Here is the scenario. A cricket in Connecticut gets a whiff of some food in a picnic basket and ends up in a busy Times Square subway station where he becomes a sensation for his musical talents. How do you translate this to the stage? Well…. you commission a second generation world class musician to write the piece for a world class orchestra and a young virtuoso of the violin, and then hire some of  DC’s best performers to bring the characters to life…that’s how. The Cricket in Times Square, which had its world premiere this past Sunday in the Kennedy Center’s Concert Hall, was a joint commission between the National Symphony Orchestra and the Kennedy Center and is similar to a piece performed a few years ago called The Trumpet of The Swan. The similarities include featuring a solo musician as the main focus of the story which in this case was violinist Nick Kendall.

…an unforgettable experience for kids and adults alike.

The Cricket in Times Square is based on George Selden’s Newberry Honor Book of the same name and tells the story of the Bellini family. Son Mario (Jason Phillips) and his parents Mama (Donna Migliaccio) and Papa (James J. Johnson) run a newsstand in a Times Square subway station. When Mario finds a cricket who he names Chester, Mario wants to keep it as a pet. Mama is not amused. But this is no ordinary cricket.  After a fire destroys the family newsstand, Chester saves the day and shoots to stardom by giving rush hour concerts. He can play everything from classical to John Philip Sousa marches. Enter Tucker Mouse (Michael Russotto) and Harry Cat (Holly Twyford) two enterprising types who see Chester as a business opportunity. Tucker is actually the one that triggered the fire and is now Chester’s manager. Nightly he has Chester practice pieces of music he hears on the radio to expand his repertoire. You can only guess what happens after. I won’t give away the ending but think about what happens to you after going at that pace for awhile.

The piece was written by Chris Brubeck who is the son of jazz legend Dave Brubeck. His music captures the bustling pace that is Times Square while incorporating popular pieces of music as well. He even managed to get six bars of his dad’s classic “Blue Rondo Ala Turk” into the show (nice touch). Then we have our own local treasure known as the National Symphony Orchestra to play Brubeck’s music. Again, I am in awe of the musicianship put forth by this ensemble and by the boundless amount of energy that is put out by maestro Steven Reineke, who turned in a very good cameo performance as Paul the Train Conductor.

As this was a concert-staging, Director Scot Reese made good full use of the entire stage including the upper chorister balcony and the theatre aisles without over staging the piece. He knew when to just let the artists do what they do best.

Soloist Nick Kendall as the musical part of the character of Chester exhibited great stage presence and remarkable musical ability while Doug Brown as the Narrator gave Chester his speaking voice. The result was a perfect combination.

Photo by Scott Suchman.

There is nothing I can say about Holly Twyford that you don’t already know. Her comic timing as Harry Cat was perfect as was Michael Russotto’s hysterical Tucker Mouse. When you put these two giants of DC theatre together, what can I say. It is an experience you want to have repeated as much as possible.  Likewise for Donna Migliaccio and James J. Johnson and the Bellinis. Migliaccio commands the stage in whatever she does and this piece was no exception. Johnson turned in another solid and heartwarming performance as well. As Mario, Jason Phillips gave an energetic and touching performance. You could really see the love he had for Chester and you knew how much he cared for him. I don’t want to forget Tony Nam who doubled as a Chinatown merchant named Sai Fong and as the music critic Mr. Smedley who is instantly impressed by Chester’s musical ability.

All in all Brubeck and company have created a piece which I hope will become part of the repertoire for kids the way Peter and the Wolf did all those years ago. It introduces children to music in a fun and entertaining manner. When presented the way it was here, the combination of the orchestra, performers and Kendall as the soloist made The Cricket in Times Square an unforgettable experience for kids and adults alike.

Running Time: 55 minutes with no intermission.

The Cricket in Times Square was a one day two performance event in Kennedy Center’s Concert Hall on May 19^th, 2013. For future family concerts and other upcoming events from the NSO, click here.

Malinda Markland

Malinda Markland is currently playing the role of Mother in Ragtime at Kensington Arts Theatre. This is not Malinda’s first time at KAT. Previous highlights at KAT include Sweeney Todd The Demon Barber of Fleet Street and The Great American Trailer Park Musical.  Other area credits include Nancy in Oliver at St. Marks Players, James Joyce’s The Dead at Quotidian Theatre Company, Avenue Q at Annapolis Summer Garden, and The Drowsy Chaperone at Reston Community Players. My first time seeing Malinda was at St. Marks Players in Oliver where her “As Long as He Needs Me” was a true highlight of the evening. Her performance in Ragtime is no different as her eleven o’clock song “Back to Before” truly stops the show.  I hope the professional theatres take note and give Malinda her big break. Here’s hoping more audiences get to see her in action, but until then you have one more week to see her in Ragtime at KAT.

Growing up what was your favorite musical?

My dad took me to see CATS at the National Theatre when I was seven. That was the first big musical I ever saw, so I was very into that show for quite some time (which is weird because dance has never been my strong suit and I was terrified of all animals as a child). As I got older, my interest in/obsession with musical theatre grew, and I spent a lot of time listening to any and every Broadway cast recording I could. Looking back, I have to say my absolute favorite was Les Misérables.  I owned the 3-disc complete symphonic recording of that show, and I spent an inordinate amount of time belting along with and trying to emulate the performers on it. I should probably give them vocal coaching credit.

Ragtime is not your first production at Kensington Arts Theatre. Can you please tell us about some of the other shows you have performed in at KAT?

Previous KAT shows include Into the Woods (Rapunzel), Company (Jenny), Urinetown (Old Ma Strong/Julie Cassidy), Sweeney Todd (Beggar Woman), Zanna, Don’t! (Candi), The Great American Trailer Park Musical (Jeannie Garstecki), and The Rocky Horror Show (Eddie- nope, this is not a typo). I have a history of playing quirky, somewhat spastic characters at KAT. Don’t get me wrong, I love playing kooks, but Mother has been a welcome departure!

Malinda Markland. Photo courtesy of Kensington Arts Theatre.

Of the shows you have performed in, what are some of your favorite roles and what is the one role you would most like to play?

I have gotten to play many great roles. I am extremely lucky. Some of my favorites are Mrs. Lovett in Sweeney Todd, Nancy in Oliver!, Jeannie Garstecki in The Great American Trailer Park Musical, Kate Monster/Lucy in Avenue Q, and, of course, Mother in Ragtime. As far as the one role I would most like to play is concerned…do I have to pick just one? Honestly, my answer changes constantly. I would love to get a chance to be Mrs. Lovett in Sweeney again. She is such a fascinating character with so much depth and so many layers. I played her nine years ago, and I still think about her often. This might sound crazy, but I feel like Mrs. Lovett is still haunting me. I’m not done with her.

What is the best part for you about singing Ahrens and Flaherty’s epic Ragtime score?

Epic is right. I think the Ragtime score is just about as perfect as it can be. The music is exhilarating to sing. Mother’s solos are incredible, but the best part about singing the score for me are the moments when our entire cast gets to sing together. Our cast is comprised of so many powerhouse vocalists, and when everyone comes together in harmony, it is absolutely thrilling.

After Ragtime closes at KAT where can we see you next?

This August, you can see me as the Baker’s Wife in Into the Woods at Annapolis Summer Garden Theatre.

Gwendolyn Brown and the company. Photo by Scott Suchman.

The Washington National Opera revives the Broadway standard Show Boat for local audiences. In the program notes by Thomas May, we find out the original Hammerstein libretto was first performed in Washington DC at the National Theatre on November 15, 1927.

Originally running 4 hours, this racially charged stage show is an adaptation of Pulitzer prize winning novel of the same name by Edna Ferber. Spun in an era where musical theatre was only seen as trivial entertainment, Jerome Kern’s score insightfully complements the tale that spans 40 years of American culture, lightly playing out socioeconomic and racial tensions that still resonate today.

…had me laughing-out-loud more than a few times.

When performing or watching musical theatre, I expect to be immersed in the hyper-stylized. The WNO does not disappoint. Marvelous typecasting, ingenious sets by British designer Peter J. Davison, and period costumes by Paul Tazwell transport the audience through the ages and across the country.

Among this second cast of Show Boat, lead Jennifer Holloway was a delight to watch on stage and her strong goddess like stage-presence manages to compliment Magnolia Hawks naive and youthful spirit in the best way. Her powerful nature is especially present in her exquisite bel canto voice. The stand out number for my liking was the surprisingly hilarious. “No Body Else But Me.”  She sings:

“I have my faults,
He likes my faults,
I’m not very bright,
He’s not very bright.

He thinks I’m grand,
That’s grand for me,
He may be wrong
But if we get along…”

I’m pleasantly bewildered when older comedy can ring contemporary. This Showboat had me laughing-out-loud more than a few times. Something about the Vaudevillian satire of the acting just kept cracking me up. Kate Loprest and Bernie Yvon show their comedic chops and dancing ability as spotlight-hungry characters Ellie May and Frank Schultz, and the seasoned and amazing Wynn Harmon truly takes the helm of the cast in terms acting ability as Captain Andy Hawks.

Talise Trevigne and Jennifer Holloway. Photo by Scott Suchman.

I could not help but notice the contextually/ historically appropriate segregated cast of dancers. The movement styles of the “Cotton Blossom” performers strewn in flashy stage wear was juxtaposed against the black dancers work clothes and patterned textiles.  While the “help” got down and free with recognizable African American vernacular movement like the cakewalk and snakehips, Michele Lynch seemed to deliberately poke fun at the Vaudeville prototypical stage jazz, by including self-assisted high kicks and way too many cartwheels. As a result, I was rolling myself.

The high level of professionalism from all the dancers was apparent and I noticed two familiar faces in Limon Dance company member Durell Ron Comedy and WNO regular Heidi Kershaw, both George Mason alumni. Besides their exceptional technique, they conveyed a pure joy on stage that is to be desired of all performers.

Overall, this second cast and its production elements helped this historical relic convey the fun and jolly of the old times even as it maintained that inherent sadness, with characters portraying the injustices of that era that is still somehow awkwardly coherent today. I could not help but imagine what it would have been like if the setting had been 2013, with our own socioeconomic issues and racial disparities.

Running Time: approximately 2 hours, 50 minutes with intermission.

Show Boat, either its first or second cast plays at the Kennedy Center Opera House through May 26. For tickets or keep up to date with the Washington National Opera Here.

The men of Hot Metal (l-r, Malcolm [Matthew Acquard], Dave [Micah Chalmer], Jerry [Dean Allen Davis], Ethan [John Aquila], Harold [Matt Melenas], and Horse [Bobby English].
Photo by Steve Teller.

Simon Beaufoy wrote this musical adaptation of the 1997 British motion picture comedy, The Full Monty, with music and lyrics by David Yazbek and book by Terrence McNally.  The stage Monty is a snapshot of the lives of six men and their significant others in late 1980s Buffalo, NY.  These men are dealing with issues that are just as relevant today as they were 30 years ago – unemployment, divorce, obesity and depression. But it is the way these six ordinary men choose to deal with these issues that make Monty funny and even inspiring.

Their courageousness is both ridiculous and sublime, and it is pure theatrical gold.

Jerry Lukowski (Dean Allen Davis) is the main character.  He is unemployed, divorced and behind on his alimony payments. If he doesn’t start paying, he will loose his visitation rights with his teenage son, Nathan (a delightfully believable Jesse Kinstler).  Dean does a wonderful job in portraying Jerry’s sorrow and anxiety at the thought of not being able to see his son and his willingness to do just about anything to not let that happen.  Enter the idea of taking off his clothes for money.

Pam (Mary Guay Kramer, l) and Georgie (Reenie Campbell, l) discuss their husbands, not realizing they are hiding in the stall (Jerry [Dean Allen Daveis, l] and Dave [Micah Chalmer, r].
Photo Steve Teller.

The audition scene is when the play really picks up – we meet Ethan Girard (an adorable John Aquila),  and Noah T. “Horse” Simmons (a wonderful Bobby English).  One of the highlights of this production is when English sings about why his character is called Horse in “Big Black Man.”  When Dave and Harold sing to their wives in “You Rule My World,” in their respective bedrooms, the anguish of their relationships is revealed, and I found myself rooting for these men to do what they needed to do feel better about themselves, even if it meant stripping in front of thousands of strangers.

Jerry (Dean Allen Davis, l) and Dave (Micah Chalmer, r) complain about being only Scrap (Neal Townsend and Rodney Chamberlain in background).
Photo by Steve Teller.

The women in these men’s lives also have some stand-out moments.  In “It’s A Woman’s World,” Dave’s wife, Georgie Bukatinsky (Reenie Campbell) belts out a pseudo-feminist anthem with a voice as clear as a bell.  Georgie and Harold’s wife, Vicki (a solid Beth Cohen), are poignant and loving in their second-act reprise of “You Rule My World.”  Oddly, the woman in Jerry’s life, his ex-wife, Pam (Mary Guay Kramer) has no significant vocal solo, even though she is one of the emotional anchors of the show.  That dramatic choice helps keep the focus on Jerry’s relationship with his son, but it also leaves Kramer frustratingly under-utilized in this production.

The finale of The Full Monty is no surprise, even for those who have not seen the movie.  Yet somehow, when these six characters finally perform their strip-tease, as the group called Hot Metal, the audience cannot help but cheer for them.  Their courageousness is both ridiculous and sublime, and it is pure theatrical gold.

Advisory:  Nudity and strong language.

Running Time:  Approximately 2 hours with one 15-minute intermission.

The Full Monty runs through May 26, 2013 at Silhouette Stages, Slayton House Theater, Wilde Lake Village Center, 10400 Cross Fox Ln, Columbia, MD 21044.  For tickets call 410-637-5289, or click here.

Kathleen Battle.

It is a rare and valuable moment when music brings out a collective emotional experience. When it goes beyond something that’s pleasing to the ear, to touching something deep inside our humanity, “Underground Railroad: A Spiritual Journey” was just that – a journey through a musical time period, characterized by the deep longing of a people for change and hope. It was in some ways, a performance of contradictions, mixing styles and performance aspects, that if done by less expert artists, would have clashed against each other dramatically. But these same contradictory elements done with the elegant, virtuousic voice of Kathleen Battle, the brilliant musical renderings of Cyrus Chestnut, and the rich support of the Heritage Signature Choir, directed by Stanley Thurston, elevated the musical styles, the venue, and the audience to a place of spiritual transcendence.

…we all went home from this performance with hope and joy in our hearts.

The opening piece was a piano solo titled “Tribulation.” Aptly named because it’s dissonant, dark chords and its rolling rhythm were both reminiscent of a ship moving with the heavy currents of the ocean and the rocking of a person in emotional turmoil. Chestnut’s depth of knowledge and craftsmanship is instantly apparent as the robust sound washed over the audience. I could feel the tingling sensation when the music struck a chord within me, making my whole body vibrate with it.

Cyrus Chestnut.

This feeling not only continued, but increased, when Kathleen Battle strolled onto the stage in her natural radiance and glamour, instantly in character. Her first song, an a capella version of “Lord, How Come Me Here?” with the Heritage Signature Chorale, arranged by Sylvia Olden Lee and Evelyn Simpson-Curenton, was heart-breaking. It left tears in my eyes as I was swept away by Battle’s gorgeous voice. Having never seen her perform before, I was blown away by her emotional connection with the audience and the music as well as her mellifluous, silky voice. The repeating lyrics of the Spiritual, combined with Ms. Battle’s soulful voice, strained one’s emotions when the final line, “I wish I never was born” was sung again and again.

Highlighting the message of the era were excerpts from the writings of Frederick Douglass, read by Kweisi Mfume, former congressman and former president of the NAACP. His commanding, expressive voice gave shape to the Spirituals historical context, adding another impression from that period.

“Go Down, Moses”, performed by Ms. Battle, Mr. Chestnut, and the Choir truly showcased the variety of styles represented. Ms. Battles classical voice, Mr. Chestnut’s jazz phrasings, and the choirs gospel feel all came together harmoniously to produce a meaningful, diverse piece. One of the most fascinating parts of this performance to me, was the familiarity of the songs counterbalanced with the unusual setting of a very formal elegant venue, and a voice so obviously beyond beautiful and with such depth, that the meaning of the songs were suddenly far clearer to me than ever before. I must have heard most of the songs hundreds of times, as have most people, and yet I felt like I had always only heard them as music, and not as a spiritual expression of a people’s story.

Both Ms. Battle and Mr. Chestnut received a lot of their early musical experience in the church, and this was most apparent during the song “Give me Jesus,” where they were having a musical conversation in the traditional call-and-response style.

Heritage Signature Chorale.

The Choir did a beautiful job of supporting Ms. Battle and Mr. Chestnut with their rich and balanced sound, as well as showing off that they could stand alone with an a capella version of “Rockin’ Jerusalem”, arranged by Damon H. Dandridge, that was moving with a clear, full-bodied sound.

Ms. Battle’s solo songs “Over my head” and “Two Wings” really exhibited her virtuosity, they were a little more playful, with a somewhat childish feel, emphasized by her manner. Solo, her voice filled my whole body and soared around the room with a majesty that was awe inspiring. It jumped from soulful to elegant in the blink of an eye, and with such a smooth ease it was almost imperceptible.

Every piece in the performance stood out in its own way, bringing different messages to the stage. Mr. Chestnuts, “Glory, Glory Hallelujah” was amazing, a tribute to his jazz fans, I found myself unable to keep my foot from tapping along with his playing. “Balm in Gilead” performed by Ms. Battle, Mr. Chestnut and the Women’s Choir, brought the audience to their feet with its beauty. There were many moments like that in the performance, laughing at a musical joke in the introduction to, “He’s Got the Whole World in His Hands” by Mr. Chestnut, the encores by Ms. Battle and Mr. Chestnut.

The final song, introduced by both Ms. Battle and Mr. Mfume, with a brief history as to it’s origins as “The Negro National Hymn” was, “Lift Every Voice and Sing.” With this final number, the entire audience stood and sang along with the gusto of a people transported on their own spiritual journey. The last Frederick Douglass quote included the line, “I, therefore, leave off where I began, with hope.” I believe we all went home from this performance with hope and joy in our hearts.

Running Time: two and a half hours with one intermission.

Underground Railroad: A Spiritual Journey was a one time only event.  For information about other events at the Strathmore Music Center click here.

Ute Lemper

Echoing out of 1920′s Berlin, songstress Ute Lemper brought the songs and history of her homeland to the Sixth and I Historic Synagogue this past Saturday. Singing the songs of Weill and Brecht, as well as other period classics, the German-born Lemper wove a tale of memories, evoked and brought to life through music. Her ska-esque performance and the rich timbre of her voice makes the listener think they’ve been transported to a nightclub in Weimar-era Berlin.

Sung almost entirely in German, this collection, entitled The Last Tango in Berlin, takes a journey from Lemper’s background in a repertoire of Weill and Brecht to one rooted all over the world. It takes pit stops in Paris and Buenos Aires, picking up new musical styles along the way. Though Lemper wasn’t born in the times of which she sings, the journey seems to echo the path she took; starting in Berlin and branching out across Europe and then the world. The show alternated between Lemper’s performances, and quieter moments when she would address the audience, usually in French or German with sprinkles of English. These moments were often touching, and usually very funny. At one point she pointed to the ceiling, and commanded God to “ecoute” or “to listen!”

 …you will be enraptured

In her songs, too, the best moments were her quiet moments. When she settled down after the big, rousing cabaret numbers, she occasionally sang a softer, more sentimental song. These songs were where she really came alive; her voice was allowed to shine, without all the vocal gymnastics that the bigger numbers had. One such song, a tender French ballad called, “Ne me quitte pas” (do not leave me), was absolutely gorgeous. Lemper’s voice was like velvet, luxurious and soft, and her acting was simple and tender. These quiet moments in the show were rare (too rare, to my mind) but when they came they made you catch your breath in wonder.

The bolder, wilder parts of the show had their highlights too. At one point she climbed atop the piano and said, “This is for the rabbi.” Then she launched into her finale – a rousing medley of Cabaret and Chicago (Lemper has starred as Sally Bowles and Velma Kelly numerous times), as well as surprising numbers, like “Mack the Knife” sung in the original German.

There were strange parts too – for a solid few minutes Lemper did nothing but make trumpet sounds into her microphone. She also coerced the audience into a group whistling session, which was hilarious, and terrible (on our part). There were times when the pitch was off, or the vocal gymnastics got a bit much, or you just wanted to beg her to please sing something in English so you could have some idea of what was going on. But it cannot be denied that Ute Lemper has a phenomenal voice, and when she lets it do its thing, the talent is undeniable. It was a quirky, often confusing performance, aimed at a specific generation and a specific time. For those of us who don’t know much about Germany and its cultural history, it was hard to follow the storylines. But if you just close your eyes, and listen as Lemper brings Weimar Berlin to life with nothing but her voice, you will be enraptured.

Running time: one hour and 45 minutes.

The Last Tango in Berlin was a one time only concert. For information about other events at the Sixth and I Synagogue click here.

Eric Jones and Robert Kittler. Photo by Harvey Levine.

Yes, “the little dog laughed” is a familiar line from a beloved children’s nursery rhyme; but make no mistake, the play by the same name is exclusively for grown-ups. Playwright Douglas Carter Beane’s rendition may have an ending reminiscent of “Hey Diddle Diddle,” but his 2006 comedy drama is a far more brazen fable about identity crises and maintaining one’s moral fortitude under the ever scrutinizing public eye. This season Silver Spring Stage goes big and bold, fearlessly mounting this production; on stage it is man versus Hollywood, yet who actually “wins” is this play’s excitingly debatable coup de grace.

…a show worth seeing

And so the story goes. Mitchell (Eric Jones) is a semi-famous actor who embarks upon a semi-secret relationship with Alex (Robert Kittler), a younger male escort. Said relationship nearly blossoms into something real; problem is both men are reluctant to self-identify as gay. Not to mention Alex kinda sorta has a girlfriend, Ellen (Dana Medford). Making matters worse, Mitchell’s unrelenting shark of an agent, Diane (Leta Hall), has good reason to believe Mitchell’s “impending” homosexuality could threaten his budding movie career and her hefty commission. Thus, everyone is on a journey to claim their own bit of happiness in life – to inevitably fateful result.

A lot has happened in the seven years since Beane penned this work: gay marriage has been legalized in several states and a number of popular Hollywood actors have “come out of the closet” and subsequently been embraced by the masses. That’s not to say that homophobia is null and void in this country (not even close), but The Little Dog Laughed has a slightly dated quality to it. Mitchell’s statement, “Everybody has something on you when you’re gay,” may still hold true, but the countless queer jokes and dropped f-bombs (think homophobic slur, not the four letter word) were probably more edgy and provocative during the play’s initial run. Still, the story’s theme is a universal one. Like the characters, I think everyone has at some time or another struggled to reconcile their public personas with their private selves.

Led by Director Eric Scerbo, the cast and crew of The Little Dog Laughed mount a delightfully simple, fluid and funny show. The entire performance has an easy and unforced feel to it. Among the collaborators, Designer Joy Wyne creates a conversation starting, detailed and unencumbered set. Using Mitchell’s bedroom as a sort of fixed nucleus, the remaining locations occur above and around it. A particular stand-out is the curtain which rises to blend in with a bedroom wall and drops to reveal a new scene atop a raised platform. The audience is therefore spared from having to watch the stagehands lug props and furniture back and forth onto the stage. The platform also serves as a perfect space for the play’s many poignant, comedic, and emotional monologues. Also noteworthy are Wyne’s subtle accents, such as the floorplan displayed inside the hotel room, the personal photo placed on the door to Alex’s apartment, etc.

Dana Medford. Photo by Harvey Levine.

Costume Designer, Mark Hamberger captures the characters’ personalities via their clothing extremely well. The reserved, wealthy and well-groomed Mitchell (Eric Jones) wears neat and unassuming button down shirts, Polo sweaters and crisp slacks. Meanwhile, the younger and more licentious Alex (Robert Kittler)sports jeans, t-shirts and a leather jacket. The men are not only opposites in personality, but in appearance as well. Lighting Designer Bob Scott highlights all of the story’s most pivotal moments with plenty of intense spotlight. Likewise he effectively guides us through the overlapping scenes with perfect timing. While I’m not certain the ambient music was absolutely necessary during most scenes, when it does actually work, Sound Designer Kevin Garrett’s soundtrack of old Hollywood is a pretty crafty and incisive choice.

The four distinct characters in The Little Dog Laughed are certainly given their due, thanks to four strong actors. As Ellen, Alex’s sometime friend, sometime lover, Dana Medford is upbeat and charming. Despite Ellen’s underlying cunning and opportunism, Medford’s sunny and fizzy delivery makes the character quite likeable. Likewise Medford’s colorful sing-song cadence makes the already funny dialogue that much more humorous. Silver Spring Stage veteran Leta Hall returns as Mitchell’s agent Diane, the play’s most outspoken and in-your-face character. Much like her role as Ida Horowicz in Farragut North, Diane is sharp-tongued and acerbic, though oddly not unlikeable. This is probably because Hall indisputably knows how to “do sassy” like the back of her hand. Her comedic timing, especially during her endless monologues is impeccable as are her haughty and intimidating glances toward her cast mates. Sure the role is a rather overt caricature of the Hollywood agent, but somehow the joke doesn’t get old.

Hats off to Robert Kittler for his brave portrayal of Alex, the emotionally scarred male escort and survivalist. Thanks to Kittler’s good-humored demeanor, Alex’s transgressions (promiscuity, deception, etc.) are somehow forgivable. It doesn’t hurt that Kittler himself is attractive, but without his amiable delivery, I don’t know that I would’ve believed in the “opposites attract” connection between Alex and Mitchell or in the friendship between he and Ellen. And finally as Mitchell, the actor tormented by the stigma of his sexual orientation, Eric Jones does a solid job of tackling the character’s constantly morphing personalities. Physically Jones is the perfect Mitchell, tall with Ken doll features. In demeanor, Jones’ mostly reserved and controlled performance make the moments in which Mitchell finally lets his hair down that much more interesting to watch. His is a tough part because much of the character’s struggles are internal, but Jones does the “nice guy with an edge” role believably. Also believable is the chemistry between Jones and Kittler. And thank goodness, because if that didn’t exist what is currently a beautiful and heart-wrenching end would instead be a rather anticlimactic finish.

Save for a lull in one or two longer than necessary scenes, Silver Spring Stage’s, The Little Dog Laughed is this season’s perfect oxymoron – one sad, happy, comedy, drama. I guess that makes it a lot like real life. I’m sure that makes it a show worth seeing.

Running Time: 2 Hours – 15 Min Intermission.

Advisory: Contains adult language and nudity

The Little Dog Laughed plays at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD 20901, through June 8. For tickets click here.

Jonathan Crombie, Jenna Sokolowski, Charlie Hudson, III, Jessica Frances Dukes.
Photo by Richard Anderson.

Centerstage is up and running with the second half of their Raisin Cycle, Beneatha’s Place, Playwright and Artistic Director Kwame Kwei-Armah’s impressive complement and response to their concurrent production of Bruce Norris’ Clybourne Park. While the latter play expands the story of the family home in Lorraine Hansberry’s A Raisin in the Sun, Beneatha’s Place extends the life of one of her characters, Beneatha Asagai Younger, depicting her marriage to a prominent Nigerian political activist and, later, her career as a professor of African-American Studies.

The similarities between Clybourne Park and Beneatha’s Place are striking. They occur in one house, over two acts, in two distinct periods (namely, 1959 and the present). Director Derrick Sanders uses the same cast (with the exception of Kim James Bey, who appears only in this production as Aunty Fola), to explore many of the same questions, in much the same style. The plays also share a structural oddity, in that the stakes are considerably higher in the first act than the second; gentrification and curriculum planning, while topical and divisive, lack the life-and-death immediacy of Segregation and Nigerian Independence. Thus, both works spend the second act trying to cope with their established history (though Beneatha’s Place benefits from a consistent title character). These parallels may explain Hansberry’s absence from the Raisin Cycle; Beneatha’s Place and Clybourne Park have more in common with each other than either does with A Raisin in the Sun.

Overall, Centerstage has crafted a surprisingly original and thought-provoking response to Norris’ play…

This raises the question of whether the play exists solely as a companion piece or has its own, independent merit. Having seen both, and considering what is remarkable and particular to this piece, I would argue for the latter.

Kwei-Armah doesn’t just push the conversation further; he complicates and remixes it.  And while the home remains central (with a handful of connotations regarding Beneatha’s “place”), the focus always lands on the masks—collected and displayed by Beneatha’s husband, Joseph (Charlie Hudson, III). I won’t describe them here. But whatever else happened onstage, my gaze never drifted far from the visual and emotional brutality of that back wall.  And they’re not just there; they’re used. Daniel’s (James Ludwig) masked “performance” in Act One is extreme beyond your imagination; it’s the best and worst moment of the show. Your jaw will stick to the floor.

Jessica Frances Dukes and Kim James Bay.
Photo by Richard Anderson.

But the real gem of this production is Jessica Dukes’ portrayal of Beneatha in Act Two, having aged fifty-odd years over the course of intermission and conducting a meeting concerning the proposed inclusion of “Critical Whiteness Studies.” It’s a pitch perfect characterization, and one of the great strengths of this production, absent from Clybourne Park: a character who remembers. Someone who was really there.  The ensemble gives strong performances as well; Ludwig is excellent throughout, particularly in his cock-fight-esque debate with another professor, Gary (Jonathan Crombie), over his video game analogy for affirmative action and race.

The writing occasionally suffers from heavy-handed proclamations at the expense of subtext (Daniel’s beautifully crafted hint regarding his sexuality, for instance, is trampled over with explanation in the very next scene), and things falter at the very end—the only moment in which Kwei-Armah seems to be copying Clybourne Park for no justifiable reason or effect. As a result, the message is slightly muddied; one hopes that the play is not just saying, “Things get ugly when we talk unguardedly about race”, but rather, “Race doesn’t need to be at the center of discussion if everyone is truly on equal footing, but we’re not there yet.” Still, the play draws many interesting parallels between the destructive legacies of colonialism and segregation, and manages to be quite funny along the way.

The production benefits from the same, highly competent design team as Clybourne Park (Jack Magaw deserves another round of praise for the set dressing and masks.) Overall, Centerstage has crafted a surprisingly original and thought-provoking response to Norris’ play, one that will hopefully have a life beyond this production.

Advisory:  Some material may be inappropriate for children.

Running Time: Two hours with an intermission.

Beneatha’s Place runs until June 16, 2013 in rep with Clybourne Park at Centerstage, 700 North Calvert Street, Baltimore, Maryland 21202. For tickets call the Box Office: 410.332.0033 or click here.

Dignity Players 2013-2014 Season

The Power of Art

Art – by Yasmina Reza, Translated by Christopher Hampton –Directed by Darice Clewell – A comedy, Art raises questions about art and friendship as it concerns three long-time friends, Serge, Marc, and Yvan. Serge, indulging his penchant for modern art, buys a large, expensive, completely white painting. Marc is horrified, and their relationship suffers considerable strain as a result of their differing opinions about what constitutes “art”. Yvan, caught in the middle of the conflict, tries to please and mollify both of them. September 13-14, 19-21, 26-28, 2013 at 8pm, September 15 and 22, 2013 at 3pm.

A Christmas Carol – by Charles Dickens, adapted for Dramatic Reading by Lois Evans, Mark Hildebrand, and Eric Lund – Celebrate the true meaning of Christmas with this new reading conceived, directed and performed by Lois Evans, Mark Hildebrand, and Eric Lund. Appropriate for children of all ages!December 5-7, 2013 at 8pm.

Collected Stories – by Donald Margulies – Directed by Gary Seddon – Ruth Steiner is a teacher and respected short story writer. Her student and protégée is Lisa Morrison. Over the course of 6 years, Lisa journeys from insecure student to successful writer. After publishing a well-received collection of short stories, Lisa writes a novel based on Ruth’s affair with the poet Delmore Schwartz, and the women must deal with the moral dilemma of whether a person’s life events are suitable for another to use in their own creative process. January 17-18, 24-25, 30-February 1, 2014 at 8pm, January 19 and 26, 2014 at 3pm.

A Man of No Importance – Music by Stephen Flaherty, Lyrics by Lynn Ahrens and Book by Terrence McNally –Directed by Mickey Lund, Musical Direction by Jill Compton – The tender story of Alfie Byrne, a bus driver living in 1960’s Dublin. A passionate fan of Oscar Wilde, Alfie is determined to stage a version of Salome at his church, despite the objections of church authorities. In the process of fighting for the play, Alfie is finally forced to confront his own sexuality and take a stand in the world. March 21-22, 28-29, April 3-5, 2014 at 8pm, March 23 and 30, 2014 at 3pm.

The 39 Steps – by John Buchan – Directed by Jim Reiter – A man with a boring life meets a woman with a thick accent who says she’s a spy. When he takes her home, she is murdered. Soon, a mysterious organization called “The 39 Steps” is hot on the man’s trail in a nationwide manhunt that climaxes in a death-defying finale! A riotous blend of virtuoso performances and wildly inventive stagecraft, The 39 Steps amounts to an unforgettable evening of pure pleasure! May 2-3, 8-10, 15-17, 2014 at 8pm, May 4, 2014 at 3pm.

Season tickets on sale on June 1, 2013

For more information visit online.