Happy times for those who will harken back to their youth when AM radio played the Top 40 hits of the 1960’s. The Creative Cauldron’s Shout! The Mod Musical will be comfort food for those who know each lyric and opening musical note from a time when the songs were fresh and new; song by female singers hoping to make their way onto American Bandstand.

All and all, Shout! The Mod Musical is an earnest production of a musical that will gladden the hearts of Baby Boomers who know the show’s playlist of about 20 hit songs selected by the show’s co-creators Phillip George and David Lowenstein. I use playlist as a term rather than score; this is jukebox theater of a specific moment in time and taste. It is from a non-FM radio-view.

Cast of Shout! The Mod Musical. From left: Yellow Girl (Aimee Barnes), Green Girl (Iyona Blake), Red Girl (Melissa Berkowitz), Blue Girl (Sarah Anne Sillers), and Orange Girl (Ashleigh King).

The Creative Cauldron’s production is the Washington area professional theater company premiere of the Shout! The Mod Musical. It was produced Off-Broadway in 2006.

Shout! The Mod Musical is set in London between 1962-1970. It follows the lives of five women in age from the early 20’s (The Red Girl), to the 30’s and perhaps a bit beyond (Green, Blue, Yellow and Orange girls). Yes, the female characters are identified as “girls” and by the color of what they wear. They are not given first names. No first names is rather fitting as the characters are one-dimensionally drawn, with little blood or soul.

The book is a shaky connection of dialogue and scenes that connect songs with the fictional characters. The book is a slim wisp of eye-rolling jokes, as well as some reminiscences about societal changes brought with the Pill and relationships with men. A clever touch is a regular focus on each of the character’s attachment to a self-help column written by “Gwendolyn Holmes ” for “Shout,” a slick and glossy London-based magazine. The matronly Holmes character provides antiquated guidance to those who seek out her guidance. The advice generally involves wearing a better shade of lipstick, trying a new hairdo or suggesting that while the fault for the boredom in a relationship may be with the man, it is the woman’s place to make things right.

The Yellow Girl (Aimee Barnes) is the American character. She has travelled to London to have a look at Paul McCartney. The Orange Girl (Ashleigh King) is married, but suspects her husband may be cheating. The Blue woman (Sarah Anne Sillers) is wealthy and vain, but has a deep secret about her sexuality. The Green Girl (Iyona Blake) gives off a looser vibe about her relationships with men. The Red Girl (Melissa Berkowitz) is the youngest; she is insecure with her appearance with hopes the man of her dreams will come along. The advice columnist, Gwendolyn Holmes, is played by a haughty, high-pitched, badly coiffed Robert Aubrey Davis. He has been taped and is seen on regular occasions on a video monitor in grainy black and white.

Singing is the high-point of the production. The songs include the likes of “Son of a Preacher Man,” “You Don’t have to Say You Love Me,” “These Boots are Made for Walkin’,” “Downtown” and “Don’t Sleep in the Subway” as well as “To Sir with Love” and others. A standout is an ensemble rendition of a very cute “Coldfinger” based on the famous James Bond movie song “Goldfinger.” Two songs caught the audience’s interest and lifted them up; they began to mouth the words and then sang with those on stage. The songs were “Those Were the Days” and the finale of the evening, “Shout!” The procession of musical numbers were written by pop icons like Tony Hatch, Carol King and Bernie Goffin, as well as Burt Bacharach and Hal David.

The strongest singers in the production are Blake and King. They have powerful voices and provide plenty of theatrical nuance to go along with their voice work and dancing skills. When all five actor-singers get together as a “girl” group or in pairs of back-up singers, the harmonies are simply top-notch.

The intermission free 75 minutes is directed by Matt Connor. Connor has directed a number of Creative Cauldron productions. He has also performed and composed at such DC area venues such as Signature Theater. The production was choreographed by Stephen Gregory Smith. He has the cast perform period dances such hip swaying, hands in the air numbers as the Swim, Pony, and others with enjoyable synchronized results.

The music director and keyboardist is Mark Deffenbaugh. The costumes by Margie Gervis are spot-on reminders of those changing times. Each of the five characters has three different outfits to represent various styles of the 1960’s. Visually the attire moves from left-over later 1950’s wear, to mid-60’s Mary Quant inspired mini-skirted dresses to a final late 60’s urban and hippie look. The hair styles and wigs are well-accomplished moving from flips, to long straight hair to Afros.

Shout! The Mod Musical will be most enjoyed by those who were living at the time. As Creative Cauldron Founder and Producing Director wrote in the program, “The performance you are witnessing is a celebration of music from the swinging 60’s and we suspect that many of you will find yourselves singing along to these classic pop tunes.”

At the performance your reviewer attended, one could feel audience members begin to catch the memory train. As the show began to wrap up, the infectious 1959 rhythm and blues hit “Shout” began. It quickly became a sing and clap-along finale. The crowd was standing on its collective feet, transported and transfixed with big smiles.

Cast

• Yellow Girl: Aimee Barnes
• Green Girl: Iyona Blake
• Red Girl: Melissa Berkowitz
• Blue Girl: Sarah Anne Sillers
• Orange Girl: Ashleigh King
• Gwendolyn Holmes: Robert Aubry Davis

Artistic and Design Team

• Director/Composer: Matt Connor
• Choreography: Stephen Gregory Smith
• Music Director/Keyboardist: Mark Deffenbaugh
• Scenic and Costume Designer: Margie Jervis
• Lighting Designer: Joey Wallen
• Sound Technician: Teddy Wiant

Disclaimer: Creative Cauldron provided two complimentary media tickets to ShowBizRadio for this review.

Spotlight on Creative Cauldron’s 2014 Passport to the World Festival

Creative Cauldron is a not-for-profit arts organization providing opportunities for learning and participation in the performing and visual arts for children and adults. Creative Cauldron also offers performances by professional artists all year round at its artistic home and flexible arts venue, the ArtSpace site in Falls Church, Virginia.

For the past several years, the Creative Cauldron has produced the multi-week, multi-performance Passport to the World Festival. The Festival showcases the diversity and vibrancy of performing artists of Northern Virginia who represent many different cultures. It’s an opportunity to “explore the world.”

This year’s edition carries on the tradition. In recent interviews, your writer delved into the 2014 Passport to the World series to be held January 18 to February 28, 2014.

Laura Connors Hull (Creative Cauldron Producing Director/Founder)

Q. Why does the Creative Cauldron produce the annual Passport to the World festival?

Creative Cauldron produces the annual Passport to the World Festival as a celebration of the diversity that enriches our northern Virginia community. Music, dance and story are universal tools of communication, but they are nuanced by each culture in fascinating ways. While the series offers delightful entertainment, it also provides a wonderful educational opportunity for our patrons.

Q. What has been the audience reaction to the Passport Festival series?

Audiences have really enjoyed the experience of the past festivals…we’ve had many couples and families use our “passport” option that allows them to see many different performances throughout the series at a reduced rate. There have been some absolutely spellbinding performances over the years. What’s particularly exciting is the cross-cultural exchange that happens when patrons from different heritages and ethnic backgrounds come together to experience the music and dance of a particular culture.

Q. What has been the performers’ reaction to participating in the Passport to the World Festivals?

Our performers in the series tell us they are thrilled to be able to share their passion for their music or dance with a wider audience. Many of them have limited opportunities to perform throughout the year. They also appreciate the intimate setting that we provide at the cauldron (only 85 seats) that really makes it easy to feel connected to an audience.

Q. Please tell me about the 2014 Festival Open House.

Thanks to a grant from the Little City Catch Foundation, this year we are kicking off the festival with a two-day open house on January 18th and 19th. The open house will feature free workshops, demonstrations and free performances of our family-friendly “World of Stories” shows: “Tales from West Africa” and “Tales from Peru.” The days will be filled with chances to work with both Creative Cauldron teaching artists as well as our visiting Passport artists, and community partners. Patrons can participate in a puppet-making demonstration or make a mural with scenic designer Margie Jervis, take in a Musical Theater Composing class with Matt Conner, an African drumming workshop with Kofi Denis, a hula dance workshop with Vivian Takafuji and/or a demonstration of “The Scissors Dance”, an ancient Andean ritual dance that looks a bit like break dancing. On Sunday afternoon, The Tinner Hill Heritage Foundation will lead guided tours of the African American History of Falls Church, and local photographers from Falls Church Arts will talk about their work in an exhibit called “Focus.”

Q. Please tell me a bit about this year’s returning performers.

Many of the groups that are featured in our 2014 Passport series are returning from previous years. We kick off the series again this year with Veronneau, an amazing acoustic Latin Jazz and Gypsy swing group that has earned rave reviews and captivates audiences with their special blend of samba, bossa nova and world jazz. On a similar vein, Kamel Zennia provides an intoxicating evening of music from his native Algeria. Kamel’s music is so unique. It’s a fusion of folk/rock, rhumba flamenca, and what he refers to as “desert blues.” This is an evening that always has people up dancing, almost as if it were through some magical intervention. Hui O Ka Pua ‘Ilima provides us with a treasure of music and dance from Hawaii every year and Moch Pryderi provides a Celtic feast on traditional instruments. These are really very talented artists, with skills honed over many years of studying and performing and we are proud to host them for this festival.

Q. What do you want audiences to come away with after attending a performance of the 2014 Passport to the World Festival?

It is our hope that the Passport to the World Festival leaves people with a desire to learn more about the world around them, to explore music and cultural traditions that they are less familiar with and come to appreciate the diverse cultural resources that we have right here in our community.

Liz Milner and Marty Summerour, Folklore Society of Greater Washington (FSGW)

Q. Please tell me a bit about the Folklore Society and its mission?

Founded in 1964, FSGW is an all-volunteer, not-for-profit 501(c)(3) organization. The Society seeks to further the understanding, investigation, appreciation, and performance of the traditional folk music and folklore of the American people. You can learn more about FSGW by visiting our web site.

Q. Why is folklore important to our culture understanding?

Folklore enhances our understanding of what it means to be human. People of widely different cultures all face many similar challenges: feeding themselves, nurturing loved ones and marking the passage of the seasons and of their lives. Folklore gives us a window onto how people of varying cultures adapt to these challenges.

Q. Why did the Folklore Society partner with the Creative Cauldron for the 2014 Passport to the World?

The Folklore Society constantly seeks new partners to broaden its reach in the Metro DC area. We would like to have a stronger presence in Northern Virginia. Creative Cauldron, with its convenient location, emphasis on high-quality programming from a wide range of cultures and its intimate performance space seems like an ideal partner.

Q. Please tell me a bit about the groups: Washington Koho Toto Society, Ocean Celtic, Toss the Feathers and Shenandoah Run.

Ocean Celtic fuses traditional Celtic (Irish and Scottish) music with modern instruments and rhythms. Founder/Bandleader Jennifer Cutting describes Ocean as “Music for ancient moderns…where ancient ballads meet cutting-edge electronics.” Cutting has created arrangements with sweeping orchestral sounds, shimmering ethereal electronics, authentic traditional instruments and a hard-hitting rhythm section. Her original songs stress the continuity between traditional and contemporary life.

Washington Toho Koto Society is a nonprofit group of koto players and friends, primarily in the metropolitan Washington area, founded in 1971 by Kyoko Okamoto to promote the understanding and appreciation of Japanese koto music and to enhance the friendship between Japan and the United States. The society participates in many national and community events, including the Lantern Lighting Ceremony which traditionally opens The National Cherry Blossom Ceremony in Washington, D.C.

Ensemble Toss the Feathers is a duo that consists of Tina Chancey, Arlington, Virginia musician, and Valerie Loomer, a native of France. They play Irish music from the 17th and 18th centuries on instruments the composers knew: renaissance fiddle, viol, theorbo, early guitar and cittern. This fusion of roots music and early instruments is a passport back to the birthplace of Irish music.

Shenandoah Run is a nine-member ensemble of seasoned performers who came together a few years ago to play folk music. Bringing with them individual experiences in folk, bluegrass, stage and other American world roots musics; they present classic and contemporary “folk music with a kick” as they describe their sound. They recall the high energy of the “60’s folk” with lush vocal harmonies and skillful and exciting instrumental backing.

Q. What would you like audiences to come away with after attending a performance of the 2014 Passport to the World Festival?

A greater appreciation of humanity’s vast creativity and the resilience of the human spirit. We’d also like for them to have an unforgettably fun time!

Photo Gallery

Moch Pryd	Veronneau
Margie Jervis and Puppet	Kamel Zennia
Valerie Loomer, Ensemble Toss the Feathers	Tina Chancey, Ensemble Toss the Feathers
Ta’ata Roiroi	Washington Toho Koto Society

Photos provided by Creative Cauldron

Written and composed by Richard Rodgers and Oscar Hammerstein II in 1943, Oklahoma! was among the first book musicals, in which the songs and dances are fully incorporated into the plot. The tale unravels in the year 1906 on a farm in the Oklahoma Territory bordering the town of Claremore. Romance springs up between the farm girl Laurey Williams and the cowboy Curly McLain, along with the always flirtatious Ado Annie and an earnest Will Parker. Yet there is jealousy and confusion in the bright western air as the characters struggle to discover their real love, and avoid the threatening presence of Jud Fry the farm hand.

The soaring vocals from Sophie DeLeo as Laurey transported the viewers out west and into the world of the character’s thickening relationships.

The convincing acting of Will Parker (George Castillo) and Ado Annie (Lilly Constance) brought the rocky relationship to life. While Sophie DeLeo captured the hearts of every audience member with singing that soared in the theatre, her expressive features and gestures accurately portrayed Laurey’s indecision about Curly.

The laughs were ringing from the audience as the conning Persian Peddler, Ali Hakim (Alexander Warren), hilariously attempted to avoid marrying Ado Annie as he found himself confronted by Pa’s shotgun, all the while keeping up a lively stage presence and a Persian accent. Beth Cashin as Gertie Cummings gave an impressive laugh that cackled and shrilled to fit her character’s exasperating frivolity. Although in act one the cast lacked some energy, they were able to pick it up in the exuberant finale. The choreography remained simple, such as in the Dream Ballet, yet it never surpassed the actor’s abilities and so the ensemble dances were clean throughout. The humor was the show’s constant companion as laughter sounded in both acts one and two.

A functioning log cabin that the characters could climb on and enter through the front door aided the plot as it allowed characters to leave the stage in a clever way. The set also had a screen backdrop and as time progressed the blue sky shifted to a night sky with stars twinkling above. Notable as well were the effects of the lighting which reflected the mood of the scene. In the Dream Ballet a red glow cast Laurey and Jud’s shadows on the backdrop creating an interesting dynamic between the dancing characters and the shadows. However, some cast members talked during the applause and the words were lost. Similarly, a few actors struggled with proper diction, yet the majority managed to pull off the southern accent. The costumes were consistent with the time period and place and had an overall pleasing appearance.

In this whirlwind of a romantic tale, George Mason High School managed to perform the difficult musical Oklahoma! with plenty of humor and commitment that shone through and made a fine show.

by Sarah Ortiz of Oakcrest School

Photo Gallery

George de Mars and Sophie DeLeo	Sarah Edwards, George Castillo and the men’s ensemble
Lilly Constance, Sophie DeLeo, Alex Warren

Photos by Carol Sly

Like the image of snow falling on cedars, there is a musically ephemeral “chapbook” production of Marry Me A Little; with songs by Stephen Sondheim ready for a rare appearance. The production is mostly built upon songs that Sondheim wrote but did not make the final cuts of his musicals. What could have been just another cabaret review of Sondheim works, words and melodies, is an evening with texture and a believable story arc, under the direction of Matt Conner.

There is no dialogue in the little over one-hour, no intermission production. The audience follows the twists and turns of the young who crave love, find love and then all too sadly lose love through the “on-the-mark” voices of local veteran Dani Stoller and newcomer to the DC area, Lou Steele and the wonderfully soft-pedaled foot and nimble fingers of pianist Amy Conley.

For Sondheim aficionados and those who have an interest in musical theater, the production is like a live version of Sondheim’s recent memoirs, “Finishing the Hat” and “Look, I Made a Hat.” In the two books, Sondheim provided not only background about his published songs and scores , but also songs that were cut and why. In the show, Marry Me a Little as conceived and developed by Craig Lucas and Norman Rene in 1980, we get to hear about a dozen of the cut songs.

The show is staged in a pre-Facebook time by Conner; a time unlike the current world of social media, instantaneous connections, and lots of gadgets. It was a time, now distant, when unattached people had fewer diversions and distractions on a dateless Saturday night. As one of the Sondheim lyrics goes, it was a time when Saturday night could mean staying home to read the Sunday NY Times.

Conner is a composer in his own right, with his musicals performed at Arlington’s Signature including: Nevermore, The Hollow, Partial Eclipse and soon Crossing. He has previously directed Creative Cauldron’s productions of Nevermore (2011) and Women of the Blues (2012).

Director Conner has his two person cast orbit around each other effectively adding some visual action to the production. He has them deliver often in parallel responding duets. Stoller is effective at providing acting chops to her performance showing off emotional reactions to situations depicted by the song lyrics. Steele is a more reserved presence.

First, what greets the audience is a graphic rendition of apartment living by Margie Jervis accomplished with squares of decorative carpet, pieces of furniture, clothing strewn about, several doors and a piano. The intricacy of the Sondheim’s score drips through and over the artifacts thanks to the mood setting lighting of Ken Willis. With the intimacy of the space, the audience becomes like a viewer using Skype; things are that close.

While the song Marry Me A Little is widely known, most of the other fifteen songs are rarer except to one deeply immersed in Sondheim.

The score of the production includes, in order, such songs as: “Saturday Night” (from Saturday Night), “Two Fairy Tales” (cut from A Little Night Music), “Can That Boy Foxtrot!” (cut from Follies), “All Things Bright and Beautiful” (cut from Follies), “Bang!” (cut from A Little Night Music),”The Girls of Summer” (from The Girls of Summer), “Uptown, Downtown” (cut from Follies), “So Many People” (from Saturday Night) “Your Eyes Are Blue” (cut from A Funny Things Happened on the Way to the Forum), “A Moment With You” (from Saturday Night), “There Won’t Be Trumpets (cut from Anyone Can Whistle), and “It Wasn’t Meant To Happen” (cut from Follies).

This is a musical tale about the arrows of love missing their mark: “Well, my dear, take care. It wasn’t meant to happen. Yes, I know–Unfair.” It will be of special interest for Sondheim lovers and those who want to once enjoy the pleasures of the un-microphoned voice, a well-played piano and a close-in feel to live entertainment.

Maybe it is the ever quickening, shorting daylight hours; the recent heartbreaking local events and atmospherics here in the DC area, or just a longing for some small-scale, reachable evening beyond the television, computer screen or smart phone apps to find a mark. It is lovely to know such still exists. Who needs trumpets all the time?

Photo Gallery

Photos by Gary Mester

Cast

• Lou Steele
• Dani Stoller

Crew

• Director: Matt Conner
• Musical Director: Amy Conley
• Scenic Designer: Margie Jervis
• Lighting Director: Kenneth Willis
• Lighting/Sound Technician: Tiara Hairston

Disclaimer: Creative Cauldron provided two complimentary media tickets to ShowBizRadio for this review.

Ask any non-theatre lover the name of a playwright, and they’ll probably respond with “William Shakespeare.” Ask them to name one of his plays, and they’ll probably say Romeo & Juliet. I’d also guess they would be surprised to find out that he wrote 37 plays. Then they’ll think, “I hope I never have to see them all!” Luckily for them, they don’t have to sit through several weeks worth of Shakespearian plays, because The Complete Works of William Shakespeare (Abridged) tackles (literally at times) all 37 plays in about two hours.

The young Flying Muskrat Theatre Company has created an enjoyable evening of theatre, even if you aren’t a fan of Shakespeare. While it may be a bit more fun to catch all the references in the play, you don’t really need to know exactly what is being spoofed. A few plays (Romeo and Juliet, Titus Andronicus, Othello, and Hamlet) are given significant stage time, while the other plays are grouped together in extended scenes, such as the History plays becoming a sporting event.

The three actors (Ernie Ambrose, Brennan Jones and Zach Goubeaux) performed well for the most part. As the cast self-directed the show, with assistance from Dave Sher, the performances between scenes were a bit uneven in pacing and emphasis. Having a director who could watch the overall pace of the production would have helped greatly. Some of the transitions between scenes were slightly awkward, instead of flowing smoothly they appeared to come to a stop and then start up again.

The cast did make great use of the performing area, with a “real” set (a first for the Flying Muskrat, designed by Stephanie Miller), a basic yet effective lighting design (Bill Miller), and funny costumes (Ava Hockenberry).

The second act of Shakespeare (Abridged) focuses on Hamlet. Get ready for some audience participation, and some very funny bits. Hamlet is the most complex of the scenes, and the rehearsal effort shows, although a director would have helped tighten some of the bits that came across as unfocused.

Altogether though, The Flying Muskrat’s Complete Works of William Shakespeare (Abridged) was quite fun, for lovers (and haters) of Shakespeare. It will be interesting to see what the Flying Muskrats have planned for 2014.

Photo Gallery

Photos by Rich Stanage

Cast

• Ernie Ambrose
• Brennan Jones
• Zach Goubeaux

Crew

• Assistant Director: Dave Sher
• Stage Manager, Costumes Head, Sound Board Op: Ava Hockenberry
• Set Designer, Props Head, Graphics: Stephanie Miller
• Light Designer, Light Board Op: Bill Miller
• Assistant Stage Manager: Jeremy Maline
• Publicity Crew Head: Brennan Jones
• Props Crew: Melanie Reuter
• Publicity Crew: Zack Camp
• Costume Crew, Publicity Crew: Caitlin S. Chenvert
• Costume Crew: Sasha Duckworth
• Costume Crew: Gulet Isse
• Costume Crew: Madison Meinbriesse
• Costume Crew: Evelyn Hernandez
• Makeup: Catherine Kiesel
• Paint Crew: Casey Marie Isaac
• Graphics Designer: Max Johnson
• Photo & Videographer: Rich Stanage
• Producer, Program Head, Backstage Manager: Susan Kidd
• Usher: Julian Hockenberry
• Usher: Julia Kun

Disclaimer: The Flying Muskrat Theatre Company provided a complimentary media ticket to ShowBizRadio for this review.

You’re a Good Man, Charlie Brown was written in 1967 with book, music and lyrics by Clark Gesner. The play is based on the comic strip “Peanuts” by Charles M. Schulz. It opened off-Broadway in 1967 before moving on Broadway in 1971. The show is done in the vignette style, portraying multiple short stories containing the same characters and sharing a common thread, but without a central plotline. The story revolves around Charlie Brown, a boy who just has nothing ever go right for him, and his interactions with the other kids he knows, his clueless little sister Sally, the forceful Lucy Van Pelt and her intellectual little brother Linus, and the Beethoven obsessed piano player Schroeder, among others.

Sam Williams (Charlie Brown) skillfully handled the role of the title character. With strong vocals and great reactions and stage presence, Williams nailed the adorably pathetic character of Charlie Brown. He had good comedic timing when delivering lines and provided stability for the other members of the cast to depend on and play off of.

Williams was backed by a strong supporting cast. Elizabeth Burr (Sally Brown) brought great energy to her role. She had hilarious facial expressions and reactions throughout the show. She also was an adept dancer with good movement on stage and made good use of a nasal, high-pitched voice that fit with her character. Aria Nawab (Schroeder) had great comedic timing and line delivery. He demonstrated strong vocals and energy in songs such as “Beethoven Day” and “Book Report.” Ali Cheraghpour (Linus) created many funny moments with his blanket, especially his song “My Blanket and Me,” complete with an adorable dance between him and Elizabeth Burr playing the blanket.

The J.E.B Stuart Pit Orchestra did a wonderful job with the music. They kept up the energy with the lively music of the show and blended perfectly with the actors without any noticeable mistakes. The show was choreographed by Elizabeth Burr, who came up with cute choreography that everyone in the cast could handle and that was very effective in the presentation of the numbers. One highlight was “Supper Time” where they broke out the top hats and canes to produce a hysterically funny dance that had the whole audience laughing.

The J.E.B. Stuart Stage Crew did a fantastic job of moving the set quickly and quietly. The set changes went very smoothly and were not distracting for the audience. The set was designed to look like a comic book background, with a bright blue sky and puffy white cartoon clouds. This was broken up into panels, furthering the comic book effect. Oversized furniture was used, helping to create a child-like atmosphere for the actors. Props were color coded to match the character’s costumes they belonged to which was an appreciated touch.

Despite some off-pitch vocals and lagging energy, the cast of J.E.B. Stuart High School’s You’re a Good Man, Charlie Brown came together to produce a heart-warming, entertaining production.

by Madeleine Lucas of Oakcrest School

Photo Gallery

Hillary Leersnyder, Blythe Holmes, Kelly McNesby, Deanna Leersnyder, Kaia Dunne, Ali Cheraghpour, Sam Williams (Charlie Brown), Sarah Rubin, Karen Whitlock, Elizabeth Burr, Abby Stewart, Angela Leersnyder, Aria Nawab

Photos by David Mosher

James Goldman’s 1966 historical drama, The Lion in Winter, depicts a dynastic standoff between King Henry II of England and his wife, Eleanor of Aquitaine, a case, if ever there was, of bedfellows making strange politics. Goldman’s script, which had a successful run on Broadway and an even more successful film version (with Peter O’Toole and Katherine Hepburn), reduces the byzantine royal power struggles of late 12th century England and France to a matter of dysfunctional family dynamics.

To succeed, this wordy and sporadically witty script requires strong and consistent pacing, crackling chemistry between the leads, and fully believable performances from the five supporting players. These are precisely the qualities that Zemfira Stage’s current production lacks. What results is an evening of slow, tedious line readings, punctuated by occasional outbursts of loud, vigorous scenery chewing.

The pacing sags throughout. Lines are often delivered one-word-at-a-time, or even one-syl-la-ble-at-a-time, precluding a smooth flow of language. There are frequent slow cue pickups by one actor after another has completed speaking. The pace isn’t helped by scene changes that seem much slower than the relatively modest movements of set dressing pieces involved should call for. The set changes are typically accompanied by repetitive music and instrumentation that belong some centuries in the future from 1183.

In the past, Jim Mitchell has played roles like Max Bialystock, Pseudolus, and Tevye; his physicality appears to suit those roles well. However, as King Henry, his bearing is a good deal less regal than one might hope for. Playing his character as one governed by emotions of the moment, he makes one wonder how Henry became a politically successful monarch. Perhaps thinking that this is what lions do, his way of expressing strong feeling is to bellow.

As Eleanor, Michelle Ballard appears at times to try to channel some of Hepburn’s take on the role, particularly the tight, talking through her teeth smile she employs when she is scheming to manipulate others to achieve her political objectives. Like some other great political figures (Franklin Roosevelt comes to mind), Ballard’s Eleanor is someone who, when faced with a choice of accomplishing something by straightforward or devious means, instinctively chooses the latter.

Much of the impact of the play derives from the tension created by Eleanor and Henry being simultaneously quite vicious political opponents and a couple who, despite their estrangement, have a deeply powerful and lasting emotional bond. As scene partners, Ballard and Mitchell are reasonably effective plotting against one another, but they do not have the chemistry to convey their attachment. The words are there, but the feeling doesn’t develop.

Among the supporting cast, Shaina Higgins is an attractive Alais (Henry’s current mistress), who plays her character as being chronically depressed, albeit with occasional sparks of insight. One wishes Prozac existed in the 12th century. In contrast, John, the king’s youngest son (Will McLeod) is exceedingly hyper. While the script does paint John as an immature and insecure young man, the runt of this royal litter, McLeod goes over the top in creating a temper tantrum prone, whiny prince whose emotional age is around 10. As King Phillip of France, Brett Steven Abelman is particularly susceptible to the one-word-at-a-time virus infecting the cast, but he does show Phillip beginning to mature as a political player.

As the middle son Geoffrey, Andrew Tippie avoids, with the exception of a come-to-mommy scene with Eleanor, the temptation to overact, portraying a cool (to the point of blandness), cerebral, amoral operator who seeks influence by attaching himself to whoever seems to be winning the power game. The oldest son, Richard (Don Bruns), is the most capable of the three princes, a military man whose bluntness and directness place him at something of a disadvantage in the court intrigues. While, like others in the cast, Bruns succumbs to the temptation to overact in some scenes, he gives Richard greater intelligence than some portrayals of the character.

The set is a loose semicircle of flats to which a number of gray slabs, not touching each other, are attached. This does not succeed in creating the look or feel of a medieval stone castle. Occasionally, set dressings are laid on the flats, most humorously in a scene where the three princes hide behind tapestries, Polonius-like, to overhear conspiratorial conversations involving Eleanor and Henry.

The play ran two and a half hours. It seemed longer.

The Cast

• Henry II, King of England: Jim Mitchell
• Alais Capet, a French Princess: Shaina Higgins
• John, the youngest son: Will MacLeod
• Geoffrey, the middle son: Andrew Tippie
• Richard, the Lionheart: Don Bruns
• Elanor, Henry’s wife: Michelle Ballard
• Philip, King of France: Brett Steven Abelman

The Production Team

• Producer/Director: Zina T. Bleck
• Assistant Director/Stage Manager: Miguel Lopez
• Stage Manager/Running Crew Chief: Rich Prien
• Lighting Design: Stacy King
• Sound Design: Herb Tax
• Scenic Artist: Alexa Wilson

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

Written by John Cariani, Almost, Maine premiered in 2004 at the Portland Stage Company to critical acclaim. Since then it has become the most commonly produced high school play. Consisting of nine vignettes taking place in the not-quite-town of “Almost,” Maine, the story follows a number of different characters as their relationships take drastic turns in one night.

While the brevity of each scene made leaving an impression challenging, Randy (Boris Mewborn) and Chad (Gunnar Frodigh) provided the strong comic relief the show needed. As two young men beaten down by love, the two were able to show their irritation with constant romantic failure while still causing uproarious laughter with their hilarious tales of dates gone wrong. Mewborn’s mature character voice and Frodigh’s expert physicality made the scene simultaneously ridiculous and believable. The pair’s strong bond of friendship created a reminder that not all love is defined by romance, and the relationship between friends can prove to be just as strong, if not even stronger.

Forming an extremely different picture, Rhonda (Emily McGowen) and Dave (Boris Mewborn) made their vignette simultaneously sweet and comical. Mewborn keenly portrayed his character’s journey from Rhonda’s friend to her lover, gently urging her to come out of her shell. McGowen’s attempts to stay contained and avoid affection were genuine, and her progression from bitter and aloof to loving and adventurous was inspiring. The scene proved to be a promising close to the evening that was spotted with many somber moments.

The most emotionally stirring relationship was that of Marci (Melanie Reuter) and Phil (Gunnar Frodigh). Tackling the difficult task of portraying a couple nearing the end of their marriage, the two expertly played off of each other to form a highly believable conflict. Reuter, in particular, utilized a mature voice and cautious physicality that clearly established her age, a challenge some actors struggled with. The scene established Reuter and Frodigh as the production’s strongest actors.

The stage crew proved to be especially creative. Moving the scenery not as invisible techs but as additional characters. The scene shifts were effective and seamlessly connected the scenarios, essentially creating additional vignettes with no dialogue. The lighting was also visually pleasing and functional, forming a variety of effects, from the beautiful northern lights to the headlights of a car. Costumes were generally selected with consideration to the cold climate of Maine and greatly enhanced the show.

Despite some overacting and lines lost through laughter, the delightful cast of Almost, Maine was able to create the feeling of a small, northern town perfectly. And while saying just what love is may seem impossible, Falls Church was “almost” able to. And that, it seems, is as close as we’ll ever get.

by Drew Holcombe of West Springfield High School

Photo Gallery

Keely Greene, Brennan Jones	J.D. Moreno, Jade Koumtakoun
Jimmy Miller, Ava Hockenberry	Catherine Kiesel, Mark Zubaly
Gunnar Frodigh, Boris Mewborn	Gunnar Frodigh and Melanie Reuter
Boris Mewborn, Emily McGowen

Photos by Rich Stanage

At a time of year overflowing with seemingly endless performances of holiday warhorses, the really good news about The Best Christmas Pageant Ever, now being presented by the Providence Players at the James Lee Community Center in Falls Church, is that it is not A Christmas Carol, The Nutcracker, or It’s a Wonderful Life. Adapted by Barbara Robinson from her popular 1971 children’s book, the play imagines a humdrum church Christmas pageant being at first threatened, and then deepened, by the participation of six raucous siblings from the wrong side of the tracks.

The cultural and class contexts are important. The world of The Best Christmas Pageant Ever is that of 1950s-1960s middle-American mainline Protestantism (a world in which I lived as a child and teenager and regard with considerable nostalgia). It was a comfortable place untroubled by creeping secularism or evangelical entrepreneurship. As the great sociologist of religion Peter Berger wrote, “Mainline Protestantism has always been in a symbiotic relationship with the middle-class culture, which is to a large extent its own historical product…and that continues to be its social context. In the 1950s mainline Protestant churches reflected the middle-class culture and constituted a sort of social establishment within it. Put sociologically, the principal function of these churches was to legitimate the middle-class culture of America, to certify that the latter was indeed ‘OK.'” It was the world, as Berger put it, of the “Protestant smile…of ingenuous niceness [that was] a sacrament of American civility.” The changes in the world since that time leave the story feeling somewhat dated 40+ years after its writing.

We see the events of the play through the eyes of the prototypically nice Bradley family (reminiscent of sitcom families of the Ozzie and Harriet era), particularly from the viewpoint of middle-school aged Beth (Hazel Thurston), who narrates. Thurston delivers her lines with confidence and, at times, flavors her narration with a dash of ironic detachment. As her father, Bobby Welsh radiates warmth and sincerity as he changes from a reluctant attendee at the pageant to someone able to articulate its meaning. As Grace, her thoroughly competent, unflappable mother (albeit one who seems not to have read Betty Friedan), Stephanie Hearn manages to organize the pageant and keep it from disaster. The fourth member of the family, younger brother Charlie (Brendan Dure), comes off as a bright, natural kid who is a good deal more than just perky.

The conflict in Act I comes from the six Herdman kids. They are lower class — on welfare, in fact — and do not conform to the norms of middle-class culture, such as attending mainline Protestant churches or behaving properly in school. They easily intimidate their more respectable peers. They show up for the pageant in the belief that there will be abundant free snacks. Grace’s task is to get them to take the story told in the pageant seriously, thus somewhat assimilating them into the mainline Protestant/middle-class program, while allowing them creative space to inject their own energy and insights into the proceedings. The ever kind and resourceful Grace succeeds.

Of the Herdmans, the most impressive is Jody Lynn Parker as Imogene, the older sister in the group. Parker’s experience shows in the evening’s strongest dramatic moment, in which Imogene wordlessly transforms into her pageant character of Mary. As the feisty Gladys, who conceives the Angel of the Lord as a comic book hero, Kyleigh Friel has energy to burn, though her diction blurs at times.

Meritorious mention should be made of several supporting performances. As Max, who narrates the Act II Christmas pageant, Ethan Phillips displays what, for a 6th grader, is a well-developed radio voice. Julie Bratton, as Mrs. Armstrong, is the most notable of a group of caricatured gossipy church ladies. Jennifer Owens does a good mean girl turn as Alice Wendleken, disgruntled at being displaced by Imogene in the Mary role in the pageant. The angel choir blessedly remains on pitch through several Christmas carols. As for the quintet of baby angels, what can one say except that they are too cute for words?

The structure of the play is a bit odd. Act I is largely organized as a series of blackout sketches, while Act II devolves into, well, a Christmas pageant, thereby losing some dramatic steam. Through it all, director Beth Whitehead keeps her large cast well-organized and the pace quick. The quality of technical side of the production is high. Brian O’Connor’s set consists of several smoothly sliding panels that part to provide extra playing space (for example, for Mrs. Armstrong’s hospital room) or act as a screen for photos of characters or settings (for example, of a classic 50s/60s Protestant church and its basement). Jen Grottle’s lighting design is efficient and cleanly executed.

Spike Lee and others have used the term “magical Negro” to criticize films in which an African-American character of superior wisdom, earthiness, or, in some cases, supernatural powers is used as a device for the spiritual enlightenment or redemption of white characters. (For an interesting discussion of the concept, see blackcommentator.com.) Well-known examples include Sidney Poitier in “The Defiant Ones,” Morgan Freeman in “Bruce Almighty,” Will Smith in “The Legend of Bagger Vance,” Michael Duncan in “The Green Mile,” and Whoopi Goldberg in “Ghost.”

In a light comic way, focused on class, not race, the Herdmans (members of the common herd?) perform a somewhat analogous function in The Best Christmas Pageant Ever. They do not exist so much for themselves as to serve the spiritual improvement of the middle-class church members. At the play’s conclusion, the Bradley family is as nice as ever but, thanks to the Herdmans’ intervention, their appreciation of the true meaning of the pageant is enhanced. Even the church biddies admit that there was something special about this year’s pageant that, indeed, made it the best ever. Meanwhile, the Herdmans, having made the pageant more meaningful for everyone else, conveniently disappear, not even staying for the cast party. The middle-class world can go its way, better for, but not having to contend further with, their disruptive influence, let alone needing to address their day-to-day poverty.

With a cast involving so many children, a nearly capacity crowd full of proud family members basked in every moment, applauding following many of the short blackout scenes. Besides being a very enjoyable show for performers and audience, the production had a serious purpose, as half the net proceeds from the production plus the concession revenue are being donated to The Young Hearts, a local cancer charity.

The Cast

• Father (Bob Bradley): Bobby Welsh
• Mother (Grace Bradley): Stephanie Hearne
• Beth Bradley: Hazel Thurston
• Charlie Bradley: Brendan Dure
• Ralph Herdman: Blake Phillips
• Imogene Herdman: Jody Lynn Parker
• Leroy Herdman: Ryan Clark
• Claude Herdman: Diego Pedulla-Smith
• Ollie Herdman: Jay Swallow
• Gladys Herdman: Kyleigh Friel
• Alice Wendleken: Jennifer Owens
• Mrs. Armstrong: Julie Bratton
• Mrs. (Irma) Slocum: Libbey Eads
• Mrs. McCarthy: Nanci Pedulla
• Max: Ethan Phillips
• Elmer Hopkins: Adam Ashley
• Hobie: Elias Cato
• David: Bryce Neuhauser
• Janet/Angel Choir: Elise Welsh
• Beverly/Angel Choir: Lily Bernero
• Doris/Angel Choir: Nicole Owens
• Firefighter: Michael Donahue
• Firefighter: Julie Bratton
• Reverend Hopkins: Michael Ehrlich, Mike McLaughlin, Dave Schwartz (different dates)
• Baby Angels: Erika Friel, Leah Hearne, Katie Jaynes, Matilda Lee, & Juliet Phillips

Production Team

• Director: Beth Whitehead
• Co-Producers: Prince McLaughlin & David Whitehead
• Technical Director: Brian O’Connor
• Technical Crew: Chris Burruss, Jesse Kane, Bron Pedulla-Smith & Andy Shin
• Stage Manager: Mike Donahue
• Assistant Stage Manager: Danine Welsh
• Set Design & Construction: Brian O’Connor
• Set Construction Crew: John Coscia, Patrick David, Laura Dunn, Melissa
• Febbo, Sara Febbo, Andrew Garling, Chip Gertzog, Jesse Kane, Ann
• Mattheisen, Mike Mattheisen, Mike McLaughlin, Prince McLaughlin, David
• Schwartz, Bron Pedulla-Smith, Steve Smith, Dale Wells, Beth Whitehead
• & David Whitehead
• Set Decoration: Brian O’Connor
• Photos & Sound Recordings: Chip Gertzog
• Light Design: Jen Grottle
• Props: Susan Devine, Anne Marie Nasto & Donna Naybor
• Costumes: Susan Kaplan & Lisa Church
• Costume Assistant and Crew: Dane-Marie Pedulla-Smith
• House and Box Office Management: Mike Daze and Beverly Baughman
• Playbill Design: Ellen Burns
• Playbill Advertising: Jayne Victor & David Whitehead
• Publicity: Chip Gertzog

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

Mel Brooks’ The Producers has outrageous fun with Jews, gays, neo-Nazis, Irish cops, accountants, Swedish sex bombshells and, above all, show business clichés. Zemfira Stage’s production pulls out all the show’s stops, creating a highly enjoyable evening of theater.

The production is full of well-defined, vivid, hilarious performances. Brian Johnson and Jonathan Faircloth, as Roger DeBris, the director/accidental star of musical-within-the-musical Springtime for Hitler, and Carmen Ghia, his partner and assistant, spoof every gay stereotype in the book while maintaining a consistently believable and sweet relationship. Johnson also hoofs nicely through a song-and-dance number (“Heil Myself”) as Der Fuhrer. As neo-Nazi playwright Franz Liebkind, Cameron Conlan is gracefully fanatical, while Coleen Connor (Ulla) handles the lyrical and belt portions of her music with aplomb while projecting the self-aware, over-the-top comic sexiness her role demands.

As the producers, Max Bialystock and Leo Bloom respectively, Jim Mitchell and Joe Phillipoom carry much of the show. Both give sound performances, and they have good chemistry together in duets like “We Can Do It” and “Where Did We Go Right?” As the initially frightened mouse of an accountant, Philipoom cowers well, and he displays a pleasing tenor voice in “That Face,” “I Wanna Be a Producer,” and other numbers. His hangdog posture persists a bit too long into the second act, however. As Bialystock, a role created by Zero Mostel (in the original movie) and Nathan Lane (in the stage and film versions of the musical), Mitchell is appropriately opportunistic and cunning, never one to let even a stray consideration of honesty cramp his style. Mitchell has a strong baritone voice that is more than adequate in the role. His second-act soliloquy “Betrayed,” in which he recapitulates much of the plot, lacks some of the frenetic physical humor that helps to sell the number.

The Producers is a strong ensemble show, and the large group assembled by Zemfira Stage is excellent, its members portraying multiple roles as cops, gay theater types, showgirls, old ladies, etc. They sing clearly and move well and, of course, lead the show’s signature number, “Springtime for Hitler.” Michelle Ballard deserves mention for her fine soprano solo at the top of that number.

The show is well choreographed by Stacy Crickmer, her contributions including such varied items as a walker chorus line for a group of purportedly old ladies, a nice pair dance for Leo and Ulla, and the big show biz movement of “Springtime for Hitler.” After some jitters in the overture, Charlie Manship’s orchestra settled in to accompany the singers effectively. Orchestra/singer balance was generally well maintained, and the miking of lead actors was less obnoxious than in many productions.

There is virtually no set for the show, a wise choice by director Zina Bleck given the large cast and limited stage space. A small number of furniture pieces in front of a cloth backdrop are sufficient. The lighting design is likewise simple, consisting mostly of various colors to illuminate the backdrop and a somewhat overused follow spot.

The varied and colorful costume design, by Sabrina Chandler and Claudia Tameris, is the outstanding technical feature of the production. The “Chrysler Building” dress for DeBris, with a touch of art deco in its design, was particularly well done. The ensemble has multiple changes, and the costumes work for all the varied roles ensemble members play. Some way of making young ensemble women appear old for “Along Came Bialy” other than gray fright wigs would have been helpful.

An historical footnote: “Keep It Gay,” an ensemble number in the first act of The Producers, is not the first show tune by that name. A song with the same title appears in the 1953 Rogers and Hammerstein show Me and Juliet, also a play-within-a-play about the production of a Broadway musical. In the 1953 song, a Don Juan character explains his goal of avoiding emotional entanglements with his women. The two songs provide a nice illustration of the changes in the meaning of a word over time. Like many Bialystock productions, by the way, Me and Juliet was not a success.

Photo Gallery

Photos by Meganne McCawley Johnson

The Cast

• Max Bialystock: Jim Mitchell
• Leo Bloom: Joe Philipoom
• Mr. Marks: Geoffrey Baskir
• Franz Liebkind: Cameron Conlan
• Gunter: Brady W. Russell
• Roger DeBris: Brian Johnson
• Carmen Ghia: Jonathan Faircloth
• Bryan (Set Designer): Roger Yawson
• Scott (Choreographer): Justin Janke
• Kevin (Costume Designer): Chris Rios
• Shirley Markowitz: Denise Mattingly
• Ulla Inga Hansen Bensen Yonsen Tallen-Hallen Svaden-Svanson: Colleen Connor
• Hold Me Touch Me: Stacy Crickmer
• Lick Me Bite Me: Amy Treat
• Kiss Me Feel Me: Aimee Snow
• Judge: Mark Shaffstall
• Ensemble: Michelle Ballard, Geoffrey Baskir, Katy Chmura, Stacy Crickmer, Justin Janke, Ashley Kinnery, Lisa Koenig, Miguel Lopez, Denise Mattingly, Grace McCarthy, Julie Philipoom, Rodrigo Pool, Samantha Reau, Chris Rios, Mike Rudden, Brady W. Russell, Mark Shaffstall, Amy Treat, Aimee Snow, Roger Yawson

The Production Team

• Director/Producer: Zina Bleck
• Music Director: Charlie Manship
• Choral Director: Rachel Harrington
• Assistant Choral Directors: Jonathan Blank, Michelle Ballard
• Choreographer: Stacy Crickmer
• Rehearsal Accompanist: Jonathan Blank, Charlie Manship
• Assistant Choreographer/Dance Captain: Emma Philpoom
• Stage Manager: Rich Prien
• Lighting Director: Stacy King
• Costume Designers: Sabrina Chandler, Claudia Tameris
• Hair & Make-up Design: Cameron Conlan
• Ulla’s Hair: Kerry Ann Durbin

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