GREAT CAESAR’S GHOST: Bifocals Senior Theatre

GREAT CAESAR’S GHOST: Bifocals Turns a Lens on A Christmas Carol

A Theater Review by Julinda D. Lewis

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

Performances: December 16, 2019

Ticket Prices: $10

Info: (703) 501-6811 or cat@cattheatre.com

I’ve been aware of the Bifocals Senior Theatre for quite some time, but this was the first time I actually got to see them in action. The company of seniors (55+) for seniors regularly tours to area senior centers, but they present two performances (one matinee and one evening on the same day) of each show at the CAT Theatre on No. Wilkinson Road.

The current show, Great Caesar’s Ghost, the first of four touring events for the season, is a humorous take on Charles Dickens’ A Christmas Carol. Here, a woman business owner who has a reputation of being hard to get along with gets a visit from the ghost of Julius Caesar who shows her the error of her ways. The pared-down plot doesn’t bother to take her on a journey to the past, present, and future, but the result is the same.

Anne Kight Lloyd plays the lead role of Patricia Watson with an appropriately hard-nosed edginess – perhaps slightly influenced by Meryl Streep in The Devil Wears Prada. Peter Holleran is Caesar’s Ghost – in sandals, a toga, golden arm bands and a laurel wreath headband. In contrast to Lloyd, his character is more along the lines of, let’s say, Steve Martin – over-the-top and played for laughs.

Donna Toliver-Walker and Rob Stuebner fill all the supporting roles; each play three characters, often communicating with the formidable Ms. Watson via phone – the kind with curly cords!

Running under an hour with no intermission and including a holiday sing-along at the end, Great Caesar’s Ghost is an amusing divertissement. The production’s sparse set, consisting of a desk with a laptop and telephone, a door frame, and a pedestal that does double duty as a telephone stand as well as a concierge desk, along with the minimal lighting make this production easy to transport and I imagine it would probably be a welcome addition to a senior center’s programming.

 

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

———-

Photo Credits: CAT Theatre Facebook page

Whistlin Women
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THE WILD WOMEN OF WINEDALE: A New Jones, Hope, Wooten Women’s Comedy

THE WILD WOMEN OF WINEDALE: A New Jones Hope Wooten Comedy

A Theater Review by Julinda D. Lewis

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

Performances: December 6-21, 2019

Ticket Prices: $25 Adults; $20 RVATA Members; $15 Students

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

Another comedy by the team who brought us The Dixie Swim Club, The Savannah Sipping Society, Always a Bridesmaid, Doublewide, Texas, and more, The Wild Women of Winedale premiered in Jonesborough, Tennessee in October 2018. Like other plays by the trio, Jessie Jones, Nicholas Hope, and Jamie Wooten, The Wild Women of Winedale is set in the present and takes as its subject the life defining events of a group of mature women. It takes place over two months in the late spring (so no, it isn’t a holiday play) in the apparently fictitious town of Winedale, VA, not far from Richmond. One sister, Fanny Wild Cantrelle, played by Rebekah Spence, works for The Museum of Virginia (and that is not a typo).

Fanny’s sister, Willa Wild (Pamela Bradley) is a nurse, and the two are caring for their elderly beloved aunt who is on her deathbed when the already burdened household is descended upon by their sister-in-law Johnnie Faye Wild (Annie Zannetti) who is affectionately known as “Jef.”  In the all-female cast, Audrey Sparrow and Kathy Northrop Parker play all the supporting roles – primarily a series of women who are being interviewed by Fanny for a video project on life-defining moments in the lives of women. One interview, which I call the mother monologue, was particularly heartfelt. Widowhood, divorce, the loss of jobs, job stress, and the death of their beloved aunt anchor these women. Secrets and old rivalries are revealed and provide fuel for hijinks and hilarity as these mid-50 to 60 year old women struggle to find new meaning in life.

Directed by Amy Berlin, the laughs come non-stop and the timing is excellent – in the first act. I was beginning to think this was one of my favorite Jones, Hope, Wooten shows, but then, suddenly, the second act seemed to lose the momentum and flair that won me over in Act 1. Still, Joe Bly’s homey cluttered living room set was nicely done – and kudos to the production team members who had to clean up after Fanny’s feverish de-cluttering epiphany. Greg Sparrow’s sound design was also a key element, with rainstorms and dripping water from a roof with multiple leaks, and there was also a very appropriate soundtrack that fit perfectly with characters’ utterances.

The Wild Women of Winedale is entertaining, sweet, and funny; the laughs come easily and frequently. It seemed to lag a bit in Act 2, but fans of the Jones, Hope, Wooten catalog of comedy should find it satisfying.

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

———-

Photo Credits: Daryll Morgan Studios

 

 

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

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

A Theater Review by Julinda D. Lewis

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

Performances: November 15, 2019 – January 5, 2020

Ticket Prices: $44

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

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

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

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

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

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

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

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

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

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

———-

Photo Credits: Aaron Sutten

 

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Alvin Ailey
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URINETOWN: Nobody Pees for Free!

URINETOWN: Power to the People

A Theater Review by Julinda D. Lewis

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

Performances: September 12-28, 2019

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

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

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

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

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

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

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

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

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

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

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

———-

Photo Credits: Tom Topinka

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

 

 

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

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

A Theater Review by Julinda D. Lewis

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

Performances: November 16 – December 28, 2019

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

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

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

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

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

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

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

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

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

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

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

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

———-

Photo Credits: Robyn O’Neill Photography

 

 

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INDIAN INK THEATRE COMPANY: Mrs. Krishnan is Throwing a Party!

INDIAN INK THEATRE COMPANY: You’re Invited to Mrs. Krishnan’s Party!

A Brief Preview of an Immersive Theatrical Experience by Julinda D. Lewis

At: Alice Jepson Theatre, Modlin Center for the Arts at University of Richmond, 453 Westhampton Way, Richmond, VA 23173

Performance: January 25, 2020 at 7:30pm & January 26, 2020 at 3:00pm

Ticket Prices: $40 General Admission; $32 Subscribers; $20 Students / SOLD OUT!

Info: (804) 289-8980 or modlin.richmond.edu

One of the problems, well, actually, the only problem, actually, with the Modlin Center for the Arts – which is a lovely space for dance, which is what I usually see when I go there – is that their productions are usually scheduled for just one or two performances or one or two evenings. So, as much as I want to tell you about Mrs. Krishnan’s Party, which is coming in January, I am sorry to have to start off by informing you that both shows are already sold out! (I asked if there is any possibility of additional shows being added, and I am awaiting a response.)

The Indian Ink Theatre Company, based in New Zealand, was touring in Seattle, WA when I spoke with Kalyani Nagarajan who plays the role of Mrs. Krishnan in this two-handed comedy. Mrs. Krishnan’s Party was “in the works” for seven years and now tours the world attempting to bring happiness –  and Indian culture – to audiences of all ages, genders, and ethnicities.

Mrs. Krishnan’s Party is a story about a “Mom and Pop” type store whose owner is looking to sell it. The story takes place in real time, “everything happens live” is the way Nagarajan explained it. There are two actors, Nagarajan and Justin Rogers. Nagarajan was very enthusiastic in describing the colorful nature of the play, not just in the costumes and set, but also in the culture, and even in the intergenerational characters: one is in her mid-50s, the other in his early 20’s. The “third character” is the audience.

As the story unfolds, secrets are revealed, and the audience becomes immersed in the action. Nagarajan was very specific in rejecting the word “interactive,” believing it might push some people away, but seemed comfortable with the idea of a cultural and theatrical immersion.  It’s about people going through familiar things. Set in the back room of Mrs. Krishnan’s store, the audience is invited to the party where they will “interact and talk with people you might never have talked with.” At the end of the show, Nagarajan wants the people dancing, singing, and laughing together. And eating! There is live cooking done onstage, and at the end the audience – excuse me, the invited guests – get to sample the meal. 

Mrs. Krishnan’s Party builds community, and the audience is urged to come ready to be surprised. “Come with an open heart,” Nagarajan urges, “and don’t eat too much dinner before-hand.”

Mrs. Krishnan’s Party, written by Jacob Rajan and Justin Lewis, combines acting, dancing, singing, music, cooking, and laughter. No two performances are the same. Even the ticketing for the show is varied. The Indian Ink Theatre Company’s website described five levels of tickets: (1) the Top Table or VIP seat at the table in the center of the room with first class treatment; (2) the Inner Circle, which is still close; (3) the Wall Flower, up high with a perfect view; (4) the Cheeky Seat, close but not too close; and (5) the Party Animal, which is no seat at all, but spot that allows you to move and dance. I hope to be able to report back detail if it’s as awesome as it sounds!

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

———-

Photo Credits: Nimmy Santhosh & the Indian Ink Theatre Company website

 

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TIMES SQUARE ANGEL: Another Christmas Miracle

TIMES SQUARE ANGEL: A Hard-Boiled Holiday Fantasy

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: November 13 – December 21, 2019.

Ticket Prices: $10-35

Info: (804) 346-8113 or rtriangle.org

In the Richmond Triangle Players’ annual tradition of presenting a non-traditional holiday play, Charles Busch’s Times Square Angel, first produced by RTP in 1998, is running through December 21. Busch himself recorded the voice of the unseen narrator, and while we’re talking about unseen actors, Susan Sanford is the voice of God.

There is little or nothing traditional about Times Square Angel. Set in New York in the 1940s – complete with projections of vintage video, Times Square Angel recalls and parodies such Christmas classics as A Christmas Carol and It’s a Wonderful Life. The two-act play, directed by Melissa Rayford, is hilarious, and there were several notable performances among a cast in which most played multiple roles. But overall, I was disappointed that this production did not seem to hit the highs or maintain its momentum.

Desiree Dabney and Mara Barrett played two irreverent and gossipy angels, and Dabney quickly won over the audience with her wide range of facial expressions and her sassy demeanor. Michael Hawke was luminous as Helen Sterhan, a former star who has fallen into an alcoholic stupor from which she may never escape. Jeff Clevenger also added some nicely timed comic moments as the owner or manager of Club Intime. Along with leading lady Wette Midler, known primarily as a local drag queen artist, Hawke’s and Midler’s characters wore the best of Alex Valentin’s costume designs, and Joel Furtick was responsible for the near flawless hair/wigs and makeup.

Irish O’Flanagan, the tough-as-nails, self-centered redheaded headliner of a second-rate club, is given a second chance at life, under the guidance of Albert a former magician and now a reluctant angel played by Jeffrey Cole. Wette Midler was strong and confident the role of Irish, the most prominent of the characters who appeared not to have been assigned on the basis of gender. For example, the newsboy Jimmy was played by Mara Barrett, and both Midler and Hawke played women.

Angel Albert guides Irish on a tour of her past, present, and future, learning along the way that he can stop time and perform other supernatural feats. Each scene is filled with clichés, one-liners, and campy wit. I laughed a lot, but I couldn’t shake the feeling that Times Square Angel is a lot like a bowl of Jell-O that hasn’t been allowed to set long enough.

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

———-

Photo Credits: John MacLellan

 

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Angel2
Richmond drag performer Wette Midler, stars as Irish O’Flanagan, a hard-boiled dame in need of a Christmas miracle, in Richmond Triangle Players production of Charles Busch’s play “Times Square Angel” running through Dec 21 at RTP’s Robert B. Moss Theatre in Scott’s Addition. Back row: Nora Ogunleye, Mara Barrett, Jeff Clevenger and Jonel Jones.Tickets at http://www.rtriangle.org. Photo by John MacLellan.
Angel3
Richmond drag performer Wette Midler, stars as Irish O’Flanagan, a hard-boiled dame in need of a Christmas miracle, along with Nora Ogunleye as her confidante Peona, in Richmond Triangle Players production of Charles Busch’s play “Times Square Angel” running through Dec 21 at RTP’s Robert B. Moss Theatre in Scott’s Addition. Tickets at http://www.rtriangle.org. Photo by John MacLellan. Thanks!
Angel1
Jeffrey Cole as Albert, an angel given one last chance to retain his place in heaven by intervening in the life of chanteuse Irish O’Flanagan, in Richmond Triangle Players production of Charles Busch’s play “Times Square Angel” running through Dec 21 at RTP’s Robert B. Moss Theatre in Scott’s Addition. Tickets at http://www.rtriangle.org. Photo by John MacLellan.

 

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LOMBARDI: Gentlemen, This Is A Football

LOMBARDI: Winning Isn’t Everything; It’s the Only Thing!

A Theater Review by Julinda D. Lewis

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

Performances: November 7 & 8 previews; opening November 9 – 23, 2019

Ticket Prices: $15-$35

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

 

“Gentlemen, this is a football.”

Vince Lombardi

Based on the book When Pride Still Mattered – A Life of Vince Lombardi (by David Maraniss), Eric Simonson’s two-act play, Lombardi is a living, breathing documentary. Set in 1965, when journalist Michael McCormick from Look Magazine is sent to write a story about the man many consider the greatest coach in football history, the fast-paced, sometimes gritty dialogue gives us a peek into the life of the man remembered as much for his pithy sayings as for his lasting impact on football.

“Winning isn’t everything; it’s the only thing.”

— Vince Lombardi

(after UCLA Bruins football coach

Henry Russell “Red” Sanders, 1950, 1953)

McCormick, played by CJ Bergin, has a central role as the reporter who spends a week with Lombardi and his wife Marie in Green Bay, Wisconsin, not long after the Lombardi’s have moved to Wisconsin where Lombardi led the Green Bay Packers to five championships in seven years. (Do not be impressed – I know nothing about football – this is general knowledge, easily available to anyone.) Bergin’s character is dedicated and enthusiastic, even in the face of getting yelled at by Lombardi on the football field. He is also a multi-faceted character, as we see how his observations and interactions with the Lombardi’s help shape his own developing career. There is an easiness and familiarity about McCormick that make him a likeable character. In a slightly drunken scene in Act 2 he won my heart – and won over the players – by quoting stats from memory. He knew something – if not everything – about every player.

“Football is like life – it requires perseverance,

self-denial, hard work, sacrifice, dedication

 and respect for authority.”

– Vince Lombardi

Marie Lombardi, played by Linda S. Beringer, is undoubtedly the most likeable member of the cast. She is a mother figure to the players, soothing and smoothing over the raw and open sore left by Lombardi’s abrasiveness. She guides McCormick, steering him to the players who can provide the most insight. Sometimes she is gentle with McCormick, and sometimes she practices tough love, fueled, perhaps, by her close friendship with the couple’s liquor cabinet. (In real life, it seems, a miscarriage led to her heavy drinking.) My favorite Marie scene is when she backs the domineering Lombardi up against a wall and make it clear she isn’t taking any crap from him. It certainly doesn’t change him, or have any lasting impact, but he listens. The two seem to have a strong, loving relationship, and Marie clearly understands her husband and knows how to communicate with him like no one else.

“The most imperfect perfect man I ever met.”

– Michael McCormick

Surprisingly, I did not focus first on the title role, perhaps because this is a true ensemble production, under the skillful direction of Scott Wichmann (billed as Head Coach rather than Director). Wichmann and his actors give us a brisk pace and some well-placed and much appreciated comedic timing that almost obscured a few places where I thought the action was dragging and the play wasn’t advancing quite fast enough for me.

“If you can accept losing, you can’t win.”

– Vince Lombardi

Vince Lombardi is played by Ken Moretti (Broadway Bound, Free Man of Color, and Bill W. and Dr. Bob) in what is perhaps the most challenging role I’ve see him in, to date. Stern-faced, he rarely smiles, he yells a lot and speaks in a bombastic manner. At the same time, he clearly loves his wife and his players. In one scene, player Dave Robinson (played by Raymond Goode) explains to McCormick – over beers and a game of pool – that yelling at them is how Lombardi shows he cares. So, yelling at McCormick and kicking him off the field probably means he really likes him.

 

“People who work together will win,

whether it be against complex football defenses,

or the problems of modern society.”

– Vince Lombardi

Moretti’s portrayal of Lombardi also makes the volatile Lombardi a sympathetic figure as we watch him succumb to the symptoms of colon cancer – a disease he ignored because he was too busy making football legends. The rest of the cast includes Arik Cullen as player Paul Hornnung and Axle J. Burtness as player Jim Taylor. Cullen’s character is the one McCormick is steered to for information approved by Lombardi. Burtness’ character seems to be always in some sort of unspecified trouble, and McCormick’s unrelenting pursuit of an interview with the character Taylor is part of the reason he gets to feel the full wrath of the mercurial Lombardi directed straight at him.

 

“Winning is habit. Unfortunately, so is losing.”

– Vince Lombardi

Goode’s character has two major scenes. One, described above, is when he provides insight into Lombardi’s yelling. The other is when he tells how Lombardi demanded that all the team members be allowed to stay in the same hotel even when traveling in the south or areas where segregation was the norm. Dave Robinson, a black football player who is now in his late seventies, played for the Green Bay Packers and the Washington Redskins. Lombardi was head coach of both teams.

“You don’t do things right once in a while.

You do things right all the time.”

– Vince Lombardi

Frank Foster designed the set – a clean and simple space dominated by two pairs of tall bookcases that do multiple duty as home, locker room, and other locales. Some tables and benches, moved by the cast members, define the scene changes. Bri Conley designed the lighting, Sheila Russ did the costume design, and Amanda Durst was vocal coach.

“Battles are won in the hearts of men.”

– Vince Lombardi

As I’ve already said, I’m not much of a football fan, but my partner, Albert is. Like many others in the audience – a full house for Saturday’s opening night – he came decked out in his football attire. In his case, it was a Redskins hoodie, and thanks to our front row seats, he got a momentary spotlight when McCormick pointed him out in the scene where he mentions Lombardi’s short tenure with the Redskins (1969, just prior to his death in 1970). Albert, who attends a lot of plays with me, was enamored of this production; it combined his newfound love of theater with his lifelong love of football (he played in high school and college). A mathematician, he likes facts and stats and that sort of thing. So, bottom line, Lombardi, which runs about 2 hours, with one intermission, is a play that appeals to people who like football, people who like biographies and documentaries, and to families. If you think you might want to attend, don’t hesitate; I heard that some shows are already selling out.

 

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

———-

Photo Credits: Bill Sigafoos

Lombardi 8_Axle J Burtness, Ken Moretti, Arik Cullen, photo by Bill Sigafoos
Axle Burtness, Ken Moretti, Arik Cullen
Lombardi 7_Axle J Burtness, Ken Moretti, CJ Bergin, Linda S Beringer, photo by Bill Sigafoos
Ale Burtnes, Ken Moretti, CJ Bergin, Linda S Beringer
Lombardi 4_Raymond Goode, Ken Moretti, photo by Bill Sigafoos
Raymond Goode and Ken Moretti
Lombardi 2_Arik Cullen, CJ Bergin, photo by Bill Sigafoos
Arik Cullen and CJ Bergin

 


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13: What Could Possibly Go Wrong?

13: A Teen-aged Musical

A Theater Review by Julinda D. Lewis

By: Virginia Rep/Cadence Theatre Company

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

Performances: October 26 – November 17, 2019

Ticket Prices: Single tickets start at $42

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

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

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

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

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

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

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

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

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

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

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

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

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

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

———-

Photo Credits: Jay Paul

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

THE ROCKY HORROR SHOW: A Cult Classic

A Theater Review by Julinda D. Lewis

Richmond Triangle Players

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

Performances: October 17-26, 2019.

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

Info: (804) 346-8113 or rtriangle.org

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

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

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

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

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

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

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

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

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

———-

Photo Credits: John MacLellan

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

 

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Whistlin Women
https://www.amazon.com/gp/product/1072107546/ref=as_li_tl?ie=UTF8&tag=rvartreview-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=1072107546&linkId=78c578738db659724289dda2116d985c