The Three Musketeers, an original adaptation by Ben Cunis and Peter Cunis, was a dizzying spectacle of fighting, dancing and repartee. The theater group, well-known for telling a story with their choreography and no words, throws itself headlong into the swashbuckling, raucous tale of intrigue and deception.

The story, adapted from Alexandre Dumas’ famous text, starts in Paris. Young, wide-eyed Dallas Tolentino, plays the fearless D’Artagnan, whose only wish is to fulfil his father’s dream for him of becoming a Musketeer. The Musketeers who reside in the city, however, have more business at the local pub getting into brawls than they do with honorable work helping the king as his guards. Meanwhile, the Cardinal Richelieu, played by Dan Istrate, has set plans in motion to dishonor the queen in the king’s eyes, and set the country to war against neighboring nations, with himself as the only voice in the king’s ear.

As he bumbles through the big city, D’Artagnan falls in love with one of the Queen’s maids, Constance (played by Brittany O’Grady). Constance begs him to carry out an errand on her behalf to clear the Queens name. After convincing the peevish and quarreling Musketeers to join his quest, he rides against the Cardinal’s men and for the good of the country to gain the favor of his love and the chance to become a Musketeer.

This production quite literally leapt at the chance to show off the physical prowess of the cast. Not a man or woman on the cast missed an opportunity to display their considerable dancing abilities. Each fight (of which there were many) was choreographed with daring leaps, backflips, running and jumping and beautiful bright swords flashing and clanging off each other. Yet somehow the action managed to never seem dangerous. The maneuvering of their swords and limbs sent people flying off balconies and skidding off the stage, but the overall effect was of a ballet, versus a brawl.

The best part of the show was undoubtedly the slapstick. This show was not afraid to do anything for a laugh. While the source material may have been high adventure, the production had more vitality in the moments where it made fun of itself. While any of the dramatic postures of the villains fell somewhat flat, the joyfully teasing camaraderie of the Musketeers was where the production felt most satisfying in its storytelling.

Out of the three Musketeers, Hector Reynoso’s Porthos and Matt Ward’s Aramis were undoubtedly the best. Reynoso, an actor of amazing pathos and physical skill, made the part his own in every way. He is an actor who is deaf and used his body and facial expressions as well as guttural sentences to tell a fuller and richer story in half the time others took to tell with words. He made the most of every second on the stage, and drew the eye in the fight scenes and when he was in the background, as he fully inhabited the role of a gleeful brute and the rock of the company of Musketeers. Ward’s Aramis was the antithesis of Porthos in every way, and it made for wonderful chemistry. Ward played the part of the lover whose conquests get him in hot water beautifully, with a charisma and debonair wit of one who has wooed before.

The major failing of the piece was in the pacing and dramatic tension. At just over two hours, it certainly had a lot of story to tell, but too much time was used up in dramatic posing while classical music filled a mostly empty stage. The Cardinal Richelieu in particular used a lot of the stage in stalking and praying rhythmically, seeming to wait for the next character to come in and interrupt him so the action could resume. In addition, there were two duet dances, first for Athos and Milady, and then for Richelieu and Milady. Both of these were lovely in their simplicity, and of course immaculately choreographed, but held no tension since they had no buildup or explanation of why they were occurring. For instance, the dance between Athos and Milady was earlier on in the show, and yet after intermission, they seemed surprised to meet and talk with each other, as if they didn’t know that the other one was alive.

Furthermore, for a script adapted specifically for this theater group, it was unnecessarily wordy. Synetic tells beautiful stories with action, and the dialogue slowed the action down to a crawl in many places. This show had a few high points, and definitely kept the energy up with a mostly fairly young cast. Overall, it needed some tuning to bring it up to par with Synetic’s usual tight and explosive style.

Cast

• D’Artagnan: Dallas Tolentino
• Athos: Ben Cunis
• Aramis: Matt Ward
• Porthos: Hector Reynoso
• Constance: Brittany O’Grady
• King Louis XIII: Robert Bowen Smith
• Queen Anne: Brynn Tucker
• Cardinal Richelieu: Dan Istrate
• Rochefort: Peter Pereyra
• Milady: Irina Tsikurishvili
• Buckingham: Mitchell Grant
• Felton: Vato Tsikurishvili
• Ensemble: Zana Gankhuyag
• Ensemble: Rebecca Hausman
• Ensemble: Kathy Gordon
• Ensemble: Kathryn Elizabeth Kelly
• Female Ensemble: Emily Berry
• Male Ensemble: Stephen Russell Murray

Design

• Directed by Paata Tsikurishvili
• Choreographed by Irina Tsikurishvili
• Costume and Set Design by Anastasia R. Simes
• Original Music By Konstantine Lortkipanidze
• Adaptation by Ben Cunis and Peter Cunis
• Lighting Design by Brittany Diliberto

Disclaimer: Synetic Theater provided two complimentary media tickets to ShowBizRadio for this review.

Cabaret is a musical based on John Van Druten’s 1951 play I Am a Camera, which in turn was adapted from the 1939 short novel Goodbye to Berlin by Christopher Isherwood. The book is by Joe Masteroff, music by John Kander and lyrics by Fred Ebb.

History, art and theatre are all about context. Unsurprisingly, over the course of the 47 years since Joel Grey first stepped out to a drum roll and cymbal crash, welcoming the audience to the Kit Kat Klub, a seedy nightclub in early Nazi-era Berlin, Cabaret has seen its share of changes. Several songs have made the transition from the 1972 film directed by Bob Fosse and Sam Mendes’ subsequent London stage revival. Some changes are more substantial than others. All these adjustments to the music and book are positive steps toward better understanding of the harsh reality of life in Germany between the wars, and the effect of a struggling economy on people – issues relevant in today’s world as they were in late 1966 when Cabaret first opened, with the US squarely in the middle of the Vietnam War. Rick Hayes’ production, playing through May 19th at St. Mark’s Church, is no exception. Some of his adjustments to the play are absolutely inspired in their ultimate impact. Thanks to Meghan Winch’s dramaturgical efforts (reproduced below), St. Mark’s Players provide plenty of historical background for an exceptionally difficult subject.

From David McMullin’s entrance, as the unctuous and morally ambiguous Emcee, to the very end, his presence and voice serve as powerful, ever-present reminders of the constant threat, even as he implores us to forget our troubles and enjoy what he and his Kit Kat girls have to offer.

Jarring real-world reality clashes with devil-may-care decadence and bohemia as American would-be author Cliff Bradshaw (David Wilder, in a performance reminiscent of Jimmy Stewart’s wild-eyed optimism), steps off the train in Berlin just at the turn of the year. He is enthusiastic and idealistic, clearly a fish out of water as he eventually comes to understand his environment.

Fräulein Schneider (Mary Ayala-Bush, with a voice warmly reminiscent of Lotte Lenya’s) provides us with a quick introduction to desperation and dashed hopes as a woman who survived World War I and has learned to make do. Ayala-Bush imbues her character with the virtues of a disillusioned youth and pragmatism in “So What?” while welcoming Cliff as a source of hope and income, however small.

The chemistry between Cliff and Sally Bowles works well, as they hook up in “Perfectly Marvelous” (with kudos to Ashley Zielinski for her flawless British accent); however, it is the relationship between Fräulein Schneider and Herr Schultz, an amiable and sincerely mystified elderly Jewish fruit vendor and boarding house resident (played by Stephen Yednock), especially in their several charming numbers together, that shed the most light on the plights of the older population who lived for so long in the shadow of endless wars. Schultz’s plaintive “I’m German” speaks volumes about those who met their ends with Hitler’s Final Solution.

The despicable pair, Fräulein Kost (Jill Vohr) and Ernst Ludwig (Mark Allen), ultimately draw these two couples into the horror of World War II’s nationalism and insanity.

Elijah Henry Lawrence’s rendition of “Tomorrow Belongs to Me,” a spectacularly beautiful anthem to German self-determination that devolves to a Nazi march, is just as chilling as it was when I worked on the show in college, some 30 years ago. The song contains all the fearsome power the Third Reich brought to bear on the German people. Lawrence’s pristine voice continues to raise goose bumps days after the show’s end.

By the time we reach Sally’s bittersweet swan song, “Cabaret,” into which Zielinski pours all her anger and fear, it’s clear this is a last desperate grasp at decadence before Germany finally succumbs to the power of Hitler and WWII.

If overt themes of sexuality and racism are the pivot point on which the second act revolves, especially in the way each character reacts to the trap of life in pre-Nazi Berlin, the conclusion is shockingly powerful in its simplicity, it is a natural, horrific conclusion to a story that continues to draw audiences for its music and story, almost fifty years after its première.

Rikki Howie’s ambitious choreography shines best in the lively “Money Song/Sitting Pretty,” a winning combination of the original Broadway version and the movie song that replaced it in some later productions.

Ceci Albert and Lisa Brownsword have made some interesting costume choices, in particular in the dress of the party-goers at the end of the first act, but in general the costumes work to enhance the story, and their interpretation of “Sitting Pretty” is just plain fun. Jerry M. Dale, Jr.’s lighting design marks the differences between nightclub and real world, and is most effective during the large production numbers.

Most disappointing are serious sound issues relating to poorly connected body microphones (not the first time I’ve noted problems with SMP’s sound system). Depending on flawed wiring has the unfortunate effect of tearing the audience out of the moment because we are unable to understand all the words to the songs or dialogue.

Cabaret was the production that launched my theatre career and this is the third version I’ve seen, in addition to the movie. While I know the show, my companion did not, and she was lost several times during the performance we saw. It’s a shame to see such hard work damaged by failed technology. Music Director J.N. Wickert, III is to be commended for keeping his “Beautiful” orchestra from taking over the space, especially in light of the sound system.

Bravo to the cast and crew in general for a performance well done, in spite of the sound’s considerable flaws.

Director’s Note

Approaching such a well know show as Cabaret can be problematic because the Fosse movie is so well-known, as is Liza Minnelli’s performance. But the movie, as is often the case, is not the original stage musical. Many changes were made for the film and plot lines dropped, so if you are seeing the stage musical for the first time, be prepared to be surprised.

I approached Cabaret as more of a serious piece of theater set in a decadent, troubling time for Germany and the world. You will walk out humming the songs but hopefully you will also walk out with a sense of sadness at the loss of innocent lives and a cultural heritage that left us with people who disappeared from physical existence but not from our hearts and minds.

-Rick Hayes

Dramaturg’s Notes

Historical Context

“And there was a city called Berlin in a country called Germany, and it was the end of the world.”

A scant 10 years before the start of Cabaret, Germany was in shambles; WWI was lost, and reparations in the billions were breaking the country’s economic back. In April of 1919, 1 US dollar was worth 12 marks. By December of 1923, 1 US dollar was worth approximately 4 trillion marks. A huge portion of the male population of working age were dead or injured from the fighting, and many of the women left behind were turning to prostitution in the city streets to keep themselves and their families from starving.

In an effort to appease the victors and ease the harsh terms of the Treaty of Versailles, the German political system was heavily altered and liberalized. The new Weim[a]r Republic, so named for a German town that had managed to retain relative peace throughout the Great War, was a strongly democratic system, with suffrage at 20 and a political system designed to keep any one faction from controlling the government. This was a major shift in German society, and the resulting confusion and extremism birthed more than 20 separate coalitions from all across the political spectrum.

By 1923, however, Germany’s prospects were brightening. Gustav Stresemann was chancellor for 100 days, and remained foreign minister until his death. He was instrumental in Germany’s recovery, managing to work with Britain and France to bring down the crushing reparations bill, halting the steep inflation with the introduction of a new currency, and raising $800 million in loans, mostly from America. For the next several years, relative prosperity reigned.

This new, more permissive social structure coupled with the sudden infusion of cash made Berlin a cultural epicenter. Art, music, theater and science all experienced major booms, and Germans and tourists alike flocked to the city to experience the cultural renaissance. The explosion of creativity coupled with the more relaxed views of sex brought on in part by the widespread prostitution also made Berlin a major site for erotic entertainment. There were an estimated 500 establishments devoted to sexual expression, including several clubs catering to the homosexual population.

When the stock market crashed in 1929, just three months before the opening scene of Cabaret, it was disastrous for the tenuous hold Germany had on prosperity. All of the American loans that were keeping Germany’s economy afloat were called in at once, and the country was plunged once again into poverty. The freewheeling parties and sexual freedom, which had been a kind of celebration of good fortune, now became a desperate clinging to a life that reality could no longer support.

The world of Cabaret is filled with severe disappointment, and it is in that terrible disillusionment with a system that held so much promise that the Nazis were able to seize power.

Come to us, they said. The republic couldn’t take care of you. We will.

-Meghan Winch

Cast (In Order of Appearance)

• Emcee: David McMullin
• Anika: Rosemary Lane
• Api Von Schnitzel: Nila Kay
• Cece: Heather Nadolny
• Greta: Nikki Gerber
• Helga: Meg Glassco
• Hazel: Cassandra Prickett
• Kizzy: KJ Jacks
• Lana: Toby Nelson
• Yummy/Fraulein Kost: Jill Vohr
• Waiter/Conductor/Bobby/Guard: Elijah Lawrence
• Maitre D/RudylVictor/Taxi Man/Coco: Rudy Schreiber Jr.
• Sally Bowles: Ashley Zielinski
• Cliff Bradshaw: David Wilder
• Ernst Ludwig: Mark Allen
• Fraulein Schneider: Mary Ayala-Bush
• Herr Schultz: Stephen Yednock
• Max: Rick Warfield

Orchestra

• Piano: Valerie A. Higgs
• Keyboard: Jeff Kempskie
• Reeds: Katrina Ambrose, Renae Smith, Gwyn Jones, Mitch Bassman, Chris Epinger, Jeff Kahan, Bryan Cook, Miles Smith
• Violin: Kirby Lee, Devon Oviedo
• Cello: Tom Zebovitz
• Trumpet: Paul Weiss, Jose Oviedo
• Trombone: Rick Schultz
• Percussion: Manny Arciniega
• Audition Pianists: Matt Jeffrey, Amy Conley
• Rehearsal Pianists: Matt Jeffrey, Amy Conley, Jeff Kempskie

Production Team

• Director: Rick Hayes
• Music Director: J.N. Wickert III
• Choreographer: Rikki Howie
• Stage Manager: Madison Hartke-Weber
• Technical Director: RC Bates
• Producer: Meghan Winch
• Accompanist: Valerie A. Higgs
• Dance Captain: Rosslyn R. Fernandez
• Sound Board Operator: Josh Canary
• Lighting Design: Jerry M Dale, Jr
• Master Electrician: Jerry M Dale, Jr
• Light Board Operator: Roger Munter
• Properties Design: Heather Cipu, Cameron Lane
• Set Design: Rick Hayes
• Set Construction: RC Bates
• Costume Design: Ceci Albert, Lisa Brownsword
• Make-Up Consultant: Rick Hayes
• Box Office Manager: Colin Redick
• House Managers: Sarah Reed, Rachel McConnell
• Photography: Chuck Divine, Colin Redick
• Poster/Cover Art: Jennifer Reitz

Disclaimer: St. Mark’s Players provided two complimentary media tickets to ShowBizRadio for this review.

Legally Blonde the Musical is a fun adaptation of the light-hearted Reese Witherspoon film that is filled with a catchy score and energetic good times. Riverside Dinner Theatre delivers a solid production; however, it never quite takes off to the level of “WOW.” Most of the elements are strong but stop just short of excellent.

This is especially true for the set. With detailed, beautiful set pieces, such as the Harvard books, set upon an otherwise blank stage with an unlit cyc in the back, it is like they had all the elements right and never quite figured out how to put them all together. There were several times that the set looked bare or just not quite finished, despite nice details in other areas. The lighting didn’t help to solve the issue, as it was also very simple and rarely used to build the location or the mood. Costumes were equally hit or miss. While some pieces were just perfect, ending with Elle in an ill-fitting tweed jacket over a dress that did not scream “fashionista” or even lawyer was a less than ideal choice. Also, when the line talks about Vivienne’s flat shoes, she should be wearing flats. It was, in many ways, a lack of careful attention to minor technical details that keep the production from soaring to the next level.

Julie Baird’s Elle was also almost great. Baird is a fierce dancer, a solid vocalist, and created a consistent character. She definitely reached her zenith in the number “Legally Blonde,” bringing a real depth of emotion to the apparent defeat of her character. Baird just lacked that little something extra special that makes Elle — Elle. It is that charm, that twinkle, which makes you want to watch her every move and become her best friend that is critical to the character. Baird really did everything right, but she just didn’t have that “something more.”

On the other hand, Emily Blair Powers did. Her Paulette is delightful. She is real, funny, charming, and has a beautiful voice. Paulette brought laughter and tears throughout the show. Another fantastic performance came from Emily Turner Marsland (Brooke). She, never for a single second, looked winded as she skillfully and swiftly jumped her way through “Whipped Into Shaped,” so much so that she could freeze solidly without any heavy breathing. She also managed to have excellent vocals throughout the dance and filled the rest of the show with a memorable character. Also great was Jason J. Michael’s Callahan. He was charming, wicked, and sleazy. His “Blood on the Water” was the perfect mix of beautiful vocals and slime. As Enid, Ellie Borzilleri took a smaller role and made it phenomenal. From her impressive vocals in “Harvard Variations” to perfect delivery on one-liners to priceless facial reactions to what was going on around her, Enid became the character to watch.

Supporting roles can be really pivotal. In Legally Blonde, possibly none more so than Margot, Serena, and Pilar. While it is so easy to take the importance of those characters for granted when they are played by exceptional actresses, their true necessity is unfortunately more apparent in their weakness. Martha Johnson (Margot) was not good, and she was the first person that the audience saw and heard. This started the production off needing to overcome a weakness. While Emily Carper and especially Mary Anne Furey were not bad, neither had quite the strength and presence to really make any part of the trio pop. In a few places in the second act, notably “Bend and Snap,” Furey gave glimpses of potential to be stronger with better direction or better counterparts.

Glimpses of greatness were also seen in the solid, but not spectacular, performances of David Pope (Warner), Analisa Wall (Vivienne), and James Bock (Emmett). Pope looked the part, had a beautiful voice, and almost embodied the perfect balance between cocky and charm. Wall was perfectly stiff throughout with a powerhouse voice, but she never mastered the art of showing the subtle subtext that Vivienne is a real person and not just an ice queen. Like his leading lady, Bock was doing almost everything right without ever quite reaching captivating. He also found his best moment in “Legally Blonde.”

This was a good production. The average, non-critical audience member will have a good time. This just wasn’t the flawless, Broadway in Fredericksburg quality that Riverside Dinner Theatre has made a reputation around. It was almost there in so many ways. With minor technical and artistic redirection and regrouping and maybe one recasting, it could still ascend to that level before the end of the run.

Photo Gallery

Photos provided by Riverside Dinner Theater

Disclaimer: Riverside Dinner Theater provided two complimentary media tickets to ShowBizRadio for this review.

In the Heights is a smart show. It has modern music that sizzles with an infusion of Broadway and hip-hop, while it keeps true to everything that is the core of traditional musical theatre: family, community, romance, and happy endings. Toby’s Dinner Theatre brings together a strong cast and excellent technical elements to breathe life into this tight-knit community on one corner in Washington Heights.

Usnavi (David Gregory) owns a Bodega on the corner that was started by his parents before they passed away. Usnavi is the likeable hero with a warm heart and a gift for rhyme and is brought to life with passion and natural charisma by Gregory. Usnavi pines after Vanessa (Nadia Harika), who longs to escape Washington Heights and the trials of dealing with her alcoholic mother. Harika brilliantly shows glimpses of the sad girl beneath Vanessa’s tough and defensive exterior.

Usnavi’s friend, Benny (Marquise White) is also pining over a girl of his own. White is beyond outstanding as the sweet guy with the soulful voice who is bursting with big dreams. His performance is layered with delightful nuances. The object of his affection is Nina (Alyssa V. Gomez), the first to get out and go to college. She is now returning to tell everyone that she dropped out. Gomez brings great heart and powerful vocals to Nina’s journey throughout the show. Her parents, and Benny’s bosses, Kevin (David Bosley-Reynolds) and Camila (Tina Marie DeSimone) are believable and likeable with a few standout moments between them. The only small change warranted for Bosley-Reynolds would be to simply not use an accent if he cannot master a believable Puerto Rican accent.

At the heart of the community is Abuela Claudia. There is no one better for this role than the incomparable Crystal Freeman, who is pure heart embodied in the best voice around. Her “Paciencia y Fe” once again redefines the standard for theatrical ballads everywhere. Another stellar performance comes from Ryan Alvardo as Sonny. His comedic timing and delivery is impeccable. Another awesome vocal comes from Tobias Young as the Piragua Guy. Also fantastic is Santina Maiolatesi as Daniela. She creates a complete character and has an amazing voice.

The entire show is filled with impressive and exciting choreography. The costumes are colorful and character appropriate. The set is simple and still detailed down to the gum on the lamp posts. The lighting is excellent with several truly effective moments of switching the mood in one cue. With all the careful attention to detail and dynamite performances, In the Heights is a must-see.

Photo Gallery

Benny (Marquise White), Sonny (Ryan Alvarado), Usnavi (David Gregory)	Abuela Claudia (Crystal Freeman), Usnavi (David Gregory)
Camila (Tina Marie De Simone), Kevin (David Bosley-Reynolds), Nina (Alyssa V. Gomez)	Nina (Alyssa V. Gomez), Usnavi (David Gregory)
Camila (Tina DeSimone), Nina (Alyssa V. Gomez)

Photos by Kirstine Christiansen

Cast

• Graffiti Pete: Calvin McCullough
• Usnavi: David Gregory
• Piragua Guy: Tobias Young
• Abuela Caludia: Crystal Freeman
• Carla: Olivia Ashley Reed
• Daniela: Santina Maiolatesi
• Kevin: David Bosley-Reynolds
• Camila: Tina Marie DeSimone
• Sonny: Ryan Alvarado
• Benny: Marquise White
• Vanessa: Nadia Harika
• Nina: Alyssa V. Gomez
• Ensemble: Mili Diaz, Scean Flowers, Javi Harnly, Rachel Kemp, Erin McNerny, Jason Phillips, Moses Rodrigues, Ada Satterfield, Danny Tippett, Melissa Victor
• Swings: Ian Brown-Gorrell & Amanda Kaplan
• Understudies: Usnavi (Calvin McCullough), Nina (Mili Diaz), Benny (Jason Phillips), Vanessa (Ada Satterfield), Sonny (Moses Rodrigues), Daniela, Claudia, Abuela Claudia (Janine Sunday), Kevin (Lawrence B. Munsey), Carla (Melissa Victor), Graffiti Pete (Scean Flowers)

Production Staff

• Co-Directors/Choreographers: Toby Orenstein and Lawrence B. Munsey
• Musical Director: Cedric D. Lyles
• Choreographer: Christen Svingos
• Scenic Designer: David A. Hopkins
• Graffiti Pete Artwork: Peter Fox, David Castro
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Dance Captain: Rachel Kemp
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Cody Cooley, Erin MacDonald

Orchestra

• Conductor: Cedric D. Lyles, Douglas Lawler, or Jonathan Tuzman
• Keyboard 2: Pamela Witt, Ann Prizzi, Ed Myers, Barry Hamilton, or Nate Scavilla
• Drums: Matt Lampart, Tarek Mohamed, Evander McLean, N. Scott Robinson, Tom Harold, or Jack Loercher
• Latin Percussionist: Orlando Cotto
• Electric Bass: Michael Kellam, Jason Wilson, Dave Frieman, Linda Cote, or Zach Branch
• Trumpet: Tony Neenan, Frank Gorecki, Chris Hutton, S. Craig Taylor, or Garrett Faccone

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Big Nate is the world premier musical with book and lyrics by Jason Leowith, based on the comic strip “Big Nate,” by Lincoln Peirce, is the story of the many adventures of sixth grader Nate Wright and his friends Francis and Teddy and their rocking garage band Enslave the Mollusks. PS 38 is putting on a Battle of the Bands and Nate and his friends are sure to win. Except that Nate seems to struggle with CDS: Chronic Detention Syndrome. He can’t make it through a day without getting into trouble and the rules of the band contest say 25 detentions and the band will be disqualified. It’s a real nail-biter as Nate attempts to stay out of detention (no small feat) AND show his love Jenny how much she means to him.

The Wednesday afternoon group of school kids took their time warming up to the music and dancing going on on the stage, having been told probably that “theatre etiquette” requires no talking and sitting still in your seats. Everyone came to life when audience participation was required to pick the battle of the bands winner.

Nate Wright (Sam Ludwig) was full of energy and charisma, and was pretty close to what I had pictured in my mind Nate should be like. His big expressions and high energy kept the performance moving right along. Nate’s two friends and fellow Mollusks Francis (Joshua Dicks) and Teddy (David Little) stuck true to their friend and their band. The three made a strong team and seemed to get along well and were certainly comfortable around each other.

The Protagonist of the afternoon was Nate’s arch enemy Gina played by Angela Miller. Loud, bossy, when she entered a room you knew it. She and Nate squared their shoulders and the line was drawn in the sand from then on. The two went at it with much gnashing of teeth and fists raised. They probably would have made a cute couple if they could stand being in the same room for more than thirty seconds. The entire cast really meshed together well and were quite engaging. The choreography by Kate Arnold Wernick was upbeat and performed with much enthusiasm by the cast. The cast actually played multiple characters and Costume Designer Chelsey Schuller made colorful use of patterns and bright colors to make the costumes bright and upbeat. The set itself was very eye-catching with lots of bright spots, and clever projections enhanced the production.

A well-cast, well-executed, up-beat, high energy performance to be enjoyed by both the sixth-grader as well as the sixth-grader at heart.

Cast

• Jenny/Coach John/Galvinator#2: Shayna Blass
• Francis/Mrs. Hickson: Joshua Dick
• Ellen Wright/Mrs. Godfrey/Galvinator#3/Pickles: Ayanna Hardy
• Teddy/Ortiz/Mr. Galvin: David Little
• Nate Wright: Sam Ludwig
• Gina Hemphill — Toms/Mrs. Czerwicki/Galvinator#1: Angela Miller
• Artur Pashkov/Marty Wright/Mr. Staples/Spitsy/Calvin: Tim Rogan
• U/S Artur: Alex Alferov
• U/S Jenny/Ellen: Angeleaza Anderson
• U/S Gina: Erica Clare
• U/S Nate/Teddy: Philip Da Costa
• U/S Francis: Jay Garrick

Production Team

• Director: Michael Baron
• Book/Lyrics: Jason Loewith
• Lyrics/Orchestrations/Music Director/Composer: Christopher Youstra
• Choreographer: Kate Arnold Wernick
• Set Designer: Misha Kachman
• Assistant Set Designer: Sean Urbantke
• Costume Designer: Chelsey Schuller
• properties Designer: Andrea “Dre” Moore
• Lighting Designer: Jason Arnold
• Projections Designer: JJ Kaczynski
• Stage Manager: Tre Wheeler
• Sound Board Operator: Andrew Zimmer
• Scenic Artist: Steven Royal
• Master Electrician: Sarah Mackowski
• Asst. Stage Manager/Stage Management Intern: Madeleine Evans

Disclaimer: Adventure Theatre MTC provided two complimentary media tickets to ShowBizRadio for this review.

The King and I is a musical by Rodgers and Hammerstein. It takes place in Siam in the early 1860′s. Anna is a school teacher who comes to teach the king’s children. She doesn’t realize that the king has over 50 children and she has a big job ahead of herself. She ends up teaching the king as well, and he teaches her a bit as well. Her relationship with the king is a major focus of the story and as Anna helps the King to become less barbaric in the eyes of Europe, she get closer to him as well.

This enjoyable, but long, production runs for one more weekend. Overall it had a nice pace, although the scene changes tended to drag a bit. Given the small playing space at the FCT stage, The King and I was an impressive accomplishment. Susan Noe’s costumes looked fantastic, with interesting textures on the colorful outfits. Kat Brais’ hair and makeup designs were also wonderful. The huge cast made for a tedious “March of the Siamese Children” scene (although it did give the parents sitting behind me the opportunity to take several photos with their loud, distracting camera (apparently the rules given in the pre-show announcements don’t apply to parents) although blessedly they did know how to turn the flash off). The “Small House of Uncle Thomas” ballet was nicely executed, with great lighting effects and masks.

The relationship between Anna (Chantal Campbell) and the King (Daniel Purcell) was a bit stiff, and at times didn’t feel comfortable. For example, the King’s final scene didn’t quite hit the mark for me, although the Prince (Stephen Kutzleb) was successful in shifting between overcompensating for his initial nervousness and accepting his new role as King. At the top of the show, Campbell’s whistling during the encouraging number “I Whistle a Happy Tune” was actually not too well done, but later in the show her whistling was much better. It made for an interesting introduction to Anna, showing her nervousness at her new family’s situation. Purcell was a serious, no-nonsense King, who rarely allowed his emotions to show. The romantic duet “We Kiss in a Shadow” by Lun Tha (Joseph Benitez) and Tuptim (Crystal McKinsey) was a highlight of the evening.

Fauquier Community’s The King and I was a pleasant evening of theater, marked by a huge cast and wonderful visuals throughout.

From the Director

This has been an awesome collaborative effort of my amazing cast, crew, family, friends, and random strangers that we have begged to be a part of our adventure. The last week before the opening of any show is one of excitement, nerves, too much energy, and not enough sleep, but we have endeavored to put together a show that will be entertaining and dazzling. We hope that you love Siam and its King as much as a certain schoolteacher did. -Susan Noe

Cast

• Captain Orton: Joe Bersack
• Louis Leonowens: Michael D’Arcangelis
• Anna Leonowens: Chantal Campbell
• Interpreter/Simon Legree: Lee Walters
• Royal Guard: Rodrigo Pool
• Kralahome: Gary Parsons
• Royal Guard: Evan Jones
• King Mongat: Daniel Purcell
• Phra Alack/Angel/George: Kirk Noe
• Royal Wife/Eliza: Elizabeth Gillespie
• Royal Wife/Topsy: Teena Stevic
• Royal Wife/Dancer: Jessica Inzeo
• Lun Tha: Joseph Benitez
• Tuptim: Crystal McKinsey
• Lady Thiang: Ivy Elizabeth Cole
• Royal Wife/ Dancer: Cheryl Bolt
• Royal Wife/Singer: Morgan Gabor
• Royal Wife/ Dancer: Ariana Valezquez
• Royal Wife/Little Eva: Carina Valezquez
• Princess Ying Yaowalak: Mary Ellen Underwood
• Royal Child/Singer: Julia Downes
• Royal Child/Dancer: Olivia Barreto
• Royal Child/Dancer: Makayla McWelch
• Royal Child/Dancer: Isabelle Caron
• Royal Child/Dancer: Olivia Caron
• Royal Child/Dancer: Susannah Stevic
• Royal Child/Dancer: Maggie Pierce
• Chulalongkorn/Uncle Thomas: Stephen Kutzleb
• Royal Child/Dancer: Isabella Whitesides
• Royal Child/Dancer: Elayna Caron
• Royal Child/Dancer: Isabella McDonald
• Royal Child/Dancer: MarissaMulero
• Royal Child/Singer: Jessica Pain
• Royal Child/ Dog: Joseph Machosky
• Royal Child/ Dog: Michael Machosky
• Priest: Gene Bates
• Priest in Training: Liam Bates
• Sir Edward Ramsey: Jeff Machamer
• Singer: Emily Hibl

Orchestra

• Music Director: Larke Pain
• Keyboard: Alanna Pasquale
• Keyboard: Thomas Hooker
• Trumpet: Dave Shuma
• Percussion: Jeff Briner
• French Horn: Wendy Martin-Shuma
• French Horn: Peggy Rocchio Lee

Crew

• Director: Susan Noe
• Producer: Evelyn Rice
• Stage Managers: Becky Farris&Emily Hibl
• Choreographer: Sandy Steinmeyer
• Asst. Choreographer/Dance Captain: Elizabeth Gillespie
• Music Director: Larke Pain
• Light and Sound design: Tim Kirk
• Hair and Make-up Design: Kat Brais
• Costume Design: Susan Noe
• Seamstresses: Teena Stevic, Cynthia Oz, Cheryl Sinclair, Susan Noe, Emily Hibl, Karin Kerby
• Light Tech: Kirk Noe
• Light Board Operator: Betsy Hansen
• Sound Operator: Tim Kirk
• Set Design: Tim Kirk and Susan Noe
• Set Construction: Tim Kirk and Kirk Noe
• Set Painting: Nancy Daugherty and Gary Parsons
• Set Dressing: Susan Noe
• Vocal Coaches: Amy Baillargeon and Jim Todd
• Props: Susan Noe and Peter Fakoury
• Photography: Chris Noe
• Videography: Leland Shook
• Opening Night Reception: Christie Clark and Laurie Bersack

Disclaimer: Fauquier Community Theatre provided two complimentary media tickets to ShowBizRadio for this review. FCT also purchased advertising on the ShowBizRadio web site, which did not influence this review.

Once again, my job as a teacher met my job as a reviewer. Red is History – a dramatized story account of 20th century painter Mark Rothko and a young, fictional assistant named Ken. Red is Language Arts – a character study of two diametrically opposite men, as well as a study on the use of language as an art form. Red is Psychology as it studies what makes two artists thing, act and see the way they do. Red is Math – two actors plus one act equals an evening of entertainment. And of course, Red is Art – as it studies the dynamics of what makes art, how an artist creates that work and how an audience responds.

The play begins as interpretational art itself; as 15 minutes before the play begins, Rothko (David Bridgewater) begins to lurk around the stage: turning lights on and off, cleaning his brushes (in a working sink-nice touch!), and staring pensively at various canvases set up around the stage – most intently at one invisible one behind the audience, which makes the audience feel as if they too are being judged and sized up by this master painter.

The opening was so innovative, that it even left the audience to “interpret” whether or not the show had started! Some members sat silently and intently watching Bridgewater move about the stage; while others continued to carry on their own conversations at full volume until others “shushed” them. (I learned more about one woman’s medical condition than I would ever want to know). It was also impressive that it was a full house on a Wednesday evening.

The play is set in the late 1950s as abstract expressionist painter Rothko struggles to complete a commission for a commercial project – a mural for New York City’s Four Seasons Restaurant. Rothko and his new assistant go head to head on the methods and purpose of art and the dynamic relationship between an artist, his work and his audience.

When Maxwell Eddy (Ken) enters, the awkward silence continues as Rothko makes his new assistant analyze the invisible painting behind the audience. Eventually he is asked what he “sees.” His reply: “Red.” But as the audience learns through the next hour and a half, color has many meanings and interpretations. Rothko says the audience must get “close” and let the “picture do its work” but also the audience must “meet it halfway” and “engage it.”

The actors themselves display unique and diverse “styles” both as artists and actors. Bridgewater’s Rothko is demanding and demanding; pompous, loud and self-assured. Eddy’s Ken is reserved and introspective, having been a victim in one form or another his entire life, yet still emerging as a strong force opposite Rothko. Bridgewater acts through his booming voice, his raging emotions and his ever-moving body. Eddy acts with his face, his eyes and his clearly visible thought processes. Together, they make art.

Director Christopher Owens, makes art as well, by keeping his actors moving, the dialogue crisp and the action visually appealing. Record player music interspersed throughout the show helps build the scene and emotions. However, some scene changes (which were more about costume changes since the set never changes) seemed to drag on like, pardon the expression, watching paint dry. Also, with live cigarette smoke, a small electric fan was added to apparently try to keep it from blowing into the audience, but as one with allergies to smoke I can tell you it didn’t work and only served as a distraction as the actors talked over it and turned it on and off.

Rothko, when challenged by Ken about making his art commercial, in the end cancels the $35,000 contract, preserving his art. As Rothko says, art is a decision about what I like, versus what I respect. As a piece of art, I both liked and respected the performances and the show.

Photo Gallery

David Bridgewater and Maxwell Eddy	David Bridgewater and Maxwell Eddy
Maxwell Eddy and David Bridgewater	Maxwell Eddy and David Bridgewater
David Bridgewater and Maxwell Eddy	David Bridgewater and Maxwell Eddy
Maxwell Eddy and David Bridgewater

Photos by Jay Paul

Cast

• Mark Rothko: David Bridgewater
• Ken: Maxwell eddy

Crew

• Director: Christopher Owens
• Stage Manager: Rick Brandt
• Light Board/ Sound Operator: Linwood Guyton
• Wardrobe: Nikki Wragg
• Deck Crew: Joey Sauthoff
• Set Design: Jacob Sailer
• Lighting Design: Lynne M. Hartman
• Costume Design: Sarah Grady

Disclaimer: Virginia Rep provided two complimentary media tickets to ShowBizRadio for this review.

It is the oldest surviving written story in the world, with origins long predating Homer and the Bible. Created by Babylonian poet Sir-leqi-unninni around the 12th century BCE from sources some of which dated back a thousand or more years earlier, the Gilgamesh poem describes the arrogance, heroism, grief, and growing wisdom of a king of the Sumerian city of Uruk. Constellation Theater’s Gilgamesh (poetry by Yusef Komunyakaa, concept and dramaturgy by Chad Garcia) condenses the epic-scale poem into a compact two hours, the strength of which is in excellent technical theater and movement.

Begin with Ethan Sinnott’s set, the audience left and center portions of which are dominated by gray walls representing cuneiform tablets like those on which the epic was written, behind which are black walls with more cuneiform-style script. On audience right are strata of gray rocks, framing a cave-like entrance. Before the play ever starts, the audience is immersed in an ancient, distant literary world, with the always-skillful Tom Teasley’s musical accompaniment adding an important aural dimension.

Throughout the production, Kendra Rai’s costumes lent color and characterization. A regal red design for Ninsun, Gilgamesh’s mother; a flowing gold cape and high heels with claws for Ishtar; diaphanous, detachable sashes for The Woman of the Red Sashes; tight-fitting black lycra for the Scorpion People; dark cloaks with Assyrian-looking masks for the Elders; more subdued colors and simpler designs for “common people” like a hunter and the Siduri, a barmaid — the variety and combinations of looks made the production a visually arresting one. Except for a royal red costume in the initial scenes, Gilgamesh and Enkidu, the two most important characters, have the most minimal garb, all the better to show off the actors’ musculature, perhaps. Mathew McGee’s puppet for the head of the Bull of Heaven, with its glowing green eyes, would be enough to frighten characters less intrepidly heroic than Gilgamesh and Enkidu.

The efforts of fight director Casey Kaleba and choreographer Emma Crane Jaster created some striking scenes. The fight/male bonding episode between Gilgamesh and Enkidu; stylized sexual encounters between The Woman of the Red Sashes and Enkidu in the first act and Gilgamseh and Siduri in the second; the battle among Enkidu, Gilgamesh, and Humbaba (abetted by ensemble members representing trees), closely followed by the killing of the Bull of Heaven; a storm as Gilgamesh attempts to cross the River of Death; Gilgamesh’s near-drowning as he seeks a flower that renews life — as this list suggests, there is one memorable movement piece after another. The entire cast, particularly Joel David Santner as Gilgamesh and Andreu Honeycutt as Enkidu, are fine physical actors. Honeycutt is especially impressive in his opening scene as a part-man, part-animal creature before The Woman of Red Sashes (Emma Crane Jaster) sexually initiates him into civilization.

It’s at the level of words that the production encounters some difficulty. Komunyakaa’s language is very plain and pedestrian, with a very modern cadence (sometimes indulging in contemporary phrases like “Do you know who I am?” and “second-guessing”). The tone is often at odds with the mythic nature of the material and the ancient world convincingly created by the set. There is little of majesty and awe in lines that are spoken by, and about, kings, gods, and heroes, and that address the deepest human concerns of life and death.

The problem is compounded by some of the production’s line delivery choices. There are exceptions — Gilgamesh’s last speech of the first act, in which he laments Enkidu’s death, is emotionally powerful — but Santner typically gives his character a curiously flat affect with little variation. Honeycutt, on the other hand, with fewer lines, more satisfyingly characterizes Enkidu (somewhat annoyingly pronounced as “inky-dew,” with the accent on the first syllable) with his voice. Members of the three-person chorus — a pre-Greek chorus, one might say, though they perform the same narrative and commenting function — deliver their lines in a very declamatory way, augmented by highly stylized gestures and, for some reason, bits of American Sign Language. “Show, don’t tell” is one of the oldest clichés of the theater business, and Constellation’s Gilgamesh includes a great deal of telling.

The relationship between Gilgamesh and Enkidu — a precursor to famous male pairings like Achilles and Patroclus, or David and Jonathan — necessarily includes a strong homoerotic element that, while suggested to a limited extent in the scene following their fight, seems underemphasized. As fellow warriors, the characters share a “Band of Brothers”-type bond to be sure, and their friendship is genuine, but the overwhelming grief that Gilgamesh expresses after Enkidu’s death needs a deeper, more passionate foundation. As Stephen Mitchell comments in the introduction to his 2004 version of the poem, “Both men come to feel their friendship as a kind of marriage, and each one could say, as David says of Jonathan, ‘Thy love to me [is] wonderful, passing the love of women.’”(p. 24) In Mitchell’s text, Ninsun interprets a dream to tell her son that he will “take him [i.e., Enkidu] in your arms, embrace and caress him the way a man caresses his wife,” and, following their fight, they kiss.”(pp. 83, 90) Komunyakaa and Garcia would have done well to pay greater attention to this aspect of the story’s central relationship.

It is inevitable, of course, that adapting and condensing a lengthy text into a relatively short theater piece will result in some material, and some nuances, being omitted; adaptors also have the opportunity to reshape material for their dramatic purposes. Interestingly, it is some of the female characters whose roles are most noticeably changed from the poem to the stage. Ninsun (Charlotte Akin), her divine nature notwithstanding, is portrayed as a very human caring, but sometimes nagging, mother. Ishtar (Nora Achrati) — the goddess of love, sex, and war, and probably the most powerful deity in Sumerian culture — becomes a petulant femme fatale. Siduri (Katy Carkuff), in the poem a compassionate tavern keeper, becomes a sexy barmaid who takes the initiative to become Gilgamesh’s lover as he continues his quest. At the end of the play, in another development not found in the poem, The Woman of Red Sashes — based on a priestess of Ishtar named Shamhat in the poem — returns to become Gilgamesh’s lover, who he names Siduri in honor of the woman he left behind him. In giving Gilgamesh two lovers that the underlying material does not, Komunyakaa and Garcia risk shifting the story’s emphasis away from Gilgamesh’s realization that there is no escape from death and that his task is to return to his kingdom the benefit of what he has learned on his journey.

Jim Jorgenson deserves mention both as a frightening Humbaba and a kindly but realistic Utnapishtam, who survived the great flood — the template for Noah’s — and is the only man granted immortality by the gods. Achrati, Carkuff, Jaster, Manu Kumasi, and Ashley Ivey do versatile work as the chorus, the Elders, and other ensemble roles.

As Joseph Campbell convincingly argued in his classic The Hero With a Thousand Faces, heroic journeys like that of Gilgamesh are a staple of mythology across a wide variety of cultures and religions that continue to resonate in contemporary life. Constellation’s production provides a colorful and active presentation of the outline of this hero’s journey that is well worth watching.

Director’s Note

This epic is the oldest written legend, dating back 4,000 years. Ancient Mesopotamia feels far away, a land populated by foreign gods and a time of symbols and prophecy. Yet, living with this story, I am amazed to discover that the ideas and emotions at its core are so central to the universal human experience that it feels immediate and essential today.
 
Our play begins with an Eden-like scene of animals frolicking in nature, escaping the traps of man. Yet in the City of Uruk there is fear, unrest and suffering. King Gilgamesh, part man and part god, relishes in violence and has an insatiable appetite for virgin brides and tributes of wine and meat. The gods create Enkidu, part man and part animal, to be his perfect rival, to humble him and to restore peace to the land. Through his love for Enkidu, Gilgamesh discovers compassion and kindness.
 
When the brothers are torn apart, Gilgamesh experiences life through a vast range of adventures with fantastic creatures in mystical environments. Ultimately, he must accept that time travels in only one direction and he cannot control the universe. He relinquishes earthly ambitions and faces the world with humility, generosity and an open heart.
 
The epic of Gilgamesh has all the hallmarks of great entertainment: combat, danger, lovemaking, and mystery. It is easy to imagine our ancient ancestors reading chapters of this story out loud to a captivated audience. Yet, it is also a morality tale about what characteristics make a good leader. This worldview does not invest in an afterlife and the gods are portrayed as unpredictable, kind in one moment and vindictive the next. The story celebrates man’s animal-like ability to love and cherish other creatures.
 
Collaborating with 40 other artists to create the production you see before you has been a rewarding, challenging and joyful process. Please spread the word about Gilgamesh to your family and friends and help us expand our audience.
 
I hope you will return to Constellation as a Subscriber in Season 7!

Cast

The People Of Uruk

• Gilgamesh: Joel David Santner
• Ninsun: Charlotte Akin
• Hunter: Jim Jorgensen
• Hunter’s Son: Manu Kumasi
• Geshtinanna: Katy Carkuff
• The Woman of Red Sashes: Emma Crane Jaster
• The Traveler: Ashley Ivey
• The Elders: Nora Achrati, Katy Carkuff, Manu Kumasi

Beyond Uruk

• Enkidu: Andreu Honeycutt
• Humbaba: Jim Jorgensen
• Ishtar: Nora Achrati
• Bull of Heaven: Ashley Ivey, Manu Kumasi
• Scorpion Man: Ashley Ivey
• Scorpion Woman: Emma Crane Jaster
• Siduri: Katy Carkuff
• Urshanabi: Ashely Ivey
• Utnapishtam: Jim Jorgensen
• Utnapishtam’s Wife: Charlotte Akin

Production Staff

• Director: Allison Arkell Stockman
• Composer/Live Musician: Tom Teasley
• Scenic Designer: Ethan Sinnott
• Costume Designer: Kendra Rai
• Lighting Designer: Klyph Stanford
• Puppet Designer: Matthew McGee
• Fight Director: Casey Kaleba
• Dramaturg: Jefferson Farber
• Properties Designer: Rebecca Dieffenbach
• Choreographer: Emma Crane Jaster
• Assistant Director: Gwen Grastorf
• Production/Stage Manager: Cheryl Ann Gnerlich
• Technical Director: Jason Krznarich

Disclaimer: Constellation Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

A giddy whirlwind of romance, song and dance is the production of Twelfth Night at Folger Shakespeare Theater. Music from a bygone age of glamour weaves through this story as siblings Viola (Emily Trask) and Sebastian (William Vaughan) are shipwrecked by the famous sinking of the Lusitania in the 1900s. When they are separated by the ocean, Viola assumes her brother must be dead.

In mourning, Viola sees a possibility of what she could become in the figure of a noblewoman named Olivia, (played by Rachel Pickup), who has shut herself off from life and happiness because of a beloved sibling’s death. Viola decides to mourn in her own way, and enters the employ of the Count Orsino (Michael Brusasco) disguised as a man. As she plays the role of her master’s right hand page, and delivers letters to the lady Olivia on his behalf, she sees the pain and pleasure of unrequited love, and begins to fall head over heels herself.

Meanwhile, her brother, Sebastian, has washed up on a remote part of the coastline and is making his way towards the city, with a loyal friend (Antonio, played by Chris Genebach) who is a wanted man. Antonio, however, promises to risk being caught so that Sebastian might have a chance to find his fortune and place in life again. As the siblings circle each other, never realizing the other is there, mistaken identities and similar conundrums arise, all story threads which must be sorted before all can be made well.

This particular production took a leap into the world of music to set the stage for the play. Each song is from the early 1900s, and picked to underscore and score the tone of the play. The actors and pianist were marvelously harmonious, and the song choices were lively and entertaining. In addition, a few of the actors played instruments during the show very skillfully, such as Miss Trask, who played the cello during one of the scene changes.

The set was grandiose and very much resembled parts of an upper class luxury liner. While this was in its way a little odd, considering that the play was set after the shipwreck, not before, it was beautifully done, The set included a large stained glass installation suspended from the ceiling, as well as a grand staircase and a wrought iron grand piano. The scene changes were appropriately minimal, and required only the positioning of two chairs and a bench. However, due to the songs, scene changes often took longer than it would had they just moved the minimal set dressing by itself.

The acting was amazingly cohesive, with various characters and side characters stealing the show in turns. Of particular note was the spirited and transformative performance of Richard Sheridan Willis as Malvolio, a servant to the lady Olivia. He went through a marvelous range of emotions, and dominated the stage every time he stepped out onto it. Emily Trask as Viola was a fair hand at changing her every movement to a convincing representation of a male persona, and because of that her gender deception felt very real. One could believe that the character was supposed to be a man, and she was just as real in both her masculine and feminine personas as one could wish.

Requited love, heartache and redemption tie the story together at the end of the show. Overall, the energy and veracity of the cast as they showcased their wide range of talents and passions makes it a show worth seeing.

Director’s Note

Twelfth Night is such a deliciously romantic, funny, and moving story. After the masculine and aggressive war play of Henry V, we have relished the opportunity to create a world that is so elegant and whimsical. It is a charming play about love in its many forms: unconditional love, unrequited love, self-love, compassionate love, and true love. Each character in the play seeks love in one way or another. Some are successful in their quest, and some are not.

The historical traditions of Twelfth Night, the last celebration of the Christmas holidays, including the Lord of Misrule, role and gender reversal, and the topsy-turvy nature of servants becoming the masters, would have been understood by Shakespeare’s audience. This leads us to ask: what and where is Illyria today?

The creative team and I set about finding a world in which the moral, ethical, and social status of the play would come to life, and we landed somewhere at the beginning of the 1900s. The play conjures a world that cannot move forward without a catalyst, a world where change had to take place, a world that, despite how hard characters may resist, could not avoid the ebb and flow of fate or of time.

We began discussing geographical sites known for their ship wrecks and coastlines that remain remote, mystical, and dangerous. Our research drew me towards the sinking of the Lusitania off the southern coast of Ireland in May 1915. The notion of the class distinction onboard a luxury cruise liner, the right of passage of crossing the Atlantic, and the enforced equality of the passengers on board a ship that was sinking all begin to solidify in our thoughts.

And placing the story in this time allows us to explore the musical highlights of the popular tunes and the classical composers of the day. Music, which is a fundamental ingredient to this story, has given us a springboard to dive to the emotional depths of the play and allow this multi talented cast an opportunity to sing, dance, and play musical instruments in the true nature of an ensemble.

With all this in mind, I began to think about the subtitle of the play, What You Will, and I thought perhaps at in this love-seeking, love-needing world that might be better thought of as: What You Wish.

Our Illyria is a place where fantasy and reality collide, but class distinction and gender blur, and love is a currency that everyone seeks. It is, like all great Shakespeare plays, ambiguous, and we hope that you will take from it what you wish.

-Robert Richmond

Photo Gallery

Feste (Louis Butelli) greets Viola (Emily Trask) in the land of Illyria	Emily Trask stars as Viola, here disguised as the young man Cesario
Malvolio (Richard Sheridan Willis) and Sir Andrew Aguecheek (James Konicek)	The cast of Twelfth Night dances as Feste (Louis Butelli) plays his ukulele
Maria (Tonya Beckman) and Sir Toby Belch (Craig Wallace) having a bit of fun	Sir Andrew Aguecheek (James Konicek), Viola (Emily Trask), Feste (Louis Butelli) and Sir Toby Belch (Craig Wallace)
Sebastian (William Vaughan) being wooed by Olivia (Rachel Pickup)	Duke Orsino (Michael Brusasco), Viola (Emily Trask), Sebastian (William Vaughan) and Olivia (Rachel Pickup)

Photos by Scott Suchman

Cast

• Maria: Tonya Beckman
• Orsino: Michael Brusasco
• Feste: Louis Butelli
• Antonio: Chris Genebach
• Sir Andrew Aguecheek: James Konicek
• Valentine: Joshua Morgan
• Olivia: Rachel Pickup
• Viola: Emily Trask
• Sebastian: William Vaughan
• Sir Toby Belch: Craig Wallace
• Malvolio: Richard Sheridan Willis

Artistic Team

• Director: Robert Richmond
• Scenic Designer: Tony Cisek
• Costume Designer: Mariah Hale
• Lighting Designer: Andrew Griffin
• Sound Designer: Matthew M. Nielson
• Fight Director: Casey Kaleba
• Resident Dramaturg: Michele Osherow
• Production Stage Manager: Che Wernsman
• New York Casting: Daryl Eisenberg, CSA

Disclaimer: Folger Theatre provided two complimentary media tickets to ShowBizRadio for this review.

OK, confession time again. My last contact with Tennessee Williams The Glass Menagerie was back in AP English in 19….. a long time ago. Sycamore Rouge’s current production has made this old classic more approachable and relevant with some effective acting, directorial and technical choices. These choices made the usually dark and depressing drama fly by.

Among the innovations; director kb Saine splits the role of younger brother Tom into two roles: an older Tom, who serves as the Narrator, played by Dean Knight and a younger Tom “back then” two decades earlier, portrayed by Deejay Gray.

The two actors bear a strong resemblance to one another which helps this device work. As Tom the Narrator says; the entire play is based on his memory. The narrator lurks in the shadows throughout the entire play, helping the audience visualize the author’s mind’s eye. Knight’s dead pan, almost stiff delivery of the facts without emotion are reminiscent of Rod Serling or Alfred Hitchcock. In opposition to Narrator Tom, Gray provides all the emotional depth to Tom. Gray displays Tom’s restlessness and longing for adventure as well as his deep seeded rage and anguish from years under his mother’s thumb.

Terry Menefee Gau brings energy, variety and empathy to that overpowering mother, Amanda Wingfield. Gau’s presence is commanding as she both strives for love and attention, yet also tries to critically help her children. Gau brings a touch of Blanche Devereau’s southern charm mixed with Mama, from the old Carol Burnett show’s caustic abrasiveness. Amanda is intelligent and articulate and never at a loss for words, however numerous and biting they may be. However, Gau manages to also bring through Amanda’s softer side, her love behind her correctiveness and her pain and loneliness behind her anger and her tears.

McLean Jesse brings nervous energy and simple childlike innocence to daughter Laura. Laura is crippled both physically and emotionally and, much like her collection of glass figurines (her glass menagerie) is fragile and just one move away from being broken. Jesse carries Laura’s nervousness and emotional fragility well, but at times loses her physical disability. This could be in part because of the smallness of the stage, or it could be a directorial choice to see Laura as her “gentleman caller” Jim sees her; with the physical disability unnoticeable, simply amplified in Laura’s own mind. Jesse’s one other flaw, as my guest for the show, Morgan, pointed out, is that she does at time rely too much on a “sing-songy” style of dialog which could use some more variation.

Matt Bloch rounds out the cast as Jim, the gentleman caller and Tom’s High School friend and current co-worker. He is suave and calm as opposed to Laura’s social awkwardness. His empathy for Laura help guide the audience to feel the same way for her.

The set, the theater and even the city of Petersburg are all perfect for the 1930′s St. Louis apartment; cramped yet full of memories of better days gone by in the Old South. A curio cabinet/window holds a giant screen with changing messages controlled by Narrator Tom stylized like a 1920′s silent movie narration.

The furnishings of Keith Saine’s multi-level step up set of a parlor, dining room and fire escape correctly give off the atmosphere of the play. As Narrator Tom points out, E. Tonry Lathroum’s lights are appropriately dimly lit to give the feeling of shaded memories. There are also nice touches with sunlight and candlelight.

McLean Jesse doubled as Costume Designer and provided fitting wardrobe to the characters and period (although one of young Tom’s shirts irked me as looking like a bowling shirt!)

Director Saine keeps the dialog crisp and flowing and the actors keep the energy high which keeps the audience entranced with this masterful emotional presentation.

Photo Gallery

Dean Knight (left, sitting) as the older Tom and Deejay Gray (right, standing) as the younger Tom	Dean Knight as the older Tom, McLean Jesse as Laura, Deejay Gray as (younger) Tom, and Terry Menefee Gau as Amanda
McLean Jesse as Laura, Deejay Gray as Tom, and Terry Menefee Gau as Amanda

Photos by Dave White

The Cast

• Amanda: Terry Menefee Gau
• Laura: McLean Jesse
• Tom (then) Deejay Gray
• Tom (now) Dean Knight
• Jim: Matt Bloch

The Crew

• Director: kb Saine
• Stage Manager: Kelsey Cordrey
• Set Designer: Keith Saine
• Lighting Design: E. Tonry Lathroum
• Costume Design: McLean Jesse

Disclaimer: Sycamore Rouge provided two complimentary media tickets to ShowBizRadio for this review.