Christie Prades as Gloria Estefan and Company ~ Photo credit Matthew Murphy
When the original ten-piece Miami Sound Machine is banging out a full-on Latin beat smack dab onstage and bringing sizzling hot salsa rhythms and house party funk, you can party like it’s 1985, the year the group’s huge crossover hit “Conga” soared to the top of the Billboard pop charts.
Entering the theatre Emilio and Gloria Estefan graciously greet fans ~ Photo credit Jordan Wright
It didn’t mitigate the excitement that the show’s producers Gloria and Emilio Estefan were in the house last night driving the on-their-feet audience wild with cheers and selfies. But when it comes right down to it, it’s her story. Their story. A universal story of hopeful immigrants everywhere, that bonds us to their triumphs and tragedies in this electrifying musical.
Christie Prades (Gloria Estefan), Mauricio Martinez (Emilio Estefan), Danny Burgos and Omar Lopez-Cepero ~ Photo credit Matthew Murphy
On Your Feet! tells the story of 26-time Grammy Award-winning pop singer/songwriter Gloria Estefan and her producer/husband Emilio and their sensational rise to fame. In spite of a talent agent who blocked the act from crossing over into mainstream American pop and a record company who wouldn’t allow them to sing in English, the pair did an end-run around discrimination by directly approaching local DJ’s and dance clubs where their beat-driven music had an immediate fan base. “See this face?” Emilio demands of his agent. “This is an American!” With this line, the audience broke into instantaneous and sympathetic applause. After all, it’s kill DACA season and we feel their pain.
Mauricio Martinez as Emilio Estefan, Christie Prades as Gloria Estefan and Devon Goffman as Phil the Agent ~ Photo credit Matthew Murphy
The “jukebox musical”, as these throwback rock musicals are familiarly called (though one wonders if anyone from that era has ever played a jukebox), depicts the Estefans as children leaving on the “Pedro Pan” flights from Cuba in the early 60’s – flights that brought families from Havana to Miami from the fresh hell that was Batista’s revolution – and settling into the burgeoning Cuban community in Miami. Emilio hears Gloria sing and invites her to join his band, the Miami Latin Boys to gig weddings, bar mitzvahs and quinceañeras. To her mother’s dismay, Gloria joins the band. Even a mother’s wishes can’t hold back her teenager’s dreams or her talent.
Nancy Ticotin as Gloria Fajardo and Company ~ Photo credit Matthew Murphy
Flashbacks include Havana’s Montmartre Club and her mother’s truncated career as a nightclub singer, her Vietnam vet father José’s (Jason Martinez) tragic end, and little Gloria’s fondness for her grandmother (Alma Cuervo) and her guitar. The story charts the pop star’s meteoric success and the near career-ending tragedy of the car accident that left her unable to perform for months. It’s a deeply personal story that parallels artists’ dreams and immigrants’ aspirations.
Colored by the aqua and hot pink colors made popular by Miami Vice, it stars Christie Prades and Mauricio Martinez (from the original Broadway cast) as Gloria and Emilio. The Tony Award-winning musical includes many of Gloria’s greatest hits in 26 numbers from “Live for Loving You”, “Get on Your Feet” and “Rhythm Is Gonna Get You”, to heart-melting ballads like “Don’t Wanna Lose You” and “Here We Are”. 80’s period costumes by Emilio Sosa and Cuba-evoking sets by David Rockwell, the band is joined by three additional musicians from the Kennedy Center Opera House Orchestra.
Filled with uplifting sparkle. Get ready to party Latin-style!
Highly recommended for the whole family.
Through January 21st in the Opera House at The Kennedy Center, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Company of the National Tour ~ Photo credit Matthew Murphy
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.
