Category: Classic

LONG DAY’S JOURNEY INTO NIGHT

Family Dysfunction as Fine Art

A Theater Reflection by Julinda D Lewis

Presented by: Cadence Theatre

At: Firehouse Theatre on the Carol Piersol Stage, 1609 W Broad St., RVA 23220

Performances: September 26 – October 11, 2025

Ticket Prices: $5-$40

Info: (804) 233-4894 or (804) 355-2001 or firehousetheatre.org

Where to begin?

Eugene O’Neill’s Long Day’s Journey into Night stands out as a hauntingly authentic exploration of family bonds, dysfunction, addiction, and shadows from the past. From the very first moments, the play immerses the audience in a poignant portrayal of the Tyrone family, using the power of simplicity. Taking place over the course of a single summer day at the Tyrone family’s Connecticut summer home, O’Neill reveals the family’s struggles with personal demons and the inescapable grip of regret. He also reveals these things about his own family as the Tyrone family finds parallels in O’Neill’s own parents, himself and his older brother. Whereas most authors advise that the names do not reflect real people, O’Neill has borrowed freely from his own family tree – shifting and borrowing, but using real names, nonetheless.

Messiness aside, O’Neill’s masterful use of language and his rich character development invites viewers to immerse themselves into the complexities of love and despair, presenting a work that is simultaneously unsettling and profoundly relatable. Each character feels like a reflection of O’Neill’s own experiences – because they are. This personal history adds layers of authenticity to a narrative that is both a personal tragedy and a universal commentary on the human condition.

Long Day’s Journey into Night was written 1939-1941 but was published posthumously and first performed in February of 1956, more than two years after O’Neill’s death (October 16, 1888 – November 27, 1953). It is considered by many to be the author’s master work and earned a Tony award for Best Play and a Pulitzer Prize for Drama.

The title, though? Some believe it refers to the setting of play, taking place over the course of a single summer day. The play opens just after the Tyrone family has completed breakfast and concludes in the evening, after dinner. Others say the title refers to the literal passage of time, from morning to evening. Summer days are longer than others, as far as hours of daylight. Then, of course, there is the metaphorical meaning that says the title refers to the family’s descent into the darkness of despair. This explanation focuses on the symbolism of the family’s journey through addiction, regret, and blame, moving from a false sense of hope in the morning to a bleak, unresolved midnight. This explanation also suggests the characters’ individual and collective journeys back in time as they resurrect past hurts and relive their failures, making the day seem to stretch out in a cyclical fashion, like a vintage Groundhog Day. There is also the long day for the audience, as the play runs approximately four hours, including two ten-minute intermissions.

Long Day’s Journey into Night is difficult to watch – and not just because it’s long. There is the subject matter, which might be triggering for some. The father, James Tyrone, was a successful but now fading Irish-American actor who dabbles in real estate investment, drinks too much, and is somewhat of a miser. In one hilarious scene he climbs atop a table to twist on the bulbs of a chandelier because his son complained about his miserly ways. He had been sitting under the light of a single bulb to save money. (In retrospect, I wonder if he rotated the lit bulb, so they would burn out evenly…) Another humorous moment occurs when James suddenly becomes aware that his sons have been watering down his prized whiskey. Matt Radford Davies plays the domineering, frayed at the seams actor with apparent ease and reveals the positive and negative aspects of James’ personality is a way that paints him as neither all villain nor all hero. It feels as if Davies has walked in Tyrone’s/O’Neill’s’ shoes, or at least tried them on long enough to absorb their essence.

Mary, the mother, has a mysterious illness that is alluded to throughout the first act but never confirmed until about the midpoint of the play. This brings up another triggering idea – the medical negligence of women, especially pregnant women – as well as the prevalence of addiction to prescription pain killers. Yes, even in 1912, when this play was set. Robin Arthur’s erratic movements, her repetitious dialogue, her fixation with her hair, her obsessiveness in regard to her younger son, and her aggressively mysterious demeanor make sense as the source of her pain is revealed.

“I know you still love me in spite of everything.” – Mary

Jamie Tyrone, the elder son, is an actor, like his father. He drinks too much, like his father. But unlike his father, he lacks ambition and a sense of purpose. Axel Burtness is well cast in this role, and shines best in a scene where Jamie warns his younger brother that, as much as he loves him, he will try to sabotage him and wreck any success or happiness that may come his way.

Edmund, the younger son, has a double burden. Unknowingly, he was a replacement baby, conceived to replace a baby who died of measles that may have been intentionally passed on to him. It was this birth that triggered Mary’s constant pain and need for medication. To make matters worse, Edmund has contracted consumption – another name for tuberculosis. (It was called consumption because the illness sometimes seemed to consume the individual who had it.) This, of course, makes Mary even more depressed. Trace Coles brings just the right balance of innocence and defiance.

“Who wants to see life as it is if you can help it?” – Edmund

While several other characters are mentioned, no others make an appearance onstage other than Cathleen the maid. Ruby Joy Garcia’s role seemed headed in the direction of stereotypical household help, until the day Mary invites her to sit and keep her company – and have a drink. The elevates Garcia’s role (i.e., status) both literally and figuratively and brings more depth to her character. The moment when the whiskey emboldens her to talk back is a priceless gem.

Both sons, given enough to drink, are prone to spouting poetry and lines from Shakespeare – or Baudelaire, or Ernest Dowson, or Algernon Charles Swinberg.

“Be drunk with wine, with poetry, with virtue.” Charles Baudelaire

Long Day’s Journey into Night is a deeply impactful play, and like any work of art, it reveals both positive and negative aspects. On the plus side,  O’Neill has given us rich, complex, multi-dimensional characters that resonate with many audience members. The play masterfully explores themes of addiction, illness, and family dysfunction. Allowing his audiences to connect with the characters on a personal level. Then there is the frequent use of beautiful and poignant poetic language. This elevates the dialogue and the overall experience. The play’s universal themes of regret, love, and the search for redemption all speak to fundamental human experiences, making it a timeless work that continues to resonate with new generations. A long with that, the infusion of O’Neill’s personal experiences adds depth and authenticity, providing a unique perspective on the struggles of addiction and family dynamics.

On the other hand, the subject matter is extraordinarily heavy. The play’s themes can be quite dark and may make the play emotionally challenging for some viewers, particularly those who have experienced similar issues in their own lives. Then there is the matter of the four-hour runtime and a slower pace may not engage all audiences, potentially making the play feel lengthy, especially for those unfamiliar with dramatic theater. I would not bring someone to see this play as their introduction to live theater.

Finally, the overall atmosphere of the play is often somber, which may leave some viewers feeling overwhelmed or despondent rather than uplifted. The intricate exploration of relationships and personal struggles requires careful attention and may lead to reflection or revelations, which could be challenging for some audience members – and perhaps to the actors as well. While it’s a vital aspect of the narrative, the portrayal of addiction might be unsettling for some, as it reflects painful realities that all too many face in reality.

So, while Long Day’s Journey into Night is a masterful exploration of complex themes and relationships, that is beautifully acted and well directed by Rusty Wilson, it also presents its audience with challenges due to its heavy emotional weight and slow pacing – and it’s not that the pace is too slow, the pacing is an accurate depiction of real time, a time, perhaps, when people were not as rushed because they didn’t have or expect near instantaneous results to their queries and problems as we have come to expect due to technology.

Long play, long reflection. Bottom line, if you’ve never seen it, put it on your bucket list. I’m a theater nerd, a theater junkie, so I was excited to take in the author’s language, Daniel Allen’s shabby-genteel set, and Nancy Coles’ period costumes. But on the other hand, I did not tell my husband ahead of time exactly how long it was going to be…

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally performs. Julinda was recently awarded the Dean’s Distinguished Adjunct Faculty Award 2023-24 Academic Year by VCU School of the Arts and the 2025 Pioneer Award in Dance Ministry by Transformation International Worship Ministries, Newport News, VA.

—–

LONG DAY’S JOURNEY INTO NIGHT

Written by Eugene O’Neill

Directed by Rusty Wilson

CAST

James Tyrone – Matt Radford Davies

Mary Cavan Tyrone – Robin Arthur

Jamie Tyrone – Axle Burtness

Edmund Tyrone – Trace Coles

Cathleen – Ruby Joy Garcia

PRODUCTION TEAM & CREW

Director – Rusty Wilson

Stage Manager – Joshua Kreis McTiernan

Assistant Stage Manager – Natalie Masaitis

Scenic Designer – Daniel Allen

Scenic Painter – Emily Hake Massie

Costume Designer – Nancy Coles

Lighting Designer – Steve Koehler

Sound Designer – Justice Craig

Sound Associate – Julie Vo

Fight Director – Aaron Orensky

Dialect Coach – Erica Hughes

Dramaturg – Alana Wiljanen

Set Decorator – Michael Maddix

Composer/Musician – Daniel Clarke

Director of Production – Todd LaBelle

Technical Director – Emily Vial

A/V Supervisor – Grace LaBelle

Running Crew – Terra Comer, Natalie Masaitis

Production Assistant – Terra Comer

Board Operator – Joshua Kreis McTiernan

Performance Schedule: Thursdays, Fridays, Saturdays @7:00PM and Sundays @2:00PM

Run Time: 4 hours with two10-minute intermissions

Setting: A summer day in August 1912 at the Tyrone family summer home in Connecticut.

Premiere: The play officially premiered at the Royal Dramatic Theatre in Stockholm, Sweden, February 10, 1956. O’Neill had wanted it to remain unpublished for 25 years after his death, but his widow overrode his wishes. The play opened on Broadway at the Helen Hayes Theatre on November 7, 1956.

Photos: Jason Collins Photography,Courtesy of Anna Senechal Johnson

Robin Arthur, Matt Radford Davies
Trace Coles, Robin Arthur
Matt Radford Davies, Trace Coles
Matt Radford Davies, Robin Arthur
Axle Burtness
Ruby Joy Garcia
Trace Coles, Matt Radford Davies
Matt Radford Davies, Axle Burtness
Matt Radford Davies, Trace Coles

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MURDER ON THE ORIENT EXPRESS 

A Theater Review by Julinda D. Lewis 

By: Virginia Repertory Theatre (Virginia Rep) 

At: the November Theatre Arenstein Stage, 114 West Broad St, Richmond VA 23220 

When: September 11 – October 12, 2025 

Ticket Prices: $35-$62   

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

Train whistles and schedule announcements greet those who enter the November Theatre for the Virginia Rep 2025-26 season opener – Agatha Christie’s Murder on the Orient Express. An authentic literary and theater murder mystery classic, Murder on the Orient Express has murder, romance, conspiracy, locked doors, humor, nobility, a wide array of accents and dialects, and a dynamic set design worthy of its own program credit. All that was missing was the heady aroma of creosote, brake dust, diesel fuel, and the other components of railroad life. 

Director Rick Hammerly and his talented production team kept enough of the familiar touch stones and the stereotypically drawn murder mystery characters to make us feel right at home, yet balanced these with delightful surprises that never failed to impress.  

First, there was a bit of video, providing some background on the kidnapping of a little girl, Daisy. Then Hercule Poirot (Lawrence Redmond) gave a brief introductory curtain speech. In the brief time it took Redmond to speak, the crew transformed the previously bare space consisting of little more than a fat white screen into a passable representation of luxury hotel dining room. Three-dimensional set elements and two-dimensional projections and lighting effects blended in a collaboration that set new standards. Were those pedestrians moving outside the hotel windows? Or were they crew preparing for the next scene change? Either way, they added depth and nuance to the visual presentation. Kudos to scenic designer Chris Raintree, projection designer Tennessee Dixon, and lighting designer BJ Wilkinson. 

Then, there is the matter of a dynamic actors, all larger than life figures who inhabited the cast of characters with enthusiasm, grace, and humor. Redmond gave us Poirot’s sharp intellect, meticulous, observant. Frank Britton in the role of Poirot’s friend, Monsieur Bouc, the director of the railroad company, played the comedic foil – up to a point. It was his simple perspective that, in the end provided a resolution to the story’s weighty moral dilemma.  

McLean Fletcher portrays Greta Ohlsson as a modest and devout missionary who only wants to help children in Africa, but she is obviously hiding something. And why, exactly, is she posing as an aide to Princess Dragomiroff? Ah yes, Princess Dragomiroff, covered in layers of fine fabrics and jewels and better known to us as the talented Jan Guarino. The Princess’ embroidered handkerchief, is found (planted?) at the scene of the crime in an attempt to mislead the investigation. 

As the snooty but nameless Head Waiter in the first scene, John-Michael Jalonen sets the stage for the opulence and luxury of the other characters, those who are waiting at the hotel to board the luxurious Orient Express on its way from Istanbul, Turkey to London, England. Most of the passengers are traveling in first class compartments and the trip would have taken about four days if the train had not been stranded due to a heavy snowstorm in Yugoslavia. BTW, service on the original Orient Express began in 1883 and ended in 2009, although other companies have stepped in to provide Orient Express travel experiences. But I digress.  

Matt Meixler plays Hector MacQueen, personal assistant to Ratchett/Cassetti, the murder victim. MacQueen is a master of misdirection, but he is the one who reveals Ratchett’s true identity to Poirot. If there was a female lead in Murder on the Orient Express, it would surely be Susan Sanford in the role of the obnoxiously loud, hard drinking, “ugly American” Helen Hubbard. Sanford hits all the stereotypes and mixes them with steroids, making us feel simultaneously horrified and amused by Hubbard’s shenanigans. Hubbard, by the way, has the compartment next to Ratchett/Cassetti, and there is a connecting door… 

Continuing with our little game of Clue, there is Ashey Thompson as Countess Andrenyi, whose key role seemed to be beautiful – a role she portrayed with apparent ease — while her real identity was kept hidden from Hercule Poirot. Charlene Hong White takes on the role of the governess, Mary Debenham – another, like Greta Ohlsson, who seems to have a lot of secrets. Poirot noted Mary with suspicion while in the hotel, before ever boarding the train or becoming aware of a murder. Both White and Fletcher are masterful at playing innocent while letting us know they are hiding something just beneath the surface of their cool, beautiful exteriors. 

Nathan Whitmer is stalwart and blustering in the role of English military officer Colonel Arbuthnot. Arbuthnot isn’t too good at hiding his relationship with Mary Debenham, but Whitmer looks great in a kilt. Travis Williams plays the all-important role of Michel, the Conductor – the man who has access to all the train’s compartments, and perhaps access to an extra conductor’s uniform… 

So, there you have it, the backgrounds of the passengers and other cast members. A diagram of how they are connected would further help keep everybody straight, but would definitely be a spoiler, so you’re on your own for that.  

This high-powered, heavy weight ensemble took us on a most delightful journey that hit most of the elements of a great murder mystery. There was a compelling, locked-door murder. There was an intriguing setting – a train stuck on the tracks far from help, during a major snowstorm. Not only could the train not move, but communications were also lost with dispatchers. There was a victim, and a crime a murder method, and nearly a dozen suspects, with opportunity and hidden motives. A world class detective just happened to be on board, to investigate the clues and red herrings left to misdirect the audience. 

What makes this story even more intereting is the moral dilemma posed near the end. Is murder ever okay? Is there ever a time when, in the words of several fictional and real-life characters, “sometimes the som’bitch needed killin’?” Pack your bags, pick up a drink before boarding, and go find out for yourself. Let me know what you decide. 

———- 

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally performs. Julinda was recently awarded the Dean’s Distinguished Adjunct Faculty Award 2023-24 Academic Year by VCU School of the Arts and the 2025 Pioneer Award in Dance Ministry by Transformation International Worship Ministries, Newport News, VA. 

———- 

AGATHA CHRISTIE’S MURDER ON THE ORIENT EXPRESS 

Adapted for the stage by Ken Ludwig 

Directed by Rick Hammerly 

Cast 

Lawrence Redmond ….. Hercule Poirot 

Frank Britton ….. Monsieur Bouc / u/s Poirot 

McLean Fletcher ….. Greta Ohlsson /u/s Princess Dragomiroff 

Jan Guarino ….. Princess Dragomiroff 

John-Michael Jalonen ….. Head Waiter / u/s MacQueen, u/s Michel 

Matt Meixler ….. Hector MacQueen 

Susan Sanford ….. Helen Hubbard 

Ashley Thompson ….. Countess Andrenyi 

Charlene Hong White ….. Mary Debenham 

Nathan Whitmer ….. Colonel Arbuthnot / Samuel Ratchett 

Travis Williams ….. Michel the Conductor / u/s Arbuthnot, u/s Ratchett 

Rachel Dilliplane ….. u/s Mary, u/s Countess 

Lily Marcheschi ….. u/s Greta Ohlsson, u/s Helen Hubbard 

Mark Persinger ….. u/s Monsieur Bouc, u/s Head Waiter 

Recorded Voices ….. Frederic Blasco, Rachel Dilliplane, Emily Goodman, Lily Marcheschi, Mark Persinger, Guy Seigneuric, Travis Williams 

Direction & Design 

Directed by ….. Rick Hammerly 

Scenic Design ….. Chris Raintree 

Projection Design ….. Tennessee Dixon 

Costume Design ….. Kendra Rai 

Wig Design ….. Alia Radabaugh 

Lighting Design ….. BJ Wilkinson 

Dialects ….. Amanda Durst 

Sound Design ….. Joey Luck 

Fight & Intimacy Direction ….. Casey Kaleba 

Stage Management ….. Ginnie Willard 

For This Production 

Assistant Stage Manager ….. Hannah Hoffert 

Rehearsal Stage Manager ….. Justin Janke 

Assistant Lighting Designer ….. Griffin Hardy 

Carpenters …..Van Montes, Avery Rose 

Scenic Artists ….. Julie Gallager, Van Montes 

Electricians ….. Rylie Vann, Griffin Hardy 

Stitchers ….. Sarah Grady, Kate Koyiades, Maggie Ronck 

Fly Rail and Deck Crew ….. Daryus Gazder, Logan Graves, Bien Quiroz 

Light Board Operator ….. Rylie Vann 

Sound Board Operator ….. Amaya “AJ” Rose 

Wardrobe Supervisor ….. Emily Andrew Mateos 

Video Production ….. Tennessee Dixon, Rick Hammerly, Hannah Hoffert, Joey Luck, Hans Paul, Jonathan Pratt, Ginnie Willard, Kacey Yachuw 

Photographer ……………………… Aaron Sutten 

Ticket Information 

Box Office: (804) 282-2620 

www.virginiarep.org 

Ticket Prices: $35 – $62 

Performance Schedule 

September 11 – October 12, 2023, with performances 

Thursdays, Fridays, and Saturdays at 7:00 PM, select Saturdays at 2PM, Sundays at 3PM, and select Wednesday evenings and matinees. 

Run Time 

The play runs for approximately 2 hours with one 15-minute intermission 

World Premiere produced by the American Repertory Theatre at Harvard University, August 2, 2015 

Originally Staged by McCarter Theater Center, Princeton, NJ 

Photo Credits: Aaron Sutten  

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A MIDSUMMER NIGHT’S DREAM

Potions, Poetry & the Power of Dreams

A Theater Review by Julinda D. Lewis

Presented by: Richmond Shakespeare

Performances: June 19 – July 20, 2025 [Extended to July 27!]

At: Agecroft Hall, 4305 Sulgrave Rd., RVA 23221

Ticket Prices: $22-$47 [Adults $47; Seniors 65+ with ID $42; Military with ID $32; College Students with ID $27 & Children 18 and under $22] Seating is General Admission.

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

Shakespeare wrote A Midsummer Night’s Dream in around 1595 or 1596. Here we are in 2025, watching Shakespeare’s sixteenth century comedy about people in Ancient Greece (c. 12th century) being performed by a cast of characters in 1950’s attire. Now that, my friend, is the definition of timeless. [NOTE: A brief synopsis of the play is provided at the end of this reflection.]

As Director James Ricks notes in the Midsummer program, the play was most likely originally performed in an outdoor venue where, much like at Agecroft Hall, the close proximity of audience and actors created a uniquely intimate dynamic. “Here,” Ricks wrote, “we have assembled to ‘rehearse most obscenely and courageously,’ employing Shakespeare’s original practices with a touch of modern technology.”

Lysander (Erich Appleby) slouches onstage looking like he’s auditioning for a role as “the Fonz” in Happy Days and Demetrius (Gordon Graham) shows up wearing his preppy letterman sweater. Hermia (Erin Chaves) wears pink pedal pushers, completing the 1950’s casual couture look, while Hermia’s father, Egeus (Erica Hughes) inexplicably sports the wide-brimmed hat and accent of a landed southern planter. Theseus, the Duke of Athens (Arik Cullen) cautions Hermia in his best Shakespearean intonation to “fit your fancies to your father’s will,” while Bottom (James Ricks), channels Marlon Brandon c.1954 spouting, “I could’a been a contender!”  

And did I mention the doo-wop songs? OMG there were doo wop songs sung by proper quartets with outstanding harmony offering such classics as “In the Still of the Night,” “At Last,” and “A Sunday Kind of Love.” A Midsummer Night’s Dream was filled with one surprise after another – all good – starting when I opened my program and saw that Richmond Shakespeare’s Artistic Director James Ricks had cast himself in the role of Bottom.

What bold choices. What unlikely pairings. What a brilliant production! This is a true ensemble, with nearly every actor getting a chance to shine. Let’s take a look:

Erick Appleby’s insouciance as Lysander, one of the two young male love interests, early on set a tone and laid a foundation for what to expect going forward. Erin Chaves, in the role of Lysander’s beloved Hermia, seems always on the verge of being the mean girl, but it’s obvious she’s got “home training” – as who wouldn’t with an over-bearing parent like Egeus (more about Erica Hughes in just a moment). Gordon Graham as Demetrius was the nerdy guy most likely to be approved by the parents, I almost felt sorry for him under the pressure of hot pursuit by the love-struck Helena, played with over-the-top angst by Paisley LoBue.

Arik Cullen was regal as Theseus, the Duke of Athens, and almost villainous as Oberon, the King of the Fairies and husband of the Fairy Queen Titania, with whom he is at odds. Jianna Hurt doesn’t have much to do as Theseus’ fiancée Hippolyta but makes up for it in her role as Titania where she gets to be beautiful, independent, and inadvertently funny (when she awakens to fall in love with a donkey) – and also gets to sing her heart out.

Erica Hughes, whose mastery of dialects I have long admired, played Egeus as a domineering parent with a southern accent, but it was as Quince, the leader of the mechanicals – a group of laborers (e.g., a baker, a weaver, a carpenter, etc.) who moonlight as incredibly inept actors whose goal is to perform the play-within-a-play Pyramus and Thisbe for the royal wedding program of Theseus and Hippolyta that she really shines. It is as part of this group that James Ricks has brilliantly inserted himself as Bottom, an overly confident weaver who enthusiastically volunteers to play every part in the play. Ricks turns what might otherwise have been a minor character into a highlight of every scene he tackled.

The ensemble-within-the-ensemble, who played the mechanicals as well as Titania’s fairy court included Alex Godschalk, Enrique Gonzalez, Elle Meerovich, Toby O’Brien, and Abe Timm. Meerovich also served as the play’s Music Director (the main play, that is, not the play-within-the-play) and got to lead at least one song – of course – but also made a lasting impression as The Wall in Pyramus and Thisbe – an intentionally bad parody of a Shakespeare play.

I did not forget about Puck – the mischievous assistant to Oberon whose hurried and impish nature leads to a mistake that sets in motion an epic series of misadventures. Abe Timm (he/she/them) is the most delightful, most energetic Puck I’ve ever seen, and I have seen a few – in both play and ballet form. (And I must confess, the last time I saw a Richmond Shakespeare production of A Midsummer Night’s Dream I was wholly partial because the role was played by Raven Lorraine, who was once a Brownie Girl Scout in the troop I led…)

But to get back to this production, this represents some of James Ricks’ finest work – both as director and as actor. The musical direction by Meerovich added delightfully unexpected and highly satisfying 1950’s harmony and the choreography by Starrene Foster wasn’t so much dance phrases as organic movement designed to keep everyone and everything flowing in one accord.

What more can be said about this production…other than this is what theater was meant to be.

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally gets to perform.

—–

A MIDSUMMER NIGHT’S DREAM

Written by William Shakespeare

Directed by James Ricks

CAST

Lysander                               …..      Erich Appleby

Hermia                                   …..      Erin Chaves

Oberon/Theseus                 …..      Arik Cullen

Attendant/Fairy                   …..      Kara Finnegan

Starveling/Mustardseed    …..      Alex Godschalk

Flute/Peasblossom             …..      Enrique Gonzalez

Demetrius                             …..      Gordon Graham

Quince/Egeus          .           …..      Erica Hughes

Titania/Hippolyta                …..      Jianna Hurt

Helena                                   …..      Paisley LoBue

Snout/Moth                          …..      Elle Meerovich

Snug/Cobweb                     …..      Toby O’Brien

Bottom                                  …..      James Ricks

Puck/Philostrate                  …..      Abe Timm

PRODUCTION TEAM

Artistic Director/Bottom/

            Director/Production

            Management/

            Scenic Design/

            Sound Design          …..      James Ricks

Managing Director             …..      Jase Smith Sullivan

Production Manager/

Stage Manager        …..      Nata Moriconi

Assistant Stage Manager/

Props Design            …..      Jordan Dively

Assistant Stage Manager   …..      Kathleen Acree

Costume Design                  …..      Anna Bialkowski

Lighting Design                   …..      Griffin Hardy

Choreographer                   …..      Starrene Foster

Music Director/Arranger   …..      Elle Meerovich

Intimacy Director                 …..      Dorothy “Dee D.” Miller

Assistant Director                …..      Andrew Gall

Run Time: About 2 hours 30 minutes; there is one intermission

Setting: Ancient Athens and the nearby forest, approximately 12th Century B.C.

Photo Credits: Aaron Sutten; Richmond Shakespeare Website & Facebook page

A Brief Synopsis of William Shakespeare’s A Midsummer Night’s Dream:

A Midsummer Night’s Dream is a comedic play by William Shakespeare that intertwines the lives of four young Athenian lovers—Hermia, Lysander, Helena, and Demetrius—with a group of mischievous fairies and a troupe of amateur actors. The play is set in the mystical woods outside of Athens, where magic and whimsy reign.

The story begins with Hermia, who is in love with Lysander, but her father Egeus insists she marries Demetrius, who is in love with her. Disregarding her father’s wishes, Hermia flees with Lysander into the forest, followed by Helena, who harbors unrequited feelings for Demetrius. In the enchanted woods, the fairy king Oberon and his queen Titania are embroiled in their own domestic quarrel, leading Oberon to seek revenge using a magical flower that causes love at first sight.

As Oberon instructs his mischievous servant Puck to apply the potion to Titania and to Demetrius so he will fall in love with Helena, chaos ensues. Mistaken identities and unintentional enchantments result in a tangled web of romantic confusion among four young lovers. Meanwhile, a group of amateur actors, led by the bumbling Bottom, unknowingly becomes part of the fairy mischief, resulting in humorous transformations and antics.

Ultimately, love prevails as the magic wears off, misunderstandings are resolved, and the couples reunite correctly. The play concludes with the characters returning to Athens, ready to celebrate their marriages, and Puck delivers a final monologue inviting the audience to view the events as a dream. Shakespeare’s exploration of love, fantasy, and reality culminates in a lively and whimsical tapestry that highlights the folly and joy of human emotion.

[This synopsis was generated with the assistance of AI.]

James Ricks and Jianna Hurt
Gordon Graham, Paisley LoBue, and Erich Appleby
Arik Cullen
Alex Godschalk, Enrique Gonzalez, Erica Hughes, James Ricks, Elle Meerovich
Abe Timm and Erich Appleby
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FAT HAM

A Co-Production of Firehouse Theatre and Richmond Triangle Players

A Reflection on a Unique Theater Experience by Julinda D Lewis

At: Firehouse Theatre, 1609 W Broad St., RVA 23220

Performances: April 16-19, 2025

Ticket Prices: $45 [all shows SOLD OUT]

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

Fat Ham is what happens when Shakespeare gets invited to the BBQ and there’s brown liquor and the Electric Slide – the only thing missing is a game of Spades.

What is Fat Ham? James Ijames’ 2022 Pulitzer prize winning play is a modern-day take on Shakespeare’s Hamlet. Set in a small town in North Carolina (or Virginia, or Maryland, or Tennessee), Juicy’s father, Pap, has died and his mother, Tedra, immediately married her deceased husband’s brother, Rev. Mere moments into the contemporary tragedy (or tragi-comedy), Pap appears to Juicy and his friend Tio as a ghost. As if to make sure we get the “comedy” part of tragi-comedy, Pap has thrown a large white sheet, complete with pasted on black eyeballs, over his pristine white funeral suit and strolls into the backyard using the gate. I’m not the only one who wondered why he didn’t just walk through the fence, as his son, Juicy also asked why he wasn’t floating! Point made, he subsequently ditches the sheet and appears in his white suite with a wide-brimmed white hat and white shoes.

Named in honor of Shakespeare’s Hamlet and the BBQ restaurant owned by the play’s fictional family, Fat Ham is equal parts family tragedy and side-splitting comedy. Pap has roused himself from the grave to ask his son to seek revenge. Apparently, while in prison serving a sentence for stabbing a man, he himself became the target of a hitman when his own brother, Rev, has him killed. The plot thickens when Pap, Rev, and just about every other adult in his life           questions Juicy for being “soft,” calling him a sissy and other choice names.

As the drama unfolds, two of Juicy’s friends come – or get forced out – of the closet. Tedra’s conflict is also internal as she faces her own insecurities that make her think she can find her worth only in the arms of man. Criticism is met with a variety of explanations, all ending with, “it’s biblical” or  “it’s in the bible.”

There was plenty of drama off the stage as well. After a successful run in Norfolk earlier in the year, Virginia Rep was set to bring Fat Ham to the November Theatre but cancelled at the last minute due to their on-going financial problems that surfaced for the public in the fall of 2024. While it may be true that finances were the source of the cancellation, the optics were not good. Fat Ham is very much a Black and Queer play, and with all the controversy over Black History Month, DEI, and the like, well feelings were ruffled.

In what was a huge surprise to many if not most of us (the RVA theater community), the Firehouse Theatre, under the direction of Producing Artistic Director Nathaniel Shaw and Richmond Triangle Players, where Philip Crosby is Executive Director, joined together to co-produce Fat Ham with the same Norfolk cast that was originally expected to bring this production to the River City. The five performances were fully sold out before most of the general public even heard about the event. So, for many reasons, Fat Ham is not just any play, this was not just any production, and I felt blessed to secure a seat.

Bringing this show to life, complete with physical comedy, amazing soliloquys, some of which reference Shakespeare and some of which are taken verbatim from the bard’s Hamlet – such as  “what a piece of work is a man” – is a dynamic cast consisting of Marcus Antonio as Juicy/Hamlet, Kevin Craig West as Pap/the ghost of Hamlet’s father and Rev/Claudius, Cloteal L. Horne as Tedra/Hamlet’s mother, Gertrude, and Adam E. Moskowitz as Juicy’s/Hamlet’s sidekick Tio/Horatio. Notice the pattern that is beginning to emerge? Jordan Pearson plays Larry/Laertes, Janae Thompson is his sister Opal/Ophelia, and Candice Heidelberg is their mother Rabby/Polonius.

Antonio is alternately sly, soft, philosophical, and just generally endearing as Juicy (although I had a hard time swallowing that name, LOL). Horne is so over-the-top as his mother, Tedra, that the moments when she is serious are all the more powerful. She stands up for Juicy, refusing to allow Rev to spread his homophobic poison and at the same time, like most of the Black mothers I grew up in community with, was very protective of her son while maintaining a boundary that defined how people defined her and her life choices.

Jordan Pearson was a supporting character who came later on the scene but made a huge impact, transforming from a straight-edged marine to puffed sleeves, feathers, and a metallic gold head piece. Moskowitz – who reminded me more than once of a version of Spike Lee, perhaps from Do the Right Thing – shared a bizarre sexual fantasy involving a gingerbread man, a snowball fight, and fellatio that had his character questioning the origins of his weed. It was the kind of story, a confession, that one has to blame on the weed, or on alcohol, in order to be able to hold one’s head up in public ever again!

Another memorable scene Moskowitz shared with Antonio involved Juicy asking his friend Tio about his shoes. This gives rise to another direct Shakespearean reference, “You remember Yurick?” It seems Yurick (who was not give a contemporary name) was Juicy and Tio dead friend, and Tio bought Yurick’s shoe at a yard sale being held to raise money for Yurick’s funeral.

Thompson’s Opal, unlike Ophelia, does not end in death by drowning – or any other means – but, rather, with affirmation and freedom. While her brother, Larry/Laertes, is not happy with the military life he is living to please his mother, Opal longs for it – it would provide her freedom she does not currently have as a woman, as a Black woman, as a Queer Black woman.

West, who played the unlikeable brothers Pap (God doesn’t want him and the devil won’t have him) and Rev (a blend of charming yet controlling as are most narcissists), redeemed himself – in the eyes of the audience and his fellow cast member – with a shocking and hilarious death scene.

Unlike a Shakespearean tragedy that ends with most of the main characters dead and strewn about the stage, Fat Ham  ends with the cast breaking out in dance. (I believe the script may have originally called for a disco ball to descend at this point.) With the suddenness of this production’s manifestation, and the fun-size stage at Firehouse, it was not possible to transport the stage used in Norfolk, so Firehouse staff constructed a new set in 48 hours!

There is tragedy. There is the angst of young people seeking purpose. There’s the dysfunction that results from the machinations of adults trying to make the best of a difficult situation, the burdens society expects them to carry, and the weight of tragedy. There is also humor and an earnest attempt to make the best of whatever life throws at you. As Tio says, “Why be miserable trying to make somebody else happy?”

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally performs.

—–

FAT HAM

Written by James Ijames

Directed by Jerrell L. Henderson

CAST

Marcus Antonio           …..        Juicy

Candice Heidelberg  …..        Rabby

Cloteal L. Horne          …..        Tedra

Adam E. Moskowitz   …..        Tio

Jordan Pearson            …..        Larry

Janae Thompson         …..        Opal

Kevin Craig West         …..        Pop/Rev

CREATIVE TEAM

Jerrell L. Henderson  …..        Director

James Ijames               …..        Playwright

Nia Safarr Banks         …..        Costume Designer

Caitlin McLeod            …..        Scenic Designer

Jason Lynch                  …..        Lighting Designer

Sartje Pickett                …..        Sound Designer

Kim Fuller                       …..        Production State Manager

Performance Schedule:

Wednesday, April 16, 2025   7:30PM  Opening Night

Thursday, April 17, 2025        7:30PM

Friday, April 18, 2025               7:30PM

Saturday, April 19, 2025         2:00PM

Saturday, April 19, 2025         7:30PM   Closing Performance

Run Time: about 1 hour 45 minutes with no intermission

Photo Credit:  Photos on Firehouse & Richmond Triangle Players Facebook pages by Erica Johnson @majerlycreative

Heidelberg, Pearson, and Thompson around the table and Horne atop the table
Marcus Antonio
Marcus Antonio and
Adam E Moskowitz
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Dial M for Murder

What’s So Important About the Fifth Step?

A Theater Review by Julinda D. Lewis

By: Virginia Repertory Theatre (Virginia Rep), The Barksdale Season

At: Hanover Tavern, 13181 Hanover Courthouse Road, Hanover, Virginia 23069

When: March 28 – April 27, 2025

Ticket Prices: $54  

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

Dial M for Murder is a classic 1950s stage thriller, a murderous melo-drama filled with plot twists and scandal. Tony Wendice married his wife Margot for her money, and now he wants to get rid of her – but he also wants to keep her money. The logical solution, since this is a Hitchcockian style murder mystery, is to kill her. Thanks to their mutual friend, a successful American crime writer named Max, Tony has the background – and the motive – to plan the perfect murder. But will he be able to get away with it?

Jeffrey Hatcher’s adaptation kept the basic plot and Frederick Knott’s location: a 1950s London flat, but one major change is that  Hatcher changed the Wendice’s friend Max, with whom Margot had and broke off an affair, from Max to Maxine. This means Margot was engaged in a lesbian affair and gives even more of an edge to the scandal since same-sex partnerships were not exactly acceptable in the 1950s.

Tony’s carefully planned plot goes awry, but he quickly improvises a Plan B, resulting in Margot being charged with the murder of the man Tony had hired to kill her. Margot doesn’t know who to trust, and if not for the fortuitous partnership between Maxine and a keen-eyed detective, Hubbard, this play might well have ended with her hanging from the gallows. Fast-paced and seasoned with a dash of humor, Dial M for Murder is a deliciously entertaining divertissement. Unlike some of the serious – and seriously good – theater I’ve seen in the past few months, this play doesn’t require you to think about social issues, it doesn’t draw parallels with historical events, and it doesn’t attempt to teach us moral lessons. It’s pure fun – a class murder mystery with smart plot twists and stereotypical characters we recognize and welcome into our lives for a little over two hours.

5 Motives for Murder

Money

Fear

Jealousy

Revenge

To protect a loved one

This production has a stellar cast, many of whom will be familiar to those who frequent local theater. Margot is played by Ashley Thompson (5 Lesbians Eating a Quiche, Dr. Ride’s American Beach House, and Buried Child). Tony is played by Alexander Sapp (Peter and the Starcatcher, Sweeney Todd). Maxine is played by Rachel Dilliplane (5 Lesbian Eating a Quicke, The Laramie Project, and Moriarty u/s). The shoes of the would be hired killer, Legate, are filled by Adam Turck (Constellations, The Laramie Project, The Inheritance, Animal Control, Buried Child). The newest face was that of Jim Meisner, Jr. in the role of Inspector Hubbard. Dial M for Murder marks Meisner’s Virginia Rep debut and his first performance after a more than 25-year hiatus from the stage.

The sexual tension between Margot and Maxine is obvious from the opening scene, highlighted by Thompson’s conservative couture and wig and Dilliplane’s more bold fashion choices and short haircut. No separate credit was given for wigs, so I will assume that Sarah Grady gets the well-deserved credit for both hair and costumes. Even the tan trench coats play an important role later in the denouement when Inspector Hubbard sets a trap to expose Tony.

“Everything has its price.” – Tony Wendice

Sapp is smooth with his lies in front of the other cast members and a master of the villainous side eye when playing to the audience. Turck is suitably sleezy as Tony’s corrupt former classmate turned hitman. And last but not least, Meisner is heroic as the blustery bumbling Inspector. (Is anyone else old enough to remember the bumbling TV detective, Colombo?)

This impressive ensemble was under the capable direction of Mel Rayford, also making their VaRep debut. Rayford skillfully guided the cast and audience through all the twists and turns, through layers of subplots and intrigue, encouraging us to find amusement in murder, to willingly turn corners into fictional depravity, and then to vigorously applaud when we emerged, safe and sound and strangely exhilarated for having taken the journey.

A Word of Caution

Beware of anyone who puts mushrooms in their spaghetti.

(You’ll know why if you’ve seen the play.)

———-

Julinda D. Lewis is a dancer, teacher, and writer who recently had both knees replaced due to a manufacturer’s recall. Born in Brooklyn, NY, she now lives in Eastern Henrico County where she can be found kicking up  her heels as best she can any day of the week.

———-

DIAL M FOR MURDER     

Adapted by Jeffrey Hatcher (2022)

From the Original by Frederick Knott (1952)

Directed by Mel Rayford

Cast

Ashley Thompson ……………….             Margot Wendice

Rachel Dilliplane …………………             Maxine Hadley

Alexander Sapp ………………….             Tony Wendice

Adam Turck ………………………             Lesgate

Jim Meisner, Jr. ………………….             Inspector Hubbard

Kendall Walker …………………..             Margot U/S, Maxine U/S

Travis Williams  ..…………………             Lesgate U/S, Hubbard U/S

Chandler Hubbard ………………             Tony U/S

Direction & Design

Direction ………………………….             Mel Rayford

Scenic Design ……………………             Frank Foster

Costume Design …………………             Sarah Grady

Lighting Design …………..………            Steve Koehler

Sound Design …………………….            Jonathan Pratt

Fight Director …………………….             Casey Kaleba

Dialect Coach …………………….             Nicole Cowans

Stage Management ………….…..            Hannah Hoffert

Assistant Stage Manager ………..            Amber Hooper

Photographer ……………………..            Aaron Sutten

Videographer ……………………..            Austin Lewis

Ticket Information

Box Office: (804) 282-2620

www.virginiarep.org

Ticket Price: $54

Run Time

The play runs for approximately 2 hours 15 minutes; including one intermission.

Photo Credits Aaron Sutten

Ashley Thompson and Rachel dilliplane
Ashley Thompson and Adam Turck
Ashley Thompson and Rachel Dilliplane
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THE DIARY OF ANNE FRANK

All That Remains

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

Performances: January 25 – February 15, 2025

Ticket Prices: $44-49. Ask about discounts for students, seniors, and veterans.

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

A Theater Reflection by Julinda D. Lewis

Let’s be clear, this is not an easy production to see. I can only imagine how the cast manages to perform The Diary of Anne Frank day after day, night after night. It was so deeply moving that after a Wednesday matinee performance going out into the welcoming sunlight of an unseasonably warm winter day seemed surreal and a bit irreverent.

This is a script based on the diaries of Anne Frank, written when she was only 13-15 years old and she along with her family spent more than two years in hiding in Amsterdam while Hitler’s army occupied Amsterdam. Occupied seems too gentle a word. Todd A. Schall Vess has designed a simple but layered set that appropriately captures the era. While the quarters may be camped for seven people, the set appeared more spacious than the scene I imagined in my mind’s eye.

The need for quiet

The lack of privacy

The terror of footsteps

The updated script, Producing Artistic Director informed us during his pre-show curtain talk, contains material that was not available for the original production. This is Swift Creek Mill’s fifth production of The Diary of Anne Frank but my first experience with the play.

Kudos to Director Debra Clinton and this phenomenal cast for having the courage to take us on this journey at this point in time. The Mill chose this production more than a year ago, when they could not have known how relevant it would be in January 2025.

Ayla Clinton stepped into the shoes of the lead role, Anne Frank. Their youthful enthusiasm, so out of place, was a ray of sunshine in this battle against spiritual darkness. Kendall Walker played Anne’s sister, Margot – more subdued and therefore more socially acceptable – and Jeff Meisner and Emma Mason carried the roles of Anne’s parents, Otto and Edith with dignity beyond understanding. We see them as loving, educated people, someone you might like to have as neighbors in another life.

The Frank family shared their hiding place with the Van Daan family. Sara Heifetz and Fred Kaufman took on the roles of a bickering couple whose sometimes embarrassingly public revelations of one another’s shortcomings added a bit of much needed humor while a growing friendship between their shy son Peter, played by Trace Coles and the exuberant Anne provided a subplot of optimism and romance that fueled a false hope that things might turn out differently this time around.

The enmity between the Van Daan’s was also quite realistic, and I loved the authenticity of the complicated relationship Heifetz and Kaufman depicted in their roles. Mrs. Van Daan’s reluctance to give up her wholly impractical fur coat was not about materialism – it was about holding on to the only existing reminder of her father. The tears started to form when Heifetz uttered the deceptively simple line, “If you’re hungry, just hold on to me.”

Thinner.

Paler.

A lot hungrier.

Taylor Baltimore’s role as the engineer and manager of the makeshift refuge might be considered a supporting role, but it was so essential. When Miep came, she didn’t bring just food and books, she brought the breath of life. It was temporary and insufficient, but it was all they had. When Miep introduced Mr. Dussel, a dentist played by Eddie Webster, into the already tense and crowded community, the delicate balance temporarily tipped, and it took a while for the group to reestablish equilibrium. Thinking, again, of our world today, there are so many lessons to be learned from this story – and from the careful handling of it by Director Clinton and this phenomenal ensemble.

But for all their hard work, they could not change history. The final transport left on September 3, 1944. The destination – the extermination camps. And for all the hope, the prayers, the tears, the love, the sacrifice, the loss, the lack…

All that remains…

…the cast stood quietly

…some audience members stood and clapped, the most subdued applause ever

…some sat weeping

…never…again…

…dear G-d, never again…

———-

Julinda D. Lewis, EdD is a dancer, minister of dance,  teacher, and writer who was born in Brooklyn, NY and currently resides in Eastern Henrico County. When not writing about theater and dance, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally performs.

———-

THE DIARY OF ANNE FRANK

By Frances Goodrich and Albert Hackett

Newly adapted by Wendy Kesselman

Directed by Debra Clinton

CAST

Anne Frank   …..      Ayla Clinton

Otto Frank    …..      Jeff Meisner

Edith Frank   …..      Emma Mason

Margot Frank…..     Kendall Walker

Miep Gies     …..      Taylor Baltimore

Peter Van Daan…..  Trace Coles

Mr. Kraler      …..      Mike White

Mrs. Van Daan…..    Sara Heifetz

Mr. Van Daan…..     Fred Kaufman

Mr. Dussel     …..      Eddie Webster

First Man       …..      Mike White

Second Man …..      Bent Deekens

Third Man     …..      Austen Linder

Voice Actors …..      Roger Price, Meg Price, Melissa Johnston Price

CREATIVE TEAM

Directed by Debra Clinton

Scenic Design by Todd A. Schall-Vess

Lighting Design by Joe Doran

Costume Design by Maura Lynch Cravey

Technical Direction by James Nicholas

Sound Design by James Nicholas

PRODUCTION STAFF

Producing Artistic Director …. Tom With

Technical Director ….. James Nicholas

Stage Manager ….. Sandy Lambert

Assistant Stage Manager/Props ….. Tom Width

Light/Sound Board Operator ….. Brent Deekens

Set Crew ….. R Jonathan Shelley, Peter Proust, Brent Deekens, Christopher Samoski

Scenic Painter ….. Amber Kilpatrick

Lighting Crew ….. Brent Deekens, Alleigh Scantling

Photographer …..Daryll Morgan

Setting:

The play takes place on the top floors of the annex to an office building in Amsterdam, Holland, during the years of World War II.

Run Time:

About 2 hours with 1 intermission

Tickets:

Regular $44-49. Discounts for Seniors, Military & Veterans

Photographer: Darryl Morgan

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LORD OF THE FLIES

There’s No Escaping the Ravages of War

A Theater Review by Julinda D. Lewis

 Presented by: Richmond Shakespeare

At: Libby S. Gottwald Playhouse Dominion Energy Center, 600 East Grace Street, RVA 23219

Performances: October 17 – November 10, 2024

Ticket Prices: $15-$47 [Adults $47; Seniors 65+ with ID $42; Military with ID $27; College Students & Children $22; VTA $15 with Password] Seating is General Admission.

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

Lord of the Flies is one of those productions that’s hard to write about because there’s good, bad, and ugly. The good things are all about the production. The bad and ugly things all have to do with the things the book and this production reveal about humankind. This is not a production you can say that you liked or enjoyed, but it is a production you need to see.

If it’s been a long time since you’ve read William Golding’s book, Lord of the Flies – or if you’ve never read it – the story is about a group of boys and young men who, while being evacuated from a nuclear attack, experience a plane crash and become marooned on a tropical island. With only eleven young survivors and no adults or other authority figures in sight, they are left to figure out how to survive and soon divide into two groups. Those who follow Ralph want some semblance of order and civilization, while those who follow Jack prefer a more chaotic life of hunting and tribal dancing. They hunt wild pigs and a malevolent force known as “the beast” that they believe jumps from body to body – meaning that no one is safe from being hunted.

The boys in the original story were upper class British boys from several different prep schools. That detail seems to have fallen by the wayside, as only one or two of the boys in this cast have adapted a British accent or mannerisms. They are a diverse bunch – in real life as well as onstage – thus giving the tale a more universal appeal.

Interestingly, author Harding’s 1954 publication was based on a children’s novel that promoted the civilizing influence of British colonialism. [Not my words, I’m just reporting here.] Golding apparently found that novel unrealistic and wanted to write a book about children marooned on an island who behaved as he believed children would really behave in such circumstances. As you might suspect – it isn’t a pretty sight.

A cast of 11 young actors, ranging from a sixth grader (Hank Astoria, who already has an impressive bio with several productions under his belt – if young people still wear belts) to college students, recent graduates, and young professionals commandeers the unnamed island and captures the hearts of the audience at the Libby S. Gottwald Playhouse – the temporary location of this island. Lindsey Kelley has designed a simple, two-level set that transforms the theater space into a tropical paradise gone rogue. There’s a beach, a mountain, and a forest. Special effects include lighting, a soundscape, a realistic looking fire, smoke, and an eerie projection that the boys believe is the dreaded “beast.”

I attended on the second night of the run, and already it seemed that a high level of camaraderie and commitment to the ensemble had begun to emerge among the “boys.” This is something very necessary for a show that delves into depravity, chaos, and anarchy, a show that upends morals and tosses rules off a cliff into a swift-flowing current. If the audience is silent and contemplative while leaving (as many were), I can only imagine how much Lord of the Flies weighs on its young cast.

(BTW, I couldn’t help but think of how on the previous Sunday the RTCC or Richmond Theater Community Circle celebrated youthful energy in theater, and not one week later I viewed two plays about young people!  I also saw H*tler’s Tasters on Thursday night. You can read my thoughts on that show here: https://jdldancesrva.com/2024/10/18/htlers-tasters/ But I digress.)  

Tavares Taylor and Liam Storm quickly established an uneasy rapport as Ralph, the winner of the popular vote, and Piggy, his advisor and confidant. Sawyer Williams emerged even more quickly as the island’s resident bully, Jack, a section leader of his school choir who soon turned rogue leader of a band of hunters and marauders.

Anthony Hernandez owned the role of Simon, the misunderstood spiritual leader of the group whose natural discernment was both indispensable and disparaged. Abe Timm straddled the line as Jack’s seemingly reluctant sidekick, Roger. Perhaps, in Roger’s internal war between morality and immorality, survival won.

Hank Astoria won hearts, on and off the stage, as the youngest castaway, Perceval. Aiden Denton and Eli Davis mastered the roles of the twins, Sam and Eric, who often completed each other’s sentences in that simultaneously annoying and weird manner some twins exhibit. The cast was completed with Maahin Kumar as Bill, Talon Bleacher as Maurice, and Ishaan Kulkarni as Henry, all in supporting roles as a part of Jack’s band of bare-chested, face-painted, and far-from-merry men.

Jeffrey Cole directed. What en experience that must have been for both Cole and the cast. Here are his own words from his director’s notes: “Deep down, we all feel the need to belong to something that’s bigger than ourselves.” In this story, on this island, “it’s important for us in the audience to remember that, at all times, in all situations, these are children…. With no training, no preparation, and no guidance, these boys must follow their basest biological imperative: survive.” Could you have done any better? Would you have done anything different? Do you think you would have lived to tell the tale? And if you did survive, who would you be after that ordeal?

Lord of the Flies asks the hard questions. It explores the effectiveness of different leadership styles: intimidation versus compassion. It examines the consequences of war – nuclear war in particular; that’s how these boys ended up on this island, unsure if their families and friends had survived, or if they were the only ones left on earth. What would you be willing to do to survive? Do you have what it takes to keep the fire burning?

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs. Her most recent (ad)venture was the premiere of a solo work, The Waters of Babylon or Psalm 137 Revisited: a Post-Exodus Reflection in Movement Choreographed from Collective Memories for the debut of the Critical Race Theatre Project, right here at RTP in August 2024.

—–

Lord of the Flies

Written by William Golding

Adapted for the Stage by Nigel Williams

Directed by Jeffrey Cole

Cast

Ralph              ……………    Tavares Taylor

Jack                ……………    Sawyer Williams

Piggy              ……………    Liam Storm

Simon            ……………    Anthony Hernandez

Roger             ……………    Abe Timon

Sam                ……………    Aiden Denton

Eric                 ……………    Eli Davis

Bill                   ……………    Maahin Kumar

Maurice         ……………    Talon Bleacher

Henry             ……………    Ishaan Kulkarni

Percival          ……………    Hank Astoria

Production Team

Artistic Director                   ……………    James Ricks

Managing Director             ……………    Jase Smith Sullivan

Director                                 ……………    Jeffrey Cole

Assistant Director                ……………    Sim Nakamura Rivers

Production Stage Manager           ……………    Nata Moriconi

Assistant Stage Manager/Props Design …        Jordan Dively

Costume Design                  ……………    Lindsey Ladnier

Lighting Design                   ……………    Tristan Ketcham

Scenic Design                                  ……………    Lindsey Kelley

Sound Design                                  ……………    James Ricks

Scenic Builder                                  ……………    Brok Décor

Run Time: approximately 2 1/2 hours, including two 10-minute intermissions

———-

Photo Credits: Aaron Sutten

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INTO THE WOODS

Once Upon a Time, Later – or – What Happens After “Happily Ever After?”

A Musical Theater Review by Julinda D. Lewis

Presented By: Richmond Shakespeare

At: Cramer Center for the Arts, The Steward School, 11600 Gayton Rd., RVA 23238

Performances: March 7-24, 2024

Ticket Prices: $22-$47 [Adults $47; Seniors 65+ with ID $42; Military with ID $22; Students $22]

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

What happens after “happily ever after?”

Sondheim and Lapine’s extravagant musical, Into the Woods (1987), has a lot going on. For one thing, there is a large cast of characters drawn from various Grimm’s fairy tales, from Little Red Riding Hood to Jack (of the magic beans and giant fame). There are princesses in towers (Rapunzel)  and elsewhere (Cinderella) and princes who do not live up to expectations for “happily ever after” – Cinderella’s prince and Rapunzel’s prince, who are brothers with lustful, wandering eyes for the purpose of this plot. There are peasants and royalty, a wicked witch, a wolf with pedophilic tendencies, and a little girl with an implied eating disorder. There is a narrator that the other characters, in a rare show of solidarity, throw under the bus – and that’s just for starters. And just in case you were wondering – as you should have been – despite the Disney inspired costumes and light-hearted, guffaw-inducing moments that pepper Act 1, this is not a family-friendly show. Half the lead characters meet untimely deaths in Act 2. The bloody demise of those who are smushed by the giant’s foot is indicated by a red wash on the background, and sometimes accompanying sound effects.

Be careful what you wish for.

At the center of the main plot we find The Baker and The Baker’s Wife (Durron Marquis Tyre-Gholson and Maggie Marlin-Hess). The childless couple wish more than anything for a baby, but soon discover that their barrenness is the result of a witch’s curse that goes back a generation when The Baker’s father helped himself to the witch’s garden. Tyre-Gholson (who, much to my surprise, is making his Richmond Shakespeare debut) deftly establishes himself as a reluctant hero. He tries on the cloak of an alpha male, but it doesn’t fit him well, yet we find ourselves cheering for him and his persistence in the face of probable defeat as he sets off on a life changing scavenger hunt in the woods. Marlin-Hess, similarly, achieves a delicate balance. She is, at once, the supportive wife of the baker, a woman with an independent mind and a resolute disposition (think, by any whatever means necessary), who holds an emergent passion that finds unforeseen fulfillment in the woods.

The prettier the flower, the farther from the path.

Into the Woods is very much an ensemble show, with strong leads and strong voices singing what I would characterize as challenging music, but some characters nevertheless stand out. My hands-down favorite is Little Red Riding Hood (Gracie Berneche) who wrings every last drop of humor and drama from each line she speaks. Now, normally, it is bad manners to mention an actor’s size, but in this case, Berneche’s stature is key to her role. Constantly referred to as a “little girl,” this Riding Hood makes a running joke of scarfing down the goodies she’s supposed to be taking to Grandma’s house. She deliberately talks with her mouth full, and creates one of the show’s funniest physical comedy moments as she and The Baker’s Wife juggle sweets and cakes as Riding Hood tries to fill her basket – a basket, by the way, that she commandeered from The Baker’s Wife. Berneche’s childlike allure makes it all more creepy when The Wolf (Terence Sullivan) peppers her with sexual innuendo, while diverting her from the path to her grandmother’s house in the woods. The dual role of The Wolf/Cinderella’s Prince emphasizes the lustful, narcissistic nature of both characters as they seduce, respectively, Little Red Riding Hood and The Baker’s Wife, in the woods. Sullivan’s dual roles are masterfully delicious and shiver-inducing – perhaps playing on the appeal of the bad boy. But also, the wolf’s ears, tail, and leather jacket are one of the best, most fun costumes, as well.

“You’re so nice. You’re not good, you’re not bad, You’re just nice. I’m not good, I’m not nice, I’m just right. I’m the witch.

Going back to the idea that this is an ensemble, it seems both appropriate and anathema that The Witch (Susan Sanford) had the star’s turn during the closing bows. The Witch, after all, is the only character that has the ability to fill in any of the backstory. At the same time, she does not have the most lines or greatest stage time. But Sanford’s rich vocals and The Witch’s makeover from old hag to bewitching diva, are worthy of recognition. Speaking of which, The Witch’s Act 2 costume and the costumes and wigs of Cinderella’s Stepmother (Hannah Zold Story) and Stepsisters Florinda (Katherine S. Wright) and Lucinda (Kylee Márquez-Downie) reminded me of drag queens – but without the expected sassiness. The Witch loses her powers and Florinda and Lucinda have their eyes pecked out. These characters’ journey into the woods do not bring about the desired results.

Slotted spoons don’t hold much soup.

In my humble opinion, Jack’s Mother (Lauren Leinhaas-Cook) was decidedly more evil than The Witch. She certainly wouldn’t win any awards for mother of the year. She berates and belittles Jack, then defends him when it’s time for him to face the consequences of his actions. These are the actions of an enabler. This role gives Leinhaas-Cook an opportunity to enjoy being nasty, and we don’t feel any great loss at her accidental demise. Let’s face it, Jack (Lukas D’Errico) would never be able to grow up under her nagging eye. In the end, he’s left looking for someone to take care of him, because his mother never taught him how to be an adult. She just sent him off on fruitless and self-serving quests into the woods. The Witch, who had whisked away Rapunzel (Sara Dabney Tisdale) from her parents at birth was no model mother, either. Locked away in a tower in the woods, Rapunzel ended up the single mother of twins, lost her Prince, her mind, and eventually her life as well. Apparently, one does not develop good life coping skills living in isolation in the woods.

Careful the things you say…children will listen.

While Act 1 is a quest to find fulfillment of all the characters’ wishes, Act 2 shows us what happens after “happily ever after.” With Act 1 running approximately 90 minutes, it almost seems as if the show is over at the end of Act 1. But wait, there’s more. Act 2 shows us the consequences of getting what you wished for. There is a fantastic scene in which the surviving characters – after much of the slaughter and bloodshed – all point the finger of blame at each other: The Baker, The Baker’s Wife, The Witch, Jack, Jack’s Mother, Little Red Riding Hood (who is never at a loss for snarky comments, with accompanying facial expressions and body language). It’s a comedy. It’s a parody. It’s a satire. It’s a musical. It’s a morality play. It’s a metaphor for Life. Into the Woods is where life happens. Some emerge triumphant, some do not emerge at all. As 2010 Internet sensation Antoine Dodson once said, “Hide yo’ kids, hide yo’ hide yo’ husbands ‘cause they’re rapin’ everybody out here.” Go see Into the Woods, but leave your kids at home.

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

—–

INTO THE WOODS

Book by James Lapine

Music and Lyrics by Stephen Sondheim

Directed by Jase Smith Sullivan

Musical Direction by Kim Fox

Cast

Narrator/Mysterious Man       ……………    J.C. Bussard   

Cinderella                                ……………    Grey Garrett

Jack                                         ……………    Lukas D’Errico

Jack’s Mother                         ……………    Lauren Leinhaas-Cook

Milky White                            ……………    Katherine Malanoski

The Baker                               ……………    Durron Marquis Tyre-Gholson

The Baker’s Wife                   ……………    Maggie Marlin-Hess

Cinderella’s Stepmother         ……………    Hannah Zold Story

Florinda                                   ……………    Katherine S. Wright

Lucinda/US Cinderella           ……………    Kylee Márquez-Downie

Little Red Riding Hood          ……………    Gracie Berneche

The Witch                               ……………    Susan Sanford

Cinderella’s Father/The Steward ………..     Eddie Webster

Cinderella’s Mother/Granny/The Giant …    Heidi Johnson Taylor

The Wolf/Cinderella’s Prince ……………    Terence Sullivan

Rapunzel                                 ……………    Sara Dabney Tisdale

Rapunzel’s Prince                   ……………    Field Oldham

Ensemble/US The Wolf/Princes …………    Thomas Kaupish

Ensemble/US Jack                  ……………    Milo Jones

Ensemble/US Little Red Riding Hood …..    Belén Tarifa

Production Team

Artistic Director          ……………    James Ricks

Managing Director      ……………    Jase Smith Sullivan

Music Director            ……………    Kim Fox

Production Stage Manager ………    Shawanna Hall

Assistant State Manager/

     Properties Design   ……………    Jordan Dively

Assistant State Manager/

     Character Double   ……………    Diandra Chiaffino-Butts

Hair and Makeup Design  …….….    Amanda Blake

Costume Design          ……………    Keith Walker

Lighting Design          ……………    Michael Jarrett

Puppet Design             ……………    Heidi Rugg

Scenic Design                         ……………    Todd LaBelle

Scenic Design                         ……………    Katherine Malanoski

Sound Design              ……………    Grace Brown LaBelle

Production Manager/

     Sound Board Operator ………..    MariaElisa Costa

House Manager/

     Production Assistant  …………    Kiari Hicks

Costume Assistant      ……………    Susan Frye

Master Electrician       ……………    Emily Vial

Follow Spot Operator ……………    Parker Beard

Follow Spot Operator ……………    Wyatt Roberts

Box Office                  ……………    Nata Moriconi

Musicians

Conductor/Keyboard 1……………   Kim Fox

Bass                             ……………    Bea Kelly

Drums                         ……………    Steve Raybould

Cello                            ……………    Lauramarie Laskey

Clarinet                       ……………    Marc Krauss

Flute                            ……………    Stephanie Shumate

French Horn                ……………    Gretchen Georgas

Keyboard 2/Synthesizer …………     Ian Krauss

Trumpet                       ……………    Steve Fenick

Violin                          ……………    Marissa Resmini

Run Time: approximately 3 hours, with one 15-minute intermission

———-

Photo Credits: Photos from Richmond Shakespeare Facebook page

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DRACULA

Not Just a Ballet, But a Cultural Event

A Dance Review & Cultural Excursion

By: The Richmond Ballet with the Richmond Symphony

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

Performances: February 16-18, 2024

Ticket Prices: $25 – $130

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

THE PROGRAM

DRACULA

Choreography by Ben Stevenson, O.B.E.*

Music by Franz Liszt, arranged by John Lanchbery

Staging by Dominic Walsh

Scenery Design by Thoms Boyd

Costume Design by Judanna Lynn

Original Lighting Design by Timothy Hunter

Lighting Supervisor: Christina R . Gianelli

Guest Piano Soloist: Douglas-Jayd Burn

Flying by Foy

World Premiere: March 13, 1997, Houston Ballet, Worthan Center, Houston, TX

Richmond Ballet Premiere: February 16, 2024, Dominion Energy Center, Richmond, VA

Costumes and Scenery courtesy of Pittsburgh Ballet Theatre

*OBE = Officer of the Order of the British Empire: a British order of chivalry, rewarding contributions to the arts and sciences, among other fields

The Cultural Excursion

I’d been looking forward to seeing the Richmond Ballet’s premiere of DRACULA for months. (See my preview for Richmond Magazine: https://richmondmagazine.com/arts-entertainment/richmond-events/richmond-ballet-dracula/) But even though I had read the press release and had obtained a quote from Associate Artistic Director Ma Cong about the ballet’s high production values and dramatic choreography, I was not prepared for what I saw – both onstage and offstage – when I arrived at the Dominion Energy Center for the final performance of the three day run. I am so glad I got to witness this event with my own eyes and ears. Ben Stevenson’s choreography was every bit as dramatic as promised. The set resembled a towering gothic fairytale. The music lured you in, and there was even a red-colored, vampire themed drink available at the bar. But more on the actual ballet after this brief detour. [You may avoid the detour by skipping the next three paragraphs.]

First, the event started even before I got inside the theatre. While searching for parking, and then walking to the Dominion Energy Center, I noticed a number of people who were clearly headed to see Dracula. There was a veritable fashion show of goth gear, black lace, pale foundation and black eyeliner. The number of capes – in black and red – was astounding. A car parked across from mine in the parking deck even bore a license plate with some variation of the word “vampire.” All of this made me wonder, does  Richmond have a vampire community? I know about the theatre community, the dance community, the spoken word community, even the drag community and the burlesque community – but a vampire community?

That brings us to the second point. Much to my surprise, a cursory online search turned up several articles on an urban legend known as The Richmond Vampire, also known as The Hollywood Vampire. (Am I the last to know?) There is a story, dating back to the 1920s, of a vampire entombed in Hollywood Cemetery, near Oregon Hill. The legend is linked to the very real and verified collapse of a railway tunnel in Church Hill, where the train engine, flatcars, and bodies of laborers remain to this day.

Another part of the legend identifies the Richmond Vampire as one W. W. Pool, whose tomb is located in Hollywood Cemetery, as a vampire who was run out of England in the 1800s. And then, my husband reminded me of someone we know who, a few years ago, was said to have been “studying” to become a vampire. While none of this is directly related to the ballet, it does explain some of the things I saw, and some of the cultural aspects that were attached to the theatrical experience. One final note before going on to my third and final point – a discussion of the actual ballet – vampires, or vampire allies, seem to be quite friendly.

The Review

Finally, there was the ballet itself – a three act production (The Crypt, The Village, The Bedroom) running approximately two and a half hours, including two intermissions. Make no mistake, Dracula is, indeed, a ballet in the traditional sense. There is plenty of classical technique, including pointe work, and partnering. The second act, set in an Eastern European village, includes the familiar characters (an innkeeper, a matriarch, a pair of innocent young lovers) and peasant costumes and folk dances that populate many story ballets.

Dracula is also quite different from most classic ballets. The women of the corps who dance the roles of Dracula’s brides may initially remind you of the Willis in Giselle. They have been tasked with dancing gracefully and on pointe while carrying their arms stiffly in front of them, affecting the posture of the ”undead.” To do this while maintaining flexibility and gracefulness throughout the rest of the body must have been a challenge. There are flying dancers in several scenes (Anne Sydney Heatherington and Valerie Tellman-Henning were credited in the program, but I thought there was a third as well) and some impressive pyrotechnics near the end when Dracula is finally hunted down and destroyed by Frederick, Svetlana’s innkeeper father (Gabor Szigeti), and the village Priest (Jack Miller) – and while these effects proved to be delightful for adults and children alike, there were many themes that dealt  with morality and sexuality that were not recommended for children under the age of 8.

For instance, Dracula’s henchman, Renfield (danced by Zacchaeus Page for the final performance) procures young women for his master. Come to think of it, Renfield’s status is little more than that of an indentured servant or slave, so there’s that issue of oppression as well. Dracula’s dozen wives would constitute polygamy by today’s standards, but then there is also the issue of them aiding and abetting the procuring of “fresh blood” which can only be obtained by kidnapping more women. If this were a TV show, I’m sure Capt. Olivia Bensen would be called in because this sounds like a case for “Law & Order: SVU.”

Irish author Bram Stoker published the gothic horror novel Dracula in 1897. British-born choreographer Ben Stevenson (who spent 27 years as artistic director of the Houston Ballet) created the masterful Dracula,the ballet, to commemorate the 100th anniversary of Stoker’s masterpiece. (Stoker and Stevenson even share the same initials.) Given the differences in media, the two vampire tales are quite distinct, yet recognizably related.

Richmond Ballet rehearsed two complete casts for Dracula. Sunday evening, the lascivious vampire was danced by Christian Renforth, his newest bride Flora by Izabella Tokev, his henchman Renfield by Zacchaeus Page, and Svetlana, the innocent young villager on whom Dracula has cast his eye as his next prize, by Eri Nishihara. Aleksey Babayev danced the role of Svetlana’s beloved Frederick and the two of them had a wonderful chance to shine in a celebratory dance scene. After drinking too much, rather than losing his composure, Frederick demonstrated a stunning virtuosity, and Svetlana temporarily lost her shyness – turning not on her toes but on her heels.

Dracula’s cape is both a fashion statement and a work of art in blood red and black with tapestry-like designs. The brides’ white dresses, pale makeup and pale locks set a new standard for “undead” beauty. The set for Acts I and III (The Crypt and The Bedroom) are majestic and spooky, in contrast to the once-upon-a-time innocence The Village set of Act II. Last but not least, I must mention the dreadful carriage that Renfield uses to procure Dracula’s new brides. Drawn by two horses (Tekhylon Armour and Darius Mealy), the dark and ragged carriage with a hint of smoke at the top shouts “stranger danger” but even Svetlana’s strongest kicks and screams are no match for the evil that lies within.

The Richmond Symphony, under the direction of Erin Freeman, with guest pianist Douglas-Jayd Burn played Franz Liszt’s haunting and dramatic score arranged by John Lanchbery specifically for Stevenson’s ballet. Dracula is truly a collaboration of elements: the choreography, the music, the story, the set, the costumes all work together to create theatre magic.

The Richmond Ballet offered this production of Dracula the weekend after Valentine’s Day. I have often complained that Romeo and Juliet was not my idea of a proper Valentine’s offering, since they both end up dead. Cinderella has been a happier alternative. Dracula has many of the elements – both pros and cons – of other romantic ballets, but the addition of a vampire somehow makes it sooooo much more satisfying…

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

Dracula. Richmond Ballet.
Dracula. Richmond Ballet.
Photos courtesy Tulsa Ballet.
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Photo by Sarah Ferguson
Photo by Sarah Ferguson
Photo by Sarah Ferguson
Photo by Sarah Ferguson

HAMLET

A Theater Review [with post-credit cookies] by Julinda D. Lewis

By: Richmond Shakespeare

At: Gottwald Playhouse at Dominion Energy Center, 600 E. Grace St., Richmond, VA 23219

Performances: October 19 – November 12, 2023 | EXTENDED to November 17

Ticket Prices: $20 – $45

Info: (804) 340-0115 or quilltheatre.org

Everyone has heard of Hamlet. Some of us read it in high school. Some have seen productions on stage or film. Others have avoided it like the plague. Wherever you sit along this spectrum, Richmond Shakespeare’s Hamlet will bring out a new-found love and admiration for Shakespeare’s most well-known drama. Seriously. I personally know people who either knew little to nothing about Hamlet or had an aversion to Shakespeare in general, who raved about this production after seeing it.              

Hamlet is a play about loss, unbearable grief, betrayal, revenge. . .and a ghost. When Prince Hamlet’s father, the King of Denmark, dies suddenly – under suspicious circumstances – Hamlet’s mother marries his uncle Claudius. Hamlet and members of the king’s guard experience a visitation from a ghost who appears to be the spirit of Hamlet’s father, and set the stage for a revenge plot.

Joshua Carter is an engaging and intense Hamlet, who cunningly slips in and out of madness. His grief appears authentic and his unhinged rants convincing. Physically he is controlled and seems always on the verge of erupting like a human volcano. His voice is beautifully resonant, well-modulated, and his gestures are tight and just eccentric enough to place him outside of our time. This is significant because this Hamlet is clothed in contemporary garments.

At the celebration of the new King’s court, the attendees wear tuxedos and most of the women wear semi-formal or business attire. Interestingly, Ophelia, Hamlet’s sometime love interest, favors cowboy boots – glittery ones for special occasions.

Joseph Yeargain, as Claudius, is suave and slimy at the same time, and it’s never clear whether Hamlet’s mother, Gertrude (Lucretia Marie) is involved in the murder and power plots or if she just goes along with whatever the men in her life tell her to do. Neither scenario is enough to stir any real sympathy for her.

The same cannot be said for Ophelia. Rosemary Richards tugs on our heartstrings as she plays her heart out, from the heights of love to the depths of despair, from beautiful fair maiden to a wretched shell of herself.

All is not doom and gloom. Avery Michael Johnson gives new meaning to the word “loyalty” as Hamlet’s friend, Horatio, and someone made an absolutely brilliant and hilarious decision to cast Toby O’Brien and Rachel Garmon-Williams as Hamlet’s friends Rosencrantz and Guildenstern. Did I remember to say Hamlet’s stoner friends?

The entire ensemble, including Jody Ashworth as the Ghost of Hamlet’s father, MaryBeth Adams as the king’s counselor, Polonius, Robbie Winston as Laertes (son of Polonius and brother to Ophelia), John Moon as an unintentionally witty gravedigger are deserving of recognition, individually and as a collective. James Ricks’ direction is intuitive and when the play is over it comes as a shock to discover that nearly three hours have passed.

Don’t get thee to a nunnery, but do get thee to the Gottwald Theatre to see this marvelous production. Oh, and I sat with my husband and a friend in the front row of a bank of seats that is practically on the stage. My heart was in my mouth during the sword fight, and from my vantage point I also got to see the expressions of other audience members. Be daring – sit there! You can always change your seat after intermission if you chicken out. Your estimation of William Shakespeare, Hamlet, and Richmond Shakespeare will be forever elevated.

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers.

—–

Hamlet

by William Shakespeare

Directed by James Ricks

Cast

Hamlet             ……………    Joshua Carter

Claudius          ……………    Joseph Yeargain

Gertrude          ……………    Lucretia Marie

Ghost/Player King  ………    Jody Ashworth

Horatio            ……………    Avery Michael Johnson

Polonius          ……………    MaryBeth Adams

Ophelia            ……………    Rosemary Richards

Laertes            .……………    Robbie Winston

Guildenstern/Francisco/Player

Queen/Priest ………   Rachel Garmon-Williams

Rosencrantz/Fortinbras/

Bernardo …………   Toby O’Brien

Gravedigger/Marcellus/

Player  ……………  John Moon

Voltimand/Osric/

            Player  …………….  Keegan Ferrell

Ensemble         ……………..  Kenjae Lundy, Milind Murthy

Production & Design Team

Artistic Director          …….   James Ricks

Managing Director    …….   Jase Smith Sullivan

Costume Design          …….   Keith Walker

Lighting Design          …….   Gretta Daughtrey

Set Design                   …….   Frank Foster

Sound Design              …….   Kate Statelman

Production Manager  …….   Melissa Johnston-Price

Stage Manager            …….   MariaElisa Costa

Fight Choreography   …….   Aaron Orensky

Assistant Stage Manager …   Diandra Chiaffino-Butts

Properties                    …….   Jordan Dively

Run Time: About 3 hours including one intermission

———-

Photo Credits: David Parrish Photography

HAMLET ON NBC “12 ABOUT TOWN”

https://www.nbc12.com/video/2023/11/03/hamlet-continues-through-nov-17/

AN OBSERVATION

In Act I Hamlet is seen reading – and eating the pages of – a book, Holy Blood, Holy Grail by Michael Baigent, Richard Leigh, and Henry Lincoln. The authors propose that Jesus married Mary Magdalene and had children with her whose descendants later emigrated to southern France where they became part of a secret society called the Priory of Sion. The authors further concluded that the Holy Grail of legend is both the womb of Mary Magdalene and the sacred royal bloodlines she birthed.

AN ANALOGY

Hamlet:Claudius as David:Saul

Just as the biblical David had a chance to kill the treasonous King Saul while hiding in a cave, but he chose not to, Prince Hamlet had a chance to kill his uncle, the treasonous King Claudius, as he prayed, but he chose not to.

YOU DO SPEAK SHAKESPEARE!: Phrases We Got From Hamlet

To thine own self be true.

Something is rotten in the state of Denmark.

Murder most foul.

Pernicious woman!

There are more things in heaven and earth, Horatio, that are dreamt of in your philosophy.

The time is out of joint.

Although this be madness, there’s method in it. [i.e., a method to one’s madness]

There is nothing good or bad but thinking makes it so.

What a piece of work is a man.

I know a hawk from a handsaw.

The play’s the thing!

To be or not to be…

Conscience makes cowards of us all.

Get thee to a nunnery!

Oh, woe is me!

Madness in great ones must not unwatched go.

Suit the action to the word.

The lady doth protest too much!

Act your age!

Sweets to the sweet.

The dog will have his day.

The grinding of the ax.

Good night, sweet prince.

Avery Michael Johnson and Joshua Carter
Jody Ashworth
Jody Ashworth
Joshua Carter
Joshua Carter
Joshua Carter
Lucretia Marie and Joseph Yeargain
Lucretia Marie and Joseph Yeargain
Joseph Yeargain and Lucretia Marie
Robbie Winston and Joshua Carter
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