Family Friendly – RVArt Review

COTTON PATCH GOSPEL

Jesus Christ Super Star –> Jesus Christ Good Ole Boy – OR – If Jesus Had Been Born in an Abandoned Doublewide and the Sermon on the Mount Had Been Delivered Atop Stone Mountain

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

Performances: March 15 – April 12, 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

I recently read a post that read something along the lines of “expect something wonderful each day.” Some days it’s easier to find something wonderful than others. Other days it’s a real stretch. I usually don’t do much, if any, pre-show research before going to see a show. I want to approach each show with as little bias as possible. So, I was totally, pleasantly surprised by Cotton Patch Gospel – it was easily my “something wonderful” on Saturday night, March 22.

Cotton Patch Gospel is a sung-through musical (i.e., songs are used instead of spoken dialogue, with minimal speech) retelling of “The Gospel of Matthew” set in modern-day rural Georgia (the US State, not the Eastern European nation). Given the geographical re-location, Joe and Mary travel to Atlanta instead of Jerusalem, Jesus is born in a borrowed trailer (they didn’t indicate if it was a double-wide), the baby Jesus is placed in an apple crate and when the family has to flee for their lives, they run off to Mexico, instead of Egypt.

The adult Jesus later gives the Sermon on the Mount from the top of Stone Mountain (which, BTW, is home to the world’s largest bas-relief artwork – a memorial to Confederate leaders Jefferson Davis, Robert El. Lee, and Stonewall Jackson). In the Cotton Patch Gospel Herod, the Governor of the state, drops a bomb on a church where Jesus was supposed to be – killing 14 innocent children in the process. In other familiar stories, after being baptized, Jesus is tempted by Satan, who tries to get Him to turn stones into grits, Jesus feeds 5,000 people with crackers and sardines, and Peter tap dances on water. Jesus makes His final entry into Jerusalem/Atlanta riding an old VW bus while his followers toss magnolia blossoms.

The entire story is delivered in beautiful harmony and lively blue grass music (with occasional forays into blues or gospel) performed by a six-member cast whose members all take on triple roles as actors, singers, and musicians. Jonmichael Tarleton and Dew Redling lead the cast, making their Swift Creek Mill debuts. Tarleton takes on the roles of Matthew, Joe, and sometimes Satan, while Dew Redling is appealing as Jesus, a simple country boy who doesn’t quite fit in. While Tarleton and Redling stood out as personal favorites, Cotton Patch Gospel is a true ensemble effort, and the cast worked well together keeping us laughing and entertained while remaining true to the Gospel.

The rest of the ensemble consists of Travis West (a cattle farmer, John, Andy, a reverend, Jud/Judas, and others), Bryan Harris (Herod, Mary, a televangelist, and others), Eric Williams (a Messenger/angel, Pilate, a senator, and others), and Greg DeBruyn (Satan, a tourist, a businessman, and others).

SCM Artistic Director Tom Width took time during his curtain talk to let us know that there have been times when audience members left shortly after the performance started. If you are a very conservative Christian, this might not sit well with your sensibilities, although there is nothing irreverent about this musical. But that’s just my opinion as a theatergoer who happens to be a licensed ordained minister of dance – and one who spent my fair share of years teaching Sunday School and Vacation Bible School in a Baptist church. LOL.

Harry Chapin (a singer, songwriter, and storyteller) along with writers Tom Key and Russell Treyz based their work on Clarence Jordan’s Cotton Patch Gospel – Matthew and John which “recasts the stories of Jesus…into the language and culture of the mid-20^th century South (Smyth & Helwys Books). The author, Clarence Jordan, a farmer as well as a bible scholar, was the founder of Koinonia Farm, born out of the Civil Rights era and described by his publisher as “an interracial, Christian farming community.” Interestingly, Koinonia Farm gave birth to the concept of partnership housing, resulting in the establishment of Habitat for Humanity. In 2012, Clarence Jordan’s Cotton Patch Gospel: The Complete Collection was compiled, and it boasts an introduction by President Jimmy Carter.

Tom Width’s scenic design is simple and rustic, featuring lots of wooden planks and crates and light up star on the wall that reminds me of Christmas. Cast member Travis West provided the musical direction that kept the action moving and carried the audience right along with him. Maura Lynch Cravey casually dressed the cast in denim and plaid and variations thereof.

So, all of that – a foot-patting musical, a bible lesson, a geography lesson, a cultural tour, and a history lesson all wrapped up in one neat package. So unexpected and so delightful. Yep, that was my something wonderful last Saturday evening.

NOTE: After seeing this production, SCM posted an unfortunate update. Several Cotton Patch Gospel cast members tested positive for COVID, and several performances had to be cancelled. Please check the company’s website or contact the box office if you plan to go to see when shows resume and locate possible dates to attend.

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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.

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COTTON PATCH GOSPEL

Book by Tom Key and Russell Treyz

Music and Lyrics by Harry Chapin

Directed by Tom Width

CAST

Jonmichael Tarleton as Matthew/Joe/Caiphus/Satan III/Timmy/Gossip/et al

Dew Redling as Mother/Jesus/et al

Travis West as Cattle Farmer/John/Andy/revisal/Tanya/Jud/Gossip/et al

Bryan Harris as Herod/Dr. Troy/TV Preacher/Mary/Gossip/et al

Eric Williams as Messenger/Mabry/Satan II/Senator/Pilate/Gossip/et al

Greg DeBruyn as Satan I/Mr. Tetum/Tourist/Businessman/Gossip/et al

CREATIVE TEAM

Directed by Tom Width

Musical Direction by Travis West

Scenic Design by Tom Width

Lighting Design by Joe Doran

Costume Design by Maura Lynch Cravey

Technical Direction by James Nicholas

PRODUCTION STAFF

Producing Artistic Director …. Tom With

Technical Director ….. James Nicholas

Stage Manager ….. Sandy Lambert

Assistant Stage Manager/Props ….. Tom Width

Scenic Carpenter … Peter Prout

Light/Sound Board Operator ….. Brent Deekens

Set Crew ….. Peter Prout, Brent Dieken’s, Nathan Hamill

Scenic Painter ….. Dasia Gregg

Lighting Crew ….. Brent Deekens, Liz Allmon, R. Jonathan Shelley

Photographer …..Daryll Morgan

Time and Place:

Here and Now

Run Time:

About 2 hours with 1 intermission

Tickets:

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

Photographer: Darryl Morgan

Musical Numbers:

Act One:

Somethin’s Brewin in Gainesville

Baby Born to God

I Did It

Mama is Here/I Did It

It Isn’t Easy Growin’ Up to Be Jesus

Sho’ “Nuff

From That Day On

Turn It Around

When I Look Up

Ain’t No Busy Signals on the Hotline to God

Spitball Me, Lord, Over the Homeplate of Life

Miracle on Stone Mountain

Love the Lord Your God

Blind Date

Goin’ to Atlanta

Act Two:

Are We Ready?

You Are Still My Boy

We Gotta Get Organized

We’re Gonna Live It While It Lasts

Jubilation

Dangerous Man

Jud

Hey, What’s Goin’ On

Thank God for Governor Pilate

One More Tomorrow

I Wonder

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THE COMPLETE WORKS OF WILLIAM SHAKESPEARE

(abridged)

A Theater Review by Julinda D. Lewis

Presented by: Richmond Shakespeare

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

Performances:

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

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

There’s not much that needs to be said about The Complete Works of William Shakespeare (abridged). The title tells (most of) it all. William Shakespeare is considered (one of) the most famous writers of all time. And in his time, he wrote 37 plays, 154 sonnets, 2 long narrative poems, and a number of other works. The task of The Complete Works of William Shakespeare (abridged) is to perform ALL 37 of Shakespeare’s play in 97 minutes. Of course, this is impossible. What we get is a side-splitting comedic take on Shakespeare that includes scenes, passages, or catch phrases from every play, along with a more extensive treatment of Romeo and Juliet at the top of the show and Hamlet at the end.

Sydnee S. Graves, one of the trio of thespians in this production, sets the pace with her well-timed introduction by unrolling a long scroll that contains the notes for her “brief” introduction. Graves invites us, in elaborate and flowery terms, to share space in the theater – the place where the magic happens.

Rachel Marrs is introduced by Graves as a pre-eminent Shakespearean scholar, and Marrs arrives in a black academic gown that does little to conceal her lack of scholarship – all in good fun, of course!

Joshua Mullins completes the pre-show banter with a ChatGPT – generated biography of Shakespeare that conflates the words and deeds of Shakespeare with America’s 16^th president – Abraham Lincoln. (This is clearly propaganda designed to convince the audience that reading is fundamental.

Highlights of the show include the rendering of Shakespeare’s first tragedy, Titus Andronicus, as a cooking show, and Othello summarized as a performance by a rap trio. All 14 comedies are rolled into a single medley, Macbeth is performed by two of the actors in kilts, their swords replaced by golf clubs, while Two Noble Kinsman, a play authored jointly by Shakespeare and John Fletcher, (and here characterized as neither a comedy or a tragedy, but a “bad” play) offers Mullins an opportunity to shill T-Mobile Kinsman cell phone service.

Shakespeare’s histories are grouped together and played as a football game. All 154 sonnets have supposedly been printed on a single 3×5 index card that proves impossible for even a young audience member with strong eyes to read – even after Marrs offers her a series of magnifying glasses. But there are two scenes that stood out for me. The first is the abridged Othello performed as a lively rap performance and the second occurred when in the midst of an argument about not wanting to perform Hamlet, Mullins, who has been acting the fool all night, surprises audience and fellow cast members alike by delivering Hamlet’s soliloquy with heartfelt sincerity.

Dressed in a foundation of short pants, long-sleeved peasant-style shirts, and colorful high-top chucks, the tripartite ensemble moves at breakneck speed, adding and subtracting garments, wigs, and props for each play or scene. Shakespeare wrote plenty of racy dialogue and the salacious plot elements and double entendre are emphasized. There are many references to buns and sausages, and Horatio is misnomered as Fellatio, to name just two and, lest I forget, there is high level and intricate audience participation – with multiple parts! Mullins takes an unnatural level of juvenile-level glee in a long-running bit about vomiting, and he runs across the width of the audience, even up the stairs, to pretend to spew vomitus on audience members or in their drinks.

Graves, Marrs, and Mullins have quite different assignments, with Graves seeming to take on the bulk of the organizing and public interaction, such as announcements. Marrs is in charge of history and props. Mullins is, well, Mullins – a master of quick change and pratfalls. The three of them together form a solid ensemble knit together under a banner of riotous comedy, and often very physical humor. They must be exhausted at the end – after performing multiple versions of Hamlet. Speaking of the end, in his end notes for this production, Director Joe Pabst writes, “Comedy is one thing I know a lot about,” and “I love figuring out what makes people laugh.” To that end, I say to Pabst, “No lies detected,” and “You understood the assignment.”

—–

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.

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The Complete Works of William Shakespeare (abridged)

Written by Adam Long, Daniel Singer, Jess Winfield

with new revisions by Daniel Singer and Jess Winfield

Directed by Joe Pabst

CAST

Sydnee S. Graves

Rachel Marrs

Joshua Mullins

PRODUCTION TEAM

Costume Design …………… Anna Bialkowski

Lighting Design …………… Trisan Ketcham

Scenic Design …………… James Ricks

Production State Manager …… Jordan Dively

Run Time: 97 minutes; there is one intermission

———-

The Complete Works of William Shakespeare

– Comedies –

All’s Well That Ends Well

As You Like It

The Comedy of Errors

Love’s Labour’s Lost

Measure for Measure

The Merchant of Venice

The Merry Wives of Windsor

A Midsummer Night’s Dream

Much Ado About Nothing

The Taming of the Shrew

The Tempest

Twelfth Night

The Two Gentlemen of Verona

The Winter’s Tale

– Tragedies –

Antony and Cleopatra

Coriolanus

Cymbeline

Hamlet

Julius Caesar

King Lear

Macbeth

Othello

Romeo and Juliet

Timon of Athens

Titus Andronicus

Troilus and Cressida

– Histories –

Henry IV, Part I

Henry IV, Part II

Henry V

Henry VI, Part I

Henry VI, Part II

Henry VI, Part III

Henry VIII

King John

Pericles

Richard II

Richard III

The Complete Works of William Shakespeare (abridged) premiered at the Edinburgh Festival Fringe in 1987.

Photo Credits: Richmond Shakespeare Facebook page

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PETER AND THE STARCATCHER

“To Have Faith is to Have Wings”: The Backstory – or – A Prequel To the Tale of the Boy Who Would Not Grow Up

A Theater Review by Julinda D. Lewis

Presented By: Firehouse Theatre

At: 1609 W. Broad Street, RVA 23220

Performances: August 16 – September 1 2024

Ticket Prices: $1.00 – $35

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

While it is based on a children’s book, Peter and the Starcatcher, a play with music (as opposed to a musical) is filled with innuendo and powered by linguistic and cultural references that are aimed at adults. So, yes, it is family friendly. It is also a fantastic fantasy adventure that delights the eye and ear and keeps the audience laughing. I don’t want to spoil it for you, but the Act 2 opening is one of the most memorable scenes ever; sit in the first row if you can.

Peter and the Starcatcher provides the backstory to Peter Pan as well as Captain Hook and Tinker Bell. Based on the 2004 novel of the same name, written by Dave Barry and Ridley Pearson, Rick Elice adapted the story for the stage. The play premiered in California, opened Off-Broadway in 2011 and on Broadway in 2012. Some may recall that the play was produced by Va Rep in 2015.

Chase Kniffen has designed an appropriately fantastical set that helps provide a big stage feel and Kasey Brown’s costumes are whimsical and extremely creative. Nathaniel Shaw’s direction is seamless, all the best lines are perfectly times and the pacing is swift enough to keep the audience on our toes but paced to keep us from getting lost. There is music, but not the kind where characters burst out into song for no reason, and at one point we are treated to a near-show stopping Rockettes-style high kick line. Kudos to the entire production team for making this production look and sound great.

This is one of those productions where, in addition to working their butts off, it also looks like the cast had as much fun as the audience. The casting was perfection. It’s hard to think where to begin, so I’ll just follow the program order. And yes, this is one of the few times I will make mention of each and every cast member – because they deserve it.

It was great to see Scott Wichmann back on stage and his role of the Black Stache, who is affected by chronic malapropism, is undeniably and devilishly over the top. Shannon Schilstra plays Molly, a young woman liberated ahead of her time, with youthful exuberance and a level of confidence most of us wish we had at that age (her character is 13 years old). Lukas D’Errico is the Boy (also 13) who eventually earns the name Peter and the right to wear the Hero’s hat. The scene in Act 2 where Boy first sees sunlight is heartwarming.

Peter’s companions, Ted and Prentiss, also orphans who are sold into slavery along with him, are played by Madison Hatfield and August Hundley. There is a running joke about Ted’s obsession with food that culminates in a hilarious scene in which, after struggling to figure out how to eat a pineapple, one of the pirates accidentally slices a pineapple in half providing Hatfield the opportunity to finally satiate her character’s fixation. Hundley finds and maintains a delicate balance as their character Prentiss seesaws between declaring himself the leader and just wanting to be a boy. Both are starved – for both food and love – and Ted occasionally slips and, endearingly, calls Molly Mother.

Paul Major plays Black Stache’s bumbling first mate, Smee, who actually spends much of his time correcting Stache’s wildly humorous misuse of words, and occasionally – an accidentally – coming up with some life-saving ideas. Elle Meerovich takes on several roles, including the flask-toting headmaster of the boys’ orphanage, a pirate, Fighting Prawn (king of the Mollusk tribe), and a sailor but their most memorable moment was holding an unwavering note in a song for a thrillingly long time. Whew! But wait, there’s more…

Chewie Lo Moore really digs in as Bill Slank, the cruel captain of The Neverland who switches the treasure chest with the decoy trunk at the start of the adventure, thus activating the action adventure aspect of the play. He also plays Hawking Clam, the son of the Mollusk king, Fighting Prawn. Joshua Mullins plays a supporting role as the good Captain Scott, the captain of the Wasp, based on a real-life British Royal Navy Officer of the same name, as well as – ironically – an incompetent sailor named Mack.

It seems too long since we’ve seen Alexander Sapp onstage, yet here he is as Lord Astor, Molly’s father, a Starcatcher on a secret mission that endangers everyone to some extent or another. Some of the funniest scenes occur when Lord Astor has to communicate with his daughter Molly. Because of the nature of his mission, they communicate in Dodo – yes, the language of the extinct bird – or Norse Code, apparently an ancient Viking precursor of Morse Code. After causing all this havoc, Sapp just strolls off at the end with utter nonchalance that makes you wonder, did that just happen?

One of my favorite roles was that of Molly’s nanny, Mrs. Bumbrake, played by Robert Throckmorton in the role of the “pantomime dame,” a woman’s role traditionally written for a male actor. Throckmorton also played Teacher, a wise mermaid who is instrumental in changing the direction of the Boy for the better. This was not Throckmorton’s first time in this dual role in Neverland or Mollusk Island, but the intimacy of the Firehouse Theatre certainly made it the memorable for me. The pairing of Throckmorton with William Vaughn, in the role of the smitten Alf, was a winning combination, but let’s not forget that Alf’s first claim to fame is a really potent case of flatulence.

Peter and the Starcatcher has adventure, magic/fantasy, whimsy, humor – and pirates. It also touches on serious topics like love and loyalty, friendship, greed, perseverance, and commitment. It truly has something for everyone, and reminds us why we love to go to see live theatre.

—–

PETER AND THE STARCATCHER

Written by Rick Elise

Music by Wayne Barker

Directed and Choreographed by Nathaniel Shaw

Cast

Black Stache ………. Scott Wichmann

Molly ………. Shannon Schilstra

Boy ………. Lukas D’Errico

Ted ………. Madison Hatfield (Molly u/s)

Prentiss ………. August Hundley (Boy u/s)

Smee ………. Paul Major

Grempkin/ ………. Elle Meerovich

Fighting Prawn/

Sanchez

Bill Slank/ ………. Chewie Lo Moore

Hawking Clam

Capt. Scott/ ………. Joshua Mullins (Stache u/s)

Mack

Lord Aster ………. Alexander Sapp

Mrs. Bumbrake/ …….. Robert Throckmorton

Teacher

Alf ………. William Vaughn

Grempkin/Mrs. Bumbrake u/s………. Gracie Berneche

Capt. Scott/Lord Aster u/s ………. Thomas Kaupish

Ted/Prentiss u/s ………. Jovan Long

Alf/Smee/Bill Slank u/s ………. David Rogozenski

Production Team

Direction/Choreography ………. Nathaniel Shaw

Music Direction ………. Kim Fox

Assistant Direction ………. Katie Logan

Scenic/Projection Design ………. Chase Kniffen

Costume Design ………. Kasey Brown

Lighting Design ………. BJ Wilkinson

Assistant Lighting Design ………. TJ Washington

Sound Design ………. Grace Brown LaBelle

Props Design ………. Tim Moehring

Dialect Coach ………. Erica Hughes

Percussionist ………. Steve Raybould

Directing Observation ………. Christian Trimmingham

Stage Management ………. Emily Vial

Assistant State Management ………. Isabel Stone

Run Time: About 2 hours 10 minutes; there is 1 intermission

———-

Photo Credits: Firehouse Facebook page

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THE MAGIC OF THE NUTCRACKER – REFRESHED

Richmond Ballet Presents a Holiday Favorite

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

By: The Richmond Ballet

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

Performances: December 9-23, 2022

Ticket Prices: $25 – $130

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

Updated COVID-19 Protocols, see below.

THE PROGRAM

The Nutcracker

Artistic Direction and Choreography by Stoner Winslett

Production conceived by Stoner Winslett and Charles Caldwell

Music by Peter Ilyich Tchaikovsky

Music performed by the Richmond Symphony

Conducted by Erin Freeman

Scenery designed by Alain Vaës

Costumes designed by David Heuvel

Lighting designed by Richard Moore and Associate, Catherine Girardi

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

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

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

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

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

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

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

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

If I may conclude with my own two cents worth…

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

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

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

THE NUTCRACKER PERFORMANCE SCHEDULE
December 9-23, 2022 | Dominion Energy Center
600 E Grace St, Richmond, VA 23219
Friday, December 9 at 7:00 PM
Saturday, December 10 at 2:00 PM and 7:00 PM
Sunday, December 11 at 1:00 PM and 5:30 PM
Friday, December 16 at 7:00 PM
Saturday, December 17 at 2:00 PM and 7:00 PM
Sunday, December 18 at 1:00 PM and 5:30 PM
Tuesday, December 20 at 7:00 PM
Wednesday, December 21 at 7:00 PM
Thursday, December 22 at 2:00 PM and 7:00 PM
Friday, December 23 at 2:00 PM

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

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

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

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

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

Photo Credits: Production photos to follow

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ROMEO & JULIET

The Richmond Ballet’s ROMEO & JULIET: Shakespeare’s Family Feud on Pointe

A Dance Review by Julinda D. Lewis

By: The Richmond Ballet

At: Carpenter Theatre at Dominion Energy Center, 600 East Grace Street, RVA 23219

Performances: February 18-20, 2022

Ticket Prices: In-Person Tickets $25-$125

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

Romeo & Juliet
Choreography by Malcolm Burn

Music by Sergei Prokofiev

Performed by The Richmond Symphony,

Erin Freeman, Conductor

Scenery & Prop Design by Charles Caldwell

Costume Design by Allan Lees

Lighting Design by MK Stewart

It’s that time of year again. February. Some of us still have Valentine’s Day candy and flowers on our desks. It’s Romeo & Juliet season.

I’ve often mentioned to staff at the Richmond Ballet that my biggest – my only – problem with Romeo & Juliet,a ballet that is always performed around Valentine’s Day, is that it is one of the world’s greatest love stories, but the lovers end up dead at the end. Sigh. I think Romeo & Juliet has a higher body count than many action-adventure plots. But it also has some of the greatest – and largest – hats ever to appear on stage (kudos to costume designer Allan Lees).

On a serious note, Romeo & Juliet, running nearly three hours including two twenty-minute intermissions, is an immersive theatrical experience. There’s young love, friendship, family loyalty, classical ballet, folk dancing, comedy, drama, a fabulous score, and more.

This large-scale ballet, created by Richmond Ballet’s long-time Artistic Associate Malcolm Burn premiered August 1977 and was first performed by the Richmond Ballet in February 1995. The ballet includes a huge cast that highlights the students of the School of Richmond Ballet, the Richmond Ballet Trainees, and the Richmond Ballet II company. I found many of the supporting roles provided some of the most interesting and delightful moments of the evening.

Trainee Gabrielle Goodson was cast as the figure of Fate. A non-dancing role, Fate would appear before a death occurred. I never managed to see Goodson move, but suddenly she would appear or shift to a new position on stage. The black-robed and hooded figure was even more ominous because of the silence, stillness, and unimposing stature.

A trio of Harlots (Celeste Gaiera, Sarah Joan Smith, and Izabella Tokev) provided several amusing interludes, with their dancing (sassy romps through the crowd scenes and seductive moments with the men of the town – all of the men) as well as with their costumes (off the shoulder frocks and outrageous wigs that reminded me of a combination of Marge Simpson and the wigs worn by the step-sisters in the Cinderella ballet).

Among other supporting figures that made a big impact was Susan Israel Massey as Juliet’s Nurse. A character role that did not require much dancing, Massey was delightful: loving and loyal to Juliet, daring and subversive in her support of her young charge, and humorous in the marketplace scene.

Ma Cong, the company’s Associate Artistic Director, who took on his role in June 2020 in the midst of a pandemic, was cast in the role of Lord Capulet, Juliet’s stern and unyielding (abusive might not be too strong a word) father. If I am not mistaken, this was his first onstage appearance with the Richmond Ballet.

Ira White was thrilling in the role of Tybalt, Juliet’s passionate and short-tempered first cousin. White engaged in a lot of swordplay with the gentlemen of the rival House of Montague – Romeo and his sidekicks Benvolio (Colin Jacob) and Balthasar (Zacchaeus Page). The fight scenes lit up the stage with a perfect balance of athleticism and art.

As for the title roles, Sabrina Holland danced the role of Juliet, and Khaiyom Khojaev was her Romeo, roles that require equal parts dancing, acting, and mime. There are no long dance scenes in Romeo & Juliet, and no grand pas de deux, so viewers must soak up every brief encounter, every precious stolen duet between the young lovers. The brevity of each encounter, each step, each lift makes their partnership all the more endearing. Personally, in his group scenes I would have liked to have seen Khojaev adopt some of the feistiness required of White. Tybalt certainly had confidence to spare. But in his solo turns Khojaev’s Romeo soared flawlessly.

Paris (Joe Seaton) the contender favored by Juliet’s parents (Ma Cong and Lauren Fagone), is given short shrift. Juliet flicks away his hand every time he tries to touch her. The poor guy is never even in the running. The tension and family dynamics in the scenes with Juliet, her parents, her nurse, and Paris is palpable and presages the unhappy ending that is sure to come.

Overall, Romeo & Juliet is a family-friendly ballet, and one that can be enjoyed by people who say they do not “understand” ballet. And if you don’t recall the details of Romeo and Juliet from high school, there is a handy scene-by-scene synopsis in the digital program. And the familiar score, played live by the Richmond Symphony, can easily stand alone.

I enjoy the intimate Richmond Ballet Studio Performances that are scheduled four times each season, but there is nothing like a full-scale, evening-length ballet and Romeo & Juliet is a personal and audience favorite, judging by the size, diverse composition, and positive reactions of Friday’s opening night house. At the time of this writing, there are two remaining opportunities to see this run of the Richmond Ballet’s Romeo & Juliet.

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

Romeo & Juliet Performance Schedule

Friday, February 18 @7:00PM

Saturday, February 19 @7:00PM

Sunday, February 20 @2:00PPM

COVID-19 Protocols: Upon entering the theatre, all audience members ages 12 and above are required to show printed or digital proof of full vaccination against COVID-19 or of a professionally-administered negative COVID-19 test taken within 72 hours of the performance. Patrons ages 18 and above will also need to show a photo ID. All patrons ages 2 and above will continue to be required to wear masks. Eating and drinking are allowed only in designated areas of the lobby.

Enrico Hipolito, Colin Jacob and Ira White

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RICHMOND HOLIDAY TRADITION TURNS 20

THE LATIN BALLET OF VIRGINIA: The Legend of the Poinsettia Celebrates 20 Years

A Dance Review by Julinda D. Lewis

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

Performance Were: January 6-9, 2022

Ticket Prices: $20 Adults; $15 Students/Senior Citizens/Military; $10 Group Rates for 10 or more

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

The Latin Ballet of Virginia has been presenting The Legend of the Poinsettia for 20 years now, and I think we can officially declare this vibrant and colorful production a holiday tradition.

How long does it take for something to achieve the status of tradition? Merriam-Webster offers several definitions, including:

1a : an inherited, established, or customary pattern of thought, action, or behavior

1b : a belief or story. . . relating to the past. . .commonly accepted as historical though not verifiable

2 : the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction

3 : cultural continuity in social attitudes, customs, and institutions

With a cast of past and current artists, Latin Ballet founder and Artistic Director Ana Ines King said the anniversary production of The Legend of the Poinsettia “is like going back to when we started.” Before King introduced this home-grown holiday classic to the Richmond community, “few knew how Christmas was celebrated in Latin America,” said Marisol Cristina Betancourt Sotolongo, a dancer and Education Program Assistant for the company. Sotolongo performed in the show’s debut at the Carpenter Center in January 2002. “I was four years old,” she recalls. “The Legend of the Poinsettia has become one of my favorite shows. It is kept fresh with new dancers, dances, and scenery.” The Poinsettia pays homage to King’s mother’s dance legacy in Columbia and honors the true spirit of giving through dance, music, and storytelling.

King is from Columbia as is guest artist Ginna Milena Pedraza, founder of Duncan Danza. Sotolongo’s family is Cuban. Guest artist Pedro Szalay, a co-founder of The Latin Ballet of Virginia and current Artistic Director of Southwest Virginia Ballet is from Venezuela. The dancers perform in authentic costumes from Manzanillo, Mérida, and Zacatecas, all in Mexico. The Legend of the Poinsettia encompasses the history of the poinsettia plant, the story of a little girl who discovers the true meaning of giving, and celebratory customs from Mexico, Columbia, Spain, the Dominican Republic (incorporating Cuban dance styles), and Venezuela.

In a beautiful duet, the dancers portraying Joseph and Mary perform a romantic dance that sheds new light on the famous couple’s relationship. Later, in a trio, the family featured in the story echo some of the movements from the duet.

Large ensembles of children, youth, and adults fill the stage with color and rhythm. They exude a high level of energy that often has the audience clapping along, and the one young man, with a mop of curly hair falling appealing over his forehead and glasses, promises to become a strong dancer and partner.

From pageantry to revelry, from the Three Kings clad in glittery finery to an abstract representation of the poinsettia, from Christmas songs – some performed live – to dynamic examples of folk dances (aguinaldos, gaitas, rumbas, and plenas), spiced with contemporary hip hop, capoeira, The Legend of the Poinsettia is engaging and joyous. Most of all, with its diverse cast and traditions, it is educational and inclusive. There is no need to worry about little ones not wanting to sit still – although one fleet-footed little audience member made a mad dash for the stage on Friday night; clapping, singing along, and call and response are the norm here. With children, youth, and adults sharing the stage, the movement is not always perfectly in sync, but it is always heart-warming.

PERFORMANCES

Performances January 6 – 9, 2022
The Cultural Arts Center at Glen Allen
2880 Mountain Road Glen Allen, VA 23060
Thursday, January 6 at 10:30am (Field Trips for schools)
Friday, January 7 at 10:30am (Field Trips for schools)
Friday, January 7 at 7:30pm
Saturday, January 8 at 3:00pm & 7:30pm
Sunday, January 9 at 3:00pm

Get a glimpse of The Legend of the Poinsettia here:

Note: Portions of this review were originally written for Richmond Magazine.

Photo Credits: Photos of past performances of The Legend of the Poinsettia from the LBV website

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THE NUTCRACKER: LIVE

TRIUMPHANT RETURN OF HOLIDAY CLASSIC

A Dance Review by Julinda D. Lewis

By: The Richmond Ballet

At: Carpenter Theatre at Dominion Energy Center, 600 East Grace Street, RVA 23219

Performances: December 11-23, 2021

Ticket Prices: In-Person Tickets $25-$125

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

The Nutcracker
Choreography by Stoner Winslett

Music by Peter Ilyich Tchaikovsky

with The Richmond Symphony,

Erin Freeman, Conductor

Production Conceived by Stoner Winslett and Charles Caldwell

Artistic Direction & Choreography by Stoner Winslett

Scenery & Prop Design by Charles Caldwell

Christmas Tree Design by Alain Vaës

Costume Design by David Heuvel

Lighting Design by Richard Moore

Associate Lighting Design by Jim French

It’s December 2021 and in three months we will mark a most unlikely anniversary – two full years of living with a global pandemic. After months of learning the differences between social distancing, quarantine, and isolation, live theater has settled into a new routine of live performances. First, there were limited-seating performances with virtual streaming options. The new standard is to allow fully-vaccinated people to attend live performances with few seating restrictions. Patrons must show proof of vaccination and remain masked. Oh, and in the larger venues, you can forget about visiting the bar; it’s closed until further notice. All of this takes some adjusting, but it’s worth it to be able to experience the singular joy of attending a live show.

The Richmond Ballet’s holiday standard, The Nutcracker, was not performed live last year due to the pandemic, but it’s back this year and opened on Saturday, with a few modifications that did nothing to diminish the excitement of joining young Clara on her journey to Confitenberg, the Land of Sweets. Small children and adults sat mesmerized from the moment the Richmond Symphony began the familiar strains of Tchaikovsky’s score until the elaborate curtain dropped after Clara woke up from her adventure.

This year’s production of The Nutcracker is special for two reasons: it is the first live production since the world shut down in March 2020, and this is the last year to see the familiar Nutcracker costumes and sets before they get a make-over for 2022. You can expect three acts and two intermissions (although you cannot take drinks or food to your seats), but I noticed that when the clock struck twelve times only six little mice appeared instead of twelve, and the most obvious change was the absence of Mother Ginger and the dozen little dancers that hide under her voluminous hoop skirt. And of course, with nine new members in this company this season, there are lots of new casting choices to experience.

Adhya Yaratha dances the coveted role of Clara, the recipient of the magical nutcracker doll. Yaratha, a student at The Steward School, was recently featured as a “Standout Spartan” in her school’s newsletter. She revealed that she has been dancing for 13 years and “for much of that time” dreamed of being cast as Clara. She danced with grace and confidence and made a delightful Clara.

Bladen Kidd held his own as Clara’s recalcitrant little brother, a band of boys on a series of humorously disruptive raids against the girls at the Silberhaus’ annual Christmas party. Carter Bush (RB Trainee) proved to be an attentive apprentice to his uncle, the mysterious Dr. Drosselmeyer (the recently retired Fernando Sabino returning as a guest) and a courteous Nutcracker Prince accompanying Clara on her adventures in the Kingdom of Sweets.

The predictability and tradition of The Nutcracker are part of its charm, and seemed especially important this year: they were signs of stability and normalcy. Whoever thought a magical growing Christmas tree and a swan sled could represent stability?

Sabrina Holland and Khaiyom Khojaev danced the “other” leading roles – you know, the adult ones – the Sugar Plum Fairy and her Cavalier. They welcome Clara and her Prince to the Kingdom of Sweets and close Act Three with a grand pas de deux that epitomizes the lightness of the Romantic ballerina and the supportive role of the male dancer, with both attacking their technique with relish and flair.

All the favorite characters are there and there are plenty of roles for Richmond Ballet II, the Trainees, and the students of the School of the Richmond Ballet. The battle between the Mouse Army and the Regiment Soldiers features Jackson Calhoun (RB II) in the comedic role of the Mouse King. Principals Izabella Tokev and Joe Seaton deliver a picture perfect ice blue pas de deux as the Snow Queen and Snow King, attended by a corps of a dozen Snowflakes. Celeste Gaiera and Patrick Lennon, Marjorie Sherman and Jack Miller dance a Spanish jota with flair. Naomi Robinson and Ira White revive the sensual Snake and her Charmer, and Naomi Wilson dances the acrobatic role of Tea, accompanied by a group of Chinese dragon dancers.

Sarah Joan Smith and Colin Jacob (both first year company members) are the Shepherdess and Shepherd who shelter a half dozen little lambs who steal the show. They have masks added to their costumes this year which fit perfectly with their costumes. Paul Piner, Roland Jones, and Zacchaeus Page, all members of RB II, are the ever-popular Russian dancers with their very hip dancing bear (Piner), and Eri Nishihara dances the role of the bedazzled butterfly, surrounded by a dozen Candied Flowers.

The diverse and multi-generational cast is an apt reflection of the audience and represents the best of what this season represents. It’ so good to have The Nutcracker back onstage at The Carpenter Theatre this year; there is nothing like live theater to offer a magical escape from the everyday and mundane.

The Nutcracker Performance Schedule

Saturday, December 11th, 2021 @2:00pm and 7:00pm

Sunday, December 12th, 2021 @1:00pm and 4:30pm

Saturday, December 18th, 2021 @2:00pm and 7:00pm

Sunday, December 19th, 2021 @1:00pm and 4:30pm

Wednesday, December 22nd, 2021 @7:00pm

Thursday, December 23rd, 2021 @2:00pm

COVID-19 Protocols: Upon entering the theatre, all audience members ages 12 and above are required to show printed or digital proof of full vaccination against COVID-19 or of a professionally-administered negative COVID-19 test taken within 72 hours of the performance. Patrons ages 18 and above will also need to show a photo ID. All patrons ages 2 and above will continue to be required to wear masks.Please note: Proof of a negative COVID test is not required for children under the age of 12.

Photos Credits: Sarah Ferguson

Fernando Sabino with Adhya Yaratha and
Bladen Kidd

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NEVERMORE!

Edgar Allan Poe: The Final Mystery

A Theater Review by Julinda D. Lewis

Produced by: CAT (Chamberlayne Actors Theatre)

At: Atlee High School (indoors), 9414 Atlee Station Rd., Mechanicsville, VA 23116 & Gayton Kirk Presbyterian Church (outdoors), 11421 Gayton Rd., Henrico, VA 23238

Performances: October 8-10, 2021, at Atlee High School & October 15-16, 2021, at Gayton Kirk

Ticket Prices: $24 General Admission; $20 Seniors

Info: (804) 262-9760 or https://onthestage.tickets/chamberlayne-actors-theatre

Many individuals and companies went into the pandemic not knowing what to expect from these unprecedented times and came out strong. For CAT, the Chamberlayne Actors Theatre, self-tagged as “Richmond’s professional theater with the community heart,” things are, well, complicated. Prior to the lockdown, CAT had been in delicate negotiations with the owners of their long-time home on No. Wilkinson Road in Henrico County. Now they are producing their first show in 18 months under the banner “stray CATs,” and a hobo stick has been added to their logo kitty. The temporarily homeless theater company good-naturedly bills their 2021-2022 season as a “touring” season.

CAT has long had a tradition of producing an annual mystery, and this year’s opening show is based on a real-life mystery. On September 27, 1849, Edgar Allen Poe boarded a ferry in Richmond, VA, headed to New York. He never made it to New York. He was found wandering around Baltimore, MD, October 3, delirious. He was hospitalized and died a few days later, on October 7, without ever regaining full cognition. They say truth is stranger than fiction; who could make up something like that?

Julian Wiles’ NEVERMORE!: Edgar Allan Poe: The Final Mystery (1994) enlists Poe’s own life, poems, and stories to explore what might have happened during the final five days of Poe’s life, which remain an unsolved mystery. A full-length play in two acts with one intermission, NEVERMORE! is being performed as a collaboration between CAT and the Atlee HS’s Raider Players, many of whom have worked with CAT as interns, actors, or crew members over the years. Further strengthening this tie, CAT’s Executive Board President, Charles A. Wax, is also a Drama teacher at Atlee HS.

NEVERMORE! has a cast of four principals: Mark Lacy as Edgar Allan Poe, John Marshall as his friend Jeremiah Reynolds, Paige Reisenfeld as Capt. Nimrod aka Satan/Lucifer, and Caitlin Nolan as Poe’s mysterious love interest, Annabel Lee. There is also an eight-member Ensemble made up of both professional and student actors: Sandra Clayton, William Henry, Mary Huhmann, Barbara Johnson, Maddie Moralez, Carter Mullen, Audrey Sparrow, and Camden Sparrow.

The play’s synopsis is promises to be interesting, and the script calls for a number of attention-grabbing magic tricks and the cast approached the production with enthusiasm. But there were several impediments to the successful execution of this show.

First, due to COVID-19 and the protocols of the venue, a Hanover County public school, everyone had to wear masks – including the actors. They all wore the ones with clear windows, so we could see most of their faces and watch their lips move, but the sound was still muffled, and the masks were distracting, giving a kind of sci-fi or horror-movie look to what would otherwise have been a classic traditional mystery.

Second, the uncredited set design was a rough-hewn affair consisting of three platforms of varying sizes and heights, with a few steps, and a sheet or sail stretched across the middle platform that was used to project the background scenes. The screen appeared to get swallowed up in the vastness of the stage.

Third, the company was unable or chose not to execute all the magic tricks as described in the script. To be clear, they did include a couple of disappearances or character switches and one attention-grabbing return from the dead. Overall, given the blended cast, the location, and the very real challenges of a new space, a blended cast and crew (many of whom played multiple roes or wore multiple crew hats) and an on-going pandemic that led to last minute cast changes, NEVERMORE! looks and feels more like a high school production than a professional one. The actors appeared to occupy the space, rather than own it and given the short run in two different venues, I really don’t see a way for this production to meet its own or the audience’s expectations.

NEVERMORE! Edgar Allan Poe: The Final Mystery

Written by Julian Wiles

Directed by Charles A. Wax and Jon Piper

CAST:

Mark Lacy as Edgar Allan Poe

Paige Reisenfeld as Captain Nimrod

John Marshall as Reynolds

Caitlin Nolan as Annabel Lee

ENSEMBLE: Mary Huhmann, Sandra Clayton, William Henry, Maddie Moralez, Audrey Sparrow, Barbara Johnson, Carter Mullen, and Camden Sparrow

CREATIVE TEAM:

Stage Manager: Sue Howells

Assistant Stages Manager: Drake Leskowyak

Lighting Design: Jason Lucas

Sound Design: Jenn Fisher

Costume Design: Alison Eichler

Lights Operator: Jason Lucas

Sound Operator: Jenn Fisher

Program and Graphics:: Jason Lucas

Photos provided by Ann Davis

Performance Schedule:

Friday, October 8 at 8pm – Atlee High School (inside)

Saturday, October 9 at 8pm – Atlee High School (inside)

Sunday, October 10 at 2:30pm – Atlee High School (inside)

Friday, October 15 at 8pm – The Gayton Kirk (outside)

Saturday, October 16 at 8pm – The Gayton Kirk (outside)

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BLACK COWBOYS & COWGIRLS

Who Knew History Could Be This Much Fun?

A Theater Review by Julinda D. Lewis

At: Heritage Gardens, 900 E. Broadway, Hopewell, VA 23860, August 7 & 8; Battersea Park, 1289 Upper Appomattox St., Petersburg, VA 23803, August 14 & 15; Children’s Home (Chesterfield), 6900 Hickory Rd., Petersburg, VA 23803, August 21 & 22.

Performances: August 7-22, Saturdays & Sundays, at 4:00 PM. All performances outdoors; bring your own chair. Tickets: $10 in advance only.

Info: theheritageensemble.org

As a young adult in Brooklyn, I used to listen to a black DJ who frequently used the term “edutainment.”[i] Whatever the source, that seems to be just the right word to describe Margarette Joyner’s production of BLACK COWBOYS & COWGIRLS. A perfect vehicle for children, most of those in attendance at Battersea Park[ii] in Petersburg on Sunday afternoon were adults. Tellingly, we enjoyed ourselves as much as the little one who sat front and center.

BLACK COWBOYS & COWGIRLS follows much the same formula as Joyner’s What They Did For Us: Black Women Who Paved the Way, presented at Richmond Triangle Players Robert B. Moss Theatre in February and March of this year. But after I fought and won a battle with the mosquitos and came to a livable compromise with the heat and humidity, I found this wild west historical romp to be one of Joyner’s most enjoyable productions to date. The formula is roughly a series of monologues, performed by a lively cast, many of whom have experience as historical interpreters at Colonial Williamsburg. In this casual outdoor setting, the wild west theme, with the actors walking around in cowboy boots with six-shooters strapped to their thighs while greeting the audience by tipping their hats and drawling “howdy, ma’am,” was just what was needed to draw the audience into this rowdy tale.

First up was Clara Brown. Born into slavery right here in the Commonwealth of Virginia, Clara Brown became Colorado’s first black settler and a pioneering entrepreneur and philanthropist. Then there was Willie Kennard, a sharp-shooting cowboy and arms instructor for the military who became a town marshal in Yankee Hills, Colorado, where he defeated the town bully. Moving on to more familiar names, we also heard from Nat Love aka Deadwood Dick, who recorded many of his exploits in an autobiography, and Mary Fields, perhaps better known as Stagecoach Mary, the first African-American woman driver for the US Postal Service, as well as Bill Pickett, the cowboy and rodeo superstar credited with inventing the rodeo event known as “bull dogging.” This dangerous feat involves the cowboy dropping from his horse onto a steer then wrestling said steer to the ground by its horns. According to legend, Pickett added the sensational flourish of biting the bull’s lip after twisting his head. (Yes, it sounds cruel and gruesome, but this is a theater review, and I am simply reporting historical facts, so no comments, please.)

All these stories were told with great flourishes, lots of “oohs” and “aahhs” and exaggerated body language. The actors performed on and around the front porch of the historic Battersea estate, with the audience seated on folding chairs (“new-fangled contraptions”) or blankets on the grassy lawn. Much as I dislike mosquitos, this setting greatly enhanced the experience for me. The only thing that might possibly have made it better would have been seeing and smelling a plume of smoke rising from the kitchen and someone handing me a plate of BBQ, baked beans, and cornbread with a mason jar of sarsaparilla (root beer would suffice).

Kudos to the versatile and enthusiastic cast. (I haven’t matched names with roles, as there was no printed program, and I don’t want to make any mistakes. But it is an ensemble, so equal kudos to all. Well, okay, a little extra to Dorothy Dee-D Miller for her swagger – and her beard, but don’t tell the others) As of this writing, there are two more opportunities remaining to see BLACK COWBOYS & COWGIRLS or this run. I hope it becomes a regular part of the Heritage Ensemble’s rotating repertoire. Yeehaw, ya’ll. Now git (out there and see the show).

BLACK COWBOYS & COWGIRLS

Written & Directed by Margarette Joyner

Produced by the Black Seed Grant

CAST (in alphabetical order):

Ray Bullock

Zakiyyah Jackson

Dorothy Dee-D Miller

Jeremy Morris

Chris Showalter

Shalandis Wheeler Smith

Michelle M. Washington

Willie Wright

[i] The term has been credited to The Walt Disney Company, but some sources trace it back to Benjamin Franklin (Poor Richard’s Almanac).

[ii] Built in 1768 as the country estate of John Banister, Petersburg’s first mayor, Battersea is a Virginia Historic Landmark listed in the National Register of Historic Places. It is “one of the finest surviving examples of Palladian architecture in America.” batterseafound.org

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WHAT THEY DID FOR US

Stories of Black Women Who Paved the Way

A COVID-conscious Pandemic-appropriate Theater Review by Julinda D. Lewis

Who: Heritage Ensemble Theatre

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1200 Altamont Ave, RVA 23230

Performances: February 25 – March 6, 2021; eight COVID-conscious in-person performances

Ticket Prices: In-Person Tickets: $25 General; $10 for Students. Contact the company to inquire about a streaming version of the production.

Info: (804) 937-7104 or theheritageensemble.org.

As much as I love to point out that February is not the only month in which we can celebrate African American accomplishments, it does seem strange not to have the usual selection of productions that at least give a nod to Black History Month. So, the last weekend of February found me sitting at a table for one at the Richmond Triangle Players theatre with a tear or two sliding into my mask as I chanted, along with the rest of the pandemic-restricted audience of twenty or so: My doctors said I would never walk. My mother said I would. I believed my mother.

Written by Heritage Ensemble Theatre Company’s Founder and Executive Director Margarette Joyner and directed by Joyner and Sharalyn Garrard, WHAT THEY DID FOR US consists of a quartet of expanded monologues that pay homage to four exemplary Black women: Queen Nzingha, Phillis Wheatley, Cathay Williams, and Wilma Rudolph.

Dancing onto the stage with bejeweled ankles and wrists and wielding an ax, Marjie Southerland (Harriet Tubman and the Underground Railroad, Virginia Rep Children’s Theatre) embodies the politically savvy military strategist who successfully fought against the Portuguese colonization of parts of what is now Angola. While taking a stand against the slave trade, Queen Nzinga (1583-1663), also known as Ana de Sousa Nzingha Mbande, racked up accomplishments far beyond anything expected of any woman – or African – of her day (the 17^th century).

Many of us have heard of the poet Phillis Wheatley (1753-1784), but like me, many may not have known much about her life. The first African American author to have a book of poetry published, Wheatley, played with gentle strength by Rickaya Sikes (VCU Theatre major). Wheatley was born in West Africa, sold at age 7 or 8 to a family named Wheatley, and given the name Phillis for the name of the ship that brought her to America. She published her first poem at age 13. By 20, she had acquired international acclaim, yet she died impoverished at the age of 31.

Cathay Williams (1844-1893) was the only female Buffalo Soldier. She served in the US Army by pretending to be a man, William Cathay. Apparently, physical exams were not very thorough in the 19^th century because it was years before her secret was discovered. Dejamone’ Jones portrays Williams with dignity and humor as she recalls her years as a cook and laundress. Although Williams received an honorable discharge, she was denied a pension.

But it was Shalandis Wheeler Smith’s portrayal of Olympian Wilma Rudolph (1940-1994) that wrenched that tear from my eye. Smith (an actor who is also the company’s Production Manager) employed a call and response technique in her inspirational message that got the audience involved and made her segment stand out above the others. While her story was more familiar than the others – the childhood polio, the three gold medals, the designation as the fastest woman in the world – l never knew that Rudolph grew up with 21 brothers and sisters.

Tying these monologues together was Jeremy V. Morris (Oedipus, Passing Strange, An Octoroon) as Everyman. Morris changed costumes between each monologue, from African robes and a drum to waistcoat, wig and came, from straw hat (the least imaginative) to tracksuit as he provided narration, often in poetic verse. And I was impressed with his drumming in the first scene.

Set against a simple background that included a rocking chair, a low throne-like chair for the narrator, a podium, WHAT THEY DID FOR US has a linear quality. The actors do not interact with one another, and each monologue could stand alone in, perhaps, a school setting. In a different day and time, this production – more of a storytelling event than a traditional play – might find the theater packed with school-aged children for a matinee, or it might be presented in school auditoriums.

There were only a limited number of performances left at the time I wrote this review, but there’s always next year…

Photos from Heritage Theatre Facebook page.

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