Featured

ANIMAL CONTROL: People Are Just Animals Who Talk and Wear Clothes

ANIMAL CONTROL: A BAD DAWG TALE

A Theater Review by Julinda D. Lewis

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

Performances: April 17 – May 12, 2019

Ticket Prices: $15/student; $25/military; $35/general admission

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

 

Richmonders who are familiar with the name Chandler Hubbard probably know him as an actor, but this month Hubbard is making his debut as author of the new play Animal Control for which he received the 2019 Martha Hill Newell Playwrights Fund award. Like most comedies, Animal Control tackles some tough, real-life subjects and their accompanying emotions – anger, blame, justice, and ultimately compassion. Sometimes it’s difficult to decide whether to laugh or cry.

Director Joel Bassin, Producing Artistic Director of the Firehouse Theatre, noted that during the dress rehearsal and first two showings it became obvious that pet-owners were more likely to take the quiet route as they found the issues close to their hearts. Set in a dingy office in the Carson County Pound, the play opens as the center’s newly appointed director, Kim Hawkins (played by the versatile Donna Marie Miller), deals with complaints and repeat offenders. The main offender, a three-legged pit bull rescue named Bailey, who has been adopted by the equally menacing owner, Dan Stanley (played by Arik Cullen who towers over everyone at well over 6’), has allegedly attacked another dog at the dog park.

Adam Turck plays Marc Hanson, the persnickety owner of Winnie – short for Winston, as in Churchill – who files the most damning complaint against Dan and Bailey.  Marc (with a “c” he takes pains to explain) has pictures of the injuries his dog sustained and as the tension piles on, Dan’s neighbor, another frequent phoner of complaints, Patty Smith (Lucretia Marie Anderson) also shows up in Ms. Hawkins’ office. All of this is overwhelming for Hawkins, who would rather deal with dogs than people, but she has the dubious back-up of her office associate, Corrine Lowell (Journey Entzminger), an insolent college student who has an affinity for the dogs and an unlikely friendship with her frazzled supervisor.

Bassin directs this eclectic cast of characters with an ebb and flow, a cycle of tension and release that sometimes reaches explosive levels. Expletives fly, Dan towers over everyone, and Corrine is an ever constant presence with her irreverent but much needed wit and sarcasm. Patty seems at first to be an extraneous presence, but she has a key scene with Hawkins and her role is integral to the final resolution. Miller makes Hawkins sympathetic, offsetting moments of indecision with insight and clarity. I’m not familiar with Entzminger, so I’m not sure how much of a stretch it was for her – a junior Business Management student at VCU – to play the insolent college student so convincingly. Surprisingly, she has the final word. Adam Turk is fittingly annoying as the owner of the injured dog, and Arik Cullen, who seemed to enjoy the role of the bad boy, holds the key to the compassionate conclusion.

At the beginning of each scene two actors stand behind the chain link fences on either side of the stage, smoking, texting, or just thinking. While I found this transition interesting, I was distracted by the set. Phil Hayes designed an authentically drab break room that doubles as Kim Hawkins office – with just a folding table for a desk. What bothered me was that the sides of the set were not built all the way out to the theater’s walls, so we could see the scaffold-like edges and supporting brace just behind the chain link fences. I know it’s a set, but I don’t want to see the behind-the-scenes workings. Andrew Bonniwell designed the lighting – no special effects needed here – and Ryan Dygert designed the sound – with dogs barking in the background.

Without giving away too much of the show, Hubbard makes it impossible to take sides by presenting multiple sides of the issue and throwing in a couple of emotionally loaded surprises.

Animal Control is written in three scenes (The Prosecution, The Defense, and The Verdict), with two intermissions and runs a little over two hours, including the intermissions. I thought it was rather well paced, but my partner found it a bit too long. It should be mentioned that neither of us owns a pet, which I think makes a difference. I heard more than one sniffle, that I do not attribute to seasonal allergies, and observed at least one attendee feeling a bit verklempt, waving a hand to ward off tears in the lobby after the show.

 

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

Animal Control.7_Donna Marie Miller, Lucretia Marie Anderson, Arik Cullen, Adam Turck (photo by Tom Topinka)
Donna Marie Miller, Lucretia Marie Anderson, Arik Cullen and Adam Turck
Animal Control.6_Adam Turck, Arik Cullen (photo by Tom Topinka)
Adam Turck and Arik Cullen
Animal Control.4_Donna Marie Miller, Adam Turck, Arik Cullen (photo by Tom Topinka)
Donna Marie Miller, Adam Turck and Arik Cullen
Animal Control.3_Donna Marie Miller, Journey Entzminger (photo by Tom Topinka)
Donna Marie Miller and Journey Entzminger
Animal Control.2_Donna Marie Miller, Journey Entzminger (photo by Tom Topinka)
Donna Marie Miller and Journey Entzminger
Animal Control.1_Donna Marie Miller (photo by Tom Topinka)
Donna Marie Miller

 

https://www.amazon.com/b?node=17869251011&ref_=assoc_tag_ph_1524210812458&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=44cc6aa41d879b2bbdfcf9a36fd354ab

 

https://www.amazon.com/b?node=17869251011&ref_=assoc_tag_ph_1524210642832&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=b929623c39f25eb8717d52c818509d1c

 

https://www.amazon.com/b/?ie=UTF8&node=10825011011&ref_=assoc_tag_ph_1524210607401&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=dbd577f25bec2fb0d914c72908031ba2

 

https://www.amazon.com/l/16256994011?ref_=assoc_tag_ph_1501285904297&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=5fdf6f2c853419c2097c60d96226fc30

Featured

SEVEN HOMELESS MAMMOTHS WANDER NEW ENGLAND: Who Needs a Sub-heading After That?

Seven Homeless mammoths Wander New England: & Alternative Kinship Structures!

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: April 10 – May 4, 2019. (Opening Night – April 12)

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

Some works of art just defy categorization. Seven Homeless Mammoths Wander New England  by Madeleine George is described as a comedy, but even though there is no lack of humorous moments, the play’s focus on complicated relationships and the academic community make it so much more. There are actually three entwined stories that are related but barely connect onstage, and each has its own cast of characters.

The main story revolves around the volatile relationship between a hyperactive, middle-aged college administrator, Dean Wreen (Annie Zanetti); her former lover Greer (Shaneeka Harrell), a professor of philosophy who has stage four cancer; and the Dean’s new, young lover, Andromeda (Meg Carnahan), a recent graduate of the university and new age apprentice. Wreen invites Greer to move in with her and Andromeda while Greer undergoes experimental treatment for her cancer, leading to awkward moments of stifled and raucous love-making between Wreen and Andromeda and tests of jealousy and monogamy involving Greer and Wreen, Greer and Andromeda, and Wreen and Andromeda.

The three women are each so fascinatingly different, but I was particularly drawn to the character Greer. Harrell has a deep, rich voice and a malleable face that speaks volumes even when her mouth isn’t moving. But it should come as no surprise that Harrell is so physically engaging, as she has extensive experience working with two of my all-time favorite dance companies: Bill T. Jones/Arnie Zane Dance Company and Urban Bush Women.

Meg Carnahan was appropriately spacy as Andromeda – whom Greer initially called by a variety of celestial names, other than her chosen one – but there’s more to Andromeda than aimless passion. She is at odds with the Dean about closing the dusty and underutilized natural history museum and becomes active in the protests to save the museum. Her obsession with watching reruns of “Friends” leads to a memorable moment of tenderness with the bristly Greer, and even brings the three women together in unexpected kinship.

Annie Zanetti, whose performance I most recently admired in a Whistle Stop Theater production of The Little Match Girl, gave the same commitment to Dean Wreen as I remember her giving to previous roles. And while it was fascinating watching her navigate the nuances of her past and present love relationships, one of the most notable scenes was with David Clark, The Caretaker of the university’s little museum that was the object of academic and personal controversy. Stopping by The Caretaker’s office to offer him an alternative position, he silently offered her a flask from his desk drawer, and Dean Wreen unexpectedly accepted. She poured out her soul to the man who had, up until then, acted as the play’s raconteur, and left his office more than a little tipsy. I think she walked home.

Clark has a solo role as a sort of narrator, keeping the audience informed of updates in the progress of the plans to shut down the university’s museum – home to seven rare mammoth skeletons, and a few dioramas of indigenous life – by reading aloud from the local newspaper. The details of planned student protests and the activities of the local town council are both informative and amusing, as read with gusto by Clark.

The final section of this trilogy is the strangest and, in some ways, the funniest – or at least the oddest. Maura Mazurowski and Ray Wrightstone play Early Man 1 and Early Man 2, respectively. They are figures in the museum’s dioramas who give voice to the random students who come into the rarely used museum. In fact, the museum is so rarely used that it has become a favorite rendezvous spot, where students can engage in romantic activities in relative privacy – except for the supposedly unseeing eyes of the mammoths and the diorama figures.

Listening to the two caveman-like figures speaking in the vernacular of modern-day students is both amusing and disturbing. In fact, it takes, like, a few scenes to figure out what’s really going on here. To make these supporting characters more challenging, they are allowed to move only their mouths, while maintaining their frozen poses.

Relationships, commitment, change, love, and passion fuel Seven Homeless Mammoths Wander New England and its tightly knit and eclectic cast. Lucian Restivo’s direction provides a variety of pacing choices. The women’s characters ring true, right down to their rituals and bickering The Caretaker’s character provides direction and humor, and the diorama characters are. . .well, different.

Chris Raintree’s multileveled set provides separate work and living spaces although I’m not sure if the ancient refrigerator was just something Dean Wreen was holding onto out of eccentricity or of it was a true marker of the time period. Perhaps it was a metaphor for the complications of her life.

Seven Homeless Mammoths Wander New England might not be everyone’s cup of tea, but if you like satire and droll humor, and have an interest in alternative kinship structures, you ought to go see this production.

 

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

This slideshow requires JavaScript.

 

 

Featured

WOMEN’S THEATRE FESTIVAL: The Bug Guy is Looking Pretty Good

WOMEN’S THEATRE FESTIVAL: Bad Dates

A Theater Review by Julinda D. Lewis

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

Performances: March 30 & April 5, April 11, April 16 & April 20, 2019

Ticket Prices: $25 general admission; $20 for RAPT card holders; $15 for students

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

Fresh off another one-woman show (if you disregard the two supporting angels in RTP’s An Act of God), Maggie Bavolack is tackling another comedic role, this time as a single mother and idiot savant restaurateur in Theresa Rebeck’s Bad Dates – a play that features more than two dozen pairs of shoes and a mysterious shoebox full of cash. Briefly referencing Imelda Marcos, our heroine admits to owning 600 pairs of shoes, including designs by Jimmy Choo, Joan & David, and Chanel. (The red stilettos are hot, but I personally prefer the purple suede platform pumps.)

Bavolack plays Hayley Walker, the successful manager of a restaurant whose Romanian owner is in prison for money laundering. She is divorced and has a daughter named Vera (who is described in the first act as 13 years old and later in the second act as 12 years old), a ride or die friend named Eileen who is her bartender, and a brother named BJ who gives her dating advice.

We hear Vera’s rock music selections emanating from her room each time Hayley goes to ask her fashion advice and all the communications between Hayley and the unseen Eileen and BJ take place on Hayley’s animal print princess phone. At one point Hayley produces an actual phone book – something my friends aged 30 and under may have never seen, much less used – but I wondered why she was using the yellow pages (which listed business numbers) when she appeared to be making a personal call to her cheating boyfriend’s home (residential numbers were listed in the white pages). Bad Dates was first produced in 2003, when both wired and cell phones were in use in many homes, but the telephone, the phone book, Hayley’s eclectic wardrobe, and the nondescript setting make it difficult to identify the time and place.

The heart of the play revolves around Hayley’s horrible dating experiences which range from fantasizing about the “bug guy” at a Buddhist party where everyone sat in the rain to a date with a gay lawyer that her mother arranged to a short-lived relationship with a man named Lewis who seemed like the perfect guy until he failed to show up one night. Hayley doesn’t just have bad luck with men, she’s been out of the dating game for a long time and some of the men she meets are perfectly awful!

Bavolack evokes endless chuckles discussing Hayley’s trials and tribulations while parading through a seemingly endless collection of shoes and changing clothes several times with ease – without benefit of a mirror. But even with the intimacy of the TheatreLAB Basement space, I often felt that Rebeck’s script was lacking. Hayley addressed the audience, breaking the wall, but Rebeck never really allowed her to connect with the audience. Director Melissa Rayford kept the pace moving, and I enjoyed Bavolack’s effortless familiarity with the material, but the script just seemed to lack consistency and did not take advantage of opportunities to connect more closely with the audience.

Speaking of inconsistencies, the set (I did not see a designer credit) featured a single bed with a nice comforter and a comfortable looking hassock, but the dressing table and chair were scarred and battered, and Hayley’s closet was just a metal clothing rack. A simple black curtain separated Hayley’s room from the rest of the apartment which seemed to be a dark, windowless space that could have been in a basement. I would have expected at least a nice rug and painted walls for a woman who was managing a successful restaurant. This threadbare setting made the line, “Brooklyn, it’s not as bad as you think it is,” seem quite odd. Later, describing a scene in a Manhattan police station, Hayley says, “What we see on television is really quite accurate.” The same cannot be said of Bad Dates. It is quite amusing, but somewhat less than accurate.

 

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

———-

Photo Credits: Destiny Martinez Photography

Bad Dates.1
Maggie Bavolack
Women's Theatre Festival.1
The Women’s Theatre Festival Team

Women's Theatre Festival.2

 

Featured

PINOCCHIO: Bright and Shining Son

Pinocchio: The Nose Knows

A Theater Review by Julinda D. Lewis (with input from Emmitt, Kingston & Soleil)

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

Performances: Mach 29 – May 5, 2019

Ticket Prices: $21

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

The third production of the Virginia Rep Children’s season at Willow Lawn is the children’s classic Pinocchio. I’m glad I usually take children with me to these shows, because our perspectives are often vastly different.

First, a disclaimer. I am truly glad that Pinocchio is played by a real person, Bridget Sindelar, who last appeared on this stage as Ginny/Little Blue in The Little Engine That Could. I find articulated marionettes creepy – almost as creepy as ventriloquist dummies. Sindelar adopted a herky jerky walk, like a windup toy about to wind down, with uplifted elbows to mimic the posture of a marionette.

Sunday afternoon found a nearly full house for this show, with book, lyrics, and direction by Bruce Craig Miller, who will soon start his new job as head of the Chesterfield Cultural Arts Foundation. Running a little under one hour with no intermission, Pinocchio is recommended for ages 4 and up, and that seems about right. There were a few criers in the audience, but most of the young attendees were enthralled. My 4-year-old grandson Emmitt was fully attentive. As always, he is especially fond of the musical numbers. His favorite was “The Eating Song.”

When asked which characters he liked the most, his first response was the Blue Fairy (played by Renee McGowan) but then he changed it to Pinocchio. He also did not hesitate to let his mom know that he did not like the scene where Pinocchio got tied up with a noose. (It might have been around that time that he moved from his seat to her lap.) The set, by Terrie Powers, also caught his attention, “It looks like a real city,” he said in unsolicited awe shortly after we took our seats.

Kingston, at 10, is the more seasoned theater-goer, but he liked the entire show, especially Tevin Davis as the Fox and Eve Marie Tuck as the Cat. He did not have any problem with the rope scene or even with what I saw as totally improbable, illogical, and unsubstantiated scenes and events. Their mom, Soleil, who between the ages of 7-17 spent more time on stages than in theater seats, acknowledged the inconsistencies, but was most struck that this version of Pinocchio reminded her of the book of classic fairy tales her father and I had bought for her and her siblings. One scene she reminisced about was the scene where Pinocchio and his father Geppetto are reunit4ed in the belly of a giant dogfish – a scenario I did not remember at all. So, thank you, family, for your input. I appreciate your perspectives, but do not fully agree.

From my perspective, I found Bridget Sindelar charming as Pinocchio, but I was repelled by Pinocchio’s bratty behavior. I, too, was enamored of Tevin Davis’s Fox, a rakish character who seemed to have adopted some of the mannerisms of a 1970s Blaxploitation movie pimp. Geppetto, played by Landon Dufrene, seemed underdeveloped, as was the relationship between Geppetto and Pinocchio. The jump from freshly carved puppet to a runaway puppet to real boy was sudden and lacking in explanation. Okay, I know it’s a fairy tale, so logic isn’t required, but still, it seemed to me as if chunks of the story were missing. This is why I think it’s helpful to attend a children’s show with children – especially if I’m going to write about it. They weren’t bothered by, in fact didn’t even notice, any of the things I found lacking or distracting.

Over all, Miller kept the pacing swift but smooth; the time passed quickly. The cast performed with energy and enthusiasm, often making light contact with the audience, asking a question or pointing to a child or two to include them in the decision making process. I liked the opening, with the actors switching between English and Italian to set the scene – but they dropped that after the opening scene. The costumes by Marcia Miller Halley were quite well done and enhanced the fairy tale atmosphere while complementing Powers’ colorful little village set design.

Pinocchio delighted its intended audience and is largely devoid of the double entendre that so many playwrights cleverly insert into children’s plays, apparently in an attempt to keep the attention of the accompanying adults. Like most good children’s tales, there is an underlying lesson or two. In this case, the messages that are woven throughout are about telling the truth and not being afraid to grow up.

 

Sensory Friendly Performances

A Sensory Friendly family performance will be offered on Saturday, April 27, 2019 at 10:30 a.m. Please see the website for more details: http://va-rep.org/sensory_friendly.html

 

Audio Described Performances

In collaboration with Virginia Voice, Virginia Rep is pleased to offer 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 on Sunday, April 7, 2019 at 2 p.m. Please see the website for more details: https://va-rep.org/access_for_the_blind.html

 

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.

———-

Photo Credits: Aaron Sutten

This slideshow requires JavaScript.

Featured

17th ANNUAL MID-ATLANTIC CHOREOGRAPHERS SHOWCASE: Selected for Diversity

17th ANNUAL MID-ATLANTIC CHOREOGRAPHERS SHOWCASE

A Dance Review by Julinda D. Lewis

At: Grace Street Theater, 934 West Grace Street, RVA 23220

Performances: March 30 at 5:00 and 8:00 pm and March 31 at 2:00 pm

Ticket Prices: $15

Info: (804) 304-1523, www.showwclix.com, or www.starrfosterdance.org

For 17 years, Starr Foster has curated the Mid-Atlantic Choreographers Showcase of internationally recognized choreographers – and one university student.

This year’s program included works by Megan Payne (Charlotte, NC), Sadie Weinberg of LITVAK Dance (San Diego, CA), Mariah Eastman (a Seattle, WA native who graduated from the VCU Dance program), Zachary Frazee (Rochester, NY), Lauren Lambert (a University of Richmond senior majoring in Psychology with minors in Dance and Healthcare Studies), and Starr Foster (Richmond, VA).

Payne was the only choreographer to have two works on the program with one of them a dance on film, “rib.” The title immediately made me think of biblical themes, of Eve, and the work, in fact, is an exploration of the female experience. Set in a dark, damp, windowless room, the trio is lit primarily by a single, bare bulb hanging from the ceiling. It reminds me of the light in an interrogation room on a television detective show. Rather than an outward focus on line and technique, the movement is internally focused and motivated. The dancers move as a group, suggesting the three women may be components of a whole – a sort of trinity – and the two most striking movements, for me, were when they faced a blank wall, searching it with their hands, and when one violently swung her hair.

Payne also presented a live work, “Bleached Dreams.” This duet is an exploration of how our bodies experience grief and seemed mysterious and somewhat alien as it began with the two women bent over, backsides to the audience – a position they held for quite some time. Much of the movement took place on the floor, such as a head-to-head crawl, with one dancer moving forward while the other moved backward – picture conjoined twins, with the dominant twin controlling the direction of travel. The lighting and sound contributed to the alienated, shadowy effect.

Speaking of lighting, Lauren Lambert’s work, “Eudaimonia,” described in a quote from Dr. Colin Zimbleman (likely one of the psychologists Lambert encountered in her major) as “a chance to glimpse an awe-filled vision of the world,” included some beautiful lighting effects – a “cyclorama lighting design concept” by Shanna Gerlach. Golden streaks occasionally flashed in the background, creating an other-worldly effect, and I liked the simplicity of the rotating circle of women moving as if supported by water, washed in a golden pool of light. “Eudaimonia,” by the way, translates from the Greek as happiness or prosperity.

I enjoyed the evocatively lit opening and period costumes of “considering the difference between stillness and waiting” by Sadie Weinberg and dancers of LITVAKdance. Inspired by Arthur Schnitzler’s controversial 1897 play, “La Ronde,” the duo moved through interesting partner variations – but without the sexually provocative nature of the work that inspired it. Mariah Eastman’s solo, “Efforts of Contemplation,” displayed a quiet intensity powered by detailed, articulated movement phrases, while Zachary Frazee’s “Remain in My Heart” had six dancers in primary colors transitioning through a variety of interactions. The satisfyingly diverse program closed with “Stray,” a work by Starr Foster which, despite its title, demonstrated the smooth, organic quality of Foster’s movement vocabulary and the mesmerizing mastery of her ensemble.

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

———-

Photo Credits: accompany each photo.

17th.Mariah Eastman_Kyle Netzeband Credit
Mariah Eastman. Photo by Kyle Netzeband.
17th-Frazee Feet Dance_Demian Spindler Credit
Frazee Feet Dance. Photo by Demian Spindler.
17th-Lauren Lambert_Eibhlin Villalta credit
Lauren Lambert. Photo by Eibhlin Villalta.
17th-LITVAKdance_Manuel Rotenberg
LITVAKdance. Photo by Manuel Rotenberg.
17th-Megan Payne
Megan Payne Dance. Photo by Taylor Jones.
17th-Starr Foster Dance_Doug Hayes Credit
Starr Foster Dance. Photo by Doug Hayes.

 

Featured

SHORTS 2019: Small Plays with Dance Make Big Impact

K DANCE PRESENTS SHORTS: Short Plays & Contemporary Dance

A Dance & Theater Review by Julinda D. Lewis

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

Performances: March 28-30, 2019 at 7:30pm & March 30 at 4:00pm

Ticket Prices: $25 general; $15 for RAPT (RVA Theatre Alliance) & Students

Info: (804) 270-4944 or firehousetheatre.org

K Dance’s 2019 production of Shorts, five short plays interwoven with choreography by Kaye Weinstein Gary, challenged performers to express themselves through words and dance and treated the audience to a delightfully diverse evening of performances. Now in its seventh year, the Shorts brand appears to have been refined and enhanced in terms of timing (the program ran just under 90 minutes, including intermission), talent (there were some new faces and bodies onstage and off), and technical aspects (the lighting, sound design, and costuming seemed particularly creative).

Jacqueline Jones directed two of the small plays. “Chicks (Biology Etc. Day 3)” written by Grace McKeany featured Dean Knight as Miss Mary Margaret Phallon (I’m surprised he wasn’t Sister Mary Margaret) as a Kindergarten teacher giving life lessons on wholly inappropriate topics, such as sex and adult deception. The lesson relied on word play that resulted in double entendre and other age-inappropriate pronouncements. Knight, by the way, looked the part in what I’ll call light drag – a simple dress and conservative wig.

Jones also directed one of the more serious scenarios of the program. “Just Before the Drop” written by David-Matthew Barnes, featured Kaye Weinstein Gary and Andrew Etheridge in a weird and strangely touching story about a wife who first meets her husband’s male lover right after the husband has jumped to his death from the roof of a building. The encounter occurs on the roof top after the police and ambulance and nosy neighbors have left, and between the delicate steps of a deadly dance discuss which of them will keep their loved one’s shoes.

Luke Schares and Patrick Rooney contributed perhaps the funniest moments of evening as a pair of cockroach brothers who, along with a lone critic, were the only survivors of an apocalypse that apparently occurred in and around a struggling theater. Surrounded by trash and a gigantic candy bar wrapper, the two wore hilariously accurate cockroach costumes – complete with extra legs and arching antenna – designed by Kylie Clark. Reminiscent of the adults in “Peanuts” cartoons who are represented only be a saxophone sound, the critic was represented by a piggish grunt. (“They were not looking in your direction,” a friend reassured me after the show.) This humorous tale by Jacquelyn Reingold bears the improbable title of “Joe and Stew’s Theatre of Brotherly Love and Financial Success.”

But wait, there’s more. The lovely and lithe Mara Elizbeth Barrett and Tim Herrman warily negotiated the roles of a couple attempting to reunite after some sort of unspecified absence or separation. Andrew Etheredge directed the piece which effortlessly integrated contemporary dance movements into the fabric of the story and speaking of fabric, he also designed the actor/dancers’ patterned bodysuits. This was the one play that left me with unanswered questions. Why did they break up? Why did he come back? Without some background information or additional context, “In Transit,” written by Steve McMahon, was decidedly unfulfilling.

Thankfully, this was not the final play. That honor was saved for “The Closet,” by Aoise Stratford. “The Closet” gave us an inside look at abandoned toys. Etheredge, a gruff-voiced toy dinosaur named Bernard was the senior resident of the closet, along with Twinkles, a simple-minded and somewhat annoying “Tubby” toy names Twinkles, played by Katherine Wright with a vertical red pony tail. (You might want to Google “tubby toys” to get the full effect.) These two abandoned toys were joined by a reluctant Bart Sponge (Round Trousers), played by Dean Knight in a button down shirt and khaki shorts with suspenders. Like every good movie villain, he pleaded his innocence until Bernard/Etheredge pulled a confession out of him – thanks to his cigarette fueled gravelly voice, no doubt.

Even though Shorts is a dance theater experience, like most Richmond dance programs it has a short run (no pun intended) of just a few days, so if you’d like to see it – and I think you should – don’t hesitate but purchase your tickets and go – just do it!

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

 

Featured

WOMEN’S THEATRE FESTIVAL: A Warm Memoir

WOMEN’S THEATRE FESTIVAL: Pretty Fire

A Theater Review by Julinda D. Lewis

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

Performances: March 27, March 31, April 6,  April 12, April 17, 2019

Ticket Prices: $25 general admission; $20 for RAPT card holders; $15 for students

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

5th Wall Theatre (Carol Piersol) and TheatreLAB (Deejay Gray) have joined forces once again, this time to co-produce the Women’s Theatre Festival, featuring 4 shows in 4 weeks by 4 companies. The festival opened Wednesday, March 27, with 5th Wall Theatre’s production of Charlayne Woodard’s 1995 autobiographical work, Pretty Fire, directed by Piersol starring Haliya Roberts.

I first remember seeing Haliya Roberts last fall in the Heritage Ensemble production of Living in the Key of B Unnatural. Then she caught my attention again with a strong performance as the assistant producer of a radio show, Linda MacArthur, in the 5th Wall Theatre production, Talk Radio earlier this year. Roberts has raised the bar and moved to a whole new level with her stellar performance in Pretty Fire.

Woodard’s one-woman play is a warm and familiar memoir of a black woman who, wonder of wonders, grew up in a strong, loving family just outside of Albany, NY – with both parents and two sets of grandparents. The story begins with Charlayne’s premature birth in the family’s bathroom on a snowy winter night. For those who are not familiar with upstate New York, Albany is quite rural. The baby weighed less than two pounds and the doctors had little hope that she would survive the night. She was “blue black and fuzzy” and her fingers were still webbed but her paternal grandfather found the hospital chaplain, went to the chapel, and prayed with confidence and conviction.

Roberts takes ownership of this character so that, as one friend said after the opening, it would be hard to imagine anyone else playing this role. Piersol has staged this show very simply, with just a bench and some lights (credit Erin Barclay) and some very effective and well-placed sound effects (Kelsey Cordrey is the Festival sound designer). I don’t know what Piersol told Roberts, or how much guidance she provided, but whatever it was, it was just right.

Roberts mastered the little girl’s voice, the grandmother’s testimonials and hallelujahs and the mother’s sometimes unconventional and unexpected words of wisdom. She also captured the history and anecdotes with authenticity and accuracy. Her recounting of taking a bath with her younger sister in a large tin tub in her maternal grandmother’s home in Georgia brought back memories of my own childhood, taking baths in a similar tub in my great-aunt’s house on the Eastern Shore of Virginia. The water had to be obtained from a spigot (or in my case, from the backyard pump) and then heated on top of the kitchen stove before being poured lovingly into the tub set on the kitchen or dining room floor.

The revelation of her secret – being bullied and molested by a neighbor who lived between her house and the local grocery store – brought me to the edge of my seat, ready to seek revenge on her behalf. But Pretty Fire isn’t about abuse or defeat; it is positive, uplifting, life-affirming – and there are only four more chances to see it!

BTW, playwright Charlayne Woodard, may be familiar to some as an actress who appeared in the Tony Award-winning Broadway show Ain’t Misbehavin’ and on television in the recurring roles of Janice on The Fresh Prince of Bel Air and Sister Peg, the nun with a mission for prostitutes and junkies, on Law and Order: SVU (2002-2011).

 

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

———-

Photo Credits: 

 

//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=tf_til&ad_type=product_link&tracking_id=rvartreview-20&marketplace=amazon&region=US&placement=B00BHU9CCO&asins=B00BHU9CCO&linkId=652779fcb6cf081df4674a52e16a75d4&show_border=false&link_opens_in_new_window=false&price_color=333333&title_color=0066c0&bg_color=ffffff

Featured

RICHMOND BALLET STUDIO TWO: Looking Back, Looking Forward

Richmond Ballet Studio Two: The Moor’s Pavane & Figure in the Distance

A Dance Review by Julinda D. Lewis

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

Performances: March 26-31 @ 6:30pm Tuesday-Saturday; 8:30pm Friday & Saturday; 2:00pm & 4:00pm Sunday

Ticket Prices: Start at $25

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

On Tuesday night Richmond Ballet’s artistic director, Stoner Winslett, reminisced on the theme “Looking Back, Looking Forward.” As an example of looking back, she gave us Ira White, once a “cute fourth grader” participating in the Minds in Motion outreach program at Mary Munford Elementary School. On Tuesday night, White danced the role of The Moor in José Limόn’s legendary ballet, “The Moor’s Pavane” choreographed in 1949. For looking forward, she brought us the Chicago-based choreographer Tom Mattingly and his new collaborative ballet, “Figure in the Distance,” based on a sketch he presented for the Richmond Ballet’s 2018 New Works Festival. Mattingly choreographed one of his early works for the Richmond Ballet trainees.

Mexican-born José Limόn (1908-1972) remains one of my favorite choreographers of all time, and “The Moor’s Pavane: Variations on the Theme of Othello” is probably his most well-known work. Set to music by Henry Purcell, the stately framework of the pavane – a courtly dance – contains and restrains the passion of the tragedy of Othello. On Tuesday The Moor was danced by Ira White, His Friend/Iago was Trevor Davis, Iago’s Wife was Lauren Archer, and The Moor’s Wife/Desdemona was danced by Sabrina Holland. On alternate programs, the roles are filled by Fernando Sabino, Matthew Frain, Maggie Small, and Cody Beaton. “Follow the hanky,” Winslett advised; that is the secret to uncovering the deception that results in Desdemona’s unfortunate death.

This is one ballet that does not set the women on pedestals. As the quartet moves through the figures of the pavane, they maintain a distant, courtly demeanor, but we see the women grasped tightly by an upper arm, pushed or pulled, and ultimately the Moor’s wife is killed. White and Davis were often at odds, sometimes even combative. Archer and Holland were treated like trophy wives, commodities more than true loves. The rich – and most likely heavy – costumes are constructed after the original design by Pauline Lawrence, with full, layered skirts for the women with puffy, detached sleeves (showing lots of bare shoulder), and princely robes or tunics for the men.

But even with all its historic status, “The Moor’s Pavane” was not the highlight of the evening. Rather, that honor goes to Tom Mattingly’s “Figure in the Distance,” a work inspired by the artwork of Taylor A. Moore – work Mattingly first encountered on Instagram. An even dozen dancers move through a succession of phrases and configurations. Some of the group phrases brought me to the edge of my seat, including a line of dancers that rippled from front to back, and a moment when the men lifted the women straight up in front of them, one by one. I was also intrigued by a couple walking offstage: the woman walking backwards while her partner mirrored her, walking forward. There was just something somewhat frightening or menacing about that, in contrast to another pair of dancers who shared a gentle caress. There was such a range of emotions, all backed by a series of paintings by Taylor A. Moore. First there was a blue painting of what appeared to be a lake with faint figures in the background. Most striking was a red painting with bold strokes that suggested both a forest and figures hidden in the trees. Another had the shape of a cat’s eye, but the slit of the eye could have been the opening to a cave, and a final had only faint brush strokes except on the far right where there was a large. . .limb? But all the bold, unidentifiable brush strokes could be interpreted as figures, hence, “Figure in the Distance.”

Emily Morgan designed the dark red body suits worn by both the men and the women. The fabric was richly yet subtly patterned, with sheer sleeves and back panels so that, at first glance, it seemed one dancer had a tattoo on her shoulder, and then I noticed more shapes and colors. It turns out that Morgan hand painted sections of the fabric to coordinate with the paintings. The work was set to the multi-layered music of Philip Glass: “Violin Concerto No. 1,” “Piano Etude No. 2” and “String Quartet No. 2” (also known as “Company”), and “Primacy of a Number.”

The lighting was designed by Catherine Girardi who has worked as assistant lighting designer for the Ballet’s “Nutcracker” performances. This was her first original design on her own for the Richmond Ballet.

What made this a collaboration more so than many other ballets is the communication that occurred between the artists (choreographer, painter, costumer designer and lighting designer) during the creative process. Mattingly was given three works to work with the company. Mattingly’s impetus was Moore’s paintings and Morgan had to dress the moving bodies in garments whose brush strokes would reflect the paintings at appropriate times, with Girardi’s lighting. All worked together to suggest what Mattingly conceived of as “an idealized version of yourself,” making the audience, in a sense, collaborators after the fact. “Figure in the Distance” is a beautiful work that is highly satisfying on many sensory levels.

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 to follow.

studio-two-web-slider

This slideshow requires JavaScript.

//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=tf_til&ad_type=product_link&tracking_id=rvartreview-20&marketplace=amazon&region=US&placement=B00LH3DMUO&asins=B00LH3DMUO&linkId=cd73c62518534f775ac8b3c914e0de60&show_border=false&link_opens_in_new_window=false&price_color=333333&title_color=0066c0&bg_color=ffffff

 

 

//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ac&ref=tf_til&ad_type=product_link&tracking_id=rvartreview-20&marketplace=amazon&region=US&placement=B01415QHYW&asins=B01415QHYW&linkId=a6d75822968263d794f0dc9b51d0fe5a&show_border=false&link_opens_in_new_window=false&price_color=333333&title_color=0066c0&bg_color=ffffff

Featured

BRIGHT STAR: A Bluegrass Musical

BRIGHT STAR: If You Knew My Story

A Theater Review by Julinda D. Lewis

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

Performances: March 23 – May 11, 2019

Ticket Prices: $40 Theater only; $57 Dinner & Theater

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

Bright Star is a refreshingly different kind of musical with a lively bluegrass score. Written and composed by Steve Martin (yes, THAT Steve Martin) and Edie Brickell (a singer-songwriter who is married to singer-songwriter Paul Simon), Bright Star was preceded by Martin and Brickell’s Grammy Award winning bluegrass album, “Love Has Come for You” (2013).

Based on a true incident – the gruesome story of “The Iron Mountain Baby,” who was tossed from a moving train in 1902 – Bright Star premiered in San Diego in 2014 and had a short run on Broadway in 2016. The toe-tapping score, under the very capable musical direction of Paul Deiss and the alternately heart-warming and heart-rending story of love, loss, forgiveness, and redemption make Bright Star a perfect vehicle for the Swift Creek Mill stage.

Megan Tatum’s choreography, which ranged from a square dance to the Charleston, interjected many enjoyable moments, and Tom Width’s direction kept the cast moving along at a good pace as they moved props and repeatedly skipped from 1945-46 back to 1923-24.

Grey Garrett brought a strong voice and an amiable charm to the lead role of Alice Murphy – a woman definitely ahead of her time – and Jim Morgan brought more depth to the complementary role of Jimmy Ray Dobbs – the man who loved her – than the script seemed to call for.  I also enjoyed Jacqueline O’Connor and Ray Green as Alice’s parents, and took particular notice of Carlen Kernish as Daryl, the adult Ms. Murphy’s assistant, and of Jon Cobb as Daddy Cane.

But not even a solid cast, good acting, and tight direction could help with the patchy structure of the scenes. The program required notes almost like the synopsis that comes with a three-act ballet or an opera in a foreign language to keep up with the 26 scenes in two acts. Maura Lynch Cravey’s costumes were lovely, especially the mostly pastel and muted shirt-waist and dropped-waist dresses for the women, but they didn’t help distinguish the sometimes rapid changes between decades.

Tom Width also designed the set, a simple, rustic, multi-leveled, indoor/outdoor shell with fences rails and chairs and a table with multiple pre-set tops which the actors rearranged to indicate a home, a porch, an office, a bookshop, and various other locations. From where I sat, front row on the right, Joe Doran’s lighting unfortunately often created a glare that obscured the actors’ faces, but the smaller, decorative lights and the train – with full lighting and sound effects (was this thanks to Jason “Blue” Herbert’s technical direction?) added to the overall charm of this musical – even during moments meant to break your heart.

[On a side note: Tom Width announced that the Swift Creek Mill restaurant’s pickled watermelon rind – a buffet favorite – is now available to take home from the gift shop! Yum.]

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

Save 10.0% on select products from RXBC2011 with promo code 10XUWR8V, through 4/20 while supplies last.

Featured

BROADWAY BOUND: On the Brink

BROADWAY BOUND: Brighton Beach Revisited

A Theater Review by Julinda D. Lewis

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

Performances: March 15 – April 28, 2019

Ticket Prices: $44

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

Neil Simon’s Broadway Bound, the third in his semi-autobiographical trilogy about Eugene Jerome and his family, is a heartwarming story that tackles real-life issues. In the hands of director Steve Perigard, who also directed the first part of this trilogy on this same stage in 2016, along with this talented cast – many of whom also appeared in Brighton Beach Memoirs, it is a masterful piece of storytelling. It is some years later, and the brothers are trying to break into comedy writing. They finally get their big break, and just as things begin to work out for them, things begin to fall apart for their parents.

Running about two hours and fifteen minutes, with one intermission, the story unfolds in a leisurely manner that allows the dialogue – and there is a lot of dialogue – to unfold in a natural manner; it almost feels as if we are reminiscing about family matters or listening in on our elders – which young Eugene and his grandfather, Ben, do frequently – who pretend they do not know we can hear them.

Tyler Stevens, who first caught my attention as an actor in Brighton Beach Memoirs, has returned in the role of Eugene, the younger son of the Jerome family of Brighton Beach*. He also narrates the story. If anything, he has grown stronger and brings even more to this character than before. Eugene’s thoughts on intimacy are mature beyond his years and strike a contrast with many of the indecisive comments he often makes when talking to his brother. CJ Bergin makes his Virginia Rep debut as older brother Stanley, and he ably captured Stanley’s enthusiasm as well as his moments of doubt, but he did not seem to wear his role as comfortably as Stevens. Perhaps because I held such fond memories of Stevens in the role of Eugene, this contrast was more palpable.

Jill Bari Steinberg stepped back into her role as the mother, Kate, like a favorite pair of house slippers. Her need to nurture and even her eccentricities are familiar. Jewish mother, Italian mother, Greek mother, black mother, universal mother – Kate is not a caricature, but a memory. One of the most touching scenes occurs when Kate reminisces with her son about her youth, her love of dancing, and how she finagled an opportunity to dance with 1930s and 40s film star and noted dancer, George Raft. Steinberg and Stevens dance together – mother and son – and time stands still. Eugene later narrates how awkward such an intimate moment with one’s mother can be and this, too, feels authentic.

One cannot mention memories without noting that Jeff Clevenger stepped into the role of Kate’s husband, Jack – a role that had previously been performed by the late Andrew C. Boothby, to whose memory this production has been dedicated. Clevenger managed to bring humanity and depth to Jack. Yes, Jack betrayed his wife and family, but he was also a loyal friend to his former lover, staying by her side through an unnamed terminal illness, and his sons loved him. Like real life, things are not just black and white.

The cast also included Ken Moretti, also making his Virginia Rep debut as Ben, Eugene’s grandfather and Kate’s father. Ben clings to the past, and his socialist beliefs, and while he is not demonstrative, he fiercely loves his daughter and grandsons. Moretti more than adequately reveals these qualities, often with his posture and actions rather than with words. Sara Collazo, another returning cast member, rounded out the cast – and the family – as Kate’s sister, Blanche, who married up the social ladder, much to the dismay of her father, Ben.

Terrie Powers’ multi-level set is divided into four separate spaces: the brothers’ bedrooms upstairs and a comfortably nondescript living room and dining room downstairs, with doors leading to the kitchen and the front entrance. The black metal mailbox on the door-frame and the mezuzah (prayer scroll) that Jeff touched – one of his few tender acts – on entering through the door could have been taken from my grandmother’s house in Brooklyn where I grew up. (No, we were not Jewish, but the previous owners of our house were.)

Lighting by R. Jonathan Shelley further defined the spaces, and Corbin White provided the sound design, which seemed a bit uneven on opening night. (There was one effect in act one that startled me; I wasn’t sure if it was a toilet flushing or the nearby train rumbling by.) Sue Griffin costumed the men in neatly creased trousers, dress shirts, and fedoras. Jack sported suspenders. Kate wore a uniform of modest, printed house dresses with coordinating sweaters and a pair of open toed casual wedges that looked identical to the ones my grandmother wore. And as a born Brooklynite, the Jerome family’s accents sounded nostalgically familiar.

Broadway Bound certainly addresses the brothers’ show biz dreams, even including a lengthy radio show excerpt, but the focus is on the people and their relationships and that is what makes this a fitting offering for the Acts of Faith theatre festival and a memorable drama you will think about long after the final bow.

———-

*For non-New Yorkers: Brighton Beach is a part of the Borough of Brooklyn, which is part of the City of New York. But for people in Brooklyn – as well as the other “outer” boroughs of Queens, Staten Island, and The Bronx, going into Manhattan is called going to “the City.”

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

This slideshow requires JavaScript.

Shop Amazon – Introducing Education Supplies for Teachers

Shop Amazon – Best Selling Products – Updated Every Hour

Featured

PRIDE AND PREJUDICE: And Proposals of Marriage

PRIDE AND PREJUDICE: “People Who Do Not Complain Are Never Pitied”

A Theater Review by Julinda D. Lewis

By: Quill Theatre

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

Performances: March 8-24, 2019

Ticket Prices: $30 Adults; $25 VMFA Members & Seniors 65+; $20 Students (with ID)

Info: (804) 340-1405, quilltheatre.org or https://reservations.vmfa.museum/

 

The Quill production of Jane Austen’s Pride and Prejudice, adapted for the stage by Christina Calvit, is quite possibly the most fun I’ve ever had at a Quill production. Running just over two hours, the show is a delightful comedic romp that follows the trials and tribulations of Mr. and Mrs. Bennett as they – well, mostly Mrs. Bennett – try to find husbands for their five unmarried daughters.

Calvit has limited the novel’s multiple subplots and kept the story fairly simple and easy to follow, as is the language, and director Christopher Owens keeps the cast moving at a fair pace that is upbeat and maintains the classic character and deportment. Jeremy Gershman’s Regency era choreography adds an element of cultural authenticity while keeping the cast literally moving along at bubbly pace.

Irene Kuykendall and Axle Burtness have the lead roles of Elizabeth, the Bennett’s smart, beautiful, and stubbornly independent second daughter, and Mr. Darcy, the tall, handsome, and arrogant stranger who steals her heart. In one of the early ballroom scenes, the two admirably kept their conversation going while dancing, without missing a syllable or a step. If you’re looking for well-roundedness or depth of character, I don’t think you’ll find it here, but that’s not necessarily a shortcoming – just an observation of the adaptation’s purpose and the director’s vision. The comedic pacing was fine, while the characters’ chemistry was not developed in a way that made their ultimate passion convincing.

Kuykendall and Burtness may have had the lead roles, but Melissa Johnston Price commanded several scenes, first as the openly gold-digging mother, Mrs. Bennett, and then as the demanding matriarchal patron, Lady Catherine Debourgh – the aunt of Mr. Darcy. If Kuykendall and Burtness did some fancy stepping on the dance floor, Price did some fancy quick changes from Mrs. Bennett’s matronly dress, that resembled nothing so much as wallpaper, to Lady Debourgh’s elaborately layered widow’s weeds and cane. Price sums up Mrs. Bennett’s character with one line: “People who do not complain are never pitied.” (For Lady Debourgh, one might paraphrase that to, “People who do not bully others are never feared,” but that carries much less panache.)

Joe Pabst, in the quadruple roles of Mr. Bennett, Sir William, Colonel Forster, and Fitzwilliam was also no slouch in the quick change department. I’m sure kudos are due to unnamed backstage assistants. Pabst seemed to enjoy his roles as much as the audience, but I found his delivery of my favorite line a bit too subtle. When Elizabeth declines the proposal of Mr. Collins, her father asks if she understands that “your mother will never see you again if you don’t marry him. . .and I will never see you again if you do.” Here, it might be helpful to know that she is the daughter who spends the most time with her father, apparently helping him with the family’s business.

We learn more about Elizabeth and Jane, the second eldest and eldest, respectively, and the headstrong youngest daughter, Lydia, but very little about the other two – Kitty and Mary.

Tradition dictates that the eldest, Jane, played by Maggie Quick, must marry first, but Lydia, played with great energy and enthusiasm by Annie McElroy, has no regard for tradition, and places the family name in jeopardy with her impetuous actions. Mary, who is traditionally described as the plainest in looks, is played by the lovely Allison Gilman, and Kitty, gets so little attention that the considerable comedic skills of Nicole Morris-Anastasi are sadly underutilized.

I also enjoyed Joel White’s portrayal of the obsequious cousin and heir, Mr. Collins, whose annoying speech quirk of adding “mmmmm” in the spaces between words while gesturing as if holding a large, invisible hat with a large feather are strangely endearing. As Mrs. Bennett’s brother-in-law, Mr. Gardiner, he is the picture of manners and gentility. And I must include a brief mention of Audrey Sparrow and Ethan Cross, two high students who played the role of servants – welcome to the company of Quill Theatre.

Reed West designed the set, which contains many architectural elements that rotate to create the various environments, with the support of lighting by Gregg Hillmar. Patricia Wesp designed the costumes, which I thought were much more elaborate and well-constructed for the men than for the women. While the daughters generally had dresses appropriate for the unmarried young women of a gentleman of little means, Mrs. Bennett’s shapeless dress was dangerously close to resembling a flannel nightgown. Several members of the Regency Society of Virginia attended Saturday’s performance wearing period attire that rivaled that of the actors onstage.

Pride and Prejudice is a delightful production of a classic love story that reminds us that the more things change, the more they stay the same. It’s become a classic for a reason: we recognize these people; it appeals to a wide range of ages; it crosses class; and it addresses real problems with humor. Pride and Prejudice has a run of only ten shows, so don’t hesitate if you like to see it.

 

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 of publication.

Pride.1

 

 

 

Shop Amazon Devices – Fire TV Trade-In Offer

Featured

EVERY BRILLIANT THING:#1 Ice Cream

EVERY BRILLIANT THING: What Hope Is

A Theater Review by Julinda D. Lewis

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

Performances: March 1-15, 2019

Ticket Prices: $25 Adults; $20 Seniors; $15 Youth, Groups, Students & $12 with RVATA card; Reservations Required – No tickets at the door

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

It’s hard to imagine a warm and engaging comedy about mental illness and suicide but that is exactly what the team of Vicky L. Scallion/Artistic Director, Chris Hester/Actor, and Frank Foster/Director and Scenic Designer have pulled off with Duncan MacMillan and Jonny Donahoe’s Every Brilliant Thing, now running in the far West End’s HATTheatre.

In short, the one-man play is about a man looking back over his life and telling the story of how he survived as the child of a mother whose first attempt at suicide occurred when he was a 7-year-old school boy waiting for his mom to pick him up from school. While Hester is the only professional actor on stage, the script calls for him to enlist the help of numerous audience members. Some read lines from a card when their number is called. For example, #1 Ice Cream. Others have actual roles and characters with coached or adlibbed lines. There is the veterinarian who is called to euthanize the family’s elderly dog, Paws McCartney, and Mrs. Patterson, who is a school counselor with a Snoopy sock puppet. There is his dad and his girlfriend Sam. Interestingly, Hester’s character, the main character, remains unnamed.

Every Brilliant Thing is one boy’s attempt to fight depression. By the time his mother gets out of the hospital, he had begun a list of things worth living for. Ice cream. Yellow. People falling down. Peeing in the ocean. Many of these things are so simple, and others are quite funny. But even though he keeps adding to the list, his mother doesn’t get better. The boy grows into a man, and fears, too, will succumb to the demons of depression. His father, unable to help, copes by retreating into his home office with his records. In an early poignant moment – and there are many – the boy stands outside the door of his father’s study waiting to see what type of music he will play. That will let him know whether to enter or head downstairs and fend for himself.

Every Brilliant Thing reminds us that it is natural for the children of suicidal parents to blame themselves. There have been many studies completed, and it has been determined that suicide is contagious. After a high-profile or celebrity suicide, suicide rates spike sharply. There is even a name for the phenomenon of copycat suicides: the Werther effect, which takes it name from Goethe’s novel, The Sorrows of Young Werther.

The audience interaction creates a distraction or diversion that balances the serious nature of the subject with unexpected interjections of humor. Foster has also created balance with his design elements. He has transformed Scallion’s tiny black box theater into a comfortable living room with a variety of chairs and sofas set on both ends of the room, including the area that is usually reserved as the stage, and small tables that hold conversational lamps, trivia cards, a chessboard. There’s even complimentary coffee and hot chocolate and warm chocolate chip cookies for the audience. Erin Barclay designed the lighting, which incorporates all the little lamps. Hester has the area between the two banks of seats, with occasional forays into the audience. At one point he breathlessly attempts to high-five every member of the audience. His sweaty brow and panting are genuine and endearing, as is the rest of his performance.

One of the best parts about Every Brilliant Thing is the sound design, by Scallion, based on the authors’ instructions. Music cues the young boy on whether to interact with his father. Music marks the family’s happy times – when they gather around a piano in their kitchen, of all places, and sing soul songs. There’s a record player and an album in a yellowed jacket that Hester plays at the end. And there is a soundscape that includes Ray Charles and Cab Calloway and other music appropriate to the time (which in this case begins in 1982 and covers several decades as the boy becomes a man).

Every Brilliant Thing will be different each time it is performed, as the new audience members bring new inflections to their lines. At Sunday’s Acts of Faith talkback, Hester revealed that he looks forward to relating to new audience member at each performance. He himself is no stranger to depression and mental illness in the family. When the audience was informally polled to see how many had been affected either personally or with mental illness in their families, every single person present raised a hand. Maybe the list couldn’t save this boy’s mother, but it seems to have saved him, and making lists and keeping journals are components of many self-help programs and therapies.

I recommend Every Brilliant Thing because it is an intriguing production. It will make you laugh, it may make you cry, as it did the young woman who played the role of Sam on Sunday afternoon. But more importantly, it provides a non-threatening opening to discuss these very real and very timely issues: depression; mental illness – or better yet, mental health; suicide. Every Brilliant Thing puts the audience to work and reminds us that there is always hope.

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 uncredited at the time of publication

This slideshow requires JavaScript.

Featured

IN MY CHAIR: Sorry, Not Sorry!

IN MY CHAIR: A Journey of a Thousand Miles
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 2-31, 2019 with talkbacks on March 10 & 17
Ticket Prices: Single tickets start at $35
Info: (804) 282-2620 or va-rep.org

It is hard to think of In My Chair, a one-woman show written and performed by Eva DeVirgilis, as a play. Yes, it’s produced by the Cadence Theatre Company, under the artistic direction of Anna Senechal Johnson. Yes, it has a director – Lisa Roth, co-artistic director of The Actor’s Center in New York – and all the other accoutrements of a play: minimal scenic design and a variety of photographic and video projections by Tennessee Dixon; costume design by Sarah Grady; some evocative lighting design by Andrew Bonniwell; and some subtle and authentic sound design by Robbie Kinter. And it is performed in a theater, before an audience, but. . .

In My Chair is part Ted Talk, part therapy, part intervention, part standup comedy, part self-care. . .I could go on. Based on the true stories of women who have sat in DeVirgilis’ make-up chair – which is both the center of the set and a character on its own – In My Chair is told in the first person. After the success of her Tedx Talk on the same subject, actor and makeup artist DeVirgilis set out on a world tour to ask the question, “What is Beauty?” while comparing cross-cultural attitudes towards body image, body shaming, self-esteem, ever-changing beauty standards, and the peculiar phenomena of preventive defense and normative discontent that overwhelmingly affect women all over the world.

I’m sorry. My hair is a mess. I’m so fat. I hope I don’t break your chair. When I look in the mirror, I look old. OMG. That last statement could have been mine. For some time now, I have told myself – and occasionally said aloud to others – that when I look in the mirror, I see my grandmother looking back at me.

DeVirgilis uses the familiar landscape of the make-up chair to empower women. It can be as simple as learning not to dropkick the gift of a compliment. I remember telling a friend I liked her hair. Her response was to tell me it needed washing. That’s dropkicking the gift of a compliment. Stop apologizing. Say it louder for those in the back: STOP APOLOGIZING!

To create In My Chair DeVirgilis took her makeup chair to Nevis, Thailand, Malaysia, Ireland, and more. She spoke with women who wear hijabs, a cancer survivor, sex workers, a journalist. She gave a note of encouragement to a nun accompanying a deaf woman on a London subway car and brings each one of these women to life with a voice, an accent, and perhaps a scarf, a change of shoes, or a few gestures of their own. All the while, she is shadowed by Norma – the manifestation of her own insecurities and normative discontent. DeVirgilis is not new to multi-character solo shows, but this one blends her gift for comedy and her acting skills with her passion for activism and a real-life mission to help women.

She comes into the audience, coaching one woman through the affirmation, “I am a leader,” while the rest of the audience responds, “We support you!” The audience is also prompted to chant “Whoo” or “Boo” after a series of statements that link significant events in history to women’s beauty standards. Sometimes we laugh because the statements and DeVirgilis herself are hilarious, and sometimes we laugh because the only other thing to do would be to cry. Heartfelt, gripping, hilarious – sometimes all at the same time.

After the show, audience members are encouraged to write PositivePostPal messages and leave them in a bag – and to take a message from the bag. Some are as simple as, “You are beautiful.” I pulled one that said, “Ahlan wa Sahlan (welcome in Arabic).” In My Chair runs 90 minutes without intermission, and as part of the Acts of Faith Theatre Festival there will be talkbacks after the show on March 10 and March 17.

FYI: Here is a link to Eva’s TEDx talk: https://youtu.be/gto6w0a13B0

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 Photography

Featured

AN ACT OF GOD: The Beginning and the End

An Act of God: Thou Shalt Laugh

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: February 27 – March 23, 2019. (Opening Night – March 1)

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

An Act of God is an irreverent comedy in which the One and Only God settles casually into a talk-show set to chat and rant about what’s wrong with the universe. The Richmond Triangle Players production marks the Richmond debut of David Javerbaum’s play, first produced in New York in 2015.

The all-female cast is headed up by Maggie Bavolack as God, supported by Kylie M.J. Clark as the Michael and Anne Michelle Forbes as Gabriel. Michael starts out helpfully fielding questions from the audience but becomes increasingly insolent, challenging God like a precocious child. This eventually brings on the wrath of God, causing Michael to lose a wing – which we later see bent and reattached with a generous application of duct tape. The more compliant and sweet-faced Gabriel is the keeper of the Guttenberg bible – which is housed in a guitar case – and dutifully reads verses as God updates The Ten Commandments. Both archangels are smartly dressed by Sheila Russ in white pant suits and glittery silver boots.

But this show mostly belongs to Bavolack who, despite a few opening night stumbles, smoothly navigated Javerbaum’s script, which started as a series of tweets and then became a book before manifesting as a play delivered in the form of a list. Director Jan Guarino must have given Bavolack free reign because her performance is an intriguing balance of warm and natural, sarcastic and funny, as she enumerates the new commandants. (A few old ones were kept because they were just that good.)

Bavolack wears a gold trimmed white caftan with fluffy white unicorn slippers – sort of the sartorial equivalent of the mullet (you know, business in the front, party in the back). Her hilarious delivery of the list is varied in style and tempo. God’s updates to The Ten Commandments range from the relatively mild (Thou shalt not tell me what to do) to the controversial (Thou shalt not tell others whom to fornicate). Some commands are delivered almost matter-of-factly while others require extensive anecdotes or take long detours.

Bavolack also interacts with the audience, calling out a pair of latecomers and directing other comments directly to those who occupied front row seats – make that the first two or three rows. Oh, and there is a runway that extends the stage into the aisle.

The script has adlibs built-in, allowing for a sprinkling of timely or local references. There’s a fleeting mention of our Commander in Chief and one particularly impressive local reference that Richmond has almost as many houses of worship as confederate monuments. (I wonder what an actor would insert here if performing in Brooklyn, or Philadelphia, or Miami…) There’s even a song at the end, “I Have Faith in You,” when quite suddenly things take a bit of a surprise turn, and the celestial trio takes pleasure in belting it out like rock stars.

Chris Raintree’s design, with its set of double steps (which did not succeed in suggesting a stairway to heaven, if that was the intention), a white sofa, a “poof” or ottoman, a coffee table, and a podium, looks like a celestial talk-show set. Bavolack’s eyes are projected onto the backdrop and emblazoned on the “merch” – a mug, tee-shirt, and magnet are among the show-themed items for sale at the bar. Michael Jarett’s lighting includes a few lightning strikes and there’s a bit of smoke as well.

I would not categorize An Act of God, which is, of course, a part of the Acts of Faith Theatre Festival, among my favorite scripts, but the performance delivered by Bavolack and company is a delightfully entertaining way to spend 75 minutes.

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

 

(L to R) Anne Michelle Forbes (Gabriel), Maggie Bavolack (God), and Kylie Clark (Michael) clear up some misconceptions about the Holy Word in David Javerbaum’s comedy “An Act of God”







Maggie Bavolack delivers the new Word
Anne Michelle Forbes as God’s wingman Gabriel
Kylie M.J. Clark as the questioning archangel Michael
Featured

HUCK & TOM: Rolling on the River

Huck & Tom: And the Mighty Mississippi

A Theater Review (& some other thoughts) by Julinda D. Lewis

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

Performances: January 25 – March 3, 2019

Ticket Prices: Start at $21

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

The latest production of the Virginia Rep Children’s Theatre at Willow Lawn is Huck & Tom and the Mighty Mississippi, a collection of short adventures from Mark Twain’s books about Huckleberry Finn and Tom Sawyer. The production is adapted from the works of Mark Twain, with book and lyrics by Peter Howard, and music and lyrics by Ron Barnett. Colorful and lively, with a few pleasant songs, some period costumes (Becky’s is especially pretty), and creative use of crates to change scenes (the cemetery was quite inspired), this production is recommended for ages 6-12 but is probably best suited for the higher end of this age range, through middle school.

James Hendley and Joel White share good chemistry as Tom and Huck, respectively, with Caitlin Sneed bringing balance as Aunt Polly and Rachel Jones as an adorable Becky. Alvan Bolling II rounds out the cast as Jim.

Throughout the show, which runs just under an hour, with no intermission, characters remind one another and the audience that there isn’t enough time to tell the entire story and encourage audience members to check out the books from their libraries to find out the rest of the story. David Tousley’s set, which includes movable fences, a raft, and the aforementioned crates, includes a background of fencing and gigantic books.

I always like the program for the children’s productions. One side is a frameable poster keepsake, and the other contains all the usual program information. This one includes “Five Fun Facts” about the author and his books, such as Mark Twain’s real name, a nautical term named for Twain, Twain’s early jobs, and some facts about the Mississippi River. In keeping with this theme, I will offer five observations about this production.

One. First, let me defer to my panel of experts: Kingston and Nicole, both age 10, and Emmitt, age 4. Emmitt said he liked “everything” but was not able to offer any details. Kingston and Nicole also said they liked everything, but given that they are in double digits, I couldn’t let them get away with that. Nicole then offered that she found it confusing with one actor just fell down on the floor when the narrator said he’d been shot in the leg. An audible “bang,” she and Kingston agreed, would have made it better. When I asked them how they felt about Huck trying to decide whether to turn in Jim for the runaway slave reward and save himself or to help Jim escape to freedom, neither of them was mature enough to have fully grasped the gravity of the situation. Most of the audience was probably in the 4-10 year age range, so I’m not sure many of them grasped the significance of this dilemma.

Two. Throughout the production, young audience members were urged to read the books for themselves. Most if not all raised their hands when they were asked if they liked to read. I wonder how many of the parents present are aware that these beloved classics are among the most frequently banned books in the USA? Mostly because in the original texts there is liberal use of the word “nigger,” as Jim is referred to as Nigger Jim. Is this something you want to discuss with your elementary school child?

Three. Kingston was able to relate to some of the historical references, remembering that they had been covered in his fourth grade SOLs.  So, kudos for making theater both educational and entertaining, and finding connections with what the kids are learning in school.

Four. Emmitt, age 4, is usually completely enthralled by theater, especially if there is music involved. But this time he was ready to leave about halfway through.

Five. Huck & Tom is a colorful, lively production, with lots of visual interest, movement, and energetic performances by its cast of five, and is well-directed by Kikau Alvaro. Based on my experience, it is best suited for children ten or older, and should be accompanied by sort of discussion. This production is a part of the Acts of Faith Theatre Festival, and the suggested faith connection is “growing up,” which is linked to the scripture Proverbs 22:6 – “Train up a child in the way he should go: and when he is old, he will not depart from it.” Depending on the age and maturity of the child, and the personal beliefs of the family, there are so many directions this discussion could take.

 

Sensory Friendly Performances

A Sensory Friendly family performance will be offered on Saturday, February 16 at 10:30 a.m. Please see the website for more details: http://va-rep.org/sensory_friendly.html

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.

———-

Photo Credits: Aaron Sutten

Acts of Faith logo

Huck and Tom and the Mighty Mississippi
Rachel Jones. Photo by Aaron Sutten.

Huck and Tom and the Mighty Mississippi
James Hendley, center. Alvan Bolling II, Caitlin Sneed, left. Rachel Jones, right. Photo by Aaron Sutten.

Huck and Tom and the Mighty Mississippi
Alvan Bolling II and Joel White. Photo by Aaron Sutten.

Huck and Tom and the Mighty Mississippi
Joel White, Alvan Bolling II, Caitlin Sneed, Rachel Jones, and James Hendley. Photo by Aaron Sutten.

Featured

STARR FOSTER DANCE: CRAVE…what if?

STARR FOSTER DANCE: Crave – a New Work

A Dance Review by Julinda D. Lewis

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

Performances: February 1-3: Friday @8PM; Saturday @3:00, 5:00 & 8:00 PM; Sunday @1:00 PM & 3:00 PM

Ticket Prices: $12

Info: (804) 304-1523, https://www.brownpapertickets.com/event/4033169

Starrene Foster’s new work, Crave, poses the question, “What if, in one moment, you had changed your mind during your journey. And if so, how would that change affect the final outcome?” The ways in which she responds to this prompt are intriguing, thought-provoking, and sensual.

On entering The Basement performance space, there is a small exhibit by four participating artists. Douglas Hayes (the company’s art director) showed a pair of digital duotone prints showing the same model, in the same pose and lighting, but one was taken in 2003 and the other in 2019. Wolfgang Jasper’s charcoal drawing, “Frictionless Pivot” and digital print “Communal Madness” show the same elements, but one has been digitally reconfigured. Beth B. Jasper’s “Negotiation,” created with pen and ink on rice paper started as two separate drawings but ended as two panels, with the initial shape in one flipped over. And Fiona Ross’ “Staves #25C” and “Staves #28C” follow specific rules of placement that lead to different outcomes. A brief study of the artwork will prove helpful when watching Crave.

Our programs were marked with a letter “N” or “S,” indicating whether we were to start out seated on the North Stage or South Stage of the performance space.  There are about twenty seats on each side, and a wall – I mean a curtain – separates the two sides. During the 10-minute intermission, the audience members change sides.

We started on the North Stage, where Kierstin Kratzer and Mattie Rogers danced with a quiet intensity that sometimes pulled me to the edge of my seat. Billy Curry’s original score was a soundscape of trains, industrial noises, and rhythmic music. Foster, who frequently uses dark lighting, did not disappoint, but there were bright lights overhead that created a not unpleasant, somehow softened glare. We could see the dancer’s faces, but not their features. We knew they were looking at each other, but we couldn’t see their eyes. They were dressed in monochromatic slightly loose, softly flowing tunics and pants that became part of the choreography.

Kratzer and Rogers sometimes flowed together organically, sometimes challenged one another, lifting, pushing, pulling; one would occasionally head butt the other in the belly, and one stood vibrating as if receiving an electric shock from her partner’s fingers. The flow and variety of movement was mesmerizing, and before you knew it, it was intermission.

Changing to the South Stage, we saw Caitlin Cunningham and Kelsey Gagnon dancing, and like Wolfgang Jasper’s drawings, the elements were the same as those used by Kratzer and Rogers, but reconfigured. They were dressed identically to the other duo. They started from a similar position. There was that kick and high leg swing. That’s the same grab of the toe. There’s the vibratory movement – but different. It was all familiar, but all new. There was the sound of the train and yes, that upbeat rhythm. But there was a sense of déjà vu, a time shift or a manipulation of time and space.

One had a sense that the other duo was happening on the other side of the curtain, but try as I might, I never actually heard them. Having the audience move is rare, but it has been done before. It’s not always possible and the flexible and intimate space of The Basement was ideal for this elemental manipulation. It enhanced the sense that time and space had shifted. The cast members change, too. For some performances, Fran Beaumont and Cristina Peters will dance on the North Stage, while Shelby Gratz and Erick Hooten dance on the South Stage. With a running time of just about 45 minutes including intermission, Crave packs a lot of punch in a small space in a short time. There are only 6 performances over a 3-day period, so if you can this piece is worth seeing. Try really hard. I love the way Foster has manipulated all the elements – including her audience.

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

———-

Photo Credits: Starr Foster Dance by Douglas Hayes.

Featured

RED VELVET: The Politics of Theater

RED VELVET: The Terrors of the Earth

A Theater Review by Julinda D. Lewis

By: Quill Theatre

At: Libby S. Gottwald Playhouse, Dominion Energy Center, 600 E. Grace Street, RVA 23219

Performances: January 18 – February 9, 2019, Thursdays-Saturdays @8:00pm & Sundays @2:00pm.

Ticket Prices: $22-$32

Info: (804) 340-0115 or quilltheatre.org

Raise your hand if you’ve ever heard of Ira Aldridge. Those words are a program note for the 2012 play, Red Velvet, but also the opening line of the Acts of Faith Preview on Monday, January 14. But seriously, have you ever heard of him? I had. Like many other black American performers, Ira Frederick Aldridge (1807-1867) found that he had to leave the USA in order to pursue his craft. And from what we can see from Lolita Chakrabarti’s two-act play, life wasn’t exactly a piece of cake in Europe, either. (Okay, so “red velvet” does not refer to cake but to stage curtains.)

The play opens and ends with Aldridge, touring as King Lear near the end of his career, being pursued by a pushy Polish woman journalist – whom he derisively refers to as a “skirt.” Jamar Jones stars as a larger than life Aldridge, and at times the drama of Aldridge’s life and the drama he portrays onstage overlap. The journalist, Halina, played by Rachel Dilliplane, digresses into a tirade on the unfairness of being the only woman in her office – a valid complaint, but this story is about Aldridge, and there just isn’t time to focus on her. Halina’s questions about Aldridge’s ground breaking performance as the first black actor to portray Othello at London’s Covent Garden in 1833 lead the aging and apparently ailing Aldridge to review his life – and this is the gist of Chakrabarti’s play.

Aldridge arrives in London to replace the legendary Shakespearean actor Edmund Kean who has collapsed while playing Othello. Kean’s son, Charles, played with supercilious contempt by Cole Metz, who is also a member of the company, expects to step into the role. But the entire company, with the exception of a delightfully smug young cast member, Henry, played by Stevie Rice, are shocked when Aldridge arrives. At one point, Charles throws a full-blown temper tantrum, complete with stomping and screaming. One actress, Betty Lovell, also played by Dilliplane, remarks that when she read the reviews about Aldridge’s “dark” performance, she thought they were referring to his demeanor, not his complexion.

Although it is not entirely clear, what with all the ambient sound, the flurry of accents, and the period language, England is in the midst of riots about the abolition of slavery, and members of the theater company are firmly rooted on both sides of the slavery versus anti-slavery debate. Bernard, played by John Cauthen, just wants sugar for his tea, and doesn’t care how it’s made. Echoing the headlines of recent news, Bernard advocates for “closed borders.” Some players just want to get on with the show. Some are appalled at the idea of Aldridge interacting with leading actress Ellen Tree, played by Frances Saxton. Ellen is also engaged to Charles, and soon rumors of physical abuse and sexual impropriety begin to fly.

Key to this entire experiment is theater manager Pierre Laporte, played by Eddie Webster complete with a French-ish accent. It seems Laporte and Aldridge are long-time friends, and Laporte is brave enough, and European enough, to buck conservative British tradition and shake things up a bit. Unfortunately, it isn’t enough, and there is an intense second act fight between Laporte and Aldridge that actually gets physical. “Theater,” Laporte assures us, “is a political act.”

At one point, the actors read the racially charged reviews that begin to come in after Aldridge’s first performance. Some refer to the absurdity of a black man playing Othello, the Moor, while others completely ignore Aldridge’s talent, but focus on the shape of his lips, which, the assert, prevent him from properly pronouncing the words. Watching it all from the rear is Connie, a Jamaican-born servant who quietly serves tea to the actors. Connie, played by Desirèe Dabney, could be just another stereotype – the “mammie” caricature, or the always stout black woman who takes care of everything. I was pleased when she was, briefly, given a voice in the second act, where she reminded Aldridge that people see what they want to see, but her supporting role never completely broke the stereotype.

Director James Ricks has done an excellent job corralling all this intense material into something that makes sense most of the time, but the first act seemed to get bogged down. The second act ramped up in intensity, often pulling me to the edge of my seat. This is not a story that can be told in one two-act play. David Melton kept the scenic design simple, yet effective: a chaise lounge, a desk, a few chairs, a screen that were moved between scenes. I also liked Cora Delbridge’s dresses for the women, as well as Charles’ foppish ensemble, complete with walking stick.

 

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 Quill Theatre’s Facebook page

aldridge1aldridge3

aldridge2 (2)
Jamar Jones

Featured

ROGER B. HEARD & THE TIGHT 45: A Man with a Deadline

ROGER B. HEARD & THE TIGHT 45: Voiceover Master with a Deadline

A Theater Review by Julinda D. Lewis

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

Performances: January 11-19, 2019

Ticket Prices: $25 Adults; $20 Seniors; $15 Youth, Groups, Students & RVATA; Reservations Required – No tickets at the door

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

It was interesting that two of the first shows of the new year shared a theme. On Friday night I attended 5th Wall Theatre’s production of Talk Radio at TheatreLAB the basement, then on Saturday I attended Roger B. Heard & the Tight 45, which made its world premiere on Friday. A coproduction of Free Jambalaya and HATTheatre at HATTheatre’s west end black box theater, Roger B. Heard is a three-person production written by Alex Mayberry and directed by James Nygren.

Dale Leopold plays Roger B. Heard, a veteran voiceover actor with a great talent but, unfortunately, a small bank account. The rent is due, and he has several projects to record, but his studio time has been limited. It seems a musician by the name of Dirty Metal Lefty has reserved all but 45 minutes of the available studio time. With the help of the studio operator Betty Robb, delightfully played by Emily Turner, Roger churns out one assignment after another. A perfectionist, he doesn’t have time for mistakes or retakes. Wouldn’t you know, a picky client calls in and wants him to redo a single line in a previously recorded ad – over and over and over. In a flash of brilliance, Betty Robb suggests playing back the original version. Problem solved! Betty Robb keeps things moving with her snappy comebacks and no-nonsense demeanor, adding moments of humor and balance to Roger’s feverish personality.

Roger and Betty Robb (she is always referred to by her full name) embark on an impossibly tight schedule, hoping to complete an ambitious roster of voice overs in 45 minutes: a morning motivation; Tales of Fantastica, in which Roger voices six characters and a narrator; a chair sales pitch; a multi-lingual bait shop phone menu, in which one of the languages was a pseudo hillbilly dialect; a congressional campaign ad that seemed guaranteed not to get the candidate elected; the reading of a chapter of a celebrity memoire; a monster bass fishing tournament; TV dubs for an action movie; the voices and sound effects for a game called Dojo Crusader; and a tribute to a religious leader performed in English and Swahili. Listening to Leopold transition from voice to voice, character to character is both amusing and anxiety inducing. We know he’s on a deadline, and Betty Robb keeps us aware of the time.

The only other character is Dirty Metal Lefty, aka Doc Thomas, a musician and songwriter who fills the pre-show space and a final scene with Roger B.  Dirty Metal Lefty is billed as a Richmond musician, so that leaves unanswered the question of her British accent. And I guess I was the only one who was a little slow and didn’t realize that Dirty Metal Lefty played a left-handed guitar until she asked that Roger be given a right-handed one to join her in a song.

There is even some audience participation. For instance, I found myself assigned as a last-minute “intern” assigned to play the tambourine for Dirty Metal Lefty, and a couple sitting behind me had been assigned to participate in a call and response. Due to the threat of severe weather, there were only about 10-12 people in Saturday’s audience, and the Sunday performance was cancelled, but there are two more opportunities to see this show on January 18 and 19 at 8:00 PM.

This is one of the quirkiest shows ever, it runs under an hour with no intermission and the only pretense at a plot is Roger’s deadline. And, if he’s so good, why is he so broke?

 

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 uncredited at the time of publication

hattheatre

hattheatre2
Dale Leopold

hattheatre3
Dirty Metal Lefty (Doc Thomas), Dale Leopold, and Emmy Turner

Featured

THE LEGEND OF THE POINSETTIA: 18 Years Strong

THE LATIN BALLET OF VIRGINIA: LEGEND OF THE POINSETTIA 2019

A Dance Review and Related Thoughts by Julinda D. Lewis

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

Performance Were: January 10-13, 2019

Ticket Prices Were: $10 – $20

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

This won’t be the first time I’ve said that The Latin Ballet of Virginia’s annual production of The Legend of the Poinsettia has become, for many, a new or alternative holiday tradition. But this year I had the pleasure of introducing the production to ten people, children and adults, who had never before seen it. Everyone I had a chance to speak to during intermission or after the show was enthralled by the variety and range of the dancing, the colorful costumes, and the energy of the music and dancing. One mother said she had a hard time following the story, which is told in Spanish and English, mostly Spanish, but I suggested she read her program later – it explains pretty much everything, much like the synopsis of an opera.

This year the fickle Richmond winter weather caused some concern, with a wintry mix of snow, sleet, and rain predicted around the time of the two Saturday performances and the Sunday matinee. The company generously offered to allow people who had made reservations for Sunday afternoon to exchange their tickets for one of the two Saturday performances. The Saturday matinee seemed to be a full house, and snow flurries were swirling around the parking lot of the Cultural Arts Center at Glen Allen as we made our way out after the show and the cast prepared for the evening show.  As of this writing, the weather seemed to be kind enough to allow the Sunday matinee to go on as planned.

The Legend of the Poinsettia tells the story of Little Maria (with Rebeca Dora Barragán and Emery Velasquez alternating in the role), who, after the sudden death of her mother, with whom she was weaving a colorful blanket, finds herself in need of a gift to present to the Baby Jesus on Epiphany Day. January 6 is Three King’s Day or Dia de los Tres Reyes Magos, which celebrates the 12th day of Christmas and the legend of the three Wise Men bringing gifts to the Christ Child. So, for those who did not take down their Christmas trees on January 1, just say you were waiting to celebrate Epiphany! It is also the story of “the true spirit of giving,” as well as a cultural history of how the poinsettia came to be a symbol of Christmas.

The Legend of the Poinsettia is a family-friendly, multi-cultural, multi-generational festival featuring the dances, music, and costumes of Mexico (the origin of the legend and of the poinsettia plant, with Micas de Aguinalda or Christmas Masses and nine days of posadas leading up to Christmas, with reenactments of the pilgrimage of Mary and Joseph), 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.

This year’s cast included new and familiar faces. Young Marisol Betancourt Sotolongo has appeared in all eighteen productions. Antonio Hidalgo Paz, of Spain, and artistic director of Flamenco Vivo, has become a staple figure, partnering King in a flamenco duet and taking on the role of Papa. Frances Wessells, Professor Emerita of VCUDance appeared in her recurring role as Abuelita/the grandmother. She was greeted with cheers of “go Frances, go Frances,” in deference to her still performing at the age of 99! One of my students was most impressed by the energy or “hype” of the men: Roberto Whitaker, Jay Williams, Glen Lewis, Nicolás Guillen Betancourt Sotolongo, and DeShon Rollins.

There are daytime school productions and a weekend of family shows, but if you missed them all, keep your eyes open for next year’s production. It’s a must see.

 

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 Facebook page.

Featured

TALK RADIO: Late Night With Barry Champlain

TALK RADIO: When They Go Low, Barry Goes in For the Kill

A Theater Review by Julinda D. Lewis

 

5th Wall Theatre

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

Performances: January 10-26, 2019

Ticket Prices: $32 General Admission; $20 Students; $20 RVATA Cardholders; $10 ARGS Students

Info: (804) 359-2003 or https://www.brownpapertickets.com/event/3921247

Barry Champlain (Scott Wichmann) is a talk radio host, a provocative shock jock of a nightly show. He is quick to mock his callers and even quicker to cut them off mid-sentence when they begin to bore him. Barry is caustic and cruel; he drinks too much, smokes too much, and washes down his drugs with liquor. He is brilliant but unlikeable, and he is mesmerizing. He brings in ratings.

Talk Radio was written in 1987 by Eric Bogosian who originally played the starring role. Based on an original idea by Tad Savinar and created by Bogosian and Savinar, the play is loosely based on the story of real-life talk radio host Alan Berg who was gunned down in his Denver, Colorado driveway in 1984. There is one brief hint of this bit of history when a mysterious package is delivered to Barry at his Cleveland, Ohio studio at WTLK Radio.

Director Morrie Piersol deftly manages to avoid making Talk Radio feel dated, most of the time. It’s both frightening and illuminating to find that the concerns of late night callers have not changed much in thirty years. It’s also hard to imagine anyone other than Wichmann playing this role with its multiple and often overlapping layers of darkness, humor, edginess, and impending doom.

There is an onstage support team surrounding Barry that is supposed to keep him from running off the track. There’s his Executive Producer, Dan Woodruff (Chandler Hubbard) who brings the news that Barry’s show is about to be nationally syndicated. Stu Noonan (PJ Freebourn) is Barry’s operator who screens and feeds his callers; Spike (Jimmy Mello) is the long-suffering and mostly silent sound engineer; Linda Macarthur (Haliya Roberts) is the Assistant Producer and Barry’s sometimes girlfriend.

In brief monologues, Woodruff, Freebourn, and Roberts share background and insight into Barry. This makes him more human, but no less caustic. When told that the show is going to be nationally syndicated, he deliberately says outrageous things about the sponsors. The most interesting interactions are between Barry and his unseen callers, voiced by Darrelle Brown, George Dippold, Chandler Hubbard, Gina McKenzie, John Mincks, and Paige Reisenfeld.

There are the sad people like the panda lady and the guy who eats dinner with his cat. There’s a sixteen year old girl left pregnant by her apparently much older boyfriend, and the lady who wants to know why there aren’t any new episodes of I Love Lucy. And then there are the right wingers, the anti-Semites, the racists, and the crazies, like Chet who calls back after sending that threatening package to Barry at the studio. For most of them, Barry calls their bluff, mocks them, leads them on, gains their trust, then cuts them off. But then there’s Kent (John Mincks), the kid who parties while his parents are away. He calls in with a scary story about his girlfriend overdosing, and against all advice and common sense, Barry calls him a liar. Of course, he was right, and the next thing you know Kent shows up at the station and joins Barry at his desk for some live on-air repartee that gets quite wild and out of control. Dan says he’s in control of this train, but one wonders. Barry seems headed for an on-air breakdown, but the more outrageous he becomes, the more the listeners like it!

Darrell Brown also plays the brief opening role of financial talk show host Sidney Greenberg with George Dippold as his operator Bernie. Gina Maria McKenzie is Dr. Susan Fleming, a psychologist, who share the closing scene with her assistant, Rachel (Paige Reisenfeld). They all do multiple duty as the invisible callers, using a variety of dialects and accents.

TJ Spencer designed and constructed the authentic-looking set. Roger Price did a great job as sound designer and sound technician. I don’t know, but since this was done in the style of an on-air radio show, it seems that a bit more was involved than in most productions, and it all worked seamlessly. Erin Barclay designed the lighting, which did not require any special effects, and Sheila Russ designed the costumes.

Talk Radio is an intense and disturbing show that often pulled me to the edge of my seat. It covers a lot of ground, from people to politics. It’s harsh and raw and surprisingly still relevant – perhaps even more so in today’s political climate. Oh, and there is a full page advertisement near the back of the program that reads, “Radio’s dead. Start a Podcast!” 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: Tom Topinka

064 talk radio dr [pc-tom topinka] 01-09-19
Scott Wichmann and John Mincks
037 talk radio dr [pc-tom topinka] 01-09-19
Scott Wichmann
021 talk radio dr [pc-tom topinka] 01-09-19
Rear: PJ Freebourn, Chandler Hubbard, Haliya Roberts, and Jimmy Mello. Front: Scott Wichmann.
010 talk radio dr [pc-tom topinka] 01-09-19
Darrelle Brown

Featured

THE LITTLE MATCH GIRL: A Creatively Inclusive Take on a Classic

THE LITTLE MATCH GIRL: Classic Meet Inclusion

A Theater Review by Julinda D. Lewis

By: Whistle Stop Theatre Company at The Hanover Arts & Activity Center, 500 South Center Street, Ashland, VA 23005

Performances: December 1, 7, 14 & 15, 2018

Ticket Price: $10

Info: https://whistlestoptheatre.weebly.com/ or email whistletoptheatre@gmail.com with any questions or concerns. The Whistle Stop Theatre Company does not have a phone number.

The holiday season, spanning Halloween through New Year’s Day (or even through Three Kings Day in January) is often seen as a time for traditions. Families get together and reminisce, pull out old photos, resurrect games and decorations and recipes from previous generations. For some, it means an annual trip to see The Nutcracker or a marathon showing of A Christmas Story (which is now considered politically incorrect).

Richmond’s theater community has many holiday offerings, ranging from the adults-only Who’s Holiday with a grown-up Cindy Lou Who at RTP to the wacky whodunit The Game’s Afoot: Holmes for the Holidays at Hanover Tavern and the trailer park trashiness of A Doublewide, Texas Christmas at CAT. There’s also A 1940s Radio Christmas Carol at Swift Creek Mill Theatre, and the very intense A Doll’s House (which is not a Christmas story but does have a Christmas tree in it) at The Basement. (My apologies if I omitted any shows from this informal and unofficial list!)

For family oriented entertainment, there’s Mr. Popper’s Penguins at VaRep at Willow Lawn, which my 4- and 10-year-old grandsons enjoyed. On Friday, December 14, 2018, I made my way out to Ashland, VA (aka “the Center of the Universe”) for my first experience with the Whistle Stop Theatre Company, whose director, Louise Ricks, has fashioned an inclusive version of the classic Hans Christian Andersen tale, The Little Match Girl. Like many classic fairy tales and nursery rhymes, Andersen’s story is rather gruesome and graphic in the details of a young girl selling matches to help support her family. It’s cold, and she has only a thin wrap and a pair of slippers that belonged to her late grandmother are a poor substitute for boots or proper shoes. Even these are taken from her and she has no luck selling matches to the hurried and preoccupied townspeople who brush past her as she called out New Year’s greetings. In the end, she dies. Before the end, however, she strikes her matches to provide a bit of comfort for herself and her only friend – a cat named Gerda. “You’re not mangy,” The Little Match Girl assures her companion, “You’re. . .unkempt!” The glow of the fire illuminates her dying visions.

But Ricks has taken these moments and expanded them to include tales from other cultures, providing levity, insight, empathy, morality, hope, and cultural inclusion. There’s “The Uninvited Guest” (Jewish folktale for Hanukkah), “Babushka” (a Russian tale about the Three Wise Men), and “Uwungalama” (a South African folktale about a magical tree that provides unending fruit). So, there’s acknowledgement of Christmas, Hanukkah, Kwanzaa, New Year’s and even Three Kings Day, all in one play that runs about 45 minutes.

Set in the round, using only a square platform and three black boxes, The Little Match Girl intimate and as much a night of storytelling as it is theater. The cast consists of a multi-generational, multi-ethnic ensemble of nine, most of whom play multiple roles. Sweet and natural, Ziona Tucker plays The Little Match Girl, with Caroline Beals as Gerda, her cat. Caroline’s gestures and mewls are perfectly on point.

Shalandis Wheeler Smith played the Wind, a Thief, a Venomous Snake, an Elderly Townsperson, and one of the Three Kings. Marcos Martinez is a Passerby, an Elderly Person, the African King, and one of the Three Kings. Annie Zanetti, one of my personal favorites for her generous caricatures, accents, and unrelenting commitment to her characters, played the Mother, the Wide, a Townsperson, and Babushka. She was also spirit of The Little Match Girl’s Grandmother who welcomed her into heaven. Walter Riddle was the Wind, a Thief, a Beggar, and a Townsperson, while Justin Sisk was a Sales Person, Father, Husband, Townsperson, and one of the Three Kings. Finally, Prudence Reynolds was The Child and Sarah Rose Wilkinson played guitar – the only accompaniment.

Great theater? No. Prudence, at one point kept looking towards the door. I assume a family member or friend had just entered. Given the minimal set and props, the ensemble had to mime such details as a dinner table and the gifts of the Wise Men. It was difficult to tell exactly what sort of work Babushka was performing, we just knew it was all-consuming and had Zanetti winding her bottom like a Jamaican dancehall girl.

One young audience member, presumably one not acclimated to live theater, at one point broke out into uncontrollable laughter. Zanetti handled this beautifully, including the young lady and her friends in an interactive search for “the Newborn King,” An inviting family-friendly experience? Yes, and well worth the trip to the unfamiliar territory of Ashland! Not only is this a welcoming environment for families with children of all ages, the program began with a gentle introduction to theater etiquette, and can be enjoyed by audience members from ages 3 and up on age-appropriate levels of understanding. In keeping with the outreach and communication, on Friday audience members who arrived early on Friday were able to take photos with The Snow Queen (Ricks), and on Saturday there are holiday crafts before the 3:00pm show.

 

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

———-

Photo Credits: Louise Ricks & Whistle Stop Theatre Company

Little Match Girl 6
Marcos Martinez, Shalandis Wheeler Smith, Ziona Tucker, and Walter Riddle

Little Match Girl 4
Annie Zanetti and Prudence Reynolds

Little Match Girl 5
Ziona Tucker and Caroline Beales

Little Match Girl 2
Ziona Tucker

 

Featured

A DOLL’S HOUSE: Well, Shut the Door!

A DOLL’S HOUSE: Love and Marriage

A Theater Review by Julinda D. Lewis

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

Performances: December 6 (Preview)/December 7 (Opening) – December 22, 2018

Ticket Prices: $30 General; $20 Seniors/Industry (RVATA); $10 Students/Teachers (with ID)

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

The theme of TheatreLAB The Basement’s current season is “In Pursuit of Happiness.” Following on the heels of the season’s memorable opening show, Significant Other, is a most unlikely production – the thee-act Henrik Ibsen classic, A Doll’s House. First produced in 1879, A Doll’s House created a sensation then because of its unconventional take on marriage and the roles of husbands and wives. One hundred thirty-nine years later, the show remains on the cutting edge, due in no small part to the forcefulness of the cast and the nail-biting intensity of Josh Chenard’s direction.

In what some refer to as color-blind casting, Katrinah Carol Lewis inhabits the role of Nora Helmer, with Landon Nagel as her husband, Torvald. Lewis has tackled some emotionally challenging roles in recent years, from Lady Day at Emerson’s Bar and Grill and Twilight: Los Angeles, 1992, both at TheatreLAB, to A Raisin in the Sun and River Ditty with Virginia Rep, but this may be the most highly charged of them all. With her naturally large eyes accented by makeup, and in the intimate space of The Basement, it was easy to see every nail biting emotion, to hear every breath, to practically feel her trembling. Nagel, whose character at one point remarked how warm it was in their staged apartment, was sweating real beads of perspiration. A Doll’s House is not a play for the faint of heart; it’s hard work for the audience, too, not just for its emotional intensity, but the three acts run nearly three hours, including two intermissions. It also took awhile to adjust to the mannerisms and affectations of the main characters.

On the program, the women’s names are flush left, and the men’s names are slightly indented. This is, no doubt, part of Chenard’s homage to women: the women in his life; the women on stage; the women on the production team; even the women on the awesome playlist he assembled for this production: Bessie Smith, Marianna Faithful, Marian Anderson, Loretta Lynn, Aretha Franklin, Dolly Parton, Sister Rosetta Tharpe, Carole King, and Adele.

Amber Marie Martinez is calm and insightful, in contrast to Lewis, in her role as Nora’s childhood friend, Kristine Linde. Jocelyn Honoré has a supporting role as the family’s maid and nanny, Anna, but all three women are linked by the social mores of their time that require they surrender their own thoughts, feelings, and needs to those of the men in their lives or the needs of their families. Kristine entered into a loveless marriage in order to support her mother and younger siblings. Anna gave up her own daughter and went into service to others. Nora has gone from her father’s house to her husband’s house, and doesn’t even know who she is, other than a doll to be played with at the whim of first her father, and now her husband. These three women are bound together, whether they want to be or not. Their interactions are sometimes sharp, sometimes brittle, but always there is the knowing glance, the slightest turn of the head, the knowing eye toward whichever man is currently acting clueless.

Nagel is positively frightening in his ability to switch effortlessly from domineering husband to sweet-talking lover. Torvald has an unending list of pet names for Nora; literally – he keeps calling her different kinds of birds! For his role as the ill-fated employee Nils Krogstad, Axle Burtness holds his left arm close to his body and limps slightly on his left leg, nursing an unnamed handicapping affliction. Torvald’s close friend and daily visitor, Doctor Rank, played by Todd Patterson (more color-blind casting) also has an unnamed debilitating disease, but it seems his spinal affliction is due to a venereal disease inherited from his philandering father.  Young Faris Alexander Martinez was adorable as Nora and Torvald’s enthusiastic if neglected young son, Jon. (Faris did not appear for the opening night curtain call, presumably because it was past his bedtime.)

The family dynamics and levels of dysfunction in A Doll’s House may have been endemic to the 19th century, but they are all to frequent even today, which makes the play as much a horror story as a drama. Women giving up their own hopes and dreams to take care of aging parents or young siblings, women burying their own desires in order to please their husbands, women living in fear or thinking they do not deserve better, men who view women as possessions or objects, men who think women’s thoughts, feelings, intellect, contributions are worth less than those of men: all of these themes remain as prevalent in 2018 as they were in 1879. So, when Nora takes her final steps out the front door, slamming it behind her with the finality of nails in a coffin, not only is it the most dramatic exit ever in the history of theater, it is, as Chenard wrote in his director’s notes, “a celebration of. . .resilience and strength.”

Chris Raintree’s scenic design is a black and white outline or blueprint, with the names of the rooms – sitting room, playroom, main hall, study – printed on the floor, along with the room’s measurements, and a door opening that the actors mostly respect as they navigate the space. There are a few period pieces, a sofa, a desk, a child’s toy horse, and at the end of the main hall, where we, the audience sit, there appears to be a mirror, as Nora always stops, stares, and adjusts her hair and before going into her husband’s study. Ruth Hedberg’s period costumes make it clear where each character stands in the social hierarchy, and the overall look is one of a slightly shabby middle class striving.

Chenard’s direction is both gentle and shattering. Lewis’ performance is electric and the interaction between Lewis and Nagel is painful and shocking. Lewis’ side-eye when Nora makes her mental shift is epic. The end of each act is met with a blackout and gasps from the audience – both for emotional release and in recognition that one has been holding one’s breath for the last five minutes.

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

a dolls house 2
Katrinah Carol Lewis and Landon Nagel

a dolls house 1
Amber Marie Martinez and Katrinah Carol Lewis

a dolls house 3

Featured

THE GAME’S AFOOT: Murder, Mystery, and Mayhem for the Holidays

THE GAME’S AFOOT: Holmes for the Holidays

A Theater Review by Julinda D. Lewis

VirginiaRep

At: Hanover Tavern, 13181 Hanover Courthouse Road, Hanover, VA 23069

Performances: November 30, 2018 – January 6, 2019

Ticket Prices: $44

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

Ken Ludwig’s hilarious whodunit, The Game’s Afoot, continues the comedic theme of this season’s holiday shows. (See my reviews of A Doublewide, Texas Christmas November 30, A 1940s Radio Christmas Carol November 25, and Who’s Holiday November 18). Debra Clinton directs this murderous farce that has more twists and turns than a roller coaster, a task that must have been made easier by her stellar cast of characters, most of whom are no strangers to the Hanover Tavern stage.

Scott Wichmann stars as Broadway actor William Gillette (a real life actor who made a name for himself playing Sherlock Holmes on Broadway). There’s a play within a play, and life imitates art as Gillette is shot by an unknown assailant while taking his bows at the end of his show. Recuperating at his palatial Connecticut mansion (also real, and now known as Gillette Castle State Park, in Lyme, CT), Gillette invites his friends and fellow cast members to spend the Christmas holidays with him and his mother, Martha (Catherine Shaffner).

Gillette, however, has an ulterior motive. Having blurred the line between his own life and that of the character he portrayed for two decades, he fancies himself a sleuth and sets out to uncover the identify of his mystery assailant – and solve a few other mysteries along the way. Mayhem and misdirection ensue, and Clinton keeps things moving at a fast pace. There is physical comedy and lines that depend on split second timing are delivered flawlessly. There are plenty of clues and possible motives, so it’s not a complete surprise when we find out “whodunit,” but the ride is so much fun that the end is not the focal point.

Wichmann makes Gillette, who tends to be pompous, a bit more endearing, but there’s no mistaking who is the star here. Shaffner is hilarious as his mother, who always has a flask close at hand. Joe Pabst plays the role of Gillette’s best friend, Felix and his bumbling attempts at subterfuge are a highlight of the show. Donna Marie Miller is the villain here – a vengeful theatre critic named Daria Chase who has dirt on everyone and knows how to use it.  However, I was taken aback when she had a meltdown and demanded to be left alone – in Gillette’s house. Umm, that’s now how things work. . .

Meg Carnahan and Caleb Wade play the newlywed couple Aggie Wheeler and Simon Bright and Lisa Kotula is Felix’s wife, Madge whose big scene involves a seance. All have secrets that come to light when a strange detective, Inspector Goring, arrives to investigate a murder that may or may not have happened. Audra Honaker makes the role of Goring most interesting, alternately staring off into space or spouting off lines from Shakespeare. Given that the characters are all actors, there is much grandstanding, with each trying to outdo the other with dramatic delivery of drama and poetry.

The play’s isolated location and limited pool of suspects give this all the major requirements of the locked-room mystery genre, and Terrie Powers’ set attempts to capture the spirit of the genre as well. Derek Dumais and B.J. Wilkinson apparently had great fun with the sound and light design, creating lightning (it must have been a thundersnow storm) and thumps, bumps, and mysterious knocks and Sue Griffin’s costumes are in keeping with the period and the holiday spirit.

If this sounds a bit vague, some of the best moments and funniest situations cannot be mentioned here without spoiling it for those who have yet to see it. What I can say is that there are multiple doors and a secret room, as well as a wall full of weapons, which may or may not be loaded.  There are plots and subplots, motives and alibis, and even false confessions. Everyone is a suspect except the butler, because he was given the night off, it being Christmas Eve and all.

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.

This slideshow requires JavaScript.

Featured

YES! DANCE FESTIVAL: Nationally Acclaimed Dance on a Local Stage

20TH ANNUAL YES! DANCE FESTIVAL: Presented by K Dance

A Dance-Theater Review by Julinda D. Lewis

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

Performances: November 30 & December 1, 2018

Ticket Prices: $25; $15 Students & RVATA Members

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

This year marks the 20th anniversary of artistic director Kaye Weinstein Gary’s Yes! Dance Festival. The festival has brought 150 national and international artists to Richmond and enriched the small but resilient local dance community. This year’s program was quite remarkable for its scope and diversity, with performances by Lucky Plush Productions from Chicago, Illinois; Sandra Lacy from Maryland; Pas de Monkéy from Ohio; slowdanger (Taylor Knight and Anna Thompson) from Pittsburgh, Pennsylvania; Courtney D. Jones/CDJ Dance from Houston, Texas; and Carrots Carrying Water (Logan McGill and Ching Ching Wong) from Salt Lake City, Utah; as well as an offering from the host company, K Dance of Richmond, Virginia.

Pas de Monkéy proved to be a surprising departure from previous years’ guest artists and stood out from others on this year’s program as well due to the hip hop infused genre and subject matter that touched on political hot topics. “Lose It All” was the first dance on the program, following an opening video of excerpts from previous festivals. Kweku Bransah choreographed and performed the solo that held the audience spellbound with his isolations, flowing transitions, and breathtaking muscular control. Bransah pops, waves, breakdances, and glides and his movements also reflect a foundation of pantomime that carries a story of lost love.

Bransah returned in the second half of the program to perform Robin Prichard’s “The Art of Making Dances (Not About Ferguson).”  Set to the music of The Whites, Nat King Cole, Ella Fitzgerald and Louis Armstrong, Sweet Honey in the Rock and the voice of a grieving mother, “The Art of Making Dances” is overflowing with negative social, political, and racial symbolism. Bransah begins the solo with a noose around his neck, one gigantic clown shoe and one bare foot, and an oversized boutonniere, dancing to the lyrics, “Keep on the sunny side of life.” He looks like a caricature of an American minstrel, a representation that was already an unflattering caricature of black people.

Freed from the noose, Bransah speaks, asking, “How can dance be meaningful when people are getting shot in the streets?” A mother’s voice grieves, a youth cries, and song lyrics urge the dancer to “smile.” This intriguing solo blends hip hop with ballet, turning the dancer upside down to perform pas de bourée while standing on his head, and leaves the audience with the question, “How do you take actions that matter?”

Another highlight of the program was “Let’s Be Honest,” performed by Logan McGill and Ching Ching Wong from the Salt Lake City-based company with the fascinating name of Carrots Carrying Water. A world premiere, the duet featured a couple dealing with and avoiding their emotions. They started in business attire, she in a pencil-skirted suit and heels (worn with socks) and he in a light-toned suit, but the stage was soon strewn with their clothes and shoes as the two engaged in a tension-filled test of wills. The way the two connected – whether touching or not – was intimate and palpable.

Not all was tense or political. Lucky Plush Productions out of Chicago presented a delightfully refreshing trio, “Cinderbox 2.0 Remix” choreographed by founder and artistic director Julia Rhoads, that reshapes parts of an evening length work based on reality culture experiences. The three dancers, Michel Rodriguez Cintra, Elizabeth Luse, and Meghann Wilkinson dance in unison, upstage one another, and take turns sitting on metal folding chairs and one another – all while sipping from a shared bottle of Fiji water. Their dialogue incorporates moments from earlier dances on the program, including the feathers from Sandra Lacy’s “Giving Up the Ghost,” and the teapot table from K Dance’s short play, “Helen Keller visits Martha Graham’s Dance Studio.”

Written by Stephan Kaplan and directed by Jacqueline Jones, “Helen Keller visits Martha Graham’s Dance Studio” is the program’s second premiere. Based on real life, the short scene introduces the audience to an intimate moment in which Helen Keller (Maggie Roop) visits the studio of her friend choreographer Martha Graham (Kaye Weinstein Gary) Kelly Kennedy fills the role of Polly Thompson, Keller’s interpreter and companion. Not only was this friendship news to me, a student of dance history, but the piece also made an impression because of a unique teapot shaped table created especially for this work by Juliet Wiebe.

The program also included Sandra Lacy’s spiral-filled and feather-finished solo, “Giving Up the Ghost,” Courtney D. Jones’ intense solo about life in solitary confinement, “Hell is a Very small Place,” and slowdanger’s sci-fi thriller, “hybrid memory | reflector,” choreographed and performed by Taylor Knight and Anna Thompson. Kudos to Kaye Weinstein Gary for an all-around excellent program and for bringing international and nationally known artists to our local stages. Among this year’s guest artists, Courtney D. Jones, Ching Ching Wong, Julia Rhoads, and slowdanger have been included on Dance Magazine’s prestigious 25 to Watch list. All are well worth watching.

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

———-

Photo Credits: individual photos as labeled

Yes.2
Kweku Bransah. Photo by Dale Dong.

Yes.1
Robin Prichard. Photo by Chris Golden.

Yes.5
Sandra Lacy. Photo by Marlayna Demond.

Yes.3
Courtney Jones. Photo Credit: dabfoto creative, University of Houston Cynthia Woods Mitchell Center for the Arts

Yes,4
slowdanger. Photo by Umi Akiyoshi.

 

Featured

A DOUBLEWIDE, TEXAS CHRISTMAS: A Trailer Park Carol

DOUBLEWIDE, TEXAS CHRISTMAS: The Tiny Town Tackles the Nativity

A Theater Review by Julinda D. Lewis

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

Performances: November 30 – December 15, 2018

Ticket Prices: $23 Adults; $18 RVATA Members; $13 Students

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

The citizens of the tiny town of Doublewide, Texas, population 10, are back and so is the fun. A Doublewide, Texas Christmas, written by the trio of Jessie Jones, Nicholas Hope, and Jamie Wooten, is written, directed, and played strictly for laughs. There is no hidden agenda, no deep message, just plain old stupid fun, filled with Texas stereotypes, exaggerated hair and costumes, and a set that looks like a cross section of a dilapidated doublewide trailer park home.

Picking up where Doublewide, Texas left off last June, the town, under the leadership of Mayor Joveeta Crumpler is eagerly awaiting their incorporation papers from the country board, but there are complications. The county is making one more attempt to annex Doublewide, and then there are the added twists of revenge and reunion.

Three actors have returned in their same roles: Crystal Oakley as the beleaguered and frumpy Joveeta, Jeanie Goodyear as Joveeta’s barfly mother, Caprice Crumpler, and Wally Jones as the once crotchety Haywood Sloggett.

Other roles were recast, with Laura McFarland-Bukalski as the hilariously droll Big Ethel Satterwhite and Lisa Way Piper as Georgia Dean Rudd, manager of the local Bronco Betty’s Buffeteria. Lorin Hope Turner now plays the millennial flower child Lark Barken, and Hunter Mass, who simultaneously serves as Assistant Stage Manager is Norwayne “Baby” Crumpler. New characters include Rebekah Spence as Haywood’s vengeful sister Patsy Sloggett Price and Michael Edward McClain as the long lost Harley Dobbs, who is Haywood’s estranged son and Lark’s unknown father. If this all sounds like a soap opera, I am sure that was the intention.

Highlights include Big Ethel’s scenes with the residents of the Stairway to Heaven Retirement Village at the beginning of each act, and Caprice’s overly inflated pretensions of celebrity as the spokesperson for the local funeral home. This time there is only one commercial recording scene, and Caprice is called upon to use her celebrity to entice new residents to move to Doublewide within the week – a condition of approving the town’s incorporation papers.  Big Ethel must lecture the retirees on their extra-curricular activities, having found yet another pair of boxer briefs and a peek-a-boo nightie hooked in the bushes on the retirement village grounds.

“Baby” was not required to wear a dress or heels this time, but he did don a pink frilly apron while preparing a sweet potato casserole and the town entered a Battle of the Mangers competition with the patriotic theme of “Nativity at the Alamo.” Plot twists and turns involve Patsy’s narcissistic need to get revenge on a competitor from her former town, which she was forced to leave in disgrace, a family of belligerent raccoons, a celebrity yam, a budding attraction between Caprice and Haywood, and a Christmas wish that Lark’s father, who is also Haywood’s son and Georgia Dean’s long lost true love, might be found and enticed to return home for the holidays.

It was interesting to see the evolution of Haywood from crotchety old man to loving family member, but I think there was more comedic value in the role of villain. Patsy partially filled this much-needed role, and Spence embraced ownership of this role; she even threw in an evil laugh or two for good measure.

Crystal Oakley had to be mic’d on opening night as she was just getting over a case of laryngitis. Her character, Joveeta, was plagued by back pain, so Oakley, a real trooper, was beleaguered on two fronts. Other cast members were also hit with illnesses and accidents, requiring last minute and behind the scenes adjustments. Considering all that CAT Theatre has had to go through this year, starting with the uncertainty of whether they would, in fact, be able to have a season due to the looming possibility of losing their long-time home, it is nothing less than amazing that opening night went as smoothly as it did and this cast and crew, including Mike Fletcher who directed both Doublewides on the CAT stage, deserve an extra round of applause for pulling this off without any obvious signs, other than Oakley’s microphone.

Mike Fletcher’s pacing kept the laughs coming, although I found the actor’s blocking was sometimes awkward, making me aware that they were directed to face the audience. Scott Bergman’s set included dilapidated, mismatched furniture in a cut-away of a doublewide trailer with the standard wood panel walls, insulation showing, a Santa on the roof, and a plethora a blinking Christmas lights framing the entire set. Sheila Russ’s costumes ranged from Joveeta’s frumpy sweaters and slacks to Caprice’s holiday print leggings and wildly curled wig. It’s Texas, so almost everyone wore cowboy boots. And since it was Christmas, Buddy Bishop and Mike Fletcher’s sound design included songs from the traditional to the silly, such as “White Trash Christmas.” People who enjoyed Doublewide, Texas or Always a Bridesmaid, by these same authors, or those who enjoy the 1970s style sitcom genre, will feel right at home with A Doublewide, Texas Christmas, as will anyone who just wants an excuse to laugh steadily over a two hour period.

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

———-

Photo Credits: Jeremy Bustin Photography (photos to come)

Doublewide TX Christmas

Doublewide TX Christmas.2
Lisa Way Piper, Crystal Oakley, and Lorin Hope Turner

Featured

SISTER ACT: The Singing Nuns Are Back!

SISTER ACT: Take Us to Heaven

A Theater Review by Julinda D. Lewis

At: The November Theatre Marjorie Arenstein Stage

Performances: November 23, 2018 – January 6, 2019

Ticket Prices: $36-63

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

Sister Act is a familiar, feel good musical that does all the right things. On opening night there were moments when the audience spontaneously clapped along, and many jumped to their feet for a rousing standing ovation as the company belted out their final song, “Spread the Love Around.” I had nearly as much fun watching other audience members enjoying the musical as I had watching the musical itself.

Felicia Curry, the petite powerhouse from Dreamgirls (2016) and The Color Purple (2014) has returned to Richmond inhabit the role of Deloris Van Cartier, the singer on the run from her mobster boyfriend who goes into witness protection in a convent. Curry commands the stage with high voltage energy and a voice that seems too big to be contained by her physical body.

Curry shares the spotlight with Andrea Rivette as Mother Superior. Interestingly, Rivette’s role often requires her to use her clear and strong voice to sing through lines, rather than say her lines or sing actual songs. Both Curry and Rivette bring strength of character and a willingness to change or at least to compromise which imbues these near-caricatures into more full-fleshed characters. These two – the showgirl and the Mother Superior – both embody growth, strength, and sisterhood from vastly different perspectives, and in doing so demonstrate a level of tolerance that many of us could benefit from in today’s world.

One of Deloris’ tasks, as the newly appointed director of the choir, is to bring the shy Sister Mary Robert out of her shell, and Gwynne Wood fills this role to perfection. Her round-faced innocence makes Wood’s second act solo, “The Life I Never Led,” even more stunning. When she sheds her mousy demeanor and allows her voice to soar and holds that final note, there is no turning back.

Other supporting characters that added color, flavor, and humor included Durron Marquis Tyre as Eddie, the police officer who helps Deloris; and two of my favorite nuns – the exuberantly optimistic Sister Mary Patrick (Kelsey Cordrey) and the cranky Sister Mary Lazarus (Susan Sanford) under whose leadership the choir couldn’t carry a tune if it had been placed in a bucket for them. And we cannot forget Michael Hawke as Monsignor O’Hara, the priest whose calling seems to have been sidetracked by the need for fiscal restraint in the face of a dying congregation and the threat of the church being sold to a pair of antiques entrepreneurs. As the church’s bottom line goes up, and the church’s books move from red to black, the Monsignor’s priestly garments become increasingly flamboyant.

While women were the stars of this show as well as the show-within-the-show, the men of the cast also turned in some notable performances. Sincée J. Daniels played the role of the notorious Curtis whose big number is the darkly humorous “When I Find My Baby” and its subsequent reprise. Daniels’ afro wig, slick suits, and thuggish demeanor, however, relied almost entirely on parody. He reminded me of Eddie Murphy in one of his less savory character roles. Sister Act offer no redemption for Curtis or his trio of bumbling sidekicks: nephew TJ (the versatile Anthony Cosby); Joey (the consistently and confidently funny Paul S. Major); and Pablo (the hilarious Mark Parello, Jr.) who always speaks Spanish even though no one else around him speaks or understands the language. The trio plots to break into the convent, seduce the nuns and abduct Deloris via the song “Lady in the Long Black Dress.” Their old school seduction lines (you know, the old name and zodiac sign line) and accompanying dance movements make this one of my favorite numbers of the show.  Major dropping to the floor in his sexy pose and Cosby doing a body role are indelibly etched on my retinas. Their actual execution of the ill-fated raid on the convent is a hilariously well-timed bit of choreographed movement.

On opening night, something weird was going on with the lights. A light in the lobby seemed to be going on and off, and the dimmer on the house lights kept going up and down at odd intervals prior to the show. But once the show started, there didn’t seem to be any electrical problem, although I did find the lights that illuminated the upper arches of the set distracting, as they seemed to be moving or waving at times. Otherwise, I was quite impressed by some of designer BJ Wilkinson’s work, especially the heavenly light that spread over the choir of nuns in Act 2.

Sarah Grady designed the costumes, and there were some wonderful moments involving costumes and choreography. If you want to be surprised, do not read the rest of this paragraph, just skip down to the start of the next paragraph. But, given that some of these changes happen so suddenly, you might want to know what to watch out for. Officer Eddie delighted with a double tear-away costume: he appeared in a police uniform, worn over a white Saturday Night Live vest and slacks ensemble, which was in turn worn over another police uniform. The choir had several changes of habit, adding increasingly glittery scapulars or aprons to their basic black dresses as their vocal talents increased, ending in full-glitter habits. And of course, there are the increasingly ornate cape-like chasubles worn by the monsignor.

Ron Keller’s set included soaring arches and cathedral windows. I did not have any preconceived ideas of how the set should look but I was surprisingly disappointed; I found it functional but minimal. And the three holes in the floor – for the orchestra and a surprise “cameo” appearance near the end of Act 2 – made the choreography and the wild chase scene just a bit more challenging and breathless than they needed to be.

Set in Philadelphia in 1977, Sister Act is filled with 1970s icons and references and local signatures from Philly cheesesteaks and “Rapper’s Delight” to R&B, Pop, and Disco complete with a spinning disco ball. As with other highly popular musicals which have also been movies (e.g.  The Color Purple, Dreamgirls, West Side Story), I suspect Sister Act will bring people to the theater who don’t normally come to many of the local theater productions. At intermission, I overheard one man say, “What a wonderfully fantastic show.” My companion liked the 1970s musical genres, the Philadelphia-specific references, and “a story I could follow.”

Sister Act, based on the 1992 film starring Whoopie Goldberg, is written by Cheri Steinkellner and Bill Steinkellner, with music by Alan Menken and lyrics by Glenn Slater and additional book material by Douglas Carter Beane. Robin Arthur, who directed last year’s Beauty and the Beast, directed and choreographed – keeping things moving at a lively pace.  The Virginia Rep website admonishes that Sister Act has adult themes and language, but I didn’t find it particularly strong and not at all offensive. The show runs about 2 ½ hours, with one intermission, but it moves along at such a good clip that you’re not even aware of the passage of time.

 

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

This slideshow requires JavaScript.

Featured

WHO’S HOLIDAY: A Christmas Parody for Adults Only

Who’s Holiday!: The Story Dr. Seuss Didn’t Want You to See

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: November 14 – December 15, 2018

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

 

Who’s Holiday! is an irreverent, adult Christmas story. This one-woman show told by a grown-up Cindy Lou Who takes the audience on a rip-roaring sleigh ride that provides eye-opening details about Cindy Lou Who and her pal the Grinch.

Cindy Lou has outgrown her cute pink pajamas in favor of a bright red shirtwaist dress with multicolored trim which is turn gives way to a green corset with a sparkly red skirt. Both are worn with glittery gold stilettos and a curly blond wig. Thank Ruth Hedberg for the festively tacky costume design.

Cindy Lou has only recently returned home after a rather long stint away. She now lives in a trailer left to her by her late uncle, and it’s parked on Mount Crumpit, apparently not far from the Grinch’s old lair. The sparsely furnished interior feature lots of green accents – and there’s a reason for the Wicked poster on the wall – but T. Ross Aitken’s design seemed surprisingly spacious for a trailer.

And where, exactly is the old green Grinch, and how has he fared over these past years? Well, to tell you that would give away most of the plot. It’s not for nothing that this play is subtitled “The Story Dr. Seuss Didn’t Want You to See!” Apparently, in 2016, Dr. Seuss Enterprises took playwright Matthew Lombardo to court for copyright violation, but Lombardo successfully countersued claiming parody is protected under “fair use” laws and the play opened off-Broadway in 2017.

Kids would not recognize this Cindy Lou Who, played by the talented and versatile Kimberly Jones Clark, most recently seen as Margery in Hand to God co-produced by TheatreLAB and 5th Wall Theatre. I’m not trying to say Clark is making a habit of playing dysfunctional middle-aged women, but lately she has done it extremely well. Middle-aged Cindy Lou starts off greeting the audience, including a shout-out to “the queer in the rear.” She tests the waters of offensiveness with gays and lesbians, as well as Jews, and at one point asks if the word “ghetto” is offensive, but quickly dismisses that suggestion with a flippant, “it gets worse.”

Cindy Lou scrounges a Tramadol from the floor and washes it down with liquor. She takes a hit from a bong and describes some parts of the Grinch that most of us never thought of – and hope never to see – in great detail. Who’s Christmas! is hilarious and also quite dark (and I’m not sure if this is the intent of author Matthew Lombardo, director Dexter Ramey, star Kimberly Jones Clark, or a combination of the three): it deals with drugs, alcohol, domestic violence, bestiality, animal cruelty, murder, and prison culture. Along the way, Jones grabs a handheld microphone and throws in a totally unexpected rap, a deadpan execution of “Merry Little Christmas,” which invited audience participation, and – my personal favorite – a rather skillful rendition of “Blue Christmas.”

There are laughs aplenty; the audience seemed well-pleased, and Clark did an excellent job holding down this zany one-woman show. It just wasn’t my cup of tea – I laughed, I enjoyed it, but it isn’t my favorite adult Christmas show. Maybe I was hoping it would be more like Christmas on the Rocks whose grown up Ralphie, Cindy Lou Who, Charlie Brown, and other characters simultaneously tore and warmed my heartstrings.

Who’s Holiday! runs just about an hour, with no intermission, and is followed by a holiday cabaret with Joshua Worsham on piano and Georgia Roger Farmer and/or Shannon Gibson Brown. I didn’t stay for the cabaret, but it seems like a great deal – an unexpected after party!

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 RTP Facebook page

This slideshow requires JavaScript.

Featured

LIVIN’ FAT: Living Large

LIVIN’ FAT: The Return of Good Times

A Theater Review by Julinda D. Lewis

At: Pine Camp Community Center, 4901 Old Brook Road, RVA 23227

Performances: November 8-17, 2018 with performances at 8:00 pm November 8, 9, 10, 15, 16 & 17; 10:00 am November 14 and 4:00 pm November 17.

Ticket Prices: $10 for Groups of 10 or more; $12 for Students and Seniors; $15 General Admission

Info: thetheatreubuntu@gmail.com or https://livinfat.brownpapertickets.com/

If Livin’ Fat, the current production by the Heritage Ensemble Theatre at the Pine Camp Cultural Arts and Community Center has the look and feel of a 1970s era sitcom, there is a good reason. It was written by Judi Ann Mason, whose work includes Good Times, Sanford and Son, and A Different World, as well as the film Sister Act 2: Back in the Habit. Director dl Hopkins remained true to the sitcom genre, using snappy pacing and staging that made the audience feel as if we were, at times, peering into the Carter family’s living room through an invisible screen. Characters even approached the edge of the stage to look out the window, and often crossed one another precariously close to the edge of the stage.

What’s even more remarkable about Livin’ Fat is that Mason (1955-2009) wrote it when she was a 19-year-old drama student at Grambling State University and it earned her the Norman Lear Award for comedy writing. Given that distinguished history – and the strong cast – I’m upset that I did not, could not love this production.

Livin’ Fat takes place in the “front room” of the Carter family home in the Black Quarter of an unnamed southern town. Yes, that’s what my grandmother called our living room, too. The room is spotless but shabby, and on the wall behind the sofa is the obligatory triptych: Jesus, Martin Luther King, Jr., and John F. Kennedy. Big Mama (Sharalyn Garrard) is a disillusioned widow, given to snappy comebacks. She also has a surprising affinity for the young people in her life and often sides with her grandchildren much to the chagrin of her daughter. Mama (Andrea Shantell Dunnaville) has a direct line to God and can quote scripture for any situation. She is equally yoked to husband Calvin (Arthur Muhammad), who works two jobs to support his family and is a stalwart deacon at their church. The parents’ faith and the family’s future are tested when their son, David, comes into an unexpected windfall.

David (Akiel Baldwin) is a college graduate who, upon returning home, could find no other work than as a janitor at a bank. A fate would have it, one day while working at the bank, the bank gets robbed and no one noticed that a bundle of money was dropped on the floor where it found its way into David’s dust rag. Later references to the “dust” in his pocket, therefore, have two meanings – the “dust” from his cleaning rag and an old slang term for being so poor there is “nothing but dust” in your pockets.

Garrard is consistently funny, tossing off sarcasm like breathing, waving her wig in the air, referring to her television set as if it were her lover, eating ex-lax chocolate laxatives like candy to soothe her unnamed “condition,” and being contrary just for sport. Dunnaville takes broad comedy to extremes, often to the point of making her character a caricature. On the positive side, her projection and diction are excellent, and we never have any trouble understanding her, even when her daughter Candy (Imani Banks) is blasting music from her bedroom. Muhammad’s portrayal of the father is the most moderate, contained, and realistic of any of the play’s six characters. He is, therefore, a positive role-model and a model black father. Candy is the least developed of the characters in the family, yet Banks takes advantage of every moment on stage. She is the cute but annoying little sister, given to exaggeration, and does not know the meaning of giving up. When sent to her room, she silently reappears in the background, listening to what the grown-ups don’t want her to hear.

As David, Baldwin must walk a delicate line. College educated – and probably the first in his family to attend college – he is expected to do better than his parents’ generation yet must show respect while living in their home. He does not complain about his menial job, but he talks of his dreams with his best friend. For the most part, Baldwin achieves this balance with aplomb, with the assistance of his side-kick Boo (Marsalis McKeever). Boo, who has not gone to college and seems to have no plan at all for his life, is David’s ride-or-die friend who stands out for two characteristics: when he comes into some money, he spends it all on loud clothes; and he speaks out of the side of his mouth, as if he has marbles in his mouth, making it difficult to clearly hear anything he says.

As appealing as these characters are, and as much as they made me laugh, I found the overall production uneven and underwhelming. The juxtaposition of Dunnaville’s broad sitcom comedy with Muhammad’s more conservative portrayal, Dunnaville’s over-enunciation in contrast to McKeever’s muffled utterances, the frequent (and utterly accurate) use of the word “nigger,” (I hate the euphemism, “n-word”), and author Mason and director Hopkins’ adherence to the sitcom genre just didn’t connect for me. After the show, my constant companion and theater date suggested that (a) I wasn’t really black and (b) Livin’ Large would really, really appeal to older black churchgoers (except, perhaps for that word I mentioned above) and potential black theatergoers who don’t go to the theater because they don’t see enough representations of themselves and their lives onstage.

There is, after all a moral dilemma – a foundational element of good storytelling: should David be allowed to keep the “found” money or should he return it? Has he, in fact, committed a crime? Calvin, the head of the household, takes the question to God, and after a period of prayer, the family abides by his decision. To find out what he decided, and how the play ends, I suggest you go see Livin’ Fat for yourself. (Dates and times are listed above.)

Livin’ Fat: written by Judi Ann Mason; directed by dl Hopkins; with lighting by Geno Brantley; sound by dl Hopkins (a nice 70s playlist); costumes (character and period appropriate) by LaWanda Raines; set by Margarette Joyner; carpentry by Vinnie Gonzalez; photography by Pamela Archer-Shaw; and videography by Dewey Collins.

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

———-

Link to WRIC interview with director dl Hopkins and Sharalyn Garrard (Big Mama): https://www.wric.com/community/-livin-fat-hits-the-stage-in-rva/1576260858

Photo Credits: Photos courtesy of Heritage Ensemble Theatre Company

This slideshow requires JavaScript.

 

This slideshow requires JavaScript.

 

Featured

RICHMOND BALLET: A Requiem Into the Night

RICHMOND BALLET:  Studio One

A Dance Review by Julinda D. Lewis

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

Performances: November 6-11, 2018

Ticket Prices: $26-46

Info: (804) 344-0906 or richmondballet.com

The Richmond Ballet Studio Series is unique and alluring for the intimacy of the space and the presentation of two or three works in an atmosphere that encourages reflection. The current Studio One production continues this tradition. On Tuesday, the Richmond Ballet presented Jerome Robbins’ In the Night, a company premiere of Robbins’ 1970 work for the New York City Ballet, and the world premiere of Nicole Haskins’ Requiem, inspired by the music of Gabriel Fauré.

In the Night is composed of three pas de deux featuring three couples of different temperaments, possibly different ages, at different stages of their relationships.  On Wednesday night, the couples were Melissa Robinson and Marty Davis, Eri Nishihara and Khalyom Khojaev, and Maggie Small and Fernando Sabino. Robinson and Davis embodied youthful elegance, she in a softly flowing purple dress, he is a blue-gray waistcoat and ascot. Their movements were sustained, romantic, controlled, yet effortless. Nishihara and Khojaev had a more mature posture, and the earth tones of their costumes added weight. At the same time, their movements were more fanciful, with bigger, bolder jumps and lifts. Finally, Small and Sabino presented a more passionate duo. Her black dress with red underskirt suggested a smoldering temperament, and his darker gray jacket was smoky, matching the teasing sensuality verging on conflict – sort of like classical ballet with a tango temperament. The final section of the beautiful Chopin nocturnes, played live onstage by pianist Joanne Kong, brought all three couple together. In one beautiful moment they briefly acknowledged one another before dancing off.

In her video reflections, Haskins described Fauré’s Requiem as “a lullaby for death, not dark or sad.” The women’s flowing skirts, designed by Emily Morgan, were designed to make the movement linger, like the memories of loved ones. The work opens with lights like memorial candles and the women, seated with their skirts pooled around them, also look like candles. The stage is kept dim, and groups of dancers are bathed in the amber glow of the lights. The dancers’ formations are fascinating and delightfully unpredictable: clusters, solos, duos, small groups, diagonal facings, patterns that flow and change organically. While Haskins assured us the work was not dark or sad, it did seem to go on just a little too long.

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

———-

Photo Credits:

Rehearsal Photos from Richmond Ballet Facebook posts & Photos by Sarah Ferguson

ballet1
Sabrina Holland and Fernando Sabino in In The Night by Jerome Robbins. Richmond Ballet 2018. All Rights Reserved. Photo by Sarah Ferguson.

ballet2
Abi Goldstein and Thel Moore III in In The Night by Jerome Robbins. Richmond Ballet 2018. All Rights Reserved. Photo by Sarah Ferguson.

ballet3
Dancers of Richmond Ballet in Requiem by Nicole Haskins. Richmond Ballet 2018. Photo by Sarah Ferguson.

ballet4
Dancers of Richmond Ballet in Requiem by Nicole Haskins. Richmond Ballet 2018. Photo by Sarah Ferguson.

ballet.1
Richmond Ballet dancers rehearsing “Requiem”

ballet.5
Choreographer Nicole Haskins with Richmond Ballet dancers Abi Goldstein and Mate Szentes

ballet.4
Cody Beaton and Mate Szentes rehearsing “Requiem”

ballet.3
Richmond Ballet dancers rehearsing “Requiem”

Featured

MR. POPPER’S PENGUINS: A Holiday Heartwarmer

MR. POPPER’S PENGUINS: When Dreams Come True

A Theater Review by Julinda D. Lewis

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

Performances: October 27 – December 30, 2018

Ticket Prices: Start at $21

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

Mr. Popper’s Penguins is a musical adaptation of a children’s book by Richard and Florence Atwater, and the book for the musical is by Robert Kauzlaric with music and lyrics by George Howe. It is a book unfamiliar to me, my daughter, and my two grandsons, but after spending Sunday afternoon at the Virginia Rep’s Children’s Theatre at Willow Lawn it will likely find it way onto our bookshelves this coming holiday season. It has comedy, adventure, and penguins.

Richard Popper is a house painter and decorator of modest means; he and his wife Florence live on a strict budget that does not allow for the travel and adventures Mr. Popper dreams of. He is especially fond of Antarctic exploration and penguins. Of course, there’s more to the story. Imagine their surprise when the Poppers hear on the radio that Mr. Popper’s favorite explorer, Admiral Drake, has received Mr. Popper’s fan letter and is responding with a surprise. Soon a large crate is delivered to the Popper’s Stillwater, Minnesota home and inside is a genuine Gentoo penguin from Antartica that quickly becomes a part of the Popper’s little family. (In the book, it seems the Poppers were British and have two children, but in the musical the live in the USA and their only children are the feathered kind.)

The Popper’s household soon expands, as their male penguin, Captain Cook, eventually grows lonely, and an aquarium that Mr. Popper contacts for help has a lonely female penguin, Greta, that they generously ship to the Popper’s residence. The next thing you know, there are ten penguin chicks and the poor Poppers have to figure out how to keep all these penguin bellies full of fresh fish and frozen shrimp. Their solution – Popper’s Performing Penguins – leads to more hilarity and the gradual realization that touring on the vaudeville circuit is no way for a family of birds to live.

Yes, I said vaudeville. Mr. Popper’s Penguins was written in 1938 and vaudeville as well as references to the WPA (the federal government’s New Deal Administration program called the Works Progress Administration from 1935-1939, when it was renamed the Work Projects Administration), along with Mrs. Popper’s job search and the family’s focus on finances will likely go over the heads of the young audience members as well as most of their parents. Let’s face it, I’m a grandmother, and this was before my time, too. I only know about these things because I teach dance history! My daughter did ask what WPA was, but neither grandson seemed to notice or care.

All the shenanigans are skillfully handled by director Josh Chenard, with musical direction by Jason Marks and choreography by Wes Seals. A cast of five talented actors play all the roles – some thirteen different characters, with Derrick Jacques as Mr. Popper and Renee McGowan as Mrs. Popper. Keaton Hillman Emma-Claire Polich, (both ensemble) and Eve Marie Tuck (swing) play all the other characters. Both Kingston (age 10) and his mom Soleil were impressed by Keaton Hillman who changed characters, costumes and accents with the dexterity of a magician, and manipulated the Captain Cook penguin puppet as well.

Yes, the two adult penguins were large puppets (credit Kylie Clark with the puppet design – something Virginia Rep Children’s Theatre does so well) while the 10 penguin chicks were smaller, stuffed versions. Emmitt (age 4) was enthralled by the penguins. He spent most of the hour (no intermission) perched on the edge of his seat, his eyes wide open so as not to miss anything. He did tear his eyes away from the stage to lean in and ask his mom, “Can I have a pet penguin?” He made a second earnest plea out in the parking lot, adding that the penguin could live in the refrigerator.

With about six musical numbers, Mr. Popper’s Penguins moved at a fairly rapid pace – but never felt rushed. Jaques and McGowan carried most of the story, and their voices are strong and clear, making it easy for attendees of all ages to understand the lyrics. Jeanne Nugent’s costumes are lovely – especially the women’s wide-legged pants that remind me of Ms. Celie’s pants from The Color Purple. Mrs. Popper’s apron, Mr. Popper’s bow tie, and painter’s coveralls, and the props used by the various characters (a wooden dog, a hat with the gray hair attached, Mr. Popper’s painter’s ladder and pipe) are all overly exaggerated, almost cartoonish.

Taking this theme about as far as it could go, Chris Raintree’s set includes larger than life library books that open up to reveal entire rooms. “Atkinson’s Kitchen Companion” houses the Popper’s kitchen while their living room is housed within a tome entitled “432 Proudfoot Avenue” and the admiral’s ship is docked inside a book on Antarctic exploration. The production is visually stimulating but not over stimulating.

There’s also lots of word play. Captain Cook and Greta’s brood are given the names of famous explorers, such as Ferdinand, Columbus, and Magellan. There’s also Isabella and Victoria, who wears a tiara. Finally, but not least, there is all the alliteration! Mr. Popper’s Penguins alliterates just about every “p” word you can think of, and when they run out of “p” words they alliterate other letters of the alphabet.

Recommended for ages 4 and up, Mr. Popper’s Penguins is a family-friendly production that is perfect for the younger members of the audience and is being offered as an alternative or addition to holiday staples, such as The Nutcracker. Unlike many productions of past seasons, there is none of the double entendre and innuendo that seemed to be intended for the adults. Here, the focus is all on the pleasure of the kids, and Kingston and Emmitt would give this production a combined two thumbs up.

 

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

Mr Popper's Penguins
Renée McGowan and Derrick Jaques. Photo by Aaron Sutten.

Mr Popper's Penguins
Renée McGowan and Derrick Jaques. Photo by Aaron Sutten.

Mr Popper's Penguins
Eve Marie Tuck, Derrick Jaques, Renée McGowan, Keaton Hillman, Emma-Claire Polich. Photo by Aaron Sutten.

Featured

ANANYA DANCE THEATRE: People Powered Dances of Transformation

ANANYA DANCE THEATRE: How Do We Show Up For Each Other?

A Dance Review by Julinda D. Lewis

At: Virginia Commonwealth University School Grace Street Theater, 934 West Grace Street, RVA 23220

Performances: October 26 & 27, 2018

Ticket Prices: $20 Adults; $15 Students

Info: (804) 828-2020 or http://arts.vcu.edu/dance/

 

Ananya Dance Theatre, under the artistic direction of Ananya Chatterjea, presents dance within a social, feminist/womanist, human context. Entertaining is only a part of what they do. There were no spectators in the Grace Street Theater on Saturday night when I attended Shaatranga: Women Weaving Worlds. Oh, there were plenty of people in the audience, but Chatterjea and her troupe of seven powerful women did not allow us to sit and be entertained.

Several times the house lights came up and those who may have been under the impression they had come to see a show were asked to take a stand, to raise a fist, to clap and stomp our feet. We participated in an invocation of breath and watching a dance performance may never be the same. Stand up (one woman did). Raise your first (most did). Clap your hands. Stomp your feet. Chant: Public fury; public joy; public love; public dance!

Shaatranga, which means “seven colors” in Bānglā, is the culmination of a quintet of works exploring work women do. The dance was created in four movements and runs 95 minutes with no intermission and is based on research, history, and cultural connections. The two main themes are ancient Indian Ocean trade routes that connected Asia, Africa, and South America, and the shared practices of indigo-dyeing. Visually, an abstract navigation star represents the compass that “enables us to remain on the path of a complexly woven notion of justice.” At the beginning of the work, the navigation star is broken but by the end it has been healed. The sections of the dance bear names like “Voyage,” “Shipwreck,” and “Desolation.” There are “Rituals of Mourning” and “Dancing to Heal.”

Chatterjea’s movement vocabulary uses classical Indian dance as a foundation and there are layers contemporary dance woven throughout. There is yoga, martial arts, rage and joy. The movement that stood out most to me is a spiral that starts from deep inside the core then winds its way up and out. There is also spoken word, ritual, and sound: grunts, screams, the sound of helicopter rotors as the women’s hands reach up, the sound of feet slapping and stomping, the sound of drums, and even, I think, the faint sound of birds and monkeys chattering.

At the beginning, there was a curtain hung asymmetrically so that it reminded me simultaneously of a simple curtain or covering, a woman’s veil, and a ship’s sail. Later, the black curtains opened just a bit to reveal a portion of white wall bathed in red light with Chatterjea splattered on the wall, feet up, arms splayed out on the floor. There is beauty, hunger, pain, distortion, and there is power.

Projections and simple design elements created an all-encompassing world that kept me on the edge of my seat for most of the evening. There were rolling waves and animated billows of indigo that morphed into hands, and there were ceiling-to-floor ribbons of indigo, interwoven like the lives of the women represented, remembered, and honored. Throughout, the women wore loose-fitting dark blue pants (a knee-length Indian salwar, similar to Victorian knickers or bloomers) but changed their tops for each movement (peplum tunics, athletic leotards, high necked tops) in shades of blue, sometimes with splashed of color, but always indigo. Musical composition, vocals, sound design, poetry, costume, lighting, scenic design, animations and projections all united in a seamless manifestation of Chatterjea’s concept.

Often, a program is unnecessary, except to identify the names of the dances. In this case, the program was an essential guide to the work, filled with background, history, poetry, definitions, and questions: How do we show up for each other? This company, this work must be seen. Writing about it does not do it justice.

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

———-

Photo Credits:

Company photos and photos from the company website.

Ananya.1Ananya.2Ananya.3

Featured

SONGS FROM BEDLAM: The Lunatics Take Over the Asylum

SONGS FROM BEDLAM: Tu Es Fou

A Theater Review by Julinda D. Lewis

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

Performances: October 18 – November 4, 2018; Daily Planet Health Services benefit w/ post show talkback on October 28 and Friends 4 Recovery benefit w/ post show talkback on November 4

Ticket Prices: $15 – $30

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

 

Songs From Bedlam is a new production of Richmond playwright Douglas Jones’ play that gives voice to the insane, the homeless, the alcoholic, and the overlooked. First produced by Barksdale Theatre (now VirginiaRep) in 2003, the script has been revised, the direction has been placed in the hands of Todd LaBelle, Jr. who allows the characters to unfold naturally and unadorned, and the actors are placed on display in a three-dimensional, interactive box designed by Chris Raintree.

And I use the phrase “placed on display” quite deliberately. The characters are placed on display like fish in an aquarium, like animals in a zoo, like freaks in a sideshow, like the conjoined twins and women from Africa who were considered curiosities during the World’s Fair. In a way, it appeals to our baser instincts, yet it is hard to look away. At times, I felt that by sitting in the audience, we had stolen the final shreds of dignity and privacy that these poor people had. Songs From Bedlam is compelling and brutal, and meant more for discussion and introspection than entertainment.

LaBelle has a strong ensemble to work with: Axle Burtness, Claire M. Gates, Irene J. Kuykendall, Jonathan Hardison, Granville Scott, and Linda Snyder fill the generic roles of nameless characters identified only as Young Man, Young Woman, Woman, Man, Old Man, and Old Woman.

Burtness, for instance, portrays an affable but obsessed man who is driven to visit the aquarium every day and stare at the same exhibit, while Kuykendall tells the compelling story of a prostitute who killed a client who violated her one rule, “don’t kiss me.” Later she tells the heartrending story of a woman who could not let go of her dead baby and Gates uses sign language for her monologue because her character has cut out her own tongue. Snyder’s character speaks of childhood abuse and Scott’s alcoholic character is, perhaps, the most familiar – sort of like the philosophical alcoholic uncle at the family reunion.

The set has a top, and the back wall has panels that slide out to provide walls and benches, but the front and sides are open, and a handful of audience members were invited to sit onstage, in observer seats provided for that purpose – a reminder that Elizabethans in the 16th century would pay a fee to visit Bethlehem Hospital, from which Bedlam got its name, and watch the “lunatickes.”  There are also some interesting lighting effects by Andrew Bonniwell, especially at the beginning when Burtness is inside the aquarium. This is, indeed, an innovative format, and an all-encompassing environment, but the historical precedent and subject matter are somewhat distasteful, and this is theater that deliberately and bravely sets out to discomfort rather than entertain its audience.

The characters are costumed in plain, off-white scrubs, like prison uniforms, which Nic Charlie Perez has decorated with words and pictures that are significant to each character. Burtness, for instance, wears eyes and Snyder has the image of the Virgin Mary and the words “you are my angel” and “smack.”  Hardison’s top bears the words “silly fellow” while Kuykendall sports the warning “do not kiss me.”

For all its harshness, Songs From Bedlam is filled with beautiful, poetic language. Jones has a way with words, and in addition to the sign language (which I thought went on too long without interpretation or at least captioning), there are liberal sprinklings of French, Spanish, and Latin, all enhanced by Ryan Dygert’s subtle sound design that includes echoes and whispers as well as music, including some original music composed by Kelly Kennedy.

For this production, the Firehouse Theatre is partnering with community organizations, the Daily Planet Health Services and Friends 4 Recovery Whole Health Center, with talkbacks and receptions for the October 28 and November 4 productions. There is also a related PhotoVoice exhibit in the lobby. The post show talkbacks should prove to be interesting, as the serious, real life, depressing nature of this subject matter is not the usual subject matter of an evening of theater. Do not go to Songs of Bedlam expecting a musical.

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

This slideshow requires JavaScript.

 

 

 

Featured

GUTENBERG! The Musical! (with two exclamation points!!)

GUTENBERG! The Musical! (Really)

A Theater Review by Julinda D. Lewis

By: Quill Theatre

At: Libby S. Gottwald Playhouse, Dominion Energy Center, 600 E. Grace Street, RVA 23219

Performances: October 12 – November 3, 2018, Thursdays-Saturdays @8:00pm & Sundays @2:00pm.

Ticket Prices: $32 Adults; $27 Seniors; $22 Students & RVATA Members (with ID)

Info: (804) 353-4241 or quilltheatre.org

 

Gutenberg! The Musical! is a play-within-a-play written by Anthony King and Scott Brown who present their comedic farce as a backer’s audition of an historical fiction about the German printer Johannes Gutenberg. Got that? Stay with me, because it doesn’t get any simpler.

Chris Hester and Paul S. Major play the authors Doug Simon and Bud Davenport, who are pitching their musical in hopes of finding someone to back them in a Broadway run. The show is hyped as big, splashy, and better than all others of its genre. But they have no actors, just a few props and a collection of baseball hats with the names of all the characters (e.g., Drunk #1, Drunk #2, Mother, Daughter, Gutenberg, Monk, Helvetica, Old Black Narrator). Doug and Bud switch hats as they rotate through the characters, sometimes stacking them for efficiency, or wearing one on their head and one on each hand to simulate crowd scenes. They string hats on a line, held up with the assistance of two audience members, and are even able to create a chorus line. Musical numbers from honkytonk to rock ‘n roll and romantic ballads are interspersed with puns, explanations of musical theater terminology, such as the definition of a metaphor, an example of a charm song, and a running gag recurring line involving dirty thatched roofing.

Early in the play the authors admit that their “research” consisted of a brief Google search, the result of which was that there is very little known about the life and times of Johann Gutenberg. So. . .they decided to just make up stuff, hence the historical fiction. Among the things they made up is the name of Gutenberg’s fictitious love interest, Helvetica and, apparently, the name of the town, Schlimer – a word that is suspiciously similar to schleimer, which loosely means “ass-kisser.” There is also a totally unrelated connection to the Holocaust, and several unkind and politically incorrect references to stupidity. Monk, the evil monk, calls Helvetica a “dumb German anti-Semite,” and Helvetica later sings that “history is paved with the hearts of the stupid.” Oh, and Gutenberg starts out as a winemaker, who handily turns his wine press into a printing press, quite forgetting to tell his lovely, love-truck assistant that she can stop tromping on her bucket of grapes.

Hester and Major, of necessity, remain on stage the entire time, and they are accompanied by Charlene (musical director Leilani Fenick). Both are enthusiastic, energetic, and affable, as Jan Guarino’s direction and choreography keep everything moving along at a fast clip. The eighteen or so people in the Sunday matinee audience seemed to have a great time. There was lots of laughter and applause, and a woman I chatted with during intermission made a point of telling me, completely unsolicited, that she was very happy that she could clearly hear and understand all the lyrics – something that is often a problem in musicals.

There’s just one major problem. Rather than humorous, or zany, I just found the whole thing silly. It tries too hard and, at least for me, there was no “aha” moment that made it all worthwhile. I don’t care that it isn’t big and splashy, that there are just two actors, no sets, and no laser lights, but, I’m sorry, Doug and Bud, Gutenberg! The Musical! isn’t better than Cats!!

 

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 Quill Theatre’s Facebook page

Gutenberg.1

Gutenberg.2
Paul S. Major and Chris Hester

Gutenberg.3
Chris Hester and Paul S. Davenport

Featured

BETWEEN RIVERSIDE AND CRAZY: Location, Location, Location

BETWEEN RIVERSIDE AND CRAZY: The Family We Choose Sometimes Chooses Us

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 13 – November 4, with previews on October 11 & 12 and talkbacks October 21 & 28

Ticket Prices: $10-35

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

 

Written in 2014, Stephen Adly Guirgis’s multiple-award winning play, Between Riverside and Crazy, could have been ripped directly from current headlines about police shootings of black men in America, but it was actually inspired by the shooting of a black undercover officer by an off-duty white officer on a New York City subway train in 1994.

Add to a controversial shooting the additional components of illegal activities, drug and alcohol addiction, strained relationships, faltering faith, and unresolved grief, and you have the makings of a compelling drama. Walter “Pops” Washington, the cantankerous patriarch, is played by David Emerson Toney, an experienced actor who is an Assistant professor of Acting and Directing at VCU, but new to the Richmond stage.

Toney’s portrayal of Pops is a delicate balancing act of rage, hurt feelings, loss, love, and longing. At any given time, the audience is not sure which emotion is going to come bubbling up and erupt over Rich Mason’s set – the kitchen and living room (later bedroom) of what is described as a “pre-war apartment on Riverside Drive in New York City.” It’s important to know that this is an unusually spacious apartment, in a highly desirable neighborhood, that it is protected by long-standing rent control laws that prevent the landlord from pricing the coveted units out of the reach of (mostly elderly) residents. Pops starts drinking early in the morning and is so fond of the word m—–f—– that it appears that it’s even the preferred name for his dog.

After the death of his wife, Pops opened his home to his son Junior (Jerold E. Solomon) who shares more than a name with his father. It was interesting to see Solomon, who is often cast in the role of the father figure, placed in the position of prodigal son. The chemistry and conversations between father and son provided some of the most fascinating and revelatory moments in the entire play.

In addition to father and son, the household includes Junior’s girlfriend Lulu (Juliana Caycedo) and Junior’s friend Oswaldo (Thony Mena). Lulu is a somewhat mysterious figure, simultaneously portrayed as a good girl and a “working girl.” She is genuinely caring, but there is something off about her, which is never really explained. Oswaldo is presented as a strong, sympathetic figure – a set-up for one of two completely shocking events in this two-act play. Individually both Lulu and Oswaldo share a special relationship with their host, and both call Pops “Dad.” I loved everything about both Mena and Caycedo, right down to her skin tight clothing and his Nuyorican accent.

Supporting characters included Bianca Bryan as Pop’s former partner, Detective Audrey O’Connor and Larry Cook as her fiancé, Lieutenant Caro.  They take turns playing good cop/bad cop and frequently confuse the difference between caring and coercion. I found the dynamic between Bryan and Cook interesting, but I couldn’t bring myself to believe Bryan’s tears when her character tried to play the victim; she just seemed too strong for that. Last but not least there was Maria Hendricks as the Church Lady, an almost mythic creature who appearance, long after we had been told to expect her, was a startling contrast to what I had been led – or lulled – to expect. Hendricks provided the second big shock of the evening, in a most delightful and humorous way, blending sex and spirituality with an unexpected cultural twist.

Between Riverside and Crazy reminds me of those commercials that point out that families are what we make them. There is nothing standard about this family, but there is something unsettlingly familiar about each member and the family unit they have created. The final scene raises more questions than it answers. “Does it have a happy ending?” asked the woman I met and chatted with pleasantly throughout the evening. “That depends,” I responded. It depends on what constitutes happiness for you. It depends on which questions are important to you, what you need answers for, and how much ambiguity you can live with. What is important to you, and what can you live without?

Rich Mason’s set manages to achieve an elaborate sense of spaciousness, but the aged and drab furnishings contrasted oddly, to my eye, with the tall elegant windows, and the kitchen appeared outdated, even though the exact time-frame was never clear. And maybe it was just me, but the family’s entrances and exits from both an upstage door and a downstage corner and their sudden appearances on the rooftop sometimes seemed to defy the laws of physics. Jesse Senechal included some subtle and appropriate effects in the sound design while Sarah Grady’s costuming was appropriate and consistent for each character – although I did wonder, if is it common for police officers to come to dinner in uniform.

Tawnya Pettiford-Wates has directed Between Riverside and Crazy with sensitivity and perception. The cast has responded with authenticity that defies perfection. The resulting experience makes for unforgettable, must-see theatre.

NOTE: Between Riverside and Crazy contains adult language and is recommended for viewers ages 16+.

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 Photography

 

 

VaRep_Cadence_Between_Riverside_3
Jerold E. Solomon, Juliana Caycedo, Bianca Bryan, and David Emerson Toney

VaRep_Cadence_Between_Riverside_4
Bianca Bryan, Larry Cook, and David Emerson Bryan

Between Riverside and Crazy
David Emerson Toney. Photo by Jason Collins Photography.

VaRep_Cadence_Between_Riverside_6
Jerold E. Solomon and Juliana Caycedo

 

Between Riverside and Crazy
David Emerson Toney and Maria Hendricks. Photo by Jason Collins Photography.

Between Riverside and Crazy
Thony Mena and David Emerson Toney

 

 

 

 

 

 

 

 

 

Featured

LIZZIE: An Axe Musical

LIZZIE:  The Musical

A Theater Review by Julinda D. Lewis

5th Wall Theatre

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

Performances: October 11-November 3, 2018

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

Info: (804) 359-2003 or https://www.brownpapertickets.com/event/3613679

 

Lizzie Bordon took an axe and gave her mother forty whacks; When she saw what she had done, she gave her father forty-one. Who would ever think of turning the story of Lizzie Borden into a musical? Well, apparently the team of Steven Cheslik-deMeyer and Steven Hewitt (music), Cheslik-deMeyer and Tim Maner (lyrics), and Maner (book and additional music). The punk rock opera got its start as an experimental theater piece in 1990, and by 2013 had evolved into a two-act rock opera with an all-female cast and hard-driving (but thankfully not deafening) music.

Thanks to the opening number and finale, that old jump-rope rhyme will be stuck in my head for days, as will bits and pieces of this fascinatingly odd and weirdly satisfying piece of theater. Rachel Rose Gilmour is Lizzie Borden, while Rachel Marrs plays her sister Emma Borden, Anne Michelle Forbes takes the role of Lizzie’s friend Alice Russell, and Michaela Nicole fills the high-top sneakers of Bridget “Maggie” Sullivan, the Borden’s maid.  Pualani “Lani” Felling and Morgan Lynn Meekins both pull triple duty “Roadies” who sing with the onstage band and also act as stagehands, moving the microphone stands and trunks that serve as the only props; they are also the understudies for the four main characters.

The five-piece band, under the very capable direction of Starlet Knight, is not merely accompaniment, as the music is the driving force behind this entire concept, and what a concept it is! The story of the bloody murders of Lizzie Borden’s stepmother and her father have been the subject of so many tales – in literature, movies, an opera, a television series, a ballet – that it seems more legend than fact. This production seems to freely mix fact and fiction as well as to attempt to time travel, placing the events of 1892 into the modern era of punk rock. Alex Valentin’s costumes are a blend of Victorian couture, 19th century bordello, and punk rock. Vinnie Gonzalez’ set design looks like the backstage area of a rock concert, consisting of stacks of trunks, speakers, and microphone stands. The band and their instruments and the roadies occupy the upstage area, and the actors and roadies often strut and stride, sometimes confronting the audience up close.

Lizzie, the Musical creates a big feel in an intimate space and I could not imagine it in a larger space. It needs to be seen and heard and felt from up close. Rachel Rose Gilmour gives a dynamic performance, running through a range of emotions from rage to fear, from crying out in desperation to vulnerability. There are intimations of abuse, incest, and lesbian relationships. There is murder and mystery, and while in real life Lizzie Borden was acquitted of the murders and lived out the rest of her life in the same town where the murders took place, Fall River, Massachusetts, there also seems to be a confession and a cover-up.

The entire cast is powerful, but in addition to Gilmour, I must mention Michaela Nicole. Not only does she give Bridget/Maggie a mysteriously strong attitude, but the woman can rock and roll with the best of them, and clearly makes this maid more than a supporting role. Marrs brings an edge to the sister, Emma and Forbes shows the friend Alice caught in the conflict between loyalty and truth.

If blood, gore, murder, mystery, strong women, and loud music with a head-banging beat appeal to you, you won’t go wrong with Lizzie, the Musical.

 

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

———-

Photo Credits: 5th Wall Theatre

Featured

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME: Mystery of the Mind

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME: Touching But Don’t Touch

A Theater Review by Julinda D. Lewis

At: The November Theatre Marjorie Arenstein Stage

Performances: September 21 – October 14, 2018

Ticket Prices: $30-52

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

Every now and again a play comes along that stands alone, defies description, breaks away from the normal genres. The Curious Incident of the Dog in the Night-Time seems to be one of those plays. Written by Simon Stephens and based on the novel by Mark Haddon, the play concerns an exceptional teen, his adventure, and his relationships with others. What makes it different is that the young man, Christopher, appears to have some form of autism, and he is a savant, a mathematical genius, as well as the author’s device of staging the story as a play within a play, and the designers’ decisions to include lots and lots of technology, mostly in the form of multiple projections.

The title refers to the death of a neighbor’s dog, for which Christopher, played by Michael Manocchio, is initially blamed. In the course of his detecting, Christopher upsets neighbors, infuriates his dad, and uncovers disturbing news about his mother. He also learns some astonishing and life-affirming things about himself. Manocchio, who is new to the Richmond theater community, is believable in this role. His reactions to being touched and his sharpness of mind, along with his apparent deficit of social skills that make him sound alternately arrogant and childlike remind me of students I have encountered over the years.

Some years ago, I came across a book written by Temple Grandin, PhD, a professor and autistic savant known for her work in the field of animal behavior. What struck me about Dr. Grandin’s book as well as about this play is the authors’ ability to present the point of view of the autistic person in a way that draws others into an entirely new and unfamiliar world. It is sometimes uncomfortable, and many of us do not have the tools to navigate this world. The use of technology, including sound, lights, and screens, helps create this world for us, the audience. It may as close as many of us will ever come to understanding the point of view of someone on the autistic spectrum.

A device and a strength of The Incident of the Dog in the Night-Time is that it tells a story, tapping into a history and culture of storytelling, sometimes using a narrator.  Emelie Faith Thompson flawlessly fills this role as Siobhan, Christopher’s teacher or paraprofessional aide – it’s never quite clear exactly what her job description is. In her role as narrator and caretaker, Thompson is omnipresent and caring, carrying the story line, explaining, sometimes digging for clarity, but her own character is never given depth or definition. Both Joe Pabst as Christopher’s dad, Ed and Laine Satterfield as the mom, Judy are presented as loving, caring people who are also deeply, humanly flawed. The rest of the cast, including Sara Collazo, Matthew Radford Davies, Adam Valentine, Andrew C. Boothby, Raven Lorraine Wilkes, Irene Ziegler, Axle Burtness, and Sanam Laila Hashemi play multiple roles as school staff, neighbors, passengers on a train and more; they even portray inanimate objects such as an ATM.

Set in Swindon, a town in South West England, and in London, The Curious Incident of the Dog in the Night-Time requires the cast to maintain British accents. I think they do most of the time, but I became so consumed in the play that I really didn’t pay much attention to that detail. The dialect coach was Erica Hughes. The design team responsible for this simultaneously bright and dim set, filled with little surprises, like the model train that takes a symbolic journey across the stage, includes scenic design by Tennessee Dixon, costumes by Sue Griffin, lighting by BJ Wilkinson, and sound design by Julian Evans.

Virginia Rep artistic director Nathaniel Shaw’s direction includes lots of organic movement, which the program lists as choreography – something seldom seen in a non-musical production. Shaw’s direction and storytelling techniques here reminded me of last season’s River Ditty, a play I found difficult to embrace, but here his distinct style of directing seemed to work much better or at least I was able to connect with it on a more organic level. He established an environment that drew his excellent cast and his audience into an alternate reality for some two and a half hours, creating a cohesive theatrical experience that simultaneously entertains, makes you think, and touches the heart. There’s also an amazing little scene after the final curtain in which Christopher very entertainingly gets to explain his favorite mathematics problem from his Level A exams. The Curious Incident of the Dog in the Night-Time is a curiously satisfying production.

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

This slideshow requires JavaScript.

Featured

DRACULA: Sink Your Teeth into This

COUNT DRACULA: A Comic Vampire Tale

A Theater Review by Julinda D. Lewis

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

Performances: September 14 – October 20, 2018

Ticket Prices: $40 Theater only; $57 Dinner & Theater

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

 

There is no shortage of flying bats, howling wolves, secret passages, or sudden and mysterious appearances and disappearances by Count Dracula himself.  There actually are smoke and mirrors involved in this production, along with a few other tricks of the trade. These are things Tom Width, producing artistic director of Swift Creek Mill Theatre does very well indeed. But in yet another sleight of hand, Width did not direct Count Dracula, the opening show of the 2018-2019 season. Instead, that honor went to guest director Mark Costello, a Mill alum who was a teenaged intern on the Mill’s very first opening night in 1965.

Costello keeps things moving during this two-act play, based on Bram Stoker’s novel, Dracula. The show runs for two hours and 45 minutes, and the well-chosen cast of nine has some standouts. Kerrigan Sullivan, in the role of Sybil Seward, sister of Dr. Seward, exemplified the comedy horror genre, both in delivery of her lines and with her physical presence, as when she slipped a bottle of sherry into the folds of her robe. For some reason, most of Sullivan’s dresses were sadly ill-fitting, in contrast to the more elegant garments that adorned Caity Brown, who portrayed Mina Murray (the object of the Count’s affections), or the formal suits favored by the male cast members. Credit Maura Lynch Cravey with the costuming.

Levi Meerovich was a solid and lumbering presence as Dr. Seward’s multi-talented servant, nursing assistant, and patient-wrangler, Hennessey, and Joey Gravins was close behind him as his second in command, Wesley. I enjoyed Chandler Hubbard as Mina’s doting fiancé, Jonathan Harker, and Jon Cobb gave a strong performance as vampire expert Heinrich Van Helsing.

Mike White seemed fully committed to his role as Dr. Arthur Seward, in whose Asylum for the Insane the play was set, but one thing I found confusing was what made Seward and Harker suddenly believe in the vampire lore that Van Helsing kept expounding upon.  Caity Brown was perfectly cast as Mina Murray, pale and waif-like, yet capable of projecting a powerful, gravelly alter-ego when voicing the soon-to-be-bride of Dracula. I loved Bartley Mullin as Renfield, the fly-eating mental patient and minion of Count Dracula who brings a chillingly weird energy to each scene in which he appears. I have a great admiration for actors who can convincingly and respectfully play the role of an insane, blind, or autistic character.

Last but not least there was Jeremy Gershman in the title role. Gershman appeared to take great delight in his role, swirling his voluminous cape, lurking, looming, and leering in that seductive yet chilling manner that characterizes the best Draculas. I knew where he appeared and disappeared from, but even from my front row seat, I was never once able to detect him getting into position or exiting the space!

The attractive wood paneled set was designed by Frank Foster, with lighting by Joe Doran, special effects by Tom Width, and technical direction by Jason “Blue” Herbert. There are lots of laughs, sufficient chills and thrills, and no blood or gore – the elements of horror that I find off-putting which is why I am not a fan of the horror genre.  The strong ensemble, beautiful set, and well-timed tricks and effects are all worth a trip to The Mill, but I did find that the 2:45 running time seemed to drag on a bit, and sometimes there was just too much talking! This talented and confident cast is perfectly capable of telling the story without spelling it all out.

 

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

———-

This slideshow requires JavaScript.

 

Featured

DARK SIDE OF THE MOON: 2018 Dogtown Presenter’s Series

DOGTOWN PRESENTER’S SERIES: Dark Side of the Moon

A Dance Review by Julinda D. Lewis

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

Performances: September 21-29, Fridays & Saturdays at 7:00PM & Saturdays at 3:30PM

Ticket Prices: $20 General; $15 Students/Children

Info: (804) 230-8780, dogtowndancetheatre.com or https://darkside.brownpapertickets.com/

 

Dark Side of the Moon is Jess Burgess’ most ambitious project to date. Some eighteen years in the making, from inspiration to manifestation, this 40-minute long evening-length work is a celebration of movement in collaboration with Pink Floyd’s Dark Side of the Moon album, released in 1973 (the year I graduated from high school and started college). Dark Side of the Moon – the album – explores themes of conflict, greed, time, even mental illness. For choreographer Burgess, Dark Side of the Moon is about “philosophical and physical ideas that can lead to an unsatisfied life, and ultimately to a person’s insanity.” For me – a product of the inner city and modern dance classes, who had no experience with Pink Floyd – Dark Side of the Moon, the collaborative dance work, is a satisfying amalgamation of movement wed to music that appeals equally to lovers of music and contemporary dance.

The ten sections flow seamlessly and are named for tracks on the album, which was presented as a continuous piece of music with five tracks on each side. Performed by Burgess’ RVA Dance Collective in collaboration with Dogwood Dance Project, and RADAR, the 23 dancers move through a surrealistic environment with wooden boxes and columns on either side of the stage and two large constructions dominating the upstage corners. On one side is a large drum-shaped moon that is sometimes occupied by a dancer walking or running like a hamster in a wheel, and on the other is an impossibly tall slide that dancers use for entrances. The dancer-friendly décor was created according to Burgess’ mental image and executed by artist Mike Keeling.

The movements are often simple: a line of dancers move in unison or canon, occasionally interrupted by bodies unexpectedly popping up or dropping down like figures in a game of whack-a-mole; boxes are rolled out with dancers posed inside or perched on top. At other times an aimless walk turns into a scattered, wild run, with one or more dancers attempting to scale the giant slide or leaping into the arms of a partner. Even when at its most simple, the movement is layered – much like the music – as some dancers wait or watch while others interact, or a line of dancers moves in unison as a small group of five or so create more complex patterns in space by rolling, tumbling, twirling with arms uplifted like whirling dervishes or spinning with a partner like children pretending to be a pinwheel.

Sometimes one isn’t quite sure where to look as the movement lines draw the eye across the stage. Who’s in the box? Who’s coming down the slide? What are they going to do next? The music, the movement, and the visual set and ethereal lighting – often from the side – are complemented by costumes that start off mostly in soft, earthy tones and flowing fabrics but gradually morph into black and gray athletic wear.  From soulful to jazzed up instrumentals to cash registers ringing and synthesizers, the music suggests concepts that are reflected in the movement. The three dance companies were so well integrated that even though the program specified which company or companies were performing it was never obvious that this was not one unified group. I am sure my experience as someone new to Pink Floyd was very different from that of someone who knew the music, who grew up with the music, but this work was so well integrated that it could be experienced in multiple ways – and I am convinced that seeing it a second time will result in an entirely new and equally valid experience.

Dark Side of the Moon is a beautifully conceived and executed work of art that fulfills a need in the Richmond dance scene.

 

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

———-

Photo Credits: Dave Parrish Photography

Featured

SIGNIFICANT OTHER: Plus None

SIGNIFICANT OTHER: Love And. . .

A Theater Review by Julinda D. Lewis

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

Performances: September 19 (Preview)/September 20 (Opening) – September 29, 2018

Ticket Prices: $30 general; $20 seniors/industry (RVATA); $10 students/teachers (with ID)

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

Significant Other (written by Joshua Harmon, who also wrote Bad Jews, which TheatreLAB produced in 2016) is a heartwarming comedy about a group of friends looking for love in 21st century New York – until somewhere in the second act when it takes a sudden heart-wrenching turn.

On opening night, the cast still seemed to be feeling its way, and when, during one scene, Deejay Gray held onto his shirt in hopeful anticipation that his upcoming date would turn out to be “the one,” the energy generated was electrical. This may have been a combination of opening night jitters and his characters’ palpable expectancy. It was good to see Gray, the artistic director of TheatreLAB, onstage after an absence of three years [this is a correction] while he has been managing the affairs of running a company.

It may have taken me a while to warm up to these characters, but they started delivering laughs as soon as the lights came up. Matt Shofner has directed this dynamic ensemble with a fast pace that still manages to provide depth and perspective to this group of long-time friends whose lives are being changed as they move into “adulting.”  The wide center aisle – seldom used in this flexible space – is used to physically and emotionally extend the space. At times there is unseen action off in the distance, cued by disco lights and music. Other times the space is used as an actual aisle for actors to move on and off the stage, and then there are the times when characters stare off into the space, pulling us deep into the mind of the author right along with them.

Jordan Berman (Deejay Gray) is in search of Mr. Right, even as his closest friends find true love, become engaged, and marry. The opening scene, in fact, is one of numerous bachelorette parties and weddings that populate this two-hour, two-act play. Gray is onstage for just about every scene, and his energy slowly, inexorably draws us into Jordan’s world and concerns. Jordan is the only character given a last name – perhaps to emphasize his Jewishness? The wonderful Jacqueline Jones has a supporting role as Jordan’s grandmother, Helene. She makes her entrances and exits along that wide aisle, using a pink walker whose seat holds a photo album that she and Jordan review reverently and lovingly each time they meet. There is something about the ritual of their interactions that brings groundedness to Jordan and to the play. But it is Jordan’s interactions with his tight-knit group of girlfriends that is the foundation of Significant Other.

Kiki, the party girl, is the first to find love and happiness. Mallory Keene navigates the play in formfitting dresses and stilettos – even when, in the final scene, Kiki is eight months pregnant! Vanessa is the more down to earth friend – and the black friend. The second to get “boo’d up,” she meets her mate at Kiki’s wedding. Jessi Johnson’s character is beautiful and cosmopolitan; she wears wedge heels and dresses professionally. Laura is a teacher, and because she and Jordan were once roommates, her relationship with Jordan is both the closest and the most volatile. When Laura finds love at work, it catapults their relationship into new and unforeseen directions. Laura wears flats and an eclectic Bohemian wardrobe. This role seems to have been written for Kelsey Cordrey. Some of the most poignant moments between these two are silent, as when Cordrey and Gray stand side by side, dancing or swaying, or when he tiptoes to rest his head on her shoulder. Their big scene, a second act argument, is – in contrast – explosive. As Jordan’s friends pair up and move on, he finds himself without a dance partner or a “plus one” for Laura’s wedding.

Matt Polson and Dan Cimo round out this wonderful ensemble, playing all the male characters in the lives of these four friends, from coworkers to lovers. Polson adapts different facial expressions and postures for each of his characters, from Kiki’s country-boy husband to Laura’s mild-mannered Tony. It was fascinating to watch Cimo transform seamlessly from the gloriously gay coworker to Vanessa’s passionate date. Seven actors play eleven characters, and somewhere in this group there is someone you know. It might even be you.

Adam Dorland’s simple set is monochromatic black: three benches, a coffee table, a shelf, some doorways and windows work with Michael Jarett’s sometimes subtle, sometimes flashy lighting to create the office where Jordan works, his apartment, and the various bars, clubs, and wedding venues where the scenes take place. Ruth Hedberg designed the costumes – which vary from office casual to matching bridesmaid dresses and wedding gowns and seems to have used shoe styles to symbolize the women’s characters. Joey Luck did the sound design, which includes some original music. The program lists three songs by Luck and Hannah M. Barnes and an original song by Ali Thibodeau.

Significant Other is very different type of play, and very appropriate to open TheatreLAB’s Season 6, themed “In Pursuit of Happiness.” Significant Other runs through September 29.

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

 

This slideshow requires JavaScript.

Featured

LIVING IN THE KEY OF “B” UNNATURAL: Where Friendship, Faith & Fantasy Collide

LIVING IN THE KEY OF “B” UNNATURAL: At the Intersection of Friendship, Faith & Fantasy

A Theater Review by Julinda D. Lewis

At: Hickory Hill Community Center, 3000 E. Belt Boulevard, Richmond, VA 23234

Performances: September 19 @ 12:30PM; September 21, 21, 22 @ 8:00PM & September 22 @ 4:00PM

Ticket Prices: $10 for Groups of 10 or more; $12 for Students and Seniors; $15 General Admission

Info: thetheatreubuntu@gmail.com; http://theheritageensemble.wixsite.com/thetc

 

I’m still trying to wrap my mind around how the poetically titled Living in the Key of “B” Unnatural managed to move me as deeply as it did. Written by Jerry Maple, Jr., who was also the author of last’s year’s The Dream Seller and the Forest Dwellers, a children’s play produced by Heritage Ensemble, Living in the Key of “B” Unnatural is described as “a light-hearted serio-comedy.” I would describe it more as an intersection or perhaps a collision of friendship, faith, and fantasy.

 

Running one hour and twenty minutes with no intermission (but with an inexplicably long pause that obviously did not involve a change of costume or scenery), the play takes place in the single room residence of Dr. Enola VanderHorn-Bernard (Crystal Wiley-Perry). The plot revolves around Enola, a Harvard educated M.D. who one day walked away from her medical practice, her husband, and two daughters. The words depression or mental illness are never mentioned, although Enola’s friends are not exempt from calling her “crazy,” but this is clearly a case of at least clinical depression, and possibly something more. And that is why it requires a tremendous suspension of belief to accept that Enola suddenly snaps out of it.

 

Enola is a brilliant woman with a heart for people, a dislike of privilege, and an unfulfilled desire to be a missionary. Describing her past life with her husband, also a prominent physician, she says that he was “lost in prominence.” Enola’s best friends are now Shummay St. Catherine, a Guyanese short-order cook at a downtown diner (played by Haliya Robert with a flawless accent that impressed even a Guyanese audience member), and her landlord Manfred Monroe (played by Isaiah Entzminger). Enola has “rented” a room in Manfred’s Harlem brownstone for twenty years, but Manfred, who describes himself as stingy, has allowed her to go months, if not years, without paying the rent, which becomes something of an ongoing joke. More concerning, Enola has not seen her family for twenty years, and has not looked in a mirror for nineteen of those years.

 

A fourth character, Dr. Latooza Wellington (Whitney Tymas), was Enola’s Harvard classmate, and suddenly reappears in her life after more than twenty years. Latooza plays a key role in Enola’s final scene breakthrough, and there is a distinct difference in the interactions between Enola and Latooza and those between Enola and all the other characters, but to tell more would spoil the surprise. Toney Q. Cobb has directed with a keen eye for detail, humor, and the storyteller’s pace that is a trademark of this company and its artistic director, Margarette Joyner.  That storyteller’s pace sometimes drags a bit, especially as there is no intermission. I’m not sure if it that was an artistic or directorial choice or a requirement of the author. If given an opportunity, I would ask Maple about that as well as about the characters’ names – unusual even for a group of African Americans.

 

The multi-talented Joyner designed the set (a cluttered, tiny room at the top floor of a brownstone), Pamela Archer-Shaw designed the sound (which included appropriate popular mood music, including “Beautiful,” which I believe is a popular Christina Aguilera song at a key moment in Enola’s evolution), and LaWanda Raines did the costumes (a task made somewhat easier by the lead character’s refusal to change clothes until the final scene).

 

There is much about this production that some might dismiss as unbelievable, unpolished, or just generally flawed. Why, for instance, is such a big deal made of Enola changing from shoes to house slippers each time she enters her room? Could Enola’s frequent long monologues with herself have been handled differently? But then, there is something magical that happens in that intersection between friendship, faith, and fantasy that I mentioned above, something that inexplicably tugs at the heart and perhaps even dampens the eyes. And that is enough for me to recommend that you see this touching and unusual play and its earnest ensemble during its short run of just four days (the original opening was postponed due to last week’s impending hurricane warnings), ending with two shows on Saturday, September 22, one at 4PM and another at 8PM.

 

 

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 Courtesy of Heritage Ensemble Theatre Company

Key of B Unnatural

Key of B
Crystal Wiley-Perry, Isaiah Entzminger, and Haliya Roberts

Featured

VICTOR, THE TRUE SPIRIT OF LOVE: Love, Light, and Faith; the Healing Power of Dance

The Latin Ballet of Virginia: VICTOR, THE TRUE SPIRIT OF LOVE

A Dance Review by Julinda D. Lewis

At: The Grace Street Theater, 934 West Grace Street, RVA 23220

Performance: September 7-9, at 7:30 p.m. Friday, Sept. 7, 4 p.m. and 7:30 p.m. Saturday, Sept. 8, and 4 p.m. Sunday, Sept. 9.

Ticket Prices: $10-$20

Info: (804) 828-2020 or http://www.latinballet.com

I’ve seen many performances by the Latin Ballet of Virginia (LBV) over the years. Some have been fiction, some fantasy, and others, like, Victor: the True Spirit of Love, are based on fact. But this one was different. This one touched my heart and had me weeping unashamedly in my seat.

Unlike many LBV programs, this one did not have elaborate scenery, although there were larger-than-life projections of photographs from Victor Torres’ life, scenes from the documentary about his life, and background photos of buildings and cars and alleyways representing Brooklyn, NY in the 1960s. These projections were often so well integrated into the live performance that they became part of the choreography.

Rather than a range of choreography representing the Latino music and dance, heritage, and history, there were poignant selections ranging from R&B to Mambo to Christian songs and instrumental music. Some were upbeat, but all seemed carefully chosen to help carry the emotion and narrative of the story, using movement and music and very few words – so when words are used they have the utmost impact.

Victor tells the story of Victor Torres, a former gang member and drug addict and current pastor of the New Life for Youth Ministries and New Life Outreach Church, right here in Richmond, VA. But more than that, Victor is a story of redemption, of hope, of people helping people. It is a story of victory. It is about finding God, but it is not about religion. It is about faith, but it does not preach. It is about the power of a mother’s love.

It’s not so much the choreography, which is sometimes powerful but mostly quite simple. It is not so much the dancers’ technique, which is sometimes quite stunning, but sometimes uneven – involving, as it always does, both professional and pre-professional dancers and children. But the collaboration of all the elements, culminating in the surprising appearance of three graduates of Pastor Torres’ program as their recorded images and voices give testimony of their dark past and hopeful present – and shines light on their future. This is dance with a purpose that is more than just entertainment. It tells a story. It offers the possibility of healing.

Pastor Torres came onstage after Saturday evening’s performance to take questions, and to offer congratulations to the performers. Roberto Whitaker danced the role of the young Torres – bringing the man himself to tears, by his own admission. Whitaker, who I have watched grow from a promising young hip hop dancer to a versatile professional, led the company, appearing in nearly all of the twelve scenes, from a hip hop and capoeira infused fight (“The Roman Lords”) to a 1960s style jitterbug (“Rock & Roll with My Mama”) to acted and pantomimed scenes of overdosing and recovery and a lyrical dance duet of faith with his savior. Artistic director Ana Ines King danced the role of Victor’s mother, Layla, and with her usual enthusiasm moved from mambo (“It is Mambo Time!”) through ballet, modern, and lyrical (“The Power of Mother’s Love” and “La Esperanza/Our Only Hope”), with an extra dose of drama (going into her prayer closet, and running to the rooftop to save her beloved son from being tossed off by gang members).

Teri Buschman and Marisol Cristina Betancourt Sotolongo made beautiful angels, while DeShon Rollins wore white as the spirit of hope and the saving grace of love. The scenes featuring four of the company’s men were powerful and beautiful, whether they were fighting or creating a smoke-filled, surrealistic scene of drug-fueled gang activity. This production would be a valuable contribution to the programs of churches, community centers, and youth agencies. I’ll just close with the words of the final selection, “Si Dios ama a un rebelde como yo, todo es possible/if God can love a rebel like me, anything is possible.”

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

Photo Credit: Jay Paul

Video Link: Victor, motion picture, official trailer: https://youtu.be/m9ub4w-DJVg

Video Link: One More Life, the Victor Torres Story, full documentary: https://youtu.be/i2UlLWJQFZY

This slideshow requires JavaScript.

 

Featured

BOEING BOEING: CAT’s 55th Season Opens with a French Farce

BOEING BOEING: Who’s Behind Door Number 2?

A Theater Review by Julinda D. Lewis

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

Performances: September 7-22, 2018

Ticket Prices: $23 Adults; $18 RVATA Members; $13 Students

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

 

  • Desperate times call for laughter. This was my second night in a row attending a comedy (see my discussion of Invalid at The Firehouse Theatre, September 6, 2018).
  • In addition, after 54 years of producing theater in Richmond, CAT Theatre announced barely a month ago that they would be going dark after this show. They had not been being able to secure a lease for the space they’ve been renting long-term. Just hours before the opening night curtain of what would have been their final show, it was announced that the matter has been resolved. The company will be staying at the No. Wilkinson Road space they rent from the Northern Henrico Civic Association for the remainder of this season and possibly into the future. In a press release from the Virginia Repertory Theatre, CAT Board President Kelly St. Clair stated, in part, “We have every expectation that this will be a long term fix to our short term challenges,” and added, “Plans call for CAT’s productions to continue in place for many years to come.”

———————————-

Boeing Boeing is a 1960 French farce, written by Marc Camoletti and translated into English by Beverley Cross and Francis Evans. I first (and last) saw it at Hanover Tavern in 2011. A fast-paced romp that depends on physical comedy, slamming doors, and perfect timing, the three-act play drew barrels of laughter from the opening night audience, but dragged noticeably during the third act, which comes after the intermission.

 

The plot revolves around Bernard (Brent Deekins), a Paris-based American architect who spends most of his time juggling his three fiancées. Yes, three. Each is an airline hostess with a different airline. Gloria (Rylee Daniels) is American, Gabriella (Marcia Cunning) is Italian, and Gretchen (Paige Reisenfeld) is German. Each is distinguished by the color of her airline uniform, red, blue, or yellow. Bernard has a French maid, Berthe (Sara Sommers) who spends more time bemoaning her fate as a servant and her role in helping Bernard keep his airline schedules straight than actually cooking and cleaning. Berthe changes the sofa cushions to match the uniform of each fiancée. The cast is rounded out by Bernard’s old school friend Robert (Travis Williams) who drops by for an unexpected visit just hours before the airlines change their schedules resulting in the obligatory comedy of errors.

 

Pat Walker’s bright and serviceable set included seven doors, most of which were thrust open and slammed with regularity during the two and one half hours or so running time, but there were few clues to indicate that this was set in Paris, or near Orly airport, or in the 1960s. It did seem odd that the front door opened into the hallway, as outer doors traditionally open into the house or apartment. Another oddity is that, at the end, Travis Williams took the stage last for the final bow, rather than Brent Deekins, suggesting that Robert was the star rather than Bernard. Hmm.

 

There’s a lot of shouting and loud cross talking, which makes it unlikely that anyone in one room would not have heard what was going on in the other rooms – but the nature of a farce often requires the audience to willingly relinquish any remaining remnant of reality. I thought Reisenfeld had the best handle on her character, striking a good balance between physical comedy, emotional swings, and comedic timing. Cunning’s character was, ironically a bit too trusting, but Daniels’ character was too cold and calculating, and while that artistic decision suited the final scene, it made her less likeable overall. I thoroughly enjoyed Sommer’s portrayal of the salty maid, but I found the men’s characters were painted broad and flat, making them appear to be flat and cartoonish. The result was that their loud outbursts of laughter and increasingly ineffectual attempts at subterfuge seemed more forced than farce. Glenn Abernathy, who directed, is a recent graduate of Christopher Newport University’s theater department, and this is his first time directing in the Richmond community.

 

There is much to enjoy about Boeing Boeing, and when I did laugh – which was frequently – I was laughing with the characters as well as at their antics, but things speed towards an inevitable conclusion that is not what one would expect. As in real life, people often don’t get what they deserve. Go, enjoy, be entertained. There really isn’t anything deep or serious hiding here.

 

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

———-

Photo Credits: Jeremy Bustin Photography

Boeing-4
Paige Reisenfeld and Travis Williams. Brent Deekins and Marcia Cunning.

Boeing-3
Sara ommer and Paige Reisenfeld

Boeing-2
Travis Williams and Sara Sommers

Boeing-1
Brent Deekins and Travis Williams

Featured

INVALID: When What Ails You Hits the Fan

INVALID: Modern Adaptation of a Classic Comedy

A Theater Review by Julinda D. Lewis

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

Performances: August 30 – September 29, 2018, Thu-Sat @ 7:30pm; Sun @ 4:00pm [check the website for specific dates as the days vary each week]

Ticket Prices: $15 – $35;

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

 

If silliness and slapstick are your schtick, Josh Chenard and Jane Mattingly’s modern adaptation of Moliere’s The Imaginary Invalid (aka The Hypochondriac) is right up your alley. If not, the Firehouse production of Invalid is still worth seeing, for a number of reasons.

First, there is Chris Raintree’s set. Simple, yet elegant, the tiled floor and single wall remind you of those perspective rooms in the children’s museums – you know, the ones that make you look very tall or very short, depending on which side you stand. The set also includes a quartet of beautiful metal chairs – ornate barstools, really – for which Blair Rath is given a credit in the program as “chair fabricator.” They really don’t have anything to do with either the 19th century in which the play is set, the 17th century, in which the original version premiered, or today, but they are quite lovely, if a bit uncomfortable without the addition some plush cushions.

The pre-show curtain talk includes some discussion about the pronunciation of the title, whether it should be IN-va-led (i.e., unwell) or in-VAL-ed (i.e., null and void). It is, of course, open to interpretation. The main character, Argan (Andrew Firda), is, after all, a hypochondriac, but the modern references to universal healthcare and politics – there’s even a reference to the Artsies nominations – make the second definition just as, well, valid. And, to get the audience warmed up, everyone passes through a team of medical professionals on the way to their seats and gets treated to a taste of “laugh yoga” by Slash Coleman. Don’t forget to fill your prescription at the bar and get your bill on the way out! Yes, there is a lot going on here.

Moliere’s three-act farce has been adapted as a two-act comedy, with many modern references, but it retains most of the original characters and plot.  Argan, a wealthy hypochondriac, plots to marry his daughter Angelica (played with delightful gusto by Allison Paige Gilman) to Thomas Diaforus (Kenneth W. Putnam), the inept son of his physician, Dr. Diaforus (Christopher Dunn). But Angelica is in love with Cleante (Jamar Jones) and enlists the help of her father’s sassy maid, Toinette (Donna Marie Miller) to thwart her father’s plans as well as protect her inheritance from her scheming stepmother, Beline (played by Kirk Morton in elegant drag). And if no one else has mentioned it, I will: the hesitation over the unannounced appearance of Cleante took on a whole new dimension given that Jones is, shall we say, “not white.”

There ensues a comedy of error with much slamming of doors (even though there are only two actual doors) and people hiding in plain sight or behind silly masks that disguise nothing.

It’s all done in good fun, and rhyming couplets. The play retains a deliberately inserted unnecessary musical number, a hilariously bad operetta, countless fart jokes, a messy enema scene that requires the assistance of a stagehand and some plastic ponchos (I thought I could actually smell the. . .never mind), and the voice of Mel Brooks as God. And yes, Brooks gets a credit in the program, too. (This is a program that deserves to be read.)

Miller is delightfully over the top as Toinette. I enjoyed Firda as Argan and Gilman as his daughter, Angelica. Dunn brought a slightly sinister edge to Dr. Diaforus, and Putnam was hilarious as Thomas (with the accent on the second syllable), providing the best physical comedy of the evening. Morton’s portrayal of Beline was divine, and Jones’s constant correction of everyone’s mispronunciation of his name may or may not have been a sly reference to the difficulty many people have with some “black sounding” names. Hmm. Race. Gender. Politics. Class. Misogyny. Did anyone or any issue get overlooked?

There’s a lot going on, and the laughs flowed steadily throughout the evening – which runs just under two hours, including an intermission. Chenard’s well-paced direction reflects not just an eye and an ear, but a heart for comedy. But for all the effort and effects and interaction, at the end, I felt maybe they tried too hard, maybe there was a bit too much hype, maybe they raised our expectations too high. It was a delightful evening, but I somehow expected just a little more.

 

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

 

This slideshow requires JavaScript.

 

Featured

SONDHEIM ON SONDHEIM: A Musical Revue Featuring Stephen Sondheim Himself

SONDHEIM ON SONDHEIM: A Musical Love Fest

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: August 8 – September 1, 2018

Ticket Prices: $10-30

Info: (804) 346-8113 or rtriangle.org

 

I generally get to new shows during the first week, but Sondheim on Sondheim opened while I was away on our annual family vacation, and shortly after returning I went into the hospital for a knee replacement. Much to my surprise, I had no pain after surgery, so I found myself tiptoeing into RTP with crutches in the middle of a rainstorm on closing night. I am SO glad I got a chance to see this show.

The night I attended was also a popular night for many industry professionals, at least one of whom wept openly during a particularly touching number. Sondheim on Sondheim (with music and lyrics by Stephen Sondheim, conceived and directed on Broadway by James Lapine) is not at all what I expected from a musical – but it is what I have come to expect from Richmond Triangle Players, which is not above bringing even a reviewer to tears on occasion.

This autobiographical musical features about 40 – yes FORTY – musical numbers, and a stellar cast of eight, each of whom had a chance to shine in at least one song. Frank Foster’s set reminded me of a museum exhibit, with its three slim columns, each holding a memento of Stephen Sondheim’s life and career, some notes, and a light. There were posters from Sondheim’s many productions, and a screen where we got to see and hear the man himself talk about his work and share heartbreaking memories of his childhood. Talk about dysfunctional! Now that it’s over, it won’t be spoiler to say that his mother once sent him a note telling him that her only regret in life was giving birth to him!

While I cannot say that I love every song or even every play he ever worked on (and no, I have not seen all of them), I can honestly say that I am so glad he overcame the seemingly impossible obstacles in his life to leave us with a legacy of musical theater that includes a range of such diverse works that have earned him 8 Tony awards, 8 Grammy awards, a Pulitzer Prize, a Laurence Olivier award, and a Presidential Medal of Freedom. As a composer and lyricist, who is NOT known for hummable tunes, he left his mark on West Side Story, Gypsy, A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd, Merrily WE Roll Along, Sunday in the Park with George, Into the Woods, Assassins, and many others.

Standouts of the evening included Durron Tyre singing Being Alive and Susan Sanford’s rendition of Send in the Clowns. Then there was Alona Metcalf (Do I Hear a Waltz) and Dan Cimo, Matt Polson, and Rachel Rose Gilmour (Franklin Shepard, Inc.), and the entire company, including Mariah Mazyck, and Scott Melton) in Weekend in the Country, Sunday, and the finale Company – Old Friends and Anyone Can Whistle.

I call it a love fest not only because the audience was so vocal in its enthusiasm and praise, but also because the entire cast seemed to so thoroughly enjoy this often challenging work. In addition to Sondheim’s pitiful family life, we also learned of his life-saving friendship with Oscar Hammerstein and his family and heard his thoughts on his life’s work. Assassins came closest to meeting the writers’ vision, and Sunday in the Park with George was the closest to his own heart, while he didn’t much care for Do I Hear a Waltz.

With direction and vocal coaching by Doug Schneider, and musical direction by Kim Fox (I think she said there are several books and more than 400 pages of music!), all the elements just seemed to come together flawlessly. Sheila Ross designed the costumes, Michael Jarett did the lighting and projections, with video by Peter Flaherty, sound design by Joey Luck, and choreography by Emily Dandridge. What a delightful start to this theater’s 26th season!

 

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

SONDHEIM_0187
Durron Tyre singing “Being Alive”

SONDHEIM_0130
L-R: Alona Metcalf, Scott Melton, Rachel Rose Gilmour, Marian Mazyck, Susan Sanford, Durron Tyre, Dan Cimo, Matt Polson. The cast of “Sondheim on Sondheim”

SONDHEIM_0268
Rachel Rose Gilmour

Featured

CRIMES OF THE HEART: A Southern Sister Reunion

CRIMES OF THE HEART: Tales of Southern Sisterhood

A Theater Review by Julinda D. Lewis

VirginiaRep

At: Hanover Tavern, 13181 Hanover Courthouse Road, Hanover, VA 23069

Performances: July 20 – August 26, 2018

Ticket Prices: $42

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

The final show of the 2017-2018 season,  Beth Henley’s Pulitzer Prize-winning three-act southern tragicomedy, boasts outstanding performances by three highly individual women and a beautifully designed and detailed set created by Terrie Powers. It also has near flawless direction by Steve Perigard (who also directed Da and Brighton Beach for this same stage – “near flawless” because, with three acts, it does seem to get lulled into a light sleepy southern languor about halfway through.

There was a time when I would, if given a chance, watch daytime talk shows because the dysfunctional guests made me feel so much better about my own life. To some extent, the quirky Magrath sisters make me feel the same way about my own family. Irene Kuykendall deftly navigates the surprising complexities of Meg, the black sheep of the family, gradually revealing that she is not a complete narcissist, but has hopes and dashed dreams, and holds a deep and abiding love with her two sisters. She’s also the middle child.

Lexi Langs, who last appeared in a VaRep performance ins 2007, is fascinating as the youngest sister, Babe or Rebecca. Physically enchanting with her wide eyes and sometimes vacant stare, we first meet Babe when she returns to Old Grandad’s home after being released from jail where she spent the night after shooting her husband in the stomach. Langs gives Babe a childlike quality that is unnerving; we are never quite sure if Babe has a true mental illness or just an advanced case of “the vapors.”

But the true star of this ensemble is Maggie Roop who shoulders the burdens of the family upon the sloping shoulders of Lenny, the eldest of the three sisters. There’s usually one in every family – the one who takes care of everyone and everything, but no one ever thinks she needs taking care of.  Roop spends much of the play trying to keep the peace; there are dark circles under her eyes, and she is obsessed with cleaning, which is, perhaps, the only thing over which she has any control. Roop brings unforced depth to the character of Lenny. For most of the three acts, I wanted to give Lenny a hug, so it was doubly rewarding when, in the third act, she took a broom to the butt of her obnoxious, social climbing first cousin, Chick (Maggie Bavolack). Whiny and annoying, Chick opens the first scene with a hilarious and unexpected reverse strip-tease, in which she elaborately squeezes into a pair of “petite” pantyhose.

Crimes of the Heart tackles real-life trauma: suicide; the illness of an aging grandparent; spousal abuse; dishonest politicians; social pressure; regret; vendetta; attempted murder; low self-esteem. Set in the small town of Hazlehurst, Mississippi (a real town about 30 miles south of the state capital of Jackson) five years after Hurricane Camille (which blew through in August of 1969), there are subtle references to the racial politics of the day, but more disturbingly, because of the racial politics of the times, a major issue of statutory rape is swept under the table, so to speak.

The overall outstanding ensemble is focused on the relationships between the women, but there are also credible performances by Arik Cullen as Meg’s former love interest, Doc Porter, and Tyler Stevens as the young lawyer, Barnette Lloyd.

There are thought-provoking lines, like, “She works out in the garden wearing the lime green gloves of a dead woman” physical humor, as when Babe prepares a glass of lemonade for Meg that makes Meg’s face – not just her lips, but her entire face – pucker, but adds so much sugar to her own glass that we can almost hear it crunch when she sips it. But despite – or maybe because of – our better judgment, Crimes of the Heart makes us laugh at such taboo topics as attempted murder and an old man falling into a coma. Babe may have shot her husband, but each sister has to face up to her own “crimes of the heart.”

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 Sutton

Crimes of the Heart
Lexi Langs, Maggie Roop, and Irene Kuykendall

Crimes of the Heart
Lexi Langs, Maggie Roop, Irene Kuykendall. Photo by Aaron Sutten.

Crimes of the Heart
Maggie Roop, Lexi Langs, and Irene Kuykendall

Crimes of the Heart
Lexi Langs, Maggie Roop, Maggie Bavolack. Photo by Aaron Sutten.

Crimes of the Heart
Maggie Roop, Maggie Bavolack, Irene Kuykendall. Photo by Aaron Sutten.

Featured

TOMFOOLERY: Swift Creek Shenanigans

TOMFOOLERY: A Politically Incorrect Musical Satire

A Theater Review by Julinda D. Lewis

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

Performances: July 14 – August 18, 2018

Ticket Prices: $38 Theater only; $55 Dinner & Theater

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

 

Swift Creek Mill Theatre’s final show of the 2017-2018 season, Tom Lehrer’s Tomfoolery, features four cast members, 28 musical numbers, a five-piece orchestra, and a sense that anything goes. The satirical musical revue, whose title has nothing to do with Swift Creek Mill Theatre’s artistic director Tom Width, has no plot. Rather, it allows Width to share with the Mill audience his own love of the silly, satirical, politically incorrect songs written and performed by Lehrer between 1953 and 1965 – and even one he wrote for the PBS children’s show, The Electric Company, popular in the 1970s. Surprisingly, other than the era-specific references, such as the names of political candidates and talk of bombs and drills to prepare for nuclear war, much of the humor remains relevant, while the music (book, music, and lyrics are all by Lehrer, adapted by Cameron MacKintosh and Robin Ray) seems more attuned to the ears of those whose college years were marked by folk songs and protest marches.

Width keeps things moving, with a simple, colorful set with the musicians settled upstage right and a small bar set up stage left where the actors congregate while waiting their turn. Maura Lynch Cravey has Richard Koch in a vested suit that is vaguely vaudevillian, while Bryan Harris and PJ Llewellyn are dressed less distinctively, and, but for one outstanding exception, Debra Wagoner’s wardrobe seems to be mostly an afterthought. Robes, suspenders, hats, canes, stools, and other props provide visual interest and cues, and the actors use their own names throughout the revue, which runs under two hours, including one fifteen-minute intermission.

Tomfoolery opens with “Be Prepared,” an homage to the Boy Scout oath, and closes with “We Will All Go Together When We Go,” an irreverent post-apocalyptic sendup. In between, no topic is off-limits. “Bright College Days” (Richard and Bryan) contains my favorite lyric of the evening: “Soon we’ll be sliding down the razor blade of life.” Bryan sings my favorite song, “Elements,” which sets the periodic table of the elements to the music of Sir Arthur Sullivan (to the theme of a song from Gilbert and Sullivan’s Pirates of Penzance). “The Hunting Song” tells of bagging “two game wardens, seven hunters, and a cow,” while “Smut” is an ode to pornography.

There’s a song dedicated to Wernher Von Braun, a German engineer and rocket scientist who was a member of the Nazi party and an SS officer before coming to the US to work for NASA while “Who’s Next” speculates on which nation will be next to get a bomb. And just in case you haven’t been offended by the end of the first act, “National Brotherhood Week” reminds you of who hates you and who you should hate in return.

Oh, and the one time Debra Wagoner was dressed in a glitzy glamourous dress with a blinged out feather boa was for “Oedipus Rex,” her second act homage to incest which allowed her to belt out a song full-out as only she can and make you wish you could sing like that, too.

Great theater? By no means. An entertaining evening with good music that is beautifully played under the direction of Paul Deiss (who even gets to sing one number, “The Old Dope Peddler”)? Absolutely. And don’t forget to get your Swift Creek Mill “sippy cup” so you can take your preferred beverage – hot, cold, or alcoholic – into the theater (new this season).

 

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

This slideshow requires JavaScript.

Featured

KNUFFLE BUNNY: Musical Theater for the Whole Family

KNUFFLE BUNNY: A Cautionary Musical

A Family Theater Review by Julinda D. Lewis, with input by Emmitt, Kingston, and Soleil

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

Performances: July 13 – August 12, 2018

Ticket Prices: Start at $18

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

Knuffle Bunny is a hilarious family-friendly musical that held the attention of even the youngest audience members. With a running time of just under 45 minutes, and no intermission, I thought it might be worth a test run with my youngest grandson, Emmitt, who just turned 4.

Emmitt sat attentively for the entire show, sometimes singing along, eyes big as saucers, feet swinging happily. He was the first in our party of four to predict that the “rat with wings” would be making a comeback – an event which would open up the possibility for a sequel. His final pronouncement, “Awesome!”

Knuffle Bunny – much to my surprise, the “k” is pronounced – is based on the book of the same name by Mo Willems, who also wrote the script and lyrics. The music is by Michael Silversher. Upbeat and colorful, with a simple, uncluttered set designed by Emily Hake Massie and lighting by BJ Wilkinson, Knuffle Bunny is a cautionary tale about the adventure that ensues when pre-verbal toddler Trixie, played by Christina Ramsey, leaves her beloved stuffed bunny at the laundromat. Her poor dad (David Janosik) is cast as the somewhat incompetent rube by his beloved wife (Louise Ricks) who from the beginning doubts his ability to successfully take a basket of laundry to the laundromat with Trixie in tow. Hilarity ensues.

There is a chorus kick line, some striking air guitar play, animated puppetry of gigantic pieces of laundry (a necktie a onesie, a brassiere, and a man’s shirt), and a local geography lesson as the ensemble (Brandon James Johns and Corinne MacLean) runs across the stage holding signs reading Broad Street, Boulevard, and Cary Street as the little family makes their way from their house to the laundromat.

There is plenty for the adults to enjoy, as well. Trixie’s sad ballad to her beloved Knuffle Bunny has the ensemble holding up their lighters, as is customary at concerts – a feature that may be over the heads of the littlest audience members but did not go unnoticed by the adults.  (I couldn’t resist – here’s a link to an article on the practice of holding up lighters at concerts: https://beat.media/history-of-the-lighter-at-concerts)

My adult daughter, Soleil, could hardly contain her composure as Trixie’s big number was set up – the dramatic lighting, the mood music, all to accompany a heart-wrenching song made up entirely of nonsense syllables, “Aggle Flaggle Klabble.”  When asked by the cast members during the post-show meet and greet what he thought of the show, my seasoned assistant Kingston (older brother to Emmitt) responded that he enjoyed the songs and wanted more like “Aggle Flaggle Klabble.” I know that Willems wrote lyrics, but I wonder if the “words” to “Aggle Flaggle Klabble” come out the same each time – and if they didn’t, would anyone notice?

Susan Sanford directed this delightful musical – which really caters to the youngest of audiences without boring older siblings or the adults who accompany them. Go. Enjoy. And don’t forget to take a young person or two. Copies of the book Knuffle Bunny: A Cautionary Tale are available for purchase at the bar.

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

Knuffle Bunny
Christina Ramsey and Louise Ricks

Knuffle Bunny
David Janosik, Christina Ramsey, Knuffle Bunny, and Louise Ricks

Knuffle Bunny
Louise Ricks, Christina Ramsey, Knuffle Bunny, and David Janosik

Knuffle Bunny
Knuffle Bunny, Christina Ramsey, and David Janosik

Featured

HAND TO GOD: The Invention of the Devil

HAND TO GOD: The Devil Made Me Do It

A Theater Review by Julinda D. Lewis

A co-production of  TheatreLAB and 5th Wall Theatre

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

Performances: July 13-28, 2018

Ticket Prices: $15

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

 

Weird – in a very creepy way – and funny – in a very irreverent way – Robert Askin’s Hand to God is probably the most unsettling study in family dysfunction I’ve yet so see on a stage. A co-production of TheatreLAB and 5th Wall Theatre directed by Gary C. Hopper, Hand to God features a remarkable performance by Adam Turck and a commendable performance by Kimberly Jones Clark – who will not soon be nominated for mother of the year.

The recently widowed Margery (Jones Clark) and her teen-aged son Jason (Turck) have not fared well in the six months or so since Margery’s husband died of a heart attack. Margery has been depending on her son for support and Jason seems to alternate between blaming his mother for his father’s death and blaming his father for abandoning the family. Their kind-hearted Pastor Greg (Fred Iacovo) – who apparently skipped the seminary coursework in grief counseling – has ill-advisedly placed Margery in charge of the church’s puppet ministry, hoping to fill her idle time and distract her from her grief.  Iacovo initially comes off as mild-mannered as Mr. Rogers, but in the second act he boldly and surprisingly confronts the evil Tyrone. I guess this is where I should mention that Tyrone is Jason’s puppet.

Hand to God is set in a church basement in a small town somewhere in Texas. On entering The Basement, many of  us will take one look at David P. Melton’s set design and immediately have flash backs to Vacation Bible School, otherwise known simple as VBS. There are the inspirational posters, the pictures partially colored by children, and the ubiquitous puppet stage.

In spite of the popularity of the puppet ministry in many churches, many children are terrified of puppets. My own son, in his youth, would scream at the sight of clowns, masks, mimes, and puppets. But Tyrone takes it to a whole new level. Tyrone actually opens and closes the show with his own prologue and epilogue, and in Acts 1 and 2 he demonically possesses young Jason. We’re talking bloody mutilations and violent sexual acts. We’re talking foul-mouthed verbal assaults and  blood curdling laughter. Imagination? Psychological transference? Doesn’t matter – we’re talking spine-tingling horror.

Turck switches between the mild-mannered Jason and the evil Tyrone throughout the show, which runs nearly two hours with one intermission. The rough-edged voice he uses for Tyrone as well as the shouting must wreak havoc on his vocal cords, but he doesn’t hold back. He goes full out and is the only character that really earns our sympathy. Jones Clark turns in an edgy performance as his mother, and as much as she’s obviously hurting, her actions do not generate much sympathy. One wonders what’s going on in this small town, as Margery is pursued by both Pastor Greg (Iacovo) and the foul-mouthed bully, Timmy (Adam Valentine), who reluctantly attends the puppet ministry while his mother is otherwise engaged in her AA meetings. The third young member of the puppet ministry is Jessica (Anne Michelle Forbes), a shy teen who uses her buxom female puppet to get through to Jason/Tyrone in a most surprising way in the second act.

Hopper’s direction keeps things moving, but I found some scene changes in the first act ran a little long, and while Melton’s set authentically captured VBS, it was surprisingly unsteady and had a noticeable gap in the rear wall – both of which are probably due to the need to unfold several panels to reveal the pastor’s office in the second act. The puppet theater, also designed by Melton, actually seemed much sturdier than the actual set. Joey Luck created the sound design with his usual impeccable touch, and Michael Jarett did the  lighting – which included some impressive lightning.  Heidi Rugg is credited with the puppetry, ranging from Timmy’s simple sock puppet to Jessica’s femme fatale and Jason’s two versions of Tyrone – one of which featured teeth and horns.

There is nothing delicate about Hand to God: Askins – and this well-chosen cast – tackle family dynamics, sexual issues, religious hypocrisy, and more with rawness and humor. There is no happy ending. There is no clear-cut good or bad. Major, life-changing decisions made by the characters raise more questions than they answer – all of which sounds, to me, like the elements of good theater.

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

Hand to God.5
Fred Iacovo, Kimberly Jones Clark, Adam Valentine, Adam Turck, and Anne Michelle Forbes

Hand to God.4
Tyrone

Hand to God.3
Adam Turck and Anne Michelle Forbes

Hand to God.2
Tyrone and Adam Turck

 

Featured

AS YOU LIKE IT: All the World’s a Stage

AS YOU LIKE IT: Pastoral Comedy Under the Stars

A Theater Review by Julinda D. Lewis

By: Quill Theatre/20th Annual Richmond Shakespeare Festival

At: Agecroft Hall & Gardens, 4305 Sulgrave Road, RVA 23221

Performances: July 6-29, 2018, Thursdays – Sundays at 7:30pm

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

Info: (804) 353-4241 or quilltheatre.org

 

As You Like It is one of the bard’s zaniest comedies. Set initially in the French court of the evil Duke Frederick, formerly the domain of his banished brother Duke Senior, but mostly in the idealized Forest of Arden, As You Like It is filled with improbable disguises and misidentification, sibling rivalry and love at first sight. There’s also an awesome wrestling scene in the first act (fight choreography by James Ricks) and a rowdy dance at the end (choreography by Nicole Morris-Anastasi). There’s plenty of action, plenty of laughs, and – as they say – it’s complicated.

C.J. Bergin plays the love-struck Orlando, the youngest and sadly disinherited son of the late Sir Rowland de Boys. Bergin is both sympathetic and brave, first facing the ferocious wrestler, Charles, then posting odes to his beloved Rosalind on trees in the forest. Rebecca Turner is Rosalind, the object of his affections and daughter of the banished Duked Senior. Shortly into the play, Rosalind finds herself fallen head over heels for Orlando after he quite unexpectedly overpowers the professional wrestler Charles (Tommy Ryan). Accompanied by two ring girls dressed as Shakespearian wenches, Charles is a real moustache-twirling villain. His satin embroidered robe and vainglorious long locks, in stark contrast to the women’s more traditional costumes, typifies Cora Delbridge’s time-bending, era-mixing costumes. The fight was fixed by Oliver (Matt Bloch), Orlando’s older brother, but Orlando, facing defeat and having nothing to lose, knocked out Charles with a folding chair, WWE style, and as a result must flee for his life.

Rosalind’s mercurial uncle, Duke Frederick (John Cauthen – who also plays the brother, Duke Senior) not only has it in for his own brother, but also counted Orlando’s father among his enemies. After the wrestling match does not go according to plan, Duke Frederick turns his wrath on the fair Lady Rosalind, his niece and his daughter’s best friend. He gives her ten days to vacate the court, but his daughter, Celia (Jocelyn Honoré) decides to join her.

Rosalind, disguised as a young man with the fictitious name Ganymede, embarks on a hair-brained scheme to join her father and his band of merry men who have been subsisting in the forest, and here Turner get to shine as a woman impersonating a man who is in turn impersonating a woman. [In Shakespeare’s day, when all roles were played by men, Rosalind would have been a male (actor) impersonating a woman (Rosalind) impersonating a man (Ganymede) impersonating a woman (Rosalind).] Celia sticks by her cousin, but once in the forest, Honoré seems to fade into obscurity more than necessary. The character of Rosalind is, undoubtedly, the most developed female character of the play and perhaps of Shakespeare’s entire body of plays, and Turner embodies equally well the sometimes overlapping comedic, dramatic, and romantic aspects of her character.

John Mincks, as Touchstone, the court jester and Rosalind and Celia’s servant and protector, is a standout. His dandy wardrobe of plaid jacket and straw hat marries the look of the traditional court jester with the more modern look of a minstrel, his lines consist of humorous sometimes rhyming, sometimes philosophical speeches that are delivered with a speed and sassiness that could easily trip up any lesser actor. In the second act, a shepherd couple, Silvius (Cooper Sved) and the unresponsive Phoebe (Nicole Morris-Anastasi) provide a humorous diversion, with Morris-Anastasi’s character falling for Ganymede – not knowing the object of her affections is actually Rosalind in disguise. The quick-tongued Rosalind/Ganymede delivers one of the play’s most cutting lines – and perhaps one of literature’s first recorded instances of body-shaming – to Phoebe, telling the nerdy-looking and socially awkward young woman, “Sell when you can, you are not for all markets.”

Another favorite is the melancholy Jaques, played with laid-back élan by Luke Schares. A nomadic traveler who also frequents the forest, it eventually becomes clear that he is actually the middle son of Sir Rowland de Boys, younger brother of Oliver and older brother to Orlando. You may not be familiar with Jaques or the play, but you will remember his line, “All the world’s a stage. . .” If it seems difficult to keep all these characters straight, it is. It’s helpful to read the synopsis and list of cast members before the show – and again during intermission. It doesn’t help that several cast members play multiple roles.

My daughter and I went on Friday, opening night, but after a fifteen-minute rain delay and wearing a poncho as protection from the light rain that fell during the first act, the show had to be cancelled due to a storm cell and lightning. So, having a second chance to watch the first act was actually helpful in keeping all the characters and their relationships straight. The humor is unrelenting, but it’s even better when you can keep the players organized. The cast also included Derek Kannemeyer as Orlando’s faithful old “yet strong and lusty” servant, Adam; Taylor Lyn Dawson as both Amiens, Duke Senior’s musician and Audrey, the object of Touchstone’s affections; and Bill Blair as both Corin, an elderly shepherd, and Le Beau, a member of Duke Frederick’s court.

Rain pace or fair weather – and Saturday was perfect, with clear skies, cool temperatures, no humidity – As You Like It is hilarious, with well-timed direction by artistic director James Ricks, atmospheric music provided by Juan Harmon on accordion, and satisfying ensemble work by a cast of thirteen actors.

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 by Aaron Sutten; Audience selfie by Noah Downs.

This slideshow requires JavaScript.

Featured

SMALL PLATES CHOREOGRAPHY FESTIVAL: Whetting the Appetite for Dance in RVA

SMALL PLATES CHOREOGRAPHY FESTIVAL: Merging Emerging Choreographers and Audiences

A Dance Review by Julinda D. Lewis

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

Performances: June 29 & 30, 2018 @ 8:00pm

Ticket Prices: $10 General

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

Kelly Hamlin, founder and artistic director of Krash!Dance Theater, and Jess Burgess, artistic and executive director of Dogtown Dance Theatre and founder and co-artistic director of RVA Dance Collective, Dogtown’s resident dance company, are on a mission to make Richmond as much a home for dance as it has become for theater. Hamlin hosted the Small Plates Choreography Festival at Dogtown June 29 and 30. The curated performance series accepts applications for ensemble works up to 10-minutes in length and solo works up to 8-minutes long. Festival performances occur over a 2-day period, with a Q&A session after each performance. Upcoming performances are scheduled for Brooklyn, NY, Newburgh, NY, and Lorton, VA.

The June Festival at Dogtown provided a showcase for more than a dozen choreographers – some local and some from as far away as Pittsburgh, PA and Brooklyn, NY. Saturday evening’s program was a virtual smorgasbord of dance: contemporary, hip hop, lyrical/liturgical. There was spoken word and live music – all done with a minimum of lighting and little or no props.

The handstands, headstands, and hair tossing of marge dances + Shelleysillerdance demonstrated awesome physical control, and no wonder as choreographer Margaret Allen, a graduate of the VCU dance program, is a professional circus artist with a specialty in hand balancing and dance acrobatics. Allen partnered with Shelley Siller, who has a strong background in ballet, for Las Brujas (The Witches), a sort of modern-day incantation filled with the aforementioned handstands and headstands, and delightfully awkward positions that reminded me of historic photos of Mary Wigman’s Hexantanz (Witch Dance). It was a memorable opening piece that made you want to see more work by these choreographers, but for some reason, the moments when the two touched did not fully connect for me. Allen (RVA) and Siller (DC/VA) also each presented solos for the Friday evening program.

The second half of the program also opened with a strong, memorable work. A Memorable Diversion is a duet filled with exuberant and childlike enthusiasm – mostly on the part of  William Sterling Walker, who seemed determined to meet and interact with the object of his affection, LaWanda Raines. These two have a natural chemistry – familiar to those who saw them dancing together with The Latin Ballet of Virginia, where both were long-time members before pursuing independent work. At one point, Sterling’s feet lifted off the floor into that “happy feet” movement often performed by toddlers when they get a taste of their favorite food! In perfect contrast to this beautifully free and uninhibited delight was the beautifully classic live music, a Rachmaninoff song sung by Marjory Saunders accompanied by Miriam C. Walton on keyboard.

During the audience discussion, another piece that drew notable comment was the Inner City Blues: Excerpt, a solo choreographed by Michelle Isaac of Ntrinsik Movement (Brooklyn, NY). The solo, performed by Briana Raheem to a Marvin Gaye’s Wholy Holy had a soulful, liturgical feeling, no doubt a reflection of Isaac’s early start, dancing in church at age 4.

Desmin Taylor (RVA) presented Rebuild, an intimate, introspective solo that is actually his first solo creation. Host Kelly Hamlin performed an amusing solo to a short story written and read by Chris McDaniel (who is also Dogtown’s operations manager and grants writer). White employed a variety of colorful masks and even a sweater or two tossed from the wings as Hamlin danced to, acted out, and sometimes mimed the lovingly awkward story of a first date, punctuated by easy eye-ball interactions between Hamlin and McDaniel.

Jess Burgess’s Continuum, performed earlier this year, was tightened and condensed in order to fit with the time limits of the Small Plates Festival, and somehow, without the atmospheric fog and full lighting, it seemed sharper, more emotional and impactful. Kista Tucker (Kista Tucker Insights, Bristow, VA) presented excerpts from The Factory Project, complete with train or factory engine sounds. Another work with an industrial theme or feel was Marissa Graham’s ((in))teroception. Graham, a member of eSKay Arts Collective (NY), appears to have conceived of this intriguing work as a study in contrasts – machine versus organism, mechanical versus organic, interacting versus co-existing.

Fixated, a solo by Therese Gahl (NOVA/DC) created a unique physical and emotional effect by using the very detailed instructions on how to suture a wound. Gahl’s loose-jointed, flexible movement vocabulary made me wonder if she was the wound or the suturing thread closing the edges of the wound. Kaitlin Flynn Goodwin (Pittsburgh, PA) presented Standing in the Gap, a solo of controlled, measured release; but once she released, there was no holding back. Heartbeats, blips, beeps, and pings accompanied Heidi Murr’s (MURRdance, Pittsburgh, PA) What I Know About Living, an unusual and mysterious piece to close the evening.

Other works on the program included a high-impact hip hop work, Power, collaboratively choreographed and presented by Studio 4 Dance Company (Richmond, VA), under the direction of Deandra Clarke and  Jelani Taylor’s The Cry, a dark work punctuated by gunshots that I interpreted as a statement on today’s political atmosphere and oppression in general. Taylor, also a product of the VCU dance program, was, unfortunately not available for the post-show discussion.

It was inspiring to see the variety of works as well as the diversity of the audience. During intermission and after the show, performers could be overheard praising the works and accomplishments of other artists, and many – performers as well as audience members – were exposed to works and performers they had never seen before. The works are generally finished, as in not works-in-progress, but neither are they fully set with unlimited or extended time, props, full lighting, and complex production elements. The Small Plates Choreography Festival, like its culinary namesake, allows the audience to sample a lot of different “dishes” in one sitting, and whets the appetite for more of the ones that seem particularly interesting or appetizing. The Small Plates Choreography Festival was created by Beth Elliott for the purpose of “merging choreographers and dance audiences in meaningful performance experiences.” [https://smallplatesdance.com/] Kudos to Kelly Hamlin and Jess Burgess for this summer dance treat.

 

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

———-

Video Links:

MURRdance

https://www.facebook.com/smallplatesdance/videos/1860386244021784/

 

Margaret Allen

https://www.facebook.com/allenmh/videos/10211627484393746/UzpfSTgwMjg4MTE1MzEwNTYzNzoxODUyNTQzOTgxNDcyNjc3/

 

Jelani Taylor

https://youtu.be/x-kcNuYWVa8

 

RVA Dance Collective

https://youtu.be/jPOMN1mOaKE

 

Photo Credits: Small Plates Choreography Festival Richmond, VA production photos by Mike Keeling

Dogtown - Small Plates 1
Beth Elliot – Small Plates creator, and Kelly Hamlin, Small Plates Richmond host

Dogtown - Small Plates 2

Dogtown - Small Plates 3
Kelly Hamlin and Chris McDaniel

Dogtown - Small Plates 4
Desmin Taylor

WOMEN’S THEATRE FESTIVAL: The Best Man in the Government – גּוֹלְדָּה מֵאִיר

WOMEN’S THEATRE FESTIVAL: Golda’s Balcony

A Theater Review by Julinda D. Lewis

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

Performances: March 28, April 3, 7, 13 & 18, 2019

Ticket Prices: $25 general admission; $20 for RAPT card holders; $15 for students

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

Isaiah 56:5 (NIV)

to them I will give within my temple and its walls
    a memorial and a name
    better than sons and daughters;
I will give them an everlasting name
    that will endure forever.

Golda’s Balcony, a one-woman play about the Israeli stateswoman, Golda Meir, is a heart-touching work of historical fiction by William Gibson. Written in 2003, Golda’s Balcony was Gibson’s second attempt to capture Meir on stage; he was not quite satisfied with his earlier multi-character work, Golda (1977) and it is said that Meir herself saw it and hated it. Meir died in 1978 of lymphoma, and so never got a chance to see Golda’s Balcony.

This is not a pretty play. It is full of war: talk of war; sounds of war; thoughts, feelings, results, and regrets of war. It begins with the start off the Yom Kippur War, in 1973 and Meir, played with heart and gusto by none other than Jacqueline Jones, is clad in a bathrobe, looking every inch the Jewish grandmother. This image is soon dispelled, however, as she is thrust into the midst of an unending and seemingly unwinnable (by either side) war. She sheds the bathrobe for a power suit and takes up the banner of the Jewish state of Israel.

“Survival is maybe a synonym for Jewish,” Meir says at one point. Later, she conjures up the image of a biblical “Abraham messing around with the house maid” being responsible for the ongoing political and religious conflict of two groups of people fighting over one piece of land.

Jones owns this role. During the talkback following the final showing of this work, director Debra Clinton, who worked with Jones during her first performance of this show at Weinstein JCC in 2010, said that the passing of time had made Jones even better in this role, and that at times – when she leaned across the Prime Minister’s desk, for example – she actually looked like Meir. I personally think Jones looks much softer than the images I’ve seen of Golda Meir, but nonetheless, her performance was both emotionally charged and historically eye-opening.

Playwright Gibson, director Clinton, and Jones presented tough, controversial subject matter in a way that opened a door onto the humanity of a world leader – and more than that, they offered insight into a woman operating in a man’s world. Among many nicknames – some less flattering than others – Meir was known as the Iron Lady of Israeli politics and the best man in government.

“We intend to live. Our neighbors intend for us to die. There’s not much room for compromise.” These words refer to the Palestinian-Israeli conflict but seem to apply as well to recent and current headlines in the US and right here in the state of Virginia.

Golda’s Balcony – a term that refers both to the physical balcony on which the elderly Meir sat to tell this story and to the nickname for Meir’s nuclear weapons facility – is not without moments of humor. Periodically, as melancholy cello music plays, Jones breaks the fourth wall to snap, “I can do without that music.” Near the end of the journey – about ninety minutes of intense drama, with no intermission – we learn that the music is connected to both Meir’s husband, Morris, who was a music lover, and her son, Menachem Meyerson, who was a professional cellist. The story-telling was both a powerful tribute to women, and a heartfelt performance by Jones.

The quartet of one-woman shows that made up the Women’s Theatre Festival concludes with final productions of Margaret Joyner’s Message from a Slave starring Pamela Archer-Shaw on April 19 and Theresa Rebeck’s Bad Dates starring Maggie Bavolack on April 20. Charlayne Woodard’s Pretty Fire, starring Haliya Roberts, closed April 17. I believe the Women’s Theatre Festival – a co-production of 5th Wall Theatre (Carol Piersol) and TheatreLAB (Deejay Gray) was a new concept here in Richmond, but I hope it won’t be a one-time event. The stories were compelling, the performances stellar, and I hope new audiences were introduced to the richness of Richmond theater.

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

———-

Photo Credits: Destiny Martinez Photography

 

https://www.amazon.com/dp/B07BFRHZLB?ref_=assoc_tag_ph_1524210913746&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=a4ce1217385e77ea50fa9017a932fe2a

https://www.amazon.com/dp/B07DLPWYB7?ref_=assoc_tag_ph_1524210885446&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=1ebab116dd8323f2fae25777042f5d34

https://www.amazon.com/b?node=17869251011&ref_=assoc_tag_ph_1524210812458&_encoding=UTF8&camp=1789&creative=9325&linkCode=pf4&tag=rvartreview-20&linkId=117ef9da1d6ef658059002f2b6b28ab6

Advertisements