In Volume 2 of the Broadway musical satire series Forbidden Broadway appears a song called “Into the Words,” kidding Stephen Sondheim’s propensity for verbal gymnastics. I don’t know whether NextStop theatre company’s director and scenic designer (Evan Hoffman and Steven Royal, respectively) for Sondheim’s Into the Woods ever heard the spoof song, but they’ve done it more than one better. Entering the Industrial Strength Theater, the audience is greeted by an entire two-level library, complete with a metal spiral staircase between the levels, calling to mind Henry Higgins’ study in My Fair Lady. Only a few bare trees in the foreground suggest the presence of literal woods. For anyone familiar with the traditional staging of the show, the effect is startling: looks cool, but what are they going to do with it?

Literalism is, of course, not the point of Into the Woods, as it blends Sondheim’s and James Lapine’s takes on several traditional fairy tales; a made-up story about a baker, his wife, and a witch; and a darker story about what happens to the characters after the “happy ever after” ending of the first act. In his comments on the show in his book “Finishing the Hat,” Sondheim recounts an incident in which a group of patrons left the theater after Act 1, believing the show was over. Something similar appeared to happen on a smaller scale at NextStop Sunday afternoon. Suffice to say, much of the development of the show’s major themes — relationships between parents and children, community responsibility — as well as the most inventive and creative uses of the library set, occur after intermission.

Into the Woods is very much an ensemble show, a feeling emphasized by the fluid and sometimes intricate movement of the cast in the larger numbers. NextStop’s actors admirably filled both the larger and smaller roles. As the Witch, Priscilla Cuellar was possessive of her child, Rapunzel; vindictive toward the Baker, his father and his wife; and generally angry at the world. Cuellar gives her role a destructive energy but also has moving moments of sadness and loss concerning her child, singing tenderly in songs like “Stay With Me” and the “Witch’s Lament.” She belts in “The Last Midnight” and is more reflective in the “Children Will Listen” portion of the Act Two Finale. (Interestingly, the NextStop production omits the optional duet for the Witch and Rapunzel, “Our Little World,” Sondheim’s attempt at filling in the mother-daughter relationship.) Cuellar hits whatever emotional tone a given scene or song requires, and she manages well her physical transition from old crone to voluptuous glamour queen.

John Loughney and Katie McManus stand out in the key roles of the Baker and his wife. Sondheim comments in “Finishing the Hat” that he and Lapine intended these characters to represent the feelings and concerns of a modern urban American couple who just want a family and a peaceful life, but who find themselves in a fanciful medieval setting involving witches, giants, and princes. “I’m in the wrong story,” the Baker’s Wife comments in Act 2.

McManus makes the wife’s story one of the most gripping in the play, as she transforms from a wife longing for a baby to a full partner in the couple’s quest to someone who finds a balance between the “or” and the “and” in life, between the reality of daily life with her family in the village and living in the moment in the woods. McManus makes the song in which the Baker’s Wife articulates that transition, “Moments in the Woods,” the highlight solo of the production, not only with her strong, clear voice but with her face and body registering her character’s rapid changes of thought and emotion as the song proceeds.

Loughney teams well with McManus in “It Takes Two,” as the Baker discovers that his previous assumptions about his marriage don’t work so well in the woods. As his character deals with confusion and loss in Act 2, Loughney’s characterization gains depth, and his rendering of “No More” is superb, not only vocally but in showing his exhaustion and near-despair. Despite his own grief, he helps Jack, Cinderella, and Little Red form a new community to deal with a marauding giant and the changed world the characters now inhabit, in the beautifully sung “No One is Alone.” When the original production of Into the Woods opened in 1987, there was some criticism of this song as simply being a reworking of “You’ll Never Walk Alone,” written by Sondheim’s mentor, Oscar Hammerstein. While both involve giving comfort in painful situations, “No One is Alone” is a far more complex lyric, emphasizing the need for, and inevitability of, community, notwithstanding loss and error. It also includes a note of warning: “Careful, no one is alone.”

Jack (Sean McComas), the adventurous boy who climbs a beanstalk and kills a giant, does not have as great an opportunity for character growth as many of the others. He remains a boy who arouses the protective instincts of others, even when the Witch wants to feed him to a vengeful giant. McComas nails his exuberant first act song, “Giants in the Sky,” moving quickly from one side of the second level of the set to the other, and then on down to the playing area floor.

Cinderella (Brittany Martz) does get a longer character arc, from an oppressed girl to the dazzled wife of a prince to a courageous fighter in the war against the giant to disappointment in her wandering husband to becoming a nurturing member of the renewed community, taking on the care of the Baker’s baby. Martz traverses the arc with nary a misstep. Her songs, including “A Very Nice Prince,” “On the Steps of the Palace” (which reveals that this Cinderella is a very smart girl, deliberately leaving her shoe behind so that the Prince can decide whether to pursue her), and her portion of “No One is Alone” are performed as well as anyone could ask for, both in terms of sound and character.

Nora Palka is a very talented singer and actor, and she gives an excellent performance as Little Red Riding Hood. This was a point, however, at which I question director Hoffman’s choices. Palka’s Little Red comes off as a young adult rather than a precocious early adolescent, in consequence losing some of the nuances that make the character a delight. Her first act number with the Wolf (Scott Gaines), “Hello Little Girl,” is more explicitly about sex than usual — no subtext here. The Wolf is a hottie, and Little Red isn’t far into the number before she is running her fingers down his abdominal six-pack. Gaines sings his part of the number in an appropriately ravenous way.

Gaines also plays Cinderella’s prince, which gives him the most delicious comic line of the show: “I was brought up to be charming, not sincere.” He and Scott Harrison, who plays Rapunzel’s prince, team up tunefully in “Agony” and its reprise. Hoffman’s direction calls for them to act out their stylized masculinity in near-melodrama fashion, and their mirror-image blocking adds to the song’s comic effect.

Hoffman made the Narrator (Ryan Manning) a much more active part of the proceedings than in many productions, moving from one portion of the set to another, interacting with and reacting to the characters at multiple points, handing them props etc. In general, he was a much more noticeable and relevant Narrator than one sometimes sees. Danny Trippel was a fey, excuse-making bureaucrat of a Steward. The only relatively weak link in the cast was Blakeman Brophy as The Mysterious Man, whose performance was flat and not all that mysterious. He also suffered from being given an unfortunate wig.

The clarity of the performances permits an appreciation of some of the subtleties of Sondheim’s lyrics. For example, there’s “nice,” used in contrast to “good” by three female characters. Cinderella, as she is being mistreated by her mean girl sisters, recalls that while her mother told her to be good, her father told her to be nice. She comments later that “princes are nice” and has an entire song about “A Very Nice Prince.” Little Red notes that the Wolf seemed nice and that “nice is different than good.” In “The Last Midnight,” the Witch has the last word on the subject: “You’re so nice. You’re not good, you’re not bad, you’re just nice. I’m not good, I’m not nice, I’m just right.” While it wouldn’t be fair to say that Sondheim has an overtly feminist agenda, this language acts to emphasize that niceness — as a feminine trait valued by men in the patriarchal society of these folktales — may well limit the ability of women to be independent moral actors. And being responsible on one’s own for moral choices is of supreme importance to Sondheim in Into the Woods.

Franklin Coleman’s lighting design made extensive use of tightly focused area lighting, with often rapid cuing as characters moved about the set. There was a nice gobo effect of leaves projected onto the floor, an ominous red light from off stage left during the wolf scene, and a bright green light off stage right on the second level for the Witch’s exit at the end of “The Last Midnight.” Kathy Dunlap’s costumes were a visual treat: among others, lovely ball gowns for Cinderella and her sisters; a jacquard look for the princes; dark enveloping swirls of cloth for the Witch when we first see her (augmented by a suitably hideous upper face mask), then a low-cut black sparkly gown with a cape to match after she makes her transformation; a nice wolf fur stole for Little Red; a maroon velvet outfit for the Steward. Props, from all the books in the library (collecting which must have been a prodigious chore) to the very similar scepters of the Steward and Witch to items like Little Red’s goodies and her intimidating knife, are well-chosen.

Eric Kritzler’s sound design was a tale of the good and the bad. The good was in the well-chosen and well-timed effects, whether giant footsteps, a character getting squished, the cow electronically dying, baby cries, or twittering birds. The bad was the volume level of the amplification for the Elisa Rosman’s top-notch orchestra and the actors. It was LOUD, hardly necessary in a house where no one sits more than eight rows from the stage. Note to NextStop: a prudent audience member brings earplugs to a heavy metal concert. At a performance of a Broadway musical, thoughts of needing ear protection should not occur.

And what lovely things the production does with that library. The Narrator takes a book from the shelves to begin telling the story. Cinderella’s birds are books that are lowered from the ceiling area and flap open. Even Jack’s cow, often a two-dimensional cutout, becomes a book cart. In the second act, books fall out of the shelves as the giant attacks the village (the technical accomplishment of shaking the books loose on cue is impressive). The tree that topples to kill the Baker’s wife becomes a bookcase partly falling over and dumping its load of books. Actors have to make their entrances stepping over piles of fallen books, the debris of war. At the end of the second act, cast members come on stage and replace the fallen books on the shelves, as order is restored to their world, and most of the cast picks up a book to read until they must come downstage to sing their part of the finale.

It’s all compelling visual theater, and a very refreshing approach to staging the show, but it succeeds in being a good deal more than that. It says, to me at least, that the sum of our culture is contained in the stories we tell, and that the stories we tell — whether or not contained in physical books — make us who we are. Those stories are what we pass to our listening children. These themes are implicit in the writing of the show; NextStop’s production has found a very innovative way of making the themes tangible.

Into the Woods is arguably Sondheim’s most accessible show, one that has greater depth than a first viewing may reveal. I’ve seen the show many times, from the original Broadway cast through professional and community theater efforts of greater or lesser success. The excellence of the performances and thoughtful design elements make this production one I will remember.

Cast

• The Narrator: Ryan Manning
• Cinderella: Brittany Martz
• Jack: Sean Mccomas
• The Baker: John Loughney
• The Baker’s Wife: Katie McManus
• Cinderella’s Stepmother: Jennifer Lambert
• Florinda: Laura Fontaine
• Lucinda: Jaclyn Young
• Little Red Riding Hood: Nora Palka
• Jack’s Mother: Lynn Audrey Neal
• The Witch: Priscilla Cuellar
• Cinderella’s Father/Mysterious Man: Blakeman Brophy
• Cinderella’s Mother/Granny: Allizon Reggioli
• The Wolf/Cinderella’s Prince: Scott Gains
• Rapunzel: Suzanne Stanley
• Rapunzel’s Prince: Scott Harrison
• The Steward: Danny Tippett
• The Giant’s Wife: Kathie Lee Gifford

Production Team

• Director: Evan Hoffmann
• Music Director: Elisa Rosman
• Choreographer: Lorraine Magee
• Assistant Director: Kristen Pilgrim
• Production Stage Manager: Joan Lada
• Assistant Stage Manager: Laura Moody
• Scenic Designer: Steven Royal
• Scenic Associate: Adam Koch
• Costume Designer: Kathy Dunlap
• Costume Associate: Sue Gattoni
• Lighting Designer: Franklin C. Coleman
• Properties Designer: Sierra Banack
• Master Electrician: Brian Stefaniak
• Sound Designer: Eric Kritzler
• Sound Engineer: Stan Harris
• Scenic Painter: Michelle Urcuyo
• Make-up Designer: Kara Hogarty
• Co-Hair Designers: Sue Pinkman, Kat Brais, Laura Fontaine, Jaclyn Young
• Stage Combat: Kristen Pilgrim, Steve Lada
• Electronics Crew: AnnMarie Castrigno, Michael O’Connor, Max Frost
• Master Carpenter: William Gautney
• Carpenters: Jeff Boatright, Kevin Hunter, Ian Brown, James Finley
• Crew: Barbara Maltseva
• Season Artwork: J. Noah Rubin, Jason Pepping

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

Starting with the 1964 Roald Dahl children’s book and the 1971 movie adaptation starring Gene Wilder, Willy Wonka has been beloved by dentists for five decades now, celebrating as it does the compulsive consumption of cavity-creating confections. The uneven Vienna Theatre Company (VTC) production of the stage musical version retains considerable charm.

The title character, played by Sedrick Moody, is a misanthropic, mysterious candy magnate. Singing winningly and moving beautifully, Moody makes Wonka something of a song and dance man. The device motivating the plot is Wonka’s desire to retire and turn the factory’s operations over to some deserving child. Moody’s Wonka seems rather young to be contemplating retirement, but he nonetheless sets in motion a scheme to put coupons in five candy bars the finders of which will get a free tour of the factory — which otherwise is as closed to outsiders as, say, CIA headquarters — plus a lifetime supply of chocolate. This proves a brilliant marketing ploy, sending sales of his products skyrocketing.

The first four coupons find their way into the hands of a quartet of obnoxious children: Mike Teavee (Tashi Poe), joined at the hip to his electronic devices; Augustus Gloop (Erik Payton, ironically the smallest, slimmest child in the cast), who never stops eating; Violet Beauregarde (Kaia Griggs), a Georgia rich kid addicted to chewing gum; and Veruca Salt (Amelia Lindsey), the most spoiled brat of the lot. Each has a solo acting and/or singing moment to shine, most notably Lindsey in “I Want it Now,” in which she displays a promising belt voice.

The final coupon is found, at the last moment, by the show’s child lead, Charlie Bucket (Adam LeKang). Charlie, a classic “good kid,” lives with his unemployed parents (Alex Graur and Toby Nelson) and highly sedentary grandparents (Emily Franks, Nora Zanger, Joseph LeBlanc, and Bob Maurer) who appear never to leave the cramped bed they share. LeKang sings well, especially in his second act duet with Maurer (“Flying/Burping Song”), and is he able to move (he even taps a bit).

The show runs only two hours, but the pace frequently feels slow. Much of this is built into the structure of the show. When the four grandparents never move from their bed, with other characters sandwiched in behind them, it is hard to avoid their book scenes becoming tediously static. Moreover, the script seems to revel in repetition. LeBlanc’s character is hard-of-hearing, a trait LeBlanc handles very well, with fine energy and timing. But the audience must endure one similar hard-of-hearing joke after another for lengthy stretches of the first act. Likewise, in the second act, the Oompa-Loompas, Wonka’s factory workers (Melissa Handel, Hannah Hess, Mia Parnaby, Faith Skeen, and Kyla Poe), sing essentially the same chorus five times. The Oompa-Loompas’ singing and dancing are well performed. Here, as in other portions of the play, choreographer Rosslyn Fernandez creates movement that the children in the cast can execute but that keeps matters reasonably lively. By the third, fourth, or fifth time through, however, it’s hard to shake a feeling of “been there, done that.”

Generally, the show’s musical score is lackluster. With the exception of the lively “The Candy Man,” well sung by Daniel Marin, the songs, however capably performed by the cast, are readily forgettable. The production’s “musical village” accompanies the singers successfully.

The production makes extensive use of projections (designed by Jon Roberts) and videos. The videos, featuring breathless TV newsman Phineous Trout (Wayne Jacques) interviewing the four obnoxious contest winners and their equally annoying mothers, are among the funniest moments in the show. In the second act, projections representing the interior of the candy factory (picturing moving bubbles and various tinker toy-like pipes for the ingredients, for example) are inventive and effective, though the first act projection of a working-class neighborhood street is often too dim to be seen clearly. Tom Epps’ lighting design is inconsistent, at some points illuminating the action well but at others leaving characters (especially Wonka himself) in overly dim light or partially washing out the projections.

The biggest technical fault of the day involved sound operation. While having the occasional strong moment — the burping for Charlie and his grandfather in act two comes to mind — the soundscape was regularly marred by inconsistent mike levels, late execution of sound cues (Charlie’s father was a noticeable victim of this problem in parts of the first act), distortion, and feedback. Hopefully these problems can be fixed for the production’s final weekend.

The first act set (designed by Leta Fitzhugh) is dominated by a drab room where the Bucket family resides, with one flat that various actors move forward or backward to mark scene changes. The second act set, representing the factory, is appropriately more colorful and fun, featuring a multicolored plastic conduit and see-saw like pieces that Charlie and his grandfather use in “Flying.” A similar point can be made about the costumes (designed by Judy Whelihan, Kati Andersen, and Michael Panganiban). In the first act, the costumes are mostly drab and uninteresting; many of the children appear to be wearing their own clothes, for one thing. In the second act, things become more colorful, with the variously hued Oompa-Loompas (whose costumes appear to be fitted around hula hoops) being a visual high point. Wonka wears a black tux-like outfit and looks good in it.

As a show featuring young actors and based on a well-known children’s book, Willy Wonka is obviously designed to appeal to kids. The children in the audience reacted enthusiastically to much of the show, which is a principal mark of success for such a production.

Director’s Note

Since you are reading the Director’s Note, you wondered why this program has “See Director’s Note” on the “Music Director” line in the Production Team list and has another indication for a “Music Village” with names following it. I’ll explain. For reasons there is no need to get into, the person who was to be the music director for this show let us know that he would be unable to fulfill that commitment the day before auditions for the show. My dear friend, Larry Zimmerman, and Scott Richards, a new friend I made in the course of the previous VTC Show, This, got us through auditions. Larry agreed to continue with the show but he would not be able to take on the full responsibility of music director since he would be unavailable for rehearsals for about a month. We were ready to replace this show with a non-musical or cancel the VTC spring show entirely. Then, my indefatigable producer, Jocelyn Steiner, announced that we WOULD do the show even if it “took a village” to put the music together. My indomitable stage manager, Colleen Stock, reinforced Jocelyn’s vision. I got caught up in their commitment and enthusiasm. The entire design team jumped aboard the “village” bandwagon and we vowed that we would bring this show to the stage. We asked all of the music directors we knew-and some we didn’t know-if anyone could step in. But it was a very last minute request and music directors are booked at least a year in advance. Everyone was already involved in a show or exhausted from a show just completed. Beth Atkins, a fine music director in her own right, had been on board to help with Willy Wonka from the beginning and agreed to continue with the show but was unable to take on the full job of music director. Francine Krasowska, another great music director, also agreed to help out. Led by these three stars, the cast, crew and design team became the village that has indeed brought life to Willy Wonka. It has been an extraordinary experience and is a testament to commitment, creativity and plain, old hard work on everyone’s part. Enjoy the show-it has taken a village of dedicated people to make the magic happen!

Photo Gallery

Bob Maurer as Grandpa Joe, Toby Nelson as Mrs. Bucket, Nora Zanger as Grandma Josephine, Emily Franks as Grandma Georgina, Adam LeKang as Charlie Bucket, and Joseph LeBlanc as Grandpa George	Melissa Handel, Faith Skeen and Mia Parnaby as Oompa-Loompas and Sedrick Moody as Willy Wonka

Photos by Jessica Sperlongano

The Cast

• Augustus Gloop: Erik Peyton
• Candy Man: Daniel Marin
• Charlie Bucket: Adam LeKang
• Grandma Georgina: Emily Franks
• Grandma Josephine: Nora Zanger
• Grandpa George: Joseph LeBlanc
• Grandpa Joe: Bob Maurer
• Mike Teavee: Tashi Poe
• Mr. Bucket: Alex Graur
• Mrs. Salt: Toby Nelson
• Mrs. Beauregarde: Emily Franks
• Mrs. Bucket: Toby Nelson
• Mrs. Gloop: Kimberly Baker
• Ms. Teavee: Nora Zanger
• Oompa-Loompa: Melissa Handel
• Oompa-Loompa: Hannah Hess
• Oompa-Loompa: Mia Parnaby
• Oompa-Loompa: Kyla Poe
• Oompa-Loompa: Faith Skeen
• Oompa-Loompa: Kathryn Skeen
• Phineous Trout: Wayne Jacques
• Veruca Salt: Amelia Lindsey
• Violet Beauregarde: Kaia Griggs
• Willy Wonka: Sedrick Moody

Production Team

• Producer: Jocelyn Steiner
• Director: Jessie Roberts
• Choreographer: Rosslyn Fernandez
• Assistant Stage Manager: Jay Stein
• Lighting Designer: Tom Epps
• Sound Designer: Jon Roberts
• Music Director: See Director’s Note
• Music Village
  • Keyboard: Larry Zimmerman, Francine Krasowska, Beth Atkins
  • Violinist: Kristina Westernik
  • Percussionist: Abel Ruiz
• Vocal Coach: Janice Zucker
• Projection Designer: Jon Roberts
• Graphic Designer: Michael Philip Panganiban
• Set Designer/Scenic Artist: Leta Fitzhugh
• Construction Coordinator: John Vasko
• Properties: Suzanne Maloney
• Set Dressing: Jocelyn Steiner
• Costume Designers: Judy Whelihan, Katie Andresen
• Hair and Make-up: Erica Longshore
• Set Construction Crew: John Vasko, Jon Roberts, Jessie Roberts, Samantha Poe, Jocelyn Steiner, Kaia Griggs, Hannah Hess, Diane Hess, Tracey Todd, Mikala Baker, Jay Stein
• Lighting Crew: Tom Epps, Kimberly Crago
• Costume Crew: Francoise Davis
• Set Painting Crew: Leta Fitzhugh, Mikala Baker, Hannah Hess, Diane Hess, Samantha Poe, Kaia Griggs, Anna Balch, Wayne Jacques, Denise Perrino, Vanessa Peyton, Kyla Poe
• Photographers: Jessica Sperlongano, Vanessa Peyton
• Program Design: Mary Ann Hall
• Light Board Operators: Kimberly Crago, Eric Stork, Kieth Flores
• Stage Crew: Mikala Baker

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

Though it was not the first, Tom Jones’ and Harvey Schmidt’s The Fantasticks was the prototypical, and certainly the most frequently performed, off-Broadway musical. Among other things, the original 1960 production was the breakthrough role for Broadway and television great Jerry Orbach. With a small cast, a single accompanist, and modest technical requirements, the innovative show demonstrated that limited resources, creatively deployed, could produce theatrically and emotionally rewarding work.

Pandemonium Theatrical Productions, using a performing space in Lorton’s Workhouse Arts Center, provides a generally satisfying rendition of this familiar show. The story centers around young lovers Matt (Jonathan Litalien) and Luisa (Mary Anne Furey), as they are manipulated by their fathers (Jason Krage and John Hollinger, respectively), and the narrator/bandit El Gallo (Michael Sharp).

Luisa begins as a self-dramatizing teenage princess, and in her early songs (“Much More” and “Metaphor”) director Jeffrey Davis gives Furey license to take the drama a bit far. By the time she and Litalien get to the innocently sensual “Soon It’s Gonna Rain” and, even more so, the tender “They Were You” (staged simply with the actors sitting on the stage floor in each other’s arms), their characters have grown and their portrayals have become more controlled. Both sing beautifully, especially in the quieter portions of their numbers, and the feelings conveyed, especially in “They Were You,” are genuinely touching. (The latter number is a close thematic and emotional cousin of the superb finale of Candide, “Make Our Garden Grow.”)

Their fathers, in a successful attempt to ensure that Matt and Luisa fall in love, pretend to feud and construct a Pyramus and Thisbe-style wall between their back yards. Passionate gardeners both, albeit with contrasting horticultural philosophies, they boast of their manipulative prowess over their offspring in “Never Say No” and ruefully reflect on the unpredictability of kids in “Plant a Radish.” Hollinger and Krage both sing effectively, while projecting genially rustic, but canny, characters. Like Litalien and Furey, Hollinger and Krage have good stage chemistry together.

El Gallo is a sort of life force character, who must be dashing and charismatic while administering harsh life lessons to Matt and Luisa in order to move them to a more mature understanding of their love. Sharp’s performance was short on dash, sometimes seeming more stolid than charismatic, and the life force felt wan at times. Sharp had inconsistent success in trying to remember the lyrics of “Try to Remember,” the show’s famous opening number. Indeed, he was noticeably fighting for lines at several points throughout the evening. Probably his strongest moment was “I Can See It,” his stirring second act duet with Matt.

The Fantasticks includes two amusing small character roles, Henry and Mortimer, a forgetful old actor and a make-believe Indian who does (or rather overdoes) death scenes. Davis did not give Mortimer (Casey Fero) death scenes quite as elaborate as in many productions, and Fero’s vigorous portrayal belied the wear and tear that would likely result from 40+ years of dying. I find myself in strong disagreement with the director’s choice to cast a younger actor (Amy Wolf) to play Henry. Wolf’s big, brassy portrayal completely missed the poignance of the elderly trouper, who mixes up his Shakespeare lines but never surrenders, only wishing to be seen under light. The contrast between Henry’s age and frailty and the youthful innocence of Matt and Luisa is an important overtone in the show, and it’s a pity to lose that nuance. Since a woman is playing the part, the old actor is identified in the program as “Henrietta,” which does not affect the other characters, who go right on calling her “Henry.”

On the other hand, Davis and choreographer Mary Payne Omohundro built up the role of The Mute (Kathleen McCormack) considerably compared to many productions, with outstanding success. McCormack’s mute is not a relatively passive mime, but a combination stage manager, silent Greek chorus, and dance soloist, who interacts frequently and charmingly with the other characters. Her reactions to the goings-on around her are always on point, and she is a disciplined enough performer to avoid stealing scenes that were hers for the taking.

In addition to McCormack’s fine work, the movement in the production is strong throughout, especially in ensemble numbers like “This Plum is Too Ripe” and “Round and Round.” Davis also deserves credit for keeping the original version of “It Depends on What You Pay” rather than succumbing to use of the more politically correct substitute that has been employed in some productions in recent years.

Musical director/pianist Brandon Heishman provides excellent and, as far as I could tell, note-perfect accompaniment. To his and the actors’ credit, every song in the show was sung at least adequately and often highly effectively. The program did not list credits for most of the technical categories. This is an active props show, however, and whoever assembled the foam swords, garden supplies, fruit, a small jewel box (a particularly nice touch, into which El Gallo deposits Luisa’s tear), and other items did his or her job well.

Like Candide, which preceded it by four years, The Fantasticks is in a sense a socially conservative story. In both shows, two young people have unrealistic ideals, set out to find adventure, are chastened by reality, and return content to live conventional, if comfortable and comforting, lives. Matt and Luisa are children of the 50s, not of the rebellious and rule-breaking 60s, more likely to find fulfillment behind a white picket fence than on a picket line. (Go see a production of Hair if you want the update.) It’s interesting to speculate about whether this reassuring theme has contributed to the continuing popularity of the show, through all the turmoil and wrenching changes of the last 54 years.

Cast

• The Narrator (El Gallo): Michael Sharp
• The Boy (Matt): Jonathan Litalien
• The Girl (Luisa): Mary Ann Furey
• The Boy’s Father (Hucklebee): Jason Krage
• The Girl’s Father (Bellomy): John Hollinger
• The Mute: Kathleen McCormack
• The Old Actor (Henrietta): Amy Wolf
• The Man Who Dies (Mortimer): Casey Fero
• Pianist: Brandon Heishman

Creative

• Director: Jeffrey Davis
• Costumes/Choreography: Mary Payne Omohundro
• Musical Direction: Brandon Heishman
• Produced by: Mary Payne Omohundro and Jeffrey Davis

Disclaimer: Pandemonium Theatrical Productions provided two complimentary media tickets to ShowBizRadio for this review.

Lillian Hellman’s tragic play received intense reactions, both positive and negative, when it was first brought to life in 1934. Boundary-breaking for its time, The Children’s Hour closely follows two headmistresses accused of homosexuality during a straight and narrow-minded era. Worse yet, the allegations come from a grandmother smitten with her granddaughter, Mary, and unwilling to consider that the student’s shocking claims could be anything but the truth.

From the moment Mary Tilford (Lily Brock) slinks onto the stage, it is evident that she is unlike other children. Her purposeful looks and easy alibis contribute to the identity of the character just as much as her demonic laughs and sinister threats do. Providing stark contrast to the diabolic girl are Peggy Rogers (Sydney Copp) and Evelyn Munn (Rachel Mayman), two other students who play more allies than friends to Mary, and who are vulnerable to manipulation but grow emotionally distraught at Mary’s pernicious behavior. Rosalie Wells (Bridget Fitzgerald) demonstrates the difficult situation that many of the schoolgirls face, in which she is compelled to do whatever Mary says because of the dark secrets she knows about her. Fitzgerald fills the role strikingly well, as she appears to be an innocent and well-composed girl in the presence of adults, but becomes hysterical when tormented by Mary.

The relationship between headmistresses Karen Wright (Madeleine Chalk) and Martha Dobie (Kathleen Welch) is complex and benefits from strong chemistry between the women. Dobie’s intense reactions to the persecution hint that she is hiding something, whereas Wright’s small mannerisms and vocal inflections reveal the deep agony caused by the accusation, and lead to intricate character development. Dr. Joseph Cardin (John Bucy) seems at first to be enthralled with his fiancé, Wright, but as the story goes on, minute differences in physicality signify a much larger change in overall disposition.

Never once does the play feel immaterial or artificial, thanks largely in part to the detailed sets. One setting lends itself to both a boarding school and a mansion with the help of perfectly suited decorations carefully altered by a skillful crew of stagehands. The underlying theme of nature applied in the furniture prints and costumes is pointedly juxtaposed with the “unnatural” lifestyle of which Wright and Dobie are suspected. Almost every school girl wears perfect French braids, and matching uniforms give the children homogeneity in keen contrast to their individual characters. Mary stands out from the group with her eye-catching red shoes, enigmatic of her rebellious personality.

“A whispered lie destroyed their lives,” reads the program to Langley High School’s The Children’s Hour. The tragic play teaches the valuable lesson of the effect false allegations can have on other people. “I’ve lied myself for a variety of reasons,” states Cardin during the show. “But there wasn’t a time where, if given the chance, I wouldn’t have taken back the lie and told the truth.” Given the opportunity, would the lies told in this story be taken back?

by Gillian Wright of McLean High School

Photo Gallery

Lily Brock	Lily Brock, Bridget Fitzgerald, Madeleine Chalk, Vivan Vaeth
Madeleine Chalk, Kathleen Welch	Bridget Fitzgerald, Lily Brock
Rachel Mayman, Lily Brock, Sydney Copp	John Bucy, Lily Brock

Photos by Rich Stanage

Epitomizing the “Golden Age” of musical theatre, The Music Man opened on Broadway almost 60 years ago and was the recipient of five Tony Awards. It has been revived and adapted numerous times, including two film versions. The story follows the smooth-talking traveling salesmen, Harold Hill (James Barker) as he hops around conservative Midwestern towns, convincing its citizens that a boys’ band, uniforms, and instruments are the answers to all of their problems. At a stop in River City, Iowa, however, the town librarian and piano teacher, Marian Paroo (Gabi Montes de Oca), sees right through his conniving ways.

Leading the show with utter aplomb, James Barker spoke louder than words as the flirtatious con man, Harold Hill. His comedic facial expressions and pleasant vocals distinguished him as a standout performer among the ensemble. Gabi Montes de Oca proved to be an elegant songbird, showing off her beautiful soprano throughout the evening. Her development was distinct and her chemistry with Barker was undoubtedly believable.

The supporting cast also was impressive, with high vocal energy and effervescent stage presence. Trevor Boynton as Mayor Shinn earned numerous laughs as he frequently stumbled over his words. Annie Stout portrayed a maternal and proud Mrs. Paroo, as her consistent Irish accent and impeccable timing made for a memorable performance.

The most terrific aspect of the production was, without a doubt, the Barbershop Quartet (Leif Jomuad, David Furney, Steve Aderton and Michael McLean). These young men harmonized perfectly and added distinct, individual characterizations. Numbers such as “Lida Rose & Will I Ever Tell You?” brought the house down and earned the foursome well-deserved, thunderous applause.

Costumes were designed and assembled with acute precision as vibrant color schemes and well-tailored suits were featured throughout the entirety of the performance. The stage crew was commendable as the majority of scene changes were quiet and timely. Holly Prencipe and Gabrielle Lewis choreographed sharp and well executed dance numbers, such as “Marian the Librarian” and “Ya Got Trouble.”

The cast and crew took its audience on a theatrical adventure with their outstanding vocals and palpable energy. Despite some minor lack of projection from certain ensemble members, it was evident that Annandale’s production of The Music Man was anything but troublesome, instead providing a wonderfully crafted performance.

by Stephen Coakley of Tuscarora

Photo Gallery

James Barker (Harold Hill), Gabi Montes de Oca (Marian Paroo)	Annie Stout (Mrs. Paroo), Trevor Boynton (Mayor Shinn), Maya Koch (Maud Dunlop) , Raymond Ma (Marcellus), Holly Prencipe (Alma Hix) , James Barker (Harold Hill), Gabi Montes de Oca (Marian Paroo), Xavian Henson (Constable Locke), Melissa Haberle (Eulalie Shinn), Gabrielle Lewis (Zaneeta Shinn), Danyom Beyene (Salesman 1), Juliana Iglesias (Mrs. Squires), David Furney (Oliver Hix), Xavier Felix (Tommy Djilas)
Juliana Iglesias (Mrs. Squires), Maya Koch (Maud Dunlop), Sarah Woodward (Ethel Toffelmier), Gabi Montes de Oca (Marian Paroo), Holly Prencipe (Alma Hix), Melissa Haberle (Eulalie Shinn)	Michael McLean (Olin Britt), David Furney (Oliver Hix), Steve Aderton (Ewart Dunlop), Leif Jomuad (Jacey Squires)
Annie Stout (Mrs. Paroo), Gabi Montes de Oca (Marian Paroo)

Photos by Georgi Barker, Briar Creek Photography

Sarah N. Schallern, Alden Theatre’s Performing Arts Director thought it was an easy call to bring the New York City-based Neo-Futurists and its brand of performance art to audiences in the DC area. She described the group as an “underground New York favorite.” The Neo’s race against the clock to perform 30 miniature plays in 60 “breathless” minutes using vignettes ranging from the zany to the risqué to the profound. It is accomplished in a “a perfect interactive evening” as the audience gets to shout out directions and ideas. Each short playlette is performed in rapid, random order guided in part by the audience members directions.

“Too Much Light Makes the Baby Go Blind is a taste of a late-night, urban show.” said Schallern. “This show is a great way to kick off your weekend with some energy and enthusiasm, not to mention variety…a fun, funny, engaging hour, but since the plays are constantly changing and updated, it’s a good way to process the week that was.” And there will be nothing static about the evening.

According to the Neo’s, the title Too Much Light is a riff off of child psychologist and author about the enchantment of fairy tales, Bruno Bettelheim (1903-1990). The name of the group, the Neo-Futurists, was selected by founder Greg Allen. Too Much Light was first performed in December 1988 in Chicago.

Two members of the Neo-Futurists provided some particulars about the group and its performance.

Neo-Futurist Joey Rizzolo:

Q. What can the Alden audience can expect at the performance of Too Much Light Makes the Baby Go Blind?

A. “The basics are this: We attempt to perform 30 original plays in 60 minutes, under the gun of an onstage ticking clock, in a random order as determined by the audience in the moment. The plays themselves are diverse in terms of content – some are funny, some are sad, some are political, some are abstract, some are dance pieces, some are musical, some are good, most are great. The plays you’ll be seeing are 30 plays that we’ve never put together in a single menu before – we’ve written nearly 3,500 to date, these are a mere 30. That, the fact that we’re in a new space, the fact that we perform these plays in random order, and the fact that we incorporate the audience in a lot of our work means that, while we are familiar with the content of the plays themselves, much of what will transpire will be just as much of a surprise to us as it will be to the audience.”

“One of the things that makes our work distinct is that we pretend nothing, ever. We never play characters. The setting of all of the plays is going to be the room in which they are performed. If we tell you something happened, you can be sure it really happened. If we are performing a task, it is a real task that contains the possibility of failure.”

Q. Why do you enjoy interactive, experimental theater and working with different audiences at each performance?

A. “Part of embracing chance, change, and chaos, means that if there’s something that we the artists aren’t supposed to know, we have to make sure we can’t know. We say that we don’t pretend things, but incorporating the audience into our work is how we stay honest. When there are unknown variables in play – like the very order in which the 30 plays are performed – we are without the luxury of being able to plan ahead. If one of our plays features someone in the audience, that person, who presumably is also being themselves, can do anything. We often think of incorporating audience into theater as an act in which the performer has an unfair advantage because presumably they know what is going to transpire, but in such cases we don’t, and we’re empowering the audience in those moments.”

“Part of pretending nothing in a theatrical setting means that there can be little distinction between performer and audience. We’re all just people in a room. The only difference is that we prepared something to show you, and we may ask you to show us something from time to time.”

“As performance artists, our work uses everything at its disposal – media, space, time, whoever happens to be in the room at the time…everything is fair game. Performance art is distinguished from other media in that it is an art of composition, utilizing every tool in the box and some you didn’t know were there.”

Neo-Futurist Marta Rainer:

Q. What can the audience expect at the performance of Too Much Light Makes the Baby Go Blind?

A. “They can expect to drive the unique live experience by calling the order of the 30 plays and helping us attempt to finish within 60 minutes by giving us their energy – the show we do for them will never, ever be replicated.”

“This form of theatre enables us all to respond immediately to news about our lives and our world, and invite our audiences to connect with and confront and laugh at ourselves in rapid turnover. Because the evening is made up of so many smaller events based on complete honesty performed in a random order determined by the audience, each audience sees a show absolutely unique to them and have plenty to respond to within. ”

Photo Gallery

Photos provided by New York Neo-Futurists

A movie adapted for the stage, Footloose follows the story of Ren McCormack, a Chicago native forced to move to the small town of Bomont. Haunted by the guilt of his father’s abandonment, Ren attempts to fit in among his peers and find love at the local high school. However, he soon discovers that according to a town ordinance, dance is forbidden. He falls for a rebellious girl (Ariel) who happens to be the overprotective minister’s daughter.

Although it may be difficult to perform a musical with an all-girl cast, Madeira performed admirably. The lack of male vocalists had no impact on the quality of their performance. In addition, the infrequent sound issues never fazed the cast.

Both Ren McCormack (Gabrielle Bullard) and Ariel Shaw (Jessica Schwartz) were admirable in their portrayal of their characters. Always energetic, the two showed no dearth of humor or characterization, even while singing numbers like “Always Paradise.” Onstage, the two showed a remarkable tenderness, as they confided in each other their family problems over the noise of passing trains.

Standout performances among the supporting cast were numerous, such as Rose McAvoy’s portrayal of Wendy Jo and Katelynn Barack’s role of Willard. A slightly ditzy redhead and a slow-witted, yet lovable country boy, both Barack and McAvoy provided a foil for Bullard to shine. With their boundless enthusiasm for helping Bullard’s character, they provided an impactful onstage presence. Showing her comic chops, Barack turned into a lovable goof as the cast learned that Willard had two left feet, falling at the “hottest dance house in the tricounty area.” Always animated, whether giggling at gossip or in fits of temper, both McAvoy and Barack enhanced the performance.

Another star onstage was the frail, meek Vi (Caitlin Fischer). Her portrayal of Ariel’s mother was touching, as she poured her heart out in the song “Can you find it in your Heart?” Indeed, Fischer’s impressive vocals reached sonorous heights during that song, as she begged her husband, Reverend Shaw, to heal their family.

With rocking tunes, an impressive cast, and their journey to reclaim dance for the town of Bomont, Footloose was a hit. Ultimately, The Madeira School’s production showed that although letting go of the past may be tough, sometimes it is better to just cut Footloose.

by Chris Doan of Thomas Jefferson High School for Science and Technology

Photo Gallery

Ren (Gabby Bullard) and Willard (Katie Barack) during the number ‘I Can’t Stand Still’	Wendy Jo (Rose MacAvoy), Urleen (Anna Bradley) and Rusty (Jody Baik) in the opening number ‘Chicago’
Ren (Gabby Bullard) practicing the speech he will give at the town council	Chuck Cranston (Emily Barre) and Ariel (Jessica Schwartz) in the number ‘The Girl Gets Around’
Rusty (Jody Baik) and the girls performing ‘Let’s Hear It for the Boy’

Photos by C. Stanley Photography

Adapted to the stage in 1996, Schoolhouse Rock Live! is only slightly older than most of the actors, but the animated, educational TV hit series “Schoolhouse Rock” started in 1972. Since then, songs like “Conjunction Junction” and “Just a Bill” have become ingrained in American childhoods, including that of the musical’s protagonist, Sandy, who turns on the TV to calm her nerves before her first day of teaching. Suddenly, the Schoolhouse Rock characters come to life, personifying “sides” of Sandy’s personality, and attempting to reassure her.

With facial expressions that communicated well with the audience and an easy stage-presence, Ann Esmond as Sandy warmly guided the audience along the plotline that ties the musical together. Other standouts included Marianne Khatter, who delivered a hip-snapping, muscle-flexing homage to Rosie the Riveter in “Sufferin’ Till Suffrage” in which she showcased her raspy voice and sassy stage presence. Madeleine Lucas sported energy and strong singing as she cartwheeled through “A Victim of Gravity,” and “Rufus Xavier Sarsaparilla” — a number made successful by hilarious reenactments and a well-orchestrated gag in which Lucas good-naturedly dragged a pre-teen boy in a red sweatshirt up on stage. (The boy was returned to the audience smiling embarrassedly.)

The true strength of the production, however, came from the vibrant unity of the ensemble. Although the energy level wavered and the choreography was simple, the actors committed whole-heartedly to their characters and their dancing was crisp and synchronized. From beginning to end, actors like Sophia Buono were fully engaged in the imminent scene while still maintaining the child-like enthusiasm of their character.

Well-balanced sound enhanced the ensemble effect. Although the ensemble’s children’s-choir-like quality did not fit the style of every song, their harmonies were clear and solid. Furthermore, it was often difficult to distinguish the actors’ words and the band was sometimes overpowering, but sound coordinator Alejandra Aguilar successfully kept track of, and balanced, over 20 wireless microphones — difficult, especially in an acoustically awkward space.

Even the set was designed to thematically unite the ensemble. The posters and quotes hanging in Sandy’s apartment corresponded to the different sides of her personality as personified by the actors. The set served as a permanent backdrop, but actors could be found all over the theatre, sitting among the audience, crawling under church pews, or even rollerblading through the aisles.

Many innovative props helped the space come to life, and the audience to visualize the concepts of the songs. Jackets that spelled out “NOUNS,” dozens of photos of movie stars and other “heroes” with the number 0 pasted over their faces, interactive parts of words, giant signs, and many other props entered and exited the stage, leaving the audience expecting surprises.

That sense of expectation and surprise is how Oakcrest School’s production of Schoolhouse Rock Live! entertained everyone, even those who learned to count by fives or identify a verb long ago. With lots of joy and a solid ensemble, Oakcrest’s production brought out the child in everyone.

by Eliza Malakoff of TC Williams

Photo Gallery

Annie Pacious, Katie Hale, Audrey Collins, Anna Weber, Mary Leaver, Sarah Meehan, Grace Hanlon, Sofia Lulli, Erin Paulson, Marianne Khattar, Katie McNeish	Katie McNeish, Gianna Ridout, Ann Esmond
Anna Rita Ouyang, Sophia Buono, Alexandra Dauchess, Ann Esmond, Mary Leaver, Madeleine Lucas	Sofia Lulli, Marianne Khattar, Victoria Marquez

Photos by Laura Kuah of Laurentina Photography

Based upon and spoofing a famously inept 1980 movie, the musical Xanadu is an outlandish mashup of 80s pop tunes, disco, roller rink romance, twisted and tortured Greek mythology, and overwhelmingly cheesy theatrical jokes (someone actually starts to physically chew scenery, for example). If nothing else, the Douglas Carter Beane (book) and Jeff Lynne/John Farrar (music and lyrics) creation illustrates why disco died. But the current Reston Community Players (RCP) production, directed by RCP President Joshua Redford, is a lively, highly entertaining one, featuring some excellent performances and award-worthy costume design and choreography.

The top performer in the piece is Russell Silber, a virtuoso of cluelessness as aspiring artist Sonny Malone. A sweeter dork is hard to imagine. Besides, Silber moves — and even skates — fluidly and seemingly effortlessly. We’re not talking here about just executing choreography, but demonstrating admirable body control in every respect, the movement never failing to be in character. Silber also sings pleasantly, in numbers like ” Suddenly,” “Don’t Walk Away,” and “Suspended in Time.”

Opposite Sonny is Clio (Evie Korovesis), a muse — the kind that hangs out at Mt. Olympus — who disguises herself as Kira, an Australian with an accent roughly as authentic as an Outback Steakhouse. A 15 on the 10-point Perkiness Scale, Clio/Kira inspires, assists, and ultimately falls in love with Sonny, the last being a bad career move in Olympian circles where Zeus, apparently having forgotten his swan episode, has rules against that sort of thing. It’s a shame that the score doesn’t give Clio/Kira more material in her lower register; Korovesis has a gorgeous sound in that range. She also handles her pop ballad and uptempo numbers effectively. However, the combination of her accent and high-pitched, somewhat distracting character voice makes her lines hard to understand at times. Her skating is more tentative than that of some other cast members, though a sequence in which she moves about with only one skate on is well-executed and funny.

Xanadu‘s plot, such as it is, concerns Sonny’s efforts to persuade real estate mogul Danny (Richard Durkin) to allow him to convert a disused theater into a roller disco venue. Thirty-five years previously, Danny had also fallen in love with Clio — disguised as an Alabama girl in that case — but had spurned his artistic ambitions in favor of making lots of money. While not a strong singer, Durkin catches the varying moods of his greedy capitalist with a sentimental side. Durkin does even better as Zeus, aided by sound designer Jon Roberts’ excellent reverb effects.

The other versatile denizens of Olympus take fine advantage of their opportunities to steal scenes, above all the giggling, cackling Melpomene (Katie Cheek Ferguson) and Calliope (Emily Jonas), whose duet “Evil Woman” is the show’s musical highlight. Sean Cator, who has a show-stopping tap moment on a desk, and Sam Nystrom, with appearances as a centaur (complete with set-piece equine body) and a flaming Hermes, also stand out. Alexa Yarboro and Megan Hubbell round out the cast, which as a whole delivers the tuneful singing and movement with energy and precision, among other places in the concluding number, “Xanadu.”

And what movement choreographer Chelsea DeRoche serves up. Whether tap or disco or skating, whether using the full cast or a subset, DeRoche matches the music of the various numbers with perfectly complementary action. Given a script and score with limited emotional content, the choreography not only provides visual interest but more than any other aspect of the show keeps audience members involved in the proceedings.

Especially given the multiple roles played by many of the actors, Xanadu calls for frequent costume changes, and Kathy Dunlap’s costume designs are more than up to the challenge. Clio/Kira wears a sort of Ice Capades pink dress throughout, while Calliope’s and Melpomene’s more elegant dresses are in shades of purple. There are white gowns for the Olympians, red church choir robes for the backup singers in one gospel-influenced number, gray tunics for Nystrom and Cator in some scenes, and lovely black “Xanadu” jackets for the final scene (I hope the actors get to keep them). Sonny remains in a yellow sleeveless short and tight denim shorts throughout. In the dance numbers, the easy flow of the women’s skirts facilitates their movement. The color and stylistic variety of the outfits make the show a visual delight.

This is a one-set production, designer Lawrence Gresko providing columns and a pediment suggestive of classical architecture, platforms for music director’s Matt Jeffrey’s four-piece band and for playing areas often used by backup singers in some of the musical numbers, and a wide upstage door that doubles as Sonny’s attempt at mural painting. One of the nicest set moments occurs when a pretty unit representing Pegasus rolls in, upon which Clio/Kira reclines, accompanied by bouncing clouds descending from the fly space. The descending “Xanadu” sign, the letters surrounding by twinkling lights, is a delight.

So what if there ain’t much to it? Xanadu delivers a frothy, fun evening, and for such a show, who could ask for anything more?

Photo by Traci J. Brooks

Director’s Notes

How do you follow up an epic and engrossing crowd pleaser like Les Miserables? With roller skating, leg warmers, disco balls, ELO and Olivia Newton-John, that’s how. The only thing missing is a dog and a child, and believe me, if I had my bulldog Francis, from Legally Blond I’m sure I could’ve found a way to work him in.

My experience with Xanadu is a little backward from most. I was first introduced to the Broadway musical, and didn’t see the movie until many years later. As with most musicals I like to direct, I was captivated by the soundtrack immediately. There is not a single musical number in this show that I do not enjoy. Every song stays with you, and the entire show leads up to the finale, “Xanadu.” The cast can certainly attest to the fact that during every rehearsal I could be found dancing in my seat to the music. I’ll do my best to control myself during the show though. For this reason alone, I knew I had to direct Xanadu.

The movie was supposed to bring Olivia Newton-John’s film career into the spotlight. Instead, it marked her decline. There is much to love about the movie though. It was filmed when special effects were all the rage, and in Xanadu, they try every possible special effect one can imagine. In the end, I think this was the movie’s downfall. If director Robert Greenwald could have simply told the story, I think it would have been more successful.

The musical does exactly that. Sure, it affectionately pokes fun at the movie, but at its core, Xanadu is a love story. It’s about a love for your art and what happens when you give up your love as Danny does choosing money over art; and what happens when you pursue your love, no matter how daunting the task (climbing to the top of Mt. Olympus) as Sonny does.

Whether you are a fan of the movie or not, I hope you leave the theater humming the iconic songs of Olivia Newton-John, laughing at the absurdity of some of the events that transpire on the stage, fondly remembering the cult movie and the 80’s with a smile on your face and warmth in your heart; the perfect remedy for this long, cold winter.

Cast

• Clio (Kira): Evie Korovesis
• Sonny Malone: Russell Silber
• Danny (Zeus): Richard Durkin
• Calliope(Aphrodite): Emily Jonas
• Melpomene (Medusa): Katie Cheek Ferguson
• Euterpe (Siren, Andrews Sister, Thetis): Alexa Yarboro
• Erato (Siren, Andrews Sster, Eros, Hera): Megan Hubbell
• Thalia (Siren, Young Danny, Tubes Singer, Cyclops): Sean Cator
• Terpsicore(Siren, Tubes Singer, Hermes, Centaur): Sam Nystrom

Orchestra

• Conductor: Matt Jeffrey
• Keyboard 1: Matt Jeffrey
• Keyboard 2: J. Michael D’Haviland
• Guitar: Ben Young
• Drums: Manuel Arciniega, Anders Eliasson (3/21)

Production Staff

• Director: Joshua Redford
• Music Director: Matt Jeffrey
• Co-Produced: Daryl Hoffman and Carol Watson
• Stage Manager: Mary Ann Hall
• Assistant Stage Manager: Laura Baughman
• Choreography: Chelsea DeRouche
• Skate Instructor: Katie McManus
• Technical Director: Skip Larson
• Set Design/Master Carpenter: Lawrence Gresko
• Set Construction: Lawrence Gresko, Greg Steele, Skip Larson, Alen Taylor, Matthew Wise, Ian Brown, Cameron Kelly, Mike Verdon, Tom Flatt, Tim Skjerseth, Joshua Redford
• Set Painting: Bea Morse, Cathy Rieder, Sabrina Begley, Laurie Stieger, Joshua Redford
• Running Crew Chief: Tigan Harrison
• Head Flyman: Laura Baughman
• Stagehands: Kyle Dannahey, Michael Kwan, Mathew Wise, Jason Willet, Emily Willet, Eric Hughes
• Properties Designer: Mary Jo Ford
• Performance Properties: Stage Hands
• Set Decoration: Bea Morse
• Lighting Design: Ken and Patti Crowley
• Master Electricians: Mike O’Connor, Alex Lee
• Spotlight Operators: Katherine O’Connor, Michael Kwan
• Sound Design: Jon Roberts
• Sound Operators: Vinnie Prabhu, Rich Bird
• Special Effects/Projection Design: Jon Roberts
• Costume Design: Kathy Dunlap
• Hair Design: Anna Michelle Jackson
• Makeup Design: Suzanne Thomas, Anna Michelle Jackson
• Photography: Traci J. Brooks
• House Management: Darryl Hoffman
• Showbill Production: Sue Pinkman, Ginger Kohles

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

Joshua Redford likes to joke that he only does shows with roller-skating.

He’s directing the upcoming musical, Xanadu, for the Reston Community Players. Two seasons back, he directed The Drowsy Chaperone for them.

Luckily, the 292-seat theater offers a nice-size stage and a lot of fly space for (partially) on-wheel productions. That’s in spite of the fact that Xanadu calls for a four-piece combo band on stage.

But the truth is, Redford’s directorial stints have not been limited to shows with roller skates. Last year he staged Legally Blonde: The Musical. Earlier this season he directed and produced a tribute to Rodgers and Hammerstein and to Andrew Lloyd Webber in concert.

What was the appeal for the Reston theater of Xanadu, which is based on the 1980 movie by the same name? Starring Olivia Newton-John and Gene Kelly in his last film role, the movie became a cult classic, despite being critically panned. (A Rita Hayworth vehicle, the 1947 film “Down to Earth,” in turn, inspired the movie.)

“With musicals, I’m always drawn first to the music,” said Redford. “Every number in the show is infectious, catchy, upbeat, and happy. There are no down points.”

Among the popular songs are “I’m Alive,” “Magic,” “Suddenly,” “Evil Woman,” “Suspended in Time,” and the title song. Xanadu‘s name is drawn from a poem called “Kubla Khan” by Samuel Taylor Coleridge and is a reference to a Chinese province.

The musical follows the journey of a magical and beautiful Greek muse, Kira, who descends from the heavens on a quest to inspire a struggling artist, Sonny, to achieve the greatest artistic creation of all time — the first Roller Disco! But when Kira falls into forbidden love with the mortal, her jealous sisters take advantage of the situation, with chaotic results.

Xanadu the musical is a tongue-in-cheek, affectionate spoof of the movie and one of the cases, Redford asserted, in which “the second incarnation of an art form is better than the first.”

The show uses the same score as the movie and essentially the same structure. Kira and Sonny receive help that is at first reluctant from Danny Maguire (the Gene Kelly role), a former big-band clarinetist who gave up his muse to become a real estate mogul.

More dramatic conflict has been added to the original plot in the guise of Kira’s evil sisters. “The musical uses the fact that the movie it’s based on was a flop,” the director added.

The characters sometimes do “preposterous” thing — or maybe, “fantastical” ones might be a better word — but are essentially “believable.” The musical is at heart a love story, Redford added. “The characters do what they do for love.”

An appearance by the Andrew Sisters and ‘80s rockers add to the humor.

But coming back to the roller skating… Russell Silber, who stars as Sonny Malone and also Zeus, had some skating experience. Evie Korovesis, who plays Kira and Clio, did not.

But Redford arranged for a skating workshop and played off the fact that Korovesis, despite having the needed comic touch and the right look for the part, was not the most adept on wheels.

“After all,” he laughed, “the script never said that Kira is a fabulous skater. We poke fun at that.”

Xanadu, which opened on Broadway in 2007, earned an Outer Critics Circle Award for Best Musical and a Drama Desk Award for Best Book. It was also nominated for two Tony Awards. The book is by Douglas Carter Beane, with music and lyrics by Jeff Lynne and John Farrar.

Xanadu runs March 7-29 at the Reston Community Center, 2310 Colts Neck Road, Reston, Virginia. Generally, the community theater presents two musicals and two plays a season. But when the rights to Les Miserables became available, the Players grabbed the opportunity and presented the mega-hit in January. Next on the schedule is Neil Simon’s Chapter Two.

Photo Gallery

Alexa Yarboro, Emil Jonas, Sam Nystrom, Evie Korovesis, Richard Durkin, Russell Silber, Sean Cator, Katie Cheek, Megan Hubbell	Emily Jonas, Evie Korovesis, Russell Silber, Katie Cheek
Sean Cator (Young Danny) taps while Richard Durkin (Danny) and Evie Korovesis (Kira) look on

Photos by Traci J. Brooks Studios

Disclaimer: RCP purchased banner advertising on the ShowBizRadio web site for this show.