Drama and Dance
At their new venue...the Lincoln Theater on U Street...Arena Stage brought forth a new stage star Carrie Fisher in her one person show "Wishful drinking" (To 9/28) in which the well-loved "Princess" of the movies presented a very engaging look at her most theatrical life. Lovers of the movies and the stage were regaled with stories that show the human foibles that affect "no business like show business" lives. There was much audience affection shown for this Hollywood product of dysfunctional intermarriages as she told the tale of her geneology which sometimes seemed to end up with one's "being one's own grandma". There were lots of excellent audio visuals on a back screen over which the audience could remininsce. As exciting and humorous as the first act was, there was a definite lull during the second act as Ms. Fisher told of her drug years and her bipolar complexities. And, at times, there seemed to be a little too much levity about most serious social and health problem. Perhaps there were some objections by the audience regarding such levity...unless one thinks she was "more to be pitied than censured". Regardless, Ms. Fisher was a delight with her casual but most effective presentation of her life. There is no doubt that all of her fans will love reliving her life with her. She opened and closed with a song with excellent pipes and one wished that she would add more music to the presentation. (Reviewed by Bob Anthony)
*****
"Trumbo, Red, White and Blacklisted" (To 9/28) is an intimate view of the life of one of Hollywood's most prolific writers. This play written by his son Christopher, who is also a screenwriter, presents his insight via letters that were written during the most dramatic decades of his father's life. Stephen Carpenter directs this dark, witty and powerful drama and he brings out the sarcastic, funny, abrasive and brillant aspects of this man who chewed off the head of many but beneath it all he was all heart. And Nigel Reed once again gives a commanding and enlightened portrayal of Dalton Trumbo as if he is almost channeling this writer. His timing, mannerisms and voice transcend this actor who has trod the boards as so many varied characters. Jonathan Watkins is the narrator and, although he is mostly in the background, he is quite believable as the son. Andrew M. Haag Jr. provided the lighting design; Milagros Ponce de Leon provided the simple and imaginative set; Melanie A. Clark provided the costume design of the 30's to the 60's; Neil McFadden provided the sound design with visuals that took the audience into the Senate chamber of the HUAC. This is outstanding work and is highly recommended. (Reviewed by Nancy McCord)
*****
"Doubt: A Parable" (To 10/5) is the season opener at the Everyman Theatre which is the wonderful little professional theater in Baltimore. This Tony award winner is a powerful work by John Patrick Shanley which takes us inside a Catholic school and church to determine the truth from the religious involved. Under the fine direction of Vincent M. Lancini, the actors in amazing performances take us back to 1964 and allow the audience to determine in their own minds where the truth lies. The cast includes Laura Giannarelli, Clinton Brandhagen, Katy Carkuff and Dawn Ursula. They perform this powerful but most important work as they try to delve into gossip and rumor to define the truth and/or false claims against the priest. The design team did an outstanding job as well. James Fourchard did the set, J.A. Herzog did the lights, Diana Khoury did the costumes, Chas Marsh did the sound and Liza Davies did the props. Again, Everyman Theatre starts the season at the top of its game. This is one show that comes highly recommended. (Reviewed by Nancy McCord)
*****
Open Circle Theatre at Roundhouse Theater (Silver Spring) is presenting Paul Sills "Story Theater" (To 9/13) which still works after a half a century, no doubt since it involves fairy tales which probably sell more books with the exception of the Bible. This group of mixed-handicapped actors is always a joy to watch as they overcome speech, hearing and physical problems to provide fully energized productions. Yes, there is some unnecessary pauses between lines but when the chips are down, they come through with fine presentations...in this production they hit the high spots with their "The Robber Bridegroom" , "The Fisherman and His Wife" and the ending "The Golden Goose". Probably the most creative thoughout were actors Greg Anderson and Michelle Banks. Sign language is constantly provided by the actors on stage and one wonders why all Americans don't learn the language since it is so expressive. Suzanne Ricard and Ian Armstrong co-direct and one hopes that they will be awarded in the future for such supreme efforts. Marianne Meadows again provides excellent shaded lighting but one wonders about the production design. A backdrop scrim provides such drab environments of decayed city areas and unexciting countrysides. It just doesn't seem appropriate for most of the fairy tales which can often be joyful and enlightening. This is a recommended show since it teaches a lot about artistic acceptance of such performers...it is a great show for the whole family as an inspiration. (Reviewed by Bob Anthony)
*****
Playwright Kathleen Akerley's "Theories of the Sun" (To 9/7) has the wonderful flavor of a Giradeaux play with bittersweet and romantic poetry but it is much too long at three hours. There are too many repetitions and parables that can be neatly cut from this script which definitely should be done as it is a very intriguing play about complications existent in life and death that need to be stated. The acting is first rate especially from Abby Wood who perfectly delivers her lines with excellent emotion. Michael John Casey has never been better as the mysterious stranger with the most profound and relevant stories of the importance of the sun to almost all cultures. These two perform magic while on stage together. Jason Lott does a fantastic French doctor with terrific examination gimmicks. Other fine performances are provided by Daniel Vito Siefring, Jason Stiles, Michael Glenn and Kathleen Akerley. Only Dylan Pinter gives a wooden performance no doubt due to lack of rehearsal interaction with the local cast members. Jonathan Church provides excellent direction however he should have left Abby Wood leave downstage instead of upstage or make the remaining actors on stage clarify the denounement without such mumbling of lines. John Burkland provided excellent shaded lighting to complement the extravagance on stage. Neil McFadden...usually strong on sound design...played confusing jazz which didn't jive with the necessary French ambience. Heather Haney provided excellent choreography for the dance overplaying of certain scenes. It is so very nice to hear a clean script that is full of poetry and bittersweetness. (Reviewed by Bob Anthony)
*****
Playwright Randy Baker is the perfect choice...being with Rorschach Theatre...to write a most interesting and definitive serio-comedy about dreams ("Dream Sailors") (To 8/17) with superb psycho-babble throughout. Four friends are found in a locked up basement apartment with a dead body and like "No Exit" they all live through a dream sequence...during four distinct hour long episodes.. about their individual fears in life. Tony Bullock, Rex Daugherty, Lindsay Haynes and Casie Platt provide fine and different characterizations but it is Grady Weatherford as "The Stranger" who gives a magnificent colorization to his role as the devilish intruder in their dreams providing affection and effection. He must have seen the recent Batman movie as he uses a breathy bottom of his vocal range to give a mysterious effect...which is often chilling. The technicals are tops in these four connected playlets with shifting rods of stringed curtains to divide the scenes designed by Hannah J. Crowell. John Burkland provided the excellent spot and shaded lighting for powerful effects. And Christopher Baine added superb sounds...many akin to Edgar Allen Poe derivations. Colin Hovde directed with good focus in the black box theater. The only negative is that so much of the script still seems improvised so that there is a choppiness...particularly in the first episode...with overtalking and unlikely pauses. The third playlet seemed the best written with the best acting. Although Mr. Baker gives titles to his episodes, this critic who is well schooled in dream interpretation would offer the following titles: "Being a-Freud of Masks"; "Is Karen Really Horney", "Let Henry stalk Sullivan", and... with added music ..."Jung-er than Springtime". It would add humor to the program, however, this critic was amazed at the continuing laughter during the four episodes. Only a few remaining shows for this recommended new theater piece. (Reviewed by Bob Anthony)
*****
Cancel your vacations plans if you have to...but go see "Rabbit Hole" (To 8/31) at Olney Theatre Center. This David Lindsay-Abaire award winner is the finest written and acted play about confronting losses in a family. It is so phrase perfect that one feels the playwright actually recorded such a family under duress. But there is also human comedy throughout so the play never becomes heavy emotionally except on the one or two occasions when it is necessary to describe the family tragedy. And it offers poignant hope for the future when the characters finally come to their senses. This five character play is perfectly acted by Paul Morella as the accommodating but frustrated father; Deborah Hazlett who goes through all of the pangs of denial as the mother; Kate Kiley as the grandmother who tries with comedic asides to hid her own inabiity to accept the inevitability of the death of a loved one; Megan Anderson as the young aunt who optimistically sees creating a new life to replace the dead one; and Aaron Bliden...an amazing new talent...who will spend his whole life suffering emotional pangs as the instument who inflicted the sorrow. There are emotional firewords aplenty yet there is always an underlying love of family that is pervasive. Always fine actor Mitchell Hebert shows a now-fine double talent as he directed this play so knowingly. Marie-Noelle Daigneault perfectly provided a double set and unlisted technical people provided wonderful props including delicious foods. It is so wonderful to see such added appointments to contribute to the necessary reality to match the natural sounding script...one gets so tired of characters eating out of empty dishes on stage. This is definitely a gem of a play that was strongly applauded by the very moved audience on opening night. (Reviewed by Bob Anthony)
*****
The New Island Project/Keegan Theatre is presenting the totally charming Irish play, "Stones in His Pockets" (To 8/23) about two countrytown young men who get jobs as extras in a movie picture being filmed by a foreign company that wants to background small town living. Eric Lucas and Matthew Keenan in totally Irish-Gaelic charm recreate the film crew and fellow extras with specialties being, respectively, the Italian female star and the oldest "geezer" living film extra (only one other show was ever filmed there). There is joy-a-minute presented by well liked local actor, Lucas, and the outstanding new Irish talent, Keenan. Time and place are captivatingly presented by these two actors with superior help from the fine director, Kerry Waters Lucas. Both actors are successfully helped in their transitions by great spotlighting by Dan Martin. It is amazing how successful these wonderful actors are performing on a stage with only two chairs, a table and one change of dress! This is a highly recommended family show for its quaintness as it shows the aspirations and tragedies of young men in a rural setting. I have seen this light comedy three times and this is, by far, the finest and most moving production yet. (Reviewed by Bob Anthony).
*****
The American Century Theater is presenting Robert McElwaine's play about the conflict between the USSR and American leaders during the Cuban missile crises during Kennedy's reign at the White House. The house was sparse for the Saturday matinee and half of the small audience showed dropping heads so the news may be out that "The Titans" (To 8/16) is rather a bore. The actors (Jon Townson, Kim Scott Miller, John Tweel, Brian Razzino and William Aitken) were excellent in their role consistency but the only believable part of the script was the Kennedy radio/tv announcement of the action to be taken to stop the USSR from continuing to put missiles on Cuban soil. The only new fact that came forward was the Russian defense that as long as the US had missles all around Western Europe and Turkey that we shouldn't object to their placing their missiles at similar distances. Otherwise the play seemed too contrived in order to build up dramatic effect. And saying the five actors were excellent denies that they all lacked enough non-verbals or dialects forthcoming to really represent the historical figures. Brian Razzino as Gromyko was most effective in capturing the person. The in-the-round direction by Jack Marshall seemed to work most of the time except in the few cases where Kennedy and Krushchev delivered lines to the audience rather than to each other. And the finest scene in the play was Bobby Kennedy's challenging Dobynin as he stated the president's and his pleas to avoid conflict. The techicals were all fine except the World War I song after the final curtain. This is not the play for people who lived during the crisis period...the younger generation are encouraged to see it to appreciate the handling of governmental crises...especially the stupid arrangement of information passing through ambassadors rather than directly by our leaders which is still frowned upon. Having visited our state deparment employees in many foreign countries...it is always true that they are the most paranoic "ugly" Americans one mixes with overseas...followed by military attaches. (Reviewed by Bob Anthony)
*****
It is a joy to see such a well constructed play like Thornton Wilder's "Skin of Our Teeth" (To 8/10) now being produced by Rorschach Theater at the Davis complex at Georgetown University. And this continuing solid company does it great justice as they bring out the wonderful humor of the first act, the sexual innuendos in the second act and the war conflicting emotions in the third act. Through the ice age, the flood and the world war we are left with the message that the "family will survive" even though Sabina the maid posits that "dog eat dog" and monogamy is not best for the world. Jjana Valentiner is fabulous in the prominent role of Sabina the maid...she is defiant and commanding and is always ready with the edgy comedy. Scott McCormick as Mr. Antrobus keeps showing wonderful growth and can now take his place in the top ten actors' list on local stages. The first act and the third act were well played but the second was somewhat weak. There was slow line pickup...and, if directed as pauses, the actors must show some non-verbals to keep the action moving. The technicals were all fine for a limited budget theater group although the music was a little too hip-hop. Rahaleh Nassri brought out the humor and pathos of the play and did exceptional work on the most sensitive father/son (Cesar Guadamuz) scene in the third act. Others in the fine cast were Wyckham Avery, Simone Zvi, JJ Area, Becky Peters, Zehra Fazal, Megan Reichelt, Jon Reynolds, Matt MacNelly and Yasmin Tuazon. Yep...a solid recommendation!(Reviewed by Bob Anthony)
*****
The current production of the Forum Theater at the H Street Playhouse..."The Persecution and Assassination of Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade" (To 8/10) ...proves that long titles do not necessarily make outstanding plays with music. The story is about the political assassination of the French revolutionist by Charlotte Corday as portrayed by inmates of an insane asylum as directed by then Marquis de Sade. Generally the feeling one got was that the actors were just interested in making mad scenes without any historical knowledge of the political situation in France at the time. Certainly there were some extremely "mad" political scenes going on in Paris during the revolutions leading up to the destruction of the monarchy and the rise of Napoleon, and the playwright (Peter Weiss) played with metaphors and coincidences that occur during any bizarre times. Director Michael Dove added some fine touches as the audience members are greeted by one of the mad men and led to their seats. The lunatics all had fine individual master gestures with plenty of squirming tics. But at some point the audience needs to be startled into realizing that these lunatics are aware of the political machinations...after all the line into madness is very thin. Only Jesse Terrell with his poetic passages was able to ascertain the political dynamics that were rarely obtained by the other 19 characters. The technicals are the top rated features...Jesse Terrill added wonderful compositions with solid musical directions. Andrew Griffin gave fine central lighting with dimmer lighting on the audience to involve us into the stage dynamics. And Yvette M. Ryan provided excellent asylum costuming. Yes, the show is recommended but be sure to brush up on your French revolution from the program notes and/or outside reading. (Reviewed by Bob Anthony)
*****
Quotidian Theatre's "Long Day's Journey into Night" (To 8/10) is just too long a play at 3 1/2 hours...and six members of the audience gave up in the middle of the second act at the matinee. The play could easily have been cut as most theater goers nowadays think in terms of just two hours. Nevertheless Stephanie Mumford gives a brilliant performance as the mother, Mary Tyrone, particularly as she weaves her arthritic (?) hands in magical style to accent her drug stupors and remembrances. She is definitely the finest I have ever seen in the role and this includes Helen Hayes' performance at Catholic University. She rides on the edge of pathos but fortunately never sinks into it which would have taken it into soap opera. The three male actors of the Tyrone family (Steve LaRocque, Andy Brownstein, and Michael Avolio) just never seemed to play the underlying nuances of their characters so that their acting was emotionally too physical and subsequently choppy with no dramatic transitions...they should observe how beautifully these stage features are handled by Ms. Mumford. The director was somewhat to blame as he sometimes lacked focus...too much excessive side stage placement of the actors...and he had too much "floor work" which was just too unnatural for such a realistic drama. Erika Imhoof did an excellent comic relief as the slighty "tipsy" Irish maid, Cathleen. Mr. LaRocque replaced Bill Hamlin who was taken away from us and he never reached the stage dignity that Mr. Hamlin would have been most sucessful in attaining. The set and technicals were extra fine especially the sound (Ed Moser) with the "fog sounds" that always sent forth ominous signals. All actors in training and those that appreciate fine acting should see this show for the stunning award-winning performance of Ms. Mumford. (Reviewed by Bob Anthony)
*****
CAPITAL FRINGE FESTIVAL
Well one did not "save the best to last" by attending "Thicker Than Water" at the Warehouse as Annie Houston rambled on about two sisters...one who was schizo and the other an actress trying out for theater roles. The mechanics were wrong as there was a suggested room in back of a central screen and the actress would disappear and appear as the other sister ad naseum. The only difference was that the sicko sister put her hands in her back pocket when making an entrance. One got tired of the effort after less than ten minutes of a 75 intermissionless show. (It may have worked if there were two actresses playing this script). There were even some time warps as a reference to "Persia" was made a number of times!!! Miss Houston's name did not appear on any program so one wonders if she was embarrassed by the whole production. (Reviewed by Bob Anthony)
*****
Stephen Spotwood's "Born Normal" is a total delight as it tells of a young lady who is normal while her mother was born with wings and her sibs also have unusual birth marks. Unfortunately it only lasted 60 minutes but this playwright seems capable of turning it into a full length play. There are many poignant scenes as well that could bring tears to the eyes if they were extended. And the feisty grandmother deserves a longer interval on stage. Ryan Whinnem is successful in applying great comic relief through the angelic mother who gives a cold angelic shoulder to her progeny in delightful fashion. Laura E. Quenzel and Eli Sibley play lead roles wonderfully while Rachel Holt, Slice Hicks and Brandon McCoy play many roles with comic finesse. (Reviewed by Bob Anthony)
Opera Alterna which was so successful in its first short opera comes through with a serious one act opera and a comic one act opera...both by Thomas Pasatieri...as part of the Fringe. Both were sung in English and to the casts' credit their articulation was excellent when the surtitles failed. "The Women" was a conflict in the afterlife between a mother and wife who both claim a greater portion of the love of a son. Some work was still needed in the beginning nonsense death wailing of the three...Michael Weinberg, Sarah Philippa and Rachel Despina Toprac...but fine singing came through after that opening sequence. Certainly Michael Weinberg's baritone gave the fullest quality but the vocal interaction was excellent. "Signor Deluso" was a typical misadventure between couples...one single and one married...with a maid solving the dilemma in true Italian fashion. Think "Marriage of Figaro"! Rob Legge as the lover Leon sparkled with a fully voiced tenor that easily scaled into his upper range in creamy fashion. The others...Dominique Donnarumma, Michael Oberhauser, Tad Czyzewski, Sarah Philippa and, especially, Daniele Lorio tended to force notes so too much stridency came through. It could be that they tried to be too comic in their interpretations and failed to control their singing...not unusual for beginning professionals. Yufen Chou was the accompanist and in truly fine fashion never pushed the singers. I would love to hear Ms. Lorio do a more romantic role as she has a fantastic range. But the audience loved these two presentations with a very strong applause at the end. This is definitely a group to watch in the future. (Reviewed by Bob Anthony)
The Tehreema Mitha Dance Company presented a trio of exotically dressed Indian/Pakistani young ladies who offered a three dance presentation. They danced in barefoot manner with blazing red decorated feet, hands and forehead. Their "Igniting" dance showed classical jutting hands and feet as they described a world of color admixtures in nature. Their "Running Out of Empty" was the solo story of a frenzied suicidal young lady in mostly yoga posturing with sweeping head-hair positionings. The trio finished in "Face the Day" which told the story of daily awakening and moving into ordinary and tedious work situations. It was primarily a modern dance with lots of comic floor posturings. It was a complete joy for the eyes with the intricate dance movements and startling costuming. The show is recommended as a Fringe change of pace. (Reviewed by Bob Anthony)
"Poe and all that Jazz" by Peter Coy is a blend of Edgar Allan Poe's horrific tales and sadly romantic poerms interspersed with sophisticated songs by Cole Porter and Johnny Mercer. The result is surprisingly insightful in showing the relationship of Poe's fiction to the facts of his sad alcoholic life. Beyond what usual plays about Poe ignore, this work clearly gives Poe a chance to share his thoughts on writing in which he dismisses the relevance of personal circumstances on artistic creation. Jon Cobb is Poe and Particia Finn Rapiejko plays all of the women in his life. Cobb is entrancing as he moves through sadness and madness and from romantic outbursts to creative sparks. Rapiejko has a lovely voice which she uses to burst into song to break the inevitable and overwhelming clouds of gloom. Pianist Bob Bennetta and bass Jim Ryan provide the fine jazz accompaniment. What seemed from the beginning an edgy mix of contradictory material , impossibly unrealistic, is surprisingly rich with truth and beauty. (Reviewed by Celia Sharpe)
"The Bacchae" by Euripedes was prime Fringe material from when it was produced in 403 B.C. and the Rebellious Players sharpened that edge by incorporating the heavy metal style of the '90's (i.e. Black Metal) into their production at Flashpoint's Mead Theater. Dionysius (Marcus Lawrence) is mad at his mother's family for not acknowledging him as a god. His aunts...Agave (Erin Gallalee), Autonoe (Laura Rocklyn) and Ino (Camille Marie Piazza), his cousing Pentheus (Jack Powers), his grandfather Cadmus (Jay Tilley), and the blind Teresias (Don Petersen)...are all headed for trouble. What starts as comedy moves into the unspeakable horror that proves that people who disrespect gods are going to get what they inescapably deserve. Christine Lange directs and Melissa Jo York-Tiley designed costumes for what is an excellent rendering of a powerful classic. (Reviewed by Celia Sharpe)
"The President's New Clothes" takes a lesson from Hans Christian Anderson's story of the king who had no clothes and adapts it to the recent presidents that have ignored the problems facing this country. Written and directed by Deborah Langeman, who plays the tailor, and with Bruce Kelley as the latest president and Vickie Smith as the Narrator and all other roles...the show is a lesson in the necessity of learning from old classic tales. Kelley and Langeman are masters of mime while Smith is very quick with her witty lines in this delightfully relevant shows. (Reviewed by Celia Sharpe)
Into each drama festival a "nadir" must fall and so it is at the Capital Fringe Festival with the terrible "Bear Beach" that is unnecessarily and poorly miked so that only a few words of any of the musical numbers could be understood. And the plot was as poorly stated as a dancer came through moving like a "whirlpool" to indicate the death of a friend "Rusty" so that nobody should go into the water??? There was no one in this cast that was physically attractive in bathing suits or emotionally involving. The songs were all screeched ad naseum and there was no conflict or resolution that was becoming. Yes, the whole cast of characters ended up in the ocean and conquered their fears. Interesting.?..naught! Stay away from this one! (Reviewed by Bob Anthony)
"The Chalk Boy" was a different story. A solid script with fine comedic relief as two characters relate the death of a most attractive young man in small town America. Mary Catherine Donnelly and Marguerite French were total delights as the story tellers and they played numerous town characters as well. Jennifer Harder gave a wondrous performance as a petulant small town girl although she bordered on a "valley girl" approach throughout. Kate Huisentruit played a suspicious "lesbian" character and she gave a wonderful monologue about a person who just hates everyone and therefore cannot love either man or woman. There is so much philosophical content in this play that makes it fascinating particularly since one heard all about kabala at Rorschach...now we hear in-depth about wickens. Playwright Joshua Conkel is a person whom one should look forward to producing greater drama in the future as he balances tragedy and comedy so adeptly. Lots of laughs but also lots of perverse language and situations...but one must accept these features that describe the reality and ligua franca of high schoolers nowadays. One can only hope for "prim and proper" to return to this group of teenagers socially. This one is recommended highly. (Reviewed by Bob Anthony)
*****
In "If You See Something, Say Something", Mike Daisy gives a solo performance that winds through 60 some years of American history from the bombing of Hiroshima to the formation of the Dept. of Homeland Security. Aong the way, there are side-trips to Los Alamos to visit the site of the testing of the A-bomb to his bedroomm in Brooklyn and then to the House of Congress. Personal anecdotes merge with historical research for a powerhouse of ideas of how we got to be democratic and into this defensive nation of people. It is an intermissionless two-hour show and a tour de force as Mike creates before our eyes in the fashion of the great mythmakers and story tellers of yore. This edgy creative theatrical show is quintessential Capital Fringe Festival with political insights that makes it a must see for DC. (Reviewed by Celia Sharpe)
"i Like Nuts! (the musical)" is as nutty as it gets. Multi-talented Chris Davenport is the co-writer, director and co-producer of this romp in which a bunch of zanies...a robot (Josh Drew)...a vampire (Douglas A. Hary)...a pirate (Yannick Morgan)...and Rob the Angry Squirrel (Greg Crowe)...all tag along in a Wizard of Oz style behind one Horatio Hornbeam (Nick Greek) and his friend Gary (Josh Drumwright) on a quest inspired by a Guru (Jeff Baker). Well if the story seems crazy, it is! It is about nuts! This light-hearted fare with a couple of catchy songs by Jonathan Watkins is playing at Studio. (Reviewed by Celia Sharpe)
The Victorian Lyric Opera Company is presenting "Cox and Box" (one act comic opera) with music by Brit Arthur Sullivan (before he combined with Gilbert) and words by F.C. Burnand. It is a three man show that is a sheer delight as a devious landlord rents the same apartment to two men since one works by day and the other by night. The music is typically bouncy as in all G & S full lengths and the words are totally charming especially the one lullaby to a rasher of bacon. Clyde Wright as Box and John Perine as Cox delight with their wonderful articulation and runs up and down the scale in perfect G & S style. Bass-baritone Tom Goode excels as the devious landlord (Bouncer). This is a charming production that was thoroughly enjoyed by all. (Reviewed by Bob Anthony)
John Belluso's "A Nervous Smile" is a stunning look at the frustrated parents of handicapped children that keeps one on end as to what decisions these parents are going to make to ease up their lives. The playlet (one hour) needs further resolution regarding the husband's penalty for an immoral decision. Director Heather Gaither-Greek nicely handled the suspense in the complex relationships. Samantha Merrick, Anthony Van Eyck and Suzanne Knapik deftly protrayed the three main characters. Susan Smith provided the fine comic relief. Mr. Belluso shows fine writing talent which he should pursue in the future. (Reviewed by Bob Anthony)
Musical Program
"Ace" (To 9/28) is a musical drama at Signature Theatre of a troubled child and the fantasies that bring him back to reality . This family's legacies and troubles are explored through fighter pilots, a suicidal mother, a couple wanting a child, bullying children, and dominating parents. It is a large story in the capable hands of director Eric Shaeffer. The cast is packed with talented actors with huge voices. Dalton Harrod plays Danny Lucas (the young boy) and he does a terrific job as a troubled child. Angelina Kelly playing his young sidekick is also wonderfully talented and, no doubt, these two are headed for the big white way. Yet, the entire cast (Florence Lacey, Jill Paice, Emily Skinner, Duke Lafoon, Christiane Noll, Danny Rothman, Jason Reiff, Jim Stanek, Gabrielle Stravelli and Mathew Scott) does outstanding jobs. The very clever set is designed by Walt Spangler. The costume designs by Robert Perdiziola are wonderful and provide a beautiful clue of time and place. Ken Billington and Jason Kantrowitz provide the lighting and David Kreppel does fine musical direction. This is lovely work! (Reviewed by Nancy McCord)
*****
Wolftrap is presenting a production of "Les Miserables" at the Theater of the Stars through September 7. The music of this show is beautiful and the wonderful script is almost actor proof. The cast for the most part did a fine job with some standouts: Greg Stone and Dawn Cantwell as the innkeepers, Jenny Fellner as Eponine and Anderson Davis as Marius. The staging lost none of the impact of a closed theater thanks to the director Fred Hanson, and the musicians led by musical director, Dan Riddle, were outstanding. Some of the main characters seemed to be suffering from either breath control problems and/or diction difficulties. There were some songs that were thoroughly unintelligible. This, aside, the production delivered and received a well deserved standing ovation. (Reviewed by Beverly Cosham)
*****
Alejandro Fernandez made a one-night appearance at the Patriot Center of GMU. This Mexican born singer must have felt right at home because the center was filled with fellow countrymen who waved the Mexican flag and sang along with most of the songs. Fernandez was backed by 21 musicians including a mariachi band and four backup singers. The entire program was in Spanish so this reviewer was in a minority and didn't understand everything sung or said. Fernandez has a pleasant voice but the sound was too loud and the audience added to the hightened sound as they sang and danced in the aisles. I often had to pinch my ears! After deciding to leave before an encore, I discovered the best place to hear the concert was in the parking lot. So much applification at some of these concerts...sensitive ears should always have ear plugs! (Reviewed by Beverly Cosham)
*****
The Washington Viva Concert at the Ratner Museum was better than a birthday present with a Brahms clarinet trio, Dvorak's "Dumky" trio, leider sung by an acomplished soprano (Elizabeth Kluegel), and two pieces by "living composers" (Heinen and Stephens). The program was too generously long with Stephen's "Inventions for Solo Clarinet" and Kahn's "Jungbrunnen" and their omissions would have brought the program in line with typical concert length. The program was built around the virtuoso clarinet performance of Ben Redwine who excelled in the Brahms "Trio in A minor". However Redwine also played the above-mentioned "Inventions" with seven brass instruments. Soprano Elizabeth Kluegel was perfect for the Kahn lieder but translations were necessary for the audience to totally appreciate. Banner did well with the Dvorak as he played like a tram across the great city of Prague as he shifted steadily from one emotional suggestion to another...from earnestly lively Czech folk songs or dance into more soulful expressions. (Reviewed by Stephen Neal Dennis)
*****
If you have never liked "rock" musicals, then you will be surprised at the lovely presentation of "Rooms" (To 9/7) by Natascia Diaz and Doug Kreeger at MetroStage. One can finally use the word "fabulous" for a local premiere production! Ms. Diaz is a "a rocking Edith Piaf" and Mr. Keegan is a "resistant and brooding James Dean" as a young Scottish couple who move through show biz venues from Glasgow to New York with blazing cometic and comedic singing and acting talents. There is not a weak moment in this script with lyrics that are so totally character driven. Jenny Cartney (conductor/keyboard) finely leads a quartet of musicians (Steve Walker, Dave Boguslaw, Dennis Turner and Jon Jester) from blaring dynamic to softly romantic paces that fill this cabaret-stage theater with passion and sensitivity. The technicals are superior especially the most dynamic lighting by Herrick Goldman. Director Scott Schwartz constantly sets the stage ablaze with only a couple of chairs and a moving door frame to establish different room entrances. Kudos also to Doug Honorof for his keeping the Scottish dialect so understandable throughout. This is the first highly recommended show of the new theater season. It is an "el socko" show...get your tickets early as it should be a sell out especially for the younger crowd...high school and college groups are especially encouraged. (Reviewed by Bob Anthony)
*****
With the skilled hands of a fine producer/director, Mark A. Rhea gave impressive dramatic effects to the musical "Man of La Mancha" (To 8/16) at the smaller Church Street Theater. There was an imaginative prison set with multiple entrances and exits so the limited-space stage became both an inner fictive reality within the mind of Cervantes and an outer reality in which the temporary imprisonment of this Spanish writer could occur. This production had rather basic costumes, a sprightly and invisible hidden orchestra and plenty of rapid action for the characters to morph from prisoners into characters in the evolving drama. Throughout there were impressive theatrical tricks to keep the attention of the audience. Three of the performers were especially noteworthy, David Jourdan as Don Quixote, Carolyn Agan as Aldonza/Dulcinea and Michael Innocenti as Sancho. Jourdan has a surprisingly emotional voice and totally aware of the terrors and threats around him. Agan moved from rustic brusqueness into kind sympathy. Innocenti seemed less impressive since his songs were less compelling although joyfully sung. Rhea relied on the hearty enthusiasm of the minor actors and actresses who were determined to bring magic into the sparce space around them into evocation of grander themes and greater histrionic possibilities. The only negative was that this charus seemed too well fed and too young to represent the repressions and torture during this historic Spanish times. (Reviewed by Stephen Neal Dennis)
*****
The Baltimore Symphony Orchestra had an extremely delicious evening of American music at the Strathmore. Under the leadership of guest conductor and pianist, Bramwell Tovey, this orchestra grew in musical stature to a greatness not yet registered by the group. They filled the wonderful hall with solid musical warmth and the most invigorating playing yet observed from this group. And their disciplined attitude was most impressive. Perhaps it was due to the dynamic conducting by Mr. Tovey and his wonderful sharing of the stage with his superb piano playing. Or it could be his "everyman" posture as he did almost nightclub standup introductions to the music of the night. The program could have been renamed "Walking through semi-classical music" which seemed to be the structure of the evening. The program started with Mr. Tovey's "Urban Runway" which was a "walk through" a major city...sounded most like New York....with the cacophony of taxis, crowd noises, nasty shop owners et al. Only the quiet solo and background sounds of the violas managed to provide any quietude maybe in the depths of Central Park. But it was a fine musical presentation of the arrogant life of the city that most visitors learn to hate. George Gershwin's "An American in Paris" allowed a more romantic "walk through" this gorgeous city on the Seine. Yes street noises were still present but they were softly muted especially by the brass...which, by the way, was at its upper best thoughout the evening. The following "Rhapsody in Blue" allowed Mr. Tovey to do his dynamic fingering "walk" through the 88 keys at a near genius level. Only his pianissimo tended to be too rushed. The use of three saxophones was particularly brilliant to allow for the blues effect. The second part of the program allowed for the brilliance of Bernstein to show through with "Symphonic Dances from West Side Story" and Mr. Tovey arrangement of "America from West Side Story". Here one got the pounding "gang walk" in the former and the Statue of Liberty 's "walk in" allowances for foreigners to enter this great land in the latter. It appeared that every seat was taken...for the first time...at the Strathmore and absolutely no one left at the end who was not fully satisfied. And it appeared that the conductor and orchestra members felt the same satisfaction with their performances. (Reviewed by Bob Anthony)
*****
"Jerry Springer: The Opera" (To 8/17) is an Edinburgh Fringe/London Stage award- winning hit and it has never stopped filling theaters...much like its television namesake which boasted the highest ratings when its went to the lowest dregs of taste. Along the way , this musical has more than its share of protesters...mostly religious groups...who doubt the right of others to have equal rights under our First Amendment. Walking the edge between what is true and what is real with profanity, blasphemy, simulated nudity and violence, obscenity and total vulgarity (not family fare) ,the show is also a brilliant work celebrating diversity. Lifting music from Handel and add a few numbers from "Porgy and Bess" and some Samuel Barber's arias then have a cast of trailer trash characters for that touch of verismo and take the "Springtime for Hitler" joke from "The Producers" (KKK members singing and dancing) ...and what have you got... continuing show stoppers. Wonderful Lawrence Redmond is Jerry Springer and most versatile Bobby Smith is Jonathan/Satan and they have a 30 plus member cast and an eight piece band...the result is outrageous, hilarious, controversial...but a totally entertaining show. The costumes that are perfectly tasteless give the show an "over the top". Only negative is that some of the words from the choral numbers could not be understood although one could imagine what they covered...dirty lyrics! Bottom Line: get your tickets for what is a guaranteed production...double the order as you might want to see this show twice. It is the best thing to happen in DC theater this year...outdoing "The Lion King". (Reviewed by Celia Sharpe)
*****
The Baltimore Symphony Orchestra gave an emotional tribute to pianist Leon Fleisher at the Strathmore. This concert pianist was for a time an associate conductor for the group. It was obvious that Fleisher had earned tremendous respect from the BSO musicians during rehearsal ... respect that mounted into affection. The program could not have been simpler for a summer treat with two Mozart symphonies and a piano concerto. And Fleisher managed to keep this 18th century music in classic style with proper emphasize in the flow of the music. The result was a beautiful burnished sound which filled the concert hall. Fleisher began the music on perfect downbeat and he kept up a decidedly brisk speed to produce music of internal emotional vigor. This was a deeply personal performance for both pianist as conductor and the powerful orchestra. Thus a great musician had returned triumphantly to a packed concert hall providing music of heartfelt perfection. (Reviewed by Stephen Neal Dennis)
*****
Summer Opera Theatre has made a wise choice to move its venue to the Harman Hall from Hartke's since it is more accessible by metro and the largely full hall showed that Washingtonians are hungry for affordable operatic performances. The risk will be that the logistics of the new location with it unlimited technical potential may tantalize directors into putting more attention on the setting rather than the singers. And that may be the central problem with "Carmen" (To 7/27) which was generally lackluster. So the production's strongest point were its lavish costumes with only a single memmorable voice...that of Lara Colby as Micaela...a true show-stopper. So an opera that should sizzle throughout merely plodded along when she was not present and during a few high moments. The orchestra seldom projected the tenseness and sense of foreboding that is found in Bizet's music. The female and male choruses simply added nice local color and sometimes interrupted the fatal ballet and the passions coming from Carmen and Don Jose. It was a shock that the lines were delivered in English and the lyrics in French. Basically no singer in this opea had an interesting voice for spoken words ...no acting ability...except as noted. Director David Grindle failed to submerge the audience into an earlier or different culture particularly with the Chinese-American children's chorus present. One can look forward to such displacement hopefully in the WNO's production of Bizet's "The Pearl Fishers". (Reviewed by Stephen Neal Dennis)
*****
The National Players', usually noted for rather ordinary summer musicals at Olney Theatre Center, come through with a dazzling and jubilant production of Roger Miller's "Big River" (To 8/3)...The Adventures of Huckleberry Finn". It is a rousing country and gospel family production that should pack 'em in . The choreography by Boo Killebrew is particularly outstanding with leaps and tumblings that keep the audience members on the edge of their seats. Director Eve Muson eked out total talent from the rousing 14 cast members. Isaiah Johnson, the only Equity actor, plays Jim with fierce intensity and he has one of the most gloriously liquid bass baritones and one just hoped he would break into "Ole Man River" for an olio. Sam Ludwig was a natural and all that one would expect from a boyish Huckleberry. And the two of them singing "River in the Rain" and "World's Apart" brought forth tears of tenderness to the eyes. The gospel songs were particularly rousing for such a young cast so their growing talents cannot be denied. Technicals were all fine especially the scenic design by Jeremy W. Foil who managed to make raft moving so realistic and the superb costuming by Pei Lee. Other cast members were Priscilla Cuellar, Rebecca Herron, Melvin Logan, Daniel Townsend, Elizabeth Fette, Deborah Lubega, Gregory Joseph Twomey, David Frankenberger Jr., Nicolas Lehan, Vishal Vaidya, Dan Van Why and Jade Wheeler. (Reviewed by Bob Anthony)
*****
The Banner Arts Trio of the Washington Musica Viva gave lively interpretations of three major works at the Dennis & Phillip Ratner Museum ...the delightful "Duo #1 in C" which may (or may not) be by Beethoven (although it easily fits into his canon) and piano trios by both Faure and Brahms. The faux-Beethoven "Duo" introduced cellist David Cho and violinist Judith Spokes who were expertly paired. As interesting as the Faure "Piano Trio in d minor" was, it is not a piece that yields up all of its mysteries on a first hearing. So the audience was braced for the the Brahms "Piano Trio No. 1 in B Major" in its 1889 revised version after intermission. Anyone who cannot appreciate Brahms music may be suspected of having no heart! It has suprisingly complex dense richnesses of the major works by Brahms with added intense emotions. Some people dream in full color; Brahms dreamed in chords which progressions on the piano could be interweaved so nicely with contrasting melodies. (Reviewed by Stephen Neal Dennis)
*****
The Baltimore Symphony Orchestra at Strathmore repeated its program of Vivaldi's "Four Seasons" and Piazzolla's "The Four Seasons of Buenos Aires" which was brought to life by the vivacious showmanship of Jonathan Carney. It proved again how this music speaks to many generations. The crowd loved the tango sounds and Argentine Piazzolla is increasing "hot" as a composer and his music can keep the younger audience delightedly awake in its seats. The BSO played with suave confidence and Carney the showman dominated the concert as both leader and primary violinist. And the fact that the musicians all played while standing created a sense of great vitality. Carney's genius was in making the Vivaldi quite "modern" and daringly personal. Grinning broadly Carney did an encore that left the audience questioning whether it was Vivaldi or Piazzolla. The audience was most enthusiastic at the extreme approaches as the musicians had total fun with the pieces. Yes, the Strathmore summernight performances are a great success! (Reviewed by Stephen Neal Dennis)
*****
"All Shook Up" (To 8/24) is a jukebox musical at Toby's (Columbia) inspired by the music of Elvis Presley with a book by Joe Dipietro. This tale of a roving roustabout with guitar loosely tells the story of the era using many of the songs that are connected to 1955 with a bit of Elvis thrown in. The story line is reminiscent of the prejudice and social fears of the era but also of the rock and roll that was born and prospered then as well. Toby Orenstein and Lawrence B. Munsey directed this entertaining work with a fine job of choreography by Ilona Kessell and musical direction by Douglas P. Lawler. The big show stopping number is "Can't Help Falling in Love" at the end of the first act but all of the songs will get your feet tapping. David Jennings does a fine job as "Elvis"; Lauren Spencer-Harris does adorable with a big voice, personality and tons of talent; Tamarin K. Lawler does sexy and lights up the stage with singing and dancing; Genevieve Williams does quick affection from the audience and follows with a big personality; Shaunte Tabb does an effective job which suggests much more work on the boards in the future; Andrew Horn shows the loveliest voice and gets the best applause from the audience; and David James continues in a first rate featured roll. Richard Montgomery provided an imaginative and practical setting. Janine Guilisano-Sunday designed the costumes which displayed the simplicity of clothing worn during that mid-century period. Lynn Joslin finally comes through with an improved lighting plot although the sound design by Drew Dedrick was again mediocre. This is great family fare that will provide complete family fun. (Reviewed by Nancy McCord)
*****
The 2008 Washington Early Music Festival
The concluding concert for the 2008 Festival ended with a violent thunderstorm outside of St. Mark's Episcopal Church but the delighted audience inside was entertained by music from three relatively late "early" German composers: Buxtehude, Meder, and Reincken. Buxtehude, with whom Bach was able to study toward the end of this composer's life, dominated the evening with his two sonatas and three arias. Modern Musick is a talented group of Risa Browder (violin), Leslie Nero (violin), John Moran (viola da gamba) and Donsok Shin (harpsichord/organ). Despite the excellence of the two singers Rosa Lamoreaux and Barbara Hollinshead, it was the instrumentalists who made the greater impressions during this concert. The style of the compositions emphasized the text rather than the voice singing it...this particularly limited Rosa Lamoreaux who couldn't dazzle in her typical manner. What was unusual about the pieces in this concert was that the sonata form was still in flux when these composers worked. Overall...regarding the Early Music Festival... one wishes that there might have been fewer composers presented with deeper explorations. (Reviewed by Stephen Neal Dennis)
*****
The Friends of Fasch...invented to celebrate the 250th anniversary of his death...played his largely (and quite justly) forgotten 18th century music. His work is at best seldom musically interesting so it was poor programming to match him with the vigorous music of a major composer such as Georg Philipp Telemann. Today The WEMF managed to provide excellent program information for the audience...even naming the makers of the instruments. Fasch's "Sonata in F Major" stood out because of the nature of the older instruments used which was not true of the other sonatas. The three Telemann sonatas achieved a much better quality of music. Cellist Caroline Kang got some husky or smoky tones from her 1730 instrument and was complimented by Thomas MacCracken playing the 2006 harpsichord. Telemann may have written mediocre music but it is always most interesting. He might become as popular as Scarlatti if his solo keyboard music could be adapted to piano performance. (Reviewed by Stephen Neal Dennis)
*****
The Countertop Quartet's concert at St. Paul's K Street was outstanding except for the lack of written program notes. There were seven singers and three instrumentalists. St. Paul's is a beautiful and resonant venue with a fine backup organ. The group presented 12 purely instrument pieces by Praetorius that were divided equally before and after the vocal compositions. This group manages to achieve a sonority of a much larger group with their confidence and their accurate voicings. The overlaying of voices in certain passages was stunning. The program never felt academic and mostly stayed with religious themes. Sopranos Rachel Barham and Ellen Kliman and mezzo Naomi Pomerantz were consistently outstanding and often overshadowed the countertenors and tenors in the group. But this group is really committed to entertaining an audience. (Reviewed by Stephen Neal Dennis)
The Washington Kantorei were exceptional in their presentation at the Washington Early Music Festival at the Lutheran Church of the Reformation on Capitol Hill. These 27 singers under the conducting by Dr. Dale F. Voelker managed to make German a most sonorous language...a thing of beauty! During the first part of the evening they boomed voices that seem to double the number of singers on stage with selections from Schutz, Schein, Bach and Praetorius. For the second part of the evening they were joined by musicians and lead singers, Rosa Lamoreaux (soprano), Robert Petillo (tenor), and Steven Combs (bass) in performing Telemann's "The Thunderous Ode" which proved that they could easily play intensities for full emotional effect for this religious selection. Ms. Lamoreaux was in excellent voice with perfectly clear German diction. Mr. Petillo and Mr. Combs had some difficulty with legato occasionally and they blended poorly when doing a duet. They had beautiful voices nevertheless. This church has wonderful acoustics probably because of the wooden beams...they should be encouraged to present more vocal groups in concert. There was a reasonable crowd for this concert but we would encourage attendance for the few remaining ones in this series...you will not be disappointed. (Reviewed by Bob Anthony)
During the 1960's there was a resurgence of previously unfamiliar Baroque, Renaissance and Medieval music...leading to the currently named "early music". Scores of small musical groups have sprung up...in Washington the Suspcious Cheese Lords have already achieved nearly mythical status among local choral groups especially as they provide the complex musical pleasures of early polyphonic religious music. So it was no surprise that these thirteen voices were chose to perform for Pope Benedict XVI in April. Their concert at Christ Church was an exploration of the music of German composers born as early as ca. 1480 who died as late as 1629. One factor which connected this group of composers was their lengthy service to royal or imperial courts of the Roman or Austrian-Hungarian empires. The music selected by the SCL was sung ardently, intelligently and movingly...though the most impressive selection was the three-part "Tota pulchraes" which was done in Venetian manner with the music flowing, ebbing and escalating through three distinct choirs. This group performed as part of the ongoing (To 6/28) Washington Early Music Festival...check their website for programming. (Reviewed by Stephen Neal Dennis)
Soprano Rosa Lamoreaux, one of the musical joys of Washington, and mezzo Barbara Hollinshead performed for the Washington Early Music Festival at St. Columba's Episcopal Church. Ms. Lamoreaux sang first with "Mein Herze Schwimmt in Blut" and ,even through the audience had translated texts, they preferred to watch her radiant face and attitude. Ms. Hollinshead sang "Vergnugte Ruh, beliebte Seelenlust". She emphasized the unpleasnt sentiments of this cantata but she began to exult in the Lutheran concluding aria "Mir Ekelt Merh Zu Leben". Stephen Ackert played three Bach organ compositions as bookends for the singing. The final combined number was a duet aria supported by the organ. The 4th Washington Early Music Festival will fill concer locations across the city from June 20th to June 28th. This musical show was a teaser for what's to come. Check you computer for the schedule. (Reviewed by Stephen Neal Dennis)
*****
The Strathmore Music Center was the setting for an evening of smooth jazz and more with the fabulous guitarist Earl Klugh and his five piece ensemble. The program included material from Klugh's 30-plus career as well as music from his latest album "The Spice of Life"..his first full production in nine years. Klugh has surrounded himself with some incredibly talented musicians and he unselfishly showcases his sidemen on nearly every piece. After intermission the stage was set up for three Woodrow Wilson High School students and their instructor to perform. They were outstanding and Klugh, with a smile of admiration and respect for their proficiency joined them on one tune. This was a most enjoyable evening that seemed to end much too soon. Kudos to the sound engineer. (Reviewed by Beverly Cosham)
*****
Like a continuation of the same pattern of colors of a kaleidoscope which can become boring, Joan Tower's "Concerto for Orchestra" played by the Baltimore Symphony Orchestra at Strathmore also had much too similar a progression to such patterning with its cycling and changing images. Ms. Tower before her concerto in very dry humor hinted that she regarded that the 30 minute piece should be longer actually said nothing in that time period that could not have been said more memorably in 20 minutes. This composer seemed to relish the act of composition as an unrolling of "tiny" fragments of melody into a lengthy and almost seamles series of moments. Thus her concerto has several fake climaxes that trick our ears into believing that the end is near but this is a falsely logical response to a piece of music which is inherently anti-logical. She would be an interesting composer for a film or TV score where such "climaxes" move the story dramatically. After intermission, the BSO under the baton of Marin Alsop presented Beethoven's "Symphony No. 9 in D Minor". All was fine through the first three movements of the symphony but, of course, the audience waited for the climactic fourth and final movement...the choral movement. Here things began to fall apart as the massed voices of the Baltimore Choral Arts Society were barely equal to the task before them. Generally the chorus could barely soar atop the massive orchestra and tenor Richard Clement in particular could hardly be heard during his few solo parts. The sound of the chorus was fervent but perhaps noisy rather than eloquent. Soprano Janice Chandler-Eterne's intense dramatic soprano voice substituted for the listed Oksana Krovytska. (Reviewed by Stephen Neal Dennis)
*****
Summer Opera Theatre Company's "Die Tote Stadt" (To 6/22) is totally impressive and a "don't miss" opera. The story of a man overcoming the loss of a loved one is most poignant and ends in a glorious and gripping tragic ending that was electric. Tenor Michael Hayes and soprano Kara Shay Thomson give totally flawless vocal and acting intensity to the leading roles of an ordinary man who is conflicted by his returned-from-the-dead wife who turns out to be a libertine which crashes his fantasy commitment to the living portrait of his beloved. In probably the most difficult vocal roles in opera, these two wowed the audience with their bel canto singing which made the German language libretto so totally pleasant to the ears. Yet with a rather tacky script developed by sophomoric and fanciful Eric Wolfgang Korngold and his father, these two singers are histrionically effective in giving reality to the conflicted interaction. Others in this small cast (Alexandra Christoforakis, Mark Whatley, Caitlin Budny, Sarah Greenspan, Eric Gramatges, Timothy M. Ballard and Alain LeTort) give shine to their roles although the orchestra for the first act tended to drown them out...but not true of the expert conducting of the next two acts by Mark Graf. The libretto is rather Wagnerian but the lovely music is very Puccini. The drama is definitely Richard Strauss. The plot is derivative of "La Traviata", "Madame Butterfly", "Cyrano de Bergerac and a number of movies where portraits control the action. But this production was surprising engaging as one wonders why it is not produced more often being so grand-opera-ish. This production is very enthralling. (Reviewed by Bob Anthony)
*****
The In Series concluded this year's schedule with "Fin De Fiesta" at the Atlas Theater. Carlos Cesar Rodriguez stunningly played selections on the piano and was especially affective and effective with Robet Shumann's "Carnaval, Op. 9" which presented little scenes on four notes in a style from Paganini to Chopin. The audience was in awe as he skirted across the keyboard and pumped the foot petals to give variations in pitch and amplitude. He was totally effective in the last section which was "Davidsbundler" or the "March of the Brotherhood of David against the Philistines". He has great concert style as he sways his body and softly touches the keys for the pianissimo. He started the concert with Liszt's "Waldesrauschen" and skillfully and successfully gave us the "murmurs from the forest". Probably his sweetest number was Isaac Albeniz's "Iberia, Book I: Evocacion" where he produced sugary sweet Spanish sounds that was chilling as it carried us to distant lands. The finale was "Bulerias" when the four flamenco dancers (Alissa Bernstein, Jime Coronado, Lourdes Elias and Nelson Sitton Carrillo)slithered onto the stage and started their flamenco dancing. Their first patterning was a modern dance version of this sexual dance which was followed by the more expected pounding of the feet with circular snaps. The females were more effective in the dance as the two male dancers tired too quickly and sometimes fell out of rhythm. (Reviewed by Bob Anthony)
*****
Guest conductor Thomas Dausgaard brought an affection for the densely brooding music of Sibelius to Strathmore with the Baltimore Symphony Orchestra. He had exceptional vivacity on the podium and with pianist Barry Douglas's piano playing...they drew the audience to their feet after a rousing performance of the Rachmanioff's "Piano
Concerto No. 3". It was delivered powerfully Russian to its core. Of course, Rachmaninoff always added a chromatic denseness to his music that was captured here. The pianist in his solos must have fingering of rapidly articulated chords yet have confident power and insolent sophistication...and it was all in there! This work impresses a typical American audience by its bravura passages and this conductor was insistent as Barry Douglas showed fantastic technique fully up to the demands of this concerto. After intermission the music turned to an hour of Scandinavian melancholy that was too much for some audience members who left early. Perhaps the orchestra, much needed for the Russian work, was too loud for this section of the program. (Reviewed by Stephen Neal Dennis)
*****
At Gala, Hugo Medrano is well on his way into capturing another Helen Hayes award for his sublime portrayal of Agustin Lara...Mexico's answer to Cole Porter who changed the sounds of hispanic music during the early part of the 20th century. The test of a fine actor is when he creates a characterization with no resemblance to any other roles he has performed in the past. Mr. Medrano does just that with his vivacious portrait of a "skinny, disfigured" music man who turned women on their heels as well as ripening the musical world particularly with the bolero as captured by the biographical musical, "Agustin Lara: Boleros & Blues" (To 6/29). His fellow actors also shine in this production: singers Dayan Aldana, Monalisa Arias, Anamer Castrello and Nelson Pino... and actor Carlos Castillo. Mr. Castillo neatly portrayed many associates of this Mexican music man and each one was distinctly presented. Ms. Castrello wowed the audience with her sultry voice and exuberant song delivery. Ms. Aldana and Ms. Arias too often were drowned out by a too loud orchestra but in fine fetters vocally. Only Nelson Pino was too wooden even though he had good stage presence. He also slipped into too many false notes into an otherwise smooth vocal delivery. Three of the musicians...Mari Paz, Orlando Cotto, Edward Fernandez...were exciting but it was Benjamin C. Sands on the saxophone that gave the best "honeyed" bolero sounds. Abel Lopez gave fine stage direction on a luscious hispanic set by Mariana Fernandez. Marcela Villanueva provided the finest of costuming. Brendon Vierra provided good ethnic sounds and Ayun Fedorcha again comes through with matchless light design. Jeff Will provided charmingly designed projections on the back wall. With the cost of traveling rising higher and higher, take the whole family to this delightful Spanish musical for an evening's escape. You won't be disappointed. The dialogue is projected in English in surtitles. The lyrics of the songs unfortunately were not projected so read the program so that you understand their basic content. Of course there is no problem with a few of the numbers..."Azul", "Veracruz", "Aquel Amor", "Granada", "Madrid" and "Maria Bonita". (Reviewed by Bob Anthony)
*****
Reviews Done Out of Town
Celia Sharpe covers the following New York City's 2008 Fringe Shows:
"Johnny Law Courtroom Crusader" is on the crossroads where our legal inconsistencies meets expected edginess of the NY International Fringe Festival. Tim Ryan Meinischmidt (playing Johnny) and Tom L. Fox (a true private practice lawyer) wrote this mini-masterpiece. The main character (Johnny) acts out his resume from law school to the Department of Justice and on to Public Defender then on to criminal work as private practicioner and finally into entertainment law. All of these professional elements are provide compilations in his handling a teen age drug case. Throughout his comments on our legal system are incisive as he works through the "dead end alleys" in this typical courtroom case. It would be a spoiler to say what happens but all who caught this show participated in a spirited piece of intelligent entertainment. Kudos to the director, Christopher Fessenden, and this company for an excellent production.
"Ripcords" is a dramatic musical about the silent generation of 1923-33 which proves that the group was not "withdrawn, cautious, unimaginative, indifferent, unadventurous or silent" as commonly believed. The lead Susan (Emily Skaggs) works at a wartime profiteering company making faulty "ripcords" and she suspects that one was responsible for her brother's death so she symbolically breaks loose of her own ripcord and tries to make a difference and is challenged by friends, employers and politicians. The musical is a gem with superb jazz music by Andy Cohen and lyrics by Anne Berlin. Ms. Skaggs has a bright future with her charm and talent and that "Jimmy Stewart" spunk. She will definitely be a top star on the musical stage.
Chip Deffaa has five plays being produced and luckily the N.Y. Fringe has "The Seven Little Foys". The legendary showman Eddie Foy was a character both on and off the stage. This gentle story with dozens of early 20th century songs begins with the death of his wife and ends with the death of Eddie after all of his grown children singly leave the act. It is not only good family entertainment but also family love and cohesion resonates throughout.
Movin' Melvin Brown is a one-man entertainment in his internationally acclaimed production of "A Man, A Magic, A Music". A singer and dancer as well as a comic Mr. Brown brings back the memories of the last 60 years of music. But mostly Mr. Brown is an inspiration to the spirit of music and humor which never fails as he gets everyone clapping hands and tapping feet. He brings forth one treasure after another from the bygone golden days of music. Bottom Line: Great songs, great show, great time for all.
This "China:The Whole Enchilada" is an irreverent survey of five thousand years of Chinese history running coincidentally with the Chinese Olympics. It features the Peking man, Genghis Khan, Kublai Khan, Mao, Fu Manchu and they even consider Ricardo Montalban (?). This is a true vaudeville show where anything goes. Song and dance is interspersed with puns, off stage disaster sounds and sommersaults. It is cleverly done by actors from the Orlando Shakespeare Festival. It is one of the nuttiest fringe shows even as it is politically correct.
"Tiny Feats of Cowardice" is a one woman show by Susan Bernfield. This actress, with bravery and mucho talent, shows how cowardice is real and too often ignored as if it were and unspeakable disease. She provides not platitudes but warms the subject with quaint humor and sings some great songs along the way. It makes one "feel good".
"The Deciders" covers the Cindy Sheehan conflict with President Bush after she lost her son in the war. It is a rock musical that takes its title from Bush's statement that "...I decide what's best". With rousing music this musical fantasizes putting Saddamn back on the Iraqi throne in order to stabilize the country. It ended with a rousing ovation so the audience truly "decided" what is "best".
"Revolution on the Roof...a 60's Anti-war Musical" is a true story set to the music of the time. This wonderful show reminds us that passion and truth do not have to scream to be heard, especially if they are backed up with commitments. The musical moves from the Vietnam war to the feminist movement being defined as bras are eventually thrown away.
"The Johnny" might invite comparison with a host of high school musicals. It has the high school jock who falls for the quiet self-assured girl. Of course the school nerd beats out the jock in a sports event. Kudos to the composer, the choreographer, the orchestrator and the whole technical crew.
"Down Around Brown Town" speaks clearly the bio of James Brown...the great showman. The show's only fault is that it is too short at 60 minutes even though it is an intense and engerized show. The audience is left with a "please, please" don't stop feeling.
"Usher"...as expected...is a musical based on Edgar Allan Poe's "The Fall of the House of Usher. This effectively staged production features lush music composed by Sarah Hirsh. So the Poe's talent at describing a "doomed woman" again comes to the fore. And this was a new interpretation of the classic with music a la Sondheim that intertwines with the poignancy of Phantom of the Opera. This is a very original and careful re-creation and it is done with great respect for the original detective story writer.
*****
Prescott, Arizona continues to prove itself to be the "cowboy" capital of the country. It was Cowboy Poet weekend and the air was filled with rhymes about lost or hurt animals, lost or hurt loves, and lost or hurt legendary cowboys and cowgirls. There was probably more yodeling than found on a mountainside in the Alps. There were two fine shows presented at the classic Elks Opera House...or is that "Opry"! The Saturday show was the Arizona Review which claimed "always fresh, always new, and always something unexpected". And that was certainly true as only the opening act gave us some cowfolk music. What followed was jazz, bebop, big band, heart-wrenching solos and the jazz dummer even threw in some rap. It was overall a "fun" show that was totally family oriented...actually the family members of the troupe ended the evening by packing the stage floor. It gave one a real good feeling throughout. Although Janna Bradshaw and April Manchester added top vocal talent and pulchritude, the stars of the evening were trumpeter and vocalist Steve Annibale and drummer Clyde Score. The weakest talent of the evening...although previously an award winner...was Courtney Wagner who danced finely but her movements didn't seem to correlate to the lyrics of the songs being performed....especially as she moved to "Steam Heat". Actually the whole show needed a running theme...otherwise it seemed disjointed. The Sunday show was "Music for Wonder" which was a typical variety show. The first part had the amazing talents of teenagers (Sedona Jazz On The Rocks) who showed talent far ahead of their years. The top star of that portion was the expert trumpeting by Cody Rowlands whose flugelhorn blowing was luscious. Remember this name, jazz fans! The second part of the show had some quaint Indian pipe music by Michael Goodluck who received the most appreciative applause. Liz Story took the top spot with her divine piano presentations. She will only play her original compositions and the "Church in the Trees" had the jazziest flavor throughout. Her other selections edged on classical soundings and her new Zodiac presentations are not unlike Chopin in their runs and nuances. Ian Russell painted the backdrop for this show which was a collage musical scene. Otherwise he paints some very dramatic canyon scenes which are challenging and most intriguing. Jim Antonius' superb glass work can now be seen at the Grayleaf Galleria. He now features glass with copper inlays that is most unique in addition to his stunningly colored vases and art pieces. (Reviewed by Bob Anthony)
*****
Bob Anthony covers museums and the Dallas Aquarium. First off, the must-see venue is the Dallas World Aquarium. It is the most exotic place ever experienced as one walks down the three level ramp and moves from a rain forest at the top level with all of the multi-colored birds, animals and flora and into the lowest level where the finest salt water and river waters' flora and faunas from all over the world are amassed. The most delightful is walking through the shark tunnel as all of the tame and man- eaters swim around one. There are two major restaurants and lots of side cafes with plenty of reception rooms for parties which provide unmatched surrounding scenery, of course. Naturally one would like to buy one of each item in the large gift and book shops. Definitely put this one on your travel agenda when in the Big D! The Dallas Museum of Art has a most varied group of galleries. Presently the Julian Onderdonk exhibit shows the finest impressionist work of this San Antonio artist. His "Spring Morning of Blue Bonnets" is an electric look at fields of the Texas blue bonnet flowers. He does wonderful figuratives as well as seen in his delightful "Blue Bonnets with a Girl". He was a student of William Merritt Chase and some of the master's works are also displayed for contrast. Another temporary show is Sara and Gerald Murphy's "Making it New" which is rather avant garde and not particularly moving artistically. The huge permanent collection is highlighted by Bouguereau's huge madonna of Notre Dame and Rousseau's "Charcoal Burner's Hut". Particulary impressive in the hispanic section is Luiz Alfonso Jiminez's "Southwest Pieta" of a long haired Spanish Indian Mary caressing a long haired dead Jesus. Its lines are spectacular. The Southern Methodist U. Meadows Museum has glorious religious paintings throughout. Presently on loan from the University of Arizona is the Fernando Gallego Workshop's iconic paintings detailing the life and death of the Christus. The glorius colorations are paradaisal throughout the collection. The most impressive Italianate styled one is "Christ and the Samaritan Woman". The most shocking one is "Acacius and the 10, 000 Martyrs on Mount Ararat"...all hanging from crosses. The African-American Museum is the newest museum in a most inviting building but rather lacking in a permanent collection. Most of the space is used to give a history of Blacks in the Dallas area and highlighting the destruction of a Black cemetery when a major expressway was put through the city...a shameful event. There were furniture and other household items made by Blacks and lots of photos of social and school groups. A special showing of religious primitives was totally delightful especially the portraits of the different angels all in most of the paintings.
Fort Worth has the most impressive collections starting with the traveling show at the Kimbell of impressionists' master paintings from the Art Institute of Chicago. It was wonderful to see Van Gogh's "bedroom" again after many years...what a genius in perspective painting. The museum was totally packed as it is the most popular show in town and Texas. The casette recordings were especially well done with environmental sounds in the background....train noises for the "gare" paintings, etc. The permanent collection was extra fine for the Kimbell with such scuptors and artists as Maillol, Donatello, Matisse, Munch, Boucher, George Stubbs, Poussin and Latour. The finest was, of course, Borromeo's "terra cotta" of "Madonna and Child". The
