ALWAYS. . .PATSY CLINE: A “Honky Tonk Merry Go Round” of “Sweet Dreams” and “Faded Love”

ALWAYS. . .PATSY CLINE: Come on In (And Sit Right Down)

A Theater Review by Julinda D. Lewis

At: Virginia Repertory Theatre at Hanover Tavern, 13181 Hanover Courthouse Road, Hanover, VA 23069

Performances: November 15, 2019 – January 5, 2020

Ticket Prices: $44

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

Always. . .Patsy Cline is a two-person show that pays homage to a legendary country music icon. Born in Winchester, VA, Cline died in a plane crash in 1963 while on the way home from performing a show in Missouri. She was only 30 years old at the time of her death, but she had been performing since the age of 14 and left a lasting impression as one of the first country music artists to cross over into the pop music world. Cline made other inroads in music history as a woman in country music, but that’s not the main point of Ted Swindley’s fact-based play, Always. . .Patsy Cline.

You don’t need to know anything about Cline or even be a fan of country music to enjoy this play filled with the music of Cline as sung by the more-than-capable Debra Wagoner. Wagoner’s excellent singing is perfectly balanced by the comedic narration of Terri More as Cline’s friend and number one fan, Louise Seger. This isn’t the first time either woman has played these roles, having performed the show at Hanover Tavern and Willow Lawn in 2012. Then as now, the seemingly effortless flow of the show – which is like a Cline concert interrupted by  Louise’s flashbacks – was directed by Joe Pabst.

A five-piece band, consisting of piano, bass, fiddle, drums, and guitar, remains onstage. Near the end of the first act Wagoner, as Cline, takes a break to introduce the band – giving them the stereotypical countrified names Jim Bob, Joe Bob, Jay Bob, Billy Bob, and of course, Bob who collectively make up – what else? – the Bodacious Bobcats. Jeff Lindquist, who plays guitar in the band, is also the show’s musical director.

Wagoner has several comedic moments and spends a lot of time looking incredulously at Moore, who’s comic shenanigans are epic. The phrase, “bless her heart,” was uttered at least once. Moore has some memorable moves, including her enthusiastically receive bump-and-grind walk and her miming of driving her character’s pink and black Pontiac, lovingly named Sexy Dude. Moore has great timing and flawlessly delivers her over-the-top lines. Cline’s friend raised fan-dom to new heights, spontaneously introducing herself to Cline and then portraying herself as Cline’s manager to get her a better rate at a club. She feeds her, chauffeurs her, listens to her, and incredulously connects woman-to-woman creating a friendship that lasted until Cline’s untimely death.

This is the story that Swindley has captured in a two-hour, two-act play – Louise’s loving memory of her friend, not just the star, but the woman, the mother, the wife. Along the way, Moore gets to sing a measure or two as well, as her character joins Cline on stage, hypes up the audience, leads the audience in a sing-along, and cajoles an audience member into dancing with her. Moore’s storytelling is so natural that we hang on her every word. She even chides the audience for not finishing her sentence after using a particular phrase repeatedly.

Derek Dumais’ sound design is impeccable. We can understand every word Wagoner croons. Special effects are used sparingly. Terrie Powers’ scenic design is understated. One side of the space is a honky tonk stage, the other holds a revolving platform that houses Louise’s kitchen, the audience’s area of the honky tonk, and an outer room of a radio station. But what I really loved were Wagoner’s dresses; she wore at least three beautiful, elegant dresses, and my daughter and I both gushed when, at one point, she fumbled around a bit and then thrust her hands into the pockets of her full-skirted dress.

You don’t have to love country music or know the music of Patsy Cline to enjoy this show. Wagoner demonstrated a range, in vocal ability and in genre, worthy of the woman she portrayed. With nearly 30 songs, there’s more than enough to please everyone at least some of the time. I especially enjoyed familiar tunes like “Back in Baby’s Arms,” “Your Cheatin’ Heart,” “Shake, Rattle and Roll,” and “Bill Bailey.” She also sang traditional songs of faith like “Just a Closer Walk” and “How Great Thou Art,” and a lullaby for Louise’s young son. There were love songs, torch songs, ballads, and upbeat songs, including “Walkin’ After Midnight,” “Stupid Cupid,” and “Crazy.”

Despite its somewhat sad ending – it’s not a spoiler to write that Cline dies at the end, because all who are familiar with her know this going in – Always. . .Patsy Cline (a phrase taken from the tag line of Cline’s letters to her friend) is a feel-good play, filled with good humor and even better music.

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

———-

Photo Credits: Aaron Sutten

 

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Alvin Ailey
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URINETOWN: Nobody Pees for Free!

URINETOWN: Power to the People

A Theater Review by Julinda D. Lewis

At: TheatreLab, The Basement, 300 E. Broad St, RVA 23219

Performances: September 12-28, 2019

Ticket Prices: $35 General Admission; $25 Seniors & Industry/RVATA; $10 Students and Teachers with ID

Info: (804) 506-3533 or TheatreLABrva.org

Last season TheatreLAB blew us away with their stellar production of Sweeney Todd: The Demon Barber of Fleet Street. Now, with their latest production, Urinetown, the Musical it seems fair to say that TheatreLAB is establishing itself as a small theater that successfully produces big musicals.

Of course, I’ve heard of  Urinetown. The musical, with music and lyrics by Mark Hollmann and book and lyrics by Greg Kotis, debuted in 2001 at the New York International Fringe Festival before moving to off-Broadway and then onto Broadway. But this is the first time I’ve seen it.

Gutsy and irreverent, Urinetown, the Musical parodies musicals while commenting on corrupt corporations, big government, social oppression, problems with our legal system, ecology, economics, and more. As the narrators – Officer Lockstock (Bianca Bryan) and Little Sally (Kelsey Cordrey) – are quick to point out, Urinetown, the Musical tackles these tough subjects against a background of upbeat music and songs. At one point Bryan’s character, the tough-as-nails Officer Lockstock who is never successful at reigning in Cordrey’s character – a precocious little girl who appears to be an emancipated minor – informs the unnervingly perceptive Little Sally that the truth about Urinetown will be revealed in Act 2, with nice music and “everybody singing and things like that.” There’s also fun choreography by Nicole Morris-Anastasi – the latest in a number of local shows she’s choreographed that are worthy of note; it’s exciting watching an artist hone their craft.

Urinetown, the Musical is set in an unspecific location in an unspecified time. What we do know is that there has been a drought for twenty years, water is scarce, and people are forced to use public bathrooms run by a private company that gouges its customers and exacts horrible penalties for those who cannot or will not pay. Our hero, Bobby Strong, played by Matt Shofner, finally snaps and decides enough is enough after his father is sent to Urinetown after refusing to pay to use the seedy Public Amenity #9 where Bobby is an assistant custodian. Bobby becomes the leader of a rebellion. Along the way he meets, falls in love with, and kidnaps the beautiful Hope Cladwell (Madison Hatfield), initially unaware that she is the daughter of the Caldwell B. Cladwell (Luke Schares), the CEO of the Urine Good Company that employs him and his frugal supervisor Penelope Pennywise (Michaela Nicole). Bobby, his father, and Little Sally find out what Urinetown really is, Penelope Pennywise reveals a startling secret, and much to Little Sally’s consternation, there is no happy ending.

But, there are laughs, and plenty of them, some good singing, and some excellent ensemble work from actors, some of whom do double duty as musicians. I truly enjoyed Matt Shofner as Bobby Strong; he was quirky and funny, knowing when to go over the top and when to focus on balancing compassion with rebellion. Bianca Bryan, in the role of Officer Lockstock (whose partner’s name is Officer Barrel) continues to build upon her repertoire of strong and often sinister characters. As a character who doubles as the play’s narrator, she gets to direct her penetrating gaze and frequent smirks directly at the audience. Kelsey Cordrey, Levi Meerovich, and other characters also get up close and familiar with the audience. One character even sits on the lap of an audience member during the opening scene.

Cordrey’s portrayal of Little Sally is one of my favorite parts of the show. She’s the smart little kid who knows more than most of the adults around her and won’t take no for an answer. Michaela Nicole was another favorite, and Maggie Bavolack, Anne Michelle Forbes, and Levi Meerovich gave strong supporting performances. Meerovich and Travis West (Officer Barrel) both played piano and Bavolack alternated playing the clarinet with playing the role of Bobby’s mother. Joe Lubman, the drummer, had no other character and remained in his orange prison jumpsuit, with a half mask reminiscent of Hannibal Lector.

Matt Polson directed. It’s his first time directing at TheatreLAB, but he directed Urinetown at Maggie Walker Governor’s School. Travis West, who played piano, was musical director, with musical supervision by Jason Marks. I’ve already credited the choreography to Nicole Morris-Anastasi; Kelsey Cordrey served as dance captain. Connor Potter’s scenic design is functional and basic – some steps up to an upper platform, some panels, a place to hang and store props on either side. Ruth Hedberg’s costumes (with the assistance of Autumn Foster) are appropriately tattered and scruffy while sound and lights by Joey Luck and Michael Jarrett respectively lived up to the level of excellence expected of these two – helping bring Polson’s vision to life while remaining unobtrusively in the background.

The device of having the narrators weave in and out of character and speak directly to the audience makes the audience co-conspirators in the shenanigans and prepares us to keep laughing even when we know there’s not going to be a happy ending. Urinetown, the Musical is a perfect choice for TheatreLAB’s seventh season, “Power and Privilege.” It’s funny and quirky and unapologetically honest.

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

———-

Photo Credits: Tom Topinka

Urinetown Production Photo by Tom Topinka-8
Matt Shofner and Bianca Bryan
Urinetown Production Photo by Tom Topinka-4
Allison Paige Gilman and cast of Urinetown
Urinetown Production Photo by Tom Topinka-3
Matt Shofner and cast of Urinetown
Urinetown Production Photo by Tom Topinka-2
Michaela Nicole and Matt Shofner and cast of Urinetown
Urinetown Production Photo by Tom Topinka-1
Matt Shofner and cast of Urinetown

 

 

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THE MYSTERY OF EDWIN DROOD: Not Just Another WhoDunIt, But Was-It-Even-Done?

THE MYSTERY OF EDWIN DROOD: A Different Ending Every Night!

A Theater Review by Julinda D. Lewis

At: Swift Creek Mill Theatre, 17401 Jefferson Davis Highway, Colonial Heights, VA 23834

Performances: November 16 – December 28, 2019

Ticket Prices: $40 Theater only; $35 Seniors, Military & Students; $18 Dinner

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

Swift Creek Mill Theatre opened the 2019-2020 season with Jeffrey Hatcher’s unconventional Sherlock Holmes mystery, Holmes and Watson (https://jdldancesrva.com/2019/09/21/holmes-and-watson-its-not-what-you-think/) and now they’re presenting another non-traditional mystery, Rupert Holmes’ The Mystery of Edwin Drood.

The Mystery of Edwin Drood is based on the unfinished last novel of Charles Dickens, who died of a stroke while working on the book. Hatcher, who wrote the book, music, and lyrics (now there’s an accomplishment you don’t see every day), infused Dickens’ story with humor by setting it as a play within a play, performed by the members of the Music Hall Royale, a Victorian music hall.

The cast – actual and fictitious – is rowdy and bawdy. They start out mingling in the audience, telling cheesy jokes, sitting next to audience members, and testing the waters with double entendre. The huge cast – nearly twenty – often spills over the edges of the relatively small stage, and director Tom Width, who clearly enjoys this unbridled parody, uses this to heighten the comic effect and interactive nature of the show.

There are some strong voices, particularly Michael Gray as the protagonist John Jasper, and Paige Reisenfeld as the romantic interest, Rosa Bud. Ian Page, an antagonist, uses a high-stepping walk and simmering facial expressions to great comic effect. The “Chairman”  or Master of Ceremonies, Richard Travis, is appropriately blundering and bombastic by turn and keeps things rolling along with the help of his gavel-wielding stagehand, Alvan Bolling, II.

The title role of Edwin Drood is played by Alice Nutting – a character who is a male impersonator (yes, that was a thing in Victorian theater) – who is in turn portrayed by actor Rachel Marrs.

Donna Marie Miller, in her first Swift Creek show, is also quite funny; her character even makes fun of her unidentifiable accent, and Jacqueline O’Connor was fascinating as her character, a drug-dealing prostitute, ranged from bawdy to tender when she reminisced about being leading lady Rosa Bud’s former nanny, then ended up being paired with the very amusing drunken sexton Michael McMullen in an engineered happy ending. They were paired by audience applause!

As Act 2 winds down – it actually sort of stumbles to a false end due to the death of its author – the audience is called on to vote for the murderer of Edwin Drood, who disappeared one night never to be seen or heard from, for some six months! The audience vote determines who sings the final two songs (not including the finale) and how the final scene ends.

In addition to directing, Tom Width also did the scenic design, a replica of a Victorian music hall stage embellished with lighting by Joe Doran, lively choreography by Alissa Pagnotti, and some lovely period costumes by Maura Lynch Cravey. Musical director Gabrielle Maes kept things moving along, but all too frequently the music was too loud, overpowering the vocals, to the point where an occasional word and even entire phrases got swallowed up. At least two people who were sitting behind me on the right hand side moved to empty center seats during intermission, hoping to balance the uneven sound. I didn’t get a chance to ask later if it had made a difference.

Ultimately, The Mystery of Edwin Drood is lite entertainment (yes, I meant to spell it that way); it amuses without pushing a message or focusing on a moral or worries about being politically correct or any of that. There’s a low-key holiday factor, with a Christmas tree downstage right, a few wreaths and an un-stressed mention of Christmas by one or more of the characters.

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

———-

Photo Credits: Robyn O’Neill Photography

 

 

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13: What Could Possibly Go Wrong?

13: A Teen-aged Musical

A Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

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

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Photo Credits: Jay Paul

13, The Musical
Cast of 13. Brandon Mckinney. Photo by Jay Paul.
13, The Musical
Cast of 13. Photo by Jay Paul.
13, The Musical
Cast of 13. Brandon McKinney. and Bridget Sindelar.Photo by Jay Paul.
13, The Musical
Cast of 13. Audrey Kate Taylor and Donathan Arnold. Photo by Jay Paul.
13, The Musical
Cast of 13. Photo by Jay Paul.
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THE ROCKY HORROR SHOW: Do The Time Warp Again

THE ROCKY HORROR SHOW: A Cult Classic

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

At: The Robert B Moss Theatre, 1300 Altamont Avenue, RVA 23230

Performances: October 17-26, 2019.

Ticket Prices: $10-40 | This show sold out completely at the beginning of its limited 2-week run

Info: (804) 346-8113 or rtriangle.org

Full Disclosure: It’s hard for me to write about a show like Rocky Horror Show when I can clearly see the skill and craft, acknowledge the talent and heartfelt performances, appreciate the music and humor, but I know that this cult classic just isn’t for me.

So, first the good news: Michael Hawke, who has a long history with this show, and was, in fact The Narrator in the 2012 production at The Firehouse Theatre, has directed with unbound energy and an unerring sense of comedic timing. The plot, for Rocky Horror Show “virgins,” who have never seen the show (stage or movie version) is merely a vehicle to carry a variety of themes including gender fluidity, counterculture, and sexual liberation.

The plot revolves around a newly engaged young couple, Brad and Janet, played with touching innocence by Luke Newsome and Madeline Witmer, who get a flat tire while driving through a rainstorm to celebrate their engagement with Dr. Scott (Carlen Kernish), the science professor who introduced them. Seeking help, they find the castle of  Frank ‘N’ Furter, a transvestite scientist from Transylvania, who is hosting a party to celebrate his newest invention, a Frankenstein-ish creation named Rocky – a blond, tanned muscleman with half a brain, played with an adorable balance of humor, naivete, and monstrous posing by a buff Adam Turck, dressed only in padded golden booty-shorts –later reduced to a golden G-string – and gold boots.

There are multiple story lines involving sexual exploration, gender, and aliens of the space variety. Hawke’s dynamic direction and the hilarious cast of characters keep the audience laughing. Oh, and because the movie version has become an interactive affair, bags of approved props were available for the audience to purchase, and there was a list of rules of engagement, aka etiquette. An RTP fun bag of props included such items as a newspaper, a rubber glove, a flashlight, a party hat, a playing card, and a small bag of confetti. The program included instructions on when to use, don, or throw each item. There was also an opportunity – which many took advantage of – to join in the show’s signature dance, “The Time Warp,” a sort of line dance with instructions for the steps included in the lyrics. Kate Belleman’s choreography was energetic and even included a spunky tap dance for Anne Michelle Forbes, who played the role of Frank ‘N’ Furter groupie Columbia.

The role of Frank ‘N’ Furter was reprised by Jim Morgan, who played the same role at Barksdale Theatre, now part of Virginia Rep. Morgan was fabulous, with flawless makeup, a corset and heels. Levi Meerovich was deliciously menacing – a perfect blend of horror and comedy – as his loyal servant turned arch nemesis, Riff Raff. The Phantoms were played – mostly danced – by Jet Davidson, Michaela Nicole, Havy Nguyen, and Achille Wangam, and the ensemble was completed by Jeffrey Cole as The Narrator, Kaitlyn Tate as the Usherette who introduced the show and Riff Raff’s sister Magenta, and Carlen Kernish who played the unfortunate Eddie who met an early demise as well as the paraplegic Dr. Scott.

The musical originally opened in 1973 in London where it played successfully for over seven years, and the film version, The Rocky Horror Picture Show,  premiered in 1975 and quickly became a midnight-show cult. The book, music, and lyrics are all by Richard O’Brien. The RTP production has musical direction by Kim Fox. The music was pumping, the voices were soaring, although sometimes I could not understand the lyrics because they were screaming or got lost in the music. But at least half the audience seemed to know all the words, so it didn’t matter and certainly didn’t seem to diminish anyone’s enjoyment. “Sweet Transvestite” and “I Can Make You a Man” were standouts led by Frank ‘N’ Furter, and “Touch-A Touch-A Touch Me,” led by Janet in the second act was outstanding, but “The Time Warp” seemed to be the audience’s hands-down favorite.

Sheila Russ’ costumes were campy and fun, and enhanced by Joel Furtick’s hair and make-up, while Frank Foster’s set was simple and utilitarian. Andrew Bonniwell did the lighting, and I received a message that while Joey Luck had originally been slated to do the sound design for ROCKY it was actually done by Artistic Director Lucian Restivo with Shane Barber as the live mixer for every performance.

So, what’s my problem with it? It’s a well-designed and well-executed musical – and I like musicals. It’s popular among fans and fun for “virgins,” but it just isn’t to my taste. I never saw the movie and do not have any plans to see it, but I did see the Firehouse production in 2012 and it still hasn’t grown on me. So, I hope I have been fair in describing what I consider an excellent production – except for those times when I found the lyrics muddled – and offer kudos to the performers for singing and dancing their hearts out, but I’ll never be a part of the fan club. I felt like something of an alien myself.

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

———-

Photo Credits: John MacLellan

ROCKY_0404
Jim Morgan as Frank ‘N’ Furter (center) with Katlyn Tate and Levi Meerovich as Magenta and Riff Raff, along with Achille Wangam, Jet Davidson and Havy Nguyen in Richmond Triangle Players’ production of Richard O’Brien’s “The Rocky Horror Show”, running at RTP’s Robert B. Moss Theatre through Oct 26. All performances are sold out. Photo by John MacLellan.
ROCKY_0293
Kaitlyn Tate and Levi Meerovich as Magenta and Riff Raff in Richmond Triangle Players’ production of Richard O’Brien’s “The Rocky Horror Show”, running at RTP’s Robert B. Moss Theatre through Oct 26. All performances are sold out. Photo by John MacLellan
ROCKY_0160
Luke Newsome and Madeleine Witmer as Brad and Janet in Richmond Triangle Players’ production of Richard O’Brien’s “The Rocky Horror Show”, running at RTP’s Robert B. Moss Theatre through Oct 26. All performances are sold out. Photo by John MacLellan.

 

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A GENTLEMAN’S GUIDE TO LOVE & MURDER: Who’s Turn to Die?

A GENTLEMAN’S GUIDE TO LOVE AND MURDER: A Musical Comedy Tour de Force!

A Theater Review by Julinda D. Lewis

At: The November Theatre Marjorie Arenstein Stage

Performances: September 27 – October 20, 2019

Ticket Prices: $36-63

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

A Gentleman’s Guide to Love and Murder has a love triangle, dysfunctional family dynamics, people who marry for money over love, a leading man who is a serial killer, and Scott Wichmann playing 8 different characters.

Written by Robert L Freedman (book and lyrics) and Steven Lutvak (music and lyrics), based on a novel by Rod Horniman, and directed and choreographed by Kikau Alvaro, A Gentleman’s Guide to Love & Murder is a delightful musical comedy in the hands of a dynamic and talented cast.

After an opening prologue by the ensemble, dressed in elegant mourning attire – a premonition of what is to follow – the audience meets Monty Navarro, sitting at a small desk on the eve of his sentencing for murder, writing his memoirs, including a full confession of how eight members of his family mysteriously died in less that a year. Alexander Sapp plays Navarro, the son of a recently deceased washerwoman who, it turns out, is related to the D’Ysquiths, a wealthy family who made their fortune in banking and finances. In fact, Monty is eighth in line to becoming the Earl of Highhurst, and Sapp seems to have as much fun playing Monty as the audience does watching him plot and plan his way to success, with time out to for romance. Never mind that his love interest, Sibella Hallward, decides to marry someone else. Grey Garrett’s portrayal of the vain and materialistic Sibella is spot on – a perfect balance of comedy and musical theater diva.

Debra Wagoner, as the mysterious Marietta Shingle, has a couple of surprises that are integral to the plot. She is supported by an ensemble that includes Georgia Rogers Farmer, Maxwell Porterfield, Daniel Pippert, Adrienne Eller, Lauren Leinhaus-Cook, Theodore Sapp, and Derrick Jaques.

 

No, I did not forget to mention Scott Wichmann. This is one of those awkward situations in which the most memorable character is not the leading man, but a supporting character – in this case eight supporting characters, all played by Wichmann. It’s not even fair to call Wichmann a supporting character, as he portrayed all the D’Ysquith heirs in line for the title Earl of Highhurst – including an inebriated cleric, a body-building lord mayor, and a country squire who is married but seems to prefer the companionship of men.

There’s Lady Hyacinth, whose interest in helping the poor and disadvantaged provides a perfect opening to send her off to her death in poverty stricken Egypt or serving the lepers in India. Surviving these dangerous missions, Monty sends her off to deepest, darkest Africa to work with a tribe of cannibals. (It’s 1909, and no one had yet been warned to be politically correct or culturally sensitive.) Lady Salome D’Ysquith Pumphrey is such a bad actress that when Monty replaces the blanks in her prop gun with real bullets and she shoots herself on stage, the audience applauds her death, perhaps not realizing she has really died. Both Lady Hyacinth and Lady Salome are played by Wichmann. Each character has a different voice, posture, and gait. The Reverend Lord Ezekial D’Ysquith, for example, has a distinctive, stylized teetering walk.

Each also has a distinct style of dressing, thanks to costume designer Sue Griffin. Visually, the production is also enhanced by Chris Raintree’s expansive set, characterized by multiple movable set components (ranging from Monty’s modest home to Lord Adalbert D’Ysquith’s mansion – an expansive mansion so grand that it offers tours to tourists.

Sandy Dacus’ music direction, along with Alvaro’s direction kept things moving along at a fair clip, although there were a few moments when I thought something should have been tightened up. The first act lasts nearly 90 minutes, with a total run time of about 2 ½ hours. For the most part, the musical selections do not cater to foot-tapping show tunes, but rather to sung narrative that advances the story line – when all the words are clear; sometimes they were not at Wednesday’s matinee.

The surprise ending brings about an unlikely alliance and opens the door to a sequel. A Gentleman’s Guide to Love and Marriage is delightful musical comedy, satisfyingly delivered by a death-defying cast.

 

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

———-

Photo Credits: Aaron Sutten

A Gentleman's Guide to Love and Murder
Lauren Leinhaas-Cook, Adrienne Eller, Alexander Sapp, Grey Garrett and Scott Wichmann. Photo by Aaron Sutten.
A Gentleman's Guide to Love and Murder
Adrienne Eller and Alexander Sapp. Photo by Aaron Sutten.
A Gentleman's Guide to Love and Murder
Grey Garrett and Alexander Sapp. Photo by Aaron Sutten.
A Gentleman's Guide to Love and Murder
Scott Wichmann. Photo by Aaron Sutten.

 

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FALSETTOS: Who Do You Call Family?

FALSETTOS: Four Jews in a Room Bitching

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

At: The Robert B Moss Theatre, 1300 Altamont Avenue, RVA 23230

Performances: September 4 – October 5, 2019.

Ticket Prices: $10 (student) – $40 (general admission)

Info: (804) 346-8113 or rtriangle.org

I knew a little – very little – about Falsettos prior to seeing the show. The Richmond Triangle Players website tells us this musical “revolves around the life of a charming, intelligent, neurotic gay man named Marvin, his wife, lover, about-to-be-Bar-Mitzvahed son, their psychiatrist, and the lesbians next door.” That description doesn’t even come close to preparing the viewer for the emotionally immersive theatrical experience that is Falsettos.

Written by William Finn (book and lyrics) and James Lapine (book), Falsettos a two-act musical that runs about 2 hours 30 minutes, with one intermission, was originally two separate one-act plays. The first, March of the Falsettos, was written in 1981. The second act, originally Falsettoland was written nearly a decade later, in 1990. The two have been knit together so seamlessly, with the first act providing introductions to the characters and fleshing out their backstories, that I cannot imagine watching the production as two separate plays.

Debra Clinton directs with a great sense of timing and an innate sense of when to turn from humor to drama. She also choreographed the show with energetic and sometimes comedic movement that is both organic and perfectly suited to actors who are not necessarily dancers. Natan Berenshteyn is the musical director, and three musicians are disappointingly but understandably offstage – unlike most musical productions at Triangle where the musicians are either onstage or at least partially visible. Jonathan Sparks’ sound design included several familiar popular songs from the 1980s and this connected with much of the audience on Friday night.

Kevin Johnson’s set was simple, versatile, and somewhat bland, with a linoleum-patterned painted floor, a trio of crates that served as furniture and props, a truncated bed that cleverly slid out from a wall, and a half-dozen empty picture frames on the walls. They were deliberately hung crooked and at significant moments they were reversed from their plain white sides to colorful sides then back again and in the final scene a seventh frame was added – and it was plumb-line straight.

Sheila Russ’s costumes looked like they came from a 1970s consignment shop, from the Richard Simms style jogging suits worn by characters Trina and Mendel to the pattern of Trina’s Act One shirt. Attention was paid to the most minute detail, such as the way Mendel’s slacks picked up one of the color’s in Trina’s shirt, and Trina’s culottes matched Mendel’s shirt. Michael Jarrett’s lighting captured it all in a golden halo of light – especially in scenes enacted on the extended runway of the stage that ran half the length of the center aisle. If I’ve omitted any elements, please understand that all the technical components worked in complete harmony and I didn’t notice any glitches.

The cast turned in all-around stellar performances – some of which were surprising for actors I’ve seen and become familiar with over the past few years. Matt Shofner, in the principal role of Marvin, developed his character with a certain amount of restraint and internal reserve that runs counter to his usually larger-than-life performances. If there was such a thing as the opposite of melodramatic, then that would be it – natural, realistic, yet intense. The gradual transformation of Marvin from an entitled, obnoxious man with a bad temper in Act One to a man aware of his own shortcomings and making strides to work on them in Act Two was remarkable.

Similarly, Dan Cimo, as Mendel, Marvin’s psychiatrist who ends up marrying Marvin’s ex-wife, showed an entirely new side of his acting chops. When I think of Dan Cimo, the first thing that comes to mind are his unnaturally wide eyes, yet here he seemed to have commanded them to assume, at least temporarily, a new, slightly subdued shape. Cimo was the strong yet sensitive man, the voice of reason and conciliation as he navigated the tenuous territory that comes with a doctor falling in love with his patient’s ex-wife and becoming step-father to his son.

Durron Marquis Tyre also turned in a touching performance as Marvin’s gay lover. His unlikely friendship with Marvin’s son, Jason, developed with remarkable subtlety and gentleness. Tyre also had a show-stopping number with “The Games I Play” near the end of Act One. Near the end of Act Two, he sings “You Gotta Die Sometimes,” and there was audible sniffing and sniveling throughout the audience. Boxes of tissues should be placed under the seats.

Two newcomers not only held their own, but nearly stole the show. Fourteen-year-old Rowan Sharma [this is a correction as I originally reported his age as 12] turned in a stunningly strong and touching performance as Marvin and Trina’s traumatized son – nearly buried under the rubble of his parent’s crumbling marriage after Marvin left Trina to seek his new identity as a gay man, while refusing to let go of his family. Casey Payne, as Trina was responsible for possibly the best and most hilarious musical number of the show with “I’m Breaking Down” in the middle of Act One. There are no spoken lines in Falsettos, every word is sung, and “I’m Breaking Down” perfectly captures the heightened emotion of a woman who finds out that her husband is gay and doesn’t know how to navigate life from there.

Shofner, Cimo, Payne, Tyre, and Sharma are joined, in Act Two, by Kelsey Cordrey and Rachel Marrs, as a lesbian couple. Cordrey, as Dr. Charlotte, enhances the dramatic content with her work on the cutting edge of New York’s AIDS epidemic, while Marrs, as her partner Cordelia, as some of the shows best comic moments as a new-age Kosher caterer whose food tastes terrible! There are few scenes that include all seven cast members, but one of those that does, “The Baseball Game” is a hilarious and touching commentary on family and the social observation that Jewish kids don’t play baseball.

In both plays, in both acts, family is the pivotal element. There is the nuclear family, and then there are the families that we choose – and the families that choose us. Sometimes they intersect and the interactions can ignite sparks or explosions. Family and love and the complexities of love are woven throughout. “Love is Blind.” There is the “Thrill of First Love.” Sometimes, “I Never Wanted to Love You.”

Falsettos is an interesting production that has been brilliantly mounted by a director and cast that seem to be perfectly matched to each other and to the show. I laughed. I cried. I was touched. I experienced theater at it was meant to be.

 

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

———-

Photo Credits: Photos courtesy of Phil Crosby, RTP.

FALSETTOS_0081
(clockwise from upper left) Matt Shofner, Rowan Sharma, Casey Payne, Durron Marquis Tyre and Dan Cimo in Richmond Triangle Player’s production of “Falsettos,” running now through Oct 5 at RTP’s Robert B. Moss Theatre. http://www.rtriangle.org
FALSETTOS_0836
Matt Shofner and Durron Marquis Tyre (partially under the covers) in Richmond Triangle Player’s production of “Falsettos,” running now through Oct 5 at RTP’s Robert B. Moss Theatre. http://www.rtriangle.org
FALSETTOS_0310
Casey Payne is “Breaking Down” in Richmond Triangle Player’s production of “Falsettos,” running now through Oct 5 at RTP’s Robert B. Moss Theatre. http://www.rtriangle.org

 

 

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