tag:blogger.com,1999:blog-291753062024-03-07T17:46:45.288-05:00Dave's Theater BlogA view of theater in Richmond, VA, and occasionally other places too.Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.comBlogger1137125tag:blogger.com,1999:blog-29175306.post-33867874931344073672022-11-30T12:34:00.004-05:002022-11-30T12:43:48.400-05:00Birthday Dozen: A Tribute to the Guy who Deals the Cards<h3 style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEivyDwS5SBzRvZ7LSMovvQR60N0tQLOZuTz7UabKlv-mdMd18F1x8S1g_XJWRAPf6D1-Spdo_lYaVE7QUrQ0MFKZeXf5JMdApjP6YaCp0uwXkevb3SCKa86QJ2wLH6oo3wOVYkC_7aFYAIsxxPXCmor3ujJ2EACcy4ZNCVb3godA-dGAq3AzoE" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="461" data-original-width="782" height="236" src="https://blogger.googleusercontent.com/img/a/AVvXsEivyDwS5SBzRvZ7LSMovvQR60N0tQLOZuTz7UabKlv-mdMd18F1x8S1g_XJWRAPf6D1-Spdo_lYaVE7QUrQ0MFKZeXf5JMdApjP6YaCp0uwXkevb3SCKa86QJ2wLH6oo3wOVYkC_7aFYAIsxxPXCmor3ujJ2EACcy4ZNCVb3godA-dGAq3AzoE=w400-h236" width="400" /></a></div></div><br /></b><b>Admiration comes in many flavors. </b></h3><div><br /></div><div>You admire people who do things you don't do and could never do, your Usains Bolt or Simones Biles. You admire people who do the things you do but much better than you could imagine doing; for me, that's your Franks Rich or Kurts Vonnegut. </div><div><div><br /></div><div>Then there are people who do whatever they do with a specific style or elan that makes it iconic; the list here could veer all over the place but I'm thinking Frank Sinatra, David Bowie and Prince all make the grade.</div><div><br /></div><div>I admire Cranky Pete on all of those levels, and more. He's a writer, he's a poker player, but mostly, he's an iconic example of the post-modern intellectual who doesn't need misogyny to prove his manhood. More importantly, he's a genuinely great dude.</div></div><div><br /></div><div>Any time spent in Pete's presence is time well spent. Even when the cards he's given me have been shit, the dealer has been gold. Hanging with him and the boys online over the pandemic was a lightweight but steadfast anchor to the world of human connection for me, and I expect for most of those involved.</div><div><br /></div><div>It takes a strong center of gravity to hold members of a community in each others' orbit instead of flinging off into different directions like random asteroids plummeting through the void of space. Pete provides that center. I admire him for it, for his persistent sardonic humor, and for his talents both artistic and literary. </div><div><br /></div><div>But not for his poker playing. If Aaron is at the top of the leaderboard, the universe is askew somehow and I think Pete's gotta accept the blame.</div><div><br /></div><div>Happy Birthday, Pete. Hope you enjoy the songs.</div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8GqALphzdKDdkhlhUbnqEZzfWSDP0bfEBX7fM9OipcmasP0jFv7Qz_52xjW-bjanTlvC5R99njdlYd9eE-hSsncVxhoHJxfL1kD8EF1L6-1z66mWwIqFPwjZVLYfrnOLNmXFdJaSCLy12lBFoCRQkLyKFZVedl_Fhru_bR3-Bk_oo3MZxCbE" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="237" data-original-width="237" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8GqALphzdKDdkhlhUbnqEZzfWSDP0bfEBX7fM9OipcmasP0jFv7Qz_52xjW-bjanTlvC5R99njdlYd9eE-hSsncVxhoHJxfL1kD8EF1L6-1z66mWwIqFPwjZVLYfrnOLNmXFdJaSCLy12lBFoCRQkLyKFZVedl_Fhru_bR3-Bk_oo3MZxCbE" width="240" /></a></div><br /></div><h2 style="text-align: left;">Birthday Dozen 001</h2><hr /><h4 style="text-align: left;">Bookends: <br />"Pete the Cat Theme (feat. Elvis Costello)" -- Pete the Cat, Elvis Costello<br />"He's the Man" -- The Simpsons, Shawn Colvin</h4><div><br /></div><div>Elvis is best when he's brief and this is about as brief as you can get. At the other end of the playlist, another brief one but chock full of throwaway one-liners that would be more iconic if more people knew this song. Hard to believe this is the same Shawn Colvin of "Sunny Came Home." "Get down and put your knees together!"</div><hr /><h4 style="text-align: left;">The Magazines:<br />"PUNCH LINE! -- Dempagumi<br />"Brick" -- Ben Folds Five</h4><div><br /></div><div>Before I knew Pete, I knew "Pete," the guy at the helm of "PUNCHLiNE" who made me laugh out loud with snappy prose that was never dumb or cheap, and usually had nuggets of insight shining bright within the casual irreverence. This song may come off as an annoying anime theme song for most listeners but 30 seconds in, it takes its first of a few weird sonic detours. If you can last to the 3 minute mark, there are a couple more plus a short shredding guitar solo. </div><div><br /></div><div>I hope mentioning "Brick" doesn't open any old wounds. The paper was a valiant effort, even if it could by definition never be another Punchline. The song is the closest to a pop song on this list and is a bit sad and wistful, perhaps all appropriate analogs to the mag. </div><hr /><h4 style="text-align: left;">Punch the Clock:<br />"Dealer (feat. Future & Lil Baby)" -- RMR, Future, Lil Baby<br />"Artillery" -- Infected Mushroom</h4><div><br /></div><div>OK, so being a "dealer" is not actually a job but its the main role I've known Pete in for the past 8-10 years or so. The sounds that kick off the song are the least annoying sitar riffs I've ever heard. (Sales) Artillery was a job for Pete; that's about all I know about it. The song is a little paint-by-the-numbers rap-wise but the lyrics include pop culture refs in a way that suggests midlife angst that I can relate to.</div><hr /><h4 style="text-align: left;">Partners:<br />"Liz" -- Remi Wolf<br />"Diavolo" -- Liz</h4><div><br /></div><div>I chose both of these songs because I liked the way they sound and they namecheck Liz. Listening to the lyrics, I realize the messages may be problematic ("She don't seem the same since she working on the corner," Diavolo = Devil). So I'll just say I was trying to pay tribute to your awesome wife who I wish I had gotten to know better when we were both at Style. But she's undoubtedly cool and so are these songs.</div><hr /><h4 style="text-align: left;">The Teenager:<br />"Lola" -- Ripe<br />"Lola" -- MIKA</h4><div><br /></div><div>The Kinks cover seems an obvious choice and overused but this is one of the best covers I've heard. Purists probably cringe at the horns, particularly the brass freak-out at the end. Seems like a party to me. The MIKA song is a rare love song that manages to be unironic and simple without being dumb. I can't help but embrace a knowing line like "Love makes you laugh, love makes you cry / The oldest game in history, repeated."</div><hr /><h4 style="text-align: left;">The Boy:<br />"Woody" -- Hayden<br />"Woody Woody" -- Dimie Cat</h4><div><br /></div><div>I don't know who Hayden is but this song has a Mumford & Sons vibe without the pretension. It's also apparently <a href="https://www.songfacts.com/facts/hayden/woody" target="_blank">about a cat</a>, so it connects in a weird and unintentional way with the first song. So there's that. I also don't know Dimie Cat who put out two records about 10 years ago. Her songs seems like a fun mix of classic jazz and modern stylings that I think/hope an audiophile like Pete can appreciate.</div><hr /><div><a href="https://open.spotify.com/playlist/7H4rLrJ4T5eBMNbBs10CJy?si=eddcccfaddb541c6" target="_blank">Listen on Spotify</a>. (Sorry no YouTube link!)</div>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-57613636162276159672022-09-08T17:47:00.007-04:002022-09-09T09:20:44.861-04:00Return on Investment: The enriching experience of “The Inheritance”<p><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"></span></p><h3 style="text-align: center;">"<i><b>Time is free, but it’s priceless.</b></i>" – Harvey Mackay</h3><p></p><span id="docs-internal-guid-7d2b0961-7fff-6f08-af2e-16f9c67c3a0e"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Quotes like Mackay’s might make you wonder, why in the world would you spend 7 hours watching a play?</span></p></span><p style="text-align: left;"><span style="font-size: 11pt; white-space: pre-wrap;"><span style="font-family: verdana;">I’ll tell you: because it’s the best investment you could possibly make right now.</span></span></p><span><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvJxBrARF3DrZC6UfrfHZGy__sKpheuHH1WQOdbP1t7YqbTvp1HqHfP9yHskvpYasIfcGRNYkzEHOy-306Jmv_1IxqA6SFpqHKgU6X5ujBnz73E7m1QagSC5ozy2ihIqXSq25ma8tQUqBqkIZN8VhwyIDaRdPEqLvAKZyU0TLT7pw2WYgDSA/s1500/inherit-cast.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvJxBrARF3DrZC6UfrfHZGy__sKpheuHH1WQOdbP1t7YqbTvp1HqHfP9yHskvpYasIfcGRNYkzEHOy-306Jmv_1IxqA6SFpqHKgU6X5ujBnz73E7m1QagSC5ozy2ihIqXSq25ma8tQUqBqkIZN8VhwyIDaRdPEqLvAKZyU0TLT7pw2WYgDSA/w400-h266/inherit-cast.jpg" width="400" /></a></span></div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><div><br /></div></span></span><div><span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Look, the stock market is a mess, right? Who knows where it's going. And what is money anyway? If the pandemic showed us anything, it's that time is the most valuable resource we've got.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“The Inheritance” is a play in two parts of 3 ½ hours each only playing at Richmond Triangle Players for a few more performances. My wife and I watched both parts on one day this past weekend, matinee, dinner break, then evening show. We were dazzled, enchanted, and moved.</span></p><span style="font-family: verdana;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Here’s a short list of the return we got on that day-long investment of our time:</span></p><span style="font-family: verdana;"><br /></span><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The ability to say we saw the show that beat out “Slave Play” for the 2020 Tony. Some theater folks are still irate about that one.</span></p></li></ul><span style="font-family: verdana;"><br /></span><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A deeply considered and fully realized story arc for the couple, Toby Darling (Deejay Gray) and Eric Glass (Adam Turck), gay gents in their early 30s, living in NYC and contemplating getting married. You know those shows / plays / movies where you feel cheated because some key corner or aspect of the central relationship goes unexplored? This play delivers on every fascinating quirk of these compelling characters, from their rather explicit sex to their formative childhoods (Glass’s laid out right up front, Darling’s devastatingly detailed in the final act).</span></p><div class="separator" style="clear: both; font-family: Arial; text-align: center;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3WRhKUq9Kbg0ktgJXY8W92ZLGooArnJXVjHCojG60khqA7J0Ari40S4J5tSXHf-n0NuIxL7lD4zioI4oqxeibZfzr1Wb71SweE5oDFfYzNxNXKXUWhtlbafNfEeqd7VxuCmprLIkre4FEWZWZ7YgLvWJv1bz3Q2VihhnKSi9LzB3U2jowHXk/s1500/inherit-turck-gray.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3WRhKUq9Kbg0ktgJXY8W92ZLGooArnJXVjHCojG60khqA7J0Ari40S4J5tSXHf-n0NuIxL7lD4zioI4oqxeibZfzr1Wb71SweE5oDFfYzNxNXKXUWhtlbafNfEeqd7VxuCmprLIkre4FEWZWZ7YgLvWJv1bz3Q2VihhnKSi9LzB3U2jowHXk/w400-h275/inherit-turck-gray.jpg" width="400" /></a></span></div><p style="font-family: Arial;"></p></li></ul><br /><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A gobsmacking, hilarious, heartbreaking, damn-I-didn’t-know-he-was-THAT-good performance from Gray. It would be easy (and wrong) to say Gray just plays himself. Sure, there is a sharp sassiness and boyish sexiness that could be construed as an exaggeration of Gray’s personality. But Toby is broken and desperate and mean and seductive in a thoroughly unique way that Gray embodies with astounding clarity. From the subtlest tossed off responses to one of the most flamboyant flame-outs you’ll see on stage, Gray commands attention and pays it back with a performance that will engross you while it’s unfolding then persist in your memory for days after.</span></p></li></ul><span style="font-family: verdana;"><br /></span><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A quieter, more sensitive, but no-less-impressive portrayal of resolute positivity by Adam Turck. If Gray is the tempestuous storm that speeds this sailboat forward, Turck is the rudder that keeps everything on course. His character has almost too many positive traits – caring, smart, supportive, engaged, devoted, AND a good cook – and yet Turck makes him thoroughly relatable... and forgivable when Eric makes a few questionable but plot-spurring choices. </span></p></li></ul><br /><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="font-family: Arial; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; font-family: Arial; text-align: center;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsWGIio3boTUkQB4TdCttX0qssa0m0mThq-XaI3eVCkvtl6jI95O6mYmhDHR00g4Ix1lgDhM4zS-XUDtsWKvFJoYhmuKApULKjDbV6Y0oN3J5BeeMP_FCmsprkmqEv3EQwK7RcuCYMarbe_8fD3H5vXZsuOJzXCVZh6zzBD0JhgJztTuWPq4/s1500/inherit-turck.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsWGIio3boTUkQB4TdCttX0qssa0m0mThq-XaI3eVCkvtl6jI95O6mYmhDHR00g4Ix1lgDhM4zS-XUDtsWKvFJoYhmuKApULKjDbV6Y0oN3J5BeeMP_FCmsprkmqEv3EQwK7RcuCYMarbe_8fD3H5vXZsuOJzXCVZh6zzBD0JhgJztTuWPq4/w400-h266/inherit-turck.jpg" width="400" /></a></span></div><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></li><li aria-level="1" dir="ltr" style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></li><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: verdana;">New talent! Lukas D’Errico, a junior at VCU, starts out a bit demure in his first of two roles, Adam, a wannabe actor and son of wealthy parents. But by the time he is alternating between that character and Leo, a homeless sex worker, it’s clear that an exciting new talent has emerged here in Richmond. Pay off: we can now say we saw him when.</span></span></ul><br /><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">New to Richmond talent! William Vaughn is a recent arrival from NYC and also has two key roles, playing the author E.M. Forster, the pseudo-narrator of much of Part 1, and Walter, an older gay man who acts as a bit of a mentor/teacher for Eric. Vaughn turns both characters – who could easily have come across as gimmicky or slight – into fully formed empathy-inducing humans. The dividend here will pay out the next time Vaughn is cast in town; whatever the show, it’ll be better with his presence in it.</span></p></li></ul><span style="font-family: verdana;"><br /></span><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A cavalcade of gay history, cultural conversation, issue wrangling, and vital remembrance of how the clash of politics and healthcare smashes victims in its midst, leaving even survivors with permanent scars. It’s hopeful to think this show takes steps toward crossing ‘doomed to repeat it’ off the debt sheet.</span></p></li></ul><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjOu1bg-KAMDcubwILn4ejJvZafLOHuY9nJNydIfRdZ7G4ZJrZqcM_y8zv9tsfx0uK4lWoISLeedMhvFXO6k3z-VUrdGh3ZIQxp8Kl6OhM8jN18PVOoomloCfQtI6yAIy38BJnqluE89Efr4m2wruYh-C0rVqe1TZsDfZnlDjW1Kc0LCvwACw/s1500/inherit-vaugh-webster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjOu1bg-KAMDcubwILn4ejJvZafLOHuY9nJNydIfRdZ7G4ZJrZqcM_y8zv9tsfx0uK4lWoISLeedMhvFXO6k3z-VUrdGh3ZIQxp8Kl6OhM8jN18PVOoomloCfQtI6yAIy38BJnqluE89Efr4m2wruYh-C0rVqe1TZsDfZnlDjW1Kc0LCvwACw/w400-h266/inherit-vaugh-webster.jpg" width="400" /></a></div><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><div><span><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></div>Just like this show goes on all day, I could go on all day about it. Lucian Restivo directs the hell out of it; the tech components are fabulous, particularly the bookshelf-centric set; and the rest of the extensive supporting cast shines.</span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I could say more but at this point I’m just wasting precious time you could be using buying your tickets. ROI? My oh my -- yes! Your life, mind, heart and soul will all be enriched. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: verdana; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tickets at <a href="https://rtriangle.org/">https://rtriangle.org/</a>.</span></p></span><br /><br /><br /><br /></div>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-50571001247786699592022-02-14T16:32:00.002-05:002022-02-14T23:23:29.345-05:00 The show must go…urp<p><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><b>I often feel empathy for what an actor goes through on stage. This was the first time I can remember feeling horrible for what an actor was going through backstage.</b></span></p><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">The Saturday, Feb. 5th performance of “</span><a href="https://www.swiftcreekmill.com/productions/murder-for-two" style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;" target="_blank">Murder for Two</a><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">” at Swift Creek Mill started off pretty much as expected. As director Tom Width mentions in his curtain speech, the first few minutes are a bit odd: an extended bit of wordless stage business between the production’s two actors, Mark Schenfisch and Emily Berg-Poff Dandridge. Still, the actors moved through it briskly and settled quickly into the farcical murder plot that propels the show. Dandridge plays no fewer than 9 characters, all suspects in the killing of a famous author at his surprise birthday party, while Schenfisch plays Officer Marcus Moscowicz who takes it upon himself to solve the crime.</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">About 10 minutes into the main body of the show, Dandridge exited stage left in the middle of a scene. The show contains plenty of quick comings and goings so it didn’t seem odd. Schenfisch continued with some dialogue and, within a moment or two, Dandridge was back, flamboyantly portraying the dead author’s wife, complete with a southern drawl and a limp. Somewhere along the way, Schenfisch was joined by another character…but not another actor: his fellow officer, Lou, was represented by muted-trumpet “whah whah” sound effects similar to the adults in Charlie Brown cartoons.</span></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjs2R-zEmKnM_HBrtpimscRibQG5DREVvVSpd7U67d6gjVpC8jiWngKzMrVUokZApUDUU42dRUmOJOcKB1Fux_Ti-wOthpO-X3WWiH2NRAG7PCV9zAxswB9JVxGcYIkh9oyFSDLzqhQ9HQbj9fR1baF36OKPfUqJcS4NvQQnKio4DkYRqjdMIQ=s570" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="380" data-original-width="570" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEjs2R-zEmKnM_HBrtpimscRibQG5DREVvVSpd7U67d6gjVpC8jiWngKzMrVUokZApUDUU42dRUmOJOcKB1Fux_Ti-wOthpO-X3WWiH2NRAG7PCV9zAxswB9JVxGcYIkh9oyFSDLzqhQ9HQbj9fR1baF36OKPfUqJcS4NvQQnKio4DkYRqjdMIQ=w320-h213" width="320" /></a></div><p></p><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Then, about 5 minutes later, Dandridge popped off stage again, only this time a bit more abruptly. Schenfisch stuttered a bit and started ad-libbing some tenuous lines. An amazingly quick-thinking tech person in the sound booth started responding to the ad-libs with impromptu “whah whahs” but the awkwardness was palpable.</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Within a minute or two, Width was back on stage saying the show was going to have to pause. Someone behind me asked, “Is this part of the show?” Width explained: Dandridge wasn’t feeling well. As more murmurs started to rise, an audience-member asked “Is it COVID?” a question that Width was quick to rebut by outlining the testing protocols in place for the actors. It was probably something she ate or a stomach bug, he said, an answer that, given that the Mill is a dinner theater, had a couple patrons murmuring a bit more pointedly.</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">I know Emily a little: she was an amazing teacher for a </span><a href="https://richmondballet.com/community/ambassadors/" style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;" target="_blank">dance program</a><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> my son performed in for several years. I know her enough to be certain that she was doing everything she possibly could do to make it through the show and that her body was rebelling. Consummate professional that she is, I’m sure her sense of responsibility and “show must go on” attitude was compelling her to the stage even as her sick stomach was driving her back into the bathroom.</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">On stage, Schenfisch was demonstrating a charm completely consistent with his character in the show, settling behind the piano to pull a solid rendition of “Fur Elise” out of his memory banks. After he was done, Width was back out with a rope and a pair of scissors, asking for volunteers for a magic trick that thoroughly delighted the crowd.</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Then Schenfisch was back, this time with a full-throated rendition of Sara Bareilles’s “Love Song,” which I appreciated as much for the reminder of this </span><a href="https://www.youtube.com/watch?v=qi7Yh16dA0w" style="text-decoration-line: none;" target="_blank"><span style="color: #1155cc; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">great song</span></a><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">’s existence as I was for his committed delivery and solid piano accompaniment (again, pulled impromptu from memory).</span></div><p></p><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">And here’s where I swooned because theater people are amazing. The standard joke/complaint I’ve heard from thespians over the years involves a patron approaching them and asking “How do you remember all of those lines?” Not to downplay that very important skill but prodigious memorization only scratches the surface of most theater performers’ skills. </span></div><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhiwei86OP8i8PFabcYlyNCy06urjuGYlG7rUu5xIoas8iPTjMk-V_o4t8XRWZACdSA2o39iGNYKfS6WykLvrFbQAaEpg5EplKUkWJfm2DovmufCHmGse4SkxUWtdmu8RnTfssNxq1YVOrcUpsQ29hn1ug3pQkyGUOndQoI9rI58av5pbjc85g=s500" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="261" data-original-width="500" height="167" src="https://blogger.googleusercontent.com/img/a/AVvXsEhiwei86OP8i8PFabcYlyNCy06urjuGYlG7rUu5xIoas8iPTjMk-V_o4t8XRWZACdSA2o39iGNYKfS6WykLvrFbQAaEpg5EplKUkWJfm2DovmufCHmGse4SkxUWtdmu8RnTfssNxq1YVOrcUpsQ29hn1ug3pQkyGUOndQoI9rI58av5pbjc85g=s320" width="320" /></a></div></span><p></p><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Schenfisch was reinforcing a reality many casual fans may not be aware of: Most successful people in the theater are double-threats, if not triple, quadruple, or more. “Murder for Two,” with both actors singing and playing piano, was already an obvious showcase for this but, with his improvisation and quick-thinking, not to mention his musical direction of the show, Schenfisch bolded and underlined his multiple capabilities. </span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">As most people reading this know, Width is a director, actor, writer, set designer, and magician, just to name a few of his obvious talents, and he does all of these things at a very accomplished, professional level. </span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">My impression is that people look at someone like a professional athlete, for instance, recognizing that they put in hours honing their skills, running, lifting weights, working with trainers, getting guidance from coaches, etc. That kind of dedication can be obvious in an athlete: it shows up in their physique and in their ability to perform physically in a way others can’t. Even though the interruption of the performance was unfortunate, both Schenfisch and Width were given opportunities to flex for the crowd. The crowd was clearly impressed.</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Eventually, the Mill’s managing director showed up to make it official: the performance would not continue. Even though I didn’t see the show I expected, I ended up just as happy to witness one of those wonderfully weird events that only happen with live theater (and that </span><a href="http://www.artsies.org/2020/09/13th-artsies-recap/" style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;" target="_blank">the Artsies</a><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"> spent a whole awards program highlighting back in 2020).</span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Luckily, I was able to drag my lovely wife out the following week to see “Murder for Two: Stomach bug-free edition.” And you want to talk quadruple threats? Dandridge is a revelation in her role. In the abbreviated edition of the show, I only saw her portray maybe 4-5 characters – impressive enough, even when brief. In the full show, by the time she gets around to scampering around on her knees to depict three distinct members of a boy’s choir, I was wondering how she could possibly have any more accents or body-language characterizations up her sleeve. Sure enough, there was still more to come.</span></div><p><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSBcp5e5S_vLku0HK7fXIWhSWf-rc737Zll21HLFIRX2LDyE561g8XHu8bY0WcSsEj2JzExSlyQdr9pM2wJwXL8BLCEUlUlYzJuczlJhcAz6EuskFEYf68nLHstRw5oamWkQ2m1qFaKCbGORoDqtmz_6Cv0tc9tvDMUiOnzeoLm16o6HqeRSU=s1560" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1040" data-original-width="1560" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSBcp5e5S_vLku0HK7fXIWhSWf-rc737Zll21HLFIRX2LDyE561g8XHu8bY0WcSsEj2JzExSlyQdr9pM2wJwXL8BLCEUlUlYzJuczlJhcAz6EuskFEYf68nLHstRw5oamWkQ2m1qFaKCbGORoDqtmz_6Cv0tc9tvDMUiOnzeoLm16o6HqeRSU=s320" width="320" /></a></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">And while Dandridge deserves heaps of praise for this performance, there is wizardry in how Width has helped her define her characters and then reinforced some of the transitions with clever staging. Something as simple as having Dandridge pass behind Schenfisch on stage while switching characters proves incredibly effective.</span></div><p></p><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">By the way, I exchanged messages with Emily and she was fine a day or two after the interrupted performance. I didn’t get details on what ailed her but, in the aftermath, I expect she was mostly feeling embarrassed. She needn’t be: patrons at that performance got a singular treat that may end up being more memorable than the full show. I’ll never forget Barksdale’s “Souvenir” back in 2009; it was a great production but </span><a href="https://richmondvatheater.blogspot.com/2009/09/well-i-guess-thats-it.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">the specific performance I saw</span></a><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> was bizarro-world unique. </span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div><div style="text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">This is not a review so I’ll not say much else about “Murder for Two” (I’d suggest checking out </span><a href="https://jdldancesrva.com/2022/01/30/murder-for-two/" style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;" target="_blank">Julinda’s </a><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">or </span><a href="https://www.styleweekly.com/richmond/a-different-kind-of-murder-mystery/Content?oid=18437771" style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;" target="_blank">Claire’s </a><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">instead). I will say: I’m not typically a fan of farce but this production ends up being a snappy good time, thanks to the talents of Schenfisch, Dandridge and Width (his set design being yet another stand-out). It’s a show I typically wouldn’t enjoy seeing once. I’m distinctly happy to have seen it – and loved it – approximately 1.25 times.</span></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidurWWIUD4d49ngrirHafoM6ztBLNvxR2Y3O2Qx6IPFN20xbt6muGBGhqHKWdztCKgEJvTv8t4NRQ6zg78gTnx_eoyxstBe1NkwrsQhtnDgyM9w0U5iE9Q4z0t4t7-3cP3ZmIpDqooW5OhQ9GR0cI4y43TnAzPFkXzMzvTs2QT0xpPQtGpaGc=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEidurWWIUD4d49ngrirHafoM6ztBLNvxR2Y3O2Qx6IPFN20xbt6muGBGhqHKWdztCKgEJvTv8t4NRQ6zg78gTnx_eoyxstBe1NkwrsQhtnDgyM9w0U5iE9Q4z0t4t7-3cP3ZmIpDqooW5OhQ9GR0cI4y43TnAzPFkXzMzvTs2QT0xpPQtGpaGc=w640-h426" width="640" /></a></div><br /><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span><p></p>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-42805949515359982552020-03-10T18:37:00.003-04:002021-10-06T20:28:02.167-04:00Filling the Frame<br />
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Some big stories may be better on a smaller stage</h3>
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So many superlatives have been spilled in the name of Gatsby. It’s a story that “<a href="https://www.theguardian.com/books/2013/may/03/what-makes-great-gatsby" target="_blank">ranges from pure lyrical beauty to sheer brutal realism</a>.” As a novel, F. Scott Fitzgerald’s “The Great Gatsby” is “<a href="https://www.washingtonpost.com/news/achenblog/wp/2015/03/20/why-the-great-gatsby-is-the-great-american-novel/" target="_blank">simple and beautiful and intricately planned</a>.” The story’s appeal springs from an enticing intersection of “<a href="https://www.newyorker.com/books/page-turner/the-serious-superficiality-of-the-great-gatsby" target="_blank">witty hopelessness</a>” and “<a href="https://www.newyorker.com/books/page-turner/the-serious-superficiality-of-the-great-gatsby" target="_blank">vivacious self-destructiveness</a>.”<br />
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But even amidst the laudatory commentary, there are cautionary asides: “Gatsby is about the superiority of imagination over reality,” says <a href="https://www.theguardian.com/books/2013/may/03/what-makes-great-gatsby">the Guardian</a>, “which makes it very difficult to dramatize well.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikMOIervoICMQnooRmVpJ0HRvraImA24V6NrlCf29_VeuxTQ1jX08JTqllyNwD4QljCa53JpwLo8V1IH4zd9FVpOV2p5Reak-4JO5Wj1su8MHEezBSr-eg9O3Djggrnwn_b-_EhA/s1600/gtasby+first+meeting.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikMOIervoICMQnooRmVpJ0HRvraImA24V6NrlCf29_VeuxTQ1jX08JTqllyNwD4QljCa53JpwLo8V1IH4zd9FVpOV2p5Reak-4JO5Wj1su8MHEezBSr-eg9O3Djggrnwn_b-_EhA/s320/gtasby+first+meeting.jpg" width="320" /></a></div>
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Indeed. As I left “The Great Gatsby” as presented by Quill Theatre on the expansive Leslie Cheek stage at the VMFA, I had a reaction similar to the “slight feeling of emptiness” Julinda describes in <a href="https://jdldancesrva.com/2020/03/07/the-great-gatsby-allusion-delusion-illusion/">her review</a>. Interrogating my feelings a bit, I’d say I wanted a clearer picture of who some of the characters were, Daisy most of all.<br />
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The release of the <a href="https://en.wikipedia.org/wiki/The_Great_Gatsby_(2013_film)" target="_blank">movie version</a> starring Leonardo DiCaprio prompted a small explosion of critical reconsideration of Gatsby in 2013; the book was a failure when released but has since been lauded as the true <a href="https://www.usatoday.com/story/life/books/2013/05/07/why-the-great-gatsby-is-the-great-american-novel/2130161/">Great American Novel</a>. That impossibly subjective label aside, the book addresses sophisticated ideas while including plenty of glitz, glamour and mayhem to satisfy the masses, all in a compact plot that rolls out in robust passages of crackerjack prose.<br />
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Still, there are plenty of detractors and this <a href="https://www.vulture.com/2013/05/schulz-on-the-great-gatsby.html">Vox piece</a> in particular points to some specific challenges and opportunities in staging Gatsby. “It is pleasant to look at, but you will not find any people inside,” the author complains. “[The characters] function here only as types, walking through the pages of the book like kids in a school play.”</div>
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The challenge then is for a director and her actors to flesh out what they are given to create fully articulated characters on stage and director Jan Powell does a great job with several of her players. In his Richmond stage debut, Kurt Smith carries off the title character’s single-minded focus on Daisy with panache. He’s strikingly handsome but with a hint of awkward vulnerability. It helps that, as a character, Gatsby has an emotional trajectory that’s articulated clearly enough for <a href="https://www.youtube.com/watch?v=mId34ZoOilA">professional psychoanalysis</a>.<br />
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Cole Metz is another stand-out. As Daisy’s bullying husband, Tom, he could be a simple racist asshole, but Metz effectively embodies a version of patrician entitlement that transcends that reductive description. Chandler Hubbard’s Nick provides the peephole into the inner lives of the other characters and he manages to be an fairly effective audience stand-in with his reactions to the plot’s machinations.<br />
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Any excuse to put the delightful Michelle Greensmith onstage is a worthy one after her amazing turn in last summer’s “<a href="http://richmondvatheater.blogspot.com/2019/07/did-chelsea-burke-solve-shrew-problem.html">Taming of the Shrew</a>,” but the side romance between her character, Daisy’s friend Jordan, and Nick adds little to the proceedings. In striking contrast to the fancier folks, Tom’s side piece Myrtle as played by Amber Marie Martinez explodes with earthy energy, highlighted by costume designer Cora Delbridge. The prominent reds in Myrtle’s dresses stand out against the whites and washed out pastels of many of the other outfits.<br />
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In portraying the animating object of the piece, Rachel Rose Gilmour has an impossible task playing Daisy. It was instructive for me to watch clips of film versions of the character, with Carey Mulligan’s <a href="https://www.youtube.com/watch?v=ZQHhiZUNM3Q">sad and ethereal depiction</a> more entrancing than Mia Farrow’s <a href="https://www.youtube.com/watch?v=Z8zeMXCxlmE">oddly antic</a> take. Gilmour is fetching and flirty and, in one of the later scenes, I found her protestation to Gatsby “you ask too much” to be the most revealing and compelling line of the show. The quandary of making Daisy something substantial may lie in what the Vox author calls “the travesty of [Fitzgerald’s] female characters -- single parenthesis every one, thoughtless and thin.”<br />
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But a bigger problem becomes clear after watching the movie depictions (clips from both the 2013 and 1974 movies can be found <a href="https://www.youtube.com/user/movieclips/search?query=great+gatsby">here</a>). Though it centers on the love lives of a small set of New Yorkers, “The Great Gatsby” endeavors to capture a huge sweeping story, encapsulating everything from moral commentary on the decadent 1920s to broader ruminations on the endemic problem of the so-called American Dream. To address all of that, movie director Baz Luhrmann could fill the screen with ridiculous amounts of lavish revelry and then, when needed, draw the camera in tight for subtle intimacies.<br />
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Those contrasting frames can be depicted on screen and conjured in a reader’s mind but are harder to convey on stage. For this production, the VMFA stage is nearly bare except for a central rotating set piece and, while the party scenes crackle with energy, it would be hard (and expensive) to create the sense of overstuffed glamour that would be appropriate.<br />
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When the hard-hitting truth-telling begins, the scenes are too far from the audience to have a visceral effect. I couldn’t help but imagine whether this show would benefit from a setting like Virginia Rep’s Willow Lawn stage, where the audience could be easily swept away in a party’s extravagance in one minute but with close enough proximity to be immersed in the dramatic interplay that punctuates the final scenes.<br />
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Powell knows how to pull an audience into a production: her Richmond premiere was a masterful "<a href="https://www.styleweekly.com/richmond/bewitched/Content?oid=1667050" target="_blank">Macbeth</a>" that squeezed the action into the alley between two banks of seats and her "<a href="https://www.styleweekly.com/richmond/the-bard-goes-boom/Content?oid=1768048" target="_blank">King John</a>" had a character emerging from beneath seats in the audience. This Gatsby sometimes feels remote, particularly when there's nothing happening in the downstage section of Reed West's two-level set.<br />
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The large stage does provide ample space for the second act opener, a doozy of a dance playfully choreographed by Jeremy Gershman and Kayla Xavier. There are moments of similar spry energy interspersed throughout this production and watching actors like Smith, Metz and Martinez do their work is worth the price of admission. However, as Fitzgerald says, “There must have been moments…when Daisy tumbled short of [Gatsby’s] dreams,” so too are there moments when this production falls short of expectations.<br />
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Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-90549242703603114322020-03-04T16:43:00.001-05:002020-03-04T16:43:41.583-05:00Sweet Immersion (or The Cake, The Critics and Cats)I’m sorry that you won’t get to see “<a href="https://rtriangle.org/cake/">The Cake</a>” at Richmond Triangle Players. Technically, the show runs through this weekend, there was even an extra performance added for Wednesday night. But unfortunately for you, all remaining shows are sold out, leaving you without the opportunity to see one of the least politically political plays on Richmond stages in a long time and also one of the most delightful.<br />
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As both <a href="http://tvjerry.com/the-cake-review/">Jerry</a> and <a href="https://jdldancesrva.com/2020/02/16/the-cake-a-slice-of-life/">Julinda</a> noted in their reviews, the show’s playwright Bekah Brunstetter is best known for working on the TV show, <i>This is Us</i>. Those unfamiliar may then expect her play to be treacly or maudlin given a limited understanding of the TV show.<br />
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But fans know that <i>This is Us</i> has consistently excelled at creating genuine three-dimensional characters then letting them play out often impossibly complex interpersonal dramas in a flawed, gripping and always entertaining way. Brunstetter brings that kind of skill to the stage with “The Cake” and its depiction of a devoutly Christian North Carolina baker uncomfortable providing one of her stand-out confections as the centerpiece for a wedding between two lesbians.<br />
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There was recently a small-scale hullabaloo on social media about critics (again) in Richmond and I have to say that the LA or NYC critics did not do a great job of capturing what makes this show so good, in my opinion. The <a href="https://www.nytimes.com/2019/03/05/theater/review-the-cake-bekah-brunstetter.html">New York Times</a> specifically implicated <i>This is Us </i>when it said the playwright “can’t help embroidering her argument with contrasting complications and comic behavior.” I’m sorry but aren’t complications and comedy part of what makes theater more interesting than everyday life? <br />
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The <a href="https://www.hollywoodreporter.com/review/cake-theater-review-1192292">Hollywood Reporter</a> sniffs that “The play ultimately isn't very thought-provoking.” Huh. I found that the show challenges those most likely to see a show like this (particularly when produced by a theater company devoted to LGBTQ+ friendly programming) to have a less reductive understanding of anyone who might be confronted with a dilemma similar to Della's.<br />
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One review gave me a clue as to why the LA and NYC productions may not have worked so well. Jonas Schwartz’s <a href="https://www.theatermania.com/los-angeles-theater/reviews/the-cake-geffen-playhouse_86534.html">TheatreMania review</a> describes Debra Jo Rupp’s take on traditional southern baker Della as a “a frenzied, fast talker.” Luckily, the Richmond Triangle Players production has instead a masterful portrayal by Terrie Moore that is anything but frenzied. Besides being a great actress perfectly suited to inhabiting a character who is a sweet, emotionally complex southern belle, Moore has the benefit of actually being a sweet, emotionally complex southern belle. Nothing seems put on in her performance; charm and empathy practically pour out of her.</div>
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Also creating a nuanced character is Nicole Morris-Anastasi as Jen, the daugher of Della’s best friend who is still in some ways struggling to accept her homosexuality. Unable to have a “coming out” conversation with her dead mother, she can’t help but hear the condemnation she would expect if she could have it, an expectation that Della reinforces. I remember hearing the “I’m not gay, I just fell in love with a person who happened to be my gender” equivocations from people I know with a background like Jen's and Morris-Anastasi effectively externalizes the internal battle she is fighting.<br />
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Gordon Bass as Della’s husband and Zakiyyah Jackson as Jen’s fiance make the most of their positions on the opposite ends of the ideological spectrum. While their characters are forced to voice the more simplistic arguments, Brunstetter provides ample opportunities for each to project a winning humanity. <br />
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The folks at Triangle have decked out the theater with some pasty shop trappings and patrons have the opportunity to enjoy sweet treats when the show ends. These little touches speak to the subtle ways a production can be immersive. The recent movie version of “Cats” was horrible in ways that are practically innumerable but I think the biggest thing missing was that sense of immersion that made the stage show (particularly the original Broadway production) delightful. Theater is fundamentally three-dimensional and no movie can really create that kind of experience, even with the funny glasses.<br />
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There’s also another kind of immersion at play here, too: a cultural variation. Maybe “The Cake” works better when staged in the south where the sense of friction around these issues can be palpable. Director Dawn Westbrook brings a lifetime of familiarity with southern contradictions to bear in her guidance of her actors through this show, as does Moore in her depiction of Della. Though I didn’t see the LA or NYC productions to be able to fairly compare, perhaps it takes a certain kind of cultural immersion to transform “The Cake” from empty calories to a sweet, fulfilling treat.<br />
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Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com1tag:blogger.com,1999:blog-29175306.post-18291870423813562332019-12-17T10:49:00.000-05:002019-12-17T10:49:14.878-05:00A Letter to Rural Virginia: Why are you shooting yourself in the foot?<br />
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The Roanoke Times published a fascinating and
wise <a href="https://www.roanoke.com/opinion/editorials/editorial-letter-to-the-general-assembly-s-new-democratic-leaders/article_5a57462d-7479-5035-8d07-7c60ace6d3a6.html" target="_blank"><span style="color: #1155cc;">editorial</span></a> after last month’s election,
presented as a letter to the new leadership of Virginia’s General Assembly.
Speaking on behalf of the rural voters who may not feel represented by the new
Democratic majority, the paper said, “we don’t really know our new legislative
leaders -- and you likely don’t know us.”</div>
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<span lang="EN">Over the past several weeks, some city folks
like me have had a chance to get to know more about rural Virginians and
honestly, my reaction has been, “what the actual hell?”<o:p></o:p></span></div>
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<span lang="EN">The challenges facing rural Virginia are
myriad and seemingly intransigent. A September <a href="https://wtvr.com/2019/09/19/rural-virginia-population-cns/" target="_blank"><span style="color: #1155cc;">article</span></a> by VCU’s Capital News Service talked
about the lack of sufficient healthcare and educational opportunities. Young
people are leaving due to the lack of jobs. The opioid epidemic continues to
ravage western counties like Buchanan where <a href="http://www.vdh.virginia.gov/opioid-data/deaths/" target="_blank"><span style="color: #1155cc;">the
2018 death rate</span></a> was 42 per hundred thousand, more than 8 times the
national average. <o:p></o:p></span></div>
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<span lang="EN">Perhaps most dire, while population has increased
at a brisk pace in the Commonwealth’s urban areas, rural counties have seen
precipitous declines. Projections are that the population in some communities
will drop by as much as 30% over the next 20 years. “They just don’t have what
it takes to retain people or attract new people,” laments one expert.<o:p></o:p></span></div>
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<span lang="EN">In the face of these challenges, have the
people of Virginia’s hinterlands banded together to lobby for educational
support, an expansion of healthcare outreach or the adoption of innovative
programs to create new jobs?<o:p></o:p></span></div>
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<span lang="EN">Nope. Even <a href="https://www.cnn.com/2019/12/06/politics/virginia-counties-second-amendment/index.html" target="_blank"><span style="color: #1155cc;">national news outlets</span></a> are now reporting on the
“second amendment sanctuary” declarations sweeping across the Commonwealth like
a harsh vitriolic wind. Nearly half of Virginia’s counties have joined <a href="http://gunrightswatch.com/news/2019/11/24/virginia/virginia-has-become-an-overnight-tidal-wave-of-second-amendment-sanctuaries/" target="_blank"><span style="color: #1155cc;">this movement</span></a>, boldly stating their defiance
against a shapeless spectre: potential legislation that is only in draft form
weeks before being considered by the General Assembly, several steps away from
the Governor’s desk.<o:p></o:p></span></div>
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<span lang="EN">In my perhaps slanted view, these declarations
suggest rural Virginians would prefer to hunker down for a fight against the
unknown versus engaging in a debate about shaping policy that benefits
everyone. It continues a dispiriting pattern. Earlier this year, Republicans in
the General Assembly famously adjourned the special session on gun violence
without considering any proposals. Their “thoughtful and deliberative study” of
gun legislation included <a href="https://www.virginiamercury.com/2019/11/12/virginia-gops-promised-gun-law-study-yields-three-page-report-that-makes-no-recommendations/" target="_blank"><span style="color: #1155cc;">no actual recommendations</span></a>. Now, counties
across the Commonwealth want to stop the conversation before it even starts.<o:p></o:p></span></div>
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<span lang="EN">Can this pugnacious attitude lead to any
positive change? I am hopeful that all Virginians -- heck, all Americans -- are
united in a desire for fewer deaths by gun violence. But how can potential
solutions be crafted when one side won’t even engage in the conversation?<o:p></o:p></span></div>
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<span lang="EN">I’m at a loss to figure out how exactly this
focus on gun rights helps rural Virginians. I may be missing something but I
don’t know how resistance to any and all new gun control measures creates more
jobs, improves anyone’s education or stops a single opioid overdose.<o:p></o:p></span></div>
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<span lang="EN">David Skorton, the president of the
Association of American Medical Colleges, wrote <a href="https://www.usatoday.com/story/opinion/2019/09/10/gun-violence-public-health-crisis-requires-action-doctor-column/2268282001/" target="_blank"><span style="color: #1155cc;">an op-ed</span></a> for USA Today in September arguing,
as many others have, that gun violence should be considered a public health
crisis. With 100 people dying due to gun violence each day in America, most by
suicide, Skorton states, “It’s an epidemic. It’s relentless, and it's
spreading.” Will Virginia’s “sanctuaries” be safer or are they providing a ripe
breeding ground for the disease?<o:p></o:p></span></div>
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<span lang="EN">There are numerous programs based in big
cities like Richmond that are committed to improving the lives of rural
Virginians. If you look on the <a href="https://www.massey.vcu.edu/patient-care/locations/rural-cancer-outreach-program/" target="_blank"><span style="color: #1155cc;">website</span></a> of one of these, VCU’s Rural Cancer
Outreach Program, it proudly declares it has been supported since its inception
by funds granted by the Virginia General Assembly. Should the General Assembly
continue to support such programs when rural residents seem more concerned
about their guns then their health?<o:p></o:p></span></div>
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<span lang="EN">The Times editorial stated, “some of the
stereotypes about this part of the state are probably true, but others aren’t.”
Rural Virginia, you may be thinking you’re putting your best foot forward with
your 2nd Amendment sanctuaries. But in this city boy’s view, the stubborn
resistance to what, at its worst, may ultimately be an inconvenience and, at
its best, might possibly save lives is a stereotypical case of shooting
yourself in the foot.<o:p></o:p></span></div>
<br />Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-47870422858462659562019-09-24T23:39:00.001-04:002020-03-03T07:47:40.444-05:00Liberal White Folks Being Liberal and White<b>The specificity of “Admissions” is a strength, though some disagree</b><br />
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I find strong opinions attractive. Even so, I was stunned when I pulled up the <a href="https://www.vulture.com/2018/03/theater-review-why-i-cant-accept-admissions.html" target="_blank"><i>Vulture </i>review</a> of “Admissions,” the dynamic and challenging play that is going into its last weekend at <a href="https://www.theatrelabrva.org/on-stage" target="_blank">TheatreLAB</a>.<br />
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A show that delves into something juicy like this one invariably spurs me to Google what other, smarter people have said about it. Doing so is always interesting but sometimes disappointing when there is broad similarity to the reviews. That’s why I think the <i>Vulture </i>piece is worth considering in some depth.<br />
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Reviews of “Admissions” generally called the show “<a href="https://www.broadwayworld.com/norfolk/article/BWW-Review-ADMISSIONS-at-TheatreLAB-Grapples-with-White-Privilege-20190916?fbclid=IwAR3HFv5_ky5ZLkCZ5FstAVHqKwkU0jECB-1tBDVmKWqIqmgyYyzwQwpgFCA" target="_blank">bitingly funny</a>” filled with “<a href="http://www.tvjerry.com/admissions/" target="_blank">smart</a>” dialogue that reaffirms playwright Joshua Harmon’s skill “<a href="https://www.washingtonpost.com/entertainment/theater_dance/the-comic-admissions-tests-white-privilege-and-getting-into-college/2019/01/21/a7a84e18-1d91-11e9-8e21-59a09ff1e2a1_story.html" target="_blank">at articulating arguments, often at length</a>.” Some folks have noted, as our own <a href="https://jdldancesrva.com/2019/09/15/admissions-what-is-fair/" target="_blank">Julinda Lewis</a> did, the particular newsworthiness of the play: it opened in Richmond just as Felicity Huffman <a href="https://www.cnn.com/2019/09/13/us/felicity-huffman-sentencing/index.html" target="_blank">was given a prison sentence</a> for trying to buy her kid into college and the show was playing in DC in March just as that scandal broke, as the <i>Washington Post </i><a href="https://www.washingtonpost.com/entertainment/theater_dance/the-hit-comedy-admissions-has-been-laughing-at-college-cheaters-for-months/2019/03/14/8e7362a0-45ca-11e9-90f0-0ccfeec87a61_story.html" target="_blank">pointed out</a>.<br />
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Of course, the play’s exploration of the struggle to get into elite institutions is really a vehicle to dig into one of the thorniest of thorny issues: race. And that’s where the commentary gets complicated.<br />
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I walked away from “Admissions” almost 100% in line with <a href="https://www.nytimes.com/2018/03/12/theater/admissions-joshua-harmon-review.html" target="_blank">Jesse Green’s take</a> in <i>The New York Times</i>, feeling Harmon’s purposefully uncomfortable skewering of liberal white hypocrisy is “good satire at work,” it’s dramatization of diversity doubletalk being “[o]ne of the things the theater should be doing today.”<br />
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Then I read the <i>Vulture </i>piece which asserts that the play “misfir[es] wildly” and got knocked on my heels. Here’s what it made me realize: As an old liberal white guy, I have the luxury of walking away from a heady piece of challenging theater thinking, “good job, show!” Maybe, I thought, it’s worth listening to someone who instead ends up thinking Harmon is “having [his] ethical cake and eating it too.”<br />
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Brits tend to have a more nuanced view of some issues that get lost in the easily bifurcated American culture so it was interesting to find <a href="https://www.standard.co.uk/go/london/theatre/admissions-review-trafalgar-studios-theatre-a4090231.html" target="_blank">reviews </a>of the London production that complained it “contributed almost nothing to the reasoned furthering of the debate” and contained “<a href="https://www.londontheatre.co.uk/reviews/review-admissions-starring-alex-kingston-at-trafalgar-studios" target="_blank">rather too much shouting</a>.” Unfortunately, no review that I found dug into the meat of the issues; in fact, the more impactful reveal from these reviews for me was finding out that the production starred Alex Kingston, who I’ve loved since ER, triggering some retroactive regret that I didn’t fly to London to see it.<br />
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Here’s what I think Sarah Holdren of <i>Vulture </i>should be applauded for bringing into sharp focus: this isn’t really a play about fighting institutional racism. The cast is all white so actual people of color literally do not have a voice in the show. Their experiences and their struggles are only voiced by white people, sometimes dismissively or sarcastically. And the audiences who see the show are going to be largely white so I understand the inspiration behind Holdren’s exclamation “what are we all really <i>doing </i>here?”<br />
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But there’s plenty I think Holdren gets wrong, starting with a number mentioned in dialogue (the percentage of students of color at Hillcrest School is said to have started at 6 percent, not 4 percent; whether it’s rational or not, small, easily checked mistakes like that always irk me).<br />
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More importantly, what Harmon creates in the play (and what director Deejay Gray and his cast deliver in this excellent production) is a specific and personal story that reflects situations that are real, messy and hard. Holdren did not have access at the time of her piece to read <a href="https://www.nytimes.com/interactive/2019/09/10/magazine/college-admissions-paul-tough.html" target="_blank">this fascinating and recent deep dive</a> into the actual dilemmas college admission directors face. Clearly, the reality is 10 times more complex than any playwright could imagine.<br />
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It is easy to be dismissive about a play about liberal white people and the (arguably) moderate challenge of staying true to your stated values when faced with personal adversity. But there are thousands and thousands of Americans facing that exact challenge and the answers aren’t easy. To pretend that the answers are literally black and white, as dad character Bill (David Clark) seems to suggest, is flatly dismissive and plainly reductive.<br />
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For one thing, there are conservative and libertarian groups very actively pushing verifiable statistics that show reverse racism, most directly against Asian students. <a href="http://www.ceousa.org/about-ceo/press-center/1330-racial-discrimination-at-virginia-universities" target="_blank">One such study</a> came out just two weeks ago showing that hundreds of white students were rejected from UVA and William & Mary despite having higher test scores and grades than black students.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhadB5o4Nfkk-OZGXUBYPjUMKJSYQrwLhAI3ctSPvu_WfCxiMDCnB82XzSAPZC7JtWBhNXyW4eOd5DDJ9BVxTrtelFGBKqJMLM2VdQeGeE45QgEya5s5nRd05yWvrPUQUFldPcRVg/s1600/admissions3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhadB5o4Nfkk-OZGXUBYPjUMKJSYQrwLhAI3ctSPvu_WfCxiMDCnB82XzSAPZC7JtWBhNXyW4eOd5DDJ9BVxTrtelFGBKqJMLM2VdQeGeE45QgEya5s5nRd05yWvrPUQUFldPcRVg/s320/admissions3.jpg" width="320" /></a></div>
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Sure, the show’s central, powerful and expansive rant (masterfully delivered by Tyler Stevens playing the son, Charlie) swerves into esoteric territory when it asks whether Kim Kardasian is a POC. But we have a leading presidential candidate whose most ill-advised move was to suggest that her tiny genetic percentage of indigenous heritage qualified her to be considered Native American. So is it really a ridiculous question?<br />
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The <i>Vulture </i>piece chides us white folks for “feel[ing] like we’re grappling with something difficult, even as we’re being allowed to indulge in some pretty basically racist lines of thought.” The author seems to say those lines of thought all fall on one side but I’d say they fall all over the place: isn’t Sherri saying a biracial child “doesn’t read black” kinda racist? At the same time, virtually everything said by her oblivious assistant, Roberta, is clearly racist, so is Harmon really just rooting for one side?<br />
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Holdren also finds a trap that’s easy for a critic to fall into (I know I have): letting an audience’s reaction skew your own opinion. She says “[o]ur sympathies are plainly pushed toward Roberta in [the] opening scene.” Huh? As winning an actress as Jackie Jones can be, I don’t think anyone thought she was NOT clueless in my crowd, even in Richmond where “I really don’t see race” kind of sentiment flows freely. Holdren calls Sherri “unlikable and obviously self-deceiving.” Again, huh? Maybe it’s just that Donna Marie Miller can do nothing wrong right now, but she clearly won over folks at the Basement.<br />
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Where I knew Holdren had really veered into a different realm was talking about laughter breaking into outright cheers during Charlie’s rant. It was hard not to enjoy Stevens digging into the emotional depths of that scene but, while I certainly cheer his performance, even as he was rollicking through it, I felt the disquieting tug of conscience that Harmon delivers as a hard smack of parental scorn when Bill calls Charlie a “racist spoiled little shit.” Holdren says Bill’s counterpoint “doesn’t help much;” I sure felt it as a slap.<br />
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Maybe this is a testament to Gray’s directing skill but, while Holdren sees “a play whose ultimate argument and its very existence seem in conflict with each other,” I saw a fascinating crash of gnarly contradictions.<br />
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And, finally, something Holdren totally overlooks, and no one else I read seemed to pick up on at all, are the more subtle reflections of liberal whiteness that Harmon makes plain. The most striking example is when both Bill and Sherri turn to each other more than once and ask, “Who do we know?” as they try to wriggle out of the dilemmas Charlie presents. Is there anything more white and privileged than to think that a call to the right person can fix a problem? Just add the delivery of a tidy sum of cash as per Felicity Huffman and “Admissions” would almost be too true-to-life to be considered fiction.
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<br />Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-25552245049505412492019-07-23T12:33:00.001-04:002019-07-24T09:53:42.554-04:00Did Chelsea Burke solve the “Shrew” problem?As the lights went down at intermission of Quill Theatre’s
latest production, an all-female staging of “The Taming of the Shrew,” I leaned
over to one of my companions and said, “I don’t think they’ve solved the
problem.”<br />
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If you’re reading this, you know what I’m talking about. The
brutal, jarring, incomprehensible-to-modern-audiences misogyny of “Shrew” has
been <a href="http://www2.cedarcrest.edu/academic/eng/lfletcher/shrew/arivera.htm" target="_blank">fretted
over</a> <a href="https://www.district205.net/cms/lib/IL01001003/Centricity/Domain/118/kupdf.net_shakespeare-the-invention-of-the-human-harold-bloompdf.pdf">for
decades</a>, with directors reworking it into a “<a _blank="" href="https://en.wikipedia.org/wiki/Secretary_(2002_film)%20target=">Secretary</a>”-style
<a href="https://www.theguardian.com/stage/1999/oct/29/theatre.artsfeatures" target="_blank">S&M
liberation tale</a> or <a href="https://www.rsc.org.uk/the-taming-of-the-shrew/" target="_blank">gender-reversing
the characters</a> to subvert the dynamics, using the play’s <a href="https://www.theatermania.com/chicago-theater/reviews/the-taming-of-the-shrew-chicago-shakespeare_82609.html" target="_blank">framing
device</a> to add commentary or <a href="https://betterlivingthroughbeowulf.com/resolving-shakespeares-shrew-problem/" target="_blank">simply
rewriting the ending</a> to change the most uncomfortable parts. Regardless of
its problems, “Shrew” keeps showing up on theater schedules on the regular, with
productions on stage right now from <a href="https://www.northsidetheatre.com/taming-of-the-shrew-2019" target="_blank">California</a>
to <a href="https://www.shakespeare.org/shows/2019/the-taming-of-the-shrew" target="_blank">Massachusetts</a>,
not to mention the <a href="https://www.theguardian.com/stage/2019/mar/19/the-taming-of-the-shrew-review-rsc-royal-shakespeare-theatre-stratford-upon-avon" target="_blank">RSC
staging</a> in London.<o:p></o:p></div>
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Some scholars <a href="https://dergipark.org.tr/download/article-file/172576" target="_blank">have suggested</a>
the problem isn’t the play but our pesky determination to make modern sense of
dated sensibilities. Maybe so but personally, I’d <a href="http://richmondvatheater.blogspot.com/2006/06/taming-of-shrew.html" target="_blank">had
enough “Shrew”</a> after the 2006 Richmond Shakespeare Festival production,
adding it to my growing “I never need to see that again” list. The ambitious
but flawed <a href="https://www.styleweekly.com/richmond/theater-review-the-taming-of-the-shrew/Content?oid=1983773" target="_blank">2013
staging</a> did little to move me from my agreement with a <a href="https://www.telegraph.co.uk/culture/theatre/theatre-reviews/9043786/The-Taming-of-the-Shrew-RSC-review.html" target="_blank">London
critic’s assertion</a> that “Shrew” is “one of the most deeply unlovable of
Shakespeare's plays.”</div>
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I doubted director Chelsea Burke’s choice to <a href="https://www.askdifference.com/emasculate-vs-demasculate/" target="_blank">demasculate</a> the cast would change much. The play’s problems are deeper than “Katarina is pommeled
into subservience.” Bianca’s coy complicity in the courtship paradigm presents
a somewhat-subtler sexism and her father Baptista holding a bidding war for the
right to bed her (a bedding war?) is a face-palm worthy example of no-this-really-isn’t-funny
tone-deaf banter.<o:p></o:p></div>
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So how did the wily Ms. Burke win me over by the end of this
quote comedy unquote that is predicated on violence, submission and abuse? To
borrow a phrase, she leaned into it.<o:p></o:p></div>
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I didn’t see the 2016 <a href="https://www.nytimes.com/2016/06/14/theater/review-petruchio-is-a-woman-and-courtship-is-a-beauty-pageant-in-this-taming-of-the-shrew.html" target="_blank">Shakespeare
in the Park</a> all-female cast version that Burke possibly borrowed this idea
from (her director’s note is maddeningly oblique). But at least <a href="https://www.vox.com/2016/8/24/12131772/taming-shrew-phyllida-lloyd-anne-tyler-vinegar-girl" target="_blank">one
article</a> about that production talks about Katarina’s eyes being “wide and
anxious” during her final speech and Bianca’s face “collapse[ing] into a mask
of horror” as she listens. In her luminously intense portrayal in the current production,
Michelle Greensmith delivers the monologue not as a lecture but as a plea, her every
mannerism reflecting PTSD rather than happy subservience. Thanks to Greensmith,
it’s impossible to shrug off the manipulation, gaslighting, and cruelty her
character has experienced as some clever romantic plot. Shakespeare’s text hasn’t
been changed but, in her direction of this moment, Burke infuses an appropriate
level of #MeToo-era awareness into the scenario.<o:p></o:p></div>
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If that description makes this production seem like a heavy
slog through a gender studies seminar, I can’t emphasize strongly enough that Burke’s
amplification of the tragedy of Katarina works because of the delightful goofiness
of the play’s action beforehand. Burke allows an exceptional crew of comic
ladies to pepper their parts with asides, rejoinders and other funny business
that bolster nearly every scene, punching up what is already some pretty spry
repartee. Maggie Bavolack extends her already expansive range with her
hilariously old Gremio, Allison Paige Gilman makes her plucky Tranio the comic
lynchpin of the plot and Erica Hughes adds a sweet simpleton vibe to her
late-in-the-action emergence as a key player (particularly observant folks will
enjoy her unsung but very funny turn as an audience member early on).<o:p></o:p></div>
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The MVP (most vociferous provoker) of Laughter, however, has
to be Desiree Dabney who has apparently never been in a scene that couldn’t be
enhanced by a pulled face, under-her-breath adlib or other wisecrack reaction. She,
along with many other cast members, regularly single out audience members to talk
to, hand props to, and otherwise make directly personal what could otherwise be
an alienating theatrical experience.<o:p></o:p></div>
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Burke seems to instinctively understand (again, some
commentary would have helped) that breaking down that fourth wall, insinuating
all of us in the fun and frivolity during most of the show, also indicts us all
in the trials that befall Katarina. Her “comeuppance” is uncomfortable, more so
because we’ve all been roped into a jaunty good time – complete with
contemporary girl power songs that get toes tapping at the top of both the
first and second acts.<o:p></o:p></div>
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Speaking of music, the 2016 NYC production apparently
utilized Joan Jett’s “Bad Reputation” as its coda, an angry anthemic F-you to
the patriarchy. The pensive take on No Doubt’s “Just a Girl” that wraps up the
action here is Burke’s final slice of genius, a song that, stripped of its
perky ska beat, reinforces the similarities between now and 16<sup>th</sup>
century Italy, rather than pointing to any progress.</div>
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Before anyone stamps a big QED on this production, claiming the
problem definitively solved, Burke doesn’t escape all of the landmines Shakespeare embedded. If anything, the sweetness of Nora Ogunleye’s portrayal
of Lucentio – the plot’s requisite “good guy” – makes the turn her character
takes during the final wager between the show’s dude-bros even more
problematic. And speaking formalistically, there’s no way around the Bard’s flagrant
dismissal of the “show, don’t tell” proscription in scenes (e.g., the wedding) where
particularly flamboyant off-stage action is described rather than enacted.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But I’d have to echo Style Weekly’s <a href="https://www.styleweekly.com/richmond/untamed-hearts/Content?oid=14874399" target="_blank">Claire
Boswell</a> in saying this comes as close to the “Shrew” I’ve always wanted, to
the extent I’ve ever wanted a story of humiliation and misogyny wrapped up in deceptively
pretty language. Though I’ve finally heard a version of this tune that I liked
listening to, it doesn’t mean I wouldn’t prefer the song relegated to the (Not-So-)
Golden Oldies bin forever. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>(Quill’s “<a href="https://agecrofthall.tix.com/Schedule.aspx?OrgNum=1528">The Taming of the
Shrew</a>” runs at the lovely Agecroft Hall through August 4<sup>th</sup>.)</i><o:p></o:p></div>
<br />Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-47977468412991910812017-11-10T14:04:00.001-05:002017-11-10T14:13:42.049-05:00Dream or Nightmare?<div class="MsoNormal">
On two occasions recently, I’ve found myself in the company
of people who don’t like musicals. Rather than treat them like traitors against
the realm or shrink in horror at their inhumanity, I’ve engaged in a bit of
conversation with them, not unlike what Sarah Silverman has been doing in <a href="https://www.hulu.com/i-love-you-america" target="_blank">her new show</a>.<o:p></o:p></div>
<br />
<div class="MsoNormal">
Through those talks, I gained some understanding of that
anti-musical perspective and I like to think that Murder Ballad would be the
rare musical that would appeal to even sung-through haters in the world. The
show’s immersive staging at Club Infuzion in Scott’s Addition means you can practically
reach out and touch a performer at multiple points during the show. It moves fast,
it’s plot is simple and straightforward, and it features consistently
propulsive music (thanks to Kim Fox and her very peppy band). Director Lucian
Restivo has cast a rock-solid group of actors who nail every beat of the love-triangle-gone-deadly
story.<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOnz75kzM6hKNFsX_dPtaPINgbRO757jv47oQHv2YyOsQIRJwwYSV4nXnIFP3V9_B5wS4uGRgn-GT09QTanrbyo-yOHyliP6omwCGmrs-PQ3QLyo-_ygUsImoLjhINyVHJduxcDw/s1600/durron+and+katrinah.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOnz75kzM6hKNFsX_dPtaPINgbRO757jv47oQHv2YyOsQIRJwwYSV4nXnIFP3V9_B5wS4uGRgn-GT09QTanrbyo-yOHyliP6omwCGmrs-PQ3QLyo-_ygUsImoLjhINyVHJduxcDw/s400/durron+and+katrinah.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As someone who tries to sit in the front row for most shows,
I was in heaven. The production layout has four principal focal points: an elevated
mainstage where the band plays, a house-left bar, a house-right pool table that
becomes a bed, and another elevated area near the back of the house. I was happily
spinning in my seat to adjust my sightlines from one to the other throughout the
compact, intermissionless 90-minute performance, my favorite moments being when
one of the cast members was singing just inches away from my table.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And what a cast! Rachel Rose Gilmour has been the highlight
of two other of my recent favorite theater experiences (Toxic Avenger and
Lysistrata) and she brings a delightful, delicious, darkly sarcastic slinkiness
to “Ballad’s” narrator. She inserts regular commentary on the growing rivalry between
Tom (Durron Tyre) and Michael (Chris Hester) for the affection of Sara (Katrinah
Carol Lewis). Tom, a bar owner, has affection with a fiery lustful underbelly that
eventually clashes with Michael’s, a poet/MBA who is raising a child with Sara
and so operates from a more possessive, papa-bear place. There’s no doubt things
are going to end badly but exactly how isn’t clear until the very end.<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdZGpE58XcOqNS-Cy1uDTfbGGEl1y4Ms0zi8-IkVn1BSU9Segx9BqTe9Fqvjb8cgVykUh6SNvWOE1T3OIg_LNeUTn6ChMyxQHb9xyijqfl-70HO8PEARtj8mhEpgMLIBm_8JkaEQ/s1600/rachel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="501" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdZGpE58XcOqNS-Cy1uDTfbGGEl1y4Ms0zi8-IkVn1BSU9Segx9BqTe9Fqvjb8cgVykUh6SNvWOE1T3OIg_LNeUTn6ChMyxQHb9xyijqfl-70HO8PEARtj8mhEpgMLIBm_8JkaEQ/s320/rachel.jpg" width="250" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With the brevity of a musical like this, some nuance can be
lost and it’s up to Hester and Lewis to provide enough layers of personality to
make Michael and Sara an interesting couple. Both do a fine job, Lewis creating
a believably disaffected wife and mother, loving her family but craving her
former wild life. The energy of her “I don’t want to know your name” hook-up
with Hester persists throughout her domestic scenes. Hester has to do more with
less but, particularly given some of the extravagant characters he’s played in
the past, captures some pretty delicate gradations: projecting a sweet
protectiveness in his early scenes, transitioning to a wound-tight buttoned-down
peevishness, and ending with full-bore boiling over.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It may be the hunky Tyre, though, that rivets many a viewer.
He has one of the first musical highlights of the show in his sweet rendition
of “Sara” and, besides rocking an awesome leather jacket in the latter scenes
(costumes by Sheila Russ), he has a single-minded intensity throughout that’s
pretty entrancing.<o:p></o:p></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtLhf1WBGn7xhfs9MzrkYByz5Vne2p23zV00c71HOU0pJZGxoXrcukt23Hwk5uogNIQV1M_Gt2rxdHamfB15W98XSXM56Xq1DX0y4ViyhcYPNcBVbp0p9oo2wcdeYAX_RdAzYPfw/s1600/art45_theater_murder_ballad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="570" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtLhf1WBGn7xhfs9MzrkYByz5Vne2p23zV00c71HOU0pJZGxoXrcukt23Hwk5uogNIQV1M_Gt2rxdHamfB15W98XSXM56Xq1DX0y4ViyhcYPNcBVbp0p9oo2wcdeYAX_RdAzYPfw/s320/art45_theater_murder_ballad.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kudos must be given to Restivo for navigating a tricky
staging challenge and delivering such a stylish thriller. I may be wrong: being
immersed in a musical could be some people’s worst nightmare. But there are so
many entrees to Murder Ballad, it has appeal for anyone with an affection for film
noir or for messy love stories or thrillers or in-your-face drama or for good-looking
actors with great voices or for any theatrical experience that’s different than
most others. Doesn’t that cover just about everyone?<o:p></o:p></div>
Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-36329982125443091472017-10-14T14:16:00.002-04:002017-10-14T17:16:43.150-04:00Lucky<div class="MsoNormal">
I’ve attended multiple performances of a production many
times in the past. When the now-defunct Stage 1 did <i><span style="font-style: normal;"><a href="https://www.styleweekly.com/richmond/pious-kids-overcome-monotonous-score-in-ochildrents-letters/Content?oid=1380146" target="_blank">Children’s Letters to God</a></span></i>, I saw every
single one of the show’s 8 or 9 performances. I was at the theater mostly for
logistical reasons but nothing was compelling me to watch the show every time.
I chose to watch it every time because it was an awesome production.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In other cases, a show like VA Rep’s <i>The Color Purple</i> has compelled me to take different groups of
friends to it as proof of the quality of Richmond theater. </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAiGlcVnRp3RbR-mKBfAqbS66h8274sdalixr8IL1dBOhsR6gyiVgIsMSBqgBkL_cbmJaUYEZ1Bc0fU3s4i67raQogqYvegfQpK-fAjqB_JcLVF-5nrXVBbaUmZXDUWjjtTwcpeg/s1600/lys-maggie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="960" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAiGlcVnRp3RbR-mKBfAqbS66h8274sdalixr8IL1dBOhsR6gyiVgIsMSBqgBkL_cbmJaUYEZ1Bc0fU3s4i67raQogqYvegfQpK-fAjqB_JcLVF-5nrXVBbaUmZXDUWjjtTwcpeg/s320/lys-maggie.jpg" width="320" /></a></div>
<div class="MsoNormal">
For Quill’s <i>Lysistrata,
starring Grey Garrett</i>, I saw the show three times mostly for business
reasons. My new venture, <a href="https://behindthescenesrva.com/" target="_blank">Behind-the-Scenes RVA</a>, dovetails perfectly with Quill’s mission: they seek to produce theatre
worth talking about and one of my goals with BTS-RVA is to provide context that
can inform those conversations.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After seeing the show for the third time, I realized how my
perspective on the show had changed and, also, what I was focusing on in the third
viewing versus the first. To whit:<br />
<ul>
<li>There are some comedic powerhouses in this cast.
Jeff Clevenger and Maggie Bavolack, in particular, are so talented that they can
generate laughs with a look or a line delivery. After the first viewing, theirs
were the performances I remembered. But after repeated viewings, I gained
appreciation for CJ Bergin as the Spartan herald who had several very choice
bits and absolutely nailed them every single time. I also grew to love the
playful dynamics between Michael Hawke and Melissa Johnston Price and the small
comic moments they capitalized on, Michael getting a hearty laugh by dangling
his feet like a toddler and Melissa’s sarcasm after removing “the mother of all
gnats” from Michael’s eye. Certainly, a good chunk of credit must be given to
director James Ricks for locating these moments and elevating them, but the
execution was also exceptional.</li>
<br />
<li>In part because they are obscured behind masks,
it’s easy to overlook the work of the chorus of old women who seize control of the
Acropolis. Some choice lines are delivered by Katherine Wright, Addie Barnhart
and especially Amanda Durst with her rambling fig rant.</li>
</ul>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfCWs1gHNzjk_O_v4DOeE9bppShupCLNrhAadAPHAm_6EL1JNtQrNj3q4UcP32wUXJov1VmQGRCvi3HXuwE1whGUrHFADCtKxk2Vg-I5djPjgHUXjJk-xFlWb_jpzvSgenm9YqDg/s1600/lys-oldwomen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="960" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfCWs1gHNzjk_O_v4DOeE9bppShupCLNrhAadAPHAm_6EL1JNtQrNj3q4UcP32wUXJov1VmQGRCvi3HXuwE1whGUrHFADCtKxk2Vg-I5djPjgHUXjJk-xFlWb_jpzvSgenm9YqDg/s320/lys-oldwomen.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<ul>
<li style="text-align: left;">I’m sure epic poems could be written about the
beauty, both unclothed and clothed, of Terrie Elam as Ismenia/Peace. But it is
also her sweet clear voice that lends another layer of pathos to the show’s final
scene, rising up a cappella as the gravity of what has happened sinks in.</li>
<br />
<li style="text-align: left;"><span style="text-indent: -0.25in;">And while on the subject of the beauty of the
cast, it’s worth mentioning that, in Lysistrata, Rachel Rose Gilmour bolsters the
significant cred she earned through a stellar performance in </span><i style="text-indent: -0.25in;">The Toxic Avenger</i><span style="text-indent: -0.25in;"> as much more than just
a pretty face. She shows exceptional comic chops in her teasing of a
delightfully confounded Adrian Grantz; she’s one of many reasons I’m looking
forward to </span><a href="http://www.5thwalltheatre.org/" style="text-indent: -0.25in;" target="_blank">5th Wall’s Murder Ballad</a><span style="text-indent: -0.25in;">.</span></li>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUEAnGA1q7PQ_xjP_mtO3O4SwktVT4CSTeS_Z_lAY563nob5SVSGpFF1ty2r-RfavbyOEnyEb9c-j2CODLkRxX-vNrj3kpVHKk5jxgEVYiby4Vh7aC4Mc-JRK3AY5tALZL5K-oQ/s1600/lys-rachel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="960" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUEAnGA1q7PQ_xjP_mtO3O4SwktVT4CSTeS_Z_lAY563nob5SVSGpFF1ty2r-RfavbyOEnyEb9c-j2CODLkRxX-vNrj3kpVHKk5jxgEVYiby4Vh7aC4Mc-JRK3AY5tALZL5K-oQ/s320/lys-rachel.jpg" width="320" /></a></div>
<ul>
<li style="text-align: left;"><span style="text-indent: -0.25in;">Having seen Grey Garrett in a range of excellent
roles, at first I came away from Lysistrata disappointed about her part. As I
described in the </span><a href="http://www.artsies.org/circle-jerks/" style="text-indent: -0.25in;">Curtain Call</a><span style="text-indent: -0.25in;">
podcast, she’s kind of the scold of the piece, forced to repeatedly browbeat
her team into staying in line. It was only through repeated viewing that I saw
more of the subtlety of her performance, her very fun teasing of Kinesias as
her approaches the Acropolis, her look of anticipatory victory right before she
brings Peace out to the inflamed negotiators. I still have liked her better in
her restrained mania in </span><i style="text-indent: -0.25in;">The Wild Party</i><span style="text-indent: -0.25in;">
or as the unexpectedly empathetic White Queen in </span><i style="text-indent: -0.25in;">Alice</i><span style="text-indent: -0.25in;">. But she still manages to shine in this less meaty role.</span></li>
<br />
<li style="text-align: left;">Ah, the ending. While at first I was conflicted
by the ending, I’ve grown to really appreciate it. Out of the numerous choices
James Ricks had in wrapping up what is usually kind of a “meh” ending to the story,
he took a bold choice, a somewhat unsettling choice, but one that puts a
succinct button on the underlying issues addressed in the show. I’m sure it is
somehow inconsistent with different conventions – either of traditional Greek
comedy or arguably of modern “sitcom” comedy – but for me, it makes me leave
the show with more to chew on rather than just walk away blithely satisfied at
being well entertained.</li>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrWc_00xzO5X27OaqBf1zDMPGQeGF3YY2bCh7LBL1ZNMlsGPmcPlFJh3dktZoo31JwzNt8HVyCQt1svxg8acUOoJhYMaK1UoVhzKEXoqemLNQB5MjuQmWaeWgjuwmmiZvdacDgvw/s1600/lys-ismenia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="687" data-original-width="960" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrWc_00xzO5X27OaqBf1zDMPGQeGF3YY2bCh7LBL1ZNMlsGPmcPlFJh3dktZoo31JwzNt8HVyCQt1svxg8acUOoJhYMaK1UoVhzKEXoqemLNQB5MjuQmWaeWgjuwmmiZvdacDgvw/s320/lys-ismenia.jpg" width="320" /></a></div>
<div style="text-align: left;">
There are issues of feminism and sexism that have been
talked about rather openly thanks to the <a href="https://www.styleweekly.com/richmond/theater-review-quills-lysistrata-serves-up-sexual-innuendo-and-mixed-messages/Content?oid=4962175" target="_blank">Style review</a> and the response James wrote
to it so I’m not going to circle back on them now. These issues were debated quite
rigorously among people who came to the Behind-the-Scenes tours. And that kind
of conversation is pretty awesome, I think, and just goes to show that this was
indeed theatre worth talking about.</div>
<br />
<div class="MsoNormal">
By the way, if you’re reading this, please tell your friends
and family (and strangers on the street) about future Behind-the-Scenes
opportunities; there’s one coming up for RTP’s <i><a href="https://behindthescenesrva.com/2017/09/25/cloud-9-opening-soon/" target="_blank">Cloud 9</a></i>
this Friday and Firehouse’s <i><a href="https://behindthescenesrva.com/2017/10/13/desire-under-the-elms-opening-soon-at-the-firehouse/" target="_blank">Desire Under the Elms</a></i> the first week in November. More talking about theater
will hopefully get more people to get out of their houses and attending live theater.
That’s a win for us all!<o:p></o:p></div>
Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-19131612429254051432017-10-01T18:58:00.001-04:002017-10-01T18:58:44.306-04:00It's the Music<div class="MsoNormal">
It’s silly to say that what makes musicals different is the
music. But it's certainly the music that makes the difference in the currently running co-production
by Yes, And! Entertainment and TheatreLab, “The Last Five Years.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The accompaniment for many musicals in
Richmond – and I expect most other mid-market cities – is often electronic. Musicians need to be paid and arranged and rehearsed and such, which can be expensive, so many shows are tracked. It’s
easy to think that this doesn’t diminish the impact of the production, particularly
if the vocalists are strong.<br />
<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB8lGYDTVJMTojcAj1ZrO3nHeMzh4NECqWI6jUK9A5RUoROg1ovHQEwVvfUxLjPYropA1_g9wagekfAvlpF_RlqyB09blzm5PYsU2oxgB5__3J9woo2zY45ApMtoS93wrOa2xFwg/s1600/alex+and+christie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB8lGYDTVJMTojcAj1ZrO3nHeMzh4NECqWI6jUK9A5RUoROg1ovHQEwVvfUxLjPYropA1_g9wagekfAvlpF_RlqyB09blzm5PYsU2oxgB5__3J9woo2zY45ApMtoS93wrOa2xFwg/s400/alex+and+christie.jpg" width="400" /></a></div>
<div class="MsoNormal">
But then you hear the robust, glorious sound of musical
director John-Stuart Fauquet’s consummate 6-person crew – 2 cellos and a violin
bolstering the piano / guitar / bass trio – and you realize an essential element that is too often missing in other shows. It’s delightful to hear the soar and
swell of this chamber group in service of Jason Robert Brown’s complex score.
As my wife said afterwards, the music is essentially a character in this
emotional two-hander and Fauquet and company bring that character to vibrant, almost symphonic, life.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The music perfectly complements performers as powerful as
Christie Jackson and Alexander Sapp. Anyone who knows Richmond theater knows
these two actors and how incredibly good they are. That director Chelsea Burke
wrangled them both for this production was a stroke of genius; as soon as they
were announced, this production became one of the most anticipated in town.<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtk8919GUuizUP6iStB3m1mL0VB211Fou2k8ALPPbKd7i_cPXHeH9MEK23RW25AfepuUDNIAoSWEfqx4uMR3XbwieRc6SDjH5dyQA3mS6-vkvoAV3-ZH5oOTkKOC8OfTac_kOm0g/s1600/alex+and+christie+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="960" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtk8919GUuizUP6iStB3m1mL0VB211Fou2k8ALPPbKd7i_cPXHeH9MEK23RW25AfepuUDNIAoSWEfqx4uMR3XbwieRc6SDjH5dyQA3mS6-vkvoAV3-ZH5oOTkKOC8OfTac_kOm0g/s320/alex+and+christie+2.jpg" width="320" /></a></div>
<div class="MsoNormal">
I don’t believe Style is going to do a review of this
production because it already published <a href="https://www.styleweekly.com/richmond/a-cult-musical-inspired-by-a-failed-marriage-is-shaping-up-to-be-a-richmond-theater-highlight/Content?oid=4722087" target="_blank">a fine preview</a> by Rich Griset. I’m not offering a review here and would defer
to Mr. Williams at Sifter who gave <a href="http://www.tvjerry.com/last-five-years-review/" target="_blank">a review</a> that I (for
once) am almost entirely in agreement with, down to his drawing attention to the
occasionally glitchy lights. Jerry uses words like “flawless” and “charming”
and “superb,” all adjectives I heartily endorse.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will augment Jerry’s review by offering a few additional
comments:<o:p></o:p></div>
<div class="MsoNormal">
</div>
<ul>
<li>Alexander Sapp continues to be phenomenal
without being annoying. I never lose sight of his humanity; that’s part of what
made his portrayals in “Toxic Avenger” and “Croaker” so good, projecting
something relatable even when the characters were literally inhuman. That
relatability serves him exceptionally well here, as his character responds to
his changing fortunes with choices that may not exactly be admirable but are
certainly understandable.</li>
<br />
<li><span style="text-indent: -0.25in;">Christie Jackson’s delivery of the “Climbing
Uphill/Audition Sequence” song may be one of the best single performances of a
song I’ve witnessed in a long time. As lovely and talented as she is, she made
clear the crippling insecurity and uncertainty that an audition provokes, at
the same time singing her heart out through the tricky melodies and the “belting
as high as [she] can.”</span></li>
<br />
<li><span style="text-indent: -0.25in;">In his review, Jerry mentions that Jackon’s
character has “less versatility and character depth,” which was the basis
of a conversation I had during the car ride home after the show. The show is ingenious
in many ways but that shortfall is the one nit I would have to pick. I would have
appreciated it just that much more if Cathy had been on the cusp of some kind
of positive transition at the show’s end or if some additional layers of
experience could have been mixed into her story. It’s disappointing principally
because Jackson has proved many times she can deliver whatever nuance and depth
is required in a role. I loved her in this part but felt like it only exercised
75% of her range and can image how spectacular it would have been if we had
gotten closer to 100%.</span></li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOfr3-MsEy99_d0_AUsP_FX7fCmX24FDBbzOGJn8DA5jnJTJ95UwAtTBx-gSMhAtaClVf65oU-K3epu_4BLp5ps7V8o0zwyFfRK2FapNqJyZkQm3DxI2WJCGcDZVWZxbjOdVb3xQ/s1600/christie+only.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOfr3-MsEy99_d0_AUsP_FX7fCmX24FDBbzOGJn8DA5jnJTJ95UwAtTBx-gSMhAtaClVf65oU-K3epu_4BLp5ps7V8o0zwyFfRK2FapNqJyZkQm3DxI2WJCGcDZVWZxbjOdVb3xQ/s320/christie+only.jpg" width="320" /></a></div>
<br />
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That said, this minor deficit in the musical’s book takes
nothing away from the success of this production. This is the kind of production
that makes me appreciate the surprising wealth of talent we have in Richmond. From
the brilliant musicians offstage to the captivating actors onstage, it’s hard
for me to imagine a better staging of this show.<o:p></o:p></div>
Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-75263152424845612522017-09-13T23:16:00.001-04:002017-09-13T23:16:33.025-04:00Laying bare the necessities<div class="MsoNormal">
I can’t really add that much to <a href="http://www.richmond.com/entertainment/theater/enchanting-food-clothing-and-shelter-is-an-impressive--act/article_e42e2431-6a51-5561-834a-ea9af1365aff.html" target="_blank">Susie Haubenstock’s review</a>
of “Food, Clothing, Shelter," playing only a couple more times at the Firehouse. I agree with essentially every word, including
the not-quite-successful aerialist interlude and the call-outs to Keisha
Wallace, Kylie Clark and Donna Marie Miller for their great performances. <o:p></o:p></div>
<br />
<div class="MsoNormal">
I do feel compelled to add a couple of additional tidbits:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRCqaxYHYElXjZg_46ioYRKOYgpesbXluWdtXTKhj879tsSAVTh2EaZkNNM2BH-uxHVkgH6Lc-CokCAYLjJYjO90n3sUHFzBjDw7yPZAjS0ChepNH6QRUFLQYt-PIP9LFChy130g/s1600/fcs+zora.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="204" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRCqaxYHYElXjZg_46ioYRKOYgpesbXluWdtXTKhj879tsSAVTh2EaZkNNM2BH-uxHVkgH6Lc-CokCAYLjJYjO90n3sUHFzBjDw7yPZAjS0ChepNH6QRUFLQYt-PIP9LFChy130g/s1600/fcs+zora.jpg" /></a></div>
</div>
<ul>
<li><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><span style="text-indent: -0.25in;">While I agree with Susie’s call-outs, I would save
my greatest praise for Rebecca Turner. Her Gloria, the hotel proprietress, seems
clearly meant to be what you would call “spectrumy:” she speaks way too
honestly and acts awkwardly obtuse in the manner of human interaction. Turner disappears
completely into this character, never making her a caricature, projecting a heartbreaking
sincerity. The way both Turner’s character and Miller’s – who is indeed fabulous
in her role – reveal themselves to each other is a subtle wonder to watch.</span></li>
</ul>
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<ul>
<li><span style="text-indent: -0.25in;">Bo Wilson’s writing, particularly in that last
scene, has to be recognized for its nicely attenuated sense of interpersonal
interaction. Each scene in the play involves people who want something running
up against others who have to decide whether they want to give anything up. That
Bo has formulated three dramatically different variations on that basic power
dynamic is a testament to his creativity.</span></li>
</ul>
<ul>
<li><span style="text-indent: -0.25in;">A nice dovetail of smart writing with a fine
performance is in the first scene between Frank Creasy’s butcher and Kirk
Morton’s circus manager. Creasy is meant to be a simple townsperson but Wilson
doesn’t write him as a rube and Creasy doesn’t overplay him as being either too
dull or too sharp. There is not a hint of condescension in the character which
makes for a stronger scene. (That condescension is left for the more
closeminded townspeople – handy hyperbolic bigots that provide the needed “oh
yeah, small town xenophobia!” backdrop to the action.)</span></li>
</ul>
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<ul>
<li><span style="text-indent: -0.25in;">My favorite part of the second scene – besides the
strong performances – was that the two characters seemed completely genuine to
me. Foster’s Izzy was bigger than life but in a way that made complete sense,
particularly given the short soliloquy he delivers about the unchanged being
fascinated by watching the changed (the most, maybe only, successful one of
those interludes). And Wallace’s Bess understands the racial dynamics of the
town in a way Izzy never will. The resolution of the scene is a bit broad and
doesn’t totally ring true but everything else seemed to me to be just right.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdRMNTPpKac0CsDVIZOU1du7WFISbJNaCUhZ8n1xEDw2fc2ePi89hcuK8zu6y3tWfVe10VytaqbRDl9pCfi0JeWDdg5dkKSMNXzp1HdvliD7ZfFm4jOx0azr0i6WO1yRy0GYPgA/s1600/fcs+foster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1097" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdRMNTPpKac0CsDVIZOU1du7WFISbJNaCUhZ8n1xEDw2fc2ePi89hcuK8zu6y3tWfVe10VytaqbRDl9pCfi0JeWDdg5dkKSMNXzp1HdvliD7ZfFm4jOx0azr0i6WO1yRy0GYPgA/s320/fcs+foster.jpg" width="219" /></a></div>
</span></li>
</ul>
The immersive atmosphere director Joel Bassin creates at the
Firehouse for this production draws every patron into what ends up being a
communal experience. Maybe it’s because I was there on a Wednesday night with a
pretty small house but there was a homey feel to the evening, a looseness where
the 4<sup>th</sup> wall was much more permeable than usual.<br />
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<div class="MsoNormal">
In the end, “Food,
Clothing, Shelter” is an ambitious production about relatively small stories. In
some plays, it can seem a waste of time to linger on minor interplay that doesn’t
have broader consequences in the world. But Wilson and Bassin have created an
engrossing tale where small doesn’t equal inconsequential. In fact, as made
plain in the title, such simple interactions often involve the core necessities
of life. What could be more important than that?<o:p></o:p></div>
Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com2tag:blogger.com,1999:blog-29175306.post-40054948422896282122017-08-25T12:12:00.004-04:002017-08-25T12:12:55.789-04:00A Dazzling Drop Down the Rabbit Hole<div class="font7" style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;">I took in an unusual doubleheader last night:
an utterly charming performance of the Firehouse/TheatreLab co-pro “Alice: A
New Musical” and a thoroughly dispiriting final episode in the Netflix series,
“Marvel’s The Defenders.” The two were near mirror images: the former was
surprising, delightful, and satisfying; the latter was predictable, dull, and
disappointing. Lucky for me, the positive power of “Alice” was stronger than
the suckitude of “The Defenders” so the night was a net boost to my spirits.<o:p></o:p></span></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;">First, to dispatch with this Marvel
monstronsity: my ire is fueled largely by my fondness for the antecedents. I
loved Jessica Jones and Luke Cage -- both bold skews on the standard superhero
dreck – and really liked most of Daredevil’s two seasons. (I’m not a completist
so I left Iron Fist alone based on its critical reception.) Defenders
diminished both Jones and Cage and, while it was fun to see Sigourney Weaver as
the big bad, nothing was bold or imaginative about this mash-up. Secret, spooky
organization with world-threatening evil plan – check; heroes thrown together
uneasily into a ragtag team with much internal conflict – check; lots of nearly
random fighting that made little sense and, worse, mostly has no real impact –
check. And OMFG that ending. I won’t spoil anything but I will draw the
comparison that it’s actually worse than the ending to “Batman v Superman,” and
that’s pretty bad.<o:p></o:p></span></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;">So: turning to the bright side, how about that
“Alice?” The show’s been selling out and extended and for damn good reason.
Director Adam Ferguson has assembled a cast of stunning talent and put them to
work in service of a joyful-but-not-without-angst take on the classic
Wonderland adventure. There are many aspects of Ferguson’s work to laud: from a
set (also by Ferguson) that makes great use of the nooks and crannies in TheatreLab’s
Basement venue to the clever, thoughtful scenic transitions that never impede
the action. How happy many theatergoers would be if directors paid more
attention to cutting the momentum-killing time expended on scene transitions.<o:p></o:p></span></div>
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<br /></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;">I could go on about the production but, while
still enjoying freedom from the writing-for-publication straightjacket, I’d
rather recognize each performer of this uniformly winning cast. Starting from
the bottom as listed in the program:<o:p></o:p></span></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Emily Berg-Poff Dandridge</b> as White Rabbit: Hers
is the first character from “Wonderland” that wanders into Alice’s life and Dandridge
provides a perfect introduction to this alternative reality. Anxious without
being manic, arch without being angry, and moving with a jaunty springiness
reflecting her skill as a dancer, Dandridge leads Alice down the rabbit hole in
a way that certainly anyone would follow. Her renown as a choreographer has
been growing, but did everyone else know she could sing and act so well, too?
Clearly, Ferguson did and he made a great choice casting her.</span><span style="font-family: "Arial",sans-serif;"><o:p></o:p></span></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Anne Michelle Forbes</b> as Duchess/Dormouse:
With appearances in 6 significant productions in the last year or so, Ms.
Forbes has become a welcome new staple on the local stage scene. Her Duchess is
a deep dive into the wackadoodle mentality of Wonderland, childishly delighted
one moment, dangerously enraged the next. Forbes makes these transitions as
quickly and easily as donning and doffing a baseball cap, a testament to her
still-burgeoning acting chops.<br />
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Maggie Bavolack</b> as Tweedle Dum/Caterpillar:
There are few comedians who generate laughs as easily and deftly as Bavolack. When
she appears with her entourage as the Caterpillar, the audience is giggling
before she says her first line. Her crying baby elicits howls without requiring
any dialogue. From what I hear, the Tweedle brothers were going to be played by
men and that would have robbed Richmond of the comic stylings of Bavolack and
Hindman, a team that could do a “Dumb and Dumber”-style road show that would
surely surpass the Carrey/Daniels duo in hilarity.<br />
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Rachel Hindman</b> as Tweedle Dee/Mouse: A good
slice of Hindman’s power onstage has to do with her extraordinary eyes – wide,
far-searching eyes that infuse her seafaring mouse character with a look of
nomadic fervor and just a bit of out-in-the-sun-too-long madness. Hindman was
impressive as St Jimmy in Ferguson’s American Idiot last summer and she’s no
less impressive here.<br />
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Mallory Keene</b> as March Hare/Cook: Ms. Keene
gets fewer chances to stand out as others in this exceptional cast but she
makes good use of the times she gets. Her pepper-wielding Cook makes a fine
foil for Forbes’s Duchess and she and Sneed partner for a fabulously nutty tea
party. I look forward to the next chance to see her shine.<br />
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Caitlin Sneed</b> as Mad Hatter/Girl with the
Cat/Chesire Cat/Dinah: I simply couldn’t take my eyes off Sneed almost every
scene she was in. There are actors that seem effortlessly confident and
self-possessed on stage – actors who never seem to be consciously “acting” –
and that is certainly Sneed. Not to mention a soaring, powerhouse voice that
starts the show with a clear signal that there are some capital V voices at
work in this production.</span><span style="font-family: "Arial",sans-serif;"><o:p></o:p></span></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Rachel Dilliplane</b> as Sister/Frog-Footman: A
bit of an unsung hero in this piece, Dilliplane plays some of the more reserved
characters in “Alice” but does so in a fully realized way. Her recurring
appearance as Alice’s sister, in particular, establishes a reassuring energy
that acts as a reminder that the real world that Alice may return to will
welcome her back with love.</span><span style="font-family: "Arial",sans-serif;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTvv8Fv9hDetSbcc0NNwNl9xKXqxe91nIWcugkNLJBJOaz9iOnh2L6iJtVla8Am6MOJwO4xPXPzQXPvgOetTFl0n-TIzbHYaULoPKkdkn4LQxSTgwAmi3HUEaEVVnHPzciaD34OA/s1600/alice+grey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTvv8Fv9hDetSbcc0NNwNl9xKXqxe91nIWcugkNLJBJOaz9iOnh2L6iJtVla8Am6MOJwO4xPXPzQXPvgOetTFl0n-TIzbHYaULoPKkdkn4LQxSTgwAmi3HUEaEVVnHPzciaD34OA/s400/alice+grey.jpg" width="400" /></a></div>
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Kelsey Cordrey</b> as Mother/Queen of Hearts: In
another actor’s hands, the Queen of Hearts could have been a cartoon-y
villainess. But in creating a compelling Mother/Queen duelism, Cordrey makes us
feel empathy, even affection, for the big bad in this story and her song to
Alice at the ending is a true heart-tugger.<br />
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Grey Garrett</b> as the White Queen: At this
point, I’ve run out of adequate adjectives to do justice to Garrett in this
role. So much of what she does here is unspoken, her quiet curious spying on
Alice’s progress, and the sweet melancholy she brings to their ultimate
interactions. From the beginning, you can sense a longing for a true companion
in Alice and a sadness in her knowing that their time together will be so
brief. Garrett adds this to a growing list of powerful performances where she
commands attention in the most unassuming way, a talent I don’t know if they
teach in acting school.<br />
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<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0in; padding: 0in;"><b>Rachel Marrs</b> as Alice: It’s not easy playing
an adolescent. Many actors portray them as sullen angst buckets or as bratty
grown-up 2-year olds or sometimes as overly prescient empaths. Marrs captures
the wonder and innocence without making Alice too childlike, and the budding
intelligence and self-assertion without making her a punk. She serves as a
delightful tour guide of the alternate reality Ferguson has created and a
winning protagonist that this father-of-daughters was rooting for the whole
time.<o:p></o:p></span></div>
<div class="font7" style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-border-alt: none windowtext 0in; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; padding: 0in;">That’s a lot of words about
“Alice,” but here is a more simple, concise summation: I would rather see 10
more fights between the Tweedle Dum and Tweedle Dee from this production than I
would even 1 more fight between Daredevil and Elecktra from “The Defenders.”</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3OkDyTK4tNb3c9C_jsV2PhlNgHMw5Cx7eBoGVmkrvSugm_QOo4qHuCFsirzMSjucd3XjXwMx4JZysPLIn8bOKsAo4eYoGiwULzyAbaL3op-2mbH-P5anwWTvAqvVmch4VV4vGEA/s1600/alice+baby.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3OkDyTK4tNb3c9C_jsV2PhlNgHMw5Cx7eBoGVmkrvSugm_QOo4qHuCFsirzMSjucd3XjXwMx4JZysPLIn8bOKsAo4eYoGiwULzyAbaL3op-2mbH-P5anwWTvAqvVmch4VV4vGEA/s320/alice+baby.jpg" width="320" /></a></div>
<span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-border-alt: none windowtext 0in; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; padding: 0in;"><br /></span>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-51381710965881980462017-08-02T22:52:00.003-04:002017-08-02T23:21:53.238-04:00Candy Store<div class="MsoNormal">
Joel Bassin said a funny thing to me just as the lights were
going down to signal the beginning of “Heathers: The Musical” on Tuesday night:
“The only problem with having a hit is that you have to keep the bathrooms
clean.”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
And a hit “Heathers” has been, for good reason. Where “The
Toxic Avenger” leavened its darkness with a healthy dose of silly, “Heathers” starts
with teenage angst, stirs in irony, pathos and deeply twisted humor, and then whips
it all into a dark delicious mélange. Even with an inevitable dip in energy in
the second act as the various threads unravel, this production is a delight
throughout and director Debra Clinton shows herself to be at the pinnacle of
her skills.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbXbZeJkeVt0yjqa_54kCVgbD2OplJQDiZmEm09DgqkmJR0gPHBa5HGy2l4Y1TPcGjmnd8lyht05kJpRZSGe9Dp6xekNmTZKSeLcNb5ulz4Aeve02gRTGpmMgj-aJUWNy1efrjbg/s1600/heathers+ensemble.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="960" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbXbZeJkeVt0yjqa_54kCVgbD2OplJQDiZmEm09DgqkmJR0gPHBa5HGy2l4Y1TPcGjmnd8lyht05kJpRZSGe9Dp6xekNmTZKSeLcNb5ulz4Aeve02gRTGpmMgj-aJUWNy1efrjbg/s640/heathers+ensemble.jpg" width="640" /></a></div>
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</div>
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Some bullet (pun intended) points:<o:p></o:p></div>
<br />
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</div>
<ul>
<li>Crack open a character and you find a person. One
of this production’s many strengths is that even characters that can seem a bit
one-note are played by actors who give them a fully-realized rendering when
they take center stage. The most obvious of these is Leanna Hicks as Martha “Dumptruck.”
Sure, she’s the superperky nerd sidekick, but then give her a song to herself (“Kindergarten
Boyfriend”) and she’s a 3D person with a complex inner life. Hicks knocks it out
of the park, a triumph echoed by Michaela Nicole (“Heather McNamara”) and Billy
Christopher Maupin (“Ram’s Dad”) who both grab ahold of their solos and wring surprising
depth of emotions out of them.</li>
</ul>
<br />
<ul>
<li>If only. Carmen Wiley as Veronica has been
<a href="http://www.tvjerry.com/heathers-review/" target="_blank">praised</a> <a href="http://www.richmond.com/entertainment/theater/theater-review-heathers-the-musical/article_6857b71c-a4b4-5e9a-9cd4-cd394f04fefc.html" target="_blank">plenty</a> <a href="https://www.styleweekly.com/richmond/theater-review-the-songs-arent-great-but-heathers-the-musical-will-still-appeal-to-fans-of-the-film/Content?oid=3877191" target="_blank">already</a> and she is truly fantastic. I’ll just add that this show makes
me regret I didn’t make a point of seeing the Theatre VCU productions she was
in.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPI1XrQm_Uz1EdhVUvkXqyfEiVk2A33JazF9mNbWFwzppErR3EDAooM_tZ_EFMzd8z9CLofbwP8zvDR2CiAe1tZwAo73jOPYcs9GgUs9GqY3L78dlq5LsWpKOpp_zmI_bbDgeP9A/s1600/heathers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPI1XrQm_Uz1EdhVUvkXqyfEiVk2A33JazF9mNbWFwzppErR3EDAooM_tZ_EFMzd8z9CLofbwP8zvDR2CiAe1tZwAo73jOPYcs9GgUs9GqY3L78dlq5LsWpKOpp_zmI_bbDgeP9A/s320/heathers.jpg" width="320" /></a></div>
<ul>
<li>Smug-free zone. Adam Valentine as J.D. is not
the strongest singer. But he harmonizes fabulously in his songs with Wiley and,
though it’s been a while since I saw the movie, I liked his performance better
than I remember liking the annoyingly smug Christian Slater.</li>
</ul>
<br />
<ul>
<li>Music! The music may be recorded by Jason Marks’
tracks are playfully dynamic and richly produced. He and Clinton just need to keep
doing more and more things together.</li>
</ul>
<br />
<ul>
<li>Lights! Speaking of dynamics, Michael Jarett’s
lights add tremendous character to the production, intensifying moods from
scary to snarky to shiny/happy. Ruth Hedberg’s costumes are also a hoot,
particularly the Heather’s getups. Apparently, her budget ran out, though, so
Caleb Wade and Steven Martella had to run around half-naked most of the second
act. Not that anyone’s complaining…</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYX1D1CA6DF9yAoorCorO6ozHWi4JKZkvLKI2jtoWGeoXSR6ktUJvn9mmiitQtQ1VvKeVJEErKrsmf0QSsBZ3QkNHCo4X6nET7PmRJjht89FKdAzPDRVUvJ90a3MR79LESjBE4w/s1600/art28_theater_heathers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="570" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYX1D1CA6DF9yAoorCorO6ozHWi4JKZkvLKI2jtoWGeoXSR6ktUJvn9mmiitQtQ1VvKeVJEErKrsmf0QSsBZ3QkNHCo4X6nET7PmRJjht89FKdAzPDRVUvJ90a3MR79LESjBE4w/s320/art28_theater_heathers.jpg" width="320" /></a></div>
<ul>
<li>Miscellany. A tidbit I found fun: the
first trial concert production of “<a href="http://www.dailymotion.com/video/x34275r" target="_blank">Heathers</a>” starred Jeremy Jordan as JD. The
name may not be familiar to many but, to this “<a href="http://comicbook.com/dc/2017/01/02/jeremy-jordan-on-supergirl/" target="_blank">Supergirl</a>” fanboy, the thought
of quirky, awkward “Winn” playing the brooding, murderous “JD” made me smile.
Also: there’s apparently a “Heathers” <a href="http://variety.com/2017/tv/news/heathers-reboot-tv-show-greenlit-tv-land-1201960362/" target="_blank">TV show in production</a>, which could be
cool but I’m already worried about because the <a href="http://www.imdb.com/name/nm4530137/" target="_blank">actor playing Veronica</a> seems
like she might be one of those actors who is actually beautiful who is going to
be called on to be the nerdy, awkward outcast. But I’ll try not to pre-judge…</li>
</ul>
<br />
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<o:p></o:p></div>
I'm lucky to have snuck in for one of the last performances; the end of the run through the 12th is sold out. What's your damage? If you missed this show, it could be significant.Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-25074003829562343342017-08-01T00:52:00.001-04:002017-08-01T12:49:42.728-04:00What a Week<div class="MsoNormal">
At some point during every episode of <a href="https://getcrookedmedia.com/lovett-or-leave-it-6077c7aca95c" target="_blank">Lovett or Leave It</a>, one
of my favorite political podcasts, the host Jon Lovett exclaims, “What a week!”
He’s usually reacting to the turmoil in presidential politics. But you could certainly
say the same for theater this past week, both local and national.</div>
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<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
First, you have Morrie Piersol getting plucked out of the
North Atlantic, a rescue so awesome it received <a href="http://icelandreview.com/news/2017/07/26/american-sailors-rescued" target="_blank">Icelandic news coverage</a> and even
<a href="http://www.richmond.com/news/local/retired-richmond-area-teacher-rescued-after-storm-rolls-sailboat-in/article_674d7513-1e69-5974-89b2-da34ec1b0078.html" target="_blank">more comprehensive local coverage</a> that got picked up on <a href="https://www.usnews.com/news/best-states/virginia/articles/2017-07-28/retired-teacher-rescued-storm-near-iceland-rolled-sailboat" target="_blank">the national wire</a>.
Thank goodness Morrie is safe and thank god for the Icelandic Coast Guard and
all rescuers involved for their heroic efforts. Morrie has been a great theater
teacher at Appomattox Regional Governor’s School and has directed numerous
acclaimed productions on local stages. We’re hopeful he’ll stay safe on solid
ground for at least the next little while.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyr717MnXof-N7nUKbpq-KhwqOX9taPUDfqrQoL-hf4pp1yhi8dc6LFYE-YZ_BfHoPWI1j_Y-4k2ug7s0UYgRNoM3DkJsr8EwLdvt2FPNqcGuqnQvgqmv_GyF1XNXU38SSSpY7Ug/s1600/morrie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="704" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyr717MnXof-N7nUKbpq-KhwqOX9taPUDfqrQoL-hf4pp1yhi8dc6LFYE-YZ_BfHoPWI1j_Y-4k2ug7s0UYgRNoM3DkJsr8EwLdvt2FPNqcGuqnQvgqmv_GyF1XNXU38SSSpY7Ug/s320/morrie.jpg" width="234" /></a></div>
<br /></div>
<div class="MsoNormal">
Then you have all of these shows opening or closing or both.
SPARC’s “<a href="https://www.facebook.com/events/1292287747535595" target="_blank">Oliver!</a>” opened and closed and by all accounts was awesome.
“<a href="https://www.facebook.com/groups/70030097655/permalink/10156341151482656/" target="_blank">Thoroughly Modern Millie</a>” opened at the Dell and people have one more weekend
to rush out and see it. And “In the Heights” (Virginia Rep) and “Macbeth”
(Quill) both closed after sterling runs at their respective venues. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You’d think we’d have a minute to breath before there were
new shows to rush out and see but, NO, before you know it “<a href="http://rtriangle.org/" target="_blank">The View Upstairs</a>” is
going to be opening at RTP and “<a href="http://www.firehousetheatre.org/alice-a-new-musical" target="_blank">Alice: A New Musical</a>” will debut at Firehouse (in a co-production with TheatreLAB as part of their season of collaboration). It’s the summer, people – don’t you understand
that things are supposed to be low-key and calm?!?!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We were all saddened by the passing of Sam Shepard – what the
heck with all these <a href="http://ew.com/news/celebrity-deaths-2017/sam-shepard" target="_blank">iconic creative people dying</a> lately? Shepard was a Virginia
resident for about a decade and wrote some amazing, devastating plays. Productions
of Shepard’s work in Richmond have been stunning and mesmerizing, starring some
of our town’s best talent. Does anyone else remember Stephanie Kelley in “<a href="https://www.styleweekly.com/richmond/firehouse-theatre-project-makes-an-impact-with-the-fractured-family-drama-buried-child/Content?oid=1390474" target="_blank">Buried Child</a>?” She was exquisite. More recent productions of “<a href="https://www.styleweekly.com/richmond/california-screamin/Content?oid=1383738" target="_blank">True West</a>” (Toney Foley!
David Clark!) and “<a href="https://www.styleweekly.com/richmond/review-cadence-theatres-a-lie-of-the-mind/Content?oid=2203003" target="_blank">A Lie of the Mind</a>” (McLean Jesse, Alex Sapp, too many to
mention…) have also been exceptional. It’s sad to think of such a distinctive
voice in American theater no longer making art.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then we were all confused – ok, maybe just me – by the dust
up related to “<a href="https://nyti.ms/2k1dcD2">Natasha, Pierre
& the Great Comet of 1812</a>” and
<a href="https://www.nytimes.com/2017/07/27/theater/mandy-patinkin-oak-onaodowan-great-comet.html" target="_blank">the casting of Mandy Patinkin</a>. The clash of Broadway financial concerns and racial
optics seemed to guarantee that someone would be pissed off by something. There
are a dozen or so OpEds embedded in this situation, but I don't have the time to write
one just now.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcELMNhhlAoacFFJzKfGoPFxxqWjBLoZg1NGUDkVWi87GG6fngIpvubVOTHugyK8TdULaR05P4BmnPXZlxaLCviqaahwzRxlEmfBum3KPhhZmc3B5I6RzGY1lrCqSfMbybu0NR1g/s1600/mandy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="768" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcELMNhhlAoacFFJzKfGoPFxxqWjBLoZg1NGUDkVWi87GG6fngIpvubVOTHugyK8TdULaR05P4BmnPXZlxaLCviqaahwzRxlEmfBum3KPhhZmc3B5I6RzGY1lrCqSfMbybu0NR1g/s320/mandy.jpg" width="320" /></a></div>
<br /></div>
<div class="MsoNormal">
Finally, my little geek heart was overjoyed that another
podcast I listen to, puzzle-centric “<a href="http://www.npr.org/programs/ask-me-another/539997549/janeane-garofalo-lili-taylor-returning-to-marvins-room" target="_blank">Ask Me Another</a>,” featured Janeane Garofalo and
Lili Taylor this past week. They were promoting their roles in the revival of “Marvin’s
Room,” which, even though it has <a href="https://www.nytimes.com/2017/06/29/theater/marvins-room-review-broadway.html" target="_blank">pretty tepid reviews</a>, I would go see just to
watch Lili Taylor who has been a favorite of mine since "Mystic Pizza" a million years ago. And just to add excitement to an already fun
show, one of the games was a very challenging "worst possible musical adaptations" quiz. Are you a theater know-it-all? You
should listen to the show and see if you can answer the questions (I struggled…)</div>
Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-58454420976394586322017-07-20T14:27:00.000-04:002017-07-20T14:27:15.025-04:00Elaine Page comes to Richmond
<br />
<div style="margin: 0px;">
I apologize up front for my naked attempt at clickbait. Ms.
Page IS coming to <a href="https://www.facebook.com/richmondtheatre/"><span style="color: #0563c1; font-family: Calibri;">THE
Richmond</span></a>, not to Richmond, Virginia. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvxVSAT9xbTn-XT8ksxSXRPgQ_zcjdi3rQ6zKjE7m5rlFESxAj3ekl82Ii-Z29ZWGzvmbiPNkaHiuJbi3t8cYGHMKPP2VkC-dacaJhOwp0DeuhND32wK_TfSg7NbB41JG6uaynNQ/s1600/richmond-theatre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="500" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvxVSAT9xbTn-XT8ksxSXRPgQ_zcjdi3rQ6zKjE7m5rlFESxAj3ekl82Ii-Z29ZWGzvmbiPNkaHiuJbi3t8cYGHMKPP2VkC-dacaJhOwp0DeuhND32wK_TfSg7NbB41JG6uaynNQ/s320/richmond-theatre.jpg" width="320" /></a></div>
<div style="margin: 0px;">
But it’s hard when you scroll past <a href="http://www.visitrichmond.co.uk/thedms.aspx?dms=3&feature=1616&venue=3500190"><span style="color: #0563c1; font-family: Calibri;">a
headline</span></a> that includes “Elaine Paige” and “Richmond Theatre” not to do a
double-take. So I just shared that experience with all (both) of you. </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZYsFgLUYMon0JOdbUdbDsLTCS5B99tkVWIRRLQPwpzxVd051kKfQmsWnLrRlIP5If47Qk6KLOQJb14wQk9DIVKGlCpl05eHb1OZ137u6GEdLuXqFzguKxYJdXOgoXoxfD5QA3aQ/s1600/elainepage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="262" data-original-width="350" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZYsFgLUYMon0JOdbUdbDsLTCS5B99tkVWIRRLQPwpzxVd051kKfQmsWnLrRlIP5If47Qk6KLOQJb14wQk9DIVKGlCpl05eHb1OZ137u6GEdLuXqFzguKxYJdXOgoXoxfD5QA3aQ/s200/elainepage.jpg" width="200" /></a></div>
<div style="margin: 0px;">
If your interest is piqued, the lovely Richmond Theatre
outside of London has a <a href="https://issuu.com/atgtickets/docs/richmond_spring_summer_2017"><span style="color: #0563c1; font-family: Calibri;">glorious
glossy brochure</span></a> with some amazing acts planned for the upcoming season.
Anyone interested in a road trip?</div>
<br />
<div style="margin: 0px;">
In addition to diva-related double-takes, I’ve subjected
myself to a lot of talk about casting out on the internets. Stephen Sondheim
came out in <a href="http://www.broadwayworld.com/article/Stephen-Sondheim-Speaks-Out-on-Female-Bobby-in-Upcoming-Marianne-Elliot-Directed-COMPANY-20170720-facebook"><span style="color: #0563c1; font-family: Calibri;">hearty
support</span></a> of mixing things up gender-wise. Good on you, Mr. Sondheim, for
pushing the narrative about theater being a living, breathing art form. </div>
<br />
<div style="margin: 0px;">
More intriguing: a Richmond outlet I’d never heard of called
The Legacy Newspaper did a lengthy piece about “color conscious” casting (page
10-11 in the <a href="https://issuu.com/jackgreensvoice/docs/tln71917"><span style="color: #0563c1; font-family: Calibri;">online
version</span></a>). It’s a good piece but I’m a little perplexed that no local voices
were included. Particularly given the big picture featured from “In The
Heights” – not the current Richmond production – this just seems odd.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZyev6a7k8nAAVYd6xr6UaqTaIY8qlC1wLIQVy3LTOuYtklmY5O5YdeuwrZAf7uu3Vgp83kGKNeumxpDphB2ctcEeVvfCA-9wNzLPXbuYUQJ5wm-hcDFTMnFiyxBuJrhGInStIWA/s1600/colorblind_crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="701" data-original-width="1560" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZyev6a7k8nAAVYd6xr6UaqTaIY8qlC1wLIQVy3LTOuYtklmY5O5YdeuwrZAf7uu3Vgp83kGKNeumxpDphB2ctcEeVvfCA-9wNzLPXbuYUQJ5wm-hcDFTMnFiyxBuJrhGInStIWA/s320/colorblind_crop.jpg" width="320" /></a></div>
<div style="margin: 0px;">
<br /></div>
<br />
<div style="margin: 0px;">
Hey, and the Artsies were <a href="http://www.artsies.org/"><span style="color: #0563c1; font-family: Calibri;">officially
announced</span></a>! More on that in the days/weeks to come!</div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-39918093169362770102017-07-17T19:10:00.001-04:002017-07-17T19:10:23.649-04:00Woody and Will
<br />
<div style="margin: 0px;">
I didn’t see either “Da” or “Musical of Musicals, the
Musical” this past weekend. After 3 shows in quick succession, I needed a
little break. But, so far, both the <a href="http://www.artsies.org/2017/07/da/"><span style="color: #0563c1; font-family: Calibri;">comic drama</span></a> and the <a href="http://www.artsies.org/2017/07/the-musical-of-musicals-the-musical/"><span style="color: #0563c1; font-family: Calibri;">comic
musical</span></a> have been generally well-received so far. </div>
<br />
<div style="margin: 0px;">
I did see that “Da” is dedicated to the late Woody Eney,
which it still surprises me to realize that he’s <a href="http://www.blileys.com/obituary/Harry-E.-Woody-Eney-III/Richmond-VA/1695970"><span style="color: #0563c1; font-family: Calibri;">gone</span></a>.
If you haven’t heard of him, Woody had a long list of relatively <a href="http://www.imdb.com/name/nm0256955/"><span style="color: #0563c1; font-family: Calibri;">minor parts</span></a> in many TV shows and
movies. There isn’t much evidence of his career on YouTube; unfortunately, all I could
find was a pretty ridiculous set of scenes from “<a href="https://www.youtube.com/watch?v=Mt24kcZrebg"><span style="color: #0563c1; font-family: Calibri;">Greatest American Hero</span></a>”
and an awful recorded-from-TV episode of “<a href="https://www.youtube.com/watch?v=AgRvD_0RJeY"><span style="color: #0563c1; font-family: Calibri;">Diff’rent Strokes</span></a>.” In
the former, Eney plays the bad guy; in the latter, he’s an even worse guy.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxbZ12Ct6jhDR-2D7OVpz1NgCAbxIeepzRlGis7xahBJC_xbyL7JsyZMUt2NEMAkf0zkcV-doER5q8si5gwEgJzS0LUiN0jY0z_xIpFMjJahWDJ7j9i6_COTTAyfAY1F-2ZEjSyg/s1600/woody1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1255" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxbZ12Ct6jhDR-2D7OVpz1NgCAbxIeepzRlGis7xahBJC_xbyL7JsyZMUt2NEMAkf0zkcV-doER5q8si5gwEgJzS0LUiN0jY0z_xIpFMjJahWDJ7j9i6_COTTAyfAY1F-2ZEjSyg/s320/woody1.jpg" width="251" /></a></div>
<br />
<div style="margin: 0px;">
But I’ll always remember him from his lighthearted turn in “<a href="https://www.styleweekly.com/richmond/with-copious-amounts-of-comedy-barksdales-golf-with-alan-shepard-isnt-just-for-duffers/Content?oid=1382177"><span style="color: #0563c1; font-family: Calibri;">Golf
with Alan Shepard</span></a>” at the Barksdale some 18 years ago. Woody settled into a
nice career as a playwright here in Richmond and several of his plays were
produced around town, most recently (I think), “<a href="http://www.richmond.com/entertainment/article_487aa68c-06b6-5912-8fa2-8fee9906444f.html"><span style="color: #0563c1; font-family: Calibri;">40
Acres and a POW</span></a>.” </div>
<br />
<div style="margin: 0px;">
It’s weird what you find when you start Googling someone.
Apparently, there is <a href="http://www.historyforsale.com/woody-eney-autograph-resume-signed/dc311647"><span style="color: #0563c1; font-family: Calibri;">a
resume</span></a> of Woody’s from 1974 that you can buy online, if you are so inclined. The most recent
news I could find on him was <a href="http://www.twilightwish.org/fulfilled-wishes/2016/1/19/harry-woody-e-78-richmond-va.html"><span style="color: #0563c1; font-family: Calibri;">this
touching tidbit</span></a> about a video greeting Woody received from Henry
Winkler just last year. </div>
<br />
<div style="margin: 0px;">
In my memory, Woody was a member of the Barksdale
old-timers, like Pete Kilgore and Muriel McAuley. Even the most crotchety of
them was lovingly regarded in Richmond. (Pete was so acclaimed he got a <a href="https://lis.virginia.gov/cgi-bin/legp604.exe?061+ful+HJ314ER+pdf"><span style="color: #0563c1; font-family: Calibri;">house
resolution</span></a> passed in his honor.) These folks were true groundbreakers.</div>
<br />
<div style="margin: 0px;">
So, if you go see “Da” or “Musical of Musicals,” as you
settle into a comfy seat in a lovely historic old building, you might give a
thought to the great ones who worked so hard to create the local theater scene.
We have them to thank for building the foundation.</div>
<br />
<div style="margin: 0px;">
On another note, people can’t seem to stop mining the
Shakespeare legend for modern TV and movies. Tonight, “<a href="http://www.tntdrama.com/shows/will"><span style="color: #0563c1; font-family: Calibri;">Will</span></a>” debuts on TNT and the movie
“<a href="http://www.ladymacbethfilm.com/"><span style="color: #0563c1; font-family: Calibri;">Lady Macbeth</span></a>” just opened in
selected markets. What do you all think: will productions like these increase interest in live theater productions, or have no effect? Hmmm. It’d be nice if
TV or movie producers would do some local promotional tie-ins. Somehow, I don’t expect
Quill got a call from TNT or Roadside Attractions. Boo.</div>
<div class="separator" style="clear: both; text-align: center;">
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Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-19273674228902106712017-07-14T21:15:00.001-04:002017-07-14T21:18:29.030-04:00Practice, People, or Perspective?Often, all the critics in town will love a show. Sometimes,
opinions will be mixed. Seldom is condemnation unanimous.<br />
<br />
<div style="margin: 0px;">
I’ve been somewhat bewildered that <a href="http://www.artsies.org/2017/07/macbeth/" target="_blank">critical opinion</a> of the
latest Quill production, Macbeth, has seemed universally negative. Quill hits more often than it misses so I couldn’t believe
that they’d put on a total mess. I had to see for myself.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyn06gkVx4i9tyOSgCVg4aZhvH-xjFvOOonZ4fXC4pf6gF5odPRjMvybHJ2olBTiLm4YJN1QyS64r-iW8yjZIkFqznZedWrUESJVpwtNeodoD_YjRP8aQr-7CMd-jXXABJSXDomg/s1600/macbeth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="1200" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyn06gkVx4i9tyOSgCVg4aZhvH-xjFvOOonZ4fXC4pf6gF5odPRjMvybHJ2olBTiLm4YJN1QyS64r-iW8yjZIkFqznZedWrUESJVpwtNeodoD_YjRP8aQr-7CMd-jXXABJSXDomg/s320/macbeth.jpg" width="320" /></a></div>
I went to last night’s show and I had a fine time. I can see
some of the deficits in the production and it would be hard to match the
dynamism of Jan Powell’s Macbeth <a href="https://www.styleweekly.com/richmond/bewitched/Content?oid=1667050" target="_blank">five years ago</a>. But still, I’ve seen Macbeth more times than any other
Shakespearean drama and I’ve seen much worse than the current offering directed
by <span style="background: white; color: black; font-family: "helvetica" , sans-serif; font-size: 10pt; margin: 0px;">Jemma Alix Levy. Maybe that’s damning with faint praise but
it’s still praise. </span><br />
<span style="background: white; color: black; font-family: "helvetica" , sans-serif; font-size: 10pt; margin: 0px;"><br /></span>
<span style="background: white; color: black; font-family: "helvetica" , sans-serif; font-size: 10pt; margin: 0px;">So why was my experience so different than the
critics’ in town? I have some thoughts.</span><br />
<span style="background-color: white; font-family: Helvetica; font-size: x-small;"></span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="color: black; font-family: "wingdings"; font-size: 10pt; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span>Practice.
The reviews generally described the fight scenes as tentative. That was not the
case during the performance I saw. It seems perhaps the fighters in question
spent at least some of the time during their off days practicing their fight
choreography, or maybe the actual steps got pumped up a bit. Last night, Alex
Burtness as Macbeth and Jeff Coles as Macduff went at it with a determined
vigor, generating a great number of clanging sword sounds and convincing “oofs”
and “ughs.” Their big fight scene actually got an ovation. Which brings up…</div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="color: black; font-family: "wingdings"; font-size: 10pt; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span>The
People. The crowd last night was a bit odd – 20 priests were in attendance;
honest! I was there as their programs were counted out. There was also a strong
contingent in the front section that was very engaged – booing softly at Lady
Macbeth or Macbeth himself later in the play, laughing at even the smallest
jests, and even emitting emphatic “mm”s in response to some of the more
dramatic lines. It’s hard to know if the cast responded specifically to that
energy but it certainly contributed to that magic sense of communal enjoyment
of an experience.</div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="color: black; font-family: "wingdings"; font-size: 10pt; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;"> </span></span></span>Perspective.
Macbeth is an amazing and odd play: The supernatural elements, the brutality,
the constant gendering of the action (here’s an <a href="http://nationalpost.com/entertainment/theatre/unsex-me-here-how-lingering-gender-norms-conspire-to-make-lady-macbeth-a-villain/wcm/9594eb17-fd73-488b-97bf-a4bc6a2fa86d" target="_blank">interesting, possibly controversial article</a> that talks about gender
and Lady Macbeth and ultimately connects the dots to Hillary Clinton of all people!) The
critics gave some pretty specific reasons why they didn’t like this production and
I’ll agree with some of them in a minute. But it’s a pretty straightforward,
uncluttered rendering and I appreciate that. The benefit of keeping things
simple is that the two most powerful scenes – Macbeth sees a vision of Banquo
at a dinner party and Macduff finds out the truth about his family – stand out
in stark relief. In the former, Macbeth’s horror and confusion is palpable and
ably mirrored in the dinner guests’ reactions. In the latter, Macduff’s naked
grief is overwhelming and cuts through the decorum and formal language of the play with
laser-sharp emotion. If other scenes were more intense, I don’t know that those
two would land with such power.</div>
<br />
<div style="margin: 0px;">
Having said that, I had my issues with the production as
well. I’ll echo others and say that I’ve seen some amazing things done with the
weird sisters scenes and the approach here was just OK. I’ll also have to agree
with my friend <a href="https://mondojohnny.blogspot.com/2017/07/the-scottish-play-rolls-into-agecroft.html" target="_blank">Mr. Porter</a> and suggest that Rebecca Turner is a bit
underwhelming as Lady Macbeth. It’s hard to compete with the echoes of Zoe
Speas from Powell’s production and, while I did like some of Turner’s choices, the
role is an epic one and it requires a pretty epic rendering.</div>
<br />
<div style="margin: 0px;">
In general, the supporting cast was fine but could have used
the bolstering that actors like Bob Jones or Alexander Sapp have brought to
supporting roles in previous Quill productions. Jeff Clevenger is always good
but his comic chops might have been well used as the night watchman. One small
issue is that Mr. Clevenger is brought on as a not-overly-costumed old man not
too long after Duncan is killed and I wonder if some audience members get
confused about the character change.</div>
<br />
<div style="margin: 0px;">
Mr. Burtness is a powerful Macbeth, though, and his
transition from humble hero to reluctant murderer to full-blown treacherous
paranoid is strongly realized. Cole is a noble Macduff and Thomas Hockey is a
winning Banquo. The realization of the weird sisters’ predictions in the second
act is underscored in a crystal clear way that I think makes the production
work well for Bard novices.</div>
<br />
<div style="margin: 0px;">
So if you have read the reviews and are on the fence about
Macbeth, I’d suggest you hop off the fence and give it a shot. The 20 priests
sure seemed to enjoy it; you probably will too.</div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-35517212223131159092017-07-12T13:31:00.000-04:002017-07-12T13:39:14.642-04:00Plans<br />
<div style="margin: 0px;">
Did you see <a href="https://www.youtube.com/watch?v=u7K8Tf1pLUM&feature=youtu.be" target="_blank">the video</a> of the on-stage proposal to Alana
Thomas during the "In the Heights" curtain call last weekend? It’s just about the most adorable thing ever.
Congrats to Ms. Thomas and her fiancé; may they have many decades of happiness
together! (And thanks Rich for the head's up on this.)</div>
<div class="separator" style="clear: both; text-align: center;">
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<br />
In contrast to a young couple making big plans for the
future, I’m just trying to make plans for the this weekend and beyond. The
arrival of the <a href="http://modlin.richmond.edu/" target="_blank">Modlin Center</a> 2017-18 season catalogue has forced the
reservation of several nights in the future. <br />
<br />
<div style="margin: 0px;">
The one absolute must-see down the road is <a href="http://modlin.richmond.edu/events/page.html?eventid=12705&informationid=casData,startdate:2018-02-28,enddate:2018-02-28,starttime:193000,endtime:220000" target="_blank">the appearance by Lynn Nottage</a> next February. Nottage is one of the most vital voices currently
writing for the stage and I can’t wait to hear what she has to say about her
creative process.</div>
<br />
<div style="margin: 0px;">
Before that, the <a href="http://modlin.richmond.edu/events/index.html?tag=modlinNTLive" target="_blank">National Theatre Live series</a> will kick off
in September. There are several of these broadcasts that I’m interested in
with the <i>Angels in America</i> doubleheader being at the top of the list.</div>
<br />
<div style="margin: 0px;">
For this weekend, a stop by Hardywood for a refreshing <a href="https://www.facebook.com/events/297190287406759" target="_blank">downpour of Purple Rain</a> is a must. These "Cover to Cover" events are incredible and one of many
great ideas from the Shofner/Roop team. As anyone who has been to one of these
before knows, most of the big voices employed are local theater vets or
mainstays. The Prince lineup is impressive throughout but I’d probably go just
to hear Jessi Johnson let loose on some his majesty’s classics. </div>
<br />
<div style="margin: 0px;">
The Heathers continue to be mean girls and selling out the performances
I can get to. What can you expect from a show that’s literally killing it?
Between Heathers, Macbeth, Toxic Avenger and Game of Thrones restarting this
weekend, the blood is running like a river this summer. What could be making us
look toward so many artistic expressions of violence? Could it be feelings of
frustration and powerlessness amidst big-picture calamities we can’t control?
Hm. I’m thinking both Prince and the “In the Heights” lovebirds might be
pointing us toward better coping mechanisms.</div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-2387027452032104212017-07-10T11:01:00.000-04:002017-07-10T11:06:53.925-04:00My Weakness<br />
<div style="margin: 0px;">
I used to get some ribbing from friends and colleagues
whenever I’d recognize the talents of an attractive young woman in a review.
“Of course you singled her out,” the good-natured banter would go, “because
she’s pretty.”</div>
<br />
<div style="margin: 0px;">
Well, maybe. I can admit some bias, one that is not
uncommon: “conventionally attractive” people draw my attention. But if they
aren’t talented, they don’t hold my attention. And there are dozens of
“unconventionally attractive” people that I find fascinating.</div>
<br />
<div style="margin: 0px;">
There are other reasons to single out actresses, besides being
male and tilting heavily toward the hetero on the <a href="https://en.wikipedia.org/wiki/Kinsey_scale" target="_blank">Kinsey scale</a>. Even in our
increasingly egalitarian world, there remains many more women chasing a lot
fewer parts written just for them. I would argue that, just based on
statistics, the average female actor that actually gets a part is intrinsically
more talented than the average male actor (that is, has trained more broadly or
longer, has had to audition more often, has had to overcome rejection more
frequently, etc.). </div>
<br />
<div style="margin: 0px;">
Applying statistical reasoning to artistic expression may be
inherently specious and generalizing over an entire art form is dangerously
business. Still, it’s reductive to think that just because someone is “pretty”
a critic is going to automatically notice them more. It impugns the critic, for
sure, but also undermines the talent of the pretty person and the integrity of
the director who chose that actor as part of their artistic vision. </div>
<br />
<div style="margin: 0px;">
That’s a lengthy and over-serious intro to my thoughts on a
delightfully silly production, 5<sup>th</sup> Wall’s “The Toxic Avenger.” And I
lead with it because I am indeed going to single out a lovely young woman for
her exceptional performance in this show. And while certainly easy on the eyes,
what sets her apart is her disarming comedic talents, her sporting willingness
to be randy and ribald, and her phenomenal voice that shines even amidst a cast
overflowing with vocal power. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoBuwVIVAcwGH2Wpb0qPtP-z4ZsRsJD2BErJswYsKPj2frOt55Hkf60vQpo_8oyXeqUagCOTvzLTcJOufAU6NuN5Xl9p115UsQ36zfffiBbsthrTWq75Ks7Bfs_BBkbLtKy9z6Q/s1600/Toxic-Wide-2-1024x683.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoBuwVIVAcwGH2Wpb0qPtP-z4ZsRsJD2BErJswYsKPj2frOt55Hkf60vQpo_8oyXeqUagCOTvzLTcJOufAU6NuN5Xl9p115UsQ36zfffiBbsthrTWq75Ks7Bfs_BBkbLtKy9z6Q/s320/Toxic-Wide-2-1024x683.jpg" width="320" /></a></div>
<br />
<div style="margin: 0px;">
Of course, the beautiful actress I’m singling out is true
Richmond treasure Debra Wagoner. I have a great deal of respect for this
extremely talented singer and repeatedly acclaimed actress when I think of her
reviewing this script, seeing that she’d be singing a song called
“Bitch/Slut/Liar/Whore,” and thinking, “yeah, I wanna do that!” </div>
<br />
<div style="margin: 0px;">
This production does more with 5 actors than some big fat
productions do with 20. It helps that, in addition to Ms. Wagoner, the cast is
busting with talent. The fact that Wagoner’s opera-level singing chops are not even
the strongest here (I’d have to give that title to William Anderson) is both
amazing and indicative of director Keith Fitzgerald’s ability to attract some serious
people to a wonderfully frivolous show. </div>
<br />
<div style="margin: 0px;">
As I’m thankfully free of having to provide a plot synopsis
or anything else a traditional review would include, here are some random
thoughts:</div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>The other woman. I had never seen Rachel Rose
Gilmour on stage before. Wow. Another skilled comedian with a killer voice. How
does Richmond continually end up spoiled with new and surprising superstars? </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>Argggg!!! I singled out a tech superstar in “<a href="http://richmondvatheater.blogspot.com/2017/07/shoulda-coulda-woulda.html" target="_blank">It Shoulda Been You</a>.” For “Avenger,” the standout is sound designer/sound board
operator Joey Luck. He even gets his own personal joke in the show. Less
obvious than the reverb effects are the sound balance he gets on the band. Musical
director Starlet Knight and her awesome crew are rambunctious as hell but they
never overwhelm the singers. In such a small space as The Basement, this is an
amazing feat. </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>Feet feats. In several numbers, Emily
Dandridge’s choreography is the comedy. A choreographer’s challenge in a comedy
is underestimated (IMHO) because, while most jokes are scripted, funny dance
moves usually aren’t. Ms. Dandridge clearly has some sharp comic chops of her
own. </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>The boys. Alexander Sapp managing to be
alternately nerdy and hunky requires a skillset I’m not sure I even know how to
explicate. And for a couple guys tossed off in the cast list as “The Black
Dude” and “The White Dude,” William Anderson and Chris Hester are the steel
fiber that holds this rollicking affair together. They essentially play the
whole town of Tromaville and the characterizations they provide are delightful. </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>One liners. So many wonderful ones in this show.
Wagoner’s tossed off line about “indeterminate accents” was the quick, small
moment that had me LOLing. </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>Clean up on Stage 1. This show succeeds because
it is built to be messy and continually makes fun of itself. There were a few
moments that were not crisp or well-defined in this production. Luckily, that
was all part of the charm. </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>The only true problem. Starley Knight’s band is
not identified in the program, Ms. Knight doesn’t get a bio, and there is no
song list. Really? </div>
<br />
<div style="margin: 0px;">
I haven’t seen a show this summer yet that is anything less
than stellar. I have some misgivings about the rumblings I hear about “<a href="http://www.artsies.org/2017/07/macbeth/" target="_blank">Macbeth</a>”
but I love going to Agecroft and am approaching it with an open mind. If
nothing else, maybe the witches are cute…</div>
Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-77607085787693939942017-07-07T17:12:00.001-04:002017-07-07T17:18:27.419-04:00Shoulda Coulda Woulda<br />
<div style="margin: 0px;">
You can read <a href="http://www.artsies.org/2017/06/it-shoulda-been-you/" target="_blank">what the critics said</a> about RTP’s “It Shoulda
Been You;” they were all appropriately enthusiastic about what an amazing
production it is.</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
I finally saw it last night and was similarly blown away. I
did all of the things: laugh, cry, etc. As with many productions, I wish I had
seen it earlier in the run so I could have seen it twice. It is indeed that
good.</div>
<br />
<div style="margin: 0px;">
I’m not going to give a full review – to do this production
and the incredible cast justice would require too many words. I will offer a
few random observations, though:</div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>The big surprise. I’m not going to ruin the show
for anyone even though by the time anyone reads this the show will only have a
couple of performances left. I was delighted by the reveal and it was pulled
off smartly. I’m not meaning to throw any cold water on its effectiveness to
point out that it replicates a surprise included in an RTP show produced not
too long ago. Will there eventually be enough of these kinds of shows to build
a weekend theater festival around?</div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>Oy the goys. Here’s a topic for discussion: does
it matter if a cast full of characters who are explicitly Jewish is made up of
actors who mostly are not? Is this different than “In the Heights” where
ethnicity is explicit? The show was using a lot of culturally Jewish tropes; is
knowledge of those tropes – and a passing ability to do a New York Jewish accent
– enough? The privilege of being welcomed into a Jewish family more than 25
years ago makes me a little sensitive about this one. Having said that, I only
cringed a couple of times and, overall, didn’t really give it a second thought.</div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>The lighting. The technical elements of the show
were fabulous, with particularly impressive costumes by Tyler Carlton Williams.
But man, that lighting! Sometimes, a great lighting design will be like the
sumptuous sweet frosting on a yummy cupcake and that was certainly the case
here. Michael Jarett bathed the walls in pink at times, had some fun functional
elements with lights coming off and on alternately, and best of all, framed
Grey Garrett’s lovely face at the finale of “A Little Bit Less Than” in the
most exquisite way. In a show so strong technically, Mr. Jarrett pushed it up
an extra notch.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhummKfu5BBx8fH6xfTQvSSf0J70MsmysUJy9XPTGwoe7ueceXNTOBfc9Mk-gGELACcJrnqZ2C8sCp509uuCn3sENi4qvrZObO9WTW1Btr0JxN91uLPNRVNF-Gopd8xM_jckgQIww/s1600/shoulda+pink.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="1238" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhummKfu5BBx8fH6xfTQvSSf0J70MsmysUJy9XPTGwoe7ueceXNTOBfc9Mk-gGELACcJrnqZ2C8sCp509uuCn3sENi4qvrZObO9WTW1Btr0JxN91uLPNRVNF-Gopd8xM_jckgQIww/s320/shoulda+pink.jpg" width="320" /></a></div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>All for one, one for all. This cast was the very
epitome of an ensemble, each performer supporting the other to create a fine
and balanced production. But having said that, there were some amazing singular
moments: Jessi Johnson and Durron Tyre just destroying “Love You Till the Day,”
Susan Sanford’s imperial “Where Did I Go Wrong?” and just about everything that
came out of Kirk Morton’s mouth. I could go on but really, the whole thing
rocked. </div>
<br />
<div style="margin: 0px 0px 0px 48px; text-indent: -0.25in;">
<span style="font-family: "wingdings"; margin: 0px;"><span style="margin: 0px;">n<span style="font-size-adjust: none; font-stretch: normal; font: 7pt "Times New Roman"; margin: 0px;">
</span></span></span>And if that wasn’t enough. Last night, Louise
Ricks was not able to do her role as Aunt Sheila/Albert’s Minion. So Nancy
Collie stepped in pretty much at the last minute (from what I hear) and did a
phenomenal job. Having only glanced at the cast list before the show, it didn’t
dawn on me until someone pointed it out today that Collie was not in the
original cast. She fit in seamlessly and, together with fellow multi-role
player John Mincks, added some delightful grace notes to an already resoundingly
funny show.</div>
<br />
<div style="margin: 0px;">
Having seen “In the Heights” on opening weekend, I’ve now
seen two of the summer’s blockbuster hits. I’ve got to hustle to see
“Heathers,” “MacBeth,” and “The Toxic Avenger” before it’s too late. Remember
when summertime was sleepy time for theater? Thank goodness those days are
gone!</div>
<br />
<div style="margin: 0px;">
<br /></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-44851965182161171432017-07-06T02:08:00.000-04:002017-07-06T02:09:04.273-04:00I missed itSpecifically, I missed the "<a href="https://www.styleweekly.com/richmond/watch-a-video-of-a-hamilton-rehearsal-for-this-weekends-free-dogwood-dell-show/Content?oid=3787967" target="_blank">Hamilton</a>" performance at Dogwood Dell this past weekend. Everything I heard about the event was positive, effusive, glowing with effervescent praise. The cast of performers was top-notch and I've been a fan of Mr. Trinh since his early days with the <a href="https://store.cdbaby.com/cd/millsfamilyband1" target="_blank">Mills Family Band</a>. Happening just a stone's throw from the first local staging Lin-Manuel Miranda's first monster triumph, "In The Heights," I'm sure the evening was epic.<br />
<br />
And I was out of town. Based on what people have said, the Dogwood Dell performance was not unlike the <a href="https://www.styleweekly.com/richmond/more-than-a-pretty-face/Content?oid=1364881" target="_blank"> concert production of "Ragtime"</a> that I was lucky enough to see many years ago. It seems I missed the latest possibility for that kind of transformative experience. Damn.<br />
<br />
But the potential silver lining for me is that seeing the glowing Facebook posts about "Hamilton" gave me the same kind of antsy feeling that finally pushed me to start a blog <a href="http://richmondvatheater.blogspot.com/2006/06/act-1-scene-1.html" target="_blank">more than 11 years ago</a>. Even when I wasn't seeing theater then, I was thinking about it and I wanted to talk about it. This blog started many online conversations, many of which were then continued IRL (as the kids text). The whole experience deepened my appreciation of the people involved in the Richmond arts scene, even when I wasn't seeing every production or performance.<br />
<br />
I have missed writing these random missives about local theater. I'm not a critic anymore; I hung up my poison pen last December. But I still have opinions and I still occasionally see a show here and there. In fact, I'm planning on stepping up the theater viewing again as the summer heats up. There's just too much good stuff going on to stay away.<br />
<br />
So if you liked or were vaguely entertained or maybe even modestly enlightened by some of the stuff I posted here oh so many years ago, tune back in and I'll try to provide a forum filled with better-than-mediocre conversation about live theater, art, culture, and maybe some gossip about stars of the local scene. Sure, since I suspended activity on the blog 4 years ago a bunch of other forums have sprung up for online chatter. But I'm hoping there's still some value in a good old fashioned blog. Please feel free to tell me if you disagree.Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-22907330418307403372013-08-22T17:55:00.000-04:002013-08-22T17:55:15.855-04:00They suck except when they don’tI’ve already expounded in kind of a statistical way about this year’s RTCC nominees at TVJerry’s <a href="http://www.tvjerry.com/noms-de-aplomb/">Sifter</a> site. Of course, every year the nominees bring up all sorts of very non-statistical, sometimes very emotional feelings. A lot of them are positive: over the years, I’ve received a number of amazing and heartfelt expressions of appreciation from people seemingly overwhelmed at having their talents recognized in such a public way.<br />
<br />
But, as you might expect, I’ve received many more expressions of dismay, anger, frustration or exasperation that a specific production or a specific performance was not listed among the nominations. First of all, while I am often the recipient of sentiments both pro and con, I am only one cog in the wheel that is the RTCC. So while I try to respond as best as I can to what people send, I don’t respond to “Why do YOU hate X company or Y actor?” questions/accusations because there are a whole crew of other people working with me to get this list together. And if you think there is some conspiracy among all of the RTCC members to hype something or diminish something else, you’re dabbling in crazy talk.<br />
<br />
Second of all, I’m sorry we can’t/don’t recognize everything of merit in a season. But that’s not what we do. We get together and, as best as we can, develop something resembling consensus about what really dazzled us on stage this past season, sometimes from a very technical standpoint, sometimes from a strictly emotional point of view. Every year, I end up disappointed that certain individuals whose work I particularly enjoyed did not end up on the list. I think everyone in the circle feels that way. So those of you who feel certain that you or one of your friends should have been nominated, rest assured that at least one other person within the critical community probably felt the same way, too.<br />
<br />
I have been very happy to see several well-balanced Facebook posts that say variations of “Congrats to the nominees! And to those who weren’t nominated, come out and celebrate with us anyway, because we’re a pretty kick-ass community.” That is certainly the spirit behind the awards: to celebrate the quality of Richmond-area theater as a whole, not just to pick favorites. And, by the way, to raise a little bit of money to help folks in the community who vitally need assistance.<br />
<br />
Finally, there was a question of a more functional nature posted on TVJerry’s site. I answered it there but I’ll do so again here just so you can debate and decry it here if you want to. The question was asked why we continue (in our “amateurish” way) to lump designers of musicals and plays together when clearly those who work on musicals are going to win “90%” of the time.<br />
<br />
Here are the specifics: in 2008, we only included three design categories, adding sound in 2009. Below is a list of non-musical productions that won for their design elements. It’s never been a 90% rate for musicals and last year 75% of the design winners were from non-musical productions.<br />
<br />
2008: As you like it (costumes) — 1/3<br />
2009: Eurydice (Sound) — 1/4<br />
2010: A servant of two masters (costumes), is he dead? (set) — 2/4<br />
2011: Legacy of Light (lighting, costumes) — 2/4<br />
2012: The 39 Steps (lighting), August: Osage County (set), It’s a Wonderful Life (sound) — 3/4<br />
<br />
Also, at least 50 % of the recipients of design awards this year will be from non-musicals because 100% of the nominees for set and sound are from non-musicals. So there’s that too.<br />
<br />
Having said that, we have given serious consideration to splitting the design categories for musical and non-musical. However, doing so adds 4 more categories of awards to give out and our focus this year was bringing the run-time of the ceremony to a manageable level. If we can get our running time under control this year, I expect the topic of splitting design consideration will be discussed again and very well may be the procedure we take next year.<br />
<br />
Fire away if you have more questions, concerns, declarations of acclaim, or cries of outrage. Reserve your tickets now and let’s keep building the anticipation for the awards ceremony on October 20th.<br />
<br />Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-18638297788384350152013-08-20T16:21:00.001-04:002013-08-20T16:21:04.121-04:002013 NomineesHere's a link to the list:<br />
<a href="http://www.tvjerry.com/nominees-announced/">http://www.tvjerry.com/nominees-announced/</a><br />
<br />
Congrats to all of the nominees and see you all on Oct. 20th!Dave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com0tag:blogger.com,1999:blog-29175306.post-78147813627898232952013-07-31T00:01:00.000-04:002013-07-31T00:01:00.406-04:00RTCC RulesThe process for the 2013 RTCC Awards began in earnest a few weeks ago and the nominees will be announced very soon. In the meantime, I wanted to make available in a public forum the guiding by-laws of the RTCC as well as some administrative information. (I would post this info to the RTCC website but it is currently down and its restoration may take several weeks.)<br />
<br />
What follows are the rules that guided our operations this year. They are essentially the rules we have followed since the group began but, in response to many questions and concerns, we decided to formalize them this year. <br />
<br />
One thing that is NOT formalized but that the RTCC has always abided by is that we are always looking to improve our processes and our organization in order to make the big event we have held in October for the past 5 years as successful as possible. So we are always open to input, with this one big caveat: We are a very loosely affiliated group of part-time and freelance journalists who are not compensated directly for anything we do as part of the RTCC so flexibility in our operations and procedures have been and will continue to be essential to maintaining our existence.<br />
<br />
Okay. Here then are the details:<br />
<br />
<strong><u>Rules regarding productions for award consideration</u></strong><br />
<br />
For recognition as part of its annual awards, the Richmond Theatre Critics Circle will consider a theater production that meets the following criteria:<br />
> The production is, as best as can be determined, a “professional” production, that is, all actors, directors and designers who work on the production are paid.<br />
> The production has scheduled performances over at least two weekends on a stage located in the Richmond area.<br />
<br />
The “Richmond area” is defined as including the city of Richmond, the city’s immediately adjacent counties and nearby cities such as Ashland, Hanover, Colonial Heights and Petersburg. Productions that run less than two weekends are considered theater “events” and will be considered for separate recognition at the discretion of the RTCC membership.<br />
<br />
A production will be considered to be either a “play” or a “musical.” “Plays with musical performances” will generally be regarded as musicals, though final category determination will be by the vote of the RTCC membership. Listing of a professional musical director is a necessary, though not determining, factor in designating a production a “musical.”<br />
<br />
A production that is considered to be exclusively targeted at school or youth audiences will be considered a “children’s show” and will be considered for separate recognition at the discretion of the RTCC members. A “family-friendly” show that encompasses school or youth audiences but does not seem exclusively targeted at children will be considered for general awards if it meets the criteria listed above.<br />
<br />
<strong><u>Rules regarding membership</u></strong><br />
<br />
Members of the RTCC must have reviews appearing in print for an established for-profit media outlet or as broadcast for a radio, television or Internet media venture. Print reviews must have been subjected to an editor’s purview.<br />
<br />
New members are generally accepted as provisional members, that is, they can participate in discussions related to the nomination and selection of award recipients but they cannot vote. After participation as a provisional member through one voting cycle, they can then participate as full members the following season.<br />
<br />
For a member to vote on potential nominees or award recipients as part of the annual awards process, a member needs to have seen at least one-half of the productions that are under consideration for awards in the current season. For the 2012-13 season, the minimum number of productions required was 25. For the 2013-14 season and beyond, the proportion of productions required will rise to two-thirds.<br />
<br />
<strong><u>Special Restriction</u></strong><br />
<br />
Voting member John Porter appeared in one production under consideration for the 2012-2013 season (“A Child’s Christmas in Wales”) and his voice was used in another (“The Sunshine Boys”). It was decided by the rest of the RTCC membership that he would be restricted from voting in any category that had nominees in consideration from either of these productions.<br />
<br />
<strong><u>RTCC Members (as of July 28, 2013)</u></strong><br />
<br />
Tony Farrell, Richmond Times-Dispatch: provisional member<br />
Rich Griset, Style Weekly: voting member (& RTCC event chair)<br />
Liz Jewett, Richmond.com: non-voting member<br />
Bruce Levy, Show Biz Radio: provisional member<br />
Julinda Lewis, Richmond Times-Dispatch: voting member<br />
Jen Maciulewicz, GayRVA: voting member<br />
Matt Miller, Richmond Times-Dispatch / GayRVA: non-voting member<br />
John Porter, WCVE: voting member (with restrictions)<br />
David Timberline, Style Weekly: voting member<br />
Joan Tupponce, One Woman's View: non-voting member<br />
<br />
<strong><u>Productions considered as part of the 2012-13 season</u></strong><br />
<br />
<u>Production, Company</u><br />
The Marvelous Wonderettes, Swift Creek Mill<br />
The Hound of the Baskervilles, Virginia Rep<br />
Regrets Only, RTP<br />
A Bright New Boise, Firehouse Theatre Project<br />
King John, Richmond Shakespeare<br />
Night Blooms, Virginia Rep<br />
The Fox on the Fairway, CAT<br />
The Pillowman, Cadence Theatre, in partnership with VA Rep<br />
Howard Crabtree's Whoop-Dee-Doo!, RTP<br />
The Producers, Virginia Rep<br />
Death of a Salesman, Firehouse Theatre Project<br />
Irving Berlin's I Love a Piano, Swift Creek Mill<br />
Closer Than Ever, Virginia Rep<br />
A Child's Christmas in Wales, Richmond Shakespeare<br />
Our Town, Sycamore Rouge<br />
The Search for Signs of Intelligent Life in the Universe, Henley Street<br />
The 13th of Paris, CAT<br />
The Magic Flute, Virginia Rep<br />
Before It Hits Home, RTP / Sycamore Rouge<br />
The Sunshine Boys, Swift Creek Mill<br />
Cotton Patch Gospel, Virginia Rep<br />
Faith Healer, Henley Street<br />
Hay Fever, Virginia Rep<br />
Sons of the Prophet, Cadence Theatre, in partnership with VA Rep<br />
Any Given Monday, Firehouse Theatre Project<br />
The Busy World is Hushed, RTP<br />
Breast in Show, Carol Piersol, in partnership with VA Rep<br />
The Tempest, Richmond Shakespeare<br />
Over the Tavern, HATTheatre<br />
Riding the Bull, TheatreLAB<br />
And Then There Were None, CAT<br />
Julius Caesar, Henley Street<br />
Honky-Tonk Angels, Swift Creek Mill<br />
The Pride, RTP<br />
Time Stands Still, Firehouse Theatre Project<br />
Red, Virginia Rep<br />
Next to Normal, Cadence Theatre, in partnership with VA Rep<br />
The Glass Menagerie, Sycamore Rouge<br />
La Cage Aux Folles, RTP<br />
Play On, CAT<br />
The Beauty Queen of Leenane, Henley Street<br />
Gidion’s Knot, Carol Piersol, in partnership with HATTheatre<br />
A Comedy of Errors, Richmond Shakespeare<br />
Twelfth Night, Sycamore Rouge<br />
The Music Man, Virginia Rep<br />
Pop! Who Shot Andy Warhol?, Firehouse Theatre Project<br />
Steel Magnolias, Virginia Rep<br />
Othello, Richmond Shakespeare<br />
bare: a pop opera, Richmond Triangle PlayersDave Thttp://www.blogger.com/profile/01554650648344826824noreply@blogger.com7