DC Theater Arts

Tag: Washington DC Theate

  • ‘Husbands & Lovers’ at Washington Stage Guild by Amanda Gunther


    Lies deceive. The truth hurts. But in Washington Stage Guild’s presentation of Husbands & Lovers it isn’t always clear which is which or even the best! Written by Ferenc Molnàr and adapted as well as directed by Bill Largess this particular show makes its world premier here in DC just in time for the notions of young love blossoming in springtime. This roundelay of comic miniatures is a wry and wise look at the many ways in which women and men can drive each other crazy.

    When you enter the house your ears are greeted with the soft minstrel music reminiscent of a stroll through a garden perhaps in Venice or one of those other notoriously romantic cities. Sound Designer Marcus Darnley uses this light airy music to invite audiences into the jovial and loving nature of the show that will play out on the stage before them. The stage itself is dressed simply – another fond memory of outdoor romance. Scenic Designers Carl F. Gudenius and Jie Yu frame the stage with woodwork that looks almost like the edging of a gazebo. There are two slender iron chairs and matching café table with a wooden bench in shades of earthy but muted green. Gudenius and Yu create a simplistic yet romantic atmosphere for love, lies, and laughs to develop, each scene taking place someplace a little different, from a balcony to a garden, all easily found in these very basic choices.

    There are a dozen or more little vignettes that populate the show – all played out by four actors each taking on many roles. There are husbands and wives, lovers, old friends, young friends, a plethora of characters to encounter in these sprightly tales of delightful deception and teasing treachery. Director Bill Largess creates a definitive beginning and end to the show by letting the actors move almost like shadows; silhouettes of themselves in dim lighting across the stage in a dance-like motion, twirling from one partner to the next. And Largess guides his actors with conviction; as one scene ends a player from that story steps out of the scene to announce the setting for the next and each progression is made clearly without stumbling or pause. This really keeps the pace of the stories entertaining and allows for many of them to flow through in a short period of time.

    The actors are commendable as they flow so gracefully from one character to the next, shifting with ease in physicality, vocalizations and emotional expressions from older characters to younger ones, from those married to those first experiencing love. The thing that really stands out about these performances is the level of chemistry that is constantly bubbling between the actors. They constantly switch off — two guys and two girl – each performing with everyone else in two-person scenes. But regardless of their character or scene the level of intimacy and familiarity is always high.

    Conrad Feininger as “Him” is the more refined sophisticated male of the two in the show. One of his finest moments comes during a moment opposite Lynn Steinmetz as “She.” The pair is standing at the river on a chilly, dreary autumn morning when Feininger suddenly professes his love to Steinmetz. His rapid outburst of emotions comes pouring from his mouth like an eager waterfall his gestures matching his emotional excitement. This same high energy and exuberance is found during a scene shared with Peter J. Mendez as “He.” Only this time Feininger is a youth whose infatuation over an older married woman is the cause of his anguish. Feininger plays the highs of love and the lows of a fool with a solid commitment to both and never lets the matter of age interrupt his approach to the roles.

    Peter J. Mendez has similar active energies about his person. Mendez’s shining moment unfolds in a scene with Steinmetz where she is a wealthy married Baroness and he is a lowly artist. He prostrates himself before her professing his deep unrequited love, literally throwing himself at her feet, kissing up the length of her arm as he begs to paint her. His emotional hysterics cannot be topped except by the quick change up that he presents at the end of the scene. He carries a suave air about him which translates from character to character without becoming hackneyed or overdone.

    Conrad Feininger and Lynn Steinmetz. Photo by C. Stanley Photography.

    And ladies are the best liars, filled with trickery and deceit. Both Lynn Steinmetz as “She” and Laura Giannarelli as “Her” prove this point over and over again. These two women share an enticing scene as friends where Steinmetz is the listeners and Giannarelli relishes in a tale of her truthful deceit in regards to a secret key and its explanation to her husband. Giannarelli is a vivacious character actor especially when she plays the youthful girl struck by her first love; caught up in the notion of a first love one moment and then painfully scorned in tantrum the next.

    Lynn Steinmetz as “She” provides a myriad of women to this show. The moment that stands out the most is when she is dissecting a missed opportunity with Peter J. Mendez from ten years prior. She speaks with a wistful romantic air as she recounts all of the things that could have happened and then drops into a crass and blatant explanation of the things that did happen. Steinmetz is a pivotal actor who flounces easily through a garden of emotions all displayed upon her face with wide eyes to project surprise, a twisted smile to celebrate her simple deceptions and an uncanny pout to show the world that it was the wrong moment to announce love in a scene played opposite Feininger.

    Husbands & Lovers is an enjoyable production which reminds us of many things in regards to love -especially that the idea of tears – being the opposite of laughter – is truly a masculine invention, because to a woman the opposite of laughter is not tears, but to simply not laugh. Don’t miss it!

    Running Time: 95 minutes, with no intermission.

    Featured Picture: Lynn Steinmetz and Laura Giannarelli in ‘Husbands & Lovers.’ Photo by C. Stanley Photography.

    Husbands & Lovers plays through March 18, 2012 at the Washington Stage Guild’s Undercroft Theatre, in Mount Vernon Place United Methodist Church -900 Massachusetts Avenue, in Washington, DC. For tickets, call the box office at (240) 582-0050, or purchase them online.

     

     

  • ‘Romeo and Juliet’ at Aldersgate Church Community Theater by Julia L. Exline


    Aldersgate Church Community Theater presents William Shakespeare’s classic tragedy Romeo and Juliet, modernized though use of costumes, props, and movement for a timeless effect. Heather Sanderson directs what is ACCT’s first Shakespearean production.

    The set designed by Heather Sanderson and Stuart Travis shows painted stone and brick archways on the main stage, and another two sets placed on either side. One shows an organized room with a neat desk, potted plants, and an intricate cross displayed on the wall, and the other, a sinister apothecary, complete with scattered, rough artifacts and a fluttering fire. Lighting Designer Rachel Lau uses different colors to help set the tone, and cleverly projects a stained-glass window onto the wall of the set. Sound Designers Heather Sanderson (what doesn’t she do?) and Alan Wray use a wide variety of music — from playful festival chimes to a foreboding, thrumming bass. However, what sets this production of Romeo and Juliet apart from the rest is the use of costumes and props. Costume designer Jessica Moreno uses era-appropriate clothing such as flowy tunics and headdresses, but also mixes in modern pieces to emphasize the timeless quality of Shakespeare’s work. Sundresses, sneakers, jeans, and football t-shirts are paired with breeches and feathered caps for an overall interesting effect. The same is done with props, including the popular novel “Twilight”, ipods, and skateboards, among others.

    Erik Harrison (Mercutio), Chorus members Lily Penn, Samantha White, Megan Wirtz, and Diana Kleiman. Photo by Lee T. Anderson Photography.

    The plot of Romeo and Juliet is widely known, which is good, because Old English spoken from the quick mouths of actors can be quite difficult to follow. The play begins with a chaotic fight between several characters. As the majority of the cast is made up of young actors, it is not unlike watching a brawl unravel on a playground. While enthusiastic, the stage combat does need work, as the blocking showed signs of caution, planning, and hesitation. The anticipated scene where Romeo (Alex Wong) and Juliet (Emily Whitworth) finally meet at a party is a nice one, filled with dancing and laughter. Realizing that their families are mortal enemies, the couple is distraught (“my only love sprung from my only hate?”) but determined. Whitworth suitably plays Juliet as a typical young girl, dancing along to her ipod and anxiously binge-eating chocolate bars when nervous.

    A handful of actors show off their talent as Romeo and Juliet’s relationship unfolds: Juliet’s worrisome Nurse, played by David Adler, gets many laughs from the audience, as well as her own put-upon servant, Sampson Peter (Eddie Perez), who has mastered the hilarious “kill-me-now” face. However, the most outstanding performance is that of Romeo’s friend Mercutio, played by Erik Harrison. Playful and daring, Harrison commands the stage while mimicking his peers and munching on candy. When he is killed (after a well-executed sword-fight) by Juliet’s cousin Tybalt (Joe Quinn) the plot is set into its fateful motion.

    A tale of love, hate, loyalty, and resolve, Romeo and Juliet is a timeless tale that is always worth catching. While the majority of the acting is rough-around-the-edges, it is fun to watch young people who are interested in acting pursue the stage. The community theatre atmosphere is also very friendly and pleasant, and is an institution that I am happy to support and admire. For a supportive family environment with reasonably priced entertainment, Aldersgate Church Community Theater’s Romeo and Juliet is a good bet.

    Running Time: Two hours and forty-five minutes, including a 15-minute intermission.

    Romeo and Juliet runs through March 18, 2012 at  Aldersgate Church Community Theater – 1301 Collingwood Road, in Alexandria, VA. Purchase tickets at the door, or online.

  • ‘California Suite’ at Vagabond Players by Amanda Gunther


    A fly on the wall of a Beverly Hills Hotel room would get quite the show in California Suite at Vagabond Players. A series of four different happenings occur in that hotel room over the course of one evening. Directed by John F. Ford, this collection Neil Simon’s characters presents a look at love through four different lenses — the lost love of divorce, the saved love of a challenged marriage, the love of a marriage that shouldn’t be, and of course the love between friends.

    John F. Ford doubles up as the Set Designer for this show giving the audience a clear depiction of a hotel room. Any hotel room nothing particular to make it stand out to identify location or time, and this vague approach really allows the characters to make the room their own. There is a bed, and matching mahogany furniture — a dressing table and night stand. There are white towels hanging in the bathroom and a phone in the front suite room and in the bedroom. These non-detailed choices allow the room to be a den of sin for the visitors from Philadelphia or a makeshift injury recovery room for the visitors from Chicago.

    Using the simple framework of a basic hotel, Costume Designer Victoria Halperin Kuhns defines the characters in smart sensible attire appropriate for their situation, often showing great contrast between the male and female characters. The best display of her work can be seen in the first scene with Hannah (Michele Jenkins Guyton) and Billy (Greg Guyton.) Kuhns presents the uptight high-powered news journalist from New York in Hannah by giving her a serious look with a black pencil skirt and white half jacket complete with sharp shiny black heels. For contrast, Billy the hippie from Beverly Hills is outfitted in a polo style sweater khakis and sneakers. Her contrasting elements are a key note in her design work used throughout the show to highlight these unique characters.

    The opening pairing on the stage is Hannah (Michele Jenkins Guyton) and her ex-husband Billy (Greg Guyton). The pair’s acting abilities are a little mismatched. Greg Guyton is very down to earth and real with his character, relaxing into his new California lifestyle as if he’s justifying it not only to the other character on stage but to the audience and himself as well. He delivers his lines with ease, finds purpose when moving from one space on the set to another, and generally feels comfortable with what he’s saying. Michele Guyton, however, presents the feeling of being uncomfortable in her own skin. Simon provides a script full of acidic but witty quips and one-liners and unfortunately many of these fall flat during her delivery, lacking that sting and conviction that could have turned this first scene into an all-star delivery. She also seems to move aimlessly about the space, in and out of the bedroom not really sure what she’s doing and her regular text sounds more like she’s reading to her ex-husband rather than having a conversation with him.

    But the second act throttles laugh after laugh at the audience as Marvin (Marc Harber) finds himself in quite the situation. Harber is spastic as he wakes up to discover a surprise in his bed, fretting and frantic as he practically turns somersaults across the room to try and cover up his mistake before his wife arrives. And when Millie (Barbara Pinker) does finally arrive the proverbial shit really does hit the fan. Harber kicks it into overdrive trying madly to convince his wife to stay out of the bedroom. He is extremely physical and in constant motion which seems very realistic for a character in his situation. And Pinker is a show-stopper. With her perfect borderline Philly-Jersey-Jewish accent and motherly ways she kvetches and riles against her husband. The two share great chemistry even if it does meet a good deal of strain along the way.

    Sidney Nichols (Michael P. Sullivan), Hannah Warren (Michele Jenkins Guyton), William Warren (Greg Guyton), and Diana Nichols (Hillary Mazer) (clockwise from bottom left). Photo by Tom Lauer.

    The opening for act two is perhaps the most entertaining of the stories you will encounter during the show. Diana (Hillary Mazer) and her husband Sidney (Michael P. Sullivan) have been flown from London to California to attend the Oscars Ceremony for which Diana has been nominated for Best Actress. Mazer and Sullivan master the art of British repartee — the wit flings fast and the zingers sting with undertones of love and affection. Mazer is comical and her banter with Sullivan grows increasingly so the more they imbibe. And like all couples who have had a few too many drinks the arguments between them grow to be outrageous once they return home from the ceremony. But there is more than meets the eye with these two humorous characters. The honesty and realistic raw approach they each take to their confessions near the end of the scene is actually worthy of an Oscar or a Tony.

    The final scene is sheer physical comedy. A married couple Mort (Michael Panzarotto) and Beth (Karin Crighton) are vacationing with their best friends who are also married, Gert (Polly Hurlburt) and Stu (Blaise D’Ambrosio). It starts with an ankle injury for Beth (Karin Crighton) and then all tumbles downhill from there. The comedy builds as injury after injury occurs and tempers fly over who is to blame. These four actors are literally falling over each other, some accidentally some with purpose to execute the exasperating situation of what it is like to be stuck vacationing with your best friend for three straight weeks. Panzarotto and D’Ambrosio really display their macho masculine ability to fight one another over the most trivial things while Hurlburt and Crighton leave their bickering to a more verbal approach. A perfect way to end the show; physical violence among friends in a three-stooges sort of way.

    Ultimately it’s a great night out for a little bit of love and the dissection thereof, so don’t miss your chance to enjoy a quick trip vacation, Vagabond Players will even take care of the room at California Suite.

    Running Time: 2 hours and 10 minutes with one intermission.

    California Suite plays through March 25, 2012 at Vagabond Players – 806 South Broadway in Fells Point, in Baltimore, MD. For tickets, call the box office at (410) 563-9135, or purchase them online.

  • ‘Yefim Bronfman: WPAS Piano Masters Series’ on Friday, March 2, 2012, at The Music Center at Strathmore by Jane Coyne


    Yefim Bronfman performed a solo recital program at Strathmoreon Friday night that was stunningly beautiful in its simplicity. There was nothing on the stage save a black Steinway concert grand piano. Bronfman walked on stage to applause, and without any fanfare whatsoever proceeded directly to the piano and began playing immediately. With a focus on the music so all consuming that even Bronfman himself seemed to vanish, there was nothing left but the music. It was the music that mattered, and it was all that mattered.

    Yefim Bronfman. Photo by Dario Acosta.

    The concert opened with “Piano Sonata in C Major,” a splendid and pleasing work composed by Franz Joseph Haydn in 1794. I really enjoy this sonata, which has a fuller and more expansive sound than I normally associate with Hayden, and I don’t recall every hearing it performed better than by Bronfman. His technique is so wonderfully perfected and seemingly effortless that, like Bronfman, it does disappear, which is clearly Bronfman’s intention. What is left is pure brilliance. Every musical nuance is expressed with a decisive precision that is flawless. Bronfman’s fingers seem to spring up and off the keys in a way that, regardless of tempo, leaves space for each note to spin a ringing sound before the next is played, and he plays his instrument more as a conductor conducts an orchestra, so that harmonies and counter melodies present with pleasing balance clarity of expression that is simply gorgeous.

    For his second selection, Bronfman chose “Piano Sonata No. 3,” composed by Johannes Brahms in 1853 when he was just 20 years young. A grand and glorious five movement work that is almost symphonic in nature, it is a showcase gift to a virtuoso from a virtuoso. With youthful bravado and courage, Brahms pulled out all the stops on this piece. With its huge rolling chords, dynamic range, and runs that seem to hit every key on the instrument, Brahms needed all five movements just to hold his creation.

    As I have often commented, one of the things that I love about Strathmore is that despite its size and its amazingly impressive concert hall, it is really a place where people feel comfortable gathering and sharing the joy of music with family, with friends, and with new friends. Everyone is welcome and appreciated at Strathmore. I stayed in the hall throughout the intermission, partly because I wanted to just sit and savor the experience of the first half of the concert, and partly because I got interested in watching the interactions of the people seated below me. Coming and going between their seats and the lobby, people seemed equally engaged with friends and total strangers. I wish everybody could have a Strathmore. I really do.

    Bronfman thrilled the audience with his performance of Sergei Prokofiev’s “Sonata No. 8 in B-flat Major,” which comprised the entire second half of the concert. Originally every musical nuance is expressed From the very first note, I was astonished by Bronfman.

    WPAS Ticket Services Information
    Box Office Hours: Monday-Friday, 9:30am-5:00pm
    Address: 2000 L Street NW | Suite 510 | Washington DC 20036
    Email: ticketservices@wpas.org
    Telephone: (202) 785-9727 Fax: (202) 833-1595
    Business hours are subject to change.

    LINKS

    Watch and listen to Yefim Bronfman play “Rachmaninoff Piano Concerto No. 3,” “Chopin Revolutionary Etude,” and “Tchaikovsky Piano Concerto (3rd Movement).”

    Yefim Bronfman’s website.

  • ‘Coastal Disturbances’ at Fells Point Corner Theatre by Amanda Gunther


    Human relationships are like the sea; they ebb and flow crashing upon the sand washing away as if they never existed. Fells Point Corner Theatre sets up a unique experimental study of such relationships with their production of Coastal Disturbances. Directed by Jay Gilman, this series of scenes flashes through many instances of relationships; friend to friend, mother to child, ancient lovers, and summertime romances. It is a series of flashes on the stage, loosely connected to one another through the characters and their shared setting of the beach; each scene like a wave— the same and yet different as it washes upon the shore.

    Scenic Designer Katie Callahan creates a vacation getaway on the stage. Real sand, a full-size extra large lifeguard chair, and a little wooden walkway leading down to the beach set the perfect scene for this production. The walls are awash with murals of blue and white to simulate the sky; the beach itself looking out to the audience as if we were the sea. Combining her work with Sound Designer Dan Cassin, the audience enters the theatre to the sound of soft waves rolling onto the shore and all you can see is this stunning live beach seen before your eyes. It really captures the essence the play’s location and creates a stunning backdrop for various relationships to unfold; a safe place to play for the children, a secure place to discuss friendships, a romantic spot for making-out, and a fond memory to celebrate past occasions. Callahan and Cassin make a fantastic team having created this fantasy escape on the Northern Shores of a Massachusetts private beach.

    Holly Dancer (Maddie Hicks) and Leo Hart (Michael Alban). Photo courtesy of Fells Point Corner Theatre.

    The relationships vary in the most astounding way as this play explores the true dynamic of human nature. The characters’ stories are only related in so much as they keep encountering one another on the beach. There are subtle mentions of previous existences, Faith (Kate McKenna) knowing Holly (Maddie Hicks) from so many summers ago, etc. We see a fun and exciting playful friendship blossom between two children; Winston (Jacob Jedynak) and Miranda (Destiny Brown.) The children play well together; acting almost like siblings as they spend the summer together at the beach. Jedynak is the ever antagonizing boy, chasing Brown around the beach, trying to play tin-can phone with her. The children steal the scene during Holly’s initial photo shoot, especially Brown where she really hams up her poses in a true youthful fashion.

    Their mothers, Ariel (Elena Kostakis) and Faith (Kate McKenna) work through their friendship as Kostakis’s character is going through a divorce and is depressed while McKenna is expecting her first non-adopted child. These two women simply provide comic relief at times, encountering young lovers in the middle of the trysts, and each have their own bizarre mini monologues of incredibly inappropriate comparisons regarding live child birth. Their interactions with the children are most strongly shown through Kostakis’s dependence on her son, played by Jedynak, to pull her through tough times and she spends much of her stage time either reprimanding him for being a mischievous boy – or hugging him and simpering how she would never make it without him.

    And of course when children grow up and get married and spend their long lives together they become the proverbial old married couple. This relationship is not forgotten in the show, reflected through Dr. Hamilton (Jonathan Claiborne) and his wife M.J. (Jill Vanderweit.) These two actors are the epitome of an old couple in their prime, retired to the beach and set in their ways, bickering over simple things like collecting seashells and painting. They show a true connection on a much deeper level with their simple gestures and gazes at one another like a real married couple of many years. It is probably the most stable and adorable of all the relationships presented in this show.

    And then comes the big one – the summer romance that was never meant to be. You have Holly (Maddie Hicks) a photographer who is in the middle of a breakdown and Leo (Michael Alban) who has taken a job at the private beach because he’s just ended his engagement of three years. The chemistry between these two characters is immediately apparent even if their first handful of encounters is extremely awkward. This nervous tension build between the two until it erupts into fiery passion shared late night on the beach.

    Hicks is prone to emotionally unstable outbursts and she expresses these outbursts both physically almost in tantrum with spastic gestures and vocally by crying and screaming to the point where she almost can’t be heard. She’s a bit too dramatic at times, working herself up into a frenzy over nothing and everything all at the same time but it fits the character’s notion of breaking down. Alban on the other hand is calm and collected, having only one outburst when he takes to burying Hicks in the sand to profess his pent up feelings. Hicks and Alban share an intimate rollercoaster of emotions as they explore the boundaries of their characters’ new relationship and are perhaps the focal point of the show. Watch out for scene stealer Andre (Brian Douglas) – a mystery man who shows in at the very end of Act I, in a much more significant way than you could possibly imagine.

    So go, learn about life, love, and the beach, and enjoy the sound of the waves indoors in this chilly winter and see Coastal Disturbances.

    Running Time: 2 hours and 15 minutes with 1 intermission.

    Coastal Disturbances ended its run on March 4, 2012 at Fells Point Corner Theatre – 251 South Ann Street, in Baltimore, MD. The remaining 2012 schedule is here.

  • ‘Passing Strange’ at Howard University by Ashunda Norris


    To be marginalized for being Black is one thing. To be marginalized for being different and Black is another. Stew and Heidi’s semi-autobiographical rock musical Passing Strange directed by Eric Ruffin, examines this idea through song, dance and quite a bit of humor.

    This musical, like the protagonist Youth (Galen Williams), breaks the conventional mold and takes a chance with new, innovative ways to tell a story on stage. Youth is a young Black man who lives with his Mom (an absolutely stellar Te’La Curtis Lee) in southern California. Mom encourages Youth to attend church and attempt to fit in with all of other teenagers in the congregation. Youth tries but fails and determines that the life his mother created for them is not enough, and he embarks on a journey to Europe in a quest to find “the real.” What occurs in Youth’s life while in Amsterdam and Berlin is only part of the plot. The most telling scenes are those at the church and with his mother. Youth is forced into a tiny box, and his urgency to escape it leads him to make decisions that affect him for the rest of his life.

    Passing Strange was nominated for seven Tony Award nominations, including Best Musical and Best Original Score, when it debuted on Broadway in 2008, and won one for Best Book of a Musical. Critically acclaimed film director Spike Lee made a documentary of the same title, which premiered at the 2009 Sundance Film Festival. And watching these performers at Howard University recreate the production, it’s easy to see why it made such an impression.

    Standing: Anthony Manough with guitar (Narrator). Left Front Row: Galen Williams (Youth). Right Front Row: Tyree Young (Mr. Franklin). Left Second Row: Aurie Ceylon (Sherry), and Right Second Row Julius Williams (Terry). Photo by Justin D. Knight.

    Most of the performances are brilliant, especially from Lee as Mom and Tyree Young as Mr. Franklin/Joop/Mr. Venus. Lee virtually shines in this role. She carries with her a forced optimism that her son will soon become who she wants him to be, while fear, uncertainty, concern and worry line the corners of her wavering smile and trembling lips. The tears gather and patiently wait to fall, but it is as though Mom is determined not to weep for what she cannot control. To portray a character like this takes a considerable amount of nuanced poise and Lee owns it. I never forgot that she was lingering in the shadows, waiting for her son to come home.

    Young’s portrayal of Mr. Franklin and Mr. Venus nearly steals the show. His Mr. Franklin is a trapped soul who uses music in church and considerable amounts of marijuana to cope with the fact that he didn’t have the guts to get up and get out. Young is nearly perfect as Mr. Venus, a German whose music topples the traditional song of verse/chorus/verse/bridge/ chorus, performs “Surface” while strutting along the aisles and across the stage in 3-inch black knee high boots and gives the crowd wild looks with wide, frightening eyes. I was actually a little scared of this guy. There’s a future in show business for these two.

    The Narrator (an effective Anthony Manough) carries the weight of the show and does it quite well. This is due to Manough’s rich singing, his penchant for sarcasm and just the right touch of comic timing. The rest of the cast, Brandyn Ashley (Edwina/Marianna/Sudabey), Aurie Ceylon (Sherry, Renata/Desi) and Julius Williams (Rev. Jones/Terry/Christoph) hold their own, though Ceylon is fares better when a part of the ensemble. Her voice, though beautiful, is soft, timid even. She gets drowned out by the music and the richer tones of Manough and Heidi (Soneka Anderson).

    The show stalls a bit when Youth is in Berlin attempting to persuade his new comrades to let him stay. The ‘I’m from South Central and I’m a gangsta’ bit seems forced with Williams at the helm, and the scene suffers as a result. A fair amount of scenes are overly-preachy, especially when Youth mocks his mother’s belief system and distances himself from the church. The marijuana induced conversations between Youth and Mr. Franklin also seem a bit strained. Youth drags out, “I don’t believe in God.” Mr. Franklin’s retort of, “Does he know?” leads to a mini-sermon about being yourself and breaking the mold, and escaping the trappings of a mundane life. There must be several ways to say ‘keep it real!” “be you!” and, at times, this musical tries to disclose all of them.

    The musical numbers (played by a five piece band) are powerful to say the least. Standout songs include “Church Blues Revelation,” “Music is the Freight Train in Which God Travels,” We Just Had Sex,” and “May Day.” Most of the songs are accompanied with dance and there’s Princess Mhoon Cooper to thank for the phenomenal choreography. The ensemble jumps, hops, steps, shouts and curve their bodies in unimaginable ways, eliciting yelps and cheers from an ecstatic audience. Cooper’s vision is unique, and the choreography is the most compelling in the scenes in the church and when Youth moves to Berlin. The ensemble speeds through the aisles filled with what is assumed to be the Holy Spirit in Act one and seemingly perfects the German military march in Act two.

    Standing: Anthony Manough with guitar (Narrator). Left: Galen Williams (Youth) and Right: Tyree Young (Mr. Franklin). Photo by Justin D. Knight.

    This production team is impressive with set design by Micheal C. Stepowany, immaculate colorful costumes by Reggie Ray along with Theryn Knight’s lighting. Steopwany’s set is an elaborate foray of curtains and shades. Tall, willowy sheets line the walls and change from lavender in the first act to white and twisted with intricate knots in the second. Ray’s costumes are bright, divine looking dresses and slacks along with leathered soldier gear and mohawks. Knight’s lighting is most effective during the shadowy scenes with Mom and the brighter ones in the church. The urgency of Berlin’s revolution is thoroughly captured and this is surely due to Knight working her magic.

    Theatre students at Howard rarely disappoint and this musical is no exception. Now it’s your turn to seek out ‘the real.’ You just might find it if you go witness this show.

    Running Time: 2 hours with a 10 minute intermission.

    Passing Strange runs from March 7 -10, 2012 at Howard University’s Ira Aldridge Theatre – 2455 6th Street, NW, in Washington, D.C. For tickets, call (202) 806-7700, or purchase them online.

  • An Interview With The Heritage Players’ Katie McIntyre Sheldon and Director Damien Gibbon

    The Heritage Players presents Lend Me A Tenor opening March 16, 2012  at Pice Auditorium in Catonsville, MD. Here, the group’s president, Katie McIntyre Sheldon, and Director Damien Gibbons share a little Heritage history, their mission of giving back to the community, and their vision for this classic farce.

    Katie McIntyre Sheldon

    Katie McIntyre Sheldon.

    Teresa: Tell us about the beginnings of The Heritage Players, your role, and how you become connected with the theatre company.

    Katie: Heritage started in 1975 at Ames United Methodist Church in Pikesville, and then moved to Catonsville United Methodist Church in 1996. I started in 2000 stage managing The Secret Garden. I had always loved theatre and was involved with drama in high school, but I truly feel like I found my niche when I found the The Heritage Players. I stage-managed several shows and became involved on the board as Member-at-large. After about a year, I ran for VP and did that for a few years until our President left and I had to take over. I’ve been going back and forth as President now for a few years.

    How do you choose your shows? What lead to the selection of Lend Me a Tenor ?

    Katie: Years ago, we used to have a play selection committee that would get together and select the shows and then try and find directors. About five or so years ago we stopped doing that and instead went in search of directors. They would bring to us shows they were interested in directing, and from there we would decide as a group what would be the best fit for our talent pool and space. This has continued to serve us very well, and also provide us with lots of new directors over the years. Lend Me a Tenor has actually been coming up on our list of shows for years now and I’m so glad that we are finally able to do it.

    Each show is tied to a bit of philanthropy. Explain what prompted this, and where some of the proceeds for Tenor will be donated.

    Katie: I think this is an extremely important part of what makes Heritage such a special theatre company. Each cast of our shows chooses a charity in which a portion of our proceeds will be donated too. In the past we’ve donated as much as several thousand dollars from a single show. I really love when we choose a local charity, especially one that somehow ties into the theme of the show. The cast of Lend Me a Tenor has chosen Music is Medicine which encourages music therapy in pediatric oncology patients. This charity was started by a local teenager several years ago right at Johns Hopkins Hospital. Since moving to Spring Grove, we also donate to the Patient Fund as part of our contract.

    How many Heritage productions are presented per year, and how is a director chosen?

    Katie: Right now we have been producing two shows a year, one in the Spring and one in the Fall. We are excited to be adding a Summer show this year, our first one here at Spring Grove. We also hope to be adding some Cabaret Nights in the coming year which much like an “open mic night,” which allow local talent to be showcased and performers to have the opportunity to do songs/scenes from shows we may not be able to do right now.

    We like directors to come to us with their “wish list” of shows that they want to direct. We try to keep things ‘family friendly’ for the most part, although  we have been branching out more since moving to our new home. For space  reasons we are still confined to smaller shows with a cast size of around 20 or less and minimal sets. Starting with Lend Me a Tenor, our whole next season will feature two first time directors, as well as two “new to Heritage” directors.

    Director Damien Gibbon

    Director Damien Gibbon. Photo by Larry Kohlenstein.

    What is your background in regards to theater?

    Damien: I’ve been involved in theatre since I was a child. I took a break when I entered the Navy after high school, and didn’t start up again until about five years ago when my wife and I moved to Baltimore. I was cast as a co-lead (alongside Lend Me a Tenor cast member Tricia Morgan) in a Salem Players production, and haven’t stopped since then!

    How did you become involved with The Heritage Players?

    Damien: When I was cast as the lead in Mort (based on the Terry Pratchett novel of the same name and directed by Lend Me a Tenor’s Assistant Director  Tim Van Sant) I had the chance to act with Heritage regular John Sheldon. Later, I shared the stage with other Heritage alums Katie Sheldon and Ashley Gerhardt, and they encouraged me to audition for a Heritage production. I made my debut with the company in last fall’s A Few Good Men, directed by Katie and assistant directed by Ashley.

    How would you describe your directing style?

    Damien: I like to let the actors bring their perspective and takes on their characters to the role, while I provide direction on dialogue and blocking that I feel is important to get “just so.” I feel that’s the most important element in making every show unique, even if an audience member has seen it several times before. It’s the style I have most preferred in the past as an actor working with a director and with an experienced group like I have in this cast, it’s been a very easy process.

    What have been the most challenging experiences working on this production?

    Damien: Well, as it’s my directorial debut a major challenge has been figuring out exactly what my role is! For example, at Salem Players and in other companies I’ve been with, the director often does much of the production work and I was prepared to do that, only to find out that at Heritage, the stage manager and producer provide that support. This allows the director and assistant director to focus on what’s going on onstage, and eliminates many of the distractions that can bog them down with administrative duties. Once I figured that out, the biggest challenge became envisioning and describing how I’d like to see the set, costumes, blocking, and dialogue presented.

    What has been the most rewarding thing about directing the show?

    Damien: By far the most rewarding part is being a part of this team of individuals who work so hard to make this happen. From the production staff – working on all of the details – to the actors working on their lines, this production has been a lot of effort and an absolute joy. Sitting in the director’s seat and watching it all come together is a new perspective for me, and is both very humbling and very exhilarating.

    Daniel Douek (Tito) and John Sheldon (Saunders). Photo by Larry Kohlenstein.

    Which character in the show is your favorite?

    Damien: Tough question and I don’t know that any director should ever answer that one! All of the characters have such unique personalities and personal foibles! Every one of them has a neuroses that make them special, from the perpetually anxious Saunders to the ambitious Diana, from our humble hero Max to his star-struck girlfriend Maggie, each of them adds a flavor to the stew that is this show. I honestly couldn’t choose one that I would most like to portray as an actor, though the impertinent Bellhop and passionate Tito would also certainly be high on the list! Alas, unless I were in an Elizabethan-style theatre, the spicy Maria and grand Julia are not available to me…

     

    Lend Me A Tenor plays March 16-April 2, 2012, at the Rice Auditorium at Spring Grove Hospital – 55 Wade Avenue, in Catonsville, MD. Tickets are $15. Purchase tickets online, or at the door.

  • ‘The Lunch & Judy Show: Men VS. Women?’ by Judy Stadt

    I am the host and creator and writer and editor of The Lunch and Judy Show. For four years – every week – DCMTA’s Joel Markowitz  and I have been schmoozing for 4 years about theatre in DC, Philly, and NYC and other things…like what was happening in our lives. Joel calls it ‘free therapy.’ It’s a blast schmoozing together every week, and I am so honored to bring you The Lunch and Judy Show on DC Theater Arts. And enjoy my new column on DCMTA called Judyisms. 

     THIS WEEK: MAN VS, WOMAN.

    I AM WOMAN, Helen Reddy
    FLY LIKE A BIRD, Original poem by Judy Stadt
    LET IT SNOW, Judy Stadt

    ——

    MEN, The Forrester Sisters

    COMEDY, Rick & Bubba
    THE BUSINESS LUNCH, Radio theatre with Kurt Goldschmidt & Judy Stadt
    DO YOU LOVE ME?, Margaret Whiting
    I’M BEGINNING TO HATE WINTER, Original poem by Judy Stadt

    ——

    I GOT IT FROM AGNES, Robin Ray
    I’M AN ORDINARY MAN, Rex Harrison
    COMEDY, Jeff Altman
    I’M IN LOVE WITH MY COMPUTER, Dottie Burman

    ——

    SCHADENFREUDE, From Avenue Q
    THE COLIN LIVELY SHOW, a part of an interview with my dear friend!

    www.lunchandjudyshow.com

    lunchandjudyshow@aol.com