TOMFOOLERY: Swift Creek Shenanigans

TOMFOOLERY: A Politically Incorrect Musical Satire

A Theater Review by Julinda D. Lewis

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

Performances: July 14 – August 18, 2018

Ticket Prices: $38 Theater only; $55 Dinner & Theater

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

 

Swift Creek Mill Theatre’s final show of the 2017-2018 season, Tom Lehrer’s Tomfoolery, features four cast members, 28 musical numbers, a five-piece orchestra, and a sense that anything goes. The satirical musical revue, whose title has nothing to do with Swift Creek Mill Theatre’s artistic director Tom Width, has no plot. Rather, it allows Width to share with the Mill audience his own love of the silly, satirical, politically incorrect songs written and performed by Lehrer between 1953 and 1965 – and even one he wrote for the PBS children’s show, The Electric Company, popular in the 1970s. Surprisingly, other than the era-specific references, such as the names of political candidates and talk of bombs and drills to prepare for nuclear war, much of the humor remains relevant, while the music (book, music, and lyrics are all by Lehrer, adapted by Cameron MacKintosh and Robin Ray) seems more attuned to the ears of those whose college years were marked by folk songs and protest marches.

Width keeps things moving, with a simple, colorful set with the musicians settled upstage right and a small bar set up stage left where the actors congregate while waiting their turn. Maura Lynch Cravey has Richard Koch in a vested suit that is vaguely vaudevillian, while Bryan Harris and PJ Llewellyn are dressed less distinctively, and, but for one outstanding exception, Debra Wagoner’s wardrobe seems to be mostly an afterthought. Robes, suspenders, hats, canes, stools, and other props provide visual interest and cues, and the actors use their own names throughout the revue, which runs under two hours, including one fifteen-minute intermission.

Tomfoolery opens with “Be Prepared,” an homage to the Boy Scout oath, and closes with “We Will All Go Together When We Go,” an irreverent post-apocalyptic sendup. In between, no topic is off-limits. “Bright College Days” (Richard and Bryan) contains my favorite lyric of the evening: “Soon we’ll be sliding down the razor blade of life.” Bryan sings my favorite song, “Elements,” which sets the periodic table of the elements to the music of Sir Arthur Sullivan (to the theme of a song from Gilbert and Sullivan’s Pirates of Penzance). “The Hunting Song” tells of bagging “two game wardens, seven hunters, and a cow,” while “Smut” is an ode to pornography.

There’s a song dedicated to Wernher Von Braun, a German engineer and rocket scientist who was a member of the Nazi party and an SS officer before coming to the US to work for NASA while “Who’s Next” speculates on which nation will be next to get a bomb. And just in case you haven’t been offended by the end of the first act, “National Brotherhood Week” reminds you of who hates you and who you should hate in return.

Oh, and the one time Debra Wagoner was dressed in a glitzy glamourous dress with a blinged out feather boa was for “Oedipus Rex,” her second act homage to incest which allowed her to belt out a song full-out as only she can and make you wish you could sing like that, too.

Great theater? By no means. An entertaining evening with good music that is beautifully played under the direction of Paul Deiss (who even gets to sing one number, “The Old Dope Peddler”)? Absolutely. And don’t forget to get your Swift Creek Mill “sippy cup” so you can take your preferred beverage – hot, cold, or alcoholic – into the theater (new this season).

 

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: Robyn O’Neill

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KNUFFLE BUNNY: Musical Theater for the Whole Family

KNUFFLE BUNNY: A Cautionary Musical

A Family Theater Review by Julinda D. Lewis, with input by Emmitt, Kingston, and Soleil

At: Virginia Rep’s Children’s Theatre at Willow Lawn; 1601 Willow Lawn Drive, Richmond, Virginia 23230

Performances: July 13 – August 12, 2018

Ticket Prices: Start at $18

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

Knuffle Bunny is a hilarious family-friendly musical that held the attention of even the youngest audience members. With a running time of just under 45 minutes, and no intermission, I thought it might be worth a test run with my youngest grandson, Emmitt, who just turned 4.

Emmitt sat attentively for the entire show, sometimes singing along, eyes big as saucers, feet swinging happily. He was the first in our party of four to predict that the “rat with wings” would be making a comeback – an event which would open up the possibility for a sequel. His final pronouncement, “Awesome!”

Knuffle Bunny – much to my surprise, the “k” is pronounced – is based on the book of the same name by Mo Willems, who also wrote the script and lyrics. The music is by Michael Silversher. Upbeat and colorful, with a simple, uncluttered set designed by Emily Hake Massie and lighting by BJ Wilkinson, Knuffle Bunny is a cautionary tale about the adventure that ensues when pre-verbal toddler Trixie, played by Christina Ramsey, leaves her beloved stuffed bunny at the laundromat. Her poor dad (David Janosik) is cast as the somewhat incompetent rube by his beloved wife (Louise Ricks) who from the beginning doubts his ability to successfully take a basket of laundry to the laundromat with Trixie in tow. Hilarity ensues.

There is a chorus kick line, some striking air guitar play, animated puppetry of gigantic pieces of laundry (a necktie a onesie, a brassiere, and a man’s shirt), and a local geography lesson as the ensemble (Brandon James Johns and Corinne MacLean) runs across the stage holding signs reading Broad Street, Boulevard, and Cary Street as the little family makes their way from their house to the laundromat.

There is plenty for the adults to enjoy, as well. Trixie’s sad ballad to her beloved Knuffle Bunny has the ensemble holding up their lighters, as is customary at concerts – a feature that may be over the heads of the littlest audience members but did not go unnoticed by the adults.  (I couldn’t resist – here’s a link to an article on the practice of holding up lighters at concerts: https://beat.media/history-of-the-lighter-at-concerts)

My adult daughter, Soleil, could hardly contain her composure as Trixie’s big number was set up – the dramatic lighting, the mood music, all to accompany a heart-wrenching song made up entirely of nonsense syllables, “Aggle Flaggle Klabble.”  When asked by the cast members during the post-show meet and greet what he thought of the show, my seasoned assistant Kingston (older brother to Emmitt) responded that he enjoyed the songs and wanted more like “Aggle Flaggle Klabble.” I know that Willems wrote lyrics, but I wonder if the “words” to “Aggle Flaggle Klabble” come out the same each time – and if they didn’t, would anyone notice?

Susan Sanford directed this delightful musical – which really caters to the youngest of audiences without boring older siblings or the adults who accompany them. Go. Enjoy. And don’t forget to take a young person or two. Copies of the book Knuffle Bunny: A Cautionary Tale are available for purchase at the bar.

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: Aaron Sutten

Knuffle Bunny
Christina Ramsey and Louise Ricks
Knuffle Bunny
David Janosik, Christina Ramsey, Knuffle Bunny, and Louise Ricks
Knuffle Bunny
Louise Ricks, Christina Ramsey, Knuffle Bunny, and David Janosik
Knuffle Bunny
Knuffle Bunny, Christina Ramsey, and David Janosik

WEST SIDE STORY: Love and Musicals

WEST SIDE STORY: A Summer of Love and Musicals

A Theater Review by Julinda D. Lewis

At: The November Theatre Marjorie Arenstein Stage

Performances: June 22 – July 29, 2018

Ticket Prices: $36-62

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

 

With a large cast featuring many new (to Richmond) faces, the familiar and beloved musical, West Side Story, soared on the November Theatre/Arenstein Stage on opening night. Having just seen Romeo and Juliet at the Richmond Shakespeare Festival last week, it was insanely fitting to see West Side Story just days later. One is set in the 16th century in Verona, Italy, and the other in New York City in the 1950’s, but not much has changed about human nature in the intervening centuries.

The rivalry between the Sharks, a group of Puerto Rican immigrants, and the Jets, a gang of white Americans who want to hold on to their turf, erupts in a rumble. When Maria, sister of the Shark’s leader Bernardo, and Tony, one of the founders of the Jets, meet at a dance and fall in love, the inevitable tragedy is set in motion. The intolerance of the Jets, most of whom are only first or second-generation Americans – Tony, for instance, is the son of Polish immigrants – towards the recently arrived Puerto Ricans eerily echo recent headlines and newsfeeds. At one point, Anita bemoans the fact that most Americans don’t even realize that Puerto Ricans are American citizens. It doesn’t help that both groups repeatedly refer to Puerto Rico as my/your country.

Brittany Santos, in the lead role of Maria, was a surprise. Her voice is outstanding, powerful, and has an angelic clarity that is perfect for the role – a role she has, in fact, performed previously, at Arizona Broadway Theatre and Cortland Repertory Theatre. Physically, she fits the role as well, bringing a petite, youthful innocence with a burgeoning sense of self-determination. In her first scene, she is a timid and obedient young girl; in her final strut across the stage, she is a young woman who has looked tragedy in the eye and overcome some of the trials of adulthood.

Justin Luciano, as Tony, is a young man in search of himself, and as such, is harder to pin down. His singing is strong and clear, but his speaking voice was, at times, muffled, and it was hard to tell if it was a technical difficulty or a speech impediment. His singing of the signature song, “Maria” was appropriately haunting. Maria does not have any real solos, but duets with Tony, “One Hand, One Heart,” and “Somewhere” are the songs people who have never seen the show on stage or film are familiar with. Both are songs that introduced many people to the music of Leonard Bernstein and the lyrics of Stephen Sondheim, and in the hands – and mouths – of Santos and Luciano, they came alive again.

I must confess that anything I have to say about the role of Anita, Bernardo’s girlfriend, will be colored by my fond memories of playing that role in community theater as a teenager.  Maria Cristina Slye brought a balance of sassiness and humanity to the role and did not disappoint in her big musical number with the rest of the Shark girls in Act 1, “America.”

Other lead roles included Eddie Maldonado as Bernardo and Corey Mosello as Riff, the leader of the Jets. Among my favorite characters is Anybodys, the tomboy who so badly wants to be accepted as a member of the Jets. Carly Natania Grossman played this role with spunk.

For the most part, the adults in West Side Story are peripheral characters, almost like the adults in Charlie Brown cartoons. But Jay O. Millman was a strong, conciliatory figure as Doc, the owner of the local drugstore and soda shop – similar to the Friar in Romeo and Juliet. Andrew C. Boothby as Lt. Schrank and Gregg Lloyd as Officer Krupke are portrayed as somewhat comic characters, often the butt of jokes, as in the Jets, “Gee, Officer Krupke” number, but also complicit in the discrimination. While they go through the motions of keeping the peace, their words and actions indicate that they, too, have issues with the new immigrants.

The original production was directed and choreographed by Jerome Robbins, and the Richmond production was directed by VirginiaRep artistic director Nathaniel Shaw with original choreography reproduced by Matthew Couvillon.  The choreography is bigger than life, bold, hard hitting, sometimes awkward, rather than pretty – like the surrounding tenements and chain-link fences. West Side Story has some of the best original choreography of any musical, and this production meets all expectations on that front. The women’s kicks and leaps seem to pull their legs right out of the socket and the men are ferocious – leaping over one another and attacking the fight choreography with relish.

Shaw’s direction is organic and seamless. Scott Bradley’s soaring two-story set design is suitably gritty, and imaginatively lit by BJ Wilkinson, who has roving lights that mimic the activity of the urban setting. Sarah Grady designed the costumes, which make it easy to distinguish between Jets and Sharks when they are onstage together, and Derek Dumais designed the sound.  A live band keeps things moving, under the able and energetic direction of Anthony Smith (Mary Poppins, Fun Home, The Color Purple).

There’s also new balcony seating, a Puerto Rican Rum Punch at the bar, and a Leonard Bernstein display will be exhibited at Virginia Rep outlining Bernstein’s contributions to the theatre, If you haven’t gotten your tickets yet, ¿que estas esperando?

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: Aaron Sutten

 

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A CHORUS LINE: For the Dancer in Us All

A CHORUS LINE: What We Do for Love

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: June 6 – July 14, 2018

Ticket Prices: $10-40

Info: (804) 346-8113 or rtriangle.org

 

When you think A Chorus Line you think of Broadway, or a touring show to some large venue such as, perhaps, the Altria Theatre. Think again. A Chorus Line, the ground-breaking, iconic musical, the musical “that celebrates the dancer in us all,” originally conceived and choreographed by Michael Bennett, with book by James Kirkwood and Nicholas Dante , lyrics by Edward Kleban, and music by Marvin Hamlisch – yes, THAT A Chorus Line – opened at the Richmond Triangle Players. . .AND IT IS AWESOME!!!

Who would have thought you could fit a chorus line of 17 people across that stage? Well, now we know. This production, directed and choreographed by Justin Amellio, features Alexander Sapp as Zach, the intimidating Broadway director who is conducting an audition for an unnamed Broadway show, and Andrew Etheredge as his assistant, Larry. The entire show takes place on the bare stage of an unnamed Broadway theater, where the dancers who have come to audition for a show are unnerved when Zach not only puts them through the paces of jazz, ballet, and tap combinations, but asks each potential chorine to tell him something about his or her life.

There are about 21 dancers at the start of the show, but four are quickly eliminated. Of the remaining 17, Zach is looking for just four men and four women. To complicate matters, one of the women, Cassie, is Zach’s former girlfriend, who has recently returned from Los Angeles after an unsuccessful run at becoming an actress, something, it seems Zach wanted for her more than she wanted for herself.

This is a true ensemble piece, and when the dancers perform their routines – some deliberately missing a step or turning the wrong way – they transport the audience to another world. This is oh so much better than watching any dance program on television. While it’s all about the dance, A Chorus Line has some notable dramatic moments – and humor, too.

Sheila (Zuri Petteway) is sassy, obnoxious, older, and a plus-sized woman. The gargantuan chip on her shoulder might have gotten her eliminated from any other audition, but Zach apparently saw something in her. During her interview, she opens up and reveals that she had a difficult childhood mitigated only by a love for ballet. Bebe (Ijsah Byrd) and Maggie (Rachel Marrs) join her in her reverie, “At the Ballet.” Beautiful, svelte Kristine (Katherine S. Wright) reveals that while she can dance rings around others, and act as well, her one shortcoming is that she cannot sing. Wright (who I am assured really can sing well), hilariously brings down the house with her tone-deaf screeching. It’s even funnier when Al (Derrick Jaques), Kristine’s over-protective husband who is also auditioning, steps in and finishes her sentences for her, singing on key.

Another humorous highlight was Val’s (Mallory Keene) performance of “Dance: Ten, Looks: Three,” a song I remember as the “T & A” song. Perhaps the name was changed for the sake of political correctness. At any rate, it is a humorous take on an all too real situation: a dancer or performer whose superior talent is overlooked because she does not fit the idealized standards of beauty. Val’s career finally took off after a visit to a plastic surgeon, to acquire the more marketable curves.

Cassie’s (Daria DeGaetano) solo, “The Music and the Mirror” was satisfyingly dynamic, and “What I Did for Love,” led by Diana (Alexa Cepeda) was bigger than life – or at least bigger than the RTP stage. Other memorable moments included a touching scene in which Zach comforted Paul (Steven Rada) after Paul haltingly revealed how difficult it was to reveal his sexuality and occupation to his parents, and later when Paul falls and re-injures his leg – effectively ending his dancing career – and has to be taken to the emergency room.

My only two observations are that I wish the tap combination could have been performed in tap shoes, and the beautiful glittery, golden finale costumes, which fit the men perfectly, seemed to have a weird pucker at the back zipper on the women’s rear ends.

Kudos to the entire cast – too numerous to mention all by name – and the phenomenal creative team, which included musical direction by Kim Fox, lighting by Michael Jarett, and sound design by Joey Luck. Originally scheduled to run through July 7, as of opening night A Chorus Line, has already been extended through July 14, and many performances are already sold out. Get your tickets now; this is not to missed.

 

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: John MacLellan

A Chorus Line_1
A Chorus Line – Photos and Resumes, Please
A Chorus Line_3
Steven Rada as Paul
A Chorus Line_2
Alexa Cepeda as Diana
A Chorus Line_4
A Chorus Line – The Grand Finale

PRELUDES: Folk, Fate & Fantasy

PRELUDES: An Inspired Musical

A Theater Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 W. Broad Street, RVA 23220

Performances: May 23 – June 30, 2018 [Recently extended through June 30!] Wed-Sat @ 7:30pm; Sun @ 4:00pm

Ticket Prices: $15 – $45; Special Date Night Romance packages available for $60 per couple

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

 

Historically, the Firehouse Theatre’s current production of Dave Malloy’s inspired musical, Preludes, is significant. The work, a hybrid of classical music and an amalgam of various styles from folk to contemporary, has been mounted only twice before: it premiered at Lincoln Center in 2015 and made a German-language debut in Austria in 2017. When you see the musically complex and visually layered production, it’s easy to understand why this unorthodox musical has not been widely produced.

Preludes has all the elements of musical theater, but with an operatic demeanor, and then there are substantial sections that are purely instrumental.  The cast is uniformly and outstandingly talented and versatile, acting, singing, and occasionally playing instruments.

Actor Travis West, one of the play’s two Rachmaninoff’s, spends the entire 2 hours and 10 minutes onstage at the grand piano – which he actually plays! Not only does he play music by Sergei Rachmaninoff (a noted composer and pianist of the late Romantic period), but he appears to have mastered the folk songs, samplings of other classical composers, and contemporary sounds while musical director Susan Randolph Braden on synthesizer fills in the rest of the beautifully eclectic score.

PJ Freebourn plays the role of Rach, the social, emotional, and less musical side of the main character. Freebourn’s portrayal of the composer very successfully and sympathetically draws us into the world of the composer during the three years of his deep depression that resulted in a writer’s block. His therapy with Dr. Dahl (a surprisingly subdued and self-contained Georgia Rogers Farmer), his relationship with his fiancé, Natalya, who is also his first cousin (Isabella Stansbury) are explored in realistic detail, quite in contrast to the time-changing setting and costuming choices that place this production squarely in a space that is neither the 19th century nor the 21st century, but both at the same time.

Jody Ashworth brings moments of insight and humor as Rachmaninoff’s friend, Chaliapin, and Levi Meerovich (yes, he really is of Russian descent) takes on multiple roles as several well-known Russian figures: Chekhov, Tchaikovsky, Tolstoy, Glazunov, Tsar Nicholas II, and The Master – all of whom were key figures in Rachmaninoff’s life and musical development. His wheezing, asthmatic Tsar was particularly memorable. As Meerovich explained in Thursday night’s talkback, it was not so much that he had to play each of these figures, but that he had to portray how Rachmaninoff saw them in his mind.

Free-flowing and with an often tenuous relationship to expected concepts of time and place, of what is real and what is embellished, Preludes is a surprisingly warm and intimate production that makes the audience feel as if we truly have a better understanding of both the man and his music. Why, for instance, die he consider C sharp minor to be the coolest key? What’s it like to produce a seminal work at age 19 and then spend years trying to figure out what is success and failure?

Director Billy Christopher Maupin insists he started with and still has more questions than answers about this production, and that appears to be a good thing, because he has directed with a hand guided by questions seeking answers and a respect for the ambiguous. Leslie Cook-Day’s costumes, likewise, have an ambiguity. Black, white, and gray blend in clothes that are at once contemporary and from a century or two ago. Ryan Dygert’s sound design is filled with ghostly sighs and breaths, heartbeats, and rattling chains.  Visual chains are draped around the actors and the sets, some of them symbolically broken.

Emily Dandridge contributed some intense and well-integrated choreography, and Tennessee Dixon’s set and projections were almost a character on their own: four separate seating areas – a café table, the piano, a porch swing, and a psychiatrist’s office – were spread across the stage while animations and looped video and slow-motion video of the pianists’ hands subtly connected all the disparate elements.

Preludes is not a show I would recommend to someone who has never seen a musical or an opera, or anyone who likes things to turn out with all the ends neatly tied up – but it is a production I would highly recommend to anyone and everyone who likes excellent theater, good music, and stunningly creative theater.

 

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: Bill Sigafoos

 

Preludes_2
Georgia Rogers Farmer, PJ Freebourn, and Jody Ashworth
Preludes_1
PJ Freebourn and Travis West

PINKALICIOUS, THE MUSICAL: Tickling the Audience Pink at Willow Lawn

PINKALICIOUS, THE MUSICAL: You Get Just What You Get and You Don’t Get Upset

A Theater Review by Julinda D. Lewis

At: Virginia Rep’s Children’s Theatre at Willow Lawn; 1601 Willow Lawn Drive, Richmond, Virginia 23230

Performances: April 6-May 13, 2018

Ticket Prices: $20

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

 

Pinkalicious, the newest offering at the Children’s Theatre at Willow Lawn, starts of with a bang and maintains a high level of energy – and pinkatasticity – for a solid hour.

 

Tyandria Jackson, an 18-year-old senior at Appomattox Regional Governor’s School, adeptly captures the imaginative spirit of the little girl known as Pinkalicious who first came to light in the book of the same name written by sisters Elizabeth Kann and Victoria Kann. It helps that Jackson is petite, but when she dons the Pinkalicious wigs and pink pajamas or pink fairy princess dress, we are completely won over.

 

Anthony Cosby, a Children’s Theatre veteran, who recently appeared in Songs from the Soul, may have been acting since the age of 10, but he is an adult now, and quite a bit taller than Jackson – so it was quite amusing to see him play the role of Peter, Pinkalicious’ little brother. Cosby’s child-like wonderment and enthusiasm also won me over.

 

Rebecca Turner and Brent Deekens played the parents – Mr. and Mrs. Pinkerton. Turner plays the mother as a tiny dynamo who keeps the household running smoothly, while Deekens’ father starts off distant and clueless until midway through when he makes a startling confession.

 

Like most Children’s Theatre productions, Pinkalicious has a moral foundation. This time it is about accepting yourself for who you are. The story drives home the point that this applies to adults as well as to children. At one point young Pinkalicious has somewhat of a meltdown over her parents’ cupcake restriction, leading to the song, “You Get What You Get and You Don’t Get Upset.”

 

Young viewers are probably quite familiar with the characters from the book series, or the television series, neither of which I have ever perused. This is where I must make a confession: I do not like the color pink – never have! So, while I have seen the books and I have heard the name Pinkalicious, I never read the books, the first of which appeared in 2006, to any of my grandchildren. Speaking of grandchildren – you will not find the usual assessment by Master Kingston: at the last show, when he found out the next production would be Pinkalicious, he informed me in no uncertain terms that he would not be my date for the next show.  So, with this backstory in mind, I attended and enjoyed every minute of Pinkalicious – despite all the pinkness and in spite of being abandoned by my favorite date.

 

Leslie Owens-Harrington, most often credited with choreography, directed this rose-colored musical with a dancer’s eye and Billy Dye directed the music (music and lyrics by John Gregor), keeping everything moving along at a tickle-me-pink pace. The fifteen musical numbers that were all great fun, but two stood out for me. When little Peter, tired of being ignored and having to shrink under the bright pink light of his attention-seeking older sister, just can’t take it anymore, he whips out dark glasses and sings a soul-stirring rendition of “I Got the Pink Blues.” Immediately after that, Pinkalicious, having eaten one too many pink cupcakes, has turned completely pink and gets mistaken for a flower by a bee and a bird in the park, leading to the amusing “Buzz Off” number.

 

One of the lessons about acceptance is that it’s okay for boys and men to like pink. Looking around the nearly full house at the Sunday matinee, I counted only about four young boys and perhaps half a dozen dads and grandfathers. As pink as it is, and for all the focus on the title character, Pinkalicious is not just for girls. It is a bright and peppy production that is family-friendly. There is a complete absence of any of the adult-level innuendos that are so often sprinkled into children’s shows, so families should feel confident in bringing everyone from the suggested age of four and up. I would feel comfortable bringing a three-year old who could sit for a one-hour show, no intermission.

 

Desiree Dabney and Audrey Kate Taylor round out the cast as Dr. Wink and Allison, Pinkalicious’ best friend, respectively. They fill ensemble roles: bee, bird, cupcake monsters, etc. In addition to Owens-Harrington and Dye, the creative team includes Terrie Powers (colorful set with oversized cartoon-like props), BJ Wilkinson (simple and effective lighting with a few special effects), and Ruth Hedberg (costumes with flair, especially Pinkalicious’ garb and Mr. Pinkerton’s Liberace-like finale jacket). There are cupcake monsters, atmospheric smoke, and an almost magical costume-change. Even I was almost tickled pink.

 

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: Aaron Sutten

pinkalicious_tyandria_jackson_pr_sbpinkalicious_illus_topPinkalicious

Pinkalicious
Tyandria Jackson and Anthony Cosby
Pinkalicious
Brent Deekins, Tyandria Jackson, and Anthony Cosby
Pinkalicious
Anthony Cosby, Rebecca Turner, Brent Deekens, Tyandria Jackson, and Audrey Kate Taylor

PUMP BOYS AND DINETTES: A “Pump Rock” Country Musical

PUMP BOYS AND DINETTES:  A “Pump Rock” Country Musical

A Theater Review by Julinda D. Lewis

A Collaboration of Richmond’s 5th Wall Theatre and Hampton’s American Theatre

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

Performances: March 10-31, 2018 [Note this show will be performed in Hampton, VA April 13-22]

Ticket Prices: $32 General Admission; $15 Students; $20 RVATA Cardholders

Info: (804) 359-2003 or https://5thwallpumpboys.brownpapertickets.com/

 

Pump Boys and Dinettes is not your ordinary musical. Created by a performance group of no less than six, who are all credited with the music, book, and lyrics, one might expect this musical to be all over the place. One would be wrong. Don’t care for country music? Doesn’t matter; this isn’t the whiny, twangy, my-woman-is-gone-and-my-dog-is-dead kind of country music. Don’t care for musicals, you say? Go back and read my first sentence.

Pump Boys and Dinettes is the most fun I’ve had in the theater in recent weeks and that’s saying a lot, since the Richmond theater community has produced some excellent theater this year. The ensemble is dynamic; the entire cast sings, acts, and plays instruments (okay, that might be stretching it a bit, but keep reading). The musical numbers are high-powered, and there are even a couple of a capella numbers that feature some rather awesome harmonizing that even my untrained ear could recognize and appreciate. Then the Dinettes pick up wooden spoons and play percussion on pots. So that’s why the pots are out front instead of back in the kitchen. . .Oh, and then there is tap-dancing – in cowboy boots!

While there isn’t really a narrative in the traditional sense, we do get to meet some of the residents of Frog Level, North Carolina who work on Highway 57 at the Pump Boys service station and the nearby or attached Double Cup diner. The Pump Boys consist of Jim (John Mervini on rhythm guitar), L.M. (Mike Cefalo on keyboard, including a brief stint on an accordion), Jackson (Michael Bamford, lead guitar) and Eddie (Sean Powell on bass and harmonica). Not much work gets done at the service station, since the Pump Boys are all playing music a lot more than pumping gas. Indeed, when a customer calls to check on the status of his Winnebago, he is told it will be ready, maybe, next week. The customer is put on hold – on the ancient phone held together with duct tape – so the Pump Boys can give him a status update singing “Taking It Slow.”

Rachel Marrs (Rhetta Cupp) and Desiree Roots Centeio (Prudie Cupp), the sisters who run the diner, seem to somehow get more work done. The Dinettes serve coffee, moon pies, and slices of pecan pie to the audience at the beginning of the show and collecting tips in Act 2. “Tips” is the title of a sassy duet in Act 2, with the money collected going to the 5th Wall Development Fund. In addition to feeding the audience with art and food, Centeio sits on gentlemen’s laps and dances with an audience member (Friday night it was my fiancé Albert Ruffin) while singing “The Best Man” and the sisters escort a female audience member onstage, so Jackson/Bamford can serenade her in “Mona,” a song about his crush on a mall cashier.

“The Fisherman’s Prayer” is a beautifully harmonized number by the Pump Boys in Act 1, which also features a heat-warming ballad, “Mamaw,” sung by Jim/Mervini. Act 1 ends with The Dinettes and L.M. donning cowboy boots and Eddie donning tap shoes for “Drinkin’ Shoes.” Highlights of Act 2 include L.M.’s “T.N.D.P.W.A.M.” which stands for The Night Dolly Parton Was Almost Mine, and the hilarious “Farmer’s Tan,” again featuring L.M. with the Dinettes. Everyone gets at least one featured number except Eddie, but he does get to do an awesome “duet” with his upright bass. While each cast members shines individually, Mervini, Marrs, and Centeio are standouts and Cefalo is a surprise when he emerges from behind his keyboard, it is the magnetism of the ensemble that makes Pump Boys and Dinettes a hit.

There are 19 musical numbers, plus a reprise of the opening “Highway 57” and a closing medley of the show’s “Greatest Hits.” Most are hard-pumping, foot-tapping, danceable numbers that keep a smile on your face from start to finish. The show runs about 100 minutes, with a fifteen-minute intermission, under the seamless direction of Richard M. Parison, Jr. with musical direction by Christian Storm Burk and choreography by Karen Getz (whose work I adored in VaRep’s Fiddler on the Roof in 2013).

I also admired Rich Mason’s scenic design – a simple but authentic looking little diner on the audience’s right, and a somewhat less detailed and extremely clean service station to the audience’s left. Most of the action takes place center to right, but there weren’t many people seated on the left side on Friday night. Michael Jarrett designed the lighting, which featured a few nicely mottled effects in Act 1, and Sue Griffin and Marcia Miller Hailey did the costumes. The Pump Girl’s waitress uniforms were adorably attractive.  Let’s not forget Amy Ariel, who assisted with the lighting, Roger Price who designed the sound, and Barry Green who designed the props – of which there are quite a few. And let’s not forget to thank 5th Wall’s Artistic Director Carol Piersol and The American Theatre’s Artistic Director Richard M. Parison for selecting this show to partner.

Pump Boys and Dinettes is beautifully showcased in the intimate space of TheatreLAB’s basement. Make it a point to find your way down the steep steps that lead to this marvelous space before they close.

 

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:

5th Wall Theatre

Pumpboys

Pump Boys_1
Michael Bamford, John Mervini, Rachel Marrs, and Desiree Roots Centeio