• Musical TBA, July – August 2014
• A Streetcar Named Desire, September 2014
• The Rocky Horror Show, October – November 2014
• The Game’s Afoot, January 2015
• God of Carnage, February – March 2015
• A Flea in Her Ear, May 2015
• Dirty Blonde, June 2015

More information may be found at the Little Theatre of Alexandria web site. Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of performances and auditions are yet to be announced.

It’s not math but fraught interpersonal dynamics that make the world of Proof go ’round. David Auburn’s play, winner of both a Pulitzer and a Tony in its initial Broadway run, does not cause an audience to care about mathematics in a way parallel, say, to the way that Copenhagen does for physics or the film “The Race for the Double Helix” does for genetics. The play’s between-scenes recitations of arcane mathematical matters, accompanied by chamber music, serve mostly just as atmospherics: the real meat of the script concerns how people deal with death, mental illness, ambition, intellectual excitement, and difficult family relationships.

The Little Theater of Alexandria (LTA) production of the piece is close to perfect. Each of the four characters is clearly drawn and acted by the cast with passion and commitment. The central character, 25-year old Catherine (Anna Fagan), herself a gifted, though uncredentialed, mathematician, has cared for her father through years of an unspecified but thoroughly disabling mental illness, culminating in his death.

Catherine’s emotional journey through the play is less an arc than a roller-coaster, and Fagan captures her depression, anger, pride, fear, dedication, hope, sporadic irrationality, resentment, and sometimes surprising strength. It is one of the oldest theater clichés to say that an actor is supposed to be “in the moment,” but anyone playing this role has to manage very rapid, believable transitions from one feeling to the next, and Fagan is more than up to the task.

Her father, Robert (Chuck Leonard), had been a giant in his field. Seen only retrospectively, through flashbacks or dreams, Robert was an emotionally as well as intellectual powerful figure, simultaneously supporting and intimidating his daughters and his students. In Leonard’s portrayal, Robert is someone who has an extra portion of the life force coursing through him, when he is lucid but even when he is at his maddest.

Auburn gives Robert a delicious monologue about students browsing in bookstores, which Leonard delivers lyrically, as well as a scene in which Robert, full of vitality toward the end of a remission from his illness, believes he has broken through and is creating again as he did in his prime. Catherine picks up his notebook and reads it to him; Leonard conveys the terror Robert feels as he realizes he is once again descending into incoherence.

Catherine’s pragmatic older sister Claire (Elizabeth Keith) arrives to take charge of the arrangements for Robert’s funeral and, not incidentally, to take charge of Catherine’s life. Skeptical of Catherine’s ability to live on her own and manage her affairs, Claire proceeds to insist on making decisions for her sibling, such as selling the family home and prodding Catherine to move to New York. Well-meaning — while having left the heavy lifting for her father’s care to Catherine, she has financially supported her sister and father through their father’s illness — Claire is well short of being a villain.

Still, in Keith’s take on the character, she is domineering, all to quick to deny Catherine the chance to make her own decisions about her life, and disrespectful, all too quick to disbelieve Catherine’s mathematical prowess. No sooner has Catherine been relieved of the burden of caring for her father than she must fight for her autonomy from Claire. Keith makes Claire an antagonist, someone against whom Catherine must struggle to find her way. I only wish that Keith might have found more opportunities to illuminate Claire’s interior landscape, so that we might better understand her as more than a somewhat unpleasant foil for Catherine.

The fourth member of the quartet is Hal (Josh Goldman), a former student of Robert’s, now a university faculty member who feels his career is stagnating. As written, Hal has chronically mixed and uncertain motives. By turns cute, sneaky, ambitious, caring, callous, cautious and waffling, and intellectually engaged, Hal is a character difficult for an actor or an audience to make full sense of. By play’s end, it is harder to get a solid understanding of Hal than of any of the other characters, a result more attributable to Auburn’s writing than Goldman’s choices as an actor. Goldman makes him appealing (except, perhaps, when his sexism comes to the fore when he doubts Catherine’s authorship of a potentially groundbreaking paper) but never quite trustworthy.

The action takes place on the rear patio of Catherine’s and Robert’s house. Show in and show out, LTA probably does realistic sets better than any other community theater company in the area, and Dan Remmer’s design for Proof is no exception. The weathered clapboards, older curtains and blinds, doors and outdoor stairs that haven’t been painted in a while, all testify to the deferred maintenance of an ordinary urban house during Robert’s long illness. The set pays attention to even minor details, like a hose compatible in color with the brick portion of a house wall.

One sees spectacular, showy lighting designs in some strong community theater shows. Franklin C. Coleman’s design for this production isn’t one of them. What it is instead is a thing of delicate beauty, as subtle shades of color delineate and create the mood for the play’s differing seasons and times of day. The initial night scene, for example, is in low-intensity blues; a summer afternoon is in brighter yellows; a late fall scene is in paler tones, with shadows of bare tree branches projected onto the house. Additional touches include a red revolving light for a police car and various porch and window lights, all fitting their scenes without calling attention to themselves. The only minor problem seemed to be a pretty consistent cold spot down left center.

Susan Devine’s direction kept the pace consistent and the emotions and interactions of the characters real and believable throughout. Even the bigger passages, like Robert’s monologues or the arguments between Catherine and Hal or Claire, were character moments rather than actor moments. Thanks to her and the cast, LTA’s production never loses sight of the key point that Proof is a play about emotions, not equations.

Director’s Notes

Proof explores the mind of a young woman who may be a brilliant mathematician and who also may be mentally ill. Math is the perfect metaphor for mental illness, representing its complexity, and that makes it difficult for most of us to understand. Proof also uses math to express the relationships among the play’s four characters by linking those with mathematical ability while alienating others. Or does the mental illness create the links and alienation?

A generous woman came to one of our rehearsals and told her story about taking care of someone she loves who is mentally ill. She also said she thinks the arts, and plays such as Proof, will educate communities about mental illness and help remove the stigma, the way the arts helped homosexuality in the 1980s. It is with this sense of responsibility that we present Proof.

Photo Gallery

Chuck Leonard (Robert) and Anna Fagan (Catherine)	Anna Fagan (Catherine) and Josh Goldman (Hal)
Elizabeth Keith (Claire) and Anna Fagan (Catherine)	Anna Fagan (Catherine) and Elizabeth Keith (Claire)
Anna Fagan (Catherine)	Josh Goldman (Hal) and Anna Fagan (Catherine)
Chuck Leonard (Robert)	Anna Fagan (Catherine) and Chuck Leonard (Robert)

Photos by Matt Liptak

Cast

• Robert: Chuck Leonard
• Catherine: Anna Fagan
• Hal: Josh Goldman
• Claire: Elizabeth Keith

The Crew

• Producers: Lynn O’Connell, Kevin O’Dowd, Sharon Field, Bobbie Herbst, Rance Willis
• Director: Susan Devine
• Stage Managers: Mary Beth Smith-Toomey, Kira Hogan
• Set Design: Dan Remmers
• Set Constuction: Dan Remmers
• Assisted by: Chris Feldman, Daniel Froggett, Jeff Gathers, Jim Hutzler, Ben Norcross, JanaLee Sponberg
• Lighting Design: Franklin C. Coleman
• Costume Design: Hadley Armstrong
• Sound Design: David Correia
• Assisted by: Sean Doyle, Margaret Evans-Joyce, David Hale, David Rampy, Janice Rivera, Gene Warner
• Set Painting: Kevin O’Dowd
• Assisted by: Jamie Blake, Scott Daugherty, Bobby Herbst, Leslie Reed
• Set Decoration: Russell Wyland
• Master Electrician: Jennifer Lyman
• Assisted by: Jeff Auerbach, Marzanne Claiborne, Pamela Leonowich, Doug Olmsted, Nancy Owens, Becky Patton, Dick Schwab, Sherry Singer, Joanne Tompkins, Donna Reynolds
• Property Design: Leslie Reed
• Assisted by: Emma Baskir, Jean Coyle, Betty Dolan, Carlyn Lightfoot, Jack Rollins, Rebecca Sheehy, Adrian Steel, with Art Snow assisting for “Special Effects”
• Wardrobe: Margaret Aiken Snow
• Assisted by: Alisa Beyninson, Jamie Blake, Patty Greksouk, Barbara Helsing, Bobbie Herbst
• Rigging: Russell Wyland
• Photographers: Josh Goldman, Matt Liptak
• Audition Table: Maria Ciarrocchi
• Assisted by: Jay Cohen, Phylis Gruber, Barbara Helsing, Patty Lord, Eddy Roger Parker
• Double Tech Dinner: Cyndi Martin
• Opening Night Party: Carole Steele, Jim Palumbo
• Assisted by: Robert Kraus, Valerie Larkin, Shirley Lord-Cooper, Harriet Mathews, Iolaire McFadden, Susan McFadden

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Two musicals received five awards, Camelot by 2nd Star Productions and Ragtime by Kensington Arts Theatre. Two plays received four awards, The Pillowman by Silver Spring Stage and Red by the Elden Street Players. Kensington Arts Theatre received the most awards, a total of seven for their productions of Ragtime and Next to Normal. Colonial Players was the only theater company to receive awards for three separate productions, 1776, Shipwrecked and Trying.

• 2nd Star Productions
• Aldersgate Church Community Theatre
• The Alliance Theatre
• The Arlington Players
• Capital City Players of DC
• Bowie Community Theatre
• Castaways Repertory Theatre
• Taking Flight Theatre Company
• Chevy Chase Players
• Colonial Players of Annapolis
• Damascus Theatre Company
• Dominion Stage
• Elden Street Players
• Fauquier Community Theatre
• Greenbelt Arts Center
• Hard Bargain Players
• Kensington Arts Theatre
• Laurel Mill Playhouse
• Little Theatre of Alexandria
• McLean Community Players
• Montgomery Playhouse
• Port City Playhouse
• Port Tobacco Players
• Prince George’s Little Theatre
• Prince William Little Theatre
• Providence Players of Fairfax
• Reston Community Players
• Rockville Little Theatre
• Rockville Musical Theatre
• St. Mark’s Players
• Silver Spring Stage
• Tantallon Community Players
• Vienna Theatre Company

Winners for outstanding technical achievements.

Outstanding Set Design in a Musical (TIE)

• Jared Davis, Avenue Q, Dominion Stage
• Jane B. Wingard, Camelot, 2nd Star Productions

Outstanding Set Design in a Play

• John Downing and Bill Glikbarg, Twentieth Century, Little Theatre of Alexandria

Outstanding Set Construction in a Musical

• Hector Lorenzini, Avenue Q, Dominion Stage

Outstanding Set Construction in a Play

• Richard Gilpin and Zachary Ball, Brighton Beach Memoirs, Port Tobacco Players

Outstanding Set Painting in a Musical

• Jane B. Wingard, Camelot, 2nd Star Productions

Outstanding Set Painting in a Play

• Mary Speed and Brian Garrison, Red, Elden Street Players

Outstanding Set Decoration and Set Dressing in a Musical

• Jane B. Wingard and Gail Bagaria, Camelot, 2nd Star Productions

Outstanding Set Decoration and Set Dressing in a Play

• Paul Hennesy and Mike Mattheisen, Is He Dead?, Providence Players of Fairfax

Outstanding Properties in a Musical

• Joanne D. Wilson, Camelot, 2nd Star Productions

Outstanding Properties in a Play

• Susan d. Garvey, Red, Elden Street Players

Outstanding Lighting Design in a Musical

• Tommy Scott, Fiddler on the Roof, Port Tobacco Players

Outstanding Lighting Design in a Play

• Ken and Patti Crowley, 33 Variations, Little Theatre of Alexandria

Outstanding Sound Design in a Musical

• Kevin DeMine, Avenue Q, Dominion Stage

Outstanding Sound Design in a Play

• Sean Doyle, Shiloh Rules, Port City Playhouse

Outstanding Costume Design in a Musical

• Linda Swann, Camelot, 2nd Star Productions

Outstanding Costume Design in a Play

• Mary Wakefield, The Tempest, Rockville Little Theatre

Outstanding Makeup Design in a Musical

• Shemika Berry, The Wiz, Tantallon Community Players

Outstanding Makeup Design in a Play

• Sally Cusenza, The Pillowman, Silver Spring Stage

Outstanding Hair Design in a Musical

• Beverly Hill van Joolen, 1776, Colonial Players of Annapolis

Outstanding Hair Design in a Play

• Rachel Royall, Life with Father, Aldersgate Churtch Community Theatre

Outstanding Special Effects

• Joshua McKerrow, Kat McKerrow, Maya Wilcox, The Lieutenant of Inishmore, Laurel Mill Playhouse

Winners for outstanding performances by an actor or actress.

Outstanding cameo in a musical

• Lydia Kivrak as ‘Grandma Tzeitel’, Fiddler on the Roof, Port Tobacco Players

Outstanding cameo in a play

• Jeffrey Gangwisch as ‘James’, The Lieutenant of Inishmore, Laurel Mill Playhouse

Outstanding featured actress in a musical

• Eben K. Logan as ‘Sarah’, Ragtime, Kensington Arts Theatre

Outstanding featured actor in a musical

• Ryan Burke as ‘Dan’, Next to Normal, Kensington Arts Theatre

Outstanding featured actress in a play

• Christina Enoch Kemmerer as ‘Player #1’, Shipwrecked, Colonial Players of Annapolis

Outstanding featured actor in a play (TIE)

• Chris Daileader as ‘Michal’, The Pillowman, Silver Spring Stage
• Robert Tucker as ‘Player #2’, Shipwrecked, Colonial Players of Annapolis

Outstanding lead actress in a musical

• Emily Zickler as ‘Diana’, Next to Normal, Kensington Arts Theatre

Outstanding lead actor in a musical

• Sayne-Kharyi Lewis as ‘Colehouse Walker’, Ragtime, Kensington Arts Theatre

Outstanding lead actress in a play (TIE)

• Karen Grim as ‘Sarah Schorr’, Trying, Colonial Players of Annapolis
• Mary-Anne Sullivan as ‘Dr. Katherine Brandt’, 33 Variations, Reston Community Players

Outstanding lead actor in a play

• Chad W. Fornwalt as ‘Katurian’, The Pillowman, Silver Spring Stage

Winners for outstanding achievement in overall production.

Outstanding Stage Combat Choreography

• William T. Fleming, The Pillowman, Silver Spring Stage

Outstanding Choreography

• Darnell Morris and Eben K. Logan, Ragtime, Kensington Arts Theatre

Outstanding Music Direction

• Mayumi B. Griffie, Ragtime, Kensington Arts Theatre

Outstanding Direction of a Musical

• Evan Hoffmann, Caroline or Change, Elden Street Players

Outstanding Direction of a Play

• Gloria DuGan, Red, Elden Street Players

Outstanding Musical

• Ragtime, Kensington Arts Theatre

Outstanding Play

• Red, Elden Street Players

Wins sorted by theatre and show.

2nd Star Productions

• Camelot
  • Outstanding Costume Design in a Musical, Linda Swann
  • Outstanding Properties in a Musical, Joanne D. Wilson
  • Outstanding Set Decoration in a Musical, Jane B. Wingard and Gail Bagaria
  • Outstanding Set Design in a Musical, Jane B. Wingard
  • Outstanding Set Painting in a Musical, Jane B. Wingard

Aldersgate Church Community Theatre

• Life with Father
  • Outstanding Hair Design in a Play, Rachel Royall

Colonial Players

• 1776
  • Outstanding Hair Design in a Musical, Beverly Hill van Joolen
• Shipwrecked
  • Outstanding Featured Actor in a Play, Robert Tucker as “Player #2”
  • Outstanding Featured Actress in a Play, Christina Enoch Kremmerer as “Player #1”
• Trying
  • Outstanding Lead Actress in a Play, Karen Grim as “Sarah Schorr”

Dominion Stage

• Avenue Q
  • Outstanding Set Construction in a Musical, Hector Lorenzini
  • Outstanding Set Design in a Musical, Jared Davis
  • Outstanding Sound Design in a Musical, Kevin DeMine

Elden Street Players

• Caroline or Change
  • Outstanding Direction of a Musical, Evan Hoffmann
• Red
  • Outstanding Direction of a Play, Gloria DuGan
  • Outstanding Play
  • Outstanding Properties in a Play, Susan d. Garvey
  • Outstanding Set Painting in a Play, Mary Speed

Kensington Arts Theatre

• Next to Normal
  • Outstanding Featured Actor in a Musical, Ryan Burke as “Dan”
  • Outstanding Lead Actress in a Musical, Emily Zickler as “Diana”
• Ragtime
  • Outstanding Choreography, Darnell Morris & Eben K. Logan
  • Outstanding Featured Actress in a Musical, Eben K. Logan as “Sarah”
  • Outstanding Lead Actor in a Musical, Sayne-Kharyi Lewis as “Colehouse Walker”
  • Outstanding Music Direction, Mayumi B. Griffie
  • Outstanding Musical

Laurel Mill Playhouse

• The Lieutenant of Inishmore
  • Outstanding Cameo in a Play, Jeffrey Gangwisch as “James”
  • Outstanding Special Effects, Joshua McKerrow et al

Little Theatre Of Alexandria

• 33 Variations
  • Outstanding Light Design in a Play, Ken & Patti Crowley
• Twentieth Century
  • Outstanding Set Design in a Play, John Downing & Bill Glikbarg

Port City Playhouse

• Shiloh Rules
  • Outstanding Sound Design in a Play, Sean Doyle

Port Tobacco Players

• Brighton Beach Memoirs
  • Outstanding Set Construction in a Play, Richard Gilpin & Zachary Ball
• Fiddler on the Roof
  • Outstanding Cameo in a Musical, Lydia Kivrak as “Grandma Tzeitel”
  • Outstanding Light Design in a Musical, Tommy Scott

Providence Players

• Is He Dead?
  • Outstanding Set Decoration in a Play, Paul Hennesy & Mike Mattheisen

Reston Community Players

• 33 Variations
  • Outstanding Lead Actress in a Play, Mary-Anne Sullivan as “Dr. Katherine Brandt”

Rockville Little Theatre

• The Tempest
  • Outstanding Costume Design in a Play, Mary Wakefield

Silver Spring Stage

• The Pillowman
  • Outstanding Featured Actor in a Play, Chris Daileader as “Michal”
  • Outstanding Lead Actor in a Play, Chad W. Fornwalt as “Katurian”
  • Outstanding Makeup Design in a Play, Sally Cusenza
  • Outstanding Stage Combat Choreography, William T. Fleming

Tantallon Community Theatre

• The Wiz
  • Outstanding Makeup Design in a Musical, Shemika Berry

Based on E.L. Doctorow’s 1975 novel of the same name, the musical Ragtime (book by Terrence McNally, music by Stephen Flaherty, lyrics by Lynn Ahrens) is a pageant of the American experience in the early years of the 20th century. The musical focuses on three sets of characters from the novel: an unnamed upper middle class white family living in the New York City suburb of New Rochelle; a Jewish Latvian immigrant and his daughter; and a Negro (the term used throughout the script) piano player and his family. They interact with one another and with a host of historical characters, who also interact with each other in fictional ways.

In Little Theater of Alexandria’s (LTA) production, a striking series of large turning gears and wheels, like those of a watch, dominate the set (designed by J. Andrew Simmons) and announce the theme of the play, as articulated by director Michael Kharfen: how time changes, but doesn’t necessarily heal, everything both in personal lives and the life of a society.

Mother (Jennifer Lyons Pagnard), a comfortable WASP housewife, begins to change when Father (Shaun Moe) goes off on a lengthy polar expedition, leaving her to run the family business. But the real agent of change in her life arrives in the form of a Negro foundling, who she takes in for reasons she doesn’t fully understand (a beautifully sung “What Kind of Woman”). The child’s mother, the initially silent and withdrawn Sarah (Aerika Saxe), soon follows. Then Coalhouse Walker, Jr. (Malcolm Lee), a well-dressed, well-spoken, musician arrives, conducting a lengthy, persistent courtship of Sarah. Saxe, with the outstanding solo voice in the production, and Lee combine in the sweet “Sarah Brown Eyes” and the naïvely optimistic “Wheels of a Dream.”

The wheels in question belong to a green Model-T Ford (the famous “any color as long as it is black” policy did not take hold until 1914), of which Walker is exceedingly proud. His pride — in general as well as concerning the car — attract the enmity of the local racist fire brigade, with ultimately tragic results. The LTA technical staff can take pride in the design and construction of the nearly full-size car set piece, which members of the cast assemble on stage.

Meanwhile, the immigrant Tateh (Michael Gale), who ekes out a living drawing silhouettes, discovers that if you flip the pages of a book consisting of related drawings, the pictures appear to move. This insight leads him into the nascent movie industry (concerning which Gales sings the amusing “Buffalo Nickel Photoplay, Inc.”), setting up a cute meet for him and his daughter and Mother and her self-possessed young son (Brian McNamara). The kids hit it off; the adults sing fondly of their love for “Our Children.”

Father, a traditionalist who has great difficulty comprehending the changes in his wife’s outlook on him and their marriage, tries to connect with his son by attending a Giants game at the Polo Grounds (“What a Game”), an effort humorously doomed by the well-choreographed vulgarity of the crowd. Mother’s Younger Brother (Ben Cherington), a rather lost soul, eventually tries finding himself by joining an urban terrorist group led by the embittered Walker (“Make Them Hear You” being the stirring anthem of Walker’s radicalism).

Most of the historical characters that pop up in the musical — Houdini, J.P. Morgan, Henry Ford, Booker T. Washington, Evelyn Nesbitt, and others — are sketched very briefly and lightly. (Doctorow characterizes them in much greater depth, but adapting the novel for the stage necessarily left much of their material, such as Tateh’s involvement in the Lawrence, Massachusetts, mill strike, on the cutting room floor.) Nesbitt (Claire O’Brien) does get an ironic song about the scandalous trial in which she was involved — the 20th century’s first “Crime of the Century” — and gets to squeal “wheee” repeatedly. But the most interesting, and most thoroughly explored, historical figure is Emma Goldman (Janette Moman), a labor leader and anarchist. Goldman was a fascinating figure, who turns up in a number of well-regarded scripts (e.g., Assassins, Reds) as well as the history books, and Moman makes her one of the most memorable characters in Ragtime.

Saying that Ragtime is a pageant of the American experience is literally true in one sense. Particularly in the large ensemble numbers, the company either stands and sings (e.g., “Till We Reach that Day”) or engages in well-organized large group movement (e.g., “Prologue”). The ensemble has a full, rich sound in these numbers, the delivery of which is clear. In combination with the somewhat schematic presentation of the major characters, however — the unnamed family representing the white establishment, Tateh representing immigrants etc. — the overall effect is less than dynamic.

Francine Krasowska’s orchestra is spot-on throughout, and the use of ragtime music both as accompaniment and metaphor is one of the most effective parts of the production. The wide variety of costumes for the large cast (designed by Jean Schlichting and Kit Sibley) is period-appropriate, well-suited to the characters, and colorful to see (some of the bathing costumes in the Atlantic City scene are particularly fun). Execution at a high level of the acting, musical, movement, and technical aspects of a production is expected from an A-level theater company like LTA, and this production — which is sold out throughout its run — does not disappoint.

Like many a book or play, Ragtime is as much about the period in which it was written as about the period it portrays. The contemporary subtext of Ragtime is as important, and about as subtle, as that of The Crucible. With a black man taking violent action in response to racist repression, an affluent young white man becoming radicalized, and a wife and mother struggling with “the problem that has no name” some 50 years before The Feminine Mystique, Ragtime explores the issues of the 1960s and 70s as much as it talks about the world of 1906-15. But it does so without being simply a history lesson or political commentary.

Director’s Note

E.L. Doctorow, author of “Ragtime,” the book this musical is based on, wrote about his novel: “I stumbled into the idea that a sense of time was as much an organizing principle for a book as a sense of place.” In “Ragtime,” a new century (the 20th) dawns, and time changes everything. Ragtime the musical evokes this theme through the panorama of history and at the personal level in the lives of three families. The period of Ragtime, from 1900 til 1915, was electrifying in America as the country became the destination of the world. It was the place where you could make your own life, free from Old World conventions, and emerge from the vestiges of repression both abroad and at home. The unifying principle of the country was moving forward, that time is of the essence and a new discovery was around every corner. The country exceeded 75 million people, J.P. Morgan forged U.S. Steel, Henry Ford founded his motor company launching the assembly line, the first World Series was played, the Wright Brothers conquered the air with powered flight, workers united in the first radical union, the NAACP championed civil rights, Admiral Peary claimed to reach the North Pole, the Armory Show introduced the country to modern art, and even the ice cream cone was invented. Music took on a new, exciting rhythm with ragtime, its syncopations pulsating with movement. Henry James wrote of the era: “The very pulses of air turn into revelations. You see into the unseen.” As was the case then, the promise of America remains tempered by the realities of discrimination and poverty, with which we continue to struggle. At its heart, Ragtime is pure storytelling, intertwining three fictional families — their hopes and aspirations, their yearnings for love and belonging, their sacrifice and pursuit of justice — within this explosive era. Ragtime, with its passion and power, takes us on a journey just as far as our hearts can go.

I’ve loved this story since I read the book more than 35 years ago. The month before we started rehearsals, Doctorow was in town for a reading. I attended and told him afterward that I was directing Ragtime at LTA. He asked all about the production, then wished us luck and said, “Break a leg.” I’ve been encouraged and grateful ever since for the talent, inspiration and heart of our cast and the ingenuity, invention and dedication of our production team. I thank the LTA Board of Governors for their confidence. This production would not have been possible without the amazing gifts of Francine Krasowska and Ivan Davila, the tireless commitment of Charles Dragonette and Marg Soroos, and the graceful patience and stewardship of Sharon Field, Bobbie Herbst, and Rance Willis.

Photo Gallery

Jennifer Lyons Pagnard (Mother) and Shaun Moe (Father)	‘Gettin’ Ready Rag’ featuring Ricardo Coleman, Roger Yawson, Tiara Hairston, Aerika Saxe, Jonathan Fair, and Jessica Pryde
Claire O’Brien (Evelyn)	Lindsey Gattuso (Little Girl) and Michael Gale (Tateh)
Cast

Photos by Keith Waters for Kx Photography

The Cast

• Mother’s Younger Brother: Ben Cherington
• Ensemble, Henson, Harlem Man, Coalhouse Follower, Umpire, Black Attorney: Ricardo Coleman
• Ensemble, Harlem Woman: Kadira Coley
• Grandfather: Charles Dragonette
• Ensemble, Harlem Man, Coalhouse Follower: Jonathan Fair
• Ensemble, Conductor 1: Rene Kieth Flores
• Tateh: Michael Gale
• Ensemble, Town Hall Bureaucrat, Reporter, Showgirl: Sarah Gale
• Little Girl: Lindsey Gattuso
• J.P. Morgan, Judge: Larry Grey
• Ensemble, Harlem Woman: Tiara Hairston
• Little Boy: Grant Hamilton
• Booker T. Washington: Rodney Jackson
• Ensemble, New Rochelle Policeman, Fireman, White Attorney, Juror: Justin Latus
• Coalhouse Walker, Jr: Malcom Lee
• Ensemble, Brigit, Baron’s Assistant, Showgirl: Holly McDade
• Little Boy: Brian McNamara
• Ensemble, Conductor 2, Fireman NYC Policeman, Juror: Derek Marsh
• Father: Shaun Moe
• Emma Goldman: Janette Moman
• Sarah’s Friend, Harlem Woman: Corisa Myers
• Evelyn Nesbit: Claire O’Brien
• Mother: Jennifer Lyons Pagnard
• Ensemble, Newsboy, Welfare Official, Showgirl: Rebecca Phillips
• Ensemble, Harlem Woman: Jessica Pryde
• Ensemble, Newsboy, Reporter, Sob Sister: Hannah Rosman
• Sarah: Aerika Saxe
• Admiral Perry, DA Whitman, Henry Ford: Buzz Schmidt
• Ensemble, Second Bureaucrat, Reporter, Sob Sister: Guenevere Spilsbury
• Ensemble, Kathleen, Reporter, Sob Sister: Jennifer Strand
• Ensemble, Willie Conklin, Juror: Nate Whiting
• Ensemble, Man, Fan, Juror: James Woods
• Ensemble, Harlem Man, Coalhouse Follower: Roger Yawson

The Crew

• Producers: Sharon Field, Bobbie Herbst, Rance Willis
• Director: Michale Kharfen
• Music Director: Francine Krasowska
• Choreographer: Ivan Davila
• Stage Managers: Charles Dragonette, Marg Soroos
• Assistant Stage Managers: Eileen Doherty, Jim Hutzler,
• Set Design: J. Andrew Simmons
• Set Constuction: Jim Hutzler
• Assisted by: Chris Feldman, Jeff Gathers, Eddy Roger Parker, Dan Remmers, Bob Spivey, JanaLee Sponberg
• Set Painting: Mary Hutzler, Erin Sullivan
• Assisted by: Jim Hutzler, Patty Lord, Heather Norcross, Ned Olgeman, Leslie Reed, Jayn Rife,
• Scenic Painting, Drops: Mary Hutzler, Erin Sullivan
• Assisted by: Jim Hutzler, Patty Lord, Heather Norcross, Jayn Rife, Valerie Wohlleben
• Set Decoration: Rachel Alberts, Bobbie Herbst
• Assisted by: Robin Havens-Parker, Mary Hutzler, Russell Wyland
• Lighting Design: Ken and Patti Crowley
• Master Electrician: Pam Leonowich
• Assisted by: Marzanne Claiborne, Kimberly Cargo, Eileen Doherty, Jim Hartz, Robert Kraus, Rachel Lau, Michael J O’Connor, Liz Owens, Nancy Owens, Donna Reynolds
• Sound Design: Alan Wray
• Assisted by: Marzanne Claiborne, David Correia, Margaret Evans-Joyce, Jack Sever, Liz Tipton
• Special Effects: Dan Remmers, J. Andrew Simmons, Russell Wyland
• Property Design: Betty Dolan, Leslie Reed
• Assisted by: Emma Baskir, Marzanne Claiborne, Jayn Rife, Joe Rodriguez, Jack Rollins, Toni Sanford, Sherry Singer, Rebecca Sheehy, Adrian Steel
• Costume Design: Jean Schlichting, Kit Sibley
• Assisted by: Julie Bowersett, Kevin Lane, Joan Lawrence
• Wardrobe: Barbara Helsing, Margaret Snow
• Assisted by: Alisa Beyinson, Lloyd Bittinger, Jean Coyle, Bonnie Faircloth, Patty Greksouk, Marian Holmes, Sharon Napolitano-Clark, Rachel Pharr
• Hair/Wigs/Makeup: Robin Havens Parker, Bette Williams
• Assisted by: Mary Lou Bruno, Catherine Colosimo, Esther Covington, Elizabeth Keith, Claire O’Brien, Aerika Saxe, Natalie Turkevich
• Audition Pianist: Matt Jeffrey, Bill van Lear
• Rehearsal Pianist: Matt Jeffrey, Elisa Rosman
• Audition Choreography Assistant: Claire O’Brien
• Rigging: Russell Wyland
• Photographer: Keith Waters
• Auditions: Mary Lou Bruno
• Assisted by: Eileen Doherty, Barbara Helsing, Elise Kolle, Patty Lord, Margaret Snow, Erin Sullivan
• Double Tech Dinner: Cyndi Martin
• Assisted by: Addie Bryant, Shane Cooke
• Opening Night Party: Dan and Margie Remmers
• Assisted by: Lloyd Bittinger, Claire Gibson Giraud, Cyndie Martin, Shirley Lord-Cooper, Eddy Roger Parker, Sherry Singer, Caitlin Sneff, Wendy Sneff

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Ken Ludwig’s rollicking adaptation of Ben Hecht and Charles MacArthur’s comedy, Twentieth Century, directed by Roland Branford Gomez and produced by Jim Howard and Robert Kraus, has the audience laughing, out loud and often, at Little Theatre of Alexandria. Originally inspired by Charles B. Millholland experience working with the eccentric Broadway impresario David Belasco, the plot, set in 1938, revolves around properly bombastic theatrical impresario Oscar Jaffe (David James), who’s experiencing a bad patch…just short of the skids, really. His assistants, Ida Webb (Kathy Fannon) and Owen O’Malley (James McDaniel), discover his protegé, hilariously over the top and newly minted Oscar award-winning actress Lily Garland (Margaret Bush) is on the train, also bound for New York, and they collude to get Lily to sign a contract for a sure-fire hit to make up for the last big flop, snatching her out of the clutches of hopeful competitor Max Jacobs (Bob Cohen) and her boy-toy/manager George (Timothy Rowe). Add in Gary Cramer as a wacky religion-happy mental hospital escapee with a checkbook who’s loose on board (and steals every scene he’s in with characterization from opening curtain to close) and you have the makings for classic comedy.

LTA doesn’t disappoint. The show isn’t precisely laugh-a-minute, but there’s plenty of satisfyingly hilarious moments to make the hefty 80-minute first act fly by. Just when you think the story can’t get any crazier, it does, as it should.

Huge kudos to the design team as a whole for an absolutely fabulous, cohesive look with dead-on classic Art Deco styling, including John Downing and Bill Glikbarg for scenery, Ken and Patti Crowley for exceptional lighting design, from show curtain to closing scene, Jean Schlichting and Kit Sibley for exquisite costuming, Heather Norcross and Robin Havens-Parker for impeccable hair and Emma Baskir’s classically styled make-up.

In all an excellent production and a very pleasant way to spend a summer evening. See it while you still have a chance!

Director’s Notes

When the play selection committee scheduled Twentieth Century, I applied to direct it, and I am so thankful that I was selected. This show means a lot to me–it has brought back wonderful memories.

First, when I was a child, age 6 through 11, I was an actor on WJZ (now WABC) on a show called “Coast to Coast on a Bus” with Milton Cross. (Nancy Walker and her sister, Betty Lou Barto, were in the chorus.)

At the same time, my agent got me a job on the well-known Saturday children’s program “Let’s Pretend.” I performed on this show four times, and the producers issued tickets for me to travel from New York’s Grand Central Station to Chicago on the Twentieth Century with my mother and my aunt in a lovely drawing room. (And how well I remember that fabulous train.)

Secondly, during that time I also studied tap dancing in a studio in the Carnegie Hall building. One of my dear little friends was called Mary, and we were very close. I would even be invited to parties at her home in Nyack, N.Y. Her mother always brought her, but occasionally her father would pick her up and take us to lunch. His name was Charles MacArthur, one of the playwrights of this wonderful crazy comedy. Her mother would often take us to matinees when there was a show that appealed to children our age, and to a lovely lunch at the Plaza before the matinee. Her mother was Helen Hayes. Mary, sadly, died at 11 years old. She was one of my first close friends, and I will never forget her.

Thank you to my wonderful cast and crew for helping my dreams come true with this show. And thank you, my wonderful audiences, for coming to our charming Little Theatre of Alexandria and offering us your support! I have loved this theatre since 1968.

Photo Gallery

Heather Norcross (Anita Highland), Michael Gerwin (Dr. Grover Lockwood), and Ben Norcross (Porter)	Cal Whitehurst (Conductor) and James McDaniel (Owen O’Malley)
Gary Cramer (Matthew Clark), Heather Norcross (Anita Highland), James McDaniel (Owen O’Malley), and Kathy Fannon (Ida Webb)	Cal Whitehurst (Conductor) and Kathy Fannon (Ida Webb)
David James (Oscar Jaffe) and Cal Whitehurst (Conductor)	Kathy Fannon (Ida Webb), David James (Oscar Jaffe), Margaret Bush (Lily Garland), and James McDaniel (Owen O’Malley)

Photos by Doug Olmsted

Cast

• Oscar Jaffe: David James
• Lily Garland: Margaret Bush
• Ida Webb: Kathy Fannon
• Owen O’Malley: James McDaniel
• Conductor: Cal Whitehurst
• Matthew Clark: Gary Cramer
• Dr. Grover Lockwood: Michael Gerwin
• Anita Highland: Heather Norcross
• George Smith: Timothy Rowe
• Max Jacobs/ Detective: Bob Cohen
• Beard and Reporter: Paul Tamney
• Porter: Ben Norcross

The Crew

• Producers: Jim Howard, Robert Kraus
• Director: Roland Branford Gomez
• Assistant to the Producers: Susan Barrett
• Production Assistant: Ben Norcross
• Assistant to the Director: Eddy Roger Parker
• Stage Managers: Charles Dragonette, Rebecca Patton
• Assistant Stage Managers: Casey Brusnahan, Richard Isaacs, Eddy Roger Parker, Jon Poole
• Set Design and Construction: John Downing, Bill Glikbarg
• Assisted by: William Ansel, David Doll, Jeff Gathers, Sandra Gehring, Jim Hutzler, Roger Pratt, Jack Rollins, Alyssa Settles
• Lighting Designers: Ken and Patti Crowley
• Costume Designers: Jean Schlichting, Kit Sibley
• Assisted by: Kathleen Kolacz, Martha Raymond
• Sound Design: David Correia
• Assisted by: Anna Hawkins, Keith Bell, Bill Rinehuls, Alan Wray
• Set Painting: Leslie Reed
• Assisted by: Bobbie Herbst, Joanna Henry, Mary Hutzler, Patty Lord
• Set Decoration: Susie Poole
• Assisted by: Donna Reynolds
• Master Electrician: Nancy Owens
• Assisted by: Kimberly Crago, Eileen Doherty, Pam Leonowich, Doug Olmsted
• Property Designers: Sherry Clarke, Bobbie Herbst
• Assisted by: Rachel Alberts, Leslie Reed, Donna Reynolds, Jayn Rife, Liz Tipton
• Wardrobe: Margaret Snow
• Assisted by: Alisa Beyninson, Jamie Blake, Patti Greksouk, Barbara Helsing, Nicole Zuchetto
• Hair and Wig Designers: Heather Norcross, Robin Havens-Parker
• Makeup Design: Emma Baskir
• Rigging: Russell Wyland
• Photographer: Doug Olmsted
• Audition Table: Maria Ciarrocchi
• Assisted by: Sherry Clarke, Jay Cohen, Barbara Helsing, Bobbie Herbst, Leslie Reed, Sherry Singer
• Double Tech Dinner: Larry Grey
• Opening Night Party: Susan Barrett
• Assisted by: Lloyd Bitlinger, Shirley Lord Cooper, Ronnie Hardcastle, Robert Kraus, Eddy Roger Parker, William Pope, Benny Robles, Sherry Singer

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Washington-area audiences are notoriously profligate in giving standing ovations. Occasionally, however, a show thoroughly deserves that reaction from its audience. The performance of Moises Kaufman’s 33 Variations at the Little Theatre of Alexandria (LTA) was such an occasion. Every aspect of the production — acting, music, technical theater — exceeded even the high expectations an audience has for the work of a top-tier community theater company.

Kaufman’s script traces the attempt of a terminally ill musicologist, Dr. Katherine Brandt (Sarah Holt), to determine why Beethoven (Elliot Bales) spent four years — the same four years during which he was working on the Ninth Symphony and the Missa Solemnis — writing the Diabelli Variations, his longest solo piano work, based on a theme that everyone feels is unworthy of the great composer. By the end of the play, she creates her own answer, but solving a historical mystery isn’t the script’s main point. Rather, finding the reason for the composer’s devotion to this work acts as a kind of McGuffin, a musicological Maltese Falcon that motivates the characters’ search for meaning and relationship amidst radical loss.

The play’s strongest suit, indeed, is the growth and development of relationships. Katherine, suffering from a very aggressive case of amyotrophic lateral sclerosis (ALS), wants to write one last scholarly paper on the background of the Diabelli Variations. Independent, determined, focused, and intellectually centered, Katherine keeps her smart, 20-something daughter Clara (Rebecca Phillips) at a distance, disappointed that Clara’s career-hopping and inability to commit will make her, in Katherine’s mind, a mediocrity. Clara is constantly frustrated in her attempts to gain her mother’s acceptance and approval. It takes the entire length of the play for this relationship to warm and grow, as Clara increasingly acts as her mother’s caregiver (as another character comments, one side effect of ALS is that it forces physical intimacy between the caregiver and the patient) and Katherine ultimately accepts her daughter’s steering her own course.

Katherine is a demanding physical role, as the character must change from an independent adult by stages into someone totally immobile and dependent. Holt carries off this physical transition, and the emotional changes that accompany it, flawlessly. The play — most strikingly in a brief sequence in which Katherine asks Clara to scratch an itch on her nose — provides a sobering description of the progressive effects of ALS.(For a searing description of the effects of ALS on an intellectually powerful writer striving to finish his last work, see “Night” by Tony Judt (New York Review of Books, February 11, 2010) and “Tony Judt: A Final Victory” by Jennifer Homans (New York Review of Books, March 22, 2012). These are available online in the New York Review of Books’ issue archive.)

Another significant relationship for Katherine is with the archivist assisting her research into Beethoven’s written records in Bonn, Germany, Dr. Gertrude Ladenburger (Melanie Bales). At first a rather stereotypical fussy librarian, Gertrude grows into Katherine’s faithful friend who is willing to bend archive rules to assist the research and who is able to handle Gertrude’s emotional growth credibly, as well as managing a believable German accent in the process.

Meanwhile, Clara begins a romantic relationship with her mother’s nurse, Mike Clark (Matt Baughman). Baughman plays Mike as sweet, goofy, deeply kind young man, with a very loose, easygoing physicality, who drops everything to accompany and take care of Clara while Clara is caring for her mother in Germany. (How they support themselves in Bonn, having left their jobs behind in New York, is unclear.) Clara, while clearly attracted to Mike, takes a good deal of time to accept a relationship with him, having to overcome not only her longstanding inability to make commitments but her focus on acting as her mother’s caregiver. Both actors succeed in making the audience root for their coming together, though it must be said that the development of their connection at times hews too closely to rom-com convention (above all in a well-played scene of their awkward date at a classical concert).

Kaufman’s script juxtaposes scenes of these contemporary characters with 19th century scenes concerning the writing of the Diabelli Variations (example of a sample performance). Diabelli himself (David Rampy), Beethoven’s music publisher, has written a short, simple waltz (described later by a contemporary character as a “beer hall dance”). He invites the leading composers of the day to write variations on it, which he intends to publish as a charity fund-raiser. Rampy’s Diabelli is a stout, loud, bombastic, fellow who, bereft of any significant musical talent of his own, recognizes and nurtures the talent of others (at a nice profit, of course). Against his better commercial instincts, he waits, however impatiently, for Beethoven to finish his ever-expanding set of variations, but ultimately is warmly appreciative of the music he has received and proud of his ability to make it available to the world.

Kaufman’s Beethoven is the very picture of the irascible artist; loud, demanding, rude, intensely aware of his own genius, a prima donna if ever there was. Somewhat like the Mozart character in Amadeus, this Beethoven teeters between low comedy and high inspiration. Bales gets all these sides of the character, and is particularly strong in showing his character’s emotional reaction to his loss of hearing and his spiritual ferocity in the face of weakening health.

Beethoven’s secretary, Anton Schindler (Ken Gaul) begins as a comically subservient, though practical, assistant, and grows into a confidant and caregiver to his “master.” Like other relationships in the play, this one begins at some distance and moves toward depth and closeness, making the play essentially an optimistic one despite Katherine’s fatal illness. The play’s focus on relationships is nowhere clearer then in the brilliantly executed final scene to the first act, in which three pairs of characters, using similar and in many cases identical words, with overlapping dialogue, explore the parallel issues in their lives.

The final, and in some ways most important, character in the play is the music itself, represented by pianist and music director Matt Jeffrey. Playing a grand piano in a nook upstage left, Jeffrey expertly plays through selections from the Diabelli Variations, keyed by the playwright to the emotional tone of various scenes. Jeffrey must be closely attuned to the action on stage, since he is called upon to play, on tight cues, excerpts from various drafts of Beethoven’s score, including snippets sometimes only a measure or two in length. Another musical highlight of the evening comes when four characters sing a Kyrie from the Missa Solemnis at a time of great distress for Katherine. The romantic heroism of Beethoven’s music, his heroism in continuing with it despite his loss of hearing and health, and Katherine’s heroism in trying, virtually to her last breath, to understand the music and where it came from, are at the core of 33 Variations.

The contemporary and 19th century characters and scenes often occupy the stage simultaneously, and Joanna Henry’s direction keeps the juxtapositions, interactions, and parallels of the scenes from the two periods clear and understandable. There is direct contact at a few points. The first, briefly and successfully, has Katherine and Beethoven sitting on a gurney, facing opposite directions, silently sharing their afflictions. Later, as Katherine is near death, Beethoven (in Limbo, he says) visits her. It is understandable that Kaufman wanted to have someone comfort Katherine, and perhaps the audience, with this fantasy conversation, but Beethoven as counselor/comforter is not consistent with Beethoven the driven genius/prima donna that Kaufman has shown us throughout the play. Better to have avoided this sentimental touch, especially for as unsentimental a character as Katherine. A delicate dance to the final variation brings a graceful close to the proceedings, as the 19th century and contemporary characters move to Beethoven’s minuet in their common love for the music.

Every aspect of the technical production shines. Chris Feldman’s set is a curved two-story, light-colored unit with the aforementioned piano nook on stage left and a floor-level entrance and balcony on stage right. Henry uses the balcony effectively in a number of scenes, notably the concert date scene for Clara and Mike. Alan Wray’s varied sound design, including Beethoven music not played by Jeffrey and the sounds of medical equipment, has its best moment when shrill tones, representing the ringing that Beethoven hears in his ears as his hearing impairment worsens, come precisely on cue as Bales claps his hands to his ears. Annie Vroom’s costumes are realistic for both centuries and are well individualized for each of the characters.

In a show so focused on what people hear, it is gratifying that the visual impact of the show is not neglected. The set acts as a screen for a variety of excellent projections (e.g., a concert hall, the city of Bonn, copies of Beethoven’s scores), designed by Jim Hartz. Ken and Patti Crowley’s lighting design is a marvel, with many notable touches such as narrowly aimed specials on Carla and Mike in their concert date scene, green fluctuating lights on Katherine for a medical test, and strobe lights on her during another medical test as she turns from one side to the other. There are a series of vibrant, warm colors on Jeffry in the piano nook. The design ably delineates the playing areas devoted to contemporary and 19th century scenes when both physically share the stage. There is a scene in which the entire stage is bathed in a low intensity purple light, greatly enhancing its emotional effect.

One of the lessons of this production is that resources matter. Only a group with a core of excellent designers and technical staff and the budgets to carry out their ideas, like LTA or, among others, Reston Community Players (which opened its own production of 33 Variations this weekend) could expect to mount a show of this complexity with this degree of success. But actors and production staff still have to make good use of the available resources to create a show that works this well, and for doing so the participants in LTA’s production deserve all the applause they are getting.

Director’s Notes

DRAMA-MEMORY-MUSIC

“When you listen to music, Mom, you look like you’re talking to God.”

33 Variations toys with variations on the conventional way of revealing a story with a series of vignettes that are windows into the lives of Dr. Katherine Brandt and the subject of her research, Beethoven, as well as a journey into ALS (Lou Gehrig’s Disease). It also raises questions about the human condition: a mother coming to terms with her daughter, a composer coming to terms with his genius. The process of transfiguration is portrayed throughout the play. Vignettes flip back and forth between the lives of the two main characters and, just for a moment, time stands still. As the author Moises Kaufman states: “This play is not a reconstruction of an historical event; rather, it is a series of variations on a moment in life.”

I strongly feel that Beethoven’s music is an eighth character. Each character, each scene, each piece of dialogue, each variation contributes its own part to the whole, at times taking a solo portraying a more quiet, tender moment, at other times combining in grandiose style to project a more compelling, powerful moment. While listening to these variations again and again, I was taken aback by how Kaufman relates them to Katherine’s life. Katherine’s explanation of Variation #1, giving Beethoven’s reasons for starting his variations on this waltz, reflects the personal journey she is about to take. Her explanation of Variation #3 mirrors where she and her daughter are personally in their lives. The last scene before the intermission relates the urgency of Katherine finishing her research to that of Beethoven finishing his variations. Beethoven’s monologue while he’s composing the fugue (Variation #32) is another insight into the state of Katherine’s life with ALS. When Beethoven and Katherine finally have a conversation together (Limbo), he’s telling her to embrace what’s coming and not fear it, because it will be a relief. Katherine’s comments at the end of the play are a tribute to her daughter and the variations in their relationship. Beethoven ends his variations with a minuet, often called a “graceful” dance, which the author links to the grace that is mentioned earlier in describing both Katherine and Clara.

I’ve had the unfortunate personal knowledge of watching my cousin experience and succumb to the devastation of ALS. He courageously accepted his fate and made the most of the time left to him, as Katherine did. He was always cheerful, always positive. He loved theater and he loved to dance; he was my “dance partner” at many family weddings. I think of him every day and imagine him dancing now, released from the constraints of the final years of his life, enjoying the freedom of a dance, perhaps even a minuet.

Thank you to so many people at LTA who have made this production a reality. Thank you all! And how could his play happen without the brilliance of Matt Jeffrey on the piano? Thank you, Matt-thank you, thank you!

Kaufman has said that 33 Variations is an exercise in figuring out how theater speaks. “It’s a play WITH music, it’s a play WITH dancing, it’s a play WITH singing…It really tries to redefine how the theatrical space is used.”

Photo Gallery

Rebecca Phillips (Clara Brandt) and Matt Baughman (Mike Clark)	Elliott Bales (Beethoven)
David Rampy (Anton Diabelli) and Elliott Bales (Beethoven)	Matt Jeffrey (Pianist)
Ken Gaul (Anton Schindler) and Elliott Bales (Beethoven)	David Rampy (Anton Diabelli) and Ken Gaul (Anton Schindler)
Matt Baughman (Mike Clark), Rebecca Phillips (Clara Brandt), and Melanie Bales (Dr. Gertrude Ladenburger)	Melanie Bales (Dr. Gertrude Ladenburger) and Sarah Holt (Dr. Katherine Brandt)

Photos by Doug Olmsted

The Cast

• Pianist: Matt Jeffrey
• Dr. Katherine Brandt, a musicologist: Sarah Holt
• Clara Brandt, her daughter: Rebecca Phillips
• Mike Clark, a nurse: Matt Baughman
• Anton Diabelli, a music publisher: David Rampy
• Ludwig van Beethoven: Elliott Bales
• Dr. Gertrude Ladenburger: Melanie Bales

Production Staff

• Producers: David Hale, Bobbie Herbst, Russell Wyland
• Assistant Producer: Marian Holmes
• Director: Joanna Henry
• Stage Managers: Christine Farrell, Joan A.S. Lada
• Assistant Stage Managers: Elizabeth Addington, Zell Murphy
• Music Director: Matt Jeffrey
• Choreographer: Greg Monroe
• Dance Captain: Rebbeca Phillips
• Set Design: Chris Feldmann
• Set Construction: Chris Feldmann
• Assisted by: Jeff Gathers, Jim Hutzler, Dan Remmers, Rance Willis
• Lighting Design: Ken and Patti Crowley
• Costume Design:Annie Vroom
• Assisted by: Kathleen Kolacz, Megan Murphy, Martha Raymond
• Sound Design: Alan Wray
• Assisted by: Keith Bell, David Correia, Margaret Evans-Joyce, Jack Seaver
• Set Painting: Mary Hutzler
• Assisted by: Leighann Behrens, Luana Bossolo, Bobbie Herbst, Maureen Lauren, Patty Lord, Leslie Reed
• Set Decoration: Marian Holmes, Russell Wyland
• Master Electrician: Eileen Doherty
• Assisted by: Kira Hogan, Pam Leonowich, Doug Olmsted, Nancy Owens, Donna Reynolds, Marg Soroos, Adam Wallace
• Property Design: Julia Harrison, Nicole Zuchetto
• Assisted by: Sharon Field, Jean Koppen, Jayn Rife, Margaret Snow
• Wardrobe: Barbara Helsing
• Assisted by: Alise Beyninson, Jamie Blake, Jean Coyle, Elsa Kolle, Rachel Pharr
• Hair and Makeup Design: Bette Williams
• Projection Design: Jim Hartz
• Assisted by: Sarah Boyd, Rebekah Parkinson, Marge Soroos, Russell Wyland
• Rigging: Russell Wyland
• Photographers: Doug Olmsted, Tabitha Rymal-Vaughn
• Audition Coordinators: Mary Lou Bruno, Maria Ciarrocchi
• Assisted by: Sharon Field, Barbara Helsing, Zell Murphy, Sherry Singer
• Double Tech Dinner: Sharon and Lenard Dove
• Opening Night Party: Virginia Lacey, Frank Shutts
• Assisted by: Nancy Cefalo, Eddy Parker, Rebecca Sheehy, Myke Taister

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Fifteen companies received awards this year. The Arlington Players‘ production of A Little Night Music received the most awards of the musicals, with five, including Outstanding Musical. Fauquier Community Theatre received four awards for Into the Woods, as did Kensington Arts Theatre for Sunday in the Park with George. Providence Players received the most awards, with two plays (Side Man and You Can’t Take it With You) each receiving four awards. The Colonial Players production Going to St. Ives received three awards, including Outstanding Play. Fifteen companies received awards this year.

ShowBizRadio followed the ceremony live, the archive is available.

Winners for outstanding technical achievement

• Outstanding Costume Design in a Musical: Eleanor Dicks, Sunday in the Park with George, Kensington Arts Theatre
• Outstanding Costume Design in a Play: Robbie Snow, You Can’t Take It With You, Providence Players of Fairfax
• Outstanding Hair Design in a Musical: Bette Williams, A Little Night Music, The Arlington Players
• Outstanding Hair Design in a Play: Beth Harrison, You Can’t Take It With You, Providence Players of Fairfax
• Outstanding Lighting Design in a Musical: Kevin Boyce, Night of the Living Dead, The Musical, Kensington Arts Theatre
• Outstanding Lighting Design in a Play: Chip Gertzog, Side Man, Providence Players of Fairfax
• Outstanding Makeup Design in a Musical: Tim Kirk, Into the Woods, Fauquier Community Theatre
• Outstanding Makeup Design in a Play: Beth Harrison, You Can’t Take It With You, Providence Players of Fairfax
• Outstanding Properties in a Musical: Richard Perryman & Peter Fakoury, Into the Woods, Fauquier Community Theatre
• Outstanding Properties in a Play: Susan Kaplan, Side Man, Providence Players of Fairfax
• Outstanding Set Construction in a Musical: Ryan Mudd, The Sound of Music, Port Tobacco Players
• Outstanding Set Construction in a Play: John Downing, Heaven Can Wait, Little Theatre of Alexandria
• Outstanding Set Decoration and Set Dressing in a Musical: Tim Kirk, Into the Woods, Fauquier Community Theatre
• Outstanding Set Decoration and Set Dressing in a Play: Lisa Church & Chip Gertzog, You Can’t Take It With You, Providence Players of Fairfax
• Outstanding Set Design in a Musical: John Merritt, Ryan Mudd, Ben Simpson, The Sound of Music, Port Tobacco Players
• Outstanding Set Design in a Play: Raedun Knutsen & Chip Gertzog, Side Man, Providence Players of Fairfax
• Outstanding Set Painting in a Musical: Nancy Daugherty, Into the Woods, Fauquier Community Theatre
• Outstanding Set Painting in a Play: Jane B. Wingard, Bloody Murder, 2nd Star Productions
• Outstanding Sound Design in a Musical: Kevin Garrett, Sunday in the Park with George, Kensington Arts Theatre
• Outstanding Sound Design in a Play: Jimmy Gertzog & Chip Gertzog, Side Man, Providence Players of Fairfax
• Outstanding Special Effects: Jordan Rose & Doe B. Kim, Sunday in the Park with George, Kensington Arts Theatre

Winners for outstanding performance by an actor or actress

• Outstanding cameo in a musical (TIE): Chrissy Barnett Miller as “Jolene Oakes”, Dirty Rotten Scoundrels, Damascus Theatre Company AND Brenda Parker as “Church Soloist”, The Color Purple, Tantallon Community Players
• Outstanding cameo in a play: Mark Yeager as “Beverly Weston”, August Osage County, Reston Community Players
• Outstanding featured actress in a musical: Annie Coffman as “Anne Egerman”, A Little Night Music, The Arlington Players
• Outstanding featured actor in a musical: Stephen Deininger as “Tateh”, Ragtime, Laurel Mill Playhouse
• Outstanding featured actress in a play: Gayle Nichols-Grimes as “Vernadette Simms”, The Dixie Swim Club, Port City Playhouse
• Outstanding featured actor in a play: John Shackelford as “Max Levene”, Heaven Can Wait, Little Theatre of Alexandria
• Outstanding lead actress in a musical: Jennifer Lyons Pagnard as “Mrs. Lovett”, Sweeney Todd, Little Theatre of Alexandria
• Outstanding lead actor in a musical: Fred Nelson as “Tevye”, Fiddler on the Roof, 2nd Star Productions
• Outstanding lead actress in a play: Lolita-Marie as “May N’Kame”, Going to St. Ives, Colonial Players of Annapolis
• Outstanding lead actor in a play: Matt Baughman as “Charlie Gordon”, Flowers for Algernon, Elden Street Players

Winners for outstanding achievement in overall production

• Outstanding Stage Combat Choreography: Carl Brandt Long, Deathtrap, McLean Community Players
• Outstanding Choreography: Taurean Maray Barber, The Color Purple, Tantallon Community Players
• Outstanding Music Direction: John-Michael d’Haviland, A Little Night Music, The Arlington Players
• Outstanding Direction of a Musical (TIE): Christopher Dykton, A Little Night Music, The Arlington Players AND Craig Petinatti, Sunday in the Park with George, Kensington Arts Theatre
• Outstanding Direction of a Play: Edd Miller, Going to St. Ives, Colonial Players of Annapolis
• Outstanding Musical: A Little Night Music, The Arlington Players
• Outstanding Play: Going to St. Ives, Colonial Players of Annapolis

Winners sorted by theatre and show

2nd Star Productions

• Bloody Murder
  • Outstanding Set Painting in a Play, Jane B. Wingard
• Fiddler on the Roof
  • Outstanding Lead Actor in a Musical, Fred Nelson as “Tevye”

Arlington Players

• A Little Night Music
  • Outstanding Direction of a Musical, Christopher Dykton
  • Outstanding Featured Actress in a Musical, Annie Coffman as “Anne Egerman”
  • Outstanding Hair Design in a Musical, Bette Williams
  • Outstanding Music Direction, John-Michael d’Haviland
  • Outstanding Musical

Colonial Players

• Going to St. Ives
  • Outstanding Direction of a Play, Edd Miller
  • Outstanding Lead Actress in a Play, Lolita-Marie as “May N’Kame”
  • Outstanding Play

Damascus Theatre Company

• Dirty Rotten Scoundrels
  • Outstanding Cameo in a Musical, Chrissy Barnett Miller as “Jolene Oakes”

Elden Street Players

• Flowers for Algernon
  • Outstanding Lead Actor in a Play, Matt Baughman as “Charlie Gordon”

Fauquier Community Theatre

• Into the Woods
  • Outstanding Makeup Design in a Musical, Tim Kirk
  • Outstanding Properties in a Musical, Richard Perryman & Peter Fakoury
  • Outstanding Set Decoration in a Musical, Tim Kirk
  • Outstanding Set Painting in a Musical, Nancy Daugherty

Kensington Arts Theatre

• Night of the Living Dead, The Musical
  • Outstanding Light Design in a Musical, Kevin Boyce
• Sunday in the Park with George
  • Outstanding Costume Design in a Musical, Eleanor Dicks
  • Outstanding Direction of a Musical, Craig Pettinati
  • Outstanding Sound Design in a Musical, Kevin Garrett
  • Outstanding Special Effects, Jordan Rose & Doe B. Kim

Laurel Mill Playhouse

• Ragtime
  • Outstanding Featured Actor in a Musical, Stephen Deininger as “Tateh”

Little Theatre Of Alexandria

• Heaven Can Wait
  • Outstanding Featured Actor in a Play, John Shackelford as “Max Levene”
  • Outstanding Set Construction in a Play, John Downing
• Sweeney Todd
  • Outstanding Lead Actress in a Musical, Jennifer Lyons Pagnard as “Mrs. Lovett”

McLean Community Players

• Deathtrap
  • Outstanding Stage Combat Choreography, Carl Brandt Long

Port City Playhouse

• The Dixie Swim Club
  • Outstanding Featured Actress in a Play, Gayle Nichols-Grimes as “Vernadette Simms”

Port Tobacco Players

• The Sound of Music
  • Outstanding Set Construction in a Musical, Ryan Mudd
  • Outstanding Set Design in a Musical, John Merritt, Ryan Mudd, Ben Simpson

Providence Players

• Side Man
  • Outstanding Light Design in a Play, Chip Gertzog
  • Outstanding Properties in a Play, Susan Kaplan
  • Outstanding Set Design in a Play, Raedun Knutsen & Chip Gertzog
  • Outstanding Sound Design in a Play, Jimmy Gertzog & Chip Gertzog
• You Can’t Take it With You
  • Outstanding Costume Design in a Play, Robbie Snow
  • Outstanding Hair Design in a Play, Beth Harrison
  • Outstanding Makeup Design in a Play, Beth Harrison
  • Outstanding Set Decoration in a Play, Lisa Church & Chip Gertzog

Reston Community Players

• August Osage County
  • Outstanding Cameo in a Play, Mark Yeager as “Beverly Weston”

Tantallon Community Theatre

• The Color Purple
  • Outstanding Cameo in a Musical, Brenda Parker as “Church Soloist”
  • Outstanding Choreography, Taurean Maray Barber

• 2nd Star Productions
• Aldersgate Church Community Theatre
• The Alliance Theatre
• The Arlington Players
• Capital City Players of DC
• Bowie Community Theatre
• Castaways Repertory Theatre
• Taking Flight Theatre Company
• Chevy Chase Players
• Colonial Players of Annapolis
• Damascus Theatre Company
• Dominion Stage
• Elden Street Players
• Fauquier Community Theatre
• Greenbelt Arts Center
• Hard Bargain Players
• Kensington Arts Theatre
• Laurel Mill Playhouse
• Little Theatre of Alexandria
• McLean Community Players
• Montgomery Playhouse
• Port City Playhouse
• Port Tobacco Players
• Prince George’s Little Theatre
• Prince William Little Theatre
• Providence Players of Fairfax
• Reston Community Players
• Rockville Little Theatre
• Rockville Musical Theatre
• St. Mark’s Players
• Silver Spring Stage
• Tantallon Community Players
• Vienna Theatre Company

The nominations are provided by category and then by theater.

The Award Presentation will be held on March 17th at the Birchmere in Alexandria, Virginia. Tickets can be purchased for $15.50 at the Birchmere Box Office or through Ticketmaster (additional fees will apply). Last year the ceremony sold out, so order your tickets early!

In each of the thirty-eight categories, five nominees were selected based on the average scores of eight judges. In some categories, due to score ties, more than five nominees are announced. Nominations are provided in alphabetical order by nominee.

Nominations for outstanding technical achievements

Outstanding Set Design in a Musical

• Bill Brown & Chad Wheeler, Meet Me in St. Louis, Damascus Theatre Company
• Matt Karner, Sunday in the Park with George, Kensington Arts Theatre
• Tim Kirk & Martha Lynch, Into the Woods, Fauquier Community Theatre
• Russell Kopp, A Little Night Music, Arlington Players
• John Merritt, Ryan Mudd, Ben Simpson, The Sound of Music, Port Tobacco Players

Outstanding Set Design in a Play

• John Coscia, You Can’t Take It With You, Providence Players of Fairfax
• John Downing, Heaven Can Wait, Little Theatre of Alexandria
• John Downing, Witness for the Prosecution, Little Theatre of Alexandria
• Raedun Knutsen & Chip Gertzog, Side Man, Providence Players of Fairfax
• Jane B. Wingard, The Lion in Winter, 2nd Star Productions

Outstanding Set Construction in a Musical

• Matt Karner & Joel Richon, Sunday in the Park with George, Kensington Arts Theatre
• Tim Kirk & Kirk Noé, Into the Woods, Fauquier Community Theatre
• Jim Korte & Bill Rippey, Meet Me in St. Louis, Damascus Theatre Company
• Ryan Mudd, The Sound of Music, Port Tobacco Players
• Joe Stine & John Merritt, The Wizard of Oz, Port Tobacco Players

Outstanding Set Construction in a Play

• John Coscia, You Can’t Take It With You, Providence Players of Fairfax
• John Downing, Heaven Can Wait, Little Theatre of Alexandria
• John Downing, Witness for the Prosecution, Little Theatre of Alexandria
• Chip Gertzog et al, Side Man, Providence Players of Fairfax
• Bernie Gmiter, Bob Schroth, Bill Glikbarg, Deathtrap, McLean Community Players
• Timothy Hinton & David Johnson, August Osage County, Reston Community Players
• John Merritt, To Kill A Mockingbird, Port Tobacco Players

Outstanding Set Painting in a Musical

• Nancy Daugherty et al, Into the Woods, Fauquier Community Theatre
• Jill Hanger, Rhonna Johnson, Betsy Stevens, The Sound of Music, Port Tobacco Players
• Ronna Johnson, The Wizard of Oz, Port Tobacco Players
• Jane B. Wingard, Fiddler on the Roof, 2nd Star Productions
• Jane B. Wingard, Oklahoma, 2nd Star Productions

Outstanding Set Painting in a Play

• Erin Cumbo et al, Someone Who’ll Watch Over Me, Port City Playhouse
• Chip Gertzog, Side Man, Providence Players of Fairfax
• Mary Hutzler, Heaven Can Wait, Little Theatre of Alexandria
• Jane B. Wingard, Bloody Murder, 2nd Star Productions
• Jane B. Wingard et al, The Lion in Winter, 2nd Star Productions

Outstanding Set Decoration and Set Dressing in a Musical

• Sheila Draper, The Sound of Music, Port Tobacco Players
• Lindsey Hays, A Little Night Music, Arlington Players
• Ronna Johnson, The Wizard of Oz, Port Tobacco Players
• Tim Kirk, Into the Woods, Fauquier Community Theatre
• Maria Littlefield, Meet Me in St. Louis, Damascus Theatre Company

Outstanding Set Decoration and Set Dressing in a Play

• Lisa Church & Chip Gertzog, You Can’t Take It With You, Providence Players of Fairfax
• Edd Miller, Chapter Two, Colonial Players of Annapolis
• Kathy White, Side Man, Providence Players of Fairfax
• Dinnie Whitson, Cathy Farnsworth, Christine Whitson, Deathtrap, McLean Community Players
• Jane B. Wingard et al, The Lion in Winter, 2nd Star Productions

Outstanding Properties in a Musical

• Avery Burns, A Little Night Music, Arlington Players
• Terri Fortney-Beinert, The Sound of Music, Port Tobacco Players
• Maria Littlefield, Meet Me in St. Louis, Damascus Theatre Company
• Richard Perryman et al, Into the Woods, Fauquier Community Theatre
• Joanne D. Wilson, Fiddler on the Roof, 2nd Star Productions

Outstanding Properties in a Play

• Emily Besuden, Jerry Gideon, Dick La Porte, Deathtrap, McLean Community Players
• Mary Jo Ford & Alexandra Lee, August Osage County, Reston Community Theatre
• Chip Gertzog, You Can’t Take It With You, Providence Players of Fairfax
• Susan Kaplan, Side Man, Providence Players of Fairfax
• Robbie Snow et al, Sleuth, Providence Players of Fairfax
• Joanne D. Wilson, The Lion in Winter, 2nd Star Productions

Outstanding Lighting Design in a Musical

• Kevin Boyce, Night of the Living Dead, The Musical, Kensington Arts Theatre
• Garret R. Hyde, Fiddler on the Roof, 2nd Star Productions
• Tim Kirk, Into the Woods, Fauquier Community Theatre
• Ben Levine, Sunday in the Park with George, Kensington Arts Theatre
• B. Keith Ryder, A Little Night Music, Arlington Players
• Tommy Scott, The Sound of Music, Port Tobacco Players

Outstanding Lighting Design in a Play

• Ken & Patti Crowley, August Osage County, Reston Community Players
• Ken & Patti Crowley, Cantorial, Little Theatre of Alexandria
• Frank Florentine & Shirley Panek, Chapter Two, Colonial Players of Annapolis
• Chip Gertzog, Side Man, Providence Players of Fairfax
• Bob Zeigler, Deathtrap, McLean Community Players

Outstanding Sound Design in a Musical

• Keith Bell, A Little Night Music, The Arlington Players
• Kevin Garrett, Sunday in the Park with George, Kensington Arts Theatre
• Tim Kirk, Into the Woods, Fauquier Community Theatre
• Matt Rowe, Night of the Living Dead, The Musical, Kensington Arts Theatre
• Gerhard Straub, The Wizard of Oz, Port Tobacco Players

Outstanding Sound Design in a Play

• Chris Alpiar, Equus, Taking Flight Theatre Company
• Jamie Coupar, The Beauty Queen of Leenane, Silver Spring Stage
• Jimmy Gertzog & Chip Gertzog, Side Man, Providence Players of Fairfax
• Stan Harris, Flowers for Algernon, Elden Street Players
• Janice Rivera, Cantorial, Little Theatre of Alexandria

Outstanding Costume Design in a Musical

• Pat Brennan, The Sound of Music, Port Tobacco Players
• Pat Brennan, The Wizard of Oz, Port Tobacco Players
• Eleanor Dicks, Sunday in the Park with George, Kensington Arts Theatre
• Grant Kevin Lane, A Little Night Music, The Arlington Players
• Susan Noé & Martha Lynch, Into the Woods, Fauquier Community Theatre

Outstanding Costume Design in a Play

• Patricia Kratzer et al, Enchanted April, Silver Spring Stage
• Jean Schlichting & Kit Sibley, Heaven Can Wait, Little Theatre of Alexandria
• Robbie Snow, You Can’t Take It With You, Providence Players of Fairfax
• Linda Swann, The Lion in Winter, 2nd Star Productions
• Beth Terranova, Cinderella Waltz, Colonial Players of Annapolis
• Beth Terranova, Going to St. Ives, Colonial Players of Annapolis

Outstanding Makeup Design in a Musical

• Heather Bauer & Kaitelyn Bauer, The Wizard of Oz, Port Tobacco Players
• Kristina Friedgen, Sweeney Todd, Little Theatre of Alexandria
• Eric Jones, Sunday in the Park with George, Kensington Arts Theatre
• Tim Kirk & Rebecca Carver, Into the Woods, Fauquier Community Theatre
• Larissa Norris, Dreamgirls, Dominion Stage

Outstanding Makeup Design in a Play

• Laurie T. Freed & Cast, Enchanted April, Silver Spring Stage
• Beth Harrison, Side Man, Providence Players of Fairfax
• Beth Harrison, You Can’t Take It With You, Providence Players of Fairfax
• Sheila Hyman & Shemika Berry, The Taming of the Shrew, Castaways Repertory Theatre
• Sue Pinkman, Lend Me A Tenor, Reston Community Players

Outstanding Hair Design in a Musical

• Shemika Berry, The Color Purple, Tantallon Community Players
• Kristina Friedgen, Sweeney Todd, Little Theatre of Alexandria
• Malca Giblin, Dreamgirls, Dominion Stage
• Malca Giblin, Sunday in the Park with George, Kensington Arts Theatre
• Bette Williams, A Little Night Music, The Arlington Players

Outstanding Hair Design in a Play

• Beth Harrison, You Can’t Take It With You, Providence Players of Fairfax
• Chanukan Jane Lilburne, Heaven Can Wait, Little Theatre of Alexandria
• Robin Parker & Hannah Wolf, All the King’s Women, Little Theatre of Alexandria
• Gina Quaye, Going to St. Ives, Colonial Players of Annapolis
• Arthur Rodger, Flowers for Algernon, Elden Street Players
• Bette Williams, Witness for the Prosecution, Little Theatre of Alexandria

Outstanding Special Effects

• John Decker & Kevin Boyce, Night of the Living Dead, The Musical, Kensington Arts Theatre
• Chip Gertzog, You Can’t Take It With You, Providence Players of Fairfax
• Tim Kirk, Into the Woods, Fauquier Community Theatre
• Keith Linville, Joe Stine, John Merritt, The Wizard of Oz, Port Tobacco Players
• Jordan Rose & Doe B. Kim, Sunday in the Park with George, Kensington Arts Theatre

Nominations for outstanding performances by an actor or actress

Outstanding cameo in a musical

• Joseph Aquilina as “Kyle,” Legally Blonde, Reston Community Players
• Chrissy Barnett Miller as “Jolene Oakes,” Dirty Rotten Scoundrels, Damascus Theatre Company
• Karen Batra as “Marge MacDougall,” Promises, Promises, The Arlington Players
• Erica Drezek as “Berthe,” Pippin, Greenbelt Arts Center
• Brenda Parker as “Church Soloist,” The Color Purple, Tantallon Community Players

Outstanding cameo in a play

• Katherine Bisulca as “Sales Girl,” Red Scare on Sunset, Prince William Little Theatre
• Bob Burnett as “Beverly Carlton,” The Man Who Came to Dinner, Fauquier Community Theatre
• Carleigh Jones as “Doris,” The Hollow, Laurel Mill Playhouse
• Stuart Orloff as “Teen Charlie,” Flowers for Algernon, Elden Street Players
• Yvonne Paretzky as “Addie,” The Little Foxes, Rockville Little Theatre
• Shelley Rochester as “Mrs. Winsley,” Stop Kiss, Silver Spring Stage
• Mark Yeager as “Beverly Weston,” August Osage County, Reston Community Players

Outstanding featured actress in a musical

• Annie Coffman as “Anne Egerman,” A Little Night Music, The Arlington Players
• Amy Dolan as “The Mother Abbess,” The Sound of Music, Port Tobacco Players
• Annie Ermlick as “Sister Mary Amnesia,” Nunsense, The Alliance Theatre
• Shanice Jones as “Sofia,” The Color Purple, Tantallon Community Players
• Molly Hicks Larson as “Paulette Buonofuonte,” Legally Blonde, Reston Community Players
• Anne Marie Pinto as “Petra,” A Little Night Music, The Arlington Players

Outstanding featured actor in a musical

• Stephen Deininger as “Tateh,” Ragtime, Laurel Mill Playhouse
• Michael J. Galizia as “Jud Fry,” Oklahoma, 2nd Star Productions
• Malcolm Lee as “Jimmy Early,” Dreamgirls, Dominion Stage
• Gary Saddon as “Ali Hakim,” Oklahoma, 2nd Star Productions
• Stephen Yednock as “Nicely-Nicely Johnson,” Guys and Dolls, Tantallon Community Players

Outstanding featured actress in a play

• Monica Garcia as “Mother McGee,” Cinderella Waltz, Colonial Players of Annapolis
• Lorraine Magee as “Virginia,” Clean House, Elden Street Players
• Gayle Nichols-Grimes as “Mattie Fae Aiken,” August Osage County, Reston Community Players
• Gayle Nichols-Grimes as “Vernadette Simms,” The Dixie Swim Club, Port City Playhouse
• Shelley Rochester as “Costanza,” Enchanted April, Silver Spring Stage
• Lois A. Stanziani as “Helga ten Dorp,” Deathtrap, McLean Community Players

Outstanding featured actor in a play

• Chuck Dluhy as “Roma,” Glengary Glen Ross, Elden Street Players
• Michael Kharfen as “Levene,” Glengary Glen Ross, Elden Street Players
• Stuart Rick as “Benjamin Hubbard,” The Little Foxes, Rockville Little Theatre
• John Shackelford as “Max Levene,” Heaven Can Wait, Little Theatre of Alexandria
• Kevin Wallace as “Victor Fleming,” Moonlight and Magnolias, Colonial Players of Annapolis

Outstanding lead actress in a musical

• Madeline Botteri as “Monica,” Rooms, A Rock Romance, Kensington Arts Theatre
• Shawnee Louise Coleman-Lining as “Effie Melody White,” Dreamgirls, Dominion Stage
• Andrea Gerald as “Cellie,” The Color Purple, Tantallon Community Players
• Jennifer Lyons Pagnard as “Mrs. Lovett,” Sweeney Todd, Little Theatre of Alexandria
• Farrell Parker as “Dot/Marie,” Sunday in the Park with George, Kensington Arts Theatre

Outstanding lead actor in a musical

• Ryan Burke as “Georges/George,” Sunday in the Park with George, Kensington Arts Theatre
• Eric Jones as “Ian,” Rooms, A Rock Romance, Kensington Arts Theatre
• Fred Nelson as “Tevye,” Fiddler on the Roof, 2nd Star Productions
• Gabriel T. Potter as “Freddy Benson,” Dirty Rotten Scoundrels, Damascus Theatre Company
• Brent Stone as “Fredrik Egerman,” A Little Night Music, The Arlington Players

Outstanding lead actress in a play

• Lolita-Marie as “May N’Kame,” Going to St. Ives, Colonial Players of Annapolis
• Heather Quinn as “Dr. Cora Gage,” Going to St. Ives, Colonial Players of Annapolis
• Lee Slivka as “Barbara Fordham,” August Osage County, Reston Community Players
• Mary Suib as “Violet Weston,” August Osage County, Reston Community Players
• Jo Sullivan as “Jennie Malone,” Chapter Two, Colonial Players of Annapolis

Outstanding lead actor in a play

• Dann Alagna as “Zed,” Cinderella Waltz, Colonial Players of Annapolis
• Matt Baughman as “Charlie Gordon,” Flowers for Algernon, Elden Street Players
• Phil Hosford as “Ralph Wantage,” Frozen, Rockville Little Theatre
• Sandy Irving as “Richard Nixon,” Frost/Nixon, Greenbelt Arts Center
• Ryan Manning as “Max Levene,” Lend Me A Tenor, Reston Community Players

Nominations for outstanding achievement in overall production

Outstanding Stage Combat Choreography

• Steve Lada, August Osage County, Reston Community Players
• Steve Lada, Equus, Taking Flight Theatre Company
• Carl Brandt Long, Deathtrap, McLean Community Players
• Carl Brandt Long, Man of La Mancha, McLean Community Players
• Kevin Robertson, The Taming of the Shrew, Castaways Repertory Theatre

Outstanding Choreography

• Richelle “Rikki” Howie, Dreamgirls, Dominion Stage
• Martha Lynch, Into the Woods, Fauquier Community Theatre
• Taurean Maray Barber, The Color Purple, Tantallon Community Players
• Vincent Musgrave, A Chorus Line, Rockville Musical Theatre
• Corinne Shumaker, The Music Man, Fauquier Community Theatre

Outstanding Music Direction

• LaVar Betts, The Color Purple, Tantallon Community Players
• John-Michael d’Haviland, A Little Night Music, The Arlington Players
• John-Michael d’Haviland, Dreamgirls, Dominion Stage
• John-Michael d’Haviland, Spring Awakening, Dominion Stage
• David Rohde, Sunday in the Park with George, Kensington Arts Theatre

Outstanding Direction of a Musical

• Brian Douglas, Fiddler on the Roof, 2nd Star Productions
• Christopher Dykton, A Little Night Music, The Arlington Players
• Craig Petinatti, Sunday in the Park with George, Kensington Arts Theatre
• Joshua Redford, Legally Blonde, Reston Community Players
• Charla Rowe, The Color Purple, Tantallon Community Players

Outstanding Direction of a Play

• Gloria DuGan, Flowers for Algernon, Elden Street Players
• Jimmy Gertzog, Side Man, Providence Players of Fairfax
• Ron Giddings, Moonlight and Magnolias, Colonial Players of Annapolis
• Edd Miller, Going to St. Ives, Colonial Players of Annapolis
• Andrew JM Regiec, August Osage County, Reston Community Players

Outstanding Musical

• A Little Night Music, The Arlington Players
• Dreamgirls, Dominion Stage
• Sunday in the Park with George, Kensington Arts Theatre
• The Color Purple, Tantallon Community Players
• The Sound of Music, Port Tobacco Players

Outstanding Play

• August Osage County, Reston Community Players
• Flowers for Algernon, Elden Street Players
• Going to St. Ives, Colonial Players of Annapolis
• Moonlight and Magnolias, Colonial Players of Annapolis
• Side Man, Providence Players of Fairfax

Nominations sorted by theatre and show

2nd Star Productions

4 productions received 14 nominations total

Bloody Murder

• Outstanding Set Painting in a Play: Jane B. Wingard

Fiddler on the Roof

• Outstanding Direction of a Musical: Brian Douglas
• Outstanding Lead Actor in a Musical: Fred Nelson as “Tevye”
• Outstanding Light Design in a Musical: Garret R. Hyde
• Outstanding Properties in a Musical: Joanne D. Wilson
• Outstanding Set Painting in a Musical: Jane B. Wingard

Oklahoma

• Outstanding Featured Actor in a Musical: Michael J. Galizia as “Jud Fry”
• Outstanding Featured Actor in a Musical: Gary Saddon as “Ali Hakim”
• Outstanding Set Painting in a Musical: Jane B. Wingard

The Lion in Winter

• Outstanding Costume Design in a Play: Linda Swann
• Outstanding Properties in a Play: Joanne D. Wilson
• Outstanding Set Decoration in a Play: Jane B. Wingard et al
• Outstanding Set Design in a Play: Jane B. Wingard
• Outstanding Set Painting in a Play: Jane B. Wingard et al

Alliance Theatre

1 production received 1 nomination

Nunsense

• Outstanding Featured Actress in a Musical: Annie Ermlick as “Sister Mary Amnesia”

Arlington Players

2 productions received 14 nominations total

A Little Night Music

• Outstanding Costume Design in a Musical: Grant Kevin Lane
• Outstanding Direction of a Musical: Christopher Dykton
• Outstanding Featured Actress in a Musical: Annie Coffman as “Anne Egerman”
• Outstanding Featured Actress in a Musical: Anne Marie Pinto as “Petra”
• Outstanding Hair Design in a Musical: Bette Williams
• Outstanding Lead Actor in a Musical: Brent Stone as “Fredrik Egerman”
• Outstanding Light Design in a Musical: B. Keith Ryder
• Outstanding Music Direction: John-Michael d’Haviland
• Outstanding Musical
• Outstanding Properties in a Musical: Avery Burns
• Outstanding Set Decoration in a Musical: Lindsey Hays
• Outstanding Set Design in a Musical: Russell Kopp
• Outstanding Sound Design in a Musical: Keith Bell

Promises, Promises

• Outstanding Cameo in a Musical: Karen Batra as “Marge MacDougall”

Castaways Repertory Theatre

1 production received 2 nominations

The Taming of the Shrew

• Outstanding Makeup Design in a Play: Sheila Hyman & Shemika Berry
• Outstanding Stage Combat Choreography: Kevin Robertson

Colonial Players

4 productions received 15 nominations total

Chapter Two

• Outstanding Lead Actress in a Play: Jo Sullivan as “Jennie Malone”
• Outstanding Light Design in a Play: Frank Florentine & Shirley Panek
• Outstanding Set Decoration in a Play: Edd Miller

Cinderella Waltz

• Outstanding Costume Design in a Play: Beth Terranova
• Outstanding Featured Actress in a Play: Monica Garcia as “Mother McGee”
• Outstanding Lead Actor in a Play: Dann Alagna as “Zed”

Going to St. Ives

• Outstanding Costume Design in a Play: Beth Terranova
• Outstanding Direction of a Play: Edd Miller
• Outstanding Hair Design in a Play: Gina Quaye
• Outstanding Lead Actress in a Play: Lolita-Marie as “May N’Kame”
• Outstanding Lead Actress in a Play: Heather Quinn as “Dr. Cora Gage”
• Outstanding Play

Moonlight and Magnolias

• Outstanding Direction of a Play: Ron Giddings
• Outstanding Featured Actor in a Play: Kevin Wallace as “Victor Fleming”
• Outstanding Play

Damascus Theatre Company

2 productions received 6 nominations total

Dirty Rotten Scoundrels

• Outstanding Cameo in a Musical: Chrissy Barnett Miller as “Jolene Oakes”
• Outstanding Lead Actor in a Musical: Gabriel T. Potter as “Freddy Benson”

Meet Me in St. Louis

• Outstanding Properties in a Musical: Maria Littlefield
• Outstanding Set Construction in a Musical: Jim Korte & Bill Rippey
• Outstanding Set Decoration in a Musical: Maria Littlefield
• Outstanding Set Design in a Musical: Bill Brown & Chad Wheeler

Dominion Stage

2 productions received 8 nominations total

Dreamgirls

• Outstanding Choreography: Richelle “Rikki” Howie
• Outstanding Featured Actor in a Musical: Malcolm Lee as “Jimmy Early”
• Outstanding Hair Design in a Musical: Malca Giblin
• Outstanding Lead Actress in a Musical: Shawnee Louise Coleman-Lining as “Effie Melody White”
• Outstanding Makeup Design in a Musical: Larissa Norris
• Outstanding Music Direction: John-Michael d’Haviland
• Outstanding Musical

Spring Awakening

• Outstanding Music Direction: John-Michael d’Haviland

Elden Street Players

4 productions received 10 nominations total

Clean House

• Outstanding Featured Actress in a Play: Lorraine Magee as “Virginia”

Flowers for Algernon

• Outstanding Cameo in a Play: Stuart Orloff as “Teen Charlie”
• Outstanding Direction of a Play: Gloria DuGan
• Outstanding Hair Design in a Play: Arthur Rodger
• Outstanding Lead Actor in a Play: Matt Baughman as “Charlie Gordon”
• Outstanding Play
• Outstanding Sound Design in a Play: Stan Harris

Glengary Glen Ross

• Outstanding Featured Actor in a Play: Chuck Dluhy as “Roma”
• Outstanding Featured Actor in a Play: Michael Kharfen as “Levene”

Rooms, A Rock Romance

• Outstanding Set Design in a Musical: James Villarubia

Fauquier Community Theatre

3 productions received 13 nominations total

Into the Woods

• Outstanding Choreography: Martha Lynch
• Outstanding Costume Design in a Musical: Susan Noe & Martha Lynch
• Outstanding Light Design in a Musical: Tim Kirk
• Outstanding Makeup Design in a Musical: Tim Kirk & Rebecca Carver
• Outstanding Properties in a Musical: Richard Perryman et al
• Outstanding Set Construction in a Musical: Tim Kirk & Kirk Noe
• Outstanding Set Decoration in a Musical: Tim Kirk
• Outstanding Set Design in a Musical: Tim Kirk & Martha Lynch
• Outstanding Set Painting in a Musical: Nancy Daugherty et al
• Outstanding Sound Design in a Musical: Tim Kirk
• Outstanding Special Effects: Tim Kirk

The Man Who Came to Dinner

• Outstanding Cameo in a Play: Bob Burnett as “Beverly Carlton”

The Music Man

• Outstanding Choreography: Corinne Shumaker

Greenbelt Arts Center

2 productions received 2 nominations total

Frost/Nixon

• Outstanding Lead Actor in a Play: Sandy Irving as “Richard Nixon”

Pippin

• Outstanding Cameo in a Musical: Erica Drezek as “Berthe”

Kensington Arts Theatre

3 productions received 18 nominations total

Night of the Living Dead, The Musical

• Outstanding Light Design in a Musical: Kevin Boyce
• Outstanding Sound Design in a Musical: Matt Rowe
• Outstanding Special Effects: John Decker & Kevin Boyce

Rooms, A Rock Romance

• Outstanding Lead Actor in a Musical: Eric Jones as “Ian”
• Outstanding Lead Actress in a Musical: Madeline Botteri as “Monica”

Sunday in the Park with George

• Outstanding Costume Design in a Musical: Eleanor Dicks
• Outstanding Direction of a Musical: Craig Pettinati
• Outstanding Hair Design in a Musical: Malca Giblin
• Outstanding Lead Actor in a Musical: Ryan Burke as “Georges/George”
• Outstanding Lead Actress in a Musical: Farrell Parker as “Dot/Marie”
• Outstanding Light Design in a Musical: Ben Levine
• Outstanding Makeup Design in a Musical: Eric Jones
• Outstanding Music Direction: David Rohde
• Outstanding Musical
• Outstanding Set Construction in a Musical: Matt Karner & Joel Richon
• Outstanding Set Design in a Musical: Matt Karner
• Outstanding Sound Design in a Musical: Kevin Garrett
• Outstanding Special Effects: Jordan Rose & Doe B. Kim

Laurel Mill Playhouse

2 productions received 2 nominations total

Ragtime

• Outstanding Featured Actor in a Musical: Stephen Deininger as “Tateh”

The Hollow

• Outstanding Cameo in a Play: Carleigh Jones as “Doris”

Little Theatre Of Alexandria

5 productions received 15 nominations total

All the King’s Women

• Outstanding Hair Design in a Play: Robin Parker & Hannah Wolf

Cantorial

• Outstanding Light Design in a Play: Ken & Patti Crowley
• Outstanding Sound Design in a Play: Janice Rivera

Heaven Can Wait

• Outstanding Costume Design in a Play: Jean Schlichting & Kit Sibley
• Outstanding Featured Actor in a Play: John Shackelford as “Max Levene”
• Outstanding Hair Design in a Play: Chanukan Jane Lilburne
• Outstanding Set Construction in a Play: John Downing
• Outstanding Set Design in a Play: John Downing
• Outstanding Set Painting in a Play: Mary Hutzler

Sweeney Todd

• Outstanding Hair Design in a Musical: Kristina Friedgen
• Outstanding Lead Actress in a Musical: Jennifer Lyons Pagnard as “Mrs. Lovett”
• Outstanding Makeup Design in a Musical: Kristina Friedgen

Witness for the Prosecution

• Outstanding Hair Design in a Play: Bette Williams
• Outstanding Set Construction in a Play: John Downing
• Outstanding Set Design in a Play: John Downing

Mclean Community Players

2 productions received 7 nominations total

Deathtrap

• Outstanding Featured Actress in a Play: Lois A. Stanziani as “Helga ten Dorp”
• Outstanding Light Design in a Play: Bob Zeigler
• Outstanding Properties in a Play: Emily Besuden, Jerry Gideon, Dick La Porte
• Outstanding Set Construction in a Play: Bernie Gmiter, Bob Schroth, Bill Glikbarg
• Outstanding Set Decoration in a Play: Dinnie Whitson, Cathy Farnsworth, Christine Whitson
• Outstanding Stage Combat Choreography: Carl Brandt Long

Man of La Mancha

• Outstanding Stage Combat Choreography: Carl Brandt Long

Port City Playhouse

2 productions received 2 nominations total

Someone Who’ll Watch Over Me

• Outstanding Set Painting in a Play: Erin Cumbo, et al

The Dixie Swim Club

• Outstanding Featured Actress in a Play: Gayle Nichols-Grimes as “Vernadette Simms”

Port Tobacco Players

3 productions received 17 nominations total

The Sound of Music

• Outstanding Costume Design in a Musical: Pat Brennan
• Outstanding Featured Actress in a Musical: Amy Dolan as “The Mother Abbess”
• Outstanding Light Design in a Musical: Tommy Scott
• Outstanding Musical
• Outstanding Properties in a Musical: Terri Fortney-Beinert
• Outstanding Set Construction in a Musical: Ryan Mudd
• Outstanding Set Decoration in a Musical: Sheila Draper
• Outstanding Set Design in a Musical: John Merritt, Ryan Mudd, Ben Simpson
• Outstanding Set Painting in a Musical: Jill Hanger, Rhonna Johnson, Betsy Stevens

The Wizard of Oz

• Outstanding Costume Design in a Musical: Pat Brennan
• Outstanding Makeup Design in a Musical: Heather Bauer & Kaitelyn Bauer
• Outstanding Set Construction in a Musical: Joe Stine & John Merritt
• Outstanding Set Decoration in a Musical: Ronna Johnson
• Outstanding Set Painting in a Musical: Ronna Johnson
• Outstanding Sound Design in a Musical: Gerhard Straub
• Outstanding Special Effects: Keith Linville, Joe Stine, John Merritt

To Kill A Mockingbird

• Outstanding Set Construction in a Play: John Merritt

Prince William Little Theatre

1 production received 1 nomination

Red Scare on Sunset

• Outstanding Cameo in a Play: Katherine Bisulca as “Sales Girl”

Providence Players

3 productions received 19 nominations total

Side Man

• Outstanding Direction of a Play: Jimmy Gertzog
• Outstanding Light Design in a Play: Chip Gertzog
• Outstanding Makeup Design in a Play: Beth Harrison
• Outstanding Play
• Outstanding Properties in a Play: Susan Kaplan
• Outstanding Set Construction in a Play: Chip Gertzog et al
• Outstanding Set Decoration in a Play: Kathy White
• Outstanding Set Design in a Play: Raedun Knutsen & Chip Gertzog
• Outstanding Set Painting in a Play: Chip Gertzog
• Outstanding Sound Design in a Play: Jimmy Gertzog & Chip Gertzog

Sleuth

• Outstanding Properties in a Play: Robbie Snow et al

You Can’t Take it With You

• Outstanding Costume Design in a Play: Robbie Snow
• Outstanding Hair Design in a Play: Beth Harrison
• Outstanding Makeup Design in a Play: Beth Harrison
• Outstanding Properties in a Play: Chip Gertzog
• Outstanding Set Construction in a Play: John Coscia
• Outstanding Set Decoration in a Play: Lisa Church & Chip Gertzog
• Outstanding Set Design in a Play: John Coscia
• Outstanding Special Effects: Chip Gertzog

Reston Community Players

3 productions received 15 nominations total

August Osage County

• Outstanding Cameo in a Play: Mark Yeager as “Beverly Weston”
• Outstanding Direction of a Play: Andrew JM Regiec
• Outstanding Featured Actress in a Play: Gayle Nichols-Grimes as “Mattie Fae Aiken”
• Outstanding Lead Actress in a Play: Lee Slivka as “Barbara Fordham”
• Outstanding Lead Actress in a Play: Mary Suib as “Violet Weston”
• Outstanding Light Design in a Play: Ken & Patti Crowley
• Outstanding Play
• Outstanding Properties in a Play: Mary Jo Ford & Alexandra lee
• Outstanding Set Construction in a Play: Timothy Hinton & David Johnson
• Outstanding Stage Combat Choreography: Steve Lada

Legally Blonde

• Outstanding Cameo in a Musical: Joseph Aquilina as “Kyle”
• Outstanding Direction of a Musical: Joshua Redford
• Outstanding Featured Actress in a Musical: Molly Hicks Larson as “Paulette Buonofuonte”

Lend Me A Tenor

• Outstanding Lead Actor in a Play: Ryan Manning as “Max Levene”
• Outstanding Makeup Design in a Play: Sue Pinkman

Rockville Little Theatre

2 productions received 3 nominations total

Frozen

• Outstanding Lead Actor in a Play: Phil Hosford as “Ralph Wantage”

The Little Foxes

• Outstanding Cameo in a Play: Yvonne Paretzky as “Addie”
• Outstanding Featured Actor in a Play: Stuart Rick as “Benjamin Hubbard”

Rockville Musical Theatre

1 production received 1 nomination

A Chorus Line

• Outstanding Choreography: Vincent Musgrave

Silver Spring Stage

3 productions received 5 nominations total

Beauty Queen of Leenane

• Outstanding Sound Design in a Play: Jamie Coupar

Enchanted April

• Outstanding Costume Design in a Play: Patricia Kratzer et al
• Outstanding Featured Actress in a Play: Shelley Rochester as “Costanza”
• Outstanding Makeup Design in a Play: Laurie T. Freed & Cast

Stop Kiss

• Outstanding Cameo in a Play: Shelley Rochester as “Mrs. Winsley”

Taking Flight Theatre Company

1 production received 2 nominations

Equus

• Outstanding Sound Design in a Play: Chris Alpiar
• Outstanding Stage Combat Choreography: Steve Lada

Tantallon Community Theatre

2 productions received 9 nominations total

Guys and Dolls

• Outstanding Featured Actor in a Musical: Stephen Yednock as “Nicely-Nicely Johnson”

The Color Purple

• Outstanding Cameo in a Musical: Brenda Parker as “Church Soloist”
• Outstanding Choreography: Taurean Maray Barber
• Outstanding Direction of a Musical: Charla Rowe
• Outstanding Featured Actress in a Musical: Shanice Jones as “Sofia”
• Outstanding Hair Design in a Musical: Shemika Berry
• Outstanding Lead Actress in a Musical: Andrea Gerald as “Cellie”
• Outstanding Music Direction: LaVar Betts
• Outstanding Musical

Long-term, structural unemployment in post-industrial America is not the most obvious context for an upbeat musical, but that is what David Yazbek and Terrence McNally pulled off in The Full Monty, now in a delightful production at the Little Theater of Alexandria (LTA). Based on a hit 1997 British movie of the same name, with the locale transferred to Buffalo, New York, the show, which originally opened on Broadway in 2000, traces the efforts of six unemployed steelworkers to raise some much-needed cash by putting on a strip show for their wives, friends, and any other paying customers who turn up.

The Full Monty is very much a men’s show, not only in the sense that the major roles are for men but because the show concerns itself principally with issues facing men, particularly how to maintain a sense of pride and competence, and successful relationships, when the economy takes away the breadwinner role on which a man’s image of himself is based. How do you avoid feeling like a loser when your only employment hope is an entry-level job as a Wal-Mart security guard?

The opening number for the men in the show, “Scrap,” poses just that question, incidentally illustrating the difference between a competent theater song and a great theater song on the same theme (see Yip Harburg’s “Brother Can You Spare a Dime”). Jerry Lukowski (James Hotsko) is behind on child support, has no job prospects, and is sustained primarily by his love for his 12-year old son Nathan (Colin Cech). Hotsko has a pleasant light tenor voice (whatever became of writing Broadway musical leads for baritones?), nicely shown off in the ballad “Breeze Off the River.” He is convincing as a young man who never quite had it all together even when he had a job and now is quite lost without it.

His buddy Dave Bukatinsky (Christopher Harris) has well-founded body image issues, which lead him to midnight trysts with bags of snack food rather than with his frustrated wife Georgie (Carla Giambrone). More than his friends, Dave has to summon up a good deal of courage to take his clothes off in public, and Harris’s portrayal of Dave’s ambivalence is endearing

As the 50-something Noah Simmons (known as “Horse”), Malcolm Lee performs spectacularly in the energetic “Big Black Man,” a bluesy riff on the stereotype of a black guy’s anatomical proportions. Michael Gale’s shy, depressed Malcolm MacGregor and Keith Miller’s cheerfully uncoordinated Ethan Girard (who repeatedly tries and fails to imitate Donald O’Connor’s wall-climbing bit in Singing in the Rain), fall quietly and sweetly in love, their “You Walk With Me” toward the end of the second act being the most beautiful and touching number in the show. What makes their performances particularly strong is the way that, in Act 1 and the earlier scenes of Act 2, they show their characters beginning to come close to one another in small, unobtrusive ways, of which they are almost unaware, so that their ultimately becoming a couple grows naturally from what precedes the song. (The rest of the steelworkers accept their relationship in a way that doesn’t seem altogether characteristic of the Buffalo working class men I knew, but it’s a nice place in the show to suspend disbelief).

The final member of the stripper sextet, Harold Nichols (Jack Stein), hides his unemployment from his wife, Vicki (Annie Ermlick), which allows the other guys to blackmail him into choreographing the strip number. Ermlick is a good deal taller than Stein, lending a sweetly comic touch to the characters’ affection for each other. As well as having a strong, clear voice, Ermlick also gives a distinctly Latin flavor to her main number, “Life With Harold.” She might think about doing Lola in Damn Yankees some day.

Among the other women, veteran trouper Jeanette Burmeister (Jennifer Strand), the stripper gang’s accompanist, stands out, not only in creating a colorful, nothing-surprises her, tough but kind lady, with her flask always at the ready (the sort of character one can imagine Elaine Stritch playing in her younger days), but in delivering the show’s most inventive lyric, “Jeanette’s Showbiz Number.” Georgie leads off the show strongly with “Let’s Play” and heads the women’s ensemble in “It’s a Woman’s World.” Amy Conley has the task of portraying Jerry’s rather unpleasant ex-wife, Pam; she competently sends Jerry the mixed signals, alternately cruel and encouraging, that the script giver her. One choice in the production with which I disagreed was making the small role of Teddy Slaughter, Pam’s current boyfriend (Dan Deisz) even more unattractive and disagreeable than the script requires, in turn emphasizing Pam’s negative side.

One small role that deserves mention is Keno Walsh (Daniel McKay), a gay, buff, ironically good-humored professional stripper who, because of the women’s reaction to his performance, inspires Jerry to think about doing a strip show. He impresses with his acting as well as his more corporeal talents.

Every facet of the LTA production sparkles. The band, led by Chris Tomasino, sounded note-perfect and precisely coordinated with the singers in playing the Yazbek’s pop/light rock-style score. The Full Monty is a dance-heavy show, and Ivan Davila’s choreography creates one entertaining moment after another, from ballroom dancing in “Life with Harold” to the wild and funky “Big Black Man” to the basketball move-inspired “Michael Jordan’s Ball” to the climatic strip number “Let It Go,” which incorporates and transforms elements from seemingly all the prior dance numbers. Director Shults wisely (indeed, necessarily) cast actors who move well, and the movement never fails to maintain the show’s liveliness.

The colorful and varied costumes for the large cast, designed by Kit Sibley and Jean Schlichting, range from the everyday (for the steelworkers in their regular lives) to glamorous (like Vicki’s red dress in “Life with Harold”) to cute and silly (Harold’s pajamas) to sexy (for some of the female ensemble) to mild fetish (the “security” outfits with which the men begin “Let It Go”). The last of these choices is particularly inspired: given that two of the characters have or used to have jobs as low-level security guards, in the final scene the security outfits become a symbol of a sort of empowerment, rather than loserdom. The costumes are well individualized for each character, even for small ensemble roles. The thoroughness of the design extends even to the curtain call, when the six strippers appear in identical white bathrobes, seen for the first and only time during the bows.

It is an old joke among theater people that some costume designers are so obsessive about details that they insist on actors wearing just the right underwear for their character and period. Well, in this show, the costume designers have to pay attention to underwear, as often as it is displayed to the audience, and Sibley and Schlichting come up with some wildly colored boxers and briefs as well as red and silver thongs that accent, as a second-act song would have it, “The Goods.”

MYKE Taister’s set design consists of an overarching metallic shed with lower units on either side representing brick structures with windows (it would have been nice for some of the windows to be broken). There is an upstage platform used in various ensemble numbers. In some scenes, items slide out from doors under the platform, most engagingly a red prop car in which Malcolm attempts suicide by carbon monoxide in the first act. The set functions effectively, though it does not quite capture the simultaneous feelings of melancholy and beauty that pervade the old industrial areas of Buffalo.

Ken and Patti Crowley’s lighting design provides a colorful accompaniment to the proceedings, and its operation was smooth throughout. Of particular interest were two sets of three instruments above the stage, facing the audience, which were used to good effect in the ensemble numbers, especially in “Let It Go,” where they blink on and off on quick succession to help create the strip club atmosphere.

Full disclosure: I grew up in a working class family in Buffalo. I visit from time to time, and dearly love the place, so I am probably more sensitive to Buffalo-related details in the show than most viewers would be. The occasional interjection of downstate accents by a few cast members raised my eyebrows a bit. While someone appropriately enough mentions wings, real Buffalo steelworkers would feast on Beef on Weck. There is no “Miracle Mall” in Buffalo (the “Boulevard Mall” would have been a realistic reference). If you get on Route 11 in New York State, you will find yourself closer to Binghamton than to Buffalo. The “Full Monty,” a bit of British slang (a reference originally suspected to have referred to World War II Field Marshal Montgomery and having a meaning roughly equivalent to “the whole nine yards”), is not one Buffalo working class folks would likely have had occur to them, unless perhaps they had seen the movie.

I also couldn’t help noticing that the program asserts that the time of the show is “The Present.” That isn’t quite right. In fact, the time in which the show appears to occur is all over the place. Per the script, the steelworkers have been unemployed between 6 and 18 months. In fact, the Buffalo-area steel industry died long before that: the Bethlehem Steel and Republic Steel plants closed in 1983-84 (the site of the magnificent Bethlehem plant, which for decades before there was environmental legislation turned the water of Lake Erie and the roofs of Lackawana orange, now ironically hosts several ecologically-correct wind turbines). Horse wears a shiny Drew Bledsoe jersey, which places him most likely in 2002, Bledsoe’s first and best season of his short, unhappy career with the Bills. Today, when Michael Jordan is longer the best player in the NBA, but simply an owner/executive of a franchise every bit as pathetic as the Wizards, his moves would not have the same resonance with everyday fans.

Buffalo nowadays is a hollowed out city, which has never recovered from the death of the old industrial economy and possibly never will. Not only have the factories themselves disappeared, but whole sprawling neighborhoods on the East and South sides of town, in which a lot of people with names like Lukowski and Bukatinsky once lived, are now largely empty, notable for miles of abandoned and demolished houses and businesses. Despite having become one of the poorest cities of its size in the country, Buffalo remains renowned for the genuineness and warmth of its people. Whatever the details of the local scene that the New York City and California-based creators of The Full Monty missed, they got that point right, and the warmth of the show’s emotions would be right at home in Western New York.

Director’s Note

“I always say, to be well dressed you must be well naked.” – Oscar de la Renta

Meet Jerry, Dave, Malcolm, Harold, Horse, and Ethan–six unemployed steelworkers who have something to reveal. It might be an insecurity, a secret, a flaw. Yet since the fig leaf, men have been taught to cover themselves. We hide behind lies; we conceal what we don’t want to see; we veil what we don’t want others to see.

Going the “full monty” is a metaphor. It’s about revealing who you are, often to others, but mostly to yourself. It’s about being well naked.

These men learn that sometimes you have to get completely nude to discover who you are and what you are capable of becoming.

Photo Gallery

Daniel McKay (Buddy) and fans	Marcus Fisk (Reg), Michael Gale (Malcolm), Rene Keith Flores (Marty), Ben Norcross (Ensemble), Dan Deisz (Teddy), Christopher Harris (Dave), and Michael Bagwell (Tony)
James Hotsko (Jerry)	Christopher Harris (Dave), Michael Gale (Malcolm), and James Hotsko (Jerry)
Michael Gale (Malcolm) and Mary Lou Bruno (Molly)	James Hotsko (Jerry) and Colin Cech (Nathan)

Photos by Shane Canfield

Cast

• Jerry Lukowski: James Hotsko
• Nathan Lukowski: Colin Cech
• Pam Lukowski: Amy Conley
• Dave Butakinsky: Christopher Harris
• Georgie Bukatinsky: Carla Giambrone
• Malcolm MacGregor: Michael Gale
• Noah T. (“Horse”) Simmons: Malcolm Lee
• Ethan Girard: Keith Miller
• Harold Nichols: Jack Stein
• Vicki Nichols: Annie Ermlich
• Jeanette Burmesiter: Jennifer Strand
• Buddy “Keno” Walsh: Daniel McKay
• Teddy Slaughter: Dan Deisz
• Susan Hershey: Emily “EJ” Jonas
• Dolores: Heather McElwain
• Estelle Genovese: Claire O’Brien
• Joanie Lish: Aerika Saxe
• Reg Willoughby: Marcus Fish
• Tony Giordano/Ensemble: Michael Bagwell
• Minister/Ensemble/Dancer: Ben Norcross
• Marty/Ensemble: Rene Keith Flores
• Molly MacGregor/Dancer: May Lou Bruno
• Ensemble: Sarah Gale, Robin Havens Parker
• Dancers: John Bosco, Anya Laurenzo, Heather Norcross, David Sears, Sharee Sears

Production Staff

• Producers: Rachel Alberts, Carolyn Winters
• Assistant Producer: Margaret Evens-Joyce
• Director: Frank D. Shults II
• Music Director: Christopher A. Tomasino
• Choreographer/Assistant Director: Ivan Davila
• Dance Captain: Claire O’Brien
• Stage Managers: Leighann Behrens, Marg Soroos
• Assistant Stage Managers: Charles Dragonette, Jim Hutzler,
• Eddy Roger Parker, Adrean Steel
• Set Design: MYKE Taister
• Set Construction: Chris Feldmann
• Assisted by: Ed Broyles, Jeff Gathers, Jim Hutzler, Dan Remmers, Rance Willis
• Lighting Design: Ken and Patti Crowley
• Costume Design: Jean Schlichting, Kit Sibley
• Sound Design: David Correia, David Hale
• Assisted by: Keith Bell, Sean Doyle, Alan Wray
• Set Painting: Luana Bossolo
• Assisted by: Charlotte Alberts, George Alberts, Ann Fitzgerald,
• Joanne Henry, Mary Hutzler, Jane Nilan, Robin Havens Parker, Stacy
• Pollack, Susan Prytherch, Leslie Reed, One Brick.org
• Set Decoration: Marian Holmes, Russell Wyland
• Master Electrician: Eileen Doherty, Michael J O’Connor
• Assisted by: Mary Abahazy, Kimberly Cargo, Peter Halverson, Jim Hartz, Michael Kwan, Pam Leonowich, Tom McLaughlin, Doug Olmsted, Nancy Owens, Adam Wallace
• Property Design: Eddy Roger Parker
• Assisted by: Leslie Reed, Jayn Rife, Sherry Singer, Margaret Snow, Liz Tipton
• Wardrobe: Jamie Blake, Brandy Morgan
• Assisted by: Kathy Dillaber, Barbara Helsing, Megan Murphy, Margaret Snow, Mary Beth Smith-Toomey
• Hair and Makeup Design: Robin Havens Parker
• Rigging: Russell Wyland
• Photographer: Shane Canfield
• Audition Table: Maria Ciarrocchi
• Assisted by: Tina Anderson, Mary Lou Bruno, Sherry Clarke, Eddy Roger Parker, Leslie Reed, Margaret Snow
• Audition Photographer: Shane Canfield
• Audition and Rehearsal Pianist: Matt Jeffrey
• Double Tech Dinner: Larry Gray
• Assisted by: Ronald Carter, Isabelle Zorro
• Opening Night Party: Virgina Lacey, Kathi Trepper
• Assisted by: Lloyd Billinger, Leslie Buckles, Ronnie Hardcastle, Robert Kraus, Eddy Roger Parker, Ben Robles, Sherry Singer, Mary Beth Smith-Toomey

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Around this time of year, it is not much of a surprise to turn a corner and find a display reminiscent of the cobblestones and lamp posts, carols and costumes of England in the 1800s. So it is not much of a jump to visit the doorstep of Old Ebenezer Scrooge, brought to life by The Little Theater of Alexandria. They are all there, Bob Cratchit (played by Cal Whitehurst), the Ghosts of the Christmases, and even Tiny Tim (played by the adorable Cillian Farrell).

The light and warmth of this production tells the story again as it was meant to be told. Ebenezer Scrooge (played by Elliot Bales) is a towering statue, a living ice block, whose “Bah HUMBUG” is as grim as any could growl it. He’s visited by the ghost of his former partner, Jacob Marley (Robert Heinly), and with a rattling of chains and a whoosh of wind, his journey towards redemption begins.

The darling children steal the show, as would be expected, with charming smiles and hopeful innocence. This cast has beautiful chemistry, and the honesty of their interactions serve the story well. Also of note was Robert Heinly as Marley. His sonorous voice and commitment to the character were exceptional.

The star of the show, Mr Scrooge himself, Elliot Bales, was in fine form. He played the ogre convincingly, and brought the character to his redemption splendidly. Bales and Erik Harrison, playing his nephew, Fred, showed a very strong relationship. This particular cast used that relationship as a wonderful vehicle for the ultimate redemption.

Overall, the spectacle was wonderful. The stage was well-lit and dressed with Scrooge’s workplace and bedroom all in one, which then became the set for all the visions he sees as the clock struck one. The costumes shone out, as being both lively and period appropriate. Some of the vernacular of the play takes getting used to, as a few voices rang out with a slightly less than perfect English diction, but overall the cast held together. Similarly, a few members of the cast, most notably the Christmas Ghosts, chose to amp up the dramatics of the well-worn play, and became much much larger than life.

The dynamic that the cast built was warm and homey, building on traditions and using materials of the well-loved story to create the spectacle we expect. The audience loved it, the cast was energetic, and the story was well told.

Director’s notes

Written in 1843, Charles Dickens’ “A Christmas Carol” is undoubtedly one of the world’s best loved stories. Dickens’ approach to the novella was to divide it into distinct episodes, called staves, a term that refers to a musical notation staff. The use of this term synchronizes beautifully with the title, A Christmas Carol.

The story is largely allegorical, with a clear theme of redemption. Each ghost has a specific function: the Ghost of Christmas Past represents memory; the Ghost of Christmas Present represents charity; and finally, the Ghost of Christmas Yet to Come represents the universal fear of judgement after death. Scrooge himself symbolizes a self-centered, self-regarding society. By way of contrast, the Cratchits portray the joy that may be experienced despite poverty and difficult circumstances. And Fred, Scrooge’s nephew, who delivers a staunch monologue in support of Christmas, serves as a foil to Scrooge and a vision of what Scrooge may yet become.

It is here that we see the moral of the play: Each of us has the opportunity to be redeemed from a life of inward focus to one of outward focus. When confronted with memories of a happier past, an understanding of those less fortunate, and the paralyzing thought of punishment or reward following death, we can complete the conversion to become charitable, caring and socially conscious members of society.

As you enjoy this timeless production, allow yourself a moment for personal reflection on the glorious memories of Christmases past, the joys that can be found in the present, and the optimism for a better and brighter future. I hope you will find A Christmas Carol to be a magical, reminiscent encounter illustrating the spirit of Christmas that can last throughout the year.

With warm wishes for a happy Christmas, Rachael Hubbard, Director

Photo Gallery

Elliott Bales (Scrooge), Grace Keefe (Fan), and Julian Worth (Boy Scrooge)	Lawrence O. Grey Jr. (Ghost of Christmas Present)
Viktoria Truitt (Ignorance) and Lindsey Gattuso (Want)	Robert Heinly (Marley) and Elliott Bales (Scrooge)
Heather Norcross (Ghost of Christmas Past)	Emma Canfield (Lillian), Erik Harrison (Fred), and Kristin O’Malley (Fred’s Wife)
Elliott Bales (Scrooge), Terry Gish (Old Joe), Melanie Bales (Laundress), and Heather Norcross (Housekeeper)	Mark Lee Adams (Charles Dickens), Cillian Farrell (Tiny Tim), and Elliott Bales (Scrooge)

Photos by Doug Olmsted

Cast

• Charles Dickens: Mark Lee Adams
• Martha: Nikki Amico
• Mrs. Cratchit: Ashley Amidon
• Belinda Cratchit: Clare Baker
• Ebenezer Scrooge: Elliot Bales
• Mrs. Fezziwig/Laundress: Melanie Bales
• Lillian: Emma Canfield
• Young Scrooge/Ghost of Christmas Future: Alexander Collins
• Henry Cratchit/Robert: Brian Downie
• Tiny Tim: Cillian Farrell
• Spirit of Christmas/Child Soloist/Belle’s Oldest Daughter: Saoirse Farrell
• Belle’s Child: Penelope Gallagher
• Molly Cratchit/Caroler/Want: Lindsey Gattuso
• Old Joe: Terry Gish
• Fezziwig/Poulterer/Ghost of Christmas Present: Lawrence O. Grey Jr.
• Jacob Marley: Robert Heinly
• Topper/Fezziwig Guest/Gentleman 1: Richard Isaacs
• Fan/Belle’s Child: Grace Keefe
• Fred: Erik Harrison
• Belle: Brittany Morgan
• Ghost of Christmas Past/Housekeeper: Heather Norcross
• Fred’s Wife: Kristin O’Malley
• Dick Wilkins: Brian Clark
• Peter Cratchit: John Ray
• Turkey Boy/Belle’s Child: Charlie Ruppe
• Gentleman 2: Paul Tamney
• Belle’s Child/Ignorance: Viktoria Truitt
• Bob Cratchit: Cal Whitehurst
• Boy Scrooge: Julian Worth

The Crew

• Producers: Lloyd Bittinger, Eddy Roger Parker
• Director: Rachael Hubbard
• Musical Director: Linda Wells
• Choreographer: Grace Machanic
• Stage Manager: Margaret Evans-Joyce
• Assistant Stage Manager: Jean Coyle
• Set Design and Set Construction: Chris Feldmann
• Lighting Design: Nancy Owens
• Costume Design: Jean Schlichting, Kit Sibley
• Sound Design: Alan Wray
• Set Painting: Deidre Nicholson-Lamb
• Set Decoration: Russel Wyland
• Master Electrician: Eileen Doherty
• Property Designer: Ben Norcross
• Wardrobe: Margaret Snow
• Hair, Makeup and Wig Design: Tiffany Pache
• Accent Coach: Heather Sanderson
• Rigging: Russell Wyland
• Photographer: Doug Olmsted
• Videographers: John Hartz, Jim Hartz
• Young Actor Coordinator: Katherine Dillaber

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.