As long as there have been societal norms, our literature has been fascinated with those who break them. We seem to be obsessed with understanding the demons that drive our social deviants so that we may delude ourselves into thinking that we can predict and somehow control their behavior. It seems to me however that more often than not, there is rarely (if ever) a cut-and-dry explanation for crime. Some do it for attention, some to be remembered, some for material gain, some for martyrdom. The most titillating stories though are always those of criminals who, in the words of Alfred Pennyworth in The Dark Knight, “just want to watch the world burn.”

Interestingly enough, many of the infamous real crimes that have been fictionalized over the years have involved two men; the investigation of the crime always focused on their relationships, personalities, and influence over one another. The paradigm is almost always the same: one man shy and sweet but cold, the other brash and devilishly charismatic. Isaac Harris and Max Blanck, Russell Henderson and Aaron McKinney, Dylan Klebold and Eric Harris — the list goes on. I was struck by these and other parallels as I watched 1st Stage’s production of John Logan’s Never the Sinner — the story of the 1924 murder of Bobby Franks committed by two self-proclaimed “supermen,” Nathan Leopold and Richard Loeb.

As the audience strolled into the tiny theatre in Tysons Corner, the actors (in designer Laree Lentz’ fantastic costumes) were milling about the space setting props and casually chatting. Admittedly, I wasn’t sure that this decision worked until the show actually started — the actors were setting the stage for a 1920’s radio play that served as a framing device for the entire play. It was a bold choice, but one that paid off immensely. Sound designer Eric Shimelonis’s attention to detail was uncanny as he combined a plethora of antique noisemakers with modern microphones to create the perfect aural environment for this disturbing production. The culmination of his efforts was in a scene late in the play in which I remember the “music” being particularly eerie — my jaw dropped when I realized that the “music” was simply the actors subtly using the various noisemakers onstage. It’s rare that a sound design will make such an impression on me, but Mr. Shimelonis ingeniously managed to make sound an integral part of this show.

Director Jeremy Skidmore took the radio play concept and ran with it, using designer Robbie Hayes’ brilliantly nondescript studio set as the perfect background for the play’s many locales. I particularly enjoyed Mr. Skidmore’s unconventional staging of the courtroom scenes — no two were set the exact same way, yet the angle of focus and director’s intention were always clear. Mr. Skidmore’s use of the space as well as the radio play concept created an oddly whimsical atmosphere that amplified the impact of the play’s grisly subject matter a hundredfold.

The small cast of seven worked extremely well together, each member deserving of high praise. I have to comment, though, on the performances of Stephen Russell Murray as Leopold and Alex Mandell as Loeb. Both of these young actors imbued their characters with endless layers of complexity and passion. Mr. Murray did not cut an imposing figure, but his cold, calculating stare was enough to send shivers down my spine. His performance was deeply unsettling from the start, made all the more potent by his almost childlike innocence and aloof intellectualism — truly a masterful portrayal. As Loeb, Mr. Mandell expertly embodied the spirit of the seductive deviant mastermind. His charisma knew no limits, and his easy smile was the kind that makes one shudder to think of the things of which he could convince a person. Also impressive was his innate ability to make the script’s authentic ’20’s slang seem just as natural as the vernacular of today. To watch these two gifted actors debate Nietzschean philosophy, intellectual superiority, moral ambiguity, and the unspoken relationship between sexuality and power was absolutely electrifying and a privilege to watch.

With a smattering of adult language and discussion of murder, this is not a show for little ones. Mr. Skidmore and his cast and crew have created a thrilling, insightful piece of theatre that will make you question your judgment and appeal to the potential deviant within us all.

Director’s Note

The play recreates the 1924 “trial of the century.” Two Chicago teenagers, Leopold and Loeb, from millionaire families, kidnap and brutally murder a 14-year-old for the thrill of creating the perfect crime. Their complex and fascinating relationship of fevered intellect, romantic passion, and distorted philosophy is unpacked by defense attorney Clarence Darrow who reshapes the trial into a vivid and powerful explorations of violence, vengeance and justice.

Photo Gallery

Stephen Russell Murray as Nathan Leopold, Michael Kramer as defense attorney Clarence Darrow and Eric Lucas as prosecutor Robert Crowe	Alex Mandell as Richard Loeb and Stephen Russell Murray as Nathan Leopold
Adam Downs as Reporter #3	Alex Mandell as Richard Loeb, Stephen Russell Murray as Nathan Leopold, Sun King Davis as Reporter #1, Michael Kramer as defense attorney Clarence Darrow and Adam Downs as Reporter #3
Eric Lucas as prosecutor Robert Crowe and Michael Kramer as defense attorney Clarence Darrow	Amber Jackson as Germaine Rheinhardt
Stephen Russell Murray at Nathan Leopold, Michael Kramer as Clarence Darrow, and Alex Mandell as Richard Loeb	Stephen Russell Murray and Alex Mandell as Leopold and Loeb

Photos by Teresa Castracane

Cast

• Leopold: Stephen Russell Murray
• Loeb: Alex Mandell
• Reporter #1: Sun King Davis
• Reporter #2: Amber Jackson
• Reporter #3: Adam Downs
• Robert Crowe: Eric Lucas
• Clarence Darrow: Michael Kramer

Crew

• Playwright: John Logan
• Director: Jeremy Skidmore
• Lighting Design: Brian S. Allard
• Choreography: Matthew Gardiner
• Set Design: Robbie Hayes
• Stage Manager: Theresa Hindersinn
• Costume Design: Laree Lentz
• Sound Design: Eric Shimelonis
• Set Construction: Howard Forman, Barry Holt, Mark Krikstan, Don Moore, Sebastian Wilbern
• Electricians: Andrew Jorgensen, Logan Duvall

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

1st Stage opened their 2012-2013 season with playwright Michael McKeever’s extremely humorous farce Suite Surrender. Two sworn enemy singing divas end up in the same suite at a posh Florida hotel. Their assistants, the hotel manager, even the bellhops try their best to keep the two singers apart. And for extra measure, a nosy gossip columnist is looking for a scoop, while a society matron is trying to be helpful. The production’s rapid fire timing and physicality make Suite Surrender a show not to be missed.

The two singers, Claudia McFadden (Farrell Parker) and Athena Sinclair (Katie Nigsch-Fairfax), make quite a pair. McFadden is bossy, arrogant, rude, sarcastic, and obnoxious. Sinclair is all these things except obnoxious, but add in horny. And the two have not yet figured out they are in the same suite! Each of their scenes was excellent, as they grappled with broken expectations and frustrations at the frequent visits by the hotel staff to the suite. When the two women finally discover they are sharing the suite, the fireworks are as surprising as they are expected.

The two overworked, abused, and underpaid assistants to Ms. McFadden and Ms. Sinclair also gave stellar performances. Murphy, Ms. Sinclair’s secretary was played by Stephanie Roswell. Roswell performed both solidly as well as believably. Ms. McFadden’s assistant Mr. Pippet had the added humiliation of also having to care for the star’s rat dog, Mr. Boodles. Bradley Foster Smith has mastered the art of playing whipped dog. His character was so uptight a sneeze would have undone him. Smith had a hilarious bit when the “dog” seemed to look at everything and even move around Mr. Pippet’s head and body when Mr. Pippet tried to leave the suite. The two bellhops Francis Daniel Corey) and Otis (Sam Phillips) also added the right combination of falling, flinging, and flying (well, the dog did anyway) to keep the performance moving along. The two tried hard to please while being utterly confused by the mania of the two singing nightmares.

Freaked out, stressed out, and maxed out Hotel Manager Bernard S. Dunlap was the glue that kept the plates spinning as one disaster after another occurred in the hotel. Matt Dougherty kept his composure no matter what happened, including a tricky flower vase that had a tendency to fall over while he was adding flowers to it. Through it all, Dougherty rallied and was essential in keeping the pace moving smartly along. His inability the get the bellhop’s names right only added to his charm.The President of the of the Palm Beach Ladies for Unity, Mrs. Everett P. Osgood gave an over the top, yet believable, performance. Played by Lis Hodsoll, Ms. Osgood used big sweeping gestures and grand movements to make the audience laugh. Lastly gossip columnist Dora Del Rio played by Nora Achrati was a treat. She not only pegged the characteristics of a nosy reporter, but her hat’s choreography with Dunlap was masterful.

The entire cast was engaging and seemed absorbed in the happenings on the set even when not the focal point of the action. Not only was the fight choreography by Casey Celeba performed expertly, but the gorgeous set itself was well designed by Steven Royal. Dan Iwaniec’s costumes were fabulous, the blue dresses worn by the divas contrasted nicely with everyone else on stage.

Suite Surrender was a hilarious show, with a lot of believability to the normally unbelievable situations that occur in a farce. Come to 1st Stage to be absolutely entertained and amused.

Photo Gallery

Matt Dougherty (Mr. Dunlap) and Lisa Hodsoll (Mrs. Everett P. Osgood)	Katie Nigsch-Fairfax (Athena Sinclair) and Stephanie Roswell (Murphy Stevens)
Matt Dougherty (Mr. Dunlap) and Sam Phillips (Otis)	Daniel Corey (Francis) and Farrell Parker (Claudia McFadden)
Bradley Foster Smith (Mr. Pippet) and Nora Achrati (Dora del Rio)	Daniel Corey (Francis), Stephanie Roswell (Murphy Stevens) and Katie Nigsch-Fairfax (Athena Sinclair)
Sam Phillips (Otis) Matt Dougherty (as Mr. Dunlap), Daniel Corey (Francis) and Bradley Foster Smith (Mr. Pippet)	Farrell Parker (Claudia McFadden) and Katie Nigsch-Fairfax (Athena Sinclair)

Photos by C. Stanley Photography

Cast

• Bernard S. Dunlap: Matt Daugherty
• Claudia McFadden: Farrell Parker
• Athena Sinclair: Katie Nigsch-Fairfax
• Murphy Stevens: Stephanie Roswell
• Mr. Pippet: Bradley Foster Smith
• Nora Del Rio: Nora Achrati
• Mrs. Everett P. Osgood: Lisa Hodsoll
• Francis: Daniel Corey
• Otis: Sam Phillips

Crew

• Director: Rex Daugherty
• Lighting: Brian S. Allard
• Props: Deb Crerie
• Costumes: Dan Lwaniec
• Stage Manager: Keta Newborn
• Scenic Design: Steven Royal
• Program: Marty McGrane, Lynne Silverstein
• Fight Choreographer: Casey Celeba

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

• Suite Surrender, September – October 2012 Schedule
• Altar Boyz!, November – December 2012 Schedule Auditions
• Italian American Reconciliation, February 2013 Schedule
• Never the Sinner, March – April 2013 Schedule
• Blithe Spirit, May – June 2013 Schedule

Schedule is subject to change due to performance rights conflicts or other issues.

In a well-intended and generally well-executed, but ultimately futile, bit of theater archeology, 1st Stage dusts off the 1965 Kander-Ebb musical, Flora the Red Menace. The show is of genuine historical interest. It was the first produced Kander-Ebb show, preceding hits like Cabaret, Chicago, and Kiss of the Spider Woman, and it featured the Broadway debut of Liza Minelli. Despite Minelli’s Tony-winning performance, the show closed after 87 performances. From the current production, which follows a 1987 revision of the show, it is easy to understand why: the musical and dramatic material is simply quite weak.

Set in 1935 New York, Flora focuses on its protagonists’ conflicts between romance and Communist Party discipline. Flora (Dani Stoller), dreaming of success as a fashion illustrator, is persuaded to sign up as a card-carrying member by Harry (Joshua Dick), a mural artist and dedicated Party functionary. They fall for each other as the Party, led by Charlotte (Sherry Berg), tries to organize a union at Flora’s employer. An important structural weakness of the script is that the show’s principal dramatic conflict, concerning Flora’s dilemma about whether to cross a picket line in an attempt to save the jobs of her co-workers, is not introduced until halfway through Act 2.

Labor/management strife had already been used as a source of romantic tension, with greater artistic and commercial success, in 1954’s The Pajama Game. Because of both its Depression-era setting and its focus on the Communist Party, Flora is darker, but Kander and Ebb are never fully in control of the show’s tone. It alternates between comic and serious takes on Americans’ attraction to Communism in the 1930s, interspersed with standard-fare Broadway scenes and songs about the joys and troubles of aspiring young artists and performers in New York.

The score contains little memorable music. Berg is the production’s outstanding performer, and Charlotte’s belt number “The Flame,” an up-tempo, satirical anthem to the Party’s endless to-do list, injects a jolt of life into the often-listless first act. Her “Express Yourself” is a bravura comic forcible seduction number in the mold of Damn Yankees‘ “Whatever Lola Wants.” Harry’s “The Joke” is a stirring call to action against injustice. One can easily imagine Harry, who like many of his peers was either ignorant about or willfully blind to the Stalinist terror of the same period, leaving for Spain in 1937 to fight with the Abraham Lincoln Brigade.

Stoller’s sweet, modest-sized soprano voice is effective in subdued numbers like “A Quiet Thing.” In other numbers, a stronger, edgier sound — which does not appear until her final number, “Sing Happy” — would help to put across her character’s intended spunk. Stoller gets her character’s naïvety and resilience, and she has a fine sense of comic timing and delivery, deservedly receiving many of the evening’s laughs.

It is interesting to see Kander and Ebb beginning to explore elements that came to mark their mature work, such as powerful women (think Roxy, Velma, or Sally) who overwhelm the weaker men in their lives (think Amos or Cliff). Harry has his commitment to the Party as a constant in his life, but is otherwise a hapless magnet for the aggressive women who want him. Dick has a pleasing light baritone voice, and his character’s bewilderment about how to deal with Flora and Charlotte is convincing. Probably more the fault of the script than the actor, Harry’s periodically deployed stammer does not work consistently. The King’s Speech it ain’t.

Among the supporting roles, Maggie (Kelsey Meiklejohn) and Kenny (Sam Edgerly), whose characters appear to be mainly a device to insert a cute tap number into the show, perform that number (“Keepin’ It Hot”) effectively. Meiklejohn also does a nice character turn as the unpleasant secretary to Flora’s boss (Stephen Hock). Davis Hasty as the show’s narrator and Willy, Flora’s gentle, soft-spoken musician friend, gives the best physical performance of the night, with a relaxed presence that contrasts well with the more volatile, anxiety-ridden style of his peers. He saunters well. Mary Beth Luckenbaugh, as Flora’s friend Elsa, shows off a strong vocal instrument, while Mikey Cafarelli cannot age himself sufficiently to convince as Mr. Weiss.

The technical side of the production is strong. There are numerous costume changes, as the nine actors play a variety of roles, and Judi Welihan’s costumes consistently fit the period, characters, and situations. Mark Krikstan’s realistic set, consisting of wooden packing crates and a brick, factory-like exterior, creates an appropriately gritty atmosphere for the city during the Depression.

Through the building’s upstage center windows, one can see music director Paul Nasto vigorously conducting members of the seven-piece band and the brightly lit guitarist’s score, all of which can be distracting at times. The band sounds fine and maintains a good balance with the singers. Bless you, 1st Stage, for not miking the cast in this relatively small venue, thus allowing the audience to hear the singers’ natural sounds and enabling the location of the voices to mesh with director Susan Levine’s stage pictures.

Photo Gallery

A Depression-era bread line. From left, Kelsey Meiklejohn, Sherry Berg, Mary Beth Luckenbaugh, Mikey Cafarelli, Joshua Dick, Sam Edgerly, Davis Hasty,	Graduation Day. Dani Stoller as Flora (center), surrounded by the ensemble. Front row, from left: Sam Edgerly, Sherry Berg, Kelsey Meiklejohn. Middle
Dani Stoller as Flora and Joshua Dick as Harry	Sam Edgerly as Kenney and Kelsey Meiklejohn as Maggie practice a dance routine, hoping to get an audition
From left, Mary Beth Luckenbaugh as Elsa, Kelsey Meiklejohn as Maggie, Mikey Cafarelli as Mr. Weiss, Davis Hasty as Willy and Sam Edgerly as Kenney	Dani Stoller as Flora and Joshua Dick as Harry
Sherry Berg as Charlotte addresses a local Communist Party meeting as party members Davis Hasty (left) and Mikey Cafarelli look on	Sherry Berg as Charlotte (center) with fellow party members (from left) Mary Beth Luckenbaugh, Mikey Cafarelli and Joshua Dick

Photos provided by 1st Stage

The Cast

• Willy, Narrator: Davis Hasty
• Flora Mesaros: Dani Stoller
• Harry Toukarian: Joshua Dick
• Maggie: Kelsey Meiklejohn
• Kenny: Sam Edgerly
• Elsa: Mary Beth Luckenbaugh
• Mr. Weiss: Mikey Cafarelli
• Mr. Stanley: Stephen Hock
• Charlotte: Sherry Berg

Production Staff

• Director: Susan Devine
• Musical Director: Paul Nasto
• Choreographer: Stefan Sittig
• Orchestration: Paul Nasto
• Setting: Mark Krikstan
• Sound Design: Pao-Jen Yu
• Costumes: Judy Welihan
• Lighting: Andrew Jorgensen
• Stage Manager: Colleen Stock
• Dramaturge: Bekah Nettekoven Tello
• Program: Marty McGrane, Lynne Silverstein
• Reed 1: Dana Gardner
• Reed 2: Mila Weiss
• Trumpet: Terry Bradley, Scott Firestone, Brian Morton
• Trombone: Chris Bradley, Scott Fridy, Rick Schutz
• Keyboards: Bill VanLear
• Bass/Guitar: Eric Oganesoff
• Drums: Bill Wolski
• Rehearsal Pianist: Bill VanLear
• Set Construction: Howard Forman, Barry Holt, Mark Krikstan, Don Moore, Paul Nasto
• Electricians: Andrew Jorgensen, Anand Persaud, Fitz Samuel
• Program Cover Design: Harris Design, Inc.

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

Almost, Maine storms its way onto 1st Stage in Tysons.

This work is not part of the mainstream consciousness of our theatre world, but this production has exploded into the Metro area with a fabulous production. Michael Chamberlin directs his cast as a fine artist would draw or paint a masterpiece. His cast is directed as mere colors off his pallet as his show lays down the foundation. Then he has his actors brush in shades of all the nuances of love with all the vibrancy or subtleness he wishes. A truly excellent work is Almost, Maine. I recommend this play to all.

Steven Royal designed an intimate set. I loved it! Steven and Michael created an acting area small and intimate, allowing the audience to seemingly be a part of the play. A very nice use of snow was used here as well. The costumes, by Levonne Lindsay were perfect for each of the characters and the actors quick changes worked very well. I had no issues with who the characters were. Lighting was designed by Brian S. Allard. Brian created some bright and darker moments and moods with his lighting. The Northern Lights were very, very well done.

Performing in Mr. Chamberlin’s masterpiece are: Jessica Shearer, Elliott Kashner, Jonathan Lee Taylor and Megan Dominy. I would like to state that it’s hard to point out any one of this cast as being the lead or supporting. This is truly a play with four leads, four supporting cast members and four featured actors. No cameos though. These groups of four are truly gifted craftsmen and craftswomen in the art of performance. I found myself totally in their control as they quickly developed each of their characters and I could see the enjoyment they were having playing them. I thank you all for your hard work and personally would love to work with you at some time in the future.

Having given all these accolades, I would like to say I wouldn’t turn my back on someone who just told me she killed her husband. Nor would I leave out the excitement of coming back to the person I should never have left. Maybe I’d make sure the audience knew whether I fell down on purpose or if it truly was falling “in love” and it was a surprise to me as well. Also, I might explore the escalation of anger in the breakup on ice as well, but not too much.

Almost, Maine is a true delightful story. Performed and directed with love, talent and with a complete sense of theatre in the round. I was so very entertained. Thank you 1st Stage of Tysons for selecting this play. I also love the chocolate raisins at intermission!

The show runs about 2 hours, but you’ll want to go on and on.

Photo Gallery

Clockwise from center, Jonathan Lee Taylor, Jessica Shearer, Megan Dominy and Elliot Kashner	Gayle (Megan Dominy) examines her relationship
Chad (Elliott Kashner) and Randy (Jonathan Lee Taylor) enjoy ice fishing	Dave (Jonathan Lee Taylor) and Rhonda (Megan Dominy) clash over their feelings for each other
Pete (Elliot Kashner) and Ginette (Jessica Shearer) embrace

Photos by Deb Crerie

Cast

• Ginette, Sandrine, Marvalyn, Phil, Hope: Jessica Shearer
• Pete, Jimmy, Lendall, Chad, The Man: Elliott Kashner
• Easton, Steve, Randy, Dave: Jonathan Lee Taylor
• Glory, Waitress, Gayle, Marci, Rhonda: Megan Dominy

Crew

• Director: Michael Chamberlain
• Setting: Steve Royal
• Costumes: Levonne Lindsay
• Lighting: Brian S. Allard
• Sound Design: Derek Knoderer
• Stage Manager: Keta Newborn
• Props: Debra Crerie, Kay Rzasa
• Assistant Director: Emily Ann Jablonski
• Fight Choreography/Movement Coach: Monalisa Arias
• Program: Marty McGran, Lynne Silverstein

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

1st Stage’s production of Parfumerie, a Hungarian play by Miklos Laszlo, simultaneously radiates the bright colors of a romantic comedy and reveals the beauty of day-to-day life in a Budapest perfume shop. Parfumerie, a Hungarian play by Miklos Laszlo, was later adapted for stage and screen in multiple incarnations: The Shop Around the Corner, In the Good Old Summertime, She Loves Me, and You’ve Got Mail. If you have seen any of these, you are somewhat familiar with the basic story. The leading man and the leading lady correspond and fall in love. Later, they realize that they know each other, and in reality, they hate each other.

In 1st Stage’s production of Parfumerie, I got the feeling at times that I was attending a dress rehearsal. There are still a few kinks (difficulties with props or doors, line issues) to be worked out. That said, it was an enjoyable two hours and twenty minutes. While the cast is generally satisfactory (but not without a few pacing issues and occasional line flubs), the standout is Joshua Dick (Mr. George Horvath). Mr. Dick is an actor who understands comedy and smartly utilizes rhythm and timing in his scenes. A close second is Mario Baldessari, whose wise Mr. Sipos serves as an exaggeratedly funny mentor to George. Director Leslie A. Kobylinski creates beautiful scenes of silent transition in which the audience truly gets a visceral sense of the cyclical nature of life in the shop around the corner. These transitions take place in a silhouetted darkness. Unfortunately, the delays in spoken scenes and between entrances and exits detracted from these transitions.

Steven Royal’s sweeping, asymmetrical set design incorporates just the vibe you might expect in walking into a perfume and makeup shop. Upstage of the glass-windowed storefront is a wall covered in letters–what we might presume to be love letters. While this choice might be overstated, it does make for a striking impression. Costumes (Cheryl Patton Wu) are suitable and suggest the period. Lighting (Andrew Jorgensen) was mostly without flaw; however, better coordination with set and costumes could have avoided some shadows cast by arches and hats.

Time will best serve for this show to develop and work out the kinks. Those kinks aside, the play itself conjures a subconscious nostalgia for a more promising time. People cherished their jobs and professional relationships, even in the face of adversity. The concept of writing to and falling in love with a person without meeting is also poignant. In our world of eHarmony, Facebook, and Twitter, real-life interfacing can seem to some like a more dangerous affair. These two aspects give a meaningful edge to what might be played off as “just” a romantic comedy.

A Note From the Dramaturg

Budapest: cultured, fashionable, the “Paris of the East.” In the late 1930s it was a city on the precipice of war, yet filled with expectations of continued good fortune. It was a city home to a wealth of classes and religions. Here a farmer’s son from the countryside could move up in society with work and ambition. Or for those in chase of love, personal ads in newspapers opened wide the world of courtship and marriage. Classes mixed and shopped, sharing boulevards in a city brimming with tradition and culture.

Even on the brink of WWII Budapest held onto its unique identity as one of Europe’s crown metropolises. As rural Hungary fell into the hands of outside powers after the first World War, many people moved to Budapest for work and social mobility. Shops like Hammerschmidt’s were essential to this process and to Budapest’s society. It was independently owned shops that instructed residents in fashion and good taste. A successful clerk could turn shoppers into customers and usher them into the world of high society. The same society they too hoped to attain.

Aside from purchasing fine luxury goods, marriage was the quickest way to a bourgeoisie lifestyle in Budapest. The personal ad, around since the birth of the newspaper over 300 years ago, was often the chosen method. Young and old alike relied on personal ads in friendship, courtship and marriage.

For some, such as older gentlemen, a personal ad was a sure means of finding a spouse when traditional methods had failed or desperation had taken hold. Parents in Eastern Europe’s Jewish communities often used personal ads sprang up in the 1900s to accommodate the high demand for marriage. Individual also posted personal ads. This type of ad typically included a telephone number or postal box number to receive interested parties. Both men and women posted personal ads as it was not uncommon or frowned upon. These ads allowed young people to correspond with one another before committing to courtship, marriage and for the lucky, love.

–Rebekah Nettekoven Tello, dramaturg

Parfumerie by Miklos Laszlo, adapted by E. P. Dowdall, from the English translation by Florence Laszlo of the Hungarian play, Illatszertar. Directed by Leslie A. Kobylinski

Photo Gallery

Mario Baldessari, center, as Mr. Sipos, banters with Matt Boliek, as Steven Kadar, and Leigh Taylor Patton, as Miss Ritter	Joshua Dick, left, as George, and Manolo Santalla as his boss, Mr. Hammerschmidt
Joshua Dick, seated, as George, and Mario Baldessari as Mr. Sipos	Amal Saade as Amalia and Joshua Dick as George

Photos provided by 1st Stage

Cast

• Mr. Miklos Hammerschmidt: Manolo Santalla
• Mr. George Horvath: Joshua Dick
• Mr. Sipos: Mario Baldessari
• Mr. Steven Kadar: Matt Boliek
• Miss Amalia Balash: Amal Saade
• Miss Ilona Ritter: Leigh Taylor Patton
• Miss Elizabeth Molnar: Raven Bonniwell
• Arpad Novack: Ben Lurye
• Fritz, Young Woman, Various Customers: Genevieve James
• A Policeman, Various Customers: Chris Stinson
• A Detective, Old Gentleman: Dane C. Petersen
• Various Customers: Malaika Murphy-Sierra
• Various Customers: Julia D’Ambrosi

Creative Team

• Director: Leslie A. Kobylinski
• Set Design: Steven Royal
• Costume Design: Cheryl Patton Wu
• Lighting Design: Andrew Jorgensen
• Fight Choreography: Paul Gallagher
• Program: Marty McGrane, Lynne Silverstein
• Dramaturg: Bekah Nettekoven Tello
• Stage Manager: Rose M. Kobylinski

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

The longest running play, some 58 years, has been given a very nice rendition by director Jessica Lefkow at 1st Stage in Tysons. Mousetrap is an Agatha Christie classic mystery play with all members of the cast a ‘person of interest’ with the police. Trying to guess just who the culprit(s) are just may be a very doting task, but you won’t be disappointed and should be quite surprised as well.

1st Stage, in Tyson’s, has put together a creative team to mount this show and I must say it’s a pleasant relief from all the Scrooge Gets A Conscience/Clarence Gets His Wings productions up all over town. As you enter the theatre doors you’re met with a very pleasant staff. The lobby area is quaint but filled with a nice décor and concessions bar. Then up the stairs puts you at the back of the stadium seating to a floor level stage. The seating is quite comfortable with plenty of leg room. I like that. As you look at the set you are charmed with an English Guest House style home. The set, designed by the never mentioned designer(s) was excellent. This set offers the actors many levels to work from and on. Whoever the designer is, I congratulate you on a marvelous job. Mousetrap was directed by Jessica Lefkow. Her staging of the actors is admirable. In keeping with 1st Stages, “…unique mission to help emerrging artists establish their careers….”, she has assembled a young and strong cast.

This production was lucky to have Suzanne Richard playing the role of Mrs. Boyle. Her keen sense of just how to irritate and frustrate were in full form. She makes an exit like no other actor can. I loved watching her work. Arden Moscati as Detective Sergeant Trotter, did a marvelous job with his transformations in Act 2, but needed to show a little more stodgy stiffness in the first act in order to ward off the young boyishness he exudes. Karl Bittner as Christopher Wren was excellent but did drop his projection at times and forced the audience to strain to hear him. His total command of the stage at the right moments was very apparent and appreciated. Patrick Smith as Major Metcalf was excellent. Mr. Smith’s delivery, with his deep resonating voice, was true to the character. Very well done, what. Playing the roles of the young married couple and owners of the guesthouse Giles & Mollie Ralston are John Stange & Jennifer Weinreich. Each actor has the look for these roles but weren’t able to capture many moments of chemistry between them. Maybe as the play continues, they’ll be more comfortable with each other. Abby Wood as Miss Casewell gave the audience a very strong performance, as the script is written, especially when it came to listening and reacting on stage. A very strong and confident presence was spot on. Luke Tudball as Mr. Paravicini was very good as his light hearted character suggests. A little fidgety at times on stage was he, but very humorous as well. As a whole, this cast came together very well, except for their accents and the suspense which Mousetrap must have.

Some of the issues American productions have with a British show are, as one might imagine, accents. It is very important for each of the actors to be as consistent as possible with the accent they’ve chosen for their character. Aside from Mr. Tudball & Mr. Smith, the Britsh accents were not sustained and slid from American English dialects to varying English dialects. If it wasn’t for Agatha Christie’s strong story, which does keep you very interested from moment to moment, and the brilliant performance by Suzanne Richard, you are left with the lack of consistent accents. Nobody sustaining any fear that their character may die at any moment, made me wish for more from this production, but I did enjoy the show overall.

The set is wonderful. The lighting by C. Ian Campbell was very well done. Especially liked the working hot light switches. John Yu’s sound design did everything one could ask for in establishing suspense.

Director’s Note

On the 6th of October, 1952, five strangers, the young proprietors of a newly-opened guest house and a strapping policeman would all come together for a a spot of murder on a cold and wintry day. They have been meeting to reenact the crime ever since-for a staggering 58 years and more than 20,000 performances on London’s West End, alone.

Of course, we’ve all heard of the play. No one who has ever played a game of Clue, attended mystery dinner theater performances, followed Monty Python or the career of the late, great Peter Ustinov has escaped its influence. So when I was first asked to direct The Mousetrap for 1st Stage, my heart sank. What challenge could possibly be left in the show?

How foolish I was? On reading the piece, I could see immediately why The Mousetrap would be such a great treat for our audiences, especially at this time of year. As the days grow cold and short, we long for the warmth of the familiar to drive out the chill, the challenge of the clever to quicken our cooped up minds. How better to spend a winter outing than cozied up to a superbly-wrought set of characters and circumstances, each sporting a veritable school of red herrings all flapping their tails at anyone trying to parse out the mystery before death strikes again?

Mounting this production, thus, has meant rising to the challenge of building this perfect machine of a play to precision, buffing and oiling its many parts to a glittering precisely running whole. We have spent the weeks leading up to our opening working to do just that, with a wonderful cast and crew.

It is with pleasure, pride, and all the good wishes of this season that we ask you to sit back, perk up your eyes and ears, and enjoy our performance of this very special catchy, well-beloved play.

And if you know who dunnit?…Don’t tell!

-Jessica Lefkow

Photo Gallery

John Stange and Jennifer Weinreich, as Giles and Mollie Ralston, celebrate the opening of their guest house Monkswell Manor.	Suzanne Richard as the imperious Mrs. Boyle arrives at Monkswell Manor as proprietor Giles Ralston, played by John Stange, tries to cope.
Suzanne Richard as Mrs. Boyle (foreground), Karl Bittner as Christopher Wren and John Stange and Jennifer Weinreich as Giles and Mollie Ralston.	There’s bloody murder in the newspaper, as Karl Bittner, playing Christopher Wren, discovers.
Luke Tudball, foreground, as Mr. Paravicini, is one of the unusual guests at Monkswell Manor. In background, John Stange and Jennifer Weinreich as Gil	Suzanne Richard as Mrs. Boyle (foreground), spars with Abby Wood as Miss Casewell.
The imperious Mrs. Boyle, played by Suzanne Richard, and the mysterious Miss Casewell, played by Abby Wood, try to understand the strange events at Mo	Jennifer Weinreich, as Mollie Ralston, gets a disturbing phone call.
A husband and wife worried about murder at their new guest house: Jennifer Weinreich and John Stange as Mollie and Giles Ralston.	Abby Wood, left, as Miss Casewell, and Jennifer Weinreich, as Mollie Ralston, are among those trying to solve the mystery.
Jennifer Weinreich, as Mollie Ralston, discovers a body.	Arden Moscati as Detective Sergeant Trotter questions Jennifer Weinreich as Mollie Ralston, while John Stange, as her husband Giles Ralston, listens.
Arden Moscati, far right, as Detective Sergeant Trotter, interrogates various suspects at Monkswell Manor. From left, Patrick Smith as Major Metcalf,	John Stange, left, as Giles Ralston argues with Karl Bittner as Christopher Wren as Jennifer Weinreich, as Mollie Ralston, looks on.
Abby Wood as Miss Casewell.

Photos provided by 1st Stage.

Cast

• Mollie Ralston: Jennifer Weinreich
• Giles Ralston: John Strange
• Christopher Wren: Karl Bittner
• Mrs. Boyle: Suzanne Richard
• Major Metcalf: Patrick Smith
• Miss Casewell: Abby Wood
• Mr. Paravicini: Luke Tudball
• Detective Sergeant Trotter: Arden Moscati

Crew

• Director: Jessica Lefkow
• Lights: C. Ian Campbell
• Costumes: Jennifer M. Allevato
• Sound: John Yu
• Casting: Jane Margulies Kalbfeld
• Fight Choreographer: Paul Gallagher
• Props: Deb Crerie, Kay Rzasa
• Graphic Design: Robin Harris
• program: Marty McGrane, Lynne Silverstein
• Production Manager: C. Ian Campbell
• Stage Manager: Christine Yackee

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

Holiday – A wonderful play is being performed at 1st Stage. The story is reminiscent of a Noel Coward play with a setting in America. Although, in a Coward play, the divide between the rich and the poor wasn’t ventured as it is with this Philip Barry play. All in all this play is a play worth seeing.

As one walks into the 1st Stage theatre you are met with a very nice lobby area. Entering the theatre doors takes you up a short flight of stairs (with motion censored lights – cool!). The seating is stadium like and all will look down to the stage floor. The seats are very comfortable and you will feel immediately at ease with room to spare.

The set was a single room in the opulent home yet sparse of any set dressing. Also of note was there was no credit given in the playbill to any set designer, so I won’t critique the set. I do believe dressing the set with more opulence would’ve added to the story being told. On opening night, there were insufficient drapes to hide the exits of the actors.

The lighting design was ok, but I thought the backlighting of the windows was too bright. Ah yes, 1st Stage does have a designer for this show; Jim Alexander. He gave the stagelights a high setting and made it quite bright, almost glaringly for most of the show. This full lighting was very bright against the white-white flats and black and white checkered flooring.

Special kudos to Deb Crerie (Props). It is always a difficult job to get a heavily laden propped show just right. Deb obviously took great care in making the props work.

Costume Designer, Cheryl Patton Wu did a marvelous job with this production. Her Roaring Twenties dresses and suits really gave this cast every opportunity to shine. Well done indeed.

It is every actor’s responsibility to give their character a definiteness of purpose. When the actor moves, there must be a reason for it. These reasons are the result of work on each actor’s objective(s) in a specific scene without deterring from the main objective of the playwright. The movements and objectives are under the strict control of the director, Dawn McAndrews. In this production, there were times when there was true magic on stage. This magic was a welcome relief when it came, but it came all too late. There were moments that sparkled at the beginning of the show. The role of Julia Seton, played nicely by Sophia Bushong had some nice moments with her character’s fiancé Johnny Case, played by John Adams, son of a grocer and a self made man who became a lawyer with a dream. John was quite dashing and sure of foot as he was introduced to the home of his fiancé (They met only 10 days previously). He did seem unsure of what to do with his hands at times. Should he hold his jacket open or put his hands in his pocket? John has a great smile and ease of manner with those in high society but I didn’t see the down to earth Johnny Case. Wish I had.

Some of the magic showed itself in the embodiment of one character. That character is Linda Seton, sister to Julia and quite the opposite of her sibling. This role was brilliantly portrayed by Allison Leigh Corke. Allison brought to life a woman who was in conflict with her own upbringing and surroundings. She yearned for a simpler lifestyle brought about by love. I was so impressed by Allison’s stage presence, her command of the nuance required to pull this role off and her complete understanding of the stylistic show the playwright, Philip Barry had written. Allison’s scenes with her characters friends Nick And Susan Potter, played respectively by Theodore M. Snead & Jessica Aimone, were electric. Allison, Theodore and Jessica with some very nice moments with the characters of Laura & Seton Cram, played by Elizabeth Darby and David Winkler made this production well worth seeing. Her character’s desires were so convincing and so real. She’s an actress to follow. Allison Leigh Corke is going places!

I particularly missed what should’ve been a growing fondness of Linda Seton by Johnny Case. He seemed all too concerned with himself than what his words were declaring. Another note is some of the blocking of these actors. Way too many times these actors were placed with their backs to the audience. This is ok at times to keep the play real, but too many times we were robbed of wonderful performance of Allison, other than the back of her dress, and instead were forced to watch the reactions of the other actors (which weren’t there) to assist in understanding the play.

It is my hope that this run will grow by its close that the set will have some setting and some of the actors will listen more and fidget less.

This play runs 2 and a half hours and dragged too much on opening. I’m sure it’s tightened up in future shows.

Director’s Notes

The years between World War I and Black Tuesday were a time of great prosperity and cultural upheaval in the Unite States. The country was in celebration mode, dancing the Charleston, listening to jazz, and watching Valentino at the movies. Suffragettes won the right to vote and, as if in response, hemlines went up, way up, and women flooded the workplace. Prohibition made it illegal to produce or sell liquor, so Americans drank more than ever. F. Scott Fitzgerald, chronicler of the decade called it “the greatest, the gaudiest spree in history.” The modern was in, way in, in fashion, society, and culture.

Then, like now, the divide between rich and poor was widening as immigrants and African Americans were left out of the celebration of ever-increasing wealth. Then like now, citizens of all classes were enthralled by celebrities and the lives they led-from Ernest Hemingway to Dorothy Parker, Duke Ellington to Cole Porter, Greta Garbo to Babe Ruth. Then, like now, the bubble would burst forcing all Americans to examine their greed, ambition, and pursuit of happiness.

Philip Barry brought Holiday to the stage in 1928 unaware of the financial disaster that was on its way October 29, 1929. His bright, upper-class comedy about the clash between love and money and the drive to truly know oneself was a tremendous success in its day; made into not one but two movies in the 1930s.

Into Seton’s world of unimaginable wealth, Barry drops Johnny Case a self-made man who has worked hard to earn the time to figure out who he is and of what he is made. In a country truly coming of age, Barry’s play offers a snapshot of longing, and like the typical Horatio Alger story, provides not one but two heroes on whom we can pin hopes and dreams. Unlike lesser dramatists, Barry crafts compeling, three-dimensional characters in heightened situations where determining which point of view is right and which is wrong isn’t always so easy. And he makes us laugh all the while.

For our 21st –century audience, it is an opportunity to view a time past that informs the present and to revel in an underdog story that resonates just as powerfully today.

-Dawn McAndrews

Photo Gallery

John Adams as Johnny Case and Sophia Bushong as Julia Seton	Sophia Bushong (left) and Allison Leigh Corke as sisters Julia and Linda Seton
John Adams as Johnny Case and Allison Leigh Corke as Linda Seton	Father-in-law and son: Paul Douglas Michnewicz as Edward Seton and John Adams as Johnny Case
Nick Potter (played by Theodore Snead) spins a story as Johnny Case (John Adams), Linda Seton (Allison Leigh Corke), and Susan Potter (Jessica Aimone)	Allison Leigh Corke as Linda Seton and John Adams as Johnny Case
Jessica Aimone as Susan Potter (left), Allison Leigh Corke as Linda Seton, and Theodore Snead as Nick Potter	Sophia Bushong as Julia Seton, Ryan Kincaid as Ned Seton, Allison Leigh Corke as Linda Seton, Paul Douglas Michnewicz as Edward Seton, and John Adams

Photos provided by 1st Stage.

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

Cast

• Julia Seton: Sophia Bushong
• Delia: Leigh Taylor Patton
• Johnny Case: John adams
• Linda Seton: Allison Leigh Corke
• Ned Seton: Ryan Kincaid
• Edward Seton: Paul Douglas Michnewicz
• Laura Cram: Elizabeth Darby
• Seton Cram: David Winkler
• Nick Potter: Theodore M. Snead
• Susan Potter: Jessica Aimone

What do you get when you combine thieves, family problems, shady characters, and stamp collecting? Jeopardy categories? No, Theresa Rebeck’s play Mauritius. Two sisters have inherited a stamp collection. One wants to keep the stamps as a memory of her grandfather, the other wants to sell the stamps for a fortune. Unfortunately, the dealer she takes the collection to refuses to give an appraisal, so she turns to an innocent bystander at the shop for help. The bystander realizes there are two extremely rare stamps in the collection, and tries to get the stamps for one of his clients. The stamp collection passes from person to person in this absorbing drama.

This drama had plenty of twists and turns, and we were never really sure what the motives of each person was. Leigh Taylor Patton as Jackie was able to be alternately innocent and powerful. Her scenes with her sister Mary (Amy Waldman) racketed up the tension as they continually introduced bits of their backstory. Waldman expressed the correct amount of frustration and fear, while still being worried about her little sister. Roger Payano as Philip, the philately expert, was potent as the owner of the stamp shop. His vexation at yet another “stamp collector” thinking they had a fortune in their hands was obvious, although later in the play his motives for helping Mary weren’t as clear. Dennis, the “innocent bystander” was played by Edward Daniels, and his friend Sterling was played by Bruce Alan Rauscher. Were the two of them running a scam? Or was Dennis running a scam with Jackie? The second act was a little muddled as the stamp collection changed hands again and again. Daniels and Rauscher worked well together. Their fight sequences were always a surprise, as the anger in the scene slowly increased.

Mark Krikstan’s set was splendid, made up of a few tables and chairs that were moved for each sene, and many different oversized stamps serving as wall hangings. C. Ian Campbell’s lights would illuminate certain stamps in each scene, including the two stamps from Mauritius, and an inverted Jenny.

Overall, I enjoyed this production, and you do not need to be a stamp collector to understand what is occurring. Greed and selfishness are universal.

Photo Gallery

Photos provided by 1st Stage.

Cast

• Dennis: Edward Daniels
• Jackie: Leigh Taylor Patton
• Philip : Roger Payano
• Sterling: Bruce Alan Rauscher
• Mary: Amy Waldman

Crew

• Director, Set Design, Artistic Director of 1st Stage: Mark Krikstan
• Lighting Design: C. Ian Campbell
• Props: Deb Crerie
• Fight Choreographer: Paul Gallagher
• Vocal Coaching: Jane Margulies Kalbfeld
• Stage Manager: Rachel M. Loose
• Dramaturg: Kayla Prestel
• Props: Kay Rzasa
• Costume Design: Cheryl Patton Wu
• Sound Design, Composer: John Yu

Disclaimer: 1st Stage provided 1 complimentary media ticket to ShowBizRadio for this review.