One of the things I liked about KEEP ON THE SUNNY SIDE, the story of the Carter family of country music fame, is that playwright Douglas Pote didn’t sugarcoat the darker side of the story.
A.P. Carter, his wife Sara Carter, and his wife’s cousin Maybelle who was married to A.P.’s brother Ezra made up the original Carter family. A.P. toured the countryside collecting songs – ballads, blues, folk, gospel, – that collectively became a part of the foundation of the uniquely American genre known as “country music.”
Known as the First Family of country music, the Carters popularized a new style of harmonizing; Maybelle crafted “the Carter lick,” a unique style of guitar picking, and Sara sang and played the autoharp – which is how se and A.P. first met.
But the hardships of touring, and separations necessitated by work eventually led to the dissolution of the trio. Sara eventually separated from A.P. moved to California and remarried – to one of A.P.’s cousins.
Director Tom Width is clearly enamored of this foot-patting, hand-clapping story, carried along by a selection of 27 of the Carter family’s most well-known songs. Even those who are not fans of country music may be familiar with “Will the Circle Be Unbroken” and “Are You Lonesome Tonight,” which was covered by Elvis Presley. The talent was passed down through the generations, with June, one of Maybelle and Ezra’s daughters marrying country music superstar Johnny Cash. The program even includes a handy Carter Family Tree.
This musical play – as distinct from a musical – starts with A.P.’s funeral in 1960, jumps back to the day A.P. and Sara met in 1914, returns to 1960, a few days before A.P.’s death, and concludes in 1976 – six years after the family was welcome into the Country Music Hall of Fame. The cast is simply amazing, with H. Drew Perkins as the effervescent A.P. Carter, Jackie Frost as the reluctant performer Sara Carter, and Emily J. Cole as the innovative musician Maybelle Carter. Mikaela Hanrahan plays the role of Carter daughter Janette, who also acts as the play’s de facto narrator. Brian Harris and Greg DeBruyn round out the cast playing all the supporting characters.
Maura Lynch Cravey’s dresses and suits support the period and Adam Dorland’s scenic backdrop of the Virginia mountains provides an attractive to Tom Width’s simple set. The set, oddly enough, has an unfinished feel, with Sara’s Aunt Nick’s detailed front porch on the left but just the frame of a country church on the right. The focus is on the music, and the slowly unfolding story, accented by family secrets. Keep in the Sunny Side is a delightful show that provides a lot of entertainment and a bit of education.
“If you’ve never been called crazy, it’s just ‘cause your dreams aren’t big enough.” -A.P. Carter
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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KEEP ON THE SUNNY SIDE
Written by Douglas Pote
Vocal Arrangements by Eugene Wolf
Musical Arrangements by Doug Dorschug
Directed by Tom Width
Cast:
A. P. Carter ……………….. H. Drew Perkins
Sara Carter ……………….. Jackie Frost
Maybelle Carter ……………… Emily J. Cole
Janette Carter ……………….. Mikaela Hanrahan
Preacher at the Funeral, Mr. Ralph Peer, Preacher Bill, Life Photographer ……………. Bryan Harris
Ezra Carter, Assistant to Mr. Peer, Theatre Manager, Dr. Brinkley,
Joe Carter ………………… Greg DeBruyn
Creative Team:
Directed by Tom Width
Musical Direction by H. Drew Perkins
Lighting Design by Joe Duran
Costume Design by Maura Lynch Cravey
Scenic Design by Tom Width
Technical Direction by Liz Allmon
Scenic Art by Adam Dorland
Run Time:
About two hours with one intermission
Tickets:
Regular $49. Seniors, Students, Military & First Responders $44.
Photographer: Kieran Rundle
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There are many things about Lauren Gunderson’s 2015 play SILENT SKY that are deeply satisfying. The work of historical fiction about early twentieth century astronomer Henrietta Leavitt achieves and maintains a balance between relaying a story of scientific facts and breakthroughs and exploring the development of relationships among family and friends.
A.G. Sweany and Amber James, in the roles of sisters Henrietta and Margaret Leavitt, immediately establish a relationship that is both affectionate and contrary – just what one might expect to see among siblings. They even look like they could be related. In SILENT SKY we first meet them outside their father’s church on a Sunday morning. Margaret is preparing to play the music for the hymns, but Henrietta is seeking her help to explain to their widowed father that she is about to leave home to embark on a career in science – astronomy, to be precise. Margaret is the sister who stays home, marries, and takes care of their aging father, but she is not lacking in talent and accomplishment. Besides playing the piano for church, she writes a symphony, and is not averse to breaking into song at the drop of a hat – as if she were part of a musical. But Margaret, it seems, is fictional. Perhaps she represents the non-scientific side of Henrietta – the side that balances science and religion, one of the play’s subplots. Henrietta and Margaret at one point have an interesting discussion of the meaning of the scientific heaven versus the spiritual heaven.
I enjoyed watching Sharon Hollands and Sandra Clayton, as fellow “computers” Williamina Fleming and Annie Jump Cannon warm to the presence of the new girl in the office, eventually forming an unbreakable bond of friendship. It was especially fun to watch Williamina’s tough Scottish exterior melt. Then there was Colton Needles as Peter Shaw, the women’s supervisor and Henrietta’s love interest. At the start of Act 2, he appears wearing a wedding ring, but doesn’t have the gumption to tell Henrietta he has moved on during her sabbatical. He was the weakest link in this well-cast ensemble, but this is a story of women’s empowerment. Peter is also fictitious.
But both Williamina Fleming and Annie Jump Cannon were real women, astronomers at Harvard at a time when women were paid just a fraction of what their male peers made, while their accomplishments were dismissed or credit given to their male colleagues. Fleming, Cannon, and Leavitt were employed as “human computers,” a concept I was first introduced with the 2016 film Hidden Figures that documented the life and work of a team of African-American “computers” (i.e., mathematicians) who worked for NASA during the early years of the US space program. In SILENT SKY we learn how Leavitt and her colleagues studied the stars – while denied the use of the powerful telescope to which their male counterparts had access. Leavitt eventually made a breakthrough- the cepheid variable period-luminosity relationship – that enabled astronomers to measure the distance between stars and determine the size of the galaxy and the existence of unknown galaxies. Her work laid the foundation for the Hubble telescope and subsequent astronomical discoveries.
Among Gunderson’s achievements, the author made scientific discovery entertaining and understandable, and managed to pair it with a little romance, a little music, and a fashion show of professional women’s attire from the end of the 19th century through the suffragette movement of the 1920s. Cannon, a suffragist and real “patriot” spoke of joining a march on Washington – drawing comparisons with the contemporary meaning of the word “patriot” and the results of recent activities in Washington. Gunderson achieved all of this without being condescending. For another, perhaps final, example, when Henrietta finally opens a gift sent by her late father, she unwraps a Walt Whitman poem about an astronomer that proves to be both sentimental and prophetic.
There were a few things that raised questions. Henrietta’s hearing aide seemed amazingly modern and surprisingly compact. I did a little (very little) digging around and came away without drawing any conclusions as to whether the hearing aid used in this production was accurately depicted or, like its wearer, way ahead of its time. At one point in the play, Margaret was playing the piano while talking with her sister. She turned to face Henrietta, taking her hands away from the keyboard, but the (recorded) score kept playing. There were few costume changes during the first act, even when scenes and locations changed, but the period dresses were quite lovely, and when Annie Jump Cannon appeared in trousers in one of the closing scenes Margaret’s reaction was worth the wait. SILENT SKY, like Henrietta Leavitt, set and maintained standards in a way that was unfamiliar, a bit rough around the edges, yet undoubtedly of value.
“I thought to write a symphony you had to be European and angry.” – Henrietta
“Stars are tonal – like music.” Henrietta
“All I have is time, and all I haven’t is time.” – Henrietta
“I choose to measure you in light.” – Annie
“How do you celebrate measuring the universe?” – Margaret
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
First, some housekeeping. Well…acknowledgements. And…maybe a confession. I have been viewing and writing about dance and theater in RVA for more than 25 years, but this is the first time I have seen a show at the Weinstein JCC. It’s not that I haven’t know about shows there, or been invited, I just never seemed to have found the time to fit it into my schedule. Jason Marks sent me a DM about this show, which opened while I was out of town for a performing residency, and I somehow found myself driving straight from a DC dance space directly to the Firehouse Theatre on a Friday night, then to the JCC on Saturday after spending the morning in rehearsal and the afternoon at the Nature Center celebrating my youngest grandchild’s first birthday, and ending the weekend at Atlee High School for the final performance of a CAT show. That’s how “retired” people roll.
Second – and last – I appreciate growing up in Brooklyn and attending the Bronx High School of Science. That background made many of the Zero Hour’s references familiar and the humor genuine – unforced and abundant. So I could sum up right here and just say that Zero Hour is one of the funniest shows I’ve ever seen and it appears to have been a perfect vehicle for Jason Marks. But I won’t – sum up just now – because that wouldn’t be fair or fun.
Zero Hour is a skillful balance of biography and entertainment. For those unfamiliar with Zero Mostel, it is informative, and for those who were already fans, it might reveal a few unknown nuggets. Mostel (who, like me, was born in Brooklyn and also shares my birthday, February 28) was active at a time when the US was obsessed with the Red Plague or Red Scare, when McCarthyism (which took its name from US Senator Joseph McCarthy) insinuated that the government and Hollywood, among other industries, were being infiltrated by the dreaded specter of Communism. Numerous investigations were directed at the film industry leading to the blacklisting of industry professionals – including Zero Mostel.
The freedom of any society varies proportionately with the volume of its laughter. – Zero Mostel
The heart is, truly, the source of love. The proof is that if you remove it from someone, they will almost certainly never love again. – Zero Mostel
An unfortunate encounter with a NYC bus in 1960 nearly cost him a leg. The leg was saved, but he lived the rest of his life in pain. But on the bright side, the accident saved him from having to perform in a reportedly bad play, The Good Soup. But there were plenty of memorable roles on his resume, from Tevya in the original Broadway production of Fiddler on the Roof to Pseudolos in A Funny Thing Happened on the Way to the Forum, from classics like Ionesco’s Rhinoceros to special appearances on The Electric Show, Sesame Street, and The Muppet Show.
There are several explanations for how Samuel Joel Mostel came to be known as Zero. One is that his mother coined the nickname because of his poor grades in school – but one bio notes that he was a “A” student. Another explanation is that a press agent once said of him, “Here’s a guy starting from nothing.”
Known widely as an actor and singer as well as a comedian, Mostel developed a talent for painting and drawing from childhood. He took art classes provided by a community program that served Jewish immigrants and their children, and later attended City College of New York and then enrolled in a master’s program in art at New York University (which also happens to be my alma mater). Zero Hour is set in Mostel’s NYC art studio, just two months before the end of his life, on a day when he is being interviewed by a New York Times journalist – whom Mostel contentiously greets by calling him a putz (idiot; jerk) because “I don’t know your name.” BTW, Mostel didn’t care to learn the reporter’s name until near the end of the play, because “I don’t want to know your name; this is an interview, not a relationship.
“That’s it, baby, when you’ve got it, flaunt it! Flaunt it!” – Max Bialystock, played by Zero Mostel in the 1967 movie, “The Producers”
From House Un-American Activities Committee (HUAC) hearings to his mother’s displeasure at his Catholic shiksa (gentile) wife, from his dislike of choreographer/director Jerome Robbins to often being not the first or even second but the third choice for roles he made legendary, from being blacklisted to being invited to the LBJ White House where “the thought of having to eat with Texans was too much!”), all of this, and more, is lovingly and capably captured by Marks under the director of Debra Clinton. Clinton, in the Director’s notes, paid homage to Mostel’s individuality – his commitment to standing up for what he believed even to the detriment of his career – “his honesty, passion, and empathy.” Given the larger-than-life persona of Mostel, perhaps it should come as no surprise that the reporter is a disembodied and oddly reticent character, given his profession; we never actually see him or hear him. The HUAC investigator, however, is voiced by Roger Price. It probably would not have mattered how much or how little the reporter talked, there wasn’t a dull moment with Mostel’s explosive personality. Sometimes it was hard to tell where Marks ended and Mostel began. I am sure playwright Jim Brochu who originally starred in his own play, would approve of Marks’ interpretation.
“It’s not about absurdity, it’s about conformity.” – Zero Mostel
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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ZERO HOUR
By Jim Brochu
Starring Jason Marks as Zero Mostel
Directed by Debra Clinton
Production Team:
Set and Lighting Design + Photos: Todd Schall-Vess
Production Stage Management: Hayley Tsutsumi
Performance Schedule:
March 29: 7:30PM
March 30: 7:30PM
April 1: 8:30PM
April 2: 2:00 PM
Run time: approximately 2 hours, with one intermission
Following the model set by War in Pieces, the 2021 festival of one-act plays written by military veterans, the focus of FIRST RESPONSES is the real-life front line experiences of four first responders. Kathryn Kahlson is a retired Captain from Chesterfield Fire & Emergency Services; Captain Anthony Jackson is Commander of the Richmond Police Department’s First Precinct; Benjamin Toderico served 18 years with the Richmond Police Department in uniform, as a Detective, and on the SWAT team; and Betty Migliaccio has been a firefighter for the past 10 years. Migliaccio and Jackson are founding members of the Frontline Writers group, a non-profit organization founded in 2020 “to provide those who serve our community — firefighters, police officers, and emergency medical technicians — intensive instruction in the art and craft of the narrative so that their experiences may be known, shared, and archived.” Classes are taught by founding board member and New York Times best-selling author David L. Robbins. The stories that are developed into plays are edited and reworked and brought to life onstage with minimal production elements – a few simple cubes, costumes, and lighting.
Mother at Work, written by Kathryn Kahlson and directed by Amy Berlin, is a tale of two mothers – a first responder and the young mother she encounters on an emergency call. How do you tell someone their baby is dead – and how do you deny them the opportunity to hold their baby one last time? Kahlson shared that first responders talk it out with their coworkers, sometimes for a week or longer, but this particular call hit so close to home it took her 10 years to process the encounter. To help actor Lindsey June get into the role of Kahlson, the author allowed June to wear her work boots.
Something So Small, by Anthony Jackson, pulls the audience along into an eerie portal of time travel where a crime scene investigation at a drug house allows the victims to be witnesses to their own demise. I only fully understood this cool plot twist by staying for the post-show talk-back. I’m not sure if it was my own lack of imagination or if the play could have made this less ambiguous – or perhaps a bit of both.
In Pillar Benjamin Toderico takes up to the top of a bridge where a young man contemplates suicide. For this, the actors took a field trip to the site, where they experienced the climb, the swaying, the wind, and the cold.
Finally, in Eight Buttons, Betty Migliaccio paid homage to her colleague, Richmond firefighter Lt. Ashley Berry who was killed on Thanksgiving Day 2019 while shielding one of her children from gunfire – the result of a drive-by shooting. For me, this was the most touching story, not just because it was a familiar news story, but because of the tenderness embodied in the simple act of Amanda Spellman (as Betty) sitting and sewing the gold buttons signifying her newly earned rank that Lt. Berry had not yet had time to sew on before her untimely death. That, and the respectful salute that ended the scene and the show encapsulated the unspoken and unspeakable that these writers have been able to express through their stories.
A diverse ensemble of familiar and new faces portrayed all the roles in these four one-act plays, directed by four different directors. The actors – Briana Creque, Dwayne Daniels II, Keydron Dunn, Enrique J.. Gonzales, Lindsey June, Jimmy Mello, Lorin Mello, David Rogozenski, and Amanda Spellman – seemed to step into the shoes of some of their characters more easily than others. One female officer, played by Creque, for example, seemed to move with an unnatural stiffness (but take note that she only recently completed her first role at VCU where she is a student in the drama department) while Jimmy Mello’s portrayal of the bridge jumper was uncannily authentic. Lorin Mello, with key roles in Mother at Work, Something So Small, and Pillar appeared to have mastered some of the most stressful of roles and high-strung characters with precision. I look forward to seeing more of June and Spellman, both of whom made their RVA debuts in First Responses. Anthony Jackson personally commended Dwayne Daniels II, commenting that Daniels played the role of Jackson in Something So Small better than he plays himself.
Producing four one-act plays by four novice playwrights – even with minimal production elements – is no mean feat. I believe in his pre-show curtain speech Producing Artistic Director Joel Bassin said there were no less than 27 artists involved in the making of this show, running approximately two hours, with one intermission. So, kudos to the four directors – Amy Berlin (Mother at Work), Mark J. Lerman (Something So Small), Andrew Gall (Pillar), and Lian-Marie Holmes Munro (Eight Buttons), as well as Anna Bialkowski (Costumes), Andrew Bonniwell (Lighting), Kate Statelman (Composer), Todd Labelle (Production Design), and the rest of the creative team for another interesting and insightful production of new and (mostly) compelling theater.
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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FIRST RESPONSES Festival
new plays by Anthony Jackson, Kathryn Kahlson, Betty Migliaccio, and Ben Toderico
March 23-April 15, 2023
Performer Ensemble:
Briana Creque
Dwayne Daniels II
Keydron Dunn
Enrique J. Gonzalez
Lindsey June
Jimmy Mello
Lorin Mello
David Rogozenski
Amanda Spellman
Production Team:
Amy Berlin, Andrew Gall, Mark Lerman, Lian-Marie Holmes Munro – Directors
Dwayne Daniels II, Briana Creque, Enrique Gonzalez, Lindsey June, David Rogozenski, Jimmy Mello, Keydron Dunn, Amanda Spellman, photo Bill SigafoosKeydron Dunn, Dwayne Daniels II, Lindsey June, David Rogozenski, Jimmy Mello, Amanda Spellman, photo Bill SigafoosJimmy Mello, David Rogozenski, photo Bill SigafoosDwayne Daniels II, Keydron Dunn, photo Bill SigafoosLindsey June, David Rogozenski, photo Bill Sigafoos
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Where to begin? Let’s start with the obvious. I was very impressed with Faith Carlson’s set design for CROSS STITCH BANDITS. The performing area of the Gottwald Playhouse was transformed into a reasonable facsimile of a house – not just an apartment or living space, but a house. While we could see a small kitchen, dining area, living room, and craft space, there were also stairs to the upper floor, a hallway to the rest of the main floor, and part of a backyard with a small refrigerator, a couple of folding chairs, and a weed whacker abandoned on a strip of artificial grass. Later another piece of turf was temporarily laid out as part of one of the play’s most hilarious scenes – the scene that gives the play its title.
Why so much detail on this show’s set? Because it is indicative of the level of detail that went into this production. The details are part of what made this story so enjoyable. CROSS STITCH BANDITS is the story of David, a “retired” engineer, whose family has planned a surprise retirement party for him. Here’s where it gets dicey, because it’s hard to talk about the significant scenes without revealing the spoilers, so if something doesn’t make sense from here on out, you’ll just have to go see it for yourself to fill in the blanks.
What I can safely say is that David is a likeable guy who places family first, but his stressful (perfectionist? OCD? Controlling?) tendencies tend to throw a monkey wrench into absolutely everything he touches and unnecessarily complicate all his relationships. Usually, we are taught to avoid hyperbole, but it applies to David. Nothing is safe from his need to have everything in its place, whether a dirty glass or an adult child. David’s wife, Jeanne, an affable woman with a mediator’s personality, is a Vice Principal who crochets to relieve the stress of her job. Their daughter Kaija, a recent law school graduate, is awaiting the results of the bar exam, and their son Drew has ditched college for a career as a magician. Drew has been placed in charge of his father’s retirement party, which has some unexpected props to support it’s off-beat theme as the family gathers to bid a final farewell to “Work Dave.” The theme actually developed from a real-life anecdote in the playwrights’ lives.
I enjoyed the interactions between the characters. Otto Konrad as David and Dorothy “Dee-D.” Miller felt authentic as a long-married and loving couple that has settled into a comfortable routine. Cross Stitch Bandits introduces them at the point of a bump in the road, a temporary detour. Tatjana Shields, the daughter, seems to be holding onto a secret – one she eventually reveals. Cyrus Mooney as Drew is the hardest character to get to know. He has quirky gestures and body language, and I was never sure if these characteristics were because Drew the character was a magician who was always “on” or if it was because Mooney the actor was still exploring his character, trying on speech and movement patterns for size. It could be a bit of both.
I found it interesting that David and Jeanne were partners in an interracial marriage only to have Konrad reveal in a talkback after Sunday afternoon’s matinee that the authors had described his character as 61 years old and “anything but white.” Ethnicity is never addressed in the play, yet the visual evidence is undeniable, and the children have been equitably cast with a white presenting son and a black presenting daughter. This seems to make no difference in the development of the story, yet even silent representation matters. Who, I wonder, did the authors see playing these roles. . .
The family issues presented by new playwrights Sanam Laila Hashemi and Steven Burneson (a soon-to-be married couple in real life) are relatable and universal. When we laugh at David and Jeanna, or David and Drew’s zany nighttime adventure, we are laughing at ourselves, at our own families. I think that also makes any imperfections, inconsistencies, and unanswered questions easier to accept – they are ours and we own them.
What imperfections, inconsistencies, and unanswered questions you ask? Well, if David is an engineer, why does he have a malfunctioning weed whacker and refrigerator? In one scene, Drew takes out a bowl and spoon to get some ice cream, but finds the ice cream has melted, so he exchanges his bowl for a glass. What happened to the refrigerator? We see David pour some of spilled ashes from his late father’s urn into the nonfunctional weed whacker. What was his motivation? Was it to honor the memory of his father who once fixed the broken things or was it a symbolic act to add dust to dust, ashes to ashes, or something else entirely? Drew entered a major magician’s competition – did he win, or even place?
Shields explained during the talkback that in the script Drew is 31 years old and Kaija is the younger sister, but because in real life she is older, they switched ages onstage. Why does that matter? You’re both acting, and how does the audience know or why should we care about your real ages?
There is a fifth character, friend and neighbor Neil, played by Landon Nagel. There is controversy surrounding Neil as well. A former prodigy of the controlling David, over time their roles have switched, but again, I can’t tell you too much about it without revealing more spoilers. Suffice it to say that under the mentorship of Pulitzer Prize-winning playwright David Lindsay-Abaire and Cadence’s Pipeline New Works Fellowship Program, Hashemi and Burneson have successfully brought a new story to life onstage. All things work together for good, including the work of scenic designer Faith Carlson, costume designer Sarah Grady, lighting designer Weston Corey, and sound designer Joey Luck. Kudos, also, to director Sharon Ott for, in the words of Konrad, letting the story tell itself.
NOTE: A few friends and I spent some time talking about the title, CROSS STITCH BANDITS. Jeanne is a crocheter, and we concluded that cross stitch and crochet are mutually exclusive. However, a bit of research revealed that there is, in fact, a crochet stitch called a cross stitch or single cross stitch. So there you have it. And CROSS STITCH BANDIT has a much better ring than Crochet Bandit.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
CROSS STITCH BANDITS
A World Premiere
Written by Sanam Laila Hashemi and Steven Burneson
Directed by Sharon Ott
Cross Stitch Bandits was conceived and developed through Cadence’s Pipeline New Works Fellowship Program
CAST
David Otto Konrad
Jeanna Dorothy “Dee-D.” Miller
Drew Cyrus Mooney
Neil Landon Nagel
Kaija Tatjana Shields
CREATIVE TEAM:
Director Sharon Ott
Assistant Director Molly Marsh
Scenic Designer Faith Carlson
Costume Designer Sarah Grady
Lighting Designer Weston Corey
Sound Designer Joey Luck
Properties Designer Ellie Wilder
Technical Directors Becka Russo and Vinnie Gonzalez
Set Dressing Faith Carlson
Production/Stage Manager Shawanna Hall
Photos Jay Paul
SETTING AND TIME:
2010, somewhere in a small city in the US
RUN TIME:
Approximately 90 minutes with no intermission
Dorothy “Dee-D.” Miller and Otto Konrad. Photo by Jay Paul.
Cyrus Mooney, Dorothy “Dee-D.” Miller, Tatjana Shields, Landon Nagel, and Otto Konrad. Photo by Jay Paul.
If you’re looking for something traditional and familiar, this ain’t it! If, on the other hand, you’re in the mood for something daringly different and astonishingly beautiful, then you’ve found your play. In Bo Wilson’s new sci-fi thriller fantasy, AFTER DECEMBER, particle collider meets poet. It’s big bang theory meets magic mushrooms. It’s fabulously refreshing. And, if you must relate it to something familiar, it makes allegorical statements about such topics as government and discrimination and the relative value of art versus science.
AFTER DECEMBER is an immersive theatrical experience. Set in a secret government facility that conducts experiments with particle reactors, the cave-like underground atmosphere created by Tennessee Dixon (Scenic and Projection Designer) extends from the stage to the audience. BJ Wilkinson’s phenomenal lighting includes tubes of lighting around the balcony and even above the very last rows of seats, and Dixon’s multi-screen projections accompanied by Joey Luck’s sound design virtually surround the audience. Dixon has really outdone herself yet all of this technology does not diminish Wilson’s story or the words, rather it enhances the play. (I’m almost certain that if Dixon had figured out a way to make us feel the earthquake tremors it would have been done.)
The function of this facility is so secretive that even the staff can’t explain what they do. So, a malfunction in the particle collider machinery precipitates a major crisis, resulting in a temporary shutdown, but even more concerning is the sudden appearance of a mysterious woman. She doesn’t remember anything other than her name, December, and that she is a poet. How she ended up, naked, in a secret government facility two miles underground is a bit of a problem for her and the manager of the facility, Evan Garth (Jeffrey Cole) and his Machiavellian superior, Maria Staslaw (Susan Sanford).
Bianca Bryan, as the mysterious December, speaks in an oddly cadenced almost robotic voice, The imperious voice, stiff posture, and sometimes flaccid stance with both arms hanging loosely at the sides, interrupted occasionally by a lotus petal hand gesture all support the proposition that December may be something less than – or more than – human. She does, after all, appear to have superpowers, not the least of which is that when she speaks her poems aloud, they “happen” – changes occur in the physical environment and in the people around her. As disturbing as her presence may be, it also seems to be an impetus for the physicists to explore their hidden creative sides.
The facility’s Physician’s Assistant, Christine Keeler (Patricia Austin) is the first to soften, seeming to find inspiration in December’s differentness. Next to develop a relationship with December is Garth; December seems to bring out repressed feelings and memories that bring balance to his scientific mind. Nat Carroll (Andrew Firda) wasn’t as hard a nut to crack; he was already starting to write a novel when we first meet him. His partner, Marten Root (Andrew Etheridge) is all about the business of math until he hears the poem December has created specifically for him. He then reveals unmined depths of emotion. The only one who seems unchanged by December is Staslaw (Sanford). Could it be that she knows more about this than she lets on?
One can only imagine the creative and collaborative process that occurred between director Rick Hammerly, designers Tennessee Dixon, BJ Wilkinson, and Joey Luck, and the cast members. Precise timing was needed to successfully execute the wrinkles in time and other effects. The result was one of the most amazing and delightfully surprising evenings I’ve spent in the theater – ever.
Kudos to the cast and design team – including Sue Griffin for her neutral tunics that straddled the line between primitive and futuristic and provided a blank palate for the colorful lighting effects. Etheridge and Firda provided most of the comedy, with Etheridge acting as straight man to Firda’s more lighthearted role. Bryan was a powerful presence who nonetheless elicited empathy which was freely offered by the characters played by Austin and Coles. Susan Sanford remained unmoved – unless you count a downward spiral with a singularly cruel act towards Etheridge’s gentle nerd.
Is the important stuff that matters what happens after December arrives, or after December leaves? Or is the important stuff that matters in the power of December’s (i.e., Wilson’s) words? See it and decide for yourself – I’d love to hear what you think about AFTER DECEMBER.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
AFTER DECEMBER
A New Play By Bo Wilson
Directed by Rick Hammerly
Cast
Christine Keeler ……………….. Patricia Austin
December ………………………… Bianca Bryan
Evan Garth ……………………… Jeffrey Cole
Marten Root ……………………. Andrew Etheredge
Nat Carroll (Evan Garth u/s) Andrew Firda
Nat Carroll u/s …………………. Joshua Mullins
Maria Staslaw …………………. Susan Sanford
Direction & Design
Direction …………………………. Rick Hammerly
Scenic & Projection Design.. Tennessee Dixon
Costume Design ………………. Sue Griffin
Lighting Design ………………… BJ Wilkinson
Sound Design ………………….. Joey Luck
Stage Management….……….. Justin Janke
Assistant Stage Managers … MariaElisa Costa, Leica Long
Discounted Group Rates and Rush tickets are available.
Run Time
The play runs 1 hour 45 minutes, including one 15-minute intermission.
Discounted Group Rates and Rush tickets available.
Photo Credits: Aaron Sutten
VA-REP Covid Safety Statement
Virginia Rep encourages wearing masks for our patrons’ safety, but we do not require that you wear a mask in our lobbies or within the theatres. They are now optional.
We continue to follow CDC guidelines and local risk levels. All Virginia Rep staff will continue to wear masks while serving you.
Andrew Etheredge and Susan Sanford. Photo by Aaron Sutten.Patricia Austin and Bianca Bryan Photo by Aaron Sutten.Patricia Austin, Andrew Etheredge and Andrew Firda. Photo by Aaron Sutten.Bianca Bryan and Jeffrey Cole. Photo by Aaron Sutten.Bianca Bryan. Photo by Aaron Sutten.
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Ticket Prices: $25/Adults; $20/Seniors (age 62 and up), Students & Military; $15/Youth 12 and up
Info: (804) 343-6364; hattheatre.org
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Sometimes it’s the little things that matter. Lewiston is set in a small town, placed on a small stage, in a small theatre, with a small cast, and it has a major impact. Lewiston feels familiar; it touches the heart. It tells a story that resonates with many, if not most, American families and may hit closer to home than you’d like to admit.
First, kudos to a phenomenal cast who authentically inhabited difficult characters. Boomie Pedersen, who treads the boards far less often than some of us would like, wears the heavy mantel of Alice, a grandmother estranged from her only granddaughter and landowner fighting a losing battle against well-funded corporate developers. It takes real skills to find a realistic balance between the angry, disengaged old woman and the loving matriarch. New to me are Ashley Elizabeth Thompson as the estranged granddaughter, Marnie, and Paul James as Alice’s roommate Connor, who has been fighting his own battles since childhood.
One striking thing that Connor reveals is how he never felt at home in the small town where he grew up and spent his entire life. The son of a minister, I’ll leave it to you to find out the details of his story and his disenfranchisement when you go see this beautiful play. Marnie, it turns out, is full of surprises. A backpacking loner who arrives out of nowhere, on foot, she is much more complex than she at first appears. And the more Alice and Marnie reveal, the more we see how much alike the two women really are. Connor, too, has secrets, and the three lives are more entwined than it first appears.
Samuel D. Hunter’s play is a masterpiece of storytelling. Touches of humor juxtapose heart-rending reality and revelations, interspersed with audio-taped narration provided by Marnie’s deceased mother – Alice’s daughter. Julie Fulcher-Davis, who directed with a masterful, unintrusive hand, also created one of the most organic sound scores I’ve ever heard. Ambient sounds enhance the roadside fireworks stand lovingly and authentically crafted by Vinnie Gonzalez as well as the recorded narration. Birds, footsteps crunching on leaves, the sound of the ocean waves, and more are subtly and organically orchestrated to provide clues to the location, the season, the mood.
Lewiston could be any roadside in any small town, but it is set in a real place. Lewiston, Idaho was named in honor of Meriwether Lewis, of the Lewis and Clark Expedition most of us learned about in American history. The historical background and evolving economic base from agricultural to industrial are very much a part of Hunter’s story – and the stories of his characters. That makes Alice, Marnie, and Connor seem all the more real.
By the end, we are thoroughly invested in the lives of these three people. At the end, Hunter never reveals the final outcome. Does Alice sell the family land to the big developers – or does she sell it to Marnie? The financial transactions, while important, are not the focus of the story; relationships are the heart of the story. The heart is the heart of the story – and that is why it is so worth going to see Lewiston. Note: It’s a short run, so don’t procrastinate!
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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LEWISTON
By Samuel D. Hunter
Directed by Julie Fulcher-Davis
CAST
Alice ……………. Boomie Pedersen
Marnie ……………. Ashley Elizabeth Thompson
Connor ……………. Paul James
THE CREATIVE TEAM
Written by Samuel D. Hunter
Direction & Sound Design by Julie Fulcher-Davis
Set Design by Vinnie Gonzalez
Lighting Design by Lane Kinsley
Props & Lights/Sound Support;
Props & Light/Sound Support
Production Management by Vickie L. Scallion
RUN TIME
About 90 minutes with no intermission
PERFORMANCES
March 3-12, 2023
TICKETS
$25/Adults; $20/Seniors (age 62 and up), Students & Military; $15/Youth 12 and up
INFO
(804) 343-6364; hattheatre.org
Photos: from FaceBook
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FIREBIRD, created by the Richmond Ballet’s Associate Artistic Director Ma Cong, is a magical blend of fairy tale, fantasy, drama, and dream. The ballet is set to Stravinsky’s beautiful score and set in a gorgeous environment that weds the classical with the contemporary. What at first appeared to be a museum – but I later found out was a garden – contained a swing suspended from the above, six life-sized “statues” that turned out to be six enchanted Princes, and a ginormous Faberge egg. Cong has taken the traditional Firebird story ballet – choreographed in 1910 by Michel Fokine for the Ballet Russes – and placed it in a more contemporary setting.
There is still a hero (Prince Ivan, danced by Khaiyom Khojaev) – and, of course, an evil sorcerer (Koschei the Immortal, danced by Ira White). Cong has kept Fokine’s thirteen princesses, including Prince Ivan’s love interest (Tsarevna, danced by Eri Nishihara), and, of course, the magical Firebird (Cody Beaton). What is new is the context. Nishihara begins as a young woman in a swing, visiting the sculpture garden with her mother (Celeste Gaiera). While reading her favorite book, The Firebird fairy tale, she dozes off, and much like little Clara in The Nutcracker Ballet, finds herself the central figure in a dreamscape filled with magical creatures. Her Prince doubles as a Photographer in the sculpture garden, and instead of party guests, there are museum visitors. A dropped scarf is the talisman that links the two worlds.
Khojaev, the dashing young prince – handsome, lost, and sporting a quiver of bows – encounters the magical, mystical Firebird in an enchanted garden plucking golden apples from a magical tree. In exchange for her life, the Firebird plucks one of her red feathers and presents it to Ivan, to be used in case of an emergency that can only be resolved using magic. The encounter is one of the ballet’s few traditional features – a pas de deux of soaring leaps and spiralling runs marked by Beaton’s fabulously quirky arm movements. They part, and of course it is only a matter of time before Prince Ivan runs into the evil sorcerer Koschei who has enchanted thirteen beautiful princesses and turned to stone the six young princes who have attempted to rescue them.
White, as Koschei, reminds me of an ancient Japanese war lord (but wait, considering that Cong studied Chinese classical dance, let me revise that to an ancient Chinese warrior), and his minions are clad in black body suits with vaguely skeletal imprints on the spines – thoroughly embracing the role of malevolent sycophants as they scamper about the space. The choreography is a refreshing brew of ballet and contemporary movement, a contrast of soaring heights and scampering lows, classic lines and grounded enfolding. A friend likened the results to the subterfuge of The Wizard of Oz.
A battle ensues, requiring Prince Ivan to call upon the Firebird for assistance, and Koschei and the forces of evil are eventually overcome. The climax of the battle, however, involves one of the most explosive special effects I have ever seen in a ballet. Remember that Faberge egg I described earlier – and Ivan’s quiver of arrows? Well, this is where it all comes together. The egg – okay, so maybe not a Faberge egg, but you get the idea – is where Koschei had hidden his evil soul for safekeeping and the climax of the battle involves the destruction of the egg and all the evil it contains. What a stunning concept and even more spectacular execution!
In the final scene, the daughter (Nishihara) awakens, back in the safety and peace of the sculpture garden, where the exchange of the dropped scarf and a pointed glance are all that remain of the events that have just transpired.
The evening started and ended on a high note – with two ballets completely different in style and execution. The program started with a performance of George Balanchine’s Serenade (1934). Historically significant as the first Balanchine ballet created in America and one of the New York City Ballet’s signature works, the ballet began as a lesson in stage technique for student dancers and the choreography even incorporates ordinary rehearsal events, such as a dancer’s fall. But Serenade opens with one of the singularly more stunning moments of stillness ever choreographed.
The curtains parts on a sea of 17 women standing in complete stillness. Each has one arm lifted. When they all move their feet from parallel to an open first position. So simple. So basic. So beautiful. In spite of its simplicity, Serenade is not an easy ballet, and set against Tchaikovsky’s score on a bare stage, save for romantic lighting, it remains a favorite for balletomanes and novices alike.
No disappointments, no complaints. Just a satisfying evening of beautiful ballet and memorable music, played live by the Richmond Symphony, conducted by Erin Freeman. Bravo.
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I usually don’t do much preparation prior to seeing a new show so as not to arrive with preconceived expectations. It didn’t take long before Rachel Landsee’s new musical, Jump Baby, began to feel familiar. This feeling solidified right around the time lead character Amelia West (played by Rachel Rose Gilmour) remarked that the plane banked just before she jumped out. It turns out it wasn’t the plane, hence the title, Jump Baby.
In September of 2021 I attended a wonderfully unique performance of four one-act plays at the Firehouse Theatre. Each had been written in workshop by a veteran, with one, SOAR, being penned by a female veteran. It made an impression:
The first half of the program closed with SOAR, the only one of the four one-act plays written by a woman veteran, Rachel Landsee. Irene Kuykendall was outstanding as the military lawyer and wife, Rachel. Her husband, Adam (Dean Knight) was also an officer, and the focus of SOAR included the strains military life puts on relationships, the demands made on women, especially if they become pregnant while in service, as well as philosophical discussions of the validity of sending US troops to Iraq and Afghanistan. For me, this was the most complex and layered of the four pieces, and its appeal is enhanced by the presence of a sort of Greek chorus meets four-part harmony a cappella group composed of four of the male ensemble members. SOAR turned out to be a mini-musical, powered by foot-stomping, finger-snapping military cadence, soulful rhythms, and the bluesy strains of Nina Simone’s “Feeling Good.”
Nearly 18 months later, SOAR has grown into – or provided a foundation for – a full-fledged two-act musical with an original score by Mark Messing. The a cappella quartet has doubled in size and this iteration features a full ensemble of cast members who play multiple roles, sing, and dance. The military cadences are still there, but now there is a list of a dozen songs and a trio of live musicians, under the direction of Cassie Cipolla. The story of Amelia and Jack has been placed in context, providing more of a backstory and fleshed out relationships.
There’s Jack and Amelia’s marriage, their struggle to understand the role of war and justice, the place of women in the military, and more. At one point, all the women are pregnant, opening the door to but leaving unanswered questions about sexuality, sexual harassment, and sexual assault in the military. Kerrigan Sullivan’s deft direction – and Kayla Xaiver’s choreography – keeps everything and everyone moving at a nice clip that echoes the military cadences.
The inaugural production of the Lynn Theatre’s new Studio Series, Jump Baby is a collaboration involving the development of new work by underrepresented voices (Rachel Landsee, a female veteran and military attorney), professional actors (Rachel Rose Gilmour and Adam Turck), and students (onstage and behind the scenes). It has catchy tunes, cadences, a logical story line, and humor. The minimalist set of boxes and graded planes studded with rivets provides an appropriate and versatile background, especially when creatively lit in a kaleidoscope of colors – or in red, white, and blue. Little touches, such as having the ringing of a cell phone voiced by an actor instead of a recording of an actual cell phone demonstrate a commitment to the process.
I fully expect to see and hear more of this project. “You can do so much with music that you can’t do with words,” Landsee said during the closing show talkback. “Musicals are a fantastic way to express an American way of life.” I don’t think Landsee is finished yet, and it’s been a pleasure to see the growth and development to date. The production closed February 5, but I think I heard from a friend that you may be able to see a streaming version if you contact The Lynn Theatre.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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JUMP BABY
Written by Rachel Landsee
Music by Mark Messing
Directed by Kerrigan Sullivan
Cast:
Amelia West: Rachel Rose Gilmour
Jack West: Adam Turck
Staff Sergeant Michaels/Soldier: Jay Bynum
Deputy Big Boss/Jumpmaster/Soldier: Conner McGowan
Branch Chief/Soldier: Mac Owens
Acting Deputy Big Boss/Jumpmaster/Soldier/Assistant Director: Russell Paulette
Marketing Manager/Graphic Designer/Photographer/Videographer/Website Designer: Ian Glass
Assistant State Manager: Michelle Rubinstein
Sound Engineer: Lillian Foster
Crew:
Sam Richardson, Casey Allen, Sadie Tucker, Kenya Saunders
Performance Schedule:
Friday, January 27, at 7:00 p.m.
Saturday, January 28, at 7:00 p.m.
Sunday, January 29, at 2:00 p.m. (Talkback with the playwright follows the show)
Thursday, February 2, at 7:00 p.m.
Friday, February 3, at 7:00 p.m.
Saturday, February 4, at 7:00 p.m.
Sunday, February 5, at 2:00 p.m. (Talkback with the playwright follows the show)
Run Time:
About two hours with one intermission
Tickets:
General admission tickets are $10. Military and veteran tickets are $5. Current Brightpoint students may get their tickets for free with a Brightpoint Student ID. To purchase tickets, go to https://www.brownpapertickets.com/event/5692705
Photos: Ian Glass
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Charles Fuller’s A Soldier’s Play is set on a fictitious Army base, Fort Neal, Louisiana, in 1944 – at a time when the U.S. Army was still legally segregated. But the mystery and inflammatory speculation surrounding the murder of Tech/Sergeant Vernon C. Waters could have been taken directly from the latest news in 2023.
When I think of this Pulitzer Prize-winning play, the first thing that comes to mind is Adolph Caesar who played the role of Sergeant Waters in the original off-Broadway production by the Negro Ensemble Company, New York, 1981. In that production, Denzel Washington also appeared as Private First Class Melvin Peterson and Samuel L. Jackson played the role of Private Louis Henson.
I can’t help but wonder, how did the actors and audiences of 1981 feel about A Soldier’s Play and how do their thoughts and experiences compare to those of the actors and audiences of 2023? The more things change (?) the more they stay the same – and this trope especially rings true when it comes to matters of race in America.
Along those same lines, the ”trigger warnings” of strong language, racial slurs, physical violence and gunshot effects may have been startling 40 years ago, but seem de rigueur by today’s standards where life imitates art imitates life. Director Shanea N. Taylor wrote in her notes, “Charles Fuller believed, ‘You can change the world with words.’ 40 some years later from winning the Pulitzer Prize for his words, we find ourselves in a position where we might question whether this rings true.”
In A Soldier’s Play we get to see – and internalize – the impact of 9 Black men sharing a stage and sharing words and thoughts normally reserved for the relative safety of Black spaces (e.g., home, the barber shop). Do Fuller’s words sufficiently explain the burden of how racism can make a Black man hate himself? Or are we so committed to the fallacy that racism is over that only those directly affected can truly understand? A Soldier’s Play opens the door to further understanding.
This deeply troubling story shines as an ensemble work. The comraderie and banter between the characters feels authentic (coming from one who has never been in a military environment). It comes as no surprise that the Black soldiers are given the most menial and dirtiest tasks: painting, cleaning, manual labor. In spite of their sub par treatment, they want to serve the only country they know. When orders come to ship out, they are excited. Ike wants to know if the colored boys can fight? There is only one response, “I’ve been fighting all my life.”
The soldiers’ relationships seem even more solidified by the passive aggressive racism of their white Captain, played by Chandler Hubbard. You see, Captain Taylor is aware of his own racism, and readily admits that he is disgusted by the very thought of Captain Davenport (Keydron Dunn), the Black lawyer sent to investigate the murder of Sergeant Waters. At the same time, he holds on to a sense of justice in wanting to solve the murder – but not so much so that he is willing to discipline the white officers under his command who are overtly racist (Hunter Keck and Gordon Little Eagle Graham). Waters is – or was – an ambitious Black officer who is himself offended by the presence of southern Black men who do not live up to his standards. This information gives added meaning to his final words before being shot, “They still hate you!” No matter how hard he tries to assimilate, no matter if he works hard and send his children to predominantly white schools, he is still Black, and still the recipient of institutional and personal racism.
There were some standouts in the ensemble: Joshua Maurice Carter as Private C.J. Memphis, the innocent young man who was driven to suicide by Sergeant Waters’ mental attacks; Kamau “Mu Cuzzo” Akinwole as Private James Wilkie, an unwilling pawn in Waters’ machinations; Erich Appleby as the earnest Corporal Bernard Cobb. Hubbard did an amazing job establishing a balance between doing the eight thing and embracing the comfort of his upbringing. But A Soldier’s Play works best within the framework of the ensemble. The one weak link, unfortunately, seemed to be Keydron Dunn in the import role of the key figure, Captain Richard Davenport. I found out later that Dunn was under the weather the night I saw the show, so that may account for the fumbled lines and uneven performance – so unlike his usual execution.
Mercedes Schaum has designed a stark barracks, consisting of just a few cots and footlockers, but Joe Doran’s lighting adds satisfying emotional depth and visual dimension. Taylor’s direction allows the story to unfold at a natural pace – perhaps less inflammatory than I was expecting, or less shocking that my memory allowed for – but nonetheless satisfying. If you have never seen A Soldier’s Play or, like me, have not revisited it in some 40 years, please see it. It’s the kind of theatre that stays with you for a lifetime.
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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A SOLDIER’S PLAY
By Charles Fuller
Directed by Shanea Taylor
Cast:
Tech/Sergeant Vernon C. Waters: Larry Akin Smith
Captain Charles Taylor: Chandler Hubbard
Corporal Bernard Cobb: Erich Appleby
Private First Class Melvin Peterson: K’Hari Zy’on
Corporal Ellis: Gary King
Private Louis Henson: Tre’ LaRon
Private James Wilkie: Kamau “Mu Cuzzo” Akinwole
Private Tony Smalls: Kieryn Burton
Captain Richard Davenport: Keydron Dunn
Private C.J. Memphis: Joshua Maurice Carter
Lieutenant Byrd: Hunter Keck
Captain Wilcox: Gordon Little Eagle Graham
Creative Team:
Directed by Shanea Taylor
Scenic Design by Mercedes Schaum
Lighting Design by Joe Doran
Costume Design by Maura Lynch Cravey
Technical Direction by Liz Allmon
Fighting/Intimacy Consulting by Stephanie “Tippi” Hart
Run Time:
About two hours with one intermission
Tickets:
Regular $49. Seniors, Military & First Responders $44. Students $15.
Photos: Kieran Rundle
Keydron DunnJoshua Maurice Carter, Larry Akin Smith and Kamau “Mu Cuzzo” AkinwoleChandler Hubbard and Keydron DunnPhotos by Kieran Rundle
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If you like the unique and different, if you are comfortable with ambiguity, if dramatic explorations of death and non-linear story-telling pique your interest, then GHOST QUARTET was written for you. Not fully a play, not fully a musical, more akin to an opera, Dave Malloy’s creation was first produced in 2014 and was soon after nominated for awards for Best Music and Best Musical.
While I assert that the term “musical” is too confining to describe Ghost Quartet, there is no doubt that the music – much of which is played or engineered by Amy L Oblinger – is amazing. There are vocals and instrumental music involving a piano, a cello, a violin, and percussion. At one point small percussion instruments – a tambourine, a rattle, small rattles – are distributed to audience members.
Two of the Quartet members perform a delightfully unexpected tap and clog dance. And most of the cast members are quite comfortable breaking the fourth wall and addressing the audience – some of whom, the VIPs, are seated at small table right on stage where they are served whiskey shots by the cast members who are gathered for a reunion of sorts at a bar that is apparently owned by one of the Quartet members.
Whew! That’s just by way of introduction, and doesn’t even begin to explain Ghost Quartet, Instead of Acts and Scenes, Ghost Quartet is divided into Sides and Tracks – which are announced at the top of each segment. While intentionally non-linear in structure, the sections are, in fact, related to one another. So, “The Camera Shop” in Side 1, Track 2 is related to “The Photograph” in Side 3, Track 2 and there is an “Usher” track – as in Poe’s “The Fall of the House of User” – in Sides 1, 2, and 3.
Family is another common theme woven throughout the production in which cast members play multiple characters, across generations, and encompassing – the program says – seven centuries. This makes it possible for Ghost Quartet to seamlessly discuss and conquer death, include sassy little girls and monks, have storytelling by Schéhérazade (yes, the one from Arabian nights), and sing an ode to whiskey (e.g., Jamieson, Maker’s Mark, Lagavulin), call a family meeting to deliver an ultimatum about an invisible friend, and conflate monks (the religious kind) with Thelonious Monk (the musician).
Bringing a wide range of talents, sass, and gifts to this production: Jaylin Brown, Valerie Chinn, Céilí Galante, Marjie Southerland, and Musical Director Amy L. Oblinger. They sing, they dance, they act, tell stories, play instruments, and drink whiskey for two hours (including one intermission). Todd Labelle’s design, featuring a standard wooden bar as well as a vertical “floating” bar and walls of wide-spaced wooden slats, is simultaneously minimalist and luxurious. It provides a welcoming backdrop for an unfamiliar performance genre. Andrew Bonniwell’s lighting organically partners with the live music, electronic arrangements, and some surprisingly stunning vocal moments.
If, as Director PJ Freebourn wrote in their notes, the goal is to transport the audience and take us on a surreal journey that explores, among other things, love, family, hope, memory, and emotions, then Ghost Quartet is a smashing success. If you leave still wondering just what the hell happened and why it made you feel confused and amazed, if you leave talking about it, thinking about it, or asking questions about it — it was successful. February 4 was originally supposed to be the final performance, but four additional performances have been added over the next two weekends – Friday evenings, February 10 and 17, and Saturday matinees, February 11 and 18. If you haven’t seen it yet, recommend you try to reserve a ticket or two to one of these performances – then we can talk about it together.
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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GHOST QUARTET
By Dave Malloy
Directed by PJ Freebourn
Performers:
The Ghost Quartet
Jaylin Brown Valerie Chinn Céilí Galante Marjie Southerland
Musician
Amy L. Oblinger
Production Team
PJ Freebourn – Director
Amy L. Oblinger – Music Director
Niccolo Seligmann – Electronic Arrangements, Synth Programming, Foley Art
“Do not press me to leave you, to turn back from following you! Where you go, I will go; where you lodge, I will lodge; your people shall be my people and your God my God. – Ruth 1:16 (NRSV)
A Theater Review by Julinda D. Lewis
At: Richmond Triangle Players at the Robert B. Moss Theatre,
1300 Altamont Ave, RVA 23230
Performances: February 1-25, 2023
Ticket Prices: $10 – $40
Info: (804) 346-8113 or rtriangle.org
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Sometimes a production takes awhile to grow on you. Some shows are hard to connect with on a personal, emotional, social, literary, cultural or any other level. Just the opposite is true of Trey Anthony’s tender and amusing two-act family drama, HOW BLACK MOTHERS SAY I LOVE YOU. The author identifies as “a queer, black, Canadian, West Indian womyn” but their story is familiar to many Black women in Canada, the US, and the UK. I attended with my eldest daughter, and throughout the evening we looked at one another knowingly over our masks, reached for each other’s hands, cried out in instant recognition, or just cried.
The author may be a Canadian of Jamaican heritage, but the play is set in the Brooklyn, NY home of a Jamaican immigrant woman in 2014 (although I thought the furniture and kitchen appliances harkened back a decade or two – or three? – before then). Claudette (Zakiyyah Jackson), the prodigal queer daughter of Daphne (Dorothy “Dee-D” Miller) has returned home unannounced after several silent years in Montreal, Canada. Claudette finds her mother in poor health and her younger sister Valerie (Shalandis Wheeler Smith) doing her best to care for her, despite Daphne’s refusal to follow doctor’s orders – and the added complications of Valerie’s own personal struggles. Claudette has questions that her mother is not willing to answer. Daphne left Claudette and Valerie with their grandmother in Jamaica for six years while she got established in the US.
Family secrets are painfully and reluctantly revealed, along with social and cultural histories that could bringing health and healing to many families and enlightenment to many allies. The story is brought to life by a small but mighty cast, led by Miller, the matriarch. I’m not Jamaican but I married into a Jamaican family and I found Miller’s accent spot on. She dropped the “h” where you expected to hear it and added it where you did not expect it. She called children “pickney” and pronounced the word “little” as if it were spelled with two k’s instead of two t’s. She won me over completely when she spoke about the baby’s “ackee seed eyes.” That’s how my mother-in-law used to refer to my children! My daughter looked at each other and shrieked in unison as my heart melted into a puddle on the floor. (Don’t worry, RTP staff, melted hearts do not stain the carpet.) Of course I looked to see who the dialect coach was and just as I suspected, it’s Erica Hughes. Kudos to Hughes for another amazing job.
[If you are familiar with ackee, you can skip this next paragraph.]
BTW: the ackee fruit is a Jamaican dietary staple, an essential ingredient in the Jamaica national dish of ackee and saltfish (i.e., salted cod). When ripe, the ackee plant yields fleshy yellow lobes that somewhat resemble scrambled eggs when cooked with saltfish. The fruit has shiny black seeds that people – especially Jamaican grandmothers – liken to the shiny bright eyes of babies and young children. The kicker is that, in its un-ripened state, ackee is quite poisonous.
Jackson and Wheeler Smith achieved a remarkable balance between sibling rivalry and sisterly love. Their affection appeared genuine and as the story unfolded we found that it was grounded in a history of collective trauma – unique to them, but familiar to many families whose histories are defined by the African diaspora. Significantly, my daughter wondered how these themes spoke to white viewers. This would be an interesting dialogue to introduce in a talk-back…
Let me not forget to mention Cloe. The younger, American-born sister of Claudette and Valerie who died in childhood from an unnamed illness, Cloe appears as a silent ghost. Dressed in white from head to toe, Bailey Robinson, a Henrico County Public Schools student, made her professional debut as the sometimes meddlesome, but mostly caring specter of young Cloe whose presence is welcomed and visible to Daphne – and sometimes, it seems, to Valerie. Claudette knows she is there, but cannot see her. The presence of Cloe is another strong symbol of ancestors and spirituality.
The set is a Brooklyn home sturdily and lovingly crafted by William Luther and tenderly lit by Dakota Carter. I did wonder, however, why there were several long periods of darkness or dimmed lights. Perhaps these stretches were meant to serve a visual equivalent of the dramatic pause, or to contrast with the bright white heavenly light that illuminated the runway that Cloe used to transition between the present and the hereafter. Or maybe it was just to allow for a costume change.
Margarette Joyner (founder and artistic director of the Heritage Theater that formerly closed its doors in 2022) designed the costumes, with special attention to Daphne’s collection of church hats and Valerie’s collection of coordinating handbags and shoes. Desirée Dabney directed through the eyes of a storyteller. The work and words flow with a sense of real time and a feeling of intimacy and immediacy.
HOW BLACK MOTHERS SAY I LOVE YOUis a stunningly beautiful work of theatre, one I was not familiar with, one I will not forget. See it with your mother or daughter. And take tissues.
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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HOW BLACK MOTHERS SAY I LOVE YOU
By Trey Anthony
Directed by Desirée Dabney
CAST
Daphne …………….Dorothy “Dee-D” Miller
Claudette …………….Shalandis Wheeler-Smith
Valerie ……………. Zakiyyah Jackson
Cloe ……………. Bailey Robinson
Daphne Understudy: Diana Carver
Claudette Understudy: Nora Ogunleye
Valerie Understudy: Chayla Simpson
Cloe Understudy: Sydnee Logan
THE CREATIVE TEAM
Director/Sound Design: Desirée Dabney
Assistant Director/Dramaturg: Chayla Simpson
Production Stage Manager: Jennipher Murphy-Whitcomb
Assistant Stage Manager: Nathan Ramos
Scenic Design: William Luther
Lighting Design: Dakota Carter
Props Design: Tim Moehring
Costume Design: Margarette Joyner
Hair & Make Up Design: Jahara Jennae
Intimacy Choreographer: Raja Benz
Dialect Coach: Erica Hughes
Technical Director/Scenic Painter: Becka Russo
Covid Safety Officer: William Luther
Marketing Videos: Aisthesis Productions
Photo Credits: Pre-production photos from RTP Facebook page
Shalandis Wheeler Smith, Dorothy Dee D Miller, Zakiyyah JacksonShalandis Wheeler Smith, Dorothy Dee D Miller, Bailey RobinsonBailey RobinsonMiller and JacksonWheeler Smith and JacksonMiller, Jackson, Wheeler Smith
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Rarely – if ever – have I described a production as a sad comedy, but that would be an accurate description of UNCLE VANYA, written by Anton Chekhov and adapted by Conor McPherson. First performed at the turn of the twentieth century, UNCLE VANYA remains relevant and contemporary as adapted by McPherson and under the expert direction of Dr. Jan Powell.
One thing – well, eight really– that made this production successful was the uniformly outstanding cast. Bryan Austin was relentlessly amusing yet authentic and endearing in the title role and it was his authenticity that kept his moments of wallowing in self-pity and regret from becoming shallow and vainglorious tropes. Calie Bain was a breakout star as Vanya’s niece, Sonya. In spite of the early death of her mother, her father’s re-marriage to a woman seemingly closer in age to Sonya than her father, and her unrequited love – made even more soul-crushing by the geographical isolation of their country estate – Sonja remained a bright light of hopefulness. She was the connection that made it possible for this stunningly dysfunctional family to attempt reconciliation and settle on renovation.
Lindsey Zelli as the beautiful young second wife, Yelena, displayed unexpected and sometimes uncomfortable depth. In spite of past estrangements and current rivalrous entanglements, Yelena demonstrated genuine fondness and care for Sonya. Matt Hackman’s Dr. Astrov was also multi-faceted. Totally unaware of Sonja’s love for him (really???), he was equally infatuated with her step mother, and focused on ecological issues with a passion that I am sure was way ahead of his time.
Kelly Kennedy made the most of her nearly innocuous supporting role as Nana – not, as one might think, the grandmother, but an elderly nurse who has become the family caretaker. Sitting in her chair, quietly observing or serving up hot tea, her knitting needles seemed to be a metaphor for her role in the family drama.
Alan Sader and Debra Clinton’s characters infuriated me. Sader played the pompous and manipulative Professor Alexandr Serebryakov (father of Sonya, husband of Yelena, son of Mariya, and brother-in-law of Vanya) and of course he is really good at it. It’s the kind of role where you don’t want to meet the actor soon after because you want to curl your lip and turn up your nose at his character. Clinton’s character was infuriating for a different reason. Mariya’s favoritism for her more successful son, Alexandr and disdain for the hard-working Vanya seemed passive-aggressive and possibly the result of oppression or lack of fulfillment in her own life.
For those, like me, unfamiliar with the characters, it took awhile to get a handle on the role of Telegin (Bill Blair). Affectionately called Waffles (apparently because of the condition of his skin), Telegin is a family friend, neighbor, and hanger-on who tries to fit in where he can – often with awkward results.
What makes Uncle Vanya resonate with me is these lovingly developed and multi-dimensional characters. They are familiar and seem to fit right in with contemporary issues: family dysfunction, changing inter-generational roles, the troublesome hierarchy of inheritance, and even the forced soul-searching of pandemic isolation.
Reed West’s set design – much more elaborate than Richmond Shakes’ usually sparse environments – is solidly built of sturdy, dark wood. Little details, like a chess set atop a cabinet, Nana’s knitting basket, and the clean but worn rugs support the narrative of crumbling gentility. And what can I say about the individual application of autumn leaves on the tree branches during intermission? Gretta Daughtrey’s lighting is effective and unintrusive; the storm, for example, is subtle but unmistakable. So, too, are James Ricks’ sound design, that included gentle ambient sounds, and Anna Bialkowski’s earth-toned costumes – with a jewel-toned garment or two for Yelena, and a caped-overcoat for the Professor.
Uncle Vanya is a satisfying evening of theater performed by a stellar cast – and I say this even though I am not in the least a fan of Chekhov. There isn’t much action. Plot is virtually non-existent. But the characters are immersed in the words and that fully engages the audience in a way that creates the best kind of theater magic. Try to see it before it closes.
Uncle Vanya
By Anton Chekhov
Adapted by Conor McPherson
Cast
Nana ………. Kelly Kennedy
Astrov ………. Matt Hackman
Vanya ………. Bryan Austin
Telegin………. Bill Blair
Serebryakov………. Alan Sader
Sonya ………. Calie Bain
Yelena ………. Lindsey Zelli
Mariya ……….Debra Clinton
Production Team
Artistic Director: James Ricks
Managing Director: Jase Sullivan
Director: Dr. Jan Powell
Assistant Director: Sarbajeet Das
Stage Manager: Lauren Langston
Assistant Stage Manager: Carrisa Lanstra
Costume Design: Anna Bialkowski
Light Designer: Gretta Daughtrey
Scenic Design: W. Reed West III
Sound Design: James Ricks
Properties Design: Emily Hicks
Map Art Work: Katherine Wright
Promotional Photography: Peyton Lyons
Run Time: About 2 ½ hours including one intermission
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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Photo Credits: Peyton Lyons and David Parrish Photography
TOP LEFT: Bryan Austin, Bill Blair, Matt Hackman. TOP CENTER: Matt Hackman and Calie Bain. TOP RIGHT: Bryan Austin. BOTTOM LEFT: Bryan Austin. BOTTOM RIGHT: Bryan Austin, Calie Bain and Debra Clinton
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An Unconventional Dance Review by Julinda D. Lewis & Guest Reviewers Kingston and Emmitt
By: The Richmond Ballet
At: Dominion Energy Center’s Carpenter Theatre, 600 E. Grace Street, RVA 23219
Performances: December 9-23, 2022
Ticket Prices: $25 – $130
Info: (804) 344-0906, etix.com, or richmondballet.com
Updated COVID-19 Protocols, see below.
THE PROGRAM
The Nutcracker
Artistic Direction and Choreography by Stoner Winslett
Production conceived by Stoner Winslett and Charles Caldwell
Music by Peter Ilyich Tchaikovsky
Music performed by the Richmond Symphony
Conducted by Erin Freeman
Scenery designed by Alain Vaës
Costumes designed by David Heuvel
Lighting designed by Richard Moore and Associate, Catherine Girardi
When I was a Girl Scout Leader (which I was, for 27 years), one of my favorite things to do was to take young girls camping for the first time. Likewise, one of my favorite things to do as a writer, teacher, and grandmother is to take my young people to the theater for the first time. Three of my grandsons live in RVA, ages 14, 8, and 8 months. The oldest has seen The Nutcracker before, and with the return of live performances, it was time for the middle one to have his first Nutcracker experience. So on Sunday evening I got a chance to re-experience the classic holiday ballet through new eyes.
The magic begins the moment you enter the theater – well, as soon as you pass through security and have your tickets scanned. [Security approved of my clear plastic tote and the small “sippy cups” I’d brought so we wouldn’t spill the drinks we bought at the concession stand.] While waiting for the program to begin, I enjoyed watching the families with children of all ages, most dressed in their holiday finery. Kingston (a high school student and the family percussionist) and Emmitt (age 8) saw that it was okay to go take a peek at the orchestra pit and returned to their seats discussing the probability of someone falling into the pit.
Other preparatory and property elements worthy of note included explaining why the audience applauded the arrival of the Symphony conductor and the many layers of show drops and curtains that open throughout the lavish production to reveal scenes from the streets of Nuremburg to the entry and drawing room of the Silberhaus home to the Enchanted Snow Forest and Confitenberg, the Kingdom of Sweets. Also, the diversity of the cast is important, because representation matters, especially when young audience members can see people onstage who look like themselves. An example follows a few paragraphs down.
The Nutcracker is a family show for The Richmond Ballet as well as for the audience. Students from the School of Richmond Ballet, apprentices, members of RBII, new and experienced company members, and even faculty and staff share the stage for this multi-generational extravaganza. In addition to refreshed costumes and scenery, the Silberhaus party features newly constructed doll houses for Dr. Drosselmeyer’s magic show, Mother Ginger is back from her pandemic hiatus – with eight kiddy-winks under her voluminous skirts — and Associate Artistic Director, Ma Cong (who dances the role of Dr. Drosselmeyer) has choreographed a new Chinese dance that incorporates elements of Chinese folkdance, which he studied extensively early in his career, with Beijing Dance Academy and The National Ballet of China.
Yes, there is a magic show within the magical show. Dr. Drosselmeyer, godfather to Clara (Adhya Yaratha at Sunday’s 5:30 PM performance) and her mischievous brother Fritz (Sunnelin Seay), and creator of the famous Nutcracker for which the ballet is named, has a penchant for turning toys into humans. Winslett and Cong’s interpretation of Dr. Drosselmeyer, however, is substantially less creepy than the character was originally written. There is also the magic of dreams as Clara falls asleep with her mended Nutcracker – after her little brother Fritz, in a fit of jealously, pulls off its head – and in her slumber journeys with her Young Prince (Benjamin Piner) to the Kingdom of Sweets – where all the dancing happens.
I am on board with the youth in my adoration for the battle between the Mouse King’s army and the Toy Soldiers. But of course, Kingston and Emmitt who are bonafide martial artists, had a lot to say about the fight technique. One graciously commented that, “it was good.” The other assessed that the sword fights were not realistic, specifically that the swords should have come closer. “We practice near misses,” he critiqued.
Emmitt, the eight-year-old, kept up a running commentary: the Bear (Paul Piner) in the Russian dance is breakdancing, and why is one of the Lambs black? My apologies to any nearby patrons who may have been disturbed. Most noteworthy, he was mesmerized by Mother Ginger to the point that he expressed a desire to participate in an upcoming production. He was undeterred when I told him he’d need to take ballet classes, but near the end of the scene abruptly changed his mind. “I couldn’t do that,” he said. “I can’t stand still that long; I have too much energy.”
I learned later that both novice critics retold the story and re-enacted several scenes for their mother. Both also noted that in a pas de deux the woman gets all the good dance phrases. And finally, “There’s no Nutcracker in the second half – it doesn’t make sense. Otherwise, that was a good one!” That’s Emmitt’s summary and he’s sticking to it.
If I may conclude with my own two cents worth…
Adhya Yaratha and Benjamin Piner were absolutely charming as Clara/The Little Princess and Dr. Drosselmeyer’s Nephew/The Little Prince. The Snow Choir sounded heavenly. I would love to learn that magical gliding step that takes the Angels across the stage, guiding or welcoming Clara and her Prince to The Kingdom of Sweets. It reminds me of a gliding step used by Russian dancers that my dance history students showed me this past fall. The new choreography for the Chinese Dance – the title of which is actually Tea – does, indeed have an authentic look and feel. Dancer Eri Nishihara’s highly touted green pointe shoes are, in fact, all that – and, wait, was the dragon newly outfitted as well?
Naomi Wilson was a lovely Butterfly in the Waltz of the Flowers, and finally, it was a pleasure to finally get to see guest dancer Kristina Kadashevych dancing the role of the Sugar Plum Fairy as well as the ballet’s Grand Pas de Deux with Aleksey Babayev as her Cavalier. The petite dancer’s steps appear effortless and feathery – a stark contrast to the conditions surrounding her current residency. Ms. Kadashevych, you see, fled the Ukraine last spring as her homeland was being invaded by Russian soldiers, so perhaps those ethereal steps actually reflect what it feels like to be free. The Nutcracker is not new to her, and she will also be performing with the Richmond Ballet in February when the company returns to Dominion Energy Center with the East Coast premiere of Ma Cong’s Firebird and Balanchine’s signature Serenade (limited run, February 17-19).
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
THE NUTCRACKER PERFORMANCE SCHEDULE December 9-23, 2022 | Dominion Energy Center 600 E Grace St, Richmond, VA 23219 Friday, December 9 at 7:00 PM Saturday, December 10 at 2:00 PM and 7:00 PM Sunday, December 11 at 1:00 PM and 5:30 PM Friday, December 16 at 7:00 PM Saturday, December 17 at 2:00 PM and 7:00 PM Sunday, December 18 at 1:00 PM and 5:30 PM Tuesday, December 20 at 7:00 PM Wednesday, December 21 at 7:00 PM Thursday, December 22 at 2:00 PM and 7:00 PM Friday, December 23 at 2:00 PM
UPDATED COVID-19 Protocols (As of March 2022): Please note that we are seating at 100% capacity this season. Beginning with Studio Three in March, we will no longer require patrons to wear masks or to show proof of vaccination/negative COVID test in order to attend a performance.
MASKS: In light of the latest CDC guidelines and Central Virginia’s current “Low/Medium Community Level” status, masks are optional at these performances.
BALLET BARRE: The Ballet Barre (cashless) will be open for our spring Studio performances. Beer, wine, and soft drinks will be available for purchase pre-show as well as during intermission.
CHOREOGRAPHER’S CLUB: In addition to the exclusive Q&A session with the artists, designers, and dancers, we will host a modified post-show reception. More details will be found in your House Notes email.
WELLNESS CHECK: Patrons who do not feel well leading up to a performance are asked to stay home. If you have tested positive or have symptoms of COVID-19, please call our Box Office at 804.344.0906 x224 so that we may discuss ticket options.
Photo Credits: Production photos to follow
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We all know that we’re special, but some of us are more special than others. Take the Nowak family of Buffalo, NY, for instance. In 1942 the Blessed Virgin Mary “appeared” – emphasis required! – to an ordinary barber, and his family would never be the same. This miracle led to people being healed, spawned the birth of a soup kitchen, and became the anchoring event that made an otherwise average family special.
But all is not what it seems in MIRACLE ON SOUTH DIVISION STREET. A deathbed confession turns everything upside down, making the Nowak family question everything they have known and based their lives on for two generations.
While the play and its characters are fictitious, the premise of the story is based on fact. There is an actual Our Lady of Seneca Street Shrine in Buffalo, NY – which just happens to be the author’s hometown. In the 1950s a barber named Joe Battaglia lived at 849 Seneca Street in the apartment above his shop. Apparently, one night Battaglia was awakened from his sleep by a shining light outside his window that beckoned to him. When he went outside to investigate, it is reported that he encountered nothing less than an image of the Virgin Mary. The image spoke to him, telling him not to be afraid and instructed him to help spread a message of world peace.
Battaglia commemorated the occasion by building a 20-foot tall brick and glass structure that houses a life-sized statue of the Holy Mother. After the barber’s death, the shrine fell into disrepair and was slated to be torn down but local residents fought to preserve it. To this day the Lady of Seneca Street Shrine is still maintained by a dedicated local caretaker committed to preserving the history and continuing the legend. The shrine has its own address – 847 Seneca Street – and a mail slot to receive donations and the prayers that come from all around the world.
With this background, Dudzick re-imagined the story of the barber’s vision and the resulting shrine. Instead of the Battaglia family, we meet the Nowaks who are about to have a family meeting in which daughter Ruth (Audra Honaker) is about to reveal startling news that will shake the family to its core. After preparing a lunch of fruit salad (why didn’t she rinse the blueberries and strawberries…) her efforts are thwarted by her older sister, Beverly (Donna Marie Miller) who is more than a little self-centered and has her sights centered on (a) a bowling tournament and (b) a new boyfriend – an ex-priest candidate. There’s also a brother, Jimmy (Neal Gallini-Burdick) whose impending engagement is also the cause of a controversial subtext. The Nowaks, you see, are devote Catholics – at least according to their mother Clara (Jacqueline Jones) – and this is a key component of the script.
The plot twists and unending life-changing revelations create both tension and comedy – often and most successfully when they occur simultaneously. Honaker and Miller are recreating the roles I saw them portray when this play was performed at Virginia Rep’s Hanover Tavern in 2017. But with Jones as Clara and Gallini-Burdick as Jimmy the energy in the Swift Creek production is quite different and the cast’s timing, under the steady-handed direction of Tom Width, hits different notes as well. (In case you’re wondering, in the 2017 production mentioned above the mother was played by Catherine Shaffner and the son by John Mincks, both of whom filled these roles with distinction.)
MIRACLE ON SOUTH DIVISION STREET is a delightful feel-good play, but it touches on some very real, very serious, and still relevant topics: identity, faith, family, love, loyalty, ritual, and more. By making this a comedy and placing it in a different time period, we are encouraged to examine some important and controversial topics from a distance – it’s not me, it’s the Nowaks. But every family has secrets, prejudices, and inside jokes. But how much of it – if any – should be shared outside the family, and to what purpose. Ruth struggles with these questions through the lens of a one-woman show; many today look at – or ignore – the same questions through the multiple lenses of social media. Makes you wonder if the miracle is what resulted from the vision – or what occurred in the Nowak kitchen.
Honaker delivers the tough lines with ease and patience that defies human understanding. Miller behaves like a bratty younger sibling rather than the eldest, but manages to remain likeable, while Gallini-Burdick manages to remain a voice of reason throughout it all. Jones vacillates between wide-eyed innocence and wisdom. She is also at the center of my favorite scene – where Clara, the Catholic mother first discovers that Jesus was Jewish, and later delivers one of my favorite lines – the final line of the play.
ADDENDUM: This review has been edited. I was roundly chastised by the playwright for giving away the final line. But, dear readers,in over forty years of writing about dance and theater, this is the first time I EVER received a comment directly from the playwright. I am humbled – and humbly edited this text. jdl
Just in case I didn’t make it clear in my ponderings, above, I highly recommend MIRACLE ON SOUTH DIVISION STREET. It’s a Christmas story with a purpose; it’s entertaining and thought-provoking, predictable, and surprising at the same time. The cast is outstanding, the story intriguing, and Width’s direction reflects his genuine love and affection for each show he directs, and his scenic design is homey and welcoming. Cue Christmas (or Chanukah) music and enjoy.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
MIRACLE ON SOUTH DIVISION STREET
By Tom Dudzick
Directed by Tom Width
Cast:
Jimmy Nowak – Neal Gallini-Burdock
Ruth Nowak – Audra Honaker
Clara Nowak – Jacqueline Jones
Beverly Nowak – Donna Marie Miller
Creative Team:
Directed by Tom Width
Costume Design by Maura Lynch Cravey
Lighting Design by Joe Doran
Scenic Design by Tom Width
Technical Direction by Liz Allmon
Run Time:
90 minutes, no intermission
Tickets:
$15-$49
Photos: Kieran Rundle
Jacqueline Jones and Neal Gallini-BurdickAudra Honaker Jacqueline Jones and Neal Gallini-BurdickAudra Honaker, Donna Marie Miller, Jacqueline Jones, and Neal Gallini-BurdickJacqueline JonesNeal Gallini-Burdick and Jacqueline Jones
MISS BENNET: CHRISTMAS AT PEMBERLEY is like a Hallmark Christmas movie that came to life on stage: amusing, heartwarming, romantic, and predictable. The focus of Lauren Gunderson and Margot Melcon’s 2016 play is Miss Mary Bennet, the middle sister from Jane Austen’s Pride and Prejudice (1813). The bookish Miss Bennet, who is fast approaching the dreaded season of spinsterhood, accepts an invitation to spend Christmas with her happily married older sister, Elizabeth, and her husband Fitzwilliam Darcy at their estate – Pemberley.
Naturally, a single man, Lord Arthur de Bourgh, is also invited and to no one’s surprise, de Bourgh turns out to be a perfect match for Mary. Shy and socially awkward, de Bourgh reminds me of a Regency-era Sheldon Cooper (of The Big Bang Theory). The two love-nerds bond over books, maps, and wordplay – a perfect meeting of two sapiosexual minds. (Yes, there really is a word that describes people who are sexually attracted to intelligence, and this is the first time I actually had a chance to use it.)
In addition to being a matchmaker, Elizabeth also happens to be a trendsetter. The German custom of displaying Christmas trees inside one’s home was introduced in England sometime in the first half of the 19th century. That makes Elizabeth’s holiday tree something of an oddity and the subject of a running joke throughout Christmas at Pemberley. Act I ends with a Christmas tree bare of decorations except for half a dozen paper stars, but Act II opens with a fully decorated tree – part of the Christmas magic. Act I also closes with a cliff-hanger – a mystery fiancée.
The cast is populated with a number of actors making their Va-Rep debut, as well as a number of performers who are current VCU theatre students or recent graduates of the department where Christmas at Pemberley director Sharon Ott serves as an Associate Professor and the department’s Artistic Director. The show moves along at a relaxed pace, giving the characters ample opportunity to unfold and reveal various facets of their personalities. Given that this is a shamelessly feel-good story, there isn’t much to reveal. The four sisters (the happily married Elizabeth and Jane, the less-happily married Lydia, and our leading lady, Mary) bicker relentlessly, but by the end declare their love for one another. The youngest sister, Kitty, is mentioned, but never makes an appearance – arriving with her parents (all offstage) in the final scene.
There are a few amusingly awkward scenes between the men as well. Mr. Darcy and his brother-in-law Charles Bingley sit in awkward silence, but when Bingley attempts to initiate conversation, it quickly becomes apparent that conversation is even more awkward than silence. Darcy returns to his book, and Bingley resumes staring into space. However, both muster themselves from their introversion to give advice to de Bourgh. Britt Michael Gordon (Darcy), Cameron Nickel (Bingley), and Lukas D’Errico (de Bourgh) embrace their roles, hiding behind manners and protocol, and clothed in stylish Regency attire.
The four sisters are the main attraction. There is a very pregnant Jane Bingley (Patricia Austin), the annoyingly unhappy Lydia Wickham (Naomi Bertha), the wise and conciliatory Elizabeth Darcy (Ally Farzetta, who is Gordon’s real-life wife), and the still single but ready to mingle Mary Bennet (Emily Franch). They trace the patterns of a dance choreographed with equal parts hilarity and love. Sometimes their interactions are heavy-handed and sometimes quite delicate, establishing a balance that kept the Saturday afternoon audience engaged and amused.
Oh, and let’s not forget the surprise fiancée, Ann de Bourgh (Tatjana Shields), the twice-scorned bride-to-be. I found Shields delightful as Mrs. Dickson in a VCU production of Intimate Apparel, another period piece, but her character was overbearing and off-putting in Pemberton. This was an unfortunate manifestation of her character – which was apparently written that way – as there was no opportunity for her to redeem herself and win over the audience. The estate was kept in order by a nameless Maid, a thankless – and silent – supporting role played alternately by Nicole Boisseau and Emma Tolley.
Kudos to Carolan Corcoran for the luscious costumes, although I did wonder why the women were usually in sleeveless dresses in England in the winter – with snow falling outside the window. Hmm. Ah well, it’s fiction, it’s fun, and a good time was had by all.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
MISS BENNET: CHRISTMAS AT PEMBERLEY
By Lauren Gunderson and Margot Melcon
Directed by Sharon Ott
Cast
Jane Bingley – Patricia Austin
Lydia Wickham – Naomi Bertha
Arthur de Bourgh – Lukas D’Errico
Elizabeth Darcy – Ally Farzetta
Mary Bennet – Emily Franch
Fitzwilliam Darcy – Britt Michael Gordon
Charles Bingley – Cameron Nickel
Anne de Bourgh – Tatjana Shields
Maid – Nicole Boisseau, Emma Tolly (alternating)
Jane Bingley/Lydia Wickham u/s – Reese Bucher
Charles Bingley u/s – Robert McNickle
Creative Team/Direction and Design
Direction – Sharon Ott
Assistant Director/Dramaturg – Mia Richards
Scenic Design – Mercedes Schaum
Costume Design – Carolan Corcoran
Lighting Design – Lynne M. Hartman
Sound Design – Jacob Mishler
Stage Management – Justin Janke
Assistant Stage Manager – Courtney Holmes
Dialect Direction – Karen Kopryanski
Run Time: 2 hours, including one 15-minute intermission
Discounted Group Rates and Rush tickets available.
Photo Credits: Aaron Sutten
VA-REP Covid Safety Statement
Virginia Rep encourages wearing masks for our patrons’ safety, but we do not require that you wear a mask in our lobbies or within the theatres. They are now optional.
We continue to follow CDC guidelines and local risk levels. All Virginia Rep staff will continue to wear masks while serving you.
Jane Bingley (Patricia Austin), Lydia Wickam (Naomi Bertha) Elizabeth Darcy (Ally Farzetta) and Mary Bennet (Emily Franch). Photo by Aaron Sutten.Mary Bennet (Emily Franch), Charles Bingley (Cameron Nickel), Fitzwilliam Darcy (Britt Michael Gordon) and Lydia Wickam (Naomi Bertha) in the back. Photo by Aaron Sutten.Mary Bennet (Emily Franch) and Arthur deBourgh (Lukas D’Errico). Photo by Aaron Sutten.Mary Bennet (Emily Franch). Photo by Aaron Sutten.Arthur de Bourgh (Lukas D’Errico) and Anne de Bourgh (Tatjana Shields). Photo by Aaron Sutten.Cast around the piano. Photo by Aaron Sutten.
Original Music Composition by Daniel Deckelman with narration by Brent\
Costume Concept Design by Johann Stegmeir, Constructed by Starrene Foster
About Us
Inspired by a story by Mary Lou Hall
Original Music Composition by Daniel Deckelman
Sky Burial
Inspired by a poem by M. C. Boyes
Music by Roger Goula; Looking Back to Self Awareness
Things That Fit Tight Around the Ribs
Inspired by a poem by Molly Todd
Original Music Composition by Daniel Deckelman
I think I have seen most of Starr Foster Dance’s Richmond performances since the company was born in 2001. I have been stunned, enthralled, mesmerized, puzzled, amused, and I have even teased Foster about her seeming preference for lighting on the darker side of the lumens scale or lux meter (or however you measure brightness). The point is, Foster has a unique style, one that most often presents women in a powerful light (no pun intended), and dares to stretch outside any semblance of a comfort zone – whether her own, the dancers, or the audience,
Foster’s latest project, two years in the making – or waiting – due to the restrictions of the pandemic, Page to Stage II, is a collection of seven short dances inspired by seven short stories, excerpts, and poems by local writers. Not only do the dances span a wide range of emotions, but the program is an actual book that contains all of the written works – the pages that found their way onto the stage – that the audience can take away to keep.
In addition to the seven writers, Foster invited six guest performers to dance with her core company of four women: Taylor-Leigh Adams, Fran Beaumont, Anna Branch, and Molly Huey. The six guest performers, Sophia Berger, Charlotte Bray, Shannon Comerford, Elena Dimitri, Keeley Hernandez, and Mosca Mavrophilipos-Flint were a perfect fit, blending easily with Foster’s core dancers and providing the needed enhancement for the stories. To my surprise and delight, I discovered that one of them had been a student of mine when I taught elementary school.
Previous performances of Starr Foster Dance took place in the intimate space of TheatreLab’s black box space, The Basement, but Page to Stage II (the sequel to a 2015 production) was performed at The Firehouse Theatre. The Firehouse seats about 4 times the number of people who fit into The Basement (sadly, TheatreLab shuttered operations at the end of the 2022 season) – and every performance was sold out! This is great for Foster and company, but it also speaks to a growing hunger for contemporary dance in RVA.
Several works on the program stood out above the others for various reasons. The opening work, Spirits, inspired by Patricia Smith’s story of the same name, explores the intentions of spirits, ancestors, and the associations we make with them. Accompanied by strings and the sounds of flowing water, the dancers, dressed in soft pats and matching tops with hems died to look muddied, move like water sprites. They seem to rise and return to a watery grave, evoking images of fictional willies (e.g., the Willis in the ballet Giselle represent the spirits of women left at the alter) as well as the spirits of all whose dreams were cut short before they were fulfilled. The nine dancers seem to float, rise up, and at the end return to their watery grave, still reaching for life – theirs? Or ours?
My absolute favorite was Dear Me. A solo, the work was performed on Friday night by Fran Beaumont. I loved Beaumont’s energy, the lackadaisical way she kicked her leg up to the side and over her head, the motif of running backwards, and even her simple, dark jumpsuit. Funny, assertive, and sassy, the solo, set to a dynamic funk rock score by DJ Williams and Shots Fired, reminded me of the jazzy and dramatic solos of the late American modern dancer, Daniel Nagrin. (If you are not familiar with him, dig back into dance history and find a video of him performing Strange Hero or Man of Action (1948).
FeeJee Mermaid is funny and creepy and deliciously weird. Set to an original score that is reminiscent of circus music and a narration of Clay McLeod Chapman’s fictitious lecture on how to make a FeeJee Mermaid. Some people are terrified of the circus, clowns, and sideshows. FeeJee Mermaid does nothing to allay these fears. Based on a real-life hoax perpetrated by P.T. Barnum and others, Chapman’s work – and Foster’s kinesthetic interpretation – is an instruction manual on how to construct a horrible taxidermist’s nightmare: a fake mermaid created by attaching the torso of an ape to the bottom half of a large fish. Foster’s quartet of dancers, clad in flesh-toned leotards dyed in a fish-scale pattern do not actually construct a FeeJee Mermaid, but their circus antics, and Daniel Deckelman’s music are sufficiently creepy to leave a lasting impression. Oh, and one of the remaining examples of a “real” FeeJee Mermaid has been in residence at Harvard’s Peabody Museum since 1897. Look it up – if you dare.
About Us is a story by Mary Lou Hall that tells of a mother who left her family (physically and/or mentally) in order to save herself. In Foster’s dance, Molly Huey (on Friday night) was supported and surrounded by a quartet of dancers who seemed to represent the various versions of her inner self. Huey danced, often with her eyes closed, moving her hands in a repetitive gesture that seemed designed to clear away the cobwebs that both clouded her vision and restricted her movements. It is a very intimate dance, one that breaks the usual rules by focusing inward rather than outward. The supporting dancers move in a very unexpected way, deliberately not drawing attention to themselves, trying not to stand out, but instead focusing on the main character – and the main character is. . .you/us.
I could find something special about each of the dances in this series. The dark dresses of Sisterhood echo the darkness of the theme that seems to be a prelude to a true-crime story about two sisters whose lives are unhealthily entwined. The women in Sky Burial interact with one another like two people feeding each other with long-handled spoons. Then there is the poignancy and steely sharpness of the pointing finger in Things That Fit Tight Around the Ribs. Like many good books, and all poems, Stage to Page II should be seen again and should definitely be discussed. What did YOU see? What did YOU feel? What did YOU take away? This is Starr Foster Dance at its finest.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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Photo Credits: Douglas Hayes.
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At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Ave, RVA 23230
Performances: August 3 – September 17, 2022
Ticket Prices: $35 -$40; $10 for Students.
Info: (804) 346-8113 or rtriangle.org
Inheritance: the acquisition of a possession, condition, or trait from past generations
Matthew López’s epic play, The Inheritance, is nearly seven hours long and runs over two nights. It is presented in two parts, each containing three acts and two intermissions. But that is not the only thing about it that is remarkable. The Inheritance is a story about telling a story, and wise, the audience, have the pleasure of witnessing how this story is crafted. It’s not linear and it certainly isn’t pretty. The storytellers are a community of ten young gay men, living in New York City in the decades after the AIDS epidemic.
Further, it is a multi-generational story, under the guidance and mentorship of one older character (real-life author E.M. Forster/fictional character Walter Poole) played by William Vaughn, a recent Richmond transplant from NYC. There is also an older love interest, millionaire real estate developer Henry Wilcox, played with frustratingly rational conservatism by Eddie Webster. The Young Men (identified in the program by number, although they do have names during the play), are, in turn, a bridge to the next generation. Ironically, the two younger gay men representing the next generation are played by a single actor, Lukas D’Errico, a rising junior in the Theatre Department at VCU. D’Errico, as Adam, is the recipient of a tangible inheritance, in the form of fame and fortune, while as Leo, a homeless sex worker, he is the recipient of a spiritual inheritance. One of the more stunning moments of a play that is not lacking in spectacle occurs when D’Errico has to portray a life-changing chance meeting and conversation between his two characters. Kudos to D’Errico and director Lucien Restivo for this.
For those who may be interested, there are many comments both negative and positive, comparing The Inheritance with novelist E.M. Forster’s book Howard’s End and playwright Tony Kushner’s Angels in America. Forster’s novel Maurice, a tale of gay love is also prominently featured in The Inheritance. But I’m not focusing on literary comparisons – especially not with books I have not read. I am, however, fascinated with, entertained by, and enamored of this story, written for these times, by this playwright – and his collaborating characters – played by this cast, under the direction of this director. And the bottom line for me is The Inheritance is a damned good story that left me and just about the entire audience weeping at the end of Part 2. It is one of those theatrical experiences that ends with an extended moment of silence because applause doesn’t quite seem appropriate.
Deejay Gray (narcissistic writer Toby Darling) and Adam Turck (kind-hearted, cultured activist Eric Glass) lead the cast of friends as a couple living an apparently wonderful life in a rent controlled apartment that has been in his family for three generations. [As a transplanted New Yorker of a certain age, I cannot assume that everyone knows what a rent controlled apartment is; it is one protected by an old law that prevented the rent from being raised to market rate, resulting in often elderly people paying rent less than half the going rate. No one EVER moved from a rent controlled apartment. Never. Ever. I had an uncle and aunt who lived in a rent controlled apartment in the Bronx who were paying $65 at a time when most people in their building were paying about $500.]
But, getting back to The Inheritance, things start to fall apart in the Darling/Glass household when Toby rises to success as an author and playwright. The pressure of success forces the fragile threads holding Toby’s past at bay to completely unravel. But the focus is not just on Eric and Toby. There are sometimes subliminal references to current events and to gay culture: the antiviral drug Truvada; gay bars; shared culture/appropriated culture (e.g., the assimilation of “yass qween”); trans youth; and “vengeful, murderous fanatics.”
Politically, The Inheritance is set during the time Obama was President of the United States and Clinton/Trump election was on the horizon. Tristan (Dwight Merritt), a Black, gay physician, plans to Emigrate to Canada. Eric is a liberal activist, while Henry is a closeted Republican – a family and household dynamic that became all too familiar to many in recent years.
Intellectually, some might find some of the characters and some of the conversation elitist and entitled. Tristan’s conversation is impassioned, logical, scientific, and generally intellectual; Eric invites Henry to a German Expressionist show at BAM (Brooklyn Academy of Music), but these conversations and activities have a ring of authenticity and familiarity because they could have been recorded from my circle when I lived in Brooklyn in my thirties. Eric warns Henry that the show is four hours long, but has two intermissions and Part 1 ends with a prophetic meeting between Eric and the ghosts of his deceased mentor Walter’s friends. “Welcome home, Eric.”
“Your parents didn’t abandon you. They fled from you like the disease that you are.” -Eric to Toby
We returned a week later to see Part 2. The intensity seemed to have been ramped up, as well as the urgency. During Part 1 I had almost dismissed Deejay Gray’s portrayal of Toby Darling as just Gray being themself, but in Part 2 as Toby descended in a world of sex, drugs, and alcohol – in a failed attempt to self-medicate and compensate for a horrible childhood – Gray’s acting skills appeared to ascend exponentially, and I was no longer watching Deejay Gray playing at acting but Toby Darling attempting to metaphorically self-immolate during a summer on Fire Island. There are more contemporary and local geographical references: the night Toby disappeared, he took the Acela (Amtrak express train) to Richmond, rented a car and drove to his childhood home in Alabama.
On the night we saw Part 2, many of the actors seemed to stumble over their lines during the first act of the evening, but by the second act they appeared to find their rhythm, and Part 2 was more powerful and emotionally moving than Part 1. At the end, Eric has finally found and accepted his calling. At the end, The Inheritance is not money or a house, but a shelter, a refuge, a place of healing. At the end, The Inheritanceis not a prodigal son scrambling to claim what’s his, but a communal inheritance, and even though we’ve been given clues leading up to the final scene, it still strikes us as a surprise, because López, and Restivo, and this cast guided us to suspend our belief and take this journey with them, as good theatre should.
I absolutely loved Frank Foster’s impressive, multi-leveled library set. It was dark from wood stained by history and ghosts and perfectly manifested the private library of a book-lover’s dreams. Lucian Restivo’s sound design was subtle, but when you did notice it, it was personal and dramatic and timely. Raja Benz, the intimacy choreographer, handled the sex scenes with a boldness that was more raw than intimate, in stark contrast to the subtlety of Restivo’s sound design. Taken all together, the cast and creative team created something that felt like family, with its ups and downs, betrayals and recoveries, pain and healing. In short, it is a memorable theatrical experience that is well worth your time.
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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THE INHERITANCE:
An Epic Achievement Generations in the Making
Inspired by the novel Howard’s End by E.M. Forster
Written by Matthew López
Directed by Lucien Restivo
CAST:
Young Man 3 …………………………………………………….. Kasey Britt
Young Man 1 …………………………………………………….. Lukas D’Errico
Young Man 5 …………………………………………………….. Keegan Ferrell
Young Man 10 / Toby Darling ……………………………. Deejay Gray
Young Man 8 …………………………………………………….. Kevin Kemler
Young Man 7 ………………………………………..………….. Jacob LeBlanc
Young Man 6 …………………………………..……………….. Dwight Merritt
Margaret ………………………………………..………………… Boomie Pedersen
Young Man 2 ……………………………………..…………….. TeDarryl Perry
Young Man 9 / Eric Glass …………………………………… Adam Turck
Young Man 4 …………………………………………………….. Joshua Tyler
E.M. Forster (“Morgan”) / Walter Poole ……….….. William Vaughn
Henry Wilcox …………………………………………………..… Eddie Webster
Understudies
For Young Man 7 and Young Man 9 / Eric Glass = August Hundley
For Young Man 1 and Young Man 10 / Toby Darling = Keegan Ferrell
For Young Man 2 and Young Man 6 = Joshua Tyler
For Young Man 3, Young Man 4, and Young Man 5 = Brandon Duncan
For Young Man 8 = Kasey Britt
For Margaret = Stephanie Tippi Hart
CREATIVE TEAM:
Scenic Design – Frank Foster
Costume Design – Maggie McGrann
Lighting Design – Michael Jarett
Sound Design – Lucien Restivo
Properties Design – Tim Moehring
Intimacy Choreographer – Raja Benz
Hair & Make Up Design – Luke Newsome
Dialect Coach – Louise Casini Hollis
Technical Director & Scenic Painter – William Luther
Assistant Stage Manager – Christopher Smith
Assistant Director & Dramaturg – Kendall Walker
Production Stage Manager – Lauren Langston
PERFORMANCE SCHEDULE:
August 3 – September 17, 2022
Part 1 – Preview August 3, Opening August 5
Part 2 – Preview August 10, Opening August 12
Then alternating
Part 1 August 18, 20, 21, 26, September 1, 3, 4, 8, 9, 10, 14
Part 2 August 19, 25, 27, 28, September 2, 3, 7, 11, 15, 16, 17
Note that on September you can see Parts 1 & 2 on the same day.
Note that you must purchase tickets to Part 1 & Part 2 separately.
Promo Videos:
Photo Credits: John MacLellan
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At: Agecroft Hall & Gardens, 4305 Sulgrave Road, Richmond, VA 23221
Performances: July 7-31, 2022
Ticket Prices: $20-$33
Info: (804) 353-4241 or quilltheatre.org
Dating back to 1773, She Stoops to Conquer has long been considered one of the most popular English-language comedies. Interestingly, it was a major theatrical success by a relatively unknown playwright – Oliver Goldsmith – and the play that set Director James Ricks, then a middle school student, ablaze with a passion for live theater. It is also credited with being the source of the phrase, “ask me no questions and I’ll tell you no lies.”
The plot is a familiar one – two affluent families, the Hardcastles and the Marlows, arrange to introduce their children, Kate and Charles, with an end goal of marriage. But Kate’s spoiled, immature older half-brother Tony Lumpkin sees this as an excellent opportunity to wreak havoc of monumental proportions. Tony likes to hang out with the masses at the local pub – at one point Mr. Hardcastle say of him, disparagingly, “the only school he’ll ever go to is the ale house.” And that is precisely where he is when he intercepts his sister’s would-be suitor and his traveling companion – at the local pub – as they search for the remotely-located country home of the Hardcastle family. Tony convinces Charles that the Hardcastle estate is an inn. There ensues a “comedy of errors,” and one fascinating result is that young Charles Marlow, who has been described as educated and shy, imperiously treats his unsuspecting hosts as servants, displaying a side Kate was not expecting. Kate, however, has her own agenda, and disguises herself as a barmaid to further explore the character of her would-be suitor.
Like any good sitcom, there are subplots and counter-plots to the main theme. These include a secret love-affair between Kate’s cousin Constance and young Marlow’s friend George Hastings, Mrs. Marlow’s attempts to hide an inheritance, and Tony’s attempts to avoid an arranged marriage of his own. This simplified synopsis does not do justice to the live production. She Stoops to Conquer is neither trite nor stereotypical. Supporting characters are as interesting as leading characters – establishing a sort of social equality that was far ahead of its time.
Debra Wagoner was delightful in the role of Mrs. Hardcastle, the master (or mistress) of much of the seemingly unintended humor. In one of the latter scenes, she gets her comeuppance when her own son (Josh Mullins as Tony Lumpkin) tricks her into thinking she is lost in the wilderness. Mark Persinger as her husband, proved to be a stark contrast to Wagoner’s character and brought his own unique style of humor. Hardcastle, you see, is decidedly old-fashioned, stuck in the past and despises anything modern, while his wife (a social climber) and daughter (a sensible young woman with a mind of her own) yearn for modern fashions and are attracted by the lure of the city. Wagoner proved to be a capable antagonist, while Katy Feldhahn (Kate) was more than capable of conquering.
Josh Mullins, as Mrs. Hardcastle’s spoiled son, happily wreaked havoc at every turn. Calie Bain as Kate and Tony’s cousin (and Tony’s reluctant intended) Constance Neville was solid and dependable in a somewhat predictable and unremarkable role while Ian Page played his role close to the edge and over the top as the socially challenged Young Marlow.
That being said, She Stoops to Conquer was a delightful summer divertissement, comedically ahead of its time, pleasant and fairly well-paced, with direction by James Ricks. It just wasn’t my cup of tea, but I would certainly give it a second chance in the future.
NOTE: Unfortunately, this summer’s Shakespeare Festival took the brunt of the summer storms. Both productions at Agecroft Hall were plagued by cancellations due to weather, and, alas, the closing production of She Stoops to Conquer was no exception.
She Stoops to Conquer
By Oliver Goldsmith
Directed by James Ricks
Cast
Mrs. Hardcastle…………… Debra Wagoner
Mr. Hardcastle …………… Mark Persinger
Tony Lumpkin …………… Josh Mullins
Kate Hardcastle ..………… Katy Feldhahn
Constance Neville………… Calie Bain
Young Marlow….………… Ian Page
George Hastings.………… William Cardozo
Sir Charles/Landlord …… John Cauthen
Pimple/Betty ……………….. Els Dusek
Diggory/Fellow ..………… Alex Chapman
Roger/Jeremy .……….…… Audrey Sparrow
Production Team
Director: James Ricks
Stage Manager: Nata Moriconi
Costume Designer: Cora Delbridge
Lighting Designer: Andrew Bonniwell
Props Designer: Emily Hicks
Music Director: Jason Marks
Choreographer: Nicole Morris-Anastasi
Dialect Coach: Harrison Runion
Assistant Stage Manager: Hope Jewell
Stage Construction: Kevin Johnson
Production Manager: James Ricks
Run Time: About 2 ½ hours with one intermission
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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Photo Credits: David Parrish Photography
Debra Wagoner, Josh Mullins, Calie BainJosh Mullins, Calie BainIan PageKaty FeldhahnEls Dusek, Katy FeldhahnJosh Mullinsthe cast of She Stoops to Conquer
THE BARBER OF MOVILLE is one of the most touching plays I’ve seen all season – perhaps ever. And by touching, I mean you will need tissues. As the play opens, Molly (Katie McCall) is preparing to open up the barber shop she took over after her father died. She heats water for tea – this is, after all, Ireland – and listens to opera as she prepares to receive her first customer, a Wednesday regular. Molly’s husband Dommo (David Bridgewater) soon comes into the shop from the attached living quarters. He’s carrying two suitcases and appears surprised to see that Molly is preparing to open shop. He gently explains that is has been several years since the regular customer Molly is expecting has come into the shop.
It doesn’t take long for the audience to figure out that Molly has Alzheimer’s and despite how put-together and fit she looks, her memory appears to be rapidly deteriorating. But the couple has a Plan. That explains the suitcases: a modern rolling bag and a clunky vintage number. They are about to leave their outdated little barber shop in Derry City, Ireland for an adventure in Zurich, Switzerland, where they plan to check into a fine hotel, attend the opera, and then take Molly to see the doctor. The well-planned trip, Molly’s idea actually, has been carefully documented in Molly’s little black book as Dommo calls it – or notebook, as she insists – and the couple even has a written contract spelling out all the details of their trip. That seems a little excessive, you say? Well, not when you understand that Dommo has a round-trip ticket and Molly doesn’t…
Before leaving, the obviously loving couple takes a trip down memory lane – a tricky proposition when one’s memory has become your arch enemy. There are warm and even humorous moments as we eavesdrop on the couple’s joyous if sometimes frustrating conversation. We hear of their youthful days in art college and learn that Molly prefers Bruce Springsteen while Dommo leans towards Meatloaf, but then there is also a darker side to their story. Molly’s Aunt Christine apparently also had the same disease that is eroding Molly’s sense of self and then there is the uneasy revelation of her beloved father’s true character.
Katie McCall and David Bridgewater inhabit these characters with dignity, with faith. They infuse them with warmth, humanity, and authenticity far beyond mere acting technique. Nathaniel Shaw’s directing is also gentle, yet refuses to hide any of the details of the mental, physical, and emotional toll that Alzheimer’s can wreck on an individual and on a relationship. A clock on the wall of the barber shop has been set to run in real time and we can see the entire play unfold in 60 minutes. At the end of that 60 minutes, Dommo rips up the contract, and I wiped my eyes. By the end, it felt as if I had been watching something sacred and private, not just watching a play for entertainment. At the end, I could go home and leave Molly and Dommo behind, but that will not be an option for everyone who sees this play. Wisely, for this run Firehouse has partnered with the Alzheimer’s Association, and scheduled several post-show talkbacks.
Set in the present, in a little town that is stuck in the past, the ambience reflects the disarray of Molly’s mind. So does Chris Raintree’s scenic design: a two-chair barber shop complete with the traditional red, white and blue pole. But the left two-thirds of the set is orderly, if a bit dated, while the right third reflects chaos – a broken mirror, cracks in the wall. So many of the pieces fit together perfectly, from Molly’s long, loose sweater and comfortable shoes (thanks to Costume designer Colin Lowrey II) to McCall’s and Bridgewater’s soft Irish accents (kudos, once again, to Dialect Coach Erica Hughes). I have never once been disappointed or felt confused when I’ve seen Hughes listed in a program as the Dialect Coach.
THE BARBER OF MOVILLE is a beautiful play that makes me want to see more of Carr’s work. It runs at the Firehouse through July 17.
THE BARBER OF MOVILLE
The US Premiere of a New Play by Ronan Carr
Directed by Nathaniel Shaw
Cast:
Molly Green ……………….. Katie McCall
Dommo Green ……………….. David Bridgewater
Production Team:
Nathaniel Shaw – Director
Chris Raintree – Scenic Designer
Colin Lowrey II – Costume Designer
Todd Labelle – Lighting and Sound Designer
Erica Hughes – Dialect Coach
Dennis Bowe – Stage Manager
Bill Sigafoos – Photographer
Performance Schedule:
Thu June 23 @ 7:30pm (preview)
Fri June 24 @ 7:30pm (preview/post show talkback)
Sat June 25 @ 7:30pm (opening)
Fri July 1 @ 7:30pm (post show talkback)
Sat July 2 @ 7:30pm
Sun July 3 @ 3pm (post show talkback)
Fri July 8 @ 7:30pm
Sat July 9 @ 7:30pm
Sun July 10 @ 3pm (post show talkback)
Fri July 15 @ 7:30pm
Sat July 16 @ 7:30pm
Sun July 17 @ 3pm (post show talkback)
Tickets: $30
Run time: 60 minutes with no intermission
The Firehouse Theatre requires all audience members to be fully vaccinated and to wear face masks inside the Firehouse.
Photo Credits: Bill Sigafoos
Katie McCall and David BridgewaterKatie McCallDavid Bridgewater
Some shows are meant to tell a story, some teach a lesson, some have a moral, and then there are those that are just pure and joyful entertainment. With its energetic and danceable music, familiar songs made popular in the 1970s by the group ABBA, and a stage filled with colorful costumes, throngs of dancers, and even dancing lights (thank you, Joe Doran), Mamma Mia! belongs to the latter category.
Things got off to a good start with a two or three minute Overture. The dancing lights, and upbeat music created a sense of anticipation, and then the company solidly delivered on its promise. After briefly introducing the main characters, Mamma Mia! jumped right into a large ensemble production of “Money, Money, Money” that soon led to the popular “Dancing Queen.” Not to be outdone by the women, the groomsmen and men of the ensemble danced out in flippers (swim fins) and a huge ensemble closed out the first act with a highly animated “Voulez Vous.” The second act was dominated by a series of duets with all the main characters taking turns and ended with a mini concert disguised as an extended encore. Some in the audience came prepared to party, with feather boas and animated applause. I hope the cast felt the positive energy. I know I laughed and smiled until my face hurt.
Background and Spoiler Alert
Most everyone has heard of Mamma Mia! but there are a few – like me – who had somehow never seen any version of it, neither the long-running Broadway hit show or the film series. Mamma Mia!, in spite of its Italian title, was created by a team of British artists and set on the fictitious Greek island of Kalokairi. There we find Sophie, the love-child of a former free-spirited hippie, Donna who once led a girl band, the Dynamos. Sophie is twenty and about to get married, something her mother cannot get on board with, not because she doesn’t like Sophie’s beloved, Sky, but because she doesn’t believe in marriage. To complicate things – because after all, without conflict there would be no plot – at this momentous occasion in her life, Sophie has discovered a deep need to know who her father is, so she scours her mother’s diary, uncovers three possible candidates, and without her mother’s knowledge or permission invites them all to her wedding in hopes of having her father walk her down the aisle for her traditional “white wedding.”
The cast is populated by familiar and new-to-Richmond/VaRep names and faces, and I loved them all. Hannah Jennison played bride-to-be Sophie with a credible grounded freshness. Emelie Faith Thompson gave Sophie’s mother Donna generous doses of sassiness and vulnerability and released her character’s personality in measured doses, as if well aware that too much Donna all at once was more than the average person could handle. Grey Garrett, as Donna’s friend Tanya, drew applause and cheers from the audience even before she spoke her first word, and like the glamorous, thrice-divorced auntie that most families seem to have – and who shows up to all the family celebrations – she was equally comfortable flirting with men half her age and offering wise guidance to her niece.
You are(not) the father!
Now, to return, even if only briefly, to the main plot, the three possible dads are Harry (Anthony CeFaia), Bill (Jason Krypos), and Sam (Alexander Sapp). Each had a special relationship with Donna, and Donna was never one to kiss and tell: dot, dot, dot (inside joke). Each also had a compelling reason to be revealed as Sophie’s father, but, driven by secrecy – both Donna’s reticence about her past and her own unauthorized inspection of her mother’s diary – Sophie had no DNA test results to clear up the mystery.
Good/Bad News Comes in Threes
Just as there were three possible dads, the women were cast in groups of three as well. Donna had two best friends, her former back-up singers, Tanya (Garrett) and Rosie (Catrina Brenae), and so did Sophie: Ali (Havy Nguyen) and Lisa (Jana Prentiss). Even Sky (Micah Cook on opening night; a character who was never as fully developed as the women) had two close friends, the flirtatious Pepper (Connor Macchi) and the more dependable Eddie (Johnny Reardon), both of whom worked at the taverna (a Greek restaurant, this one included a B&B) built and run by Sophie’s mother Donna (Thompson).
It comes as no surprise that the planned wedding does not go on as scheduled, but there is a surprise wedding (I guess you don’t need a license in Greece, at least not in musical Greece) as well as a surprise romance, which comes as no surprise.
Encore and Finale
One of the best parts of Mamma Mia! is the encore and finale. I noticed Donna and a few others disappear during the final bows, and sure enough Donna and the Dynamos reappeared in brightly colored, ABBA-inspired costumes in red, orange, and yellow – exaggerated bell bottoms, futuristic extended shoulders, and blinged out to the max – only to be joined by the Dads wearing matching outfits and silver platform boots. The company sent the audience out dancing and singing along to “Mamma Mia!” “Dancing Queen,” and more. Mamma Mia! may or may not be perfect, but it is perfectly suited to these times. For some audience members, it was the first time out to a live show since “the time before,” and for others it was a much-needed release after months of disturbing breaking news reports. First produced onstage in 1999, the music is popular enough to span generations, popular enough to be familiar, and old enough to not stir up any controversy or salt any open wounds – it’s a feel-good musical through and through.
With a large cast and lots of choreography, the set was kept simple with a minimalist rotating design representing Donna’s taverna – which looked somewhat Spanish or Moorish to my untrained eye. Most of the visual effects were wisely focused on the costumes and lighting. The band was placed in the orchestra pit, instead of hidden behind the scrim, adding even more of a Broadway, big-stage feeling. The direction (Happy Mahaney), music (Sandy Dacus), and choreography (Ashleigh King) appeared to work together seamlessly, maintaining a fast pace, a high level of energy, and drawing the audience in willingly. A plot was hardly necessary, but there is an actual story-line, and a sub-plot that make sense and is easy to follow. Mamma Mia! hits the target as a summer musical.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
MAMMA MIA!
Music and Lyrics by Benny Andersson and Björn Ulvaeus
and some songs with Stig Anderson
Book by Catherine Johnson
Originally conceived by Judy Crayner
Direction by Happy Mahaney
Cast
Sophie Sheridan —– Hannah Jennison
Ali —– Havy Nguyen
Lisa —– Jana Prentiss
Donna Sheridan —– Emelie Faith Thompson
Tanya —– Grey Garrett
Rosie —– Catrina Brenae
Sky (through 6/26) —– Micah Cook
Sky (beginning 6/29) —– Donathan Arnold
Pepper —– Connor Macchi
Eddie —– Johnny Reardon
Harry Bright —– Anthony CeFala
Bill Austin —– Jason Kypros
Sam Carmichael —– Alexander Sapp
Ensemble —– Mikaela Craft, Emily Dandridge, Paul Dandridge,
Janiece Deveaux, Evelyn Dumeer, Jianna Hurt,
Brandon McKinney, Chandler James Pettus, David Ramirez,
Shannon Schilstra, Caleb Wade, Kayla Xavier
Creative Team
Scenic Design – Josafath Reynoso
Costume Design – Sue Griffin and Marcia Miller Hailey
Lighting Design – Joe Doran
Sound Design – Jacob Mishler
Stage Management – Justin Janke
Music Direction – Sandy Dacus
Choreography – Ashleigh King
Direction – Happy Mahaney
Band
Keyboard 1/Conductor – Sandy Dacus
Keyboard 2 – Leilani Fenick
Keyboard 3 – David C. Robbins, Joy Weaver*
Keyboard 4 – Ian Krauss
Bass – Jeff Smick
Guitar 1 – Ed Drake
Guitar 2 – Hannon D. Lane, Rinatt Montoya*
Drums/Percussion – Bentley Cobb, Joe Lubman*
*(substituting at select performances)
Run Time: 2 hours and 20 minutes including one 15-minute intermission
Discounted Group Rates and Rush tickets available.
Photo Credits: Aaron Sutten
———-
Updated Virginia Rep COVID Guidelines
Masks, covering the face and nose, are required for all patrons while inside VaRep venues, lobbies and restrooms except when actively eating or drinking.
(Note: on opening night, the bar was open for the first time since the start of the pandemic, with canned and bottle drinks and snacks.)
Jana Prentiss, Hannah Jennison and Havy Nguyen. Photo by Aaron Sutten.Alexander Sapp (Emelie Faith Thompson in background) Photo by Aaron Sutten.Grey Garrett and Anthony CeFala. Photo by Aaron Sutten.Catrina Brenae and Jason Kypros. Photo by Aaron Sutten.Grey Garrett, Emelie Faith Thompson and Catrina Brenae. Photo by Aaron Sutten.Mamma Mia! cast. Photo by Aaron Sutten.
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I usually avoid words like charming and endearing, but in the case of Fireflies those are the words that seem most appropriate. Fireflies is a story of opening up and letting go, and it is a love story between two mature people that is not played as a spoof or a sitcom. Fireflies, the insect, represent love; their soft luminescence is part of their mating ritual, and they remind us of summer nights as children, chasing fireflies and trying to capture them in a jar to make their elusive light last. The symbolism of fireflies is indirectly alluded to throughout the play, but it’s there.
Ms. Eleanor Bannister (played by Jean Roberts) is a retired teacher in the small Texas town of Groverdell. She never married, and has settled into a comfortable life of respectability. Eleanor still lives in the house she grew up in, and rents the “honeymoon cottage” her father built for her that was never used for its intended purpose. At times, Roberts seems to channel the spirit of the late Bea Arthur. Ms. Grace Bodell (played by Linda Snyder) is Eleanor’s loyal, caring – read “nosy” – friend and neighbor, an archetype familiar to the residents of every small town or cul-de-sac. It is a role Snyder approaches with just the right balance of humor and temperance. One day a charming drifter appears and shakes up Eleanor’s routine, pulling her out of her comfort zone and, in the process, gives the town something to talk about. William Henry brings the necessary tension and mystery to his portrayal of Abel Brown, keeping us interested and never quite sure if he is who he says he is. There is always a lingering question. . .
Abel Brown fixes a hole in the roof of Eleanor’s rental property, and in the process opens Eleanor’s heart to the possibility of romance. In the relatively short span of about a week, spread over five acts and two scenes, we are drawn willingly into Eleanor’s unfamiliar and unexpected journey and get to experience familiarity with her plight, longing for adventure, and recognition of her dilemma.
In addition to fixing the roof and doing other repairs, Abel Brown – whose character seems to require being referred to by his full name – serenades Eleanor by playing “Beautiful Dreamer” on her father’s antique violin, and impresses her with his peanut butter and jelly sandwich-making skills. The beauty of FIREFLIES lies largely in its simplicity. Eleanor and Grace chat over homemade cake and a glass of milk and comment on the weather, the state of Eleanor’s house, and Grace’s “Sunday hair.”
The play is set in Eleanor’s kitchen and the atmosphere is dominated by the easy banter between the two friends. The natural pacing and familiarity of the scenes makes the electricity sizzle all the more when Abel Brown makes his appearances and introduces much-needed excitement and tension. The Sunday I attended, the space had been affected by a summer storm that left the house lights and air-conditioning off, providing an unintended touch of authenticity to the Texas summer scenes.
Director Ann Davis kept the pace sultry but interesting, and seemed to have a genuine connection with the author’s vision for this show. A second-act appearance by Alvino Medina as Eugene, the local sheriff’s deputy – and Eleanor’s former student – may have been necessary from the author’s point of view, but did not seem to quite fit in with the rhythm already established by Roberts, Henry, and Snyder. Nevertheless, Fireflies is a delightful and heartwarming story with a few unexpected twists and turns that upset the flow of predictability and makes for a satisfying evening of theater.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Robert O’Hara’s BOOTYCANDY is a “semi-biographical subversive comedy” performed as a series of non-linear vignettes. The central character is Sutter and the central premise is Sutter’s journey growing up black and gay. It is hilarious, it is touching, it is relatable across genders, generations, and sexual orientations, and it is an exemplar of contemporary Africanist story-telling. It is, without a doubt, one of my favorite shows of the season – and I see my fair share of shows.
Todd Patterson shines in the lead role as Sutter. The five actors are identified only as Actor One, Actor Two, etc., and all but Patterson take on a number of different roles in Sutter’s life. Patterson dances between each scene – indeed, his “grandmother” and other relatives request that he “do that step Michael Jackson liked to do.” The playwright, O’Hara, has specified that Jackson’s music be used throughout, and the music of Michael Jackson, Prince, and perhaps a few others energizes the space from the moment you walk through The Basement doors.
Patterson strips for us, and dances with a manic energy that reflects his character’s inner landscape. But as much as I was impressed by Patterson’s performance, this is truly an ensemble production – starting with the symbiotic directing team of Deejay Gray and Katrinah Carol Lewis. I’ve seen each of these actors in several productions, and this one cast them each in a new light and presented them with new challenges.
Dylan Jones and Zakiyyah Jackson hold down most of the female roles in Sutter’s life. Both play his mother, at different ages, as well as aunties, friends, a sister, and church ladies. In one scene they portray a quartet of women gossiping on the telephone, highlighted by rapid costume changes but my favorite is their second act “non-committal ceremony,” a nasty same-sex divorce officiated by a Zen-like Cashwell. This scene is the embodiment of the adage, “same sex, same problems!”
Durron Marquis Tyre transforms into several characters, but my favorites are the right reverend who comes out in a sermon delivered to his outraged congregation. Instead of coming out of the closet, he emerges from behind his pulpit to reveal fishnet stockings, blinged out silver slingback heels, a wig, and finally a clingy little red dress and matching lipstick. This is where Jones and Jackson begin their magic as they subtly change from gossip-mongers to staunch supporters.
In the second act, Tyre portrays Sutter’s grandmother who offers him comfort in a time of need as she slyly extracts some cash to tuck into her bosom and a delivery of forbidden soul food. For a moment, I thought Tyre had been speaking with my own late grandmother to develop this character because his mannerisms and speech brought back memories directly from my own past. And that is part of the beauty of this play: it is relatable. In a post-show talkback the day I saw it, everyone who spoke found some point of connection. The scene where Sutter realizes he is under stress is a turning point – he stops the show, has a verbal interaction with the Stage Manager, Crimson Piazza, and the tone and tenor of the play shifts. This is , undoubtedly, one of the author’s genuine auto-biographical moments. Its poignancy highlights the humorous aspects of the previous scenes, and reminds us that often laughter is the only things that helps us make it through the tough or uncertain times.
And of course I cannot forget Dixon Cashwell – the only white guy in the cast. He plays several characters, but my favorites are his portrayal of a clueless conference facilitator for the scene that closes the first act. Cashwell’s character strolls obliviously into a minefield of micro-aggressions that elicit yelps of incredulity from the cast as well as at least one audience member. In other scenes, Cashwell becomes a gay-curious male sharing an uncomfortable relationship with his brother-in-law, and has a spellbinding turn as an intoxicated man at a lonely bus stop at 3:00 AM who amazingly talks himself out of being mugged.
There are a number of little things that make BOOTYCANDY as close to perfect as it can possibly get. The subject of the women’s telephone scene is the name one young mother has chosen for her baby girl: Genitalia! It is a spoof of the unique names and exotic naming conventions of Black American families and a nod to the sort of urban legends many of us educators have passed down through the decades: the little boy named Shi-Thead, the little girls named Vagina, Clitoris, and Female (pronounced Fah-MA-ley), or the twins named Orangejello and Lemonjello (pronounced a-RON-zhello and le-MON-zhello).
By the time you read this, BOOTYCANDY may have ended its all-too-brief run, but just in case, consider this a SPOILER ALERT: BOOTYCANDY does not refer to a sexually attractive booty or a hot gay guy. Quite innocently – and oddly – it is the word the young Sutter’s mother uses to refer to his penis, and an excellent advertisement for teaching children the real words for their body parts.
I haven’t laughed so hard or so often I the theater in recent memory. In the words of one viewer, BOOTYCANDY is no entry-level theater, meaning it is not linear or predictable, and there is no happily-ever-after fairytale conclusion. In the mind of this reviewer, that is what makes it so special.
THE CAST
Actor One …………………………. Dylan Jones
Actor Two ……………………….… Todd Patterson
Actor Three …………..………….. Zakiyyah Jackson
Actor Four …………………………. Durron Marquis Tyre
Actor Five …………………………. Dixon Cashwell
THE TEAM
Direction: Deejay Gray & Katrinah Carol Lewis
Scenic Design: Deejay Gray
Projection Design: Dasia Gregg
Lighting Design: Michael Jarett
Costume Design: Nia Safarr Banks
Sound Design: Kelsey Cordrey
Properties Design: Kathy O’Kane Kreutzer
Production Stage Management: Crimson Piazza
THE SCHEDULE
Thursday, June 9 at 7:30 [Preview Performance]
Friday, June 10 at 7:30 [Opening Night]
Saturday, June 11 at 7:30 [Post-Show Dialogue]
Sunday, June 12 at 7:30
Wednesday, June 15 at 7:30 [ADDED SHOW]
Thursday, June 16 at 7:30
Friday, June 17 at 7:30
Saturday, June 18 at 7:30 [Closing Night]
NOTE: All performances are at 7:30pm at The Basement:
*PROOF OF VACCINATION / A NEGATIVE COVID TEST REQUIRED* The Basement is a fully vaccinated venue. Proof of vaccination or a negative COVID-19 test (within 48 hours of the performance) are required upon entry. For the safety of our artists and audiences, masks must be worn while at the theatre. Thank you for keeping our community safe!
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
. . .Imagine the Arctic as a Pussy; It’s Sort of Like That
A Theater Review by Julinda D. Lewis
At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Ave, RVA 23230
Performances: June 8 – July 2, 2022
Ticket Prices: $30-35; $10 for Students.
Info: (804) 346-8113 or rtriangle.org
In Essence, A Queer and Occasionally Hazardous Exploration; Do You Remember When You Were In Middle School And You Read About Shackleton And How He Explored The Antarctic?:
Imagine The Antarctic As a Pussy And It’s Sort Of Like That
There are 5 characters in COLLECTIVE RAGE and they are all named Betty. Betty #1, Lenaya Van Driesen) is married to a man of wealth who has no time for her; Betty #2, Nora Ogunleye, is in a sexless marriage; Betty #3, Zoe Cotzias, is a celebrity lesbian who works at Sephora; Betty #4, August Hundley, is a sensitive queer woman with a truck and a crush on Betty #3; and Betty #5, with Rachel Garmon-Williams subbing for Kasey Brett is a non-binary male presenting female who runs a boxing gym – and owns a truck.
After Betties #2 and #3 attend a boring dinner party given by Betty #1, Betty #3 throws her own dinner party, where she gives the shy and friendless Betty #2 a hand mirror and invites her to use it to look at her pussy. This act opens up a whole new world for Betty #2 who spends the rest of the play on a journey of self-exploration and empowerment.
Betty #3 attends a play with a friend, becomes enamored of the “thea-tah” and decides to devise a play of her own. Betty’s play involves a prologue, a wall, a lion, and moonshine; it borrows blindly and liberally from the mechanicals’ play-within-a-play in Shakespeare’s Midsummer Night’s Dream – whose title Betty repeatedly butchers.
When they all get together to rehearse for “the thea-tah,” the ensuing chaos both defines and defies their collective rage. Set in New York in the present and first performed in 2016, COLLECTIVE RAGE is described as a “lesbian/bi-curious/genderqueer/Shakespearean comedy for everyone.” COLLECTIVE RAGE feels like a fusion of satire, cabaret, and improv. It’s hilarious and touching at the same time. There’s a cheating husband, a contrast between femme and butch, stereotypes of lesbians with trucks, and all the elements are used to explore growth, individual and collective, in multiples areas of life.
Directed seamlessly by Chelsea Burke, COLLECTIVE RAGE is more than just a niche production; it’s relatable across economic, ethnic, and gender boundaries. Van Driesen is sharp and dangerously edgy, both in her verbal delivery and her physical presentation. Ogunleye is endearing in her eurotophobia (yes, there is a word that means fear of one’s vagina or female genitalia). Cotzias aptly and appealingly encapsulates every video of a vacuous influencer I’ve ever seen. Hundley nailed their portrayal of a caring but insecure character, while Garmon-Williams uses body language and physicality on equal footing with words. COLLECTIVE RAGE offers the viewer options: you can enjoy it as a comedy, as social commentary, or both.
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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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COLLECTICE RAGE: A Play in 5 Betties
Written by Jen Silverman
Directed by Chelsea Burke
CAST:
Betty #1 ……………………………………. Lanaya Van Driesen
Betty #2 ……………………………………. Nora Ogunleye
Betty #3 ……………………………………. Zoe Cotzias
Betty #4 ……………………………………. August Hundley
Betty #5 ……………………………………. Kasey Britt
Understudies
For Betty #1 ……………………………………. Amanda Spellman
For Betties #2 & #3………………………….. Leanna Hicks
For Betties #4 & #5 …………………………. Rachel-Garmon-Williams
CREATIVE TEAM:
Costume, Hair & Make-Up Design – Dasia Gregg
Costume, Hair and Make-up Design – Carolann Corcoran
Lighting Design – Deryn Gabor
Sound Design – Candace Hudert
Intimacy Choreographer – Stephanie Tippi Hart
Properties Design – Tim Moehring
Assistant Director – Katie Fitzgerald
Technical Director – Tom Holt
Production Stage Manager – Lauren Langston
Sound Design – Candace Hudert
Intimacy Choreographer – Stephanie Tippi Hart
Properties Design – Tim Moehring
Photo Credits: No production photos available at the time of publication
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EVERYBODY is a modern play about an age-old problem: death. Written by award-winning playwright Branden Jacobs-Jenkins, it is a morality play based – with few significant changes – on a 15th century morality play, Everyman, believed to be one of the earliest recorded plays in the English language. Set in the here and now, EVERYBODYhas been revamped to reflect today’s politics, belief systems, and world views and to be inclusive of current racial, religious, and gender concerns.
The morality play is a once-popular genre designed to teach a lesson – in this case, how to live better and be a better person in general – and features characters who are personifications of abstract qualities. In EVERYBODY the original qualities of Fellowship, Kindred, Goods, Discretion, Five Wits, and Knowledge have been rebranded as Friendship, Kinship, Stuff, Mind, Five Senses, and Understanding. With a few exceptions, the stellar cast of talented actors (Debra Wagoner, Jacqueline Jones, Audra Honaker, Jamar Jones, Katrinah Carol Lewis, Maggie Roop, Tyer Stevens, Desirée Dabney, alternate Tatjana Shields, and supporting actors Keeley Maddux and Charlotte Hall) must memorize the entire play, because at each performance the roles are chosen by lottery at the start of the play. Among the fixed roles, Wagoner appears as the Usher, God, and Understanding, Jacqueline Jones plays Death, and Dabney is Love.
With Debra Wagoner providing much of the narration, actors emerging from the audience and entering and exiting from the center aisle, and projected titles, there is a sense of controlled chaos – an appropriate response, one might concede, to the unexpected summoning of God and the unwelcome appearance of Death. God has summoned Death to bring Everybody for an accounting. But since it’s today, the accounting takes the form of a final presentation – you know, like a PowerPoint presentation. Feeling unprepared, Everybody negotiates for more time, and goes looking for someone willing to accompany them on this journey. Friendship and Kinship are the first to excuse themselves, providing a list of reasons ranging from the valid to the humorous. Even Stuff, decked out in a poncho-like garment covered with, well, a collection of stuff, makes a fast exit, while Mind and the Five Senses initially promise to accompany Everybody to the grave but both flake out at the last minute. In the end, it is only Love who completes the journey with Everybody – but only after making them strip down and perform a humiliating act of contrition (involving the repetition of the confession, “my body is just meat”).
EVERYBODY is performed on a nearly bare black stage, with minimal props and costumes, and disconcerting voice over scenes that occur in complete blackness. It is a play of universal themes leading to an inevitable conclusion, performed in earnestness by a fully committed cast. I particularly enjoyed the simultaneously funny and terrifying Skeleton Dance and there is no denying that Debra Wagoner and Jacqueline Jones fully inhabited their roles However, much like Zombie Life (Firehouse, August 2021, https://jdldancesrva.com/2021/08/26/the-zombie-life/) which I heard more than once actor compare to EVERYBODY, I can only admire it from a detached distance; it just isn’t my cup of tea. But if well-crafted existentialism and humor-infused treatises on the meaning of life excite you, you can – and should – see EVERYBODY through June 19.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
EVERYBODY
By Branden Jacobs-Jenkins
Directed by Rusty Wilson
CAST
Usher/God/Understanding Debra Wagoner
Death Jacqueline Jones
Somebody Audra Honaker
Somebody Jamar Jones
Somebody Katrinah Carol Lewis
Somebody Maggie Roop
Somebody Tyler Stevens
Somebody alternate Tatjana Shields
Girl/Time Keeley Maddux
Girl/Time Charlotte Hall
Love Desirée Dabney
Voice-Over Artists Juliana Caycedo
Anne Michelle Forbes
Tyandria Jaaber
Elle Meerovich
Hannah Hoffert
CREATIVE TEAM:
Director Rusty Wilson
Assistant Director Tim Glover
Scenic Designer Emily Hake Massie
Costume Designer Sarah Grady
Lighting Designer Alleigh Scantling
Properties Designer Ellie Wilder
Scenic Charge Emily Hake Massie
Sound Designer Joey Luck
Technical Director Chris Foote
Stage Manager Maggie Higginbotham
Production Manager Alleigh Scantling
Skeleton Dance Choreographer Laine Satterfield
Puppet Designer Kylie Clark
Photos by Jay Paul
UPDATED POLICIES: Virginia Rep has been following local, state, and federal health guidelines, and keeping a close eye on the policies of peer theatre companies regionally and nationally. As a result, proof of vaccination is no longer required. Masks, covering the face and nose, are required for all patrons while inside all VaRep venues, lobbies, and restrooms. At this time, no food or drink is allowed in the theatre.
Photo Credits: Jay Paul
Debra Wagoner. Photo by Jay Paul.Jackie Jones. Photo by Jay Paul.Jackie Jones, Tyler Stevens, Audra Honaker, Jamar Jones, Tatjana Shields, Maggie Roop. Photo by Jay Paul.Skeletons! Photo by Jay Paul.
Next Reflex Dance Collective / Roxann Morgan Rowley; Fairfax, VA
Starr Foster Dance/Starrene Foster; Richmond, VA
Wow. From first to last, the 2022 Mid-Atlantic Choreographers was riveting. The six works by six choreographers from Brooklyn, NY to Raleigh, NC each embraced LGTBQIA+ themes or concepts related to gender or sexuality. Each was performed in the round – actually, in a defined square, with the audience intimately situated on all sides. For those old enough to know what I’m talking about, it reminded me of my undergraduate days watching dance at NYC’s Judson Church. (If you’re not of a certain age, I don’t know, maybe a cypher or a rave might describe the vibe.)
One of the most striking pieces was Fools+Kings, a premiere choreographed and performed by Alyah Baker in collaboration with Lee Edwards and Kahlila Brown. Accompanied by smooth jazz performed by Nat King Cole and Orchestra and CeeLo Green, the trio graced us with liquid combinations of movement and incredibly soft landings. Sometimes the arresting choreography consisted of just a gaze, a burning stare. Dressed in black vests and pants, with three low stools as mobile props, the dancers kept the movement simple, yet their virtuosity was undeniable.
Inspired by the life and legacy of composer Billy Strayhorn, Fools+Kings was escribed in the program as an exploration of “themes of connection and heartbreak through the lens of Black Queer aesthetics and embodiment.” I was particularly struck by Lee Edwards who – I swear – reminded me of a compact, femme version of Bill T. Jones. Anyone who knows me knows that Bill T. Jones is one of my favorite dancers of all time, so I do not say this lightly. Fools+Kings built up a complex structure balanced on hot and cool jazz and Afro beats and then, BAM! – without warning or preparation, it ended with a full stop. Wow. I cannot wait to see more from this group.
Backtracking to the opening, the program began with a solo, old swan, by Megan Mazarick. Dressed in a tailored suit, Mazarick delivered portions of a deconstructed lecture while executing a fusion of post-modern, classic break-dance type moves, the robot, and even a bit of disco in a humor-infused cycle of melting and resurrecting. This is the work that took me back to Judson Church. I take notes in the dark, and for this piece my page was inscribed with a large heart. While old swan may be a reference to ballet classics like Swan Lake and all the fairy tale magic that goes along with the romantic era, it may also be a sly play on the symbolism of swans representing grace, love, trust, beauty, and loyalty. The final scene of the swan “coming home to roost” reminded me of that old saying about chickens coming home to roost – meaning that the evil things you do will come back to bite you in the butt (i.e., karma). Of course, Mazarick may not have intended any of these concepts, but I felt free – even invited – to explore all of them in this wonderful solo.
Another work that resonated was an excerpt from a dance called Penumbra, choreographed by Ankita Sharma and performed by Sharma and Darryl Filmore. Penumbra is dark, very dark. I have sometimes teased Starr Foster, saying that her works are so dark, but I was referring to the lighting. Penumbra is psychologically dark, and that’s an even more terrifying kind of dark. By definition, a penumbra is a region of shadow or partial illumination, resulting from an obstruction or partial obstruction.
This section of the artist’s evening-length work is called “Aftercare,” and the work explores the question, “What does it feel like to say the dark things that remain inside out loud?” Based on the dancers’ shared experiences with trauma, the two begin on opposite sides of a small table, somehow, remarkably, performing similar movements with strikingly different dynamics. The force and counterforce reminds me of the life and death encounters being negotiated by the old men convened around Kurt Jooss’ The Green Table but her it takes only two, not a dozen, to create this howling, apocalyptic effect!
When they arise from the floor, the gentler of the two seems to transform into the dominate, or abusive partner, and the sharper mover becomes fearful and guarded. A shift to demonic red lighting carries them away. Notably, this was the only group that did not take a bow – to do so would have broken the spell and diminished the power of this work.
I was glad I tarried long enough to see Sharma and Filmore emerge from backstage to greet their friends and audience members with smiles. It was relief to see they were able to drop the heavy personas they had adopted and leave them on the stage.
The program also included Circular, a duet by Roxanne Morgan Rowley, performed by Rowley and Sara Goldman, that explores the circularity of relationships between two women; and Luisa Innisfree Martinez’s hilarious Trope in a Box. Performed in, on, and under an open sided crate, Martinez’ solo uses comedy and strong, acrobatic movement phrases to examine and deconstruct themes and tropes of femininity. The program concluded with Starr Foster’s new work, Stripped, a trio that explores identity. The three women become entangled, connect, collapse, support one another, and finally seem to reach a place of calm, peace, and acceptance.
Foster has produced the Mid-Atlantic Choreographers Showcase for 18 years, and hasn’t run out of ideas yet. This was, by far, the best Showcase yet: powerful new work, a diverse collection of choreographers and dancers, a relevant theme, and a variety of perspectives. Thank you, all of you, for a wonderful experience.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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Photo Credits: See individual photo captions
Dancers Darryl Filmore and Ankita Sharma. Photo by Lily Price.Dancer: Alyah Baker. Photo by Alcee Byrd.Luisa Innisfree Martinez. Bella Ella Photography.Megan Mazarick. Photo by Jano Cohan.Net Reflex. Dancers Roxann Morgan Rowley and Tina Fratello.Starr Foster Dance. Dancers Anna Branch, Ana Pavon, Fran Beaumont. Photo by Doug Hayes.
Dancers: Taylor Black, Hailey Clevenger, Caitlin Espinueva
Music: “Fibre de Verre” by Paris Combo
Standstill (2016)
Choreography: Kara Robertson
Dancers: Taylor Black and Caitlin Espinueva
Music: “Sukkara ehizatu” by Robo
Choreographic Demonstration
Part 2
Wave and Flight (Premiere)
Choreography by Kara Robertson
Dancers: Taylor Black, Hailey Clevenger, Caitlin Espinueva, and Lexi Firestone
Music: “Hanging D (Cello Octet Amsterdam Version)” by Joep Beving and Cello Octet Amsterdam and “A New Satiesfaction” by Stephen Koncz
For their first in-person production in two and a half years, KARAR Dance Company chose to go INFORMAL. That was both the title and philosophy of the program of new and recent works: no costumes, no lights, no intermission, and a chance for audience participation before and after the performance. This made for a delightful Saturday afternoon that provided insight onto Kara Robertson’s creative process.
PASS, a work-in-progress, is built on a vision of people on a busy urban street being passed by an indifferent crowd. PASS could also be a metaphor for people letting life pass them by, passing up opportunities. The two dancers begin with a lot of floor work, incorporating a sort of racer’s starting position. Sometimes moving in unison, sometimes moving in opposition, mirrored images, and punctuating their movement with powerful statements of stillness, one could imagine the for now invisible crowd passing by, the dancers focused or zoned out.
Robertson accepted questions and suggestions from the audience immediately after.
Dead Weight, a quartet, is a template for late elaboration. It starts in silence and – when lights are added – will end in a fade-out. Two dancers begin on the floor while a third enters with the fourth on her back – a dead weight. The music adds a familiar-sounding melody but the vocals are in French and translate to something about fiberglass, lightning, and love. All of which, adds an air of romance and mystery to the little conflicts, the shoves, like the inevitable banter of sisters, perhaps, and again, those wonderful moments of silence or stillness that I am beginning to think are a signature of Robertson’s work,
Standstill, originally performed as a male-female duet, and later as a solo, was presented as a duo for two women. The music, a blend of cello, vocals that sound like Spanish and Arabic, and a cacophony of percussion and horns is a fusion of contemporary and classical – another Robertson signature.
The INFORMAL program conclude with Wave and Flight – a work Robertson plans to teach to those enrolled in her upcoming summer workshop (see the KARAR website for more information) begins with a run and semi-fall, forming what Robertson refers to as “hills.” Jumps in the air, legs tucked, low sweeping turns and rolls on the floor prepare the dancers for their eventual “flight.” The music accompanying this work consists of strings, solemn yet soaring and a bit agitated. The music supports Robertson’s vision as she plays with variations in tempo and kinetic polyrhythms. Wave and Flight has a bit of a storybook feel; the dancers interact more directly than in the previous works, there are lifts and carries and airy leaps and turns that are complemented by the sunshine and butterflies in the music.
The Choreographic Demonstrations revealed Robertson’s creative process using a basket of words generated by the audience and a Mad-Libs format the dancers created movement in the first demonstration, and Robertson began to place them on stage. In the second part of the demonstration, Robertson deconstructed the movements, made minute adjustments in position, direction, and the like, and the dancers and audience began to see the formation of a new work-in-progress.
The stress-free and interactive format of INFORMAL was just what the Richmond dance community needed at this time.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Lovesick – adjective. in love, or missing the person one loves, so much that one is unable to act normally.
It’s spring and love is in the air – only not in the way you might expect. For LOVE/SICK John Cariani (author of Almost Maine) has constructed nine discrete tales in which love falls somewhere on a spectrum of, well, mental illness. Each ten-minute play is set “at 7:30 PM on a Friday night in June, in an alternate suburban reality.” The backdrop for this suburban reality is The Super Store – a generic mock-up of a big box store, in which some of the silhouettes on the shelves remind me of miniature tombstones.
The nine couples are portrayed by four actors who zanily and adeptly transform from character to character between scenes: costumes, hair, voices, mannerisms, posture. Before the pandemic, it was fairly unusual to see a show in which actors played multiple roles, but that seems to have become a necessary skill in the new normal we are all adapting to. Described as Almost Maine’s “darker cousin,” each Love/Sick story line has an unexpected twist.
Among my favorites: “The Singing Telegram” man (Matt Hackman) hesitates to deliver his message because the sender is using the singing telegram to break up with his girlfriend (Katherine Wright). This is probably the saddest of the collection, while “Uh-Oh” is probably the sickest and displays the most twisted humor. In “Uh-Oh” a bored wife (also Wright) seeks to bring some excitement into her one and a half year old marriage – by fabricating a story about a research article and then assaulting her unsuspecting husband with a very real looking squirt gun.
“The Answer” starts off with a groom (Hackman) hiding in a bathroom, crying and ends on a somber note, while “Lunch and Dinner” is filled with Freudian slips of the tongue. When lawyer husband Mark (Freebourn) asks his corporate wife (Reisenfeld) what she had to eat at her business luncheon, she inadvertently responds, “sex.” And so it goes, until we come full circle ending up back at The Super Center where two exes (Hackman and Wright) are reunited and the original “Obsessive Impulsive” couple (Reisenfeld and Freebourne) bump carts again. Occasionally a profound thought punctuates the hilarity, as when Jake (Hackman) wonders why, “when you meet and fall in love and it doesn’t work out, how come we don’t call THAT destiny?”
Two monitors on either side of the stage announce the titles of the scenes while the scenery and the actors change, and Width keeps the pace and the laughs moving along with the smooth regularity of a train schedule. Of course, what makes it work, what makes it funny, is that we can recognize bits and pieces of ourselves – or our partners – in many of these characters. Have you or someone you know thought about killing their spouse – even jokingly – or considered getting back together with an ex? Still, ninety minutes without an intermission is hard on some of us with mature bones and joints that need to move periodically. Oh, and one more thing – the transition music between scenes was (perhaps intentionally?) unnecessarily irritating, but not enough so to interfere with my enjoyment of this hilarious show.
LOVE/SICK
By John Cariani
Directed by Tom Width
Cast:
PJ Freebourn
Matt Hackman
Paige Reisenfeld
Katherine Wright
Production Team:
Directed by Tom Width
Costume Design by Maura Lynch Cravey
Lighting Design by Joe Doran
Scenic Design by Tom Width
Technical Direction by Liz Allmon
Incidental Music by Julian Fleisher
“No Lie” composed by John Cariani
Performance Schedule:
Fridays @ 8:00PM: May 27, June 3, June 10, June 17, June 24
Saturdays @ 2:30PM: June 11, June 25
Saturdays @ 8:00PM: May 21, May 28, June 4, June 11, June 18, June 25
Sundays @ 2:30 PM: June 5, June 19
Wednesdays @ 2:30 PM: June 8, June 15
Thursdays @ 8:00PM: June 16, June 23
Tickets:
$44-49
Run Time: Approximately 90 minutes with no intermission
PJ Freebourne, Katherine S. Wright, Matt Hackman, Paige Reisenfeld
Community Member Dancers in Act II: Lexie Hays, David Monger, Lea Monger, Maria Carmina Parong, Honey Lyn Savage, Dhol Tuason, Belle Villanueva
Original Projection Art and Design: Nitsan Scharf
Celestial Headpiece Design: Margie Jervis
Lighting Design: Kaylin Corbin
Scenic Design: Ken Hays
This may seem like a strange start, but stick with me. I promise it will make sense. I have memories of people skipping church when they knew the senior pastor was away. They apparently attended church for a personality, rather than to worship God. Some people just don’t like the unknown and unless the guest speaker was a well-known personality, many showed no interest. This is the thought that ran through my mind when I attended The Ascension Project by Uprooted Dance at the Dogtown Presenter’s Series on Friday, April 20. My partner and I seemed to be the only attendees in the approximately 150-seat theater who were not staff members or family or friends of the performers. There were fewer than 20 people in the seats.
Now, I was not familiar with Uprooted Dance, a Metro D.C. – area based company that is committed to presenting interdisciplinary collaborative work that tells thought-provoking stories and community engagement. That is exactly why I wanted to see them. What a great opportunity to see a new-to-me company without having to travel several hours and spend money on gas. Well, that’s my take on the situation, but I know that’s not going to fill empty seats, so without further ado – or diversion – here’s my take on The Ascension Project.
The Ascension Project was inspired by the events of the past two years: the COVID-19 pandemic, civil unrest, social justice, the flattening of personal space as represented on a Zoom screen. Arranged – remember, this is a dance opera – into a prelude and three short acts, The Ascension Project is a journey through time and space that begins with isolation in small spaces, explores identity, trauma, and loss, and concludes with a transcendent journey. So, what does this look like?
The “Prelude,” described in the Director’s notes as “a bright, bold, big dance number” has the company of six dancers performing warm up movements in brightly colored casual clothes against a wall of brightly colored projections that include videos of the dancers performing the “Prelude.” For all the clever moments, including the dancers passing and sharing up close with the audience signs bearing messages such as “I missed you,” “Can you see me,” “Sit back and relax,” and “Enjoy the show,” and an attempt to create a satirical replica of a Zoom dance class experience, the sum total of all the components of the “Prelude” was remarkably subdued.
The dancers spend most of Act 1, the “Dream Sequence” on the floor in uncomfortable positions, rolling and restless as the background of colorful mandalas spins and regenerates at a sometimes dizzying pace. In one mesmerizing section the dancers log roll upstage, walk back downstage, and repeat the sequence, each time at a faster pace until finally they are running. Black and white projections and earth-toned costumes segue into colorful blooming flowers for the ”Circle of Life” section where the dancers move in a clockwise rotation, briefly holding hands and wrapping their arms around one another, ending the nightmare of illness, death, war, and famine.
The focus – and tone – shifts again in Act 2, “America,” when the company members are joined by members of the Sayaw! Philippine cultural dance group and community dancers, including a lone man and two little girls. The focus of “America” is culture and identity and features a power fist pump, a cultural dance, taking a knee, and saluting the flag (background) with a hand over the heart.
Finally, Act 3, “Blast Off,” contemplates what the future holds. The dancers start off as astronauts, in silver suits and a cleverly designed spaceship – a blend of physical and video components – that takes them to future new worlds where race and politics and nationality no longer exist, no longer separate and segregate. After experiencing weightlessness – and planting their flag – the dancers become transformed into celestial beings with lighted constellations headdresses. The lighting and dark costumes obscure their individuality, such as race, hair, skin color, creating a minimalist effect that harkens ack to the beginning.
Make no mistake, like most operas, this one needs a synopsis to help an unfamiliar audience navigate the strange new terrain. Extensive program notes were provided in the printed program but before each new section, Artistic Director Kiera Hart-Mendoza provided a verbal map to guide the uninitiated.
Honestly, The Ascension Project has the look and feel of a work-in-progress. Sometimes, it’s good to get in on an emerging work and follow its development. I suspect this is very much the case with The Ascension Project,” as its name implies. The Ascension Project is an interesting and evolving work that did not quite reach its full potential, but hopefully will continue to evolve and reach an appropriate and appreciative audience.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
An evening of dance works by Shane O’Hara, Scott Putnam & Malcolm Shute A dance review by Julinda D. Lewis At: Dogtown Dance Theatre, 109 W. 15th Street, RVA 23223 Performances: April 15-17, 2022 Ticket Prices: $20 General Admission; $15 Students Info: (804) 230-8780 or https://www.dogtowndancethetre.com
THE PROGRAM A Day in the Life of My Brain Choreography: Shane O’Hara Music: John Zorn Costume Design: Kathleen Conery Performer: Shane O’Hara Cascade Choreography: Malcolm Shute in collaboration with the dancers Dancers: Susan Donham, Roxann Morgan Rowley, Alexander Short, Malcolm Shute Music: “Adagio in G Minor” composed by Albonini, recorded by Miguel Del Oro Orchestra A Cloud of Probability (2022) Choreography: Scott Putman Dancers: Sophia Berger, Erin Dutton, Sydney Goldston, Abby Hardy, Celine Lewis, Makayla Woolner Music: “Tower,” “Dirt,” “Hero Brother” by Sarah Neufeld Costumes: Damion Bond Personal Space Choreography: Malcolm Shute in collaboration with Katie Sopoci Drake Dancers: Katie Sopoci Drake and Malcolm Shute Music: Malcolm Shute Travelblog…The Grand Tour (2009) Choreography: Shane O’Hara, Ric Rose, and Ryan Corriston Music: Sound score by Mitchell Mercurio Text: Shane O’Hara, Ric Rose Performers: Ryan Corriston, Shane O’Hara
A weekend of dance by Shane O’Hara, Scott Putnam, and Malcolm Shute at Dogtown Dance Theatre had the feeling of a James Madison University dance faculty/alumni reunion combined with a going away party for outgoing Dogtown Artistic Executive Director Jess Burgess.
The diverse selection of dance works ranged from the comedic to the meditative. O’Hara opened the program with “A Day in the Life of My Brain” and closed it with “Travelblog…The Grand Tour.” The former is a kaleidoscope of gestures – humorous, percussive, and precise. A soundscape of buzzes, squeaks, and screeches – ranging from funny to irritating – complement O’Hara’s Elizabethan neck ruff (clown collar) and kinetic shenanigans. For example, O’Hara rises from the floor and attempts to assume a dignified stance, only to appear to be attacked by a swarm of invisible bugs. In “Travelblog,” O’Hara starts off as a tour guide narrating a London excursion, only to wander off on a tangent – which is exactly what he warns his charges not to do. Equal parts dance, mime, and dialogue, “Travelblog” is a zany tour de force. O’Hara and partner Ryan Corriston are dressed in conservative gray suits and high top Converse All Stars. Corrison, at one point, passes his umbrella to an audience member for safe-keeping, as the two embark upon a journey that includes a riotous litany of TSA airport vocabulary that is anchored by the ubiquitous “three-ounce” rule. There is a marvelous moment of apparent weightlessness and O’Hara’s encounter with a “bad knee” ends in audience participation. O’Hara inexplicably dies centerstage, so Corrison retrieves his umbrella and calmly sits on O’Hara’s apparently lifeless body. And scene! Bookending O’Hara’s comedic offerings were two vastly different works by Malcolm Shute – “Cascade” and “Personal Space.” In “Cascade” the dancers began piled atop one another and moved as a unit. They separated briefly, but not for long, drawn back by an invisible, magnetic pull. When they peel off and roll at the end it doesn’t feel like an act of freedom; it seems more sad than liberating. The dancers’ black tops and pants have a paint splattered pattern and Albonini’s “Adagio in G Minor” contribute to a vaguely familiar, and simultaneously funereal atmosphere. “Personal Space” is an expansive exploration of a confined space. The two dancers, Katie Sopoci Drake and Malcolm Shute, collaborated on the symbiotic meditation. They gently fit together, back to back, but as Shute’s textured and eclectic score ratchets up into what sounds like an antique movie film reel whose lose end is flipping over again and again, Shute’s transitions become more challenging. At one point he is cantilevered over Drake, legs suspended in the air, seemingly supported solely by his core. Throughout the piece, neither dancer’s feet ever touch the floor. The one odd moment – was it a technical decision or a technical faux pas? – occurred near the end when the rear curtain that had been unobtrusively open throughout the duet suddenly closed. I found this distracting and an unwelcome intrusion into the meditative flow of the dance. In the middle of the program, closing out the first act, was Scott Putnam’s “A Cloud of Probability.” Damion Bonds’ colorful costumes suggested characters from epic tales as the six dancers traced mesmerizing circles and spirals. The spirals were often accompanied by an upward look with the head and eyes following. The piece was set against a background of Sarah Neufeld’s violin compositions. Neufeld’s work has been described as minimalist and post-modern classical, but in “A Cloud of Probability” I would characterize it as futuristic folk music that enhanced the subtle intensity and energy of the work. Saturday night’s program included an emotional tribute to Jess Burgess, the outgoing Artistic and Executive Director of Dogtown Dance Theatre. Burgess came to Dogtown as a volunteer in 2010 when the space opened its doors and served in a volunteer capacity before coming on as director in 2015. Burgess will be moving to South Carolina to become the CEO for the Greenville Center for Creative Arts.
No photos available at the time of publication.
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What if, in one moment, you had changed your mind during your journey. And if so, how would that change affect the final outcome? – Introduction to Starr Foster’s Crave
A Dance Review by Julinda D. Lewis
At: The ConciliationLAB – The Basement, 300 East Broad Street, RVA 23219
Performed by Fran Beaumont, Ana Pavón, Keeley Hernández, and Lydia Ross
Bridge (Reworking of 2014 work)
Choreographed by Starrene Foster
Music by Camille Saint-Saëns: “Introduction and Rondo Capriccioso”
Lighting Design by Michael Jarett
Performed by Fran Beaumont, Ana Pavón, Keeley Hernández, and Lydia Ross
Over the course of two consecutive weekends Star Foster Dance presented a revival, a recent work, and a premiere in two separate programs at The Basement.
First up was Crave, a work unique for its staging. On entering the space, audience members receive a slip of paper with the word “North” or “South,” designating which side of the space to sit for the first half of the program. After intermission, the audience shifts to the other side.
On each side, separated by a black curtain or screen, a pair of dancers explores a series of movements using the same choreography but different motivations fueled by the idea, What if? What if you changed your mind and followed a different path along your journey?
Cravepremiered at The Basement three years ago, and I’ve had the opportunity to see it twice, once starting on the “North” side, and once starting on the “South” side. Amazingly, it is quite a different experience on each side and further, it is a different experience depending on which side you start on. A friend who saw the work for the first time voiced the opinion that the “South” side where we began seemed more aggressive or forceful, while others thought the opposite. I thought the interactions of one pair of dancers lingered more thoughtfully than their counterparts on the opposite side of the curtain. Seeing the piece more than once encourages the viewer to focus on the dancers’ use of weight and force, timing and accents. Whatever your personal take-away, Crave is undeniably immersive and engages the audience with both simplicity of movement and complexity of motive.
For the second weekend of performances Starr Foster Dance broke out the beautiful new work, The Apology, with an original score by Daniel Deckelman. A quartet performed by Fran Beaumont, Ana Pavón, Keeley Hernández, and Lydia Ross, The Apology is populated with large, expansive movement juxtaposed with delicate, precise phrases, as when Lydia Ross seems to pluck invisible hairs from the air. The dancers hug, lift, and support one another as we feel the tension in the music build up steadily and reach a crescendo and repeat in waves, interspersed with gentle palpitations and gently tinkling bell-like vibrations. The wave-like permutations fostered thoughts on the meaning of “apology.” There’s an admission of error, accompanied by an expression of regret, or a written or spoken defense, or even a poor or inadequate example, or some nuanced version of any of these. The dancers, clad in shades of red, might be seen to replicate the shades of passion –- or the letting of blood — that precede, accompany, or follow an apology.
Finally, there was Bridge, a humorous quartet that sets the four women around a card table and watches how their friendship explodes or deteriorates. They attack the dance/the game with the ferocity of the dignitaries around Kurt Jooss’ Green Table. I don’t know if Foster was aware of a 2004 New York Times article about how men and women play bridge differently, but this is a hard-hitting, anything goes game. Forget the poker face; these four ladies, in their demure 1950s-style house dresses, grimace and give out the sly side eye; their faces are animated and don’t leave anything to the imagination.
The work is set to French Romantic composer Camille Saint-Saëns’ “Introduction and Rondo Capriccioso,” a work for violin and orchestra that often sounds like a dramatic waltz. The four dancers bang the table, slide under the table, lay across the table, walk, slide, and toss their chairs, and eventually build up to assaulting one another in various and sundry creative and mind-boggling ways – the viewer will never look at bridge or any other card game the same way, but they will look forward eagerly to the next Starr Foster Dance performance of Bridge.
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. Rehearsal photo (dancers at the Bridge table) by Charlotte Bray.
During the VCU Spring Break (March 6-13) I got to spend a few days in North Myrtle Beach/Myrtle Beach, SC mostly relaxing, and getting some work done. The weather did not know it was Spring Break; it was cold and windy, and the day we headed back home to Richmond, VA we fled a rain and windstorm and drove straight into a minor snowstorm.
I was home for a few days – long enough to unpack, do my laundry, and repack for the next adventure. On March 15 I left for Hopkinsville, KY for a residence with MKArts, the first of several for a new project that is scheduled to debut in Spring of 2023. This was my first time flying since the pandemic, and I was pleasantly surprised that there were no inconveniences or incidents (you know, people refusing to keep on their masks on the plane or assaulting flight attendants). It was also my first time staying at an Airbnb – a four-bedroom, two bath duplex not far from the Community College that was sponsoring us. Even though I didn’t have to cook, and the rest of the team is “mostly” vegan/vegetarian, I overate WAY too much, and I’m still paying for it. Who knew that a small town in KY had such great vegan soups and awesome tacos?
The biggest part of the adventure, however, occurred on the way home. My first flight got delayed not once, not twice, but three times due to weather conditions in Florida, where the flight originated. (To get to Hopkinsville, KY, one flies into Nashville, TN). So. . .instead of having an hour to catch my connecting flight to Richmond, I had 20 minutes. The plane from Nashville landed in Charlotte’s Terminal E, and my flight to Richmond was leaving from Terminal C. I dashed through that airport like O.J. Simpson in that old commercial some of you may be old enough to remember – only to miss the flight by less than two minutes. There were three of us trying to make that connection: me, a portly gentleman, and a lady in a wheelchair. The gentleman and I arrived at the gate huffing and puffing. The gate attendant tried to get permission for us to board – but no. Once the doors are closed, they won’t open them again. After getting rebooked for a 6:15 AM flight, I asked for my options. The gentleman opted to find a hotel. I didn’t want to spend more than $100 for a hotel room where I would have time to sleep only 3 to 3.5 hours, before returning to the airport, going through security, etc., etc., As for the lady in the wheelchair, I don’t know what sort of accommodation was made for her. Since the problem was weather related and not the fault of the airline, the airline had no responsibility to help. And that is how I got to spend my first night in an airport.
I was surprised to find so many people spend the night in an airport. There was a young woman who came prepared with a can of Lysol to spray down the seats. How did she get a full-sized can of Lysol through security?!?!?! Two young Jamaican guys came and sat near us, but something about them reminded me of Nigerian scammers, so I decided to go to the Concourse I’d be leaving from in a few hours. There I found several airport employees gathered near my gate, and lots of traffic – people cleaning, moving supplies, and the like. There were a couple of other single women nearby. Then a young nerdy guy came and sat two seats away. Two. Seats. Away. He was chatty. I decided he was a serial killer, so I took a trip to the ladies’ room to plan my escape, but when I got back he had moved on to another victim (I mean gate). I staked out my territory and got as comfortable as I was going to get. I dozed off and napped for about an hour or 90 minutes during the night. I had layers of clothes to keep me warm. Regulars had come prepared with blankets, pillows, and even sleeping bags. Later that morning, taking a walk, I found an area near the food court that had banquets where I could have stretched out a bit. I’ll keep that in mind should there be a next time.
Well, “anywho,” after performing in Hopkinsville on Thursday evening and helping facilitate a PD at the Community College on Friday morning, I was scheduled to teach and the Virginia Black Dance Festival on Saturday morning and to perform on Saturday evening. My flight landed at 8:30 AM and I had plenty of time to go home, shower, and arrived at Dogtown Dance Theatre about 9:35 AM – in plenty of time for my 10:00 AM class. The session after mine was facilitated by MK Abadoo, who was still in KY. I was able to assist live while she led the workshop virtually. After class and a workshop panel or two, I picked up some food and coffee, ate in the car as I drove home, took a nice nap, and returned to Dogtown for the evening. The Virginia Black Dance Festival, directed by LaWanda Raines, was well attended and I had a marvelous time. I am so glad I was able to participate.
During the following days, I needed to catch up with theatre events here in RVA, so I attended How I Learned to Drive at the Conciliation Lab/The Basement on Sunday, March 20, followed by the Richmond Ballet’s Studio 3 performance on Tuesday, March 22, VaRep’s Dear Jack, Dear Louise at Hanover Tavern on Thursday, March 24, Greater Tuna at Swift Creek Mill on Friday, March 25, and Quill Theatre’s An Iliad at Dominion Energy Center’s Gottwald Playhouse on Saturday, March 26.
Sunday, March 27 I had the honor of sitting in on a rehearsal of Starr Foster Dance. Foster will be premiering a new work, The Apology,at The Basement (300 E. Broad St.) on Thursday, April 7. The program, that also includes a re-working of her humorous quartet, The Bridge, will run for four performances, April 7-9. Starr Foster Dance will also revise Crave – a work that takes place on two sides of a wall and requires the audience to switch sides midway through – for four performances April 1 – 3. For more information and to get tickets, contact Staff Foster Dance at http://www.starrfosterdance.org
Julinda D. Lewis, EdD is a dancer, teacher, and writer who was born and raised in Brooklyn, NY and now resides in Eastern Henrico County, RVA.
There are so many ways I could write about GREATER TUNA. So, I’ll just start and see where this goes.
The first in a series of four satirical plays about the fictional town of Tuna, TX, GREATER TUNA requires two actors to portray twenty citizens of this conservative Texas community. John Hagadorn and Bartley Mullin are so good at quickly transforming from one character to another that it’s almost possible to overlook the content they are sharing that is making us laugh out loud. Hagadorn thoroughly encapsulates the town’s KKK leader Elmer Watkins, with his baseball cap pulled low over his eyes and so convincingly inhabits the characters of town matriarchs Bertha Bumiller and Pearl Burrus that we almost forget he is a male actor portraying these stereotypical southern women. Hagadorn is familiar with the inhabitants of Greater Tuna, having appeared in SCM’s production of A Tuna Christmas (2016-2017 season). This is the Mill’s first production of Greater Tuna, the original play, since 1985, and director Mark Costello returned to steer this wild ride and keep it on track.
Then there’s Bartley Mullin. His interpretation of the chain-smoking used weapons shop owner, Didi Snavely (“if we can’t kill it, it’s immortal) and the whiny and angst-filled teenager Charlene Bumiller are all that and more. His endearing but jumpy Petey Fisk, who works for the Greater Tuna Humane Society (who knew there were enough people in this town to support such an organization!) and the pretentious Vera Carp (Vice President of the Smut Snatchers of the New Order) are wonderfully over the top. Hagadorn, his face hidden behind a newspaper, provides the voice of an annoying puppy Petey is trying to find a home for. It is all but impossible not to laugh and that reminds me of what Swift Creek Mill artistic director Tom Width said of A Tuna Christmas, that he produced and directed in November 2016, “It’s so wrong in the best kinds of ways.”
Right off the bat, we are introduced to Thurston Wheelis and Arles Struvie, the anchors of the town’s radio station, OKKK. The station’s call letters are repeated frequently, and yes, the “KKK” stands for just what you think it does. One of the first bits of news is the announcement of the winners of the town’s essay contest. First place goes to an essay entitled, “Human Rights, Why Bother,” while the second and third place winners are “Living With Radiation,” and “The Other Side of Bigotry.”
Of course there is a group tasked with banning books, to protect the town’s children from undesirable and divisive literature such as Roots, Bury My Heart at Wounded Knee (a book that even students in my NYC high school protested against until the teacher caved in and removed it from the syllabus), Huckleberry Finn (because it showed a child cavorting with a criminal, no mention of “Nigger” Jim), and even Romeo and Juliet (because it portrays young people disobeying their parents). Then there are The Smut Snatchers of the New Order, whose focus is cleaning up the dictionary. Just send them a word you want removed. . .
When a visiting reporter brings up the concept of intellect, Bertha Bumiller, the woman he is interviewing, responds with a deadpan, “I don’t believe we have that here in Tuna.” Act One ends with Pearl Burrus and Stanley Bumiller running over a dog to cover up the fact she poisoned it! In another of Greater Tuna’s few somber moments Stanley, at one point, reveals a dark secret surrounding the sudden death of the town’s judge.
The dilemma, of course, is that Greater Tuna is so authentically hilarious and Hagadorn and Mullin are so darned good that we find ourselves laughing at uncomfortably racist statements and stereotypical images of people that, frankly, most of us have encountered in real life – and some call family. So, how does one approach Greater Tuna? Do you just ignore the racism and bigotry and laugh at the humor? Do you acknowledge the political incorrectness and call it out? And if so, to what purpose? It is, after all, a satire – and it is intended to expose and comment on our stupidity and foibles. But. . .does that make it right, or relevant? I do not have answers to any of these questions. I just know that at least one attendee left at intermission and those who stayed for the final bows seemed happy and satisfied. And yes, I laughed. Without apology.
GREATER TUNA
By Jaston Williams, Joe Sears, and Ed Howard
Cast:
John Hagadorn plays Bartley Mullin plays
Thurston Wheelis Arles Struvie
Elmer Watkins Didi Snavely
Bertha Bumiller Harold Dean Lattimer
Yippy Petey Fisk
Leonard Childers Jody Bumiller
Pearl Burrus Stanley Bumiller
R. R. Snavely Charlene Bumiller
Reverend Spikes Chad Hartford
Sheriff Givens Phinas Blye
Hank Bumiller Vera Carp
Direction and Design Team:
Directed by Mark Costello
Lighting Design by Joe Doran
Costume Design by Maura Lynch Cravey
Scenic Design by Tom Width
Scenic Art by Liz Allmon
Original Music by Matthew Costello
Run Time:
2 hours, 1 fifteen-minute intermission
Tickets:
$49
$44 for seniors, students, military, and first responders.
Photos: from the SCM Facebook page
Greater Tuna at Swift Creek Mill TheatreBartley Mullin and John HagadornBartley Mullin as Petey Fisk
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NOTE: The Basement is a fully vaccinated venue. Proof of vaccination or a negative COVID test within 48 hours of the performance must be shown at the box office and masks must be worn while at the theater.
The title of Paula Vogel’s 1998 Pulitzer Prize-winning play, How I Learned to Drive, is a metaphor for a story so complex that it defies stereotypes. Vogel presents people not as good or bad, victim or victimizer, but as multi-layered and flawed humans. The play is more layered – and even stickier – than a baklava (Greek pastry), and Vogel chose to tell the story in non-chronological order, making it seem even more realistic as the scenes bombard the audience in much the same way as our own memories might arise from the murky depths of an unsuccessfully buried past.
The primary characters in this fractured and dysfunctional family tale are Li’l Bit and Uncle Peck, her maternal aunt’s husband. It says a lot about the nature of this family unit that nicknames are derived from genitalia. The grandfather is Big Papa. Her little cousin is BB for Blue Balls, and her mother is referred to as the Titless Wonder. Li’l Bit, who is never identified by her real name, presented with petite genitalia at birth, and the name stuck, although from her teen years onward she is mercilessly bullied and teased by family and classmates alike for her ample bosom. Uncle Peck is an uncle by marriage, so I don’t think his name is part of this twisted roll call – but he makes up for it in other ways.
Both Li’l Bit and Uncle Peck are given stellar performances by Juliana Caycedo and Jeffrey Cole, respectively. These are the kinds of roles that make people look at you sideways when they encounter you in the produce section of the local supermarket. The rest of the cast – family members, classmates – is played by three actors: Bianca Bryan as the Female Greek Chorus, Mahlon Raoufi as the Male Greek Chorus, and Maggie Bavolack as the Teenage Greek Chorus.
The story, narrated mostly by Li’l Bit with the help of the Greek Choruses, is a surrealistically humorous recounting of sexual abuse and survival cloaked in the guise of driving lessons. It is not surprising that Uncle Peck is an alcoholic; he is not the only one either. Li’l Bit also recounts the all too familiar pattern of women in the family who not only turn a blind eye to the abuse, but also blame the child for being seductive. Aunt Mary, Uncle Peck’s wife, blames Li’l Bit for her husband’s pedophilia (and incest?), waiting for Li’l Bit to go away to college so she can rekindle her marriage. Li’l Bit’s own mother reluctantly allows her daughter to go on a long drive to the beach with Uncle Peck, warning her that she will hold Li’l Bit – a child – responsible if anything happens. There are so many outrageous scenes like this, many of which may trigger memories in audience members as well as cast and staff, that it seems each performance should be followed by a talk-back with a therapist on hand.
How I Learned to Drive is so well performed and so well directed by Chelsea Burke that is should be required viewing. Caycedo is vulnerable and resilient. It is undoubtedly exhausting to play the role of Li’l Bit – especially knowing that there are thousands of Li’l Bits out there still fighting to survive. Cole presents as a really creepy guy, even as the role sometimes calls for him to present as a caring adult. He comforts Li’l Bit when she flees a family dinner, broken by the teasing about her large breasts and the family’s refusal to acknowledge her dreams of going to college. Who needs a college degree to lay on their back? That’s Big Papa’s perspective. Uncle Peck celebrates with her when she passes her driving test on the first try; but he also inappropriately plies her with martinis and oysters. What the hell is the matter with this man? The conflict is brought to the forefront when, at one point, Li’l Bit wisely wonders if someone had groomed or molested him when he was a child.
We applaud Li’l Bit’s survival and her ability to leave Uncle Peck behind, a diminishing image in her rear view mirror. At the same time, we weep for those who are still learning how to drive.
When I attended the Sunday matinee was followed by a talk back with members of the current cast and crew and members of the cast and crew of the 1998 performance, including cast members Gordon Bass and J.B. Steinberg and lighting designer Steve Koehler. The sharing was accompanied by memories and a few tears. Both were needed.
At the time of publication, there are only two more opportunities to see this run of How I Learned to Drive. If you can find a way to get there, run!
HOW I LEARNED TO DRIVE by Paula Vogel
Directed by Chelsea Burke
THE CAST Lil Bit…………………………………Juliana Caycedo Peck……………………………………..……Jeffrey Cole Female Greek Chorus…………….Bianca Bryan Male Greek Chorus…………..…Mahlon Raoufi Teenage Greek Chorus……..Maggie Bavolack
THE TEAM Direction: Chelsea Burke Scenic Design: Alyssa Sutherland Projections Design: Dasia Gregg Lighting Design: Deryn Gabor Costume Design: Maggie McGrann Sound Design: Candace Hudert Properties Design: Kathy Kreutzer Set Construction: Chris Foote Scenic Painters: Faith Carlson, Alyssa Sutherland Assistant Stage Management: Leica Long Associate Direction: Nadia Harika Dramaturgy & Intimacy Direction: Stephanie “Tippi” Hart Production Stage Management: Crimson Piazza
THE SCHEDULE Friday, March 11 at 8pm – Preview Saturday, March 12 at 8pm – Opening Night Thursday, March 17 at 8pm – Student Night Friday, March 18 at 8pm Saturday, March 19 at 8pm Sunday, March 20 at 3pm – Matinee Tuesday, March 22 at 8pm – Community Partner Night Friday, March 25 at 8pm Saturday, March 26 at 8pm – Closing Night
Photos by Tom Topinka
Juliana Caycedo (Li’l Bit) and Jeffrey Cole (Uncle Peck). Photo by Tom Topinka.Mahlon Raoufi, Jeffrey Cole, Juliana Caycedo, Maggie Bavolack, and Bianca Bryan in “How I Leaned to Drive.” Photo by Tom Topinka
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The Richmond Ballet’s ROMEO & JULIET: Shakespeare’s Family Feud on Pointe
A Dance Review by Julinda D. Lewis
By: The Richmond Ballet
At: Carpenter Theatre at Dominion Energy Center, 600 East Grace Street, RVA 23219
Performances: February 18-20, 2022
Ticket Prices: In-Person Tickets $25-$125
Info: (804) 344-0906, etix.com, or richmondballet.com
Romeo & Juliet Choreography by Malcolm Burn
Music by Sergei Prokofiev
Performed by The Richmond Symphony,
Erin Freeman, Conductor
Scenery & Prop Design by Charles Caldwell
Costume Design by Allan Lees
Lighting Design by MK Stewart
It’s that time of year again. February. Some of us still have Valentine’s Day candy and flowers on our desks. It’s Romeo & Juliet season.
I’ve often mentioned to staff at the Richmond Ballet that my biggest – my only – problem with Romeo & Juliet,a ballet that is always performed around Valentine’s Day, is that it is one of the world’s greatest love stories, but the lovers end up dead at the end. Sigh. I think Romeo & Juliet has a higher body count than many action-adventure plots. But it also has some of the greatest – and largest – hats ever to appear on stage (kudos to costume designer Allan Lees).
On a serious note, Romeo & Juliet, running nearly three hours including two twenty-minute intermissions, is an immersive theatrical experience. There’s young love, friendship, family loyalty, classical ballet, folk dancing, comedy, drama, a fabulous score, and more.
This large-scale ballet, created by Richmond Ballet’s long-time Artistic Associate Malcolm Burn premiered August 1977 and was first performed by the Richmond Ballet in February 1995. The ballet includes a huge cast that highlights the students of the School of Richmond Ballet, the Richmond Ballet Trainees, and the Richmond Ballet II company. I found many of the supporting roles provided some of the most interesting and delightful moments of the evening.
Trainee Gabrielle Goodson was cast as the figure of Fate. A non-dancing role, Fate would appear before a death occurred. I never managed to see Goodson move, but suddenly she would appear or shift to a new position on stage. The black-robed and hooded figure was even more ominous because of the silence, stillness, and unimposing stature.
A trio of Harlots (Celeste Gaiera, Sarah Joan Smith, and Izabella Tokev) provided several amusing interludes, with their dancing (sassy romps through the crowd scenes and seductive moments with the men of the town – all of the men) as well as with their costumes (off the shoulder frocks and outrageous wigs that reminded me of a combination of Marge Simpson and the wigs worn by the step-sisters in the Cinderella ballet).
Among other supporting figures that made a big impact was Susan Israel Massey as Juliet’s Nurse. A character role that did not require much dancing, Massey was delightful: loving and loyal to Juliet, daring and subversive in her support of her young charge, and humorous in the marketplace scene.
Ma Cong, the company’s Associate Artistic Director, who took on his role in June 2020 in the midst of a pandemic, was cast in the role of Lord Capulet, Juliet’s stern and unyielding (abusive might not be too strong a word) father. If I am not mistaken, this was his first onstage appearance with the Richmond Ballet.
Ira White was thrilling in the role of Tybalt, Juliet’s passionate and short-tempered first cousin. White engaged in a lot of swordplay with the gentlemen of the rival House of Montague – Romeo and his sidekicks Benvolio (Colin Jacob) and Balthasar (Zacchaeus Page). The fight scenes lit up the stage with a perfect balance of athleticism and art.
As for the title roles, Sabrina Holland danced the role of Juliet, and Khaiyom Khojaev was her Romeo, roles that require equal parts dancing, acting, and mime. There are no long dance scenes in Romeo & Juliet, and no grand pas de deux, so viewers must soak up every brief encounter, every precious stolen duet between the young lovers. The brevity of each encounter, each step, each lift makes their partnership all the more endearing. Personally, in his group scenes I would have liked to have seen Khojaev adopt some of the feistiness required of White. Tybalt certainly had confidence to spare. But in his solo turns Khojaev’s Romeo soared flawlessly.
Paris (Joe Seaton) the contender favored by Juliet’s parents (Ma Cong and Lauren Fagone), is given short shrift. Juliet flicks away his hand every time he tries to touch her. The poor guy is never even in the running. The tension and family dynamics in the scenes with Juliet, her parents, her nurse, and Paris is palpable and presages the unhappy ending that is sure to come.
Overall, Romeo & Juliet is a family-friendly ballet, and one that can be enjoyed by people who say they do not “understand” ballet. And if you don’t recall the details of Romeo and Juliet from high school, there is a handy scene-by-scene synopsis in the digital program. And the familiar score, played live by the Richmond Symphony, can easily stand alone.
I enjoy the intimate Richmond Ballet Studio Performances that are scheduled four times each season, but there is nothing like a full-scale, evening-length ballet and Romeo & Juliet is a personal and audience favorite, judging by the size, diverse composition, and positive reactions of Friday’s opening night house. At the time of this writing, there are two remaining opportunities to see this run of the Richmond Ballet’s Romeo & Juliet.
Julinda D. Lewis is a dancer, teacher, and writer who was born and raised in Brooklyn, NY and now lives in Eastern Henrico County, RVA.
Romeo & Juliet Performance Schedule
Friday, February 18 @7:00PM
Saturday, February 19 @7:00PM
Sunday, February 20 @2:00PPM
COVID-19 Protocols: Upon entering the theatre, all audience members ages 12 and above are required to show printed or digital proof of full vaccination against COVID-19 or of a professionally-administered negative COVID-19 test taken within 72 hours of the performance. Patrons ages 18 and above will also need to show a photo ID. All patrons ages 2 and above will continue to be required to wear masks. Eating and drinking are allowed only in designated areas of the lobby.
Photos of the Richmond Ballet’s Romeo & Juliet. Photos by Sarah Ferguson. All rights reserved.
Enrico Hipolito, Colin Jacob and Ira WhiteSusan Israel Massey and Sabrina HollandSabrina HollandEnrico Hipolito and Ira WhiteKhaiyom Khojaev and Sabrina HollandSabrina HollandKhaiyom KhojaevKhaiyom KhojaevSabrina Holland and Khaiyom Khojaev
A Coming Out Story with Stonewall Jackson, Witch’s Spells, and a Bobolink
A Theater Review by Julinda D. Lewis
At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Ave, RVA 23230
Performances: February 9-March 5, 2022.
Ticket Prices: $30-35; $10 for Students.
Info: (804) 346-8113 or rtriangle.org. Richmond Triangle Theater has returned to full-capacity seating and requires proof of vaccine or recent negative PCR test results for entry. See the theater’s website for their COVID-19 precautions, digital programs, and more.
The best comedy is relatable comedy. It often takes something from life – and it can be something bad – and pokes fun at it. By this standard, Kari Barclay’s new play – winner of Richmond Triangle Player’s So.Queer Playwriting Festival – is outrageously funny. It’s outrageous, period. The humor is a bonus.
STONEWALLIN’ features a “missing” statue of Thomas “Stonewall” Jackson (explaining the rabbit ears around “missing” would be a great big spoiler), a budding bi-sexual romance between a queer woman and a queer man, a friendship between a young Black man and an older white grandmother who spend some of their free time as Civil War re-enactors and some of their time together drinking whiskey and gossiping, and let’s not leave out a spell cast by a self-taught witch that has major unintended consequences. Surprisingly, it all fits together like a gigantic jigsaw puzzle.
STONEWALLIN’ is set in the author’s hometown of Lexington, VA, home of Washington and Lee University and Virginia Military Institute. Other points of interest include the gravesites of Robert E. Lee and Stonewall Jackson as well as the residence of Jackson, a Confederate general. More recent notoriety include the Red Hen Incident; in 2014 then White House Press Secretary Sarah Huckaby Sanders was asked to leave the Red Hen Restaurant because of her role in the Trump Administration. All of this – and more — finds a home in STONEWALLIN’.
What also makes its way into STONEWALLIN’ is a stellar cast, consisting of Levi Meerovich as Tommy Jackson (a direct descendant of Stonewall Jackson), Nora Ogunleye as Marsha Lyons (a transplant from Berkeley, CA who is staying temporarily with her brother while reconnecting with her family roots), Jacqueline Jones as Mamaw Jackson (grandmother of Tommy and a staunch proponent of “heritage, not hate”), Trevor Lawson as Elijah Lyons (brother of Marsha and apparently the proprietor of an unnamed small business), and Chandler Hubbard as General Stonewall Jackson.
While Meerovich and Ogunleye rightfully take the leading roles as the unlikely young couple and share a relationship that is at once endearingly awkward and reluctantly intimate, it is Jacqueline Jones who steals my heart – and the show – as the sassy and sometimes deliberately daft Mamaw. She’s a rebel with or without a cause, just for the hell of it. She argues with her friend Elijah as they return from one of their Civil War re-enactment engagements, yet promises to rally her (Confederate) Flagger friends to support his housing project. She cannot fathom the emerging gender identity of her grandson – grandchild — Tommy, whose preferred attire is some variation of a black dress and earrings, and finds it more acceptable that he would have a relationship with a Black woman than that he could be gay. What a perfect example of the dilemmas posed by the state of affairs in which we currently exist.
Want further proof of how close to home this show hits? Barclay’s world premiere opened the same month that the bases of confederate statues right here in Richmond were being removed. (For those readers not familiar with what’s going on here in Richmond, the recently removed Confederate statues from Monument Avenue and other areas of the city are slated to be given to the local Black History Museum and Cultural Center of Virginia.) As for Elijah, he walks a delicate line between liberal political activist and moderate citizen of a small southern town. Lawson emanates the right demeanor – a balance of impassioned persuasion and moderate reason – to carry this off with authenticity. [Lawson recently appeared in VaRep’s Barefoot in the Park, December 2021https://jdldancesrva.com/2021/12/18/barefoot-in-the-park/and Pipeline,October 2021 https://jdldancesrva.com/2021/10/16/pipeline/]
Chandler Hubbard eases all too comfortably into the role of a southern gentleman who all too easily says things that would have been perfectly acceptable in his day but are seen as searingly offensive and racist in 2022. STONEWALLIN’ is a whole hoot and a holler of a show. Barclay has found the key to talking about difficult subjects, not only making them palatable, but mining] the humanity and liberally seasoning them with humor.
Raja Benz, who also directed Pink Unicorn at RTP [July- August 2021 https://jdldancesrva.com/2021/07/31/the-pink-unicorn/], directed this new work with insight and a big pinch of irreverence. Credit Frank Foster with the scenic design – a Stonewall Jackson pedestal that can be disassembled to create whatever minimal set pieces might be needed for any given scene – and Michael Jarett with the lighting design. Kudos to Candace Hudert for an appropriate and interesting sound design. All the elements – including rearranging the audience seating so that some were actually seated onstage – worked together to create an energized, intimate, and welcoming atmosphere. The ending is left somewhat inconclusive, leaving open the possibility for more to come.
STONEWALLIN’ runs through March 5, so there’s still time to go and find out about that “missing” statue.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County, VA.
STONEWALLIN’ – A World Premiere
Written by Kari Barclay, winner of RTP’s Inaugural So.Queer Playwriting Festival
Directed by Raja Benz
CAST:
Tommy Jackson……………………… Levi Meerovich
Marsha Lyons ……………………….. Nora Ogunleye
Mamaw Jackson ……………………. Jacqueline Jones
Elijah Lyons ……………………….…. Trevor Lawson
Stonewall Jackson ………………….. Chandler Hubbard
CREATIVE TEAM:
Scenic Design by Frank Foster
Costume Design by Claire Bronchick
Lighting Design by Michael Jarett
Sound Design by Candace Hudert
Hair and Make Up Design by Carolan Corcoran
Properties Design by Tim Moehring
Dramaturg Katharine Given
Intimacy Choreographer Kirsten Baity
Dialect Coach Louise Casini Hollis
Assistant Director Kendall Walker
Assistant Intimacy Choreographer Kevin Kemler
Technical Director Rebecka Russo
Assistant Stage Manager Dwight Merritt
Production State Manager Kasey Britt
Photo Credits: Tom Topinka
L-R: Levi Meerovich, Chandler Hubbard, Nora OgunleyeTrevor Lawson and Jacqueline Jones
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Watching four other people play a game of monopoly could be about as exciting paint dry, After all, it is a long and sometimes slow-moving game, and not exactly the sort of thing that draws spectators. Yet this is exactly what playwright Nagle Jackson expects us to do.
Under the smart direction of Amber dePass, and with an amiable cast led by Crystal Oakley, A HOTEL ON MARVIN GARDENS is both an amusing evening of live theater and an opportunity to use a board game that celebrates capitalism as a metaphor for the use and mis-use of corporate power.
Set on a private island whose owner and sole resident, K.C. has named her magazine ME, A HOTEL ON MARVIN GARDENS ironically takes place on April Fool’s Day. It is a long-standing tradition for K.C. to host an annual gathering on April 1st, the centerpiece of which is a game of Monopoly that comes with a boatload of unwritten rules. K.C. always gets the top hat. K.C. always gets Marvin Gardens, the most expensive property on the board. And K.C. always wins.
On this occasion, K.C. (Oakley) is joined by her publisher and weekend lover Bo (Aaron Willoughby), her Managing Editor Henry (Joshua Mullins) whom she plans to fire after the party, and his plus one, Erna (Kyle Billeter) who is the magazine’s food editor. At the end of Act One, just as we’re beginning to think this is going to be a long and uneventful day, the author shakes things up by tossing in a surprise visitor. Rose (Liv Meredith) found herself stranded after turning down the advances of her date; angered, he gets in his little boat and leaves her stranded on the island in the middle of a storm. Rose surprises many in the audience when she reveals she is a teacher. Her language and demeanor could have belonged to a high school or college student, but Henry soon takes note of her.
Willoughby’s Bo is a low-key and suitable foil for Oakley’s over-bearing and narcissistic K.C.
I’m not sure what to think of Henry. At times he stands up for himself with confidence, at times he gives in to pretentious free-spirited outbursts, and then there are those other, uncharacterizable moments. I personally was outraged when, during a scheduled bread in K.C.’s precise schedule for game day, Henry went outside and urinated on the rocks – only to come back inside, pick up his drink, and return to the bar without washing his hands!
Billeter’s portrayal of the quirky food critic Erna is undoubtedly the most lovable character. And of course, she raises K.C.’s hackles. No one appears to notice when, on at least two separate occasions, Erna drops her indeterminate European accent when reminiscing about the joys of tuna melts and tuna casseroles, and even lets it slip that her mother was the Queen of Velveeta. Hmm.
A HOTEL ON MARVIN GARDENS seemed to be just what the welcoming audience needed. It was also a minor triumph for CATTheatre, which became a nomadic troupe in the midst of a pandemic. Their first show after emerging from behind masks was performed at Atlee High School. This one found a home at Dogtown Dance Theatre in Manchester, and the next performance will head west to HatTheatre. Undaunted, the show must go on! A HOTEL ON MARVIN GARDENS has one more weekend of performances, February 11 & 12, at Dogtown Dance Theatre. Just remember, K.C. always gets the top hat and K.C. always wins – even if it means she’s left all alone. Oh, and enter K.C.’s kitchen at your own peril. And you should probably avoid the Pump House…
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
A HOTEL ON MARVIN GARDENS
Written by Nagle Jackson
Directed by Amber dePass
Cast
K.C. Crystal Oakley
Bo Aaron Willoughby
Henry Joshua Mullins
Erna Kyle Billeter
Rose Liv Meredith
Design Team
Stage Manager Nancy McMahon
Assistant Stage Manager, Costume Design, Set Dresser Jenn Fisher
The two actors who play ALL the characters in MURDER FOR TWO come onstage wearing birthday party hats, and immediately begin a series of zany and wordless shenanigans. Their wacky introduction requires them to dress the stage with pedestals, vases filled with flowers, magician’s trick bouquets, and comic sound effects. The stage itself, designed by Tom Width, features stall Greek columns, crazily angled doors, and portraits over the fireplace that have as many as seven sides and angles. A baby grand dominates the center of the stage and could very well be given credit as a third character. As the play progresses it becomes clear that this musical comedy murder mystery, written by Joe Kinosian and Kellen Blair is, as Director Tom Width describes it in his program notes, “quirky in the best possible ways.”
Mark Schenfisch plays Marcus Moscowicz, an ambitious police officer with all-consuming dreams of becoming a detective. Marcus initially appears as to be insufferably arrogant and narcissistic, but Schenfisch gradually digs down and mines the underlying integrity that drives his character.
Most remarkable, however, is Emily Berg-Poff Dandridge who plays ALL the other characters – with one notable exception I will not reveal here because I don’t want to spoil it for those of you who have not yet seen MURDER FOR TWO.The mystery revolves around who killed the prolific author Arthur Whitney who was unceremoniously murdered as he arrived for his own surprise birthday party as the remote mansion where he lives – or lived – with his wife. It is worth noting that Whitney was not well liked. All who gathered to celebrate his birthday had appeared as a character in one of his books, making them all plausible suspects.
Dandridge play the roles of the newly widowed Dahlia Whitney, the Whitney’s feisty and constantly bickering neighbors, Murray and Barb Flandon, Whitney’s talkative and over-achieving niece Stef, a well-known ballerina names Barrett Lewis who has a vaguely Russian accent that does not match her name, Dr. Griff – a local psychiatrist who conveniently ignores the ethics of doctor-patient confidentiality – and, last but not least, Timmy, Yonkers, and Skid, the only remaining members of a twelve-member boys’ choir who were invited to provide entertainment for the birthday party.
As required by the script, Dandridge swiftly transitions between these nine characters using a pair of large round eyeglasses and a red baseball cap as the only notable props. The majority of the characterizations are accomplished through shifting the actor’s center of gravity, changing the posture, and adjusting the voice, accent, and phrasing – often in mid-sentence. The result is that Dandridge often interrupts herself and does it so well we almost forget that there is a single actor creating multiple characters. Thank you, Emily Dandridge, for an outstanding performance.
As far as mysteries go, the authors have written in enough details, anecdotes, and red herrings to keep things interesting. The biggest of these is Dahlia Whitney’s increasingly colorful, complex, and loud musical confessions.
And then there’s the piano. MURDER FOR TWO is a musical, but not the breaking-into-song or catchy-show-tunes type of musical. Instead of the usual offstage band, both actors play the piano, using it like anther character’s voice or as a substitute for their own. Sometimes they do sing, but most often the piano seems to be another voice rather than an instrument to accompany the human voices. Speaking of voices there is one character who is NOT voiced by Dandridge who is represented by a sound effect reminiscent of the muted trombone voice of the invisible adults on Peanuts animated shows.
MURDER FOR TWO is filled with a steady stream of surprises. The director makes sure the pace rarely lags. This show might even trigger sensory overload for some viewers. The story is complex enough to hold the audience’s attention for ninety minutes with no intermission and the lighting is as wacky as the plot. I especially liked the effect of the arriving automobiles, and there are plenty of other special effects that surprise, stun, and amaze. The physical set screams comedy, and the writers and actors have successfully met the challenge of this hybrid genre of theatre without detriment to either the comedy or the mystery elements. The rapid transitions and complexity sometimes make it a challenge for the audience as well, and there are occasional asides or moments when the audience is directly addressed – giving us a moment to catch up. MURDER FOR TWO is “extra” and that’s one of the best things about it.
MURDER FOR TWO
Book and Music by Joe Kinosian
Book and lyrics by Kellen Blair
Cast:
Mark Schenfisch as Marcus Moscowicz
Emily Berg-Poff Dandridge as The Suspects
Direction and Design Team:
Directed by Tom Width
Musical Direction by Mark Schenfisch
Costume Design by Maura Lynch Cravey
Lighting Design by Joe Doran
Scenic Design by Tom Width
Technical Direction by Liz Allmon
Run Time:
90 minutes, no intermission
Tickets:
$49
$44 for seniors, students, military, and first responders.
Photos: Robyn O’Neill
Mark Schenfisch and Emily Berg-Poff Dandridge in MURDER FOR TWO. Photos by Robyn O’Neill for Swift Creek Mill Theatre.
A New One-Person Show That Explores the Question: What Does Survival Mean to You?
A Theater Review by Julinda D. Lewis
At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Ave. RVA 23230
Performances: January 13 – 23, 2022
Ticket Prices: $10 – $40
Info: (804) 346-8113 or rtriangle.org.
Have you ever been to a production where you clapped at the end, not because of the content of what you had just experienced, but because you could think of no other way to acknowledge the artist’s performance? That’s what the audience collectively experienced on Thursday night after Alan Palmer uttered the final words of Chanteuse: A SurvivalMusical.
Palmer wrote the script and lyrics and stars in this moving one-person musical, set in Berlin in 1933. The music is by David Legg and for this limited Richmond run the inimitable Kim Fox performed the roles of musical director and conductor.
Walking into the space, the audience was immediately drawn into the scene. Small tables with lamps lit by flickering tea candles that suggested the intimacy of a Berlin club were distributed throughout the house. The stage itself was darkly lit, suggesting something ominous was about to happen. There was a mannequin with a dark gown or robe topped by a dark wig, and there were several set pieces covered in black fabric. The darkness, however, was not just a physical effect of the lighting, and stage properties, but there was also a palpable emotional element that lingered heavily, a portent of things to come.
The back wall was mostly brick but accented with a center arch that served as a projection screen and two sections of rough-hewn wooden pallet on either end. The horizontal slats of the pallet sections suggested some sort of confinement, while allowing a glimpse of the band stage left. That’s how I was able to see that the instrument that was churning out soul-tearing melodies was actually a bass, although Jonathan Wheelock magically and skillfully made it sound like a cello.
Palmer entered into this space and immediately captivated the audience with the horrific story of one queer man’s tale of life and survival in Nazi Germany, where being queer, a cross-dresser, Jewish, or mentally or cognitively challenged were sufficient cause for being detained, brutalized, and ultimately killed.
But all was not doom and gloom. The first half of the one-hour solo musical, performed without intermission, had several moments that allowed Palmer, an actor, dancer, and real-life Power Ranger (he played Corcus on The Mighty Morphin Power Rangers TV series, 1993-1996) to dance, strut, change clothes, tease, titillate, and morph from a gay male performer to living life full-time as a female chanteuse in a supper club in Berlin.
A raid on Club Silhouette sends his life (do we ever really learn his name? he is telling his own story, so we never hear anyone call him by name) into a tailspin. Now, if you plan to see this show, you might want to skip the next paragraph, but since this is a limited run, by the time you read these words the show will likely have closed, therefore what follows is technically not a spoiler – I am alerting you out of courtesy so that you know that I am a civilized and cultured person. So…on that note…
The sudden death of his long-time landlord turns out to be a blessing in disguise. You see, they had become friends, and even looked somewhat alike, so it seemed like the best way to honor his friend’s memory (there are untold secrets involved) and simultaneously assure his own safety from the homophobic Nazi’s was to assume the identity of the late Frau Friederick. On the positive side, this transformation led him to find true love. Ironically, our protagonist transformed from a gay male into a woman in order to protect himself from the Nazi’s only to discover – too late – that Frau Friederick had been hiding the fact that she was Jewish.
Chanteuse begins in the decadence, freedom, and sometimes glamor of the Berlin club scene and ends, not with a bang but a whimper, in the soul-killing Sachsenhausen concentration camp – a labor camp for prisoners and training ground for SS officers that housed separate sections for political prisoners, Jehovah’s Witnesses, Soviet POWs, Poles, Jews, Homosexuals, and Freemasons. While there, he reunites, briefly with his partner, Yakob, to whom he was illegally yet lawfully married (using Frau Friederick’s ID). Is it any wonder this leads him to begin to pray in Hebrew? “Baruch ata Adonai, eloheinu melech ha’olam, sh’hecheyanu, v’kiyemanu, V’higianu, lazman, hazeh.” (Praised are You, the Eternal One our God, Ruler of the Cosmos, who has kept us alive, sustained us, and enabled us to reach this moment.)
And here we have the point of the plot. Survival. In this moment. And suddenly the past is united with the present and the future. A moment in time telescopes into another moment in time. Past becomes present, and we have to ask ourselves, what have we learned? Indeed, what have we done?
So you see, it was necessary to explain the applause. The applause was not for the experience we had all just shared. The applause was not for the message we were processing. The applause was for the messenger, and the brilliant and unpretentious way he delivered that harsh message.
Chanteuse: A SurvivalMusical is/was here in RVA for only eight performances, and Palmer has plans to open in London sometime later this year. I haven’t yet been to London, but I always keep my passport up-to-date. Now I know that flying off to London to see a show may not be realistic for most of us; my point is that this intelligently and beautifully produced musical needs to be seen.
Kudos to director Dorothy Danner for keeping Palmer’s pacing and blocking flowing organically and breathing a breath of life into these words that Palmer then exhaled over us all. David Legg’s music was dynamically connected to Palmer’s words, and Kim Fox’s musical direction guided us along the right paths of emotion.
Chanteuse: A Survival Musical
Created by and Starring Alan Palmer
Director – Dorothy Danner
Music – David Legg
Book and Lyrics – Alan Palmer
Lighting Design – Joe Doran
Audio Engineer – Brandon Duncan
Technical Direction – Vinnie Gonzalez
Production Stage Manager – Crimson Piazza
Musical Director and Conductor – Kim Fox
The Band – Kim Fox (Conductor and keyboards), Chris Sclafai (saxophone), Joe Lubman (percussion), Jonathan Wheelock (bass)
Richmond Triangle Players at the Robert B. Moss Theatre in association with Palmer Productions
Richmond Triangle Players at the Robert B. Moss Theatre has returned to full-capacity seating and requires proof of vaccines or recent PCR rest results for entry. See the theater’s website for their COVID-19 precautions, digital programs, and more.
The Latin Ballet of Virginia has been presenting The Legend of the Poinsettia for 20 years now, and I think we can officially declare this vibrant and colorful production a holiday tradition.
How long does it take for something to achieve the status of tradition? Merriam-Webster offers several definitions, including:
1a : an inherited, established, or customary pattern of thought, action, or behavior
1b : a belief or story. . . relating to the past. . .commonly accepted as historical though not verifiable
2 : the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction
3 : cultural continuity in social attitudes, customs, and institutions
With a cast of past and current artists, Latin Ballet founder and Artistic Director Ana Ines King said the anniversary production of The Legend of the Poinsettia “is like going back to when we started.” Before King introduced this home-grown holiday classic to the Richmond community, “few knew how Christmas was celebrated in Latin America,” said Marisol Cristina Betancourt Sotolongo, a dancer and Education Program Assistant for the company. Sotolongo performed in the show’s debut at the Carpenter Center in January 2002. “I was four years old,” she recalls. “The Legend of the Poinsettia has become one of my favorite shows. It is kept fresh with new dancers, dances, and scenery.” The Poinsettia pays homage to King’s mother’s dance legacy in Columbia and honors the true spirit of giving through dance, music, and storytelling.
King is from Columbia as is guest artist Ginna Milena Pedraza, founder of Duncan Danza. Sotolongo’s family is Cuban. Guest artist Pedro Szalay, a co-founder of The Latin Ballet of Virginia and current Artistic Director of Southwest Virginia Ballet is from Venezuela. The dancers perform in authentic costumes from Manzanillo, Mérida, and Zacatecas, all in Mexico. The Legend of the Poinsettia encompasses the history of the poinsettia plant, the story of a little girl who discovers the true meaning of giving, and celebratory customs from Mexico, Columbia, Spain, the Dominican Republic (incorporating Cuban dance styles), and Venezuela.
In a beautiful duet, the dancers portraying Joseph and Mary perform a romantic dance that sheds new light on the famous couple’s relationship. Later, in a trio, the family featured in the story echo some of the movements from the duet.
Large ensembles of children, youth, and adults fill the stage with color and rhythm. They exude a high level of energy that often has the audience clapping along, and the one young man, with a mop of curly hair falling appealing over his forehead and glasses, promises to become a strong dancer and partner.
From pageantry to revelry, from the Three Kings clad in glittery finery to an abstract representation of the poinsettia, from Christmas songs – some performed live – to dynamic examples of folk dances (aguinaldos, gaitas, rumbas, and plenas), spiced with contemporary hip hop, capoeira, The Legend of the Poinsettia is engaging and joyous. Most of all, with its diverse cast and traditions, it is educational and inclusive. There is no need to worry about little ones not wanting to sit still – although one fleet-footed little audience member made a mad dash for the stage on Friday night; clapping, singing along, and call and response are the norm here. With children, youth, and adults sharing the stage, the movement is not always perfectly in sync, but it is always heart-warming.
PERFORMANCES
Performances January 6 – 9, 2022 The Cultural Arts Center at Glen Allen 2880 Mountain Road Glen Allen, VA 23060 Thursday, January 6 at 10:30am (Field Trips for schools) Friday, January 7 at 10:30am (Field Trips for schools) Friday, January 7 at 7:30pm Saturday, January 8 at 3:00pm & 7:30pm Sunday, January 9 at 3:00pm
Get a glimpse of The Legend of the Poinsettia here:
Note: Portions of this review were originally written for Richmond Magazine.
Photo Credits: Photos of past performances of The Legend of the Poinsettia from the LBV website
First, let’s be clear: yes, it’s December, and SURPRISE! – Neil Simon’s BAREFOOT IN THE PARK is not a Christmas show. What it is, is a delightful romantic comedy that appears to be as much fun for the actors as it is for the audience.
The plot is a simple one: two newlyweds move into their first apartment after spending their honeymoon is an upscale New York City hotel. Their new home is a fifth floor walk up in a Manhattan brownstone. Let’s just say it’s a fixer-upper. There’s a kitchenette, a bathroom with no bathtub (but at least the bathroom is inside the apartment – those familiar with old New York apartments know what I’m talking about), and a bedroom so small that when you open the door it hits the double bed, which you have to climb over to reach the closet, which is leaking. Speaking of leaks, there is a hole in the skylight – you know, the window in the roof – and it’s February. The apartment quickly drives home this young couple’s differences: she’s impulsive and free-spirited and he is a conservative lawyer who is more compatible with his mother-in-law than her own daughter has ever been.
Rachel Rose Gilmour was perfectly cast as newlywed housewife Corie Bratter. (And yes, I’m using the terms that would have been used in 1968.) Her brightly colored wardrobe captures both the period and her character’s personality. Trevor Lawson demonstrates enviable restraint as the husband who is hit with one surprise after another: the rent is twice as much as Corie is willing to tell her mother they actually pay; Paul saw the third floor apartment prior to moving in, not realizing their apartment was on the fifth floor – not counting the outside stoop, and of course there is the matter of the tiny kitchen, the lack of a bathtub, and the miniscule size of the bedroom. To make matters worse, their furniture is delayed.
As compelling as Gilmour and Lawson are, it was Jill Williams, reprising her 2005 role as Corie’s mother, Ethel Banks, who stole the show. Williams reminds me – and I truly mean this as a compliment – of Carol Burnett. Her carriage, her facial expressions ( especially when commenting on her daughter’s apartment), her gestures, her delivery all work together to deliver pure, belly laughing comedy. I simply loved Jill Williams in this role. Opposite Williams was Joe Pabst, also reprising his role as the eccentric neighbor Victor (pronounced “Wicktor”) Velasco. How eccentric is he? I am glad you asked. Not only does he cavort about in a beret, a dressing gown, and slippers, he is a shameless flirt and moocher, and we first meet him when he knocks on the Bratters’ door so he can climb through their window to gain access to his attic apartment, But I won’t give it all away. Go see it to find out why, it’s well worth the trip.
Supporting roles include Quan Chau as the telephone repair man and Williams’ husband Eric Williams as a delivery man. Who’s old enough to remember when the telephone was connected to the wall and the phone number was alpha-numeric? The Bratter’s new phone number was El Dorado 5-8191.One further cast note – and I had to think about whether to mention this at all, but I think it is relevant. This cast of Barefoot in the Park is an example of color-blind casting. Yes, an Asian actor plays the telephone repair man, but even more significantly, the leading man is played by a person of color. It would have been quite unusual to see an interracial couple in New York in 1968, or a black male lawyer living in midtown Manhattan who was completely accepted by his white mother in law who lives in New Jersey. Yeah. All of that would have made this an entirely different type of play – and the word “comedy” would not have been part of it.
While much less elaborate than many period apartments that have been constructed on the Hanover Tavern stage, Terrie Powers’ set design quickly transformed from a hideous empty shell into a warm and inviting home with just a few pieces of furniture and some well-chosen decorations. Logistically, there were a couple of things that seemed a little off. The fourth wall apparently held a mirror, but sometimes the actors seemed to be looking through the wall. And the other was the existence of a wood-burning stove in the apartment which may not have been a housing code violation in 1968 but it would certainly have been unlikely for a landlord to allow a tenant to use it.
There is plenty of physical comedy in Barefoot in the Park, much of it stemming from the never-ending flights of stairs. Director Jan Guarino set a brisk pace, and the cast maintains the standard she set. There are falls (or near misses), an accident, a drunken scene, and missing clothes. There is the running joke of using the Bratter bedroom to access Victor’s apartment. Corie, Paul, and their visitors must navigate each time they enter or exit the building. After a wild night on the town – after Corie tricks her mother into going on a blind date with Victor – Paul ends up climbing the stairs with his MIL on his back. And since it’s February, we cannot really be surprised when a few snowflakes drift through the open skylight.
Barefoot in the Park addresses big themes like opposites attract, the importance of being yourself, and the power of love. But the comedy is what makes this spirit-lifting winner.
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FUN FACT: The average rent for a NYC apartment in 1970 was $102. The average rent for a 1-bedroom apartment in NYC in 2021 is $3,250 and is closer to $4,000 per month in the midtown neighborhood where Neil Simon’s play is set. Corrie and Paul are paying about $145 per month, but she insists on telling her mother they are paying only about $75.63.
FUN FACT: Corie and Paul spent their Honeymoon at the Plaza Hotel. In 1968 the Plaza cost $30 per night; current rates are about $850 per night.
FUN FACT: A Brownstone is a rowhouse, made of brick fronted with brownstone that was originally popular because of its natural look and low price, compared to other stone finishes. Found mostly in Brooklyn and Manhattan, brownstone homes were originally single-family homes. Many were subdivided into apartments. Most existing brownstone homes are about 100 years old, and as they are no longer constructed the prices have gone up. When I graduated from high school in 1973 my grandmother sold the small Brooklyn brownstone where I grew up for $30,000. Now, 48 years later, it is currently assessed at $1,149,500.
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Barefoot in the Park
by Neil Simon
Directed by Jan Guarino
Cast
Corie Bratter ……..………… Rachel Rose Gilmour
Paul Bratter ………;;;;;……. Trevor Lawson
Ethel Banks …………….….… Joy Williams
Victor Velasco ………………. Joe Pabst
Telephone Repairman …. Quan Chau
Delivery Man ………….…….. Eric Williams
Ethel Banks understudy .. Terrie Powers
Creative Team
Scenic Design: Terrie Powers
Costume Design: Sue Griffin & Marcia Miller Hailey
Lighting Design: Matt Landwehr
Sound Design: Jacob Mishler
Stage Management: Sam Shahinian
Run Time: 2 hours and 10 minutes including 2 intermissions
Note: At this time, no food or drink is allowed inside the theater
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
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Photo Credits: Aaron Sutten
Rachel Rose Gilmour and Trevor Lawson. Photo by Aaron Sutten.Rachel Rose Gilmour, Joy WIlliams and Trevor Lawson. Photo by Aaron Sutten.Rachel Rose Gilmour and Trevor Lawson. Photo by Aaron Sutten.Joe Pabst and Rachel Rose Gilmour. Photo by Aaron Sutten.Joy Williams and Joe Pabst. Photo by Aaron Sutten.Rachel Rose Gilmour, Joy Williams and Joe Pabst. Photo by Aaron Sutten.Scenes from Barefoot in the Park at Hanover Tavern. Photos by Aaron Sutten.
At: Carpenter Theatre at Dominion Energy Center, 600 East Grace Street, RVA 23219
Performances: December 11-23, 2021
Ticket Prices: In-Person Tickets $25-$125
Info: (804) 344-0906, etix.com, or richmondballet.com
The Nutcracker Choreography by Stoner Winslett
Music by Peter Ilyich Tchaikovsky
with The Richmond Symphony,
Erin Freeman, Conductor
Production Conceived by Stoner Winslett and Charles Caldwell
Artistic Direction & Choreography by Stoner Winslett
Scenery & Prop Design by Charles Caldwell
Christmas Tree Design by Alain Vaës
Costume Design by David Heuvel
Lighting Design by Richard Moore
Associate Lighting Design by Jim French
It’s December 2021 and in three months we will mark a most unlikely anniversary – two full years of living with a global pandemic. After months of learning the differences between social distancing, quarantine, and isolation, live theater has settled into a new routine of live performances. First, there were limited-seating performances with virtual streaming options. The new standard is to allow fully-vaccinated people to attend live performances with few seating restrictions. Patrons must show proof of vaccination and remain masked. Oh, and in the larger venues, you can forget about visiting the bar; it’s closed until further notice. All of this takes some adjusting, but it’s worth it to be able to experience the singular joy of attending a live show.
The Richmond Ballet’s holiday standard, The Nutcracker, was not performed live last year due to the pandemic, but it’s back this year and opened on Saturday, with a few modifications that did nothing to diminish the excitement of joining young Clara on her journey to Confitenberg, the Land of Sweets. Small children and adults sat mesmerized from the moment the Richmond Symphony began the familiar strains of Tchaikovsky’s score until the elaborate curtain dropped after Clara woke up from her adventure.
This year’s production of The Nutcracker is special for two reasons: it is the first live production since the world shut down in March 2020, and this is the last year to see the familiar Nutcracker costumes and sets before they get a make-over for 2022. You can expect three acts and two intermissions (although you cannot take drinks or food to your seats), but I noticed that when the clock struck twelve times only six little mice appeared instead of twelve, and the most obvious change was the absence of Mother Ginger and the dozen little dancers that hide under her voluminous hoop skirt. And of course, with nine new members in this company this season, there are lots of new casting choices to experience.
Adhya Yaratha dances the coveted role of Clara, the recipient of the magical nutcracker doll. Yaratha, a student at The Steward School, was recently featured as a “Standout Spartan” in her school’s newsletter. She revealed that she has been dancing for 13 years and “for much of that time” dreamed of being cast as Clara. She danced with grace and confidence and made a delightful Clara.
Bladen Kidd held his own as Clara’s recalcitrant little brother, a band of boys on a series of humorously disruptive raids against the girls at the Silberhaus’ annual Christmas party. Carter Bush (RB Trainee) proved to be an attentive apprentice to his uncle, the mysterious Dr. Drosselmeyer (the recently retired Fernando Sabino returning as a guest) and a courteous Nutcracker Prince accompanying Clara on her adventures in the Kingdom of Sweets.
The predictability and tradition of The Nutcracker are part of its charm, and seemed especially important this year: they were signs of stability and normalcy. Whoever thought a magical growing Christmas tree and a swan sled could represent stability?
Sabrina Holland and Khaiyom Khojaev danced the “other” leading roles – you know, the adult ones – the Sugar Plum Fairy and her Cavalier. They welcome Clara and her Prince to the Kingdom of Sweets and close Act Three with a grand pas de deux that epitomizes the lightness of the Romantic ballerina and the supportive role of the male dancer, with both attacking their technique with relish and flair.
All the favorite characters are there and there are plenty of roles for Richmond Ballet II, the Trainees, and the students of the School of the Richmond Ballet. The battle between the Mouse Army and the Regiment Soldiers features Jackson Calhoun (RB II) in the comedic role of the Mouse King. Principals Izabella Tokev and Joe Seaton deliver a picture perfect ice blue pas de deux as the Snow Queen and Snow King, attended by a corps of a dozen Snowflakes. Celeste Gaiera and Patrick Lennon, Marjorie Sherman and Jack Miller dance a Spanish jota with flair. Naomi Robinson and Ira White revive the sensual Snake and her Charmer, and Naomi Wilson dances the acrobatic role of Tea, accompanied by a group of Chinese dragon dancers.
Sarah Joan Smith and Colin Jacob (both first year company members) are the Shepherdess and Shepherd who shelter a half dozen little lambs who steal the show. They have masks added to their costumes this year which fit perfectly with their costumes. Paul Piner, Roland Jones, and Zacchaeus Page, all members of RB II, are the ever-popular Russian dancers with their very hip dancing bear (Piner), and Eri Nishihara dances the role of the bedazzled butterfly, surrounded by a dozen Candied Flowers.
The diverse and multi-generational cast is an apt reflection of the audience and represents the best of what this season represents. It’ so good to have The Nutcracker back onstage at The Carpenter Theatre this year; there is nothing like live theater to offer a magical escape from the everyday and mundane.
The Nutcracker Performance Schedule
Saturday, December 11th, 2021 @2:00pm and 7:00pm
Sunday, December 12th, 2021 @1:00pm and 4:30pm
Saturday, December 18th, 2021 @2:00pm and 7:00pm
Sunday, December 19th, 2021 @1:00pm and 4:30pm
Wednesday, December 22nd, 2021 @7:00pm
Thursday, December 23rd, 2021 @2:00pm
COVID-19 Protocols: Upon entering the theatre, all audience members ages 12 and above are required to show printed or digital proof of full vaccination against COVID-19 or of a professionally-administered negative COVID-19 test taken within 72 hours of the performance. Patrons ages 18 and above will also need to show a photo ID. All patrons ages 2 and above will continue to be required to wear masks.Please note: Proof of a negative COVID test is not required for children under the age of 12.
Photos Credits: Sarah Ferguson
Fernando Sabino with Adhya Yaratha and Bladen KiddJackson CalhounIzabella Tokev and Joe Seaton with Adhya Yaratha and Carter BushIzabella Tokev and Joe SeatonCeleste Gaiera and Patrick LennonNaomi RobinsonNaomi WilsonEri NishiharaEri Nishihara
