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Natasha, Pierre & The Great Comet of 1812

Gender-bending Pop Opera Adaptation of Tolstoy’s War and Peace

A Theater Reflection by Julinda D Lewis

Presented by: Firehouse Theatre | A Firehouse Mainstage Production

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

Performances: August 20 – September 7, 2025

Ticket Prices: $45

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

It’s not fair that the new theater season started with the Firehouse production of Dave Malloy’s sung-through musical (aka pop opera) Natasha, Pierre & the Great Comet of 1812. This production has set the bar so high that all other productions will have a lot to live up to.

Where to start…This is the second time in recent memory I’ve walked into the Firehouse Theatre space and had my flabbers gasted by a stunning stage set. Craig Napoliello’s interpretation of Tolstoy’s war-torn 19^th century Moscow features a broken wall, a large asymmetrical frame that creates a sense of the audience looking in as voyeurs, and a general vintage patina that reinforces the weight of history and the passage of time.

Then there’s the opening number that starts at a level 10 and sets the tone and pace for the dynamic range of the rest of the evening. The opening also introduces us to each of the characters from this complicated Russian novel in which everyone has “nine names.” Well, nine names plus a nickname: Natasha is young, Anatole is hot, Hélène is a slut, and Andrey isn’t here, for starters.

One thing I don’t often talk about is choreography, which you might find curious given my obsession with the art of dance. One of the reasons for that is that the choreography for musicals – even good to excellent ones – too often underwhelms me. But not this time. Firehouse producing artistic director Nathaniel Shaw, assisted by Shauna Paddyfote, has created choreography that is dynamic and immersive. The cast doesn’t break out into a random dance to get our attention, take up time, or fill space. The choreography includes full-out dancing, such as an occasional Russian folk dance, and high-kicking show dancing by women wearing heels and full skirts (Shannon Schilstra and Emily Dandridge), as well as choreographed movement that unites the scenes and creates a sense of zeitgeist. And then there was the brilliant, energetic “Troika” dance that involved several cast members – some in the role of horses. Their costumes, a piano, and an accordion were all part of the choreography. One prop in particular, earned its one “bio” in the program. A doorframe created in the Firehouse shop that is used in several scenes has been given the grande title of Framecesca Doormitryevna.

The cast is powerful and multi-talented (singing, dancing, acting) – and some of them multi-task (playing instruments in the band). Each of the main characters gets a chance to shine with a solo (or aria if we’re being operatic), as part of a duet or trio. Kudos to Ally Dods, Drew Seigla, Shinji Elspeth Oh, Taylor Baltimore, Durron Marquis Tyre, Katrinah Carol Lewis, Madison Hatfield, Eddie Webster, Tessa DeGrace, Elle Meerovich, Shannon Schilstra, Chewie Lo Moore, Toby O’Brien, and Emily Dandridge. Ally Dods and Drew Seigla may have had the title roles of Natasha Rostova and Pierre Bezukhov, but siblings Anatole Kuragin and Helene Kuragina Bezukhova (Durron Marquis Tyre and Katrinah Carol Lewis), and Natasha’s loyal cousin Sonya (Shinji Elspeth Oh), and Anatole’s faithful friend Fedya Dolokhov (played by Madison Hatfield) were all shining stars and each and every one of them deserved a standing ovation. I didn’t mention every character, but that was not to short-change anyone – even those designated only as Ensemble were essential to the plot. A family tree diagram was included in the program to help keep the relationships straight.

Ah, the plot. Yes, there is one. But first, let me add here that somewhere near the end of Act One or shortly into Act Two, I recall thinking that it didn’t matter what the plot was – or even if there was one – because the performance was of such a high caliber that I didn’t care if there was a plot or if the plot made sense.

Many, like me, may not be familiar with this musical. Natasha, Pierre & The Great Comet of 1812 is a modern, immersive musical adaptation of a 70-page segment from Leo Tolstoy’s War and Peace – Volume 2, Part V. (The full book is 1,200-1,450 pages, or more than half a million words!) The plot revolves around the beautiful but naïve Natasha, a young woman in 19th-century Russia who falls in love with the charming Anatole while visiting her godmother in Moscow. However, Natasha is already engaged to Andrey, who is away fighting in the Napoleonic Wars (France invaded Russia in 1812), and Anatole is married to a woman he apparently left behind in Poland. Natasha finds herself torn between the two men and Pierre, a close friend of Andrey, attempts to help Natasha navigate her romantic struggles while grappling with his own existential crisis – which he does by reading and drinking, both to excess. Natasha, Pierre & The Great Comet of 1812 explores multiple themes, including love, betrayal, forgiveness, and the complexities of human relationships (e.g., the contentious relationship between Andrey’s sister Mary (Tessa DeGrace) and their father, the elderly and lecherous Prince Bolkonsky (Eddie Webster), for whom Mary is a loving but reluctant and frequently abused caretaker.

The program for Natasha, Pierre & The Great Comet of 1812 conveniently included a full page of History and Context in addition to the aforementioned family tree. Yes, there was an actual comet in 1811-1812. It lingered so long it became associated with all sorts of ominous things from earthquakes to the Napoleonic wars and earned a place in the writing of Sherlock Holmes, Victor Hugo (Les Misérables), and of course, Tolstoy. Comets were often seen as portents of impending disaster by the Russian aristocracy of the 19^th century. Coupled with the Napoleonic Wars, the invasion of Russia in 1812 and the burning of Moscow, it is no wonder that comets became symbolic of monumental change and existential crises.

Natasha, Pierre & The Great Comet of 1812 has love, romance, infidelity, drinking, dancing, revelry, drama, humor, war, politics, music…all the makings of a great musical. It did not disappoint. Far from it – it has earned a place as one of my favorite musicals of all time.

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally performs. Julinda was recently awarded the Dean’s Distinguished Adjunct Faculty Award 2023-24 Academic Year by VCU School of the Arts and the 2025 Pioneer Award in Dance Ministry by Transformation International Worship Ministries, Newport News, VA.

———-

NATASHA, PIERRE & THE GREAT COMET OF 1812

Written by Dave Malloy

Directed by Chelsea Burke

CAST

Natasha ….. Ally Dods

Pierre ….. Drew Seigla

Sonya ….. Shinji Elspeth Oh

Marya D. ….. Taylor Baltimore

Anatole ….. Durron Marquis Tyre

Hélène ….. Katrinah Carol Lewis

Dolokhov ….. Madison Hatfield

Bolkonsky/Andrey ….. Eddie Webster [u/s for Pierre]

Mary/Opera Singer ….. Tessa DeGrace

Balaga/Opera Singer ….. Elle Meerovich

Maidservant ….. Shannon Schilstra [u/s for Natasha]

Servant ….. Chewie Lo Moore [u/s for Dolokhov]

Ensemble ….. Toby O’Brien [u/s for Balaga & Bolkonsky]

Ensemble ….. Emily Dandridge

u/s for Sonya, Mary, Maidservant ….. Korinne Brier

u/s for Anatole, Servant ….. Wayne Parker

u/s for Marya, Hélène ….. Rachel Sper

BAND

Cello ….. MJ Laskey

Violin ….. Marisa Resmini

Clarinet, Bass Clarinet ….. Jale Wise

Piano, Accordion ….. Elle Meerovich

Oboe, Piano ….. Emily Dandridge

Drums ….. Joe Lubman

Guitar ….. Toby O’Brien

PRODUCTION TEAM & CREW

Director ….. Chelsea Burke

Music Director ….. Elle Meerovich

Choreographer/Asst Dir. ….. Nathaniel Shaw

Assistant Choreographer ….. Shauna Paddyfote

Dramaturg/Asst to the Dir ….. Claire Wittman

Scenic Designer ….. Craig Napoliello

Lighting Designer ….. BJ Wilkinson

Costume Designer ….. Ruth Hedberg

Sound Designer ….. Grace Brown Labelle

Stage Manager ….. Emily Vial

Asst Stage Manager ….. Makaila Henderson

Asst Sound Designer/Scenic Charge ….. Patrick Rooney

Dance Captain ….. Shannon Schilstra

Shadow/Observer ….. Merit Lavelle

Stage Crew ….. Marcely Villatoro

Tickets: $45. A 15% discount is available to active-duty military and veterans. $15 tickets available for college and high school students. Pay-What-You-Will performances will be offered for both preview performances, as well as all matinees (excluding closing, September 7th).

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

Performance Schedule: August 20-September 7, 2025

Thursdays, Fridays, Saturdays @7:30PM

Saturdays & Sundays @2:00PM (Pay-What-You-Will, except for September 7)

Previews: August 20 and 21 (Pay-What-You-Will)

Opening Night: Friday, August 22

Closing: Sunday, September 7 @2:00PM

Run Time: about 2 hours 30 minutes with one 10-minute intermission

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A STRANGE LOOP

Or, How to be a Big, Black, Queer-Ass Broadway Musical

Presented by: Richmond Triangle Players in Partnership with Firehouse Theatre

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

Performances: June 20 – August 9, 2025

Ticket Prices: $55

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

A Reflection on Theater and Things Relative by Julinda D. Lewis

———-

Michael R. Jackson’s Pulitzer Prize-winning musical, A Strange Loop (2019) follows the life of Usher – no, not that Usher – a Black, queer writer who works as an usher in theaters while writing his own musical about a Black queer usher who is writing a musical…about a Black queer usher who is writing a musical…

“Who knew slavery, police violence, and intersectionality could be so lucrative.”

A Strange Loop is at once as new as the latest dance craze and as old as the theater itself. The chorus of six nameless characters referred to in the program as “Thoughts” draws on the ancient Greek chorus. The Thoughts personify Usher’s inner struggles with identity and purpose. At times they represent social issues and personal demons, and at other times they represent people in Usher’s life. Come to think of it, Usher is not so much the lead character’s name as his occupation; he works as a Disney usher while struggling to overcome his writer’s block. Sometimes, the people are the issues, and sometimes the issues are the people. And since Usher is a young Black queer individual, these inner struggles encompass issues of racism, identity, homophobia, and self-doubt. Since Usher is a writer, A Strange Loop is also an exploration of the mind of creatives.

In science and technology, “a strange loop” is a concept proposed by Pulitzer prize-winning cognitive scientist and author Douglas Richard Hofstadter in his book I Am A Strange Loop (2007). In this book, Hofstadter (the son of Nobel Prize-winning physicist Richard Hofstadter) explores the sense of “I” or what is a “self” through the lens of self-referential systems. While these systems have different meanings in different fields, they most often are represented by a loop.

Playwright Jackson uses the term to refer to a self-referential thought structure or loop, in which an individual may find themselves trapped in a loop of thoughts – all too often negative thoughts – that keeps returning to the same point. For our protagonist, Usher, the loop circles around the themes of identify, self-doubt, and the writing process. Each theme in complete in itself, but in A Strange Loop the thoughts are compounded and complex, forming a never-ending loop that feeds on his insecurities which are, in turn, reinforced by social and familial pressures.

In a 2022 interview for Outreach: An LGBTQ Catholic Resource, Jackson said, “It’s very simple. The ideology is so intact that when you have that filter or that loop in yourself, nothing will break it until you break it or until your perception shifts.” [https://outreach.faith/2022/06/interview-a-strange-loop-playwright-michael-r-jackson-talks-faith-compassion-and-sexuality/] A Strange Loop is a musical journey towards breakthrough and perception shift.

And yes, all this background may sound like technical, scientific mumbo jumbo to some, but it is key to understanding this play and this character. Who among us has not been affected by negative self-talk? And this play, this big, complex musical wonder, has been recognized many times over for its heartfelt message. A Strange Loop won the 2022 Tony Award for Best Musical and Best Book of a Musical. It also won the 2020 Pulitzer Prize for Drama even before its Broadway run. The Pulitzer committee recognized Jackson’s work as “a metafictional musical that tracks the creative process of an artist transforming issues of identity, race, and sexuality that once pushed him to the margins of the cultural mainstream” while acknowledging the universality of human fears and insecurities. There were other awards, too – Drama Desk, New York Drama Critics’ Circle, and numerous nominations in multiple categories. You can be intellectual and artistic at the same time. A Strange Loop is a lot of things, all at once, and probably deserves more than one viewing.

This Richmond production, under the masterful direction of the multi-talented Katrinah Carol Lewis, with musical direction by Ben Miller and choreography by Deandra Clarke boasts a stellar cast headed up by Marcus Antonio. Antonio was most recently seen at the Firehouse/TP production of Fat Ham [https://jdldancesrva.com/2025/04/17/fat-ham/] where he gave an alternately sly, philosophical, and just generally endearing performance as the main character Juicy, modeled after Hamlet. In A Stange Loop, you forget Antonio is acting. He embodies the character of Usher with authenticity, but also with grace – and I’m not just talking about the physical kind of grace, but the spiritual kind of grace as well. And did I mention he can sing his butt off? You need to see and hear it for yourself.

Each and every one of the “Thoughts,” deserves special mention, but I know I would omit something or someone important. At one point they form a parade of past heroes including Harriet Tubman, Marcus Garvey, James Baldwin, Whitney Houston, Zora Neal Hurston. When Zakiyyah Jackson/Thought #1 takes on the persona of an older Black woman who shares her wisdom and advice with Usher, she reminds me of the fabulous Phylicia Rashaad. Her last appearance on the RTP stage was, in fact, in a production of How Black Mothers Say I Love You [https://www.facebook.com/share/v/19WrqXMdBi/ ] TeDarryl Perry/Thought #4 and the understudy for Usher simply nails it as Usher’s mother. The red dress, the mannerisms, the attitude that flips without notice from, “The bible says homosexuality is worse than murder” or “Why do you hate me; you’re selfish” to love reminds me of people in my own extended family. I’m sure we all know at least one like her, or him.

I couldn’t believe that Anthony Cosby Jr., most recently seen in last season’s Yes, And! Production of Pass Overand known for his fabulous Prince tribute shows, was just now making his RTP debut as Thought #5. Likewise, it was awesome to watch Keaton Hillman/Thought #6 add to his growing repertoire of memorable characters. I haven’t seen Todd Patterson/Thought #3 sing and dance this much since BootyCandy (2022) [https://jdldancesrva.com/2022/06/17/bootycandy/]. I am not yet familiar with the beautiful Nesziah Dennis/Thought #2 but thoroughly enjoyed her performance and look forward to seeing more of them in the future.

With all the trauma in A Strange Loop, there is no deficit of humor. The parents’ names are Serabi and Mufasa, and the granddaughter is Nyla. Besides paying homage to The Lion King, it seems a bit of an inside joke that they are also the King and Queen of the Pridelands.

There are plenty of biblical references as well, from things people think are in the bible but actually aren’t (e.g., AIDS is God’s punishment for not living right) to actual bible quotes (e.g., But these, like natural brute beasts made to be caught and destroyed, speak evil of the things they do not understand, and will utterly perish in their own corruption – 2 Peter 2:12 NKJV).

Production-wise, A Strange Loop utilizes the space at RTP so well that the stage seemed wider and deeper than it actually is – in other words, bigger than life. Frank Foster’s scenic design consisted of strands of light, in curving bands like a roller coaster or strands of DNA, and 18 slim poles. Michael Jarett’s lighting was evocative, simple, and dramatic in turn.

This is a musical, so I would be derelict not to mention the music, which encompasses multiple genres including R&B and gospel – sometimes with full choir robes. The songs were fully integrated into the book, with lyrics that seamlessly expanded the storytelling aspects of the show. One of the most memorable, near the end, was “Memory Song,” a work that kind of summarizes the intent and direction of the entire work, touching on Usher’s childhood memories and relationships, his sexuality, and his faith. [See the lyrics to “Memory Song” below.] In his bio, TeDarryl Perry wrote that this performance is dedicated to “all those Black, gay boys who chose to go on back to the Lord.”

In the end, A Strange Loop, while frequently referred to by participants as “a big, black, and queer ass American Broadway show,” is not just a niche show. It is for Black, queer people. It is for people who are exploring their sexuality or identity. It is for people who care abut mental health and identity. It is for anyone who has ever experiences self-doubt or self-hate. It is for people who have been bullied and people who have bullied others. It is for people who love a good story. It is for people who care about other people. It is for people who care. A loop is never-ending. The only way out is to break through.

Here’s a link to a preview of A Strange Loop: https://www.facebook.com/share/v/19WrqXMdBi/

Here are the lyrics to “Memory Song”:

Five foot four, high school gym
Sneaking a cupcake
These are my memories
These are my memories

Shooting hoops off the rim
Slow on the uptake
These are my memories
These are my memories

After gym, the locker room
My eyes photographing
Naked me measures in at four and a half inches
These are my memories
These are my memories

Of one lone, Black, gay boy I knew
Who chose to turn his back on the Lord
One lone, Black, gay boy I knew
Who chose to turn his back on the Lord

Guild and shame
Jesus’ name
Church every Sunday
These are my memories
These are my memories

Eat his body
Drink his blood
Communion buffet
These are my memories
Sweet, sour memories

After church we’re driving home to radio crackle
Jazz music or Motown blues
And skin is a shackle
For one lone, Black, gay boy I knew
Who chose to turn his back on the Lord
One lone, Black, gay boy I knew
Who chose to turn his back on the Lord

These are my memories
Sweet, sour memories
This is my history
This is my mystery

Mom is napping on the couch
And dad cuts the grass
While I watch TV all day long
Young & the Restless
Like one lone, black, gay boy I knew
Who chose to turn his back on the Lord
One lone, black, gay boy I knew
Who chose to turn his back on the Lord

Dad is drunk and on the couch
While mom eats a porkchop
Daily bread mill
Daily treadmill won’t ever stop
One lone, Black, gay boy I knew
Who chose to turn his back on the Lord
One lone, Black, gay boy I knew
Who chose to turn his back on the Lord

I am lying on the couch
I dream that I’m flying
Flapping both my wings so hard
To keep me from dying
With a crown of godforsaken thorns on my head
Like all those black, gay boys I knew
Who chose to go on
Back to the Lord (like all those black, gay boys you knew who chose to go on back to the Lord)

All those Black, gay boys I knew
Who chose to go on
Back to the Lord (all those Black, gay boys you knew who chose to go on back to the Lord)
All those Black, gay boys I knew
Who chose to go on
Back to the Lord! (all those Black, gay boys you knew who chose to go on back to the Lord)
And one lone, Black, gay boy I knew
Who chose to turn his back-
On the Lord- (chose to turn his back on, chose to turn his back on the Lord)
Instead

Source: Musixmatch |Songwriters: Michael Jackson | Memory Song lyrics © Kobalt Music Services America Inc.

———-

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

———-

A STRANGE LOOP

Book, Music, & Lyrics by Michael R. Jackson

Directed by Katrinah Carol Lewis

Cast

Marcus Antonio ….. Usher

Zakkiyah Jackson ….. Thought #1

Nesziah Dennis ….. Thought #2

Todd Patterson ….. Thought #3

TeDarryl Perry ….. Thought #4 & U/S Usher

Anthony Cosby Jr ….. Thought #5

Keaton Hillman ….. Thought #6

Understudies

Nia Frazier ….. Thoughts

Sydnee S. Graves ….. Thoughts

A Strange Loop Band

Conductor/Keyboard ….. Ben Miller

Guitar ….. Lake Stiles

Drums ….. Joe Lubman

Reeds ….. Jalen Wise

Creative Team

Scenic Design ….. Frank Foster

Lighting Design ….. Michael Jarett

Costume, Hair, & Makeup Design ….. Margarette Joyner

Sound Design …. Grace Brown LaBelle

Props Design ….. Tim Moehring

Production Stage Manager ….. Lauren Langston

Choreography ….. Deandra Clarke

Music Direction ….. Ben Miller

For This Production

Assistant Stage Managers ….. Christopher R. Smith, Finn Thomason

Intimacy Director ….. Nora Ogunleye

Gender Consultant ….. August Hundley

Technical Director ….. Emily Vial

Master Electrician ….. Griffin Hardy

Sound Assistant ….. Julie Vo

Set Construction ….. David Allan Ballas, Grace Brown Labelle, Todd Labelle, Emily Vial, Patrick Rooney

World Premiere by Playwrights Horizons, Inc. in association with Page 73 Productions in New York City in 2019.

Performance Schedule

June 20 – August 9, 2025

Sundays at 4:00PM

Wednesdays at 8:00PM

Thursdays at 8:00PM

Fridays at 8:00PM

Saturdays at 8:00PM, closing August 9

Tickets

Ticket Prices: $55

Run Time

About 2 hours with no intermission

Setting

A loop within a loop within a loop inside a perception of one man’s reality.

Photos from the RTP Facebook page

Keaton Hillman, Nesziah Dennis, Todd Patterson, Marcus Antonio, TeDarryl Perry, Zakiyyah Jackson, Anthony Cosby Jr

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WAITRESS

A Musical Journey to Empowerment

A Theater Review by Julinda D. Lewis

By: Virginia Repertory Theatre (Virginia Rep), The Barksdale Season

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

When: June 21 – August 3, 2025

Ticket Prices: $39-$68

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

It’s summer, and that means it must be time for a great big musical. That is exactly what VaRep delivered with Waitress, a popular musical, based on a 2007 film. The staged version ran on Broadway from April 2016 until January 2020 and returned for a limited engagement in 2021. Now, it’s right here in River City and friends who know wear big smiles as they tell me – who did not see it on Broadway – that the set is “just like” the Broadway set.

Whether it is or not, Mercedes Schaum’s scenic design is filled with simple, multi-tasking moving parts that evoke the feel of a small-town southern diner, but easily transforms into a living room, an ob-gyn office, or a bus stop. The diner even serves as a wedding venue for one of the waitresses.

Jenna, played by Emelie Faith Thompson, is the main character. Jenna, a waitress and pie chef at Joe’s Pie Diner, is trapped in an abusive marriage, and at the beginning of the show she discovers – much to her chagrin – that she is pregnant. The thick of the plot involves joining along on the journey as Jenna navigates the twists and turns of life, following an unlikely path to empowerment. Along the way, she has an unlikely affair with her doctor, resorts to hiding money from her husband, Earl, and explores the possibility of following her dreams via a pie baking contest. Her goal – and the moral of the story – is to achieve a life that is more than just “happy enough.”

Currently based in the Washington, D.C. area, Thompson may be familiar to Richmond audiences who saw Mamma Mia on this same stage the summer of 2022 [https://jdldancesrva.com/2022/06/26/mamma-mia/]. Thompson was well cast as Jenna, bringing empathy and authenticity to the role. Jenna is a complex character, given to indecisiveness and questionable choices, while balancing – no, while juggling – kindness, caring, the need for self-fulfillment, and the restrictions of real life. Thompson does all of this with the help of a strong voice that soars in all the right places – and the assistance of a stellar supporting cast.

Fellow waitstaff Becky (Miya Bass) and Dawn (Kylee Márquez-Downie), and the sometimes curmudgeonly Cal (William Vaughn) the short order cook and manager of Joe’s Pie Diner are the regulars who form the backbone of the diner and the musical. Becky appears to be the oldest of the three. She offers wisdom and wit, both of which come with the territory of having a disabled husband at home. Like Jenna, she enters into a surprising relationship. Dawn is the youngest and her social insecurities and awkwardness make her appear even moreso. All three share an unshakable, enviable love and loyalty.

Equally essential are Terence Sullivan as Dr. Pomatter – a caring and supportive physician who takes things beyond the intent of the hypocritic oath, and Jenna’s controlling and insecure husband, Earl, played by Greg Twomey. Dawn’s love interest, Ogie (Bear Manescalchi) is an unforgettably quirky and endearing character, but my personal favorites among the supporting characters are Nurse Norma (played by Imani Blair Crosby) and Joe, the owner of Joe’s Pie Diner, played by none other than Joe Pabst.

Nurse Norma turns a blind eye to the shenanigans perpetrated by Jenna and Dr Pomatter , and Crosby’s facial expressions, double-takes, and comedic timing in the most awkward situations are pure gold. Did I say that Cal was curmudgeonly? I should take that back. Joe takes the prize for being curmudgeonly, but he is quietly observant and becomes a significant source of support for Jenna. Since this was my first time seeing Waitress, I cannot imagine anyone other than Pabst in this role. Warm, prickly, paternal but not patriarchal in the toxic sense – Pabst/Joe is the source of the pivotal, transforming moment that changes everything for Jenna.

While filled with music and comedy, Waitress is also about friendship, loyalty, empowerment, self-efficacy, and the healing power of baking. Yum!

———-

WAITRESS

Book by Jessie Nelson

Music and Lyrics by Sara Bareilles

Directed by Rick Hammerly

Based upon the motion picture written by Adrienne Shelly

Cast

Jenna …………………………….. Emelie Faith Thompson

Becky …………………………….. Miya Bass

Dawn ……………………………… Kylee Márquez-Downie

Cal ………………………………… William Vaughn

Joe ………………………………… Joe Pabst

Earl ……………………………….. Greg Twomey

Nurse Norma/

Ensemble/U/S Becky….. Imani Blair Crosby

Dr. Pomatter …………………….. Terrance Sullivan

Ogie ……………………………… Bear Manescalchi

Ensemble, U/S Jenna ………….. Lindy Pokorny

Ensemble, U/S Dr. Pomatter……Calvin Malone

Ensemble, U/S Dawn…………… Brie Ramirez

Ensemble, U/S Ogie …………… Mason Jett

Ensemble, U/S Earl …………….. Patrick Rooney

Ensemble, U/S Cal……………… David Ramirez

Ensemble, U/S Nurse Norma…. Sarah White Pruden

Ensemble ……………………….. Audrey Baker

Ensemble ……………………….. Jennifer Lent Hamilton

Ensemble ……………………….. Garrett D. Reese

Lulu ………………………………. Emily Goodman, Phoebe Janosik, Josie Sledd

Swing …………………………….. Maria Carpinelli

Swing …………………………….. Joey Gravins

Band

Keyboard 1/Conductor ……….. Leilani Fenick

Keyboard 2 ……………………….. Ian Krauss

Guitar 1 ……………………………. Forrest Link

Guitar 2 ……………………………. Jeremiah Martin

Cello ……………………………….. Ned Haskins

Bass ………………………………… Beatrice Kelly

Drums ……………………………… Bentley Cobb

Direction & Design

Directed by ……………………… Rick Hammerly

Music Direction …………………… Leilani Fenick

Choreography ……………………. Paul Dandridge

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

Costume Design ………………….. Sarah Grady

Lighting Design …………………… Joe Doran

Production Design ……………….. Dasia Gregg

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

Stage Management ………………. Abby Bobb

Fight & Intimacy Direction ….. Casey Kaleba

For This Production

Assistant Stage Manager ……… Donna Warfield

Production Assistant ……………. Katie Willard-O’Neill

Dance Captain ………….…………… Calvin Malone

Assistant Lighting Designer …. Kacey Yachuw

Carpenters ……………………………… Liz Allmon, Avery Glenn, Van Montes

Scenic Artist …………………………… Julie Gallager

Electricians …………………………….. Liz Allmon, Weston Corey

Stitchers ………………………………… Genna Beth Davidson, Sarah Grady,

Mary Nagler

Deck Crew ………………………… Lilith Fulcher-Davis, Daryus Gazder, Amber

Hooper, Devon Kistler

Fly Rail Operators ………………… Justin Janke, Mark Persinger, Shawn

Goodman, Hans Paul

Wardrobe Supervisor ……………. Emily Andrew Mateos

Dresser …………………………….. Rowan Sullivan

Audio Engineer …………………… Jonathan Pratt

Light Board Engineer …………….. Jeff Meisner

Follow Spot Operators …………… Terra Comer, Logan Graves, Reese Hardy,

Kacey Yachuw

Photographer ……………………… Aaron Sutten

Videographer ……………………… Austin Lewis

Front Cover Photography ………… Ben White

Ticket Information

Box Office: (804) 282-2620

www.virginiarep.org

Ticket Prices: $39 – $68

Performance Schedule

June 21 – August 3, 2023 with performances

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

Run Time

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

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

Originally Produced on Broadway by Barry and Fran Weissler, Norton and Elayne Herrick

Musical Numbers

Act 1

What’s Inside ………………… Jenna and Company

Opening Up ………………..…. Jenna, Becky, Dawn, Cal and Company

The Negative …………………. Jenna, Becky, Dawn

What Baking Can Do ………. Jenna

When He Sees Me ………..…. Dawn

It Only Takes a Taste ………. Dr. Pomatter, Jenna

You Will Still Be Mine ……… Earl

A Soft Place to Land …………. Jena, Becky, Dawn

Never Getting Rid of Me …… Ogie and Company

Bad Idea …………………………….. Jenna, Dr. Pomatter

Act 2

I Didn’t Plan It ………………. Becky

Bad Idea (Reprise) …………. Jenna, Dr. Pomatter, Becky, Cal, Dawn, Ogie

and Company

Mama’s Pie Song …………… Jenna

You Matter to Me …………… Dr. Pomatter, Jenna

I Love You Like a Table ….. Ogie, Dawn and Company

Take It From An Old Man ….. Joe and Company

She Used to Be Mine …………… Jenna

What’s Inside (Reprise) ……… Company

Everything Changes (Part 1) .. Jenna, Becky, Dawn

Everything Changes (Part 2) .. Jenna and Company

Opening Up (Finale) ……………… Company

Photo Credits Aaron Sutten

Kylee Márquez Downie, Emelie Faith Thompson, Miya Bass. Photo by Aaron Sutten.

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TEACHER, TEACH

TEACHER, TEACH

A World Premiere

Presented by HATTheatre

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

Performances: June 20, 22, 27, 29, 2025

Ticket Prices: $30 General Admission. $25 Seniors/Students/Military. $20 Youth up to 17.

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

There were only four opportunities to see the world premiere of Randy Wright’s delightful little gem, Teacher, Teach, a one-woman show performed by Jacqueline Jones.

Set in the auditorium of Tranquility Middle School, where Mrs. Web is saying good-bye to her colleagues and her teaching career, Teacher, Teach pays homage to all who, like Mrs. Web, didn’t go to college just to get rich, but to become a problem solver – a teacher.

On entering the theater, there was free coffee and cake available, as well as a souvenir: a replica of the Liberty Bill – a student-led effort to have an abridged version of the US Constitution placed on the back of one-dollar bills.

Mrs. Web, dressed in the sort of two-piece pants outfit common to many veteran teachers of a certain era, and fortified with a glass of “ginger ale” that looked suspiciously like brown liquor shared her decades of wit and wisdom.

Among them: it’s important to develop a strong vocabulary and have written goals; a quote from Mark Twain – “The two most important days in your life are the day you’re born and the day you find out why.” There were many anecdotes, but one of the most memorable was the story of a young student names Averett whose presentation led to changing the name of the school, which had originally been named for the Vice President of the Confederate States of America, Alexander Stephens, to Tranquility Middle School.

Like the playwright, I, too, am a veteran of thirty or more years of teaching in public schools, and I can attest to the authenticity of these stories. Teacher, Teach would make any teacher or former teacher laugh, cry, nod one’s head in agreement, and reminisce. Every anecdote, every word rings true, and Jackie Goldberg Jones is the perfect vehicle to deliver this treasure.

P.S. – I hope HATTheatre brings this one back – with plenty of advanced notice – so more theatergoers and teachers and former teachers and people who ever had a teacher can get a chance to see this.

———-

TEACHER, TEACH

Written by Randy Wright

Directed by Frank Foster

Cast

Jacqueline Jones as Mrs. Web

Introduction by Randy Wright

Creative Design Team

Direction by Frank Foster

Stage Management & Lighting by Scott Bryan

Costuming by Jacqueline Jones

House Management by Vickie L. Scallion

Dates

June 20 & 27 at 7:30PM

June 22 & 29 at 2:00PM

Ticket Information

Ticket Prices: $30 General Admission. $25 Seniors/Students/Military. $20 Youth up to 17

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

Setting:

Tranquility Middle School Auditorium, directly after school, the present day

Run Time

Approximately 80 minutes with no intermission

Photo Credits: N/A

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