Truth versus Illusion

I’m very happy to see that Mr. Porter over at his blog has offered a bit of commentary and analysis on the current slate of plays that have flooded Richmond (yes, that’s a subconscious rain reference…). His post is the kind of thing that I have hoped to write on this site and maybe sort of used to before I lost the ability to hold a single train of thought sometime in the last year. So, if you used to come here for that kind of thing, the erudite and experienced Mr. Porter may be picking up that mantle and I encourage you to check back with him often to see if he keeps it up.

John also has the first published review of “Smoke on the Mountain Homecoming” that I’ve seen up on his site. It’s a rave, in case you were wondering.

As Mr. Porter alludes to in his commentary, the reviews of “The Beebo Brinker Chronicles” have not been as favorable as RTP might have hoped. However, it’s worth pointing out that the GayRVA reviewer had many good things to say. You’ve got another couple weekends to go out to RTP’s still-new theater and make up your mind for yourself. And to see Matt Hackman's bare backside.

I’d say you have one more weekend to catch “Virginia Woolf” but it looks like the folks at the Firehouse have another sell-out on their hands so if you haven't seen it, you are probably out of luck. Congrats to all concerned, particularly director Rusty Wilson who I know put a lot of heart and soul into the show.

Bumped for Beebo

Mr. Griset's review of "The Beebo Brinker Chronicles" is in this week's Style. I haven't seen the print edition yet but I'm not seeing my review of "Shipwrecked!" online so maybe it'll be in next week. Oh well.

Theater and TV

Have you heard that the cast of “The Sound of Music” movie will be reunited on Oprah? That should be pretty cool. In fact, just seeing Julie Andrews and Christopher Plummer together will be kind of amazing. Of course, if you want to hear some music from the show, you just have to go to the Critics awards on the 17th. Have I mentioned that tickets are for sale?

If you are one of the few “Fringe” fanatics out there (which I am), you may have been particularly tickled by an aspect of the season premiere last week. Set in an “alternative universe,” the show’s main character traveled around the entire episode in a taxi that had an ad for a “Broadway smash hit” called “Dogs.” It was a small detail, and maybe a little dated in its reference, but I chuckled just the same.

And of course, “Glee” also premiered last week, with another drop in from a well-known Broadway star, Cheyenne Jackson (looking like he’s going to be a season bad-guy as coach of Vocal Adrenaline). I enjoyed the premiere – particularly the self-parodying interview segments at the beginning. As far as performances go, I liked the contemporary numbers – especially the first version of “Billionaire” where I understood most of what was sung – way more than I liked Lea Michele’s “What I Did for Love.” Don’t get me wrong – I still love little Lea. But if the over-the-top emoting that characterizes that song was supposed to somehow touch my heart, well, it failed pretty completely.

The latest show at Hanover Tavern, “Smoke on the Mountain Homecoming,” is perhaps as far removed from that ironic, pop culture saturated TV show as possible. But I was at opening night on Friday and it was very entertaining, featuring some great performances most notably from the understated Eric Williams and the endearing Billy Christopher Maupin. I’m not sure why there hasn’t been a review in the T-D yet. Mine should be in Style next week. Until then, you’ll just have to accept my capsule comment that it’s a show well-worth making the trip out to Hanover to see.

And I have to apologize to the great folks out at Sycamore Rouge for not even mentioning the 24 Hour Experience that happened this past weekend. It sounded like a great time and I wish I had been able to make it down there for it. Maybe next time?

The reviews keep coming

This week's Style has Mr. Griset's review of "Who's Afraid of Virginia Woolf?" and Richmond.com has one for "Shipwrecked!" I also picked up a Grid magazine today that had Bruce Miller's smiling face on it and an article about, among other things, "Ferdinand the Bull." That'll be another show added to the fray before you know it. How's a guy supposed to keep up?

Oh, and Grid was nice enough to post a listing of the RTCC nominees along with a great pic from last year of our beloved JB Steinberg at the podium with the Mayor. Gotta love Grid.

UPDATE! Here's another one, Mr. Porter on "Shipwrecked!"

YET ANOTHER UPDATE! Here's Mr. Porter on "The Foreigner."

When you're up late, might as well post

Ms. Haubenstock at the T-D has been busy, with two reviews showing up over the last two days. Yesterday, she weighed in on "The Foreigner" at Swift Creek Mill and today you'll find her take on Barksdale's "Shipwrecked!" in the pages of your local edition.

And if you want another perspective on "Beebo Brinker" at RTP, Mr. Porter's review is up on his site.

The openings just keep coming this week, with "Smoke on the Mountain Homecoming" out at the Tavern this weekend. Gotta love a town with so much theater!

Beebo

Just about to crash after a fine time at Barksdale's "Shipwrecked!" but happened to pull up Ms. Haubenstock's review of "The Beebo Brinker Chronicles" before logging off. Check it out!

Too Many “Cooks” Enhance the Broth

As usual, there are about a million theater-related things to talk about. Half of the time I get a second to write a blog post, I’m too overwhelmed to settle on one thing so I write nothing. The other half of the time, well, there really isn’t any other half. So let me just spew everything that’s on my mind (at least the theater-related stuff):

Among the openings this week are “The Foreigner” at Swift Creek Mill. Richard Koch is a treat in anything and everything and I expect he’ll be fantastic in this as well. Fresh face Jay Welch is also starring here. Mr. Welch was one of the many exceptional parts of “Take Me Out” last season and so also should enliven this production.

Speaking of RTCC nominee Koch and oft-nominated “Take Me Out,” have you reserved your seats for the awards yet? Don’t dawdle. Sure, the balcony seats at the Empire are great but they are further from the bar. Just saying…

And speaking of “Cook” – don’t let all of the other openings stop you from squeezing a visit in to see Larry (and Laine and Jonathan and Amy) amaze you in Firehouse’s “Virginia Woolf.” Were you one of those people annoyed because you couldn’t find a ticket to “Rent?” Don’t let it happen again!

I’ll be checking out “Shipwrecked!” tonight and have been enjoying the pictures from the show popping up on Facebook lately. Where’s that T-D review of “Beebo Brinker” at RTP though? Is there one in today’s paper? I haven’t seen one online.

What I have seen online is some positive notes on Jordin Sparks who recently started her run in “In the Heights.” They ask the question in this article about whether I’ll be running out to see the show because of Ms. Sparks. Personally, it wouldn’t take Ms. Sparks’ appearance to inspire me to see it again. I loved this show and if I’m lucky enough to have an excuse to get up to NYC again this year, I’ll see it again, with or without Sparks.

While perusing EW online, I found this review of “Chess” at the Signature. I don’t know that I’d like this show – saw a community theater production once and agree with the EW reviewer about the clunkiness of the whole conceit – but I’m fascinated that a regional theater like the Signature now warrants coverage in a national magazine. What would one of our Richmond theaters have to do to garner that same attention? Send a show to Broadway? Play host to a Broadway-bound workshop? Win a Regional Theatre Tony Award? Not sure what exactly it would take but would love to see it happen.

Mondo and Beebo

Mr. Porter added his rave to all of the others I've been hearing lately about Firehouse's "Virginia Woolf." I thought the Style review might come out today but I'm not seeing it online and haven't picked up the hard copy yet. We'll have to stay tuned for that one.

One thing that I think is interesting about Richmond actors is how often they are underestimated. There are a score or more folks who have been acting in town for years -- decades for some of them -- and you tend to forget how good they are because they have played so many supporting or ensemble roles where their skills are not necessarily front and center, or they often play relatively 2-dimensional characters in big musicals or something. But when they are thrust front and center and given something really meaty to dig into, they deliver the goods.

Having watched him for years in parts big and small, I am not surprised that Larry Cook is knocking it out of the park in "Virginia Woolf." This is an actor that is clearly still learning and growing even though he's been around the block a few times. Similarly, I was reminded how good Andy Boothby can be when I saw "On Golden Pond" last month. He only had one big scene but I thought he really made it count. Gordon Bass has played so many roles I expect his resume runs to 10 pages or so. But I heard people (ok, critics -- they still qualify as people right?) talking about him with renewed respect after "Fool for Love." I felt the same way after seeing him in "How I Learned To Drive" many years ago, something along the lines of "this kid's show regular can really act."

I guess I'm feeling a little extra affection for the somewhat older generation of male actors in town because a) they are doing such excellent work and b) because I'm so clearly becoming one of the "older generation" myself.

Anyway, to change the subject to something completely different: how about that cast for RTP's "Beebo Brinker Chronicles?" Emma Mason and Matt Hackman are one of the hunkiest acting couples in town right now (can we give them a cute moniker like "Emmatt?") and Heather Falks and Kerry McGee are pretty darn easy on the eyes as well. I'm sure the show will be compelling in all of the ways its supposed to be but, knowing only the basics of the plot, I'll mostly be going to ogle the cast (see, not only am I now an old man, I'm a dirty old man!) Opening night's tonight -- don't miss out!

Was it awesome?

So last night was opening of Firehouse's "Who's Afraid of Virginia Woolf?" which has a simply spectacular cast and is directed by the inimitable Rusty Wilson. I've heard from one person who said it was amazing. I would expect nothing less.

The show kicks off a fall season that is literally littered with 'must-see' shows. Which is my way of saying Don't Hesitate! Two weeks from now you'll have 4-5 shows to pick from, not to mention the "24 Hour Experience" down at Sycamore Rouge, and you're going to be sad when you can't fit them all in. So make plans now!

UPDATE: Ms. Haubenstock has weighed in on "Woolf." Looks like a winner!

Fall Arts

Style’s Fall Arts issue is out. Check out the whole thing (of course) but you might be interested in the theater preview, specifically, and maybe the article on comedy that focuses on a couple local improv troupes.

Question and Explanation

I appreciate Bruce Miller’s take on this year's list of RTCC nominees. Previous years’ awards have generated their shares of quibbles and cries of outrage, much of it fairly vociferous. I’d rather read something well-composed and coherent like Bruce’s post than hear the nasty secondhand rantings of someone who feels slighted. Criticism of the awards has been overwhelmed – at least in my estimation – by the outpouring of thanks and appreciation at the good faith effort the RTCC has put into the process. As I said after the awards last year, my favorite choices do not always get nominated and my favorite nominees do not always win, so I understand the feeling of disappointment. But that disappointment fades quickly when confronted with the joy and celebration that permeates the night of the awards themselves. Sure, the hockey pucks are the excuse to get together but the party is what makes it worthwhile.

If you’ll forgive me some collective back-patting, I think the RTCC did a pretty good job this year. Numerous exceptional performances and productions are recognized and beyond that, the list is more inclusive than in previous years. Convening as a group of 8 this year, the RTCC spread 100 nominations out between 32 productions (by my count) versus 99 noms among 27 shows last year. It may not seem like it when you consider the large number of noms that some shows received – and the unfortunate shutout of others – but I do think we’re getting better at this.

Having said that, there are two issues that Bruce touches on that I think are worthy of some discussion. (Disclaimer: I am only one critic among the 8 that make up the RTCC so nothing I write here should be construed as the official word of the RTCC. It’s all just my personal thoughts, recollections, considerations…etc. etc.)

First, the “best versus best supporting” issue. The RTCC has had to make these kinds of calls in the past as well. When is a role supporting, when is it a lead? Sometimes it’s obvious. However, in shows like “Putnam” or “Rent,” there are judgment calls that have to be made. In general (and in my opinion), the RTCC has been guided by the desire to recognize as many performers as possible. For instance, 6 actors were nominated from “Putnam.” If all of their roles were to be considered “Supporting” (which for an ensemble show like “Putnam,” that is certainly a valid argument), not nearly as many performers would have been nominated. Ours is not a perfect system but one that is approached with generosity, not scientific precision.

As I understand it, other awards organizations accept “for your consideration” applications for nominations. In these cases, a network or a producer or a studio decides which roles are leading or supporting and then they submit their suggestions for nominations. There has been talk about asking theater companies to do that here in Richmond. There has been trepidation that companies that are already understaffed and overworked – or that really don’t give a rip what the RTCC nominates – wouldn’t put the time or effort into putting together a list. So then the RTCC might be left with a situation where a production was particularly outstanding – or an individual performer was particularly exceptional – but no application for nomination is received and so they are left out.

So I ask you, all half-dozen or so of my semi-loyal readers, what do you think? Should theaters be asked to submit a recommendation to the RTCC for productions / designers / actors to be considered for nomination in specific categories? That would allow for an easy answer to the question “why is xx being considered for lead when his/her performance was a supporting one?” And it would certainly make the RTCC’s job easier. Chime in and let me know.

Next up: an answer to the Joe Inscoe question. Joe gave an amazing performance in “On Golden Pond,” recognized as exceptional by everyone I talked to. I didn’t see him in “Shining City,” but the other RTCC critics also raved about his work in that show. The group has not shied away from nominating someone twice in the same category – see Kniffen, Direction; Barker, Set Design; Hartman, Lighting Design -- so why not two for Joe?

Well, coming up with a final list is usually a zero-sum game: nominating Joe a second time would have meant dropping someone else from a category we were already tying ourselves in knots trying to pare down. There were several exceptional performances we had already reluctantly trimmed from the list. And then who could have been dropped from among the eventual nominees: the electrifying Zukerman? The hilarious Koch? The dynamic duo of Hackman and Brown? The fresh new Bloch, shining in a challenging role? The previously-passed-over Cole who made an oft-played role real and vital again? As a group, I believe we felt we had already given up so much, we were not going to give up any more.

So Joe’s “OGP” performance was not recognized. But his exceptional work in other shows was. Again, it may not be perfect but it seemed like the right thing to do.

Finally, I hope no one is picking up a sense of defensiveness in what I’m writing because I am really not feeling defensive about any of this. Mostly, I feel like there are some things that people deserve at least some explanation for – as well as many other things that will remain the result of the mysterious alchemy that is the RTCC. Even more so, I hope that, whatever you feel about the names that will be listed in the program, you will come out to the awards and support the scene in general, and the Theatre Artists Fund specifically. If it’s anything like the past two years, it’ll be a heckuva party.

A little help

Please note that the initial listing of nominees had misspellings for Christina Billew and Leilani Mork. Sorry for the mistakes.

Also, the RTCC has no budget, time or man- (or woman-)power to contact all of the nominees to let them know they've been nominated. If there are people you know who are internet/facebook adverse or don't know about these awards or for whatever reason may not know they've been nominated, can you please contact them?

Many thanks.

Nominees for the 2010 Richmond Theatre Critics Circle Awards

The nominees have been chosen!

As with previous years, this list is going to make some people happy, others sad, and many confused. There is plenty of time for more commentary on all of that sometime soon. I’d like to extend my congratulations to everyone listed below but also let everyone else know that there were some very hard choices made to assemble this list. And a couple of categories where deadlocks could simply not be broken, which is why you'll see 7 nominees in the Best Actor in a Play category. Even so, several worthy people and productions were left off.

The participation of Dan Sherrier from the Hanover Herald-Progress and Rich Griset from Style broadened the collective perspective the RTCC brought to the process. But that still doesn’t make it perfect. We continue to strive to improve and be as inclusive and representative as we can. There were some really exceptional productions this year. These awards continue to be a vehicle for recognizing those while at the same time celebrating the breadth and depth of the entire Richmond theater scene.

The awards gala will be at the Empire Theatre again this year, 7pm on Sunday, Oct. 17th. Tickets are now available for $15 on the Barksdale and Theatre IV websites. Hope to see everyone there!

And the nominees are...

Best Musical
Rent (Firehouse Theatre Project)
Scrooge in Rouge (Richmond Triangle Players)
The Sound of Music (Barksdale)
Souvenir (Barksdale)
The 25th Annual Putnam County Spelling Bee (Barksdale)

(“The Sound of Music” is referred to as “SOM” hereafter, “The 25th Annual Putnam County Spelling Bee” as “Putnam”)

Best Direction (Musical)
John Glenn, Souvenir
Chase Kniffen, A Christmas Carol
Chase Kniffen, SOM
Steve Perigard, Putnam
Shon Stacy, Scrooge in Rouge

Best Actor (Musical)
Ford Flanagan, Putnam
Joe Inscoe, A Christmas Carol
Jonathan Spivey, Souvenir
Eric Stallings, Putnam
Durron Tyre, Rent

Best Actress (Musical)
Stacey Cabaj, SOM
Lauren Leinhaas-Cook, Scrooge in Rouge
Joy Newsome, Rent
Debra Wagoner, Souvenir
Aly Wepplo, Putnam

Best Supporting Actor (Musical)
Steve Bochen, Scrooge in Rouge
Michael Hawke, SOM
David Janeski, A Christmas Carol
Matt Shofner, Putnam
Antonio Tillman, Rent

Best Supporting Actress (Musical)
Jaci Camden, Rent
Kara Harmon, SOM
Audra Honaker, Putnam
Susan Sanford, SOM
Debra Wagoner, Putnam

Best Musical Direction
Sandy Dacus, SOM
Deborah Lynch, Scrooge in Rouge
Jason Marks, A Christmas Carol
Leilani Mork, Rent
R.L. Rowsey, Souvenir

Best Choreography
Willie Hilton, Black Nativity
Ana Ines King, Boleros for the Disenchanted
Maggie Marlin, Rent

Best Play
Boleros for the Disenchanted (Barksdale Theatre)
Fool for Love (Cadence Theatre Company)
Take Me Out (Richmond Triangle Players)
Shining City (Henley Street Theatre Company)
Servant of Two Masters (Henley Street Theatre Company)

(“Boleros for the Disenchanted” is referred to as “Boleros” hereafter. “Servant of Two Masters” as “SOTM.”)

Best Direction – Play
Julie Fulcher-Davis, Facing East
Bruce Miller, Boleros
James Ricks, SOTM
Scott Wichmann, Take Me Out
Bo Wilson, Shining City

Best Actor – Play
Matthew Bloch, Butterflies are Free
Ronnie Brown, Take Me Out
Jeffrey Cole, The Crucible
Matt Hackman, Take Me Out
Joe Inscoe, Shining City
Richard Koch, SOTM
Robert Zukerman, Sex, Drugs, Rock and Roll

Best Actress – Play
Patricia Duran, Boleros
Kelly Kennedy, On Golden Pond
Cynde Liffick, Elizabeth Rex
Jennie Meharg, A Doll's House
Melissa Johnston Price, Facing East

Best Actor in a Supporting Role – Play
Gordon Bass, Fool for Love
Larry Cook, Shining City
Jimmy Glidden, Take Me Out
Joe Pabst, Is He Dead?
Eric Williams, Bus Stop

Best Actress in a Supporting Role – Play
Christina Billew, SOTM
Jacqueline Jones, New Century
Maggie Marlin, Boy's Life
Jody Strickler, Greetings
Carmen Zilles, Boleros

Best Ensemble Acting
A Doll's House, Henley Street Theatre
The Crucible, Sycamore Rouge
Jar the Floor, Sycamore Rouge
Crowns, AART / Barksdale
The Mystery of Irma Vep, Swift Creek Mill Theatre

Best Locally-Developed Work
A Christmas Carol (Theatre IV)
Full Plate Collection (Independent)
Jack in the Beanstalk (Theatre IV)
Song of Mulan (Theatre IV)

Outstanding Achievement in Costume Design
Lindy Bumgarner, The Crucible
Rebecca Cairns, SOTM
Rebecca Cairns & Ann Hoskins, Twelfth Night
Sarah Grady, SOM
Sue Griffin, Souvenir

Outstanding Achievement in Lighting Design
Brittany Diliberto, The Crucible
Joe Doran, Mystery of Irma Vep
Lynne Hartman, Boleros
Lynne Hartman, SOM
David McLain, Sex, Drugs, Rock and Roll

Outstanding Achievement in Set Design
Brian Barker, Boleros
Brian Barker, SOM
Eric Kinder, I'm Not Rappaport
Betsy Muller, Is He Dead?
Terrie and David Powers, On Golden Pond
Keith Saine, The Crucible

Outstanding Achievement in Sound Design
Derek Dumais, SOM
Derek Dumais, Putnam
Julie Fulcher-Davis, Take Me Out
Steve Organ, Sex, Drugs, Rock and Roll
Brett Zwerdling, SOTM

Liz Marks Memorial Award for Ongoing Contribution to Richmond Area Theater
Neil and Sara Belle November

Alternative to Debbie Downer?

I realized today that coming back after not posting for nearly 3 weeks with a post that was a little sour was not exactly the way to entertain readers. Sorry about that. It's the danger of posting on the Monday after your birthday. You have that after-Birthday letdown intensified by the Monday after work crushed-by-the-machinery-of-life feeling. Note to self: don't start composing ANYTHING on a Monday evening.

I'm also curious: is there a snappy alliterative name for someone who is the opposite of a Debbie Downer? Ulysses Upper? Howard Happy? Helga Hopeful? Octavius Optimist? Hmmm...

I hope both of my readers haven't been scared off by my downer attitude and/or my lack of posting for several weeks. Because there will be some fun news coming up before too long. The opening of "The Fantasticks" marks the end of what the Richmond Theatre Critics Circle is calling the 2009-2010 season. So that means nominations for RTCC awards are due soon. It takes a while for that magic to happen so I can't say exactly when but expect something before Labor Day.

Speaking of "The Fantasticks," here is a link to my review. This will be the last review from me for a while so it was nice to be able to write a nice one. My mom accompanied me to the show and exclaimed afterwards that she was glad I was her son because I brought her out to see little gems like this production, something she wouldn't even have heard of otherwise. Theatre: still bringing families together...

For me, the show put me on notice to make note to go see whatever dance or theater performance Taylor Daniels is in next. What a lithe and agile dancer he is!

Also, I realize I haven't said anything detailed about "On Golden Pond" which closes this weekend. A more expansive post about that show has been percolating in my head for weeks. I'm hoping I might be able to download that on to virtual paper this week. We'll see...

Old

I am one year older as of last weekend. This blog is filled with old information. The summer (and its heat) is getting old. The plays that are out there right now are old: "Fantasticks" is 50 years old and OGP is not only 30 years old but also mostly about old people. Oy.

I'm hoping the start of school and concurrent focus on the young and educatable will knock me out of this oldness funk. In the meantime, I guess one could think about the young lovers of "The Fantasticks" and find energy in their summer love. For more on the topic, check out John Porter's review of the Cadence Theatre Production and/or Susan Haubenstock's review. My review should be in this week's Style so I'll have a link to that soon. (A new link!)

Style times three

Style did that thing last week where they slip an online review out there at the end of the week. I didn’t notice Rich Griset’s critique of “Company of Angels” until today. In the print edition this week, you should be able to find reviews of Barksdale’s “On Golden Pond,” also by Griset, and a preview of this weekend’s “As You Like It” by Theatre in Battery Park. Three theater pieces in a week is a pretty nice profusion from Style and a timely response to all of the stage activity this summer. We’ll see if that carries over into the Fall…

Chatterbox

Jason Mark’s appearance on Seth Rudetsky’s Chatterbox is now available online. This is a link to the entire show – Jason doesn’t show up until about 13:30. But it’s worth checking out another version of “Take Me or Leave Me” from Rent that starts the show. As good as Joy Newsome’s and Jaci Camdem’s? I’ll let you be the judge.

I love the “builds character” quip. Way to go, Jason! And if you want to follow Jason's New York adventures, be sure to check out his blog (soon to be added to the left-hand side of this blog).

Who could possibly keep up?

Clearly, Richmond did not get the memo that summer is supposed to be “down time” on the stage scene. Or perhaps theater companies have finally realized that a lot of the people that spend $10+ on movie tickets during the summer really just want to get out of the heat and would just as readily pay that (or a few dollars more) to see a play? Hm. Not sure about all of the motivations but there continues to be too much theater around here for me to keep up with even a fraction of it. “Midsummer” at Sycamore Rouge is ending up passing me by. “Pippin” at Dogwood Dell looks great and that’ll also fall by the wayside for me. And these are the free shows! Oy. Just because I can’t go doesn’t mean you shouldn’t so grab a lawn chair and get out there before it gets too late. I’m just glad I slipped in to “On Golden Pond” last weekend because it’s looking like it’ll be going the way of “Rent” and selling out a lot of the rest of its shows.

Opening this weekend, “As You Like It” will be the first offering from Theatre at Battery Park, also a free show and also with a great looking cast. I have hopes of getting out to my former stomping grounds on northside to take this one in…and hopes that temperatures might moderate from the forecasted upper 90s so that it’s not such a steamy evening.

While family obligations prevented me from trucking down 95 to Sycamore Rouge last weekend, they dovetailed perfectly with me going to see the workshop production of Julie Fulcher’s “Company of Angels.” One way or another I was NOT going to miss this show; I’m still kicking myself for letting one of the big events of last season – Bo Wilson’s home-grown musical “Mona’s Arrangements” – pass me by. One of the most exciting parts of this production has little to do with the show itself. As RTP’s Artistic Director John Knapp writes in the program, “RTP [is entering] a new realm in nurturing, through workshops, world premiere plays and musicals in what we promise to be an ongoing series.” Along with the Firehouse’s Festival of New Plays, this adds fuel to the growing fire of theatrical innovation and discovery in Richmond.

Of course, there’s also plenty to be excited about as far as “Company of Angels” goes. Ms. Fulcher has crafted some great songs in support of a fresh and innovative plotline. And, as the show’s director, she’s brought some great performances to the stage. This is a show that offers unexpected gifts almost constantly. Terri Moore and Scott Melton are a hoot from the very beginning and provide a solid foundation of vocal talent and comedic hijinks. They engage in a hilarious battle with Diva and her Divanettes, led by a big voice with an even bigger attitude, Chloe Williams, and supported by the energetic Andrew Etheridge, Georgi Hicks, and Leah Hicks. The Hicks girls are cute as a button with Leah in particular lighting up the stage with her animated expressions. Mr./Ms. Etheridge is just not-subtle enough in his/her pursuit of fellow angel, James.

I also loved the antic Jason Campbell as Robert (not Bob or Bobby!) But just when you think it’s all fun and games, Robyn O’Neill and Tyler Houchins (as Toby and Joey) are as honest and poignant as all get-out in their tear-jerking second-act scenes. Not every aspect of this show thrilled me but the vast majority of it did. And among the most subtle yet still delightful things was how Toby’s relationship with a female partner was kept in the background, it’s exact nature needing neither to be explicit nor hidden.

All in all, it is a very polished effort for a “workshop” and I will be intrigued and hopeful about its prospects for the future. Congrats to Julie and her whole crew!

Did you hear it?

Casa Timberline was power-free most of the night last night so I was not able to tune into Jason Marks' debut in NYC. But there were Timberlines in attendance who said he was awesome. Way to go, Jason! I'm looking forward to getting more details today.

The storm/power outage also scuttled my plans to head to Sycamore Rouge's "Midsummer" last night so I'll have to try again this weekend. Only 2 more performances!

Update! As people have commented, "Midsummer" actually runs through next weekend too. Since I can't see it next weekend, only two more chances for me to see it (yes, again, the critic thinking the world revolves around him...) Sorry for the confusion.

A to Z

Congrats to the folks at the Firehouse who have sold out the rest of the run of their summer production of “Rent.” I’m glad I got to see it when I did or else I’d be crying in my beer now.

When I first starting writing reviews I invested in a handy little reference book called “Shakespeare A to Z” that has information on all aspects of Shakespeare, historical background, biographical context and fairly detailed analyses of his plays. After attending “Antony and Cleopatra” on Sunday, I pulled it off the shelf and saw that it calls the tragedy “one of Shakespeare’s most complex and rewarding plays.” While I have found the book to be very useful, I only half agree with this assertion.

Based on the Richmond Shakespeare production of “A&C,” which is the only production of the play that I’ve seen, the work is complex but also often crosses the line over into downright confusing. Without the summary in the playbill, there would be no way to follow some aspects of the action. As just one example, after intermission two relatively major characters (Pompey and Lepidus) essentially disappear. I believe there is some reference to their deaths but, still, I found their absence pretty jarring (particularly given Nolan Carey’s fine work as Pompey). The shifts in time and place throughout the play – not to mention the attitudes and affections between the characters – are often surprisingly abrupt.

As far as rewarding, I agree to the extent that, when you are faced with a challenge and you overcome it, it feels rewarding when you are done. But not everyone wants to face a challenge when they go out for a night of theater. I appreciate the challenge that this play represents – the complicated counterpoints between public and private, West and East, sexual and political, comedy and tragedy, love and power. But I have to agree with a couple of my critical colleagues when they’ve pointed out ways that the production falls short of making the process a thorough delight. But I also disagree with some of the points made, both positive and negative.

Mr. Griset of Style pointed out that the play presents pretty unique staging demands – numerous locales in different countries, not to mention a naval battle and some final dramatic action at Cleopatra’s monument. Tucking the monument back into a corner of the stage removed from the audience did seem an odd choice. It seemed to throw off the dynamics of the whole scene.

In some ways, this dovetails with Ms. Haubenstock’s mention of the off-kilter goofiness of some of the scenes. In general, I believe director Bob Jones played up the comic elements of Cleopatra’s character. This was most jarring to me in the run up to her death and the introduction of the “rural fellow.” I understand that there might be elements of comedy in this scene but it’s undeniably tragic as well. In my mind, comedy in this context should be pretty dark not necessarily slapstick.

I also have to agree with Ms. H when she points out the costuming. There were some nice elements – Octavian’s striking red gown was one and the Roman robes flowed grandly. But the soldiers’ outfits in particular were either ill-fitting (they all seemed too small to me) or just ill-considered. The Cairns/Hoskins duo has been able to evoke grandeur in the past but fell short here. Nice work on the lights, though a lighting designer wasn’t listed in the program.

Unlike Mr. G or Ms. H, I had issues with Zach Brown’s Enobarbus. While his smoldering stare was impressive, I didn’t believe him as an expert soldier and right-hand man. He did fine work with his regretful laments near the play’s end, though.

I also thought David Bridgewater and Shirley Kagan had a good amount of sexual zing between them. However, I go back to feeling like Kagan ended up being undercut by the emphasis on comedy in her scenes. There is some ironyin this: an actress playing one of her servants, Sarah Jamillah Johnson, proved that comedy could be sexy in her portrayal of Beatrice in “Much Ado About Nothing” earlier in the RichShake’s season (both she and fellow handmaiden Bonnie Morrison are delightful). Kagan has a bigger challenge here – she has to be sexy, funny, dynamic, and domineering. It’s a role that I don’t think many actresses could really conquer and she doesn’t seem to get much help in the effort from her director.

What is pretty undeniable is the strength of Bridgewater’s portrayal of Antony, which is certainly to be expected given his long and impressive body of previous work. He brings formidable physicality to his performance and has a strong growling voice that lends energy to his later scenes. Still, it is the chill in his delivery of simple lines like “I have thee” when he embraces Caesar or the naked emotion of “He makes me angry” that is the most bracing.

In the end, I was glad to have seen “A&C” though it may not represent RichShakes’ best work. Even when their shows aren’t stellar, they always have at least a few elements that I find myself remembering with appreciation later on.