Author: jdldances

Julinda D. Lewis is a dancer, teacher, and writer, born and raised in Brooklyn, NY and transplanted to Richmond, VA. A retiree from both the New York City and Richmond City Public School systems, she is currently an Adjunct Instructor for the Department of Dance and Choreography at Virginia Commonwealth University, and holds the degrees of BS and MA in Dance and Dance Education (New York University), MSEd in Early Childhood Education (Brooklyn College, CUNY), and EdD in Educational Leadership (Regent University). Julinda is the Richmond Site Leader for TEN/The Eagles Network and was formerly the East Region Coordinator for the International Dance Commission and has worked in dance ministry all over the US and abroad (Bahamas, Barbados, Haiti, Jamaica, Kenya, Puerto Rico). She is licensed in dance ministry by the Eagles International Training Institute (2012), and was ordained in dance ministry through Calvary Bible Institute and Seminary, Martinez, GA (2009).

THE SUNNY SIDE

Are Your Dreams Big Enough? The Songs and Story of the Original Carter Family

At: The Swift Creek Mill Theatre, 17401 U.S. Route 1, S. Chesterfield, VA 23834

Performances: April 1 – May 6, 2023

Ticket Prices: $49 with discounts for students, seniors, and veterans; rush tickets $25 at the door when available

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

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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SILENT SKY

The Knowing of the Not Knowing

A Theater Review by Julinda D. Lewis

Presented by CAT – Chamberlayne Actor’s Theatre

At: The Stage Door Space at Atlee High School, 9414 Atlee Station Rd, Mechanicsville 23116

Performances: March 24 – April 2, 2023

Ticket Prices: $24.00 General Admission. $22.00 Seniors

Info: http://www.cattheatre.com

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 19^th 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.

SILENT SKY

Written by Lauren Gunderson

Music by Jenny Giering

Directed by Charles A. Wax

Cast

A.G. Sweany as Henrietta Leavitt

Amber James as Margaret Leavitt

Colton Needles as Peter Shaw

Sharon Hollands as Williamina Fleming

Sandra Clayton as Annie Jump Cannon

Creative Design Team

Director – Charles A. Wax

Stage Manager – Joey Bishop

Costume Design – Becky Jones

Assistant Costume Design – Kristen Blair

Lighting & Projection Design – Jason Lucas

Set Design – Scott Bergman

Sound Design – Charles A. Wax

Student Designers – Parish Lewis & Pippin Sparrow

Dates

March 24 – 26

March 31 – April 2

Ticket Information

www.cattheatre.com

Ticket prices: $24.00 General Admission, $22.00 Seniors.

Run Time

The play runs about 2 hours with 1 intermission

Photo Credits: Daryll Morgan Studios

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JASON MARKS IS ZERO MOSTEL

The Third Choice: Comedy Fueled by Real Life

A Theater Review by Julinda D. Lewis

A Jewish Family Theatre Presentation

At: The Sarah Bell November Theatre at the Weinstein JCC, 5403 Monument Ave., RVA 23226

Performances: March 29 – April 2, 2023

Ticket Prices: $20 for JCC Members; $25 for non-members

Info: (804) 285-6500 or https://weinsteinjcc.org/programs/arts-and-ideas/zero-hour/

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

Photos by Todd Schall-Vess

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FIRST RESPONSES

A Festival of World Premiers Written by First Responders

FIRST RESPONSES

A Festival of One-Act World Premieres by First Responders

A Theater Review by Julinda D. Lewis

At: The Firehouse 1609 West Broad St., Richmond, RVA 23220

Performances: March 23 – April 15, 2023

Ticket Prices: $35 general admission, $20 students

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

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

David Robbins – Dramaturg/Co-Producer

Emily Vial – Festival Coordinator

Todd LaBelle – Production Designer

Kate Statelman – Composer

Andrew Bonniwell – Lighting Designer

Anna Bialkowski – Costume Designer

Colin Lowrey II – Costume Assistant

Jake Buccella – Dramaturg/Assistant Director

Jae Austin, Dennis Bowe, Aleta Findlay, Emily Vial – Stage Managers

Performance Schedule:

ALL 4 PLAYS ARE PERFORMED EVERY PERFORMANCE

THERE WILL BE A TALKBACK AFTER EVERY PERFORMANCE

Wed March 22 @ 7:30pm (preview)

Thu March 23 @ 7:30pm (preview)

Fri March 24 @ 7:30pm (preview)

Sat March 25 @ 7:30pm (opening)

Thu March 30 @ 7:30pm

Fri March 31 @ 7:30pm

Sat April 1 @ 7:30pm

Sun April 2 @ 3pm

Thu April 6 @ 7:30pm

Fri April 7 @ 7:30pm

Sat April 8 @ 7:30pm

Thu April 13 @ 7:30pm

Fri April 14 @ 7:30pm

Sat April 15 @ 7:30pm

Sun April 16 @ 7:30pm

Tickets: $35 general admission

Photos by Bill Sigafoos

Dwayne Daniels II, Briana Creque, Enrique Gonzalez, Lindsey June, David Rogozenski, Jimmy Mello, Keydron Dunn, Amanda Spellman, photo Bill Sigafoos

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RICHMOND BALLET STUDIO THREE

Richmond Ballet Presents the 15^th New Works Festival

A Dance Review

By: The Richmond Ballet

At: Studio Theatre at Richmond Ballet, 407 East Canal Street, RVA 23219

Performances: March 21 – 26, 2023

Ticket Prices: $26 – $51 ($71 – $106 for Choreographer’s Club on Opening Night, March 21)

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

THE PROGRAM

FLIGHT

Choreography by Nancy Paradis

Music by Peter Kater

Costume Design by Emily Morgan

Lighting Design by Nathan W. Scheuer

World Premiere: March 21, 2023, Richmond Ballet Studio, Richmond, VA

LOST KEYS

Choreography by Claudia Schreier

Music by Christopher Cerrone

Costume Design by Emily Morgan

Lighting Design by Nathan W. Scheuer

Courtney Collier Zacchaeus Page

World Premiere: March 21, 2023, Richmond Ballet Studio Richmond, VA

BIRD’S-EYE VIEW

Choreography by Norbert De La Cruz III

Music by Lara Somogyi, Riopy, and Ashram

Costume Design by Emily Morgan

Lighting Design by Nathan W. Scheuer

World Premiere: March 21, 2023, Richmond Ballet Studio, Richmond, VA

FADING CREATURES

Choreography by Yury Yanowsky

Music by Senking

Costume Design by Emily Morgan

Lighting Design by Nathan W. Scheuer

World Premiere: March 21, 2023, Richmond Ballet Studio, Richmond, VA

The Richmond Ballet started the New Works Festival 15 years ago, in 2008. The company’s Associate Artistic Director, Ma Cong, introduced Ershter Vals, his first work for Richmond Ballet during the 2009 New Works Festival.

This year, four choreographers, new to the Richmond Ballet, were each given 25 hours of creative time with the company. At the end of 25 hours, they give birth to a new work, a 10-15 minute sketch or work-in-progress. This year, the honor went to Norbert De La Cruz III, Nancy Paradis (who was an original member of the Richmond Ballet), Claude Schreier, and Yury Yanowsky.

Paradis’s process includes writing, listening to music at different times of the day – and night – and creating mind maps. Her structure translates into beautifully layered movement. FLIGHT manages to place five couples into three movements (“Wings,” “Wounded,” and “Flight”) in under 12 minutes – 12 luxurious, unhurried minutes. The men’s arms spread across the stage like wings. The blues and grays of the costumes are reminiscent of different stages and levels of the sky, while the subtle pink and purple of the back wall suggests the sunrise or sunset. The middle section could be interpreted as introducing aggression or conflict, making one wonder the nature and origin of the wounds. But then comes the final “Flight” section with hints of jazz – hitch kicks, sassy walks, swinging hips all make you want more.

Claudie Schreier’s LOST KEYS is set to a score by Christopher Cerrone, “Hoyt-Schermerhorn,” named for a Brooklyn subway station where I spent many hours of my youth waiting for the train. Dressed in unadorned body suits – nude or tan for the woman and putty for the man – the dancers performed a mesmerizing duet of contemporary movement against a background of piano and electronic jingles and jangles. LOST KEYS breaks with tradition and the usual expectations of ballet. The woman, instead of rising lightly into a lift, giving the appearance of weightlessness, instead adopts a dead weight and stares her partner down from above. The man swings his partner by her arms like a little child, and sometimes holds her in a broken pose. Schreier seeks to create architecture on stage and to pursue emotion through architecture. I find this intriguing, and it raises many questions. Are the “lost keys” the keys to someone’s heart? The piano keys? Are they symbolic of letting go and starting over? Are they metaphors for love, health, and wealth or a shifting of power and authority?

Philippine born, Los Angeles raised, and Juilliard educated Norbert De La Cruz III considers BIRD’S EYE VIEW a choreographic response to where he is in life right now. The opening view is of the dancers stacked and arranged in the shape of a tree, with dancers perched among the branches. The 9 dancers are layered in some way throughout the dance as when there are two in front with a line moving across the back like a Greek chorus crossing upstage. The dancers are attired in shades of rust, brown, and gold. Each two-piece outfit is in a different style, some with bell sleeves, others sleeveless. The movement is shaped with an almost mathematical precision, emitting strong sensations of algebraic formulae and geometric configurations. The interweaving of bodies, arms, legs set against the meditative flow of the music supports a journey, the passage of time. The movement soars and spirals, a juxtaposition of pattern and form, structure versus free flow – or what De La Cruz refers to as “volume” and “texture.” At the end the dancers are faced away from the audience, uplifted, ready. The work is absolutely beautiful.

The final new work, Yury Yanowsky’s FADING CREATURES, was inspired by Salvador Dali’s melting clocks. It is a work of time and space. The music is a collection of mechanical pulsations, while the dancers’ movements are off center, filled with slides – not slick or graceful dancer’s slides, but slide-across-the-floor-in-your-socks slides. Yanowsky likes to paint, and sees his dancers as a canvas. He uses them to paint stunning pictures in time and space.

What a successful New Works Festival. Each work was different in content and style. Each was stunning in its own way. Each challenged the dancers and the audience. Bravo! Let’s hope we see more of these choreographers in the future.

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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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Tickets start at $25. Visit etix.com or call the Richmond Ballet Box Office at 804.344.0906 x224.

Photos by Sarah Ferguson.

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CROSS STITCH BANDITS

A Brand New Family Dramedy – or – This is That Play

A Theater Review by Julinda D. Lewis

Presented by: Cadence Theatre and Virginia Rep

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

Performances: March 9-19, 2023

Ticket Prices: $13 – $43

Info: Tickets are sold by Dominion Energy Center, (800) 514-3849 or https://www.dominionenergycenter.com/events/detail/cross-stitch-bandits

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.

Landon Nagel and Otto Konrad. Photo by Jay Paul.

Otto Konrad and Cyrus Mooney. Photo by Jay Paul.

AFTER DECEMBER

You Don’t Know Because You Don’t Know

A Theater Review by Julinda D. Lewis

At: The November Theatre, 114 West Broad Street, RVA 23220

Performances: March 3 – 26, 2023

Ticket Prices: $39-$59. (Discounted group rates and rush tickets available)

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

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

Ticket Information

Box Office: (804) 282-2620

http://www.virginiarep.org

Tickets range from $39 – $59

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.

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LEWISTON

Life, Love, and Fireworks -OR –

Small Stage, Small Cast, BIG Story

A Theater Review by Julinda D. Lewis

At: HATTheatre, 1124 Briarwood Dr., RVA 23238

Performances: March 3-12, 2023

Ticket Prices: $25/Adults; $20/Seniors (age 62 and up), Students & Military; $15/Youth 12 and up

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

———-

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!

———-

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

———-

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 with SERENADE

Richmond Ballet Presents a Balanchine Classic & an East Coast Premiere

In the Battle of Classic vs Contemporary, Everyone Wins

A Dance Review by Julinda D. Lewis

By: The Richmond Ballet with the Richmond Symphony

At: Dominion Energy Center’s Carpenter Theatre, 600 E. Grace St., RVA 23219

Performances: February 17-19, 2022 at 7:00 PM

Ticket Prices: $25 – $130

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

THE PROGRAM

Serenade

Choreography by George Balanchine

Music by Peter Ilyick Tchaikovsky

Staging by Jerri Kumery

Costume Design by Karinska

Lighting Design by Ronald Bates

Lighting Supervision by Joseph R. Walls

World Premiere: March 1, 1935, Adelphi Theatre, NYC

Richmond Ballet Premiere: February 10, 1990, Norfolk Center Theater, Norfolk, VA

Firebird

Choreography by Ma Cong

Music by Igor Stravinsky

Scenic and Costume Design by Emma Kingsbury

Lighting Design by David Finn

Lighting Supervision by Joseph R. Walls

World Premiere: February 14, 2020, Bass Performance Hall, Fort Worth, TX

Richmond Ballet Premiere: February 17, 2023, Dominion Energy Center, RVA

Preview: https://www.facebook.com/100063444205389/videos/480459615956932/

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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JUMP BABY

An Original Musical About War and Love

A Studio Series Production at The Lynn Theatre at Brightpoint Community College, 800 Charter Colony Pkwy, T Building, Room T112, Midlothian, VA 23114

Reviewed by Julinda D. Lewis

Performances: January 27 – February 5, 2023

Ticket Prices: $10

Info: (804) 796-4000 or email theatreinfo@brightpoint.edu

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.”

Birds flying
high, you know how I feel

Sun in the
sky, you know how I feel

Breeze
driftin’ on by, you know how I feel

It’s a new
dawn

It’s a new
day

It’s a new
life for me…

https://wordpress.com/post/jdldancesrva.com/2727

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.

———-

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

Big Boss/Soldier: Harrison Phillips

Soldier: Mahala Redden

Missy/Soldier: Ariana Silva

Military Doctor/Soldier: Julianna Velasquez

Band:

Pianist: Justin Lee

Trumpeter/Auxiliary Percussionist: August Redden

Percussionist: Elliot Loucks

Song List:

War Game

Homicide Rhymes with Lullaby

Jumping Hollywood

Death from Above

Undone

Called Away

59 Days and a Wakeup

Christmas Bells

On the Daily

Run, Gun, and Done

Mail Call

Green Light Go

Production Team:

Producing Artistic Director/Director: Kerrigan Sullivan

Playwright/Lyricist: Rachel Landsee

Composer: Mark Messing

Musical Director: Cassie Cipolla

Choreographer: Kayla Xaiver

Creative Team & Designers:

Production State Manager/Lighting Designer/Master Electrician: Alleigh Scantling

Scenic Designer/Technical Director/Properties Master: Hailey Bean

Sound Designer: Grace LaBelle

Costume Designer: Lindsey Ladnier

Assistant Stage Manager/Spot Operator/Costume Shop Supervisor: Claire Bronchick

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