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
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
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
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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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.
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):
Dorothy Dee-D Miller
Shalandis Wheeler Smith
Michelle M. Washington
[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
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 17th 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 19th 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.
For more information, contact:
Amy Wight , firstname.lastname@example.org
“Lucky 13” Annual Theater Awards Winners Announced
TheatreLAB wins ten “Artsies,” VA Rep honored for Children’s Theatre
Richmond, VA – September 14, 2020. The 13th Richmond Theatre Critics Circle Awards (Artsies), which is typically an in-person black-tie event, was all virtual this year. With a “Lucky 13” theme, the show highlighted the funny – and often outrageous – ways that theater can go wrong, elevating what is unique and vital about live performance: the thrill of the unexpected.
Not only are the Artsies the community’s recognition of excellence in Richmond-area theater, but they are the primary fundraising event for the Theatre Artist Fund of Greater Richmond (The Fund). The Fund provides emergency financial assistance to theater artists who have experienced an exceptional financial need related to a specific crisis beyond their control. Since
its inception, the Artsies have raised $83,446 for the Fund, which has written 21 grants totaling $30,468 for artists in need. While no tickets were sold for this year’s event, attendees were urged to consider donating in support of the Theatre Artist Fund of Greater Richmond .
Although the 2019-2020 theater season was cut short due to the COVID-19 pandemic, Richmond-area professional theaters staged a number of remarkable productions. Virginia Repertory Theatre received a special award this year for Excellence in Children’s Theatre for its productions of “Tuck Everlasting” and “Harriet Tubman and the Underground Railroad,” the
latter written by local playwright Douglas Jones. In addition, the theater came away with an impressive eight wins, including Best Play for its production of August Wilson’s “Fences.” Virginia Rep’s production of “A Gentleman’s Guide to Love and Murder” garnered four of those wins, including Scott Wichmann’s award for Best Actor in a Musical.
TheatreLAB swept the night with ten Artsies, most of them for its production of “Urinetown,” which was also the production that won the most Artsies. “Urinetown” received seven awards, including Best Musical; Best Direction of a Musical for Matt Polson; Best Actress in a Musical, which went to Bianca Bryan; Best Supporting Actor in a Musical for Luke Schares; and Best Supporting Actress in a Musical for Kelsey Cordrey. The show also picked up awards for Best Choreography for Nicole Morris-Anastasi’s work and Outstanding Achievement in Lighting Design in a Musical for Michael Jarett’s lighting. And, the first show of the season, TheatreLAB’s production of “Level 4,” was honored as Outstanding Original Work.
Among Firehouse Theatre’s four awards this year was the Best Acting Ensemble award to the cast of “Passing Strange,” which also won Jimmy Fecteau an award for his sound design. Lorin Hope Turner’s role in the theater’s production of “Stupid Kid” earned her an Artsie for Breakout Performance, and Alison Devereaux won an award for her direction of the play.
“Our organization has tried at this unprecedented time to support theater artists who continue making their art and sharing it with the world,” said Susie Haubenstock, RTCC President. “The RTCC embraces the rich diversity of backgrounds and perspectives that our local theater artists bring to their craft and is proud to honor and pay tribute to the excellence they bring to
Best Direction, Musical
Best Actor, Musical
“A Gentleman’s Guide to Love and Murder”
Best Actress, Musical
Best Actor in a Supporting Role, Musical
Best Actress in a Supporting Role, Musical
Best Musical Direction
“A Gentleman’s Guide to Love and Murder”
Outstanding Achievement in Costume Design, Musical
“A Gentleman’s Guide to Love and Murder”
Outstanding Achievement in Lighting Design, Musical
Outstanding Achievement in Set Design, Musical
“A Gentleman’s Guide to Love and Murder”
Outstanding Achievement in Sound Design, Musical
Best Direction, Play
Best Actor, Play
Best Actress, Play
Best Actor in a Supporting Role, Play
“Rosencrantz and Guildenstern Are Dead”
Best Actress in a Supporting Role, Play
Outstanding Achievement in Costume Design, Play
Outstanding Achievement in Lighting Design, Play
“Holmes and Watson”
Outstanding Achievement in Set Design, Play
Outstanding Achievement in Sound Design, Play
2020 Ernie McClintock Best Acting Ensemble Award
The cast members of Firehouse Theatre’s “Passing Strange”
are honored for their notable performance as a cohesive and compelling ensemble:
Katrinah Carol Lewis
Jeremy V. Morris
Outstanding Original Work
Level 4, TheatreLAB
Excellence in Children’s Theatre
“Tuck Everlasting” and “Harriet Tubman and the Underground Railroad,” Virginia Rep
To view the “Lucky 13” Artsies video, visit http://www.artsies.org/ .
THE CONCERT BALLET OF VIRGINIA: Winter Gala 2020
A Dance Program Review
At: The Woman’s Club Auditorium, 211 East Franklin Street, RVA 23219
Performance: February 23, 2020
Ticket Prices: $12-$18
The Concert Ballet of Virginia, a civic company based in Hanover County, continued its 44th performance season with a Winter Repertory Gala at The Woman’s Club Auditorium on Sunday, February 23. The Winter Repertory Gala – a showcase for the junior, senior, and performing companies – shared the program with The Concert Ballet Orchestra, conducted by Iris Schwartz, alternating a musical composition with a ballet.
The Orchestra seemed to focus on patriotic music, American composers, and American themes, opening with a rousing rendition of the “George Washington Bicentennial March” by John Philip Sousa. This set the tone and expectation for the remainder of the program.
Additional musical interludes included a Cole Porter symphonic portrait, another march, and a medley of American music, including “Shenandoah,” which lays claim to a rather contentious proposal to be Virginia’s “interim state song,” and “My Country Tis of Thee,” which the conductor encouraged the audience to sing along with but there were no takers.
The first ballet, Lindsay Hudson’s “Over the Hills and Far Away” featured an ensemble of enthusiastic young dancers who, while they did not always keep their legs straight or keep their toes pointed en l’air, appeared steady on their pointes and brought an infectious element of joy to their performance. Scott Boyer’s period costumes with full tulle skirts coordinated with deVeaux Riddick’s décor, with its life-sized pink and green plants, all of which were well suited to the genteel atmosphere with some patrons seated at tables, where they were served desserts and beverages, reminiscent of an 18th or 19th century salon. The ballet ended on a light note with a very charming back-to-back slide to the floor.
The first half of the program also included Valerie Shcherbakova’s “Bretagne,” set to music by Darius Milhand that seemed somewhat dark, even ominous, in contrast to the dancers’ white dresses with narrow fabric panels draped delicately along their arms. This ballet was set in an undisclosed period and locale (although the title suggests a French locations), with four blue panels painted with chandeliers and draperies and somewhat mysterious obelisks. The work is created with intentional symmetry, and ends with a lighter, livelier coda.
The second half of the program included Scott Boyer’s ‘The Gum Suckers,’ a contemporary ballet that swaddled the dancers in colorful layers and features several different lifts that were sturdy and well-supported. There was a section in which it was unclear whether the two lines of dancers were supposed to be moving in unison or in canon, but the ballet, which featured a quintet of five pint-sized dancers, was undoubtedly an audience favorite and earned extended applause.
It should be noted that Boyer, a founding member and the company’s artistic director, is the only remaining member of the long-time artistic and executive team. The program pays homage to Robert Watkins (former Artistic Director), deVeaux Riddick (former Designer and Technical Director), and Eleanor Rennie (Executive Director).
The program closed with Karen Moore’s “Rainbow Room,” which saw the dancers dressed in glittery top hats and fringed dressed moving in a jazzy Bob Fosse style to the big band sound of Benny Goodman. Christopher Gangloff’s pretty rainbow lighting effects added an extra layer of pizzazz to this work that began with the dancers laying of the floor, legs up, like the petals of a flower. A sassy percussion beat guided the dancers into a rousing kick line that circled the stage and Boyer, Donald Myers, and an apparently uncredited male dancer escorted the bevy of young women, wearing white tie and tails (but, alas, no top hats!) to complement the women’s fringed frocks.
The Concert Ballet of Virginia’s Winter Repertory Gala 2020 offered a genteel afternoon of audience-pleasing dance and live music in a beautiful setting on a lovely Sunday afternoon.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Photo Credits: Concert Ballet of Virginia Winter Gala 2020 program cover
HARRIET TUBMAN AND THE UNDERGROUND RAILROAD: “It’s Like History Class, With Music”
This production is part of the 2020 Acts of Faith theater season.
A Theater Review by Julinda D. Lewis, in collaboration with Kingston Marley Holmes (age 11) and Emmitt Christian Holmes (age 5)
At: Virginia Rep’s Children’s Theatre at Willow Lawn; 1601 Willow Lawn Drive, RVA 23230
Performances: January 24 – March 1, 2020
Ticket Prices: $21; contact the theater for discounted group rates or to apply for a free Community Tickets Grant for nonprofit organizations.
Info: (804) 282-2620 or virginiarep.org
Virginia Rep opened its 2019-2020 Children’s Theatre season with a magical musical, Tuck Everlasting, based on Natalie Babbitt’s children’s novel about a family that finds immortality in the waters of a remote spring in the New Hampshire countryside and the grieving young girl who befriends them. The second production of the season is Harriet Tubman and the Underground Railroad, a spirit-filled production with book and lyrics by Douglas Jones (who was in the audience opening night), music by Ron Barnett, direction by Katrinah Carol Lewis, and an energetic, tightly-knit ensemble of six who made the hour-long production speed by. “It felt like just ten minutes!” was Kingston’s estimate.
The content of Harriet Tubman and the Underground Railroad seems to be targeted primarily towards the older kids, say ages 9 and up, but even Emmitt was alert and committed – especially when he realized the audience was encouraged to snap, clap, and sing along. For parents, teachers, scout leaders, and other adult types, Harriet Tubman and the Underground Railroad is enjoyable, entertaining, and informative. The author, Jones, and director, Lewis, do not talk down to the younger audience members, and at the same time they avoid the trap of some children’s shows of including double entendre’d jokes and language designed to appeal to the adults. Well done.
I described the production as “spirit-filled,” and I intentionally meant that in two ways. The production includes several well-known African-American spirituals, including “Swing Low Sweet Chariot,” “ Go Down Moses,” “Wade in the Water,” and “Follow the Drinking Gourd.” Most include or encourage audience participation, and the text weaves in detailed but uncomplicated explanations of the hidden meanings of the words of these songs. The program, which doubles as a poster, includes a QR code that links to a 2-page PDF resource on Spirituals.
There is also a lovely 6-page PDF study guide with a brief bio of Harriet Tubman, a glossary of terms, critical thinking questions and conversation starters, interesting facts, activities, and a page about theater cues. You can find and print the guide here: https://va-rep.org/tour/guides.html
In a second sense, the program was spirit-filled with the ensemble’s acting and energy. Marjie Southerland (whose most recent local credit seems to be as Angela in the workshop productions of Warm, at The Firehouse Theatre last August) has the title role of Harriet Tubman while Elisabeth Ashby, Dan Cimo, Dorothy Dee-D. Miller, Gregory Morton, and Durron Marquis Tyre take on all the other roles: Tubman’s father, brothers, abolitionists, book publisher, passengers on the underground railroad. Southerland holds down the lead with confidence and sometimes a little well-placed humor, but this is truly an ensemble effort with everyone carrying their weight as well as a tune.
And finally, the program was spirit-filled through the words and memories of Harriet Tubman. And that is why, in spite of the lively music, and Emily Hake Massie’s simple, rustic, and serviceable set design, and Anthony Smith’s foot-tapping musical direction, and Sara Grady’s attractive period costumes (Kingston was particularly taken with Durron Tyre’s top hat) I found my eyes leaking from time to time. Tubman’s own words, spoken by Southerland, read from the text of Sarah H. Bradford’s biography about her, and resurrected in song, maintain the power to change the world, one life at a time. That is something the youngest audience members might not yet understand, but it was, for me, the singular purpose of this work, and in that it succeeded.
As far as the target audience was concerned, Emmitt declared Harriet Tubman and the Underground Railroad, “Good! It was awesome because of the actors.” And Kingston said, “It was like history class but fun, with music!” Walking to my car afterwards, Kingston and Emmitt debated the pros and cons of live theater versus television and movies. Live theater, Kingston concluded, “is more captivating.”
Check the Virginia Rep website for additional information on:
Sensory Friendly Performances suitable for patrons with Autism and other sensory or social disabilities. For these performances, changes will be made in lighting, sound, seating arrangements, and length of performance to create a more welcoming environment. A Sensory Friendly performance will be offered at 10:30 a.m. on Saturday, February 22. See the website for more details: http://va-rep.org/sensory_friendly.html
Audio Described Performances in collaboration with Virginia Voice, in which actions, expressions and gestures are described during gaps between dialogue throughout the performance for patrons with low vision or blindness. Patrons are also invited to participate in a tactile tour before the performance. An Audio Described performance will be offered at 2:00 p.m. on Sunday, January 26, 2020. Refer to the website for more details: https://va-rep.org/access_for_the_blind.html
Virginia Rep also offers a free Community Tickets Grant for nonprofit organizations who have a demonstrated need for complimentary tickets; groups must fill out a short application that can be found at: bit.ly/CommunityTix
Evening performances at 7:00 p.m. on select Fridays, check the website for dates
Matinee performances at 2:00 p.m. every Saturday and Sunday
Matinee performances at 10:30 a.m. on select Saturdays, check the website for dates
Photo Credits: Photos were not yet available at the time of this publication.
‘THE LATIN BALLET OF VIRGINIA: LEGEND OF THE POINSETTIA 2020
A Dance Review and Seasonal Observations by Julinda D. Lewis
At: The Cultural Arts Center at Glen Allen, 2880 Mountain Road, Glen Allen, VA, 23192
Performance Were: January 9-12, 2020
Ticket Prices: $10 – $20
Info: (804) 356-3876 or http://www.latinballet.com
The Legend of the Poinsettia is, for many, a local holiday tradition, much as The Nutcracker ballet has become in communities across the USA. This year I attended a Thursday morning production. Because it is designed for school field trips, the program has been truncated and lasts only one hour. I am familiar with the full-length two-act version and was impressed that the field trip edition is seamless, and if you didn’t know what was omitted, it didn’t feel as if anything was missing.
I noted that the indomitable Miss Frances Wessells, who normally dances the role of Abuelita, the grandmother, was absent. I understand that she is saving her appearance for the final performance on Sunday at 3:00pm, and at age 100 (yes, she officially became a centenarian last August!), she can choose to dance whenever and wherever she wants!
There was no soloist, singing “Ave Maria” as well as several other selections. Also, the life-sized nativity, where the Virgin Mary usually takes up residence for most of the second act, remained empty.
Other differences were not cast related. This year’s production has done away with the traditional, and sometimes bulky, set and replaced it with stunningly beautiful projections of background scenes, buildings, window boxes, the night sky, whatever is needed to enhance and promote the storyline. The program doesn’t list a credit for the projections, but Antonio hidalgo Paz is credited for lighting design and technical direction with Steve Kohler as technical assistant.
Dominion Energy sponsored the program as well as some of the schools present. But while the weather was sunny in Richmond and Glen Allen, some schools from Fredericksburg were forced to cancel due to snowy conditions just a little father north of the Glen Allen venue. Those present ooh’d and ahh’d when the curtain went up, and again when the company’s men – Jay Williams, Nicolas Betancourt Sotolongo, and Glen Lewis, performed flips and handsprings across the stage. But this is Latin Ballet, and I felt that the young attendees’ responses were subdued – either because this was their first time attending the theater experience or because their teachers and chaperones had cautioned them to be on their best behavior. And they were – on their best behavior, that is.
At the end, company member Jay Williams invited audience members onstage for a mini-hiphop class, which offered many aspiring performers the opportunity to show off their best moves. The young audience members seemed to enjoy meeting the cast, taking pictures, and getting autographs nearly as much as the performance itself.
The Legend of the Poinsettia tells the story of Little Maria (with Sydney Smith and Kaia Davis-Martin, who performed on Thursday morning, alternating in the role). After the sudden death of her mother, who was teaching her how to weave a colorful blanket, Maria finds herself in need of a gift to present to the Baby Jesus on Epiphany Day on January 6. Epiphany or Three King’s Day (Dia de los Tres Reyes Magos) celebrates the 12th day of Christmas and the legend of the three Wise Men bringing gifts to the Christ Child. This provides a great excuse for those who did not take down their Christmas trees on January 1 to just say you were waiting to celebrate Epiphany.
The narration, given in English and Spanish, also emphasizes that this is also the story of “the true spirit of giving.” Not only is there entertainment and a moral, but there is also history, as the program explains how the poinsettia came to be a symbol of Christmas after Joel Roberts Poinsett, first ambassador from the US to Mexico in 1825, imported clippings and cultivated the plants that came to bear
As I have written previously, The Legend of the Poinsettia is a family-friendly, multi-cultural, multi-generational festival featuring dances, music, and colorful costumes from Columbia, Mexico, and Spain. There are cultural offerings from Mexico (the origin of the legend and of the poinsettia plant), Colombia (King’s birthplace, which also celebrates the nine nights before Christmas with las novenas including songs, prayers, and nativity scenes), Venezuela (the home of the gaitas or festive songs that blend the Spanish and African cultures), the Dominican Republic (home of the bachata, a mixture of Cuban bolero and son), Puerto Rico (home of the Christmas parrandas or musical festivities) and Spain (home of flamenco and the Christmas novenas). A blend of solemn candle lighting and prayers with festive singing and dancing is the common thread that ties together the many cultures and traditions, concluding with the miracle of the poinsettia plant, represented by dancers in red and green. The Spirit of the Poinsettia, floating around the perimeter of the stage in a voluminous read gown from which individual poinsettia “plants” emerge, may remind some of the Mother Ginger figure in The Nutcracker who hides a dozen small children under her huge gown.
Tickets are still available for a weekend of family-friendly shows
Photo Credits: Photos from Latin Ballet website; photos of Jay Williams working with the children by Julinda.
RICHMOND BALLET: The Nutcracker – a Holiday Classic
Reflections on a Ballet by Julinda D. Lewis
At: Dominion Energy Center for the Performing Arts | Carpenter Theatre | 600 E. Grace St., RVA 23219
Performances: December 13-23, 2019
Ticket Prices: $25-$125
Info: (804) 344-0906 x224 or etix.com
Why is The Nutcracker a holiday tradition – what do nutcrackers have to do with Christmas? According to German folklore, nutcrackers bring good luck and protection to your family and home. It represents power and strength, guarding your family against danger and baring its teeth to ward off evil spirits while serving as a messenger of goodwill.
The Nutcracker character originated with Prussian author E.T.A. Hoffman’s 1816 story, The Nutcracker and The King of Mice. In the story, the Stahlbaum family has an annual Christmas party and their children, Marie, Fritz, and their sister Louise, receive gifts from their godfather, Drosselmeyer, a clockmaker with a talent for making mechanical toys. The story, filled with
about the triumph of good over evil. In 1844 French author Alexander Dumas père, adapted Hoffman’s story, changing Marie’s name to Clara. The family became the Silberhauses. This was the version that became a ballet, created in 1892 by Russian composer Pyotr Ilyich Tchaikovsky and choreographers Marius Petipa (French) and Lev Ivanov (Russian). The Petipa and Ivanov choreography became the model for many of our contemporary productions.
The Richmond Ballet’s production of The Nutcracker was conceived by the company’s Artistic Director, Stoner Winslett and Charles Caldwell with artistic direction and choreography by Winslett and scenery and props by Caldwell. (The magical tree was designed by Alain Vaës and the lush costumes are by David Heuvel.) This year marks Winslett’s 40th production of the holiday classic for Richmond Ballet. From time to time, she makes changes and refreshes the ballet, which keeps it as interesting for the dancers as it is for the audiences.
The Richmond Ballet Nutcracker is a beautifully mounted production that appeals to both children and adults. There is, of course, dancing. While the “star” of the show is Clara, danced on Wednesday by McKenzie Fisher, who shares the coveted role with Kyla Williams, there is plenty of dancing by the adult company members. There is a lovely duet for the Snow Queen and King (Melissa Frain and Ira White) and later Lauren Archer and Trevor Davis, the Sugar Plum Fairy and her Cavalier, danced the “Grand Pas de Deux.” After spending the fall semester teaching dance history, it was hard not to think of the changing roles of men and women in ballet from the Classical period (of which The Nutcracker is a prime example) to the Romantic period (when women became more prominent). I was torn between watching Davis spin Archer with mechanical precision – almost as if she were one of Drosselmeyer’s inventions — and gasping in awe as she ran and leaped, landing precariously and gloriously atop his shoulder. Repeatedly.
This ballet is also filled with character dancing, from the halting waltz by the grandparents (Susan Massey and Marcelo Outeiro) to the mouse battle with Anthony Oates as the Mouse King. The second act has something for everyone, dancing flowers and angels, and specialty dances (Spanish, Arabian, Chinese, Russian, and more. Izabella Tokev and Fernando Sabino were mesmerizing as the Snake and Her Charmer, and the Russian dancers, Patrick Lennon and Logan O’Neil with Matthew Frain as their Dancing Bear is always a favorite. The Trépak, based on a traditional Ukranian folk dance has the men jumping in the air, then spinning on the floor like break dancers, while the bear adds a touch of humor, wearing red shoes to accent his furry costume, and moon walking off the stage while blowing kisses to the audience.
But wait, there’s more. The costumes are stunning, providing a visual delight, along with the huge, colorful set and props like the magical Swan Sleigh that glides across the stage carrying Clara and her Little Prince (Nicholas Blankenship).
And, finally, there is Tchaikovsky’s beautiful score. It is familiar from the opening notes through the Finale and is probably the first classical music many children are ever exposed to. There are magical melodies associated with each scene that evoke memories of previous productions and prompt associations with idealized visions of Christmases past, present, and yet to come. The icing on the cake in this kingdom of sweets is that the music is played live, by the Richmond Symphony Orchestra, conducted by Erin Freeman and a 30+ member Snow Choir, directed by Lisa Fusco.
The Nutcracker wraps young and old in a warm, familiar fantasy. It means Christmas and traditions and family, and a complete letting go of the stresses of everyday life for two hours of joy.
Photo Credits: Richmond Ballet Facebook Page
THE CONCERT BALLET OF VIRGINIA: The Nutcracker
Observations on the Nutcracker, 43rd Annual Production by Julinda D. Lewis
At: Atlee High School Theatre, 9414 Atlee Station Rd., Mechanicsville, VA 23116
Performances: December 14, 15, 20-21, 2019
Ticket Prices: $12-24
I’ve seen many of the Concert Ballet of Virginia galas, and even the pared-down excerpts of The Nutcracker, but this is the first time I’ve seen their full-length version of the holiday classic.
Synopsis: The Silberhaus’ host their annual Christmas party, attended by their children Clara and Fritz and an assortment of family and friends. Clara receives a pair of dancing slipper and her brother received a sword and a mechanical rat – which he and his friends promptly put to use terrorizing the girls. A family friend, the mysterious Drosselmeyer, arrived late and gives Clara a Nutcracker that has magical powers. When all the guests have gone home, Clara comes to retrieve her Nutcracker, but it comes to life and takes Clara on a Christmas adventure filled with soldiers and horses, battling mice, a Snow Queen, a Sugar Plum Fairy, a Cavalier, and other fantastic characters.
The familiar score by Tchaikovsky and traditional choreography after Marius Petipa and Lev Ivanov as conceived by the late deVeaux Riddick captured and held the attention of the audience made up predominantly of families with young children. The story of Clara and her mischievous little brother Fritz is filled with humorous scenes that a young audience can relate to, and the magic of the mildly menacing family friend, Drosselmeyer, keeps the story interesting.
The variety of the “Divertissements” in Act II (Spanish, Arabian, Chinese, Russian, and Mother Ginger – here called Mother GingGong – along with acrobatic clowns and waltzing flowers) allows for a display of diverse genres and the multiple abilities of this community dance company (all unsalaried), “operating within the framework of a professional dance company.”
The scenery, by artistic director Scott Boyer and costumes (by a full team consisting of Erline Eason, Cecil Carter, Jill Driskill, Patricia Morris, Kay Allen, Mary Beth Rhyne, Ann Reid, Corinne Abernathy, Kim Gangloff, and Tracey Latham) were a beautiful treat for the eyes. They even engineered snow falling gently on the Snowflakes corps de ballet scene.
The Nutcracker is often a young dancer’s – or audience member’s – first exposure to ballet, and this production, while lacking in virtuoso technique and clarity and definition of line, is a visual and musical treat that just might stimulate the interest of new young dancers and future balletomanes.
Photo Credits: Concert Ballet of Virginia Facebook page