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.
Hysteria and High Jinks in Sondheim’s A Funny Thing Happened on the Way to the Forum at Signature Theatre
A Funny Thing Happened on the Way to the Forum Signature Theatre Jordan Wright November 10, 2024
Special to The Zebra
The cast of A Funny Thing Happened on the Way to the Forum at Signature Theatre (Photo/Christopher Mueller)
Not just funny, but side-splittingly funny – plus zany, goofy, clever, punny, sideways, witty, gummed up, nutso and nonsensical. And that’s just the plot. Is there a plot? Well, yes there is. It’s there to support the jokes and innuendos, swordfights and belly dancers. Did you say belly dancers? In Greece? Sure, toss that in too. Not everything aligns with Hellenic culture, but if it whacked the funny bone, co-authors LarryGelbart and Burt Shevelove gleefully found a spot for it.
And it goes like this. Young Hero (Zachary Keller) falls in love with a pretty girl, Philia (Kuhoo Verma) who is holed up in a house of prostitution awaiting the arrival of Miles Gloriosus (Cameron Loyal), a dashing, well-muscled, vainglorius Captain who has purchased the comely virgin. Hero’s wily slave Pseudolus (Erin Weaver) makes him a deal. In exchange for his freedom, he will deliver the girl to him. Together they buck his father Senex’s (Christopher Bloch) and mother Domina’s (Tracy Lynn Olivera) control to fight off con artists and soldiers, navigate the wiles of glamorous courtesans, rescue the girl (not a virgin, but at this point who cares?) and live happily ever after. But first they must seize her from the clutches of Lycus (Lawrence Redmond), the town’s brothel owner in whose house the girl is being kept.
Guises and disguises, foolishness and fools, gladiators and pirates all conspire to muck up their plan. Gray-bearded Erronius (Sherri L. Edelen), in search of his long-lost children, arrives onstage in well-timed increments geared to punctuate the absurdity of it all. At this point you’re either rolling in the aisles or falling out of your seat. Quietly pick yourself up. No one will notice because they have also doubled over and are scraping themselves off the floor.
Cameron Loyal (Miles Gloriosus) and Erin Weaver (Pseudolus) center with Kaylee Olson, Nolan Montgomery, Emily Steinhardt, Ryan Sellers and Harrison Smith (Photo/Christopher Mueller)
I was massively impressed by the experienced cast – most especially Weaver, whom I’m sure you all know if you’re up on the local theater scene, ditto for Redmond, Bloch, Olivera, Edelen who also plays the courtesan Vibrata, Ryan Sellers, Hank Von Kolnitz, Harrison Smith, Dylan Arredondo and Mike Millan – all Signature alums. The result is an action-packed, har-dee-har-har fest and the perfect panacea for our times.
What I wasn’t expecting was the vocal + performing talents of Loyal, a New York-based actor whose amazing voice coupled with his comic timing was absolutely fantastic; Keller, whose voice and adorableness put me in mind of Ben Platt in Dear Evan Hansen; and Verma, whose portrayal of Hero’s ditsy love interest blending high comedy with girlish innocence was absolute perfection.
A Funny Thing Happened on the Way to the Forum was Stephen Sondheim’s first composer + lyricist writing credit. At thirty-two years old, he had already had two huge B’way hits as the lyricist on West Side Story and Gypsy. I don’t need to tell you, dear theatregoer, of the mountains of awards and success that followed. Signature’s close relationship with Sondheim’s works makes them singularly poised to return this beloved classic to the stage.
Here a 15-piece orchestra sets the mood with a classic and sweeping Broadway overture. The well-known tune “Comedy Tonight” opens the first scene, showing us that the Greeks could do a chorus line and jazz hands as well as anyone. And although there are 14 more numbers to follow, I’m waiting for “Everybody Ought to Have a Maid”, a catchy first act number.
High praise to Director and Choreographer Matthew Gardiner and his production team. I’m singling out Jimmy Stubbs’ Palladian set design – Grecian columns and all – and Erik Teague’s costume design). With Music Direction by Jon Kalbfleisch; Lighting Design by Jason Lyons; Wig Design by Anne Nesmith; Fight Choreographer Casey Kaleba; and Intimacy Consultant & Choreographer Chelsea Pace.
Additional cast: Kaylee Olson as Tintinabula; Emily Steinhardt as Panacea; Nolan Montgomery as Gymnasia.
Highly recommended. Hilarity and high jinks at their finest!!!
Through January 12th at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA 22206. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org.
2024 Pulitzer Prize Winning Play Primary Trust Triumphs at Signature Theatre
Primary Trust Signature Theatre Jordan Wright September 21, 2024 Special to The Zebra
Julius Thomas III (Kenneth), Frank Britton (Bert) and Craig Wallace (Clay) in Primary Trust at Signature Theatre. (Photo/DJ Corey Photography)
“This is the story of a friendship,” explains Kenneth in the opening line of Primary Trust. He’s speaking directly to us, the audience, eager to recount his personal journey. He’s awkward, shy, anxious, struggling to get the words out. We soon meet his friend, Bert. Everyone should have a life coach like Bert. He comforts Kenneth, encouraging him, advising him and guiding him to make the right choices, to say the right things. Bert is Kenneth’s drinking buddy at Wally’s, a small-town Hawaiian-themed tiki hut outside of Rochester, New York where they chug Mai Tais at Happy Hour. Just a couple of bros bonding, until we discover that no one sees Bert except Kenneth. Bert is Kenneth’s imaginary friend. “I don’t want a real friend,” he tells Bert. The servers play along.
Julius Thomas III (Kenneth) (Photo/DJ Corey Photography)
We soon learn that Kenneth was an orphan shuffled from foster home to foster home where his only friend was his case worker Bert whom he admired, fashioning imaginary friend Bert’s persona after the social worker’s compassion. The death of Kenneth’s mother when he was a child appears to have caused a psychotic break that has followed him into adulthood when he finds a soft landing in a small bookstore with owner, Sam, who indulges his quirks. When Sam decides to retire, Kenneth, who has worked there for two decades, must find a job outside his comfort zone. A random convo with Carrina, a sweet waitress at Wally’s, reveals an opening at the local bank where Bert’s advice during the interview helps him land the job.
Bank manager, Clay, takes a liking to Kenneth, and despite Kenneth’s chats with the invisible Bert and the occasional freakout with difficult customers, he keeps him on. Kenneth’s surprising propensity for selling banking services to new clients, soon propels him to top salesman.
Julius Thomas III (Kenneth) and Yesenia Iglesias (Corrina) (Photo/DJ Corey Photography)
Throughout his journey, our compassion and fascination with this tortured man grows deeper. He is as unlikely a hero as one could imagine and yet his beautiful soul resonates despite his struggles. Kenneth speaks to everyone’s life’s choices for better or for worse. When a random meeting with Carinna turns into a drink at a fancy restaurant, he reveals his life’s story, and we learn how his young life took a one-eighty.
This tender and beautifully acted play walks a delicate balance as precarious as a tightrope. We fear for Kenneth’s future as fiercely as we seek to defend his choices. His frailty and hopefulness are an irresistible dichotomy. Pulitzer Prize-winning playwright, Eboni Booth, has written a classic filled with dark humor and pathos. Primary Trust shows us who we are – flaws and all – with a message that finds us rooting for Kenneth to find his place in the world. He does and we do when we empathize with our fellow humans.
A touching and exquisitely mounted triumph that will stand the test of time. Highly recommended!
Julius Thomas III (Kenneth) and Frank Britton (Bert) (Photo/DJ Corey Photography)
Starring Julius Thomas III as Kenneth; Frank Britton as Bert; Craig Wallace as Sam/Clay & Others; and Yesenia Iglesias as Corrina & Others.
Directed by Taylor Reynolds; Scenic Design by Misha Kachman; Costume Design by Danielle Preston; Lighting Design by Venus Gulbranson; Sound Design & Original Music by Frederick Kennedy; Casting by Jorge Acevedo; New York Casting by Geoff Josselson.
Through October 20th at Signature Theatre, 4200 Campbell Street, in Shirlington Village, Arlington, VA 22206. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org.
An All-Asian Cast in Signature Theatre’s SOFT POWER Brings Song and Dance to an American Story of Racism in America
Soft Power Signature Theatre
Jordan Wright August 19, 2024 Special to The Zebra
Grace Yoo (Hillary Clinton) and Daniel May (Xue Xing) in Soft Power at Signature Theatre. (Photo/Daniel Rader)
Written by Playwright and Lyricist David Hwang and Composer and Lyricist Jeanine Tesori, Soft Power is a musical reflecting the zeitgeist of the 2016 U.S. presidential election when Hillary Clinton was the expected winner running against Donald Trump. The musical didn’t premiere until Trump was in the White House and the nation wondered what the heck happened.
The story is played out in fantasy couched in political reality. In New York City Chinese American playwright DHH (Steven Eng) takes a meeting with a successful Chinese American theatre producer, Xūe Xíng (Daniel May). Xíng implores DHH to write a Broadway musical comparable to the King and I. DHH, aka David, begs off the absurd context of trying to compare the draconian politics of China with the democratic ideals of the U.S. They banter about the two countries philosophies – Chinese are dutiful and don’t need democracy claims Xíng. If this sounds confusing, it is, since the show was written before the outcome of the election then later rewritten. But you’ll soon get the hang of it.
Grace Yoo (Hillary Clinton, center) and the cast of Soft Power at Signature Theatre. (Photo/Daniel Rader)
Leaving the meeting, David is stabbed in the streets by two MAGA thugs, Bobby Bob (Jonny Lee, Jr. and other roles) and Randy Ray (Eymard Cabling and other roles). Bobby feels badly and tells David he will protect him from further racist attacks. And he does – up to a point.
While in hospital, David imagines a better scenario where Hillary Clinton (the amazing and hilarious, Grace Yoo) comes to him as a lover. Though framed in the politics of that fraught period, the show has its humorous moments as when Hillary gives a stump speech at McDonald’s while giant dancing burger and fries bracket her appearance in the song, “I’m With Her”. Later preppy Trumper Holden Caulfield (Nicholas Yenson in several roles) of Catcher in the Rye fame accosts Clinton and a stroller full of cats in rose-colored glasses explain the Electoral College voting system in the song, “Voting”.
Daniel May (Xue Xing) and Grace Yoo (Hillary Clinton) (Photo/DJ Corey Photography)
The salient focus is the racism against the Chinese as fostered by Trump’s allies and believers and David’s dreamlike fantasy to live in a better, safer world as he tries to process his conflicted feelings to return to China, the land of his ancestors.
For levity, there are a host of goofy characters on the Trump side of the issues, Trump’s Veep (Christopher Mueller in several roles) makes an appearance as a gun-toting country boy, but the main thrust is the struggle for Chinese Americans who fear for their security in this fraught new American culture under the fired-up Trumpers. Fourteen numbers backed by a 10-piece band, amplify the polarization of the country since the election and the difficult future faced by Chinese Americans.
Daniel May (Xue Xing), Chani Wereley and the cast of Soft Power (Photo/DJ Corey Photography)
With Andrew Cristi as Chief Justice and others; Ashley Nguyen as Jīng and others; Quynh-My Luu as Waiter and others; Chani Wereley as Betsy Ross and others; and Sumié Yotsukura as Flight Attendant and others.
Directed by Signature Theatre’s Artistic Director Ethan Heard, Choreographed by Billy Bustamante, Music Directed by Angie Benson, Music Supervised by Chris Fenwick, Scenic Design by Chika Shimizu, Costume Design by Helen Q. Huang, Lighting design by Oliver Wason, Sound Design by Eric Norris, Wig Design by Anne Nesmith, Orchestrations by Danny Troob.
Through September 15th at Signature Theatre, 4200 Campbell Street in Shirlington Village, Arlington, VA 22206. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org.
The Psychedelic Age of Aquarius Shines with “Hair” at Signature Theatre
Hair Signature Theatre Jordan Wright April 28, 2024 Special to The Zebra
Peace signs, African beads, bellbottoms, tie dyed t-shirts, dashikis and fringe jackets. Sound familiar? If not, you were born long after the Peace Movement and hippie culture radicalized the American landscape. Created organically as a result of Nixon and Reagan politics and the Vietnam war, and framed by marijuana, LSD and peyote, this movement defined the late 60’s and early 70’s spreading out from California (doesn’t everything?) through the heartland to the East Coast. Communal living and free love, before the age of AIDS, generated a free and open spirit that saw a multitude of campus protests, countrywide activism, the start of the new women’s movement and the ascension of Black Power.
Olivia Puckett (Sheila), Jordan Dobson (Claude), and Mason Reeves (Berger) (Photo/Christopher Mueller)
The world was changing, and it was not driven by political insiders, but by student activists, American youth and the mood of a country fed up with the graphic nightly broadcasting of the Vietnam war. This political shift was emblematic of the nation’s divisions. Three men caught this shift in the mood of the country. They were Gerome Ragni, James Rado and Galt Macdermot who collaborated on one of the first rock musicals ever written in the age of Aquarius and they called it Hair to reflect the polarization of the long-haired youth and the straight, predominantly White ruling culture. This radical experiment in musical theatre elevated the movement and gave it a beautiful and complex voice. I first saw it in the mid-60’s at Joseph Papp’s New York Shakespeare Festival Theatre on a small stage and it was magical – encapsulating everything the counter culture movement was trying to say and the political machine it was up against.
Director Matthew Gardiner has seized the vibe and faithfully respected its original purpose. As an interactive piece that often breaks the fourth wall, it allows the audience to share the emotions and passions of its characters – fifteen strong-minded youths with racially diverse middle-class backgrounds, living together – and not always getting by – but always getting high.
The cast of HAIR at Signature Theatre (Photo/Christopher Mueller)
Forty numbers give voice to the relevant interests of American youth – fear of 1-A draft status, fascination with the British Invasion “Manchester England”, sex, Aretha, Hendrix, festivals and love-ins, East Indian culture and flower power. It’s what’s happening, baby. Even if you didn’t live it, it’s resurgence echoes in the current Boho fashion style with macrame and peace signs. Wait! Where’s my mood ring? Even Margaret Mead makes an appearance to investigate the scene – for anthropological research, of course.
Backgrounded with video projections of the era, and a kick-ass 9-piece band conducted by Angie Benson, this production will catapult you to a moment in time that revolutionized music, art, politics and culture – a time when there were bad trips and good times. A time of activism, questionable wars and the malaise of youth happening yet again on college campuses today.
Ashleigh King’s hyper-energetic choreography focusses on Dance, Dance, Dance with this multi-talented, hyper-exuberant ensemble. You can sense the cast is loving the atmosphere Gardiner has created for them to explore. Coupled with Paige Hathaway’s set design incorporating iconography of the period, it is a brave, exuberant and immersive experience.
Highly recommended!
Jordan Dobson (Claude) (Photo/Christopher Mueller)
With Jordan Dobson as Claude; Amanda Lee as Dionne; Mason Reeves as Berger; Noah Israel as Woof; Solomon Parker III as Hud; Olivia Puckett as Sheila; Nora Palka as Jeanie; Caroline Graham as Crissy; Jamie Goodson as Suzannah/Mother; Keenan McCarter as Steve/Father; Nolan Montgomery as Jonathan/Margaret Mead; Greg Twomey as Paul/Hubert; Savannah Blackwell as Lorrie; Patrick Leonardo Casimir as Walter; and Alex De Bard as Emmaretta.
Lighting by Jason Lyons; Sound Design by Eric Norris; Video Design by Patrick W. Lord; Wig Design by Anne Nesmith; Fight Choreographer Casey Kaleba; Resident Intimacy Consultant and Choreographer Chelsea Pace.
Through July 7, 2024 at Signature Theatre, 4200 Campbell Avenue, in Shirlington Village, Arlington, VA 22206. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org.
