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Jordan Wright
November 6, 2018
In Terrence McNally’s lavish musical Anastasia the luxe life of the dynasty that was the Romanovs collides head on with reality. The Russian Revolution of 1917 proved to be the downfall of the gilded empire ruled by the Romanov family. Collateral damage included the brutal murders of Tsar Nicholas, his wife, Tsarina Alexandra, and their five children. But according to myth, one child was purported to have secretly escaped. Or did she? There hangs the tale.
 Victoria Bingham (Little Anastasia) and Joy Franz (Dowager Empress) in the National Tour of ANASTASIA. Photo by Evan Zimmerman It’s a fascinating legend and one that has captivated both scholars and modern society for decades. Until her death in 1984, the woman who called herself Anastasia regularly regaled the media and anyone who would listen about her charmed life as a royal and her perilous escape to Paris and into the arms of her ex-patriot grandmother the Dowager Empress. Was this child an imposter or the real deal? “Somewhere down this road ? I know someone’s waiting. / Years of dreams just can’t be wrong! / Arms will open wide / I’ll be safe and wanted / Finally home where I belong.” – from “Journey to the Past” – Anastasia.
 Lila Coogan (Anya) and Stephen Brower (Dmitry) in the National Tour of ANASTASIA. Photo by Evan Zimmerman. Two grifters, one a royal familiar with the Russian court, find the child starving and sweeping the streets of St. Petersburg, alone and adrift and suffering from amnesia. Together they teach her everything they know about the real Anastasia – her parents, her relatives and life at court – with the endgame to reap a huge reward by delivering her into the arms of her aging grandmother. “We’re going to create a fairy tale,” Vlad tells Dmitry. As her memory appears to return, the young girl surprises them by knowing of events only the real Anastasia would have known.
 Lila Coogan (Anya) and Stephen Brower (Dmitry) in the National Tour of ANASTASIA. Photo by Matthew Murphy Evocative projections of the onion domes of St. Petersburg, snow swirling outside the grand palace, the bridges across the Neva River and the glory and glamour of Paris set the scene. Most spectacular is a scene on a train as the trio, chased by Russian authorities, escape to Paris, a city where Russian émigrés struggle to maintain their dignity and former grandeur in the City of Lights.
 Edward Staudenmayer (Vlad), Tari Kelly (Countless Lily) and the company of the National Tour of ANASTASIA. Photo by Matthew Murphy. By now it is 1927 the height of the Roaring 20’s when they finally arrive in search of an audience with the Dowager Empress. There they are stopped in their tracks by Countess Lily, a gatekeeper who attempts to keep the old woman from the stream of pretenders. Look to enjoy grand waltzes and Cossack dances to the Charleston and snippets of ballet in Swan Lake from Choreographer Peggy Hickey to the accompaniment of the Kennedy Center Opera House Orchestra conducted by Lawrence Goldberg.
Composer Stephen Flaherty and Lyricist Lynn Ahrens afford us a lush score that evokes the grandeur of the period with waltzes and folk ballads, comic ditties and heart-stopping solo numbers in a production that will wow the most jaded theatregoer.
Highly recommended. This is a huge show with gorgeous, unforgettable production values and memorable casting.
 Edward Staudenmayer (Vlad), Lila Coogan (Anya), Stephen Brower (Dmitry) and the company of the National Tour of ANASTASIA ~ Photo credit Mathew Murphy In order of appearance – Victoria Bingham as Little Anastasia/Alexei Romanov, Joy Franz as Dowager Empress, Lucy Horton as Tsarina Alexandra, Michael McCorry Rose as Tsar Nicholas II/Count Ipolitov/Count Gregory, Fred Inkley as Count Leopold/Gorlinsky, Taylor Quick as Young Anastasia/Paulina, Brianna Abruzzo as Maria Romanov/Marfa, Claire Rathbun as Olga Romanov, Kourtney Keitt as Tatiana Romanov/Dunya, Tari Kelly as Countess Lily, Jason Michael Evans as Gleg, Stephen Brower as Dmitry, Edward Staudenmayer as Vlad, and Lila Coogan as Anya.
Directed by Darko Tresnjak with Scenic Design by Alexander Dodge, breathtaking Costume Design by Linda Cho, Lighting Design by Donald Holder, Projection Design by Aaron Rhyne, and Orchestrations by Doug Best.
Through November 25th at The Kennedy Center for the Performing Arts, 2700 F St., NW, Washington, DC. For tickets and information for future shows call 202 467-4600 or visit The Kennedy Center for the Performing Arts.
Jordan Wright
November 7, 2018
The 12th Annual Alexandria Film Festival will bring over 70 films to area film enthusiasts from November 8-11. For followers of this festival, it just gets better every year. Expect to see shorts, documentaries and indie films that may never hit mainstream theaters, but may have debuted at film festivals around the country. Talk with hot new filmmakers who are enjoying media buzz.
The celebration begins Thursday, Nov. 8 with a free program of six short films, screening outdoors at Waterfront Park in Old Town. The Free Flowing Musical Experience will kick things off at 6:30pm, with shorts beginning at 7pm with free popcorn for the first 100 guests.
AMC Hoffman 22 Theater on Eisenhower Avenue and Beatley Central Library on Duke Street will serve as the principal venues. More than 60 filmmakers will be in attendance presenting their films over the festival weekend. See full program details at www.AlexFilmFest.com
Ticketed shows can be found at www.AlexFilmFest.Eventbrite.com for $12. or $15. at the door. An All-Fest Pass is also available for $50. at www.AlexFilmFest.Eventbrite.com or for $70. at the door.
With more than 50 premieres of short and feature-length films, the festival features films from around the world including Canada, France, India, Lebanon, Spain, South Africa, United Arab Emirates, the U.K., and the U.S. Local filmmakers will screen new work and several directors, producers, actors and crew members will take questions from the audience after each screening. We love talkbacks!
Free screenings at Beatley Central Library are on Friday, November, 10th from 10:30am – 5:30pm at 5005 Duke Street, Alexandria.
Ticketed screenings at AMC Hoffman Theater 22 are on Saturday and Sunday, November 10th and 11th at 206 Swamp Fox Road, Alexandria. Tickets are available at www.AlexFilmFest.Eventbrite.com.
Highlights include:
- Burke and Herbert Bank Family Showcase – Features five premieres for, by, or about younger viewers and their families, presented by nine filmmakers including the grand prizewinner in the national video contest “Lights, Camera, Save.”
- Salute to Service Members Showcase – Features four films, including three premieres on Veterans Day Weekend. Veterans and active service members will be honored with free admittance plus one guest to this showcase. First come, first served. Guaranteed seating must be made through advance purchase online.
- Two “Film Noir” Showcases – Extend the season’s Halloween chills with these thrillers.
- “Meant to be Broken” is a clever “dramedy” about a mild-mannered guy who has never broken a rule, while he tries to cope with some very bad news by breaking them all. Q&A following with D.C. filmmaker Jonathan Zuck.
- “The Makeover” is about a conservative policy wonk who learns to embrace his feminine, alter ego, Giselle. Q&A with Alexandria Filmmaker Jane Pittman and Giselle Donnelly. World premiere.
- “Hunting Lands” is a story about a veteran-turned-recluse who witnesses the aftermath of a heinous crime and takes justice into his own hands. A Virginia premiere that will keep you guessing!
- “Trickster” – A man’s life is forever changed when he meets a beautiful young woman who needs help. A ‘Twilight Zone’ meets ‘Inception’ thriller. East coast premiere. Q&A with filmmaker Jamie Paolinetti.
- “American Exploitation: The Slaves Among Us” – Investigates sex trafficking in suburban America. Q&A with filmmakers Benjamin Brothers and John Carter. World premiere.
- “American Relapse” – An inside look at the heroin epidemic in Southern Florida and the corrupt underground “rehabilitation” industry that sprung up, not to combat but to profit. Q&A with filmmaker Pat McGee.
- “Iron Orchard” – Virginia Premiere of an epic rise and fall of a Texas oilman torn between love and ambition. Q&A with filmmaker Camille Chambers.
The festival concludes with an awards ceremony and closing reception on Sunday, November 18th.
Jordan Wright
October 30, 2018
People may forget who America’s early activists were, but in their day, women’s rights suffragist and Quaker, Susan B. Anthony, and African American abolitionist, Frederik Douglass, changed the course of history in this nation. What do we know of their personal lives, their 45-year friendship, or their struggles to assure the freedom to vote for all Americans regardless of race or gender? Through the lens of Mat Smart’s historically topical play I learned of the constant threats to their lives, the beatings, the shootings and the riots that ensued when they spoke about social justice and equality. They were The Agitators and speaking out about injustice was their inspiration. To this day, we hear the echoes of their struggle for justice.
 Marni Penning as Susan B Anthony and Ro Boddie as Frederik Douglass – Photo credit Mosaics Stock. Smart follows their friendship as they crisscross the country, often speaking at lecture halls on the same program. Anthony, who fought fiercely for women’s rights to vote, and Douglass, who emerged from a life of slavery as one of the nation’s foremost abolitionists securing the right to vote for African-Americans. Today, with the closure of numerous polling places in predominantly African-American districts and the discounting of their votes in Georgia and other states, it is clear that the fight for equality at the voting booth is far from over.
The play opens in 1849 at the Anthony family farm in Rochester, NY where the Anthony family welcomes Douglass into their sphere of influence. The farm was a haven for abolitionists to share ideas and strategies for the movement and it’s where Douglass and Anthony solidified their friendship and their goals and where their collegial competition begins. Over the decades they shared ideas and strategies, but the play’s drama is in the who will get to the finish line first. Will it be Douglass in his struggle to end slavery and get Blacks the vote? Or Anthony, working with other suffragists to secure the vote for women? Despite their victories, we are still fighting these same issues.
 Marni Penning as Anthony and Ro Boddie as Douglass ~ Adanna Paul and Josh Adams ~ Photo credit Mosaic Stock Director KenYatta Rogers takes us on their fraught journey with moments of raw tension juxtaposed with the power of faith guided by the ghosts of past injustices. But it is the outstanding performances by Marni Penning as Anthony and Ro Boddie as Douglass as both allies and agitators that carry us borne aloft through a half-century of friendship based on mutual admiration and respect.
Costume Designer, Amy MacDonald, dresses Anthony in her signature red shawl (See the original at the National Museum of American History) with her iconic alligator handbag, and Douglass in his top hat is seen not far from his precious violin which gave him solace. These important historical elements employed in both props and costumes are crucial emblems lending gravitas to every scene.
Timely and highly recommended.
With ensemble members Adanna Paul and Josh Adams.
Lighting by Alberto Segarra, Sound Design by David Lamont Wilson, Projections Design by James Morrison and Property Design by Emily Boisseau.
Through November 25th at the Atlas Center for the Performing Arts – 1333 H Street, NE, Washington, DC 20002. For tickets info on post show discussions, special rates and discounts visit www.MosaicTheater.org or call the box office at 202.399.7993 ext. 2. Valet parking at 1360 H Street, NE.
Jordan Wright
November 1, 2018
Special to The Alexandria Times
 The cast of Shakespeare’s political power play King John at Folger Theatre. Photo by Teresa Wood. That this play is rarely produced, is an enigma. Okay, it doesn’t have maidens frothily cavorting with lords a-leaping, but I couldn’t help thinking that if only I’d seen this as a teenager, much of my angst about studying Shakespeare might have been completely avoided. In King John Shakespeare affords us some of the most expressive language he has ever written. Wish I’d had some of his snappy putdowns in my mental back pocket. “Oh, dunghill,” one of the characters calls another making for a far more effective retort than, “You meanie!”. Amirite?
 King John (Brian Dykstra) rules over England, with his mother Queen Eleanor of Aquitaine (Kate Goehring) by his side. Photo by Teresa Wood. Apart from Richard II, King John is the only other Shakespeare play written entirely in verse. And though the play’s prose is already lyrically outstanding, six-time Helen Hayes Award-winning Director, Aaron Posner tosses in some of Shakespeare’s greatest lines from a range of his plays, “Let slip the dogs of war”, “Once more into the breach” and “My kingdom for a horse”, for good measure. And we’re off!
 Philip, King of France (Howard W. Overshown) and John, King of England (Brian Dykstra) join hands in Shakespeare’s King John. Photo by Teresa Wood. Set during King John’s turbulent reign from 1199 to 1216, war is ever present as the fight for ascension to the throne after Richard the Lionheart’s death, threatens John’s tenuous reign. The French want control of the territories, and everyone has a different notion as to who should wear the crown including the Vatican, France, John’s mother Eleanor, Pandolf, Philip Faulconbridge, the Dauphin and Constance, mother to Arthur, John’s young nephew, and ferocious defender of her son’s right. And then there’s the citizens of a French village, Angers (so apropos), who threaten to bar the gates if John becomes king. So pretty much everyone except Philip who is hired on to protect him and Eleanor who stands to lose the family jewels should John be deposed. As Shakespeare puts it, “I have never been so bethumped!”
 Noble English Lords take up arms (left to right: Kate Goehring, Maboud Ebrahimzadeh, Holly Twyford) in Shakespeare’s King John.. Photo by Teresa Wood. As King of England, John must fight off all pretenders and wannabes. Watching him wrangle the forces around him and destroy others in his path, is downright exhilarating as the action swings from one war to the next. One particularly effective scene is staged in total darkness. Actors light up their own faces one by one as they recite their lines from opposite regions of the stage.
As expected there is superb acting all around but most impressively from Kate Eastwood Norris in the male role as Philip of Faulconbridge, the bastard son of Lady Faulconbridge by Richard the Lionhearted, and Holly Twyford as Constance, the overly protective mother of Arthur. We are utterly besotted. As Folger’s Artistic Director, Janet Alexander Griffin puts it, “We are thrilled to have the talents of Aaron Posner and this extraordinary cast bring a timely history play of political posturing and covetous transgressions to life… just blocks away from the Capitol building.”
 Louis the Dauphin, son of the King of France (Akeem Davis) and John’s niece Blanche of Spain (Alina Collins Maldonado) arranged to be wed, a sign of peace between France and England. Photo by Teresa Wood. With Akeem Davis as Louis the Dauphin; Brian Dykstra as John, King of England; Maboud Ebrahimzadeh as Austria and Salisbury; Kate Goehring as Queen Eleanor, Lady Faulconbridge and Bigot; Megan Graves as Arthur and Prince Henry; Alina Collins Maldonado as Blanche of Spain; Sasha Olinick as Chatillon and Cardinal Pandulph; Howard W. Overshown as Philip King of France, Melun and Peter of Pomfret; Brian Reisman as Robert Faulconbridge and Elan Zafir as Hubert.
Scenic Design by Andrew Cohen, Costume Design by Sarah Cubbage, Lighting Design by Max Doolittle.
Through December 2nd at the Folger Theatre at the Folger Shakespeare Library, 201 East Capitol Street, SE, Washington, DC 20003. For tickets and information call 202 544-7077 or visit www.Folger.edu/theatre.
Jordan Wright
October 2018
 Photo credit: Jordan Wright Single malt whisky connoisseurs can rejoice at the news that some of the finest whiskies in the known world have reached our shores from Amrut Distilleries in India. Amrut “Fusion” has been rated “third best” whisky in the world by British whisky writer, Jim Murray, with 97 points from the Whisky Bible who at that time ranked it third in the world. They could also boast of the “Thumbs Up” award from Malt Maniacs and dozens more awards worldwide. A recipient of 92 points out of 4,800 entries by Whisky Advocate, they have consistently beat out the best-known Scottish whiskies in countless blind tastings. Its “Single Malt Peated Cask” has scored a coveted 92 points from the Whisky Bible. In 1987, and despite outsider prejudice, Amrut bravely put its product into these highly competitive Scottish tastings to prove it can compete with the best in its field. They are now the number one whisky in India, despite the country’s longtime preference for Johnny Walker Black, a holdover since the early days of British colonialism.
Last month I had the opportunity to taste all of Amrut’s products from their single malt through their entire gamut of whiskies and rums. I didn’t do a blind tasting, because frankly I would have planted my face in the floor, especially as it was a noon tasting and I hadn’t had breakfast. Managing to keep upright throughout, I settled in for a concentrated, thought-provoking experience that would both confound and alter my appreciation of whiskies outside the realm of the best-known brands.
 Photo credit ~ Amrut Made from select Indian malted barley grown in Punjab and Rajasthan, these spirits are distilled in the hot climes of India. They react to those conditions by coming to fruition far earlier than others of their ilk. Their flavors are modified by temperature, added ingredients (spices, citrus peel and the like), the wood used in the casks, Himalayan water from the Sutlej river, and the casks’ former use. These choices are made under the direction of Master Distiller Surrimar Kumar, a 33-year veteran of Amrut and award-winning whisky innovator, and veritable genius in drawing out the complexly crafted, unique personalities he is after. One of Kumar’s creations is Amrut “naraangi” that won “World’s Best Whisky 2018”. Aged three years in an ex-oloroso sherry cask, the single malt is then seasoned with wine and orange peel and aged for another three years.
Did you know that 60-70% of flavoring comes from the barrel? That’s how important the choice of wood is for determining the final profile. So, imagine for a moment using wood from five different species of trees to produce one whisky barrel. These specially designed barrels are used exclusively for their “Spectrum Single Malt Whisky” to be available in 2020. I’ve tasted whisky made in port barrels and sherry barrels (Amrut “Single Malt Whisky Intermediate Sherry” earned 96 points from the Whisky Bible), but this is an exciting new concept. A Special Limited Edition, Amrut “Madeira” aged in Madeira barrels, will be on the U. S. market in time for the holidays.
 Neel Jagdale – Chairman of Amrut ~ Photo credit: Amrut Next year, Ashok Chokalingam, who has been with the company for many years, will take the reins as Master Distiller and Whisky Innovator bringing his own imagination to the company’s growing range of whiskies and rums. At our first meeting he offered up this self-effacing quote. “We are a minnow coming from India,” he told me. Well, this minnow of a company has become a full-grown shark with a high demand for its products that’s currently five times what they can supply. But, no worries. The company’s newest plant will now be able to accommodate its rising popularity. Amrut is now in 45 countries and boasts $3M in annual sales. Surprisingly, the U. S. is the second largest market outside of Europe for “Amrut Single Malt Indian Whisky”.
 AMRUT – Photo credit: Jordan Wright Now I’m no expert in describing the varied flavor profiles of whisky, I rely on my palate and my years of experience tasting spirits from around the world. I leave it to the whisky mavens to create descriptors for these products. They’re the ones that can extrapolate the taste of honey, chocolate, ginger, licorice, chocolate-chip cookie dough, driftwood (?!!!), orange, smoked fish, pepper, barbecued meats, pears, coconut, cherries, plums, raisins, lemons, and on and on. It’s a probably good thing they don’t describe food.
 [Color Wheel Credit] ~ Courtesy of Whisky magazine Because India is the world’s second largest producer of sugar in the world, Amrut made the decision to produce rum, and it is sensational. Ashok explained that rum existed since 320 BC – long before rum was produced in the Caribbean in the 17 th century. Amrut offers two types of rum – “ Two Indies Rum”, made with leftover sugar cane from Jamaica, Trinidad and Guyana. It is made with five rums that have been aged together. The “ Old Port Deluxe Matured” has a lovely hint of coconut from the jaggery sugar used in the process. Jaggery is a by-product of sugar cane grown in India.
 Two Indics Rum ~ Photo credit: Amrut If you’re looking to impress a whisky connoisseur with the whiskies that everyone is talking about, you can do no better than some of these winning spirits.
Imported by Glass Revolution Imports you can find many of these whiskies and rums in our area at Jack Rose Dining Saloon, Pappe, Bombay Club, Rasika, Karma, Chaplin’s and Chloe by Haidar Karoum.
For more information visit Amrut Distilleries and Amrut Whisky UK Office.
Jordan Wright
October 16, 2018
 Monica (Candice Shedd-Thompson) and Ian (Matthew Schleigh)~ Photo credit Chris Banks If you were ever in a garage band, were a fan of the rock icons of the 70’s, or even dreamed of becoming a rock star, Rooms ~ a Rock Romance is calling your name. This sweet love story of two Glaswegian teens who find each other against all odds is a rock opera on steroids. Monica (Candice Shedd-Thompson) is a self-proclaimed Jewish princess while Ian (Matthew Schleigh), her unlikely collaborator and composer, is Catholic from the rough side of the tracks. She’s fire. He’s ice. Can they find success in show biz and romance?
 Monica (Candice Shedd-Thompson)~ Photo credit Chris Banks After Monica hires Ian to write the music to a song she’s written for her friend’s bat mitzvah, she invites him to share Shabbat supper with her family and a trip to the temple the following day. Ian likes her close-knit family, who are quite unlike his own. His dad is a drunk. His mom abused. While her family is loving, successful and supportive. He likes Led Zeppelin. Her idol is Carly Simon. She is set on a career as a rock star while introvert Ian prefers to stay in his room with his guitar. When she finally convinces him to become a band, they decide punk rock is where the money is. Together they form “The Diabolicals”, performing together in ever larger concert venues in London and America and becoming the rock stars Monica had dreamed of. Famed New York City punk palace CBGB is referenced as one of their gigs.
 Monica (Candice Shedd-Thompson) and Ian (Matthew Schleigh)~ Photo credit Chris Banks The couple experiences love, breakup, success and failure, not necessarily in that order, but against the backbeat of a kick-ass five-piece band positioned in full-view on two-tiered scaffolding. Paul Scott Goodman’s notable score underpins this high energy, sing-through musical giving us songs that are heart-meltingly memorable and ranging from rock to Scottish punk (remember The Clash?) to ballads. “Never Gonna Leave This Room” soloed by Ian at his lowest ebb is as gut-wrenching and powerful as Monica’s tender solo ballad about her father’s betrayal of her mother. In duets, their voices blend seamlessly.
 Monica (Candice Shedd-Thompson)~ Photo credit Chris Banks Directed by Thomas W. Jones II, Rooms ~ a Rock Romance was originally developed and presented at the New York Musical Theatre Festival and had its world premiere at MetroStage ten years ago when it received five Helen Hayes nominations and a win for Natascia Diaz for Outstanding Lead Actress.
Music Direction by Matthew Stephens, Co-book by Miriam Gordon, Set Design by Carl Gudenius, Light Design by Alexander Keen, Costume Design by Michael Sharp, Projection Design by Patrick W. Lord. Matthew Stephens on keyboard, David Cole on guitar, Tony Harrod on guitar, Yusef Chisholm on bass and Greg Holloway on drums.
Thoroughly entertaining. Rock on!
Through November 11th at MetroStage, 1201 North Royal Street, Alexandria, 22314. For tickets and information call 703 548.9044 or visit www.metrostage.org.
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