A little history, a little family drama, a whole lotta blues. Those are the building blocks in Cheryl West's compelling drama with music, Pullman Porter Blues. This production originated at Seattle Repertory Theatre earlier this fall and Washington, D.C. audiences who are looking for a thrilling evening of theater should definitely go to Arena Stage. Pullman Porter Blues will leave you with not only the songs in your heart, but perhaps a better understanding of the incredible lives of the men and women who worked for generations for the Pullman Company.
It's the train from Chicago to New Orleans, June 22, 1937 when Joe Louis had his controversial title bout with James J. Braddock. Three generations of the Sykes family are working the train. The incredible Sister Juba and her Band are providing the entertainment. There are conflicts between the generations, with the white conductor and a potentially dangerous stow-a-way. By the time the evening is through we have traveled to the segregated south and the consequences of present day events bring up horrible memories from the past. While the resolution is unclear, by not tying up the story in a neat little package Pullman Porter Blues leaves the audience to ponder the lessons of the past.
Ms. West has written a compelling tale and her choice of music to emphasize the plot is inspired. Director Lisa Peterson has shaped the story in such a way that the audience is taken along on a journey that is anything but sentimental. The casting is masterful. Sister Juba's band provides the accompaniment and James Patrick Hill, Chick Street Man, Lamar Lofton and JMichael are simply incredible musicians. Richard Ziman as the white conductor Tex starts out as a genial if naturally a racist character of the time period. As the journey goes on and alcohol and the outcome of the Louis/Braddock fight fuels his rage Mr. Ziman compelling changes into a menacing threat. As Lutie the stow-a-way, Emily Chisholm appears at first to be stereotypical poor white trash. Yet, when she expresses herself through her harmonica, her soul burns with fire.
E. Faye Butler's Sister Juba dominates the proceedings nearly overwhelming the focus of the play. She sings with raw emotions and her dependence on the bottle masks a horror story of a past that the character would love to bury forever, but circumstances force her to relive. It is a performance that will be recognized come Helen Hayes award season.
Sister Juba nearly dominates the play, but Ms. West and Ms. Peterson manage to keep the main story on the three generations of the Sykes family. Grandfather, father and son represent not just the generations of a family, but the generations of struggle within the African American community. Yet their story is a universal one, for within most families there are always the older generations that strive to create a better world for the generations to come and a younger generation that rebels against their plans. Grandfather Sylvester, played with charm and spirit by Cleavant Derricks shows the most deference to the white conductor, Tex. However, Sylvester represents those whose seeming compliance with the status quo quietly find ways to rebel. Father Monroe played with fire by Larry Marshall is the radical. Monroe risks organizing for the union which could lead to losing his job or his life. Both men have made sacrifices so that grandson Cephas can go to college and break the cycle of the Pullman Porter life. Naturally, Warner Miller's Cephas struggles to break free from the family plan. Mr. Miller is vibrant and in some ways naive to the ways of the world. It is the lessons of the real world which Cephas brings on himself on his rookie ride on the rails that brings disaster to this family.
While the drama becomes intense the audience is left with questions and an ambivalent ending. The music leaves us that there might still be hope.
Pullman Porter Blues is being performed in the Kreeger Theatre at Arena Stage's Mead Center for American Theater through January 6, 2013. For tickets and other performance information, please visit www.arenastage.org.
Monday, December 10, 2012
Glengarry Glen Ross at the Gerald Schoenfeld Theatre
Always be closing.
David Mamet's 1984 Pulitzer prize-winning drama, Glengarry Glen Ross receives a sometimes electric revival at Broadway's Gerald Schoenfeld Theatre. Headlined by Al Pacino as Shelly Levene and Bobby Cannavale as Ricky Roma, this production directed by Daniel Sullivan builds slowly, with pacing that could use a boost in the opening act. The tensions among the storied salesmen remain high and the comedic moments sure fired and appropriate. Yet, perhaps because of the fact that we are have gone through one of the world's worst recessions, this Glengarry Glen Ross seems to focus more on the washed up salesman Shelly Levene and less on the riveting, sleaze sales tactics of the current real estate selling king, Ricky Roma. Still this is justly one of the hottest (and most expensive) tickets in New York.
The story concerns Chicago real estate salesmen, working on commission to sell risky land development ventures. The top salesmen wins a Cadillac, second place a set of steak knives, third place gets fired. We first meet the majority of the characters in the setting of a local Chinese restaurant. For the salesmen, it is clear that getting the best leads is key to success. Failure will lead to unemployment. This cutthroat business leads to desperate acts and a break-in, the aftermath of which is dealt with in act two and leads to a powerful denouement.
This is a play in which the sales leads and the pitch are king. The small ensemble is, quite simply perfectly cast. From Jon C. McGinley as Dave Moss who suggests the robbery of the office and his scene partner Richard Schiff's George Aaronow as the burned out salesmen tempted to follow through with it, to Murphy Guyer as the detective Baylen, there are no weak links in this cast. David Harbour as the office manager John Williamson exudes sleaze trying to push out the older, has-been Levene while being willing to consider taking a bribe to let him stay in the business. As the put-upon customer James Lingk, Jeremy Shamos has a mild-mannered persona that clearly shows how easily he comes under the mesmerizing Ricky Roma's spell.
Bobby Cannavale is certainly mesmerizing as Roma. In his hypnotic first act scene he reels in both Lingk and the audience before coming in for the kill. Sophisticated in his clothing and his bearing, Roma is the king of the office. Yet, he shows a softer side when he defends Shelly Levene at Levene's nadir.
To see Mr. Cannavale and Mr. Pacino pull a brilliant con to prevent Mr. Lingk from canceling his purchase is to witness a work of art. Mr. Pacino was memorable as Roma in the film version. Here he takes on the desperate Shelly "the machine" Levene. Mr. Pacino shines when he shows Levene's euphoria when he thinks he's worked his magic and has crawled back to the top of the sales chain. Yet, his underlying desperation as Levene begs, borrows and steals in order to simply stay in the game is painful and pitiful to watch. It is an emotional arc that cements this production as a must see in its limited run on Broadway.
Glengarry Glen Ross is being performed at the Gerald Schoenfeld Theatre on Broadway through January 20, 2013. For tickets and other performance information please visit www.glengarrybroadway.com.
David Mamet's 1984 Pulitzer prize-winning drama, Glengarry Glen Ross receives a sometimes electric revival at Broadway's Gerald Schoenfeld Theatre. Headlined by Al Pacino as Shelly Levene and Bobby Cannavale as Ricky Roma, this production directed by Daniel Sullivan builds slowly, with pacing that could use a boost in the opening act. The tensions among the storied salesmen remain high and the comedic moments sure fired and appropriate. Yet, perhaps because of the fact that we are have gone through one of the world's worst recessions, this Glengarry Glen Ross seems to focus more on the washed up salesman Shelly Levene and less on the riveting, sleaze sales tactics of the current real estate selling king, Ricky Roma. Still this is justly one of the hottest (and most expensive) tickets in New York.
The story concerns Chicago real estate salesmen, working on commission to sell risky land development ventures. The top salesmen wins a Cadillac, second place a set of steak knives, third place gets fired. We first meet the majority of the characters in the setting of a local Chinese restaurant. For the salesmen, it is clear that getting the best leads is key to success. Failure will lead to unemployment. This cutthroat business leads to desperate acts and a break-in, the aftermath of which is dealt with in act two and leads to a powerful denouement.
This is a play in which the sales leads and the pitch are king. The small ensemble is, quite simply perfectly cast. From Jon C. McGinley as Dave Moss who suggests the robbery of the office and his scene partner Richard Schiff's George Aaronow as the burned out salesmen tempted to follow through with it, to Murphy Guyer as the detective Baylen, there are no weak links in this cast. David Harbour as the office manager John Williamson exudes sleaze trying to push out the older, has-been Levene while being willing to consider taking a bribe to let him stay in the business. As the put-upon customer James Lingk, Jeremy Shamos has a mild-mannered persona that clearly shows how easily he comes under the mesmerizing Ricky Roma's spell.
Bobby Cannavale is certainly mesmerizing as Roma. In his hypnotic first act scene he reels in both Lingk and the audience before coming in for the kill. Sophisticated in his clothing and his bearing, Roma is the king of the office. Yet, he shows a softer side when he defends Shelly Levene at Levene's nadir.
To see Mr. Cannavale and Mr. Pacino pull a brilliant con to prevent Mr. Lingk from canceling his purchase is to witness a work of art. Mr. Pacino was memorable as Roma in the film version. Here he takes on the desperate Shelly "the machine" Levene. Mr. Pacino shines when he shows Levene's euphoria when he thinks he's worked his magic and has crawled back to the top of the sales chain. Yet, his underlying desperation as Levene begs, borrows and steals in order to simply stay in the game is painful and pitiful to watch. It is an emotional arc that cements this production as a must see in its limited run on Broadway.
Glengarry Glen Ross is being performed at the Gerald Schoenfeld Theatre on Broadway through January 20, 2013. For tickets and other performance information please visit www.glengarrybroadway.com.
Sunday, December 2, 2012
Dead Accounts at The Music Box Theatre
Theresa Rebeck's new family comedy Dead Accounts has its fun moments. Set in the Cincinnati suburbs the play contains many jokes at the expense of the differences between midwestern sensibilities and the alleged snobbery of Manhattanites. At the heart of the tale is family in particular the loss of innocence and familiarity when a wayward family member comes home forever changed. Unfortunately the purpose of the play is muddled and the ending is ultimately an unsatisfactory one.
Scenic designer David Rockwell creates a spacious kitchen set with a beautiful backdrop filled with trees in autumnal glory. The sound design features prominently Sentimental Journey, a good theme for our main character, but used so often that it becomes a bit of a cliche. Director Jack O'Brien brings forth good performances from his small ensemble of five, but in a few instances the characterizations suffer from being underwritten.
Son Jack returns home in the middle of the night clearly harboring a secret. Flashing a lot of cash and with a pharmacy in his pockets and an compelling need to overcompensate for his cravings of good old fashioned Ohio food Jack claims that he's returned home simply to get away from the wife he's divorcing and his job as a banker. His sister Lorna lives at home helping their mother Barbara take care of their never seen ailing father. High school buddy Phil harbors a crush on Lorna. Jack's story blows apart when his wife Jenny shows up revealing the real reason for Jack's flight from New York.
The play has its fun moments particularly from the manic performance of Norbert Leo Butz. Impulsive, Mr. Butz makes Jack an engaging character very sympathetic despite the revelations that his wife brings at the very end of the first act. As Jenny, Judy Greer is a willowy pillar of ice and contempt. Her putdowns of kitchen floor coverings and Brooklyn are sharply funny. Jayne Houdyshell is perfect as the supportive mother who is trying to deal with her son's crisis as well as the challenges of caring for her seriously ill husband. Josh Hamilton was absent from this performance but his understudy Haynes Thigpen portrayed Phil as the gentle lug who represents that friend who never changes from high school. As Lorna, Katie Holmes gives a good performance as the sister who has to put up with her brother's antics while giving up her own life to care for her parents. While it may ironic to hear Ms. Holmes' character say she's watching her weight as she scarfs pints of ice cream and cheese coneys, haven't we all had that woman in our circle of acquaintances?
The play would benefit from the appearance of the off-stage father. Jack claims to be too frightened to speak to him and the character affects everyone onstage, but not enough to justify being only an off-stage figure. The play would also benefit from making a decision about Jack's activities one way or the other. Having one character who takes the viewpoint that what he has done is morally wrong would be a vast improvement. The ending doesn't feel satisfactory as the play simply seems to end with little resolution. Yet, the performances from the curiosity seekers wondering about Ms. Holmes' acting ability (she's fine) and the tornado that is Norbert Leo Butz make this an acceptable choice for a night at the theater.
Dead Accounts is being performed at The Music Box Theatre on Broadway through February 24, 2013. For tickets and other performance information please visit www.deadaccountsonbroadway.com.
Scenic designer David Rockwell creates a spacious kitchen set with a beautiful backdrop filled with trees in autumnal glory. The sound design features prominently Sentimental Journey, a good theme for our main character, but used so often that it becomes a bit of a cliche. Director Jack O'Brien brings forth good performances from his small ensemble of five, but in a few instances the characterizations suffer from being underwritten.
Son Jack returns home in the middle of the night clearly harboring a secret. Flashing a lot of cash and with a pharmacy in his pockets and an compelling need to overcompensate for his cravings of good old fashioned Ohio food Jack claims that he's returned home simply to get away from the wife he's divorcing and his job as a banker. His sister Lorna lives at home helping their mother Barbara take care of their never seen ailing father. High school buddy Phil harbors a crush on Lorna. Jack's story blows apart when his wife Jenny shows up revealing the real reason for Jack's flight from New York.
The play has its fun moments particularly from the manic performance of Norbert Leo Butz. Impulsive, Mr. Butz makes Jack an engaging character very sympathetic despite the revelations that his wife brings at the very end of the first act. As Jenny, Judy Greer is a willowy pillar of ice and contempt. Her putdowns of kitchen floor coverings and Brooklyn are sharply funny. Jayne Houdyshell is perfect as the supportive mother who is trying to deal with her son's crisis as well as the challenges of caring for her seriously ill husband. Josh Hamilton was absent from this performance but his understudy Haynes Thigpen portrayed Phil as the gentle lug who represents that friend who never changes from high school. As Lorna, Katie Holmes gives a good performance as the sister who has to put up with her brother's antics while giving up her own life to care for her parents. While it may ironic to hear Ms. Holmes' character say she's watching her weight as she scarfs pints of ice cream and cheese coneys, haven't we all had that woman in our circle of acquaintances?
The play would benefit from the appearance of the off-stage father. Jack claims to be too frightened to speak to him and the character affects everyone onstage, but not enough to justify being only an off-stage figure. The play would also benefit from making a decision about Jack's activities one way or the other. Having one character who takes the viewpoint that what he has done is morally wrong would be a vast improvement. The ending doesn't feel satisfactory as the play simply seems to end with little resolution. Yet, the performances from the curiosity seekers wondering about Ms. Holmes' acting ability (she's fine) and the tornado that is Norbert Leo Butz make this an acceptable choice for a night at the theater.
Dead Accounts is being performed at The Music Box Theatre on Broadway through February 24, 2013. For tickets and other performance information please visit www.deadaccountsonbroadway.com.
Friday, November 30, 2012
Dreamgirls at Signature Theatre in Virginia
The holiday season brings out the crowd-pleasing shows. Signature Theatre gives us a vibrant revival of Dreamgirls, the story of a Supremes-style girl group navigating their way to fame and the heartbreaking consequences of such a rise. The book by Tom Eyen and score by Henry Krieger provide terrific roles for an ensemble briskly directed and choreographed by Matthew Gardiner. The simple two-story set designed by Adam Koch provides a platform that dazzles the eyes whether giving a glimpse of show-biz from the wings or the backstage drama. The incredible costumes designed by Frank Labovitz are an architectural marvel. As pointed out in an interview in the Washington Post, the Dreamgirls have eleven performance costumes some of which require very fast changes. One of those changes is six seconds. Using a variety of techniques from layering to having an evening gown double as a top those quick changes flow. If an occasional glimpse of a foundation garment happens it can be forgiven given the monumental task at hand.
Signature Theatre has cast this show with an incredible ensemble of performers who do more than justice to this score. David Bazemore grows from mild-mannered songwriter to a mature man capable of standing up for himself. Cedric Neal burns up the stage as Jimmy and his character's flameout is sad to watch as Mr. Neal does an excellent job of charming the audience during all of his numbers. As Curtis, Sydney James Harcourt has all the persuasive charm of a snake. Curtis can be a one-note slime ball in lesser hands, but Mr. Harcourt makes you see Curtis as genuinely caring for the ladies in the beginning. He manages to make Curtis less a hissable villain than the misguided controlling Svengali that is the character's actual nature.
As for the ladies themselves, like the Supremes there are four rather than three. Kara-Tameika Watkins as the replacement Michelle Morris is the least developed character, but she exudes charm and wins the audience over as her situation is not her fault. Crystal Joy as Lorell is sweetly naive, but gains inner strength as she must handle her disappointments as she breaks free from Jimmy Early's spell. Shayla Simmons Deena" is physically gorgeous. Ms. Simmons shows us there is much more to Deena than a pretty face and lovely voice. Deena's journey from shy mama's girl to lead singer to a woman capable of breaking free from Curtis' control is simply wonderful to watch. If that was the main story of Dreamgirls she would have nailed all the emotional points. This is not Deena's story. It's Effie's.
Effie White has been an award-winning role for many actresses. Do not be surprised to see Nova Y. Payton add herself to that list. Her Effie is a force of nature. A woman of strength who knows that she is not one to stay in the background. Yet Effie is complex, occasionally not likable as she is always thinking of herself. When Effie reaches the crucial point of the show, Ms. Payton's rendition of "(and I am telling you) I'm Not Going" is electric, heartbreaking and powerful.
Dreamgirls is being performed in The Max theatre at Signature Theatre in Arlington, Virginia through January 13, 2013. For tickets and other performance information please visit www.signature-theatre.org.
Signature Theatre has cast this show with an incredible ensemble of performers who do more than justice to this score. David Bazemore grows from mild-mannered songwriter to a mature man capable of standing up for himself. Cedric Neal burns up the stage as Jimmy and his character's flameout is sad to watch as Mr. Neal does an excellent job of charming the audience during all of his numbers. As Curtis, Sydney James Harcourt has all the persuasive charm of a snake. Curtis can be a one-note slime ball in lesser hands, but Mr. Harcourt makes you see Curtis as genuinely caring for the ladies in the beginning. He manages to make Curtis less a hissable villain than the misguided controlling Svengali that is the character's actual nature.
As for the ladies themselves, like the Supremes there are four rather than three. Kara-Tameika Watkins as the replacement Michelle Morris is the least developed character, but she exudes charm and wins the audience over as her situation is not her fault. Crystal Joy as Lorell is sweetly naive, but gains inner strength as she must handle her disappointments as she breaks free from Jimmy Early's spell. Shayla Simmons Deena" is physically gorgeous. Ms. Simmons shows us there is much more to Deena than a pretty face and lovely voice. Deena's journey from shy mama's girl to lead singer to a woman capable of breaking free from Curtis' control is simply wonderful to watch. If that was the main story of Dreamgirls she would have nailed all the emotional points. This is not Deena's story. It's Effie's.
Effie White has been an award-winning role for many actresses. Do not be surprised to see Nova Y. Payton add herself to that list. Her Effie is a force of nature. A woman of strength who knows that she is not one to stay in the background. Yet Effie is complex, occasionally not likable as she is always thinking of herself. When Effie reaches the crucial point of the show, Ms. Payton's rendition of "(and I am telling you) I'm Not Going" is electric, heartbreaking and powerful.
Dreamgirls is being performed in The Max theatre at Signature Theatre in Arlington, Virginia through January 13, 2013. For tickets and other performance information please visit www.signature-theatre.org.
Wednesday, November 28, 2012
Theatre Dining Review: The Catwalk Cafe at Arena Stage
As part of the multi-milion dollar renovation of Arena Stage in Washington, DC a wonderful dining area was created. Located on the rooftop of the Kreeger Theatre, the Catwalk Cafe provides cafeteria-style service with menus inspired by the current shows. New to the menu this season is a prix fixe three course meal which can be a bargain compared to the a la carte offerings.
The prix fixe menu is available pre-ordered and pre-paid for $19. The regular price is $29. For this price you get soup or side salad as a starter, entree, entree salad or panini as a main course and dessert. If you are ordering the main entrees they alone cost $18. So for an additional $1 you get the salad/soup course and dessert.
For the current productions of My Fair Lady and Pullman Porter Blues your choices include:
Cockney salads - Country English Salad, Asian Salad or Classic Caesar Salad. The English and Caesar salads can have chicken or shrimp added for an additional cost.
Soups - Chicken Noodle or Minestrone.
Pullman's Panini"s - Three Cheese Grilled Cheese, Roasted Portobello, Blackened Chicken & Fresh Mozzarella or a Kids Grilled Cheese.
Loverly Entrees come with a choice of three sides - Chicken Marsala or Hearty Beef Stew, the later served in a bread bowl.
Sides - Braised Red Cabbage with Apples, Honey Glazed Carrots, Parsley Boiled New Potatoes, Buttered Egg Noodles or a Dinner Roll.
Locomotive Desserts - Arena Stage Poster Cookies, Individual Sticky Toffee Pudding, Red Velvet Cupcake or Jumbo Chocolate Chip Cookie.
Children's meals are available and include Kids Grilled Cheese or Bowl of Soup, one side and a choice of the cupcake or chocolate chip cookie for dessert.
The only downsides are that the entrees come with possibly too much food, particularly the beef stew in the bread bowl, which really doesn't need additional starchy sides. It would be nice if there was a steamed vegetable available as a side dish for those who do not want a glaze or a sauce.
If you order the panini it does not come with any additional sides. So you must either purchase an additional side or bag of chips.
Drinks, both alcoholic and non-alcoholic are extra, although cups for complimentary ice water are available.
It is essential to make reservations to guarantee seating. The Cafe is available for dining two hours before curtain time. To save money, definitely reserve the three course prix fixe menu in advance. A list of those patrons who have pre-paid is kept at the cashier's where you pay for your meal.
For additional information and to reserve the Catwalk Cafe please visit www.arenastage.org.
The prix fixe menu is available pre-ordered and pre-paid for $19. The regular price is $29. For this price you get soup or side salad as a starter, entree, entree salad or panini as a main course and dessert. If you are ordering the main entrees they alone cost $18. So for an additional $1 you get the salad/soup course and dessert.
For the current productions of My Fair Lady and Pullman Porter Blues your choices include:
Cockney salads - Country English Salad, Asian Salad or Classic Caesar Salad. The English and Caesar salads can have chicken or shrimp added for an additional cost.
Soups - Chicken Noodle or Minestrone.
Pullman's Panini"s - Three Cheese Grilled Cheese, Roasted Portobello, Blackened Chicken & Fresh Mozzarella or a Kids Grilled Cheese.
Loverly Entrees come with a choice of three sides - Chicken Marsala or Hearty Beef Stew, the later served in a bread bowl.
Sides - Braised Red Cabbage with Apples, Honey Glazed Carrots, Parsley Boiled New Potatoes, Buttered Egg Noodles or a Dinner Roll.
Locomotive Desserts - Arena Stage Poster Cookies, Individual Sticky Toffee Pudding, Red Velvet Cupcake or Jumbo Chocolate Chip Cookie.
Children's meals are available and include Kids Grilled Cheese or Bowl of Soup, one side and a choice of the cupcake or chocolate chip cookie for dessert.
The only downsides are that the entrees come with possibly too much food, particularly the beef stew in the bread bowl, which really doesn't need additional starchy sides. It would be nice if there was a steamed vegetable available as a side dish for those who do not want a glaze or a sauce.
If you order the panini it does not come with any additional sides. So you must either purchase an additional side or bag of chips.
Drinks, both alcoholic and non-alcoholic are extra, although cups for complimentary ice water are available.
It is essential to make reservations to guarantee seating. The Cafe is available for dining two hours before curtain time. To save money, definitely reserve the three course prix fixe menu in advance. A list of those patrons who have pre-paid is kept at the cashier's where you pay for your meal.
For additional information and to reserve the Catwalk Cafe please visit www.arenastage.org.
Saturday, November 17, 2012
My Fair Lady at Arena Stage
Arena Stage presents a simply lovely production of Lerner and Loewe's My Fair Lady. With radiant performances and a design palette bursting with color, this classic tale adapted from Pygmalion the play and film by George Bernard Shaw has settled into the Fichander Stage for the holiday season.
This is the story of a poor Cockney flower girl who seeks to improve her life by learning to speak English more gentile and the phonetics professor who agrees to do so to win a wager that he can pass her off as a duchess in six months time. Their journey exposes the prejudices of the English class system and leads to insights and understanding as both characters discover their humanity and an abiding affection grows between them that transcends their initial student/teacher relationship.
Artistic Director Molly Smith has made some brilliant choices in bringing her vision of this show to vibrant life. In particular the design choices are fanciful yet clearly delineate the different classes portrayed in the play. The Cockney characters are a riot of steampunk color, the palette for Professor Higgins, Colonel Pickering and the servants staid muted earth tones and sensible black. Most welcome is the famous Ascot scene forever linked to the black and white scheme of the Broadway and film's award-winning designer Cecil Beaton. Here, costumer Judith Bowden provides a stunning array of jewel tones and pastels, the hats, many executed by Arena Stage's milliner Deborah Nash, are more than worthy of the Alexander McQueen runway-style inspiration.
Molly Smith's other inspired move is to embrace the multicultural casting which she used to great effect in her 2010 production of Oklahoma! Her choices of casting not only give opportunities to actors who might not be considered for major roles in the classic musical canon, but are thoughtfully applied and justified by historical research.
It is terrific to see many performers that are well-known to Washington, D.C. theatergoers. Sherri L. Edelen steers the Professors household as the housekeeper Mrs. Pierce, adapting comedically well to the disruptions in her well-ordered routine. Thomas Adrian Simpson has an edge of charm to his occasionally obtuse Colonel Pickering. Catherine Flye commands the stage in her all too brief appearances as the disapproving mother of Professor Higgins. James Saito adds a bit of a wink and a sly nod attitude to the famed philosophical dustman, Alfred P. Doolittle.
Nicholas Rodriguez makes a welcome return to Arena Stage as the ardent Freddy Eynsford-Hill. His rendition of On The Street Where You Live elicits a few sighs as Mr. Rodriguez charms the audience. His physical transformation during Show Me as he strips the veneer of his stiff upper class bearing to match the ardent passion of Miss Doolittle is delightful.
Benedict Campbell is not the first Henry Higgins to largely abandon the speak-singing style of Rex Harrison but the decision to do so is wise. Mr. Campbell shades his Higgins' arrogance with the simple cluelessness of a man who simply has few social skills. When this Pygmalion is confronted by his growing feelings for his Galatea Mr. Campbell breaks down his barriers in a manner that does not betray the nature of Professor Higgins' character. Mr. Campbell's rendition of I've Grown Accustomed To Her Face is deeply affecting, a true revelation of human emotion.
This production truly belongs to the incredible Eliza Doolittle of Manna Nichols. Eliza is a dual-natured woman and it is hard to find an actress who can equally portray the survalist gutter snipe and the refined lady. Ms. Nichols manages this task by never allowing the refined Eliza to completely lose her true self. When Eliza proclaims that she is no longer fit for anything other than to sell herself in marriage, it is a genuine cry of despair as the consequences of the transformative experiment hit home. Ms. Nichols has a soaring soprano voice that does marvelous justice to the many beautiful songs in Lerner and Loewe's score.
If there is any flaw in this production it may come from your fellow audience members. My Fair Lady is so well known that you should not be surprised to hear those around you humming or not so quietly singing along with the actors. It is a very minor irritant that should not distract from a loverly evening of theater.
My Fair Lady is being performed in the Fichander Theatre at Arena Stage's Mead Center for American Theatre through January 6, 2013. For tickets and other performance information please visit www.arenastage.org.
Friday, November 16, 2012
The Ultimate Christmas Show (Abridged) by the Reduced Shakespeare Company
Twas a cold night in Reston on a warm cozy stage....
The bad boys of abridgment are in fine comedic form with their newest production The Ultimate Christmas Show (abridged). Framed as the Multicultural Interfaith Holiday Variety Show and Christmas Pageant held annually at St. Everybody's Non-Denominational Universalist Church, this rollicking romp lovingly skewers every holiday tradition you can imagine.
Our three intrepid fellows, Austin Tichenor, Reed Martin and Matt Rippy try desperately to entertain their stranded audience when bad weather prevents the Pageant's other performers from arriving. Using found props they tackle everything from caroling to English panto. Ramadan, Hanukkah and Kwanzaa do not escape the parody express, but it is the many, many, many traditional and not so traditional Christmas events that are the target of witty barbs laced with snowflakes and eggnog.
The audience will be roped in to the merriment. Do not be surprised to find yourself singing along to a familiar carol, participating in a white elephant gift exchange or screaming out the responses to the first authentically Christmas English pantomime.
The three members of the RSC give their All Lang Syne in their performances. As a matter of fact Mr. Tichenor and Mr. Reed bare their souls and a few other parts that will sear an image into your mind that you will never forget.
This production is only touring for a brief few weeks this 2012 holiday season. If the Reduced Shakespeare Company is coming to a theater near you make sure you do not miss this delightful show.
The Ultimate Christmas Show (abridged) is being performed by the Reduced Shakespeare Company on selected dates in November and December 2012. For tickets and other performance information please visit www.reducedshakespeare.com.
The bad boys of abridgment are in fine comedic form with their newest production The Ultimate Christmas Show (abridged). Framed as the Multicultural Interfaith Holiday Variety Show and Christmas Pageant held annually at St. Everybody's Non-Denominational Universalist Church, this rollicking romp lovingly skewers every holiday tradition you can imagine.
Our three intrepid fellows, Austin Tichenor, Reed Martin and Matt Rippy try desperately to entertain their stranded audience when bad weather prevents the Pageant's other performers from arriving. Using found props they tackle everything from caroling to English panto. Ramadan, Hanukkah and Kwanzaa do not escape the parody express, but it is the many, many, many traditional and not so traditional Christmas events that are the target of witty barbs laced with snowflakes and eggnog.
The audience will be roped in to the merriment. Do not be surprised to find yourself singing along to a familiar carol, participating in a white elephant gift exchange or screaming out the responses to the first authentically Christmas English pantomime.
The three members of the RSC give their All Lang Syne in their performances. As a matter of fact Mr. Tichenor and Mr. Reed bare their souls and a few other parts that will sear an image into your mind that you will never forget.
This production is only touring for a brief few weeks this 2012 holiday season. If the Reduced Shakespeare Company is coming to a theater near you make sure you do not miss this delightful show.
The Ultimate Christmas Show (abridged) is being performed by the Reduced Shakespeare Company on selected dates in November and December 2012. For tickets and other performance information please visit www.reducedshakespeare.com.
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