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RICHMOND BALLET: STUDIO SERIES/OCTOBER

Separate and Together: Dances for a Pandemic Audience

A Dance Review by Julinda D. Lewis

At: The Richmond Ballet’s Canal Street Studios, 407 E. Canal Street, Richmond, VA 23219

Performances: October 13-25, 2020

Ticket Prices: In-Person Tickets: $26-$101; Virtual Tickets: $20/One-week access to recorded performance, only one ticket required per household

Info: (804) 344-0906 x224 or etix.com

It seems that recently isolation, loss, separation, togetherness, loneliness, and mental health issues have dominated many conversations on social media – where most conversations have, of necessity, occurred. So it, it comes as little surprise when some or all of these themes are reflected in our arts. The Richmond Ballet’s second Studio Series program for 2020/2021 focused on works that tackle separation and togetherness – some with more clarity and relevance than others.

The program includes two world premieres, one by the Richmond Ballet’s Artistic Associate and Ballet Master, Malcolm Burn, and one by local choreographer, teacher Starrene Foster, the founding Artistic Director of the Richmond-based modern dance company Starr Foster Dance.

Burn’s duet, “Another Time, A Different Rose,” pays homage to Michel Fokine’s classic “Le Spectre de la Rose” (made famous by Nijinsky, dressed in a rose-petal costume, leaping through a window at the end of the ballet). Burn used the same piano composition by Carl Maria von Weber, and dressed the male half of the duet, danced by Marty Davis on Saturday, in a simplified version of the rose-petal costume. (The one-shouldered, rose-colored body suit with its ruffled top may have been confusing if you didn’t know Davis was the Spirit of the Rose.) Naomi Wilson (who is in her first year as a company member, after two years dancing with Richmond Ballet II) danced the role of the Young Girl, but this duet is really a showpiece for the male dancer. Davis’ steps grew increasingly light-hearted as the fantasy developed, but there was no extravagant leap, and the piece is really too short to allow for extended development, so I felt a bit disappointed at the end, as if the Young Girl had awakened from her dream before the final climax.

Starr Foster – who knows I have often described the works she composes for her own company as dark, both physically and psychologically – created a new work, “Always a Way,” that explores the highs and lows of sheltering in place during a pandemic, with original music by Dave Watkins. Somewhat somber but not dark, the contemporary duet, danced by Cody Beaton and Trevor Davis, features weight sharing that manifests as lifts, planks, and hinges, and explores tension and resolution via intricate spirals. One brief but lingering expression occurred when Davis curved over Beaton, emanating warmth and protection.

The program included portions of the lighter-than-air romantic ballet “Pas de Trois from Swan Lake” (Nicholas Beriozoff after Marius Petipa), danced by Lauren Archer, Izabella Tokev, and Khaiyom Khojaev, Salvatore Aiello’s “The Waiting Room,” and Val Caniparoli’s “Djangology.” In “The Waiting Room,” there are three women, three chairs, and a light hanging from the ceiling. Set to the music of Arvo Part, the work explores the possibilities of the unknown and possible suggests there is no relief from the harshness of reality – not exactly what we want to hear right now, but thankfully, it is in the middle of the program. The program, which runs for under an hour, with no intermission – because, well, there’s still a pandemic – concluded with on an upbeat note with excerpts from Val Caniparolli’s sassy jazz-on-pointe ballet, “Djangology,” set to music by Romani-French jazz guitarist Django Reinhardt.

All together, this Studio Series was an interesting evening of dance that (a) was over all too soon and (b) for me, didn’t quite live up to the promise of the theme. I personally would have preferred three works that went a bit deeper rather than five works that allowed enough time for some to only scratch the surface. And finally, (c) it’s great to be back in a theater!

All photos by Sarah Ferguson:

Cody Beaton & Trevor Davis in “Always a Way”

Matthew Frain in “Djangology”

Lauren Archer, Raquel Smith & Izabella Tokev in “Djangology”

Lauren Archer in “The Waiting Room”

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GRIEF, GUILT, AND PARANOIA: The Madness of Poe

Grief, Guilt, and Paranoia: Poe in October, How Perfect!

A Live Theatrical Experience Reviewed by Julinda D. Lewis

At: Hanover Arts and Activities Center, 500 S. Center Street, Ashland, VA 23005

Performances: October 16, 23 & 30, 2020 @5:00PM [Recommended for ages 13+]

Ticket Prices: Pay-What-You-Can

Info: http://www.WhistleStopTheatre.weebly.com or (804) 798-2728 (Venue)

On Friday evening (October 16) the rain let up just in time for a live “pandemic appropriate” performance of Grief, Guilt, and Paranoia: The Madness of Poe, staged under a wide-spreading tree on the spacious lawn of the Hanover Arts and Activities Center. It was a cool 55 degrees and cloudy, but not uncomfortable. Attendees are required to bring and wear a mask as well as a lawn chair or blanket to sit on. (I would also advise a blanket for the cool weather.) About a dozen people claimed socially distanced in squares marked off in the grass as a pre-show playlist of Poe-inspired songs filled the air. (Three trains passed on the nearby tracks during the 45-minute show, but the program was so riveting the interruption was negligible.)

I don’t like to know too much about a show before I see it, so as not to be unduly prejudiced before I get there, so Grief, Guilt, and Paranoia: The Madness of Poe was a total surprise. Whistle Stop Theatre Company’s founding artistic director Louise Keeton conceived of Grief, Guilt, and Paranoia as a multi-faceted work that includes multiple historical and artistic influences. It takes place, for instance, not far from a home once occupied by Poe’s childhood sweetheart (and later fiancee) Sarah Elmira Royster Shelton. Created in partnership with the Ashland Museum, the work includes three voice artists representing the different “voices” of Poe (also represented by three different masks created by Keeton).

Those familiar with the life and work of Edgar Allan Poe and those who are not may relate differently to this work that uses Poe’s own poetry, original music by Paul Loman, and choreography by Katherine S. Wright. Wright, who eerily embodies Poe (wearing theatrical masks and a long-coated suit), doesn’t ever speak, but rather uses pantomime and dance in a riveting and passionate display of non-verbal communication while Poe’s words are voiced by Lucretia Marie, Barbara Keeton, and Craig Keeton. Sophia Manuguerra is the vocalist, and all the voices and music were created and recorded virtually.

The artistic choices – including Keeton’s masks and artwork by local artists that is all being auctioned off – are diverse and unconventional, making them all the more appropriate for the subject at hand. In addition to honoring and appreciating the poetry of Poe, Grief, Guilt, and Paranoia is about missing the people we love and the ways in which that can drive us mad – an obvious reference to the current pandemic and our similar and diverse reactions to it.

Grief, Guilt, and Paranoia digs into love and loss, life and death, verbally and visually mining the depths of “Annabell Lee,” “Elenora,” “The Premature Burial,””The Telltale Heart,” and of course, “The Raven.” The Hanover Arts and Activities Center had already constructed a small stage under a tree, and Keeton and company added three black cubes with hinged lids that provided all the set, the furniture, and the props needed for this production.

There are two remaining performances of Grief, Guilt, and Paranoia: The Madness of Poe on October 23 and 30. To view and bid on the art work visit the Whistle Stop Theatre Company’s website: whistlestoptheatre.weebly.com. Opening bids start at $10 for the masks and prints, and $5 for artwork delivered via high res digital files. All bids are due before October 29, 2020.

Edgar Allan Poe Trivia

The Baltimore Ravens NFL team is named for Poe’s poem, “The Raven” and the team mascot is named Poe.

Poe married his first cousin, Virginia Clemm when she was 13 and he was 27.

To this day, the cause of Poe’s death remains unknown. In 1849 he “went missing” for five days and was found, delirious, in Baltimore. He died in a Baltimore hospital and was buried two days later, without an autopsy.

Photos: From the Whistle Stop Theatre Company website. Katherine S. Wright as Poe.

A slideshow of auction items follows.

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JACQUELINE JONES IS “ANN”: One Woman Show at the Firehouse Theatre

Jacqueline Jones Lends Her Voice to the Story of Ann Richards, Fearless & Feisty Female Democratic Governor of Texas

A Theater Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 W. Broad Street, RVA 23220 [live and streamed options available; live performances have a limited capacity of 2, 4, 6, or 8]

Performances: September 16 – October 25, 2020

Ticket Prices: $30 suggested donation; pay what you will

Info: (804) 355-2001 or info@firehousetheatre.org

Wearing a blue suit, accessorized with a double strand of pearls and bronze metallic pumps with a matching bottomless tote bag, Jacqueline Jones looks – dare I say it? – presidential as she portrays Ann Richards, the first female Democratic governor of the great state of Texas.

I did not want my tombstone to read, ‘She kept a really clean house.’ I think I’d like them to remember me by saying, ‘She opened government to everyone.’

And in case you were wondering, as I was, who holds the honor of being the first female governor of Texas, it was Miriam Amanda Wallace Ferguson, known as “Ma” Ferguson who served two terms as Governor of Texas, from 1925-1927 and again from 1933 to 1935. And somebody please correct me, if necessary, but my cursory research shows that “Ma” Ferguson, who basically took over after her husband was impeached, was a Democrat, so unless I’m missing something that would make Ann Richards the SECOND female Democratic governor of Texas…but I digress.

I get a lot of cracks about my hair, mostly from men who don’t have any.

I may or may not have heard of Ann Richards (born 1933, served as Governor 1991-1995, died of esophageal cancer in 2006), but Jones brought Richards to life in a way that made me feel as if I might have known her, and would definitely have liked her if our paths had crossed. The humor, the perfect delivery of Richard’s famous one-liners, even a naughty joke, all worked together to create a sense of intimacy that was entirely captivating.

“I suppose I owe you an apology. Well, you ain’t gonna get one. ‘Bye!”

Due to COVID-19, Ann was an ideal choice as a one-woman show, and The Firehouse Theatre restricted live performances to 2, 4, 6, or a maximum of 8 patrons. Scattered as we were, for social distancing, it felt as if Jones/Richards was speaking directly to each of us. Part of this may be due to the extensive research and care that playwright Holland Taylor put into Ann. Taylor, herself an Emmy winning actor, portrayed the legendary Governor on Broadway – as well as in Texas.

Hate the evil and love the good, and establish justice in the court. – Amos 5:15

During his customary pre-show curtain talk, Firehouse Producing Artistic Director Joel Bassin asked audience members to share their experiences and memories of Governor Richardson. Comments ranged from graceful, humorous, and forceful to “wouldn’t take no for an answer.” Jones gave us all of that. The play starts with Richards giving a commencement speech as the University of Texas, and ends with her commenting about her own funeral. In the space between, we are gifted with 100 minutes of compelling storytelling, wit, history, and inspiration.

“I have always had the feeling I could do anything and my dad told me I could. I was in college before I found out he might be wrong.”

We learn of her ground-breaking accomplishments, her commitment to service, her concern for civil rights and social justice. But we also see her as a wife, a mother, a real person with real challenges – she had to check herself into rehab for alcoholism. I came away with a picture of a woman who understood being Governor was more about others than her own personal interests, someone who worked for unity in diversity, which I found surprising for her time and her state. And to bring things into perspective, if you yearn for relevance, or like to make things connect: Ann Richards’ granddaughter, Lisa Adams, worked as an aide for Hilary Clinton during her 2016 presidential campaign and was director of communications for Senator Kamala Harris during her presidential bid.

“Bad things happen when they don’t vote.”

One thing that is quite remarkable is the way Jones kept up her energy and the connection with the audience, given the limited number of people and less of feedback. But this play, with this actor, and this director – Billy Christopher Maupin, who starred in the Firehouse’s first pandemic-style contactless show the past summer – did more than just make do. They made beautiful theater.

The government is not “they,” the government is us!

Kudos to costumer Ruth Hedberg for the presidential suit and the Ann Richards wig. (See the photos below of Richards and Jones with the Richards wig. The photos, by the way, do not do justice to Jones, who looked radiant throughout this production.) While it was a one actor show, Erica Hughes lent her voice as Nancy Kohler, Richard’s secretary (as well as the show’s vocal coach) and Partricia Alli was the voice of the College President.

“Men are great fighters, women have the power to bring consensus.”

Performed with one ten-minute intermission, “Ann” is among the first of the live theatrical experiences to return to Richmond theater venues. Joel Bassin and the Firehouse staff have gone above and beyond to make the audience feel comfortable and safe. Masks are required of all patrons and staff. (Jones does not wear a mask on stage for her solo performance.) A staff member meets and greets you at the door with a contact-less thermometer. Everyone is assigned a seat number and even a designated bathroom. You are asked to wash your hands before taking your seat, during intermission, and before leaving. There is no lingering or fraternizing in the lobby. Unlike some other venues, The Firehouse is still providing printed programs (no need for tickets for 2, 4, 6, or 8 people) and the programs are placed in a taped off, numbered space as you check in. The bar is closed, but drinks may be pre-ordered (beer, wine, soda) and magically appear on the bar in a taped off space -identified by your number. Email confirmations are sent out with detailed instructions (it’s a lot to remember).

“Call ’em out!”

If you’re ready to venture outside of your quarantine quarters, this show, running though October 25, is a good place to start your journey.

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RICHMOND BALLET: STUDIO SERIES/SEPTEMBER

THE RICHMOND BALLET OPENS THE 2020-2021 SEASON: Studio Series with Precautions

A Dance Review by Julinda D. Lewis

At: The Richmond Ballet’s Canal Street Studios, 407 E. Canal Street, Richmond, VA 23219

Performances: September 15-27, 2020

Ticket Prices: In-Person Tickets: $25-$101; Virtual Tickets: $20/One-week access to recorded performance, only one ticket required per household

Info: (804) 344-0906 x224 or etix.com

For decades I have attended live performances of dance and theater multiple times a week – occasionally squeezing in two shows in one day. But it has been six months since I have attended a live show, six months since the COVID-19 Pandemic turned our world upside down, six months since COVID-19 made us rethink everything in our lives – including our life-giving arts. In July I forayed out to a socially-distanced exhibit at the Virginia Museum of Fine Arts, and in September I received an email from the Richmond Ballet asking if I wanted to attend a live performance of their Studio Series.

The Richmond Ballet is one of the first – if not the first – major dance companies in the US to return to live performances. To be sure, even if they are not the first, all eyes will be on them to see how this turns out. So, before I even address the actual performance, let me tell you how Richmond Ballet has addressed COVID-19.

First, Richmond Ballet is in the unique position of having a studio theater in their own space. That means they have control over the space, who enters, and how many. Seating capacity has been reduced from 250 to 70.Seats are blocked off with large, easy-to-read signs; and if you don’t see the sign, there’s a large metal hook over the seat holding it in place that’s sure to get your attention if you accidentally lean back against it. (No, I didn’t do that, just conjecturing.) The seats are reconfigured for each show, and Brett Bonda, the company’s Managing Director, says it takes 45 minutes to complete each set-up. If you come with friends or family, you will be seated together, but apart from other attendees.

The tickets have been digitized for touch-less entry; just scan your phone at the kiosk in the lobby. The programs have also been digitized; I advise you to read them on a tablet rather than a phone if you are over age 35. But there’s more. Ticket holders receive an email with the House Notes for their performance. Arrival times are staggered by row and seat number. Other precautions are also included in the email, and are shown on a large screen before the start of the show. Masks must be worn at all times; even the dancers perform in masks. The bar is closed, and there is no intermission. That reduces contact with other people even further. At the conclusion of the program, the audience is asked to remain seated until the row in front of you has left. There was even a can of hospital-grade disinfectant spray in the women’s restroom.

Nothing has been overlooked. The Richmond Ballet has been very, very thorough in their efforts to make people feel comfortable, safe, and welcome.

Studio performances have generally followed a formula. There is most often a classic work, a contemporary work, and a new work. This program differs somewhat. There were six works, ranging from a brief 3 or 4 minutes to 20 minutes in length. The entire program, without intermission, ran just under an hour, yet it did not feel rushed. Also, the number of dancers was limited to just eight, performing in solos, duets, trios, and quartets.

The program, overall, was a triumphant tribute to the power and joy of dance, beginning with excerpts from Dennis Spaight’s “Gloria.” Abi Goldstein, Izabella Tokev, Lauren Archer, and Matthew Frain performed the “Laudamus Te,””Domine Deus,” “Qui Sedes,” “Domine Deus, Agnus Dei,” “Domine Fill Unigenite,” and “Cum Cancto Spiritu” sections of Antonio Vivaldi’s lush music. Craig Wolf’s original lighting and a few simple projections created a cathedral-like atmosphere. The women, dressed in claret-colored and purple dresses that swirled around their legs, appeared to move spontaneously and reverently, embodying Spaight’s musicality in this beautifully complex yet simple work that pays homage to the choreographer’s mother’s faith.

On Wednesday I saw Thel Moore, III dance Matthew Frain’s “To This Day,” one of two new works by current company members. Dressed in jeans and a black tank and using an umbrella as a prop, Moore began this contemporary work by throwing a handful of light against the backdrop. This beautiful solo is a contrast of light and darkness, and builds up in mood and intensity along with the dramatic music by Shy, Low. At one point Moore sits in a golden circle of light, reaching up. “To This Day” could be about loss, or making a decision, or life changes, or a pandemic. . .It lasts only 5 or 6 minutes, but “To This Day” may become one of my favorite contemporaty works by this company, and I applaud artistic director Stoner Winslett for supporting new works from inside the organization. Moore alternates in the role with Ira White and I would love to have a chance to see if White brings different nuances to this solo.

Izabella Tokev and Khaiyom Khojaev performed “Alone, Beside Me,” a work by Associate Artistic Director Ma Cong, one of my long-time favorite choreographers whose work I first saw performed by The Richmond Ballet. Pianist Douglas-Jayd Burn played the Franz Shubert score that accompanied the duet. Shirtless and wearing black pants, Khojaev contrasted with Tokev’s negligee-like white dress, but the major contrast was between the soft piano chords and the often angular and sometime harsh movements of the dancers. The contract and release, clinging and lifting, and the physical and emotional tension were palpable and riveting. And as for social distancing, Tokev and Khojaev are married to each other in real life.

The company’s artistic directors were deliberate in their choreographic choices and in keeping the program socially distant, physically safe, and relevant, there were several subtly humorous moments incorporated in the evening. For the “Drum Trio” from Val Caniparoli’s “Street Songs,” Thel Moore III, Abi Goldstein, and Mate Szentes came loping out, each claiming an individual circle (more social distancing). For 3-4 minutes they performed a series of movements that, with the drum accompaniment, reminded me of classic modern dance classes from the 1940s.

In contrast to the tribal delights of “Drum Trio, “Salvatore Aiello’s “Solas,” performed by Elena Bello, was a stark lament with all the drama, but not the sound, of a classic flamenco solo. Bello entered in darkness, treading the path of a stream of light, shrouded in a dark fringed shawl over a dark dress. She sat on a chair and rocked back and forth to the wordless lament of a woman’s voice in the music by Heitor Villa-Lobos. Bello looks back, mourning an un-named loss that seems to pull her back to the past. When a light appears that seems to draw her into the future, she moves towards it, stretched beyond her physical limits, but circles back, knocks over the chair, crawls back to it, and pulls her shawl back over her head, keening as the lights go out. She leaves us to wonder, is she mourning the loss of a loved one, or of something bigger…

The evening ended with “Waltzes Once Forgotten,” an exuberant new work by company member Mate Szentes. The dancers, seen in silhouette, move forward as if emerging from the pages of a long forgotten photo album. Their ivory-colored costumes have a vintage feel, with one of the women wearing a little hat and one of the men wearing a newsboy cap and short pants. There is a little humor a little rivalry, a little nostalgia. Szentes was inspired by the Spanish Flu of 1918, which introduced masks and social distancing to a world reeling under the effects of a pandemic much like we are today.

Without saying a word, The Richmond Ballet reminded us that the more things change, the more they stay the same, that there is nothing new under the sun, and that we are resilient, and we survive.

The September Studio Series runs through September 27, with a total of 16 performances. The October Studio Series will be October 13-25, and the November Studio Series will run November 10-22. For the first time since 1980, the company will not be performing the traditional holiday classic, “The Nutcracker.” It simply requires too many people, too many rehearsals, and too much of everything we have to put on hold for now.

Left: Ira White and Thel Moore III in rehearsal with Matthew Frain. Right: Cody Beaton and Sabrina Holland in rehearsal. Photos by Sarah Ferguson.

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2020 ARTSIES AWARD WINNERS ANNOUNCED

For more information, contact:
Amy Wight , amyzzon@gmail.com


“Lucky 13” Annual Theater Awards Winners Announced
TheatreLAB wins ten “Artsies,” VA Rep honored for Children’s Theatre


Richmond, VA – September 14, 2020. The 13th Richmond Theatre Critics Circle Awards (Artsies), which is typically an in-person black-tie event, was all virtual this year. With a “Lucky 13” theme, the show highlighted the funny – and often outrageous – ways that theater can go wrong, elevating what is unique and vital about live performance: the thrill of the unexpected.


Not only are the Artsies the community’s recognition of excellence in Richmond-area theater, but they are the primary fundraising event for the Theatre Artist Fund of Greater Richmond (The Fund). The Fund provides emergency financial assistance to theater artists who have experienced an exceptional financial need related to a specific crisis beyond their control. Since
its inception, the Artsies have raised $83,446 for the Fund, which has written 21 grants totaling $30,468 for artists in need. While no tickets were sold for this year’s event, attendees were urged to consider donating in support of the Theatre Artist Fund of Greater Richmond .


Although the 2019-2020 theater season was cut short due to the COVID-19 pandemic, Richmond-area professional theaters staged a number of remarkable productions. Virginia Repertory Theatre received a special award this year for Excellence in Children’s Theatre for its productions of “Tuck Everlasting” and “Harriet Tubman and the Underground Railroad,” the
latter written by local playwright Douglas Jones. In addition, the theater came away with an impressive eight wins, including Best Play for its production of August Wilson’s “Fences.” Virginia Rep’s production of “A Gentleman’s Guide to Love and Murder” garnered four of those wins, including Scott Wichmann’s award for Best Actor in a Musical.


TheatreLAB swept the night with ten Artsies, most of them for its production of “Urinetown,” which was also the production that won the most Artsies. “Urinetown” received seven awards, including Best Musical; Best Direction of a Musical for Matt Polson; Best Actress in a Musical, which went to Bianca Bryan; Best Supporting Actor in a Musical for Luke Schares; and Best Supporting Actress in a Musical for Kelsey Cordrey. The show also picked up awards for Best Choreography for Nicole Morris-Anastasi’s work and Outstanding Achievement in Lighting Design in a Musical for Michael Jarett’s lighting. And, the first show of the season, TheatreLAB’s production of “Level 4,” was honored as Outstanding Original Work.


Among Firehouse Theatre’s four awards this year was the Best Acting Ensemble award to the cast of “Passing Strange,” which also won Jimmy Fecteau an award for his sound design. Lorin Hope Turner’s role in the theater’s production of “Stupid Kid” earned her an Artsie for Breakout Performance, and Alison Devereaux won an award for her direction of the play.


“Our organization has tried at this unprecedented time to support theater artists who continue making their art and sharing it with the world,” said Susie Haubenstock, RTCC President. “The RTCC embraces the rich diversity of backgrounds and perspectives that our local theater artists bring to their craft and is proud to honor and pay tribute to the excellence they bring to
Richmond-area theater.”

Best Musical
“Urinetown”
TheatreLAB


Best Direction, Musical
Matt Polson
“Urinetown”


Best Actor, Musical
Scott Wichmann
“A Gentleman’s Guide to Love and Murder”


Best Actress, Musical
Bianca Bryan
“Urinetown”


Best Actor in a Supporting Role, Musical
Luke Schares
“Urinetown”


Best Actress in a Supporting Role, Musical
Kelsey Cordrey
“Urinetown”


Best Musical Direction
Sandy Dacus
“A Gentleman’s Guide to Love and Murder”


Best Choreography
Nicole Morris-Anastasi
“Urinetown”


Outstanding Achievement in Costume Design, Musical
Sue Griffin
“A Gentleman’s Guide to Love and Murder”


Outstanding Achievement in Lighting Design, Musical
Michael Jarett
“Urinetown”


Outstanding Achievement in Set Design, Musical
Chris Raintree
“A Gentleman’s Guide to Love and Murder”


Outstanding Achievement in Sound Design, Musical
Jimmy Fecteau
“Passing Strange”


Best Play
“Fences”
Virginia Rep


Best Direction, Play
Alison Devereaux
“Stupid Kid”


Best Actor, Play
James Craven
“Fences”


Best Actress, Play
Terri Moore
“The Cake”


Best Actor in a Supporting Role, Play
Joe Pabst
“Rosencrantz and Guildenstern Are Dead”


Best Actress in a Supporting Role, Play
Maggie Bavolack
“The Revolutionists”


Outstanding Achievement in Costume Design, Play
Ruth Hedberg
“The Revolutionists”


Outstanding Achievement in Lighting Design, Play
Joe Doran
“Holmes and Watson”


Outstanding Achievement in Set Design, Play
Josafath Reynoso
“Fences”


Outstanding Achievement in Sound Design, Play
Nicholas Seaver
“Fences”


2020 Ernie McClintock Best Acting Ensemble Award
The cast members of Firehouse Theatre’s “Passing Strange”
are honored for their notable performance as a cohesive and compelling ensemble:
Patricia Alli
Keydron Dunn
Keaton Hillman
Dylan Jones
Jamar Jones
Katrinah Carol Lewis
Jeremy V. Morris


Breakout Performance
Lorin-Hope Turner
“Stupid Kid”


Outstanding Original Work
Level 4, TheatreLAB


Excellence in Children’s Theatre
“Tuck Everlasting” and “Harriet Tubman and the Underground Railroad,” Virginia Rep


To view the “Lucky 13” Artsies video, visit http://www.artsies.org/ .

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SMALL MOUTH SOUNDS: At the Edge of the Ocean

SMALL MOUTH SOUNDS: A Play Without Words

A Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: March 7-29 (with previews March 5 & 6), 2020

Ticket Prices: $37

Info: (804) 282-2620 or va-rep.org

It isn’t often that someone writes a play that requires the actors to take a vow of silence. But that is exactly what happens in Beth Wohl’s play, Small Mouth Sounds (premiered in 2015), when six people in search of themselves – or something or someone other than their themselves – arrive at an upstate New York center for a silent retreat. Small Mouth Sounds was inspired by the author’s own retreat experience.

Naturally, things do not unfold smoothly as each character reveals their special brand of quirkiness or unveils their personal demons. Judy and Joan are a couple – two middle-aged  women who are struggling to shoulder the burden of Judy’s cancer diagnosis. Alicia is a young woman who apparently just broke up with someone named Fred; she keeps dialing his number and is constantly distracted by her forbidden cell phone. She is perturbed to discover that she has been assigned a male roommate.

Ned and Rodney are two of the most interesting members of this unlikely collection of people. Ned has had an unimaginable string of bad luck: he fell off a mountain and broke his skull; his wife started sleeping with his younger brother; he started drinking and joined AA only to have his sponsor commit suicide, and his dog got run over by a car. That’s just a small sampling of all that he’s been through. Rodney is a passive aggressive yoga instructor who smugly and silently snubs everyone else, shows off his yoga skills, removes his wedding ring as soon as he arrives, and is the first to strip down for the clothing optional lakeside activities.

Oh yes, there is a bit of nudity – full frontal – and some “herbal tobacco” and Palo Santo wood gets burned onstage. This play is recommended for viewers 18 years and older. But, to get back to the cast, one of the greatest surprises comes in the final scene from the mild-mannered Jan.

This group of seekers comes under the care and watchful eye of a gruff-voiced guru, an unseen and nameless Teacher who coughs and sneezes into her microphone and appears o the verge of a breakdown. The audience never sees the Teacher, Marisa Guida, until she comes out to take her bow at the end. Guida is the only character allowed to speak throughout the play.

The marvelous cast consists of Lauren Leinhaas-Cook as Judy (the one with cancer); Jenny Hundley as her partner Joan (the bubbly one who always seems to have a small wrapped candy); Maura Mazurowski as Alicia (the young one with all the bags and baggage – and snacks); Jim Morgan as Ned (the one who has all the bad luck); Adam Valentine as Rodney (the passive-aggressive yoga instructor); and Larry Cook as Jan (the one whose secret I will not reveal here, but about whom I will post a nagging question at the end of this review). What makes them all so marvelous is that, except for a rather long monologue by Ned, and a brief but sharp exchange between Joan and Judy, we learn all we know about these characters through facial expressions, gestures, and a few grunts. In order to successfully carry off a play in which the main characters are all required to take a vow of silence, these actors had to act their butts off!

Running 70 minutes with no intermission, Small Mouth Sounds is set in a yurt-shaped structure with large open windows and chakra symbols painted on the walls. The only furniture is a few backless wooden stools (which Judy emphatically complains about) and some floor pillows. At night, the campers make do with their yoga mats as they fight mosquitos and shiver at the sounds of growling bears and other unknown animals. Actors enter down the center aisle, sometimes rather noisily, and the top of the set extends over the audience making us feel that we are inside the experience – or experiment, which I believe is the word used in the opening seconds – perhaps even in the position of the Teacher.

Joey Luck designed the sound – a variety of ambient sounds including insects and birds and a bear or two, assorted snorts and grunts, and a torrential rainstorm. Rusty Wilson, Irene Ziegler and the cast members contributed voice-overs and other vocals sounds. Sarah Grady’s costumes helped define the characters. This entire delightful production was directed by Laine Satterfield with a balance of structure and freedom that allowed humor to emerge quite naturally. The pacing was unhurried, yet never lagged, and the scenes perfectly captured the juxtaposition of the meditative environment with the characters’ personalities and problems. In her Director’s Note, Satterfield describes how, during their first week of rehearsal, the cast members lived key moments of their characters’ lives and even worked out timelines and bios.

Small Mouth Sounds runs through March 29 in the intimate Theatre Gym at the Virginia Rep Center on West Broad Street. A part of the Acts of Faith Theatre Festival, the play runs in tandem with a series of wellness workshops, Centered Stage, including topics such as meditation and feng shui. The series takes place after the shows on March 8, 12, 15, 19, 22, and 26.

 

**********

SPOILER ALERT

Now, for that question regarding Jan and his secret. . .Do not read this paragraph if you don’t want to know before you go. . .

So, in the final scene, it is revealed that Jan does not speak English. My question is, how was he able to read his information packet and follow the instructions of the Teacher? Hmm???

**********

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Jason Collins

Small Mouth Sounds
Adam Valentine, Jenny Hundley , Lauren Leinhaas-Cook, Maura Mazurowski, Jim Morgan, Larry Cook. Photo by Jason Collins Photography.

August Wilson's Fences
Marisa Guida. Photo by Jason Collins Photography.

Small Mouth Sounds
Maura Mazurowski, Jim Morgan. Photo by Jason Collins Photography.

Small Mouth Sounds
Adam Valentine, Jenny Hundley, Lauren Leinhaas-Cook. Photo by Jason Collins Photography.

Small Mouth Sounds
Jim Morgan and Maura Mazurkowski. Photo by Jason Collins Photography.

 

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THE GREAT GATSBY: Allusion, Delusion, Illusion

THE GREAT GATSBY: A Novel Approach

Performances: March 6 – 22, 2020

By: Quill Theatre

At: Leslie Cheek Theater at the Virginia Museum of Fine Arts, 200 N. Boulevard, RVA 23220

Ticket Prices: $40 Adults; $30 VMFA Members; $35 Seniors 65+; $30 RVATA (must show card); $20 Students (with ID)

Info: (804) 340-1405 or quilltheatre.org

Love lost and found, wealth and power, prohibition era bootlegging, corruption, infidelity, homosexuality, white supremacy, domestic abuse, the aftermath of war, mystery, lies, and more are all part of the plot, and it all hits the fan in Act Two. It would be impossible not to draw comparisons between the 1922 setting of The Great Gatsby and the state of the world nearly 100 years later, in 2020.

Simon Levy’s 2006 adaptation of F. Scott Fitzgerald’s 1925 classic American novel, The Great Gatsby, now playing at the Leslie Cheek Theatre at the Virginia Museum of Fine Arts, is the only version of the play authorized by the Fitzgerald estate. There’s a lot of history on that stage, but as important as historical context may be, it is human relationships and the human condition that are at the heart of this show. Indeed, the program notes are careful to point out that the lively and dynamic Charleston scene at the top of Act Two would most likely never have occurred, as that dance did not become popular – at least not outside the black community – until 1926, about four years after the setting of The Great Gatsby. Part drama, part comedy – perhaps unintentionally so – The Great Gatsby features a dynamic and diverse cast of major and minor characters.

Kurt Smith is Jay Gatsby. Since this is his debut in the Richmond theater community, I am not at all familiar with his range or abilities, but he elicited many of the laughs on opening night with his awkwardly affected portrayal; he would stick out a hand as if to shake and leave it extended for an inordinate amount of time, or stand in profile with one foot slightly ahead of the other, reminiscent of a figure on an ancient Egyptian painting. The character of Gatsby also, oddly enough, alternates between the confidence of a successful businessman – one who has made his fortune through illegal or illegitimate means – and the nervousness of a schoolboy about to ask a girl on a date for the first time. Somehow, these two sides of Gatsby never truly reconciled.

Rachel Rose Gilmour as Gatsby’s love interest, Daisy Buchanan, adopted the hand-to-forehead swooning persona of the southern bell for most of her scenes. Caught between two loves, she could not decide which to choose, instead allowing circumstances to make the decision for her.

Daisy, who seemingly has everything – a wealthy husband, big home, money and social standing – is actually a victim: a victim of domestic abuse; a victim of 1920’s social restraints placed on women.

Daisy’s husband, Tom, played by Cole Metz, is a pompous, bombastic, white male supremacist who is very much aware of and feels justified in his privilege. Tom is carrying on an affair with the wife of gas station owner whose business he frequents on his trips back and forth from New York City to Long Island. Metz’s character is the one you most want to boo. Each of these main characters has a distinct style and mannerisms – they just do not seem to have selected the same style or mannerisms from the same school or time period.

The play is narrated by Chandler Hubbard who plays Daisy’s cousin, Nick Carraway. The narrator guides the audience through this twisted tale, providing a sort of auditory synopsis, filling in the blanks for the audience members who may have forgotten or never read The Great Gatsby, while Nick seems to represent the voice of reason and the face of good. As the play progresses, and it becomes obvious that wrong-doers will not be held accountable for their actions, he distances himself from the others – even from his high-society girlfriend, Jordan Baker, played by Michelle Greensmith as an overly-confident, sometimes delightfully sarcastic, and generally loud caricature of a flapper – but without the fringes.

Speaking of loud, the un-mic’ed (is that even a real word?) actors were often difficult to hear in the Leslie Cheek Theatre – even from the fifth or sixth row from the front. As to other production elements: Gregg Hillmar’s lighting was sometimes used to effectively highlight scenes while at other times, perhaps because of the thrust of the stage, with steps and ramps downstage, or perhaps because of the structure and limitations of the house, the lighting seemed to extend into the houselights, illuminating the rows of people sitting in front of you as much as the actors onstage. James Ricks, the company’s Artistic Director, did the effective sound design himself, and there was no doubt that Tennessee Dixon had created the projections that added depth and visual interest in lieu of three-dimensional set construction. Among the stunning effects, flying birds and jonquils (a flower that earned prominent mention in another classic play earlier this season, The Glass Menagerie). Interestingly, jonquils are a type of narcissus, named for the character in Greek mythology from whom the word “narcissism” is derived.

Credit for the lively Charleston scene at the top of Act Two – a scene that prominently featured Keaton Hillman and Markell D. Holloway who played the role of the servants, among other roles – goes to Jeremy Gershman and Kayla Xavier. Reed West’s compact set design included a revolving platform that held a surprising variety of furniture and settings and Cora Delbridge designed the lovely and lovingly detailed period costumes that made generous use of sparkling fabrics and swinging fringes.

The cast also included LaSean Greene as the gas station owner, George Wilson, whose wife was involved with Tom Buchanan. Greene has a small part, but a significant scene in the latter part of Act Two. The versatile Amber Marie Martinez played George’s wife, Myrtle – another victim of the times. Melissa Johnston Price, Eddie Webster, and Jeff Clevenger are all well-known accomplished actors who played very small roles. The ensemble included Daniel Camargo (who also played the minor role of Frank), Mara Barrett, Jackie Cook, Kayla Xavier, Mallory Keene, Billy Heckman, Keaton Hillman, Reed Patterson, and Markell Holloway.

With all these features going for it, The Great Gatsby provided an entertaining evening of theater that generated laughs and made the audience confront many unpleasant facets of human nature. With such an accomplished cast and the skillful direction of former artistic director Dr. Jan Powell, I left with a slight feeling of emptiness, as if someone had left out an ingredient. I hope the remaining shows will tighten up and fulfill the high expectations that have been generated. The Great Gatsby has a short run, so freshen up your 1920s attire and catch it before it closes on March 22.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Photos by Maria V. Salova

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THE REVOLUTIONISTS: Find the Heart, Not the Art (Marianne Angelle)

THE REVOLUTIONISTS: The Revolution Will Not Be Televised (Gil Scott-Heron)

A Theater Review by Julinda D. Lewis

At: TheatreLab, The Basement, 300 E. Broad St, RVA 23219

Performances: February 27 – March 21, 2020

Ticket Prices: $30 Regular Admission; $20 Seniors & Industry/RVATA; $10 Students and Teachers with ID

Info: (804) 506-3533 or TheatreLABrva.org

Lauren Gunderson’s The Revolutionists, first produced in 2015, may be the only comedy that begins and ends with an execution. The Revolutionists is a play about a woman writing a play during the French Revolution. It is hysterically funny, and it is real. Three of the four characters are historical (not hysterical) figures:

Olympe de Gouges (1748-1793) was a French playwright and political activist. She was executed by guillotine for seditious behavior and attempting to reinstate the monarchy – based on the “evidence” found in the contents of an unfinished play about former Queen of France Marie Antoinette.

Women have the right to mount the scaffold;

they should likewise have the right to mount the rostrum.

-Olympe de Gouges played by Maggie Roop

Charlotte Corday (1768-1793) was a political activist who was executed by guillotine for the assassination of Jacobin leader Jean-Paul Marat, a leader of the Reign of Terror. She stabbed him in his bath.

I killed one man to save 100,000.

-Charlotte Corday played by Lydia Hynes

Marie Antoinette (1755-1793) was the last Queen of France before the French Revolution. She was convicted of treason and executed by guillotine.

No one understands my ills, nor the terror that fills my breast,

who does not know the heart of a mother.

– Marie Antoinette, played by Maggie Bavolack

Marianne Angelle is a composite of the free black women revolutionaries of the island nation of Saint Domingue (now Haiti). The island was rich in sugar, coffee, and cotton with a population of 500,000 slaves, 32,000 white people, and 28,000 free black people. In August 1791 the Saint Domingue revolutionaries started the first successful slave revolt in history.

You can’t be a hero if you’re too scared to show up!

– Marianne Angelle played by Katrinah Carol Lewis

For two hours (including one ten-minute intermission), these four women gather in Olympe’s Parisian office to talk philosophy and plan how to change the world. The Revolutionists is a smart, fast-paced, bold tragi-comedy. It is a play that embraces a love of words and language, and Chelsea Burke’s thoughtfully irreverent and well-timed direction dares the audience to come along for the ride and keep up. Dasia Gregg’s understated set (some framed wall sections, a tiny desk and a few seats that are removed after the first act) has the audience seated in the four corners of the intimate space. Some audience members were sitting just a foot or two away from the performers when they sat on a chair on chaise lounge.

It wasn’t until the end of this riotous yet serious discourse that we realized we were not ordinary participants, but extras cast in the role of audience members. It was something like going along for a ride in your friend’s new car, only to find out later that the car was stolen, and you were the designated getaway driver for the crime they planned to commit.

The Revolutionists boasts a dynamic cast with Maggie Roop as Olympe de Gouges, full of fiery talk but coming up short when it’s time to take real action. Lydia Hynes portrays Charlotte Corday with youthful energy and commitment – and she’s loud (and that’s not a criticism, but a comment from her mentors, Olympe and Marianne). Maggie Bavolack is very pink and fluffy (especially her hair and bosom) and is hysterically funny as Marie Antoinette. But she also expresses an unexpected warmth and compassion that develops as she spends time with Marianne and Olympe.

And then there’s Katrinah Carol Lewis as the free-black freedom fighter Marianne. Marianne is the character we learn the most about, from her family to her political and womanist philosophies and Lewis takes full ownership of this character and the show, from the moment she strides into Olympe’s office, assesses the situation, and applies her sense of righteous indignation tempered with wisdom beyond her years.

In fact, all the woman exhibit knowledge beyond their years – or at least beyond their time period – as their dialogue and declarations are interspersed with contemporary language and well-seasoned with swear words.

The production team includes period costumes by Ruth Hedberg (some attractive, some serviceable, some versatile, and some for fun), sound design by Kelsey Cordrey (filled with crowd sounds, heavy breathing, ticking clocks, gunshots and other ambient sounds), and dramatic lighting by Michael Jarrett that goes black to tastefully yet ominously indicate that the guillotine has dropped.

The Revolutionists, a part of the Acts of Faith Festival, runs through March 21. To paraphrase Marianne, “You can’t be a participant if you’re too scared to show up.” Don’t be that person.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Tom Topinka

 

 

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CONCERT BALLET OF VIRGINIA: Winter Gala Features American Themes & More

THE CONCERT BALLET OF VIRGINIA: Winter Gala 2020

A Dance Program Review

At: The Woman’s Club Auditorium, 211 East Franklin Street, RVA 23219

Performance: February 23, 2020

Ticket Prices: $12-$18

Info: (804) 798-0945 or http://concertballet.com/ or info@concertballet.org

The Concert Ballet of Virginia, a  civic company based in Hanover County, continued its 44th performance season with a Winter Repertory Gala at The Woman’s Club Auditorium on Sunday, February 23. The Winter Repertory Gala – a showcase for the junior, senior, and performing companies – shared the program with The Concert Ballet Orchestra, conducted by Iris Schwartz, alternating a musical composition with a ballet.

The Orchestra seemed to focus on patriotic music, American composers, and American themes, opening with a rousing rendition of the “George Washington Bicentennial March” by John Philip Sousa. This set the tone and expectation for the remainder of the program.

Additional musical interludes included a Cole Porter symphonic portrait, another march, and a medley of American music, including “Shenandoah,” which lays claim to a rather contentious proposal to be Virginia’s “interim state song,” and “My Country Tis of Thee,” which the conductor encouraged the audience to sing along with but there were no takers.

The first ballet, Lindsay Hudson’s “Over the Hills and Far Away” featured an ensemble of enthusiastic young dancers who, while they did not always keep their legs straight or keep their toes pointed en l’air, appeared steady on their pointes and brought an infectious element of joy to their performance. Scott Boyer’s period costumes with full tulle skirts coordinated with  deVeaux Riddick’s décor, with its life-sized pink and green plants, all of which were well suited to the genteel atmosphere with some patrons seated at tables, where they were served desserts and beverages, reminiscent of an 18th or 19th century salon. The ballet ended on a light note with a very charming back-to-back slide to the floor.

The first half of the program also included Valerie Shcherbakova’s “Bretagne,” set to music by Darius Milhand that seemed somewhat dark, even ominous, in contrast to the dancers’ white dresses with narrow fabric panels draped delicately along their arms. This ballet was set in an undisclosed period and locale (although the title suggests a French locations), with four blue panels painted with chandeliers and draperies and somewhat mysterious obelisks. The work is created with intentional symmetry, and ends with a lighter, livelier coda.

The second half of the program included Scott Boyer’s ‘The Gum Suckers,’ a contemporary ballet that swaddled the dancers in colorful layers and features several different lifts that were sturdy and well-supported.  There was a section in which it was unclear whether the two lines of dancers were supposed to be moving in unison or in canon, but the ballet, which featured a quintet of five pint-sized dancers, was undoubtedly an audience favorite and earned extended applause.

It should be noted that Boyer, a founding member and the company’s artistic director, is the only remaining member of the long-time artistic and executive team. The program pays homage to Robert Watkins (former Artistic Director), deVeaux Riddick (former Designer and Technical Director), and Eleanor Rennie (Executive Director).

The program closed with Karen Moore’s “Rainbow Room,” which saw the dancers dressed in glittery top hats and fringed dressed moving in a jazzy Bob Fosse style to the big band sound of Benny Goodman. Christopher Gangloff’s pretty rainbow lighting effects added an extra layer of pizzazz to this work that began with the dancers laying of the floor, legs up, like the petals of a flower. A sassy percussion beat guided the dancers into a rousing kick line that circled the stage and Boyer, Donald Myers, and an apparently uncredited male dancer escorted the bevy of young women, wearing white tie and tails (but, alas, no top hats!) to complement the women’s fringed frocks.

The Concert Ballet of Virginia’s Winter Repertory Gala 2020 offered a genteel afternoon of audience-pleasing dance and live music in a beautiful setting on a lovely Sunday afternoon.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Concert Ballet of Virginia Winter Gala 2020 program cover

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THE CAKE: A Slice of Life

New Show March 7 at 2 pm! Most Other Performances Almost SOLD OUT!  Tickets on Sale at 10 am Monday, February 24!

THE CAKE: A Ripped-From-the-Headlines Play

A Theater Review by Julinda D. Lewis

Richmond Triangle Players – An Acts of Faith production

At: The Robert B Moss Theatre, 1300 Altamont Avenue, RVA 23230

Performances: February 12 – March 7,  2020

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

Stepping into Della’s North Carolina bakery shop is like stepping back in time. In an opening monologue, Della sings the praises of real butter and sugar and tells us that cake made from a box is like Scotch tape dipped in Splenda®.

Della has a lot going on in her life right now. She’s living her dream of being a contestant on The Great American Baking Show when along comes Jen, her goddaughter, who announces her impending wedding and she wants Della, her late mother’s best friend, to bake her wedding cake. Della and her husband Tim, a plumber, are stunned to find that Jen plans to marry another woman – a black woman journalist. That step back in time is multi-faceted; it is physical, geographical, social, and political.

The strong cast compellingly engages in difficult discussions about topics that are emotionally laden, faith testing, and politically controversial. Terri Moore as Della, Nicole Morris-Anastasi as Jen, Zakiyyah Jackson as Jen’s partner Macy, and Gordon Bass as Della’s husband Tim are all more than up to the task. The audience is skillfully exposed to the different points of view and nuances of each character.

And this is where Terri Moore – who recently delighted audiences as Patsy Cline’s number one fan, Louise Seger, at Hanover Tavern – pulled out all the stops. Della convincingly struggled to balance her Christian faith with her love for Jen – even searching the scriptures to see if she really understood the word of God.

In turning to her husband Tim to talk through her dilemma, Della uncovered her own marital discontent and in the second half of the one-act play (running nearly two hours with no intermission) she touchingly, hilariously, yet unsuccessfully tried to spice things up by seducing Tim. The failed seduction involved soft lights, mood music, and whipped cream. Tim later countered in a hilarious scene that will forever make you look differently at mashed potatoes.

Jen breezed into her childhood town with unresolved issues surrounding her life as a gay woman and her need to earn the approval of her late mother. Significant discussions about difficult topics that are both emotionally charged and faith-challenging occur between Della and Tim and between Jen and Macy. Macy is confident and pragmatic; she’s not really interested in anyone else’s opinion, and the most difficult thing for the audience to accept may be how Macy and the self-deprecating Jen ever fell in love with each other, much less sustain a viable relationship.

The thing is that we are able to empathize with both Della and Jen. I credit this to the combined creative ability and social intelligence of Moore, director Dawn A.  Westbrook, and playwright Bekah Brunstetter (who is also a writer for the hit television show This Is Us). The Cake provides a template for how we might all deal with the difficult topics: gender; race; marriage and more. The cast of four is excellent, with Moore and Jackson’s characters standing out as more fully developed. The Cake is a charming play, made even more delightful thanks to Terri Moore.

I think I was enamored of this play because we see Della, Jen, Macy, and Tim as people, not as issues. Westbrook’s direction is gentle, and the humor flows freely and easily shares the stage with the serious topics, keeping the audience engaged.

This slice of life play is based loosely on the true story of a Colorado baker whose refusal to bake a wedding cake for two gay men went all the way to the Supreme Court. (The Court ruled in favor of the baker, based on his religious beliefs.)

David Allan Ballas designed an inviting bake shop that cleverly converts to two bedrooms with the aid of two murphy-style beds hidden behind the shop’s shelving. The Robert B. Moss Theatre lobby has also been decorated with a variety of tempting-looking cakes and sweets. Sheamus Coleman’s sound design includes very appropriate background music, while Michael Jarett’s lighting and Sheila Russ’ costumes supported the overall look and theme and Donna Coghill’s dialect coaching helped the North Carolina accent roll gently off the tongues of Della, Jen, and Tim.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: John MacLellan

TheCake_031
Terri Moore is Della, a well-known Southern bakery owner who is faced with a dilemma that will change her life in “The Cake,” a new comedy by Bekah Brunstetter (“This is Us”), directed by Dawn A. Westbrook. Playing at RTP’s Robert B. Moss Theatre through March 7.

TheCake_337
Nicole Morris-Anastasi (left) and Zakiyyah Jackson as Jen and Macy, a couple in a bit of a crisis running up to their wedding in “The Cake,” a new play by Bekah Brunstetter (“This is Us”), directed by Dawn A. Westbrook. Playing at RTP’s Robert B. Moss Theatre through March 7

 

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STARR FOSTER DANCE: In Rest and Sleep (a dance about love, loss, reflection, revenge & unlimited chances)

STARR FOSTER DANCE: In Rest and Sleep

A Dance Review by Julinda D. Lewis

At: TheatreLAB The Basement, 300 East Broad Street, RVA 23219

Performances: February 13-15: Thursday & Friday @7:30pm; Saturday @3:00pm, 5:00pm & 7:30pm

Ticket Prices: $15; $25 on Friday (includes post-performance reception)

Info: (804) 304-1523, https://m.bpt.me/event/4497856

Starrene Foster’s new work, In Rest and Sleep, begins with a bit of audience participation. It would be impossible to describe my experience without giving it away, so *SPOILER ALERT*: If you plan to see it, and want to be surprised, skip the italicized paragraph.

 

*SPOILER ALERT*

The audience is held in the lobby and bar area until it is time to enter the performing space. Latecomers will not be seated. As we prepared to enter the space, we were each given a white calla lily – a symbol of holiness and purity, but also of death and resurrection; it is a popular Easter flower. This made me think of a funeral, a feeling that was reinforced as we processed through a black curtain to the sounds of somber music. Once inside the space, we observed three dancers laying face up on the floor and a fourth sitting on a tree stump in solemn contemplation. We were instructed to toss our flowers on the dancers.

*END OF SPOILER ALERT *

 

In Rest and Sleep is described as a dance about love, loss, and reflection. It is also described, in different settings, as a dance about revenge or a dance about unlimited chances. It is all of that, and more. After the show – which runs about 40 minutes, with no intermission – my theater companion asked what I thought it meant, and my response was, whatever you needed it to mean. This is the kind of work that, after the applause, leave the audience momentarily silent, speechless, mute and alone in the midst of a crowd.

I have, on more than one occasion, remarked to Foster that I found her work dark – not just emotionally, but physically, due to the subdued lighting she and her lighting designers prefer. Yet even though In Rest and Sleep may be thought of as a dark topic, the lighting, while subdued, is not very dark at all. In fact, there are moments when Michael Jarett illuminates the space with bright flashes, like shards of enlightenment. The set, designed by Foster and Brad Lebahn, consists of two rectangles of artificial grass and a tree stump. At the beginning and again later, one dancer sits quietly on the stump carefully observing the other dancers.

The combination of stillness that feels like waiting is juxtaposed with violent reaching, grabbing pulling, dragging, and writhing. There are supportive lifts and gentle touches, but there are also kicks and shoves and intertwining phrases of movement that create a perceptible level of anxiety, of unease.

Two distinct moments in time stood out for me, capturing my attention and stirring my emotions. In a duet, one dancer stood off to the side with her right arm extended, fingers trembling in a repetitive pattern while her partner, some distance away, explored the other side of the space until the two eventually tumbled together. While this interaction was unfolding, a third dancer sat on the tree stump watching intently, and the fourth lay curled at her feet on a patch of grass – resting, or asleep. I saw myself in the dancer with the outstretched arm – reaching, disconnected – as well as in the dancer who sat intently observing, waiting for her season to become involved. Others may have connected with the dancer who was moving through space, or with the sleeping figure.

The other moment that caused me to hold my breath occurred when the four dancers ran, one after the other, to a patch of grass, dropped, rolled to center stage, got up, and repeated the pattern several times! The movement was mesmerizing, but the energy emitted was like a volcano erupting. It was over all too soon.

In Rest and Sleep,  a premiere by Starrene Foster, has only five performances this weekend, and while the audience is seated on three sides of the space, there is limited seating. Everyone is up close to the action – and the resting. On Thursday and Saturday at 3:00pm the performers are Fran Beaumont, Caitlin Cunningham, Shelby Gratz Paez, and Mattie Rogers. On Friday and on Saturday at 5:00pm and 7:30pm the cast is Kylie Hester, Erick Hooten, Anna Lebahn, and Mattie Rogers.

The RVA theater community has an Acts of Faith festival – if dance were included, In Rest and Sleep would be a prime candidate for Acts of Faith, along with the accompanying talk-back opportunities for the audience to discuss works with the cast and creative team.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Starr Foster Dance by Douglas Hayes. NOTE: Production photos were not yet available at the time of posting.

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BLOOMSDAY: An Irish-Time-Travel Love Story

BLOOMSDAY: Time Shifting & Love

A Theater Review by Julinda D. Lewis

At: CAT Theatre, 419 No. Wilkinson Rd., RVA 23227

Performances: February 7-22, 2020

Ticket Prices: $25 Adults; $20 RVATA Members; $15 Students

Info: (804) 804-262-9760 or cat@cattheatre.com

I was not familiar with Steven Dietz’ play, Bloomsday. Published in 2017, the four-person play is  set in Dublin, Ireland and shifts between the present and 35 years earlier. The four actors play two characters – the present-day Cait and Robert and their younger embodiments, Caithleen and Robbie. Robert also acts as narrator.

Bloomsday is a tale of love, regrets, and “what ifs.” Robbie, a young American tourist on the rebound from a breakup, joins a walking tour of James Joyce’s Dublin – following the path of Leopold Bloom in Joyce’s novel, Ulysses. The tour guide, an attractive young Irish woman named Caithleen, has a group of 12 tourists ready to explore the streets of James Joyce’s novel as seen through the eyes of Leopold Bloom, but she needs another person so the tour group will not have 13 people (including herself). Robbie joins the group, then selfishly encourages the other tourists to abandon the tour (there are several pubs along the route) so he can have Caithleen all to himself – taking numerous pictures of her.

The two spend one day together. Robbie returns to Seattle where he obsesses over Caithleen until finally, 35 years later, he returns. What follows is a surreal tale in which it is sometimes impossible to tell what really happened and what is just a memory. Cait and young Cathleen, Robert and young Robbie all interact with one another, sometimes sharing the same space – which means time has warped so that the characters come face-to-face with their older/younger selves.

It’s an interesting device that forces the audience to work to keep up with these parallel universes. At one point Mike Fletcher (Robert) and Jordan Stroud (Robbie) are dressed alike. But Robbie’s messy hair and untucked shirt earn him a reprimand from his older self. The first encounter between Caithleen (Lydia MacFarlane Watt) and Cait (Martha Kelly) in Act 1 confirms for the audience, that time is, in fact, malleable in this play.

Mike Fletcher is the dominant figure. After all, his character Robert is both narrator and the one who travels back to Ireland. The interaction between Fletcher and Jordan Stroud, who plays his younger self, is interesting. It has the tension and contentiousness of a father-son relationship. I never got quite as strong an impression from Martha Kelley’s character. The mature Cait seems to have succumbed to the same unnamed mental illness that plagued her mother. Cait seems more contemplative and rational than the others, but I never got a real sense of who she was.

Lydia MacFarlane Watt was well cast as Caithleen, alternating between self-assured  confidence, self-righteous indignation, and anxious introspection. Alison Eichler has dressed Caithleen in sensible shoes, a tulip shaped skirt, white shirt and print sweater, with a large leather bag across her shoulder. The look – along with Watt’s attitude) is perfect. Eichler also created a wonderful costume with a flamboyant feather festooned had for Cait, in honor of Bloomsday – a celebration of James Joyce’s Ulysses that takes place on June 16 and includes dressing up in period clothing.

Mike Fletcher and Joe Bly designed the set – a row of shop fronts, including a chemist, a pub, and a café – pasting yellowed book pages on the walls, floor, and steps. (I got up close to check to see if the pages were from James Joyce’s Ulysses but none of them were. Jimmy Mello created the sound design, which included some appropriate ambient sounds, while Jason Lucas’ lighting attempted – sometimes successfully, sometimes not – to emphasize the shifting.

While I found Bloomsday to be a hidden gem of a play, there were some areas that seemed to drag; the show runs only about 90 minutes with one intermission but I there is very little action and after a while the lilting rhythm of Irish accents (mostly good ones, that are easy to understand used by all but Robbie who is American). Mello and his cast made good use of the space, using the aisles as well as the stage. But it is the tenderness and unanswered or unanswerable questions that make this play special. An Acts of Faith Festival offering, Sunday’s nearly sold-out matinee was followed by the first of two audience talkbacks -the second will be Sunday, February 16.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Daryll Morgan Studios

 

Featured

DADDY LONG LEGS: A Period Gem

DADDY LONG LEGS: Life, Longing & Love at the Turn of the 20th Century

A Theater Review by Julinda D. Lewis

At: Swift Creek Mill Theatre, 17401 Jefferson Davis Highway, Colonial Heights, VA 23834

Performances: January 25 – February 22, 2020

Ticket Prices: $40 Theater only; $35 Seniors, Military & Students; $18 Dinner

Info: (804) 748-5203 or swiftcreekmill.com

Daddy Long Legs is a sweetly unconventional musical and love story, with music and lyrics by Paul Gordon (Jane Eyre) and book by John Caird (Jane Eyre, Les Misérables). As a musical Daddy Long Legs is unusual in that it has only two characters and the songs are not catchy show tunes but rather poignant ballads, solos that carry the narrative, and harmonious duets that allow the two characters to interact. Further, for most of the two-act play the story is moved forward through the epistolary device of alternately having Jerusha read from letters she writes to her benefactor, “Mr. Smith,” and “Mr. Smith” reading the letters in the privacy of his posh centerstage study.

Rachel Marrs (who recently appeared in The Mystery of Edwin Drood and Bright Star at the Mill) plays Jerusha Abbott, the oldest orphan in the John Grier Home. Jerusha is skilled at writing essays and catches the attention of one of the asylum’s trustees, Jervis Pendleton. Under the pseudonym of Mr. John Smith, Jervis, makes Jerusha an offer she can’t refuse; he offers to send her to college for four years, room, board, and a monthly allowance, on the condition that she write him a monthly letter providing details of her progress. Jervis is played by Matt Polson (Sweeney Todd/TheatreLAB, River Ditty/VARep). He is given the nickname Daddy Long Legs, the name of the 1912 novel on which this 2009 musical is based, because his elongated shadow, that Jerusha sees outside the window of the orphanage, reminds her of a spider.

Marrs’ voice is sweet and nuanced. Over the course of the four years of the play we not only hear her development in words both spoken and sung, but we see it visually in Maura Lynch Cravey’s lovely period appropriate costumes that range from a simple work pinafore to neat skirts with high necked white blouses to sleek business suits with ruffled blouses. Jerusha’s hairstyles also reflect the passage of time. Marrs is vulnerable yet fiery, making some ahead-of-the-times statements in support of women’s rights and offering an unconventional, fresh perspective on everything from life to love to literature.

Polson’s character is a tougher nut to crack. He’s the lead character and the play bears his name. But he is jealous and manipulative and deceitful. While he means well, after all, it isn’t everyday someone sends a stranger to college, all expenses paid, no strings attached. But Jervis is led to examine his own character and motives mid-way through the second act in the song “Charity,” where he questions the effects of charity on the giver and the recipient. Symbolically, Cravey has Polson strapped into an unforgiving three-piece suit – the vest of which looks more like a straight jacket than any suit I’ve ever seen. Jervis is harder to like than Jerusha, adding depth to the character and tension to the play.

The music and lyrics are sometimes gentle, sometimes warm and fuzzy, and sometimes soaring. The three-piece orchestra, under the musical direction of Paul Deiss, is partially hidden behind a scrim stage right (the audience’s left), so their presence is palpable but not intrusive. Artistic director Tom Width has invited guest director Steve Perigard to delicately guide this duo through their passionate yet halting journey. Guest designer Mercedes Schaum has designed a delightfully satisfying period set, with Jervis’s study commanding centerstage. There’s a sturdy desk, well-stocked bookcases, a solid classic typewriter, a classic candlestick telephone, and a beautifully ornate desk chair with what appears to be a woven wicker back. Other areas, from the orphanage to Jerusha’s dorm room, a rural mountain and the farm where Jerusha spends summers with her college roommates, are defined by a few large trunks, a small table and chairs, and one multi-purpose piece of storage furniture that holds props and Jerusha’s ballgown and provides a place to sit or stand as the action requires. Joe Doran’s mostly subtle lighting enhances the early 20th century ambience with soft illumination and welcoming shadows.

There were a few minutes, mostly in the first act, that seemed to drag a bit, but Marrs and Polson made these moments tolerable. (I think the slow moments were due to the script, rather than Marrs, Polson, or director Perigard.) Polson also manages to avoid the very real possibility of coming across as a predator – after all, he’s a wealthy man with a lot of money and Jerusha lives during an era when women did not have the right to vote and some considered a college education wasted on a woman. Yet these two manage to all in love because of her intellect and wit, rather than in spite of it. This along makes Daddy Long Legs remarkable. With its multi-dimensional characters, pleasant music, beautiful vocals, and visual appeal, Daddy Long Legs is quite a delightful evening. Even my most frequent theater companion, Albert, who rarely has much to say about the many shows we see together, enthusiastically declared Daddy Long Legs one of the best and most enjoyable shows he’s ever seen at The Mill.

BTW: I was curious, and you might be, too. The name Jerusha is a Hebrew name that means “her husband’s possession.”

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Robyn O’Neill Photography

 

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ROSENCRANTZ AND GUILDENSTERN ARE DEAD: A Play That Balances the Philosophical and the Mundane

ROSENCRANTZ AND GUILDENSTERN ARE DEAD: “Actors Are the Opposite of People”

Performances: January 26 – February 16, 2020

Ticket Prices: $35 Adults; $30 Seniors; $25 RVATA; $20 Students (with ID)

Info: (804) 340-1405 or quilltheatre.org

The night before attending Rosencrantz and Guildenstern Are Dead a well-meaning acquaintance winkingly advised me to be prepared to spend three hours in the theater. A visiting family member from out of town warily declined to accompany me. Quill artistic director James Ricks has wanted to present Rosencrantz and Guildenstern Are Dead since he was in high school. He, like many others, are intrigued by the word play and the Calvinist philosophy and theology with its perspective on human mortality.

From hearing the comments of others, it would seem to be a play one either loves or hates. But my own experience was somewhere in the middle. I enjoyed the wordplay, I appreciated the humor – both the slapstick, physical kind and the deeper, more thoughtful kind, but I also, like my aforementioned acquaintance, felt that perhaps some sort of warning or preparation – not spoilers but at least a nod to the nature of this work – needs to be given to potential attendees who are not familiar with the play.

Two minor characters from Shakespeare’s Hamlet interact in a setting redolent of Samuel Beckett’s Waiting for Godot. The puns and jokes and wordplay are a non-stop delight, and that along with the delightful interaction between Tyler Stevens (Rosencrantz) and Adam Turck (Guildenstern) makes the three hours (with two short intermissions) pass more quickly than one might expect. But make no mistake; it’s all about the words and the ideas. Jane Raine’s simple set consists of a thrust stage, three beams (two vertical, one horizontal), three steps across the upstage area, a few wooden boxes and barrels in the third act, and some hanging lights. When Rosencrantz wants to give Guildenstern his full attention, he plops down on the floor/ground.

Visually, Anna Bialkowski offers some period and some fanciful costumes, but director James Ricks has kept the attention on playwright Tom Stoppard’s words and uses movement as kinetic accents to deliver the message.

The play begins with a long, and eventually monotonous (or mesmerizing, depending on your personal perspective) coin toss game in which the coins land heads up more than 90 times in a row. Stoppard makes liberal use of Shakespeare, inserting vaguely familiar lines like, “When the wind is southerly I know a hawk from a handsaw.” This just makes the listener feel all the more at sea when the characters say things like, “The toenails, on the other hand, never grow at all,” or when Rosencrantz screams “Fire” and then derides the audience because no one reacted, “they’d all burn to death in their shoes!”

“There’s so much to do just in the text itself,” Turck, a self-described existentialist, remarked at the Sunday afternoon talkback, during which he described his character, Guildenstern, as “an agent of chaos.” Stevens  evaluated Rosencrantz as being a little easier, less daunting. Director Ricks summarized the work as a young man’s irreverence leading to a new life form, but Joe Pabst, the lead Player of the Tragedians, interjected a bit of pragmatism into the discussion noting that much of what has led to dissertations being written and dissected on this play was “just Stoppard being a dick.”

Like all Acts of Faith productions, Rosencrantz and Guildenstern are Dead has at least one or two talkbacks scheduled. I think this is one in which a talkback is very helpful, since the play itself is not self-explanatory, nor was it meant to be.

In addition to Stevens, Turck, and Pabst, the cast includes Liam Storm as Alfred, a much-put upon Tragedian, Joel White as a moody Hamlet, Mia Richards as Ophelia (a victim of domestic abuse, but that’s a whole other story), Travis Williams as Claudius, Donna Marie Miller as Gertrude, and Bill Blair as Polonius. Cedar Curran, Joel Kimling, and Josh Mullins complete the cast as unnamed members of the touring band of Tragedians.

Rosencrantz and Guildenstern are Dead is not a play you just walk in on cold. While not required, it helps to have at least some familiarity with Hamlet and Waiting for Godot. Rosencrantz and Guildenstern are Dead is a play that comes with prerequisites; one needs to prepare for it in advance:

Rosencrantz and Guildenstern Are Dead Brief Notes

Calvinism: a branch of Protestantism established by John Calvin, it develops the doctrines of Luther, and emphasizes justification by faith, predestination, and the Grace of God

Existentialism: a philosophical theory that emphasizes the importance of the individual as a free and responsible, thinking, feeling human being capable of making choices

Theatre of the Absurd: dramatic works by European and American writers in the 1950s and 1960s that share elements of existential philosophy, such as human hopelessness; often include lots of word play and little or nothing happens to change the lives of the characters

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Production photos were not available at the time of publication.

 

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STUPID KID: It’s Not What You Think

STUPID KID: An Unwelcome Homecoming

A Theater Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 W. Broad Street, RVA 23220

Performances: January 23 – February 16, 2020

Ticket Prices: $35 General Admission; $25 Military & RVATA; $15 Students

Info: (804) 355-2001 or firehousetheatre.org

I often choose not to learn too much about a new play prior to seeing it. I want to enter the space unbiased; I like to be surprised. Well, no amount of preparation would have fully prepared me for Sharr White’s Stupid Kid. The two-act play, making it’s east coast debut at The Firehouse Theatre, is populated with strong characters, filled with twists and turns, and offers a surprise ending that leaves as many questions unanswered as it resolves. Kudos to the cast and director Alison Devereaux for a physically demanding performance that made us laugh, gasp, cheer, and even boo.

From the start we know something isn’t quite right – there are secrets and things are not what they appear to be. When Chick Ford (Adam Valentine) arrives home a day early after being in prison for 14 years, his parents are not pleased. His father Eddie, played by Andrew Firda, pretends not to know him and his mother Jeanette or Gigi (Boomie Pedersen) greets him with an expletive. Well, most of her comments are bookended by expletives, so it may not be entirely personal.

The plot thickens when we learn that Chick was sentenced to life for murder, that his parents lives were shattered by the fallout, and his father has become disabled with back pain and has become dependent on painkillers. The details come slowly with the aid and sometimes despite the active interference of nosy neighbor Franny Hawker (Jeannie Goodyear) and Gigi’s brother Mike (Arik Cullen).

This may be the world’s most dysfunctional family, but White’s characters are mostly familiar, believable, and multi-dimensional. Eddie and Gigi seem to be constantly bickering but scattered among the expletives are pet names and hints of true concern and genuine love. Whenever Chick tries to talk about the crime he confessed to, he gets shut down, and no one believes there is any possibility he could be innocent – despite the fact he was released based on new DNA evidence. Uncle Mike is the story’s obvious villain. Vain, narcissistic, and sadistic, he was once the sheriff of the small unnamed Colorado town where the story takes place – and rather than trying to hide evidence of his prior and current corruption, he rubs everyone’s nose in it. I can’t say much more without giving away important and juicy plot elements.

So many of the cast members stand out. Both Boomie Pederson and Andrew Firda seem to land strong, often quirky, and interesting roles. Pedersen gives a satisfying and delightful performance in Stupid Kid, projecting sarcasm when needed but switching to a well-hidden tenderness that makes Gigi seem more authentic. Andrew Firda spends much of the play in a bathrobe and socks, bent over with back pain, yet still manages to display the strength and humanity of Eddie; Eddie has real problems, but there is something solid and dependable underneath it all. Firda never allows Eddie to become a figure of pity.

Adam Valentine portrays Chick as a young man whose life has been controlled by others – his parents, the prison system, his Uncle Mike – but has somehow managed to hold onto a sense of self. And then there’s Arik Cullen, who played Uncle Mike as a straight up bad guy with no redeeming qualities whatsoever. Some in the audience booed when he came out for his bow. Let’s not forget about Uncle Mike’s young ward, Hazel, played by Lorin Hope Turner.

A casebook study of child abuse, sex trafficking, domestic abuse, and more, Hazel’s mistreatment at the hands of Uncle Mike culminates in a shocking display featuring the show’s most violent and physically challenging scene. Jeannie Goodyear, as the nosy neighbor Franny watched all this, often with a bag of chips or some other snack at hand, as if it was a soap opera. Goodyear added a sense of the absurd and was a perfect counterpoint to the melodrama unfolding around her, even reporting the latest news concerning the town’s outrage over Chick’s early release.

There’s so much going on in Stupid Kid, but one thing is for sure; these people may lack what we think of as formal education, but they are certainly not stupid. There is much worthy of discussion, making this an appropriate choice as an Acts of Faith offering.

Alan Williamson designed an appropriately drab set that reflects the financial and emotional status of the Ford family. There is a large patch of duct tape on the living room chair and an impressive complete set change during intermission, from interior to exterior.  If anything, the outside of the house looks a little less shabby than the inside. Emily Laurelle Tappan designed the costumes to look like discount sticker day specials from the local thrift store.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Bill Sigafoos

 

 

 

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HARRIET TUBMAN AND THE UNDERGROUND RAILROAD: Captivating Children’s Theatre

HARRIET TUBMAN AND THE UNDERGROUND RAILROAD: “It’s Like History Class, With Music”

This production is part of the 2020 Acts of Faith theater season.

A Theater Review by Julinda D. Lewis, in collaboration with Kingston Marley Holmes (age 11) and Emmitt Christian Holmes (age 5)

At: Virginia Rep’s Children’s Theatre at Willow Lawn; 1601 Willow Lawn Drive, RVA 23230

Performances: January 24 – March 1, 2020

Ticket Prices: $21; contact the theater for discounted group rates or to apply for a free Community Tickets Grant for nonprofit organizations.

Info: (804) 282-2620 or virginiarep.org

Virginia Rep opened its 2019-2020 Children’s Theatre season with a magical musical, Tuck Everlasting, based on Natalie Babbitt’s children’s novel about a family that finds immortality in the waters of a remote spring in the New Hampshire countryside and the grieving young girl who befriends them. The second production of the season is Harriet Tubman and the Underground Railroad, a spirit-filled production with book and lyrics by Douglas Jones (who was in the audience opening night), music by Ron Barnett, direction by Katrinah Carol Lewis, and an energetic, tightly-knit ensemble of six who made the hour-long production speed by. “It felt like just ten minutes!” was Kingston’s estimate.

The content of Harriet Tubman and the Underground Railroad seems to be targeted primarily towards the older kids, say ages 9 and up, but even Emmitt was alert and committed – especially when he realized the audience was encouraged to snap, clap, and sing along. For parents, teachers, scout leaders, and other adult types, Harriet Tubman and the Underground Railroad is enjoyable, entertaining, and informative. The author, Jones, and director, Lewis, do not talk down to the younger audience members, and at the same time they avoid the trap of some children’s shows of including double entendre’d jokes and language designed to appeal to the adults. Well done.

I described the production as “spirit-filled,” and I intentionally meant that in two ways. The production includes several well-known African-American spirituals, including “Swing Low Sweet Chariot,” “ Go Down Moses,” “Wade in the Water,” and “Follow the Drinking Gourd.” Most include or encourage audience participation, and the text weaves in detailed but uncomplicated explanations of the hidden meanings of the words of these songs. The program, which doubles as a poster, includes a QR code that links to a 2-page PDF resource on Spirituals.

There is also a lovely 6-page PDF study guide with a brief bio of Harriet Tubman, a glossary of terms, critical thinking questions and conversation starters, interesting facts, activities, and a page about theater cues. You can find and print the guide here: https://va-rep.org/tour/guides.html

In a second sense, the program was spirit-filled with the ensemble’s acting and energy. Marjie Southerland (whose most recent local credit seems to be as Angela in the workshop productions of Warm, at The Firehouse Theatre last August) has the title role of Harriet Tubman while Elisabeth Ashby, Dan Cimo, Dorothy Dee-D. Miller, Gregory Morton, and Durron Marquis Tyre take on all the other roles: Tubman’s father, brothers, abolitionists, book publisher, passengers on the underground railroad. Southerland holds down the lead with confidence and sometimes a little well-placed humor, but this is truly an ensemble effort with everyone carrying their weight as well as a tune.

And finally, the program was spirit-filled through the words and memories of Harriet Tubman. And that is why, in spite of the lively music, and Emily Hake Massie’s simple, rustic, and serviceable set design, and Anthony Smith’s foot-tapping musical direction, and Sara Grady’s attractive period costumes (Kingston was particularly taken with Durron Tyre’s top hat) I found my eyes leaking from time to time. Tubman’s own words, spoken by Southerland, read from the text of Sarah H. Bradford’s biography about her, and resurrected in song, maintain the power to change the world, one life at a time. That is something the youngest audience members might not yet understand, but it was, for me, the singular purpose of this work, and in that it succeeded.

As far as the target audience was concerned, Emmitt declared Harriet Tubman and the Underground Railroad, “Good! It was awesome because of the actors.” And Kingston said, “It was like history class but fun, with music!” Walking to my car afterwards, Kingston and Emmitt debated the pros and cons of live theater versus television and movies. Live theater, Kingston concluded, “is more captivating.”

Mic Drop

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Check the Virginia Rep website for additional information on:

Sensory Friendly Performances suitable for patrons with Autism and other sensory or social disabilities. For these performances, changes will be made in lighting, sound, seating arrangements, and length of performance to create a more welcoming environment. A Sensory Friendly performance will be offered at 10:30 a.m. on Saturday, February 22. See the website for more details: http://va-rep.org/sensory_friendly.html

Audio Described Performances in collaboration with Virginia Voice, in which actions, expressions and gestures are described during gaps between dialogue throughout the performance for patrons with low vision or blindness. Patrons are also invited to participate in a tactile tour before the performance. An Audio Described performance will be offered at 2:00 p.m. on Sunday, January 26, 2020. Refer to the website for more details: https://va-rep.org/access_for_the_blind.html

Virginia Rep also offers a free Community Tickets Grant for nonprofit organizations who have a demonstrated need for complimentary tickets;  groups must fill out a short application that can be found at: bit.ly/CommunityTix

Performance Schedule

Evening performances at 7:00 p.m. on select Fridays, check the website for dates

Matinee performances at 2:00 p.m. every Saturday and Sunday

Matinee performances at 10:30 a.m. on select Saturdays, check the website for dates

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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Photos were not yet available at the time of this publication.

 

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THE GLASS MENAGERIE: A Memory Play

THE GLASS MENAGERIE: A Fragile Classic

A Theater Review by Julinda D. Lewis

5th Wall Theatre

At: TheatreLAB The Basement, 300 E. Broad St. RVA 23219

Performances: January 17 – February 8, 2020

Ticket Prices: $32 General Admission; $20 RVATA Cardholders; $20 Students

Info: (804) 359-2003 or 5thwalltheatre.org

5th Wall Theatre’s production of The Glass Menagerie, is a tender rendering of the Tennessee Williams classic, described as a “memory play” about a dysfunctional family. Told by a narrator who is also one of the four actors in this five-character play, the story of an aging southern belle and her attempts to marry off her shy and mentally fragile daughter and to direct her restless son into adulthood holds both universal truths and uniquely American appeal. Keep reading for a few more comments on this perspective.

I don’t recall reading The Glass Menagerie in high school (many decades ago) but I do remember seeing the 2013 production by the Sycamore Rouge Theatre (a great loss to Petersburg and the Richmond theater community). Where kb saine took the unusual route of having two men play the role of the narrator and the younger Tom Wingfield, Carol Piersol chose the more traditional route of using a single actor. Matt Bloch, who played both the older Tom, who is the author narrator and the younger Tom, was the gentleman caller in that earlier production. And I do believe I saw Dean Knight, who shared the role of Tom Wingfield in that earlier production with Deejay Gray (who is now the artistic director of TheatreLAB The Basement) sitting unobtrusively in the audience at The Basement watching the show. But enough small world reminiscing – the memory play was not meant to remind me of previous productions.

Morrie Piersol’s direction made Williams’ characters seem very believable, and even slightly humorous – and that’s no small feat when you’ve got a mother (Lian-Marie Holmes) who vacillates between longing for the past (i.e., the “Old South” of debutantes and gentleman callers being served lemonade by vast numbers of servants) and screeching at her adult children to make something of themselves and save them all from destitution. But this was the 1940s and today I’m sure someone would recommend therapy and perhaps a prescription for her. Lian-Marie Holmes, who I first remember seeing in 5th Wall’s recent production of Lost Boy Found in Whole Foods is once again playing someone’s mother, but this role is meatier and juicier and has more dimension. And Holmes, who appears to be quite petite in stature, has an enormous presence that commands the stage, even when she is speaking quietly.

Louise Keeton, in the role of the daughter, Laura, seems to try to physically transform herself in the opposite direction. You see, Laura, if she could, would not just make herself appear smaller, but would try to disappear entirely. Lost in her own world of glass animal figurines and scratchy Victrola recordings left by the father who abandoned them (the fifth character who appears as a gigantic portrait on one wall of the family’s shabby apartment), Laura nearly succeeds in disappearing. Her mother refuses to acknowledge her physical or mental challenges – a limp resulting from a childhood illness and low self-esteem resulting in part from overestimating the impact of the limp. Laura walks with her head down, avoids eye contact, speaks softly, and seems to shrink before our very eyes. The sadness on her face is heart-breaking.

Matt Bloch navigates a delicate balancing act: Tom is a poet, stuck in a monotonous warehouse job; he’s a single guy saddled with the responsibility of caring for a family; he’s been raised as a southern gentleman, but longs for adventure; he bears both the burden and the legacy of his father who is euphemistically described as a telephone man who “fell in love with long distance.” I think Piersol has guided Bloch well; his character could so easily go over the edge and seem selfish and uncaring or wimpy and brow-beaten, but there is clearly humanity in all the members of this family.

In the second act, we get to meet Jim O’Connor, the Gentleman Caller, played by Cooper Sved. Sved is lively and energetic and the only one who seems to really see Laura. But I just didn’t find him trustworthy. Perhaps it was because Tom made such a point of telling us about Jim’s public speaking classes, maybe that made him seem, perhaps, just a bit fake. Or maybe it was the way he brought Laura out of her shell, only to drop the bomb that he was already engaged to someone else. Was he, really? Or was this part of his smooth-talking persona? Good acting, Sved – you made me not like you (no small feat after Girlfriend, Huck and Tom, and Atlantis).

I said I would address those universal truths. So, The Glass Menagerie speaks longingly of the “Old South,” and Amanda is a card-carrying member of the DAR. who speaks warmly, if somewhat vaguely, of a youth filled with servants and “planters” and sons of planters, and acres of land and – well, you get the picture. So why doesn’t that bother me? Because those questions have already been addressed by the Howard University Players who performed the play as early as 1947 and even further by the legendary actress Ruby Dee, who played Amanda in 1989.  Dee replaced membership in the DAR with membership in DST sorority and updated the play’s historical perspective on several fronts.

Back to the present. . .

Tennessee Dixon designed the set and projections. The set, quite shabby throughout the first act – I was particularly repulsed by the bare mattress or cushion of the sofa – got spruced up for the Gentleman Caller in the second act with cushions and curtains, a tablecloth, a new lamp, and a cover for that awful sofa! The projections, which are part of the script, include pictures such as blue roses when Laura’s high school nickname is explained, as well as words and phrases, some from songs or poems, some taken from the character’s own words. I found the pictorial projections pretty, interesting, and helpful, but some of the verbal ones were distracting. I wanted to translate the French and when the words appeared before the characters spoke them, I temporarily lost the flow of the dialogue. Ryan Dygert’s sound design was mostly subtle and soothing, a panacea for Laura’s internal stress and Michael Jarett’s lighting was dark and moody. I’m not sure if the candlelight counts as lighting or direction or both, but when Laura blew out that final candle, we were sure this story had no happy ending. But, as promised in 5th Wall’s mission, it does provide us insight into the human condition.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Tom Topinka

 

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LATIN BALLET: Legend of the Poinsettia 2020

‘THE LATIN BALLET OF VIRGINIA: LEGEND OF THE POINSETTIA 2020

A Dance Review and Seasonal Observations by Julinda D. Lewis

At: The Cultural Arts Center at Glen Allen, 2880 Mountain Road, Glen Allen, VA, 23192

Performance Were: January 9-12, 2020

Ticket Prices: $10 – $20

Info: (804) 356-3876 or http://www.latinballet.com

The Legend of the Poinsettia is, for many, a local holiday tradition, much as The Nutcracker ballet has become in communities across the USA. This year I attended a Thursday morning production. Because it is designed for school field trips, the program has been truncated and lasts only one hour. I am familiar with the full-length two-act version and was impressed that the field trip edition is seamless, and if you didn’t know what was omitted, it didn’t feel as if anything was missing.

I noted that the indomitable Miss Frances Wessells, who normally dances the role of Abuelita, the grandmother, was absent. I understand that she is saving her appearance for the final performance on Sunday at 3:00pm, and at age 100 (yes, she officially became a centenarian last August!), she can choose to dance whenever and wherever she wants!

There was no soloist, singing “Ave Maria” as well as several other selections. Also, the life-sized nativity, where the Virgin Mary usually takes up residence for most of the second act, remained empty.

Other differences were not cast related. This year’s production has done away with the traditional, and sometimes bulky, set and replaced it with stunningly beautiful projections of background scenes, buildings, window boxes, the night sky, whatever is needed to enhance and promote the storyline. The program doesn’t list a credit for the projections, but Antonio hidalgo Paz is credited for lighting design and technical direction with Steve Kohler as technical assistant.

Dominion Energy sponsored the program as well as some of the schools present. But while the weather was sunny in Richmond and Glen Allen, some schools from Fredericksburg were forced to cancel due to snowy conditions just a little father north of the Glen Allen venue. Those present ooh’d and ahh’d when the curtain went up, and again when the company’s men – Jay Williams, Nicolas Betancourt Sotolongo, and Glen Lewis, performed flips and handsprings across the stage. But this is Latin Ballet, and I felt that the young attendees’ responses were subdued – either because this was their first time attending the theater experience or because their teachers and chaperones had cautioned them to be on their best behavior. And they were – on their best behavior, that is.

At the end, company member Jay Williams invited audience members onstage for a mini-hiphop class, which offered many aspiring performers the opportunity to show off their best moves. The young audience members seemed to enjoy meeting the cast, taking pictures, and getting autographs nearly as much as the performance itself.

            The Legend of the Poinsettia tells the story of Little Maria (with Sydney Smith and Kaia Davis-Martin, who performed on Thursday morning, alternating in the role).  After the sudden death of her mother, who was teaching her how to weave a colorful blanket, Maria finds herself in need of a gift to present to the Baby Jesus on Epiphany Day on January 6. Epiphany or Three King’s Day (Dia de los Tres Reyes Magos) celebrates the 12th day of Christmas and the legend of the three Wise Men bringing gifts to the Christ Child. This provides a great excuse for those who did not take down their Christmas trees on January 1 to just say you were waiting to celebrate Epiphany.

The narration, given in English and Spanish, also emphasizes that this is also the story of “the true spirit of giving.” Not only is there entertainment and a moral, but there is also history, as the program explains how the poinsettia came to be a symbol of Christmas after Joel Roberts Poinsett, first ambassador from the US to Mexico in 1825, imported clippings and cultivated the plants that came to bear

As I have written previously, The Legend of the Poinsettia is a family-friendly, multi-cultural, multi-generational festival featuring dances, music, and colorful costumes from Columbia, Mexico, and Spain. There are cultural offerings from Mexico (the origin of the legend and of the poinsettia plant), Colombia (King’s birthplace, which also celebrates the nine nights before Christmas with las novenas including songs, prayers, and nativity scenes), Venezuela (the home of the gaitas or festive songs that blend the Spanish and African cultures), the Dominican Republic (home of the bachata, a mixture of Cuban bolero and son), Puerto Rico (home of the Christmas parrandas or musical festivities) and Spain (home of flamenco and the Christmas novenas). A blend of solemn candle lighting and prayers with festive singing and dancing is the common thread that ties together the many cultures and traditions, concluding with the miracle of the poinsettia plant, represented by dancers in red and green. The Spirit of the Poinsettia, floating around the perimeter of the stage in a voluminous read gown from which individual poinsettia “plants” emerge, may remind some of the Mother Ginger figure in The Nutcracker who hides a dozen small children under her huge gown.

Tickets are still available for a weekend of family-friendly shows

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

—–

Photo Credits: Photos from Latin Ballet website; photos of Jay Williams working with the children by Julinda.

 

 

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21st ANNUAL YES! DANCE FESTIVAL: Presented by K Dance

K DANCE PRESENTS: 21st Annual Yes! Dance Festival

A Dance Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 W. Broad St, RVA 23220

Performances: December 20 & 21, 2019

Ticket Prices: $25 general; $15 for RVATA & Students

Info: (804) 355-2001 or firehousetheatre.org

This isn’t the first time K Dance has presented the Yes! Dance Festival at the Firehouse Theatre, but it is the first time as the venue’s resident dance company.

This year, the 21st annual Yes! Dance Festival presented a compact and somewhat mysterious collection of works by four companies – not including Kaye Weinstein Gary’s own K Dance – from across the USA. The festival is a great chance for those who don’t have the time or money to travel the nation to sample what’s happening in other parts of the country. Some of the artists are nationally and internationally known, with credits including Dance Magazine’s 25 to Watch list.

Catherine Messina (Atlanta, GA) performed her solo, “gamesetmatch,” which did not appear to have anything to do with tennis. Messina entered from the aisle, coming down the steep steps from the tech booth, and walked onto the stage where she sat and removed her boots and socks. Then she danced for a brief interlude, sinewy, winding phrases, interspersed with intense moments of silence in which she stared at the audience. Then, quite matter of factly, she sat, put her socks and boots on, and exited the same way she came. In a blog for Dance Canvas, Messina wrote that her work “centers around the intersection of strangers [sic] lives” and while she was not speaking specifically of this solo, “gamesetmatch” is steeped in a certain randomness that challenges the viewer to choose to engage or remain aloof. https://dancecanvas.wordpress.com/2019/12/19/catherinemessina/

Li Chiao-Ping Dance (Madison, WI) presented two works, the premiere of “here n o w here” and “moi non plus.” The first, a duet performed by Alfonso Cervera and piper Morgan Hayes, included the narrative by the dancers, variations of “barely there, bodily here.” The dancers dressed themselves from a scattered collection of clothes placed on the floor (matching gray sweaters and plaid leggings), moved through a compelling selection of intertwining movement phrases that bore the kiss of contact improvisation. Soloist Lauren Johns, dressed in a cutaway white dress with bustier top moved through “moi non plus” with an air of mystery mixed with boldness; I wondered later if the work was a direct response to the song and later the erotic film that share the same title. https://en.wikipedia.org/wiki/Je_t%27aime…_moi_non_plus

slowdanger (Pittsburgh, PA) is the creative partnership of anna thompson and taylor knight. They performed their duet, “memory 6,” in layers of clothes topped wit ski masks. Their look and sometimes sustained movement reminded me of the noh drama-inspired works of Eiko and Koma, The two slowly built up to a level of transcendence and just when it seemed we were about to be lifted to another plane with them, thompson broke the spell with a single loud clap, and the duo removed their ski masks are returned to earth. The company’s website describes “memory 6” as the seventh installment of a series, in which, “while traversing a purgatory of their own fragmented memories, two bodies combine to build a new form through movement and sound.” http://www.slowdangerslowdanger.com/memory-6.html

MamLuft & Co. Dance (Cincinnati, OH) also presented two works. “You Are Mine!,” choreographed b Hannah Williamson, proved to be darkly dramatic. It was performed by 4 women and 1 male dancer, all dressed in black. One commandeered a throne-like, high-backed chair, and seemed alternately to be in charge and to be the object of the other’s attention. Susan Honer’s “Solos for Woman,” dancer Claire Dieringer shed layers of black to reveal a rainbow striped unitard. The company normally specializes in evening-length dance theater works and their works often examine socially relevant subject matter such as shifts of power, aging, and memory loss. https://www.mamluftcodance.org/about

K Dance closed the program with “Leaf on the Wind,” a dance based on Cynthia Uhrich and Jen Tuder’s five-minute play of the same name, directed by Jacqueline Jones and choreographed by Kaye Weinstein Gary. Two green leaves (Jessica Rawls and Andrew Etheredge) shared a tree with an orange leaf (Gary). A fourth character, a Garden Gnome (Courtney Hans) seemed to have a bit more to do than in the original script as she subtly rotated on a stool in a downstage corner, indicating, I assume, the passage of time (although she moved counterclock-wise). The play started off humorously enough, but it soon became evident that Green Leaf 1 (Rawls) was a bit of a bully bend on discriminating against the Orange Leaf, while her branch-mate, Green Leaf 2 (Etheridge) was intent on keeping the peace. As the work progressed from humor to melodrama, the play evolved into choreography that reflected and eventually resolved the conflict.

A signature of Gary’s Dance Festivals is the Re-Cap that features dancers from all the companies in a brief finale. The works seemed to feature a common thread of some sort of conflict or confrontation, although there was no specified theme. All of this took place in the space of ninety minutes, which was just the right amount of dance in just the right amount of time. For those who did not get to opening night, there are performances at 3pm and 8pm Saturday, and the Saturday evening performance will be followed by a talk with the performers.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Sarah Ferguson & The Firehouse Web Page

 

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RICHMOND BALLET: Why Do We Love “The Nutcracker”?

RICHMOND BALLET: The Nutcracker – a Holiday Classic

Reflections on a Ballet by Julinda D. Lewis

At: Dominion Energy Center for the Performing Arts | Carpenter Theatre | 600 E. Grace St., RVA 23219

Performances: December 13-23, 2019

Ticket Prices: $25-$125

Info: (804) 344-0906 x224 or etix.com

Why is The Nutcracker a holiday tradition – what do nutcrackers have to do with Christmas? According to German folklore, nutcrackers bring good luck and protection to your family and home. It represents power and strength, guarding your family against danger and baring its teeth to ward off evil spirits while serving as a messenger of goodwill.

The Nutcracker character originated with Prussian author E.T.A. Hoffman’s 1816 story, The Nutcracker and The King of Mice. In the story, the Stahlbaum family has an annual Christmas party and their children, Marie, Fritz, and their sister Louise, receive gifts from their godfather, Drosselmeyer, a clockmaker with a talent for making mechanical toys. The story, filled with

about the triumph of good over evil. In 1844 French author Alexander Dumas père, adapted Hoffman’s story, changing Marie’s name to Clara. The family became the Silberhauses. This was the version that became a ballet, created in 1892 by Russian composer Pyotr Ilyich Tchaikovsky and choreographers Marius Petipa (French) and Lev Ivanov (Russian). The Petipa and Ivanov choreography became the model for many of our contemporary productions.

The Richmond Ballet’s production of The Nutcracker was conceived by the company’s Artistic Director, Stoner Winslett and Charles Caldwell with artistic direction and choreography by Winslett and scenery and props by Caldwell. (The magical tree was designed by Alain Vaës and the lush costumes are by David Heuvel.) This year marks Winslett’s 40th production of the holiday classic for Richmond Ballet. From time to time, she makes changes and refreshes the ballet, which keeps it as interesting for the dancers as it is for the audiences.

The Richmond Ballet Nutcracker is a beautifully mounted production that appeals to both children and adults. There is, of course, dancing. While the “star” of the show is Clara, danced on Wednesday by McKenzie Fisher, who shares the coveted role with Kyla Williams, there is plenty of dancing by the adult company members.  There is a lovely duet for the Snow Queen and King (Melissa Frain and Ira White) and later Lauren Archer and Trevor Davis, the Sugar Plum Fairy and her Cavalier, danced the “Grand Pas de Deux.” After spending the fall semester teaching dance history, it was hard not to think of the changing roles of men and women in ballet from the Classical period (of which The Nutcracker is a prime example) to the Romantic period (when women became more prominent). I was torn between watching Davis spin Archer with mechanical precision – almost as if she were one of Drosselmeyer’s inventions — and gasping in awe as she ran and leaped, landing precariously and gloriously atop his shoulder. Repeatedly.

This ballet is also filled with character dancing, from the halting waltz by the grandparents (Susan Massey and Marcelo Outeiro) to the mouse battle with Anthony Oates as the Mouse King. The second act has something for everyone, dancing flowers and angels, and specialty dances (Spanish, Arabian, Chinese,  Russian, and more. Izabella Tokev and Fernando Sabino were mesmerizing as the Snake and Her Charmer, and the Russian dancers, Patrick Lennon and Logan O’Neil with Matthew Frain as their Dancing Bear is always a favorite. The Trépak, based on a traditional Ukranian folk dance has the men jumping in the air, then spinning on the floor like break dancers, while the bear adds a touch of humor, wearing red shoes to accent his furry costume, and moon walking off the stage while blowing kisses to the audience.

But wait, there’s more. The costumes are stunning, providing a visual delight, along with the huge, colorful set and props like the magical Swan Sleigh that glides across the stage carrying Clara and her Little Prince (Nicholas Blankenship).

And, finally, there is Tchaikovsky’s beautiful score. It is familiar from the opening notes through the Finale and is probably the first classical music many children are ever exposed to. There are magical melodies associated with each scene that evoke memories of previous productions and prompt associations with idealized visions of Christmases past, present, and yet to come. The icing on the cake in this kingdom of sweets is that the music is played live, by the Richmond Symphony Orchestra, conducted by Erin Freeman and a 30+ member Snow Choir, directed by Lisa Fusco.

The Nutcracker wraps young and old in a warm, familiar fantasy. It means Christmas and traditions and family, and a complete letting go of the stresses of everyday life for two hours of joy.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Richmond Ballet Facebook Page

 

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GREAT CAESAR’S GHOST: Bifocals Senior Theatre

GREAT CAESAR’S GHOST: Bifocals Turns a Lens on A Christmas Carol

A Theater Review by Julinda D. Lewis

At: CAT Theatre, 419 No. Wilkinson Rd., RVA 23227

Performances: December 16, 2019

Ticket Prices: $10

Info: (703) 501-6811 or cat@cattheatre.com

I’ve been aware of the Bifocals Senior Theatre for quite some time, but this was the first time I actually got to see them in action. The company of seniors (55+) for seniors regularly tours to area senior centers, but they present two performances (one matinee and one evening on the same day) of each show at the CAT Theatre on No. Wilkinson Road.

The current show, Great Caesar’s Ghost, the first of four touring events for the season, is a humorous take on Charles Dickens’ A Christmas Carol. Here, a woman business owner who has a reputation of being hard to get along with gets a visit from the ghost of Julius Caesar who shows her the error of her ways. The pared-down plot doesn’t bother to take her on a journey to the past, present, and future, but the result is the same.

Anne Kight Lloyd plays the lead role of Patricia Watson with an appropriately hard-nosed edginess – perhaps slightly influenced by Meryl Streep in The Devil Wears Prada. Peter Holleran is Caesar’s Ghost – in sandals, a toga, golden arm bands and a laurel wreath headband. In contrast to Lloyd, his character is more along the lines of, let’s say, Steve Martin – over-the-top and played for laughs.

Donna Toliver-Walker and Rob Stuebner fill all the supporting roles; each play three characters, often communicating with the formidable Ms. Watson via phone – the kind with curly cords!

Running under an hour with no intermission and including a holiday sing-along at the end, Great Caesar’s Ghost is an amusing divertissement. The production’s sparse set, consisting of a desk with a laptop and telephone, a door frame, and a pedestal that does double duty as a telephone stand as well as a concierge desk, along with the minimal lighting make this production easy to transport and I imagine it would probably be a welcome addition to a senior center’s programming.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: CAT Theatre Facebook page

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THE WILD WOMEN OF WINEDALE: A New Jones, Hope, Wooten Women’s Comedy

THE WILD WOMEN OF WINEDALE: A New Jones Hope Wooten Comedy

A Theater Review by Julinda D. Lewis

At: CAT Theatre, 419 No. Wilkinson Rd., RVA 23227

Performances: December 6-21, 2019

Ticket Prices: $25 Adults; $20 RVATA Members; $15 Students

Info: (804) 804-262-9760 or cat@cattheatre.com

Another comedy by the team who brought us The Dixie Swim Club, The Savannah Sipping Society, Always a Bridesmaid, Doublewide, Texas, and more, The Wild Women of Winedale premiered in Jonesborough, Tennessee in October 2018. Like other plays by the trio, Jessie Jones, Nicholas Hope, and Jamie Wooten, The Wild Women of Winedale is set in the present and takes as its subject the life defining events of a group of mature women. It takes place over two months in the late spring (so no, it isn’t a holiday play) in the apparently fictitious town of Winedale, VA, not far from Richmond. One sister, Fanny Wild Cantrelle, played by Rebekah Spence, works for The Museum of Virginia (and that is not a typo).

Fanny’s sister, Willa Wild (Pamela Bradley) is a nurse, and the two are caring for their elderly beloved aunt who is on her deathbed when the already burdened household is descended upon by their sister-in-law Johnnie Faye Wild (Annie Zannetti) who is affectionately known as “Jef.”  In the all-female cast, Audrey Sparrow and Kathy Northrop Parker play all the supporting roles – primarily a series of women who are being interviewed by Fanny for a video project on life-defining moments in the lives of women. One interview, which I call the mother monologue, was particularly heartfelt. Widowhood, divorce, the loss of jobs, job stress, and the death of their beloved aunt anchor these women. Secrets and old rivalries are revealed and provide fuel for hijinks and hilarity as these mid-50 to 60 year old women struggle to find new meaning in life.

Directed by Amy Berlin, the laughs come non-stop and the timing is excellent – in the first act. I was beginning to think this was one of my favorite Jones, Hope, Wooten shows, but then, suddenly, the second act seemed to lose the momentum and flair that won me over in Act 1. Still, Joe Bly’s homey cluttered living room set was nicely done – and kudos to the production team members who had to clean up after Fanny’s feverish de-cluttering epiphany. Greg Sparrow’s sound design was also a key element, with rainstorms and dripping water from a roof with multiple leaks, and there was also a very appropriate soundtrack that fit perfectly with characters’ utterances.

The Wild Women of Winedale is entertaining, sweet, and funny; the laughs come easily and frequently. It seemed to lag a bit in Act 2, but fans of the Jones, Hope, Wooten catalog of comedy should find it satisfying.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Daryll Morgan Studios

 

 

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CONCERT BALLET OF VIRGINIA: 43rd Annual “Nutcracker”

THE CONCERT BALLET OF VIRGINIA: The Nutcracker

Observations on the Nutcracker, 43rd Annual Production by Julinda D. Lewis

At: Atlee High School Theatre, 9414 Atlee Station Rd., Mechanicsville, VA 23116

Performances: December 14, 15, 20-21, 2019

Ticket Prices: $12-24

Info: (804) 798-0945 or http://concertballet.com/ or concertballetofvirginia@yahoo.com

I’ve seen many of the Concert Ballet of Virginia galas, and even the pared-down excerpts of The Nutcracker, but this is the first time I’ve seen their full-length version of the holiday classic.

Synopsis: The Silberhaus’ host their annual Christmas party, attended by their children Clara and Fritz and an assortment of family and friends. Clara receives a pair of dancing slipper and her brother received a sword and a mechanical rat – which he and his friends promptly put to use terrorizing the girls. A family friend, the mysterious Drosselmeyer, arrived late and gives Clara a Nutcracker that has magical powers. When all the guests have gone home, Clara comes to retrieve her Nutcracker, but it comes to life and takes Clara on a Christmas adventure filled with soldiers and horses, battling mice, a Snow Queen, a Sugar Plum Fairy, a Cavalier, and other fantastic characters.

The familiar score by Tchaikovsky and traditional choreography after Marius Petipa and Lev Ivanov as conceived by the late deVeaux Riddick captured and held the attention of the audience made up predominantly of families with young children. The story of Clara and her mischievous little brother Fritz is filled with humorous scenes that a young audience can relate to, and the magic of the mildly menacing family friend, Drosselmeyer, keeps the story interesting.

The variety of the “Divertissements” in Act II (Spanish, Arabian, Chinese, Russian, and Mother Ginger – here called Mother GingGong – along with acrobatic clowns and waltzing flowers) allows for a display of diverse genres and the multiple abilities of this community dance company (all unsalaried), “operating within the framework of a professional dance company.”

The scenery, by artistic director Scott Boyer and costumes (by a full team consisting of Erline Eason, Cecil Carter, Jill Driskill, Patricia Morris, Kay Allen, Mary Beth Rhyne,  Ann Reid, Corinne Abernathy, Kim Gangloff, and Tracey Latham) were a beautiful treat for the eyes. They even engineered snow falling gently on the Snowflakes corps de ballet scene.

The Nutcracker is often a young dancer’s – or audience member’s – first exposure to ballet, and this production, while lacking in virtuoso technique and clarity and definition of line, is a visual and musical treat that just might stimulate the interest of new young dancers and future balletomanes.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Concert Ballet of Virginia Facebook page

Concert Ballet NutcrackerConcert Ballet Nutcracker2

 

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IN LOVE WE TRUST: A life’s story of love found, love lost, thru songs that make us smile

[NOTE: This post has been annotated. It may clarify some confusion, or further offend some readers. The former is preferable.]

IN LOVE WE TRUST: It’s Not a Play; It’s a Party

A Theater-Party Review by Julinda D. Lewis

At: HATTheatre, 1124 Westbriar Dr., RVA (Tuckahoe) 23238

Performances: December 6-14, 2019

Ticket Prices: $25 Adults; $20 Seniors; $15 Youth/Students with ID/Groups, & RVA On Stage cardholders; Reservations Required – No tickets at the door

Info: (804) 343-6364 or hattheatre.org

In Love We Trust, conceptualized and musically directed by Anthony Williams, is HATTheatre’s response to the daily stresses of the season. “It’s not a play. It’s not a traditional musical. It’s a party!” That’s what the press release said.

“You came to my party!” Williams gushed as he entered the space, with the band on the floor, opposite the entrance door, and the audience seated cabaret style around the black box – including the raised platform usually used as the stage. [NOTE: Apparently “platform” is the wrong terminology to describe the main stage. Does everyone automatically know or assume that a stage is raised? Guess I won’t make that mistake again.]

The show consisted of about twenty pop songs, ranging from Earth, Wind & Fire’s “Fanatasy” to Diana Ross’ “Ain’t No Mountain High Enough” and Barbra Streisand’s “Stoney End.” There were familiar songs like Crystal Gayle’s “Don’t It Make My Brow Eyes Blue” and Carly Simon’s “You’re So Vain” and less familiar songs such as Brian Hyland’s “Sealed with a Kiss.”

There was no script, but the songs were arranged in a way that reflected Williams’ life and loves. Williams, seated at the keyboard, was backed up by Jeremiah Martin on guitar (Forrest Link played guitar the first weekend) and percussionist Steve Raybould. Raybould joined in the patter and easy banter, while Martin, who appeared decades younger than most of the others, kept his attention strictly on his guitar. Casey Dillon, Andrew Etheredge, and Robyn O’Neill joined Williams to sing the vocals. This trio interacted with the audience, rotating around the space, and occasionally providing a nugget of history or love, or sometimes a completely nonsensical statement, as if testing to see if the audience was really paying attention.  [NOTE: Never mention anyone’s age. Or size. Or gender? Or looks? not even if I find it interesting. I must be getting too old to keep up with all the things that might be considered offensive.]

Two young men who sat near the door and directly in front of the band seemed to know all the words and appeared to be having more fun than everyone else. I said hello after the show and asked if the more vocal of the two might be a student of Vicki Scallion, and sure enough, he was!  [NOTE: I thought this comment illustrated that the show was engaging, and I personally was hoping to see the enthusiastic actor perform in the near future. Unfortunately, I was later informed that my comment was highly offensive to some readers. I cannot predict how people will react to things I say, but be assured my intent was not to single out anyone with the intent to offend. I often comment on the reactions of others in the audience – never mentioning any names (except when my 5- & 10-year old grandsons attend the Children’s Theatre with me and I include their perspectives because they are the target audience ) – so that my readers can have an understanding of how a performance affected others who were at the same performance and may have had a response different or more intense than my own.]

Deb Clinton, who is usually noted for her direction, was listed as the program’s Creative Consultant and there were no costumes or set design or lighting design, although there were some flashing Christmas lights at the beginning, and a string of Christmas lights marked off a dance-floor sized space in the ceiling.

The songfest, which ran just over an hour without intermission and included complimentary hot drinks (coffee, tea, cocoa, and cider) and desserts (e.g., cream puffs, cookies, chocolates) wasn’t a play or a musical, but it fell short of being a real party, as the audience remained seated and didn’t really mingle. The songs were lively, and the performers were relaxed but it seemed that they never really get go and gave it their all. It was as if were having a party but being careful not to disturb the neighbors because they are known for calling the local precinct to lodge noise complaints against anyone who appears to be having fun.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: there were no photos at the time of publication

in-love-we-trust-logo-2

 

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ALWAYS. . .PATSY CLINE: A “Honky Tonk Merry Go Round” of “Sweet Dreams” and “Faded Love”

ALWAYS. . .PATSY CLINE: Come on In (And Sit Right Down)

A Theater Review by Julinda D. Lewis

At: Virginia Repertory Theatre at Hanover Tavern, 13181 Hanover Courthouse Road, Hanover, VA 23069

Performances: November 15, 2019 – January 5, 2020

Ticket Prices: $44

Info: (804) 282-2620 or www.virginiarep.org

Always. . .Patsy Cline is a two-person show that pays homage to a legendary country music icon. Born in Winchester, VA, Cline died in a plane crash in 1963 while on the way home from performing a show in Missouri. She was only 30 years old at the time of her death, but she had been performing since the age of 14 and left a lasting impression as one of the first country music artists to cross over into the pop music world. Cline made other inroads in music history as a woman in country music, but that’s not the main point of Ted Swindley’s fact-based play, Always. . .Patsy Cline.

You don’t need to know anything about Cline or even be a fan of country music to enjoy this play filled with the music of Cline as sung by the more-than-capable Debra Wagoner. Wagoner’s excellent singing is perfectly balanced by the comedic narration of Terri More as Cline’s friend and number one fan, Louise Seger. This isn’t the first time either woman has played these roles, having performed the show at Hanover Tavern and Willow Lawn in 2012. Then as now, the seemingly effortless flow of the show – which is like a Cline concert interrupted by  Louise’s flashbacks – was directed by Joe Pabst.

A five-piece band, consisting of piano, bass, fiddle, drums, and guitar, remains onstage. Near the end of the first act Wagoner, as Cline, takes a break to introduce the band – giving them the stereotypical countrified names Jim Bob, Joe Bob, Jay Bob, Billy Bob, and of course, Bob who collectively make up – what else? – the Bodacious Bobcats. Jeff Lindquist, who plays guitar in the band, is also the show’s musical director.

Wagoner has several comedic moments and spends a lot of time looking incredulously at Moore, who’s comic shenanigans are epic. The phrase, “bless her heart,” was uttered at least once. Moore has some memorable moves, including her enthusiastically receive bump-and-grind walk and her miming of driving her character’s pink and black Pontiac, lovingly named Sexy Dude. Moore has great timing and flawlessly delivers her over-the-top lines. Cline’s friend raised fan-dom to new heights, spontaneously introducing herself to Cline and then portraying herself as Cline’s manager to get her a better rate at a club. She feeds her, chauffeurs her, listens to her, and incredulously connects woman-to-woman creating a friendship that lasted until Cline’s untimely death.

This is the story that Swindley has captured in a two-hour, two-act play – Louise’s loving memory of her friend, not just the star, but the woman, the mother, the wife. Along the way, Moore gets to sing a measure or two as well, as her character joins Cline on stage, hypes up the audience, leads the audience in a sing-along, and cajoles an audience member into dancing with her. Moore’s storytelling is so natural that we hang on her every word. She even chides the audience for not finishing her sentence after using a particular phrase repeatedly.

Derek Dumais’ sound design is impeccable. We can understand every word Wagoner croons. Special effects are used sparingly. Terrie Powers’ scenic design is understated. One side of the space is a honky tonk stage, the other holds a revolving platform that houses Louise’s kitchen, the audience’s area of the honky tonk, and an outer room of a radio station. But what I really loved were Wagoner’s dresses; she wore at least three beautiful, elegant dresses, and my daughter and I both gushed when, at one point, she fumbled around a bit and then thrust her hands into the pockets of her full-skirted dress.

You don’t have to love country music or know the music of Patsy Cline to enjoy this show. Wagoner demonstrated a range, in vocal ability and in genre, worthy of the woman she portrayed. With nearly 30 songs, there’s more than enough to please everyone at least some of the time. I especially enjoyed familiar tunes like “Back in Baby’s Arms,” “Your Cheatin’ Heart,” “Shake, Rattle and Roll,” and “Bill Bailey.” She also sang traditional songs of faith like “Just a Closer Walk” and “How Great Thou Art,” and a lullaby for Louise’s young son. There were love songs, torch songs, ballads, and upbeat songs, including “Walkin’ After Midnight,” “Stupid Cupid,” and “Crazy.”

Despite its somewhat sad ending – it’s not a spoiler to write that Cline dies at the end, because all who are familiar with her know this going in – Always. . .Patsy Cline (a phrase taken from the tag line of Cline’s letters to her friend) is a feel-good play, filled with good humor and even better music.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Aaron Sutten

 

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URINETOWN: Nobody Pees for Free!

URINETOWN: Power to the People

A Theater Review by Julinda D. Lewis

At: TheatreLab, The Basement, 300 E. Broad St, RVA 23219

Performances: September 12-28, 2019

Ticket Prices: $35 General Admission; $25 Seniors & Industry/RVATA; $10 Students and Teachers with ID

Info: (804) 506-3533 or TheatreLABrva.org

Last season TheatreLAB blew us away with their stellar production of Sweeney Todd: The Demon Barber of Fleet Street. Now, with their latest production, Urinetown, the Musical it seems fair to say that TheatreLAB is establishing itself as a small theater that successfully produces big musicals.

Of course, I’ve heard of  Urinetown. The musical, with music and lyrics by Mark Hollmann and book and lyrics by Greg Kotis, debuted in 2001 at the New York International Fringe Festival before moving to off-Broadway and then onto Broadway. But this is the first time I’ve seen it.

Gutsy and irreverent, Urinetown, the Musical parodies musicals while commenting on corrupt corporations, big government, social oppression, problems with our legal system, ecology, economics, and more. As the narrators – Officer Lockstock (Bianca Bryan) and Little Sally (Kelsey Cordrey) – are quick to point out, Urinetown, the Musical tackles these tough subjects against a background of upbeat music and songs. At one point Bryan’s character, the tough-as-nails Officer Lockstock who is never successful at reigning in Cordrey’s character – a precocious little girl who appears to be an emancipated minor – informs the unnervingly perceptive Little Sally that the truth about Urinetown will be revealed in Act 2, with nice music and “everybody singing and things like that.” There’s also fun choreography by Nicole Morris-Anastasi – the latest in a number of local shows she’s choreographed that are worthy of note; it’s exciting watching an artist hone their craft.

Urinetown, the Musical is set in an unspecific location in an unspecified time. What we do know is that there has been a drought for twenty years, water is scarce, and people are forced to use public bathrooms run by a private company that gouges its customers and exacts horrible penalties for those who cannot or will not pay. Our hero, Bobby Strong, played by Matt Shofner, finally snaps and decides enough is enough after his father is sent to Urinetown after refusing to pay to use the seedy Public Amenity #9 where Bobby is an assistant custodian. Bobby becomes the leader of a rebellion. Along the way he meets, falls in love with, and kidnaps the beautiful Hope Cladwell (Madison Hatfield), initially unaware that she is the daughter of the Caldwell B. Cladwell (Luke Schares), the CEO of the Urine Good Company that employs him and his frugal supervisor Penelope Pennywise (Michaela Nicole). Bobby, his father, and Little Sally find out what Urinetown really is, Penelope Pennywise reveals a startling secret, and much to Little Sally’s consternation, there is no happy ending.

But, there are laughs, and plenty of them, some good singing, and some excellent ensemble work from actors, some of whom do double duty as musicians. I truly enjoyed Matt Shofner as Bobby Strong; he was quirky and funny, knowing when to go over the top and when to focus on balancing compassion with rebellion. Bianca Bryan, in the role of Officer Lockstock (whose partner’s name is Officer Barrel) continues to build upon her repertoire of strong and often sinister characters. As a character who doubles as the play’s narrator, she gets to direct her penetrating gaze and frequent smirks directly at the audience. Kelsey Cordrey, Levi Meerovich, and other characters also get up close and familiar with the audience. One character even sits on the lap of an audience member during the opening scene.

Cordrey’s portrayal of Little Sally is one of my favorite parts of the show. She’s the smart little kid who knows more than most of the adults around her and won’t take no for an answer. Michaela Nicole was another favorite, and Maggie Bavolack, Anne Michelle Forbes, and Levi Meerovich gave strong supporting performances. Meerovich and Travis West (Officer Barrel) both played piano and Bavolack alternated playing the clarinet with playing the role of Bobby’s mother. Joe Lubman, the drummer, had no other character and remained in his orange prison jumpsuit, with a half mask reminiscent of Hannibal Lector.

Matt Polson directed. It’s his first time directing at TheatreLAB, but he directed Urinetown at Maggie Walker Governor’s School. Travis West, who played piano, was musical director, with musical supervision by Jason Marks. I’ve already credited the choreography to Nicole Morris-Anastasi; Kelsey Cordrey served as dance captain. Connor Potter’s scenic design is functional and basic – some steps up to an upper platform, some panels, a place to hang and store props on either side. Ruth Hedberg’s costumes (with the assistance of Autumn Foster) are appropriately tattered and scruffy while sound and lights by Joey Luck and Michael Jarrett respectively lived up to the level of excellence expected of these two – helping bring Polson’s vision to life while remaining unobtrusively in the background.

The device of having the narrators weave in and out of character and speak directly to the audience makes the audience co-conspirators in the shenanigans and prepares us to keep laughing even when we know there’s not going to be a happy ending. Urinetown, the Musical is a perfect choice for TheatreLAB’s seventh season, “Power and Privilege.” It’s funny and quirky and unapologetically honest.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Tom Topinka

Urinetown Production Photo by Tom Topinka-8
Matt Shofner and Bianca Bryan

Urinetown Production Photo by Tom Topinka-4
Allison Paige Gilman and cast of Urinetown

Urinetown Production Photo by Tom Topinka-3
Matt Shofner and cast of Urinetown

Urinetown Production Photo by Tom Topinka-2
Michaela Nicole and Matt Shofner and cast of Urinetown

Urinetown Production Photo by Tom Topinka-1
Matt Shofner and cast of Urinetown

 

 

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THE MYSTERY OF EDWIN DROOD: Not Just Another WhoDunIt, But Was-It-Even-Done?

THE MYSTERY OF EDWIN DROOD: A Different Ending Every Night!

A Theater Review by Julinda D. Lewis

At: Swift Creek Mill Theatre, 17401 Jefferson Davis Highway, Colonial Heights, VA 23834

Performances: November 16 – December 28, 2019

Ticket Prices: $40 Theater only; $35 Seniors, Military & Students; $18 Dinner

Info: (804) 748-5203 or swiftcreekmill.com

Swift Creek Mill Theatre opened the 2019-2020 season with Jeffrey Hatcher’s unconventional Sherlock Holmes mystery, Holmes and Watson (https://jdldancesrva.com/2019/09/21/holmes-and-watson-its-not-what-you-think/) and now they’re presenting another non-traditional mystery, Rupert Holmes’ The Mystery of Edwin Drood.

The Mystery of Edwin Drood is based on the unfinished last novel of Charles Dickens, who died of a stroke while working on the book. Hatcher, who wrote the book, music, and lyrics (now there’s an accomplishment you don’t see every day), infused Dickens’ story with humor by setting it as a play within a play, performed by the members of the Music Hall Royale, a Victorian music hall.

The cast – actual and fictitious – is rowdy and bawdy. They start out mingling in the audience, telling cheesy jokes, sitting next to audience members, and testing the waters with double entendre. The huge cast – nearly twenty – often spills over the edges of the relatively small stage, and director Tom Width, who clearly enjoys this unbridled parody, uses this to heighten the comic effect and interactive nature of the show.

There are some strong voices, particularly Michael Gray as the protagonist John Jasper, and Paige Reisenfeld as the romantic interest, Rosa Bud. Ian Page, an antagonist, uses a high-stepping walk and simmering facial expressions to great comic effect. The “Chairman”  or Master of Ceremonies, Richard Travis, is appropriately blundering and bombastic by turn and keeps things rolling along with the help of his gavel-wielding stagehand, Alvan Bolling, II.

The title role of Edwin Drood is played by Alice Nutting – a character who is a male impersonator (yes, that was a thing in Victorian theater) – who is in turn portrayed by actor Rachel Marrs.

Donna Marie Miller, in her first Swift Creek show, is also quite funny; her character even makes fun of her unidentifiable accent, and Jacqueline O’Connor was fascinating as her character, a drug-dealing prostitute, ranged from bawdy to tender when she reminisced about being leading lady Rosa Bud’s former nanny, then ended up being paired with the very amusing drunken sexton Michael McMullen in an engineered happy ending. They were paired by audience applause!

As Act 2 winds down – it actually sort of stumbles to a false end due to the death of its author – the audience is called on to vote for the murderer of Edwin Drood, who disappeared one night never to be seen or heard from, for some six months! The audience vote determines who sings the final two songs (not including the finale) and how the final scene ends.

In addition to directing, Tom Width also did the scenic design, a replica of a Victorian music hall stage embellished with lighting by Joe Doran, lively choreography by Alissa Pagnotti, and some lovely period costumes by Maura Lynch Cravey. Musical director Gabrielle Maes kept things moving along, but all too frequently the music was too loud, overpowering the vocals, to the point where an occasional word and even entire phrases got swallowed up. At least two people who were sitting behind me on the right hand side moved to empty center seats during intermission, hoping to balance the uneven sound. I didn’t get a chance to ask later if it had made a difference.

Ultimately, The Mystery of Edwin Drood is lite entertainment (yes, I meant to spell it that way); it amuses without pushing a message or focusing on a moral or worries about being politically correct or any of that. There’s a low-key holiday factor, with a Christmas tree downstage right, a few wreaths and an un-stressed mention of Christmas by one or more of the characters.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Robyn O’Neill Photography

 

 

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CINDERELLA: Not Your Childhood Bedtime Story

CINDERELLA: Rogers & Hammerstein’s Musical Comedy

A Theater Review by Julinda D. Lewis

At: The November Theatre Marjorie Arenstein Stage

Performances: November 29, 2019 – January 5, 2020

Ticket Prices: $36-63

Info: (804) 282-2620 or www.virginiarep.org

Don’t expect a traditional Cinderella from this production with music by Richard Rodgers, Lyrica by Oscar Hammerstein, II, and book by Douglas Carter Beane. Originally written for television, Cinderella aired live on CBS in 1957 with Julie Andrews in the title role. Beane wrote a new book for the 2013 Broadway adaptation that includes some plot twists and introduces new characters – adding hilarity as well as a new political and social slant that makes the plot more interesting for adults without sacrificing the wide-eyed fascination and delight of younger audience members.

SPOILER ALERT: If you don’t want to know the details of the adaptation, STOP! Skip to the final two paragraphs, then read the rest after seeing the show.

In this version, Cinderella’s father has died, leaving her at the mercy of her cruel stepmother and stepsisters. Susan Sanford plays the role of Madame, the selfish and self-centered stepmother. She is, being Susan Sanford, deliciously droll and completely over the top. Madame is so committed to being mean that she has a mini-meltdown when Cinderella says something kind to her at the prince’s ball while playing a game called Ridicule (imagine a mix of musical chairs and Words Against Humanity).

Audra Honaker plays Charlotte, the less favored sister – and Madame takes every opportunity to make sure she knows it. Honaker plays the role with a gravelly voice and a crude attitude (imagine a young Rosie O’Donnell, before she fell out of favor) pulling up her ballgown, removing one shoe, and sitting on the palace steps in the female version of manspreading. She goes for the physical humor and hits the mark nearly every time.

Havy Nguyen plays the favored and more conventionally attractive sister, Gabrielle. Gabrielle is more refined, not as loud, and kinder. Surprisingly, Gabrielle is sympathetic to Cinderella’s plight, and the two form a sisterly bond, sharing secrets and commiserating over their common oppression by Madame’s heavy-handed control.

Gabrielle isn’t really interested in the prince, because she is in love with Jean-Michel, a new character, played by Durron Marquis Tyre. Jean-Michel is a social activist, holding court in the marketplace and shouting outside the palace gates, trying to get the attention of Prince Topher (Edward L. Simon) to convince him to help the poor and disenfranchised citizen who are being evicted and losing their homes and land. Tyre’s character is a rabble-rouser in the marketplace, but shy and somewhat tongue-tied around Gabrielle. For their first date, he plans to take her to a soup kitchen to feed the poor.

Speaking of the poor. . .Prominent among the town’s characters is Marie, a beggar woman who is described as crazy but harmless. Of course, she turns out to be Cinderella’s fairy godmother. Katrinah Carol Lewis brings glamour and a larger-than-life presence to this role. With her magic wand and the help of some theatrical smoke, she transforms Cinderella from rags to riches, a pumpkin into a carriage, some mice into horses, and a fox and a racoon into a coachman and footman. The most amazing bit of magic, however, is the transformation of Marie’s beggar’s rags into a gown worthy of a fairy godmother, and Cinderella’s ragged dress into a ballgown – twice! A magic wand, some theatrical smoke, a few twirls under the special lighting effects, and the transformations happen in seconds right before our eyes. It’s the magician’s quick dress change trick, and it never fails to amaze me. (There were occasionally a few hints when a hem shifted, revealing an under layer – but this still didn’t spoil the fun, just as when, about five minutes into the show, Prince Topher apparently fell short in tossing his rope to topple a giant, and we caught a stage hand crawling out to retrieve the errant lasso.) Unless I missed it, I didn’t see any credit given for magic or special effects.

No, I didn’t forget the leading lady and her Prince Charming – or rather, Prince Topher. (The Town Crier’s recitation of the Prince’s ten or twelve formal names is another amusing running joke.) Quynh-My Luu and Edward L. Simon are both new to Virginia Rep.  Luu makes a lovely Cinderella, with a strong voice and a likeable personality. She doesn’t overdo the kindness, maintaining a balance between humility and empowerment. Simon didn’t make as strong an impression as I thought a prince should. When we first meet him, he has just turned twenty-one and is in search of himself before taking the throne. Like Cinderella, both his parents have died, and he has been raised by Lord Chancellor Sebastian, who has also been running – and corrupting – the government while waiting for his young charge to come of age. Jay O. Millman is a somewhat stronger and more forceful presence than his prince, which seems unfortunate.

In this version, Cinderella doesn’t lose her shoe when rushing home from the ball, but deliberately leaves it on the palace steps a few days later, after attending a banquet the prince holds in order to lure her back to the palace. In both cases, Cinderella has a midnight curfew. She misses the first by a few minutes, leading to a humorous chase where the footman and coachman partially transform, revealing furry tails sticking out from their livery uniforms before they fully return to their furry four-footed selves.

Friday’s performance was before a full house, and there were many children of all ages present. From my vantage point in the last row of the orchestra, I was able to glance, from time to time, at some of the young people, who seemed to be thoroughly engaged. (The production starts at 7:00pm, rather than 8:00pm, and runs just under 90 minutes.) Some of the smaller ones sat on a parent’s lap or, if they had an aisle seat, hung over the armrest; VaRep might consider investing in a few booster seats for occasions like this.

During intermission, one friend mentioned that it took her some time to get used to an Asian Cinderella, as she was used to a Disney version with blonde hair and blue eyes. I didn’t hear anyone else say anything about the “color-blind” casting, with white, black, and Asian actors portraying fictitious characters, but then, I wasn’t focused on that aspect of the performance.

There are nearly 30 musical numbers in this two-act show. Among my favorites are “The Prince is Giving a Ball” in Act I and  the quartet by Ella/Cinderella, Charlotte, Gabrielle, and Madame in Act II. I also enjoyed Matthew Couvillon’s choreography, with strong roots in both ballet and social dancing. Brian Barker’s scenic design is surprisingly constrained: a stand of thick trunked trees and a full moon for the outdoor scenes, the edge of a cottage for Cinderella’s house, a few wagons and far stands for the town square, and a wide, elegant balcony and stairway for the palace. BJ Wilkinson’s lighting doesn’t hold back on glitz and glitter, and Anthony Smith is the musical director of a small orchestra with a big sound. (Thankfully, the orchestra is in the pit and there are no holes for the dancers to tiptoe cautiously around.) Laine Satterfield’s direction kept things moving along at a rapid clip; there were no lulls for the younger audience members to get bored or distracted, or to allow the adults to notice the passage of time. I didn’t do any research prior to the show, so I didn’t know how funny it was going to be. Rodgers & Hammerstein’s Cinderella is a delightful family show that unapologetically includes a message about treating all people well without becoming too preachy or pedantic.

Julinda D. Lewis is a dancer teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Photos not available at the time this review was written.

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INDIAN INK THEATRE COMPANY: Mrs. Krishnan is Throwing a Party!

INDIAN INK THEATRE COMPANY: You’re Invited to Mrs. Krishnan’s Party!

A Brief Preview of an Immersive Theatrical Experience by Julinda D. Lewis

At: Alice Jepson Theatre, Modlin Center for the Arts at University of Richmond, 453 Westhampton Way, Richmond, VA 23173

Performance: January 25, 2020 at 7:30pm & January 26, 2020 at 3:00pm

Ticket Prices: $40 General Admission; $32 Subscribers; $20 Students / SOLD OUT!

Info: (804) 289-8980 or modlin.richmond.edu

One of the problems, well, actually, the only problem, actually, with the Modlin Center for the Arts – which is a lovely space for dance, which is what I usually see when I go there – is that their productions are usually scheduled for just one or two performances or one or two evenings. So, as much as I want to tell you about Mrs. Krishnan’s Party, which is coming in January, I am sorry to have to start off by informing you that both shows are already sold out! (I asked if there is any possibility of additional shows being added, and I am awaiting a response.)

The Indian Ink Theatre Company, based in New Zealand, was touring in Seattle, WA when I spoke with Kalyani Nagarajan who plays the role of Mrs. Krishnan in this two-handed comedy. Mrs. Krishnan’s Party was “in the works” for seven years and now tours the world attempting to bring happiness –  and Indian culture – to audiences of all ages, genders, and ethnicities.

Mrs. Krishnan’s Party is a story about a “Mom and Pop” type store whose owner is looking to sell it. The story takes place in real time, “everything happens live” is the way Nagarajan explained it. There are two actors, Nagarajan and Justin Rogers. Nagarajan was very enthusiastic in describing the colorful nature of the play, not just in the costumes and set, but also in the culture, and even in the intergenerational characters: one is in her mid-50s, the other in his early 20’s. The “third character” is the audience.

As the story unfolds, secrets are revealed, and the audience becomes immersed in the action. Nagarajan was very specific in rejecting the word “interactive,” believing it might push some people away, but seemed comfortable with the idea of a cultural and theatrical immersion.  It’s about people going through familiar things. Set in the back room of Mrs. Krishnan’s store, the audience is invited to the party where they will “interact and talk with people you might never have talked with.” At the end of the show, Nagarajan wants the people dancing, singing, and laughing together. And eating! There is live cooking done onstage, and at the end the audience – excuse me, the invited guests – get to sample the meal. 

Mrs. Krishnan’s Party builds community, and the audience is urged to come ready to be surprised. “Come with an open heart,” Nagarajan urges, “and don’t eat too much dinner before-hand.”

Mrs. Krishnan’s Party, written by Jacob Rajan and Justin Lewis, combines acting, dancing, singing, music, cooking, and laughter. No two performances are the same. Even the ticketing for the show is varied. The Indian Ink Theatre Company’s website described five levels of tickets: (1) the Top Table or VIP seat at the table in the center of the room with first class treatment; (2) the Inner Circle, which is still close; (3) the Wall Flower, up high with a perfect view; (4) the Cheeky Seat, close but not too close; and (5) the Party Animal, which is no seat at all, but spot that allows you to move and dance. I hope to be able to report back detail if it’s as awesome as it sounds!

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Nimmy Santhosh & the Indian Ink Theatre Company website

 

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TIMES SQUARE ANGEL: Another Christmas Miracle

TIMES SQUARE ANGEL: A Hard-Boiled Holiday Fantasy

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

At: The Robert B Moss Theatre, 1300 Altamont Avenue, RVA 23230

Performances: November 13 – December 21, 2019.

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

In the Richmond Triangle Players’ annual tradition of presenting a non-traditional holiday play, Charles Busch’s Times Square Angel, first produced by RTP in 1998, is running through December 21. Busch himself recorded the voice of the unseen narrator, and while we’re talking about unseen actors, Susan Sanford is the voice of God.

There is little or nothing traditional about Times Square Angel. Set in New York in the 1940s – complete with projections of vintage video, Times Square Angel recalls and parodies such Christmas classics as A Christmas Carol and It’s a Wonderful Life. The two-act play, directed by Melissa Rayford, is hilarious, and there were several notable performances among a cast in which most played multiple roles. But overall, I was disappointed that this production did not seem to hit the highs or maintain its momentum.

Desiree Dabney and Mara Barrett played two irreverent and gossipy angels, and Dabney quickly won over the audience with her wide range of facial expressions and her sassy demeanor. Michael Hawke was luminous as Helen Sterhan, a former star who has fallen into an alcoholic stupor from which she may never escape. Jeff Clevenger also added some nicely timed comic moments as the owner or manager of Club Intime. Along with leading lady Wette Midler, known primarily as a local drag queen artist, Hawke’s and Midler’s characters wore the best of Alex Valentin’s costume designs, and Joel Furtick was responsible for the near flawless hair/wigs and makeup.

Irish O’Flanagan, the tough-as-nails, self-centered redheaded headliner of a second-rate club, is given a second chance at life, under the guidance of Albert a former magician and now a reluctant angel played by Jeffrey Cole. Wette Midler was strong and confident the role of Irish, the most prominent of the characters who appeared not to have been assigned on the basis of gender. For example, the newsboy Jimmy was played by Mara Barrett, and both Midler and Hawke played women.

Angel Albert guides Irish on a tour of her past, present, and future, learning along the way that he can stop time and perform other supernatural feats. Each scene is filled with clichés, one-liners, and campy wit. I laughed a lot, but I couldn’t shake the feeling that Times Square Angel is a lot like a bowl of Jell-O that hasn’t been allowed to set long enough.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: John MacLellan

 

I

 

 

 

Angel2
Richmond drag performer Wette Midler, stars as Irish O’Flanagan, a hard-boiled dame in need of a Christmas miracle, in Richmond Triangle Players production of Charles Busch’s play “Times Square Angel” running through Dec 21 at RTP’s Robert B. Moss Theatre in Scott’s Addition. Back row: Nora Ogunleye, Mara Barrett, Jeff Clevenger and Jonel Jones.Tickets at http://www.rtriangle.org. Photo by John MacLellan.

Angel3
Richmond drag performer Wette Midler, stars as Irish O’Flanagan, a hard-boiled dame in need of a Christmas miracle, along with Nora Ogunleye as her confidante Peona, in Richmond Triangle Players production of Charles Busch’s play “Times Square Angel” running through Dec 21 at RTP’s Robert B. Moss Theatre in Scott’s Addition. Tickets at http://www.rtriangle.org. Photo by John MacLellan. Thanks!

Angel1
Jeffrey Cole as Albert, an angel given one last chance to retain his place in heaven by intervening in the life of chanteuse Irish O’Flanagan, in Richmond Triangle Players production of Charles Busch’s play “Times Square Angel” running through Dec 21 at RTP’s Robert B. Moss Theatre in Scott’s Addition. Tickets at http://www.rtriangle.org. Photo by John MacLellan.

 

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LOMBARDI: Gentlemen, This Is A Football

LOMBARDI: Winning Isn’t Everything; It’s the Only Thing!

A Theater Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 W. Broad Street, RVA 23220

Performances: November 7 & 8 previews; opening November 9 – 23, 2019

Ticket Prices: $15-$35

Info: (804) 355-2001 or firehousetheatre.org

 

“Gentlemen, this is a football.”

Vince Lombardi

Based on the book When Pride Still Mattered – A Life of Vince Lombardi (by David Maraniss), Eric Simonson’s two-act play, Lombardi is a living, breathing documentary. Set in 1965, when journalist Michael McCormick from Look Magazine is sent to write a story about the man many consider the greatest coach in football history, the fast-paced, sometimes gritty dialogue gives us a peek into the life of the man remembered as much for his pithy sayings as for his lasting impact on football.

“Winning isn’t everything; it’s the only thing.”

— Vince Lombardi

(after UCLA Bruins football coach

Henry Russell “Red” Sanders, 1950, 1953)

McCormick, played by CJ Bergin, has a central role as the reporter who spends a week with Lombardi and his wife Marie in Green Bay, Wisconsin, not long after the Lombardi’s have moved to Wisconsin where Lombardi led the Green Bay Packers to five championships in seven years. (Do not be impressed – I know nothing about football – this is general knowledge, easily available to anyone.) Bergin’s character is dedicated and enthusiastic, even in the face of getting yelled at by Lombardi on the football field. He is also a multi-faceted character, as we see how his observations and interactions with the Lombardi’s help shape his own developing career. There is an easiness and familiarity about McCormick that make him a likeable character. In a slightly drunken scene in Act 2 he won my heart – and won over the players – by quoting stats from memory. He knew something – if not everything – about every player.

“Football is like life – it requires perseverance,

self-denial, hard work, sacrifice, dedication

 and respect for authority.”

– Vince Lombardi

Marie Lombardi, played by Linda S. Beringer, is undoubtedly the most likeable member of the cast. She is a mother figure to the players, soothing and smoothing over the raw and open sore left by Lombardi’s abrasiveness. She guides McCormick, steering him to the players who can provide the most insight. Sometimes she is gentle with McCormick, and sometimes she practices tough love, fueled, perhaps, by her close friendship with the couple’s liquor cabinet. (In real life, it seems, a miscarriage led to her heavy drinking.) My favorite Marie scene is when she backs the domineering Lombardi up against a wall and make it clear she isn’t taking any crap from him. It certainly doesn’t change him, or have any lasting impact, but he listens. The two seem to have a strong, loving relationship, and Marie clearly understands her husband and knows how to communicate with him like no one else.

“The most imperfect perfect man I ever met.”

– Michael McCormick

Surprisingly, I did not focus first on the title role, perhaps because this is a true ensemble production, under the skillful direction of Scott Wichmann (billed as Head Coach rather than Director). Wichmann and his actors give us a brisk pace and some well-placed and much appreciated comedic timing that almost obscured a few places where I thought the action was dragging and the play wasn’t advancing quite fast enough for me.

“If you can accept losing, you can’t win.”

– Vince Lombardi

Vince Lombardi is played by Ken Moretti (Broadway Bound, Free Man of Color, and Bill W. and Dr. Bob) in what is perhaps the most challenging role I’ve see him in, to date. Stern-faced, he rarely smiles, he yells a lot and speaks in a bombastic manner. At the same time, he clearly loves his wife and his players. In one scene, player Dave Robinson (played by Raymond Goode) explains to McCormick – over beers and a game of pool – that yelling at them is how Lombardi shows he cares. So, yelling at McCormick and kicking him off the field probably means he really likes him.

 

“People who work together will win,

whether it be against complex football defenses,

or the problems of modern society.”

– Vince Lombardi

Moretti’s portrayal of Lombardi also makes the volatile Lombardi a sympathetic figure as we watch him succumb to the symptoms of colon cancer – a disease he ignored because he was too busy making football legends. The rest of the cast includes Arik Cullen as player Paul Hornnung and Axle J. Burtness as player Jim Taylor. Cullen’s character is the one McCormick is steered to for information approved by Lombardi. Burtness’ character seems to be always in some sort of unspecified trouble, and McCormick’s unrelenting pursuit of an interview with the character Taylor is part of the reason he gets to feel the full wrath of the mercurial Lombardi directed straight at him.

 

“Winning is habit. Unfortunately, so is losing.”

– Vince Lombardi

Goode’s character has two major scenes. One, described above, is when he provides insight into Lombardi’s yelling. The other is when he tells how Lombardi demanded that all the team members be allowed to stay in the same hotel even when traveling in the south or areas where segregation was the norm. Dave Robinson, a black football player who is now in his late seventies, played for the Green Bay Packers and the Washington Redskins. Lombardi was head coach of both teams.

“You don’t do things right once in a while.

You do things right all the time.”

– Vince Lombardi

Frank Foster designed the set – a clean and simple space dominated by two pairs of tall bookcases that do multiple duty as home, locker room, and other locales. Some tables and benches, moved by the cast members, define the scene changes. Bri Conley designed the lighting, Sheila Russ did the costume design, and Amanda Durst was vocal coach.

“Battles are won in the hearts of men.”

– Vince Lombardi

As I’ve already said, I’m not much of a football fan, but my partner, Albert is. Like many others in the audience – a full house for Saturday’s opening night – he came decked out in his football attire. In his case, it was a Redskins hoodie, and thanks to our front row seats, he got a momentary spotlight when McCormick pointed him out in the scene where he mentions Lombardi’s short tenure with the Redskins (1969, just prior to his death in 1970). Albert, who attends a lot of plays with me, was enamored of this production; it combined his newfound love of theater with his lifelong love of football (he played in high school and college). A mathematician, he likes facts and stats and that sort of thing. So, bottom line, Lombardi, which runs about 2 hours, with one intermission, is a play that appeals to people who like football, people who like biographies and documentaries, and to families. If you think you might want to attend, don’t hesitate; I heard that some shows are already selling out.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Bill Sigafoos

Lombardi 8_Axle J Burtness, Ken Moretti, Arik Cullen, photo by Bill Sigafoos
Axle Burtness, Ken Moretti, Arik Cullen

Lombardi 7_Axle J Burtness, Ken Moretti, CJ Bergin, Linda S Beringer, photo by Bill Sigafoos
Ale Burtnes, Ken Moretti, CJ Bergin, Linda S Beringer

Lombardi 4_Raymond Goode, Ken Moretti, photo by Bill Sigafoos
Raymond Goode and Ken Moretti

Lombardi 2_Arik Cullen, CJ Bergin, photo by Bill Sigafoos
Arik Cullen and CJ Bergin

 


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RICHMOND BALLET: GRACE IN THE RIVER CITY – A REVIVAL & A PREMIERE

RICHMOND BALLET STUDIO ONE: GRACE IN THE RIVER CITY

A Dance Review by Julinda D. Lewis

At: The Richmond Ballet Studio Theatre, 407 E. Canal St., RVA 23219

Performances: November 5-10, 2019

Ticket Prices: $26-$46

Info: (804) 344-0906 x224 or etix.com

chiaroscuro
noun
chiar·oscu·ro | \kē-ˌär-əˈskyu̇r-(ˌ)ō\

  1. pictorial representation in terms of light and shade without regard to color 
  2. a: the arrangement or treatment of light and dark parts in a pictorial work of art

    b: the interplay or contrast of dissimilar qualities (as of mood or character)

merriam-webster.com

The Richmond Ballet opened its 2019-2020 season (19/20 for short) with the theme “Grace in the River City.” The Studio One program, held at the company’s Canal Street studio, included Artistic Director Stoner Winslett’s “Ancient Airs and Dances” and Ma Cong’s “Chiaroscuro.”

“Ancient Airs and Dances,” set to three suites of 17th and 18th century Italian and French lute songs by Ottorino Respighi, was revived in honor of Winslett’s 40th anniversary with the Richmond Ballet. The work for four couples was Winslett’s first work for the professional company. Dressed alike, but in different colors (navy, purple, aubergine, wine) the four couples begin with a formal promenade, tracing figures on the floor. At the end of the introductory movement, they toss away their masks and begin to reveal their separate personalities.

First is Ira White and Eri Nishihara (purple). They appear to be the playful couple, moving lightly, teasing and skipping offstage. Next up, Abi Goldstein and Anthony Oates (aubergine) who present themselves as the romantic duo. They are more dramatic, and Goldstein is very strong, demonstrating a freedom of physicality as when she rolls across Oates’ back. When Cody Beaton and Mate Szentes (navy) dance, the woman’s skirt and man’s vest have been shed and the movements seem more contemporary and exploratory, less formal, and finally Melissa Frain and Marty Davis’ (wine) dance seems to be about reconciliation and commitment or longevity as they seem to linger in one another’s presence and movements. In the final section, the four couples gather in a folk dance and each couple briefly reprises their duet before ending in a rotating figure like a carousel, with the women held aloft, parts of a whole.

During her tenure at Richmond Ballet, Winslett has commissioned more than 75 works, by more than 35 choreographers (facts she revealed during her Tuesday evening Choreographer’s Club curtain talk). For Studio One, she brought back Ma Cong for his fifth new work in ten years.

“Chiaroscuro” is a collaborative work, with choreography by Ma Cong, Music by Ezio Bosso, costumes and set by Emma Kingsbury, lighting by Trod Burns, and photography by Sara Ferguson. The nine dancers – 4 women and 5 men – move through Bosso’s music illuminated by Burns’ lighting with Ferguson’s larger-than-life black and white images of themselves projected onto Kingsbury’s set. It might be a rock, or a cliff, but wait – what is that long, thin thing sticking up out of middle of it? “Nothing’s perfect,” was Kingsbury’s enigmatic response when questioned about it.

Images change subtly; where there were hands there is now a face; where there was a face, there are now two, no three! The costumes, in shades of black and gray, echo the chiaroscuro effect  – the contrast of light and dark, the constantly shifting light and the movement of human sculptures.  Hmmm, a Chinese choreographer; an Italian composer; an Australian designer; an American ballet company – was this, too, part of Cong’s vision, or was it serendipity?

The cast – Cody Beaton, Elena Bello, Melissa Frain and Eri Nishihara, Marty Davis, Trevor Davis, Fernando Sabino, Mate Szentes, and Ira White – seemed to enjoy performing this piece as much as the audience enjoyed watching it.

“Chiaroscuro” begins with Fernando Sabino (who has announced his retirement at the end of this season) o the floor. As he rises, his movements are strong, emotive, not all lightness and grade. As the other dancers enter, the women are lifted in swirling arcs, tracing figure eights in the air. When the men arc backwards, they turn their knees inward. This ballet is not technique as usual. A diagonal line turns inward and wraps around like a spiral segment of DNA. Dancers unite and separate. Elena Belo is lifted about a cluster of men and held aloft in a running pose. Three men intertwine, heads popping out and leaping through hoops made of arms like a game of whack-a-mole.

On the screen, a large white rose emerges; but the end of the dance it has wilted. On the stage, a white parasol weaves its way across the stage. I somehow felt the rose and the parasol were connected. Partnering in “Chiaroscuro” is intriguing. In one section the women shed their skirts, becoming de-sexualized. Dancers morph into oddly intriguing positions, finding new ways to connect. One may be held by an ankle, a toe, or back of the knee. Dancers’ arms and legs become hooks from which to suspend bodies and legs and thighs become step stools leading to higher dimensions.

Like previous works by Cong, “Chiaroscuro” encourages the viewer to explore new perspectives of human emotion, as he did with “Lift the Fallen,” a 2014 work in which he deals with the loss of his mother. But “Chiaroscuro” is even more immersive, more compelling. It is a beautiful work that elevates both the dancers and those watching them.

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Sarah Ferguson

 

Books available on Amazon.com; click on cover for link.

 

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13: THE SECOND TIME AROUND

13, THE MUSICAL: The Second Cast; A Second Look

An Addendum to Yesterday’s Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

Info: (804) 282-2620 or va-rep.org

Yesterday (October 25) I wrote about 13, The Musical after seeing the first cast. Today (October 26) I returned for the second opening night with a different cast – except for, I think, two actors.

The original view may be viewed at:

https://jdldancesrva.com/2019/10/26/13-what-could-possibly-go-wrong

When Cadence Theatre’s Artistic Director Anna Senechal Johnson announced that there would be two entire casts for 13, THE MUSICAL and that there would be two opening nights, I decided to attend both. The board with the actors’ headshots had to be changed, and there were two sets of programs printed. Preparation for this musical, more than 40 performers (actors and band members ranged in age from 12 to 17) required changing the headshot board and printing two sets of programs to accommodate the two casts – the Appleton and the Indiana (named for the town and state where our young leading man must move after his parents’ divorce). It must have felt like the theater company was preparing to give birth to twins.

For the first five minutes, I started to compare the performances of the two sets of  main characters, but about 10 minutes into the show I realized that the characters had taken over. While the chemistry was different, and different actors brought their own nuances, I can honestly say that the experiences were equivalent to seeing the same show twice with the same cast.

Physically, Brandon McKinney and Evan Dymon are quite different (in stature, facial structure, and more) but both portrayed lead character Evan with naivete, bravado, and compassion. Bridget Sindelar may have had a slight edge over Violet Craighead-Way as far as vocal range or power, but both made me root for Patrice and cheer her independence and self-identity.

The differences between Donathan Arnold and Cohen Steele are even more striking than the differences between McKinney and Dymon. Arnold is tall, slender, and black while Dymon looks farm-strong and he’s white.

I think Caroline Johnson portrayed a somewhat more prissy and less conceited Kendra than did Audrey Kate Taylor, while Jolie Smith and Anjali Sharma were equally strong as the mean girl. Both were able to maintain a sneer throughout a rigorous cheerleading routine, but Sharm’s tripping of best-friend-and-arch-enemy Kendra was perhaps a tiny bit more subtle than was Jodi Smith’s action for the same scene.

Ethan Dunne Stewart and Marcus Dowd, as Brett’s friends and hangers-on were a bit more outrageous, if possible, in their role as back up singers than were Owen Buckenmaier and Jake Barger, but both pairs of hangers-on were among my favorite characters.

Since much of the story line is sung, it is important that the lyrics can be clearly heard, and from my position (second row, right on Friday night and second row, front on Saturday) there where a few times that the vocals got lost for a moment or two and I never did understand the much repeated line of the finale.

My first impression remains the same: 13, THE MUSICAL: is a fun and energetic piece of theatre that is this wholly engrossing. Both casts of teens exude energy and professionalism; they make you care about what happens to Evan, Patrice, and Kendra (the bar mitzvah boy, his new friend, and the popular girl) and their friends. As if anticipating the audience reaction, the authors have the cast sing about their growth, their decisions, their triumphs and failures over the course of the school year

 

 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Jay Paul

13, The Musical
Josh Chapman and Violet Craghead-Way

13, The Musical
Anjali Sharma

13, The Musical
Autumn Papczynski

13, The Musical
Evan Dymon, Brenna Duffy, and John Chapman

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13: What Could Possibly Go Wrong?

13: A Teen-aged Musical

A Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

Info: (804) 282-2620 or va-rep.org

The musical 13 with its high-energy cast of teenagers starts off at a level 10 and pretty much stays there for the duration. The first – and so far only – Broadway musical to have a cast made up entirely of teenagers, the Richmond casts of 13 ranges in age from 12-17. Yes, casts. That was not a typo. Cadence Theatre’s Artistic Director, Anna Senechal Johnson, worked with two casts that will alternate throughout the run. I assumed this was because of the youthful ages of the cast, but in speaking with Johnson after Friday’s opening night program – a second opening night will be held on Saturday for the second cast – it seems that the dual casts are also a way to fulfill the company’s mission and “commitment to development and training for young actors all over Virginia.” Indeed, several of the young actors – and their parents or guardians – commute to Richmond for this show from as far as Northern Virginia and Maryland.

Written by Jason Robert Brown (music and lyrics) and Dan Elish and Robert Horn (book), 13 chronicles several months in the life of Evan, played on Friday by Brandon McKinney. Evan is looking forward to his bar mitzvah, when he gets hit with not one but two major blows: first his parents divorce, then his mother informs him they are moving from New York City – the only hone he has ever known – to a Smalltown, USA, or Appleton, Indiana, to be precise.

Evan befriends Patrice (Bridget Sindelar) before finding out she is a social outcast, and in a heart-wrenching scene, he un-invites her to his party so that the popular kids will attend. Patrice is played by Bridget Sindelar, whom my daughter Soleil immediately recognized as Pinocchio from the VirginiaRep children’s show last season. [https://jdldancesrva.com/2019/03/31/pinocchio-bright-and-shining-son ]. Sindelar nails the character of Patrice, but more importantly, her singing is strong and here range impressive.

Evan’s action catches the attention of Patrice’s best friend, Archie (Ethan Phelps) – a classmate with an unnamed debilitating condition (muscular dystrophy, according to a synopsis of the script) that requires that he use crutches to walk. This makes him an object of ridicule to the popular kids, but that doesn’t stop him from plotting and planning to manifest his deepest fantasy. Archie has a crush on Kendra (Audrey Kate Taylor) and quickly enlists Evan to help jock-boy Brett (Donathan Arnold) secure a date with the ever-popular Kendra, with the ulterior motive of inserting himself in the role of leading man. The boys hatch a plan that at first seems successful – but if that were the case, the play would have ended here instead of continuing to its conclusion.

The lively music under the direction of Anthony Smith is played by a live band, most of whom are onstage in front of us but some of them are placed behind the audience. There is energetic choreography – 13 even included a tap dance – by Jasmine Mckenzie that is created and performed with a sense of ordered chaos that perfectly captures the teen-aged characters. A simple cinderblock set by Emily Hake Massie hides a few surprises that are revealed when doors swing out to create new spaces. Sarah Grady’s costumes are contemporary, with most of the cast – especially the ensemble – dressed in neutral shades like gray, but Evan sports a red plaid shirt, and other leading characters break out of the gray mold with bits of color.

Patrice/Sindelar is full of wisdom, but also has some of the funniest lines in the show. When introducing Evan/McKinney to the town of Appleton, she points out the highlights, like the Walmart and Dairy Queen, but also drops lines like, “The inbreeding takes up a lot of our time.”

Brett/Arnold is the cool, handsome quarterback, and is stereotypically vain and not the sharpest knife in the drawer. His buddies Eddie (Owen Buckenmaier) and Malcolm (Jake Barger) are loyal, hilarious sidekicks. When trying to help Brett prepare to ask Kendra (Audrey Kate Taylor), the prettiest girl in Dan Quail Middle School, they metamorphose into R&B backup singers. Although why the star quarterback and most popular boy on campus needs help getting a date is beyond me. Taylor plays her role with wide-eyed innocence and it’s irritating when she doesn’t seem to catch on to her friend’s betrayal.

Teen-agers can be some of the meanest people on earth, so it is no surprise that there is a Mean Girl in 13. Lucy (Jolie Smith) is supposed to be Kendra’s best friend, but she wants Brett for herself, and does everything she can to get Kendra out of the way: bullying; tripping her during cheerleader practice; giving conflicting advice about how to behave around a boy; and starting a vicious rumor. I suppose why 13 year old students are dating is irrelevant, but one scene hinges around Evan asking his mother to buy movie tickets to an R-rated movie for Evan and his popular friends. The sneer Smith wears whenever Kendra is around is so convincing I began to actively dislike Lucy.

Mia Meadows and Hannah Riggs share the lead in the closing song in a breakout surprise, after performing in the ensemble and the cheerleading squad for most of the play. Brenna Duffy stood in for Zoë Brown on Friday, taking over Zoë’s duties as Rabbi. Because of the huge size of the cast – when doubled – I will let the words of the press release fill in the missing notes:

Returning to the Cadence stage in the Appleton Cast are Violet Craghead-Way (Fun Home), Caroline Johnson (Appropriate), Grace Connell (Appropriate), and Sophia Bunnell (Violet). Returning in the Indiana Cast are Brandon McKinney (Fun Home; Caroline, or Change), Donathan Arnold (Caroline, or Change), and Alex Csaky (Fun Home). Making their Cadence debuts in the Appleton Cast are Evan Dymon, Josh Chapman, Cohen Steele, Anjali Sharma, Ethan Dunne Stewart, Marcus Dowd, Emma McClain, Autumn Papczynski, Molly Nugent, Sam Hurst, Raif Winn, Brenna Duffy, Gracie Farrell, and Lauren Brabrand. Debuting in the Indiana Cast are Bridget Sindelar, Ethan Phelps, Audrey Kate Taylor, Jolie Smith, Owen Buckenmaier, Jake Barger, Molly Rose Meredith, Mia Meadows, Bekah Blackburn, Sawyer Williams, Jack Hensley, Mia Krivanec, Zoë Brown, Madelyn Diradour, and Sarah Kathryn Makl. Performing with both casts will be Hannah Riggs and Christopher Stone. Mason Timberline will be joining the cast as the pianist/Master Conductor.

So, it appears I was led along this theatrical musical journey by the very capable Appleton cast. On Saturday I will go back to see how the Indiana cast conducts themselves along this same path, and I’ll report back to you.

13 is a lively, upbeat show tackles real-life teen-aged problems: popularity; peer pressure; bullying, and more. And every single one of the teens onstage has a cellphone in their pocket; they frequently take them out for a selfie or to record some controversy or other. There is even a one-page Study Guide included in the program that asks some interesting questions, such as “How has technology changed social expectations for adolescents?” and “What does the musical, 13, teach us about friendship and prioritizing personal relationships.

 Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Jay Paul

13, The Musical
Cast of 13. Brandon Mckinney. Photo by Jay Paul.

13, The Musical
Cast of 13. Photo by Jay Paul.

13, The Musical
Cast of 13. Brandon McKinney. and Bridget Sindelar.Photo by Jay Paul.

13, The Musical
Cast of 13. Audrey Kate Taylor and Donathan Arnold. Photo by Jay Paul.

13, The Musical
Cast of 13. Photo by Jay Paul.

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THE ROCKY HORROR SHOW: Do The Time Warp Again

THE ROCKY HORROR SHOW: A Cult Classic

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

At: The Robert B Moss Theatre, 1300 Altamont Avenue, RVA 23230

Performances: October 17-26, 2019.

Ticket Prices: $10-40 | This show sold out completely at the beginning of its limited 2-week run

Info: (804) 346-8113 or rtriangle.org

Full Disclosure: It’s hard for me to write about a show like Rocky Horror Show when I can clearly see the skill and craft, acknowledge the talent and heartfelt performances, appreciate the music and humor, but I know that this cult classic just isn’t for me.

So, first the good news: Michael Hawke, who has a long history with this show, and was, in fact The Narrator in the 2012 production at The Firehouse Theatre, has directed with unbound energy and an unerring sense of comedic timing. The plot, for Rocky Horror Show “virgins,” who have never seen the show (stage or movie version) is merely a vehicle to carry a variety of themes including gender fluidity, counterculture, and sexual liberation.

The plot revolves around a newly engaged young couple, Brad and Janet, played with touching innocence by Luke Newsome and Madeline Witmer, who get a flat tire while driving through a rainstorm to celebrate their engagement with Dr. Scott (Carlen Kernish), the science professor who introduced them. Seeking help, they find the castle of  Frank ‘N’ Furter, a transvestite scientist from Transylvania, who is hosting a party to celebrate his newest invention, a Frankenstein-ish creation named Rocky – a blond, tanned muscleman with half a brain, played with an adorable balance of humor, naivete, and monstrous posing by a buff Adam Turck, dressed only in padded golden booty-shorts –later reduced to a golden G-string – and gold boots.

There are multiple story lines involving sexual exploration, gender, and aliens of the space variety. Hawke’s dynamic direction and the hilarious cast of characters keep the audience laughing. Oh, and because the movie version has become an interactive affair, bags of approved props were available for the audience to purchase, and there was a list of rules of engagement, aka etiquette. An RTP fun bag of props included such items as a newspaper, a rubber glove, a flashlight, a party hat, a playing card, and a small bag of confetti. The program included instructions on when to use, don, or throw each item. There was also an opportunity – which many took advantage of – to join in the show’s signature dance, “The Time Warp,” a sort of line dance with instructions for the steps included in the lyrics. Kate Belleman’s choreography was energetic and even included a spunky tap dance for Anne Michelle Forbes, who played the role of Frank ‘N’ Furter groupie Columbia.

The role of Frank ‘N’ Furter was reprised by Jim Morgan, who played the same role at Barksdale Theatre, now part of Virginia Rep. Morgan was fabulous, with flawless makeup, a corset and heels. Levi Meerovich was deliciously menacing – a perfect blend of horror and comedy – as his loyal servant turned arch nemesis, Riff Raff. The Phantoms were played – mostly danced – by Jet Davidson, Michaela Nicole, Havy Nguyen, and Achille Wangam, and the ensemble was completed by Jeffrey Cole as The Narrator, Kaitlyn Tate as the Usherette who introduced the show and Riff Raff’s sister Magenta, and Carlen Kernish who played the unfortunate Eddie who met an early demise as well as the paraplegic Dr. Scott.

The musical originally opened in 1973 in London where it played successfully for over seven years, and the film version, The Rocky Horror Picture Show,  premiered in 1975 and quickly became a midnight-show cult. The book, music, and lyrics are all by Richard O’Brien. The RTP production has musical direction by Kim Fox. The music was pumping, the voices were soaring, although sometimes I could not understand the lyrics because they were screaming or got lost in the music. But at least half the audience seemed to know all the words, so it didn’t matter and certainly didn’t seem to diminish anyone’s enjoyment. “Sweet Transvestite” and “I Can Make You a Man” were standouts led by Frank ‘N’ Furter, and “Touch-A Touch-A Touch Me,” led by Janet in the second act was outstanding, but “The Time Warp” seemed to be the audience’s hands-down favorite.

Sheila Russ’ costumes were campy and fun, and enhanced by Joel Furtick’s hair and make-up, while Frank Foster’s set was simple and utilitarian. Andrew Bonniwell did the lighting, and I received a message that while Joey Luck had originally been slated to do the sound design for ROCKY it was actually done by Artistic Director Lucian Restivo with Shane Barber as the live mixer for every performance.

So, what’s my problem with it? It’s a well-designed and well-executed musical – and I like musicals. It’s popular among fans and fun for “virgins,” but it just isn’t to my taste. I never saw the movie and do not have any plans to see it, but I did see the Firehouse production in 2012 and it still hasn’t grown on me. So, I hope I have been fair in describing what I consider an excellent production – except for those times when I found the lyrics muddled – and offer kudos to the performers for singing and dancing their hearts out, but I’ll never be a part of the fan club. I felt like something of an alien myself.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: John MacLellan

ROCKY_0404
Jim Morgan as Frank ‘N’ Furter (center) with Katlyn Tate and Levi Meerovich as Magenta and Riff Raff, along with Achille Wangam, Jet Davidson and Havy Nguyen in Richmond Triangle Players’ production of Richard O’Brien’s “The Rocky Horror Show”, running at RTP’s Robert B. Moss Theatre through Oct 26. All performances are sold out. Photo by John MacLellan.

ROCKY_0293
Kaitlyn Tate and Levi Meerovich as Magenta and Riff Raff in Richmond Triangle Players’ production of Richard O’Brien’s “The Rocky Horror Show”, running at RTP’s Robert B. Moss Theatre through Oct 26. All performances are sold out. Photo by John MacLellan

ROCKY_0160
Luke Newsome and Madeleine Witmer as Brad and Janet in Richmond Triangle Players’ production of Richard O’Brien’s “The Rocky Horror Show”, running at RTP’s Robert B. Moss Theatre through Oct 26. All performances are sold out. Photo by John MacLellan.

 

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KARAR DANCE COMPANY PRESENTS: CIRCADIAN, an evening-length work

019 DOGTOWN PRESENTER’S SERIES: KARAR DANCE COMPANY

A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 W. 15th Street, RVA 23224

Performances: October 18-26, 2019

Ticket Prices: $20 General Admission; $15 Students

Info: (804) 230-8780 or dogtowndancetheatre.com

 

Circadian is a mesmerizing evening-length work for five dancers. The creative offspring of Kara Robertson, Artistic Director of Karar Dance Company, Circadian was inspired by a series of black and white photographs by Fan Ho (1931-2016), an award-winning Chinese photographer, film director, and actor who was known for his mastery of light and shadow. An image of his work entitled Approaching Shadow first caught Robertson’s attention some three years ago, and after much research, and some six months of intensive work with her company of dancers and collaborators, resulted in a 40-minute dance inspired by Fan Ho’s body of work captured in his book, Hong Kong Yesterday. [Hear the choreographer explain how her movement was inspired by the photographs: https://www.facebook.com/KARARDANCECOMPANY/videos/397277210947427/]

Fan Ho photo
Fan Ho image, Approaching Shadow

The first thing that strikes you about Circadian is the space; it is performed in the round, with two rows of seating on each side of the dance space. The second thing you might notice is the light; there are bright lights at each of the four corners of the dance space, and Weston Corey has designed numerous special effects, some quite subtle and some deliberately startling. This four-sided performance space with this moody, atmosphere-changing lighting, creates a world all its own that pulls and lulls the audience so that one loses track of time. A wooden lattice-work frame – the work of Crux Scenica – hangs above the dancers; I was so caught up in their motion and the mood of the lights that both surreptitiously and overtly direct our gaze, as well as by the sometimes hypnotic, sometimes dynamic original score by Ryan Davis that I didn’t notice it until near the end. It came as a total surprise that we had watched 40 minutes of uninterrupted dancing – and that the 5 dancers had been onstage moving for all that time.

Circadian begins with a simple walk. Dressed in simple but elegant two-piece black garments (kudos to designer Damion Bond) with wrap-around pants and cropped athletic tops that remind of yoga, meditation, and other healthy, healing practices, the five navigate the circumference of the space with measured and deliberate steps, articulating each action of the foot. Their arms are not yet engaged as they complete this counterclockwise procession with frequent interruptions of the precise cycle as one dancer then another breaks the formation by changing position, cutting across the space, widening or closing the gap between dancers, or moving into the center for a solo. These diversions only increase the mesmerizing power of the deliberate cycle.

Company dancers David Alexander Deegan, Caroline Echevarria, Amy Mulder, Amy Perkinson, and Haley Wall worked well as an ensemble, taking their cues from one another’s breathing or a fleeting glance, the briefest eye contact and seeming to move from a shared pool of energy. This synergy is most palpable and powerful when the music pauses, seeming to take a breath of its own so that the dancers and audience can experience the power and natural rhythm of silence.

 Gradually the patterns become more complex, the movements engage the arms and the entire body, often using a position from a Fan Ho photograph to initiate a movement phrase or transition from one section of the dance to another. The precision and focused intent of the walking is countered by softer shapes in the center, rounded spines and shoulders, a gentle firmness when they make contact that feels safe and secure yet daring at the same time.

There are spaces for the dancers and the music to breathe, only to continue as if the silence and stillness were natural parts of the cycle, of the circadian rhythm. They end on the floor, face down, as if taking a collective breath. I liked everything about Circadian and it is even more special to see such high caliber work from a small, young, local company. If time permits, I will see Circadian again, and choose a seat on a different side of the room to see if that substantially affects the viewer’s experience of the piece.

Karar Dance Company is a young organization; the company debuted in 2017 with a goal of becoming a collaborative conduit for artistic expression and a commitment to things homegrown. Kara Robertson as well of 4 of her 5 dancers – David Alexander Deegan, Amy Mulder, Amy Perkinson, and Haley Wall – are all graduates of the VCU Department of Dance and Choreography. Caroline Echevarria is also local – a native of Richmond and a graduate of Elon University’s department of Dance Performance & Choreography.

The presentation of Circadian was made possible by Dogtown Dance Theatre’s Presenter’s Series. Now in its fourth year, the Dogtown Presenter’s Series (DPS) annually places the spotlight on an independent artist or Richmond-based organization, producing a two-week series that provides the artist with all the major resources needed, including rehearsal space, technical production, marketing, public relations, and a stipend. The goal of the DPS is to introduce Richmond audiences to choreographers who reflect the rich cultural diversity of the city, and I hope more people in Richmond and the surrounding counties find or make the time to visit the Manchester neighborhood and support our local artists.

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

———-

Photo Credits: Michael Keeling – Karar rehearsal photos; Fan Ho – Approaching Shadow image

 

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TUCK EVERLASTING: Don’t Be Afraid of Being Truly Alive

TUCK EVERLASTING: It’s a Family Affair

A Theater Review by Julinda D. Lewis

At: Virginia Rep’s Children’s Theatre at Willow Lawn; 1601 Willow Lawn Drive, RVA 23230

Performances: October 18-December 1, 2019

Ticket Prices: $21

Info: (804) 282-2620 or virginiarep.org

Virginia Rep opened is 2019-2020 Children’s Theatre season with a magical foray into the world of Tuck Everlasting. The musical, based on Natalie Babbitt’s children’s novel about a family that finds immortality in the waters of a remote spring in the New Hampshire countryside and the grieving young girl who befriends them, was performed on Broadway in 2016. Virginia Rep shared this co-world premiere of this Theater for Young Audiences (TYA) Edition with Nashville Children’s Theatre. (The Nashville premiere was actually in September 2018, so I don’t quite understand how that makes this a co-world premiere.) Pushing that question aside, Tuck Everlasting is a beautifully conceived play that thoughtfully poses serious questions about life choices while resonating with audiences of all ages. The story was new to me, as I had not read the book, had not seen previous productions of the play, and had not seen either the 1981 film by One Pass Media or the 2002 Disney film. Now, I cannot imagine how I missed out.

Unlike many Children’s Theater productions that seem geared towards the youngest audience members from around 4 to 10, Tuck Everlasting is a bit more sophisticated, and seems most appropriate for pre-teens through adults. This is also a production you can feel confident in attending without a child, although I recommend you bring along at least one.  Part of the joy of Tuck Everlasting is watching the faces of the young audience members. My minor cohort on opening night was Nicole, just two days from turning 11, the same age as our story’s protagonist. For most of the show, which runs about 75 minutes, with no intermission, Nicole sat wide-eyed, on the edge of her seat. Just what held her attention – and mine? I’m glad you asked.

Lucy Caudle, a ninth-grader at Maggie Walker Governors School who was recently seen as Alexa in the Virginia Rep production of Atlantis, took full ownership of the lead role as 11-year-old Winnie Foster. Winnie’s father died less than a year ago, and her conventional mother demands that she wear mourning clothes for a full year. But Winnie has gotten wind of an itinerant fair coming to their small New Hampshire town of Treegap, and she wants to go. Caudle genuinely captures the longing and frustration of her character in musical numbers like “Live Like This” and “Good Girl Winnie Foster,” but also in her face and posture. She frequently looks upward and outward into the future or stands with her weight on the balls of her feet, ready to sprint off on the next long-awaited adventure.

It is her need for adventure that sends her off into the nearby woods – woods owned by her family – where she meets Jesse Tuck, younger son of the mysterious and reclusive Tuck family. Taylor Witt, a DC-based actor new to the Virginia Rep stage, makes a charming Jesse, the free-spirited younger brother who exasperates both his older brother Miles and his parents Mae and Angus. Witt emanates non-stop energy and even on opening night seemed to strike just the right chemistry with Caudle.

Todd Patterson is Miles, the older brother who is the voice of reason, but with a dark secret. In a touching scene, Miles finally reveals the source of his deep-seated anger to Winnie. Patterson does a marvelous job balancing the layers of his character’s personality and the reveal is skillfully timed.

Casey Daniel Payne, also making her Virginia Rep debut, added a bit of humor as Mae Tuck. She had grown resigned to her fate and the years have taught her to take pleasure in the small things like not having to keep a clean house, because no one comes to visit. I took particular notice of Walter Riddle as Agnus, the head of the Tuck household. Having kept his family safely secluded for more than 80 years, Agnus appears unruffled by impending disaster and spends his free time fishing. Riddle appeared natural and easy in the role of the father figure, reluctantly dispensing words of wisdom to Winnie and treating Mae with respect and affection that seemed somewhat startling for the time period, the late nineteenth century. It seemed perfectly natural when, sitting back to back with their fishing rods in hand, Winnie leaned her head on Agnus’ shoulder. She was missing her father, and he was remembering what it was like to hold a real child.

Dan Cimo was both sinister and hilarious as the “Man in the Yellow Suit,” a carnival barker who had heard of the magical water that granted eternal life and hoped to become rich from bottling and selling it. One of the most memorable lines in the play was delivered by Winnie’s mother, who asked where one would find a suit in that color, and having found it, why would one buy it? Lisa Kotula played the role of Winnie’s mother with both firmness and compassion. Her role required her to wear Victorian widow’s weeds – a plain black dress – the entire play.

The cast was rounded out by Jon Cobb as the bumbling Constable and Harrison Gray as his deputy, Hugo.  Hugo also has a surprise to reveal in the final scenes. All were ably directed by Matt Polson, who kept the ensemble moving at a swift but manageable pace. The cast was also in charge of scene changes, which consisted mostly of moving a bench, a trunk, a gate, and numerous trees in a heavily forested but uncluttered set designed by Tennessee Dixon, enhanced by BJ Wilkinson’s lighting. The floor was painted with leaves, and larger leaves were projected onto them. A portion of a cottage façade and doorway was the most stable structure – or suggestion of a structure – and there was a grotto of trees surrounding a pile of rocks or boulders that sheltered the magical spring waters. Early on, Winnie pulled a small toad – her only friend at that time – from her pocket; later we saw a somewhat larger, animated toad (a hologram, perhaps?) projected onto the rocks. This toad plays an important part in Winnie’s decision on whether to drink the magical waters.

Set in a small New Hampshire town (it did seem odd that the Tuck family moved east, rather than westward) beginning August 1, 1893, Tuck Everlasting is clothed in period costumes, right down to the shoes, yet the story, the language, and the ideas remain relevant. Ruth Hedberg’s period costumes are whimsical, but she gives full reign to her creativity with the colorful costumes of the carnival people, including a strong man, a physic, clowns, and more. Mallory Keene’s choreography is not so much dance as rhythmic movement sequences organically incorporated into the actors’ actions and characterizations. All of the movement was guided by Jason Marks’ musical direction.

Tuck Everlasting was written by Claudia Shear and Tim Federle, with music by Chris Miller and lyrics by Nathan Tysen. The musical orchestrations are by John Clancy, with vocal arrangements by Chris Miller and ballet music arranged by David Chase. The musical selections were catchy and clearly delivered, from the different perspectives of longing, loss, and hopefulness of the opening “Live Like This,” sung by Winnie, Mae, Miles, Jesse, and the Man in the Yellow Suit to Winnie singing about how some days she wanted to “raise a little more than heaven,” to Hugo and the Constable’s pun-filled, “You Can’t Trust a Man in a Yellow Suit.” (Hugo accused the Man in the Yellow Suit of “fabricating” and the Constable interprets it as “fabric hating.”)

While all of this is going on, the audience, both young and old, is challenged with some real-life challenges: Don’t be afraid of death; it’s part of life. One path can lead to two different conclusions. Sometimes loving someone means letting them go. What are the positives and negatives of living forever? The one point my young cohort found confusing was the final scene, where we find out what Winnie decided to do with the double edged sword of eternal life – the vial of magical water that Jesse presses into her hand as a parting gift. The scene, and the entire play, offers an entry into discussing difficult and challenging topics with your children. Tuck Everlasting is a play that should be seen by families and discussed later.

NOTE: The Tuck family includes one black parent and one white parent, one white son and one black son. This is truly color blind casting, as the issue of race is never once mentioned.

Sensory Friendly Performances
Virginia Rep offers sensory friendly performances for children with autism and other
sensory or social disabilities. During these select performances, changes will be made in
lighting, sound, seating arrangements, and length of performance to create a more welcoming environment for this audience. A Sensory Friendly performance will be offered at 10:30 a.m. on Saturday, November 16. Please see the website for more details:
http://va-rep.org/sensory_friendly.html

Audio Described Performances
In collaboration with Virginia Voice, Virginia Rep offers Audio Described
performances, in which actions, expressions and gestures are described during gaps between dialogue throughout the performance for patrons with low vision or blindness. In addition to live audio description during performances, patrons are also invited to participate in a tactile tour before the performance. An Audio Described performance will be offered at 2:00 p.m. on Sunday, November 3. Please see the website for more details: https://va-rep.org/access_for_the_blind.html

Community Tickets Grant
Virginia Rep offers a free Community Tickets Grant for nonprofit organizations. Organizations who have a demonstrated need for complimentary tickets are encouraged to fill out the application found on the website: bit.ly/CommunityTix

Performance Schedule
Evening performances at 7:00 p.m. on select Fridays
Matinee performances at 2:00 p.m. every Saturday and Sunday
Matinee performances at 10:30 a.m. on select Saturdays

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Aaron Sutten

Tuck Everlasting
Walter RIddle (left) and Lucy Caudle (right). Photo by Aaron Sutten.

Tuck Everlasting
Taylor Witt (left) and Lucy Caudle (right). Photo by Aaron Sutten.

Tuck Everlasting
Lisa Kotula, Todd Patterson, Lucy Caudle, Jon Cobb, Harrison Gray, Taylor Witt, Walter Riddle and Casey Daniel Payne. Photo by Aaron Sutten.

Tuck Everlasting
Taylor Witt, Casey Daniel Payne, Walter Riddle and Todd Patterson. Photo by Aaron Sutten.

Tuck Everlasting
Lisa Kotula, Lucy Caudle and Dan Cimo. Photo by Aaron Sutten.

 

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Featured

BROKEN BONE BATHTUB: Therapeutic Theater Richmond Remount

BROKEN BONE BATHTUB: An Immersive Experience

A Few Notes and Observations by Julinda D. Lewis

A Firehouse Theatre Fringe Production

At: Secret site-specific bathtub locations; the address will be revealed upon purchasing a ticket*

Performances: October 16-20, 2019

Ticket Price: $25

Info: (804) 355-2001, firehousetheatre.org or https://www.brownpapertickets.com/event/4357334

We often say or hear that a particular performance is totally unlike any other. Well, Broken Bone Bathtub is truly unlike any theater I have ever experienced. Based on Siobhan O’Loughlin’s real-life experience of a traumatic bike accident that left her with a broken left hand, Broken Bone Bathtub takes place in a bathtub in someone’s home. Each performance is hosted in a different home (dates and neighborhoods are listed below; addresses are emailed after you purchase a ticket, and attendees are required to sign a waiver).

Siobhan (and I am breaking with convention here and using her first name, because I spent a little more than an hour with her as she sat, covered only with bubbles, in a bathtub – so I think we are now on a first name basis), interacts with the audience, so each performance will be quite different; even the timing will vary, based on the participants’ responses. After helping Siobhan shampoo her hair, I don’t even feel it would be responsible to call these sentences a review.

Broken Bone Bathtub is the most intimate piece of theater I have ever experienced. One Sunday afternoon this past March I attended David London’s production – part history, part storytelling, part séance – Humbug, the Great P.T. Barnum Séance at the Branch Museum of Architecture and Design. The audience was limited to those who could fit around the custom-made séance table, with room for about 4 observers. In August, I attended Dante Piro’s one-man show, The Verge, in that same space. Piro’s play was limited to those who could fit around a conference table. Both of those shows – also produced by The Firehouse, under the artistic direction of Joel Bassin – were intimate, and performed before a limited audience. But both were performed in a public space – and both London and Piro kept their clothes on!

Make no mistake, Siobhan’s bathtub drama has form and structure, meaning and purpose. She recounts her bike accident in carefully segmented portions, interspersed with questions to the audience – the 6 or 7 people gathered in an average-sized bathroom, seated shoulder-to-shoulder, or knee-to-tub on stools of varying heights. Several helpers were enlisted to help her perform tasks one cannot do alone when one’s hand and wrist are encased in a plaster cast. Everyone participated in the dialog on Wednesday night, sharing personal experiences ranging from expressions of childhood jealousy to crying in public, from shared showers to the dimensions of personal space and the difficulty of asking for help when you really need it.

These are genuine topics, and participants offered authentic responses. One woman was brought to tears when a question – and her response – triggered a sensitive memory. There was lots of laughter and, from my vantage point, I could see Siobhan’s eyes welling up more than once. Broken Bone Bathtub is experimental theater, but it is also a healing experience, equal parts theater and therapy. First, the project was Siobhan’s personal journey to physical recovery. Second, it was a way for her to connect with others – who do you call on in time of need? And finally, it is a cathartic experience for the audience-participants who were surreptitiously encouraged to tap into their own feelings, fears, and personal experiences, in the guise of a theatrical performance. At the end, Siobhan concluded her story, weaving in bits and pieces of the shared experiences, including the names of the contributors. Make no mistake, Broken Bone Bathtub may be experimental theater, but it is not random; it is organized and smart. Broken Bone Bathtub is also warm, intimate, and ultimately it is a liberating experience that links the participants with an indelible bond of humanity.

 

*Note Performances and Locations for Broken Bone Bathtub:
Wed., Oct 16 @ 7pm, Richmond Fan District, NO PETS
Thurs., Oct 17 @ 7pm, Gum Spring/Goochland, YES PETS
Fri., Oct 18 @ 7pm + 9pm, Bonair, YES PETS
Sat., Oct 19 @ 7pm + 9pm, Glen Allen, NO PETS
Sun., Oct 20 @ 2pm + 4pm, Midlothian/River Downs, YES PETS

​Some of the locations have pets on the premises. Please be aware if you have allergies. If you are dangerously allergic to animals, we do not recommend purchasing tickets for those locations.

​Unfortunately, none of these venues are wheelchair accessible. If you live in Richmond and have any ideas about making the show happen in an accessible space, please reach out to hello@brokenbonebathtub.com.

By the Way: Siobhan is, indeed, naked in the bathtub, but keeps herself covered with a thick layer of bubbles. There were men and women present, and at no time was any part of the show sexual or suggestive. Broken Bone Bathtub is, in fact, quite suitable for audiences of all ages!

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

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Photo Credits: Firehouse Theatre and Broken Bone Bathtub website

 

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