The Mystery of Irma Vep: A Penny Dreadful, currently running at Baltimore’s Everyman Theatre, may masquerade as a play. However, this hilarious journey through the mind of playwright Charles Ludlam leaves the same impression as if it were an elaborately choreographed dance. It’s not only one of the busiest physical comedies I’ve seen; it’s also a successful hodgepodge of different genres, a showcase for 1980s cultural references, and a glowing recommendation of the two actors involved. But Vep isn’t just a lively two-hander. As pointed out by Everyman’s Artistic Director Vincent M. Lancisi in his pre-performance address, this Paso Doble is more like a flash mob. If an audience member can guess exactly how many behind-the-scenes bodies it takes to execute this camp masterpiece, he’ll buy them a drink.

On its face, The Mystery of Irma Vep has a suspiciously recognizable profile — a spooky mansion, a Lord of the Manor, the ghost of his first wife, his new love interest, and the domestic help. The audience is left to wonder what new twists could be possible. Even the term “Penny Dreadful” seems self-deprecating, as it refers to literature that’s straight trash. But Ludlam has infused some high-value surprises into his painstakingly written script. And, under the superb guidance of director Joseph W. Ritsch, an incorporeal force takes center stage more than any other character. It’s the spirit of all the comedy that’s come before … everything from British farce to Rowan & Martin’s Laugh-In to modern improv. Ritsch dresses the bones of a horror spoof in this downy essence, creating a classic Scooby-Doo episode on steroids.

In this case, the gang solving the mystery is a dynamic duo, so Everyman’s repertory system has slotted Bruce Randolph Nelson and Zack Powell into a couple of multiple-role parts that an actor would wait a lifetime to play. And playing these parts must be the challenge of their lives. But there isn’t an actor working that wouldn’t be jealous of the opportunity to shine this brightly. There is no Tango without these two, and they shoulder the burden of all the double entendres, meta jokes, and toilet humor with grace.

Nelson (Nicodemus/Lady Enid/Alcazar/Pev Amri), a generously seasoned audience favorite, lands on the doorstep of the Manor with a wooden leg, a strong lower-class English accent, and a palate of hideous fake teeth, all used to great effect. There’s no surprise in his innate command of the stage, as most local theatergoers would have already seen him in a fantastic array of roles at Everyman and elsewhere. Nonetheless, he reaches new heights in Vep, with his uncanny ability to flit from ultra-feminine ingenue to crusty laborer to mummified Egyptian goddess. Powell (Jane/Lord Edgar/Intruder) is the perfect accompaniment to Nelson’s delightful melange, breaking through the fog with macho virility to hurl a dead wolf onto the hardwood, even as he’s planning his transformation back into his Gibson Girl–style attire to play the harried maid. His metamorphoses are so complete that I genuinely didn’t realize it was the same actor for a few minutes. Nelson and Powell both accomplish their overwhelming number of costume changes with aplomb, and each has their own unique and compelling stage presence. Watching them play together is a joy.

Besides being a comforting night of laughs, Vep also serves another essential purpose, especially considering the present political climate. It’s a wholehearted endorsement and celebration of queer identities and cross-gender expressions. Ludlum was passionately committed to championing queer theater, operating with the belief that cross-gender performance is a powerful exploration of both the masculine and feminine that has many personal and societal benefits. With his Ridiculous Theatrical Company, he created a space where everyone could feel comfortable being their best selves — and he especially loved embracing the peculiar, eccentric, and odd.

The production and design elements of this show reflect those values beautifully. The set, designed by Daniel Ettinger, reads as classic decor, with William Morris–inspired prints in muted blues and grays co-existing with dramatic geometric shapes, à la Pee-Wee’s Playhouse. It also holds up surprisingly well with all the comings and goings. The costumes, designed by David Burdick, are beautiful, sleek, and period-accurate, and Lady Enid’s frocks and nighties are such a cute nod to modern coquette style. I particularly loved her “silly goose” dress. But most of all, it is spectacularly impressive that every one of these costume pieces had to have been meticulously planned to allow it to be donned or removed in a matter of 15 seconds. I almost wished there was a live feed backstage to record the magic of those quick changes. It must be pure chaos back there.

Because of the relentlessly kooky nature of The Mystery of Irma Vep, there’s not much space for the audience to ruminate in between laughs. But, as we poured out of the venue, I felt a wave of poignancy wash away the haze of escapism. It was disheartening to register afresh the atmosphere we were re-entering — walking headfirst into a country that needs change, into a moment that requires protest. Appropriately, Vep was originally created as just that — a primal scream against the scourge of AIDS (which Ludlam succumbed to in 1987). Yet, in our current environment, this revolutionary comedy takes on a world of significance, and presenting it constitutes a profound act of resistance. The team at Everyman may not have meant to be brave by producing this play in this time … but it may be the bravest thing they have ever done.

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

The Mystery of Irma Vep: A Penny Dreadful plays through June 22, 2025, at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets ($5–$81, including student discounts and Pay-What-You-Choose tickets at every performance), call the box office at (410) 752-2208 (Monday through Friday, noon–5 pm), email boxoffice@everymantheatre.org, or purchase them online.

Content Advisory: Contains adult humor and sexual innuendo, simulated violence with weapons including guns and knives, and jump scares intended to delight the audience. Production effects include theatrical haze and blood, gunshots, and strobing lights.

The Mystery of Irma Vep: A Penny Dreadful
Written by Charles Ludlam
Directed by Joseph W. Ritsch

CAST
Nicodemus Underwood/Lady Enid Hillcrest/Alcazar/Pev Amri: Bruce Randolph Nelson
Jane Twisden/Lord Edgar Hillcrest/An Intruder: Zack Powell

CREATIVES

Set Design: Daniel Ettinger
Costume Design: David Burdick
Lighting Design: Juan M. Juarez
Sound Design: Germán Martínez
Wig Design: Denise O’Brien
Dialects: Gary Logan
Fights & Intimacy: Lewis Shaw
Dramaturgy: Robyn Quick
Stage Manager: Cat Wallis

The post Everyman Theatre mounts hilarious camp masterpiece ‘Mystery of Irma Vep’ appeared first on DC Theater Arts.

There’s a male loneliness epidemic going on in Jane Anger at Maryland Ensemble Theatre, and it’s not only because of the Plague of 1606. William Shakespeare just can’t seem to find his words, which have always been his best friends. He’s filthy rich because of them. But the journey by the Bard through a challenging time of his life, as he tries (and fails) to write his “most important” play, takes a backseat to a more topical storyline in this revenge comedy, which also plays like a classic farce and a feminist fantasy.

This fourth-wall-breaking piece by Talene Monahon is a bit of a history play, too. Though, as director Suzanne Beal says, Jane Anger is “a total fabrication,” it’s packed with obscure bits of knowledge about good ol’ Willy Shakes, revealing his plagiarism, prostate issues, and penchant for sex workers. There’s also his obsession with the success of his competitors and his shocking lack of empathy for his wife and children — it’s a veritable exposé of the time’s most famous person. Plus, the inspiration for Jane’s story comes from a real document, an anti-mysogynist letter printed by Jane Anger “for all women” in 1589.

Monahon’s writing is in a style after my own heart, with tons of wordplay, modern slang, and pop culture nods. Right up top, there’s a fun homage to Abbott and Costello’s classic comedy routine “Who’s on First?” I then noted references to Shrek, Austin Powers, Wicked, and The Notorious B.I.G. before uncovering a few Monty Python Easter eggs. As an actor, I have to love all the nudge-and-wink asides and meta commentary. Beal bookends the play beautifully with up-close audience interactions, in between which she relentlessly pushes her actors with impressively difficult comedic blocking, unique stage pictures, and movement games that defy physics.

Lots of those games are played by MET Ensemble Member Bill Dennison, who keeps up quite well, and looks right at home as William Shakespeare, adopting all the flourishes and quirks of landed gentry with aplomb. The stress and strife of plague-filled Jacobean times are beginning to wear on him, and you can see the desperation in his eyes. He needs his audience, his accolades, his…escorts. However, he’s stuck at home with his manservant, Francis Sir, played with cartoonish enthusiasm by MET Ensemble Member Jeremy Myers. The two have a wonderfully playful chemistry, and, with all the physical comedy he’s asked to do, Myers plays a convincing human rag doll. He has the pleasure of saying some of the script’s most absurd lines, and he gets to be the personification of Chekhov’s gun when he says he “swoons at blood,” but I’ll give you no spoilers beyond that.

The details unearthed in the play equal a general thumbs down for Shakespeare as a person, but that doesn’t really matter, because he’s only a stepping stone along our heroine’s path. Jane Anger, adeptly played by MET Ensemble Member Shea-Mikal Green, has loved books from a young age, and, although they didn’t keep her out of whoredom as they were meant to, they mostly did. Anyway, now she’s a Cunning Woman (aka Witch), she’s got something she wants to publish, and she knows it must be printed under a man’s name. But in order to gain proper attention for her writing, only the signature of “the Voice of All People” will do. And she’ll do anything to get his name on her parchment.

Green is perfectly cast as Jane, with that mischievous glint in her eye that always makes for a strong character actor. She’s believable as a street scamp who performs spells, talks to dead rats, and brandishes a rapier. She’s confident, lively, and engaging in the aforementioned audience interaction bits, and is, above all, a Real Person. I feel a little bad for Green for having to throwing herself under the bus repeatedly for the sake of men’s egos, but she has fun with it. Jane knows she has to feign incompetence and be the “silly little thing” they want her to be. Fortunately, we’re in on the joke.

As Jane gets closer to her goal, she’s playing her game well. However, just when her plan to get Will’s sign-off seems to be working, everything is complicated by the arrival of his wife, Anne Hathaway, whose reputation precedes her, and her crime is being too…nice? Mallorie Stern plays her as the purest version of a perfect wife, to the point where she gaslights herself into thinking she’s happy with her marriage. However, once her ire is awakened, she changes course as would befit a thundering tempest. The audience is delighted to see her come into her strength. It’s lovely work from Stern.

Since women are the heart of the matter in Jane Anger, it makes sense that the emotional hub of the story would take place when the two women are finally alone together. It almost seemed like we were peeking in on a different play. I appreciate that Monahon’s arc allows the audience to get their chuckles out for an hour before hitting these more serious feminist existential points harder, which have naturally been integral to the action all along.

Jane Anger certainly sets the historical record straight when it comes to a few things, but one resounding message that’s dear to me is that humans need to strive to be human. We need to respect one another, accept each other as equals, and shed our patriarchal conditioning in order to move forward and create a more just and livable society. It only makes sense. As Jane says to Anne, “I don’t see what’s wrong with trying hard,” and it’s clear that this cast and crew has taken that message to heart.

Running Time: Approximately 95 minutes with no intermission.

Jane Anger plays through April 19, 2025, at Maryland Ensemble Theatre, 31 W Patrick Street, Frederick, MD. Tickets range from $15 to $36, with discounts for students, seniors, and military. Pay What You Will tickets, starting at $7, are available for each performance while supplies last. Group rates available for parties of 10 or more. Tickets can be purchased by phone at (301) 694-4744, online, or in person at the MET box office, open Tuesday to Thursday, 12 – 6 p.m., Fridays 12 – 4 p.m. and one hour before performances. Discounts are available for groups of 10 or more by emailing contact@marylandensemble.org. ASL interpretation is available Friday, April 4, and audio description services can be arranged through the box office.

Age Guidance: If this were a film, it would be rated PG-13 for strong language and crude sexual references.

COVID Safety: Facemasks are strongly encouraged but not required. MET’s Safety policy can be found here.

Jane Anger
By Talene Monahon

CAST
Shea-Mikal Green* as Jane Anger
Mallorie Stern* as Anne Hathaway
Bill Dennison* as William Shakespeare
Jeremy Myers* as Francis Sir
Joe Waeyaert* as male swing
Tori Weaver* as female swing
*Denotes MET Ensemble Member or Associate Artist

CREATIVES
Directed by Suzanne Beal*
Stage Management by Rachel Smith*
Asst. Stage Management by Olivia Pietanza*
Lighting Design by Rhett Wolford
Properties Design by Lori Boyd*
Set Design by David DiFalco*
Costume Design by Elizabeth Tringali and Judy Harkins
Sound Design by Kaydin Hamby*
Intimacy Coordination by Megan Behm
Fight Coordination by Casey Kaleba
Production Management by Melynda Burdette Wintrol*
Technical Direction by Cody James*
*Denotes MET Ensemble Member or Associate Artist

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Ah, politics. This election cycle has been more of a cluster than usual, and it’s got most of us feeling a little overwhelmed. But, rest assured, you won’t find any impressions of the current candidates on the stage at Studio Theatre — your monotony will be thoroughly broken by POTUS Among Us: Beyond Belief. This provocative production will be there for the next few weekends with a rotating cast of talented improv performers curated by Washington Improv Theater. And, if the performance I attended is any indication, they will spend every show playing the most ridiculous personas possible, characters who very well might rival even the most ludicrous nominee the U.S. currently has on offer.

If you’ve ever done improv, you’ve dreamed of the reward of being in a challenging show like POTUS Among Us. If you’ve never done improv, but you have an inkling of how hard it is, multiply that rating by a lot to get to the difficulty level of planning and executing a production like this. Every story needs a structure, and although improv usually requires the performers just wing it, this concept demands a framework. And guiding the troupe through that outline takes a deft directing hand — fortunately this piece is steered beautifully by longtime vets John Carroll and Meghan Faulkner.

The show is framed as a whirlwind political tour of the country, starring a motley panel of candidates who bring all their tumultuous history, impractical ideas, and emotional baggage with them. As with all good improv, audience participation is part of the process of creating the magic, and each character gets an initial input (a stance, belief, or personality trait they have to incorporate). The audience gets the profound pleasure of making up these inputs, plus silly monikers for each candidate. They’re also involved in some other fun games as the evening evolves.

Cast and audience interactions are handled by the Moderators, played by Alex Kazanas and Kate Symes. These two strong personalities definitely have the authoritative juice they need to anchor this wildly gyrating spectacle, and it helps that they are both stalwart improv experts. I’d trust them with a real debate. On the evening I attended, the rest of the cast included Darnell Eaton, Sarah Herhold, Eva Lewis, Turner Meeks, Jordana Mishory, Erick Acuña Pereda, Chelsea Shorte, and Ali Stahr. Each of these seasoned performers found their groove early on, and absolutely nailed the task at hand. The picture is made complete by some wonderful ‘atmospheric’ actors who play secret service agents and sundry on the edges of the action: Mark Chalfant, Caroline Chen, Lauren Gabel, Abby Haverty, Carly Kraybill, Anna Nelson, Chris Olinger, Alissa Platz, Kelly Shannon, Mikki Smith, and Nick Tschernia.

It’s exciting to see this cast bop all over the stage, approaching mics on the side for disembodied “breaking news bulletins” and “attack ads” (some of the audience requested attacks on certain candidates), improvising answers for the Q&A portion, battling their opponents during the debate, nimbly pivoting for walk-on offers, serving as talk show hosts, etc. It’s easy to see they are having as much fun as the audience. One by one, the candidates are whittled down by audience votes, until just two remain, and these will be different every night.

The other component that changes for each show is the special guest. Washington Improv Theater has gathered an impressive list of important political luminaries to attend specific nights. The night I attended, I was shocked to see a face I had seen on TV just a few days before — Allan Lichtman. This globally recognized lecturer and author is known for his method of predicting election winners, known as the “13 Keys” to a successful election campaign. If a nominee manages to pass his test, he declares that they will be the winner, and he’s been correct 9 out of the last 10 elections.

The guest gets their moments throughout the show, greeting the audience, making fun choices for the cast, and contributing suitable knowledge to the story. It’s a feat that could only be accomplished in DC. The list of guests is visible on WIT’s ticket page, and I encourage you to check it out and see if there are any local heroes you gravitate toward before committing to buy tickets for a certain evening. But, for me, the guest is just a bonus — my heroes are the ones leaving it all out there between the curtains.

When you see a lot of theater, you become accustomed to seeing certain faces. And sometimes, if you’re lucky, the actors recognize you, too. The dynamic becomes an unspoken agreement: we’re all here to support one another, so don’t sweat anything. It’s all good. This forgiving familiarity is automatically built in to an improv performance. Admittedly that’s disarming, but it’s also what makes the art form so unique and valuable. If this sounds intriguing to you, give POTUS Among Us: Beyond Belief a few hours of your time.

Running Time: Two hours, including a ten-minute intermission.

POTUS Among Us: Beyond Belief plays through November 2, 2024, presented by Washington Improv Theater performing in the ground-floor Shargai space at Studio Theatre, 1501 14th Street NW, Washington, DC. Purchase tickets ($20) online.

COVID Safety: Masks recommended but not required. WIT’s complete policy is here.

SEE ALSO:
WIT’s hit election-year satire ‘POTUS Among Us’ returns this fall (news story, September 6, 2024)

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It shimmers in the moonlight, but the “Slime” in the title of this U.S. premiere at the UMBC Department of Theatre is not the pretty, glittery putty that’s recently taken the world by storm. It’s a malignant entity, here to bring a storm to the world. At least, that’s what the grad-student delegates at the Third Annual Slime Crisis Conference are told. There to help solve the problem of a strange Slime spreading across the Earth’s oceans, the group is new to the conference and each other, but they’ve been convinced they’re the “smart ones” who can make a difference. However, as the conference proceeds and the facts unfold, the delegates begin to question the achievability of this goal.

Arriving at the conference, the audience is met by a rather sad beach landscape that’s also a gorgeous gallery of upcycled art, with a gappy dock anchoring the scene as it extends back and up into the sky. The back curtain of clouds, an expanse of varying textures, is a patchwork of intricately bunched, distressed, and threaded-together white textiles. Spilling over the front and sides of the stage is a gleaming, plastic-studded trash patch. Meanwhile, the Slime threatens, just outside swimming distance.

If you’re somehow sitting in the audience without a speck of ongoing guilt about the state of our environment, you’re probably a cardboard seat-filler. But if not, you’ll certainly be affected by the profound nature metaphors and the flow of ecology commentary in this piece. Thanks to the laid-back script by U.K. Playwright Bryony Lavery and the skilled touch of Director Nigel Semaj, the message is not an overwhelming one. The young performers and the audience both seem to take relief in the fluffier moments that add an air of lightness to the thick undercurrent of Slime.

Most of the lighter points are built-in due to the quirks of the characters, revealed while they’re dining, drinking, hanging out, hooking up, and taking smoke breaks — anything other than working on the problem they’re supposed to be solving. There are some hard truths to be told about human nature here, and the characters take turns illustrating them in these interpersonal scenes — but it’s all in good humor. The scenes that drive this play are the emotionally powerful vignettes with stunningly realistic puppets that represent the coastal animals they encounter.

Yes, each of the characters can talk to animals, and I’m sure the cast members had a wonderful time developing those chirping, whistling, and gurgling abilities during the rehearsal process. The performers seem to be having a great show in general, bouncing all over the set, in the pit, and down the aisles. Each actor has a unique take on cross-species communication, and they do a fantastic job at interpreting the moods of Slime. I feel a distinctly supportive chemistry among the players. There’s also a rare and very appreciated element: one of the characters uses American Sign Language on stage for most of the play.

As a bonus, the ensemble is omnipresent, executing impactful dance moments and manipulating the puppets that punctuate most scenes. The company’s costumes create an undulating ocean with their long sleeveless dresses of seafoam-dusted blue fabric, and they are used to great effect in the dance interludes and puppeteering scenes. The lighting is a favorite element, with bold choices like performer-held bulbs and total color washes that evoke significant emotion. The music in this production also seems carefully chosen, bringing us to a quiet place with contemplative piano pieces, while alternately energizing us with viral TikTok songs.

The beauty of Slime is that it reminds us that we need to be careful. It shows us what our future looks like if we aren’t more careful with our environment. But it also reminds us to be careful with our relationships, and with the people and creatures we meet every day. It’s a topic that cuts deep in many people’s hearts in post-pandemic times. I’m grateful that all these important messages are getting out there.

Running Time: 90 minutes, with no intermission.

Slime plays through April 14, 2024, at the Proscenium Theatre, University of Maryland, Baltimore County, 1000 Hilltop Circle, Baltimore, MD. Purchase tickets ($10–$15) online. For tickets to future UMBC events go here.

Costume & Puppet Design by Kehler Welland; Lighting Design by Adam Mendelson; Sound Design by Sarah O’Hallora; Scene Design by Emerson Balthis & Nate Sinnott

Cast: Dumbo – Misaki Weddington; Barb – Gabby Grant; Ola – Nia Zagami; God – Ifechukwu Alachebe; Frezzle – Sean DiGiorgio; Coco – Hannah Worley; EV – Zach Shields

Ensemble: AnnaSophia Gutierrez; Wesley Mauder; Christian Price-Burnett; Lucas Sanchez

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In 2011, a tiny blip emerged that never registered on the radar for most of the music fans in the Baltimore, Maryland, scene. However, thanks to a handful of notable band members with lots of friends—and a thriving network of underground illegal warehouse events—the Baltimore Afrobeat Society pulled off a few of the ragingest parties to ever rage in the Bromo Arts District. These shows were where my love for Afrobeat began, and where I first heard the music of Fela Aníkúlápó Kuti. In 2023, big Afrobeat bands like Antibalas tour the world and enjoy commercial success. But back in 1970 in Lagos, Nigeria, Fela Kuti—a dynamic musical pioneer—was blazing new trails with his high-energy blend of African highlife, funk, soul, and jazz. And he had just returned from a trip to Los Angeles with a fresh passion for social justice, thanks to Malcolm X.

As Jimmy Fallon put it, Fela Kuti was “like the James Brown and Bob Dylan and Muhammad Ali of Africa, all rolled into one.” Kuti’s leadership, bravado, and towering charisma were essential in bringing the people together at a critical point in Nigeria’s history. The country was suffering long-term consequences of colonization, and a brutal military dictatorship reigned. Fela fought their injustices, and even as the government targeted him repeatedly, he refused to run. Furthermore, he created catchy anthems that the citizens could chant, and served as a leader for them to rally around. But the dream of living happily in Nigeria ended in tragedy when soldiers raided his home. The man really was an amalgamation of iconic personalities—a powerhouse performer, a fierce sociopolitical activist, and a fearless freedom fighter. But he wasn’t perfect—he was a headstrong rule breaker, with some red flags like engaging in polygamy and being an AIDS denialist (he passed from “a mysterious illness” himself in 1997). However, Fela’s music inspired a nation, and his advocacy ignited a generation. And his influence has echoed through time, inspiring new jazz, soul, and funk musicians, and helping usher in modern hip-hop music.

Enough about Fela. On to the hit musical Fela!, which is all about Fela (with music and lyrics by Fela). This first-ever nonprofit theater production of the show is running through August 13 at Olney Theatre Center, in a co-production with Round House Theatre. It’s been a feat just getting this piece ready for the stage after a decade of languishing, but Fela! is brought to new heights in the hands of Director Lili-Anne Brown (a recent Helen Hayes Award winner), Music Director S. Renee Clark, and Choreographer Breon Arzell. There’s enough mind-and-body-bending action, music, and movement for three musicals. I felt as if I were right back in the front row at The 5th Dimension being sweated on. And their treatment of the piece is beautiful. The book, by Jim Lewis and Bill T. Jones, unfolds with touching, exciting, and somber moments, and connects the songs well. There are also some truly funny vignettes. If you already love Kuti’s music, experiencing this show will be like you were transported back in time to see him play an amazing concert. And if you’re not familiar, you will likely leave with a new love for his music, and possibly a neck ache from nodding your head so much. For interactivity-phobes: the show is light on opt-in immersive elements (actors come into the aisles a few times; they ask you to sing or talk back sometimes; they ask you to stand up and dance once). And if you want to get sweated on, there’s intimate stage-side cabaret seating.

I was definitely jealous of those cabaret seats when I saw the band perched upstage on their platform. Fela! simply could not succeed without the best band, and this amazing crew is one of the driving forces of this production. The ensemble, headed up by Conductor and pianist S. Renee Clark, jammed for almost three hours, pushing out some of the funkiest Afrobeat you can imagine on a stage full of blindingly gorgeous instruments. I wasn’t the only attendee who loved dancing and singing along! Thanks to Lorenzo Sanford, Carroll Dashiell, Joe Herrera, Christopher Steele, Brent Birckhead, Leigh Pilzer, Deante Haggerty-Willis, Dokun Oke, Reginald Payne, and recent hometown Baltimore cast addition, djembe player Themba Mkhatshwa for making my night. And kudos go to Sound Designer Matt Rowe for rocking it out and making all the right tweaks! The experience of hearing this production was just as wonderful as seeing it. I can’t get the beats out of my head, so I’m making a deep dive back into my Afrobeat Spotify stations.

On the topic of dancing and singing, the Ensemble members of Fela! are undeniably top-tier athletes and artists. Jaws were on the floor as we watched a WALL of impossibly enthusiastic synchronized dancers bust their butts for the better part of this production. And they were hitting every note of the absolutely gorgeous vocal arrangements at the same time! Their acting was also on point, with each one having standout moments, thanks to great direction and lovely choreography. You’re amazing, (Dance Captain) Emmanuel Kikoni, Bryan Archibald, Terrence J. Bennett, Simone Brown, Patrick Leonardo Casimir, Jyreika Guest, Bryan Jeffrey, Raquel Jennings, Raven Lorraine, Vaughn Ryan Midder, Yewande Odetoyinbo, Jantanies Thomas, Galen J. Williams, Jalisa Williams, and Kanysha Williams. Every one of you can claim triple-threat status.

Costume Designer Rueben Echoles is a wonder. Each richly-decorated costume has its own impressive elements, and the stage is positively covered in colorful African textiles and eye-catching shapes. The vibrant makeup, tribal paint, and face appliqués are also exquisite. Love goes out to Lighting Designer Sherrice Mojgani, who gives these acrobatic actors beautifully dappled spots to play in, and sets the bright and dark moods perfectly. We were all truly dazzled. And it is easy to admire Stage Manager Jamie Berry’s work. Each prop and set piece was placed properly, and the run of this extremely complex spectacle of a show was impeccably timed. And Scenic Designer Arnel Sancianco and Projections Designer Kelly Colburn bring so much authenticity and liveliness to this production. I kept looking up and around to find new elements. On a related note, the program for this show actually has an amazing amount of detail and history—thanks to both venues for making sure attendees are educated.

The lead actors are flawlessly cast. When Shantel Cribbs as Sandra struts in with her Grace Jones cheekbones, she grabs the audience by the heart. I’ve seen a lot of actors walk the stage, but this consummate performer knows her angles like no one I’ve ever seen. Each foot and hip and elbow and shoulder is where she wants it to be at any given moment—it’s extraordinary. She’s a scene-stealer during the romantic parts, and it’s completely fine. Even more impressive is the fact that she sells the activist side of Sandra as well. I felt moved by her obvious passion and empathy, and, with her incredible voice, it was easy to believe that Fela would fall at her feet, change himself, and risk anything to be by her side.

Duain Richmond has an advantage coming in, considering his experience playing the lead role, Fela Kuti, on Broadway and in subsequent concert productions. He decidedly brings charm front and center with his interpretation of the global superstar. It’s difficult to play this many emotions within one piece, and he’s effortlessly convincing while portraying all of these moments. His voice and sax-playing are perfect. And he also deserves props for sheer endurance—the stage is full, his costumes are hot, and his part doesn’t stop. He has the look, voice, and magnetism to make this role work for him for a long time, and I hope he gets the opportunity to keep teaching, entertaining, and inspiring audiences as Fela.

However, the deck became beyond stacked when Melody A. Betts was added to the cast as Funmilayo, Fela’s mother. She is clearly a ringer. I think the entire audience would have stayed if she said she was singing for an extra hour. Attendees were fanning themselves while she evoked Nina Simone with her honey-soaked brassy tones. Then they swooned as she took “Rain” by the reins, and her notes soared high above the clouds. People were weeping. They literally stopped the show to give her a standing ovation, which I have never seen or even heard of in all my years in theater. It’s a good thing that was close to the end of the night, because I don’t know how much more this (mostly) older audience could have actually handled.

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

EXTENDED: Fela! plays through August 20, 2023, co-presented by Round House Theatre and Olney Theatre Center performing on the Roberts Mainstage at Olney Theatre Center, 2001 Olney Sandy Spring Rd, Olney, MD. Tickets ($47–$100) are available at the box office, online, or by calling 301-924-3400.

The program for Fela! is online here.

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

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It feels weird to write this in a review context, but…it does kind of go without saying. It’s perfectly in line with expectations that Kennedy Center’s Broadway Center Stage: Monty Python’s Spamalot has wonderful music, fantastic costumes, splendid acting and singing, stunning choreography and direction, and gorgeous sets, sound, projections, and lighting. Everything is of the caliber one would expect from the kind of team they assembled for this production. But, heck it, I’ll write a few paragraphs to give everyone the full picture.

This over-the-top Middle Ages musical runs only through Sunday, May 21. For such a limited run at The Kennedy Center, this show should be sold out. It isn’t yet — but tickets for many performances are running low. So if you’ve got the availability and means, stop reading now and just go find your seats. I’ll wait.

Ok, cool, hope you got some good ones. One of the funny things about this production is that it fits right in with the current obsession society has for remakes and revivals. The need for well-written musicals is real — and I’m sure when Eric Idle sat down to pen Monty Python’s Spamalot (with John Du Prez alongside on music), he was more than a little pumped that most of the book was already heavily audience-tested and proven. Monty Python and the Holy Grail has had a hold on comedy fans for almost 50 years, and audience members of all ages love it. That’s so rare, I can’t even think of a comparison. OK, maybe Mel Brooks’ Young Frankenstein.

Of course, fans can expect to see their favorite Monty Python gags (including some from the TV shows, like the fish-slapping dance) along with most scenes from the film, and some great Terry Gilliam–esque illustrations. Easter eggs abound, but keep your head on a swivel to catch them all. Director and Choreographer Josh Rhodes has action happening in every possible space — it’s like peering into a magical kaleidoscope of movement. His direction seems to allow each member of the cast to shine effortlessly, while also bringing ensemble members forward for their own memorably funny moments. With its current pop culture and political references, the piece has that of-the-moment feeling that it’s constantly organically evolving. There’s a West Side Story nod, a Dirty Dancing lift, and lots of scenes get super meta. It’s appealing to all flavors of comedy fans.

Music Directors John Bell and Jay Crowder succeed beautifully in having the orchestra stand next to the actors as its own rich, multifaceted character. Making the conductor float above the set is a good choice — it brings the orchestra into the storyline, and it has the audience constantly watching for the pointed music cues and jokey flourishes. Naturally, the score is punchy and delivered with gusto — and the orchestra covers so many different styles and tempos in this piece. These musicians are clearly at the top of their game.

In regards to the acting and singing, it’s all head-shakingly ridiculous — but since everyone kept mentioning him onstage (and off) all night, we may as well talk about Michael Urie (Sir Robin, Guard 1, Brother Maynard). To keep it short: Okay, he’s truly magnetic, almost mesmerizing. You can tell he’s a real team player, and that the cast appreciates him. And he’s got the goof act down pat. I finally get the hype. I’ve never actually seen Michael in anything — and in his first appearance on stage, he’s all grubbed up and unrecognizable. But, as others in the cast point out, he undeniably grabs attention. And yes, his performance is perfection. As an actor, there are two amazing things that can come about when you’re in a show…everyone loves you, or everyone’s a little bit jealous of you. Having both at once has to be the best feeling in the world.

As a woman in comedy who had some of the best women in comedy to emulate while growing up, it’s hard to find what I’d consider to be a TRUE icon nowadays. Like Lucille Ball–level. Lily Tomlin–level. Carol Burnett–level. And, I hope she will please forgive me if she’s tired of the observation…I’m sure Leslie Rodriguez Kritzer (Lady of the Lake) already knows (especially with the red wig) that she’s a dead ringer for one of the queens of television comedy. But, to my utter delight, Leslie’s character work is so powerfully funny that I now have a whole separate, independent theater crush on her. Her incredible singing voice pushed Carol out of my mind. I waited for her to come back onstage! I was so happy when she came back! I had literal chills as she belted high notes I can’t even name, and had a blast busting a gut at her dang accurate Christina Aguilera impression, with stank faces and all. She’s an icon. I want to see everything she does.

Rob McClure must have been another easy casting choice. It does help to remember his name when he yells out “I’m Rob McClure” during the show. His resemblance to Terry Jones, the original Prince Herbert, is uncanny, and it makes him astoundingly good for that part. He also plays several other adorably sheepish characters, but he’s carrying the most filthy, vicious singing chops on his journey through all of them. I won’t forget you, Rob.

Alex Brightman definitely has all the best character bits. I mean…The French Taunter, The Knight of Ni, and Tim the Enchanter? These are tasty, meaty morsels for an actor, and, dare I say, he makes a meal of them, and leaves no crumbs. And he also has a beautiful, important journey as Sir Lancelot, which I hope you have a chance to see. Alex is a plasma ball of energy on the stage, and his acting, singing, and physical comedy are on point. It’s easy to see why he can fill lead roles.

James Monroe Iglehart seems to be another favorite of the cast. He brings a playful sweetness to the role of King Arthur, and has a warm, comforting presence that makes him so believable as the proverbial knight in shining armor. I found myself glad that James was in so many scenes. He decidedly shines the brightest during his heartbreakingly ironic “solo” “I’m All Alone,” and in his moments with Tim the Enchanter and The Lady of the Lake.

I really appreciate Matthew Saldivar’s take on Patsy, who is giving major “Lucky from Waiting for Godot” vibes. He has a beautifully carved and expressive countenance that makes for the perfect sad clown. But it’s still obvious that he’s having fun every moment of the performance. Matthew’s myriad comic quips and entertaining physical moments help him stand out, and he really leaves it all on the stage, especially during “I’m All Alone.”

Jimmy Smagula is superb as Sir Bedevere. I loved watching this awesome character actor pull the goofiest faces, and his powerful voice cuts through during “All for One,” “Knights of the Round Table,” and the other big group numbers. His dancing is amazing — especially the nuances he puts into his flourishes as he moves around the stage. Jimmy also does wonderfully as Concorde, and when “busting out” as Dennis’ Mother.

Nik Walker has a dauntless attitude that’s positively contagious — he literally bounces around the stage, generating joy. As Galahad, he blows the audience out of the water with “The Song That Goes Like This” up top, and from that point, it’s difficult to take your eyes off of him. However, to a slapstick fan, it’s Nik’s other two roles, The Black Knight and Prince Herbert’s Father, that have my heart. What a treat for him, and for us.

Phillip Attmore, Daniel Beeman, Maria Briggs, Michael Fatica, Ryan Kasprzak, Eloise Kropp, Daniel May, Shina Ann Morris, Kaylee Olson, and Kristin Piro bring a wealth of flash and substance to the ensemble. Each of them has their own uniquely compelling properties. They’re absolutely everywhere, all at once, working to melt the hearts of the audience and make us laugh. And they succeed splendidly.

As a fan of glitz, I cannot tell a lie. I long for a closet full of the flashy outfits Tim Hatley created for this piece — particularly the cascading beaded costumes belonging to the Lady in the Lake’s entourage, and the bedazzled gowns of the nuns of Camelot. Most of the meticulously layered peasant gear could fully pass muster at Coachella, along with some of the glittery rainbow club togs (no spoilers). Extra points for the gloriously piled-high Carmen Miranda hat. And none of it would work without Tom Watson’s beautifully styled hair and seamlessly applied wigs. To Wig Assistant Charlotte Nicole, I’m saluting you!

The impressive sets (also Tim Hatley), sound (Haley Parcher), projections (Paul Tate Depoo III and Andrew Nagy), and lighting (Cory Pattak) are absolutely essential to the success of this show, which is remarkably large in scale and scope. The projections and flown-in set pieces are a great addition, and it’s always wondrously nostalgic to hear the voice of the real Eric Idle as the voice of God. I can’t imagine managing the set changes, along with the backstage traffic of a large cast. Kudos to Stage Manager Matthew Lacey — there was not even the tiniest hiccup. It helps that the cast is used where possible — dragging out prams with dancers inside, or rolling out small wooden mountains, or what have you. I admit I liked watching Michael Urie do some grunt work to earn his accolades!

Nothing about this musical is serious, which is exactly what an audience needs these days. However, the cast and crew of this production take their lack of seriousness very seriously — which is what Eric Idle and his legendary comedy troupe deserve. I’m proud to witness it.

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

Monty Python’s Spamalot plays through May 21, 2023, in the Eisenhower Theater at Kennedy Center, 2700 F Street NW, Washington, DC. Tickets ($69–$325) are available at the box office, online, or by calling (202) 467-4600 or (800) 444-1324. There are discounted matinee options through MyTix.

The program for Monty Python’s Spamalot is online here.

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.

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Being a perfectly respectable Harry Potter Adult, I went in to Potted Potter: The Unauthorized Harry Experience expecting the production to be geared more towards grown-ups. But I was predictably and thankfully wrong. Not that there weren’t adults at Shakespeare Theatre Company’s Sidney Harman Hall, enjoying every moment along with the young ones. But the 18-and-ups have to leave any age-induced stodginess at the door. This touring show, somehow also magically playing in Las Vegas right now, demands that you absorb and reflect the childlike enthusiasm of the performers…so prepare yourself.

The credit for this small-cast ‘condensed comedy’ goes to ‘Dan and Jeff,’ AKA Daniel Clarkson and Jefferson Turner, the writer/actors who created and starred in this gem, along with Potted Sherlock, Potted Pirates, and Potted Panto since then. They’ve also cast several more talented actors to fulfill demand for productions in D.C. and Las Vegas, plus another leg in Ireland in the second half of this summer. The D.C. production is a 70-minute whirlwind of details from the Harry Potter books, with actors Scott Hoatson and Joseph Maudsley touching on most of the plot points, characters, and settings in the series.

The creators were improv performers – Daniel trained with the Upright Citizens Brigade in Los Angeles and Jefferson studied with The Second City in London, and it’s far from a surprise, looking at the structure and execution of this show. It’s got ‘improv’ written all over it. As with an improvised comedy show, which is usually performed without official props or costumes, Potted Potter‘s Scott and Joe ‘make do’ with props, wigs, costumes, and set pieces that have little to do (sometimes hilariously so) with anything in the Wizarding World. What’s the excuse for the show’s ‘poor planning?’ Joe’s bad with money.

As a fan of classic duo comedy, it’s evident right away that Scott (Scott Hoatson) is the ‘straight man,’ and Joe (Joseph Maudsley) is the ‘wise guy.’ They’re also successfully mirroring the parent/child dynamic, which is super fun for the families in the house. Naturally Joe spent the budget on other things — no one needs CGI in the show anyway, as he points out repeatedly. He’s a wild card to the extreme — bringing a chocolate cake onstage, inserting his own cartoonified slide presentation, and performing bad illusion/card magic, much to Scott’s chagrin. And he hasn’t really read any of the Harry Potter books(!).

No offense to the creators or other alternates, but I’m partial to the two actors from the D.C. production. They have an absolutely electric rapport, and stand up well to the intense physicality of this show. Joe seems like the kind of showoff I would love to hang out with — charming, devil-may-care, and endlessly goofy. And, apologies to Scott, because I know I’m not the first one to make this comparison, but YOU LOOK JUST LIKE BENEDICT CUMBERBATCH and I am here for it. (I mean, you’re funny, too. You’re really funny. And good. So good! You carry the piece, basically.)

There’s some improvesque crowd participation, including setting up individual audience members to do certain things — which gets big laughs from the adults. There’s also a quidditch lesson that requires everyone to stand up and wiggle around for a bit, but nothing stressful. In addition, there are plenty of pop culture references and nods to current events in Potted Potter. They even mention “Hermione speaking about women at the U.N.”

However, being that this is a kids show — and for Potter fans — I detected no hint of a reference to the recent controversy around J.K. Rowling’s views on the Trans community. There is a part in the beginning where Scott mentions he’s “close personal friends with the author” and I could sense some internal head-shaking from the progressive adults in the house like, “don’t be too proud of that.” But, to be fair, I’m sure the creators and actors never expected Rowling to come out with that view, or to have conflicting feelings about the author that created the world on which they base their livelihood. So I can’t blame them for staying away from the subject.

Overall, Potted Potter is a great short jaunt for families and Harry Potter Adults. We loved the energy of the show, and had a blast watching the kids run around in wizard gear. STC has Butterbeer at the snack stand, and DIY magic potion bottles for sale. It’s the perfect break from yet another rewatch of the film series at home. And the audience gets to see just how hard stage actors work in a two-person show — it’s ridiculously impressive!

Running Time: 70 minutes, with no intermission.

Writers and Creators – Daniel Clarkson & Jefferson Turner
Performers – Scott Hoatson & Joseph Maudsley
Director and Additional Material – Richard Hurst
Associate Directors – Hanna Berrigan & Daniel Clarkson
Set Design – Simon Scullion
Lighting Design – Tim Mascall
Music – Phil Innes
Video – Tom Hillenbrand
Production Manager – Leanne Rich
Company Stage Manager – Jenn Hewitt Touring
Lighting Director – Adam Foley
UK General Management – Seabright Productions, Ltd.
General Management – Jessica Johnston for Starvox Entertainment

Potted Potter runs though July 17th at Shakespeare Theatre Company’s Sidney Harman Hall at 610 F St NW, Washington, DC 20004. Times vary. Tickets are between $49.75 and $69.75, and can be purchased online or by calling 202-547-1122. The playbill for Potted Potter is online here.

Covid Safety: Masks are required for all guests inside, except while eating or drinking in designated locations. STC’s Health and Safety Policies are here.

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The mark of a truly good theater piece is that, like life, it takes you though a range of emotions. At Thornton Wilder’s The Skin of Our Teeth at Everyman Theatre in Baltimore, the whole of human experience is laid before you. And, just for giggles, the Pulitzer Prize–winning Wilder takes the audience on a trip through time and introduces new themes throughout. Also, woolly mammoths and dinosaurs (spoiler alert). The first time I saw this play I knew nothing about it going in, and I think that’s the best way to experience it. The concept is so unusual — and it breaks so many theatrical conventions we’re used to (even more so back in 1942) — that the chaos of trying to figure out what’s going on only adds to the intensity of the play’s action.

It is rumored that Thornton Wilder wrote this play in the actual trenches, and there are many bleak moments that reflect the gravity of war. But the piece was also written with a bit of humor, elements of the absurd and surreal, and even meta commentary and fourth-wall-breaking, which delights the audience. This fairly traditional production of The Skin of Our Teeth echoes Wilder’s original intent, and was directed by mainstay Noah Himmelstein, who calls the piece a “fantasia” that starts in a classic sitcom world and ends in the rubble of post-war New Jersey. To help you understand the scope of the piece, themes include: raising the next generation, Christianity, philosophy, familial problems, gender relations, war (and its aftermath), the treatment of refugees, civil unrest, marital infidelity, environmental destruction, politics, and history (and what we learn from it). There is also a lot of relevance to the current pandemic. So, buckle up.

The family in The Skin of Our Teeth represent the Bible’s original human couple and their children — in this case, father George (played by Jefferson A. Russell), mother Maggie (played by Beth Hylton), Abel (the favorite, long dead), Cain/Henry (played by Zack Powell), and Gladys (who represents “the normal child” — played by Deidre Staples). Long-suffering maid Sabina (played by Felicia Curry) rounds out the household. Their last name is Antrobus (from the Greek άνθρωπος [anthropos] meaning “human” or “person”), and Cain is renamed Henry to prevent George’s ire. The obstacles they face (aside from a seven-year war) resemble two of the Biblical plagues.

Director Himmelstein seems authentically connected to the meaning behind the themes and shows that he understands the mercurial nature of Wilder’s script. At the beginning of the piece, he directs his actors to be highly stylized and presentational, and then beautifully guides their zigzag into the chaos of asides, unexpected arrivals, puppets, and extreme special effects. He gives the gripping final act a delicate touch, allowing the actors’ natural talents to shine. There are also some wonderfully quiet moments. The chemistry and underlying good humor of the actors are palpable throughout, the moments of physical closeness are touching, and the space and levels are used to their utmost.

The cast is spectacular overall — with many of Everyman’s resident company members stealing the spotlight. But first on stage was Felicia Curry, who positively galloped into my heart with her nuanced performance. Already knowing she is DC’s sweetheart didn’t make much of a difference, since she is a great physical comedian and grabs the audience right from the top. She’s compelling and hilarious, with undeniable star quality, and gets to thrill in tiny outfits and post-apocalyptic road gear. It’s sad because her character Sabina takes the brunt of the awkward/toxic male-female dynamic that was pervasive in stories back then, and she grapples with being a third wheel on the couple’s marriage. She is either tempting George to cheat, ascending to being a “second wife” to him, or descending back to being a sexualized maid. However, her character gets the most asides and meta remarks, and therefore gets the most laughs. It’s probably an okay trade-off, considering she also gets to disavow the dirty B.S. that’s happening on stage by refusing to do certain scenes.

As George, Jefferson A. Russell was great at fluctuating between the overblown inventor, the politician, and the disaster survivor. George is a source for much of the history and philosophy in the piece, as he is obsessed with books and important men, and wants to make his mark. The character shows the inherent flaws in the patriarchal system. Russell has a commanding physical presence, and gets to show pride, reflection, defeat, and raging anger — all done well. I saw the indomitable hope in Russell’s eyes, felt the fruitlessness of his efforts in his body, and heard the weight of the world in his voice. Beth Hylton is perfectly cast as another multifaceted character, Maggie. Hylton’s self-assured performance is striking. She is made up as the ideal wife and mother, and wears it well, passionately embodying Maggie’s spirit of resilience. But, as Sabina says, she is a “tigress,” and the up-and-down relationship with George doesn’t help Maggie’s moods. The character shows that the partnership between men and women is deeply fractured, but necessary. And, sadly, she does stand by her man throughout, which means she has to deal with being the victim and the perpetrator of woman-on-woman crime. It’s difficult to watch. But at the end of it all, she is the “original mother,” and cannot escape her duty to nurture and rebuild.

The children (R.I.P. Abel, uncast) are a duo that swing wildly between competing, carousing, and committing crimes. Gladys is saddled with the fact that Cain/Henry is a literal murderer, and like, keeps murdering people for no reason, and this is kind of an ethical dilemma for her. Deidre Staples, in her first appearance with Everyman, glows in the part. She’s saucy, smart, and eager to please as the conscience of the family. Her warmth draws the audience to her, and Gladys perseveres to the end with the strength of a tigress cub. As Cain/Henry, Zack Powell is a broken heartthrob. He broods; he has a strong profile; he’s good at acting. Ugh. Powell plays the bad boy to a hilt — graduating from a petulant slingshotter in short pants to a malignant college kid to the Final Boss. He’s giving Kylo Ren vibes with the whole returning-unwanted-son thing. But Powell also gets some lighthearted moments in his socks and slides in Atlantic City, which he carries off well. It’s fun to see.

The rest of the cast was solid. Zack Powell and Deidre Staples were double cast, and got some quick changes and amusing bits in their ensemble roles. Danny Gavigan, Helen Hedman, Hannah Kelly, Tony Nam, and Bruce Randolph Nelson were like major players — filming news segments, driving the understudies scene, and taking on heavy puppeteering and caroling duties. Danny Gavigan captured attention as the thickly-accented Jersey messenger, Helen Hedman was captivating as the Fortune Teller, Hannah Kelly got lots of laughs as the Stage Manager, and Tony Nam was a charming newsman and political toady. But the audience favorite, as always, was Bruce Randolph Nelson. A diamond sparkles in even the dimmest light, and this humble yet spellbinding actor cannot help drawing eyes — even when he’s just manipulating a puppet. He even got to show off his “Balmer” accent, which drove the local regulars wild with laughter. The final actors who must be mentioned are the puppets (designed and directed by James Ortiz), which make a huge contribution to the atmosphere of the play. Some are cute, some breathtaking, and some provoke profound emotion. It helps that the players operate them with complete attention, silent reverence, and an appropriate level of empathy.

The rest of the creative team for The Skin of Our Teeth deserves praise as well. The squad includes Daniel Ettinger on set design, who succeeds well in his use of artifice. Abstract pieces hang to represent major structures and are complemented by the realism of floral wallpaper, chandeliers, and Elizabethan portraiture. The palette of the family house is a moody combination of grays, blues, and greens. For Act II’s Atlantic City, the scene appropriately switches to brighter colors, lit streetlights, and twinkling boardwalk signs. Finally, the dust-covered furniture, broken-out windows, and fallen roof of Act III reflect the destruction of war. For all three acts, the curtain backdrop is a Pollock-esque rain-speckled window that serves as ice, ocean, and smog. It descends halfway on one side for the third act, a haunting physical representation of the breakdown in the piece.

Costume designs are by David Burdick, and give a lovely wink to absurdism/clowning (Sabina’s polka-dot outfits), the East Coast (tweeds, woolens, leathers, and fishermen sweaters in grays and blacks), boardwalk culture (primary colors, boaters, and highwaters), Vaudeville (top hats and tails), and, of course, Biblical themes (Maggie’s snake dress). Everything was perfectly matchy-matchy, which I very much appreciated.

Lighting design was by Daisy Long, who thought well outside the box (and stage) with her boundary-breaking abstract designs for the apocalyptic events. Sound design and original music composition were by Megumi Katayama, and her work really stood out in the immersive and impressive underwater scene. Projection design was by Rasean Davonte Johnson, who provided a deluge of visual augmentation for the disaster scenes, along with the humor and added context of the newsreel segments.

Additional artistic credits go to Denise O’Brien as wig designer, Amy Kellett as scenic charge, Anna O’Donoghue as the dramaturg, and Lewis Shaw as the fights and intimacy coach. Jamie J. Kranz serves as stage manager, and Laura C. Nelson as the assistant stage manager.

Running Time: Two hours 45 minutes, including two intermissions.

The Skin of Our Teeth plays through January 2, 2022, at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. The show may also be viewed online anytime from December 24, 2021, through January 15, 2022. Tickets (in-person, $29–$59; streaming, $19.99) may be purchased online or by calling 410-752-2208. Box office hours are Monday to Friday from 9 am until 6 pm, and Saturdays from 10 am until 5 pm.

The digital program can be viewed here.

COVID Safety: Everyman Theatre’s policies and practices are here.

Everyman Theatre is supported in part by grants from The Maryland State Arts Council (msac.org), The Citizens of Baltimore County, Mayor Brandon M. Scott, and the Baltimore Office of Promotion and the Arts. Everyman is a proud member of the Bromo Tower Arts and Entertainment District, the Market Center Merchants Association, and the Greater Baltimore Cultural Alliance.

About Everyman Theatre: Everyman Theatre is a professional Equity company celebrating the actor, with a Resident Company of Artists from the Baltimore/DC area. Founded in 1990 by Vincent M. Lancisi, the theater is dedicated to engaging the audience through a shared experience between actor and audience. Lancisi partners with Managing Director Marissa LaRose. The company is committed to presenting high-quality plays that are affordable and accessible. They strive to engage, inspire, and transform artists, audiences, and communities through theater of the highest artistic standards. Everyman stands in solidarity with Black, Indigenous, and People of Color, and AAPI communities and is committed to an equitable, diverse, and inclusive atmosphere at every level. To learn more, visit everymantheatre.org/everyman-theatre-stands-solidarity.

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Sometimes, especially during the holiday season, the occasion calls for something sweet — and Irving Berlin’s White Christmas, the Musical at Toby’s Dinner Theatre is a morsel that is sure to satisfy. I have to admit that I went in without seeing the 1954 film on which it is based, but I now understand its wide appeal. I also have to admit that I was already quite familiar with this venue, having grown up in Columbia. Going to Toby’s was always a treat, and being in the space as a guest did seem more meaningful after surviving the Great Arts Disruption of 2020.

Company member Robert Biedermann hosted this Veterans Day performance, joking around and setting a friendly atmosphere after everyone enjoyed the delicious gourmet buffet. We were lucky to have a few veterans in attendance, who, appropriately, got an ovation. If you’re not familiar with White Christmas, it’s a classic musical setup: two WWII vets with a successful song-and-dance act follow two singing sisters to their Christmas show at a rural Vermont lodge, but there is no business at the inn — and therefore no audience, show, or paycheck. It also happens that the failing inn is owned by their old Army commander, which heightens the stakes. For the sake of their mentor and their romances, they can’t allow the show to fail — so the men hatch a plan to enlist fellow soldiers, NYC friends, and even a pal from the Ed Sullivan Show to try to make the event (and an audience) happen.

With a book by David Ives and Paul Blake and music and lyrics by the legendary Irving Berlin, White Christmas is set up to succeed. Berlin has been called “the greatest songwriter who ever lived,” and he brought the hits with this score. I was pleasantly surprised at how many songs I already knew and loved. Berlin also gave us a peek into his own Army experience with the storyline of White Christmas, which was well served by the cast and Director Mark Minnick.

Directing this musical spectacular must have been a task, but, as Minnick is already familiar with the unusual stage layout and four entrances, he easily creates lines and shapes to rival a spirograph. He challenges the actors with wildly varied blocking that keeps the audience guessing, but doesn’t make his players use the steep stairs too often (my heart!). A long descent is a thrill reserved for big entrances, but he’s still a pro at creating stage levels using the bottom few steps. And, despite his deft directing hand, Minnick’s best accomplishment is creating a strong connection between his actors.

The show opens by introducing goofy Army buddies Bob Wallace (played by Jeffrey Shankle) and Phil Davis (played by David James) at the end of WWII, then skips ahead to their mid-1950s stardom. Though the military scenes add structure and some of the show’s more poignant moments, the heart of White Christmas lies in the whirlwind romance of the two couples. Accordingly, the action and energy pick up at the arrival of the charming Haynes Sisters (Alicia Osborn and Janine Sunday).

The two buddies complement each other well, with the compelling Jeffrey Shankle playing the more levelheaded and ambitious Bob. Shankle interprets Bob as a classic Hollywood gentleman, honest and naturally likable. The effervescent David James plays the flightier, flirtier Phil with an impish charm and bouncy physicality. Both have great voices and offer satisfyingly seasoned readings of their individual songs, but they find their stride when singing together. Their chemistry was undeniable, letting them coast through “Happy Holiday,” “White Christmas,” “What Can You Do With a General,” the very amusing “Sisters (Reprise),” and “The Old Man.” Jeffrey and David also work well with Justin Calhoun — who plays Ralph Sheldrake with an affable Jimmy Stewart–like presence in “Happy Holiday,” “White Christmas,” and “The Old Man (Reprise).” And, of course, both leads gel with the presumed glue of the cast, Robert Biedermann, who plays a very convincing General Henry Waverly — exuding warmth and wisdom while singing his numbers and delivering his grandfatherly quips.

Meanwhile, the H.S.I.C. (Haynes Sisters In Charge) are a whole show on their own. Both smart and stunning ladies, Judy and Betty make the perfect performing pair, and Alicia Osborn and Janine Sunday prove it with their enchanting Andrews Sisters–esque harmonies. They’re also respectable — both of their romances are squeaky clean and innocent (despite a few infidelity jokes typical of the time). Betty is more grounded and independent, and Janine plays her with a core of believable integrity, a beaming smolder, and an astonishing vocal ability. Her warm tones took me there in “Love and the Weather,” “Sisters” (yes, all I thought of was the referential SNL sketch), “Count Your Blessings Instead of Sheep,” and “Love, You Didn’t Do Right By Me.” Alicia Osborn, a gifted actor with striking features, plays fiery Judy with flair and finesse, and I couldn’t take my eyes off her (I blame the impossibly adorable blonde wig). Her voice was clear and powerful, and I felt decidedly Broadway-adjacent while watching her absolutely demolish her numbers: “Sisters,” “The Best Things Happen When You’re Dancing,” “I Love A Piano,” and “Falling Out of Love Can Be Fun.”

Two of the best introductions are saved until late in Act I — the delightful granddaughter Susan Waverly (played by Nina Brothers for this performance) and innkeeper Martha Watson (Jane C. Boyle). Though a harried administrative type, Martha is a rock for the rest of the characters (despite her one faux pas which causes a major mix-up), and the radiant Jane C. Boyle plays her with tongue firmly in cheek. She drives a lot of the comic vignettes, boosts energy in group numbers, and even gets a silly “chase scene” in Act II. Jane also brings top-notch singing chops to her solo, “Let Me Sing and I’m Happy.” As for the magnetic Susan, she provides the perfect tiny foil to the elders’ antics, and Nina plays her with cute and rubbery facial expressions, confident delivery, and a bell-clear singing voice. Her special reprise in Act II is one of the musical’s most heartwarming moments.

The ensemble cast are stars in their own right, providing vocal bright spots, diversity, quirk factor, and comic relief. When it comes to musicals, more is more — and they dazzle on “Happy Holiday/Let Yourself Go,” “Snow,” “Blue Skies,” “I Love A Piano,” and “White Christmas.” The ensemble also sparkles during the “show within a show” (as a former actor, one of my favorite concepts). Rita (Patricia Targete) and Rhoda (Alexis Krey) are cute, twinsy showgirls with funny bits and mad dance skills, and Shawn Kettering gets to play a handful of hilarious parts, including Ezekiel Foster, the beloved barn hand. Amanda Kaplan (Tessie) stands out with her joyful demeanor and strong comedic energy, and Rachel Kemp Whittenberger is a great dancer and mesmerizing Cigarette Girl. Both of their voices demanded my attention several times. Brook Urquhart, Quadry Brown, Brandon Bedore, and AJ Whittenberger are positively fantastic singers, dancers, and ensemble members at the height of professionalism. And DeCarlo Raspberry is delectably funny as Mike Nulty, the Stage Manager, channeling every bit of backstage stress he’s ever felt in real life.

Mark Minnick’s stage pictures are only amplified by Christen Svingos’ full-on flashy choreography, including complex ensemble dance numbers in the round. I particularly appreciate the courting ritual vibe of “The Best Things Happen When You’re Dancing” and the shimmering spectacle of “Blue Skies” — and Christen’s success in choreographing “Snow” as a dance on a railway car is impressive. Svingos and Minnick work well together to make sure performers are visible from all angles, and that each corner serves as “center stage” at least once. Both the captivating dance arrangements and the beautiful vocal arrangements are provided by the talented Bruce Pomahac.

Regarding fabrics: Janine Sunday has won my heart with her double-duty stint as the costume designer for this show, with an extraordinary collection of gorgeously detailed dresses, lustrous dance costumes, realistic military garb, and matching skirt suits. I’m a matchy-matchy person, and she has the concept down pat. Though I’m not sure how she manages so many costume changes. It’s also remarkable how she finds and makes so many dazzling costumes laden with expensive-looking taffeta, metallics, velvets, and rhinestones. She even goes full top hats, canes, and satin tails for the Act I finale.

Lighting Designer Lynn Joslin was an expert in setting each scene’s mood with spotlights, fog, and colored gels. The nighttime scene with blue-green tones and woodsy shadows was a favorite. Sound Designer Mark Smedley’s choices complemented the cast and orchestra well — I particularly loved the sound design of the railroad scene, along with Betty’s solo show in NYC. At this performance, the sound team took great care to keep the mics loud and clear, and the sound effects timely and crisp. Scenic Designer David A. Hopkins adorned the stage with iconic ’50s decor — chintz, tinsel, and all the holiday trimmings, backed with warm wood paneling, sconces, chandeliers, and lighted wreaths. Set pieces moved on and off smoothly thanks to the properties crew, and the centerpiece — huge wooden beams that changed shape depending on the scene’s location — won the night.

More than deserving of a special note is the orchestra — conducted that evening by Music Director Ross Scott Rawlings. With punchy orchestrations by Larry Blank, the musicians had the perfect road map to a flawless performance. They treated the audience to a soundscape of piano, trumpet, reeds, woodwinds, trombone, and percussion to match any Broadway pit. Sometimes orchestras serve the score best by blending in so perfectly that you don’t notice them, which this group did at times — but they also took their big moments when they could — shining particularly bright during “The Best Things Happen When You’re Dancing,” “I Love a Piano,” and “Love, You Didn’t Do Right By Me.”

As the audience cleared and the last snowflake fell, we departed with the thought that White Christmas was a comforting, family-friendly night of entertainment — a treat for the eyes, ears, stomach, and soul. We liked it so much that watching the movie will become a new holiday tradition for our family — and that result from this experience has me feeling some type of way. It’s the right time of the year to be thankful, so let’s call it that.

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

Irving Berlin’s White Christmas, the Musical runs through January 9, 2022, at Toby’s Dinner Theatre, 5900 Symphony Woods Road in Columbia, MD. Showtimes are Tuesday through Sunday, and showtimes and prices vary. Senior, military, and group rates are available. Tickets can be purchased directly through the box office by calling 410-730-8311. To purchase tickets online, visit Ticketmaster.com. 

The Toby’s Dinner Theatre COVID safety policy is here.

The playbill for Irving Berlin’s White Christmas, the Musical is here.

Musical Numbers
Act I
“Happy Holiday” – Bob, Phil, and Sheldrake
“White Christmas” – Bob, Phil, and Sheldrake
“Happy Holiday/Let Yourself Go” – Bob, Phil & Ensemble
“Love and the Weather” – Bob & Betty
“Sisters” – Betty & Judy
“The Best Things Happen While You’re Dancing” – Phil & Judy
“Snow” – Phil, Judy, Bob, Betty & Passengers
“What Can You Do With A General?” – Martha, Bob & Phil
“Let Me Sing and I’m Happy” – Martha
“Count Your Blessings Instead of Sheep” – Bob & Betty
“Blue Skies” – Bob & Ensemble

Act II
“I Love a Piano” – Phil, Judy & Ensemble
“Falling Out of Love Can Be Fun” – Martha, Betty & Judy
“Sisters” (Reprise) – Bob & Phil
“Love, You Didn’t Do Right By Me” – Betty
“How Deep is the Ocean” – Bob
“The Old Man” – Bob & Men
“Let Me Sing and I’m Happy” (Reprise) – Susan
“How Deep is the Ocean” (Reprise) – Betty & Bob
“The Old Man” (Reprise) – Bob, Phil, Sheldrake & Men
“White Christmas” – Company
“I’ve Got My Love to Keep Me Warm” – Company

Cast in order of appearance
Ralph Sheldrake – Justin Calhoun
Bob Wallace – Jeffrey Shankle
Phil Davis – David James
General Henry Waverly – Robert Biedermann
TV Announcer and Mike Nulty – DeCarlo Raspberry
Rita – Patricia Targete
Rhoda – Alexis Krey
Tessie and Mrs. Snoring Man – Amanda Kaplan
Judy Haynes – Alicia Osborn
Betty Haynes – Janine Sunday
Cigarette Girl – Rachel Kemp Whittenberger
Jimmy, Snoring Man, and Ezekiel Foster – Shawn Kettering
Conductor – Brook Urquhart
Martha Watson – Jane C. Boyle
Susan Waverly – Nina Brothers, Anna Jachero, or Ava Rose LaManna

Ensemble: Quadry Brown, Brandon Bedore, Amanda Kaplan, Rachel Kemp Whittenberger, Alexis Krey, Patricia Targete, Brook Urquhart, AJ Whittenberger Swings: Drew Holcombe & Christen Svingos

Understudies: Justin Calhoun (Bob Wallace), Brandon Bedore (Phil Davis), MaryKate Brouillet (Betty Haynes), Amanda Kaplan (Judy Haynes), Tina DeSimone (Martha Watson), Christen Svingos (Rita/Rhoda), David Bosley-Reynolds (General/Sheldrake/Ezekiel/Mike)

Orchestra
Conductor/Keyboard I – Ross Scott Rawlings, Nathan Scavilla
Keyboard II – Reenie Codelka, Ann Prizzi
Trumpet – Mike Barber, Tony Neenan
Reeds/Woodwinds – Lori Fowser, Steve Haaser, Dan Janis, Charlene McDaniel
Trombone – Patrick Crossland, Jay Ellis, Don Patterson
Drums/Percussion – Bob LaForce, Brett Schatz

Production Staff
Director – Mark Minnick
Choreographer – Christen Svingos
Music Director – Ross Scott Rawlings
Assistant Conductor – Nathan Scavilla
Assistant Stage Manager – Vanessa Vincent
Scenic Designer – David A. Hopkins
Lighting Designer – Lynn Joslin
Sound Designer – Mark Smedley
Costume Designer – Janine Sunday
Technical Director – Jimmy Engelkemier
Assistant Technical Director – John Pantazis
Set Construction – David A. Hopkins, Jimmy Engelkemier, John Pantazis
Properties Coordinator – Shane Lowry
Running Crew – Shane Lowry, Sarah Tossman, Brian Wensus, Vanessa Vincent
Light Board Operators – Jimmy Engelkemier, Heather Williams
Sound Board Operator – John Pantazis
Costume Shop Assistants – Sarah King, Carrie Seidman

About Toby’s Dinner Theatre: Toby’s offers award-winning Broadway and original musicals with an exceptional buffet-style dinner. Over 40 years, 100 Helen Hayes Award nominations have confirmed the excellence of their productions. This unique venue, with amazing performances “in the round,” provides each guest with a dynamic interactive experience and a great view, with no seat more than 30 feet from the stage. Additionally, Toby’s is one of the few regional dinner theaters featuring a live orchestra. You can find more information about all shows and buy tickets at tobysdinnertheatre.com/.

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Eighteen years ago, rock musician and Howard County resident Ian Kennedy heard some news about the future of the popular outdoor venue Merriweather Post Pavilion (MPP). The property was at the mercy of a development company who, in their quest to make the area more resident-friendly, wanted to raze the 1967 open-air concert hall. Ian had spent much of his life in and around Symphony Woods, gigging with his band – he had even played guitar on MPP’s stage during his own high school graduation. After some weighty discussions with an old friend, the two decided to try to change the amphitheater’s fate. They become partners and founded the Save Merriweather Foundation, after which they did exactly that – with some friends, local political leaders, and signed petitions to help support the cause, of course.

Jump seven years forward, and Merriweather Post Pavilion was enjoying a renaissance to beat the band. Relieved that their favorite place had been saved, musicians and groups booked gigs to bring audiences back in full force. Billboard Magazine even named the venue the second best amphitheater in the United States. The Downtown Columbia Plan of 2010 was made, and shortly thereafter an organization was established to support expanded artistic, cultural, civic, and educational programming in the immediate area.

Today, this landmark and its surrounding woods are owned by that organization – the Downtown Columbia Arts and Culture Commission (DCACC). The venue is much improved after $55 million worth of renovations – sporting a new higher roof, an increased number of more accessible parking spaces, and better facilities and amenities. Merriweather Park at Symphony Woods now has musical arts installations and a striking second stage called The Chrysalis. And just outside the boundaries of the woods, visitors will find a new open plaza for arts events called Color Burst Park.

As the Executive Director of DCACC, Ian Kennedy stands at the helm of what is now dubbed ‘the Crescent’ – collaborating with operating company I.M.P., the Inner Arbor Trust, and various other organizations. Ian says, “we’re starting to see all this work bear fruit – new and dynamic events and programs are already taking place in our new performance spaces, and we’re just getting started. We’re hosting smaller events and larger festival events that incorporate both MPP and Symphony Woods. And then we have Color Burst Park, where we hold our popular Dance Series. We’ve even brought in instructors to help encourage people to dance – which has turned out to be unnecessary.”

Naturally, Kennedy and his spouse are always administrating or attending the events with their own children, so I asked him how parents will fare. He says, “one of the best benefits for us is that we have the ability to do things we think our kids are going to enjoy. We’ve done low cost family-friendly movie nights, where the young ones can just run free on the lawn a bit. And a lot of families have shown up to the concerts at Color Burst Park, because they’re entertaining for all ages – we have fun giveaways for them, and there’s a splash pad for the littles. It’s a sweet spot.” Ian is also excited about another sweet spot coming to the plaza for the adults: a ninth location of Busboys and Poets, opening soon.

Kennedy also works closely with the property’s former owner The Howard Hughes Corporation (HHC), who are committed to championing the Downtown Columbia arts scene with programs and events through their new cultural collective, Merriweather District. HHC Board Member Vanessa Rodriguez says, “The Howard Hughes Corporation’s mission is to help bring a true walkable urban city to life. Since the ownership of MPP was transferred to DCACC in 2016, HHC has focused on developing the Merriweather, Lakefront, and Central (Mall) districts. Trends have shown that people want more open green space, walkability, and sustainability – all of which Columbia has. So we’re now bringing a little of the flavor of the big city back in, by making the Merriweather district a regional hub – the perfect blend of culture and commerce.”

The Howard Hughes Corporation has been actively creating an arts and culture ecosystem since 2017, but their focus has shifted to nurturing individual artists with their Merriweather District Artists-in-Residence program, created in collaboration with the Howard County Arts Council. The program is in its fourth year, and has received applications from all over the world. This year, four selected artists were chosen to reside near the Merriweather District studio space and spend up to two months creating work in a medium of their choosing. The 2021 culminating exposition, entitled Huephoria, raises the immersive art concept to a new level, taking over 27,000 square feet of raw office space. The exhibition features art from Brooklyn, NY’s Morgan Bobrow-Williams, Baltimore, MD’s Andrew Burke, Glen Burnie, MD’s Chrystal Seawood, and Tempe, AZ’s Bobby Zokaites.

The best way to stay posted about all events is by joining the Merriweather District email list at the bottom of their home page. You can also follow their Instagram, Facebook, and YouTube. You can find more detailed info about big music happenings (and buy tickets) on the Merriweather Post Pavilion website. More event details and links are below.

AIR (Artist-in-Residence): Huephoria

Thursday, Sept. 9 6:00-10:00 PM
Friday, Sept. 10 6:00-10:00 PM
Saturday, Sept. 11, 1:00-8:00 PM
Sunday, Sept. 12, 1:00-5:00 PM

General Admission Tickets: $12. Free admission for Children, Teachers, Students, and First Responders. Video and photography is encouraged for both media and visitors. Face coverings are required for this event.

Tickets can be purchased and reserved on the Huephoria event page. A portion of the proceeds will be donated to the Friends & Foundation of the Howard County Library System. Artist bios and descriptions of the exhibits can be found below.

Andrew Burke: Vanishing Point
Vanishing Point allows visitors to experience two pieces of music that explore proximity and distance as a metaphor for the moments in which we cease to recognize a stranger as a unique individual, and instead see them as part of a faceless mass and vice versa. The work will include immersive film and live musical performances.

About Andrew Burke (Baltimore, MD): Andrew creates music that explores political and social subjects, opening up fraught discourse to a higher level of emotional sensitivity. After working in political communications for four years, he was interested in how to further progress in the structure of our political system and realized that there was an opportunity to allow music to be a catalyst and change agent in nuanced discussion. In this residency, Andrew is bringing to life a composition and curating an immersive sound installation named Vanishing Point. The orchestral piece will be performed with a chamber ensemble on an immersive and engaging stage and performed for a live audience with the intention of creating a moment of connection. The audience will get the chance to not only observe live performers, but to mingle among them and be enveloped in their music for a deeply cathartic and welcoming experience. Andrew is currently pursuing a Master of Music in Composition at the Peabody Conservatory at Johns Hopkins University.

Chrystal Seawood: Feeling Our Way Through: Exploring Masculinity in Black Youth
Feeling Our Way Through explores the complexity of masculinity in Black youth. Three interactive installations address the spaces in which it is safe for Black masculine youth to embody a range of emotions without losing their “status” as masculine. The work simultaneously aims to delimit and interrogate the precariousness of traditional masculine culture.

About Chrystal Seawood (Glen Burnie, MD): Chrystal Seawood is a primarily self-
taught artist from the rural town of Forrest City, Arkansas. At the heart of her work, she
explores ideas of equity and infrastructure of gender expression, specifically masculinity.
In theory, she seeks to humanize her subjects in the same ways they’ve been objectified. During the program, Chrystal will be exploring masculinity with the community and building a series of installations that explore the spectrum of masculinity, while also addressing the way that gender identity can continue to be expressed in a more inclusive and safer environment. In 2008, Seawood earned a BA in Digital Art and Design, and worked as a graphic designer in corporate America. In 2015, she decided to become a high school English teacher, and has since been operating much like an activist, with a classroom and a canvas. Starting this year, Chrystal will be pursuing her MFA at Maryland Institute College of Arts (MICA).

Morgan Bobrow-Williams: emergent
emergent is an interactive, transdisciplinary art installation involving live performance, video, sound, and sculptural elements. It looks at the relationship amongst self determination, dreaming, technology, time, and space. Morgan will perform simultaneously throughout the
exhibition period. The performance will be a combination of movement and vocal expression.

About Morgan Bobrow-Williams (Brooklyn, NY): Morgan is a transdisciplinary artist who expresses themselves by blending traditional mediums, such as dance and movement, film, sound and installation art using improvisation as a tool for discovery and creation. Driven by emotions, philosophical thinking and sensual experience, Morgan creates work that is intuitive and asks questions. Morgan received a BFA from Marymount Manhattan College in Dance Performance with a concentration in choreography. Recently, Morgan returned from Germany after working as a full-time dance company member at Staatstheater Kassel under the direction of Johannes Wieland. While in residency, Morgan is creating an immersive and experiential environment that invites the viewer to widen their perspective, engage in their agency, and reflect on the interconnectivity of our experience.

Bobby Zokaites: Magrathea
Magrathea is a kinetic sculpture consisting of two caned wheels revolving past opposing light sources. The intricate caning pattern casts dramatic shadows across the exhibition space, aligning and diverging as the wheels make their revolutions. While the piece is welcoming in its
familiar colors and forms, its sophistication lies in the juxtaposition of the ancient and the modern.

About Bobby Zokaites (Tempe, AZ): Bobby is a sculptor who engages in imagination through the creation of large-scale, colorful, interactive objects and spaces. His work is intended to stimulate audience interaction and inspire enthusiasm about the idea of ‘play.’ While investigating themes of adventure and childhood, Bobby fabricates and assembles sculpture in an industrious process. The audience is invited to see, hear and play with installations which blur the lines between artists, performer and viewer. The magic really happens when children start to show their parents how to interact with the space. During the residency, Bobby is exploring the long and shared tradition of
weaving, and how to experiment with interplay and illumination. He will be weaving 9 miles of paracord with a loom designed and developed by Bobby himself. At the exhibition, the audience will be able to explore a dynamic sculpture garden from his imagination.

Merriweather District Events:

F45 Bootcamp, Tuesday, September 7, 6:45 PM; Color Burst Park, RSVP at the Event Link. Presented by the Howard Hughes Corporation.

Words on the Street: Poetry Slam, Thursday, September 9, 6:30-8:30 PM; Color Burst Park, RSVP at the Event Link. Presented by the Howard Hughes Corporation.

F45 Bootcamp, Tuesday, September 21, 6:45 PM; Color Burst Park, RSVP at the Event Link. Presented by the Howard Hughes Corporation.

Words on the Street: Adult Spelling Bee, Wednesday, September 22, 6:00-8:00 PM; Color Burst Park, RSVP at the Event Link. Presented by the Howard Hughes Corporation.

Color Burst Flow by YogaSix, Tuesday, September 28, 6:45 PM; Color Burst Park, RSVP at the Event Link. Presented by the Howard Hughes Corporation.

Stompin’ the Blues: JAMM Session (R&B), Wednesday, September 29, 6:00 PM; Color Burst Park, RSVP at the Event Link. Presented by the Downtown Arts and Culture Commission.

Stompin’ the Blues: MamboCombo, Date TBD; Color Burst Park. Presented by the Downtown Arts and Culture Commission.

Merriweather Post Pavilion Events: 

You can find info about all shows and buy tickets at the Merriweather Post Pavilion website.

About The Howard Hughes Corporation®
The Howard Hughes Corporation owns, manages and develops commercial, residential and mixed-use real estate throughout the U.S. Its award-winning assets include the country’s preeminent portfolio of master planned cities and communities, as well as operating properties and development opportunities including: the Seaport District in New York; Columbia, Maryland; The Woodlands®, The Woodlands Hills®, and Bridgeland® in the Greater Houston, Texas area; Summerlin®, Las Vegas; and Ward Village® in Honolulu, Hawaiʻi. The Howard Hughes Corporation’s portfolio is strategically positioned to meet and accelerate development based on market demand, resulting in one of the strongest real estate platforms in the country. Dedicated to innovative placemaking, the company is recognized for its ongoing commitment to design excellence and to the cultural life of its communities. The Howard Hughes Corporation is traded on the New York Stock Exchange as HHC. www.howardhughes.com

About the Howard County Arts Council
The Howard County Arts Council is a model multi-purpose arts agency that supports a wide variety of programs and opportunities that advance artistic development in Howard County. In addition to providing expertise and advice throughout the selection process and providing a representative on the artist selection panel, HCAC administered the on-line selection process and will assist with MD AIR open studio activities. https://www.hocoarts.org

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It is said that the best actors know how to improvise—and a group of DMV-area performers is doing just that, by forming a fully online theater company from the ashes of Baltimore live performance. Yes, they are adapting well to change, but The Pandemic Players’ mission also fits in with a wonderful emerging trend—artists making art to help others who are struggling. For each performance, the group partners with an existing theater company to raise funds for them during the COVID-19 shutdown.

This self-described “temporary” organization, founded by Stephen Deininger and other prominent Baltimore actors, focuses on free live theatrical performances of beloved classic plays. In return, they request small donations from audiences at home. At the beginning of each week, volunteers submit nominations and vote on which theater to support. Afterward, casting begins, rehearsals commence, and the final performance occurs at 7:00 PM that Saturday. So far, The Pandemic Players have performed Dear Brutus, A Midsummer Night’s Dream, and Six Characters in Search of an Author—all streamed online from separate locations in keeping with social distancing guidelines. Their next production, Henrik Ibsen’s A Doll’s House April 25, 2020, supports Silhouette Stages of Howard County. All performances are available to stream from The Pandemic Players YouTube page.

The Pandemic Players’ artist-led efforts are making a difference on a larger scale as well. Their fundraising initiative is making its mark on the community by inspiring corporate donors to make more grant funding available to the arts sector. They also advocate for local artists and arts organizations with the Maryland State Arts Council. In addition, they plan to educate Baltimore community theaters on content creation, online fundraising, script selection/procurement, and the use of internet technologies. To date, The Pandemic Players have raised over $7,500 in donations to Spotlighters Theatre, Fells Point Corner Theater, The Children’s Theater of Annapolis, Laurel Mill Playhouse, and The Strand Theater Company. You can support them by liking and following their Facebook page, streaming their plays, and donating to their production partners.

Pandemic Players is driven by respect for community, volunteers, the rights of authors and artists, and a passion for the life-changing power of the medium of live theater. They are committed to supporting the community, both through live broadcasts, and through finding innovative solutions as everyone adapts to a difficult situation.

Tax-deductible donations can be made to each theater through production-specific fundraisers on the Pandemic Players Facebook page.

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For a play about a hippo, it’s pretty dark. Forgive Us, Gustavito! is bookended by the primal howling of a grieving animal, as the audience is enveloped in a blackout. This is not to say, however, that this production by Otherland Theatre Ensemble, currently playing at the Charm City Fringe Festival in Baltimore, doesn’t have a profound sense of humor. Many audience members, including myself, seemed to have a bit of a permanent smile for the duration of the show, as even the more serious beats brought a sense of collective delight.

This satisfyingly physical production falls into the category of absurdist theater, but it manages to do so while maintaining the structure of a finely crafted noir thriller – and that dichotomy is what produces some of the more successful aspects of the production. Forgive Us, Gustavito! tells the story of a grizzled hippo detective investigating the untimely death of his saintly zoo-bound hippo brother. However, even with a surrounding cast of spider monkeys, gorillas, and other animals, Forgive Us, Gustavito! is a maelstrom of human emotion, landing upon hard truths about life, death, manipulative relationships, and the neglect of family ties. The show even touches on themes found in modern Sci-Fi productions.

Devised by Rebecca Finney, Lucius Robinson, and Tushar Mathew, who studied with Dell’Arte International, Forgive Us, Gustavito! has many gifts to give. Rebecca Finney shines as Elvira, an overdramatic spider monkey who serves as the show’s femme fatale. It’s not easy to scamper across a stage on all fours while looking glamorous, but it suits her. Tushar Mathew is lovably intense as Detective Emilio Hippo, whose guilt-driven monologues provide much of the emotional heft of the piece. Lucius Robinson is a powerful presence as Toto, a “civilized” gorilla who wears a tie and drinks hand-pressed coffee, and he is genuinely creepy as Mr. D, a shadowy figure who connects all the characters…and knows all their dark secrets.

The actors rely on voice and physicality to establish their characters as animals – there are no makeup tricks or rubber appendages. Costumes are appropriate for the genre – Elvira is adorned with a sheer white top and pleated chiffon pants that the light shines through beautifully, giving her the appearance of a sentient French marionette, and Detective Hippo is dressed in a trench coat and fedora, complete with padded stomach. The soundtrack is well chosen, and includes a few perfectly slow saxophone solos. The set is sparse – just one chair, one desk, and a couple of light poles with clamped-on bulbs.

This leads me to one of the more brilliant aspects of the piece – the lighting – which is more of a team effort, led by Sam Robinson. Along with a few bare bulbs and can lights perched in various places, the lighting is provided by the performers via flashlights and hand-held fixtures. There is spotlighting, backlighting, under lighting, even interrogation lighting, all in the actors’ hands, and sometimes dangerously close to burning their faces – which makes it all the more exciting.

Forgive Us, Gustavito! is artistic, but it is truly accessible. I might even be able to see older children enjoying it. Much of its playfulness comes from humanizing the animal characters in unique ways. As they recount memories and read snippets of old postcards, adorable details about Gustavito and his friends and family are revealed – drawing the audience in emotionally, even as more ridiculous characters and situations are introduced. It’s hard to add more detail about the plot without adding too much…so the best thing to do is let you unravel the mystery for yourself. This thoughtful and hilarious show will be well worth the trip to Charm City.

Forgive Us, Gustavito!, presented by Otherland Theatre Ensemble, plays through November 11th, 2018, at Maryland Art Place (MAP) Underground – 218 W Saratoga Street, Baltimore, MD. For tickets, go online.

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