A Historic Confluence of Shakespearean Mega Actor Ed Gero and Pre-Eminent South African Actor and Playwright John Kani Star in this Epic Drama at the Shakespeare Theatre Company
Kunene and the King Shakespeare Theatre Company Jordan Wright February 22, 2025 Special to The Zebra
John Kani and Eward Gero in Kunene and the King at Shakespeare Theatre Company. (Photo/Teresa Castracane Photography)
Set during South Africa’s post-apartheid regime, two men find themselves in an untenable relationship in the U.S. premiere of Kunene and the King. Jack Morris (Ed Gero), one of the world’s leading white Shakesperean actors, is living in his home in Killarney, South Africa. Recently diagnosed with Stage 4 liver cancer, he is rehearsing his lines for an upcoming performance of King Lear. Black African Lunga Kunene (John Kani) has been assigned as his nurse during the final days of Jack’s life. What begins as two men at sword’s length results in a begrudging respect cemented over their mutual admiration for the works of Shakespeare.
This extraordinary two-hander gifts us with two of the greatest stage actors in the known world. Ed Gero universally admired for decades of his portrayals of Shakesperean leads and John Kani, one of the greatest and most respected actors, activists and playwrights to emerge from the shadows of apartheid.
Edward Gero (Photo/Teresa Castracane Photography)
It is 2019 when they meet at Jack’s home and immediately launch into verbal gymnastics. Jack, a divorcé with a distant son, is not accustomed to having a Black man in his home as anything other than a servant. “You’re not what I was expecting,” he snips. Kunene has been sent by a local agency to be Jack’s oncology nurse. Their first set-to is over the word “maid” with Kunene deftly insisting the correct word is “helper”. He wins that argument as well as Jack’s insistence he sleep in the servant’s quarters. “I stay in the house, or I go!” he retorts. Eventually, Jack capitulates. It will soon be apparent that he caves to Kunene repeatedly. I might add Jack is an insufferable racist and arrogant twit to boot. They joust about nearly everything especially Jack’s intransigence and refusal to quit drinking – his bottles and flasks are hidden everywhere.
Quarrels arise over African culture vis à vis British culture with Kunene scoring points despite Jack’s vehement protestations. The horrors of Robben Island, Mandela’s election and DeClerk’s ending of apartheid put things in their proper perspective as the two men start to bond over their respective admiration for Shakespeare’s plays. Kani weaves this dichotomy into the play with the knowledge that Mandela studied Shakespeare during his stay on Robben Island. “In the old South Africa it wasn’t politics, it was life or death,” Kunene states. During all these tête-a-têtes, Jack’s physical suffering is palpable and Kunene does his best to attend to his duties, as lowly as they are, never wavering in his professional commitment to the job at hand.
John Kani (Photo/Teresa Castracane Photography)
Woven between scenes Isithunywa (Ntebo), a beautiful African dancer and chanter, appears, breaking the fourth wall with the haunting echoes of lives lost and the human toll of nearly a half century under the apartheid system.
Written by Tony Award-winner, John Kani, who in 2023 was awarded an honorary OBE from the British government after this play made its debut at the Royal Shakespeare Company, it is directed by Ruben Santiago-Hudson, a well-established, Broadway multi-Tony Award winner and multiple theatre award nominee, as well as an accomplished actor in his own right. If I had to list his entire bio plus the bios of Kani and Gero, it would take pages – and it does in the playbill. Ditto for that of the two leads’ understudies and Ntebo too. The glue that brings Santiago-Hudson, Gero and Kani together is their work on and mutual respect for Shakespeare and the pre-eminent anti-apartheid playwright, Athol Fugard.
Edward Gero and John Kani (Photo/Teresa Castracane Photography)
The confluence of these relationships in this extraordinary production, make this political drama an unforgettable moment in theatre history. Miss it and you’ll wonder why those that bore witness will be talking about it for years to come.
Scenic Design by Lawrence E. Moten III, Costume Design by Karen Perry, Lighting Design by Rui Rita, Sound Design by DJ Potts, Dialect and Vocal Coach Deborah Hecht, Fight Consultant Sierra Young, Dramaturgy by Drew Lichtenberg, Music Consultant Ntebo, Additional Music by Romero Wyatt.
Highly recommended!
Through March 23rd at the Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
Sarah Silverman’s The Bedwetter Musical Is the Hilarious High We All Need
Sarah Silverman’s The Bedwetter – A New Musical Arena Stage Jordan Wright February 16, 2025 Special to The Zebra
Emerson Holt Lacayo (Abby), Elin Joy Seiler (Amy), Aria Kane (Sarah), and Alina Santos (Ally) in Sarah Silverman’s The Bedwetter – A New Musical at Arena Stage at the Mead Center for American Theater (Photo/T Charles Erickson Photography)
What kid doesn’t have issues? And what parent doesn’t try to figure out how to find solutions?
In Sarah Silverman’s semi-autographical story, The Bedwetter, reflecting her difficult childhood, we meet Sarah (Aria Kane), her divorced parents, an older sister, Laura (Avery Harris) who snarkily ignores her, her agoraphobic mother, Beth Ann (Shoshona Bean), her father, Donald (Darren Goldstein), and her feisty grandmother, Nana (Liz Larsen). We also learn of the two elephants in the room, little Sarah’s bedwetting and a baby brother who has died.
Ten-year-old Sarah’s coping mechanisms are humor highlighted by a potty mouth that she gets from her serial-cheater father and Nana. Blessed by the uncanny ability to do celebrity fart impressions, Sarah’s comedic talents and sharp-as-a-tack comebacks eventually win over a gaggle of schoolgirls, Abby (Emerson Holt Lacayo), Amy (Elin Joy Seiler) and Ally (Alina Santos) who decide to accept Sarah into their tight-knit group.
Emerson Holt Lacayo (Abby), Alysha Umphress (Mrs. Dembo), Elin Joy Seiler (Amy), Aria Kane (Sarah), and Alina Santos (Ally) (Photo/T Charles Erickson Photography)
Excited by an invitation to Amy’s birthday party, where she entertains her new friends with dirty jokes, Sarah is shocked to learn the party is also an overnight pajama party to watch the Miss America pageant (cue Bert Parks). Sarah’s anxiety kicks into high gear and she calls her mother, hoping she’ll tell her to come back home. Uncharacteristically, Beth Ann tells her to “have fun”. Despite Sarah’s efforts to stay awake all night, the inevitable happens. Somehow, she doesn’t get caught out. Not yet. It’s only later when Sarah has her girlfriends over and Nana arrives helpfully offering jumbo packs of diapers at Sarah, that the girls catch on and turn their backs on her.
Based on the advice of one of his lovers, Donald decides to take Sarah to a nutty hypnotist who tells her, “Imagine a stream in a forest.” Sarah asks him, “Is that the best analogy for a bedwetter?”. After that fiasco, he then takes her to Dr. Grimm (Rick Crom who plays seven roles in five different wigs – I asked.), a therapist who prescribes massive amounts of Xanax – cue the life-sized, tap-dancing, yellow capsules.
Liz Larsen (Nana) and Aria Kane (Sarah) (Photo/T Charles Erickson Photography)
At school, Sarah is repeatedly scolded by the prim and proper Mrs. Dembo (Alysha Umphress) who is organizing a talent contest once won by her former student who became Miss New Hampshire (Ashley Blanchet). Hailing from the same state, the girls are enamored of the beauty queen who appears in several fantasy sequences.
Through it all, there is laughter and poignancy, gags and pratfalls, coupled with touching moments from an outstanding cast of Broadway luminaries that shines brightly both vocally and comedically. I promise you will fall in love with little Sarah, her goofy, well-intentioned, salesman father, her Manhattan-swilling grandmother, her adoring mother and her at-arm’s-length sister.
Avery Harris (Laura), Shoshana Bean (Beth Ann), and Aria Kane (Sarah) (Photo/T Charles Erickson Photography)
Written by the irrepressible comedian, Sarah Silverman with Joshua Harmon and super-charged by uber-successful composers Adam Schlesinger and David Yazbek (The Band’s Visit) to include the high-wattage choreographer, Danny Mefford of Dear Evan Hansen fame, Book by notable Joshua Harmon, award-winning Director, Anne Kauffman and backed by famed Tony and Olivier Award-winning Broadway producers – Tom Kirdahy of Hadestown fame, and Broadway royalty Barry and Fran Weissler of Fiddler on the Roof, Gypsy, Chicago, La Cage aux Folles and Waitress, this production has all the signs it will go straight to Broadway.
Based upon “The Bedwetter: Stories of Courage, Redemption and Pee” by Sarah Silverman. Lyrics by Sarah Silverman and Adam Schlesinger; Orchestrator and Arranger, David Chase; Set Design by David Korins; Choreography by Danny Mefford; Costume Design by Kaye Voyce; Lighting Design by Japhy Weideman; Sound Design by Kai Harada; Video Design by Lucy MacKinnon; Hair and Wig Design by Tom Watson.
Highly recommended!!!
Through March 16th at Arena Stage, 1101 6th Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 554-9066 or visit www.ArenaStage.org.
A Riveting “Job” Reveals the Dangers of Our Digital Age at Signature Theatre
JOB Signature Theatre Jordan Wright February 7, 2025 Special to The Zebra
Eric Hissom (Loyd) and Jordan Slattery (Jane) in JOB at Signature Theatre. Photo by Christopher Mueller
At first glance Jane (Jordan Slattery) presents as a young woman in the throes of a nervous breakdown. When this hyper-intense psychological thriller opens, she is aiming a revolver at Loyd (Eric Hissom), a therapist whom her tech company has mandated she see before being approved to return to work. “I’m not afraid of you,” he tells her. “Maybe you should be,” she replies. Jane is bright, articulate, sensitive, and coming off a failed romance. Suddenly, she turns the gun on herself.
Loyd eventually settles her down in his cozy San Francisco office. Ultimately, Loyd convinces Jane to reveal her innermost feelings. As she begins to open up to him, she pulls out her cell phone and shows him a viral video taken by a co-worker filmed in the heat of her workplace freakout. During their session we learn her family is well educated – her father an artist, her mother a professor who both ignore her. “In the real world nobody has time for me,” she tells him. She seems dissociative and out of control. This is no ordinary freak out. Jane’s facial features contort each time she loses her grip on reality. As she spirals downward the lights on the set, and in the theater itself, flicker, crackle and fail before coming back on to reveal a fresh scenario.
Jordan Slattery (Jane) Photo by Christopher Mueller
Jane has a dystopian view of the world. She frowns on capitalism and believes the rich make all the rules. But as their convo progresses, you’ll wonder if it isn’t Gen Z who are setting the rules. And though Jane claims a lot of her personal satisfaction comes from social media, she admits it causes her paranoia.
In this two-hander the dialogue is micro-focused on each characters’ fears. Loyd’s, that she will kill him, and Jane’s, that she will. We learn this because Jane probes Loyd with personal questions about his family life. When Loyd learns her job as a social media content monitor flagging videos that reveal the depths of the world’s depravity, her psychosis begins to come into focus.
Eric Hissom (Loyd) and Jordan Slattery (Jane) Photo by Christopher Mueller
What’s so fascinating about playwright Max Wolf Friedlich’s taut thriller is how cleverly it addresses the generational differences between Loyd and Jane. She, consumed by the internet in work and social interactions and Loyd living a private internet life. Just when you think you’ve figured out where this edge-of-your-seat story is headed, it literally flips the script. As the playbill describes it, “Job explores who is online, how much screentime is too much, what is real versus perception, the psychological damage of it – and who or what benefits from the exposure.” That’s a question we all need to ask ourselves. Hissom’s and Slattery’s sharp portrayals, give this intense new work the heft it needs to be totally convincing.
As a fan of true crime in all its peculiarities, I found the twists and turns riveting. Brilliantly directed by Matthew Gardiner, it is not for the fainthearted, but it is unforgettable and important. As playwright Friedlich posits, “What is the human cost of our internet?”
Recommended for its revelations into the psychological effects of our digital age in an ever-shifting landscape.
Eric Hissom (Loyd) Photo by Christopher Mueller
Scenic Design by Luciana Stecconi, Costume Design by Alexa Cassandra Duimstra, Lighting Design by Colin K. Bills, Sound Design by Kenny Neal.
JOB runs through March 16th at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Interview with Broadway Actor Liz Larsen Now Appearing at Arena Stage in Sarah Silverman’s The Bedwetter – A New Musical
Jordan Wright February 3, 2025
Liz Larsen
For Broadway, film and TV actor, Liz Larsen, a return to Washington, DC and Arena Stage since winning the Helen Hayes Award for Sunday in the Park with George in 1998, it is a very exciting time. In advance of attending opening night for Sarah Silverman’sThe Bedwetter who plays Sarah’s grandmother, Nana, I took the opportunity to chat with her about her career. Full Disclosure: Liz Larsen is my niece.
———
Jordan Wright – In 1998 you performed at Arena Stage in the DC production of Sunday in the Park with George where you played Dot, the female lead, winning the Helen Hayes Award for “Best Actress in a Musical”. So let me just say, after all your years dazzling audiences on Broadway, a Tony nomination for The Most Happy Fella, and a Helen Hayes nom for Baby, we’re thrilled to have you back in town. For those who wonder why we haven’t seen you here in ages, you’ve been on Law & Order in various roles for 15 years plus roles in The Americans, Madoff, Mr. Robot, The Sopranos and many more TV series. On Broadway you were featured in half a dozen major productions. As many of your fans know, your longest Broadway run (six years!) was in The Carole King Musical playing Carole’s mother.
Currently you’re co-starring as Nana in the DC premiere of the Sarah Silverman semi-autobiographical musical, The Bedwetter, based loosely on her eponymous book. Just to let readers know, if they saw its highly acclaimed Off-Broadway run, the show now has a new book with additional music and lyrics by David Yazbek (The Band’s Visit). The role casts you as the grandmother of ten-year-old Sarah who struggles with the embarrassing condition of wetting her bed along with the many stresses kids have when entering a new school and dealing with being an outsider. Let’s talk about your role as the grandmother. Is there another role you might have done in the past to channel a grandmother?
Liz Larsen – I recently played the grandmother in Sunday in the Park with George in LA which was very full circle for me having played Dot. Now I’m playing a lot of mothers of grown children and grandmothers.
JW – Tony nominee, Anne Kauffman is directing. What’s the most challenging part of working with a new director?
LL – Absolutely nothing. She’s fantastic. I know that she trusts me and I trust her. I try to figure out the “voice” of the character with her. There’s a tone to this because it’s heartbreaking and yet it’s hilarious. There’s also a certain style to this piece that needs to be figured out and we’re all doing it on our feet. It’s very collaborative. What I enjoy is playing someone who is a real person. Like when I played Carole’s mother in “Beautiful” I liked learning about her. What’s amazing about Sarah’s mother is that she pulled herself out of a ten-year depression and went on to do great things in theatre.
Liz Larsen as Dot in Arena Stage”s production of Sunday in the Park with George
JW – You’re good friends with Ashley Blanchet who plays Miss New Hampshire and was one of the cast members in the original production. Have you worked with her or any of the other cast or crew members before this production?
LL – Ashley and I worked together in Beautiful. She played Little Eva. And Shoshana Bean, who won a Grammy last night for the “Best Musical Theatre Album” of Hell’s Kitchen, and I played in Hairspray together on Broadway in 2003. Davidand I worked together on Broadway in Dirty Rotten Scoundrels and The Full Monty. [David Yasbek, composer/lyricist of The Band’s Visit, wrote additional music and lyrics for this show]
Liz Larsen
JW – What’s your preparation process?
LL – For this particular show, I practiced a Boston accent and her voice. Because she’s a smoker, I make my voice lower. And I walk a certain way because she’s in her 70’s.
JW – Do you have a routine before you go onstage?
LL – You’re gonna laugh, but gummi bears. They stimulate the saliva and moisten your throat.
JW – Favorite go-to snacks and food cravings?
LL – Just plain milk chocolate – no nuts, no caramel. Every single day of my life! It’s been great being in DC with the theatre across the street from The Wharf. I love seafood and they have great crabcakes here.
Liz Larsen in The Baltimorons
JW – What do you do in the rare times you’re not onstage or on camera?
LL – I like to cook – chicken soup with the whole chicken and matzoh ball soup. When I’m home I cook for my family and friends every night. And I love to read. Currently I’m reading Barbra Streisand’s audible book, “My Name is Barbra”. She narrates it. In it she tells what she ate and what she wore, and I love that. The other thing is swimming.
JW – You travel with your little dog, Finn. Is that for luck or comfort or both?
LL – It’s everything! I can’t be without him. Ashley and Shoshona have their dogs here too.
JW – What’s new career-wise?
LL – For the first time in my life, I was offered the lead in a movie. We shot it in Baltimore and now we’re all going to Austin for SXSW where it’s premiering later this month. It’s a buddy film – a romance. My co-star is 35 years old. I never thought that would happen! In it we spend 48 hours together at Christmas. It’s called the “Baltimorons”. Indie filmmakers Jay and Mark Duplass are the producers and directors.
JW – What is the one role you’d like to play?
LL – There have been roles I wanted to play like Mama Rose, but I feel like the role I’d want to play hasn’t been written yet.
This interview has been lightly edited and condensed.
World Premiere Schmigadoon! is a Wacky, Wonderful Spoof of Early Broadway Musicals Now at the Kennedy Center
Schmigadoon! The John F. Kennedy Center for the Performing Arts Jordan Wright February 3, 2025
Sara Chase, McKenzie Kurtz, and Alex Brightman (Photo/Matthew Murphy and Evan Zimmerman)
There was such a tremendous reception from the audience for every pun, joke, dance, slow burn and musical number throughout the sell-out performance of Schmigadoon! I attended last night, that I had to wonder what in the Sam Hell was up. The rousing applause and laughter were something I’d expect from avid theatregoers who come to a show having seen it before, maybe many times over, and are huge fans. I had to do a little digging to discover what the heck is the secret sauce to its immediate unquestionable success – especially given that the show is a spoof on old time musicals from the 50’s and 60’s and there was a young audience in total thrall.
If you didn’t see it, the series premiered on Apple TV + featuring a well-known cast of television and B’way superstars. Fans followed two seasons of episodes, and it was a huge hit winning kudos and awards along the way. Fast forward to this brand-new, live stage iteration and there’s your audience… plus anyone who grew up with these earlier musicals. To identify a few of the original tunes taken to hilarious heights, I thought I recognized The Music Man, Brigadoon (naturally), Carousel, Oklahoma, South Pacific and How to Succeed in Business Without Really Trying. When you figure out the rest, let me know.
Emily Skinner and the cast of Schmigadoon (Photo/Matthew Murphy and Evan Zimmerman)
For those unfamiliar with the story, it focuses on a young couple who have both literally and figuratively lost their way while on a weekend camping trip when they cross a bridge to find themselves in the throwback 1910’s in the mythical town of Schmigadoon. These two medical doctors, Josh and Melissa who are in the midst of a lovers’ spat, live in present-day New York City. In this retro, small town USA they find they are entirely out of their element, both socially and politically as they discover a community driven by Puritan values and yesteryear’s ignorance. But wow, can these small-town guys and gals sing and dance! As they say here, in a twist on the old trope, “Yee hawk”.
Eloise Kropp, Sara Chase, and Phillip Attmore (Photo/Matthew Murphy and Evan Zimmerman)
This world premiere musical has a cast chock-a-block with beloved Broadway, film and TV veteran performers who sang their faces off to an audience who hooted and hollered with glee. So did we. It’s silly, sweet and infectious, while harkening back to a Victorian era when love was as pure as the driven snow and pre-marital sex and having babies out of wedlock was beyond the pale. All that makes for some wacky scenarios as Josh and Melissa thread their way back to their love for each other helped by an adorable town crier kid, Carson, who damn near steals the show.
Linda Cho’s costumes reflect vintage country with the ladies in floral prairie dresses and the men in Victorian daytime formal wear or farm togs with high-waisted trousers held up by wide suspenders. Director and choreographer, Christopher Gatelli steers the chorus line into some serious high-stepping dance moves from kicks, leaps and flips to a brilliantly executed tap number.
Alex Brightman and the cast of Schmigadoon (Photo/Matthew Murphy and Evan Zimmerman)
You will lean in close to pluck out Book, Music and Lyrics Composer, Cinco Paul’s references to past musicals. I had alternate tunes from early musicals running rampant in my brain while trying to focus on the music at hand. I cadged a few (see above). Unfortunately, the program gives no hint. There’s your challenge.
For old school aficionados of period Broadway musicals plus the younger audience who followed the TV series (did I leave anyone out?) this wacky, wonderful, farcical musical is for you.
09_Brad Oscar and Kevin Del Aguila_Photo by Matthew Murphy and Evan Zimmerman
Starring Alex Brightman as Josh, Sara Chase as Melissa, Ann Harada from the original cast as Florence Menlove, Brad Oscar as Mayor Menlove, Emily Skinner as Mildred Layton, Ryan Vasquezas Danny Bailey, Javier Muñoz as Doc Lopez, McKenzie Kurtz as Betsy McDonough, Ayaan Diop as Carson Tate, Isabelle McCalla as Emma Tate, Kevin Del Aguila as Reverend Layton/Leprechaun with Phillip Attmore as Freddy, Brandon Block as Buford Riggs, Holly Ann Butler as Helen Pritt, Max Clayton as Larry the Fireman, Kimberly Immanuel as Zaneeta, Eloise Kropp as Nancy, Jess LeProtto as Pete, Nathan Lucrezio as Farmer McDonough, Lauralyn McClelland as Ruth O’Reilly, Shina Ann Morris as Norma Nelson, Angel Reda as The Countess Gabrielle Von Blerkom, and Richard Riaz Yoder as Harvey the Innkeeper.
Scenic Design by Scott Pask, Lighting Design by Jen Schriever, Sound Design by Haley Parcher. With the Kennedy Center Opera House Orchestra under the Musical Direction of Steven Malone and Jay Crowder.
Highly recommended. It’s a short run so snag your tix asap!
Through February 9th at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets call the box office at 202 416-8540 or visit www.Kennedy-Center.org.
