All productions of A Christmas Carol are good, but only some are amazing. Chesapeake Shakespeare Company’s is the best.

The story is the same — Ebenezer Scrooge is haunted by three spirits who teach him the true meaning of Christmas — but the setting is 1843 Baltimore. This update, adapted by Laura Rockyln, includes a visiting Charles Dickens (Paul Diem) and a cameo by Edgar Allen Poe (William Beckstrom). References abound to Baltimore-area landmarks, like the (Baltimore) Washington Monument and the Calverton Almshouse. These minor additions pay off. Thinking about Scrooge walking down streets that we have all walked before serves to ground the production and give it a sense of reality.

The scenic design by Dan O’Brien further conveys the time period and the Baltimore setting by representing the banking building of Scrooge and Marley’s as it would have appeared in 1843; a very fun bit of storytelling within the updated script is that Scrooge and Marley’s is located at the address of Chesapeake Shakespeare Company, a building whose life began as a bank. The stage is set and re-set by the cast with a table and benches as needed for the scene. By nixing large set pieces and utilizing representative hand props (courtesy of props artisan Katherine Ross) like a door knocker and locks, the pace never lagged. Longer scene changes marking the passage of time are covered by Kate Forton singing by candlelight, one time joined by Brendan Edward Kennedy.

Forton’s and Kennedy’s dulcet singing interludes aren’t the only music, though. Fiddler Ellie Cattle and pianist William Beckstrom seldom leave the stage, using live music to underpin emotional scenes. Many scenes include full-cast, multi-part harmony caroling; Music Director Grace Srinivasan brought extremely talented artists together and turned them into a well-balanced and nuanced chorus. A welcome addition to the bounty of traditional Victorian-era Christmas songs sprinkled throughout the play is the inclusion of a scene of factory workers using their hammers and other working tools to keep time through a traditionally spiritual song.

A Christmas Carol production can only be as good as its Scrooge, and blessedly, Gregory Burgess delivers. Burgess brings a full range of emotions to Scrooge, establishing him at first as a miserly and miserable old man and slowly and convincingly transforming him into a completely different man, one full of joy and love for all. The way Burgess punctuates surprising moments with a high-pitched shriek brought peals of laughter from the audience. A very sweet ending moment between Scrooge and Tiny Tim (Georgianna Ashford and Everett Engler share the role) showcases that not only can Burgess act, he is also an incredible singer.

Supporting Scrooge through his redemption arc is a true ensemble cast. Not only responsible for portraying the myriad supporting characters within the story, individuals also took turns narrating, creating sound effects, and adding depth to the staging by sitting and watching characters along the edges of the playing space. A major standout in this stellar cast is Scrooge’s niece, Frances (Elana Michelle). To a role almost defined by cloyingly sweet optimism, Michelle brings a level of sincerity that grounds the character, making her love of Scrooge despite it all seem reasonable and compassionate. Another highlight is Mrs. Cratchit (Joelle Denise). Denise’s voice holds multitudes of emotion as the strong matriarch of the Cratchit family, conveying the exhaustion of a life lived hard. When Denise holds back tears, the audience weeps them for her.

No rendition of A Christmas Carol (and so, no review of A Christmas Carol) can be complete without the four spectral presences. Jacob Marley (Samuel Richie) is the first ghost we see, clanking out from under Scrooge’s bed weighed down by chains. In truly ghoulish makeup and with the ensemble echoing his wails from the rafters, Richie’s warnings to Scrooge become otherworldly and terrifying. Being dragged away by other faceless specters is very striking but may be a bit much for some of the younger audience members. Thankfully for the kids, the next ghost in line is The Ghost of Christmas Past (Morganne Chu), who is not just figuratively incandescent but is literally dazzling in a beautiful white gown and matching bouffant, replete with glowing lights (kudos to Costume Designer Kristina Lambdin). Chu’s Christmas Past is sweet and empathetic, and she plays the role deftly. The Ghost of Christmas Present (Brendan Edward Kennedy) is next. Kennedy fills the room with his thunderous voice and playful demeanor, bringing smiles to everyone on (and off) stage. The Ghost of Christmas Yet to Come is a massive and cowled phantom puppet, designed by Chris Reuther and puppeteered by Paul Diem, Isaiah Mason Harvey, and Samual Richie, working in concert. Helped greatly by Lighting Designer Luis Garcia, scenes from Scrooge’s future with this towering wraith-like spirit overlooking take on a nightmare quality. It’s impressively done, and as Director Séamus Miller says in his director’s note, “These torments allow [Scrooge] to break through to a joy that seemed utterly unattainable at the start of the night.”

This is the tenth year Chesapeake Shakespeare Company has presented A Christmas Carol, and it shows. From the first notes of caroling to Tiny Tim’s famous “God bless us, everyone!” there is not a moment wasted or a scene that drags on. More importantly, the love and effort displayed by the cast and crew will warm your heart this holiday season.

Running Time: Two hours with one 15-minute intermission.

A Christmas Carol plays through December 23, 2023, at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. Purchase tickets (starting at $56 for adults, at $31 for youth under 25) by calling 410-244-8570, visiting the Box Office in person, or ordering online.

A Christmas Carol
Adapted from Charles Dickens by Laura Rocklyn

CAST
Ebenezer Scrooge – Gregory Burgess*
Bob Cratchit – Brendan Murray*
Frances – Elana Michelle Williams*
Jacob Marley – Samuel Richie*
Ghost of Christmas Past – Morganne Chu
Ghost of Christmas Present – Brendan Edward Kennedy*
Young Scrooge – Isaiah Mason Harvey*
Dick Wilkins – Benny Pope*
Belle – Tia Thomas
Mrs. Fezziwig – Ali Haas
Mr. Fezziwig – Paul Diem
Mrs. Cratchit – Joelle Denise
Mrs. Dilber – Molly Moores*
Mrs. Pickersgill – Kate Forton*

CREATIVE TEAM
Director – Séamus Miller*
Production Manager – Lauren Engler*
Production Stage Manager – Samba Pathak
Rehearsal Stage Manager – Monique Chambers
Assistant Director – Quae Simpson
Technical Director – Dan O’Brien*
Set Designer – Dan O’Brien*
Lighting Designer – Luis Garcia
Costume Designer – Kristina Lambdin*
Props Artisan – Katherine Ross
Dance and Movement Choreographer – Quae Simpson
Wardrobe Supervisor – Hannah Brill
Wardrobe Assistant – Hana Clarice
Light Board Operator – Andrew Pfluger
Backstage Swing – Gabby Grant
Production Associate – Dawn Thomas Reidy*
Assistant Stage Manager – Griffin DeLisle
Youth Cast Supervisor – Vanessa Strickland
Senior House Manager – Pam Forton*
COVID Safety Officer – Mandy Benedix*
* A member of Chesapeake Shakespeare Company

The post A spirited ‘Christmas Carol’ set in Baltimore at Chesapeake Shakespeare appeared first on DC Theater Arts.

Located just 47 miles away from Washington, DC in The Plains, Virginia, Dark Horse Theatre Company creates some of the best theater in the DC area. Director Natasha Parnian continues a streak of excellent plays with the regional premiere of The Laramie Project: Ten Years Later, the sequel to The Laramie Project. Much like The Laramie Project, the narrative unfolds through a series of recreated interview transcripts that were conducted by members of Tectonic Theatre Project, with citizens of Laramie, Wyoming. 10 years after their initial interviews, citizens were asked about the continued impact that the murder of Matthew Shepard has had on their lives. Staging this play in the round is a strong choice, executed well. Cast members are seated throughout the audience, which creates an even more immersive experience, particularly when the cast adds sound effects to key moments in scenes.

Each actor played multiple roles in a truly ensemble performance. In addition to the use of small props, light costume changes, or sometimes completely different mannerisms, narration by Cheryl Lane throughout the play is immensely useful for telling characters apart, as she announces the name of each character as they enter (or re-enter in later scenes). As the play is a series of interviews and transcripts, it could become difficult to keep track of the story. However, Celia Cooley (Moment Announcer, ensemble) helps to keep scenes connected; she helps to frame scenes by summarizing how scenes are tied together. Both Lane and Cooley speak clearly and with empathy. Their words and tone are integral to the mood of the evening.

Angie Mirae (Cowboy, University Official, ensemble), Cary Reese (Matt Mickelson, Governor Freudenthal), and Marcia Markey (Marge Murray, Grandma), may have fewer characters than some, but their impact on the play is huge. Mirae’s coldness as the cowboy immediately indicated to the audience that not everyone interviewed was polite or kind. Markey is incredibly sweet and comfortable as Marge Murray. Cary Reese brings a weighty exhaustion to Matt Mickelson – I wish I could see what he does when he treads the boards as Aaron and Russell (among other roles) on January 17 and 18.

Brandy Smith (Jim Osborne, ensemble) and Samantha Mitchell (Leigh Fondakowski, Jan Lundhurst) both have amazing presence onstage. Smith’s portrayal of Jim Osborne is disarming and laidback at times, but quickly jumps to fierce incredulity. Mitchell’s Leigh Fondakowski is very expressive vocally, with nuanced non-verbal reactions that resonate with how the audience feels.

Playing Mathew Shepard’s parents are Ken Gilfillan (Moisés Kaufman, Jeffrey Lockwood, John Dorst, Dennis Shepard, Glen Silber, Father Roger, Peterson) and Kimberly Kemp (Beth Loffreda, Judy Shepard, Rental Car Agent) Kemp is heartbreaking as Judy Shepard. Her feeling of loss is palpable. Gilfillan’s speech as Dennis Shepard is moving and as a pair, Kemp and Gilfillan do a phenomenal job portraying real parents who have gone through the worst thing imaginable. Gilfillan also shines as Father Roger, with a laugh that is both infectious and much needed; this is a dark play, and little bits of light ensure that the audience doesn’t get acclimatized.

Matt Thomas (Stephen Belber, Dave O’Malley, George, Childers) and Ricardo Padilla (Greg Pierotti, Rob Debree, Republican Man) have some of the best reactions to the worst occurrences. Thomas makes O’Malley’s sense of betrayal at the 20/20 interview feel like a punch to the gut. Padilla’s shock upon discovering that the fence where Matthew Shepard was murdered had been taken down is a memorably expressive moment.

Watching Nailah Hunter’s (Zackie Salmon, Romaine Patterson) anguish turn to rage as Zackie Salmon is an emotional peak of the play. Her Romaine Patterson is equally powerful and feels very real.

With a whopping 9 unique characters, Allison Turkel (Rebecca Hilliker, Reggie Fluty, Deb Thomsen, Mom, Nikki Elder, Student, 20/20 narrator, Susan Swap, Desk Mate) does the most character-hopping, often utilizing distinct gaits and posture to best drive the differences.

The two actors I found myself the most drawn to watching were Star Bobatoon (Cathy Connolly, Lucy Thompson, Jane) and Matthew Butcher (Jedadiah Schultz, Andy Paris, Jerry Parkinson, Russell Henderson, Aaron McKinney). Bobatoon’s Lucy Thompson as a devoted, proud, face-touching grandmother to a murderer is expertly done, and is juxtaposed superbly with her role as Cathy Connolly, played stridently and with great command. Butcher plays both of the convicted murderers of Matthew Shepard (Russell Henderson and Aaron McKinney). The only commonality between the two characters is the costume. Butcher shows the dichotomy between the two perfectly.

Make sure you stick around after the play for a brief Q&A with the cast!

Running Time: Two hours and 20 minutes, with one 10-minute intermission.

The Laramie Project: Ten Years Later plays through January 25, 2020, at Grace in The Plains, 6507 Main Street, The Plains, VA. Tickets are available at the door or online.

The post Dark Horse Theatre Company presents regional premiere of ‘The Laramie Project: Ten Years Later’ appeared first on DC Theater Arts.

Prince William Little Theatre’s A Charlie Brown Christmas feels as comfortable and warm as snuggling up on the couch and watching classic Christmas movies with a mug of cocoa. Supported by the hard work of set designer Nick Mastrangelo, set painters Lori Ransom and Kathryne Mastrangelo, and costume designer Susy Moorstein, director Chrissy Mastrangelo leans into the nostalgia and embraces the classic Peanuts atmosphere both aesthetically and with close attention to characterization.

The plot is the same as the animated feature from which A Charlie Brown Christmas takes its name. Charlie Brown (Nick MacFarlane) isn’t quite sure why he isn’t in the Christmas spirit. With help (or ridicule) from the rest of the Peanuts gang, he attempts to direct a Christmas play, but nobody will listen. Leaving Lucy (Kacie Brady) in charge of the rehearsal, Charlie Brown and best friend Linus (Trevor Nordike) leave in search of a Christmas tree. Unfortunately, their tree selection is met with contempt from the rest of the gang. Linus then reminds everyone about the true meaning of Christmas and after a quick Christmas tree transformation, the gang sings “Hark the Herald Angels Sing.”

All of this is followed by a singalong of popular holiday songs, which transitions delightfully into the next event: PWLT’s Choral Christmas Card. The cast of A Charlie Brown Christmas sing and dance to even more of your favorite Christmastime classics!

You couldn’t ask for a better Charlie Brown in Nick MacFarlane. Even if he wasn’t wearing the iconic yellow and black striped shirt, a passing glance leaves no doubt as to who is playing Charlie Brown because MacFarlane has perfected the Charlie Brown frown and walk.

Some of the best interactions of the evening are between MacFarlane and Trevor Nordike, who absolutely nails the understated sincerity of Linus. Nordike integrated Linus’s ever-present blanket into his mannerisms so effectively that even though it is always with him, it never overshadows his performance.

Kacie Brady’s Lucy is stellar and one of the highlights of A Charlie Brown Christmas. Brady’s line delivery is lively and very much inspired by the original. When Snoopy (Katherine Blondin) goes in for a kiss, Brady responds with the classic and hilariously well-done outburst about dog germs. Blondin brings a lot of Joe Cool meets Class Clown energy to her Snoopy, which brings a lot of lightness to her scenes.

Rounding out the rest of the Peanuts gang are Sally (Lisa Arnold), Schroeder (Timothy Burhouse), Violet (Bevin Hester), Patty (Laura Castillo), Pig Pen (Cana Wade), Frieda (Darcy Heisey) and Shermy (Lindsey Capuno). Some of the silliest moments are from Cana Wade, who performs Pig Pen in a constant miasma of dust, with a broad grin and great presence. The depth of this ensemble is almost impossible to overstate, because in addition to setting the mood for A Charlie Brown Christmas, they are also some of the primary performers in the Choral Christmas Card. Watch out for Bevin Hester, who signs in ASL for the singalong; she also dazzles in her solo in “I’ll Be Home for Christmas.” Even when in supporting roles in the songs, everyone is clearly having a great time.

There are so many reasons to see PWLT’s A Charlie Brown Christmas but if you need just one, it will put you in the Christmas spirit and bring a smile to your face.

Running Time: One hour, with no intermission.

A Charlie Brown Christmas, presented by Prince William Little Theatre, plays through December 22, 2019, at the Hylton Performing Arts Center’s Gregory Family Theater, 10960 George Mason Cir, Manassas, VA. Tickets are available at the door or online.

Assistant Director, Hayley Katarina; Music Director, Justin Streletz; Producers, Jennifer Rodriguez; Stage Manager, Katie Morris; Assistant Stage Manager, Pat McInerney; Lighting Design, Peter Ponzini; Sound Design, Michelle Matthews; Properties, Katie Sue Ransom

The post Christmastime is here (in Manassas) with Prince William Little Theatre’s ‘A Charlie Brown Christmas’ appeared first on DC Theater Arts.

One Man, Two Guvnors, written by Richard Bean and directed at Vienna Theatre Company by Eric Storck, is aggressively funny stuff. Played as big as possible, each character pays homage to Commedia dell’arte while still keeping the plot moving right along.

If you’ve seen Carlo Goldoni’s 1700s comedy The Servant of Two Masters (the play this is sort of based on) you’re already somewhat familiar with the plot. The play begins with everyone gathered to celebrate the engagement of Pauline Clench (Gabrielle Grant) and Alan Dangle (Ryan Harrison Lee). What seems like a happy evening is halted when Francis Henshall (Brian David Clarke) arrives unexpectedly and declares that he works for Roscoe Crabbe (Elizabeth LeBoo), the recently deceased ex-fiancé to Pauline. Except, Roscoe doesn’t seem to be dead. Harry Dangle (Steve Rosenthal), Lloyd Boateng (Charles Boone), and Charlie’s bookkeeper, Dolly (Brittney Stane) all react in bewilderment as Roscoe joins the party himself to remind Pauline’s father Charlie (Jay E. Reiner) that he owes him money and demand that he pay up. Something doesn’t seem quite right with Roscoe, and the audience quickly finds out that Roscoe is dead, and his twin, Rachel, is pretending to be him for money to flee with her boyfriend/Roscoe’s killer, Stanley Stubbers (Blake Gouhari) to Australia. Henshall later finds himself in the employ of both Roscoe Crabbe and Stanley Stubbers, unbeknownst to either of them. Of course, chaos ensues.

Eric Storck did a phenomenal job immersing the audience into the story. As soon as I entered the auditorium I was greeted by a live band called The Brighton Boys (which consists of many musicians and may change from night to night: Tom Breen, Rhett Russell, Jim Russell, Robert Carr, John Graham, Peter Rafle, Blake Simkins, Keith Stafford, Bruce Wyman) playing upbeat rock music. The band played well throughout the evening, including during scene changes. The audience was encouraged to get up and dance during the preshow and because the band was so animated, many obliged.

Most of the actors mingled with the audience in character before the show, giving a little bit of insight into what was in store. My favorite people to watch during the preshow were Gertie (Lisa Mackem) and Alfie (Steve Palkovitz) who both had a lot of fun dancing around to the band. Later, they added a lot of great physical acting moments during one of the most chaotic scenes.

Gouhari and LeBoo play the “two guvnors” and have amazing stage presence. Gouhari has a fantastically expressive face and delivers lines with amazing deadpan. LeBoo played two characters- Rachel Crabbe, and Rachel-pretending-to-be her dead (not identical!) twin brother Roscoe. With two unique voices and mannerisms, LeBoo did a great job differentiating between the two characters.

Boone, Rosenthal, and Reiner all play father figures to different characters (Boone’s Lloyd often remarks that Rachel is like a daughter to him) in very different ways. In a show with highly comedic and physical acting, having strong actors to keep things tethered is key.

As the seemingly star-crossed lovers of the play, Grant and Lee are fantastic together, but do their best work apart. At first, Grant plays Pauline as bubbly and a little bit empty-minded. Later, her exasperation at still having to marry Roscoe is one of the funniest points of the evening. Lee makes sure that he plays Alan (a would-be actor) as melodramatic and farcically over-the-top as a would-be actor ought to be. Even playing such a large character, Lee kept Alan’s emotions grounded and realistic.

The two stand-out performances of the evening are Brian David Clarke and Brittney Stane. In a play with strong Commedia ties, Clarke plays the Harlequin character. He is hilarious, with strong movement and perfect comedic timing. Clarke breaks the fourth wall to pieces and brings audience members onstage, adlibbing expertly throughout the night, all while using a spot-on accent. His one-man fistfight (choreographed by James Campanella) is particularly well-executed. As Henshall’s love interest, Stane is incredibly flirty, sassy, and highly physical. Stane played Dolly as trollopy but also fiercely feminist; her fake tantrum about the woes of being a woman was a highlight of the play.

If audience interaction, slapstick, absurdity, and great music are things you enjoy, One Man, Two Guvnors is the show for you!

Running Time: Two hours, including one 15-minute intermission.

One Man, Two Guvnors plays through November 4, 2019, at Vienna Community Center, 120 Cherry St SE, Vienna, VA. Tickets are available at the door or online.

The post Slapstick is served with ‘One Man, Two Guvnors’ by Vienna Theatre Company appeared first on DC Theater Arts.

Isn’t It Romantic, written by Wendy Wasserstein and directed by Arielle Katz, follows Janie Blumberg (Elizabeth A. Weiss) and Harriet Cornwall (Betsy Ryan), both in their late 20s and both trying to decide what they want out of life. Set in the 1980s, the common theme of “Can a woman have it all?” ages pretty well, thanks to good, animated staging and pacing by Katz. This show could very easily turn into a couple of hours of people sitting onstage, but Katz keeps things fresh by giving her blocking levels and dividing the stage into quadrants which in turn represent different locations.

Isn’t It Romantic’s strength isn’t in its plot but its snappy and comedic dialogue. As the people with the majority of the lines, Weiss and Ryan bear the majority of the responsibility to keep the show running briskly, and they do not disappoint. Weiss plays Janie as mercurial and a little bratty, which makes her strong, emotional scenes play beautifully. In excellent contrast to Weiss is Ryan, playing Harriet as headstrong, motivated, and (at least superficially) very confident. Ryan is incredibly believable as a career-motivated businesswoman.

As different as Janie and Harriet are, their romantic partners differ even more. Marty (Matthew Cibek) is Janie’s old-fashioned, sweet, practical beau, while Paul (Kevin Sockwell) is Harriet’s boss’s boss (and her very married paramour). It’s hard to hate Marty, despite his very antiquated opinions about a woman’s role, mainly because Cibek is sweet and disarming. Sockwell, on the other hand, makes Paul the perfect person to loathe, unflinchingly sleazy and sexist. I later read in the program that Sockwell is a late addition to the cast, with only a week of rehearsal. This was in no way evident from his performance, which was nuanced and felt comfortable alongside Ryan’s Harriet.

Rounding out the main cast are Janie and Harriet’s respective parents. Simon Blumberg (Michael Abendshein) and Tasha Blumberg (Deirdre Gyr Turshen) baby their daughter Janie even into adulthood, while Lillian Cornwall (Nancy Somers) raised Harriet to be self-reliant; their relationship is less maternal and more like a friendship. Abendshein and Gyr are a cute pair, with Abendshein’s understated concern and Gyr’s delightfully almost-manic energy. Somers’ commanding stage presence reads perfectly as the career woman that Harriet could become. Gyr and Somers’ scene together to open the second half of the play is a juxtaposition of opposites, but they find common ground in their love for their children.

In very memorable cameo roles are Colleen Williams and Thomas Barylski. Isn’t It Romantic uses answering machine messages as transitions between scenes, and Williams bursts onto the stage as Cynthia Peterson, a heinously irritating and nasal woman forever leaving needy messages for Janie. Williams is energetic and punctuates some of the more somber moments of the play with much-needed loopiness. Barylski is an absolute treasure to watch as Vladimir, a cab driver who only very recently moved to America from Russia, with a very limited English vocabulary. Barylski doesn’t say much, but doesn’t really have to; his cheerful, blissfully unaware smile and friendliness brightens the stage.

Barylski is also the show’s Technical Director, and alongside assistant director/stage manager Arielle Seidman-Joria, keeps the show’s many scene changes and transitions moving along smoothly. Weiss also served as the producer and costumer, another creative tour de force wearing several hats for this production.

Isn’t It Romantic has a very limited run, but this is a show you won’t want to miss!

Running time: Two and a half hours, with a 10-minute intermission.

Isn’t It Romantic plays Thursday, September 19 at 7:30 pm and Sunday, September 22 at 4:00 pm at Theatre@CBT, 10621 South Glen Road, Potomac, MD. Tickets are available at the door or online.

The post Review: ‘Isn’t It Romantic’ by Theatre@CBT appeared first on DC Theater Arts.

Dark Horse Theatre Company knocks it out of the park again with this atmospheric trip to the afterlife. No Exit, written by Jean-Paul Sartre and directed by Natasha Parnian, is weird and dark and will make you think.

As with other Dark Horse productions, the show begins as soon as you step into the venue. Armed with a program designed like a newspaper’s obituary page and a small mirror for a ticket, you navigate your way to the performance area. Parnian utilizes a sometimes challenging performance space expertly by presenting No Exit in the round, pulling the audience into the action as otherworldly spectators. One of the audience members happens to be The Valet (Skye Lindberg), stationed just slightly out of the light, but still very much a huge presence onstage. Without revealing too much, Parnian has discovered a new interpretation to some of the events onstage that breathes new life into this very intense show.

For those of us who may not be as familiar with French Existentialism, No Exit looms as a somewhat daunting play. Fortunately, the plot is actually very simple. Three recently deceased people are locked in a waiting room in Hell, ostensibly forever.

Joseph Garcin (Scott D. Pafumi) is the first person to arrive, ushered in by The Valet, followed by Inez Serrano (Jane Steffen). Estelle Rigault (Arianne’ Warner) is the last person to arrive and declares that there must be some mistake as she should not be in Hell. At first, the lack of hot pokers and torture is anticlimactic, but it quickly becomes clear that forever is going to be a really, really long time.

While traditionally, the role of The Valet is often played by a man, Skye Lindberg (and in The Plains, Natasha Parnian) steps up and adds depth to a character that might be overlooked otherwise. While Lindberg’s opening scene with Pafumi sets the tone for the rest of the evening, it’s her non-verbal acting that will draw you in. No matter where she is onstage (or off-stage), make sure you keep an eye on Lindberg.

Pafumi brings nuance to Garcin, a pacifist (or coward, depending on who you ask). It takes a strong actor to play a self-aggrandizing and self-loathing character, and Pafumi makes easy work of the extreme emotional jumps needed. His best moments come toward the end of the play, when Joseph Garcin’s anguish and desperation is palpable.

Due to the nature of this production, Steffen has the difficult task of playing two very different roles, switching between them at the drop of a hat. No Exit often leaves people with the conclusion that Inez is the least redeemable character, but Steffen pours humanity into the role. With help from Lindberg, Steffen makes Inez the role to watch.

Warner is superb as Estelle. Starting out, Warner’s Estelle is sweet and gentle. She seems like the perfect hostess, if not a little conceited. When the reason for Estelle’s long-term stay in Hell is revealed, Warner takes those same characteristics and warps them to create a character that is chillingly sociopathic. Performing this in the round means that the audience cannot help but watch in horror as Warner melts the façade off of Estelle, all with a practiced coy smile.

No Exit is a 90-minute block of intensity, and for both Sartre aficionados and laypeople alike, this production is sure to keep you on the edge of your seat.

Running Time: 90 minutes, with no intermission.

No Exit plays through August 31, 2019, at Artspace Herndon, 750 Center Street
Herndon, VA, and from September 6-14, 2019, at Grace The Plains, 6507 Main Street, The Plains, VA. Purchase tickets at the door or online.

The post Review: ‘No Exit’ by Dark Horse Theatre Company appeared first on DC Theater Arts.

From toe-tapping numbers, to adorable orphans, there are few things as purely wonderful for the soul as a production of Annie, and Prince William Little Theatre delivers a production like no other. Director Melissa Jo York-Tilley takes a much-beloved story and makes it feel fresh.

If you have somehow gone through life without ever experiencing Annie, the plot is surprisingly complex. Set in the Great Depression, Annie is the story of a plucky, optimistic orphan named Annie (Michelle Stein) under the dubious care of matron Miss Hannigan (Melanie McCleerey). When Annie runs away, she befriends a stray dog she names Sandy (Tucker MacFarlane, a very well-behaved golden retriever) and then spends a very brief stint in a Hooverville, only to be returned back to the orphanage. She doesn’t stay there long; Grace Farrell (Sarah Jane Scott) arrives on a quest to find an orphan to spend the Christmas holiday with Mr. Oliver Warbucks (Ahmad Maaty), a stuffy billionaire business tycoon.

Annie quickly melts Warbucks’ icy demeanor and within a week, he wants to adopt her. Before he can ask her, Annie tells Warbucks that she knows that her parents must still be alive and hopes they come back to get her. Though heartbroken, he calls in favors with the FBI and goes on The Oxydent Hour of Smiles radio show with Bert Healy (Tim McCleerey) to offer a fifty-thousand-dollar reward for Annie’s parents. Miss Hannigan and her brother, Rooster (Cameron Lee Conlan), along with his girlfriend, Lily St. Regis (Melanie McGuin) devise a nefarious plan to get the reward money, and by the end of this stunning musical, even President Franklin Delano Roosevelt (Drew Fleming) has been brought in to help save the day.

James Maxted’s set design can best be described as dynamic. In a theatre space with no grand and limited wing space, there is very little opportunity to drastically change the set, and Maxted ensures that with small changes to the dressing, the scenes have a fully different feel. The multi-talented Maxted doubles as the show’s music director. Christine Maxted is vocal director.

York-Tilley injects humor and energy into every scene through her comedic blocking and direction. When Bert Healy and The Boylan Sisters (Kacie Brady, Becca Harney, and Hayley Katarina) sing “Never Fully Dressed Without A Smile,” the chaos onstage is hilarious and perfectly timed. York-Tilley also provides hair and makeup design for the show.

Michelle Stein puts a completely different spin on the iconic role of Annie. She is equal parts kind and sassy, with a beautifully emotive voice that shines during “Maybe.” “Tomorrow,” possibly the best-known song from the musical, is sung teeming with an optimism so infectious, it’s hard not to smile and even harder not to sing along (something that is very strongly discouraged during the announcement at the beginning of the musical).

Stein is supported by a cadre of immensely adorable orphans: Marissa Prado, Itsuko Scoville, Hope Carey, Avery Heisey, Alannah McCleerey, Amelia Robertson, Carleigh Beckner, Cecilia Laird, Julissa Lambert, Elizabeth Maxted, Vanessa Maxted, Brielle McCleerey, Mila Weir, and Adrianna Weir. Mila Weir is the smallest, youngest orphan and so earnestly dances and sings with the rest of the orphan ensemble that it is very easy to get distracted by her inherent sweetness. The fact that I was able to pay attention to the rest of the orphans as well is honestly a testament to just how fantastic the entire orphan ensemble played together.

In a musical about orphans, it would be easy to overlook the excellent work done by the production’s many incredible adults. Sarah Jane Scott and Ahmad Maaty as Grace Farrell and Oliver Warbucks are incredibly strong, both together and apart. Scott has a gorgeous, almost operatic soprano voice that perfectly matches her endearingly kind character. Maaty handles the slow transformation from isolated, self-reliant tycoon to selfless softie with nuance and finesse. While I loved his singing, it was Maaty’s incomparable dancing that really stands out.

Melanie McCleerey’s Miss Hannigan is sultry, drunken, sullen, bitter, and outrageously funny. “Little Girls” is a masterclass in emotive comedic singing. Her trio with Cameron Lee Conlan and Melanie McGuin on “Easy Street” is some of the best work in the musical; all three work together to build a show-stopping number with amazing singing and tight choreography done expertly. (McGuin doubles as the show’s choreographer).

The adult ensemble rounds out the rest of a fantastic cast. My favorite people to watch are Becca Harney and Caty Nicholson. Harney’s strong and sardonic singing in “Hooverville” really stuck with me. Similarly, words can’t really describe how much Nicholson’s ventriloquist act as Fred McCracken and Wacky added during the radio show.

Tickets are selling out for the rest of the run, so make sure you buy yours online. This is a show that you won’t want to miss!

Running Time: Two hours and 30 minutes, including one 15-minute intermission.

Annie, presented by Prince William Little Theatre, plays through July 28, 2019, at the Gregory Family Theater, Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Purchase tickets online.

Ensemble: Alex Tyree, Becca Harney, Caty Nicholson, Darcy Heisey, Don Wilson, Drew Fleming, Elizabeth Reyes, Eric Verchot, Hayley Katarina, Kacie Brady, Katie Morris, Kurt Gustafson, Kyle Prado, Lauren Jerothe, Lisa Arnold, MJ Madrigal, Pat McInerney, Stacy Crickmer, Tim McCleerey

Lighting Design: Ken and Patti Crowley

Costume Design: Kathy Dunlap

Properties Design: Kelsey Moran

The post Review: ‘Annie’ by Prince William Little Theatre appeared first on DC Theater Arts.

Arcade is unlike anything you will experience at Fringe. Equal parts art installation, gaming experience, and nostalgia, Arcade perfectly encapsulates the feeling of walking into a 1980s arcade.

The installation can be appreciated on several levels; superficially, if you love older video games like Ms PacMan and Donkey Kong, you’re going to love having the opportunity to play. Several gaming consoles are set up with games curated to appeal to a variety of tastes. Getting a top score or defeating your opponent in head-to-head play garners points. The person with the most points at the end of the hour even wins a prize!

While classic video games are fun, what heightens this experience are the video projections. The walls are covered in dynamic projections scrolling and blinking, adding to the arcade aesthetic. Give yourself the opportunity to really watch the walls–these projections are incredibly detailed and designed incomparably by local DC projection artist and Fringe partner, Robin Bell.

Instead of the cacophony of several video games playing in a small space, lightly ambient electronic music permeates the space, never overshadowing the games and projections showcased.

The entire installation lasts about an hour, and there is limited seating if you need a break from standing and gaming. While the venue is wheelchair accessible, the video screens are placed on pillars at a standing eye-level, which may mildly impact part of the experience for some people. All of that being said, this is highly enjoyable and a really fun way to interact with games and art!

Running Time: 60 minutes.

Arcade, by Robin Bell, part of the Capital Fringe Curated Series, runs through July 18, 2019, at the Arcade, 996 Maine Avenue SW, Washington, DC. For tickets, call 866-811-4111 or go online.

Rating:

The post 2019 Capital Fringe Review: ‘Arcade’ appeared first on DC Theater Arts.

P.S. Your Cat is Dead!, written by James Kirkwood, Jr. and directed by Michael Page, is a great look at different manifestations of schadenfreude (pleasure derived by someone from another person’s misfortune).

Jimmy Zoole (Adam Downs) is an actor/author who just can’t seem to catch a break. After getting fired from not one, but two acting gigs on the same day, he comes home to his apartment to discover that his girlfriend Kate (Lori Brooks) is leaving him. Things only get worse when he discovers Vito (Patrick Newhart) has broken in for the third time. This time, Vito doesn’t get a chance to break back OUT of the apartment; instead, Jimmy catches him and ties him to the kitchen sink. What occurs next is probably not how anyone expected to spend their New Year’s Eve! As Michael Page warns us in his director’s note, “Don’t mess with a man who has nothing to lose.”

Page’s blocking and overall pacing of the play is energetic, keeping the action moving along even when the script does a bit of wheel-spinning. The onstage violence was also choreographed by Page and made great use of the space. There was a moment with scissors that I thought could have ended in bloodshed, but whether it was keen choreography or luck, no actors were harmed and it made for some excellent theatre.

Downs does a brilliant job ensuring that Jimmy is sufficiently miserable and pathetic at the beginning of the play. Watching Downs snap and enact revenge on Newhart was surprising and aggressive while still maintaining humor. Downs makes Jimmy’s journey seem perfectly logical, no matter how absurd things become.

The best acting of the night comes from Newhart. Despite spending most of the show half-naked and tied over a kitchen sink, Newhart’s physicality and movement really shine. Micro-movements and facial reactions add to Newhart’s already varied and tonal voice acting.

Because the majority of P.S. Your Cat is Dead! plays like a two-man show, it’s important that Jimmy and Vito have chemistry. Downs and Newhart navigate the different changes in their power dynamic with ease. They quickly build realistic rapport, making the action feel genuine.

In supporting roles are Lori Brooks and Charles Boone (who plays Kate’s new beau Fred Gable). Brooks plays Kate extremely sympathetically at the beginning of the play, really establishing how much of a loser Jimmy has become. Brooks later has some of her best acting moments when Kate re-enters toward the middle of the play – her comedic timing is really unparalleled. Fred Gable is the perfect foil to Jimmy – charming, confident, and decisive and Boone makes that clear as soon as he enters. Boone’s incredulity and shock over the strange goings-on in his new girlfriend’s ex’s apartment is palpable and hilarious.

P.S. Your Cat is Dead! is ridiculous in all of the right ways. I strongly encourage you to get your tickets early–seating is limited and you’re not going to want to miss this!

P.S Your Cat is Dead! plays through May 18, 2019, at Gunston Theatre Two located at 2700 S. Lang St, Arlington, VA. Purchase tickets at the box office or online.

The post Review: ‘P.S. Your Cat is Dead!’ by Dominion Stage appeared first on DC Theater Arts.

I really enjoy going to Dark Horse Theatre Company productions because troupe founder Natasha Parnian takes every opportunity to bring the audience into the story. The Value of Moscow, written by Amy Dellagiarino and directed by Parnian, does not disappoint.

When I walked into Artspace Herndon, I received my ticket–a set of two keys with an apartment number hand-written onto the keychain. The program is set up to mimic the formatting of a menu for a pizza joint (Dark Horse ‘Za). The stage was set up with several moving boxes and very little else–it perfectly evoked the feeling of a new apartment.

The play begins with three sisters, Emily (Sarah Akers), Rose (Jessie Burns), and Clara (Catherine Gilbert) moving into their new apartment. The three couldn’t be any more different. Emily is a published author who asserts that she is only going to live with her sisters for a couple of weeks while her husband gets some space. Clara is the youngest sister, full of anger and sadness. The bandages on her wrists speak volumes. Rose tries her best to keep the peace between her two very mercurial sisters, all while dealing with her own life crisis. The action really picks up when Cliff (Andrew Farms) delivers a pizza, inadvertently sending the sisters into chaos. Later, Jimbo (Ricardo Padilla) arrives and things escalate even further.

Emily is my favorite sister because of Akers’ portrayal. Akers plays Emily as brusque and imposing. Even wearing a hilariously awful dress overtop of her sweatshirt, while talking about her marriage falling apart, Akers never feels pathetic onstage. She is fierce, but Akers ensures that Emily never feels flat.

Burns makes her acting debut as Rose, but you wouldn’t know it from her performance. Her strong improv and comedy background give Burns amazing stage presence, even when the action turns more tragic. Burns brings lots of levity to Rose, and her over-the-top, borderline cringey flirting scene is worth the price of admission all on its own.

The most realistic and personal performance comes from Gilbert. Gilbert gives Clara depth and ensures that the pathos never seems forced. While very emotional, she is careful to make sure that Clara never becomes a caricature of depression. Gilbert also serves as fight captain, working with fight choreographer Scott Pafumi to bring some incredibly shocking fights to life in wholly unexpected ways.

In a play about strong women, the play’s two men, Farms and Padilla, act as catalysts for some of the best moments in the show. Another newcomer to the stage, Farms plays Cliff as sincere and a little goofy. Farms gives a very dynamic performance and has excellent (and often hilarious) physicality. Padilla plays Jimbo full of rage but brings nuance to a role that many may be tempted to play as strictly antagonistic. The lightness and humor Padilla brings to Jimbo really add to the performance as a whole.

Dark Horse Theatre Company’s The Value of Moscow is pretty much my definition of a great production–it’s a dark comedy with truly poignant moments and a strong cast, staged thoughtfully with good pacing.

While it has closed in Herndon, there are still two performances at Grace in The Plains. that I’d recommend getting your tickets as soon as possible because seating is limited.

Running Time: 80 minutes, with no intermission.

The Value of Moscow played through April 27, 2019, at Artspace Herndon, and plays May 3-4 at Grace The Plains located at 6507 Main Street in The Plains, VA. Tickets are available at the door or online.

The post Review: ‘The Value of Moscow’ by Dark Horse Theatre Company appeared first on DC Theater Arts.

Rooftop Productions has wowed me yet again, this time with its current production, Godspell.

I have a hard time describing Godspell because there isn’t exactly a plot; there are several incredibly catchy tunes, loosely framed around parables and some of the events of the New Testament. It’s also hard to determine who stars in Godspell. The lead players in this musical are Jesus (Ryan Walker) and John the Baptist (Jay Tilley), who later becomes Judas. That being said, a lot of what makes Godspell a really wonderful musical is the ensemble. Everyone has a song, and every song is incredibly different than all the others.

While the venue may not have a stage, the production team (Director Ted Ballard, Choreographer Maureen Hagerman, Set Designer Dale Walsh, and Musical Director Daniel Holmes) makes the best use of a challenging performance space with the use of dynamic blocking, tight choreography, modular set pieces that can create levels, and of course, near-flawless singing and orchestration.

It’s important that a person playing Jesus can show unconditional love for all, and Ryan Walker delivers. Walker’s Jesus is sweet and jubilant. He carefully talks through parables and asks everyone to be kind to each other and it never sounds saccharine or fake. His voice matches the acting and is bubbling with energy.

Contrasting Walker is Jay Tilley. Tilley plays John the Baptist, who becomes the fiercely loyal friend-turned-betrayer Judas. While everyone else in Godspell joins Jesus in almost manic elation through most of the musical, Tilley has the unenviable task of following Jesus and slowly seeing fallibility in the son of God. In “It’s All For The Best,” Walker’s and Tilley’s voices spar in dueling melodies, making for some of the best work of the night. In a scene where he admonishes someone for being a hypocrite, Tilley shows us an aggressive and angry Judas. “On The Willows” shows a softer side to Tilley’s strong and melodic voice, which is complemented beautifully by pianist and featured singer Sarah Jane Scott.

As I said before, this musical needs a good ensemble, and this ensemble is amazing. There were no weak links. The group dance numbers were very well-executed, and harmonies were tight.

The ensemble played charmingly with the audience and let their exuberance spread. I thoroughly enjoyed watching Nick (Peter Thaxter) encourage two younger audience members when they tried to join in on the ensemble’s fast-paced hand-jive from their seats. It was a small moment that spoke to the tone Ted Ballard infuses into Godspell.

My favorite ensemble songs are “Day by Day” performed by Anna Maria (Stephanie Blakely) and “Bless the Lord” performed by Lindsay (Ashley Williams). Blakely’s voice is smooth and her song was unrestrainedly joyful. Everything about Williams’s song is stunning and full of nuance, and even with the rest of the ensemble singing below her, she belted loud enough to rival any professional singer.

It would be a crime to not shout-out the rest of this amazing cast: Celisse (Letty Vita)’s spunkiness and fantastic movement, George (Franklin Williams)’s epic dancing, Morgan (Lindsey Capuno)’s sauciness during “Turn Back O Man,” Telly (R.J. Smith)’s sincerity and for making me actually laugh when he beeped at me, and last but certainly not least, Uzo (Betsy Hansen)’s genuine emotions in all of her scenes (if you want to pick one person in the ensemble to watch at all times, Hansen is that person).

If you’re looking to watch something that will energize and uplift your spirits, look no further. Godspell is truly delightful.

Running Time: Two hours, with a 15-minute intermission.

Godspell (2012 Revised Version) plays through April 20, 2019, at Center for the Arts at the Candy Factory located at 9419 Battle St, Manassas, VA. Purchase tickets at the door, call the box office at (703) 330-2787, or go online.

The post Review: ‘Godspell (2012 Revised Version)’ by Rooftop Productions appeared first on DC Theater Arts.

Ask just about anyone Gen-X and younger and they can (and will, gladly) tell you which House they would be sorted into, if we had the chance to attend a certain school of magic. For those of us who sorted into Hufflepuff, the ridicule directed at us by our friends can feel harsh, just because we’re not particularly brave, bright, or evil. Finally, here is a play for the rest of us!

Puffs: Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic, written by Matt Cox and directed by Andrew Lloyd Baughman, tells the story of Wayne Hopkins (Adam R. Adkins), an orphan who suddenly discovers he is actually a wizard when he gets an owl with his invitation to a “Certain School.” Naturally, Wayne thinks he must be very important, and destined for greatness! Unfortunately, Wayne is immediately overshadowed by another famous orphan, Harry Potter (Melanie Kurstin) who joins the school the same year. Once Wayne is sorted into Puffs, he befriends other misfits: nerdy Oliver Rivers (Chris Galindo), and angry goth Megan Jones (Jen Speerstra). The rest of the oddball Puffs are Ernie Mac (Matthew Crawford), Hannah (Jill Vanderweit), J. Finch (Charles W. Johnson), Leanne (Laura J. Martin), Sally Perks (Momo Nakamura), Susie Bones (Melanie Kurstin), and Puffs superstar Cedric (Matt Baughman).

If you’ve read or watched the Harry Potter series, what unfolds is a silly retelling of the events which take place over the course of seven years of education, narrated deftly by David Weinraub.

The best thing about the Puffs script is the absurdity of events from the Puffs’ point of view, and this production highlights this particularly well. The goal for each school year isn’t to win the House cup, but instead to come in third (out of four houses). The triumph that the Puffs feel when they (briefly) succeed in their goal is hilariously paired with their incredulity when the professor awards some late points to another house, bumping the Puffs back to last place.

Leading the charge as Wayne, Adkins sympathetically plays a frustrated kid who hopes to be destined for greatness but who still seems to fall short. Adkins goes from hopeful to increasingly disenfranchised as the years progress without getting too heavy-handed for this lighthearted show.

Like most people in this ensemble play, Melanie Kurstin plays several roles: Harry Potter, Moaning Myrtle, and Susie Bones. Kurstin hilariously blunders through scenes as Harry, often accompanied by Ron and Hermione, presented as mops. When playing Susie Bones, Kurstin switches effortlessly into a terrified girl who is certain that she’s going to be the next to die. Kurstin does a particularly amazing job differentiating her characters with nuanced changes to posture and voice.

My two favorite Puffs are Leanne and J. Finch, played with great enthusiasm by Laura J. Martin and Charles W. Johnson. Martin often exclaims excitedly “We’re wizards!” and flounces about on stage wearing a bright yellow tutu. Martin plays a bubbly but not fully logical Puff with infectious energy. She occasionally declares that J. Finch is her imaginary friend, which does not appear to actually be the case. Charles W. Johnson reacts to “discovering” that he’s not real as well as possible, by first having a full-on existential crisis and then after calming down, realizing that he can go wherever he wants and rushing to sit in the audience.

Matt Baughman is perfectly cast for both Cedric and Mr. Voldy. Baughman’s Cedric is equal parts charming and laid back, while still acting as the best possible role model for the younger Puffs. As Voldy, he transforms into a sleazy and somewhat bumbling overlord, a role that further showcases Baughman’s excellent comedic timing.

Puffs is pure fun and a really great way to experience the world of magic in a new and silly way. Make sure you get your tickets online- it’s a small venue with limited (but comfortable!) seating.

Running Time: 2 hours with no intermission

Puffs: Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic plays through March 30, 2019, at DCAC located at 2438 18th Street NW, Washington, DC. Tickets are available online.

Note: Landless Theatre Company is producing Puffs in rep with The Doyle and Debbie Show, reviewed here.

The post Review: ‘Puffs: Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic’ by Landless Theatre Company appeared first on DC Theater Arts.