To Kill a Mockingbird
The John F. Kennedy Center for the Performing Arts
Jordan Wright
June 28, 2022
Special to The Zebra
 (l to r) Justin Mark (“Jem Finch”), Richard Thomas (“Atticus Finch”), Melanie Moore (“Scout Finch”) and Steven Lee Johnson (“Dill Harris”). (Photo/Julieta Cervantes) In what is referred to in the program as a “New Play” by famed playwright Aaron Sorkin, Harper Lee’s celebrated novel To Kill a Mockingbird takes on fresh meaning in a world still struggling with racial injustice. Sorkin propels the narrative of a Black man unfairly accused to a relevancy we’d have to be deaf, dumb and blind not to recognize as still capturing today’s headlines. Set in 1930’s Alabama in a plot laden with weighty themes and laced with levity, Sorkin’s laser-focused version of the courtroom drama crackles with the raw power and profound honesty intended to galvanize an audience’s emotional response.
 Melanie Moore (“Scout Finch”) and Jacqueline Williams (“Calpurnia”) (Photo/Julieta Cervantes) In it, dramatic actor Richard Thomas plays Atticus Finch, a folksy Southern lawyer with the instincts of a coonhound treeing a possum. Thomas delivers a rock-solid portrayal so determinedly fresh and riveting it will make you forget you’d ever seen Gregory Peck in the 1962 movie version.
The great Bartlett Sher, who won a Tony Award in 2019 for “Best Direction of a Play” for the Broadway production, has found a way to stage this new production by leaning in on the threads of the story that matter most. Even on a stage as vast as the Opera House, he creates a space that reads like an intimate encounter. Brilliantly acted by a collaborative cast, Lee’s words fairly jump off the page with their universality.
 Melanie Moore (“Scout Finch”) and Richard Thomas (“Atticus Finch”). (Photo/Julieta Cervantes) When asked if she had plans to write another book, Lee cynically postulated to a reporter, “When you’ve hit the pinnacle, how would you feel about writing more?” Many years later, in an interview with Oprah Winfrey, Lee declared, “Honey I already said everything I wanted to say.” And with weighty themes ranging from racism to alcoholism, justice, pedophilia and even murder too, the iconic Southern novelist had covered it all.
Notwithstanding Harper Lee’s reticence to discuss her work and her decision to abandon further writing, she had penned a forceful novel that burst off the pages with a trunk load of quotable lines tailor made to be spoken aloud. Sorkin’s treatment extracts the essence of her words to lend a new and exciting gravitas to this great American novel. Blessed with a tremendous cast to support Thomas, it stars Yaegel T. Welch (from the original Broadway cast) as Tom Robinson; Melanie Moore as Scout; Steven Lee Johnson as the tender-hearted Dill Harris (said to be fashioned after Lee’s friend Truman Capote); Justin Mark as Jem Finch, Scout’s brother; Jacqueline Williams as Calpurnia the formidable, no-nonsense housekeeper to the Finch family; Anthony Natale as Link Deas; Travis Johns as Mr. Cunningham and Boo Radley; and Richard Poe as Judge Taylor. Imbued with worldly wisdom, they are the heroes that battle the play’s villains played by Joey Collins as the antagonist Bob Ewell and his tragically victimized daughter Mayella Ewell played by Arianna Gayle Stucki. Take note of Mary Badham in the small yet pivotal role of Mrs. Henry Lafayette Dubose, the cranky octogenarian who harasses the children as they pass her porch. Badham won an Oscar for her role as Scout in the movie.
Highly recommended. A defining production of what has been called America’s Greatest Novel.
 Richard Thomas (“Atticus Finch”), Yaegel T. Welch (“Tom Robinson”) and The Company of To Kill a Mockingbird. (Photo/Julieta Cervantes) Additional cast members include David Christopher Wells as Sheriff Heck Tate; Luke Smith as Horace Gilmer; Greg Wood as Mr. Roscoe/Dr. Reynolds; Travis Johns as Mr. Cunningham/Boo Radley; and Liv Rooth as Dill’s Mother/Miss Stephanie.
Scenic Design by Miriam Buether; Costume Design by Ann Roth; Lighting Design by Jennifer Tipton; Sound Design by Scott Lehrer; Original Music by Adam Guettel.
Through July 10th at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call 202 467-4600 0r visit www.Kennedy-Center.org
A Monster Calls
The Kennedy Center for the Performing Arts
Jordan Wright
May 31, 2022
Special to The Zebra
 Photo/Manuel Harlan Don’t be confused by the title of this play and the fact that the author, Patrick Ness, a multi-award-winning writer of children and adult literature whose work went into Spiderman and Star Wars, also created and wrote the 8-part series Doctor Who. A Monster Calls is a superbly crafted, deeply emotional thriller about a British teenager whose nightmares and dreamscapes threaten to overwhelm him. It is a story of love and loss of pain and growth, perfect for teens and adults alike.
While his mother (Bridgette Amofah) endures endless cancer treatments, Conor (Anthony Aje) stumbles through life as if in a daze. It doesn’t help that his remarried father (Tom Lorcan) lives thousands of miles away in America. Wracked with the fear of losing her and the guilt of dwelling on her demise, Conor struggles to both process and express his feelings. He marks his days assuaging his pain by allowing the school bullies to beat him up, turning his back on the only friend who wants to protect him. His nights are filled with dread as the Monster (Keith Gilmore) appears to him in his sleep guiding and filling him with stories of impossible feats and ultimate heroism. “I come to heal you,” the Monster proclaims through stories of dragons, princesses and ancient lore that fill Conor’s fitful dreams.
 Photo/Manuel Harlan Gripping from the get-go, it is at once frightening, powerful and utterly engaging. You do not want to miss a split second. I had to remind myself to breathe. The stirring plot toggles between tender scenes of mother and son and the intensity of wildly colorful video dream projections; explosive sound, smoke and strobe effects; and eerie (at times Gregorian, at others like Sting) electronika music. This is edge-of-your-seat stuff. I absolutely loved it.
Metaphors abound with the use of massive ropes which dangle from the rafters and substitute for objects and emotions. Cast members use them to encircle their bodies, slide down them and raise themselves up to the top through creatively choreographed movements. The rest of the cast sits on either side of the stage handing off a bowl of cereal, a quart of milk, a school uniform and other mundane objects.
 Photo/Manuel Harlan Most impressive are the young actor Anthony Aje whose agility and ability to morph from poignant to terrified is amazingly cool, Greg Bernstein as Conor’s brutal enemy Harry whose anger-fueled rants keep Conor meek, and Keith Gilmore as the Monster whose physical athleticism and ferocity are galvanic.
This all-British production is highly recommended.
 Photo/Manuel Harlan With Greg Bernstein as Harry; Eleanor Kane as Lily; Sarah Quist as Ms. Godfrey; Lauran Rae as Sully; Anita Reynolds as Grandma; Paul Sockett as Mr. Marl; and Nathaniel Christian as Anton. All cast members except Conor double in the ensemble.
Based on the novel by Patrick Ness; Inspired by an idea by Siobhan Dowd; Adapted by Sally Cookson and Adam Peck; Set Design by Michael Vale; Director/Co-Adaptor Sally Cookson; Composer Benji Bowser; Lighting Designer Aideen Malone; Costume Designer Katie Sykes; Video Designer Dick Straker; Aerial Director Matt Costain; Sound Designer Mike Beer; Puppetry Laura Cubitt; Originating Producer Old Vic and British Old Vic.
Through June 12th at The Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Riverdance
The Kennedy Center for the Performing Arts
Jordan Wright
March 18, 2022
Special to TheZebra.Org
 Riverdance 25th Anniversary Show (Photo/Anna-Livia) On a balmy Spring evening perfectly timed to kick off the celebratory season of Saint Patrick’s Day, Irish Ambassador and Mrs. Daniel Mulhall hosted a swank cocktail party in the South Tier Opera Lounge before the performance of Riverdance. In attendance were Taoiseach Micháel Martin, Ireland’s Prime Minister, and American diplomat and former Ambassador to Japan, Caroline Kennedy. Delicious savory treats featuring Ireland’s best beef, cheeses and cured salmon were served capping the gathering with coffee, tea and a sumptuous Irish Whiskey Cake and Crème Brûlée, after which guests proceeded to the Opera House for the performance where audience members frequently leapt to their feet for standing ovations between acts.
 Taoiseach Michael Martin delivers remarks to the guests (Photo/Jordan Wright)  Ambassador Daniel Mulhall with Caroline Kennedy (right) and guest at the reception. (Photo/Jordan Wright) Celebrating their 25th anniversary and first time performing at the Kennedy Center, the Riverdance troupe was in fine form and their staccato taps could be heard up to the rafters. Originally an Irish folk dancing and musical production, Riverdance has gone on to include both Russian and Flamenco dance, acknowledging some of the roots of Irish dance. I couldn’t help but conjure up the evolution of these dances in the American heartland where the Irish immigrated in droves and the style of clogging emerged.
 Riverdance 25 Anniversary Show Lead Couple Interspersed with the tightly choreographed syncopated-formation dances by the troupe, a coloratura soprano performed haunting Irish melodies in octaves that soared into the stratosphere and a beautiful lassie played the pipes honoring an ancient Irish warrior from the Bronze Age. Between 18 electrifying scenes a narrator weaves Celtic tales and stories from the land of the faeries. Video projections of picturesque scenes frame the evening’s entertainment.
Many stories can be told of the history of this extraordinary production that began with the choreography and iconic dance skills of Michael Flatley and has toured around the world many times over. Their epic success on six continents, a Grammy Award and generous fundraising efforts are but a few of their achievements, but their promotion of Irish dance supported by the exceptional singers, dancers and musicians who perform in the show, give gravitas to this exciting one-of-a-kind experience.
 Riverdance 25 Anniversary Show Reel around the Sun Directed by John McColgan, Produced by Moya Doherty, Composed by Bill Whelan, Costumes by Joan Bergin, Sound by Michael O’Gorman, Lighting by Andrew Voller, Sets by Alan Farquhason and High Res by Peter Canning.
Through March 27th at The Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Così Fan Tutte
The Kennedy Center for the Performing Arts
March 14, 2022
Jordan Wright
 Laura Wilde (soprano) and Andrey Zhilikhovsky (baritone) in Cosi fan tutte at the WNO (photo by Scott Suchman) Introducing the Washington National Opera Company’s Cafritz Young Artists who sang the Ukrainian National Anthem, General Director Timothy Leary welcomed back the audience of opera lovers to the first of the season’s offerings, “We have learned to gather together in community and safety,” he announced with pride. A standing ovation honored both the students’ exceptional talents as well as the audience’s heartfelt sympathies to the Ukrainian people (two Ukraine nationals were in the cast) to set the evening’s enthusiastic tone. Beginning the season with such light-hearted fare, is just the ticket for our COVID doldrums.
 Ana-Maria-Martinez-soprano-and-Ferruccio-Furlanetto-bass-in-Cosi-fan-tutte-at-the-WNO (photo-by-Scott-Suchman) A bit of background:
Commissioned by the Emperor Joseph II, Mozart’s fan fave two-act opera, with text by Lorenzo da Ponte, was first performed in Vienna in January of 1790 and characters of the sisters, Fiordiligi and Dorabella, were actually sisters in real life with their story well-known in Vienna society. It first came to the London stage in 1811 and later to New York at the Metropolitan Opera House in 1922 conducted by Artur Bodanzky. This was at the acme of Mozart’s career and the comic opera is well-regarded as one of his finest compositions.
Così fan tutte is an intriguing tale of Fiordiligi and Dorabella, two sisters betrothed to two soldiers, Guglielmo and Ferrando. Enter the aged bachelor and friend to all concerned Don Alphonso who suggests to the men that all women cannot be faithful. Challenged with testing the women’s fidelity by disguising themselves and tricking their lovers under Alphonso’s direction, the men agree to the bet. Unbeknownst to the lovers, the duplicitous Alphonso enlists the aid of the ladies’ maid, Despina, who is to be handsomely paid for her efforts.
 WNO”s “Cosi Fan Tutte” The plot plays with gender identity in a way that questions the misunderstanding between the sexes. A question as old as the hills and revived by such books as “Men Are from Mars’, Women Are from Venus”. Will the women cave to such amorous machinations by the men who threaten suicide if their lovers do not break their troths and reciprocate their advances? With Don Alphonso’s secretive encouragement, these underhanded swains pull every trick in the book to unhinge the ladies’ devoted commitment to them.
As sumptuously elegant as the music is, it is neatly underpinned by the comic antics of those involved in the set up. The wonderful cast is charged with incorporating comedic abilities as well as their magnificent vocal talents to pull it off, which they do quite well. Watch for Anna María Martinez in three roles as Despina, the doctor, and later the notary to bring the house down thanks to the vivid imagination of Costume Designer Lynly A. Saunders who also nails the 18th century period ladies’ dresses with the appropriate paniers locked and loaded.
A balm for the senses. Highly recommended.
With Kang Wang as Ferrando; Andrey Zhilikhovsky as Gugielmo; Ferrucchio Furlanetto as Don Alphonso; Laura Wilde as Fiordiligi; and Rihab Chaieb as Dorabella.
Conducted by Erina Yashima; Directed by Alison Moritz; Set Design by Erhard Rom; Projection Design by S. Katy Tucker.
Through March 20th at The Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information visit www.Kennedy-Center.org or call 202 467-4600.
Jesus Christ Superstar
Special to www.TheZebra.org
The Kennedy Center for the Performing Arts
February 25, 2022
Jordan Wright
 Aaron LaVigne, Tommy Sherlock and the company of the North American Tour of JESUS CHRIST SUPERSTAR. (Photo by Matthew Murphy, Evan Zimmerman) I was looking forward to this reimagining of Jesus Christ Superstar by two Brits, Director Timothy Shearer and Choreographer Drew McOnie, if only to see how they tailor their work to a British audience. Both gentlemen have earned Olivier Awards (Britain’s equivalent to a Tony Award) for their work – Sheader earning four for “Best Musical Revival” to include one for Jesus Christ Superstar and McOnie celebrating two nominations for “Best Theatre Choreography” and winning for In the Heights. Together they spell theater royalty.
So, I was more than surprised when I found some odd choices in the staging of this iconic musical. Don’t get me wrong, I can still be found humming and tapping my foot to the glorious Andrew Lloyd Webber score and running home afterwards to listen to the beautiful music days later. But as I watched this production unfold, I found myself too frequently scratching out “Why?” in my notes.
 Jenna Rubaii in the North American Tour of JESUS CHRIST SUPERSTAR. (Photo by Matthew Murphy, Evan Zimmerman) Why did Jesus use a mic stand? Mary and Judas, too. Sometimes, not always. Why did some performers use a hand mic and others not? Utterly mystifying. Why did Jesus sport a hipster man bun throughout his performance, then switch over to a ponytail for the final scene? I wonder because his head shot in the program has him with long wavy blond locks. Wouldn’t it have been more apropos to let it hang in loose curls around his shoulders? And, if I may state the obvious, wouldn’t it have been the perfect opportunity to cast a person of color in the role of Jesus?
There are more mysteries to unpack here. Why did Jesus carry around an acoustic guitar? If the thought is to depict him as a rock star, wouldn’t he play a snazzy electric guitar? Why were the sound levels all over the place? Sometimes singers came across powerfully at other times they could hardly be heard no matter from which area of the stage they were singing. Why did the casting director choose a lead with the weakest voice in the entire cast? And, for Chrissake (pun intended), why did Aaron LaVigne give such a stilted, unemotional performance as Jesus? Poor Mary.
More questions vexed me. What was the point of tossing dozens of glitter bombs at Jesus to sub for the 40 lashes ordered by Pontius Pilate? And, in the strangest interpretation of all, why was Mary (Jenna RubaII) absent in so many scenes usually played by Jesus’s side? It was an especially bizarre directorial choice during her solos, especially for the lovely lullaby, “Everything’s Alright”, when she comforts Jesus urging him to, “Close your eyes, close your eyes and relax, think of nothing tonight,” which she sung in her unique, lilting and soulful vibrato. This has been one of the most poignant scenes in other productions as she caresses him to allay his fears.
As for the musical element, 11 onstage musicians in second tier cubicles are joined by members of the Kennedy Center Opera House Orchestra for a concert-like sound. Add Omar Lopez-Cepero as Judas (that falsetto!) and the experience is worth the price of admission. With his epic rocker voice, he brought the house down several times over. Wailing electric guitars and a hot licks sax solo that nearly shook the great Opera House chandelier ratchet up the temperature. As to the choreography, rest easy. McOnie chose ace dancers who sing their faces off.
With Alvin Crawford as Caiaphas; Tommy Sherlock as Pilate; Tyce Green as Annas and an ensemble of 18 singer/dancers.
Through March 13th at The Kennedy Center for the Performing Arts 2700 F Street, NW, Washington, DC 20566. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org
The Prom
Where Love Conquers All
The John F. Kennedy Center for the Performing Arts
January 8, 2022
By: Jordan Wright
 Courtney Balan, Patrick Wetzel, Bud Weber and Emily Borromeo in The National Tour of THE PROM. Photo by Deen van Meer.  The Prom, Music by Matthew Sklar, Book by Bob Martin and Chad Beguelin, Lyrics by Chad Beguelin, Directed and Choreographed by Casey Nicholaw
cast: Kaden Kearney (Emma), Kalyn West (Alyssa Greene), Courtney Balan (Dee Dee Allen), Patrick Wetzel (Barry Glickman), Emily Borromeo (Angie Dickinson), Bud Weber (Trent Oliver),
Sinclair Mitchell (Mr. Hawkins), Ashanti J’Aria (Mrs. Greene) and Shavey Brown (Sheldon Saperstein). Photo by Deen Van Meer.  The Prom, Music by Matthew Sklar, Book by Bob Martin and Chad Beguelin, Lyrics by Chad Beguelin, Directed and Choreographed by Casey Nicholaw
cast: Kaden Kearney (Emma), Kalyn West (Alyssa Greene), Courtney Balan (Dee Dee Allen), Patrick Wetzel (Barry Glickman), Emily Borromeo (Angie Dickinson), Bud Weber (Trent Oliver),
Sinclair Mitchell (Mr. Hawkins), Ashanti J’Aria (Mrs. Greene) and Shavey Brown (Sheldon Saperstein) Straight off, I want to say that although The Prom tackles serious subject matter and it handles it with the flat out fun of a confetti bomb. This story of two teenage lesbians forbidden to attend their school’s senior prom is no joke. It is set in Indiana, that bastion of Conservatism where alternative lifestyles are unacceptable and school regulations are governed by the PTA.
In New York the glamorous Broadway musical star Dee Dee Allen and her co-star Barry Glickman, a prancy-and-proud-of-it queen, are having a bad day. While at Sardi’s, reading the next day’s reviews of their latest show, they learn The New York Times has murderously panned it and tagged them as “aging narcissists”. Hoping to change that perception (in Dee Dee’s case it’s true), they agree to find a social issue to publicly support. Checking what’s trending online – climate change, poverty, etc. – they seize on the viral Twitter issue of the prom. With that as their cause celebre, they head to Indiana with their publicist Sheldon, waiter/actor and Julliard grad Trent, and chorus girl Angie to drum up support for the teens and garner favorable publicity for themselves. Did you know thespian rhymes with lesbian?
Alyssa is still in the closet to her mother who heads up the PTA and is dead set against gay couples at the prom. Yes! We’ve got trouble. Right here in River City! Her girlfriend, Emma, is out and supported by Principal Hawkins who vows to fight the PTA mothers calling it a civil rights issue. How they resolve it, becoming activists in the process, is the hopeful message of this endearing musical.
The young company is absolutely adorable. You just want to hug every last massively talented one of them. And their dancing, thanks to fabulous choreography by Director/Choreographer Casey Nicholaw, is exceptional. Kaden Kearney gracefully embodies the zeitgeist of Emma and is well-bracketed by Patrick Wetzel as the hilarious, gay role model Barry; Courtney Balan as the marvelously ballsy diva Dee Dee; and eye candy handsome Bud Weber as waiter/actor Trent Oliver who squelches the haters with buckets of charm and bible excerpts.
With Emily Borromeo as Angie; Ashanti J’Aria as Mrs. Greene; Sinclair Mitchell as Mr. Hawkins; Olivia Cece as Kaylee; James Caleb Grice as Nick; Jordan Alexander as Kevin; Sheldon Saperstein as Shavey Brown; Ashley Bruce as Olivia Keating; Brittany Nicole Williams as Shelby; and Kalyn West as Alyssa.
Book by Bob Martin & Chad Begulin; Music by Matthew Sklar; Lyrics by Chad Beguelin; Scenic Design by Scott Pask; Costume Design by Ann Roth and Matthew Pachtman; Sound Design by Brian Ronan and The Kennedy Center Orchestra.
Through January 16th. For tickets and information call 202 467-4600 or visit www.kennedy-center.org.
|