A Directorial Triumph and Flawless Cast Reign in Mary Stuart at The Little Theatre of Alexandria
Mary Stuart
The Little Theatre of Alexandria
Jordan Wright
April 24, 2023
Special to The Zebra
 Thomas O’Neill, Maria Ciarrocchi (Photo/Matt Liptak) Two women, two countries, two rulers, two religions. For Mary Stuart Queen of Scots (Sarah Cusenza), it becomes a fight for her life when she is imprisoned by her cousin Elizabeth I Queen of England (Maria Ciarrocchi). While in her cell Mary has only her faithful nursemaid Hanna Kennedy to confide in, Elizabeth has legions of lords acting as her councilors. That doesn’t prove to be as useful as one might imagine when we see how their self-serving machinations muddy Elizabeth’s resolve.
In 1587 England is in a precarious state since Henry VIII divorced as a Catholic (Heaven forfend!) and converted to Protestantism. Wacky six-time wedded Henry even called his daughter Elizabeth a bastard child, but she wound up with the throne so sticks and stones didn’t throw shade on her after all. As for the never-married “Virgin Queen” Elizabeth, it seems she came away with some wisdom after witnessing the knavish ways of good old dad and decided to keep single. Plagued by the divergent views of her lords, she vacillates on what to do with Mary. Will it be more favorable to her reputation if she is seen to be sympathetic to Mary? Should she let her return unharmed to Scotland or show her the scaffold? If you know your history, you’ll know how that played out.
 John Paul Odle, Sarah Cusenza (Photo/Matt Liptak) Set in the 16th century, the play draws from a Shakespearean style of drama to reflect the bloody history within castle walls. Conspiracy, double dealing, spying, jealousy and murder are all on the table in this riveting political drama by author Peter Oswald. As the conniving Lord Burleigh (John Henderson) tells Elizabeth when a plot to murder her is revealed, “You must kill or be killed.” But whom should Elizabeth trust among the flatterers and sycophants? She has already survived three assassination attempts on her life. Each woman feels trapped. Mary in prison and Elizabeth in obeisance to her countrymen, “O, appalling servitude,” she laments.
 Maria Ciarrocchi (Photo/Matt Liptak) We must remember how very young these women were when they took the throne. Elizabeth was 25 years old. At that time a woman had never reigned in England before. Mary was a mere six days old when her father James V of Scotland died, and she was the only living heir. Although she was brought up in the lap of luxury and culture in France, she returned to Scotland and ascended to the throne at a mere girl of 19. Both women so young and with extraordinary power.
 Maria C, Sarah Cusenza, Sally Cusenza, Paul Donahoe (Photo/Matt Liptak) Since the play centers around Mary, it must have a strong actress, one who will imbue her performance with deep emotion and the gravitas befitting her role as a queen. I was totally taken with the acting brilliance of Sarah Cusenza whose Scottish accent was spot on and who held the stage with tremendous aplomb.
Mary Stuart is a powerful production, and it is flawless. You could hear a pin drop in the audience so fascinating are the story and the character’s interactions. Jaw-dropping period costumes by Juliana Cofrancesco, Abbie Mulberg, Carol Pappas and Robin Worthington coexist with Matt Liptak’s Elizabethan period set design to perfectly frame the pulsating action.
The Little Theatre has surprised this reviewer with yet another excellent production and a directorial triumph by Kathleen Barth who has assembled an impressive cast to manifest her vision.
Highly recommended.
With Sally Cusenza as Hanna Kennedy; John Paul Odle as Mortimer; Kirk Lambert as Amias; John Henderson as William Cecil, Lord Burleigh; John Barclay Burns as Count Aubespine and Melvil; Richard Fiske as Count Bellievre and Kent; Paul Donahoe as George Talbot; Stuart Fischer as Dungeon Drury and William Davison; Thomas O’Neill as Robert Dudley, Earl of Leicester; Lee Swanson as Officer and Sheriff; Sam Beeson as O’Kelly and Page.
Dramaturg, Griffin Voltmann; Lighting Design by Matthew Cheney; Sound Design by Janice Rivera; Makeup and Hair Design by Robin Maline and Lanae Sterrett; Dialect Coach Hilary Adams.
Through May 13th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information visit www.TheLittleTheatre.com or call the box office at 703 683-0496.
A Splendiferous Aladdin Wows Audiences at the National Theatre
Aladdin
Broadway at the National
National Theatre
Jordan Wright
April 20, 2023
Special to The Zebra
 Marcus M. Martin (Genie) and Company (Photo/Deenvan Meer) For those in love with fantasy and adventure with a whole heap of razmatazz, Disney’s Aladdin sits at the at the pinnacle of Broadway extravaganzas. There hasn’t been a production with more glitter, more sequins, more light-reflecting crystal beads, bolts of diaphanous chiffon and soaring feathered turbans (what’s the plural of fez?) since the Ziegfeld’s Follies! The pyrotechnics and flashy projections alone make this a must-see. It’s all glitz and glamour set in an exotic imaginary city somewhere in Arabia.
Everything you might expect from a showstopper is all here in eye-popping splendor thanks to multiple Tony Award-winning Set Designer Bob Crowley. Moorish minarets loom over sword-wielding royal guardsmen and whirling dervishes as the handsome ne-er-do-well Aladdin (Adi Roy) encounters Princess Jasmine (Senzel Ahmady). Jasmine is determined to choose her own husband (She’s a liberated woman!) and experience life outside the stifling walls of the castle. To that end she has fled the overly protective arms of her father the Sultan (Sorab Wadia) and found her way to the marketplace among the commoners. Jasmine is one smart cookie and fiercely independent taking no guff from the evil Grand Vizier, Jafar (Anand Nagraj) and his comic minion, Iago (Aaron Choi).
 Adi Roy as Aladdin (Photo/Deenvan Meer) Aladdin and his pals Babkak (Jake Letts), Omar (Ben Chavez) and Kassim (Colt Prattes) live a life of petty thievery while Jasmine is trapped in a gilded cage. Nothing is easy in the kingdom of Agraba, but there’s a lot that’s hilarious. As Genie (played gloriously by Marcus M. Martin) explains in his in his usual wry tone, “Everyone here has zero body fat…” except for Genie who is a full-figured, jive-talking bundle of high-stepping, street-smart exuberance who can nail a medley of Disney show tunes as readily as he can grant three wishes.
There’s drama and frolic and frolicsome drama as Aladdin finds himself in the aurelian ‘Cave of Wonders’ having been sent by the wicked Jafar to fetch the Genie’s golden lamp. Predictably it’s a set up as Jafar plans to do away with our hero and keep the lamp for his nefarious machinations.
 Jake Letts, Ben Chavez, and Roy Colt Prattes (Photo/Deenvan Meer) But wait! Did I mention the magic carpet? Where would we be without a magic carpet to highlight Aladdin and Jasmine’s amorous vows to wed despite all odds? Traveling through the starry sky the pair soar above the stage in a flight of fantasy and wonder professing their love with one of the musical’s most memorable numbers “A Whole New World”.
A splendiferous production! Highly recommended. Bring your kids. Bring all the kids in the neighborhood!
Music by Alan Menken; Lyrics by Howard Ashman, Tim Rice and Chad Beguelin; Book by Chad Beguelin; Directed and Choreographed by Casey Nicholaw; Costume Designs by Gregg Barnes; Lighting Design by Natasha Katz; Music Director/Conductor James Dodgson; Orchestrations by Danny Troob; Sound Design by Ken Travis.
 Senzel Ahmady as Jasmine and Company (Photo/DeenvanMeer) Through April 30th at the National Theatre, 1321 Pennsylvania Avenue, NW, Washington DC 20004. For tickets and information visit www.TheNationalDC.com or call the box office at 202 628-6161.
A Resounding Mais Oui! for the Beloved Les Miserables at The Kennedy Center
Les Miserables
John F. Kennedy Center for the Performing Arts
Jordan Wright
April 16, 2022
Special to The Zebra
 Nick Cartell as Jean Valjean (Photo/Matthew Murphy & Evan Zimmerman for MurphyMade) The year was 1985 when Les Miserables hit London’s West End. It wowed critics then – Patti Lupone won the Laurence Olivier Award (Britain’s equivalent of an Oscar) for “Best Actress in a Musical” in her role as Fantine – and the musical was further nominated for two awards for “Best Actor in a Musical” (Colm Armstrong for Jean Valjean and Alun Armstrong for Thénardier). Through all its reincarnations, the operatic sing-through, based on the novel by Victor Hugo and backdropped by the French Revolution, still fills theaters around the world.
The spirit of this musical is as relevant as if Hugo had just set pen to paper. Let’s reflect on Louis XVI’s Ancien Régime’s agenda, shall we? Alienate the lower classes through starvation, then ignore science and reason. Keep monarchical rule in place amid mass resistance and cut taxes on the privileged nobles thus keeping the peasants and rising middle class at bay. Hmmm. Sound familiar? Didn’t work out so well for old Louis who was guillotined for his Draconian policies. Ah, well, he did help us out financially during the American Revolution.
 “One Day More” from (Photo/Matthew Murphy & Evan Zimmerman for MurphyMade) At its very soul is the heartbreaking love story of the abandoned prostitute Fantine (Haley Dortch) and the reformed thief Valjean (Nick Cartell) and Valjean’s death bed promise to adopt Fantine’s daughter Cosette (Cora Jane Messer as Cosette as a child and Addie Morales as Cosette all grown up). The story fans out with the heartwarming love story of the innocent Cosette and the idealistic Marius (Gregory Lee Rodriguez) with the tragic Éponine (Christine Heesun Hwang) and her unrequited love for her compatriot Marius. Set amid the glory and desperation of a revolution led by Enjolras (Devin Archer) that arose from social and economic inequality, there hasn’t been a story with as much 18th century history, nor as much inspirational music, till Hamilton arrived on the scene. And you know how that’s turned out.
Bawdier, rougher and lustier than I remember when I last saw it six years ago, this national touring company staging with its three-story sets has the fiery intensity of both the battle and escape scenes greatly realized with projections by Finn Ross and Fifty-Nine Productions who have drawn inspiration from the apocryphal paintings of Victor Hugo. And as grim as the story may be, the drama of Valjean’s misery is lightened up decidedly by the characters of Madame Thénardier (Christina Rose Hall) and her husband Thénardier (Matt Crowle) a hilariously dastardly duo who are the innkeepers of the iniquitous Au Sergent de Waterloo in Montfermeil where Cosette is raised in the cruelest of indentured servitude. Yet always chasing his past, Valjean repeatedly comes up against Javert (Preston Truman Boyd) who is determined to arrest him for his past crimes.
 “Fall of Rain” – Christine Heesun Hwang as Éponine and Gregory Lee Rodriguez as Marius (Photo/Matthew Murphy & Evan Zimmerman for MurphyMade) Whether you’ve seen it once or a dozen times, as I suspect many in the enthusiastic opening night audience had, Co-directors Laurence Connor and James Powell give us an awe-inducing production so magnificently staged, so brilliantly performed and so powerfully sung. Kudos too, for the evocative golden-hued scenes by Lighting Designer Paule Constable who conjures up street scenes reminiscent of Dutch artist Petrus van Schendel’s firelit paintings. Edge-of-your-seat new orchestrations by Christopher Jahnke, Stephen Metcalfe and Stephen Brooker are gloriously conducted by Music Director Jay Crowder’s Kennedy Center Opera House Orchestra along with the show’s Traveling Orchestra led by Brian Eads.
On the night I saw it the magnificent voice of Nick Cartell received a well-deserved standing ovation and rousing cheers for his performance of Jean Valjean. I clung on his every note. Let me die right here! On his solos “Who Am I” and “Bring Him Home” wanting to run up to the stage and thank him personally. Also Gregory Lee Rodriguez’s tremendous solo “Empty Chairs and Empty Tables” which is a powerful ballad about survivor’s guilt. In an eyebrow-raising surprise, the audience stayed through all the bows and not one person fled before the lights went up. A rare sight in today’s theaters.
Absolutely brilliant in every way. Highly recommended!!!
 “Red and Black” – Devin Archer as Enjolras and company Music by Claude-Michel Schönberg; Lyrics by Herbert Kretzmer; Original French Text by Alain Boubil and Jean-Marc Natel; Costumes by Andreane Neofitou.
Through April 29th at The Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit www.Kennedy-Center.org.
Shout Sister Shout! is a Joyful, Scintillating, Knock-your-socks-off Musical at Ford’s Theatre
Shout Sister Shout!
Ford’s Theatre
Jordan Wright
March 23, 2023
Special to The Zebra
 Carrie Compere as Sister Rosetta Tharpe with (background) Jamal Antony Shuriah (Photo/ André Chung) Torn from the pages of Gayle F. Wald’s book, “Shout, Sister, Shout! The Untold Story of Sister Rosetta Tharpe” comes Cheryl L. West’s red hot musical, by the same name, Shout Sister Shout! Note the slightly different punctuation. It’s a story about the pioneer of rock and roll. Well known to modern day musicians like Elvis Presley, Chuck Berry, Aretha and The Rolling Stones, Tharpe’s techniques were copied by many musicians, and she could play the piano and shred a guitar with the best of them. Her musical evolution from church-bred, come-to-Jesus gospel to jitterbug and rockabilly, to jazz, flat-out Black gospel and later pure R&B is mind-blowing.
 Carrie Compere as Sister Rosetta Tharpe and company (Photo/ André Chung) When she finally broke free from her mother, Katie Bell (Carol Dennis from Broadway’s The Color Purple), a strict, bible-thumping, Pentecostal preacher, and her abusive husband, Reverend Tharpe (Sinclair Mitchell), she went all the way to the top of the charts playing Carnegie Hall, New York’s Cotton Club with Cab Calloway (Joseph Anthony Byrd), the iconic Apollo Theatre and sold-out concerts all over Europe. Little known fact: She played to a crowd of thousands of fans at DC’s Griffith Stadium.
This is a huge show featuring a large ensemble of dancers and singers showcasing multiple period dance styles, 22 musical numbers ranging four decades and very enthusiastic audience participation. The music encompasses all the aforementioned styles adding back-up trios and harmonizing quartets and tells the story of the duo act she took on the road with her paramour, Marie Knight (Broadway star Felicia Boswell). As popular as she was, she was somehow left out of the pantheon of musical celebrities. Today, Sister Rosetta Tharpe is considered the “Godmother of Rock-and-Roll”.
 Carrie Compere as Sister Rosetta Tharpe (Photo/ André Chung) This is a joyful, scintillating, knock-your-socks-off musical with the added thrill of a crack cast and starring pitch-perfect Carrie Compere (Broadway’s The Color Purple) as Rosetta Tharpe with Joseph Anthony Byrd as Reverend Tharpe; Joe Mallon as Richie/Tiny/Ensemble. Kelli Blackwell has a star turn as Mahalia Jackson, one of Tharpe’s influences. Many in the company played in Grace: The Musical recently at Ford’s Theatre. And you know how much I loved that one!
Highly recommended. Flat out fun!
 Carrie Compere as Sister Rosetta Tharpe and Company (Photo/ André Chung) With Nia Savoy-Dock as Leeannie/Showgirl/Ensemble; David Rowen as Neckbone/Lucky Millinder/Ensemble; Jamal Antony Shuriah as Nicholas Brother/Little Richard/Ensemble; Jaran Muse as Nicholas Brother/Russell Morrison/Ensemble; Raquel Jennings as Showgirl/Usher Nurse/Ensemble; Jalisa Williams as Showgirl/Ensemble; and Keenan McCarter as Dizzy Gillespie/Ensemble.
Directed by Kenneth L. Roberson; Choreographer William Carlos Angulo; Scenic Design by Tim Mackabee; Costume Design by Alejo Vietti; Orchestrator and Arranger Joseph Joubert.
Through May 13th at Ford’s Theatre, 511 10th Street, NW, Washington, DC 20004. For tickets and information visit www.Fords.org or call the box office at 202 347-4833.
Sondheim’s Pacific Overtures Brings Magical Realism to Japanese Culture at Signature Theatre
Pacific Overtures
Signature Theatre
Jordan Wright
March 22, 2023
Special to The Zebra
 Eymard Meneses Cabling (Lord Abe) and the cast of Pacific Overtures. (Photo/Daniel Rader) Thanks to the brilliance of multi-Emmy Award-winning Book writer, John Weidman (an early Sondheim collaborator), who has updated some of the 50-year-old material in Pacific Overtures, and the adaptation by the eminent Hugh Wheeler this production is now more relevant than it has ever been. It presents as a well-curated collection of precious gifts – each one a surprise. Throughout both acts I was in a constant state of wow. It differs from some other Sondheim musicals in that, although there is the distinct aspect of magical realism, there is also a political message cleverly couched between the indisputable lure of Asian culture and its bellicose history. Told by the Reciter (Jason Ma), it begins with a tea ceremony on the island empire and tells of a lowly fisherman Kayama (Daniel May) who navigates a complicated journey in the worst of times.
 Quynh-My Luu (Photo/Shannon Finney) In its representation of mid-19th century life in Japan, its formality, its chrysanthemum tea ceremonies, and its well-defined class structure under the emperor, we behold exquisite costumes – lavish kimonos and stylized papier maché hair designs. Newly hired Associate Artistic Director Ethan Heard has assembled a unique and uber-talented crew to flesh out all the details and it is mightily impressive. Silks are wafted like ocean waves and a circular stage that turns in the center to reveal all sides of the characters and their interactions. From behind Japanese scrims fan-twirling geishas hide and giggle as they plot their welcoming of the American sailors. The raking of sand sculptures imbedded in the stage floor show no hint of inner chaos. Stylized depictions of Kabuki theater allow each minute detail of Japanese culture to be honored and observed. It is both elegant and intentional.
Pacific Overtures’ charm is scintillating. Characters in hyper-distorted masks pop seemingly out of nowhere, some as hyper-politicized puppets, symbols of the way Japan saw America in the days of the Shogun, others as comical and cute in a nod to Japanese Manga comics.
 Chani Wereley (Madam) and Jason Ma (Reciter) with Quynh-My Luu, Albert Hsueh, Andrew Cristi, and Christopher Mueller. (Photo/Daniel Rader) The stage is divided into two major areas. A second story holds the largest Wadaiko drum on the East Coast. Played to accentuate the sword-wielding samurais and kenjutsu fighting, it is dramatic and thundering. Beside the drum high up under a gingko tree sits a life-like puppet of Emperor Meiji on his throne. He was only one year old when America entered the Japanese harbor and threatened to come ashore. Up until then no foreigner had ever been permitted to enter the country since 1603, but Commodore Perry was determined to open trade routes even if he had to bomb the country to smithereens. Fortunately, that didn’t happen and he weaseled his way into the country by hook and by crook.
Though the rarely produced Pacific Overtures has the distinct signature of Sondheim’s better-known musicals and complex plots, there is a charming Gilbert & Sullivan levity in some of its ditties. How perfect that this wonderful production should come to us at cherry blossom time.
Highly recommended!!!
 The cast of Pacific Overtures at Signature Theatre (Photo/Daniel Rader) With Quynh-My Luu as Tamate; Alex Koichi Beard as Manjiro; Eymard Meneses Cabling as Lord Abe; Andrew Cristi as Mother of Shogun; Albert Hsueh as Boy; Jonny Lee Jr. as Manjiro; Joey Ledonio as Mother of the Shogun understudy; Christopher Mueller as Warrior and others; Ashley D. Nguyen as Tamate/Madam understudy; Chani Wereley as Madam/Others; Nicholas Yenson as Perry/Others; Ryan Sellers as Lord Abe/Warrior/Perry understudy.
Direction and Musical Staging by Ethan Heard; Music & Lyrics by Stephen Sondheim; Conducted by Alexander Tom; Orchestrations by Jonathan Tunick; Additional Material by Hugh Wheeler; Scenic Design by Chika Shimizu; Costume & Puppet Design by Helen Q. Huang; Lighting Design by Oliver Wason; Sound Design by Eric Norris; Kabuki Consultant Kirk Kanesaka; Fight Director Yoshi Amao; Taiko Consultant Mark H. Rooney.
Through April 9th at Signature Theatre in Shirlington Village, 4200 Campbell Avenue, Arlington, VA 22206. For tickets and information visit www.Sigtheatre.org or call the box office at 703 820-9771.
Jagged Little Pill Explodes with Alanis Morissette’s Pop Musical at National Theatre
Jagged Little Pill
Broadway at The National
Jordan Wright
March 15, 2023
Special To The Zebra
 (L to R) Heidi Blickenstaff, Allison Sheppard and Jena VanElslander (Photo/Matthew Murphy for MurphyMade, 2022) Inspired by the seminal rock album of the same name by seven-time Grammy Award winner Alanis Morissette, Jagged Little Pill, the Tony and Grammy Award-winning bio-musical, opened in DC at the National Theatre this week. It stars one of my favorite Broadway actresses, Heidi Blickenstaff (as Mary Jane Healey) who played the lead when it reopened on Broadway last fall. You may remember her in the role of Katherine in Disney’s Freaky Friday when it debuted at Signature Theatre before moving on to Broadway.
Broadway legend Chris Hoch plays the dad, Steve Healy. But even without such heavy hitters, this company is on fire. For these power singers (thirteen are in the chorus!) and gifted dancers, it’s the perfect showcase for these young and talented unknowns. Twenty-three iconic numbers give the cast a chance to shine. And, shine, they do! The show is packed with high energy, romance, and real-life drama, addressing issues of drug addiction and teen angst in a relatable way.
 Jena VanElslander and Company of JAGGED LITTLE PILL (Photo by Matthew Murphy for MurphyMade, 2022) Mary Jane lives in the shadow of her two kids, Nick and Frankie, hiding her addiction to opioids from everyone. A pill-popping, hot yoga and spin-cycle-loving suburban mom, her gal pals think she’s the perfect mother (“Smiling” by Mary Jane and Company) when underneath the smooth veneer she’s scoring pills in a dark alley. Adopted daughter Frankie (Lauren Chanel) is Black, thinks she’s gay and doesn’t know where she fits in. To help her cope (“Ironic” sung by Frankie and Jo) girlfriend, Jo (Jade McLeod) tells her, “Your mom is one salad away from a psychotic break.”
When Nick (Dillon Lena) gets into Harvard, praise from friends and family rains down on the prodigal son until he experiences a wild night at a friend’s party and he is called upon to be a witness to date rape. Will he say he didn’t see anything, or will he step up despite his mom’s begging him to stay silent? There are powerful life lessons drawn from the differing perspectives of both parents and teens.
 Dillon Klena and company (Photo/Matthew Murphy, Evan Zimmerman for MurphyMade, 2022) Watch for McLeod’s huge number in Act II “You Oughta Know” that brought the house down, Chanel’s big number in “Unprodigal Daughter”, the slo-mo dance in “Uninvited” when Mary Jane reflects on her younger self and Allison Sheppard as Bella singing “Predator”, reminiscent of a particular Senate confirmation hearing.
A terrific score by Morissette and Glen Ballard showcases some fantastic new and veteran voices with exciting choreography by Movement Director Sidi Larbi Cherkaoui to send this musical into orbit.
Highly recommended for teens and adults.
 Heidi Blickenstaff and the company of JAGGED LITTLE PILL (Photo/Matthew Murphy for MurphyMade, 2022) With Jason Goldston as Andrew; Rishi Golani as Phoenix; Jordan Leigh McCaskill as Pharmacist/Therapist; Camella Taitt as Barista; Bligh Voth as Jill/Teacher; Delaney Brown as Denise; Jena VanElslander as Courtney; Daniel Thimm as Drug Dealer; and Lee H. Alexander as Doctor. Cydney Kutcipal, Lee H. Alexander, Justin Scott Brown and Kei Tsuruharatani fill out a thirteen-person chorus.
Director Diane Paulus; Book by Diablo Cody; additional music by Michael Farrell & Guy Sigsworth; Scenic Design by Riccardo Hernández; Costume Design by Emily Rebholz; Lighting design by Justin Townsend; Sound Design by Jonathan Deans.
Through March 26th at the National Theatre 1321 Pennsylvania Avenue, Washington, DC 20004. For tickets and information visit www.BroadwayAtTheNational.com or in person at the box office.
|