ATLANTIS: The Truth Will Rise. . .

ATLANTIS: A New Musical

A Theater Review by Julinda D. Lewis

At: The November Theatre Marjorie Arenstein Stage

Performances: April 12 – May 5, 2019

Ticket Prices: $36-63

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

Keep in mind that Atlantis is the fictionalized representation of an ideal society – a utopia – and you will have an idea of the strengths and weaknesses of the new musical, Atlantis: a new musical. Atlantis is being developed by Virginia Rep in partnership with Glass Half Full Productions and Greg Schaffert (Peter and the Starcatcher) as well as PowerArts and support from the Muriel McAuley Fund for New Plays and Contemporary Theatre.

This production boasts a boatload of designers and artists. Matthew Lee Robinson wrote the music and lyrics, while the book was a joint effort of Ken Cerniglia, Robinson, and Scott Anderson Morris. The story, which involves the uncovering of secrets that make this idyllic island possible and a young girl who questions the status quo, reminded me of the Disney children’s film, Moana, that I unwittingly watched while spending quality time with my Miami grandchildren one visit. The music was well written, but the lyrics were not memorable – and not always easy to understand.

Jason Sherwood’s seaside fantasy set with its billows of fabric that suggested fish scales and waves, the neon arches, and the moveable structure that could be a mountain, a boat, or whatever it needed to be, was attractive and purposeful, creating a feeling that was both ancient and futuristic at the same time. BJ Wilkinson’s lighting and Derek Dumais’ sound design enhanced this effect and the overall feeling of another world, sometimes shadowy and sometimes brilliantly colored. Anthony Smith was the musical director and Kikau Alvaro did the choreography – both of which worked with Tony award nominee Kristin Hanggi’s direction to keep things moving along at a good pace. Amy Clark’s costumes seemed to be in search of an era, with some garments – as well as hairstyles – appearing to be inspired by ancient times and other by futurism. Think Star Trek meets Ancient Greece.

I enjoyed the cast, although many of the characters seemed underdeveloped. There were a lot of people in the cast, but it seems only a few had names we needed to learn or remember. Antoinette Comer was both skillful and interesting in the lead role of Maya, the ruler’s daughter who was determined to rock the proverbial boat, but the role of her counterpart, Kaden, played by Julian R. Decker seemed to have been given less thought – although he did get the most soaring solo of the show,  with  “Let’s Start a War.” Marcus Jordan was interesting but a little stiff as the ship wrecked stranger, Arah, who washed ashore and confirmed Maya’s long-held suspicions and The Order’s worst fears – that there was, indeed, something beyond “the seam” where the sky meets the ocean. A favorite character was Lucy Caudle as the ever-present and deeply observant little sister, Alexa.

Jerold E. Solomon, Katrinah Carol Lewis, Susan Sanford, and Debra Wagoner as some of the adult leaders and parents all had distinct and interesting roles that were not yet fully developed – sort of like the adults in Peanuts who are often depicted as instruments whose sounds are not fully articulated. Of course, this could have been done on purpose, to emphasize the secrecy that shadowed this utopian community.  It will be interesting to see how, as this work is developed and refined, these characters are developed without substantially lengthening the show, which currently runs around two and half hours, with one intermission.

So, like a true utopia, which exists only in the mind, Atlantis is not perfect, but it is an enjoyable musical that is quite unlike all the other offerings of this current season. And it’s definitely worth seeing. For some, it’s pure entertainment, and for others, it represents an opportunity to study a production from its inception and watch how it changes over time.

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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BINGO! The Winning Musical: Grab Your Dauber and a Rabbit’s Foot

BINGO! The Winning Musical: A Birthday Tribute

A Theater Review by Julinda D. Lewis

At: CAT Theatre, 419 No. Wilkinson Rd., RVA 23227

Performances: April 19-May 4, 2019

Ticket Prices: $23 General admission; $18 RVATA Members; $13 Students

Info: (804) 804-262-9760 or cat@cattheatre.com

The invitation to “come play Bingo with us” is not just hollow words. The first thing I noticed when I entered the CAT Theatre space on Tuesday evening was the aroma of popcorn. After checking in at Will Call and obtaining my program, I was given a set of bingo cards, a dauber, and a ticket that could be exchanged for a cup of popcorn before the show or during intermission. Inside the theater half the audience seats had been replaced by tables for six, transforming the space into a reasonable replica of a bingo hall.

Bingo! The Winning Musical, with book by Michael Heitzman and Ilene Reid and music and lyrics by Hietzman, Reid, and David Holcenberg, is an interactive comedy that kept the audience engaged with three fairly fast-paced rounds of standard bingo (five-in-a-row) while the actors participated in more advanced versions of the game, such as covering numbers in the shape of a happy face or an airplane. The play, directed by Pat Walker, opens on three friends staring out the window observing a raging storm, and briefly debating the wisdom of attending their weekly bingo storm. Bingo wins out over safety, and they show up late at their favorite bingo hall only to find that they have missed the early bird game and even worse, some newcomers (i.e., theater patrons) have taken their lucky seats.

Honey (Caitlin St. Clair) is a blonde bombshell with a heart of gold. A rather dim bulb, she is three-times divorced and has her eye on Sam (David Atkins), an ex-con auto mechanic who calls the numbers for the bingo games. Patsy (Sandra Clayton) is a petite woman in a brightly colored jogging suit who has adopted a number of superstitious rituals involving troll dolls and rabbits’ feet. She won’t play bingo without performing her rituals, although it has apparently been years since she has actually won a game. Finally, there is the sharp-tongued Vern (Amber Dawn dePass), the leader of ladies’ night out by virtue of her strong personality.

Bingo! The Winning Musical is set in a fictitious suburb in Pennsylvania in current times on the 90th anniversary of the birth of bingo. For some reason, it seems as if the group is celebrating the birthday of Edwin S. Lowe, who popularized – but did not invent – the game of Bingo. Lowe’s portrait has a prominent place center stage, there are birthday cakes, and the cast sings “Happy Birthday” as a postlude. (Interestingly, while it is known that Lowe died on February 23, 1986 in his Manhattan home, his exact birthdate is unknown, other that it was sometime in 1910 in Poland.)

In flashbacks, we learn that fifteen years ago Vern had a major falling out with her best friend, Bernice (Vanessa Fetcher) over a winning bingo card, and the two haven’t spoken since. Since this is a comedy, Bernice’s daughter Alison (Emma Grace Bailey) shows up in the present to try to reconcile her mother and Vern as Bernice is dying. And since this is a comedy, Alison has disguised her long brown hair with a long brown wig – and no one recognizes her except Minnie, the manager of the bingo hall, who tags her as a soap opera actress.

At one point Vern heckles an audience member who is sitting in “her” lucky seat because he has won the door prize – which she even attempts to take from him. Minnie Martinelli, the manager of the bingo hall, maintains order among the ladies, assists the patrons of the bingo hall (including the audience members), and does basic maintenance. This includes everything from keeping everyone calm when the power goes out because of the storm to sweeping up discarded bingo cards to sucking the gas out of a patron’s car to refuel the generator when it runs out of gas.

 

Martinelli, who is played by Cynthia Mitchell, Executive Producer of the Bifocals theater of senior actors and a CAT Theatre Board member, does of all this with a soft voice and surprisingly subtle comedic timing, while dePass and Fletcher carry off the broader, more physical comedy. Bailey’s over the top solo, Nurse Ratched’s Lament from Cuckoo, the musical version of One Flew Over the Cuckoo’s Nest had actors in the audience roaring with laughter.

There are humorous scenes involving a moving portrait and a hidden door, and a “surprise” ending. With all of this going on, it’s a mystery that the first act seemed to drag on far longer than the hour it actually took. And it’s almost possible to forget this is a musical, even though there are at least half a dozen songs and reprises of several. The reason for this, I think, is that while the actors have pleasant voices, they rarely project and soar, but rather sing as if trying not to disturb the neighbors. I’m not sure if this was an artistic decision by music director dePass or due to acoustic limitations. There’s that and also that the music is recorded rather than live. At one point I found myself considering the word parody to describe this show.

In addition to dePass who played Vern and was Music Director, St. Clair did double duty as Honey and the show’s Dance Captain. And Pat Walker was both Director and set designer.  There were several dance numbers featuring umbrellas as props. The minimal set – unusual for CAT Theatre – consisted mostly of black walls, a portrait, a desk for Sam, a table for the Bingo!  ladies, and, of course, the tables for the audience.  Atkins, Fletcher, and Mitchell were all making their debut on the CAT stage. Walker previously directed Enchanted April for CAT a few years ago and has directed the Bifocals senior theater for both Barksdale/Virginia Rep and now Bifocals at CAT.

On leaving the theater, many people remarked how cute Bingo! is, with one describing it as adorable. There is nothing remarkable about Bingo! The Winning Musical. It is an enjoyable, stress—free two hours of musical comedy that doesn’t require the audience to think or make decisions or judgments. And you get to play along.

 

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: Courtesy of Ann Davis

Bingo.1
Sandra Clayton, Amber Dawn dePass, and Caitlin St. Clair
Bingo.2
Sandra Clayto, Caitlin St. Clair, David Atkins, Emma Grace Bailey, and Cynthia Mitchell
Bingo.3
Sandra Clayton, Emma Grace Bailey (front), Amber Dawn dePass (rear), and Caitlin St. Clair

WOMEN’S THEATRE FESTIVAL: The Best Man in the Government – גּוֹלְדָּה מֵאִיר

WOMEN’S THEATRE FESTIVAL: Golda’s Balcony

A Theater Review by Julinda D. Lewis

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

Performances: March 28, April 3, 7, 13 & 18, 2019

Ticket Prices: $25 general admission; $20 for RAPT card holders; $15 for students

Info: (804) 359-2003 or 5thwalltheatre.org

Isaiah 56:5 (NIV)

to them I will give within my temple and its walls
    a memorial and a name
    better than sons and daughters;
I will give them an everlasting name
    that will endure forever.

Golda’s Balcony, a one-woman play about the Israeli stateswoman, Golda Meir, is a heart-touching work of historical fiction by William Gibson. Written in 2003, Golda’s Balcony was Gibson’s second attempt to capture Meir on stage; he was not quite satisfied with his earlier multi-character work, Golda (1977) and it is said that Meir herself saw it and hated it. Meir died in 1978 of lymphoma, and so never got a chance to see Golda’s Balcony.

This is not a pretty play. It is full of war: talk of war; sounds of war; thoughts, feelings, results, and regrets of war. It begins with the start off the Yom Kippur War, in 1973 and Meir, played with heart and gusto by none other than Jacqueline Jones, is clad in a bathrobe, looking every inch the Jewish grandmother. This image is soon dispelled, however, as she is thrust into the midst of an unending and seemingly unwinnable (by either side) war. She sheds the bathrobe for a power suit and takes up the banner of the Jewish state of Israel.

“Survival is maybe a synonym for Jewish,” Meir says at one point. Later, she conjures up the image of a biblical “Abraham messing around with the house maid” being responsible for the ongoing political and religious conflict of two groups of people fighting over one piece of land.

Jones owns this role. During the talkback following the final showing of this work, director Debra Clinton, who worked with Jones during her first performance of this show at Weinstein JCC in 2010, said that the passing of time had made Jones even better in this role, and that at times – when she leaned across the Prime Minister’s desk, for example – she actually looked like Meir. I personally think Jones looks much softer than the images I’ve seen of Golda Meir, but nonetheless, her performance was both emotionally charged and historically eye-opening.

Playwright Gibson, director Clinton, and Jones presented tough, controversial subject matter in a way that opened a door onto the humanity of a world leader – and more than that, they offered insight into a woman operating in a man’s world. Among many nicknames – some less flattering than others – Meir was known as the Iron Lady of Israeli politics and the best man in government.

“We intend to live. Our neighbors intend for us to die. There’s not much room for compromise.” These words refer to the Palestinian-Israeli conflict but seem to apply as well to recent and current headlines in the US and right here in the state of Virginia.

Golda’s Balcony – a term that refers both to the physical balcony on which the elderly Meir sat to tell this story and to the nickname for Meir’s nuclear weapons facility – is not without moments of humor. Periodically, as melancholy cello music plays, Jones breaks the fourth wall to snap, “I can do without that music.” Near the end of the journey – about ninety minutes of intense drama, with no intermission – we learn that the music is connected to both Meir’s husband, Morris, who was a music lover, and her son, Menachem Meyerson, who was a professional cellist. The story-telling was both a powerful tribute to women, and a heartfelt performance by Jones.

The quartet of one-woman shows that made up the Women’s Theatre Festival concludes with final productions of Margaret Joyner’s Message from a Slave starring Pamela Archer-Shaw on April 19 and Theresa Rebeck’s Bad Dates starring Maggie Bavolack on April 20. Charlayne Woodard’s Pretty Fire, starring Haliya Roberts, closed April 17. I believe the Women’s Theatre Festival – a co-production of 5th Wall Theatre (Carol Piersol) and TheatreLAB (Deejay Gray) was a new concept here in Richmond, but I hope it won’t be a one-time event. The stories were compelling, the performances stellar, and I hope new audiences were introduced to the richness of Richmond 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: Destiny Martinez Photography

 

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SEVEN HOMELESS MAMMOTHS WANDER NEW ENGLAND: Who Needs a Sub-heading After That?

Seven Homeless mammoths Wander New England: & Alternative Kinship Structures!

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: April 10 – May 4, 2019. (Opening Night – April 12)

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

Some works of art just defy categorization. Seven Homeless Mammoths Wander New England  by Madeleine George is described as a comedy, but even though there is no lack of humorous moments, the play’s focus on complicated relationships and the academic community make it so much more. There are actually three entwined stories that are related but barely connect onstage, and each has its own cast of characters.

The main story revolves around the volatile relationship between a hyperactive, middle-aged college administrator, Dean Wreen (Annie Zanetti); her former lover Greer (Shaneeka Harrell), a professor of philosophy who has stage four cancer; and the Dean’s new, young lover, Andromeda (Meg Carnahan), a recent graduate of the university and new age apprentice. Wreen invites Greer to move in with her and Andromeda while Greer undergoes experimental treatment for her cancer, leading to awkward moments of stifled and raucous love-making between Wreen and Andromeda and tests of jealousy and monogamy involving Greer and Wreen, Greer and Andromeda, and Wreen and Andromeda.

The three women are each so fascinatingly different, but I was particularly drawn to the character Greer. Harrell has a deep, rich voice and a malleable face that speaks volumes even when her mouth isn’t moving. But it should come as no surprise that Harrell is so physically engaging, as she has extensive experience working with two of my all-time favorite dance companies: Bill T. Jones/Arnie Zane Dance Company and Urban Bush Women.

Meg Carnahan was appropriately spacy as Andromeda – whom Greer initially called by a variety of celestial names, other than her chosen one – but there’s more to Andromeda than aimless passion. She is at odds with the Dean about closing the dusty and underutilized natural history museum and becomes active in the protests to save the museum. Her obsession with watching reruns of “Friends” leads to a memorable moment of tenderness with the bristly Greer, and even brings the three women together in unexpected kinship.

Annie Zanetti, whose performance I most recently admired in a Whistle Stop Theater production of The Little Match Girl, gave the same commitment to Dean Wreen as I remember her giving to previous roles. And while it was fascinating watching her navigate the nuances of her past and present love relationships, one of the most notable scenes was with David Clark, The Caretaker of the university’s little museum that was the object of academic and personal controversy. Stopping by The Caretaker’s office to offer him an alternative position, he silently offered her a flask from his desk drawer, and Dean Wreen unexpectedly accepted. She poured out her soul to the man who had, up until then, acted as the play’s raconteur, and left his office more than a little tipsy. I think she walked home.

Clark has a solo role as a sort of narrator, keeping the audience informed of updates in the progress of the plans to shut down the university’s museum – home to seven rare mammoth skeletons, and a few dioramas of indigenous life – by reading aloud from the local newspaper. The details of planned student protests and the activities of the local town council are both informative and amusing, as read with gusto by Clark.

The final section of this trilogy is the strangest and, in some ways, the funniest – or at least the oddest. Maura Mazurowski and Ray Wrightstone play Early Man 1 and Early Man 2, respectively. They are figures in the museum’s dioramas who give voice to the random students who come into the rarely used museum. In fact, the museum is so rarely used that it has become a favorite rendezvous spot, where students can engage in romantic activities in relative privacy – except for the supposedly unseeing eyes of the mammoths and the diorama figures.

Listening to the two caveman-like figures speaking in the vernacular of modern-day students is both amusing and disturbing. In fact, it takes, like, a few scenes to figure out what’s really going on here. To make these supporting characters more challenging, they are allowed to move only their mouths, while maintaining their frozen poses.

Relationships, commitment, change, love, and passion fuel Seven Homeless Mammoths Wander New England and its tightly knit and eclectic cast. Lucian Restivo’s direction provides a variety of pacing choices. The women’s characters ring true, right down to their rituals and bickering The Caretaker’s character provides direction and humor, and the diorama characters are. . .well, different.

Chris Raintree’s multileveled set provides separate work and living spaces although I’m not sure if the ancient refrigerator was just something Dean Wreen was holding onto out of eccentricity or of it was a true marker of the time period. Perhaps it was a metaphor for the complications of her life.

Seven Homeless Mammoths Wander New England might not be everyone’s cup of tea, but if you like satire and droll humor, and have an interest in alternative kinship structures, you ought to go see this production.

 

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

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WOMEN’S THEATRE FESTIVAL: The Bug Guy is Looking Pretty Good

WOMEN’S THEATRE FESTIVAL: Bad Dates

A Theater Review by Julinda D. Lewis

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

Performances: March 30 & April 5, April 11, April 16 & April 20, 2019

Ticket Prices: $25 general admission; $20 for RAPT card holders; $15 for students

Info: (804) 359-2003 or 5thwalltheatre.org

Fresh off another one-woman show (if you disregard the two supporting angels in RTP’s An Act of God), Maggie Bavolack is tackling another comedic role, this time as a single mother and idiot savant restaurateur in Theresa Rebeck’s Bad Dates – a play that features more than two dozen pairs of shoes and a mysterious shoebox full of cash. Briefly referencing Imelda Marcos, our heroine admits to owning 600 pairs of shoes, including designs by Jimmy Choo, Joan & David, and Chanel. (The red stilettos are hot, but I personally prefer the purple suede platform pumps.)

Bavolack plays Hayley Walker, the successful manager of a restaurant whose Romanian owner is in prison for money laundering. She is divorced and has a daughter named Vera (who is described in the first act as 13 years old and later in the second act as 12 years old), a ride or die friend named Eileen who is her bartender, and a brother named BJ who gives her dating advice.

We hear Vera’s rock music selections emanating from her room each time Hayley goes to ask her fashion advice and all the communications between Hayley and the unseen Eileen and BJ take place on Hayley’s animal print princess phone. At one point Hayley produces an actual phone book – something my friends aged 30 and under may have never seen, much less used – but I wondered why she was using the yellow pages (which listed business numbers) when she appeared to be making a personal call to her cheating boyfriend’s home (residential numbers were listed in the white pages). Bad Dates was first produced in 2003, when both wired and cell phones were in use in many homes, but the telephone, the phone book, Hayley’s eclectic wardrobe, and the nondescript setting make it difficult to identify the time and place.

The heart of the play revolves around Hayley’s horrible dating experiences which range from fantasizing about the “bug guy” at a Buddhist party where everyone sat in the rain to a date with a gay lawyer that her mother arranged to a short-lived relationship with a man named Lewis who seemed like the perfect guy until he failed to show up one night. Hayley doesn’t just have bad luck with men, she’s been out of the dating game for a long time and some of the men she meets are perfectly awful!

Bavolack evokes endless chuckles discussing Hayley’s trials and tribulations while parading through a seemingly endless collection of shoes and changing clothes several times with ease – without benefit of a mirror. But even with the intimacy of the TheatreLAB Basement space, I often felt that Rebeck’s script was lacking. Hayley addressed the audience, breaking the wall, but Rebeck never really allowed her to connect with the audience. Director Melissa Rayford kept the pace moving, and I enjoyed Bavolack’s effortless familiarity with the material, but the script just seemed to lack consistency and did not take advantage of opportunities to connect more closely with the audience.

Speaking of inconsistencies, the set (I did not see a designer credit) featured a single bed with a nice comforter and a comfortable looking hassock, but the dressing table and chair were scarred and battered, and Hayley’s closet was just a metal clothing rack. A simple black curtain separated Hayley’s room from the rest of the apartment which seemed to be a dark, windowless space that could have been in a basement. I would have expected at least a nice rug and painted walls for a woman who was managing a successful restaurant. This threadbare setting made the line, “Brooklyn, it’s not as bad as you think it is,” seem quite odd. Later, describing a scene in a Manhattan police station, Hayley says, “What we see on television is really quite accurate.” The same cannot be said of Bad Dates. It is quite amusing, but somewhat less than accurate.

 

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: Destiny Martinez Photography

Bad Dates.1
Maggie Bavolack
Women's Theatre Festival.1
The Women’s Theatre Festival Team

Women's Theatre Festival.2

 

PINOCCHIO: Bright and Shining Son

Pinocchio: The Nose Knows

A Theater Review by Julinda D. Lewis (with input from Emmitt, Kingston & Soleil)

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

Performances: Mach 29 – May 5, 2019

Ticket Prices: $21

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

The third production of the Virginia Rep Children’s season at Willow Lawn is the children’s classic Pinocchio. I’m glad I usually take children with me to these shows, because our perspectives are often vastly different.

First, a disclaimer. I am truly glad that Pinocchio is played by a real person, Bridget Sindelar, who last appeared on this stage as Ginny/Little Blue in The Little Engine That Could. I find articulated marionettes creepy – almost as creepy as ventriloquist dummies. Sindelar adopted a herky jerky walk, like a windup toy about to wind down, with uplifted elbows to mimic the posture of a marionette.

Sunday afternoon found a nearly full house for this show, with book, lyrics, and direction by Bruce Craig Miller, who will soon start his new job as head of the Chesterfield Cultural Arts Foundation. Running a little under one hour with no intermission, Pinocchio is recommended for ages 4 and up, and that seems about right. There were a few criers in the audience, but most of the young attendees were enthralled. My 4-year-old grandson Emmitt was fully attentive. As always, he is especially fond of the musical numbers. His favorite was “The Eating Song.”

When asked which characters he liked the most, his first response was the Blue Fairy (played by Renee McGowan) but then he changed it to Pinocchio. He also did not hesitate to let his mom know that he did not like the scene where Pinocchio got tied up with a noose. (It might have been around that time that he moved from his seat to her lap.) The set, by Terrie Powers, also caught his attention, “It looks like a real city,” he said in unsolicited awe shortly after we took our seats.

Kingston, at 10, is the more seasoned theater-goer, but he liked the entire show, especially Tevin Davis as the Fox and Eve Marie Tuck as the Cat. He did not have any problem with the rope scene or even with what I saw as totally improbable, illogical, and unsubstantiated scenes and events. Their mom, Soleil, who between the ages of 7-17 spent more time on stages than in theater seats, acknowledged the inconsistencies, but was most struck that this version of Pinocchio reminded her of the book of classic fairy tales her father and I had bought for her and her siblings. One scene she reminisced about was the scene where Pinocchio and his father Geppetto are reunit4ed in the belly of a giant dogfish – a scenario I did not remember at all. So, thank you, family, for your input. I appreciate your perspectives, but do not fully agree.

From my perspective, I found Bridget Sindelar charming as Pinocchio, but I was repelled by Pinocchio’s bratty behavior. I, too, was enamored of Tevin Davis’s Fox, a rakish character who seemed to have adopted some of the mannerisms of a 1970s Blaxploitation movie pimp. Geppetto, played by Landon Dufrene, seemed underdeveloped, as was the relationship between Geppetto and Pinocchio. The jump from freshly carved puppet to a runaway puppet to real boy was sudden and lacking in explanation. Okay, I know it’s a fairy tale, so logic isn’t required, but still, it seemed to me as if chunks of the story were missing. This is why I think it’s helpful to attend a children’s show with children – especially if I’m going to write about it. They weren’t bothered by, in fact didn’t even notice, any of the things I found lacking or distracting.

Over all, Miller kept the pacing swift but smooth; the time passed quickly. The cast performed with energy and enthusiasm, often making light contact with the audience, asking a question or pointing to a child or two to include them in the decision making process. I liked the opening, with the actors switching between English and Italian to set the scene – but they dropped that after the opening scene. The costumes by Marcia Miller Halley were quite well done and enhanced the fairy tale atmosphere while complementing Powers’ colorful little village set design.

Pinocchio delighted its intended audience and is largely devoid of the double entendre that so many playwrights cleverly insert into children’s plays, apparently in an attempt to keep the attention of the accompanying adults. Like most good children’s tales, there is an underlying lesson or two. In this case, the messages that are woven throughout are about telling the truth and not being afraid to grow up.

 

Sensory Friendly Performances

A Sensory Friendly family performance will be offered on Saturday, April 27, 2019 at 10:30 a.m. Please see the website for more details: http://va-rep.org/sensory_friendly.html

 

Audio Described Performances

In collaboration with Virginia Voice, Virginia Rep is pleased to offer Audio Described performances, in which actions, expressions and gestures are described during gaps between dialogue throughout the performance for patrons with low vision or blindness. In addition to live audio description during performances, patrons are also invited to participate in a tactile tour before the performance. An Audio Described performance will be offered on Sunday, April 7, 2019 at 2 p.m. Please see the website for more details: https://va-rep.org/access_for_the_blind.html

 

Performance Schedule

Evening performances at 7:00 p.m. on select Fridays

Matinee performances at 2:00 p.m. every Saturday and Sunday

Matinee performances at 10:30 a.m. on select Saturdays

 

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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SHORTS 2019: Small Plays with Dance Make Big Impact

K DANCE PRESENTS SHORTS: Short Plays & Contemporary Dance

A Dance & Theater Review by Julinda D. Lewis

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

Performances: March 28-30, 2019 at 7:30pm & March 30 at 4:00pm

Ticket Prices: $25 general; $15 for RAPT (RVA Theatre Alliance) & Students

Info: (804) 270-4944 or firehousetheatre.org

K Dance’s 2019 production of Shorts, five short plays interwoven with choreography by Kaye Weinstein Gary, challenged performers to express themselves through words and dance and treated the audience to a delightfully diverse evening of performances. Now in its seventh year, the Shorts brand appears to have been refined and enhanced in terms of timing (the program ran just under 90 minutes, including intermission), talent (there were some new faces and bodies onstage and off), and technical aspects (the lighting, sound design, and costuming seemed particularly creative).

Jacqueline Jones directed two of the small plays. “Chicks (Biology Etc. Day 3)” written by Grace McKeany featured Dean Knight as Miss Mary Margaret Phallon (I’m surprised he wasn’t Sister Mary Margaret) as a Kindergarten teacher giving life lessons on wholly inappropriate topics, such as sex and adult deception. The lesson relied on word play that resulted in double entendre and other age-inappropriate pronouncements. Knight, by the way, looked the part in what I’ll call light drag – a simple dress and conservative wig.

Jones also directed one of the more serious scenarios of the program. “Just Before the Drop” written by David-Matthew Barnes, featured Kaye Weinstein Gary and Andrew Etheridge in a weird and strangely touching story about a wife who first meets her husband’s male lover right after the husband has jumped to his death from the roof of a building. The encounter occurs on the roof top after the police and ambulance and nosy neighbors have left, and between the delicate steps of a deadly dance discuss which of them will keep their loved one’s shoes.

Luke Schares and Patrick Rooney contributed perhaps the funniest moments of evening as a pair of cockroach brothers who, along with a lone critic, were the only survivors of an apocalypse that apparently occurred in and around a struggling theater. Surrounded by trash and a gigantic candy bar wrapper, the two wore hilariously accurate cockroach costumes – complete with extra legs and arching antenna – designed by Kylie Clark. Reminiscent of the adults in “Peanuts” cartoons who are represented only be a saxophone sound, the critic was represented by a piggish grunt. (“They were not looking in your direction,” a friend reassured me after the show.) This humorous tale by Jacquelyn Reingold bears the improbable title of “Joe and Stew’s Theatre of Brotherly Love and Financial Success.”

But wait, there’s more. The lovely and lithe Mara Elizbeth Barrett and Tim Herrman warily negotiated the roles of a couple attempting to reunite after some sort of unspecified absence or separation. Andrew Etheredge directed the piece which effortlessly integrated contemporary dance movements into the fabric of the story and speaking of fabric, he also designed the actor/dancers’ patterned bodysuits. This was the one play that left me with unanswered questions. Why did they break up? Why did he come back? Without some background information or additional context, “In Transit,” written by Steve McMahon, was decidedly unfulfilling.

Thankfully, this was not the final play. That honor was saved for “The Closet,” by Aoise Stratford. “The Closet” gave us an inside look at abandoned toys. Etheredge, a gruff-voiced toy dinosaur named Bernard was the senior resident of the closet, along with Twinkles, a simple-minded and somewhat annoying “Tubby” toy names Twinkles, played by Katherine Wright with a vertical red pony tail. (You might want to Google “tubby toys” to get the full effect.) These two abandoned toys were joined by a reluctant Bart Sponge (Round Trousers), played by Dean Knight in a button down shirt and khaki shorts with suspenders. Like every good movie villain, he pleaded his innocence until Bernard/Etheredge pulled a confession out of him – thanks to his cigarette fueled gravelly voice, no doubt.

Even though Shorts is a dance theater experience, like most Richmond dance programs it has a short run (no pun intended) of just a few days, so if you’d like to see it – and I think you should – don’t hesitate but purchase your tickets and go – just do it!

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