Nibbles and Sips Goes Mobile – From DC to AC to NYC and Back to DC

November 2012
Jordan Wright
Special to  www.dcmetrotheaterarts.com, www.broadwaystars.com, and www.localkicks.com

The Federalist – A Peaceful Retreat in the Heart of Downtown

What an eclectic array of events in just the past few weeks!  Here are some highlights.  We cozy into a leather banquette for a quiet, civilized and very elegant dinner at The Federalist in The Madison hotel where Chef de Cuisine Harper McClure put us in the right frame of mind for our madcap road trip.  Soups start us off – cauliflower bisque and an aromatic she-crab soup with nubbins of lump crabmeat.  My partner went for the Shenandoah lamb loin with celery root purée while McClure kindly indulged me with a special vegetarian plate of Alsatian braised arrowhead cabbage, sautéed chanterelle mushrooms, roasted Brussels sprouts, glazed cippolini onions, Carolina Gold rice and corn drop biscuits, while I try to pack in a week’s worth of veggies.

Upscale and Downscale on the Road

In the morning we’re off to Atlantic City, New York City, and Long Island too for a quick trip down memory lane.  No, we were not the advance team for Hurricane Sandy!  But it has felt somewhat eerie this week as we view disaster photos from the very roads we traveled and places where we stayed, trying to keep in contact with our New York friends who have lost power.  But for now we are blissfully ignorant of the devastating forces lurking a mere fortnight away.

Latino fisherman casts his net into the Atlantic off the coast of Margate, NJ – Photo by Jordan Wright

After a sun-drenched ride we disembarked at the glam resort Revel.  Its blue glass windows shimmer forty-eight stories skyward upping the wow factor in Atlantic City.  The resort has five restaurants from some of the region’s top chefs, but we were headed for Robert Wiedmaier’s Mussel Bar and Michel Richard’s Central Michel Richard both of who have their original outposts here in DC.  The plan is to visit each one over the following two evenings.

But first a few words about the hotel.  It is a breathtaking $2.4 billion curvilinear building designed by Architechtonica – the über modernistic design firm whose Brickell Avenue high-rise offices were featured in “Miami Vice” , setting the tone for that show’s hipster vibe.  No glitzy faux-Venetian Vegas-inspired schlock here.  This luxury property was decorated in the trendy retro mid-century modern style.  I expected to see the Dino and Sammy and the rest of the original rat pack from the “Oceans 11” in their slender-cut suits.

Our first night was spent at Mussel Bar, a Flemish gastro-pub where we found an edgy macho vibe, where Wiedmaier’s Harley Davidson is slung atop the room-length bar and chandeliers are cobbled together from rope and old bottles.  Skull graffiti is carved in some of the tables.  Skulls are very stylish this year and not on account of Halloween.  Try the house private label Belgian beer, Antigoon, a crisp light ale that sports a graphic of a giant with severed hand.  No cause for alarm.   Brabo, the name of one of Wiedmaier’s Alexandria restos, is a much-revered hero from Belgian mythology.


Expect braised meats and root vegetables served en casserole at this time of year; fresh local oysters, clams, lobsters and mussels, of course; as well as house-made charcuterie and addictive pommes frites.  It’s Belgian meets American regional.

Central Michel Richard is its polar opposite.  A brightly lit curvaceous blonde wood nest with an open kitchen, chef’s table and dining bar, it features casual French cuisine.  Deviled eggs topped with freshly pickled sardines, a chopped salad with mustard vinaigrette, and a beef filet-derived steak tartare were more than satisfying, especially after a cone filled with Richard’s signature gougeres– melt in your mouth cheese bites perfect for snacking with a martini – or “martillery” as we fondly call them at home.

 Lunch took us to White House Subs for an Italian cold cut special made with fresh Italian bread.  The 65 year-old temple to naugahyde and formica is a must visit.  The walls are lined with celebrity habitués from the 50’s on up – a tribute to its great subs and loyal following.  We settled for half a sub each for $6 bucks a pop.

White House Sub Shop in Atlantic City – Photo by Jordan Wright

On to New York City to Wall Street and the Battery.  We pass the new World Trade Center construction in the pouring rain and walk along one of the rare cobblestone streets left in Manhattan.  Our destination was brunch at the 250 year-old Fraunces Tavern.  An inn cum history museum, it is one of the most fascinating locales in the city, adjacent to the National Museum of the American Indian’s George Gustav Heye Center, and one I had somehow overlooked in all my years in the city.  This pre-revolutionary spot is where George Washington gave his inaugural address and later his farewell address to his officers of the Continental Congress.  During the Revolution it was the site of the first U.S. Treasury and the Departments of Foreign Affairs and War.  A meeting place for the Sons of the American Revolution it is Manhattan’s oldest surviving building and part of the American Whiskey Trail.

The Bar at Fraunces Tavern – Photo by Jordan Wright

Our fixed price brunch allotted us two Bloody Marys, one entree and a dessert.  George and Martha, had they partaken, would have approved.  I had the creamy smoked haddock chowder and the Irish Breakfast with sausage, blood pudding, bacon, eggs and baked beans, while my partner opted for the tavern’s buttery-crusted turkey pot pie and goat cheese, pear and cranberry salad.  After downing two bloodies I forgot to photo the desserts – homemade pie with homemade ice cream.

Later that evening we repaired to the Lower East Side to a Keith McNally spot called Schiller’s Liquor Bar – all white subway-tiled walls with antique fittings and signage from the turn of the 20th C.  After seeing the photos from Hurricane Sandy with the neighborhood underwater, I hope the place is still up and running as it was pouring cats and dogs that night and we had to leap over puddles on tiny sidewalks.

The scene at Schiller’s Liquor Bar on the Lower East Side – photo by Jordan Wright

The place was crowded, cold and damp and all about the cocktail.  We kept our coats on.  Tables were a few feet from the constantly opening door.  I vaguely recall a too-sweet bourbon sour, which the bartender crankily corrected.  Dinner was forgettable pasta, quickly downed while being stink-eyed by a hostess eager to turn the tables.  No dessert.  We fled like thieves in the night.

Avant Le Deluge – Dodging an Impending Hurricane Sandy

Morning brought breakfast at a friend’s home on Long Island – real New York Everything bagels, scrambled eggs and baked ham too – before taking off on a tour of the island and my old homestead.  It looked exactly the same as we drove up the long circular driveway and begged entry.  A surprised and kindly eighty year-old couple were entirely amenable to our visit.  Turns out they are the same family that bought the home from my parents and have raised 14 children in a house where we two kids once cavorted like puppies throughout the home’s ten bedrooms.

Visiting my childhood home on Long Island – Photo by Roy Wright

Around the corner we stop in at The Chowder Bar.  Sixty-six years in the same spot, the clapboard cottage perches unceremoniously beside the Maple Avenue Dock,a dozen or so yards from the old ferry boats to Fire Island.  They still serve the best clam chowder on the island for a few bucks and warmed the cockles of our hearts on a blustery day.

The Chowder House voted the best chowder on Long Island – Photo by Jordan Wright

In the evening we took dinner with friends in Massapequa, a small mid-island town that boasts numerous Italian restaurants both high- and low-end.  We drive along Broadway, the main drag, past mom-and-pop storefronts with traditional pasta makers, pizza joints, bakers, butchers and delis – all Old Country Italiano.  At Fra Amici Pizzeria & Ristorante it’s pasta night and the special three-course dinner is $11.95.  Caesar salads crisscrossed with olive oil-drenched anchovies, hearty minestrone soup crammed with zucchini and kale, and baskets of just-baked Italian bread cover the small table.  Shortly huge bowls of steaming pasta piled high with meatballs the size of baseballs arrive.  The tender orbs of veal and beef in homemade “gravy” as they call marinara sauce in these parts, melt in our mouths.

From a list of over fifteen types of pasta dishes I choose linguini alla vongole.  I have eaten this dish all over seaside Italia and anywhere in the United States near a bay or ocean.  I’ve had it prepared in the shell with Cherrystones, Little Necks or canned clams.  I know my alla vongole like a fish knows its scales.  I look down at my plate.  There beforeme is a sure half-pound of rough chopped whole fresh clams, whole cloves of tender garlic sautéed in butter and parsley and pasta enough for four.  I am thinking Jonah and the Whale.  I am thinking I am the big fish and this is my odyssey and as such I need to act my part.  Como incredibile!

We all took a deep breath, dove in to our respective pasta and truth be told made room for dessert though I cannot imagine how – cannoli and Italian cheesecake followed by mugs of frothy cappuccino.  I am still dreaming of it.  Readers, for the love of Mike, please let me know if there is anything in our area with “my-Nonna’s-in-the-kitchen” real-deal Italian dishes like this.

Cookie Monsters at Peace

Fueling us along during our time in the car were the heavenly New York City Black + Blanco cookies.  We tried all four exotic flavors of the buttery Moroccan-inspired ‘sandcastles’, as they call them.  The mad delicious sweets are gluten-free – though Lord knows not calorie-free.  Made with rye flour and virgin coconut oil they are entirely vegan.  No eggs, no dairy.  Choose from Maple Dusted Cardamom, Vanilla Black Sesame, Marzipan or Deep Chocolate Infrared infused with smoked paprika.  After each box we were still unable to pick a clear winner.  We’ll keep trying till we can.

Chinese Master Hu Comes to the Mandarin Oriental DC

Master Hu
Shaolin Kung Fu Master
Mandarin Oriental, Sanya

Back in town an exclusive booking at the Asian-inspired The Spa at Mandarin Oriental with Shaolin Kung Fu Master Hu awaited us.  Master Hu is from Henan Province and is a Master of Qi Gong and Medical Qi Gong as well as massage and meditation which are his specialties.  Master Hu has been on a multi-city tour, teaching students in both the martial and the cultural arts of China, and he was only in Washington for a few days before traveling on to the Mandarin Oriental in Chicago.

Our private class was an 80-minute Shaolin Zen Tea Ceremony that addressed health and a holistic diet regime.  The result is to stimulate the senses and bring the student back to nature through the serving of tea as a means to meditate together.  It seeks to harmonize the mind and body through a spiritual experience conducive to finding your inner self.

After watching Master Hu’s intricate ceremony of making, steeping and serving several white and green teas – one being the smoky lapsang souchong from the Fujian Province of China – he told me his name means ‘tiger’.  I asked him what ‘foo’ means.  “It means happy,” he translated.  “Oh well, my dog’s name is Foo Foo,” I offered.  “Means very, very happy!” he giggled nearly falling off his chair.  His charm is contagious. We sipped and grinned right along with him.

Later we floated off to lunch at the hotel’s Sou’Wester and sat at a table overlooking the harbor while watching the yachts bobbing on the Potomac along Maine Avenue.  Feeling blissed out and in a nether realm of consciousness, I dreamily ordered the Pan-Seared Red Drum, a local fish served atop jambalaya and Anson Mills Carolina Gold rice, finishing with the entirely-over-the-top Early Autumn Sundae of port-roasted figs, candied walnuts and clover honey ice cream.  We drifted like autumn leaves back to our car and workaday reality, while thoughts of a chestnut sorbet not chosen were luring me back before the season’s end.

Partying with Phoenix – An Insider’s Report

A day of food and fun hosted by friends from the Phoenix CVB was on the agenda earlier this month and I wouldn’t have missed it for the world.  A chance to have a private luncheon prepared by Mitsitam’s Executive Chef, Richard Hetzler at the National Museum for the American Indian (NMAI)that I knew would prove to be indelible.

The pond in autumn at NMIA - photo by Jordan Wright - Photo from Oct 2012 P

The pond in autumn at NMIA – photo by Jordan Wright

Our small group settled into a private dining room off the Main Cafeteria at tables swathed in bronze silks.  Host Greg Stanton, the Mayor of Phoenix, had been summoned to the White House that morning, following the previous night’s third Presidential debate, and he was running a tad late.  Trays of totopos, appeared with guacamole and peppery spreads with baked vegetable chips.  I toyed with a cool prickly pear agua fresca.

Stanton arrived around then apologizing for his late arrival.  He’s a good-looking, energetic man-on-a-mission eager to dispel the bad press Arizona has gotten of late.  He’d heard one of us had googled up the piece about his experiment to live on a week’s worth of food stamps.  I raised my hand.  I had been impressed by his sensitivity and drive even before our meeting.  He said we probably wouldn’t want to hear about his trip to the White House.  My hand shot up again and said, “Yes, please, Mr. Mayor, we would.”  “Well,” he recounted, “everyone’s chests were pretty puffed up after the previous evening’s success.”  And you could almost feel as though you’d been there too.

Phoenix Mayor Greg Stanton

Phoenix Mayor Greg Stanton

Lunch began with curls of cedar wrapped around seared salmon belly – the most buttery part of the fish – the poached red roe scattered like confetti over the top, the skin-on filet leaning against butternut squash bread pudding.  (Note: Hetzler achieves a crisp skin by first removing, pressing and quick searing it on a flattop grill and then reassembling the whole.)

Later a chestnut-stuffed goose terrine, sweet potato corn pone and wilted Brussels sprout leaves finished the coterie of appetizers smoothly paired with an Argentine Viognier.  Buffalo filet came glazed with fig must and clusters of plump shrimp sparkled with aji peppers and yellow yucca causa, a distinctive Peruvian dish derived from the Incans.

Hetzler showed off all the season’s glories with cauliflower-mashed potatoes made with buttermilk and horseradish, and a squash and Barlett pear gratin served in a pretty casserole.  We were a feather’s-breadth from heaven sipping a Chilean pinot noir when dessert was presented in the form of an aromatic acorn squash tart perfumed with sage and huckleberry honey plus a don’t-shoot-the-messenger apple crumble.  Take note budding chefs!   This is how one of our city’s finest chefs celebrates fall’s bounty using indigenous and sustainable foods.

A few hours later a cocktail reception was held at the United States Institute of Peace (USIP).  This dramatic ultra-modern winged structure, which took three years to complete, is the newest addition to Constitution Avenue.  It features a glorious undulating glass roof called the Ansary Peace Dove.  On this night they would throw open the doors for an event that was not a peace-related program or conference and guests were head over heels to see it from the inside.

Copper casseroles filled with lavish dishes were set up around the sun-drenched room.  What I remember most is the posole, chicken braised in mole sauce, seafood tamales and crab cakes with pumpkin seed aioli, though there were countless other delights in the cavernous space.  After thoughtful remarks by the returning Mayor Stanton, Suwaimaa five-time world champion Hoop Dancer accompanied by a native drummer, performed for the riveted guests.

Five-time World Champion Hoop Dancer Suwaima and Drummer - photo Jordan Wright Photo from Oct 17, 2012

Five-time World Champion Hoop Dancer Suwaima and Drummer – photo Jordan Wright

I Love to Eat – James Beard Comes to DC 

This is the last weekend for the short run of Round House Theatre’s fabulous I Love to Eat, the one-man show on the life and times of iconic chef James Beard.  In 1946 before Julia Child, Guy Fieri and the Food Network, there was Beard, America’s first TV chef.  His NBC show was “Elsie’s Kitchen Tips”, named after the show’s sponsor Elsie the Cow, whose messages drop down to the stage á la Groucho Marx’s secret word delivering duck.

Nick Olcott photo by ClintonBPhotography. James Beard kitchen photo © Krishna Dayanidhi, courtesy of The James Beard Foundation.

Nick Olcott photo by ClintonBPhotography. James Beard kitchen photo © Krishna Dayanidhi, courtesy of The James Beard Foundation.

Actor and successful DC-based director, Nick Olcott, channels Beard in all his catty, charming, culinarily knowledgeable glory.  To prepare for the role Olcott prepared dishes from Beard’s many cookbooks and blogged about it – his knife skills on the set confirm his year long rehearsal for the role.  The set is Beard’s kitchen.  A world map signifying his world travels is hung alongside dozens of gleaming copper pans.  Stainless steel worktables frame the stage and retro Princess phones are at every corner.

The gourmand enters grandly through a refrigerator in pomegranate-hued Chinese silk pajamas, frost clouds billowing behind.  He takes a call from an admirer in Kansas concerned about her dish.  “Gird your apron a little tighter,” he advises. “It’s not Easter – no need to bring it back from the dead!”  The dialogue is familiar and intimate and we feel we’re a fly on the wall of his life where in his vernacular nonsense is “twaddle” and approval is “really tops”  “You can get away with anything if you are amusing!” he admits.  Wise words from a sage cook.

At Round House Theatre, 4545 East-West Highway, Bethesda, MD through November 4th.  For tickets and information call 240 644-1100 or visit www.RoundHouseTheatre.org.

Haunting Drama Powers Cantorial at The Little Theatre of Alexandria

Jordan Wright
October 29, 2012
Special to The Alexandria Times
 

Warren Ives is a young, handsome, well-educated Wasp on the rise.  His budding career as a futures trader at Shearson-Lehman is all but guaranteed in Wall Street’s storied halls.  With his editor girlfriend, Lesley Rosen, an erstwhile Jew who works at the esteemed publishing house of Harper and Row, they acquire a converted former temple on the Lower East Side of Manhattan planning to live there in loft-style splendor.  They are from all outward appearances, a typical upwardly mobile New York couple.

From the moment they move in they become captive to strange Hebrew chanting coming from an unknown source within the temple.  They befriend their local grocer, Morris Lipkind, inviting him into their newly modernized space to witness the eerie sound.  The aging Lipkind who worshipped in the shulwhen the neighborhood once had the largest Jewish community in the country, regales them with tales of the former synagogue and its members, eventually identifying the voice as coming from its former cantor.  He translates the words of the chant,  “Build your house the way it was.”   This ominous news becomes the hinge on which the plot turns.  News that affects the couple’s relationship as it wrestles with complex and universally familiar issues of faith and spirituality.

 James Myers (Warren Ives), Steve Rosenthal (Morris Lipkind) and  Heather Benjamin (Lesley Rosen) - Photo by Shane Canfield

James Myers (Warren Ives), Steve Rosenthal (Morris Lipkind) and Heather Benjamin (Lesley Rosen) – Photo by Shane Canfield

You shouldn’t expect author and playwright Ira Levin, who penned such notable suspense and horror stories like Rosemary’s Baby, The Stepford Wives and Deathtrap, to hand you a pretty package tied up in a Bendel’s bow.  Cantorial centers around a young man’s discovery of his spiritual self and his subsequent obsession with its origin.  A tender and deeply affecting story – it is perhaps more in the vein of Hesse’s Siddartha – played with moving intensity by James Myers (Warren Ives), Heather Benjamin (Lesley Rosen) and Steve Rosenthal, whose portrayal of Lipkind is riveting, Yiddish-inflected hilarious and linguistically convincing.   Of particular note is actor John Shackelford in a small but pivotal role as Warren’s estranged politician father.  It’s always a thrill to experience Shackelford’s versatility and nuanced performances.  Also memorable are the hauntingly beautiful cantorial vocals by actor/singer Rick Flint.

James Myers (Warren Ives) and John Shackelford (Williams Ives) - Photo by Shane Canfield

James Myers (Warren Ives) and John Shackelford (Williams Ives) – Photo by Shane Canfield

The entire production boasts tightly crafted theatrical elements starting with the design team of Ken and Patti Crowley who have transformed not only the stage in their bold lighting plan, but have also included the very theatre walls.  Their use of uplights, downlights, lights to highlight props, spots, and stage lights all in rich jewel tones combine with Set Designer, Dan Remmers evocative set to make a spare yet dramatic architectural design in this well-acted ethnic comedy slash drama slash personal journey.  See it!

Through November 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.

Medea September 2012 – Port City Playhouse

Jordan Wright
September 24, 2012
Special to The Alexandria Times
 

Warning: Spoiler Alert.  The plot of Medea will be revealed here.  For those of you who are without knowledge of Greek mythology, you may want to stop reading now. Others, whose memories of Jason and Medea may be just a tad rusty, might find it handy to bone up with this truncated recap.

For starters Jason dumps Medea, wife and mother of his two boys, to marry a younger hotter babe whose father, Creon, is the filthy rich King of Corinth.  Nothing modern-day sociologists would find surprising.  But in twenty-four hours his adoring spouse will be banished from the kingdom to live on the mean streets of Greece without so much as a drachma to her name.  No social safety net in place then, but heaps of public scorn and the usual pariah status.  But Medea will not go gently into that good night.  “Oh triple fool,” she cries out, “You have given me time.”  And a plot that makes The War of the Roses look like an exercise in marital merriment thickens.

As soul sister to the sorceress Hecate, “Help me to remember the venomous fire!” she implores the Queen of the Night, Medea’s knowledge of potions and the Dark Arts is legendary and spot on deadly.  And you know what they say about Hell having no fury like a woman scorned, especially a woman who has already betrayed her father and murdered her brother to promote her husband’s social standing.  Jason should have known he’d get his head handed to him.

Ah, “the violence of love,” the Muses wail, trying to dissuade Medea from her retribution.  But there’s no stopping the avenging soon-to-be ex-wife from calling on the gods of the underworld to back her up.  Woe betide to our hapless Argonaut.  That’s some vindictive crew.

Anissa Parekh, a skillful actor, played the lead trained at both the Studio Theatre Acting Conservatory as well as the Shakespeare Theatre Company

Anissa Parekh

Marking the beginning of its 35th anniversary is Port City Playhouse’s presentation of Medea with Anissa Parekh playing the lead.  Remember that name.  Parekh, who was trained at both the Studio Theatre Acting Conservatory as well as the Shakespeare Theatre Company, is a skillful actor, whose knowledge of stagecraft is immediately evident.  It is thanks to her that this production has meat on its ancient bones.  Her ability to center the other performers by dint of her powerful stage presence saves it from drowning in the Aegean Sea.

Though I am a huge fan of PCP and their bold choices, this drama does not have the usual high caliber of performances, except for the commanding presence of Parekh.  Costumes are neither period nor contemporary but a hodgepodge of 30’s, ‘40’s and 50’s retro dresses with aprons and randomly chosen military uniforms for some of the men.  The primitive set includes a small refrigerator used as a stool, several chairs and a panel with double doors situated at the edge of the raised stage.  A black box theatre style would have been less distracting than watching actors yank at sticky doors while trying to wriggle through the narrow space without toppling off the proscenium.  Somewhere Dionysus and The Muses are cringing.  But notwithstanding these awkward production values and throwaway supporting roles, see it for Parekh.  Her Medea is memorable.

At The Lab at Convergence, 1819 North Quaker Lane, Alexandria, VA 22302.  Performances continue on these dates – September 25, 28, 29 at 8pm and September 22 and 29 at 2pm.  For tickets and information call 703 838-2880 or email PortCityInfo.com for reservations or visit www.portcityplayhouse.org.

Jacques Brel Is Alive and Well and Living in Paris

Jordan Wright
September 8, 2012
Special to The Alexandria Times 

Bobby Smith, Sam Ludwig, Bayla Whitten, Natascia Diaz - Photo credit: Christopher Banks

Bobby Smith, Sam Ludwig, Bayla Whitten, Natascia Diaz – Photo credit: Christopher Banks

Poets and thinkers do very well during times of political and social upheaval and Jacques Brel was no exception. Born in war-torn Belgium in 1929 he threw off the constraints of the bourgeoisie to become a songwriter whose emotionally charged songs catapulted him to worldwide success.  For a European musician to transition to the American market is rare indeed.  Very few do.  Iconic singers Charles Aznavour, Genevieve and Edith Piaf, and virtuosos like Jazz guitarist Django Reinhardt immediately come to mind.  But for a composer making records in France it is nearly unheard of.  No French record company enjoys US distribution and artists who sell millions of records in Europe, Africa and Asia, are unknown here.

Brel was one of the lucky ones when in 1957 American Nat Shapiro, Director of International A & R for Columbia Records, heard “Quand On a Que L’Amour”.  Over the following years his music would be covered by every singer worth his or her pipes – Frank Sinatra, Gilbert Becaud and Ray Charles turned his songs to gold.  Brel’s music appealed to singers for its powerful lyrics and unusual constructs, but to an audience hungry for lyrics that transcended time and place and addressed the universal human condition.

Natascia Diaz - Photo Credit Christopher Banks

Natascia Diaz – Photo Credit Christopher Banks

Carolyn Griffin, Producing Artistic Director of MetroStage, has brought in the big guns for Jacque Brel Is Alive and Living in Paris, not least of all the incomparable Natascia Diaz, who triumphed in the 2006 New York revival and subsequent cast recording.

Twenty-eight of Brel’s songs depicting love, tragedy, anti-war themes, aging, irony, fantasy and hope, are delivered by four singers whose voices capture the fierce emotionality of the lyrics and turn the musical into an electrifying evening of raw passion and soaring vocals.  Diaz delivers climactic moments in “Ne Me Quitte Pas”(It’s American version was “If You Go Away”.), the spellbinding “Old Folks”, and “Marieke” in a performance that ranges from spine tingling to meltingly tender.  Bobby Smith, whose Broadway and Off-Broadway credits include the Original Cast of Forever Plaid and Crazy for You, and is no stranger to MetroStage, is a heart-winner whose snappy Fosse-like moves create an element of cool retro Rat Pack sophistication in “Jackie”, and the grim portrait of a sailor’s life in “Amsterdam”.   Sam Ludwig, a leading local performer and MetroStage veteran, brings youthful snap and sex appeal to “Next” a song about the loss of virginity in a whorehouse.  And newcomer, Bayla Whitten, as the ingénue, proves she can croon with the best of them in “Sons Of” and the tragic all-cast number, “Timid Frieda”.

Choreographer, Matt Gardiner, also the Associate Artistic Director at Signature Theatre, shows his versatility in creating multiple vignettes without props on a simple set, while pianist Jenny Cartney’s musical direction of the three-piece band is masterful.

At MetroStage through October 21, 2012-1201 North Royal Street, Alexandria, 22314.  For tickets and information call 800 494-8497 or visit boxofficetickets.com.  www.metrostage.org.

Murder Most Hilarious – Funny Money at The Little Theatre of Alexandria

Jordan Wright
September 10, 2012
Special to The Alexandria Times
 

Erik Harrison (Henry Perkins) and Charlene Sloan (Jean Perkins) - Photo by Doug Olmstead

Erik Harrison (Henry Perkins) and Charlene Sloan (Jean Perkins) – Photo by Doug Olmstead

What would you do if your briefcase had been switched for one containing 735,000 British pounds?  No need to answer right away.  At least not until after you’ve seen the rollicking British farce Funny Money now playing at The Little Theatre of Alexandria.  No time for high-minded morality and other sticky wickets with so much at stake.

Henry Perkins is an ordinary accountant toiling at an ordinary job in middle class London when on his commute he pops open his attaché to discover his cheese and chutney sandwich has been substituted for an identical-looking case chockfull of cold hard cash.  He hightails it into the Prince of Wales Pub using the loo to count and recount the money.  After a few whiskeys and multiple trips to the bathroom to revel secretly in his good fortune, a local detective, mistaking his joie de vivre for solicitation, follows him home for questioning.

Charlene Sloan (Jean Perkins) and Marisa Johnson (Slater) - Photo by Doug Olmstead

Charlene Sloan (Jean Perkins) and Marisa Johnson (Slater) – Photo by Doug Olmstead

Henry’s birthday celebration is put on hold when he concocts a plan to take it on the lam to Barcelona.  Jean is not enamored of the sudden change of party plans and even more dismayed by the jolly criminality displayed her husband. “I preferred it better, when you were a bloody wimp,” she confesses.

Everything begins to go topsy-turvy in a most delicious way, when best friends and celebrants Vic and Betty Johnson arrive and add to the mayhem.  As Vic attests, “You walk out the door in this place and you come back to Goo-Goo Land.”

Erik Harrison (Henry Perkins) and John Shackelford (Bill) - Photos by Doug Olmsted

Erik Harrison (Henry Perkins) and John Shackelford (Bill) – Photos by Doug Olmsted

Erik Harrison is the man-on-a-mission Henry Perkins while Charlene Sloan who makes an admirable debut at LTA is the whiskey-swilling wife Jean Perkins.  John Shackleford plays Bill the Cabbie, a dead ringer for The Gleason Show’s Ed Norton aka Art Carney.  Gayle Nichols-Grimes is riotous as Betty Johnson and Ted Culler, whose face can launch a thousand expressions, is her befuddled husband Vic.  Larry Grey plays the straight man Inspector Davenport and Marisa Johnson plays Detective Slater.  Apart from Bill and Slater, there’s no sense remembering the characters’ names as they take on new identities as readily as a chameleon changes color.  It’s a classic Brit comedy on steroids and Harrison is uproarious setting a breakneck pace for the rest of the crack cast.

Michael Metz (Passer-by), Charlene Sloan (Jean Perkins), and  >Gayle Nichols-Grimes (Betty Johnson)  - Photo by Doug Olmstead

Michael Metz (Passer-by), Charlene Sloan (Jean Perkins), and >Gayle Nichols-Grimes (Betty Johnson) – Photo by Doug Olmstead

Brace yourself for two hours of sidesplitting mishaps, malaprops and misunderstandings.  All by a cast whose timing, to coin a phrase, is right on the money.

Through September 29th 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

A Sizzling, Knee-Slapping, Kick Ass, Belly-Laughing Breath Of Fresh Lone Star Air

Jordan Wright
August 27, 2012
Special to The Alexandria Times

Sherri L. Edelen (as Miss Mona, center) leads the cast of "The Best Little Whorehouse in Texas" in the production’s toe-tapping finale. . Photo: Scott Suchman.

Sherri L. Edelen (as Miss Mona, center) leads the cast of “The Best Little Whorehouse in Texas” in the production’s toe-tapping finale. . Photo: Scott Suchman.

Miss Mona Stangley is running a respectable house of ill repute in 1972 Gilbert, Texas and the century-old business is doing jes’ fine.  Fine is a three-syllable word you understand.  She has “A Lil’ Ole Bitty Pissant Country Place” as she describes it.  At the Chicken Ranch Miss Mona lays down the law with some  “no-no rules” for her girls.  “Call ‘em guests”, she drawls, and “no smokin’, drinkin’ or wavin’ to men in town.”  Summing it up for new hires, “We go in for mass volume and repeat business.  Just like Coca-Cola!”

Miss Mona’s got friends in high places including Sheriff Ed Earl Dodd, Mayor Rufus Poindexter, Senator Wingwoah and the Texas Governor himself, but all that doesn’t amount to a hill of beans when Melvin P. Thorpe climbs on his soapbox.  Thorpe is the local KTEX-TV’s crusading television reporter whose Watchdog group of bible-thumpin’ do-gooders, known as ‘The Dogettes’, are determined to rid Landville County of Miss Mona’s sinful activities, “Texas Has a Whorehouse In It”, is their rallying cry.

In Signature Theatre’s current production of The Best Little Whorehouse in Texas, the popular musical inspired by a real life story with book by Texas author Larry L. King and Peter Masterson, Director Eric Schaeffer has stuffed so much talent into this show it’s hard to know when to start the music.  Highlights are DC favorite, Sherri L. Edelen as the saucy Miss Mona; Sheriff Ed Earl played by Thomas Adrian Simpson who tenderly sings the classic “Good Old Girl” in his gravelly baritone; Matt Conner as both Mayor Poindexter and Senator Wingwoah; Christopher Bloch as Melvin Thorpe who lights up the stage with fire and brimstone; and the riveting scene stealing of Dan Manning as The Governor who tears the house down in Act Two.

Dan Manning dances “The Sidestep” as the Texan governor in "The Best Little Whorehouse in Texas" Photo: Scott Suchman

Dan Manning dances “The Sidestep” as the Texan governor in “The Best Little Whorehouse in Texas” Photo: Scott Suchman

Costumes by Kathleen Geldard favor the men – and the men favor the costumes.  And how!  Tight cowboy shirts and sexy jeans on hot ripped bodies had audience members whooping, hollering and drooling to the hard driving, boot-stomping dancing and R-Rated stripping.  The female side of the equation seemed to have a distinct disadvantage as to both pulchritude and costumes. The women, on whom you might reasonably expect some spangles, corsets, frilly garters and perhaps diaphanous peignoirs, were dressed in tame black and red lingerie, daisy dukes, prairie dresses and dime store cowboy boots.  The dreary clothing and bad wigs made the women pale in comparison.  Even Miss Mona’s outfits were more appropriate for a 1970’s office manager.  But eight-time Helen Hayes Award nominee Karma Camp has created choreography to outshine any anomalies combining vaudevillian burlesque with high-kicking chorus lines to ratchet up the wow factor.

The Aggie Boys (from left to right: Davis Hasty, Benjamin Horen, Vincent Kempski, Stephen Gregory Smith) celebrate their football victory before they leave for a night at the Chicken Ranch. Photo: Scott Suchman

The Aggie Boys (from left to right: Davis Hasty, Benjamin Horen, Vincent Kempski, Stephen Gregory Smith) celebrate their football victory before they leave for a night at the Chicken Ranch. Photo: Scott Suchman

Collin Ranney has designed a stunning barn red two-tiered set hotter than a Colt 45 after a shootout at the O.K. Corral.  Punctuated with mounted steer horns and featuring rows of louvered bedroom doors that fling open to reveal steamy recreation, the stage evokes the Wild West on steroids.  Overhead chandelier fans swirl lazy shadows on the stage and a circular red velvet banquette provides a cozy setting for Miss Mona and Jewel in the number “No Lies”.

Welcome to the Chicken Ranch.  Photo: Scott Suchman.

Welcome to the Chicken Ranch. Photo: Scott Suchman.

All in all the show is a sizzling, knee-slapping, kick ass, belly-laughing breath of fresh Lone Star air.  Chockfull of high-steppin’ hoofers, country-spun one-liners, tearjerker ballads, and enough eye candy to raise your blood sugar to precipitous levels.

The girls of Miss Mona’s whorehouse. From left to right, back row: Amy McWilliams, Nadia Harika, Maria Rizzo, Brianne Camp; from left to right, middle row: Nora Palka, Tamara Young; bottom row: Jamie Eacker. Photo: Scott Suchman.

The girls of Miss Mona’s whorehouse. From left to right, back row: Amy McWilliams, Nadia Harika, Maria Rizzo, Brianne Camp; from left to right, middle row: Nora Palka, Tamara Young; bottom row: Jamie Eacker. Photo: Scott Suchman.

Through October 7th at Signature Theatre (Shirlington Village), 4200 Campbell Avenue, Arlington, VA 22206.  For tickets and information call 703 820-9771 or visit www.signature-theatre.org.