Beautiful souls search for the meaning of life when the means to ply their art is taken from them by time and senility. In a retirement home for aging musicians and opera singers, the play shows what happens to those huge personalities when they are permanently exiled from the stage. The madness and mayhem this show displays is both wonderfully exciting, and dramatically realistic.

Director Charla Rowe lovingly adapted the script so that a cast of 16 could take over all the zany characters initially only mentioned in the original script. The ensemble brought the retirement home to life, making the most of every opportunity to leave a hilarious impression.

The main cast of the “quartet” mentioned in the title of the play is Reggie, Wilf, Cissy and Jean. Each has their tale of the glory days in the spotlight, but none more so than Jean, who has just checked into the retirement home. Jean, played by the commanding Lauren Bloom, seems to be the most alone, after being the most famous in the past. As Cissy and Wilf try to cheer her up, Jean only retreats further into her diva persona, trying to keep them at an arm’s length. Meanwhile, Wilf, played by Lance Adell, is trying to get over the death of his wife by attempting to seduce any and all women who cross his path. His hilariously over the top antics are a source of constant laughs.

The one who really steals the show, however, was Cissy, played by Vicki Cline. She is a sweet opera singer who has gone completely loopy in her old age. Her attempts to patch the growing rifts between the other members of the quartet are both adorable and sympathetic.

The set was lovely and old-fashioned, with multiple doors and two lovely staircases. One could really believe that it was a retirement home, and the baby grand piano placed dead center of the stage showed the prominence of music in the lives of the retirees. The costumes, while eclectic, showed each character’s personality via their sense of dated style.

All in all, the show was well put together. Though the plot slowed and sagged a little in places, the actors always held it together, and smoothed the wrinkles with their energy and vivacity. The addition of some songs in the second act made the show feel completely rounded, as you got to see the way music mattered to these characters and how they each dealt with their loss of prowess.

The final product was a show with all the mania and heart that one could stand in an evening, and the audience left with a sweet feeling that art could be just as true in the twilight years of an artist’s life.

Director’s Note

This play about aging opera singers appeals to me on several levels. I am not in love with opera, but I found that some of the world’s most during music comes from the incredibly arduous traditions of learning to sing and perform its demanding roles. The first times I heard the aria “Un bel di” from Madama Butterfly and the flower duet from Lakme I was moved to tears. My husband’s musical tastes usually run to Jim Croce and Livingston Taylor, yet he called me from Warsaw at 4 a.m., my time, to marvel after hearing “Nessun Dorma” for the first time when he attended a performance of Turandot in 1991.

Quartet especially resonates with me because it relates so deeply to the lives of all aging (and aged) musicians. I empathize greatly with Wilf, Reginald, Cissy and Jean who have spent their lives in music and now are in a retirement home for musicians. In fact, I thought about taking one of the parts myself — but that was more irony that I can stand at my age.

There are somewhat stark differences between the written play and the brilliant movie resulting from the collaboration of the play’s author, Sir Ronald Harwood, and Dustin Hoffman, the director of the recent film version. I was enthralled by how talented the “real” retired musicians were as they took various small roles in the screen version. I particularly loved the credit sequence as it reveals the music backgrounds of many of the players. Howard’s work with Hoffman fully developed the strength of the play’s dialogue and underlying meanings about aging and art; my directors vision stays faithful to the original version while hopefully emphasizing the humanity and joy of Hoffman’s film realization.

The latter stages of a performing career must be especially difficult for a Joan Sutherland, a Beverly Sills, or a Maria Callas. In their later years, opera stars inevitably lose the vocal quality to hit the same time gymnastics that would meet the strangest stringent expectations of opera boss and unforgiving music critics. Imagine the courage it takes to face those listeners was with each performance as you reach and pass your peak years.

It is far easier to be an actor or cabaret singer. Just reflect on the careers of Jack Nicholson, Meryl Streep, Frank Sinatra, and Rosemary Clooney. But in all the genres, art at all ages illuminates your life and the lives of others. If you want to perform, give it your best shot! Channel Betty White! As Dylan Thomas said, “do not go gentle into that good night,… rage rage against the dying of the light.”

Director Charla Rowe

Cast

• Wilf: Lance Adell
• Cissy: Vicki Cline
• Reggie: Kurt Anderson Vie
• Jean Horton: Lauren Bloom
• Bobby Swanson: Doug Graupman
• Doctor Coggin: Zaneta Walthour
• Cedric Livingston: Robert Rausch
• Matron: Nan Reiner
• Vivian: Carol Scheer
• Lillian: Patti Farmer
• Frank: John Scheer
• Angelique: Kitty Harger
• Il Duce: Larry Carbaugh
• Harold: Art Greene
• Ann: Amira Young
• Tony Talbot: LeVar Betts

Crew

• Director: Charla Rowe
• Producer: Rikki Howe
• Stage Manager: Sheryl Fry
• Crew: Ian Jenkins, Angelo Cline
• Music Consultant: LaVar Betts
• Set Design: Charla Rowe
• Lighting Design: Sheryl Fry
• Sound Design: Ron Rowe
• Costumes: Linda Swann
• Hair/Makeup: Shemika Berry

Disclaimer: Tantallon Community Players provided two complimentary media tickets to ShowBizRadio for this review.

Raucous, rowdy, raunchy, and a total blast, Avenue Q is now at a theater near you! Run, don’t walk, to get your tickets to see Little Theater of Alexandria put on this smashing success of a show. The musical itself won a triple Tony in 2004, and this production lives up to the legacy.

It bills itself as a “Sesame Street for Grownups,” wherein we follow our main characters through the exciting life of a grown up, with adventures like “getting a place to live,” “finding a job,” “hiding from bill collections,” and “deciding whether to spend money on food or booze.” The characters are a mix of both human and a variety of different puppets, who are all here to teach the audience lessons about what purpose life has to offer for each of them.

Princeton is a recent college grad, who finds Avenue Q while searching for affordable living and a purpose in life. Kate Monster knows what purpose she has in life, but every obstacle she faces seems to push her farther and farther away from her goal of owning a school to teach monsters. Trekkie Monster is a furry pervert who lives upstairs, who has no particular goals, but lots of time to teach the audience about his addiction to porn. Rod and Nicky are roommates who have to navigate the waters of same-sex attraction, and Christmas Eve and Brian are the human couple who coexist with the puppets.

The beautifully crafted puppets are voiced by enthusiastic and eager actors dressed in black clothes. Their faces are expressive as they voice the characters, and half the show is watching these talented performers add to the story with their bodies as well as their puppeteering. The set is full of windows and doors, and portrays a run down New York City street wonderfully, allowing all the action to take place on the cracked doorsteps and rusty fire escapes of a poor alleyway neighborhood. Every once in a while, a Sesame Street like video sequence will run on a faded electronic billboard placed at the top of the set.

Sean Garcia as Princeton and Rod was funny and displayed a Broadway quality voice. He switched craftily between the two characters, often voicing both on stage in turns, and only occasionally muddling the two different ranges. The bright and talented Kristina Hopkins was a very refreshing and entertaining Kate Monster, taking just enough cues from the original Broadway soundtrack to sound memorable, and yet keeping the character sweet and enjoyable to listen to (in a part that can quickly turn harsh and shrill if the right voice isn’t found for the character). The best of the bunch, however, was Matt Liptak in two main roles and one minor one, as the puppets Trekkie Monster, Nicky and the Bad Idea Bear. Liptak was an absolute joy to watch, as he inhabited the characters so entirely. His face seemed to radiate enjoyment of his parts, and he kept all three characters very cleanly separated by voice and body movement.

The orchestration was fantastic, and kept up the energy of the show well. There was a small problem of microphone levels being different for sound effects and human actors, versus the loud and clear mikes put on the puppeteers, but everything was still audible. Also some of the human actors could have amped up their enthusiasm level a bit more to match the energy radiating from their puppeteered counterparts. Chief of this vein was Aerika Saxe, whose stunning and powerful voice needed a stronger, more assertive personality to sell the character of has-been Gary Coleman.

Overall, this production had very few flaws. It won much of the audience over to its views on adulthood and growing up, despite or maybe because of its bawdy and crude style, which both mocked and venerated the source material of children’s educational programming.

Oh, and this review was brought to you by the letter “M” as in “for Mature audiences” and the numbers “6” and “9” for puppet nudity hijinks.

Director’s Notes

I started kindergarten during the first season of “Sesame Street.” I clearly remember Ms. Perry pulling the AV cart before the class at Quander Road Elementary and announcing that we would be watching an hour of television. Of course, I didn’t realize it at the time, but that hour was preparing me for the lessons (both scholastically and socially) that were coming my way. I was learning to read, to count, to make new friends and to open my mind. I was told I was special and could do anything I dreamed of doing. Everything after that, more or less, fell into place. Lessons learned became building blocks for lessons to be learned. I had all the tools I needed for the next 16 years of my life. THEN IT HAPPENED…

Suddenly I was a young adult, and, like the characters in our show, I was facing lessons hitherto unknown and for which I was completely unprepared. Where were the grown up Bert and Ernie, the 20-something Kermit and Cookie Monster to show me the way? Who would teach me about finding a job, a mate, a purpose?

I think this is the void that Robert Lopez, Jeff Marx and Jeff Whitty had in mind when they wrote Avenue Q. Why isn’t there a “Sesame Street” for adults? Something to spoon-feed reality to us: to teach us that we aren’t as special as we were told; that there are limits to what we can do. Well, here it is! Avenue Q burst onto the scene and became a 2004 Tony Award triple-crown show (Best Musical, Best Book of a Musical and Best Original Score). Instantly, every 20-something was drawn to it, and those of us past that age were wishing we could have a do-over! This performance is your chance to reflect on those post-college years, no matter how far removed you are from them, when the world was yours to conquer.

One final note: Give yourself and those around you permission to enjoy this show’s humor. Let political correctness and sexual and societal propriety take a back seat for two hours as we share and laugh at our forbidden thoughts and secret deeds. Why keep the human experience, in its entirety, from each other?

Frank D Shutts II, Director.

Photo Gallery

Princeton (puppet) and Sean Garcia	Bad Idea Bears (puppets), Matt Liptak and Charlene Sloan
Lucy the Slut (puppet) and Claire O’Brien	James Hotsko Jr., Kate Monster (puppet), and Kristina Hopkins

Photos by Keith Waters

Cast

• Sean Garcia: Princeton/Rod
• Kristina Hopkins: Kate Monster
• Stephanie Gaia Chu: Christmas Eve
• James Hotsko Jr.: Brian
• Matt Liptak: Nicky/Trekkie Monster/Bad Idea Bear
• Claire O’Brien: Lucy the Slut
• Aerika Saxe: Gary Coleman
• Charlene Sloan: Mrs. Thistletwat/Bad Idea Bear/Right Hand

Band

• Christopher A. Tomasino: Conductor
• Matt Jeffrey: Keyboard I
• Julio Diaz: Keyboard II
• Dana Gardner: Reed
• Ben Young: Guitar
• Randy Dahlbert: Bass
• Manny Arciniega: Percussion

Crew

• Producers: Margaret Evans-Joyce, Carolyn Winters
• Music Director: Christopher A. Tomasino
• Director: Frank D Shutts II
• Choreographer: Frank D Shutts II
• Stage Managers: Joan Lada, Cristina McConnell
• Set Design: MYKE
• Lighting Design: Ken and Patti Crowley
• Costume Design: Jean Schlichting, Kit Sibley
• Puppet Wrangler: Katherine Dillaber
• Puppet Master: Kristopher Kauff
• Hair and Makeup: Robin Havins Parker, Erin Sullivan
• Media Consultant: Jon Schendinger
• Video Coordinator: Alan Wray

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

“Much Ado About Nothing,” an adaptation shot in secret during a break in filming “The Avengers,” premiered at the 2012 Toronto International Film Festival. Filmed entirely in crisp black and white, the film takes all the classic characters of the Shakespeare play and brings them together at a party in a modern day estate, complete with swimming pool, bay windows and a garden for lovers to cavort in. The plot unfolds simply enough for anyone to follow, yet revels in all the mistaken identities, farcical twists and hairpin turns of the original classic.

The story begins as the party guests arrive. We learn that one of the guests, Benedick (played by Alexis Denisof), is an old lover of Beatrice (played by Amy Acker). The two joke at length with each other, but the instant chemistry between the two makes it obvious that they also wound each other with their words. Benedick’s friend Claudio (played by Fran Kranz) falls in love almost instantaneously with Beatrice’s cousin Hero (played by Jillian Morgese). They want to court each other, but unlike Benedick and Beatrice, their feelings render them wordless.

Beatrice and Benedick are tricked by their friends into thinking that the other is in love with them. Meanwhile Claudio is convinced by a false witness that Hero has been unfaithful, which results in him disavowing the innocent Hero on their wedding day. All is restored, however, by the awkward captain of the Guard, Dogberry (played by Nathan Fillion), who finds the truth and gives testimony of the deception.

The adaptation stays true to the original language of Shakespeare, but explores some very timeless themes. Amy Acker’s Beatrice is a woman whose love is not for sale, yet she is not harsh or shrewish. Everyone gathers around her to enjoy her quick wit, and it is obvious that her wit and intelligence is what Benedick is attracted to. Meanwhile, Denisof’s Benedick is resolved to prove that he doesn’t need a woman to complete him, and to that end he pledges to remain a bachelor and never marry. However, Denisof plays the character with more pathos, so when Benedick realizes he is too in love to keep up his resolve to never marry, he releases all his bluster and seems all the happier for it. This is something that was somewhat missing from the Branaugh version (1993), where the charm seemed to come solely from a blustering and pompous attitude.

The supporting cast is brilliantly in the moment every second of screen time. The party scenes are highlighted with inspired music composed specifically for the film. The composition of the movie reminds one of a fast-paced dance where partners are constantly switching. Characters are duped, misled, deceived and argue with one another until the final reveals.

Every actor made the most out of their characters. The only failing seemed to be a slight misstep with Nathan Fillion’s Dogberry. While Fillion was hilarious in his general posturing as an over-confident guard, the character was almost too sure of himself. This had the result of confusing the story, as the character’s speech is supposed to be rife with malapropisms. This could have been remedied however, if the surrounding characters had conveyed that there was something funny in the way he talked, but no-one seemed too confused by his misspoken words. This was a huge missed opportunity, as not many people in a general audience would automatically pick out one misused Elizabethan word from the flock, and so the entire joke of the character’s long and uneducated speeches was lost.

Overall, though, the piece succeeded in maintaining a natural flow. The comedy flowed from the character interaction, instead of merely from jokes. The drama was heightened by the fact that the characters made you care for them, and want vindication when they were wronged. Overall, the film showed that passion can produce true art, regardless of budget.

Photo Gallery

Amy Acker	Joss Whedon and Amy Acker on the set
Fran Kranz	Alexis Denisof and Amy Acker
Amy Acker and Jillian Morgese	Tom Lenk and Nathan Fillion

Photos by Elsa Guillet-Chapuis

Cast (in alphabetical order)

• Beatrice: Amy Acker
• Ursula: Emma Bates
• Servant: Sara Blindauer
• Wedding Guest: Brett Ryan Bonowicz
• Borachio: Spencer Treat Clark
• Benedick: Alexis Denisof
• Don Pedro: Reed Diamond
• Dogberry: Nathan Fillion
• Wedding Guest: Ashley Friedlander
• Leonato: Clark Gregg
• Servant: Anna Grimm
• The Court Photographer: Elsa Guillet-Chapuis
• Margaret: Ashley Johnson
• First Watchman: Nick Kocher
• Claudio: Fran Kranz
• Verges: Tom Lenk
• Conrade: Riki Lindhome
• Don John: Sean Maher
• Wake Guest: Amanda Marlon
• Second Watchman: Brian McElhaney
• Friar Francis: Paul Meston
• Hero: Jillian Morgese
• The Sexton: Romy Rosemont
• Wedding Guest: Jessie Sherman
• Servant: Stacy Shirk
• Servant: Adam James Shirley
• Leonato’s aide: Joshua Zar

Disclaimer: ShowBizRadio was provided two complimentary media tickets for this review.

The Three Musketeers, an original adaptation by Ben Cunis and Peter Cunis, was a dizzying spectacle of fighting, dancing and repartee. The theater group, well-known for telling a story with their choreography and no words, throws itself headlong into the swashbuckling, raucous tale of intrigue and deception.

The story, adapted from Alexandre Dumas’ famous text, starts in Paris. Young, wide-eyed Dallas Tolentino, plays the fearless D’Artagnan, whose only wish is to fulfil his father’s dream for him of becoming a Musketeer. The Musketeers who reside in the city, however, have more business at the local pub getting into brawls than they do with honorable work helping the king as his guards. Meanwhile, the Cardinal Richelieu, played by Dan Istrate, has set plans in motion to dishonor the queen in the king’s eyes, and set the country to war against neighboring nations, with himself as the only voice in the king’s ear.

As he bumbles through the big city, D’Artagnan falls in love with one of the Queen’s maids, Constance (played by Brittany O’Grady). Constance begs him to carry out an errand on her behalf to clear the Queens name. After convincing the peevish and quarreling Musketeers to join his quest, he rides against the Cardinal’s men and for the good of the country to gain the favor of his love and the chance to become a Musketeer.

This production quite literally leapt at the chance to show off the physical prowess of the cast. Not a man or woman on the cast missed an opportunity to display their considerable dancing abilities. Each fight (of which there were many) was choreographed with daring leaps, backflips, running and jumping and beautiful bright swords flashing and clanging off each other. Yet somehow the action managed to never seem dangerous. The maneuvering of their swords and limbs sent people flying off balconies and skidding off the stage, but the overall effect was of a ballet, versus a brawl.

The best part of the show was undoubtedly the slapstick. This show was not afraid to do anything for a laugh. While the source material may have been high adventure, the production had more vitality in the moments where it made fun of itself. While any of the dramatic postures of the villains fell somewhat flat, the joyfully teasing camaraderie of the Musketeers was where the production felt most satisfying in its storytelling.

Out of the three Musketeers, Hector Reynoso’s Porthos and Matt Ward’s Aramis were undoubtedly the best. Reynoso, an actor of amazing pathos and physical skill, made the part his own in every way. He is an actor who is deaf and used his body and facial expressions as well as guttural sentences to tell a fuller and richer story in half the time others took to tell with words. He made the most of every second on the stage, and drew the eye in the fight scenes and when he was in the background, as he fully inhabited the role of a gleeful brute and the rock of the company of Musketeers. Ward’s Aramis was the antithesis of Porthos in every way, and it made for wonderful chemistry. Ward played the part of the lover whose conquests get him in hot water beautifully, with a charisma and debonair wit of one who has wooed before.

The major failing of the piece was in the pacing and dramatic tension. At just over two hours, it certainly had a lot of story to tell, but too much time was used up in dramatic posing while classical music filled a mostly empty stage. The Cardinal Richelieu in particular used a lot of the stage in stalking and praying rhythmically, seeming to wait for the next character to come in and interrupt him so the action could resume. In addition, there were two duet dances, first for Athos and Milady, and then for Richelieu and Milady. Both of these were lovely in their simplicity, and of course immaculately choreographed, but held no tension since they had no buildup or explanation of why they were occurring. For instance, the dance between Athos and Milady was earlier on in the show, and yet after intermission, they seemed surprised to meet and talk with each other, as if they didn’t know that the other one was alive.

Furthermore, for a script adapted specifically for this theater group, it was unnecessarily wordy. Synetic tells beautiful stories with action, and the dialogue slowed the action down to a crawl in many places. This show had a few high points, and definitely kept the energy up with a mostly fairly young cast. Overall, it needed some tuning to bring it up to par with Synetic’s usual tight and explosive style.

Cast

• D’Artagnan: Dallas Tolentino
• Athos: Ben Cunis
• Aramis: Matt Ward
• Porthos: Hector Reynoso
• Constance: Brittany O’Grady
• King Louis XIII: Robert Bowen Smith
• Queen Anne: Brynn Tucker
• Cardinal Richelieu: Dan Istrate
• Rochefort: Peter Pereyra
• Milady: Irina Tsikurishvili
• Buckingham: Mitchell Grant
• Felton: Vato Tsikurishvili
• Ensemble: Zana Gankhuyag
• Ensemble: Rebecca Hausman
• Ensemble: Kathy Gordon
• Ensemble: Kathryn Elizabeth Kelly
• Female Ensemble: Emily Berry
• Male Ensemble: Stephen Russell Murray

Design

• Directed by Paata Tsikurishvili
• Choreographed by Irina Tsikurishvili
• Costume and Set Design by Anastasia R. Simes
• Original Music By Konstantine Lortkipanidze
• Adaptation by Ben Cunis and Peter Cunis
• Lighting Design by Brittany Diliberto

Disclaimer: Synetic Theater provided two complimentary media tickets to ShowBizRadio for this review.

A giddy whirlwind of romance, song and dance is the production of Twelfth Night at Folger Shakespeare Theater. Music from a bygone age of glamour weaves through this story as siblings Viola (Emily Trask) and Sebastian (William Vaughan) are shipwrecked by the famous sinking of the Lusitania in the 1900s. When they are separated by the ocean, Viola assumes her brother must be dead.

In mourning, Viola sees a possibility of what she could become in the figure of a noblewoman named Olivia, (played by Rachel Pickup), who has shut herself off from life and happiness because of a beloved sibling’s death. Viola decides to mourn in her own way, and enters the employ of the Count Orsino (Michael Brusasco) disguised as a man. As she plays the role of her master’s right hand page, and delivers letters to the lady Olivia on his behalf, she sees the pain and pleasure of unrequited love, and begins to fall head over heels herself.

Meanwhile, her brother, Sebastian, has washed up on a remote part of the coastline and is making his way towards the city, with a loyal friend (Antonio, played by Chris Genebach) who is a wanted man. Antonio, however, promises to risk being caught so that Sebastian might have a chance to find his fortune and place in life again. As the siblings circle each other, never realizing the other is there, mistaken identities and similar conundrums arise, all story threads which must be sorted before all can be made well.

This particular production took a leap into the world of music to set the stage for the play. Each song is from the early 1900s, and picked to underscore and score the tone of the play. The actors and pianist were marvelously harmonious, and the song choices were lively and entertaining. In addition, a few of the actors played instruments during the show very skillfully, such as Miss Trask, who played the cello during one of the scene changes.

The set was grandiose and very much resembled parts of an upper class luxury liner. While this was in its way a little odd, considering that the play was set after the shipwreck, not before, it was beautifully done, The set included a large stained glass installation suspended from the ceiling, as well as a grand staircase and a wrought iron grand piano. The scene changes were appropriately minimal, and required only the positioning of two chairs and a bench. However, due to the songs, scene changes often took longer than it would had they just moved the minimal set dressing by itself.

The acting was amazingly cohesive, with various characters and side characters stealing the show in turns. Of particular note was the spirited and transformative performance of Richard Sheridan Willis as Malvolio, a servant to the lady Olivia. He went through a marvelous range of emotions, and dominated the stage every time he stepped out onto it. Emily Trask as Viola was a fair hand at changing her every movement to a convincing representation of a male persona, and because of that her gender deception felt very real. One could believe that the character was supposed to be a man, and she was just as real in both her masculine and feminine personas as one could wish.

Requited love, heartache and redemption tie the story together at the end of the show. Overall, the energy and veracity of the cast as they showcased their wide range of talents and passions makes it a show worth seeing.

Director’s Note

Twelfth Night is such a deliciously romantic, funny, and moving story. After the masculine and aggressive war play of Henry V, we have relished the opportunity to create a world that is so elegant and whimsical. It is a charming play about love in its many forms: unconditional love, unrequited love, self-love, compassionate love, and true love. Each character in the play seeks love in one way or another. Some are successful in their quest, and some are not.

The historical traditions of Twelfth Night, the last celebration of the Christmas holidays, including the Lord of Misrule, role and gender reversal, and the topsy-turvy nature of servants becoming the masters, would have been understood by Shakespeare’s audience. This leads us to ask: what and where is Illyria today?

The creative team and I set about finding a world in which the moral, ethical, and social status of the play would come to life, and we landed somewhere at the beginning of the 1900s. The play conjures a world that cannot move forward without a catalyst, a world where change had to take place, a world that, despite how hard characters may resist, could not avoid the ebb and flow of fate or of time.

We began discussing geographical sites known for their ship wrecks and coastlines that remain remote, mystical, and dangerous. Our research drew me towards the sinking of the Lusitania off the southern coast of Ireland in May 1915. The notion of the class distinction onboard a luxury cruise liner, the right of passage of crossing the Atlantic, and the enforced equality of the passengers on board a ship that was sinking all begin to solidify in our thoughts.

And placing the story in this time allows us to explore the musical highlights of the popular tunes and the classical composers of the day. Music, which is a fundamental ingredient to this story, has given us a springboard to dive to the emotional depths of the play and allow this multi talented cast an opportunity to sing, dance, and play musical instruments in the true nature of an ensemble.

With all this in mind, I began to think about the subtitle of the play, What You Will, and I thought perhaps at in this love-seeking, love-needing world that might be better thought of as: What You Wish.

Our Illyria is a place where fantasy and reality collide, but class distinction and gender blur, and love is a currency that everyone seeks. It is, like all great Shakespeare plays, ambiguous, and we hope that you will take from it what you wish.

-Robert Richmond

Photo Gallery

Feste (Louis Butelli) greets Viola (Emily Trask) in the land of Illyria	Emily Trask stars as Viola, here disguised as the young man Cesario
Malvolio (Richard Sheridan Willis) and Sir Andrew Aguecheek (James Konicek)	The cast of Twelfth Night dances as Feste (Louis Butelli) plays his ukulele
Maria (Tonya Beckman) and Sir Toby Belch (Craig Wallace) having a bit of fun	Sir Andrew Aguecheek (James Konicek), Viola (Emily Trask), Feste (Louis Butelli) and Sir Toby Belch (Craig Wallace)
Sebastian (William Vaughan) being wooed by Olivia (Rachel Pickup)	Duke Orsino (Michael Brusasco), Viola (Emily Trask), Sebastian (William Vaughan) and Olivia (Rachel Pickup)

Photos by Scott Suchman

Cast

• Maria: Tonya Beckman
• Orsino: Michael Brusasco
• Feste: Louis Butelli
• Antonio: Chris Genebach
• Sir Andrew Aguecheek: James Konicek
• Valentine: Joshua Morgan
• Olivia: Rachel Pickup
• Viola: Emily Trask
• Sebastian: William Vaughan
• Sir Toby Belch: Craig Wallace
• Malvolio: Richard Sheridan Willis

Artistic Team

• Director: Robert Richmond
• Scenic Designer: Tony Cisek
• Costume Designer: Mariah Hale
• Lighting Designer: Andrew Griffin
• Sound Designer: Matthew M. Nielson
• Fight Director: Casey Kaleba
• Resident Dramaturg: Michele Osherow
• Production Stage Manager: Che Wernsman
• New York Casting: Daryl Eisenberg, CSA

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

In a theater soaked in history of our relatively young “colonies,” Eric Idle’s insanity and genius come to tell us of the heroes of bygone days in England. The Knights of the Round Table, and their King, Arthur, have never been less dignified or more insane than onstage singing and dancing to songs about plague, torture, fish, and the Holy Grail of Christianity. The touring show Spamalot, based on the movie “Monty Python and the Holy Grail,” has just exploded in DC once again, at the National Theater.

The movie made little sense, and the play doesn’t even try to remedy that, instead opting for mile a minute jokes and silliness. The gags are outrageous, and the accents even crazier. It is a fantastically good time, and the cast seems to enjoy it almost as much as the audience. Arthur Rowan, who played King Arthur amusingly enough, was a strong center of certainty, playing the straight man to most of the show’s jokesters. Rowan makes Arthur look as misguided as possible, without letting the character think there is anything wrong. He is aided by a clever peasant/servant named Patsy, who not only helps him “ride” horses by clacking coconuts, but also helps the king round-up his band of Knights. Glenn Giron plays Patsy with a real warmth and keeps a level head in the show. Lancelot (Adam Grabau) and Sir Robin (Kasidy Devlin) were also devilishly entertaining, and kept the energy up.

Meanwhile, the Lady of the Lake is a diva without a cause. While the character is supposed to “overact like hell” according to the lyrics of her song, the pitchy understudy who played her on Wednesday seemed to lack the necessary glamour to pull the part off completely. While her high notes were strong and sure, the jazzier moments escaped her range somewhat.

Overall, the ensemble was really the star of the show. As the play is based on the schtick of Monty Python, each ensemble character got to shine in various iconic parts such as Tim the Enchanter, or the Knights who say Ni. Only Arthur, The Lady of the Lake and Patsy stayed in the same role, everyone else was heroically charging about and changing costumes in mere seconds.

The beautiful set and quick changes of the actors made for a rollicking good time. Together with a very appreciative audience, Spamalot brought the house down in a send up of history, culture and theater that was as timeless and irreverent as Monty Python could ever be.

Photo Gallery

The Knights of the Round Table	The Cast
The Frenchmen: Ryan Cowles, Joe Beuerlein, Adam Grabau, Jason Elliott Brown	Kasidy Devlin (Sir Robin) and Ensemble
The Cast

Photos by Scot Suchman

Cast

• King Arthur: Arthur Rowan
• Lady of the Lake Understudy (performed on Wednesday): Melissa Chaty
• Lady of the Lake: Abigail Raye
• Patsy: Glenn Giron
• Sir Lancelot, The French Taunter, King Ni, Tim The Enchanter: Adam Grabau
• Sir Robin, Brother Maynard: Kasidy Devlin
• Mayor, Sir Bedevere, Mother, Black Knight, Father, U/S King Arthur: Thomas Demarcus
• Sir Dennis Galahad, Concorde, U/S Black Knight, U/S Father: Joshua Taylor Hamilton
• Historian, Not Dead Fred, French Guard, Minstrel, Prince Herbert, U/S Sir Lancelot: Joe Beuerlein
• Ensemble: Matthew Alexander
• Ensemble: Barbara Jo Bednarczuk
• Ensemble, Dance Captain: Kimber Benedict
• Ensemble, U/S Sir Robin, Not Dead Fred, Prince Herbert: Jason Elliott Brown
• Ensemble, U/S Sir Galahad, Patsy: Carl Deforrest Hendin
• Ensemble, U/S Historian, Minstrel, Sir Bedevere, Mother: Andrew Leggieri
• Ensemble: Amy Owens
• Ensemble: Ryan Jacob Wood
• Author, Voice of God : Eric Idle

Designers

• Re-Created Direction: BT McNicholl
• Choreographer: Casey Nicholaw
• Re-Created Choreography: Scott Taylor
• Scenic Design Modifications: James Kronzer
• Lighting Design: Mike Baldassari
• Sound Design: Craig Cassidy
• Musical Supervisor: Steven M. Bishop
• Executive Producer: Stephen B. Kane
• Artistic Producer: Michael McFadden

Disclaimer: ShowBizRadio was provided two complimentary media tickets for this review.

Mary T. & Lizzy K. is a production containing much emotion, turmoil and energy as the story runs feverishly through the final day of Mary Todd Lincoln’s marriage. Each actor used the stage and its spaces to the fullest, projecting their unique personalities to fill the room. The action revolves around Mary’s fractured recollections of her life the day of the fateful play at Ford’s Theater. The First Lady, well-known for her mental problems, tells us of how her relationships became fractured, through dialoging with her seamstress Lizzy.

Lizzy, played by the stately Sameerah Luqmaan-Harris, is a former slave who now owns her own dressmaking business. It becomes clear very quickly that she has become a permanent fixture in Mary’s mind, an absolute mainstay for sanity. This is not just because Mary is obsessed with having new dresses, but because Lizzy’s calm composure and demeanor constantly reassures the frenetic First Lady. Meanwhile Lizzy seems ambiguous about the relationship. Luqmaan-Harris played the part with a strength and courage that was shockingly refreshing, she took charge and wouldn’t allow anyone to belittle her, at a time when blacks were still just being freed from slavery. It was entirely believable that Lizzy had been allowed to develop this strength because of Mary’s trust in her.

Meanwhile, Mary is falling to loose ends. Naomi Jacobson plays the historical figure with real empathy, as a woman who needs help, but no idea what to ask for. It comes out that Lizzy is very close to giving up on her, because for some reason, the First Lady has been deferring payment on the dresses she orders be made constantly. Jacobson is a powerhouse in the role as she falls into despair over the craters she has made in her world.

Mr. Lincoln, played by Thomas Adrian Simpson, is warm, sweet, homely and as bewildered as the audience by his wife’s problems. He plays the part with appropriate gravitas, as well as surprising lightness as a hometown bumpkin who keeps waking up every day to find he’s still the President. The highlight of the play comes in a moment of real tension, as Lincoln and Mary are fighting bitterly about everything and nothing. Jacobson and Simpson nearly come to blows, and just as everything becomes truly insane, they crumple to the floor together, united by their frustration and inability to communicate, and begin to laugh like an old married couple should.

The part of Ivy, brought to life masterfully by Joy Jones, is vibrant in its own right as the one character in the show who is able to still separate the storms of life from the pure joy of living. She has a sad story to tell, but she uses it not to garner pity but rather to spur her on to make something of herself. Ivy has a determination to get her own back in life, and her smile and beautiful voice brings needed hope to the story.

Overall, the set and costumes worked together, giving a reality to the historical setting and bringing elements of conceptual ideas to life. The space was both cluttered and sparse, with no set changes to mark time or place, and represented perfectly the mind of Mrs. Lincoln. The costumes were spectacular and became a real focal point for all the mentalities of the characters.

The only problems with the production came from the script itself. In a few places it tended to be a bit wordy, sounding like something between a radio drama and a book. Also, the name of the play led one to believe that both Lizzy and Mary would get somewhat equal time to develop their characters, but unfortunately, the story only gave Mary’s perspective. It was hard to figure out if Lizzy had grown cold towards Mary, but had been kindly in the past, or if the “friendship” had never existed much in the first place.

Most of all, due to the overemphasis on Mary’s psychosis, one was never sure if the events taking place onstage were supposed to be real, or only Mary’s perception of reality. This may have been intentional, but again, it only showed Mary’s world, and there was a missed opportunity to contrast Lizzy’s more rational perspective on the situations at hand.

In totality, the play was well-directed, well acted and dynamic to the fullest. The piece was vibrant, and took a very human approach to telling the story. Each actor truly embodied their role, and brought the audience with them as they explored what it meant to live, love and lose throughout one’s lifetime.

Photo Gallery

Naomi Jacobson as Mary Todd Lincoln	Sameerah Luqmaan-Harris as Elizabeth Keckly, Naomi Jacobson as Mary Todd Lincoln and Joy Jones as Ivy
Sameerah Luqmaan-Harris as Elizabeth Keckly, Naomi Jacobson as Mary Todd Lincoln, Thomas Adrian Simpson as Abraham Lincoln and Joy Jones as Ivy	Sameerah Luqmaan-Harris as Elizabeth Keckly
Naomi Jacobson as Mary Todd Lincoln and Thomas Adrian Simpson as Abraham Lincoln	Naomi Jacobson as Mary Todd Lincoln
Sameerah Luqmaan-Harris as Elizabeth Keckly and Naomi Jacobson as Mary Todd Lincoln	Thomas Adrian Simpson as Abraham Lincoln

Photos by Scott Suchman

Cast

• Mary Todd Lincoln: Naomi Jacobson
• Ivy: Joy Jones
• Elizabeth Keckly: Sameerah Luqmaan-Harris
• Abraham Lincoln: Thomas Adrian Simpson

Designers

• Set Designer: Donald Eastman
• Costume Designer: Merrily Murray Walsh
• Lighting Designer: Robert Wierzel
• Sound Design and Composition: Fabian Obispo
• Stage Manager Scott Pomerico
• Production Assistant: Kristen Harris
• Wig Designer: Anne Nesmith
• Properties Director: Chuck Fox
• Playwright/Director: Tazewell Thompson

Disclaimer: Arena Stage provided two complimentary media tickets to ShowBizRadio for this review.

The Grand Parade of the 20th Century, now playing at Arena Stage, is an imaginative, creative and highly theatrical performance art piece. The premise of the performance is to display the procession in America of historical events of the 1900s. This is achieved through movement and music, as well as feats of acrobatics, on wires, elastic cords and suspended from geometric hanging frames. As the “times change,” the actors present vignettes of well-known historical events through rapid change of costume and construction of set pieces from tables and stretchers.

Throughout the performance, it was of great help to the audience that the designers provided a projector which displayed familiar videos and newspaper clippings of the time periods being represented, without which it would have been more difficult to follow. Movement was both erratic and frenetic, with actors representing nurses, soldiers, housewives and businessmen all jumping into bungee harnesses at seeming random to bounce around the space. Conversely, they were equally likely to be seen climbing into giant metal geometric frames to swing and spin, then “die” for undisclosed reasons. While the movement was crisp and obviously planned out well, the result was that the actors never chose to telegraph the reason behind these movements, so no emotion was conveyed.

The actors did, however, do very well at keeping their energy consistent and visually interesting. Their unflagging passion for the piece showed through every aspect of their performances. Their efforts were obvious in bringing forth their version of performance art, and their commitment commendable.

Each character at some point or another carried out their role in the scenes of Prohibition, World War I and II, Vietnam protests etc. while wearing an animal mask (dog, rooster, pig, horse) made of papier-mâché. There was no reason specifically communicated during the action of the piece for these masks–one might expect the actor donning the mask to change his body movement to match the head, for example, but that did not occur. However, the program notes stated that the entirety of the visual designs were drawn from inspiration of a cubist painter, Marc Chagall, who often paired human beings with animal headed beings in his paintings. This proved problematic, as not all audiences might be familiar with his work, and it seemed every aspect of the show was informed by his inspiring paintings.

Also, the program made it very clear that the artistic vision was to present a story of American history in the 20th century, but every aspect of the design was informed by Russian art (including the Russian composer). Somehow the American point of view was often obscured and lost. One very memorable and well-acted vignette focused so intensely on showing the journey of the Russian Space Program launching dogs into space, that the lunar landing by Americans performed later seemed completely overshadowed and insignificant.

Overall, despite some inspiring orchestration and well-timed physical stunts, the performance lacked an emotional bridge for the audience to connect with, although this may have been intentional. When actors “died” en masse during fight scenes, the emotional connecting point was lost, as no personal human stories were conveyed. A scene of a housewife cooking eggs on a hot plate from the 50s had no emotion; it played out as a stereotype in living marionettes. The scenes were pop history told on circus equipment, and unless one had lived through the events being played out, no deeper meaning could be squeezed from the show with which to show the impact history has on a country.

Ultimately, it is not always “innovative” to produce a performance with which an audience cannot emotionally engage, especially when considering the venue of a theater. Oftentimes a collaborative show can suffer from too much concept and not enough character. An artistic presentation does not have to be linear or logical–however, it does need to connect with the audience in some way, otherwise it is pure spectacle. If a visually dazzling spectacle was what was intended to be portrayed by this troupe’s work, then they succeeded.

Photo Gallery

The cast	Matthew Glassman, Milena Dabova, Hayley Brown and Carlos Uriona
Hayley Brown, Matthew Glassman, Carlos Uriona and Milena Dabova	Hayley Brown

Photos by Maria Baranova

Designers

• Director, creative Designer: Stacy Klein
• Co-creators/actors: Carlos Uriona, Matthew Glassman, Hayley Brown, Jeremy Louise Eaton, Adam Bright and Milena Dabova
• Attendant: Carroll Durand
• Bartender: Keiran Smyth
• Columbia College Chicago Chorus: Diane McNulty, Emily Nikfar
• Composer: Alexander Bakshi
• Sound and Projection Design: Brian Fairley
• Furniture and Wood Design: Jeff Bird
• Metal Apparatus Design: The Double Edge Ensemble
• Mask Design: Beckie Kravetz
• Puppet Design: Carroll Durand
• Lighting Design: Lucrecia Briceno
• Music and Vocal Direction: Lyudmila Bakshi
• Technical Design and Direction: Adam Bright
• Associate Technical and Lighting Director: Andrew Todd
• Costumes: Amanda Miller
• Associate Lighting Design: Anshumen Bhatia

Musicians

• Piano, Percussion: Brian Farley
• Violin: Walken Schweigert
• Saxophone: Amanda Miller
• Trumpet, Percussion: John Pietso

Disclaimer: Arena Stage provided two complimentary media tickets to ShowBizRadio for this review.

The dramatized history of Henry V makes for a triumphant play, especially when performed as honestly and skillfully as Folger Shakespeare Theatre has done. The characters seemed somehow more real and less theatrical as their stories came to life. The play begins with a declaration of war against an injurious France. The men of the British Isles gird up their loins for battle, and reveal very human emotions in doing so. A man kisses his wife goodbye and gives her a token to keep around her neck, a boy hugs his mother and marches out with tears on his cheeks, the drums of war sound and a violin plays.

The King, Henry, played by Zach Appelman, takes the biggest emotional leap of the play. The charge against the enemy, the leap into war, takes its toll on the young crown, as he weighs the glory of the kingdom against the lives of the men he may be leading to their deaths. This king is compassionate, thoughtful, and ages over the course of the play into a more confident figure.

Meanwhile, his men are a motley crew, that provide most of the comedy of the play, without resorting to mere comic relief. Their stories are real, funny, truthful and poignant. The supporting cast was truly the support that the play rested on. Each individual tale became the framework of the narrative. Of special note was Katie deBuys, playing a boy barely of age that became caught up in war, as well as the princess of France, Katherine. Both parts were portrayed so skillfully that the contrast was absolutely remarkable. The boy was grubby and confused, the princess intelligent and witty.

The staging of the play was on a set dizzyingly full of aged wooden beams, which moved at angles to open and close the environment for different scenes’ needs. All the beams were lowered into a veritable maze for the final battle, bringing the story into close quarters with the pained and tired men of the King’s forces.

Costumes were both extravagant and deftly period, taking every pain to be functional and realistic. The show became so realistic and intense as the characters hit every high and every low of the story, that one of the deaths that takes place in the play brought the story into reality somewhat. As the character was hung on a gallows, and literally dangled from a rope, the lights came up in the audience for intermission. The audience however remained frozen and silent, watching as the actors sadly lifted the still body out of the noose and carried him away. It wasn’t until the actors were gone that the audience finally came to life, so entranced had they been with the cruel reality implied by the special effect.

Together, the elements of the play were inviting, bringing the watcher easily into the story without concern for language barriers. The final element that brought the play together was the music. A lone musician, taking up a violin or once a penny whistle, narrated the story through song, music and tone. The proud, shining moment of England’s military history, brought deftly to life by The Folger players, was a triumphant representation of humanity overcoming adversity.

Director’s Note

Shakespeare’s Henry V is one of the most compelling plays in the classical canon and remains as relevant, potent, and morally up lifting today as it did to the Elizabethan audiences. From the Laurence Olivier 1944 film, full of triumph and jingoistic national pride, to Kenneth Branagh’s darker 1989 version, made on the heels of the Falkland war, the play never fails to speak to each generation.

In 2012 alone there were four major productions of the play, ranging from as far afield as the Globe in London, Stratford Festival in Ontario, Oregon Shakespeare Festival in Ashland, and Playmakers Repertory Company in Chapel Hill, North Carolina. In preparation for this production I was very lucky to have seen most of them.

What is it about this play that makes it so engaging? For the creative team and myself, it is the meta-theatrical device of Shakespeare’s Chorus and his frank request that the audience collectively must use their imaginations. Without this necessary ingredient, the great epic story will not come to life. Imagination became the springboard for our production as we determined to transport the story from present day to the courts in England and France, to the epic battles and sieges of 1415, all done with a very open hand. We ask you to imagine these events, share in the experience, and never forget you are complicit in the action.

Here then, upon an open scaffold, dressed in Elizabethan clothes, 13 actors will present this play about struggle, victory, and unification, while exploring the humanity that sits beneath the surface of this play. For between the fabulous rhetoric and pageantry is a complex story full of subtlety. It is the story of a young man’s rite of passage, a story of a nation dealing with the effects of War, a story that focuses on a nation unifying behind leadership for the greater good. It deals with the human cost of war on all levels of society and touches poignant themes—nation building, patriotism, and war crimes.

Henry V is a young man capable of greatness, but brutal in effect. He seeks guidance with his personal and moral obligations, and his duties and responsibilities as a king. Perhaps, at this point moment in Washington, a play about leadership could serve as a barometer by which we can form an opinion as to where our society sits and what we should, or should not, become in the future? It may allow us to identify with the isolation leadership can produce, its burdens, and the desire to guard those who follow. Henry V is able to unify to English, the Welsh, the Irish, and the Scots, make peace with France, and put an end to ideological polarity. It was a remarkable achievement in 1415.

Above all, we hope that you will enjoy this production and that you will “Piece out our imperfections with your thoughts.”

–Robert Richmond

Photo Gallery

(left to right) Catherine Flye, James Keegan, Katie deBuys, and Louis Butelli in mourning	Zach Appelman stars as the young king, Henry V
Exeter (Chris Genebach) reports to King Henry (Zach Appelman	King Henry (Zach Appelman, top) leads his men in the Battle of Agincourt
Zach Appelman (Henry) and Katie deBuys (Katherine of France) speaking the same language	Bardolph (Louis Butelli, center) is sentenced for stealing

Photos by Scott Suchman

Cast

• Henry V: Zach Appelman
• Bardolph/Bishop of Ely/Williams: Louis Butelli
• Nym/Westmoreland/Burgandy: Michael John Casey
• Grey/King of France/Salisbury: Edward Christian
• Katherine of France/Boy: Katie deBuys
• Mistress Quickly/Alice/Bates: Catherine Flye
• MacMorris/Exeter: Chris Genebach
• Pistol: James Keegan
• Scroop/Constable of France: Pomme Koch
• Fluellen/Bishop of Canterbury: Cameron Pow
• Dauphin/Cambridge: Andrew Schwartz
• Chorus/Montjoy/Governor of Harfleur/Jamy/Erpingham: Richard Sheridan Willis
• Musician/Gower: Jessica Witchger

Artistic Team

• Director: Robert Richmond
• Scenic Designer: Tony Cisek
• Costume Designer: Mariah Hale
• Lighting Designer: Andrew Griffin
• Sound Designer: Michael Rasbury
• Fight Director: Casey Kaleba
• Resident Dramaturg: Michele Osherow
• Production Stage Manager: Che Wernsman
• Assistant Technical Director: Rebekah Sheffer
• Casting Assistant: Teresa Wood
• Assistant Director: Daniel Bumgardner
• Assistant to the Director: Andrew Dahreddine
• Dialects: Gary Logan
• Assistant Stage Manager: Alicia Sells
• Production Assistant: James Kramer
• Fight Captain: Chris Genebach
• Dramaturg Assistant: Jessica Clark
• Prop Master: Becca Dieffenbach
• Assistant Set Designer: Daniel Da Cruz Pinha
• Scenic Assistant: Hannah Crowell
• Scenery Construction: Bella Faccia, Inc.
• Costume Assistant/Wardrobe Head: Adalia Vera Tonneyck
• Costume Assistant: Sara Jane Palmer
• Wardrobe: Sylvia Fuhrken
• Wig Designer: Heather Fleming
• Stitcher: Rose Barber
• Assistant Lighting Designer: Zachary Dalton
• Master Electrician: Aaron Waxman
• Light Board Operator: John Rose-Caron
• Sound Head: Matthew M. Nielson
• Sound Board Operator: Brandon Roe

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

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

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

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

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

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

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

Director’s notes

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

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

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

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

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

Photo Gallery

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

Photos by Doug Olmsted

Cast

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

The Crew

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

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