January 17, 2017
Special to The Alexandria Times
Marshall Cesena (Billy Crocker) and Mara Stewart (Reno Sweeney) = Photos by Keith Waters for Kx Photography
Director Stefan Sittig is no stranger to big song-and-dance productions, and awards committees are no strangers to his considerable talent. He’s directed and/or choreographed all the major blockbusters from Chicago to Evita, Showboat to Jesus Christ Superstar, A Chorus Line to West Side Story, and many more of our favorite Broadway shows, winning countless awards for his efforts. But a show is only as good as its performers and thrillingly LTA’s Anything Goes has got a super cast of singers and hoofers – the most indelible being Mara Stewart as Reno Sweeney. The young Stewart, a recent arrival to our area from Chicago’s stages, is a spectacular singer (think Liza Minelli, Ethel Merman and Barbra Streisand rolled into one) and comedian (conjure up Lucille Ball’s antics, and delving into the archives of vaudeville, Fanny Brice). She is utterly captivating and surely destined for a stellar career. Catch her here and you can say, I knew her when.
Marshall Cesena (Billy Crocker) and Tori Garcia (Hope Harcourt) – Photos by Keith Waters for Kx Photography
Set in 1934, a disparate bunch of passengers and gangsters is sailing aboard a luxury liner to England. Wall Street nabob Elisha J. Whitney (played deliciously by Dick Reed) is just one of the dupes being conned by Moonface Martin (Ken Kemp, a wickedly funny scene stealer) and his cohort, Bonnie (Jaqueline Salvador). Billy Crocker (Marshall Cesena) is Whitney’s assistant, a starry-eyed boy wonder hopelessly in love with Hope Harcourt (the beautifully voiced Tori Garcia), a girl about to give her hand in marriage to the witless British lord, Sir Evelyn Oakleigh (James Maxted). If that doesn’t keep it lively enough, there’s the splashy celebrity diva and former evangelist, Reno Sweeney (the aforementioned Mara Stewart) and her four “Angels” – Chastity (Ashley Kaplan), Purity (Katie Mallory), Virtue (Elizabeth Spilsbury) and Charity (Caitlyn Goerner) her backup chorines.
Elizabeth Spilsbury (Virtue), Jon Simmons (Sailor), Ashley Kaplan (Chastity), Kurtis Carter (Sailor), Marshall Cesena (Billy Crocker), Tori Garcia (Hope Harcourt), Katie Mallory (Purity), Drew Sese (Sailor), Michael Gale (Sailor) – Photos by Keith Waters for Kx Photography
Coward drew inspiration from the rarefied circles he traveled in, peppering his tales with the gangsters and crooks who plied their cons on the fringes of high society. With his incomparable talent for witty repartee, Anything Goes is filled with bon mots and zingers on the SS American, where crooks are hapless and gold diggers are adorable.
Caitlyn Goerner (Charity), Katie Mallory (Purity), Jackie Salvador (Bonnie), Elizabeth Spilsbury (Virtue), Ashley Kaplan (Chastity) – Photos by Keith Waters for Kx Photography
In typical Coward fashion, there’s mistaken identity and hilarious disguises, especially when Billy, in hot pursuit of Hope and against her mother’s wishes, becomes a chef, then a sailor and ultimately a nobleman, “Are you French or Spanish?”, Hope’s mother (Allie Cesena) wonders after he changes into a count with a phony beard cut from a swatch of her fur jacket. “Neither,” he quips. “I’m Chinchillian!”.
The best of British humorists, P. G. Wodehouse and Guy Bolton wrote the book and it’s popping with Brit wit. Kit Sibley and Jean Schlichting bring massive glamour to the costumes – from spangles, sequins and feather boas to sassy chorus girl sailor suits and gowns slit up to there with plenty of leg. Sibley also does double duty on the terrific period hair and wigs.
Conductor and keyboardist Francine Krasowska leads a nine-piece, onstage orchestra who play a total of fourteen instruments in a glorious bonanza of 17 of Porter’s greatest hits – among them some of his most memorable – “You’re the Top”, “Let’s Misbehave”, “It’s De-Lovely” and “I Get a Kick Out of You”.
Through February 4th 2017 at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com
The Cast of “Anything Goes” performing “Anything Goes – Photos by Keith Waters for Kx Photography
December 5, 2016
Special to The Alexandria Times
Tony Gilbert (Scrooge) – Photo credit Doug Olmstead
It’s that jolly, spooky, heartwarming, Charles Dickens time of year again and, like The Nutcracker, many families hold dear the tradition of seeing A Christmas Carol together. The Little Theatre of Alexandria has been mounting this play for eons, but each year it’s a different version depending on who’s directing and what elements of the story they choose to emphasize. For Director Michael J. Baker, Jr. it was important to delve into the original book, plumb the depths of Dickens, and cherish some of the best lines. “Bad lobster in a dark cellar”, in which Scrooge describes the face of Marley during his first ghostly encounter, was taken from the original, but I’d never heard it before. There’s a certain ominous and indelibly charming alliterative ring to it that sets the tone for shades of things to come.
Penelope Gallagher (Belle’s Daughter), Eva Jaber (Belle’s Child #1), Clare Baker (Ghost of Christmas Past) – Photo credit Doug Olmstead
Clearly Baker has done his homework. As a veteran of the role of Scrooge (five times!), he brings an actor’s perspective and a director’s experience to the classic tale of the penurious, humbugger, Ebenezer Scrooge. In one particular instance young Scrooge is abandoned by his family at his boarding school, Baker draws on Dickens’ love of Ali Baba and plunks a parrot outside the window. It’s subtle but it’s there, as is a reference to “Robin” Crusoe, from Defoe, another of Dickens’ favorite authors.
Eva Jaber (Want), Janette Moman (Ghost of Christmas Present), Morgan Jay (Ignorance) – Photo credit Doug Onlstead
Baker and Music Director Linda Wells weave in lots of traditional Christmas carols and Sound Designer Lynn Lacey throws in plenty of spooky effects as the trio of spirits (they’re a new addition too) and the Ghosts of Christmas Past (Clare Baker), Future (Pat Jannell) and Present (Janette Moman, who does notable double duty as the hilariously crooked Mrs. Dilber) haunt the ‘dickens’ out of Scrooge.
Tony Gilbert (Scrooge) and Josh Gordon (Tiny Tim) – Photo credit Doug Olmstead
The sets, too, have changed. Set Designer Mary Hutzler treats us to a charming Victorian village with chapel and schoolhouse and scenes of the streets that include both the poor and the posh sides of London town.
But any production of A Christmas Carol must have its adorable children (and these are as sweet as candy canes and hot chocolate on a cold winter’s day), its grisly ghosts (note well Larry O. Grey, Jr. as he smoothly segues between the dual roles of Marley’s ghost-in-chains and the jolly Fezziwig, two of the most disparate characters in the play) and its courtly gentlemen. Ryan Phillips shines as both Young Scrooge and Topper and Matthew Fager is notable as the kindly Bob Cratchit. But the thread that holds the piece together is indeed Tony Gilbert as Scrooge whose ability to go from curmudgeonly to compassionate is absolute perfection.
Find the true meaning of the season here and in your hearts.
Through December 17th at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com
Full cast of A Christmas Carol ` Photos by Doug Olmsted
October 23, 2016
Special to The Alexandria Times
L to R: Eva Seville Coll (O’Karma/Henri), James McDaniel (Rev. Merryweather/Elwood), Danielle Comer (Evelyn/McKenzie), Laura Peterson (Mrs. McKnight/Valerie), John Henderson (Konrad/Charles). Photo credit John Olmstead
Oh, how I love it when The Little Theatre does a murder mystery – especially when it’s the time of the year when things go bump in the night. And you’ll know you’re in for a spooktacular adventure when the sign outside the theater reads, “Warning: This show contains special effects such as thunder, lightning, gun shots and explosions.” Oh, my! Even with this foreshadowing of a peculiar night with peculiar people, I’d advise you to hold tight to your seat and put your brain in plot-solving mode.
R to L: Danielle Comer (Evelyn/McKenzie), John Henderson (Konrad/Charles), Eva Seville Coll (O’Karma/Henri), Damian John Legacy (Ernie/Willy). Photo credit – Doug Olmsted
Director Jim Howard and a nifty cast take playwrights Marcia Kash and Douglas E. Hughes’ homage to Agatha Christie and brighten up the murderous antics – yes, antics – as there is gallows humor aplenty to accompany the ghoulish plot. Stranded on an island at Haddington House in the rustic hunting lodge of famed British author, Charles Prince (John Henderson), five well-heeled guests play a parlor game, adopting the roles of priest, housemaid, conjurer, politician and model. But are they? Or are they just recreating a game played by the infamous ‘Phantom Five’, a group of house guests who disappeared on the island during a murder mystery game, never to be seen or heard from again. What kind of game is this devious host playing?
James McDaniel (Rev. Merryweather/Elwood), Damian John Legacy (Ernie/Willy), Danielle Comer (Evelyn/McKenzie), John Henderson Konrad/Charles) Photos by Doug Olmsted
When a dead body shows up, especially one each has a grudge against, it’s a rollicking good time trying to figure out which one is prevaricating and which one is posing. Could it be corporate scions Valerie (Laura Peterson) and her sister Henri (Eva Seville Coll) whose Addison Industries has been found to be poisoning Michigan’s water supply? Hmmm. Timely reference. They know they could be ruined, their father’s company reduced to pennies on the dollar if the truth came out. Or could it be Mackenzie (Danielle Comer), the street smart model who has it in for her abusive lover, the wealthy corporate magnate, Elwood (played by James McDaniel)? Another prime suspect is the wheelchair-bound Willy (Damian John Legacy) who is worried his dark business dealings with the deceased will soon be revealed. And then there’s our charmingly debonair host, Charles, who does a devious job of pointing the finger at everyone else. Could he have engineered the whole thing to shift the blame away from himself?
This nifty, tightly written, cleverly acted whodunit is filled to the rafters with twists and turns. Highlighted by David Correia’s spooky sound design; sinister lighting by the JK Lighting Designs team of Jeffrey Scott Auerbach and Kimberly Crago; and spine-tingling special effects by Art Snow, the eerie experience is enhanced to a fare-thee-well. A special nod to longtime alum, Carol Strachan who designed the myriad of props with Susan Driscoll. And kudos to John Downing for one of the best sets at LTA.
Go! It’s Halloween! It’s a hoot and a howl.
Through November 12th at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com
April 25, 2016
Special to The Alexandria Times
Richard Fiske (Atticus) and Larry Boggs (Tom Robinson) – Photos by Matt Liptak
It’s been fifty-six years since Harper Lee’s classic To Kill a Mockingbird was published and less than one year since its re-conceived version Go Set a Watchman hit the bestseller lists to a flood of controversy. Much has changed since 1960. Or has it? A quick glance at today’s headlines reveal that bigotry, the murder of unarmed Black men, and racial intolerance continue unchecked both on the streets and in certain presidential campaigns. Given the current political climate and the emergence of the Black Lives Matter movement, it is particularly timely that we find opportunities to re-examine the role of racism in America. And how better to revisit these issues than with this cautionary tale? To that end LTA’s Producers, Rachel Alberts, Bobbie Herbst and Robert Kraus, have chosen well to select Frank Pasqualino to direct this well-crafted and impressively cast production.
As you may recall, the story, narrated on stage by Jean Louise “Scout” Finch as Scout thirty years later (Melissa Dunlap), is set in a small town in the Deep South, where Jim Crow laws were still firmly set in stone. Black families lived on one side of town and whites, another.
Courtroom scene with cast. Photos by Matt Liptak
Atticus Finch (Richard Fiske), a liberal lawyer in a town of bigots, nosy parkers and those best described as adherents to the Klan, is a wise and calming presence in an otherwise lightning hot moment in time. His young daughter, Scout (Olivia McMahon), is an outspoken child with a wealth of curiosity about everything, especially the peculiar nature of prejudice and intolerance. Her slightly older brother Jem (Jack Kearney) does his best to keep her innocent queries in check as does their trusted housekeeper, Calpurnia (Brenda Parker), who cares for them with a no-nonsense attitude and a guiding hand.
When their young friend, Dill (Nathaniel Burkhead), comes from Mississippi to live with them their world grows a little larger and their adventures a little bolder. As they roam the town together the children become targets of racist slurs about their father, who is defending a field hand against the rape of a white woman. Atticus urges them to turn the other cheek. “If you want to understand someone, you gotta walk around in their skin,” he cautions them.
Brenda Parker, Olivia McHahon and Richard Fiske. Photo by Matt Liptak
The first act explores their small family, the mysterious “Boo” Radley (Derek Bradley), an elusive neighbor who’s been holed up in his house for thirty years, and their relationships to the townspeople of Maycomb, setting the stage for the trial, and attempted railroading, of Tom Robinson (Larry Boggs) that unfolds in Act Two. The townsfolk present a polyglot of opinions on race – those that are educated and liberal, those of the hardworking Black families, and, in sharp contrast, their antagonists who are White, poor, uneducated and bigoted. Bob Ewell (Paul Donahoe), Tom’s accuser, and his daughter Mayella, the presumed victim (Skye Lindberg), fall into the category of the latter.
The trial and its aftermath are the most gripping aspects of this story. It is here in a small, segregated courtroom that the viciousness and brutality of racism is revealed in the cold, harsh light of day.
An excellent cast delivers humor and pathos with brilliance and dignity. Especially outstanding are Olivia McMahon, Brenda Parker, Richard Fiske, Paul Donahoe, Tony Gilbert as Judge Taylor, and Skye Lindberg.
Through May 14th at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com
March 7, 2016
Special to The Alexandria Times
Dave Wright – Photos by Matt Liptak
If you ignored the word “Abridged” in the title of this comedy, actor Dave Wright is keen to impress it upon you – multiple times while waving a weighty leather-bound collection of The Compete Works of Shakespeare. You tell yourself, there’s no way three actors can get through all those plays. But, ah! There’s the rub. They do! Well, sort of, and in ways unexpected.
Joanna Henry takes the helm as director keeping up the lickety-split pace both on- and off stage as the actors race through the aisles and at one point leap up on a handrail to deliver a speech. I won’t be enumerating how many, or which, roles each actor portrays, since I lost count before the end of the first act as the quick-change artists morphed into male and female roles. But the stout-figured Wright, along with the lanky, deer-in-the-headlights wide-eyed, Hans Dettmar and the diminutive Sean g. Byers, who rhapsodizes that “this book will be found in every hotel room in the world”, make up the Reduced Shakespeare Company’s entire cast. They are keen to remind us that Shakespeare wrote 154 sonnets and 37 plays which the actors, nay, comedians, merrily condense into one. To prove they are up to the challenge, they announce, “We don’t have to do it justice. We just have to do it!”
Hans Dettmar – Photos by Matt Liptak
Using every trick in the book, the trio combine pratfalls, spoofs, rap lyrics and a ton of crazy props as they speed dial their way through all 37 of the bard’s classics including, but not limited to, Othello, Romeo and Juliet, Antony and Cleopatra and of course Macbeth, which they point out to the uninformed, is the one word you can NEVER say in the theater.
To make it more relatable they toss in topical references like The Real Housewives of Potomac to describe a scene in Romeo and Juliet, and call on the recently uttered words of Donald Trump to express the size of a wall, “It’s gonna be huge!”, to keep the lovers apart. But for the most part the process is achieved through costume changes and hilariously bastardized lines. Somehow a blow-up dinosaur figures in. It’s Cliffs Notes on a runaway horse.
Hans Dettmar, Dave Wright, and Shawn g. Byers – Photos by Matt Liptak
Straight out of the blocks the audience roars at the blaze of high voltage activity. It’s utterly contagious, more so when a member is plucked from their seat and invited to participate in some of their shenanigans. How they squeeze, scrunch and slap together all these comedies tragedies and histories, is a wonder in and of itself. In one particularly silly scene Punch and Judy are employed to express Ophelia’s plight. The frustrated Ophelia cries out, “Cut the crap, Hamlet, my biological clock is ticking and I want babies now!”, which pretty much (colloquially) sums up her dismay. And this comic turn from King Lear which is realized as a football game, “quarterback gives it to the hunchback”.
To borrow from Hamlet’s old chatterbox, Polonius, “Brevity is the soul of wit”. And these three have it down to a science.
Highly recommended for a night of pure, unadulterated (Oh, alright, there is some adulteration. Massive amounts, if you will.) hilarity.
Through March 19th at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com