Arena Stage: Inherit The Wind

 "Inherit The Wind" by Jerome Lawrence and Robert E. Lee is the brilliant "parable-ization" of the real life Scopes Trial that both captivated and changed our country.  At it's heart is the story of modernity and the enlightenment finally arriving on the doorstep of superstition and fundamentalist religious zealotry.  It's a little like the old time radio broadcast "Dragnet" with it's opening disclaimer: "The story you are about to hear is true.  Only the names have been changed to protect the innocent."  So Scopes becomes Cates, William Jennings Bryan becomes Matthew Harrison Brady, Clarence Darrow is now Colonel Henry Drummond, and the Journalist from Baltimore who electrified the entire circus with his dispatches H. L. Mencken becomes E. L. Hornbeck.  With all the alliteration, the transformations are a thinly veiled disguise.  Even the outcome was the same.  Cates, the earnest high school science teacher was found guilty and ordered to pay a fine of $100.00.  

The writing is crisp and full of humor to guide us u
p to and through the serious issues being presented.  No character is left dangling in the purgatory of caricature.  The cast includes 22 members, but for this production, 15 have been squeezed down into the hands of 4 ensemble members.  Sifts come with swift costume changes and at times men play women and women play men.  The set is likewise as nimble with a set of four railings, a series of wooden palates and crates, and a handful of folding chairs easily transported by the cast from configuration to configuration as needed.  As the play is tight and efficient, so was the staging.

Alex de Bard

The cast is a lovely mix of outside talent and local A-listers.  The defender of religious dogma is played with tremendous charm and gravity by Dakin Matthews whose resume on stage and in film and TV is long and respectable.  He takes on the pivotal scene where in his pride he allows himself to be interrogated by his upstart opponent under oath and is utterly undone by the contradictions of his faith and the modern world.  Holding the torch of reason is another veteran actor of the Broadway stage, Billy Eugene Jones.  It was hard not to compare his performance to that of Denzel Washington in the movie "Philadelphia".  Like Matthews, he brought a gravitas to the role that was equal and thus plausible.  But more than that, he made it palpable.  Of the locals in the ensemble, Holly Twyford and Todd Scofield once again proved their A-List bona fide with exceptional performances that saw them flipping on a dime from one character to the next.  The great surprise of this performance was Alex de Bard who stepped in at the last moment to play Rachel, the daughter of the local Reverend leading the charge against Cates, and Cates secret love.  I don't know what the actress cast in the role was like, but Alex was seamlessly amazing!  The very perfection of an understudy.

I've spoken before about the depth and breadth of Theatre in the DMV.  Toss in Baltimore--just 30 minutes up the pike, and there are well into 40 professional and semi-professional theatre companies with active seasons.  This embarrassment of riches didn't just happen over night.  It is the result of multiple dreams by countless creatives who love live theatre.  Arena Stage was established in 1950.  It planted itself in a forgotten corner of DC where the rent was cheap.  From that moment on, nothing was easy, but the visionaries who founded it just wouldn't say "no".   In 1973, Arena Stage first mounted a full scale production of "Inherent The Wind."  After playing out their DC run, they were invited to take the show to Moscow!  It was the first American Theatre Company to perform in the Soviet Union.  68 Actors and technicians traveled to Russia and performed to standing ovations.  Among the actors was Dianne Weist (one of my personal favorites).  In reflecting on this, the company's founding director, Zelda Fichlander (for whom the theater space where today's performance was presented is named) explained that it was chosen as a way to showing the tension between America's aspirations and its reality.  That tensions like this create the catalyst for positive change, even as they exact a price on the status quo.

Don't we need to be reminded of this now, as much as ever before.

Billy Eugene Jones as "Colonel" Henry Drummond

Dakin Matthews as Matthew Harrison Brady

Noah Plomgren as the science teacher, Bertram Cates

At the moment of his downfall...

Folger Shakespeare Theatre: As You Like It

 The whole world has heard of Shakespeare if they have any knowledge of "western" history.  He's just probably the most famous real person after Adolf Hitler.  Hell, a movie written about the death of his son based on ZERO re-searchable information other than he had a son who died young, just one an Actress an academy award!  And if you asked anyone to name a play that Shakespeare had written, I would bet you dimes to donuts that they would name a Tragedy.  Probably "Romeo and Juliet," then I'd go with "Hamlet" or "Macbeth".   If you pressed them for a History, most people couldn't and those who could would probably say "Richard" or "King Richard" missing the actual title "Richard III".  Calling for a comedy would probably yield better results.  The likeliest answer would be some butchering of his most difficult play title to get right.  Of course, I'm speaking of "A Midsummer's Night Dream". 

In all of this "As You Like It" probably wouldn't come up at all.  Yet of all of his comedies, I think it is most accessible.  Especially, if you just do a quick pre-presentation tutorial on the roles and their relationships to one another.  It's a fun play, with lots of opportunities for slapstick, audience participation and song.

The story sets up around two brothers who have a falling out.  One is exiled to a distant woods with his faith companions.  The other schemes to increase his power over his little kingdom.  As the latter's reign grows increasingly untenable, more members of the elite head for the woods.  As they do royals (cousins--no Big Whoop back then) don disguises and fall in love--there's a lot of falling in love.  Ultimately it all works out in love's favor and our two lead lovers Orlando (you're welcome, Florida!) and Rosalind join a group in a joyous wedding in their Utopian paradise, the "Arden Woods."

Joy is the word.  No matter how the overall production goes at Folger Shakespeare Theatre, when it's a comedy, it's always full of joy.  Because I really like this play, I've seen it now 3 times.  Of those, this production was my least favorite, but I didn't not enjoy it.  It was just a little uneven.  The concept of setting it in Washington, DC was "meh".  I mean, we're in fucking Washington, DC already!  And aside from a scrim in the beginning with a projection of the capitol dome (which is also across the street from the theater!!) and the homage to the "columns" at the National Arboretum on the cover of the program, it was only a vehicle for the costume designer to play with.  Now, IF the Arden woods was dressed to look like the National Arboretum's "Columns" memorial?  That would have been great.

In spite of this, the actors brought the joy.  I commend especially, Tsilala Brock as Rosalinda who had her best moments in the guise of the boy, Ganymede, but nonetheless rose above those around her to establish a presence worth following.  Manu Kumasi was a delightful Orlando, engaging and empathetic in turns.  and Ahmad Kamal as Touchstone.  He seemed to take on responsibility for the success of the entire production engaging the audience  with a gusto that was leading.  He opened doors for others to walk through.

In the end, any Shakespeare to see at the Folger Shakespeare Theatre is an intimate experience as close to the real deal as you're likely to get short of the New Globe in London.  The house reeks with gravitas and easily transports you to a special place--one where anything is possible.  Seeing a show there is always worth the price of admission.  Which brings me to my next point.  There are four seats on either side of the entrance which are considered "obstructed view".  They only require one to lean forward to see anything that might be obstructed.  They cost $20.  I always purchase one of these.  The seat beside me costs $86.  The seat in front of me costs $108.  At $20, I can feel a little disappointed without feeling regret for coming!

Touchstone (Ahmad Kamal)

The Princely Brothers: Ollie (Terrence Fleming) and Orlando (Manu Kumasi)

The Cousins: Rosalind (Tsilala Brock) and Celia (Sabrina Lynne Sawyer)

Ensemble celebrating Love.  John Sygar on Guitar

Orlando asks Rosalind to marry him, her father, Duke Senior (Jefferson A. Russell), ready to give his blessing.

1st Stage: Between Riverside and Crazy

 I loved this play!  Written in 2014 by Stephen Adly Guirgis, it won the Pulitzer Prize for Best New Play in 2015.  And deservedly so!  The dialogue was so fresh and spontaneously funny at times.  The plot is clear, but the turns and twists along the way were one delightful hard right followed by an even more brilliant hard left.  I recommend leaving your seat belts on throughout the duration of this flight.

The set, designed by Tony Cisek is the most elaborate I've ever seen at 1st Stage.  They truly pulled out all of the stops and in doing so added a layer of magic to the play that Broadway's production didn't even have.  It deserves a BRILLIANT all its own!

The show was rescheduled back after the sudden death of the actor who originally had the lead and naturally the production is dedicated to his life and legacy.  I'd seen him in other productions and knew him to be a solid actor--someone who can carry the arch of the character.  However, and I mean no disrespect, the actor who replaced him, another whose work I am familiar with here in the DMV, just took the lead character, Walter "Pops" Washington to a degree of intense presence that I could not imagine anyone else performing the role.  Nor could I imagine what it would be like to get the call to come and fill the shoes of colleague who has just passed into Ancestry.  Clearly, he was the perfect choice.

As to the other actors, again not a loose screw in the lot!  Two who I will highlight, one a longtime presence for me in the DMV.  An actor who will do anything to embody a role.  An actor who has often also appeared in programs as the understudy.  And while I have really enjoyed Dylan Arrendondo in other performances (most notably as Philinte in Constellation Theatre's production of "The School For Lies"), as Oswaldo, the ex-con with lingering Father issues, it was like I was watching a actor I'd never seen before blossom in a role that left me with a complex range of emotional connections to the character.  

The other was Fabiolla Da Silva as the Church Lady, a con artist intent on swindling Pops who ultimately received from him that greatest gift of grace.  It's a tour de force performance from start to redemptive finish.  I honestly can't remember the last time I watched a new play that had been on Broadway and enjoyed it so much.  "John Wilkes Booth: One Night Only" was a better play, but it has yet to be presented on the Great White Way.  

My local peeps have a week to see this one, and I promise you won't regret the effort.

Lulu (Hannah Taylor) and "Pops" Washington (Addison Switzer) after Lulu who is Pops' son, Junior's, live in girlfriend, has just revealed that she is pregnant.  One of many lies that fill his world.

L-R: Junior (Shawn Sebastian Naar), Lulu, Pops, Det. Audrey O'Connor (Ellis Greer) and Lt. Caro (Chris Genebach)

The Church Lady (Fabiolla Da Silva) brings her mix of Christianity and Santeria to "Pops" to heal him!  But in the end all he gets is Boner and a Heart Attack!  It's a highlight moment in the humor that is woven adeptly throughout the play.

The incredible, glorious, utterly inspired and perfect set!  Designed by Tony Cisek.  Bravo!

Chesapeake Shakespeare Company: Fences

 I had seen this performed once before at Ford's Theater in DC and was, safe to say, underwhelmed.  So when I saw it on Chesapeake Shakespeare Company's season, I really wanted to give it another chance.  Recently, I'd seen Wilson's "Joe Turner has Come and Gone" there, and it was mesmerizing.  One of the things I've come to appreciate about Wilson's Century Cycle--you can't downplay the elements of magical thinking if you want the play to really reverberate.  

This production was outstanding!  For nearly the first 2/3's of the show, I was thinking that I was watching a nearly different play altogether from the first time.  The ensemble of actors was pitch perfect.  Led by DeJeanette Horn as the swaggering, imperfect Patriarch who is being forced into a modern world that he feels unwelcome in.  I'm sure that I'm not the only one to make the comparison between Wilson's Troy Maxson and Miller's Willy Lohman.  In the right hands, they are equally as powerful.

Playing off Horne was the equally as talented Lolita Marie as Rose Maxson, the family's Matriarch..  And when the bombs start to fall, and the truths start to pop, her presence and her measured energy throughout those scenes was a tour de force of amazing acting--the work of an atypical talent.  She didn't just play Rose, she was Rose.  Here every emotion landed hard on the heart.  

Costumes and props were seamless in their integration into the show.  The set, designed by Timothy Jones, was a work of art, both simple and filled with delightful details.

I left the Ford's Theatre production thinking, "I don't see why people think this is such a great play."  I left today's production with my mind racing with ideas and swirling over them all was this: "I get it."

Two friends, Jim Bono (Aaron P. Watkins) and Troy Maxson (DeJeanette Horne) sharing a pint at the end of a long work week

The Maxson's backyard is like a magnet for family and friends.

Troy & Rose (Lolita Marie) Maxson.

Troy recruits his teenage son, Cory (Isaiah C. Evans) to help him build his fence.

The unraveling of paradise begins.

Rose is the one who calls the patient 'dead.'

Cory on leave from the Marines meets his step-sister, Reynell (Makayla Uqdah) for the first time

Uncle Gabrielle (Shakill Jamal) calling to the angels of God.

Folgers Shakespeare Library: Cymbeline: A Telenovela Melodramatic Western

As I've mentioned there's a set of lines from Terrance McNally's play "Andre's Mother" that are taken from Shakespeare's tragedy "Cymbeline" that I have loved and remembered whenever some one dear passes into Ancestry.  Unfortunately, I've never seen the play performed on stage.  It's not a commonly acted play.  And after this evening, I'm not certain I could say that my longings have been fulfilled.  What I can say, is that I had a very enjoyable experience!

The production was part of a 4 day event curated by the Folgers Shakespeare Library entitled "The Reading Room Festival".  A reading room refers to what happens when a playwright is working through the (usually) the end stages of a new work.  Actors assume the roles and read through the script infusing their lines with dramatic and/or comedic emphasis.  It can also be a way of presenting a play without having to commit to all the accouterments like sets, costumes, props, staging, lighting... So it's also a lot less expensive.  The festival itself promised Reading Room takes on not just Cymbeline, but also a new King Lear, and "Dark Lady" a musical set in Shakespeare's lifetime.  Other events include a series of symposiums with themes like "Shakespeare and the American Musical" and "Diversifying the Classics".  Additionally, there was a workshop titles "Seven Ages of Music," a Gallery Talk "Making Myths: The Legacies of William Shakespeare, Queen Elizabeth, and American Actors".  Also receptions for treat and libation breaks.  The first two days Thursday (22) and today Friday (23) are limited to evening events, and Saturday and Sunday were scheduled for a full day each.  The total cost for the 4-day package was $120, but tickets were also available at $20 a pop for some of the individual experiences.  It's all such a wonderful idea, and the production this evening was nearly SRO.  

Cymbeline is actually Shakespeare's final tragedy.  Written in 1609, he would complete only 3 (or 4 depending on how you think about his final play "The Two Noble Kinsman") more plays before his death. Scene through the lens of the Telenovela--it very well could be called one of his final comedies!  

The cast of nine actors and one musician charged with bringing the play to life were wonderful.  Camilo Linares as Caballero (The Cowboy) performed a new role as that of narrator to help move the work's plot along.  The principles: Queen Cymbeline (Fran Tapia), Prince Posthumus (James Carlos Lacey) and Imogene (Ixchel Hernandez) all knew exactly how to work a line for comic effect.  James used his physicality--or physique--to grab a laugh; and Fran's facial expressivity was a wonder to watch.  Other shout outs go to Derek Garza as Iachimo whose dexterous hands told the story as much as his excellent presentation.  To Pepin as Pisanio not only for her empathetic facial expressions, but for the clear power of singing.  Finally, Alan Gutierrez-Urista in the lesser roles of Guilderius and Dr. Cornelius was a reliable source of comic genius in both his presentation and his timing.  

Toss in the wonderful musical accompaniment by Seamus Miller, and what transpired was magical.  Yet another confirmation of the unequaled genius of William Shakespeare.  And I would love to see this transferred into an Audio Radio Drama format OR staged.

Camilio Linares played Caballero

Fran Tapia played Queen Cymbeline

James Carlos Lacey played Posthumus

Ixchel Hernandez played Imogene

Pepin played Pisanio, et. al. 

Derek Garza played Iachimo et. al.

Alan Gutierrez-Urista played Guilderius and Dr. Cornelius

Seamus Miller played a range of musical instruments

Round House Theatre: Rules For Living

 The play was advertised as "a hilarious new comedy about family values;" a North American world premiere--formerly a hit on London's west end; and set around the goings on during an auspicious Christmas Holiday Lunch that the Matriarch, Deborah, of the clan is orchestrated (as she always does) with a fine toothed comb.  Enter younger son, Matthew with his new girlfriend, Carrie.  Matthew gave up a dream of being an actor to become a successful lawyer.  Carrie is a nymphomaniac who only runs hot.  Next come Adam, elder son, and his wife, Nicole, and their daughter, Emma.  Emma immediately retreats to a third floor bedroom to rest as she has an anxiety disorder.  Adam is a wannabe writer, and failed professional baseball player.  Nicole is a wino who spends her time trying to cure her husbands undiagnosed and unacknowledged (by him) ADHA, and the aforementioned Emma's anxiety.  Finally, Deborah arrives, who begins barking orders and passing judgments.  Who's missing?  Francis, the Patriarch, who had a little medical issue.  Turns out when he finally arrives it's a major stroke that's left him paralyzed on half his body, unable to speak and sloshing reality around in his head as if his sons are still starring in "The Pirates of Penzance" and pitching for a West Coast NBA team.  

From this simple set up, you can just imagine how funny the show is...  Don't try too hard.  While it certainly had its funny moments--like in the second act when they played charades--the underlying issues of sibling rivalries, marriage infidelities, alcohol and narcotic abuse, psychological abuse, lying and betrayals just kept getting the way!

Now, have said that, I'm going to say this: I really enjoyed the acting.  I would not call the play funny, I would say it was clever in spots, and for a man who couldn't speak, Francis (John Lescault) had some of the funniest moments.  I would also say that the menagerie of characters was such, that even with stereotypical traits, they gave plenty of room for some over-the-top acting.  They must have realized that they were onboard the Crazy Train to Nowhere Town and so what have you got to lose?  On this score, the daughters-in-law Nicole (Present Incumbent) and Carrie (To be or Not To Be) went all out and I completely appreciated their gifts to the audience.  Jonathan Feuer as the older son was also quite good; unfortunately, every time he needed to dip into a serious moment, he ended up channeling in a most eerie way the gay comedian Joe Dombrowski.  It was uncanny, but also grew stale.  

The set was clearly another character in the ensemble.  The detailing was a prop masters Olympic challenge and everything seemed to come off with ease.

Overall, I'm somewhere in the middle ground with this one.  What are you supposed to do with "You Can't Take It With You" and "Who's Afraid Of Virginia Wolff's" love child?  

Adam (Jonathan Feuer) watches while Carrie (Dani Stoller) enthusiastically embarrasses Deborah (Naomi Jacobson).  I have seen Dani Stoller in 3 other plays over the past 5 years and hand to god, I would not have been able to recognize her from previous performances.  She was so completely the character of Carrie.

Deborah (drinking "water" laced with muscle relaxant narcotics), Adam, Matthew (Will Conard), Nicole (Dina Thomas) and Carrie in the kitchen that Francis' affair with a Korean spa girl bought Deborah.  His infidelities were paid for by home improvement projects.  

Deborah with Francis (John Lescault) pretending everything is okay.

Sons held to account by a father who can only spout jibberish and the phrase "Fuck Off!"

Nicole and Adam lay the groundwork for an eventual detente--the only positive thing to come out of the play.  

Here's another indictment I have regarding the writing of the play.  The conflict between Nicole and Adam centers around his refusal to take seriously that she thinks he might have ADHD.  This is a critical component driving most of the rest of the angst throughout the show.  And I say, SERIOUSLY?!  As conditions go, this one hasn't been stigmatized since Bill Clinton failed to inhale!  Pull this lynch pin and everything else is a house of brittle old cards.

Hands down the funniest moments of the play: Charades!

Olney Theatre: Hello Dolly!

There are three major Holiday Musicals running in the DMV.  "Guys and Dolls" is at Shakespeare Theatre Company in DC; "Fiddler on the Roof" is at Signature Theatre in Shirlington, VA; and "Hello Dolly!" is at Olney Theatre Center in Olney, MD.  It's the DMV Trifecta.  I've seen all of them before, two productions of "Guys and Dolls," three of "Fiddler on the Roof," and just one of "Hello Dolly!".  But Hello Dolly! is the longest ago.  It was the 1978 revival with Carol Channing Reprising the role of Dolly Gallagher Levi.  And Eddie Bracken who was the original Horace Vandergelder.  I was in High School.  She was mesmerizing and the choreography was stunning. 

With the idea of cutting back a little on my theatre adventures, I made the choice to prioritize "Hello Dolly!".  Also, Nova Y. Payton was cast in the lead, and she is one of the most amazing and award winning actors in the DMV.  Before I tackle my thoughts on the show, let me expound a little on the status of the Classic American Musical.  These are musicals that ruled Broadway from the 1940's to the 1960's.  We all recognize their titles, and they carry a certain mystical cache.  But not all of them were created equal.   Some hang their fate of the power of a single lead actor.  Some have an abundance of choreography.  Others depend on comic timing, a quick and clever presentation of humorous anecdotes and site gages.  "Hello Dolly!" asks productions to accomplish ALL THREE.

So here we are with a flawed Dolly.  My complaints are like falling petals from a rose bush.  Any one is hardly noticeable, but there comes a point where you wished someone had given it more water, more fertilizer.  As Dolly, Novas gave a passable performance; however, her pacing was lugubrious at times.  Rather than hit the mark and move on, she chose to play it out to milk every possible laugh, every conceivable "tee hee".  It was a choice that didn't work.  Her ability to conjure the larger than life personality of the character also fell flat.  In compensation, she was fabulously regaled in costumes, and she does have an amazing singing voice.  Though on that score, she failed to command the volume necessary to conquer the pit orchestra's accompaniment.   

Likewise, Moses Villarama as Horace Vandergelder fell short in the vocalization department.  His voice, while on pitch, never got above the orchestra.  His characterization of the gruff old bachelor lacked nuance.  At no point did he appear vulnerable in a way that made the final turn believable.

So you have the star-crossed would-be lovers Cornelius Hackl (Michael Perrie Jr.) and Irene Malloy (Caitlin Brooke) AND Barnaby Tucker (Ricky Devon Hall) and Minnie Fay (Alex de Bard), playing second fiddle.  And here is where some true light shone forth.  Seriously, these actors were making up for what was lacking in the top tier.  Michael and Caitlin had no trouble whatsoever keeping the orchestra on its toes, with their beautiful, expressive voices.  Both Ricky and (even more so) Alex were comedic gold.

The ensemble was tremendous.  They executed the choreography effortlessly to great effect.  It was so good that beyond being the glue that held the other parts together, I don't think it's an understatement to say that it was the best part of the production.  Kudos to Eamon Foley.  And there's a definitely shout out to the set designer, too: Ravi "Riw" Rakkulchon.  The decision to perform the number "Put on your Sunday Clothes" on board a cage of a spinning train on it's way to New York from Yonkers was one of the most interesting and powerful moments of the show.

"Opening Act One" Ensemble with Dolly (Nova Y. Payton)

"It Takes A Woman": Male Chorus & 3rd from left, Cornelius (Michael Pierre Jr.), 5th from left Horace (Moses Villarama), 7th from left Barnaby (Ricky Devon Hall).

"Put On Your Sunday Clothes"

"Before the Parade Passes By"

"Hello Dolly"

"The Waiters' Gallop"

Vandergelder and Dolly come to terms.