Bob Anthony, Celia Sharpe, & Nancy McCord - Freelance Arts Critics

Performing Arts

August 2, 2005

TAKE NOTE: ALL NEWER REVIEWS WILL BE FOUND ON A NEW WEBPAGE AllArtsReview4u.com

*****

Baby boomers...listen up! "Grease" is in town. Toby's Dinner Theater has revived, with gusto, the Jacobs and Casey 1972 smash hit. It was the longest running musical until "Chorus Line" came along. The show was not a critical hit, but the public couldn't get enough of it and it is still a hit 30 years later. This production at Toby's is as entertaining as any version one can see. The energy of this cast is dynamite! Even the dowdy teacher in the play, Miss Lynch, played by Denise Steadman goes over the top with her characterization. Danny Zuko, the hip slick guy with the leather jacket and greased back hair is played convincingly by Evan Hoffman. Sandy Dumbrowski, the sweet young thing that joins the "Pink Ladies" is played by Natalie Wood look- alike, Margo Siebert. Kenickie, the graser with the most edgy girlfriend, Betty Rizzo, are played by J.P. Gulla and Jill Shullenbarger respectively. Eugene Florczyk, played by Andrew Frace, took his role over the top with nerdish body usage and facial expressions. The voices of all the cast members are outstanding and one hopes they will be seen again soon. The choreography by Ray Hatch for which Toby's is famous did not disappoint as it filled the stage and had feet tapping and heads nodding along. Toby Orenstien, artistic director, has an eye for musicals that is excellent and her enthusiasm is contagious. Christopher Youstra directs the musicians, David Hopkins did the set design, Larry Munsey provided the wigs, Lynn Joslin provided the lights, and Jason Wilson came through with contemporary sound. Don't miss this show...it is great entertainment. (To 9/4) (Reviewed by Nancy McCord)

*****

Classika Theatre in Shirlington continues to present fine children's theater with adult actors. With its current "Cinderella", they present a most creative production with flying items and puppetry but this adaptation is a little tedious when compared with previous productions. It could be that the Prince, Jerry Hindman, was totally wooden and lacked all stage energy while Hanna Bondarewska as the stepmother had to overload with energy to compensate. The two stepsisters, Julia Tasheva and Suzanne Edgar (in her second role) , were properly improper and most amusing, but Tara Garwood disappointed as Cinderella with minimal stage electricity and way too many pauses. Mike Gool comically fulfilled the role of the erratic King. But the star of the show was the puppet coachman manipulated and spoken with much charming attitude. The full house of children and adults was totally attentive so one must proclaim the production as a success. Inna Shapiro fully and competently directed the show but some rewriting is needed for this adaptation. This theater is a great theater to plan birthday parties for the little tykes since the actors take part in the curtain call to honor them.
(To 8/21)

*****

The Potomac Theater Festival at Olney Theatre Center provides a day of tears, joy and riotous comedy with its three plays in this 19th season. Acting is fine thoughtout and it is such a thrill to see neophytes, mostly from Middlebury College, coming through with excellent performances as they work along with seasoned local actors. The most successful production is a combo of Albee's "The American Dream" and Pinter's "One for the Road". In the Albee, Vivienne Shub outclasses the rest with her scintillating comedic touches as the charmingly irascible Grandma. Every senior citizen in the area will benefit from her truthful comments about the aged in the society. Nigel Reed as Daddy and Valerie Leonard as Mommy add tremendously to the poignancy and humor of a vacuous marriage. Rebecca Martin shines as an angel of mercy with full blown sexuality and confidence. Lucas Kavner is the "american dream" full of sexual assurance and physique to provide a charming resolution to the dilemmas faced by a typical American family. The Pinter play is, in contrast, stark, humorless reality although it has some bon mots by Richard Pilcher who finely portrays an interrogator as he pursues accusations against a formally dressed young couple and their daughter in separate scenes to get at the "truth". There is the typical eeriness and mystery for which this playwright is well known. Nigel Reed and Julia Proctor do superb renderings as the victims with body kinesics and very few verbal responses. Director Richard Romagnoli reaches a desired level of most capably providing both comical and tragic theatrical styles.

Snoo Wilson's "Lovesong of the Electric Bear" is as continuous an "oddity" as his name and some segments of his script. Yet, it provides an excellent vehicle for outstanding performances by Aubrey Deeker and Tara Giordano as a confused and put-upon computer scientist and his childhood "security" bear who continues to follow him into adulthood. An opening scene confuses and is never resolved and an excessive theme of homosexuality seems inappropriate to development of this farcical look at cybernetics. The format is very British and all of the other six actors (James Dunn, Valerie Leonard, Andrew Zox, Lucas Kavner, Meghan Nesmith and Julia Proctor) provide delightful minor characters. This play needs some serious reworking although it is was a joy to the audience probably due to the hectic and fast paced quality provided by director, Cheryl Faraone, who is always so successful with challenging plays.

The weakest play was Neal Bell's "Somewhere in the Pacific" which was directed by Jim Petosa. Why did the opening scene have miltary characters with blotchy skin intended as foxhole dirt marks when the setting was aboard a military troop ship? Other script deviations lacked all sense of reality. The group of seven military was headed towards Japan in WW2 and we are to believe that who are homosexuals and how earlier soldiers desecrated Japanese dead bodies would be of concern to men headed for battle...that just didn't ring true! The acting, nevertheless, was violent and vicious and extremely well performed by Paul Morella, Tim Getman, James Konicek, John Stokvis, MacLeod Andrews, Bill Army and, especially, James O. Dunn. Tim Getman is to be congratulated since he needn't accept the basic play conceit and was most successful in the survival scene to end the play. The directing by Jim Petosa was a surprise disappointment for one who has shown tremendous insight in previous stagework.

Technicals were most successful throughout the three plays with special kudos going to Jarett Pisani for sound and Brandon R. McWilliams for costumes.

Again, this group gets more sophisticated every summer season and is, especially, recommended this 19th year with three fine productions. One can see all three on weekends with time in between for pleasantly enjoying Olney and its restaurants. (To 8/7)

*****

If you get your theatrical thrills with productions in which a highly talented cast "chew up the scenery" then you won't want to miss Scena Theatre's "The Persians" and its updating of the Aeschylus tragedy. Chorus members, Brian McIan, Dan Awkward and Kim Curtis, reach down into their guts as they interpose moans betwixt clearly enunciated phrases. Kerry Waters is at her usual tops as Queen Atossa as she brings forth more soul from her piercing eyes than any local actress. Her pleadings and pangs bring forth chill reactions. Eric Lucas burst forth as the messenger to emotionally describe the battle slaughter that has taken place which brings him to the edge of madness. Brian Hemmingsen is the returned-from-the-dead Darius who moves from rages over the destruction of his kingdom to soft murmurings about his decaying death and lost love. Regardless of the excellent performances of his fellow players, David Bryan Jackson gives the crowning glory to his Xerxes. He varies between a petulant childishness to a violent paranoidal soldier and he even adds an oedipus complex towards the Queen. His is truly a magnificent rendering! Michael Kachman provides an appropriate war torn set with fallen columns and an overlooking bas relief of a huge Darius profile. Director Robert McNamara is most impressive with his competence in adding classical Greek staging. One questions the need to update the play to the first Gulf War since the connection would have been obvious particularly to a Washington audience. However, one would have missed the superb modern battle scene provided by David Crandall on sound and Marianne Meadows on lights. But shouldn't religious references have been made to "Allah" rather than "God"? Too often the updating references were a little jarring particularly with the presentation of the American flag to end the show. But these suggested changes should not disallow theater goers to put this show on their must-see list. It is performed in the Gala Hispanic theater space with lots of parking at the new Giant supermarket in the same Tivoli building. (To 8/14)

*****

Gounod's opulent "Masse Solemnelle de Sainte Cecile" was everything one could wish for. Capturing both its grandeur and its simplicity, J. Reilly Lewis conducted the National Symphony Orchestra and the Cathedral Choral Society along with members from the Fairfax Choral Society in this rare musical treat. Soprano Jessica Swink once again gave a memorable peformance as she did here recently in "The Magic Flute" and "Dialogues of the Carmelites". Tenor Tim Augustin and bass Jon Bruno were also noteworthy. Emil de Cou also conducted the NSO in a fine mix of music including Poulenc's "Concerto in G Minor" with Dr. Lewis on the organ. Ravel's luxurious "Pavane" and Britten's exhilarating "Young Person's Guide to the Orchestra" completed this free event at the Cathedral Summer Music Festival...it is one of the best. (Reviewed by Cecilia Sharpe)

*****

The Studio Theater closes its season with Rolin Jones' "The Intelligent Design of Jenny Chow" that is most creatively acted by a cast of six but they are failed by a somewhat weak and confusing script by a beginning playwright. It is a science fiction "Pygmalion" story that was thoroughly enjoyed by this night's audience but one feels that they were conditioned by tv situational comedy "pap". The first big problem was to make the lead an arrogant, foul mouthed brat so that minimal empathy is garnered for her denouement. And how about her getting straight "A"s in school when she has agoraphobia and cannot leave the house. And why pile up additonal complexes of mania, tourette, and neuroses on her. Eunice Wong finely played these symptoms but they alienated her even more as a likeable character. Cameron McNary in many roles was a chameleon gem throughout and one predicts a fine success for him as a comedian not unlike facile Robin Williams. James Flanagan continues his stage playing as a most enjoyable juvenile...none better on local stages. Charlotte Akin plays the confused mother and business woman who is more frustrated with her work than caring for her adopted daughter. Mia Whang, as the robot, is finely tuned thoughout as she does much imitative stage work but also manages some nice human qualities when being rejected. David Rothman manages a thankless role as the father which barely allows for any character development. David Muse provides most competent direction full of sound and fury which is demanded by this fanciful tale. Technicals all fell in line although all of the diagrams and writing on the walls and floors tended to upstage at times. (To 7/31)

*****

Ottawa, Canada has a tremendous theatrical treat with the one-man show by Pierre Brault about an art forger in "Portrait Of An Unidentified Man" at the Sleeping Dog Theatre at the National Arts Centre. He was absolutely brilliant in his portrayal of Hungarian quasi-artist and fraud, Elmyr de Hory, who successfully copied works from Chagall to Modigliani which still hang in major museums around the world and are still under scrutiny by art experts. During the show, Mr. Brault, skillfully directed by Brian Quirt, justified frauds as he confirmed the ploys of the quirky original artists who went to any extent to gain popularity even distorting reality. Yes, how about Andy Warhol for copying! And what about Monet who still insisted on blurred quality due to visual deficiency and not artful skills. Genius performer, Mr. Brault, most cleverly impersonated these famous artists and their cohorts from violently abusive Dali to the three Gabor sisters. Throughout the performance famous paintings were projected underneath the floor most effectively by Martin Conboy, visual arts consultant. Justin Haynes managed excellent jazzy sounds most effectively modulated depending on the degree of abstraction of the art works. One hopes that a U.S. company invites Mr. Brault for a theatrical run. He offers a most enjoyable evening with lots of insight and charming humor into deviations and dishonesties of abstract and minimalist artists.(To 7/23)

*****

On July 10th, a large, appreciative and fortunate audience was rewarded for choosing to spend the sunny afternoon inside. The Opera International presented an Operatic Vocal Gala Concert at the beautiful Strathmore Hall with eleven singers: Hai-Bo Bai, Zheng Cao, Jingma Fan, Ding Gao, Kathryn Honan-Carter, Jessica Jones, Wei Song, Jessica Swink, Guang Yang, Sun-Yu, and Chen-Ye Yuan who were all assisted by pianist/musical director, Kelly Kuo. These gifted vocally-ranging performers filled the hall with music that truly stirred the soul, brought tears to the eyes, and gave much joy to the ears and heart. All of the singers were flawless in interpretations and sang with such ease that the concert ended with the crowd yelling for more. Not enought can be said of Mr.Kuo who was an orchestra of one as he accompanied the singers with great warmth and aplomb. This critic had some favorites: Guang Yang sent shivers when she sang from "Don Carlo" as well as providing full emotions to Bellini's "Norma". Zheng Cao was flirtations and fiery in the Carmen's "Habanero". Wei Song gave a breathtaking rendering of "Cavalleria Rusticana". Yes, Strathmore Hall's acoustics were totally pefect for this unamplified event. Do make it a point to attend future concerts of Opera International...you owe it to your ears, your heart and your soul. (Reviewed by Bev Cosham)

*****

The Wolf Trap presented the National Symphony Orchestra, conducted by Emil de Cou, with the Wolf Trap Opera company and the Washington Chorus, led by Robert Shafer, for a night of beautiful music and a wonderful sampling of some arias of the great operas. The singers (Javier Abreu, Audrey Babcock, Jason Ferrante, Jason Hardy, Weston Hurt, Kate Lindsey, Maureen McKay, Dimitri Pittas, Evelyn Pollock and Alexander Tall) performed works from various bel canto operas. Also included was some Stephen Sondheim...a highlight being a number from Sweeney Todd to add a bit about murder and mayhem which was a true nugget from a contemporary tragic opera. Peter Kozma was the artistic coordinator and Bruce Stasyna and Bethany Johnson supported the musical preparation. The evening was perfect for those who are not opera aficionados as it gave a taste of the all musical works with lively performances, beautiful voices and a most satisfying night of showmanship on the grounds of the best summer venue in the Washington area. (Reviewed by Nancy McCord)

*****

"Rigoletto" at the Summer Opera at Hartke Theater is astoundingly performed. The theater's intimacy added sublime beauty to this Verdi opera about a scoundrel, the Duke of Manua (Benjamin Warshawski), his abused hunchbacked jester Rigoletto (Jason Stearns), and Rigoletto's daughter, Gilda (Stacey Mastrian). Kate Tamarkin conducted the orchestra, Leland Kimball stage managed, Mims Mattair designed the set, and Donald Edmund Thomas designed the lighting all in fine style. The performances of the cast, as a whole, was wonderful. Not only were the voices clear and gorgeous...the performances were also well acted. It as a pleasure to see a cast really getting into the roles. Miss Mastrian, in her first professional role, gave a crystal clear, warm and resonant rendering. She thrilled the audience totally. Jason Stearns had a huge and beautiful baritone that filled the entire building at times and not just the theater. Remember these names, they are certain to be heard of many times in the future. Yes, it was a memorable and most satisfying production. (Perfomances remaining are 7/13,7/15 and 7/17) (Reviewed by Nancy McCord)

*****

For its 15th theater festival, CATF in Shepherdstown, W.Va. has an amazing set of four extremely thought-provoking plays. Three of the plays are very topical and strongly written and acted, and intellectually, morally, ethically and dramatically challenge concepts of peace and war and one's commitment to God and country. Sam Shepard's too short (75 minutes) "The God of Hell" tells of a traveling salesman (big brother spy?) who is pushing americana in a dairyland state as he is concerned about these citizens' lack of patriotism even as two characters were being destroyed by a secret defense plant and turning into human radium infested automatons. This play is more verbal than previous Shepard dramas but shows impinging external angers which is new for this playwright. Lydia Stryk's "American Tet" is the most engrossing play as the son of a military father is faced with returning to the war zone after witnessing death and dying of his comrades. It is especially poignant during a scene which he plays with a veiled covered female comrade who pleads for a means to commit suicide as she undergoes facial restructuring. The set backing is a wooden (inflexible) American flag with wooden pentagons replacing the stars. A tremendous political statement as one recollects Eisenhower's plea to watch out for the "military industrial complex". Yet, there is balance as religion plays a secondary theme as a Vietnamese waitress in a home town cafe discusses Buddhism and its guiding hand that "life is suffering". One gets an inkling as well of jihad and terrorism under the guiding hand of "a god". Melinda Lopez's "Sonia Flew" is more blatant as it shows a Jewish son demanding to serve his country militarily against the wishes of a mother who was deprived of her desire to fight for the Castro regime in Cuba earlier. All three plays condemn war and terrorism and propose peace yet one is left with a pessimism that too many things prevail against any "peaceful kingdom". But as Sakini says in "Teahouse of the August Moon"..."pain makes man think, thought makes man wise, and wisdom makes life endurable". You dare not miss these three plays! A fourth play with a nice comic touch again involves commitment to family life as a father willingly gives up his being to bring creative success to his sculpturing daughter. It is an "adult fairy tale" but an invigorating look at human sacrifice for the more esoteric things of life.

The acting is faultless this year. Lee Sellars is best of the shows again this year as he plays an ambitious and intrusive salesman and a most understanding Jewish psychologist who proves that such professionals should never try to work with their own family problems. He was well matched this year by Bonnie Black who wonderfully dominated the stage with her repressed Cuban emigre and her American military wife who exudes joy for that style of living but with a growing bitterness until the final explosion towards the cruelty of wars that she never before realized was providing her comfy life. Michael Alperin was rather wooden in "Sonia Flew" but gave a five star treatment with his Danny in "American Tet". Now well-seasoned Carolyn Swift presented two classic dames as the bored wife in "The God of Hell" and the nag in "Father Joy" with perfect one liner comic delivery that made her character quite "joyful" to the audience. She is proof that Washington stages can deliver the professional goods! Ako, as the Vietnamese waitress, was pluperfect with the most dynamically moving moments in "American Tet". It is interesting to note that she once played in "Teahouse" as commented on above. The other fine actors this year at CATF include Jonathan Bustle, Veronica Cruz, Kaci Gober, Michael Goodwin, Anderson Matthews, Tanya Perez, Annika Rochefort and Jaqueline Corrrea. Ed Herendeen gave top rate direction to "The God of Hell" and, especially, to "Sonia Flew". Tracy Brigden was totally superb in her driving direction of "American Tet" with outstanding focus throughout. Pam MacKinnon gave an easy flow to "Father Joy" which proved that she is at ease with this Albee-like fantasy as indicted in her resume. The only objection was having the actors moving the set pieces which tended to intermittently pause the audience's suspending disbelief. It did, however, suggest that the actors were playing a major role in creating the fantasy...but they should have done it in character if that was the intent. Technically the shows were faultless but Kevin Lloyd again gets the kudos for his superior sound design from jazzy touches to fractured "America the Beautiful" in "Sonia Flew" and "The God of Hell". Jamie Whoolery provided violent and pounding rapping for the "American Tet" that brought forth goose bumps as well as mysterious background sounds for the fantasy, "Father Joy". Yes, plan to see all four of these illustrious which combine to give a hearty weekend in the countryside. (To 7/31)

Again, the Antiques to Art is showing the most colorful still life work of Michael Davis who sold out quickly last year during the CATF festival and this year is over half sold out the first day. His is an amazing talent and he is moving out to portrait work for which he has some commissions. His forte is still in still life, however. So, if you go to the CATF, do stop by this studio as they have excellent coverage of the art world.

*****

Yes, "Crowns" is back at the Kreeger Theater to the whopping joy of the opening night audience. No doubt, the Arena should consider a yearly return of this musical play every season until everyone in the metropolitan area gets to enjoy it. The script basically tells of the importance of head adornment for Black women in their social and religious lives. With highly energized singing, bubbling kinesics, and occasional high stepping here and there, this harmonious group of singing actors (Bob Barnes, Gretha Boston, Roz Beauty Davis, LaVon D. Fisher, Angela Karol Grovey, Joy Lynn Matthews and Barbara D. Mills) under the direction of Marion J. Caffey, provide perfect "call and response" vocally and histrionically. Musical Director, e' Marcus Harper, and percussionist, Romero Wyatt, were faultless in musical flow to keep the actors highly energized. The solo and group work on "His Eye Is On The Sparrow" and "All God's Chilluns Got Shoes" were fantastic and had the audience "in the palm of their and God's hands". There has never been such an continuing appreciation by any previous audience at the Arena. Of course, this production is highly recommended...even if it means going for the second or third time as new talent is cast for each production...although Ms. Matthews is doing a most delightful reprise as Wanda. (To 8/7)

*****

Renegade Theater is presenting a new play by Lisa Voss. The title, "Ninja Motorcycle Babes", allows you not to expect too much and one gets even less than that in the dissolute, sophomoric script and inadequate acting. The story is about a trio of leather-wearing "ninjas" gals who are out to destroy t.v. ads for feminine products that falsely promise glowing beauty and hygienic results. This too long play never rises above a currently tired "Saturday Night Live" script that has turned off viewers the past two years. The three "ninjas" and the actress all need a few more classes in acting as they pay no attention to others on stage...listen, listen,listen!!!...and barely project beyond the first row of the theater. Timothy R. King, who is usually a most talented actor with a wide range, is totally flat since he has no one of equal talent to act against or with. Fine comedian, Dino Coppa, forces his characterizations so that his natural comedy style never clicks. James McDaniel as the inspector provides the best acted scene in the play in his confrontation scene with the lady lawyer, Mary T. Even most competent director Laurie Gilkenson allows terrible comedic pacing and allows the actresses to upstage and take unnatural posturings that distract. The only theater goers this is recommended for are the Cherry Red lovers and, maybe, Woolly Mammoth aficionadoes. (To 7/17)

*****

The Natural Theatricals Company is presenting a Greek classic by Euripides, "Ion", which tells the tale of Kreousa who was raped by the god Apollo and leaves the offspring to be devoured outside a cave where she delivered him. Yes, the child is saved by an old woman, Pythia, and the play ends happily with a reunion of mother and child followed by a deus ex machina of Athena predicting great things to happen to the Ionian progeny. Technically, the production was of a high level but the acting was too inconsistent and uneven to meet professional standards. The top acting honors goes to Tiffany Givens who in three roles had superb energy and intention particularly in her detailed description as the Attendant of the poison wine scene. A pity that she will leave the DC area for Minneapolis. Paula Alprin in the lead in an uncanny look alike of Gloria Swanson performed in elocutionary style...definite body and vocal patterns to indicate emotions...so even the tears seemed "crocodilish". She shows wonderful stage presence but sorely needs a strong director for more natural playing which was lacking for her in this production. Michael McDonnell as Ion fared better in the vocal and emotional but was wooden physically...too much clinching of the fists. Manolo Santalla was acceptable as Xouthos (the husband) in well trained stage activity. Tom Neubauer so forced old age as the Old Tutor that his vocal stridency was a turn off so one easily tuned him out. The Greek Chorus was close to nadir in performing any stage magic. Lucile O'C. Hood did a fine bit part as Pythia the savior. One was distracted by this story line since virgin births performed by gods are so much a part of major religions so one wonders why the ranting and railings by Kreousa and her attempt to twice kill her son fathered by a Greek god. Perhaps it should have been played as an ethnic guilt rather than vengeance against Apollo. This may well be why the play is so rarely produced since such interpretations always lack resonance. The show is recommended as an intellectual food for thought. This company should be complimented for presenting such obscure dramas which was not justified by only nine theater lovers in the theater for this matinee. And this stage is next to best in the whole D.C. area. Also, if you have never been to the George Washington Masonic Temple in Alexandria, it is a wonderful experience regarding artifacts of our first president and the influence of the Masonic order in Americana history. Did you know that 14 presidents were Masons...one still living as Gerald Ford. So go early on Sundays to look around. Only the theater is open for night performances. (To 7/17)

*****

The American Century Theater is presenting Eugene O'Neill's "The Emperor Jones" which tells the tale of a Black train porter from Chicago who goes to a Caribbean island and establishes himself as a conniving royal personage. An expected insurrection occurs and this Emperor Jones hides in a tropical forest and goes through surrealistic expiation. Or so he should! Unfortunately, the lead player, Bus Howard, never achieves an expected level of an experienced stage actor. He never searches for deeper levels of the character and is too superficial emotionally especially in his groveling scenes which bordered on embarrassment. 'Tis a pity since the technicals were absolutely divine in providing exotic time and place...especially the driving drums of Barbara Weber that moves one to heart pounding madness like Ravel's "Bolero". Also praise is forthcoming for the fine choreography by Paticia Buignet and Anthony Rollins-Mullens. This play is mostly monologue yet the company proved there are no small actors as they superbly added tension, primitive conflict and occult mystery in their dancing and acting. One secondary lead, John Tweed, gave a nice consistent characterization but unwisely used an accent that was mostly "Aussie" with some additional glottal stops. Since Martinique and West Indies are mentioned (most likely the setting is historically Haiti), it seemed like an unlikely accent. Overall, it is a recommended evening of passionate and exotic histrionic displays by the genius playwright who was honored for this... his first great work in theater. Be warned that there is an overuse of the derogatory word n- - - - - should you find that offensive. (To 7/23)

*****

There is a new theater in town named Solas Nua which will highlight Irish plays. Their first production is Enda Walsh's "Disco Pigs" which is a two character play with characters of Pig (him) and Runt (her). The dialogue is 98 percent idioglossia and one kept hoping that as the two separate their closeness with growing sexuality and reality testing that the speeches would be more intelligible...but that doesn't happen. So one is left listening to abstract stage pictures. Fortunately some of the evening is saved by the extra sensitive and highly expressive performances of Dan Brick and Linda Murray with a couple of fine emotional builds in fight scenes. The show is nicely paced by director, Eric Lucas, but the use of vaudeville side placards to identify the scenes or some surtitles would have enhanced the enjoyment of this show. The technicals were quite simple although Dan Martin again came through with delicate lighting and David Crandall had a significant mix of varied music. This show is only for diehard theater lovers who enjoy experiments in their theater. (To 7/27)

*****

Theatre J ends its season with a rollicking funfest of two Woody Allen one acts..."Central Park West" and "Riverside Drive". The former is a comic "le ronde" of two couples' sexual dalliances that ends with a bullet in the buttocks for the main philandering husband. Julie-Ann Elliot and Kathryn Kelley are in full comedic form as they "cattily" wage a battle for the truth regarding marital commitment. John Lescault does a fine riotous turn as the nebbish husband who ranges as a bipolar player in the interactions. Michael Kramer is the frustrated husband who finally decides to settle down with a 21 year old (who will be 25 in time) ingenue played perfectly by Vanessa Vaughn. Sparkling one liners abound as truth emerges to hearty laughter from the audience. "Riverside Drive" is high comedy replay of "The Zoo Story" with an extraordinary character played marvelously by Michael Kramer as a psychotic street person who is commanded by extraterrestrial signals to solve earthly problems...here a breakup of a married man and his mistress of six months. It has superb comedic timing by both Mr. Kramer and John Lescault with classic double takes that prove fine actor training. Kathryn Kelley does a nice turn as a sexily dressed gold digger girl of the streets who demands monetary recompense for her past services. Actor/director Steven Carpenter proves his directing talent with this finely tuned stage romp. Truly, there has not been as funny a play on local stages. Some language is overly sexual so one must consider this an adult only production. (To 7/24)

*****

Joe Sears and Jaston Williams are back in town and continuing to cause a laugh riot this time at the Kennedy Center Eisenhower Theater. This chapter is called "Red, White and Tuna" and it tends to have more clever political humor (from Clinton to DeLay) although the idiosyncracies of Texans from Tuna capture the top laughter. All of those wacky folks are back...men and women played by these two skilled comedians...and they garner applause for each character's appearance on stage. Of course, there was a deserved standing ovation to end this evening of prized humor. If you care to "split your sides" laughing, head directly to the Kennedy Center as it will certainly save a lot in doctor and psychiatrist bills...better than an apple a day will! (To 7/10)

*****

The third one man monologue of Scena's "The Classics Made Easy" continues the fine talent of Eric Lucas as "Gladiator". Dressed as a leather biker with present day tv wrestler accountrements, Mr. Lucas rants and raves around the black box theater to give a prized performance. His louder minutes show the relationship of the arena ("and aren't we all just pieces of sand") to sexual and perverse and political passions. Most of the monologue is much too literate for a forced killer but it provides a lot of the humor as he questions his grammar and semantics that flow out like from a Tourette syndrome victim. Slimmed down for this role, Mr. Lucas has the swagger, the physique, and the confidence of a matinee idol. In the quiet moments...which are few but most effective...a deep philosophical conviction is most touching. Definitely a high recommend for this one as for the other two monologues in this series. The writing, directing and talent ooze forth at a steady pace. (To 7/17 )

*****

McLean Drama Company presented "Return to Vietnam" by Rachael Bail that tells a "Miss Saigon" story of lovers who fail to connect as the servicemen are helicoptered away from that failed mission. Yes, the Viet gal is pregnant...raises to the job level of a government official...and must face the return of her soldier lover who comes back to Vietnam to establish business relations. Yes, the script never rises above the level of a mediocre soap opera and the acting doesn't even get that far. All of the faults of amateur actors is in this mix. They drop character as they exit the stage; there is no pick up of lines which is not helped by a director who has them face outwards to make political and social points; and they don't listen and react ever to one another so there is nary an emotional build. The only positive about this production was the Far Eastern dancers who nicely covered the scene changes. The management also allowed two or three video cameras to record during the performance which was totally distracting!!! The excuse was that friends of one of the Viet actors flew all the way from home to record the actor!!! (Show completed its run)

*****

The Keegan Theater brings Martin McDonagh's wrenching play "The Beauty Queen of Leenane" to life. One feels one has stepped right into this grim home of Maureen (Nana Ingvarsson) and her mother Mag (Linda High). Ingvarsson is most convincing as the never married middle aged daughter who spars with her mom who milks both the comic and tragic possibilities in her role as the deceitful mother. Frustrations rule their lives until Pat Dooley (Scott Graham) ignites Maureen's sexual feelings. Mr. Graham is the epitome of charm. Joe Baker plays his brother, Ray, and he gives a fine performance as the jerky guy and, being inept in delivering a letter, he provides Mag the fuel to interfere in the love relationship that ultimately leads to a death struggle between mother and daughter. Director Mark Rhea does a fine job in getting the best of the verbal and physical struggles. George Lucas created the necessary dingy kitchen set as authentic as a poor chiken farm in county Galway. Special kudos to dialect coach, Linda Murray, who gets the Irish accents both correct and always understandable. (To 7/23) (Reviewed by Celia Sharpe)

*****

Olney Theater repeats a superior "Carmen" for a glorious start of its summer season. It is an intermissionless 90 minutes of Peter Brook's adaptation of the Bizet grand opera. Never will you see such raw emotions expressed in acting and singing by an operatic group of players. There is vicious interplay of floor action and knife wielding on a sand filled "bullring" stage setting that is finely appointed by scenic designer, James Kronzer. And through it all, one enjoys the splendid voices of four stunning actor/singers. Stephanie Chigas presents a vigorous mezzo with rich sensual overtones throughout in the lead of the card reading tragic gypsy. One is surprised there is not a front stage barrier to keep the males in the audience from jumping up on stage to enjoy her succulence. Darren T. Anderson as her oft rejected lover, Don Jose, is furious in action but with a well controlled tenor that, although it had a few rough edges in his lower register, had perfect honeyed sound clarity in his upper register unlike any yet heard locally on operatic stages. Scott Skiba was faultless as the toreador, Escamillo, with a fine bullfighter carriage and and a strongly modulated baritone that was pitch perfect in its rounded sonority. Saundra DeAthos was a lovely Micaela in both song and appearance. Athough weak in intensity occasionally, her soprano soared into a creamy top of her upper register. All of these singers hold a very promising future on the operatic stage. Actors Ian LeValley and Scott Fortier added well charactered secondary roles with assured spoken French although both admitted to a quick learning of the language. But, both also presented superb French attitudes and non-verbals. The smaller orchestra led by William Lupkin was totally effective and efficient in this most romantic score which ranged from passion to ethnic practicality. The direction by Jim Petosa is award winning as is the most effective lighting by Mark Lanks and stunning costumes by Sekula Sinadinovski. This production is most satisfying for diehard operatic lovers as well as operatic neophytes. Although the singers had no complaints about the effect of all that sand on their voices (it is moisturized before each show), it definitely limited full use of physical movement and interferred with some of the seductive dancing which is a highlight in a couple of Carmen's arias. The show is highly recommended. (To 8/7)

*****

For those who love dance and watching beautiful bodies do amazing things, Pilobolus is always a great treat. Led by artistic directors (Robby Barnett, Allison Chase, Michael Tracy and Jonathan Wolken), the dancers (Mark Fucik, Andrew Hero, Renee Jaworski, Matt Kent, Jenny Mendez and Manelich Minniefee) were wonderful to watch. They had total control over every flex of foot, arm or hand. They were magnificently expressive and vital in all of their movements. "Bugonia" was a beautiful example of the lightness and expressiveness of the troupe's movements and playfulness. "Ben's (Franklin that is) Admonition" demands "If we don't hang together, we hang separately" and this goup was simply amazing as one watched the strength of these dancers...seeing helped to believe! Director Daniel Feith and lighting by Scott Borowak and Neil Peter Jampolis as well as dance by Renee Jaworski was most complimentary throughout. Run...definitely don't walk...to any next performance of Pilobolus in the DC metropolitan area. (Reviewed by Nancy McCord)

*****

How many top productions can a suburban company attain! Quotidian follows through, subsequent to a fine showing of a Horton Foote play, with an extra special "All My Sons" by Arthur Miller. The play is so dramatically written that one suspects any group of actors could carry it off, but with Quotidian the raw emotions of Leo Goodman and Barry Abrams as the son and the father brought forth goose bumps and thyroidal pains. This critic has seen this play dozens of times but was never so affected by this interplaying. Ghillian Porter was exceptional as Ann Deever who was the unfulfilled lover who pleaded for cathartic relief of the Keeler family. Chris Batchelder nicely added a patina of the neurotic as the horoscopic neighbor. Andrea Spitz as his wife gave a fine reading of a slightly confused home town girl destined never to leave the city limits. Sherry Tyra was at her best as the attacking neighbor gossip monger with insidious intent. Ted Schneider somewhat failed to convey the wanderlust of a bored small town doctor although he nicely acted socially thoughout. The third prize performance (along with Barry Abrams and Leo Goodman) was given by John Collins as George Deever with his tremendous leveled seething of the wrongs committed on his family and his disappointments in love. He is an actor who facially and physically mirrors every inward emotion and has a most promising future in theater. Lois Sanders was adequate as the mother but she too often played to the audience rather than the other actors on stage. She was too dour throughout with too much self pity to be so loved by the other characters on stage as stated in the script. Rather than appropriately restrained, she tended to cry for sympathy. The directing by Norman Seltzer was faultless especially in the violent scenes that never became uncomfortable. Technicals were limited in this not fully equiped stage space...too many light leaks and bland off stage effects. But, the acting was so fine, one quickly excused such limitations. This is a wonderful family show for its universality and its demands for social concerns for others. It is depressing since it proves that profiteers are ever present in war and social conflicts...look at the corporation scandals and the "food and medicine for oil" mismanagement. This is a highly recommended production that shouldn't be missed even if you had seen other local productions of the show. (To 7/10)

*****

MetroStage is presenting a local premiere of Jason Robert Brown's musical, "The Last Five Years" which is a bittersweet recounting of a love and marriage that goes awry. The music is gloriously touching especially as played in classical style by piano and four stringed instruments. The singing by the two actors is part recitative which gives a touch of romantic opera. The plotting of the show and the lack of clarity in the articulation, however, is befuddling. His story is from the beginning to the ending of the relationship; her story is from the ending to the beginning...so only the midsection of their marriage rings true emotionally. It is most difficult to realize what conflicts resulted in the poignant breakup...e.g. was it because she wouldn't go to a book party; did she have an affair with a "Tom Cruise" encounter; or why was he singing to a blanket that at times resembled a baby bunting! It simply is not fair to so confuse listeners. Director Jane Pesci-Townsend might have helped with less other character "freezing" during solo numbers or more consistent stage entrances. Both Tracy Olivera and Mark Bush are superior performers who emotionally moved the songs along. He managed to calm down into romantic gear which he failed to do in his previous role in "Footloose" although he continues to show a rough vocal edge at times which might be the beginning of a vocal nodule. In such a cabaret-style setting, they were age mismatched so again a beginning confusion was whether it was a mother-son relationship but close to mid-way it could be accepted as a toy boy relationship. Well! that may have been the cause of the confusing breakup!The musicians were totally outstanding (director Howard Breitbart, Edward Lewis-Smith, JiHea Choi, Jean Finstad and Jeffry Newberger.) And the lighting by Colin K. Bills was almost a third romantic character during this performance. This is a recommended show for those who yearn for a pleasant evening of sophisticated and well sung and played musical theater. (7/24)

*****

The Studio saved the best for last in its seven play "Russian Winter" series. The Presnyakov Brothers' "Terrorism" is a delightful social comedy best themed as "we have met the terrorists and they are us". The show is six connected scenes that takes a bizarre path of fear and mayhem not unlike a Tom Stoppard play. Although it showed director Keith Alan Baker's finest work yet, his militaristic accoutrements tended to squelch the greater part of the intended humor. So the finest scene was "At the Man's Office" in which a worker commits suicide which finally encourages the laying out of social gossip secreted for a long time. Yes, each scene has a "social bomb" that explodes relationships and leaves remnants of fear and terror. Nine actors play many roles. James Konicek continues to be a superb comedian as proved on other local stages. Kevin Boggs and Morgan Peter Brown both have strong stage appeal with excellent comedic timing. Marcia Churchill, Becky Peters, Rosemary Reagan and Catherine Deadman are most impressive in their cohesiveness as suspicious office workers. John Geoffion and Tony Simione both excel with their fine stage presences. The only weak scene was Marcia Churchill and Rosemary Regan as older women in the playground...they both lost character sporadically. This well- written play confirms the genius of the playwrights and one eagerly awaits another opus from them. This play is highly recommended...but not for children as sexual violence and undress is overemphasized. (To 6/26)

*****

It's a glorious tribute to Dr. Dorothy Height as the Lincoln Theater presents the musical biography, "If This Hat Could Talk", about this outstanding five star woman who spent her life fighting for civil and women's rights. The highly professional cast sang their hearts out as they bellowed in gospel style and managed sotto voce in romantic interludes. Stacy Penson led the seven member orchestra with finesse in soft jazzy style but with enough tempi and melodic variations to reach outstanding emotional levels. The lyrics by Joe Coleman who took time off as a "Platter" to write superiorly sensitive lyrics nicely complemented the fine dialogue and direction by George Faison who gained beginning fame with "The Wiz" on Broadway. The show demands some cuts since it lasted over three hours and quite often moved away from the story of Ms. Height into too long descriptions of the civil protests of the time period thus diminishing the focus on the "star". All of the actors were outstanding in their roles but lead Carol Dennis-Dyan was the only one who drew applause and audience affirmations during her wailed lyrics. Julia Garrison was the audience favorite as the young Ms. Height as she confirmed her status as a dynamic singing actress.Maurice Lauchner, as Martin Luther King, Jr., presented a strong baritone with excellent phrasing and intent. Ebony Jo Ann, having appeared many times locally continued her consistently fine singing and acting as Mary McLeod Bethune. Only a couple of scenes were overacted...the lynch scene and Mrs. Till's lament for her murdered son. Both should take a lesson from the Myrlie Evers scene which proves underplaying is so much more effective to gain audience empathy. Technicals for this show were ordinary with the exception of fine costuming by Kim Glennon. This is a show of "can't we all just get along" and should be seen by every resident of the greater Washington, DC. area. Pity it is such a short run, so hurry. (To 6/19)

*****

H.M.S. Pinafore, the first blockbuster production of the famous team of Sirs William Gilbert and Arthur Sullivan, was presented last weekend at Wolf Trap. The NY Gilbert and Sullivan Players presented at Wolf Trap with all of the gusto of previous visits. The music had feet tapping and heads nodding to the familiar tunes:"I'm Called Little Buttercup","We Sail the Ocean Blue", et al. Stephen O'Brien, who played Sir Joseph Porter, First Lord of the Admiralty, broke the fourth wall to the delight of the audience which enjoyed being in on the jokes. He had the greatest flexibility as his character sang and danced around the stage. This love story is about a father, Edward Prostak's Captain Corcoran, who wants his daughter, Elizabeth Hillebrand's Josephine, to marry a rich important man in the personage of the Sir Porter. She, of course, wants to marry a poor sailor, Andrew MacPhail's Ralph Rackstraw. This great vehicle with wonderful tunes and very funny lyrics carries us through to the glorious ending whereby the important man gets his girl, the poor man is really rich, and the Captain gets his Buttercup played by Angel Smith. Staging, lighting and costumes are all very well done. The conductor seemed to enjoy his role as well keeping the music at the right pace and volume so the characters could be easily heard. This evening was pure delight. On their next trip to Wolf Trap, everyone should make a special effort to get to this peaceful venue in the Virginia countryside not so far from downtown DC. (Reviewed by Nancy McCord)

*****

The Shakespeare Theatre's production of Wilde's first comedy,"Lady Windemere's Fan", leaves no doubt as to why some, including G.B. Shaw, would think it is his best comic work. Keith Baxter directed an outstanding cast starring Dixie Carter as the notorious Mrs. Erlynne. Tessa Auberjonois is lovely as Lady Windemere as she showed the proper amount of jealousy and upset fueled by her sexual desire accorded her social status. Andrew Long, as Lord Windermere, is rather indifferent in the first act making one wonder what she saw in him to start with, but in the second act he is much more convincing as the proper Victorian husband. Matthew Greer provides the sexual tension as her convincingly attractive love, Lord Darlington. Their social world includes Nancy Robinette as the Duchess of Berwick who has some of the greatest lines in the show. Tonya Buckmann Rose accompanies her as her daughter, Lady Agatha, who says only two words of "Yes, Mama" with the pefect bodily rigor of a comic straight woman. David Sabin plays the clownish Lord Augustus and Gregory Wooddell is the witty Mr. Cecil Graham. Set designer, Simon Higlett, created the lavish drawing rooms that perfectly reflect their "upper crust" world. Costume designer's (Robert Perdziola) arrays of elegant costumes, seemingly inspired by John Singer Sargent, were dazzling with the gleaming white evening dresses for Mrs. W.'s twenty first birthday party...except for the temptress red satin of Mrs. Erlynne. It was only a few years after this presentation of his world of elegance that Mr. Wilde's world fell apart which gives added poignancy to the truth behind his wittiest lines in this drawing room melodrama. For now, at the Shakespeare Theatre, this produciton is something to savor. (To 7/31) (Reviewed by Celia Sharpe)

*****

The Summer Opera Theatre Company at Hartke Theater opened its first of two productions this year with Massenet's "Cendrillon". It is the French version of the Cinderella story which turns it into a dream script with a deux ex machina ending that might have worked if this production wasn't updated to the political scene in today's Washington, DC. It hardly Mother "Goosed" up the totally drab first scene and so little empathy is forthcoming for Cinderella as she is not harangued by her stepmother and stepsisters. It is the husband/stepfather who bears the brunt of harrassment. The set-pieced scenery does nothing to elevate the social status of the main characters. Forget the first part. The second part of the production is solidly performed with more intriguing sets and direction which saves the production. The finest singing was noted in soprano Maureen Francis with her enchanting dramatic soprano voice and in tenor Rolando-Michael Sanz with his well modulated and well placed legato. Both of these two are totally up-and-coming operatic stars although Mr. Sanz needs to correct his wooden acting. Hilary Ryon was perfect as the Fairy Godmother with her coloratura that was as pure in her upper register as in the middle and lower ones. Eugene Galvin, Laura Zuiderveen, Jennifer Jellings, Kristin Green and Brian Cali were musically adequate for the secondary roles. H. Teri Murai conducted in a well paced manner and complemented the singers throughout. Technicals were slim which was never true of previous Summer Opera Theatre productions. The chorus was fine and added most of the charm in the group scenes. The opus is sung in French with fine English surtitles. Great opera for whole families since there is no murder or violent mayhem throughout. (To 6/19)

*****

Scena Theatre has opened the second one person show in its Greek trilogy and this time we are treated to the wonderful showmanship of Brian Hemmingsen as Cyclops as he relates his story of his cannibalism with untasty Greeks and how he suffers the loss of his one eye...even though he manages double vision when he taste the gift of Greek wine before a javelin does it dastardly deed. No one can rant and rave as successfully as Mr. Hemmingsen nor drop so successfully into soto voce with such dramatic effect. Yes, he runs the emotional gamut from A to Z. Robert McNamara wrote and directed this with his continuing modern sensibility although he stretched the drama into repetitions since there was not enough story line in this Book 9 of Homer's "Odyssey". Fortunately Mr. Hemmingsen manages enough variations to keep the tale interesting to the very end. Sound by David Crandall and lights by Marianne Meadows were most effective. Michael Stepowany provides a simple table and chair setting with one unexplained tv set flickering horizontal lines throughout the drama. (In rotation at the Warehouse Theater with "Thersites" until 7/10. Both shows are given top recommendations for outstanding acting.)

*****

The Rorschach Theater is presenting a riotous comedy, "Behold" by James Hesla. It may well have been written by Tom Stoppard with its lunacy although this show has more sophomoric humor. The theme of the play is to support as well as ridicule unexplained phenomena like "raining frogs and fish", "virgin birth", and bizarre statistics and trivia. It is all done in a circus-like atmosphere with side show freaks and behaviors abounding. Tim Getman returns to local stages after a stint in Chicago and he is solidly magnificent as the sideshow proprietor with some wonderful master gestures. Kerri Rambow captivates as a Vampira-like sexy scoundrel who is determined to get the shoebox which contains a mystery of life that is the running gag in this script. The rest of the cast finely play their frolicing roles as an attendant (Grady Weatherford), sea captain (Jason Linkins), hotel attendants (Hugh T. Owen and Shane Wallis), a vacationer and his wife (Andy Brownstein and Jenny Morris), an omnipresent waitress (Liz Chomko), and a man-of-many-trades (Cecil Baldwin). The fine cockeyed set by Sara Nelson nicely describes the time of the play as a "slightly anachronistic present". Yvette M. Ryan gets credit for some special animalistic dress. Raquel Davis does well with some limited lighting available in this black box theater and Debra Kim Sivigny manages a nice collection of properties to enhance the action of the play. Director Randy Baker has a definite touch for comedy routines and timing and the train and ship fracases were highlights in the play action. It is a great show but be warned that there is no air conditioning so dress sparingly or go on cooler nights as an audience fanning themselves is quite distracting. (To 6/25)

*****

What could have been the best directed and acted play of the season by the Washington Shakespeare Theater lost all sense of reality with gender-bending the role of Jason to be played by an actress. The play is Euripides' "Medea" and is one of the earliest plays about women's lib. That, along with the critical need for a man to be the father of two sons, demands a "macho" to provide conflict. Nevertheless, Delia Taylor does a masterful job as the "black magic" Medea full of appropriate sound and fury towards Jason who glibly rejects her to take a new bride which makes her liable for extradition back to her homeland in which she behaved sordidly. If Ms. Taylor doesn't get an award nomination, it will be a criminal offense. Alexander Strain, as the servant, also presents a well defined characterization and certainly should have been doing the part of Jason as he is so well qualified as an actor. Christopher Henley was excellent in his Creon but failed to fully live the part of the messenger when describing the death of the bride and her father. Debbie Minter Jackson definitely needs speech work if she intends to clearly enunciate classical scripts as we got too much cluttering. Kathleen Akerley nicely acted the other chorus woman and showed emotional poignancy as events unfolded. Richard Mancini seems to improve with every role and gives one of his most sensitive performances in this opus. Again, Jennifer Deal is recognized as a consummate actress on local stages but this was not the role for her and she was most unsuccessful in her wailing at the death of her sons...it was almost embarassing. Jason may have been pyschopathic but never a hysteric! The direction by Jose Carrasquillo and Paul MacWhorter was quasi-epic theater with wonderful transitions as the actors danced and made environmental sounds around the wheeled stage filled in the center like a sandbox. A nice symbolic touch as the children were slain in this childish play area. Giorgos Tsappas gets credit for a most effective although simplistic setting that never interfered with the highly dramatic acting. And, again, Ayun Fedorcha continues as a lighting wizard with her space lighting with emotional colorations when called for. This is a clearly presented production and is highly recommended for school groups and family groupings. (To 7/3)

*****

The Round House Theatre in Bethesda is presenting a sparkling production of "Once on This Island" with top rate singers and dancers to carry out the theme of exotic love on a French/Caribbean island. The finest thing about this show is that the love of the actors for the play exudes throughout the 90 intermissionless minutes. Chief credit for this amazingly effective show is the choreography by Michael Bobbitt which highlights almost all of the swaying numbers. Montego Glover is a stage gem as the young girl saved by clinging to a tree which destroyed her village and grew up to fulfill a fated and fateful love directed by her parents and gods that moved around the stage. Beverly A. Cosham and David Emerson Toney as her guardians are a little weak in the dance flourishes but finely handle the singing and recitative. Cicily Daniels as Asaka/Mother of the Earth belts the finest number of the show with "Mama Will Provide". But, as sometimes happens, the budding star in this show was Clif Walker as Papa Ge and especially the Demon of Death. He has wonderful command of the stage usually only found in seasoned performers. Eleasha Gamble, Isaiah Johnson, Griffin Matthews, Stephawn P. Stephens, Kara-Tameika Watkins provided the necessary stage exuberance that drew the audience into the time and place of the story. Alexandra Brooke Perrin played the young Ti Moune and captured the hearts of the audience as well. Director Scot Reese provided lots of stage excitement but he should work on the singers' articulation since the story line was compromised early in the play. It was only when Bev Cosham clearly stated her song words that the other members of the cast cleared up pronunciations. Tony Angelini again provided excellent sound that complemented the perfect musical direction by Christopher Youstra. Johnetta Boone furnished most colorful islandic costumes to add much joy to the technical mix. And Martha Mountain kept the story alive and kicking with nuanced lighting. This is a highly rated family show and should be a big hit for this Bethesda company. So get those summer school buses rolling toward this venue. (To7/3)

*****

Washington Concert Opera triumphs with its production of Verdi's "Luisa Miller" at the Lisner Auditorium. Indra Thomas, as Luisa, totally captivated the audience in her debut. She is the finest dramatic soprano seen in a long time...maybe ever... on area opera stages. She thoroughly understood the role dramatically and vocally. Her soaring embellishments were chillingly effective even as she was able to continue "pear shaped" sounds throughout her vocalize. No doubt, she is headed for top stardom. Donnie Ray Albert as the father, Miller, had an exceptionally smooth baritone. He tended to "pinch" his vocal line at the start but blossomed particularly with his later duets. And he always firmed up his dramatic emphases. Gigi Mitchell-Velasco, as Frederica, totally impressed with her fully resonated mezzo with a proper "smoky" tint. She had wonderfully elegant posturing that carried through even as she violently reacted to rejection. Daniel Sumegi, as Count Walter, showed a full bodied bass-baritone that was most pleasing but he tended to be a little too casual in acting the role of a self serving villain. Matthew Lau kept a solid bass throughout his demanding histrionics...only his boyish crewcut denied him complete stature. In full staging, he would be helped with stronger makeup and costuming. Unfortunately, Richard Leech was slightly disappointing as the lover, Rodolfo. His acting was understated and his tenor had rough edges during most of the opera. He also tended towards tremolo as he forced sounds. The audience gave him solid applause but it must have been in remembrance of fine work past as he was the weakest in this production. Kyle Englere and Vito Pietanza nicely performed two minor village messenger roles.

Antony Walker was faultless in his conducting and he truly made the orchestra another character in this concert staging. He emphasized the pastoral romance in the opus which help ameliorate the tragic elements. He was not so successful with the large chorus which tended to be very weak as they played a typical "Greek chorus" function. The audience at the end furiously applauded this great production and it seems that concert opera may just be a operatic form for the future as fully staged works will become economically prohibitive.

*****

The Trumpet Vine Theatre Company is presenting Aussie(David Stevens)playwright's "The Sum of Us" which tells the story of a gay ("merry") son who has a strictly heterosexual father who condones the son's sexual life style. Director Charles Boyington failed in his allowing his actors to use a plethora of British accents so that there is no cohesiveness in the characters' relationships. Two Aussies in the audience confirmed that the father had a British accent, the son a strong Aussie accent bordering on unintelligibility, a girlfriend with a cockney whining accent, and a potential male lover who just managed to throw in a few "dies" for "days". Most of the characters, however, showed a sincerity of playing their roles except David Maga as the son who is referred to as "kind", "nice" and "generous" but showed only brashness, cynicism, and an unappealing lack of empathy. Scott Sophos, as the father, never really related to the other characters except in the finest and only well acted French scene with Wendy Wilmer as Joyce, the girlfriend. She showed a fine character actress attitude with a screamingly funny nervous laugh. David Guess played the potential male lover and he dominated the stage with his empathic presence although he lacked a full characterization range as well as an Australian accent. AnnMarie Castrigno provided adequate lighting except during the monologue scenes where spotlighting was too weak and actors failed to respect a "freeze". Paul McCutcheon, Vincent Worthington and Erica Nantais presented a practical set with a delightful front scrim curtain that gave an exotic and erotic touch to the final scene. The theme of the show was "old hat" regarding the need for acceptance of the homosexual life style yet it still may appeal to those with such inclinations. (To 6/19)

*****

A short week in the Las Vegas area brought some superb artistic thrills. The top of the list was the Cirque du Soleil's production marvel, "Ka". From the moment one entered the huge thousand's stadium seating surrounded by huge floor to ceiling turrets connected by bridges one is in total awe. During seating, huge flames burst up from the prosceniums and the actor/dancers flew over the audience from the side bridges. The stage action included incredible shifting scenery from which the actors slid off of rocking ships and perpendicular walls into the pit area. The action was mostly kabuki and flying acrobatic. There was never a dull moment and the show is the production of the new century without a doubt!

The art museums included the Wynn Collection at the new Wynn Las Vegas. There are only about a dozen superior, mostly impressionist, masterpieces to be seen topped by an outstanding Vermeer. Yes, there is a seventh heaven! The Guggenheim at the Venetian has a "Quest for Immortality-Treasures of Ancient Egypt" that again is a smaller collection but nicely detailed and well curated to show Egyptian diety along with descriptions of life and death rituals by these ancient pagans although one easily notes that some of their symbols have passed down to many current religions...so these icons may be the proof of eternity. This museum is a a partnership of the Guggenheim and the Hermitage Museum in St. Petersburg. (To 7/31). Lots of fun can be had at the Madame Tussauds, also at the Venetian, as one walks through sections of wax models of sports people, actors, politicians, etc. Great fun comes through as one observes friends taking pictures of friends in intimate poses with the "greats"...many young girls huddled around Ben Affleck to tease friends back home. A new addition is the "Movie House of Horrors" which has famous movie monsters jumping out along the dark corridors. The Centaur Sculpture Galleries at the Fashon Show Mall was showing the "greatest collection of LeRoy Neiman paintings and etchings" ever displayed. This artist nicely captures movement in his sports' canvases and the allure of beautiful women in the non-sports ones. His works now demand up to a million and a half dollars...nice pay for a man who manages to turn out complete works sometimes in a day's work or even a single sitting. The most outstanding works on display are the horse racing ones that show the breathing and muscular movements of these fine stallions on the track.

Other outstanding artistic creations are seen in God's work on a trip to the Grand Canyon which every American should see once in one's lifetime with its sheer cliff drops of thousands of feet towards the Colorado River. There was also an art show at the Historic Kolb Studio at the Grand Canyon. It is a yearly event which unfortunately only travels to Western museums by the National Park Service. There were outstanding nature paintings by Tom Heflin, Rock Newcomb, David Drummond and Lynn Skidmore. A pity that Washingtonians and visitors here can't admire this superb work. Engineers' artistic feat is the Hoover Dam which is a powerful work that almost demands veneration. The final top creative art is seen in the spectacular new Wynn Las Vegas. It is a total environmental beauty with it cascading fountains and inside conservatory with exciting decors throughout from umbrella and flowered chandeliers to huge hanging multi-colored umbrellas.

A pity that the city itself is self destructing with an increasingly poor service industry and terrible air pollution and growing water shortage. And, forget about gaining gambling fortunes when the overhead costs of the top casinos are double digit millions per week.

*****

Even though they didn't win any Helen Hayes awards after so many deserved nominations, Theatre Alliance again takes the lead in the production of new and most interesting plays. "Headsman's Holiday" tells the story of a French executioner that follows episodes not unlike "Candide" as he fails in most attempts to succeed while faced with bureaucratic and social bungling during a stop in Paris for certification on his way to another job. Newcomer Brian Osborne plays the lead in a most exciting debut as he totally charms with wholesome empathy throughout. Sherri Edelen as the female lead continues her incomparable stage presentations so that even the bawdy sex scenes border on playfulness and remain most acceptable. Marybeth Fritzky delivers beauty and beautiful stage timing as the platonic lover. The rest of the 11 cast members (James Beard, Carlos Bustamante, Tim Carlin, Saskia de Vries, Conrad Feininger, Tara Giordano, Jason Lott, Aniko Olah, and Jesse Terrill) are all so magnificent even in multiple roles because they manage perfect master gestures to delineate each character particularly James O. Dunn as Napoleon. Jeremy Skidmore most skillfully directs in a three stages railroad-car setting designed by Tony Cisek who also nicely dresses the stage with French adornments and references to the French Revolution. Kate Turner-Walker is establishing herself as "numero uno" in costume design and Don Covey manages a most complex lighting most adroitly. The play by Kornel Hamvai...translated from Hungarian by David Robert Evens...is structurally most sound and adds wonderful comedy relief for a socially tragic script. There is some historical license taken regarding Robespierre and the Gironde influence in the revolutionary period in France but who is to complain about trifles with such a successful play. Yes, there is nudity and foul language but it is tempered by the comedic touches during these sections of the playing. It is a most exciting evening in theater that introduces some excellent new talents in this production. (To 6/26)

*****

The Accokeekcreek Theatreco is presenting two playlets at the DCAC. "Matt & Ben" is a stupidly contrived work about a supposed script falling into Ben Affleck's apartment and the soul searching of Ben and Matt Damon regarding the ethics of using a screen scenario not of their making. Why the gender bending of having two actresses play the roles adds ridicule to the stupidity. Tina Renay Fulp actually shows some fine comedic talent and emotional range but Dionne Audain totally lacks any stage energy and plods along particularly in her monologues. It is a total loser although some of the audience seemed fairly well amused. It was directed by Bob Bartlett who showed adequate skills, however, Mr. Bartlett's finer skills come through in his writing and direction of "xphiles unrequited". Two ragged street people are hoping to be beamed up to another universe as they want to escape the political and social morass on this earth. Written along the formula of theater of the absurd, these two likeable characters present topical humor that often encourages belly laughs. Portly Robert Heinly presents a delightful Jackie Gleason pomposity as he explains the techiques of encouraging extraterrestials to dive down to carry them away. Adam Brandao is the amusing "nervous nelly" of the two who is subservient although he often momentarily questions his partner's sanity with fine double takes. This show definitely provides an evening's entertainment. And you can also leave at intermission to avoid "Matt and Ben" since "xfiles" is the first on the bill.

*****

The 10th Evelyn Lear and Thomas Stewart "Emerging Singers Concert" sponsored by the DC Wagner Society was hosted at the Embassy of the Federal Republic of Germany. Ms. Lear and Mr. Stewart were presented with "Friend of Germany" awards mostly for their operatic work of German composers. There were seven singers at the concert who did Wagnerian arias, duets and trios. Germans in the audience commented that, considering all of the singers were American, only Daniel Brenna presented pure sounding German probably because he continues to live and train in Germany. The voice of the evening was soprano, Rebecca Teem, who did Brunnhilde's War Cry with an amazingly controlled upper range through appropriately violent singing for a chilling performance. Soprano Dianna Barton opened the session in a tentative and slightly uncontrolled Tannhauser but returned to a fully resonant Die Walkure. She was beautifully partnered by tenor, Daniel Brenna, who received the most praise throughout with his star vocal performances that only slightly lacked emotional content. Tenor Joshua Saxon was the most poised in his selections but his voice had a rough edge although he perfectly pitched throughout. Charles Robert Austin, particularly in his Die Walkure, gave the best renditions with wonderful baritone quality and non-stop emotion to the joy of the overflow audience. Pawel Izdebski did a bass selection as Marke in Tristan and Isolde and was most expressive and effective as a dishonored character. He never scrapped bottom where he retained liquid sounds. Only Nathan Bahny, baritone, had vocal problems throughout. He had lots of vocal fry, faulty phrase entrances and a number of pitch slides. One trusts it was due to nervousness. But, overall, there were two hours of pleasant performances that were superbly accompanied by Betty Bullock on the piano who nicely covered the few lacks of the singers. The DC Wagner Society deserves much praise for this yearly event that gives encouragement for singers on the rise and keeps interest in Wagnerian works alive in the nation's capital.

*****

The Teatro de la Luna has a well developed script with Alejandro Acobino's "Continente Viril" and it is powerfully acted by four excellent performers. It is really a bitter and abusive satire of military Argentinians when confronted by a zoological scientist who is out to discover why a group of penguins are committing mass suicide when the same type of penguins on the Chilean side of the border live happily in their group arrangement. Angel Torres is the nasty colonel who rails against the political overthrow of Argentina's army, and he scolds the lackey soldier, the civil clerk and the scientist who are all stationed in an antarctica seabase. He awaits his military retirement in six months and his only chore in such present isolation is as a "chicken s_ _ _" overlord. Peter Pereyra is the slavish soldier and Carlos Parra is the repressed civil servant and both are clever enough to keep the colonel soused to avoid his scolding. Willie Padin is the effective but reclusive scientist who finally discovers the cause of the penguin suicides but is tortured so as not to disclose his findings until the colonel retires. All sequences are strongly acted by all four and Mr. Pereyra and Carlos Parra provide wonderful comic relief particularly when they do their deceptive radio broadcasts. Mario Marcel directs with fine comic and serious finesse as called for. Ayun Fedorcha handles the surrealistic lighting that provides symbolic overtones to the characters and the setting. Mariano Lucioni provides an appropriately cluttered setting to confirm a "macho" carelessness. This is a highly recommended play in which the script and the actors are all first rate. Teatro de la Luna is now using surtitles in English which allows one to fully appreciate the acting without earphone translation interference. (To 6/18)

*****

Scena Theatre at the Warehouse is presenting the first play of a trilogy written by Robert McNamara of "The Classics Made Easy". Carter Jahncke gives a masterful performance of a blind story teller at the time of the Trojan Wars and he bitterly complains about those conducting the war and relates the gross sexuality and perversions that are encouraged when a nation enters into an extended war. Sound familar? He also talks of the expendable status of women in any such conflicts. Sound symbolic presently? If there is a masterpiece of acting, Mr. Jahncke presents one in this opus. Mr. McNamara provides a brilliant adaptation using current lingo and perverse language but it fully contemporizes the story. Marianne Meadows again makes lighting a secondary actor. Gabriele Jakobi uses full creativity in telling this story and she and David Crandall provide classical and current music to perfection in mood establishment. This is a highly recommended theatrical experience. (To 7/10)

*****

A closed society that doesn't allow foreigners? A society that has no foreign influences? Until the middle of the 19th century, this was Japan. Now, this Far Eastern country is one of the most important countries in the world as well as the most technologically advanced as it takes over even the number one slot in automobile sales. "Pacific Overtures" reminds us of the difference that 150 years makes in the life of a country and the its relation to the world. But this musical with music and lyrics by Stephen Sondheim and book by John Weidman with additonal material by Hugh Wheeler has not made similar progress that the subject matter has. Though Sondheim is one of our greatest living musical playwrights, this is not one of his most famous works. The story was interesting enough, the costumes were beautiful and affecting, the sets were expectantly simple, but the problem was with the songs. Some moved along well to tell the story and caused feet to tap along but some were so redundant that the play stalled in parts causing more irritation than pleasure. Donna Magliaccio was her unsual splendid thespian in her character portayals of the Shogun, Reciter and even Emperor. Channez McQuay was also excellent in her various roles from Councilor to Grandmother to Wife and she conveyed the characters' attributes well. There is much to applaud in this production. Eric Shaeffer gets credit for his ability to double and triple cast while getting the best from his actors. He is always brilliant especially in this production where actors played both male and female roles. (To 7/3) (Reviewed by Nancy McCord)

*****

Phoenix Theatre's world premiere of Callie Kimball's "Lulu Fabulous" is a "chick lit" version of the everywoman story. Lulu is a single girl trying to find love and sex in a big city but who is also in search of the connections and meaning in her accidental life. Mary C. Davis is the lead player of a single woman in DC who can't seem to get anywhere so she returns to her great great grandmother's tiny village in Maine for two years. Ms. Davis and four other actors handle 54 roles in this one hundred minute non-stop romp. Rose McConnell plays her best friend, Amy, (yep...sex in the city type) with deadpan humor while Shelby Sours manages a boisterous bunch of females roles. The biggest laughs in the show...probably the biggest on DC stages this year...go to Patrick Bussink and Alex Perez who play multiple roles, but they hit the comic acme as the two fighting fish that Lulu gets to alleviate her loneliness. Director Bridget O'Leary does a superb job of balancing the episodes of silliness including speed-dating and sweaty yoga with scenes of more substance of death and accidental pregnancy. Through the quirkiness and the heartache, Lulu emerges as an authentic hopeful character and one who meets life challenges through her struggles and not because of them. (Reviewed by Celia Sharpe)

*****

The Studio Theater is presenting Richard Greenberg's "Take Me Out" which won a Tony award. It is an intimate look at the jealousy, sexuality and spitefulness of a group of baseball players with many gay jokes as one player has just outed himself to the media. As a result camaraderie ceases and suspicions take hold...and one daren't drop a bar of soap in the shower. Most of the audience laughed at these sophomoric sequences. The hearty laughter only started with the appearance of Rick Foucheux, investment counselor, who did a masterful bit of comedy as one who loved the game of baseball with slightly swishy overtones. It was a true gem of a performance and, no doubt, represented the playwright if only regarding his love of the game. Except for a couple of muscled actors, the rest of the player cast were unconvincing regarding their small stature. And all of them really showed miminal development of characterizations except Jake Suffian as the yokel who was the saving-grace pitcher who led the team to victory in the World Series...almost... for tragedy sets in. Tom Quinn did double duty in two roles and was most adequate in both. Kirk Jackson managed the direction exceptionally especially showing the action in a couple of the close games. He unnecessarily titillated with a too long shower scene which upstaged the dramatic action. Certainly a waist high glass block wall would have been appropriate. There is additional short nude scenes in the locker room which was sufficient to please the growing audience interest in nudity. The show is not recommended for the underaged physically or emotionally. With the current excitement of a baseball team in DC, this show, no doubt, will have an extended run. (To 6/26 )

*****

Charter Theatre at the National Conservatory of the Dramatic Arts is presenting "Of a Sunday Morning", a new play by Richard Washer. The dialogue is so obtuse that one is left with little dramatic impact. The script is so full of metaphoric language and confusing symbolic references that the audience ends up with total confusion. One gets unconnected features of mind control, high wall isolation, dysfunctional family ties, biblical references so that two hours of playing is almost a total drag. The acting is totally uneven. Lee Mikeska Gardner continues her fine performances but one wonders why she expends her talent in such an inadequate play. Ray Ficca so pretends a casualness in his playing that dramatic energy is nil thoughout. Fine actress, Tricia McCauley, is an automaton "archive" spouting meaningless script. Sarah Melinda conforms to the old prescription that "those who can't act... should teach" .... as she is a faculty member of NCDA. The most exciting performance is by Denman Anderson as the son who gives the performance of a skilled actor who listens and responds with wide ranging emotional mastery. He has a great future in stage productions. Keith Bridges directs as well as can be expected with such a confusing script. The simple set design by Ryann Lee adds to the confusion by suggesting a purity with an all white color being used. Klyph Stanford doesn't help with periodic light fades that rarely coincide with possible "dream" sequences. Be aware that this is an inadequate "Pintner" type play that really only offers a couple of admirable performances and not much of a compelling evening of theater.

*****

"Frankie and Johnny in the Clair de Lune" at Everyman Theatre in Baltimore is a return of the Terrence McNally romantic comedy first presented on Broadway in 1987. Everyman's production which is directed by Vincent Lancisi does an excellent job of exposing the emotions in both characters and they are reflected as well in the audience's reactions. Deborah Hazlett plays Frankie in the part of a waitress who has survived a dark history with men. She has not had much love in her life and had really given up hope so trust is not something she comes by easily or naturally. Zachary Knower, as Johnny, is a romantic optimist and a very intense and needy guy. He had not had a successful past with life and marriage but is willing to battle to find the truly right one for him. He thinks it is Frankie but she disagrees. The acting is very believable and one can relate to both characters well. But one is not ever sure that Johnny is simply a crazy man or if Frankie will ever be able to let down her guard. As both are sympathetic characters, the audience is rooting for their romance to work. Hats off to both performers who can make the audience care! The set by Robin Stapley, the lighting by Jay Herzog, the costumes by Debra Kim Sivigny, the sound by Chas Marsh, and the props by Jen Hoopes brought reality to the stage at all times. This play is recommended for mature audiences because of nudity and language. But, if you want to see a contemporary love story, don't miss this one. (To 6/26) (Reviewed by Nancy McCord)

*****

It's one hellava comedy fest at Olney Theater with their production of Ken Ludwig's "Lend Me A Tenor". Not only is the 8 member cast all skilled comedians with superb comic timing, but genius farce director, John Going, again wows the audience with his slick and creative blocking. If there is one weakness it is the subdued egomaniacal playing (too much stomach problems and not enough prima donna) by Paul Jackel in the first act but he recovers beautifully with his comic confusion in the second act. Julie-Ann Elliott has all of the wonderful Italian non-verbals to supply a solid joy in her two appearances. John Scherer, an award winner in previous comedies, has not lost an iota of comic skill as the patsy who blossoms into an opera singer after relaxation training by the master in a riotous gyrating scene. Allen Fitzpatrick is a gem player of frustration and his shaking scene of the dead (?) opera singer will go down as a classic routine in local theatrical history. Halo Wines proves that there is lots of comic life left in this veteran local actress with her coy comeuppances. Liz Mamana, a Joan Rivers lookalike, gives a zestful turn as a young lady looking for a sexual fling before marriage. Valerie Leonard proves her having as keen an ability for comedy roles as her award-nominated serious roles. Certainly all men in the audience went home to dream about her in her towel wrap! And even Evan Casey, in the bellhop role, was delightful in his intrusions to get pictures and an autograph of the famous opera singer. James Kronzer gave a perfect "farce" setting ablaze with color and plenty of doors to be slammed along the way. Anne Nesmith must be congratulated for her most appropriate wigs in this show. And Matthew Nielson did superb work with the necessary "operatic" sound plot. This show can be seen time after time and still get a riotous response from any audience but this Olney production is the "choice" production. Don't miss it!

*****

What! You haven't seen Mamma Mia even once yet! It is back at the National Theater and it is a must-see! This world famous musical, based on the songs of ABBA, is composed and produced by Benny Andersson with music and lyrics by Bjorn Ulvaeus. The book is deftly written by Catherine Johnson and Phyllida Lloyd directs this foot tapping work with aplomb. Anthony Van Laast choreographed and Mark Thompson designed the show. Sophie, played by Bekah Nutt, is 20 years old and about to be married. Her mother Donna, played by Lauren Mufson, had affairs with three different men 21 years before. Since Sophie never knew who her father was, she wants him to walk her down the aisle so she secretly invites all three to the wedding on the small Greek Island where her mom has a small inn. Donna and her best friends, Tanya (Lisa Mandel) and Lisa (Laura Ware), provide the best parts except for the chorus boys in flippers. That was the best visual of the show. Yet, singing into the hair dryers and brushes has to remind women of the days when that was the modus operandi in the privacy of their rooms. The timing, flamboyant costumes and zany behavior are what makes this production work. The sets are practically appropriate and so work well for this road show. The choreography especially for the ensemble numbers had the audience members dancing in their seats. Even if you were never an ABBA fan, you will enjoy this show. Gimme, gimme, gimme more Mamma Mia! This winner takes all! (To 7/2) (Reviewed by Nancy McCord)

*****

Brahms never wrote an opera yet his beloved choral work, "German Requiem", has great operatic moments both for the two soloists as well as the expected chorus. The Choral Arts Society's recent performance emphasized this by featuring two outstanding operatic singers...soprano Twayla Robinson and baritone David Arnold. Both sang with pure voices and dramatic emphases. Neither relied on musical scores which was a touch to further communicate the heartfelt personal quality of the Brahms piece. The chorus, known for its vocal power, was finely nuanced in the opening softer passages but unrivaled in the great bursts of "Halle, wa ist dein Sieg?" ("O grave, where is thy victory?"). Brahms performed to perfection is like no other musical experience and Norman Scribner and the whole cast of singers deserved the rich round of applause for this concert. (Reviewed by Celia Sharpe)

*****

The Synetic Theater continues with its fantastically creative presentations with its current "Jason and the Argonauts", however, this time time there is too much tawdry and stilted dialogue by adaptor, Suzen Mason, that wars against dramatic flow. It is similar to the verbiage of the old epic movies. Again, the company is quite expert in dance and pantomime that always is perfectly stated and emotionally arousing. One hesitates to select one actor for praise in such a cohesive company, but Irina Tsikurishvili soars above the rest in the passion and violence of her dancing as Medea. Greg Marzullo also manages to rise above the rest in dramatic intents although he needs a better transition from his love in the first act and his hating nature in the second since the script gives us no reason for this abrupt change. The story is about Jason's search to recapture the "golden fleece" and return it to Grecian ownership. Synetic simplifies the script as it eliminates all of the threats in his journey and extends the universal themes of jealousy and avarice in his search. Again, the technicals and directing by Paata Tsikurishvili are extra superior in always making a Synetic production totally riveting. Just one hip-hop passage in the first act seemed out of time and place and upstaged the stage work. But, again, this show is highly recommended as good family entertainment of uppermost artistic quality. School groups: Forget about scheduling "Shear Madness" this year and do Synetic Theater for an invigorating change.(To 6/25)

*****

Strathmore continues to receive praise for its wonderful location and superior acoustics. Recently two song stylists had debuts there and proves that it is the best area venue for high quality singers. Barbara Cook made it a glorious Mother's Day for all who attended. She took the audience on a journey through some of the musicals from Broadway's Golden Age starting in 1948. She was warm and charming and most personable on stage and most engaging throughout her beautiful presentation. She can be excused for a little trouble with lyrics but she had her reasons but such lapses were few and forgivable. She is a theatrical treasure...a legend...and a sheer delight. Her phrasing alone is worth the price of admission. She has lost some of her top notes since her glorious days of "Candide" so she turned her last number into a humorous lip-synching of her inimitable "Glitter and Be Gay" to the delight of the packed house.

Linda Eder, a more recent Broadway treasure, performed with a six piece group and a nod to some well loved standards, some new materials and some old chestnuts. She is a singer with a beutiful voice and perfect pitch throughout. She is so loved by Broadway afficiandos that the audience whoops and hollers before she produces the first notes. Whether it was her stage fright or something else, this reviewer never really felt engaged or never felt warmth or a sense of being included in her chosen program. This could be since she didn't have a show's script to provide characterization. This reviewer was not moved by this present performance...not enough to want to join the club. (Reviewed by Beverly Cosham)

*****

The annual Theatre Lobby's Mary Goldwater Awards were presented at the Women's Club of Chevy Chase on Monday, May 16th. Bill Largesse proved to be a most engaging m.c. and a shared comment that "Helen Hayes is like a prom night...the Theatre Lobby awards are graduation" received strong affirmation by the theater people in the sizable audience. This year's awards went to Lindsay Allen, Catalyst Theater Company, Chris Davenport, Aubrey Deeker, Karl Miller, Suzanne Richard, Matt Soule, Jason Stiles and Jesse Terrill. A very nice reception followed.

*****

The In Series Inc. is presenting its "Maytime Cabaret: The Secret of the Rose" at the Source Theater. Four talented cast members presented classical and popular songs all with the theme of love. Rayanne Gonzales succeeds wonderfully with all varieties of musical forms topped with most engaging acting. Her "I Hate Men" was the wholesome show stopper. Scott Sedar charmingly sang with a powerful baritone and especially "wowed" with the Noel Coward comedy number, "Nina". Beth Rubens showed too much classical vocal training and a sharp resonating quality so that romanticism was lost especially in her attempted blues number from "St. Louis Woman". She only smoothed her quality with the final quartet number "Where is the Word". Terry Eberhardt was a wooden actor in spite of a well trained vocal line and he only succeeded in selling his final solo of "Ridin' on the Moon". The early quartets showed bad notes and lack of synchrony but the final quartet was near perfect. Dan Sticco accompanied on the piano with finesse although he lacked the ability to cover some of the singer's faults which other pianists would have been able to do. Allison Stockman gave direction which flowed throughout as she presented the script by Bari Biern which was somewhat derivative of "Follies" as a group relives the spirit of an old theater soon to be destroyed. But, generally, the script and production provided a nice afternoon of musical pleasure.

*****

Warren Light's memoir play, "Side Man", uses every cliche in the book including the nostalgia of the big band era, the dysfunctinal family of an uninterested father and neglected mother, and the funny and tragic memory of a son which all leads to reckless behavior and failed dreams. In the hands of the Keegan Theatre and the perfect venue of the Church Street Theatre, this fragile story slowly wends its way with anonymous musicians to an ending so vividly exciting that it draws applause for the actors and the people whose lives are depicted. Chris Stezin is excellent as the mellow son, Clifford, who tells the story in his remembered imagination. Amy McWilliams, as the mother Terry, is believable in her mood swings from shy to outrageous. Kevin Adams plays Gene, the horn playing father who never seems to understand what is going on yet feels things intensely. The musician pals, Scott Graham, Eric Lucas and Jake Call, are superb as is their all time girl, Patsy, played by Charlotte Akin, who changes from a young sexy much married waitress to an old wise woman. This 1999 Tony award winning play was well served by the wonderful Keegan resident company. (Reviewed by Celia Sharpe)

*****

Experimental theater goes to the outer limits with Catalyst Theater's "shkspr prjct" which is a disjointed look at the "Scottish play"...one hopes none in the cast says the ominous Shakespearean title since the show is so violently physical that one daren't wish them to "break a leg". Although usually exceptional director, Kathleen Akerley, confirms that she planned the show along Grotowski lines, there is too many offshoots of German expressionism throughout. The proof is a distortion of plot, mechanical posturing and babbling and echolalic verbiage. The audience really never knows which actor is playing which Shakespearean character and it appears that King Duncan was thrice murdered! The character interactions are totally violent with half of the action being floor action. Otherwise, the seven actors (Michael John Casey, Jonathon Church, Melissa-Leigh Douglass, Scott Kerns, Adrienne Nelson and Kip Pierson) spend 90 intemissionless minutes practicing schizophrenic movements, autistic self destructive behaviors, and spastic and athetoidal posturings. They are to be congratulated for performing such torturous patterns. But, overall, their performances are totally self serving so the audience rarely connects. Technicals are all substantial for creating surreal moods but the choreography seemed right out of Philobolus. The show is only recommended for actors and directors to ascertain the lengths that theater can reach bombast without insulting one's intelligence. Others best read the Scottish play if they want to make sense out of this fractured stage piece.

*****

The current production of the Washington National Opera's "Tosca" is a dream presentation. During most sequences the audience was transfixed with ecstacy particularly with the skilled performances of Salvatore Licitra as Cavaradossi and Juan Pons as Scarpia. Some suggest that Mr. Licitra should be a member of a new "Three Tenors" but he really is a composite of the present group. He has the bell-like tenor clarity of Carreras, the vocal strength of Pavarotti and the sugary legato of Domingo. His one exclamation of "victory" in the final act will remain a high spot of vocal coloration in this new century. Mr. Pons almost matched the powerful singing of his co-star and he truly had the edge in his acting of a totally evil operatic character. Soprano Ines Salazar was powerful in her upper range and most dramatic in her lower range but her middle range was too muted and unfulfilling for an operatic stage. At times she was choppy as she jumped between her substantial ranges and then she failed to match the smooth musical line of the orchestra. She particularly strained and slid into notes during her aria, "Vissi d'arte", although she had beautiful covered tones for emotional warmth which saved that passage. The minor roles were more than adequately sung and Valeriano Lanchas nicely brought forth the comic relief as the Sacristan. A tertiary high spot of the opera was the chorus's dulcet, religious presentation of the "Te Deum" of victory. Leonard Slatkin gave a well moderated plus to the soaring passages in this highly dramatic opus although he could not overcome Ms. Salazar's uncomfortable Act I. Director Frank Corsaro finely handled the stage picturizations although his liberty at the end of Act II with Scarpia thrice reviving after the stabbing was excessive along with Tosca's pausing to pray for her criminal activity. Alexander Beliaev's sets were wholesome but overly so in Act III as the set could not be identified as Castel Sant'Angelo in Rome. The long stairway to the top of the parapet seemed too hazardous for the actors and, especially, for the long dress of Tosca which encouraged unnecessary audience fears for her safety. Costumes by Lena Rivkina were perfect and the lighting by Joan Sullivan-Gente were genius level. This is a highly recommended production that will offer joyous recall for years to come.

*****

There are some classic plays that just don't fit modern times with all of the changes that occur in moralistic codes. Such is the case of Eugene O'Neill's "Anna Christie" which tells of the estrangement of a barge captain in New York/Boston who re-engages with his wayward daughter after a number of years. Although strongly written with typically well developed characters by this theatrical genius, two of the three main characters at Arena Stage are faulted so Dan Snook, as Mat Burke, only fully develops his Irish character to carry the show. Sara Surrey, as Anna, is vocally ineffective in giving any insight into the depravity she sank into. She constantly intones a snappy arrogance that alienates so empathy is totally given to Mat which unbalances the stage interactions. Kevin Tighe, although looking the role of the boatsman, still needs work with the dialect coach as he has an admixture of Swedish, German and Polish which his life experiences would deny. Anne Scurria, as Marty, manages a well rounded drinking companion with a practical outlook for her seedy existence. The other actors provide short stage props to establish the beginning environment of this sea story. (J. Fred Shiffman, Ian Lockhart, Bruce Holmes, Clinton Brandhagen and Alex Major). Bill C. Ray provides an appropriately realistic setting although the constant fog machine is distracting. Eric Shim gives good time and place references with his sound design. Molly Smith nicely handles the direction especially in coordinating focus in the highly emotional scenes except for the one unnatural and unlikely posturing of Anna and Mat on the floor at one point. One would recommend not seeing this static production with so little psych understanding of the milieu but then one would miss the superb, award winning playing by Dan Snook. For this feature alone, it is a must-see. (To 6/19)

*****

The 21st Annual Helen Hayes awards were handed out Monday evening (5/9) from the more intimate stage of the Warner Theater. E. Faye Butler, hostess, weaved in and out of the presentations with some delightful patter and parody songs and was the show stopper all evening. A few of local stage technicians also excited the audience as they presented, while holding power tools, a ditty about their importance to stage productions. The greatest number of awards deservedly went to the Shakespeare's production of "Cyrano", the Round House theater's "Diary of Anna Frank", and Signature's "Allegro". Comments by fellow actors after the awards showed great disappointments in the other awards as the best-in-category didn't win other than Bernardine Mitchell for "Mahalia" at MetroStage and David James for Toby's "Godspell". The Washington Post award winner, Joy Zinoman, was praised for her criticism of the media, especially the Washington Post, for their meagre coverage of theater arts now performed in over 80 venues in this area. Some people at the reception also added that too much unwarranted emphasis is being placed on New York theater and road show companies that only play one or two weeks and then move on. Composer Jerry Herman received the Helen Hayes tribute, and rather than just playing songs from his musicals, somewhat embarrassed with his singing which was totally off key and strained. Yet he garnered three standing ovations. The evening ended with a fine "biggest cast party in the world" at the Marriott hotel and, although the food was disappointing to most, a separate room was arranged for dancing, so good conversations could be held as old friends met old friends and newcomers. (Total listing of awards can be found on the Helen Hayes website).

*****

"The Voysey Inheritance", Harley Granville Barker's play now celebrating its 100th anniversary, is currently playing at Center Stage in Baltimore. Though it tells a tale of misbegotten gains and should have the ring of Enron or Tyco, it is a much smaller tale told in a very dated manner. Resident Center Stage dramaturg, Gavin Witt, adapted this work which is directed by artistic director, Irene Lewis, who was so successful with previous productions. Barker wrote the play when he was 27 years old. It is the story of a yong man who discovers that the riches of the family have been gained by the patriarch of the family by misuing funds of his clients. The funds having been entrusted to the father to invest for the clients. The youngest son is in business with his father when he discovers the abuse of the funds. He confronts the father, who soon dies, and the son is left to resolve the dishonesty and dishonor brought on the family. The acting is adequate, the sets are lush and the technical work is suitable. However, the play itself leaves one cold. When many have been swindled and when losses are huge and critically damaging to people's lives, it is hard to identify with a naive son of a wealthy businessman who seems more sniveling than honorable. Center Stage productions are generally excellent. If you don't have tickets for this production, save your visit for the next production. (Reviewed by Nancy McCord)

*****

Theater J is presenting a stunning production of one of the most intelligently written plays of the season with Kate Fodor's "Hannah and Martin" that tells the tale of the relationship of a political philosopher (Arendt) and the reputed founder of existential psycho-philosphy (Heidegger). That she was a German Jew and he was condemned for being a Nazi sympathizer provides fireworks for the story as she goes from his student to his lover to his severest critic. The playwright takes dramatic license by not reporting that he was reinstated into academia five years after the war and that she feels remorse after hearing his denial arguments but that only adds to the classical empathic humanism of this story. Elizabeth Rich is incomparable as the embittered young lady whose world is shattered by the insincerity and viciousness of her fellow man. Her "heart is on her sleeve" the whole time yet forgiveness is hard to come by and her bodily pleadings during Heidegger's climactic rejection scene was heart wrenching. Always capable actor, John Lescault, matches her dramatic intensity yet retains a basic charm of personality so one is constantly willing to forgive his transgressions. Both are award winning performances! Other cast members are outstanding with stern hausfrau (Kimberly Schraft); a passionless but most understanding husband (Steven Carpenter); a disappointed colleague (Bill Hamlin); a most loving and understanding wife (Ellen Young); and a dejected student/secretary (Rahaleh Nassri). Newcomer Christopher Browne is most impressive as a convicted department of education Nazi who has misdirected intentions regarding children's education. Jeremey B. Cohen finely directs this wholesomely written script throughout although he sometimes front directs confrontational scenes that lessen their impact. However, this may be his attempt for eliciting guilt of the theater audience for their complacency during the horrible development of the Nazi phase. The show starts off with a bang with surrealistic intensity through his directing aided by the violent sounds by Ryan Rumery. Tony Cisek provides an excellent academic set with text totally covering the whole stage which always overshadows academic freedom and politics. Kate Turner-Walker...much used currently for productions...again proves her worth with nice period costuming. This is a highly recommended theatrical experience and most intelligent theater for a nice change on local theaters sans nudity and cursing.

*****

The ACTCo finishes it season in its new studio theater at the Atlas Center for the Arts with biographical sketches by playwright, Charlayne Woodard, about her early development into the arts and the foibles, fears and fascinations along the way. Actress Erika Rose gives a gem of a performance in "Pretty Fire" as she delightfully develops a number of engaging characters along the way...and she is always consistent in vocal and postural identifications of the same. All of the anecdotes are riveting and there is an added pleasure of listening to her gospel singing in the church scenes. She proves herself to be a seasoned talent throughout. David Lamont Wilson provides perfect jazz and gospel sounds and Michael Stepowany nicely shades the highly emotional scenes. Scot Reese manages most creative directing with only a back wall montage of creative panels and a step trunk. The house was almost completely filled for this matinee and one hopes that this trend will provide continued support for this exciting theater group.

*****

Gala at Tivoli is presenting its final show this season with "Real Women Have Curves" which is mostly a biographical account of playwright Josephina Lopez's troubled life as an undocumented worker but here created in a sweat shop in East Los Angeles. It is a warm situational comedy but primarily a women's show with the typical propaganda regarding women's subservient role in a purported "democracy". But husbands and male lovers should take note if they haven't gotten the message by now! The five actresses: Cynthia Benjamin, Barbara Bonilla-Burnett, Kathleen Gonzales, Wendy Nogales and Marycarmen Wila develop a fine familial relationship and move into delightful farce as they undress to show fat body lines which would make the painter Rubens, but not present day Bill Clinton, most sexually excited. This time the dialogue is in English with Spanish surtitles on a top rolling screen. The set by Elizabeth McFadden was totally delightful with a back scrim portraying the hispanic history of mankind. Ayun Fedorcha managed her typical most fine lighting and Neil McFadden had toes tapping with his Spanish sound design. Alesssandra D'Ovidio gives incomparable fashion dresses to end the show. Abel Lopez, reflecting on his grandmother's occupation of dressmaker, give fine creative detail to the actions. A well deserved standing ovation ended the show.

*****

The Baltimore Opera's "Les Contes d'Hoffmann" was an outstanding success. Even though the evening was three and a half hours long, one wanted it to continue into the wee hours of the morning as it was so wonderfully and excitedly sung by the leads and especially by the top rate chorus. And the conductor, Christian Badea, has never been better as he brought forth the dramatic nuances and humor of the whole opus. Offenbach's opera is truly a man-themed delight as it looks at three love stories by Hoffman that breaks down the composite love idiosyncracies of a universal woman...the bored mechanical, the passionate idealist, and the mysterious and evil conniver. Coppelius' doll, Olympia, was charmingly brought to life by Valeria Esposito which elicited roaring response from the delighted audience. She had incredible range and the most fantastic vocal colorization. It was one of those performances that one knew the whole audience wanted to wait for her curtain call to overwhelmingly applaud a second time. Gerard Powers, in one of the most difficult acting roles in opera, was masterful as Hoffman as he, in matinee idol style, drew out total empathy of the audience in his love plight. He has one of the finest textured tenors yet heard on area stages. Antonia Cifrone, playing her namesake Antonia, was alive with unrequited passion and proved that a fine singer can fully act while totally giving variety to her singing. Victoria Livengood, as evil Giulieta, presented the most powerful voice of the evening in a role that was "hers" throughout although she had some slight vocal misplacing at the start but she blossomed and dominated the deception scene. In a shorter role as the spirit of Antonia's mother, Madeleine Gray wonderfully blended in the duet and trio singing of the second act. (It was interesting but reasonable that the Baltimore Opera re-ordered the second and third acts of this opera but it added to the dramatic buildup of personalities especially Hoffman). Cynthia Jansen, in the pants role of Nicklausse, apparently chose to be more lyrical than demanding of Hoffman as his muse so her voice tended to soften although she managed fine arias. Her voice was rather lost by the overpowering Giulietta in the barcarolle. The rest of the male cast were more than adequate although Brendan Cooke as Schlemil did some bad lower range scraping in trying to effect an evil character. He was vocally fine as Crespel, however. Pierre Lefervre did a delightful comic turn as Frantz as he tried to prove his dancing and singing dysfunctions. Ferruccio Villagrossi provided magnificent sets particularly of the Venetian canal setting and Howard Tsvi Kaplan provided elegant time period costuming. Jeff Harris provided cue perfect lighting to bring out the fanciful aspect of the tales. The curtain call was deservedly deafening for this superior stage work and sensitive conducting.

*****

The Washington Ballet continues a wonderfully intimate and exciting evening of dance at its Wisconsin Avenue studio with another edition of "7 X 7: Unplugged". Again it presents seven premieres by seven choreographers. And the admixture offers enough dance variations that one is bound to love at least one but, for most, all of these short ballets. The audience favorite appeared to be Susan Shields "Footnote" with four wonderful lyrical dancers: Laura Dunlop, Sara Ivan, Stacey Price and Katie Scherman moving to the music of Tim Seddon. The finest dancing again was by Michele Jimenez and Runqiao Du in "Ikon of Eros" which was choreographed by Val Caniparoli to the music by John Tavenor. In variations from lyrical dancing to flowing gypsy to discordant angular Far Eastern, these two dancers astound with their sychronic relativity throughout. And Ms. Jiminez has no equal with her arachnoid posturing. Brian Reeder's "These are the days of our life" was the most erotic dance of the evening with six male dancers in skin-colored and tight bikinis as mannequins that burst into fiery dance numbers ending with a human love duet by a business man and business woman. Dana Tai Soon Burgess's "Fractures" showed Sona Kharatian, Erin Mahoney and Jared Nelson in a dance menage-a-trois constantly being disrupted by one of the members. It showed excellent floor work throughout. The first section ended with Andonis Foniadakis' "And they had hair as the hair of women and their teeth were as the teeth of lions" which showed six dancers totally covered in black costumes with veiled faces and black cavemen hair lengths as they violently interacted with primitive evil furiousness. It seemed mostly improvisational but, of course, that marks great dancers who can make it seem cohesive. Justine F. Chen provided the rich music for Adam Hougland's "Few and Far Between" which showed the most acrobatic dance of the evening...extremely well executed. The final dance choreographed by Mark Dendy was an African Drum piece, "Ritual IV", with the expected primitive intertwining of partners not unlike a puberty ritual. Again Ms. Jimenez provided prize posturing and turns throughout. Jason Hartley and Jonathan Jordan performed death defying leaps and turns which awed the audience. Yes, overall this program in highly recommended as even the stirring warm up of the dancers before the show added into a wonderful overall dance performance.

*****

Imagination Stage again has a brilliant children's theater show with "Perfectly Persephone..Little Greek Myth". It tells the story of the Greek gods and nicely breaks down the godly qualities of conceit, perfection and deportment in a joyful way particularly for young minds. Kevin Kling well scripts the play with full descriptions of the characters before starting the action and he fills the dialogue with joyful messages and moral principles in an easy going manner. Suzanne Richard is a perfect cute-as-a-button lead character who captivated the audience from the getgo and until the very end of the play. The other cast of Stephanie Burden, Kimberly Parker Green, John Peter Illarramendi, Millie Langford, Rob McQuay, Linden Tailor and Peter Wylie gave perfect character variations throughout but the gem was Mr. Wylie's three headed dog, Cerberus, that totally charmed. Milagros Ponce de Leon gets better and better with each stage set and here she manages a roundly ramped stage to allow for action on earth and in Hades. And director, Janet Stanford, took full advantage of all the playing spaces. Kate Turner-Walker give prized costumes again and Colin K. Bills provided nicely nuanced lighting. Sound and sound cues still needed work on as there were too many unsychronized. Again this is a "perfectly" great family show that was able to amazingly hold the attention of the younger ones for two whole hours...a great stage feat.

*****

David Copperfield brought his outstanding magic show to the Warner Theater that was wondrously thrilling to the mixed young and old audience alike. He was a most charming stage presence with an amusing repertoire of topical one liners that enraptured the audience. Details of the magic should not be disclosed but it transported one to distant time and place like almost on a magic carpet. This is a highly rated show for the whole family. There were a lot of "Copperfield groupies" in the audience and, no doubt, many more were added by this delightful evening of magic and comedy. (Touring)

*****

The Journeymen Theater which had an excellent production of "Everyman" earlier this season, is presenting Vincent J. Cardinal's "The Colorado Catechism" at the Clark Street Playhouse. Again somewhat themed along religio-philosophical lines, it tells the story of two alienated and lonely people who are going through rehab for drink and drug problems. It is very much like a Langford Wilson play with lots of illusionary references and most of the passages are convincing and touchingly poetic. Unlike Wilson's plays, it tends to occasinally ramble over repetitive materials. Cecil Baldwin shows quality talent as the ex-painter who strives for a definition of love sans sexual passion. Deborah Kirby is most uninteresting as she tossed off lines during most of the first act and lost lots of the charming comedy in her lines. She only started getting into the character at the end of the first act and did manage to keep empathy going until the end of the play. The play was extremely well directed by Jeff Keenan which finally showed his forte after so much of his inferior "gay themed" work in the past. Technicals were simple but effective. The lighting and sound were excellent as provided by Bryan Miller. The show is definitely recommended for those looking for a bit of sentimentality in a cleanly written script whose themes are easy to relate to by all troubled psyches.

*****

Sophocles' "Electra" is a "choice" play to be presented in the intimate MetroStage theater. The adaptation by Frank McGuinness clearly states the conflicts and struggles in this violent classical Greek family ruled more by the gods than men. Jennifer Mendenhall presents a fiery interpretation as Electra with a violent vengeance yet tempered with gut feeling emotions to stimulate audience empathy for her plight. She is beautifully choreographed by director, Michael Russotto, as she rants and raves to "eat up the stage" yet keeps her seething temper under character control. Hers is a magnificent presentation. Rana Kay as the sister continues with her fine stage acting and she has that genius approach of sensorily living out off-stage experiences. Maura McGinn is challenged to match the histrionics of Electra as the murdering mother and she manages this beautifully while still maintaining the underlay of the most charming sophisticate she shows in all of her stage presentations. Dallas Darttanian Miller and Keith N. Johnson were more than adequate as henchmen although the description of Orestes' death was woefully lacking in dynamics. Ted Feldman, as the brother Orestes, started off slowly emotionally but managed a powerful presentation in the murderous scenes and handling Electra's over-enthusiasm. The dir