Photo by Stan Barouh.
Minna (Erica Lauren McLaughlin), is a domestic who is treated as a valued and respected member of the family serves as a listening ear for Wilma, and a go- between her and the adults. What is refreshing in this often seen character role is to witness how Wilma and Minna speak with one another. If Aunt Gert plays the surrogate mother in Wilma’s life then it is Wilma who earns the role of the adult confidant. A dynamic where Minna treats Wilma with maturity without talking down to her, and in turn Wilma talks to her as a trusted friend.
Marilyn Bennett as Miss Martha doesn’t disappoint as the postal worker, full of personality and snooping interest providing moments of humor, and Tony Tsendeas finely completes the cast as the three male characters in the production including Wilma’s father.
Greggory Schraven’s Scenic design is clean, simple, and spacious – and having the hanging frame centerpiece used for the Post Office scenes is a clever twist. The decision to stage the production with an individual outdoor set and an indoor set divided and built on top of a larger outer stage, was a genius stroke to keep the story and pace moving because the characters are seen transitioning between the two spaces with ease. The sound design of Ann Warren goes the extra mile with the fluttering ambient sounds of rubbing crickets, and the multiple varieties of mockingbirds sounds. Also, the left to right wrap around sound of the moving train in one scene was an aural delight. Costume Designer Kristina Lamdin’s choice of stylish hats, and the soft pastel and tan hues of the wardrobe and flattering long waisted dresses were spot-on roaring twenties period appropriate of the everyday fashion.
Have you ever found yourself so engrossed at the end of a theater production that you unconsciously release a soft “hmm”at the conclusion? A Young Lady of Property was one of those moments for me. That surprising “hmm” released from my lips signaled to me that this play was not only a relaxing and engaging, good time spent, but was the disappointment indicator that the lull of the evenings’ ‘escapism’ was over, and the fast pace juggle of my daily realism had returned.
Running Time: One hour and 25 minutes, with no intermission.
A Young Lady of Propertyplays through September 29th, 2013, at Rep Stage at Howard Community College’s Horowitz Visual and Performing Arts Center’s Studio Theatre – 10901 Little Patuxent Parkway, in Columbia, MD. For tickets, call the box office (443) 518-1500, or purchase them online.
*PLEASE NOTE: There is no evening performance on Sunday September 29, 2013
Deception is the shining glory in the court of King Louis XIV. Or so the story unfurls in Rep Stage’s production of Lynn Nottage’s Las Meninas. A thought provoking, emotional rollercoaster of a show lets the audience reconsider the historical seduction and scandal of Queen Marie -Therese, the Spanish woman married into the French King’s court to prevent a major war from breaking loose in the 17th Century. This play takes a trek back through time and plants the audience as a fly on the wall with the narrative voice of a young novice; detailing the queen’s fall from grace and all the sordid consequences.
KeiLyn Durrell Jones as Nabo with Courtiers in Rep Stage's 'Las Meninas.' Photo by Stan Barouh.
Never a more regal court will you find painted than the one displayed in this production. Elena Zlotescu doubles as the Set and Costume Designer, enchanting royalty with her whims of creativity in the costumes and simple flooring cover the space. A vast mural, painted in a manner similar to that of the era, covers the floor depicting cherubs and other heavenly patrons. A giant mirror creates a paneled wall which reflects this painting; and leaning toward the audience this mirror doubles up as a silhouette screen for some of the more obscure scenes involving interpretive dance.
The costumes are indescribable – towers of bridal white decked out upon the women, particularly the queen; each adorned with stairs of stacked lace on the sides creating the illusion of widened hips. The courtiers and servants could be compared to frilly white oversized birds as they strut around the stage in these ensembles. With ghostly painted faces to fit the time period the characters are almost like blinding shades drifting about in this surreal setting; wafting to and fro in their obscenely colorless costumes.
Director Eve Muson lays the show out on an enormous stage yet often uses very little of it, creating huge gaps of negative space. Even during the group scenes, when the characters are dancing they appear crowded together with poor spacing and blocking choices made by Muson. This mixed with the confusion choreographic moments of interpretive dance provided by Reneè Brozic Barger seem to make parts of the play feel superfluous. Barger uses the silhouette mirror to hide dancers in shadow when Nabo is telling his first story to the queen. As his narration continues courtiers – still in their full white court costumes – appear and begin to dance to a fierce tribal rhythm. There is a disconnect not only between the way they appear, still in their full court regalia, but also that the story he narrates calls for a specific number of gender-assigned characters and this is not matched in the dance, despite having had enough of each gendered character not currently on stage to make this possible. This interpretive dancing detracts from the overall story and pieces of Nabo’s narration get lost as the audience tries to decipher what’s going on behind the glass.
Katie Hileman (Queen Marie-Therese), Susan Rome (Queen Mother), Brady Whealton & Jessie Poole (servants) in Rep Stage's 'Las Meninas.' Photo by Stan Barouh.
Despite these things there are some characters that carry the show to glory. Nabo (KeiLyn Durrel Jones) plays a challenging role as the African dwarf gifted to the queen. Working closely with dialect coach Lynn Watson, Jones masters the subtle accents of a man from faraway lands. Watson’s work comes as a double-edged sword, however, for as wonderful as Jones sounds when presenting his character is as dreadful as Katie Hileman sounds when attempting her broken Spanish English accent. Hileman forces certain words into the accent making her character sound contrived. And at other times throughout the show her accent completely disappears and she falls into the British English of those speaking around her; a mismatch of vocal uncertainty that makes her character fall short.
Drew Kopas, Susan Rome, KeiLyn Durrell Jones, and Katie Hileman in Rep Stage's 'Las Meninas.' Photo by Stan Barouh.
KeiLyn Durrel Jones gives the audience a stunning performance – taking on a durational challenge as he spends the entire show squatting on his knees. Jones moves about the stage never rising above this squatted position, managing to create the convincing illusion that he is only half the size of an average man. His facial expressions are second to none as he gazes uneasy around the court and in the presence of the queen. Each thought and emotion is etched into his ever shifting facial muscles, his words reinforcing these notions when he speaks. And when Jones takes to narrating stories his voice is deep and serene, drawing the audience into his tales as if he were telling them personally to us. The same impressive performance is not found in Nabo’s foil, Queen Marie-Therese (Katie Hileman). Her emotions are forced and fake at the best of times, and when she breaks down into a fit of hysterics during the pregnancy scene it feels like you are watching a bad soap opera. Her interactions with Jones, despite his efforts, feel unnatural and rehearsed, as she allows no time to fully hear what he is saying and respond to it. Her movements on the stage are clunky and it is understandable that her dress is enormous – however, one would expect more fluid and graceful movements from the queen. This, at times, makes the show unpleasant, which is extremely unfortunate as she is the main focus of the production. There are, however, three characters that I would have been desperate to see more of because of their stunning simplistic portrayals that were fitted so naturally into the show. The Painter (Tony Tsendeas) is seen only briefly, but during his interaction with Jones he feels real, grounded in his words and observations of life at court, and he imparts valuable wisdom through his slight gestures. The same is said of the king’s mistress, La Valliere (Annie Grier) who hardly does any speaking but is thoroughly enjoyable. Her first recognized interactions with the king are giddy and flirtatious conveying more with her sneaky smile and wanton eyes than words ever could. Grier has a haughty laugh thoroughly fits the bill for the character, slinking around attached to King Louis (Drew Kopas) like the mistress of the night that she is.
Tony Tsendeas and KeiLyn Durrell Jones (right) in Rep Stage's 'Las Meninas.' Photo by Stan Barouh.
And lastly we see the Queen Mother (Susan Rome) who doubles up as Mother Superior and her roles are as different as day and night. When Rome stands as Queen Mother her comic timing is impeccable, delivering the perfect little zing to her lines and smiling with the slightest hint of a smirk to her lips. As Mother Superior she is a woman possessed by faith – a screaming vision of a God-fearing woman with brimstone and fire flying from her lips. I do wish that the three of these characters had been more present in the production , because it would have been far more enjoyable. Running Time: 2 hours and 30 minutes with one intermission.
Las Meninas plays through May 6, 2012 at Rep Stage, on the Howard County Community College Campus, 10901 Little Patuxent Parkway in Columbia, MD. For tickets, call the box office at (443) 518-1500 or purchase them online
