Signature Theater’s Sweet Tea is as real as it gets. Writer and actor E. Patrick Johnson captivates his audience while chronicling the stories of thirteen black gay men raised in the South. Every character has a story and every story smacks of truth. The show is arranged by topic including religion, sex, transgender, and coming out. While content may not be to universal approval, the presentation is superb.

Director Rajendra Ramoon Maharaj has pulled out all the creative stops for this special arrangement, limited engagement production. His creative team has crafted a veritable masterpiece for the stage. A porch setting in a small, blackbox theater takes the audience to a warm summer afternoon enjoying an iced tea and a comfortable chat with an old friend. Carefully selected props and costume pieces cue the audience to which of the thirteen characters Johnson portrays at any given moment. Lights capture and focus the viewer’s attention on the moment, like chasing a firefly on a summer night. Sound effects were minimal, but heightened the senses by adding depth and ambiance especially to transitions. Leaving the theater felt reminiscent to packing up after a joyful family reunion.

Johnson’s sincere and dynamic portrayals sweep his audience along like a raft on a river. Characters appear and reappear to comment on the subject at hand (indicated by a projection screen above the stage). Gerome sings and dances his way into the hearts and minds of his viewers as he preaches on the struggles of gay men in gospel churches. Chaz/Chastity sashays to life as a dragtastic diva, with sky-high aspirations and a desire to be transgender. D.C. discusses some of his sexual encounters. Countess Vivian serves as a host of sorts, providing grounded perspective on everything from relationships to death. Audience members of the LGBT community ate up every word!

Maharaj’s direction of Johnson’s one-man play invites audiences to look at life from a unique point of view. Johnson’s superb story-telling presents perspective without drawing moral conclusions for his audience. Obviously, it caters to a target audience, but the content is crafted so well that it is accessible to all viewers. Sweet Tea is a great show for its superior theatrical value, its social narrative, and its non-aggressive approach to a very volatile subject.

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

Hans Bachman’s Nunsense is comic and clever with a great focus on storytelling. The “Order of the Little Sisters of Triangle” was once a thriving convent of seventy-one, now reduced to nineteen after a tragic cooking accident. Forty-eight nuns were successfully interred, but four remain in the convent freezer because the budget was blown on a blue-ray player and a flat screen TV.

And that’s just the set up.

The show itself is the benefit put on to raise funds for the funerals of the four frozen sisters. As such, the audience becomes a conglomerate character in the production. Audience participation is one of the distinctive qualities of the show, which plays very well with a dinner theater; the more dynamic the audience, the more the actors have to work with.

The stage is set like a jukebox-joint which might make you think you’re at the wrong theater. The sisters quickly explain that everything is for the school’s production of Grease. Set pieces are mobile and utilized multiple times (except an exercise bike which just looks odd). Creative lighting breaks up some visual monotony and adds valuable dimension to the show. The costumes are authentic Catholic habits, complete with veil, wimple, and scapular. Big movements and fancy footwork compensate for the absence of nuanced physicality in the roomy garb.

The actors were believable and spirited, although the pacing flagged a few times. Sister Mary Regina (Tricia Jarrell) was the stolid Reverend Mother with a mischievous streak. Her “unexpected discovery” began hysterically, and then persisted past laughter into awkward audience silence. Sister Mary Hubert (Diane Pollock) has a terrific solo voice with gospel qualities which adds rich tones to ensemble numbers. Sister Mary Amnesia (Kristen Jepperson) was the leader in audience interaction, but her dramatic pauses needed to be shorter. Sister Robert Anne (Julie Sowers) was a firecracker with a terrific build-up and a weak follow-through. Her character’s much-anticipated solo number “I Just Want to Be a Star” suffered from low energy and weak blocking. Sister Mary Leo (Kyna Hollis) is a lovely nun-who-wants-to-be-a-ballet-dancer despite the restrictions of her habit.

Good vocal blending and great stand-alone solo voices keep the audience pleasantly entertained. However, recorded accompaniment detracts by causing actors to channel creative energy into mechanically staying with the recording. Live music would have contributed greatly to the quality and energy of the show.

If you’re looking for a unique event with your family, a large group (discounts available by arrangement), or just a date night with your significant other, Nunsense at the Lazy Susan is a great option. Think about it–for the cost of dinner and a movie, you can have a full buffet, live interactive show, and reasonably priced mixed drinks. You probably won’t remember a movie plot in six months, but the dinner theater experience is unforgettable.

Disclaimer: Lazy Susan Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The Heritage-O’Neill Theatre Company’s production of Requiem for a Heavyweight had some very good things going for it. Director Karey Faulkner designed a great show, but inexplicably slow transitions and inattention to detail dragged the quality down.

Requiem is about a boxer, “Mountain” McClintock, whose once-impressive career draws to an abrupt close after fourteen years of fighting. His manager, Maish Resnick, finds himself struggling with debts incurred by a bum bet. Mountain feels he owes it to Maish to pay him back, but quickly realizes that he has a very limited, mostly unmarketable skill set. Maish must get the money and Mountain must find himself before the debt is called in.

The stage was set very simply, divided into four sections that included three established scenes and a neutral area to enlarge the acting space. This versatile device was generally used well, not distracting the audience except once or twice when actors took themselves out of scene by drifting into the shadows.

The two-man technical crew was black-out happy. Requiem started with a good half-minute of blackout for no apparent reason. Minimal scene changes, wherein actors moved five set pieces at most, dragged on because the set had to go to black before the next scene. Bring up the lights and go on with the show. The stage also went black following the curtain call as actors exited into a well-lighted stairwell to the right of the stage, which looked tacky. It would have been better to leave the lights up and see the actors leave, than to draw so much attention to them.

There’s no costume credit in the program, so I can only assume that actors designed their own costumes. For the most part this was fine — gangsters looked like gangsters and schmucks looked like schmucks — but in a play full of caricatures, the prostitute looked nothing like a prostitute. The boxers wore sweats, the whore wore a business suit. The incongruity was very distracting and took away from the production quality.

The third failing of this show stemmed from a lack of attention to detail. In the first five minutes, any boxer’s sensibilities would have been affronted by the non-attempt to wrap the hands of the professional boxer. In the various bar scenes, bottles were different sizes and obviously only half-filled. The cheesiness of the props would be diminished with labels to disguise the obvious staging.

Requiem is described by Rod Serling, the playwright, as a collection of clichés. Faulkner’s cast definitely did a great job of creating caricatures. Special mention goes to Robert Christie as Leo Loomis, George Tamerlani as Pirelli whose performances were at once over-the-top and believable.

Frank Vince as Maish Resnick gave a very dynamic and compelling performance. His character’s desperation was well balanced by his nostalgia for better times. Sean Coe as Mountain McClintock was sweet and simple, but oddly prone to fits of passion that didn’t seem to fit his character. Dexter Hamlett as Army, a retired boxer and McClintock’s corner man, gave a superior performance, getting the first laugh and demonstrating superb silent acting skills. Amy Rauch as McClintock’s love-interest, Grace Miller, gave a charming performance, providing a lovely counterpoint to Coe’s McClintock.

The Heritage-O’Neill Theatre Company’s Requiem for a Heavyweight wasn’t a knock-out, but it put on a good show. If you are a fighter, don’t expect too much in the way of realistic details. Requiem for a Heavyweight is enjoyable if one likes the genre, but not superb.

Cast

• Maish Resnick: Frank Vince
• Mountain McClintock: Sean Coe
• Army: Dexter Hamlett
• Grace Miller: Amy Rauch
• Golda: Hilary Kacser
• Leo Loomis: Robert Christie
• The Doctor: Sam McCrea
• Charlie, the Bartender: Sam McCrea
• Pirelli: George Tamerlani
• Max Greeny: David Segal
• Morrell: Shawn Golanski
• ‘The Kid’: Brent Bauer

Production Team

• Director, Co-Lighting Director, Music Designer: Karey Faulkner
• Lighting Designer, Sound Designer, Technician: Benjamin Fan

Disclaimer: The Heritage-O’Neill Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Deliciously scandalous with great musical numbers, fabulous costumes, and a terrific set, The Best Little Whorehouse in Texas is a great show with exceptional production values. Director David Moretti had a superb creative team; his production looked great and felt balanced. The show is based on the true story of the “Chicken Ranch,” an infamous “ladies’ boardinghouse” in small-town Texas, and the conservative Watchdog television program that leads a crusade to shut it down.

The “Country Jamboree Band,” led by Michael D’Haviland, was on par with other Dominion productions, and superior to most community theater orchestras I have heard. They felt well-rehearsed and unified. Always in synch and on pitch, D’Haviland’s orchestra kept the show flowing smoothly from one scene to the next.

Choreography, by Ivan Davilla, started out slow, but the pace steadily built up to some energetic ensemble numbers that were real crowd-pleasers. The ensemble had some fancy footwork that was fun to watch. Director David Moretti demonstrated the benefits of the director designing his own set. His design was versatile, creating dimension, fostering movement, and allowing for location changes by the subtle use of props, designed by Helen Bard-Sobola. The set was decorated to emulate the Texas flag and tied together with costumes, creating a sense of visual continuity throughout the show. Lighting design, by Jeffery S. Auerbach, continued the trend of versatility and dimension, effectively adjusting the tone for each scene.

Sheila Miller’s costume design was fantastic. With few exceptions, each actor had no less than three costume changes and every costume was distinctly unique and sometimes very elaborate. Dominion Stage’s production is a feast for the eyes, there is always something new to capture your interest and pacing is never interrupted by costume or scene changes. Great job cast and crew!

The cast was very solid as a whole with very little stand-out talent. It is novel to see a cast that performs as a team without placing too much emphasis on individual actors. Some team leaders include Taurean Maray Barber in the ensemble. Barber was a gem for community theater, distinguishing himself as an experienced dancer and showman. Chris Gillespie (Ed Earl Dodd) gave a superior performance including his solo “Good Old Girl,” sung with sweet sincerity. Rikki Howie (Jewel) was sassy and sexy, carrying the audience away with her rollicking solo “Twenty-Four Hours of Lovin’.”

The Best Little Whorehouse in Texas is a well-crafted feast for the eyes and ears. The show was one of the most unified, streamlined, and fast-paced shows to grace the stage this season. It does contain adult themes, sexual situations, brief nudity, and gunshot effects, so be advised that this is not a show for children or for the weak of heart. If you’re not easily offended and looking for a show to share with your dinner date, then this is definitely a memorable selection.

Photo Gallery

Photos by Jarett Baker.

Cast

• Bandleader: John-Michael D’Haviland
• Girl #1: Leslie Ann Kehuewa
• Farmer: Zadoc-Lee Kehuewa
• Girl #2: Cassandra Walker
• Shy Hid: Taurean Maray-Barber
• Girl #3: Laura Fontaine
• Miss Wullajean: Jim Vincent
• Girl #5: Jenny Bolam
• Girl #4: Morgan McGovern
• Salesman: Billy Cover
• Slick Dude: Robert King
• Chorus: Joe Aquilina, Jeremy Austin, Hevin Bowders, Jonathan Cacgle-Mulberg, Peter Halverson, Katie Gentic, Todd Paul, Michael Romano, Melissa Stamps
• Angel: Sally Kiernan
• Shy: Erica Wisniewski
• Jewel: Rikki Howie
• Mona Stangley: Amy Basha
• Ginger: Leslie Ann Kehuewa
• Linda Lou: Laura Fontaine
• Taddy Jo: Jenny Bolam
• dawn: Melissa Stamps
• Beatrice: Morgan McGovern
• Ruby Rae: Cassandra Walker
• Young Cowboy: Jeremy Austin
• TV Announcer: Zadoc-Lee Kehuewa
• Placard Assistants: Joe Aquilina, Kevin Bowders
• Melvin P. Thorpe: Michael Kasmir
• Thorpe Dogettes, Singers, and Strutters: Jeremy Austin, Jenny Bolam, Jonathan Cagle-Mulberg, Bill Cover, Laura Fontaine, Leslie Ann Kekuewa, Robert King, Taurean Maray-Barber, Morgan McGovern, Todd Paul Michael Romano, Melissa Stamps, Cassandra Walker
• Ed Earl Dodd: Chris Gillespie
• Cameraman: Bill Cover
• CJ Scruggs: Peter Halverson
• Rufus Poindexter: Jim Vincent
• Doatsey Mae: Katie Gentic
• Edsel MacKey: Michael Romano
• Doatsey’s Boys: Joe Aquilina, Jeremy Austin, Kevin Bowders, Taurean Maray-Barber
• Angelettes: Jenny Bolam, Laura Fontaine,Morgan McGovern, Melissa Stamps
• “Old Sarge” Aggie Mascot: Todd Paul
• Chip Brewster: Robert King
• Imogene Charlene Greene: Melissa Stamps
• Senator Wingwoah: Zadoc-Lee Kekuewa
• The Aggies: Joe Aquilina, Jeremy Austin, Kevin Bowders,Taurean Maray-Barber, Jonathan CagleMulberg, Bill Cover, Robert King, Michael Romano
• Featurer Aggie Dncers: Taurean Maray-Barber, Jonathan Cagle Mulberg
• Reporter #1: Taurean Maray-Barber
• Reporter #2: Cassandra Walker
• Governor’s Aid: Jim Vincent
• The Governor: Peter Halverson
• Governor’s Body Guards: Joe Aquilina, Kevin Bowders
• Street Lady: Katie Gentic
• Reporter #3: Jeremy Austin
• Hecklers: Jeremy Austin, Jonathan Cagle-Mulberg, Bill Cover,Robert King, Todd Paul
• Young Cowboy and Chicken Ranch Girl: Taurean Maray-Barber, Erica Wisniewski

Country Jamboree Band

• John Michael D’Haviland: Keyboard/Conductor
• Leah Hocsis: Piano
• Jim Hofmann: Drums
• Rick Peralta: Guuitar
• Chase Maggiano: Fiddle
• Milo Johnson: Bass
• Gwyn Jones: Reeds/Woodwinds

Crew

• Co-Producers: Michele Bell, Patrick M. Doneghy
• Director: David M. Moretti
• Music Director: John Michel D’Haviland
• Choreographer: Ivan Davilla
• Assistant Choreographer: Haley North
• Stage Manager: Bob Pierce
• Assistant Stage Manager: Jim Callery
• Technical Director: Patrick M. Doneghy
• Lighting Design: Jeffrey S. Auerbach
• Sound Design: Keith Bell
• Associate Sound Designer: Kevin Demine
• Scenic and Paint Design: David M. Moretti
• Master Carpenter: Hector Lorenzini
• Costume Design: Sheila Miller
• Hair & Makeup Design: Patrick M. Doneghy
• Properties Design: Helen Bard-Sobola
• Set Dressing: Preston Dean, Hector Lorenzini
• Stage Management Intern: Aalla Siddig
• Set Construction: Bob Bell, DylanConrad, Michael DeBlois, Peter Finkel, Bill Wisniewski, William Rippey
• Set Painting: Helen Bard-Sobola and her Girl Scouts, David Cera, Patrick Donegghy, David Gonzales, Richard Isaacs, Brian Kane, Robert King, Spencer Lepler, Angelo Mike, Larissa Norris, William D. Parker, Reggie Waters
• Custom Furniture Upolstery: Bruce Cox
• Costume Construction: Shawn G. Byers,
• Lighting Crew: Bob Bell, Ana Losada, Andy Merlo
• Kaycee Shulman, David Gonzales
• Sound Crew/Audio Mixeers: Kevin Demine, Drew Moberly
• Costume crew: Erin Branigan, Shawn G. Byers
• Hair and Make-up Crew: Kourtney Bass, Ashley Bianco, Carla Jefferies, PJ Mitchell
• Load In Crew: Joe Aquilina, Jonathan Cagle-Mulberg, Bill Cover, Kevin Demine, Chris Gillespie, Zachary Johns, Angelo Mike, Larissa Norris, Jim Vincent, Erica Wisniewski
• Auditions: William Parker, David Gonzales
• Audition Pianist: Elisa Rosman
• Audition Assistant Choreographer: Akiyo Dunitz
• Program Design: Leslie Ann Kekuewa
• Program Printing: Mid Valley Press, Verona, VA

Disclaimer: Dominion Stage provided two complimentary media tickets to ShowBizRadio for this review. Dominion Stage also purchased advertising on the ShowBizradio web site.

The Colonial Players’ production of The Diviners is a bittersweet story of overcoming life’s trials. It is alternately questive and quixotic, finding purpose in the simple things. The production isn’t as superb as other Colonial Players productions, but is strong at its core.

Buddy is a boy whose severe aversion to water impedes life. C.C. Showers is a preacher, experiencing a crisis of faith and roaming the country until he meets Buddy. Their friendship quickly strengthens as C.C. spends time helping the imaginative boy overcome his fears.

The Diviners is a difficult play to stage because it has over six distinct locations–a challenge accentuated by theater-in-the-round. This production was very minimalist, using actors’ movements to establish the scene. While movement is a great device when movement is the focus, the set was often detracting. The major set piece for the show was a slight rise in the floor with a fabricated log in the center which occupied about seventy percent of the main floorspace and impeded movement. It was weakly constructed, so despite actors visible attempts to walk softly, the base still split under the pressure of a footfall.

Costumes were tastefully done, creating an overall feeling of the past, without looking forced. Characters’ personalities would have been more distinctive if their hair and make-up would have had a stronger design.

Worthy of commendation are the sound designer and sound technicians. Realistic soundscapes, together with great lighting design and excellent timing, emphasized location and movement, despite muddy visuals.

The pacing is often slow. Individual actors could have stood for more specific direction in delivery and dynamic physical expression. Mackenzie Blade (Jenny Mae) failed to convey sufficient emotion through the show, often standing with her hands at her sides and a blank face. Eddie Hall (Farris Layman) had a wider range of action, but he also had a habit of standing with his back towards the audience members nearest him. The most expressive member of the ensemble was Mary C. Koster (Norma Henshaw). She threw herself into the role and portrayed the annoying girlish exuberance of her character perfectly.

Eric Schaum (Buddy) had great rapport with Ben Carr (C.C. Showers) and together they formed the strong backbone of this production. Their scenes had such authenticity that the audience was whisked away by it. Schaum’s physical expressiveness and vocal dynamics brought his character to life. Buddy had a realistic balance between needy and normal that evoked the sympathy of his audience. Carr’s performance convinced me beyond the shadow of a doubt of his character’s motivations and desires.

The Colonial Players’ production of The Diviners is a little bit like a river; it doesn’t have a smooth flow–it has many slow moments, some rocky moments, and a few quick-flowing moments–but it’s a good ride. Throughout the production, there is a current moving the story along to its bittersweet conclusion. It’s not a “feel-good” production per sez, but lovers of human-interest shows should enjoy it.

Director’s Notes

Some directors select a project because it has a particular point of view or a strong statement to make. Some choose splashy costume pieces or large, showy historical plays. Some pick comedy over drama or vice versa.

I find myself seeking projects that are quieter, more intimate in scope I like plays that give me a chance to delve into character. This script gives us the story and surface details. I want to find why a character does something. An actor needs to know everything about the character he or she is creating. As a director, I must help actors delve into their characters and discover what works within the script to bring those characters to life. It is the joy of shared discovery that rives me as a director. The Diviners is an ensemble piece with 11 very real, different characters. Every role is integral to the story, no matter how small. The relationship among these characters is what moves the story along. We have had a good time getting to know these people.

Now, imagine yourself sitting on the log you see before you. Just observe the folks in Zion and appreciate them for who they are.

~ Edd Miller

Cast

• Basil Bennett: Joe Thompson
• Dewey Maples: Jay Sullivan
• Buddy Layman: Eric Schaum
• Melvin Wilder: Erik W. Alexis
• Luella Bennet: Karen Lambert
• Jennie Mae Layman: Mackenzie Blade
• C. C. Showers: Ben Carr
• Ferris Layman: Eddie Hall
• Norma Henshaw: Mary C. Koster
• Goldie Short: Brenda Mack
• Darlene Henshaw: Hannah Sturm

Production Staff

• Director: Edd Miller
• Stage Manager: Herb Elkin
• Producer: Tom Stuckey
• Set Design: Edd Miller
• Lead Carpenter: Ted Yablonski
• Carpenters: Lee Craft, Norm James, Jim Robinson, Dick Whaley
• Set Painting: Eddie Hall, Dianne Hood, Edd Miller, Eric Schaum, Tom Stuckey
• Lighting Design: Jennifer Parris
• Lighting Assistants: Richard Koster, Jim Parris, Novella Parris, Tom Stuckey, Martin Thompson
• Sound Design: Wes Bedsworth
• Lighting/Sound Technicians: Mike Coon, Jennifer Parris, Wes Bedsworth, Andy Serb
• Costume Design: Beth Terranova
• Costume Design Assistant: Carol Youmans
• Properties Design: Lois Banscher
• Set Design Engineering: Dick Whaley
• Rehearsal Assistant: Angie Dey
• Play Consultant: Lois Evans
• Playbill/Poster Design: Jim Gallagher
• Photography: Colburn Images
• Program Editor: Ton Stuckey
• Lobby Display: Jason Vaughan

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

The Alliance Theater group may have bitten off more than they can chew with their production of Camelot. Director Zina Bleck and her creative team had some shining moments, but most elements of the show were very poor. This particular production gave only a rough idea of the spectacle that Camelot can truly be. It was a very ambitious move, but perhaps a little premature.

Camelot tells the legend of King Arthur and how his famous Round Table got its start. The tale tells of the betrayal of his lady love, Guenevere, and his closest friend, Lancelot, when they fall in love with one another. Mordred, Arthur’s illegitimate son, arrives on the scene to stir up contention among his knights, igniting a chain of events that leads to the downfall of Camelot’s utopia. But hope shines bright as a new generation of knights is born to raise it up again.

Bleck pooled together some good talent. Jim Mitchell (King Arthur) and Stacy Crickmer (Guenevere) deserve special mention for their vocal performances. Their voices were very strong and of good quality. Other vocalists were not up-to-par, but Ken Adams (Lancelot) and Alex Bedont (Mordred) distinguished themselves as dynamic actors through their solos. Although he never sang, Scott Olson (King Pellinore) created a very funny character and maintained impressive old-man physicality. The ensemble did not blend well vocally by any means, but their enthusiasm made them enjoyable to watch.

There was little to no purpose in any of the movement throughout the show. Blocking got actors on and off, kept the stage full, and created some visual variety, but it was very aimless and often only served to clutter up the stage. The dancing and fight choreography was very poorly executed and even less well conceptualized.

Bleck’s orchestra, directed by Jonathan Blank, was sweet, simple, and reasonably effective. The primary instrument was a keyboard supplemented by some percussion and a trumpet. A larger orchestra would have done better justice to the score, but what they had was well done.

Actors had microphones to supplement their voices, but they were often too loud or left on backstage. There was a lot of coughing and sniffling and some backstage chatter heard even once actors had gone off.

One of the more glaring errors of the show was in the costuming. For the most part, there is a willing suspension of disbelief as far as period costumes go, but some of the costumes of the women were ill-fitted and unflattering. It was nice to have some visual variety as far as costume changes, but in this case, it might have been better to have fewer costumes for the men and dedicate more resources to the women’s costumes instead.

The set for Camelot featured some very impressive set pieces and brightly-colored pennants hanging from the backdrop. It had obviously been assembled with care and attention to detail. However, the overall impression, once actors and costumes were introduced, was very cartoony.

Camelot is an ambitious project by The Alliance Theater. It could have used a bigger budget and more solid direction to put some meat on the bare bones of the production.

Director’s Notes

Camelot is a musical by Alan Jay Lerner (book and lyrics) and Frederick Loewe (music) based on the legend of King Arthur. In 1959, Alan Jay Lerner and Moss Hart decided to adapt T.H. White’s The Once and Future King as their next project. It is the first show that Lerner & Loewe collaborated on after My Fair Lady. The original 1960 production, directed by Moss Hart and orchestrated by Robert Russell Bennett and Philip J. Lang, ran on Broadway for 873 performances, winning four Tony Awards and spawning several revivals, foreign productions and a 1967 film version. The advance sale for the show was the largest in Broadway history.

Just after the assassination of President John F. Kennedy (a classmate of Lerner at Harvard), it became widely known that the show’s original cast recording had been favorite bedtime listening in the White House, and that Kennedy’s favorite lines were in the final number (in which Arthur knights a young boy and tells him to pass on the story of Camelot to future generations):

Don’t let it be forgot
That once there was a spot,
For one brief, shining moment
That was known as Camelot.

Since then, Camelot has been associated with the Kennedy Administration.

Arthurian scholar Norris J. Lacy commented that “Camelot, located no where in particular, can be anywhere.” Nevertheless arguments about the location of the “real Camelot” have occurred since the 15th century and continue to rage today.

As we worked on this musical, it became more and more clear that “Camelot” is a state of mind and it really doesn’t matter whether or not it ever was an actual location. Everyone in the cast, staff and crew worked so very hard to bring this wonderful, uplifting vision to the stage, we created our own Camelot… everyone helping everyone else, lots of laughter, lots of positive energy and good will. I’m a big believer in the healing power of positive thinking, but it still takes a lot of hard work! If you capture the spirit of “Might for right… not might is right” you can create the marvelous magic of Camelot in your very own neighborhood. I hope you give it a try! – Zina

Cast

• King Arthur: Jim Mitchell
• Merlyn: Mario Font
• Guenevere: Stacy Crickmer
• Lancelot: Ken Adams
• King Pellinore: Scott Olson
• Mordred: Alex Bedont
• Morgan Le Fey: Meganne Johnson, Amy Treat
• Tom of Warwick: Anthony Ingargiola
• Sir Dinadan: Bran D. Johnson
• Sir Lionel: Geoff Hardy
• Sir Sagramore: Mario Font
• Nimue: Rachel Harrington

Production Staff And Crew

• Producer: Maggie Swan
• Director: Zina Bleck
• Music Director: Jonathan Blank
• Music Mentor: Charlie Manship
• Choreographer: Sarah Hardy
• Rehearsal Accompanist: Charlie Manship
• Rehearsal Stage Manager: Jeremy Heck
• Production Stage Manager: Jennifer Farmer
• Orchestra: Charlie Manship (Chair), Beth Atkins, Jessica Hiemstra, Sam King, Olin Nettles, Ian Thompson
• Costumes: Rachel Harrington (Chair), Alicia Coleman, Penny Fischer
• Set Design: Maggie Swan
• Master Carpenter: Steve Cooper
• Scenic Artist: Tina Dempsey
• Set Construction: Alex Bedont, Zina Bleck, Jessica Bogert, Ciaran Buteux, Billy Clay, Wesley Coleman, Derek Farmer, Jennifer Farmer, Kevin Farmer, Courtney Jennelle, Meganne Johnson, Brian Johnson, Pat Boswell Kallman Roy Kallman, Adam LeKang, Don LeKang, Terry Mason, Jim Mitchell, Marwan Nabulsi, Chuck Swan, Margie Wheedleton, Elaine Wilson
• Set Paint Crew: Tina Dempsey, Penny Fischer
• Lighting: Stacy King (Chair), Ciaran Buteux, Wesley Coleman, Billy Ermlick, Nick King, Marwan Nabulsi, Elaine Wilson
• Sound: Beth Atkins, Jeremy Heck, Marwan Nabulsi

Disclaimer: The Alliance Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Fast-paced, dynamic, and grungy (in the most artistic sense of the word), 2nd Stage’s production of Mojo is a rockabilly roller-coaster that engages audiences. Director Christopher Gallu has assembled a solid cast of actors and streamlined his production to bring it rocketing to its exciting conclusion. Aesthetically the production engages all five senses and brings the audience into the scene. This is a must-see show for retro audiences.

Mojo reflects in the microcosm of a London club the worldwide political upheaval of the 1950’s. When the owner of Ezra’s Atlantic club is murdered, his cronies are hurled headlong into a high-stakes intrigue.

The comedy that won Mojo the Olivier Award for Best New Comedy was really downplayed in this production. Everything was played with such serious intensity that it never felt appropriate to laugh at the comedy. This rigidity was evidenced again in the Cockney accents affected by the actors. Almost across the board, the accent followed dialectical “rules” so, rather than a charming Cockney lilt that should roll off the tongue, their words were regimented and harsh.

Dylan Myers (Skinny) stole the show from where I was sitting. He created a caricature of the quintessential oblivious-and-nerdy-accountant-gone-bad and gave a high-energy performance that blew me away.

Scot McKenzie (Mickey) was a very close second. McKenzie expertly drew out his character’s motivations and portrayed them with a virtuoso’s skill. His performance was compelling and convincing, adding depth and quality to the production.

Daniel Eichner (Baby) probably had the hardest part to portray as Baby does not have a clear motivation. Eichner was energetic and entertaining, but his character never solidified in my mind, remaining the suggestion of an impression.

Although Matt Dewberry (Sweets) and Danny Gavigan (Potts) appeared over-rehearsed and rendered their characters somewhat stale, they kept the show moving forward and successfully revealed the back-story to the audience.

Gallu’s production team created a cohesive production that was stunning. The show is done as theater-in-the-round and forces the audience to become silent partakers in the scene. Set decoration was sufficient to evoke a well-inhabited speakeasy, without overwhelming the audience visually. Terrific lighting illuminated the staging area and included a special effect controlled by one of the actors. I was especially impressed by the use of pitch-black transitions and how effectively the actors moved in the darkness.

Mojo had great period costumes — not contrived or haphazard in the slightest. The doo-wop music tastefully selected came alternately from a jukebox and from overhead speakers. Special effects and rigging were all impressive as well. Well done creative team!

Now, it seems necessary to note that Mojo is a dark and gritty show, definitely NOT for younger audiences. It is coarse, crass, violent, and irreverent. There is a lot of language, so more conservative audiences should steer clear of this one.

2ndStage’s Mojo draws its audience into the scene. The high energy that Christopher Gallu requires from his actors and the clear vision he gave to his creative team gives this show a sense of completeness that is often lacking in community theater. If you like loud music and intrigue, this is the show for you.

Photo Gallery

Logan DalBello as Silver Johnny	Daniel Eichner as Baby and Scot McKenzie as Mickey
(l to r) Scot McKenzie as Mickey, Matt Dewberry as Sweets, Dylan Myers as Skinny, and Danny Gavigan (back) as Potts

Photos by Scott Suchman.

Cast

• Silver Johnny: Logan DalBello
• Sweets: Matt Dewberry
• Potts: Danny Gavigan
• Baby: Daniel Eichner
• Skinny: Dylan Myers
• Mickey: Scot McKenzie

Production Staff

• Direction: Christopher Gallu
• Setting: Luciana Stecconi
• Costume: Frank Labovitz
• Lighting: John Burkland
• Sound: Brenden Vierra
• Fight/Dance Choreography: Joe Isenberg
• Dialects: Elizabeth van den Berg
• Rigging: Lewis Shaw
• Stage Management: Marley Monk
• Floor Management: Patrick Magill
• Light Board Operation: Sarah Mackowski

Disclaimer: The Studio Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Gilbert & Sullivan’s The Mikado is a farcical tale of unrequited love, romance, and lots of social commentary on the time. The story follows Nanky-Poo, the prince of Japan disguised as a traveling musician. He has fallen in love with Yum-Yum, the ward of Ko-Ko, the Lord High Executioner. Through a series of ludicrously contrived circumstances Ko-Ko consents to allow Nanky-Poo to marry Yum-Yum for a month on the condition that Nanky-Poo will allow himself to be beheaded at the end of his thirty days.

Director Guillarme Tourniaire’s interpretation of this classic musical is nice, but leaves something to be desired. The cast seemed to have fun and they kept up a good pace. But the show lacked the cohesiveness and polish that would have made this a really great show.

The visuals all lent an Asian feel to the show. All of the costumes had many layers and gave the overall impression of Japanese kimono, complete with belts and sashes, but by no means authentic. The ladies’ wigs were very hodge-podge; some of them looked very nice while others looked ratty. The set looked like something out of a Japanese garden — minimal, but beautiful?and included two rotating rice-paper flats. The set was wonderfully crafted and was definitely one of my favorite aspects of the show.

The choreography and blocking for this show was mostly very poor. I am unsure whether it is due to the simplicity of the movements that I was under awed or due to their bad execution despite being so simple.

Musically, this production was well-directed, but lacked in blending. A string and a woodwind were consistently out of tune with the rest of the orchestra. And the vast majority of the vocal talent was cast in named roles, which left slim pickings for the ensemble. Most vocalists, named role or not, were distinctly flat at one time or another.

Nanky-Poo (Joshua Rosenblum) was very charming in an adorable puppy sort of way. The character definitely lacked inner strength, adopting more of his identity from being a traveling musician than from being the son of the Mikado. This interpretation gave the entire show the consistency of marshmallow fluff.

Yum-Yum (Hillary LaBonte) was a lovely young woman, perfectly flighty and self-centered. She surprisingly provided a stronger character than Nanky-Poo. Her vocals were clear and strong, though her solo about “the sun” was difficult to interpret due to a lack of articulation of consonants.

Ko-Ko (John Perine) was more than sufficiently funny. One of the most dynamically portrayed characters in the show, he followed a comic descent from pompous to pathetic. Perine acted with his whole body and used fabulous inflection to bring his character to life.

Katisha (Jennifer Rutherford), the elderly woman in love with Nanky-Poo, was exceptionally funny. Her character was dynamic and commanded the stage at every turn, even through superbly-executed solos. She provided a fabulous counter point to Perine’s Ko-Ko and played up many of the play’s more amusing moments.

The Potomac Theater Company’s production of The Mikado is a sweet introduction to the musical. The pacing is good and the cast seems to have a lot of fun. If you are looking for a silly show, this is the one for you. Just be aware that you should like musicals, because this one goes on for a while.

Director’s Note

The setting of The Mikado has been acknowledged as not being wholly Japan, but rather a reflection of Victorian England in a sort of Japanese mirror. Still, it borrows copiously from Japanese culture in order to create a palpable facsimile of that world, presented on a sort of self-conscious and self-referential state. From the opening lines, “If you want to know who we are, we are gentlemen of Japan,” the Mikado possesses tinges of a pageant. It is not intended as a pastiche of the Japanese, but rather a spoof of ourselves.

For centuries, Japanese culture flourished in a near-vacuum of xenophobic isolationism, developing an intricate structure quite different from that of the western world. For all their commonalities in points of custom, manner and honor, oriental and occidental couldn’t e more opposed. It was a topsy-turvy reversal indeed when Japan threw open its doors in the 1860s, setting about to catch up to the rest of the world, modernizing at such a pitch that their sense of identity went all a-whirl. Our Japan is that of the delicate days before their reinvention, when perhaps a window was open on the world, but not yet a door.

By placing the setting in the exotically safe remove of what we perceive to be Japanese, we are able to turn the finger inward to poke fun at ourselves, at our own expense. Accordingly, you will hear a few modern references slipped in here ant there, in the same vein as in Gilbert & Sullivan’s day. You may even recognize a character or two – even without the help of updating – from the news media or cable TV. Simply do bear in mind that it’s all meant in good fun, so as Pish-Tush advises: “let’s thoroughly enjoy ourselves.”

Cast

• Chorus of Men: David Berkenbilt, Thomas Copas, Rand Huntzinger, John Sproston, Ed Vilade
• Nanki-Poo: Joshua Rosenblum
• Pish-Tush: Vin Kelly
• Pooh-Bah: Blair Eig
• Ko-Ko: John Perine
• Chorus of Girls: Peggy Dennis, Tuyet Gunter, Christine Mears, Lynn Ritland, Tasneem Robinson, Cameron Tabucchi, Juliette Tostain, Tricia Weiler, Lydia Whitehead
• Yum-Yum: Hillary LaBonte
• Peep-Bo: Toby Nelson
• Pitti-Sing: Katherine Latham
• Katisha: Jennifer Rutherford
• The Mikado of Japan: David Birkenbilt

Orchestra

• Conductor: Joseph Sorge
• Violin 1 (Concert Master): Steve Natrella
• Violin 1: Audrey Maxwell, Christine Anderson
• Violin 2: Marion Richter, Sharon Barnartt
• Viola: Amanda Laudwein, Matt Kupferman
• Cello: Tom Zebovitz, Michael Stein
• Bass: Pete Gallanis, Bill Bentgen
• Flute: Jackie Miller, Louise Hill
• Oboe: Gwen Earle, Mary Haaser
• Clarinet: Jim Bensinger, Laura Langbein, Laura Bornhoeft
• Bassoon: John Hoven, Steve Rennings, Paul Chasse
• Horn: Adam Watson, Michael Fantus
• Trumpet: Les Elkins, Curt Anstine
• Trombone: Steve Ward, Frank Eliot
• Percussion: Janet Thompson, George Huttlin

Production Team

• Director: Guillarme Tourniaire
• Music Director: Joseph Sorge
• Choreographer: Melanie Barber
• Assistant Director: Madeleine Smith
• Producer: Barry Hoffman
• Production Stage Manager: Tammi T. Gardner
• Scenic Design: Joseph Wallen
• Lighting Design: Steve Deming
• Sound Consultant: Savid Steigerwald
• Costume Designer: Marietta Greene
• Hair & Make-up Mistress: Renee Silverstone
• Assistant Hair & Make-up: Margie Perine, Alice Drew
• Props & Set-dressing: Sonya Okin
• Rehearsal Pianist/Vocal Coach: Nan Muntzing
• Light Operator: Steve Deming
• Sound Operator: Jeff Kellum
• Tech Crew: Jennifer Gorman
• Set Construction Supervisor: John Buckley
• Set Construction: Alan Beck, Robert Broughman, Elie Cain, Steve Deming, Joseph Wallen, Martin Flaum, Rick & Melanie Williams

Disclaimer: Potomac Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Jekyll & Hyde, the Musical bears little resemblance to its literary origin, but the tale spun from Stevenson’s original story remains a chilling reminder of the depravity in man. Christy Stouffer’s interpretation emphasizes the dark eeriness of Hyde’s ambitions and her creative team has risen to the challenge. Pasadena Theater Company’s production is a titillating production full of ambitious visual effects and musical showmanship.

The set was terrific. It used all of the available space and employed lots of dimension to create interesting visual snapshots (though sometimes it took too long for actors to ascend the stairs). One feature that truly surprised me was the flat that split to reveal Jekyll’s laboratory. Special effects and the use of candles onstage lent another level of “wow” to the whole show. The opening number “Good and Evil” employed a fog machine to create an eerie feel for the entire show. The experiments in Jekyll’s lab bubbled and blew smoke. Together, the set and special effects were a perfect balance of subtle and spellbinding.

With the exception a few Halloween store purchases, the costumes were well done and showed a lot of thought and intention that brought the viewer into the scene. The overall look was evocative of the early 1900s, whether in the bar with the “ladies of the night,” or in the houses of the well-to-do. Not every costume was strictly period, but the stylistic choices made the atmosphere right while creating contrast between scenes. This is especially impressive when considering that there were such divergent lifestyles to show. Like the title characters, the ensemble had to show both the elite façade and the coarse riffraff of London. A few costumes were ill-fitted and unfortunately one of these belonged to Dr. Jekyll’s whose vest pulled in odd ways when he took off his jacket for Mr. Hyde.

Jekyll & Hyde’s musical director, Doug Dawson, found talented musicians for his orchestra. Their blending made them very pleasant to listen to most of the time. Dawson’s vocalists could have used a little more work, though. Barbara Hartzell (Emma Carew) had a lovely operatic voice, but some of her higher notes were completely lost in vibrato. His ensemble was shaky in its harmonies and they occasionally ran away with the tempo, especially on the song “Murder, Murder” at the top of act two. (This problem might have been alleviated had there been an additional monitor placed upstage on the first level.) They were, however, well-rehearsed and musically ambitious.

The show is very specifically set in England, but everyone in the cast had different ideas of what that meant as far as characterization. Some of the noblemen and women created their accent and chose what words to emphasize very well, of special note are E. Lee Nicol (John Utterson), Heidi Toll (Lady Beaconsfield), Tom Rendulic (Sir Danvers Carew) and Timoth David Copney (Simon Stride). Some members of the chorus, most notably Tanya Davis (Nellie) whose lines were both nasal and choppy in delivery, were not solid at all in their Cockney dialect. This dialectical disunity was jarring at points, but not terribly distracting overall.

I have to admit that I was not a fan of this show’s choreography. Certain concepts were interesting, but were not executed with enough precision to be convincing such as the posing movements used in “Murder, Murder” and “Dangerous Game.” “Murder, Murder” also had the cast walking in a long oval spinning open umbrellas at the audience. In my mind I likened it to the treads of a tank and wondered where they were taking me. On the other hand, I loved the realistic choreography and silent acting that was part of “Bring on the Men.”

John Scheeler had some good things going, despite a few musical mishaps, and conveys the emotion of Jekyll very effectively utilizing excellent diction and a cultured English accent. His characterization of Hyde could have used more physical exaggeration, but his vocal delivery was superb. His rapport with his leading ladies was not exceptional, feeling rather stiff and overly choreographed.

Michele Guyton had her own challenges to overcome. An odd hybrid between Aussie, Cockney, and Scottish, her accent was less-than-stellar. Her singing voice, while lovely, was stifled in her throat and pushed from her nose which obliterated the powerhouse she might have been, creating instead a nasal, muted tone that was difficult to hear.

Barbara Hartzell played Jekyll’s fiancée, Emma Carew. Hartzell presented a very sweet and gentle interpretation of Emma that endeared her to the audience. Her chemistry with Scheeler was sublime, making Jekyll’s descent into the whorehouse a harsher blow, realizing that he already had a darker side, despite having such a devoted love. With stunning voice control and flair, her solos and duets were lovely to listen to, though more appropriate for opera than Broadway as some of her higher notes were completely lost in vibrato.

While a bit of a hike from the DC metro area, Pasadena Theater Company’s version of Jekyll & Hyde, the Musical is worth the hike. Despite some “character” flaws, the theatrical showmanship is reminiscent of an off-Broadway production, complete with special effects and pyrotechnics. I would definitely recommend this show to friends, though not for their small children.

Director’s Notes

The story of Jekyll & Hyde has fascinated readers, theatre patron and moviegoers since Robert Louis Stevenson wrote the original version in 1886, and it has spawned scores of adaptations over the past 100+ years. In fact, the theme of good and evil and the dual nature of mankind is a common theme in writings much older than this story. While the musical version may not have much in common with the original story – there is no love triangle and no women in it at all, no Board of Governors meeting, a different time sequence and only one murder – it remains true to the central theme that “In each of us there are two natures, … good and evil,:” which are eternally struggling.

The history of Jekyll & Hyde, the Musical is a convoluted one that spanned 17 years of development and several tours and workshops before its Broadway debut in 1997. I first fell in love with the musical when I first heard the concept album, released in 1990. The original numbers are both haunting and inspiring, and remain favorites of the show’s many fans. Yet this musical has gone through more rewrites than most on its way to a Broadway stage, with over 60 songs or version of songs written for it at one time or another. Even after the Broadway run, the show went through additional revisions, and there are at lest two “officially sanctioned” scripts currently available. It has evolved into a dark and powerful gothic tale told in almost operatic fashion to one of the most beautiful scores written for the stage. As with Stevenson’s original, it is set in England at the end of the 19th Century, in a time of Victorian mores and bitter class struggles. Yet as the many adaptation of the original have shown, it is a timeless story of the battle that rages within the human soul, and the choices we all have to make. It is for that reason I chose to open our production with the number “Good and Evil,” which appeared in the middle of the Broadway production but was subsequently dropped from the show.

As a director, I became fascinated with the duality in each of the characters, and not just in the title character and the many parallels in the show that are often seen in mirror image, just as we view Jekyll/Hyde. I knew it would take an extraordinary cast and production team to bring this story to life and have been blessed with both. It is a story that speaks to us on many levels, and I am thrilled to have a performance space which permits multiple levels for its staging. My humble thanks go to both PTS C and ALC for entrusting this theatrical gem to me, and to all who worked tirelessly onstage and off, to bring it to life–it truly took a village!

I hope you enjoy it!
Christy Stouffer

Cast

• Jekyll/Hyde: John Scheeler
• Emma Carew: Barbara Hartzell
• Lucy: Michele Guyton
• John Utterson: E. Lee Nicol
• Simon Stride: Timoth David Cpney
• Sir Danvers Carew: Tom Rendulic
• Nellie: Tanya Davis
• Poole: Ed Wintermut
• Bishop of Basingstoke: Keith Norris
• Lord Savage: Brian Douglas
• Lady Beaconsfield: Heidi Toll
• Sir Archibald Proops: Greg Guyton
• General Lord Glossop: Kenny Peters
• Spider/Priest: Dean Davis
• Newsboy: Jim Gerhardt
• Ladies of the Night: Bri Everett, Heather Harris, Malarie Novotny, Mary Retort-George, Angela Sullivan
• Townsmen/Sailors/Workers: Darrell Conley, Tom Hartzell, Brandon Hendrickson
• Townswomen: Sandy Boldman, Tammy Hayes, Elizabeth Kanner, Laura Kavinski, Betty Lasner, Holly Mooney, Kristin Rigsby

Orchestra

• Music Director: Doug Dawson
• OrchExtra: Mike Monda
• Bass: Wes Livingston
• Flute: Kathryn Binney
• French Horn: Jessica Kerns

Production Staff

• Director: Christy Stouffer
• Executive Producer (PTC): Sharon Steele
• Producers (ALC): Nate Drye, Tom Rendulic
• Music Director: Doug Dawson
• Rehearsal Accompanist: Mike Monda
• Choreography: Becki Placella, Anwar Thomas, Andre Hinds
• Costumes: Tori Walker, Kristina Green
• Stage Manager: Heather Williams
• Set Design: Walt Morries, Tom Rendulic
• Set Execution: Walt Morries, Al Caldwell, Tom Rendulic, Elizabeth Kanner, Collette Rodrigue
• Set Artists: Jim Zimmerman, Roxanne Zimmerman
• Properties: JoAnn Gidos, Jamison Orsetti
• Special Effects/Pyrotechnics: Mike Gidos
• Fight Choreographer: Geoff Thompson
• Fight Captain: Ruta Kidolis
• Technical Support: Keith Norris
• Lighting Designer: Tim Grieb
• Assistant Lighting Designer: Bart Raeke
• Light Board Operator: Dave Malecki, Al Caldwell
• Sound Engineers: Derrick Hendrickson, Robert Reynolds
• Assistant Sound Engineer: Kriska McCoy

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

In Port City Playhouse’s Rashomon, three travelers seek shelter at the Rashomon Gate during a rainstorm the day after a murder trial. The first two, a Buddhist priest leaving his order and an ordinary woodcutter recount the trial to a wigmaker who steals hair from dead bodies. The three parties to the murder testify, each telling a slightly different version of the story. Rashomon is a show laced with moral ambiguities that beg for analysis and discussion.

Director Howard Vincent Kurtz has crafted a technically superior production. However, being a Japanese-culture enthusiast, I am inclined to be tough on his interpretation, therefore I shall curb my enthusiasm because it doesn’t detract from the story. Rashomon was flawlessly executed, but distinctly Western in its interpretation–like a hamburger with teriyaki sauce; not unpleasant, but distinctly Western despite its Japanese savor.

Although Port City Playhouse’s new location is very small overall, the minimalist set was well-designed for the space. Lighting was integral to the show. Ari McSherry designed a lighting scheme that clearly delineated the areas within the story.

The backdrop, evocative of a bamboo forest–a frequent occurrence in Japanese culture–created depth and dimension. Each character stepped into the “triangle” created by bamboo stems as they told their story (a fabulous blocking technique that further served to unify the director’s objective). The space was utilized well, despite the small stage, and incorporated areas of the floor into the action.

My only criticism of the blocking stems from the fight choreography. It was entirely unbelievable. The actors’ actions were small, slow, and anticlimactic. The fight looked more like a cock-fight than a sword-dance. Its lackluster concept unfortunately soured the whole scene.

Costumes were uniquely significant in this production. Each actor wore black clothing, without shoes, and changed the robe over their clothing several times. The robes were suited their character without being overly elaborate (my favorite of the evening was the Samurai’s robe with its rich fabric and ample sleeves). The biggest flaws I saw were the wife’s costume which looked like a bathrobe and her hat which looked like a paddy hat with a towel over it. A little more effort with sashes and belts would have added another layer of authenticity which would have served to enhance the “flavor” of the production.

The actors and “Hayashi,” or “musicians,” worked very well together. They had great chemistry and excellent timing. Each actor had multiple characters to play and each one was thoughtfully distinctive. I would expect nothing less from the assembled talent.

James McDaniel continues to be one of my favorite community actors. McDaniel’s silent acting even stole the attention of my friend who is not a theater enthusiast. His energy and dedication to his art is truly delightful to watch.

David James emphasized the change in his woodcutter character very well. Although he was not entirely believable at the start, he finished the show on a strong note and effectively won the sympathy of audience members.

Diane Linton Sams did an especially good job of accentuating the differences between her characters and their moods. Alternately brassy and shy, forward and reserved, Sams definitely had the nuances of her roles securely under her obi- er, belt.

The Hayashi, Randy Sena and Jung Weil, were active members of the productive, but in a ghostly, ethereal way. Their contributions to the show were superbly timed and integral to the atmosphere of the production.

Rashomon has a distinct savor that many will enjoy. It would be terrific for theater students looking for a show to analyze for a paper (just putting that out there). Small children will not enjoy the nuanced script, but this excellent production will definitely score high points with intellectuals and audiences interested in exploring other cultures.

Director’s Notes

There are THREE sides to every story…

Over the last 50 years it’s come to be known as the Rashomon Effect–those inexplicable blips in perception that can occur when several people recall the same event, each believing his or her version to be the absolute truth. And though the term derives from Akira Kurosawa’s 1950 Oscar-winning film that famously revolved around varying takes on one crime, the source material actually goes further back, to a pair of early 20th-century short stories by Japanese writer Ryunosuke Akutagawa. Kurosawa adapted Akutagawa’s short stores, Rashomon and In a Grove, which told the differing accounts of a samurai’s murder to create his Rashomon.

Triangular compositions abound in Kurasawa’s Rashomon and the 1959 Broadway stage version. Almost every scene can be viewed as well-composed photograph, a self-contained work of art by itself. There are three individuals at the Rashomon gate, discussing the same crime: a woodcutter, a wigmaker, and a priest. There are three people in the forest: the husband (a samurai who is murdered), his wife (who is raped), and Tajomaru (a bandit who confesses to both deeds). And there are three other characters who appear in court: a deputy, a mother, and a shaman. Kurosawa was meticulous and left nothing to chance, to the “trinity” motif is presumably intentional. The presence of three actors in every scene on stage and in the film creates a dramatic tension that is inherently unstable and highlights the elements of mystery and suspense in the story.

In this new adaption for Port City Playhouse I have remained true to the ideas presented in Kurosawa’s film and the Broadway stage adaptation. I have, however, reduced the original nine actors in the Broadway play to three actors, playing off all nine parts, with the addition of two “Hayashi” musicians in non-speaking roles.

Rashomon asks important questions about honesty and truth–who is right and who is wrong, when every witness to the crime offers a slightly different though equally plausible version of what might have happened? This compelling dramatic folk-tale is a classic reminder that there may be three sides to every story.

Enjoy the show
Howard Vincent Kurtz

Cast

• Actor1: Priest, deputy, husband, mother: James McDaniel
• Actor 2: Woodcutter, bandit: David James
• Actor 3: Wigmaker, wife, shaman: Diane Linton Sams
• Hayashi: Randy Sena
• Hayashi: Jung Weil

Crew

• Producer: Alan K. Wray
• Director: Howard Vincent Kurtz
• Stage Manager: Donna J. Reynolds
• Set Design: Howard Vincent Kurtz
• Set Construction: Charles Dragonette, Jim Hutzler, Robert Kraus, Frank Pasqualino, Dick Schwab, and Pete Sudkamp
• Set Painting: Charles Dragonette, Julia Harrison, Jim Hutzler, Howard Jaffe, Sam Poole, Susie Poole, and Calvert Whitehurst
• Lighting Design and Master Electrician: Ari McSherry
• Assisted by Julia Harrison, Robert Kraus, Don Neal, Susie Poole, and Pete Sudkamp
• Costume Coordination: Genie Baskir and Howard Vincent Kurtz
• Properties: Susie Poole
• Assisted by Tonda Phalen, Frank Pasqualino, Jessica Poole, and Meghan Lau
• Combat Choreography: Maxie Morales
• Production Photography: Ari McSherry

Disclaimer: Port City Playhouse provided two complimentary media tickets to ShowBizRadio for this review.