Category: Theater Reviews

JOHN & JEN

When Love Hurts – or – Hate Feels Like the Taste of Tomatoes

At: The Swift Creek Mill Theatre, 17401 U.S. Route One, Chesterfield, VA 23834

Performances: September 7-28, 2024

Ticket Prices: $44-49. Ask about discounts for students, seniors, and veterans.

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

Until a few weeks ago I had never heard of JOHN & JEN and I usually do not read about a show prior to seeing it in order to remain as unbiased as possible when I do see it. But now that I have seen this heart-warming sung-through musical, created for a cast of two actors playing three roles, it has earned a place as one of the most memorable musicals I’ve ever seen. [See the addendum at the end of this review!]

JOHN & JEN started out as a 10-minute musical – a labor of love created by two artists – a composer and a lyricist – who wanted to work together. Their 10-minute work became a full one-act musical, and eventually a second-act was added, with a twist that proved to be a natural outgrowth of the first act.

POSSIBLE SPOILER ALERT

It’s difficult to talk about JOHN & JEN without giving away the plot twist, so if you plan to see this show and want to be surprised, I suggest you stop reading now and come back to finish after you’ve seen the show. This little discussion starter will still be here.

POSSIBLE SPOILER ALERT

JOHN & JEN is a story of familial love and dysfunction. It is a multi-generational tale that spans nearly 4 decades, from 1952 to 1990, and is liberally sprinkled with social references that define each era. JOHN & JEN is also a story of family trauma and the resulting fallout. Most of all, JOHN & JEN is the story of a brother and sister and an inextricably linked story of a mother and son, a story of learning to let go in order to move on.

Nicole Pearson plays the role of Jen, and Malcolm Holmes plays the roles of John – and that’s not a typo, but it is the spoiler.

Act 1 opens with young Jen welcoming her baby brother “Welcome to the World” offers words of caution about the dangers he may face, and promises to always protect him. As we watch the two grow up, we learn that all is not well in this household – at least, not as seen through the eyes of Jen who seems to shoulder adult-level responsibilities at a very early age. It is Jen who explains why Santa can’t come one year. It is Jen who dominates a hilarious game of playing school, where we learn about George Washington and his dog Martha crossing the parted waters of the Potomac River. Yet, despite her best intentions to never leave her little brother, Jen seems to jump at the chance to leave home to attend college in New York where she quickly finds her tribe among the community of hippies and Viet Nam draft dodgers. It is this last that causes an irreparable rift.

Malcolm Holmes plays the role of the young John with an uncanny mastery of the nuances of a young boy that manages not to appear mocking or dismissive. While both  Pearson and Holmes bring a sort of “every-man” energy to their roles, by which I mean they lull us into feeling we know these people, there is one scene that really  resonated with me. When 12 year old John begged 17 year old Jen to take him with her when she leaves for college, I was transported back to a time when my 5 year old son would suddenly burst into tears because he missed his 18 year old sister who was attending college in another state. This is the kind of energy Lippa and Greenwald wrote into JOHN & JEN. It is the kind of energy Tom Width brought to his direction, and it is the essence of the energy Pearson and Holmes manifested throughout the play.

While there are clear mile markers along the way, one thing JOHN & JEN never does is tell us where the family lives, leaving the door open for it to be wherever you live or lived at that time. The play takes us on a stroll through memory lane – or along the paths of history, depending on your age. 1964 is a Beatles collage. 1966 is an increased US presence in southeast Asia.  1967 is the “summer of love” and the Generation Gap. 1968 is Richard Nixon – and Jen has missed 2 years of John’s baseball games and Dad says you don’t love us anymore. 1969 is men walking on the moon and the NY Mets win the World Series.

John and Jen part on less than good terms, Jen to move to Canada with her draft dodging boyfriend and John to join the Navy. Act 1 ends with Jen unfolding a flag and draping it over a box as an uncharacteristically silent figure of John, wearing dress whites, observes from a distance. Pearson’s facial expressions and body language tell the subplot of the words that emerge from her throat. Holmes’ general exuberance make his moments of quiet watching and discernment all the more poignant.

In Act 2 we see a reprise of Jen singing her “Welcome” song over a cradle, but this time the cradle holds her son, also named John. As Jen’s son grows, she makes the same promises to protect him she once made to her brother, even showering her son with her brother’s old clothes and toys, something this new generation John cannot relate to. As the years pass, Jen seem incapable of distinguishing between the two Johns, finally reaching the point of breakdown – or breakthrough – as she sits perusing a photo album. That, along with a visit to her brother’s grave on what would have been his 32nd birthday, jars Jen to accept a new reality and to finally move on. This come out as the final song, “Every Good-bye is Hello.”

For those who – inexplicably – do not like musicals, JOHN & JEN may not be for you. This is, after all, a sung-through musical in which most of the dialogue is sung rather than spoken, straddling that gray line you may never have known existed between musical and opera. Not only is it a musical, but it is also a two-person musical, so there are no distractions, no avoiding the fact that even simple statements are sung. But – and this is a big but – Pearson and Holmes are fantastic singers!

I’ll say it again, Pearson and Holmes are fantastic singers. They are really, really, really, really, really good! And while I don’t know the technical terms (I was a dance major, not a theater or music major), their voices are clear and they have the ability to lift you with them when they soar, to drag you down with them when they mourn, and to make you smile and feel hope when they harmonize. This is even more amazing in that Lippa and Greenwald did not write the kind of toe tapping sing-along songs that audiences find themselves humming for days or months after. This is music in the role of a character that moves us through the acts and scenes. This is music that entertains, but does so almost peripherally as it marches along doing the job of immersing the audience in the telling of the story.

Width also, as he usually does, executed the scenic design. The set for JOHN & JEN is an attic with its steep walls and rough-hewn beams and shelving. Just as Holmes and Pearson infuse their characters with a sense of familiarity, so Width does with the set. There are boxes and bins, errant toys, a boom box, books, a clothing rack, camping equipment, a poster of Michael Jackson, along with most of the props the two actors will need. I felt like I was back in my great aunt’s attic where I used to play as a child, and found myself scanning the corners to see if I would find her old Singer sewing machine hiding there.

During his pre-show curtain talk, Width remarked that JOHN & JEN is a show that is much loved by theatre professionals, but little known to audiences. It is an unexpected treasure worth sharing.

FYI: Hate feels like

———-

Julinda D. Lewis, EdD is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater and dance, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs. Her most recent (ad)venture was the premiere of a solo work, The Waters of Babylon or Psalm 137 Revisited: a Post-Exodus Reflection in Movement Choreographed From Collective Memories for the debut of the Critical Race Theatre Project.

———-

JOHN & JEN

Music by Andrew Lippa

Lyrics by Tom Greenwald

Book by Tom Greenwald and Andrew Lippa

John & Jen premiered at the Goodspeed Opera House,

East Haddam, Connecticut in 1993

Directed by Tom Width

CAST

Malcolm Holmes as John

Nicole Pearson as Jen

CREATIVE TEAM

Directed by Tom With

Musical Direction by Paul Deiss

Scenic Design by Tom Width

Lighting Design by Joe Doran

Costume Design by Maura Lynch Cravey

Technical Direction by Liz Allmon

Setting:

Somewhere in the USA and Canada, between 1952 and 1990

Run Time:

About 90 minutes with 1 intermission

Tickets:

Regular $44-49. Discounts for Seniors, Military & Veterans

Photographer: Daryll Morgan Studios

Nicole Pearson and Malcolm Holmes

ADDENDUM: OMG. I was just reminded that I reviewed the Richmond premiere of this work in 2018 at HATTheatre! I had 4 surgeries and 20 radiation treatments in 2018 so my memory of that year may be more than a little bit clouded. Here is a link to that review, offering a totally different view of this show.

JOHN & JEN: A Musical of Second Chances

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MISERY

The Number One Fan & The Dirty Birdy (IYKYK)

A Theater Review by Julinda D. Lewis

By: Virginia Repertory Theatre (Virginia Rep)

At: The Sara Belle and Neil November Theatre | Marjorie Arenstein Stage

When: August 31 – September 29, 2024

Ticket Prices: $39-$60.

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

The 1990 film version of Stephen King’s, Misery was a memorable thriller – so much so that it earned Kathy Bates an Academy Award for Best Actress for her portrayal of Annie Wilkes. There are so many layers to Annie Wilkes, the antagonist of Misery, that in a 2022 interview King himself singled her out as his personal favorite among all the characters he has created. I generally go to see a show without any pre-conceived expectations – or at least, as few expectations as one can expect of one who sees as much theater as I do. I had read King’s book and I had seen the film directed by Rob Reiner, but I had never seen Misery on stage before, and I did have high-ish expectations for this production.

Misery, for all three of you who don’t know, tells the story of best-selling romance novelist Paul Sheldon who, after a horrible car crash, wakes to find himself in the home of former nurse Annie Wilkes who rescued him from a snowbank. The fact that she was available to do this because she – his self-described “number one fan” – had been stalking him for some time is eventually revealed. But soon becomes obvious that Annie is unhinged and her “care” takes a deadly turn when she discovers that, in his recently released novel, Sheldon has killed off her favorite character, Misery Chastain. Fueled by mental illness, Annie begins a campaign of mental and physical torture as only Stephen King could conceive.

I’ve read that numerous A-List actors turned down the roles of both Annie and Paul for the film version of Misery, and I don’t know if Rick Hammerly and Virginia Rep had similar troubles casting this play, but the casting of Susan Sanford as Annie Wilkes and Matt Meixler (in his Richmond debut) was inspired. I am not familiar with Meixler, but Sanford is a familiar face on Richmond stages. In Misery, I did not recognize Sanford on that stage – I saw Annie Wilkes.

Sanford’s portrayal of Wilkes – who, BTW, is supposedly based on a real-life nurse, Genene Anne Jones, a serial killer believed to have killed more than 50 patients, including infants and children – is chilling. She glides smoothly and unpredictably from modest and temperate to manic and then to depressed. She is simultaneously sympathetic in her illness and vile in her violent episodes.

Meixler is forced to work with severe physical restraints. For most of the play, he portrays the bedridden Sheldon, recovering from two broken legs and a dislocated shoulder. His pain is palpable, and radiates through the space almost like another character of its own. At one point Wilkes remarks that Sheldon is sweaty, and Meixler was probably genuinely clammy after his restrained exertions.

The only other character is Buster, the local sheriff. Buster is suspicious, but clearly this abduction and torture case is above his pay grade and his intellectual capacity. Buster, at one point, even seems to be developing a fondness for Wilkes; I guess that’s what happens when you live in a small, remote town and don’t get a chance to speak to many people. Andrew Firda plays Buster, with all due earnestness and a sprinkle of ineptitude.

Performed without intermission, Misery is well-paced and avoids being predictable even when you already know the story. (Granted, the stage version is not the same as the film version or the book, in several significant ways that I will refrain from spoiling; go see it for yourself and then compare.)

Kudos to Chris Raintree for a beautifully detailed three-sided set built on a revolving turntable. Highest admiration to the stage management, under the direction of Donna Warfield, for the quick changes that occurred seamlessly, even on opening night. (There was one moment when I thought I saw Annie when I wasn’t supposed to, but overall, the blocking and timing were skillfully executed with all the moving parts). More generous praise is due for Joey Luck’s chiller-thriller sound design and BJ Wilkinson’s shadowy and evocative lighting. All these element worked together with the precision of a fine Swiss watch to create a delightfully fearful night of theater – a noteworthy, strong start to the new Fall season.

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater and dance, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs. Her most recent (ad)venture was the premiere of a solo work, The Waters of Babylon or Psalm 137 Revisited: a Post-Exodus Reflection in Movement Choreographed From Collective Memories for the debut of the Critical Race Theatre Project.

———-

MISERY

Written by William Goldman

Based on the Novel by Stephen King

Directed by Rick Hammerly

Cast

Annie Wilkes             ………………..          Susan Sanford

Paul Sheldon            ………………..          Matt Meixler

Buster (u/s Paul)     ………………..         Andrew Firda

u/s Annie                   ………………..          McLean Fletcher

u/s Buster                  ………………..          Joe Pabst

Direction & Design

Direction                   ………………..          Rick Hammerly

Scenic Design           ………………..          Chris Raintree

Costume Design      ………………..          Marcia Millr Hailey

Lighting Design       ………………..          BJ Wilkinson

Sound Design          ………………..          Joey Luck

Projection Design    ………………..          Dasia Gregg

Stage Management ………………..          Donna Warfield

Fight Direction         ………………..          Casey Kaleba

Wig Design                ………………..          Jeanne Nugent

Ticket Information

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

Tickets range from $39 – $60

Run Time

The play runs for approximately 1 hour, 40 minutes; there is no intermission.

Photo Credits: Aaron Sutten

Matt Meixler and Susan Sanford in Misery.

PETER AND THE STARCATCHER

“To Have Faith is to Have Wings”: The Backstory – or – A Prequel To the Tale of the Boy Who Would Not Grow Up

A Theater Review by Julinda D. Lewis

Presented By: Firehouse Theatre

At: 1609 W. Broad Street, RVA 23220

Performances: August 16 – September 1  2024

Ticket Prices: $1.00 – $35

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

While it is based on a children’s book, Peter and the Starcatcher, a play with music (as opposed to a musical) is filled with innuendo and powered by linguistic and cultural references that are aimed at adults. So, yes, it is family friendly. It is also a fantastic fantasy adventure that delights the eye and ear and keeps the audience laughing. I don’t want to spoil it for you, but the Act 2 opening is one of the most memorable scenes ever; sit in the first row if you can.

Peter and the Starcatcher provides the backstory to Peter Pan as well as Captain Hook and Tinker Bell. Based on the 2004 novel of the same name, written by Dave Barry and Ridley Pearson, Rick Elice adapted the story for the stage. The play premiered in California, opened Off-Broadway in 2011 and on Broadway in 2012. Some may recall that the play was produced by Va Rep in 2015.

Chase Kniffen has designed an appropriately fantastical set that helps provide a big stage feel and Kasey Brown’s costumes are whimsical and extremely creative. Nathaniel Shaw’s direction is seamless, all the best lines are perfectly times and the pacing is swift enough to keep the audience on our toes but paced to keep us from getting lost. There is music, but not the kind where characters burst out into song for no reason, and at one point we are treated to a near-show stopping Rockettes-style high kick line. Kudos to the entire production team for making this production look and sound great.

This is one of those productions where, in addition to working their butts off, it also looks like the cast had as much fun as the audience. The casting was perfection. It’s hard to think where to begin, so I’ll just follow the program order. And yes, this is one of the few times I will make mention of each and every cast member – because they deserve it.

It was great to see Scott Wichmann back on stage and his role of the Black Stache, who is affected by chronic malapropism, is undeniably and devilishly over the top. Shannon Schilstra plays Molly, a young woman liberated ahead of her time, with youthful exuberance and a level of confidence most of us wish we had at that age (her character is 13 years old). Lukas D’Errico is the Boy (also 13) who eventually earns the name Peter and the right to wear the Hero’s hat. The scene in Act 2 where Boy first sees sunlight is heartwarming.

Peter’s companions, Ted and Prentiss, also orphans who are sold into slavery along with him, are played by Madison Hatfield and August Hundley. There is a running joke about Ted’s obsession with food that culminates in a hilarious scene in which, after struggling to figure out how to eat a pineapple, one of the pirates accidentally slices a pineapple in half providing Hatfield the opportunity to finally satiate her character’s fixation. Hundley finds and maintains a delicate balance as their character Prentiss seesaws between declaring himself the leader and just wanting to be a boy. Both are starved – for both food and love – and Ted occasionally slips and,  endearingly, calls Molly Mother.

Paul Major plays Black Stache’s bumbling first mate, Smee, who actually spends much of his time correcting Stache’s wildly humorous misuse of words, and occasionally – an accidentally –  coming up with some life-saving ideas. Elle Meerovich takes on several roles, including the flask-toting headmaster of the boys’ orphanage, a pirate, Fighting Prawn (king of the Mollusk tribe), and a sailor but their most memorable moment was holding an unwavering note in a song for a thrillingly long time. Whew! But wait, there’s more…

Chewie Lo Moore really digs in as Bill Slank, the cruel captain of The Neverland who switches the treasure chest with the decoy trunk at the start of the adventure, thus activating the action adventure aspect of the play. He also plays Hawking Clam, the son of the Mollusk king, Fighting Prawn. Joshua Mullins plays a supporting role as the good Captain Scott, the captain of the Wasp, based on a real-life British Royal Navy Officer of the same name, as well as – ironically – an incompetent sailor named Mack.

It seems too long since we’ve seen Alexander Sapp onstage, yet here he is as Lord Astor, Molly’s father, a Starcatcher on a secret mission that endangers everyone to some extent or another. Some of the funniest scenes occur when Lord Astor has to communicate with his daughter Molly. Because of the nature of his mission, they communicate in Dodo – yes, the language of the extinct bird – or Norse Code, apparently an ancient Viking precursor of Morse Code. After causing all this havoc, Sapp just strolls off at the end with utter nonchalance that makes you wonder, did that just happen?

One of my favorite roles was that of Molly’s nanny, Mrs. Bumbrake, played by Robert Throckmorton in the role of the “pantomime dame,” a woman’s role traditionally written for a male actor. Throckmorton also played Teacher, a wise mermaid who is instrumental in changing the direction of the Boy for the better. This was not Throckmorton’s first time in this dual role in Neverland or Mollusk Island, but the intimacy of the Firehouse Theatre certainly made it the memorable for me. The pairing of Throckmorton with William Vaughn, in the role of the smitten Alf, was a winning combination, but let’s not forget that Alf’s first claim to fame is a really potent case of flatulence.

Peter and the Starcatcher has adventure, magic/fantasy, whimsy, humor – and pirates. It also touches on serious topics like love and loyalty, friendship, greed, perseverance, and commitment. It truly has something for everyone, and reminds us why we love to go to see live theatre.

—–

PETER AND THE STARCATCHER

Written by Rick Elise

Music by Wayne Barker

Directed and Choreographed by Nathaniel Shaw

Cast

Black Stache   ……….           Scott Wichmann

Molly               ……….           Shannon Schilstra

Boy                 ……….           Lukas D’Errico

Ted                  ……….           Madison Hatfield (Molly u/s)

Prentiss            ……….           August Hundley (Boy u/s)

Smee               ……….           Paul Major

Grempkin/       ……….           Elle Meerovich

   Fighting Prawn/

      Sanchez

Bill Slank/       ……….           Chewie Lo Moore

    Hawking Clam

Capt. Scott/     ……….           Joshua Mullins (Stache u/s)

    Mack

Lord Aster       ……….           Alexander Sapp

Mrs. Bumbrake/  ……..          Robert Throckmorton

    Teacher

Alf                   ……….           William Vaughn

Grempkin/Mrs. Bumbrake u/s……….           Gracie Berneche

Capt. Scott/Lord Aster u/s      ……….           Thomas Kaupish

Ted/Prentiss u/s                       ……….           Jovan Long

Alf/Smee/Bill Slank u/s          ……….           David Rogozenski

Production Team

Direction/Choreography         ……….           Nathaniel Shaw

Music Direction                      ……….           Kim Fox

Assistant Direction                 ……….           Katie Logan

Scenic/Projection Design        ……….           Chase Kniffen

Costume Design                      ……….           Kasey Brown

Lighting Design                      ……….           BJ Wilkinson

Assistant Lighting Design      ……….           TJ Washington

Sound Design                          ……….           Grace Brown LaBelle

Props Design                           ……….           Tim Moehring

Dialect Coach                         ……….           Erica Hughes

Percussionist                           ……….           Steve Raybould

Directing Observation            ……….           Christian Trimmingham

Stage Management                 ……….           Emily Vial

Assistant State Management   ……….           Isabel Stone

Run Time: About 2 hours 10 minutes; there is 1 intermission

———-

Photo Credits: Firehouse Facebook page

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ROMAN À CLEF

The New Theatre at Firehouse on the Carol Piersol Stage Presents

A WORLD PREMIERE by Chandler Hubbard

A Theater Review by Julinda D. Lewis

At: The Firehouse 1609 West Broad St., Richmond, RVA 23220

Performances: May 8-26, 2024

Ticket Prices: $0-$35

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

Chandler Hubbard, local actor (Corpus Christi, The Altruists, Mr. Burns, a Post-Electric Play, and Stupid F!%king Bird) and playwright (Animal Control reviewed here in April and July 2019)and Molly House) has done it again! And by “done it again” I mean that he has taken as subject matter “real-life subjects and their accompanying emotions – anger, blame, justice, and ultimately compassion. Sometimes it’s difficult to decide whether to laugh or cry” https://wordpress.com/post/jdldancesrva.com/1249). By “done it again” I mean that Chandler’s work delivers a surprising play that “presents many sides of a story, demonstrating how difficult it is to judge others. It makes subtle parallels between the behavior of people…[and] mostly it reminds us that even the most unlikely person may be deserving of compassion” (https://wordpress.com/post/jdldancesrva.com/15140). I am not saying that Roman À Clef is anything like Animal Control, but that Chandler has a unique vision, a wonderful way with words, and – together with his production team – an insightful and humorous eye for presenting his words and vision to an audience.

Roman À Clef is a family play, but not a family-friendly play. First, in English, the title means “novel with a key,” a French phrase for a literary device in which real people, places, and things are given fictitious names, blurring the line between reality and non-reality, fact and fantasy, fiction and non-fiction.  In Roman À Clef, a theater company rehearses a play that is about the fictitious playwright’s real family. But, one wonders, how much is based on reality?

Sharon Ott ably directed the three-acts of shenanigans, all of which were executed by a stellar cast. Andrew Bryce, in his Firehouse debut, leads the ensemble as Jack, the director of the fictional play, whose work blurs the line between fact and fiction and creates new perspectives and reveals new dimensions of family trauma. eventually – inevitably?—it is revealed that the reason Jack’s cast can never satisfy his unattainable demands is because he has not yet put to rest his own demons. Even the title of Jack’s play, Apple, Tree: Far From, Not is a pretentious portent of things to come.

Among the well-cast cast members of the play-within-a-play and Jack’s family are a mix of familiar and new faces: newcomer Reese Bucher, Lukas D’errico (Firehouse debut), Richmond newcomer Alex Harris, Tippi Hart (a VCU professor of theater movement in her first full Firehouse production), Keaton Hillman, Kelli Kennedy, Donna Marie Miller, Landon Nagel, and Tatjana Shields (Firehouse debut).

While this was a true ensemble, there were a few who stood out to me. Reese Bucher as Spawn, a newcomer in the character she played as well as on this stage, brought a genuine freshness and energy that that exploded off the stage and landed like glitter on her cast-mates. Likewise, Keaton Hillman in the role of McKnight, whom I’ve had the pleasure of watching develop as a theater artist on various Richmond stages over the years, gave a seamless performance in a role that seemed to have been written expressly with him in mind. Not to mention, seeing his lanky frame rocking bootie shorts and a propeller beanie was hilarious.

There were also some striking performances from the ranks of the more seasoned cast members. Kelly Kennedy strikes an interesting balance between frailty and perseverance, equal parts victim and victor as Jack’s mother Lois. Tippi Hart as the stage version of Jack’s mother, Queenie, is lovable but confused, looking kind of like a drag queen in the early stages of dementia. And Donna Marie Miller convincingly plays Jack’s sister Fiona as the family conciliator, the one who tries to smooth things over at all costs.

The problem is, there is no smoothing over the family trauma that fuels Jack’s family and bleeds into his present. The masks we wear are symbolically represented in Chris Raintree’s stunning set. It starts off as a cartoon caricature of a home, centered around the kitchen – the metaphorical heart of every home. In act two, the mask is removed to reveal the real kitchen of Jack’s childhood home, and begins to cover the source of his family’s dysfunction. Hubbard calls this act “A Family Home (without a family). For the third act, the mask is returned, but there are cracks in it, and bits of reality peak through. This is “A Performance, A Reckoning. All of it. All together. Now.”

And that title pretty much sums it up. There isn’t much more to say, other than: Hubbard has created a masterful piece of theater. His words tell hard stories with beauty, and humor, and truth. Roman À Clef  is immersive; details matter, from the script to the costumes to the set to the character’s names (e.g., McKnight, Bishop, Queenie, Kingston, Spawn, Rookie). Sharon Ott’s direction tapped into the trauma and helped dissipate the energy in a way that made it palatable for an audience, the ensemble appeared to be committed to the work, and Chris Raintree’s set design captivated us in ways that words alone could not convey. Chandler Hubbard’s Roman À Clef manages to tap into areas many shy away from, and makes us glad he went there – and invited us to join him.

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

———-

ROMAN À CLEF

A World Premiere by Chandler Hubbard

Directed by Sharon Ott

May 8-26, 2024

Time: Here and Now

Place: Firehouse Theatre

Act I – A Rehearsal.

Act II – A Family Home (without a family).

Act III – A Performance. A Reckoning. All of it. All together. Now.

Roman À Clef is a product of the TNT New Play Incubator.

CAST

Jack                …………………….               Andrew Bryce

Mike               …………………….               Alex Harris

Lois                 …………………….               Kelly Kennedy

Fiona              …………………….               Donna Marie Miller

McKnight       …………………….               Keaton Hillman

Bishop            …………………….               Tatjana Shields

Queenie        …………………….               Tippi Hart

Kingston        …………………….               Landon Nagel

Spawn            …………………….               Reese Bucher

Rookie           …………………….               Lukas D/Errico

Mike/Kingston u/s      …………..               Patrick Rooney

Lois u/s          …………………….               Gina Marie McKenzie

Fiona/Queenie u/s  …………….               Rachel Garmon

Bishop/Spawn u/s   …………….               Kylee Marquez-Downie

Rookie u/s     …………………….               Aidan Campbell

McKnight u/s            …………….               Evan Kagarise

Jack u/s         …………………….               Thomas Kaupish

PRODUCTION TEAM

Direction                               ……….           Sharon Ott

Assistant Direction              ……….           Molly Marsh

Scenic Design                       ……….           Chris Raintree

Assistant Scenic Design     ……….           Sarah Cook

Costume Design                  ……….           Cora Delbridge

Lighting Design                   ……….           BJ Wilkinson

Assistant Lighting Design  ……….           Reid Hardymon

Sound Design                      ……….           Kyle Epps

Intimacy/Fight Direction    ……….           Stephanie Hart

Movement Direction           ……….           Nathaniel Shaw

Developmental Dramaturgy     ….           Naysan Mojgani

Stage Management            ……….           Emily Vial

Asst. State Management    ……….           Juliet Grace Grochowski

RUN TIME

90 minutes with two intermissions

PERFORMANCE SCHEDULE

  • Previews Wednesday – Thursday, May 8-9 at 7:30pm
  • Opening Night – Friday, May 10 at 7:30pm
  • Running Thursday – Sunday through May 26, 2024

TICKETS

$35

$15 tickets available for college and high school students.

Pay-What-You-Will performances offered for both preview performances,

as well as all matinees (excluding closing, May 26th).

Photos by Bill Sigafoos

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ZERO HOUR

VaRep-JCC Partnership

A Theater Review

Produced By: Virginia Rep in partnership with the Weinstein JCC Jewish Family Theatre

At: Theatre Gym, in the November Theatre complex, 114 W. Broad St., RVA 23220

Performances: March 15-April 7, 2024

Ticket Prices: $40

Info: (804) 390-3390; http://www.virginiarep.org

This is a rare (for me) re-review. I first saw this production of Zero Hour at the Weinstein Jewish Community Center nearly a year ago (“Jason Marks is Zero Mostel,” RVArt Review, April 6, 2023, https://jdldancesrva.com/2023/04/06/jason-marks-is-zero-mostel/). But, humor me. Don’t read or re-read that review until after you read this one, and I’ll do the same. I won’t go back and re-read that first review until I finish writing this one.

With this VaRep partnership, while the location is different, Debra Clinton is still the director, and Jason Marks is still Zero Mostel. This time, the story and the script were familiar, but the production was just as fresh and vital as it had been the first time. This did not feel like a re-run; Mostel was such a complex and dynamic person that there was still much to learn that I had missed the first time, or that I saw with new eyes after the passage of time – and world events.

Jason Marks dives so deeply into the character that it is easy to forget he is an actor – we are spending an evening with Zero Mostel. Samuel Joel “Zero” Mostel was born February 28, 1915 (my birthday, but 4 decades before me) in Brooklyn, NY (as was I).

As a comedian, Mostel rose in stature to become a headliner at New York’s Café Society, a popular night spot and as an actor, Mostel specialized in comic roles: he was, perhaps, best known for his portrayal of Tevya in Fiddler on the Roof on Broadway.

Somewhere along the way, during the presidency of Harry S. Truman, the USA became embroiled in blacklisting activities. After World War II, the USA and Russia became involved in a “Cold War,” and  People – particularly actors and other creatives – who were suspected of being members of or sympathizing with the Communist Party –  were brought before the House Un-American Activities Committee (HUAC) where they were questioned and expected to name names. Many citizens were tried, and many actors were blacklisted or prevented from working in film, television, or on stage. Mostel (or maybe I should say the playwright, Jim Brochu) mentions a few well-known names who were caught up in this wide-ranging net, including the renowned choreographer Jerome Robbins and the comedian and actress Lucille Ball, TV star Phil Silvers, screen writer Ring Lardner, Jr., and screen writer Martin Berkeley who is described in Zero Hour as “the Babe Ruth of stool pigeons.”

Other victims of the Red Scare: Orson Wells, Burgess Meredith (credited, in the script, with the line, “hold onto your tits, it’s Zero Hour!”), Arthur Miller, Charlie Chaplin, Lena Horne, Langston Hughes, Pete Seeger, Gypsy Rose Lee, Artie Shaw, Dashiell Hammett, and the list goes on and on and on…

There are many memorable moments in Zero Hour, both dramatic and historic. The one-hander paints a vivid picture of Mostel’s journey “from blacklist to White House in 10 years.” We learn of Mostel’s tumultuous love affair with his second wife, Kate. A former Radio City Music Hall Rockette, Mostel’s Orthodox Jewish parents did not accept Kate because she wasn’t Jewish, and his parents never met Kate or their two grandchildren.

Then there’s the horrible bus accident in 1960 that nearly ended his life as well as his career, leaving him crippled and in pain. But he stubbornly avoided amputation, and went on to star in Waiting for Godot, Rhinoceros, and the Broadway musical, A Funny Thing Happened on the Way to the Forum. Marks shares all of this and more with a wild and vivid mixture of humor, sarcasm, and melodrama while his character is being interviewed by an invisible rookie reporter. “Why do I call you putz?” Mostel asks the report early in the interview, “because I don’t know your name!”

Mostel warms up to his interview as we warm up to him. The interview takes place in Mostel’s West 28th Street painter’s loft. In addition to being a prolific and popular performer, Mostel was also a visual artist whose abstract paintings have been sold at auction and displayed in galleries and museums. My notes from the show list 5,000 paintings, 15 Broadway shows, and 25 movies.

Zero Hour is an engaging tour de force that is equally entertaining and educational. And now, I feel, is the time to go back and read what I said about Zero Hour the first time I saw it:

“Zero Hour is one of the funniest shows I’ve ever seen and it appears to have been a perfect vehicle for Jason Marks.” – Yes, I still hold this opinion!

“Zero Hour is a skillful balance of biography and entertainment. For those unfamiliar with Zero Mostel, it is informative, and for those who were already fans, it might reveal a few unknown nuggets.” – Again, I second that first impression.

“All of this, and more, is lovingly and capably captured by Marks under the director of Debra Clinton. Clinton, in the Director’s notes, paid homage to Mostel’s individuality – his commitment to standing up for what he believed even to the detriment of his career – “his honesty, passion, and empathy.” – ditto

And finally, I often find it weird to read things I’ve written previously, but this holds true. That’s my story and I’m sticking to it: Sometimes it was hard to tell where Marks ended and Mostel began. I am sure playwright Jim Brochu who originally starred in his own play, would approve of Marks’ interpretation.” There are a FEW opportunities remaining to see this production of Zero Hour. I suggest you go 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. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

———-

ZERO MOSTEL

Written by Jim Brochu

Directed by Debra Clinton

Cast List

Zero Mostel – Jason Marks

Direction & Design

Direction – Debra Clinton

Set & Lighting Design = Todd Schall-Vess

Wig Design = Kevin S. Foster II

Stage Management – Hayley Tsutsumi

Zero Hour runs March 15 – April 7, 2024

at the Theatre Gym at the November Theatre, 114 W. Broad Street, Richmond, VA 23220

Run Time

The play is presented in two 45-minute acts with one 15 minute intermission

Tickets

Box Office: (804) 282-2620

Information: http://www.virginiarep.org

Full Price Tickets: $40.00

Discounted Group Rates available

Show Photography by Jay Paul

Jason Marks. Photo by Jay Paul.
Jason Marks. Photo by Jay Paul.
Jason Marks. Photo by Jay Paul.
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RADIANT VERMIN

What Would You Be Willing to Do for a Free Dream House?

Presented by 5th Wall Theatre

A Theater Review by Julinda D. Lewis

At: The Basement, 300 East Broad St, RVA 23219

Performances: March 14-30, 2024

Ticket Prices: $22

Info: https://5thwalltheatre.ludus.com/index.php or https://www.5thwalltheatre.org/

Unaffordable housing. Gentrification. Homelessness. These are serious issues that Philip Ridley has addressed in a two-act dark comedy, a satire that crosses the line from morality to immorality again and again and again.

Jill and Ollie are expecting their first child, but they reside in a drug and crime ridden neighborhood – Red Ocean Terrace. One day they receive a miracle; a hand-delivered letter offers the too-good-to-be-true deal of a free house. The house is in need of renovation, and therein lies the thick of the plot. The young couple accidentally discovers an unorthodox method of renovating their house, room by room. This involves Ollie driving the streets in search of anonymous homeless “renovators” – the “vermin” of the title. (For an explanation of the “radiant” part, you’ll need to see the show to figure it out.)

5th Wall’s Creative Producer, Kaitlin Paige Longoria, plays the role of Jill and Matt Mitchell is Ollie. Longoria wears a child-like dress with short socks and a bow in her hair, while Mitchell wears a button down shirt and – I think – khakis. Jill is a bit manipulative, and Matt somewhat of a push-over. They both look fresh, clean cut, and innocent, and speak clearly in standard English, all of which makes their nefarious renovation activities all the more creepy.

Miss Dee, their ersatz realtor/benefactor, who represents a government program for Social Regeneration Through the Creation of Dream Homes, knows entirely too much about them. Ollie seems to protest briefly, but then both he and Jill all too easily accept that Miss Dee seems to have psychic abilities. But it’s worse than that. Miss Dee’s red coat subtly or not-so-subtly reminds us of Satan, and at the end she addresses the audience with a stack of contracts and offers for us to accept.

Emily Adler, who plays the snide and omniscient Miss Dee, also briefly takes on the role of Kay, one of the homeless “renovators.” This scene brought me near tears, as Kay, after sharing the testimony of her traumatic childhood and life on the streets, gladly offers herself as a sacrifice, giving Jill a kiss on the cheek before heading off to meet her demise at the end of Ollie’s “magic wand.” Whew!

As disturbing as it was, I was able to follow the story and found a certain clarity and logic until the end, when Jill and Ollie held a garden party – “the birthday party from hell,” for their son’s first birthday. During the party, they enact the roles of all the guests – their nearby neighbors – using different body language and accents for each couple. This section was simultaneously hilarious and even more disturbing than the main storyline that led up to it. It was as if the characters morphed and time-travelled from a Get Out situation to a Monty Python platform, from a classic morality play to a really bad Saturday Night Live skit.

Radiant Vermin is performed with a minimalistic set designed by Daniel Allen. A simple white wall – wainscotting or molding, I think it’s called – and a trio of  matching white boxes with hinged lids that hold the few simple props, such as some candle sticks and party hats. There is no other furniture and we depend on the actors to create the changes of scene.

Both Ollie and Jill frequently speak directly to the audience, as does Miss Dee at the end. Ollie and Jill share the task of narrating the story, starting after the birth of their first child, then going back in time in an extended flashback with breaks to inform the audience of the changes in time and location.

During the garden party, Ollie experiences a mental breakdown and when they are alone Jill begins to see and hear things, and is eventually overcome by a choking sensation that we can attribute to her conscience. Ollis is also briefly overcome by this choking, but neither of them is willing to give up their pursuit of more and more material things, even if it costs them everything.

Radiant Vermin leaves much to the audience’s imagination, and Longoria and Mitchell prove to be pretty effective story tellers. Director Morrie Piersol successfully lures us in so that we barely realize when we begin to support the atrocities committed by this oh-so-ordinary couple and we feel uncomfortable – and rightly so – when this is brought to our attention. I could hardly believe two hours had passed at the end of the show. If you have a strong moral compass, this show may not be for you. But if you are intrigued by the weird or enjoy psychological thrillers, or – like me – have a penchant for reading about mass murderers, this might just be your cup of tea.

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

———-

RADIANT VERMIN

Written by Philip Ridley

Directed by Morrie Piersol

CAST

Jill                               ……….           Kaitlin Paige Longoria

Ollie                           ……….           Matt Mitchell

Miss Dee & Kay     ……….           Emily Adler

PRODUCTION TEAM

Directed by               ……….            Morrie Piersol

Produced by             ……….            Tom Kazas

Scenic Design by     ……….            Daniel Allen

Lighting Design by  ……….            Michael Jarett

Sound Design by      ……….            Roger Price

Costume Design by ……….            Kayli Warner

Vocal Coach           ……….            Amanda Durst

Technical Director   ……….            William Luther

Stage Management by ….             Jamie Wilson

Asst Stage Management by          Constance Moreau

Front of House Manager …           D.J Cummings

Photos by                  ……….           Tom Topinka

Performance Schedule:

● Opening Night – March 14, 2024 at 7:30 PM

● Running Thursday – Friday – Saturday at 7:30 PM through March 30, 2024

● Running Sundays at 2:00 PM through March 23, 2024

Tickets:

$22

Run Time: about 2 hours with one intermission

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INTO THE WOODS

Once Upon a Time, Later – or – What Happens After “Happily Ever After?”

A Musical Theater Review by Julinda D. Lewis

Presented By: Richmond Shakespeare

At: Cramer Center for the Arts, The Steward School, 11600 Gayton Rd., RVA 23238

Performances: March 7-24, 2024

Ticket Prices: $22-$47 [Adults $47; Seniors 65+ with ID $42; Military with ID $22; Students $22]

Info: (804) 340-0115 or http://www.richmondshakespeare.org

What happens after “happily ever after?”

Sondheim and Lapine’s extravagant musical, Into the Woods (1987), has a lot going on. For one thing, there is a large cast of characters drawn from various Grimm’s fairy tales, from Little Red Riding Hood to Jack (of the magic beans and giant fame). There are princesses in towers (Rapunzel)  and elsewhere (Cinderella) and princes who do not live up to expectations for “happily ever after” – Cinderella’s prince and Rapunzel’s prince, who are brothers with lustful, wandering eyes for the purpose of this plot. There are peasants and royalty, a wicked witch, a wolf with pedophilic tendencies, and a little girl with an implied eating disorder. There is a narrator that the other characters, in a rare show of solidarity, throw under the bus – and that’s just for starters. And just in case you were wondering – as you should have been – despite the Disney inspired costumes and light-hearted, guffaw-inducing moments that pepper Act 1, this is not a family-friendly show. Half the lead characters meet untimely deaths in Act 2. The bloody demise of those who are smushed by the giant’s foot is indicated by a red wash on the background, and sometimes accompanying sound effects.

Be careful what you wish for.

At the center of the main plot we find The Baker and The Baker’s Wife (Durron Marquis Tyre-Gholson and Maggie Marlin-Hess). The childless couple wish more than anything for a baby, but soon discover that their barrenness is the result of a witch’s curse that goes back a generation when The Baker’s father helped himself to the witch’s garden. Tyre-Gholson (who, much to my surprise, is making his Richmond Shakespeare debut) deftly establishes himself as a reluctant hero. He tries on the cloak of an alpha male, but it doesn’t fit him well, yet we find ourselves cheering for him and his persistence in the face of probable defeat as he sets off on a life changing scavenger hunt in the woods. Marlin-Hess, similarly, achieves a delicate balance. She is, at once, the supportive wife of the baker, a woman with an independent mind and a resolute disposition (think, by any whatever means necessary), who holds an emergent passion that finds unforeseen fulfillment in the woods.

The prettier the flower, the farther from the path.

Into the Woods is very much an ensemble show, with strong leads and strong voices singing what I would characterize as challenging music, but some characters nevertheless stand out. My hands-down favorite is Little Red Riding Hood (Gracie Berneche) who wrings every last drop of humor and drama from each line she speaks. Now, normally, it is bad manners to mention an actor’s size, but in this case, Berneche’s stature is key to her role. Constantly referred to as a “little girl,” this Riding Hood makes a running joke of scarfing down the goodies she’s supposed to be taking to Grandma’s house. She deliberately talks with her mouth full, and creates one of the show’s funniest physical comedy moments as she and The Baker’s Wife juggle sweets and cakes as Riding Hood tries to fill her basket – a basket, by the way, that she commandeered from The Baker’s Wife. Berneche’s childlike allure makes it all more creepy when The Wolf (Terence Sullivan) peppers her with sexual innuendo, while diverting her from the path to her grandmother’s house in the woods. The dual role of The Wolf/Cinderella’s Prince emphasizes the lustful, narcissistic nature of both characters as they seduce, respectively, Little Red Riding Hood and The Baker’s Wife, in the woods. Sullivan’s dual roles are masterfully delicious and shiver-inducing – perhaps playing on the appeal of the bad boy. But also, the wolf’s ears, tail, and leather jacket are one of the best, most fun costumes, as well.

“You’re so nice. You’re not good, you’re not bad, You’re just nice. I’m not good, I’m not nice, I’m just right. I’m the witch.

Going back to the idea that this is an ensemble, it seems both appropriate and anathema that The Witch (Susan Sanford) had the star’s turn during the closing bows. The Witch, after all, is the only character that has the ability to fill in any of the backstory. At the same time, she does not have the most lines or greatest stage time. But Sanford’s rich vocals and The Witch’s makeover from old hag to bewitching diva, are worthy of recognition. Speaking of which, The Witch’s Act 2 costume and the costumes and wigs of Cinderella’s Stepmother (Hannah Zold Story) and Stepsisters Florinda (Katherine S. Wright) and Lucinda (Kylee Márquez-Downie) reminded me of drag queens – but without the expected sassiness. The Witch loses her powers and Florinda and Lucinda have their eyes pecked out. These characters’ journey into the woods do not bring about the desired results.

Slotted spoons don’t hold much soup.

In my humble opinion, Jack’s Mother (Lauren Leinhaas-Cook) was decidedly more evil than The Witch. She certainly wouldn’t win any awards for mother of the year. She berates and belittles Jack, then defends him when it’s time for him to face the consequences of his actions. These are the actions of an enabler. This role gives Leinhaas-Cook an opportunity to enjoy being nasty, and we don’t feel any great loss at her accidental demise. Let’s face it, Jack (Lukas D’Errico) would never be able to grow up under her nagging eye. In the end, he’s left looking for someone to take care of him, because his mother never taught him how to be an adult. She just sent him off on fruitless and self-serving quests into the woods. The Witch, who had whisked away Rapunzel (Sara Dabney Tisdale) from her parents at birth was no model mother, either. Locked away in a tower in the woods, Rapunzel ended up the single mother of twins, lost her Prince, her mind, and eventually her life as well. Apparently, one does not develop good life coping skills living in isolation in the woods.

Careful the things you say…children will listen.

While Act 1 is a quest to find fulfillment of all the characters’ wishes, Act 2 shows us what happens after “happily ever after.” With Act 1 running approximately 90 minutes, it almost seems as if the show is over at the end of Act 1. But wait, there’s more. Act 2 shows us the consequences of getting what you wished for. There is a fantastic scene in which the surviving characters – after much of the slaughter and bloodshed – all point the finger of blame at each other: The Baker, The Baker’s Wife, The Witch, Jack, Jack’s Mother, Little Red Riding Hood (who is never at a loss for snarky comments, with accompanying facial expressions and body language). It’s a comedy. It’s a parody. It’s a satire. It’s a musical. It’s a morality play. It’s a metaphor for Life. Into the Woods is where life happens. Some emerge triumphant, some do not emerge at all. As 2010 Internet sensation Antoine Dodson once said, “Hide yo’ kids, hide yo’ hide yo’ husbands ‘cause they’re rapin’ everybody out here.” Go see Into the Woods, but leave your kids at home.

—–

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

—–

INTO THE WOODS

Book by James Lapine

Music and Lyrics by Stephen Sondheim

Directed by Jase Smith Sullivan

Musical Direction by Kim Fox

Cast

Narrator/Mysterious Man       ……………    J.C. Bussard   

Cinderella                                ……………    Grey Garrett

Jack                                         ……………    Lukas D’Errico

Jack’s Mother                         ……………    Lauren Leinhaas-Cook

Milky White                            ……………    Katherine Malanoski

The Baker                               ……………    Durron Marquis Tyre-Gholson

The Baker’s Wife                   ……………    Maggie Marlin-Hess

Cinderella’s Stepmother         ……………    Hannah Zold Story

Florinda                                   ……………    Katherine S. Wright

Lucinda/US Cinderella           ……………    Kylee Márquez-Downie

Little Red Riding Hood          ……………    Gracie Berneche

The Witch                               ……………    Susan Sanford

Cinderella’s Father/The Steward ………..     Eddie Webster

Cinderella’s Mother/Granny/The Giant …    Heidi Johnson Taylor

The Wolf/Cinderella’s Prince ……………    Terence Sullivan

Rapunzel                                 ……………    Sara Dabney Tisdale

Rapunzel’s Prince                   ……………    Field Oldham

Ensemble/US The Wolf/Princes …………    Thomas Kaupish

Ensemble/US Jack                  ……………    Milo Jones

Ensemble/US Little Red Riding Hood …..    Belén Tarifa

Production Team

Artistic Director          ……………    James Ricks

Managing Director      ……………    Jase Smith Sullivan

Music Director            ……………    Kim Fox

Production Stage Manager ………    Shawanna Hall

Assistant State Manager/

     Properties Design   ……………    Jordan Dively

Assistant State Manager/

     Character Double   ……………    Diandra Chiaffino-Butts

Hair and Makeup Design  …….….    Amanda Blake

Costume Design          ……………    Keith Walker

Lighting Design          ……………    Michael Jarrett

Puppet Design             ……………    Heidi Rugg

Scenic Design                         ……………    Todd LaBelle

Scenic Design                         ……………    Katherine Malanoski

Sound Design              ……………    Grace Brown LaBelle

Production Manager/

     Sound Board Operator ………..    MariaElisa Costa

House Manager/

     Production Assistant  …………    Kiari Hicks

Costume Assistant      ……………    Susan Frye

Master Electrician       ……………    Emily Vial

Follow Spot Operator ……………    Parker Beard

Follow Spot Operator ……………    Wyatt Roberts

Box Office                  ……………    Nata Moriconi

Musicians

Conductor/Keyboard 1……………   Kim Fox

Bass                             ……………    Bea Kelly

Drums                         ……………    Steve Raybould

Cello                            ……………    Lauramarie Laskey

Clarinet                       ……………    Marc Krauss

Flute                            ……………    Stephanie Shumate

French Horn                ……………    Gretchen Georgas

Keyboard 2/Synthesizer …………     Ian Krauss

Trumpet                       ……………    Steve Fenick

Violin                          ……………    Marissa Resmini

Run Time: approximately 3 hours, with one 15-minute intermission

———-

Photo Credits: Photos from Richmond Shakespeare Facebook page

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DR. RIDE’S AMERICAN BEACH HOUSE

DR. RIDE’S AMERICAN BEACH HOUSE*

“If one of us is brilliant, maybe it’s not you,” or

Four Queer Women Lift-off on the Eve of Sally Ride’s Historic First Space Flight

A Theater Review by Julinda D. Lewis

By: Yes, And! Theatrical Company

At: The Firehouse 1609 West Broad St., Richmond, RVA 23220

Performances: March 7-23, 2024

Ticket Prices: $37 general admission

Info: Email: yesandrva@gmail.com; Website: yesandrva.org; Facebook: http://www.facebook.com/yesandrva/

When I say that Liza Birkenmeier’s 4-character, one-act play, DR. RIDE’S AMERICAN BEACH HOUSE is weird, please understand that is an observation, not a judgment. There is a reason  why the Yes, And! Theatrical Company – now in its second year of production –- chose this play. I suspect it has something to do with exploration (inner, and self, more than space) and identity (woman as subject, not object, as well as gender and sexuality), and history (personal history as well as the history of Dr. Sally Ride and the American space program).

Set on a rooftop in St. Louis in June 1983, on the eve of the launch of the Challenger space shuttle that carried Dr. Sally Ride, the first American woman to go into space, DR. RIDE’S AMERICAN BEACH HOUSE is both non-linear and non-conforming. Two long-time friends, both poetry majors who have apparently simultaneously run into a writing block, come to the rooftop for the weekly meeting of The Two Serious Ladies Book Club. The club is named for a novel by Jane Bowles in which two women explore – depending in which review you read – “living outside themselves” or descend in debauchery. After forming the book club, however, our leading ladies, Harriet (Ashley Thompson) and Matilda (Rachel Marrs) realize they don’t really like to read, so they spend the time drinking beer and talking.

One day, their complacent little world is shaken up when (a) Harriet shares a harrowing tale of a sexual encounter with a stranger – a bearded biker, no less – and (b) Matilda invites a new friend, Meg (Kasey Britt) whose insight sheds new light on the friends’ sexual tension and life in general, and (c) their lives are all shifted by the imminent space launch that is the main topic on their rooftop radio.

Harriet is high strung and annoying, but about two thirds of the way through we find out she has good reason to be, and in spite of her irksome character, we cannot tear ourselves away from the story she weaves throughout. Perhaps Harriet’s calling was not for poetry, but for fiction or drama…Matilda, who has a husband and a sick child at home, would rather spend her time with Harriet, and is given to bursting out in song – revealing that Rachel Marrs has a stunningly beautiful singing voice and can even attempt a decent Irish step or two.

Most intriguing, however, is Meg. Back stories and character development are not a main point of DR. RIDE’S AMERICAN BEACH HOUSE, so we know that Meg works at a hospital across the street from where Harriet and Norma live, and may – or may not –- be a nurse. She does, however, provide some music therapy for Harriet in the midst of her breakdown, which leads to one of this play’s most delightful moments.

The fourth character is Norma (Jacqueline Jones) – who is either Harriet’s landlady or neighbor. At any rate, it seems that Norma is the caretaker of the Ivan Brock House, named for fictional poet and the house where Harriet lives. Norma is concerned with three things: safety, money, and Harriet’s leaky air conditioning unit. Jones’ two or three appearances are all too brief, as Norma, who seems to be on the far right of some spectrum or another, shares complaints and almost incidentally drops pearls of wisdom and insight on the younger women.

DR. RIDE’S AMERICAN BEACH HOUSE is directed by Kelsey Cordrey with a light touch, a good dose of wit, and a loving respect for words. Cordrey and the cast make us see or at least ponder connections between barbecue and beer, a beach house and a rooftop, an astronaut launching into space and an ordinary person (is there such a thing?) exploring the unexplored landscape of their life. It’s only about 90 minutes long, and the first few minutes are rather slow going, but about midway through – and even more so afterwards – it becomes clear that there is more to explore here than at first meets the eye.

Cordrey explains at least part of the “why” in her director’s note: “Pretty much every queer person I know has felt the urge to “go away” before. To escape to a place, whether literal or figurative, what would be more. More accepting, more fulfilling, more exciting, or more loving”.

Adam Dorland has designed a simple but effective rooftop setting with a couple of chairs, some stacked crates that serve as a table, an HVAC unit, and lots of brick wall constructed at an angle that juts slightly off the edge of the stage. Candace Hudert’s sound design is mostly subtle, and makes use of the ubiquitous 1980s boom box and cassette tapes – remember those???

If you like your theater to have a clear beginning, middle and end, and to tie up all the loose ends with a happy ending, DR. RIDE’S AMERICAN BEACH HOUSE won’t fulfill those needs. If you like theater that asks questions and challenges you to think about why things are the way they are, then this is your kind of play. And if you’re undecided, or not sure, I would urge you to give it a try and discuss it after – maybe with three friends, over a bottle of wine or some beers.

FUN FACTS ABOUT DR. SALLY RIDE

  • Sally Kristen Ride (1951-2012) was a physicist and the first female American astronaut
  • Sally Ride was married to Steven Hawley (1982-1987) and had a long-term partner, Tam O’Shaughnessy (1985-2012)
  • Dr. Ride did not publicly reveal her sexuality until her death, in a carefully worded obituary she wrote before she died
  • In 1972, while an undergraduate at Stanford University, Sally Ride played tennis great Billy Jean King in a mixed doubles exhibition
  • One morning, at breakfast, in 1977, while she was a doctoral student at Stanford University, Sally Ride read an article in the student newspaper that NASA was opening up applications to women for the first time, so she applied
  • Dr. Ride’s younger sister, Bear, is a Presbyterian minister – she is also queer
  • Sally Ride was a Trekkie
  • Sally Ride and her partner Tam O’Shaughnessy co-authored several science books for children
  • In 2013 Sally Ride was posthumously awarded the nation’s highest honor, the Presidential Medal of Freedom; President Barack Obama presented the award to Tam O’Shaughnessy                  Source: https://today.ucsd.edu/story/20-things-you-might-not-know-about-sally-ride

*ONE FINAL FUN FACT

  • The Astronaut Beach House is a two-story building located in Cape Canaveral, FL use to house astronauts prior to their launch. The house is also used as a conference center, and hosts barbecues for astronauts and their families prior to a launch

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

———-

DR. RIDE’S AMERICAN BEACH HOUSE

Written by Liza Birkenmeier

Directed by Kelsey Cordrey

Principal Cast

Ashley Thompson as Harriet

Rachel Marrs as Matilda

Kasey Britt as Meg

Jacqueline Jones as Norma

Understudy Cast

Juliette Aaslestad u/s for Harriet

Amber James u/s for Matilda

Davis Erney u/s for Meg

Nicole Morris-Anastasi us for Norma

Production Team

Scenic Design – Adam Dorland

Costume Design – Amber Martinez

Lighting Design – Steve Koehler

Sound Design – Candace Hudert

Properties Design – Margaret Dodson-Cordrey

Intimacy Direction – Tippi Hart

Production Manager – Todd LaBelle

Production Stage Manager – Crimson Piazza

Asst. State Manager – Marcely Villatoro

YES, AND! THEATRICAL COMPANY

in residence with NEW THEATRE at FIREHOUSE

Artistic Director – Maggie Roop

Managing Director – Nicole Morris-Anastasi

Executive Director – Matt Shofner

Dr. Ride’s American Beach House

Commissioned and Developed by Ars Nova

Jason Eagan, Founding Artistic Director | Renee Blinkwolt, Managing Director

World Premiere produced by Ars Nova, New York City, October 21, 2019

Performance Schedule

Thursday, March 7, 2024    7:30PM          Preview

Friday, March 8, 2024         7:30PM          Opening Night

Saturday, March 9, 2024    7:30PM

Tuesday, March 12,2024    7:30PM          Industry Night

Thursday, March 14, 2024 7:30PM          Understudy Performance

Friday, March 15, 2024       7:30PM

Saturday, March 16, 2024  7:30PM

Sunday, March 17, 2024    2:00PM

Tuesday, March 19, 2024   7:30PM          Industry Night

Friday, March 22, 2024       7:30PM         

Saturday, March 23, 2024  7:30PM          Closing Night

Tickets

Ticket Prices: $35 general admission

Run Time

1 hour 36 minutes with no intermission

Notes

Please be aware that an herbal cigarette will be smoked for a brief moment onstage

Photos by Tom Topinka

The real-life NASA Beach House
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FROM UP HERE

FROM UP HERE

Photos of Strangers

A Theater Review by Julinda D. Lewis

Presented by HATTheatre

At: HATTheatre, 1124 Westbriar Dr., Richmond, VA 23238

Performances: March 2-15, 2024

Ticket Prices: $30 General Admission. $25 Seniors/Students/Military. $20 Youth

Info: 804-343-6364  or https://hattheatre.org

Set on the Brooklyn Bridge where five strangers go to seek solitude and solace, FROM UP HERE (2012) is a uniquely moving and relatable one-act musical.

There’s Henry (Doug Schneider), an older man, a widower who comes to the bridge to reminisce about his beloved wife of forty years. They met on the bridge by accident – literally. Emily (Elise Cumbia) is a sensitive young woman struggling with the news of an unnamed but apparently life-threatening illness. Her illness – likely some form of cancer – makes her reconsider her commitment to her boyfriend. Emily’s long-term boyfriend Dan (Erik DeMario) is a photographer whose current project, taking impromptu photographs of strangers on the Brooklyn Bridge, is instrumental in creating intersections between these strangers.

Jill (Alanna Wilson) is a kind young woman who discovers she is pregnant after a rare one-night stand with a man who subsequently ghosted her. And finally, there is Alan (Aaron Hoffman) is a harried businessman who seems always on the brink of calamity, leaving him little time for human interaction.

Since it’s Sunday, I’ll take a page from my preaching friends and offer just three points about this play, and then you’ll be free to go see it for yourself.

First, each and every one of these characters is likeable. They are people we care about, and even though this one-act musical runs for under 90 minutes, we feel that we get to know the character of each of these people. It doesn’t matter what happened before we met them – or before they met each other. What matters is that now we know them, and we care about them.

Second, each and every one of these actors can sing, but I (who am NOT a singer or musician) was especially impressed by Erik DeMario and Elise Cumbia. DeMario, at times, reminded me of an opera singer. It comes as no surprise to find, in DeMario’s bio, that he has performed with the Virginia Opera, VCU Opera, and the Richmond Symphony, among other companies. Cumbia’s clear tone reflects her background in musical theatre and no doubt serves her well with her work with her church choir.

Several times all five share the stage, singing the show’s motif: “This isn’t the end. This is the beginning.” This isn’t the end of life – despite the implications that, at some point, each has considered jumping off the bridge. No, it isn’t the end of life, but the beginning of a new phase of life, and during the course of a year, they help each other through the trials and tribulations that have led them to this point.

And finally, because I promised three points, FROM UP HERE seems different from most musicals. For one thing, it’s just one-act. In my experience, musicals tend to run longer than non-musical productions. Also, as I mentioned earlier, FROM UP HERE reminded me somewhat of an opera. The songs were not catchy, sing-along tunes, but seemed designed with the intention of moving the narrative. And then, this musical is not high school bullies or rivalries or romance. It is about change and choices and consequences. Why did author Lambert – a Texas born actor and writer who, after living and working in New York, now lives and works in the UK – set this musical very specifically on the Brooklyn Bridge? Perhaps it was because the Brooklyn Bridge is a kind of suspension bridge, and each of these five characters is suspended between their past and their future.

The play is set against a backdrop of a painting that strongly suggests the Brooklyn Bridge. As one who, for many years, walked across the Brooklyn Bridge and back every Saturday morning for exercise (followed by pancakes), it would take a feat of engineering to produce an accurate rendering of the historic bridge.

Lambert’s script calls for four musicians or instruments (piano, reed such as flute, clarinet or saxophone, violin + glockenspiel, and cello) but notes that the music can be performed with only a piano. The artistic team for this production decided to use piano and violin, with musical director Leilani Fenick and violinist Kristen Presley seated upstage center. The music was wonderful, as the two not only accompanied the songs but also supplied the soundscape, such as telephone ringtones. Somehow, inexplicably, having the musicians so present made me feel less intrusive as an audience member, less voyeuristic, and more like a participant observer.

Frank Foster’s direction elicits an authenticity from each character that helps lure in the audience, and once there, we are fully committed. FROM UP HERE, which could allude to the nearly 120 feet the bridge soars above the East River or the nearby Brooklyn Heights neighborhood, is a surprisingly unexpected treat: a delightful, warm, and relatable musical that leaves a lingering impression.

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs.

FROM UP HERE

Written by Aaron Lee Lambert

Developed by Perfect Pitch with Adam Day Howard, Benjamin Murray and Adrianne Salmon

Directed by Frank Foster

Musical Direction by Leilani Fenick

Cast

Doug Schneider as Henry

Elise Cumbia as Emily

Erik DeMario as Dan

Alanna Wilson as Jill

Aaron Hoffman as Alan

Creative Design Team

Written by Aaron Lee Lambert

Direction & Scenic Design by Frank Foster

Musical Direction by Leilani Fenick

Stage Management by Matthew Geniesse

Lighting Design by Weston Corey

Costumes by in:commonthreads

Set Painting by Amy Sullivan

Light Board Operation: Jordan Rypkema

Box Office/House Manager: Vickie L. Scallion

Piano: Leilani Fenick

Violin: Kristin Presley

Dates

March 2-15, 2024

Ticket Information

Ticket Prices: $30 General Admission. $25 Seniors/Students/Military. $20 Youth

Info: 804-343-6364  or https://hattheatre.org

Run Time

Approximately 70 minutes, with no intermission

Photo Credits: N/A

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SATCHMO AT THE WALDORF

“I Smile for the People ‘Cause I Like to See Them Smiling Back”

and I Think to Myself, What a  Wonderful World*

A Theater Review by Julinda D. Lewis

By: Virginia Repertory Theatre (Virginia Rep)

At: The Sara Belle and Neil November Theatre | Marjorie Arenstein Stage

When: March 1 – April 7, 2024

Ticket Prices: $39-$59.

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

I see trees of green
Red roses too
I see them bloom
For me and you
And I think to myself
What a wonderful world

American trumpeter, vocalist, and jazz innovator Louis Armstrong died in New York City, July 6, 1971 at age 69 of a heart attack. Terry Teachout’s one-man play, SATCHMO AT THE WALDORF (2012),is a work of historical fiction set in a comfortably appointed dressing room at the Waldorf Astoria’s Empire Room a few months before Armstrong’s death. The VaRep production features Jerold E. Solomon, who catches us off-guard in the first 30 seconds of the play by (a) stumbling into the dressing room and heading straight for an oxygen tank, (b) speaking in an amazingly accurate approximation of Armstrong’s gravelly voice, and (c) immediately announcing, “I shit my pants.”

Although it is a work of fiction, SATCHMO AT THE WALDORF has so much historical truth that it is an educational experience. We learn of Armstrong’s four wives and how he finally got it right with his fourth wife, Lucille – the first dark-skinned Black woman hired by Harlem’s Cotton Club. We share the outrage when he talks about traveling in the south during the era of Jim Crow segregation when even internationally known starts like Armstrong could not stay in a hotel or eat in a restaurant. We hear about Armstrong’s long-tern symbiotic relationship with his manager, Joe Glaser, and the heartache the followed when all Glaser left him on his death – his best friend and client/business partner – was a “tip.” There was a time spent working for the notorious crime boss Al Capone. He had beef with jazz trumpeter and bandleader Dizzie Gillespie and unpleasant rivalry with the influential jazz trumpeter and bandleader Miles Davis, who called him an Uncle Tom. We learn of Armstrong’s wide-ranging and eclectic interest in multiple music genres, including classical, opera, and country.

I see skies of blue
And clouds of white
The bright blessed day
The dark sacred night
And I think to myself
What a wonderful world

Solomon arrives onstage carrying a trumpet, which he immediately places in its case. He does not attempt to play or portray trumpet playing, nor does he sing, although he does toss off a little scatting. Solomon’s depiction of Armstrong’s voice is unwavering and I kept wondering if it was painful. But wait, that’s not all. When portraying Glaser, Solomon seamlessly shifts to a stereotypical New York Jewish accent without missing a beat. The portrayals of the outspoken Davis are less outstanding – although I think the reason lies less with Solomon than with the script. For someone known to be so outspoken and independent, Davis is written as a flat, uni-dimensional.

The colors of the rainbow
So pretty in the sky
Are also on the faces
Of people going by
I see friends shaking hands
Saying, “How do you do?”
They’re really saying
I love you

Mercedes Schaum’s set is sturdy and well appointed with a makeup area, a lounge area, two carpets, a wardrobe, an offstage bathroom and all the amenities one would expect from an exclusive venue located in a five-star hotel. Joe Doran’s lighting is mostly non-descript, but occasionally reaches for some noteworthy effects. I was surprised by the short audience on a Saturday night, the second night of the run. I’m not sure if this was due to a lack of interest in the subject matter or to the political activity occurring in the nearby downtown area, or to the 7PM curtain, or the fact that this play is a one-hander (rare for a VaRep mainstage production), or a combination of factors. Granted, Louis Armstrong may not be everyone’s cup of tea, and – as I found out shortly after the show – not everyone knows that Satchmo, a contraction of Satchel Mouth, was one Armstrong’s nicknames.

I hear babies cry
I watch them grow
They’ll learn much more
Than I’ll ever know
And I think to myself
What a wonderful world
Yes, I think to myself
What a wonderful world
Ooh, yes

I, for one, thoroughly enjoyed Solomon’s performance and the impromptu history lesson of Satchmo at the Waldorf – it appealed to my artsy side and my nerdy side. What a wonderful combination.

———-

Julinda D. Lewis is a dancer, teacher, and writer who recently had both knees replaced due to a manufacturer’s recall. Born in Brooklyn, NY, she now lives in Eastern Henrico County where she can be found kicking up her heels as best she can any day of the week.

———-

SATCHMO AT THE WALDORF

Written by Terry Teachout

Directed by Rick Hammerly

Cast

Louis Armstrong/Joe Glaser/Miles Davis             ……….         Jerold E. Solomon

u/s Louis Armstrong/Joe Glaser/Miles Davis ……….       David Watkins

Direction & Design

Direction ………………………….             Rick Hammerly

Scenic Design ……………………             Mercedes Schaum

Costume Design …………………             Sue Griffin

Lighting Design …………..………            Joe Doran

Sound Design ……………………..           Jonathan Pratt

Stage Management ………….…..          Donna Warfield

Ticket Information

Box Office: (804) 282-2620

www.virginiarep.org

Tickets range from $39 – $59

Run Time

The play runs for approximately 95 minutes; there is no intermission.

Lyrics to “It’s a Wonderful World”

Source: LyricFind

Songwriters: George David Weiss & Robert Thiele

“What a Wonderful World” lyrics © BMG Rights Management, Concord Music Publishing LLC

Photo Credits: Aaron Sutten

Jerold E. Solomon. Photo by Aaron Sutten.
Jerold E. Solomon. Photo by Aaron Sutten.
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