Archives

TRANSLATE WEBSITE

The Shoplifters – Arena Stage

Jordan Wright
September 21, 2014
Special to The Alexandria Times 

(L to R) Jane Houdyshell as Alma and Delaney Williams as Otto -Photo by Teresa Wood.

(L to R) Jane Houdyshell as Alma and Delaney Williams as Otto -Photo by Teresa Wood.

Alma is a career shoplifter.  In the stock room of a supermarket Dom, an overly zealous security guard trainee, is attempting to interview the crafty old woman.  The evidence: Two enormous steaks wrapped in white butcher paper upon a long wooden table.  And though Dom claims they tumbled out from under her dress,  Alma refuses to admit her part in it, going to great lengths to demean him as an amateur interrogator.  “Theft is not a motive.  It’s a consequence,” she instructs.

Jayne Houdyshell as Alma - Photo by Teresa Wood.

Jayne Houdyshell as Alma – Photo by Teresa Wood.

The eager gumshoe is no match for the veteran thief and she outmaneuvers him at every turn, twisting his words with theoretical gamesmanship and a knack for intellectualizing crime as a product of societal decay.  “Are you familiar with the myth of Prometheus?” she challenges, suggesting that her theft might be interpreted as a universal benefit to society.

L to R) Adi Stein as Dom and Delaney Williams as Otto -  Photo by Teresa Wood.

L to R) Adi Stein as Dom and Delaney Williams as Otto – Photo by Teresa Wood.

Two more characters enter the scene – Otto, Dom’s superior, a socially conscious  rent-a-cop who plans on retiring after training Dom, and Phyllis, Alma’s partner in crime, a spiritually inclined neurotic who prefers her job as a coat check girl to abetting Alma’s sociologically motivated schemes.

Canadian playwright and director, Morris Panych, has scripted a magnificently layered comedy, turbo-charged with hilarious one-liners, that on closer inspection is not a simple dissection of an interrogation and hoped for confession, but instead an absurdist exercise that would make Kafka proud.  Panych’s use of Otto as the questioner with a lenient view of criminal behavior is as intriguing as his portrait of Dom the bible-thumping do-gooder.  “We are not barbarians!” Otto admonishes Dom, in hopes that he’ll agree to release the women.  But Dom has other ideas and as soon as Otto and Alma leave the room he evangelizes Phyllis.  “Bad things happen for a good reason,” he cheerfully offers.

(L to R) Delaney Williams as Otto, Adi Stein as Dom, Jayne Houdyshell as Alma and Jenna Sokolowski as Phyllis - Photo by Teresa Wood.

(L to R) Delaney Williams as Otto, Adi Stein as Dom, Jayne Houdyshell as Alma and Jenna Sokolowski as Phyllis – Photo by Teresa Wood.

The cast is wonderful, especially given the complex duality of the characters.  Jayne Houdyshell in the role of Alma segues seamlessly from haughty sophist to stink-eyed cynic; Delaney Williams as Otto gives a textured performance as both her accuser and savior; Adi Stein as Dom, the foil, gives a keen portrayal of the overeager cop with psychological issues; while Jenna Sokolowski as Phyllis keeps the energy level high as the neurotic with a conscience.

Ken MacDonald’s brilliant set design consisting of 800 cardboard boxes frames the action.  Soaring to the height of the stage the toast-hued cartons sport the recognizable logos of familiar supermarket brands, further juxtaposing the familiar with the ridiculous.  Tucked between the boxes, randomly placed backlit niches highlight a small collection of everyday jewel-toned grocery items, giving them the illusion of precious objects.

Highly recommended.

Through October 19th at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024.                     For tickets and information call 202 488-3300 or visit www.ArenaStage.org.

Smokey Joe’s Café – Arena Stage

Jordan Wright
May 12, 2014
Special to The Alexandria Times
 

 Kara-Tameika Watkins in Smokey Joe’s Café—The Songs of Leiber and Stoller - Photo by Teresa Wood

Kara-Tameika Watkins in Smokey Joe’s Café—The Songs of Leiber and Stoller – Photo by Teresa Wood

Smokey Joe’s Café The Songs of Leiber and Stoller gets off to a slow easy roll.  Forty-two of the most beloved songs from the pantheon of R&B and rock and roll will be sung in only two hours and that’s going to necessitate a “build” as they say.

The nine-member cast kicks things off with few less familiar tunes soon revved up by finger-snappin’ classics like “Ruby Baby”and “Keep on Rollin’”which is oddly accompanied by a vintage film of train tracks projected onto rarely used and largely ineffective screens hung along the ceiling – – a needless distraction.  But at this point you’re just settling in and familiarizing yourself with the voices which are not aiming for any crescendos.  Yet.

In the third number, “Falling”, Ashley Blair Fitzgerald, as the blonde ingénue, comes off pitchy and things aren’t looking too promising.  For a show featuring some of the greatest hits of the R&B legends’ songbook, every voice is expected to be spot on.  These songs were covered by mega-artists from Presley to Piaf and singers as varied as the Drifters, Ben E. King, the Doobie Brothers, Big Mama Thornton, Peggy Lee, who released an entire album of their hits, and the Coasters, for which Lyricist Jerry Leiber and Composer Mike Stoller wrote twenty-four chart-topping hits.  It’s easy to see why the composers reign supreme in the pantheon of great songwriters in American popular music.

Levi Kreis in Smokey Joe’s Café—The Songs of Leiber and Stoller  - Photo by Teresa Wood.

Levi Kreis in Smokey Joe’s Café—The Songs of Leiber and Stoller – Photo by Teresa Wood.

In Director Randy Johnson’s production of the longest-running musical revue in Broadway’s history, a rockin’ 7-piece orchestra sits smack in the center of the stage-in-the-round, framed by a wide platform.  Singers enter between the aisles, shakin’, shimmyin’ and sashayin’ all the way onto the stage, and occasionally straight into the orchestra pit, as for “Jailhouse Rock” where Levi Kreis delivers a sexy, hip-grinding version on a vintage mic shoving aside the pianist to boogie-woogie the keyboard.  But that’s getting ahead of ourselves.

Nova Y. Payton in Smokey Joe’s Café—The Songs of Leiber and Stoller - Photo by Teresa Wood.

Nova Y. Payton in Smokey Joe’s Café—The Songs of Leiber and Stoller – Photo by Teresa Wood.

After a few numbers, the solos begin and the cast is on fire.  Nova Peyton’s powerful voice coupled with Stephawn P. Stephens’ formidable silken bass (think Teddy Pendergrass) on “Love Me/Don’t”guarantees goose bumps, and E. Faye Butler comes out in the first of her solos with a sultry, Ella-scatting arrangement of “Fools Fall in Love”.  Kreiss, whose portrayal of Jerry Lee Lewis in Broadway’s Million Dollar Quartet earned him a Tony Award, totally kills it again with “I Keep Forgettin’”and we’re off and running.  That’s followed by a razamatazz version of “On Broadway”,where Costume Designer Ilona Somogyi’s hip threads with skinny black ties, black-and-white spats and plaid jackets firmly encapsulate the early 50’s.  The throwback bongo drums are just the icing on the cake.

E. Faye Butler in Smokey Joe’s Café—The Songs of Leiber and Stoller - Photo by Teresa Wood.

E. Faye Butler in Smokey Joe’s Café—The Songs of Leiber and Stoller – Photo by Teresa Wood.

Choreographer Parker Esse channels the be-bop/jitterbug era employing some fierce hand dancing.  Spins, throws, flips and even breakdancing (the “Worm Dance” makes an appearance) is thrown in for good measure.

After eighteen numbers Act I ends in a come-to-Jesus moment as the orchestra pit rises up to the stage level of E. Faye, Nova, Levi and the entire company for a tambourine-fueled, gospel rendition of “Saved”Intermission comes hard after feeling so pumped.

(L to R) Jay Adriel, Stephawn P. Stephens, Michael J. Mainwaring and Austin Colby in Smokey Joe’s Café—The Songs of Leiber and Stoller - Photo by Teresa Wood.

(L to R) Jay Adriel, Stephawn P. Stephens, Michael J. Mainwaring and Austin Colby in Smokey Joe’s Café—The Songs of Leiber and Stoller – Photo by Teresa Wood.

Act II packs in 23 more classic numbers.  Look for Jay Adriel’s beautiful rendition of “Loving You” which brings to mind the voice of Johnny Mathis, and Nova on Hound Dog, a number she delivers with heart-stopping passion.  Remember “Yakety Yak”, “Hound Dog”, “Love Potion #9”, “Spanish Harlem”,and“I (Who Have Nothing)”, the iconic song once covered by Tom Jones?  Here E. Faye, Nova, Michael J. Mainwaring (a beautiful voice in his first ballad of the evening), and Levi blend together to provide an especially poignant moment to an evening of hand-clapping, foot-tapping, chair-dancing thrills.

You gotta go!  It’s like crazy cool, Daddy-O.

Through June 8th at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024.  For tickets and information on performance times and dates call 202 488-3300 or visit www.ArenaStage.org.

The cast of Smokey Joe’s Café—The Songs of Leiber and Stoller  at the Mead Center for American Theater - Photo by Teresa Wood.

The cast of Smokey Joe’s Café—The Songs of Leiber and Stoller at the Mead Center for American Theater – Photo by Teresa Wood.

Camp David – Arena Stage

Jordan Wright
April 4, 2014
Special to The Alexandria Times
 

(L to R) Ron Rifkin as Menachem Begin, Richard Thomas as Jimmy Carter and Khaled Nabawy as Anwar Sadat - Photo by Teresa Wood.

(L to R) Ron Rifkin as Menachem Begin, Richard Thomas as Jimmy Carter and Khaled Nabawy as Anwar Sadat – Photo by Teresa Wood.

Theater history was made Thursday night at Arena Stage’s premiere of Camp David when former U. S. President Jimmy Carter and his wife, Rosalynn Carter, were in attendance. Little known is the fact that it has taken thirty years for TV Producer and former White House Communications Director in the Carter administration, Gerald Rafshoon, to convince Carter to give his permission to do this play.

Mideast History 101 – In September of 1978 Menachem Begin, Prime Minister of Israel, Anwar Sadat, President of Egypt, and Jimmy Carter met at Camp David, the presidential retreat in Maryland’s scenic Catoctin Mountains.  For thirteen harrowing and contentious days and nights as the world waited with bated breath, the three men attempted to iron out a treaty to bring peace to the Middle East.  It is important to note that the Camp David Accords have stood the test of time.

Camp David is playwright Lawrence Wright’s fictionalization of this historic meeting – an intellectual struggle for power wrapped in a clash of egos.  A fourth character is present among the men, that of Rosalynn Carter (Hallie Foote) – – an important figure in the construct who brings Southern charm and levity to the play’s riveting tension.

(L to R) Hallie Foote as Rosalynn Carter and Ron Rifkin as Menachem Begin - Photo by Teresa Wood.

(L to R) Hallie Foote as Rosalynn Carter and Ron Rifkin as Menachem Begin – Photo by Teresa Wood.

The production opens with a graphic video reminder of the four wars that raged between Egypt and Israel within a 30-year time frame.  Using a combination of news footage and photos to depict the horrors of those wars and their subsequent effect on our oil prices as a result of Mid-East conflicts, serves to remind us of our investment in peace and stability in this tumultuous region.

Richard Thomas plays Carter.  Thomas may perhaps, be best known for his long-running role as John-Boy in The Waltons.  Since those days he has performed in dozens of film and television roles as a dramatic actor and can currently be seen on the much-acclaimed FX series The Americans.  Thomas’ Carter is a spot on depiction of the folksy, homespun Southern politician with the instincts of a Coonhound treeing a possum.  (Carter has since revealed that before the talks he had studied a weighty briefing on both Begin’s and Sadat’s personalities.)  He was savvy enough to know when to press them and when to back off.

Richard Thomas as Jimmy Carter - Photo by Teresa Wood.

Richard Thomas as Jimmy Carter – Photo by Teresa Wood.

Director Molly Smith shows a stroke of brilliance by casting one of Egypt’s leading actors, Khaled Nabawy, as Sadat.  Nabawy plays him with a high-minded and sophisticated air.  “Whatever you decide I will sign,” Sadat says agreeably.  “I am flexible on everything except land and sovereignty.”  Sadat has brought along a copy of the United Nations Security Council Resolution 242 that had been agreed to and signed in 1967.  It called for Israel to retreat from occupied lands, compensate for lost properties, return natural resources, grant access to holy places, terminate Arab boycotts and sign a treaty on non-proliferation.  Begin tears it in half.  Carter insists he stick to it as the basis for their talks.

Begin (Ron Rifkin) proves to be as intransigent as a mule, quibbling over formalities and procedural points like a schoolboy.  He doesn’t trust Carter or Sadat.  “You have a way of turning words upside down,” Carter accuses him.  But Begin is a tough negotiator, there to represent his people’s interests.  “One third of all the Jews in the world were annihilated in my generation,” he says.  And as each man calls out to his own God, Muslim, Jewish and Christian, for advice and succor, Carter reminds them,  “The future doesn’t have to be like the past.”

Hallie Foote as Rosalynn Carter, Richard Thomas as Jimmy Carter and Khaled Nabawy as Anwar Sadat with Will Beckstrom and Will Hayes -  Photo by Teresa Wood.

Hallie Foote as Rosalynn Carter, Richard Thomas as Jimmy Carter and Khaled Nabawy as Anwar Sadat with Will Beckstrom and Will Hayes – Photo by Teresa Wood.

Set Designer Walt Spangler uses old-growth trees in a mountain setting with a rustic cottage off to one side.  A drop section in the stage floor changes the scene, alternating between patio chairs and log-hewn garden benches, keeping the focus on the actors and the constantly shifting dynamics, while Lighting Designer Pat Collins uses sunrises and sunsets helps us to count the days.

Highly recommended.

Through May 4th at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024.  For tickets and information on performance times and dates call 202 488-3300 or visit www.ArenaStage.org.

Loveland at Arena Stage

Jordan Wright
March 23, 2014
Special to The Alexandria Times
 

Ann Randolph in Loveland at Arena Stage at the Mead Center for American Theater. Photo by Teresa Wood.

Ann Randolph in Loveland at Arena Stage at the Mead Center for American Theater. Photo by Teresa Wood.

Welcome to the wonderfully wacky world of Frannie Potts.  You’ll meet her in Loveland at Arena Stage as part of the Kogod Cradle Series for American Voices.

Frannie is a “thought bubble” come to life, a woman who actually verbalizes the socially unacceptable things we think but are conditioned by society not to say out loud.  Her ADHD is cringe-worthy.  She’s the crazy lady with no filter – – the one shouting out her philosophy of the world to strangers – – the one we dismiss.  In writer/performer Ann Randolph’s Loveland we enter the world of Frannie Potts in her hilarious one-woman show.

On a stage set with a single chair and a shopping bag containing a few props, we find Frannie seated on a plane on her way from LA to the Midwest for her mother’s funeral.  In Frannie’s world “dead” is dead – not “passed away” or “gone”.  She brooks no euphemisms and no platitudes, and we love her all the more for it.

In a series of flashback portrayals, Randolph takes on the identities of a number of characters, not least of all her irreverent chain-smoking mother, a wisecracking pistol of a woman who delights in egging her daughter on.

Randolph also channels the pilot, whom she fantasizes about; a stereotypically snooty flight attendant; her seatmates, who are none to pleased to listen to her ramblings; a condescending funeral home saleswoman; a smarmy nursing home administrator; and a sanctimonious yoga instructor named Shanti.  None are spared Frannie’s sharp-tongued, sharp-eyed, invariably outraged, retorts.  If you’ve ever enjoyed the screwball humor of Erma Bombeck, Ruth Buzzi or Lily Tomlin, the satirical black humor of British comedies like The Wrong Box or The Loved One, or the wry wit of Fran Lebowitz, Loveland is certain to rattle all your funny bones.

In one of the skits Frannie tries frantically to reach her mother at the Crane Lake Country Manor, a nursing home with, you guessed it, no cranes and no lakes.  The irony of it all is compounded when she is subjected to the “on hold” strains of Mozart’s Requiem Mass for the Dead.

Randolph has created Frannie, a hugely sympathetic character, with depth and dimension, and she does it with floor-dropping humor.

Highly recommended.

Through April 2nd at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024.  For tickets and information on performance times and dates call 202 488-3300 or visit www.ArenaStage.org.

Ann Randolph in Loveland at Arena Stage at the Mead Center for American Theater. Photo by Teresa Wood.

Ann Randolph in Loveland at Arena Stage at the Mead Center for American Theater. Photo by Teresa Wood.

Kathleen Turner Triumphs in Mother Courage and Her Children – Arena Stage

Jordan Wright
February 11, 2014
Special to The Alexandria Times

Kathleen Turner as Mother Courage in Mother Courage and Her Children - Photo by Teresa Wood

Kathleen Turner as Mother Courage in Mother Courage and Her Children – Photo by Teresa Wood

I had a terrible sense of dread about Arena Stage’s production of Mother Courage and Her Children… and in Act One it was coming true.  But we’ll get to that later.

There was a palpable hush that came over the audience when Kathleen Turner appeared on the stage as Mother Courage in a shiny new version of Bertolt Brecht’s drama, performed in Fichandler’s theater-in-the-oblong space.  Turner is an actress of such import that she brings instant gravitas to whatever role she plays and the audience was already pumped up to see her return to Arena Stage since last August’s one-woman show, Red Hot Patriot: The Kick-Ass Wit of Molly Ivins. 

If the charismatic Turner personified “feisty” in that show, she gives new meaning to the word as a mother who survives the war by her wit and grit.  Set in the 1600’s, the play, now a musical, uses the similarities of the Polish-Swedish War and the Thirty Years’ War to crystallize the futility of all wars, while at the same time expressing a tender story of a mother’s uncompromising duty to her children doled out with regular infusions of tough love.  But Mother Courage who hauls her vendor’s cart to war zones selling stolen wares to the soldiers on both sides “Wherever there’s corruption, there’s hope,” she avers, cannot protect her children forever.  “You thought you could live off the war and keep your family out of it,” the Sergeant admonishes her while recruiting one of her sons.

Director Molly Smith eschews the orchestra pit recruiting actors, for all but the major roles, who are also musicians.   To that end the soldiers carry their instruments, accordion, tuba, trumpet or band saw, on stage for all the musical numbers, which gives the play an engagingly surreal dynamic… quirky, surprising and totally Brechtian.

(L to R) Kathleen Turner as Mother Courage and Jack Willis as the Cook in Mother Courage and Her Children - Photo by Teresa Wood

(L to R) Kathleen Turner as Mother Courage and Jack Willis as the Cook in Mother Courage and Her Children – Photo by Teresa Wood

Turner, who makes her singing debut, is clearly the big draw when she is on stage, which is nearly the entire two hours and forty-five minutes of this 1939 satirical tale.  Jack Willis is wonderful as The Cook, a pragmatic philosopher who woos Mother Courage even as he is trying to save his own neck  – – ditto for Rick Foucheux as The Chaplain, a sanguine dolt who in a twist of fate becomes The Cook’s rival.  “A war always has friends,” he quips spouting the gallows humor that weaves in and out of this intricate script.

Like Tolstoy’s War and Peace… a slog to get into until you get past the first hundred pages when it becomes impossible to put down… the play unfolds slowly, thus bringing on my fear that it would be a long night indeed.  Yet as soon as Composer James Sugg’s glorious music kicked in, the show revealed songs with the power and haunting quality of Broadway’s Les Miserables.  Sigh.  If only there were more than eleven numbers.

(L to R) Erin Weaver as Kattrin, Rick Foucheux as the Chaplain, Meg Gillentine as Yvette and Kathleen Turner as Mother Courage - Photo by Stan Barouh

(L to R) Erin Weaver as Kattrin, Rick Foucheux as the Chaplain, Meg Gillentine as Yvette and Kathleen Turner as Mother Courage – Photo by Stan Barouh

Local actor Erin Weaver does a wonderful job as Kattrin, Mother Courage’s mute daughter, in a performance reminiscent of Patty Duke’s groundbreaking role as Helen Keller in The Miracle Worker.  But the real scene stealing is left to Meg Gillentine as Yvette who electrifies with a slithery tango in the show’s third number, “Each Night in May”.

Through March 9th at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024.  For tickets and information call 202 488-3300 or visit www.ArenaStage.org.

Kathleen Turner (center) as Mother Courage and the cast of Mother Courage and Her Children - Photo by Teresa Wood

Kathleen Turner (center) as Mother Courage and the cast of Mother Courage and Her Children – Photo by Teresa Wood