An American in Paris in USA – Photo credit by Matthew Murphy
Ballet buffs and George and Ira Gershwin enthusiasts will adore Director/Choreographer Christopher Wheeldon’s film-to-stage homage of An American in Paris. Wheeldon successfully recaptures the mid-century modernist style of dance that Kelly created for the eponymous 1951 classic. The movie garnered six top Academy Awards and gave Kelly his one and only Oscar. In this multiple Tony Award-winning interpretation, Craig Lucas has freshened up both the story and the dialogue to appeal to millennials, mad for anything Parisian.
Allison Walsh and McGee Maddox ~ Photo by Matthew Murphy
Set in post-war Paris it is a story of three men enamored with the captivating, Lise (Allison Walsh), an aspiring ballerina whose backstory touches on France’s Nazi occupation. Jerry Mulligan (McGee Maddox), an American GI and amateur painter who, like many other soldiers, stayed behind in the City of Light, soon bonds with budding composer and jazz pianist, Adam Hoch (Matthew Scott), an American Jew who survived the war and stayed on with the intention of writing a ballet about it. Adam makes a few francs mentoring Henri Baurel (Ben Michael), a well-to-do society gent keen on a career as a song-and-dance man in America. All three pals are unaware that the others are in love with Lise.
Ben Michael, McGee Maddox and Matthew Scott – Photo by Matthew Murphy
There are disparate, sometimes awkward elements in the stage version that can sometimes feel as though it was produced by an ad hoc committee. The debonair insouciance we remember fondly of Kelly goes missing, yet the salient parts – the wonderful dancing, Bob Crowley’s seamless Parisian set designs, as well as his 1940’s costumes, are superb. Milo Davenport (Kirsten Scott), Jerry’s American sugar momma and arts patron, wows in an emerald green gown reminiscent of the period.
Kristen Scott and Matthew Scott – Photo by Matthew Murphy
If you love arabesques, multi-revolution pirouettes, dancing en pointe, lofty lifts and leaps, you will fall hard for Maddox and Walsh, who seem cloud-like and gravity-defiant. After a slew of hip rolls and high kicks in a nightclub can-can, comes Jerry and Lise’s 18-minute pas de deux finale that will cause you to dismiss any less than stellar moments. Crowley again delivers with Mondrian color-block leotards echoing the abstract minimalist movement of the period.
A twenty-person dance ensemble delights as feather-bedecked Follies girls (Henri’s show biz fantasy tapdanced in tails and high hats), in Grecian tableaus at a salon reception given by Henri’s staid maman, Madame Baurel (Teri Hansen), and in the many jazz ballet numbers.
And harder you may fall for David Andrew Rogers’ soaring orchestra backing songs like “I Got Rhythm”, “S Wonderful”, “The Man I Love”, “Shall We Dance”, “They Can’t Take That Away From Me”, and twelve other somewhat lesser known Gershwin tunes that dovetail neatly into the plot.
Through January 7, 2018 at the John F. Kennedy Center for the Performing Arts at 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit website.
Synetic Theater ~ MetroStage ~ The Little Theatre of Alexandria ~ ICE! at National Harbor ~ Christmas at Mount Vernon ~ Signature Theatre ~ Symphony Orchestra of Northern Virginia
Raven Wilkes (Babysitter), Justin Bell (Hansel), and Sharisse Taylor (Gretel) Photo Credit: Johnny Shryock
Hansel and Gretelat Synetic Theater – During the bustle of holiday crowds, Gretel tries to keep her brother, Hansel, out of trouble while their babysitter leaves Gretel to fend for them both. As Hansel embarks on his own wonder-filled exploration of his everyday surroundings, he and his sister fall into a magical realm that takes them far away from home. In this wordless production, the well-beloved Grimm fairy tale embraces the fantastical through the eyes of those who see the world through a different lens. Directed and choreographed by Elena Velasco and Tori Bertocci. Through December 23rd at 1800 South Bell Street, Arlington in Crystal City. For tickets visit www.synetictheater.org.
Christmas at the Old Bull and Bush
The Old Bull & Bush at MetroStage – Originally staged in the Old Vat Room at Arena Stage writer, director, and actor Catherine Flye will be transferring her 9-person troupe to a circa 1912 replica of the famed Hampstead, England pub to jolly up your holidays with food, 35 songs, jokes, dance, a sing-along and an abbreviated reenactment of Dickens’ Christmas Carol. With Christmas crackers, British beers and sausage rolls for purchase, the classic British music hall entertainment runs through December 24th at 1201 North Royal Street, Alexandria, 22314. For tickets visit www.metrostage.org.
Larry Grey as Fezziwig and Hannah Pecoraro as Mrs. Fezziwig and cast ~ Photo credit Michael DeBlois
A Christmas Carol at The Little Theatre of Alexandria – In a fresh interpretation by director Eleanor Tapscott, enjoy a return of the Christmas classic by Charles Dickens. Ebenezer Scrooge, a miserable Victorian humbug, travels with diaphanous ghostly guides (beautifully choreographed by Ukranian Victoria Blum) through Christmas past, present, and future to find the true meaning of the holidays. Complete with special effects, Victorian carols and Tiny Tim. Through December 16th at 600 Wolfe Street. For tickets call 703.683.0496 or visit www.thelittletheatre.com.
Rudolph the Red-Nosed Reindeerat “ICE!” at the Gaylord National Resort & Conference Center – A 9-degree winter wonderland carved from over two million pounds of ice, a Christmas Village, merry-go-round, Glacier Glide ice skating rink, “JOY” – an eye-popping, Broadway-style holiday musical show, nightly snowfalls and dancing fountains at this first-class holiday destination. Additional events are a Mistletoe Mixology class, Build-A Bear Workshop, photos with Santa, Cookies with Mrs. Claus and so much more. Through January 1st at 201 Waterfront Street, National Harbor, MD 20745. For tickets and event times visit www.GaylordNationaltickets.com.
Photo credit Melissa Wood
Christmas at Mount Vernon – Tour George and Martha Washington’s mansion by candlelight and make merry with 18th century dancing, fireside refreshments and caroling. Meet Aladdin the Camel, watch holiday fireworks on December 15th and 16th, hear period music, experience a military encampment and more. For tickets and event times visit www.MountVernon.org.
Holiday Follies at Signature Theatre – Starring jazz singer Ines Nassara, David Rowen (Signature’s Diner) and Katie Mariko Murray (Signature’s West Side Story) singing classic holiday songs. Through December 16th at Signature Theatre, 4200 Campbell Avenue, Arlington, VA 22206. For tickets visit www.SigTheatre.org.
The Symphony Orchestra of Northern Virginia in collaboration with the Office of the Arts presents a “Friday Evening Chamber Concert Series”. The next concert “A Brass Christmas” is scheduled for Friday, December 15th at the Durant Arts Center, 1605 Cameron St. For online tickets visit http://bit.ly/2vSKXRd. Tickets are also available at the door.
If you saw Vicuña and the American Experience (through December 3rd at Mosaic) and you’re still itching to understand Trump voters, then journey with award-winning impressionist and playwright Dan Hoyle throughout America’s Heartland where Hoyle met some of these mindless flag-wavers. Adopting the accents and gestures from mall rats and military vets to hipsters, techies and Christian fundamentalist right wingers, Hoyle is the man of a thousand voices. In his search for folksy wisdom under the woodpile of America, this talented physical comic dons their personas in a one-man whirlwind of impressions.
Dan Hoyle ~ Photo credit Mosaic Press
That Hoyle actually undertook his courageous, 100-day voyage in a van with the idealism of Dorothy from “The Wizard of Oz”, as opposed to say, hipster Jack Kerouac, is what sets it apart from your typical wise guy comedian. He conceived his plan with a deep need to make sense of the direction of our nation’s political landscape. His sincerity is palpable and raw.
Dan Hoyle ~ Photo credit Mosaic Press
Traveling through bayous and hollers and Midwestern farms to urban outposts, Hoyle comes across redneck pride, thick with ignorance and anger. He interviews wacky conspiracy theorists and tries to make sense of Ramon, the street-wise Dominican. These “real Americans” are also ordinary Americans whose isolationism circumscribes their views. Logic, reason and science are frighteningly absent in their approach to politics and their choice of candidates. Hoyle suggests the formation of an “anti-ignorance task force” requiring citizens to read at least three books per year.
Dan Hoyle ~ Photo credit Mosaic Press
He actualizes his experiences through on-the-road phoners and meetups with his liberal, latte-drinking New York City peers who have an equally zero-tolerant, isolated view of the world beyond city limits. Directed by and developed with Charlie Varon and performed in black box format, it was first produced in 2015. Since then Doyle has updated the piece to reflect our post-presidential election malaise, touching on the opioid addiction crisis and the effects of Trump world.
Dan Hoyle ~ Photo credit Mosaic Press
Funny and poignant. Recommended.
Through December 22nd, 2017 in Lab II at the Atlas Center for the Performing Arts, 1333 H Street, NE, Washington, DC 20002. For tickets, info on post show discussions, special rates and discounts visit www.MosaicTheater.org or call the box office at 202.399.7993 ext. 2.
Antoinette Robinson as Viola – Photo credit Scott Suchman
The last words you’d expect to hear while settling into your seat for Twelfth Night, are an airline boarding announcement. “Thank you for choosing Shakespeare,” the disembodied voice offers up to the audience. But this is the unorthodox journey you are about to embark on in Director Ethan McSweeney’s fantastic in-flight interpretation of Shakespeare’s text (okay, it’s a tad over-emphasized) and his modern-day application. In Feste’s own words, “Nothing that is so, is so.” Count on it.
McSweeny, along with Set Designer Lee Savage, gives us one of the company’s most exciting openings to date. STC’s soon-to-retire Artistic Director Michael Kahn long ago mentored McSweeny who was told by Kahn to come back in 20 years. He has. And it’s paid off handsomely.
Hannah Yelland as Olivia and Antoinette Robinson as Viola. Photo credit Scott Suchman
Set in an international departure lounge our characters line up for airport security checkpoints only to soon be tossed about like ragdolls when a freak snowstorm throws their plane off-course. Viola (Antoinette Robinson) surrounded by the plane’s lost baggage, regains consciousness amid the blowing snow. If at this point you aren’t sitting straight up in your seat with your jaw hanging open, go home. If you are, then you’re in for a wild ride worthy of “Alice’s Adventures in Wonderland” meets Fellini.
McSweeney has chosen a modernist stage setting never before utilized in Sidney Harman Hall. Side walls are stripped away to reveal the theater’s original configuration when it was once expected to double as a concert venue. It is surprisingly beautiful with dark wood paneling, high walls, viewable side walkways, and elevated catwalk.
Andrew Weems as Sir Toby Belch, Derek Smith as Malvolio and Hearth Saunders as Feste. ~ Photo credit Scott Suchman
Though you are undoubtedly familiar with the play’s plot of unattainable love – the Countess Olivia of Illyria (Hannah Yelland) loves Malvolio (Derek Smith) who becomes imprisoned in a dog carrier while sporting full Scottish regalia (he misinterpreted the memo), and Viola loves Sebastian (Paul Deo, Jr.) who thinks she’s his male page, Cesario, etcetera, etcetera. Here, Fabian (Koral Kent alternates with Tyler Bowman) is imagined as a wanton child, expected to do Sir Toby’s bidding. There is enough mistaken identity to keep us intently intrigued and plenty of cleverly conceived costuming by Jennifer Moeller to bedazzle and amuse.
Jim Lichtschedl as Sir Andrew Aguecheek. Photo credit Scott Suchman
Cowardly Sir Andrew Aguecheek (Jim Lichtscheidl) is portrayed as a wannabe rock star and sports-minded dilettante – think polo, tennis, fencing – who along with Sir Toby Belch (Andrew Weems), a slovenly, bathrobe-clad, karaoke-singing drunkard in love with Maria (Emily Townley), manage to provide enough comic relief for two plays. Together they lean heavily on cocktails from the on-board beverage cart and lines of cocaine to fuel their madcap revels while Orsino (Bhavesh Patel) and Curio (Matthew Deitchman) whirl about on scooters, entering and exiting the scene in flashy, slim-cut, brocade suits. To remind us this was written in 1602 with a holiday theme, a Christmas tree figures into a hide-and-seek skit of insanely hilarious proportions.
But it is Feste played brilliantly by Heath Saunders who grounds the goings-on with original music by composer Lindsay Jones. Saunders, who in real life plays twelve different musical instruments, plays bass and guitar here. His dulcet voice both anchors and ameliorates the lunacy.
Highly recommended.
At the Shakespeare Theatre Company’s Sidney Harman Hall through December 20th at 610 F Street, NW, Washington, DC 20004. For tickets and information call 202 547-1122 or visit www.ShakespeareTheatre.org.
Harriett D. Foy (Nina Simone) in Nina Simone: Four Women, Photo by C. Stanley Photography.
There’s no getting around one of the darkest moments in American history, when four African-American girls were murdered by white supremacists in the 16th Street Baptist Church bombing of 1963. There’s also no getting around that it continues unabated in present day America. Playwright Christina Ham’s deeply emotional and highly relevant play, Nina Simone: Four Women, directed by Timothy Douglas, gets to the heart of this tragedy by focusing on Nina Simone, the jazz singer whose bluesy songs made her popular in in both white and black America. For Simone (Harriett D. Foy), this horrific event in Birmingham, Alabama and the murder of Medgar Evers in Mississippi, galvanized her into speaking out through her music. Inspired, Simone sets about writing “Mississippi Goddam”, her iconic civil rights anthem about the slaughter of the little girls. “I want that song to cut folks like a razor,” Simone proclaims.
(L to R) Toni L. Martin (Sephronia), Harriett D. Foy (Nina Simone), Felicia Curry (Sweet Thing) and Theresa Cunningham (Sarah) in Nina Simone: Four Women. Photo by C. Stanley Photography.
While she works on her composition, she encounters three women also hiding within the confines of the church. Each speak of this devastating tragedy through different eyes. Auntie Sarah (Theresa Cunningham), a longtime church member, is a matronly, black woman (she would say ‘colored’), who has lived her life respectably – dutiful to her white employers and a strong believer in the power of religion. Sephronia (Toni L. Martin), is an activist, a girl of mixed race (she would say ‘high yellow’). She takes inspiration from Martin Luther King, Jr. and the protest movement. Lastly, Sweet Thing (Felicia Curry) is a street hooker, a rough-and-ready ghetto girl with a switchblade and a heap of anger. Each woman brings a unique perspective to what it means to be black in America. Each one has her own truth.
We see Simone as the consummate artist, a woman of conscience who has been radicalized by the inequality and injustice she has faced throughout her career. She tells the others, despite her success she has doubts and self-loathing, “Every day I have to conjure myself into a queen.”
(L to R) Toni L. Martin (Sephronia), Felicia Curry (Sweet Thing) and Theresa Cunningham (Sarah) in Nina Simone: Four Women. Photo by C. Stanley Photography.
With music directed and arranged by Darius Smith, who also accompanies the women on piano, their lush harmonies and deliberate delivery ensure that no one will miss hearing the lyrics nor their fierce intent as this fine cast scrolls through gospel hymns, jazz tunes and protest songs including Simone’s “Sinnerman”, Oscar Brown, Jr.’s “Brown Baby”, Simone’s co-written anthem, “Young, Gifted and Black”, and of course its eponymous song, “Four Women”. Choreography by Lady Dane Figueroa Edidi captures the spirit of African dance and old-time church revivals.
A powerful, brilliantly crafted, musical tribute to a woman and a movement.
Recommended.
Through December 24th at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024. For tickets and information call 202 488-3300 or visit www.ArenaStage.org.
David Cassidy, pictured in 2009, rocketed to stardom as Keith Partridge on the ABC series ‘The Partridge Family’. (AP Photo/Dan Steinberg)
In the six decades David Cassidy has been in the limelight, he has worked in television, theater and live concerts as a musician, actor, songwriter, singer, director and producer. That’s a lot of crossover. But when you’re the son of theatrical and TV royalty Jack Cassidy and Evelyn Ward you could say, “Well, kids, that’s showbiz!”
From the tender age of eight Cassidy started touring and performing in summer stock productions along with his parents, landing his first Broadway role before he was a teenager. Many of his fans literally grew up with him in the ‘70’s as the adorable heartthrob Keith from the long-running, now syndicated sitcom, The Partridge Family, where he and stepmother Shirley Jones were the only two cast members to actually sing on the show’s ten albums. With over 30 million records sold worldwide his career has taken him back to Broadway and on to Vegas, transcending his pop star status. Currently concerts take him on the road nearly 200 days a year, though he admits he’ll be cutting back on lengthy tours in future.
Cassidy and his five-piece band’s October 6th appearance at The Birchmere in Alexandria will be the last stop in the States on his eight-month tour before traveling to England where he will perform for over ten thousand people a night. I spoke to him by phone this week from his base in upstate New York.
Jordan Wright – How has the U.S. leg of your tour been?
David Cassidy – I’ve had the greatest summer I can remember. I’m with my band of eight years. The audiences have been great. I can’t explain it. I’ve never enjoyed playing as much and the momentum keeps growing.
JW – Are you looking forward to playing The Birchmere?
DC – The wonderful thing about The Birchmere is it is one of the most legendary places in the U.S. to play. It’s genuine and earthy. Some of the greats have played there. It reminds me of the Bottom Line in New York. There are virtually no other venues I play that are so intimate. The management and the backstage crew and the vibe are so great. It has that true blues, rock and roll sort of authenticity. My band [including guitarist Dave Robicheau of the The Monkees] said, “Let’s go back there!”
JW – How much of the show is new music?
DC – Virtually none. But I do songs that are a part of my journey. My fans come to hear the songs they love. I don’t do the same show every night. That’s not me. I like to interact with the audience and keep it spontaneous.
JW – Who are your musical influences now?
DC – The same that have been my influences before. I like John Mayer and Sting, as an incredible writer, bass player and singer. My earlier influences were Rogers and Hammerstein, Gershwin, Cole Porter, Bobby Darin. But when I became a teenager it was the Beatles. I remember the night I turned twelve was when I first heard them. The next day I bought an electric guitar. I knew from the time I was three I wanted to become an actor. I was in acting school in New York and my first professional job was on Broadway. I played blues in garage bands when I was younger and I loved B. B. King and Buffalo Springfield, who played at my high school. The Beach Boys were another favorite and I became good friends with Carl Wilson. Later Brian [Wilson] and I wrote a song together. I got to play with my musical heroes and became good friends with John Lennon and Yoko Ono. I played with him a few times when he was making the Rock ‘n’ Roll album in the 70’s. I think John and Paul were the greatest songwriting team ever. And Yoko has such an amazing soul.
JW – Your son, Beau, and daughter, Katie, are in show business. Do you support their showbiz careers?
DC – I do now. I didn’t support them earlier when her mom wanted her to be Brittany Spears. Now she’s done five TV series, Gossip Girl was one, and some films. I’m very proud of the work she’s done. My son has been studying at Michigan State, Boston University and NYU. He’s a very talented musician and songwriter in a band called The Fates. I heard their first few songs and the stuff is remarkable.
JW – Are you excited about your upcoming Lifetime Achievement Award at the Film, Recording & Entertainment Council’s Star Gala in November?
DC – I say this humorously and somewhat sarcastically. If you do enough work and stick around long enough and don’t give up, you pick yourself up a few times and then someone says, “What about this guy?” I’m very flattered by it. And because I’ve been accused of being a workaholic, I’ve finally backed off from working 52 weeks a year. I tell my kids and in talks at colleges and schools, it’s never been about the money, and I appreciate working so much more now. Because if you’re going to write and produce and direct with a lot of people with a lot of talent, it makes a difference if they have a strong investment in it.
JW – What’s next for you?
DC – I plan to do at least one more album. I have a concept that I have never fully explored that I’d like to work on. It’s not about the multi-platinum records anymore. Before I only focused on the end result – now I like to take my time.
This interview was conducted, condensed and edited by Jordan Wright.
David Cassidy performs one night only at The Birchmere on October 6th. For tickets visit www.ticketmaster.com. For venue information visit www.birchmere.com. The Birchmere is located at 3701 Mount Vernon Avenue, Alexandria VA 22305
