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Grace
Ford’s Theatre
Jordan Wright
March 30, 2022
Special to The Zebra
 Photo/André Chung In one of the most exciting new productions of the season, eight members of the Philadelphia Minton family are preparing a memorial supper to send their Gran’Me off in style. “Here We Go Making Preparations” sets the tone for the catered supper. The setting is Minton Place the restaurant that’s been in their family for 100 years carrying on the tradition of Southern soul food. Its current proprietor and granddaughter, Ruthie, has fallen on hard times and is struggling to keep the restaurant afloat.
 Photo/André Chung Grace is a rich tapestry of the African American experience with a wonderful score that grabs you by the collar and holds you in its Southern sway. Co-book Writer, Composer, Lyricist, Music Director and DC native, Nolan Williams, Jr., has crafted a small miracle – inviting us to experience African American culinary traditions while gently reminding us of the perils of gentrification in established Black neighborhoods. What I found along with the joyfulness and hilarity of this musical is the far deeper message that defines the heart and soul of Black culture. Some of the numbers are reminiscent of Sondheim’s pace and storytelling style, while others are flat-out soulful R&B or traditional New Orleans jazz. Some ballads feel like lullabies while others are downright funky. Haley’s roof-raising tune, “This Holy Bird”, a hilariously irreverent paean to the glories of the chicken wing, had the audience in stitches watching the family flap their arms to the “Funky Chicken”.
Meet the Mintons
 Photo/André Chung Matriarch Miss Minnie rules the roost with love, understanding and no-nonsense military precision. She embodies the roots of the family tree. In the tender ballad “Three Okra Seeds” Minnie tells the story of her ancestor who left slavery behind with only a scant few seeds in her hand – a tradition dating back to the early days of slavery.
Joshua, an adorable, hyper-energetic, hip-hop kid who plans to DJ the event, much to everyone’s dismay, video-tweets the family’s activities. “Yo fam!” he addresses his Twitter followers and squabbles fade away with his upbeat vibe.
Stylish Jacqui, “I’m not bougie. I’m Afro chic,” is the media-savvy fashion maven, the perfect counterpoint to Haley, who is miffed her name’s been left off the restaurant’s historic plaque.
Paul, the PhD nephew charged with coordinating the memorial program, schools the family in historic African American chefs who are painted on the set’s backdrop. And then there’s E.J., a finance guy, whose father kept him from the Mintons claiming they weren’t classy enough. “Dady’ Used to Say”, he croons realizing that distance kept him from their love.
Twenty-two numbers show off the cast’s crazy amazing vocal chops, but as anyone in the DMV knows, no one can be bested by the amazing Nova Y. Payton, who will rip your heart out with her killer, honeyed voice and extraordinary range. My fur stands on end every time I hear her sing and, as evidenced by the numerous standing ovations she received, so did everyone else’s.
 Jarran Muse and Rayshun LaMarr. (Photo/André Chung) This feel-good musical coupled with an extraordinary cast wrap us in their warmest embrace and we, the audience, return the spirit in kind with all the grace we can muster.
Starring Nova Y. Payton as Ruthie; Virginia Ann Woodruff as Miss Minnie; Rayshun LaMarr as Joshua; Arica Jackson as Haley; Raquel Jennings as Jacqui; David Hughey as Paul; Jarran Muse as E. J.; and Solomon Parker III as Lawrence.
Directed and Choreographed by Robert Barry Fleming; Co-Book by Nikkole Salter; Conducted by Paul Byssainthe, Jr. with Orchestrations by Joseph Joubert; Scenic Design by Jason Ardizzone-West; Costume Design by Dominique Fawn Hill; Lighting Design by Xavier Pierce.
Highly recommended!
Through May 14th at Ford’s Theatre, 511 Tenth Street, Washington, DC 20004. For tickets and information visit www.Fords.org or call the box office at 202 347-4833.
America’s Requiem – A Knee on The Neck
Capital One Hall
Jordan Wright
March 30, 2022
The world premiere of composer Adolphus Hailstork and librettist Herbert Martin’s Requiem Cantata in memory of George Floyd
 Soprano Janai Brugger, mezzo-soprano J’Nai Bridges, Music Director Piotr Gajewski, tenor Norman Shankle, baritone Kenneth Overton, the National Philharmonic Orchestra & Chorale, and members of The Washington Chorus and The Howard University Chorale On March 28th the National Philharmonic Orchestra and Chorale, in partnership with The Washington Chorus and The Howard University Chorale presented the world premiere of Composer Adolphus Hailstork and Librettist Herbert Martin’s A Knee on The Neck alongside Wolfgang Amadeus Mozart’s Requiem. Written as a tribute to George Floyd, their work marks almost two years since Floyd’s untimely death providing a time for remembrance and reflection.
National Philharmonic Conductor and Music Director Piotr Gajewski said, “We are tremendously grateful and so humbled to have the opportunity to present the world premiere of A Knee on The Neck as part of this program. It’s an important moment in time to share such a relevant piece of music. While society’s struggle continues today, we hope our audience can engage with this work, learn from it, and carry hope and something positive as they leave the hall.”
 Photo/Elman Studio Written in honor of George Floyd, A Knee on The Neck is a Requiem Cantata. Moved by Mr. Floyd’s murder at the hands of a Minneapolis police officer on May 25, 2020 and by the nationwide outcry for justice that followed, the duo came together in grief to create an artistic response that commemorates his life and tragic loss. The result is a powerful piece of music that speaks to the challenges which Black Americans have endured engaging listeners to share in that painful journey.
Martin developed the poetry within one week of George Floyd’s murder and then invited Hailstork to create the musical setting. To fulfill this challenging and critical undertaking, Hailstork looked to one of his previous compositions for inspiration (Hercules, 2014). In the 18 months since the genesis of their collaboration, A Knee on The Neck has evolved into a massive choral-orchestral piece where the music is deeply informed by the text and is filled with beautiful imagery and metaphors incorporating both African drumming and African American spirituals. The music and text also reference Black Americans, Emmett Till and Breonna Taylor, victims of unjustifiable violence due to racism and discrimination.
Scored for an orchestra, a large chorus and three soloists, A Knee on The Neck is a collaborative effort between the DC area institutions led by Artistic Director of The Washington Chorus and Chorus Master, Dr. Eugene Rogers to include The Howard University Chorale. These ensembles are joined onstage by mezzo-soprano J’Nai Bridges, tenor Norman Shankle, soprano Janai Brugger and baritone Kenneth Overton.
 Photo/Elman Studio Wolfgang Amadeus Mozart’s Requiem in D Minor comprises the other half of the program. Commissioned in 1791, it is thought Mozart wrote the work with the intention of having it played at his own funeral. While the piece was left unfinished at the time of his death, Mozart’s student Franz Xaver Süssmayr completed it a year later in 1792.
About Herbert Martin – Librettist
Herbert Woodward Martin, born in 1933, served as professor of English and poet-in-residence at the University of Dayton for more than three decades where he taught creative writing and African American literature. He has devoted decades to editing and giving performances of the works of the poet and novelist Paul Laurence Dunbar (1872-1906). He is also the editor of four books as well as the author of nine volumes of poetry.
About Adolphus Hailstork – Composer
Adolphus Hailstork, born in 1941, received his doctorate in composition from Michigan State University, where he was a student of H. Owen Reed. He had previously studied at the Manhattan School of Music, under Vittorio Giannini and David Diamond; at the American Institute at Fontainebleau with Nadia Boulanger; and at Howard University with Mark Fax.
Dr. Hailstork has written numerous works for chorus, solo voice, piano, organ, various chamber ensembles, band, and orchestra. Recent commissions include Rise For Freedom, an opera about the Underground Railroad, premiered in the fall of 2007 by the Cincinnati Opera Company; Set Me On A Rock (re: Hurricane Katrina), for chorus and orchestra, commissioned by the Houston Choral Society (2008); and the choral ballet, The Gift Of The Magi, for treble chorus and orchestra (2009). In the fall of 2011, Zora, We’re Calling You, a work for speaker and orchestra was premiered by the Orlando Symphony. I Speak Of Peace, commissioned by the Bismarck Symphony (Beverly Everett, conductor) in honor of (and featuring the words of) President John F. Kennedy was premiered in November of 2013. His newest works include The World Called (based on Rita Dove’s poem “Testimonial”), a work for soprano, chorus, and orchestra commissioned by the Oratorio Society of Virginia (premiered in May 2018); and Still Holding On (February 2019), an orchestra work commissioned and premiered by the Los Angeles Philharmonic.
At Capital One Hall, 7750 Capital One Tower Road, Tysons Corner, VA 222102. For tickets and information for other performances visit capitalonehall.com. To learn more about the symphony visit National Philharmonic. To learn more about the 160-voice three-time nominated and two-time Grammy Award-winner Washington Chorus, visit Washington Chorus.
The Merchant of Venice
Shakespeare Theatre Company
Jordan Wright
March 29, 2022
Held in the recently rebranded The Michael R. Klein Theatre at the Lansburgh, Director and Obie Award-winner, Arin Arbus’s modernist vision of The Merchant of Venice is an exercise in portraying Shylock as a sympathetic character and his Venetian enemies as the vile racist snobs they are. Starring the brilliant actor, John Douglas Thompson, as Shylock, the play reveals a dreadful era when Venetian society frowned on Jews and other minorities but depended on their business acumen in times of financial woe. We cannot fail to see the relevance to our current state of the world.
Shakespeare purists with not be at home with the modern-day costumes, occasional American slang, and reworking of the characters. For me, it only proves Shakespeare’s relevance to our modern lives. Has anything changed since Jessica uttered, “Love is blind.”? When the Princes of Morocco and of Aragon choose the casket they hope will win the fair Portia, they foolishly reveal their egos and cupidity. Even the Prince of Morocco, who admits, “All that glisters is not gold,” failed to heed that sage advice. When Portia rhymes “lead” with “dead” to as a hint to Bassanio, he ignores both the gold and the silver caskets to win her hand with the lowly lead casket.
How to handle Shylock in this play is the director’s challenge. He is both a sympathetic character and a vengeful man and that is made clear. Still, we are drawn into his dilemma of his daughter Jessica who betrays him, Antonio who takes advantage of him and all those others who degrade him. Lessons in morality and religion are not readily solved here. Ego and intransigence bring everyone down. Nevertheless, The Bard is always on top of morality and, of course, women dressing in drag to fool the men! In fine form, Arbus ends with Jessica reconnecting with her father as they recite the centuries-old Kol Nidre Hebrew prayer.
A simple stage set focusses on the unfolding drama, and we are treated to a memorably powerful portrayal of Shylock by Thompson counterbalanced by the engaging Isabel Arraiza as Portia. Shirine Babb, Portia’s backup bae, shines as Nerissa. Nate Miller brings much-needed comic relief as Lancelet and Alfredo Narciso brings the requisite evil as Antonio.
With Varin Ayala as Prince of Aragon; Jeff Biehl as Balthazar; Sanjit De Silva as Bassanio; Danaya Esperanza as Jessica; Yonatan Gebeyehu as Solanio; David Lee Huynh as Lorenzo; Maurice Jones as Prince of Morocco/Duke/Tubal; Nate Miller as Lancelet Gobbo; Haynes Thigpen as Gratiano; and Graham Winton as Saliero.
Lighting by Marcus Doshi; Scenic Design by Riccardo Hernandez; Costume Design by Emily Rebholz; Original Music and Sound Design by Justin Ellington.
Through April 24th at The Michael R. Klein Theatre at the Lansburgh.
Catch Me If You Can
Arena Stage
Jordan Wright
March 20, 2022
Special to TheZebra.Org
Catch Me If You Can Soars with High Energy and a High-Flying True Story of the Infamous Conman
Christian Thompson (Frank Abagnale, Jr.) and the cast of Catch Me If You Can running March 4 through April 17 at Arena Stage at the Mead Center for American Theater. Photo by Margot Schulman.
As it turns out, the real-life story of a precocious chameleon and 17-year-old conman, Frank Abagnale, Jr., makes for one helluva musical directed by Molly Smith with book by Terrence McNally especially with this stunner cast. From the very first number you’re in for the supersonic ride of your life.
The swinging 60’s when Pan Am was at the forefront of the commercial airline industry sets the tone for one of Frank’s big cons – that of an airline pilot. In that pre-politically correct luxury era of flying, flight attendants were called “stewardesses” and was considered the most glamorous job for women – dating the airline’s Clipper pilots was part of the allure. Naturally, Frank plays up his boyish charm to the hilt and the women unwittingly abet him in his quest to pose as one of the pilots.
 Rhett Guter (Roger Strong/Agent Branton/Jack Barnes/Player), Nehal Joshi (Carl Hanratty) and Jody Reynard (Agent Dollar/Player) in Catch Me If You Can running March 4 through April 17 at Arena Stage at the Mead Center for American Theater. Photo by Margot Schulman. Using an assortment of aliases, Frank, Jr. aka Frank Taylor and later the charismatic Doctor Frank Connors, manages to weasel his way past a team of FBI agents led by Carl Hanratty whose mission is to nail the imposter for $2M in forged checks. Along the way Carl “Here I Am to Save the Day” and Frank form a telephone friendship as Carl becomes the type of father figure Frank never had as Frank Sr. was a swaggering conman and merciless alcoholic with a cheating wife and the law on his tail who schooled his son well in conning the IRS while lying, cheating and stealing with great aplomb.
Choreographer Parker Esse increases the excitement with some of the greatest ever dance sequences on Arena’s Fichandler stage. Costume Designer Alejo Vietti picks up on the period outfitting the dancers in Mondrian mini dresses with Sassoon haircuts and white go-go boots, the men in their crisply-fitted flight uniforms all frenetically doing “The Frug” to the opening number, “Live in Living Color”.
 The cast of Catch Me If You Can running March 4 through April 17 at Arena Stage at the Mead Center for American Theater. Photo by Margot Schulman. Impressive performances by Christian Thompson (Frank Abagnale, Jr.) who recently starred as Smokey Robinson/Damon Harris in Broadway’s Ain’t Too Proud and supported by the incomparably suave Jeff McCarthy as Frank Abagnale, Sr.; Nehal Joshi as Carl Hanratty; Stephanie Pope Lofgren (with a sensuous Eartha Kitt-like voice) as wife Paula Abagnale; and Hayley Podschun as Frank’s love interest, Brenda Strong – all big-time Broadway stars.
The music is spot on with catchy lyrics by Scott Whitman and Composer Marc Shaiman. You’ve got to love a line in “Butter Outta Cream” that rhymes with scheme, of which there are many. Sixteen numbers lay out the story, which (spoiler alert) has a real romance though it starts out as a story of a lonely teen enchanted by comic superheroes.
 Christian Thompson (Frank Abagnale, Jr.) and Jeff McCarthy (Frank Abagnale, Sr.) in Catch Me If You Can running March 4 through April 17 at Arena Stage at the Mead Center for American Theater. Photo by Margot Schulman. Terrific choreography designed by Parker Esse ratchets up the energy to include tap shoes that light up in “Don’t Break the Rules” and a bevy of dancers who seem to populate every square inch of the theater in the round. Props by Alessandra Shines and Grace Trudeau are eye-popping as is Alexander Dodge’s clever stage design which is tricked up to both rise from the center with fresh sets and disappear and features two stairways on either side that descend beneath the stage. Actors sometimes break the third wall acknowledging Conductor Laura Bergquist who can be seen by the audience.
Highly recommended! Catch it, now!
The cast includes Alexandra Frohlinger as Carol Strong; Brett-Marco Glauser as Agent Cod; Rhett Guter as Roger Strong/Agent Branton/Jack Barnes; Jody Reynard as Agent Dollar. Lighting Design by Nicole Pearce and Sound Design by Daniel Erdberg.
Through April 17th at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call 202 488-3300 or visit www.ArenaStage.org.
Riverdance
The Kennedy Center for the Performing Arts
Jordan Wright
March 18, 2022
Special to TheZebra.Org
 Riverdance 25th Anniversary Show (Photo/Anna-Livia) On a balmy Spring evening perfectly timed to kick off the celebratory season of Saint Patrick’s Day, Irish Ambassador and Mrs. Daniel Mulhall hosted a swank cocktail party in the South Tier Opera Lounge before the performance of Riverdance. In attendance were Taoiseach Micháel Martin, Ireland’s Prime Minister, and American diplomat and former Ambassador to Japan, Caroline Kennedy. Delicious savory treats featuring Ireland’s best beef, cheeses and cured salmon were served capping the gathering with coffee, tea and a sumptuous Irish Whiskey Cake and Crème Brûlée, after which guests proceeded to the Opera House for the performance where audience members frequently leapt to their feet for standing ovations between acts.
 Taoiseach Michael Martin delivers remarks to the guests (Photo/Jordan Wright)  Ambassador Daniel Mulhall with Caroline Kennedy (right) and guest at the reception. (Photo/Jordan Wright) Celebrating their 25th anniversary and first time performing at the Kennedy Center, the Riverdance troupe was in fine form and their staccato taps could be heard up to the rafters. Originally an Irish folk dancing and musical production, Riverdance has gone on to include both Russian and Flamenco dance, acknowledging some of the roots of Irish dance. I couldn’t help but conjure up the evolution of these dances in the American heartland where the Irish immigrated in droves and the style of clogging emerged.
 Riverdance 25 Anniversary Show Lead Couple Interspersed with the tightly choreographed syncopated-formation dances by the troupe, a coloratura soprano performed haunting Irish melodies in octaves that soared into the stratosphere and a beautiful lassie played the pipes honoring an ancient Irish warrior from the Bronze Age. Between 18 electrifying scenes a narrator weaves Celtic tales and stories from the land of the faeries. Video projections of picturesque scenes frame the evening’s entertainment.
Many stories can be told of the history of this extraordinary production that began with the choreography and iconic dance skills of Michael Flatley and has toured around the world many times over. Their epic success on six continents, a Grammy Award and generous fundraising efforts are but a few of their achievements, but their promotion of Irish dance supported by the exceptional singers, dancers and musicians who perform in the show, give gravitas to this exciting one-of-a-kind experience.
 Riverdance 25 Anniversary Show Reel around the Sun Directed by John McColgan, Produced by Moya Doherty, Composed by Bill Whelan, Costumes by Joan Bergin, Sound by Michael O’Gorman, Lighting by Andrew Voller, Sets by Alan Farquhason and High Res by Peter Canning.
Through March 27th at The Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information call 202 467-4600 or visit www.Kennedy-Center.org.
Così Fan Tutte
The Kennedy Center for the Performing Arts
March 14, 2022
Jordan Wright
 Laura Wilde (soprano) and Andrey Zhilikhovsky (baritone) in Cosi fan tutte at the WNO (photo by Scott Suchman) Introducing the Washington National Opera Company’s Cafritz Young Artists who sang the Ukrainian National Anthem, General Director Timothy Leary welcomed back the audience of opera lovers to the first of the season’s offerings, “We have learned to gather together in community and safety,” he announced with pride. A standing ovation honored both the students’ exceptional talents as well as the audience’s heartfelt sympathies to the Ukrainian people (two Ukraine nationals were in the cast) to set the evening’s enthusiastic tone. Beginning the season with such light-hearted fare, is just the ticket for our COVID doldrums.
 Ana-Maria-Martinez-soprano-and-Ferruccio-Furlanetto-bass-in-Cosi-fan-tutte-at-the-WNO (photo-by-Scott-Suchman) A bit of background:
Commissioned by the Emperor Joseph II, Mozart’s fan fave two-act opera, with text by Lorenzo da Ponte, was first performed in Vienna in January of 1790 and characters of the sisters, Fiordiligi and Dorabella, were actually sisters in real life with their story well-known in Vienna society. It first came to the London stage in 1811 and later to New York at the Metropolitan Opera House in 1922 conducted by Artur Bodanzky. This was at the acme of Mozart’s career and the comic opera is well-regarded as one of his finest compositions.
Così fan tutte is an intriguing tale of Fiordiligi and Dorabella, two sisters betrothed to two soldiers, Guglielmo and Ferrando. Enter the aged bachelor and friend to all concerned Don Alphonso who suggests to the men that all women cannot be faithful. Challenged with testing the women’s fidelity by disguising themselves and tricking their lovers under Alphonso’s direction, the men agree to the bet. Unbeknownst to the lovers, the duplicitous Alphonso enlists the aid of the ladies’ maid, Despina, who is to be handsomely paid for her efforts.
 WNO”s “Cosi Fan Tutte” The plot plays with gender identity in a way that questions the misunderstanding between the sexes. A question as old as the hills and revived by such books as “Men Are from Mars’, Women Are from Venus”. Will the women cave to such amorous machinations by the men who threaten suicide if their lovers do not break their troths and reciprocate their advances? With Don Alphonso’s secretive encouragement, these underhanded swains pull every trick in the book to unhinge the ladies’ devoted commitment to them.
As sumptuously elegant as the music is, it is neatly underpinned by the comic antics of those involved in the set up. The wonderful cast is charged with incorporating comedic abilities as well as their magnificent vocal talents to pull it off, which they do quite well. Watch for Anna María Martinez in three roles as Despina, the doctor, and later the notary to bring the house down thanks to the vivid imagination of Costume Designer Lynly A. Saunders who also nails the 18th century period ladies’ dresses with the appropriate paniers locked and loaded.
A balm for the senses. Highly recommended.
With Kang Wang as Ferrando; Andrey Zhilikhovsky as Gugielmo; Ferrucchio Furlanetto as Don Alphonso; Laura Wilde as Fiordiligi; and Rihab Chaieb as Dorabella.
Conducted by Erina Yashima; Directed by Alison Moritz; Set Design by Erhard Rom; Projection Design by S. Katy Tucker.
Through March 20th at The Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566. For tickets and information visit www.Kennedy-Center.org or call 202 467-4600.
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