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Jordan Wright
September 10, 2019
With season opener 1 Henry IV, director Rosa Joshi makes her Folger Theatre directorial debut. As expected it is a departure from the classic interpretation to an edgier contemporary dynamic. As Joshi describes it, “I Henry IV is filled with intrigue, humor, action and suspense – messy people doing messy things under messy circumstances.” And that suits the context, both in defining our current politics as well as society in general.
 Falstaff (Edward Gero) holds court at the Boar’s Head Tavern in Shakespeare’s 1 Henry IV. On stage at Folger Theatre, September 3 – October 13, 2019. Photo by C. Stanley Photography. As an exercise in sub rosa dastardly doings, mad scenes of revelry, and the royals’ intractable determination to use the church as their backup plan, it’s rollicking good fun. Scenes of drunken nights at the pub interspersed with first-class plotting and the clickety-clack of swordplay serve as backdrop as Prince Hal tries to get back into the good graces of his authoritarian papa, King Henry IV, and at the same time trying to keep the lid on Falstaff, a dyspeptic thief and party animal who turns tail at the thought of a fight, while puffing up his image to anyone who’ll lend an ear. He’s the epitome of a self-dealing scoundrel with some of the best throw down lines ever written.
 Poins (Jazmine Stewart) puts a scare into her partner-in-crime Falstaff (Edward Gero), as Prince Hal (Avery Whitted) looks to ease the tension. C. Stanley Photography Ed Gero plays Falstaff, a far cry from his award-winning role as the conservative Supreme Court Justice, Antonin Scalia, in The Originalist and, perhaps, even farther from his role as King Henry half a decade ago in Shakespeare Theatre Company’s production of Henry IV. Here Gero takes on the role of the loveable scallywag and crusty rogue interested in women and ale more than any rule of law that might reduce his formidable swagger.
 King Henry IV (Peter Crook, right) shows great displeasure with his son, Prince Hal (Avery Whitted) in Shakespeare’s coming-of-age-tale 1 Henry IV. On stage at Folger Theatre, September 3 – October 13, 2019. Photo by C. Stanley Photography. No matter. Young Hal adores his cantankerous Falstaff. “That huge bombard of sack, that stuffed cloakbag of guts, that roasted Manningtree ox,” Hal affectionately calls his surrogate father. To prepare Hal for a visit with the king wherein Hal plans to reclaim his princely duties and pledge support in the king’s looming battle against the rebels, Falstaff pretends to be Hal’s father. It’s here where Gero has the audience well in hand with his sendup of the king greeting his son. Garbed in a red velvet pillow for a hat and swathed in a tablecloth for a robe, he is a marvelous and commanding comedic presence.
 Mistress Quickly (Kate Eastwood Norris, right) sees to her patrons at the Boar’s Head Tavern (left to right: Todd Scofield as Bardolph, Sam Midwood as Peto, Edward Gero as Falstaff). C. Stanley Photography Gero plunges expertly into the role of the hapless ne’er-do-well, as you might expect from this seasoned actor, yet it is Avery Whitted as Hal who brings balance, pace and a sharp sense of comedic timing to his character, and, more importantly, to the play itself. I found myself drifting off into Shakespeare’s cadences, and the predictability of the script, until Whitted was in a scene. Something about his buoyancy, craftsmanship, athleticism and ability to instantly anchor everyone around him, made him immensely entertaining to watch.
 The cast of Folger Theatre’s 1 Henry IV (Peter Crook as King Henry IV at center). C. Stanley Photography Also, notable and pleasurable to watch are three-time Helen Hayes Award winning actor Naomi Jackson as Worcester, Peter Crook as King Henry IV, and the delightful Kate Eastwood Norris in dual roles as Mistress Quickly and Vernon.
Scenic Design by Sara Ryung Clement; Costume Design by Kathleen Geldard; Lighting Design by Jesse Belsky; with Original Music and Sound Design by Palmer Heffernan.
Through October 13th at the Folger Shakespeare Theatre at the Folger Shakespeare Library, 201 East Capitol Street, SE, Washington, DC 20003. For tickets and information call 202 544-7077 or order online. And be sure to follow the free new podcast, “Will & Our World” featuring talks on Shakespeare, his world, and talks with contemporary artists, authors and scholars of Shakespeare.
Jordan Wright
September 10, 2019
“A woman brings to the stage a woman’s point of view. After all, it is what in the long run pleases a woman that makes a show a success.” — Renée Harris, 1920.
 Broadway Dame by Randy Bigham and Gregg Jasper has been optioned for a film by Lara Slife Last month in a piece for The New York Times, Michael Paulson wrote an interesting piece on a group of current female Broadway producers. In an industry where women are significantly underrepresented, these women are seeking gender parity. Some of these now-famous female producers climbed the ranks as apprentices to male producers – others had their own personal fortunes. Each had their challenges in a male-dominated industry.
But in a new book by Randy Bryan Bigham and Gregg Jasper, all of these women had a powerful predecessor they may never have known of, Renée Harris, of Washington, DC who nearly a century before them came to be the first and most successful female producer Broadway had ever seen. It is an eye-opener of a book and since its publication this summer, it has been optioned by award-winning producer/writer/director, Lara Slife of Livin’ Large Productions for an upcoming feature film, Broadway play, and television series based on Broadway Dame.
 Henry B. “Harry” Harris and Renée Harris at their Hudson Theatre, 1910 With a keen eye for detail and a wealth of photos and personal letters from the late Mrs. Harris’ private collection, period theater posters, and celebrity glamour shots, the authors give us an indelible portrait of a woman who broke Broadway’s glass ceiling over a hundred years ago beginning in 1899 when she met Henry “Harry” Harris, a prominent producer who owned a New York-based theatrical agency with his father. Through the agency young Harry was becoming a powerhouse, eventually managing such major stage stars as Ethel Barrymore, Mae West, and Lillie Langtry.
 A Hudson Theatre program cover for George M. Cohan’s The Tavern (1921), managed by Renée. After their marriage Harry started producing his own shows at the Hudson Theatre which he owned. Keeping Renée at his side whenever he was producing or directing a new show, she soon became an important influence and creative force in staging, costume design, and even finding and approving talent. In time Harry came to own a large number of theaters on the Great White Way including Broadway’s Folies Bergère theater featuring an Irving Berlin-written song, “Alexander’s Ragtime Band” and starring Ina Claire.
The Harris’ enjoyed a posh lifestyle with New York’s theatre royalty until a fateful voyage aboard the Titanic on April 15, 1912 when Harry drowned along with many other men who had sacrificed their lives to see their wives and children safely onboard lifeboats.
 The lifeboat in which Renée escaped from the sinking of the Titanic. Against all odds, a condemning Variety and a vitriolic Walter Winchell who didn’t cotton to a woman producer, Renée thrived, never forgetting the needs of the actors. She debuted Barbara Stanwyck and Clare Boothe Luce and launched the career of playwright Moss Hart. The iconic song-and-dance vaudevillian, George M. Cohan became a familiar draw at the Hudson Theatre. Some of the biggest names in show business performed in her shows including Fanny Brice, Billie Burke, Alfred Lunt, Douglas Fairbanks, “Fats” Waller, and many more. Yet amid all the socializing and producing, her humanitarian side cared deeply for the needs of the actors, standing on the frontlines as the only woman in the Producing Managers Association during the Actors’ Equity strike.
 Renée Harris at a party in Palm Beach, 1925. Thanks to the close friendship between Jasper and Renée later in her life, and the theater and historical knowledge and writing style of both he and Bigham, this dazzling photo-filled biography of Renée Harris is chockful of showbiz tales, Titanic memorabilia, and fascinating insider stories of Harris’ extraordinary rise from legal secretary to a 20-year career as the most successful female producer on Broadway.
 Renée directing a play in 1936. Inspiring and indelible – every theater lovers’ must-have biography.
Broadway Dame ~ The Life & Times of Mrs. Henry B. Harris (Hayes-Stokes Press Group 2019) by Randy Bryan Bigham and Gregg Jasper.
Available on Lulu.com .
Jordan Wright
August 27, 2019
Mosaic’s fifth season opens with two-time Pulitzer Prize winner Lynn Nottage’s play Fabulation Or, The Re-Education of Undine. Nottage draws from the notion of “Sankofa”, a West African concept that touches on a number of relatable themes – poverty, success, loss, love and hope. Its central premise is revisiting the past to find what has been lost, in order to connect with the future. Heady stuff that refutes the notion that you can never go home.
 William Newman Jr and Felicia Curry – Photo credit Christopher Banks Undine Barnes is arrogant and self-assured – a veritable bitch on wheels. A queen boss who graduated Dartmouth and became a successful public relations entrepreneur. In the process she ditched her hard-working, middle-class family living in the projects in Brooklyn (she tells everyone they died in a fire) and found her niche by marrying, Hervé, a suave Argentinian with oodles of unctuous cachet. Unfortunately, the slick mountebank quickly obliterates her celebrity-centric business by running off with all her dough.
 Felicia Curry and Carlos Saldaña – Photo credit Christopher Banks At 37-years old and pregnant, Undine (née Shorona) must now find a way to start over. Leaving her luxe Manhattan lifestyle, but not her bougie Vuitton handbag, she is forced to move back home. Along the way ancient spirits parade the stage with drums and ancient calls and she meets a Harvard-educated, Yoruba priest, who works for cash and booze in exchange for advice.
 Roz White, Felicia Curry, and Lauryn Simone – Photo credit Christopher Banks They all weave in and out of Undine’s misadventures as she becomes reborn. It is these ancient ceremonial interstices that ground the story and make it more profound than light comedy. Because, though it would be classified as a comedy, it is more like Alice in Wonderland crossed with Cookie Lyon of Empire and anchored by ancient African mythology.
 Aakhu TuahNera Freeman and Felicia Curry – Photo credit Christopher Banks Nottage crafts unforgettable characters – a heroin-addicted granny, street-smart welfare mommas, a group therapy circle of ex-junkies, and a brother whose rap poetry centers on the “double-voiced” trickster figure of B’rer Rabbit from The Tales of Uncle Remus. Thus, the “fabulation”.
 Felicia Curry – Photo credit Christopher Banks Famed actor Felicia Curry stars as Undine and she is positively incandescent. It’s a tough role to go from angry black woman on top of the world to humbled and hopeful, educated woman navigating the mean streets. But, once you see how seamlessly she handles that difficult transition, you can’t imagine any other woman in the lead. Under the expert direction of Eric Ruffin, the cast not only thrives but carves out an ensemble that meshes beautifully.
Highly recommended.
With Aakhu TuahNera Freeman as Grandma/Doctor/Inmate, William Newman Jr. as Father/Yoruba Priest, Carlos Saldaña as Hervé/Guy, Lauryn Simone as Stephie/Counselor/Devora, Kevin E. Thorne II as Flow/Agent Duva, James Whelan as Accountant Richard and Roz White as Mother/Allison/Rosa.
Assistant Director Jared Smith, Set Design by Andrew Cohen, Lighting Design by John D. Alexander, Costume Design by Moyenda Kulemeka, and Sound Design by Cresent R. Haynes.
Through September 22nd at The Atlas Center for the Performing Arts – 1333 H Street, NE, Washington, DC 20002. For tickets and information call 202 399-7993 ext. 2 or visit www.MosaicTheater.org.
Jordan Wright
August 24, 2019
Special to The Alexandria Times
 Evan Casey (John Hinckley), Ian McEuen (Giuseppe Zangara), Christopher Bloch (Sam Byck), Lawrence Redmond (Leon Czolgosz), Vincent Kempski (John Wilkes Booth), Bobby Smith (Charles Guiteau), Rachel Zampelli (Lynette “Squeaky” Fromme), and Tracy Lynn Olivera (Sara Jane Moore) in Assassins at Signature Theatre. Photo by Christopher Mueller. Artistic Director Eric Schaeffer opens the season with Assassins, Signature’s 30th production of a Stephen Sondheim musical with book by John Weidman who wrote for National Lampoon (that should give you a clue as to what to expect in terms of irony) and later for Sesame Street. The story is a deep dive into the mind of an assassin, though it’s far from grim. In fact, it’s as comedic as it is concerning, and Schaeffer, who also directs the production, has assembled some of the most notable local performers to star in this intriguing piece.
What kind of a person becomes an assassin? I say ‘person’ because American assassins have been both male and female. Some claim religion or revenge as motive. Are they sociopaths or garden variety kooks, narcissistic psychotics or just temporarily gone off the rails? Some feel isolated – shut out of the American Dream of prosperity or fame – but all their stories are different, and it’s worth noting that their sociological backgrounds, whether they sprang from wealth or poverty, don’t necessarily give rise to their murderous desires. In fact, not all assassins have political motives. It’s a fascinating conundrum. Remember Hinckley’s twisted infatuation with actress Jodie Foster?
 Evan Casey (John Hinckley) and Rachel Zampelli (Lynette Squeaky Fromme) in Assassins at Signature Theatre. Photo by Christopher Mueller. We are introduced to these seven madmen and two madwomen – nine would-be and successful presidential assassins who used a gun to carry out their acts – in a carnival-like atmosphere. “Shoot the President. Win a prize.” is the theme. One by one we meet Booth, Charles Guiteau (shot Garfield), Giuseppe Zangara (shot FDR), Samuel Byck (attempt on Nixon, but first to try to hijack and blow up a plane), Leon Czolgosz (shot McKinley), Lynette “Squeaky” Fromme (attempt on Gerald Ford), Sara Jane Moore (attempt on Gerald Ford), Lee Harvey Oswald (shot John F. Kennedy), and Hinckley (shot Reagan).
 Sam Ludwig (Lee Harvey Oswald) in Assassins at Signature Theatre. Photo by Margot Schulman. For John Wilkes Booth, it was for the glory and notoriety. It’s been suggested the failed actor was depressed about recent bad reviews. After all he used Ford’s Theatre, where he himself had once performed, to shoot Lincoln.
 Vincent Kempski (John Wilkes Booth) in Assassins at Signature Theatre. Photo by Christopher Mueller. Sondheim applies irony and wry, dark humor to the music to broaden the appeal and deepen the construct. There is passion and even empathy, especially of the broader social issues that drove Oswald the loner and loser, and Czolgosz, the disillusioned Pole who fell in love with social activist Emma Goldman. And who couldn’t love a song entitled, “Everybody’s Got the Right”?
 Tracy Lynn Olivera (Sara Jane Moore), Lawrence Redmond (Leon Czolgosz), Ian McEuen (Giuseppe Zangara), Christopher Bloch (Sam Byck), Sam Ludwig (Balladeer), Kurt Boehm (The Proprietor), Rachel Zampelli (Lynette “Squeaky” Fromme), Evan Casey (John Hinckley), Vincent Kempski (John Wilkes Booth), and Bobby Smith (Charles Guiteau) in Assassins at Signature Theatre. Photo by Christopher Mueller. Particularly hilarious are imagined meetings between Manson follower, Fromme (Rachel Zampelli, captivating as a hippie princess druggie), and ex-CIA employee and suburban mom, Moore (Tracy Lynn Olivera in a superbly crafted performance), as the two women bond over their guns while shooting up a bucket of KFC as target practice.
 Rachel Zampelli (Lynette “Squeaky” Fromme) and Tracy Lynn Olivera (Sara Jane Moore) in Assassins at Signature Theatre. Photo by Margot Schulman Another exceptional performance is by Christopher Bloch as Byck, a get-off-my-lawn, ex-U. S. soldier and would-be assassin. Bloch is extraordinary in two scene-length monologues. Clad in a Santa suit, Byck rants his delusional screed into a tape recorder to mail to Leonard Bernstein and later Richard Nixon.
 Christopher Bloch (Sam Byck) in Assassins at Signature Theatre. Photo by Margo Schulman. An all-around incredibly powerful cast who inhabit the characters like a second skin. Riveting and relevant with a ravishing score.
Highly recommended.
With Lawrence Redmond as Leon Czolgosz, Evan Casey as John Hinckley, Bobby Smith as Charles Guiteau, Ian McEuen as Giuseppe Zangara, Vincent Kempski as John Wilkes Booth, Kurt Boehm as Proprietor, Sam Ludwig as Balladeer, Christopher Mueller as David Herold, Sam Ludwig as Lee Harvey Oswald, Jimmy Mavrikes as President Gerald Ford, Jack St. Pierre as Billy, Christopher Michael Richardson as James Blaine and Maria Rizzo as Emma Goldman. Nova Y. Payton appears in the ensemble.
Scenic Design by James Kronzer, Costume Design by Kathleen Geldard, Lighting Design by Chris Lee, Sound design by Ryan Hickey, Concept by Charles Gilbert, Jr.
Through September 29th 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.
Jordan Wright
August 11, 2019
Four years ago, Dear Evan Hansen premiered at Arena Stage under the direction and guidance of Molly Smith and Edgar Dobie. The angsty teen musical starred Ben Platt who subsequently became a huge star when the show went to Broadway where it won six Tony Awards in 2017 plus a Grammy for “Best Musical Theater Album” in 2018. Before seeing this national touring company production, I reread my original review, which surprisingly, was quite specific as to the pros and cons.
 Ben Levi Ross as ‘Evan Hansen’ and the Company of the First North American Tour of Dear Evan Hansen. Photo by Matthew Murphy Although a fresh, new concept in musical theater, I noted the production seemed overly cloying and needed work with some of the songs. More specifically, I was eager to see the show get some much-needed, strategic editing and a sharper focus. From my August 2015 review: “The show loses momentum as the characters’ roles are overly fleshed out and side stories stretch into distractions. Another bump is the annoying repetition of lyrics and all too frequent use of falsetto called for in the songs.” Thankfully the overuse of falsetto is gone. Gone too is the annoying repetition of some lyrics, and the story now is now focused on a universal, multi-generational message that truly resonates.
 Ben Levi Ross as ‘Evan Hansen,’ Aaron Lazar as ‘Larry Murphy,’ Christiane Noll as ‘Cynthia Murphy’ and Maggie McKenna as ‘Zoe Murphy’. Photo by Matthew Murphy I give huge credit to producers Stacey Mindich, Wendy Orshan and Jeffrey M. Wilson who hung on tight and cherished the vision of Steven Levenson’s book, and the music and lyrics of Benj Pasek & Justin Paul by taking the musical to the next level – a more polished, fully developed, gorgeous musical that provides the audience with the humanity and humor it craves.
 Ben Levi Ross as ‘Evan Hansen’ and Jessica Phillips as ‘Heidi Hansen’ in the First North American Tour of Dear Evan Hansen. Photo by Matthew Murphy The coming-of-age story of Evan Hansen centers around a tormented teen raised by a single mother in the fraught age of social media. Insecure and an outcast at school, Evan’s psychologist asks him to self-examine by writing letters to himself. That alone doesn’t curb the bullying or bring him closer to his teen crush Zoe until the day Connor Murphy, a fellow outcast, takes his own life and a series of unconnected events offer Evan purpose to his lonely life, recognition from his peers, and a made-up tale for his broken arm. “You play who you have to play,” his pal Jared advises him as he, Evan and Alana concoct a social media scheme to capitalize on Connor’s untimely death. Unfortunately, the result proves how devastating Twitter and Facebook can be when used to promote a false narrative. On a larger scale it can be socially and politically devastating as we have witnessed in our national political system.
 Christiane Noll as ‘Cynthia Murphy’ and Jessica Phillips as ‘Heidi Hansen’ in the First North American Tour of Dear Evan Hansen. Photo by Matthew Murphy Fans will thrill to Ben Levi Ross’ (Evan Hansen) galvanic voice in hits like “Waving Though a Window”, “For Forever”, “You Will be Found” and “Words Fail” which brings the house down. Another high point is the beautiful and lyrical intensity actor Jessica Phillips (as Evans’ mother, Heidi) brings to the number, “So Big/So Small” which is when you wish you’d brought a handkerchief.
Highly recommended. Moving and relatable, Dear Evan Hansen calls out to both parents and teens with truth and humor.
Also starring Jared Goldsmith as Jared Kleinman; Phoebe Koyabe as Alana Beck; Maggie McKenna as Zoe Murphy; Christiane Noll as Cynthia Murphy; Aaron Lazar as Larry Murphy and Marrick Smith as Connor Murphy.
Directed by Michael Greif; with Orchestrations & Original Arrangements by Alex Lacamoire; Costume Design by Emily Rebholz; Choreography by Danny Mefford; Scenic Design by David Korins; Projection Design by Peter Nigrini; Lighting Design by Japhy Weideman and Sound Design by Nevin Steinberg with the Kennedy Center Opera House Orchestra.
Through September 8th at the John F. Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC. For tickets and information call 202 467.4600 or visit www.Kennedy-Center.org.
Jordan Wright
July 28, 2019
Special to The Alexandria Times
The ProducersThe Little Theatre of Alexandria didn’t seem so little last night with its super-sized production of The Producers, the Mel Brooks/Thomas Meehan musical comedy. The tremendous cast is led by four stellar comic actors – Steve Cairns in the role of the flamboyant producer Max Bialystock, newcomer and up-and-comer Ryan Phillips as the hapless co-producer Leo Bloom, Sirena Dib as the Ulla, the adorable Swedish cream puff, and WATCH Award-winning actor Brian Lyons-Burke as the drag queen Broadway director, Roger DeBris.
 Max (Steve Cairns), Ulla (Sirena Dib), Leo (Ryan Phillips) ~ Photographer: Matthew Randall Famed Broadway producer Max is down on his luck and his dough, when Leo, an accountant comes to his office to do his books. Leo tells Max he’d make more money if he produced a flop, so Max hatches a plan to tap his coterie of little-old-lady backers for a coupla mil and abscond to Rio with Leo and the cash.
 Leo (Ryan Phillips), Max (Steve Cairns) ~ Photographer: Matthew Randall The pair set about to find the worst director, Roger DeBris, the worst actors, and the worst playwright discovering Franz Liebkind, a Bavarian loony and pigeon fanatic who has written a dreadful play called “Springtime for Hitler”, that features the Nazi SS and their minions.
Thinking it will be their ticket to salvation they assemble the worst crew in showbiz to execute their convoluted plan. But when the reviews come in calling it “a satirical masterpiece”, they can hardly believe it. The musical is a hit. In the tune “Where Did We Go Wrong?” sung by Max and Leo, they bemoan their fate. When Max gets arrested for scamming his backers, lovebirds, Leo and Ulla, hightail it to Rio with all the dough. Of course, that’s not the half of the hijinks nor of the big numbers backed by an exceptional 22-piece orchestra.
 Ulla (Sirena Dib), Leo (Ryan Phillips), Judge (Brandon Steele), Ensemble (Courtney Caliendo), Max (Steve Cairns) and Ensemble ~ Photographer: Matthew Randall The big budget production features sixteen amazing costume changes that go from glitz-and-glam to lederhosen-and-dirndls. Throw in a stage-ful of Nazi uniforms, sequined prison stripes and over-the-top drag courtesy of Roger’s assistant, Sabu (Brandon Steele). The 15-member ensemble of hoofers and songsters belts and taps to nineteen numbers that had the audience roaring with approval on opening night. Even the props were funny, including a rooftop scene with a cage filled with nodding pigeons.
Highly recommended. Kudos to all for a terrific night of hilarity, crazy wild theatrics and a standing ovation.
Produced by David Correia and Mary Beth Smith-Toomey, directed by Kristina Friedgin with original direction and choreography by Susan Stroman, Set Design by Dan Remmers, Lighting Design by Ken and Patti Crowley, Costumes by Jean Schlicting and Kit Sibley, Choreographer by Stefan Sittig, Property Design by Kirstin Apker, with Colin Taylor conducting.
Through August 17that 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
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