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Offenbach Operetta Songbird Gets a New and Snappy 1920’s New Orleans Jazz Treatment with Superstar Isabel Leonard

Offenbach Operetta Songbird Gets a New and Snappy 1920’s New Orleans Jazz Treatment with Superstar Isabel Leonard

Songbird
The John F. Kennedy Center for the Performing Arts
Jordan Wright
March 15, 2024
Special to The Zebra

A scene from Songbird (Photo/Scott Suchman)

If you tell me Isabel Leonard is starring in a modern-day rendition of the well-loved, classical Offenbach operetta, “La Périchole” (1868), I would sell my soul to see it – especially since it’s set in the 1920’s Prohibition Era in New Orleans when “Hot Jazz” was king. Think Jelly Roll Morton, Louis Armstrong and the Dixieland Jazz bands of that force de la nature of American music. NOLA, as we now call it, became a musical polyglot of Afro-Caribbean, Marching Band beats, Spanish Tango influences, Ragtime syncopation, dusky Blues, Vaudevillian razzmatazz, improvisational Scat, and throbbing Latin rhythms bursting forth from a port city credited with the birth of American Jazz.

Conductor, Arranger and Orchestrator, James Lowe, was tasked with melding these divergent yet harmonious rhythms and dovetailing them into Songbird, an opera that uses Franglais in a nod to Offenbach’s French ancestry. Don’t worry there are projected surtitles when the actors switch to French. Instruments of the period, including a vintage drum set from the 1920’s, create the perfect sound Lowe uses to evoke the period when the Stomp, the Charleston and the Black Bottom were just coming of age.

Isabel Leonard (Songbird) and Ramin Karimloo (Piquillo) (Photo/Scott Suchman)

The sassy, spunky, risque comedic action takes place in a speakeasy called Café des Muses and stars a fabulous Vaudeville duo – the starving artists, Songbird (Isabel Leonard) and her amour Piquillo (Ramin Karimloo). The villain is the mayor of the New Orleans, the vainglorious Don Andrès (Edward Nelson) who falls madly in love with Songbird but wants her to be his mistress not his wife. Along with his cohorts, Don Pedro (Jonathan Patton) and Panatellas (tenor and funny as hell natural comedian Sahel Salam), he conspires to marry her off to Piquillo so that he can enjoy her in a carnal way with no strings attached.  With “tunes and booze and no taboos” this splashy production has it all including staggering drunk revelers.

One of the opening lines is delivered by Don Andrés who crows, “I could stand in the middle of Bourbon Street and the President would put me in his Cabinet!” And with that, the slapstick, pratfalls, tap dances and upside-downness begins to click. Add a soupçon of Gilbert and Sullivan panto and shades of the artsy bohemian life and we’re in Gay Paree. There is even a high-kicking Can Can at the bar!

Edward Nelson as Don Andrés (Photo/Scott Suchman)

Premiering at New York’s Glimmerglass festival in 2021, shelved during the pandemic and pared down to one act, the adaption is by Eric Sean FogelJames Lowe and Kelley Rourke who wrote the English lyrics and book.

Believe me when I tell you, the triple Grammy Award-winning mezzo soprano, Isabel Leonard will steal your heart. Her captivating mezzo-soprano range is perfectly suited to this snappy score and her acting chops prove that she can tailor her style to whatever is thrown her way. Furthermore, she plays the gamine as delightfully as Audrey Hepburn. And Karimloo, who is an award-winning Broadway musical star, will wow you with his song styling as well as his acting and comedic chops. Insider scoop: He has never studied voice, can’t read music (He asks for all his scores to be sent via the DAW GarageBand software.), and never in his life saw an opera before he was cast in this one. I love this so much!

Ramin Karimloo (Piquillo), Jonathan Patton (Don Pedro), and Sahel Salam (Panatellas) (Photo/Scott Suchman)

Deliciously naughty and wildly colorful with Mardi Gras costumes, zoot suits and spats, beaded flapper dresses and silky lingerie, this oh-so-clever interpretation will charm and delight. I know because the audience lost their collective minds – cheering at every song and roaring at every bit of farce. They were just as wild as the performers in their enthusiasm.

Highly recommended!!!!!

With Teresa Perrotta as Guadalena, Kresley Figueroa as Berginella, Cecelia McKinley as Mastrilla, Taylor-Alexis DuPont as Celeste, Jonathan Pierce Rhodes as A Priest, Justin Burgess as A Mobster/The Guide and Jo Ann Daugherty as Pianist.

Original Co-Director Francesca Zambello; Original Costume Designer Christelle Matou; Costume Designers Marsha LeBoeuf and Timm Burrow; Lighting Designer Robert Wierzel; Sound Designer Mark Rivet.

Remaining performances on March 17th, 20th and 23rd at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit www.Kennedy-Center.org

What’s Onstage in the DMV for April & May

What’s Onstage in the DMV

April & May
Jordan Wright
March 4, 2024
Special to The Zebra

 

Little Shop of Horrors (Illustration by Carolina Dulcey) via Ford’s Theatre

The Nance
Where:  1st Stage
When: Apr 4 – Apr 21
Find more information at www.1stStage.org

Little Shop of Horrors
Where: Ford’s Theatre
When: Now through May 18
Find more information at www.Fords.org

A Jumping Off Point 
Where: Round House Theatre
When: Apr 10 – May 5
Find more information at www.RoundhouseTheatre.org

Islander: A New Musical
Where: Olney Theatre Center
When: Apr 11 – Apr 28
Find more information at www.OlneyTheater.org

Penelope Via Signature Theatre

Penelope
Where: Signature Theatre
When: now through Apr 13
Find more information at www.SigTheatre.org

Unknown Soldier
Where: Arena Stage
When: now through May 5
Find more information at www.ArenaStage.org

Amm(I)gone 
Where: Woolly Mammoth
When: Apr 20 – May 12
Find more information at www.WoollyMammoth.net

Nancy
Where: Mosaic Theatre
When: now through Apr 21
Find more information at www.MosaicTheater.org

Off the Page
Arts on the Horizon
Where & When: Apr 5, 6, and 7 at Theatre on the Run and Apr 20 and 21 at The Lyceum in Alexandria
A non-verbal theatre company for children 0–6 years old
Find more information at www.artsonthehorizon.org/offthepage.html

Hair
Where: Signature Theatre
When: Apr 17 – Jul 7
Find more information at www.Sigtheatre.org

Messsage in a Bottle via The Kennedy Center

Message in a Bottle
Where: Kennedy Center
When: Apr 9 – Apr 21
Find more information at www.Kennedy-Center-org

The Illusionists
Where: Kennedy Center
When: Apr 23 – Apr 28
Find more information at www.Kennedy-Center.org

At the Wedding Of 
Where: Studio Theatre
When: through Apr 21
Find more information at www.StudioTheatre.org

Beauty and the Beast
Where: Toby’s Dinner Theatre
When: now through June 16
Find more information at www.TobysDinnerTheatre.com

Surviving Grace
Where: Providence Players of Fairfax
When: Apr 12 – Apr 27
Find more information at www.ProvidencePlayers.org

Websters Bitch via Keegan Theatre

Webster’s Bitch
Where: Keegan Theatre
When: Apr 6 – May 5
Find more information at www.KeeganTheatre.com

Hester Street
Where: Theatre J
When: now through Apr 21
Find more information at www.TheatreJ.org

Murder on the Orient Express
Where: The Little Theatre of Alexandria
When: now through April 13
Find more information at www.TheLittleTheatre.com

Chicks in Heaven
Where: Creative Cauldron
When: Apr 3 – Apr 28
Find more information at www.CreativeCauldron.org

Loving v Virginia
Where: Virginia Opera Company
When: May 3 and 4
Find more information at www.VAOpera.org

Smokey Robinson Live
Where: The Theater at MGM National Harbor
When: Apr 12 only
Find more information at www.BoxOfficeTicketSales.com

Interview with Local Author Monica Saigal

Interview with Monica Saigal

Jordan Wright
February 24, 2024

Author Monica Saigal

As two Northern Virginia residents with careers in food writing, Monica Saigal and I met through the local food world over a decade ago. Over those many years, I have enjoyed witnessing her transition, or should I say blossoming, from successful cookbook author into novelist of international renown. Saigal’s books garner not only extensive, top-tier media coverage but also excellent reviews. As an award-winning writer, accomplished literary coach, gifted poet, storyteller, keynote speaker and educator, her cookbooks and novels have enjoyed universal appeal.

Last month Saigal, whose full-time gig is Social Media Strategist for a tech company, launched her latest love story/mystery “A Kiss in Kashmir” at the Hilton Alexandria Mark Center Hotel. Over a hundred fans including media were treated to a sumptuous assortment of Indian-centric hors d’oeuvres and desserts designed by the hotel’s Executive Chef Rajeev Sethi. Kashmiri ingredients including cardamom, almonds, saffron and cinnamon were incorporated into these delicacies and a Kashmiri Kahwa tea service was offered as well. The ever-popular local radio celebrity, Kojo Nnamdi, conducted the interview with the two dear friends seated on a lavishly decorated stage befitting an Indian wedding scene.

Book launch event at the Hilton

 

Desserts served at the book launch

I spoke with Saigal after the event.

Jordan Wright – Are all your novels set in India?

Monica Saigal – “The Devil in Us” was set in the U.S, “The Soul Catcher” is magical realism, and “Karma and the Art of Butter Chicken” was set in Delhi.

JW – Your latest novel “A Kiss in Kashmir” tells a beautiful story of an older couple finding love against all odds. It is a deeply human story filled with romantic emotion. What was your inspiration?

MS – It was very selfish. I wrote the book I wanted to read. I found that most of the books I read weren’t for older people. I wanted to write a story for an older demographic that was realistic and very forward thinking. We sometimes tend to bypass the older generations in our narratives and I think that needs to change. I think people are looking for these stories.

JW – Your novels provide close-ups into the lives, environments, and emotions of many diverse Indian castes as well as those from other cultures. You gift them with intimate emotions and romantic interactions. How do you source these descriptions? Do they come from outside your circle of friends? Are they fantasies or do you draw from stories friends tell you?

MS – When I create a character, I sketch out the psychological profile of the character. Then I ask around to friends to find someone who fits the description and is willing to talk to me. Then I can fill out my profile because I don’t think I can claim to know each individual characters’ personalities. When Kojo read the book, he called me right away because, as an older widower, he identified with that profile. “I would have reacted the same way George [the hero in “A Kiss in Kashmir”] reacted,” he told me.

JW – I know you conduct writing classes for budding authors. How can locals find your schedule?

MS – On weekends I’ll be conducting classes on Healing Modalities. I have a series coming up soon. The classes will be followed by making jewelry, yoga, painting and sound healing. The schedules are posted on my website www.MonicaSaigal.com

JW – Your dialogue shows a vibrancy which contributes to the authenticity of conversations between characters. Do you record conversations while you are out and about? Or do you carry a notebook to jot down quips and quotes?

MS – I learned from many of my novelist friends how to listen and how people speak. It’s active listening. I feel people are looking for insight where there is dialogue. I used to write as if it were theoretical. Now I listen when I go to restaurants. I don’t spy on people! I want to hear how they start a sentence and how they stop a sentence.

JW – Does living in Northern Virginia influence your writing?

MS – I find a lot of serenity where I live. It is beautiful here in Virginia. I’ve lived here for over 20 years and love walking around Meadow Lark Gardens and other local parks. The Japanese have a saying, “Go and bathe in the forest.” That is what Virginia affords me.

JW – In your early writing it was your cookbooks that established your writing career with your reputation for approachable Indian cooking. Can you find all the ingredients you need to prepare your dishes?

MS – Very easily. We used to get ingredients sent from India. Nowadays I can go to the Ashburn area where Patel Brothers has everything including freshly made rotis and pickles.

Where We Belong – An American Indian Story at the Folger Looks for Answers

Where We Belong – An American Indian Story at the Folger Looks for Answers

Folger Theatre
Jordan Wright
March 3, 2024
Special to The Zebra

Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin.

 Full Disclosure: I wrote on Native American culture for Indian Country Media Network Magazine for eight years.

When playwright and presenter, Madeline Sayet aka Achokayis, discovers her Mohegan name means “blackbird” she imagines where flight would take her. In this one-woman show – a co-production with Woolly Mammoth – she begins her story in an airport in Sweden – a stopover on her way to London’s Oxford University where she hope to earn her PhD in Shakespearean literature. Although she is initially afraid of flying, she grants it a bit of avian symbolism. “In the sky the borders disappear,” she imagines.

Her fascination with Shakespeare stems from a need to escape the perils and pressures of being Native American. Learn the language. Overcome discrimination. Get out from under her mother’s constant reminders to, “listen to your ancestors”. But the more she learns about the history of her people – their stolen lands, the broken treaties, the forced removal – the more haunted she becomes. As she tells it in this one-woman drama, when she stands up for herself in class to discredit both British- and American-written history books, she gets pushback from her professors who are eager to sweep the ugly truths into the dustbin of history. But Sayet knows her Native American history and her determination to share that knowledge with her professor and fellow students finds her in a very precarious position. She learns the hard way it’s not politically correct to discuss the Indian Wars, the renaming of Indian lands by the British using British names, or the policies of Andrew Jackson who was responsible for the horrific Trail of Tears.

Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin.

Sayet’s has formed an idealization of Shakespeare as an anti-Colonialist, a concept that on the surface seems extraordinarily naïve. She imagines Caliban from “The Tempest” as Shakespeare’s way of empathizing and triumphing the native, but connecting Shakespeare’s literary intent to indigenous culture becomes a bridge too far for me. Think of this production more as a black box staging with spare lighting and set design and not the sort of production usually seen at The Folger.

Apart from that Sayet’s telling gives the listener a lot of background on the history of Indian affairs in America and Great Britain and lands this play somewhere between a doctoral dissertation and her personal story. What I found more interesting was the both the tension and connection in her relationship with her mother back in America. She playacts the phone calls and we learn the pressures she is under to revive their forgotten tribal history. “Your mission is our survival,” her mother warns.

Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin.

I found this story to be the perfect primer for high school students and adults who are ill-informed about the very real issues that American Indians face every day.

“We’re still here,” is a saying held by Native Americans to let the world know they are still on this earth and their needs and claims are valid. It also goes towards explaining the importance of the repatriation of tribal objects and ancestral remains. And if we think of this story in those terms therein lies its value.

Directed by Mei Ann Teo, Lighting, Scenic Design and Props by Hao Bai, Costume Design by Asa Benally, Musical Composer and Sound Designer Erik Schilke.

Through March 10 at the Folger Shakespeare Theatre,201 E Capitol Street, SE, Washington, DC 20003. For tickets and information call the box office at 202 544.7077 or visit www.Folger.edu.

Cock-Eyed Irreverence By South Park Creators Spells Utter Hilarity in the Side-Splitting The Book of Mormon at the National Theatre

Cock-Eyed Irreverence By South Park Creators Spells Utter Hilarity in the Side-Splitting The Book of Mormon at the National Theatre

The Book of Mormon
Broadway at The National
Jordan Wright
March 6, 2024
Special to The Zebra

Sam Nackman and Sam McLellan (Photo/Julieta Cervantes)

Hellfire and damnation figure neatly in the wacky and wonderful The Book of Mormon. With book, music and lyrics by Trey ParkerRobert Lopez and Matt Stone, creators of the four-time Emmy Award-winning animated series South Park, you’ll luxuriate in all the irreverence you can handle. And then some. Winner of nine Tony Awards, the blowout show is legendary for its comedic take on Mormonism and its 21 unforgettably zany songs plus tap dancing and sequin-clad chorus line.

The story focuses on the bicycle-riding, young men with their skinny black ties and crisp white shirts eager to convert and well-trained in proselytizing. Two-by-two they comb the earth seeking out sin and sinners and spreading “The Word”.

Sam McLellan and company (Photo/Julieta Cervantes)

Elder Price and Elder Cunningham are two of the innocenti. Recently sprung from the church’s Missionary Training Center, they are partnered up for their mission to Uganda where they’ll rendezvous with other eager young evangelists. Two more disparate comrades are impossible to conceive. Price (Sam McLellan absolutely brilliant comedic actor with a fantastic voice) is massively handsome, completely self-centered, and brimming with untested confidence. Ready to take on the world he is miffed to be conjoined with Cunningham (Sam Nackman who shines in his debut stage role), a portly nerd lacking self-worth and clinging to Price like a limpet mine to a submarine.

Hoping to prove they’ll be worthy in the afterlife, the two unlikely apostles set off on a journey that is so convoluted, so riotous and so ungodly that your hair may stand on end. At a send-off staged by their parents, replete with a dancing witch doctor who references The Lion King, the hapless accolytes are told, “You get out there and you baptize those Africans!”

Trinity Posey, Sam McLellan, and Sam Nackman (Photo/Julieta Cervantes)

Instead, the boys realize converting the whole human race is not as easy as they had been led to believe. They soon discover the natives have their own brand of mythology, and it’s not any more far-fetched than Mormon founder Joseph Smith’s story of the never-before-seen-by-a-living-soul, golden plates he personally excavated in upstate New York. These Mormon-themed side skits are re-enacted hilariously by Joseph Smith (Trevor Dorner) and the Angel Moroni (Sean Casey Flanagan) in dream sequences comparing the origins of the Latter-Day Saints to the natives’ beliefs. But which of these tales are more fanciful?

Warlords and AIDS are on the minds of the Ugandans who have a middle-finger-raised musical response to God in the number “Hasa Diga Eebowai”. Dewight Braxton, Jr. plays the one-eyed General and bloodthirsty warlord who threatens to circumcise all the girls in the village by the end of the week.

The Book of Mormon North American Tour (Photo/Julieta Cervantes)

There’s a sweet love story between the beautiful Nabulungi (Keke Nesbitt) and Cunningham, the most unlikely suitor, who woos her with dreams of a Mormon paradise. In her beautifully sung number, “Sal Tlay Ka Siti” (her African pronunciation of Salt Lake City), she places her hopes in his hands.

Though it takes a village, this is most certainly not The Sound of Music. And Nabulungi’s convincing her tribe to get baptized, isn’t based on truth – Cunningham has convoluted the church’s teachings to suit his ignorance of its contents. “I actually never read it,” he confesses. (If you’re wondering how the Mormon hierarchy reacted to the comedic blasphemy, the quote is, “You’ve seen the play. Now read the book.”) But Cunningham is determined to make Nabulungi his first convert and croons “Man Up”, describing Jesus’ bravery as “growing a pair”.

Credit to Directors Casey Nicholaw and Trey Parker plus Jennifer Werner for Direction and Choreography; Scott Pask for the Scenic Design; Sound Design by Chad Parsley; Costumes by Ann Roth; Lighting Design by Brian MacDevitt and the 12-piece kick-ass orchestra directed by Larry Hockman and Stephen Oremus. Twenty-two numbers and a nine-piece orchestra make this musical irresistible.

Highly recommended!!!

The company of the Book of Mormon North American Tour (Photo/Julieta Cervantes)

With Vince Klassen as Mormon; Sean Casey Flanagan as Moroni/Elder McKinley; Trevor Dorner as Price’s Dad/Missionary Voice/Elder McKinley/Mission President; Gideon Chickos as Cunningham’s Dad; Trinity Posey as Mrs. Brown; DeVon BuchananJustin Forward and Thomas Ed Purvis as Guards; Lamont J. Whitaker as Mafala Hatimbi; Jarret Martin as Doctor. Ensemble – Jarius Miquel CliettMatthew DantJustin ForwardCraig FrankeLars HafellKisakyeEvan LennonJoey MyersAlexis Ijeoma Nwokoji, and Chelsea M. Smith.

Through March 17th at National Theatre, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information visit www.TheNationalDC.com.  

The World Premiere of Tempestuous Elements Shines Brightly at Arena Stage

The World Premiere of Tempestuous Elements Shines Brightly at Arena Stage

Arena Stage
Jordan Wright
February 26, 2024
Special to The Zebra

Illustration by Loveis Wise. Courtesy of Arena Stage.

Whether Psalmayene 24 is directing or writing, I know it’s a production I want to see. The pairing of “Psalm” as director of this world premiere with playwright Kia Corthron promised to be an intriguing collaboration. The story centers around teacher and school principal Anna Julia Cooper (the amazing Gina Daniels), a woman for whom the classics – Greek and Latin – and advanced mathematics were crucial to her curriculum. Anna knew that without her students mastering those subjects they’d have no chance of acceptance at Harvard or her alma mater Oberlin College as opposed to traditional HBCU colleges like Tuskegee Institute headed by Booker T. Washington whose influence at the White House afforded him the ear of the President.

Set against a Victorian backdrop, when married women were not allowed to be teachers, the play unfolds to reveal Anna and her fellow female teachers living on campus. For the most part they are all supportive of each other, but we see how professional jealousy can keep the glass ceiling firmly in place.

https://whiskandquill.com/the-world-premiere-of-tempestuous-elements-shines-brightly-at-arena-stage

Anna teaches at M Street School, a private Washington, DC school for Black high school students. After a 20-year tenure, she’s about to get the shaft. It’s insider politics at their most insidious. Throughout the play historical references, societal mores and conflicts within the Black school system work against her high ideals. And although she upholds the highest scholastic standards, she is undermined by her co-worker Minerva Jeffries, who is far more concerned with students’ punctuality than their scholastic abilities. Another teacher, Mary Church Terrell, whose husband secures a seat on the Board of Education plans Anna’s undoing. When Anna’s students begin to exceed the accomplishments of their White counterparts, she is accused of being “elitist”, overstepping her bounds as a female teacher and, in the lowest blow of all, having an affair with her foster son, John.

Gina Daniels, Brittney Dubose, Ro Boddie, Joel Ashur, and Jasmine Joy in Tempestuous Elements. Photo by Kian McKellar.

The play is a history lesson in the competing ideas as to how to educate Black students including the many restrictions placed upon administrators to not “overstep” White imposed boundaries. Invoked are the names of W. E. B. Dubois and Frederick Douglas whose styles of educating Blacks differed substantially. Set a mere two generations after slavery, it touches on the Colored Women’s League, the destruction of Reconstruction, suffragettes, human dignity and the need to educate a new generation of Black students.

I can’t say enough about the caliber of this cast – their clear passion for their roles in presenting this deeply affecting story – as well as the high level of production values in every aspect from costumes to choreography, music to set design. It’s as smooth as silk. And speaking of silk, I learned something new. To dress the men and women of the South in bespoke finery, slaves learned to produce silk by breeding silkworms and weaving the silk from their cocoons on looms. Who knew?

Renea S. Brown and Kevin E. Thorne II in Tempestuous Elements. Photo by Teresa Castracane.

With Kelly Renee Armstrong as Abigail/Lotte; Joel Ashur as Mr. Turner/Francis/Atwood/Charles; Ro Boddie as Hiram/W.E.B. Dubois/Rep. White – played by Jonathan Del Palmer on opening night; Renea S. Brown as Ernestine/Lula/Mrs. Cook/Alumni Association President; Brittney Dubose as Lucretia/Annie; Yetunde Felix-Ukwu as Minerva/Miss Patterson; Jasmine Joy as Ruth/Ivy/Josephine/Principals’ Association Representative; Lolita Marie as Hannah/Mary/Nellie; Paul Morella as Hughes; Kevin E. Thorne II as Lawrence/Silas/John/Dr. Purvis/Dance Captain. Female Understudies – Monique Paige and Renee Elizabeth Wilson.

Associate Director and Choreographer, Tony Thomas; Set Designer, Tony Cisek; Costume Designer, LeVonne Lindsay; Lighting Designer, William K. D’Eugenio; Original Music and Sound Design by Lindsay Jones; Dramaturg, Otis Ramsey-Zöe; Hair and Wig Designer, LaShawn Melton; Dialect and Vocal Coach, Lisa Nathans.

Highly recommended.

 

Through March 17th on the Fichandler Stage at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 554-9066 or visit www.ArenaStage.org