Performing Arts – Page 23

IMPETUS: A Collaboration of Dance and Art

RADAR Dance: Impetus

A Dance Review by Julinda D. Lewis

At: Dogtown Dance Theatre, 109 W. 15^th Street, RVA 23223

Performances: March 24-25, 2018

Ticket Prices: $15 Adults; $10 Students

Info: radardance.com or radardance@gmail.com

Using the work of visual artists as inspiration, Richmond-based dance company RADAR presented Impetus, a spring concert of diverse works by choreographers Pam Gamlin, Laura Gorsuch, Elliott Hartz, Carli Mareneck, Kendall Neely, and Katherine Saffelle, [If this sounds vaguely familiar, another local choreographer, Starr Foster, recently presented an evening of works in collaboration with a series of photographs. For my review of Spitting Image, see RVArt Review, 01132018.]

The works on the Impetus program ranged from the whimsical to the intimate to the humorous. I became thoroughly immersed in the multi-layered Passages: Arising, Form, Transit, the program’s first offering, by Carli Mareneck, inspired by multiple paintings of various artists including O’Keefe and Van Gogh. The first part struck me for it unity, rather than unison, as seven women moved together as an organic unit. Oddly enough, it was not until the second section, a quartet for four women with chairs, that I became aware of the music – a soulful composition by Canadian-born cellist and composer Zoë Keating. The third section, aptly titled “Transit,” if I can take the program at face value, is what I called the running section, in which the seven women were joined by a shirtless man. The work builds naturally in layers to a very satisfying place that is more of a transition than a terminal conclusion.

One young audience member, 3 ½ year old Rowan, was quite concerned that dancer Elliott Hartz, his uncle, was shirtless. As audience members go, he was very observant, and comported himself rather well given his age.

The impetus for Katherine Saffelle’s work, Her Muddled Mind, was Etam Cru’s mural Moonshine, part of the Richmond Mural Project. The painting shows a woman bathing in a jar filled with strawberry jam. By the time I wrapped my mind around the mural and Saffelle’s duet, set to the music of Max Richter, it was over! The beautiful ending features a sudden lift and then the lights go out, and I almost wished the work would repeat so I could have time to properly contemplate. Oh yeah – it’s about societal pressures and expectations in a fast-paced world, so we’re probably not supposed to have time to think about it.

One of the most intriguing pieces on the program was Pam Gamlin’s Manipulating Time Among Mayhem. Set to the music of El Ten Eleven, Gamlin’s trio was not just inspired by Jere Williams’ sculpture, Satellite Lounge, but the dancers took turns wheeling the mobile piece through the space. Built on a lawn chair, the work includes a stove, a shopping cart, a vacuum cleaner, a bicycle, a dressmaker’s mannequin wearing a bra, a Dora the Explorer backpack, a clock, a rake, and more. Resembling an ancient peddler’s cart, the work brings up metaphoric images of baggage, burdens, never letting go of the past. The three dancers, Megan Baker, Laura Gorsuch, and Kara Priddy, executed athletic-like movements, as if prepping for the Olympian task of carrying this monument through life. I was, however, somewhat distracted by their black warm-up pants because the white piping framed their derrieres with the outline of a heart!

Kendall Neely offered the most amusing work on the program. Sorted, inspired by Alexander Pope’s Sound and Sense and set to music by Imogen Heap was “loosely inspired by” Pope’s poem. Beautifully adorned in red and black, the dancers start off with a well-regulated cadence and explores rhythm schemes and predictability.

The program also included Laura Gorsuch’s Agitation Manifests, a dance for four women and four lamps and a beautiful movement phrase that features a clapping sound produced by bringing a cupped hand to the opposite arm, and Elliott Hartz’ Current, another very brief work that explores simultaneity and connections.

The audience was encouraged to linger in a mini-gallery of the art works that inspired or in some cases was inspired by these dances. Six works, presented in about an hour and a half; unhurried, family-friendly, and visually stimulating offered a welcome weekend interlude and potentially provided the impetus for more people to partake of the local art offerings.

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Again – and I cannot say this enough – one of the biggest problems with the Richmond dance community is that most performances run for only a single weekend and by the time many people hear of a performance, it’s gone! I make it a point to see as much of Richmond dance as I can, but this weekend was highly unusual. I was performing in the ensemble of MK Abadoo’s Octavia’s Brood: Riding the Ox Home on Friday and Saturday at VCU’s Grace Street Theater, K Dance opened their annual program of Shorts at Richmond Triangle Players Thursday through Saturday, and RADAR presented its Spring concert at Dogtown Saturday and Sunday. At the same time, Richmond Ballet was concluding the March 20-25 run of it’s New Works Festival.

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:

Impetus photos by Gianna Grace Photography; photos of art work by Julinda D. Lewis

RADAR-2 — “Satellite Lounge” by Jere Williams

RADAR-1 — “Moonshine” a mural by Etam Cru

RICHMOND BALLET: NEW WORKS – Sleeping Cats and Distant Figures Lose Melodies in 2Rooms

RICHMOND BALLET: Studio Two New Works Festival 2018

An Extended Dance Review by Julinda D. Lewis

At: Richmond Ballet Studio Theatre, 407 E. Canal St. RVA 23219

Performances: March 20-25, 2018

Ticket Prices: $22.50-$42.50

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

The Richmond Ballet first presented the New Works Festival in 2008 and the 2018 Festival is the sixth program offering new works by guest artists. Each of the four choreographers is given 25 hours to work with the company to set an original 10-minute work or portion of a larger work on the Richmond Ballet. This year, four extremely diverse choreographers created works that stretched the dancers with quirky new movement vocabularies and non-traditional choreography that challenges the audience to look at and think about ballet in new ways.

For Studio Two, four choreographers who have never created for Richmond Ballet were selected, and those who attended the Choreographer’s Club on Tuesday got to meet each of them. In order of their works on the program:

Tom Mattingly (freelance dancer, choreographer; Chicago, IL) was an apprentice with Richmond Ballet at age 17. Mattingly’s new work, Figure in the Distance is an earth-toned work set to music by Philip Glass (“Concerto for Violin and Organ”) against a backdrop of artist Taylor Am Moore’s original work, The Dancer. Deliberately ambiguous, I see it as a dance of opposition or perhaps duality would be a better word choice. There is opposition or duality in the use of the dancers’ arms and legs, in the choreography’s directional choices, and in the dynamics that shift swiftly from quick to sustained or waiting – and even in the dancers’ costumes. The women have long sleeves and short legs, the men have long legs and no sleeves.

There is even a duality in Moore’s painting, which could be figure in the distance or the pen – and energy – that drew it. There is a sense of striving and anticipation reflected in the slow deliberate walks that are graceful yet strong.

In the post-show talk, Mattingly indicated he likes a vague story line that doesn’t hit the audience over the head, but I suspect the work may be a bit autobiographical as well – a bit of a reflection of his ongoing transition from dancer to choreographer. He may be getting closer to seeing who that “figure in the distance” really is.

Bradley Shelver (born in South Africa; principal dancer with the Metropolitan Opera Ballet, NY) presented 2 Rooms, a work that depicts compartmentalized moments on segmented worlds. The first of two very quirky works on the program, 2 Rooms gives the audience options. There are alternative points of focus, provided by a set of moveable red panels that separate the space and the dancers. Dancers appear on either side of the panels, between the panels, and move around the panels. We see their feet moving below them, and they sometimes peak over the top.

Two memorable shapes are a wide-legged crab scrabble the dancers use to travel side-to-side and a waiting crouch that verges on a parody of a horror movie posture. There are also sudden falls and rolls, percussive gestures, tickling, an overly long kiss, and frantic shaking motions. There was one fall that appeared unplanned, when Elena Bello jumped onto her partner Matthew Frain, and an odd and awkward pause in the music that may or may not have been intentional. Nothing about 2 Rooms is predictable or ordinary.

Music is a big deal for Shelver, and 2 Rooms plays freely with the juxtaposition of “Ciaconna” (The Hilliard Ensemble, mixed with fragments of J.S. Bach) and “Adagio in G Minor” (R. Glazotto; Helmut Müller-Brühl/Cologne Chamber Orchestra) that complements the nuances of his quirky and fast-paced choreography. As much as I loved the quirkiness as a technique and an exercise, however, it did dominate the work, making the choreography seem somewhat unfinished. Given that this work was created in 25 hours, it would be interesting to see if a subsequent performance might have progressed to a different place in this compartmentalized world.

It’s probably just a coincidence that the first half of the program featured male choreographers, and the second half featured female choreographers.

Mariana Oliveira (born in Brazil; Artistic Director of The Union Project Dance Company, Los Angeles, CA) created My Lost Melody around the theme of falling in love, but the title, the predominantly black color palette, and the focus on some of the lesser known songs of Édith Piaf are a big clue that this is not all about the lighter side of love. Oliveira, the only choreographer of the four who said she comes to a new project with the work fully formed – right down to the costumes and lighting – created My Lost Melody on twelve dancers, with flowing permutations of three groups of four that guide the viewers’ eye across the stage.

Control and direction seem important in Oliveira’s work. A duet for Abi Goldstein and mate Szentes (in their fourth and third years with Richmond Ballet, respectively), reminded me of Fred Astaire, but rather than Ginger Rogers, Goldstein’s role was given a humorous twist that completed her phrases with a frivolous fold-over rather than an elegant fanfare. One brief trio (in white) was performed to the sound of rain. The darkest of the four works, My Lost Melody was also the most dramatic, and the one that came closest to telling a story.

Francesca Harper (Artistic Director of The Francesca Harper Project, NY) explored the role of gender and specifically strong women in The World of Sleeping Cats, set to the music of hip hop violinist Daniel Bernard Roumain. The movement is infused with bold walks and, like the work of Shelver, more quirky and breathtakingly unexpected phrases, while the music is infused with bold drum-line beats and electronic sounds that suggest we are in new and uncharted territory.

This work also uses a black color palette, distinguished by hilariously ridiculous wired tutus. Elena Bello’s tutu is the first to come off – where it occupies an unceremonious position in the spotlight, center stage. A work for ten dancers – five couples, The World of Sleeping Cats is nontraditional but grounded in tradition. The dancers wear toe shoes, but the partnering doesn’t follow traditional gender assignments. Harper’s title is intriguing. Sleeping cats make you think of softness, but cats have claws. Sleeping cats may alert and spring into action at a moment’s notice.

One acquaintance who tried to get me to talk about the performance shared that she was excited about this piece because it addresses gender issues. A long-time Richmond Ballet supporter, William (Billy) Hancock (Campaign Director and Major Gifts), shared that the New Works Festival is his favorite Studio production because, to paraphrase his words, where else can you see all this original work in one place?

The choreographers themselves gushed about their experience with Richmond’s dancers, calling them brilliant and easy to collaborate with as well as passionate and dedicated. While the company was excellent overall, special notice is due to dancers Elena Bello and Matthew Frain, Abi Goldstein and Mate Szentes, and Bello with Fernando Sabino who were featured in the new works. Lighting designer MK Stewart and costume designer Emily DeAngelis also earned well-earned kudos. For Artistic Director Stoner Winslett, the New Works Festival is not about competition, but about making The Richmond Ballet a safe place to be open and vulnerable – the best place to create a new ballet.

Keep in mind – these are not polished, full-fledged works. They are not meant to be finished and perfect. That is part of the appeal. All are different and challenging. All bring out the best in the dancers. All are worth seeing and talking about – but you can only do that if you go see them:

Tuesday, March 20^th at 6:30pm (Choreographer’s Club) $65-$100
Wednesday, March 21^st at 6:30pm
Thursday, March 22^nd at 6:30pm
Friday, March 23^rd at 6:30pm and 8:30pm (Club 407/Young Professionals) $35*
Saturday, March 24^th at 6:30pm and 8:30pm
Sunday, March 25^th at 2pm and 4pm

Club 407 For Young Professionals – Richmond Ballet is excited to offer discounted tickets, special events, and more through our new Club 407. Designed for a premiere group of ballet enthusiasts and novices alike under the age of 40, Club 407 provides exclusive experiences for Richmond’s young professionals. We invite you to become more involved with Richmond Ballet by attending performances, networking opportunities, and special behind the scenes access!

Studio Series – Club 407 tickets for our Studio Series shows include a pre-performance happy hour with food and drinks (cash bar) at Wong Gonzalez’s Beauty & Grace Room, a performance in the intimate Richmond Ballet Studio Theatre, and a post-performance beer and wine reception with the dancers.

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:

Sarah Ferguson

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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 5^th 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 5^th 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:

5^th Wall Theatre

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

DAMES AT SEA: Making Waves at Swift Creek

DAMES AT SEA: Pint-sized Extravaganza

A Theater Review by Julinda D. Lewis

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

Performances: March 8-May 15, 2018

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

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

Dames at Sea, with book and lyrics by George Haimsohn and Robin Miller and music by Jim Wise first opened Off-Off-Broadway in 1966 but is perhaps best known for its 1968 production which introduced a new actress named Bernadette Peters. Twenty-six years ago, Dames at Sea was produced at Swift Creek Mill and two of the 1992 cast members – Robyn O’Neill and Steve King – apparently enjoyed it so much they have returned for another run.

A parody of the 1930s-style musical extravaganza, Dames at Sea is dated and corny and probably the most fun you’ll have in a month. The first act is set in a down-trodden Broadway theater, and Act 2 is set on the deck of a naval ship. Sweet-faced and innocent Ruby (Anne Michelle Forbes) arrives on Broadway from a small town in Utah with a suitcase containing only a pair of ruby red tap shoes and by the end of the day she has been hired as a chorus girl, meets a guy, becomes a star, and gets married. I don’t know how many hours are in this day, but if they can bottle and sell days like this, I’m placing my order right now.

Part of the tremendous charm of this two-act show is that all the impact and energy of a Busby-Berkeley movie musical, including showgirls, props, dancers creating geometric floor patterns, lots of color and movement, are all accomplished with a cast of six. In addition to Forbes, who is a 2016 TheatreVCU graduate making her Swift Creek Mill debut, there is Nicole Morris-Anastasi as Joan, a wise-cracking chorus girl who befriends Ruby; Travis West as Ruby’s sailor boyfriend Dick; and Derrick Jaques as Dick’s friend Lucky, who also happens to be Joan’s on-again, off-again boyfriend.

Returnees Steve King in the dual roles of theater entrepreneur Hennesey and the naval officer Captain Courageous and Robyn O’Neill as the diva Mona Kent together generate some of the show’s most humorous moments with a touching number called “The Beguine” that recreates their youthful romance. King alternates between sweet, shy glances and lascivious ogling of O’Neill’s bosom. O’Neill may portray a star who is losing her luster, but it’s impossible to feel sorry for her character as she also acts as the protagonist, jealously trying to hang on to the ingenue role while maintaining leading lady status – a dangerous game that wreaks havoc on Ruby and Dick’s budding romance and nearly sidelines the entire show within the show.

In the spirit of a large-scale musical, everyone sings and everyone dances. O’Neill gets to strut her stuff in the opening number and to belt her heart out in “Wall Street” and “That Mister Man of Mine.” Forbes shines in her lovelorn ballad, “Raining in My Heart,” which is more touching than her big show-saving number, “Star Tar.” On Saturday, parts of “Choo Choo Honeymoon,” one of two big numbers for Morris-Anastasi, were unintelligible from my seat on the right side of the audience. I don’t know if the same was true for those further left, but this is something that is certainly easily fixed through technology, staging, or a combination of the two.

I was quite pleased to see – and hear – that Dames at Sea is one musical that takes its dancing seriously. The work is infused with tap dancing – and while it appeared to leave O’Neill a bit winded, Forbes, Morris-Anastasi, Jaques, and West came with the energy. What they may have lacked in technique (none would fare well, hypothetically speaking, in a contest with Savion Glover) they more than made up for this potential shortcoming with big attitudes and a facility for handling props (mops, umbrellas, and more). We have choreographer Alissa Pagnotti to thank for this enthusiastic, period-style tap choreography.

Tom Width directed with his usual innate joy – every play he directs seems to be his favorite – and did the scenic design as well. There was no magic in this script, but Width did manage to work in an avalanche of falling bricks and oversized wrecking ball in Act 1, and a couple of cannons blasting confetti at the finale. Leilani Fenick is the musical director, conducting an 8-piece orchestra hidden behind the set. Zachary Townsend designed the lighting, which includes a follow-spot intentionally designed to recreate the authenticity of the period, and Maura Lynch Cravey designed the costumes. I was particularly fond of Ruby and Joan’s tap shorts. (Yes, I did mean shorts, and not shoes.) Dames at Sea is a leave-your -worries-at-the-door and just enjoy yourself kind of musical.

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:

Swift Creek Mill Facebook page

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ERMA BOMBECK: End-to-End Wit

ERMA BOMBECK: At Wit’s End

A Theater Review by Julinda D. Lewis

VirginiaRep

At: Hanover Tavern, 13181 Hanover Courthouse Road, Hanover, VA 23069

Performances: March 2-April 15, 2018; Acts of Faith post-show discussion Sunday, March 18 UPDATE: This show has been extended through April 29! 03/26/2018

Ticket Prices: $42

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

Writers Allison Engel and Margaret Engel pulled much of their material for their one-woman play, Erma Bombeck: At Wit’s End, directly from Bombeck’s own words. The syndicated columnist and best-selling author who was active from the 1960s through the 1990s was known for her often self-deprecating and invariably witty assessments of her own life as a suburban housewife.

Catherine Shaffner steps easily into the role, so much so that one nearly forgets she is acting. Bombeckian one-liners like “never go to a doctor whose office plants have died” roll off her tongue with ease. Occasionally, the humor becomes pure poetry as when Shaffner relates Bombeck’s reminiscence on pregnancy: “the wonderment growing inside me was the only chance in life to assist God in a miracle.”

Along this one-hour journey, we learn that Bombeck started out making a mere $3 per column, but at her peak her work was syndicated in 900 newspapers throughout the US. One of her 3 children described her job as a “syndicated communist.” Bombeck also published 15 best-selling books which provided her with the celebrity and the currency to travel around the country with Betty Friedan as a champion of the ERA (Equal Rights Amendment). The woman who once characterized feminists as “roller derby dropouts” became an ardent supporter of women’s rights and a member of the President’s Advisory Council for Women. Much to her disappointment, the amendment failed three votes short of the 38 needed for ratification.

The period from the 1960s to the 1990s was a significant time for women who were seeking to establish a balance between family and career and that is illustrated in some humorous and subtle ways in the play. Most strikingly, see Shaffner/Bombeck locked away in her bedroom, perched on the edge of her bed, using an ironing board for a desk, banging away on a portable manual typewriter, as her children slip notes under the door asking for money to go to McDonald’s. (After digging around in the cushions of a chair, Shaffner/Bombeck slides the pile of coins under the door in response.)

Marcia Miller Hailey has dressed Shaffner in black slacks, a print blouse, and flats. She may be a nationally known author and feminist supporter, but she looks like a car pool mom. John Moon directed Shaffner – a job that I am sure was made all the easier because of Shaffner’s laidback expertise and natural wit. Her pacing and timing were perfection – never rushed, never hurried, but rather intimate and inviting. Several times the corded push-button phone on Bombeck’s bedside table rang and she informed her husband, Bill, that she had people over – meaning us, her audience. The size of the theater, with seats on three sides of the stage, reinforces this sense of intimacy and inclusion.

One thing I found a little odd was Terrie Powers’ set. It depicts a modest suburban home, supposedly in a subdivision in Dayton, Ohio, with the usual elements such as a raised step at the front entrance with a bit of decorative railing, and sections of a sitting area, a nearly complete bedroom, and a dining area with neatly some appliances neatly ensconced on shelves. I understand that the bedroom was centerstage because it was Bombeck’s office, but I found the placement of the bedroom and the proportions of the partial rooms around it peculiar and distracting – and little homey touches like an apron, a laundry basket, a visibly cordless iron, or a vacuum cleaner that seemed slightly out of sync with its recorded sound didn’t help matters.

Decorating dilemmas aside, Erma Bombeck: At Wit’s End is a delightful hour of theater (sans intermission) that will send you home with the corners of your mouth upturned and your cheeks sore from smiling.

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 Sutton

Erma Bombeck: At Wit's End — Catherine Shaffner

I AM MY OWN WIFE: One man, 30+ characters

A Theater Review by Julinda D. Lewis

Richmond Triangle Players in Collaboration with 5^th Wall Theatre

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

Performances: March 8-17, 2018

Ticket Prices: $10-30

Info: (804) 346-8113 or rtriangle.org

I Am My Own Wife is undoubtedly one of the more unusual plays of the season. Written by Doug Wright, the Pulitzer Prize and Tony Award winning production is a one-man show about a man living as a woman in East Berlin up to and beyond the dismantling of the Berlin Wall. And it is so much more than that. Scott Wichmann plays all of the more than 30 characters, but the focal point is Charlotte von Mahlsdorf, perhaps one of the most well-known transvestites in history.

Charlotte earned a living as curator of the Gründerzeit Museum – a mansion filled with an eclectic collection of everyday objects, mostly salvaged from war-torn Germany during the time of the Nazi regime. Needless to say, antique bureaus, gramophones, original Edison phonographs, and cuckoo clocks were not nearly as rare as a man wearing a dress in Nazi Germany. The fact that Wichmann does not make an attractive woman is all the more realistic, as by all accounts, Charlotte was not your usual glamorous drag queen, but rather preferred to wear a plain black dress, her own hair – quite white in later years – and a simple string of pearls. As if this isn’t intriguing enough, Charlotte von Mahlsdorf, nee Lothar Berfelde, was a real person (1928-2002).

Wright based his play on a series of interviews he conducted with Charlotte between August 1992 and January 1993. Much of what he discovered was unverifiable or contradicted by written accounts – many of which, themselves, were suspect. The plot thickens with accusations and evidence of Charlottes spying for the Stasi, or German secret police, which stood in stark contrast to her being honored in 1992 with the Bundesverdienstkreuz or Order of Merit of the Federal Republic of Germany for her work in preserving German artifacts. Wright, who wrote himself into the play as one of the dozens of characters, raises questions and leaves his audience to draw our own conclusions.

Wichmann, who has mastered the one-man show with several productions, including the 40+ characters in the wild and witty Totally Committed and a spot-on portrayal of comedian George Burns, has experience with Charlotte von Mahlsdorf, having played this role before, in 2006, with the same director, Morrie Piersol. I did not see that production, but can only assume that both brought new insight, depth, and maturity to the current production.

I Am My Own Wife, a statement Charlotte made dismissively when her mother suggested it was time to marry, is a riveting production, anchored by Wichmann’s razor sharp and eerily effective character transformations. Each character has his or her own distinct voice, accent, facial expressions, posture, and mannerisms. To my wholly inexpert ears, Wichmann’s Texan accent and German phrases sounded quite authentic and I was actually quite pleased with myself at being able to pick out many of the German words and phrases. How so many different people can inhabit one fairly compact body without any physical or visible damage is amazing.

One may choose to agree or disagree with von Mahlsdorf’s lifestyle, one may choose to sympathize with or loathe her decision to become a spy, one may even question Wright’s choices about what to include in the play and what to exclude. Wright states in a program note that he used “somewhat selective remembrances” of his encounters with von Mahlsdorf and took the “customary liberties of the dramatist” in editing the work, but there is no denying that this is a fascinating piece of theater, well cast, and brilliantly executed. The subject is no laughing matter, but there are a few well-placed moments of humor – something the opening night audience seemed not too sure of at first. It could have been due to Charlotte’s enigmatic nature; in describing the reconstructed gay bar in the basement of the manor house, for example, Charlotte/Wichmann says the original owner catered to homosexuals because they didn’t get drunk, didn’t fight, and always had money to pay the bill.

Kudos to Piersol for his unobtrusive direction, to Frank Foster for a simple yet elegant, sharp edged set, Andrew Bonniwell’s subtle lighting, and Lisa Lippman’s plain yet effective costume design. I Am My Own Wife has a very short run – just eight performances – so don’t hesitate it if you think you might want to see it. You won’t be sorry.

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, WomeninEuropeanHistory.org, and RTP website

I Am My Own Wife_John MacLellan — Scott Wichmann as Charlotte von Mahlsdorf

My Own Wife Charlotte — the real Charlotte von Mahlsdorf

HELEN SIMONEAU DANSE: Land Bridge

A Dance Review by Julinda D. Lewis

At: Virginia Commonwealth University School of the Arts W. E. Singleton Center for the Performing Arts, 922 Park Avenue, RVA 23284

Performances: March 3, 2018

Ticket Prices: $20 Adults; $15 Students

Info: (804) 828-2020 or http://arts.vcu.edu/dance/

Virginia Commonwealth University’s Department of Dance & Choreography is hosting the 2018 Mid-Atlantic South Regional Conference of the. American College Dance Association March 4-7, 2018. More than 400 students and faculty from college and university dance programs around the region and the nation are expected to attend the four days of adjudicated performances, master classes, scholarly research presentations, and myriad opportunities for student and faculty exchanges both in and outside of the studio. Build around the theme of Bridging Community, the conference will celebrate “dance as a means of forging empathy and connection through inquiry and effort.”

On Saturday the North Carolina-based contemporary dance company of Helen Simoneau offered a pre-conference concert for one night only. Simoneau’s first evening length work is aptly titled “Land Bridge,” and is based on an investigation of heritage, assimilation, and identity as seen through the lens of a herd of caribou. (This makes sense once you realize that Simoneau is a native of Québec, Canada where caribou, also know as reindeer in this part of the world are a threatened species – that’s a step down from endangered.)

Simoneau’s diverse troupe of eight dancers is sublimely athletic and it is mesmerizing to watch them move through this piece. The work begins with the dancers moving in slow procession to the beat of a drum. They sink majestically into a one-legged plié, as if trudging or migrating unhurriedly through deep snow. The silhouette of the dancers’ bodies, with heads bowed and shoulders and upper torsos rounded also suggests those pictures of the evolution of man.

“Land Bridge” is about cycles and repetition. The opening processional repeats several times before the herd changes direction and the movement reappears in abbreviated form later in the hour-long work. At one point all eight dancers connect and spin apart like a centrifuge, then balance on one leg with both hands held at the sides of their heads, fingers pointing up, suggesting antlers. A tandem crawl, with one dancer face up atop the back of the other, suggest the communal nature of this work and at the same time is a typical tableau. Another is a bottoms-up posture with the head on the ground – a reference, no doubt, to the caribou’s manner of digging into the snow in search of food, and to the etymology of the French-based word “caribou” which can be translated to mean “snow shoveler.”

In a post-show talk, Simoneau elaborated on how her work often focuses on the individual within the group and the many ways in which the dancers’ connections reflect variations of locking antlers, sharing weight and power. This is especially clear in a section where two men meet center stage and fall into one another, forcefully dragging and tossing one another in a great display of power. “Land Bridge,” in which the patterns and cycles of animals and humans merge and become one is set to an original score by Nathalie Joachim that blends human and electronic sounds. Chanted sighs and percussive gurgles cycle and repeat while the lighting by Carrie Wood at times makes the dancers look as if they were lit from within.

Dancer Burr Johnson, now in his eighth season with Helen Simoneau Danse, is a VCU Dance alum. It’s always a pleasure to see successful students return to show off their results of their hard work. Personally, I can hardly wait for this company to return to Richmond for another public performance – hopefully for more than one night.

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:

Company photos by Peter Mueller; Helen Simoneau’s portrait by Todd Turner Photography

Land Bridge

Helen Simoneau

WINGS: A brilliant stroke of a musical

WINGS THE MUSICAL:

A Theater Review by Julinda D. Lewis

At: The Firehouse Theatre, 1609 West Broad Street, Richmond, VA 23220

Performances: February 15 – March 10, 2018; Post-performance talkbacks March 1 & 8

Ticket Prices: $20-35

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

Bianca Bryan is brilliant as Emily Stilson, a former wing walker (a daredevil who performs acrobatics or stunts on the wings of a moving plane) navigating through the darkness and struggling to recover her memories and her words after suffering a stroke. Jeffrey Lunden’s Wings: The Musical is a not a musical in the traditional sense. Described in the Firehouse Theatre’s press release as a chamber musical because of its small cast of five and trio of musicians, Bryan’s role is written with a sometimes-operatic musicality that represents the depth and scope of Emily’s reach for her former self.

The focus is almost entirely on Emily, and Bryan remains on stage for the entire 80 minutes. Her mastery of the garbled speech patterns of a stroke patient are all too familiar and make the clarity of her singing even more dazzling. As is so often the case this season, there is no intermission. Lauren Elens has a strong supporting role as Emily’s discerning therapist and friend, Amy, and Landon Nagel has a shining moment as a fellow patient in Emily’s rehabilitation center as, Billy. A former baker or chef, Billy has trouble remembering his signature recipes, but finds putting his thoughts into song during a music therapy session helpful. The result is a fabulous song about cheesecake.

Andrew Colletti and Lucinda McDermott round out the cast, playing dual roles, first as Emily’s somewhat stern and distant doctor and nurse and later as fellow patients and group members Mr. Brambilla and Mrs. Timmins. Bryan sings most of her lines; the rest of the cast speaks most of theirs.

On a raised platform, Music Director Kim Fox plays keyboard, with Maddie Erskine on cello and Taylor Bendus on Flute. (Even with the raised platform, the petite Fox was invisible behind her music stand, but her signature musical style and direction were unmistakable.) The music is quite good and combined with the sound design and lights Wings is a small musical that carries a big impact.

Vinnie Gonzalez designed a clean and spare set, populated with a couple of movable benches, a serving art, and a wheeled chair – not a wheelchair – for Emily. Two platforms adorned with wires added depth and there were subtle touches like the protective griffin symbols painted on the blue walls and the double winged ceiling fan over the stage. Bill Miller’s lighting was at times breathtakingly beautiful, especially at the end, and Jason Blue Herbert’s sound design added depth and texture, peppered with realistic roaring engines. All of this was beautifully woven together by Kerrigan Sullivan’s sensitive direction, bringing a gentle and empathetic perspective to a difficult and seldom explored subject.

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 — Bianca Bryan, Lauren Elens, Landon Nagel, Lucinda McDermott, Andrew Colletti, Maddie Erskine, Kim Fox, Taylor Bendus

Top: Maddie Erskine, Kim Fox & Taylor Bendus. Below: Bianca Bryan

Bianca Bryan as Emily Stilson

Lauren Elens, Landon Nagel, Bianca Bryan & Lucinda McDermott

Bianca Bryan

BRIGHT HALF LIFE: A Beautiful Mess

BRIGHT HALF LIFE: a part of The Cellar Series: This Beautiful Mess

A Theater Review by Julinda D. Lewis

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

Performances: February 17-24, 2018

Ticket Prices: Tickets $20

Info: (804) 505-0558 or theatrelabrva.org

I would try to explain what this Cellar Series is about, but TheatreLAB Associate Artistic Director Katrinah Carol Lewis has already stated it so well: “This series takes the traditional love story – we meet, we fall, we fight, we figure it out, or we flee – and turns it inside out and upside down. These explorations of romantic relationship ask us to abandon our notions of time, space and reality to expose the true essence of our connections to each other. It’s beautiful and it’s messy and it’s ours: this beautiful mess.”

Bright Half Life, written by Tanya Barfield and directed by Melissa Rayford, is the first of three works in this series. A two-woman play performed without benefit of set or props (it uses the stripped bare apartment set of the space’s previous show, I’m Gonna Pray for You So Hard) adorned simply with 9 black boxes that I’m sure I’ve seen on other stages in other productions.

Kylie M.J. Clark plays Erica and Amber Marie Martinez plays Vicky, two women involved in a decades-long relationship. It’s helpful to know this before the play starts, because once it begins, the actors and audience abandon all sense of linear time. This relationship unfolds emotionally, not chronologically. Lines and scenes are repeated, from different places and perspectives, and in the repetition, layers are peeled back, and lives revealed based on what has occurred since the last time we heard those words and phrases. In a way it is radical and messy, but on the other hand, it is a strangely accurate reflection of how many of us think.

The audience is seated on both sides of the set and limited seating brings the audience up close and right in the faces of the two characters. This allows us to see the fear on the face of Erica as she sits, white-knuckled, in the gondola of a ferris wheel or attempts sky-diving, all to please the more adventurous Vicky. Clark’s face is open and while sometimes we can read her like a book, it is a book with secret and untranslatable passages. Martinez brings authenticity to her role: while Vicky is obviously more adventurous than her partner, she is also more uptight. Years go by before she actually comes out to her Latino family; they refer to Erica as her “special friend” and helpfully pretend that she is a roommate helping Vicky care for their daughters.

There are several running themes, the most memorable being the sky diving scenes and the alphabet game the two women have developed. Sometimes it’s funny and other times it turns inward and cruel, as games sometimes do. A bell or other sound signals the rapid changes of time and scene and it is indeed fascinating to witness the clarity and speed with which both Clark and Martinez switch back and forth in time.

Dressed simply in contemporary casual clothing – although Erica’s shirt is a little more “butch” – there is nothing other than the dialogue to indicate time, place, or age, so we must rely on the skill of the actors. Both are successful because by the time we have followed their journey from first date to first and second marriage proposal to childbirth and divorce, the marriage of their daughter, and reconnection as an older, more traditional Vicky comes to terms with failing health, they have completely captured their audience, and their final leap was met with joy, relief, and perhaps not entirely dry eyes.

Rayford’s direction is seamless and natural with the able assistance of Michael Jarett’s lighting and Lucian Restivo’s sound design. What is less than satisfying is the probably intentional vagueness about exactly what kind of company the women work for, what Erica’s vocation is prior to starting her teaching career, and – to a much lesser extent – the nature of Vicky’s illness. Vicky’s Latino heritage is significant for her character, but I noticed that off-Broadway in New York the two women were black and white, rather than Latino and white, and I wonder if the script adjusts for these differences. Could one character be Asian and the other white – or some other ethnic combination – and how would that change the dynamics?

Bright Half Life – named for the scientific concept of the time it takes for a property, in this case love, to decrease by half – is part of the 2018 Acts of Faith Fringe Festival. The Fringe Festival is a category for productions that do not meet all the criteria for the Acts of Faith Festival, perhaps because of a short run or a community rather than professional production company. At the time of this writing, only two performances remain (Friday and Saturday) and this is one heart-warming production you will not regret seeing.

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 Credit:

Louise Ricks

Bright Half Life — Amber Marie Martinez, facing front & Kylie M.J. Clark facing away

Bright Half Life2 — Amber Marie Martinez

A RAISIN IN THE SUN: What happens to a dream deferred?

A RAISIN IN THE SUN: “What happens to a dream deferred?”

Some Thoughts & A Theater Review by Julinda D. Lewis

By: Virginia Repertory Theatre

At: The November Theatre at Virginia Repertory Center, 114 W. Broad St., RVA 23220

Performances: February 16 – March 11, 2018; Previews February 14 & 15; Pre-Show Discussion Sunday, February 25; Post-Show Talk Backs Thursday February 22 & March 1

Ticket Prices: $30-50; $15 for students with ID

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

When A Raisin in the Sun debuted on Broadway in 1959, it marked the first time the work of an African American woman was produced on the Great White Way. Who knew, when Broadway was given that nickname in 1902, how ironic it would later become. The Great White Way did not refer to racial segregation, but rather referred to the mile or so of the New York City theater district that was illuminated with Brush arc lamps, making it one of the first streets in the USA to be illuminated with electric lights.

A Raisin in the Sun is considered the seminal work of playwright Lorraine Hansberry, although it was initially considered a risky investment, with its focus on black life and there was concern as to whether African American life issues could be considered universal. Fast forward 59 years. The Richmond opening of the VaRep production of A Raisin in the Sun coincides with the opening of the Disney movie, Black Panther, and there is considerable Internet chatter as to whether white audiences can relate to an African superhero. Coincidence or serendipity; the more things change, the more they remain the same.

A domestic drama that offers sharp insights into black American life, A Raisin in the Sun has the occasional moment of humor that helps us navigate through the day-to-day setbacks and life-changing tragedies of life. Interestingly, during intermission, one friend remarked that during the previous night’s preview, the audience laughed as if they thought the play was a comedy. After the opening night show, while retrieving our car from the parking lot, another theater-goer remarked to me how much she appreciated the humor. This second encounter and comment gave me pause, and I wondered whether this play reads differently to different audiences, based on race and generation. For me, it was and is a very realistic play and the character of Lena or Mama, especially as played by Trezana Beverley, reminds me of my own grandmother, who was born in 1913 and was 46 in 1959, placing her in roughly the same generation as the elder Mrs. Younger character. The cadence of their speech, their very posture was the same; these women were matriarchs whose word was law. One look from their laser eyes could stop a word that was halfway out of your mouth and send it ricocheting back into your throat where it would lodge and choke you back into the realization of who was really in charge in this house.

Whether you approach it from the emic perspective of one who sees a reflection of their own family or the etic perspective of one who is looking into the window of black life, A Raisin in the Sun can be a powerful and intense theatrical experience. Running nearly three hours with one intermission, it takes its time developing, allowing the intricacies of the characters and situations to sink in, to marinate, and it does so without seeming to drag or get weighed down. This I credit to Hansberry’s writing, the intimate direction of Dr. Tawnya Pettiford-Waites, and the cast, led by Tony Award winning actress Trezana Beverley as Lena “Mama” Younger, Jerold E. Solomon as Walter Lee Younger, and Katrinah Carol Lewis as Ruth Younger. (Beverley was the first African American actress to receive the Tony Award for Best Featured Actress in a Play, for the 1977 production of For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.)

Walter Lee has dreams. Having spent most of his life as a chauffeur, he is at a crisis. Now 35 years old, he and his wife live with his mother and his sister in a one-bedroom tenement apartment. His 10-year-old son, Travis, sleeps on the living room sofa, and the family shares a bathroom in the hall with the other families on the same floor of their apartment building. The recent death of Walter Lee’s father has the family anxiously anticipating the delivery of a $10,000 insurance policy check – the most money any of them has ever seen. What’s to be done with this money? The family could use a house of their own. Walter Lee’s sister, Beneatha needs tuition money to attend medical school. Walter Lee needs capital to invest in a liquor store business venture and has two partners waiting in the wings – Bobo, played by Joseph Marshall, and the unseen and unscrupulous Willy.

Beverley, who has played this role before, is authentic, strong, and steady as Mama Younger. She thoroughly embodies the strong but loving Christian matriarch, who wears her housedresses like royal robes and doesn’t leave home without a proper hat. When she does raise her voice, or lift her hand to strike, the audience sits at attention and sucks in its collective breath.

Solomon gave a strong performance on opening night but seemed to still be feeling his way as Walter Lee. His transitions from desperately seeking entrepreneur to loving husband to playful brother to intentional father were not always even or believable. Perhaps, internally, the struggle was all too real.

Lewis, who seems to become every character she plays, was visibly controlled as Walter Lee’s wife. It was as if she was a bomb squad technician expertly trained to defuse bombs – only her assignment was a human time bomb, Walter Lee. The interaction between Lewis and Beverley was easy and unaffected, as if they had developed a secret and silent communication out of the necessity of navigating a safe path around Walter Lee.

Jasmine Eileen Coles had one of the most interesting of supporting roles. Beneatha is not just a supporting role, but a pivotal plot point, illustrating the balancing act black Americans must negotiate between assimilating into white American culture or seeking identity in African culture. Her two love interests further reinforce these opposing options. George Murchison, the rich black American, played by Kevin Minor, is smug and secure in his assurance that he has learned to play the game. The purpose of going to college, he assures Beneatha, is not to learn to think, but to get the degree. Walter Lee doesn’t realize how deeply he has really offended George when he teases his about his clothes and his proper speech. Then there is Beneatha’s Nigerian beau, Joseph Asagai, played by Bru Ajueyitsi, whose name and resume suggest that his Nigerian accent is not fake but inherited. Asagai not only reminds Beneatha of her roots, but offers a different perspective of the American dream, seen through the eyes of one whose colonial experience has been, perhaps, somewhat less oppressive or more liberating than the American slave experience and its residual effects. Ajueyitsi delivers his character’s wisdom with warmth and freshness that helps shed light on this family’s darkness.

Matthias Williams, a middle school student, played Travis Younger with sass and assurance. He rotates in the role with Caleb Brown McWhite. Doug Blackburn is the sole white character, Karl Lindner, a representative from the white neighborhood association sent to dissuade the Younger family from becoming the first colored family to move into an all-white neighborhood. As such, he is politely rude and dismissive, issuing a constant stream of what we now call micro-aggressions, such as referring to the Youngers as “you people.”

On the production side, Katherine Field has designed a comfortably shabby 1950s apartment. Lynne Hartman’s lights often yield creative patterns, and Derek Dumais’ sound design includes such details as the sound of the upstairs neighbor’s vacuum cleaner. Emily Tappan’s costumes are era appropriate and include some lovely poufy dresses for Lewis and Coles.

As with past year’s productions such as The Color Purple and Dream Girls, A Raisin in the Sun drew a more racially diverse than one usually sees on a typical night at the November Theatre – or any Richmond-area theater, for that matter. There is no shortage of quality theater in Richmond, but, as the play shows us, and as Karl Lindner suggests, people seem to feel more comfortable staying separate, with their own kind, and maybe it’s long past time for a change.

A Raisin in the Sun is, unfortunately, still as relevant for as it was in 1959, and that a talking point right there. The production runs through March 11, and there are free discussions scheduled before the show on Sunday, February 25 and after the show on Thursday, February 22 and March 1. For those who have seen A Raisin in the Sun years ago, it’s time for another look. For those who’ve never seen it, now is the time.

Historical Note:

When A Raisin in the Sun opened on Broadway in 1959, not only was it the first Broadway play written by a black woman, it was also the first Broadway play featuring a black director, Lloyd Richards. The original cast included Sidney Poitier (Walter Lee Younger), Claudia McNeil (his mother, Lena Younger), Ruby Dee (Walter’s wife, Ruth Younger), Diana Sands (Walter’s sister, Beneatha Younger), Ivan Dixon (Joseph Asagai, Beneatha’s Nigerian love interest), Louis Gossett (George Murchison, Beneatha’s wealthy African American love interest), Glynn Turman (Travis Younger, Walter and Ruth’s son), Lonne Elder, III (Bobo, one of Walter’s business partners), Douglas Turner and Ed Hall as the moving men, and John Fiedler as Karl Lindner, the play’s only white character. Ossie Davis later took over the role of Walter, opposite his real-life wife, Ruby Dee. Many of these names are familiar and the play launched the careers of some of these stellar actors.

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:

Photos by Jason Collins Photography