The St. Mark’s Players have taken on what is known to be Shakespeare’s very first play, Two Gentlemen of Verona. Putting their own modern twist on Shakespeare, the Players have made the show relatable and engaging to modern audiences. From references to Lady Gaga and Britney Spears to the Darth Vader… as the host says in the beginning, “this is NOT yo mama’s Shakespeare!”

In going along with the Player’s modern twist on Shakespeare, the summary has been translated into modern vernacular so all of us groundlings can understand the storyline. Soooo here’s what happens right…

Sooooooooo basically, you got these two friends right, Proteus and Valentine. Soooo Valentine is like sooo not feeling Verona anymore and decides to travel to Milan to find something exciting to do. He wants Proteus to go with him, but Proteus has a mad crush on this girl named Julia and Valentine is like, “laaaame dude, falling in love is super lame, I’m leaving for Milan.” But Proteus ends up being the laaaaame one, ’cause when he gets to Milan he ends up falling in love with the Duke’s ( he’s like a president) daughter Sylvia…dumb. THEN Proteus’ father tells him “look man, get out of Verona, go have fun in Milan like Valentine, gain some life experiences ’cause right now you’re not doing anything with your life.” Leaving behind his woman he ventures off to Milan where he sees this fine young thang named Sylvia and falls in love with her… a major no no, you’re not supposed to fall in love with your friend’s girl. Anyway, Julia’s like “oh uh uh! I can’t live without my man this is unacceptable!” So she goes kinda crazy, dresses up like a dude and travels to Milan to claim her boo. When she gets there she sees that Proteus is tryin’ to get with Sylvia and is like “wtf!” But because she’s smart she keeps it low key and doesn’t tell anyone who she is and spies on what everyone else is doing. Soooo basically, they’re all like really messed up here and some crazy stuff happens in the end … so yea it’s like major drama.

As an ensemble, the cast was very energetic in bringing out all of the humor in the play. They took on the challenge of speaking Shakespeare. Although like most Shakespearean plays, the clarity was not always there, but was spoken beautifully by the entire cast. The decision to modernize the show was a good one, it kept the attention of the audience and eliminated the pressure of trying to understand Shakespeare’s language. Children in the audience were equally engaged in the show thanks to funky costuming and some ad-libbing and improv from the actors. Costumes were a mix between modern and Elizabethan style clothing. For instance, Proteus sported an Elizabethan doublet worn by men at the time as well as a pair of Chuck Taylor’s. The cast definitely found the humor within themselves using their low budget for the show as a means to humor the audience, as the host explains in the beginning, they only had $200.00 to do the show. Changes in location were announced by large cardboard signs and throughout the show, the host tried to round up her unruly actors from the side lines, yelling at them to “find the light!” and when the stage was empty she asked the audience “where are my actors!?” She raved bout their unprofessionalism, but all in good fun allowing the limited resources to not be a detriment to their work.

With such a large cast, it would not be fair to single anyone out, but Directors Rikki Howie and Temple Forston picked the right people for the job. For a fun, stress-free night of Shakespeare, St. Mark’s is the place to be. Also, the St. Marks Episcopal church is a beautiful venue and with significant historical value to the DC area.

Director’s Notes

It is believed that Two Gentlemen of Verona is one of Shakespeare’s first plays, so it’s fitting that it’s my first community theater direction project. I’ve always had a great love of Shakespeare, his text, his devices, and the way that his stories have shaped theater. So when Rikki and I started discussing the show, we decided to go back to the original attitude of Shakespeare; the idea of rag-tag players who had to appeal to the base poor in the pits, as well as the rich and powerful. From that, we created this production of “a traveling theater troupe” that wants to entertain, as well as show off their craft.

We chose to take the humor of Shakespeare’s text, then built on that humor for a modern audience, never forgetting that first and foremost Shakespeare wrote to entertain the masses and create an enjoyable theater experience. We asked the actors to truly play with the show, then guided them to shape the production as a whole. So in the end we created a show that is not your mama’s Shakespeare, but it’s most certainly the heart of original Shakespeare.

Putting together this show, with Rikki and Rick has been a truly amazing and blessed journey. I can’t thank them enough for their support, guidance and friendship. My thanks to St. Mark’s Players, my family, the actors, and also the audiences! I hope you have as much fun watching the show as we had putting it together. Please sit back, relax and have fun with our show!

Dramaturge Notes

Considered by some to be William Shakespeare’s first play, the Two Gentlemen of Verona was either written in 1590 or 1591. The comedy centered on the conflict between loyalty to friends versus submission to passion.

This play is often seen as the first tentative steps in some of the themes and topics with which he would later deal in more detail. For example, it is the first of his plays in which a heroine dressed as a boy. It has the smallest cast of any his plays.

Dennis John Lewis

Cast

• Narrator : Nikki Gerber
• Valentine: William Macleod
• Proteus: Richard Miller
• Speed/Musician/3rd Outlaw: Rafael Cuesta
• Julia: Rachel Watson
• Lucetta: Mary Ayala Bush
• Antonio/Panthino: Geoff Baskir
• Sylvia: Banafsheh Wallace
• Thurio/Eglamour: Luke Morris
• The Duchess: Heather Cipu
• 1st Outlaw: David Hoffman
• Attendant/2nd Outlaw: Barbara Omohundro
• Host: Nikki Gerber

Production Team

• Directors: Rikki Howie and Temple Fortson
• Stage Manager: Rikki Howie
• Producer: Rick Hayes
• Assistant Producer: Tom Wickenden
• Sound Design: Soundman
• Lighting Design: Jerry M. Dale Jr.
• Lighting Board Technician: Jerry M. Dale Jr., Josh Kashinsky, Tom Wickenden
• Properties Design: Ivanna Alexander and Charmice Hardy
• Set Design: Rikki Howie and Temple Fortson
• Costume Design: Rose Hartmann
• Costume Construction: Rose Hartman, Rachel Moressey, Mary Ayala Bush
• Makeup Design: Paige Grayson
• Hair Design: Paige Grayson
• Box Office Manager: Beth Hall and Eliza Kashinsky
• House Managers: Rick Hayes, Tom Wickenden
• Refreshments: Richard Warfield
• Photographers: Chuck Devine
• Poster/Cover Art: Jennifer Reitz

Disclaimer: St. Mark’s Players provided two complimentary media tickets to ShowBizRadio for this review.

Fool for Love performed by the Keegan Theater is easily one of Sam Shepard’s most well known plays. Originally starring Ed Harris and Kathy Baker on Broadway, Shepard says that the inspiration for Fool for Love was in response to the feelings he had due to a tumultuous break up he was going through at the time…. “a little embarrassing” he says. The show is famous for its physically exhausting performance by its actors, as Eddie (Mark A. Rhea) and May (Larissa Gallagher) fight each other for their territory. Eddie and May have a history together that has created a bond they cannot let go of, even though the love they have for each other is driving them both into the ground. The play examines the effects of true love, as well as a theme that is prevalent in most of Shepard’s work, the effects of characters in the West “living on the edge,” fighting for a dream that will never come true….

The play takes place in a run down motel room in the middle of the Mojave Desert where May has been living in squalor by herself for god knows how long. Eddie, her on and off again lover, shows up out of nowhere and tries to persuade her to leave with him to Wyoming to go live on a farm. It is revealed that Eddie had abandoned May in a trailer in the middle of the desert to run off with another woman. May wants to move on with her life and leave Eddie and his BS behind, but her feelings for him cause her to bounce back and forth, despite what he has done to her. Eddie threatens to take her back, but May won’t go without a fight and a few low blows.

As a duo, Mark A. Rhea and Larissa Gallagher work well together on stage. Opening night at the Church Street Theater, Rhea was definitely the stronger of the two. No doubt she is fit for the role, but Monday night seemed to be an off night for Gallagher who gave a very contrived performance of May. Shepard is very specific in his notes and blocking in the script, easily throwing actors into a pattern that seemed to capture Gallagher who delivered very few genuine moments on stage Monday night. Mark A. Rhea saved the duo, delivering a very strong performance as Eddie. Rhea’s portrayal as Eddie, showed a man disintegrating in his own misery, tryin’ to regain his dignity and lasso up his woman, neither of which are available anymore. Even Rhea’s progression into drunkenness was believable as he sloppily downed a bottle of Cuervo, striking curiosity as to what exactly was in that bottle sir?

KJ Thorarinsson enters as May’s date, the innocent Martin. The dumbfounded expressions on his face matched the feelings of those in the audience as he tried to figure out what the heck is going on between these two maniacs, we feel ya Martin. Martin’s entrance added a comedic flare but was also the catalyst for what came next.

The Old Man played by Kevin Adams was brilliant, as his own mannerisms and personality paralleled those of Eddie. His figure on stage was an important portrait of men, specifically fathers in the West during that time, who lacked in raising their children and turned to alcohol as an aid. The Old Man is relaxed and innocently looking in on the action until the very end he gets shaken up by a revelation from May that then forces him to examine the consequences of his actions.

Technically, certain aspects of the show did not sit well. I question a decision about the lighting, in the beginning, having the lights fade from light to black, light to black as Eddie tries to coax May into speaking to him. Each time the lights would come on, Eddie would be in a different position, still trying to coax May, insinuating that time has passed without any luck. During the first black out, the moment seemed to be taken away, and then the second, and then the third. Attempting to make the moment funny seemed a bit biased, setting the play up as a comedy which it was anything but despite the fact it did have comedic elements. Watching Eddie pursue May in those opening moments and seeing their initial reactions from the starting moment would have been more effective than concentrating on making it a funny moment. In a way taking away the audience’s opinion about whether or not this moment is supposed to be humorous or serious.

Overall the show was enjoyable, despite some performance flaws and would definitely recommend it to audience members, with the confidence that the discrepancies that took place Monday night were only due to Opening Night jitters.

Cast

• Eddie: Mark A. Rhea
• Mae: Larissa Gallagher
• Martin: KJ Thorarinsson
• Old Man: Kevin Adams

Artistic Team

• Director: Colin Smith
• Assistant Director/Stage Manager: Megan Thrift
• Set Designer: George Lucas
• Sound Designer: Tony Angelini
• Original Light Designer: Dan Martin
• Costume Designer: Kelly Peacock
• Tour Production Assistant: Joe Rhea

Disclaimer: Keegan Theater provided two complimentary media tickets to ShowBizRadio for this review.

Having first been introduced to the work of the No Rules Theater Company through Hedwig and the Angry Inch last summer, I already knew the quality of their work was top-notch. Hedwig being a personal favorite I was instantly a fan, but this is about Charlie Brown not Hedwig! You’re a Good Man Charlie Brown is based off of the Peanuts comic strip by Charles Schulz. We have the infamous peanuts gang Linus, Lucy, Sally, Schroeder, Snoopy and of course Charlie Brown! The show features Charlie Brown as he is confronted with the pains of adolescence, but has friends around him who do their best to encourage him. No Rules Theater Company has produced a fantastic show with an extremely talented cast of actors.

The talented cast bought the Peanuts characters to life with zest and energy. Augie Praley as Charlie Brown was wonderfully awkward for the role and succeeded in gaining sympathy from the audience throughout Charlie Brown’s constant trials and errors. Kristen Garaffo as the dainty Sally Brown was full of energy, having her chance to shine in “My New Philosophy.” Carolyn Cole was perfect for the role of Lucy van Pelt, giving a strong vocal and comedic performance, showing off her range in such songs as “Schroeder.” Lucy’s love interest Schroeder (Sean Maurice Lynch) was bright, energetic and fully committed to his piano playing. Joshua Morgan as Linus was genuinely in love with both sucking his thumb and his blanket. “Sucking your thumb without a blanket is like eating a cone without the ice cream.” Morgan successfully embodied the brainy five year old. Chris French as Snoopy was such a treat. French pulled off the dynamic “Suppertime” number, and it was too funny when Snoopy caught the spirit after Charlie Brown gave him his dinner! As an ensemble, the cast provided solid vocal performances and managed to maintain high energy throughout a piece that can be physically exhausting. I also give props to the cast for stickin’ to all the one liners throughout the show. This show is full of one liners that could either be hit or miss, but the cast was able to pull it off effortlessly.

Set designer Ryan Wineinger adorned the set with actual pictures and images from the Peanuts comic strip. The maneuverability of the set was fantastic, as parts of it could be dismantled and put back together again at any given moment. Pieces were taken apart for props and other objects used throughout the show, it worked well with the pace of the show.

No Rules Theater Company is still fairly new, but off to a great start and will without a doubt continue to produce great work in the upcoming years.

Photo Gallery

Photos by C. Stanley Photography

Cast

• Linus: Joshua Morgan
• Sally: Kristen Garaffo
• Schroeder: Sean Maurice Lynch
• Snoopy: Chris French
• Lucy: Carolyn Cole
• Charlie Brown: Augie Praley

Crew

• Director: Matt Cowart
• Musical Director: Taylor Williams
• Choreography: Pauline Grossman
• Production Manager: Cory Ryan Frank
• Lighting Designers: Travis McHale and Kyle Grant
• Hair and Make up Design: Stacy Wilson
• Props Designer: Terry Martin
• Set Designer: Ryan Wineinger
• Sound Designer: Neil McFadden
• Costume Designer: Dina Perez
• Assistant Director: Lindsay Gentry
• Assistant Stage Manager: Solomon Haile Selassie
• Associate Set Designer/Scenic Charge: Jessica Moretti
• Assistant Scenic Charge: Alison Daniels
• Set Construction: Troy-Jon Sets LLC
• Scenic Carpenter: Joe Eisenberg
• Assistant Costume Designer: Roejendra Adams
• Sound Operator: Peter Park

Band

• Piano/Conductor: Taylor Williams
• Viola/Violin: Amanda Grossman
• Clarinet/Saxophone/Recorder: Jeremy King
• Percussion: Kirk Kubicek
• Acoustic Bass/Electric Bass: Eliot Seppa

Staff

• Graphic Designer: Will Abner
• NC Development Manager: Jen Blank
• DC Box Office Manager/Events Coordinator: Ray Bracken
• Graphic Designer: Nicole Geldart
• Marketing Manager: Lindsey Hardegree
• Website Designer: Drew Wolber
• Literary Manager: Danny Yoerges

Disclaimer: No Rules Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

The Olney Theatre has taken on the task of producing the area premiere of Dinner with Friends by Donald Margulies. Dinner with Friends is a stark examination of marriage, divorce and relationships. Margulies writes dialogue that is true to life with characters we can all relate to in one way or another. When divorce happens, questions begin to arise. What happens in the aftermath of a divorce? What happened to get you to that point? Are you making the right decision? These questions lay the foreground for the play and provokes a fear that drives the characters to find the answers.

The play begins in the dining room of Karen and Gabe, two international food writers who are hosting a dinner for their friends, another married couple Beth and Tom. The only thing is, Tom is not there. Karen and Gabe spout off about their recent trip to Italy before Beth reveals the truth behind Tom’s absence. Tom has been seeing another woman and is leaving her. Beth returns back to her home from the dinner, and Tom shows up to the house. After finding out that Beth has told about their divorce, he is infuriated and wastes no time going over to Karen and Gabe’s house to give his side of the story…and we’re left to determined who’s the injured party here!?

As Karen and Gabe attempt to console their friends’ devastation, their world is flipped upside down as they are forced to examine the state of their own marriage. Julie-Anne Elliott and Paul Morella gave an intriguing performance as a perfect Connecticut couple married for over twelve years who slowly but surely begin to break down as the insecurity and doubt about their marriage sets in. Tom, played by Jeffries Thaiss, was an interesting choice giving an extremely energetic performance. There was a level of absurdity to his performance that was almost distracting at times, but nonetheless commanded attention. Beth played by Peggy Yates portrayed an array of emotions, the audience witnessed her deal with sadness, anger, liberation and excitement as she made her journey through the aftermath of divorce.

Technically a few things could have been better. The blocking was not always effective, many times throughout the play I was met with the actor’s backs for long periods of time, and my energy was spent trying to get a look at their faces. The bluish gray undertone that was used for the set design was a little confusing. The dark colors evoked a mood that was dark and uneasy as opposed to complimenting the scenery.

My initial instinct is not so much to critique the performances, but commend the actors for doing justice to the play and bringing to life all of the playwright’s intentions. The most exciting thing about this play is that it immediately strikes up conversation. Intermission was the time for people to discuss what they saw and figure out whose side they’re on. During the show many heads were nodding as audience members were able to recognize themselves or other people through the characters’ dialogue.

Director’s Note

Dear Friends,

Welcome to today’s performance of Dinner with Friends by Donald Margulies. We are proud that Olney Theatre Center is a local leader in presenting award-winning dramas to our audience. We have produced or co-produced all of Pulitzer-Prize Winning Playwright Donald Margulies plays in the Washington area.

Often we go to the theatre to hear stories about larger-than life characters or imaginary lands; stories that we would not be able to recreate in our own living rooms. That is one of the wonderful effects of the theatre. It gives us the ability to witness something fantastic. Another of the theater’s magical powers is that it can take us inside the most intimate quarters, the inner workings of the human heart. Places that we would never be able to explore on our own. It brings us up close and personal with the most intimate relationships so we can observe them inside and out.

Dinner with Friends has this magical power. We know these people. These characters are neighbors, they are our friends, they are us. Even if we don’t know them personally or recognize them, their humanity is familiar. This play reveals the universal insecurities that we all face when we experience monumental changes in our lives. How we face change and with whom we choose to face it is the emotional landscape of this play. It may be an imagined landscape, but there is none more recognizable.

This production wouldn’t be possible without the essential support of the patrons of Olney Theatre Center. Helen Marshall has provided generous sponsorship of this production. Many thanks to her and all of our supporters.

All our best,
Jim and Amy

Cast

• Gabe: Paul Morella
• Karen: Julie-Ann Elliott
• Beth: Peggy Yates
• Tom: Jeffries Thaiss

Production Crew

• Director: Jim Petosa
• Scenic Designer: James Kronzer
• Costume Designer: Howard Vincent Kurtz
• Lighting Designer: Daniel Maclean Wagner
• Stage Manager: Josiane M. Lemieux
• Sound Designer: Christopher Baine
• Producing Director: Brad Watkins
• Technical Director: Eric Knauss
• Company Manager: Bobby Maglaughlin
• Costume Shop Manager: Jeanne Bland

Disclaimer: Olney Theatre Center provided two complimentary media tickets to ShowBizRadio for this review.

What a show! The Tantallon Community Players put on an amazing production of Lorraine Hansberry’s A Raisin in the Sun. The cast was extraordinary, bringing to life the Youngers, a poor black family living on the Southside of Chicago. A Raisin in the Sun deals with the plight of family relationships and broken dreams. Moreso the dreams of African Americans during a time when a black man or black woman didn’t have the means to pursue their worldly desires. What does a dream mean to a man who has nothing to call his own…and what happens when he loses that dream?

The show begins early in the morning, in a cramped Chicago apartment in which the Younger family, Mama, Beneatha, Ruth, Walter and Travis all live. Travis the youngest has to sleep on the couch and they all have to share one bathroom with the entire apartment complex. One by one as the Youngers wake up, we are introduced to who they are and their distinctive personalities. It is revealed that the family is eagerly awaiting an insurance check for $10,000 from Mama’s deceased husband’s insurance policy, and everyone is eager to know what she will do with the money. Walter wants a cut of the money to fulfill his dream of owning liquor store, an investment he thinks would bring in lots of money and make him successful, while Beneatha needs money for medical school. To Mama, Beneatha’s medical schooling is much more important than a liquor store and she is more than proud to set aside a part of the money for Beneatha, a decision that doesn’t go well with Walter and eventually leads him to a break down that causes Mama to have to make a tough decision.

Terry Spann captured all the right emotions as Walter Lee Younger, giving a spot on performance. Spann captured the pain of having a dream and others telling you it will never happen. Spann had all the right moves, but at the same his performance was a bit overdramatic at times loosing the authenticity of his character. Walter’s not shy about his bitter attitude towards Beneatha (Christine Champion) going to medical school, but Beneatha doesn’t care. Champion brings pure energy to the character of Beneatha. Her struggle with self identity and the need to connect with who she truly is was touching. Champion was quite the comedian at times nailing one liners and placing her own wit behind Beneatha’s fiery attitude.

Lena Younger also known as “Mama” was played by Robin Dorsey. Dorsey encapsulates the role of Mama as the rock of the family and exhibits a range of emotion throughout the show that causes the audience to feel and sympathize with her. Lolita-Marie Clayton exemplifies the plight of a woman who sacrifices herself for the benefit of others and does what needs to be done in order to get by despite her circumstances. Ruth tries to keep herself together, but even she can’t deny the elation you get from having a dream when Mama announces she’s going to use the money to buy a new house for the family. A new house means new opportunities. Her joy is understandable yet hypocritical to Walter who feels his dream was overlooked.

Jivon Lee Jackson and Jeremy A. McShan both played Beneatha’s love interests, Asagi, a student from Nigeria whom Beneatha adores, and George Murchinson, a pretentious rich boy who Beneatha has nothing in common with. Both the roles of Asagi and George are very important, they represent the struggle Beneatha feels between finding herself and following her dreams vs. conforming to society’s standards. Jackson is touching as Asagi delivering some of the most touching and important lines that are a direct response to most of the characters’ inner conflicts.

The Younger’s nosey, pompous neighbor Mrs. Johnson (played by Shemika Berry) provided another burst of energy to a show that never loses it’s momentum. The role is small, but Johnson’s intrusion into the Younger household represents those who will try to put you in your place when things begin looking up, but just as all people should, the Youngers slammed the door behind her as she left their apartment with a “don’t let the door hit ya on the way out!” type of attitude. With that same essence is the character Karl Linder played by Casey Hebert from the welcoming committee representing the forces that try to keep you down when moving forward in your life.

Timagnus Traylor as Willy delivers some of the most devastating news in the show that serves as a turning point for the entire family. The only thing that was confusing about the show was how Willy entered the Younger household singing and smiling, right before he was about to deliver the devastating news. The instant change of emotion was a bit confusing. Kerrington Banks as Travis Younger was too cute and able to portray his role as the “youngin,'” carefully observing and taking in the actions of those around him.

The entire production was thoughtfully put together by director Rikki Howie. I applaud her and the cast for keeping this story fresh and alive, a story that has been told many times in many different ways. It never felt banal or cliché and I feel that speaks to the direction given by Howie, and the talent of the actors.

Director’s Notes

“Dare to dream,” “Follow your dreams,” “Dreams come true”: these are sayings we grew up hearing and believing in, or we should. 50 years ago Lorraine Hansberry got it right and tonight we hope we do too-50 years later!! The certainty that the ideals of “life, liberty, and the pursuit of happiness” can become reality for anyone willing to work for them is what we call the American dream. For many, the dream does come true. For many it does not. Author Lorraine Hansberry knew about disappointment, false hope, and despair. For many of her African American ancestors who had come north for a better life only to find exploitation and frustration, the dream had become a nightmare. In contemporary terms, she chronicles their nightmare in A Raisin in the Sun, an epic story of the Younger family struggling to realize the American dream by escaping ghetto life. Hansberry’s play not only tells the story of the Youngers but also reveals the plight of all who have failed dreams. Tonight you will see actors who are following their dreams to present to you a telling tale. They will share with you where they are, how they got there and how no matter what-their dream will not be deferred. The characters you will see tonight have all as we do every day, fighting against the odds, sometimes following the pipe dream, only to find nothing at the bottom. However out of that defeat, there can be a win – a light of hope, the ability to dream the impossible dream succeed. I have learned thru this process that all you have is your dream and don’t ever let anyone change you from the course of achieving that dream. Who knew that a year ago that I would be directing this play with these wonderful actors, I did not but 1 person did. “You are going to do great things here daughter and I’m proud of you-you are living the dream you always wanted to live!!!” All it takes is one person to support your dream and not allow it to be deferred. Who knew that in this cast I would find such close similarities of my own family and friends. I hope that you find in each of their stories, sand and unsaid, the strength to dream, face adversity, challenge the odds and win. Thank you mom for watching over me and putting the right people in my path to allow this dream and many others to become a reality. Don’t let your dream be deferred…and enjoy the show.

Cast

• Walter Lee Younger: Terry Spann
• Ruth Younger: Lolita-Marie Clayton
• Beneatha Younger: Christine Champion
• Travis Younger: Kerrington Banks
• Lena “Mama” Younger: Robin Dorsey
• Joseph Asagai: Jivon Jackson
• Bobo/Mrs. Johnson Understudy: MarQuis Fair
• Mrs. Johnson : Shemika Berry
• Karl Linder: Casey Hebert
• Moving Man: Derris Banks
• Willy/Moving Man: Tim Traylor

Production Staff

• Director: Richelle “Rikki” Howie
• Producer: Larry Carbaugh
• Assistant Producer: Leslie Luense
• Stage Manager: John Battersby
• Back Stage Manager: Derris Banks
• Set Design: Rikki Howie
• Costumes: Jeanette Vaughn, Anya Nebel
• Hair and Make up: Cast
• Special Effects, make up: Lolita Marie Clayton and Rikki Howie
• Light Design: Sheryl Frye
• Sound Design: Rikki Howie
• Sound and Light Operators: Harmony Hall Staff
• Set Construction: Mark Holt assisted by George Roff, Jerry Caputo, Larry Carbaugh, Cast
• Set Painting and Dressing: Rikki Howie
• Properties: Art Greene, Charla Rowe
• Publicity: Jo Rake
• Photography: Scott Beland
• Graphic Design: Jennifer Reitz, John Whitley
• Program: Leslie Luense
• Choreography: Jermey McShan

Disclaimer: Tantallon Community Players provided two complimentary media tickets to ShowBizRadio for this review.

There are so many things right about American Century Theater’s production of Will Success Spoil Rock Hunter?, everything deserves recognition. The acting, directing, costumes, lighting and sound were thoughtfully put together for a wildly entertaining show. Performed in the small black box theatre at the Gunston Arts Center, Will Success Spoil Rock Hunter? is one of George Axelrod’s most successful plays. Will Success Spoil Rock Hunter? is one of the funniest plays I’ve seen in a long time, and I’m glad I was introduced to such a classic.

Rita Marlowe is a Hollywood starlet of the 1950s, reminiscent to Marilyn Monroe. She has lunch with top directors in Hollywood, people adhere to her every beck and call, everyone loves her and everyone wants her including a shy, insecure, not to be taken seriously, shrimp of a magazine writer named George MacCauley. Though wish he may wish he might, George could never win the attention from a stunning beauty such as Rita Marlowe….or could he? Well with the help of a diabolical friend, the endearing love of the stunning Rita Marlowe may be more attainable that he thinks.

Donald Osborne plays George MacCauley. Osborne relayed the feebleness of George, a man whose true lusts and desires come out when enticed by a Hollywood agent named Irving LaSalle, played by Steve Lebens. Lasalle will give you anything you want in return for ten percent of your soul, no big deal to a man who has never had anything such as George. Lebens’ presence was dynamic, with a strong resonating voice to match. His every moment on stage was intriguing and sinister as he mastered a presence that was well let’s say…omniscient. Osborne made many transformations throughout the show, whether it was Lasalle giving him a boost of confidence or him coming to a revelation, Osborne delivered a multi dimensional performance.

“The puckered lip lady” said an audience member describing Kari Ginsburg’s character Rita Marlowe. Ginsburg’s portrayal was very reminiscent of 1950s actresses such as Marilyn Monroe or Rita Hayworth. With blonde hair, wide eyes and an airy consciousness, it seemed as if she was constantly thinking on a higher plane, not intelligent….just somewhere up the clouds. Her “higher thinking” often resulted in many dumb blonde moments that had people scratching their heads as if they were the slow ones, but nonetheless it was funny. Ginsburg is an amazing comedic actress physically and vocally, she clearly made note of the characteristics and habits of those 50s tragicomic actress and replicated them precisely.

As a writer down on his luck, Michael Freeman, played by John Tweel, is a quick wit who you never quite realize is out of luck because of his playful personality. Tweel is a natural on stage, delivering lines with as much effortlessness and ease as his character would. Harry Kaye, played by Craig Miller, was a big studio head, cigar in hand and always ready for business. Miller was another triumphant addition to the cast.

Great performances came from the entire cast, smaller roles from Leigh Anna Fry as the quirky secretary, Robert Lavery as Rita’s Masseur, and James Finely as Bronk Brannigan, Rita’s jealous ex husband who displayed his physical capabilities in the second act of the show.

This show was successful due to the wonderful collaboration of talent involved from the production staff. Costume designer Rip Claassen provided a vision of colors and patterns plucked right out of the 50s. Lasalle looked sharp with his slick hair and pin striped suits, with a red tie and red handkerchief as a wonderful addition. The secretary’s polka dot dress, and Rita’s Joan of Arc costume were just a few that really stood out and caught the eye. Lighting designer Jason Aufdem-Brinke strategically placed red lights over Lasalle; the symbolism was the cause for much laughter from the audience. Set designer Anndi Daleske provided us with box tv’s, retro couches and typewriters.

Director Ellen Dempsey has all the right people and has coordinated a wonderful show. George Axelrod’s work is alive at American Century Theatre. If you’re looking for a great balance of comedy and talent, Will Success Spoil Rock Hunter? should be next on your list.

Artistic Director’s Note

Deep in our hearts, we’ve always assumed that the Devil would be right at home in Hollywood- just look at all the actors and directors who feel sorry for Roman Polanski. The idea isn’t new, either, for Hollywood tales of innocent young actors and actresses corrupted by stardom and fame, brilliant writers where Hellhounds would be perfect companions were legion even before the end of silent movies.

Hollywood was at its decadent peak, or perhaps depths, by the early fifties, and so it was natural that the idea of writing a comedy in which a resident of the Underworld surface in Tinseltown as an agent would occur to someone. Luckily, it occurred to George Axelrod, who had recently established himself as Broadway’s next ace comedy writer with The Seven Year Itch, the story about an unremarkable, middle-aged, married man whose romantic fantasy seems to be coming to life while his wife is away. That play was a tremendous success, marking a successful transition for Axelrod for the (then) underpaid world of TV comedy-writing to the (then) more prestigious world of the legitimate stage. One-hit wonders are most rare on Broadway, so Axelrod was searching for a sure thing, even though, as a character in his second play keep pointing out, the second play is the hardest. His television instincts served him well, as they always did: All of Axelrod’s plays have plotlines that suggest hilarity even in summary. He appropriated one of the most versatile and popular themes in all of literature, the temptation of man by the Devil, specifically the story of Faust, via Goethe and Christopher Marlowe. Axelrod made the demon a Hollywood agent, of course, meaning that he collects his semi-talented souls in ten-percent increments. For his Faustian character, Axelrod invented a nebbish writer of small ability and smaller sex appeal, whose of Rita Marlowe (what a coincidence!), whose face and figure could only have been designed with sin firmly in mind.

Axelrod not only wrote Rock Hunter, he directed it (he was to direct more Broadway hits than he wrote), and casting the devilishly seductive Rita was his biggest challenge. As if be supernatural intervention, he found his own casting fantasy coming to life when he was introduced to a statuesque beauty pageant winner and Hollywood starlet with the other-worldly vital statics of 40-21-35. Her name was Jayne Mansfield, a living, breathing “Jessica Rabbit,” and the success of the new comedy was all but assured. Mansfield, of course, became an instant sensation, and Evil Hollywood soon made her the latest chapter in its “small town girl corrupter by superstardom” legend. For George Axelrod, Will Success Spoil Rock Hunter? was almost autobiographical: It sent him straight to Hollywood, where he began writing brilliant screen adaptations of the kinds of works nobody ever associated with TV comedy-writers- William Inge’s Bus Stop , Truman Capote’s Breakfast at Tiffany’s, and Richard Condon’s novel, The Manchurian Candidate.

It was strange: How could George Axelrod make such a transition so smoothly, so suddenly, so successfully?

Could it have been…Satan?

Jack Marshall, Artistic Director

Photo Gallery

Kari Ginsburg as Rita Marlowe	Kari Ginsburg as Rita Marlowe
Kari Ginsburg as Rita Marlowe	Kari Ginsburg as Rita Marlowe
Kari Ginsburg as Rita Marlowe; Donald Osborne as George MacCauley	Kari Ginsburg as Rita Marlowe; John Tweel as Michael Freeman
Donald Osborne as George MacCauley; Steve Lebens as Irving LaSalle	Steve Lebens as Irving LaSalle; Donald Osborne as George MacCauley
Donald Osborne as George MacCauley; Kari Ginsburg as Rita Marlowe	Leigh Anna Fry as the Secretary; John Tweel as Michael Freeman
James Finley as Bronk Brannigan; Donald Osborne as George MacCauley

Photos by Dennis Deloria for the American Century Theater

Cast

• Rite Marlowe: Kari Ginsburg
• Masseur: Bob Lavery
• George MacCauley: Donald Osborne
• Michael Freeman: John Tweel
• Irving LaSalle: Steven Lebens
• Harry Kaye: Craig Miller
• Secretary: Leigh Anna Fry
• Bronk Brannigan: James Finley

Production Staff

• Producing Director: Sherri L. Perper
• Director: Ellen Dempsey
• Stage Manager: Maggie Clifton
• Assistant Stage Manager: David Olmstead
• Costume Design: Rip Claassen
• Set Design: Anndi Daleske
• Technical Director/Master Carpenter: Jameson Shroyer
• Lighting Design: Jason Aufdem-Brinke
• Sound Design: Ed Moser
• Properties Design: Trena Weiss-Null
• Fight Choreography: Steve Lada, Chuck Norris
• Sound Operator: Patrick Magill
• Wardrobe Master: Lorraine Hitchcock
• Marketing: Lesley Irminger, Elizabeth Ricks
• Program Design and Cover Art: Michael Sherman
• Production Photography: Dennis DeLoria

Disclaimer: American Century Theater provided two complimentary media tickets to ShowBizRadio for this review.

Picture a café in Italy….. lovers, spaghetti, singing waiters, gypsies, Hannibal Lector……..okay this is just getting weird, as is the latest show put on by the Little theatre of Alexandria, Scapino!. Motivated by improve and audience interaction, Scapino! consists of unruly characters and delivers many unexpected moments. Scapino!, based off of 16th century commedia dell’arte, is about a servant named Scapino who outsmarts his superiors and everyone around him only to create confusion and hopefully gain a profit. Scapino then flees the situation or pleads innocent to any kind of accusation. In this case in particular, Scapino outsmarts his masters and tangles between lovers to get what he needs.

Everyone in this large cast was very committed; their energy was infectious keeping the audience engaged in the show. Many times cast members would walk up and down the aisles encouraging the audience to participate and have a good time. Marianne Meyers led the cast as the wise cracking Scapino. Meyers gave a pretty solid performance, her physical and vocal expressions were spot on. Liz Owens as Scapino’s sidekick Sylvestro delivered many humorous moments, one in particular in which she was dressed in disguise as part of one of Scapino’s schemes to which she received applause from the audience. Joe Randazzo as Leandro who was fearless in his comedic delivery, provided much laughter even after the show was over. Many were able to shine individually throughout the show such as Jeffry Hoffman who belted a beautiful tune as the singing waiter, Elizabeth Replogle as a juggling waitress and Matthew Scarborough with his spectacular table cloth trick.

The cast as a whole seemed to be having a good time on stage, with nothing to be taken too seriously. Looks of confusion often came over those from the audience because of the completely outrageous and random moments that often came up throughout the play such as the entire cast randomly breaking out into the YMCA dance. The comedy was a little too desperate at times, but it was all in good fun, the cast was able to keep the energy going. Don’t come to the show expecting any kind of solid plot line or structure cause you won’t find it in Scapino! cause anything goes!

Director’s Notes

Two of the familiar plays written by the 17th century playwright Moliere are Tartuffe and The Miser. Moliere often played the lead in his own productions. His play, The Impostures of Scapin, which premiered in 1671 in France, is not as familiar to current audiences. However, in 1974, New York was treated to the show in contemporary light in the guise of Scapino! Jim Dale and Frank Dunlop took the familiar commedia dell’arte plot line and created a rousing farce for a newer audience. New York and the critics loved its silliness and unexpected moments.

Imagine a traveling troupe of players going from town to town bringing everything they need to do a show anywhere they can find and literally unfolding the story and the set. This is the backdrop for this production of Scapino! The cast is here to entertain, make you laugh and generally to be very silly. So enjoy yourself and PARTICIPATE! It’s the best way to keep warm on a cold winter’s night. -Rick Hayes

Photo Gallery

Ric Anderson (Carlo) and Liz Owens (Sylvestro)	Steve Rosenthal (Argante) and Marianne Meyers (Scapino)
Ron Bianchi (Geronte) and Marianne Meyers (Scapino)	Liz Owens (Sylvestro), Ric Anderson (Carlo), Juliana Ejedoghaobi (Zerbinetta)
(Top) Liz Owens (Sylvestro) and Marianne Meyers (Scapino) – (Bottom) Paul Laudiero (Ottavio) and Lucy Rojansky (Giacinta)	Marianne Meyers (Scapino), Joe Randazzo (Leandro), Paul Laudiero (Ottavio), Mary Ayala-Bush (Nurse)

Photos by Doug Olmsted for The Little Theatre of Alexandria.

The Cast

• A waitress: Rebecca Fischler
• Waitresses: Liliya Brantley and Elizabeth Replogle
• Carlo: Ric Andersen
• Head Waiter: Matthew Scarborough
• Waiter: Jerry Hoffman
• Slyvestro: Liz Owens
• Ottavio: Paul Laudiero
• Scapino: Marianne Meyers
• Giacinta: Lucy Rojansky
• Argante: Steve Rosenthal
• Geronte: Ron Bianchi
• Leandro: Joe Randazzo
• Zerbinetta: Juliana Ejedoghaobi
• Nurse: Mary Ayala-Bush

The Crew

• Producer: Carol Strachan
• Director: Rick Hayes
• Stage Managers: Jerry Dale, Charles Dragonette
• Set Design: Rick Hayes, Dan Remmers
• Set Construction: Dan Remmers
• Assisted by: Chris Feldman, Bob King, Jack Schaeffer
• Set Painting: One Brick
• Light Design: Michael Null
• Assisted by: Rick Hayes, Eileen Doherty, Pam Leonowich, Doug Olmsted, Liz and Nancy Owens, Dick Schwab, Sherry Singer
• Sound Design: Alan Wray
• Assisted by: Eleni Aldridge, Dave Correira, Charles Dragonette, Eileen Doherty, Anna Hawkins, Alan Wray
• Costume Design: Kathy Dodson
• Wardrobe: Barbra Helsing, Margaret Snow
• Assisted by: Rachel Alberts, Patty Greksouk, Bobbie Herbt, Annie Vroom
• Makeup and Hair Design: The Paul Mitchell School of Makeup and Hair Design
• Assisted by( make up): Kristi Faha, Rick Hayes
• Assisted by (hair): Bette Williams
• Properties Design: Ceci Albert
• Assisted by: Philip Campbell, Rebecca Johnson, Leslie Reed, Jayn Rife
• Musical Assistance: Chris Tomasino
• Photography: Doug Olmstead
• Double Tech Dinner: Rick Warfield
• Opening Night Party: Laurel Summerfield
• Assisted by: Lloyd Bittinger, Jake Moragn, Scott Cook, Robert Kraus, Margie Remmers
• Auditions: Angela Cannon, Betty Dolan, Sharon Dove, Jayn Rife

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

The Keegan Theatre’s current production of Rent at their Church Street location is a must see. The cast is spectacular and the small space provides an intimate experience. Rent is a show that tends to leave a strong lasting impression on people; sitting in the audience I heard many people around me recalling their past experiences with Rent, whether they had seen it on Broadway or watched the movie. The set is dressed with posters and has a grungy look that transports you to New York’s East Village in the late 90’s. The simplicity of the set provides the atmosphere but more importantly it allows you to focus on the story itself. The actors entered the stage one by one and based on their costumes – that are a trademark of Rent – the audience knew exactly who they were.

The opening number “Rent” preset the show and provided insight to how good the show was going to be. The voices were strong as was the music. The singing is the true backbone to the show Rent being it is a “rock musical,” it cannot get by with weak voices, thankfully no one in the cast fell under that category.

Mark Cohen is our faithful narrator and compassionate friend as portrayed by John Loughney. Loughney projected Mark’s compassion for life but was also tormented with loneliness. The relationship between him and Roger was like father and son, Mark always looking out for Roger and his well being. Juan Carlos Sanchez provided a touching performance and very strong vocals as Roger a former Rock musician. In the ballad “One Song Glory” Sanchez revealed the depth of Rogers suffering as he is faced with the reality that he will soon die from AIDS. The conflict between Roger and Mimi (Emily Levey) during “No day but today” was moving, though Mimi herself is sick, she had a passion to live and love while Roger had already shut himself off to the world and was waiting to die.

Trotting on stage in either his sexy Santa suit or as James Bond’s “Pussy Galore” Parker Drown captured all the things that make Angel so lovable and charismatic. Both him and his lover Collins played by Michael Robinson displayed the highest level of what it really means to love despite each other’s obvious differences.

Other strong vocal performances came from Katie McManus who gave a very stern and almost unlikable performance as Joanne Jefferson. Her partner is the sexy eccentric Maureen played by Weslie Woodley. Woodley did a great job in representing everything that Joanne is not. Benny played by Edward Daniels was…. Benny, a role that can be hard to comment on because it’s not as prominent as the others, but Daniels essentially provided the essence of who Benny is.

The ensemble was very strong it seemed that each member had a chance to shine in one way or another playing various minor roles and singing solos though out the show. Some of the best moments came in which the entire cast was singing as an ensemble in such numbers as “Will I” in the first Act.

The staging was executed very well, as an audience member I felt very active, constantly looking up, down, left and right as characters where placed all throughout the set as well as the theatre itself giving my head a bit of a whirl wind effect but it was fun.

Directors Mark A. Rhea and Susan Marie Rhea have done a lot of justice to this show in regards to its recent departure from Broadway, they have provided those who may have never had a chance to see a Broadway or touring show of Rent an experience that many who have seen the show go back for. This production was very professional and enjoyable, I was provided with a great evening by the Keegan theatre.

Cast

• Ensemble: MaryLee Adam
• Ensemble: Shayna Blass
• Ensemble/Swing: Mickey Daguiso
• Benny: Edward Daniels
• Angel: Parker Drown
• Ensemble: Julia Fanning
• Ensemble: Nick Lehan
• Mimi: Emily Levey
• Mark: John Loughney
• Joanne: Katie McManus
• Ensemble: Christopher Mueller
• Ensemble/Swing: Carolyn Myers
• Collins: Michael Robinson
• Ensemble: Christina Sanchez
• Roger: Juan Carlos Sanchez
• Ensemble: Dan Van Why
• Maureen: Weslie Woodley

Production Staff

• Book, Music and Lyrics: Jonathan Larson
• Musical Arrangements: Steve Skinner
• Original Concept/Additional Lyrics: Billy Aronson
• Musical Supervision and Additional Arrangements: Tim Wells
• Dramaturg: Lynn Thomson
• Director: Mark A. Rhea
• Director: Susan Marie Rhea
• Music Director: Aaron Broderick
• Choreographer: Kurt Boehm
• Stage Manager: Christina Coakly
• Stage Manager: Rich Ching
• Assistant Stage Manager: Cee-Cee Swalling
• Set Designer: George Lucas
• Sound Director: Eamon Coy
• Master Electrician: Drew Kopas
• Sound Engineer: John Robert Keena
• Costume Designer: Kelly Peacock
• Costume Designer: Shadia Hafiz
• Properties Designer: Katrina Wiskup
• Set Dresser: Carol Baker
• Video Producer (Ending Sequence): Rich Montgomery
• Production Assistant: Chuck Whalen
• Light Design: Company

Notes from the Dramaturg

Jonathan Larson’s Rent began in collaboration with playwright Billy Aronson who wanted to write and upbeat version of Puccini’s La Boheme. Larson took over the project and throughout the 1990s he created the piece, while supporting himself as a waiter. It took seven years to complete with more collaborators, many rewrite and much re- structuring as well as a $45,000 grant from the Richard Rogers Foundation. On Jan. 24, 1996, after the final dress rehearsal for the Off –Broadway opening, Larson was interview about the show by the The New York Times and went home exhausted and happy. He died the next morning from an aortic aneurysm. But Rent went on to become a global phenomenon and to win just about every prize available to a dramatic work: the New York Drama Critics Circle Award, the Drama Desk Award, the Obie Award, the Tony Ward and the Pulitzer Prize.

The musical and dramatic sources for Rent are varied and include elements from Larson’s own experience of living poor under harsh conditions. But many of the characters, plot lines and even some melodies are directly based on Giacomo Puccini’s La Boheme, which premiered almost exactly 100 years earlier in Turin on Fed. 1, 1896. Paris in the late 1800s has become New York City’s East Village at the end of the 20th century. Tuberculosis, the “plague” of Puccini’s opera, is replaced by AIDS and more specifically, the AIDS of New York City in the 1990s. When the syndrome first appeared in the early 1980s, it was believed to be a manageable disease among a marginal population, but by 1990 it had grown to a full blown epidemic in many parts of the world. Compellingly captured in Rent is the strong sense of community among those living with AIDS at that time. But it has been written by many that fear was the pervading emotion for gays and their allies. Being in close relationship was no longer safe. Those who lost friends but survived felt guilty and depressed.

In recent years antiretroviral drug treatments have been developed, but there is still no vaccine and no cure. Since 2000 there has been a new surge of AIDS which is not confined to marginal or high risk groups. Government funding for research and other support has not been close to adequate. The Ryan White Care Act to improve care for low-income victims of the disease was first enacted in 1991 (during the first Bush administration) and has been reauthorized several times, most recently, this past October. During his presidency, George W. Bush promoted increased funding for global AIDS programs in the U.S. President Obama has put forth a comprehensive plan for fighting HIV/AIDS worldwide which includes programs for research, care and prevention-in April of this year he announced his intention to put AIDS “back on the nation’s radar.” There is much to be done.

During the lengthy rewriting of the show, one of his collaborators suggested to Jonathan Larson that he create a one-sentence summary of the story of Rent . This was what he wrote: “Rent is about a community celebrating life, in the face of death and AIDS, at the turn of the century.” After Larson died and the decision was made to go on, Daphne Rubin-Vega, the original Mimi, said that “it let us remember that the bottom line is what you do with the experience, because tomorrow isn’t promised you.”

-Trudi Olivetti

Photo Gallery

Photos by James Coates for the Keegan Theatre.

Disclaimer: Keegan Theatre provided one complimentary media ticket to ShowBizRadio for this review.

Hopa Tropa! What is that you ask? It is the latest production written and directed by Bulgarian playwright Lilia Slavova, as part of the Kids Euro Festival taking place in Washington DC. Primarily aimed at children, this show is an experience for audience members of all ages. The show is an exciting look into Bulgarian culture and folklore performed through song, dance, and puppetry. Performed by four actors and spoken entirely in Bulgarian, three of the actors were American and had to face the challenge of learning the language, culture and puppetry in order to successfully pull off the show. They did their job well considering one woman in the audience who was Bulgarian claimed she had been completely fooled into thinking that all four of the actors were actually from Bulgaria.

The show was very energetic and funny, set up perfectly to keep children engaged and interested the entire time. The show went through two stages; in the first the actors played a series of traditional Bulgarian games, and in the second there was the puppetry. The puppetry was an element of the show that shone completely on its own. Julia Tasheva, the only Bulgarian actress in the show as well as Master Puppeteer led her fellow actors in creating an amazing array of characters. Unlike any form of puppetry I’ve ever seen, all four of the actors worked together using various objects such as wooden spoons, gourds and blankets to transform them into a single puppet. One actor would be controlling the hands, the other the foot, another the head, and all the while moving as one.

There was a dynamic about Julia Tasheva’s performance that indicated skill and knowledge. Vocally and physically she was very proficient in creating characters and voicing the puppets. Alex Vernon gave an energetic performance and was given a chance to display his improvisational and comedic chops when he voiced one of the puppets and interacted with the children. Ben Gibson gave a charismatic performance, playing clumsy and cute. Sarah Olmsted Thomas also gave a very charismatic performance.

The set was designed by Antonio Petrov who created a beautiful and colorful set reflecting the vibrancy of the show that coincided beautifully with the traditional Bulgarian clothing worn by the actors. Musical Arranger Petko Kolev composed a series of upbeat traditional songs, some of which had a very pop like contemporary feel to them. Ivan Dimitrov choreograhed a series of traditional dances that were performed throughout the show. In the end the audience had the chance to get off their feet and join the actors in dancing a traditional Bulgarian dance, a good way to keep the energy going and end with a bang!

Children are the target audience for the show, which is easy to forget since the fascination of the puppetry bought out the giddiness in everyone. Throughout various times in the show children are bought on stage to interact and play with the actors. There is always something entertaining about seeing young children being thrust on stage in hopes that they will say or do something cute and funny, and they do. This show is a must for children, as well as parents who will surely be just as captivated by the beauty and vibrancy of Bulgarian culture.

Director’s Notes

It all happened really over night! I was give the chance to be part of the Euro kids festival and most important to do it in Ambassador Theatre I went…crazy! I was so excited about the opportunity that in a few seconds I decided everything about the show. It seems I have been waiting for that chance! I knew what I wanted to direct, the idea was born in a few seconds, the name ever faster. What is more stimulating than the chance to introduce your own culture to American audiences, and even more, to American children? I have been directing shows from all over the world, but now I was given the chance to show the folklore side of my own culture. I used to dance in a children folklore group, sing in children’s chorus in my country, and I studied puppetry in the institute of Dramatic Arts. This, plus my years of teaching kids (30!), all put together made sense to me. The idea to also have American actors doing it was uplifting! Dances, songs, games, sounds, traditions, rituals, and colorful costumes, plus authentic objects that are part of our near past, all that material inspired me to write a play with almost no words. For me, the images are enough to tell a simple story! I want the show to cheer our patrons; take them on a journey to my beautiful country-Bulgaria. The best way to educate children is through playing, that’s how they learn the best and retain the longest. Let’s take our children on a short trip to a lovely little country where the traditions are still alive! I am one lucky, lucky director! I have the best actors who with the enthusiasm and not only some of the best in this business, but they all are my dear friends as well!

Come and enjoy a taste of Bulgarian culture! -Lilia Slavova

Cast

• Julia Tasheva, Master Puppeteer
• Sarah Olmsted Thomas
• Ben Gibson
• Alex Vernon

Crew

• Director: Lilia Slavova
• Set Design: Antonio G. Petrov
• Choreography: Ivan Dimitrov
• Stage Management: Amanda Grossman
• Puppet Design: Julia Tasheva
• Musical Arrangements: Petko Kolev
• Lights: Stephen Shetler

Disclaimer: Ambassador Theater provided two complimentary media tickets to ShowBizRadio for this review.

Many are familiar with Jonathan Larson’s Rent. Sadly Rent has recently closed on Broadway after a 12 year run. Being one of the first theatres in the metro area to perform Rent after its closing on Broadway, Winters Lane Productions has a lot to live up to. Unfortunately Winters Lane Productions fell short in many areas in their performance this past Saturday. In a theatre full of eager theatergoers and infamous “Rentheads,” many in the audience were looking to experience the magic that Rent has to offer, but it wasn’t quite there.

Weak vocals were primarily the detriment of this production. In a show that is built around performers with strong controlled voices, many of the voices were just too weak to keep the momentum going. The strongest parts of the show were during ensemble pieces such as “Rent,” “Life Support,” and “Will I?” but individual voices struggled. Without the vocals, this show in particular suffers. While the message and beauty of the show are compelling on its own, it is not enough to get by.

Miriam Pulto who played Mimi Marquez was one of the more compelling performers with a strong voice. Miriam was able to pull off the energetic upbeat “Out Tonight” as well as the soft ballad “Without You.” Troy Hopper played Benjamin Coffin III which is one of the smaller roles, but Hopper stood out due to his strong vocals and characterization.

In one of the main roles, Gary-Kayi Fletcher struggled vocally as Roger. Fletcher strained through numbers such as “One Song Glory,” and “What you Own.” Mark Cohen played by Ryan DeVoe certainly had a beautiful voice when singing within his range. Higher notes pushed him past his limit, and like Fletcher caused him to strain often resulting in notes off key.

Jamie Erin Miller truly captured the free spirit that is Maureen Johnson during the number “Over the Moon,” as well as throughout the production. John-Michael d’Haviland played a charismatic Tom Collins. Lots of energy and personality came from Joey Frollo as Angel Schunard who provided most of the laughter in the show. Genevieve Williams found a lot of humor in her role as Joanne Jefferson.

Set Design provided by NCB Construction, Jason Kimmell and Ryan Devoe were resourceful in utilizing the small space offered at Mount Vernon. Posters, street signs, trash cans and Christmas lights were very reminiscent of the set design typically seen in a Rent show; transporting you to the East Village in New York. Staging wise, every inch of the theatre was used, and it never felt cluttered despite the large cast. This could have potentially been a detriment to the show if it was not staged well.

Costume designer Anya Randall Nebel did a wonderful job at producing costumes that resembled those worn in the Broadway production. It is a mystery as to where she found the Metallic blue pants that are so famously worn by Mimi Marquez during “Out Tonight,” and the wonderfully fashioned Santa outfit worn by Angel in “Today 4 U.” In general props to Nebel for her work.

Overall the show had many flaws, which may be disheartening more so for those who are familiar with the musical. Those new to Rent who see this production may be a little bit more forgiving, but the “Rentheads,” may not be as passive.

Cast

• Roger Davis: Gary-Kayi Fletcher
• Mark Cohen: Ryan DeVoe
• Tom Collins: John-Michael d’Haviland
• Benjamin Coffin III: Troy Hopper
• Joanne Jefferson: Genevieve Williams
• Angel Schunard: Joey Frollo
• Mimi Marquez: Miriam Pulto
• Maureen Johnson: Jamie Erin Miller
• Roger’s Mom, Vendor, and others: Katie Anderson
• Alexi Darling, Pam and others: Erin Confair
• Allie, Dancer, and others: Melissa Chanselle-Hary
• Steve, Cop, and others: Robbie Dinsmore
• Mrs. Jefferson Homeless Woman, “Season of Love” Soloist, and others: Michelle Harmon
• Gordon, Pastor, Drug Dealer, and others: Kevin Ray Johnson
• Mr. Jefferson, Paul, “Season of Love” Soloist, and others: Will Lewis, III
• Mrs. Cohen and others: Esther Oakley
• Homelss Man and others: Aaron Reeder
• Squeegie Guy, Waiter, and others: Chris Rudy
• Vendor, Mimi’s Mom and others: Emily Sergo
• Santa Fe Dancers: Melissa Chanselle-Hary, Robbie Dinsmore, Emily Sergo
• Understudies
  • Roger: Aaron Reeder; Mark: Chris Rudy
  • Angel: Robbie Dinsmore
  • Maureen: Emily Sergo; Joanna: Michelle Harmon
  • Benny: Wil Lewis, III; Collins: Kevin Ray Johnson

Production Staff

• Executive Producer: Anya Randall Nebel
• Producers: Sonia Truesdale, Shelly Jennings, Susan Davis
• Director: Anya Randall Nebel
• Music Director: Tiffany K. Underwood
• Choreographer: Jason M. Kimmell
• Lighting Design: Jason Aufdem-Brinke
• Costume Design: Anya Randall Nebel
• Set Desgin: NCB Construction, Jason Kimmell, Ryan Devoe
• Sound Design: Jason Wilson
• Sound Technician: Brian Butler
• Video Concept: Anya Randall Nebel
• Video Production: Jay Chapin (Dreamstar Video)
• Production Stage Manager: Keith Summers
• Backstage Crew Chief: Melissa Chanselle-Hary
• Dance Captain: Robbie Dinsmore
• Advertising and Marketing: Anya Randall Nebel, Genevieve Williams
• Poster Design: David Gregory
• Consultant: Genevieve Williams
• Mount Vernon Place Operations Manager: Chris Weathers

A note from the Director

Ladies and Gentlemen: Welcome to Winters Lane Productions and our production of Jonathan Larson’s Rent. If you are new to our work, please visit our home on the web at www.winterlaneproductions.org to get acquainted with us. We are new to the DC area and we would love to continue to bring good quality theatre to this area at a fraction of the cost.

I want to thank you all for coming to tonight’s production. We are blessed to have one of the finest casts, and honored to be one of the first of many to bring this show to the community after it had been on Broadway for so many years. My intention was to adapt Jonathan Larson’s words and music to my vision rather than copying Broadway. After all, no one can repeat the phenomenon that captured an audience 14 years, won several Tony Awards and a Pulitizer Prize. Any why should we?

I walked into Mount Vernon Place United Methodist Church on a cold afternoon in March. I was greeted with enthusiasm and kindness by the church community. I instantly knew that this place would be the home for this piece. My belief is that the audience will fall in love with these characters again, and hold them close to their hearts forever. I took some risk to ensure that none of us would forget. Forget what you ask? Sit back for the next 2 hours and 15 minutes to be exact, and then you will know.

Finally, I want to publicly thank my cast and my wonderful production staff. I suffered my own loss recently when I lost my father in July. The pain is still present, but the theme “no day but today!” rings truer still. This reminds me of how short life is, and how this show, these words, and this cast pulled me through the darkest moment I can imagine.

Measure your life in love!

Anya Randall Nebel

Special Thanks

The producers of Rent would like to extend their utmost gratitude to the following individuals and organizations for their assistance in making this production possible: Jerry Rankin, Kacey Crawford, Genevieve Williams, Shawn DeVoe, John-Michael d’Haviland, FUZZ Roarke of Spotlighters Theatre, Doug Chanselle-Hary of Academy of Holy Cross, and Stephanie Williams of Drama Learning Center.

Disclaimer: Winters Lane Productions provided two complimentary media tickets to ShowBizRadio for this review.