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

“This play is just a story about two people who love each other very much. And although the story centers around a same-sex couple, the central theme is universal. Love is love.” wrote Rob Batarla in his Port City Playhouse program notes for Next Fall.

With Next Fall, Batarla has succeeded in presenting a contemporary, very earnest, heartfelt production about a partnership between Adam (an edgy Richard Issacs) and Luke (a gentle Fred Dechow). The play speaks to their life together including how each face some of their greatest fears both singly and as a couple. While ultimately a poignant tale, Next Fall is surrounded with ample comedy as it journeys to its conclusion.

Written by Geoffrey Nauffts, Next Fall received a 2010 Outer Critics Circle Award as Best New American Play and a Tony Award nomination for Best Play. Nauffts sets his tale in New York City in a five-year period during the mid-2000’s. He uses flashback and short scenes to bring out his main messages and themes.

As the play opens it is fall. We hear sound effects. We become aware that a traffic accident has happened. We soon learn that Luke is in a coma. Luke’s friends and parents begin to gather in the waiting room of a NYC hospital. The people include long-time friend Holly (Susanne Martin), owner of a candle shop; Brandon (Andy De) another friend or perhaps something more; Luke’s overly spirited, animated talker of a mother Arlene (Gayle Nichols-Grimes) who has been long divorced from but still squabbling with ex-husband Butch (Cal Whitehurst). Arriving as well is Adam.

There is plenty of tension and discomfort in the waiting room well beyond Luke’s condition. Adam cannot visit Luke in his hospital room; he is not considered family. Luke’s parents do not seem to be aware that their son and Adam are a couple. They don’t seem to know their son is gay.

Flashback five years: Adam and Luke meet cute at a party. The then mid-30’s Adam has had a panic attack. The 20-ish Luke has rescued him. They begin to reveal pieces of themselves; they become smitten with each other.

As scenes move forward and back, we become aware that Luke is an aspiring actor with his career looking up after a stint as a waiter and working in Holly’s candle shop. Adam, who also has worked for Holly, is a hypochondriac with plenty of self-esteem issues. While a couple, there are some deep fissures in their relationship. Luke is gay and a deeply religious man. He has been unable to “come out” to his parents. Luke prays before a meal and after sex. Adam is aggressively sarcastic and unsympathetic to Luke’s religious views. Adam frequently battles with Luke about his faith in Jesus and an afterlife. “How can you be gay and Christian?” is one of Adam’s customary questions to Luke. The question is not meant for a response. It is given an accusatory tone.

As Luke’s life hangs by a thread, his friends and family members allow themselves to become vulnerable. Their failings and insecurities become clear. Faith takes on very central meanings for each, even Adam.

The ensemble of actors is in sync. They hit their marks. A shout out goes to Nichols-Grimes as the initially highly-spirited, boisterous, almost vulgar, ex-wife and mother Alice. Her characterization of a woman trying to hide her failings is quite effective. She steers smoothly from rowdiness to presenting a motherly tenderness. Her face softens, her gestures grow smaller, her voice drops into a lower power.

Whitehurst gives his Butch a contained physical belligerence while his manner of speaking has a spitting meanness to it. His acting fits what his character is meant to be. But at the end, he becomes a subdued father broken-down at his loss, his eyes misty.

Martin’s Holly is comfortable in her self-described role as a “fag hag.” It is Martin who sums up much of the trajectory of Next Fall when she quietly speaks of the transience of life and importance of friendship. De’s Brandon is a self-contained cipher with little affect but for a sullen, uncomfortable presence.

There is a note to raise about the Issacs and DeChow presentations as a couple. They seem more like room-mates than partners, even when alone together in their apartment at the beginnings of their relationship. We know they care for each other, but the connections seem tentative except for one critical scene of total devotion and tenderness.

The Port City Playhouse set design by Batarla is utilitarian. It serves its purpose. The set has two levels on the stage that serve as both a hospital waiting room and lower Manhattan apartment through flashback scenes. There is a couch with side chairs on one level and at the rear a step higher is a small kitchen table with chairs. The central aisle on the theater floor is also used for one scene. This particular scene left a well-deserved deep hush from the audience, it was that intimate.

Shifts in time and place are clearly denoted by brown-outs and projections. The projections are of Adam and Luke just being together in a park. The sound design bridges scenes with contemporary pop music such as Katy Perry’s “I Kissed a Girl.” As events progress the tunes become more restrained, ending with a plaintive U2.

Next Fall grapples with many weighty issues, often with a comic touch. Some of the scripted arguments and verbal battles seem a bit too contrived. They can come off like a blunt instrument. With that said, over time, we as the audience invest ourselves in the characters because they are likeable. The play’s conclusion brings a fitting quiet from audience. The well-earned applause takes time to begin; then it is sustained. The actors take their bow looking spent. They had given all of themselves for the audience.

Note: Next Fall is recommended for age 15 and above as it contains strong language and mature themes.

Photo Gallery

Brandon (Andy De), Arlene (Gayle N. Grimes) and Holly (Suzanne Martin)	Luke (Fred Dechow), Adam (Richard Isaacs), and Holly (Suzanne Martin)
Arlene (Gayle N. Grimes) and Butch (Cal Whitehurst)

Photos by Michael deBlois

Cast

• Adam: Richard Issacs
• Luke: Frederick Dechow
• Holly: Suzanne Martin
• Brandon: Andy De
• Arlene: Gayle Nichols-Grimes
• Butch: Cal Whitehurst

Design and Production Team

• Director, Set, Projection & Sound Design: Rob Batarla
• Producer: Carol Strachan
• Stage Manager: Kate Miller
• Light Design: Nancy Owens
• Set Dressing & Decoration: Readun de Alba
• Costume Design: Ceci Albert
• Properties & Painting Assistant: Jenni Patton
• Chief Assistant Stage Manager: Joanna Schoenborn
• Assistant Stage Manager: Larry Gray, Meg Hoover & Anne St. Jacques
• Master Carpenter: David Correia
• Master Electrician: Liz Owens
• Set Painting: Becky Patton
• Lighting Crew: David Correia, Rachel Lau, Michelle McBeth, Paul McGee, Kate Miller, Liz Owens, Nancy Owens, Bruce Schmid, Joanna Schoenborn, Dick Schwab & Carol Strachan
• Set Construction: Rob Batarla, David Correia, Andy De, Fred Dechow, Richard Issacs, Bethany Latham, Paul McGee, Carol Strachan, Cal Whitehurst & Alan Wray
• Costume Assistant: Lisa Brownsword
• Slide Photographer: Matthew Randall
• Sound Crew: David Corria, Meg Hoover, Rachel Lau & Sean McBeth
• Projection Crew: Paul McGee

Disclaimer: Port City Playhouse provided a complimentary media ticket to ShowBizRadio for this review.

• Black Hole, Early Fall 2014
• In the Next Room (or the vibrator play), Late Fall 2014
• Shining City, Late Winter/Early Spring 2015
• Stick Fly, Late Spring 2015

Port City Playhouse provided these descriptions of each play:

An intense drama dealing with the themes of loss and grief, control and compulsion, love and forgiveness, Black Hole focuses on estranged family members coping with their mother’s recent death, their father’s hoarding, and their own feelings of resentment and the need for spiritual comfort.

In the Next Room, Sarah Ruhl’s comedic examination of sexual repression in the Victorian era, gives new meaning to the word electrifying. Dr. Givings, an enlightened physician in late 19th century New York, uses a wonderful, new, electric-powered device to treat the “hysteria” of his female patients brought on by sexual frustration. It takes a while for the doctor to realize that his wife is suffering from a similar complaint and that treatment sometimes requires the human touch.

Set in contemporary Dublin, Shining City is a quiet and haunting tale in which the hint of a ghost story overlays a study of all-too-human relationships. A mild, seemingly rational man comes to a psychiatrist for help. Since his wife’s death in a car accident, he has been frightened by seeing and hearing her ghost and has had to leave his house and check into a hotel to escape it. The therapist tries to rid his patient of his fears while dealing with his own personal issues.

Lydia R. Diamond takes a wry but affectionate look at the unique experiences and attitudes of upper-income African-Americans in Stick Fly. The LeVay family – father, two adult sons with their girlfriends, and the housekeeper’s daughter, who is filling in while her mother is ill – gathers at their home on Martha’s Vineyard for their annual summer holiday. Personality clashes and revealed secrets make this anything but a relaxing family vacation.

More information may be found at the Port City Playhouse 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.

With a fresh new partnership between Alexandria’s Port City Playhouse and Red Knight Productions, the spirit of Washington’s Fringe Festival has crossed the Potomac and come to Suburbia. Northern Virginia theater goers should be welcoming. Why should DC venues have all the special delight of a Fringe sketch comedy performing arts attitude? After all, isn’t Fringe not of a particular geographic place but of a youthful chutzpah, imagination and soul?

The production is The Ballad of the Red Knight written and directed by Scott Courlander. He has studied and performed at New York’s Upright Citizens Brigade Theatre. His instincts for “let’s try this” improvisation and sketch comedy are unmistakable.

Red Knight Productions describes the work as the stand-alone, back story prequel to its 2012 Capital Fringe Festival comedy, Medieval Story Land.

The Ballad of the Red Knight is a campy parody set in a King Arthur-like fantasy land with hints of Don Quixote and other heroic quests mashed in. Cultural references might also include Monty Python, Saturday Night Live, and, of course, the oft parodied “Star Wars.”

The plot surround the trials and tribulations of a smooth talking, always negotiating, man of words and not weapons, action-averse Red Knight (played with wide-eyes and unflappable manner by Christopher Herring). He faces any number of adventures trying to avenge the death of his father at the hands of a vampire-bat named Lord Fango (Charles Boyinton in an arch, self-admiring dandy manner). Along the way the Red Knight becomes estranged from his action oriented, hot-headed brother Prince Richard (Kyle McGruther). He also marries and falls in love with (and in that order) the quite lovable bat-girl daughter Lord Fango with the adorable name of Fanglett and often called Bat Girl (played adorably sweet by Katie Zitz). There is also a Shakespearean-like character called The Narrator (Stephen Mead playing a character meant to be grating and was in very bold type) who helps interpret the journey for the audience and for the on-stage characters as well.

Two other actors earn special mention. There is John Strange as “The Gloom Mage” who wrote in the program notes that he “enjoys these little trips inside the mind of a third-grader” and Edward Nagel as The Yellow Knight who combines a self-effacing manner with a fey character.

The show has its share of sword-play and silliness accompanied by musical compositions by William Yanesh. Yanesh has also worked with Arlington’s Signature Theatre and Montgomery County’s Adventure Theatre. His compositions set the mood to the proceedings from the moment the audience steps into the theater. At the performance your reviewer attended Jonathan Tippens was the talented keyboardist. He played the score with notable skill, like an old-fashioned pianist accompanying a silent film, bringing dramatic temperaments to each scene.

With all its good intentions and well accomplished technical aspects including delightful costumes designed by Britanny Graham including knights, wizards, vampire bats to a personal favorite some off-the-wall poisonous slugs, The Ballad of the Red Knight does stumble a bit. With its two act and two plus hours, the production would benefit from what William Faulkner wrote; that “in writing you must kill your darlings.” Darlings are the words one writes. The show feels stretched well beyond its bounds. There are so many ideas crammed into the production that don’t add a great deal to the dramatic arc or journey.

Other time it felt as if it was easy to get into a particular scene, but difficult to get out of it. An example were two separate scenes at a dining table with the Red Knight, Fanglett and Lord Fango eating and sharing their days together.

But there still was plenty of action and lines to bring knowing audience smiles. These included a character referred to as “an empty fruit bowl that used to be a man” or with only one female in the production Fanglett saying to no one in particular but to everyone “maybe the playwright doesn’t know how to write strong female roles.” And a line that Fanglett delivered brought appreciating good-natured groans from audience, “oh we are play good cop, bat-cop!”

Overall, The Ballad of the Red Knight is one for those who don’t take things too seriously in their appreciation of fantasy adventures and enjoy youthful insouciance. As Red Knight Production (RKP) noted in its marketing; RKP “believes that theatre should be fun in both process and performance.” RKP wants to produce theater that is “of the highest quality and entertainment value by telling grand and imaginative stories that leave audiences saying, ‘That was off-the-hook!'”

And the price is right. Ticket prices start at $9.

If the ideas and forces behind the co-production of The Ballad of the Red Knight by Port City Playhouse and Red Knight Productions are the first of other Fringe-like incubator performing arts projects, then “play on,” please.

Photo Gallery

Photo Gallery

Christopher Herring is Red Knight and Katie Zitz is Fanglett	John Stange (Gloom Mage), Matthew Sparacino (Green Knight), Kyle McGruther (Prince Richard), Bob Sheire (Blue Knight) and Edward C. Nagel (Yellow Knight)
Charles Boyington is Lord Fango and Carl Brandt Long is Bat Guard #1	Charles Boyington as Lord Fango
Charles Boyington as Lord Fango	Charles Boyington as Lord Fango

Photos by Aaron Skolnik and Eric Zitz

Cast

• Lord Fango: Charles Boyinton
• The Red Knight: Christopher Herring
• Bat Guard 2: Brendan Edward Kennedy
• Bat Guard 1: Carl Brandt Long
• Richard: Kyle McGruther
• The Narrator: Stephen Mead
• The Yellow Knight: Edward C. Nagel
• Tiny Tim: Anders Ogelman
• The Blue Knight: Bob Sheire
• The Green Knight: Matt Sparacino
• The Gloom Mage: John Strange.
• King Marthur/Fire Servant/Priest/Bat Guard 3: Matthew Strote
• Fanglett: Katie Zitz

Designers

• Written & Directed by: Scott Courlander
• Composer: William Yanesh
• Costume Designer: Brittany Graham
• Fight Director: Casey Kaleba
• Sound Designer/Stage Manager: Aaron Fensterheim
• Lighting Designer: Paul Callahan
• Pianists: Arielle Bayer, Jonathan Tippens
• Scenic Artist: Fallon Schultz Hitchens

Disclaimer: Port City Playhouse provided a complimentary media ticket 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

• The Children’s Hour, by Lillian Hellman, September 2013
• Shiloh Rules, by Doris Baizley, October/November 2013
• Next Fall, by Geoffrey Nauffts, February/March 2014
• Blues for an Alabama Sky, by Pearl Cleage, April/May 2014

Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of performances and auditions are yet to be announced.

• 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

The center of any production of Euripides’ Medea is necessarily the lead actor. In Port City’s current production (using Robinson Jeffers’ 1947 adaptation), Anissa Parekh gives a fine, multifaceted rendition of the role. Unlike some actors who have played the role, Parekh does not take a single, overarching approach to the character. Rather, she expresses the volatility of a woman under extreme stress who is facing incalculable loss, being by turns despairing, maddened, calculating, proud, infuriated, manipulative, hesitant, briefly tender, coldly violent, and remorseless, ending on a note of fierce joy. Her body, face, and voice vividly convey the intensifying focus of her quest for vengeance. She can rage almost incoherently at the injustice of her being put aside for another woman and exiled, after having sacrificed everything to be with her husband, then be calm and matter-of-fact while questioning the Messenger about the details of her murders of Creon and his daughter.

Parekh’s performance, fortunately, is largely unaffected by the production concept, which is often scattered and distracting. On the playing surface, the main element is an overturned automatic washing machine, complemented by an overturned coffee maker and overturned laundry basket. At the outset of the show, before the first line, the Nurse (Mary Alaya-Bush) and the four chorus women enter wearing 1950s-style dresses and aprons, sit, fidget, and mime drinking from empty coffee mugs, accompanied by an amplified ticking clock sound. If all this is meant to signify the upset of traditional domestic arrangements, it misses the point of the play: Medea is not a Betty Friedan figure.

The most unfortunate use of the chorus occurs in the second half of the play, when the Messenger (Jacqueline Costa-Youm) enters to deliver the news of the horrific deaths of Creon and his daughter. While the Messenger gives her lines on an upstage platform, the four chorus women pose and move on the main playing surface, drawing focus from the person who is at the center of the scene and, in fact, making it difficult for persons in the center seating section to see the Messenger at all.

Among the supporting cast, Michael Crowley is as shallow, conceited, and casually cruel as one could ask of a Jason. His egotism is all the more effective for being relatively soft-spoken. (One of the play’s unanswered questions is what Medea saw in him in the first place.) On the other hand, Mary Alaya-Bush’s nurse is overly declamatory. Cal Whitehurst has an effective cameo as the gullible Aegeus, who Medea manipulates into a promise of asylum in Athens. Terry Gish lacked the commanding presence one would wish for a Creon.

Given the limited technical resources available at The Lab at Convergence, Baron Pugh’s multidirectional lighting design works well. Some moments are played in semi-darkness, which — even if the child of necessity — is suitable for the material of the play. Amanda Jagusiak’s costume design is mixed and at times puzzling. In addition to the 1950s dresses and aprons for the Nurse and chorus, there is business attire for Aegeus and a sort of modified Nehru jacket for Jason. Creon appears in a 1960s-era U.S. Army Class A Green uniform top, with a corporal’s stripes (it’s doubtful that a king would be satisfied to appear in public as a low-ranking enlisted man), and Medea is made to wear an unflattering red dress that is inconsistent with the pride and dignity of a high-born woman like Medea, even as distressed as she is.

Medea is a very human tragedy; unlike many classic Greek plays, gods and heroes play almost no role in its events. Director Rachel Hynes is surely mistaken when she comments that “If Medea were a man, she would be the hero of this story.” Even granted a wide gulf between ancient Greek and modern Western culture, anyone, regardless of gender, who murders four people, including two children, to get revenge on an erring spouse may be many things, but heroic isn’t one of them. Medea, with her overwhelming passions and command of magic, is a force of nature — a force beyond nature, perhaps — but this is a story without a hero.

Director’s Notes

If Medea were a man, she would be the hero of this story. Imagine it — if Medea were a man with an adulterous wife, we would applaud him for exacting revenge on the spouse that betrayed him. Because she is a woman, what she does is irregular and we call it unbelievable.

Medea continues to enthrall, empower and terrify audiences as they fiercely argue about her actions and intentions. In the production, we see these conflicting arguments through the eyes and words of the Greek chorus who also represent Medea’s internal struggle.

We invite you to join the conversation and the struggle between reason and emotion, insider and outsider, internal and external, male and female, creation and destruction, where nothing is black and white.

Cast

• The Nurse: Mary Ayala-Bush
• The Women of Corinth: Rebecca Fischler, Krista Grimett, Casey Leffue, Jenna Zhu
• Medea: Anissa Parekh
• The Tutor: Bryant Centafanti
• The Children: Leonardo Lugli Watkins, Alex Weinstein
• Creon: Terry Gish
• Jason: Michael Crowley
• Aegeus: Cal Whitehurst
• Messenger: Jacqueline Costa-Youm

Production Staff

• Producer: Carol Strachan
• Director: Rachel Hynes
• Stage Manager: Laura Moody
• Assisted by: Charles Dragonette
• Assistant Stage Manager: Zell Murphy
• Assisted by: Donna Reynolds
• Set Design: Baron Pugh
• Master Carpenter: David Correia
• Set Construction: David Correia, Zhuai Haidari, Julia Harrison, Jon Poole, Susie Poole, Andrew Royalty, Doinic Tiberio, Cal Whitehurst
• Lighting Design: Baron Pugh
• Assisted by: Nick Arancibia
• Sound Design: Michelle Matthews
• Sound Board Operators: David Correia, Meg Hoover, Michelle Matthews
• Costume Design: Amanda Jagusiak
• Vocal Coach: Genna Davidson
• Auditions: Jayn Rife, Cal Whitehurst
• Photographer: Andy Simmons

Disclaimer: Port City Playhouse provided two complimentary media tickets to ShowBizRadio for this review.

• Medea, September 2012 Schedule
• The Soul Collector, November 2012 Schedule
• The Drawer Boy, February – March 2013 Schedule
• Six Degrees of Separation, April – May 2013 Schedule

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

Port City Playhouse’s The Dixie Swim Club (Jessie Jones, Nicholas Hope, and Jamie Wooten) contains inklings of potential; however, the comedy lacks the focus and depth it needs to truly hit home. The Dixie Swim Club takes place over four separate summers (over the course of several years) at a beach house in the Outer Banks. Each summer, five college swim team friends meet for a long weekend of relaxation, laughs, and martinis. As time passes, we see the women transition throughout life and bond over a number of experiences, both good and bad.

The cast is uneven. All of these ladies fight for what is perceived to be a “genuine Southern dialect.” Unfortunately, the result is not good, and this steers focus away from much of the character development. This, of course, gets in the way of the comedy. While the women are funny, at times, a deeper analysis would have lent itself to the mining of a stronger brand of humor, and an even better payoff when the play takes a turn for the serious. The clear standout is Vernadette Simms, played by Gayle Nichols-Grimes, who is the only one of the cast to find multiple levels within her arc and her one-liners.

The direction (Eddie Page) is unclear in some aspects. The blocking is serviceable, save for a few awkward crosses. The more pressing issue is a lack of understanding: The show falls into the trap of being a stereotype of southern living and “feel good” coming-of-age friendships. It does not actually grasp these southern women and their intimacies and intricacies–not to mention the truth of the sharp-tongued refinement that is evident in the writing. Scenes are sometimes funny, sometimes clunky; sometimes unexpectedly (unceremoniously, unsympathetically) serious. There is no shaping or sculpting to be found. The somewhat peculiar choice to show topical video clips in between each scene, is presumably to establish that we are now traveling forward in time within the world of the play. I suspect, however, that this was actually intended as a distraction from the unnecessary and lengthy set dressing changes. Both this choice as well as the generalized comedy contributed to the pacing issues throughout.

The idea of the set (Eddie Page) is good: a wood-paneled cottage with the standard decor one might expect to find in a summer rental house. However, like the rest of the show, the attention to detail leaves one confused. While attention is given to having the detail of a towel rack and bathroom decor on the interior wall of the barely seen bathroom exit, the main window (which remains open throughout, supposedly featuring a “breathtaking view”) clearly opens to masking curtains; no effort is given to establish the view that is so raved about. Michael Page’s lighting design works as it should; it supports the action taking place. (Page also has a potentially poignant moment at the end, with focused light on the cherished swim team photograph.) The hair, makeup, and costumes were also uneven. While some of the costumes (Susan Boyd) worked, none of them evoked a specific feeling of the period. Or, rather, if they did, they were too similar to the later costumes to distinguish. Along these lines, the aging effects on each of the women were sometimes indiscernible and sometimes heavy-handed.

Port City Playhouse’s presentation of The Dixie Swim Club fails to find and exceed its limits. The friendships between the women lack heart, and by extension, so does the show as a whole. While good for several laughs, Port City Playhouse’s production is only scratching the surface of what could be a much more fleshed out show.

Director’s Notes

Growing up in Hampton, Virginia, I was always traveling to Nags Head, North Carolina, in the Outer Banks. In fact, for many of those years it was a “guys” weekend to Mile Marker 9 at the See Sea Hotel. When I first started reading this script it was so contagious I couldn’t put it down.

The Dixie Swim Club is Steel Magnolias meeting Same Time Next Year. But it resonates with notes of The Golden Girls and On Golden Pond. These five southern women, whose friendships began many years ago on their college swim team, set aside a long weekend every August to recharge those relationships. Free from husbands, kids, and jobs, they meet at the same beach cottage on North Carolina’s Outer Banks to catch up, laugh, and meddle in each other’s lives. As their lives unfold and the years pass, these women increasingly rely on one another, through advice and raucous repartee, to get through the challenges of men, sex, marriage, parenting, divorce, aging, and anything else that life flings at them.

The playwright comedy team of Jones, Hope, and Wooten are enjoying the reputation of being three of the most widely produced comedic playwrights in America. Jamie Wooten spent many seasons with Dorothy, Blanche, Rose, and Sophia as a writer/producer on the classic television series The Golden Girls.

I’d like to dedicate this production to my favorite comediennes: Lucille Ball, Bea Arthur, Betty White, Rue McClanahan, Estelle Getty, Tina Anderson, Kacie Greenwood, Barbara Hayes, Laura Mitchell, and Gayle Grimes.

So grab your beach towel and sun screen lotion, and have a seat right here inside our own little beach cottage. Enjoy the show!

Eddie Page, Director

Photo Gallery

Tina Anderson, Kacie Greenwood and Gayle Grimes	Table: Tina Anderson as Sheree Hollilnger, Gayle Grimes as Vernadette Simms and Laura Champe Mitchell as Jeri Neal McFeeley. Standing: Barbara Hayes as Lexie Richards and Kacie Greenwood as Dinah Grayson

Photos by Eddie Page

Cast

• Sheree Hollinger: Tina Anderson
• Lexie Richards: Barbara Hayes
• Dinah Grayson: Kacie Greenwood
• Vernadette Simme: Gayle Nichole-Grimes
• Jeri Neal McFeeley: Laura Champe Mitchell

Artistic Team

• Producer: Robert Kraus
• Assistant Producer: Julia Harrison
• Director: Eddie Page
• Assistant Director: Marcia Carpentier
• Stage Manager: Susie Poole
• Assistant Stage Manager: Sarah Boyd
• Set Design: Eddie Page
• Master Carpenter: Robert Kraus
• Assisted by: David Doll, Caden Mitchell, Champe Mitchell, Todd Mitchell, Eddie Page, Bruce Schmid, and Cal Whitehurst
• Lighting Design: Michael Page
• Master Electrician: Bob Scott
• Assisted by: Chris Hardy, Robert Kraus, Susie Poole, and Julie Anne Watko
• Sound Design: Alan Wray
• Costume Design: Susan Boyd
• Props and Set Dressing: Donna Reynolds and Rachel Alberts
• Assisted by: Charlotte Alberts, Maya Brettell, Marcia Carpentier, Julia Harrison, Olivia LaGanza, and Nicole Zuchetto
• Set Painting: Luana Bossolo
• Assisted by: Julia Harrison, Casey Jackson, Kelley Judd, Dominic Tiberio, and Cory Vasques
• Hair and Makeup Design: Chris Macey
• Wardrobe: Julie Anne Watko
• Assisted by: Jenna Brendler, Meghan Lau, and Margaret Snow
• Videography: Frank Pasqualino
• Photography: FT Eyre
• Auditions: Susan Boyd, Bruce Schmid, and Carol Strachan

Disclaimer: Port City Playhouse provided two complimentary media tickets to ShowBizRadio for this review.