Jordan Wright
December 21, 2015
Special to The Alexandria Times
 Jennifer Cordiner (Graziella) and Max Clayton (Riff). Photo by Christopher Mueller There’s a rumble going on at Signature Theatre as Director Matthew Gardiner reinterprets West Side Story in a production that breathes new energy into the story of two rival New York City gangs, the Sharks (Puerto Rican immigrants) and the Jets (a local white gang). Based on Shakespeare’s classic, Romeo and Juliet, the modern version of the two star-crossed lovers, was written and created nearly 60 years ago by four members of theatre royalty with music by the legendary composer and conductor Leonard Bernstein, book by the highly esteemed writer Arthur Laurents and lyrics by Broadway great, Stephen Sondheim. The original production, directed and choreographed by Jerome Robbins, debuted on the Great White Way in 1957, but its relevancy to modern day racial conflicts cannot be ignored.
 MaryJoanna Grisso (Maria) and Natascia Diaz (Anita). Photo by Christopher Mueller Parker Esse stays true to Robbins original choreography. Yet in placing the action on a rectangular stage no more than 20 feet from any seat, we are rewarded with the bonus of visceral energy and muscle coming from the dance and fight sequences. In this condensed setting it is easier to witness the intensity of the 30 dancers and singers who, surprisingly, share space with a 17-piece orchestra. Such intimacy makes character interaction immediate and explosive and renders the tender, forbidden romance between Maria (played winningly by the adorable Mary Joanna Grisso) and Tony (played by local actor Austin Colby), more heartfelt. Juxtaposed with the gang fights, it is riveting to the core. As Riff, the leader of the Jets, tells his gang founder Tony in their motto of solidarity, “Womb to tomb, worm to sperm.” It’s that close.
 J. Morgan White (Snow Boy), Joseph Tudor (Baby John), Tony Neidenbach (Big Deal), Ryan Fitzgerald (Action), Kurt Boehm (Diesel) and Ryan Kanfer (A-Rab). Photo by Christopher Mueller In this hyper-physical production, all movement must be tightly executed and solidly synchronized to work well in such close quarters. And it is. To expand the real estate, Esse makes use of a second story steel catwalk as tenement fire escape. Spanning three sides of the perimeter, the metal walkway clangs and clatters directly above the audience’s heads when the gangs are in hot pursuit. It is a highly effective, heart-poundingly sensory experience aswirl with romance and conflict.
 The cast of West Side Story. Photo by Christopher Mueller As an ensemble the cast is solid, though some gang members lack the credible machismo expected from street-hardened blood rivals. Max Clayton as Riff, stands out, as does, Natascia Diaz, as Anita, the spitfire who is Maria’s protective older sibling. Another captivating performer is dancer Shawna Walker in a secondary role as Pauline. She’s the one with the short blonde hair who has the movements of a gazelle and the fierce tenacity of a leopard. You can’t miss her. And not to be overlooked is the charm of J. Morgan White as Snowboy, who has a scene stealing dance moment in Act Two in the number “Gee, Officer Krupke”, and Maria Rizzo as Anybodys, the androgynous Sharks’ gang groupie. Notwithstanding the humor, the artistry of the dancers and the sweep of the memorable score, there is an important message here – one of tolerance, inclusion, and hope told through such classic songs as “Something’s Coming”, “Tonight”, “Somewhere” and “America”.
 Austin Colby (Tony). Photo by
Christopher Mueller Highly recommended.
Through January 31st, 2016 at Signature Theatre (Shirlington Village), 4200 Campbell Avenue, Arlington, VA 22206. For tickets and information call 703 820-9771 or visit www.sigtheatre.org.
Jordan Wright
December 21, 2015
Special to The Alexandria Times
Like a series of Kodak snapshots or tinted travel postcards, Bright Star gives us a carefully crafted version of the Old South, specifically Asheville, North Carolina where the musical is set. Steve Martin (better known for his appearances on SNL, The Jerk, Parenthood and Father of the Bride) and singer/songwriter Edie Brickell collaborated on the music, lyrics and original story. The duo has earned country music status partnering on Grammy award-winning American Roots music.
 Dee Hoty, Carmen Cusack, Stephen Lee Anderson and the cast of “Bright Star”. (Photo by Joan Marcus) The show opens with Alice Murphy (Carmen Cusack), a successful editor returning to her roots in the North Carolina woods. There she reunites with her hellfire-and-damnation preacher father (Stephen Lee Anderson) and meek-as-a-lamb mother (Dee Hoty) still living in their rundown shack – affording us a glimpse of how much Alice has risen from her hardscrabble youth. Listen closely to the words of her first number, “If You Knew My Story”. It allows the merest of hints of what is to come.
 Jeff Blumenkrantz (left); A.J. Shively, Emily Padgett (right); and the cast of “Bright Star”. (Photo by Joan Marcus) Meanwhile, back from the war, ambitious young writer, Billy Cane (A. J. Shively) meets Margo Crawford (Hannah Elless). Margo, smitten by the handsome young man, works in the local bookstore and types up Billy’s handwritten manuscripts in her spare time. But at the moment Billy has only one passion to pursue – getting published in the Asheville Southern Journal, a prestigious literary magazine boasting the likes of Tennessee Williams, and Truman Capote among other notable Southern writers. Leaving Margo behind he sets off for Asheville where he insinuates his way into the hallowed halls of the ASJ and lies his way into a meeting with Murphy, a hard-nosed editor who eats writers for lunch.
 Carmen Cusack and Paul Alexander Nolan in “Bright Star”. (Photo by Joan Marcus) The story toggles back and forth between pre- and post-World War II. Back in the 1920’s, Alice had a love affair with the mayor’s son, Jimmy Ray Dobbs (Paul Alexander Nolan), and bore him a child out of wedlock. Buckling to Mayor Dobbs’ (Michael Mulheren) insistence she give the baby up for adoption to avoid a scandal and protect Jimmy Ray’s career prospects, Alice’s father agrees to sign the baby over to him. At this point the story takes a dark turn as Alice and her mother fight tooth and nail to keep the baby in “Please Don’t Take Him”. We see Mayor Dobbs take the baby away in a leather briefcase as an antique train traverses an overhead track.
Director Walter Bobbie has his work cut out for him – convince millennial audiences that this was a real issue for unmarried girls while drawing sufficient sympathy on which to hang the soap opera dialogue and saccharine lyrics. Sometimes it works and sometimes it doesn’t – like milquetoast – it’s comforting, but not especially palatable. Ditto for the music which can best be described as Bluegrass Lite – neither country nor Broadway. Look for comedic relief from Alice’s gay assistant, Daryl (Jeff Blumenkrantz) who lightens the tale with lines like, “If you want to be a writer, you have to stay drunk and feel sorry for yourself.”
Choreographers Josh Rhodes and Lee Wilkins slip in a bit of jitterbug and two-step to the strains of an onstage band of violins, banjo, mandolin, guitars, piano, accordion, bass fiddle and cello.
If you like sorghum and cornbread back-dropped by the Blue Ridge Mountains, this show is for you. One can only wonder if it will translate when it goes to Broadway in late February.
Through January 10th, 2016 at the Kennedy Center, 2700 F St., NW, Washington, DC. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Jordan Wright
December 3, 2015
Special to The Alexandria Times
Reviewer’s Pick – Avant Bard’s Theatre on the Edge brings us Holiday Memories, the tender and evocative semi-autobiographical tale drawn from two beloved short stories by Truman Capote, “A Christmas Memory” and “A Thanksgiving Visitor”. Having seen this at press night Monday past, I can attest to its indelibly affecting charm.
 (From left:) Séamus Miller (Buddy), Christopher Henley (Truman) – DJ Corey Photography Directed by Tom Prewitt and staged by Russell Vandenbroucke the show stars Christopher Henley as Truman, Séamus Miller as Buddy (Truman as a lad), Charlotte Akin as Miss Sook, with Liz Dutton and Devon Ross fulfilling several ancillary roles.
 (The cast of Holiday Memories, from left:) Charlotte Akin (Miss Sook), Devon Ross (Man), Christopher Henley (Truman), Liz Dutton (Woman), Séamus Miller (Buddy) – DJ Corey Photography The play is set in Depression-Era Alabama where young Truman, who is coming to terms with his homosexuality, lives with his adored aunt, Miss Sook, a forthright spinster who administers life’s lessons with a gentle hand. Henley provides the richly textured narration delivering a riveting performance that is nothing short of brilliant reminding this reviewer of Sam Waterston both in spirit and in appearance. Akin too, seizes her character with a ferocity and nuance that is beautifully developed, while Miller lends an endearing pathos to the fragile boy who struggles to find his identity. Through December 20th at Theatre on the Run at 3700 South Four Mile Run Drive, Arlington, VA 22206. For tickets call 703 418- 4108 or visit Avant Barde Theatre
 Heather Norcross as Ghost of Christmas Present with Lawrence O. Grey Jr. as Ebenezer Scrooge – Photos by Doug Olmsted The Little Theatre of Alexandria presents Dickens’ A Christmas Carol, a lavish, family friendly, Victorian paean to the age-old tale of Scrooge’s redemption. Kudos to the adorable Tiny Tim and a cheery nod to the ghosts of Christmas past, present and future. Through December 20th at 600 Wolfe Street, Alexandria, VA, 22314. For tickets call 703 683-0496 or visit The Little Theatre of Alexandria
 (L-R) Michael Sharp, Peter Boyer and Tracey Stephens at MetroStage – Photo credit Chris Banks MetroStage ratchets up Dickens’ tale with a distinctly hilarious, seat-of-your-pants spoof full of dancing and singing to your favorite Broadway tunes. The inimitable Howard Breitbart serves as musical director in Broadway Christmas Carol. Through December 27th at 1201 Royal Street, Alexandria, VA 22314. For tickets call 703 548-9044 or visit MetroStage
 Nova Y. Payton at Signature Theatre – photo courtesy of Signature Theatre Signature Theatre brings Christmas cheer with Dreamgirls star Nova Y. Payton backed by a rockin’ chorus and raising the rafters with holiday tunes like This Christmas, Holiday Rock, Santa Baby, and I Saw Mommy Kissing Santa Claus. Through December 24th at 4200 Campbell Avenue in Shirlington Village, Arlington, VA 22206. For tickets call 703 820-9771 or visit Signature
 Washington National Opera: Holiday Family Opera: Hansel and Gretel – Photo courtesy of The Kennedy Center The Kennedy Center has a host of holiday happenings including the NSO Pops conducted by Principal Pops Conductor Steven Reineke and featuring the von Trapps, of the famed Sound of Music family, with Broadway’s Stephanie J. Bloch performing Christmas classics and new holiday tunes. The Washington National Opera offers a family-friendly Hansel and Gretel complete with cackling witch, enchanted fairies, dancing animals and a massive gingerbread oven. For the high brow, Handel’s Messiah sing-along is on December 23rd. Check listings for these limited performances at Kennedy Center or call 202 467- 4200.
The Washington Metropolitan Philharmonic presents Two Concertos and a Celebration. Handel’s popular Messiah performed by the NOVA Community Chorus and backed by the splendid symphony who add 20th and 21st century music to the afternoon program. Check the schedule for performance times and locations. For tickets call 703 799- 8229 or visit The Washington Metropolitan Philharmonic
Jordan Wright
November 23, 2015
Special to The Alexandria Times
 Pericles (Wayne T. Carr) braves out a storm at sea in Pericles. Photography by Teresa Wood Director Joseph Haj’s interpretation of Shakespeare’s Pericles is a far more accessible production than you might think. Originating at the Oregon Shakespeare Festival this play-with-music has all the elements of a ripping good story. It was one of the Bard’s most popular plays – that is before the Plague closed theater doors and as soon as the Puritans got wind of it and shut it down entirely. Though its premise is dark with war, angry gods and paternal incest, it evolves into a feel good fairy tale with the extra added attraction of humor, campy gender-bending, romance and heroism.
 Jennie Greenberry stars as Antiochus’ Daughter in Shakespeare’s epic tale, Pericles. Photography by Teresa Wood Pericles (Wayne T. Carr) leaves Tyre on his epic odyssey to woo the daughter of Antiochus (Scott Ripley), the incestuous father, who poses a riddle to all her suitors. Should they solve it after 40 days, they would have her hand in marriage. In a dramatic moment the princess (Jennie Greenberry) appears in a backless velvet gown to reveal the riddle tattooed on her sinuous back. (n. b. – The significance of Pericles fleeing Tyre (now Syria) is not lost on the audience or the theatre who has partnered with USA for UNHCR to donate proceeds from the concessions to the UN Refugee Agency.)
The king’s riddle challenge reads as follows.
- I am no viper, yet I feed
- On mother’s flesh which did me breed.
- I sought a husband, in which labour
- I found that kindness in a father:
- He’s father, son, and husband mild;
- I mother, wife, and yet his child.
- How they may be, and yet in two,
- As you will live, resolve it you.
The once-eager Pericles calls it quits and sails back to Tyre when the king orders him murdered anyway. There he is pursued by Antiochus and forced to set sail for Tarsus. Throughout the play the tale is narrated by Gower (Armando Durán) under a shower of stars and ancient astral configurations.
 Gower (Armando Durán) introduces the play with, “To sing a song that old was sung…” Also pictured: Emily Serdahl and Cedric Lamar. Photography by Teresa Wood Along the way our hero is shipwrecked and winds up a castaway in Pentapolis. Set Designer Jan Chambers and Video Designer Francesca Talenti collaborate to create a wonderfully atmospheric storm, with billowing sea green silks and projections of monster waves and torrential rains. Since Pericles survives several storms in his travels we are treated to this sensational effect several times over.
In Pentapolis he is urged to participate in a jousting tournament for the hand of King Simonides’s (Scott Ripley again) daughter, the beautiful Thaisa (Brooke Parks). At the evening’s celebration, Pericles, the victor, is encouraged by the king to dance with her. In a particularly hilarious scene the flat-footed Pericles becomes besotted by Thaisa. Soon after they wed and the following year he takes his pregnant wife back to Tyre by ship where she drowns after childbirth. When their daughter Marina (Jennie Greenberry again) grows up she is abducted by pirates and sold into prostitution where she remains a virgin by convincing men they should choose virtue over the pleasures of the flesh. “She is able to freeze the god Priapus,” declares her captor played by Michael J. Hume in gold lurex and platform heels as the bawdyhouse owner. But it is Lord Lysimachus, Governor of the Region (Michael Gabriel Goodfriend), who, noting her good breeding, buys her freedom with sacks of gold. All’s well that ends well, but I won’t reveal how.
 Zlato Rizziolli, Emily Serdahl, Michael Gabriel Goodfriend and others dance during the festivities in Pericles. Photography by Teresa Wood A terrific cast sings some of the poetry-set-to-song by Tony-Award winner, Jack Herrick, who employs the period genre of Elizabethan madrigals. Costumes by Raquel Barreto appear to have sprung from ancient friezes on Greek temples. Look for the hauntingly beautiful goddess Diana (Emily Serdahl) to offer guidance and solace. We need it in these turbulent times.
At the Folger Theatre in the Folger Shakespeare Library through December 20th – 201 East Capitol St. SE, Washington, DC 20003. For tickets and information call the box office at 202 544-7077 or visit www.events.folger.edu.
Jordan Wright
November 24, 2015
Special to The Alexandria Times
 Douglas Sills as Fred Graham and Christine Sherrill as Lilli Vanessi in Kiss Me, Kate, directed by Alan Paul at the Shakespeare Theatre Company. Photo by Scott Suchman. A stunner of a show just rolled into town and utterly knocked our socks off. Cole Porter’s Kiss Me, Kate the play-within-a-play, well, not really, since it’s a musical, brought with it a fresh breeze to Sidney Harman Hall thanks to Director Alan Paul.
Using Shakespeare’s “Taming of the Shrew” as underpinning, Porter composed the music and witty lyrics with Samuel and Bella Spewack, two of the finest stage writers of their time, who penned many a Broadway show and Hollywood screenplay. In this madcap creation we are privy to the goings on backstage where all the action is set. The storyline follows two couples who are preparing their parts for Shakespeare’s classic tale – Lilli Vanessi (Christine Sherrill who also plays the man-hating shrew, Kate), and her ex-husband slash co-star Fred Graham (Douglas Sills, also in the role of her suitor Petruchio; and Lois Lane (Robyn Hurder, who also plays Bianca) and her gambler boyfriend, Bill Calhoun (Clyde Alves, who also plays Lucentio). Got it? They also have relationship issues. Who doesn’t?
 Robyn Hunter as Lois Lane and Christine Sherrill as Lilli Vanessi in Kiss Me, Kate, directed by Alan Paul at the Shakespeare Theatre Company. Photo by Scott Suchman. Add in Fred and Lilli’s dressers, Hattie (Zonya Love) and Paul (T. Oliver Reed), a backstage crew, an entire chorus line, and sprinkle with a couple of rough-tough-cream-puff gangsters played with all the requisite ‘dese, dems and dose’ by Bob Ari and Raymond Jaramillo McLeod, and it’s on!
See it for the dancing – jitterbug, leaps, high kicks and acrobatics combine with tap, waltz and rumba by the best hoofers around. Choreographer Michele Lynch co-opts every inch of real estate for each intricate routine. See it for the steamy cavorting or see it for the singing. It will take your breath away. The audience literally screamed with delight clapping wildly after each number. Sherill is captivatingly maddening as Kate in the tune, “I Hate Men” and Sills grabs the spotlight in “So in Love”. As for Hurder, the audience nearly wouldn’t let her off the stage after her first number, “Tom, Dick or Harry”, and her sizzling, negligee-clad, vamp rendition of, “Always True to You in My Fashion”. In the second act sultriness raised the bar with “It’s Too Darn Hot” led by Paul and Hattie and augmented by the dancers.
 The company of Kiss Me, Kate, directed by Alan Paul at the Shakespeare Theatre Company. Photo by Scott Suchman. A ten-piece orchestra led by James Cunningham stays true to the nifty sophistication of Porter’s music, coupling neatly to Sound Designer Justin Stasiw’s noises off sound effects. The triple threat is bracketed by Scenic Designer James Noone’s 1940’s period sets of Ford’s Theater’s backstage interspersed with drops depicting 16th C Italy that are reminiscent of 1940’s The New Yorker magazine’s pen and ink illustrations of the day.
Run, don’t walk, to the box office! Highly recommended.
At the Shakespeare Theatre Company’s Sidney Harman Hall through January 3rd 2016 at 610 F St., NW Washington, DC 20004. For tickets and information call 202 547-1122 or visit www.ShakespeareTheatre.org.
Jordan Wright
November 12, 2015
Special to The Alexandria Times
 Jeff McCarthy as Fagin and the company of Oliver! at Arena Stage at the Mead Center for American Theater Photo by Margot Schulman. A decidedly refreshing Oliver debuted at Arena Stage last night signaling a break with traditional productions of Charles Dickens’ mid-19th century classic of the underbelly of England’s Victorian era. Director Molly Smith’s interpretation transports the audience to the seedy streets of modern day London to prove when it comes to crime and passion, poverty and the exploitation of the unfortunate, one of Dickens’ familiar themes, not much has changed. Choreographer Parker Esse and Costume Designer Wade Laboissoniere perfectly echo that insight using breakdancing, pop-locking and electro-dancing coupled with edgy, urban streetwear combined with period Victoriana. Special praise for Kyle Coffman as the Artful Dodger who executes some ballet/moonwalk dancing in “Consider Yourself”. Props by Marion Hampton Dube are modernized to reflect the era – a boombox is boosted, credit cards hoarded, cell phones take selfies and Oliver sports a backpack. Can you picture Fagin grilling sausages on a BBQ grill? You’d better. He does.
 Eleasha Gamble as Nancy and the company of Oliver! at Arena Stage at the Mead CenterPhoto by Margot Schulman. Notwithstanding this edgy version, the story of the tiny orphan Oliver (Jake Heston Miller) hasn’t changed a whit. It is still the tale of Oliver Twist, a street urchin first captured by Mr. Bumble (Paul Vogt) and his reluctant paramour, the Widow Corney (Rayanne Gonzalez), who then sel him off to Draconian funeral parlor owners Mr. and Mrs. Sowerberry (Tom Story and Dorea Schmidt), only to be indoctrinated into a life as a pickpocket by the captivating Svengali, Fagin (Jeff McCarthy), and his workhouse boys with the sympathetic portrait of Nancy (Eleasha Gamble), the mohawk-sporting crook with a heart of gold, and her swaggering lover, Bill Sykes (Ian Lassiter), the evilest villain in London town.
 (L-R) Jeff McCarthy as Fagin and Jake Heston Miller as Oliver in Oliver! at Arena Stage at the Mead CenterPhoto by Margot Schulman. Twenty-one numbers neatly envelop the plot. I particularly loved Story and Schmidt’s portrayal as two perfectly matched grim reapers with Story playing the foil to Schmidt’s dominatrix in a snappy Noel Coward-style rendition of “That’s Your Funeral”; Gamble’s soaring soul-filled version of “It’s a Fine Life” and “As Long As He Needs Me” (goosebumps guaranteed); Miller’s “Where is Love?” sung in an angelic, pitch perfect, boychoir treble; and McCarthy’s gravelly-voiced, comedic handling of “Pick a Pocket or Two” and “Reviewing the Situation”. Paul Sportelli leads the 13-piece orchestra so seamlessly you’d think it was recorded from the original.
 (L-R) Jake Heston Miller as Oliver and Tom Story as Mr. Sowerberry in Oliver! at Arena Stage at the Mead Center – Photo by Margot Schulman. To add to the intensity, there are dozens of mood-altering light cues by Lighting Designer Colin K. Bills that instantly transform the atmosphere from dark and gritty to warm and fuzzy to reflect the dramatic transitions in Oliver’s circumstances. Much of the action is played out above the audience on Set Designer Todd Rosenthal’s crisscrossed steel bridge allowing for extra staging beyond the immediate theater-in-the-round. And there are plenty of thrills as Oliver and his gang of juvenile delinquents evade the London bobbies.
Though this is a hugely entertaining, high-adrenaline show, I would not recommend it for young children as there is a good deal of bump-and-grind, coupled with hard drug use by the urchins.
Through January 3, 2016 at Arena Stage, 1101 Sixth St., SE, Washington, DC 20024. For tickets and information call 202 488-3300 or visit www.ArenaStage.org
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