Once upon a swamp, Upper Room Theatre Ministry’s Shrek the Musical burst onto the stage with heart, hilarity, and hijinks to make even the grumpiest ogre crack a smile. Under sharp direction and backed by vibrant choreography, whimsical costumes, powerhouse vocals, and imaginative sets, this fairytale misfit adventure proves that being different is what makes a show truly magical.

Based on the 2001 DreamWorks animated film (which drew from William Steig’s children’s book), Shrek the Musical follows the grumpy, flatulent ogre Shrek, who finds his peaceful swamp overrun by exiled fairytale creatures. In a quest to reclaim his home, he strikes a deal with the pint-sized Lord Farquaad: rescue Princess Fiona from a dragon-guarded tower, and his swamp will be returned. Along the way, with an overly chatty donkey at his side, Shrek discovers that love and friendship might be scarier than any dragon.

Director Rob Tessier leans into the show’s big heart without sacrificing its outrageous comedy. Music director Chris Zavadowski brings out the full force of Jeanine Tesori’s dynamic score, which blends classic Broadway flair with rock, gospel, and even doo-wop. Leading a 14-person band playing 75 different instruments, Zavadowski not only shaped a tight, energetic pit but also coached the cast to deliver vocals that were rich, expressive, and full of character. Choreographer Marianna Constable, assisted by Abby Chaumont, infused every number with playful inventiveness, crafting movements that matched the show’s humor while still challenging and showcasing the ensemble’s talents.

Joshua Ewalt brings a refreshing, subdued, and introspective Shrek, leaning into the ogre’s loneliness and weariness with a melancholic charm. Ewalt’s baritone voice gives the role a surprising vulnerability, adding emotional nuance to songs like “Who I’d Be” and “When Words Fail,” quietly anchoring the show’s message of self-acceptance. Opposite him, Abby Rozmajzl delivered a truly magnificent performance as Princess Fiona, lighting up the stage with a captivating charm, wit, and powerhouse talent. From her hilarious tantrums to her touching solos, she captured the full complexity of Fiona with grace, heart, and fearless energy.

Anthony Williams took on the lovable Donkey with enthusiasm and energy. As one of the show’s most lively and iconic characters, Williams serves as the comic relief, delivering heartfelt moments and driving the story with optimism. And let’s not forget Jack Lockrem as Lord Farquaad, whose commitment to the famous knee-high role (performed entirely on his knees) earned howls of laughter from the preview audience. For all you Wicked fans, be prepared to hear Lockrem channel his inner Elphaba.

The ensemble is nothing short of outstanding — a vibrant, ever-shifting cast of fairytale misfits who bring color, chaos, and cohesion to every corner of the stage. Whether playing townspeople, tap-dancing rats, Duloc dancers, blind mice, or storybook creatures, each performer creates a rich and immersive world. The fairytale creatures’ “Freak Flag” was a showstopper with explosive energy, vocal nuance, dynamic choreography, and strong solos by Gingy (Danielle Serrano-Bremer) and Humpty Dumpty (Rachel Edwards). Tessier, Zavadowski, and Constable’s shared belief in the power of ensemble storytelling is evident, proving to the audience that even in a show about ogres and dragons, it takes a whole swamp to tell a great story.

Standout performances came in many forms, but Daniel Ferguson as Pinocchio and Clare Kolasch as the Dragon were undeniable scene-stealers. Ferguson delivered a hilariously sassy and neurotic Pinocchio, leaning into the character’s over-the-top flair with impeccable comedic timing. On the opposite emotional spectrum, Kolasch brought a stunning vocal presence to the role of Dragon. Her solo “Forever” soared with a soulful, commanding belt that blended power and pain. Together, Ferguson and Kolasch highlighted the musical’s strength: letting big characters be bold and human.

Visually, the production stuns. Scenic designer Pat Haggerty had the incredible task of creating a storybook set full of clever surprises, while the costume team, led by Kyna Chilcot, intricately and expertly brought dozens of iconic characters to life. The 13-foot custom dragon puppet was especially impressive with its enormous size and green glowing eyes, gracefully operated by puppeteer Jonathan Rosato. Special shoutout to the makeup and hair team, also led by Kyna Chilcot, with the multiple prosthetics for fairytale creatures, including magical transformations completed in a matter of seconds. Sound and lighting design was provided by Dan Martin. Stage management was staffed by Amy Underwood, Moira Daly, Joanna Schoenborn, and Jay Wells. It was impressive to witness the stage management and crew coordinating to move massive set pieces — like the 14-foot tower — in such tight backstage quarters.

At its heart, Shrek the Musical is about looking beyond appearances, challenging expectations, and finding beauty in unexpected places. Upper Room Theatre’s production embraces every quirky inch of this story and reminds us that true love doesn’t always come in a handsome package. Sometimes it lives in a swamp and farts. And that’s okay.

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

Shrek the Musical plays through July 20, 2025, presented by Upper Room Theatre Ministry, performing in the All Saints Performing Arts Center, at All Saints Catholic Church, 9300 Stonewall Road, Manassas, VA. Patrons are encouraged to buy tickets online as the shows do sell out.

Warnings: Mild potty humor, occasional scary moments (dragon), fog, slapstick violence, themes of rejection and bullying behavior, and torture of a Gingerbread man.

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They say it isn’t over until the fat lady sings — but in Ken Ludwig’s Lend Me a Soprano, the real chaos begins before a single aria is heard. This sharp, gender-swapped reimagining of Ludwig’s farce Lend Me a Tenor takes operatic disasters to new heights (and decibels). With a cast of eccentric characters and Ludwig’s signature rapid-fire pacing, Lend Me a Soprano, directed by Vincent Worthington, produced by Kimberly Kemp, and stage managed by Juliana Gedney, delivers a fast-paced evening of theatrical mayhem that proves the show must go on — and hilariously will go on.

Lend Me a Soprano demands a great deal of energy and impeccable timing, and these actors did not disappoint. Deb Hansen, as the overstressed, controlling opera manager Lucille Wylie, was particularly compelling; her frantic energy fueled much of the comedic tension at the start of the show. Her natural ability to command the stage ensured that her character’s high-strung antics were always engaging and consistently funny. Hansen’s portrayal of Jerry’s mother demonstrated subtle authority, effortlessly conveying the character’s dominance with every raised eyebrow and knowing glance. Through her commanding presence, it became clear who was truly in charge of the family dynamic, despite the chaos around her. Meighan Hogate, as Jerry Wylie, played the whiny, put-upon adult son, and was both hilariously sympathetic and comically exasperating. You can never be sure if he’s in love with love, or in love with his fiancée Jo, played by Betsy Muratore, who accurately portrayed the desire of a devoted assistant to become an operatic diva. Muratore highlights this moment when she shows Jo’s relish in the status change from mouse to lioness.

Cecilia Zugel commands the stage as the larger-than-life soprano Elena Firenzi, striking the perfect balance between operatic grandeur and comedic absurdity. Her performance was nothing short of spectacular — she captured the complexities of her character with remarkable depth while still managing to deliver the humor with perfect precision. Even more exciting were Zugel’s gorgeous vocals. Her operatic voice was absolutely breathtaking, with a range and clarity that transported the audience straight into the world of high art. What truly stood out, however, was her flawless delivery of the Italian text. The precision with which she articulated each word, coupled with her impeccable accent, added a layer of authenticity to her portrayal that truly elevated the performance. Dialect coaching for this production was provided by Ivy Elizabeth.

Andrea Pajarillo, as the adorable bellhop, was an absolute charm to watch. With her bright-eyed optimism and endearing innocence, she perfectly captured the character’s naivety, making her both lovable and effortlessly funny. Each time she appeared on stage, Andrea’s enthusiasm and eagerness to please injected a refreshing burst of energy into the production. Robert Poston’s portrayal of Leo, the egotistical tenor, perfectly captured the character’s inflated sense of superiority with every arrogant glance and pompous gesture. Poston steals scenes with his suave, slightly clueless tenor persona. Jeremy Gordet, as Pasquale, the jealous husband of Elena, manifested the highs and lows of a typical macho husband who loves his wife but struggles with trust.

Carolyn Corsano-Wong’s performance as Julia is nothing short of perfection. She fully inhabits the role, bringing a rich depth to Julia’s complex blend of ambition and desperation. Every gesture, every line was infused with a meticulous attention to detail — whether she was simmering with jealousy, delivering biting sarcasm, or attempting to navigate the chaotic world around Miss Val’s costume design for Lend Me a Soprano is a standout element that enhances both the humor and energy of the show. The costumes feature bold colors, elegant gowns, and crisp tailoring that capture the era and reinforce the characters’ personalities, elevating the farce without overshadowing the story. Elena, the diva soprano, enters the scene in a black, Morticia-like gown that foreshadows things to come! In contrast, Jo, the practical stage manager, wears simple, smart attire, grounding her character amid the chaos. As the farce unfolds, the costumes adapt, heightening the comedic moments — whether through exaggerated details or visual gags, each piece supports slapstick humor and physical comedy. Miss Val’s designs are not only visually striking but also deeply connected to the characters, making them a perfect fit for this chaotic, hilarious production.

Vincent Worthington’s set design for Lend Me a Soprano cleverly complements the play’s farcical style while making the most of ARTFactory’s smaller yet intimate space. The set consists of 1930s hotel suites, complete with multiple doors, period furnishings, and plenty of visual texture, functioning as both playground and pressure cooker for the characters’ escalating antics. Scenic elements are thoughtfully layered without overwhelming the space, allowing for the precise choreography of entrances, exits, and narrowly missed encounters. In a venue where the audience is never more than a few feet from the action, the design team successfully creates a world that feels both polished and delightfully immersive.

Lend Me a Soprano is a delightful evening of theater that delivers big laughs in a small space. Ken Ludwig’s script remains a masterclass in farce, and this production rises to the challenge with sharp direction, standout actors, and smart, resourceful design. The ARTfactory’s intimate venue heightens the sense of being swept up in the backstage madness, making every misstep, disguise, and operatic outburst feel both immediate and hilariously real. Whether you’re an opera aficionado or simply a fan of well-executed comedy, this fast-paced romp hits all the right notes.

Content advisory: Mild language, sexual situations, discussion of overdose and self-murder.

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

Lend Me a Soprano plays through June 22, 2025, presented by the ARTfactory, performing at the Wind River Theatre, 9419 Battle Street, Manassas, VA. Tickets are $28.29 and available online. Elevator access is available to patrons. 

The cast and creative credits for for Lend Me a Soprano are online here.

Ken Ludwig’s Lend Me a Soprano
Directed by Vincent Worthington

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Embark on a theatrical journey with Dominion Stage’s Torch Song, a riveting exploration of love, longing, and resilience. As the characters navigate the complexities of their relationships, the term “torch song” takes on a new meaning, creating a world of passion and heartache that resonates throughout the show.

The play, written and originally performed by Harvey Fierstein, premiered Off-Broadway in 1981 followed by a highly successful run on Broadway in 1982. It consists of three shorter plays: International Stud, Fugue in a Nursery, and, after intermission, Widows and Children First. Fierstein’s semi-autobiographical work tells of a young gay man’s search for love during the 1970s. Torch Song has received critical acclaim and won the Tony Award for Best Play in 1983 as well as Best Performance by a Leading Actor in a Play for Fierstein. It has played a significant role in LGBTQ+ representation in the arts and is considered a milestone for queer drama. The play has since been adapted into a film version entitled Torch Song Trilogy in 1988 and a Broadway revival in 2018.

As the show opens we meet the central character, Arnold Beckoff (Gary Bernard DiNardo), a homosexual Jewish drag queen in his drag attire. DiNardo expertly portrays Arnold’s wide character range, seamlessly navigating both comedic and poignant moments. From his sharp wit and humor to his vulnerable, introspective scenes, DiNardo’s emotional depth and versatility are showcased by successfully depicting the complexities of Arnold’s relationships and personal growth. DiNardo takes the audience on Arnold’s moving journey of navigating the challenges of love, identity, and family.

We next meet Ed Reiss (Joey Pierce), Arnold’s on-again, off-again boyfriend who struggles with his own understanding of his sexuality and commitment. He appears perfect for Arnold except that he is bisexual and Laurel is in his life.

In Fugue in a Nursery, we fast forward and meet Ed’s wife, Laurel (Melanie Kurstin), and Arnold’s new boyfriend and model, Alan (Erik Wells). The musical term in the title, “fugue,” typically involves repetition and development of themes. In the context of the play, this may symbolize the recurring patterns and challenges in Arnold’s world. His involvement stirs up emotions and complicates the relationships of Arnold, Ed, and Laurel. The majority of this section is staged in a giant double bed with all four actors rotating through deep conversations, fights, and romantic interludes. This portion of the play demands a delicate dance of emotions and vulnerability from its actors, as they perform intimate, yet tastefully choreographed sexual scenes.

In the final play, Widows and Children First, we meet the adorable, quirky David (Joshua Horvath), Arnold’s foster son. Horvath masterfully embodied the essence of a lovable 16-year-old going on 36 who elicited many laughs from the audience before being scolded by his foster dad. His body language, filled with a youthful exuberance, captured the awkward charm and vulnerability of adolescence. The relationship between Arnold and David is a significant part of the narrative exploring acceptance in parenthood, which painfully contrasts with the relationship of Arnold and his Ma (Janice Zucker). The title of this play suggests maritime disaster protocol, symbolizing the urgency and challenges Arnold faces in defining his own version of family.

With the smaller performance space of a black box, which demands simplicity, technical elements can present challenges. The creative team for this production understood this need and successfully created Arnold’s world. The lighting design by Ken and Patti Crowley was masterfully executed, directing the audience’s focus and setting the mood of the scenes. Strategic illumination informed the setting, heightened pivotal moments, and created a visual narrative that complemented the unfolding story. Sound design by Alan Wray enhanced the atmosphere with music and effects. Careful timing of cues helped immerse the audience in the play’s world. Due to the space, mic amplification was not used on the actors, but there was no need as all actors were easily audible. There were occasional pops in the speakers throughout the play, but this reviewer is confident those were resolved through the first-weekend run. Costumes were designed by Tracey Froelich, properties by Helen Bard-Sobola, set design by Bill Brown, projections by Chip Gertzog, hair and makeup by Rebecca Harris, and the production was stage managed by Paul Di Salvo and Todd Paul.

Director Mario Font ensured his cast of six actors all shone in their roles. Font’s direction was character-focused, emphasizing the depth and development of each character. It was evident that he skillfully guided the actors to explore the intricacies of their roles, bringing out authentic emotions and creating a compelling narrative. This resulted in a production where the characters were relatable and engaging for the audience.

Dominion’s highly entertaining production is guaranteed to make audiences roar with laughter and reflect on the thought-provoking dialogue. Torch Song is a poignant exploration of personal and societal struggles faced by individuals within the LGBTQ+ community. It delves into the tensions and dynamics within families, shedding light on the quest for self-identity and acceptance. As the director states in his program notes, “Torch Song is a tribute to our universal truths regardless of sexual identity or orientation. Arnold is Everyman. Arnold is us. Arnold is me.”

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

Torch Song plays through February 10, 2024, on Thursdays, Fridays, and Saturdays at 8 PM, presented by Dominion Stage performing at Gunston Theatre Two, 2700 South Lang Street, Arlington, VA. Purchase tickets ($25) online.

Dominion Stage warns that this production contains adult content and subject matter, including partial nudity, profanity, references to suicide, consumption of alcohol, reference to violent murder, homophobic ideology, and simulated sex acts. Not recommended for audiences under the age of 18.

COVID Safety: Masks are optional for this performance.

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“I didn’t know then, what I know now.”

Released in 1985, Shoah was a landmark documentary directed by French filmmaker Claude Lanzmann. It provided a comprehensive and powerful exploration of the Holocaust, featuring testimonies from survivors, witnesses, and perpetrators. Lanzmann spent over a decade collecting interviews and footage, creating a nine-and-a-half-hour film that offered a deeply moving and harrowing account of the Holocaust. The documentary is notable for its absence of archival footage, relying instead on firsthand accounts to convey the enormity of this historical tragedy. Shoah stands as a significant contribution to the historical documentation of the Holocaust.

Lanzmann’s approach was unique: he aimed to create an immersive experience that conveyed the emotional and psychological aspects of the Holocaust. Interviews were conducted in various locations, including concentration camps and other significant sites. The filmmaker faced numerous challenges, including gaining access to individuals who were often reluctant to revisit such traumatic memories.

Director Harry Kantrovich set out to adapt Shoah from documentary to stage play back in January 2022, premiering the work at Fauquier Community Theater. That production was reviewed in DCTA by Aimée O’Grady. In this subsequent Castaways Theatre production, Kantrovich recounts the challenges creating this staging from obtaining transcription rights to the documentary, to temporal compression, to appropriate visual transitions, all while maintaining the authenticity of the source material. Kantrovich correctly strikes a balance between honoring the original documentary’s essence and creating a compelling theatrical experience.

In Kantrovich’s Shoah, the audience experiences dramatizations of select interviews from the documentary. The scenes take place in Chelmno, Auschwitz/Birkenau, Sobibir/Vilna Ghetto, Treblinka, Berlin, and Warsaw. The stage is simple: two desks, one for interviewer Claude Lanzmann and one for scholar Raul Hilberg, and two benches placed at a diagonal downstage right and left. As the lights fade at the top of the show, violinist Kathy Mullen Jackson and cellist Pam Clem play one of Matthew Scarbourgh’s arrangements of Shmerke Kaczerginski’s Songs of the Ghettos and Concentration Camps. These beautiful and haunting arrangements are used as transition music when the audience is transported from one city/camp to the next. The actors enter in silhouette, almost as if the audience has invoked the ghosts of the past to return and share their story.

We are first introduced to Claude Lanzmann (Hugh Hill), who begins the interviews in the Chelmno vignette. Previously an off-camera presence, Hill offers the audience a new look at Lanzmann’s meticulous approach to storytelling and insistence on the truth, often asking questions the audience wishes they could ask the characters. Simon Srebnik (Bryan Mitchell), a Chelmno survivor, recounts that as a teenager, he was sent to dispose the evidence of mass genocide. Mitchell and Hill set the tone of Shoah through their poignant delivery of dialogue, weaving the narratives that immediately grab the attention of the audience.

Other standout performers include Christopher Inlow’s Filip Müller, a Jewish Slovak survivor from Auschwitz. Inlow tragically recounts Müller’s survival by working on the construction of the crematoria and installation of the gas chambers. In a duet scene between Richard Glazar (Larry Finkel) and Abraham Bomba (Michael Mehaffey), both actors delivered captivating performances by embracing a simple presentational style, allowing the authenticity of their characters to shine. Their nuanced expressions and the subtlety of their acting made their performance impactful. Telling the story of a Holocaust survivor demands not only talent and skill but a profound sense of empathy and responsibility.

Each of the 23 cast members delivered awe-inspiring performances immersing themselves in their roles with such authenticity that it became challenging for the audience to remember they were watching actors, only to be reminded that the interviews are the spoken truth from the documentary. The cast’s ability to convey the harrowing experiences of individuals was not just commendable but deeply moving. Through their genuine portrayals, the actors transported their audience into the world of the Holocaust, making the performance a poignant and unforgettable experience.

Rounding out the production team is assistant director/stage manager Natalie Foley, sound design by co-producer Michelle Matthews, light design by Steven Wong, assistant stage manager/props by Pat Jannell, and make-up/hair design by Debbie Martin. Co-producer Thor Matthews is also credited for the videography and photography.

Successful adaptation requires a deep understanding of both the unique aspects of live theater and the essence of documentaries. A play focused on the Holocaust is not intended as a form of entertainment, but rather as a powerful teaching piece that aims to educate, commemorate, and provoke reflection. Theater has the power to engage audiences in a visceral and immediate way. The safety net of fiction doesn’t exist with this production — every atrocity you hear is true. While the subject matter of Shoah is very heavy, the intention is to use theater to illuminate history, prompt discussion, and contribute to the ongoing commitment to prevent historical amnesia. With a recent surge in both antisemitism and totalitarian regimes worldwide, this is a much-needed reminder.

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

Shoah plays January 12 and 13, 2024, at 7:30 PM and January 14 at 2:00 PM, presented by Castaways Theatre, performing at the AJ Ferlazzo Building, 15941 Donald Curtis Drive, Woodbridge, VA. Purchase tickets ($10–$20) online.

Trigger Warnings: Mention of self-harm, self-murder, physical abuse, verbal abuse, child abuse, death. Not recommended for children without parental guidance.

SEE ALSO: Fauquier Community Theatre’s stage adaptation of ‘Shoah’ — lest we forget (review by Aimée O’Grady, March 18, 2022)

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“It all began with Sunset Towers…” is how Prince William Little Theatre opened its production of The Westing Game to an enthusiastic and energetic audience this weekend at the Hylton Performing Arts Center. The Westing Game is Darian Lindle’s play adaptation of Ellen Raskin’s mystery novel first published in 1978. The novel has received multiple awards including the Newbery Medal and had a film adaptation in the 1997 Get a Clue. The play was first produced in 2009 by Prime Stage Theatre in Pittsburgh, Pennsylvania, and has since become a popular play for community, educational, and family theaters.

The story revolves around the mysterious death of eccentric millionaire Samuel W. Westing. Sixteen seemingly unrelated individuals are summoned to live in his mansion and participate in a bizarre game to determine the sole heir to his vast fortune. Each individual is given a set of clues and a partner to solve the puzzle of Westing’s death and the identity of the heir. The story follows the various characters as they work together, uncover secrets, and attempt to decipher the clues while dealing with their own unique personalities and motives.

In this quirky cast of characters, we meet Sandy McSouthers (Bob Thompson), the doorman at Sunset Towers. Thompson brings warmth and silliness to Sandy, eliciting many laughs from the opening night audience. Thompson also doubles as Barney Northrup, embodying an unkind and business-focused bully. We are then introduced to the adults: the reserved yet proud Judge J.J. Ford (Ebony Lofton), the hopeful James Shin Hoo (Charlie Kim), the not-so-bright Otis Amber (Jim Harris), the mysterious Berthe Erica Crow (Sandra M. DeRocha), the kind and loving Flora Baumbach (Jenna Reeder), a corporate secretary in Sydelle Pulaski (Tashina Gorgone), the snobby, self-proclaimed heiress Grace Windsor Wexler (Lexy Janda Knott), the beautiful bride-to-be Angela Wexler (Holly Landis), and the self-important, groom-to-be D. Denton Deere (Liam Haberman). Each actor’s character development was evident through these clearly delineated identities.

One of the greatest strengths of Prince William Theatre is offering community theater performance opportunities to talented youth and fostering their abilities onstage. Avery Heisey, as the precocious Tabitha-Ruth “Turtle” Wexler, opens the show and sets the stage for an evening of mystery. Heisey brought the character to life by embodying the essence of Turtle’s complex personality. One of the standout aspects of Heisey’s performance was her ability to convey Turtle’s intelligence, resourcefulness, vulnerability, and growth. Heisey’s ensemble performance was also highlighted by interactions with fellow performer Rachel Scott (Doug Hoo). Scott’s onstage chemistry with Heisey and the ensemble was evident through nuanced stage business and engagement in every scene. She made Doug’s discomfort in social situations palpable through excellent comedic timing and mannerisms of a high school athlete.

Noah Nicoletti’s portrayal of Chris Theodorakis, a character with a physical disability and speech impediment, was marked by his commitment to authenticity and respect. Nicoletti demonstrated sensitivity and empathy in his portrayal by avoiding stereotypes and focused on conveying the character’s humanity. In doing so, Nicoletti created a beloved character that reminds audiences that theater can both teach and entertain. Hadyn Dollery, as Theo Theodorakis, plays the caring, protective older brother of Chris. He showed Theo’s transition from a reserved teenager to a young adult who gains confidence and takes on a leadership role towards the end of the mystery.

Proving that no role is too small to make a lasting impact is actor Taveion Mikens (Edward Plum/Dr. Sikes), whose show-stopping humor makes one wonder how the cast was able to hold their focus onstage. Mikens plays the young, inexperienced lawyer Edward Plum assigned to read the Westing wil and doubles as Dr. Sikes. This reviewer would gladly pay to see this actor in a one-man show.

The intimate space of Hylton’s Gregory Theatre gives the audience the unique opportunity to be only a few feet away from the performers. This intimacy fosters a strong connection between performer and audience, enhancing the overall theatrical experience by allowing audience members to feel immersed in The Westing Game. Walking into the open seated space, the audience is met with colorful flats representing the six apartments of the heirs and a set of double french doors centerstage. Set designer Nick Mastrangelo meets the challenge of multiple settings by creating flats that later become the Westing mansion, the apartment lobby, and a hospital room. Going from the Sunset Towers to the Westing Mansion was the most impressive transition, eliminating the french doors to reveal another room with a fireplace and rotating all the apartment set pieces. Set changes were occasionally slowed due to the limited number of run crew available to Prince William Little Theatre, but no set change delayed the start of another scene. All hands were on deck for the challenging set transitions (including cast) and stage manager Darcy Heisey’s meticulous deck organization made transitions move as smoothly as possible.

Prince William Little Theatre wisely took the script’s suggestion to utilize projections to assist with understanding the settings. Created by Jon Roberts, the projections of character profiles helped audience members keep track of the storyline and the pairs’ conversations. The projection of the multiple clues and of the details of Samuel Westing’s will helped the modern subtitle-desiring audience be part of the mystery-solving process as both a viewer and as a participant. Audience members occasionally read clues quietly to themselves and consulted other attendees, forming opinions as to what the clues meant.

Director Ward Kay expertly cast this production with the correct focus on accurate portrayal of ages and cultures to create a production that authentically reflects the story while promoting diversity. This multigenerational and diverse cast reflects the real world, and Kay’s insistence on this representation is essential for fostering inclusivity and providing opportunity to all. In collaboration with assistant director Whitney Perez, Kay creates a more vibrant and meaningful landscape. The lighting design was by Kurt Gustafson, light board operation by Addisyn Heisey, props/setting dressing by Mary Gaskins, costume design by Jill Jago, and sound by the Hylton Performing Arts Center

With echoes of Agatha Christie murder mysteries, Clue, and Knives Out, the audience is presented with character revelations and unexpected twists, making it a captivating and engaging storyline. The Westing Game is not only a suspenseful mystery but also a story about the human spirit, relationships, and the pursuit of the American Dream. If you enjoy a good puzzle, be sure to catch this entertaining mystery before tickets run out!

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

The Westing Game plays through October 6-15, presented by Prince William Little Theatre performing at the Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Purchase tickets ($15–$25) online.

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American Shakespeare Center’s 35th season continues with a delightful rendition of Shakespeare’s Much Ado About Nothing. Located in downtown Staunton, Virginia, about two hours southwest of the District, the American Shakespeare Center since 1988 has had a vision of being “Shakespeare’s American home.” Its Blackfriars Playhouse is designed as a two-level stage with audience box seats reminiscent of Richard Burbage’s Blackfriars Theatre in London. A talented group of actors has been cast for all three of the company’s fall shows — Much Ado About Nothing (playing now through November 19), Hamlet (in rep from September  29 to November 18), and Coriolanus (in rep from October 26 to November 18) — and they simultaneously rehearse and perform these shows right after one another, with Much Ado the first out of the gate.

Prior to showtime, actors doubling as musicians and singers engage the crowd by singing a variety of popular rock and pop tunes led by Aidan O’Reilly (Friar Francis) on piano, Nicolas Eric Sanchez (Benedick) on drums, and vocals provided by Meg Rodgers (Hero), Jess Kadish (Don Pedro of Aragon), Alexis Baigue (Margaret, George Seacoal), Corrie Green (Beatrice), Brandon Carter (Claudio), and the rest of the cast. Special commendation is to be given to Baigue for nailing the spirit and intonation of Fred Schneider during an audience-rousing performance of the B-52’s “Love Shack.”

The play opens with Don Pedro of Aragon (Jess Kadish) and his troops arriving in Messina after a victory on the battlefield and being greeted by the governor, Leonato (Angela Iannone). Count Claudio (Brandon Carter), friend of Don Pedro, has his eyes set on wedding the beautiful Hero, daughter of their host, Leonato. Don Pedro’s bastard brother Don John (Gabriela Castillo-Miranda) has his own axe to grind and plots to discredit Hero as unfaithful, destroying any future marriage prospects.

The outgoing and outspoken Benedick, played with wonderful panache by Nicolas Eric Sanchez, has also returned from battle with his best friend Claudio and vows never to marry. He especially would never marry the equally feisty Beatrice (Corrie Green), cousin and friend of Hero. Both Beatrice and Benedick can’t stand to be in each other’s company, which of course means their companions will conspire to thrust them together. Green and Sanchez have fantastic chemistry, evoking the classic “will they or won’t they” love/hate relationships that audiences enjoy. Green’s outspokenness as a woman who wants to determine her own agency and not have it thrust upon her is enjoyed by theatergoers.

Perhaps due to the company’s mission of bringing Shakespeare into the hearts and minds of all, much of the staging is more akin to the madcap farces of Neil Simon. The self-directed performers’ utilization of physical slapstick plays a heavy role in helping the American crowd better understand the Shakespearean language. Not a single Shakespearean dirty joke is overlooked. One particularly effective scene occurs when the royal court is pretending not to notice Benedick eavesdropping on them discussing Beatrice’s interest in Benedick. Sanchez frantically hides behind pillars, somersaults between them, and eventually hides among some onstage audience members. The parallel scene where Beatrice is overhearing how Benedick pines for her was staged to a similar comedic effect, with Green as Beatrice roaming through the audience dodging and weaving between audience members.

Another effective over-the-top comedic scene occurs when the local watchmen are questioning the players who assisted in besmirching Hero’s reputation. The scene played like one out of Monty Python and the Holy Grail with daft watchmen and a zealous but dimwitted lead constable, Dogberry (Philip Orazio). Other standout performers include Alexis Baigue as both Margaret and George Seacoal. A male-presenting actor playing Margaret is a historically accurate casting of Shakespeare’s staging with Baigue bringing hysterics and nuance in all his actions.

Much Ado About Nothing is one of Shakespeare’s most beloved comedies, albeit with a very serious interlude in the middle dealing with the aftermath of Hero’s wrongful accusation of infidelity. The American Shakespeare Center has found an excellent balance of interpreting the original written word while staging and adapting for a modern American audience.

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

Much Ado About Nothing plays through November 19, 2023, presented by American Shakespeare Center at the Blackfriars Playhouse, 10 South Market Street, Staunton, VA. For tickets ($33–$61), call the box office at (540) 851-3400, or purchase them online.

Credits for Much Ado About Nothing are in ASC’s digital program for fall 2023, which is online here.

COVID Safety: American Shakespeare Center strongly encourages patrons to mask when possible. ASC’s complete COVID-19 Safety Visitor’s Guide is here.

SEE ALSO:
Brandon Carter is charting the future of Shakespeare in Virginia (interview by Andrew Walker White, August 16, 2023)
‘Hamlet,’ ‘Coriolanus,’ and ‘Much Ado About Nothing’ to cap American Shakespeare Center’s 35th season (news story, July 31, 2023)

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This weekend, the Disney musical Freaky Friday opened at the Little Theatre of Alexandria to an enthusiastic and captivated audience. From its humble beginnings as a novel in 1972 by Mary Rodgers and a subsequent film adaptation, the musical retells the extraordinary tale of a mother and daughter who swap bodies and are forced to live as the other. The musical adaptation, with book by Bridget Carpenter and music and lyrics by Tom Kitt and Brian Yorkey, made its debut in 2016 at Signature Theatre in Arlington.

The story revolves around Katherine (Kristina Friedgen), a busy, overworked, single mother, and her rebellious teenage daughter Ellie (Sofia Cruz). The two actresses quickly demonstrate the tension between Katherine and Ellie, due to their differing personalities and lack of understanding of the other’s life perspective. Their lives are thrown into chaos when an enchanted hourglass mysteriously causes them to switch bodies mid-argument. Now they both must spend the day as the other person. Katherine, now in Ellie’s body, has to experience the pressures of high school, encounter cliques, maintain friendships, and tackle romance. Ellie, as Katherine, faces the task of juggling work responsibilities, preparing for a wedding, being a parent, and handling a fiancé.

One of Friedgen’s and Cruz’s remarkable achievements in playing Katherine and Ellie is their ability to embody the characters’ dual personalities. Cruz successfully switched from Ellie’s teenage exuberance to Katherine’s more mature disposition. Cruz’s voice also captured Ellie’s youthful spirit and energy. From the moment Katherine takes the stage, Friedgen exudes an air of professionalism and maturity befitting Katherine’s character. Friedgen effortlessly reveals her performance versatility by convincingly embodying the spirit of the teenager trapped in her body. Furthermore, Friedgen exhibits exceptional vocal capabilities that enable her to seamlessly navigate the vocal gymnastics of the musical’s score. Most notable is her ability to deftly balance the comedic and dramatic moments in the character’s arc. Her heartfelt performance resonated with the audience, invoking a profound sense of empathy for Katherine’s inner struggles.

The other members of the Blake family include innocent, annoying little brother Fletcher (James Campione) and future stepfather Mike (Paul Caffrey). Both give heartbreaking and beautifully truthful performances as Ellie’s and Katherine’s predicament further complicates the lives of their loved ones. Other noteworthy performances include Lourdes Turnblom as Katherine’s hysterical, high-strung, underappreciated assistant, Torrey. Turnblom’s performance elicited many laughs from the audience as did Ellie’s classmates, played by Naja Bates, Joshua Mutterperl, Michelle Stein, and Hannah Taylor. The remarkable vigor and enthusiasm of these young performers engaged the audience and brought another dynamic to the multi-generational cast.

The art of showcasing character development within a musical ensemble is a challenge that was adeptly met by director Joanna Henry. Most of the cast played multiple characters: from the quirky, supportive catering staff, to the lovestruck student, to a novice minister, each role channeled distinct personalities and motivations, significant to the narrative. By ensuring meaningful interactions among characters, Henry and the cast created a believable world. These interactions, whether through dialogue or stage business, provided pivotal moments for the characters to reveal their vulnerabilities and strengths. The orchestration of these opportunities to foster character growth created an impactful ensemble performance.

Moreover, choreographer Stefan Sittig skillfully utilized choreography to reinforce character development. Through synchronized movement, gestures, and stage pictures, the full ensemble effectively supported the story’s emotion and individual character arcs. Expertly choreographed numbers that wisely emphasized the text-heavy musical numbers reinforced character growth and relationships. Music director Chris Tomasino also demonstrated his ability to create a gorgeous ensemble blend. With the challenges presented by a modern musical theater score, the vocalist and orchestral attention to detail excited the audience with their full-bodied sound.

The show is written with many challenging set changes, requiring swift and choreographed transitions. Myke Taister’s two-level fixed set helped solve this challenge and allowed scene changes to not interrupt the pace of the production. With the use of a door center stage, a living room stage left, a school setting stage right, and a city skyline on the second level, Taister created a multi-functioning set for the actors to use with ease. Costume design by Judy Whelihan and Robin Worthington enabled the actors to successfully complete multiple quick changes. In some cases, this also required hair and makeup changes created by Natalie Turkevich. Lighting design was provided by JK Lighting and sound design by Alan Wray. With the show demanding complex technical elements, it was clear that the meticulous planning of the technical team supported the production’s artistic vision.

Freaky Friday is a charming Disney musical that offers a poignant exploration of the complexities of familial relationships, empathy, and the importance of self-discovery. Through its engaging plot, delightful characters, and enchanting musical numbers, LTA’s Freaky Friday captures the heart of audiences, serving as a timeless reminder to cherish the unique bond between parents and children.

Running Time: Two hours and 20 minutes including one 15-minute intermission.

Freaky Friday plays through August 12, 2023, at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA. For tickets ($29–$34) call the box office at (703)-683-0496. Reserved-seating tickets are available online or at the door on performance days.

COVID Safety: LTA is mask optional in all their public spaces, including their auditorium. Though masking is now optional in their facilities, they support and encourage those who feel the need to continue to mask in public spaces.

Freaky Friday
Book by Bridget Carpenter, music by Tom Kitt, and lyrics by Brian Yorkey
based on the novel by Mary Rodgers and the Walt Disney motion pictures
Produced by Luana Bossolo and sheri ratick stroud
Directed by Joanna Henry

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Have you ever felt like you’re the only normal one in your family? Feel like your family is driving you crazy? You aren’t alone! Mortimer Brewster knows exactly what this is like living with his family in Joseph Kesselring’s Arsenic and Old Lace. Opening on Broadway in 1941 and in the West End in 1942, Arsenic and Old Lace is most famous for its 1944 film adaptation starring Cary Grant. A classic farce, it is well-loved for its clueless cops, absurd circumstances, and hysterical pokes at the immorality of the theater. Of course, no farce would be complete without a few harmless murders.

Kesselring’s play begins in 1940s Brooklyn, New York, where we meet the eccentric, elderly Brewster sisters: Abby Brewster (Lesleyanne Kessler) and Martha Brewster (Carolyn Corsano Wong). Both Kessler and Wong shine in their roles as sweet charming models of virtue and grace. Kessler and Wong’s admirable ability to effortlessly energize their scenes creates a captivating onstage dynamic. The seamless synchronization of their gestures and dialogue is evidence of not only their talents but director Talya Conroy’s effort in understanding their characters’ relationships. In particular, Wong’s performance demonstrates the epitome of a skilled actor through her ability to transport viewers into the world of the character. Wong embodies Martha’s essence with such conviction that it is difficult to distinguish Wong from the character she is playing.

The Brewster sisters are greeted by their nephew, Mortimer Brewster, a drama critic. Played by Eduardo Reyes Perez, Mortimer is seen as a chivalrous, good-hearted cynic. At first appearing as a controlled young man, Reyes Perez electrifies the character once he discovers a body in the window seat of the Brewster home. Mortimer’s aunts calmly share they have been poisoning lonely old men with their homemade elderberry wine laced with arsenic, strychnine, and cyanide. The sisters justify their well-intentioned murders by claiming they are doing a humanitarian service by ending the suffering of these lonely men.

Mortimer frantically tries to deal with the bodies in his aunts’ basements, while handling the unwelcomed return of his criminally insane, long-lost brother, Jonathan (Cliff Rieger). Rieger introduces the audience to the sociopathic villain of the show. Demonstrating a lack of empathy and a quiet temper, Rieger shows how Jonathan’s threatening presence permeates all his scenes. Jonathan, who recently had plastic surgery to disguise his identity, travels with an incompetent plastic surgeon, Dr. Einstein (Paul Smith). Serving as a comedic foil to Jonathan, Smith’s lovable Dr. Einstein elicited roars of laughter from the audience. The duo plan to lay low at the Brewster home, unaware of Abby and Martha’s crimes.

Mortimer tries to keep the insanity of the family concealed, especially with his fiancé, Elaine, constantly on the horizon. Kirstin Weber plays Elaine, the attractive daughter of the virtuous Rev. Dr. Harper (Keith Scarborough). At first appearing as an innocent church girl, Weber shows that Elaine is more worldly, sassy, and witty. The chemistry between Reyes Perez and Weber was palpable. They toggle back and forth between intimacy and quarreling like a married couple.

The scene becomes more chaotic when Teddy Brewster, Mortimer’s other brother, inserts himself into the mischief. Played by Garth Porter, Teddy is likable and kindhearted. Porter brings hysterics while racing up a flight of stairs screaming “CHARGE!”  The play progresses with more misunderstandings, mistaken identities, and hilarious antics as secrets come to the surface.

Standout cameo performances include Ricardo Padilla as Officer O’Hara and Esther Wells as Lt. Rooney. Playing the goofy wannabe playwright, Padilla brings an infectious energy to well-intentioned, oblivious Rooney. Not appearing until the last act, Wells captures the essence of Lt. Rooney’s stoicism through focused gestures, mannerisms, and commanding vocal inflections to convey strength and authority. Lt. Rooney has little patience for her clueless cops, specifically the incompetent Officer Klein (Alyse Pollock) and Officer Brothy (Suzette Farnum).

Tech director Vince Worthington deserves high praise for his intelligent use of space by successfully meeting the challenge of Kesselring’s set directions. Despite the lack of height at Rooftop’s venue, the team created the illusion of a two-level set with the use of platforms, archways, and multiple entrances. Rooftop Productions blackbox-like performance space creates an intimate experience enabling the audience to be right in front of the action. The choice to not use microphone amplification was appropriate as all performers can easily be heard and understood. This intimacy and usage of live sound create an intimate experience making the audience feel they are in the middle of the Brewster home. Period costumes were designed by Charlynn Knighton and light/sound cues were operated by Sydney Ferris.

Seeing a production of Arsenic and Old Lace is a must for any theater enthusiast. The combination of dark comedy and suspense created by Rooftop Players captivates audiences from start to finish. The compelling storyline, masterfully crafted by the playwright, navigates a fine line between horror and hilarity with unparalleled finesse. Moreover, Rooftop Productions boasts a stellar cast. From the quick-witted dialogue to the unique performance space, every aspect of this production has been meticulously put together to create an immersive atmosphere. Besides, you must learn the fate of Mr. Gibbs (Bob Jordan) and Mr. Witherspoon (Curtis Lewis) at the hands of the Brewster sisters!

Running Time: Two hours and 20 minutes including one 15-minute intermission and one 5-minute intermission.

Arsenic and Old Lace plays through July 23, 2023, presented by Rooftop Productions performing at ARTFactory, 9419 Battle Street, Manassas, VA. Purchase tickets ($30, $20) online.

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The second annual musical collaboration between Prince William Little Theatre and the Manassas Symphony Orchestra is a remarkable example of synergy in the arts community. Both organizations have brought their unique talents and resources to create an unforgettable theatrical experience of Oliver! With book, lyrics, and music by Lionel Bart, Oliver! is the musical adaptation of Charles Dickens’ Oliver Twist. Oliver! first appeared on West End in 1960, on Broadway in 1963, won the 1963 Tony for Best Original Score, won the 1968 Academy Award for Best Picture, had three West End revivals, one Broadway revival, and recently played for a limited run at the New York City Center.

Set in the Victorian era, the story revolves around the orphan boy Oliver (Mauro Manganello) who endures a series of trials as he navigates an impoverished and criminal-filled London. After escaping a workhouse and an abusive apprenticeship, Oliver meets a boy known as the Artful Dodger (Avery Heisey). It is always difficult to expect young actors to carry a full-length musical, but Manganello and Heisey are more than up to the challenge. Manganello perfectly embodies Oliver’s initial innocence and naivety, which encapsulate Oliver’s persona. The beauty of his angelic vocals moves the audience to tears in his first solo, “Where Is Love?” Heisey delivers a perfectly mischievous “Consider Yourself” with effortless, focused vocals that it’s no wonder that Oliver follows Dodger to Fagin (George Fulda). Fulda delights as the infamous thief and gang leader who epitomizes the drive to survive by using children to do his dirty work. Properly balancing his deceptive personality with comedy, Fagin makes it easy for the audience to forgive all his faults

Despite the influence with the nefarious criminals, Oliver’s inherent kindness and goodness remain intact throughout the show. Through encounters with the cruel Bill Sikes (Pat Mahoney) and kind-hearted Nancy, Oliver faces many tribulations while searching for love and his place in an unkind, unforgiving world. Jolene Vettese shines as a matronly Nancy who utilizes her beautiful mezzo vocals to devastating effect in “As Long As He Needs Me” to show how her abuse by Bill Sikes has destroyed her mental and physical well-being. Pat Mahoney delivers a terrifying Bill Sikes and convincingly mirrors a three-dimensional sociopath pulled from today’s headlines.

The adult and child ensembles take on a variety of roles throughout Oliver! Standout featured performances include the young, energetic Bet (Madelyn Regan), the comical Mr. and Mrs. Sowerberry (Wilson Johnson/Cecilia Zugel), and the corrupt Mr. Bumble and Widow Corney (Chris Anderson/Samantha Fulda). Beloved tunes such as “Consider Yourself,” “Oom-Pah-Pah,” and “Who Will Buy?” are masterly sung and danced by both ensembles demonstrating the creativity and hard work of choreographer Brianna Galligan and music director Veronica Miller.

The gorgeous multilevel fixed set designed by Nicholas Mastrangelo and Mia Villani utilizes multiple staircases and levels, suggesting the complexity of this Victorian London. The set brilliantly encompasses the orchestra and elevates them center stage, clearly displaying the musicians as fixed characters in the musical. Similar to current Broadway productions, Prince William Theatre ensures not only that the orchestra is visible but that the musicians are fixed characters in this production.

The 30-piece costumed orchestra members were provided by the selected Manassas Symphony Orchestra. Conductor Jim Villani elicits a rich and vibrant sound from his players. From the delicate strings, brass fanfares, and soloists, the orchestra flawlessly interprets Lionel Bart’s score. Their technical virtuosity and ability evoke a range of emotions through their nuanced and expressive playing.

Other technical elements that deserve recognition include Ken and Patti Crowley’s lighting design. The duo’s usage of LED fixtures and intelligent movers creates dynamic color palettes and dramatic effects. In addition, their effective use of shadows and focused spotlights guides the audience’s attention to key moments and characters onstage. The beautiful costume design, led by Ann Martin, is an intricate display of Victorian-era fashion, capturing the essence of Charles Dickens’ original novel. From the ragged attire to elegant gowns, each costume reveals the characters’ social status and personality. The meticulous craftsmanship is evident in every piece and successfully transports the audience to 19th-century London.

Through extensive rehearsals and meticulous coordination, Prince William Little Theatre and Manassas Symphony Orchestra have successfully merged their respective art forms to create a seamless fusion of drama and music. By leveraging each other’s strengths and collaborating in a sophisticated manner, they have delivered a truly captivating performance that showcases the talents within their community. Director Melaine McCleerey bravely and successfully challenges the general belief that musicals display a picture-perfect world, void of pain and violence. Rather, McCleerey ensures that the work is honored as written, portraying the raw truth of an imperfect world. McCleerey’s Oliver! proves to entertain audiences, and it also provokes conversation.

Running Time: Two hours and 40 minutes including a 15-minute intermission

Oliver! plays for one weekend only from July 14 to 16, 2023, presented by Prince William Little Theatre and the Manassas Symphony Orchestra performing at the Merchant Hall of the Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Purchase tickets ($35, $30, $25) online or at the box office.

Content advisory: Haze, depictions of domestic violence, child abuse, gunshot sound effects, alcohol consumption, strobe-like light effects. Recommended for ages 10+ but audience members of all ages will be admitted.

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This weekend, The Little Theatre of Alexandria opened The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First Hundred Years to an enthusiastic and receptive audience. The story follows the lives of six African American women who are members of the prestigious and exclusive Nacirema Society. Beginning in 1964, the play explores the themes of race, class, and gender in a rapidly changing America. Playwright Pearl Cleage was inspired to write The Nacirema Society after reading about African American social clubs that flourished during the early part of the 20th century. Originally commissioned and developed by the Alabama Shakespeare Festival, the play was met with critical acclaim and has been praised for its insightful depiction during a pivotal moment in American history.

Director Eleanore Tapscott masterfully brought this work to life. Through her impeccable direction, she expertly balanced the themes of tradition, family, and identity that are central to the story. Tapscott’s attention to detail is evident through well-timed comedic dialogue, the nuanced performances from the actors, and the pacing of the production. Her creative choices, such as the use of music from the 1960s during scene transitions, kept the audience in the play’s setting. The blend of expert direction, superb acting, and a thought-provoking storyline makes this a must-see for audiences.

The play opens with poised matriarch Mrs. Grace Dubose Dunbar (Lisa Hill-Corley) fussing over the debut of her youthful and excitable granddaughter Gracie Dunbar (Selina Tom-Johnson). Gracie’s life has been perfectly calculated: she is to marry childhood friend Bobby Green (Evin Howell) and attend Fisk University, the school her family has attended for years. Alpha Campbell Jackson (Jacquel R. Tomlin) presents the primary conflict of the play by blackmailing Grace Dunbar on the claim that she is the illegitimate daughter of the late Dr. Dunbar. Finally, we meet New York Times journalist Janet Logan (Kamilah Lawson), who has arrived to report on the Nacirema Society.

The multigenerational cast delivered a great performance, and it was evident how Tapscott worked to create a strong ensemble with harmonious interactions and energetic coordination. The obvious trust and mutual respect of the performers translated into effortless interplay enabling them to communicate with the audience effectively. Overall, the actors’ chemistry was a major contributing factor to the success of the performance as their collaborative spirit shone through.

Standout performances include Lisa Hill-Corely as Mrs. Grace Dubose Dunbar. Embodying the elegance and grace of the Nacirema Society, Hill-Corley successfully demonstrates how Mrs. Dunbar represents the strength and resilience of women in the face of adversity. Complementing Hill-Corley was the talented Robin Lynn Reaves playing Grace’s friend, Catherine Adams Green. Reaves skillfully conveys the complex emotions of Catherine, portraying her as a multifaceted character with conflicting desires and motivations. Both Hill-Corley and Reaves bring laughter to the audience with their impeccable comedic timing and delivery.

Jummy Lash’s ability to bring Lillie Jackson to life is both powerful and mesmerizing. Her performance brings subtlety to the role with every gesture, movement, and expression embodying the character. Another standout is Barbara Cooper, who plays the family maid, Jessie Roberts. It is a common understanding that an actor’s impact in performance is influenced by their lines and dialogue. Cooper’s role is entirely silent, but through her facial commentary and physical disagreements with Catherine, she proves that a memorable performance can be delivered with no dialogue.

The costumes, designed by Jean Schlichting and Kit Sibley, are nothing short of spectacular, magically transporting the audience to 1964 Montgomery, Alabama, and informing them of the era’s social and cultural norms. Schlichting and Sibley created multiple costumes for each character, many of whom sport a new costume for every scene while maintaining an assigned color palette throughout the show. These vibrant, saturated colors enhance greater dynamic tension between characters. Schlichting and Sibley created a seamless harmony between the design and the story, as the clothing worked to build an immersive world.

The sound design, created by Dr. Victoria Brown and Ruben Vellekoop, brings another element of authenticity to the story by incorporating music between scene transitions and well-balanced and -leveled sound effects, ensuring actors could be heard effortlessly by the audience. Lighting design by JK Lighting (Jeffrey Scott Auerbach and Kimberly Crago) creates a warm atmosphere in the home, communicates the time of day, and effectively isolates lighting areas to communicate the separation of rooms in the set design by Ken Brown and Peter Mumford. During the performance, there were some noticeable sound and light cues that did not coincide with the events onstage. This reviewer is confident that these will be resolved for the remainder of the run.

The Nacirema Society is an excellent example of how art can both teach and entertain, presenting societal issues in a manner that is engaging and thought-provoking. Its ability to balance these two elements is a testament to the skill and talent of the production team and performers. With its witty dialogue, engaging plot twists, and memorable characters, The Nacirema Society is a must-see for theatergoers interested in both entertainment and social commentary.

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

The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First Hundred Years plays through June 24, 2023 (Wednesdays – Saturdays at 8:00 pm, Sundays at 3 pm), at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA. Tickets are $24 on weekends, $21 on weekdays. For tickets, call the box office at (703)-683-0496. Reserved-seating tickets are available online or at the door on performance days.

The program for The Nacirema Society is online here.

COVID Safety: LTA is mask optional in all their public spaces, including their auditorium. Though masking is now optional in their facilities, they support and encourage those who feel the need to continue to mask in public spaces.

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The Good Shepherd Players’ The 25th Annual Putnam County Spelling Bee deserves high praise for its remarkable execution and engaging production. Spelling Bee is a highly acclaimed musical comedy that has captivated audiences since its 2005 Broadway debut. Originally an improvisational play entitled Crepuscle, it became a full-length production with music and lyrics by William Finn and book by Rachel Feldman. The show follows an eclectic group of children (all played by adults) as they compete at the middle school county-wide spelling bee. This musical explores the theme of competition, perseverance, and acceptance, making it enjoyable for musical theater lovers and theater newcomers alike.

As an artistic advisor with the show, I had the pleasure of sitting in on Good Shepherd’s first tech rehearsal, and I was impressed with the company’s ability to transport an audience to the quirky, endearing world of competitive spelling bees beginning as soon as one walks through the doors. The production’s staging in the parish hall perfectly sets Spelling Bee in a gymnatorium. The hall is decorated with banners showcasing student accomplishments and awards, bringing nostalgia (or perhaps dread) to the traditional American middle school atmosphere. The stage is set with risers, a single microphone center stage, and a table for the moderators, echoing the original staging by James Lapine. Under the direction of Nancy Lavallee, the production team seamlessly merges their talents, creating a cohesive and captivating piece. Lavalle’s dedication to the original book satisfies the expectations of Spelling Bee aficionados but encourages new character interpretations providing a refreshing approach to the production. Lavallee’s leadership and support from assistant director Elle Ames result in a musical production that is a testament to the director’s vision and ability to story-tell.

The title number introduces the audience to the six children vying to be crowned spelling champion. We first meet Chip Tolentino, brilliantly played by Philip Smith Cobbs. Cobbs’ interpretation of Chip as an egotistical, ballet-trained boy scout with rock star tendencies immediately grabs the attention of the audience. His overconfidence and arrogance as last year’s winner paint him as the obnoxious know-it-all that audiences love to hate. Cobbs’ comedic timing and commitment to character are showcased when he doubles the role of Jesus in the second act.

Shelby Cody-Jones shines as the energetic Logainne Schwartzandgrubenierre. Cody-Jones exhibits her vocal and acting versatility with her character’s fierce competitiveness and speech impediment. She brings both humor and a sense of empathy to Logainne when she demands to win or lose the bee fairly despite the demands of her two fathers. Homeschooled Leaf Coneybear, adorably played by Tim Slattery, claims he is “not that smart” but can mysteriously spell words when under the hypnotic spell of his fidget spinner. His quirky demeanor wins the hearts of the audience. Slattery also doubles as one of Logainne’s fathers.

Carissa Ma as the monotone, emotionless Marcy Park entertains with her deadpan delivery of lines. Audiences familiar with Spelling Bee often look forward to the many special skills stockpiled in her solo “I Speak Six Languages.” Ma satisfies audience expectations with her bag of tricks. She further delves into the character by showing Marcy is more than a perfectionist when hurtfully stating, “I’m not all business.”

Allison Meyer plays Olive Ostrovsky as a vulnerable, sweet girl craving the love of her parents. Meyer’s dynamic and convincing portrayal of Olive clearly conveys the character’s struggles and emotions. Meyer’s natural performance and lovely vocals perfectly complement the innocent character and make it easy to forget that Meyer is not a child.

Jamey Pellegrini’s William Barfée is defined by a larger-than-life personality with unconventional mannerisms. Pellegrini perfectly combines snark and sweetness to demonstrate the multiple facets of the character.  Adult characters include ex-con comfort counselor Mitch Mahoney, played by Jared Diallo. His tenor vocals and riffs enhanced the energy in the “Pandemonium,” and his farewell serenade brought the right combination of humor and recognition for an eliminated audience member. Diallo doubles as Logainne’s second father.

Standout performances include Chris Dockins as Vice Principal Douglass Panch. His hilarious delivery of one-liners and improvisation ensures you will never see the same show twice. At his right hand is real estate agent Rona Lisa Peretti, exquisitely played by Margaret McGarry. Dockins and McGarry double as Olive’s parents and join her in the climactic “I Love You Song.” This 11 o’clock number is beautifully approached by the trio, displaying vulnerability and sincerity as the characters express their deepest feelings of love for each other. The emotional performance demonstrated a high level of vocal ability from all three performers eliciting a few tears from the audience.

Steve McBride serves as music director and conductor for Spelling Bee. Assembling a phenomenal orchestra, McBride surpasses the expectations of community theater music direction by creating a cohesive and balanced sound. The audience is left enraptured by the stunning display of instrumentalist and vocalist musicianship.

Good Shepherd Players deserve high praise for the show’s witty execution of dialogue, professionally performed music, and well-developed characters. The challenges of overcoming parental pressure, anxiety, lack of confidence, and all the awkward moments brought on during adolescence is a story all audiences can connect to. With a message of hope purveyed throughout the show, audiences will enjoy the show’s humor, relatable themes, and audience participation.

Running Time: Two hours and 15 minutes including intermission.

The 25th Annual Putnam County Spelling Bee plays for one weekend only June 2 to 4, 2023, presented by Good Shepherd Players performing at Church of the Good Shepherd, 9350 Braddock Road, Burke, VA. Purchase tickets ($10 for students, $20 for adults) online.

Content Advisory: A small number of profanities, vulgarities, and innuendos may merit parental discretion.

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