A Poignant, Gritty and Powerful New Play at Arena Stage
The High Ground
Arena Stage
Jordan Wright
February 24, 2023
Special to The Zebra
 Nehassaiu deGannes (Victoria/Vicky/Vee/The Woman in Black) and Phillip James Brannon (Soldier) (Photo/Margot Schulman) In recognition of America’s celebration of Black History Month, many area theaters have mounted plays which tell stories drawn from the American Black experience. At Arena Stage’s ongoing commitment of producing newly commissioned American “Power Plays” engages audiences by broadening their knowledge of American history by expressing the very human side of some of our country’s seminal events. To date Arena’s Artistic Director Molly Smith has produced eight commissioned plays with 17 more to come, each story bearing witness to history and its effect on the human heart. The High Ground is the ninth in this great American experiment.
Written by award-winning playwright, Nathan Alan Davis, the play draws us in by expressing both tenderness and tragedy following the events of the Tulsa Race Massacre in the Spring of 1921. Known as the single worst incident of racial violence in American history, in two days it caused the destruction of what was known as Black Wall Street, saw 300 innocent demonstrators shot dead, burned hospitals, schools and churches, looted houses and displaced up to 10,000 Black Americans from their community of Greenwood. Falsely called a riot by local policemen who brought in heavy armor, machine guns and helicopters, the event gripped the entire nation for two days. When the dust cleared, it turned into a land grab for local Whites.
 Nehassaiu deGannes and Phillip James Brannon (Photo/Margot Schulman) Davis tells this vivid story through a young Black man (Phillip James Brannon) who was shot and killed during the onslaught and returns in spirit to find his community gone. In its place stands Oklahoma State University. The setting is the university’s tower, high upon Standpipe Hill. “Soldier”, as he calls his spirit self, shows signs of severe PTSD. He is reliving the horrific events of the massacre and searching for his wife, played by Nehassaiu deGannes in all the female roles. She first appears to him as Victoria, a former neighbor and student who begs him to leave and accompany her to a funeral; next as Vicky, a policewoman who tries to save his life from an approaching posse of armed police; and lastly as his wife Vee who pleads with him to abandon the hill and leave with her. Robed in a silken white gown, Vee, like the Greek prophetess Cassandra, bears witness to the tragedy and its aftermath, warning of its power to destroy future generations, yet knowing her prophesy will go unheeded.
 Nehassaiu deGannes and Phillip James Brannon (Photo/Margot Schulman) Brannon and deGannes are more than up for the task in this two-hander which has many moving parts and a wealth of deeply emotional dialogue. In transitioning between three separate roles – as college student, policewoman and wife – deGannes displays an impressive ability to inhabit three distinctly different characters and showcase her range. For Brannon, maintaining the combative persona of the anxiety-plagued soldier still capable of love, it is a brilliant achievement.
Director Megan Sandberg-Zakian stages the play with great sensitivity leaning into the pathos and tension created between the characters, the unfolding tragedy and the legacy such violence leaves in its wake.
Highly recommended.
Set Design by Paige Hathaway; Costume Design by Sarita Fellows; Lighting Design by Sherrice Mojgani; Original Music and Sound Design by Nathan Leigh; Dramaturgs Otis Ramsey-Zöe and Jocelyn Clarke.
Through April 2nd at Arena Stage in the Kogod Cradle, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information visit www.ArenaStage.org or call the box office at 202 488-3300.
Andrew Lloyd Webber’s Sunset Boulevard Glows with Hollywood Glamour Starring Broadway Royalty Stephanie J. Block
Sunset Boulevard
The John F. Kennedy Center for the Performing Arts
Jordan Wright
February 4, 2023
Special to The Zebra
 Derek Klena and Company (Photo/Jeremy Daniel) The Kennedy Center’s Broadway Center Stage productions differ from a Broadway production in that the orchestra here is smack dab on stage with the performers who are major Broadway luminaries. These performances rely neither on complex set designs nor a wealth of props (although creamy white velvet fainting couches feature prominently here) but on the talents of the performers, the plot, the music, the powerful strains of the full Kennedy Center Opera House Orchestra, and the thrill of these hot-ticket shows. That said, this short run features no less a luminary than Stephanie J. Block in the lead role of the glamourous Norma Desmond in Andrew Lloyd Webber’s multi-Tony winning Sunset Boulevard. Ms. Block is so beloved a performer that a standing ovation with accompanying hoots and whistles follows her every number.
If you’re unfamiliar with the plot it’s set in Hollywood in the 1940’s and based on Billy Wilder’s 1950 film noir classic starring Gloria Swanson and William Holden. Here a backdrop of black & white movie stills and old clips sets the mood of the period and a pair of grand staircases leading up to the rafters fill opposite sides of the stage.
 Stephanie J Block and Company The big draw is Stephanie Block who won her most recent Tony Award for her role in The Cher Show for “Best Leading Actress in a Musical”. Block has garnered innumerable awards and the playbill features a bio as long as my arm. Audiences show their adoration with standing O’s after each number she belts out with her powerful voice and commanding stage presence. Block could sing the phone book, if we still had them, and fans would rush to witness it. Here she is bracketed by other leading B’way stars and the whole equals the sum of its supporting actors’ parts. What you can expect to hear is stunning voices with a notable Webber score.
Sunset Boulevard is a sordid story of ageism, sexism and raw power in Hollywood – former leading ladies are put out to pasture; young, movie star-handsome, aspiring actors who long to hang out with the Hollywood elite to further their careers and fill their pockets; and the cruelty of studio heads wielding excessive power over their stable of impressionable actors. Is it relevant? You betcha. Refer to the recent Harvey Weinstein incident and the #MeToo movement for background.
 Auli’i Cravalho and Derek Klena (Photo/Jeremy Daniel) Norma is kept in the dark by her butler, Max Von Mayerling (Nathan Gunn) who fake-writes her fan mail and encourages her desire to play Salome in a script she has written and that her boytoy, Joe Gillis (Derek Klena), is revising while being held hostage in her Beverly Hills mansion. Joe plays her game, reluctantly at first, “I’m touched by her folly.”, later fulfilling her every desire while enjoying the perks of the luxe life. His alternate love story is his business relationship with Betty Schaefer (Aul‘i Cravalho), a wannabe screenwriter who eventually becomes his main squeeze. Just so you know, if you didn’t already, there is a happy ending.
Also starring Paul Schoeffler as Cecil B. DeMille; Michael Maliakel as Artie Green; Kevin Pariseau as Sheldrake; Tyley Ross as Manfred; and Lance Roberts as Sammy. A fifteen-person ensemble gifts us with even more dancing and singing.
Music by Andrew Lloyd Webber; Book and Lyrics by Don Black and Christopher Hampton; Directed by Jeffrey Finn; Scenic and Production Design by Paul Tate dePoo III, Costume Design by Alejo Vietti; Lighting Design by Cory Pattak; Music Direction by Ben Cohn; Choreography by Emily Maltby.
 Derek Klena and Michael Maliakel Through February 8th at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC. For tickets and information call the box office at 202 467-4600 or visit www.Kennedy-Center.org.
For Block fans: Block will be starring in Kennedy Center’s upcoming Into the Woods. The show runs from February 23rd through the 28th. Check the website for dates and times.
Boston Marriage is a Snappy, Salty Victorian Comedy by David Mamet at Dominion Stage
Boston Marriage
Dominion Stage
Jordan Wright
February 3, 2023
Special to The Zebra
 Heather Plank as Claire, Elizabeth Keith as Anna, Nancy Somers as Catherine (Photo/Matthew Randall) For those of you unfamiliar with Dominion Stage, the longest-running community theater in the DMV, it is located on the fringes of National Landing in Fairlington. A little more than three years ago the company merged with Port City Playhouse, another local community theater. Both companies are proud of their mix of contemporary, traditional, diverse and historically under-represented stories to reflect local community interests. Their motto is “Anything but Predictable” and that’s exactly what their audiences have come to expect.
With that in mind I returned after a long absence to see their current production of Boston Marriage by prolific author and Pulitzer Prize-winning playwright, David Mamet, best known for Glengarry Glen Ross, The Postman Always Rings Twice, Speed-the-Plow and a wealth of other award-winning plays and screenplays.
Quoting from the program, ‘A Boston Marriage’ was, historically, the co-habitation of two wealthy women, independent of financial support from a man. The term is said to have been in use in New England in the late 19th and early 20th century. Some of these relationships were romantic in nature and might now be considered a lesbian relationship; others were not. (Source: Wikipedia)
Anna (Elizabeth Keith) is mistress to a married man who provides her with everything she needs to live in grand style. When her best friend Claire (Heather Plank) comes to visit, the two women have opposing interests in mind. Claire wants Anna to set up a liaison in her home and Anna is understandably jealous of Claire seeing another woman. Convincing Anna to go along with it takes nearly the entire first act. Although Claire disapproves of Anna’s cushy arrangement with her sponsor, she is eager to avail herself of its perks. “Men! What can we do with them?” she asks. “One thing!” declares Anna.
 Nancy Somers as Catherine, Elizabeth Keith as Anna (Photo/Matthew Randall) This clever three-hander combines the intricacies of Victorian Era etiquette with the salty dialogue of plundering pirates. It is absolutely, eyebrow-raising hilarious to watch these two begowned and bejeweled ladies intellectually argue the merits or worthlessness of Victorian social structure and its stringent mores while flinging around curse words more appropriate to an Army barracks. In a particularly funny bit, an exercise in sensuous pie-making by Claire prompts Anna to say, “Claire! You pagan slut!” – the insults here are as frequent as they are acerbic.
Catherine, played by Nancy Somers who recalls the great Carol Burnett’s iconic role as a maid, is Anna’s housekeeper – a neurotic Scotswoman whose country ways are anathema to the ladies’ indelicate ears. Between the three women you’ll hear some of the snappiest, silliest, and high-minded repartee heard on a stage. It’s like a tennis match with insults in lieu of balls. Director Matthew Randall keeps the pace on rapid dial until you feel yourself in free-fall and Charles Dragonette’s set design is so picture perfect I wanted to leap out of my chair and snatch a few scones from the tea service or pour myself a sherry from the breakfront just to keep up with the velocity of verbiage. I loved this fine cast whose characters are well-developed and whose comedic timing is rapid-fire.
 Heather Plank as Claire, Elizabeth Keith as Anna (Photo/Matthew Randall) Although the action takes place in a single day (no wonder it’s on fast-forward!), you’ll find yourself deep in the middle of planning a séance, enjoying the fashions and mores of the period, and plotting a tryst as thick as clotted cream. Heaven forfend!
Produced by Rachel Alberts with Lighting by Ken and Patti Crowley; Sound Design by Jon Roberts; Hair and Makeup Design by Rebecca Harris; Set Design by Charles Dragonette with assistants David Hyman and Alan Wray. Period costumes provided by The Little Theatre of Alexandria.
Through February 11th at Theatre on the Run, 3700 South Four Mile Run Drive, Arlington, VA 22206. For tickets and information on performance dates visit www.DominionStage.org
Ride the Cyclone Is a Dizzying, Hilarious, Catchy, Super-fun, High-Energy Escapade
Ride the Cyclone
Arena Stage
Jordan Wright
January 23, 2023
Special to The Zebra
 (l to r) Matthew Boyd Snyder (Ricky Potts), Nick Martinez (Noel Gruber), Gabrielle Dominique (Constance Blackwood), Eli Mayer (Mischa Bachinski), Ashlyn Maddox (Jane Doe), and Shinah Hey (Ocean O’Connell Rosenberg) (Photo/Margot Schulman) When the St. Cassian teen chamber choir falls to their deaths in a freak accident while riding a roller coaster at The Wonderville Traveling Fair, they enter the distant future and we do too. It is here they encounter The Amazing Karnak (Marc Geller), a “pre-cognition machine” who recalls the turban-crowned fortune tellers of yesteryear. Encased in his gilded booth, Karnak gives the five teens an ultimatum – plus a lot of shtick. They must unanimously select the one among them who will be brought back to life. No small feat. He creates a contest with crazy prizes and in their zeal to present themselves as the most accomplished, or unfailingly sympathetic candidate, they each act out their personal stories with remarkable honesty hoping to be the chosen one. However, a mystery teen appears among them – a beautiful, anonymous girl who could not be identified due to her injuries. She is called Jane Doe (Ashlyn Maddox on the night I went – then Katie Mariko Murray) and she is as ethereal and haunting as a wraith.
Despite the six spinning through the air to their death, a grim premise indeed, the story quickly does a one-eighty becoming a captivating charmer with all the thrills and chills (and spills!) of a festive night at a carnival. We easily find ourselves transported to the future along with the teens as they weave their personal stories to win a second chance at life. Is it a game? Or is it just a ride? Fourteen cleverly written songs with lyrics that are easy to understand hold this wild ride together.
 Nick Martinez (Noel Gruber), Shinah Hey (Ocean O’Connell Rosenberg), Matthew Boyd Snyder (Ricky Potts), Gabrielle Dominique (Constance Blackwood), Eli Mayer (Mischa Bachinski), and Marc Geller (The Amazing Karnak) (Photo/Margot Schulman) Ocean O’Connell Rosenberg (Shinah Hey) is an over-achiever (reminiscent of Elle in Legally Blonde) who presents herself as the perfect high school princess. Ocean’s bestie is Constance Blackwood (Gabrielle Dominique), a weight-challenged nerd, and self-proclaimed “nice girl” who appears to cave to Ocean’s bossiness… until she doesn’t.
Noel Gruber (Nick Martinez), who appears shy, then bursts out of his shell to reveal his secret life (Sorry, no spoilers here.). Suffice it to say there is a sultry tango, a personality change-up and a seedy French nightclub. Mischa Bachinski (Eli Mayer) is anything but shy. He is a Ukrainian hip-hopper and beat-box fan who’s in love with a peasant girl from the Old Country. He loves to sing, as long as he’s backed by Auto-Tune. And then there’s Ricky Potts (Matthew Boyd Snyder) who lives in an imaginary world of sexy space kittens and extra-terrestrials. They are all hilarious in their own individual ways.
 Eli Mayer (Mischa Bachinski) and Nick Martinez (Noel Gruber) (Photo/Margot Schulman) Set in a dilapidated warehouse in Uranium City, Saskatchewan, Canada, this quirky, captivating, hilarious, rock musical chock-a-block with vintage carnival artifacts has been making the cult circuit for 15 years. Premiering at Princeton’s McCarter Theatre Center, Ride the Cyclone is a dizzying, hilarious, catchy, super-fun, high-energy escapade.
Music, Book and Lyrics by Jacob Richmond and Brooke Maxwell; Directed by Sarah Rasmussen; Original Choreography by Jim Lichtscheidl with Additional Choreography by Tiger Brown; Set Design by Scott Davis; Costume Design by Trevor Bowen; Lighting Design by Jiyoun Chang; Sound Design by André Pluess.
 Gabrielle Dominique (Constance Blackwood), Matthew Boyd Snyder (Ricky Potts), Shinah Hey (Ocean O’Connell Rosenberg), Nick Martinez (Noel Gruber), Eli Mayer (Mischa Bachinski), and Marc Geller (The Amazing Karnak) (Photo/Margot Schulman) Through February 19th at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information visit www.ArenaStage.org or call the box office at 202 488-3300.
Sister Act Wows ‘Em at The Little Theatre of Alexandria
Sister Act
The Little Theatre of Alexandria
Jordan Wright
January 18, 2023
Special to The Zebra
 Nun ensemble and Deloris (Ashley Williams)
Deloris inspires the nuns to raise their voices (Photo/Matthew Randall) When a club singer witnesses a murder committed by her gangster boyfriend, she is forced to go on the run rather than be murdered herself. Deloris Van Cartier (Ashley Williams) is a bougie-cool, flashy diva, used to struttin’ her stuff and havin’ her way… but not this time. Through videos, Director Mike J. Baker Jr. (more on him later) shows her racing through familiar Old Town locales, including dodging out the iconic wrought iron gates of this very theater, until she is delivered to the doors of the Queen of Angels convent in South Philly and into the reluctant arms of its strict Mother Superior (Christine Maxted).
When I saw 25 scenes listed in the program, I was floored. How will they achieve so many scene changes? It can’t be done. Yet, through the use of a full-stage scrim with a 4Wall rear projector, combined with Switcher and VMIX technology, the miracle of transporting the audience from the cloisters of the cathedral (actually both interior and exterior stills of Alexandria’s St. Mary’s Church) to street scenes, a seedy bar, a police station and animated backgrounds to reflect a disco, all converge seamlessly to achieve what one would think utterly impossible. This sophisticated, mixed media technology is down to director Baker, whose background at Bravo and productions with the National Arts affords him the experience and knowhow to pull it off. “Everything I know about TV and theater went into Sister Act,” he told me.
 Mother Superior (Christine Maxted), Monsignor (Peter Fannon), Deloris (Ashley Williams) Confessions for Mother Superior and Deloris (Photo/Matthew Randall) Equally as exciting is Broadway-caliber Ashley Williams in the lead. Where has this actor/singer been, I wondered, wishing I were a theatrical agent. “Sign here, please!” I heard myself thinking. With an extraordinary, soulful and powerful voice that could be heard as far as King Street, and with acting chops to match, she had the entire audience in her thrall from the get-go. Williams’ voice was well matched by Maxted whose vocals were as pure and dulcet as Julie Andrews’. I would gladly have followed her across the Alps.
To say these two fabulous women were the biggest draw in this musical, would be to give short shrift to a tremendous cast who sang, danced and showed off their comic timing to a tee. Imagine 14 nuns, one Mother Superior, a Monsignor and Deloris all on stage at the same time and all in sync, then you’ll pretty much have the picture of a powerhouse show that will have you jumping out of your seat with the rest of the audience. Add a 20-piece orchestra conducted by Colin Taylor and cached behind the scrim to provide an exhilarating sound to back up this wonderful cast.
 Deloris (Ashley Williams), Eddie (Alonzo Cook) Eddie explains there is no better protection than the Philadelphia police department (Photo/Matthew Randall) The morning after opening night I received notice of this year’s WATCH Award nominations. LTA received 52 noms for their last season far more than any other community theater. Their eagerness to stage these big shows, their ability to seek out and find superb talent, as well as their professional production capabilities are reflected in not only this tremendous show, but also in their entire season to date.
Highly recommended. If I gave out stars, which I do not, they’d have five stars in a neat row.
 Mother Superior (Christine Maxted) contemplating why her prayers go unaswered (Photo/Matthew Randall) With Odette Gutierrez del Arroyo as Michelle and Paola; Jenni Philp as Tina; Paul Caffrey as Curtis; Luke Martin as Ernie; Evan Zimmerman as Joey; Alonzo Cook as Eddie; Allison Meyer as Sister Mary Robert; Gina Tune as Sister Mary Patrick; Jennifer Reynolds as Sister Mary Lazarus; Margaret McGarry as Sister Mary Martin-of-Tours; Jennifer Levy as Sister Mary Theresa; Peter Fannon as Monsignor O’Hara; and Sandy Kozel as News Reporter.
Including an ensemble with Gifty Amponsem, Claire Aziza, Maria Ciarrocchi, Aja Goode, Julianna Laseter, James Miller, Josie Morgan, Bob Thompson, Lourdes Turnblom and David Valderrama.
Produced by Kadira Coley and Alan Wray; Set Design by Julie Fischer, Lighting Design by Ken and Patti Crowley; Sound Design by David Correia; Costume Design by Jean Schlicting and Kit Sibley.
Jane Anger is Comedic Gold Starring Michael Urie and Amelia Workman
Jane Anger
Shakespeare Theatre Company
Jordan Wright
December 29, 2022
Special to The Zebra
 Amelia Workman in Jane Anger (Photo/DJ Corey Photography) Jane Anger (Amelia Workman) steps out onto center stage to address the audience. She is fierce and determined to prove herself. And though she makes excuses for her past – lack of education, undesirable gender for a Jacobean Period playwright, oh, right, and a former prostitute – she has a lot to say about what she wants and in no uncertain terms. She’s a woman on a mission and we love her already. Did I mention she’s a bit of a sorceress?
*Program notes tell us Jane Anger was a real person who wrote Defense of Women in 1589. She was a pioneer of the earliest of the women’s movements and an outspoken advocate of women’s rights.
Jane wants her due as a writer and she’s figured out how she’s going to get it. Buckle up, friends. In this zany, campy, off-the-wall hilarious sendup of Shakespeare (Michael Urie) stuck in a near fatal (okay, fatalistic) case of writer’s block, it’s Jane who has the final word. When she sneaks into his quarters by dressing up as a man, she presents him with a deal. Publish her play in exchange for a sex act. This upsets Shakespeare’s plan to write King Leir, despite the fact that she tells him it has already been written ten years before by Thomas Kidd. He is nonplussed, desperate for sex and agrees to her proposal.
 Ryan Spahn, Michael Urie, and Talene Monahon (Photo/DJ Corey Photography) But The Plague has put a crimp in his style. He is quarantined with a newly hired, (by default) magnificently incompetent assistant, Francis (Ryan Spahn). As the delivery boy he was the only one available. They are confined to quarters and the Bard is going stir crazy. “They say it’s a new variant,” Shakespeare quips. And away we go with Shakespeare in full vaudevillian style and Francis his hapless sidekick. Think Laurel and Hardy.
Enter Anne Hathaway (Talene Monahon) who sneaks into the studio and befriends Jane. “Sometimes I wonder if my husband is dead, but then I read a review of one of his plays,” she deadpans. When Anne finds out the Dark Lady sonnets are not about her but about Jane, the two ladies conspire to get Jane’s play published.
By now everyone is rolling in the aisles with the wit and wisdom of playwright Talene Monahon who also plays Anne. Very well I might add. There are puns and pratfalls and how do I say it, but anything Michael Urie is cast in is one for the books. We last saw him in How to Succeed in Business Without Really Trying in 2018 then the same year in the role of Hamlet – both at STC. Buckets of blood in Hamlet and a fair share here, but now a bloody scene is played for laughs. Urie is brilliant. His acting chops, ranging widely from tragedy to comedy, are magnificent.
Highly recommended. Comedic gold!
 Amelia Workman and Talene Monahon (Photo/DJ Corey Photography) With Geoffrey Besser as Plague Screecher/Peasant Woman.
Directed by Jessica Chayes; Scenic Design by Kristen Robinson; Costume Design by Andrea Hood; Lighting Design by Stacey Derosier.
Through January 8, 2023 at Shakespeare Theatre Company Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information contact the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
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