Let me start by saying, if Alan Paul is directing anything… anything! Go! His imaginative interpretations of the classics are both fabulous and stylishly modernistic. In this send-up version of A Comedy of Errors, Paul sets the action in 1950’s mid-century modern Greece though it seems more like La Dolce Vita meets Saturday Night Fever meets SNL meets… oh, never mind. It’s an indescribable mash-up of frothy, farcical slapstick as two sets of identical twins muddle through moments of mistaken identity at breakneck speed. Opa!
Following the plots of Shakespeare’s plays that start off with voyagers lost in a storm at sea, here twins come together as grown men, unaware of each other’s fate… or identity. One is married to Adriana (the slinky, foxy, Veanne Cox). The other is in love with her sister Luciana (Folami Williams). Separately they frequent the local hangout, Zorba’s Seafood café, where the fishmongers look like Super Mario and where you are just as likely to dine on a seafood tower as get in a food fight with octopi. Opa!
Twin brothers, Antipholus of Syracuse (Gregory Wooddell) and Antipholus of Ephesus (Christian Conn), who coincidentally inherited a silver spoon life, tool around on a Vespa in GQ threads while insulting their twin servants and lusting for women at the Porcupine Club – a flashy nightclub where leather boys fan their feathers for a lusty mama played deliciously by Eleasha Gamble as the Courtesan. “I’m glad I’ve got these quills. They bring in dollar bills,” she croons.
With a plethora of entrances and exits that prevent chance meetings, the action is non-stop certifiably crazy, including ongoing chase scenes between Luce (J. Bernard Calloway in Madea drag) and Dromio. Great job on the casting Carter C. Woodell. Confusion reigns. I don’t know which Dromio is which. Opa!
There is tap-dancing by the local constabulary and singing with music composed by Michael Dansicker, a Twyla Tharp alum. Bet you didn’t expect that! Gabriel Berry’s costumes run the period gamut from Dior’s ‘New Look’ for Adriana to court jester garb for the twin servants, Dromio of Ephesus (Carter Gill) and Dromio of Syracuse (Carson Elrod). The queenly Angelo (All hail, Tom Story!) reminds us of the disco looks of the 70’s with gold chains and open-to-the-waist, multi-colored polyester shirt. Dr. Pinch (Sarah Marshall with an over-the-top, scene-stealing performance), a bible-toting revivalist preacher, arrives on scene in a white suit ready to horseback ride Dromio to his death before being interrupted by the Abbess Emilia (Nancy Robinette) and her nuns.
Highly recommended. A crack cast plus talking parrot keeps audiences in hysterics. Opa!
With Ted van Griethuysen as Egeon, Merchant of Syracuse; Matt Zambrano as Tailor/Second Merchant; Matt Bauman as Officer; and Matt Bauman, John Cardenas and Justin G. Nelson as Proteans.
Scenic Design by James Noone, Lighting by Mary Ellen Stebbins; Sound Design by Christopher Baine; Choreography by Karma Camp; Fight Choreography by David Leong; and Musical Direction by Victor Simonson.
Through November 4th at the Shakespeare Theatre Company’s Lansburgh 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.
Prolific British playwright Simon Stephens is attracted to uniquely drawn character dynamics – as in his Tony Award-winning play The Curious Incident of the Dog in the Night-Time – his irresistible drama of an autistic child accused of murdering a neighbor’s dog.
Michael Russotto (Alex) ~ Photo by Cameron Whitman.
In Heisenberg he pens a strange tale of a 75-year old Irishman who falls for a much younger American woman. Both have unrealistic expectations of the other. Georgie Burns is deeply flawed. She is a manipulative, self-absorbed, pathologically prevaricating, intensely neurotic stalker – precisely the type of woman women hate, and men fear. She calculatingly insinuates herself into Alex Priest’s life through flattery and sexual favors alternately belittling him and, just as quickly, excusing her behavior. “I’m really weird. I know. I love making things up,” she confesses. It’s unnerving watching her cavalierly crush his defenses. If this were real life she would probably be arrested for elder abuse.
Luring him like a siren to a rocky shore, Georgie beds Alex. “I like your wrinkled skin. It’s old… like Europe.” The following morning, she asks him to give her a large sum of money to find the son who no longer wants to see her, though it’s never explained why she doesn’t ask the boy’s father where he is. All along, Alex follows her around like a lovelorn puppy, mistreated but firmly attached to its owner.
Rachel Zampelli (Georgie) and Michael Russotto (Alex) in the DC premiere of Heisenberg at Signature Theatre. Photo by Cameron Whitman.
Alex is a lonely man, bereft of family and grimly philosophizing about his odds of finding a connection towards the end of his life. Georgie, who readily confesses she has googled him, takes advantage of his insecurities to satisfy her own needs. But Alex is convinced she can change, telling her, “Personalities are never fixed. They can always change. They mean nothing.” Influenced by German physicist Werner Heisenberg’s uncertainty theory, Stephens asks us to buy into the notion of character mutability. Though it’s hard to believe how this particular principle might apply to a 42-year old predator.
Michael Russotto (Alex) and Rachel Zampelli (Georgie) in the DC premiere of Heisenberg at Signature Theatre. Photo by Cameron Whitman.
Directed by Joe Calarco, Michael Russotto is superb as Alex, infusing the character with grace and an infectious Irish lilt. Rachel Zampelli gives a bravely compelling performance as the grifter we wish would crawl back under the rock she emerged from.
That this unsettling play is well-acted, is not enough for this reviewer to grant any redeeming social value to this theatrical exercise. Ultimately, we want to identify with a character or feel their pain, revel in their joys or see them get their comeuppance.
With Scenic Design by Pamela Weiner, Lighting Design by Andrew Cissna, Costume Design by Alison Samantha Johnson, and Sound Design by Kenny Neal.
Through November 11th in the ARK Theatre 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.
“The whole damn history of the world is the struggle between the selfish and the unselfish,” pronounces Ed Devery, Harry Brock’s outlier attorney. It was this line from Born Yesterdaythat put playwright Garson Kanin square in the sights of Senator Joe McCarthy during the House Un-American Activities Committee hearings. Described by the Roman Catholic Press as “Marxist satire’, Kanin wrote it as a frothy comedy with a powerful message. One as relevant today as it was 68 years ago.
Cody Nickell (as Paul Verrall), Kimberly Gilbert (as Billie Dawn) and Edward Gero (as Harry Brock). Photo by Carol Rosegg
Under the astute direction of Aaron Posner, Kanin’s witty comedy enjoyed a sensational and timely revival last night. How could it miss with Edward Gero in the leading role as Harry Brock, the crooked, vote-buying, junkyard magnate? When I wondered how Gero could segué so seamlessly from his recent award-winning role as Supreme Court Justice Antonin Scalia in The Originalistto a low-life conman from the other side of the law, he reminded me, “They are both from New Jersey.” Ah well, so are the best tomatoes. Both plays are set in Washington, DC with plenty of references to bribery and corruption, making it delightfully engaging for Beltway insiders.
Well-drawn characters are what give this comedy its undeniable spark. There’s Brock’s cousin, Eddie (Evan Casey) who is Ed Norton to Brock’s Jackie Gleason (if you remember that slapstick duo); Billie Dawn (Kimberly Gilbert), Brock’s gal, the intellectually-challenged ex-chorus girl who wises up with the help of Paul Verrall (Cody Nickell) the Reporter, Billie’s mentor and savior; and Ed Devery (Eric Hissom), Brock’s alcoholic lawyer and enforcer. Senator Norval Hedges (Todd Scofield) is Brock’s patsy.
Todd Scofield (as Senator Norval Hedges), Naomi Jacobson (as Mrs. Hedges) and Edward Gero (as Harry Brock) . Photo by Carol Rosegg
Gero does a formidable job of being the tough guy, strong arming and buying his way to the top, but it’s Gilbert’s lightness and seamless twist from dumb blonde to smart cookie that command the most attention. The minions pinballing in and out of Brock’s orbit provide additional humor to this lively farce.
Casting Director, Patrick Pearson, has done a bang-up job of pairing of Gero with Gilbert who are hilarious in a gin game scene that has Billie squealing with delight as she picks up all Harry’s discards, beating him handily and showing she’s pretty good at keeping score, a fast learner, and even better at pegging Harry for setting her up.
Edward Gero (as Harry Brock) and Cody Nickell (as Paul Verrall) . Photo by Carol Rosegg
Recommended for Beltway newshounds looking for an evening of political comic redemption.
With Matt Dewberry as A Bellhop/A Barber; Naomi Jacobsen as Mrs. Hedges/Helen/A Manicurist; and Jamie Smithson as The Assistant Manager/A Bootblack/ A Waiter.
Spectacular Set Design of a two-story, swank hotel suite by Daniel Lee Conway; Costume Design by Kelsey Hunt, Lighting Design by Nancy Schertler; Sound Design and Original Music by John Gromada.
The cast of the Ford’s Theatre production of Garson Kanin’s “Born Yesterday,” Photo by Carol Rosegg.
Through October 21st at Ford’s Theatre, 511 10th Street, NW, Washington, DC 20004. For tickets call 888 616.0270 or visit www.Fords.org.
Playwright Gretchen Law’s political, darkly comic drama is a starkly drawn love letter to comedian activist, Dick Gregory. It reminds us of Gregory’s take-no-prisoners battle against racism and America’s dark past and its current treatment of indigent African-Americans. I use the term ‘African-American’ though you won’t hear Gregory use it. It was not yet in fashion in Gregory’s day, folks were still saying ‘Negro’ or the newly coined term, ‘Black’. In this monologue, Gregory liberally slings what we now refer to as the ‘N’ word. It’s sickening to hear it used today – though rappers frequently do. The audience squirms. It’s exactly what Law wants us to feel. We know it’s a word for Blacks’ usage only. Gregory used the word to shock and to defuse its dehumanizing effect. If you’re White, don’t even think about using it. You are not that cool and probably never will be.
Edwin Lee Gibson (Dick Gregory) in Turn Me Loose. Photo by Margot Schulman.
Director John Gould Rubin puts Gregory (played compellingly by Edwin Lee Gibson) center stage in Christopher Barreca’s simple set design, to focus on Gregory’s impact on and dedication to the Civil Rights movement. Using humor to promote change, Gregory endeavored to heighten awareness of such issues as income disparity, corporate greed, capitalism, consumerism, drug companies and Wall Street.
Growing up in poverty in St. Louis, he was acutely aware of its demonic grip. “Poverty is what threatens Democracy,” he foretold. And comedy was his salvation. As a young man he started out performing standup in small local nightclubs catching the eye of Playboy magazine publisher, Hugh Hefner, who invited him to perform a one-night only gig at the Mansion where Gregory quickly offended a congress of rednecks. As the first black comedian on the nightclub scene, his popularity led to gigs in Vegas and national TV appearances. Soon after he became close friends with Civil Rights activist Medgar Evans and began performing for the NAACP. To say he was a hero to the movement, is an understatement.
Edwin Lee Gibson (Dick Gregory) in Turn Me Loose. Photo by Margot Schulman.
The play toggles between the 60’s when Gregory became radicalized – even running for President during the Nixon-era – and the 2017 post-Obama era when he was able to witness a modicum of change. John Carlin reprises his roles as Stand-up Comic/Emcee/Interviewer/Heckler and Cabbie in this riveting presentation.
Gregory died last summer after more than half a century of activism and before witnessing the growth of the #BlackLivesMatter movement and the nation’s conflicted response to pro football player Colin Kaepernick’s taking a knee to draw attention to young men killed in record numbers by police. In later years, Gregory made DC his home. You have to wonder what he would say if he were still here.
Edwin Lee Gibson (Dick Gregory) in Turn Me Loose. Photo by Margot Schulman.
Highly recommended.
In association with John Legend, Get Lifted Film Company and the Will and Jada Smith Family Foundation. Costume Design by Susan Hilferty, Lighting Design by Stephen Strawbridge and Sound Design by Leon Rothenberg.
Through October 21st at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024. For tickets and information call 202 488-3300 or visit www.ArenaStage.org.
Scotland has a new king in Macbeth (Ian Merrill Peakes) Photo by Brittany Diliberto, Bee Two Sweet
Don’t you just love it when the wicked get their comeuppance? I find it deeply satisfying to witness how greed and unbridled ambition must pay the devil their due. We need more of this. Huzzah, MacDuff! Huzzah, Malcolm! Hey there, Feason! You nailed the bastard and his scheming bride with the not inconsequential assistance of a 10,000-man English army. That’s not meant to be a spoiler. You already knew the ending. As Shakespeare once famously wrote, “The play’s the thing,” and this thing is delicious! And ghoulish… with a zombie ex-king, Duncan, who stalks his murderers with regal aplomb.
Macbeth (Ian Merrill Peakes, center) explains to the honorable Macduff (Chris Genebach) why he slew Duncan’s chambermen. Witches (Rachael Montgomery and Emily Noël) look on. Photo by Brittany Diliberto, Bee Two Sweet Photography
Director Robert Richmond has re-imagined this classic from Sir William Davenant’s adaption from the mid-17th century. It is also reminiscent of the tradition of le ‘Grand Guignol’, the 19th century Parisian theatre of horror plays. “Oh, horror, horror, horror! Tongue nor heart cannot conceive or name thee,” warns Macduff. Set in London’s notorious chamber of horrors, Bedlam Hospital, and performed against a background of delightful Restoration-era music by the Folger Consort, this Macbeth includes lilting operatic ditties, Enya-esque ballads and the haunting sounds of distant Scottish bagpipes.
King Duncan (Louis Butelli, second from left) in performance with the wayward sisters (l to r: Emily Noël, Rachael Montgomery, Ethan Watermeier) in Folger Theatre’s Restoration-era production of Macbeth. Photo by Brittany Diliberto, Bee Two Sweet Photography
It opens with the inmates rehearsing for a performance for the King in the insane asylum. This play-within-a-play is a clever device for setting up the equivalent madness that follows. Most beguiling, are the Three Sisters (one who is in drag for a soupçon of levity) who conspire to terrorize Macbeth and his wife at every gory turn to the bizarrely antithetical tune of classical Elizabethan music. Their danse macabre in the double, double toil and trouble scene will be etched in my brain forever. Never have prophesies and spells been such glorious, gory fun! Sound Designer Matt Otto heightens the atmosphere with shrieking crows, hooting owls and subtle reverb to mimic the echoing that would be heard within the walls of a cavernous castle lit by lanterns and candles and the cauldron’s flame. Was that the aroma of frankincense I detected?
The witches (Ethan Watermeier and Rachael Montgomery) and Hecate, possessing the body of young Fleance (Owen Peakes) in Folger Theatre’s Macbeth. Photo by Brittany Diliberto, Bee Two Sweet Photography
With Helen Hayes Award winners, the glorious Kate Eastwood Norris as Lady Macbeth and Ian Merrill Peakes as Macbeth, Louis Butelli as Duncan, Chris Genebach as Macduff, Rafael Sebastian as Malcolm, Karen Peakes as Lady Macduff, Rachael Montgomery, Ethan Watermeier and Emily Noël as the Witches, Jeff Keogh as Seyton, Andhy Mendez as Banquo, Owen Peakes as Fleance, John Floyd as Donalbain and Jaysen Wright as Lennox.
Music Direction by Robert Eisenstein, Scenic Design by Tony Cisek, period Costume Design by Mariah Anzaldo Hale, Lighting Design by Andrew F. Griffin and Fight Choreography by Cliff Williams III.
Macduff (Chris Genebach) places the crown of Scotland on Malcolm (Rafael Sebastian), with Donalbain (John Floyd, far right) and company looking on. Photo by Brittany Diliberto, Bee Two Sweet Photography
Highly recommended. If you’re not ready for Guy Fawkes Night or All Hallow’s Eve after seeing this, you never will be.
Through September 23rd at the Folger Theatre at the Folger Shakespeare Library, 201 East Capitol Street, SE, Washington, DC 20003. For tickets and
information call 202 544-7077 or visit www.Folger.edu/theatre.
You can listen to a specially playlist curated on Spotify.
In the time-tested tradition of portraying dysfunctional families as a device, playwright Tracy Letts gifts us with a slyly engrossing gem about the Weston family – their children and their spouses. Set in a country home in Osage County, Oklahoma, Violet Weston holds her extended family emotionally hostage… and it’s riveting. I mean, who doesn’t want to witness another family’s meltdowns? It’s the stuff Shakespeare (and soap operas!) are made of. Schadenfreude – the perfect prescription for diminishing our own problems.
Katarina Frustaci as Johnna Monevata, Fred C. Lash as Beverly Weston Photographer: Matt Liptak
Beverly Weston is a man of letters – published, pedantic and alcoholic – the poet patriarch of his large family. When he goes missing and family members arrive to help in the search, Violet is free to wreak havoc. Armed with a battery of opioids and anti-depressants, this pill-popping drama queen gleefully bullies and guilts her three daughters into disinheriting themselves. Divorce is a popular theme too. Within a mere three acts Letts throws every accusation and guilt trip on one and all. Expect a delectable bouillabaisse of toxicity in every caustic remark.
Gratefully, a superb cast subsumes our angst at their hair-raising conflicts delivering some of the funniest lines ever. I wanted desperately to memorize a few of these snarky barbs. You will too. They might come in handy at your next family gathering. In one particularly funny/crazy/menacing scene at the supper table, as all the members are gathered around bemoaning Beverly’s fate, Violet toys with her knife, twisting it gleefully while alternately threatening and accusing each one in turn. Think Nurse Ratched, Virginia Wolfe and Miss Hannigan rolled into one tyrannical villainess. Fun, right?
Frustaci as Johnna Monevata, Eric Kennedy as Steve Heidebrecht, Elizabeth Keith as Karen Weston, Gayle Nichols-Grimes as Mattie Fae Aiken, Michael Fisher as Bill Fordham, Diane Sams as Violet Weston, Tom Flatt as Charlie Aiken, Carlotta Capuano as Ivy Weston, Camille Neumann as Jean Fordham ~ Photographer: Matt Liptak
Balancing out the madness is Johnna Monevata (Katarina Frustaci), a soft-spoken Cheyenne girl, Beverly hired as housekeeper before he disappeared, and who proves to be the heroine of the whole psychologically damaged lot.
Director Susan Devine is skillful at extracting a wide range of conflicting emotions from her cast as their respective characters veer wildly out of control from love to hate to sympathy.
Carlotta Capuano as Ivy Weston, Nicky McDonnell as Barbara Fordham, Elizabeth Keith as Karen Weston ~ Photographer: Matt Liptak
Notable performances from Diane Sams as Violet, Gayle Nichols-Grimes as her bossy sister-in-law Mattie Fae Aiken, Tom Flatt as Charlie Aiken, Mattie’s browbeaten husband, and Nicky McDonnell as Barbara Fordham, one of Violet’s three daughters and a central character in the conflicts.
With Fred C. Lash as Beverly Weston, Carlotta Capuano as Ivy Weston, Michael Fisher as Bill Fordham, Camille Neumann as Jean Fordham, Paul Donahoe as Sheriff Deon Gilbeau, Elizabeth Keith as Karen Weston, Eric Kennedy as Steve Heidebrecht and Greg Wilczynski as Little Charlie Aiken.
Set Design by Dan Remmers, Lighting Design by Franklin Coleman, Sound Design by Alan Wray and Costume Design by Beverley Benda.
Highly recommended – especially for those with perfectly behaved families.
Through September 23rd 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
