Chesapeake Shakespeare Theatre: Joe Turner's Come And Gone

 One of the four Baltimore based theatre companies that I patronize, Chesapeake Shakespeare Company has the most unique of venues.  Ten years ago, the CSC acquired its present home, the 1885 Mercantile Trust and Deposit Bank on the corner of Calvert Street, and East Baltimore Avenue.  The exterior is in the Romanesque style, and it sports these grand columns that rise up from the ground floor three stories to the ornately plastered ceiling.  In 1993, after years of deferred maintenance, the bank closed the building.  Seven years later a private investor sunk 2.5 million into the place to restore and convert it into a night club.  between 2002 and 2012 a series of failed iterations of the theme sprung up and withered away.  In 2014, CSC took advantage of the open interior and created a Globe-like theatre anchored by the rows of columns.  It's a very intimate space with three tiers of seating.  There are just four rows on the ground floor, and then two on the second floor, followed by a single row of seats on the third.  I'm a full-range theatre nerd! 

The play is chronologically, the second of the ten written by August Wilson for his Century Cycle.  Wilson did not write the plays in chronological order, "Joe Turner" was the fourth to be completed in the frenetic 1980's when he created the first five.  The story centers around a group of African Americans and home with a couple who lets out rooms to help make ends meet.  Like all by one of the plays, it is set in Pittsburgh, PA.  When we first meet the home owners, Seth and Bertha Holly, they have just two boarders.  Bynum Walker, an elderly man with conjure-powers to bind people, and Jeremy Furlow, a young day laborer fresh up from North Carolina with zero city sense and a guitar.  Before long, others arrive, an abandoned wife whom Jeremy takes up with, a single woman with questionable morals, and a mysterious father/daughter duo five years into searching for there wife and mother.  It is a hallmark of Wilson to create a group of very interesting folks that allows for multiple windows into the mores, politics, economics and transforming culture of each decade.  

Again a rock solid cast.  Jefferson A. Russell is something of a fixture in the DMV theatre community and a member of the repertory troupe belonging to Everyman Theatre.  As always, he delivers a powerful, steady performance, that like his character, is the anchor for the whole.  Gregory Burgess, as Bynum, to old conjurer-man was magical--within his soliloquies, the words of Wilson rise with a lyric beauty completely akin to Shakespeare.  These are not the psychologically intense dramas of Edward Albee or the seething melodramas of Tennessee Williams or Lillian Hellman.  Wilson writes of pedestrian sins that he elevates with the respect with which he imbues to his characters.  And he's not afraid of drawing blood, either.  Nowhere is this care and capacity more richly embodied than in the stunning performance of Josh Wilder as Harold Loomis, the man in search of his wife.  The first act ends with a frenzied scene of a house full of laughter and merriment, suddenly shattered when Loomis succumbs to his demons  recounting an horrific dream of the middle passage unable to free himself of the trance with Bynum's magic.  When the lights went out and the theatre was momentarily pitch black, I realized that I had been holding my breath.  Now, that's good theatre!  

In fact, looking back on the month of September and the first five productions, this one is my favorite.  The rest of the cast was likewise strong, right town to the children, for whom Wilson wrote a scene that depicted a first kiss--not a kiss.  It was so delightfully acted, so perfectly executed choreographically that the young actors Mikayla Uqdah and Harold S. Henry III, each won a special place in the hearts of the audience.  The set was gorgeous (Timothy Jones) and the costumes beautiful (Wil E. Crowther).  Special recognition to the lighting (Katie McCreary) and sound (Adam Mendelson) designers whose creations made the magic real.  I've now seen 7 of the 10 plays and I do believe this one enters the standing of my top three favorites joining "Jitney" and "Gem of the Ocean."

What an excellent conclusion to my first month of theater going this season!

The Holly's: Bertha (Aakhu Tuahnera Freeman) and Seth (Jefferson A. Russell)

With both Bertha and Ruthefrod Selig (Joe Crea) an itinerant salesman of pots and kitchen utensils listen on, Bynum Walker (Gregory Burgess) tells the story of meeting the "shiny" man and learning about his conjurer's gifts

Bynum tries to give Jeremy Furlow (Miles Folley) some sagely advice about life in the city

Jeremy convinces the young, Mattie Campbell (Zipporah Brown Gladden) to cast her fate with his

Mattie moves into the Holly's home

Harold Loomis (Josh Wilder) climbs atop the dinner table as his inner demons are about to unleash themselves on the residents of the Holly's home.

At one point, Harold Loomis fancies Mattie Campbell wanting a mother figure for his daughter, Zonia

The stranger, Molly Cunningham (Mecca Verdell) arrives to rent a room and up-ends Jeremy's resolve for Mattie

Reuben Mercer (Harold S. Henry III) and Zonia Loomis (Mikayla Uqdah)

A great view of the magnificent set, Bynum and Seth play dominoes while Harold eats his last supper in the Holly home, having been asked to leave after his fever-dream revelation.  While Old Bynum is the nexus of deep wisdom magical thinking, Seth is a modern man, not given to faith in superstitions or religions.

Sometimes, you've just gotta laugh... Bertha, Seth, Bynum and Mattie

Woolly Mammoth Theatre: The Comeuppance

 Woolly Mammoth is an intimate theatre space in the heart of Penn Quarter in DC.  It's not very close to other theaters, but is very close to a Green Line Metro Stop.  I am used to seeing interesting productions there.  They focus on New American Plays.  Often by playwrights of color.  "The Comeuppance," by Tony Award winning playwright Branden Jacobs-Jenkins, was all of these things.

Set on a front porch somewhere in Prince Georges County Maryland on the evening of the 20th class reunion at a local parochial High School.  Five members of a group of misfit friends plan to meet at the home of one member and then take a limo to the reunion in homage to all the proms from those long ago years.  Immediately, one friend bails (the one who organized the evening).  Later, another friend surprises the remaining three by bringing her cousin along.  An Iraq war veteran with a sordid romantic history with another member of the crew. 

Jacob-Jenkins write this like he'll never get to write another play again packing it brim to over flowing with questions around: Politics, Healthcare, Substance Abuse, Date Rape, Miscarriage and Infertility, Sexual Orientation, Gun Violence, Disabilities, Inter-generational Marriage, Social Media, Artificial Intelligence, and above mortality.  Throughout the 2 1/2 hours, at various points, all five of the characters assume the persona of Death.  What is clear, if that Death is there on business.  One of them will die.  Like a netting covering everything are constant questions of memory and change.  Do we trust what we thought was true?  Do we need to prosecute the past in order to redeem the future?  How do we find meaning in the present when the past clings like decaying flesh to our hearts?  There is a LOT of there, there!

The production is co-produced with WILMA Theatre out of Philadelphia.  Which I really loved, because I know next to nothing about the theatre scene in Philadelphia.  I've got Baltimore locked down, but Philadelphia?  Nada.  The five actors were all engaging and brought a range of chemistry to and between their characters.  To a person, they were more compelling in the moments when everything freeze-framed and they stepped out of the action to speak as Death.  Because it was consistent across the board, I would say that was the result of good direction, and loose writing.  The play didn't need to be 2.5 hours long.  

Ursula (Alana Raquel Bowers), the host of the evening, owner of the porch.

Katelyn (Sarah Gliko) and Emilio (Jordan Bellow) reminiscing. 

Katelyn, Ursula, Emilio and Kristina (Taysha Marie Canales)

Kristina in the persona of Death on the floor with Francisco (Paco) (Jaime Maseda) who is having a seizure.

Frenzied dancing: Kristina, Paco, Katelyn and Ursula

Paco in the persona of Death.

Shakespeare Theatre Company: Comedy of Errors

 Now, this is how Shakespeare ought to be done!  At least ways, the comedies.  This production was alive, vibrant, full of physical comedy on both the micro and macro scales.  As an audience member, you were immediately drawn in once the opening scene with Egeon's soliloquy set the stage.  In fact, the only complaint I have is in the opening scene, mercifully short.  Eric Hissom, an actor with no end of Shakespeare credentials--and one I have always looked forward to seeing--took a curious turn with Duke Solinus.  He played him so flat, so monotone, as to make me wonder if he was ill or confused.   To his credit, Timothy D. Stickney who played Egeon seemed to up the passion meter pulling the scene out of the drink, as it were.  

Later, Hissom returned as a pharmaceutical assisted Dr. Pinch with great verve.  These folks aside, the eal stars of the show begin with David Flynn and Jacob Brandt as the Dromio twins.  Even more amazing when I realized that Brandt was the understudy!  Their intense, physical comedy was a welcome presence on the stage, and while they look sort of alike, I got a kick out of a comment the man sitting next to me made to his wife during intermission: "It got so I couldn't tell who was who!"  Playing beside them were their liege's the Antipholus twins play with equal passion by Christian Thompson and Ralph Adriel Johnson.  Handsome, dexterous, exuding both charm and arrogance, their performances were equally as compelling.  Finally, in the realm of stand outs, kudos to Shayvawn Webster in the Role of Antipholus of Syracuse's wife, Adriana. Against a phalanx of male cast members spinning and gesticulating, she held her own and times to great comic effect.  Truth be told, there wasn't a weak link save the aforementioned opening scene in the whole play.  It ended with a celebratory dance number involving the entire cast to the delight of everyone in the audience.

The set was gorgeous and spilled out into the audience in ways that allowed for character interactions.  Shout out to Ceci Calf.  The costumes, by Alejo Vietti, were likewise beautiful, most in a palate of yellows.  As someone with Synesthesia, "Comedy" is a yellow word, so it may have resonated even more deeply for me.  Shakespeare Theatre Company is so good at doing Shakespeare most of the time, it's really a pity that they don't do more of it.  This is the only one of Shakespeare's plays on this 24-25 season docket, and there are seven productions in total.

Some of the good folks of Syracuse [L-R]: Amanda Naughton, Camilo Linares, Jacob Brandt (who understudied as Dromio of Ephesus), Pearl Rhein (with violin), Kimberly Dodson, Ro Boddie, and Eric Hissom

Adriana (Shayvawn Webster) and Dromio of Syracuse (David Flynn)

Adriana with her sister Luciana (Cloteal L. Horne)

Dromio of Ephesus with Antipholus of Syracuse (Christian Thompson)

Dromio of Syracuse and Antipholus of Ephesus engaged in some hilarious macro high-jinks while others look on incredulously

[L-R] Pinch (Eric Hissom), Adiana, Luciana, and Thaisa (Kimberly Dodson); in front Antipholus of Syracuse (Ralph Adriel Johnson)

Big dance finale

Maryland Zoo: Seeing Old (& new) Friends

 

Hassan

DAVIS

MERINGUE [R] with recently born son, MANDAZI

Three generations: MANDAZI, MERINGUE and her mother, LEMON

CAESAR

JELANI

JP

[L-R] PHOENIX, ADDIE and STELLA

HENRY

[L-R] LLOYD and HARRY

WILBUR

Clarice Smith Performing Arts Center @ the University of Maryland, Dekelboum Concert Hall: Mavis Staples

 Mavis Staples is living musical royalty.  Born in the summer of 1939, every inch of her 85-year-old body (and she's just a little peanut of a person) reverberates with joy, and grace and then...  She opens her mouth and suddenly Howlin' Wolf appears!  I don't know how she sings on key through such a range and even more impressive variety of tones.  She can begin a phrase in a bluesy bullfrog baritone and rise up to something sweet and crystalline.  Best known for her passion raspy shout-singing executed with equal finesse whether in the service of Gospel, Blues, or Civil Rights folk songs, she also has an amazing soft and nuanced side when she wants.  

The concert lasted just over an hour and 20 minutes.  She was joined on stage by three musicians (drums, bass and electric guitar), two back-up singers and an ASL interpreter.  At times she caught herself and took a breath, but then came just as or even stronger.  Between the 12 songs she shared little vignettes from her past stories involving collaborators like Etta James and David Byrne.  After singing "Friendship" (which received a standing ovation from the audience) she relayed through teary eyes the fact that this was the last song her father "Pops" Staple ever sang.

A few years ago I had a ticket to see Aretha Franklin perform at the Kennedy Center.  It was meant to be the keynote performance for the Washington National Opera's annual Gala.  She got sick and was substituted by Cynthia Erivo.  Attendees only found out on the night of the event.  Cynthia is amazing, but she's no Aretha.  And then Aretha died.  I can say I didn't make that mistake with Mavis, and I am so glad that I had the chance to see this national treasure perform live.

Unlike the incredibly disrespectful lesbian couple sitting in front of me, I didn't take out my phone to take any photographs.  They were so annoying that someone from the staff came down (3 row from stage center orchestra) to tell them to knock it off.  These people knew what the ground rules were and just decided that somehow they were entitled and copyright law didn't apply to them.  Arrogance is why our world is going to hell in and handbasket... [Now, breathe and step carefully off of the Soap Box.]

This image was taken at an earlier concert performed at the University of Chicago with some of the same members of her ensemble.  [L-R: Katie Hodges, Sophia Williams, and Rick Holmstrum]

Maryland Zoo: Herp Highlights!

 When the Maryland Zoo underwent it's "dark days of the fiscal soul" during the early years of the current millennium, it closed it's Reptile House and sent off most of the animals to other AZA zoos and aquariums.  Over the intervening years, the zoo has established and upgraded habitats for various reptile and amphibian species at various locations across the campus from the Maryland Wilderness to the Chimpanzee Forest on the other side of the zoo.  Here are some of the images I captured of these amazing animals today.

STRIPED MUD TURTLE

Kinosternon baurii

Conservation Status: LEAST CONCERNED

SOUTHERN COPPERHEAD

Agkistrodon c. contortrix

Conservation Status: LEAST CONCERNED

WOOD TURTLE

Glyptemys insculpta

Conservation Status: ENDANGERED

SPOTTED TURTLE

Clemmys guttata

Conservation Status: ENDANGERED

GRAY TREE FROG

Dryophytes versicolor

Conservation Status: LEAST CONCERNED

CORN SNAKE

Pantherophis guttatus

Conservation Status: LEAST CONCERNED

EASTERN BOX TURTLE

Terrapene c. carolina

Conservation Status:Conservation Status: VULNERABLE

SULCATA TORTOISE

Centrochelys sulcata

Conservation Status: ENDANGERED

LEOPARD TORTOISE

Stigmochelys pardalis

Conservation Status: LEAST CONCERNED