HOW I LEARNED TO DRIVE

How to Safely Tell an Uncomfortable Story

A Theater Review by Julinda D. Lewis

Produced by: The Conciliation Lab

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

Performances: March 11-26, 2022

Ticket Prices: $35 General Admission; $25 Senior/Industry (RVATA); $15 Student/Teacher (with valid ID)

Info: (804) 506-3533; 349-7616 or https://theconciliationlab.org/

NOTE: The Basement is a fully vaccinated venue. Proof of vaccination or a negative COVID test within 48 hours of the performance must be shown at the box office and masks must be worn while at the theater.

The title of Paula Vogel’s 1998 Pulitzer Prize-winning play, How I Learned to Drive, is a metaphor for a story so complex that it defies stereotypes. Vogel presents people not as good or bad, victim or victimizer, but as multi-layered and flawed humans. The play is more layered – and even stickier – than a baklava (Greek pastry), and Vogel chose to tell the story in non-chronological order, making it seem even more realistic as the scenes bombard the audience in much the same way as our own memories might arise from the murky depths of an unsuccessfully buried past.

The primary characters in this fractured and dysfunctional family tale are Li’l Bit and Uncle Peck, her maternal aunt’s husband. It says a lot about the nature of this family unit that nicknames are derived from genitalia. The grandfather is Big Papa. Her little cousin is BB for Blue Balls, and her mother is referred to as the Titless Wonder. Li’l Bit, who is never identified by her real name, presented with petite genitalia at birth, and the name stuck, although from her teen years onward she is mercilessly bullied and teased by family and classmates alike for her ample bosom. Uncle Peck is an uncle by marriage, so I don’t think his name is part of this twisted roll call – but he makes up for it in other ways.

Both Li’l Bit and Uncle Peck are given stellar performances by Juliana Caycedo and Jeffrey Cole, respectively. These are the kinds of roles that make people look at you sideways when they encounter you in the produce section of the local supermarket. The rest of the cast – family members, classmates – is played by three actors: Bianca Bryan as the Female Greek Chorus, Mahlon Raoufi as the Male Greek Chorus, and Maggie Bavolack as the Teenage Greek Chorus.

The story, narrated mostly by Li’l Bit with the help of the Greek Choruses, is a surrealistically humorous recounting of sexual abuse and survival cloaked in the guise of driving lessons. It is not surprising that Uncle Peck is an alcoholic; he is not the only one either. Li’l Bit also recounts the all too familiar pattern of women in the family who not only turn a blind eye to the abuse, but also blame the child for being seductive. Aunt Mary, Uncle Peck’s wife, blames Li’l Bit for her husband’s pedophilia (and incest?), waiting for Li’l Bit to go away to college so she can rekindle her marriage. Li’l Bit’s own mother reluctantly allows her daughter to go on a long drive to the beach with Uncle Peck, warning her that she will hold Li’l Bit – a child – responsible if anything happens. There are so many outrageous scenes like this, many of which may trigger memories in audience members as well as cast and staff, that it seems each performance should be followed by a talk-back with a therapist on hand.

How I Learned to Drive is so well performed and so well directed by Chelsea Burke that is should be required viewing. Caycedo is vulnerable and resilient. It is undoubtedly exhausting to play the role of Li’l Bit – especially knowing that there are thousands of Li’l Bits out there still fighting to survive. Cole presents as a really creepy guy, even as the role sometimes calls for him to present as a caring adult. He comforts Li’l Bit when she flees a family dinner, broken by the teasing about her large breasts and the family’s refusal to acknowledge her dreams of going to college. Who needs a college degree to lay on their back? That’s Big Papa’s perspective. Uncle Peck celebrates with her when she passes her driving test on the first try; but he also inappropriately plies her with martinis and oysters. What the hell is the matter with this man? The conflict is brought to the forefront when, at one point, Li’l Bit wisely wonders if someone had groomed or molested him when he was a child.

We applaud Li’l Bit’s survival and her ability to leave Uncle Peck behind, a diminishing image in her rear view mirror. At the same time, we weep for those who are still learning how to drive.

When I attended the Sunday matinee was followed by a talk back with members of the current cast and crew and members of the cast and crew of the 1998 performance, including cast members Gordon Bass and J.B. Steinberg and lighting designer Steve Koehler. The sharing was accompanied by memories and a few tears. Both were needed.

At the time of publication, there are only two more opportunities to see this run of How I Learned to Drive. If you can find a way to get there, run!

HOW I LEARNED TO DRIVE
by Paula Vogel

Directed by Chelsea Burke

THE CAST
Lil Bit…………………………………Juliana Caycedo
Peck……………………………………..……Jeffrey Cole
Female Greek Chorus…………….Bianca Bryan
Male Greek Chorus…………..…Mahlon Raoufi
Teenage Greek Chorus……..Maggie Bavolack

THE TEAM
Direction: Chelsea Burke
Scenic Design: Alyssa Sutherland
Projections Design: Dasia Gregg
Lighting Design: Deryn Gabor
Costume Design: Maggie McGrann
Sound Design: Candace Hudert
Properties Design: Kathy Kreutzer
Set Construction: Chris Foote
Scenic Painters: Faith Carlson, Alyssa Sutherland
Assistant Stage Management: Leica Long
Associate Direction: Nadia Harika
Dramaturgy & Intimacy Direction: Stephanie “Tippi” Hart
Production Stage Management: Crimson Piazza

THE SCHEDULE
Friday, March 11 at 8pm – Preview
Saturday, March 12 at 8pm – Opening Night
Thursday, March 17 at 8pm – Student Night
Friday, March 18 at 8pm
Saturday, March 19 at 8pm
Sunday, March 20 at 3pm – Matinee
Tuesday, March 22 at 8pm – Community Partner Night
Friday, March 25 at 8pm
Saturday, March 26 at 8pm – Closing Night

Photos by Tom Topinka

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Moments with MommaJ: #1

Moments With MommaJ – Thoughts But No Reviews: February 24, 2022

Since January 18, 2018, I have published 240 reviews in this blog space. (I wrote 238 and 2 of them were written by a young mentee.) That averages about 60 reviews each year, or 5 per month. And BTW, I welcome the comments and reviews of others. (There’s no pay, right now, but you get the satisfaction of seeing your words in print – or disagreeing with me.)

I started this venture – a safe space I call RVArt Review, a home for dance and theater – when the newspaper for which I had been writing dance and theater reviews for more than a decade suddenly and without explanation, decided they no longer had the space or funds to publish reviews. (There had been three of us writing about local theater productions and I was the first to be ghosted. And yes, I did ask for an explanation, some closure, something, but never got it.)

I have been writing about dance and theater since shortly after I started grad school in 1978. (I earned a BS in Dance and Dance Education from New York University in 1977 and returned in 1978 to begin work on my MA I the same department.) I took a course on writing dance criticism with Ernestine Stodelle. Ms. Stodelle had been a member of the pioneering modern Humphrey-Weidman Dance Company and later became a writer. She encouraged me to continue writing, and I have been writing ever since, first for a local publication in Brooklyn, then for The Black American weekly, occasionally for The Village Voice¸ nearly twenty years for Dance Magazine, and many free-lance assignments for newspapers, periodicals, academic journals, followed. After moving to Richmond in 1996, I wrote for The Richmond Free Press and The Richmond Times Dispatch. Just as I had to continue dancing after having two total knee replacements and a spinal fusion (in the same year), I had to continue writing, even as “professional” outlets began to disappear, because that is what I do. Since about age three I knew that I was called to dance, teach, and write.

Times change. The landscape of reviewing the arts must change, too. You may have noticed that I prefer the term “reviewing” over “criticism.” The former is a better fit for the conversational tone and sometimes rambling writing practice that suits me, while the latter sounds to me as if the writer sets out to find fault. I know, these are not the standard definitions, but hey, this is my space, so I get to make the rules. When you read what I have written, my hope is that you feel as if we are sitting down having a conversation. So yes, responses are appreciated.

I write about dance and theater because I love dance and theater. My first paid job was in a summer youth program in NYC where we did community service (cleaning parks, painting the yellow lines in front of fire hydrants) and put on full-scale theatrical productions. During my three wonderful summers in that program (approximately ages 13-15), I played the roles of Maria in West Side Story, Yenta in Fiddler on the Roof,  and a character whose name I cannot remember in a western, a “pioneer drama” called The Chips Are Down.

———-

You may be surprised to learn that even though I average 50+ reviews per year, I do not write reviews about everything I see. The standard for arts organizations  and publications I have been associated with has been to review only “professional” productions or those that meet a certain standard for number of performances, paid staff, and the like. But this is a new space, my space, and so I’m going to make some new rules, my rules. Sometimes, I want to talk a bit about people, places, and theater-making that might not meet the traditional standards for reviewing, whether it is a student or community theater production or a reading or just some interesting bit of history or a noteworthy nugget. So, here we are. Several paragraphs into this rambling rabbit hole of a journey, welcome to the first Moment With MommaJ – a space where I will occasionally share some thoughts on whatever I feel like, just because.

Here we are at the final weekend of February, and I’ve posted four reviews this month: A Doll’s House, Part 2, A Hotel on Marvin Gardens, Stonewallin’, and the ballet Romeo & Juliet. This month I also saw a few things I did not review, and I’m just gonna take a moment (a Moment with MommaJ) to write a few words about them before I sign off for the month.

On February 17 I attended a Pre-Assessment Concert for middle school and high school bands hosted by the Clover Hill Band Program in Chesterfield County. I was there to support my eldest grandchild, Kingston Marley Holmes, who plays percussion for the Manchester Middle School Advanced Band under the direction of Mrs. Elizabeth McHatton. Of course I was impressed to see Kingston confidently moving from tambourine to timpani as the percussionists are multi-instrumentalists (if that’s a word). My heart swells with pride and my eyes get a bit leaky whenever I see young people doing positive things and doing them well.

The Manchester Middle School Advanced Band, the Swift Creek Middle School Combined Band (directed by Mr. Jim Neiner) and Clover Hill High School’s Symphonic Band and Wind Ensemble (both directed by Mrs. Brianna Gatch) each offered three selections and it was a most satisfying evening. I am in no way qualified to evaluate or assess band music, but I can tell you that the level of skill, talent, dedication, commitment, and confidence I observed in these young people will take them far, whether they continue to study and play music or not. Bravo, young people. Bravo.

Then on February 19, I attended a performance of Intimate Apparel at VCU’s W.E. Singleton Center for the Performing Arts. A production of  the VCUarts Theatre Department, Intimate Apparel is directed by none other than Dr. Tawnya Pettiford-Wates (Dr. T). Written by Lynn Nottage, the play premiered at Center Stage in Baltimore, MD in February 2003 and opened Off-Broadway the following year. Set in New York City in 1905, the plot revolves around Esther, an African-American seamstress in her mid-thirties who lives in a boarding house and earns a decent living sewing intimate apparel. Her clients include a wealthy white woman, Mrs. Van Buren, and Mayme, a lady of the night with a heart of gold who happens to be a classically trained musician, who appears to be the conservative Esther’s best friend.

Esther longingly observes the other women who live in the boarding house, owned and managed by a dignified widow, Mrs. Dickson, get married and move away. She becomes impatient with biding her time, slowly saving to buy her own beauty parlor and hoping to meet a nice man to marry. Things start to look up when she begins to correspond with George. Introduced by  a mutual connection, they seem to have a lot in common. Like Esther, George has moved far from his home in Barbados to work on building  the Panama Canal. Like Ether, George, too, is lonely, and looking for a wife and a chance to own his own business. But things are not what they appear to be, and Esther ends up loosing both her man and her money – but not her mind. Bowed but unbroken, she returns to the boarding house and starts over. There is more, much more, but this is not a review and I don’t want to give away all the nuanced and multi-layered details, because I want you to see – or at least read – this one for yourself.

You know how some of us – many of us? – are just learning about some ignoble events in American history? You know…things like the bombing and burning of Black Wall Street or the flooding of African-American communities to build parks? Well, this is kinda the literary and theatrical version of that on an individual, social, economic scale.

Under the direction of Dr. T, Amaiya Howard (Esther), and Jonel Jones (George) bring this story to life, revealing bits of history while exploring human nature and traversing largely hidden, forgotten, or otherwise unfamiliar territory by way of a poetic and sensual Africanist storytelling aesthetic.

They are ably supported by Tatjana Shields (whose Mrs. Dickson reminds me of Claire Huxtable), Caroline Mae Woodson as the ingenuously innocent “white lady” is all too familiar, and Nia Simone as Mayme, a humorously bawdy prostitute. Hands-down, my favorite supporting role was that of Mr. Marks, the Hasidic owner of the tiny fabric store where Esther found her special fabric deals. Elijah Williams was so genuine in this role, he brought back memories of shop owners I encountered in Williamsburg, Brooklyn and the Lower East Side of Manhattan.

My only issue with Intimate Apparel is that, even with two intermissions, these old bones have a hard time sitting through an approximately three-hour production!

Finally, as I sit and write this Moment with MommaJ, I have just arrived home from a staged reading – the second in a series of four – presented by the new kid on the block, The New Theatre (TNT), with Nathaniel Shaw as Artistic Director and Vida Williams as Executive Director. Red Bike by Caridad Svich is a poetic duet of a play, simultaneously humorous and solemn. Amber Marie Martinez and Raven Lorraine Wilkes read the roles of two pre-teens growing up in small town America and claiming – not seeking, but claiming – their place in the world. It’s sometimes loud and unpredictable, and the viewer sometimes feels as if they are riding the handlebars as the actors’ virtual bikes speed downhill towards certain disaster. The author and text of Red Bike appear to be aligned with the mission of vision of The New Theatre, which has not yet begun turning out full productions.

TNT’s Mission is “to challenge and expand art and industry through innovation in project development, presentation, and community participation,” and their Vision is to become “an innovative American Theatre where we are all seen, where we are all welcome, where we are all inspired.” Visit their website to learn more about the new kid in town: thenewtheatreva.org.

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

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ROMEO & JULIET

The Richmond Ballet’s ROMEO & JULIET: Shakespeare’s Family Feud on Pointe

A Dance Review by Julinda D. Lewis

By: The Richmond Ballet

At: Carpenter Theatre at Dominion Energy Center, 600 East Grace Street, RVA 23219

Performances: February 18-20, 2022

Ticket Prices: In-Person Tickets $25-$125

Info: (804) 344-0906, etix.com, or richmondballet.com

Romeo & Juliet
Choreography by Malcolm Burn

Music by Sergei Prokofiev

Performed by The Richmond Symphony,

Erin Freeman, Conductor

Scenery & Prop Design by Charles Caldwell

Costume Design by Allan Lees

Lighting Design by MK Stewart

It’s that time of year again. February. Some of us still have Valentine’s Day candy and flowers on our desks. It’s Romeo & Juliet season.

I’ve often mentioned to staff at the Richmond Ballet that my biggest – my only – problem with Romeo & Juliet,a ballet that is always performed around Valentine’s Day, is that it is one of the world’s greatest love stories, but the lovers end up dead at the end. Sigh. I think Romeo & Juliet has a higher body count than many action-adventure plots. But it also has some of the greatest – and largest – hats ever to appear on stage (kudos to costume designer Allan Lees).

On a serious note, Romeo & Juliet, running nearly three hours including two twenty-minute intermissions, is an immersive theatrical experience. There’s young love, friendship, family loyalty, classical ballet, folk dancing, comedy, drama, a fabulous score, and more.

This large-scale ballet, created by Richmond Ballet’s long-time Artistic Associate Malcolm Burn premiered August 1977 and was first performed by the Richmond Ballet in February 1995. The ballet includes a huge cast that highlights the students of the School of Richmond Ballet, the Richmond Ballet Trainees, and the Richmond Ballet II company. I found many of the supporting roles provided some of the most interesting and delightful moments of the evening.

Trainee Gabrielle Goodson was cast as the figure of Fate. A non-dancing role, Fate would appear before a death occurred. I never managed to see Goodson move, but suddenly she would appear or shift to a new position on stage. The black-robed and hooded figure was even more ominous because of the silence, stillness, and unimposing stature.

A trio of Harlots (Celeste Gaiera, Sarah Joan Smith, and Izabella Tokev) provided several amusing interludes, with their dancing (sassy romps through the crowd scenes and seductive moments with the men of the town – all of the men) as well as with their costumes (off the shoulder frocks and outrageous wigs that reminded me of a combination of Marge Simpson and the wigs worn by the step-sisters in the Cinderella ballet).

Among other supporting figures that made a big impact was Susan Israel Massey as Juliet’s Nurse. A character role that did not require much dancing, Massey was delightful: loving and loyal to Juliet, daring and subversive in her support of her young charge, and humorous in the marketplace scene.

Ma Cong, the company’s Associate Artistic Director, who took on his role in June 2020 in the midst of a pandemic, was cast in the role of Lord Capulet, Juliet’s stern and unyielding (abusive might not be too strong a word) father. If I am not mistaken, this was his first onstage appearance with the Richmond Ballet.

Ira White was thrilling in the role of Tybalt, Juliet’s passionate and short-tempered first cousin. White engaged in a lot of swordplay with the gentlemen of the rival House of Montague – Romeo and his sidekicks Benvolio (Colin Jacob) and Balthasar (Zacchaeus Page). The fight scenes lit up the stage with a perfect balance of athleticism and art.

As for the title roles, Sabrina Holland danced the role of Juliet, and Khaiyom Khojaev was her Romeo, roles that require equal parts dancing, acting, and mime. There are no long dance scenes in Romeo & Juliet, and no grand pas de deux, so viewers must soak up every brief encounter, every precious stolen duet between the young lovers. The brevity of each encounter, each step, each lift makes their partnership all the more endearing. Personally, in his group scenes I would have liked to have seen Khojaev adopt some of the feistiness required of White. Tybalt certainly had confidence to spare. But in his solo turns Khojaev’s Romeo soared flawlessly.

Paris (Joe Seaton) the contender favored by Juliet’s parents (Ma Cong and Lauren Fagone), is given short shrift. Juliet flicks away his hand every time he tries to touch her. The poor guy is never even in the running. The tension and family dynamics in the scenes with Juliet, her parents, her nurse, and Paris is palpable and presages the unhappy ending that is sure to come.

Overall, Romeo & Juliet is a family-friendly ballet, and one that can be enjoyed by people who say they do not “understand” ballet. And if you don’t recall the details of Romeo and Juliet from high school, there is a handy scene-by-scene synopsis in the digital program. And the familiar score, played live by the Richmond Symphony, can easily stand alone.

I enjoy the intimate Richmond Ballet Studio Performances that are scheduled four times each season, but there is nothing like a full-scale, evening-length ballet and Romeo & Juliet is a personal and audience favorite, judging by the size, diverse composition, and positive reactions of Friday’s opening night house. At the time of this writing, there are two remaining opportunities to see this run of the Richmond Ballet’s Romeo & Juliet.

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

Romeo & Juliet Performance Schedule

Friday, February 18 @7:00PM

Saturday, February 19 @7:00PM

Sunday, February 20 @2:00PPM

COVID-19 Protocols: Upon entering the theatre, all audience members ages 12 and above are required to show printed or digital proof of full vaccination against COVID-19 or of a professionally-administered negative COVID-19 test taken within 72 hours of the performance. Patrons ages 18 and above will also need to show a photo ID. All patrons ages 2 and above will continue to be required to wear masks. Eating and drinking are allowed only in designated areas of the lobby.


Photos of the Richmond Ballet’s Romeo & Juliet. Photos by Sarah Ferguson. All rights reserved.


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STONEWALLIN’

STONEWALLIN’

A Coming Out Story with Stonewall Jackson, Witch’s Spells, and a Bobolink

A Theater Review by Julinda D. Lewis

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Altamont Ave, RVA 23230

Performances: February 9-March 5, 2022.

Ticket Prices: $30-35; $10 for Students.

Info: (804) 346-8113 or rtriangle.org. Richmond Triangle Theater has returned to full-capacity seating and requires proof of vaccine or recent negative PCR test results for entry. See the theater’s website for their COVID-19 precautions, digital programs, and more.

The best comedy is relatable comedy. It often takes something from life – and it can be something bad – and pokes fun at it. By this standard, Kari Barclay’s new play – winner of Richmond Triangle Player’s So.Queer Playwriting Festival – is outrageously funny. It’s outrageous, period. The humor is a bonus.

STONEWALLIN’ features a “missing” statue of Thomas “Stonewall” Jackson (explaining the rabbit ears around “missing” would be a great big spoiler), a budding bi-sexual romance between a queer woman and a queer man, a friendship between a young Black man and an older white grandmother who spend some of their free time as Civil War re-enactors and some of their time together drinking whiskey and gossiping, and let’s not leave out a spell cast by a self-taught witch that has major unintended consequences. Surprisingly, it all fits together like a gigantic jigsaw puzzle.

STONEWALLIN’ is set in the author’s hometown of Lexington, VA, home of Washington and Lee University and Virginia Military Institute. Other points of interest include the gravesites of Robert E. Lee and Stonewall Jackson as well as the residence of Jackson, a Confederate general. More recent notoriety include the Red Hen Incident; in 2014 then White House Press Secretary Sarah Huckaby Sanders was asked to leave the Red Hen Restaurant because of her role in the Trump Administration. All of this – and more — finds a home in STONEWALLIN’.

What also makes its way into STONEWALLIN’ is a stellar cast, consisting of Levi Meerovich as Tommy Jackson (a direct descendant of Stonewall Jackson), Nora Ogunleye as Marsha Lyons (a transplant from Berkeley, CA who is staying temporarily with her brother while reconnecting with her family roots), Jacqueline Jones as Mamaw Jackson (grandmother of Tommy and a staunch proponent of “heritage, not hate”), Trevor Lawson as Elijah Lyons (brother of Marsha and apparently the proprietor of an unnamed small business), and Chandler Hubbard as General Stonewall Jackson.

While Meerovich and Ogunleye rightfully take the leading roles as the unlikely young couple and share a relationship that is at once endearingly awkward and reluctantly intimate, it is Jacqueline Jones who steals my heart – and the show – as the sassy and sometimes deliberately daft Mamaw. She’s a rebel with or without a cause, just for the hell of it. She argues with her friend Elijah as they return from one of their Civil War re-enactment engagements, yet promises to rally her (Confederate) Flagger friends to support his housing project. She cannot fathom the emerging gender identity of her grandson – grandchild — Tommy, whose preferred attire is some variation of a black dress and earrings, and finds it more acceptable that he would have a relationship with a Black woman than that he could be gay. What a perfect example of the dilemmas posed by the state of affairs in which we currently exist.

Want further proof of how close to home this show hits? Barclay’s world premiere opened the same month that the bases of confederate statues right here in Richmond were being removed. (For those readers not familiar with what’s going on here in Richmond, the recently removed Confederate statues from Monument Avenue and other areas of the city are slated to be given to the local Black History Museum and Cultural Center of Virginia.) As for Elijah, he walks a delicate line between liberal political activist and moderate citizen of a small southern town. Lawson emanates the right demeanor – a balance of impassioned persuasion and moderate reason – to carry this off with authenticity. [Lawson recently appeared in VaRep’s Barefoot in the Park, December 2021https://jdldancesrva.com/2021/12/18/barefoot-in-the-park/and Pipeline,October 2021 https://jdldancesrva.com/2021/10/16/pipeline/]

Chandler Hubbard eases all too comfortably into the role of a southern gentleman who all too easily says things that would have been perfectly acceptable in his day but are seen as searingly offensive and racist in 2022. STONEWALLIN’ is a whole hoot and a holler of a show. Barclay has found the key to talking about difficult subjects, not only making them palatable, but mining] the humanity and liberally seasoning them with humor.

Raja Benz, who also directed Pink Unicorn at RTP [July- August 2021 https://jdldancesrva.com/2021/07/31/the-pink-unicorn/], directed this new work with insight and a big pinch of irreverence. Credit Frank Foster with the scenic design – a Stonewall Jackson pedestal that can be disassembled to create whatever minimal set pieces might be needed for any given scene – and Michael Jarett with the lighting design. Kudos to Candace Hudert for an appropriate and interesting sound design. All the elements – including rearranging the audience seating so that some were actually seated onstage – worked together to create an energized, intimate, and welcoming atmosphere. The ending is left somewhat inconclusive, leaving open the possibility for more to come.

STONEWALLIN’ runs through March 5, so there’s still time to go and find out about that “missing” statue.


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


STONEWALLIN’ – A World Premiere

Written by Kari Barclay, winner of RTP’s Inaugural So.Queer Playwriting Festival

Directed by Raja Benz

CAST:

Tommy Jackson………………………  Levi Meerovich

Marsha Lyons ………………………..   Nora Ogunleye

Mamaw Jackson …………………….  Jacqueline Jones

Elijah Lyons ……………………….….  Trevor Lawson

Stonewall Jackson ………………….. Chandler Hubbard

CREATIVE TEAM:

Scenic Design by Frank Foster

Costume Design by Claire Bronchick

Lighting Design by Michael Jarett

Sound Design by Candace Hudert

Hair and Make Up Design by Carolan Corcoran

Properties Design by Tim Moehring

Dramaturg Katharine Given

Intimacy Choreographer Kirsten Baity

Dialect Coach Louise Casini Hollis

Assistant Director Kendall Walker

Assistant Intimacy Choreographer Kevin Kemler

Technical Director Rebecka Russo

Assistant Stage Manager Dwight Merritt

Production State Manager Kasey Britt

Photo Credits: Tom Topinka

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A HOTEL ON MARVIN GARDENS

A HOTEL ON MARVIN GARDENS

“All I want is to run everything and always be right.” – K.C.

A Theater Review by Julinda D. Lewis

CAT – Chamberlayne Actor’s Theatre

At: Dogtown Dance Theatre, 109 W. 15th St., RVA 23224

Performances: February 4 – 12 2022

Ticket Prices: $24.00 General Admission. $20.00 Seniors

Info: http://www.cattheatre.com

Watching four other people play a game of monopoly could be about as exciting paint dry, After all, it is a long and sometimes slow-moving game, and not exactly the sort of thing that draws spectators. Yet this is exactly what playwright Nagle Jackson expects us to do.

Under the smart direction of Amber dePass, and with an amiable cast led by Crystal Oakley, A HOTEL ON MARVIN GARDENS is both an amusing evening of live theater and an opportunity to use a board game that celebrates capitalism as a metaphor for the use and mis-use of corporate power.

Set on a private island whose owner and sole resident, K.C. has named her magazine ME, A HOTEL ON MARVIN GARDENS ironically takes place on April Fool’s Day. It is a long-standing tradition for K.C. to host an annual gathering on April 1st, the centerpiece of which is a game of Monopoly that comes with a boatload of unwritten rules. K.C. always gets the top hat. K.C. always gets Marvin Gardens, the most expensive property on the board. And K.C. always wins.

On this occasion, K.C. (Oakley) is joined by her publisher and weekend lover Bo (Aaron Willoughby), her Managing Editor Henry (Joshua Mullins) whom she plans to fire after the party, and his plus one, Erna (Kyle Billeter) who is the magazine’s food editor. At the end of Act One, just as we’re beginning to think this is going to be a long and uneventful day, the author shakes things up by tossing in a surprise visitor. Rose (Liv Meredith) found herself stranded after turning down the advances of her date; angered, he gets in his little boat and leaves her stranded on the island in the middle of a storm. Rose surprises many in the audience when she reveals she is a teacher. Her language and demeanor could have belonged to a high school or college student, but Henry soon takes note of her.

Willoughby’s Bo is a low-key and suitable foil for Oakley’s over-bearing and narcissistic K.C.

I’m not sure what to think of Henry. At times he stands up for himself with confidence, at times he gives in to pretentious free-spirited outbursts, and then there are those other, uncharacterizable moments. I personally was outraged when, during a scheduled bread in K.C.’s precise schedule for game day, Henry went outside and urinated on the rocks – only to come back inside, pick up his drink, and return to the bar without washing his hands!

Billeter’s portrayal of the quirky food critic Erna is undoubtedly the most lovable character. And of course, she raises K.C.’s hackles. No one appears to notice when, on at least two separate occasions, Erna drops her indeterminate European accent when reminiscing about the joys of tuna melts and tuna casseroles, and even lets it slip that her mother was the Queen of Velveeta. Hmm.

A HOTEL ON MARVIN GARDENS seemed to be just what the welcoming audience needed. It was also a minor triumph for CATTheatre, which became a nomadic troupe in the  midst of a pandemic. Their first show after emerging from behind masks was performed at Atlee High School. This one found a home at Dogtown Dance Theatre in Manchester, and the next performance will head west to HatTheatre. Undaunted, the show must go on! A HOTEL ON MARVIN GARDENS has one more weekend of performances, February 11 & 12, at Dogtown Dance Theatre. Just remember, K.C. always gets the top hat and K.C. always wins – even if it means she’s left all alone. Oh, and enter K.C.’s kitchen at your own peril. And you should probably avoid the Pump House…

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

A HOTEL ON MARVIN GARDENS

Written by Nagle Jackson

Directed by Amber dePass

Cast

K.C.                Crystal Oakley

Bo                   Aaron Willoughby

Henry              Joshua Mullins

Erna                 Kyle Billeter

Rose                Liv Meredith

Design Team

Stage Manager            Nancy McMahon

Assistant Stage Manager, Costume Design, Set Dresser        Jenn Fisher

Lighting Design          Kaylin Corbin

Set Design                   Andrew Way

Ticket Information

www.cattheatre.com

Ticket prices range from $24.00 General Admission. $20.00 Seniors.

Run Time

The play runs about 1 hour 50 minutes including 1 intermission

Photo Credits: Daryll Morgan Studios

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A DOLL’S HOUSE, Part 2

Nora Returns 15 Years After Slamming That Door

A Theater Review by Julinda D. Lewis

At: The November Theatre Arenstein Stage, 114 West Broad Street, RVA 23220

Performances: February 4 – 27, 2022

Ticket Prices: $36-$56. Discounted group rates and rush tickets available.

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

If Nora and Torvald were on social media, there is no doubt their relationship status would be, “It’s Complicated.” When Nora walked out of the home she shared with her husband Torvald at the end of Ibsen’s play, A Doll’s House (1879) it was described as “the slam heard ‘round the world.” Nora’s decision to leave her husband and children was so scandalous Ibsen was forced to write an alternate ending. For 138 years people were left to ponder what happened to Nora.

In 2017 American playwright Lucas Hnath provided us with some of the answers. A Doll’s House,  Part 2 begins with a knock on the door – the same door Nora slammed in 1879. Opening the door to self-exploration was also an open invitation for scandalous speculation and unstoppable feminist progress. Hnath has Nora return after a fifteen year absence to settle some unfinished business.

It is both fascinating and satisfying to see Katrinah Carol Lewis, who played Nora in a 2018 production at what was then TheatreLab, The Basement. In December 2018 I described Lewis’ performance as Nora as one of her most highly charged among many challenging roles. “With her naturally large eyes accented by makeup, and in the intimate space of The Basement, it was easy to see every nail biting emotion, to hear every breath, to practically feel her trembling.” [Follow this link to read my entire review of Ibsen’s A Doll’s House: https://jdldancesrva.com/2018/12/08/a-dolls-house-well-shut-the-door/.]

Nora in 1894 is no trembling bride. Her first knock at the door is confident; the second is commanding. She wears the finest clothes, and sits  with her legs spread apart and leaning forward, forearms resting on her thighs, in her straight-backed chair. In many ways, both financial and experiential, this older and wiser Nora has achieved success. But as the story unfolds, it becomes obvious that in more ways than she would like, the new Nora has retained much of the old Nora.

Ibsen’s A Doll’s House is not a prerequisite for Hnath’s A Doll’s House, Part 2. There are plenty of references to Ibsen’s work to fill in the essential background, but if you are familiar with the original, and even better, if you have seen Lewis in the original, it is a much more fulfilling journey.

Lewis and David Bridgewater, who plays Torvald in this new production, circle around each other like wary cats, avoiding physical contact – or even eye contact – until their climactic scene in the final third of the play. Then their explosive interaction reveals to the audience that what Nora has endured in search of the elusive “true marriage,” a marriage of equals, was right under her nose the entire time. In one fleeting moment, the estranged couple drop their masks, we glimpse the manifestation of what she always wanted, and before we can fully absorb it, before we can get all sentimental about it, it is gone – and so is she. Again. While A Doll’s House, Part 2 answers many questions raised in the original, it leaves us with just as many, if not more, than we had before.

Everything in A Doll’s House, Part 2 has been pared down. The set consists of two elegantly painted or papered walls, a gigantic door, two formal straight-backed chairs, and a small table holding a vase of flowers. The little details that make the space a home have been omitted – or, as Anne Marie says, anything that belonged to Nora was thrown away when she left. The cast has been pared down to just two leading actors (Lewis and Bridgewater) and two supporting actors: Catherine Shaffner as the beleaguered nanny turned housekeeper, Anne Marie and Katy Feldhahn as the Helmer’s youngest child, Emmy. The play itself has been paired down, from Ibsen’s three acts and two intermissions to a 90-minute production performed without intermission.

What has not been pared down is the family dysfunction. Emmy, who has spent the better part of her life without a mother is so much like Nora it’s shocking. As a child, Emmy asked her two older brothers to tell her what they remembered about their missing parent. It may be a genetic or spiritual connection but neither of them seems to be aware of it – or, perhaps, it is just their habit to deny the obvious. Shaffner, in the role of Anne Marie who raised young Nora as well as her children, provides important connecting links between the past and the present, as well as a few welcome comedic outbursts of foul language.

Sharon Ott’s direction retains the main characters’ affectations and packs a lot of emotions and family drama into a much shorter production time. Although there did seem to be a bit of a lull bnear the end of the first half, Emmy’s appearance turned up the heat – and her Option 3 turned the tables on Nora.

Nora and Torvald are not likeable people, but they are familiar. We know people with some of their least likable characteristics. They are members of our own families and sometimes they are us. A Doll’s House, both the original and Part 2, was not intended to give the viewer a satisfying or happy ending. Both make us question gender, marriage, institutions, laws, and systems. They force us to look at the familiar from new perspectives and encourage us to question why we accept things the way they are – and consider what might happen if we walk out the door, or even knock it off its hinges.

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

A Doll’s House, Part 2

By Lucas Hnath

Cast

Nora                                                                Katrinah Carol Lewis

Torvald                                                            David Bridgewater

Anne Marie                                                     Catherine Shaffner

Emmy                                                              Katy Feldhahn

Nora Understudy                                          Donna Marie Miller

Torvald Understudy                                    David Watson

Anne Marie Understudy                            Lisa Kotula

Emmy Understudy                                       Sharaia Hughes

Direction & Design

Direction Sharon Ott

Assistant Director                                        Cam Nickel

Scenic Design                                                 Katherine Field

Costume Design                                            Sue Griffin, Marcia Miller Hailey

Lighting Design                                             BJ Wilkinson

Sound Design                                                  Jacob Mishler 

Stage Management                                      Shawanna Hall

Ticket Information

Box Office: 804-282-2620

www.virginiarep.org

Ticket prices range from $36 – $56/

Discounted Group Rates and Rush tickets are available.

Run Time

The play runs about one hour and 35 minutes with no intermission

Here’s a little video teaser:

Photo Credits: Aaron Sutten [production photos were not yet available at the time of publication] NOTE: Photos updated February 8, 2022.

———-

Virginia Rep COVID Guidelines

To provide the highest level of safety, all patrons are required to show proof of vaccination, or proof that they have received a negative COVID test by a professional technician within 48 hours of the performance date/time.

Patrons must show your vaccination card or a photo of the card on your phone, along with a valid photo ID, when you arrive for the performance. If you are unable to be vaccinated, you may provide proof of a Rapid COVID-19 antigen test taken within 48 hours of your performance. At home tests will not be accepted.

Please see the Virginia Rep Covid Safety FAQ for details.

In accordance with current city, state, and CDC guidance, face masks are REQUIRED at all times while you are in the building, regardless of whether or not you have been vaccinated.

At this time, no food or drink is allowed in the theatre.

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MURDER FOR TWO

Murder for Two Slays as a Two-for-One: Half Murder Mystery, Half Comedy

At: The Swift Creek Mill Theatre, 17401 U.S. Route 1, S. Chesterfield, VA 23834

Performances: January 29 – February 26, 2022

Ticket Prices: $49. $44 for seniors, students, military, and first responders.

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

The two actors who play ALL the characters in MURDER FOR TWO come onstage wearing birthday party hats, and immediately begin a series of zany and wordless shenanigans. Their wacky introduction requires them to dress the stage with pedestals, vases filled with flowers, magician’s trick bouquets, and comic sound effects. The stage itself, designed by Tom Width, features stall Greek columns, crazily angled doors, and portraits over the fireplace that have as many as seven sides and angles. A baby grand dominates the center of the stage and could very well be given credit as a third character. As the play progresses it becomes clear that this musical comedy murder mystery, written by Joe Kinosian and Kellen Blair is, as Director Tom Width describes it in his program notes, “quirky in the best possible ways.”

Mark Schenfisch plays Marcus Moscowicz, an ambitious police officer with all-consuming dreams of becoming a detective. Marcus initially appears as to be insufferably arrogant and narcissistic, but Schenfisch gradually digs down and mines the underlying integrity that drives his character.

Most remarkable, however, is Emily Berg-Poff Dandridge who plays ALL the other characters – with one notable exception I will not reveal here because I don’t want to spoil it for those of you who have not yet seen MURDER FOR TWO. The mystery revolves around who killed the prolific author Arthur Whitney who was unceremoniously murdered as he arrived for his own surprise birthday party as the remote mansion where he lives – or lived – with his wife. It is worth noting that Whitney was not well liked. All who gathered to celebrate his birthday had appeared as a character in one of his books, making them all plausible suspects.

Dandridge play the roles of the newly widowed Dahlia Whitney, the Whitney’s feisty and constantly bickering neighbors, Murray and Barb Flandon, Whitney’s talkative and over-achieving niece Stef, a well-known ballerina names Barrett Lewis who has a vaguely Russian accent that does not match her name, Dr. Griff – a local psychiatrist who conveniently ignores the ethics of doctor-patient confidentiality – and, last but not least, Timmy, Yonkers, and Skid, the only remaining members of a twelve-member boys’ choir who were invited to provide entertainment for the birthday party.

As required by the script, Dandridge swiftly transitions between these nine characters using a pair of large round eyeglasses and a red baseball cap as the only notable props. The majority of the characterizations are accomplished through shifting the actor’s center of gravity, changing the posture, and adjusting the voice, accent, and phrasing – often in mid-sentence. The result is that Dandridge often interrupts herself and does it so well we almost forget that there is a single actor creating multiple characters. Thank you, Emily Dandridge, for an outstanding performance.

As far as mysteries go, the authors have written in enough details, anecdotes, and red herrings to keep things interesting. The biggest of these is Dahlia Whitney’s increasingly colorful, complex, and loud musical confessions.

And then there’s the piano. MURDER FOR TWO is a musical, but not the breaking-into-song or catchy-show-tunes type of musical. Instead of the usual offstage band, both actors play the piano, using it like anther character’s voice or as a substitute for their own. Sometimes they do sing, but most often the piano seems to be another voice rather than an instrument to accompany the human voices.  Speaking of voices there is one character who is NOT voiced by Dandridge who is represented by a sound effect reminiscent of the muted trombone voice of the invisible adults on Peanuts animated shows.

MURDER FOR TWO is filled with a steady stream of surprises. The director makes sure the pace rarely lags. This show might even trigger sensory overload for some viewers. The story is complex enough to hold the audience’s attention for ninety minutes with no intermission and the lighting is as wacky as the plot. I especially liked the effect of the arriving automobiles, and there are plenty of other special effects that surprise, stun, and amaze. The physical set screams comedy, and the writers and actors have successfully met the challenge of this hybrid genre of theatre without detriment to either the comedy or the mystery elements. The rapid transitions and complexity sometimes make it a challenge for the audience as well, and there are occasional asides or moments when the audience is directly addressed – giving us a moment to catch up. MURDER FOR TWO is “extra” and that’s one of the best things about it.

MURDER FOR TWO

Book and Music by Joe Kinosian

Book and lyrics by Kellen Blair

Cast:

Mark Schenfisch as Marcus Moscowicz

Emily Berg-Poff Dandridge as The Suspects

Direction and Design Team:

Directed by Tom Width

Musical Direction by Mark Schenfisch

Costume Design by Maura Lynch Cravey

Lighting Design by Joe Doran

Scenic Design by Tom Width

Technical Direction by Liz Allmon

Run Time:

90 minutes, no intermission

Tickets:

$49

$44 for seniors, students, military, and first responders.

Photos: Robyn O’Neill

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CHANTEUSE: A Survival Musical

A New One-Person Show That Explores the Question: What Does Survival Mean to You?

A Theater Review by Julinda D. Lewis

At: Richmond Triangle Players at the Robert B. Moss Theatre, 1300 Ave. RVA 23230

Performances: January 13 – 23, 2022

Ticket Prices: $10 – $40

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

Have you ever been to a production where you clapped at the end, not because of the content of what you had just experienced, but because you could think of no other way to acknowledge the artist’s performance? That’s what the audience collectively experienced on Thursday night after Alan Palmer uttered the final words of Chanteuse: A Survival Musical.

Palmer wrote the script and lyrics and stars in this moving one-person musical, set in Berlin in 1933. The music is by David Legg and for this limited Richmond run the inimitable Kim Fox performed the roles of musical director and conductor.

Walking into the space, the audience was immediately drawn into the scene. Small tables with lamps lit by flickering tea candles that suggested the intimacy of a Berlin club were distributed throughout the house. The stage itself was darkly lit, suggesting something ominous was about to happen. There was a mannequin with a dark gown or robe topped by a dark wig, and there were several set pieces covered in black fabric. The darkness, however, was not just a physical effect of the lighting, and stage properties, but there was also a palpable emotional element that lingered heavily, a portent of things to come.

The back wall was mostly brick but accented with a center arch that served as a projection screen and two sections of rough-hewn wooden pallet on either end. The horizontal slats of the pallet sections suggested some sort of confinement, while allowing a glimpse of the band stage left. That’s how I was able to see that the instrument that was churning out soul-tearing melodies was actually a bass, although Jonathan Wheelock magically and skillfully made it sound like a cello.

Palmer entered into this space and immediately captivated the audience with the horrific story of one queer man’s tale of life and survival in Nazi Germany, where being queer, a cross-dresser, Jewish, or mentally or cognitively challenged were sufficient cause for being detained, brutalized, and ultimately killed.

But all was not doom and gloom. The first half of the one-hour solo musical, performed without intermission, had several moments that allowed Palmer, an actor, dancer, and real-life Power Ranger (he played Corcus on The Mighty Morphin Power Rangers TV series, 1993-1996) to dance, strut, change clothes, tease, titillate, and morph from a gay male performer to living life full-time as a female chanteuse in a supper club in Berlin.

A raid on Club Silhouette sends his life (do we ever really learn his name? he is telling his own story, so we never hear anyone call him by name) into a tailspin. Now, if you plan to see this show, you might want to skip the next paragraph, but since this is a limited run, by the time you read these words the show will likely have closed, therefore what follows is technically not a spoiler – I am alerting you out of courtesy so that you know that I am a civilized and cultured person. So…on that note…

The sudden death of his long-time landlord turns out to be a blessing in disguise. You see, they had become friends, and even looked somewhat alike, so it seemed like the best way to honor his friend’s memory (there are untold secrets involved) and simultaneously assure his own safety from the homophobic Nazi’s was to assume the identity of the late Frau Friederick. On the positive side, this transformation led him to find true love. Ironically, our protagonist transformed from a gay male into a woman in order to protect himself from the Nazi’s only to discover – too late – that Frau Friederick had been hiding the fact that she was Jewish.

Chanteuse begins in the decadence, freedom, and sometimes glamor of the Berlin club scene and ends, not with a bang but a whimper, in the soul-killing Sachsenhausen concentration camp – a labor camp for prisoners and training ground for SS officers that housed separate sections for political prisoners, Jehovah’s Witnesses, Soviet POWs, Poles, Jews, Homosexuals, and Freemasons. While there, he reunites, briefly with his partner, Yakob, to whom he was illegally yet lawfully married (using Frau Friederick’s ID). Is it any wonder this leads him to begin to pray in Hebrew? “Baruch ata Adonai, eloheinu melech ha’olam, sh’hecheyanu, v’kiyemanu, V’higianu, lazman, hazeh.” (Praised are You, the Eternal One our God, Ruler of the Cosmos, who has kept us alive, sustained us, and enabled us to reach this moment.)

And here we have the point of the plot. Survival. In this moment. And suddenly the past is united with the present and the future. A moment in time telescopes into another moment in time. Past becomes present, and we have to ask ourselves, what have we learned? Indeed, what have we done?

So you see, it was necessary to explain the applause. The applause was not for the experience we had all just shared. The applause was not for the message we were processing. The applause was for the messenger, and the brilliant and unpretentious way he delivered that harsh message.

Chanteuse: A Survival Musical is/was here in RVA for only eight performances, and Palmer has plans to open in London sometime later this year. I haven’t yet been to London, but I always keep my passport up-to-date. Now I know that flying off to London to see a show may not be realistic for most of us; my point is that this intelligently and beautifully produced musical needs to be seen.

Kudos to director Dorothy Danner for keeping Palmer’s pacing and blocking flowing organically and breathing a breath of life into these words that Palmer then exhaled over us all. David Legg’s music was dynamically connected to Palmer’s words, and Kim Fox’s musical direction guided us along the right paths of emotion.

Chanteuse: A Survival Musical

Created by and Starring Alan Palmer

Director – Dorothy Danner

Music – David Legg

Book and Lyrics – Alan Palmer

Lighting Design – Joe Doran

Audio Engineer – Brandon Duncan

Technical Direction – Vinnie Gonzalez

Production Stage Manager – Crimson Piazza

Musical Director and Conductor – Kim Fox

The Band – Kim Fox (Conductor and keyboards), Chris Sclafai (saxophone), Joe Lubman (percussion), Jonathan Wheelock (bass)

Richmond Triangle Players at the Robert B. Moss Theatre in association with Palmer Productions

Richmond Triangle Players at the Robert B. Moss Theatre has returned to full-capacity seating and requires proof of vaccines or recent PCR rest results for entry. See the theater’s website for their COVID-19 precautions, digital programs, and more.

Photos: from Alan Palmer’s website and Google.com

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RICHMOND HOLIDAY TRADITION TURNS 20

THE LATIN BALLET OF VIRGINIA: The Legend of the Poinsettia Celebrates 20 Years

A Dance Review by Julinda D. Lewis

At: The Cultural Arts Center at Glen Allen, 2880 Mountain Road, Glen Allen, VA, 23192

Performance Were: January 6-9, 2022

Ticket Prices: $20 Adults; $15 Students/Senior Citizens/Military; $10 Group Rates for 10 or more

Info: (804) 356-3876 or http://www.latinballet.com

The Latin Ballet of Virginia has been presenting The Legend of the Poinsettia for 20 years now, and I think we can officially declare this vibrant and colorful production a holiday tradition.

How long does it take for something to achieve the status of tradition? Merriam-Webster offers several definitions, including:

1a : an inherited, established, or customary pattern of thought, action, or behavior

1b : a belief or story. . . relating to the past. . .commonly accepted as historical though not verifiable

2 : the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction

3 : cultural continuity in social attitudes, customs, and institutions

With a cast of past and current artists, Latin Ballet founder and Artistic Director Ana Ines King said the anniversary production of The Legend of the Poinsettia “is like going back to when we started.” Before King introduced this home-grown holiday classic to the Richmond community,  “few knew how Christmas was celebrated in Latin America,” said Marisol Cristina Betancourt  Sotolongo, a dancer and Education Program Assistant for the company. Sotolongo performed in the show’s debut at the Carpenter Center in January 2002. “I was four years old,” she recalls. “The Legend of the Poinsettia has become one of my favorite shows. It is kept fresh with new dancers, dances, and scenery.” The Poinsettia pays homage to King’s mother’s dance legacy in Columbia and honors the true spirit of giving through dance, music, and storytelling.

King is from Columbia as is guest artist Ginna Milena Pedraza, founder of Duncan Danza. Sotolongo’s family is Cuban. Guest artist Pedro Szalay, a co-founder of The Latin Ballet of Virginia and current Artistic Director of Southwest Virginia Ballet is from Venezuela. The dancers perform in authentic costumes from Manzanillo, Mérida, and Zacatecas, all in Mexico. The Legend of the Poinsettia encompasses the history of the poinsettia plant, the story of a little girl who discovers the true meaning of giving, and celebratory customs from Mexico, Columbia, Spain, the Dominican Republic (incorporating Cuban dance styles), and Venezuela.

In a beautiful duet, the dancers portraying Joseph and Mary perform a romantic dance that sheds new light on the famous couple’s relationship. Later, in a trio, the family featured in the story echo some of the movements from the duet.

Large ensembles of children, youth, and adults fill the stage with color and rhythm. They exude a high level of energy that often has the audience clapping along, and the one young man, with a mop of curly hair falling appealing over his forehead and glasses, promises to become a strong dancer and partner.

From pageantry to revelry, from the Three Kings clad in glittery finery to an abstract representation of the poinsettia, from Christmas songs – some performed live – to dynamic examples of folk dances (aguinaldos, gaitas, rumbas, and plenas), spiced with contemporary hip hop, capoeira, The Legend of the Poinsettia is engaging and joyous. Most of all, with its diverse cast and traditions, it is educational and inclusive. There is no need to worry about little ones not wanting to sit still – although one fleet-footed little audience member made a mad dash for the stage on Friday night; clapping, singing along, and call and response are the norm here. With children, youth, and adults sharing the stage, the movement is not always perfectly in sync, but it is always heart-warming.

PERFORMANCES

Performances January 6 – 9, 2022
The Cultural Arts Center at Glen Allen
2880 Mountain Road Glen Allen, VA 23060
Thursday, January 6 at 10:30am (Field Trips for schools)
Friday, January 7 at 10:30am (Field Trips for schools)
Friday, January 7 at 7:30pm
Saturday, January 8 at 3:00pm & 7:30pm
Sunday, January 9 at 3:00pm

Get a glimpse of The Legend of the Poinsettia here:

Note: Portions of this review were originally written for Richmond Magazine.

Photo Credits: Photos of past performances of The Legend of the Poinsettia from the LBV website

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BAREFOOT IN THE PARK

A Romantic Comedy

Corie: You wouldn’t even walk barefoot with me in

Washington Square Park!

Paul: It was 17 degrees!

A Theater Review by Julinda D. Lewis

Presented By: Virginia Rep

At: Hanover Tavern, 13181 Hanover Courthouse  Road, Hanover, VA 23069

Performances: December 11, 2021 – January 9, 2022

Ticket Prices: $48. Prices are subject to change during the run. Discounted Group Rates and Rush Tickets are available.

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

First, let’s be clear: yes, it’s December, and SURPRISE! – Neil Simon’s BAREFOOT IN THE PARK is not a Christmas show. What it is, is a delightful romantic comedy that appears to be as much fun for the actors as it is for the audience.

The plot is a simple one: two newlyweds move into their first apartment after spending their honeymoon is an upscale New York City hotel. Their new home is a fifth floor walk up in a Manhattan brownstone. Let’s just say it’s a fixer-upper. There’s a kitchenette, a bathroom with no bathtub (but at least the bathroom is inside the apartment – those familiar with old New York apartments know what I’m talking about), and a bedroom so small that when you open the door it hits the double bed, which you have to climb over to reach the closet, which is leaking. Speaking of leaks, there is a hole in the skylight – you know, the window in the roof – and it’s February. The apartment quickly drives home this young couple’s differences: she’s impulsive and free-spirited and he is a conservative lawyer who is more compatible with his mother-in-law than her own daughter has ever been.

Rachel Rose Gilmour was perfectly cast as newlywed housewife Corie Bratter. (And yes, I’m using the terms that would have been used in 1968.) Her brightly colored wardrobe captures both the period and her character’s personality. Trevor Lawson demonstrates enviable restraint as the husband who is hit with one surprise after another: the rent is twice as much as Corie is willing to tell her mother they actually pay; Paul saw the third floor apartment prior to moving in, not realizing their apartment was on the fifth floor – not counting the outside stoop, and of course there is the matter of the tiny kitchen, the lack of a bathtub, and the miniscule size of the bedroom. To make matters worse, their furniture is delayed.

As compelling as Gilmour and Lawson are, it was Jill Williams, reprising her 2005 role as Corie’s mother, Ethel Banks, who stole the show. Williams reminds me – and I truly mean this as a compliment – of Carol Burnett. Her carriage, her facial expressions ( especially when commenting on her daughter’s apartment), her gestures, her delivery all work together to deliver pure, belly laughing comedy. I simply loved Jill Williams in this role. Opposite Williams was Joe Pabst, also reprising his role as the eccentric neighbor Victor (pronounced “Wicktor”) Velasco. How eccentric is he? I am glad you asked. Not only does he cavort about in a beret, a dressing gown, and slippers, he is a shameless flirt and moocher, and we first meet him when he knocks on the Bratters’ door so he can climb through their window to gain access to his attic apartment, But I won’t give it all away. Go see it to find out why, it’s well worth the trip.

Supporting roles include Quan Chau as the telephone repair man and Williams’ husband Eric Williams as a delivery man. Who’s old enough to remember when the telephone was connected to the wall and the phone number was alpha-numeric? The Bratter’s new phone number was El Dorado 5-8191.One further cast note – and I had to think about whether to mention this at all, but I think it is relevant. This cast of Barefoot in the Park is an example of color-blind casting. Yes, an Asian actor plays the telephone repair man, but even more significantly, the leading man is played by a person of color. It would have been quite unusual to see an interracial couple in New York in 1968, or a black male lawyer living in midtown Manhattan who was completely accepted by his white mother in law who lives in New Jersey. Yeah. All of that would have made this an entirely different type of play – and the word “comedy” would not have been part of it.

While much less elaborate than many period apartments that have been constructed on the Hanover Tavern stage, Terrie Powers’ set design quickly transformed from a hideous empty shell into a warm and inviting home with just a few pieces of furniture and some well-chosen decorations. Logistically, there were a couple of things that seemed a little off. The fourth wall apparently held a mirror, but sometimes the actors seemed to be looking through the wall. And the other was the existence of a wood-burning stove in the apartment which may not have been a housing code violation in 1968 but it would certainly have been unlikely for a landlord to allow a tenant to use it.

There is plenty of physical comedy in Barefoot in the Park, much of it stemming from the never-ending flights of stairs. Director Jan Guarino set a brisk pace, and the cast maintains the standard she set. There are falls (or near misses), an accident, a drunken scene, and missing clothes. There is the running joke of using the Bratter bedroom to access Victor’s apartment. Corie, Paul, and their visitors must navigate each time they enter or exit the building. After a wild night on the town – after Corie tricks her mother into going on a blind date with Victor – Paul ends up climbing the stairs with his MIL on his back. And since it’s February, we cannot really be surprised when a few snowflakes drift through the open skylight.

Barefoot in the Park addresses big themes like opposites attract, the importance of being yourself, and the power of love. But the comedy is what makes this spirit-lifting winner.

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FUN FACT: The average rent for a NYC apartment in 1970 was $102. The average rent for a 1-bedroom apartment in NYC in 2021 is $3,250 and is closer to $4,000 per month in the midtown neighborhood where Neil Simon’s play is set. Corrie and Paul are paying about $145 per month, but she insists on telling her mother they are paying only about $75.63.

FUN FACT: Corie and Paul spent their Honeymoon at the Plaza Hotel. In 1968 the Plaza cost $30 per night; current rates are about $850 per night.

FUN FACT: A Brownstone is a rowhouse, made of brick fronted with brownstone that was originally popular because of its natural look and low price, compared to other stone finishes. Found mostly in Brooklyn and Manhattan, brownstone homes were originally single-family homes. Many were subdivided into apartments. Most existing brownstone homes are about 100 years old, and as they are no longer constructed the prices have gone up. When I graduated from high school in 1973 my grandmother sold the small Brooklyn brownstone where I grew up for $30,000. Now, 48 years later, it is currently assessed at $1,149,500.

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Barefoot in the Park

by Neil Simon

Directed by Jan Guarino

Cast

Corie Bratter ……..………… Rachel Rose Gilmour

Paul Bratter ………;;;;;……. Trevor Lawson

Ethel Banks …………….….… Joy Williams

Victor Velasco ………………. Joe Pabst

Telephone Repairman …. Quan Chau

Delivery Man ………….…….. Eric Williams

Ethel Banks understudy .. Terrie Powers

Creative Team

Scenic Design: Terrie Powers

Costume Design: Sue Griffin & Marcia Miller Hailey

Lighting Design: Matt Landwehr

Sound Design: Jacob Mishler

Stage Management: Sam Shahinian

Run Time: 2 hours and 10 minutes including 2 intermissions

Note: At this time, no food or drink is allowed inside the theater

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

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Photo Credits: Aaron Sutten

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