Agatha Christie never seems to miss — and Witness for the Prosecution is no exception. Although a departure from her typical murder mysteries, this courtroom drama is a wonderfully delicious take on the genre that, in true Christie fashion, has the audience guessing through the final moments.

As an avid mystery reader, I love the feeling of “catching” the right person before the final reveal. But what I enjoy even more is getting it all wrong. The surprise of being mistaken morphs into an excitement to figure out which red herring led me astray. Hearing the crowd loudly announce their verdict for the defendant in Witness was great, but hearing the gasps when we found out we made the wrong call was even better. Christie’s mastery with words extends to her innate understanding of the human mind — specifically what makes us trust the people and the stories we hear. It’s no surprise that at least two other theaters in the DMV are also presenting her plays this season.

Adapted from her short story “Traitor’s Hands,” Witness for the Prosecution takes audiences into the courtroom as the case for Leonard Vole unfolds. Young, simple, and naive, Leonard stands accused of the murder of Emily French, a rich older woman whom he had befriended. Seemingly unaware that he was married, Miss French had made Leonard her principal heir, casting doubt on their friendship and giving him a rather large motive for murder. When his wife, Romaine, agrees to testify in court, she does so on the part of the prosecution, rather than in defense of her husband. This twist accompanies shocking witness testimonies, impassioned outbursts from both sides of the witness stand, and a few well-placed jokes about the murder victim’s eight cats, raising the stakes higher and higher as Leonard fights to escape the hangman’s noose.

Bowie Community Theatre’s production is led by Jared Sever as Leonard Vole and Nadia Palacios as Romaine Heilger. These two performers are pure powerhouses, electrifying the stage each time they appear. Sever’s performance of the daft defendant is incredibly charming; it’s nigh impossible not to believe every word that comes out of his mouth. He handles moments of betrayal with sincerity and finds the most opportune moments to slip in some well-timed comedic relief. Palacios dominates the stage as Leonard’s double-crossing wife, Romaine. She truly is “a remarkable woman,” slipping effortlessly from devoted spouse to strategic mastermind, playing her own game of chess and placing everyone in check long before they realize it. Every moment Sever and Palacios shared the stage was riveting, especially a particularly sharp twist in Act Three.

Jerry Gietka’s Sir Wilfrid Robarts and Paul Ballard’s Myers serve as delightful foils to one another within the courtroom. As the attorneys for the defendant and the prosecution respectively, Gietka and Ballard bounce barbs back and forth as they question the witnesses for the trial. And special note should also be given to Stacy Kessler’s strong performance of Janet Mackenzie, the late Miss French’s chatty Irish housekeeper. The entire cast works well together, creating a strong ensemble led by Sever, Palacios, Gietka, and Ballard.

Dan Lavanga’s set design leans heavily into the world of naturalism; the two locations are realistic representations of an English courtroom and an attorney’s chambers. Linda Swann’s costumes are befitting the 1950s, with high-waisted suits for the gentlemen and flared silhouettes for the women. Alan Barnett’s direction smartly places the audience into the seats of the jurors, with attorneys, witnesses, and the defendant playing directly out past the apron. I would have personally preferred a bit more dynamic movement and consistent playing to the jury/audience throughout, but I understand and appreciate the choice to present a more realistic courtroom environment on stage.

Overall, Bowie Community Theatre’s Witness for the Prosecution is a solid production led by a group of phenomenal performers. The final twist is handled with the utmost care — and that communal gasp from the audience at the reveal is worth the trip out to the Bowie Playhouse.

Running Time: Three hours including two intermissions (15 and 10 minutes).

Witness for the Prosecution plays on weekends (excluding Thanksgiving weekend) through December 15, 2024, presented by Bowie Community Theatre performing at Bowie Playhouse, 16500 White Marsh Park Dr., Bowie, MD. Purchase tickets ($25, general; $20, seniors and students) online, by phone at the BCT Hotline at 301-805-0219, or by email (boxoffice@bctheatre.com) prior to the performance date.

COVID Safety: Masks are optional but encouraged for all guests.

Witness for the Prosecution
Written by Agatha Christie
Directed by Alan Barnett

CAST
Greta/Barrister/The Girl: Maria Mitiuriev
Carter/Clegg/Barrister: Bill Fellows
Mayhew: Jason Braswell
Leonard Vole: Jared Sever
Sir Wilfrid Robarts: Jerry Gietka
Inspector Hearne: Jack Mayo
Detective/Dr. Wyatt/ Policeman: Chris Wargo
Romaine Heilger: Nadia Palacios
Mr. Justice Wainwright: David Robinson
Myers: Paul Ballard
Usher: Sophie Barnet-Higgins
Janet Mackenzie: Stacy Kessler
Woman: Diana Calapios

PRODUCTION TEAM
Producers: Alan & Penni Barnett
Director: Alan Barnett
Stage Manager: Penni Barnett
Intimacy Choreographer: Emily Sucher
Set Designer: Dan Lavanga
Dialect Coach: Alden Michels
Costume Designer: Linda Swann
Hair & Makeup Designer: Rebecca Kotraba
Set Dresser/Decorator: Penni Barnett
Properties Designer: Penni Barnett
Sound Designer: Fred Nelson
Lighting Design: Bowie Playhouse Staff

The post Delicious ‘Witness for the Prosecution’ at Bowie Community Theatre appeared first on DC Theater Arts.

It has been quite a while since I’ve left a theater feeling truly energized by the power and presence of this unique art form. Three phrases kept rolling over in my mind as I made my way out of the Silver Spring Black Box:

1. This is what theater is all about.
2. As many people as possible should see this production.
3. What revolutionary work would Flying V be capable of accomplishing with more resources?

Astro Boy and the God of Comics by Natsu Onoda Power is a treatise on the complicated relationship between an artist and their creation. It is a love letter to comics and animation history, based on the life of Osamu Tezuka, the Father of Japanese Manga, and the characters he created. Featuring an ambitious marriage of traditional performance, athletic choreography, real-time drawing, interactive animation, puppetry, live camera feeds, projections, papercraft, and more, Flying V is truly in its element. Presented in reverse chronological order, the piece begins with the final episode of the Astro Boy animated series, sparking a slow burn that grows with intention and intensity as the story progresses backward through the birth of the Astro Boy character to the birth of the artist himself.

I highly recommend arriving early so you can fully experience the pre-show created by the cast. Audience members are greeted in the lobby by bright music that could easily be from the closing credits of just about any popular anime. Upon entering the performance space, I was immediately immersed in a soundscape that tickled the most nostalgic parts of my millennial brain. Hidden within the accordion and flute music, I could hear the soft tinkling of wind chimes, the distinct creak and scrape of metal playground equipment, and the muffled voices of adults talking in the distance (Madeline “Mo” Oslejsek did the sound design). These are the sounds I remember hearing in the recesses of my own memory when I was deep in the world of a book as a child. Ensemble members begin to enter the space slowly, reading various issues of the Astro Boy comic book. They then invite us to read with them via live projections. As someone who knew very little about this particular comic and artist, it was a great introduction to the source material. It was also thrilling to see moments from these old strips brought to life later within the blocking of the production.

The performances by this ensemble cast — Janine Baumgardner, Oz Heiligman, Jennifer Knight, Lee Liebeskind, Isabelle Pickering, and Jasmine Proctor — were uniformly brilliant. They are a truly balanced group of actors, feeding off each other’s energy and creating space for each performer to stand out in their own specific moments. Despite the comic and kitschy surfaces of their many characters, the performers played each part with grim sincerity. From extreme accents and clownish facial expressions to the genuine sadness of a robot who cannot grow like a real boy, this ensemble shines in the contradictions they represent.

This play thrives in the multimedia. I found myself consistently surprised and elated by the imaginative ways Director Dylan Arredondo and the designers played with theatrical conventions. Held together by the intrepid ensemble, the artistic team created a (mostly) seamless blend of live performance with technological innovation. The melding of projections (Mark Costello) and lighting (Dylan Uremovich) in particular was truly a sight to behold. One of the production’s most spectacular moments occurs while Tezuka is drawing comics under a desk during an air raid. The cast drew scenes of war in front of us while the cacophonous and overstimulating sights and sounds of war drowned the room. They created an overwhelming and visceral experience — exactly what that moment required — an experience that could only have been achieved in this kind of theatrical space.  The choreography of the performers as they experienced these disturbing, heartbreaking, and deathly moments of war, all while making art in front of us, depicted the difficult and disturbing relationship between war, trauma, and the artistic spirit.

I must also note the work of the costume (Taylor S. Payne), scenery (Patti Kalil), and puppetry (Oli Brann) designers. The costumes often referenced old cartoons; Astro Boy’s costume in particular reminded me of something I would have seen at New York Comic Con. The scenic design was sparse to accommodate the various needs of the production’s multimedia camera setups while still creating an atmosphere that drew us into the many worlds the characters inhabited. And the puppets…oh the puppets! From paper crafts and miniature sets to monstrous fighting robots, the puppets and props were delightfully inspired.

I do believe the piece could benefit from a bit more script development. I couldn’t decide if the goal of the play was to teach us about the life and work of Tezuka or if Tezuka’s story was simply a vehicle to create an interactive multimedia piece of art that pushed the boundaries of traditional theater. The slow-burning ember fueled through each episode did not lead to the explosive fire I was expecting. I wanted just a bit more about Tezuka, about Astro Boy, about the relationship between them, about the father-and-son connection they had. That is not to say that the production ended abruptly. The conclusion was strong and left the audience to draw their own conclusions, but I did wish to know more about the subjects when the lights came up.

Astro Boy and the God of Comics asked a few simple questions: What is the role of a robot in a human society? Where is the line between artificial intelligence and emotional intelligence? Does a creator own the creation once the creation is given life? These are questions worth interrogating, especially in our contemporary world of Meta and ChatGPT, and the folks at Flying V pose these questions admirably. Whether you are a theater aficionado, a comics connoisseur, or completely unfamiliar with both art forms, I highly recommend finding your way out to Silver Spring to see Astro Boy at Flying V. You won’t regret it.

Running Time: 70 minutes, no intermission.

Astro Boy and the God of Comics plays through November 3, 2024, presented by Flying V performing at Silver Spring Black Box, 8641 Colesville Rd., Silver Spring, MD. Purchase tickets ($30) online. A limited number of $10 rush tickets are available at the door before each performance.

Astro Boy and the God of Comics was first produced at the Studio Theatre; an earlier version of the play was developed by Live Action Cartoonists.

The program for Astro Boy and the God of Comics is online here.

COVID Safety: Signs at the venue say masks are recommended.

This production contains adult language (moderate), depictions of simulated gun violence, and references to adult topics including death and war. This production contains flashing lights, strobe effects, flashing projections, and loud sounds including gunshots and explosions.

Astro Boy and the God of Comics 
By Natsu Onoda Power
Directed by Dylan Arredondo

CAST
Ensemble/Astro Boy: Janine Baumgardner
Ensemble/Reporter: Oz Heiligman
Ensemble/Tezuka: Jennifer Knight
Ensemble/Elefun: Lee Liebeskind
Ensemble/Announcer: Isabelle Pickering
Ensemble/Reporter: Jasmine Proctor
Ensemble Swing: Hannah Chester

PRODUCTION TEAM
Director: Dylan Arredondo
Artistic Producers: Kelly Colburn & Joey Ibanez
Production Manager: Ruben Vellekoop
Scenic Design: Patti Kalil
Costume Design: Taylor S. Payne
Lighting Design: Dylan Uremovich
Sound Design: Madeline “Mo” Oslejsek
Projection Design: Mark Costello
Properties & Puppetry Design: Oli Brann
Production Stage Manager: Joshua Stout
Assistant Stage Manager: Carolyn B. Emery

The post Multimedia ‘Astro Boy and the God of Comics’ enthralls at Flying V appeared first on DC Theater Arts.

Dearest reader,

If you, like myself, enjoy a heartwarming romp filled with charm, delightfully anarchronistic flair, and a touch of fourth-wall-breaking snark, I highly encourage you to take a turn by University of Maryland’s Clarice Smith Performing Arts Center to spend a diverting two hours with the cast and crew of Emma.

Fitting any of Jane Austen’s expansive, twisting, Regency-era plots into a two-hour play is an undoubtedly difficult task, but this adaptation by Michael Bloom under the direction of Lisa Murphy-Nathans does so beautifully. For those unfamiliar with the original story (or its modern adaptation, the Alicia Silverstone and Paul Rudd classic Clueless), Emma revolves around the titular character and her desire to matchmake for the people in her social circle. Determined never to marry herself, she focuses her energy on finding a connection for her friend, the young and untitled Harriet Smith. Through her romantic meddling and scheming, she soon finds herself caught within multiple love triangles, eventually coming to the surprising realization that her childhood confidante, the snarky but kind-hearted Mr. Knightley, is the only person Emma truly wants to impress.

The young cast of the production does an admirable job with Austen’s heightened text, handling snappy tête-à-têtes deftly and comedic timing with confidence. I must admit, I was surprised at first by the visual dissonance of Drew Okoye’s Emma and Terrence Bartlebaugh’s Mr. Knightley — but as soon as they began to perform off one another, I couldn’t have imagined a more perfect pairing. Okoye’s Emma is strong, self-assured, and immediately endearing in her youthful self-dependence; Bartlebaugh’s Knightley served as a worthy foil with pointed sarcasm, snappy intelligence, and gentle humility. Watching these two young actors work together made my pedagogical heart sing. Ilana Mongilio’s portrayal of the insecure but large-hearted Harriet is also to be commended, balancing melodramatic outbursts with moments of quiet sincerity with ease. Katie Quinn’s Mrs. Taylor-Weston was also a standout, bringing light-hearted and sisterly camaraderie to her scenes with Okoye and eliciting some of the biggest laughs from the crowd during her dancing scenes. The rest of the ensemble was equally amusing — Bayron Celis’ somewhat narcoleptic Mr. Woodhouse and J. Royal Miller’s Tartuffe-esque portrayal of Mr. Elton seemed to be particular favorites with the audience. Aïda Nyabingi’s reserved Jane Fairfax also has quite the wonderful moment channeling early Gwen Stefani on the pianoforte, much to the enjoyment of my fellow millennials in the audience.

As per usual, the UMD Theatre and Design graduate students have built another enchanting world with this production. Margarita Syrocheva’s scenic design holds us securely in the Regency period, with marbled expanses and arches framing romantic portraits and pastorals dangling from the ceiling. Doni Rotunno’s costumes and Priscilla Bruce’s wigs are a welcome combination of Regency silhouettes with vibrant, contemporary colors that balance the push and pull of the performers in their more anachronistic moments. Lighting design by Mike Riggs and Luis Garcia aids nicely in accentuating Emma’s moments of self-reflection and conversation with the audience.

The element that truly brought this production together was the collaboration between Murphy-Nathans and Choreographer Adriane Fang. With anachronistic music à la Bridgerton, Fang’s choreography is a brilliant mash-up of period movement with contemporary flair Often, ball scenes can become a bit monotonous and difficult to follow, but the combination of dance styles, brilliantly executed by the cast, and the choice to limit the number of couples dancing at any single moment made these important moments so much more enjoyable than I expected. Not to mention, the sweeping pre-intermission dance between Okoye’s Emma and Hudson White’s Frank Churchill to Taylor Swift’s “Wildest Dreams” was just about as romantic as it gets.

In our current climate, sometimes we really just need a light, heart-filled evening at the theater to remember the things that bring us together as humans: loving family (found and biological), strong friendships, and the joy of experiencing art and laughter with a community. This production of Austen’s Emma is a balm for the world-weary heart.

Running Time: Two hours including a 15-minute intermission.

Emma plays through October 10, 2024, presented by the University of Maryland School of Theatre, Dance, and Performance Studies performing at the Kay Theatre at the Clarice Smith Performing Arts Center, 8270 Alumni Dr., College Park, MD. Purchase tickets ($25, general public; $10, students and youth) online.

 The program for Emma is online here.

COVID Safety: While strongly encouraged, masks are no longer required. See the Clarice Smith Performing Arts Center Health & Safety policy here.

Emma
Written by Jane Austen
Adapted by Michael Bloom
Directed by Lisa Murphy-Nathans

CAST
Emma Woodhouse: Drew Okoye
George Knightley: Terrence Bartlebaugh
Harriet Smith: Ilana Mongilio
Mr. Woodhouse: Bayron Celis
Mr. Weston: Matthew Cruser
Miss Bates:.Sabrina Lenett
Robert Martin: Tito Silva
Frank Churchill: Hudson White
Mrs. Augusta Hawkins-Elton: Nani Gildersleeve
Jane Fairfax: Aïda Nyabingi
Mrs. Taylor-Weston: Katie Quinn
Mr. Elton: J Royal Miller

UNDERSTUDIES
Emma Woodhouse: Bridget Knott
George Knightley: Raymond Zajic
Harriet Smith: Wendy Saltsberg
Mr. Woodhouse: Emily Davis
Mr. Weston: Alex Reyes
Miss Bates: Gabriella Loshin
Robert Martin: Eitan Amster
Frank Churchill: Kevin Volland
Mrs. Augusta Hawkins-Elton: Medhanit Desta
Jane Fairfax: Julia Smith
Mrs. Taylor-Weston: Miele Murray
Mr. Elton: Matthew Dietrich

PRODUCTION TEAM
Director: Lisa Murphy-Nathans
Dramaturg: Marissa Kennedy
Choreographer: Adriane Fang
Intimacy & Fight Director: Sierra Young
Dialect Coach: Yetunde Felix-Ukwu
Stage Manager: Alana Isaac
Scenic Designer: Margarita Syrocheva
Costume Designer: Doni Rotunno
Co-Lighting Designers: Mike Riggs, Luis Garcia
Wig Designer: Priscilla Bruce
Sound Designer: Justin Schmitz
Assistant Director: Amberley Kuo
Assistant Choreographer: Kayley Childs
Assistant Stage Manager: Jaylyn Manu
Assistant Scenic Designer: Adam Hawley
Assistant Lighting Designer: Hannah Kelly
Assistant Costume Designer: Johnna Presby
Associate Sound Designer: Kiefer Cure

The post ‘Emma’ at UMD is a heartwarming romp appeared first on DC Theater Arts.

Children’s theater is one of the most underrated and underappreciated forms of theater that we have. To sit in a room filled with kids, most under the age of 12, and hear their genuine reactions to a live performance happening in front of them is food for the artist’s soul. Yes, their theater etiquette may differ from the average adult’s, but they are warm, they are instinctive, and they are sincere. If something is working on stage, they will let you know. Similarly, if a bit doesn’t land, you will know it. So if raucous laughter and intermittent gasps from a young audience are any indication, Imagination Stage’s Miss Nelson Is Missing! is not to be missed.

For those unfamiliar with the award-winning Harry Allard book, Miss Nelson Is Missing! is the story of the ill-behaved students of Horace B. Smedley Elementary School’s Room 207. No matter what their overly caring and saccharine-sweet teacher, Miss Nelson, tries, these “worst kids of all” simply won’t listen. Miss Nelson finally hits a breaking point, leaving the class to suffer the terrors of the dreaded substitute teacher Miss Viola Swamp. The kids realize just how much they miss their kind-hearted teacher and how terrible they had been acting toward her and devise a plan to locate Miss Nelson and win her back to school.

The Imagination Stage original is filled with music, dance, and theater magic. The children of Room 207 are decked out in bright colors, slowly becoming more put together as the reign of Miss Swamp lingers on. Each kid has their own wheeled mode of transport to and from school, much to the delight of the audience (though my six-year-old was especially concerned when the exhausted Alison began rollerskating “too close” to the stage edge). Max Doolittle’s lights bring drama and focus to the stage in all the right moments while Milagros Ponce de Leon’s multifaceted set features its own bag of tricks, transitioning from location to location with ease. Jeannette Christensen’s costumes help tell the story of each child, and special attention must be given to her own magical transformations. From the pink-clad Barbie-esque Miss Nelson to the witchy black-and-green-themed Miss Swamp (both played by the inimitable Emily Kester), and the triple-duty costumes of Jimmy Mavrikes’ janitor, Principal Blandford, and Detective McSmogg, Christensen’s impressive designs combined with Kester and Mavrikes’ acting chops to fool even my own Miss Nelson-obsessed daughter.

Flashy choreography, courtesy of Tony Thomas, punctuated Joan Cushing’s catchy tunes. Although the singers’ words were sometimes drowned out by the orchestrations, the emotions driving each song were clear as day. With high-energy numbers throughout, the moments that truly resonated were those slower, more somber songs. As the kids of 207 begin to imagine what could have happened to their beloved teacher, their sillier ideas are accented by the melancholy voice of Adam, who is miserably convinced that Miss Nelson must have died and will never return. Similarly, the kids truly excel as an ensemble when writing their letter to Miss Nelson, apologizing for their terrible antics and bad behavior, and promising to be better students if she would only return to their classroom to save them from the wicked Miss Swamp.

The kids of Room 207 are endearing, especially as their character arcs become more apparent. Tyler Dobies’ Adam transitions from a paper airplane-making terror to a child experiencing their first throes of existential dread with disturbing sincerity while Theodore Sapp’s Gregory goes from light-hearted, rubber band-clad troublemaker to the sweetest declaration of longing for Miss Nelson’s return. Graciela Rey’s Cheryl is full of overdramatics, but she seems to feel Miss Nelson’s absence more acutely than she lets on. And Justine “Icy” Moral’s Allison shifts from the know-it-all trying to fit in with her ill-behaved friends to the true Jiminy Cricket of the crew, leading them all toward the best routes to get their teacher back.

Jimmy Mavrikes is a master of disguise, morphing effortlessly from the simple, mild-mannered janitor of Horace B. Smedley Elementary to the effeminate bird-call-loving Principal Blandford, to the absent-minded, bushy-eyebrowed, bubble-blowing Detective McSmogg. Although some of his characterizations rely heavily on somewhat tired tropes, his performances throughout are incredibly endearing and earn some of the most boisterous laughter and heartfelt audience responses from the entire production. The honesty that he brings to his three characters is commendable.

But it is Emily Kester who had this audience member in stitches. Her characterization of Miss Nelson was so sweet it could induce a toothache. But it was her turn as the dastardly Miss Viola Swamp that stole the show. As she wielded a truly witchy laugh and a stunning voice to match, I watched children and adults alike jump in their seats with each slap of her lethal yardstick. Her bit with gold stars and her assignment of a Mount Everest-level of homework (featuring jokes galore for the adults in the room) were highlights of her terrifying time leading the class of Room 207. When she was caught in the audience trying to make her way to Miss Nelson’s home, she was equal parts terrifying for the students and hysterical for the audience, hiding behind a large paper bag filled with various grocery items that she waved around for emphasis. When she returned to the stage as the mild-mannered Miss Nelson, her wink to the audience was a delicious secret that we all got to join in on.

Miss Nelson Is Missing! is a classic of children’s literature for a reason. It is equal parts comedic reflection of the follies of childhood and a morality tale focused on how our behavior affects those around us. Imagination Stage made a phenomenal choice in commissioning this piece back in 2001. Hot on the heels of widespread education burnout and pandemic-induced elementary school teacher shortages, this story continues to resonate with audiences of all ages over two decades later. Although I am typically a “the book is better” kind of person, I have to admit that, in this case, the play is equally as good and well worth the effort to see.

Running Time: Approximately 80 minutes, no intermission.

Miss Nelson Is Missing! plays through August 10, 2024, at Imagination Stage, 4908 Auburn Ave., Bethesda, MD. Tickets ($12 and up) may be purchased online, in person at Imagination Stage’s box office, or by phone at 301-280-1660. Group rates are available for parties of 10+.

Best for ages 4+

COVID Safety: Masks are optional.

Miss Nelson Is Missing!
Based on the book by Harry Allard
Illustrated by James Marshall
Book, music & lyrics by Joan Cushing

CAST
Adam: Tyler Dobies
Miss Nelson/Miss Viola Swamp: Emily Kester
Janitor/Principal Blandford/Detective McSmogg: Jimmy Mavrikes
Gregory: Theodore Sapp
Allison: Justine “Icy” Moral
Cheryl: Graciella Rey

CREATIVE TEAM
Director: Janet Stanford
Music Director/Orchestrator: Deborah Jacobson
Choreographer: Tony Thomas
Scenic Designer: Milagros Ponce de Leon
Costume Designer: Jeannette Christensen
Lighting Designer: Max Doolittle
Sound Designer: Kevin Lee Alexander
Props Designer: Andrea “Dre” Moore

The post ‘Miss Nelson Is Missing!’ at Imagination Stage is not to be missed appeared first on DC Theater Arts.

Shakespeare would have loved this.

Walking up the gentle slope to the PFI Historical Park, you could hear children laughing and light banjo music, urging you forward. Shakespearean quotes graced signs on the hike, reminding audience members to take their time and endure, for the payoff at the end would be worthwhile. And boy, were they right.

Chesapeake Shakespeare Company has done an excellent job channeling the spirit of the Bard with their outdoor production of The Merry Wives of Windsor. Creating spaces for children and adults alike to experience Shakespeare in their own ways: a build-your-own-antlers table stocked with rainbow pipe cleaners, a pre-play “storytime” with a delightful abridged summary of the play, a maypole at intermission, and plenty of chances to sing along with the talented ensemble cast. It was a true testament to Shakespeare (and to the CSC) that my six-year-old understood the entirety of the plot and found herself thoroughly enchanted by the performances.

For those unfamiliar with the play, Merry Wives is one of Shakespeare’s more convoluted and lesser-loved comedies (likely written in a hurry, according to numerous theories of the play’s origin). The main plot follows the bankrupt knight Sir John Falstaff as he conspires to win the affections (and the purses) of the prominent Mrs. Page and Mrs. Ford of Windsor. The two women realize quickly that they have both received the same declarations of love from Falstaff and decide to play along, luring him into ridiculous situations to expose his silly and lecherous behaviors. The secondary plot revolves around the marriage propositions of the fair (and equally wealthy) Mistress Anne Page. Her father decrees she marry the landed but simpleminded Slender while her mother wishes the rich but demanding French physician Doctor Caius to be her betrothed. Anne, on the other hand, has fallen in love with the upper-class but broke poet Fenton. As one can only imagine with the Bard’s comedies, crossed wires and hijinks ensue until everyone is laughing, married, and happy.

In the heart of the PFI ruins, the CSC has created a stage that blends beautifully with the historic stone facade and the manicured landscape of the park. Picnic tables, foldable chairs, and blankets were spread along the lawn, cooled in the summer heat by a soft breeze and the shade of large trees overhead. In true Shakespearean style, music was playing (canned and live) throughout the night, food and drink were welcome, and general chatting among the audience was considered normal. Children helped each other talk through the big moments of the plot, adults sipped on glasses of wine, and everyone laughed, clapped, and sang together in earnest creating a communal energy that I have not experienced at a Shakespeare production in a long while.

As for the production itself, the cast created a strong ensemble of delightfully silly characters. Josh Williams and Elijah Williams were standouts in their joint roles of Sir Hugh Evans/Nym and Doctor Caius/Pistol, respectively. Both men wielded accents and rapiers with hilarious abandon, never afraid to milk a humorous moment for all it was worth. Holly Gibbs’ jovial and meddling Mistress Quickly and Andrea Spitz’s Host of the Garter Inn were also a delight to watch. Their facial expressions and interactions with every scene kept the stage buzzing. Brendan Murray and Alex Mungo were a brilliant team as Robert Shallow and Slender — the very definition of the straight man and clown combination that works so well in comedies like these. Taking everything as serious as the grave, the resulting comic moments were golden. I also have to give a hat tip to James McClam’s endearing turn as Peter Simple. Gentle, silly, and devastatingly honest, McClam morphed a character that could easily be relegated to the sidelines into one of my new favorite roles.

As Anne Page and Fenton, Dion Denisse Penaflor and Harry Denby presented an attractive and charming couple in love. Denby’s earnest adoration of his partner was sweet to witness, and Penaflor’s gentle nature was punctuated by her plucky spirit, proving that she has what it takes to join her mother and Mrs. Ford as the merriest wives of Windsor. Dylan Arredondo’s Master George Page and Kevin Alan Brown’s Master Frank Ford were wonderful counterpoints to their onstage wives. Brown’s emotional rollercoaster was fervent and feverish, his jealousy ignited by the love and passion he felt for his wife (as well as the desire to avoid cuckolding). Arredondo’s Page was also quite lovely — his steadfast support for his friends in their times of need was sincere and humorous at turns.

But it is the trio of Fabiolla Da Silva (Mistress Meg Page), Emily Zinski (Mistress Alice Ford), and Shaquille Stewart (Sir John Falstaff) that makes the production particularly memorable. Da Silva and Zinski’s friendship is reminiscent of the deepest levels of sisterhood. With secret handshakes, coded language (the “hissing” scene is wonderful), and ridiculously overacted ruses, these two were enthralling to watch together. Stewart’s Falstaff was equally sublime, hitting all of the raunchiest lines and finding the most humorous moments within the frivolity of the character. From laundry baskets to witches and wigs to antlers and undergarments, Stewart gives us a full vision of Falstaff that shows the growth of humility and common sense that the character is known for in the Bard’s later plays.

CSC’s production of Merry Wives makes the trip out to Old Ellicott City well worth your while. Bring your friends, bring your family, and make an evening to remember out of it. The communal atmosphere filled with laughter and music is a delightful way to spend a summer evening. This might just be one of the closest examples of what Shakespeare was truly all about.

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

The Merry Wives of Windsor plays through July 21, 2024, presented by Chesapeake Shakespeare Company performing at PFI Historic Park, 3655 Church Rd. Ellicott City, MD. Ticket prices are $25 and up (free for all children 18 and under, limit 2 per adult ticket) and available online.

The program for The Merry Wives of Windsor is online here.

The Merry Wives of Windsor

By William Shakespeare
Directed by Ben Lambert

SIR JOHN FALSTAFF – Shaquille Stewart
MISTRESS MEG PAGE – Fabiolla Da Silva
GEORGE PAGE, her husband – Dylan Arredondo
ANNE PAGE, their daughter – Dion Denisse Peñaflor
MISTRESS ALICE FORD – Emily Zinski
FRANK FORD, her husband – Kevin Alan Brown
HOST OF THE GARTER INN – Andrea Spitz
SIR HUGH EVANS, a clergyman – Josh Williams
ROBERT SHALLOW, a country justice – Brendan Murray
SLENDER, Shallow’s cousin and suitor of Anne Page – Alex Mungo
FENTON, gentleman and suitor of Anne Page – Harry Denby
DOCTOR CAIUS, suitor of Anne Page – Elijah Williams
MISTRESS QUICKLY, Caius’s Housekeeper – Holly Gibbs
PISTOL, Falstaff’s follower – Elijah Williams
BARDOLPH, Falstaff’s follower – Harry Denby
NYM, Falstaff’s follower- Josh Williams
PETER SIMPLE, Slender’s servant- James McClam
MUSICIAN – Corey Ahearn

Production Manager – Sarah Curnoles
Stage Manager – Lauren Engler
Technical Director – Dan O’Brien
Set Design, Lighting Design, Costume Designer – Becca Janney
Sound Design – Aria Velz
Music Director – Grace Srinivasan
Props Artisan – Nikki LeFaye
Composer – Sam Saint Ours
Assistant Stage Manager – Colin Maher
Production Assistant – Oriana Montes
Dance Choreographer – Shaela Davis
Fight Director/ Intimacy Director – Sierra Young
Dialect/Text/Vocal Coach – Teresa Spencer
Tech Manager – Cameron Luther
Wardrobe – Hannah Brill
Senior House Manager – Pamela Forton
Covid Safety Officer – Mandy Benedix
House Managers – Stacey Morrison, Ashley Sigmon, Lisa Waddington, Ann Marie Brokmeier, Mia Boydston

UNDERSTUDIES
Dylan Arredondo, Richard Buchanan, Lauren Engler, James McClam, Keegan Cassady, Vanessa Strickland

The post Outdoor ‘Merry Wives of Windsor’ channels playful spirit of the Bard at Chesapeake Shakespeare Company appeared first on DC Theater Arts.

Wilde’s still got it, hon.

The Importance of Being Earnest remains a staple in the theater landscape for three main reasons: it requires a small cast, the necessary design elements are minimal, and the script is a masterclass in comedy. I’ve seen and read Wilde’s masterpiece of manners more times than I can count, and yet I continue to find myself laughing more and more with each encounter. The production currently playing at Baltimore Center Stage (in partnership with Pittsburgh Public Theater) is no exception.

For those new to Earnest, the play invites us into the ridiculously silly high-society world of good friends Algernon Moncrieff and Jack Worthing. Both men reveal that they have invented fictitious personas that they call upon when they wish to escape the mundane or burdensome obligations that come with their social circles. Jack discloses that he is planning to end his charade so that he can propose to the eligible and socially intellectual Gwendolen Fairfax. He also notes that his creation, a trouble-making younger brother named Ernest, has become of great interest to his ward, the witty and precocious Cecily Cardew. Jack and Algernon both leave to execute their plans for Ernest (Jack to mourn his supposed death and Algernon to arrive at the country house as Ernest looking to be reformed). The remainder of the play is a delightful romp through miscommunications and social improprieties, ending in three happy marriages.

If the opening night crowd is any indication of what it’s typically like to see a production at BCS, I highly recommend everyone get their tickets now. Having experienced this play so many times, I had forgotten just how surprising some of the twists and turns could be for someone new to the piece. Part of what made this production so enjoyable was hearing the visceral reactions of the audience members around me. From audible gasps to the most sincere “aww” when the young lovers professed their affection for one another, it warmed my heart to be in the room while others experienced this play for the first time.

Jenny Koons’ adaptation and direction of Wilde’s unmatched verbal repartee launch the play’s pacing into new territory, sweeping the audience into its whirling waltz of words. The jokes come at you a mile a minute, keeping the audience and the performers on their toes at all times. As Wilde’s original subtitle proclaims, this trivial comedy for serious people delights with each twist and turn of the soap opera dramatics. Koons inserts passages from period etiquette books, giving us a glimpse into the restrictive and ridiculous social rules that these characters were taught to abide by. While these sections do shift the play into a slow motion that I found at odds with Wilde’s breakneck speeds, they were great reminders of the serious nature of social faux pas during the period.

The camaraderie of this ensemble cast is reason enough to see this production. Paul Deo Jr. and Dylan Marquis Meyers’ chemistry as the brotherly playboy best friends is like lightning in a bottle. Their comedic jabs bounce back and forth like a beautifully choreographed tennis match, moving from intense anger and desperation to the most earnest adoration and appreciation for one another. Veronica del Cerro’s portrayal of the anxious and rebellious socialite Gwendolen Fairfax is picture perfect from her overdramatic shaking during the infamous tea-and-cakes scene to her sisterly embrace of Cecily as they commiserate over their double engagements to fictional Ernests. Alex Manalo’s clever and endearing Cecily shines; her deadpan seriousness while pouring the entire sugar bowl into Gwendolen’s tea had the entire audience in stitches.

Susan Lynskey’s portrayal of Miss Prism is also quite lovely, appropriately timid and easily flustered. Joseph McGranaghan performs triple duty as the dual butlers Lane and Merriman, as well as the upstanding Dr. Chasuble. His quick changes are almost as commendable as his particular care in defining each gentleman through his physical stances and vocal deliveries. The veritable queen of this production, though, is David Ryan Smith as the sharp and ruthlessly honest Lady Bracknell. So often this role can fall into mere camp, but Smith never falls prey to those traps. His characterization is pure pith — owning the stage with every entrance and exit. Imposing and deliciously haughty, Smith’s Bracknell is the embodiment of Wilde’s ingenious sergeant of the social sphere.

The design team smartly lets the wordplay take center stage. Jason Ardizzone-West’s stately scenic design features a pastoral backdrop with an ostentatiously fake door just off-center. With hidden entrances and exits throughout the back wall, the space is not utilized in the way you may originally imagine — lending beautifully to the idea that nothing is truly as it seems on first glance. Hugh Hanson’s costumes are to die for, beautifully crafted and vibrant. Particular attention must be paid to Lady Bracknell’s larger-than-life silhouettes, including her period hats that would fit in nicely at the next Kentucky Derby.

With a stellar ensemble, beautiful period costumes, and a snappy take on the original text, this production is earnestly worth seeing.

Running Time: Two hours including a 15-minute intermission.

The Importance of Being Earnest plays through May 26, 2024, presented in partnership with Pittsburgh Public Theater at Baltimore Center Stage, Head Theatre, 700 North Calvert Street, Baltimore, MD. For tickets ($25–$74, with senior and student discounts available), call the box office at (410) 332-0033, or purchase them online.

The program for The Importance of Being Earnest is available online here.

COVID Safety: Mask-optional performances are on Tuesdays, Thursdays, Fridays, Saturday evenings, and Sunday matinees, and mask-required performances are on Wednesdays, and Saturday matinees. See Baltimore Center Stage’s COVID-19 Information and Resource Page here.

The Importance of Being Earnest 

Playwright: Oscar Wilde
Adaptor/Director: Jenny Koons

Gwendolen Fairfax: Veronica del Cerro
Jack Worthing: Paul “Paulie” Deo Jr.
Miss Prism: Susan Lynskey
Cecily Cardew: Alex Manalo
Chasuble/Lane/Merriman: Joseph McGranaghan
Algernon Moncrieff: Dylan Marquis Meyers
Lady Bracknell: David Ryan Smith

Associate Director: B Kleymeyer
Scenic Designer: Jason Ardizzone-West
Costume Designer: Hugh Hanson
Wig Designer: Kathy Matthews
Lighting Design: Annmarie Duggan
Sound Designer/Additional Music: Uptownworks
Production Stage Manager: Natalie Hratko
Assistant Stage Manager: Kelly Haywood
Associate Scenic Designers: Emma Antenen, Sean Sanford
Assistant Lighting Designer: Joe Borsch
Assistant Sound Designer: Rebecca Satzberg
Production Assistants: Shaquan Pearson, Cedric Khalil

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Come for the puppets, stay for the company.

A legacy production for the Puppet Co., Magic Mirror is a delightful mash-up of fairytale tropes that had this millennial’s heart singing. The story follows the life of young Toad, the unknowing daughter of King Helios and Queen Brycelyn. At her naming ceremony, her evil aunt, the icy Queen Johlyn (an evil Elsa character mixed with the vocal effects of Moira Rose) arrives and gifts the family a cursed magic mirror, putting the kingdom to sleep and stealing the young princess away. Toad is unaware of her lineage and she shuns her own magical powers (her tears can make spring flowers appear even among the most barren parts of Queen Johlyn’s kingdom). Think part Sleeping Beauty, part Cinderella, and part Snow White. She’s sweet, she has a sharp wit, and she has simply befallen a terrible lot as a result of her beauty and stifled power. When Johlyn commands the adorably forgetful dragon Agoth to kill Toad and to guard the dark magic mirror, Agoth brings Toad to the edges of the kingdom, thanks her for her years of friendship, and then tells her to run away and never return.

Toad’s journey is highlighted by the hapless Lochlan (who has a great frog prince moment), and the elderly wizard couple Mudrick and Nanya (who really reminded me of Miracle Max and Valerie from the classic film The Princess Bride). With their friendship and tutelage, Toad learns of her past and finds the inner strength to return to her aunt’s kingdom to destroy the magic mirror that has kept them all in this alternate reality for so long. Upon her arrival, she upends the wrongs done to her for so many years by Johlyn’s two dragon henchmen, Bumber and Pizor. As she approaches the mirror, Toad lovingly helps Agoth remember the years of friendship they shared before he saved her life. Upon witnessing her magic once more, the dragon smiles down on her and steps out of the way. The happily ever after we’ve all been waiting for finally arrives as Toad breaks the mirror, sending everyone back to the moment of her naming ceremony so many years ago when she was first stolen away from her loving parents.

As a parent, I was thrilled with the warm welcome my daughter received as we entered the playhouse. Coloring pages and crayons were front and center for all to use as they waited for the doors to open and the lobby was filled with images and puppets from the company’s expansive archive. Once the doors opened, we entered the playhouse proper, where parents and guardians could seat themselves on cushioned benches lining the walls or sit on the padded floor with their children. Opting for the floor, my daughter, my partner, and I settled in to enjoy the show.

I was instantly blown away by the artistry of the puppets themselves. They were gorgeously crafted and wonderfully expressive, garnering some excited chatter from the children around me each time a new character was introduced. The dramatic entrance of the shimmering Queen Johlyn was particularly effective amongst the crowd seated on the floor. The set pieces that were encountered (an enchanted pond with a working waterfall and a puppet frozen in ice and snow) were beautifully intricate, and the illustration work in each projection was stylistically lovely. The costumes of each puppet were immaculate, and though it was a bit tough to discern the lines being said at times, the performances given by Ingrid Bork, Lee Gerstenhaber, and Mollie Greenberg were energetic and endearing. Their stamina and ability to transition from character to character were masterful.

The voices all three performers created for each character were delightful, especially those of the dragons and the bug royalty at Toad’s naming ceremony. But the puppet that stole the show (and my daughter’s heart) was Bork’s gentle giant, Agoth. The largest puppet in the production, this bright blue dragon towered over the other characters, but his imposing presence was softened by his soothing voice and Dory-esque humor. Each time this friendly fellow entered the stage, the whole room seemed to light up (and sometimes it did — there were some Agoth-loving kids in the room with light-up shoes that blinked brightly as they kicked their feet in excitement).

Much like the other children seated on the floor, my daughter was quickly caught up in the magical world created on stage. She was truly worried for Toad’s well-being, capturing this mama’s heart with every gasp and excited clap of her hands. When she got too afraid at one point, the kind attention and warm words of the House Manager on duty gave her the confidence to join me back on the floor so she could see the happy ending for herself. She was also excited after the show to see some of the puppets up close and to ask the performers a few questions. Bork, Gerstenhaber, and Greenberg were all gracious with their time in answering the many questions of the interested children in the audience. After learning how they made each puppet move, my daughter grabbed my hand and told me she wanted to be a puppeteer, too. She also asked if we could come back to see Magic Mirror again. If the Puppet Co.’s mission is to nurture the future of performing artists and puppet lovers, I think this proves that they’re on the right track.

Running Time: 50 minutes, no intermission.

Magic Mirror plays through March 24, 2024 (Thursdays and Fridays at 10:30 am, Saturdays and Sundays at 11:30 am and 1 pm) presented by the Puppet Co. performing at the Puppet Co. Playhouse, 7300 Macarthur Blvd, Glen Echo, MD, 20812. Purchase tickets ($15 per person, under age 2 no ticket required) online.

Recommended for ages 4+.

COVID Safety: Masks are strongly encouraged for all patrons age 2 and older.

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From the first swell to the final waterfall, men in boats is exactly what makes Men on Boats an enjoyable ride.

Jacklyn Backhaus’ Men on Boats is largely based on John Wesley Powell’s journals from his 1869 expedition along the Colorado River and into the Grand Canyon. We are introduced to each endearing character based on their assigned boats. The Emma Dean is captained by Powell and crewed by trapper William Dunn and John Colton Sumner, a proto–Bear Grylls. The No-Name is crewed by the Howland brothers, O.G. and Seneca. They are joined by the hapless Brit, Frank Goodman. Next, we meet the youthful and naive George Young Bradley alongside the wizened Old Shady (Captain Powell’s older brother) aboard Kitty Clyde’s Sister. Finally, we meet the troupe’s cook, William Robert Hawkins, and the mapmaker Andrew Hall, the crew of the Maid of the Canyon. The plot is fairly straightforward —  this motley crew of misfits make their way along the dangers of the Colorado River to explore the new world of the American West. They face hardships galore, boats are broken, and friendships are tested. There is threat of mutiny. But mostly there is an overwhelming desire to be the “first” to see and name the beautiful landmarks of the new West.

DUNN: Well the Natives have lived in these lands for centuries.
POWELL: Well, they’ve also probably named all this land already. And here we are, naming it after ourselves.

Walking into the Kay Theatre at the University of Maryland’s Clarice Smith Performing Arts Center, audiences are greeted by the sounds of wild birds and a rushing river (sound designer, Sam Crawford). The stage is set with faux footlights, and the boxes are filled with cacti and weathered travelers’ gear. There are burnt umber crags on either side of the stage and a scrim in the center shows a shifting projection of what we can assume is the real Powell and crew banking their boats in the distance (scenic designer, Gavin Mosier; lighting designer, Christina Kouni Laverty; projection designer, Leo Grierso). The aesthetic was that of an illustration in an old Prentice Hall history textbook. As the crowd settled in and the lights dimmed, the audience was transported to the dark blue world of the raging Colorado River.

I honestly do not think I can properly do these boat scenes justice — it is truly a sight to see. The choreography of the boats was impressive, immaculate, and often hysterical. The performers rocked to the same rhythms and carried with their voices the frantic nature of seeing your fellow members work their way through a particularly dangerous swell. And when the boats capsize or are caught up in a rogue whirlpool, the performers not only maneuver a shifting boat as if it is sinking around them, but they also roll and twist and skitter across the stage, truly giving the impression of a body caught up in the raging currents around them. These tragic moments were handled with equal parts humor and gravity, a feat unto itself.

Gab Ryan was a standout as the group’s charismatic leader, Powell. She commanded the stage with gravitas, playing the role as serious as a heart attack, even among some of the most absurd scenes (climbing a cliffside with one arm was a particular highlight). Her counterpart, Katrina Marinelli as Dunn, reminded me of some of my own family in Appalachia. From petting her beaverskin cap with gratitude to standing up for what she fervently believed was the safest path for the group, Marinelli brought humor and heart to the role. Ilana Mongilio’s Sumner was a treat, and the Howland Brothers, played by the charming Alaina (AJ) Jenkins and the captivating Precious Ogunsola, were also highlights, especially in their alternate roles as Johnson and Just Jim, the liaisons for the Ute tribe. With piercing wit and fourth-wall-breaking aplomb, they were the heavy-handed conscience of the natives that already lived in the “undiscovered” West. Katie Quinn as the young and excitable Bradley was a bubble of joy caught within a field of prickly cactus. The “party boat,” featuring Sabrina Lenett and J. Royal Miller, also had some lovely moments — their friendship was adorable and Miller’s fight with a snake is another great bit. Lucy Bond’s Frank Goodman was wonderful. Her character arc from outsider to family to deserter (the only character arc I could find in the script at all) was well executed. And despite a rather tricky mustache, Bond was a jolly sport throughout the production. When we see them again at the end of the play as the deus ex machina Ms. Asa, she is an angelic Colonel Sanders, sweeping us up in the closing exposition of the story. But perhaps my favorite performance of the evening was Drew Okoye’s Old Shady. Their stoic delivery and perfect comedic timing never missed. And their rendition of “Tin Fish” had the entire audience in tears of laughter.

This ensemble cast was truly a strong group of performers — it’s just a shame that the script was not up to the task of supporting their talent and camaraderie. There were beautiful moments (seeing the canyon for the first time) and heartbreaking moments (I’ve never been more upset about an apple in my life), and they tackled each one with grace. The abrupt ending and the lack of character development were the fault of the script entirely. I was thrilled by the cross-gender casting of the production, but I was ultimately disappointed by the lack of interrogation of the concept. Despite the plot and actions of the production being dangerous and tragic, the writing was comedic, leaving me wondering at times if a moment of humor was intentional or an accident prompted by opening night jitters.

All in all, this production co-directed by KenYatta Rogers and Elena Velasco is definitely worth seeing. Despite the pitfalls of the script, the strong ensemble cast and the impossibly wonderful boat choreography make the production a delight to see.

Running Time: Two hours, no intermission.

Men on Boats plays through March 9, 2024, presented by the University of Maryland School of Theatre, Dance, and Performance Studies performing at the Kay Theatre at the Clarice Smith Performing Arts Center, 8270 Alumni Dr., College Park, MD. Purchase tickets ($25, general public; $10, students and youth) online.

 The program for Men on Boats is online here.

COVID Safety: While strongly encouraged, masks are no longer required. See the Clarice Smith Performing Arts Center Health & Safety policy here.

Men on Boats
By Jacklyn Backhaus
Co-directed by KenYatta Rogers and Elena Velasco

Scenic Designer: Gavin Mosier
Costume Designer: Colin Franz
Lighting Designer: Christina Kouni Laverty
Projection Designer: Leo Grierson
Sound Designer: Sam Crawford
Stage Manager: Erin Sanders

CAST
John Wesley Powell: Gab Ryan
William Dunn: Katrina Marinelli
John Colton Sumner: Ilana Mongilio
Old Shady: Drew Okoye
Bradley: Katie Quinn
O.G. Howland/Johnson: Alaina (AJ) Jenkins
Seneca Howland/Just Jim: Precious Ogunsola, Àjíkẹ́
Frank Goodman/Mr. Asa: Lucy Bond
Hall: Sabrina Lenett
(WR) Hawkins: J. Royal Miller

UNDERSTUDIES
John Wesley Powell: Hannah Alisse Collins
William Dunn: Nekko Sanders
John Colton Sumner: Gabriella Loshin
Old Shady: Thomas Raff
Bradley: Nina Omatsola
O.G. Howland/Johnson: Aida Nyabingi
Seneca Howland/Just Jim: Elizabeth Enworom
Frank Goodman/Mr. Asa: Nani Gildersleeve
Hall: Sophie Bagheri

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Despite listening to the original Broadway cast recording of Urinetown more times than I can count, I have never had the chance to see a full production of the show until now. And I must say, 2nd Star Productions’ interpretation of this campy classic is an utter delight.

For those unfamiliar with this satiric musical, Urinetown takes place in a dystopian city plagued with drought. As a result of this water shortage, the government chooses to ban all private toilets. The head of the Urine Good Company, the ruthless Mr. Caldwell B. Cladwell, works the political system to monetize all amenities in town, making the simple act of relieving oneself incredibly expensive. (“It’s a Privilege to Pee” goes one song.) If anyone is caught peeing without paying, they are hauled off to the mysterious Urinetown, never to be seen again. But Urinetown is so much more than just a social justice tale — it’s also a story of star-crossed lovers. Hope, the naive and idealistic daughter of the iron-fisted Mr. Cladwell, falls in love with young Bobby Strong, an assistant manager of Public Amenity 9 whose own father is exiled to Urinetown after he can’t pay the price of the public lavatory his own son helps to manage. Hope and Bobby’s love incites a dangerous rebellion, and they pay a hefty price to end the oppressive Caldwell regime.

After a short but idyllic walk through the woods to the Bowie Playhouse, my partner and I took our seats among the bustling opening night crowd. Even in the dim light of the preshow, Gene Valendo’s set truly captured the look and feel of a grungy subway bathroom. It stood in stark contrast to the polished Cladwell office, ushered in and out of the space by Ms. McQueen (Cladwell’s long-suffering assistant, played beautifully by Crista Drysdale). The scenic design as a whole gave the cast a wide range of elevations to play with, no doubt helping Director Davis Wootton-Klebanoff create some truly wonderful stage pictures throughout the production. The overall aesthetic is completed by Mary Wakefield’s costumes — appropriately filthy for the citizens of Urinetown and, for Cladwell and his cronies, eerily similar to the fashion of Wall Street in the 1980s.

Music Director Jennifer Butler does a fabulous job of coaxing the very best out of this talented cast. I was quite honestly floored by the vocal abilities of the entire ensemble, completing tricky harmonies with ease. The fact that the performers were not mic’d was truly astounding — their voices were strong, clear, and perfectly audible over the sound of the pit. Wootton-Klebanoff’s direction is also to be commended. He has assembled a true ensemble of performers with picture-perfect comedic timing who understand how to properly milk a good lazzi. From Wendell Holland’s Mufasa-esque “Remember me!” to Natolya Barber’s Les Mis moment waving her mop above the ramparts to McKinley Seale’s hop anytime that anyone on stage says “hope,” Wootton-Klebanoff’s direction keeps the audience laughing on their toes.

I would be remiss not to mention some of the most striking performances from this production. I’m still thinking about the “Cop Song.” With poignant flashlight choreography by Summer Moore, this song took on a darker aesthetic than I was expecting, leaning into the many moments within the show that truly embraced the social justice message of the production (later emphasized by the rebel posters in Act II).

Ryan Power’s Officer Lockstock served as the perfect narrator alongside Barber’s Little Sally. With fourth-wall-breaking aplomb, these two were a match made in heaven (or Urinetown). Their camaraderie was palpable, helping us to better understand why the plucky Little Sally would have befriended someone like Lockstock in the first place. Not to mention, Power holds a power note in this production that is sure to thrill.

Sterling Kee’s Bobby Strong is sweet as honey, and he takes the whole place to church with his stirring rendition of “Run, Freedom, Run.” He is a calm counter to Seale’s bubbly and (seemingly) innocent Hope. Their chemistry is adorable, akin to watching two golden retriever puppies playing outside for the first time. Seale’s tinkling soprano melds wonderfully with Kee’s resonant tenor and is only matched by their comedic timing with each other.

Neva Keuroglian Sullivan’s Penelope Pennywise is also to be commended. With a ridiculously powerful belt, she takes over the stage with her indomitable presence. Trevor Greenfield’s Senator Fipp is achingly familiar to all residing so close to DC, and Robert Howard’s scene-stealing Officer Barrel is a barrel of contradictions in the best ways possible. Keith Rafferty’s Mr. Caldwell B. Cladwell provides a menacing presence, showing no remorse for his actions, even as he makes his own defiant way to Urinetown. The entire ensemble excels throughout, and that includes the stagehands who get to perform one of the best bits in the entire show (not to mention a particularly lethal moment of foley artistry that made the whole audience gasp as one on Opening Night).

2nd Star Productions’ Urinetown is the perfect example of the wealth of talent in the DMV theater community. Fully embracing the “community theater” jokes, they’ve built a solid foundation on the comedic metatheatrics of the show. With a ridiculously skilled cast and a thoughtful team of directors, designers, and choreographers, Urinetown is well worth the drive out to Bowie to have a great night full of laughter.

This Urinetown truly is a privilege to see.

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

Urinetown plays through March 2, 2024, presented by 2nd Star Productions performing at The Bowie Playhouse – 16500 White Marsh Pk Dr in Bowie, MD. For tickets ($25 general admission; $22 for seniors 60+, active military, and students; $15 for children under 12), buy them at the door or purchase them online.

The cast and production team for Urinetown are online here (scroll down).

Urinetown the Musical
Book by Greg Kotis
Music by Mark Hollmann
Lyrics by Mark Hollmann and Greg Kotis

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