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

DOGTOWN PRESENTER’S SERIES: Dark Side of the Moon

A Dance Review by Julinda D. Lewis

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

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

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

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

 

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

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

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

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

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

 

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

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Photo Credits: Photos will be added to the post shortly…

SIGNIFICANT OTHER: Plus None

SIGNIFICANT OTHER: Love And. . .

A Theater Review by Julinda D. Lewis

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

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

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

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

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

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

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

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

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

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

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

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

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

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Photo Credits: Tom Topinka

 

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

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

A Theater Review by Julinda D. Lewis

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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Photo Credits:

Photos Courtesy of Heritage Ensemble Theatre Company

Key of B Unnatural

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

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

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

A Dance Review by Julinda D. Lewis

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

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

Ticket Prices: $10-$20

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

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

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

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

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

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

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

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

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

Photo Credit: Jay Paul

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

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

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

BOEING BOEING: Who’s Behind Door Number 2?

A Theater Review by Julinda D. Lewis

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

Performances: September 7-22, 2018

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

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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Photo Credits: Jeremy Bustin Photography

Boeing-4
Paige Reisenfeld and Travis Williams. Brent Deekins and Marcia Cunning.
Boeing-3
Sara ommer and Paige Reisenfeld
Boeing-2
Travis Williams and Sara Sommers
Boeing-1
Brent Deekins and Travis Williams

INVALID: When What Ails You Hits the Fan

INVALID: Modern Adaptation of a Classic Comedy

A Theater Review by Julinda D. Lewis

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

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

Ticket Prices: $15 – $35;

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

 

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

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

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

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

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

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

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

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

 

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

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Photo Credits: Bill Sigafoos

 

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SONDHEIM ON SONDHEIM: A Musical Revue Featuring Stephen Sondheim Himself

SONDHEIM ON SONDHEIM: A Musical Love Fest

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: August 8 – September 1, 2018

Ticket Prices: $10-30

Info: (804) 346-8113 or rtriangle.org

 

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

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

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

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

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

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

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

 

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

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Photo Credits: John MacLellan

SONDHEIM_0187
Durron Tyre singing “Being Alive”
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L-R: Alona Metcalf, Scott Melton, Rachel Rose Gilmour, Marian Mazyck, Susan Sanford, Durron Tyre, Dan Cimo, Matt Polson. The cast of “Sondheim on Sondheim”
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Rachel Rose Gilmour