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Jersey Boys

Jersey Boys

The Kennedy Center for the Performing Arts
June 17, 2022
Jordan Wright

Photo/Joan Marcus

In an era when Motown was delivering hit after hit and Black singing groups ruled the charts, a quartet of Italian kids from the blue-collar town of Belleville, NJ began their journey to stardom. Most of them were small-time crooks who knew a hot hustle when they saw it. Tommy, one of the original members, was street smart enough to keep the others out of the worst kind of trouble, though most of them wound up serving time. After their release, they re-formed, playing local dives and bowling alleys – an arduous route followed by many bands back in the day. How Frankie Valli and The Four Seasons achieved the pinnacle of success and were inducted into the Rock and Roll Hall of Fame defines this Tony, Grammy and Olivier-award winning musical.

Valli’s powerhouse falsetto and the group’s sweet harmonies, set them apart from other groups, but success didn’t come easily. After years as unknown studio backup singers for big recording artists, the group finally found their identity when a young Joe Pesci (Yes! that Joe Pesci.) introduced them to a little-known singer/songwriter named Bob Gaudio, who became the newest member of the group. Under Producer/Hitmaker, Bob Crewe they subsequently churned out megahits and apart from their personal troubles he kept them on the road and on the charts.

Jersey Boys

Thanks to Murray the K, a popular New York City radio disc jockey, the group got airplay of their first release “Sherry” which went straight to the top of Billboard’s pop charts selling one million records. Soon after, the hits and the fans kept coming – “Big Girls Don’t Cry”, “Walk Like a Man”, “Dawn” and dozens more.

Based on their fortunes and misfortunes and the vagaries of their love lives, the plot is the glue that supports the musical numbers. Fans will hear over two dozen of their biggest hits plus a few of their earliest song stylings. Sung by a quartet whose voices are a pitch perfect match to the originals, it comes off as a Frankie Valli and The Four Seasons live concert.

Photo/Joan Marcus

Former original Broadway cast member Jon Hacker plays Frankie. On press night his understudy the fabulous Justin Albinder filled in showing an astonishing falsetto range accompanied by slick dance moves. Expect James Brown-style splits and spins executed in retro sharkskin suits. All the band’s songs are choreographed as are those for a sexy mini-skirted girl group that accompanies the boys on tour. As Tommy puts it, “We put Jersey on the map.”

A high energy concert-style musical set in the retro 60’s and 70’s music scene, it features their greatest hits.

Highly recommended.

(Note: This show is appropriate for ages 12+ only due to strong language throughout.)

Photo/Joan Marcus

Directed by Tony Award-winner Des McAnuff; Book by Marshall Brickman and Rick Elice; Choreographed by Sergio Trujillo; Music by Bob Gaudio; Lyrics by Bob Crewe; Lighting by Howell Binkley; Costume Design by Jess Goldstein; Orchestrations by Steve Oric, Scenic Design by Klara Zieglerova; Sound Design by Steve Canyon Kennedy. The Jersey Boys Orchestra is directed by Noah Turner and Anthony Brindisi.

Starring Sean McGee as Bob Crewe/Donnie/Accountant/Finney/and others; Matt Faucher as Nick Massi; Eric Chambliss as Bob Gaudio; Devon Goffman as Tommy DeVito; Katie Goffman as Mary Delgado/Angel. The rest of the cast play multiple roles.

Through June 26th 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

Nollywood Dreams

Nollywood Dreams

Round House Theatre
Jordan Wright
June 15, 2022
Special to The Zebra

Yao Dogbe (Gbenga Ezie), Ernaisja Curry (Ayamma Okafor), Renea Brown (Dede Okafor), and Joel Ashur (Wale Owusu) (Photo/Margot Schulman)

Fact: Fashioned after India’s Bollywood film industry, Nollywood is the second most productive film industry in the world with over 1,000 movies produced a year.

It’s hard to stress the huge influence of movies over daily life in Nigeria. Watched by millions, they feature formulaic melodramas reminiscent of the early days of Hollywood cinema. A fascination with Nigerian movie stars forms the basis of Nollywood Dreams, a romantic comedy about this gargantuan industry and its stars. Award-winning Ghanaian Playwright Jocelyn Bioh is currently writing the live screen adaptation of the hit Broadway musical Once on This Island for Disney. She is eager to school us in African culture and she does it with a pencil-sharp wit. “I’m a comedic writer and I think comedy’s simply a funny way of being serious, and I’m able to get across messages that do have a lot of universality to them, even if the people are very specific.”

Yao Dogbe (Gbenga Ezie), Ernaisja Curry (Ayamma Okafor), Renea Brown (Dede Okafor), and Joel Ashur (Wale Owusu) (Photo/Margot-Schulman)

Sisters Dede (Renea S. Brown) and Ayamma (Ernaisja Curry) run their family’s Okafor travel agency in the capitol of Lagos. One day Ayamma hears of an open casting call for the female lead in an upcoming movie by famed Director Gbenga Ezie (Yao Dogbe) starring their girl crush, the handsome Nigerian screen star Wale Owusu (Joel Ashur).

Ayamma, with no prior acting experience yet determined to make her mark, reads for the part with Wale as the love interest. Although Wale finds her adorable and Gbenga sees her as his first choice, the glamorous movie star and Gbenga’s favorite leading actress Fayola (Yetunde Felix-Ukwu) intends to wage battle for the part – even if it takes blackmail or magical powers.

04 – Joel Ashur (Wale Owusu) and Jacqueline Youm (Adenikeh) (Photo/Margot Schulman)

Scenic Designer, Jonathan Dahm Robertson treats us to three sets on a cleverly constructed revolving stage. One for the travel agency, another for Gbenga’s Nollywood Dreams Studios and the third, a television interview set for Adenikah (Jacqueline Youm), Nigeria’s version of Oprah Winfrey. Throughout the story, Adenikah is seen hosting the celebs wearing ever higher dhukus (head-wraps) and resplendent asoebis (dresses) to reflect her star status. All costumes by designer Brandee Mathies are reflective of the African fashions of the day.

Director Raymond O. Caldwell heightens the humor and extracts terrific performances from the well-cast characters who speak in the lovely, lilting patois of Nigeria and display a singular talent for the kind of physical comedy we know from Charlie Chaplin and Lucille Ball.

A super fun, audience participation comedy with a happy ending.  What’s not to like?

With Sound Design by Nick Hernandez; Projection Design by Kelly Colburn; and Vocal/Dialect Coach Dawn-Elin Fraser.

Through July 3rd at Round House Theatre, 4545 East-West Highway, Bethesda, MD 20814. For tickets and information call the box office at 240 644-1100 or visit www.RoundHouseTheatre.org.

Prelude to a Kiss

Prelude to a Kiss

The Little Theatre of Alexandria
Jordan Wright
Special to the Alexandria Times
June 7, 2022

Brianna Goode (Rita), Smithchai Chutchainon (Peter) (Photo/Matthew Randall)

A nifty little romantic fantasy this way cometh from The Little Theatre of Alexandria. Prelude to a Kiss is the perfect antidote needed to brush away the quarantine blues. For those who remember the film starring Alec Baldwin and Meg Ryan, this will be a fun and lively reprise. The rom-com with a message penned by playwright/actor Craig Lewis tells the story of a young couple who meet and fall in love in a split second. Rita (Brianna Goode) is a bartender at The Tin Market. Her politics drift towards Socialism. Sorta. She’s an incurable insomniac and lifelong cynic. Peter (Smithchai Chutchainon) on the other hand is conservative yet freewheeling. Will it work out? Think James Carville and Mary Matalin.

Jon Radulovic (Dr Boyle), Liz Leboo (Mrs Boyle), Smithchai Chutchainon (Peter) (Photo/Matthew Randall)

Enter Rita’s parents Dr. Boyle (Jon Radulovic) and his wife Marion (Christine Tankersley). Well-off and living in the tony suburbs of Englewood Cliffs, New Jersey, they welcome Peter into their lives and after a steamy, whirlwind courtship (the production has an Intimacy Choreographer) the young couple wed. At the wedding a stranger appears, an elderly man (Cliff Rieger) who kisses the bride and wishes her well. But the stranger’s kiss takes Rita’s innocent soul and transfers his to her. I flashed back to the Disney film Freaky Friday that employs a similar conceit wherein the mother switches bodies and teenage, angsty experiences with her daughter.

Smithchai Chutchainon (Peter), Brianna Goode (Rita), Amber Kelly-Hevard (waiter) (Photo/Matthew Randall)

On their Jamaican honeymoon, Peter quickly notices that his wife has become both feisty and fearless and resolves to get to the bottom of her peculiar transformation. “It’s as if she had switched channels,” he observes. The “new” Rita tries to convince Peter that she is the same person and when they return from Jamaica, she reads the real Rita’s old journals to mimic her behavior and attempt to regain Peter’s love. How Peter bravely tries to restore Rita to her true self demonstrates the power of love.

There are some excellent performances most especially by Radulovic who has a history of performing in some of DC’s leading theaters and shows his pro acting chops here; Rieger who delivers an impassioned soliloquy on Life and Death in Act II; Liz Leboo who came in at the last minute to replace Tankersley and whom I hope we’ll see a lot more of; the shirtlessly sexy and wonderfully intense Chutchainon who shines when he breaks the fourth wall in search of the truth; and Goode who proves to be the perfect sultry and vulnerable complement to Peter.

Smithchai Chutchainon (Peter), Brianna Goode (Rita) (Photo/Matthew Randall)

With Casey Knisley as Taylor; Joey Pierce as Tom; Brendan Chaney as Uncle Fred; Deja Elliott as Aunt Dorothy; Amber Kelly-Herard as Waiter; and Kelly Trott as Leah.

Produced by Carol Strachan and Alan Wray; Directed by Maggie Mumford; Set Design by Peter Mumford; Lighting Design by JK Lighting Design; Sound Design by David Correia; Costume Design by Mary Wallace; and Intimacy Choreographer, Ruben Vellekoop.

Through June 25th at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA 22314. For tickets and information call the box office at 703 683-0496 or visit www.TheLittleTheatre.com. Strict COVID protocols are in place for all performances. Check the website for details.

A Monster Calls

A Monster Calls

The Kennedy Center for the Performing Arts
Jordan Wright
May 31, 2022
Special to The Zebra

Photo/Manuel Harlan

Don’t be confused by the title of this play and the fact that the author, Patrick Ness, a multi-award-winning writer of children and adult literature whose work went into Spiderman and Star Wars, also created and wrote the 8-part series Doctor Who.  A Monster Calls is a superbly crafted, deeply emotional thriller about a British teenager whose nightmares and dreamscapes threaten to overwhelm him. It is a story of love and loss of pain and growth, perfect for teens and adults alike.

While his mother (Bridgette Amofah) endures endless cancer treatments, Conor (Anthony Aje) stumbles through life as if in a daze. It doesn’t help that his remarried father (Tom Lorcan) lives thousands of miles away in America. Wracked with the fear of losing her and the guilt of dwelling on her demise, Conor struggles to both process and express his feelings. He marks his days assuaging his pain by allowing the school bullies to beat him up, turning his back on the only friend who wants to protect him. His nights are filled with dread as the Monster (Keith Gilmore) appears to him in his sleep guiding and filling him with stories of impossible feats and ultimate heroism. “I come to heal you,” the Monster proclaims through stories of dragons, princesses and ancient lore that fill Conor’s fitful dreams.

Photo/Manuel Harlan

Gripping from the get-go, it is at once frightening, powerful and utterly engaging. You do not want to miss a split second. I had to remind myself to breathe. The stirring plot toggles between tender scenes of mother and son and the intensity of wildly colorful video dream projections; explosive sound, smoke and strobe effects; and eerie (at times Gregorian, at others like Sting) electronika music. This is edge-of-your-seat stuff. I absolutely loved it.

Metaphors abound with the use of massive ropes which dangle from the rafters and substitute for objects and emotions. Cast members use them to encircle their bodies, slide down them and raise themselves up to the top through creatively choreographed movements. The rest of the cast sits on either side of the stage handing off a bowl of cereal, a quart of milk, a school uniform and other mundane objects.

Photo/Manuel Harlan

Most impressive are the young actor Anthony Aje whose agility and ability to morph from poignant to terrified is amazingly cool, Greg Bernstein as Conor’s brutal enemy Harry whose anger-fueled rants keep Conor meek, and Keith Gilmore as the Monster whose physical athleticism and ferocity are galvanic.

This all-British production is highly recommended.

Photo/Manuel Harlan

With Greg Bernstein as Harry; Eleanor Kane as Lily; Sarah Quist as Ms. Godfrey; Lauran Rae as Sully; Anita Reynolds as Grandma; Paul Sockett as Mr. Marl; and Nathaniel Christian as Anton. All cast members except Conor double in the ensemble.

Based on the novel by Patrick Ness; Inspired by an idea by Siobhan Dowd; Adapted by Sally Cookson and Adam Peck; Set Design by Michael Vale; Director/Co-Adaptor Sally Cookson; Composer Benji Bowser; Lighting Designer Aideen Malone; Costume Designer Katie Sykes; Video Designer Dick Straker; Aerial Director Matt Costain; Sound Designer Mike Beer; Puppetry Laura Cubitt; Originating Producer Old Vic and British Old Vic.

Through June 12th 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.

Our Town

Our Town

Shakespeare Theatre Company
Jordan Wright
May 28, 2022
Special to The Zebra

It’s been a while since I’ve seen a production of Thornton Wilder’s American classic, Our Town. Chances are it was a high school production.  Maybe you could say the same. I’ll even venture to guess either you’ve been in this play or seen someone you know perform it. Written in 1938 and set at the turn of the 20th C in a small town in New Hampshire, Wilder draws on his New England roots to embrace the ordinariness of diurnal family life in Grover’s Corners. The zeitgeist captures the essence of the American family unit reminiscent of the homogenized 1950’s – think Norman Rockwell. Kids go to school, the milkman delivers, newspapers arrive by a boy on his bike and the whole family eats dinner together every night. To present this drama, Director Alan Paul employs a local and very diverse cast, a departure from casting big name, out-of-town actors. Lately, there’s been a demand for theaters to use locals in the cast and crew, and some directors have risen to the challenge. As Paul said on opening night, “Making theater now is kind of like a radical act.” And, I’d suggest, a gamble.

Local actors Holly Twyford, Natascia Diaz, Felicia Curry, Jake Loewenthal, Lawrence Redmund, Craig Wallace, Sarah C. Marshall and Erin Posner are a known commodity to those of us who have seen them in a variety of roles at many local theaters. Collectively, they can boast numerous Helen Hayes Awards and their performances and characters are as finely tuned here as in any of their previous work. That said, I’m not at all sure audiences are ready to embrace an old chestnut like Our Town which leans heavily toward White nostalgia for suburban life in the early Edwardian era. Is this what post-COVID audiences are looking for from dramatic productions? It seems to me audiences are looking to explore more complex themes, chuckle over satire and/or tap into the struggles of different cultures with eyes wide open. We expect to be immersed in something deeper in a play. What is universal in Our Town is the message of hopes denied and dreams deferred, but it’s quite a stretch to take it from small-town, White America and expect it to apply to all other cultures.

Scenic Designer Wilson Chin presents us with a Quaker-simple, pared down set in the round and dots it with wooden chairs and tables to laser-focus on the text and the families and townsfolk interactions. As stripped down as it is, I still yearned to see the moon to drop down from the rafters during Emily and George’s teen love scene. It’s appeared in every production I’ve ever seen, and I missed its dramatic metaphor for the wider world we live in and the tender emotions of young love in bloom.

 

Only in the third act of this lengthy drama, when ghosts of her past haunt Emily during her voyage between death and the afterlife, do we glimpse the crux of the play. They advise her not to review her life nor attempt to make contact with any of the others – living or dead. They advise Emily to just give up – to cede to the inevitable. It is at this point that Paul dispenses with the miming of props and surprises us with a rising glass box featuring Mrs. Webb preparing pancakes and surrounded by props to wow us.

If you love these actors, as I do, you will want to see this production.  But, then again, you’ve probably seen it a hundred times.

With Holly Twyford as Stage Manager; Eric Hissom as Dr. Gibbs; Hudson Koonce as Joe Crowell/Si Crowell; Christopher Michael Richardson as Howie Newsome; Chinna Palmer as Emily Webb; Natascia Diaz as Mrs. Gibbs; Felicia Curry as Mrs. Webb; Jake Loewenthal as George Gibbs; Maisie Ann Posner as Rebecca Gibbs; Josh Decker as Sam Craig; Tommy Nelson as Wally Webb; Kimberly Schraf as Professor Willard; Craig Wallace as Mr. Webb; Lawrence Redmond as Simon Stimson; Sarah C. Marshall as Mrs. Soames; Elliot Dash as Constable Warren; Suzanne Richard as Joe Stoddard; Quinn M. Johnson, Ensemble; Summer Wei, Ensemble.

Costume Designer, Sarafina Bush; Sound Designer, Lighting Designer, Phillip Rosenberg; John Gromada; Composer, Michael John LaChiusa; Music Director, Jay Crowder.

Through June 11th at Shakespeare Theatre Company at Sidney Harman Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.

Theater Returns

Theater Returns

Jordan Wright
May 2022
Special to The Zebra

Dim the house lights. Cue the orchestra. Places, people. Break a leg! Would these words ever again be uttered in theaters gone dark for over two years? Well, yes!

“The experience of being back at the Kennedy Center with in-person audiences this fall was nothing short of thrilling. Seeing the excitement in the halls, hearing the chatter of patrons, listening to artists warming up behind the scenes—I was crying before I even sat down in my seat. The innovation that artists and administrators showed throughout the pandemic creating virtual and distanced experiences has been fabulous, and I am genuinely excited to follow the future of performing arts in the digital space; however, at the same time, the return to in-person performances proved that there is nothing like that collective feeling where hundreds of people around you all have a tingle up their spine at the same time that says, “we are witnessing something incredible.”  –  – Brendan Padgett, Director of Public Relations, The John F. Kennedy Center for the Performing Arts.

At long last we have come full circle – back to joining friends and family and the joys of experiencing live theater. The anticipation has been nail-biting. Throughout the long dark period we teared up imagining huge, empty performance venues like Kennedy Center with its hundreds of seats, restaurants and grand halls completely devoid of life. Smaller theaters suffered mightily too ending their long-planned seasons with an unceremonious thud. Yet slowly, with heightened safety protocols in place, theaters have been returning to pre-pandemic strength and we theater mavens are madly rejoicing. So, too are the thousands of performers and crew members around the world who are emerging from their Covid cocoons to a joyful return to the stage.

Photo/Matthew Murphy

There’s no denying that the shared experience of enjoying a live performance surrounded by like-minded people engenders an incomparable energy. You could say the same for sports events and concerts. It’s electrifying. Gets the juices flowing. Look! Everyone is enjoying this as much as I am. To the point, I’ve never seen more standing ovations for the talents of musicians and actors. In a way, the hiatus has allowed directors more time to tweak and fine tune their production and longer rehearsal time has afforded singers and actors the ability to develop their roles. Productions in general are more polished than ever.

This eagerly anticipated return of theater is the existential medicine we have all craved. Though some theaters have seen their audiences grow through the magic of streaming, many had to shutter, cancel seasons planned years in advance, and what’s worse, lay off everyone from the front of the house to the back of the house. The struggle has been real.

So how did they manage it? London’s West End theaters started the ball rolling with strict guidelines for theatergoers. Days later Broadway followed their lead and shortly thereafter Washington-based theaters took up the challenge. It all happened within a matter of weeks. Pivoting was the name of the game and new protocols gave rise to a safe theater experience.

File Photo

In the beginning, as theaters struggled to figure out how to mount a production while keeping audiences safe, I saw creative solutions of how to space people six feet apart. At Alexandria’s The Little Theatre I sat beside colorful, cardboard heads of cats and people ensuring nearby seats would not be occupied. Checking vaccination cards at the door and insisting on masking once inside the theater became standard operating procedure for every theater. Announcements were made before the start of the performance telling patrons to keep their masks on at all times and ushers strolled the aisles with signs gently reminding masks be worn over the nose as well. Some theaters eliminated intermission to keep people seated to lessen the risk of mingling in close quarters in their lobby. Revenue from refreshment stands dried up. Yet some theaters sent patrons home with homemade cookies or boxed desserts. Others provided paper masks and hand-sanitizing stations were everywhere. Audiences felt more at ease. It seemed everyone was willing to comply and the experience of being together for the shared experience of enjoying a performance was not diminished by the new normal.

Since then, 6-feet apart spacing is not generally employed, but most other protocols are still in place. What will change and what will remain of these safety protocols is yet to be seen, but from a recent poll by Theatre Washington, 80% of audiences want to keep them in place.

My takeaway – I haven’t heard coughing, sneezing, nose-blowing, etc. since these rules were employed and most of us have happily enjoyed a flu- and cold-free season like never before.

Update: Thirty theaters in the DMV have extended strict COVID protocols. Nonetheless, before purchasing seats, ticket buyers should check each theater’s protocols posted on their websites.

Now, ladies and gentlemen, curtain up!