If spring is in the air, that means love is soon to follow, and weddings after that. Family Affair: The Wedding taps into that loving feeling — and brings a lot of laughs with it. Husband-and-wife team Gill Nelson and Pamela Bunn-Nelson, co-founders of Timeless Entertainment, presented a heartwarming stage play at Bowie Center for the Performing Arts filled with laughter and drama.

The story centers on Mikey, played by Jaylyn Faith Malonte’ Neal, who is about to marry the lovely Tracie, played by Tiffany White. Mikey believes Tracie is his “first, last, and everything. The answer to my dreams.”

White demonstrated impressive pipes during a special song for Mikey. Her singing added emotion to her performance. The chemistry between Neal and White is impressive. Their scenes were enjoyable to watch.

Bunn-Nelson added depth to the show with her role as Mikey’s mom, Kandace. Bunn-Nelson brings a mix of humor and emotion to her scenes. She captured the complexity of a mother’s love for her son while also mastering comedic timing. Kadace’s relationship with Mikey is relatable, with heartfelt moments that resonated with the audience.

Faheem Abdus Salaam (also the co-director) plays Mikey’s stepdad, adding a wise presence to his family. He told Mikey, “You get married, you become one.” His role brought a perspective that balances the youthful exuberance of Mikey and Tracie’s love story. Salaam is an actor to watch; he gave a phenomenal comedic performance in He Creeps.

Some of the funnier moments came from Dr. Rita D. Lewis (also a He Creeps veteran), who plays the quirky wedding planner, Suzy B. Her comedic timing and silly mannerisms kept the audience howling antics, and her antics brought a playful energy into the show, making her one of the standout characters.

Darryl Bradley’s portrayal of Uncle Gogo was a source of comic relief, with his larger-than-life personality (he also provided pre-show comedy). While other characters were often serious, Uncle Gogo provided goofiness. Uncle Gogo’s relationship with his Boo, played by Trina Adams, added an interesting layer to the plot, especially as his possible romantic connection with another woman threatened to complicate things.

Director Nelson played Mikey’s biological father, Dave; his role brought an emotional depth to the play. Nelson shined in a particularly tense scene with Neal’s Mikey — it was unforgettable. Their fictional father-and-son dynamic was explored in a way that added complexity to the storyline, highlighting the tension between them.

Another standout was Paul Pablo Jerry, who played Mikey’s brother O’Shea. He kept the energy up in his scenes. The bond with his brother Mikey felt real and relatable.

An out-of-the-box aspect of the play was the fake TV show “Caught in Action,” which provided a satirical commentary on modern reality television. This subplot added absurdity to the production, making it feel like a sitcom at times.

The show mostly stayed away from addressing contemporary issues, but there was a brief mention of gentrification. This could have added an interesting layer to the show; the show instead focused on the aspects of love, marriage, and family relationships.

The set design, supplied by Luxury Home Interiors, was nothing short of magnificent. The opulent set, with its gold trim, elegant mirrors, and plush carpets, created an  atmosphere of luxury. It provided a good backdrop for the unfolding drama.

Family Affair: The Wedding is a wonderful theatrical experience that offers a well-mixed blend of laughter and family drama. Whether you’re drawn to the humor or the talented performances, there’s something for everyone in this production. Be sure to catch Timeless Entertainment’s next show.

Running Time: Approximately three hours, with a 10-minute intermission.

Family Affair: The Wedding played March 16, 2025, presented by Timeless Entertainment, performing at the Bowie Center for the Performing Arts, 15200 Annapolis Road/Route 450 in Bowie, MD. For future events at Bowie Center for the Performing Arts, visit their website.

Find the playbill here.

Family Affair: The Wedding
By Gill Nelson and Pamela Bunn-Nelson
Directed by Gill Nelson and Faheem Abdus Salaam

CAST
The Boo: Trina Adams
Kendall: Sheena Alston
Caught-N-Action Crew #1: Apostle Jerome Bouie
Caught-N-Action Crew #2: David Evans
Caught-N-Action Security: Charles Barnes
Uncle Gogo: Darryl Bradley
Kandace: Pamela Bunn-Nelson
Sammie Coleman: Dereky Martin-Hagler
Officiant: Apostle Veryl Howard
O’Shea: Paul Pablo Jerry
Susie B.: Dr. Rita D. Lewis
Derrick: Lorenzo Lynch
Mikey: Jaylyn Faith Malonte’ Neal
David: Gill Nelson
Karen: LaSonya Olden
Mrs. Fabulous: Ivory Twyman
Sheron: Stacey Tyson
Tracie: Tiffany White
Tim: Faheem Abdus Salaam

PRODUCTION TEAM
Executive Producer/Director: Gill Nelson
Co-Director: Faheem Abdus Salaam
Co-Producers: Gill Nelson and Pamela Bunn-Nelson
Writers: Gill Nelson and Pamela Bunn-Nelson
Host: Asia
Set Designers: Luxury Home Interiors
Musical Director and Drummer: Dwayne Holton
Production and Stage Manager: Trina Montgomery

The post ‘Family Affair: The Wedding’ is a twisty dramedy from Timeless Entertainment appeared first on DC Theater Arts.

The Playboy of the Western World – A New Version, now playing at Silver Spring Stage, is not just entertaining. It’s thoroughly funny.

Bisi Adigun and Roddy Doyle’s The Playboy of the Western World ­– A New Version, from 2007, is more than an adaptation of the 1907 original by J.M. Synge; it’s a character study and a warning against hero worship.

The plot sounds like a setup for a joke: What happens when you drop a Nigerian fugitive, wanted for murder, into a Dublin, Ireland, pub run by gangsters?

The performances in this show captivated me. Every scene was a study in the spectacular. The standouts were Justin Oratokhari, who played the fugitive, Christopher; Yael Schoenbaum, who played his love interest, Pegeen; and Katherine Leiden, who played Widow Quin.

Oratokhari and Schoenbaum were dynamite in their scenes, as their characters cycled from love to hate to indifference — and back. Schoenbaum made Pegeen a tour-de-force to be reckoned with as she squared up and took on the other men in life, including her stern father Michael (Bill Hurlbut) and her hapless fiancé Sean (Thomas Friend), who wanted Christopher to take a one-way-ticket to Belfast.

I was fascinated by Leiden’s performance of Widow Quin, who had her very own complicated backstory. Her scenes with Oratokhari sizzled.

Christopher was treated like a rockstar bad boy by the young ladies in town. Olivia Cholewczynski (Honor), Amanda Brenner (Susan), and Morgan Fuller (Sarah) played their roles with teenage silliness as they fawned over Christopher and took pictures of him with their 2007-era flip phones.

How many accolades can I give Kevin Sockwell, who played Christopher’s father, Malomo, except to say he was superb? There was quite an emotional range in his scenes with Oratokhari. Fight Choreographer Lena Winter brought tension to Malomo’s fight with his son.

Dialect Coach Gary Sullivan did a superb job getting the cast to sound authentically Irish. I appreciated the glossary in the program, which explained such Irish slang as “Grand” (Okay, all good), “Rasher” (thinly sliced bacon), and “Muppet” (an incompetent or dim-witted person).

This is the most captivating set I’ve seen in a long time. It had a dart board, bottles of whiskey and Guinness, and many other detailed props and set pieces. I loved the illusionary depth created by the stores across the “street” through the pub’s window. Credit Properties Designer Norma Andrews; Set Designer and Set Painter Maggie Modig; and Set Dresser McKenna Kelly.

Costume Designer Jennifer Morrissey excelled in the African garb she put Sockwell in. She made hoods Bri Caelleigh (Jimmy) and William Darden Jr. (Philly) look both slovenly and gangsterish. She put Fuller in a racy, pink jumpsuit.

Dramaturg Robert Summers-Berger and Nigerian Consultant Juliana Voss helped give playwrights Bisi Adigun and Roddy Doyle’s words depth and meaning. There is much subtext and history between the lines. (Did you know Nigeria is the second-largest consumer of Guinness beer, behind the United Kingdom?)

Director Seth Ghitelman pulled all these elements together and made the show an entertaining evening of theater. Ghitelman pointed out that the original play “was followed by riots in Dublin.” This version of the show, however, will elicit much laughter. Playboy of the Western World – A New Version is a show you’ll richly enjoy.

Running Time: Approximately two hours and 20 minutes with a 15-minute intermission.

The Playboy of the Western World — A New Version plays through February 9, 2025 (Fridays and Saturdays at 8:00 pm and Saturdays and Sundays at 2:00 pm) at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD. Purchase tickets ($22–$25, with discounts for seniors and students) at the door or online. For more information, call (301) 593-6036, visit the website, or email contact@ssstage.org.

COVID Safety: Masks are encouraged but not required.

The Playboy of the Western World — A New Version
By Bisi Adigun and Roddy Doyle

CAST
Christopher: Justin Oratokhari
Pegeen: Yael Schoenbaum
Malomo: Kevin Sockwell
Widow Quin: Katherine Leiden
Michael: Bill Hurlbut
Sean: Thomas Friend
Sarah: Morgan Fuller
Philly: William Darden Jr.
Honor: Olivia Cholewczynski
Jimmy: Bri Caelleigh
Susan: Amanda Brenner

ARTISTIC AND CREATIVE TEAM
Director: Seth Ghitelman
Set Designer and Set Painter: Maggie Modig
Set Dresser: McKenna Kelly
Properties Designer: Norma Andrews
Dialect Coach—Irish: Gary Sullivan
Costume Designer: Jennifer Morrissey
Dramaturg: Robert Summers-Berger
Nigerian Consultant: Juliana Voss
Fight Choreographer: Lena Winter
Sound Designer: Jeff Miller
Lighting Designer: Don Slater

The post Thoroughly entertaining new ‘Playboy of the Western World’ at Silver Spring Stage appeared first on DC Theater Arts.

What if Mr. Ebenezer Scrooge from Charles Dickens’ A Christmas Carol turned stingy and mean again? What if he charged the Ghost of Christmas Past, the Ghost of Christmas Present, and the Ghost of Christmas Future with kidnapping, breaking and entering, attempted murder, and theft in a court of law? What if Scrooge was his own attorney in the trial?

The Port Tobacco Players’ The Trial of Ebenezer Scrooge hilariously explores these questions. This show serves up laughter more delicious than any holiday dessert.

Randy Tusing’s Ebenezer Scrooge was at turns pompous, cold, and downright mean. His face was a study in acrimony and rudeness. He strutted around the courtroom like an angry rooster. He verbally sparred with the judge and anyone else within earshot.

Anthony Dieguez played opposing lawyer Solomon Rothschild with panache. He milked the simplest of lines for all their comical worth. His character could best be described as officious and overly self-important. Dieguez made Rothschild’s legal arguments into grand and pompous speeches.

Michael Beryle Jr. delighted the audience as Mr. Connolly, The Bailiff. Beryle interacted with the audience pre-show as he swept the courtroom floor. His jokes and asides during the trial fueled laughter throughout.

Playing the stern Judge Pearson, Kim Bessler took no prisoners. With her zingers and overall meanness, TV’s Judge Judy had nothing on her.

Christian Scott expertly played Jacob Marley and Bob Cratchit. He turned the tragic figure of Marley into a buffoonish blowhard and Bob Cratchit into a whiner about the “one piece of coal” Scrooge allowed him in the office stove. Scott was a crowd pleaser; he received an in-performance ovation.

Christmas Future and Scrooge’s nephew Fred were played by Jayden Holmes. He excelled as Christmas Future, who could only communicate through howling. Alison Dodges played his court translator. Dodges was also busy as Mrs. Cratchit, Ms. Wainwright, and Mrs. Dilber.

The characters Fan, Belle, and Christmas Past were played by Ashlyn Milstead. She gave Christmas Past a ridiculous falsetto voice that had the audience chuckling.

Foster Apple had a cameo role during the intermission as the jolly Ghost of Christmas Present. This is Apple’s second Port Tobacco Players show.

Director Paul Morris chose to make the play interactive. He had some actors enter the stage from the lobby. When Bessler commanded the characters in her character’s courtroom to “All rise,” most of the audience rose. Morris wrote: “I wanted to put the actors right in your face, as downstage as I could get away with… I needed to pull the audience into the courtroom so you could feel the intensity of the moment.”

Morris used extensive blackouts to sneak actors on stage. As the play went on, he used the blackouts to good comic effect as the “wrong” character would appear on stage in the witness chair.

Quentin Nash Sagers’ costume design impressed me with the period costumes she put Dieguez and Beryle in. She gave Milstead a white ghost costume that featured Christmas lights in the fringe of its hood. Sagers had help from the costume crew: Erica Borgers and Janice Nash Sagers.

Chris Magee’s set design featured impressive dark wooden paneling. Bessler sat a good 20 feet in the air on her judge’s bench.

This show “puts Dickens’ entire concept of ‘the Christmas spirit’ under the microscope, forcing us to reexamine Scrooge and his ‘bah humbug’ ways,” Morris wrote. Lovers of Dickens’ dialogue will recognize famous quotes such as “Many thousands are in want of common necessities.” The Trial of Ebenezer Scrooge is a splendid evening of comedy for the whole family. So come “make merry” and enjoy it.

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

The Trial of Ebenezer Scrooge plays through December 15, 2024, at Port Tobacco Players, 508 Charles Street, La Plata, MD. Tickets ($15–$18) can be purchased online.

COVID Safety: For all performances, masks are suggested but not required.

The Trial of Ebenezer Scrooge
By Mark Brown

CAST
Ebenezer Scrooge: Randy Tusing
Solomon Rothschild: Anthony Dieguez
Jacob Marley / Bob Cratchit: Christian Scott
Fred / Christmas Future: Jayden Holmes
Fan / Belle / Christmas Past: Ashlyn Milstead
Mrs. Cratchit / Ms. Wainwright / Mrs. Dilber / Translator: Alison Dodges
Judge Pearson: Kim Bessler
Mr. Connolly, The Bailiff: Michael Beryle Jr.
Christmas Present: Foster Apple

CREATIVE TEAM
Director: Paul Morris
Set Design: Chris Magee
Paint Design: Lisa Magee
Lighting Design: Tommy Scott King-Taft
Properties & Set Decoration Design: Kathy Mead
Costume Design: Quentin Nash Sagers
Costume Crew: Erica Borgers, Janice Nash Sagers
Hair & Make-Up Design: Kaitelyn Bauer Dieguez

The post ‘The Trial of Ebenezer Scrooge’ serves holiday chuckles at Port Tobacco Players appeared first on DC Theater Arts.

“Ride of the Valkyries” by Richard Wagner gives me a rush of adrenaline like no other. For years I’ve enjoyed various incarnations of the song, including a rock and a Western version. The song set the stage for actor Robert Duvall’s line “I love the smell of napalm in the morning” in the film Apocalypse Now.

Many years ago, that song inspired me to listen to more of the hypnotic music of the incomparable Richard Wagner (pronounced REE-card VAHG-ner). I sought out and watched some of his operas. Wagner’s operas, such as Tannhäuser, Parsifal, and the operas in his collective Ring Cycle, feature unforgettable stories of family drama, doomed love, and the fury of the gods.

Wagner is controversial. He was the favorite composer of a certain Austrian dictator. Jewish comedian Stephen Fry touched on that controversy in his 2010 documentary Wagner & Me. Fry addressed the question “Can you separate the artist from his music?”

Wagner’s influence can be felt today. Star Wars and Indiana Jones composer John Williams was inspired by Wagner, particularly Wagner’s Ring Cycle. Williams, like Wagner before him, made extensive use of leitmotifs aka signature tunes (e.g., each Star Wars character had their own signature tune). “Siegfried’s Funeral March” was prominently featured in the King Arthur film Excalibur. Wagner’s music is cinematic, dramatic, and theatrical.

Washington National Opera’s Gods & Mortals: A Celebration of Wagner was a celebration of Wagner’s best work. Less a full exploration and more of a Whitman’s sampler of Wagner’s music, this concert enthralled the audience with Conductor Robert Spano’s thundering orchestration and S. Katy Tucke’s projection design.

Bass-baritone Derek Welton’s best work was in “Die Frist ist um (The Time Has Come)” from the opera The Flying Dutchman. That opera is about a sailor doomed to sail the seas eternally until he can find a woman who will be devoted to him until death. Welton brought power and emotional depth to the lyrics.

Welton magically sang “Leb wohl (Wotan’s Farewell),” in which the Norse god Wotan banished his daughter, Brünnhilde, for defying him. I was disappointed that Director Francesca Zambello cut out the second half of the song, which I know as “Magic Fire Music.”

Tenor Brandon Jovanovich amazed me in “Brünnhilde! Heilige Braut (Siegfried’s Death).” He showcased his tenor in “Prize Song,” from The Mastersingers of Nuremberg. “Winterstürme (Winter Storm)” from the opera Die Valkyrie is one of my favorites and Jovanovich performed it perfectly.

Jovanovich hit a sour note with “Ewig war ich (Eternal I Was)” from the opera Siegfried, a duet with Soprano Christine Goerke about forbidden love. He relied on lyrics from a music stand, which took away from the performance.

I wished Costume Director Mark Hamberger had put Jovanovich and Welton in sailor and knight costumes. Jovanovich played a knight who drew a sword from a stone — in a suit and tie.

Goerke’s “Starke scheite (Immolation Scene)” about the end of the world, was mesmerizing. The projection of destructive fire was something to behold.

Viviana Goodwin’s energetic soprano kicked off “Ride of the Valkyries.” She brought physicality to the role as she brandished her golden spear. I loved the 3D cloud projected effects. Hamberger dressed the Valkyries like punk rockers. How about wings and helmets?

Soloman Howard, Bass, an alum of the Cafritz Young Artist Program, pleased the audience with the aria “Norma il predisse, o Druidi (Norma What Did You Say” from Bellini’s Norma. Howard played Oroveso, leader of the Druids, in a story about a love triangle in Gaul (France) during the Roman occupation. He brought machismo to his role.

I enjoyed the performances of the supporting sopranos Tiffany Choe, Kresley Figueroa, Anneliese Klenetsky, and Teresa Perrotta. The cast was rounded out by mezzo-sopranos Michelle Mariposa and Winona Martin, and contralto Cecelia McKinley.

Spano and his orchestra mesmerized me with the bombastic “Prelude to Act III” from the opera Lohengrin. The story is about a mysterious knight in a swan-driven boat, and a lady in distress. The aforementioned “Siegfried’s Funeral March” was moving. I also loved the orchestra’s rendition of “Siegfried’s Rhine Journey” and the wonderful 3D forest imagery.

You’ll be a Wagner fan after you see this show. Look for this show or a show like it in the future. In the meantime, I encourage you, dear reader, to take a listen today online.

Running Time: Approximately two hours and 30 minutes, with a 25-minute intermission.

Gods & Mortals: A Celebration of Wagner played one night only October 26, 2024, presented by the Washington National Opera performing in the Opera House at the Kennedy Center, 2700 F St NW, Washington, DC. Tickets for future shows can be purchased at the box office, online, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm.

The program for Gods & Mortals: A Celebration of Wagner is online.

COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Plan here.

Gods & Mortals: A Celebration of Wagner
Music and Lyrics by Richard Wagner

CAST
Christine Goerke, Soprano
Brandon Jovanovich, Tenor
Derek Welton, Bass-baritone
Soloman Howard, Bass
Tiffany Choe, Kresley Figueroa, Anneliese Klenetsky, and Teresa Perrotta, Sopranos
Michelle Mariposa and Winona Martin, Mezzo-Sopranos
Cecelia McKinley, Contralto

CREATIVE TEAM
Conductor: Robert Spano
Director: Francesca Zambello
Projection Designer: S. Katy Tucker
Costume Director: Mark Hamberger

The post WNO’s ‘Gods & Mortals: A Celebration of Wagner’ is a Wagner-phile’s dream appeared first on DC Theater Arts.

Eva Perón was an amazing woman. In her 33 years, she rose from a poor girl to a radio and film star and eventually became the First Lady of Argentina. She’s remembered for her campaigns for women’s suffrage and advocating for the poor. To this day there is an ideology called Peronism.

With music by Andrew Lloyd Webber and lyrics by Tim Rice, Silhouette Stages’ Evita is a smash. Director Daniel Douek, Music Director Virginia Moses, and Choreographer Amie Bell made the performances believable, the music melodious, and the dancing sizzle.

Many of the tunes had a rock and roll feel. Evita was initially a rock opera album released in 1976. It received the Tony Award for Best Musical, the first British musical to do so. The singer Madonna appeared in a 1996 film adaptation. The 1980 commercial for the Broadway version of the show was epic. That version starred Patti LuPone and Mandy Patinkin (The Princess Bride).

Samantha Deininger’s performance as Eva Perón was unforgettable. Angelic and magnificent are the words that come to mind when I think of her singing voice. She brought so much emotion to songs such as “I’d Be Surprisingly Good for You,” “You Must Love Me,” and the staccato-like “Buenos Aires (Just a Little Touch of Star Quality”). Deininger enthralled the audience with her rendition of “Don’t Cry for Me, Argentina.” She evoked emotion and depth in that and other songs.

The character Che, who was supposed to be Argentine-Cuban revolutionary Che Guevara, served as an omniscient narrator who guided the audience through Eva’s story like a Greek chorus. His appearance in the musical is a historical inaccuracy. As far as we know, Che Guevara never met in person or even spoke on the phone with Eva Perón.

As a voice of the working people, Brian Dauglash gave Che attitude and a cynical edge. He was featured in such songs as “High Flying, Adored,” “Waltz for Eva and Che,” and “Eva’s Final Broadcast” — all duets with Deininger.

Matt Scheer looks like his character, three-time Argentinian President Juan Perón. He showed strong emotions in “Montage” and “Lament.” Both those songs documented Eva’s sickness and eventual death. The show barely touched on the bizarre true-life story of what happened to her body after she passed.

Agustín Magaldi was a tango singer who, according to the story, brought Eva to Buenos Aires, in essence discovering her. Historically, it is unclear that this ever happened.

Henry Cyr was perfectly cast as Magaldi. His performance was fantastic and he looks like an old picture of Magaldi. Magaldi was a bit of a “tool” (both used by others and arrogant) in the show. Cyr’s breakout performance was in “On This Night of 1,000 Stars,” which featured Projection Designer Chris Uehlinger’s star-studded backdrop.

Julie Mimms gave seductive vibes as Perón’s Mistress. Mimms had a somewhat humorous duet with Deininger in “Another Suitcase in Another Hall,” which related how Eva went through men and how Perón went through women. Eva was his second wife, and after Eva passed away, he married a third wife, Isabel (who went on to be one of the world’s first female heads of state in 1974).

Bell choreographed stellar moves that punctuated and enlivened the songs. Ensemble members such as Jae Jones, Erica Miller, Otega Okurume, and Jose Reyes Teneza stood out in the carefully choreographed numbers.

Costume Designers Tricia Anderson and Tara Herbert gave Deininger many fabulous outfits, each apropos for given scenes. She gave some ensemble members and Scheer impressive-looking military uniforms. Her best work in the show may have been Cyr’s pink and black floral-print suit.

Hair and Wig Designer Tommy Malek gave Deininger and ensemble members period hairstyles. She gave Scheer and Cyr slicked-back, Germanic hairstyles like the late pop singer Falco.

An upstage podium with the Argentine seal painted on it was nearly all that the set consisted of. Scenic Designer Kateri Pelton made much of little.

Evita evokes curiosity about what really happened to these characters because there is almost no spoken dialogue, only musical. The show leaves much history to unpack. Subjects like Argentinian women’s voting rights were briefly alluded to. As Douek, who was born in Argentina, wrote about Eva, the truth “is elusive and complex. I hope our production of Evita will raise our audience’s curiosity for that woman, who, in the short span of 33 years, managed to touch the lives of millions of people.”

This show is a musical lover’s dream. The singing is magnificent, the dancing is outstanding, and the music is spectacular. The run is short so grab your ticket today.

Running Time: Two hours and 25 minutes including one 15-minute intermission.

Evita plays through November 3, 2024 (Fridays and Saturdays at 8:00 pm, Sundays at 2:00 pm), presented by Silhouette Stages performing at Slayton House in the Wilde Lake Village Center, 10400 Cross Fox Lane Columbia, MD. Purchase tickets ($24, adult; $20, senior, student, military, educator; $15, child) online. For additional information, call 410-216-4499 or email info@silhouettestages.com

COVID Safety: Masks are highly encouraged but not required.

Evita
Lyrics by Tim Rice, Music by Andrew Lloyd Webber

CAST
Eva Perón: Samantha Deininger
Che: Brian Dauglash
Juan Perón: Matt Scheer
Agustin Magaldi: Henry Cyr
Perón’s Mistress: Julie Mimms

PRODUCTION TEAM
Director: Daniel Douek
Music Director: Virginia Moses
Choreographer: Amie Bell
Costume Designers: Tricia Anderson and Tara Herbert
Hair & Wig Design: Tommy Malek
Projection Designer: Chris Uehlinger
Scenic Designer: Kateri Pelton

ENSEMBLE
Megan Barnes
Libby Burgess
Tori Farnsworth
J.R. Hontz
Judah-Isaac Canizares
Gillian Keirn
John Lynch
Erica Miller
Julie Mimms
Otega Okurume
Nathanael Quay
Katie Sheldon
Jose Reyes Teneza
Carolina Tomasi

The post ‘Evita’ at Silhouette Stages is a musical lover’s dream appeared first on DC Theater Arts.

Times and opinions change. There is a concept in political science known as the Overton window. It refers to the range of acceptable ideas the public is willing to adopt. The window changes over time so that once-fringe ideas become mainstream. It’s a concept that shows that political opinion is often contextual.

This concept provides a lens through which to look at Eisenhower: This Piece of Ground at Olney Theatre Center. It’s about a president who is highly regarded by historians today, but in 1962 was ranked only 22nd of 31 presidents by The New York Times Magazine.

Here’s an opinion I can stand on: Eisenhower: This Piece of Ground is enthralling, fascinating, informational, and inspirational. It offers hope that a lone hero can stand against political extremes, right and left. Like former California Governor Arnold Schwarzenegger after him, Eisenhower believed “the middle was the usable part of the road — if you go too far right right or left, you wind up in a ditch.”

The play takes place on the sun porch of Eisenhower’s farmhouse in Gettysburg, Pennsylvania, August 1962. As the play opens, Eisenhower is furious that New York Times Magazine has ranked him 22nd of 31 presidents, and proceeds to spend the next approximately 100 minutes recounting his life and achievements — too many to name here.

President Dwight D. Eisenhower was “a war hero who warned about the dangers of the military-industrial complex, a fiscal conservative who built highways…and a Republican who signed Civil Rights legislation,” wrote Olney Artistic Director Jason Loewith.

Eisenhower (translates to “iron miner” in German) also established NASA and balanced the national budget three times. There is even a racial controversy around him — was he Black? That appears not to be the case.

Tony Award winner (The Boys from Brazil, Family, Crazy Like a Fox) John Rubinstein embodied Eisenhower with marvelous precision in this one-actor show. From playwright Richard Hellesen’s script, which pulled from memoirs, letters, and speeches, Rubinstein brought Eisenhower’s humanity, pathos, and, yes, humor to life.

Rubinstein’s performance hit every human emotion, from the sadness of reminiscing about D-Day fatalities, to political compromises made to the Republican party, to the joys of married life, to facing down controversial Senator Joe McCarthy.

Rubinstein was also nominated for a 2024 Outer Circle Critics’ Award for Outstanding Solo Performance. He also created the title role of Director Bob Fosse’s Pippin.

There are so many bon mots in this show, that even if you are not a reviewer you may want to remember them for your next cocktail party: “Moderation ought to govern human affairs”; “The only purpose of war must be peace”; choose the “harder right, not the easier wrong”; “Leave something better than when you got there.”

Director Peter Ellenstein allowed Rubinstein free range to make the show an evening of historical eavesdropping. He did an excellent job preventing this show from becoming a “talking head” show, that is, he gave Rubinstein ample blocking to work with. This was key because there were no other actors. Rubinstein got to pace in a way that used all of the space on stage. The other physical “business” Rubinstein had to work with was fiddling with his old tape recorder, talking to other characters on the phone, and painting portraits.

Projection and Sound Designer Joe Huppert provided historical photos that matched the narrative through the upstage window of the room. The sun porch set, within the black box space, looked thoroughly late-’50s–mid-century thanks to furniture choices by Set Designer Michael Deegan. I liked the little touches like the bust of Abraham Lincoln and family pictures. Costume Consultant Sarah G. Conly gave Rubinstein a simple sweater and conservative slacks and shirt.

Eisenhower: This Piece of Ground challenges the audience to do hard things that are morally right and not take the easy path. It offers hope that principled leaders still exist. This show has been extended, but many nights are deservedly selling out. Buy your ticket today.

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

EXTENDED: Eisenhower: This Piece of Ground plays through October 27, 2024, at Olney Theatre Center, Mulitz-Gudelsky Theatre Lab, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($45–$60) are available online or through the box office at 301-924-3400, open from 12 pm – 6 pm Wednesdays through Saturdays. Discounts are available for groups, seniors, military, and students (for details click here).

The New Los Angeles Repertory production of
Eisenhower: This Piece of Ground
By Richard Hellesen

CAST
President Dwight D. Eisenhower was played by John Rubinstein

PRODUCTION TEAM
Director: Peter Ellenstein
Projection and Sound Designer: Joe Huppert
Set Designer: Michael Deegan
Costume Consultant: Sarah G. Conly
Lighting Designer: Esquire Jauchem

The post ‘Eisenhower: This Piece of Ground’ at Olney offers hope in divisive times appeared first on DC Theater Arts.

Veronica’s Room mucks with your head and turns it inside out. It makes you think about the nature of reality. It disturbs, rattles, and puzzles. It makes you think about false memories and simulations. It’s a deep psychological horror.

In a Boston café in 1973, a young woman called “The Girl” aka Susan (Becca Korn) and her date, “Young Man” (Christopher S. Reed), encounter an elderly Irish couple, “The Man” (Vince Terlep) and “The Woman” (Hillary Mazur). The older couple, the Mackeys, look after Cissie, an elderly woman with dementia whose sister Veronica passed away from tuberculosis in 1935. The Mackeys were housekeepers for Veronica’s parents, the Brabissants.

The Girl and Young Man are shown the room of the titular Veronica at the Brabissant mansion by the elderly couple. They inform the young couple that Cissie doesn’t remember Veronica is deceased; she believes it is still 1935. The Mackeys persuade Susan to pass for Veronica so Cissie would feel better.

That’s the surface of late novelist Ira Levin’s (Deathtrap, Rosemary’s Baby, The Stepford Wives) story in which twisted and evil things happen. I will leave you, my dear reader, to see how far this show descends into madness. The complex onion layers of this story are so intricate that you will be left bewildered, baffled, and mystified.

As novelist Stephen King wrote of Levin: “Every novel he has ever written has been a marvel of plotting…he makes what the rest of us do look like those five-dollar watches you can buy in the discount drug stores.”

In the hands of Director David Dieudonné, Veronica’s Room is a taut and precise 90 minutes. The performances are flawless. The cues are impeccable. In a play as complicated as this, Dramaturg Diana Forster no doubt helped slice through the multiple layers of Levin’s script. Dialect Coach Gary Sullivan was superb in coaching Terlep’s and Mazur’s Irish accents.

Mazur’s performance was a tour-de-force. Her role was pivotal — without it, the credibility of the Brabissant’s family history would have crumbled. This was a WATCH award–worthy performance.

Terlep was powerful and frightening as the plot turned dark in the second act; he was cheerful and corny in the first act. Korn made The Girl a sympathetic and naive student of Boston University. As the play began, she was cheerful and lively. Reed’s character arc from the first to the second act was 180 degrees. His character will frighten you.

Costume Designer Jennifer Morrisey gave Reed a cool, paisley shirt and Mazur an elegant black dress. Stephen Welsh’s hair and wig work was evident in the cast’s change from 1973 to 1935 hairstyles.

Props and Set Dressing Coordinator Jessica E. Casiano enhanced the play’s mood with creepy baby doll props. Set Designer Jeff Asjes and Master Carpenter Eric Henry made a sturdy set (no door shaking) that had a 1930s feel. Combat Coordinator Todd Fleming made the physicality of the struggles of one of the characters convincing. Intimacy Coordinator Helen Aberger contributed to a disturbing scene.

This play is one of the most well-done I’ve seen this year. It’s apropos for Halloween and fodder for nightmares.

Running Time: 90 minutes, with a 15-minute intermission.

Veronica’s Room plays through September 29, 2024 (Friday and Saturday evenings at 8 pm, Sundays at 2 pm), presented by Rockville Little Theatre performing at the F. Scott Fitzgerald Theatre, Rockville Civic Center Park, 603 Edmonston Dr, Rockville, MD. For tickets ($22; $20 for students and seniors), call 240-314-8690 or go online.

COVID Safety: Masks optional.

Veronica’s Room
By Ira Levin

CAST
The Woman: by Hillary Mazur
The Man: by Vince Terlep
The Girl: by Becca Korn
The Young Man: by Christopher S. Reed

PRODUCTION TEAM
Director: David Dieudonné
Dialect Coach: Gary Sullivan
Dramaturg: Diana Forster
Costume Designer: Jennifer Morrisey
Props & Set Dressing Coordinator: Jessica E. Casiano
Hair & Wigs: Stephen Welsh

The post ‘Veronica’s Room’ at Rockville Little Theatre disturbs and mystifies appeared first on DC Theater Arts.

Esther Mills, an African American seamstress in New York City in 1905, crafts intimate apparel for both wealthy and impoverished clients. Though she doesn’t bedazzle in the looks department, Esther yearns to be married. She repeatedly goes to parties but comes up unlucky in the game of love. Eventually, Cupid’s arrow finds George Armstong, a worker on the Panama Canal project, who starts writing to Esther. Unfortunately, Esther cannot write or read.

Compass Rose Theater’s Lottie E. Porch has directed two-time Pulitzer- and Obie-winning playwright Lynn Nottage’s intriguing tale, which delves into sexism, classism, and racism. The performances are so good, and the story is so deep, you’ll want to see it again.

Oh, how I wish I could reveal the juicy, melodramatic highlights of this show. All I can do is tell you to add Esther, her shady suitor, the Jewish merchant she buys fabric from, her friend the hooker, and her wealthy white client, and find that it equals a thoroughly entertaining show.

Danielle J. Curry as North Carolina-born Esther Mills gives one of the better performances I’ve seen this year. She was “in the moment” in every scene, and apropos emotions painted her face. Curry made every scene and every word count.

Evan Carrington gives George an impressive arc. In the first act, he performed his lines from house left of the audience — spotlighted — ostensibly reading letters he had supposedly written to Esther. He wrote of the hardships of construction in the tropical heat of Panama, and how much he yearned to meet her. With each letter, he got closer to the stage. In the second act, George and Esther’s meeting showcased the adage “Without conflict, there is no drama.”

Lezlie Hatcher plays saucy sex worker Mayme, who brags about her conquests with such lines as “A gentle touch is gold in any country.” In a revelation that proved pivotal to the story, Mayme confided in Esther about an affair she was having with a client. Hatcher made me both hate and be amused by Mayme

Jessica Cooperstock plays well-to-do Mrs. Van Buren, a consumer of Esther’s corsets. Stuck in a sexless marriage, Mrs. Van Buren confided in Esther in scenes that reminded me of Scarlett O’Hara confiding to her maid, Mammy, in Gone With the Wind. Van Buren also helped Esther with her literacy problem.

One of the more powerful scenes between them was Mrs. Van Buren pleading with Esther to be her friend and Esther responding, “I can’t even go through your front door.” Another juicy tidbit was Mrs. Van Buren’s sexual reveal, late in the play.

“If it makes you happy it makes me happy” was a statement that summed up cloth merchant Mr. Marks’ attitude toward Esther. Mr. Marks sold Esther the fabric she needed to weave her intimate apparel. There was a hint of romance between Marks and Esther. It was clear that Marks, a Romanian Jew — betrothed to another — and Esther, a Black American, would have many barriers to their connecting.

Kecia Campbell plays Mrs. Dickson, Esther’s landlady. Though her scenes were few, she worked well with Curry as her character explained the goings-on of Esther’s life.

Katelyn Marie’s costume design evoked the period. Marie designed an impressive series of dresses and suits. She provided the fabric in Mr. Marks’ shop. Mud and grime on George’s costume might have better conveyed Panama.

I liked Esther’s antique sewing machine and the verisimilitude it brought. Debra Fortier and Susan Flynn’s props were on point. Lottie Porch designed a simple set, with walls with various wallpaper that conveyed different locations. The downstage left piano represented Mayme’s room.

This is a marvelous piece of theater. The performances take you to deep and thoughtful places. Be sure to catch this one and savor it.

Running time: Two hours, including a 15-minute intermission.

Intimate Apparel plays through October 6, 2024, at Compass Rose Theater performing at Maryland Hall for the Creative Arts (third floor), 801 Chase Street, Annapolis, MD. Tickets ($15–$55) can be purchased online or by calling the box office at 410-980-6662.

Intimate Apparel
By Lynn Nottage

CAST
Kecia Campbell: Mrs. Dickson
Evan Carrington: George Armstrong
Jessica Cooperstock: Mrs. Van Buren
Danielle J. Curry: Esther Mills
Lezlie Hatcher: Mayme
Conor Scanlan: Mr. Marks
Angela Whittaker is an understudy

ARTISTIC AND CREATIVE TEAM
Director: Lottie E. Porch
Costume Design: Katelyn Marie
Lighting Design: Marianne Meadows
Set Design: Lottie Porch
Props & Costumes: Debra Fortier, Susan Flynn
Set Build: Omar Said, Brodie James Osborne
Sound Designer: Lottie Porch

The post Lynn Nottage’s ‘Intimate Apparel’ at Compass Rose is marvelous theater appeared first on DC Theater Arts.

Does keeping a terrible secret break a friendship? Is it possible for love to overcome insurmountable odds? Is it possible to pardon the unpardonable? Treachery Lies & Deception, written and directed by Margaret P. Bean, explored these and other themes in a recent production at La Familia Soundstage in Baltimore. The show’s themes take on mental health and domestic abuse.

There is an abundance of raw emotion and sensationalism in the story. A singer named Savannah Manchester finds out that the proprietor of the JW Lounge, Justin Wells, is using her for his own benefit. Depression is obviously a problem for Savannah. Her past mental breakdown set the circumstances for Treachery Lies & Deception.

As Savannah, Danielle Niecy Rollins was excellent. The impact of the character’s mental illness was conveyed in numerous scenes. In many scenes, Rollins showed the frailty of someone who is attempting to mend her heart and her relationships.

Villainous Justin Wells treated his women badly in the show. W. Keith Scott displayed remarkable versatility, moving between a likable character and one that the audience delighted in detesting. Justin was just insufferable.

Justin’s wife, ShaNay Wells, had a lot to hide from her former friend, Savannah. Actress Myesha Dione brought an air of duplicity to the part. Scenes involving Justin’s domestic violence on her were difficult to witness.

Landon Smith, played by Antione Avery, was a compelling character since he wanted nothing more than to save Savannah from Justin’s mistreatment. When Avery’s longing for Savannah was on full display in his scenes with Rollins, he truly shone.

I loved the dynamic between Anissa Stewart’s Lady Love and Otis Williams’ Reverend Love. Their relationship was the epitome of a happy marriage; they were perfect complements to one another, moving through life gracefully. In a sermon, Reverend Love strongly intoned messages like “Put on the full armor of God” (Ephesians 6:10-18); “God knows your heart and the devil does too!”; and “Young Men of Baltimore, put the guns down!”

First-time actor Regina Gina G.’s “messy” and obnoxious Brenda Busy Body added energy and comedy to the show. Regina’s preferred weapon was gossip and her second-favorite weapon was verbal sparring. I couldn’t help but notice Summers’ flashy and outrageous attire — one outfit featured Christmas lights.

Christina Blake, in her acting debut, convincingly portrayed pop-up-shop salon owner Lorraine Dobson. Quiana J. Stowe, in a vital role as Justin’s daughter Maxi Wells, turned in an emotional performance.

Many of the scenes were tied together with songs like James Brown’s “It’s a Man’s World.” Bean even performed a liturgical dance.

Bean’s scenic design was effective without using a lot of flourishes. The design consisted of placing furniture in front of a screen, which was then used to broadcast images of cityscapes, a salon, and a living room from YouTube.

Forgiveness, reconciliation, and secrecy are important themes in Treachery Lies & Deception, a show that explores truth, lies, and abuse. Saturday night’s performance was the last of this calendar year. When this touring show stops in your city, grab your ticket and go.

Running Time: One hour and 45 minutes, including a 15-minute intermission.

Treachery Lies & Deception played for one performance only on August 24, 2024, presented by MPB Entertainment performing at La Familia Soundstage, Baltimore, 836 Guilford Ave, Baltimore, MD. Tickets ($45) for its next performance can be purchased online. For future MPB Entertainment shows visit its website.

Treachery Lies & Deception
By Margaret P. Bean

CAST
Danielle Niecy Rollins: Atlanta & Baltimore Savannah Manchester
Cherill Ashton: New York Savannah Manchester
Myesha Dione: Shady ShaNay Wells
W. Keith Scott: Justin Wells (JW)
Quiana J. Stowe: Maxi Wells
Antione Avery: Landon Smith
Anissa Stewart: First Lady Love
Otis Williams: The Right Reverend Love
Christina Blake: Lorraine Dobson
Regina Summers (Regina GinaG): Brenda Busy Body
Margaret P. Bean: Change – Dancer

ARTISTIC AND CREATIVE TEAM
Margaret P. Bean: Playwright/Director, Scenic Design & Lighting Design
Denise Scott: Stage Manager & Greeter
Zachery T. Brown: Prop Manager & Audio Tech
Rebecca Thompson: Blocking, Atlanta Stage Assistant

The post Betrayal, heartache, and redemption in ‘Treachery Lies & Deception’ appeared first on DC Theater Arts.

Michael Jackson was an enigma. He was also a pop-music juggernaut who dominated the airwaves. Jackson was the definition of commercial success in the music business, earning the undisputed title of the King of Pop. He eclipsed other artists of his era such as Madonna, Cindi Lauper, and David Bowie on the early ’80s charts.

Now at the National Theatre, MJ is a jukebox musical that plays like a concert. It will have you rocking in your seat. It features phenomenal dancing but is short on story and pathos — though it does touch on the price of fame and how much Black achievement is driven by adversity. The musical book, by Pulitzer- and Obie-winner Lynn Nottage, jumps around in time — it’s not a chronological buildup to Jackson’s later hits from his earlier ones.

Tony-winning Director/Choreographer Christopher Wheeldon made the dance moves unforgettable. Nathanael Wilkerson and Jason Yarcho’s music direction made hits like “ABC,” “Beat It,” ”Human Nature,” and “Smooth Criminal” dazzle.

MJ, which opened on Broadway in 2022, was produced in cooperation with Jackson’s estate. That fact affects the staid storyline, which features a fictional MTV reporter lackadaisicaly interviewing Jackson during rehearsal for his historically large-scale Dangerous World Tour in 1992. The reporter’s questions frame the flashbacks that tell the story.

Jamaal Fields-Green was dynamite as Jackson. From his sly acting to his smooth moonwalking, to his cat-like gliding across the stage, Fields-Green was the pinnacle of perfection.

“The melody is king,” MJ told MTV reporter Rachel, played by Cecilia Petrush. That’s as close as the show got to showing insight into how Jackson could put out albums such as Thriller, which sold 41 million copies and earned eight Grammys.

Fields-Green’s slow, a cappella intro to “Thriller” led into an amazing performance of the song, complete with zombie-mask-wearing dancers. Joe Dulude II’s make-up design was scary. Throughout, Peter Nigrini’s projection design accentuated the mood of the songs.

The supporting cast was marvelous as well. Anastasia Talley as MJ’s mom, Katherine Jackson, sang “I’ll Be There.” Devin Bowles played stern family patriarch Joseph Jackson. The Jackson kids were raised Jehovah’s Witnesses — so no birthdays or Christmas. Abusive Joe told young MJ, “My hand won’t be as hard as the world.” Joe’s perfectionism rubbed off on Michael.

Little Michael and teenaged Michael were wonderfully played by Bane Griffith and Erik Hamilton, respectively. Ramone Nelson did good work as Tito Jackson and legendary music producer Quincy Jones. I liked J. Daughtry’s work as Soul Train host Don Cornelius and Motown founder Berry Gordy. Charles P. Way embodied singer Jackie Wilson and Randy Jackson.

The core of this show was the dancing. The moves were breathtaking. Spins. Turns. Kicks. Struts. Gyrations. They were all there. I liked the play-within-the-play rehearsal warmups, which included everything from leg stretches to pushups. Actors including Kellie Drobnick, Amber Jackson, Zuri Noelle Ford, Matteo Marretta, and Croix Diienno played tour dancers with panache.

David Holcenberg’s music supervision more than did justice to such Jackson hits as “Billie Jean,” “I Can’t Help It,” “Jam,” and “Wanna Be Startin’ Somethin’.” The orchestra was phenomenal. Nathanael Wilkerson was on keys, Jimmy Bonaparte-Coggins played drums, Mesia Austin provided percussion, John David Bratton II was on bass, and Lily Guarneros Masse played guitar.

Much credit goes to the orchestration of Jason Michael Webb and the amazing local musicians: Craig Taylor on trumpet 1, Josh Kauffman on trumpet 2, Joe Jackson on trombone, Matt Belzer on reed 1, Ben Bokor on reed 2, Gerry Kunkel on guitar 2, and Cedric Lyles on keyboard 2.

Costume Designer Paul Tazewell excelled in capturing MJ’s essence, whether it was his military-like Dangerous Tour attire or his famous sparkling glove. Scenic Designer Derek McLane put no more and no less than he had to on stage. At the opening curtain, there were the drab, gray, metallic walls of a rehearsal studio. From there, McLane used scenery wagons to evoke other rooms.

The wig and hair design by Charles G. LaPointe left me puzzled. The actors wore 21st-century hairstyles and beards. Wheeldon apparently made the choice to not have the actors look too much like the people they were portraying. (Joe Jackson with a beard?)

Makeup Designer Joe Dulude II recreated MJ’s unusually light complexion. (Jackson reportedly suffered from the skin condition vitiligo.)

You’ll leave this show feeling like you attended a concert. It’s a night of hit after hit that can be enjoyed by all ages.

Running Time: Approximately two hours and 40 minutes with a 20-minute intermission.

MJ plays through September 8, 2024, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets ($69–$209) are available online or at the box office.

MJ is recommended for ages 8 and up.

Enter the Digital Lottery for a chance to purchase $39 tickets. Learn more here.

The cast and creative credits for the touring production are here.

COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here.

MJ
Book by Lynn Nottage

CAST
MJ: Jamall Fields-Green
Rob, Joseph Jackson: Devin Bowles
Rachel: Cecilia Petrush
Michael: Erik Hamilton
Little Michael: Bane Griffith
Little Marlon: Bryce A. Holmes
Tito Jackson, Quincy Jones: Ramone Nelson
Kate, Katherine Jackson: Anastasia Talley
Alejandro: Anthony J. Garcia
Nick, Berry Gordy, Don Cornelius, Doctor: J. Daughtry
Dave: Jed Resnick
Tour Dancer, Randy Jackson, Jackie Wilson (dancer): Charles P. Way
Tour Singer, Jackie Jackson, James Brown (vocal): Jay McKenzie
Tour Dancer, Soul Train Dancer: Kellie Drobnick
Tour Dancer, Suzanne de Passe, Isley Brother (dancer): Amber Jackson
Tour Dancer, Isley Brother (dancer), Nicholas Brother: Zuri Noelle Ford
Tour Dancer, Fred Astaire: Matteo Marretta
Tour Dancer, Bob Fosse, Newscaster: Croix Diienno
Keith, Jermaine Jackson, Isley Brother (dancer): Jacobi Kai
Tour Dancer, Marlon Jackson, James Brown, Nicholas Brother: Brion Marquis Watson
Swings: Jojo Carmichael, Joshua Dawson, Ui-Seng Francois, Jahir L. Hipps, Faith Jones, Rajane Katurah, Kendrick Mitchell, Zion Mikhail Pradier, Charles P. Way

ARTISTIC AND CREATIVE TEAM
Director/Choreographer: Christopher Wheeldon
Music Direction: Nathanael Wilkerson
Music Supervision/Orchestration/Arrangements: David Holcenberg
Projection Design: Peter Nigrini
Orchestration/Arrangements: Jason Michael Webb
Dance Captain: Jojo Carmichael
Assistant Dance and Fight Captain: Croix Diienno
Costume Designer: Paul Tazewell
Make-Up Design: Joe Dulude II
Wig & Hair Design: Charles G. LaPointe
Sound Design: Gareth Owen
Scenic Design: Derek McLane

The post ‘MJ’ on tour at the National Theatre explodes with hits from the King of Pop appeared first on DC Theater Arts.

Who wants to see the backstory of infamous American presidential assassins? If you are fascinated by history, perhaps. If you have a macabre sense of humor, possibly. If you love catchy tunes and sharp choreography, definitely. Assassins by Stephen Sondheim (Academy, Tony, and Grammy winner) and John Weidman is a journey into the minds of the disturbed — set to music. This show, directed by Fred Zirm, is Silver Spring Stage’s first musical in decades.

Assassins often balanced on that thin line between laughs and groans. Based on an idea by Charles Gilbert Jr., Sondheim’s somewhat funny and dark musical tells the stories of unhinged people who tried to kill U.S. presidents, whether they succeeded or not. This musical looks at what drove these assassins down their dark paths. The music in the show includes popular songs from different time periods and patriotic American tunes. It’s dark, it’s humorous, and it is sometimes fun.

As Zirm put it: “Assassins can serve as a cautionary tale, warning people at either end of the political spectrum who call for violence that they should, to echo another Sondheim show, be ‘careful the wish they make’ — a timely lesson for these polarized times.”

Each of the historical assassins had a song or participated in songs that told their stories. Alden Michels and Mel Gumina as John Hinkley and “Squeaky” Fromme sang a dynamite duet of “Unworthy of Your Love.” Michels, who won a 2019 WATCH award for Best Actor in a Musical, also served as one of the music directors, along with Jenni McGinnis.

The country-and-western sounding “The Ballad of Booth” was performed by the Balladeer (Maureen Freshour), John Wilkes Booth (Hunter Curry), and David Herold (Aram Matagi). Freshour impressed with her faux guitar playing.

Surprisingly, this musical had great monologues and superb acting among the songs. Bill Bodie was mesmerizing as would-be President Nixon assassin Samuel Byck, who planned to fly a plane into the White House in 1974. His monologue, which had a strong emotional arc, focused on the futility of finding a president who does everything you’d want him to do. Bodie recently acted in Cymbeline, Love’s Labor Lost, and Uncle Vanya.

I loved the acting clinic put on by Curry, as Booth, and Preston Meche II, as Lee Harvey Oswald. Their scene took place in the infamous Texas School Book Depository. In an anachronistic meeting, Booth exhorted Oswald to do the unthinkable. Meche, who also played President Ford, was most recently seen in Singin’ in the Rain at The Arlington Players.

There were many other good performances in this show. Michael McCarthy played the pathetic, sickly, and mentally ill Giuseppe Zangara, who attempted to assassinate FDR in 1933. McCarthy, along with the ensemble, wonderfully performed “How I Saved Roosevelt.”

Charlie Retzlaff played Charles J. Guiteau, who assassinated President James A. Garfield. Strangely, Guiteau wanted Garfield to appoint him to be the ambassador to France. I liked the work put in by Doug Richesson, who played Garfield and many other roles in the ensemble.

Lee Michele Rosenthal played Sara Jane Moore, who, along with Fromme, tried to assassinate President Gerald Ford. Marissa Michaels channeled early 20th-century anarchist Emma Goldman. She had a wonderful scene with Michael McGovern, who played Leon Czolgosz.

McGovern played Czolgosz as a lost and awkward soul. McGovern excelled in the tunes “Gun Song” and “Another National Anthem.” Czolgosz assassinated President William McKinley in 1901.

Ian Swank played a carnival barker–type character named the Proprietor. At the top of the show, he sang “Everybody’s Got the Right” along with the various assassins in the show. I also liked his singing in “Another National Anthem” and “Something Just Broke.”

Caroline Adams and Morgan Fuller rounded out the ensemble. Janaki Katz played Moore’s son.

The production team was top-notch. Armorer Brian Dettling supplied “safe, nonfunctional” replica pistols. Sandhya K. Kidd impressed with the properties such as a Tab soda prop. Bill Brown’s set design featured sepia and red tones and evoked a carnival. Helen Aberger made the intimate scene touching.

Assassins is a strange musical indeed. Despite or perhaps because of its subject matter, the musical tunes and acting pull you into a historical journey. Assassins is a musical for students of history and the stage.

Running Time: Approximately two hours with a 15-minute intermission.

Assassins plays through June 23, 2024 (Fridays and Saturdays at 8 pm, and Sundays at 2 pm), at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD. Purchase tickets (starting at $23.2 including fees) at the door or online. For more information call (301) 593-6036, visit the website, or email contact@ssstage.org.

COVID Safety: Masks are encouraged but not required.

Assassins
By Stephen Sondheim and John Weidman

CAST
Proprietor: Ian Swank
Balladeer: Maureen Freshour
John Wilkes Booth: Hunter Curry
Charles Guiteau: Charlie Retzlaff
Leon Czolgosz: Michael McGovern
Giuseppe Zangara: Michael McCarthy
Samuel Byck: Bill Bodie
Lynette “Squeaky” Fromme: Mel Gumina
Sara Jane Moore: Lee Rosenthal
John Hinckley: Alden Michels
Male ensemble/Lee Harvey Oswald/President Ford: Preston Meche
Female ensemble/Emma Goldman: Marissa Michaels
Male ensemble/David Herold: Aram Matagi
Male ensemble/President Garfield: Doug Richesson
Female ensemble/Secret Service: Caroline Adams
Boy: Janaki Katz

ARTISTIC AND CREATIVE TEAM
Director: Fred Zirm
Music Director: Jenni McGinnis
Choreographer: Lisa Singleton
Set Dressing and Properties: Sandhya K. Kidd
Set Dressing and Properties Assistant: Nancy Carlin
Armorer: Brian Dettling
Set and Painting Designer: Bill Brown
Costume, Hair and Make-up Designer: Jennifer Morrissey
Intimacy Choreographer: Helen Aberger
Sound Designer: Sarah Katz
Lighting Designer and Projections: Steve Deming

The post ‘Assassins’ at Silver Spring Stage shocks and entertains appeared first on DC Theater Arts.

National Black Theatre’s Executive Artistic Director Jonathan McCrory is a talkative, learned, and energetic man. He is the perfect choice to direct Kennedy Center’s The Gathering: A Collective Sonic Ring Shout, a concert taking place at the Kennedy Center in partnership with Apollo Theater and National Black Theatre (NBT). The concert plays June 1, but there are exhibits leading up to and after the show running May 26 through May 31, and June 2, 2024.

“It’s not a play. It’s a quest; it’s a journey; it is a concert,” said McCrory, a DC native and the director of The Gathering: A Sonic Ring Shout. The show incorporates soul, choral, gospel, and orchestral music — and poetry that should leave people walking away feeling “that they’ve had a conversation with the civic and political and social unrest of our country” and co-curate “something that will help us deal with the unrest and find the possibilities inside of it.”

This two-hour Sonic Quest will be where folks will listen to seven original pieces navigating and charting through the Black identity, Black culture, American identity, and American culture that lives at the convergence of our angst, of our traumas, of our frustrations, to the nexus of our possibility, our love, and our Grace. —Jonathan McCrory

“We are in a space of great civic unrest, but we are also in a space of great possibility,” McCrory said.

McCrory continued: “When I say ‘space’ I am talking about a couple of things. We have a gathering, a week of a ‘takeover’ of the Kennedy Center. We are going to be doing seven different events that are curated by the National Black Theatre and the Social Impact Office of the Kennedy Center. It is free and family-friendly programming.”

During the week of free events, McCrory said, “We acknowledge the Black settlers who lived in the Foggy Bottom neighborhood of Washington, DC. We are doing a quilting exercise. Quilts have been a part of telling our story. We are doing a ring shout and a three-hour dance party.”

A ring shout is a West African dance that involves a group of singers moving in a circle while stomping their feet and clapping their hands. Ring shouts were practiced by American slaves. “[At] a ring shout, someone brings their grief, and it gives them a place to heal.” That portion of the show will feature the McIntosh County Shouters from Georgia.

The ring shout allows anyone to bring their grief to the table through a communal act of gathering, which we as Black and Brown folks have done intentionally out of space to heal, especially for those who find themselves as descendants from slaves and or from the Antebellum South from slavery. The intentionality of gathering becomes really important to actually re-find family and community again. —Jonathan McCrory

“The ring shout is historically an open space to grieve, awaken joy as a source of liberation, and use love as a form of resistance,” said Apollo Executive Producer Kamilah Forbes.

The concert will be narrated by a virtual host, Mahogany L. Browne. During the show, “Folks will listen to seven original pieces that will navigate through the Black and American culture that lives as the convergence of our angst and our trauma,” said McCrory. “We are going on a quest of healing together.”

The themes include the relationship between police, Black culture, and Black people.

One of the signature works is Seven Last Words of the Unarmed (by Joel Thompson), which centers on seven last words of Black men who have been killed by cops. That work is set to an 80-person orchestra and a 48-person choir and McCrory said it gives “a space or remembrance to those who have been hurt or abused or killed by the police.”

“You will hear an acapella song by Abby Dobson that merges the National Black Anthem with ‘Say Her Name’ so we don’t forget that women are part of this atrocity,” McCrory said. “We need to rally around all life, not just Black male life and Black fem life. We can talk about the Sandra Blands and George Floyds.”

McCrory continued: “You’ll hear songs that address the question ‘What is our responsibility to each other?’ You’ll hear music that will show your context within this city. There will also be songs that touch on the spiritual.”

“I am aligning the pieces until they shine,” McCrory said of the performers, who include Dobson, Toshi Reagon, Courtney Bryan, classic R&B star Nona Hendryx, Joel Thompson, Troy Anthony, and Carlos Simon.

Choir Director Nolan Williams will conduct the 40-person choir. Troy Anthony’s Fire Ensemble joins the show from New York. The concert features the American Composers Orchestra conducted by Chelsea Tipton II, and 48 members of the NEWorks Voices of Inspiration chorale under the direction of choirmaster Nolan Williams Jr.

The Gathering: A Collective Sonic Ring Shout was originally performed to a sold-out audience at The Apollo in Harlem, New York, in 2022. “We are taking that same energy and dropping it into the Kennedy Center,” McCrory said. The concept of the show was partially the brainchild of Apollo’s Forbes.

As for his directing background, McCrory said Hands Up was his most impactful piece. He directed the world premiere. “It created a healing space in a time of unrest. There’s got to be a place to breathe while they [activists] think.” As for his education, McCrory said, ”Duke Ellington [School of the Arts] was a very important space. It was the best training I had in my life.”

He thinks the concert will show young directors and other creatives that “we don’t need to be beholden to traditional models. Art can heal and move the dial forward. But it takes many people [doing different things].”

McCrory left me with these thoughts about what audiences can take away from the show: “I hope that folks see the Kennedy Center is a place they can engage with and come back to over and over and over again. I want people to feel welcome. I welcome you to have a conversation about the possibilities of changing this world.”

As a DC native, sometimes I didn’t always see the Kennedy Center as a space for me to engage with. I hope that Washingtonians can actually engage with the content of the Gathering and want to return to the Kennedy Center because they now see a recurring narrative that looks like them and feels like them. —Jonathan McCrory

Bringing this work to the DMV area is a calling card for folks to engage with all of those mechanisms from finding themselves together, to being able to turn their grief into something that is possible, to seeing the Kennedy Center beyond a destination for performance — as a treasured jewel for every DC resident and visitor to be have access to. —Jonathan McCrory

Running time: Two hours and 15 minutes including a 15-minute intermission

The Gathering: A Collective Sonic Ring Shout plays June 1, 2024, at 7:30 pm, in the Opera House at the Kennedy Center, 2700 F St NW, Washington, DC. Tickets ($45–$99) are available at the box office, online, or by calling (202) 467-4600 or (800) 444-1324.

The Gathering: A Collective Sonic Ring Shout
Creative Concept and Direction by National Black Theatre’s Executive Artistic Director, Jonathan McCrory

This performance is co-produced by National Black Theatre and The Apollo in association with the John F. Kennedy Center for the Performing Arts and is an external rental presented in coordination with the Kennedy Center Campus Rental Office and the Social Impact Office. 

The post Jonathan McCrory on ‘The Gathering: A Collective Sonic Ring Shout,’ a safe space for healing from social unrest appeared first on DC Theater Arts.