DC Theater Arts

Tag: William Finn

  • Keegan Theatre’s irresistible ‘Falsettos’ is pitch-perfect for WorldPride

    Keegan Theatre’s irresistible ‘Falsettos’ is pitch-perfect for WorldPride

    Keegan Theatre’s revival of William Finn’s multiple Tony Award—winning Falsettos leaves no doubt about why the show is among the most beloved musicals of recent decades. Its combination of cleverness, complexity, and heart makes it irresistible.

    Its complexity exists on more than one level. Much of Finn’s score involves rapid-fire musical patter interchanges among the characters. The music is vocally demanding, and the timing needs to be perfect among the actors, who never miss a beat. The movement — director Kurt Boehm doubled as choreographer — is just as active and just as precise, giving the production unstinting energy. The Marvin/Whizzer racquetball game in the second act is a particularly nice set piece, and the many ensemble numbers are as expertly executed in terms of blocking and choreography as they are musically.

    The show’s center is its emotional complexity. As Trina (Katie McManus) comments at one point, attending her son’s Little League game with her ex-husband and his ex-lover was not something she would have imagined. McManus is a standout in Keegan’s top-notch cast, with her spectacular “I’m Breaking Down” bringing down the house in the first act. She expresses the difficulty of “holding the ground when the ground keeps shifting” in an equally compelling second-act song. I trust the Helen Hayes judges will be watching.

    John Loughney (Marvin) and Kaylen Morgan (Whizzer) in ‘Falsettos.’ Photo by Cameron Whitman.

    Marvin (John Loughney) left Trina and their son, Jason (Nico Cabrera), to be with his boyfriend, Whizzer (Kaylen Morgan). Marvin is emotionally volatile and conflicted — he’s called a “maniac” more than once in the script — wanting the passion of first love with Whizzer while keeping close ties with his family. He and Whizzer have a competitive relationship — fighting is their love language, it seems. Their relationship severs by the end of the first act.

    Meanwhile, Marvin’s psychiatrist, Mendel (Ryan Burke), comes to love Trina, asking her to marry him with sweet awkwardness (“A Marriage Proposal”). They do marry, and Mendel plays an increasing role in raising Jason, while Marvin retains an important presence in the boy’s life, underlined in the gentle “Father to Son” moment that concludes the first act.

    Jason is very much a kid, wondering if he is genetically predisposed to be homosexual, struggling with baseball, playing solitaire chess, and being buffeted by the conflicts and anxieties of the adults around him. He has an instinctive talent for connecting people, encouraging Marvin to propose to Trina. In Act Two, he brings Whizzer back into Marvin’s life and then finally, and most profoundly, decides to hold his bar mitzvah in Whizzer’s hospital room, bringing the whole extended family together in the hardest of times. Cabrera gets the confusion of a pre-teen boy and his growth into a caring young man.

    The Jewishness of most of the characters is an important element of the story, with Marvin, Whizzer, Mendel, and Jason singing the comical “Four Jews Bitching” to open the show. The chaotic preparations for Jason’s bar mitzvah are a key plot element in Act Two. Above all, there is dedication to maintaining family ties, no matter what unexpected changes take place.

    TOP LEFT: Ryan Burke (Mendel) and Katie McManus (Tina); TOP RIGHT: Shayla Lowe (Dr. Charlotte) and Kylie Clare Truby (Cordelia); ABOVE RIGHT: John Loughney (Marvin) and Nico Cabrera (Jason) with the cast, in ‘Falsettos.’ Photos by Cameron Whitman.

    Act Two, set in 1981, two years after the first act, introduces two new characters, a lesbian couple, Dr. Charlotte (Shayla Lowe) and Cordelia (Kylie Clare Truby), the latter a shiksa caterer whose hors d’oeuvres leave something to be desired. It is Dr. Charlotte who first becomes aware that “Something Bad Is Happening,” as cases of what would later be called AIDS begin to appear.

    In Act Two, Marvin and Whizzer reunite, with Marvin having grown into a man capable of genuine love, tenderly expressed in “What More Can I Say?” as he holds his sleeping partner. But the epidemic is spreading, and Whizzer falls ill. Some of Morgan’s best work occurs as Whizzer is hospitalized, showing Whizzer’s shining spirit even as his body weakens (“You Gotta Die Sometime”). The characters become closer as Whizzer’s condition worsens, as Marvin, Whizzer, Dr. Charlotte, and Cordelia cling to one another in “Unlikely Lovers.”

    What do you do with the deepest feelings of loss and grief? There’s no answer, really, except to keep close to the people who matter to you. The final scene of the show, in which the other characters mourn Whizzer, is the one point where I wish Boehm — whose direction is as specific and on point as one could ask for — had made a different choice. We see three pairs of characters spaced apart from each other on the stage, grieving separately. Better, in my view, to have all six holding one another in a single grouping, underlining the theme of coming together as family and community in a time of trouble, as was done in the 2016 New York revival broadcast on PBS.

    The technical side of the production is as complex as the material itself. Matthew J. Keenan designed a versatile multilevel set. Boehm takes full advantage of the space, and the scene changes are smooth, never detracting from the show’s pace. The lighting design (Lynn Joslin) is varied and as precise as the show’s other elements, with cues often tied to specific lines or actions (e.g., a brief, stark light change when Marvin slaps Trina). The tiny band, led by Elisa Rosman, handled well both the fast-paced and lyrical portions of Finn’s score.

    The cast of ‘Falsettos.’ Photo by Cameron Whitman.

    The costumes are delightful. Paris Franscesa, for example, delineates Whizzer’s and Marvin’s characters by giving the former very stylish outfits and the latter an informal, pulled-out-of-closet look. Colors abound. The workout clothes for Mendel and Trina in Act Two are a hoot. There are subtle changes in dress as the show proceeds, for example in Jason’s outfits as he begins to mature. There were some opening night issues with sound, notably an overly high volume level for the singers and especially the keyboard in the first act. This seemed to be largely corrected for Act Two, however.

    Keegan’s Falsettos is fun and sad. For one who lived through the height of the AIDS epidemic, losing some friends in the process, the second act strongly evoked the feelings of that time — the fear and grief and anger and the tenderness of those caring for loved ones. This production comes at a time when other challenges call for people to come together and care for one another. It was a fine kickoff for DC-area theaters’ observance of WorldPride.

    Running Time: Two and a half hours, including one intermission.

    Falsettos plays through June 15, 2025, at The Keegan Theatre, 1742 Church St NW, Washington, DC. Performances are Thursdays to Saturdays at 8:00 pm, Sundays at 3:00 pm, and select Mondays and Wednesdays at 8:00 pm. Tickets are $64 ($54 for seniors and students) and available online.

    Falsettos
    Music & Lyrics by William Finn
    Book by William Finn & James Lapine
    Director & Choreographer: Kurt Boehm
    Music Director: Elisa Rosman

    SEE ALSO:
    Keegan Theatre announces cast and creative team for ‘Falsettos’ (news story, April 30, 2025)

  • ‘Putnam County Spelling Bee’ at Kennedy Center is simply P-H-E-N-O-M-E-N-A-L

    ‘Putnam County Spelling Bee’ at Kennedy Center is simply P-H-E-N-O-M-E-N-A-L

    Six hopeful Spellers (and a few audience members) gather in a high school gymnasium for a championship spelling bee, a competition of focus, determination, and uniquely cerebral skill. As the bee unfolds in a flurry of letters and laughs, the Spellers also must navigate their hopes for love, acceptance, and validation — and the highs and lows of adolescence — and confront the pressures from parents, themselves, and society pushing each toward the first prize. Bursting with charm and heart and an outrageously good time, The 25th Annual Putnam County Spelling Bee (with a book by Rachel Sheinkin and music and lyrics by William Finn) at the Kennedy Center is simply P-H-E-N-O-M-E-N-A-L.

    With a spectacular cast from start to finish, this Broadway Center Stage production radiates the kind of youthful exuberance that makes you forget about the world outside to just laugh, smile, and cheer. The six main Spellers did an outstanding job balancing the comical, technical challenge of “being” a middle schooler, and each built a constant stream of moments — whether big character songs or small background asides — that infused the production with more personality than I’ve seen in one show in the last several years. Add in the guest Spellers — at our performance Carla Hall, Cobie Smulders, and audience members Jack and Vivienne — and you couldn’t help but dive head first into the torrent of chaotic, earnest joy at the center of the show.

    Leana Rae Concepcion (as Marcy Park) and the cast of ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Matthew Murphy.

    Nina White as contestant Olive Ostrovsky nailed the awkward self-consciousness and quiet desperation for acceptance at the character’s core, masterfully highlighting her tension of self-reliance and finding solace in the steadiness of words with her melancholic seeking love and care from others (specifically her parents). Her commanding voice was especially displayed in “My Friend the Dictionary.”

    An unlikely friend to Olive, William Barfée sniffled and shuffled his way into your heart as portrayed by Kevin McHale, an incredibly skilled physical actor. William’s “Magic Foot” underscored McHale’s talent at infusing his charater with eccentricities from head to toe. McHale also had a catalog of looks of disgust and adolescent arrogance that he flipped through at rapid speed during the show, all spectacular to watch.

    On his own journey as Leaf Coneybear, Noah Galvin’s performance was the perfect balance of unbridled stream of consciousness and pure joy. Whether in “I’m Not That Smart” or as a member of the growing “Pandamonium,” I found myself holding my heart every time he stood at the mic. Galvin’s shepherding of the free-spirited and self-doubting Leaf into a place of self-discovery and confidence was buoyant love personified.

    TOP: Noah Galvin (as Leaf Coneybear) and the cast; ABOVE: Taran Killam (as Vice Principal Douglas Panch), Philippe Arroyo (Chip Tolentino), Leana Rae Concepcion (Marcy Park), Noah Galvin (Leaf Coneybear), Alex Joseph Grayson (Mitch Mahoney), Beanie Feldstein (Logainne SchwartzandGrubenierre, Kevin McHale (William Barfée), and Bonnie Milligan (Rona Lisa Peretti), in ‘The 25th Annual Putnam County Spelling Bee.’ Photos by Matthew Murphy.

    Intense and highly motivated, Beanie Feldstein as Logainne SchwartzandGrubenierre imbued precision into every moment and every syllable. With a lisp as big as her passion for progressive politics and making her two dads proud, Feldstein’s Logainne led to more than a few cheer-out-loud moments. From Feldstein’s “Woe Is Me” to Logainne’s future appointment in the cabinet of President Sasha Obama, this DC home crowd was the target audience for her character in every way.

    Similarly struggling to live up to parental expectations, Leana Rae Concepcion as Marcy Park rose to the occasion and then some. Overachieving and (protestingly) serious but also still just a kid, Concepcion’s Marcy found room for play — particularly in “I Speak Six Languages” — and often had the biggest smile on her face among the Spellers during the full-company songs.

    Last but not least of the Spellers (especially in his own estimation) was Philippe Arroyo as Chip Tolentino. The most confident and then rapidly the most distraught, Arroyo’s Chip excellently demonstrated the many frustrations of adolescence and the physical embarrassment of puberty — whether serenading a lovely girl or chucking candy at the audience in the fantastic kerfuffle that is “Chip’s Lament.”

    Guiding the Spellers were the equally idiosyncratic bee staff — Bonnie Milligan as the warmly nostalgic Rona Lisa Peretti, Taran Killam as the unpredictable (and hilarious) Vice Principal Douglas Panch, and Alex Joseph Grayson as the silvery-voiced, pep-talking Mitch Mahoney. All exceptional additions to the chaos, standout moments were Vice Principal Panch’s ever-blossoming crush on Rona throughout, Rona’s not so masked envy of the kids as she longed to re-live her own youthful glory, and Mitch’s increasingly sympathetic juice box handoffs before sending each eliminated contestant down the aisle and out of the competition. Additionally, both Grayson and Milligan alongside White as Olive’ parents in “The I Love You Song” were transcendent. The trio of voices locked into perfect frequency, cutting to the heart of each audience member and chord.

    The cast of ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Matthew Murphy.

    The creative team of this production went all out as well. The creative set design by Paul Tate dePoo III cheering on the Putnam Piranhas with bright blue and yellow; the sometimes time-warp-inducing lighting design by David Weiner; the off-kilter and energetic costume design by Emily Rebholz; the helter-skelter choreography and well-orchestrated, multi-layered direction by Danny Mefford — every element of this show was in it to win it.

    In trying to summarize this glorious night of theater I find myself aware of the irony of running out of new words to describe how good a show set in a spelling bee is. Luckily thanks to my friend the thesaurus, I am able to add that it was effulgent and effervescent. The 25th Annual Putnam County Spelling Bee at the Kennedy Center is an absolutely must-see of the 2024/25 theater season. Grab tickets as soon as you can for this sure-to-sell-out run.

    Running Time: Approximately one hour and 45 minutes, no intermission.

    The 25th Annual Putnam County Spelling Bee plays through October 20, 2024, in the Eisenhower Theater at the Kennedy Center, 2700 F St NW, Washington, DC. Tickets ($69–$299) can be purchased at the box office, online, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm.

    The program for The 25th Annual Putnam County Spelling Bee is online here.

    COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Plan here.

  • ‘Putnam County Spelling Bee’ spells must-see at Compass Rose Theater

    ‘Putnam County Spelling Bee’ spells must-see at Compass Rose Theater

    Compass Rose Theater’s production of The 25th Annual Putnam County Spelling Bee is a hilarious take on childhood and competition. The 2005 musical, conceived by Rebecca Feldman, with music and lyrics by William Finn, and book by Rachel Sheinkin, shows the quirky, chaotic side of middle school spelling bees. Directed by Tommy Malek, with musical direction by Rachel Sandler, it also skillfully uses musical improvisation and audience participation, with several audience members taking place in the bee.

    Beth Amann plays Rona Lisa the adult host, with great confidence and poise. She introduces each contestant as they approach the microphone with a funny fact. In her “Rona Moment” solos, she sings joyfully of her favorite moments of the bee, from the surprise loss of the previous year’s winner to the suspense of the final two contestants.

    Omar A. Said (Panch), B.J. Robertson (Mitch), Lila Cooper (Olive), Stephen Emery (Barfée), Beth Amann (Rona Lisa), Taylor Litofsky (Logainne), Sam Slottow (Leaf), and Cera Baker (Marcy) in ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Joshua Hubbell.

    Omar Said plays Panch, the Vice-Principal leading the bee, with great comic relief. Every definition or sentence using the word to be spelled that he gives has an unexpected joke in it.

    B.J. Robertson gives a quiet intensity to Mitch, who escorts each loser off the stage with a juice box. He reveals his feelings in “Prayer of the Comfort Counselor,” sultrily singing and dancing with one loser.

    Lila Cooper gives a nervous nerdiness to Olive, a new contestant. In “My Friend the Dictionary,” she sings of her complicated homelife and love of words. She giddily shares with other contestants funny ways of rearranging words. In “The I Love You Song,” with Amann as her mother and Robertson as her father, she heartbreakingly sings of her loneliness toward her parents as they raise her.

    Stephen Emery plays Barfée with great intensity. Marking off a place for himself on the floor, he yells at anyone who intrudes. In “Magic Foot,” he shows his unusually physical method for spelling, tap dancing, and high-kicking. In a comic “Pas De Deux” with Cooper, he spins and leaps.

    Preston Grover gives a nervousness to Chip, the winner from last year. He protests the disparity in complexity of the words being given, and his own loss when he is distracted. In “Chip’s Lament,” he hurls candy at the audience while singing about why he was distracted.

    Cera Baker gives a comic intensity to Marcy, a Catholic school student. She robotically provides a definition for each word, after a brief eye twitch. She silently prays in the seat. In “I Speak Six Languages,” she shows off her multiple talents, including karate and fan-dancing, while also revealing her vulnerabilities. In a hilariously unexpected encounter, she goes through an epiphany.

    Taylor Litofsky plays Logainne with a great nervousness. In “Woe Is Me,” with Sam Slottow and Robertson playing her dads, she shows the intense pressure at home to succeed. She traces each word on her arm. Losing, she sadly sings of how her dad “hates a loser.”

    Sam Slottow gives a manic playfulness to Leaf. He rolls around the floor and roars in his animal hoodie, generally behaving like a goofy kid. In “I’m Not That Smart,” he reveals how everyone, even his family, underestimates him, and how he even surprises himself, spelling the words correctly.

    The three audience participants were also great sports. They played along splendidly, asking for definitions of their words and for them to be used in a sentence. They even danced with the actors. Each performance will have different people chosen from the audience.

    Omar A. Said (Panch), Beth Amann (Rona Lisa), B.J. Robertson (Mitch), Taylor Litofsky (Logainne), Cera Baker (Marcy), Preston Grover (Chip), Sam Slottow (Leaf), Lila Cooper (Olive), and Stephen Emery (Barfée) in ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Joshua Hubbell.

    Set Designer Sammy Jungwirth evokes a school auditorium with tiered benches in the right-hand corner and a table with juice boxes in the left. A mic stand is placed up front, while inspirational posters are on the wall. Costume Designer Tommy Malek distinguishes all the characters with their outfits. Panch wears a blue suit and yellow bow tie, while Rona Lisa is in a red dress and jacket. Leaf wears eccentrically colorful pants and a green hoodie, changing to a tank top as Logainne’s father. Logainne has a pink tutu over denim suspenders, while Olive is in pink suspenders. Barfee has cargo shorts and a plaid sweater, with Marcy looking proper in a red jacket and plaid skirt.

    Lighting Designer Atticus C. Boidy shines blue and red lights across the stage during dramatic moments. Spotlights highlight the singers in emotional moments. Sound Designer Zach Sexton adds to the comedy with unusual, funny sounds.

    Musical Director Rachel Sandler keeps the music lively and loud, although sometimes it overwhelms the singers and makes it difficult to hear the lyrics. Tommy Malek does a wonderful job as director and choreographer. The actors all have different childlike mannerisms and tics, making them feel very much like kids, while also being different enough to tell them apart. They have lots of funny movements and dance sequences. They all have excellent comic timing and also hit the tender emotional moments well. The 25th Annual Putnam County Spelling Bee is a funny, adult reminder of the craziness and silly seriousness of middle school. It spells must-see!

    Running Time: Two hours, including a 15-minute intermission.

    The 25th Annual Putnam County Spelling Bee plays through April 28, 2024, presented by Compass Rose Theater performing at Maryland Hall for the Creative Arts (third floor), 801 Chase Street, Annapolis, MD. Purchase tickets ($25–$55) online or call 410-980-6662.

  • With queer-themed ‘Falsettos,’ Rep Stage ends on a high note

    With queer-themed ‘Falsettos,’ Rep Stage ends on a high note

    There are cycles of history at play in Rep Stage’s production of Falsettos. The Tony-winning musical, featuring music and lyrics by William Finn, who co-wrote the book with James Lapine, takes place between 1979 and 1981 against the backdrop of the burgeoning AIDS crisis. It made its Broadway debut in 1992; two years later, it was part of Rep Stage’s opening season. Now, under the excellent stewardship of Producing Artistic Director Joseph W. Ritsch and Musical Director Tiffany Underwood Holmes, it brings Rep Stage full circle as the company prepares to close its doors.

    Jake Loewenthal (behind) as Marvin and Davon Williams (lying) as Whizzer in ‘Falsettos.’ Photo by Katie Simmons-Barth.

    The story of Falsettos, told in a cascade of musical numbers, centers on Marvin (Jake Loewenthal), who divorces his wife, Trina (Sarah Corey), after coming out of the closet and moving in with his lover, Whizzer (Davon Williams). After an initial period of bliss, Marvin and Whizzer’s romance begins to sour. Trina, meanwhile, is wooed by Marvin’s therapist, Mendel (Michael Perrie Jr.), who makes a more considerate counterpart than her self-centered ex. In the middle of it all is Marvin and Trina’s son, Jason (Grayden Goldman), who finds all these competing parental interests tedious. With the help of lesbian couple Dr. Charlotte (Justine “Icy” Moral) and Cordelia (Amber Wood), the makeshift family struggles to find harmony, a project that appears to bear fruit until a mysterious new epidemic threatens to take out one of their number for good.

    As a sung-through musical, Falsettos is relentlessly driven by Finn’s score, and Ritsch’s production snaps with the appropriate energy and assuredness from the sardonic opening number, “Four Jews in a Room Bitching.” Daniel Etttinger’s set, all neon colors and sharp angles, is dominated by a row of five electric-blue doors, through which the characters pop in and pop out, lending the proceedings a farcical rhythm that suits Finn and Lapine’s wry observations on love and neuroses. Ritsch choreographs the numbers—ranging from the sporting (“Raquetball I & II”) to the surreal (“March of the Falsettos”)—with simple clarity, making good use of wheeled furniture to shift the action and, occasionally, letting the actors indulge in a little chair-ography. Backed by a small but superb musical ensemble—Jennifer Campbell (winds), Erika Johnson (percussion), Catina McLagan (keys), and Elisa Rosman (keys)—the cast takes to Finn’s overlapping lyrics and cascading melodies largely with ease, with Loewenthal’s smooth tenor the standout voice. Perrie Jr. and Goldman earn the requisite laughs as easy-going Mendel and precocious Jason, respectively. Corey, meanwhile, is affecting as the exasperated Trina, never more so than in the solo “I’m Breaking Down,” in which she takes out her frustration on a hapless mound of dough.

    Top: Michael Perrie Jr. as Mendel, Sarah Corey as Trina, and Grayden Goldman as Jason; bottom: Justine Icy Moral as Dr. Charlotte and Amber Wood as Cordelia in ‘Falsettos.’ Photo by Katie Simmons-Barth.

    As dramaturg Khalid Yaya Long notes in the program, a 30-year-old show set ten years earlier certainly qualifies as a period piece, and there are qualities of the time and aspects of the show’s construction that jar a bit today. Marvin seems determined to hold first his wife and then his partner to a domestic standard that was already becoming retrograde in 1979 but is only fitfully tested here. The show, meanwhile, is made up of two one-acts, March of the Falsettos and Falsettoland, stitched together, which is partly why Charlotte and Cordelia, though wonderfully played by Moral and Wood, are somewhat awkward additions to the second act. Their inclusion, however, does yield one of the musical’s most heartfelt numbers, “Unlikely Lovers,” in which the two queer couples reflect on the love they have found. It brings out the best in Williams’s Whizzer, who is in many ways the bruised heart of the show and whose tangle with mortality reminds the audience how far the world has come in the fight against AIDS.

    If there is one enduring quality of a musical like Falsettos, it is the way it dissects family in all its messy, diverse forms with just a spoonful of musical comedy sugar. It’s a counterpoint to other hits of the period, among them the sweeping political epic Angels in America and the zeitgeisty rock opera Rent, that brought queer communities and those living with AIDS to the mainstream. In Falsettos, particularly as realized in a production as well-made as this, queer love and family are everyday phenomena (admittedly of the middle-class variety). At a time when political forces are policing the definitions of family and rolling back LGBTQ+ protections, that has a value all its own. For all the marks of its time, staging Falsettos now is a perfectly good way to meditate on what has and has not changed over the ages of Finn and Lapine’s musical—and a perfectly great way to end Rep Stage’s tenure on a high note.

    Running Time: Two hours and 15 minutes, with a 15-minute intermission.

    Falsettos runs through May 14, 2023, presented by Rep Stage performing in the Rouse Company Foundation Studio Theatre at the Horowitz Visual and Performing Arts Center on the Howard Community College campus, 10901 Little Patuxent Parkway, Columbia, MD. Tickets are available online and are $40 for general admission, $35 for seniors and military, $15 for students with a current ID, and $20 on Thursdays. For tickets and additional information, visit repstage.org or call the Horowitz Center Box Office at 443-518-1500 ext. 0. The box office is open Wednesdays through Fridays, 12 noon to 4 p.m. and 90 minutes prior to performance times.

    Parking is available in a garage directly across from the Horowitz Center. There’s also non-garage parking in nearby lots.

    COVID Safety: Face masks are encouraged in Horowitz Center venues. Patrons are not required to provide proof of vaccination; Howard Community College students must provide proof of vaccination and report positive COVID cases. More information can be found here.

    Falsettos
    Music & Lyrics by William Finn
    Book by William Finn & James Lapine

    CAST
    Trina: Sarah Corey
    Jason: Grayden Goldman
    Marvin: Jake Loewenthal
    Dr. Charlotte: Justine Icy Moral
    Mendel: Michael Perrie Jr.
    Whizzer: Davon Williams
    Cordelia: Amber Wood

    ARTISTIC TEAM
    Director: Joseph W. Ritsch
    Music Director: Tiffany Underwood Holmes
    Scenic Design: Daniel Ettinger
    Sound Design: Adam Mendelson
    Lighting Design: Conor Mulligan
    Costume Design: Julie Potter
    Props Design: Amy Kellett
    Dramaturg: Khalid Long
    Violence/Intimacy: Jenny Male
    Assistant Scenic Design: Emily Lotz
    Stage Manager: Jenn Schwartz

    SEE ALSO:
    Howard Community College to shut Rep Stage after final two shows (news story, November 11, 2022)

  • ’25th Annual Putnam County Spelling Bee’ spells fun at Prince William Little Theatre

    ’25th Annual Putnam County Spelling Bee’ spells fun at Prince William Little Theatre

    Prince William Little Theatre (PWLT) opened its production of The 25th Annual Putnam County Spelling Bee this weekend and suffice it to say, my face still hurts from smiling. Music and lyrics are by William Finn, with the book written by Rachel Sheinkin, conception by Rebecca Feldman, and with additional material by Jay Reiss. The crass and comical musical follows six eclectic and somewhat eccentric competitors who have made it to the county-wide spelling bee, run by three equally quirky adults.

    The set, designed by Mia Villani, is well done as a realistic-looking school gymnasium with bleachers for the contestants, a microphone center stage, and a small table where the announcers sit. Director Melanie McGuin and Choreographer Meghan Bentley make great use of the open space.

    Chelsea Zeidman as Olive Ostrovsky and cast in ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Amanda Elena Photography.

    Volunteers from the crowd are selected to be additional spellers, which adds a level of improv to the performance and makes the experience unique to the audience. Julia Braxton is Rona Lisa Peretti, former Bee champ and passionately exuberant fangirl of the Bee in general. As each speller approaches the mic, Braxton spews fun facts about them as benign as commentary on their methods but the audience participants are berated with brutally farcical comments ranging from bowel movements to their utter loneliness. Braxton delivers every line with genuine interest and enthusiasm, making the biting remarks all the more humorous.

    Douglas Panch (Scott Heine) is the official pronouncer and has an unidentified shady past that precludes him from certain positions of authority. Heine is the deadpan to Braxton’s bubbliness and gives absurd sentence examples of the words for clarification, sometimes clever, sometimes gross, but always amusing.

    Kareem Taylor plays Mitch Mahoney, the comfort counselor assigned with graciously ushering the losers off the stage and openly just there to fulfill his court-ordered community service. Taylor is charming as the reluctant positive influence and grows to love his position, culminating in the “Prayer of the Comfort Counselor” as he laments the elimination of the final (and his favorite) audience speller.

    Olive Ostrovsky is one of the more complex characters and is wonderfully portrayed by Chelsea Zeidman. Olive, which she bittersweetly notes can be rearranged to spell “I love,” sings “My Friend, the Dictionary” as she gushes over the ever reliability and comfort of a book in the absence of friendship and her parents’ attention. But when Zeidman sings “The I Love You Song,” her disappointment and longing as a neglected child are beautifully heartbreaking. Braxton as Olive’s mom and Taylor as her dad complement Zeidman with gorgeous harmonies that are a highlight of the musical.

    Olive develops a bond with fellow Bee contender William Barfee (Joey Olson). Olson as Barfee (pronounced “Bar-fay!”) is hilarious as the overly confident, and viciously sassy, student who spells his words out with his foot. With a nasally voice, dripping with attitude, Olson zings one-liners subtly under the radar that kept the crowd in stitches throughout the performance. But Olive’s admiration and kindness pull at the underlying insecurities that Barfee’s attitude attempts to hide. Olson and Zeidman have an endearing connection that grounds the show in true emotion amid the levity of ridiculous NSFW hilarity.

    (Clockwise from top left:) Zack Walsh as Leaf Coneybear; Joey Olson as William Barfee; Julia Braxton as Rona Lisa Peretti and cast in ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Amanda Elena Photography.

    Zack Walsh as Leaf Coneybear was an absolute delight, with the innocence and wonder of a baby bird. Walsh is all things loveable as the wide-eyed, unlikely participant who qualifies for the Bee through a series of conflicts with the top two winners. He sings “I’m Not That Smart” with light-hearted self-deprecation that makes you want to scoop him up and bearhug confidence into him.

    Rounding off the participants is Shelby Cody as Marcy Clark, the one who excels at everything and sings the indignant “I Speak Six Languages”; Becca Harney as Logainne Schwartzandgrunenierre (Schwartzy), who has overbearing, perfection-seeking dads who fuel her insecurity in “Woe Is Me”; and Kyle Chua as Chip Tolentino, the first of the characters to be eliminated and serenaded with Mahonney’s “Goodbye” song.

    PWLT’s production of The 25th Annual Putnam County Spelling Bee is fun and funny. There were a few sound hiccups with feedback, and some of the mics needed to be turned up, but nothing that fazed the cast and can’t be easily resolved.

    Riddled with adult humor, the material may not be appropriate for children under 12. One of the songs is titled “My Unfortunate Erection” if that tells you anything.

    The show is fast-paced and hits all the comedic notes and then some. PWLT has created a great experience that whets the appetite for unadulterated entertainment and promises to leave you with a grin.

    Running Time: Two hours and 30 minutes, with one 15-minute intermission.

    The 25th Annual Putnam County Spelling Bee plays through March 19, 2023, presented by Prince William Little Theatre performing at the Gregory Family Theater in the Hylton Performing Arts Center located at 10960 George Mason Circle, Manassas, VA. Tickets ($30 for general admission; $24 for seniors, students, and military; and $19 for children) are available for purchase online or by calling (888) 945-2468.

    COVID Safety: Masks are encouraged but not required inside the theater.

    The 25th Annual Putnam County Spelling Bee 
    Conceived by Rebecca Feldman
    Additional Material by Jay Reiss
    Music and Lyrics by William Finn
    Book by Rachel Sheinkin

    CAST
    Mitch Mahoney: Kareem Taylor; Rona Lisa Peretti: Julia Braxton; Olive Ostrovsky: Chelsea Zeidman; Marcy Park: Shelby Cody; Logainne Schwartzandgrunenierre (Schwartzy): Becca Harney; Chip Tolentino: Kyle Chua; Leaf Coneybear: Zack Walsh; William Barfee: Joey Olson; Douglas Panch: Scott Heine

    PRODUCTION TEAM
    Director: Melanie McGuin; Producers: Becky Gould-Levine and Melanie McCleerey; Stage Manager: Katie Morris; Music Director: Ahyrel Tinker; Choreographer: Meghan Bentley; Keyboardist: Matt Scarborough; Lighting Design: Kurt Gustafson​; Sound Design: Tim McCleerey; Costume Design: Susy Moorstein; Properties: Melissa Jo York-Tilley; Set Decoration: Cana Wade; Set Design: Mia Villani; Spotlight: Katherine Blondin; Makeup Design: Caty Kumar

  • Keegan’s reassuring ‘Elegies’ reflects on joy, grief, and gratitude

    Keegan’s reassuring ‘Elegies’ reflects on joy, grief, and gratitude

    An elegy is “a poem of serious reflection, typically a lament for the dead.” Elegies: A Song Cycle, now playing at Keegan Theatre, is a 90-minute collection of songs that do that same thing. You could call it a playlist of “infinite joys” (as one song is titled), grief, and gratitude.

    Who hasn’t made a playlist for oneself or someone else in order to summon comfort and joy? Usually, though, the playlists we create pull together music from a variety of sources. In this case, they all come from a single (and singular) composer: William Finn. Elegies is a tribute to the composer’s experience of life and death in New York City. And the show is very New York–centric in a way that is reminiscent of some Woody Allen movies.

    Katie McManus and Harrison Smith in ‘Elegies: A Song Cycle.’ Photo by Cameron Whitman.

    Finn’s lyrics articulate human frailty, terror, and hope with an undeniably American, late-decline-of-capitalism precision. His portraits of people accepting the need to learn to live with grief rather than trying to get over it are — well — reassuring. His work seems to be saying: this stuff is hard, and every human being is slogging through it with varying levels of grace. To make this statement heard and felt musically is no small achievement for a composer and no small gift for audiences.

    At their best, his lyrics are like candid snapshots of an unnamable and easily overlooked thing that makes human life worth living, as in this:

    Look at the joy on her face as she emotes
    Maybe she doesn’t hit all the notes
    But look at the joy on her face
    She is in a place of light
    —from “Peggy Hewitt & Mysty del Giorno”

    Through the lyrics of these songs, Finn shares with us the people who constituted his social atom (“Mister Choi and Madame G,” “Monica and Mark”), the disasters (AIDS, the fall of the Twin Towers), the rituals (“Passover,” “Mark’s All-Male Thanksgiving”), and the inescapable deaths (“14 Dwight Ave., Natick, Massachusetts,” “The Ballad of Jack Eric Williams”).

    Director Christina A. Coakley has put together a production that has many things going for it. The set (Matthew J. Keenan) is clean, simple, elegant, and versatile: a grand piano, six stools, one mysterious box. The entire stage space was framed by overlapping stage legs that acted as projection screens and as walls between rooms and streets.

    John Loughney (with Josh Cleveland on piano) in ‘Elegies: A Song Cycle.’ Photo by Cameron Whitman.

    When you enter the theater, the stage is a cloudy blue. The appearance of the stage shifts as, over the course of the performance, various colors, textures, locations (façade of a Manhattan apartment building, the Twin Towers), and documentary images (newspaper articles about the discovery of a virus of unknown origin among gay men) are projected. From time to time the performers would use their own personal screens and remote controls to project images onto them. During the song “My Dog,” images of dogs were sketched onto the screen while the singer sang about these pets and their deaths.

    The music arrangements provided vibrant and varied settings for the songs and the performers. Music Director Josh Cleveland implemented those arrangements like somebody who knew what he was doing. Through almost 90 minutes of nonstop playing. Cleveland’s accompaniment pushed, prodded, and generally provided a confident and firm foundation for the performers.

    Brigid Wallace in ‘Elegies: A Song Cycle.’ Photo by Cameron Whitman.

    The performers’ harmonies were lovely, and those well-balanced small chorus moments were always welcome when they arrived. Individually, the cast engaged boldly with the material. A presentation of elegies one after another does have the problem of tending to sound like the same song, and the same high point over and over. It’s a little like being in a memorial service. And sometimes applause may seem a little awkward or slow in coming. But then, this production offers us exactly what the definition of an elegy promises: a space for serious reflection. Set to music.

    Running Time: 90 minutes with no intermission.

    Elegies: A Song Cycle plays Thursdays to Sundays through November 22, 2022, at the Keegan Theatre – 1742 Church Street NW, Washington, DC. For tickets ($55–$65, with discounts available for patrons under 25 and over 62), call the box office at (202) 265-3767 or go online. Discounted rush tickets are also available at the door starting one hour before showtime.

    COVID Safety: Masks are optional but encouraged for all visitors. Keegan’s current Health and Safety Policies are here.

    Harrison Smith, DeJeanette Horne, and John Loughney in ‘Elegies: A Song Cycle.’ Photo by Cameron Whitman.

    Elegies: A Song Cycle 
    Written by William Finn
    Directed by Christina A. Coakley
    Music Director: Josh Cleveland

    Musical Numbers
    Looking Up Quintet
    Mister Choi and Madame G.
    Looking In
    Mark’s All-Male Thanksgiving
    Only One
    Joe Papp
    Peggy Hewitt & Mysty Del Giorno
    Passover
    Infinite Joy
    Jack Eric Williams
    Fred
    Elevator Transition
    Dear Reader
    Monica and Mark
    Anytime (I Am There)
    My Dogs
    Venice
    14 Dwight Ave., Natick, Massachusetts
    When the Earth Stopped Turning
    Mark’s All-Male Thanksgiving Reprise
    Saying My Goodbyes (Part I)
    Boom Boom (Part I)
    Saying Our Goodbyes (Part II)
    Boom Boom (Part II)
    Looking Up
    Saying Our Goodbyes (Finale)

    Cast:
    John Loughney (Ensemble), Harrison Smith (Ensemble), DeJeanette Horne (Ensemble), Ben Clark (Ensemble/Swing), Katie McManus (Ensemble), Brigid Wallace (Ensemble), Allison Fitzgerald (Swing), Chris Gillespie (Swing)

    Creative and Production
    Lighting Designer: Alberto Segarra
    Projections Designer: Jeremy Bennet
    Costume/Hair Designer: Shadia Hafiz
    Assistant Director: Chris Gillespie
    Resident Electrics Supervisor: Ben Harvey
    Sound Designer/Engineer: Elliot Lanes
    Resident Scenic Designer/Lead Carpenter: Matthew J. Keenan
    Properties/Set Dressing Designer: Cindy Landrum Jacobs
    Stage Manager: Gabrielle Busch
    Technical Director: Josh Sticklin
    Dramaturg/Production Manager: Colin Smith

  • Review: ‘Falsettos’ National Tour at the Kennedy Center

    Review: ‘Falsettos’ National Tour at the Kennedy Center

    The motley crew of neurotic and quasi-neurotic characters in Falsettos, now playing at the Kennedy Center, offers an eye-opening look at all-too-human dilemmas. The rituals of everyday life under stress are scrutinized with laser-sharp wit and bracing lyrics courtesy of Composer and Lyricist William Finn.

    Max von Essen as Marvin and Nick Adams as Whizzer in “Falsettos” at the Kennedy Center. Photo by Joan Marcus.

    This unique yet compelling musical’s two acts differ decidedly in tone, yet both involve coming to terms with one’s identity amidst the changing political and social climate of the late 1970’s to the 1980’s. The book, co-written by James Lapine and Mr. Finn, combines the earlier musicals March of The Falsettos and Falsettoland in one unified whole.

    Falsettos follows a married couple (Marvin and Trina) whose marriage is tested due to the husband’s relationship with a gay man, Whizzer. Mr. Finn’s sensitive songs are expressive and beautifully developed and the book by Finn and Lapine is finely wrought.

    The yearnings of the romantic and non-conformist soul are laid bare in Marvin (Max von Essen) and Whizzer’s (Nick Adams) insistent “Thrill of First Love” as the two characters embrace their love with abandon. In this and other numbers, Mr. von Essen was a bit on the stolid side (his voice rang thin in the first act) but he settled into a nice rhythm in the second act with the haunting “What More Can I Say?”. Mr. von Essen displayed authority on stage and was effective interacting with his son Jason (Jonah Mussolino – at certain performances Thatcher Jacobs) and in his love-drenched duet with Whizzer “What Would I Do?”.

    Adams possesses solid acting chops throughout and delivers a knockout punch of musical adrenaline in the manipulative “The Games I Play” and the fatalistic “You Gotta Die Sometime”.

    As the only child in the cast, Mussolino is bracingly honest and highly confident. A much-needed quality as he delivers the songs “Miracle of Judaism” and “Another Miracle of Judaism” directly at the apron of the stage.

    Eden Espinosa is delightfully manic and anxiety-ridden as Trina, the wife who is trying to make sense of this turn in her marriage. In “I’m Breaking Down” and “Holding to the Ground,” Ms. Espinosa had a captivating grace and natural presence onstage.

    Eden Espinosa, Thatcher Jacobs, and Max von Essen in ‘Falsettos.’ Photo by Joan Marcus.

    Nick Blaemire as Mendel the Psychiatrist, continually surprised with just the right mixture of control counterbalanced with humorous excess. Blaemire shone in the zany “Everyone Hates His Parents”.

    Bryonha Marie Parham (Dr. Charlotte) and Audrey Cardwell (Cordelia) were wonderfully endearing as the “Lesbians Next Door,” their characters bringing levity to some very serious moments. Ms. Parham sang “Something Bad Is Happening” with a soulful awareness.

    This Lincoln Center production, now on tour throughout the US, is tightly directed by James Lapine with some subtle interactive touches (that I will not disclose) that I do not recall from earlier productions. The production also features the zesty, bouncy choreography of Spencer Liff – vaudeville turns, moonwalks and acrobatic pizzazz. Set Design by David Rockwell is a stylized treat with a cityscape skyline backdrop that overlooks large modular cubes that the actors shape into a variety of configurations in the foreground. Costumes by Jennifer Caprio are brightly colored and eye-catching.

    Musical Supervision by Vadim Feichtner is stellar and conducting by P. Jason Yarcho was superb. The “teeny-tiny band” (as described in the show’s lyrics) was evocative and accomplished.

    Falsettos is a musical that speaks to the beating heart.

    Running Time: Two Hours and 15 minutes with one 15-minute intermission.

    Falsettos runs through Sunday, June 23, 2019, at the Kennedy Center’s Eisenhower Theater – 2700 F Street NW, in Washington, DC. For more information please call (202) 467-4600 or go online.

  • Review: ‘The 25th Annual Putnam County Spelling Bee’ at Bristol Riverside Theatre

    Review: ‘The 25th Annual Putnam County Spelling Bee’ at Bristol Riverside Theatre

    “We are the slightest bit bizarre” may be quite an understatement when describing some of the delightfully strange tweens competing in The 25th Annual Putnam County Spelling Bee, now playing at Bristol Riverside Theatre. With all the drama and quirkiness one can expect from a spelling competition, these six young spellers have fantasies of grandeur as they compete for a chance to participate in the National Spelling Bee. With three guest spellers from the audience to contend with as they go along, Spelling Bee gives us a glimpse into the inner workings of these gifted minds and how each student can be completely unique in their own weirdness.

    Joshua Morgan (center) and company. Photo by Mark Garvin.
    Joshua Morgan (center) and company. Photo by Mark Garvin.

    Before becoming a full-length musical, Spelling Bee was a comedy sketch conceived by Rebecca Feldman for a small New York improv troupe until it caught the attention of a few influential theater minds, including composer and lyricist William Finn and book writer Rachel Sheinkin. Focusing on five main participants, Finn’s score is ebullient, with a bouncy rock feeling, as he underscores the competition, anxieties, perils, and embarrassments of burgeoning puberty in the public setting of a local county spelling bee.

    Though the premise may be simple, the complexities of Spelling Bee live in its challenging comedic tone. The show’s sense of humor carefully walks the line between paying homage to the wonderfully odd classmates we all knew as kids and poking fun at the nerds and anxiety-ridden amongst us. Director Amy Kaissar successfully wrangles the many backstories and eccentricities of each competitor, but struggles with the pacing, allowing moments of overindulgence for certain spellers. With thoughtful choreography from Stephen Casey, the mood stays light and playful amidst some more serious moments throughout.

    Leigha Kato (top row), Phebe Taylor, Joshua Morgan, Will Carlyon, Brooke Wetterhahn (middle row) , and T.J. Wagner (bottom row). Photo by Mark Garvin.
    Leigha Kato (top row), Phebe Taylor, Joshua Morgan, Will Carlyon, Brooke Wetterhahn (middle row) , and T.J. Wagner (bottom row). Photo by Mark Garvin.

    The heartwarming bits of Spelling Bee exist in the intricate way each student builds their own circumstances. Occasionally a student – or a “comfort counselor” meant to sensitively usher off a losing contestant – will slyly become a parent or sibling with a quick change of costume in order to fill in the baggage that each of these young folks bring to the bee. In this, the show is constantly flipping between present reality and an imagined fantasy world, no easy task and one which is sometimes unclear here.

    Guiding the action and the heated competition of the bee are the two “adults” – Kathryn McCreary as a bubbly Rona Lisa Perretti and Robert Smythe as a perfectly dry Vice Principal Douglas Panch – who delivers the words, definitions, languages of origin, etc. each with their own biting wit. Within the group of the top six spellers (all children played by adults), each is more different from the next. Last year’s top speller Chip Tolentino, played by the charming Will Carlyon, is an all-American athletic type who falls victim to his own emerging manhood. Brooke Wetterhahn as Logainne Schwartzandgrubenniere is an alpha female whose lisp is as strong as her political views, and Phebe Taylor as Olive Ostrovsky is a meek but fierce competitor who is often alone but in love with her dictionary.

    Oddest of them all, William Barfee, played by Joshua Morgan, has the most complete and fascinating set of nervous ticks in the cast as he struggles with his own sinus issues and protects his “magic foot” which skillfully spells the words for him. Standouts in the cast include Leigha Kato as Marcy Park, an over-accomplished transfer student who is on the verge of cracking under the pressure of the highest expectations while delivering a staggering amount of tricks in her song “I Speak Six Languages.” Just as impressive, TJ Wagner plays Leaf Coneybear with a heartwarming, subtle comedy, showing a knack for oddness as he addresses his hand puppets and questions own abilities in “I’m Not that Smart.”

    Jason Simms’ scenic design lays out an everyday gymnasium that shifts as the characters’ fantasies fly free. With lighting design by Ryan O’Gara and sound design by Liz Atkinson, these crucial moments are framed in the minds of the young students as they envision the facets of their families and dream of their spelling successes. Linda Bee Stockton’s costume design beautifully defines each competitor and glimpses their uniqueness whether it’s in homemade overalls, glittery kitty cat ears, or zip off cargo pants.

    Highlighting the best of what makes us each one of a kind, The 25th Annual Putnam County Spelling Bee is heartwarming and ultimately somewhat uplifting. It’s easy to cheer on these underdogs as they spell their way to possible victory, reinforcing the notion that what makes us different, makes us stronger.

    Running Time: One hour and 40 minutes, with no intermission.

    Kathryn McCreary, Robert Smythe, and Will Carlyon. Photo by Mark Garvin.
    Kathryn McCreary, Robert Smythe, and Will Carlyon. Photo by Mark Garvin.

    The 25th Annual Putnam County Spelling Bee plays through Sunday, October 15, 2017 at Bristol Riverside Theatre – 120 Radcliffe Street, in Bristol, PA. For tickets, call the box office at (215) 785-0100, or purchase them online.

  • New Records: Listening to the Music of 3 Tony-Nominated Shows

    New Records: Listening to the Music of 3 Tony-Nominated Shows

    New Records is a new column that discusses recordings of theatrical shows. It’s a companion to the theater reviews that appear here on DC Theater Arts.

    This week, in connection with the Tony Awards, let’s take a look at albums from three of the most accomplished productions of the season: Dear Evan Hansen, Come From Away, and Falsettos.

    Dear Evan Hansen CD CoverDear Evan Hansen (Atlantic Records)

    When Benj Pasek was a high school student at Friends’ Central School in Philadelphia, one of his schoolmates committed suicide and the community rallied in support for the dead child’s family. Remembering that incident, Pasek devised the plot for Dear Evan Hansen. He and his writing partner, Justin Paul, wrote words and music. They had crafted the 2012 Off-Broadway musical Dogfight, elevating a tawdry story to intense emotional resonance. Their A Christmas Story was a more conventional show, and now, with Dear Evan Hansen, they’ve reached artistic maturity.

    The title character is a socially anxious high school senior who was acquainted with a surly classmate named Connor who, midway in Act I, commits suicide. A letter is found, addressed “Dear Evan Hansen” and signed “Me” which everyone assumes to be the suicide’s farewell message. Actually, it was a letter written by Evan to himself as a positive attempt at self-assurance.

    Evan has been almost friendless, terrified about what others will think of him. Now everyone sympathizes with him because he supposedly lost his best friend; Connor’s parents embrace Evan as if he were family, and support groups make Evan their poster boy. The teenager accepts credit for a relationship that never existed, and exploits it, while he is internally torn.

    Pasek & Paul’s score captures the apprehensive personality of the teenager, and Ben Platt (only age 22) is superb, his voice soaring on spectacular high notes while trembling during his introspective thoughts. In “Waving Through a Window” Evan describes his insecurity: “I’ve learned to slam on the brake / Before I even turn the key / Before I make the mistake / Before I lead with the worst of me.”

    He continues, defining his anxiety: “Can anybody see, is anybody waving back at me?” / When you’re falling in a forest and there’s nobody around / Do you ever really crash, or even make a sound?” Sometimes, intentionally, his voice seems to crack and Platt shifts into a higher pitch, reminding us that he’s playing the role of an adolescent whose voice has only recently changed.

    The ensemble of Dear Evan Hansen. Photo by Matthew Murphy.
    The ensemble of Dear Evan Hansen. Photo by Matthew Murphy.

    In “For Forever,” Platt sings about his imagined friendship with Connor: “Two friends on a perfect day / We could be alright for forever this way.” Here, and in other songs, Platt makes us feel for his confused character. Some of the songs are gentle, some are rollicking. All have an appealing pop/rock flavor, with an occasional similarity to Paul Simon.

    The orchestrations and conducting by Alex Lacamoire, who did the same for Hamilton, are brilliant. Many of Evans’s songs start softly with only a keyboard accompaniment, later joined by an acoustic guitar. After that, percussion sneaks in, then strings, then all fade away until we’re left with the young man alone.

    Rachel Bay Jones is heartbreaking as Evan Hansen’s single mother Heidi. Laura Dreyfuss is appealing as Connor’s sister who becomes Evan’s girlfriend. Jennifer Laura Thompson and Michael Park are excellent as Connor’s distraught parents.

    Come From Away CD CoverCome From Away (The Musical Company)

    Dear Evan Hansen is one of the few Broadway musicals that are original creations, not based on a previous book, play or movie. By coincidence, another original story also made an impressive debut this season. It’s a musical that concerns 9/11.

    Really? Seems like an odd topic for song and dance.

    Actually, Come From Away is more of a 9/12 or 9/13 musical, telling us what happened in the days following the terrorist attacks. It focuses on the true happenings in Gander, Newfoundland, a tiny town that doubled in population when it welcomed thousands of stranded passengers after air travel was shut down on September 11, 2001. Hundreds of planes were ordered to land at Gander, where the residents greeted travelers warmly, saying to the strangers: “Here’s a key to my house. I put out fresh towels and there’s food in the refrigerator for you.”

    The inspiring book and score of Come From Away are by the Canadian married couple Irene Sankoff and David Hein, making their Broadway debut. They capture the culture of Newfoundland which, apparently, is strongly influenced by Irish music. The folky flavor dominates the opening song, “Welcome To The Rock,” and most of what follows. Ian Eisendrath leads an eight-person band which deserves special mention.

    The ensemble of Come From Away. Photo by Matthew Murphy.
    The ensemble of Come From Away. Photo by Matthew Murphy.

    A standout in the score is “Me And The Sky,” a traditional Broadway-style ballad for Jen Colella, playing a Texan pilot who actually was American Airlines’ first woman captain. Q. Smith as the mother of a New York firefighter impressively sings “I Am Here,” and Joel Hatch as the mayor of Gander, sturdily leads many of the numbers. Most songs are for ensemble singing, with a cast of twelve giving us vignettes of dozens of characters.

    The recurrent bluegrass/Irish music definitely is catchy but, without the action on stage in front of us, some of it is repetitious. The book is my favorite among all the musicals of the year, but the music by itself is not as impressive.

    Falsettos CD CoverFalsettos (Ghostlight Records)

    Lincoln Center’s revival of Falsettos by William Finn was produced early in the 2016-17 season. Although this is a treasure of musical theater, it never previously had a complete recording. That unusual situation arose because the musical started as a one-acter titled March of the Falsettos in 1981. The protagonist was an articulate, neurotic, funny, gay Jewish man named Marvin, who leaves his wife for another man, and has to deal with the confusion that it causes in his son who is preparing for a bar mitzvah. Finn wrote the lyrics and music. DRG recorded the score.

    Nine years later, Finn continued the story of Marvin and his extended family in the one-act Falsettoland, which was recorded by DRG. In 1981 Michael Rupert played Marvin, Stephen Bogardus was his lover Whizzer, Chip Zien was his analyst and Alison Fraser was his wife Trina. In the 1990 sequel, the men remained the same but Faith Prince was the wife.

    In 1992 Finn, with director James Lapine, combined the two to make the two-act Broadway hit Falsettos which included a new song for Trina in Act One, “I’m Breaking Down.” DRG reissued the two earlier discs, but Trina’s big number went unrecorded. Record company executives told me that the cost of inserting a new song would be prohibitive.

    The complete 2016 production is now immortalized. Christian Borle is the new Marvin, Andrew Rannells is Whizzer, Stephanie J. Block is Trina and Brandon Uranowitz is Mendel the shrink.

    Finn’s music is distinctive in the way he combines word play, metric surprises and unpredictable line-lengths with direct, emotional melody. His subject matter was revolutionary. For the first time, a musical-theater songwriter wrote about gays and about contemporary Jews — not just long ago and faraway Jews as in Fiddler, but urban American Jews of today. In addition, they were people with Jewish lives, like Finn himself, wrestling with the meaning of bar mitzvah and the existence of God.

    Borle is tender as Marvin, while Rannells is defiant as Whizzer, who contracts AIDS before the disease has a name. They blend beautifully when they sing “Unlikely Lovers” and Borle tears your heart out when he sings “What Would I Do?” (“Once I was told that good men get better with age. / We’re just gonna skip that stage.”)

    Christian Borle and Andrew Rannells in Falsettos. Photo by Joan Marcus.
    Christian Borle and Andrew Rannells in Falsettos. Photo by Joan Marcus.

    Block nails her big lament that ends with the exclamation, “The only thing that’s breaking up is my family / But me, I’m breaking down.” Young Anthony Rosenthal is the bar mitzvah boy, Jason, who complains that “My father’s a homo” then progresses to begging God to “make my friend [his dad’s lover] stop dying.”

    Although the men of the original production were definitive in their roles, the new cast cannot be faulted in any way, and they have created a gorgeous recording. Tracie Thoms and Betsy Wolfe complete the cast as “the lesbians next door.” Vadim Feichtner leads what’s referred to as “our teeny tiny band” — serving as a reinforcement of the idea that these unconventional lovers are a tiny segment of the population — in a Michael Starobin orchestration.

  • Review: ‘A New Brain’ at Theatre Horizon

    Review: ‘A New Brain’ at Theatre Horizon

    I definitely would not “rather be sailing…”, I would rather be at Theatre Horizon’s production of A New Brain! The hilarious and touching show follows Gordon Schwinn, a songwriter for a children’s television show who receives a tragic diagnosis that causes him to take another look at his life’s work and his relationships with the people that surround him.

    Steve Pacek Center, Lto R: Melissa Joy Hart, Rachel Camp, Christian Eason, Peter Carrier, and Rob Tucker. Photo by Matthew J Photography.
    Steve Pacek (Center), L to R: Melissa Joy Hart, Rachel Camp, Christian Eason, Peter Carrier, and Rob Tucker. Photo by Matthew J Photography.

    With music and lyrics by William Finn and James Lapine, and a book also by Finn, A New Brain is considered to be an autobiographical musical comedy that is based on Finn’s life. The show started as a concert of songs written by Finn after leaving the hospital that premiered at The Public Theater in New York City, followed by fully staged workshops in 1996 and 1997. The full musical was first officially produced off-Broadway at the Newhouse Theater in Lincoln Center with its first preview May 14, 1998, and then ran for five months. Another notable production of the show was a concert series revival at Encores! Off-Center in NYC in July, 2015 that had major rewrites and was directed by Lapine.

    Peter Carrier and Steve Pacek. Photo by Matthew J Photography.
    Peter Carrier and Steve Pacek. Photo by Matthew J Photography.

    Leading the pack is Steve Pacek who plays Gordon, the writer’s blocked musician who just wants to leave a legacy attached to his name. Pacek is a tour de force in both his vocals and his acting chops. His voice soars through his beautiful solo numbers like “Sailing” (Reprise) and invokes both laughter and tears. Pacek is paired with Peter Carrier who played Roger, whose smooth moves and silky vocals were swoon-worthy.

    Two incredible leading ladies head this production: Rachel Camp as Rhoda, and Susan Riley Stevens who plays Mimi. Camp belts her heart out and particularly stood out with her impeccable comedic timing during the “Coma Sequence.”

    Stevens’ frantic motherly ticks made her character come to life and break my heart. Melissa Joy Hart, as the Homeless Woman, took no prisoners with her soaring high notes and harshly realistic mannerisms in “On the Street.”

    A New Brain has a “killer” ensemble. Their voices blend beautifully and create gorgeous harmonies and their energy carried the show through its endless barrage of short quippy moments. Christian Eason, who played the Minister, had a velvety voice that I just wanted to listen to over and over, and Doug Hara made me absolutely cackle swishing around the stage on his delightful scooter.

    Matthew Decker’s direction was full of heart and so effective. The space was used well and I was able to easily follow the face paced storyline. This was complemented by Jenn Rose’s quirky, yet subdued, choreography that went seamlessly with the style of music. The pit was effortlessly led by Music Director Amanda Morton and her talented musicians who played the fun score so well.

    The cast of 'A New Brain.' Photo by Matthew J Photography.
    The cast of ‘A New Brain.’ Photo by Matthew J Photography.

    The set design, by Brian Dudkiewicz, featured large sectioned semi-transparent white walls that really added to the cold hospital setting of the piece and were able to be creatively used for silhouette scenes. Oona Curley’s lighting design also add to this clinical ambience through strategically placed harsh fluorescent strip lights. Specialty costumes designed by Jill Keys, including Mr. Bungee’s frog head were delightful and well made, and Chris Haig’s prop designs did their job of helping to establish our medical world, and created fun unexpected moments like the sail and boat accoutrements in “Sitting Becalmed in the Lee of Cuttyhunk.” Finally, Nick Kourtides’ sound design created excellent balance between actors’ mics and the pit.

    If you’re looking for “Heart, time, and music,” look no further than Theatre Horizon’s heartfelt and touching A New Brain. It’s a show not to be missed!

    Running Time: 90 minutes, with no intermission.

    A New Brain runs through November 6th at Theatre Horizon- 401 DeKalb Street, in Norristown, PA. For tickets, purchase them at the door or online.

  • Final 4 Performances for ‘The 25th Annual Putnam County Spelling Bee’ at Arts Collective @ HCC

    Final 4 Performances for ‘The 25th Annual Putnam County Spelling Bee’ at Arts Collective @ HCC

    There’s only F-O-U-R performances left for The 25th Annual Putnam County Spelling Bee at Arts Collective@HCC. Don’t miss it. Here’s what DCMTA’s Ilene Chalmers had to say about this wonderful production:

    HCC Arts Collective’s production of The 25th Annual Putnam County Spelling Bee is hilariously F-U-N-N-Y (enjoyment, amusement or lighthearted pleasure) and delightfully Q-U-I-R-K-Y (characterized by peculiar or unexpected traits) night of theatre directed by Anthony Scimonelli with musical direction by Mayumi Baker Griffie and choreography by Jess Beach.

    Lauren Blake Williams (Rona), Warren Harris (Barfée), Gabrielle Amaro (Olive), Diego Esmolo (Chip), Kaity Krull (Schwarzy), Cole Watts (Leaf), and Jordan Colea (Marcy). Photo by St. Johnn Blondell. - Image #2:
    Lauren Blake Williams (Rona), Warren Harris (Barfée), Gabrielle Amaro (Olive), Diego Esmolo (Chip), Kaity Krull (Schwarzy), Cole Watts (Leaf), and Jordan Colea (Marcy). Photo by St. Johnn Blondell.

    The 25th Annual Putnam County Spelling Bee is a musical comedy conceived by Rebecca Feldman with music and lyrics by William Finn. The book is by Rachel Sheinkin and additional material by Jay Reiss. The show centers around a fictional spelling bee set in the geographically ambiguous Putnam Valley Middle School. There are six unusual adolescents as they compete in the spelling bee, run by three equally unusual grown-ups. This 2005 Broadway production earned great reviews and was a box office success.  It was nominated for six Tony Awards, winning two: Best Book, and Best Featured Actor in a Musical for Dan Fogler (Barfee).

    Hilarity ensues right from the start of Act 1 when four audience members are selected to participate in the spelling bee alongside the cast members. They too are given participant numbers and seats interspersed among the actors.  Slowly, they are eliminated with tougher words to move the plot along with the charmingly funny group of characters in the show. Musical numbers are performed around the audience members who truly become members of the cast during the better part of Act 1. The last audience member when eliminated is even serenaded by Mitch Mahoney (Brandon Love) in his hilariously sincere version of “Prayer of the Comfort Counselor,” as the rest of the company joins him after the audience member is seated with consolation prize juice box in hand.

    The show is performed in the black box Studio Theatre which is positively transformed into the Putnam County High School gym. Set and Props Design is masterfully done by Mollie Singer. Her attention to detail is spot-on from athletic banners hanging on the back wall behind the actors to the climbing rope which is used at different times during the show. The wood floor of the gym was painstakingly brought in in pieces and assembled on the floor of the theatre which was then painted with the striping seen on all gym floors for sporting events. To add the finishing touch, the stage was aptly lit by Lighting Designer Andrew Haag.

    Kudos go out to Robert Croghan Costumer Designer for hitting a bull’s eye with his perfect designs for each of the characters. From Marcy’s Catholic school uniform to Barfee’s sweater vest and bow tie, no detail was left out.

    Director Anthony Scimonelli did an incredible job casting his show and assembling a phenomenal group of creatives. The use of the stage area was inspired to say the very least and the chemistry of his actors was palpable.

    Mayumi Baker Griffie’s Musical Direction was perfection. The solo vocals were powerful and the vocals blended with ease in the group numbers.

    In choreography, there is an age old principle: simple but clean is best. Choreographer Jess Beach is a great example of doing just that. Every musical number flowed with ease across the floor. She made each of the actors look their very best. Kudos to her fine work.

    This production assembled a wonderfully talented group of actors. Gabrielle Amaro is delightful as the shy and reserved Olive Ostrovsky. She captures our hearts as she tells us about her best friend in the world “My Friend the Dictionary.” Later in the show, she plucks at our heartstrings when she fantasizes about having the perfect parents in the trio “The I Love You Song.” She is joined on stage with her parents played by Lauren Blake Williams and Cole Richard Watts.

    William Morris Barfee, played by Warren C. Harris, is disarmingly awkward and charming at the same time. A highlight of the show is when he explains why he spells out his words with his foot before he says the words out loud in “Magic Foot.”

    Kaity Krull (Schwarzy), Diego Esmolo (Chip), Warren Harris (Barfée), Cole Watts (Leaf), Gabrielle Amaro (Olive), Jordan Colea (Marcy) and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.
    Kaity Krull (Schwarzy), Diego Esmolo (Chip), Warren Harris (Barfée), Cole Watts (Leaf), Gabrielle Amaro (Olive), Jordan Colea (Marcy), and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.

    Cole Richard Watts (Leaf Coneybear/Olive’s Father) shines as the hyperactive and enthusiastic Leaf. We empathize with his character from the very start, as he tells about how he is much maligned by his family who repeatedly call him dumb. Watts delivers an upbeat, but moving performance in “I’m Not That Smart.”

    Marcy Park (Jordan Colea) is appealing as the smart girl. She is a top speller and serial overachiever due to her family who expect the best from their daughter. When the Bee’s pressure gets too intense she shares her frustration by revealing her stressful life in the musical number “I Speak Six Languages.”

    Diego Ermolo who plays both Charlito “Chip” Tolentino, and Carl Grubenierre (Logainne’s father) delivers a showstopper with “My Unfortunate Erection (Chip’s Lament).” (I don’t want to give anymore away!)

    Lauren Blake Williams does an exemplary job as Rona Lisa Paretti the lady in charge of the spelling bee and ex-champion in her day. She takes pride in this event every year and the year she herself won the bee. Ms. Williams has a lovely voice which is featured in several musical numbers and as Olive’s Mother in the trio with Olive and her dad.

    Front and Center: Diego Esmolo (Chip) with Gabrielle Amaro (Olive), Kaity Krull (Schwarzy), Jordan Colea (Marcy), Daniel Johnston (Panch), and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.
    Front and Center: Diego Esmolo (Chip) with Gabrielle Amaro (Olive), Kaity Krull (Schwarzy), Jordan Colea (Marcy), Daniel Johnston (Panch), and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.

    Logainne “Schwarzy” Schwarzandgrubenierre played by Katy Krull is a spunky sympathetic character with pig tails and a lisp. She charms us as she describes her two overbearing fathers in “Woe is Me.”

    Last, but most certain not least, is Daniel Johnston who plays several adult characters in the show (Vice Principal Douglas Panch, Dan Schwarz, and Jesus Christ). Daniel’s Vice Principal Panch is crazy funny. He affects a great speech pattern when playing this character and has impeccable comic timing. His job at the bee is to give out the words, definitions and use in a sentence. His examples are hysterical…one funnier than the next. As an audience member, I looked forward to what he had to say next.

    Well, I shouldn’t have to spell this out for you. Put this show on your must see list. Who wins the competition?? You will need to come and join in the fun to see for yourself. You most certainly will not be d-i-s-a-p-p-o-i-n-t-e-d!

    Running Time: Two hours and 10 minutes, with one intermission.

    sb_728x90-1

    The 25th Annual Putnam County Spelling Bee plays through this Sunday, June 5, 2016 at Arts Collective @ HCC performing at Howard Community College’s Studio Theatre – 10901 Little Patuxent Parkway, in Columbia, MD. For tickets, purchase them online, or at the door.

    LINK:
    Arts Collective @HCC Presents ‘The 25th Annual Putnam County Spelling Bee’ May 19 – June 5, 2016.

    RATING: FIVE-STARS-82x1552.gif

  • Review: ‘The 25th Annual Putnam County Spelling Bee’ at Arts Collective @ HCC

    Review: ‘The 25th Annual Putnam County Spelling Bee’ at Arts Collective @ HCC

    HCC Arts Collective’s production of The 25th Annual Putnam County Spelling Bee is hilariously F-U-N-N-Y (enjoyment, amusement or lighthearted pleasure) and delightfully Q-U-I-R-K-Y (characterized by peculiar or unexpected traits) night of theatre directed by Anthony Scimonelli with musical direction by Mayumi Baker Griffie and choreography by Jess Beach.

    Lauren Blake Williams (Rona), Warren Harris (Barfée), Gabrielle Amaro (Olive), Diego Esmolo (Chip), Kaity Krull (Schwarzy), Cole Watts (Leaf), and Jordan Colea (Marcy). Photo by St. Johnn Blondell. - Image #2:
    Lauren Blake Williams (Rona), Warren Harris (Barfée), Gabrielle Amaro (Olive), Diego Esmolo (Chip), Kaity Krull (Schwarzy), Cole Watts (Leaf), and Jordan Colea (Marcy). Photo by St. Johnn Blondell.

    The 25th Annual Putnam County Spelling Bee is a musical comedy conceived by Rebecca Feldman with music and lyrics by William Finn. The book is by Rachel Sheinkin and additional material by Jay Reiss. The show centers around a fictional spelling bee set in the geographically ambiguous Putnam Valley Middle School. There are six unusual adolescents as they compete in the spelling bee, run by three equally unusual grown-ups. This 2005 Broadway production earned great reviews and was a box office success.  It was nominated for six Tony Awards, winning two: Best Book, and Best Featured Actor in a Musical for Dan Fogler (Barfee).

    Hilarity ensues right from the start of Act 1 when four audience members are selected to participate in the spelling bee alongside the cast members. They too are given participant numbers and seats interspersed among the actors.  Slowly, they are eliminated with tougher words to move the plot along with the charmingly funny group of characters in the show. Musical numbers are performed around the audience members who truly become members of the cast during the better part of Act 1. The last audience member when eliminated is even serenaded by Mitch Mahoney (Brandon Love) in his hilariously sincere version of “Prayer of the Comfort Counselor,” as the rest of the company joins him after the audience member is seated with consolation prize juice box in hand.

    The show is performed in the black box Studio Theatre which is positively transformed into the Putnam County High School gym. Set and Props Design is masterfully done by Mollie Singer. Her attention to detail is spot-on from athletic banners hanging on the back wall behind the actors to the climbing rope which is used at different times during the show. The wood floor of the gym was painstakingly brought in in pieces and assembled on the floor of the theatre which was then painted with the striping seen on all gym floors for sporting events. To add the finishing touch, the stage was aptly lit by Lighting Designer Andrew Haag.

    Kudos go out to Robert Croghan Costumer Designer for hitting a bull’s eye with his perfect designs for each of the characters. From Marcy’s Catholic school uniform to Barfee’s sweater vest and bow tie, no detail was left out.

    Director Anthony Scimonelli did an incredible job casting his show and assembling a phenomenal group of creatives. The use of the stage area was inspired to say the very least and the chemistry of his actors was palpable.

    Mayumi Baker Griffie’s Musical Direction was perfection. The solo vocals were powerful and the vocals blended with ease in the group numbers.

    In choreography, there is an age old principle: simple but clean is best. Choreographer Jess Beach is a great example of doing just that. Every musical number flowed with ease across the floor. She made each of the actors look their very best. Kudos to her fine work.

    This production assembled a wonderfully talented group of actors. Gabrielle Amaro is delightful as the shy and reserved Olive Ostrovsky. She captures our hearts as she tells us about her best friend in the world “My Friend the Dictionary.” Later in the show, she plucks at our heartstrings when she fantasizes about having the perfect parents in the trio “The I Love You Song.” She is joined on stage with her parents played by Lauren Blake Williams and Cole Richard Watts.

    William Morris Barfee, played by Warren C. Harris, is disarmingly awkward and charming at the same time. A highlight of the show is when he explains why he spells out his words with his foot before he says the words out loud in “Magic Foot.”

    Kaity Krull (Schwarzy), Diego Esmolo (Chip), Warren Harris (Barfée), Cole Watts (Leaf), Gabrielle Amaro (Olive), Jordan Colea (Marcy) and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.
    Kaity Krull (Schwarzy), Diego Esmolo (Chip), Warren Harris (Barfée), Cole Watts (Leaf), Gabrielle Amaro (Olive), Jordan Colea (Marcy), and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.

    Cole Richard Watts (Leaf Coneybear/Olive’s Father) shines as the hyperactive and enthusiastic Leaf. We empathize with his character from the very start, as he tells about how he is much maligned by his family who repeatedly call him dumb. Watts delivers an upbeat, but moving performance in “I’m Not That Smart.”

    Marcy Park (Jordan Colea) is appealing as the smart girl. She is a top speller and serial overachiever due to her family who expect the best from their daughter. When the Bee’s pressure gets too intense she shares her frustration by revealing her stressful life in the musical number “I Speak Six Languages.”

    Diego Ermolo who plays both Charlito “Chip” Tolentino, and Carl Grubenierre (Logainne’s father) delivers a showstopper with “My Unfortunate Erection (Chip’s Lament).” (I don’t want to give anymore away!)

    Lauren Blake Williams does an exemplary job as Rona Lisa Paretti the lady in charge of the spelling bee and ex-champion in her day. She takes pride in this event every year and the year she herself won the bee. Ms. Williams has a lovely voice which is featured in several musical numbers and as Olive’s Mother in the trio with Olive and her dad.

    Front and Center: Diego Esmolo (Chip) with Gabrielle Amaro (Olive), Kaity Krull (Schwarzy), Jordan Colea (Marcy), Daniel Johnston (Panch), and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.
    Front and Center: Diego Esmolo (Chip) with Gabrielle Amaro (Olive), Kaity Krull (Schwarzy), Jordan Colea (Marcy), Daniel Johnston (Panch), and Lauren Blake Williams (Rona). Photo by St. Johnn Blondell.

    Logainne “Schwarzy” Schwarzandgrubenierre played by Katy Krull is a spunky sympathetic character with pig tails and a lisp. She charms us as she describes her two overbearing fathers in “Woe is Me.”

    Last, but most certain not least, is Daniel Johnston who plays several adult characters in the show (Vice Principal Douglas Panch, Dan Schwarz, and Jesus Christ). Daniel’s Vice Principal Panch is crazy funny. He affects a great speech pattern when playing this character and has impeccable comic timing.  His job at the bee is to give out the words, definitions and use in a sentence. His examples are hysterical…one funnier than the next. As an audience member, I looked forward to what he had to say next.

    Well, I shouldn’t have to spell this out for you. Put this show on your must see list. Who wins the competition?? You will need to come and join in the fun to see for yourself. You most certainly will not be d-i-s-a-p-p-o-i-n-t-e-d!

    Running Time: Two hours and 10 minutes, with one intermission.

    sb_728x90-1

    The 25th Annual Putnam County Spelling Bee plays through June 5, 2016 at Arts Collective @ HCC performing at Howard Community College’s Studio Theatre – 10901 Little Patuxent Parkway, in Columbia, MD. For tickets, purchase them online, or at the door.

    LINK:
    Arts Collective @HCC Presents ‘The 25th Annual Putnam County Spelling Bee’ May 19 – June 5, 2016.

    RATING: FIVE-STARS-82x1552.gif

  • Review: ‘The Boys in the Band’ at Dominion Stage

    Review: ‘The Boys in the Band’ at Dominion Stage

    Mart Crowley’s groundbreaking play The Boys in The Band, now being given a superlative production by Dominion Stage at the Gunston Arts Theatre, is perfectly “on-target” as a study of psychological ferment amongst a group of homosexual men in a pre-Stonewall era. This play has been studied, analyzed and labeled to the max because of its strong language, astringent characters and debates about its relevance. I am going to review this absorbing piece as an “in–the–moment” theatrical drama with strong comic elements. First off, however, some very brief context.

    the cast of 'The Boys in the Band.' Photo courtesy of DOminion Stage.
    the cast of ‘The Boys in the Band.’ Photo courtesy of DOminion Stage.

    The play premiered off –Broadway in 1968 and– like Who’s Afraid of Virginia Woolf? and Angels in America– the play created an immediate sensation. The timing of the play was tightly (and unexpectedly) interwoven with subsequent historical events. In 1969, the Stonewall Riots occurred in NYC and forever changed the trajectory of the homosexual milieu and the Gay Rights Movement took off like a thunderbolt.

    Then, in 1970, William Friedkin’s film version (quite faithful to the theatrical version –only ever-so slightly “opened-up”) premiered and was also critically received overall favorably but now (like the timing of the film Can’t Stop the Music AFTER the disco era had subsided), the film came out too late and the characters and themes were criticized as being stereotypes and irrelevant to the liberated spirit of the Gay Rights Movement. This very tight timeline is an unfair and unnecessary criticism of an extremely well-crafted play written with perception and insight —–a play or musical must be judged by the period it was written in. This play’s importance is also very markedly important as it was the first play to deal so overtly and openly with gay themes.

    The close-knit group of characters author Crowley has created survive among the discrimination of the outside world (homosexuality was still labeled as a mental illness in 1968) through shared bantering, sarcastic ripostes, and–in this play—a social gathering full of wit and fraternal solidarity. Gay references abound from In this hermetically–sealed universe, humor is a survivor’s self-defense mechanism against these characters’ preoccupations with aging, loneliness, self-acceptance, denial, self-disclosure and secrecy.

    Upon entering the theatre space, I was absolutely astounded by the intricacy and sophistication of the Set Design and Décor. Every element that greeted my eye was tailored to enhance the interactive feel of this play. In 2010, a critically-acclaimed production of The Boys in the Band was presented in an actual penthouse apartment in New York City’s Chelsea neighborhood. This production is about as close as one could get to that real, authentic and interactive environment. The Set Design became an integral part of the production.

    The impressive Set Design was compelling from the central living room area to the bar area on the left and the raised upper platform level which comprises the bathroom and the bedroom area. In the style of film Director Robert Altman, this production’s inventive Director Rosemary Hartman often has scenes and dialogue overlapping one another or played out in counterpoint from various areas of the stage space at one time. Warhol prints of Marilyn Monroe and Jackie Kennedy grace the walls and a lava lamp appealingly stands on a table. Elaborate Bravos to Set Design by David M. Moretti, Set Construction and Set Painting by Alex J. Bryce, Set Dressing by Helen Bard-Sobola, and Properties Design by Terri Slivka.

    Direction of this probing production by Rosemary Hartman daringly stresses the pain and angst of these characters as they attempt to create their own sense of family in their own hermetically-sealed universe-a universe constructed as a defiant way of celebrating life and coping amidst a hostile external world of bigotry and intolerance. I have never seen a production of this play that stressed the pain of these characters in such a vivid and lacerating manner. Director Hartman creates a harsh dissection here.

    The main plot (although I believe this play is much more of a character study)-such as it is-centers on the throwing of a birthday party for a friend of host Michael—namely, the sarcastic and opinionated Harold. As numerous friends assemble at Michael’s apartment, complications ensue when an old college roommate named Alan arrives at the door of the party unexpectedly.

    The complication exists because Alan claims to be straight yet, in reality, he might be considered a closeted homosexual with very conflicted feelings —-especially against Michael’s effeminate friend Emory. Through a vicious gay-panic attack by Alan towards Emory, the actual birthday party dinner/opening of gifts (one gift is a hustler named Cowboy), and a cruel game propelled by Michael to impel the attendees of the party to call people they loved from their past in order to “rack up points”-the action of the play unfolds as a study of the psyches of these gay men as they intermingle, taunt one another and bond with one another.

    In the pivotal central character role of Michael, Matthew Randall, is amazing in all aspects of his performance. Mr. Randall holds this production together with his supreme ability to stay in total character in every second of his time on stage. Randall’s concentration is total –I sat about four feet away from him in much of this play and his immersion in his role was absolute. His portrayal of Michael’s self-loathing and guilt was complexly developed especially in his scene of guilt after taunting his friends at the birthday party. His emotional acting dexterity was shown as he fluidly careened from the in-control party host to the intermingling friend and, finally, to the hostile accusatory host. It was an honor to watch this performance.

    Jeffrey Davis’ performance as the supportive friend, Donald was natural and unstudied. Mr. Davis wisely played the part with the correct attitude of quietude and a caring demeanor with bitchery only made without extreme provocation.

    In this fine ensemble, I must stress that Gary Bernard DiNardo’s performance as the effeminate and almost constantly-chattering Emory was superlatively witty, droll and totally touching. Unlike other actors I have seen play this role, DiNardo underplayed the more overt aspects of his character and, thus, made his character all the more sad, endearing and touching. His comic timing, physical stage authority, and reactions were a marvel to behold.  Particularly amusing was DiNardo’s command of the scene where he served dinner to his friends. DiNardo’s embodiment of panic and horror when attacked physically by the character of Alan was extremely well-played.

    In the roles of the couple with conflicted feelings on monogamy versus promiscuity, Todd Paul as Larry and Keith Miller as Hank cunningly portrayed the convoluted permutations of their relationship. Paul was accomplished in his monologue about his need for more sexual fulfillment amidst living in a relationship. Miller was commanding in his more authoritarian, dogmatic performance style that perfectly fit his character.

    Malcolm Lee was wonderful in the role of Bernard. Mr. Lee added complexity to his role by sticking up for himself and his ideas when attacked and put down by the other characters. This injection of defiance and pride in the portrayal of Mr. Lee made his character much more interesting.

    Jerry Hoffman’s portrayal of the more conservative and genteel character of Alan was appropriately stolid, self-righteous and slightly narcissistic.  Hoffman’s rage at Emory and lust after Hank were beautifully played. Hoffman possesses a sonorous speaking voice that carried him through the play with deft vocal aplomb.

    Rob White’s role as the hustling Cowboy was pitch-perfect in the brief time Mr. White had to speak. White’s sheer physicality and callow reactions to his lack of formal education were a delight to observe.

    Mario Font’s portrayal of the pot-smoking, acerbic and sarcastic character of Harold was alternately deadpan and outrageously provocative. Mr. Font’s reactions and ripostes to Michael were particularly well-played. Font’s reactions to his birthday gifts ran the gamut from appreciative, utterly appalled to sentimentally quiet. A very versatile actor, indeed!

    The Lighting Design by Ken and Patti Crowley is stunning. The lights go up full-blast in the larger ensemble scenes and, appropriately more focused and dimly –lit for more intimate scenes.

    Costume Design by Farrell Hartigan is totally appropriate for the period of the late sixties. Hartigan chooses brightly–colored shirts and adds interesting touches such as the red socks and purple pants of one character.

    The influence of this play on other playwrights such as Larry Kramer, William Finn, Terrence McNally, and Tony Kushner is obvious and an accurate forecast of future post–Stonewall themes such as the AIDS crisis, historical forces, and more stress on assimilation of the homosexual into the fabric of society.

    Three bits of somewhat arcane knowledge associated with the play are:

      1. There is a sequel entitled The Men from the Boys that premiered successfully in San Francisco, California several years back-but it is rarely revived.
      2. The Influence of Who’s Afraid of Virginia Woolf? is obvious to me in the cruel “party game” of Act Two-yet Edward Albee has been quoted as hating the play. This seems very odd to me.
      3. The title of the play was taken from the film A Star is Born when James Mason advises the Judy Garland character to “sing for herself and the Boys in the Band”.

    The enigmatic and crushing attempts of this group of men to cope with their feelings and survive in a non-comprehending outside world are mirrored in Michael’s comment about his father when he died in his arms: “I don’t understand any of it. I never did.” Laughter may abound in this superb production of Crowley’s play but the pain underneath the sarcastic jokes is palpable.

    Strong Commendations must be given to the entire Dominion Stage acting company and technical crew and, once again, to Director Rosemary Hartman for her triumphant Directorial vision. Kudos also to Co –Producers Larry Grey and Jennifer Lyman.

    Do not miss the Dominion Stage’s major revival of The Boys in the Band!

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

    Print

    The Boys in the Band plays  through April 16, 2016 at Dominion Stage performing at the Gunston Theatre Two – 2700 South Lang Street in Arlington, VA. For tickets, purchase them online.

    RATING: FIVE-STARS-82x1555.gif

  • Howard Community College’s Arts Collective Announces its 2015-2016 Season By Susan G. Kramer

    Howard Community College’s Arts Collective Announces its 2015-2016 Season By Susan G. Kramer

     Twenty-one years of powerful story-telling… and this is just the beginning!

    unnamed (21)

    This season, AC celebrates the extraordinary gifts of poets, prose writers and playwrights, from original works to a Tony Award-winning musical and all in between! Join us for a rooftop coffeehouse, a time-capsule of a woman’s life, a hilarious nod to reality television, a championship spelling bee of a lifetime… and much more!

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    Underground Rooftop Coffee House: Voices from the Edge

    unnamed (17)

    Presented by AC’s “What Improv Group” (W.I.G.), HCC Creative Writers and HoCoPoLitSo
    Thursday, September 10, 2015 at 7:00 pm
    In Howard Community College’s RCF 400
    Directed by S.G. Kramer, Daniel Johnston, in collaboration with Tara J. Hart

    “What Improv Group?!?!” (W.I.G.), HCC’s Creative Writers and Howard County Poetry and Literature Society (HoCoPoLitSo) rooftop coffeehouse fuses W.I.G.’s underground, edgy take on improv with powerful and evocative stories inspired by poets and writers. Raise your voice to the collective “primal scream” to celebrate the birth of AC’s 21st season and its groundbreaking partnership with HoCoPoLitSo!

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    Love, Loss and What I Wore

    LLaWIW_200x200

    A Play by Nora Ephron and Delia Ephron, based on the book by Ilene Beckerman
    October 2 – 18, 2015
    Fridays and Saturdays at 8:00 pm and Sundays at 3:00 pm
    In Howard Community College’s Studio Theatre
    Directed by S.G. Kramer, Grace Anastasiadis, and Darius McKeiver

    A time capsule of a woman’s life: Relationships and Wardrobes. A stunning collection of compelling, funny, moving stories about mothers, fathers, sisters, brothers, lovers, and all in between.This brilliant “clothesline” of monologues and ensemble pieces about women and their individual and common journeys will be performed by many of the area’s most fabulous women; each weekend will feature a different cast!

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    What Improv Group?!?! (W.I.G.) It’s A Wonderful W.I.G.!

    WIG1_200x200

    Friday, December 11, 2015 at 7:30 pm
    In Howard Community College’s Studio Theatre
    Directed by S.G. Kramer and Daniel Johnston

    AC’s “What Improv Group?!?!” (W.I.G.) takes on the holiday season with jingley-jangley improv surprises for all!  That’s right, bring the kids (ages 8 and up please)! Put down the fruit-cake, take a break from the hustle-bustle and join W.I.G. for improv holiday fun for everyone! An improv show which promises joyful, beyond hilarious and sentimental on-the-spot, interactive holiday storytelling, including extremely familiar holiday favorite characters!

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    What Improv Group?!?! (W.I.G.) A Valentine fit for Queens

    unnamed (19)Friday, February 5, 2016 at 8:00 pm
    In Howard Community College’s Smith Theatre
    Directed by S.G. Kramer and Daniel Johnston

    This Valentine’s season, AC’s “What Improv Group?!?!” (W.I.G.) puts on its best dress and aims its heart-shaped arrow straight at your funny bone! An evening of improv fit for Queens, where girls will be girls, boys will be boys… or will they? Love is in the air… or is that shade?  Who cares! Just drag yourself out and join us for this “girl’s” night in!

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    House

    house_200x200A Workshop Production
    An original play written and directed by Daniel Johnston
    March 11 and 12, 2016 at 8:00 pm
    In Howard Community College’s Studio Theatre

    An original comedy, which follows the elimination of ten equally deserving contestants on television’s hottest new reality show House. Friendships bloom and shatter as girls compete against boys – who will be targeted or saved? Morality and integrity are dashed as the numbers dwindle and the grand prize inches closer! Set your DVR and don’t miss America’s premiere of House.

    Auditions posted soon!

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    W.I.G.nition: Actors and Writers Fire It Up

    unnamed (20)Presented by AC’s “What Improv Group” (W.I.G.), HCC’s Creative Writers and HoCoPoLitSo
    Friday, April 8, 2016 at 8:00 pm
    In Howard Community College’s Smith Theatre
    Directed by S.G. Kramer, Daniel Johnston, in collaboration with Tara J. Hart

    AC’s “What Improv Group?!?!” (W.I.G.), HCC’s Creative Writers and Howard County Poetry and Literature Society (HoCoPoLitSo) ignites when improv artists and writers creatively spark in this intense collaboration among actors, poets, prose writers, and essayists. Who knows where the pages might take the stage? Don’t miss the alchemy as fire tests gold in this hot, innovative celebration of language and imagination.

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    The 25th Annual Putnam County Spelling Bee

    unnamed (22)Music and Lyrics by William Finn, Book by Rachel Sheinkin
    Conceived by Rebecca Feldman, Additional Material by Jay Reiss
    May 19 – June 5, 2016: Thursdays, Fridays, Saturdays at 8:00 pm and Sundays at 3:00 pm

    Special “Industry” Pay-What-You-Can Preview Performance: Wednesday, May 18, 2016 at 8 pm
    In Howard Community College’s Studio Theatre
    Directed by Anthony Scimonelli
    Music Director: Mayumi B. Griffie

    Cheer on everyone’s favorite six kids in the middle of puberty as they compete for the spelling bee championship of a lifetime!  Allergies, crushes, magic feet, neat freaks, musicians, linguists, little league, growing pains and dictionaries. This bee promises an unforgettable, wild ride where the spellers learn that winning isn’t everything (at least you get a juice box).  Winner of the TONY and Drama Desk award for Best Book, The 25th Annual Putnam County Spelling Bee has charmed audiences everywhere with its comic genius… complete with audience participation!

    Auditions posted soon!

    ______

    About HCC’s ARTS COLLECTIVE:

    21stSeason_200x200 (2)

    HCC’s critically-acclaimed Arts Collective is a force to be reckoned with! AC is entirely committed to offering diverse, innovative, awe-inspiring works across all genres from the classics to the cutting edge, pushing the artistic boundaries inside theatre, original works, musical theatre and more! Established in 1994, AC is known for being one of area’s most outstanding and creatively alive artistic organizations. AC supports, nurtures, and fuses collaborative relationships between all artists with and without experience, from students to guest artists, on and off the stage. Arts Collective: Where anything… & EVERYTHING is POSSIBLE!

    Celebrate AC’s artistic bravery and unique learning environment, where anything and everything is possible!

    Howard Community College – Arts Collective
    Columbia, MD 21044
    artscollective@howardcc.edu  — (443) 518-1922

    Find out first – Performances, auditions, employment, workshops & more!  Connect with AC today!
    – AC’s Mailing List: Sign up now!
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  • ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre

    ‘The 25th Annual Putnam County Spelling Bee’ at Kensington Arts Theatre

    Kensington Arts Theatre mounts a fun, funny, and intense production of The 25th Annual Putnam County Spelling Bee. This one-act musical premiered on Broadway in 2005 with book by Rachel Sheinkin and music and lyrics by William Finn.

    KAT performs at the Kensington Town Hall, which Set Designer Ian Hoch and Director Bobby Libby makes great use of in perhaps the most authentic-looking Bee yet produced. Curtains, balloons, steamers, and homemade signs blur the lines between reality and fiction, just like the five volunteers from the audience who actually participate in the show and the actors who weave in and out of the audience. The lights by John Nunemaker do an illuminating job of highlighting the many asides and flashbacks and forwards in the script.

    The cast of Kensington Arts Theatre's 'The 25th Annual Putname County Spelling Bee at Kensington Arts Theatre. Photo by Ernie Achenbach.
    The cast of Kensington Arts Theatre’s ‘The 25th Annual Putname County Spelling Bee’ at Kensington Arts Theatre. Photo by Ernie Achenbach.

    The six spellers and three adults who mount the Bee completely commit to their roles and bring huge energy to this touching and sometimes politically incorrect script of vocabulary you never thought you needed to know.

    Dylan Echter (Chip) shines in a Boy Scout uniform with a larger-than-life voice on numbers like “Chip’s Lament.” Sarah King (Logainne Schwartzandgrubennier) plays the youngest competitor with conviction and a lisp for “Woe is Me.”

    Nick Carter (Leaf Coneybear) sings “I’m Not That Smart” with an infectious smile. He also choreographs the show with playful dances. Emma Lord (Olive Ostrovsky) brings a real sweetness and a beautiful voice to her story with songs like “My Friend the Dictionary” and “Second.” Emily Dey (Marcy Park) channels her inner Rachel Berry with more nuances and a great voice on “I Speak Six Languages.” Jonathan Miot (William Barfee) commands the stage on “Magic Foot” and “Second.” The details he puts into his character are impressive. His performance has lots of ‘sole.’

    Carl Williams (Mitch Mahoney) has real range and is hilarious in “Prayer of the Comfort Counselor.” Teresa Danskey and Matt Baughman (Rona Lisa Peretti and Douglas Panch) steal the show as the two adults in the melee. Danskey has a soaring voice on “The Rules” and “Rona Moment.” Baughman gets all the best lines as he delivers the “definitions” for the words. One of the funniest moments came as he reacted to a volunteer from the audience who spelled a word right nobody was expecting.

    The energy pouring off the stage from the whole cast is infectious on numbers like “Champion” and “Pandemonium.” Samuel Weich is the Music Director and conducts a five-person orchestra who do a great job with these big songs.

    The cast of Kensington Arts Theatre's 'The 25th Annual Putname County Spelling Bee at Kensington Arts Theatre. Photo by Ernie Achenbach.
    The cast of Kensington Arts Theatre’s ‘The 25th Annual Putname County Spelling Bee’ at Kensington Arts Theatre. Photo by Ernie Achenbach.

    The costumes by Devin Gaither are ingenious – from the tie die to the boy scout uniform to the knee socks. Larissa Norris also deserves a shout-out for her ingenious hair creations like the 80’s side ponytail and the Pippi Longstocking braids.

    Kensington Arts Theatre’s F-A-B-U-L-O-U-S-L-Y  E-N-T-E-R-T-A-I-N-I-N-G The 25th Annual Putnam County Spelling Bee is oozing with energy and heart. D-O N-O-T  M-I-S-S  I-T!

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    Running Time: One hour and 50 minutes, with no intermission.

    The 25th Annual Putnam County Spelling Bee plays through March 1, 2015 at Kensington Arts Theatre performing at Kensington Town Hall – 3710 Mitchell Street, in Kensington, MD. For tickets call the box office at (206) 888-6642, or purchase them online.

    LINKS

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

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

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

  • ‘The 25th Annual Putnam County Spelling Bee’ at Magruder High School

    ‘The 25th Annual Putnam County Spelling Bee’ at Magruder High School

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    Bright shiny objects in unexpected places often draw our attention. This weekend’s bauble, The 25th Annual Putnam County Spelling Bee, drew the spotlight to Magruder High School.  The evening was enhanced by the production’s playful tone, great singing and wonderful comic timing. Under the direction of Marla Harper, technical direction of Terri LaFond and musical direction and choreography by Ricky Stakem, the young cast and crew were given a strong base of support.

    10649582_789341774445713_8127559687089723631_nI was particularly delighted by a scene where time sped by and each speller only had enough time to say a bit of gibberish into the mic. Abruptly, the frantic scene became one where everything, both vocal and physical, slowed down to about one third of its normal speed.

    Each of the six main spellers drew characters that were at once believable and, at times farcical. Ben Fleischer, as Leaf Coneybear (speller #11), was a fanciful space cadet who happened into the roll of accidental speller. Beaming in from la-la land, his clothing, demeanor and surprise at getting any word correct added a note of levity. His last number, “I’m Not That Smart,” seemed to sum it all up.

    Not to be outdone was Cameron LaFond, as William Barfee (speller #16), with his magic foot used for tapping out the spelling of words as he worked his way to the top of the competition. Much to his surprise, he was able to continue with aplomb after the stage became sticky with a purposeful soft-drink spill so that he could no longer use his magic foot.

    Marc Pavan, as Chip Tolentino (speller #47), brought his mighty voice and stage presence straight from Act Two @ Levine to the Magruder stage. His swan song: “Chip’s Lament,” as the candy concession man who laments his ‘unfair’ elimination from the bee, was one of the strongest of the night.

    The women spellers were equally impressive.

    left to right: Cameron Lafond (#16), Rachael Rosenbaum (#13), Ben Fleischer (#11), Julie O’Hara (#18), and Marc Pavan (#47). Photo by Serena Hinkel Photography.
    Left to right: Cameron Lafond (#16), Rachael Rosenbaum (#13), Ben Fleischer (#11), Julie O’Hara (#18), and Marc Pavan (#47). Photo by Serena Hinkel Photography.

    Rachel Rosenbaum, as Marcy Park (speller #13), stormed the stage brimming with smug self-confidence. Her “I Speak Six Languages,” was the pinnacle of her domination of the group. It was immediately followed by a wish that she didn’t always have to be the best. She threw the next word and basked in the just-found assurance that she didn’t always have to be the best.

    Julie O’Hara, as Logainne SchwartzandGrubenierre (speller #18), was constantly tormented by her life with two dad’s whose only mutual interest , seemed to be the success of their daughter. Complete with frizzy ponytails and a lisp, she appeared to be a beaten down soul perfectly expressed both in dialogue and “Woe is Me,” a trio with Carl and Dan.

    Elizabeth Doerrman also showed her formal training in musical theater as a shy, downtrodden speller, Olive Ostrovsky (speller #24), who was close-to-abandoned by her mother, staying at an ashram in India, and by her perpetually late and fairly clueless dad, played by Fletcher Olson. Doerrman hewed to her character both in spoken and singing parts. Special mention should be made of Glenna Anderson’s voice as Mrs. Ostrovky as she joined Mr. Ostrovsky and Olive in “The I Love You Song,” a haunting lament over a wish for closeness. Instead of that closeness, Olive expressed love for her real companion in “My Friend the Dictionary.”

    Not to be forgotten is Kate Hedges as Rona Lisa Perreti, the winner of the 3rd Annual Putnam County Spelling Bee, now turned generally schoolmarmish and rule driven as the moderator. She participated in numerous musical numbers through which she made her presence felt more by demeanor than overpowering vocals.

    One of the most humorous characters had no singing role. Eli Elstein, as Vice Principle Douglass Panch, added bursts of humor through is circular definitions of words and totally useless sentences that provided no context for the spellers.

    Evan Kellner, as Mitch Mahoney, served as a grief counselor, distributing juice containers and a half-hearted pat on the back to each contestant as they were eliminated. The best aspect of his performance was the swagger with which he first entered the bee.

    Costume Designers Hanna Lee and Eve Guttman did a marvelous job in drawing out the essence of each character. Olive, Marcy, William Barfee and Leaf could have carried half of their roles simply by their costume and demeanor. Costume, hair and makeup made Hedges, as Rona, all that she could be.

    As with many high school dramas and musicals, the behind-the-stage players far outnumbered the actors. Each team must have done their job with lighting, sound, costumes, carpentry and props as there was not a mistake to be seen. I particularly like the use of colorful individual rectangles of varying nights as seats for the spellers.

    Even a moment on stage is enough to thrill a budding thespian. Many of the behind-the-scene workers had their moment during times when an entire company was used. Most of the time, the company members were given singing and dancing routines identical to the leads. Sometimes they were not up to the challenge. My one change to the production would be to simplify these parts to equal the skill levels of the background company members.

    left to right (top row): Ben Fleischer (#11), Aidan Scott, Cameron Lafond (#16), Marc Pavan (#47) (bottom row): Rachael Rosenbaum (#13), Elizabeth Doerrman (#24), Eve Guttman (#7), Julie O’Hara (# 18). Photo by Serena Hinkel Photography.
    Left to right (top row): Ben Fleischer (#11), Aidan Scott, Cameron Lafond (#16), Marc Pavan (#47). (bottom row): and Rachael Rosenbaum (#13), Elizabeth Doerrman (#24), Eve Guttman (#7), and Julie O’Hara (# 18). Photo by Serena Hinkel Photography.

    The 25th Annual Putnam County Spelling Bee, written by Rachel Sheinkin with music and lyrics by William Finn, has been released in a student version and has become quite popular among high school performing groups.

    Magruder High School’s fun production of The 25th Annual Putnam County Spelling Bee is t-e-r-r-i-f-i-c!.

    K-u-d-o-s to everyone involved!

    Running Time: One hour and 45 minutes, with one 15-minute intermission.

    The 25th Annual Putnam County Spelling Bee continues its run on November 21 and 22, 2014 at Magruder High School – 5939 Muncaster Mill Road, in Rockville, MD. For tickets, purchase them at the door or online.

  • ‘Ordinary Days’ at Round House Theatre

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    There is certainly nothing ordinary about Round House Theatre’s current production entitled Ordinary Days. Indeed, how often does one come across a totally “sung-through” meditation on relationships that is so totally relevant to today’s climate? The title is also a bit deceptive because this is quite a complex and “non-ordinary” show to review. In one way, a person could view this show as a pleasant diversionary tale of urban angst and chance occurrences (sort of a cousin to the musical Company, which covers much of the same terrain). On another level, one could dissect the proceedings down to a deeper analysis: perhaps we are being stimulated into asking ourselves if days that seem ordinary (and all the little incidents of life) really mirror deeper psychological issues and themes?

    Erin Weaver (Deb), Will Gartshore (Jason), Janine DiVita (Claire), and Samuel Edgerly (Warren). Photo by Danisha Crosby.
    Erin Weaver (Deb), Will Gartshore (Jason), Janine DiVita (Claire),
    and Samuel Edgerly (Warren). Photo by Danisha Crosby.

    The show is infused with nineteen verbally intricate songs and as performed by four actors who sing their hearts out with skill and polish. The show moves along nicely under the masterful direction of the accomplished veteran Stage Director Matthew Gardiner. A sole pianist, the marvelous Musical Director, William Yanesh, accompanies our talented troupe; the piano playing of Yanesh is a major standout.

    A slightly bare bones semblance of a plot is actually better explained as a series of incidents and coincidences that beset four young New Yorkers struggling to make sense of their circumstances: their supposedly “ordinary “circumstances and events of their lives are set to rhythmic music that mirrors their contradictions and their quests. Yes, the music is definitely the strong point here and for that we can thank the “up-and-coming” composer of the moment, Mr. Adam Gwon. Gwon’s songs have a delightful, playful and whimsical quality when they are at their best-such as in his amusing “Saturday at the Met” sung by the entire company, the defiantly funny “Don’t Wanna Be Here” sung with appropriate anxiety by the ever-dependable Erin Weaver (who plays the neurotic Deb), and the touching “I’m Trying”-delivered with gusto by Will Gartshore (Jason) and Janine Davita (Claire).

    Gwon’s musical palette is exciting and visionary but, concurrently, seems like an excting and audacious “work in progress” at times; this tone befits this very spontaneous, exploratory and intimate evening. Though his work is highly original indeed—like all good composers who are influenced subliminally by others-shades of William Finn’s musical style flows through at times. Whether intended or not, close your eyes and the song “Fine” has a musical spirit very similar to Sondheim. Mr. Gwon has definitely listened carefully to those that came before him and riffed-off into his own intriguing and unique sound. Mr. Gwon’s more comedic songs are his forte to my ear but his ballads and more dramatic numbers soar beautifully as well. Particularly well-done is Gartshore’s beautiful rendering of the song “Favorite Places” and Ms. Davita’s “Gotta Get Out.”

    The show details the intersecting and contrasting charcters of two pairs of people, namely, the aforementioned Jason and Claire and the zany Deb but I must not leave out the dry wit and theatrical singing style of Samuel Edgerly’s iconoclastic and optimistic portrayal of Warren. This character borders on the downright quirky but Edgerly’s bold confidence in his interpretation draws one right into this character’s unique world. Edgerly delivers “One by One by One” and “Life Story” with feeling and panache.

    Credit must be given to Mr. Gardiner and Mr. Yanesh for melding the flow of these songs so effortlessly into one organic whole. On the technical side of things, the urban milieu is sharply etched by Misha Kachman (with tall buildings in the background and a coffee shop and apartment stage front), Costume Design by Frank Labovitz is crisp and trendy, and the Sound Design by Eric Shimelonis is outstanding.

    If you don’t usually get to see something full of musical yearning, angst, and exploration, do something  ‘out of the ordinary’ and go see Round House Theatre’s ‘extraordinary’ Ordinary Days!

    Running Time: 95 minutes, with no intermission.

    ORhttps://www.roundhousetheatre.org/performances/ordinary-days/DINARY-DAYS-DCMTA-728x90

    Ordinary Days plays though June 22 2014 at Round House Theatre -4545 East-West Highway, in Bethesda, MD. For tickets, call (240) 644-1100, or purchase them online.

  • ‘The 25th Annual Putnam County Spelling Bee’ at Ford’s Theatre

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    Exhilarating— adj. “making one feel very happy, animated, or elated; thrilling.” E-X-H-I-L-A-R-A-T-I-N-G. Exhilarating; the perfect word used to describe your mood once you’ve attended the Ford’s Theatre‘s production of The 25th Annual Putnam County Spelling Bee.  With Music and Lyrics by William Finn, and Book by Rachel Sheinkin, this catchy, quirky comedy will inspire delight and amusement for everyone in the audience. Directed by Peter Flynn with Musical Direction by Christopher Youstra, spelling can be fun for everyone!

    Vishal Vaidya (William Barfee). Photo by Scott Suchman.
    Vishal Vaidya (William Barfee). Photo by Scott Suchman.

    Juvenile— adj. “suitable or intended for young persons.” J-U-V-E-N-I-L-E. Juvenile; an appropriate word for the works of Costume Designer Wade Laboissonniere. Each of the spelling students is crafted with an original look befitting their personality. Laboissonniere keeps this trend of costumes for quirks with the adults as well; a polished and prim pressed suit for Rona, a tweedy disheveled brown look for Vice Principal Panch and a thuggish street look for Mitch Mahoney, the ‘comfort counselor’ on parole. Nodding at the awkward trends of nerdy students across America, Laboissonniere hones in on the minutia of these costumes; leggings that don’t match Olive’s dress or socks, and array of plaid composite fabrics for Leaf, the kid who makes his own clothes.

    Authentic— adj. “of undisputed origin; genuine.” A-U-T-H-E-N-T-I-C. Authentic; the realistic sensation crated by Scenic Designer Court Watson. The auditorium looks exactly like a decorated school room, with the small stage and bright yellow curtains toward the back of the actual stage, and all the garish banners and ribbons to represent that local pride feel that all too often turns up at ‘county-wide’ events. Watson pays homage to Spelling Bees everywhere with the enormous banner with the events title hanging center stage, even going so far as to have it hang crooked by the end of the production. From the moment you enter the house, Watson’s design submerges you into the world of local spellers; drawing you into the competition in an inescapable fashion.

    Vivacious— adj. “attractive, lively, or animated.” V-I-V-A-C-I-O-U-S. Vivacious; the intense lights that flicker in a rainbow of colors throughout the production, compliments of Lighting Designer Nancy Schertler. At times the design feels like it is geared toward the junior prom with so many colors blinking on and off, but it adds a vibrancy to big musical numbers like “Pandemonium” and “Magic Foot.” Schertler’s of universal lighting for the majority of the bee augments the inclusive nature of the event, letting the audience feel like they are a part of an active audience at a school watching their child perform. Her subdued lighting in blues and purple for moments of freeze-frame and flashback are accented with bright white spotlights, often found on Rona, and add a layer of creative imagination to the production.

    Frenzied— adj. “wildly excited or enthusiastic; full of energy.” F-R-E-N-Z-I-E-D. Frenzied; the style of dancing that occurs most often in Choreographer Michael Bobbitt’s work. During “Pandemonium” especially, every actor on the stage is engaged in a vibrant uproar of dance moves that create organized chaos in the face of calamity. There is a pulse to Bobbitt’s work; a succinct palpability to the tap routine that erupts from “Magic Foot” surging out into the audience and making you tap your toes to the rhythm. Even more subtle hints of dancing can be found in the seating bank during character solos, compliments of Bobbitt’s ability to blend movement of a body at rest into his work.

    Powerful— adj. “having great power or strength.” P-O-W-E-R-F-U-L. Powerful; the word used to describe the talented cast of nine in this production. Company numbers like the title song, all of the goodbyes, and the finale are prime examples of the enormous sound these nine actors create in this performance. Six of the actors play children and manage to burst extremely strong sounds forth while maintaining the integrity of a childlike character; giving the audience a blast of sound while still keeping them amused with their peculiar behaviors.

    Scene-Stealer— noun. “a character that often dominates the audience’s attention, often through charisma, humor, or powerful acting and singing.” S-C-E-N-E S-T-E-A-L-E-R. Scene Stealer; Kevin McAllister. While is predominate role is Mitch Mahoney, the comfort counselor on parole, McAllister appears as a ‘father’ character several times throughout the performance and when he does, all eyes are on him. Living up even the littlest of moments, McAllister has an aura about him that draws the eye to his performance, be it his gestures, phrasing or presence in general. As Mahoney, McAllister perfects the homicidal stink-eye look; glaring with menace and glowering with incredulity from his stool in the corner. And if his facial expressions weren’t enough to send you rolling in the aisles, his sensational voice booms out of nowhere during songs like “Pandemonium” (watch closely for his machine-gun stool action). His solo number, “Prayer of the Comfort Counselor” results in a tremendous vocal blast in this ballad as well as an incredible belt; all eyes on McAllister, who wins a prize all his very own with this outstanding performance.

    Irritant— noun. “anything that irritates.” I-R-R-I-T-A-N-T. Irritant; the character of Vice Principal Panch (Matthew A. Anderson) is a persistent irritant to Rona Perretti. Having developed a perplexingly calm demeanor, Anderson imbues the obnoxious man with an off-kilter charisma that makes the audience want to cringe slightly while they laugh at him. Handling the audience-interactive portion of the show with a practiced ease, Anderson engages innuendo after innuendo with the word definitions and showcases a sharp understanding of comic delivery. His hints of sarcasm give the character a taste of depth and it plays well off Rona’s subtle dislike for him.

    Nostalgic— adj. “a sentimental or wistful yearning for the happiness felt in a former place, time, or situation.” N-O-S-T-A-L-G-I-C. Nostalgic; Rona (Rachel Zampelli) is a nostalgic creature, constantly referring back to the happiness she felt when winning her own spelling bee. Zampelli has a rich fulfilling voice, with a pitch-perfect upper range for solos like “My Favorite Moment of the Bee” and “The ‘I Love You’ Song” where she appears as Olive’s mother. Her voice fills up the auditorium with glorious sounds, a clarity to it that creates simplistic purity in her character. With witty comic timing, Zampelli also excels in the field of audience interaction.

    Presumptuous— adj. “impertinently bold or forward; full of presumption.” P-R-E-S-U-M-P-T-U-O-U-S. Chip Tolentino (Vincent Kempski) brings a presumptuous attitude to the table that some might call arrogant or cocky. Kempski embodies the blazon confidence of a previous champion in his speaking voice and his posture. Giving a hysterical rendition of “Chip’s Lament” the truth of his problem is revealed in a burst of bellowing song. Kempski has a commanding singing voice, hitting huge belts with an extreme force behind them, as well as throwing every bit of attitude he can muster into this number.

    Diffident— adj. “lacking confidence in one’s own ability, worth, or fitness; shy.” D-I-F-F-I-D-E-N-T. Due to Olive’s (Carolyn Agan) lack of parental support she, when first meets the eye, appears diffident. Agan finds the perfect blend of awkward shyness and determination, balancing the two in her meager character. But make no mistake, Agan’s voice is anything but timid when it comes to blasting out her solo “My Friend, the Dictionary” and later in “The ‘I Love You’ Song,” a three part harmony featuring Zampelli and McAllister. Delivering the only true downtrodden ballad of the piece, Agan succeeds in sharing her emotions fully with the audience; bringing her sorrowful struggle to the surface for all to experience.

    Peculiar— adj. “strange or odd; unusual.” P-E-C-U-L-I-A-R. Leaf Coneybear (Nickolas Vaughan) is one peculiar kid. Vaughn nurtures the humor that thrives inside his offbeat character, making him stand out in more subtle ways until it is his moment to shine in the spotlight. Vaughan falls sharply into a drone-like pattern to deliver actual spelled words, creating a hilarious series of moments every time he comes to the microphone. Another bold voice that is not to be discredited because of his character’s curious and mealy nature, Vaughan has a tremendous belt and blast of confident sound during “I’m Not That Smart” and it’s reprise.

    Affectation— noun. “behavior, speech, or writing that is artificial and designed to impress.” A-F-F-E-C-T-A-T-I-O-N. Kristen Garaffo, as peppy and spunky Logainne (the girl with the way-too-long last name) masters the affectation of her character’s over-pronounced lisp. Garaffo creates an obvious but still highly intelligible lisp in the character, amplifying her nerdy and cute factor tenfold. Applying a nasally head-strong voice to the character when both speaking and singing, furthers the development of this chipper girl and keeps the audience loving her even when she doubts herself. Grabbing everyone’s attention during “Woe is Me” Garaffo really sells this number and her character’s dilemma along with it.

    The cast of 'The 25th Annual Putnam County Spelling Bee'. Photo by Scott Suchman.
    The cast of ‘The 25th Annual Putnam County Spelling Bee’. Photo by Scott Suchman.

    Idiosyncratic— adj. “of or relating to idiosyncrasy; peculiar behavior of an individual.” I-D-I-O-S-Y-N-C-R-A-T-I-C. William Barfee (Vishal Vaidya) is nothing short of an idiosyncratic individual what with his very strange method of foot-spelling. Vaidya fully embraces his overly nerdy character, living presently in the limitations such a character comes with. Creating one of the most hilarious character profiles in the cast, Vaidya masters a cadence and fashion of vocal delivery that serves to add an uproarious quality to his character’s existence. “Magic Foot” is his star breakout number and showcases a resplendent singing talent as well as character maintenance as he never once wavers from Barfee while singing.

    Felicia Curry (Marcy Park) Photo by Scott Suchman.
    Felicia Curry (Marcy Park) Photo by Scott Suchman.

    Show-Stopper— noun. “ a character, scene or musical number that becomes the moment or character by which all other moments or characters are defined.” S-H-O-W-S-T-O-P-P-E-R. Playing the rigid and robotic Marcy Park, Felicia Curry is a bonafide show-stopper! With her sharply delivered monotone sarcasm and razor-like quips, at first Curry’s character seems limited. But when she breaks out “I Speak Six Languages” the show really gets going as Curry displays an electrifyingly dynamic character who can sing, cartwheel, dance, and erupt full of powerful emotion all at one time. In a word her performance is awe-inspiring; the model upon which everyone’s energy and vocal level should be matched. Curry gives a stellar delivery as this character once she cracks into the stiff structure of Perfect Miss Parks.

    Must-See— noun. “a show that is at it states; something that must be seen because it is that good.” M-U-S-T-S-E-E-. The 25th Annual Putnam County Spelling Bee at Ford’s Theatre is a Must-See show of this season – hands down!

    Running Time: Approximately one hour 45 minutes, with no intermission.

    The 25th Annual Putnam County Spelling Bee plays through May 17, 2014 at Ford’s Theatre— 511 10th Street NW in Washington, DC. For tickets, call the box office at (202) 347-4833, or purchase them online

  • ‘The Lost Songs of Broadway: 1980s’ at Signature Theatre by Derek Mong

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    Clearly, I was born in the wrong decade. The Lost Songs of Broadway: 1980s at Signature Theatre had me tapping my toes and slapping my thighs all night as three of Signature’s powerhouse performers—Maria Egler (Holiday Follies), Stephen Gregory Smith (Miss Saigon and The Boy Detective Fails), and Nova Y. Payton (Crossing, Dreamgirls, and Hairspray)—took to the ARK stage to deliver some of the strangest and most eclectic songs that were performed on “The Great White Way” back in the 80s.

    Maria Egler.
    Maria Egler.

    The 1980s created some incredible Broadway smash hits, including Les Miserables, Cats, of course, The Phantom of the Opera—which has amazingly remained on Broadway since it opened on Broadway in the 80s. Egler, Smith, and Payton performed a medley of these smash hits to open the evening, featuring the overture to Phantom, “Go Go Go Joseph” from Joseph and the Amazing Technicolor Dreamcoat, “Jellicle Cats” from Cats, “Don’t Cry For Me Argentina” from Evita, and “One Day More” from Les Miserables—among others.

    The medley was quite the opening, and it showcased both the wide musical variety of the 1980s and the vast musical repertoire of Egler, Smith, and Payton. With musical direction and piano by Joel DeCandio, percussion by Chris DeChiara, and guitar by Steven Walker, the opening number alone is worth the price of admission!

    It quickly became clear, however, that, true to its name, this cabaret was not about the extravagant Broadway musicals of the 1980s, but, rather, about its “lost songs” and “smaller gems.” Despite the many flops that were highlighted throughout the evening, including the notorious Carrie which closed after only 5 performances on Broadway, it’s clear that Director Walter Ware III knows what he’s talking about when he says that the 1980s has its share of musical theatre diamonds-in-the-rough.

    Stephen Gregory Smith.
    Stephen Gregory Smith.

    The first “lost song” group number was from the 1989 musical Starmites, which was a Tony-nominated best musical even though it ran for only 60 performances. While bizarre (the plot surrounds a girl named Eleanor who pretends that she is a superhero guardian of Innerspace defending the universe against evil alongside her fellow “Starmites”), the piece was well performed, capturing how bizarre yet entertaining the 1980s could be.

    The evening continued with Payton performing a song from Grind (1985)—a musical about an African-American burlesque house in Chicago—called “All Things To One Man.” Payton—who is known widely at Signature for her powerhouse belting in Hairspray and Dreamgirls—gave the piece a soulful edge as she emoted the sensuous lyrics with conviction.

    The evening followed with Egler performing a piece from In Trousers, a one-act musical written by William Finn, that was produced in 1979 originally and revived in 1985. Egler’s performance of “I’m Breaking Down” was the perfect combination of musical talent and musical comedy—portraying a down-on-her-luck woman who was struggling with her marriage and was on the verge of a mental breakdown. Egler’s hilarious expression were priceless.

    Smith then followed with an upbeat, folky number entitled “Farmer Tan” from Pumpboys and Dinettes, in which he portrays a man who gets the other women at his diner to swoon over him because of his—you guessed it—farmer’s tan. Smith assumed the character perfectly and delivered a performance that was fun and lighthearted.

    Payton then took to the stage to sing “Your Arms Too Short to Box with God” from the 1980 musical of the same name. A gospel song featuring harmonies by Egler and Smith, the piece demonstrated why Payton was Effie White in Dreamgirls in Signature’s recent production: the 1980 revival featured Jennifer Holliday in her Broadway debut, who, two years later, would originate the role of Effie White in Dreamgirls on Broadway.

    There are many highlights of the evening for me, but some of the slower, more tender songs during the evening stood out in particular.

    Egler performed a solemn song from Rags, whose lyrics were written by Stephen Schwartz, entitled “Children of the Wind” in which an immigrant mother sings about the hardships of immigrant life and wishes that her children could build stable and fruitful lives for themselves and their children. Egler showcased her opera skills in this number, showing that she can not only belt it out with the best of them, but also perform opera with a degree of ease and finesse.

    Nova Payton.
    Nova Payton.

    Payton performed a similarly tender song from Les Miserables, a song that was cut in the Broadway production from the Love Montage of “In My Life/A Heart Full of Love” entitled “I Saw Him Once.” Performed by Cosette in the stage musical, Payton showcased a tender side to her voice, a soprano sound that we usually don’t get to hear from this powerhouse vocalist. Smith himself even mentioned after the performance how he loves to hear Payton sing in her soprano voice, and the audience clearly agreed.

    The emotional heavy-hitter of the evening was the encore song, introduced and opened a capella by Smith. The encore piece was from Elegies For Angels, Punks and Raging Queens entitled “Heroes All Around,” and reflects the feelings of friends and family members dealing the loss of their family members during the AIDS epidemic. As an encore piece, it was a remarkable turn from the otherwise swinging and over-the-top musical pieces presented throughout the evening, but played an important part in grounding the performance in a concrete historical place and mindset.

    Overall, The Lost Songs of Broadway: 1980s was an enjoyable experience that showcased, as Director Ware likes to call it, “the best of the best of the worst.” Be sure to check it out before it closes on Saturday night!

    Running Time: Approximately one hour, with no intermission.

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    The Lost Songs of Broadway: 1980s plays through March 1, 2014 at Signature Theatre—4200 Campbell Avenue in Arlington, Virginia. For tickets, call the box office at (703) 820-9771, or purchase them online. This Cabaret performance is presented part of the Winter Cabaret Festival at Signature Theatre.

  • ‘The 25th Annual Putnam County Spelling Bee’ at Drama Learning Center by John Harding

    FOUR AND A HALF STARS
    If you somehow missed the first 24 annual Putnam County spelling bees, can you spell u-n-l-u-c-k-y? Well, you still have a chance to catch The 25th Annual Putnam County Spelling Bee in a wonderfully entertaining new staging at the Drama Learning Center in Columbia, MD.

    This is a production of the DLC’s Teen Professional Company, T.Y.A (Teaching Young Actors), and for anyone who doubts the value of teen theater, just try to imagine all this amazing young singing and acting talent out on the streets with nowhere to show audiences what they can do. Can you spell t-r-a-g-e-d-y?

    Seth Fallon as William Barfee (center) laments life as random and unfair during "Pandemonium" in The 25th Annual Putnam County Spelling Bee. Photo by Erika Hagen Photography
    Seth Fallon as William Barfee (center) laments life as random and unfair during “Pandemonium” in ‘The 25th Annual Putnam County Spelling Bee.’ Photo by Erika Hagen Photography.

    In a sense, the whole Tony Award-winning musical by William Finn (Falsettos) is about valuing social outsiders for the special gifts they bring to a world often ruled by pandemonium — as one of the featured songs puts it.

    Is it any wonder the show keeps coming around, and that it is not likely to wear out its welcome anytime soon? Putnam County may not be on any real map, but this quirky little musical about fitting in (or not), and striving to achieve against the odds, has been through town on so many big and little stages that its spelling pageant is beginning to seem like an annual tradition.

    Once again Director Stephanie Lynn Williams demonstrates her own letter-perfect eye for talent. And she also has an ear for just the right notes to keep her kids on the same page with audiences.

    The show has two alternating casts of actors, and I caught the senior “Syzygy” cast at Sunday’s matinee. All of them projected an effortless joy of performing as they took upon themselves some rather extreme character quirks without self-consciousness or drifting into “show off” territory.

    The emphasis throughout the book by Rachel Sheinkin is on comedy, even though the play’s setting transforms a middle-American gymnasium into a sort of petri dish for the examination of personality disorders. The contest involves past winners and losers, newcomers and even a few audience volunteers, all of them under pressure to achieve for one reason or another.

    The competition is presided over by the very proper voice-of-experience, Rona Lisa Peretti. Sophie Smith’s mature demeanor and bearing as Rona, and her firm grasp of the role’s comedy potential, completely belied her real identity as a high school sophomore.

    Returning TYA member Seth Fallon was also a perfect choice for spelling bee legend William Barfee, who visualizes the spelling of each word with the help of his “Magic Foot,” a song that he turned into a show-stopping highlight. Fallon seems to sense just how far he can go with the whole bow tie-and-suspenders nerd shtick, and manages to keep the audience firmly in his corner throughout.

    Cassidy Graham is another of the cast’s big talents. She is an absolute hoot as Marcy Park, the overachieving prize scholar who speaks six languages and is always a little disappointed in everyone, including herself.

    One of this production’s best surprises is in changing the gender of Leaf Coneybear, the offspring of radical hippies who always marched to a different drummer. In this staging, Leaf is presented as a delightfully girlish basket case, played with oversized gusto by the delightfully undersized Claire Cerand. It’s an enormously appealing comedy creation that gives this production its own unique identity.

    Others in major roles and making major contributions to the entertainment at DLC are Hailey Ibberson as Olive Ostovsky, Lila Cooper at Logainne Schwartzandgrubennierre, Robert Grady as the shady vice principal, Jason Quackenbush as former spelling champ Chip Tolentino— whose adolescence flowers at the most inopportune time — and Dumar Valencia as Mitch Mahoney, the official “comfort counselor” who sends each losing speller off with a juice box and a hug.

    Did we mention that all of these young actors also sing wonderfully, and achieve not only solo glory but reach inspired heights of vocal harmony, thanks to Music Director Tiffany Underwood Holmes? Holmes also leads the live four-piece band, with no notable bad notes coming from Dustin Merrell, Jonathan Chandler, and Evander McLean.

    The staging of what amounts to a larger cast than seen even on Broadway is usually fluid. Some of the dialogue is lost due to inadequate projection. But how wonderful it is to hear vibrant young singing voices from a stage (and all around the cozy DLC auditorium) without the displacement of amplification and speakers.

    Claire Cerand plays home-schooled speller Leaf Coneybear in The 25th Annual Putnam County Spelling Bee. Photo by Erika Hagen Photography.
    Claire Cerand plays home-schooled speller Leaf Coneybear in The 25th Annual Putnam County Spelling Bee. Photo by Erika Hagen Photography.

    There are still seats for this weekend’s remaining shows. Make sure you get one before they’re g-o-n-e.

    Running Time: Approximately One hour and 45 minutes, with a 15-minute intermission.

    The 25th Annual Putnam County Spelling Bee plays though January 25, 2014 at Drama Learning Center — 9130-I Red Branch Road, in Columbia, MD. There is a possibility of additional performances, so be sure to ask. For tickets, call (410) 997-9392, or purchase them online.