Folger Shakespeare Theatre: Measure for Measure

 "Measure For Measure" is an oddball play.  It's a little like Shakespeare's Frankenstein move, a little bit of this from this play, a little bit of that from this other one over here, etc.  Perhaps, in part, because it is so unpredictable with moments where you are asking yourself is this a comedy or is it a tragedy, I find myself more engaged in the give and take.

With a cast of this exceptional quality, the effort is also rewarded!  The ensemble was led with great sincerity and energy by Renea S. Brown as Isabella, the sister who will do just about anything (and does) in order to obtain a pardon for her brother's life.  Her skill at bringing every word out of her mouth to life really anchored the entire production.  Her brother's been convicted of a crime moral turpitude and is sentenced to death.  Meanwhile, there's a Duke who ups and leaves the city in the charge of his relatives, then disappears.  But he hasn't gone anywhere, he's just disguised as an Abbot.  He's sussing out corruption in the kingdom.  And there is plenty to be found.  The Duke was played with a boyish impishness  by Nathan Darrow.  His roguish good looks aided the presentation.  Other shout outs go to Lee Osorio as the Duke's corrupt cousin, Angelo.  Jonathan Feuer who plays the city's ne'er-do-well wannabe, Lucio --funniest lines/moments in the play go to him.  What also set Feuer apart was his complete mastery of the physical gesture: a turn of his head, a movement of his hand or even a finger to punctuate a line.  And finally to Chinai Routte who played Mistress Overdone/Francisca the town's 'overdone' madame--another source of much humor.  

This is the second time I've seen "Measure For Measure" performed on stage.  In spite of the excellent cast, the oddities of the characterizations (not as they were acted) as they were written persist and bloom primarily in the character of the Duke, who at times is inexplicably cruel to Isabella, whom he secretly loves.  It's capricious and brings us to one of the most odd endings.  Almost like a reprise of "As You Like It"'s mass marriage celebration, but with bizarre, unsettling twists like a post-nuptial promise to execute one of the grooms and then an odd pardon with the punishment transferring to the marriage itself...  The roller coaster ride is just too jerky for me, but I guess Shakespeare did alright by himself in the long run...

Isabella's (Renea S. Brown) first attempt to change Angelo's (Lee Osorio) mind regarding his decree to execute her brother, Claudio

A plea that eventually leads to a liaison between the two, then Angelo betrays his promise to free Claudio post-tryst.

Three of the town's "up-standing" citizens discussing the Duke's sudden disappearance at the pending state of affairs under the joint leadership of Angelo and Escalus.  L-R: Froth (John Sygar), Lucio (Jonathan Feuer), and Elbow (Ryan Sellers)

Mistress Overdone (Chinai Routte) with her side-kick in mischief, Pompey (Ahmad Kamal)

Isabella meets the mysterious friar (Nathan Darrow), a.k.a. the Duke in disguise, at the prison while visiting her brother.

A subsequent meeting, this time involving Lucio, as the "Friar" continues to explore the depth and scope of the corruption in the city.

Isabella speaks to the Duke (Nathan Darrow) upon his return as Escalus (Holly Twyford) looks on.

In the final moments, members of the ensemble come together to have their "truths" revealed before the Duke who begins the sorted process of adjudicating all the wrongs and rewarding all the good eggs.  L-R: Monk (Ryan Sellers), the Duke (Nathan Darrow), Angelo (Lee Osorio), Escalus (Holly Twyford), Marianna--Angelo's estranged betrothed (Renee Elizabeth Wilson) and the Provost (Sean Fri)

A final scene where the Duke proposes matrimony to Isabella and she renounces her religious vows to accept.  L-R: Marianna, Angelo, the Duke, Isabella, the Provost, Claudio (Jaben Early) and Juliet (Maryanne Henderson).  In the performance I saw, the role of Claudio was played by James Stringer, Jr. Jaben Early's understudy.

Election 2026: The Final 30 Days, Post 1

ELECTION 2026

When the dust settles and the historians begin to record the machinations that defined this mid-term election, Mid-term Redistricting will certainly hold a place of pre-eminence.  Another unprecedented move thunk up by President Trump and his Fascist minions.  What the initial result looked like was a net gain by the Republican Party of 15 seats.  With a margin of 3 votes, the plan was a way to extend the Republican safety net over control of the House of Representatives.

9 states with Republican majorities starting most notably with Texas drank the Kool-aide.  2 states legislatures rejected the move: Indiana and South Carolina.  7 states moved forward creating the aforementioned 15 seats.

TEXAS - 5

FLORIDA - 4

NORTH CAROLINA - 2

ALABAMA - 1

OHIO - 1
TENNESSEE - 1

MISSOURI - 1

6 states with Democratic majorities starting most notably with California retaliated in kind.  2 states legislatures rejected the move: Michigan and New York.  1 state legislature postponed consideration of the move: Maryland.  3 states moved forward creating a scant 10 seats geared toward Democratic majority.  California added 5, Virginia added 4 and, by an act of the state supreme court, Utah created 1.

Keeping track?  That's 15 for the Republicans and 10 countered for the Democrats

Enter the state Supreme Courts and their review of these actions based upon the state's Constitution.  2 states struck down the new maps: Missouri and Virginia....

New odds: 14 created to favor Republicans and 6 to favor Democrats.

Then reality struck!  One demographic group after another began a notable turn toward the Democratic Party.  Most notably, Hispanic, Black and Independent voters.  The growing consensus suggests that the 6 new Democratic seats in California and Utah are 100% gonna happen.  Of the 14 remaining new Republican districts, only 5 look certain to succeed. 2 in Florida, 1 each in Texas, Tennessee and Louisiana.  3 others are toss-ups: 1 each in Texas, Alabama, and Florida.  The remaining 6 look like more Democratic pick-ups.   

Dinner: Corn and Country Smoke Ham Chowder

 

Round House/Olney Theatre Centre: Ma Rainey's Black Bottom

 Of all ten plays that make up August Wilson's acclaimed American Century Cycle, "Ma Rainey's Black Bottom" was the first one I actually saw performed on stage.  It was an okay production, hobbled by an actor who was not up to the demands of playing the title character.  Thankfully, the majority to the action takes place among the members of the back-up band, so in spite of the "hole in the middle," was still hooked on Wilson and committed to see all 10 plays performed on stage.  To date I've seen 8, and by the end of this DMV theater season will hopefully be down to just 1.

This production, staged at Round House Theatre is a joint production between Round House and Olney Theatre Center.  The moment I entered the theater and saw the set designed by Arnel Sancianco I was awestruck.  With the combined resources of these two long established companies, the set made the one I experienced in the previous production look like something someone had tossed together in their garage.  And so my level of expectation was set.

The cast read like a listing of DMV African American Royalty, with a couple of White Princes tossed in for good measure.  Even in the minor roles of Sturdyvant and Irvin, Chris Genebach and Michael Glenn proved why they pretty much have the ability to write their own tickets when it comes to participating in local productions.  In particular, you have to appreciate the nuance of physical gestures that they each brought to their characters.

The band was led by Craig Wallace, who like Chris and Michael, seems to be everywhere all the time in the DMV.  He's a journeyman actor who can deliver any line with practiced intention whether it was written by a contemporary playwright like Wilson or the great bard Shakespeare himself.  Around him were three supremely talented young bucks: Derrick Truby as Slow Drag, Ro Boddie as Toledo, and Yao Dogbe as Levee.  Wilson demonstrates his genius as a character creator through the cadences and content of the riffing that occurs between the members of the band.  Sometimes light-hearted and bawdy, and then inane and accurate historically.  But never is it turned up to its highest excruciating pitch like it is when the bullshit becomes personal, raw, soul-wrenching.  

And this is where Levee rises.  His story of the rape of this his mother is as grand a soliloquy as anything Hamlet has to say.  And Yao Dogbe grabbed the audience by the throat and held us just tight enough to keep us breathing.  The scene closed out the first act and when the light went out you could hear the sound of molecules colliding, because no one had the strength to breath.  If this doesn't garner a nomination for a Helen Hayes Award, then the characters great revelation is true--there is no God.

Finally, there is Ma Rainey and her entourage: nephew (Sylvester) and lover (Dussie May).  Both give Ma opportunities to highlight her ultimate authority over her reality.  As a portrayal of a supremely talented woman who will not settle for conventional societal roles of gender and race, Nicole Michelle Haskins brings her A-game to every scene.  She not only dictates the terms of every interaction, she always gets her way.  When she speaks of her understanding of the world and what she wants from it, you have no doubt that she's gonna get it--at least in this moment, with this group of characters.  And when she performs the song, "Ma Rainey's Black Bottom," she transports you to 1927 as if you were there.  It's magical.

It's been such an incredibly strong start to this year's theatre season.  How good it is to live in the DMV!

Michael Glenn as Irvin, Ma Rainey's agent, and Chris Genebach as Sturdyvant, her record producer.

The members of the band: Craig Wallace as Cutler, Ro Boddie as Toledo, Yao Dogbe as Levee, and Derrick Truby as Slow Drag, rehearsing in the basement.

Toledo placing a little bet against Levee's ability to spell the word "m-u-s-i-c" as Slow Drag looks on in bemusement.

Levee play his trumpet.

Ma Rainey arrives at the recording session late after a racially motivated altercation with the police.  L-R: Jaylen Henderson as Sylvester, her nephew; Kanysha Williams as Dussie Mae, her lover, Nicole Michelle Haskins as Ma Rainey, Toledo, Irvin, and Zach Brewster-Geisz as the Policeman.

Dussie Mae and Ma Rainey sharing a tender moment.

Ma Rainey in all her glory!

Recording "Ma Rainey's Black Bottom"

Dinner: Montreal Steak Seasoning Encrusted Salmon with Saffron Rice and Green Beans

 

Birds On My Deck: 19 SEP 26

 The ravages of Avian Flu have really compounded the loss of bird numbers.  It wasn't that many years ago when I could count on seeing a dozen species of birds in a morning/early afternoon of reading and hanging out on my deck.  This past weekend I only saw for, and honesty one of those I only heard--the Blue Jay!  

There were also a pair of chatty Carolina Wrens, a pair of Cardinals, with a particularly curious female, and a trio of Black-capped Chickadees.  

CARDINAL, Cardinalis cardinalis

The male Cardinal is the most red of all birds.  It is this red that, in fact, gives it its name!  They are stunning creatures, but I think the female is lovelier than the male.  She is not a one hue wonder, but wears a gown of many colors: taupe and tan, gray and white, cream and khaki and that brilliant orange beak.  

BLACK-CAPPED CHICKADEE, Poecile atricapillus

Many birds find admirers among humans for their apparent faithfulness in coupling.  And many birds do pair up for life.  But many others don't; we just don't know them well enough to recognize their infidelity.  And some find comfort in flock-mentality.  Robins do.  Have you ever noticed that?  When I find one, watch, others will be nearby.  

For me, two species in particular seem given over to the intercourse of many: Gold Finches and Black-capped Chickadees.  Of late in my world when either appear in my yard, they are rarely in any significant numbers.  Perhaps even just one.  It's sad.  On this day, I counted at least 3, but possibly 5 Chickadees together.

Signature Theatre: Merrily We Roll Along

 Another Sondheim Triumph for Signature Theatre further ensconcing their well deserved and painstakingly earned title of the #1 regional theatre company for Sondheim productions.  What the Royal Shakespeare Theatre in London is for the old Bard, Signature is for America's greatest modern creator of musical theatre.  Based on a play written by George S. Kaufman and Moss Hart in 1934, it is the story of three friends told in reverse chronological order.  More than a gimmick, it's a window into a world with a Happy Beginning--which is the musical's ending.  

When it was originally produced on Broadway in 1981.  It was a legendary FLOP!--closing after only 16 performances.  A pair of revivals: one off-Broadway in 1994, and the other in the West End in London in 2000, breathed new life into the show and became the impetus for a new Broadway Production that premiered in 2023.  It was feted at the Tony's in the category of Revival of a Musical and won all sorts of awards for the production, actors, orchestration.   What Audiences (all 60 of them: 44 in previews, and 16 during the run) didn't get in 1981; the world has come to not only understand, but love in 2026.

The cast was made up of A-list actors from the leads down to the swings, and a trio of local favorites had the rolls of Charlie Gringas (Jake Loewenthal), Gussie Carnegie (Maria Rizzo) and Jo Josephson (James Whalen).  Joining Jake in the Friends Trio were Jason Gotay (as Franklin Shepard) and Melanie Field (as Mary Flynn).  When every gem is a diamond, what do you choose to place in the jewelry shop window?

Let's start with Jake Loewenthal.  His performance as the disgruntled sidekick was amazing.  He elevated the smallest opportunity to a spotlight moment.  His delivery of the song "Franklin Shepherd, Inc." received the greatest intra-show applause of the evening and well deservedly so!  All three of the principals were terrific, and each had their own dynamic moments, but Jake just gave it that ounce more of magic.

Next up, the Ensemble.  As much as I enjoyed all the solos, duets, trios, etc. it was the ensemble pieces with the carefully coordinated choreography and precise vocal timing that brought me to the edge of my seat time and again.  It was like watching a well oiled machine execute a complex maneuver effortlessly.  Kudos to: Joel Ashur, Ben Beckley, Lindsay Nicole Chambers, Eric Easter, Jonah Ho'Okano, Stephen Russell Murray, Beatrice Owens, Sarah Anne Sillers, and Alondra Trinidad-Colon.  While it is a sort of trademark of a Sondheim show to weave a tale where the total is greater than the sum of its parts, this production brought that old adage to life in real time flesh and blood.

Finally, the dressings.  The set was both beautiful and supremely functional at the same time.  The Costumes were sumptuous drivers of the chronological reverse movement from 1976 back to 1957.  Shout outs to both Wilson Chin for the Scenic Design and Ivania Stack for the Costumes.  The pic orchestra was also a joy, and honestly, after last evening, I think the overture to Merrily is now my favorite from all of Sondheim's shows.

I have no doubt that had I had the opportunity to see Jonathan Groff, Daniel Radcliff and Lindsay Mendez perform this show on Broadway, it would have been wonderful!  But I don't feel like what I experienced with Jason Gotay, Jake Loewenthal and Melanie Fields in the lead was one iota less wonderful.  Because it was!   

Jason Gotay as Franklin, Melanie Fields as Mary and Jake Loewenthal as Charles performing "Old Friends"

The company performing "Merrily We Roll Along".

Members of the company.  Jason Gotay as Franklin Shepherd standing on the piano center.  L-R:  Sophia Early, [unknown], Eric Easter, Jake Loewenthal, Alondra Trinidad-Colon, Maria Rizzo (as Gussie Carnegie), James Whalen (as Joe Josephson), Melanie Fields, Beatrice Owens, Kerstin Anderson (as Beth Shepherd), Joel Ashur, [unknown], and Stephen Russell Murray

The full company "First Transition"

Jake Loewenthal performing "Franklin Shepherd Inc." with Jason Gotay

L-R James Whalen, Kerstin Anderson, Jason Gotay, Melanie Fields, and Jake Loewenthal singing "It's a Hit"

Marie Rizzo featured in "The Blob - Part 1"

"Our Time"

Here's to us ---

Who's like us?

Damn few!