To prepare to see Hair at Firehouse Theatre, I watched a couple of reruns of “The Partridge Family.” If you are old enough to understand why, then you are also from the Love generation. If not, let the History teacher in me step out and give you a brief history lesson.

The late sixties was a time when America first really explored our collective way of life, our values and our morals. The duality is exemplified in the fact that it was the time of “The Partridge Family,” “The Brady Bunch” and “Mary Tyler Moore,” and also “Love American Style,” Woodstock, and the rock musical Hair. The Vietnam War raged on. College sit-ins, street protests and the military draft all became a part of the American way of life.

It is against this backdrop that Hair first appeared in 1968. Thin on plot, the musical focuses on songs — with over 30 of them shattering cultural norms of the time by discussing sex, drugs, race, religion and war. There is simulated drug use, sex and even brief nudity — all relatively mild in our current culture, but shocking in its time.

The script itself follows a group of hippies who call themselves “the tribe.” Their nominal leader, Claude (Matt Polson) is faced with the dilemma of whether to burn his draft card or go and fight in Vietnam.

The young and exuberant cast is filled with amazing vocal and dance talent. Polson’s pure voice and innocent demeanor carry the show well. Carolyn Meade’s powerful vocals open and close the show with strength. Nicklas Aliff displayed a strong voice and stage presence; however at times his vocals overpowered others when he sang in duets or trios. In this strong cast, I found myself repeatedly drawn to the emotional power Sasha Wakefield put in to every dance number, and the expressiveness Morgan Meadows face exudes every time she is on stage. Maura Burroughs was warm and sensitive as pregnant Mother Earth-like Jeanie.

Director Jase Smith has assembled a top-notch cast and uses the audience and Benjamin Burke’s minimalist stage well (actually the Firehouse removed the stage in lieu of some platforms and Oriental rugs on the floor). Nathan Wunderlich’s lights and Joey Luck’s sound add a great deal to the atmosphere (be prepared for lots of flashes and loud booms). At times it seemed either actors missed their lighting marks or lights weren’t quite set right, as performers stepped in and out of darkness, especially in whole cast numbers. Karl Green’s costumes are period appropriate and visually appealing. Starrene Foster’s choreography is visually exciting and energetic; however, at times it left some of the cast rather sweaty and breathless.

The history teacher in me must come back one more time to encourage those who remember the 60’s to come out and relive that time; and those who are too young to remember to come out and experience a two and a half hour acid trip of a show. You will leave with a tear in your eye, a smile on your face and will be humming the uplifting finale, “Let the Sunshine In.”

Photo Gallery

Photos by Laura Cliburn

The Cast

• Claude: Matt Polson
• Berger: Nicklas Aliff
• Sheila: Grey Garrett
• Jeanie: Maura Burroughs
• Dionne: Carolyn Meade
• Hud: Keydron Dunn
• Woof: Ian Page
• Chrissy: Morgan Meadows
• Dad, Principal, Margaret: Paul Major
• Mom, Hubert: Starlet Knight
• Ronny: Chloe Williams
• Steve: Austin Tate
• Walter: Cory Johnson
• Paul: ReShad Horton
• Suzzanah/Mary: Sasha Wakefield
• Emmaretta: Avia Fields

The Creative Team

Directed by Jase Smith
• Choreographer: Starrene Foster
• Music Director: Leilani Giles
• Costume Designer: Karl Green
• Light Designer: Nathan Wunderlich
• Set Designer: Benjamin Burke
• Sound Designer/Technical Director: Joey Luck
• Production Stage Manager: Nata Marconi
• Props Master: Katherine Wright
• Master Carpenter: Joshua Bennett

The Band

• PianoLeilani Giles
• Keys 2: Starlet Knight
• PercussionBentley Cobb, Jr.
• Lead GuitarGrant Oliver
• Bass Guitar: Joe Barry
• SaxophoneRon Fixx

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

With our long, hot Richmond summer nights; there is no need to sit at home watching re-runs or lame TV pilots. An amazing summer of theater has become even hotter with Virginia Rep’s The Color Purple.

The powerful story based on the Pulitzer Prize-winning novel by Alice Walker (and turned into a 1985 film which introduced the world to Whoopi Goldberg and also starred Oprah Winfrey and Danny Glover) mixes serious topics with laughter and music that works on every level. The singing, the dancing, the acting and the music are all spot on; and each performer is perfectly cast in this technically breathtaking production.

The story follows the lives of two African-American sisters from the days of sharecropping through the 1930’s. One, Celie (Felicia Curry) is shy and unattractive. The younger, Nettie, Katrinah Carol Lewis, is beautiful and self-assured. The old widowed man who they believe is their father, treats them as property, both physically and sexually. Celie, after giving birth to two children by this man who has raised her as her father (and he promptly gives them both away) is sent to live with Mister (Jerold Solomon) an equally mean, abusive and cold widower. When Nettie comes to live with Celie, after tiring of her father’s sexual advances, she fights off a sexual advance from Mister, who then sends her away as well. Throughout the remainder of the plot, Celie seeks to find her sister, her children and her own self-respect, inner strength and inner beauty.

It is difficult to single out performers in this Broadway quality production; but Curry does stand out in her emotionally deep performance. She captures all of Whoopi Goldberg’s charm – right down to the shy, toothy smile, while still making the role her own.

Desiree Roots Centeio likewise is reminiscent of a young Oprah, yet makes the character of Celie’s spirited daughter-in-law, Sophia, a masterpiece of her own as she commands her husband and the stage. Solomon transforms from odious to penitent with skill and believability. Josh Marin brings youthful energy, charm and charisma to Mister’s son Harpo.

All the performers are amazingly true to life as they develop their characters over a span of more than 30 years of their lives. Curry is especially poignant in developing Celie from that shy and confused 14-year-old to a gray-haired, strong woman.

Carolyn Minor Daughtry brings a sultry sizzle to Shug Avery, a Juke singer who both Celie and Mister are in love with.

Comedic stand outs include Ciara McMillian as Harpo’s girlfriend Squeak and Shalimar Hickman-Fields, Stephanie M. Hill and Amanda Montague as three church ladies who serve at times as the musical’s Greek Chorus/narrators.

Director Chase Kniffen keeps the show energetic and visually appealing. Leslie Owens-Harrington’s choreography and Ben Miller’s Music Direction keep the audience enthralled, with huge applause following every number and a standing ovation even before the final number ended.

Ron Keller’s visually interesting set is made up almost entirely of old wood planks which sets the time and poverty. Various forms of doors, windows and clothing hang about to give a generic feel to the entire set. Hopefully, some opening night kinks with the set will be worked out.

Lighting Designer Joe Doran sets the mood perfectly, while also highlighting individual performers and singers. Costume Designer Sue Griffin also enhances the production with lavish costumes for African tribal dancers and club partiers; and simple, basic outfits for Celie and Nettie.

As Shug says, God created the color purple to say “look what I made.” Take the time this summer to enjoy the beauty of Virginia Reps’ The Color Purple to witness the rich, beautiful theatrical art they have made.

Photo Gallery

Felicia Curry as Celie	Cast photo
Cast photo	Cast photo
Carolyn Minor-Daughtry as Shug and Felicia Curry as Celie	Cast photo
Desirée Roots Centeio as Sofia and Josh Marin as Harpo	Cast photo

Photos by Aaron Sutten

The Cast

• Celie: Felicia Curry
• Shug Avery: Carolyn Minor Daughtry
• Mister: Jerold Solomon
• Sofia: Desiree Roots Centeio
• Harpo: Josh Marin
• Nettie: Katrinah Carol Lewis
• Squeak: Ciara McMillian
• Jarene: Shalimar Hickman-Fields
• Darene: Stephanie M. Hill
• Doris: Amanda Montague
• Preacher/Ensemble: Billy Dye
• Pa/Grady/Ensemble: J. Ron Fleming
• Ol’ Mister/Ensemble: Thomas Nowlin
• Church Soloist/Ensemble: Karla J. Brown
• Buster/Chief/Ensemble: Tybias Whitehead
• Young Nettie/Chief’s Daughter: Tyandria Jackson
• Young Celie/Mister’s Daughter: Ayana Williams
• Young Harpo/Young Adam: Donathon Arnold
• Young Olivia/Henrietta: Jada Evans
• Ensemble: Skye Hagood, Anthony Cosby, Taylor Walls, Trent Williams, Courtney Jamison, Alana S. Thomas, Cariel Hughes, Will Anderson, Pamela Shaw, Ashlee Heyward, Jessi Johnson, Andrew Reid, Devante J. Wells, Mike Brown

The Crew

• Director: Chase Kniffen
• Choreography: Leslie Owens-Harrington
• Musical Director: Ben Miller
• Scenic Designer: Ron Keller
• Lighting Designer: Joe Doran
• Costume Designer: Sue Griffin
• Stage Manager: Wendy Vandergrift

The Band

• Conductor/Keyboard 1: Ben Miller
• Keyboard 2: Anthony Smith
• Drums/Percussion:Joe Lubman
• Bass: Derrick Englert
• Guitars: Forrest Link
• Trumpet: Mark Ingraham
• Reeds: Susan Davis

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

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.

Richmond is so fortunate, not only to have summer Shakespeare in the Park performances, but to have them in the courtyard of the regal Agecroft Hall. The 16th season of Richmond’s Shakespeare Festival, presented by the recently combined Henley Street Theatre and Richmond Shakespeare kicks off with A Midsummer Night’s Dream.

Director Jan Powell has assembled an A-list of Richmond comedic actors who bring life and laughs to this classic complicated comedy. Mischievous Fairies cast love spells that wreak havoc among characters in multiple story lines surrounding the impending marriage of the Duke of Athens.

First there is Hermia (Audra Honaker) who loves Lysander (Charley Raintree) but her mother Egeus (Anne Carr Regan) wants her to marry Demetrius (Dixon Cashwell) who is loved by Hermia’s friend Helena (Maggie Roop).

Then there are the mechanicals – a rag-tag group of amateur actors rehearsing a play written by Quince (Elisabeth Ashby). Among them are Bottom (David White), Flute (John Mincks), Snug (Lucas Hall), Starveling (Eddie Webster) and Snout (LaSean Greene).

In the final story line Oberon, King of the Fairies (John Moon) with the assistance of his mischievous assistant Puck (Raven Lorraine Wilkes) is responsible for casting the love spells on various characters including his wife Titania (Melissa Johnston Price), who is quarreling with him over an Indian changeling boy that she has taken custody of, but he wants as his aide.

Stand out performances include White as Bottom (a pompous actor who gets turned into an ass) and Mincks as Flute (who, as was common in Shakespeare’s time, is cast in the play within a play as a woman). But it is Wilkes’ Puck that truly is the highlight of the show. Her personable Puck commands the stage with an impish smile and an infectious laugh. The elements of slapstick comedy liberally sprinkled throughout the production work well – especially with the Mechanicals and Audra Honaker and her suitors.

Richard Moxley’s set is basic, with interwoven sticks used as the fairy forest where most of the action takes place. BJ Wilkinson has the difficult task of lighting the stage, while competing in Act 1 with natural sunlight. In Act 2, dim blue lights in night scenes contrast with oranges at dawn and pinks in the “magical” scenes to enhance the mood. Virginia McConnell’s costumes are novel; with an early 1900’s type theme that is never quite explained with Shakespeare’s storyline.

Aptly timed, with ambient fireflies (or fairies?) to light up the sky; A Midsummer Night’s Dream makes for a magical early summer evening of entertainment.

Photo Gallery

The Mechanicals	John Moon as Oberon, Melissa Johnston Price as Titania and Paxton Martinez as the boy
The fairies	Raven Wilkes as Puck
Allison Blanton as Mustardseed and Raven Wilkes as Puck	Raven Wilkes as Puck and John Moon as Oberon
Melissa Johnston Price as Titania, David White as Bottom

Photos by Eric Dobbs

The Cast

The Nobles

• Theseus: John Moon
• Hippolyta: Melissa Johnston Price
• Hermia: Audra Honaker
• Lysander: Charley Raintree
• Helena: Maggie Roop
• Demetrius: Dixon Cashwell
• Egeus/Philostrate: Anne Carr Regan

The Fairy Kingdom

• Titania: Melissa Johnston Price
• Oberon: John Moon
• Puck: Raven Lorraine Wilkes
• Peaseblossom: Patrick Bello
• Cobweb: Catherine Smith
• Moth: Johanna Rozycki
• Mustardseed: Allison Blanton
• Indian Boy: Paxton Martinez

The Mechanicals

• Quince: Elisabeth Ashby
• Bottom: David White
• Flute: John Mincks
• Snug: Lucas Hall
• Snout: LaSean Greene
• Starveling: Eddie Webster

The Crew

• Director: Jan Powell
• Assistant Director: Melissa Rayford
• Production Manager: Austin R. Cooper
• Stage Manager: Hannah Adaway
• Costume Design: Virginia McConnell
• Lighting Design: BJ Wilkinson
• Set Design & Construction: Richard Moxley
• Sound Design: Andrew Craig
• Properties Management: David Plotnick
• Movement Specialist: Kaye Weinstein Gary
• Text Coach: Shirley Kagan

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

As I have said before, one of the many great things about theater in the Richmond area, is that there are such diverse offerings available to satisfy everyone’s taste. With that said, TheatreLab’s current production of Closer, just wasn’t close to suiting my tastes.

TheatreLab generally presents plays with a young, hip vibe. Closer is a very stylized play that is more like watching an art film live. Visually and aesthetically, the staging of the production is fabulous. Michael Jarrett’s lighting creates a foggy film-like quality with shadowy very directional shades of reds, pinks and yellows. McKenzie Sherwood’s costumes are overwhelmingly black and white to add to the dark dramatic atmosphere, with splashes of red added to more emotional scenes. Deejay Gray’s scenic design utilizes the RVA event space well, with much of the action right in the audience’s face in sets on the floor, and a variety of scenes rotated on the stage area itself.

However, it is the elaborateness of these multiple sets that in part drags the show down. In a play that relies heavily on stilted dialog in lieu of action; long set changes and slow, dark, repetitive music made the 2 1/2 hours seem much longer. Stagnant blocking and acting that tended to stay on one level added to the draggy feeling of the show. There is little emotional depth, which leaves little opportunity to feel or empathize with the characters.

Another problem is in the casting. While the cast is capable, many of the actors are just too young to play the parts in which they were cast. The plot itself is very basic; where three people in England living very dull, ordinary lives have drama added to their lives in the person of a young stripper, Alice (Theresa Mantiply). Dan (Thomas Cunningham) is an obituary writer, Larry (Evan Nasteff) a dermatologist and Anna (Liz Earnest) a portrait photographer. The play follows the four as they meet and then bounce back and forth between one another in purely sexual relationships. The themes are blatantly stated as life without risk is death and the best sex is anonymous.

Mantiply captures Alice’s flirty, coy seductress nature with a bit of bratty, self-absorbed likeability. Cunningham captures Dan’s duality as a bit of a nerd yet a bit of a perv. Nasteff comes across as more kind, naïve, sensitive and charming than diabolical as Larry (with his British accent he reminded me of Andrew Garfield on SNL this weekend — who knew he was British?) Earnest is the more prim and proper of the four, and captures Anna’s cold, stoic nature.

Director Chanelle Vigue’s blocking creates beautiful portraits and utilizes the large staging area well; but often gets bogged down in still-sitting talking heads.

Be warned there is strong sexual language and action as well as a great deal of cigarette smoking. For those who enjoy a dark, artistic study of the more sinister sides of human nature, Closer is the play to see.

Photo Gallery

Thomas Cunningham (Dan) and Evan Nasteff (Larry) with Liz Earnest (Anna) in background	Theresa Mantiply (Alice) and Thomas Cunningham (Dan)
Thomas Cunningham (Dan), Theresa Mantiply (Alice) and Liz Earnest (Anna)

Photos provided by TheatreLab

Cast

• Dan: Thomas Cunningham
• Alice: Theresa Mantiply
• Anna: Liz Earnest
• Larry: Evan Nasteff

Crew

• Director: Chanelle Vigue
• Stage Manager/ Assistant Director: Chelsea Burke
• Directing Intern: Joe Toscano
• Props Design/ Assistant Stage Manager: Maggie Bavolack
• Scenic Design: Deejay Gray
• Lighting Design: Michael Jarrett
• Assistant Lighting Design: Ashley Swiger
• Costume Design: McKenzie Sherwood
• Original Music and Sound Design: Greg Elingburg
• Production Manager: Aaron Mowles
• Run Crew: David Plotnick, Angie Judson, Emily Sargeant
• Poster and Program Design: Deejay Gray
• Promotional Photography: Lucy Dacus
• Promotional Videography: Annie Colpitts

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

It is hard to find fault with the script of a play that was nominated for Pulitzer and Tony Awards; yet that is just the situation I find myself in with Other Desert Cities. The script is talky, often contrived and predictable, frequently does not sound like natural conversations and is very preachy in its anti-Republican slant. However, strong performances by a flawless cast help breathe life into the current Virginia Rep production.

Brooke Wyeth (Sandi Carroll) returns to her conservative Republican parents’ Palm Springs home for Christmas, 2004. She has just finished writing a tell-all memoir about the death of her brother back in the 70’s, but has not yet sprung it on her parents; former actor Lyman (Joe Inscoe) and former Hollywood writer Polly (Irene Ziegler). The pair represent the old guard Hollywood Republicans who travel in social circles with the likes of Ron and Nancy Reagan, and playwright Jon Robin Baitz takes every opportunity to blame every problem in the last 40 years on the Republicans — from the Vietnam War to current wars in “other desert cities.” Also present are her other brother Trip (Mike Long) who is producing a cheesy TV courtroom show and recovering alcoholic aunt Silda (Melissa Johnston Price).

Much of the conflict is presented through divergent truths and differing accounts of past family history. The cast gels as a family being torn apart. Their casual conversations (sans some awkwardly written dialogue) are just as believable as are the angry outbursts in a typical family dynamic. The most captivating and heartfelt moments are the dramatic ones, except for Long, who is more effective in the light-hearted moments. Johnston Price is strong in both modes, in a role that plays perfectly to her laid back earthy talents.

Ben Burke’s set is both functional and eye-popping as the Wyeth’s living room that has been frozen in time in the desert and looks as if it came from a ’70’s Andy Williams Christmas special. Lynne M. Hartman’s lights add nice touches, especially in lighting a desert mountain backdrop and reflections from an unseen swimming pool. With the cast not miked in the large November Theatre it does get difficult at times to hear some pieces of the dialogue, especially when actors turn partially upstage.

Under the direction of Chase Kniffen, the cast makes Other Desert Cities a theatrical oasis of dramatic performances you don’t want to miss.

Photo Gallery

Joe Inscoe, Irene Ziegler	Mike Long, Melissa Johnston Price
Irene Ziegler, Melissa Johnston Price, Sandi Carroll, Mike Long, Joe Inscoe	Irene Ziegler, Joe Inscoe, Sandi Carroll
Melissa Johnston Price, Sandi Carroll	Mike Long, Sandi Carroll
Joe Inscoe, Irene Ziegler	Irene Ziegler, Sandi Carroll, Joe Inscoe

Photos by Aaron Sutten

The Cast

• Polly Wyeth: Irene Ziegler
• Brooke Wyeth: Sandi Carroll
• Lyman Wyeth: Joe Inscoe
• Trip Wyeth: Mike Long
• Silda Grauman: Melissa Johnston Price

The Crew

• Director: Chase Kniffen
• Stage Manager: Wendy Vandergrift
• Assistant Stage Manager: Luke Robinson
• Set Designer: Ben Burke
• Lighting Design: Lynne M Hartman
• Costume Design: Sarah Grady
• Light Board Operator: Linwood Guyton
• Cover art: Robert Meganck

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

Well, I can scratch off the last entry on my Musical Theater bucket list (and the one that was on it the longest). Wicked is now appearing at the newly refurbished, newly renamed Altria Theater courtesy of the Broadway in Richmond series. Up until now my only experiences with the prequel to “The Wizard of Oz” have been through “Glee” and the obsession of my old friend DJ. It was worth the wait.

Wicked starts where “The Wizard of Oz” leaves off, but then, through a flashback of Glinda the Good, we learn how the wicked witch became wicked (and how several other of the characters from the childhood classic book and movie became who they were) as Glinda explains why wickedness happens.

The power of the show is in the two principal actresses; Gina Beck as a glitzy and ditzy Glinda and Emma Hunton as Elphaba, the little green girl who becomes the wicked witch of the west. Beck’s sweet soprano vocals blend and contrast masterfully with Hunton’s powerful, rich voice. Hunton also flawlessly transitions from a meek, sensitive and insecure teenager to the powerful and domineering witch we all love to hate.

Added to their Broadway quality performances are spectacular special effects that are dazzling and visually stunning from the opening to the final curtain. Smooth, seamless scene changes flow like clockwork, as the set resembles the workings of a giant clock presenting the passage of time.

The cast is filled with great supporting performances as well; most notably Nick Adams as Fiyero, the love interest of both Glinda and Elphaba, Alison Fraser as Madame Morrible and Tim Kazurinsky (Of Saturday Night Live fame) as the Wonderful Wizard of Oz.

I can’t help but say, for great Broadway quality, family friendly entertainment, make it a point to catch this show while you can. You will have a Wicked good time.

The Cast (in order of appearance)

• Glinda: Gina Beck
• Witch’s father: Keith A. Bearden
• Witch’s mother: Marina Lazzaretto
• Midwife: Leslie Becker
• Elphaba: Emma Hunton
• Nessarose: Jenny Florkowski
• Boq: Jesse JP Johnson
• Madame Morrible: Alison Fraser
• Doctor Dilamond: Jud Williford
• Fiyero: Nick Adams
• Ozian Official: Keith A Bearden
• The Wonderful Wizard of Oz; Tim Kazurinsky
• Chistery: Raymond Joel Matsamura
• Monkeys, students, denizens of Emerald City, Palace Guards: Keith A Bearden, Shayla Beck, Leslie Becker, Nikki Bohne, Lauren Boyd, Kyle Brown, Nirine S Brown, John Carroll, Rick Desloge, Timothy A Fitz-Gerald, Heila Karls, Trevor Ryan Krahl, Rebecca Kritzer, Marina Lazzaretto, Raymond Joel Matsamura, Jonathan McGill, Shannon Mari Mills, Daniel Switzer

Disclaimer: Broadway in Richmond provided two complimentary media tickets to ShowBizRadio for this review.

A director has many important choices to make, especially when taking on a classic play like A Streetcar Named Desire. It is hard to be innovative and different without being over the top and campy. Tawnya Pettiford-Wates utilizes many such innovative approaches in the Firehouse Theatre’s current production with mixed results.

In Streetcar, Blanche Dubois (Bianca Bryan) is a fading Southern Belle who is losing her charm as well as her family’s estate in Mississippi and her sanity. She is forced to stay with her sister Stella (Lauren Marie Hafner) and her husband Stanley Kowalski (Joseph Carlson) who she has never met, in their small two-room (actually one room divided with a curtain) New Orleans apartment. Stella and Stanley are Blanche’s polar opposites. Stella is down to earth and laid back as compared to Blanche’s histrionics. Stanley is simple, common, primitive and low-class.

The play is a study of man’s ability to inflict deliberate cruelty on one another. Tennessee Williams made a career of creating strong, yet fragile and unbalanced women.

Much of the strength of a production of Streetcar rests on the shoulders of the three principal characters and their interpersonal conflict. While Carlson is powerful, raw and believable as Stanley, Bryan tends to create more of a caricature than a character. Her Blanche is a bit of Blanche from “Golden Girls,” Eunice from “Mama’s Family” and Norma Desmond from “Sunset Boulevard.” Her strongest scenes are those with Carlson, where her nervous energy seems more realistic. Carlson and Hafner also create emotional and sexual sparks in the volatile chemistry between Stanley and Stella.

Going back to directorial choices; a live jazz band in the off-stage lobby area and vocals by Margarette Joyner are a nice New Orleans touch in Act 2 that are for some reason not used in Act 1. Joyner’s vocals are a show stopper.

Scene changes and sometimes background scenes are done in drawn out slow motion that starts out innovative, but due to overuse becomes distracting. By the second act, they make the three-hour show seem even longer. The final scene change contained what seemed like an eternity of watching the upstairs neighbor come in and sweep the floor.

Likewise, the back wall of the apartment is a projection screen, with often grainy black and white street scenes that seemed out-of-place, contrived and distracting. One final issue comes with the use of accents and dialects that under Dialect Coach Janet Rodgers vary from traditional southern to Bostonian to unidentifiable to Forrest Gump-ish.

On the more positive side, Edwin Slipek’s set is elaborate, intricate and well designed for the Firehouse’s small stage. It effectively portrays the tight quarters that create a hot and volatile setting. Andrew Bonniwell’s light design helps set the mood and focus the action. Devario Simmons’ costumes fit the period and help establish and develop the characters, although some of the men’s costumes seemed a bit ill-fitting.

Overall, Firehouse Theatre’s A Streetcar Named Desire makes for an interesting character study with a mixed bag of innovative touches and some strong performances.

Do be advised there is strong sexual content, live cigarette smoke and a couple of loud gun shots.

The Cast

• Blanche DuBois: Bianca Bryan
• Stanley Kowalski: Joseph Carlson
• Stella Kowalski: Lauren Marie Hafner
• Harold Mitchell (Mitch): Charley Raintree
• Eunice Hubbell: Anne Carr Regan
• Steve Hubbell: Bill Brock
• Maybell, Street Vendor, Jazz Singer, Nurse: Margarette Joyner
• Percy Delacroix, Street Vendor: Jeremy Morris
• Young Man, Doctor: Alexander Gerber

The Crew

• Director: Tawnya Pettiford-Wates
• Assistant Director: Brandon Rashad Butts
• Stage Manager: Sharon Gregory
• Production Manager: Annie Colpitts
• Set Designer: Edwin Slipek
• Lighting Design: Andrew Bonniwell
• Costume Design: Devario Simmons
• Sound Design/Technical Director: Joey Luck
• Projections Design: Nathan Wunderlich
• Assistant Set Designer/ Master Carpenter: Joshua Bennett
• Assistant Costume Designer: Casey Jones
• Props Master: Katherine Wright
• Dialect Coach: Janet Rodgers
• Light Board Operator: Tessa Hoerst
• Music Director: Andrienne Wilson

The Band:

• Saxophone: Trey Sorrells
• Bass: Justin Esposito
• Percussion: Joe Lubman

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

One of my favorite cartoons as a kid was “Rocky and Bullwinkle.” What does this have to do with Henley Street Theatre and Richmond Shakespeare’s production of Wittenberg? Part of the old Rocky and Bullwinkle show was a segment called “Fractured Fairy Tales” where they would combine various stories into one. History meets Fractured Fairy Tales in the comedy, Wittenberg.

Star pupil Prince Hamlet attends Wittenberg University circa 1517 in Germany. His professors Doctor Faustus and Reverend Doctor Martin Luther teach philosophy and theology respectively. They each try to use their opposing belief system to help Hamlet solve his emotional angst about his pending kingship, his nightmares and his tennis game, while competing with each other for Hamlet’s heart, mind and soul.

In her introduction, Managing Director Jacqueline O’Connor reminds the audience that the combined theaters produce plays that are rich in language. Wittenberg uses Shakespearean English filled with modern references and plays on words. The fast paced comedy also uses language to explore the human belief system, whether it be religion which speaks to our souls, not our minds; or philosophy which seeks to free the mind.

Each of the four actors gives entertaining performances. Dixon Cashwell is innocent and likeable as the emotionally tortured Hamlet. Jeffrey Cole is charming and energetic as the devilish Faustus and Andrew Hamm is proper, stoic and anal retentive as Martin Luther. Stacie Rearden Hall is multi-talented in the multiple female roles. While at times it is distracting having just one woman play four different parts, Rearden Hall gives each character enough nuance to pull off the “Eternal Feminine” Greek chorus.

Director J. Paul Nicholas uses the intimate staging space at Richmond Triangle Players well, with Tennessee Dixon’s basic multilevel set and enough action within the audience area to keep it interesting. BJ Wilkinson’s lighting design also works well, especially during Hamlet’s nightmare and in a night-time scene.

I must add, philosophically some audience members may find some of the dialog as heretical as Luther’s teachings were in his time. As a part of the Acts of Faith Festival, however, this is certainly one of the most thought-provoking productions this year.

To see or not to see, THAT is the question; and unquestionably this clever and creative comedy makes for a quality evening of entertainment.

Photo Gallery

Dixon Cashwell as Hamlet	Jeffrey Cole as Dr. Faustus, Dixon Cashwell as Hamlet, Stacie Rearden Hall as the Eternal Feminine and Andrew Hamm as Martin Luther

Photos by Chris Smith

The Cast

• Hamlet: Dixon Cashwell
• Dr. Faustus: Jeffrey Cole
• Martin Luther: Andrew Hamm
• The Eternal Feminine: Stacie Rearden Hall

The Crew

• Director: J. Paul Nicholas
• Production Manager: Austin Cooper
• Stage Manager: Cameron Tarry
• Set Design: Tennessee Dixon
• Costume Design: Jocelyn Bowman
• Lighting Design: BJ Wilkinson
• Sound Design: Andrew Craig
• Properties: Jacquelyn Craig
• Technical Director: Vinnie Gonzalez
• Dramaturg: Brittany Ginder
• Music Director: Andrew Hamm
• Costume Assistant: Lauren Venezia
• Wardrobe: Jackie Cook
• Interns: Kyra Anderson, Amanda Billips, Nick Dauley, Julia McKinnon

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

The patrons of CAT Theatre voted on what play they wished to see produced again to celebrate the theater’s 50th anniversary, and they chose Enchanted April. It was an appropriate choice coming from a mostly “seasoned” and well-educated looking crowd, as in many ways it reminded me of a PBS broadcast on stage.

In 1922 England, housewife Lottie Wilson (Donna Marie Miller) is a Pollyanna living a dull, dreary and loveless life with her domineering husband Mellersh (Bob Murphy). She sees an ad in the newspaper for a vacation castle for rent in Italy in April owned by Anthony Wilding (Tyler Simpson). She meets fellow sad and lonely housewife Rose Arnott (Louise Mason) who is married to philandering writer Frederick (Scott Garka) and convinces her to join her in escaping for a month away from their husbands. In order to afford it, they place an ad looking for two more women to join them and find sexy dancer Lady Caroline (Elizabeth Ashby) and dowager Mrs. Graves (Toni Cacioppo) who is Dame Maggie Smith embodied.

The vacation spot proves the answer to what ails this cast of sad and dreary people living in sad, dreary and rainy post World War I England, bringing them well needed spiritual rejuvenation.

All the pieces work well in this comedy, and each of the performers is perfectly cast by Director Pat Walker. I must single out the comedic skills of Susan Gerber, who makes the most of a supporting role as a non-English speaking Italian housekeeper. Donna Marie Miller is entertaining, energetic and fun as the central character; and Louise Mason is enthralling in the emotional and spiritual changes that Rose experiences as she blossoms.

Tony Turner’s set’s in Act I are functional and well-chosen; dividing the stage into thirds to allow for the frequent quick set changes. However, his bright and colorful Italian villa is beautifully lavish for the entirety of Act II. Charlotte Scharff’s costumes also perfectly contrast the change in the characters from drab in Act I to bright and cheery in Act II. Alan Armstrong’s lights also work well to enhance the mood and feel of each scene, with bright differentiation in Act II.

As we enter April and the end of our own long drab winter, step away from “Downtown Abbey” and watch live English comedy at its best at CAT Theatre.

Photo Gallery

Toni Cacioppo, Susan Gerber	Scott Garka, Louise Mason
Donna Marie Miller, Bob Murphy

Photos provided by CAT Theatre

The Cast

• Lottie Wilton: Donna Marie Miller
• Rose Arnott: Louise Mason
• Mellersh Wilton: Bob Murphy
• Frederick Arnott: Scott Garka
• Lady Caroline: Elisabeth Ashby
• Mrs. Graves: Toni Cacioppo
• Costanza: Susan Gerber
• Anthony Wilding: Tyler Simpson
• Carmella: Camilla Davis

The Crew

• Director: Pat Walker
• Stage Manager: Katherine-Ann Bishop
• Assistant Stage Manager: Joiseph Bishop
• Executive Producer: Kelly St. Clair
• Associate Producer: H. Lynn Smith
• Technical Director: Kent Walker
• Set Designer: Tony Turner
• Lighting Design: Alan Armstrong
• Costume Design: Charolotte Scharff
• Assistant Costumer: Betty Williams
• Sound Design: Buddy Bishop
• Props Coordinator: Andrea Wainwright-Zimmerman
• House Manager Coorodinator: Linda Sue Underwood
• House Management Team: Shari Adams, Casey Scallion, June Spencer, Lerita Carter, Celie Seeber, Christa Marshall, Janice Jones
• Light Board Operator: Katherine-Ann Bishop
• Sound Operator: Dan Gerstenlauer
• Set Construction Crew: Kent Walker, Dick Collins, Ginette Bellefeulle, Dan Gerstenlauer, Laurie Follmer, Marc Follmer, Lin Heath, Kelly St. Clair, Granville Scott, Rose Marie Mitchell, Tony Turner, Pat Walker, Betty Williams
• Costume Construction Team: Joe Bishop, Alison Eichier, Andrea Garks
• Marquee: Lin Heath
• Cast Photos: Kinney Thompson
• Season Show Logos: Mike Fletcher
• Poster Artwork: Mike Flecther and Art Trotter
• Playbill: Mike Fletcher
• Web Designer: Tony Turner
• Concessions Manager: Lynn Bailes

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