When producing a play such as Steel Magnolias, which has been made into an iconic movie with an all-star cast; it is hard to not face comparisons. However, in Virginia Repertory Theatre’s current production, it does not take the extremely talented cast very long to change the perspective from “she doesn’t look or sound like Sally Field,” to oh did Sally play this part too? The entire cast gives such strong performances and wraps their talent around creating unique takes on the characters rather than trying to simply recreate the familiar theatrical versions.

Virginia Rep is celebrating the 60th anniversary of the founding of Barksdale Theatre at Hanover Tavern with this production of Steel Magnolias. And it is an excellent choice. The play takes place around 1989 in Truvy’s Beauty shop in the small southern town of Chinquapin, Louisiana. It focuses on the bonds of love and friendship between six local women. The shop is not only the heart of the entire play, but the owner, Truvy is the heart of the group of women. As portrayed by Joy Williams, Truvy is an energetic and gossipy southern firecracker.

Her group of friends include bride-to-be Shelby and her domineering mother M’Lynn. Aly Wepplo is warm, youthful, spunky and loveable as Shelby while Kelly Kennedy is steady and controlled as the rock of the group, M’Lynn. Kennedy has a Meredith Baxter-like quality that allows her to be stoic and firm, yet likeable and funny.

Maggie Roop is shy, self-conscious and anxious as Truvy’s new assistant Annelle. Rounding out the group are two of the towns older and wealthier residents, widow and former town first lady, Clairee and local curmudgeon Ouiser. Jacqueline Jones is proper and dignified as Miss Clairee, but it is Cathy Shaffner who steals the show as Ouiser. Her every movement and line seemed to bring down the house with her comedic timing, facial expressions and actions. I am not one who usually laughs out loud, but she had me bursting out in laughter over and over.

The script is filled with one liners and zingers, which all six actresses deliver with great skill. One of my only complaints was that sometimes the actresses did not wait for the laughs to peak; cutting the audience response short. Since this was opening night, I am sure they will learn to listen and respond more to their audience.

All six actresses are also stellar in creating characters who are not caricatures. They are quirky, funny and relatable. This makes the ending even more powerful as you feel their love for one another and their shared pain.

Terrie Powers’ set and K. Jenna Ferree’s lighting are bright and colorful and appropriately set the mood. Pictures on the walls of big haired 1980’s doos help establish the time and setting. I especially loved the authenticity of the working hair sink and big old hair dryers.

Director Steve Perigard keeps the action visually interesting and varied. He uses all angles of the small three-sided stage to keep the blocking fresh, and provides constant business for all six actresses. It is like watching the kitchen with the wonderful actresses of the Golden Girls (+2) with so much to constantly take in.

The only other drawback was that each act had one scene change which seemed to run a bit long. They were filled nicely with Christmas music and a newscast; and will hopefully move more quickly during the run of the show.

As a reviewer, I have always wanted to say this — you’ll laugh; you’ll cry! Most of all you’ll enjoy the heart-warming time spent with the lovely and talented women of Richmond, via Chinquapin, Louisiana.

Photo Gallery

Cathy Shaffner, Kelly Kennedy	Aly Wepplo
Aly Wepplo, Jacqueline Jones, Joy Williams	Joy Williams, Kelly Kennedy
Aly Weeplo, Joy Williams, Maggie Roop, Jacqueline Jones	Joy Williams, Aly Wepplo
Aly Wepplo	Maggie Roop, Jacqueline Jones

Photos by Jay Paul

Cast

• Shelby: Aly Wepplo
• M’Lynn: Kelly Kennedy
• Truvy: Joy Williams
• Ouiser: Cathy Shaffner
• Clairee: Jacqueline Jones
• Annelle: Maggie Roop

Production Staff

• Direction: Steve Perigard
• Scenic Design: Terrie Powers
• Lighting Design: K. Jenna Ferree
• Costume Design: Sue Griffin and Marcia Miller-Hailey
• Stage Management: Chase Kniffen

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

Once again my day job as a special education teacher has crossed paths with my theater experience. Cadence Theater Company in partnership with Virginia Repertory Theater is exploring what life is like for people with mental illnesses and those who love them in their current production of Next to Normal at the Sara Belle and Neil November Theatre, Marjorie Arenstein Stage.

Having worked with individuals who have been diagnosed with bi-polar disorder, I have seen people who “talked” to Kurt Cobain, sanitized every inch of their house only to start over when they were done, and both attempted and successfully committed suicide.

Next To Normal follows the struggle of Diana, a housewife portrayed by Broadway veteran Andrea Rivette, a suburban housewife suffering with bipolar disorder. Rivette is riveting in displaying Diana’s introspective journey and feelings of being depressed, anxious, lost and confused. Her pain is real and her vocals stellar. However, she does not quite let go in Diana’s manic moments, leaving the audience to fill in the highs that mark bipolar disorder’s roller coaster ride in contrast to the lows.

The rest of the cast is just as powerful in their roles of Diana’s family, and those around them. Terence Sullivan is strong yet subtle as Diana’s son Gabe. He possesses the youthful charm and likeability of Finn on Glee. His body language and facial expressions enhance the emotion of his voice in each of his vocals. Duke Lafoon displays the anguish, confusion, and emptiness of her husband Dan, who tries to carry on as if everything is all right. Christie Jackson gives pathos and honesty to Diana’s 16-year-old daughter, Natalie and John Mincks adds both humor and emotion to Natalie’s boyfriend, Henry. Russell Rowland rounds out the cast with his booming voice and domineering presence as Dr. Madden/Dr. Fine (playing multiple doctors exemplifies how in Diana’s life, all the doctors seem the same).

The true to life book and lyrics by Brian Yorkey explore questions like “what IS normal?” and “which is worse, the symptoms or the cures?” Sadly, it is still trial and error in treating mental illness and the terrible side effects often result in patients ceasing their medication, or self-medicating with alcohol and drugs, leading to even more damage in their lives. The music by Tom Kitt adds to the range of the emotions from angry rock to tear-filled ballads.

Brian C. Barker’s modernistic set is captivating, with three levels, moving curtains, reflective glass doors and video screens created a visually stunning presentation. K. Jenna Ferree’s hues of orange, green and purple lighting enhance Director and Choreographer Chase Kniffen’s staging. The pace is brisk and the action enthralling and constantly moving as we walk through the spiraling effects of drugs and electro shock treatments on Diana. Sue Griffin’s costumes were appropriate to the piece and the characters.

As with any production of this magnitude, there were occasional technical glitches; a late lighting cue or an actor temporarily moving out of their lighting, and mic levels that were sometimes unbalanced, leaving Dan’s vocals overpowering Diana’s or Gabe’s at times. However, I saw the second day of the production, so I am sure these will be worked out.

If you want to see a production that is both vocally memorable and emotionally powerful, then to quote the title of one of the show’s songs, Next To Normal is “Perfect For You.”

Photo Gallery

Andrea Rivette (Diana) and Russell Rowland (Dr. Madden/Dr. Fine)	Duke Lafoon (Dan) and Andrea Rivette (Diana)
Duke Lafoon (Dan) and Andrea Rivette (Diana)	Andrea Rivette (Diana) and Duke Lafoon (Dan)
John Mincks (Henry) and Christie Jackson (Natalie)	Terence Sullivan (Gabe) and Andrea Rivette (Diana)

Photos by Jason Collins Photography

Cast

• Diana: Andrea Rivette
• Gabe: Terence Sullivan
• Dan: Duke Lafoon
• Natalie: Christie Jackson
• Henry: John Mincks
• Dr Madden/Dr. Fine: Russell Rowland

Production Staff

• Direction, Choreography and Video Design: Chase Kniffen
• Musical Direction: Kim Fox
• Scenic Design: Brian C. Barker
• Lighting Design: K. Jenna Ferree
• Costume Design: Sue Griffin
• Stage Management: Wendy Vandergrift
• Scenic Artists: Lara Koplin and Adam Dorland
• Property Design: McLean Jesse
• Sound Design: Matthew Landwehr

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

As I have mentioned in several other recent reviews, the Richmond area is currently producing 18 plays by 16 theaters as a part of the Acts of Faith Festival. With so many shows, I almost missed Cadence Theatre Company in partnership with the Virginia Repertory Theatre’s production of Stephen Karam’s Sons of the Prophet. Thankfully, I did not miss this dark comedy, which was a finalist for the 2012 Pulitzer Prize for Drama. Sons of the Prophet explores human pain and suffering, sickness and death, mixed with humor, warmth and charm.

Cadence Theatre Company in partnership with the Virginia Repertory Theatre (yes, it’s a mouth full!) has brought together a cast filled with some of Richmond’s A-list actors.

The main character, Joseph is a young Lebanese-American living in Nazareth, Pennsylvania. With a frustrating job, unexplained chronic pain and several crises at home; his health, sanity, and insurance premium are all on the line. He has a distant relative who has written a book called “The Prophet.” Joseph and his family are forced to face numerous tragedies that ring of the universal pain all families must face. Each must find their own way to deal with these painful realities through their own hope and faith.

There are just not going to be enough superlatives to describe the performances. Each actor adds to the three dimensionality of the family dynamics. As they talk over one another, and don’t truly hear one another, it gives a feeling of watching a real family. The cast truly connects on a believable level to their characters, the audience and one another. The dark humor mixes beautifully with the harsh painful reality.

Ryan Bechard, as Joesph, is reminiscent of Glee’s Matthew Morrison. He displays Morrison’s charm, good looks and occasional brooding, thoughtful demeanor (like, for Glee fans, after he was left at the altar this week). He shows tremendous range and authenticity in both his emotional and physical pain.

D J Cummings is equally likeable and charming as Joseph’s younger brother Charles. He is innocent and childlike, yet sarcastic and bratty.

Alan Sader (as his bio says, “the guy with the beard” in the Christian Children’s Fund commercials) is grandfatherly and exudes old world charm as Uncle Bill. His character is “ethnic” but in a way that anyone could relate to him — he could be European, Jewish, or, as is the case, Lebanese-American. He also is consistent in his physicality of Bill’s disabilities.

The supporting cast outside of the family each stand out in their performances as well. Melissa Johnston Price is hysterical as Joseph’s rich, deranged, neurotic and wine-loving boss Gloria. She brings great nervous energy and eccentricity to the role, without being over the top. Picture Wendie Malick aka Victoria Chase in Hot in Cleveland at her best.

Evan Nasteff is also engaging and realistic as Timothy; the TV Reporter/love interest for Joseph (by the way, both Joseph and his brother Charles are gay).

Rounding out the cast are Marquis Hazelwood, as Vin, the young man who causes the death of Joseph’s father; and Jacqueline Jones, Kimberly Jones-Clark in multiple roles. Each adds great comic ability and timing to their scenes. Jones and Jones-Clark are side-splittingly funny as two Midwestern soccer mom/school board members, and Jones-Clark’s Dr. Manor is Ellen DeGeneres incarnate. Hazelwood switches from hilarious nervousness and innocence to emotionally vulnerable fluidly and believably.

The play is perfectly directed by Anna Johnson. I have heard stories about Cadence being legendary with their abilities to design extraordinary sets on their small stage, and Sons of the Prophet did not disappoint. Scenic Designer Terrie Powers created a multidimensional set that is functional and basic but visually spot on. Lighting Designer Brian Barker and Sound Designer Andrew Hamm help set the mood and enhance the production. Costume Designer Lynn West created outfits that fit the character and were visually appealing.

The play is energetic and moves along briskly. Even the set changes are fast and smooth, with cast members doubling as set crew, yet remaining in character visually as they do it.

Families beware, there is some strong sexual content and language. My only real disappointment was that the play left me wanting more. The actors and their characters were so engaging and likeable, it left me wanting to know what would happen to them next; but isn’t that the sign of a truly great play?

Photo Gallery

Ryan Bechard as Joseph and Evan Nasteff as Timothy	DJ Cummings as Charles and Marquis Hazelwood as Vin
Melissa Johnston Price as Gloria and Alan Sader as Bill	Jaqueline Jones as Mrs. McAndrew and Ryan Bechard as Joseph

Photos by Jason Collins Photography

The Cast

• Joseph: Ryan Bechard
• Gloria: Melissa Johnston Price
• Physician’s Assistant/Dr. Manor/Board Member #1: Kimberly Jones-Clark
• Bill: Alan Sader
• Charles: D J Cummings
• Ticket Agent/Automated Voice/Board Member #2/Mrs. McAndrew: Jacqueline Jones,
• Timothy: Evan Nasteff
• Vin: Marquis Hazelwood

The Crew

• Director: Anna Johnson
• Assistant Director and Stage Manager: Sarah Stepahin
• Stage Manager: Kim Pawlick
• Production Manager and Properties Design: McLean Jesse
• Technical Director: Matthew Landwehr
• Scenic Design and Scenic Painting: Terrie Powers
• Stagehand: Reid Kirtley
• Lighting Design: Brian Barker
• Costume Design: Lynn West
• Sound Board Operator/Production Intern: Taniqua Jones
• Master Electrician: Emily Clarkson
• House Management: Sarah Stepahin and Anna Johnson
• Photography: Jason Collins Photography
• Internet Services Manager: Lindsay C. Terrell
• Publications and Social Media Marketing Director and Program Design: Billy Christopher Maupin
• Program Design Support: Susan Senechal
• Administrative and Marketing Intern: Sarah Stepahin
• Literary Associate: Claire Yenson

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

Cotton Patch Gospel is another entry in the Richmond Acts of Faith Festival. It is presented by Virginia Repertory Company at Hanover Tavern’s Barksdale Theater. Adapted from books by Clarence Jordan, this musical by Tom Key and Russell Treyz retells the Gospels of Matthew and John set in the mid-20th-century American South. The music and lyrics were written by Harry Chapin (who was the first celebrity I ever interviewed, but I’ll save that story for another time.) These were the final songs he wrote just before he died in a car accident in 1981.

Jordan was a farmer and New Testament Greek scholar. In 1942, he founded Koinonia Farm, an influential religious community in southwest Georgia that still exists today. Jordan was very involved in the civil rights movement and social justice. In an effort to translate both the words and context of the scripture, he wrote several popular “Cotton Patch” adaptations of the New Testament, resetting the lives and preaching of Jesus and the Apostle Paul in contemporary rural Georgia. Virginia Rep is partnering with Habitat for Humanity to celebrate the writings of Clarence Jordan and his role in the founding of that organization.

The story of the theater itself is a fitting one for this play as well. In 1953, six young actors traveling south from NYC intent on finding a barn to put on shows (à la Judy Garland and Mickey Rooney) found the Hanover Tavern. Originally called the Barksdale Theater, it is now a part of Virginia Rep. The rustic “barn-like” stage were a perfect setting for this show. Set designer Terrie Powers uses just a variety of stringed instruments (acoustic guitars, fiddles, banjos and a giant bass guitar) and some milk crates to appropriately set the scene.

The play itself is kind of a cross between a bluegrass version of Godspell, and an episode of “The Smothers Brothers” or “Hee Haw.” Much of the show is laid back and informal, with cast members opening each act by strumming their instruments and joking with the audience.

Christopher Stewart plays the lead role as “Matthew,” but also portrays numerous other roles including the Narrator, John the “Baptizer” and Jesus. Musical Director Drew Perkins, Lucas Hall, Brian Sulsar, Eric Williams, and Corey Wells round out the cast and make up the live bluegrass band that accompanies all the songs on stage.

Jesus, in Cotton Patch Gospel, is born in Gainesville, GA to High School football player Joe Davidson, and his girlfriend Mary. They are visited by wise men, after she gives birth in a trailer, behind the motel, and receive gifts like an American Express GOLD Card. In the end, they go to Atlanta, where Jesus is lynched by the KKK.

Stewart is kind of a southern Matthew Broderick in displaying charm and likeability as Jesus. Stewart’s vocals are gentle, pure and “Christ-like.” He maintains a great connection with the audience through his eye contact and movements.

My only complaint is one I am assuming comes from the writers and not Director Chase Kniffen; the fact that Stewart winds up playing so many pivotal characters. Things get a bit muddled in scenes where Stewart must jump back and forth between being Jesus and John or Jesus and Matthew. With five other actors on stage only playing relatively minor parts, it would have seemed more sensible to have the lead actor play only Jesus and the narrator. Putting these demands on one actor might have appeared less burdensome if Stewart displayed more vocal and physical variety in each character. John the Baptizer, for example, was distinguishable as a bigger than life, fire and brimstone Southern Baptist preacher, but many of the other characters tended to meld into any resident of Mayberry RFD. Again, since I have never seen this show before, I am assuming it was written this way.

The Bluegrass band gives a great performance and is adept vocally and instrumentally. At times one voice does out power the others and at other times, things can get off key (like in the song “Blind Date”) but it is hard these days doing live music without voice tracking or autotune (right Beyonce?) They are at all times energetic and entertaining.

One poignant moment (again I don’t know if it is scripted this way or was the director’s choice) came when Corey Wells sang at the lynching/crucifixion after being silent throughout the rest of the show. His soft, innocent tones perfectly enhanced the moment.

Kniffen uses the small space well, especially with exits and entrances throughout the theater. The story is novel, and Chapin’s music is catchy. Cotton Patch Gospel is a hand-clapping, foot-tapping good ol’ time.

Photo Gallery

Photos by Jay Paul

Cast

• Matthew: Christopher Stewart
• Lucas: Lucas Hall
• Drew: H. Drew Perkins
• Brian: Brian Sulsar
• Eric: Eric Williams
• Corey: Corey Wells

Crew

• Director: Chase Kniffen
• Set Design: Terrie Powers
• Light Design: K. Jenna Ferree
• Costume Design: Marcia Miller-Hailey
• Musical Director: Drew Perkins

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

Zero Mostel and Gene Wilder. Nathan Lane and Matthew Broderick. These classic duos are known for bringing to life the film and Broadway versions of Mel Brooks’ The Producers. Add to them the pair of Jason Marks and Scott Wichmann who are currently appearing at the November Theater in Richmond in Virginia Rep’s current production of the musical version.

In another first for me, I brought my parents to see a recent matinée, since they are from the same generation as Brooks; to help me evaluate the quality of the performance. My parents, who grew up in NYC and saw many a Broadway Show (my Great Uncle worked on Broadway!) said over and over, “the show was good, but those two leads were great – they should be on Broadway!”

This Mel Brooks comedy tells the story of a washed up Broadway producer, Max Bialystock (Marks), and a neurotic accountant, Leo Bloom (Wichmann), and their scheme to make millions on a Broadway flop. The music and lyrics of the sixteen songs are by Mel Brooks, and the show is filled with Brooks’ signature slapstick shtick, and physical comedy.

My mother was most impressed with Marks’ ability to belt out and dance to wild and fast musical numbers and yet not skip a beat to catch his breath in each scene immediately afterwards. Marks had excellent comic timing, physicality of the humor, and a wide range of facial expressions. Vocally, he was always pitch perfect and could easily have carried the show by himself.

Fortunately, Wichmann was every bit his equal and added such an innocent “nebbish” like-ability in his characterization of Bloom. Their voices blended perfectly together, and their comic timing in playing off each other never missed a beat. In some ways the pair could be compared to Laurel and Hardy. Wichmann was a bit of Rick Moranis, Gilbert Gottfried, Jerry Lewis and Arnold Stang (I didn’t get this reference, but in looking him up on Wikipedia, my mother, as always, was right) all rolled into one.

Perhaps it was because the duo was so superior, it made the rest of the cast just “good” in comparison. Now, this is not necessarily a bad thing, because they weren’t bad either. The ensemble was bright, energetic and talented and both vocally and in dance were enjoyable. The actors in the other principal roles, however, never quite reached that extreme level needed to pull off a Mel Brooks’ caricature role. Think of the roles in movies such as “Blazing Saddles” and “Young Frankenstein.” Everyone is just so over the top.

Rachel Abrams (Ulla) was every bit the beautiful, leggy sex bomb. Her singing voice, especially in numbers where she could belt it out, were excellent. But her Swedish accent was inconsistent and at times sounded more like a Southern Belle. She also didn’t quite hit the nuances between Ulla’s innocence (wink, wink) versus her cunning.

Jody Ashworth (Franz Liebkind) also had a wonderful singing voice. However, his German accent was also inconsistent and his presence not as domineering and scary as it should have been. The dancing pigeons in his first scene were a hilarious touch and almost stole the scene.

J. Clayton Winters (Carmen Ghia) and Michael Hawke (Roger De Bris) were also “good” in their roles, but weren’t quite flamboyant and wild enough for a Brooks’ comedy. Especially in the musical, Hawke really needed to ramp up the flame!

Brian Barker’s sets were overall impressive and decorative. The height and depth with which they filled the stage were eye-popping. Combined with Lynn Hartman’s lighting, they were certainly interesting, exciting and professional quality. All, I should say, except for a city-scape background that was used for multiple purposes throughout the show. It wasn’t quite cartoonish nor realistic; and there were problems both with wrinkles in the sky and with the drop swaying every time an actor or stage crew member walked behind it.

Patti D’Beck, who doubled as director and choreographer, did a commendable job of staging the lavish musical. Complete with tap numbers and kick lines, every moment was smooth and interesting. Sue Griffin’s costumes were true to the feel of both the movie and Broadway show; and Derek Dumais’ sound design worked well in the large theater.

The entire staff should be proud of this production of The Producers. Catch it before you have to pay a lot more to see Marks and Wichmann on Broadway.

Photo Gallery

Scott Wichmann, Michael Hawke as Roger De Bris, Jason Marks	Scott Wichmann as Leo Bloom and Jason Marks as Max Bialystock
Scott Wichmann with ensemble	Alanna Thomas and Jason Marks
Scott Wichmann and Jason Marks	Scott Wichmann, Jody Ashworth as Franz liebkind, Jason Marks
Jason Marks, Rachel Abrams as Ulla, Scott Wichmann	Cast in the finale of Leo and Max’s production of ‘Springtime for Hitler’

Photos by Aaron Sutten

Cast (in order of appearance)

• The Usherettes: Jacqueline Reynolds, Mary Anne Furey
• Max Bialystock: Jason Marks
• Leo Bloom: Scott Wichmann
• Hold-me Touch-me: Carolyn Meade
• Mr. Marks: Paul S. Major
• Franz Liebkind: Jody Ashworth
• Carmen Ghia: J. Clayton Winters
• Roger De Bris: Michael Hawke
• Bryan: Drew Seigla
• Kevin: Elliott Lau
• Scott: James Schoppe
• Shirley: Carolyn Meade
• Ulla: Rachel Abrams
• Lick-me Bite-me: Martha Johnson
• Kiss-me Feel-me: Laura Bland
• Jack Lepidus: Christopher M. Stewart
• Donald Dinsmore: Neil Rushnock
• Jason Green: Garrett Henson
• Lead Tenor: Drew Seigla
• Sergeant: Drew Seigla
• O’Rourke: Christopher M. Stewart
• O’Riley: Paul S. Major
• O’Houlihan: Josh Marin
• Bailiff: Drew Seigla
• Judge: Paul S. Major
• Foreman of Jury: Christopher M. Stewart
• Trustee: Elliott Lau
• The Ensemble: Laura Bland, Mary Anne Furey, Lauren Marie Hafner, Garrett Henson, Martha Johnson, Elliot Lau, Paul S. Major, Josh Marin, Brittany Martin, Carolyn Meade, Jacqueline Reynolds, Neil Rushnock, James Schoppe, Drew Seigla, Christopher M. Stewart, Alanna S. Thomas

Crew

• Director and Choreographer: Patti D’Beck
• Assistant Choreographers: Valerie Acetta, J. Clayton Winters, Marissa Guida/li>
• Musical Supervisor: Douglas Minerd
• Associate Musical Supervisor: Ben Miller
• Scenic Designer: Brian C. Barker
• Lighting Designer: Lynne M. Hartman
• Costume Designer: Sue Griffin
• Sound Designer: Derek Dumais
• Stage Manager: Wendy Vandergrift

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