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

 

 

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

 

 

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

 

 

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

 

 

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

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

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

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

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

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

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

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

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

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

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

Photo by Traci J. Brooks

Director’s Notes

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

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

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

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

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

Cast

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

Orchestra

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

Production Staff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo Gallery

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

Photos by Traci J. Brooks Studios

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