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You too can support independent media’s support of the arts by purchasing advertising on the ShowBizRadio web site.

Man of La Mancha, which opened Friday night at the Aldersgate Church Community Theater (ACCT), exemplifies how a group can make excellent use of limited resources to mount a very creditable production of a complex show. In her first directing job, Madalaine Vander-Linden created a believable prison environment with a sense of impending violence that never lifts until the final scene. Characters with threatening or crazed miens inhabit the stage and the periphery of the house from the moment the house opens, drawing the audience into the emotional world of the 17th-century dungeon where the play takes place. Throughout the play, actors not directly involved in a particular scene remain on stage, reacting in character to what is going on around them. It is clear in this production that there is a community in the prison — however dysfunctional its members might be — and the driving force of the story concerns how Cervantes changes the nature and spirit of this community.

The set, designed by Jon Poole, is more elaborate than in many productions in this venue, with stippled, dank-appearing walls; multiple platform levels that create nooks for the actors; and a working, creaky drawbridge for entrances and exits of the men of the Inquisition and their prisoners. The set contributes in no small measure to Vander-Linden’s ability to create flexible, active stage pictures that avoid becoming static. The Aldersgate space may have the dubious distinction of hosting the smallest collection of lighting instruments in the metropolitan area, but Chris Hardy’s lighting design, featuring the use of specials for several scenes, does a lot with a little. Fortunately, a dungeon is not a bright, cheerful place, and the darker areas and shadows often work to the advantage of the show’s look.

One of the chronic challenges faced by smaller community theater groups is that their actor pools are likely be smaller than those of larger groups. To borrow a sports term, a group like ACCT does not have the bench depth of a Little Theater of Alexandria or Reston Community Players. Nevertheless, smaller groups can attract talented performers, and Aldersgate’s La Mancha boasts several. The standout in this cast is Christine Condo as Aldonza/Dulcinea. She uses her lyric soprano voice to good effect in numbers like “What Does He Want of Me” and the reprise of “Dulcinea,” while having enough strength to convince in her powerful second-act number, “Aldonza.” Condo succeeds as a physical actor, angrily combative with the muleteers, other women in the inn, and to some extent with Quixote. She is a younger Aldonza than some, playing the role as someone who is still fighting, capable of despair but not yet defeated in life. She also is able to convey a softer side of her character, notably in Quixote’s death scene. My only qualm about her performance is that at times she projected, perhaps unintentionally, a rather more modern sensibility than I picture as fitting for Aldonza.

In the lead role, Dick Reed gets the sweetness, decency, and lunacy of his characters, and his speaking voice and physicality are well attuned to the similarities, differences, and nuances of Cervantes, Quixote, and Alonso Quijana (the country squire who becomes Quixote). A stronger actor than a singer, Reed experienced pitch problems throughout the evening, though he remained able to characterize effectively in his songs.

Vander-Linden’s staging of Quixote’s best-known song, “The Impossible Dream,” was the only point at which I disagreed with her directing choices. Notwithstanding its status as the “hit” song from the show, “The Impossible Dream” works best underplayed, as a quiet, intimate moment between Quixote and Aldonza, in which he expresses and she begins to understand what is in his heart. In this production, Quixote climbs a succession of ever-higher platforms, finally basking in a bright special (in what is supposed to be an outdoor night scene) on the highest platform upstage center, while Aldonza looks up from below as though admiring a rock star. To compound the difficulty, Reed took the final note a third up from where it is written, which felt like an indulgence, making the end of the song more a performance moment than a character moment. (Brian Stokes Mitchell took the same liberty in the tour of the 2002 revival.) The cumulative effect of these choices was to diminish the emotional impact of what can be a deeply moving connection between these two very different people.

As Sancho, Bob Maurer was as amusingly vaudevillian-cheesy in his approach as one could ask for, though fortunately without the Borscht Belt accent that has bedeviled the role since the original Broadway production. His numbers — “I Like Him” and “A Little Gossip” — have never been highlights of the Broadway songbook, but Maurer sold them in a satisfyingly funny way. Maurer sung the numbers significantly lower than written, a wise decision for any actor in the role who does not have a near-countertenor range. The quartet of muleteers (Andreas Barrett, Michael Page, Derek Marsh, and Andrew Rampy) moved nicely and sang their raucous numbers well, and they were central to the show’s effective fight scenes, choreographed by Page, notably the very violent second act beating of Aldonza.

It was in some of the supporting roles that the group’s lack of casting depth was apparent. Mike Walker as the Governor/Inkeeper and Lee Blount as the Padre were not strong singers (Blount was late on a number of music cues), and their acting appeared flat and tentative at times. Ryan Dalusung had the perfect look for the arrogant Duke/Carrasco character, but his strident voice and uncontrolled gestures undermined the character’s precious dignity. Interestingly, Dalusung was far more effective in his reflective armor in the Knight of the Mirrors scene. To their credit, Sarah Spiece and Priscilla Marsh, as Quijana’s niece and housekeeper, in “I’m Only Thinking of Him,” made it understandable why the poor man might well have wanted to have left home for an itinerant life on the road. Among the more noteworthy ensemble roles, Teddy Gron was an exceedingly quirky barber, and Christine Tankersly and Shelagh Roberts played both horses and Moorish dancers with elan.

The orchestra, directed by Jeff Taylor, was spot on through most of the evening and maintained a good balance between instruments and singers. Taylor also showed alertness and adaptability in a few situations in which singers got out of sync with the orchestra. Georgia Harlow’s costumes were appropriately subdued for the inmates; the Knight of the Mirrors outfits for Carrasco and his henchmen provided a moment of bright, shiny contrast. The horse costumes and masks were also colorful and enjoyable to watch.

The traditional place to insert an intermission in La Mancha (the original Broadway version played without an intermission) is following “The Impossible Dream” or “The Combat,” either of which provides a natural ending point to the first portion of the show. For some reason, this production took its act break earlier, after the Padre’s “To Each His Dulcinea,” a quiet song that, even when well performed, does not create such punctuation, creating some surprise when the house lights came up.

A moment for a hobby horse of mine: In this production, like the original Broadway version, Quixote’s name for Aldonza was pronounced “Dull-cinea,” rather than as the “u” vowel would be spoken in Spanish. Especially when sung, “Dull” was an ugly sound in 1965, and it is still ugly today. Here’s hoping that La Mancha productions will catch onto this fact and use the more dulcet, and more properly Spanish, sound in the name.

Man of La Mancha is one of the strongest works of the latter years of the Broadway musical’s “golden age.” This is a well-conceived and successful production of the show that deserves an audience.

Photo Gallery

Photos provided by Aldersgate Church Community Theater

Cast

• Anselmo: Andreas Barrett
• Captain of the Inquisition: Harry Juricic
• Guard of the Inquisition: Gerald McAlister
• Manservant & Sancho Panza: Bob Maurer
• Miguel De Cervantes, Don Quixote, Alonso Quijana: Dick Reed
• Governor & Innkeeper: Mike Walker
• Duke & Carassco: Ryan Dalusung
• Padre: Lee Blount
• Pedro: Michael Page
• Juan: Derek Marsh
• Jose: Andrew Rampy
• Aldonza & Dulcinea: Christine Tankersley
• Antonia: Sarah Spiece
• Housekeeper: Priscilla Marsh
• Barber: Teddy Gron
• Horse & Moorish Dance: Shelagh Roberts

Crew

• Set Constuction: Stuart Travis
• Set Design: Jon Poole
• Set Painting: Robert Vander-Linden
• Set Dressing: Laura Juricic
• Properties: Judy Kee
• Light Design: Chris Hardy
• Sound Design: Leighann Behrens & Madalaine Vander-Linden
• Costumes: Georgia Harlow
• Stage Manager: Marg Soroos
• Assistant Stage Manager: Hannah Lau
• Choreography & Fight Choreography: Michael Page
• Assistant Music Director: Cathy Manley
• Music Direction: Jeff Taylor
• Director: Madalaine Vander-Linden
• Assistant to Director: Robert Vander-Linden
• Producers: Leighann Behrens & Drusilla Vander-Linden
• Publicity: Candy Cole & Bill Austin
• Sound: David Correia & Alan Wray
• Props: Jayne Rife
• Board Technicians: Gracie Denton & Kate Hershaw
• Fight Captain: Derek Marsh
• Graphic Design: Leighann Behrens

Disclaimer: Aldersgate Church Community Theater provided two complimentary media tickets to ShowBizRadio for this review. ACCT also purchased advertising on the ShowBizRadio web site, which did not influence this review.

You too can support independent media’s support of the arts by purchasing advertising on the ShowBizRadio web site.

You too can support independent media’s support of the arts by purchasing advertising on the ShowBizRadio web site.

And Then There Were None, a play in two acts by Dame Agatha Christie recounts the mystery of ten people stranded on an island (No not Gilligan’s Island) who begin to mysteriously end up dead. Is it someone on the island or an outside force that seems to have it in for the ten supposed strangers?

Mr. and Mrs. Rogers, a kindly couple who are keeping the house operational while the owner is away, were played by Bailey Center and Amy Wolf. Wolf came off a bit nervous, complaining about the “rich folk and their heirs.” She was enjoyable to watch. Mr. Rogers made a good balance to Mrs. Rogers’ uptightness. Center was much more laid back and accommodating. Fred Narracott played by Howard Soroos set the stage by dropping everyone off on the island and then disappearing. Though a small part, Soroos was key in setting the initial mood of the production.

Vera Claythorne, the spunky young secretary who arrived to make sure all was in order to welcome the guests to the island was played by Jenni Patton. Though she was young, her maturity allowed the other guests to regard her as capable and efficient. Philip Lombard (Richard Isaacs) had a crush on Vera. Somewhat of a mystery, Isaacs had charm oozing out of every pore and held a rascally kind of attitude. He and Patton seemed to get along well and had a comfortable camaraderie, even as Lombard was scheming to make an advance on the secretary. Evan Milberg as Anthony Marston spent a short amount of time on the island, but his time was well-spent as a humorous, easy-going, likable rascal.

William Blore (Gary Cramer) turned his character into a rather awkward man with a nervous handshake. He was hyper. Equally as uptight was Dr. Armstrong played by Bob Cohen. The kindly old doctor had secrets he manged to keep through most of the show. Emily Brent (Bonnie Jourdan) was a somewhat grumpy older woman who liked things her way and her way only. Jourdan’s sermonizing was well-timed, making her appear to be quite unfriendly.

General MacKenzie played by Jim Howard made his character into a stately old English gentleman who was not always sure what was going on around him. His general bearing was appropriate to his character. Lastly was Sir Lawrence Wargrave played by David James. James made the gruff magistrate into a reasonable detective, yet also maintained an undercurrent of anger.

Set Designers John Downing and Bill Glikbarg built a realistic set that was big, but not overwhelming. A nice attention to detail was shown and the Set Painting by De Nicholson-Lamb was well done. The cast and director Roland Gomez used the space creatively to keep the audience off track in attempting to figure out who the murderer was.

Try to watch everyone’s movements on the stage, but they probably won’t help you figure out who did it. The murderer performed a wonderfully creepy monologue at the end of the show, causing realistic and frightening reactions from the last victim. Aldersgate’s And Then There Were None was a well-timed, well-performed Agatha Christie classic.

Photo Gallery

Planning the Arrival. Howard Soroos, Amy Wolf and Bailey R. Center	Everyone is Accused. Evan Milberg, Amy Wolf (on floor) Bob Cohen, Bailey R. Center, Davis James, Jenni Patton and Jim Howard
Blore Unmasked. Standing, David James, Richard Isaacs, Bailey R. Center, Evan Milberg, Seated Gary Cramer and Jenni Patton	Searching the Island. Gary Cramer, Richard Isaacs, Bob Cohen and Bonnie Jourdan (seated)

Photos by Doug Olmsted

Cast

• Rogers: Bailey R. Center
• Mrs. Rogers: Amy Wolf
• Fred Narracott: Howard Soroos
• Vera Claythorne: Jenni Patton
• Philip Lombard: Richard Isaacs
• Anthony Marston: Evan Milberg
• William Blore: Gary Cramer
• General MacKenzie: Jim Howard
• Emily Brent: Bonnie Jourdan
• Sir Lawrence Wargrave: David James
• Mr. Armstrong: Bob Cohen

Production & Creative Staff

• Producers: Jayn Rife and Jim Howard
• Director: Roland Gomez
• Assistant Director: Eddy Parker
• Set Design: John Downing and Bill Glikbarg
• Stage Manager: Marg Soroos
• Set Construction: Stuart Travis
• Assisted by: Rock Vaughan, Jim Howard, Bill Glikbarg, John Downing, Eddy Parker, David James, Gary Cramer
• Set Decoration: Susan Driscoll-Blount
• Assisted by: Jim Howard, Eddy Parker
• Set Painting: De Nicolson-Lamb
• Assisted by: Eddy Parker, Richard Isaacs
• Properties: Judy Kee
• Lighting Design: Chris Handy
• Light Technicians: Sarah Bowman and Charlie Thomas
• Sound Design: David Correia
• Sound Technician: Kate Kershaw
• Costume Design: Kathy Dodson
• Wardrobe: Margaret Snow
• Special Effects: Art Snow
• Photographers: Doug Olmsted and Howard Soroos
• Dialect Coach: Heather Sanderson
• Double Tech Dinner: Jim Howard
• Opening Night Party: Benny Robles and Ronnie Hardcastle
• Usher Coordinator: Shirley B. Bolsted
• Front of House: Julie Pfister
• Audition Table: Eddy Parker and Liz Tipton

Disclaimer: Aldersgate Church Community Theater provided two complimentary media tickets to ShowBizRadio for this review.

You too can support independent media’s support of the arts by purchasing advertising on the ShowBizRadio web site. Ad slots are still available throughout the rest of the 2011-2012 season.

You know that feeling and taste of a home cooked meal, that particular taste that makes you feels at home. Not to say that a luxurious meal at five-star restaurant is somehow less than that, it’s just that a home cooked meal has that personal familiar touch. And so does Joseph and The Amazing Technicolor Dreamcoat I love the feeling of being taking by a story I know nothing about, so I went into that theater without any preconceived notions of the piece. Intentionally, I avoided reading anything about it, not even pictures. I even managed to get there at exactly at 8 o’clock, so my mind wouldn’t wonder and read something about the show. I wanted to be taken by surprise, and I was.

The show is based on a story from the Bible and it begins with the narrator (Marie Wakefield) as she makes her way across the middle aisle of the audience to the stage singing, as a choir of children wearing plain shirts of different colors joins her on stage. She then tells the story of Joseph (Hunter Bales) who enters stage right, rocking out a classic MacGruber haircut and a pair of stylish “weezer” black horn rimmed glasses, instantly making him a memorable character. He joins the narrator and with the magic of a Disney musical, boom! You’re taken into the world of Joseph’s biblical story.

The story of Joseph begins with his father Jacob (Teddy Gron) whose facial expressions had me geeking out during the whole show and his other eleven brothers each with his own noticeable personality. Jacob, who favored Joseph, buys him a technicolor coat (coolest coat EVER). But I digress, Joseph’s brothers are jealous of him for his coat, (honestly, who isn’t?!) so they strip him from the coolest coat ever and sell him to a group of Ishmaelites as a slave and they take him to Egypt. There Joseph is the slave of Egyptian millionaire Potiphar (Lee Blount). When Mrs. Potiphar (Shelagh Roberts) makes some very sexy Egyptian advances (it’s PG, calm down folks).

The show’s dance routines, choreographed by Adrienne Magnuson, are absolutely enchanting. They run all over the spectrum, from jazz, to Broadway to an amazing leg twitching Elvis. Joseph gets caught and is sent to jail. Depressed, Joseph sings “Close Every Door” and truly shows his singing abilities, but his spirits rise when he helps two prisoners put in his cell and he understands their dreams. One cellmate, the Baker (Christine Tankersley), will be executed, but the other, the Butler (Maria Ciarrocchi) will be returned to service. And cue “Go, Go, Go Joseph” yaaaay, confetti, good times, good time, yeaaah.

The Narrator (Marie Wakefield), who never ceases to amaze the audience with her stage presence, talks about forthcoming changes in Joseph’s fortune because the Pharaoh (Michael Page), who’s acted in the style of Elvis Presley, and I mean down to a tee, is having dreams that no one can interpret. So Joseph interprets the dream as seven plentiful years of crops followed by seven years of famine. An astonished Pharaoh puts Joseph in charge of carrying out the preparations needed to endure the impending famine, and Joseph becomes the most powerful man in Egypt, second only to the King (both figuratively and literally).

Did I mentioned how sweet the costumes, make-up, and lighting were? Well, pretty sure I just did. It’s clear from the moment the show begins to pick up momentum that a lot of thought, heart and hard work have gone into the production of this play, from the hand-made costumes, to the intense sets and the amazingly hand painted backdrops.

The spirit of the show is driven by its quirky and very talented ensemble cast, everyone in the show, no matter how small of a role, shined on stage. Even some of the adorable children in the choir were taken by the magic going on stage. The theater could use a new PA system, because a few times during the show it was a bit difficult to hear the actors over the band. And the band, by the way, was great. Overall, the show is an absolute great time for the whole family. Not for a second do you forget you’re watching a local theater production, but through the show’s performances and the very talented cast you believe every word and lyric sang in the show. If you love musicals, Bible stories, and “home-produced” awesomeness; do not miss Joseph and The Amazing Technicolor Dreamcoat.

Director’s Notes

“We all dream a lot..if you think it, want it, dream it, then it’s real. You are what you feel.” These are the words that invite you into a tale of Biblical proportions.

First conceived in 1968 as a commissioned cantata (a vocal composition with instrumental accompaniment) by Colet Court students, Tim Rice and Andrew Lloyd Webber, Joseph and the Amazing Technicolor Dreamcoat evolved throughout the years to become the beloved musical it is today.

What makes Joseph such an endearing and timeless piece enjoyed by performances from Children’s groups to Broadway is the basic message of perseverance and following ones dream.

I want to thank the production staff, cast and crew for turning this dream into a reality.

“May I return I return to the beginning, the light is dimming….any dream will do.”

John C. Waldron
Director

Photo Gallery

Photo 1	Photo 2
Photo 3	Photo 4
Photo 5

Photos provided by Aldersgate Church Community Theater

Cast

• Narrator: Marie Wakefield
• Joseph: Hunter Bales
• Jacob: Teddy Gron
• Reuben: Levi Meerovich
• Simeon: Joseph Cooney
• Levi: Austin Harlow
• Naphtali: Joseph Artabane
• Issachar/Pharoah: Michael Page
• Asher/Baker: Christine Tankersley
• Dan: Harry Juricic
• Zebulon: James Woods
• Gad: Melanie Bales
• Benjamin: Caroline Austin
• Judah: Dominic Owusu
• Wife/Ishmaelite: Corey Leigh Latta
• Wife/Ishmaelite/Mrs. Potiphar: Shelagh Roberts
• Wife Butler: Maria Ciarrocchi
• Wife: Kristen Otto
• Wife: Laura Juricic
• Wife: Morgan Vaughan
• Wife: Karli Eddinger
• Potiphar: Lee Blount
• Children’s Chorus
  • Rachel Lenora Baker, Brendan DeBie
  • Janan Gokturk
  • Leah Juricic
  • Anna Rizzi
  • Lucy Roberrts
  • Isabella (Bella) Carucci
  • Ali DiZinno
  • Olivia Hays
  • Emily Lyon
  • MacKenzie Rivera
  • Gabriella Woods
  • Cassie Cope
  • Danielle Duvall
  • Daniel Juricic
  • Jenna Martin
  • Ellen Roberrts

Orchestra

• Music Director: Jeff Taylor
• Assistant Music Director, Accompanist: Cathy Manley
• Flute/Clarinet/Alto Sax: Bob Greene
• Violin: Steve Natrella
• Guitar: Tim Casey
• Bass: Jack Coulter
• Percussion: Nick White
• Drums: George Huttlin

The Production Crew

• Executive Producer: Bill Austin
• Assisted by: Hannah Lau
• Co-Producers: Leighann Behrens and Corey Leigh Latta
• Director: John C. Waldron
• Music Director: Jeff Taylor
• Assistant Music Director/Accompanist: Cathy Manley
• Youth Choral Director: Karli Eddinger
• Stage Manager: Marg Soroos
• Assistant Stage Managers: Hannah Lau, Leighann Behrens
• Set Design: Mary Hutzler, Lauren Tucker, Valerie Wohlleben
• Assisted by: Marg Soroos, Jim Hutzler
• Set Decoration/Dressing: Marg Soroos
• Props: Judy Kee
• Props Assisted by: Jayn Rife, Orron Kee
• Light Design: Michael Page
• Light Technician: Kate Kershaw
• Sound Design: Colton Thomas
• Sound Technician: Sarah Bowman
• Special Effects: John C. Waldron
• Costumes: Jennifer Corl
• Makeup: Bette Williams, Jennifer Corl
• Assisted by: Leah Hays
• Hair: Jennifer Corl
• Dance Choreographer: Adrienne Magnuson
• Fight Choreographer: Adrienne Magnuson
• Wardrobe: Georgia Harlow
• Publicity/Marketing: Cndy F. Cole
• Assisted by: Amy Hurd, Bill Austin, Lori Rulapaugh, Bailey Center, Barb Baker, Howard Soroos, Lyndsay Austin
• Webmaster and Tickets: Lori Rulapaugh, John Rulapaugh
• Photographer: Herreracampbell Photography
• Casual Photos: Howard Soroos, Barb Baker
• Usher Coordinator: Julie Pfister
• Concessions: Gerry and Jennifer DeBie
• Opening Night Caterer: Benny Robles, Ronnie Hardcastle
• Tech Dinner: Shirley Bolstad, C.J. Mikowski
• Box Office: Michelle Vaughan, Jean Vita, Kacie Greenwood-Eckman

Disclaimer: Aldersgate Church Community Theater provided two complimentary media tickets to ShowBizRadio for this review. ACCT also purchased advertising on the ShowBizRadio.com web site, which did not influence this review.

You too can support independent media’s support of the arts by purchasing advertising on the ShowBizRadio web site. Ad slots are still available throughout the rest of the 2011-2012 season.

“But soft, what light through yonder widow breaks?” In Aldersgate Church Community Theater’s production of Romeo and Juliet, it is the blue-white glow of an iPod screen, part of director Heather Sanderson’s scheme to make Shakespeare “accessible to today’s youth,” as the press packet proclaims. The show explores the implications of its apparent premise that Italian young people in the 16th century were just like 21st century American teenagers. Given that adolescence, as we know it today, is a considerably more recent phenomenon, this premise is culturally and historically questionable.

In keeping with the show’s premise, the cast mixes adults with teenage and younger actors of varying degrees of experience and ability. Among the teenage performers, Emily Whitworth, who already has worked in several local Shakespeare productions, put across persuasively the goofy teenager side of Juliet. She played the role with great energy as well as an appreciation for the music in Shakespeare’s lines. She sometimes allowed her energy to run away with her pacing, however, and she could afford to slow her delivery on occasion. Alex Wong is a gawkily attractive Romeo who needs greater discipline in his gestures.

The pair’s make-out scene in Friar Laurence’s room, in addition to being great fun, does a good job of painting their relationship as one of youthful enthusiasm, even if not of the deeper love that one can see in productions using older actors. Both ably portray the rapid mood swings and impulsiveness that can lead teenagers to the heights or depths of emotion.

The well-written, witty role of Mercutio can steal any production of R&J, and Erik Harrison’s Shakespeare-by-way-of-Oscar Wilde take on the character threatens to do so here. He has a particularly nice moment in the “Queen Mab” speech. Benvolio, in one of two bits of cross-gender casting in the show, is played by Rebecca Fischler, whose line delivery and body control are works in progress.

The younger children deserve credit for learning and projecting their lines clearly; they do a particularly nice job in the starting and ending choruses. They looked like they were having fun, and there is much educational value in being able to perform in a great play at a young age.

Among the adults, the standout was Colin O’Grady, who had a commanding presence and crisp line delivery as the Prince. Amanda Kirby’s Lady Capulet, played as all too focused on her fashions, and Elliot Bales, playing Friar Laurence as a frequently loud and exasperated, tough-love-dispensing mentor to Romeo and Juliet, also made solid contributions. David Adler, doing a funny drag turn, was the dottiest Nurse one can imagine. Unfortunately, Dell Pendergrast gave a fingernails-on-the-blackboard rendition of Lord Capulet, with constantly distracting vocal and physical mannerisms.

Perhaps the oddest, and least successful, choice Sanderson made was to conceive Paris – Juliet’s unsuccessful suitor – as a nervous, middle-aged nebbish in a hideous orange suit. Gary Cramer took one for the team by skillfully carrying out the concept, but this attempt at forcing additional humor by interpreting the character in this way deprived Paris of dignity and went counter to the way the play’s lines describe him.

That said, Sanderson is spot-on when she points to the humor inherent in the script. The play has a lot of quite funny moments, and this production brings them out better than most. Many classic elements of comedy are present: moonstruck, mercurial kids; bickering and interfering adults; coincidences and contrivances; witty repartee. It’s just that the playwright decides, through a plot device (Friar Laurence’s undelivered letter), to turn the story to death at the end. Comedy tomorrow, tragedy tonight.

The production is also inconsistent technically. As part of her strenuous effort to make R&J “timeless” (as though it weren’t already), Sanderson mixes clunky wooden swords and electronics among the props; contemporary and 17th century costumes; and pop pre-show music with Renaissance, classical, opera, and miscellaneous sounds during and between scenes. The execution of the sound design was marred by several abrupt starts and stops. This technical grab bag undermines any possibility of a sense of unity in the look and feel of the production.

The main stage set was simple: two square pillars (behind which actors occasionally lurked, and on one of which a Rembrandt print was hung at seemingly random intervals); two arches; and a central unit, used in the balcony scene, that resembled nothing so much as an oversized brick barbecue. The fight choreography was awkward and unconvincing, even to the point of transparently using the old sword under the arm trick when someone is supposed to be stabbed. The dual suicide at the end of the show was well blocked. There was effective use of entrances and exits from the house on several occasions, particularly when the chorus was involved.

R&J premiered in the 1590s, so it is now in its 6th century of production. There have been three versions of the show presented in the Washington area this year already. Doubtless, few people have ever complained that a story of thwarted teenage love was irrelevant, so I believe we can safely conclude that the show, on its own merits, will last and continue to attract audiences, all of whose members were young once.

Director’s Note

“What’s in a name?” asks Juliet. A lot!

“Romeo” means ‘Pilgrim’ and he is exactly that; earnest to a fault. “Juliet”; ‘a down bearded youth’, which of course is exactly what she would have been in Shakespeare’s days when the girl parts were played by boys. “Mercutio”; temperamental with mood swings to suit his ‘mercurial’ nature. “Benvolio” is, of course, the ‘kindly’ friend. “Tybalt”, the one who first notices Romeo at the dance, is a Latin name meaning “he who sees.” The list goes on.

Describing his characters by their names was just one of the textual devices Shakespeare used to give his actors an indication of how they should be played. Which brings me to Miss Pike, the English teacher who introduced me to Romeo & Juliet when I was 14. She looked exactly like her name suggests, tall, thin as a rail, and as serious as a pikestaff. She seemed intent on making sure that we were never, ever to be interested in Shakespeare. It was only when I moved to California and acted in my first Shakespeare play – Romeo & Juliet – that I discovered why Shakespeare was, in the words of Ben Johnson, “not of an age, but for all time.”

I identify with his characters. They are people I know. The themes in his plays ring as true today as when he penned them over 400 years ago. It took me over a decade to discover that Shakespeare isn’t boring. Now, I make it a point of introducing every child I come into contact with to the joy that is Shakespeare. Take that Miss Pike! Or, as Hamlet would say, “sweet revenge!”

There are more youths in this production than adults. I think Shakespeare would have approved. After all, he wrote some of his most famous roles for ‘the little eyases’; the young boy players aged 11-14. I hope the Bard would have appreciated how we costumed the show. When his actors performed, they wore clothing from their time, mixed in with anything else they could get their hands on that they felt made up the essence of their characters; sometimes those items were new, sometimes old. We’ve done the same. Adding to this ‘timeless’ feel, we’ve also mingled modern day devices (IPod, Blackberry, Razor Scooter), with those of ages past (sword, ink pot, feather quill).

There are no stage directions in Shakespeare’s plays (well, just one in Winter’s Tale; “exit pursued by Bear.” His direction to the actors – in their blocking, their motivations – can all be found in the words. By analyzing the play’s text (using a variety of source material). I’ve attempted to replicate Shakespeare’s original intentions. Joining me on this journey of exploration has been a cast beyond compare; all working tirelessly to help unravel the mysteries of the text. Their insights have been invaluable and I cherish their trust and patience.

Our crew, made up of youth and ACCT friends (old and new), are the team behind the scenes that you might not see, but would certainly miss if they weren’t there. I know I would. All assembled by Jean and Terri; women who define the word ‘friendship.’ When asked last summer to co-produce the show they didn’t hesitate. Without them there would be no show today. Thank you ladies for joining me on this wonderful journey to Verona.

Photo Gallery

Alex Wong as Romeo and Tricia O’Neill-Politte as Apothecary	Dell Pendergrast as Lord Capulet and Emily Whitworth as Juliet
Amanda Kirby as Lady Capulet, Erik Harrison as Mercutio, Chorus as Samantha White and Lily Penn	Erik Harrison as Mercutio, Chorus as Lily Penn, Samantha White, Megan Wirtz, Diana Kleiman
David Adler as Nurse and Emily Whitworth as Juliet

Photos by Lee Anderson Photography

Cast

• The Chorus: Diana Kleiman, Emily Lyon, Lily Penn, Natalie Turkevich, Morgan Vaughn, Samantha White
• Sampson Peter: Eddie Perez
• Gregory: Carson Meadows
• Abram: Natalie Turkevich
• Balthazar: Aubrey Blount
• Benvolio: Rebecca Fischler
• Tybalt: Joe Quinn
• Lord Capulet: Dell Pendergrast
• Lady Capulet: Amanda Kirby
• Lord Montague: Gary Kleiman
• Lady Montague: Tricia O’Neill-Politte
• Prince Escalus: Charles Dragonette/Colin O’Grady
• Romeo: Alex Wong
• County Paris: Gary Cramer
• Page: Jacques Worth
• Nurse: David Adler
• Juliet: Emily Whitworth
• Mercutio: Erik Harrison
• Rosaline: Megan Wirtz
• Friar Laurence: Elliott Bales
• Attendant: William Havranek
• Apothecary: Tricia O’Neill-Politte
• Friar John: Alan Bunner/William Havranek
• Guard 1: Erik Harrison
• Guard 2: Rebecca Fischler
• Guard 3: William Havranek

Production Staff

• Executive Producer: Kacie Greenwood
• Co-Producers: Terri Peasley and Jean Vita
• Director: Heather Sanderson
• Assistant Director: Eliza Lore
• Co-Stage Managers: Charles Dragonette and Marg Soroos
• Set Design: Heather Sanderson and Stuart Travis
• Sound Design: Heather Sanderson and Alan Wray
• Dance Choreography: Eric Harrison and Emily Whitworth
• Light Design: Rachel Lau
• Light Design Consultant: Michael Page
• Costume Design and Fabrication: Jessica Moreno
• Assisted by: Paula Barton
• Wardrobe: Barbara Helsing
• Construction: Bill Austin and Stuart Travis
• Assisted by: Lee Blount, Rock Vaughn
• Fight Choreography: Nafeesa Monroe
• Assisted by: Carson Meadows
• Painting: Rick Lore, Sarah Lore, John Peasley, Mike Vita
• Set Dressing: Diana Kleiman, Emily Lyon, Lily Penn, Natali Turkevich, Samantha White, Morgan Vaughan, Megan Wirtz
• Set Dressing Consultant: Lauren Tucker
• Properties: Susan Driscoll-Blount
• Assisted by: C.J. Mikowski, Jayn Rife
• Light Technician: Hannah Lau
• Sound Technician: Grace Denton
• Concessions: Bill and Lyndsay Austin
• Assisted by Girl Scout Troops 364 & 600
• Photography: Lee Anderson, Anderson Photography
• Box Office: Kacie Greenwood, Michelle Vaughan
• Publicity: Lori Rulapaugh
• Assisted by Candy Cole
• Signs and Banners: Bill Austin
• Opening Night Reception: Benny Robles and Ronnie Hardcastle
• Tech Dinner: Greg Husar, Sherwood Hall Gourmet
• Webmaster & Tickets: Lori Rulapaugh
• Videography: Morgan Peasley, Margie Woods
• Cast Board: Ellen Woods, Emily Woods
• Ushers: Girl Scout Troops 364 & 600
• General Assistance: Barbara Bonnet, Beth Morrissey
• Opening Night Coordinator: Vero Autophenne
• Cast Party: Beth Morrison

Disclaimer: Aldersgate Church Community Theater provided two complimentary media tickets to ShowBizRadio for this review.