A Soldier’s Play, set in 1944 at a segregated U.S. Army Post in Louisiana, won the 1982 Pulitzer Prize for Drama. A black Sergeant has been murdered, and most of the soldiers believe the Klan was involved, while officers on the base disagree. Tensions run high as a black officer is assigned to investigate, much to the surprise and shock of the white officers on the base.

A Soldier’s Play isn’t a murder mystery where you’re given clues and have to figure out who the murderer is. Instead it’s a heavy piece giving different points of view of race relations. Are black soldiers only good for playing baseball? Can a white captain take orders from a black captain? Can whites ever accept a black man for what he is?

All of the actor’s performances were splendid, with Terry Spann excelling in the role of Captain Richard Davenport, the investigator of the murder. Spann shifted the character from slightly unsure of himself to very assertive as he interviewed the men on base. Cristopher Dinwiddie as Sergeant Waters, the murder victim, was effective as the unlikeable sergeant. Craig Hower as Captain Taylor was credible in his interactions with the men under his command, even as he was unsure how to deal with Captain Davenport.

Director David M. Thomas handled the locker room humor in the barracks scene and the violent scenes quite well. The story is told through the use of flashbacks as Captain Davenport interviews the men. The men being questioned blended into their flashbacks smoothly.

The simple set (David M. Thomas and Randy Sena) served the script well, allowing for quick scene changes and allowing us to focus on the people. Kathy Mead’s no-frills costumes were attractive and functional. April D. Weimer’s lights were effective, although occasionally were too bright during scene changes on the inactive portion of the stage.

Despite the inherent problems of the Hard Bargain outdoor amphitheater (jet engines drowning out actors’ voices, bugs), the performances in A Soldier’s Play are well worth the trip out to Accokeek.

Photo Gallery

Cristopher Dinwiddie, left, as Tech Sergeant Vernon C. Waters, with Jivon Jackson as Private James Wilkie	MarQuis Fair as PFC Melvin Peterson
Steven Butler Jr. as Private C.J. Memphis	Terry Spann as Capt Richard Davenport

Photos provided by Hard Bargain Players

Cast

• Tech/Sergeant Vernon C. Waters: Cristopher Dinwiddie
• Captain Charles Taylor: Craig Hower
• Corporal Bernard Cobb: Jason Ellis
• Private First Class Melvin Peterson: MarQuis Fair
• Corporal Ellis: Jeremy Keith Hunter
• Private Louis Henson: Eric Porter
• Private James Wilkie: Jivon Lee Jackson
• Private Tony Smalls: Kenneth Waters, Jr.
• Captain Richard Davenport: Terry Spann
• Private C.J. Memphis: Steven A. Butler, Jr.
• Lieutenant Byrd: Dav Timmermann
• Captain Wilcox: Robert Hamilton

Crew

• Director: David M. Thomas
• Assistant Director: Dave Costa
• Production Assistant: Kathy Mead
• Set Design: David M. Thomas, Randy Sena
• Master Carpenter: Randy Sena
• Properties and Set Decoration: Keith Mills, David M. Thomas, Kathy Mead
• Costumes: Kathy Mead
• Lighting Design: April D. Weimer
• Sound Design: Brian Donohue
• Armorer: Steve Claggett
• Hair and Makeup: Cast
• Program: Kathy Mead
• Publicity: Liz Mildenstein
• House Coordinator: Michael Margelos

Disclaimer: Hard Bargain Players provided a complimentary media ticket to ShowBizRadio for this review.

Ask any non-theatre lover the name of a playwright, and they’ll probably respond with “William Shakespeare.” Ask them to name one of his plays, and they’ll probably say Romeo & Juliet. I’d also guess they would be surprised to find out that he wrote 37 plays. Then they’ll think, “I hope I never have to see them all!” Luckily for them, they don’t have to sit through several weeks worth of Shakespearian plays, because The Complete Works of William Shakespeare (Abridged) tackles (literally at times) all 37 plays in about two hours.

The young Flying Muskrat Theatre Company has created an enjoyable evening of theatre, even if you aren’t a fan of Shakespeare. While it may be a bit more fun to catch all the references in the play, you don’t really need to know exactly what is being spoofed. A few plays (Romeo and Juliet, Titus Andronicus, Othello, and Hamlet) are given significant stage time, while the other plays are grouped together in extended scenes, such as the History plays becoming a sporting event.

The three actors (Ernie Ambrose, Brennan Jones and Zach Goubeaux) performed well for the most part. As the cast self-directed the show, with assistance from Dave Sher, the performances between scenes were a bit uneven in pacing and emphasis. Having a director who could watch the overall pace of the production would have helped greatly. Some of the transitions between scenes were slightly awkward, instead of flowing smoothly they appeared to come to a stop and then start up again.

The cast did make great use of the performing area, with a “real” set (a first for the Flying Muskrat, designed by Stephanie Miller), a basic yet effective lighting design (Bill Miller), and funny costumes (Ava Hockenberry).

The second act of Shakespeare (Abridged) focuses on Hamlet. Get ready for some audience participation, and some very funny bits. Hamlet is the most complex of the scenes, and the rehearsal effort shows, although a director would have helped tighten some of the bits that came across as unfocused.

Altogether though, The Flying Muskrat’s Complete Works of William Shakespeare (Abridged) was quite fun, for lovers (and haters) of Shakespeare. It will be interesting to see what the Flying Muskrats have planned for 2014.

Photo Gallery

Photos by Rich Stanage

Cast

• Ernie Ambrose
• Brennan Jones
• Zach Goubeaux

Crew

• Assistant Director: Dave Sher
• Stage Manager, Costumes Head, Sound Board Op: Ava Hockenberry
• Set Designer, Props Head, Graphics: Stephanie Miller
• Light Designer, Light Board Op: Bill Miller
• Assistant Stage Manager: Jeremy Maline
• Publicity Crew Head: Brennan Jones
• Props Crew: Melanie Reuter
• Publicity Crew: Zack Camp
• Costume Crew, Publicity Crew: Caitlin S. Chenvert
• Costume Crew: Sasha Duckworth
• Costume Crew: Gulet Isse
• Costume Crew: Madison Meinbriesse
• Costume Crew: Evelyn Hernandez
• Makeup: Catherine Kiesel
• Paint Crew: Casey Marie Isaac
• Graphics Designer: Max Johnson
• Photo & Videographer: Rich Stanage
• Producer, Program Head, Backstage Manager: Susan Kidd
• Usher: Julian Hockenberry
• Usher: Julia Kun

Disclaimer: The Flying Muskrat Theatre Company provided a complimentary media ticket to ShowBizRadio for this review.

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The King and I is a musical by Rodgers and Hammerstein. It takes place in Siam in the early 1860’s. Anna is a school teacher who comes to teach the king’s children. She doesn’t realize that the king has over 50 children and she has a big job ahead of herself. She ends up teaching the king as well, and he teaches her a bit as well. Her relationship with the king is a major focus of the story and as Anna helps the King to become less barbaric in the eyes of Europe, she get closer to him as well.

This enjoyable, but long, production runs for one more weekend. Overall it had a nice pace, although the scene changes tended to drag a bit. Given the small playing space at the FCT stage, The King and I was an impressive accomplishment. Susan Noe’s costumes looked fantastic, with interesting textures on the colorful outfits. Kat Brais’ hair and makeup designs were also wonderful. The huge cast made for a tedious “March of the Siamese Children” scene (although it did give the parents sitting behind me the opportunity to take several photos with their loud, distracting camera (apparently the rules given in the pre-show announcements don’t apply to parents) although blessedly they did know how to turn the flash off). The “Small House of Uncle Thomas” ballet was nicely executed, with great lighting effects and masks.

The relationship between Anna (Chantal Campbell) and the King (Daniel Purcell) was a bit stiff, and at times didn’t feel comfortable. For example, the King’s final scene didn’t quite hit the mark for me, although the Prince (Stephen Kutzleb) was successful in shifting between overcompensating for his initial nervousness and accepting his new role as King. At the top of the show, Campbell’s whistling during the encouraging number “I Whistle a Happy Tune” was actually not too well done, but later in the show her whistling was much better. It made for an interesting introduction to Anna, showing her nervousness at her new family’s situation. Purcell was a serious, no-nonsense King, who rarely allowed his emotions to show. The romantic duet “We Kiss in a Shadow” by Lun Tha (Joseph Benitez) and Tuptim (Crystal McKinsey) was a highlight of the evening.

Fauquier Community’s The King and I was a pleasant evening of theater, marked by a huge cast and wonderful visuals throughout.

From the Director

This has been an awesome collaborative effort of my amazing cast, crew, family, friends, and random strangers that we have begged to be a part of our adventure. The last week before the opening of any show is one of excitement, nerves, too much energy, and not enough sleep, but we have endeavored to put together a show that will be entertaining and dazzling. We hope that you love Siam and its King as much as a certain schoolteacher did. -Susan Noe

Cast

• Captain Orton: Joe Bersack
• Louis Leonowens: Michael D’Arcangelis
• Anna Leonowens: Chantal Campbell
• Interpreter/Simon Legree: Lee Walters
• Royal Guard: Rodrigo Pool
• Kralahome: Gary Parsons
• Royal Guard: Evan Jones
• King Mongat: Daniel Purcell
• Phra Alack/Angel/George: Kirk Noe
• Royal Wife/Eliza: Elizabeth Gillespie
• Royal Wife/Topsy: Teena Stevic
• Royal Wife/Dancer: Jessica Inzeo
• Lun Tha: Joseph Benitez
• Tuptim: Crystal McKinsey
• Lady Thiang: Ivy Elizabeth Cole
• Royal Wife/ Dancer: Cheryl Bolt
• Royal Wife/Singer: Morgan Gabor
• Royal Wife/ Dancer: Ariana Valezquez
• Royal Wife/Little Eva: Carina Valezquez
• Princess Ying Yaowalak: Mary Ellen Underwood
• Royal Child/Singer: Julia Downes
• Royal Child/Dancer: Olivia Barreto
• Royal Child/Dancer: Makayla McWelch
• Royal Child/Dancer: Isabelle Caron
• Royal Child/Dancer: Olivia Caron
• Royal Child/Dancer: Susannah Stevic
• Royal Child/Dancer: Maggie Pierce
• Chulalongkorn/Uncle Thomas: Stephen Kutzleb
• Royal Child/Dancer: Isabella Whitesides
• Royal Child/Dancer: Elayna Caron
• Royal Child/Dancer: Isabella McDonald
• Royal Child/Dancer: MarissaMulero
• Royal Child/Singer: Jessica Pain
• Royal Child/ Dog: Joseph Machosky
• Royal Child/ Dog: Michael Machosky
• Priest: Gene Bates
• Priest in Training: Liam Bates
• Sir Edward Ramsey: Jeff Machamer
• Singer: Emily Hibl

Orchestra

• Music Director: Larke Pain
• Keyboard: Alanna Pasquale
• Keyboard: Thomas Hooker
• Trumpet: Dave Shuma
• Percussion: Jeff Briner
• French Horn: Wendy Martin-Shuma
• French Horn: Peggy Rocchio Lee

Crew

• Director: Susan Noe
• Producer: Evelyn Rice
• Stage Managers: Becky Farris&Emily Hibl
• Choreographer: Sandy Steinmeyer
• Asst. Choreographer/Dance Captain: Elizabeth Gillespie
• Music Director: Larke Pain
• Light and Sound design: Tim Kirk
• Hair and Make-up Design: Kat Brais
• Costume Design: Susan Noe
• Seamstresses: Teena Stevic, Cynthia Oz, Cheryl Sinclair, Susan Noe, Emily Hibl, Karin Kerby
• Light Tech: Kirk Noe
• Light Board Operator: Betsy Hansen
• Sound Operator: Tim Kirk
• Set Design: Tim Kirk and Susan Noe
• Set Construction: Tim Kirk and Kirk Noe
• Set Painting: Nancy Daugherty and Gary Parsons
• Set Dressing: Susan Noe
• Vocal Coaches: Amy Baillargeon and Jim Todd
• Props: Susan Noe and Peter Fakoury
• Photography: Chris Noe
• Videography: Leland Shook
• Opening Night Reception: Christie Clark and Laurie Bersack

Disclaimer: Fauquier Community Theatre provided two complimentary media tickets to ShowBizRadio for this review. FCT also purchased advertising on the ShowBizRadio web site, which did not influence this review.

Did you ever have one of those days where nothing goes right? You have a car accident. You’re late to an anniversary party. The kitchen staff are missing. The dinner’s host has shot himself. We’ve all had days like this. But everything all at once is something different. And that’s the basic situation Neil Simon has created in Rumors.

Director Rosemary Hartman has created a funny show. There’s no moral to be told here (other than maybe “keep your lies straight!”) or deeper message. The humorous tension builds throughout the show, ending with a fabulous monologue delivered with energy by Chuck Dluhy.

Each of the four couples contributed their own touch of style to the evening, making for a pleasurable performance. Chris and Ken Gorman (Ruth Nevill and Tom Flatt) kicked things off with high energy confusion. Claire and Lenny Ganz (Jina Leigh Ames and Chich Dluhy) brought their own mishap into the dinner party, and slipped ably into the coverup role as they learned exactly what was happening. Ernie and Cookie Cusack (Steven Rosenthal and Joan Zeigler) were the most down-to-earth couple. Glenn and Cassie Cooper (Michael Clendenin and Shannon Benton) brought a bit of negative energy to the proceedings, but that of course added to the fun. Officers Welch and Pudney (Stephen Smith and Erin Gallalee) were sensible as they attempted to take control of the party.

Susan Boyd’s lovely costumes added a nice splash of color to the scenery. Skip Gresko’s set was wonderfully functional, with the upstairs hallway allowing for much action as the guests raced around dealing with their contrived situations, although the lack of a handrail on the lower stairs was an odd decision.

McLean Community’s presentation of Rumors was well-executed and will bring laughter.

Notes from the director

Neil Simon has been showered with more Academy Award and Tony nominations than any other writer, and is the only playwright to have four Broadway productions running simultaneously.

I have directed a good number of Neil Simon plays over the years. One of the appealing things about his plays is that he has the ability to write characters that are flawed. They have foibles and faults but they are human beings. They are not all bad or all good; they are the people we know. In his plays, Simon uses humor as a relief, but also as a defense, an escape or as a weapon. He tries to show people how absurdly they live their lives, and he sees there is a connection between pain and laughter.

Rumors is Simon’s only farce (to date). Farce permits the actors to perform in a slightly more exaggerated manner than usual, and there is much more wacky physical comedy than you might see in a regular comedy. There is much running up and down stairs, opening and closing of doors. Farce is a form that has been inspired by the plays of Moliere and Feydeau among others.

In exploring the script the actors and I sought to walk the fine line between farce and slapstick. These are real people who are caught up through no fault of their own in ridiculous situations, and like a snowball rolling downhill, the ridiculousness builds and builds to the point of insanity.

We hope you enjoy watching Rumors as much as we have enjoyed putting it together.

Rosemary Hartman

Photo Gallery

Claire Ganz (Jina Ames) and Chris Gorman (Ruth Neaveill) gossip rumors while Lenny Ganz (Chuck Dluhy) and Ken Gorman (Tom Flatt) listen in disbelief.	Everyone discusses the situation after dinner.

Photos by Traci J. Brooks Photography

Cast

• Chris Gorman: Ruth Neaviell
• Ken Gorman: Tom Flatt
• Claire Ganz: Jina Leigh Ames
• Lenny Ganz: Chuck Dluhy
• Ernie Cusak: Steven Rosenthal
• Cookie Cusack: Joan Zeigler
• Glenn Cooper: Michael Clendenin
• Cassie Cooper: Shannon Benton
• Officer Welch: Stephen Smith
• Officer Pudney: Erin Gallalee
• Myra: Alex Lee

Production Team

• Producer: Sydney-Chanele Dawkins
• Director: Rosemary Hartman
• Stage Manager: Terry Yates
• Assistant Stage Manager: Alex Lee
• Set Design: Skip Gresko
• Sound Design: Jon Roberts
• Light Design: Bob Zeigler
• Set Dressing: Jocelyn Steiner
• Technical Director/Program/Website: George Farnsworth
• Costume Design/Hair and Makeup: Susan Boyd
• Assistant Costume Design: Kate Walsh
• Props Manager: Emily Besuden
• House Manager: Columba Hoban
• Master Electrician: Nathan Devonshyre
• Set Construction: George Farnsworth, Bill Glikbarg, Bernie Gmiter, Dick La Porte, Bob Schroth, Terry Yates, Dick and Sheila Young
• Sound Operators: Bernie Gmiter, Jon Roberts
• Running Crew: Cathy Farnworth, Candice Newman, Mary Renschler, Claire Tse
• Marketing: Laura Dailey, Tula Pendergrast
• Publicity Manager: Kathy Farnsworth
• Media Relations: Brent Stone
• Photographer: Traci Brooks Medlock
• Open and Closing Night Hosts: Tula Pendergrast, Bunny Bonnes
• Auditions: Jennifer Levy, Tula Pendergrast, Denise Severino, Claire Tse, Kate Walsh

Disclaimer: McLean Community Players provided two complimentary media tickets to ShowBizRadio for this review. MCP also purchased advertising on the ShowBizRadio web site, which did not influence this review.

Vienna Theatre Company closes its season with the comedy The Hallelujah Girls. A close-knit group of friends decides to support their friend’s dream of opening a day spa. They convert a former church into “Spa-Dee-Dah!” and hijinks and friendships bloom. And there is the pesky problem of their frenemy who had her own plans for the church building.

While The Hallelujah Girls (by Jessie Jones, Nicholas Hope, and Jamie Wooten) was a lighthearted show, it never quite found its own footing as a comedy. At times, the characters and situations were reminiscent of other shows, such as “Golden Girls,” Steel Magnolias and “Designing Women.” There were quite a few zingers that were tossed out (“She was fat last week when I saw her.” or “That seals it, we are adding exorcism to our list of services.”) which brought a good reaction from the crowded audience, but it wasn’t able to maintain a stream of humor.

The women were a good bunch of friends, and were very accepting of each other’s foibles and eccentricities. The ringleader, no-nonsense Sugar Lee, played with strength by Edye Smith, was the dreamer who also had her own unhappy past to overcome. Meg Hoover as ditzy Nita (think Betty White), was very funny despite her depressing home life. Carole Preston as Mavis (think Ouiser from Steel Magnolias) had a great attitude and was a force to be reckoned with. Janice Zucker was the good-meaning, slightly kooky Crystal, whose frequent costume changes were always good for a chuckle. Tina Anderson as Carlene “Black Widow” Travis had the widest emotional arc to traverse, and jumped it successfully. Barbara Hayes as snobby Bunny was the nice-or-nasty friend that we were all hoping would fail at her endeavors, even as she was scheming a way through her “friend’s” plans. Nick Matich played contractor Bobby Dwayne as a good ol’ boy, very likeable and charming to the ladies. James Ginther was Porter, love interest to one of the ladies, and the mama’s boy who was still learning how to deal with his mama.

Director Adriana Hardy set a nice pace for the show, but unfortunately it still seemed to drag a bit at random spots. There were a few minor line problems that marred the second act, maybe the actors were simply having opening night jitters causing the sluggishness? It’s also quite possible, the problem was with the script itself. John Vasko’s set was functional, with an attractive stained glass window the only hint that the spa was a former church. The cast used the space well, although a couple of times the actors were spread from the upstage piano to the downstage makeup table, causing some awkward blocking. Farrell Ann M. Hatigan’s costumes were attractive, with lots of details paid to the Crystal’s seasonal outfits and the final scene’s colorful and tasteful costumes.

In general, Vienna Community’s Hallelujah Girls will give you something to smile about, but there’s not necessarily enough there to shout about.

Director’s Notes

The first thing that drew me to wanting to direct Hallelujah Girls was its cast of 6 women and 2 men all over the age of 50, instead of another heavily male-dominated cast about male bonding. The second thing was that the characters, for the most part, had lived in the same town and had known each other since grade school. Having grown up in a small town myself, I felt I was in familiar territory and even though I left that town after high school, I am still in touch with some of the female and male friends I went to high school with from grade school through high school. The third thing was the writing itself. At first glance you can say this is just a joyful comedy designed to provide an evening’s entertainment. Then I started to think, “What is this play really about?”

When I started to write my director’s notes I started listing words that I thought described the essence of the play besides the obvious “friendships.” I then decided to ask my cast to contribute their choices as well. Here are just a few choices we came up with: change, taking responsibility, growing up, small pleasures, moving on, empowerment, optimism, forgiveness, acceptance, and, of course, LOVE. All this AND presented as light-hearted comedy?!

Many thanks to my cast for their willingness to discover new ideas or improve upon what they already brought with hem as actors. It has been work, but I also think it has been fun bringing these characters to life. What a journey we have been taking as we moved from winter into spring.

Now it is time to sit back and experience this joyful comedy that we hope will make you want to laugh and shout “Hallelujah.”

Adriana Hardy

Photo Gallery

Edye Smith (Sugar Lee), Nick Matich (Bobby Dwayne), Meg Hoover (Nita) and Tina Anderson (Carlene) seated at the table. In background, Carole Preston (Mavis) and Janice Zucker (Crystal)	Tina Anderson (Carlene), Meg Hoover (Nita), Edye Smith (Sugar Lee), Janice Zucker (Crystal), Barbara Hayes (Bunny), Nick Matich (Bobby Dwayne)

Photos by Harold Bonacquist

Cast

• Charlene Travis: Tina Anderson
• Nita Mooney: Meg Hoover
• Mavis Flowers: Carole Preston
• Crystal Hart: Janice Zucker
• Sugar Lee Thompkins: Edye Smith
• Bunny Sutherland: Barbara Hayes
• Bobby Dwayne Dillahunt: Nick Matich
• Porter Padgett: James Ginther

Production Team

• Producer: Bill Mullins
• Director: Adriana Hardy
• Stage Manager: Shayne Gardner
• Assistant Stage Manager: Kelly Thompson
• Costume Designer: Farrell Ann M. Hartigan
• Lighting Designer: Chris Hardy
• Sound Designer: Jon Roberts
• Assistant Sound Design: Rachel Cherdak
• Set Designer/Master Carpenter: John Vasko
• Scenic Artist/Set Painting: Leta Fitzhugh
• Properties: Laura Ann Mullins and Cast
• Set Dressing: Laura Ann Mullins, Leta FitzHugh, Bill Mullins, Adriana Hardy, Perry Mullins and Cast
• Hair and Make-up Designer: Tabitha Briggs
• Set Construction Crew: John Vasko, Bill Mullins, Will Henry Mullins, John Bottimore, Andy Schoka, and Bill Blankenship
• Set Painting Crew: Leta FitzHugh, Woody FitzHugh, and Laura Ann Mullins
• Photographer/Graphic: Harold Bonacquist
• Sound Board Operator: Jessie Roberts, Rachel Cherdak
• Light Board Operator: Bill Mullins, Rachel Cherdak

Disclaimer: Vienna Theatre Company provided a complimentary media ticket to ShowBizRadio for this review. VTC also purchased advertising on the ShowBizRadio web site, which did not influence this review.

9 to 5, the Musical is based on the 1980 movie. A “sexist, egotistical, lying, hypocritical bigot of a boss” is making his employees’ lives intolerable. When a little fantasy revenge dream accidentally comes true, three women are linked together in a race to fix their office before the boss can call the police.

The three main characters, Violet Newstead (Elizabeth Yates), Doralee Rhodes (Jennifer Lambert) and Judy Bernly (Allison Block) were a wonderful trio with great chemistry. They each had very different styles, from Violet’s efficiency to Doralee’s friendliness to Judy’s nervousness. At Judy’s introduction, Allison Block appeared so nervous it appeared to be stage fright. But after the action continued it was obvious she was performing as newly divorced Judy exceptionally well. Their boss, Franklin Hart (Russell Kopp) was thoroughly unlikable, and balanced sliminess with charm.

Director and Choreographer John K. Monnett created a fun show. “9 to 5,” the opening dance number, set the tone for the rest of the entertaining production. The fantasy sequences in the first act were very well done, with a nice surprise of the way Violet’s woodland creatures were handled. The character to watch is the transformation of Judy, growing from a nervous pipsqueak to a strong, secure woman. John-Michael d’Haviland’s music was pleasurable throughout, from the twang of Doralee’s country singing, to the sorrow of Roz (Annie Ermlick) singing the sorrowful “5 to 9.”

Amanda Acker’s set was admirable, allowing for the flexibility of multiple locations requiring rapid scene changes. The stage crew under the direction of stage manager Terri Carnahan executed the changes quickly and efficiently, with a minimum of distraction. The one scene I remember from the movie was the boss, Franklin Hart, being hooked to a garage door opener and hoisted to the ceiling whenever he threatened the ladies. This effect was done very well, congrats to the crew and Russell Kopp. Laura Fontaine’s costumes were period appropriate, definite flashbacks to the 1970s.

There are a few spots in the script that I don’t think will hold up well over time. The little asides and anachronisms were funny, but in twenty years the references may not be as obvious. And that’s the worst thing I can say about this production, a nitpick with the script. The Arlington Players’ DC area première of 9 to 5, the Musical is a fun show, with serious underpinnings, but all in all, it’s a good time at the theater.

Director’s Notes

Let’s think back on 1979 — the time when our story tonight takes place — a gallon of gas ran about 68 cents, shag rugs, pet rocks and disco were the hottest thing around. Sony introduced the first walkman and the board game Trivial Pursuit was launched. “Kramer vs. Kramer” topped the box office (and won the Oscar) and pop music was in transition from disco to new wave as Gloria Gaynor sang of self-empowerment with “ I Will Survive” but the Knack’s ode to young lust “My Sharona” topped the charts for the year.

More seriously, there were historic milestones that had significant international impact for the next several decades: Margaret Thatcher being elected Prime Minister in the United Kingdom. Pope John Paul II visiting his native Poland as the first pope to cross behind the Iron Curtain, the Three Mile Island nuclear incident, and the Iranian Hostage Crisis. The Dow closed the year at 838, and the Fed interest rate hovered around 15%-both statistics simultaneously quaint and terrifying to us today.

1979 also saw the first deadline for the Equal Rights Amendment. Originally drafted in 1923, this constitutional amendment designed to guarantee equal rights for women was passed by congress in 1972 and sent to the states for ratification with a seven year deadline. Although the decline was extended to 1982 (amid controversy), it ultimately was not ratified and and debate continues today, as it was reintroduced in the current senate only last month.

Then there is “9 to 5.” Originally a movie starring Jane Fonda, Lily Tomlin and Dolly Parton, it was the story of three women who become friends as they endure sexism in the workplace and confront their “sexist, egotistical, lying, hypocritical, bigot” of a boss (played by Dabney Coleman). Their story still resonated thirty years later when it arrived on Broadway (with Allison Janney, Megan Hilty, Stephanie J. Block and Marc Kudisch) as the screen-to-screen stage musical 9 to 5: the Musical, featuring a score written by Dolly Parton herself (her first.) Parton’s gift for storytelling as a strong leader lends itself to musical theater, and she has created endearing songs that express each character’s emotions simply and honestly and are relatable to anyone who has felt the need to take charge of her (or his) own life to make things better.

So whether you want to interpret this how as feminist manifesto, self-empowerment treatise, or escapist fantasy is up to you (I think it blends all three). And just as 1979 was filled with culturally fond memories and some rather significant events, so too today we live in a time of serious matters and silly diversions. So perhaps simply enjoying the fantasy of sticking it to the man in charge (and who hasn’t had his thought at one time or another) is enough for the evening. Please sit back and enjoy the ride!

John K. Monett, Director and Choreographer

Cast

• Violet Newstead: Elizabeth Yates
• Doralee Rhodes: Jennifer Lambert
• Judy Bernly: Allison Block
• Franklin Hart, Jr.: Russell Kopp
• Roz Keith: Annie Ermlick
• Joe: Derek Pickens
• Josh Newstead: Sean Cantor
• Dwayne Rhodes: Mike Usowski
• Kathy: Marla McClure
• Margaret Pommerence: Barbara Porter
• Maria Delgado: Sally Kiernan
• Missy Hart: Jean Koppen
• Bob Enright: Sam Nystrom
• Dick Bernly: Mark Hildago
• Detective: Sidney Davis
• Doctor: Max Aguilar
• Candy Striper: Evie Korovesis
• Russell Tinsworthy: Ronald Boykin
• New Employee: Laurie Newton
• Ensemble: Max Aguilar, Karen Batra, Ronald Boykin, Sean Cantor, Sidney Davis, Mark Hildago, Sally Kiernan, jean Koppen, Evie Korovesis, Justin Latus, Marla McClure, P.J. Mitchell, Laurie Newton, Sam Nystrom, Barbara Porter, Kedren Spencer, K.C. Tydgat, Mike Usowski
• Vocal Ensemble: Lauren Laird, Atena Moore, Robert Summer, Joelle Thomas

Orchestra

• Conductor: John-Michael d’Haviland
• Reeds: Gwyn Jones, Dana Gardner, Mila Weiss*
• Trumpet: Paul Weiss, Mark Allred
• Trombone: Ryan Shofnos, Rick Schulz*
• Guitars: Eric Oganesoff, Bob Weaver
• Bass: Randy Dahlberg
• Percussion: Joel Frisch
• Drums: jim Hofmann
• Keyboard/Piano: Sarah Elliott, Alan Margolis
• * alternate performers on selected dates

Production Team

• Producer: Irene Molnar
• Director & Choreographer: John K. Monett
• Music Director: John-Michael d’Haviland
• Stage Manager: Terri Carnahan
• Conductor: John-Michael d’Haviland
• Technical Director: Christopher Smith
• Set Design: Amanda Acker
• Set Painting: Amanda Acker
• Master Carpenter: TJ Donahue
• Set Dressing Design: Joyce Frank
• Lighting Design: Ryan Desmond
• Sound Design: Keith Bell
• Costume Design: Laura Fontaine
• Make Up Design: Larissa Norris
• Wig & Hair Design: irene Molnar
• Assistant Stage Managers: Meghann K. Peterlin, Stephen Yates
• Assistant to the choreographer: Kathy Oh
• Associate Sound Designers: Chris Kagy, Drew Moberely
• Set Construction Crew: Amand Acker, Scott Drew, Peter Kinkel, Richard Garey, Erica Lee, William Kolodrubetz, Heng Lim, Arthur Pleasants, Todd Shiba, Christopher Smith, Rachel Wolkowitz
• Charge Painters: Beth Ceyak, Joyce Frank, Kevin Lane, irene Molnar, Mika Rautianan, Charles Reed, Karen Toth, Rachel Wolkowitz
• Costume/Wardrobe: Holly Strickland, Jessica L. Randazzo
• Light Board Operator: Joni Hughes
• Spot Light Operators: Billy Cover, Ashley Johnson, Adrian Steele, Lou Timmons
• Flyrail: Amanda Acker, T.J. Donahue, Michael Pakonen
• FOY Operators: Steve Lada, Steven Yates
• Stage Crew: Amanda Acker, Scott Drew, Nolan Hughes, Steve Lada, Katie Lewis, Rachel Wolkowitz
• Auditions: Lauren Laird, Judy Lewis, Katie Lewis, Adrian Steele, Steven Yates
• Audition Pianist: Elisa Rosman, Alan Margolis
• Audition Dance Instructor: Cathy Oh
• Photography: Peter Hill
• Program: Nikki Hoffpauir
• Logo Design: James Villarrubia
• Box Office: Karinn Cologne, Barbara Esquibel, Dina Green, Nikki Hoffpauir
• Opening Night Party: Terri Carnahan

Disclaimer: The Arlington Players provided two complimentary media tickets to ShowBizRadio for this review. TAP also purchased advertising on the ShowBizRadio.net web site, which did not influence this review.

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Michael Clark, for ShowBizRadio: Hinton Battle began his career on Broadway at the age of 15, appearing as the Scarecrow in The Wiz. He’s won the Tony Award as Featured Actor in a Musical three times. He’s appeared in Dreamgirls, Sophisticated Ladies, Chicago (Billy Flynn), Ragtime (Coalhouse Walker Jr.), Miss Saigon and The Tap Dance Kid. On TV, he was the dancing demon “Sweet” in the musical episode of “Buffy The Vampire Slayer” and appeared on “Touched by an Angel” and “Quantum Leap.” As a choreographer, Hinton’s credits include the 65th and 66th Academy Awards and the stage production of Evil Dead: The Musical. He also appeared in and choreographed the ABC movie “Child Star: The Shirley Temple Story.” He has now written and is directing a musical going out on a national tour Live Lies, opening at the Warner Theatre in Washington DC April 2nd. Thank you for talking with me today. 

Hinton: Thank you for having me. How are you?

SBR: I am doing good. Looking forward to talking with you about your great career and the show Love Lies.

Hinton: Love to talk to you about it.

SBR: Yesterday my wife and I watched “Quantum Leap,” saw you on that.

Hinton: Oh, you’re kidding me! Where did you see that?

SBR: I read your bio and I was like, “Oh I think ‘Quantum Leap’ is on Netflix.” I pulled it up and we found which episode it was. So we watched that and then we watched the musical episode of “Buffy.”

Hinton: That’s cool. I’ll have to watch that sometime. I haven’t seen it. I didn’t know it was on. I’ll have to go check it out.

SBR: Yeah, it was cool. I looked on YouTube and I saw a bunch of old clips and I saw a bunch of award shows and different numbers that you were in. Incredible dancing going on.

Hinton: Incredible dancers. Absolutely. I remember we did “Night of 100 Stars” when they used to do those. It had Gregory Hines. They had everybody. Dancing and singing was pretty great.

SBR: I looked for The Wiz, but I could not find it anywhere.

Hinton: The Wiz, back then they did not record shows. They didn’t record. You would have to go to the Lincoln Center library and you could see them there. Now everything is recorded.

SBR: You’ve started writing your own show. What is it like to be the playwright? To be on the opposite end of the spectrum.

Hinton: It is kind of lonely. You do spend a lot of time in a room by yourself. And a computer. And you hope nobody walks by because they’ll hear you playing all the character roles out. Being the girls, the guys, the this, the that. You don’t want anybody to walk by because the next thing you know they may come back with the little jacket for you to put on with the strap around it. But I’m enjoying it; I’m really enjoying it.

The great thing about being a writer, this is my first writing venture, is being able to create different characters. And then I have this incredible cast during the show: Brian McKnight, Angie Stone, Elise Neal, Kier Spates (Junior from the Steve Harvey Show) Crystal Aikin (one of BET “Sunday Gospel’s Best”) and a newcomer Amber Harris. To see them take the work and the characters and bring them to life and have so much fun with it is just unbelievable for me to have put it to paper and just imagine what it could be and then seeing it actually happen. I call it my dream cast. Coming in and making it fantastic is just great.

SBR: Tell us about the show. What is Love Lies?

Hinton: Love Lies is about three women who go to the funeral of their fiancé.

SBR: Ok. That seems straightforward.

Hinton: They find out at the funeral that there are two other women.

SBR: Oooohhhhh, they are all engaged to the same guy.

Hinton: They are all engaged to the same man. And they are supposed to be getting married the next week. And he just happened to die. It was his lucky day. We go through the whole cycle of when men cheat on the women. The women accuse the other woman and they go after each other and that whole cycle that kind of happens.

A lot of the play’s set in flashback. So we see how they met him and how much he’s meant to ech one of these women. And they are comparing notes and finding out all these things. It’s pretty hilarious. I call it a dramedy because you have all this high energy drama and this high energy comedy. Because it’s funerals and people’s reactions to funerals can be pretty funny.

We get a chance to kind of laugh at ourselves. And we get a chance to see what kind of life that cycle is. How we see it. And the men get a chance to see what that does to people. That sort of ‘I love ’em all’ thing. What that ‘I love ’em all’ can do. So I mean it’s great. It’s got a lot of heart in this show. It’s got a lot of funny. And some great singing. Some great songs.

SBR: Did you write the music and the songs as well?

Hinton: No, I was lucky and I’m using all the songs that we know and love. There is one song that I wrote in the show called “Holy Holy.” But the songs are like… I was able to take Angie’s hit “Wish I Didn’t Miss You” and Brian McKnight’s “Back at One.” And incorporate it in the story that pushes the narrative forward of the show. You get to see Brian McKnight sing his hit song and in context, you know, you’re going to have your own personal experience with the song anyway, but now you are seeing it used in a new way, pushing the story forward. So it’s great. So the performances are great. I sit there in awe every time one of them opens their mouth or they do a scene, I just sit there going “wow, oh right I gotta go do so and so.” I forget what I’m supposed to be doing. It is a pleasure. It’s really a pleasure.

SBR: Is the title Love Lies a pun because every time I type it into the computer it auto corrects to Lovelies?

Hinton: Lovelies? Maybe, I don’t know. I only know Love Lies.

SBR: I was reading there is a gospel choir in the show, but it’s a different choir at each place the show goes to. How does that work?

Hinton: Well, we go out and o what’s called “The Love Lies Choir Search.” Every market, every city we go into we reach out to the community and have them come in and we look for that choir or those choirs to be a part of th show. And what it is is three moments in the show that the choir would appear in in the show as part of the show. So they get to actually sing with Crystal Aikin and with Brian McKnight. So I wanted to be able to have the community involved with the show as well as bringing a great show to every city. The response has been ridiculously incredible. So some nights we’ll have three and four choirs in the show at the same time singing a song, which is kind of neat.

SBR: How does rehearsal work for that? Do they get to do a run through?

Hinton: Oh yeah. We do a run through. They get to work with our musical director one night. The songs they’ll know, because they sing them in their churches already. So they just have to learn how we’re doing them and we block them in the show. And they’re on. They’re up and on. I do a special thing where I introduce them in the show as part of the funeral procession. I don’t want to give away too much, but they are definitely a big part of the show. They are in the show. They are not just coming out and singing a number before or after the show. They are a part of the show.

SBR: Part of the show. And then you’re directing as well. Was it hard to take what you’ve written and then to direct to performers to do what you want to pull out of them?

Hinton: When you have talent like that to work with, talented people to work with, it’s like a breeze. It’s so easy. It’s so much fun. We laugh so much doing it putting it together. We’re having a ball. Just having a ball. It’s really been a big joy. It’s just been great.

SBR: Where can people get tickets?

Hinton: You can go to www.hintonbattle.com and it has every city we’ll be visiting and you just click on that and it takes you right to where you can purchase tickets.

SBR: Anything else we need to touch base on that I don’t know about the show that you can share?

Hinton: Um.. you’ve hit everything there.

SBR: Ok great. I appreciate you talking with me.

Hinton: Michael, I appreciate you having me on. I really do.

SBR: Thanks very much. Love Lies plays at the Warner Theatre in downtown Washington DC, Tuesday April 2nd through Sunday the 7th.