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Jordan Wright
June 27th, 2011
Special to The Alexandria Times
 The cast and set of the Shakespeare Theatre Company’s production of The Merchant of Venice, directed by Ethan McSweeny. Photo by Scott Suchman. From the start the Shakespeare Theatre Company’s version of The Merchant of Venice crackles with electricity amid the hustle-bustle of a large commerce-driven metropolis. On a one-size-fits-all set, trisected by levels and diagonalized by a sweeping three-story staircase, booze-fueled revelers burst through a set of wooden doors in a crazed conga line as they whirl past the train station’s café and into the ether of billowing locomotive steam. The set seems lifted from the Main Concourse at Grand Central Station in New York City, and that’s a good thing because this version of Shakespeare’s familiar tragicomedy has been shapeshifted into The Jazz Age of the 1920’s and launched into the era of hot flappers and cool bathtub gin.
 Derek Smith as Antonio and Julia Coffey as Portia in the Shakespeare Theatre Company’s production of The Merchant of Venice, directed by Ethan McSweeny. Photo by Scott Suchman. In a sweeping reinterpretation of the characters by Director Ethan McSweeney, the beguiling Portia is depicted as a horseback riding, golf-playing heiress and The Prince of Arragon as a mincing, Pekinese-toting yachtsman. In this version of the classic tale, Antonio, the cocksure privateer, becomes a self-absorbed commodities trader and The Prince of Morocco, an aviating daredevil playboy. Try envisioning The Little Prince on Viagra.
On a more serious note, Evans’ Shylock shows a grim yet brilliant accuracy…an accuracy that can get you blackballed in the Jewish community. His portrayal of the vengeful moneylender, written as the quintessentially unflattering stereotype of an Orthodox Jew, one whose sense of justice outweighs his sense of mercy, is unflinching. The outcast, as it was written, is a despicable man worthy of inclusion in a Nazi propaganda film short. It’s no wonder Theodore Bikel turned the role down and Evans is thought to be the first Jew ever to accept it. But stop a moment to recognize its worth in the play, it’s no more and no less than a racist characterization and there are countless plays and ethnically-correct actors cast in these thorny roles daily.
Keeping to the new pattern, regional New York and British accents are cleverly tweaked to fit by dialogue coach Deena Burke, with Gratiano, Salerio and Solanio as Bowery Boys; the Duke of Venice as a dese-dem-and-dose mobster; Shylock as a Yiddish-accented Hassidim straight out of Williamsburg, Brooklyn; and Portia as an upper crust Brit on a charm mission. Reattach the untinkered-with script, et voila! a fresh new dynamic. Shakespeare meets F. Scott Fitzgerald on the Lower East Side of Venice.
 Tim Getman as Solanio and Andy Murray as Solario in the Shakespeare Theatre Company’s production of The Merchant of Venice, directed by Ethan McSweeny. Photo by Scott Suchman. Composer Stephen Cahill reinforces the aura with music from the 1920’s, using sultry horns, Charlestonian rhythms and golden standards while Lightning Director Marcus Doshi manages to bring an amber-tinted intimacy to the enormous set, while Jennifer Moeller’s does justice with movie star beaded satin dresses and chic riding attire that share the stage with gangster-style zoot suits, Orthodox Jewish robes and elegant white tie cutaways.
And lest you imagine the production to be tarted up by bold primary colors, knowest all who hearest the proclamation, that the set, designed by Andrew Lieberman, in understated shades of grey, beige and blue, doesn’t distract from the bard’s masterpiece of comedy and still-relevant social drama.
I took as my escort my 13-year old grandson whose knowledge of Shakespeare was A Midsummer’s Night Dream read in dreary black and white (dull compared to the Internet and the technicolor graphics of video games). He was not expecting, nor I, the modernist spin given to the play and sat up with eyes wide open enjoying every action-packed minute of it, most especially the dramatic arrivals of Portia’s suitors.
Bravura performances by Julia Coffey (Portia), Mark Nelson (Shylock), Derek Smith (Antonio), Drew Cortese (Bassanio) and Vaneik Echeverria (The Prince of Arragon). Look for Daniel Pierce to astound in the small role of Launcelot Gabbo.
This is a Merchant with packed with panache and sprinkled with roadsters, radios and champagne toasts.
Five stars.
Through July 24th at the Sidney Harmon Hall, 615 F Street, NW, Washington, DC. For tickets and information call 202 547-1122 or visit www.shakespearetheatre.org.
Jordan Wright
Special to The Washingtonian Magazine
May 4th 2011
A good sign that winter is over: the return of migratory birds. At Blackwater National Wildlife Refuge in Cambridge, Maryland, you can spot such spring harbingers as warblers, blue- and green-winged teals, and dunlins. The 25,000-acre Eastern Shore refuge is also home to pileated woodpeckers and one of the nation’s largest populations of bald eagles.
You can further explore the refuge’s flatland trails by bicycle, or kayak its tributaries. Blackwater Paddle & Pedal Adventures has rentals; for reservations, call 410-901-9255.
The nearby Hyatt Regency Chesapeake Bay Golf Resort, Spa and Marina boasts its own opportunities to see birds. The hotel’s private nature preserve, the Blue Heron Rookery, lies within its 400 acres. Weekend rates are $199 to $349 a night, suites $399 to $799.
Jordan Wright
Special to The Washingtonian Magazine
May 4th 2011
Amateur artists may be inspired to paint after a trip to the Inn at Bowman’s Hill (215-862-8090). The B&B in New Hope, Pennsylvania, is adjacent to a 134-acre wildflower preserve, reached via Washington Crossing Historic Park. In spring, you can follow nearly two dozen trails to see woodlands carpeted in thousands of Monet-hued bluebells. You’ll likely spot elusive red and white trillium along the paths as well as splashes of fiery flame azalea. Guided tours are available.
Location isn’t the inn’s only draw. Pop out of the cozy featherbeds, and, if you’d like, gather your own breakfast eggs from the inn’s chickens. The Bucks County inn is alongside the Delaware River, near the spot where George Washington crossed in 1776, and the area is rich with history, antiques shops, fine restaurants, art galleries, and more.
Weekend rates are $445 to $475 a night including a full breakfast; suites are $575 to $595. For information on the preserve, see bhwp.org.
June 7, 2011
By Jordan Wright
Special to The Washington Examiner
 Old Montreal and Old Port of Montreal. Photo Tourisme Montreal Bordered by the St. LaurentRiver, Montreal is a French-speaking food- and culture-obsessed city, with a progressive, hip vibe. It boasts more than 90 festivals to choose from each year and is only about an hour and a half flight from Ronald Reagan Washington National Airport on Air Canada.
Chill Out at Le St-Martin HotelParticulier Downtown, a charmerof a boutique hotel in the downtownarea. It’s great for shopping andnightlife and a short hop to the historicsection of Old Montreal. Info:980 De Maisonneuve Blvd. Ouest.514-843-3000. lestmartinmontreal.com
Get your groove on at the Montreal Jazz Fest from June 25 until July 4 with hot headliners Abby Lincoln, Robert Plant, Diana Kralland more playing at venues around the city. Other ticketed shows like bossa nova faves Marinda + Solari perform on the Bateau Mouche,where you can enjoy dinner and anighttime cruise at the same time. Or catch the throwback group Return to the Future, starring Chick Corea, Jean Luc Ponty and Stanley Clarke as they revisit the classics. Info: montrealjazzfest.com.
In the Old City, stroll through the open-air art gallery featuring more than 100 exhibitors, 40 street performers and multimedia at the Festival International Montreal en Arts on Sainte-Catherine Street. Info: June 29 to July 3. festivaldesarts.org
The International Fireworks Competition dazzles on Saturdays and a few Wednesdays from June 25 to July 30. The spectacular “pyromusical” displays are hosted by eight countries, with a Beatles tribute on the final day. Held at La Ronde, a Six Flags amusement park, on the Ile Sainte Helene. Info: For tickets and park information, visit laronde.com.
Cirque du Soleil, whose headquarters are in Montreal, presents Totem, a new show about the evolutionary progress of mankind, from June 16 to July 31 under the Grand Chapiteau at the Old Port. Info: For tickets visit cirquedusoleil.com.
 Festival International de Jazz de Montreal Chow down at Schwartz’s Deli.Fans line up for this Montreal institution’s daily-smoked meat sandwiches and steaks. Order a brisket sandwich with a side of half-sour pickles and fries downed with a Cott’s Black Cherry soda.Info: 3895 Saint-Laurent Blvd.
The chic, sleek Restaurant Europea,voted 2010’s restaurant of the year by the Guide Debeur, is helmed by acclaimed chef Jerome Ferrer, who sources Quebecois products for his elegant cuisine. Choose the chef’s tasting menu starting with creamy lobster cappucino and followed by nine more inventive courses. Info: 1227 de la Montaigne. 514-398-9229.
Visit the Marche Jean-Talon food market and you’ll find an astounding array of meat, local cheeses, chocolates, breads, luscious pastries and fresh produce purveyors as well as nine cafes to relax in. Titillate your senses at Olives & Epices with the finest herbs, spices and olive oils. Across the square the casual Soupe Soup offers dozens of delicious rustic-style soups daily. Info: 7020 Rue Casgrain.
Verses Restaurant showcases French contemporary cuisine at the Hotel Nelligan in the Old Quarter. Stand outs include the Smoked Bison Tartare with red berry syrup, Porc Nagano with De Puy lentils, potato gnocchi and truffle carpaccio. Get your sweet fix with the lovely Vacherin, a meringue made with dried flowers and filled with tea-infused citrusy sorbets. Finish with cocktails on the rooftop bar overlooking the Old Port and Notre Dame Basilica. Info: 100 Saint-PaulSt. West. 514-788-4000.
Jordan Wright
Special to The Alexandria Times
June 9th, 2011
 James Raby (Philip Markham), Suzanne Behsudi (Miss Wilkinson), and Charles Boyington (Henry Lodge). Photo Credit Shane Canfield If you want to know how a little white lie can turn into full-blown sex-charged mayhem just ask the well-meaning Mrs. Markham. She’s the full-time referee in this flat-out crazy British farce. You might inquire of her children’s book publisher husband, Philip Markham, who is so squeamishly prim he has to spell out the word S-E-X, or their flashy playboy decorator, Alistair Spenlow, whose sexuality is in question, until cleared up to everyone’s satisfaction up by the remark, “He’s not gay. He plays golf!” Of course the audience has already seen him lusting after Sylvie, the Swedish sexpot housekeeper, who has her own liberated ideas of flirtation. “I do the goose quite well!” she attests imitating his antics.
If you want proof of how a petite prevarication, can morph into a series of whoppers witness the Markham’s friends, Henry and Linda Lodge, and their prospective paramours, Miss Wilkinson, the vixen telephone operator and Walter Pangbourne, the ambitious salesman, as they plan to cheat on each other in the same house on the same night. Oh what a tangled web we weave! In this case it’s a carousel of bed-hopping worthy of Bob & Carol & Ted & Alice.
Move Over, Mrs. Markham derives from the same genre as the screwball Britcoms, Keeping Up Appearances and Are you Being Served? You can count on the characters to be chockfull of malaprops, double entendres and skewed intentions. Thankfully the playbill comes with a glossary of British terms, because the innocent British expression “keep your pecker up” has a decidedly different spin to us than the translation to “keep your spirits up”. Who knew?
In this witty farce there’s a great deal of Marx Brothers’-style tearing around from room to room and peeping through the keyhole to spy on what is quite obvious to the audience by the use of a cutaway view of the Markham’s apartment where all the action takes place. Don’t you just love to be in on the joke while the characters squirm?
 Jennifer Finch (Linda Lodge) and Shelagh Roberts (Joanna Markham). Photo Credit Shane Canfield After assuming his wife has betrayed him by finding a piece of a love letter that he thinks is written to his wife, Philip Markham tries to catch her in the act. An uproarious scene evolves when Alastair, who has already begun to develop ideas of his own about his client’s sexuality, discovers Henry riding Philip horsie-style while they vie for a bedroom view of what they imagine to be Joana’s affair.
But Joana Markham is only hiding the fact that Linda is planning a tryst at her apartment while Philip is doing the same for his business partner, Henry, who plans to meet up with the telephone operator. Oh the lies! Oh the cheating! That the housekeeper and the decorator have secretly chosen to rendezvous in the apartment at the same time as the two other couples makes for a cleverly choreographed and wildly hysterical scenario.
Oddly the production gets off to a tentative start. The set-up of the characters and their complex roles takes a good bit of explaining in order to establish who’s pursuing whom and why. But it soon revs up to full throttle and the audience expectedly falls under the spell of the age-old slapstick.
Look for James Raby who is razor sharp as Philip and even surprises with a dollop of hoofing in his switcheroo role as the snide “May I be so bold?” family butler. Jennifer Finch is scintillating as Linda Lodge, played with a feather-light touch and Katie Zitz turns out a Sylvie reminiscent of Uma Thurman’s Swedish ingénue, Ulla, in the film, The Producers. Seamless performances all around in this summer winner!
At The Little Theatre of Alexandria 600 Wolfe Street through June 25th. For tickets and information call the box office at 703 683-0496.
Jordan Wright
Special to MD Theatre Guide
May 23, 2011
 Judge Omar Noose (Evan Thompson), Carl Lee Hailey (Dion Graham), center, and Jake Brigance (Sebastian Arcelus) in John Grisham’s “A Time to Kill”. Photo Credit Arena Stage In the dog days of summer in a muggy Mississippi courtroom in rural Ford County, the chilling details of Pete Willard’s confession to the recent rape and torture of Tonya Hailey, a 10-year old black girl, are read by the judge. At the pre-trial hearing the father of the child, Carl Lee, stands stoically in attendance, as the twisted brutality of the heinous crime is revealed. Willard and his drug-dealing redneck crony, Billy Ray Cobb, are the accused. Their yellow Ford pickup with the Confederate flag mounted on the back, was spotted at nearby Lake Tutula. With a signed confession in hand and the victim clinging to life, it’s all but a slam dunk for the prosecutor, until Carl Lee guns down the defendants in cold blood and the air is sucked out of the theatre by the sound of gunshots.
It is the first of Grisham’s crime novels to be brought to the stage and Tony Award-winning scriptwriter Rupert Holmes’ adaptation is certain to be considered a classic along with successful courtroom dramas like 12 Angry Men and Inherit the Wind.
Though the powerful story is set in the post-Civil Rights era of the South, nothing much has changed in rural Mississippi. Director Ethan McSweeney does much to evoke the period with haunting visual and musical references. The sound of Bluegrass, suggestive of the film Deliverance, intertwines with echoes of “We Shall Overcome” heard beneath the courtroom windows. Walls dotted with ‘50’s era television sets showing scenes of fiery Klansmen spewing racist hatred are layered with the chilling sounds of a child screaming “Daddy! Daddy!” Interspersed with flickering static-filled TV images, DC news anchor, J. C. Hayward, plays the role of Felicia Albright trial reporter.
As further mood-enhancement, Set Designer James Noone’s clever layout rotates the stage morphing it from a courtroom into the home-under-Klan-siege of the Brigance family, and back again. Lighting Designer York Kennedy boosts the somber mood with the blades of a ceiling fan casting spinning shadows across the courtroom floor. The only thing missing is the aroma of buttermilk fried chicken and a Mississippi mud cake wafting across the stage.
In one particularly effective staging device, Director McSweeney has Judge Noose (an ironical name not lost on Carl Lee), D.A. Buckley and Defense Attorney Brigance face the audience to make their respective cases, giving the audience the eerie sense that they are involved in the deliberations.
But as with real life there’s also levity amidst the tension, enough to allow the audience, who’ve been gripping their seats, a chance to breathe. Southerners can find humor in a funeral and, true to Grisham’s original novel, it’s reflected here.
There are outstanding performances by Sebastian Arcelus (a Matthew McConaughey look-alike) as ambitious Defense Attorney Jake Brigance and his Junior Leaguer wife, Carla Jane, played by Erin Davie; Brennan Brown as the smarmy District Attorney with political aspirations Rufus Buckley; and Rosie Benton as sharp-witted legal assistant and erstwhile flirt, Ellen Roark (“I make the best damn margarita!”), whose slinky sex appeal charms the judge and seeks to undermine Jake’s marriage.
John C. Vennema crafts the charming Hawaiian-shirted, bourbon-swilling down-and-out attorney, Lucien Wilbanks, whose metaphors, “whiter than an albino mouse in a snowstorm”, are pure down home. But it’s Dion Graham in the role of the 46-year old Vietnam vet, Carl Lee Hailey, who will rip your heart out with his graceful, understated portrayal of the grieving father. “God had a son,” he ironically observes, “He didn’t have a daughter!”
Here’s my verdict. A Time to Kill is a raw and riveting drama that sears with redemptive emotion. It is a mega hit for Arena that should send this production straight to Broadway.
At Arena Stage through June 19th. 1101 Sixth Street, SW, Washington, DC. For tickets call 202 488-3300 or visit www.areanastage.org.
Running time: 2 hours
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