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

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STRAIGHT WHITE MEN:

What the fuck are we gonna do about Straight White Men? – Kelsey Cordrey, Director

A Theater Review (kinda, I think) by Julinda D. Lewis

Produced by: The Conciliation Lab

At: The Basement, 300 E. Broad Street, RVA 23219

Performances: December 3-18, 2021.

Ticket Prices: $30 General Admission; $20 Senior/Industry (RVATA); $10 Student/Teacher (with valid ID)

Info: (804) 506-3533; 349-7616 or https://theconciliationlab.org/

NOTE: Proof of vaccination or a negative COVID test within 48 hours of the performance must be shown at the box office.

Walking down the steep staircase to The Basement for opening night of STRAIGHT WHITE MEN we were greeted by blasting music (yes, that was CardiB’s “WAP”), flashing colored lights (the disco kind, not the Christmas tree kind), and a sign that told us to wait until the house opened in the least welcoming terms imaginable. A pre-show curtain talk by the People in Charge, Lucretia Marie and Malakai Lee, confirmed that STRAIGHT WHITE MEN makes no allowances for comfort zones. Just as Marie and Lee reached the end of their curtain speech, four straight white men (Adam Turck, Axle Burtness, Patrick Rooney, and Christopher Dunn) stumbled noisily into the theatre, setting themselves up for a humorous reversal of the CPT (colored people time) stereotype.

I think we can agree that STRAIGHT WHITE MEN is a strange title for a play produced by the Conciliation Lab – a company dedicated to social justice. Marie (a seasoned performer, activist, and anti-racism coach) and Lee (a student activist inside and outside of school at Henrico High School, Center for the Arts) making his professional debut in this show) both joke about this too, noting that neither of them is a straight white man, and one even remarked that a friend asked, “Did they see you?” before they hired you for the show. And anyway, why should we, much less the Conciliation Lab, be concerned about straight white men, with all the privilege they represent?

Having seen the VaRep production of IT’S A WONDERFUL LIFE the previous evening, I couldn’t help but make a comparison. Both are Christmas shows. Both center around a depressed straight white man whose crisis comes to a head on Christmas Eve. Both are about love and family relationships. Both are also directed by talented women. Given all these similarities, the two plays could not be more different. Where IT’S A WONDERFUL LIFEis a holiday classic, STRAIGHT WHITE MEN is a different style of theatre intended to be confrontational, to make the complacent feel uncomfortable and upset the expected and accepted order. (And as if literary confrontation was not enough, I was seated in the front row on the sold out opening night, barely three feet from the edge of the stage, a position I highly recommend for this production.)

Written in 2014, the opening of STRAIGHT WHITE MEN at the Helen Hayes Theatre in 2018, made history as the first play by an Asian American woman to be produced on Broadway. The author’s notes specify that the pre-show is to include loud rap music with sexually explicit lyrics performed by female rappers and that the Persons in Charge “should be played by gender-nonconforming performers (preferably of color).” The intent is to create the sense that the show is under the control of people who are NOT straight white men – a role reversal, if you will; a case of turn about is fair play, a sort of theatrical reparations, if you will. And while Marie and Lee seemed to be joking when they said audience members would be removed at the actors’ request, this, too, was in the author’s notes.

Kelsey Cordrey, in her solo directorial debut, kept everything moving at a rapid pace, marked by hilarity. The cast of four white men did her proud, keeping up the pace with an abundance of high impact physical activity while still allowing time to explore the psychological twists, turns, and nuances of this family.

The plot, you see, involves a family of three sons, two of whom (Drew, a writer and Jake, a successful but recently divorced banker) have returned home for Christmas where their widowed father, Ed, has recently been enjoying the company – and domestic skills – of his eldest son, Matt, an unemployed Harvard graduate. The problem is that in spite of the brothers’ good-natured rough-housing and reminiscing about childhood indiscretions, Matt is harboring and unsuccessfully hiding, some serious issues. It all comes out when he suddenly breaks down crying over Christmas Eve dinner.

Adam Turck is the caring insightful sibling, Drew. Axle Burtness plays Jake, the impatient sibling who wants to fix his older brother, regardless of what Matt actually wants. And Matt, played by Patrick Rooney, a newcomer to the Richmond stage, appears to be a caring, lovable man who, despite his Harvard education, seems barely able to articulate his own feelings. An Ed? Well, Ed is from another generation. He helps his neighbors, even when it isn’t convenient, like on Christmas Eve. Christopher Dunn’s character lovingly hangs Christmas stockings on the mantle, and gently pauses when he comes to the fifth – the one that belongs to his late wife – retuning it to the Person in Charge. Who can’t relate to the loneliness of an old widower celebrating his first Christmas without his beloved wife? And therein – herein? – lies the problem. Why should we, the audience, care about the feelings or problems of privileged straight white men?

It seems that every time there is a chance we might begin to sympathize with Matt or his family, a Person in Charge appears and adjusts the emotional thermostat. In addition to the scene with the Christmas stockings, one memorable intervention involves Marie and sharing shots with a frustrated brother at the kitchen counter after a family quarrel.

In her Director’s Note, Cordrey writes:

When all we seem to see on the news are Straight White Men murdering Black and Brown and queer and trans people, and sexually assaulting women – and always getting away with it – it is extremely difficult to find any compassion and care for the entire group as a construct. But what about the straight white men in our day to day lives? Our fathers, brothers, neighbors, friends?

Are you ready to consider the perspective of straight white men with empathy and compassion? To put yourself in their shoes – even if you are not one of them? Is it time for the privileged to re-examine and re-define their own personal identity? Can any of us make any progress, any real change, if they don’t? What will it take for everyone to treat others the way they want to be treated – and to do it without expecting to earn a badge of recognition for doing it? Does STRAIGHT WHITE MEN answer any of these questions? I’ll leave that up to you do decide.

Cordrey directed with her foot on the pedal and created the sound design as well. Michael Jarrett returned to the Basement to light his first show for the Conciliation Lab, with the excellence we have come to expect of him. Nia Safarr Banks brought her skills to the table as costume designer, complete with holiday pajamas and slippers. Chris Foote constructed the warmly lived-in midwestern den and kitchen designed by artistic director Deejay Gray. (My friend and I admired the large stainless steel refrigerator that I later found out is the actual refrigerator used by the Conciliation Lab staff.)

STRAIGHT WHITE MEN is not your traditional Christmas show, and it isn’t what you might expect from the Conciliation Lab – and those are just two good reasons to go see it. The cast of four white men  – that’s two more reasons. And Marie and Lee, who execute the author’s and director’s instructions and make you think it’s their own ideas, all while wearing matching light-up shades and coordinating neckties – well that’s at least another two good reasons that make this production of STRAIGHT WHITE MEN worth your time and money.

STRAIGHT WHITE MEN by Young Jean Lee
Directed by Kelsey Cordrey
December 3-18 at The Basement

THE CAST
Drew …………….……………….. Adam Turck
Jake …….…………..…….……. Axle Burtness
Matt ………….……..…….…. Patrick Rooney
Ed …………………………. Christopher Dunn
Person in Charge #1 …… Lucretia Marie
Person in Charge #2 ………. Malakai Lee

THE TEAM
Direction: Kelsey Cordrey
Scenic Design: Deejay Gray
Lighting Design: Michael Jarett
Sound Design: Kelsey Cordrey
Costume Design: Nia Safarr Banks
Props Design: Margaret Dodson
Set Construction: Chris Foote
Production Stage Management: Crimson Piazza
Assistant Stage Management: Demarco Lumpkin
Associate Direction: Juliana Caycedo
Dramaturgy: Shinji Oh

THE SCHEDULE
* Friday, December 3 at 8pm – Preview
Saturday, December 4 at 8pm – Opening Night Tuesday, December 7 at 8pm
Thursday, December 9 at 8pm
Friday, December 10 at 8pm
Saturday, December 11 at 8pm
Sunday, December 12 at 3pm – Matinee
Tuesday, December 14 at 8pm
Thursday, December 16 at 8pm
Friday, December 17 at 8pm
Saturday, December 18 at 8pm – Closing Night
THE TICKETS
$30 – General Admission
$20 – Senior (65+) / Industry
$10 – Teachers & Students

NOTE: The Basement is a fully vaccinated venue. Proof of vaccination or a negative COVID-19 test (within 48 hours of the performance) are required upon entry. For the safety of our artists and audiences, masks must be worn while at the theatre. Thank you for helping to keep our community safe!
  The Basement is located at 300 East Broad Street, Richmond, VA 23219

Photo Credits: Tom Topinka

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IT’S A WONDERFUL LIFE: A LIVE RADIO PLAY

A Christmas Classic with a Gift

IT’S A WONDERFUL LIFE

A Live Radio Play

A Theater Review by Julinda D. Lewis

At: The November Theatre Arenstein Stage. 114 West Broad Street, RVA 23220

Performances: December 2, 2021 – January 2, 2022

Ticket Prices: $36-$56. Discounted group rates and rush tickets available.

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

IT’S A WONDERFUL LIFE: A Live Radio Play is a feel-good American holiday classic that unfolds on a stage designed to look like an art deco Christmas card. The set represents the stage and auditorium of Studio A at WBFR in Manhattan, New York on Christmas Eve 1946. An On Air sign adds authenticity, and Applause signs provide cues for the audience – so pay attention.

The house lights are on as the action starts, and we quickly find out that we, the VaRep audience, have been assigned roles as the live studio audience. The actors, playing multiple roles, greet us – some more warmly than others – as they arrive for their show. It seems that not everyone had been told they would be performing before a live studio audience.

The story, adapted by Joe Landry from Phillip Van Doren Stern’s story “The Greatest Gift,” (and the 1946 film starring James Steward and Donna Reed) is an Everyman morality play that borrows freely from “A Christmas Carol.” In IT’S A WONDERFUL LIFE, we meet George Bailey on Christmas Eve 1946, at the nadir of his life’s journey. After giving up his personal dreams for the sake of his family, his friends, and his town, he finds himself about to lose everything and, in the words of his arch enemy, Mr. Potter, he’s worth more dead than alive.

The holidays are a stressful time for many, and IT’S A WONDERFUL LIFE acknowledges this very real problem, but balances it with humor and the most unusual distraction found in any play. Some of the humor comes in the form of breaks to acknowledge the sponsors of the play within the play. There’s a commercial for Bremo hair cream and Duck’s Toilet Cake Soap, set to Christmas tunes and sung by the cast within the cast. As for the distraction, well, for me, the best part of IT’S A WONDERFUL LIFE is watching the cast perform the role of the Foley artists who create the sound effects. There’s everything from footsteps and doors slamming shut to breaking glass, from doorbells ringing to thunderclaps.

The talented cast includes Kurt Benjamin Smith and Anna da Costa in the lead roles of Jake Laurents and Sally Applewhite, New York City actors who in turn play the roles of Bedford  Falls, NY residents George and Mary. Maggie Bavolack, Joshua Mullins, William Anderson, and Bo Wilson round out the cast playing the roles of actors Lana Sherwood, Harry Heywood, radio host Freddie Filmore, and actor Oliver Johnston. They, in turn, play all the citizen of Bedford Falls, NY, the small town where George Bailey’s guardian angel arrives on Christmas Eve to show him how much of an impact his life has had on so many.

I thought Smith and da Costa had good chemistry and da Costa was powerfully understated as Mary – especially as many of the other characters were so over the top. Anderson, for instance, was steady and unassuming as Freddie Filmore, the radio show host, but high-pitched, hysterical, and giggly as Uncle Billy Of course, given Uncle Billy’s proclivity for liquid fortification, this was completely in character. Maggie Bavolack looked gorgeous as Lana Sherwood and her Bedford Falls characters varied from loyal friend to va-va-voom girl, complete with a drum-roll to accompany her seductive strut. Bo Wilson sampled his various voices before the radio show cast metamorphosed into their Bedford Falls characters, but he seemed to relish the evil Mr. Potter more than any other.

Given the often quick pace of the show, and with six actors playing multiple characters who often spoken over one another, it was necessary to clearly distinguish between the various characters, and most of the time I was, indeed, able to keep up with who was who. At first I was concerned that the background music was too loud and intrusive, but this issue was short-lived. After the introductions, the background music faded into the background where it belonged.

The six actors shared three mic stands, and switched rapidly between them, but this was not necessarily an indication of a change of character, so IT’S A WONDERFUL LIFE really keeps the viewer engaged and actively involved. This is a plus given that the show, which runs an hour and 45 minutes was performed without intermission. (Even though this is a family-friendly play, VaRep cautions prospective members that younger viewers may be challenged by the length of this production, given that there is no intermission.)

Mercedes Schaum’s scenic design was attractive and practical, allowing space for all the Foley equipment without overpowering the actors. Sue Griffins’ costumes were appropriate for the time, 1946, but Mary Hatch Bailey’s dress was especially fetching. Jacob Mishler gets the credit for the impressive sound design. Chelsea Burke’s direction kept things moving at a speedy pace, and maintained a comfortable balance between the extremes of comedy and tragedy. IT’S A WONDERFUL LIFE is a wonderful show that belongs in your canon of Christmas rituals.

NOTE: For my review of a similar show, A 1940s Radio Christmas Carol at Swift Creek Mill Theatre, November 2018 – January 2019, click here: https://wordpress.com/post/jdldancesrva.com/724

IT’S A WONDERFUL LIFE: A Live Radio Play

Adapted by Joe Landry

“It’s a Wonderful Life” is based on the story, “The Greatest Gift” by Phillip Van Doren Stern from the screenplay by Frances Goodrich, Albert Hackett, Frank Capra, and Jo Swerling

DIRECTION

Chelsea Burke

CAST

Jake Laurents…………………………. Kurt Benjamin Smith

Sally Applewhite……………………………… Anna da Costa

Lana Sherwood……………………………. Maggie Bavolack

Harry Heywood………………………………. Joshua Mullins

Freddie Filmore……………………………William Anderson

Oliver Johnston………………………………………… Bo Wilson

Cover…………………………………………………. Nora Ogunleye

Cover………………………………………………… Alvan Bolling II

CREATIVE TEAM

Scenic Design………………………………… Mercedes Schaum

Costume Design ……………………….…………….…. Sue Griffin

Lighting Design ………….,…………………….….. BJ Wilkinson

Dialect Coach ………………………….………Karen Kopryanski

Sound Design ………………………………………… Jacob Mishler

Stage Management ………………………….…….. Justin Janke

Photo Credits: Aaron Sutten

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

Virginia Rep COVID Guidelines

To provide the highest level of safety, all patrons are required to show proof of vaccination, or proof that they have received a negative COVID test by a professional technician within 48 hours of the performance date/time.

Patrons must show your vaccination card or a photo of the card on your phone, along with a valid photo ID, when you arrive for the performance. If you are unable to be vaccinated, you may provide proof of a Rapid COVID-19 antigen test taken within 48 hours of your performance. At home tests will not be accepted.

Please see the Virginia Rep Covid Safety FAQ for details.

In accordance with current city, state, and CDC guidance, face masks are REQUIRED at all times while you are in the building, regardless of whether or not you have been vaccinated.

At this time, no food or drink is allowed in the theatre.

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WINTER WONDERETTES

It’s The Annual Christmas Party & Santa is Missing!

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

Performances: November 20, 2021 – January 1, 2022

Ticket Prices: $49. $44 for seniors, students, military, and first responders.

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

The year is 1968 and it is the annual staff Christmas Party at Harper’s Hardware in Springfield USA. (Take your pick, there are 30-40 towns and cities named Springfield, depending on your source.)

The store has been decorated with gigantic gift boxes and the actors complete the decorating onstage, festooning a fireplace, adding a tree topper, and turning on the lights that extend throughout the theater, bringing the audience into the performing space. Did I say actors? I meant the Marvelous Wonderettes, the former Springfield High Song Leaders, created by Roger Bean in 1999 for a one-act musical in a black box theater in Milwaukee. The quartet of friends, Missy, Suzy, Betty Jean, and Cindy Lou, met with such popularity that the Marvelous Wonderettes gave birth to three sequels. WINTER WONDERETTES debuted in November 2003 and in 2008 the harmonizing of the girl group caught the attention and heart of Swift Creek Mill Artistic Director Tom Width at a performance at the Westside Arts Theatre in NYC.

Now, the four are decorating and harmonizing on the Swift Creek Mill Theatre stage that has been transformed by Width’s scenic design magic into a classic hardware store, the very same hardware store where Betty Jean has been employed since graduating from high school. The tree has been lit, the stage has been illuminated, Santa’s throne has been wheeled centerstage, and Santa’s entrance song has been sung, but where is Santa?

There is just enough of a plot to keep WINTER WONDERETTES from being a concert. We learn that Missy is newly married, while Betty Jean who has risen to a position in corporate sales has recently separated from her husband, Johnny. Suzy is pregnant and married to her high school sweetheart Ritchie who is allegedly running the lights for the program and Cindy Lou is the group’s designated bad girl (with a heart of gold).

These roles have been brilliantly cast with Anne Michelle Forbes and her outrageously contagious giggle as Suzy, Georgi Hicks as Missy, Rachel Marrs as Cindy Lou, and Alanna Wilson as Betty Jean. Maura Lynch Cravey has dressed them in matching dresses, in red, green, purple, and blue, with a festive ruffle around the neck and a satiny ribbon tied at the waist. These are topped off with 1960’s hairstyles that are puffy but stop short of the extreme bouffant or mile high beehive.

The songs are as classic as the hairstyles, from Act One’s “Rockin’ Christmas Medley” (“Rockin’ Around the Christmas Tree,” “Jingle Bell Rock,”) traditional songs (“O Tannenbaum,” “Santa Clause is     Comin’ to Town) and Betty Jean’s heartfelt “Christmas Will Be Just Another Lonely Day” to the “Bells Medley” and “Santa Baby” in Act Two. And then there’s Suzy’s stunning tap-dance turn as “Suzy Snowflake.”

WINTER WONDERETTES is a traditional, feel-good Christmas musical comedy, but it would not be complete without a few twists and turns. When Betty Jean runs off in search of the missing Santa/Mr. Harper, she returns with a stack of envelopes. After passing them out to the staff – many of whom are audience members – everyone is devastated to find the envelopes contain pink slips instead of the expected Christmas bonus checks. The audience is also included in a game of Find the Elf and Missy’s new husband is also selected from the audience.

Oh, and lest I forget. Is it just me, or do the Santa dolls the four women hold at the top of the show look like Tom Width?

With some 25 songs and a lively, unseen band under the direction of Paul Deiss, WINTER WONDERETTES moves along at a lively pace that doesn’t even seem like an hour and forty-five minutes. This show doesn’t make you work, doesn’t make you weigh options or ethics, it’s just pure, delightful, musical entertainment that hits the holiday spot – with a few snowflakes thrown in for good measure.

WINTER WONDERETTES

Written and Created by Roger Bean

Word Arrangements by Roger Bean & Brian Baker

Musical Arrangements by Brian Baker

Cast:

Georgi Hicks as Missy

Anne-Michelle Forbes as Suzy

Alanna Wilson as Betty Jean

Rachel Marrs as Cindy Lou

Direction and Design Team:

Directed by Tom Width

Musical Direction by Paul Deiss

Lighting Design by Joe Doran

Costume Design by Maura Lynch Cravey

Scenic Design by Tom Width

“Suzy Snowflake” choreography by Alissa Pagnotti

Technical Direction by Liz Allmon

Orchestra:

Keyboard: Paul Deiss

Drums: James Oyan

Reeds: Sheri Oyan

Bass: Greg DeBruyn

Guitar: Sam Kindle

Run Time:

100 minutes, one intermission

Performance schedule:

Thu, Fri, Sat @8:00PM Nov 20, 26, 27,

Dec 2, 3, 8, 9, 10, 11, 16, 17, 18, 23, 30, Jan 1

Sat, Sun, Wed @2:30PM Nov 27, Dec 1, 12, 15, 22, Jan 1

Tickets:

$49

$44 for seniors, students, military, and first responders.

Rush – $25 Theatre Only tickets and $15 Student Theatre Only tickets, based on availability one hour prior to any show.

Photos: Robyn O’Neill

LEFT: Anne Michelle Forbes and Georgi Hicks

RIGHT: Rachel Marrs (purple), Georgi Hicks (red), Alanna Wilson (green), and Anne Michelle Forbes (blue)

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A CHRISTMAS KADDISH

A World Premiere Holiday Play

A Theater Review by Julinda D. Lewis

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Ave, RVA 23230

Performances: November 17 – December 18, 2021.

Ticket Prices: $10 – $40.

Info: (804) 346-8113 or rtriangle.org. Richmond Triangle Theater has returned to full-capacity seating and requires proof of vaccine or recent negative PCR test results for entry. See the theater’s website for their COVID-19 precautions, digital programs, and more.

For more years than I can remember, the Christmas season has been heralded by the return of The Nutcracker ballet and a unique holiday-themed play by Richmond Triangle Players. This year’s RTP Christmas production took a new twist with the world premiere of a new musical conceived, created, and directed by the creative team of Levi Meerovich, Nora Ogunleye, and RTP Artistic Director Lucian Restivo.

To make the twist even twistier (I know, convoluted would be a better word choice, but, you know, candy canes and all), one half of a queer couple wakes up in a hospital on Christmas day, having spent four days in a coma. Instead of contemplating presents, Jay and Leigh are contemplating matters of life and death and come to blows when Jay considers signing a DNR.

Taking a page from A Christmas Carol, Jay has flashbacks to previous Christmases – a Groundhog Day style reunion with their parents, the first meeting with Leigh – each preceded by a staticky segue partially unintelligible (or partially intelligible, if you prefer) voices from an ambiguously unidentifiable entity.

To assist with the otherworldly visitations, there is a long runway style ramp where the center aisle would normally be located. This is where Claire Bronchick (Jay) begins the show and the site of several entrances and other-worldly encounters.

The cast, a dynamic quartet consisting of Emily Berry (Leigh), Bronchick (Jay), Amber Marie Martinez (Dr. Martinez), and Eddie Webster (Rabbi Aaron Edelstein) is energetic and have ear-pleasing voices that partner well with Levi Meerovich’s music and lyrics. Indeed, during their first encounter, Leigh jumps up and admonishes Jay, in their characteristically snarky voice and aggressive attitude, not to sneak up on strangers and start harmonizing with them.

There is obvious love between Jay and Leigh, more powerfully demonstrated when Leigh sings, “I Will Care For You” while Jay sleeps that in any spoken words. But Jay’s unnamed illness – some sort of cancer, it seems – is like an intrusive third party in their relationship. Jay easily balances talk of DNR forms with jokes that slide easily off the tongue, much to Leigh’s chagrin. They are both, it seems, grieving Jay’s imminent departure, but in diametrically opposed ways. When Jay wails, “When you’re dying on Christmas, Christmas doesn’t seem so great,” there is a hint of humor, but when Leigh screeches, “you want to un-alive yourself,” it feels desperate. There is a lot of door slamming, and I hope the set can hold up to the trauma for the duration of the run.

Leigh rebuffs all attempts to help, brazenly insulting Dr. Martinez and ordering Rabbi Edelstein to get out of the room. And that brings up another question. What, exactly, is the deal with the spiritual elements of A Christmas Kaddish? There’s more than just the obvious Judeo-Christian background and conflicts, by the Christmas decorations that adorn Leigh’s large private hospital room and the persistence of Rabbi Edelstein, who so graciously persists in the face of Leigh’s escalating anger. There’s a third spiritual element, but I don’t want to spoil the fun, so after you see the show, comment here on this blog, and let us know what it was.

The cast’s voices and Meerovich’s music and lyrics are supported by an unseen musical quartet: Kim Fox, Mike Goldberg, Joy Lubman, and Bea Kelly. Nia Safaar Banks designed the costumes, and there were some interesting nuances for Leigh (lots of fishnet and cutouts), and a particularly interesting mini dress ensemble for Jay during one of their time-traveling encounters, but it was the costumes and hair (designed by Luke Newsome) for the extra, largely unnamed characters including Jay’s parents and the Rabbi’s deceased daughter, that really demonstrated creativity. Sometimes it was the costume, sometimes it was the total transformation of the character that was most captivating.

There are many moving parts to A Christmas Kaddish, and the production had a lot of wonderful moments even on opening night, but for me, some of these moments didn’t hit the target. I suspect that I might come away with a different overall feeling if I saw this same show later in the run, when the cast and all the elements have had a chance to bond more and develop that distinctive character that distinguishes each show and each cast. Looking at the extensive and talented creative team, I wonder if the individual contributions of each has yet to meld into a cohesive unit – maybe it just isn’t done yet. For now, it was a pleasant night of live theater in one of the most comfortable venues in the region, but I suspect – and hope – that the production will grow and become better than simply good. After all, this is the annual RTP Christmas Show, and Rabbi Edelstein has prayed really hard for it.

A CHRISTMAS KADDISH

Conceived by Lucian Restivo, Levi Meerovich, and Nora Ogunleye

Book by Nora Ogunleye and Levi Meerovich

CAST:

Leigh – Emily Berry

Jay – Claire Bronchick

Dr. Martinez – Amber Marie Martinez

Rabbi Aaron Edelstein – Eddie Webster

CREATIVE TEAM:

Directed by Lucian Restivo and Nora Ogunleye

Music and Lyrics by Levi Meerovich

Scenic Design by Lucian Restivo

Costume Design by Nia Safaar Banks

Lighting Design by Austin Harber

Sound Design by Share Barber

Hair and Make Up design by Luke Newsome

Properties Design by Tim Moehring

Assistant State Manager: Nathan Ramos

Production Stage Manager: Lauren Langston

Orchestra Prepared and Conducted by Kim Fox

Musical Director: Levi Meerovich

Photos:

UPDATED TO INCLUDE Photos by John MacLellan

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THE SANTA CLOSET: The Door is Open and Santa’s Coming Out

The Santa Closet: Where Theatrical Journalism & Non-Binary Humor Meet

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

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Avenue, RVA 23230

Performances: November 18-December 19, 2020. Live & Streaming options.

Ticket Prices: In-Person Tickets: $30 & $35; $10 for Students. Streaming Edition: $25; $10 for Students. Choice of Eddie Webster or Levi Meerovich.

Info:(804) 346-8113 or rtriangle.org. See the theater’s website for their COVID-19 precautions, digital programs, online drink orders, and more

Even in the midst of a worldwide pandemic we can depend on the Richmond Triangle Players to give us a unique, memorable, and satisfyingly humorous holiday show. This year’s one-man production of Jeffrey Solomon’s The Santa Closet fulfills all those requirements and does not disappoint!

Originally titled Santa Claus is Coming Out when it premiered some ten years ago, starring the author, the title was changed to indicate the play is not just a silly, vapid little play about coming out. The Santa Closet, on the other hand, implies all the depth and layers and “stuff” that are in that closet – and that make this play such a delightful journey.

It all starts with a young child’s letter to Santa. We first meet little Gary when he writes a letter asking Santa for a “Sparkle Ann” doll – a Barbie look-alike. Gary’s best friend, a feisty little girl named Cheyenne, defends him every step of the way. She, after all, is the recipient of Gary’s creative skills in designing doll clothes and hair styles. But his mother, Trish, is floundering on the edge of tolerance while his father, Frank, is lovingly homophobic (yes, it’s possible to be both of those things).

But Santa disappoints little Gary, who receives a truck instead. The following year, Gary tries again, asking for a Dream Date Norm (if you’re with me, you’ve already figured out that’s similar to a Ken doll). Once again, Santa doesn’t deliver, and Gary’s faith begins to wane.

Cut to the big guy himself. We find a conflicted Santa first having drinks in a gay bar in Manhattan, and then being reluctantly drawn into participating in the Stonewall Rebellion of 1969. (For those not familiar with the history, this was a series of what the LGBT community of the time referred to as demonstrations and the police and city administration referred to as riots. The movement was sparked by a police raid of the Stonewall Inn in NYC’s Greenwich Village.)

Eddie Webster stars in the Richmond production, with Levi Meerovich performing a limited number of performances. I had the pleasure of watching Meerovich performing on Saturday night. Wearing the familiar COVID uniform of pajamas and robe, Meerovich used a variety of accents and mannerisms – and the occasional hat or glowing red nose – to smoothly transform into about a dozen distinct characters.

Besides young Gary, his mother Trish, and his father Frank, the actor must portray Santa; Santa’s agent Sidney; Pete the head Elf; Rudolph the head reindeer (pronouns he, him, his); Gary’s BFF Cheyenne; Santa’s Italian lover Giovanni (a great-great-great-great-great grandson of Pinocchio), the family’s pastor, a waning actress, Beatrice Pond (known for her one-woman portrayal of The Cherry Orchard) who is hired to portray Mrs. Clause; Santa’s gay friend Jose; and Mary Ellen Banford who is the leader of the local branch of Families Against the Gay Agenda, or FAGA for short.

The Santa Closet establishes a delicate balance of humor and tenderness. Solomon wrote the play as if each of the characters is being interviewed and there are “Breaking News” interruptions several times as the drama unfolds. Damage control is required after the Stonewall incident, and reflecting the original title, Santa and Giovanni go missing, never to be seen again. Of necessity, most of the gay characters are over the top. With Meerovich portraying so many different characters in rapid succession, that helps the audience keep up. It also makes the moments all the more sensitive when Gary accepts being different, or when his parents join a support group to help them along their journey to accept their now-adolescent child.

Director Nora Ogunleye has directed with a gentle but steady hand that left Meerovich plenty of room to do what he does so well, while expressing the nuances Solomon wrote into the play. Richmond Triangle artistic director Lucien Restivo kept the costume and set simple (pajamas and slippers, three arched openings, an angled platform, a stool, some holiday lights, a couple of Christmas trees that appear to be fashioned from children’s letters to Santa). This provides a pleasant and seasonal backdrop but allows the audience to focus on the actor and the many characters he portrays. Anything else would have been far too busy and distracting.

Two small wall-mounted screens contain relevant projections, but perhaps I should have said “too-small wall-mounted screens. Even from my fairly close seat in the second or third row from the stage, it was difficult to see the detail on some of the projections. This size may have been a well-reasoned choice, but I am sure that many others with “mature eyes” may also feel they are missing some of the visuals.

Speaking of the audience, the already-intimate theater has been further limited to a maximum of 27 patrons for live performances. Seats are socially distanced in pods of 1, 2, or 4. Masks are required, there is no intermission, drinks may be ordered and paid for online, everyone’s temperature is taken on entry, and programs are fully digital (a pandemic adaptation that many theaters will likely continue when this is all over).

Other members of the creative team – yes, it takes as many people to produce a one-person show as it does to produce a show with a larger cast – include Joey Luck, sound; Deryn Gabor, lighting; Yara Birykova, projections; Sheamus Coleman, technical direction; and Erica Hughes for some really fun dialects.

There are live performances Thursdays through Sundays, with one Wednesday performance. Check the theater’s website for details and to order tickets or purchase the link to purchase one or both of the streaming editions (one features Eddie Webster and the other Levi Meerovich). [I haven’t yet seen Webster’s portrayal, which I expect may be quite different and I will add an addendum to this post after I’ve seen him in the streamed version.] In the meantime, if you’re looking for a little holiday cheer (with a bit of an edge, due to the history), this should fit the playbill. The Santa Closet is highly recommended (for those over age 15).

Photos: Richmond Triangle Facebook page.

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LATIN BALLET: Legend of the Poinsettia 2020

‘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

 

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

—–

Photo Credits: Photos from Latin Ballet website; photos of Jay Williams working with the children by Julinda.

 

 

RICHMOND BALLET: Why Do We Love “The Nutcracker”?

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.

 

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

———-

Photo Credits: Richmond Ballet Facebook Page

 

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IN LOVE WE TRUST: A life’s story of love found, love lost, thru songs that make us smile

[NOTE: This post has been annotated. It may clarify some confusion, or further offend some readers. The former is preferable.]

IN LOVE WE TRUST: It’s Not a Play; It’s a Party

A Theater-Party Review by Julinda D. Lewis

At: HATTheatre, 1124 Westbriar Dr., RVA (Tuckahoe) 23238

Performances: December 6-14, 2019

Ticket Prices: $25 Adults; $20 Seniors; $15 Youth/Students with ID/Groups, & RVA On Stage cardholders; Reservations Required – No tickets at the door

Info: (804) 343-6364 or hattheatre.org

In Love We Trust, conceptualized and musically directed by Anthony Williams, is HATTheatre’s response to the daily stresses of the season. “It’s not a play. It’s not a traditional musical. It’s a party!” That’s what the press release said.

“You came to my party!” Williams gushed as he entered the space, with the band on the floor, opposite the entrance door, and the audience seated cabaret style around the black box – including the raised platform usually used as the stage. [NOTE: Apparently “platform” is the wrong terminology to describe the main stage. Does everyone automatically know or assume that a stage is raised? Guess I won’t make that mistake again.]

The show consisted of about twenty pop songs, ranging from Earth, Wind & Fire’s “Fanatasy” to Diana Ross’ “Ain’t No Mountain High Enough” and Barbra Streisand’s “Stoney End.” There were familiar songs like Crystal Gayle’s “Don’t It Make My Brow Eyes Blue” and Carly Simon’s “You’re So Vain” and less familiar songs such as Brian Hyland’s “Sealed with a Kiss.”

There was no script, but the songs were arranged in a way that reflected Williams’ life and loves. Williams, seated at the keyboard, was backed up by Jeremiah Martin on guitar (Forrest Link played guitar the first weekend) and percussionist Steve Raybould. Raybould joined in the patter and easy banter, while Martin, who appeared decades younger than most of the others, kept his attention strictly on his guitar. Casey Dillon, Andrew Etheredge, and Robyn O’Neill joined Williams to sing the vocals. This trio interacted with the audience, rotating around the space, and occasionally providing a nugget of history or love, or sometimes a completely nonsensical statement, as if testing to see if the audience was really paying attention.  [NOTE: Never mention anyone’s age. Or size. Or gender? Or looks? not even if I find it interesting. I must be getting too old to keep up with all the things that might be considered offensive.]

Two young men who sat near the door and directly in front of the band seemed to know all the words and appeared to be having more fun than everyone else. I said hello after the show and asked if the more vocal of the two might be a student of Vicki Scallion, and sure enough, he was!  [NOTE: I thought this comment illustrated that the show was engaging, and I personally was hoping to see the enthusiastic actor perform in the near future. Unfortunately, I was later informed that my comment was highly offensive to some readers. I cannot predict how people will react to things I say, but be assured my intent was not to single out anyone with the intent to offend. I often comment on the reactions of others in the audience – never mentioning any names (except when my 5- & 10-year old grandsons attend the Children’s Theatre with me and I include their perspectives because they are the target audience ) – so that my readers can have an understanding of how a performance affected others who were at the same performance and may have had a response different or more intense than my own.]

Deb Clinton, who is usually noted for her direction, was listed as the program’s Creative Consultant and there were no costumes or set design or lighting design, although there were some flashing Christmas lights at the beginning, and a string of Christmas lights marked off a dance-floor sized space in the ceiling.

The songfest, which ran just over an hour without intermission and included complimentary hot drinks (coffee, tea, cocoa, and cider) and desserts (e.g., cream puffs, cookies, chocolates) wasn’t a play or a musical, but it fell short of being a real party, as the audience remained seated and didn’t really mingle. The songs were lively, and the performers were relaxed but it seemed that they never really get go and gave it their all. It was as if were having a party but being careful not to disturb the neighbors because they are known for calling the local precinct to lodge noise complaints against anyone who appears to be having fun.

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

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Photo Credits: there were no photos at the time of publication

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