What if you lived the same day endlessly? And it was in Punxsutawney, Pennsylvania, on Groundhog Day? How would you live it?

That is the existential question for the fictitious weatherman Phil Connors (Trevor Greenfield) in Groundhog Day the Musical, now playing at the Annapolis Summer Garden Theatre (AGST), as the final show of its 59th season of outdoor community theater productions downtown in Maryland’s capital city.

Director Jerry Vess shepherds a spirited 22-person cast to create the community that is the star of this production, which is closely based on the 1993 Columbia Pictures motion picture and the story by Danny Rubin. In addition to Phil, there is the ambitious producer Rita Hanson (Taylor Hinds), insurance salesman/high school classmate Ned Ryerson (Adam Conklin), and the lovely Nancy Taylor (Elda Twombley). Hinds, in particular, brings a sweet and mellifluous voice that lends an essential warmth to the role originated by Andie MacDowell in the film.

The other 19 cast members, often playing multiple roles, are wonderful because of the joy they bring to the overall production. In a play where the band members come out and perform the exact same dance multiple times, actresses (such as Meghan Day, Kat Caldwell, and Kristin Tufo) have to hit their marks happily and repeatedly. They do; others as well — like Mrs. Lancaster (Katherine Lang), Sheriff (Will Griffin), Deputy (Thomas Digby), and the Piano Teacher (Abby Wilson) — provide consistent comic relief and believability essential for the retelling of Rubin’s story in this small Pennsylvania town.

This AGST production further distinguishes itself with a seven-piece live band, positioned behind the set and overseen by Music Director Trey Pope, which enhances the quality of this intimate outdoor experience. Choreography by Kristin Rigsby is consistently smooth, with the second act’s “Philanthropy” is a tap-happy highlight. Lighting design, by Mairead Cummings, is not elaborate but does the job nicely, especially in facilitating the endless loop of Phil’s life.

The challenge of Groundhog Day the Musical has little to do with the charming cast, talented production team, and dedicated volunteers associated with this show. It is, unfortunately, more fundamental; the book to this musical (Rubin) and the music/lyrics (Tim Minchin) are just not terribly endearing, especially in the first act. For a musical that pledges allegiance to the movie on which it is based, the show does not capture enough joy and sweetness.

It’s perhaps a testament to the iconic Bill Murray, who in the movie made the leading man Connors both an awful person and eminently likable. But Minchin, as a lyricist, can do better than in the first act’s “Small Town USA,” where Greenfield sings “suck my balls, I’m out!” The odd “Stuck,” another first-act song, is one of the few in the musical theater canon that includes lyrics referencing an enema. And, amid Phil’s perpetual seduction of Rita, the sticky bun sexual innuendo is unnecessary. The audience understands that this story is Phil’s path from self-indulgence to becoming a better person. Yet Rubin and Minchin, perhaps in an effort to modernize aspects of the story, inject a crassness to the first act that is often over-the-top. This show premiered 23 years after the film came out; a sizable portion of its audience is just there for a sweet nostalgia trip that the first act does not deliver.

Groundhog Day’s second act, and in turn this production, however, engages the audience in a way the first act does not. In “Everything About You” and “If I Had My Time Again,” Greenfield gets a better vehicle for his voice, which shines in Minchin’s softer songs. Rigsby makes better use of Vess’ set design, including a fun Tilt-A-Whirl sequence and moving the actors around more, both into the audience and onto the set’s second level during a climactic moment. It brings joy, which ends this show on an uplifting note.

That is, at its heart, the moral of Groundhog Day. Our growth comes from the path to understanding yourself through being kind to others. It’s the joy of seeing the cast dance (the same dance). The humor as a befuddled Piano Teacher sees her first-time student play amazingly well. The connection we feel with this small town. This summer theater production, as it concludes with spirit, shows us that delightful path toward happiness.

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

Groundhog Day the Musical plays through August 31, 2025 (Thursday through Sunday evenings), at Annapolis Summer Garden Theatre – 143 Compromise Street, Annapolis, MD. For tickets ($30, with no fees) call the box office at 410-268-9212 or purchase online.

Parental Advisory: The ASGT website notes, “Children under age 5 cannot be admitted to the theatre. Children aged 5+ are welcome as patrons, but parents/guardians should determine beforehand whether the subject matter is appropriate.” Reviewer’s advice: Groundhog Day the Musical is a romantic comedy, which, particularly in the first act, has a variety of expletives and sexual innuendos; best for age 13+ overall.

Groundhog Day
Book by Danny Rubin
Music & Lyrics by Tim Minchin

Directed by Jerry Vess
Choreographer: Kristin Rigsby
Music Director: Trey Pope
Production Manager: Kylie Sjolie
Stage Manager: Kylie Sjolie

CAST
Phil Conners: Trevor Greenfield
Rita Hanson: Taylor Hinds
Larry: Jayden Maduro
Ned Ryerson / Radio Clock Voice 1: Adam Conklin
Nancy Taylor: Elda Trombley
Mrs. Lancaster :Katherine Lang
Chubby Person: Karen Grant
Mrs. Cleveland / Ensemble: Selene Athas
Freddie / Psychiatric Pharmacologist: Scott Armiger
Debbie / AA Person: Danielle DiBella
Ralph / Elder: Matt Gray
Gus / Bartender Billy: Billy Luzier
Doris / Priest: Jill Robinson
Buster / Elder :Gene Valendo
Sheriff: William Griffin
Deputy / Healer: Thomas Digby
Lady Storm Chaser / Ensemble: Meghan Day
Storm Chaser / Piano Teacher / Elder: Abby Wilson
Jeff / Director / Old Jenson: Carter Grimes
Joelle / Radio Clock Voice 2 / Scientologist: Kathryn Caldwell
Nurse / Ticket Person: Kristin Tufo

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The world’s largest Shakespeare library has been reinvigorated. Following a four-year, $80.5-million renovation, the Folger Shakespeare Library in DC’s Capitol Hill neighborhood has unveiled a 12,000-square-foot expansion. The new lower-level gallery makes the Folger a full-day attraction; my recent tour showed an expansion that is dynamically curated, with thought-provoking spaces worth returning to time and time again.

The new exhibits include Shakespeare’s remarkable 82 First Folios, a cornerstone of the Library’s collection. There is also a commissioned artistic piece about Shakespeare’s legacy and how race is portrayed. And for generations young and old, there is a “printing press.”

This was a particularly fun stop when I visited the new space, as while I appreciate Shakespeare’s works, I have never been the best at understanding his language. Yet here you can just “play” with Shakespeare’s words —  there is a pile of over 100 of them right in front of you — to set in a line that he wrote (or choose one of your own) to display on screen.

There are countless combinations to humor, compliment, or even insult in the words of the world’s most famous playwright. Theater lovers should make sure to check it out.

The Library’s vision is now guided by Karen Ann Daniels, who joined the Folger in October 2021 as Director of Programming/Artistic Director of Folger Theatre, from New York City’s Public Theater. She has a vision focused on connectivity. “We are driven to build programming that creates natural bridges between the historical items like Shakespeare’s folios and making a visceral, meaningful connection to a modern audience,” Daniels said. “We are also eager for people of all ages and stages of life to think of the Folger as their go-to place to inquire, to learn, and to gather.”

It is meaningful to see the Folger connect with the modern audience; for theater aficionados, in particular, it is fantastic to better appreciate the connection between the Library and its stage. For example, there is space devoted to the recent acclaimed production of Mary Zimmerman’s Metamorphoses, directed by Psalmayene 24 and featuring an all-Black cast, where you can see and understand how the books of Shakespeare were used to inform the show’s development. I have seen Psalm’s dynamic work in multiple DC performing arts spaces; it was exciting to “dork out” and learn how he integrated the Library’s resources into this production.

The Folger, founded and administered by Amherst College, has upped its engagement opportunities inside and outside of its theater. Earlier in 2024, the second iteration of The Reading Room Festival was held: this now annual event allows writers to share work inspired by, or in response to, the plays of Shakespeare.

As a homeowner with a half-hour trek to Capitol Hill, it is also wonderful to see that the Library has increased its engagement opportunities in the broader DC community. Folger artist-in-residence Katherine Harroff recently launched “DC & Me,” which seeks to “gather and uplift community stories” within the District. The installation includes stories from residents of Anacostia, Mount Pleasant, and Penn Quarter, which are now shared within those three neighborhoods’ DC Public Libraries through September 9.

One of the most exciting aspects of the new space, for individuals who wonder why Shakespeare matters in the 21st century, is a new artistic commission by artist Fred Wilson. I consider myself to be part of that group of critics; I found this exhibit (entitled God me such uses send, Not to pick bad from bad, but by bad men [a line from Othello]) to be a riveting look at, in the artist’s words, “the most famous Black Venetian who never lived.” With it at the Folger is also an engraving of Shakespearean actor Ira Aldridge as Othello (who, in 1825, became likely the first Black actor to assume this role) and a gorgeous painting of Elizabeth I. The Wilson pieces provide an encapsulation of race, gender, and power fit for the Folger’s home in Washington, DC; they are an important counterpoint to educate those who may have questioned the relevance of Shakespeare because of the era he wrote in.

As to the future of the Folger, I look forward to coming back and seeing what will come next among the set of exhibits that will rotate regularly. Yet it’s not just the exhibition space in the modern Folger; you can bring your loved one to “Folger Fridays” and your kids to “Folger Family Takeover” (keep them satiated at the Library’s soon-to-open Quill & Crumb café; meanwhile, the delicious milkshakes of Good Stuff Eatery are just a five-minute walk away).

Many people, like me, have only been to the Folger for a play. They have never been to its Great Hall, never seen the stunning Reading Room, and never had the chance to explore what the Library has to offer. This new expansion, coupled with diverse programming on Capitol Hill and in the community, evokes an important 21st-century chapter for this DC arts institution.

The Folger Shakespeare Library is located at 201 East Capitol Street SE, Washington, DC. Regular operating hours are:

Monday: closed
Tuesday: 11 am–6 pm
Wednesday: 11 am–6 pm
Thursday: 11 am–9 pm
Friday: 11 am–9 pm
Saturday: 11 am–9 pm
Sunday: 11 am–6 pm

Hours may be extended Sunday, Tuesday, and Wednesday if performances are scheduled in the theater. The Reading Room has its own hours of operation.

Tours will be offered at noon and 4pm Sunday–Wednesday, with an additional tour offered Thursday–Saturday at 7pm.

Find visitor information here. The Folger recommends timed-entry passes to ensure entry into the Folger’s new exhibition halls at the time of you choosing. Passes may be booked up to three months in advance. Admission to the Folger is free, though a donation of $15 per person is suggested to support operating costs.

SEE ALSO:
Folger Shakespeare Library to open new galleries, café, and shop (news story, February 1, 2024)

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Joe Papp, the famed founder of New York City’s Public Theater, long believed in the value of theater as a democracy that could bring people together. Back to the Future: The Musical fulfills that vision; it is a 150-minute nostalgia trip, now on a national tour, that fills the Kennedy Center’s Opera House with young and old. Yet the show, while fun and unflinchingly loyal to the eponymous 1985 film, is not good theater.

This musical, with a book by Bob Gale (who co-wrote the movie), mirrors the plot from the classic film: The scientist Emmett “Doc” Brown invents a time machine made from a DeLorean, which he unveils to his young friend Marty McFly. Marty travels back in time to 1955 to protect Doc, where he also inadvertently threatens his future by encountering his parents and not being able to leave. But with the help of an auspiciously timed thunderstorm, Marty is able to generate the electricity to facilitate his travel and restore his future.

Gale injects a few changes into the story on stage, which are mainly inconsequential. The vision for this production is that the story and script remain eminently recognizable to fans of the movie; there are many “Great Scott!”s out of Doc and things are definitely still “heavy” for Marty roughly 40 years after this story was first told.

Director John Rando crafts a night full of theatrical comfort food, from the familiar red vest of Marty (newcomer Caden Brauch), down to the mannerisms and vocal affect of George McFly (a spot-on Burke Swanson). Biff Tannen (Ethan Rogers) still questions “Is Anybody Home?” while beating up on a young George. And as the show crescendos, we still get scenes like Marty rocking out on a guitar and the famous knockout punch from George to protect Lorraine, all coupled with the dramatic music from Alan Silvestri’s 1984 score. These familiar moments still resonate, excite, and unify the audience.

The problem then, with Back to the Future, is that we are watching theater. This musical has 17 new songs by Glen Ballard (of Jagged Little Pill), and while Chris Bailey’s choreography keeps your eyes darting around the stage, the energetic dancing cannot hide that these tunes are unmemorable and bland, with few exceptions (such as the rousing “Gotta Start Somewhere,” featuring Cartreze Tucker as Goldie Wilson). The first act opener, “It’s a Matter of Time,” does not have the gusto and vocal dynamics to get audiences revved up. And the second act begins with “21st Century,” an odd dream sequence, which features Doc and an ensemble of a dozen white-coated actors dancing with mind-reading helmets on their heads.

The show’s sets, designed by Tim Hatley, are few and far between; places like the houses of Doc Brown and the McFlys are authentic and filled with wonderful and period-appropriate knick- knacks. Back to the Future, instead, leans heavily on Finn Ross’ video design to capture places like the Enchantment Under the Sea Dance (where George and Lorraine launch their love story) and the barn where Marty crashes the DeLorean. It is that video design, coupled with Chris Fisher’s illusions, that bring us the star of the show…the car!

That car is really the reason to see Back to the Future. The acting is fine, but our region has an embarrassment of riches when it comes to talented folks on stage; there is no standout performance here akin to Rob McClure’s undeniably charismatic turn in Broadway at The National’s recent touring production of Mrs. Doubtfire. The music is nothing memorable. What is undeniably awesome is the DeLorean.

Hatley has created an authentic DeLorean that fits and moves on stage. It sits between an LED wall Ross has created in the back of the stage and a scrim curtain in the front, twisting and turning and flying (!) in the eyes of the audience. The DeLorean brings out the best of Back to the Future; it pairs the familiarity of the movie with the advancements of the present to create a jaw-droppingly awesome effect. In short, it’s not a movie; it appears real and is not something ever seen before on stage.

Musicals of movies are not a new concept, and they will continue. They exist not because the theater community is “out of ideas” or because of the undeniably high cost of production; instead, they have a place in the theatrical ecosystem because they can bring people together, often without a particular ethos, thus serving a critically important role in an art form that needs new and different audiences.

And when done right, like Julie Taymor’s legendary The Lion King, the name recognition of movie musicals not only draws in an audience; it keeps theatergoers coming for generations. Back to the Future will not have that path. But for 150 minutes, it is a fun and often silly night out at the theater. And what an amazing car.

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

Back to the Future: The Musical on North American tour plays through August 11, 2024, in the Opera House at the Kennedy Center, 2700 F Street, NW, Washington, DC. Tickets ($39–$209) can be purchased at the box office, online, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm. A limited number of $39 rush tickets are available for each performance at the Box Office (two max per person).

The program for Back to the Future: The Musical 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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Michael Russotto, who plays the lead Chauncey Miles in 1st Stage’s current production of Douglas Carter Beane’s The Nance, has an eclectic and extraordinary résumé in his 40-plus years on the stage. From mid-1980s productions at Studio Theatre (where he studied under the legendary Joy Zinoman) to numerous performances at Woolly Mammoth Theatre (such as Will in the acclaimed 2011 run of Samuel D. Hunter’s A Bright New Boise) and dozens of other shows across the area and nationally (including a recent national tour of Mitch Albom’s Tuesdays with Morrie), this veteran actor is a reliably memorable presence.

In The Nance, as directed by Nick Olcott, Russotto takes on the role originated by Nathan Lane in a 2013 Tony-nominated performance. It is a bookend of sorts, Russotto said, for himself and Olcott; 41 years ago, in what the veteran actor counts as his first professional performance, the two were part of the cast of Agatha Christie’s The Mousetrap at the now-defunct Petrucci’s Dinner Theatre in Laurel. They first connected about this new play, Russotto added, in the summer of 2020 when auditions were held via Zoom; nearly four years later, “…we have had a great time. Nick has been a terrific guide through the rehearsal process, and we build off each other’s thoughts.”

Chauncey is a gay burlesque actor who performs nightly as a “nance,” an effeminate and campy character wildly popular during the 1930s period that Carter Beane dramatizes. Chauncey balances this role with a blossoming relationship he develops with the much younger Ned (played by Patrick Joy), and political attacks on gay men by then New York City Mayor Fiorello La Guardia, which reverberate across society. Despite it all, he performs; even after Ned leaves the pressure of New York City for a national touring production. “He [Chauncey] believes what he hears [about gay men], and that he does not deserve happiness.”

For the openly gay Russotto, his character is “a man struggling to come to terms with who he is. And I am not sure he likes who he is.” The veteran actor added, “On the surface, he believes he is happy. But deep down inside, I think he feels like he is lying to himself…and to be rejected by fellow Republicans — for who he is — is deeply wounding.” Among the reasons Russotto appreciates Carter Beane’s writing is that “I love that it does not sugarcoat how difficult it was to be a gay person during this time. They were a marginalized group.”

The relationship between Chauncey and Ned is at the center of The Nance. While initially the relationship is solely sexual, the men’s feelings grow; yet Chauncey struggles between his feelings for Ned and his own (lack of) self-worth. To nurture the relationship that emerges on stage, Russotto and Joy worked with Intimacy Coordinator Lorraine Ressegger-Slone. For Russotto, this brought an added dimension to his performance: “Patrick and I were both willing to explore the physical possibilities of this performance; Lorraine helped make that happen.” The seasoned actor also appreciated Joy’s talent: “While I have more experience, Patrick was very willing and open [to try things on stage]. Once a young actor understands that — the freedom to fail — it makes a big difference.”

The relationship Russotto and Joy showcase evolves, but internally, Chauncey is still troubled; he resists Ned’s entreaties to have a monogamous relationship and instead pursues anonymous encounters with other men. “Chauncey is so conditioned to believe that it [his relationship with Ned] is wrong that he can’t maintain it,” Russotto said. “He falls in love with Ned…but that is not a thing that is viable. When love comes to him, he rejects it; that’s the tragedy of the play.”

By the play’s end, playwright Carter Beane resists a happy ending. Why? “Because it’s the truth,” Russotto said. “Since 1937, things have not changed all that much. Some people now still believe sexuality is a choice, and a bad choice, that you make. By the play’s end, Chauncey is struggling to find some light at the end of the tunnel.” As to his character’s future, Russotto is not hopeful, “I don’t know. But it’s not a happy one.”

Running Time: Two hours and 45 minutes plus a 15-minute intermission.

The Nance plays through April 21, 2024, at 1st Stage, located at 1524 Spring Hill Road, Tysons, VA. Tickets are $55 for general admission and are available for purchase by calling the box office at 703-854-1856, going online, or in person before each performance. Limited numbers of seats are offered at $25 and $35 for each performance. Open seating.

The program for The Nance is online here.

COVID Safety: 1st Stage is now a mask-optional space with select mask-required performances offered for each show. See 1st Stage’s complete COVID Safety Information here.

SEE ALSO:
Closeted ‘Nance’ plays flamboyant and funny onstage at 1st Stage (review by Caroline Bock, April 8, 2024)

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As we near the end of yet another theater season, one of the more distinct productions on a DC stage is neither a play nor a musical. In Southwest DC, Arena Stage is presenting Vinny DePonto’s Mindplay, featuring a type of magic known as mentalism. What was it about this show — a late addition to Arena’s 2023/24 season, and the only show in the season programmed by Arena’s new artistic director, Hana S. Sharif (who came on board after outgoing artistic director Molly Smith programmed the rest of the season) — that led Sharif to insert it, for a lengthy seven-week run, into Arena’s schedule?

In an interview, Sharif explained why this production resonated with her. “This is a show that ends with a sense of community. I think that is what is really powerful and unique about it. And I am excited by how theatrical experiences that are intimate and unique, which invite the audience to be part of it, might catalyze new audiences.”

She further explained her role in choosing Mindplay. “It is the job of the artistic director to give audiences a wide spectrum of theatrical experiences and works.” This is vitally important, she added, because “regional theaters were built on an economic structure that no longer works.”

Sharif’s comments track: an October 2023 study from the National Endowment of the Arts revealed that fewer people are going to the theater. Subscriptions, long the foundation of a theater’s economic model, are also declining. Chicago’s famed Steppenwolf Theatre recently shared that its subscriptions are down 40 percent compared with pre-pandemic.

DePonto’s production, which Sharif describes as “a theatrical experience unlike you will have ever experienced at Arena,” is now at its second major regional theater. Mindplay had its world premiere at the Geffen Playhouse in Los Angeles in 2022 for 10 weeks.

The decision to choose this production may have something to do with audience development. In a recent interview with American Theatre, the new executive director of the Theatre Development Fund, Deeksha Gaur, spoke of bringing in new perspectives to the theater. “When you bring in more audiences, you support the development of audiences, and that is how you serve the art and the artmakers.” Gaur, a former staffer at DC’s Woolly Mammoth Theatre, added, “To me, audience development is using shows as tools to develop new audiences.”

For Sharif, while Mindplay is not a straight play or musical, it is akin to those tentpoles of theater in that they all showcase “profound stories,” akin to StepAfrika!’s recent Magical Musical Holiday Step Show at Arena. Mindplay offered Sharif a unique opportunity to entice new patrons into the theater. “Theaters opening the door to experience art and storytelling in unexpected forms is part of the future,” she said.

As we turn toward the upcoming theater season, will we see more magic on DC stages? More audio experiences, akin to Solas Nua’s One Moment Now? More cabaret, like Signature Theatre’s Disco Fever? Sharif, for one, is not ruling anything out: “The slate of shows [for Arena’s 2024/25 season] changes every day.” She emphasized the value of getting new and different patrons out to Arena’s southwest home. “Where we have been in the past is trying to meet the demands of our core audiences, and where we are now is trying to expand the base of who our audience is.”

Mindplay plays through March 3, 2024, in the Kogod Cradle at Arena Stage, 1101 6th St SW, Washington, DC. Tickets ($41–$95) may be obtained online, by phone at 202-488-3300, or in person at the Sales Office (Tuesday-Sunday, 12-8 p.m.).

Running Time: 80 minutes, with no intermission.

Arena Stage offers savings programs including “pay your age” tickets for those aged 30 and under, student discounts, and “Southwest Nights” for those living and working in the District’s Southwest neighborhood. To learn more, visit arenastage.org/savings-programs.

The program for Mindplay is online here.

COVID Safety: Arena Stage recommends but does not require that patrons wear facial masks in theaters except in occasional mask-required performances. For up-to-date information, visit arenastage.org/safety.

SEE ALSO:
In on the act at ‘Mindplay’: two audience participants react (interviews by John Stoltenberg, January 31, 2024)

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The English rock band The Who released its fourth studio album, Tommy, in May of 1969. It was a commercial success, and in subsequent years, The Who frontman Pete Townshend developed the music and lyrics for a rock opera that premiered on Broadway in 1993. The Workhouse Arts Center’s The Who’s Tommy, now playing at its Lorton stage, is a fun production of this rock ‘n’ roll classic.

This is the story of Tommy, who as a young boy witnesses his father—who was thought to be dead, as a prisoner of war—return and kill his mother’s lover. Tommy is emotionless as his father gets acquitted of the murder; his family soon realizes that he is deaf, mute, and blind. He is taunted by a series of awful babysitters, and despite it all, his talent emerges; Tommy is revealed as a champion pinball player. He becomes famous, is challenged and overwhelmed by that fame, and in the end realizes the value of trusting his true self.

The Workhouse production features a number of strong performances. As the protagonists, Ollie Maxted as Young Tommy (in the performance this critic saw) and Julianna Cooper as the older Tommy play off each other beautifully in moments like the Second Act’s “See Me, Feel Me.” As Captain Walker, Pat Mahoney showcases a smooth voice throughout. And Audrey Baker is a scene stealer as the Acid Queen (along with several other roles) during her eponymous Scene XI song.

Direction from Jolene Vettese pulls this show together smoothly. Highlights of the creative team include set design from Matt Liptak, with flipper bats on the sides and bumpers in the center of the stage. Costume design from Audrey Miller, with its frequent changes and floral dresses (as the play moves to the ’60s), helps facilitate the action. And Merissa Anne Driscoll’s music direction is, literally, at the center of it all; she leads a six-person band, which plays directly behind the cast. Kudos as well to Brian Bachrach and Clare Pfeifer for their sound design, which underlies the fantastic sound of this show.

There is a reason the original The Who’s Tommy ran on Broadway for 899 performances. The music is sensational; “Pinball Wizard,” particularly, is a great tune. There is also a reason this show is getting revived on Broadway, for only the first time, this March; the topics are challenging for mainstream audiences.

In addition to witnessing a murder, Tommy is sexually and verbally abused by his babysitters. As Uncle Ernie, Noah Mutterperl is creepy (and looks the part as well, with a thin mustache and glasses), particularly during the song “Fiddle About.” And Cam Shegogue is downright mean as Cousin Kevin.

The Who’s Tommy perseveres as a rock opera because these are themes that had not been featured in musical theater prior to the development of this show by Townshend and Des McAnuff (who co-wrote the original book to the show). The abuse is all too real for Townshend; who can no longer perform songs from Tommy, due to the childhood trauma he endured from his grandmother. Yet his music and lyrics are a moving tribute to others who have endured pain like him, and realize the greatness within themselves. And it is an awesome rock concert.

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

The Who’s Tommy plays through February 11, 2024, at the Workhouse Arts Center’s W-3 Theater located at 9518 Workhouse Way, Lorton, VA. Purchase tickets ($35 for general admission, $30 for military and seniors, and $20 for students) at the box office, online, or by calling 703-584-2900.

The Playbill for Workhouse Arts Center’s production of “The Who’s Tommy” can be viewed here.

COVID Safety: Masks are optional at Workhouse Arts Center for visitors and staff. If you prefer to wear a mask, you are welcome to do so.

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Editor’s note: Since this review was originally published on November 19, it has been revised in response to readers to whom we are grateful for bringing to our attention an inadvertently insensitive subtitle.

“TRADITION…TRADITION!” Those words, in the opening prologue of Jerry Bock and Sheldon Harnick’s 1964 musical Fiddler on the Roof, stir emotions. Director Peter Flynn’s Fiddler, now playing at the Olney Theatre Center, stirs its own set of emotions in 2023: as a thought-provoking, competent, and yet confounding staging of a timeless classic.

This is the story of Tevye, a milkman in the village of Anatevka who struggles to provide for his family and is guided by Jewish traditions. Tevye and his daughters remain the focal point of the story throughout — as each daughter chooses to marry for love in relationships Tevye finds difficult to accept.

Fiddler on the Roof is also the story of Jewish life in Russia at the turn of the 20th century; as such, amid a tale of love and tradition, it is also about religious persecution, pogroms, and the expulsion of Jews, which adds to the gravitas of the story. Flynn’s production of Fiddler, in a significant departure from the original, sets this story at Ellis Island — where it unfolds via flashback, and where it ends — to emphasize his perspective that this is a story of all immigrants.

Howard Kaye as Tevye effectively handles the sarcastic banter of this legendary role (in one memorable scene, he humorously questions the tailor’s worthiness for his daughter). He is musically best in songs like “If I Were a Rich Man,” where the veteran actor handles Harnick’s fast-paced lyrics admirably. Kaye, however, lacks the commanding presence and voice that a quintessential “Reb Tevye” demands. He harnesses the humor but not the heartbreak of this legendary character.

Fiddler has 23 different roles, and strong among the many on stage at Olney was Noah Keyishian as the student Perchik. Keyishian emotes with conviction; it is believable that he would cross the barrier to dance with women at Tzeitel’s wedding. Rachel Stern as Tevye’s wife, Golde, is a wonderfully loving and angst-ridden Jewish mother. Sophie Schulman as eldest daughter, Tzeitel, shows tremendous vocal chops. And Chess Jakobs as Lazar Wolf, the wealthy butcher who wants to marry Tzeitel, is striking for how he balances the pride and indignity of this character.

Graciela Rey, as The Fiddler, possesses considerable talent as a dancer. Yet Flynn unfortunately does not commit to a clear role for her. She is on rooftops, pirouetting in musical interludes, one of the bottle dancers at Tzeitel’s wedding, and dancing solely with Tevye in another scene. This decision to make her a focal point of this production unnecessarily steers attention away from the main characters on stage.

That said, Flynn is to be commended for the creative team he has pulled together. Choreography by Lorna Ventura incorporates traditional Jewish dance, most wonderfully in moments of joy like the iconic “To Life” and “The Bottle Dance” at Tzeitel’s wedding. Scenic designer Milagros Ponce de Leon crafts different wooden sets with height and authenticity. Her work meshes beautifully with Max Doolittle’s lighting design in the first act’s “Sabbath Prayer,” with candles in dimly lit windows as a stunning backdrop to the stage. Doolittle’s lighting, overall, is a mix of subtle and striking spotlights — particularly in the closing scene as the cast walks through the light of doors into the new world of America.

Flynn’s production features a diverse cast; cast members are African American, Japanese, Ecuadorean, and of other ethnic backgrounds. It is a production, per an Olney press release, with “an eye toward the global shtetl.” Olney effectively showcased a plus-sized African American Belle in its 2022 production of Disney’s Beauty and the Beast and here again recognizes the importance and necessity of diverse casting.

Olney’s challenge with this casting for this particular show, however, is that Fiddler on the Roof, based on the stories of the Yiddish playwright Sholem Aleichem and the first commercially successful show about Jewish life in Russia, is a point of cultural pride for many Jewish people.

Flynn’s perspective — which emphasizes that this is the story of every culture, in every part of the world — is a thought-provoking one. That perspective is at the core of a production that makes a number of unconventional artistic decisions — from larger-scale choices like the role of The Fiddler, the diverse casting, and setting the play on Ellis Island to details like placing a tallit on the female actress playing The Fiddler (a tallit, or Jewish prayer shawl, is traditionally reserved for men in orthodox Jewish communities like the one Fiddler depicts) and the fact that you do not hear a glass being broken during the musical’s wedding scene.

This is an enjoyable production of Bock and Harnick’s classic play; it is also a complicated one, and at times, uneven. It considers a Jewish play and asks whether it can be a universal story. Credit the Olney production team for sparking this conversation, and consider what ‘TRADITION!’ means to you.

Running Time: Two hours and 45 minutes with one 15-minute intermission.

Fiddler on the Roof plays through December 31, 2023, at Olney Theatre Center, Roberts Mainstage, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($39–$95) are available online or through the box office at 301-924-3400, open from 12 pm – 6 pm Wednesdays through Saturdays. Discounts are available for groups, seniors, military, and students (for details click here).

The program for Fiddler on the Roof is online here.

COVID Safety: Face masks are recommended but no longer required to attend events in any Olney Theatre Center performance spaces.

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What is proof? How can one bring forward a series of assumptions that guarantee an irrefutable truth? It is the central question of David Auburn’s Proof, now in performances by the McLean Community Players (MCP), which tells a tender story about love and math.

This 2001 Tony-award–winning play tells the story of Catherine and her father, Robert, a renowned professor of mathematics, and his decline and eventual death living with mental illness. A mystery arises when one of Robert’s former graduate students (and Catherine’s current romantic interest), Hal, discovers an extraordinary mathematical proof when helping to clear out his former mentor’s office. Yet who wrote it? The play unravels, through a series of flashbacks, to raise questions of the truth: of the proof’s authorship, of Catherine and Hal’s relationship, and of Catherine’s belief in herself.

This MCP production shines in different parts. Among the cast, Jess Rawls is strong as Catherine, showing vulnerability as she deals with the demise of her father (Dave Wright) and her relationship with Hal (Ernest Fleischer). Hilary Sutton’s Claire, who along with Hal questions the proof’s origins, is also particularly well cast; she plays the loving yet questioning older sister naturally, belying Sutton’s seven-year absence from the stage.

On the technical side, the lighting (from Ari McSherry) is effective in showing the passage of time in a play that frequently shifts between years. Adam Parker’s sound design is also well done, both in terms of the sound quality in a large Alden Theater (kudos also to sound operator Claire Tse) and the musical interludes, which bring a sense of gripping wonderment to the show and aid in the scene transitions.

A quibble, amidst this solid community theater production, is the all-white set design from director Michael Replogle. The latticed wall, wicker furniture, double-paned window, and stand-alone door are monochromatic; they facilitate but do not enhance nor aid in the development of this story. It would have been wonderful (and not cost-prohibitive), for example, to see actual mathematical proofs as a backdrop on stage.

Altogether, MCP’s Proof is moving because of the writing. At the end of the first act, when the proof is uncovered, Catherine says, “I didn’t find it; I wrote it.” It is a wonderfully dramatic line, which pulls you into the next act just as the lights flick on for intermission. Later in a second-act flashback, Wright’s Robert delivers a humorous moment as he tweaks Hal and says, “As he approaches completion of his dissertation, time approaches infinity.” It is a great use of language that helps explain why this show ran for over 900 performances on Broadway, and along with its Tonys (with awards for Best Play, Best Actress, and Best Direction), also won the Pulitzer Prize for Drama.

Catch Proof in its remaining performances for a thoughtful night out at the theater. You may identify with Rawls’ moving portrayal of Catherine, who believes in her own abilities, despite the questions of others. You can appreciate the warmth of Fleischer’s Hal, as he wrestles with his care for Catherine and his own analytical tendencies. It is a timeless story of love and truth.

Running Time: Approximately two hours, including one 10-minute intermission.

Proof plays through November 12, 2023, presented by McLean Community Players. This review is from its production at the Alden Theater, 1234 Ingleside Ave., McLean, VA. The production moves for its final weekend of performances to The Grange (Friday and Saturday at 8 p.m., and Sunday at 2 p.m.), 9818 Georgetown Pike, Great Falls, VA. Tickets ($20-$25 including fees, with the lower prices available for students, seniors, McLean residents, and groups) can be purchased online.

The cast and creative team for Proof is online here.

COVID Safety: McLean Community Players follows all current local guidelines on safety requirements for COVID-19 per the CDC and local health authorities.

The post Love and math add up in ‘Proof’ from McLean Community Players appeared first on DC Theater Arts.

Witch Wartsmith’s Halloween Spooktacular, one of the annual holiday shows by the Puppet Co. in Glen Echo Park, is a fun-filled performance for the fall’s spookiest holiday. The show — filled with puppets such as a blue-haired Witch Wartsmith, “Dancing Phalanges,” talking statues, and so much more — works well for kids and parents alike in its third annual performance.

This is a variety show, where different characters perform to try to earn the applause of the audience so that they are declared the winner (a different one is declared at each performance). The puppeteers — a talented bunch, including Mollie Greenberg as Witch Wartsmith (your host for the production), Jackie Madejski as Benji, Danny Pushkin as Ghoulie, and Andrew Quilpa as Boris — take on their core roles, and others, in 45 minutes of entertainment that is creatively and technically excellent. Projections play a key role in this show, as testimonials from each contestant are displayed on the screen prior to their performances throughout the production.

Witch Wartsmith has an amusing script by Kirk Bixby and Elizabeth Dapo, and music by Bixby and John McLeod, which keeps not only kids but also adults smiling. There is a lot of physical comedy, puns, and some “advertisements” sure to give you a chuckle. The chuckles, in addition to those ads, include smaller jokes that have been mixed in, like hand-held puppets Boris and Vince; references to horror icons Boris Karloff (Hollywood’s “Frankenstein”) and Vincent Price (star of The House on the Haunted Hill) whose sculpted performances are a testament to Ingrid Crepeau’s design of them.

This production, with pumpkins and neon-green lights surrounding the stage and social distancing stickers on the floor, is comfortable and safe Halloween entertainment. The stage design, also from Dapo, looks appropriately spooky as well; the audience is pulled into an old mansion that sets the mood behind the puppeteers, with candles in the center, well-designed stained glass windows on either side, and tombstones that abound.

Beyond the design, however, what also matters is that Bixby and Dapo (who also co-directed this show) pump a lot of smoke onto the stage to help with transitions. And that there is a bubble-filled ending, and kids can take pictures afterward with their favorite characters. It is those kinds of kid-focused smaller choices, amidst a 45-minute production, that matter and become conversation points for the car ride home with little ones.

This is a worthwhile kids’ theater because of the fun, and underlying it all, because of some talented puppeteers. When “The Flying Draculescu” swings upside down, midway through the show, it is one of many “wow” moments from the puppets created by Dapo and Dre Moore. In addition to Phalanges, Greyson the Mastiff is a particularly impressive full-body marionette. And when a set of pumpkin puppets prance around the stage to a take on the Spice Girls, you cannot help but smile. Witch Wartsmith also mixes in projections and video performances, designed by Bixby, which add to this well-honed production.

All told, here is hoping that this show continues as an annual holiday tradition. Witch Wartsmith is a fun, light-hearted, and affordable show in the comfortable confines of the Puppet Co’s Glen Echo home.

Running time: Approximately 45 minutes with no intermission.

Witch Wartsmith’s Halloween Spooktacular plays through October 29, 2023, at the Puppet Co. in Glen Echo Park, 7300 MacArthur Blvd, Glen Echo, MD.  Performances are Thursdays and Fridays at 10:30 a.m.; Saturdays and Sundays at 11:30 a.m. and 1 p.m. For more information and tickets ($15), click here.

The program for Witch Wartsmith’s Halloween Spooktacular is online here.

Information about ASL, sensory-friendly, and mask-required performances to be announced.

Witch Wartsmith’s Halloween Spooktacular

Original Script by Kirk Bixby & Elizabeth Dapo
Original Music by Kirk Bixby & John McLeod
Lyrics by Kirk Bixby
Choreographed by Kirk Bixby
Directed by Kirk Bixby & Elizabeth Dapo

Cast
Mollie Greenberg as Witch Wartsmith and others
Jackie Madejski as Benji and others
Danny Pushkin as Ghoulie B. and others
Andrew Quilpa as Boris and others
Understudies: Elizabeth Dapo, Momo Nakamura
Featured Vocals: Kira Rangel

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