Julinda talks with Keithly Pierce of Bad Girl Art for Richmond Home Magazine, October 2020.
Grief, Guilt, and Paranoia: Poe in October, How Perfect!
A Live Theatrical Experience Reviewed by Julinda D. Lewis
At: Hanover Arts and Activities Center, 500 S. Center Street, Ashland, VA 23005
Performances: October 16, 23 & 30, 2020 @5:00PM [Recommended for ages 13+]
Ticket Prices: Pay-What-You-Can
Info: http://www.WhistleStopTheatre.weebly.com or (804) 798-2728 (Venue)
On Friday evening (October 16) the rain let up just in time for a live “pandemic appropriate” performance of Grief, Guilt, and Paranoia: The Madness of Poe, staged under a wide-spreading tree on the spacious lawn of the Hanover Arts and Activities Center. It was a cool 55 degrees and cloudy, but not uncomfortable. Attendees are required to bring and wear a mask as well as a lawn chair or blanket to sit on. (I would also advise a blanket for the cool weather.) About a dozen people claimed socially distanced in squares marked off in the grass as a pre-show playlist of Poe-inspired songs filled the air. (Three trains passed on the nearby tracks during the 45-minute show, but the program was so riveting the interruption was negligible.)
I don’t like to know too much about a show before I see it, so as not to be unduly prejudiced before I get there, so Grief, Guilt, and Paranoia: The Madness of Poe was a total surprise. Whistle Stop Theatre Company’s founding artistic director Louise Keeton conceived of Grief, Guilt, and Paranoia as a multi-faceted work that includes multiple historical and artistic influences. It takes place, for instance, not far from a home once occupied by Poe’s childhood sweetheart (and later fiancee) Sarah Elmira Royster Shelton. Created in partnership with the Ashland Museum, the work includes three voice artists representing the different “voices” of Poe (also represented by three different masks created by Keeton).
Those familiar with the life and work of Edgar Allan Poe and those who are not may relate differently to this work that uses Poe’s own poetry, original music by Paul Loman, and choreography by Katherine S. Wright. Wright, who eerily embodies Poe (wearing theatrical masks and a long-coated suit), doesn’t ever speak, but rather uses pantomime and dance in a riveting and passionate display of non-verbal communication while Poe’s words are voiced by Lucretia Marie, Barbara Keeton, and Craig Keeton. Sophia Manuguerra is the vocalist, and all the voices and music were created and recorded virtually.
The artistic choices – including Keeton’s masks and artwork by local artists that is all being auctioned off – are diverse and unconventional, making them all the more appropriate for the subject at hand. In addition to honoring and appreciating the poetry of Poe, Grief, Guilt, and Paranoia is about missing the people we love and the ways in which that can drive us mad – an obvious reference to the current pandemic and our similar and diverse reactions to it.
Grief, Guilt, and Paranoia digs into love and loss, life and death, verbally and visually mining the depths of “Annabell Lee,” “Elenora,” “The Premature Burial,””The Telltale Heart,” and of course, “The Raven.” The Hanover Arts and Activities Center had already constructed a small stage under a tree, and Keeton and company added three black cubes with hinged lids that provided all the set, the furniture, and the props needed for this production.
There are two remaining performances of Grief, Guilt, and Paranoia: The Madness of Poe on October 23 and 30. To view and bid on the art work visit the Whistle Stop Theatre Company’s website: whistlestoptheatre.weebly.com. Opening bids start at $10 for the masks and prints, and $5 for artwork delivered via high res digital files. All bids are due before October 29, 2020.
Edgar Allan Poe Trivia
The Baltimore Ravens NFL team is named for Poe’s poem, “The Raven” and the team mascot is named Poe.
Poe married his first cousin, Virginia Clemm when she was 13 and he was 27.
To this day, the cause of Poe’s death remains unknown. In 1849 he “went missing” for five days and was found, delirious, in Baltimore. He died in a Baltimore hospital and was buried two days later, without an autopsy.
Photos: From the Whistle Stop Theatre Company website. Katherine S. Wright as Poe.
A slideshow of auction items follows.
Jacqueline Jones Lends Her Voice to the Story of Ann Richards, Fearless & Feisty Female Democratic Governor of Texas
A Theater Review by Julinda D. Lewis
At: The Firehouse Theatre, 1609 W. Broad Street, RVA 23220 [live and streamed options available; live performances have a limited capacity of 2, 4, 6, or 8]
Performances: September 16 – October 25, 2020
Ticket Prices: $30 suggested donation; pay what you will
Info: (804) 355-2001 or firstname.lastname@example.org
Wearing a blue suit, accessorized with a double strand of pearls and bronze metallic pumps with a matching bottomless tote bag, Jacqueline Jones looks – dare I say it? – presidential as she portrays Ann Richards, the first female Democratic governor of the great state of Texas.
“I did not want my tombstone to read, ‘She kept a really clean house.’ I think I’d like them to remember me by saying, ‘She opened government to everyone.’“
And in case you were wondering, as I was, who holds the honor of being the first female governor of Texas, it was Miriam Amanda Wallace Ferguson, known as “Ma” Ferguson who served two terms as Governor of Texas, from 1925-1927 and again from 1933 to 1935. And somebody please correct me, if necessary, but my cursory research shows that “Ma” Ferguson, who basically took over after her husband was impeached, was a Democrat, so unless I’m missing something that would make Ann Richards the SECOND female Democratic governor of Texas…but I digress.
“I get a lot of cracks about my hair, mostly from men who don’t have any.“
I may or may not have heard of Ann Richards (born 1933, served as Governor 1991-1995, died of esophageal cancer in 2006), but Jones brought Richards to life in a way that made me feel as if I might have known her, and would definitely have liked her if our paths had crossed. The humor, the perfect delivery of Richard’s famous one-liners, even a naughty joke, all worked together to create a sense of intimacy that was entirely captivating.
“I suppose I owe you an apology. Well, you ain’t gonna get one. ‘Bye!”
Due to COVID-19, Ann was an ideal choice as a one-woman show, and The Firehouse Theatre restricted live performances to 2, 4, 6, or a maximum of 8 patrons. Scattered as we were, for social distancing, it felt as if Jones/Richards was speaking directly to each of us. Part of this may be due to the extensive research and care that playwright Holland Taylor put into Ann. Taylor, herself an Emmy winning actor, portrayed the legendary Governor on Broadway – as well as in Texas.
Hate the evil and love the good, and establish justice in the court. – Amos 5:15
During his customary pre-show curtain talk, Firehouse Producing Artistic Director Joel Bassin asked audience members to share their experiences and memories of Governor Richardson. Comments ranged from graceful, humorous, and forceful to “wouldn’t take no for an answer.” Jones gave us all of that. The play starts with Richards giving a commencement speech as the University of Texas, and ends with her commenting about her own funeral. In the space between, we are gifted with 100 minutes of compelling storytelling, wit, history, and inspiration.
“I have always had the feeling I could do anything and my dad told me I could. I was in college before I found out he might be wrong.”
We learn of her ground-breaking accomplishments, her commitment to service, her concern for civil rights and social justice. But we also see her as a wife, a mother, a real person with real challenges – she had to check herself into rehab for alcoholism. I came away with a picture of a woman who understood being Governor was more about others than her own personal interests, someone who worked for unity in diversity, which I found surprising for her time and her state. And to bring things into perspective, if you yearn for relevance, or like to make things connect: Ann Richards’ granddaughter, Lisa Adams, worked as an aide for Hilary Clinton during her 2016 presidential campaign and was director of communications for Senator Kamala Harris during her presidential bid.
“Bad things happen when they don’t vote.”
One thing that is quite remarkable is the way Jones kept up her energy and the connection with the audience, given the limited number of people and less of feedback. But this play, with this actor, and this director – Billy Christopher Maupin, who starred in the Firehouse’s first pandemic-style contactless show the past summer – did more than just make do. They made beautiful theater.
The government is not “they,” the government is us!
Kudos to costumer Ruth Hedberg for the presidential suit and the Ann Richards wig. (See the photos below of Richards and Jones with the Richards wig. The photos, by the way, do not do justice to Jones, who looked radiant throughout this production.) While it was a one actor show, Erica Hughes lent her voice as Nancy Kohler, Richard’s secretary (as well as the show’s vocal coach) and Partricia Alli was the voice of the College President.
“Men are great fighters, women have the power to bring consensus.”
Performed with one ten-minute intermission, “Ann” is among the first of the live theatrical experiences to return to Richmond theater venues. Joel Bassin and the Firehouse staff have gone above and beyond to make the audience feel comfortable and safe. Masks are required of all patrons and staff. (Jones does not wear a mask on stage for her solo performance.) A staff member meets and greets you at the door with a contact-less thermometer. Everyone is assigned a seat number and even a designated bathroom. You are asked to wash your hands before taking your seat, during intermission, and before leaving. There is no lingering or fraternizing in the lobby. Unlike some other venues, The Firehouse is still providing printed programs (no need for tickets for 2, 4, 6, or 8 people) and the programs are placed in a taped off, numbered space as you check in. The bar is closed, but drinks may be pre-ordered (beer, wine, soda) and magically appear on the bar in a taped off space -identified by your number. Email confirmations are sent out with detailed instructions (it’s a lot to remember).
“Call ’em out!”
If you’re ready to venture outside of your quarantine quarters, this show, running though October 25, is a good place to start your journey.
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THE RICHMOND BALLET OPENS THE 2020-2021 SEASON: Studio Series with Precautions
A Dance Review by Julinda D. Lewis
At: The Richmond Ballet’s Canal Street Studios, 407 E. Canal Street, Richmond, VA 23219
Performances: September 15-27, 2020
Ticket Prices: In-Person Tickets: $25-$101; Virtual Tickets: $20/One-week access to recorded performance, only one ticket required per household
Info: (804) 344-0906 x224 or etix.com
For decades I have attended live performances of dance and theater multiple times a week – occasionally squeezing in two shows in one day. But it has been six months since I have attended a live show, six months since the COVID-19 Pandemic turned our world upside down, six months since COVID-19 made us rethink everything in our lives – including our life-giving arts. In July I forayed out to a socially-distanced exhibit at the Virginia Museum of Fine Arts, and in September I received an email from the Richmond Ballet asking if I wanted to attend a live performance of their Studio Series.
The Richmond Ballet is one of the first – if not the first – major dance companies in the US to return to live performances. To be sure, even if they are not the first, all eyes will be on them to see how this turns out. So, before I even address the actual performance, let me tell you how Richmond Ballet has addressed COVID-19.
First, Richmond Ballet is in the unique position of having a studio theater in their own space. That means they have control over the space, who enters, and how many. Seating capacity has been reduced from 250 to 70.Seats are blocked off with large, easy-to-read signs; and if you don’t see the sign, there’s a large metal hook over the seat holding it in place that’s sure to get your attention if you accidentally lean back against it. (No, I didn’t do that, just conjecturing.) The seats are reconfigured for each show, and Brett Bonda, the company’s Managing Director, says it takes 45 minutes to complete each set-up. If you come with friends or family, you will be seated together, but apart from other attendees.
The tickets have been digitized for touch-less entry; just scan your phone at the kiosk in the lobby. The programs have also been digitized; I advise you to read them on a tablet rather than a phone if you are over age 35. But there’s more. Ticket holders receive an email with the House Notes for their performance. Arrival times are staggered by row and seat number. Other precautions are also included in the email, and are shown on a large screen before the start of the show. Masks must be worn at all times; even the dancers perform in masks. The bar is closed, and there is no intermission. That reduces contact with other people even further. At the conclusion of the program, the audience is asked to remain seated until the row in front of you has left. There was even a can of hospital-grade disinfectant spray in the women’s restroom.
Nothing has been overlooked. The Richmond Ballet has been very, very thorough in their efforts to make people feel comfortable, safe, and welcome.
Studio performances have generally followed a formula. There is most often a classic work, a contemporary work, and a new work. This program differs somewhat. There were six works, ranging from a brief 3 or 4 minutes to 20 minutes in length. The entire program, without intermission, ran just under an hour, yet it did not feel rushed. Also, the number of dancers was limited to just eight, performing in solos, duets, trios, and quartets.
The program, overall, was a triumphant tribute to the power and joy of dance, beginning with excerpts from Dennis Spaight’s “Gloria.” Abi Goldstein, Izabella Tokev, Lauren Archer, and Matthew Frain performed the “Laudamus Te,””Domine Deus,” “Qui Sedes,” “Domine Deus, Agnus Dei,” “Domine Fill Unigenite,” and “Cum Cancto Spiritu” sections of Antonio Vivaldi’s lush music. Craig Wolf’s original lighting and a few simple projections created a cathedral-like atmosphere. The women, dressed in claret-colored and purple dresses that swirled around their legs, appeared to move spontaneously and reverently, embodying Spaight’s musicality in this beautifully complex yet simple work that pays homage to the choreographer’s mother’s faith.
On Wednesday I saw Thel Moore, III dance Matthew Frain’s “To This Day,” one of two new works by current company members. Dressed in jeans and a black tank and using an umbrella as a prop, Moore began this contemporary work by throwing a handful of light against the backdrop. This beautiful solo is a contrast of light and darkness, and builds up in mood and intensity along with the dramatic music by Shy, Low. At one point Moore sits in a golden circle of light, reaching up. “To This Day” could be about loss, or making a decision, or life changes, or a pandemic. . .It lasts only 5 or 6 minutes, but “To This Day” may become one of my favorite contemporaty works by this company, and I applaud artistic director Stoner Winslett for supporting new works from inside the organization. Moore alternates in the role with Ira White and I would love to have a chance to see if White brings different nuances to this solo.
Izabella Tokev and Khaiyom Khojaev performed “Alone, Beside Me,” a work by Associate Artistic Director Ma Cong, one of my long-time favorite choreographers whose work I first saw performed by The Richmond Ballet. Pianist Douglas-Jayd Burn played the Franz Shubert score that accompanied the duet. Shirtless and wearing black pants, Khojaev contrasted with Tokev’s negligee-like white dress, but the major contrast was between the soft piano chords and the often angular and sometime harsh movements of the dancers. The contract and release, clinging and lifting, and the physical and emotional tension were palpable and riveting. And as for social distancing, Tokev and Khojaev are married to each other in real life.
The company’s artistic directors were deliberate in their choreographic choices and in keeping the program socially distant, physically safe, and relevant, there were several subtly humorous moments incorporated in the evening. For the “Drum Trio” from Val Caniparoli’s “Street Songs,” Thel Moore III, Abi Goldstein, and Mate Szentes came loping out, each claiming an individual circle (more social distancing). For 3-4 minutes they performed a series of movements that, with the drum accompaniment, reminded me of classic modern dance classes from the 1940s.
In contrast to the tribal delights of “Drum Trio, “Salvatore Aiello’s “Solas,” performed by Elena Bello, was a stark lament with all the drama, but not the sound, of a classic flamenco solo. Bello entered in darkness, treading the path of a stream of light, shrouded in a dark fringed shawl over a dark dress. She sat on a chair and rocked back and forth to the wordless lament of a woman’s voice in the music by Heitor Villa-Lobos. Bello looks back, mourning an un-named loss that seems to pull her back to the past. When a light appears that seems to draw her into the future, she moves towards it, stretched beyond her physical limits, but circles back, knocks over the chair, crawls back to it, and pulls her shawl back over her head, keening as the lights go out. She leaves us to wonder, is she mourning the loss of a loved one, or of something bigger…
The evening ended with “Waltzes Once Forgotten,” an exuberant new work by company member Mate Szentes. The dancers, seen in silhouette, move forward as if emerging from the pages of a long forgotten photo album. Their ivory-colored costumes have a vintage feel, with one of the women wearing a little hat and one of the men wearing a newsboy cap and short pants. There is a little humor a little rivalry, a little nostalgia. Szentes was inspired by the Spanish Flu of 1918, which introduced masks and social distancing to a world reeling under the effects of a pandemic much like we are today.
Without saying a word, The Richmond Ballet reminded us that the more things change, the more they stay the same, that there is nothing new under the sun, and that we are resilient, and we survive.
The September Studio Series runs through September 27, with a total of 16 performances. The October Studio Series will be October 13-25, and the November Studio Series will run November 10-22. For the first time since 1980, the company will not be performing the traditional holiday classic, “The Nutcracker.” It simply requires too many people, too many rehearsals, and too much of everything we have to put on hold for now.
Left: Ira White and Thel Moore III in rehearsal with Matthew Frain. Right: Cody Beaton and Sabrina Holland in rehearsal. Photos by Sarah Ferguson.
For more information, contact:
Amy Wight , email@example.com
“Lucky 13” Annual Theater Awards Winners Announced
TheatreLAB wins ten “Artsies,” VA Rep honored for Children’s Theatre
Richmond, VA – September 14, 2020. The 13th Richmond Theatre Critics Circle Awards (Artsies), which is typically an in-person black-tie event, was all virtual this year. With a “Lucky 13” theme, the show highlighted the funny – and often outrageous – ways that theater can go wrong, elevating what is unique and vital about live performance: the thrill of the unexpected.
Not only are the Artsies the community’s recognition of excellence in Richmond-area theater, but they are the primary fundraising event for the Theatre Artist Fund of Greater Richmond (The Fund). The Fund provides emergency financial assistance to theater artists who have experienced an exceptional financial need related to a specific crisis beyond their control. Since
its inception, the Artsies have raised $83,446 for the Fund, which has written 21 grants totaling $30,468 for artists in need. While no tickets were sold for this year’s event, attendees were urged to consider donating in support of the Theatre Artist Fund of Greater Richmond .
Although the 2019-2020 theater season was cut short due to the COVID-19 pandemic, Richmond-area professional theaters staged a number of remarkable productions. Virginia Repertory Theatre received a special award this year for Excellence in Children’s Theatre for its productions of “Tuck Everlasting” and “Harriet Tubman and the Underground Railroad,” the
latter written by local playwright Douglas Jones. In addition, the theater came away with an impressive eight wins, including Best Play for its production of August Wilson’s “Fences.” Virginia Rep’s production of “A Gentleman’s Guide to Love and Murder” garnered four of those wins, including Scott Wichmann’s award for Best Actor in a Musical.
TheatreLAB swept the night with ten Artsies, most of them for its production of “Urinetown,” which was also the production that won the most Artsies. “Urinetown” received seven awards, including Best Musical; Best Direction of a Musical for Matt Polson; Best Actress in a Musical, which went to Bianca Bryan; Best Supporting Actor in a Musical for Luke Schares; and Best Supporting Actress in a Musical for Kelsey Cordrey. The show also picked up awards for Best Choreography for Nicole Morris-Anastasi’s work and Outstanding Achievement in Lighting Design in a Musical for Michael Jarett’s lighting. And, the first show of the season, TheatreLAB’s production of “Level 4,” was honored as Outstanding Original Work.
Among Firehouse Theatre’s four awards this year was the Best Acting Ensemble award to the cast of “Passing Strange,” which also won Jimmy Fecteau an award for his sound design. Lorin Hope Turner’s role in the theater’s production of “Stupid Kid” earned her an Artsie for Breakout Performance, and Alison Devereaux won an award for her direction of the play.
“Our organization has tried at this unprecedented time to support theater artists who continue making their art and sharing it with the world,” said Susie Haubenstock, RTCC President. “The RTCC embraces the rich diversity of backgrounds and perspectives that our local theater artists bring to their craft and is proud to honor and pay tribute to the excellence they bring to
Best Direction, Musical
Best Actor, Musical
“A Gentleman’s Guide to Love and Murder”
Best Actress, Musical
Best Actor in a Supporting Role, Musical
Best Actress in a Supporting Role, Musical
Best Musical Direction
“A Gentleman’s Guide to Love and Murder”
Outstanding Achievement in Costume Design, Musical
“A Gentleman’s Guide to Love and Murder”
Outstanding Achievement in Lighting Design, Musical
Outstanding Achievement in Set Design, Musical
“A Gentleman’s Guide to Love and Murder”
Outstanding Achievement in Sound Design, Musical
Best Direction, Play
Best Actor, Play
Best Actress, Play
Best Actor in a Supporting Role, Play
“Rosencrantz and Guildenstern Are Dead”
Best Actress in a Supporting Role, Play
Outstanding Achievement in Costume Design, Play
Outstanding Achievement in Lighting Design, Play
“Holmes and Watson”
Outstanding Achievement in Set Design, Play
Outstanding Achievement in Sound Design, Play
2020 Ernie McClintock Best Acting Ensemble Award
The cast members of Firehouse Theatre’s “Passing Strange”
are honored for their notable performance as a cohesive and compelling ensemble:
Katrinah Carol Lewis
Jeremy V. Morris
Outstanding Original Work
Level 4, TheatreLAB
Excellence in Children’s Theatre
“Tuck Everlasting” and “Harriet Tubman and the Underground Railroad,” Virginia Rep
To view the “Lucky 13” Artsies video, visit http://www.artsies.org/ .
SMALL MOUTH SOUNDS: A Play Without Words
A Theater Review by Julinda D. Lewis
By: Virginia Rep/Cadence Theatre Company
At: Theatre Gym, Virginia Repertory Center, 114 W. Broad St., RVA 23220
Performances: March 7-29 (with previews March 5 & 6), 2020
Ticket Prices: $37
Info: (804) 282-2620 or va-rep.org
It isn’t often that someone writes a play that requires the actors to take a vow of silence. But that is exactly what happens in Beth Wohl’s play, Small Mouth Sounds (premiered in 2015), when six people in search of themselves – or something or someone other than their themselves – arrive at an upstate New York center for a silent retreat. Small Mouth Sounds was inspired by the author’s own retreat experience.
Naturally, things do not unfold smoothly as each character reveals their special brand of quirkiness or unveils their personal demons. Judy and Joan are a couple – two middle-aged women who are struggling to shoulder the burden of Judy’s cancer diagnosis. Alicia is a young woman who apparently just broke up with someone named Fred; she keeps dialing his number and is constantly distracted by her forbidden cell phone. She is perturbed to discover that she has been assigned a male roommate.
Ned and Rodney are two of the most interesting members of this unlikely collection of people. Ned has had an unimaginable string of bad luck: he fell off a mountain and broke his skull; his wife started sleeping with his younger brother; he started drinking and joined AA only to have his sponsor commit suicide, and his dog got run over by a car. That’s just a small sampling of all that he’s been through. Rodney is a passive aggressive yoga instructor who smugly and silently snubs everyone else, shows off his yoga skills, removes his wedding ring as soon as he arrives, and is the first to strip down for the clothing optional lakeside activities.
Oh yes, there is a bit of nudity – full frontal – and some “herbal tobacco” and Palo Santo wood gets burned onstage. This play is recommended for viewers 18 years and older. But, to get back to the cast, one of the greatest surprises comes in the final scene from the mild-mannered Jan.
This group of seekers comes under the care and watchful eye of a gruff-voiced guru, an unseen and nameless Teacher who coughs and sneezes into her microphone and appears o the verge of a breakdown. The audience never sees the Teacher, Marisa Guida, until she comes out to take her bow at the end. Guida is the only character allowed to speak throughout the play.
The marvelous cast consists of Lauren Leinhaas-Cook as Judy (the one with cancer); Jenny Hundley as her partner Joan (the bubbly one who always seems to have a small wrapped candy); Maura Mazurowski as Alicia (the young one with all the bags and baggage – and snacks); Jim Morgan as Ned (the one who has all the bad luck); Adam Valentine as Rodney (the passive-aggressive yoga instructor); and Larry Cook as Jan (the one whose secret I will not reveal here, but about whom I will post a nagging question at the end of this review). What makes them all so marvelous is that, except for a rather long monologue by Ned, and a brief but sharp exchange between Joan and Judy, we learn all we know about these characters through facial expressions, gestures, and a few grunts. In order to successfully carry off a play in which the main characters are all required to take a vow of silence, these actors had to act their butts off!
Running 70 minutes with no intermission, Small Mouth Sounds is set in a yurt-shaped structure with large open windows and chakra symbols painted on the walls. The only furniture is a few backless wooden stools (which Judy emphatically complains about) and some floor pillows. At night, the campers make do with their yoga mats as they fight mosquitos and shiver at the sounds of growling bears and other unknown animals. Actors enter down the center aisle, sometimes rather noisily, and the top of the set extends over the audience making us feel that we are inside the experience – or experiment, which I believe is the word used in the opening seconds – perhaps even in the position of the Teacher.
Joey Luck designed the sound – a variety of ambient sounds including insects and birds and a bear or two, assorted snorts and grunts, and a torrential rainstorm. Rusty Wilson, Irene Ziegler and the cast members contributed voice-overs and other vocals sounds. Sarah Grady’s costumes helped define the characters. This entire delightful production was directed by Laine Satterfield with a balance of structure and freedom that allowed humor to emerge quite naturally. The pacing was unhurried, yet never lagged, and the scenes perfectly captured the juxtaposition of the meditative environment with the characters’ personalities and problems. In her Director’s Note, Satterfield describes how, during their first week of rehearsal, the cast members lived key moments of their characters’ lives and even worked out timelines and bios.
Small Mouth Sounds runs through March 29 in the intimate Theatre Gym at the Virginia Rep Center on West Broad Street. A part of the Acts of Faith Theatre Festival, the play runs in tandem with a series of wellness workshops, Centered Stage, including topics such as meditation and feng shui. The series takes place after the shows on March 8, 12, 15, 19, 22, and 26.
Now, for that question regarding Jan and his secret. . .Do not read this paragraph if you don’t want to know before you go. . .
So, in the final scene, it is revealed that Jan does not speak English. My question is, how was he able to read his information packet and follow the instructions of the Teacher? Hmm???
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Photo Credits: Jason Collins
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THE GREAT GATSBY: A Novel Approach
Performances: March 6 – 22, 2020
By: Quill Theatre
At: Leslie Cheek Theater at the Virginia Museum of Fine Arts, 200 N. Boulevard, RVA 23220
Ticket Prices: $40 Adults; $30 VMFA Members; $35 Seniors 65+; $30 RVATA (must show card); $20 Students (with ID)
Info: (804) 340-1405 or quilltheatre.org
Love lost and found, wealth and power, prohibition era bootlegging, corruption, infidelity, homosexuality, white supremacy, domestic abuse, the aftermath of war, mystery, lies, and more are all part of the plot, and it all hits the fan in Act Two. It would be impossible not to draw comparisons between the 1922 setting of The Great Gatsby and the state of the world nearly 100 years later, in 2020.
Simon Levy’s 2006 adaptation of F. Scott Fitzgerald’s 1925 classic American novel, The Great Gatsby, now playing at the Leslie Cheek Theatre at the Virginia Museum of Fine Arts, is the only version of the play authorized by the Fitzgerald estate. There’s a lot of history on that stage, but as important as historical context may be, it is human relationships and the human condition that are at the heart of this show. Indeed, the program notes are careful to point out that the lively and dynamic Charleston scene at the top of Act Two would most likely never have occurred, as that dance did not become popular – at least not outside the black community – until 1926, about four years after the setting of The Great Gatsby. Part drama, part comedy – perhaps unintentionally so – The Great Gatsby features a dynamic and diverse cast of major and minor characters.
Kurt Smith is Jay Gatsby. Since this is his debut in the Richmond theater community, I am not at all familiar with his range or abilities, but he elicited many of the laughs on opening night with his awkwardly affected portrayal; he would stick out a hand as if to shake and leave it extended for an inordinate amount of time, or stand in profile with one foot slightly ahead of the other, reminiscent of a figure on an ancient Egyptian painting. The character of Gatsby also, oddly enough, alternates between the confidence of a successful businessman – one who has made his fortune through illegal or illegitimate means – and the nervousness of a schoolboy about to ask a girl on a date for the first time. Somehow, these two sides of Gatsby never truly reconciled.
Rachel Rose Gilmour as Gatsby’s love interest, Daisy Buchanan, adopted the hand-to-forehead swooning persona of the southern bell for most of her scenes. Caught between two loves, she could not decide which to choose, instead allowing circumstances to make the decision for her.
Daisy, who seemingly has everything – a wealthy husband, big home, money and social standing – is actually a victim: a victim of domestic abuse; a victim of 1920’s social restraints placed on women.
Daisy’s husband, Tom, played by Cole Metz, is a pompous, bombastic, white male supremacist who is very much aware of and feels justified in his privilege. Tom is carrying on an affair with the wife of gas station owner whose business he frequents on his trips back and forth from New York City to Long Island. Metz’s character is the one you most want to boo. Each of these main characters has a distinct style and mannerisms – they just do not seem to have selected the same style or mannerisms from the same school or time period.
The play is narrated by Chandler Hubbard who plays Daisy’s cousin, Nick Carraway. The narrator guides the audience through this twisted tale, providing a sort of auditory synopsis, filling in the blanks for the audience members who may have forgotten or never read The Great Gatsby, while Nick seems to represent the voice of reason and the face of good. As the play progresses, and it becomes obvious that wrong-doers will not be held accountable for their actions, he distances himself from the others – even from his high-society girlfriend, Jordan Baker, played by Michelle Greensmith as an overly-confident, sometimes delightfully sarcastic, and generally loud caricature of a flapper – but without the fringes.
Speaking of loud, the un-mic’ed (is that even a real word?) actors were often difficult to hear in the Leslie Cheek Theatre – even from the fifth or sixth row from the front. As to other production elements: Gregg Hillmar’s lighting was sometimes used to effectively highlight scenes while at other times, perhaps because of the thrust of the stage, with steps and ramps downstage, or perhaps because of the structure and limitations of the house, the lighting seemed to extend into the houselights, illuminating the rows of people sitting in front of you as much as the actors onstage. James Ricks, the company’s Artistic Director, did the effective sound design himself, and there was no doubt that Tennessee Dixon had created the projections that added depth and visual interest in lieu of three-dimensional set construction. Among the stunning effects, flying birds and jonquils (a flower that earned prominent mention in another classic play earlier this season, The Glass Menagerie). Interestingly, jonquils are a type of narcissus, named for the character in Greek mythology from whom the word “narcissism” is derived.
Credit for the lively Charleston scene at the top of Act Two – a scene that prominently featured Keaton Hillman and Markell D. Holloway who played the role of the servants, among other roles – goes to Jeremy Gershman and Kayla Xavier. Reed West’s compact set design included a revolving platform that held a surprising variety of furniture and settings and Cora Delbridge designed the lovely and lovingly detailed period costumes that made generous use of sparkling fabrics and swinging fringes.
The cast also included LaSean Greene as the gas station owner, George Wilson, whose wife was involved with Tom Buchanan. Greene has a small part, but a significant scene in the latter part of Act Two. The versatile Amber Marie Martinez played George’s wife, Myrtle – another victim of the times. Melissa Johnston Price, Eddie Webster, and Jeff Clevenger are all well-known accomplished actors who played very small roles. The ensemble included Daniel Camargo (who also played the minor role of Frank), Mara Barrett, Jackie Cook, Kayla Xavier, Mallory Keene, Billy Heckman, Keaton Hillman, Reed Patterson, and Markell Holloway.
With all these features going for it, The Great Gatsby provided an entertaining evening of theater that generated laughs and made the audience confront many unpleasant facets of human nature. With such an accomplished cast and the skillful direction of former artistic director Dr. Jan Powell, I left with a slight feeling of emptiness, as if someone had left out an ingredient. I hope the remaining shows will tighten up and fulfill the high expectations that have been generated. The Great Gatsby has a short run, so freshen up your 1920s attire and catch it before it closes on March 22.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Photo Credits: Photos by Maria V. Salova
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THE REVOLUTIONISTS: The Revolution Will Not Be Televised (Gil Scott-Heron)
A Theater Review by Julinda D. Lewis
At: TheatreLab, The Basement, 300 E. Broad St, RVA 23219
Performances: February 27 – March 21, 2020
Ticket Prices: $30 Regular Admission; $20 Seniors & Industry/RVATA; $10 Students and Teachers with ID
Info: (804) 506-3533 or TheatreLABrva.org
Lauren Gunderson’s The Revolutionists, first produced in 2015, may be the only comedy that begins and ends with an execution. The Revolutionists is a play about a woman writing a play during the French Revolution. It is hysterically funny, and it is real. Three of the four characters are historical (not hysterical) figures:
Olympe de Gouges (1748-1793) was a French playwright and political activist. She was executed by guillotine for seditious behavior and attempting to reinstate the monarchy – based on the “evidence” found in the contents of an unfinished play about former Queen of France Marie Antoinette.
Women have the right to mount the scaffold;
they should likewise have the right to mount the rostrum.
-Olympe de Gouges played by Maggie Roop
Charlotte Corday (1768-1793) was a political activist who was executed by guillotine for the assassination of Jacobin leader Jean-Paul Marat, a leader of the Reign of Terror. She stabbed him in his bath.
I killed one man to save 100,000.
-Charlotte Corday played by Lydia Hynes
Marie Antoinette (1755-1793) was the last Queen of France before the French Revolution. She was convicted of treason and executed by guillotine.
No one understands my ills, nor the terror that fills my breast,
who does not know the heart of a mother.
– Marie Antoinette, played by Maggie Bavolack
Marianne Angelle is a composite of the free black women revolutionaries of the island nation of Saint Domingue (now Haiti). The island was rich in sugar, coffee, and cotton with a population of 500,000 slaves, 32,000 white people, and 28,000 free black people. In August 1791 the Saint Domingue revolutionaries started the first successful slave revolt in history.
You can’t be a hero if you’re too scared to show up!
– Marianne Angelle played by Katrinah Carol Lewis
For two hours (including one ten-minute intermission), these four women gather in Olympe’s Parisian office to talk philosophy and plan how to change the world. The Revolutionists is a smart, fast-paced, bold tragi-comedy. It is a play that embraces a love of words and language, and Chelsea Burke’s thoughtfully irreverent and well-timed direction dares the audience to come along for the ride and keep up. Dasia Gregg’s understated set (some framed wall sections, a tiny desk and a few seats that are removed after the first act) has the audience seated in the four corners of the intimate space. Some audience members were sitting just a foot or two away from the performers when they sat on a chair on chaise lounge.
It wasn’t until the end of this riotous yet serious discourse that we realized we were not ordinary participants, but extras cast in the role of audience members. It was something like going along for a ride in your friend’s new car, only to find out later that the car was stolen, and you were the designated getaway driver for the crime they planned to commit.
The Revolutionists boasts a dynamic cast with Maggie Roop as Olympe de Gouges, full of fiery talk but coming up short when it’s time to take real action. Lydia Hynes portrays Charlotte Corday with youthful energy and commitment – and she’s loud (and that’s not a criticism, but a comment from her mentors, Olympe and Marianne). Maggie Bavolack is very pink and fluffy (especially her hair and bosom) and is hysterically funny as Marie Antoinette. But she also expresses an unexpected warmth and compassion that develops as she spends time with Marianne and Olympe.
And then there’s Katrinah Carol Lewis as the free-black freedom fighter Marianne. Marianne is the character we learn the most about, from her family to her political and womanist philosophies and Lewis takes full ownership of this character and the show, from the moment she strides into Olympe’s office, assesses the situation, and applies her sense of righteous indignation tempered with wisdom beyond her years.
In fact, all the woman exhibit knowledge beyond their years – or at least beyond their time period – as their dialogue and declarations are interspersed with contemporary language and well-seasoned with swear words.
The production team includes period costumes by Ruth Hedberg (some attractive, some serviceable, some versatile, and some for fun), sound design by Kelsey Cordrey (filled with crowd sounds, heavy breathing, ticking clocks, gunshots and other ambient sounds), and dramatic lighting by Michael Jarrett that goes black to tastefully yet ominously indicate that the guillotine has dropped.
The Revolutionists, a part of the Acts of Faith Festival, runs through March 21. To paraphrase Marianne, “You can’t be a participant if you’re too scared to show up.” Don’t be that person.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Photo Credits: Tom Topinka
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THE CONCERT BALLET OF VIRGINIA: Winter Gala 2020
A Dance Program Review
At: The Woman’s Club Auditorium, 211 East Franklin Street, RVA 23219
Performance: February 23, 2020
Ticket Prices: $12-$18
The Concert Ballet of Virginia, a civic company based in Hanover County, continued its 44th performance season with a Winter Repertory Gala at The Woman’s Club Auditorium on Sunday, February 23. The Winter Repertory Gala – a showcase for the junior, senior, and performing companies – shared the program with The Concert Ballet Orchestra, conducted by Iris Schwartz, alternating a musical composition with a ballet.
The Orchestra seemed to focus on patriotic music, American composers, and American themes, opening with a rousing rendition of the “George Washington Bicentennial March” by John Philip Sousa. This set the tone and expectation for the remainder of the program.
Additional musical interludes included a Cole Porter symphonic portrait, another march, and a medley of American music, including “Shenandoah,” which lays claim to a rather contentious proposal to be Virginia’s “interim state song,” and “My Country Tis of Thee,” which the conductor encouraged the audience to sing along with but there were no takers.
The first ballet, Lindsay Hudson’s “Over the Hills and Far Away” featured an ensemble of enthusiastic young dancers who, while they did not always keep their legs straight or keep their toes pointed en l’air, appeared steady on their pointes and brought an infectious element of joy to their performance. Scott Boyer’s period costumes with full tulle skirts coordinated with deVeaux Riddick’s décor, with its life-sized pink and green plants, all of which were well suited to the genteel atmosphere with some patrons seated at tables, where they were served desserts and beverages, reminiscent of an 18th or 19th century salon. The ballet ended on a light note with a very charming back-to-back slide to the floor.
The first half of the program also included Valerie Shcherbakova’s “Bretagne,” set to music by Darius Milhand that seemed somewhat dark, even ominous, in contrast to the dancers’ white dresses with narrow fabric panels draped delicately along their arms. This ballet was set in an undisclosed period and locale (although the title suggests a French locations), with four blue panels painted with chandeliers and draperies and somewhat mysterious obelisks. The work is created with intentional symmetry, and ends with a lighter, livelier coda.
The second half of the program included Scott Boyer’s ‘The Gum Suckers,’ a contemporary ballet that swaddled the dancers in colorful layers and features several different lifts that were sturdy and well-supported. There was a section in which it was unclear whether the two lines of dancers were supposed to be moving in unison or in canon, but the ballet, which featured a quintet of five pint-sized dancers, was undoubtedly an audience favorite and earned extended applause.
It should be noted that Boyer, a founding member and the company’s artistic director, is the only remaining member of the long-time artistic and executive team. The program pays homage to Robert Watkins (former Artistic Director), deVeaux Riddick (former Designer and Technical Director), and Eleanor Rennie (Executive Director).
The program closed with Karen Moore’s “Rainbow Room,” which saw the dancers dressed in glittery top hats and fringed dressed moving in a jazzy Bob Fosse style to the big band sound of Benny Goodman. Christopher Gangloff’s pretty rainbow lighting effects added an extra layer of pizzazz to this work that began with the dancers laying of the floor, legs up, like the petals of a flower. A sassy percussion beat guided the dancers into a rousing kick line that circled the stage and Boyer, Donald Myers, and an apparently uncredited male dancer escorted the bevy of young women, wearing white tie and tails (but, alas, no top hats!) to complement the women’s fringed frocks.
The Concert Ballet of Virginia’s Winter Repertory Gala 2020 offered a genteel afternoon of audience-pleasing dance and live music in a beautiful setting on a lovely Sunday afternoon.
Photo Credits: Concert Ballet of Virginia Winter Gala 2020 program cover