Signature Theatre Wins Big with The Untitled Unauthorized Hunter S. Thompson Musical
The Untitled Unauthorized Hunter S. Thompson Musical
Signature Theatre
Jordan Wright
June 12, 2025
Eric William Morris (Hunter S. Thompson) and Giovanny Diaz De Leon (The Kid) with the cast of The Untitled Unauthorized Hunter S. Thompson Musical at Signature Theatre. (Photo/Christopher Mueller)
You might say the country was as polarized during the 1960’s as it is today and you wouldn’t be far off. When Nixon was president a powerful youth-driven counterculture began emerging. Heavily armed police squads were combatting student protests and shutting down university campuses. MLK, JFK and RFK had been assassinated leading to fear and malaise. For a nation battered by the McCarthy hearings of the ‘50’s and the never-ending Vietnam War, there was no clear direction of where the country was headed.
Enter journalist Hunter S. Thompson whose passion for drugs, booze and poking the bear fueled his creative juices. In The Untitled Unauthorized Hunter S. Thompson Musical we meet the man, the myth, the iconoclast. Eighteen years in the making, this show has all the relevance of today’s headlines.
Lorinda Lisitza (Virginia) and the cast of The Untitled Unauthorized Hunter S. Thompson Musical. (Photo/Christopher Mueller)
Apart from the juicy lifestyle gems Thompson’s world provides, Joe Iconis, (Book Writer, Lyricist and Composer) and Gregory S. Moss (Book) had to wrangle that material into a musical with characters as disparate as Hunter’s long-suffering wife, Sandy; his nemesis, President Richard Nixon, leader of the Silent Majority, “I’m gonna use my writing to take down a president,” Thompson crows and his barbed writing succeeds; a gaggle of flower children fans and freaks; assorted Hell’s Angels compatriots; editors from his work at Time Magazine, Scanlon’s and the Rolling Stone; Oscar, his cohort and human rights attorney; his neglected son, Juan; and his feisty enabling mother, Virginia.
Virginia’s job as a librarian included stealing books for Hunter. These classic novels sparked his imagination. “You can change the world. You can write it,” she tells her wayward teen. He fell hard for Scott Fitzgerald and spent a year typing out “The Great Gatsby” to get a feel for his style of writing, using the novel as his inspiration for seeking ‘the green light’ as a metaphor for finding love and truth. Throughout his drug-addled and booze-fueled career he chased his dream, creating the ground-breaking style of writing later dubbed Gonzo journalism in which the writer is at the center of the story. The musical echoes that journey with some of the wackiest, most wonderful scenes and songs concocted for stage.
Eric William Morris (Hunter S. Thompson) and the cast of The Untitled Unauthorized Hunter S. Thompson Musical. (Photo/Christopher Mueller)
From the A-list actors to the production design, this musical is a stunner with a fuse-blowing wow factor beginning with the arcana-rich set design of Hunter’s oddities and collectibles to the poignant finale. A wealth of standout songs captures Thompson’s wild ride from fame to failure, all supported by candy-colored, tangerine-flake, electric Kool-Aid acid characters. Okay, I cribbed those last descriptors from Tom Wolfe, another ground-breaking writer of the period.
The musical is broken down into nine parts with a prologue, epilogue and two interludes. Standout moments for this reviewer, were Richard Nixon in the entr’acte, played in hilarious over-the-top Vaudeville style by George Abud with the song-and-dance tune, “Richard Nixon’s Big Number” in Another (Stolen) Moment with Richard Nixon (The Swine); “Jann Wenner” and “Song of the Brown Buffalo” in The Fertile Ground of San Francisco; Sandy’s song of her dreams; and Juan’s heart-breaking ballad, “Hey, Dad”.
George Abud (Nixon) and the cast of The Untitled Unauthorized Hunter S. Thompson Musical. (Photo/Daniel Rader)
Throughout this wild and beautiful musical, there is poignancy, love, fear and loathing, hope and hilarity. See it, feel it, love it!!!
Highly recommended! Five stars, if I gave them out, which I do not.
The fantastic cast stars Eric William Morris as Hunter S. Thompson; Lorinda Lisitza as Virginia; George Abud as Richard Nixon; Tatiana Wechsler as Sandy; George Salazar as Oscar/Dance Captain; Ryan Vona as Juan; Jason SweetTooth Williams as Steadman/Fight Captain; Meghan McLeod as Flower Child; Darlesia as Jann; Giovanny Diaz de Leon as The Kid; Josiah Rey Cajudoas Puppeteer.
Brilliantly directed by Christopher Ashley with breathtaking Scenic Design by Wilson Chin; Music Supervised by Rick Edinger; Costume Design by Toni-Leslie James; Lighting Design by Amanda Zieve; Sound Design by Justin Stasiw; Choreography & Musical Staging by John Rua; Hair & Wig Design by Matthew Armentrout; Puppet Design by Animal Cracker Conspiracy; Orchestrations by Charlie Rosen; Vocal Arrangements by Rick Edinger; Sensitivity Specialist, Anne James.
Through July 13th at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA. For tickets and information contact the box office at 703.820.9771 or visit www.SigTheatre.org.
Hedwig and the Angry Inch Slays with Sawyer Smith in the Lead Role at Signature Theatre
Hedwig and the Angry Inch Signature Theatre Jordan Wright April 26, 2025
When Hedwig and the Angry Inchfinished its premiere Broadway run, Signature made the decision to mount this niche production. That was 26 years ago. Now in their 35th season, Signature is re-staging this four-time Tony Award-winning rock musical.
Directors of Hedwighave free rein to create adlibs for the script and the actors do too, affording a wide berth to interpret the script with both topical and regional humor. In in our area that means politics. Inside the Beltway mixing politics and theater guarantees a hugely receptive audience, especially given our current political and regional climate. And for a non-federally funded theater with a progressive board and deep-pocket donors, that translates to free license to mount edgy, intriguing and controversial theatre.
Sawyer Smith (Hedwig) in Hedwig and the Angry Inch at Signature Theatre. (Photo/Daniel Rader)
With that said creator/writer/original cast performer John Cameron Mitchell (who refers to Hedwig as “genderqueer”) in partnership with composer/writer Stephen Trask, allowed for countless reinterpretations to keep the show both current and relevant. This production ushers in the 50thAnniversary of World Pride celebrations in the nation’s capital.
Born male in East Berlin in 1961 before the wall came down, Hedwig, neé Hansel (note the lederhosen), is the child of an absent Army officer father and a cruel and loveless mother. As a child he referred to himself as a “girly boy” who liked to dress in drag. In his teen years, he meets Luther, a soldier eager to encourage his tendencies and who will become his sugar daddy. One day, Luther tells Henry he will marry him, but he will need to have a sex change operation. When Henry wakes up the botched job leaves him with an inch of his manhood.
Vanessa (V) Sterling (Yitzhak), Sawyer Smith (Hedwig), and Joanna Smith (Bass) (Photo/Daniel Rader)
Hansel, now Hedwig (Sawyer Smith), is abandoned by Luther and soon meets Tony, a rock musician. She writes all of Tony’s material and his star ascends, but he too abandons her. It’s 1989 and she winds up in a mobile home in Kansas divorced, penniless and a woman. But despite all that, Hedwig, no slouch to show biz and the glam world of rock, decides to hit the boards with the help of her new husband Yitzhak (Vanessa (V) Sterling) who is as mercurial as a snapdrake – alternating between servile and surreptitious.
Accompanied by a four-piece band Hedwig, now in eye-popping costumes and towering wigs, performs an androgynously hilarious act filled with trash and flash. Their music is an amalgam of punk rock, glam rock and head-banging heavy metal and reminds me of the Russian feminist anti-Putin rock group “Pussy Riot”.
This immersive production snatches life at every turn with cheesy jokes, sassy quips and audience participation. Sit in the front row if you dare – or if you like. The music veers from mosh pit raucous to beautifully tender ballads with Hedwig revving up the audience with twirls and whirls, high kicks and massive allure as her story unfolds.
Chicago actor Sawyer Smith is riveting and reckless. You can’t look away for a second. She has the charisma and vocal chops to captivate the audience who lap up every minute. Sterling is a perfect vocal match to Smith and their harmonies are most especially lovely in the ballads.
Vanessa (V) Sterling (Yitzhak) and Sawyer Smith (Hedwig) with Marika Countouris (Keyboard), Sam Carolla (Drums), Joanna Smith (Bass), and Alec Green (Guitar) (Photo/Daniel Rader)
With The Angry Inch Band of Sam Carolla on drums; Marika Countouris on keyboard and as Music Director; Alec Green on guitar; and Joanna Smith on bass guitar.
Directed by Ethan Heard, Text by John Cameron Mitchell, Choreography by Ashleigh King, Costumes by Eric Teague, Scenic Design by Richie Ouellette, Lighting Design by K Rudolph, Sound Design by Eric Norris, Wig & Makeup Design by Ali Pohanka.
Recommended for grown-ups of all stripes. Wave your freak flag and join the madly wacky world of Hedwig.
Through June 22nd at Signature Theatre, in the Village of Shirlington, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Synetic Theater Returns with a Brilliantly Imagined Premiere of The Immigrant
The Immigrant Synetic Theater Jordan Wright March 16, 2025 Special to The Zebra
L to R – Lev Belolipetski, Philip Fletcher, Joshua Cole Lucas, Vato Tsikurishvili, Stella Bunch, Maryam Najafzada, Natan Mael-Gray, Nutsa Tediashvili (Photo/Katerina Kato)
In a heart-stirring paean to all the desperate, lonely, hopeful people who fight against all odds to come to America, Synetic Theater presents The Immigrant. Nathan Weinberger’s wonderfully imaginative adaptation of this tender story of love and struggle is told “wordlessly”. Synetic’s extraordinary and groundbreaking troupe is well known for their unspoken productions of Shakespeare’s works as well as Poe’s and other classic authors’ seminal works. Adapted and reimagined from Charlie Chaplin’s 1917, 22-minute silent short, this expanded telling more deeply explores the plight of the immigrant as he struggles to escape prejudice and hardship in a war-torn country only to face a new set of challenges in New York City.
Aboard the rickety steamship, Little Fellow (young Chaplin played by Vato Tsikurishvili) sees Hetty (Maryam Najafzada) who is traveling with her Sister (Stella Bunch). A violent storm rocks the boat and Sister is tossed overboard. When Little Fellow (aka Chaplin) rescues her from the roiling seas, and the sisters reunite, the three form a shipboard friendship that sets the story of their adventures from their arrival through Ellis Island to the cinematic glories of silent screen filmdom.
Vato Tsikurishvili as the Little Fellow, Paata Tsikurishvili as The Immigrant (Photo/Katerina Kato)
The casting of Maryam and Vato as co-leads is perfection. The sylph-like grace and indelibly gamin charm of Maryam has won me over throughout her numerous lead and co-lead roles at Synetic. As a classically trained ballerina and choreographer, she brings delicacy, beauty, humor and pathos to the role of Hetty, a girl who evolves from frightened immigrant to dazzling movie star. Vato, as followers know, is a highly physical performer, whose mime skills and gymnastic athleticism are gasp-worthy. He is tailor-made for this challenging role that requires not only the unique skill of silent representation, but also the exaggerated expressiveness needed to convey comedy as readily as tragedy.
Echoing the duo’s transformation, Eric Teague’s costumes reflect the couple’s meteoric rise from rags to riches expressed by Chaplin’s later adoption of signature cane, black bowler hat and mustache! to Hetty’s 20’s era beaded gown laden with glittery crystals.
Chris Galindo, Philip Fletcher, Stella Bunch, Natan Mael-Gray, Nutsa Tediashvili, Vato Tsikurishvili as The Little Fellow, Joshua Cole Lucas (Photo/Katerina Kato)
All this is performed without words yet backgrounded by sound effects and music from the 1920’s and 30’s cleverly woven together by Sound Designer, Composer and Remix Artist, Koki Lortkipanidze. His selections contrast the spirited Jazz Age of glamorous flappers against the hardships of the Great Depression. Familiar tunes from Duke Ellington and Ragtime pianist Scott Joplin are woven into the fabric of the piece as the young couple eventually find success in the movies with Charlie directing and Hetty as the pretty ingenue. Synetic favorite, Philip Fletcher, plays The Producer who discovers Chaplin and gives him his first acting job in a Keystone Kops episode, a role that truly launched his career and his first paycheck.
Joshua Cole Lucas, Chris Galindo, Vato Tsikurishvili as the Little Fellow (Photo/Katerina Kato)
Synetic co-founder, Paata Tsikurishvili, in a dramatic return to the stage after a devastating car accident several years before, plays The Immigrant, Chaplin’s inspirational mentor and fantasy guiding light who weaves in and out of his life.
Supported by eight other performers, scenes bounce between tragedy and hilarity with the brilliance of the physicality and emotional expertise that these classically trained dancer/performer mimes are famous for. If you’ve never experienced the magic that is Synetic, this premiere will blow your mind. Conversely, if you are as endeared to their multi-Helen Hayes Award-winning productions as we faithful audiences are, you will cheer wildly at this creative telling of the immigrant story in a relevant and timely reminder of the struggles faced by those fleeing oppression only to land in an uncertain world of danger, poverty and homelessness with the elusive promise of success.
Highly recommended! An absolute must-see!
Vato Tsikurishvili as the Little Fellow, Joshua Cole Lucas, Stella Bunch, Natan Mael-Gray, Nutsa Tediashvili, Philip Fletcher, Lev Belolipetski, Chris Galindo (Photo/Katerina Kato)
With a phenomenal ensemble of Natan Maël-Gray, Lev Belolipetski, Nutsa Tediashvili, Joshua Cole Lucas, Chris Galinda, Camille Pivetta, Rodin Alcerro and Kaitlyn Shifflett.
Co-Directed by Paata and Irina Tsikurishvili; Choreographed by Irina Tsikurishvili; Lighting Design by Brian S. Allard; Assistant Costume Design by Channing Tucker; Scenic Artist Tim Grant; Assistant Director and Co-Sound Design by Iko Kavsadze; Additional Music by Aaron Kan.
Through March 23rd at Thomas Jefferson Community Theatre, 125 South Old Glebe Road, Arlington, VA 22204. For tickets and information visit www.SyneticTheater.org.
The Immigrant will move to Theatre J where it will run between April 11th – April 27th. Theatre J is located at 1529 Sixteenth Street, NW, Washington, DC 20036. For tickets and information for Theatre J contact the box office at 202 777-3210 or visit www.EDCJCC.org.
A Riveting “Job” Reveals the Dangers of Our Digital Age at Signature Theatre
JOB Signature Theatre Jordan Wright February 7, 2025 Special to The Zebra
Eric Hissom (Loyd) and Jordan Slattery (Jane) in JOB at Signature Theatre. Photo by Christopher Mueller
At first glance Jane (Jordan Slattery) presents as a young woman in the throes of a nervous breakdown. When this hyper-intense psychological thriller opens, she is aiming a revolver at Loyd (Eric Hissom), a therapist whom her tech company has mandated she see before being approved to return to work. “I’m not afraid of you,” he tells her. “Maybe you should be,” she replies. Jane is bright, articulate, sensitive, and coming off a failed romance. Suddenly, she turns the gun on herself.
Loyd eventually settles her down in his cozy San Francisco office. Ultimately, Loyd convinces Jane to reveal her innermost feelings. As she begins to open up to him, she pulls out her cell phone and shows him a viral video taken by a co-worker filmed in the heat of her workplace freakout. During their session we learn her family is well educated – her father an artist, her mother a professor who both ignore her. “In the real world nobody has time for me,” she tells him. She seems dissociative and out of control. This is no ordinary freak out. Jane’s facial features contort each time she loses her grip on reality. As she spirals downward the lights on the set, and in the theater itself, flicker, crackle and fail before coming back on to reveal a fresh scenario.
Jordan Slattery (Jane) Photo by Christopher Mueller
Jane has a dystopian view of the world. She frowns on capitalism and believes the rich make all the rules. But as their convo progresses, you’ll wonder if it isn’t Gen Z who are setting the rules. And though Jane claims a lot of her personal satisfaction comes from social media, she admits it causes her paranoia.
In this two-hander the dialogue is micro-focused on each characters’ fears. Loyd’s, that she will kill him, and Jane’s, that she will. We learn this because Jane probes Loyd with personal questions about his family life. When Loyd learns her job as a social media content monitor flagging videos that reveal the depths of the world’s depravity, her psychosis begins to come into focus.
Eric Hissom (Loyd) and Jordan Slattery (Jane) Photo by Christopher Mueller
What’s so fascinating about playwright Max Wolf Friedlich’s taut thriller is how cleverly it addresses the generational differences between Loyd and Jane. She, consumed by the internet in work and social interactions and Loyd living a private internet life. Just when you think you’ve figured out where this edge-of-your-seat story is headed, it literally flips the script. As the playbill describes it, “Job explores who is online, how much screentime is too much, what is real versus perception, the psychological damage of it – and who or what benefits from the exposure.” That’s a question we all need to ask ourselves. Hissom’s and Slattery’s sharp portrayals, give this intense new work the heft it needs to be totally convincing.
As a fan of true crime in all its peculiarities, I found the twists and turns riveting. Brilliantly directed by Matthew Gardiner, it is not for the fainthearted, but it is unforgettable and important. As playwright Friedlich posits, “What is the human cost of our internet?”
Recommended for its revelations into the psychological effects of our digital age in an ever-shifting landscape.
Eric Hissom (Loyd) Photo by Christopher Mueller
Scenic Design by Luciana Stecconi, Costume Design by Alexa Cassandra Duimstra, Lighting Design by Colin K. Bills, Sound Design by Kenny Neal.
JOB runs through March 16th at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
