In September, The Shawshank Redemption celebrated its 30th anniversary, having been famously dismissed at the box office before earning seven Oscar nominations and being enshrined on the American Film Institute’s list of 100 best movies.

The prison drama’s dark theme is important to the telling of The Shawshank Redemption, and that starts with the set complemented by the lighting and sound designs. As co-director (with Donna Reinhold) Evan Hoffmann points out, the audience is made to feel the environment by the simple set — a stark, 15-foot-tall wall with panels that open for various scenes. Scenic designer Jack Golden and lighting designer Hailey LaRoe produce a set and lighting that are indeed effective — as are sound designer Brandon Cook’s sounds from the prison indicating lockup and various points of the day in the prisoners’ routines. Costumes are simple and appropriately so — prison uniforms consisting of dungarees and cotton shirts, guards’ uniforms, and a suit for the warden.

Fulfilling the story in a stage production, however, is a tall order— and it’s difficult for those who have seen the movie not to compare them, both in acting and in character. Baltimore actor Curtis McNeil assumes the role of Red. It is his character who brings the narrative to light about the story, and, unlike the movie, the stage adaptation seems to focus more on his character’s insights and feelings. This is not objectionable — McNeil brings a warmth and poignant flavor to the role that is necessary — but it also means that, in a way, Red becomes the focal point of the story more so than Andy Dufresne, which is not the case in the film.

Andy, played by Evan Crump, is a likable enough type, but his scenes did not do justice to the character. It may be unfair to compare him to Tim Robbins; I don’t think it was the fault of the actor but the writing that was choppy. Dufrain’s appeal as a brooding, sensitive man who has been wrongly accused was a little impeded by the lack of opportunity to explore the depth of his persona — it seemed to me that sometimes his scenes were cut a little short just as he was on the brink of going further. Andy is beaten up pretty badly in several scenes, but after those scenes, he emerges without a bruise or mark on his face, which is puzzling. And as the play goes on, no one in the show visibly ages in 30 years, which is also inadequate for the story.

Lastly (spoiler alert), the climactic scene where Andy’s dramatic escape is revealed seems to lose its impact. His escape is never explained properly on stage — so if you haven’t read the book or seen the film, it might not become clear just how he managed his escape. While the limitations of the stage are understandable, perhaps a projection or a scene showing some semblance of Andy being looked for would have resulted in a greater impact.

As a whole, the actors were solid, but there were some inconsistencies with the writing that interfered with the cohesiveness of the show. For instance, Bogs, one of the characters who causes Andy Dufresne considerable harm, is portrayed as an accepted member of the group. While there was nothing wrong with Matt Baughman’s performance, it was difficult as an audience member to believe that any of the other inmates would tolerate him when he is supposed to be a despicable character no one wants around. All of that said, there were some nice moments. Alex Lopez’s portrayal of Rico was particularly amusing, especially his references to the pages of Lady Chatterly’s Lover, and Oscar Salvador Jr. gives a genuine portrayal as the good-hearted, albeit naïve Tommy. And Jim Seeley successfully channels the tragically complicated nature of Brooksie.

This show, despite some inconsistencies, is worth seeing. While the stage adaptation might struggle to fully replicate the visual impact of the movie, the show has plenty of positives, including a riveting story and the power of hope to “get busy living, or get busy dying.”

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

The Shawshank Redemption plays through December 8, 2024, at NextStop Theatre Company, located at 269 Sunset Park Drive in Herndon, VA. Tickets, priced at $45 with a $2 convenience fee, are available for purchase online or by calling the box office at (703) 481-5930 x1. For more information, email BoxOffice@NextStopTheatre.org.

A digital program is available here.

Parking is free within the business park, but spaces directly in front of the NextStop entrance may be limited. If you have special needs, it is best to arrive early

Content Advisory: Strong profanity, theatrical depictions of physical violence, sexual assault, and death by suicide.

The Shawshank Redemption
Adapted for the stage by Dave Johns and Owen O’Neill
Based on the novella by Stephen King
Directed by Evan Hoffmann (NextStop’s Producing Artistic Director) and Donna Reinhold

The post Film classic prison drama in ‘Shawshank Redemption’ at NextStop Theatre appeared first on DC Theater Arts.

ARTS by George! is George Mason University’s annual fundraiser to support student scholarships and funding for its College of Visual and Performing Arts. The evening provides a showcase of student artists at GMU in dance, theater, opera, piano, jazz ensembles, and computer and visual art.

The George Mason School of Dance showcased two performances during the evening that were peeks into the works that will be in its March Gala concert. Faculty member and choreographer Christopher d’Amboise is creating a new work to the music of Stravinsky and provided a three-minute snapshot of the piece (untitled). The other performance was short selections from a work called The Hunt by Robert Battle. The students, ranging from freshmen to seniors, demonstrated technical mastery and artistic versatility.

I also reviewed the George Mason School of Theatre musical showcase of 110 in the Shade, a musical with a book by N. Richard Nash, lyrics by Tom Jones, and music by Harvey Schmidt. Based on Nash’s 1954 play The Rainmaker, it focuses on Lizzie Curry (originally played on Broadway by Audra McDonald), a spinster living on a ranch in the American southwest; her relationships with local sheriff File, a cautious divorcé who fears being hurt again; and charismatic con man Bill Starbuck, posing as a rainmaker who promises the locals he can bring relief to the drought-stricken area. The cast showcased the opening number, “Gonna Be Another Hot Day,” and “The Rain Song,” led by the character Starbuck. The full production will run later this year. While not a blockbuster musical, the snapshot provided by the cast featured a good ensemble sound and a strong ensemble cast. The voices were clear and the staging was energetic.

The evening culminated with a philanthropic event headlined by Tony and Olivier Award winner Lea Salonga, renowned across the world for her Broadway performances; best known for her Tony Award—winning role as Kim in Miss Saigon, at the age of 17. Salonga is also known for many other roles, including the voice of two Disney princesses, a judge on the Philippines’ version of The Voice, and countless concert tours.

As the light came up on the stage, Salonga delighted the audience with many selections, accompanied by a four-piece band consisting of Larry Yurman (Music Director/Piano), Paul Viapiano (Guitars), Kevin Axt (Basses), and Ray Brinker (Drums). Salonga has a clear voice with a true alto belt unlike any other, and she did all of the musical selections justice. However, I have to say, as a true theater “junkie,” while she did a short medley of some of her greatest hits, which featured songs from Aladdin, Miss Saigon, and Les Mis, I missed hearing the complete songs from the shows she is well known for. But, after a decades-long career, I can understand that maybe she is tired of the “old stuff.” Nevertheless, as a true self-proclaimed diva of the theater, Salonga was witty and down-to-earth charming. Other song selections included a lovely tribute to Stephen Sondheim. Larry Yurman’s arrangement combined “Move On” from Sunday in the Park with George and “Not While I’m Around” from Sweeney Todd. And, a few surprises were thrown our way — one being a version of Britney Spears’ “Toxic,” which was actually quite well done in a slower, jazzy style — and the other, a rendition of Shawn Mendes’ “Stitches,” which was super enjoyable, and got the audience involved with a group sing of the lyrics.

As a three-year veteran of ARTS by George!, I can highly recommend this event to anyone who has any interest in arts programs in Northern Virginia. Special thanks to the organizers, Laura Mertens and Camille Cintron Devlin, for this fantastic showcase.

Running Time: Approximately 90 minutes, with no intermission.

An Evening with Lea Solanga played one night only on September 28, 2024, at George Mason University, Center for the Arts Concert Hall, 4373 Mason Pond Drive, Fairfax, VA. The concert was part of George Mason University’s annual ARTS by George! benefit event supporting student scholarships at the College of Visual & Performing Arts, the Mason Community Arts Academy, Green Machine Ensembles, and the Great Performances at Mason season at the Center for the Arts.

For complete information about ARTS by George!, including scholarship stories, a schedule of student showcases, previous ARTS by George! images, and more, visit the event website. To learn about upcoming performances at George Mason University, click here.

The post Broadway star Lea Salonga delights ‘ARTS by George!’ audience at GMU appeared first on DC Theater Arts.

According to Cirque du Soliel, the name OVO means “egg” in Portuguese. This timeless symbol of the life cycle and birth of numerous insects represents the underlying thread of the show. Graphically, OVO hides an insect in its name: The two O’s represent the eyes while the letter V forms the nose.

As the production unfolds at Capital One Arena the stage becomes a living forest with insects that are part of a colorful ecosystem that is truly breathtaking. Now, as a reviewer, I am NOT a fan of bugs, or insects of any kind, hence my trepidation for this review. However, I am a huge fan of Cirque, and they did not disappoint.

I can’t praise this company enough. The performers live through their art, combining it with athleticism and dance within their acts, and their endeavors are amazing to watch.

Additionally, the amount of creativity in the costumes and the make-up consistently leaves us in awe. Costume designer Liz Vandal uses textures of colors and materials that illuminate the bodies, wings, or legs of the characters so that they are recognizable creatures without being overly “creepy crawly.” Lighting designer Eric Champoux uses a wonderful array of effects with spotlights, floor lighting, and set lighting with some moveable screen effects. Sound designer Jonathan Deans makes the forest come to life with insect sounds as the audience walks in.

Like any Cirque du Soleil show, there is a story. This particular one was quite charming. It centered on a buzzing (yes, buzzing) romance between a Fly, aka the Foreigner, and a Lady Bug. The dialogue that they had was obviously a made-up bug language, but it was very clear what they were trying to convey and their interactions were sweet and hilarious. Neiva Nascimento (Brazil) is a ladybug with some serious star quality.

One of the most remarkable acts is “The Wall” featuring Oleg Kuzmin (Russia), Sergyi Rysenko (Ukraine), Wei-Liang ‘’Sky’’ Wu (China), Dmitry Fedorovskiy (Russia), Kilian Mongey (France), Christoffer Sogaard (Denmark), Mikhail Kostianov (Russia), Ramarni Levena (United Kingdom), Boris Samsonov (Russia), Wellington LIMA (Brazil), Dmitrii Nikitin (Russia), Nathanael Rivera Drydak (Canada), Nathan Shuh (Canada), and Ben Van Overberghe (Belgium) as bouncing crickets. The amount of height they reach every time they hit their trampolines is a real wow factor and highlight of the show.

All the acts are brilliant, from the aerialists, trapeze artists, and acrobats. The vocalist is Alessandra Gonzale, whose hauntingly beautiful voice adds great effect to the atmosphere of the entire show.

If you can’t get to this one, get to any Cirque du Soleil show that you can. It’s worth it.

Running Time: Two hours with a 20-minute intermission.

OVO plays through September 15, 2024 (September 14 at 11:00 am, 3:00 pm, and 7:00 pm; September 15 at 1:00 pm and 5:00 pm) presented by Cirque du Soleil performing at  Capital One Arena, 601 F St NW, Washington, DC. Purchase tickets online.

The post Cirque du Soleil’s brilliant and breathtaking ‘OVO’ comes to DC appeared first on DC Theater Arts.

Four eccentric Broadway stars are in desperate need of a new project as their play closes on the same night it opened. When Emma’s story pops up on Twitter, they descend upon her small Indiana town and wreak havoc — along with the idea that joining the cause will boost their reputations as caring, get-involved activists. Emma just wants to bring her girlfriend to the prom, but parents and even most of the student body have other ideas. The show is based on an actual court case in 2010 involving 18-year-old Constance McMillan, who had requested permission to bring a same-sex date to the prom but the Itawamba High School in Mississippi canceled the prom instead.

This musical’s prom is set in Indiana, and director Liz Mykietyn did a great job with the Reston Players casting. Actors Melanie McCleerey as Dee Dee Allen, Jim Bowen-Collinson as Barry Glickman, Ashley Arnold-Brakefield as Angie Dickenson, and Lewis Eggleston as Trent Oliver are hilarious as they turn Emma’s dilemma into a PR opportunity. However, there is a genuine warmth under the comedic narcissism. Jim Bowen-Collinson delights the audience with his timing and wit without being over the top, his singing voice is always spot on, and he portrays compassion in connecting with Emma’s character. Lewis Eggleston is appropriately goofy and loveable, and his “Love Thy Neighbor” number steals the show. Ashley Arnold-Brakefield is quirky and fun as her character shines in her own “Zazz.” Melanie McCleerey is just a powerhouse. At the beginning, her character veers into the realm of a comical diva, which has the audience roaring, but she is also able to sell Dee Dee’s transformation into a better human being with some style, not to mention her talented voice can bring the house down. Played by Chelsea Zeidman, secret girlfriend Alyssa Green authentically portrays her conflicted emotions through her solo, “Alyssa Green.”

Colleen Lynch as Emma Nolan is stunning. Her character is gracefully unassuming, with sweetness and sincerity. Her voice is absolutely flawless. I saw the original on Broadway with Caitlin Kinnunen, and I daresay Lynch matches her. Lynch never pushes too hard, despite the flamboyance happening all around her, and she remains the soul of the show.

The ensemble, composed of young people playing characters in Emma and Alyssa’s high school, was dynamic and exciting to watch during the musical numbers choreographed by Kendall Mostafavi and Molly Atwater-Pulisic. Set designers Dan Widerski and Sheila Widerski created the images of high school and hotel to a T, and lighting designer Dan Widerski helped make the magic happen. Costume designers Lori Crockett and Lisa Leary also do a great job, with not just the glitz but the everyday attire of teenagers.

If this musical limited the frame of this story to intolerance and resistance, it would definitely be relevant to the LGBTQ issues of today. But this worthy production takes a fun, outrageous showbiz satire and wraps it around an earnest center of tolerance and selflessness along the way.

Running Time: Two hours and 20 minutes with one intermission.

The Prom plays through May 5, 2024 (Fridays and Saturdays at 8 pm, Sundays at 2 pm), presented by Reston Community Players, performing at Reston Community Center’s CenterStage, 2310 Colts Neck Road in Reston, VA. For tickets ($25–$35), contact the box office at 703-476-4500 x38 or purchase online. CenterStage is accessible and offers listening devices for the hearing impaired.

The Prom
Music by Matthew Sklar
Lyrics by Chad Beguelin
Book by Bob Martin and Chad Beguelin
Directed by Elizabeth Mykietyn

The post ‘The Prom’ is a fun showbiz satire with an open mind at Reston Community Players appeared first on DC Theater Arts.

Chicks in Heaven, a new play with music by author, professor, and performance artist Carol Lee Campbell, centers on a 30-year reunion in southwestern Virginia of friends who once shared a deep bond fueled by feminist ideals. In their youth, the women experimented with magic as a means to challenge societal norms and fight against the oppressive forces of patriarchy. Now, as they come together again, they hope that the magical activism that once united them can prevail in the face of present-day challenges.

The premise is fine enough, but the show itself unfortunately has a number of weaknesses, beginning with Frances, played by Karen Lange, as she opens a refrigerator door to witchy spirits that come out and remind her that there is “More Work to Do.” It appears to be part flashback/part dream sequence, but the staging was clunky and the song would have been more believable if the women came together onstage in a collective opening, without all of the mystical embellishment getting in the way.

As the women come together for their reunion, the discovery of a book-burning ceremony in the town becomes their focus, and upon their return to the shop, they discover that the van belonging to Emmaline, played by Krista Grimmett, has been vandalized with racial slurs and set on fire. However, the show seems rather disjointed at this point; the focus is unclear on what is more upsetting — the vandalism that occurs or the fact that the characters are accusing each other of racial bias or having white privilege. The credibility of the show also suffers from some overacting, but it is uncertain whether that was the writing or the performer’s choice.

The funniest parts of the show come from Sophie, the devout Christian, played by Charlene Sloane. Whenever witchcraft is mentioned, Sloane provides some clever humor as Sophie’s character struggles to be tolerant of her new Wiccan acquaintance, Mindy, played by Audrey Baker. Baker in turn delivers a sweet performance and has a delightful singing voice. However, at one point Sophie is praying to God for answers, and a light comes from the hallway leading Sophie offstage; a bit too predictable and, honestly, rather tacky.

The technical part of the production was pretty seamless. Set and Costume Designer Margie Jervis, Lighting Designer Lynn Joslin, and Projection Designer James Morrison do a nice job to convey the atmosphere of a kind of homey, and maybe a little-worn-down antique shop, which is fitting with the theme. Interestingly enough, the instrumental music for the production is well written, but it is the lyrics I take issue with. They are altogether too preachy and repetitive, and not one song has a “hook,” or a refrain that you would remember.

TOP: Krista Grimmett (Emmaline), Karen Lange (Frances), and Pauline Lamb (Tatiana); ABOVE: Audrey Baker (Mindy), Pauline Lamb (Tatiana), Karen Lange (Frances), and Krista Grimmett (Emmaline), in ‘Chicks in Heaven.’ Photo by William T. Gallagher Photography.Regrettably, Chicks in Heaven is not my favorite production of the year. While I felt the production was flawed in some aspects, there is still good to be found. I appreciate the overall message conveyed within the production, and author Carol Lee Campbell is ambitious in her message to build a collective fight against gender oppression. The power of nature and Wiccan belief is not lost on me, but this was not a magical mystery tour.

Chicks in Heaven plays through April 28, 2024 (Thursdays, Fridays, and Saturdays at 7:30 pm; Sundays at 2:00 pm and 7:00 pm), at Creative Cauldron – 410 South Maple Avenue, Retail 116, Falls Church, VA. For tickets (Tier One, $45; Tier Two, $35; Students, $20), call (703) 436-9948 or purchase them online.

The program for Chicks in Heaven can be viewed here.

COVID Safety: Creative Cauldron is a mask-optional environment.​ Creative Cauldron’s COVID-19 Theater Protocol is available Carol Lee Campbell

Chicks in Heaven
Book & Lyrics by Carol Lee Campbell
Music by Carol Lee Campbell and David Graziano
Directed by Laura Connors Hull
Choreographed by Silvana Christopher

The post Magical feminism doesn’t save ‘Chicks in Heaven’ at Creative Cauldron appeared first on DC Theater Arts.

Award-winning playwright Lydia R. Diamond captures the experience of the upper-middle-class African American family with more than a few secrets. With only six characters, she constructs a lively weekend when long-standing family tensions bubble under the surface waiting to be revealed. Written in 2006, Stick Fly opened on Broadway in 2011 and was nominated for a Tony in 2012.

On Martha’s Vineyard, an affluent African American family gathers in their vacation home. The family patriarch, Dr. Joseph LeVay, is a physician, played by David E. Roberts. One of his two sons is also a doctor, Harold “Flip” LeVay, played by D’Angelo Rashad Woods, while the other, after several false starts in a variety of careers, is struggling novelist Kent “Spoon” LeVay, played by Taveion Mickens. Both sons bring along their current girlfriends to meet the family for the first time.

As Act I opens, getting things ready is Cheryl, the daughter of the longtime housekeeper’s daughter, played by Trinitee Pearson. At first, the audience thinks Cheryl is just a college student, earning extra money for the summer, but as she is filling in for her sick mother it becomes clear that she and her mother have a long-standing relationship with the family. First on the scene are Kent and his new fiancée, Taylor, played by Kristina Romulus. Next to arrive is the wealthy plastic surgeon, “Flip” Levay, whose self-assuredness is a bit offset by the fact that he is introducing his white girlfriend, Kimber, played by Holly Landis, to the family. And last is Dr. Levay, whose presence evokes a little sibling rivalry between his sons.

The family engages in a half-hearted game of Trivial Pursuit, and the conversation and the cutting remarks fly on subjects ranging from race to economics to politics. Tempers begin to flare when Kimber’s aggressive views on education — especially for poor, urban African Americans — are challenged by Taylor. Tensions are clear as she and Taylor get into heated discussions of race and privilege. What is good about this production is that the actresses do not get drawn into the cliché of overacting — Romulus plays Taylor with passion and authority as Landis counters with a matter-of-fact style that keeps her grounded when the character could be looked upon as “just another white person” trying to assimilate into a Black family.

As “Spoon” LeVay, Mickens meets the challenge of a son trying to stand up to his father while also providing a believable “nice guy” image trying to somewhat keep the peace. Woods navigates the role of “Flip” smoothly with a hint of mischievous charm and a little bit of arrogance as the favored successful son. Roberts portrays a likable yet dubious Dr. LeVay as more about him is revealed in later moments. Finally, Pearson’s performance as Cheryl is both energetic and poignant in her portrayal of someone who grew up in the household but is also trying to find her place among a myriad of emotions and circumstances.

The technical part of the production is seamless. There is no curtain, but Roger Ray Jr.’s set design works very comfortably as the components of a vacation house. Andrew Harasty’s lighting, Mary Jo Ford and Shelia Cephas’ set dressings, and Lani Boschulte’s sound design worked well, letting the story take the lead with the audience.

Many secrets unfold in Act I (which I won’t give away), and there are some good, unexpected comedic moments in the play. Director Chaz D. Pando successfully focused his efforts with the ensemble to create tension and identity shifts with a contemporary perspective. However, it is Taylor, an entomologist busily collecting specimens amid the turbulence, who gives us the metaphor in the title: Stick Fly lifts its title from the way entomologists study fast-flying insects by gluing them on a stick to be more closely observed. Each of the characters gets their own scrutiny under a magnifying glass as they all essentially take turns uncovering their secrets and vulnerabilities.

Running Time: Two hours and 30 minutes with one intermission.

Stick Fly plays through March 17, 2024, presented by Prince William Little Theatre performing at the Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Tickets ($30 adult; $25 senior, student, and military; $20 youth ) are available online or through the Hylton Center box office at 703-993-7759, Tuesday to Saturday, 10 am to 6 pm.

Stick Fly
By Lydia R. Diamond
Directed by Chaz D. Pando

CAST
Cheryl – Trinitee Pearson
Kent “Spoon” LeVay – Taveion Mickens
Taylor – Kristina Romulus
Harold “Flip” LeVay – D’Angelo Rashad Woods
Joe “Dad” LeVay – David E. Roberts
Kimber – Holly Landis

The post A family’s secrets under scrutiny in ‘Stick Fly’ at Prince William Little Theatre appeared first on DC Theater Arts.

9 to 5: The Musical is a funny, quirky tale of girl power and ultimately women’s rights. Originally written as a movie in 1979, it starred Jane Fonda, Lily Tomlin, and Dolly Parton, who wrote the original theme song. The movie was also a star vehicle for Parton, already known to the country music scene, launching her into mainstream culture. 9 to 5 would have its pre-Broadway run at the center’s Ahmanson Theatre in Los Angeles beginning September 21, 2008, with Allison Janney starring as Violet, joined by Stephanie J. Block as Judy, Megan Hilty as Doralee, and Marc Kudisch as their boss, Franklin Hart Jr. The book for 9 to 5: The Musical was written by Patricia Resnick, who co-authored the film.

The George Mason University School of Theater cast recreates the opening musical number with the typewriter sound used in the film’s theme song, “9 to 5,” written and recorded by Parton. While filming the 9 to 5 movie, Parton found she could use her long acrylic fingernails to simulate the sound of a typewriter. The audience even gets to experience the buzzing sound of the digital alarm clock, thanks to Props Designers Luke Rahman and Marty Bernier.

Scenic Designer Jonathan Dahm Robertson transformed the stage into looking like the “old school” workplace, with the desks, partitions, telephones — the ones with the wall cords — and even typewriters and a primitive-looking copy machine. Hart’s office looks like the executive — with a wooden desk and even his portrait hanging in the corner. Lighting Designer Maddie Southard provided overhead lighting that mimicked the fluorescent lighting in probably every old government building in DC. Welcome to 1979, where the clothes were pretty bad, and the hair was awful. Costume Designer Jeremy Pritchard did well overall with recreating the late-1970s and early-’80s look. The one anachronism was the hairstyles for the male ensemble — many of them had long hair, and that simply would not have been tolerated in the decade; back then, an office job meant you had to look clean-cut. However, it was easy enough to overlook.

This ensemble, under the direction of Rex Daugherty, was really strong. They had great vocals and energy, and the dance numbers choreographed by Ariel Kraje were terrific. Set changes were smooth and easy. As a former college musician and ongoing pit musician, I was excited when Music Director Joe Walsh put together an outstanding professional-sounding band. Too often that is not the case for college shows. Walsh also conducted and played keys on the show.

The three working women who live out their fantasies of getting even with and overthrowing the company’s autocratic, “sexist, egotistical, lying, hypocritical bigot” boss are, in a word, superb. The chemistry between the three women is very good. Emma Harris is funny and bright as Violet Newstead, and she puts herself on the musical map with “One of the Boys” — not to mention, her acting is spot on. Sarah Stewart blew the audience away with her rendition of “Get Out and Stay Out,” in which her character, Judy Bernly, finally gains her independence and confidence without needing her ex-husband. And, Kamy Satterfield is lovely and equally funny as Doralee Rhodes.

Unfortunately, Aiden Brenerman-Pennas’ portrayal of Franklin Hart Jr. fell short. While Hart is supposed to be a sleazeball, his gyrating and rubbing his pants was really overdone in a way that distracted from his performance instead of being funny. The script is not without its awkward moments. While the character of Joe the accountant was written to attempt to help find evidence for Hart’s financial corruption, Joe as Violet’s potential love interest seemed superfluous, although through no fault of the actor, Brett Womack.

The concept of three women struggling to get ahead and stay afloat in a male-dominated workforce isn’t exactly new, but hopefully, things have come a long way in breaking the glass ceiling when it comes to equality in the workplace. Maybe before its time, the office antics of 9 to 5 at the George Mason School of Theater will leave you humming and smiling, and maybe thinking that we’ve made some definite cracks.

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

9 to 5: The Musical plays October 27 and 28, 2023, at 8 p.m. and October 29 at 2 p.m., presented by the George Mason University’s School of Theater and the Mason Players performing in the Holbert L. Harris Theatre on the Fairfax Campus, 4471 Aquia Creek Lane, Fairfax, VA. Tickets (general admission, $35; students and seniors, $15) can be purchased online, by calling 703-993-2787, or by email at cfatix@gmu.edu. The Center for the Arts Ticket Office is open Tuesday through Saturday, 10 a.m. to 6 p.m., and two hours prior to ticketed events in the Center for the Arts Concert Hall.

The post Funny and quirky ‘9 to 5: The Musical’ clocks in at GMU appeared first on DC Theater Arts.

Kinky Boots is a musical with music and lyrics by Cyndi Lauper and a book by Harvey Fierstein, based on the 2005 British film Kinky Boots, written by Geoff Deane and Tim Firth. It tells the story of Charlie Price, the reluctant heir to his father’s failing factory. The show won the Tony Award for Best Musical and Best Actor in a Musical in 2013 and ran on Broadway until 2019. Now in Manassas, the runway is smaller than it was on Broadway, but the energy is still high and the songs just as entertaining in this glittering production directed by Kimberly Kemp and presented by The Art Factory/Rooftop Productions at the Hylton Performing Arts Center.

As Charlie’s story unfolds, it paints a picture of a rather uninteresting life in North Hampton. The shoe factory is struggling with a falling sales market and inevitable layoffs until Charlie, played by Christian Rodgers, meets Lola, played by Chris Maulden. With Lola as his designer, Charlie discovers a way to save the business. The two “pair up” in an unlikely partnership to design boots for drag queens, and the fun ensues.

The Hylton Center stage is convincingly transformed and provides a symbolic contrast between the starkness of the shoe factory and the glamor of the sparkly promise to come. While Ashton Schaffer’s lighting design did provide some lights along the staircases, it left the audience wanting a little more decoration for the atmosphere of Lola’s nightclub. However, the show is all about the shoes — well, sort of. Costume Designer Nicole Andres pulls together a collection of delightful boots, but the glitz doesn’t end there. Lola and her entourage, the “Angels,” don some fabulous frocks as well to keep the party going. Standouts were Brandrick Jos. Levy and Danny Seal with their lively performances. Some of the Angels’ wigs, however, seemed ill-fitted and got in the way of the choreography at times.

The ensemble was collectively solid overall, with good character acting and strong vocals. Reilly Cooper is a convincing Don, a manly factory worker trying to deal with the changes in his company and the appearance of Lola in his workplace. Hope Blahusch plays Nicola, Charlie’s overbearing and somewhat clueless fiancé. Blahusch was in the final number and revealed herself an excellent dancer. Her talents may have been under-showcased as Nicola, but it’s understandably hard to dual-cast a lead into the ensemble, and her portrayal of glamorous albeit a little clueless Nicola was done well.  Choreographer Alex Mills put together some enjoyable high-energy production numbers, including “Sex Is in the Heel,” and “Everybody Say Yeah!” with rolling factory tables that were simply fun.

As Charlie, Rodgers is a clean-cut figure you can’t imagine going to a drag show — this creates a clearer contrast between him and the rambunctious Lola. Rodgers portrays Charlie with robust and clear vocals while maintaining the boyish charm needed to execute the character, although his accent was a bit inconsistent at times. As Lola/Simon, Chris Maulden is nothing short of fierce; his heartfelt vocal during “Not My Father’s Son” was a highlight of the show. Maulden was also unflappable during unfortunate microphone-popping issues during the show. Sophia Sharaa’s powerhouse vocals were stellar, and she’s as cute as a button as factory worker Lauren, who has a  secret crush on her young boss.

Kinky Boots is loosely based on a true story. In the 1990s, English shoe manufacturer Steve Pateman created the Divine Footwear line for drag queen customers in order to save W. J. Brooks Ltd, the Northampton shoe-manufacturing firm that had been in his family for a century. But, he did not partner with a drag queen to do it. He was responding to a request from a “fetish shoe shop” in Folkstone for women’s shoes in men’s sizes. And the factory was not saved by the new shoe line; it shut down anyway.

So Lola is a wholly invented character. However, we can’t have this show without her, and we can’t write about this production without speaking about its relevance in our current political and social climate. While the show’s overall theme is about tolerance and friendship, I did some research and found that people responded on social media after a performance of the original cast at the Macy’s Parade in 2013, saying the performance of the musical was “unfit material for the holiday parade broadcast.” The cast’s response? Billy Porter and some of his cast mates marched over to Macy’s the day after their performance in the parade and proceeded to do some Black Friday shopping. Almost all of the male actors were outfitted in their sky-high stiletto boots and Porter was in full drag.

Kinky Boots is sometimes criticized as oversimplifying social issues such as tolerance and even friendship, but it can’t be denied that the Rooftop Productions cast does credit to the show as a fun, catchy musical with poignant moments mixed in. After all, the shoe must go on.

Running Time: Two hours and 30 minutes with one intermission.

Kinky Boots plays through October 29, 2023, presented by the Arts Factory Rooftop Productions performing in the Gregory Family Theater at Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Purchase tickets ($30 adult; $25 senior; $20 youth, 18 and younger) online or call the ticket office, 703-993-7759 (Tues. – Sat. 10 a.m. to 6 p.m.).

The post A glittering, high-energy ‘Kinky Boots’ from Rooftop Productions appeared first on DC Theater Arts.

Award-winning artist Renée Elise Goldsberry, well known for her portrayal of Angelica Schuyler in Broadway’s Hamilton, graced the stage Saturday evening at George Mason University’s Center for the Arts as the finale of the university’s annual benefit, ARTS by George!

The event was part of the university’s annual showcase of talent from George Mason students, ranging from computer graphic design, to dance, film, musical theater, instrumental ensembles, and more. The funds raised support student scholarships in the arts at George Mason University. Laura Mertens, marketing manager; Camille Cintron Devlin, PR and communications; event co-chairs Anne Bolger and Steven Golsch; and Dean of the College of Visual and Performing Arts Rick Davis all deserve applause for hosting this massive event held in a variety of buildings and stages on the Fairfax campus. The evening did not disappoint for its organization, hospitality, and welcoming atmosphere for patrons and guests.

Renée Elise Goldsberry, known as a powerhouse for her role in Hamilton alone, performed what she told the audience were songs from her original 2017 tour. She opened with a lovely rendition of “On a Clear Day,” from the 1965 musical of the same name, which became the 1970 movie starring Barbra Streisand. The singer also sang a medley of songs from Sweet Honey in the Rock, the all-female African-American gospel ensemble. She also delivered a sassy rendition of the song “Bye-Bye” from the Peter Gunn soundtrack written by Henry Mancini, originally performed by jazz icon Sarah Vaughn. Another highlight was “Without You,” from Jonathan Larsen’s Rent, the musical in which Goldsberry played the character of Mimi on Broadway.

All of the song selections showed off Goldsberry’s incredible versatility and range, but, as she herself said, “If I want to get out of here alive with all of these musical theater people in these seats, I better sing from the Broadway shows I have been in!” To the delight of the audience, she did just that, asking the audience for help with supporting vocals as she featured her show-stopping renditions of “Satisfied” and “The Schuyler Sisters” from Lin Manuel-Miranda’s 2016 smash hit, Hamilton.

Renée Elise Goldsberry expressed her gratitude about being invited to perform at an event that was created to support the performing arts, and how important it is to support the arts, the artists, and their craft. As she mentioned, “to every performer who has stood in front of a mirror in their bedroom with a brush in their hand, pretending it was a microphone” (including this reviewer), we need the arts to make life work.

Renée Elise Goldsberry in Concert played one night only on September 30, 2023, at George Mason University, Center for the Arts Concert Hall, 4373 Mason Pond Drive, Fairfax, VA. The concert was part of George Mason University’s annual ARTS by George! benefit event supporting student scholarships at the College of Visual & Performing Arts, the Mason Community Arts Academy, Green Machine Ensembles, and the Great Performances at Mason season at the Center for the Arts.

For complete information about ARTS by George!, including scholarship stories, a schedule of student showcases, previous ARTS by George! images, and more, visit the event website. To learn about upcoming performances at George Mason University, click here.

Band:
Jordan Peters, Music Director, Guitar
Addison Frei, Keyboard/Piano
Kenneth Salters, Drums
Jeff Hanley, Bass
Kristina Nicole Miller, Tasha Michelle, Adee David, backing vocals

SEE ALSO:
Stage and TV star Renée Elise Goldsberry on her upcoming concert at GMU (interview by Nicole Hertvik, September 13, 2023)

The post Powerhouse Renée Elise Goldsberry caps ‘ARTS by George!’ at GMU appeared first on DC Theater Arts.

Two on the Aisle, Three in a Van by Mary Lynn Dobson was first presented in the FringeNYC Festival at the Connelly Theatre in New York City on August 16, 2009. It’s the quintessential nightmare parody of all things wrong with community theater — told by the ensemble cast at Little Theatre of Alexandria directed by Mike Donahue — at what could be any community playhouse where, due to a lack of wing space and funding, the company spends their downtime in the parking lot around the van of an aging hippie turned techie.

Anyone who has ever seen a community theater show may know these characters. Anyone who has ever been in a community theater production may be one of these characters. There’s Meredith, the wannabe diva who gets every lead, from Hello Dolly to Medea, but doesn’t quite get that her ingenue expiration date has passed. Played by actor Ann Brodnax, she gets a lot of laughs as she comes “backstage” and declares through every show, “I can’t act with this.” Eleanore Tapscott as Harriet adds to the comic relief as she discredits Meredith with her one-liners about Meredith’s acting abilities, or lack thereof. Ian Wade portrays Director Eric with wit as the character who definitely likes to put his own “Tarantino-esque” spin onto each and every show, which usually lends itself to inappropriate sexual undertones for his unwitting cast members. Kirk Lambert as Jeff successfully comes across as the tired, overworked artistic director.

It was funny to see the marquee letters drop the name of one show and move on to the next, as sort of a projection of the next production with the likelihood of new disasters lurking around the bend. Lighting designers Ken and Patti Crowley and set construction crew members Sha Choudhury, Shannon Doyle, Charles Dragonette, Julie Fischer, and Jenya Holbert were able to convey the atmosphere of a repertory playhouse.

The idea of Two on the Aisle, Three in a Van is ambitious in concept, sort of like the Noises Off play within a play, but as a whole, it lacks much-needed details in the delivery and depth of the characters. All the action takes place in the alley behind the theater. Some of the jokes fall flat or are lost as the characters are running — or bumbling — in and out of the stage’s back door, the costume/prop storage shed, or the back of a parked party van. The dialogue is a bit confusing to follow, and the significance of a mobile phone romance between Vondo — played by Paul Donohoe — and a woman who was apparently an inmate at a local prison, was very puzzling and made no sense. Joe Neff’s depiction of the tap-dancing, wannabe playwright promoting his mime musical was simply annoying.

In the end, though, we who perform and watch community theater know all about the anything-can-happen atmosphere, the egos, and the obstacles of putting on a show, and despite everything, the show must go on.

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

Two on the Aisle, Three in a Van plays through September 30, 2023, at The Little Theatre of Alexandria, 600 Wolfe Street, Alexandria, VA. For tickets ($24) call the box office at (703)-683-0496. Reserved-seating tickets are available online or at the door on performance days.

The program for Two on the Aisle, Three in a Van 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.

The post ‘Two on the Aisle, Three in a Van,’ an ambitious spoof at Little Theatre of Alexandria appeared first on DC Theater Arts.

Something magical happens when you get a cast of Broadway veterans together to sing; something even more magical happens when some of the cast are also DMV all-stars.

Olney Theatre’s production of The World Goes ‘Round – The Music of Kander & Ebb is not a musical but more of an anthology of highlights from the songwriting pair. What director Kevin McAllister put together with his vision for this show has no storyline, but rather short glimpses of musical journeys — with one song on its own or several related songs performed together, giving the audience a well-rounded tour through songs that create places to linger in, savor, and enjoy.

Scenic designer Daniel Ettinger and lighting designer Aja M. Jackson created an effective environment where set and lighting were kept somewhat to a minimum; the strings of lights that sparkle at select moments are reminiscent of shows like Chicago or Cabaret. The use of the lively orchestra’s onstage platform added dramatic effect as it moved upstage and down at key moments. Additionally, costume designer Larry Boggs created simple outfits that hinted at the character of specific songs but allowed the actors to create individualized stage presences.

Choreographer Shalyce Hemby surprised me. I thought I was going to see a “revue,” with maybe a little hint of some choreography here and there. What I (and the audience) got was meaningful, fresh, and funny choreography that fit perfectly with each number, performed brilliantly by the cast. And, let’s face it, who doesn’t like those 1970s-style roller skates?

While I have seen all of these performers in various productions around the DC, Maryland, and Virginia area, it was really exciting to see this terrific group of five and their chemistry together. Director Kevin McAllister is a stunning vocalist in his own right, and he delivers fully with “I Don’t Remember You” from The Happy Time and “She’s a Woman” from Kiss of the Spider Woman. Natascia Diaz is believable in every song she sings, and her dancing is simply stellar. Nova Payton is always a vocal force to be reckoned with. One of the highlights was her rendition of “My Coloring Book,” evoking passion and tenderness with, as always, remarkable control.

Harris Milgrim makes his Olney debut and he is all the things: cute, charming, funny, great voice, great dancer. You can’t help but notice him in “Mister Cellophane” from Chicago. Karen Vincent also makes her debut with Olney. “Isn’t This Better” is a lesser-recognized song from Funny Lady, but Vincent sings it the best I’ve ever heard.

The second-to-last number was the show stopper — tight harmonies in a unique version of “Cabaret.” One could argue that John Kander and Fred Ebb have crafted some of musical theater’s most poignant, witty, and romantic songs for Broadway — and this show would serve as certain proof.

Running Time: Two hours and 10 minutes, including a 15-minute intermission.

The World Goes ‘Round – The Songs of Kander & Ebb plays through May 21, 2023, in the Roberts Mainstage at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($42–$90) are available online or through the box office at 301-924-3400, open from 12 pm – 6 pm Wednesdays through Saturdays. Discounts are available for groups, seniors, military, and students.

The program for The World Goes ‘Round is online here.

COVID Safety: Masks are recommended but not required. Olney Theatre Center’s current health and safety policies are here.

The post Something magical happens when ‘The World Goes ‘Round’ at Olney appeared first on DC Theater Arts.

When’s the last time you saw precipitation in the theater? Singin’ in the Rain is a cinema classic, largely due to Gene Kelly’s iconic song-and-dance performance of the movie’s titular musical number. Singin’ in the Rain is a lovable reminder of how much fun a musical can be, and also a comical satire of Hollywood’s transition from silent movies to sound. Sometimes it’s hard to live up to expectations. However, under the direction and choreography of John K. Monnet, this production by the Arlington Players did not disappoint.

With Tim Lewis as Don Lockwood, Preston Meche as Cosmo Brown, and Rachael Fine as Kathy Seldon, the trio delighted the audience with a faithful rendering of the fast-footed “Good Morning” dance number. Lewis is full of charm as Lockwood, and he pulls off the most-anticipated number of the show very well with a mix of recognizable choreography from the Gene Kelly original. Meche is a rambunctious and cheeky Cosmo, and his “Make ‘Em Laugh” number is a crowd-pleaser. His best line is ”a triple threat” to describe Lamont’s lack of dancing, singing, and acting talent. Fine’s presence as Selden captures the sweetness and shyness of the character with an underlying strength, and her voice is lovely.

Stacy Claytor is hilarious in the role of Lina Lamont, the somewhat deluded diva with the less-than-stellar diction. The addition of the song “What’s Wrong With Me?” to the stage musical is a win; she is consistently funny and does bring “a little joy into our humdrum lives.” The super special bestie handshake between Claytor and featured actress Fosse Thornton as Zelda Zander is fabulous.

The ensemble in this show is wonderful. The Arlington Players’ abbreviated name is TAP, and that’s just what this cast did as they danced and sang their way into the audience’s hearts. The tap numbers were simply impressive. The show wraps up with a hugely fun reprise of “Singin’ in the Rain” with the full cast holding umbrellas. Costume Designer Joan Lawrence did a phenomenal job dressing the entire cast to fit the time period.

The Arlington Players usually feature high-end production values and this is no exception. Projection Designer Jon Roberts, Sound Designer Adam Parker, and Sound and Audio Engineers Adam Parker and Chris Kagy had no easy task to make believable and effective projections of the actors in simulated silent movies, as well as the lip-synching segments. They pulled it off quite seamlessly. Additionally, Scenic Set Designer Jared Davis and Technical Director Christopher Smith proved that you can certainly make a splash if it’s done correctly.

Running Time: Approximately two hours and 25 minutes, including one 15-minute intermission.

Singin’ in the Rain plays through April 8, 2023, presented by The Arlington Players performing at the Jefferson Community Center, 125 South Old Glebe Road, Arlington, VA. Tickets ($25 for adults, $22 for seniors and military, and $15 for students and children) can be purchased online.

The cast, creative, and production credits are online here.

COVID Safety: Masks are required inside the Community Center.

Singin’ in the Rain
Screenplay by Betty Comden & Adolph Green
Songs by Nacio Herb Brown & Arthur Freed

The post The Arlington Players make a splash with ‘Singin’ in the Rain’ appeared first on DC Theater Arts.