What good is sitting along in your room? Come hear the music play. That’s what three generations of my family did for Father’s Day, enjoying the renowned musical Cabaret at Richmond Triangle Players cabaret-like atmosphere.

Director Penny Ayn Maas, who appeared for five years on Broadway in the last Broadway revival (before the current one), uses the small, intimate RTP stage to her advantage, creating a two-level set. The lower level is where most of the action takes place; while the upper level houses the band and some of the performers at the Kit Kat Klub Cabaret.

For those not familiar with the plot of the play (or the 1972 movie starring Liza Minnelli and Joel Grey) Cabaret juxtaposes the horrific changes in 1930’s Germany with the insular life inside the Kit Kat Klub.

British Cabaret singer Sally Bowles (Nicole Foret Obertleitner) meets American writer Clifford Bradshaw (Stevie Rice) who has just arrived in Berlin. Bradshaw has already met Ernst Ludwig (Evan Nasteff) on the train to Berlin. Ludwig refers Bradshaw to rent a room in a Boarding House run by a single old woman, Frauline Schneider (Jeanie Rule). A sub-plot follows Schneider’s doomed romance with elderly Jewish fruit vendor Herr Schultz (Doug Schneider).

The entire play is overseen by the Emcee at the Kit Kat Klub (Chris Hester). Maas makes an interesting directorial choice in making the Emcee less dark and menacing than in the movie and earlier productions; and more of a god-like figure watching over the action from the band stage and interacting at times with the other performers as more of a puppet master. As the play, and the history it captures, turns darker, the Emcee remains the voice and face of optimism and hope — right to the end. Hester is perfectly cast in this adaptation as he masterfully maintains the Emcees’ likeability and charisma and immerses himself in the role. Likewise his pleasant vocals are spot-on and he capably carries the role as the show’s voice and narrator.

Obertleitner does not have Liza Minnelli’s powerful belting voice, but compensates with strong dancing and acting chops — making Sally even more eccentric than Minnelli’s performance. I’m not sure if it was a directorial or acting choice, but I do wish Obertleitner hadn’t remained stagnant behind a microphone stand for powerhouse numbers like “Maybe Next Time” and the signature “Cabaret.” The lack of movement or even hand gestures eliminated some of the potential emotional content.

Rice carried off the innocence and initial naiveté of Bradshaw well. His character (and the audience’s) awakening to what was going on in Germany was well-developed in his performance.

Nasteff perfectly portrayed the changes in Ludwig as well, starting as almost a comedic German version of Steve Martin and Dan Akroyd’s “wild and crazy guys,” then becoming a Nazi officer and clearly delineating him as a hateful representation of all that was evil in Germany at that time.

Rule and Schneider carried the heart of the production, as two empathetic figures caught in the hatred and fear of their time. Their beautiful voices and tender and heartfelt performances added a whole other dimension to the story.

One other stand out was Lanaya van Dreisen as Fraulein Kost whose powerful vocals (and accordion playing) in the haunting “Tomorrow Belongs to Me” built to the climax of Act 1.

Michael Jarrett’s lights enhanced Frank Foster’s simple two-tier set and artistically added to the emotion of several numbers through shades of yellow, blue and orange. Holly Sullivan’s costumes (or at times lack thereof) perfectly set the time and characters.

“Life is a Cabaret;” and as the Emcee says “leave your troubles outside” because life at this Cabaret at RTP is a beautifully staged, well-cast production.

Photo Gallery

Cabaret	“Come hear the music play!”
Nicole Foret Oberleitner as Sally Bowles

Photos by John MacLellan

The Cast (in order of appearance)

• Emcee: Chris Hester
• The Kit Kat Girls
  • Lulu: Lesie Pumphrey
  • Texas: Bethaney Bagley
  • Fritzie: Lanaya van Dreisen
  • Helga: Brianne Chin
• The Kit Kat Boys
  • Victor: Andrew Etheredge
  • Bobby: Dan Cimo
  • Hans: Mahlon Raoufi
• Sally Bowles: Nicole Foret Oberleitner
• Clifford Bradshaw: Stevie Rice
• Ernst Ludwig: Evan Nasteff
• Fraulein Schneider: Jeanie Rule
• Frauline Kost: Lanaya van Dreisen
• Rudy: Mahlon Raoufi
• Herr Schultz: Doug Schneider
• Max: Andrew Etheredge
• Gorilla: Brianne Chin

The Kit Kat Band

• Piano: Kim Fox
• Drums: Steve Raybould
• Bass: Pete Dennis
• Clarinet: Michael Goldberg
• Accordion: Lanaya von Dreisen
• Flute: Brianne Chin
• Trumpet: Mahlon Raoufi
• Boy singer: Christopher Chavez

The Crew

• Director/ Choreographer: Penny Ayn Maas
• Associate Director: Keith Fitzgerald
• Musical Director: Kim Fox
• Stage Manager: Sharon Gregory
• Assistant Stage Manager:
• Production Manager:
• Set Designer: Frank Foster
• Lighting Design: Michael Jarett
• Associate Lighting Designer: Cody Richardson
• Costume Design: Holly Sullivan
• Costume Assistant: Alex Valentin
• Dance Captain: Brian Baez
• Sound Design: Joey Luck

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

Playwright Ben Rimalower grew up estranged from an emotionally erratic, gay father and became obsessed with the singing of Broadway star Patti LuPone. Thus, he grew up with Patti Issues.

Rimalower’s autobiographical play is the perfect vehicle for Billy Christopher Maupin. Both Rimalower and Maupin’s lives have centered on assisting, producing, directing and performing in cabaret’s and musical theater. Following up two one-man Cabaret performances this season (Still Mad About the Boy(s), and (My) Life Upon the Wicked Stage) Maupin shines in this one-man, one-act play.

Director Carol Piersol makes the most of sharing the stage at Richmond Triangle Players by keeping Maupin moving and seeking levels as he shares Rimalower’s life story with the audience.

Maupin is energetic and charismatic as he gives voice to the various people who shaped Rimalower’s life. He is at his best, however, when Rimalower releases his pent-up anger and when he sings snippets of some of LuPone’s songs.

One nice touch in the shared space comes from Lighting Director Michael Jarret before the show even starts. While the audience is serenaded by some of the Broadway songs LuPone is known for, three small projection windows from the High set change to show the marquee signs from each musical.

While it follows this year’s trend in the Acts of Faith festival by exploring philosophical rather than spiritual issues (delving into issues like forgiveness, human faith and “idol” worship), it is an hour of pure and simple entertainment.

The Cast

• Ben Rimalower: Billy Christopher Maupin

The Crew

• Director: Carol Piersol
• Associate Producer: Billy Christopher Maupin
• Stage Manager: Morgan Stone
• Lighting Design: Michael Jarret
• Associate Lighting Design: Weston Corey
• Rehearsal Assistant: Tim Goad
• Photographers:Eric Dobbs, Jay Paul
• Graphic Design: Billy Christopher Maupin, Sara Marsden

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

Richmond Triangle Players High marks the regional debut of a Tony nominated play. An entry in the Acts of Faith festival, it explores religion, recovery and redemption through the lives of its trio of characters.

The play is anchored by two of the Richmond area’s consistently strong performers. Melissa Johnston Price is very “Kathleen Turner-esque” as Sister Jamison Connelly (a role Turner played on Broadway) a tough, street smart nun with a traumatic past who is now a substance abuse counselor at a Catholic Church run program. Her throaty controlled persona explodes in the more emotional moments. Jonathan Hardison is dark and stoic as her boss Father Michael, who has a few secrets in his own past.

It is Kyle Cornell, however, who delivers the most intense and troubling performance as a young drug addict. He walks a well-balanced line in portraying an endangered teen who is both a hardened criminal and drug user; and a hurt and angry child.

The play explores religious themes such as, can a person be saved if they don’t want salvation; and can others will healing and miracles for someone else? It also quotes the adage “love the sinner but hate the sin.” In this case I loved the performances but let’s say disliked the play itself.

Every time Matthew Lombardo’s script picks up steam, it gets dragged back down again with lengthy expository dialogue from Sister Jamison that could have more effectively been revealed in conversations with one of the other characters. Director George Boyd effectively uses his actors and set in the scenes where two or more of the actors are on stage, but further allows the pacing of the show to become stagnant during those sit-down monologues — carried only by Johnston Price’s strong emotions and acerbic comedic timing.

T. Ross Aitken’s set design is simple but effective, with just a few chairs and tables, 2 doors and three windows that are well used with projections by lighting designer Michael Jarett as screens that display changes in scene and time of day.

For the second time this month, I do not want to issue a spoiler, but the intermission contains some “interesting” business.

This play contains strong language and pretty graphic nudity and violence, so parents might want to only consider it for more “mature” teens — but the material and performances are sure to spark some very interesting dialogue with those teens. Suffice it to say, my son loved it (especially the song choices)!

Photo Gallery

Photos provided by Richmond Triangle Players

The Cast

• Sister Jamison Connelly: Melissa Johnston Price
• Father Michael Delpapp: Jonathan Hardison
• Cody Randall: Kyle Cornell

The Crew

• Director: George Boyd
• Stage Manager: Dexter M. Ramey
• Production Stage Manager: Linda Nguyen
• Set Designer: T. Ross Aitken
• Lighting Design: Michael Jarett
• Costume Design: Alex Valentin

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

One of the hardest things about being a reviewer in the Richmond area is that not only is there such a diversity of theatrical offerings, but there is also such a diversity of theaters. This makes it hard when comparing big theaters with small theaters and productions with big budgets versus those that are operating on a shoestring.

By what standard should I review Richmond Triangle Players’ production of It’s a Fabulous Life? In keeping with its holiday theme, few people would suggest that “Rudolph the Red-Nosed Reindeer” deserves an Emmy for best animation or “It’s a Wonderful Life” deserves an Academy Award for best special effects. Yet millions of people love them and look forward to seeing them each year.

This production meets that standard 100%. Chris Hester is absolutely charming as the main character, Joe, who is producing the local theater group, the Lavender Players, annual Christmas show and becomes disillusioned with his life as a gay man (he wishes he’d never been born…gay). Enter an angel, Arthur, played with charm and warmth by Doug Schneider. Arthur is the recently departed leader of the Lavender Players, and now he wants to help Joe so he can earn a new set of wings (he wishes to trade in his white ones for Lavender ones, since no one should wear white after Labor Day).

It is this kind of shtick and campiness that Triangle Players always carries out best. The entire show is a send up of every Christmas show, popular musical and of RTP itself. It is lighthearted fun, with a poignant message (Joe accepts the fact that he was born gay) and a touch of holiday cheer (who doesn’t smile at a show within the show about Randolph the gay reindeer).

As one “older” woman in line said as I was standing in line at the bar (for a diet coke!) “that Chris Hester is just so darn cute.” Picture Charlie Brown if he was a gay adult. On the night I reviewed, Hester was nursing some vocal strain; but what he lacked in volume and power, he made up for in commitment to character, energy and just that “gosh shucks” kind of likeability.

Other performances of note include Dan Cimo as the bitchy drag queen Carlo/Carlotta who is one part Liza and one part Joan Crawford (in a show filled with over-the-top performances, his reached new heights) and Daniel Braumstein as a stage hand turned over enthusiastic understudy. Craig Smith had one of the more heartwarming and serious songs, An Angel of My Own, and Ramon Licairic’s was masterful in his vocals with Hester as Joe’s boyfriend, Luis.

My greatest treat, however, came in the form of an early Christmas present. I said last year when I saw Karla Brown sing briefly in Before it Hits Home that I really wanted to see her in a musical, and boy was it worth the wait. She took me to church and back with her soulful and powerful vocals.

It is so tempting to say It’s a Fabulous Life was “fabulous” but I can’t take the easy road. Let me just say, it is pleasant PG holiday entertainment (and with RTP’s comfortable chairs with ample leg room, it sure beats watching some holiday reruns on TV.)

Photo Gallery

Joe (Chris Hester) with his guardian angel Arthur (Doug Schneider)	Angela (Karla Brown, center) and her angels choir
Carlotta (Dan Cimo) cavorts with a tropical Santa

Photos by John MacLellan

The Cast

• Joe: Chris Hester
• Angela: Karla Brown
• Carolo/Carlotta: Dan Cimo
• Tim: Keydron Dunn
• Bruce: Thomas E. Nowlin
• Gabe: Stevie Rice
• Frank: Craig Smith
• Steve: Daniel Braunstein
• Luis: Ramón Licairac
• Dale: Xander Wong
• Arthur: Doug Schneider

The Crew

• Director: Keith Fitzgerald
• Musical Director: Kim Fox
• Choreographer: Marisa Guida
• Assistant Director: Keith Fitzgerald
• Stage Manager: Sue Howells
• Assistant Stage Manager: Samantha Ray
• Set Designer: Alex Ginder
• Lighting Design: David White
• Costume Design: Alex Valentin
• Percussion: Steve Raybould
• Managing Director: Philip Crosby
• Artistic Director: John Knapp

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

Romeo and Juliet is probably the most copied play of all times. There’s even been a classic musical version, West Side Story. So how can anyone make it fresh and new? bare: a pop opera [sic], currently being performed at Richmond Triangle Players, makes it original and timely, with the main characters being teen gay lovers.

With book by Jon Hartmere and Damon Intrabartolo, music by Damon Intrabartolo, and lyrics by Jon Hartmere, bare is one part “Glee,” one part Romeo and Juliet and one part A Chorus Line.

Peter (Ian Paige) and Jason (Sam Jones) are seniors at a Catholic boarding school, where Jason has been cast in the Senior production of Romeo and Juliet as Romeo. They must keep their relationship hidden from their classmates, their teachers and even their religious families who would never accept this relationship. (The best kept secret is the best kept secret).

The entire cast of students are fresh-faced, pure voiced and energetically youthful. There are so many beautiful and memorable songs, it is hard to highlight just a few; but that’s my job, so I will!

Paige and Jones have such believable, natural chemistry, that their love songs transcend gender. Paige also has a duet with Matt (Austin Tate) with harmonies so tight and perfect, I would buy it as a single (or whatever we call songs on iTunes these days). Kelsey Cordrey, as Jason’s overweight sister Nadia has a certain Janis Ian/Carole King soulfulness to her voice that makes the anguish of some of her songs even more poignant. Lucian Restivo has one of the funnier moments in the show, performing a rap-like number.

Just like in “Glee,” there are, of course, the adults; The Priest (Craig Smith), and Peter’s mother (Hannah Zold) who want to deny Peter and Jason’s relationship since it is against the teachings of the Catholic Church, and Sister Chantelle (Chloe Williams) the drama teacher, who is the only one who “gets it” and tells Peter she and God have his back, because God don’t make no trash. Williams has some of the play’s best comedic moments both as the acerbic drama teacher and as a vision of the Virgin Mary à la Diana Ross.

The most heart-felt dramatic moments are saved for Jones and Morgan Meadows as Ivy, a girl who believes that Jason is straight and falls in love with him. Meadows tears were so genuine and clearly came straight from her heart.

The live band was flawless. Director/Choreographer Justin Amellio’s staging and dancing was modern, hip and entertaining. Rebecca Brooks’ lighting consistently enhanced the mood, although there were a couple of late light cues and actors standing in the dark, missing their marks. T. Ross Aitken’s minimal multi-level set was functional and utilized the small space well. Alex Valentin’s Catholic school costumes were innovative in their uniformity while still giving each character a personal touch (a sweater, sweatshirt, tie, bow tie, pair of socks, glasses, etc) which helped distinguish among them. One minor pet peeve is that some of the costumes are ready to be pressed and appeared pretty wrinkled by the second week of the run.

This truly great pop opera will make you laugh, make you cry, have you humming and tapping along and leave you wanting more as the performers in bare truly bare their souls in a powerfully heartfelt evening of thought-provoking entertainment.

Photo Gallery

Photos provided by Richmond Triangle Players

The Cast

• Ivy: Morgan Meadows
• Jason: Sam Jones
• Peter: Ian Paige
• Matt: Austin Tate
• Nadia: Kelsey Cordrey
• Lucas: Lucian Restivo
• Diane: Annie Hulcher
• Rory: Annella Kaine
• Kyra: Sasha Wakefield
• Tanya: Tarnee Kendell Hudson
• Zack: Mahlon Raoufi
• Alan: Joe Winters
• Claire: Hannah Zold
• Priest: Craig Smith
• Sister Chantelle: Chloe Williams

The Crew

• Director/Choreographer: Justin Amellio
• Musical Director: Kim Fox
• Assistant Directors: Keith Fitzgerald and Lucian Restivo
• Stage Manager: Dexter Ramey
• Set Designer: T. Ross Aitken
• Lighting Design: Rebecca Brooks
• Costume Design: Alex Valentin
• Managing Director: Philip Crosby
• Artistic Director: John Knapp

The Band

• Percussion: Steve Raybould
• Guitar: ConnorThompson
• Bass: Jonathan Wheelock

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

Some shows become dated with time. Some stay the same, and others get even better. Richmond Triangle Players’ current production of La Cage aux Folles falls into the third category.

Forty years after it was written as a French play by Jean Poiret and 30 years after being adapted as a Broadway musical by Jerry Herman (music and lyrics) and Harvey Fierstein (book), the themes of the play remain current and relevant and the music both touching and uplifting. Adding little touches like a cell phone or a reference to Ambien or Xanax help bring it into our time.

Georges (Matt Beyer) is the owner of a nightclub in the Riviera’s Saint-Tropez, and his life partner Albin (Kirk Morton) performs as the club’s star attraction, Zaza. When Georges’ son from a one-night dalliance with a show girl 24 years ago, but raised by Georges and Albin, brings his fiancée’s conservative parents home to meet the flashy pair, the bonds of family and love are put to the test.

Having seen the original Broadway show, I had my doubts as to how RTP could pull off the elaborate dance numbers on their small stage. Much to my surprise and pleasure, choreographer Nicole Foret Oberleitner pulls it off nicely with just five chorus “girls” and lots of creative movement. RTP’s night club like atmosphere, with little tables with flickering candles interspersed throughout the house actually enhance the feeling of being in the audience of La Cage. D. Mark Souza’s bright, colorful and glitzy costumes and Michael Jarett’s vivacious and assorted hues of lighting further enhanced that feeling.

But it was the performances that shined the brightest in this production. Beyer’s voice, persona and stage presence were powerful. My mother (yes, my mother — who has seen five different productions of La Cage) said he was even better than George Hamilton in the national tour (even without his tan).

Morton was every part Beyer’s equal with his soulful and emotional yet humorous portrayal of Albin/Zaza. Both of their voices were top-notch, and the love between the characters came through both dramatically and vocally. Morton was flamboyant without being over the top and dramatic while still keeping the emotional edge real

Others in the cast were appropriately over the top; especially Les Cagelles: Chantal (Brian Baez), Dermah (Asa Maurer), Hanna (Ian Stearns), Mercedes (Andrew Etheredge) and Phaedra (Philip Baraoidan). Baraoidan’s facial expressions actually go beyond over the top and steal every number he appears in. Durron Marquis Tyre also stood out as their maid/butler Jacob as did Dan Stackhouse as the nightclub’s beleaguered stage manager, Francis who becomes increasingly bruised by dominatrix Hanna.

Tyler D. Wilson and Alona Metcalf are convincingly young and innocent as the engaged lovers Jean-Michel and Anne, however they don’t quite show the hormonal spark that keeps the two together despite their differing familial upbringings. Mark Persinger and Lisa Kotula are appropriately prim and stuffy as Anne’s parents.

It is a statement on our society that 40 years after it was written, with gay marriage in the forefront of the news, that the themes and emotions of La Cage are just as relevant today. As Zaza says: “life’s not worth a damn til you can say hey world I am what I am.”

And as another of the memorable songs from the show says: “make this moment last,
because the Best of Times is now.” Catch Richmond Triangle Players’ current production of La Cage aux Folles because some of the best of Richmond’s theater is now!

The Cast

• Georges: Matt Beyer
• Albin (Zaza): Kirk Morton
• Les Cagelles
• Chantal: Brian Baez
• Dermah: Asa Maurer
• Hanna: Ian Stearns
• Mercedes: Andrew Etheredge
• Phaedra: Philip Baraoidan
• Francis: Dan Stackhouse
• Jacob: Durron Marquis Tyre
• Jean-Michel: Tyler D. Wilson
• Anne: Alona Metcalf
• Jacqueline: Nicole Foret Oberleitner
• M. Renaud/M. Dindon: Mark Persinger
• Mme. Renaud/Mme. Dindon: Lisa Kotula

The Crew

• Director: Joe Pabst
• Musical Director: Timothy Brewster
• Choreographer: Nicole Foret Oberleitner
• Stage Manager: Sharon Gregory
• Set Designer: Frank Foster
• Lighting Design: Michael Jarett
• Costume Design: D. Mark Souza
• Spotlight Operator: Eric Brothers
• Light Board Operator: Tessa Hoerst
• Light Board Op. Swing: Emma Follmer

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

Some say life is a series of lessons we’re doomed to repeat until we learn them. Others take this one step further and believe in reincarnation. Some even believe that we are predestined to meet certain people in life. All of these themes can be found in Richmond Triangle Players Production of The Pride.

The Pride follows three characters, Oliver (Stevie Rice), Philip (Nicholas Aliff) and Sylvia (Stacie Rearden Hall) in parallel lives in London in 1958 and 2008. In 1958, Philip is married to Sylvia, who is illustrating Oliver’s most recent children’s book. Philip and Oliver end up being attracted to one another and have an affair. In 2008, fed up with his infidelity and random hookups, Philip leaves his lover Oliver, but Sylvia, who introduced them, tries to help Oliver get his life back together.

The play transitions back and forth, with the dimming of the lights, slides projected on the back wall, and often a character crossing over through time via a passing crossover between scenes!

In 1958, Oliver hopes that some day we will have an epiphany, and realize things will be all right and people will be happier. It is his hope, that in the future people will have the dignity of being heard, and the pride of having a voice.

His hope is only partly realized. While the back and forth drama clearly exemplifies that differences between a closeted 1958 where gay men sought “treatment” or committed suicide and 2008 where they are more free to be themselves; there is still little satisfaction in life. All three characters are in constant search for someone to love them and accept them. The 2008 Oliver believes in change, and feels they are lucky to no longer be on mute and to be able to openly talk. Yet, instead of embracing the love he has found, he follows his constant urges for random, anonymous hookups.

All three actors command the stage and display an emotional connection not only to their characters, but to one another. Their eye contact, physical touches, and comfortable dialogue where they interrupt one another or try to finish each others’ sentences feels real. Also, as my companion for the show, Morgan, pointed out; they were all clearly comfortable in their own bodies (yes, there is some nudity, and some strong sexual content, including a very powerful and believable rape scene).

The actors greatly differentiate their characters from 1958 to 2008. In 1958, it is like watching an episode of Masterpiece theater with the proper English accents and decorum. In 2008, it is more like the Spice Girls meets Jersey Shore, where things are much more crass and their dialogue sounds more like a truck driver’s English.

The cast is rounded out with Evan Nasteff (the man, Peter and the Doctor). His scenes as the first two characters are extremely funny as compared to the more serious drama carried by the other characters. He conveys excellent comedic timing and energy that adds a spark to the otherwise heavy themes.

T. Ross Aitken’s set works well utilizing a two-tiered stage and small sideline areas to create four different set areas. The living room furnishings work well in both time periods, although I would have liked a changeable afghan on the sofa or some other small touch to help differentiate the time periods. Thomas W. Hammond’s costumes also enhanced the transition from the classy 1950’s looks to the more crass 2008 identities. David White’s lighting helped set the mood as well as enhanced the transitions in time.

Jason Campbell wove the whole piece together beautifully, directing his actors and utilizing the stage very well. I had a few minor complaints though, such as not having Sylvia pantomime knocking on the door when an audible knock is heard and some rather stagnant blocking in the first scene that left Philip and Oliver sitting and bantering back and forth almost like the talking heads of the old Point/Counterpoint on “60 Minutes.”

If life is truly a series of lessons we’re doomed to repeat, The Pride clearly shows that when it comes to relationships, we still have a lot to learn. But, as Sylvia says, “It will be all right.”

Photo Gallery

Stacie Rearden Hall (Sylvia), Stevie Rice (Oliver) and Nicholas Aliff (Philip)Stacie Rearden Hall (Sylvia), Stevie Rice (Oliver) and Nicholas Aliff (Philip)	Stacie Rearden Hall (Sylvia) and Stevie Rice (Oliver)
Evan Nasteff (Peter) and Stevie Rice (Oliver)	Stacie Rearden Hall (Sylvia) and Nicholas Aliff (Philip)

Photos by John MacLellan

The Cast

• Philip: Nicholas Aliff
• Sylvia: Stacie Rearden Hall
• The man, Peter and the Doctor: Evan Nasteff
• Oliver: Stevie Rice

The Crew

• Director: Jason Campbell
• Author: Alexi Kaye Campbell
• Set Design: T. Ross Aitken
• Dialect Coach: Susan Schuld
• Managing Director: Philip Crosby
• Artistic Director: John Knapp
• Stage Manager: Alecia Shulz
• Costume Designer: Thomas W. Hammond
• Lighting Design: David White

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

As the Acts of Faith Festival winds down, Richmond Triangle Players has opened their third entry (actually second and a half as Managing Director Philip Crosby pointed out, since Before it Hits Home was actually an entry for Sycamore Rouge that premiered at RTP). The Busy World is Hushed is another challenging production, both due to the content of the theme of the show and the nuances of the characters.

“The Busy World is Hushed examines the contradictions we find in our faith, our families and ourselves. Hannah, a widowed Episcopal minister, is hoping to translate a long-lost gospel when she is challenged by both her scholarly assistant and her wayward gay son. When family secrets are revealed, only the intercession of a stranger can help Hannah find peace.”

The actors face a tough task of portraying characters who have built strong walls around themselves, while making these same characters three-dimensional and interesting. This did not translate well in the first act, where the performances were a bit stiff and the actors did not seem to connect well with one another. However, this weakness made the second act all the more poignant when the actors displayed a great deal of anger, pain and emotion. As things wind down and reach their resolution in the second to last scene, you could hear audible sobbing and sniffling throughout the audience, as the actors not only connected with their characters and one another, but with the audience as well.

Linda Beringer is cold, hard, clerical and business-like as Hannah, the mother and Episcopal priest. Chris O’Neill comes across as casual, laid-back, shy and yet self-assured as Hannah’s new assistant, Brandt. Brandt, who is gay, is trying to come to grips with his sexuality, his faith and the illness of his father. As a priest in a more liberal Christian denomination, Hannah assures Brandt that man has altered God’s word, and she questions the legitimacy of the bigotry man has read into the Bible against gay people.

Chris Hester exudes energy, mischievousness, and a touch of brattiness as Hannah’s Prodigal son, Thomas. Thomas has been forever running away, since he was 10, but has returned home as he seeks answers about his father’s drowning death before he was born. He has now lived longer than his father did; and his mother’s mission in life is to keep him alive. Hannah tries to plan out his life, even to the point of encouraging Brandt to fall in love with her son; while Thomas struggles to live his life without a plan or commitments.

Keith Bunin’s script is lyrical and masterfully written. His use of language and expository dialogue keep the scenes moving smoothly. There are so many beautiful, quotable lines; it is hard to pick just a few. For instance, Hannah explains she feels that the Bible “stains” or distorts the words of God, like her stained glass windows distort the light outside, yet, she also points out that to take God away from the world would leave us with pain with no chance of redemption.

All three characters are lonely, yet, Hannah points out that Jesus must have been lonelier than anyone — coming to a world of people He loved but did not know Him and rejected Him. She says He came to teach us how to live and love and deal with pain and earth. While Thomas and Brandt leave searching for what they believe, Hannah remains steadfast that she believes what she says she believes.

Director Dexter M. Ramey keeps the show moving well; utilizing the small stage space to keep it visually appealing. Alexandra Valentin’s costumes help establish the characters appropriately, with Hannah dressed clerically, Thomas boyishly, and Brandt casually. Overall, K. Jenna Ferree’s lights work well, but it would have helped in a scene where we hear thunder to see lightning flashes outside of the window. Also, during scene changes there were some problems syncing the sound fading out and the lights coming up; with the sound suddenly cutting rather than fading, and then a pause before the lights returned. David Allan Ballas created an elaborate set for Hannah’s apartment complete with stained glass windows, a beautiful cathedral-like door and books and boxes strewn all about.

Just as each of the three characters search for their faith; I have faith that some of the rough edges will be smoothed out during the run of the show.

Photo Gallery

Linda Beringer (as Hannah) and Chris O’Neill (as Brandt) share a moment before heading into church	Chris Hester (as Tom) shares a difficult moment with his mother (Linda Beringer), putting her assistant Brandt (Chris O’Neill) in an awkward situation
Chris Hester (as Tom) and Chris O’Neill (as Brandt) share a joyous moment

Photos by John MacLellan

Cast

• Hannah: Linda Beringer
• Brandt: Chris O’Neill
• Thomas: Chris Hester

Crew

• Director: Dexter M. Ramey
• Set Designer: David Allan Ballas
• Costume Designer: Alexandra Valentin
• Lighting Designer: K. Jenna Ferree
• Stage Manager: Corrie L. Barton
• Managing Director: Philip Crosby
• Artistic Director: John Knapp

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

As I start this review I realize, no matter what I say, someone has to be offended. This is clear just from the title of Confessions of a Mormon Boy, which is playing at Richmond Triangle Players thru February 16 for five performances only. In this autobiographical one-man play, written and performed by Steven Fales; Fales tells the story of his failed attempt to overcome his “same-sex attraction” through “reparative therapy” which resulted in his divorce and excommunication from the Mormon Church.

On the one hand, my conservative Christian friends, and especially my Mormon friends will be offended by the gay theme (and as one Mormon friend has told me, Mormons are one of the few groups that it is still politically correct to offend). On the other hand, my gay and Lesbian friends will be offended by any attempts to apologize to my conservative Christian friends for enjoying the show.

One has to view a play such as Mormon Boy with an open mind, or at least be willing to objectively view it as a work of art, regardless of their personal bias. As Fales points out at the end of the play, everyone has a story to tell; and as my guest for the evening, Morgan pointed out, Fales has a powerful story and it is one that was able to captivate and hold the attention of the sell-out audience for 90 minutes – with no intermission.

Fales indeed looks the part of the All American Boy next door. He walks the audience through his life from boyhood to manhood, as he tries to make his two worlds as a Mormon and a gay man work together. It all leads from marriage and two children to divorce, excommunication and eventually working as a gay male escort in NYC, prostitution and drugs. In the end, the boy next door becomes a man – a gay man and a good man and a good father.

Fales, of course, connects well to the piece since he is retelling his own story. He has energy, charisma, charm, and that key Donnie and Marie “Mormon smile.” His facial expressions, stage presence and verbal and visual recreation of various “characters” from his past keep the audience riveted to his performance (he also has a pretty darned good singing voice). His dry and dead pan humor is poignantly juxtaposed with many of the harsh realities in his life history.

Mormon Boy was originally directed Off-Broadway by Tony Award-winning director Jack Hofsiss (The Elephant Man). 

David White’s lighting and Joe Killian’s sound help to enhance the mood. The booming, omnipresent voice of God quotes scripture and reveals some of Fales’ deepest thoughts. Especially effective are dim lighting as Fales reveals some of the “darker” moments in his life, and bright, full house lighting as Fales exposes some of the truths he has learned about himself.

Finally, he chooses to stop being a victim and chooses to reconcile with his Mormon father and his ex-wife. He also comes to reconcile his belief in God with his sexual orientation by realizing: could God have made this many “mistakes.” Make no mistake; it would be a mistake to miss this Confession.

The themes and some simulated sexual acts keep this from being a “family friendly” show, but certainly make it an interesting entry in the Acts of Faith Festival.

Photo Gallery

Photos provided by Richmond Triangle Players

Cast

• Steven Fales as himself

Crew

• Directed Off- Broadway by Jack Hofsiss
• Sound design: Joe Killian
• Lighting: David White
• Stage Manager: Sharon Gregory
• Managing Director: Philip Crosby

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

As I begin my fourth month of reviewing theater in the Richmond area for showbizradio.com, I am still amazed by just how blessed this area is with its vast and diverse theater offerings. And blessed is an excellent term for the shows I will be reviewing this month. Sixteen theaters are presenting 18 shows as a part of the “Acts of Faith Festival.”

Among them is Before It Hits Home by Cheryl L. West (a Co-production of Richmond Triangle Players and Sycamore Rouge). Winner of the Helen Hayes Award for best new play, Before It Hits Home tells the story of a black bisexual jazz musician whose life on the down-low endangers both himself and his loved ones.

Themes include seeking faith and strength from God, warning people to be careful how they “weigh a man,” and thinking for yourself in regards to morals and values. The play poignantly portrays how certain prejudices are still sadly socially acceptable. For instance, even in an African-American family which would be incensed if someone used the “N-word,” it is ok to joke about “fags.” In a society where classism is frowned upon, it is still ok to look down on and fear those with AIDS.

The entire cast did an excellent job in both their pacing and characterizations, creating a truly believable family unit, and very realistic supporting characters. Delvin Young, as the main character of Wendal, was best when displaying Wendal’s anger, confusion and denial. My only suggestions would be to try to show more of his softer side and vulnerability early in the play to make Wendal a more empathetic character. Also, as he becomes more comfortable in the role, hopefully transitions both in emotion as well as his coughing fits will come more naturally.

Toney Cobb was very strong as Wendal’s father Bailey. At times, he was a comical, almost George Jefferson-like father, but by the end, his emotional range in showing the pain and anguish of a father was excellent. Belinda Todd as Wendal’s mother Reba seemed a bit nervous at times and struggled with some of her dialogue, but also admirably showed Reba’s range of emotions and core beliefs. Young and Cobb hit some rough spots in their dialogue as well, especially in scenes where multiple action was juxtaposed in two separate scenes with overlapping dialogue. I am sure this will continue to improve as the run of the show continues.

My theater companion for the evening, Brent, pointed out that some of the strongest performances were actually reserved for the supporting actors. Carolyn Mohr, Jasmine Hammond, and Todd Patterson all added great energy to each scene they were in. Thomas E. Nowlin was especially strong in his emotional range and pain as Wendal’s secret lover, Douglass. Jennifer Krisch showed great range in mixing the Doctor’s humor and dedication with her anger and exhaustion. Karla Brown was a scene stealer with her effervescence, comedic timing and strong singing voice (I’d love to see her in a musical!)

Director Shanea N. Taylor deserves major praise for her utilization of the small stage to effectively delineate separate scenes. The play’s pace was energetic despite its heavy themes and plot, and the blocking never became stagnant or contrived. Her work was well enhanced by Philip Milone’s set and Andrew Bonniwell’s lighting. One minor suggestion would be to perhaps add an afghan or throw blanket on the couch that was used for multiple sets, to distinguish it when being used in the family’s house. Directed by Shanea N. Taylor, the cast includes: Karla Brown, Toney Cobb, Jasmine Hammond, Jennifer Krisch, Seth Lyons, Carolyn Mohr, Thomas E. Nowlin, Todd Patterson, Belinda Todd and Delvin Young as “Wendal.”

The show runs through February 9th at RTP. Show times are Thursday, Friday, Saturday at 8PM. Before It Hits Home will then move to Sycamore Rouge on February 22 and run until March 10, 2013. Show times at the Rouge are Friday and Saturday at 8PM; and Sunday at 4PM.

Before It Hits Home is one hit you won’t want to miss.

The Cast

• Wendal: Delvin Young
• Simone, Mrs. Peterson Jasmine Hammond
• Douglass: Thomas E. Nowlin
• Reba: Belinda Todd
• Nurse: Carolyn Mohr
• Maybelle: Karla Brown
• Doctor: Jennifer Krisch
• Bailey: Toney Cobb
• Dwayne: Seth Lyons
• Junior: Todd Patterson

The Crew

• Director: Shanea N. Taylor
• Managing Director (RTP): Philip Crosby
• Artistic Director (RTP) : John Knapp
• Stage Manager: Sharon Gregory
• Production Artistic Director: kb Saine
• Set Designer: Philip Milone
• Lighting Design: Andrew Bonniwell
• Assistant Lighting Designer: David White
• Costume Design: Margarette Joyner

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