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Penelope – A Modern-day Myth Breathes Fresh Air at Signature Theatre
Penelope
Signature Theatre
Jordan Wright
March 20, 2024
Special to The Zebra
 Jessica Phillips in Penelope (Photo/Daniel Rader) A solitary woman stands on Ithaca’s shoreline awaiting the dawn. Casting her eyes out over the Ionian Sea, she looks for his ship – a sign her husband, legendary commander and war hero, is returning from a battle long over. Another day, another year, a decade hoping for Odysseus’ return. Penelope (Jessica Phillips) speaks of the soldiers – noisy, uncouth men who have set up tents in her courtyard. She’s given up trying to oust them.
Penelope is lyricist and composer Alex Bechtel’s own odyssey to bring this much celebrated character to life. Directed by Eva Steinmetz who also contributed to the book with Bechtel and Grace McLean, its evolution into a modernized love story of a faithful and patient wife are easily identifiable. Here we find Penelope as a real-life wife displaying emotions ranging from frustration to anger and longing to sentimentality. Prominent is her famed fidelity to a man we never meet.
 Jessica Phillips in Penelope (Photo/Daniel Rader) Paige Hathaway’s simple set design focusses on our heroine in front of a background of curvilinear dunes changing colors from dawn to sunset. Onstage are a quintet of musicians – on piano Ben Moss, on percussion Erika Johnson, on violin Jennifer Rickard, on viola Imelda Tecson Juarez and on cello Susanna Mendlow. It’s an impressive group and the glue that holds the piece together. The songs and the instrumentals reflect Penelope’s ever-changing mood swings that range from frantic to riotously funny (Bourbon is her medicine of choice.) to contemplative and, in her most desperate moments, a cry for guidance from Athena the Greek goddess of wisdom and war.
Told in modern vernacular, the patient Penelope becomes a relatable “every” woman. As in the myth, her time at the loom and the undoing of her work each night so as not to complete a piece, become a metaphor for unrequited love. The beautiful ballad “Weaving” is about longing and a love unfinished.
 Jessica Phillips in Penelope (Photo/Daniel Rader) This 75-minute production has 21 numbers – one calypso number, ballads and a bit of rock – fourteen of those sung by Phillips. But it’s the ballads that stick with you, that and Phillips’ ability to bring life and believability to the character. With a rich background in musical theater, both on and off Broadway and on national tour in Dear Evan Hansen, Phillips knows her craft well offering up a riveting range of emotions. Based on the writings of Homer’s The Odyssey, this production has recently been extended reflecting both its success and appeal.
With Costume Design by Danielle Preston and Lighting Design by Jesse Belsky.
 Penelope Show Art Through April 28th in the ARK Theatre at Signature Theatre, 4200 Campbell Avenue in Shirlington Village, Arlington, VA 22208. For tickets and information call the box office at 703 820-9771 or visit www.SigTheatre.org.
Company Brings Broadway Alums to the Kennedy Center with Sondheim’s Thrilling Musical
Company
The John F. Kennedy Center for the Performing Arts
Jordan Wright
March 17, 2024
Special to The Zebra
 The North American Tour of COMPANY (Photo/Matthew Murphy for MurphyMade) For those familiar with Stephen Sondheim’s original 1970 version of Company, you’ll be mighty surprised to see all the changes in this production. The original won six Tony Awards. This revised version opened on Broadway in 2022, rewritten by Sondheim and Director Marianne Elliott, and won the Tony for Best Revival of a Musical. So, there’s that. Both versions stand on their own, but I’ll mention some of the changes, so you won’t feel lost at sea. Robert is now Bobbie and is female (the stunning Britney Coleman in full bloom and gorgeous voice). Adding to that switcheroo there’s is a gay male couple, social media is prevalent (everyone texts and checks their Facebook constantly) and pot is legal – well yes, it is – and there’s a very funny scene where Bobbie and friends get high on their front stoop.
It confused the heck out of me, but those I’ve spoken to who hadn’t seen the original and enjoyed the show for what it is now. So, let’s look at it that way, because it certainly stands on its own merits as a story of married couples, couples with children, the gay couple about to wed, and Bobbie turning 35 with an active dating life but no real prospects for marriage. And therein lies the crux of the matter. The pressure is on for her to marry.
 David Socolar as Theo and Britney Coleman as Bobbie (Photo/Matthew Murphy for MurphyMade) It’s the universal, get-married-before-it’s-too-late clock ticking madly away. Find a guy, have kids and get on with life, say all her friends. What the plot reveals is no matter how urgently friends try to convince Bobbie the years are passing her by, she sees their relationships, flaws and all, and that’s exactly what’s so hilarious about it.
Set in New York City with all its distractions, hookups, and dating apps Bobbie must navigate, it paints a picture of the struggles of a career woman to find love in a fast-paced world. I loved the rewrite – the gender swaps along with the new character development. It’s perfectly relevant. Surely Sondheim realized the old version couldn’t be revived without these changes to attract new audiences.
 Matt Rodin as Jamie and Ali Louis Bourzgui as Paul (Photo/Matthew Murphy for MurphyMade) It’s witty, quite sophisticated – Joanne (played by the sleekly sexy Judy McLane), as the Lauren Bacall type blonde, hasn’t changed a bit – and uproarious. With a crack cast of Broadway alums who sing their bums off, this is the musical everyone has been raving about.
The songs that never went away like “Someone is Waiting”, “You Could Drive a Person Crazy”, Side by Side by Side”, “The Ladies Who Lunch” (which reminded me of the terrific new mini-series about Truman Capote and his “Swans”) and, of course, the anthem “Being Alive”, are all here in their original glory. You’ll have your favorites, but these are mine and they’re unforgettable.
Highly recommended!
 Britney Coleman as Bobbie (center) and the North American Tour of COMPANY (Photo/Matthew Murphy for MurphyMade) With Judy McLane as Joanne; Kathryn Allison as Sarah; Jed Resnick as David; Jhardon DiShon Milton as Paul; Derrick Davis as Larry; Javier Ignacio as Peter; James Earl Jones II as Harry; Marina Kondo as Susan/Priest; Matt Rodin as Jamie; Emma Stratton as Jenny; Jacob Dickey as Andy; Tyler Hardwick as PJ; David Socolar as Theo.
Music and Lyrics by Stephen Sondheim; Book by George Furth; Scenic and Costume Design by Bunny Christie; Lighting Design by Neil Austin; Original Sound Design; Ian Dickinson for Autograph; Orchestration by David Cullen; Choreography by Liam Steel; with the Kennedy Center Opera House Orchestra and Company Orchestra.
Through March 31st at The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit www.Kennedy-Center.org.
Offenbach Operetta Songbird Gets a New and Snappy 1920’s New Orleans Jazz Treatment with Superstar Isabel Leonard
Songbird
The John F. Kennedy Center for the Performing Arts
Jordan Wright
March 15, 2024
Special to The Zebra
 A scene from Songbird (Photo/Scott Suchman) If you tell me Isabel Leonard is starring in a modern-day rendition of the well-loved, classical Offenbach operetta, “La Périchole” (1868), I would sell my soul to see it – especially since it’s set in the 1920’s Prohibition Era in New Orleans when “Hot Jazz” was king. Think Jelly Roll Morton, Louis Armstrong and the Dixieland Jazz bands of that force de la nature of American music. NOLA, as we now call it, became a musical polyglot of Afro-Caribbean, Marching Band beats, Spanish Tango influences, Ragtime syncopation, dusky Blues, Vaudevillian razzmatazz, improvisational Scat, and throbbing Latin rhythms bursting forth from a port city credited with the birth of American Jazz.
Conductor, Arranger and Orchestrator, James Lowe, was tasked with melding these divergent yet harmonious rhythms and dovetailing them into Songbird, an opera that uses Franglais in a nod to Offenbach’s French ancestry. Don’t worry there are projected surtitles when the actors switch to French. Instruments of the period, including a vintage drum set from the 1920’s, create the perfect sound Lowe uses to evoke the period when the Stomp, the Charleston and the Black Bottom were just coming of age.
 Isabel Leonard (Songbird) and Ramin Karimloo (Piquillo) (Photo/Scott Suchman) The sassy, spunky, risque comedic action takes place in a speakeasy called Café des Muses and stars a fabulous Vaudeville duo – the starving artists, Songbird (Isabel Leonard) and her amour Piquillo (Ramin Karimloo). The villain is the mayor of the New Orleans, the vainglorious Don Andrès (Edward Nelson) who falls madly in love with Songbird but wants her to be his mistress not his wife. Along with his cohorts, Don Pedro (Jonathan Patton) and Panatellas (tenor and funny as hell natural comedian Sahel Salam), he conspires to marry her off to Piquillo so that he can enjoy her in a carnal way with no strings attached. With “tunes and booze and no taboos” this splashy production has it all including staggering drunk revelers.
One of the opening lines is delivered by Don Andrés who crows, “I could stand in the middle of Bourbon Street and the President would put me in his Cabinet!” And with that, the slapstick, pratfalls, tap dances and upside-downness begins to click. Add a soupçon of Gilbert and Sullivan panto and shades of the artsy bohemian life and we’re in Gay Paree. There is even a high-kicking Can Can at the bar!
 Edward Nelson as Don Andrés (Photo/Scott Suchman) Premiering at New York’s Glimmerglass festival in 2021, shelved during the pandemic and pared down to one act, the adaption is by Eric Sean Fogel, James Lowe and Kelley Rourke who wrote the English lyrics and book.
Believe me when I tell you, the triple Grammy Award-winning mezzo soprano, Isabel Leonard will steal your heart. Her captivating mezzo-soprano range is perfectly suited to this snappy score and her acting chops prove that she can tailor her style to whatever is thrown her way. Furthermore, she plays the gamine as delightfully as Audrey Hepburn. And Karimloo, who is an award-winning Broadway musical star, will wow you with his song styling as well as his acting and comedic chops. Insider scoop: He has never studied voice, can’t read music (He asks for all his scores to be sent via the DAW GarageBand software.), and never in his life saw an opera before he was cast in this one. I love this so much!
 Ramin Karimloo (Piquillo), Jonathan Patton (Don Pedro), and Sahel Salam (Panatellas) (Photo/Scott Suchman) Deliciously naughty and wildly colorful with Mardi Gras costumes, zoot suits and spats, beaded flapper dresses and silky lingerie, this oh-so-clever interpretation will charm and delight. I know because the audience lost their collective minds – cheering at every song and roaring at every bit of farce. They were just as wild as the performers in their enthusiasm.
Highly recommended!!!!!
With Teresa Perrotta as Guadalena, Kresley Figueroa as Berginella, Cecelia McKinley as Mastrilla, Taylor-Alexis DuPont as Celeste, Jonathan Pierce Rhodes as A Priest, Justin Burgess as A Mobster/The Guide and Jo Ann Daugherty as Pianist.
Original Co-Director Francesca Zambello; Original Costume Designer Christelle Matou; Costume Designers Marsha LeBoeuf and Timm Burrow; Lighting Designer Robert Wierzel; Sound Designer Mark Rivet.
Remaining performances on March 17th, 20th and 23rd at the Kennedy Center, 2700 F Street, NW, Washington, DC 20566. For tickets and information call the box office at 202 467-4600 or visit www.Kennedy-Center.org.
What’s Onstage in the DMV
April & May
Jordan Wright
March 4, 2024
Special to The Zebra
 Little Shop of Horrors (Illustration by Carolina Dulcey) via Ford’s Theatre The Nance
Where: 1st Stage
When: Apr 4 – Apr 21
Find more information at www.1stStage.org
Little Shop of Horrors
Where: Ford’s Theatre
When: Now through May 18
Find more information at www.Fords.org
A Jumping Off Point
Where: Round House Theatre
When: Apr 10 – May 5
Find more information at www.RoundhouseTheatre.org
Islander: A New Musical
Where: Olney Theatre Center
When: Apr 11 – Apr 28
Find more information at www.OlneyTheater.org
 Penelope Via Signature Theatre Penelope
Where: Signature Theatre
When: now through Apr 13
Find more information at www.SigTheatre.org
Unknown Soldier
Where: Arena Stage
When: now through May 5
Find more information at www.ArenaStage.org
Amm(I)gone
Where: Woolly Mammoth
When: Apr 20 – May 12
Find more information at www.WoollyMammoth.net
Nancy
Where: Mosaic Theatre
When: now through Apr 21
Find more information at www.MosaicTheater.org
Off the Page
Arts on the Horizon
Where & When: Apr 5, 6, and 7 at Theatre on the Run and Apr 20 and 21 at The Lyceum in Alexandria
A non-verbal theatre company for children 0–6 years old
Find more information at www.artsonthehorizon.org/offthepage.html
Hair
Where: Signature Theatre
When: Apr 17 – Jul 7
Find more information at www.Sigtheatre.org
 Messsage in a Bottle via The Kennedy Center Message in a Bottle
Where: Kennedy Center
When: Apr 9 – Apr 21
Find more information at www.Kennedy-Center-org
The Illusionists
Where: Kennedy Center
When: Apr 23 – Apr 28
Find more information at www.Kennedy-Center.org
At the Wedding Of
Where: Studio Theatre
When: through Apr 21
Find more information at www.StudioTheatre.org
Beauty and the Beast
Where: Toby’s Dinner Theatre
When: now through June 16
Find more information at www.TobysDinnerTheatre.com
Surviving Grace
Where: Providence Players of Fairfax
When: Apr 12 – Apr 27
Find more information at www.ProvidencePlayers.org
 Websters Bitch via Keegan Theatre Webster’s Bitch
Where: Keegan Theatre
When: Apr 6 – May 5
Find more information at www.KeeganTheatre.com
Hester Street
Where: Theatre J
When: now through Apr 21
Find more information at www.TheatreJ.org
Murder on the Orient Express
Where: The Little Theatre of Alexandria
When: now through April 13
Find more information at www.TheLittleTheatre.com
Chicks in Heaven
Where: Creative Cauldron
When: Apr 3 – Apr 28
Find more information at www.CreativeCauldron.org
Loving v Virginia
Where: Virginia Opera Company
When: May 3 and 4
Find more information at www.VAOpera.org
Smokey Robinson Live
Where: The Theater at MGM National Harbor
When: Apr 12 only
Find more information at www.BoxOfficeTicketSales.com
Interview with Monica Saigal
Jordan Wright
February 24, 2024
 Author Monica Saigal As two Northern Virginia residents with careers in food writing, Monica Saigal and I met through the local food world over a decade ago. Over those many years, I have enjoyed witnessing her transition, or should I say blossoming, from successful cookbook author into novelist of international renown. Saigal’s books garner not only extensive, top-tier media coverage but also excellent reviews. As an award-winning writer, accomplished literary coach, gifted poet, storyteller, keynote speaker and educator, her cookbooks and novels have enjoyed universal appeal.
Last month Saigal, whose full-time gig is Social Media Strategist for a tech company, launched her latest love story/mystery “A Kiss in Kashmir” at the Hilton Alexandria Mark Center Hotel. Over a hundred fans including media were treated to a sumptuous assortment of Indian-centric hors d’oeuvres and desserts designed by the hotel’s Executive Chef Rajeev Sethi. Kashmiri ingredients including cardamom, almonds, saffron and cinnamon were incorporated into these delicacies and a Kashmiri Kahwa tea service was offered as well. The ever-popular local radio celebrity, Kojo Nnamdi, conducted the interview with the two dear friends seated on a lavishly decorated stage befitting an Indian wedding scene.
 Book launch event at the Hilton
 Desserts served at the book launch I spoke with Saigal after the event.
Jordan Wright – Are all your novels set in India?
Monica Saigal – “The Devil in Us” was set in the U.S, “The Soul Catcher” is magical realism, and “Karma and the Art of Butter Chicken” was set in Delhi.
JW – Your latest novel “A Kiss in Kashmir” tells a beautiful story of an older couple finding love against all odds. It is a deeply human story filled with romantic emotion. What was your inspiration?
MS – It was very selfish. I wrote the book I wanted to read. I found that most of the books I read weren’t for older people. I wanted to write a story for an older demographic that was realistic and very forward thinking. We sometimes tend to bypass the older generations in our narratives and I think that needs to change. I think people are looking for these stories.
JW – Your novels provide close-ups into the lives, environments, and emotions of many diverse Indian castes as well as those from other cultures. You gift them with intimate emotions and romantic interactions. How do you source these descriptions? Do they come from outside your circle of friends? Are they fantasies or do you draw from stories friends tell you?
MS – When I create a character, I sketch out the psychological profile of the character. Then I ask around to friends to find someone who fits the description and is willing to talk to me. Then I can fill out my profile because I don’t think I can claim to know each individual characters’ personalities. When Kojo read the book, he called me right away because, as an older widower, he identified with that profile. “I would have reacted the same way George [the hero in “A Kiss in Kashmir”] reacted,” he told me.
JW – I know you conduct writing classes for budding authors. How can locals find your schedule?
MS – On weekends I’ll be conducting classes on Healing Modalities. I have a series coming up soon. The classes will be followed by making jewelry, yoga, painting and sound healing. The schedules are posted on my website www.MonicaSaigal.com
JW – Your dialogue shows a vibrancy which contributes to the authenticity of conversations between characters. Do you record conversations while you are out and about? Or do you carry a notebook to jot down quips and quotes?
MS – I learned from many of my novelist friends how to listen and how people speak. It’s active listening. I feel people are looking for insight where there is dialogue. I used to write as if it were theoretical. Now I listen when I go to restaurants. I don’t spy on people! I want to hear how they start a sentence and how they stop a sentence.
JW – Does living in Northern Virginia influence your writing?
MS – I find a lot of serenity where I live. It is beautiful here in Virginia. I’ve lived here for over 20 years and love walking around Meadow Lark Gardens and other local parks. The Japanese have a saying, “Go and bathe in the forest.” That is what Virginia affords me.
JW – In your early writing it was your cookbooks that established your writing career with your reputation for approachable Indian cooking. Can you find all the ingredients you need to prepare your dishes?
MS – Very easily. We used to get ingredients sent from India. Nowadays I can go to the Ashburn area where Patel Brothers has everything including freshly made rotis and pickles.
Where We Belong – An American Indian Story at the Folger Looks for Answers
Folger Theatre
Jordan Wright
March 3, 2024
Special to The Zebra
 Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin. Full Disclosure: I wrote on Native American culture for Indian Country Media Network Magazine for eight years.
When playwright and presenter, Madeline Sayet aka Achokayis, discovers her Mohegan name means “blackbird” she imagines where flight would take her. In this one-woman show – a co-production with Woolly Mammoth – she begins her story in an airport in Sweden – a stopover on her way to London’s Oxford University where she hope to earn her PhD in Shakespearean literature. Although she is initially afraid of flying, she grants it a bit of avian symbolism. “In the sky the borders disappear,” she imagines.
Her fascination with Shakespeare stems from a need to escape the perils and pressures of being Native American. Learn the language. Overcome discrimination. Get out from under her mother’s constant reminders to, “listen to your ancestors”. But the more she learns about the history of her people – their stolen lands, the broken treaties, the forced removal – the more haunted she becomes. As she tells it in this one-woman drama, when she stands up for herself in class to discredit both British- and American-written history books, she gets pushback from her professors who are eager to sweep the ugly truths into the dustbin of history. But Sayet knows her Native American history and her determination to share that knowledge with her professor and fellow students finds her in a very precarious position. She learns the hard way it’s not politically correct to discuss the Indian Wars, the renaming of Indian lands by the British using British names, or the policies of Andrew Jackson who was responsible for the horrific Trail of Tears.
 Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin. Sayet’s has formed an idealization of Shakespeare as an anti-Colonialist, a concept that on the surface seems extraordinarily naïve. She imagines Caliban from “The Tempest” as Shakespeare’s way of empathizing and triumphing the native, but connecting Shakespeare’s literary intent to indigenous culture becomes a bridge too far for me. Think of this production more as a black box staging with spare lighting and set design and not the sort of production usually seen at The Folger.
Apart from that Sayet’s telling gives the listener a lot of background on the history of Indian affairs in America and Great Britain and lands this play somewhere between a doctoral dissertation and her personal story. What I found more interesting was the both the tension and connection in her relationship with her mother back in America. She playacts the phone calls and we learn the pressures she is under to revive their forgotten tribal history. “Your mission is our survival,” her mother warns.
 Madeline Sayet in WHERE WE BELONG at Philadelphia Theatre Company. Photo by Mark Garvin. I found this story to be the perfect primer for high school students and adults who are ill-informed about the very real issues that American Indians face every day.
“We’re still here,” is a saying held by Native Americans to let the world know they are still on this earth and their needs and claims are valid. It also goes towards explaining the importance of the repatriation of tribal objects and ancestral remains. And if we think of this story in those terms therein lies its value.
Directed by Mei Ann Teo, Lighting, Scenic Design and Props by Hao Bai, Costume Design by Asa Benally, Musical Composer and Sound Designer Erik Schilke.
Through March 10 at the Folger Shakespeare Theatre,201 E Capitol Street, SE, Washington, DC 20003. For tickets and information call the box office at 202 544.7077 or visit www.Folger.edu.
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