13: THE SECOND TIME AROUND

13, THE MUSICAL: The Second Cast; A Second Look

An Addendum to Yesterday’s Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

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

Yesterday (October 25) I wrote about 13, The Musical after seeing the first cast. Today (October 26) I returned for the second opening night with a different cast – except for, I think, two actors.

The original view may be viewed at:

https://jdldancesrva.com/2019/10/26/13-what-could-possibly-go-wrong

When Cadence Theatre’s Artistic Director Anna Senechal Johnson announced that there would be two entire casts for 13, THE MUSICAL and that there would be two opening nights, I decided to attend both. The board with the actors’ headshots had to be changed, and there were two sets of programs printed. Preparation for this musical, more than 40 performers (actors and band members ranged in age from 12 to 17) required changing the headshot board and printing two sets of programs to accommodate the two casts – the Appleton and the Indiana (named for the town and state where our young leading man must move after his parents’ divorce). It must have felt like the theater company was preparing to give birth to twins.

For the first five minutes, I started to compare the performances of the two sets of  main characters, but about 10 minutes into the show I realized that the characters had taken over. While the chemistry was different, and different actors brought their own nuances, I can honestly say that the experiences were equivalent to seeing the same show twice with the same cast.

Physically, Brandon McKinney and Evan Dymon are quite different (in stature, facial structure, and more) but both portrayed lead character Evan with naivete, bravado, and compassion. Bridget Sindelar may have had a slight edge over Violet Craighead-Way as far as vocal range or power, but both made me root for Patrice and cheer her independence and self-identity.

The differences between Donathan Arnold and Cohen Steele are even more striking than the differences between McKinney and Dymon. Arnold is tall, slender, and black while Dymon looks farm-strong and he’s white.

I think Caroline Johnson portrayed a somewhat more prissy and less conceited Kendra than did Audrey Kate Taylor, while Jolie Smith and Anjali Sharma were equally strong as the mean girl. Both were able to maintain a sneer throughout a rigorous cheerleading routine, but Sharm’s tripping of best-friend-and-arch-enemy Kendra was perhaps a tiny bit more subtle than was Jodi Smith’s action for the same scene.

Ethan Dunne Stewart and Marcus Dowd, as Brett’s friends and hangers-on were a bit more outrageous, if possible, in their role as back up singers than were Owen Buckenmaier and Jake Barger, but both pairs of hangers-on were among my favorite characters.

Since much of the story line is sung, it is important that the lyrics can be clearly heard, and from my position (second row, right on Friday night and second row, front on Saturday) there where a few times that the vocals got lost for a moment or two and I never did understand the much repeated line of the finale.

My first impression remains the same: 13, THE MUSICAL: is a fun and energetic piece of theatre that is this wholly engrossing. Both casts of teens exude energy and professionalism; they make you care about what happens to Evan, Patrice, and Kendra (the bar mitzvah boy, his new friend, and the popular girl) and their friends. As if anticipating the audience reaction, the authors have the cast sing about their growth, their decisions, their triumphs and failures over the course of the school year

 

 

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

———-

Photo Credits: Jay Paul

13, The Musical
Josh Chapman and Violet Craghead-Way
13, The Musical
Anjali Sharma
13, The Musical
Autumn Papczynski
13, The Musical
Evan Dymon, Brenna Duffy, and John Chapman
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13: What Could Possibly Go Wrong?

13: A Teen-aged Musical

A Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

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

The musical 13 with its high-energy cast of teenagers starts off at a level 10 and pretty much stays there for the duration. The first – and so far only – Broadway musical to have a cast made up entirely of teenagers, the Richmond casts of 13 ranges in age from 12-17. Yes, casts. That was not a typo. Cadence Theatre’s Artistic Director, Anna Senechal Johnson, worked with two casts that will alternate throughout the run. I assumed this was because of the youthful ages of the cast, but in speaking with Johnson after Friday’s opening night program – a second opening night will be held on Saturday for the second cast – it seems that the dual casts are also a way to fulfill the company’s mission and “commitment to development and training for young actors all over Virginia.” Indeed, several of the young actors – and their parents or guardians – commute to Richmond for this show from as far as Northern Virginia and Maryland.

Written by Jason Robert Brown (music and lyrics) and Dan Elish and Robert Horn (book), 13 chronicles several months in the life of Evan, played on Friday by Brandon McKinney. Evan is looking forward to his bar mitzvah, when he gets hit with not one but two major blows: first his parents divorce, then his mother informs him they are moving from New York City – the only hone he has ever known – to a Smalltown, USA, or Appleton, Indiana, to be precise.

Evan befriends Patrice (Bridget Sindelar) before finding out she is a social outcast, and in a heart-wrenching scene, he un-invites her to his party so that the popular kids will attend. Patrice is played by Bridget Sindelar, whom my daughter Soleil immediately recognized as Pinocchio from the VirginiaRep children’s show last season. [https://jdldancesrva.com/2019/03/31/pinocchio-bright-and-shining-son ]. Sindelar nails the character of Patrice, but more importantly, her singing is strong and here range impressive.

Evan’s action catches the attention of Patrice’s best friend, Archie (Ethan Phelps) – a classmate with an unnamed debilitating condition (muscular dystrophy, according to a synopsis of the script) that requires that he use crutches to walk. This makes him an object of ridicule to the popular kids, but that doesn’t stop him from plotting and planning to manifest his deepest fantasy. Archie has a crush on Kendra (Audrey Kate Taylor) and quickly enlists Evan to help jock-boy Brett (Donathan Arnold) secure a date with the ever-popular Kendra, with the ulterior motive of inserting himself in the role of leading man. The boys hatch a plan that at first seems successful – but if that were the case, the play would have ended here instead of continuing to its conclusion.

The lively music under the direction of Anthony Smith is played by a live band, most of whom are onstage in front of us but some of them are placed behind the audience. There is energetic choreography – 13 even included a tap dance – by Jasmine Mckenzie that is created and performed with a sense of ordered chaos that perfectly captures the teen-aged characters. A simple cinderblock set by Emily Hake Massie hides a few surprises that are revealed when doors swing out to create new spaces. Sarah Grady’s costumes are contemporary, with most of the cast – especially the ensemble – dressed in neutral shades like gray, but Evan sports a red plaid shirt, and other leading characters break out of the gray mold with bits of color.

Patrice/Sindelar is full of wisdom, but also has some of the funniest lines in the show. When introducing Evan/McKinney to the town of Appleton, she points out the highlights, like the Walmart and Dairy Queen, but also drops lines like, “The inbreeding takes up a lot of our time.”

Brett/Arnold is the cool, handsome quarterback, and is stereotypically vain and not the sharpest knife in the drawer. His buddies Eddie (Owen Buckenmaier) and Malcolm (Jake Barger) are loyal, hilarious sidekicks. When trying to help Brett prepare to ask Kendra (Audrey Kate Taylor), the prettiest girl in Dan Quail Middle School, they metamorphose into R&B backup singers. Although why the star quarterback and most popular boy on campus needs help getting a date is beyond me. Taylor plays her role with wide-eyed innocence and it’s irritating when she doesn’t seem to catch on to her friend’s betrayal.

Teen-agers can be some of the meanest people on earth, so it is no surprise that there is a Mean Girl in 13. Lucy (Jolie Smith) is supposed to be Kendra’s best friend, but she wants Brett for herself, and does everything she can to get Kendra out of the way: bullying; tripping her during cheerleader practice; giving conflicting advice about how to behave around a boy; and starting a vicious rumor. I suppose why 13 year old students are dating is irrelevant, but one scene hinges around Evan asking his mother to buy movie tickets to an R-rated movie for Evan and his popular friends. The sneer Smith wears whenever Kendra is around is so convincing I began to actively dislike Lucy.

Mia Meadows and Hannah Riggs share the lead in the closing song in a breakout surprise, after performing in the ensemble and the cheerleading squad for most of the play. Brenna Duffy stood in for Zoë Brown on Friday, taking over Zoë’s duties as Rabbi. Because of the huge size of the cast – when doubled – I will let the words of the press release fill in the missing notes:

Returning to the Cadence stage in the Appleton Cast are Violet Craghead-Way (Fun Home), Caroline Johnson (Appropriate), Grace Connell (Appropriate), and Sophia Bunnell (Violet). Returning in the Indiana Cast are Brandon McKinney (Fun Home; Caroline, or Change), Donathan Arnold (Caroline, or Change), and Alex Csaky (Fun Home). Making their Cadence debuts in the Appleton Cast are Evan Dymon, Josh Chapman, Cohen Steele, Anjali Sharma, Ethan Dunne Stewart, Marcus Dowd, Emma McClain, Autumn Papczynski, Molly Nugent, Sam Hurst, Raif Winn, Brenna Duffy, Gracie Farrell, and Lauren Brabrand. Debuting in the Indiana Cast are Bridget Sindelar, Ethan Phelps, Audrey Kate Taylor, Jolie Smith, Owen Buckenmaier, Jake Barger, Molly Rose Meredith, Mia Meadows, Bekah Blackburn, Sawyer Williams, Jack Hensley, Mia Krivanec, Zoë Brown, Madelyn Diradour, and Sarah Kathryn Makl. Performing with both casts will be Hannah Riggs and Christopher Stone. Mason Timberline will be joining the cast as the pianist/Master Conductor.

So, it appears I was led along this theatrical musical journey by the very capable Appleton cast. On Saturday I will go back to see how the Indiana cast conducts themselves along this same path, and I’ll report back to you.

13 is a lively, upbeat show tackles real-life teen-aged problems: popularity; peer pressure; bullying, and more. And every single one of the teens onstage has a cellphone in their pocket; they frequently take them out for a selfie or to record some controversy or other. There is even a one-page Study Guide included in the program that asks some interesting questions, such as “How has technology changed social expectations for adolescents?” and “What does the musical, 13, teach us about friendship and prioritizing personal relationships.

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

———-

Photo Credits: Jay Paul

13, The Musical
Cast of 13. Brandon Mckinney. Photo by Jay Paul.
13, The Musical
Cast of 13. Photo by Jay Paul.
13, The Musical
Cast of 13. Brandon McKinney. and Bridget Sindelar.Photo by Jay Paul.
13, The Musical
Cast of 13. Audrey Kate Taylor and Donathan Arnold. Photo by Jay Paul.
13, The Musical
Cast of 13. Photo by Jay Paul.
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TUCK EVERLASTING: Don’t Be Afraid of Being Truly Alive

TUCK EVERLASTING: It’s a Family Affair

A Theater Review by Julinda D. Lewis

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

Performances: October 18-December 1, 2019

Ticket Prices: $21

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

Virginia Rep opened is 2019-2020 Children’s Theatre season with a magical foray into the world of Tuck Everlasting. The musical, based on Natalie Babbitt’s children’s novel about a family that finds immortality in the waters of a remote spring in the New Hampshire countryside and the grieving young girl who befriends them, was performed on Broadway in 2016. Virginia Rep shared this co-world premiere of this Theater for Young Audiences (TYA) Edition with Nashville Children’s Theatre. (The Nashville premiere was actually in September 2018, so I don’t quite understand how that makes this a co-world premiere.) Pushing that question aside, Tuck Everlasting is a beautifully conceived play that thoughtfully poses serious questions about life choices while resonating with audiences of all ages. The story was new to me, as I had not read the book, had not seen previous productions of the play, and had not seen either the 1981 film by One Pass Media or the 2002 Disney film. Now, I cannot imagine how I missed out.

Unlike many Children’s Theater productions that seem geared towards the youngest audience members from around 4 to 10, Tuck Everlasting is a bit more sophisticated, and seems most appropriate for pre-teens through adults. This is also a production you can feel confident in attending without a child, although I recommend you bring along at least one.  Part of the joy of Tuck Everlasting is watching the faces of the young audience members. My minor cohort on opening night was Nicole, just two days from turning 11, the same age as our story’s protagonist. For most of the show, which runs about 75 minutes, with no intermission, Nicole sat wide-eyed, on the edge of her seat. Just what held her attention – and mine? I’m glad you asked.

Lucy Caudle, a ninth-grader at Maggie Walker Governors School who was recently seen as Alexa in the Virginia Rep production of Atlantis, took full ownership of the lead role as 11-year-old Winnie Foster. Winnie’s father died less than a year ago, and her conventional mother demands that she wear mourning clothes for a full year. But Winnie has gotten wind of an itinerant fair coming to their small New Hampshire town of Treegap, and she wants to go. Caudle genuinely captures the longing and frustration of her character in musical numbers like “Live Like This” and “Good Girl Winnie Foster,” but also in her face and posture. She frequently looks upward and outward into the future or stands with her weight on the balls of her feet, ready to sprint off on the next long-awaited adventure.

It is her need for adventure that sends her off into the nearby woods – woods owned by her family – where she meets Jesse Tuck, younger son of the mysterious and reclusive Tuck family. Taylor Witt, a DC-based actor new to the Virginia Rep stage, makes a charming Jesse, the free-spirited younger brother who exasperates both his older brother Miles and his parents Mae and Angus. Witt emanates non-stop energy and even on opening night seemed to strike just the right chemistry with Caudle.

Todd Patterson is Miles, the older brother who is the voice of reason, but with a dark secret. In a touching scene, Miles finally reveals the source of his deep-seated anger to Winnie. Patterson does a marvelous job balancing the layers of his character’s personality and the reveal is skillfully timed.

Casey Daniel Payne, also making her Virginia Rep debut, added a bit of humor as Mae Tuck. She had grown resigned to her fate and the years have taught her to take pleasure in the small things like not having to keep a clean house, because no one comes to visit. I took particular notice of Walter Riddle as Agnus, the head of the Tuck household. Having kept his family safely secluded for more than 80 years, Agnus appears unruffled by impending disaster and spends his free time fishing. Riddle appeared natural and easy in the role of the father figure, reluctantly dispensing words of wisdom to Winnie and treating Mae with respect and affection that seemed somewhat startling for the time period, the late nineteenth century. It seemed perfectly natural when, sitting back to back with their fishing rods in hand, Winnie leaned her head on Agnus’ shoulder. She was missing her father, and he was remembering what it was like to hold a real child.

Dan Cimo was both sinister and hilarious as the “Man in the Yellow Suit,” a carnival barker who had heard of the magical water that granted eternal life and hoped to become rich from bottling and selling it. One of the most memorable lines in the play was delivered by Winnie’s mother, who asked where one would find a suit in that color, and having found it, why would one buy it? Lisa Kotula played the role of Winnie’s mother with both firmness and compassion. Her role required her to wear Victorian widow’s weeds – a plain black dress – the entire play.

The cast was rounded out by Jon Cobb as the bumbling Constable and Harrison Gray as his deputy, Hugo.  Hugo also has a surprise to reveal in the final scenes. All were ably directed by Matt Polson, who kept the ensemble moving at a swift but manageable pace. The cast was also in charge of scene changes, which consisted mostly of moving a bench, a trunk, a gate, and numerous trees in a heavily forested but uncluttered set designed by Tennessee Dixon, enhanced by BJ Wilkinson’s lighting. The floor was painted with leaves, and larger leaves were projected onto them. A portion of a cottage façade and doorway was the most stable structure – or suggestion of a structure – and there was a grotto of trees surrounding a pile of rocks or boulders that sheltered the magical spring waters. Early on, Winnie pulled a small toad – her only friend at that time – from her pocket; later we saw a somewhat larger, animated toad (a hologram, perhaps?) projected onto the rocks. This toad plays an important part in Winnie’s decision on whether to drink the magical waters.

Set in a small New Hampshire town (it did seem odd that the Tuck family moved east, rather than westward) beginning August 1, 1893, Tuck Everlasting is clothed in period costumes, right down to the shoes, yet the story, the language, and the ideas remain relevant. Ruth Hedberg’s period costumes are whimsical, but she gives full reign to her creativity with the colorful costumes of the carnival people, including a strong man, a physic, clowns, and more. Mallory Keene’s choreography is not so much dance as rhythmic movement sequences organically incorporated into the actors’ actions and characterizations. All of the movement was guided by Jason Marks’ musical direction.

Tuck Everlasting was written by Claudia Shear and Tim Federle, with music by Chris Miller and lyrics by Nathan Tysen. The musical orchestrations are by John Clancy, with vocal arrangements by Chris Miller and ballet music arranged by David Chase. The musical selections were catchy and clearly delivered, from the different perspectives of longing, loss, and hopefulness of the opening “Live Like This,” sung by Winnie, Mae, Miles, Jesse, and the Man in the Yellow Suit to Winnie singing about how some days she wanted to “raise a little more than heaven,” to Hugo and the Constable’s pun-filled, “You Can’t Trust a Man in a Yellow Suit.” (Hugo accused the Man in the Yellow Suit of “fabricating” and the Constable interprets it as “fabric hating.”)

While all of this is going on, the audience, both young and old, is challenged with some real-life challenges: Don’t be afraid of death; it’s part of life. One path can lead to two different conclusions. Sometimes loving someone means letting them go. What are the positives and negatives of living forever? The one point my young cohort found confusing was the final scene, where we find out what Winnie decided to do with the double edged sword of eternal life – the vial of magical water that Jesse presses into her hand as a parting gift. The scene, and the entire play, offers an entry into discussing difficult and challenging topics with your children. Tuck Everlasting is a play that should be seen by families and discussed later.

NOTE: The Tuck family includes one black parent and one white parent, one white son and one black son. This is truly color blind casting, as the issue of race is never once mentioned.

Sensory Friendly Performances
Virginia Rep offers sensory friendly performances for children with autism and other
sensory or social disabilities. During these select performances, changes will be made in
lighting, sound, seating arrangements, and length of performance to create a more welcoming environment for this audience. A Sensory Friendly performance will be offered at 10:30 a.m. on Saturday, November 16. Please see the website for more details:
http://va-rep.org/sensory_friendly.html

Audio Described Performances
In collaboration with Virginia Voice, Virginia Rep offers Audio Described
performances, in which actions, expressions and gestures are described during gaps between dialogue throughout the performance for patrons with low vision or blindness. In addition to live audio description during performances, patrons are also invited to participate in a tactile tour before the performance. An Audio Described performance will be offered at 2:00 p.m. on Sunday, November 3. Please see the website for more details: https://va-rep.org/access_for_the_blind.html

Community Tickets Grant
Virginia Rep offers a free Community Tickets Grant for nonprofit organizations. Organizations who have a demonstrated need for complimentary tickets are encouraged to fill out the application found on the website: bit.ly/CommunityTix

Performance Schedule
Evening performances at 7:00 p.m. on select Fridays
Matinee performances at 2:00 p.m. every Saturday and Sunday
Matinee performances at 10:30 a.m. on select Saturdays

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

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Photo Credits: Aaron Sutten

Tuck Everlasting
Walter RIddle (left) and Lucy Caudle (right). Photo by Aaron Sutten.
Tuck Everlasting
Taylor Witt (left) and Lucy Caudle (right). Photo by Aaron Sutten.
Tuck Everlasting
Lisa Kotula, Todd Patterson, Lucy Caudle, Jon Cobb, Harrison Gray, Taylor Witt, Walter Riddle and Casey Daniel Payne. Photo by Aaron Sutten.
Tuck Everlasting
Taylor Witt, Casey Daniel Payne, Walter Riddle and Todd Patterson. Photo by Aaron Sutten.
Tuck Everlasting
Lisa Kotula, Lucy Caudle and Dan Cimo. Photo by Aaron Sutten.

 

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POLKA DOTS: A Musical About Segregation

Polka Dots: The Cool Kids Musical

A Theater Review by Julinda D. Lewis

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

Performances: July 12 – August 11, 2019

Ticket Prices: $21

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

Polkadots: The Cool Kids Musical is based on the real-life events of the Little Rock Nine. In 1957 nine black students enrolled in the formerly all-white Little Rock Central High School, a test of the 1954 Brown v Board of Education Supreme Court ruling that declared segregation in public schools unconstitutional. For Polkadots, Melvin Tunstall, III (book) has set the  story in Rockaway elementary school, in an undetermined state. Instead of black and white, the tension takes place between the blue skinned squares and the pink skinned polkadots. The squares believe they are the superior group, and don’t want to share their school or their town with polkadots.

Eight-year-old Lily Polkadot, played by Caroline Lynch, is the first polkadot to integrate the school, and the plot revolves around Lily’s efforts to make a friend and assimilate into her new school. Serious and sensitive issues are handled with care under the gentle direction of Jan Guarino.

Lily puts up a brave front, standing up to the mean spirited Penelope Square, singing “Sticks and Stones” as an affirmation, but she still privately wishes her skin was covered with squares instead of polkadots. The children’s teacher, Ms. Square, played by Sydnee Graves, who also plays the role of Mama Square, is warm, friendly and accepting of Lily, but at the same time she doesn’t want to make waves.

On the first day of school, Lily must remain alone in the classroom during the bathroom and water break because the polkadots’ water pump has not yet been installed, and Lily must not drink from the squares’ water sprinkler. A separate water fountain is eventually rolled out for Lily, and this marks one of many times I wondered just how much the younger members of the audience really understood the historical significance of what was taking place.

This was one of the few times I did not have my grandsons Kingston (10) and Emmitt (who just turned 5) along to consult with. As a matter of fact, the volunteer ticket taker took one look at me and asked, “Where’s your grandson?” I almost felt like some sort of pervert attending the Children’s Theatre without a child or two in tow, and I really would like to know what they would have taken away from this show.

Interesting, the cast, including Quan Chau as Sky Square, Sydnee Graves as Ms. Square/Mama Square, Caroline Lynch as Lily Polkadot, and Madeleine Witmer as Penelope Square is quite diverse (white, black, Asian), and all are making their debuts at the Children’s Theatre at Willow Lawn. The quartet was uniformly energetic, and all boast strong singing voices. Douglas Lyons’ lyrics are surprisingly sophisticated for a children’s show – more throaty ballads than bouncy ditties and the music by Greg Borowsky and Lyons provides a firm foundation for Mallory Keene’s choreography. There is even one number, where Sky and Lily create a silly dance, the Squa-Dot, that invites audience participation, but on Friday night, although there was one enthusiastic row of youthful audience members bouncing in their seats, no one was brave enough to stand up and join in the dance.

Graves was almost annoyingly prim and proper in her role as the teacher and seemed like an authentic school counselor when she shared with Lily her own trials as the first “lady teacher” at their school. Witmer was almost satisfyingly snarky as the mean girl big sister, and was visibly disappointed when her big song, “Cool Kid,” which was meant as a put-down for Lily missed the mark, because Lily wasn’t in the audience to hear it. Chau was adorable as little brother, Sky, and Lynch was perfectly cast as the spunky yet vulnerable Lily.

Kyle Artone’s costumes are colorful and cartoonish, and the square women’s full-skirted dresses, stretched over stiff and puffy crinolines, are especially pretty. Lily’s dress is simpler and less elaborate than the dresses of the squares. I found the pink and blue skin (part fabric and part makeup) and cotton candy colored hair a bit creepy, but it didn’t seem to bother the younger members of the audience.

Emily Hake Massie’s set was surprisingly simple. A huge square platform in the center of the stage served as Penelope’s bed, Ms. Square’s classroom, and Mama Square’s dining table. Cubes served as props and seating and doubled as steps to allow the performers access to sit and dance atop the square platform. Lynne Hartman’s lighting was also minimal, with a few special effects that highlighted the segregated fountains.

Unlike in real life, there is a happy ending, with everyone becoming friends – or at least, agreeing to live and work together – but as a lesson, it’s a start. Looking around at the faces of the children in the audience, mostly 6-10 years old, they appeared to be having a good time, but it would take a post-performance discussion to determine how much they actually learned.

Polkadots: The Cook Kids Musical runs just under an hour, with no intermission, and will be playing at The Children’s Theatre at Willow Lawn through August e.

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

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Photo Credits: Aaron Sutten

Polkadots: The Cool Kids Musical
Madeleine Witmer. Photo by Aaron Sutten.
Polkadots: The Cool Kids Musical
Quan Chau, Caroline Lynch. Photo by Aaron Sutten.
Polkadots: The Cool Kids Musical
Madeleine Witmer, Sydnee Graves, Quan Chau. Photo by Aaron Sutten.
Polkadots: The Cool Kids Musical
Caroline Lynch, Quan Chau, Madeleine Witmer, Sydnee Graves. Photo by Aaron Sutten.
Polkadots: The Cool Kids Musical
Caroline Lynch. Photo by Aaron Sutten.

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PINOCCHIO: Bright and Shining Son

Pinocchio: The Nose Knows

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

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

Performances: Mach 29 – May 5, 2019

Ticket Prices: $21

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

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

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

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

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

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

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

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

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

 

Sensory Friendly Performances

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

 

Audio Described Performances

In collaboration with Virginia Voice, Virginia Rep is pleased to offer Audio Described performances, in which actions, expressions and gestures are described during gaps between dialogue throughout the performance for patrons with low vision or blindness. In addition to live audio description during performances, patrons are also invited to participate in a tactile tour before the performance. An Audio Described performance will be offered on Sunday, April 7, 2019 at 2 p.m. Please see the website for more details: https://va-rep.org/access_for_the_blind.html

 

Performance Schedule

Evening performances at 7:00 p.m. on select Fridays

Matinee performances at 2:00 p.m. every Saturday and Sunday

Matinee performances at 10:30 a.m. on select Saturdays

 

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

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Photo Credits: Aaron Sutten

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HUCK & TOM: Rolling on the River

Huck & Tom: And the Mighty Mississippi

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

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

Performances: January 25 – March 3, 2019

Ticket Prices: Start at $21

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

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

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

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

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

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

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

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

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

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

 

Sensory Friendly Performances

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

Performance Schedule

Evening performances at 7:00 p.m. on select Fridays

Matinee performances at 2:00 p.m. every Saturday and Sunday

Matinee performances at 10:30 a.m. on select Saturdays

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

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Photo Credits: Aaron Sutten

Acts of Faith logo

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

THE LEGEND OF THE POINSETTIA: 18 Years Strong

THE LATIN BALLET OF VIRGINIA: LEGEND OF THE POINSETTIA 2019

A Dance Review and Related Thoughts by Julinda D. Lewis

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

Performance Were: January 10-13, 2019

Ticket Prices Were: $10 – $20

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

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

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

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

The Legend of the Poinsettia is a family-friendly, multi-cultural, multi-generational festival featuring the dances, music, and costumes of Mexico (the origin of the legend and of the poinsettia plant, with Micas de Aguinalda or Christmas Masses and nine days of posadas leading up to Christmas, with reenactments of the pilgrimage of Mary and Joseph), Colombia (King’s birthplace, which also celebrates the nine nights before Christmas with las novenas including songs, prayers, and nativity scenes), Venezuela (the home of the gaitas or festive songs that blend the Spanish and African cultures), the Dominican Republic (home of the bachata, a mixture of Cuban bolero and son), Puerto Rico (home of the Christmas parrandas or musical festivities) and Spain (home of flamenco and the Christmas novenas). A blend of solemn candle lighting and prayers with festive singing and dancing is the common thread that ties together the many cultures and traditions, concluding with the miracle of the poinsettia plant, represented by dancers in red and green.

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

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

 

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

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Photo Credits: Photos from Latin Ballet Facebook page.