Category: Theater

CLICK HERE TO DONATE TO RVART REVIEW

COME FROM AWAY

“Welcome to the Rock!” 38 planes.

6,579 passengers. 1 remarkable town.

A Theater Review by Julinda D. Lewis

Presented by Virginia Rep

At: The November Theatre, 114 W. Broad St, RVA 23220

Performances: June 18 – August 2, 2026

Ticket Prices: $35/Value Orchestra – $62/Standard Orchestra – $72/Premium Orchestra; $20/Students; Military & Group Discounts available

Tickets & Info: va-rep.org; (804) 282-2620

Based on true events in recent, memorable history (for many of us), Irene Sankoff and David Hein’s amazingly upbeat musical, Come From Away, is without a doubt one of the strongest ensemble works I’ve ever seen. The Virginia Rep cast is a comfortable collaboration of familiar (e.g., Susan Sanford, Emelie Faith Thompson, Durron Marquis Tyree, Eddie Webster) and new faces (e.g., Ti Reneé Ames, Ashley Beary, Sherri L. Edelen, James Scales, Erich Schroeder). In addition, Come From Away is jam-packed with historic and emotional content – one minute you’re crying or holding your breath at a collage of images from the devastation in the aftermath of 9/11 and the next you’re laughing out loud at a much-needed humorous aside.

The September 11, 2001 attacks on New York’s World Trade Center, the Pentagon, and other intended targets—some heroically diverted—had far-reaching, lasting effects. What many did not notice amid this mass chaos was the kindness shown by the residents of the small Canadian town of Gander, Newfoundland. With the closing of American airspace for two or more days after the incident, many flights were cancelled or diverted. Thirty-eight commercial planes, carrying some 6,579 passengers landed at the Gander International Airport, nearly doubling the population of the island.

Come From Away tells the story of the remarkable events that followed. The people of Gander rose to the occasion. Striking school bus drivers suspended their strike to transport stranded passengers to hastily constructed emergency shelters set up in schools, churches, community centers, and even local homes. Food and clothing were donated. The local ice hockey rink was cleared off and used as a makeshift walk-in freezer to store the donated food. Diapers, baby formula, tampons, and toilet paper were delivered. Cell phones were acquired. Accommodation was made for kosher, halal, and vegetarian diets. The local SPCA located and fed the animals traveling in the cargo holds of the planes and even delivered a baby chimpanzee. This amazing display of hospitality lasted for up to five days before the Plane People were able to resume their travels. In that time, history was made, friendships were forged, and a Broadway musical was born.

Several scenes stood out in this VaRep production. From the start, the upbeat opening, “Welcome to the Rock,” set the tone for the entire evening. The show began with power and never flagged. The first scene that nearly brought me to tears occurred when Eddie Webster, a bus driver trying to communicate with his diverse passengers, noticed that a fearful African couple carried a bible. Realizing that even though he didn’t speak the same language, the numbering system of their bible would be the same, he pointed them to Philippians 4:6 (“Be anxious for nothing, but in everything by prayer and supplication, with thanksgiving, let your requests be made known to God”.) effectively calming their fears.

I mentioned earlier that this was a true ensemble, but some individuals stood out in several scenes. Again, it was Eddie Webster (in the role of Kevin T.) who initiated a heartfelt moment. With people of different languages and faith traditions sheltered in a church, Webster sings hymn, “Make Me A Channel of Your Faith” that segues into a beautiful scene that incorporates a Hebrew chant by a Jewish passenger and an Arabic prayer by Muslim passengers. The ensemble we saw on stage was inspired by the real-life ensemble of the Plane People in Gander, Newfoundland.

Other personalities that stood out on Wednesday night included Jianna Hurt (an understudy or swing) as Hannah – as a mother trying to contact her son, and Susan Sanford as Hannah’s newfound friend, a local woman named Beulah who was a leader in organizing the hospitality team. These two women, in real life, apparently maintained their friendship long after the disaster. Eddie Webster and David Lyve Watkins made an indelible impression as a gay couple, Kevin T. and Kevin J., who, initially anxious about how their relationship would be received, soon discovered that they had inadvertently been stranded in “the gayest town in Newfoundland.”

Other memorable characters include Alia Bisharat Glidden as pioneering pilot Beverly Bass (first female captain for American Airlines who was piloting Americal Airlines Flight 40 from Paris to Dallas on 9/11 when her plane was diverted to Gander), and Sherri L. Edelen and Thomas Adrian Simpson as a 60-ish couple, Diane Kirschke from Houston, TX and Nick Marson from London, UK who fell in love while stranded and later married in real life. Durron Marquis Tyre provides some of the production’s most memorable comedic moments, starting with a running gag based on his suspicion of the townspeople’s kindness. Terrified that someone is going to steal his wallet, he is suddenly commissioned to collect all the neighboring barbecue grills for a communal cookout. To his surprise, rather than being accused of stealing grills, he finds that the homeowners not only help him, but each offers him a drink. Tyre’s character was based on real-life passenger Tom McKeon, son of a New York City firefighter, who stayed at the home of the mayor of Appleton, a town near Gander and struck up a lifelong friendship with a local resident, apparently after bonding over a fondness for Irish Whiskey.

After a while, the line blurs between the play’s cast of characters and the real-life people whose lives they are based on. And that is yet another of the strengths of Come From Away. This is a show you can watch more than once and probably come away with a whole new depth of perspective.

Great, unobtrusive direction by Rick Hammerly. Lively Celtic folk-rock music under the direction of Ellie Kahn. Phenomenal dialect coaching by Erica Hughes. A minimalist but far from sparse set design by Chris Raintree with evocative lighting and projections by Joe Doran and Mark Costello, respectively. Enhanced by Jonathan Pratt’s sound design. Highly recommended!

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and currently lives in Eastern Henrico County, (Richmond) VA. 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. Julinda was awarded the Dean’s Distinguished Adjunct Faculty Award for the 2023-24 Academic Year by VCU School of the Arts and the 2025 Pioneer Award in Dance Ministry by Transformation International Worship Ministries, Newport News, VA. Julinda completed her doctorate in Educational Leadership at Regent University (EdD, 2022) and her doctorate of ministry in Worship Arts at the Eagles International Training Institute and Bible College (DMin, 2025). Next up: certification in Water Aerobics instruction.

———-

COME FROM AWAY

Book, Music, and Lyrics by Irene Sankoff and David Hein

Directed by Rick Hammerly

CAST

Ti Reneé Ames ………. Hannah & Others

Ashlee Beary ………. Janice & Others

Sherri L. Edelen ………. Diane & Others

Alla Bisharat Glidden……… Beverley & Others

Susan Sanford ………. Beulah & Others

James Scales ………. Claude & Others

Erich Schroeder ………. Oz & Others

Thomas Adrian Schroeder.. Nick & Others

Emelie Faith Thompson….. Bonne & Others; U/S Beverley & Others

Durron Marquis Tyre……… Bob & Others

David Lyve Watkins ……….. Kevin J. & Others

Eddie Webster ………. Kevin T. & Others

Jianna Hurt ………. Swing (Hannah, Janice)

Aaron Thomas Moore ……. Swing (Claude, Nick, Oz)

David Ramirez ………. Swing (Kevin T., Kevin J., Bob)

Alanna Wilson ………. Swing (Bonnie, Beulah, Diane)

MUSICIANS

Keyboard/Conductor ……. Ellie Kahn

Whistle ………. Susan Davis, Doreen Oroshnik

Guitar ………. Brad Gunson, Drew Perkins

Mandolin ………. Ed Drake

Drums ………. Joe Lubman

Fiddle ………. Sage Wright, Marissa Resmini, Luz Recino

Bass ………. Beatrice Kelly, Alex Kehayas

Bodhrán/Percussion ……… Steve Raybould

PRODUCTION TEAM

Direction ………. Rick Hammerly

Music Direction ………. Elie Kahn

Choreography ………. Bandon Kelly

Scenic Design ………. Chris Raintree

Costume Design ………. Kendra Rai+

Lighting Design ………. Joe Doran

Projection Design ………. Mark Costello

Sound Design ………. Johnathan Pratt

Dialect ………. Erica Hughes

Stage Management ………. Abby Bobb

Production Photography……. Aaron Sutton

Promotional Photography….. Bob White

Production Video ……….. Austin Lewis

Performance Schedule:

June 18 – August 2, 2026

Tickets: $35-$79; Discounts available for Students & Military

Run Time: Approximately 100 minutes, no intermission

Content Warning: The show features themes of terrorism, panic, and grief. While it is generally recommended for audiences ages 10 and up, viewer discretion is advised regarding the intense emotional weight of the subject matter.

Audience Advisory: This production utilizes water-based theatrical haze.

Original Broadway production by Junkyard Dog Productions.

Come From Away was originally co-produced in 2015 by LaJolla Playhouse and Seattle Repertory Theatre and presented in 2016 by Ford’s Theatre.

Make a one-time, MONTHLY, OR YEARLY donation TO SUPPORT RVART REVIEW

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution is appreciated.

yOUR DONATIONS ARE APPRECIATED!

OUR DEAR DEAD DRUG LORD

*A Regional Premiere*

Growing Up is Messy…Especially When You’re Summoning the Dead

A Theater Review by Julinda D. Lewis

Presented by 5^th Wall Theatre

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

Performances: October 16 – November 9, 2025

Ticket Prices: $30/Adults, $15/Students

Tickets & Info: https://www.5thwalltheatre.org/ or email info@5thwalltheatre.org

5^th Wall Theatre opened its 2025/2026 season in its new, permanent home, the former Basement, now 5^th Wall at The Basement or 5^th Wall/Basement. In alignment with 5^th Wall Theatre’s mission “to provide insights into the human condition through theatrical expression,” the season opener provided new dimensions to the theatrical experience. Alexis Scheer’s Our Dear Dead Drug Lord is a dark comedy about 4 Miami teenaged girls, members of the Dead Leaders Club, who meet in a tree house where they hope to summon the spirit of Pablo Escobar.

In case that name sounds familiar, yes, “that” Pablo Escobar, the Colombian drug trafficker and leader of the infamous Medellín Cartel. In addition to being one of the world’s most notorious narco-terrorists, Escobar was also known as a philanthropist who built housing complexes, parks, football stadiums, hospitals, schools, and churches in some of Colombia’s poorest neighborhoods. So, what about Escobar appeals to a club (or gang?) of teen girls in Miami?

It could be the allure of the illicit, the Robin Hood element of Escobar’s philanthropy, the need to replace the powerlessness of being young and female with the trappings of power, or a misplaced coping mechanism to deal with their own personal traumas. More than likely, it is some combination of these things, along with the normal teenaged tendency to rebel.

In an interview for TheaterMania.com (September 22, 2019), the author explains that Our Dear Dead Drug Lord was created as a way for her to connect with her own roots. The Miami-born, Columbian and Jewish writer’s mother emigrated from Medellín in the 1970s. “The Colombian cartels and Pablo Escobar is a weird part of my family mythology that I don’t understand, because I feel so distant from it. So that’s where that came from. I think it’s a very American play, and part of my experience as an American is trying to touch upon the generation or two before me that was outside of this country and what they fled to get here.” (https://www.theatermania.com/news/alexis-scheer-gives-us-the-dope-on-her-play-our-dear-dead-drug-lord_89801/)

Okay. So, there’s that. But there’s also witchcraft, a Ouija board, a séance, and a special dance choreographed in honor of . There’s a diverse cast, each with a heavy burden of her own. Pipe, the club’s president, is an upper-class Cuban-American and carries the burden of grief from her younger sister’s death. Pipe’s bestie, Squeeze, is Puerto Rican-Haitian who is allergic to cats. Her father committed suicide. Zoom, Pipe’s Jewish-American neighbor, is the baby of the group, and always trying to keep up. Perhaps in an effort to over-compensate for her youth and lower status, she is also coping with the possibility of a teen pregnancy – which factors in the play’s climax. And then there’s Kit, a Columbian-American newcomer with a mysterious past that makes the other girls speculate that she may be the actual daughter of their hero, Pablo Escobar.

The intersection of this combined chaos is where these girls meet to create a sacred space, a sense of community – perhaps much like the community some young people find in gang life. Director Kaitlin Paige Longoria describes is as “an incantation, a call to the ancestors.” In her notes, Longoria writes, “It lives in that delicate space between grief and rebirth, between the ache of what’s been lost and the hope of what might still be found.”

It is in this spirit that these girls, four young women on the cusp of adulthood, seek freedom, power, and self-worth. It is in this spirit that they chant the mantra, “I will not be good. I will be loud, loud, loud. I will make the world in my image and take what I mine!”

Kylee Márquez-Downie (Pipe), Marya Brice (Squeeze), Eva Linder (Zoom), and Mary Kalinowski (Kit) form a solid ensemble, intense and darkly humorous. The séance is unsettling and the sacrifice is positively horrific and scary. It’s the kind of cast where each member has a distinct role, but it’s almost impossible to single out anyone because each plays an integral part in the whole.

Joey Luck composed an original score using the cast’s own voices and William Luther created a uniquely isolated and compact tree house environment where all the action takes place.

Our Dear Dead Drug Lord is anything but predictable. It is weird, dark, disturbing, and it resonates with the truth that society is failing our young women and if we don’t do something to shape and direct them, they will find someone – or something – to fill that void.

———-

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. Julinda was recently awarded the Dean’s Distinguished Adjunct Faculty Award 2023-24 Academic Year by VCU School of the Arts and the 2025 Pioneer Award in Dance Ministry by Transformation International Worship Ministries, Newport News, VA.

———-

OUR DEAR DEAD DRUG LORD

A Play by Alexis Scheer

Directed by Kaitlin Paige Longoria

CAST

Kylee Márquez-Downie ………. Pipe

Eva Linder ………. Zoom

Marya Brice ………. Squeeze

Mary Kalinowski ………. Kit

UNDERSTUDIES

Natalie Tubia ………. u/s for Pipe & Kit

Kylie Metheny ………. u/s for Zoom

Jada Paul ………. u/s for Squeeze

FEATURING

DJ Cummings Herdoiza ………. Pablo

Fio Lo Presti ………. Pipe’s Little Sister

PRODUCTION TEAM

Directed ………. Kaitlin Paige Longoria

Scenic Design ………. William Luther

Lighting Design ………. Corrine Manderino

Sound Design ………. Joey Luck

Costume Design ………. Emily Andrew Mateos

Choreography ………. Kayce Sullivan & Jamie Hollman

Intimacy Choreography ….. Kerrigan Sullivan

Stage Management ……… Megan Wave

Technical Direction ………. Chris Foote

Photography ………. @ivyandlacephoto

Performance Schedule:

Thursday, Friday, Saturday 7:30PM

Saturday, Sunday 2:30PM

Tickets: $30/Adult; $15/Student

Run Time: 95 minutes, no intermission

The World Premiere of Our Dear Dead Drug Lord was presented in September 2019 by WP Theater and Second Stage Theater, NYC, NY.

CONTENT WARNING: This play contains strong language, sexual content, depictions of drug use, and scenes of violence. The play also includes references to suicide, sexual assault, and other sensitive subject matter.

Marya Brice, Mary Kalinowski, Kylee Marquez-Downie, Eva Linder

PLEASE Make a one-time, MONTHLY, OR ANNUAL donation TO SHOW YOUR APPRECIATION FOR RVART REVIEW!

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution is appreciated.

Sweet Bird of Youth

Shorts 2025: Kaye Weinstein Gary’s Sequel to Coming of Age

A Dance-Theater Review by Julinda D. Lewis of

A Limited-Run World Premiere of Monologues, Music, and Dance

Presented by KDance

At: Richmond Triangle Players, Robrt B. Moss Theatre, 1300 Altamont Ave, RVA 23230

Performances: October 16-18, 2025

Ticket Prices: $30

Tickets & Info: kdance.org or rtriangle.org or call (804) 346-8113 or (804) 270-4944

Sweet Bird of Youth picks up the theme Kaye Weinstein Gary laid down with 2024’s production of Shorts (i.e., short dance-theater works that blend text, movement, and music), entitled Coming of Age. Right off the bat, Gary confirms that Sweet Bird of Youth is at least partially autobiographical by sharing a humorous tale of going out with friends, all of whom were unashamed to claim their senior discounts – all, that is, except her. Gary confesses that she threw away her AARP mail, didn’t want to claim Social Security, and eschewed senior discounts. Garys’s denial was so extreme that eventually her husband pointed out that she was throwing away money by not embracing the senior savings.

Equal parts humorous and heartfelt, this exploration of aging and life transitions is supported by Jane Cafarella’s monologue, “Sweet Bird of Youth,” Andrew Bliss’ “Cuthbert’s Last Stand,” and Tracy Letts’ August Osage County as well as other monologues, poems and songs (e.g., Nat King Cole’s “Sweet Bird of Youth”). Cafarella’s “Sweet Bird of Youth” is spread over three ensemble sections and Gripp’s “Hap Hap Hap Birthday” song appears twice; these, along with Cafarella’s words provide a sort of loose structure to this seemingly free-form enterprise.

The “Sweet Bird of Youth” theme is echoed in Frank Foster’s set – his first for a dance company – a flock of translucent birds appearing to emerge from a picture frame that rests with a corner on the floor. There is also a red cushion or hassock, 2 of those clear acrylic Ghost Chair armchairs, and 2 barstools, allowing for quick and seamless scene changes.

Between the introduction and the closing bow, the audience gets to experience a range of significant life-stage events, including the death of a parent, a confession of not being homosexual, and milestone birthdays of 40 and 50 years. The program addresses the arc of sexuality as we age, symbolized by moving from a twin bed to a double bed, then a queen-sized or king-sized bed before moving back to separate beds and finally separate rooms.

Just as Gary has staged an opposite-of-coming-out scene, she starts from the end, with the performers wearing wigs and shawls that they shed as they regress to earlier, younger versions of themselves or their characters. The audience loved every bit of it – after all, Gary has tapped into an area of need, the aging are too often socially neglected and invisible. During a talk-back with the audience, someone summed up this need and Gary’s collaborative response like this (or something pretty close): “Dance is kind of the ultimate triumph of the body…tension between words and movement.”

———-

CAST of DANCERS/ACTORS

Andrew Etheredge

Kaye Weinstein Gary

Melanie Richards

PRODUCTION TEAM

Director/Choreographer ….. Kaye Weinstein Gary

Lighting Designer ….. Gretta Daughtrey

Set Designer ….. Frank Foster with Jessica Chivington

Hat/Wig Consultant ….. Heidi Rugg

Stage Manager ….. Jake Buccella

Production Assistant ….. Gina Maria McKenzie

Performance Schedule:

Thu Oct 16 @ 8pm, Fri Oct 17 @ 8pm, Sat Oct 18 @ 4pm & 8pm

Tickets: $30

Run Time: Approximately 40 minutes, no intermission

Melanie Richards, Kaye Weinstein Gart, Andrew Etheredge

Photos by Tom Topinka

PLEASE Make a one-time, MONTHLY, or ANNUAL donation donation to support rvart review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution is appreciated.

LONG DAY’S JOURNEY INTO NIGHT

Family Dysfunction as Fine Art

A Theater Reflection by Julinda D Lewis

Presented by: Cadence Theatre

At: Firehouse Theatre on the Carol Piersol Stage, 1609 W Broad St., RVA 23220

Performances: September 26 – October 11, 2025

Ticket Prices: $5-$40

Info: (804) 233-4894 or (804) 355-2001 or firehousetheatre.org

Where to begin?

Eugene O’Neill’s Long Day’s Journey into Night stands out as a hauntingly authentic exploration of family bonds, dysfunction, addiction, and shadows from the past. From the very first moments, the play immerses the audience in a poignant portrayal of the Tyrone family, using the power of simplicity. Taking place over the course of a single summer day at the Tyrone family’s Connecticut summer home, O’Neill reveals the family’s struggles with personal demons and the inescapable grip of regret. He also reveals these things about his own family as the Tyrone family finds parallels in O’Neill’s own parents, himself and his older brother. Whereas most authors advise that the names do not reflect real people, O’Neill has borrowed freely from his own family tree – shifting and borrowing, but using real names, nonetheless.

Messiness aside, O’Neill’s masterful use of language and his rich character development invites viewers to immerse themselves into the complexities of love and despair, presenting a work that is simultaneously unsettling and profoundly relatable. Each character feels like a reflection of O’Neill’s own experiences – because they are. This personal history adds layers of authenticity to a narrative that is both a personal tragedy and a universal commentary on the human condition.

Long Day’s Journey into Night was written 1939-1941 but was published posthumously and first performed in February of 1956, more than two years after O’Neill’s death (October 16, 1888 – November 27, 1953). It is considered by many to be the author’s master work and earned a Tony award for Best Play and a Pulitzer Prize for Drama.

The title, though? Some believe it refers to the setting of play, taking place over the course of a single summer day. The play opens just after the Tyrone family has completed breakfast and concludes in the evening, after dinner. Others say the title refers to the literal passage of time, from morning to evening. Summer days are longer than others, as far as hours of daylight. Then, of course, there is the metaphorical meaning that says the title refers to the family’s descent into the darkness of despair. This explanation focuses on the symbolism of the family’s journey through addiction, regret, and blame, moving from a false sense of hope in the morning to a bleak, unresolved midnight. This explanation also suggests the characters’ individual and collective journeys back in time as they resurrect past hurts and relive their failures, making the day seem to stretch out in a cyclical fashion, like a vintage Groundhog Day. There is also the long day for the audience, as the play runs approximately four hours, including two ten-minute intermissions.

Long Day’s Journey into Night is difficult to watch – and not just because it’s long. There is the subject matter, which might be triggering for some. The father, James Tyrone, was a successful but now fading Irish-American actor who dabbles in real estate investment, drinks too much, and is somewhat of a miser. In one hilarious scene he climbs atop a table to twist on the bulbs of a chandelier because his son complained about his miserly ways. He had been sitting under the light of a single bulb to save money. (In retrospect, I wonder if he rotated the lit bulb, so they would burn out evenly…) Another humorous moment occurs when James suddenly becomes aware that his sons have been watering down his prized whiskey. Matt Radford Davies plays the domineering, frayed at the seams actor with apparent ease and reveals the positive and negative aspects of James’ personality is a way that paints him as neither all villain nor all hero. It feels as if Davies has walked in Tyrone’s/O’Neill’s’ shoes, or at least tried them on long enough to absorb their essence.

Mary, the mother, has a mysterious illness that is alluded to throughout the first act but never confirmed until about the midpoint of the play. This brings up another triggering idea – the medical negligence of women, especially pregnant women – as well as the prevalence of addiction to prescription pain killers. Yes, even in 1912, when this play was set. Robin Arthur’s erratic movements, her repetitious dialogue, her fixation with her hair, her obsessiveness in regard to her younger son, and her aggressively mysterious demeanor make sense as the source of her pain is revealed.

“I know you still love me in spite of everything.” – Mary

Jamie Tyrone, the elder son, is an actor, like his father. He drinks too much, like his father. But unlike his father, he lacks ambition and a sense of purpose. Axel Burtness is well cast in this role, and shines best in a scene where Jamie warns his younger brother that, as much as he loves him, he will try to sabotage him and wreck any success or happiness that may come his way.

Edmund, the younger son, has a double burden. Unknowingly, he was a replacement baby, conceived to replace a baby who died of measles that may have been intentionally passed on to him. It was this birth that triggered Mary’s constant pain and need for medication. To make matters worse, Edmund has contracted consumption – another name for tuberculosis. (It was called consumption because the illness sometimes seemed to consume the individual who had it.) This, of course, makes Mary even more depressed. Trace Coles brings just the right balance of innocence and defiance.

“Who wants to see life as it is if you can help it?” – Edmund

While several other characters are mentioned, no others make an appearance onstage other than Cathleen the maid. Ruby Joy Garcia’s role seemed headed in the direction of stereotypical household help, until the day Mary invites her to sit and keep her company – and have a drink. The elevates Garcia’s role (i.e., status) both literally and figuratively and brings more depth to her character. The moment when the whiskey emboldens her to talk back is a priceless gem.

Both sons, given enough to drink, are prone to spouting poetry and lines from Shakespeare – or Baudelaire, or Ernest Dowson, or Algernon Charles Swinberg.

“Be drunk with wine, with poetry, with virtue.” Charles Baudelaire

Long Day’s Journey into Night is a deeply impactful play, and like any work of art, it reveals both positive and negative aspects. On the plus side, O’Neill has given us rich, complex, multi-dimensional characters that resonate with many audience members. The play masterfully explores themes of addiction, illness, and family dysfunction. Allowing his audiences to connect with the characters on a personal level. Then there is the frequent use of beautiful and poignant poetic language. This elevates the dialogue and the overall experience. The play’s universal themes of regret, love, and the search for redemption all speak to fundamental human experiences, making it a timeless work that continues to resonate with new generations. A long with that, the infusion of O’Neill’s personal experiences adds depth and authenticity, providing a unique perspective on the struggles of addiction and family dynamics.

On the other hand, the subject matter is extraordinarily heavy. The play’s themes can be quite dark and may make the play emotionally challenging for some viewers, particularly those who have experienced similar issues in their own lives. Then there is the matter of the four-hour runtime and a slower pace may not engage all audiences, potentially making the play feel lengthy, especially for those unfamiliar with dramatic theater. I would not bring someone to see this play as their introduction to live theater.

Finally, the overall atmosphere of the play is often somber, which may leave some viewers feeling overwhelmed or despondent rather than uplifted. The intricate exploration of relationships and personal struggles requires careful attention and may lead to reflection or revelations, which could be challenging for some audience members – and perhaps to the actors as well. While it’s a vital aspect of the narrative, the portrayal of addiction might be unsettling for some, as it reflects painful realities that all too many face in reality.

So, while Long Day’s Journey into Night is a masterful exploration of complex themes and relationships, that is beautifully acted and well directed by Rusty Wilson, it also presents its audience with challenges due to its heavy emotional weight and slow pacing – and it’s not that the pace is too slow, the pacing is an accurate depiction of real time, a time, perhaps, when people were not as rushed because they didn’t have or expect near instantaneous results to their queries and problems as we have come to expect due to technology.

Long play, long reflection. Bottom line, if you’ve never seen it, put it on your bucket list. I’m a theater nerd, a theater junkie, so I was excited to take in the author’s language, Daniel Allen’s shabby-genteel set, and Nancy Coles’ period costumes. But on the other hand, I did not tell my husband ahead of time exactly how long it was going to be…

—–

LONG DAY’S JOURNEY INTO NIGHT

Written by Eugene O’Neill

Directed by Rusty Wilson

CAST

James Tyrone – Matt Radford Davies

Mary Cavan Tyrone – Robin Arthur

Jamie Tyrone – Axle Burtness

Edmund Tyrone – Trace Coles

Cathleen – Ruby Joy Garcia

PRODUCTION TEAM & CREW

Director – Rusty Wilson

Stage Manager – Joshua Kreis McTiernan

Assistant Stage Manager – Natalie Masaitis

Scenic Designer – Daniel Allen

Scenic Painter – Emily Hake Massie

Costume Designer – Nancy Coles

Lighting Designer – Steve Koehler

Sound Designer – Justice Craig

Sound Associate – Julie Vo

Fight Director – Aaron Orensky

Dialect Coach – Erica Hughes

Dramaturg – Alana Wiljanen

Set Decorator – Michael Maddix

Composer/Musician – Daniel Clarke

Director of Production – Todd LaBelle

Technical Director – Emily Vial

A/V Supervisor – Grace LaBelle

Running Crew – Terra Comer, Natalie Masaitis

Production Assistant – Terra Comer

Board Operator – Joshua Kreis McTiernan

Performance Schedule: Thursdays, Fridays, Saturdays @7:00PM and Sundays @2:00PM

Run Time: 4 hours with two10-minute intermissions

Setting: A summer day in August 1912 at the Tyrone family summer home in Connecticut.

Premiere: The play officially premiered at the Royal Dramatic Theatre in Stockholm, Sweden, February 10, 1956. O’Neill had wanted it to remain unpublished for 25 years after his death, but his widow overrode his wishes. The play opened on Broadway at the Helen Hayes Theatre on November 7, 1956.

Photos: Jason Collins Photography,Courtesy of Anna Senechal Johnson

Make a one-time, Monthly, or annual donation to support Julinda & RVART Review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution no matter how small or how large is appreciated. Thank you.

Your contribution is appreciated.

CONVERSATIONS WITH MOTHER

“I gave you the things in me I didn’t even know I had.”

Presented by: Richmond Triangle Players

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Avenue, RVA 23220

Performances: September 10 – October 4, 2025

Ticket Prices: $15-$50

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

A Theater Review by Julinda D. Lewis

Conversations with Mother is a poignant semi-autobiographical play by Matthew Lombardo that explores the dynamics of a relationship between a fiercely loving and protective mother and her gay son. The story unfolds primarily through their conversations, with the aid of projected subtitles and grainy home movies. Conversations with Mother reveals and celebrates the complexities of love, generational differences, and the challenges of navigating the passing phases of five decades of a shared life.

As in his play Who’s Holiday, his comedy about the adult Cindy Lou Who that has also graced the RTP stage, Lombardo masterfully balances comedy with real life – intense and unadorned, sometimes snot-nosed ugly.

The son, Bobby Collavecchio played by Daniel Daigle, becomes a successful playwright, almost in spite of the roadblocks he erects in his own path. He grapples with bad relationships and writer’s block, drug addiction, and low self-esteem. The mother, Maria Collavecchio, played by Sarah Heifetz, is a strong-willed and traditional Italian matriarch (although I must confess that when she first began talking, I thought we were dealing with a Jewish mother – same character, different recipes…). A running line is, “tell me the truth and I won’t get mad.” Watching Heifetz’s face trying to master this enormous lie is one of the highlights of the play, which runs about 75 minutes with no intermission.

Bobby and Maria’s dialogues oscillate between humor and deep emotion, reflecting their shared history, familial bonds, and sometimes conflicting perspectives. Maria is not above saying “No,” you can’t come home from camp early to her pre-adolescent son or showing up unannounced at her adult son’s New York apartment, ready to battle his abusive boyfriend. When he finally gets a play produced on Broadway, Maria sits quietly holding his hand, until she can’t contain herself and leaps from her seat screaming with mama bear pride. At one point when Bobby asks, “Do you still love me?” Maria answers truthfully, “Not at this moment.” But love is enduring. A mother’s love – this mother’s love – never fails. And there is hope and the essence of something just out of reach that we’re all seeking underlying every scene of Conversations with Mother.

“Did you get a job yet?”

Why can’t you ever meet a nice boy?

“You know what the Germans are famous for? Baking people – like crescent rolls!”

If everyone jumped off a bridge, would you?

If your phone doesn’t ring, it’s me.

“If Christ had chosen better friends, He wouldn’t have died so young!”

“THAT’S MY KID UP THERE!!!”

As the mother reflects on her life and values, the son confronts his own choices and the realities of adulthood until, one day, the roles are reversed. Then, it’s Maria saying she has something to tell him, and making him promise he won’t get mad.

Throughout the play, Lombardo captures the essence of the mother-son dynamic, highlighting themes of memory, regret, and acceptance, but most of all, love. The interplay of comedy and drama serves to create a heartfelt narrative that resonates with anyone who has experienced similar familial ties – and perhaps even with those who have not. The play ultimately underscores the enduring nature of love and the bittersweet reality of growing older. I wasn’t ready for the depth of emotion, from laughing out loud to tears streaming down my face at the end.

Daigle masterfully navigated the decades from the pre-adolescent Bobby to the mature adult facing the same shenanigans from his own son that he once showered upon his own mother. Heifetz captures the range of emotions of Bobby’s mother with amazing grace and agility – she’s outrageous without ever becoming a caricature.

This is a work that does not need a lot of props or decor. The set is a simple background of window frames, a screen for projecting captions and video, and two chairs the actors move about as they pass from one decade to another, one geographical location to another (primarily New York and Connecticut).

Kudos to the creative team, starting with director Deejay Gray (I could feel his hand in Daigle’s portrayal of Bobby). Luke Newsome’s hair and makeup were awesome, with a special nod to Mama Maria’s wigs and another hat tip to Amber Marie Martinez’ costumes (and the unseen hands that helped make all those lightning-fast changes). Maria’s outfits were so authentic…Lucien Restivo’s projections (assuming that includes the video work), Weston Corey’s lighting design, and Kelsey Cordrey’s subtle but effective sound design were all perfection.

Conversations with Mother is a perfect example of a play that stands on the merit of its words and the actors and creative team who curate them into a production that creates beautiful, memorable theater.

———-

Make a one-time, monthly, or annual donation

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution in any amount is appreciated. Thank you for your support.

Your contribution is appreciated.

MURDER ON THE ORIENT EXPRESS

A Theater Review by Julinda D. Lewis

By: Virginia Repertory Theatre (Virginia Rep)

At: the November Theatre Arenstein Stage, 114 West Broad St, Richmond VA 23220

When: September 11 – October 12, 2025

Ticket Prices: $35-$62

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

Train whistles and schedule announcements greet those who enter the November Theatre for the Virginia Rep 2025-26 season opener – Agatha Christie’s Murder on the Orient Express. An authentic literary and theater murder mystery classic, Murder on the Orient Express has murder, romance, conspiracy, locked doors, humor, nobility, a wide array of accents and dialects, and a dynamic set design worthy of its own program credit. All that was missing was the heady aroma of creosote, brake dust, diesel fuel, and the other components of railroad life.

Director Rick Hammerly and his talented production team kept enough of the familiar touch stones and the stereotypically drawn murder mystery characters to make us feel right at home, yet balanced these with delightful surprises that never failed to impress.

First, there was a bit of video, providing some background on the kidnapping of a little girl, Daisy. Then Hercule Poirot (Lawrence Redmond) gave a brief introductory curtain speech. In the brief time it took Redmond to speak, the crew transformed the previously bare space consisting of little more than a fat white screen into a passable representation of luxury hotel dining room. Three-dimensional set elements and two-dimensional projections and lighting effects blended in a collaboration that set new standards. Were those pedestrians moving outside the hotel windows? Or were they crew preparing for the next scene change? Either way, they added depth and nuance to the visual presentation. Kudos to scenic designer Chris Raintree, projection designer Tennessee Dixon, and lighting designer BJ Wilkinson.

Then, there is the matter of a dynamic actors, all larger than life figures who inhabited the cast of characters with enthusiasm, grace, and humor. Redmond gave us Poirot’s sharp intellect, meticulous, observant. Frank Britton in the role of Poirot’s friend, Monsieur Bouc, the director of the railroad company, played the comedic foil – up to a point. It was his simple perspective that, in the end provided a resolution to the story’s weighty moral dilemma.

McLean Fletcher portrays Greta Ohlsson as a modest and devout missionary who only wants to help children in Africa, but she is obviously hiding something. And why, exactly, is she posing as an aide to Princess Dragomiroff? Ah yes, Princess Dragomiroff, covered in layers of fine fabrics and jewels and better known to us as the talented Jan Guarino. The Princess’ embroidered handkerchief, is found (planted?) at the scene of the crime in an attempt to mislead the investigation.

As the snooty but nameless Head Waiter in the first scene, John-Michael Jalonen sets the stage for the opulence and luxury of the other characters, those who are waiting at the hotel to board the luxurious Orient Express on its way from Istanbul, Turkey to London, England. Most of the passengers are traveling in first class compartments and the trip would have taken about four days if the train had not been stranded due to a heavy snowstorm in Yugoslavia. BTW, service on the original Orient Express began in 1883 and ended in 2009, although other companies have stepped in to provide Orient Express travel experiences. But I digress.

Matt Meixler plays Hector MacQueen, personal assistant to Ratchett/Cassetti, the murder victim. MacQueen is a master of misdirection, but he is the one who reveals Ratchett’s true identity to Poirot. If there was a female lead in Murder on the Orient Express, it would surely be Susan Sanford in the role of the obnoxiously loud, hard drinking, “ugly American” Helen Hubbard. Sanford hits all the stereotypes and mixes them with steroids, making us feel simultaneously horrified and amused by Hubbard’s shenanigans. Hubbard, by the way, has the compartment next to Ratchett/Cassetti, and there is a connecting door…

Continuing with our little game of Clue, there is Ashey Thompson as Countess Andrenyi, whose key role seemed to be beautiful – a role she portrayed with apparent ease — while her real identity was kept hidden from Hercule Poirot. Charlene Hong White takes on the role of the governess, Mary Debenham – another, like Greta Ohlsson, who seems to have a lot of secrets. Poirot noted Mary with suspicion while in the hotel, before ever boarding the train or becoming aware of a murder. Both White and Fletcher are masterful at playing innocent while letting us know they are hiding something just beneath the surface of their cool, beautiful exteriors.

Nathan Whitmer is stalwart and blustering in the role of English military officer Colonel Arbuthnot. Arbuthnot isn’t too good at hiding his relationship with Mary Debenham, but Whitmer looks great in a kilt. Travis Williams plays the all-important role of Michel, the Conductor – the man who has access to all the train’s compartments, and perhaps access to an extra conductor’s uniform…

So, there you have it, the backgrounds of the passengers and other cast members. A diagram of how they are connected would further help keep everybody straight, but would definitely be a spoiler, so you’re on your own for that.

This high-powered, heavy weight ensemble took us on a most delightful journey that hit most of the elements of a great murder mystery. There was a compelling, locked-door murder. There was an intriguing setting – a train stuck on the tracks far from help, during a major snowstorm. Not only could the train not move, but communications were also lost with dispatchers. There was a victim, and a crime a murder method, and nearly a dozen suspects, with opportunity and hidden motives. A world class detective just happened to be on board, to investigate the clues and red herrings left to misdirect the audience.

What makes this story even more intereting is the moral dilemma posed near the end. Is murder ever okay? Is there ever a time when, in the words of several fictional and real-life characters, “sometimes the som’bitch needed killin’?” Pack your bags, pick up a drink before boarding, and go find out for yourself. Let me know what you decide.

———-

AGATHA CHRISTIE’S MURDER ON THE ORIENT EXPRESS

Adapted for the stage by Ken Ludwig

Directed by Rick Hammerly

Cast

Lawrence Redmond ….. Hercule Poirot

Frank Britton ….. Monsieur Bouc / u/s Poirot

McLean Fletcher ….. Greta Ohlsson /u/s Princess Dragomiroff

Jan Guarino ….. Princess Dragomiroff

John-Michael Jalonen ….. Head Waiter / u/s MacQueen, u/s Michel

Matt Meixler ….. Hector MacQueen

Susan Sanford ….. Helen Hubbard

Ashley Thompson ….. Countess Andrenyi

Charlene Hong White ….. Mary Debenham

Nathan Whitmer ….. Colonel Arbuthnot / Samuel Ratchett

Travis Williams ….. Michel the Conductor / u/s Arbuthnot, u/s Ratchett

Rachel Dilliplane ….. u/s Mary, u/s Countess

Lily Marcheschi ….. u/s Greta Ohlsson, u/s Helen Hubbard

Mark Persinger ….. u/s Monsieur Bouc, u/s Head Waiter

Recorded Voices ….. Frederic Blasco, Rachel Dilliplane, Emily Goodman, Lily Marcheschi, Mark Persinger, Guy Seigneuric, Travis Williams

Direction & Design

Directed by ….. Rick Hammerly

Scenic Design ….. Chris Raintree

Projection Design ….. Tennessee Dixon

Costume Design ….. Kendra Rai

Wig Design ….. Alia Radabaugh

Lighting Design ….. BJ Wilkinson

Dialects ….. Amanda Durst

Sound Design ….. Joey Luck

Fight & Intimacy Direction ….. Casey Kaleba

Stage Management ….. Ginnie Willard

For This Production

Assistant Stage Manager ….. Hannah Hoffert

Rehearsal Stage Manager ….. Justin Janke

Assistant Lighting Designer ….. Griffin Hardy

Carpenters …..Van Montes, Avery Rose

Scenic Artists ….. Julie Gallager, Van Montes

Electricians ….. Rylie Vann, Griffin Hardy

Stitchers ….. Sarah Grady, Kate Koyiades, Maggie Ronck

Fly Rail and Deck Crew ….. Daryus Gazder, Logan Graves, Bien Quiroz

Light Board Operator ….. Rylie Vann

Sound Board Operator ….. Amaya “AJ” Rose

Wardrobe Supervisor ….. Emily Andrew Mateos

Video Production ….. Tennessee Dixon, Rick Hammerly, Hannah Hoffert, Joey Luck, Hans Paul, Jonathan Pratt, Ginnie Willard, Kacey Yachuw

Photographer ……………………… Aaron Sutten

Ticket Information

Box Office: (804) 282-2620

www.virginiarep.org

Ticket Prices: $35 – $62

Performance Schedule

September 11 – October 12, 2023, with performances

Thursdays, Fridays, and Saturdays at 7:00 PM, select Saturdays at 2PM, Sundays at 3PM, and select Wednesday evenings and matinees.

Run Time

The play runs for approximately 2 hours with one 15-minute intermission

World Premiere produced by the American Repertory Theatre at Harvard University, August 2, 2015

Originally Staged by McCarter Theater Center, Princeton, NJ

Photo Credits: Aaron Sutten

Make a one-time, monthly, or annual donation

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution is appreciated.

THE SPITFIRE GRILL

Order Up!

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

Performances: July 12 – August 2, 2025

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

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

A Theater Reflection by Julinda D. Lewis

I’ve said it before and I’ll say it again, there’s something about summer that demands a musical. I also have a soft spot for diners and shows that take place in diners. (See my review of Waitress, another summer musical set in a diner: https://jdldancesrva.com/2025/07/12/waitress/ ) The Spitfire Grill, by James Valcq (music and book) and Fred Alley (lyrics and book) is particularly heartwarming.

In his director’s notes, Tom Width sums it up: “I find the show to be ‘hometown gold’ with its themes of family, heartbreak, resilience, and redemption along with a healthy dose of downhome charm and humor – all wrapped up in a musical score that rings true to the nature of its setting.” Nothing more needs to be said, but I’ll say a few more things anyway.

A stereotypical musical often feature a predictable plot, idealized characters, romantic storylines, upbeat tunes, elaborate choreography, and a happy ending. The Spitfire Grill has many of these characteristics but neatly sidesteps familiar tropes and simplistic portrayals of characters in favor of more complex individuals involved in less familiar situations and more unpredictable relationships.

Our first glimpse of our heroine, Percy, is from behind bars, just before she is released from prison where she has spent the past five years. By the end of Act 1, the plot still has not revealed why Percy was in prison – although I had my suspicions (based on her age and the length of her sentence), which were confirmed later in Act 2 with a conversation between Percy and her new friend Shelby.

Percy is not the only character with a secret. Her new – and reluctant – employer and ultimately friend, Hannah, also carries a heavy burden she needs help to let go. Perhaps Hannah’s hip problem and subsequently fall are overly active metaphors for her crippling burden. There is, after all, a longstanding literary history of spiritual meaning attached to dislocated or injured hips associated with struggle, growth, a turning point, or transformation.

I loved the raw and genuine relationship that develops between the two women portrayed by Lindsey Zelli as the broken but remarkably resilient young woman who is Percy Talbott and Joy Williams as the no-nonsense but tenderhearted matriarch Hannah Ferguson. Offering a counter to these two is Grey Garrett as Shelby Thorpe. A bit older than Percy, Shelby lacks Percy’s grit and independence but has the advantage of discernment and comes into her own under the tempering tension created by navigating Percy’s grittiness and Hannah’s steeliness. (Hmm. This made me think of the trio of women in Waitress, as well, and how each contributed something the other lacked, but I digress.) At one point Percy says, “Do you think if a wound goes deep enough the healing can hurt just as bad as what caused it?”

Offering a welcome comedic element is Effy Krayneck, the little town of Gilead, Wisconsin’s postmistress and self-appointed gossipmonger. When there isn’t any gossip to monger, Effy just makes up some juicy tidbit to smear around the diner like jelly on toast. Since Percy is the newest resident in town, the lion’s share of gossip is about her. Tara Callahan Carroll plays this role with great timing and just the right amount of exaggeration. But even Effy’s penchant for histrionics and hyperbole has a basis in community care. From what I could tell, the people who daily gather in Hannah’s Spitfire Grill are her chosen family, the people who really matter to her.

Jeff Ashworth treads carefully and with confidence in the roll of Sheriff Joe, the town’s law enforcement as well as Percy’s parole officer, friend, and potential love interest. Percy’s rebuff of Joe’s premature marriage proposal may or may not signal an end to any romantic relationship between the two of them, but it definitely causes a ripple in the usual happily ever after ending one expects in a musical.

Likewise, “it’s complicated” could be applied to the relationship between the soft-spoken Shelby and her husband Caleb, who is played with palpable tension by Scott Melton. Caleb, who is also Hannah’s nephew and gratuitous caretaker, appears to be at least a decade older than Shelby. He clings to an outdated sense of patriarchy and is highly resistant to change. There is a lot of love in Gilead, Wisconsin, but it doesn’t necessarily seem to be the romantic kind.

And then the authors introduce a mythical, mystical supernatural element. It’s subtle yet powerful. A nameless character identified in the program only as The Visitor brings a surprise revelation. Like the concept of a dislocated hip, the concept of a “visitor” comes attached to the idea of a catalyst for change, a disruption that forces needed transformation.

The Visitor in The Spitfire Grill makes several significant appearances but never speaks. Adding to this sense of mystery, The Visitor is played by Brian Vaughan or Austen Linder. Vaughan filled the role during the Wednesday matinee I viewed and joined Zelli to beautifully recreate a scene that had special meaning for Percy, a scene that gave Percy hope as she prepared to re-enter the world after prison. I’m not aware of the authors’ intent – it could simply be a result of the character’s earlier trauma (explained in the development of the story) but setting this scene in silence was more effective than it could ever have been if The Visitor spoke.

The Spitfire Grill is folksy or country, depending on your perspective. Lines like Effy’s enigmatic “if you’ve got the thread, you’ll find the needle” make perfect sense in this atmosphere. The accents are broad, and the singing is soulful and haunting. At one point, as Percy sings about jumping out of the frying pan into the fire, Lindsey Zelli quite casually holds a note for an impressively long time while swatting flies with a spatula. Drawn together by the unlikely device of a raffle, the cast moved together like a well-oiled ensemble through director Tom Width’s simple but genuine set. There seemed to be a concerted effort to portray real people that stirred the edges of our collective memory, rather than characters acting for our entertainment, and that’s what made The Spitfire Grill so satisfying. Order up!

Here’s a link to a video preview of The Spitfire Grill: https://www.facebook.com/swiftcreekmilltheatre/videos/1486417315855918 or www.swiftcreekmill.com

———-

Julinda D. Lewis, EdD is a dancer, minister of dance, teacher, and writer who was born in Brooklyn, NY and currently resides 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 gets to perform.

———-

THE SPITFIRE GRILL

Music & Book by James Valcq

Lyrics & Book by Fred Alley

Based on the filmy Lee David Zlotoff

Directed by Tom Width

CAST

Lindsey Zelli as Percy Talbott

Jeff Ashworth as Sheriff Joe

Joy Williams as Hannah Ferguson

Grey Garrett as Shelby Thorpe

Tara Callahan Carroll as Effy Krayneck

Scott Melton as Caleb Thorpe

Brian Vaughan or Austen Linder as The Visitor

Catherine McMullan U/S for Percy Talbott

ORCHESTRA

Shellie Johnson Keyboard Conductor

Finn Koehler Synthesizer

Chris Johnston Violin

Ed Drake Guitar/Mandolin

CREATIVE TEAM

Directed by Tom Width

Musical Direction by Shellie Johnson

Scenic Design by Tom Width

Lighting Design by Steve Koehler

Costume Design by Maura Lynch Cravey

Technical Direction by James Nicholas

PRODUCTION STAFF

Producing Artistic Director …. Tom With

Lead Carpenter ….. Peter Prout

Stage Manager ….. Sandy Lambert

Assistant Stage Manager/Props ….. Tom Width

Light Board Operator ….. Brent Deekens

Set Crew ….. Peter Prout, Brent Deekens, Hailey Bean, PJ Llewellyn, Thomas Doersch, Paul Deiss

Lighting Crew ….. Brent Deekens

Photographer ….. Daryll Morgan

Wig Design ….. Alia Radabaugh

Time and Place:

A Small Town, not long ago

Run Time:

About 2 hours, with 1 fifteen-minute intermission

Performances:

July 12 – August 2, 2025

Thursdays, Fridays, Saturdays at 8:00PM

Select Wednesdays at 2:30PM

Tickets:

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

Photographer: Daryll Morgan

The Spitfire Grill premiered off-Broadway at the Duke Theatre on 42^nd Street on September 7, 2001.

MUSICAL NUMBERS

Act One

A Ring Around the Moon ….. Percy

Hannah’s Harangue ….. Hannah

Somethin’s Cookin’ at the Spitfire Grill ….. Company

Hannah Fell Down ….. Effy

Hannah Had a Son ….. Shelby

When Hope Goes ….. Shelby

Ice and Snow ….. Caleb, Joe and Effy

Shelby’s Ad ….. Shelby

The Colors of Paradise ….. Percy and Shelby

Diggin’ Stone ….. Caleb

This Wide Woods ….. Joe and Percy

Forgotten Lullaby ….. Hannah

Shoot the Moon ….. Hannah and Company

Act Two

Opening, Act II ….. Shelby, Percy and Hannah

Come Alive Again ….. Hannah and Company

Foret for the Trees ….. Joe

Wild Bird ….. Shelby

Sunrise ….. Percy

Shine ….. Percy

Way Back Home ….. Hannah

Dear Mrs. Ferguson ….. Effy and Joe

The Last Letters ….. Shelby and Percy

Finale ….. Company

Make a one-time, monthly or annual donation to support rvart review

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount – no amount is too small or too large

Your contribution is appreciated.

https://richmondmagazine.com/arts-entertainment/richmond-events/burial-tax-firehouse-theatre/

BURIAL TAX

A World Premiere

A Theater Review by Julinda D Lewis

Presented by: Firehouse Theatre | A Firehouse Mainstage Production

At: Firehouse Theatre on the Carol Piersol Stage, 1609 W Broad St., RVA 23220

Performances: July 9 – 27, 2025

Ticket Prices: $5-$35

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

If there is any chance that you think your family might be dysfunctional, you might feel better about your own situation after seeing Andrew Gall’s new play, a dark comedy called Burial Tax.

When two estranged siblings bring their respective partners to their family’s lake house to scatter the askes of their recently deceased father, things quickly get out of hand. Sparks fly – and so does scattered debris, a metal trash can, cold pizza, and even their father’s remains.

Most of us have probably experienced many of these family dynamics in our own lives: sibling rivalry, parental favoritism, failed educational goals, stagnant marriages. It’s the accumulation of all of these things in one place at the same time that makes this family’s drama exceptional. The shouting, the language, the twisted faces, the presence of alcohol, drugs, a weapon all elevate the tension to an unprecedented level of violence. (Sitting in the front row, we narrowly escaped the carnage when red plastic cups began flying across the stage and through the fourth wall.)

At the center of the controversy we find Steve (Matt Meixler) who once wanted to become a doctor and his younger sister Samantha (Nicole Morris-Anastasi) who is a doctor. The tables have turned since childhood when Steve was the favored child and Sam struggled to be seen. Childhood trauma runs deep, and Sam, despite her accomplishments, still seeks affirmation and appears to suffer from anxiety. Steve, on the other hand, has fallen from grace into an abyss he doesn’t know how to climb out of.

It is here that Steve’s wife Cora (Laine Satterfield) issues an ultimatum while Sam’s partner Dar (short for Darwin) approaches the whole family drama from a more philosophical point of view – fueled by alcohol in tiny airline-sized bottles and week that he somehow managed to sneak through airport security. Sam and Dar are not at each other’s throats like Steve and Cora, but their relationship is no less toxic.

It’s interesting that while Sam and Steve are the main characters, their partners Dar and Cora often have the most interesting things to say, make the most sense, and leave the greatest impression. I’m not sure if this was the intent of Gall’s script or the power of the actors themselves. Laine Satterfield appeared on this same stage just a few weeks prior in another dark comedy about a family drama in Cadence Theatre’s Smoke. [ See my review of Smoke here: https://jdldancesrva.com/2025/07/06/smoke/ ] Satterfield presents Cora as loud and angry, but she also shows a surprisingly unexpected empathy towards Sam. Cora is a more fully developed, three-dimensional character than Steve. Matt Meixler seems to spend much of his stage time on the floor. Sometimes he’s down there painting baseboards in preparation for his mother’s arrival. Sometimes he’s down there wallowing in the detritus of his life and his own bad choices and missed opportunities, all of which are encapsulated in Chris Raintree’s trash strewn set. Raintree’s scenic design, I must add, is phenomenal. The battle weary and generally dilapidated beach cottage, along with Grace Brown LaBelle’s sound design of waves washing the shore of the nearby lake and some appropriately evocative original music by Daniel Clarke are masterfully designed.

Steve’s preference for superhero tee shirts are a stark contrast to his station in life, and this is also masterfully highlighted in a late-night discussion with Dar. The seriousness of this conversation is offset by the humor that arises from Steve’s experience of trying weed for the first time. Meixler plays Steve with such a burden of defeat that there seems little hope of redemption. Nicole Morris-Anastasi carries the burden of Sam’s childhood neglect to the point that it almost seems unlikely that she could have withstood the pressures of medical school. We never learn why young Steve was so cruel to his sister, and I don’t think Morris-Anastasi ever found out, either. Her character seems never to fully come into focus.

Duke Lafoon, on the other hand – and much like his counterpart in Laine Satterfield – gives his character more depth than the main character he supports. Dar seems to have more of a backstory than Sam, and Lafoon teases by quietly observing and then releasing philosophical tidbits the way Jesus used parables to teach the masses.

Overall, this is a successful world premiere with a strong cast and high production values. Gall’s script and Paul Takács’ direction keep things moving, often using shocking words and outrageous actions. It’s not just, as I believe one character says early in Act 1, “meaningless routine punctuated by Amazon deliveries. Act 1 is full of secrets and anger. “By the end of Act 2, the siblings have made some confessions, realized some truths, and come to a new understanding. But nothing is really resolved. There is no redemption, and whatever victory has been achieved feels less than satisfactory, more of a concession than a real win. “What we have learned from history, is that no one learns from history.” Maybe that’s why we have theater.

———-

Here’s a link to a promo video of Burial Tax: https://www.facebook.com/share/v/1AktDm7pjz/

———-

Here’s my preview from the July 2025 issue of Richmond Magazine:

Firehouse Theatre Producing Artistic Director Nathaniel Shaw says an essential component of the theater “is to amplify local talent.”

Burial Tax, written by Andrew Gall and directed by Paul Takács, will have its world premiere at Firehouse, July 11-27. After two years in development under the working title “Lake Effect,” the work promises to be a hauntingly dark comedy about the reunion of two estranged siblings who gather with their spouses at their family’s lake house to spread the ashes of their recently deceased father. It’s a release of beauty and pain, a comedic experience of family dynamics, and a unique take on the pressures of adulthood.

Gall says, “It makes us think about a shared experience in a new way.”

———-

———-

BURIAL TAX

Written by Andrew Gall

Directed by Paul Takács

CAST

Cora ….. Laine Satterfield

Samantha ….. Nicole Morris-Anastasi

Steve ….. Matt Meixler

Dar ….. Duke Lafoon

Cora U/S ….. Donna Marie Miller

Samantha U/S …. Rachel Dilliplane

Steve/Dar U/S …. Andy Braden

PRODUCTION TEAM & CREW

Direction ….. Paul Takács

Scenic Design ….. Chris Raintree

Lighting Design ….. Gretta Daughtrey

Costume Design ….. Sassy Rychalsk

Sound Design ….. Grace Brown LaBelle

Original Music Composer Daniel Clarke

Playwright ….. Andrew Gall

Assistant Director ….. Rachel Dilliplane

Stage Management ….. Emily Sanford Hicks

Asst Stage Management Isabel Stone

Tickets: $5-$35

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

Performance Schedule: July 9-27, 2025

Thursdays, Fridays, Saturdays @7:30PM

Saturdays & Sundays @2:00PM

Previews: July 9 & 10 (Pay-What-You-Will)

Opening Night: Friday, July 11

Closing: Sunday, July 27 @2:00PM

Run Time: about 2 hours with one 15-minute intermission

Make a one-time, monthly, or annual donation to support the continued publication of rvart review. writers need $, too!

Make a monthly donation

Make a yearly donation

Choose an amount

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

$5.00

$15.00

$100.00

Or enter a custom amount

Your contribution is appreciated.