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.
Advertisement

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.

One-Time
Monthly
Yearly

Make a donation to support the
publication of rvart review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

Donate hereDonate hereDonate here

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

One-Time
Monthly
Yearly

Make a donation to support the continued publication of rvart review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

Donate hereDonate hereDonate here

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.

One-Time
Monthly
Yearly

Make a one-time, monthly, or annual donation in support of
rvart review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

Donate hereDonate hereDonate here

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

thank you for supporting the continued publication of rvart review with a donation in any amount

Your contribution is appreciated.

Donate here

Make a monthly donation

Your contribution is appreciated.

Donate here

Make a yearly donation

Your contribution is appreciated.

Donate here

A SOLDIER’S PLAY

They still hate you!: Racism Institutionalized, Internalized, Ignited

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

Performances: January 28 – March 4, 2023

Ticket Prices: $15-$49

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

Charles Fuller’s A Soldier’s Play is set on a fictitious Army base, Fort Neal, Louisiana, in 1944 – at a time when the U.S. Army was still legally segregated. But the mystery and inflammatory speculation surrounding the murder of Tech/Sergeant Vernon C. Waters could have been taken directly from the latest news in 2023.

When I think of this Pulitzer Prize-winning play, the first thing that comes to mind is Adolph Caesar who played the role of Sergeant Waters in the original off-Broadway production by the Negro Ensemble Company, New York, 1981. In that production, Denzel Washington also appeared as Private First Class Melvin Peterson and Samuel L. Jackson played the role of Private Louis Henson.

I can’t help but wonder, how did the actors and audiences of 1981 feel about A Soldier’s Play and how do their thoughts and experiences compare to those of the actors and audiences of 2023? The more things change (?) the more they stay the same – and this trope especially rings true when it comes to matters of race in America.

Along those same lines, the ”trigger warnings” of  strong language, racial slurs, physical violence and gunshot effects may have been startling 40 years ago, but seem de rigueur by today’s standards where life imitates art imitates life. Director Shanea N. Taylor wrote in her notes, “Charles Fuller believed, ‘You can change the world with words.’ 40 some years later from winning the Pulitzer Prize for his words, we find ourselves in a position where we might question whether this rings true.”

In A Soldier’s Play we get to see – and internalize – the impact of 9 Black men sharing a stage and sharing words and thoughts normally reserved for the relative safety of Black spaces (e.g., home, the barber shop). Do Fuller’s words sufficiently explain the burden of how racism can make a Black man hate himself? Or are we so committed to the fallacy that racism is over that only those directly affected can truly understand? A Soldier’s Play opens the door to further understanding.

This deeply troubling story shines as an ensemble work. The comraderie and banter between the characters feels authentic (coming from one who has never been in a military environment). It comes as no surprise that the Black soldiers are given the most menial and dirtiest tasks: painting, cleaning, manual labor. In spite of their sub par treatment, they want to serve the only country they know. When orders come to ship out, they are excited. Ike wants to know if the colored boys can fight? There is only one response, “I’ve been fighting all my life.”

The soldiers’ relationships seem even more solidified by the passive aggressive racism of their white Captain, played by Chandler Hubbard. You see, Captain Taylor is aware of his own racism, and readily admits that he is disgusted by the very thought of Captain Davenport (Keydron Dunn), the Black lawyer sent to investigate the murder of Sergeant Waters. At the same time, he holds on to a sense of justice in wanting to solve the murder – but not so much so that he is willing to discipline the white officers under his command who are overtly racist (Hunter Keck and Gordon Little Eagle Graham). Waters is – or was – an ambitious Black officer who is himself offended by the presence of southern Black men who do not live up to his standards. This information gives added meaning to his final words before being shot, “They still hate you!” No matter how hard he tries to assimilate, no matter if he works hard and send his children to predominantly white schools, he is still Black, and still the recipient of institutional and personal racism.

There were some standouts in the ensemble: Joshua Maurice Carter as Private C.J. Memphis, the innocent young man who was driven to suicide by Sergeant Waters’ mental attacks; Kamau “Mu Cuzzo” Akinwole as Private James Wilkie, an unwilling pawn in Waters’ machinations; Erich Appleby as the earnest Corporal Bernard Cobb. Hubbard did an amazing job establishing a balance between doing the eight thing and embracing the comfort of his upbringing. But A Soldier’s Play works best within the framework of the ensemble. The one weak link, unfortunately, seemed to be Keydron Dunn in the import role of the key figure, Captain Richard Davenport. I found out later that Dunn was under the weather the night I saw the show, so that may account for the fumbled lines and uneven performance – so unlike his usual execution.

Mercedes Schaum has designed a stark barracks, consisting of just a few cots and footlockers, but Joe Doran’s lighting adds satisfying emotional depth and visual dimension. Taylor’s direction allows the story to unfold at a natural pace – perhaps less inflammatory than I was expecting, or less shocking that my memory allowed for – but nonetheless satisfying. If you have never seen A Soldier’s Play or, like me, have not revisited it in some 40 years, please see it. It’s the kind of theatre that stays with you for a lifetime.

———-

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

———-

A SOLDIER’S PLAY

By Charles Fuller

Directed by Shanea Taylor

Cast:

Tech/Sergeant Vernon C. Waters: Larry Akin Smith

Captain Charles Taylor: Chandler Hubbard

Corporal Bernard Cobb: Erich Appleby

Private First Class Melvin Peterson: K’Hari Zy’on

Corporal Ellis: Gary King

Private Louis Henson: Tre’ LaRon

Private James Wilkie: Kamau “Mu Cuzzo” Akinwole

Private Tony Smalls: Kieryn Burton

Captain Richard Davenport: Keydron Dunn

Private C.J. Memphis: Joshua Maurice Carter

Lieutenant Byrd: Hunter Keck

Captain Wilcox: Gordon Little Eagle Graham

Creative Team:

Directed by Shanea Taylor

Scenic Design by Mercedes Schaum

Lighting Design by Joe Doran

Costume Design by Maura Lynch Cravey

Technical Direction by Liz Allmon

Fighting/Intimacy Consulting by Stephanie “Tippi” Hart

Run Time:

About two hours with one intermission

Tickets:

Regular $49. Seniors, Military & First Responders $44. Students $15.

Photos: Kieran Rundle

One-Time
Monthly
Yearly

rvart review depends on your generous donations – thank you!

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

GHOST QUARTET

A Song Cycle About Love, Death, and Whiskey

An Immersive Theatrical Experience Review by Julinda D. Lewis

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

Performances: January 19 – February 18, 2023 [NOTE: This includes extended dates]

Ticket Prices: $35 general admission, $45 VIP two-top, $20 students

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

If you like the unique and different, if you are comfortable with ambiguity, if dramatic explorations of death and non-linear story-telling pique your interest, then GHOST QUARTET  was written for you. Not fully a play, not fully a musical, more akin to an opera, Dave Malloy’s creation was first produced in 2014 and was soon after nominated for awards for Best Music and Best Musical.

While I assert that the term “musical” is too confining to describe Ghost Quartet, there is no doubt that the music – much of which is played or engineered by Amy L Oblinger – is amazing. There are vocals and instrumental music involving a piano, a cello, a violin, and percussion. At one point small percussion instruments – a tambourine, a rattle, small rattles – are distributed to audience members.

Two of the Quartet members perform a delightfully unexpected tap and clog dance. And most of the cast members are quite comfortable breaking the fourth wall and addressing the audience – some of whom, the  VIPs, are seated at small table right on stage where they are served whiskey shots by the cast members who are gathered for a reunion of sorts at a bar that is apparently owned by one of the Quartet members.

Whew! That’s just by way of introduction, and doesn’t even begin to explain Ghost Quartet, Instead of Acts and Scenes, Ghost Quartet is divided into Sides and Tracks – which are announced at the top of each segment. While intentionally non-linear in structure, the sections are, in fact, related to one another. So, “The Camera Shop” in Side 1, Track 2 is related to “The Photograph” in Side 3, Track 2 and there is an “Usher” track – as in Poe’s “The Fall of the House of User” – in Sides 1, 2, and 3.

Family is another common theme woven throughout the production in which cast members play multiple characters, across generations, and encompassing – the program says – seven centuries. This makes it possible for Ghost Quartet to seamlessly discuss and conquer death, include sassy little girls and monks, have storytelling by Schéhérazade (yes, the one from Arabian nights), and sing an ode to whiskey (e.g., Jamieson, Maker’s Mark, Lagavulin), call a family meeting to deliver an ultimatum about an invisible friend, and conflate monks (the religious kind) with Thelonious Monk (the musician).

Bringing a wide range of talents, sass, and gifts to this production: Jaylin Brown, Valerie Chinn, Céilí Galante, Marjie Southerland, and Musical Director Amy L. Oblinger. They sing, they dance, they act, tell stories, play instruments, and drink whiskey for two hours (including one intermission).  Todd Labelle’s design, featuring a standard wooden bar as well as a vertical “floating” bar and walls of wide-spaced wooden slats, is simultaneously minimalist and luxurious. It provides a welcoming backdrop for an unfamiliar performance genre. Andrew Bonniwell’s lighting organically partners with the live music, electronic arrangements, and some surprisingly stunning vocal moments.

If, as Director PJ Freebourn wrote in their notes, the goal is to transport the audience and take us on a surreal journey that explores, among other things, love, family, hope, memory, and emotions, then Ghost Quartet is a smashing success. If you leave still wondering just what the hell happened and why it made you feel confused and amazed, if you leave talking about it, thinking about it, or asking questions about it — it was successful. February 4 was originally supposed to be the final performance, but four additional performances have been added over the next two weekends – Friday evenings, February 10 and 17, and Saturday matinees, February 11 and 18. If you haven’t seen it yet, recommend you try to reserve a ticket or two to one of these performances – then we can talk about it together.

———-

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

———-

GHOST QUARTET

By Dave Malloy

Directed by PJ Freebourn

Performers:

The Ghost Quartet

Jaylin Brown
Valerie Chinn
Céilí Galante
Marjie Southerland

Musician

Amy L. Oblinger

Production Team

PJ Freebourn – Director

Amy L. Oblinger – Music Director

​Niccolo Seligmann – Electronic Arrangements, Synth Programming, Foley Art

Céilí Galante – Additional Arrangements

Nicole Morris-Anastasi – Choreographer

Todd Labelle – Production Designer

Andrew Bonniwell – Lighting Designer

Katherine Brand – Costume Designer
Grace Labelle, Emily Vial, Talon Bleacher – Stage Managers

Performance Schedule:

Thu Jan 19 @ 8pm (preview)

Fri Jan 20 @ 8pm (preview)

Sat Jan 21 @ 4pm (preview)

Sat Jan 21 @ 8pm

Fri Jan 27 @ 8pm

Sat Jan 28 @ 4pm

Sat Jan 28 @ 8pm

Fri Feb 3 @ 8pm

Sat Feb 4 @ 4pm

Sat Feb 4 @ 8pm

EXTENDED: Additional Performances!

Fri Feb 10 @ 8pm

Sat Feb 11 @ 4pm

Fri Feb 17 @ 8pm

Sat Feb 18 @ 4pm

Ticket Prices

$35 general admission, $45 VIP two-top, $20 students

Run Time:  Approximately 2 hours with one intermission

Photo Credits: Bill Sigafoos

One-Time
Monthly
Yearly

rvaRT DEPENDS ON YOUR DONATIONS
THANK YOU

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

HOW BLACK MOTHERS SAY I LOVE YOU

“Do not press me to leave you,
    to turn back from following you!
Where you go, I will go;
    where you lodge, I will lodge;
your people shall be my people
    and your God my God. – Ruth 1:16 (NRSV)

A Theater Review by Julinda D. Lewis

At: Richmond Triangle Players at the Robert B. Moss Theatre,

1300 Altamont Ave, RVA 23230

Performances: February 1-25, 2023

Ticket Prices: $10 – $40

Info: (804) 346-8113 or rtriangle.org

———-

Sometimes a production takes awhile to grow on you. Some shows are hard to connect with on a personal, emotional, social, literary, cultural or any other level. Just the opposite is true of Trey Anthony’s tender and amusing two-act family drama, HOW BLACK MOTHERS SAY I LOVE YOU. The author identifies as “a queer, black, Canadian, West Indian womyn” but their story is familiar to many Black women in Canada, the US, and the UK. I attended with my eldest daughter, and throughout the evening we looked at one another knowingly over our masks, reached for each other’s hands, cried out in instant recognition, or just cried.

The author may be a Canadian of Jamaican heritage, but the play is set in the Brooklyn, NY home of a Jamaican immigrant woman in 2014 (although I thought the furniture and kitchen appliances harkened back a decade or two – or three? – before then). Claudette (Zakiyyah Jackson), the prodigal queer daughter of Daphne (Dorothy “Dee-D” Miller) has returned home unannounced after several silent years in Montreal, Canada. Claudette finds her mother in poor health and her younger sister Valerie (Shalandis Wheeler Smith) doing her best to care for her, despite Daphne’s refusal to follow doctor’s orders – and the added complications of Valerie’s own personal struggles. Claudette has questions that her mother is not willing to answer. Daphne left Claudette and Valerie with their grandmother in Jamaica for six years while she got established in the US.

Family secrets are painfully and reluctantly revealed, along with social and cultural histories that could bringing health and healing to many families and enlightenment to many allies. The story is brought to life by a small but mighty cast, led by Miller, the matriarch. I’m not Jamaican but I married into a Jamaican family and I found Miller’s accent spot on. She dropped the “h” where you expected to hear it and added it where you did not expect it. She called children “pickney” and pronounced the word “little” as if it were spelled with two k’s instead of two t’s. She won me over completely when she spoke about the baby’s “ackee seed eyes.” That’s how my mother-in-law used to refer to my children! My daughter looked at each other and shrieked in unison as my heart melted into a puddle on the floor. (Don’t worry, RTP staff, melted hearts do not stain the carpet.) Of course I looked to see who the dialect coach was and just as I suspected, it’s Erica Hughes. Kudos to Hughes for another amazing job.

[If you are familiar with ackee, you can skip this next paragraph.]

BTW: the ackee fruit is a Jamaican dietary staple, an essential ingredient in the Jamaica national dish of ackee and saltfish (i.e., salted cod). When ripe, the ackee plant yields fleshy yellow lobes that somewhat resemble scrambled eggs when cooked with saltfish. The fruit has shiny black seeds that people – especially Jamaican grandmothers – liken to the shiny bright eyes of babies and young children. The kicker is that, in its un-ripened state, ackee is quite poisonous.

Jackson and Wheeler Smith achieved a remarkable balance between sibling rivalry and sisterly love. Their affection appeared genuine and as the story unfolded we found that it was grounded in a history of collective trauma – unique to them, but familiar to many families whose histories are defined by the African diaspora. Significantly, my daughter wondered how these themes spoke to white viewers. This would be an interesting dialogue to introduce in a talk-back…

Let me not forget to mention Cloe. The younger, American-born sister of Claudette and Valerie who died in childhood from an unnamed illness, Cloe appears as a silent ghost. Dressed in white from head to toe, Bailey Robinson, a Henrico County Public Schools student, made her professional debut as the sometimes meddlesome, but mostly caring specter of young Cloe whose presence is welcomed and visible to Daphne – and sometimes, it seems, to Valerie. Claudette knows she is there, but cannot see her. The presence of Cloe is another strong symbol of ancestors and spirituality.

The set is a Brooklyn home sturdily and lovingly crafted by William Luther and tenderly lit by Dakota Carter. I did wonder, however, why there were several long periods of darkness or dimmed lights. Perhaps these stretches were meant to serve a visual equivalent of the dramatic pause, or to contrast with the bright white heavenly light that illuminated the runway that Cloe used to transition between the present and the hereafter. Or maybe it was just to allow for a costume change.

Margarette Joyner (founder and artistic director of the Heritage Theater that formerly closed its doors in 2022) designed the costumes, with special attention to Daphne’s collection of church hats and Valerie’s collection of coordinating handbags and shoes. Desirée Dabney directed through the eyes of a storyteller. The work and words flow with a sense of real time and a feeling of intimacy and immediacy.

HOW BLACK MOTHERS SAY I LOVE YOU is a stunningly beautiful work of theatre, one I was not familiar with, one I will not forget. See it with your mother or daughter. And take tissues.

———-

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

———-

HOW BLACK MOTHERS SAY I LOVE YOU

By Trey Anthony

Directed by Desirée Dabney

CAST

Daphne            …………….Dorothy “Dee-D” Miller

Claudette        …………….Shalandis Wheeler-Smith

Valerie             ……………. Zakiyyah Jackson

Cloe                 ……………. Bailey Robinson

Daphne Understudy: Diana Carver

Claudette Understudy: Nora Ogunleye

Valerie Understudy: Chayla Simpson

Cloe Understudy: Sydnee Logan

THE CREATIVE TEAM

Director/Sound Design: Desirée Dabney

Assistant Director/Dramaturg: Chayla Simpson

Production Stage Manager: Jennipher Murphy-Whitcomb

Assistant Stage Manager: Nathan Ramos

Scenic Design: William Luther

Lighting Design: Dakota Carter

Props Design: Tim Moehring

Costume Design: Margarette Joyner

Hair & Make Up Design: Jahara Jennae

Intimacy Choreographer: Raja Benz

Dialect Coach: Erica Hughes

Technical Director/Scenic Painter: Becka Russo

Covid Safety Officer: William Luther

Marketing Videos: Aisthesis Productions

Photo Credits: Pre-production photos from RTP Facebook page

One-Time
Monthly
Yearly

Make a donation to support the continued publication of rvart review
thank you

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

UNCLE VANYA

Every Family Has a Drunk Uncle…

A Theater Review by Julinda D. Lewis

By: Richmond Shakes (formerly Quill Theatre)

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

Performances: January 26 – February 12, 2023

Ticket Prices: $22-$42

Info: (804) 340-0115 or https://richmondshakespeare.org/

Rarely – if ever – have I described a production as a sad comedy, but that would be an accurate description of UNCLE VANYA, written by Anton Chekhov and  adapted by Conor McPherson. First performed at the turn of the twentieth century, UNCLE VANYA remains relevant and contemporary as adapted by McPherson and under the expert direction of Dr. Jan Powell.

One thing – well, eight really– that made this production successful was the uniformly outstanding cast. Bryan Austin was relentlessly amusing yet authentic and endearing in the title role and it was his authenticity that kept his moments of wallowing in self-pity and regret from becoming shallow and vainglorious tropes. Calie Bain was a breakout star as Vanya’s niece, Sonya. In spite of the early death of her mother, her father’s re-marriage to a woman seemingly closer in age to Sonya than her father, and her unrequited love – made even more soul-crushing by the geographical isolation of their country estate – Sonja remained a bright light of hopefulness. She was the connection that made it possible for this stunningly dysfunctional family to attempt reconciliation and settle on renovation.

Lindsey Zelli as the beautiful young second wife, Yelena, displayed unexpected and sometimes uncomfortable depth. In spite of past estrangements and current rivalrous entanglements, Yelena demonstrated genuine fondness and care for Sonya. Matt Hackman’s Dr. Astrov was also multi-faceted. Totally unaware of Sonja’s love for him (really???), he was equally infatuated with her step mother, and focused on ecological issues with a passion that I am sure was way ahead of his time.

Kelly Kennedy made the most of her nearly innocuous supporting role as Nana – not, as one might think, the grandmother, but an elderly nurse who has become the family caretaker. Sitting in her chair, quietly observing or serving up hot tea, her knitting needles seemed to be a metaphor for her role in the family drama.

Alan Sader and Debra Clinton’s characters infuriated me. Sader played the pompous and manipulative Professor Alexandr Serebryakov (father of Sonya, husband of Yelena, son of Mariya, and brother-in-law of Vanya) and of course he is really good at it. It’s the kind of role where you don’t want to meet the actor soon after because you want to curl your lip and turn up your nose at his character. Clinton’s character was infuriating for a different reason. Mariya’s favoritism for her more successful son, Alexandr and disdain for the hard-working Vanya seemed passive-aggressive and possibly the result of oppression or lack of fulfillment in her own life.

For those, like me, unfamiliar with the characters, it took awhile to get a handle on the role of Telegin (Bill Blair). Affectionately called Waffles (apparently because of the condition of his skin), Telegin is a family friend, neighbor, and hanger-on who tries to fit in where he can – often with awkward results.

What makes Uncle Vanya resonate with me is these lovingly developed and multi-dimensional characters. They are familiar and seem to fit right in with contemporary issues: family dysfunction, changing inter-generational roles, the troublesome hierarchy of inheritance, and even the forced soul-searching of pandemic isolation.

Reed West’s set design – much more elaborate than Richmond Shakes’ usually sparse environments – is solidly built of sturdy, dark wood. Little details, like a chess set atop a cabinet, Nana’s knitting basket, and the clean but worn rugs support the narrative of crumbling gentility. And what can I say about the individual application of autumn leaves on the tree branches during intermission? Gretta Daughtrey’s lighting is effective and unintrusive; the storm, for example, is subtle but unmistakable. So, too, are James Ricks’ sound design, that included gentle ambient sounds, and Anna Bialkowski’s earth-toned costumes – with a jewel-toned garment or two for Yelena, and a caped-overcoat for the Professor. 

Uncle Vanya is a satisfying evening of theater performed by a stellar cast – and I say this even though I am not in the least a fan of Chekhov. There isn’t much action. Plot is virtually non-existent. But the characters are immersed in the words and that fully engages the audience in a way that creates the best kind of theater magic. Try to see it before it closes.

Uncle Vanya

By Anton Chekhov

Adapted by Conor McPherson

Cast

Nana    ………. Kelly Kennedy

Astrov ………. Matt Hackman

Vanya  ………. Bryan Austin

Telegin………. Bill Blair

Serebryakov………. Alan Sader

Sonya  ………. Calie Bain

Yelena ………. Lindsey Zelli

Mariya ……….Debra Clinton

Production Team

Artistic Director: James Ricks

Managing Director: Jase Sullivan

Director: Dr. Jan Powell

Assistant Director: Sarbajeet Das

Stage Manager: Lauren Langston

Assistant Stage Manager: Carrisa Lanstra

Costume Design: Anna Bialkowski

Light Designer: Gretta Daughtrey

Scenic Design: W. Reed West III

Sound Design: James Ricks

Properties Design: Emily Hicks

Map Art Work: Katherine Wright

Promotional Photography: Peyton Lyons

Run Time: About 2 ½ hours including one intermission

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

———-

Photo Credits: Peyton Lyons and David Parrish Photography

 TOP LEFT: Bryan Austin, Bill Blair, Matt Hackman. TOP CENTER: Matt Hackman and Calie Bain. TOP RIGHT: Bryan Austin. BOTTOM LEFT: Bryan Austin. BOTTOM RIGHT: Bryan Austin, Calie Bain and Debra Clinton
One-Time
Monthly
Yearly

RVART Review depends on the generosity of readers to continue to exist. thank you.

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$15.00
$100.00
$5.00
$15.00
$100.00
$5.00
$15.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

THE MAGIC OF THE NUTCRACKER – REFRESHED

Richmond Ballet Presents a Holiday Favorite

An Unconventional Dance Review by Julinda D. Lewis & Guest Reviewers Kingston and Emmitt

By: The Richmond Ballet

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

Performances: December 9-23, 2022

Ticket Prices: $25 – $130

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

Updated COVID-19 Protocols, see below.

THE PROGRAM

The Nutcracker 

Artistic Direction and Choreography by Stoner Winslett

Production conceived by Stoner Winslett and Charles Caldwell

Music by Peter Ilyich Tchaikovsky

Music performed by the Richmond Symphony

Conducted by Erin Freeman

Scenery designed by Alain Vaës

Costumes designed by David Heuvel

Lighting designed by Richard Moore and Associate, Catherine Girardi

When I was a Girl Scout Leader (which I was, for 27 years), one of my favorite things to do was to take young girls camping for the first time. Likewise, one of my favorite things to do as a writer, teacher, and grandmother is to take my young people to the theater for the first time. Three of my grandsons live in RVA, ages 14, 8, and 8 months. The oldest has seen The Nutcracker before, and with the return of live performances, it was time for the middle one to have his first Nutcracker experience. So on Sunday evening I got a chance to re-experience the classic holiday ballet through new eyes.

The magic begins the moment you enter the theater – well, as soon as you pass through security and have your tickets scanned. [Security approved of my clear plastic tote and the small “sippy cups” I’d brought so we wouldn’t spill the drinks we bought at the concession stand.] While waiting for the program to begin, I enjoyed watching the families with children of all ages, most dressed in their holiday finery. Kingston (a high school student and the family percussionist) and Emmitt (age 8) saw that it was okay to go take a peek at the orchestra pit and returned to their seats discussing the probability of someone falling into the pit.

Other preparatory and property elements worthy of note included explaining why the audience applauded the arrival of the Symphony conductor and the many layers of show drops and curtains that open throughout the lavish production to reveal scenes from the streets of Nuremburg to the entry and drawing room of the Silberhaus home to the Enchanted Snow Forest and Confitenberg, the Kingdom of Sweets. Also, the diversity of the cast is important, because representation matters, especially when young audience members can see people onstage who look like themselves. An example follows a few paragraphs down.

The Nutcracker is a family show for The Richmond Ballet as well as for the audience. Students from the School of Richmond Ballet, apprentices, members of RBII, new and experienced company members, and even faculty and staff share the stage for this multi-generational extravaganza. In addition to refreshed costumes and scenery, the Silberhaus party features newly constructed doll houses for Dr. Drosselmeyer’s magic show, Mother Ginger is back from her pandemic hiatus – with eight kiddy-winks under her voluminous skirts — and Associate Artistic Director, Ma Cong (who dances the role of Dr. Drosselmeyer) has choreographed a new Chinese dance that incorporates elements of Chinese folkdance, which he studied extensively early in his career, with Beijing Dance Academy and The National Ballet of China.

Yes, there is a magic show within the magical show. Dr. Drosselmeyer, godfather to Clara (Adhya Yaratha at Sunday’s 5:30 PM performance) and her mischievous brother Fritz (Sunnelin Seay), and creator of the famous Nutcracker for which the ballet is named, has a penchant for turning toys into humans. Winslett and Cong’s interpretation of Dr. Drosselmeyer, however, is substantially less creepy than the character was originally written. There is also the magic of dreams as Clara falls asleep with her mended Nutcracker – after her little brother Fritz, in a fit of jealously, pulls off its head – and in her slumber journeys with her Young Prince (Benjamin Piner) to the Kingdom of Sweets – where all the dancing happens.

I am on board with the youth in my adoration for the battle between the Mouse King’s army and the Toy Soldiers. But of course, Kingston and Emmitt who are bonafide martial artists, had a lot to say about the fight technique. One graciously commented that, “it was good.” The other assessed that the sword fights were not realistic, specifically that the swords should have come closer. “We practice near misses,” he critiqued.

Emmitt, the eight-year-old, kept up a running commentary: the Bear (Paul Piner) in the Russian dance is breakdancing, and why is one of the Lambs black? My apologies to any nearby patrons who may have been disturbed. Most noteworthy, he was mesmerized by Mother Ginger to the point that he expressed a desire to participate in an upcoming production. He was undeterred when I told him he’d need to take ballet classes, but near the end of the scene abruptly changed his mind. “I couldn’t do that,” he said. “I can’t stand still that long; I have too much energy.”

I learned later that both novice critics retold the story and re-enacted several scenes for their mother. Both also noted that in a pas de deux the woman gets all the good dance phrases. And finally, “There’s no Nutcracker in the second half – it doesn’t make sense. Otherwise, that was a good one!” That’s Emmitt’s summary and he’s sticking to it.

If I may conclude with my own two cents worth…

Adhya Yaratha and Benjamin Piner were absolutely charming as Clara/The Little Princess and Dr. Drosselmeyer’s Nephew/The Little Prince. The Snow Choir sounded heavenly. I would love to learn that magical gliding step that takes the Angels across the stage, guiding or welcoming Clara and her Prince to The Kingdom of Sweets. It reminds me of a gliding step used by Russian dancers that my dance history students showed me this past fall. The new choreography for the Chinese Dance – the title of which is actually Tea – does, indeed have an authentic look and feel. Dancer Eri Nishihara’s highly touted green pointe shoes are, in fact, all that – and, wait, was the dragon newly outfitted as well?

Naomi Wilson was a lovely Butterfly in the Waltz of the Flowers, and finally, it was a pleasure to finally get to see guest dancer Kristina Kadashevych dancing the role of the Sugar Plum Fairy as well as the ballet’s Grand Pas de Deux with Aleksey Babayev as her Cavalier. The petite dancer’s steps appear effortless and feathery – a stark contrast to the conditions surrounding her current residency. Ms. Kadashevych, you see, fled the Ukraine last spring as her homeland was being invaded by Russian soldiers, so perhaps those ethereal steps actually reflect what it feels like to be free. The Nutcracker is not new to her, and she will also be performing with the Richmond Ballet in February when the company returns to Dominion Energy Center with the East Coast premiere of Ma Cong’s Firebird and Balanchine’s signature Serenade (limited run, February 17-19).


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


THE NUTCRACKER PERFORMANCE SCHEDULE
December 9-23, 2022 | Dominion Energy Center
600 E Grace St, Richmond, VA 23219

Friday, December 9 at 7:00 PM
Saturday, December 10 at 2:00 PM and 7:00 PM
Sunday, December 11 at 1:00 PM and 5:30 PM
Friday, December 16 at 7:00 PM
Saturday, December 17 at 2:00 PM and 7:00 PM
Sunday, December 18 at 1:00 PM and 5:30 PM
Tuesday, December 20 at 7:00 PM
Wednesday, December 21 at 7:00 PM
Thursday, December 22 at 2:00 PM and 7:00 PM
Friday, December 23 at 2:00 PM 

UPDATED COVID-19 Protocols (As of March 2022): Please note that we are seating at 100% capacity this season. Beginning with Studio Three in March, we will no longer require patrons to wear masks or to show proof of vaccination/negative COVID test in order to attend a performance.

MASKS: In light of the latest CDC guidelines and Central Virginia’s current “Low/Medium Community Level” status, masks are optional at these performances.

BALLET BARRE: The Ballet Barre (cashless) will be open for our spring Studio performances. Beer, wine, and soft drinks will be available for purchase pre-show as well as during intermission.

CHOREOGRAPHER’S CLUB: In addition to the exclusive Q&A session with the artists, designers, and dancers, we will host a modified post-show reception. More details will be found in your House Notes email.

WELLNESS CHECK: Patrons who do not feel well leading up to a performance are asked to stay home. If you have tested positive or have symptoms of COVID-19, please call our Box Office at 804.344.0906 x224 so that we may discuss ticket options.


Photo Credits: Production photos to follow

One-Time
Monthly
Yearly

Make a one-time donation in support of
rvart review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00
$25.00
$100.00
$5.00
$25.00
$100.00
$10.00
$50.00
$100.00

Or enter a custom amount

$

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly