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Jordan Wright
June 9, 2015
Special to The Alexandria Times
“Epic Bromance Upends Noted Family” might be the modern-day header for the tale of Tartuffe and Orgon, the paterfamilias of a 17th century, bourgeois family. Or it might read, “Priest and His Slimy Sidekicks Fake Poverty to Con Pernelle Clan – Maid Claims Teen Daughter Was Used as Barter”. I can’t resist one more. “Phony Preacher Tricks Prominent Businessman Who Nearly Loses His Entire Estate”.
 Suzanne Warmanen (Dorine), Lenne Klingaman (Mariane), Sofia Jean Gomez (Elmire), Gregory Linington (Cleante,) and ensemble members Stephanie Schmalzle, and Maria Leigh. Photo by Scott Suchman. In Molière’s timeless story of piety and politics the con artist, Tartuffe (aka “The Hypocrite”), brings down one of the town’s most prominent families with his fire and brimstone brand of religious fervor. As slick as a whistle, the devious flimflammer insinuates himself into the home and gullible heart of Orgon (Luverne Seifert), despite protestations from his household who see right through the hustle. “He has made me a new man without friendships or emotion,” Orgon boasts to his family, dismissing their pleadings and offering up his betrothed daughter, Mariane (Lenne Klingaman) as sacrificial lamb.
In the second year of the Shakespeare Theatre Company’s Comedie Française repertory series, Director Dominique Serrand has brought us a supremely elegant production of the play, one that is guaranteed to make your hair curl and your funny bone twitch. Serrano is also the Co-Scenic Designer with Tom Buderwitz, and the two have created a divinely muted set for the comic drama using as inspiration the symmetrical Palladian architecture of Paris’s Hôtel des Invalides, and the exterior design of the Église Saint-Gervais to evoke an aura of piety.
Lighting Director Marcus Dilliard uses the one-day timeline of the play by moving the lighting across the stage from east to west, coloring the set with the pale, cool light of day with rays of light pouring in through tall windows, and culminating in the honeyed amber tones of sunset. It is very effective and lends a compelling air of urgency to the family’s dire circumstances.
 Sofia Jean Gomez (Elmire) and Steven Epp (Tartuffe). Photo by Scott Suchman. Steven Epp plays the convincingly, deceitful Tartuffe. With his tight-as-a-drum body and spare priestly garments, he looks like an Anderson Cooper version of a Calvin Klein model recently sprung from a torture chamber. Epp’s riveting portrayal of the holier-than-thou, priest-without-a-conscience is enhanced by his ability to quickly morph from insinuating charmer, who proves his devotion through self-flagellations and submissive prostrations, to backstabbing villain. Seifert, as the duped husband and father Orgon, in thrall to the machinations of Tartuffe, gives a commanding performance infused with bluster and swagger.
 Luverne Seifert (Orgon) and Sofia Jean Gomez (Elmire). Photo by Scott Suchman. But amidst all the guile and terror inflicted on the family by Tartuffe, let us not forget what a card and social commentator Molière is. The circumstances he devises are as dark as the comedy is light – – and Suzanne Warmanen as Dorine, the wise and sassy servant, renders it brilliantly. When accused of defaming God by using a handkerchief as a bookmark between the pages of Elmire’s bible, Dorine replies, “If a handkerchief can insult God, God needs more confidence!” Oh yes! She has his sanctimonious number straight out of heaven’s gate.
Elmire (Sofia Jean Gomez), the clever wife of Orgon, has her own way of handling the impostor. In one sexually charged scene designed to prove to her husband that Tartuffe is nothing more than a fraud, she calculates an elaborate seduction to which Orgon is witness. Gomez is electrifying bringing both fire and ice to the character of Elmire.
Not to be ignored are Tartuffe’s henchmen led by Laurent (Nathan Keepers). The duo lends a deliciously evil air to the entire proceedings, lurking around corners and perching above the action, all the better to eavesdrop or threaten.
Sonya Berlovitz informs the costuming with a freshly, spare modernity by eliminating the distractions of heavily ornate brocades and embellishments and creating clothing that takes on meaning and symbolism, at the same time reflecting hilarity (as in Valere’s floral pajamas), solemnity (Orgon’s newly adopted priestly raiments and the plain, grey garments of Tartuffe) and social import (Elmire’s lavish blue gown and billowy red silk robe). The result lends more power to the story and drama to the players.
Highly recommended.
Through July 5th at the Shakespeare Theatre Company’s Sidney Harman Hall at 610 F Street, NW, Washington, DC 20004. For tickets and information contact the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
Jordan Wright
June 8, 2015
Special to The Alexandria Times
 Alexandria Guyker (Jo) & Daniel Doeuk – Photos by Matt Liptak It took more than fluff and fizz to create an icon like Mae West. An iconoclast in the art of sex appeal (even the term was taboo when she started performing on the vaudeville circuit in 1911), West was the naughtiest of the naughty girls, a role she cherished and perfected throughout her lengthy career.
Jennifer Lyman directs Claudia Shear’s Tony-nominated story about an impressionable young fan, Charlie (Daniel J. Calderon), who becomes deeply affected by his meetings with the seductive actress. She teases and woos him and they develop an ongoing, though unconsummated, affinity for each other. As an adult he meets and is attracted to, Jo (Alexandra Guyker), another adoring Mae West fan, but his obsession with the movie star affects his ability to have more than a superficial relationship.
 Alexandria Guyker (Jo) – Photos by Matt Liptak Janette Moman plays the voluptuous siren, breathing new life into the legend that drove Hollywood’s glamour machine for decades. Moman’s voice and movements mimic the star’s singular appeal, and her ability to portray her vulnerability, as well as her sexuality, contributes to a convincing performance.
 Janette Moman (Mae West) & Chris Gillespie – Photos by Matt Liptak Two consummate actors, Chris Gillespie and Daniel Doeuk, play all the other males that weave in and out of Mae’s life – – her husband, Frank Wallace, co-stars, assorted agents, beaus, dance partners and a judge and court clerk. Set primarily in New York and Los Angeles from 1911 to 1984, the show features seven of West’s greatest musical numbers including “I’m No Angel”, “Oh My, How We Posé”, “A Guy What Takes His Time” from She Done Him Wrong, and “Dirty Blonde” from her Vegas act in the late 1990’s.
West broke every convention of the day with her racy behavior and scandalous stunts, and the show is as informative of her history as it is entertaining, often weaving her famous quotes into the dialogue. “Are you shakin’ my hand or takin’ my pulse,” she asks a potential backer. Later we learn she borrowed femininity advice from her fellow performers, a close-knit group of drag queens. She also appropriated the “Shimmy She Wobble” from Black acts of the day.
 Daniel J. Calderon (Charlie) – Photos by Matt Liptak Mae’s story runs alongside the tale of Charlie and Jo, their tender friendship and mutual admiration of Mae, and his inability to free himself of his fixation with Mae long enough to let real love into his life. “She never really let herself learn to love anyone but herself,” Charlie tells Jo. Calderon captures Charlie’s transformation from awkward youth to awkward adulthood, and Guyker proves to be the perfectly cast matchup. Complex emotional themes weave in and out of the jokes and the cast rises to the challenge. Plus the production has a lot to recommend.
Costumes by Beverley Benda, Wardrobe by Jean Coyle, and fabulous hair and wigs by Rebecca Harris capture the decades of glamorous gowns, platinum blonde bouffant styles, and mountains of feathered accessories. David Dender on piano and David Burrelli on bass bring the story and songs to life.
As far as the staging goes, I found it distracting to watch props handed off to the actors as they delivered their lines, and furnishings being shuffled on and off stage by clearly, visible stagehands. Something you might expect in a black box production, but here, unnecessary.
Through June 27th at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com
Jordan Wright
June 7, 2015
Special to The Alexandria Times
 Dan & Jeff – Photos courtesy of Potted Potter Harry Potter fans went wild last night at Potted Potter – The Unauthorized Harry Experience – A Parody by Dan and Jeff. Daniel Clarkson and Jefferson Turner, the two writers slash performers in the show, raced through seven Potter books in 75 minutes proving that sidelines and details hardly matter when action is what kids crave. All in all they roasted, toasted and pilloried dozens of characters out of the 300 in J. K. Rowling’s World of Harry Potter to the roars of kids and grownups captivated by the series and its subsequent films.
The production is all very bare bones with stuffed animals subbing for dragons including a plush snake, pressed into service to act as Professor Snape, Master of Potions. As Dan likes to remind the audience, “There is no CGI in this show.” And no animatronics either.
There is even less in the way of scenery. A fake coffin, a wardrobe and a tropical travel poster compose the set that frames this duo of comic madmen. A brief appearance by two stuffed animals on a skateboard and a wooden choo-choo train that takes the place of the Kings Cross Station underground train of the Hogwart’s Express, are a few of the makeshift props.
 Dumbledore – Photos courtesy of Potted Potte Wigs and sorcerers’ hats telegraph the rapid morphing of characters as Dan and Jeff attempt to cover all the critical action from Voldemort and Rubeus Hagrid to Dumbledore and Mad-Eye Moody. Potter pals, Ron Weasley, appears in an orange afro wig and is referred to as the “Ginger Ninja”; and Hermione, depicted by Dan in Teutonic-inspired blond braids, are mere bit players in this madcap spoof.
Jeff appears to be the more reasonable of the two, often asking the attention-challenged Dan to beef up the plot’s interpretations with more sophisticated dramatic effects – – to which Dan replies, “I think we can all agree. The victim is the theatre.” An inside joke that escapes the young audience, as do references to Putin, Miley Cyrus, Georgetown Cupcake and Washington politics, which the adults gleefully relish.
 Two fluffy Warthogs – Photos courtesy of Potted Potter As you can well imagine, props are central to ascertaining the various characters and Dan and Jeff switch them out with increasing mayhem while dashing behind the wardrobe and psyching up the crowd with hopes of playing quidditch. The broomstick game, well known to fans, eventually comes to pass, albeit without brooms, along with an audience participation game of catch the Golden Snitch, endearingly enacted by two child volunteers who are over the moon to have parts in the show.
More silly and outlandish portrayals and spoofs are cleverly employed as the players zip through all seven books, from Harry Potter and the Philosopher’s Stone to Harry Potter and the Deathly Hallows.
British Director Richard Hurst keeps the action in high gear as does Composer Phil Innes, who lends a touch of impending doom to the dramatic bits.
Recommended for all ages that value absurdity and ridiculousness.
Through June 21st at the Shakespeare Theatre Company’s Lansburgh Theatre 450 7th Street NW, Washington, DC 20004. For tickets and information contact the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
Jordan Wright
June 2, 2015
Sushi School; Dine-N-Dash in Penn Quarter; Fabulous Animals Art Exhibition at iCi Bistro; Kaz Okuchi, Bonny Wolf and Yoko Isassi at the National Museum of American History
Back to Class with the Master
It’s been two years since I sat down with Tokyo-born Daisuke Utagawa, owner of Daikaya and Partner and Creative Director of Sushiko. Our last dinner was a lesson in izakaya a style of Japanese cooking that I wrote about then and that you’ll find at Daikaya.
 Daisuke Utagawa at Sushiko While we dined on many unique dishes there Daisuke spoke of the dozens of specifically descriptive Japanese phrases pertaining to the taste and mouth feel of every dish.
For my second lesson we met up at Sushiko, the posh and stylishly subdued Chevy Chase restaurant where Indonesian sushi chefs Piter Tjan and his brother Handry Tjan were ready to dazzle with the freshest fish to be found without my using a spear and scuba gear.
 Piter (left) and Handry Tjan of Sushiko Sushi and the long-tapered temaki afford an even more intense experience, as the seafood is raw. It is crucial, nay imperative, that the fish and crustaceans are of the highest quality and that the chef is highly trained in the ancient art of preparing and serving it. Though Daisuke trains new chefs from time to time, it is years before they are permitted to cut the fish. Usually they are relegated to making the vinegared rice and pickled vegetables, two decidedly different techniques that also must be perfected. “Rice grains should be independent,” Daisuke insists, impressing upon me the meticulous care in which it must be prepared.
Offering omakase, a nine-course chef’s tasting menu, is a new concept for this restaurant. One Daisuke hopes will catch on – – and for good reason. It is the optimal adventure in Japanese sushi dining and defers to the expertise of the sushi master who seeks out only the finest seafood available within each season. “Every fish has a different window of freshness,” my sushi sensei reveals. “Big bluefin tuna has a window of seven to ten days after it is caught before it is ready to serve.”
 Cured Flounder Three Ways Our tasting begins with kombu jime hirame, a beautifully cured flounder prepared three ways in aspic and using kombu, a spongy, kelp cultivated on ropes in the seas of Japan and Korea. The smoky fish is dressed with dashi gelée and adorned with shiso, a type of mint, and myoga, Japanese ginger. It is followed by a very delicate and creamy dish shiro ebi tartare with white sturgeon caviar, bonito flakes and shimmering gold (yes, real gold!) flakes. The servings are small, tantalizing, and easily eaten in one or two bites. A smoked Hama oyster quickly appears with ponzu gelée. “ As long as the food has your attention your palate is always being challenged,” Daisuke gently advises.
 Poached Monkfish Liver Up next is unagi sunomono, grilled freshwater eel salad with wakame (a woodsy tasting seaweed). It is tart and refreshing and leads us on to ankimo saba, poached monkfish liver dotted with tomato seeds, cured mackerel and a shower of black truffle shavings.
 Sea Bream with its roe in dashi broth For me, uni is the very essence of umami. Tonight its briny luxuriousness comes from Hokkaido and is prepared tempura style – lightly battered and fried and wrapped in seaweed, oozing with creaminess in a warm crackly crust and seasoned with green tea salt. Hard on its heels is madai suimono, sea bream with its roe, enoki mushrooms, myoga in dashi broth.
The restaurant can do omakase for four people every two hours. It is a pleasantly intense and focused experience with the sushi master in full view. Sake, Japanese beer, or as Daisuke would have it, wines from the Burgundy region of France, are the perfect complement.
 Bird’s Nest More uni arrives. This dish is called “bird’s nest” and it is paired with squid, fried leeks, a marinated, velvety egg yolk from jidori hens, and umeboshi, a salty, tart, fermented plum.
Then we digress for a thin slice of seriously marbled Miyazaki wagyu beef prepared by ourselves by laying it flat atop a hot stone for seconds per side. Pop in the mouth and it’s memorable.
 Nigiri board A glamorous plate of nigiri is proffered. Six single bites of scallop, golden eye snapper, masu (aka “cherry” salmon), spot prawn, flounder with uni (you cannot have too much of a good thing) and chopped toro, the fatty part of the blue fin tuna, wonderfully marbled, not oily, and looking like a precious jewel.
After travels with fish, we have come to dessert and it is a surprising bit of Francophilic decadence – – foie gras ice cream with huckleberry jam. We linger over a spot of tea while Daisuke shows me IPhone photos of his latest interest – – “snow cabbage” aka etto a cabbage that looks like any other yet it is buried in waist-deep snow and harvested in the middle of winter. The taste, he assures me, is delicious. He is utterly enamored by this highly prized, rare and very expensive vegetable. Another lesson. Another night of secrets from the master.
José Andrés Dine-N-Dash Event Slated for June 9th
A culinary tour of Penn Quarter restaurants and food trucks beckons the adventurous diners in this super cool World Central Kitchen fundraiser. Drawing on his mission to feed the world and train chefs in Haiti, the Dominican Republic, and now Zambia, Andrés has designed the perfect evening for the socially conscious to drink, dine and have fun at 17 participating DC restaurants in one fabulous evening and with all proceeds benefitting World Central Kitchen. It truly describes our core philosophy of nibbles and sips.
A press preview at three of the participating restaurants gave us a tempting taste of what’s to come.
 Dine-N-Dash at Jaleo At Jaleo we sampled little bites of endive with orange bits, almonds and goat cheese, and a lavish paella. China Chilcano, Andrés’s new and exceptional Peruvian-Asian influenced restaurant, had more yummy tastes and delicious cocktails, finally ending our 7th Street jaunt at Oyamel.
 Dine-N-Dash at China Chilcano Here’s how it works. From 6 to 9pm an estimated 2,500 eventgoers will stroll through the city’s Penn Quarter district, enjoying specialty dishes, craft cocktails and live music at all participating restaurants including China Chilcano, Cuba Libre, Del Campo, Jaleo, OYA, Oyamel, Partisan, Ping Pong Dim Sum, Poste Brasserie, Proof, SEI, Zaytinya and more. Then from 9 to 11pm guests are invited to join Andrés at an after party at the Carnegie Library with desserts, live music and, you guessed it, more drinks.
 Nibbles for Dine-N-Dash from China Chilcano “I am so excited to be hosting the third annual Dine-N-Dash!” said Uber Chef José Andrés, “What’s better than enjoying the amazing Penn Quarter restaurants, all in one night, while helping the many around the world who need our support. This is one of our biggest fundraisers to support the work of World Central Kitchen, which finds solutions for hunger and poverty worldwide. I believe that food has the power to change the world, and I’m thrilled the people of DC continue to support this unbelievable event!”
 Dine-N-Dash at China Chilcano General Admission tickets are $129 and include food and drinks at all participating restaurants plus access to the after party with José Andrés. VIP tickets are $299 and include food and drinks at participating restaurants, including VIP-only areas and dishes, pedicab rides, and access to select VIP-only areas and premium desserts and cocktails at the after party.
Tickets are available through Living Social. For more information about the event, visit www.dinendash.info.
World Central Kitchen is an action-based, non-profit organization finding smart solutions to hunger and poverty. “Today WCK is hard at work in Haiti, Dominican Republic and Zambia, empowering the people to be part of the solution – with a focus on smart school kitchens, clean cook stoves, job training, and job creation.” Visit www.worldcentralkitchen.org to learn more.
French Artist Hervé Maury’s Animals Delight at iCi Urban Bistro
 At the Hervé Maury opening reception Fantasy animals ruled the roost at iCi Urban Bistro at the Sofitel Hotel and artist Hervé Maury was at the opening reception for the show that will run through June 14th. So dépêchez-vous if you want to catch this whimsical exhibit. More than 20 pieces are displayed throughout the restaurant and by evening’s end a few of these had been purchased.
 One of Hervé Maury’s Polar Bears Opening night proved to be one of the hippest gatherings in town. Guests were issued selfie sticks at the door to photo-record the experience and Pernod pastises were offered along with endless flutes of champagne and a dizzying array of delicacies.
 Food art at iCi Urban Bistro Maury, a cheerful, bespectacled artist with no actual pets of his own, is a self-taught artist who resides in Marseille. Nonetheless he has a sincere passion for polar bears, cats, dogs, fish and elephants that he renders in both adorable and comical poses. His paintings are reminiscent of the sun-washed colors of the French Mediterranean, reflecting a sense of tenderness and texture in his use of marble powder, sands and ochers. Most of the work is painted on linen, though he has sometimes incorporated recycled marine sails.
 Maury Butterflies at iCi Urban Bistro Featured in exhibits around the world, including the South of France, Paris, London, Barcelona, Rabat and Hong Kong, his “Polar Bear” series once adorned the windows of Hermés boutiques worldwide.
 Executive Chef Franck Loquet puts his artistic imprint on raw fish Inspired by Maury’s paintings, Executive Chef Franck Loquet has created his own epicurean artwork and offers several specially designed dishes throughout the length of the exhibition. “I love to create artistic dishes for our guests to enjoy, and Hervé Maury’s artwork was a great inspiration for me,” said Chef Loquet. The 3-course prix-fixe menu is available in iCi Urban Bistro for lunch and dinner from May 14th through June 14th for $45 per person.
Director of Sales and Marketing Alexandra Byrne says, “We are so excited to offer this unique exhibit this summer. We strive to offer guest experiences that enhance our Sofitel pillars: design, culture and gastronomy. This will bring all of those pillars together in one place to satisfy all five senses of our guests.”
For reservations call 202 730.8700 or visit www.iciurbanbistro.com.
Kaz Okochi and Bonny Wolf Star at America After Hours: Sushi for Sale
In the last of their “Food After Hours” series, the National Museum of American History invited three culinary icons to speak on sushi – – Kaz Okochi, award-winning Chef/Proprietor of KAZ Sushi Bistro and Chef/Partner with Richard Sandoval in Masa 14, and NPR Commentator Bonny Wolf of American Food Roots, whose riffs on American food are well known to fans of Weekend Edition Sunday and her Web-only weekly food column, Kitchen Window.
 The evening’s panel. Bonny Wolf (l), Kaz Okochi (center), Yoko Isassi (right) They were joined by FoodStory founder, Yoko Isassi in a conversation about the rise in popularity of sushi in America. Afterwards, guests were treated to an inspired Japanese buffet supper and classes in sushi making by Okochi, sake tastings by Christian Choi, San-J soy sauce samplings, Japanese snacks from Bourbon, and beer from Sapporo.
 Sushi rolling class Notes from the Notables
Quote of the day.
Japanese Prime Minister during his recent visit to the US. “America got sushi and we got House of Cards.”
On the invention of sushi.
Isassi. Fields flood in the rainy season and they get a lot of fish in the rice fields. That’s how sushi started – – the fish and the rice – – and then pickling with salt to preserve it.
On how early sushi was introduced to the US.
Isassi: The first sushi restaurant in the US was opened in San Francisco in the early 1800’s.
On the proper way to eat sushi.
Isassi: You can use your hands or chopsticks, but dip the fish side into the soy sauce.
On sustainability.
Okochi: I just change the subject.
On keeping the fish fresh.
Isassi: My grandmother packs sushi in magnolia leaves and keeps it for a few days.
On wasabi.
Isassi: Wasabi is more like an antibiotic and bamboo leaves kill the germs.
Okochi: The vinegar protects it from bacteria.
Arigato, everyone!
 At the Food After Hours Sushi night — Baby bok choy At the Food After Hours Sushi night Food After Hours programs will start up again in August. To learn more about these diverse offerings that feature food demonstrations and discussions on the nation’s food systems, visit www.AmericanHistory.si.edu.
All photo credit – Jordan Wright
Jordan Wright
May 22, 2015
Special to The Alexandria Times
 Alex Mills as Jerry and Vato Tsikurishvili as Dorian. Photo by Koko Lanham. An eclectic jumble of flea market collectibles informs Luciana Stecconi’s clever set for Jerry’s one-room flat, in what reads as New York’s East Village. Vintage Ronald Coleman movie posters adorn the walls and point to the inspiration for playwright Everett Quinton’s steroidal version of A Tale of Two Cities. Jerry (Alex Mills), stage name Betty May, is an aspiring drag queen. But don’t let that throw you off, we’re just scratching the surface. He’s also a literate, thoughtful kid whose artistic proclivities fall a tad outside the realm of everyday culture.
As he prepares to premiere his long-awaited drag debut he discovers a baby abandoned on his doorstep, “What in the gay hell?” he shrieks. Jerry is ill prepared to deal with a child, and especially not the oddly precocious Baby Dorian (Vato Tsikurishvili) who has adult sensibilities and puerile needs.
Somehow the two communicate, Jerry speaks to him as a peer, while Dorian makes hilariously expressive baby responses also readable to the audience. This crazy buy-in is the magical moment when both Jerry (and the audience) travel down the rabbit hole together in an absurdist fantasy anchored by a tender story of hope and determination. After all, Dorian, who has the head of a grownup with the body of a toddler, is just the beginning of your compact with the playwright.
 Alex Mills as Jerry. Photo by Koko Lanham. To keep his date at the theatre, Jerry strikes a deal with Dorian to nap while he goes out. But Dorian, oddly advanced far beyond his binky-sucking years, demands a bedtime story. After some negotiation – – The Three Bears and Little Red Riding Hood are nixed by Dorian as being too scary – – Jerry settles on “A Tale of Two Cities”, the telling of which requires him to assume each character’s role from Dickens’s classic story. Be sure to brush up on the story ahead of time. The Playbill affords no descriptions of the book’s characters, and it can get somewhat complicated if you’re trying to keep track of who’s who.
Through countless back-and-forth costume changes (wigs, hats and costumes worthy of a diva’s wardrobe), dozens of props are imaginatively employed – – an old school bell serves to sound the Bastille’s call to arms.
 Alex Mills as his character Jerry’s Drag persona, Betty-May. Photo by Koko Lanham Mills, who in a herculean effort to keep Dorian (and us!) amused, never leaves the set, keeping the dialogue and quick changes at warp speed. N. B. Madame LaFarge didn’t knit as fast as this!
In this ultra demanding topsy-turvy role, Mills gives us the performance of a lifetime. His various characters are sharply executed and his brisk segues, physicality, and change of accents are astounding. The words ‘bravery’ and ‘fabulous’ come to mind. Do not leave your seat until the denouément. I promise it will blow your mind. Of course, that’s exactly why we love Synetic!
Highly recommended.
Through June 21st at Synetic Theater, 1800 South Bell Street, Arlington in Crystal City. For tickets and information call 866 811-4111 or visit www.synetictheater.org.
Jordan Wright
May 20, 2015
Special to The Alexandria Times
 Wesley Taylor (Emcee), Rachel Schur, Jamie Eacker, Colleen Hayes, Maria Rizzo, Jessica Thorne in Cabaret at Signature Theatre. Photo by Margot Schulman. Willkommen into The MAX for Signature Theatre’s production of Cabaret and you’ll be transported to post World War I Berlin in Set Designer Misha Kachman’s replica of the Kit Kat Klub where half the audience is seated on bentwood chairs at café tables lit with silk shaded lamps and set with vintage telephones – – all the better to see the slinky chorus girls in their red and black lingerie and gender-bending men in leather and lederhosen. Close too, is a rotating stage rimmed in bare lightbulbs and backdropped by a Mylar curtain. Kachman adds reflective industrial metal panels along the theatre walls and a two-story catwalk with a winding staircase for the show-within-a-show. Off to one side two strapping bare-chested servers staff a wooden bar where patrons can belly up to German beer and Riesling at intermission.
As both Director and Choreographer, Matthew Gardiner doesn’t miss his cue when it comes to razzle-dazzle and flat-out sensationalism in this John Kander/Fred Ebb collaboration based on stories from Christopher Isherwood, that darling of Virginia Woolf’s Bloomsbury Group. There are high kicks and undulating spines, reminiscent of Bob Fosse, and plenty of titillating duets and risqué ménages. This may be the Kit Kat Klub, but there’s nothing kittenish about it.
 Wesley Taylor (Emcee) in Cabaret at Signature Theatre. Photo by Margot Schulman Wesley Taylor plays the Emcee, a role that calls for major attitude. His character is meant to be both alluring and dominating, and Taylor pulls it off with aplomb managing to affect a character of sadistic amorality and razor-sharp charm in an atmosphere so sexually charged a single match could set the whole theatre ablaze.
 Barrett Wilbert Weed (Sally) in Cabaret at Signature Theatre. Photo by Margot Schulman. Sally Bowles is played by the darling, doe-eyed Barrett Wilbert Weed – – a dizzyingly, captivating charmer with exquisite pipes that seems to have been recently sprung from F. Scott Fitzgerald’s imagination. Her Sally is softer than most, more vulnerable and madly in love with Cliff, a Midwestern English teacher who has chosen a rather inopportune place and time, during the rise of the Nazi regime, to write a novel. “I like this city,” he quips. “It’s both tacky and terrible.” Gregory Wooddell is masterful (and swoon-worthy) as Cliff – – managing to be both subtle and forceful in his interpretation of the lovesick innocent abroad.
 Rick Foucheux (Herr Schultz) and Naomi Jacobson (Fraulein Schneider) in Cabaret at Signature Theatre. Photo by Margot Schulman. But it’s grim times for the couple and their new friends, landlady Fraulein Schneider (Naomi Jacobson), Ernst the smuggler and Nazi sympathizer (Bobby Smith), Fraulein Kost, the prostitute (Maria Rizzo), and Herr Schultz (Rick Foucheux), the fruit seller. Jackboots and turncoats keep encroaching on their merry life. For Sally, it’s her last chance for a life outside the cruel reality of a seedy nightclub in a rapidly changing world. But she is afraid to take it. “One must keep mobile,” she gaily tells Cliff before launching into a goosebump-worthy version of the ballad “Maybe This Time”.
 Wesley Taylor (Emcee) and the Kit Kat Boys and Girls in Cabaret at Signature Theatre. Photo by Margot Schulman. Look for all your favorite numbers – – “The Money Song”, “Perfectly Marvelous”, “Cabaret” and “Willkommen” to thrill as expected, especially as backed by a fabulous 9-piece orchestra led by Conductor and Pianist, Jon Kalbfleisch. Costumes by award-winning designer, Frank Labovitz run the gamut from sexy lingerie, beaded flapper dresses and 1930’s hausfrau frocks, to the sinister uniforms of the Third Reich.
Through June 28th at Signature Theatre (Shirlington Village), 4200 Campbell Avenue, Arlington, VA 22206. For tickets and information call 703 820-9771 or visit www.signature-theatre.org.
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