Review: A Funny Thing Happened on the Way to the Forum

Review of the Sunday, December 15, 2024 matinee performance at The Max at Signature Theater in Arlington, Virginia. Starring Erin Weaver, Christopher Bloch, Sherri L. Edelen, Zachary Keller, Cameron Loyal, Mike Millan, Nolan Montgomery, Tracy Lynn Olivera, Kaylee Olson, Lawrence Redmond, Ryan Sellers, Harrison Smith, Emily Steinhardt, Kuhoo Verma and Hank Von Kolnitz. Book by Burt Shevelove and Larry Gelbart. Music and lyrics by Stephen Sondheim. Scenic design by Jimmy Stubbs. Costume design by Erik Teague. Lighting design by Jason Lyons. Sound design by Eric Norris. Fight choreography by Casey Kaleba. Direction and choreography by Matthew Gardiner. 2 hours, 30 minutes including one intermission.

2024 has been a hell of a year, but somehow it seems right and poetic that the first show we saw over these last twelve months was the final work of Stephen Sondheim (Here We Are), and the last show we saw was his first solo effort, A Funny Thing Happened on the Way to the Forum. This revival is happening at the Capitol-area's Tony-winning regional theater, Signature Theatre, known for its frequent Sondheim productions. Under the pitch-perfect direction of Matthew Gardiner, this is one top-notch romp.

Gardiner, who also choreographed with athletic and showbizzy panache, keeps things running at a breathless pace, and takes controlled chaos to an artistic level. A hallmark of great farce is when everyone is on the same page, and he has gathered a company of just such a group of actor-singer-physical comedians, led by the endlessly energetic Erin Weaver as Pseudolus/Prologous. I remember literally thinking, "She must be exhausted after every performance," and I knew from the first seconds of "Comedy Tonight" that we were in expert hands. Further, she endeared herself to us with a pointed and utterly charming "Free." Her vigor and commitment is clearly infectious given the rest of the company managed to keep up with her.

As Pseudolus' partner-in-crime, Hysterium, Mike Millan delights with controlled mania and a face that is surely part elastic. As the lovey-dovey romantic couple, Hero and Philia, Zachary Keller and Kuhoo Verma, sing like angels and pull off some comic moves that would have made Lucy and Ethel proud. Both play with stereotypes that are familiar, and in lesser hands would have been boring and obvious; instead, they come up with some ingenious surprises. Other standouts include the cleverly disguised Sherri L. Edelen as Erronius who manages to stop the show with a running gag that gets truly better each time it comes around again. Lycus, procurer of courtesans, is played with a devilish sneer by Lawrence Redmond, and Christopher Bloch is a riot as dirty old man/hen-pecked husband Senex. Both dip their toes carefully in the stereotype pool and then jump in head first with extremely creative twists. Tracy Lynn Olivera is a hilarious force of nature as Domina and never resists a chance to make a moment about her - a compliment on the highest order. In a similar vein, Cameron Loyal chews the scenery as the self-absorbed manly man, Miles Gloriosus. 

 

This production not only plays farce to the extreme, but is firmly in the sex comedy realm, with tons of double entendre and physical bits of phallic sight gags. The courtesans, are naturally, highly sexualized, and here are cast openly, including the Geminae, "twin" men (Ryan Sellers and Hank von Kolnitz) who enjoy kissing each other. A lot. There's Gymnasia, played with erotic fluidity by Nolan Montgomery, and a similarly leggy and robust Emily Steinhardt as Panacea is the DMV's Angie Schworer, if you will. Finally, there's Kaylee Olson whose shakes and rolls as Vibrata titillate in all the best ways. (She's also the dance captain, and Sellers is also the fight captain.) As wonderful as the courtesans are, I would be remiss not to mention the other ensemble group in Forum, the Proteans - a trio of players (played by Sellers, von Kolnitz and Harrison Smith) who take on maybe a dozen roles, and often more than one in the same scene. They are quick change artists, with a physical comedy prowess that calls to mind The Three Stooges and The Marx Brothers. Each time they appear, the energy kicks up a notch, and you are guaranteed a belly laugh.

 

As usual, the production values at Signature are first rate, with colorful, whimsical lighting (by Jason Lyons) that match the colorful, whimsical and clever costumes (by Erik Teague). All of this is on a farce-friendly, Roman-adjacent set designed by Jimmy Stubbs. The 14 piece orchestra under the baton of Jon Kalbfleisch sounded terrific.

This production of Forum continues through January 12th, and I highly recommend snagging any remaining tickets. This Sondheim classic isn't performed all that frequently, and certainly not at this level, so fans will not want to miss this!

📸: C. Mueller

REVIEW: Pacific Overtures at Signature Theatre (Virginia)

Review of the Sunday, March 26, 2023 matinee performance at Signature Theatre in Arlington, Virginia. Starring Eymard Meneses Cabling, Andrew Cristi, Albert Hsueh, Jonny Lee Jr., Quynh-My Luu, Jason Ma, Daniel May, Christopher Mueller, Chani Wereley and Nicholas Yenson. Book by John Weidman. Music and Lyrics by Stephen Sondheim. Kabuki Consultant: Kirk Kanesaka. Fight Director: Yoshi Amao. Taiko Consultant: Mark H. Rooney. Scenic design by Chika Shimizu. Costume design & puppet by Helen Q. Hwang. Lighting design by Oliver Wason. Sound design by Eric Norris. Musical direction by Alexander Tom. Direction and musical staging by Ethan Heard. 2 hours, 20 minutes, including one intermission. NOTE: This production closes April 9, 2023.

Grade: A+

Pacific Overtures is a stunning classic, rarely performed, and perhaps underappreciated. True, it isn't for the faint of heart, and you need to bring your "A" game to fully understand it as an audience member. But, when there's as glorious a production as Signature Theatre's current revival, it is most definitely worth the extra effort.

Here is a beautiful production (settings by Chika Shimizu, sound by Eric Morris), that sweeps over you even as you enter the space. Sounds of waves coming ashore fill the air, and the seating area is surrounded on all sides by calming white walls adorned with tranquil screens that evoke the sea and the air. The center of the space is filled with an enormous circular platform attached to a two-level, boxy platform, with gauzy curtains below, a taiko drum, and the branch of a tree, above. We are immediately transported, and the performance has not even begun.

The Reciter, here a modern day Japanese man (Jason Ma) enters, the lights dim, and we are transported with him to a time when Nippon was self-isolated, and ancient customs and traditions were followed to the letter. As the story unfolds, Oliver Wason's ambient lighting, and, at times, harsher lighting as the story dictates, conjures up a world at peace that is slowly morphing into one of chaotic change, and a devastating finale where East meets West - and all that that implies. Similarly, Helen Q. Hwang's masterful costume design pays tribute to the past culture and troubled, if modern, future. She makes the transitions between scenes and characters (each actor plays several roles) simpler by dressing each in nondescript base costumes, and adds a wide variety of robes, kimonos, wigs, and stylized Western wear, over top. Jonathan Tunick's orchestrations, under the baton of Alexander Tom, leading an ensemble of nine players, sound beautiful here. Special kudos to the percussionists and string musicians, who do stellar work. These elements, along with the versatile, "blank slate" of the scenery creates a feeling of epic, sweeping themes, all while remaining intimate - as if the entire thing is being presented for each of us alone. Visually and sonically, this may be one of the most fully integrated production I've seen at this venue.

Stephen Sondheim's score never disappoints - is there a weak song in it? And, with this production, each is highlighted with master strokes of inventive staging by Ethan Heard, who pulls out every stop to create distinct vignettes. Here, Eastern elements of taiko drumming, Kabuki and puppetry swirl together in an intoxicating, and often breathtaking manner. And the abrupt introduction of American vaudeville (and what may be best described as a minstrel show) signals a disquieting, threatening change of tone. It is jarring and disturbing in all the right ways. Heard's direction makes this challenging piece coherent and still thrilling from start to finish.

The full score and script are on display here - including the beloved and hilariously mischievous "Chrysanthemum Tea" - allowing audiences new to the piece to feel the full breadth of the work. Each song seems to function as a play within a play, offering context and commentary to John Weidman's almost poetic book. Heard and his company of actors have fully embraced this idea, and leaves me longing for just a staging of each number as a highlights revue of the evening.

What a company of actors! There is not a single cast member that is giving less than 100%, whether they are front and center or supporting a scene as an ensemble. When you witness a true company like this, you realize that though this is the way it is always supposed to work, it is actually more a rare occurrence. Led by Mr. Ma (a Broadway veteran that I can remember from his days in Shogun), each cast member is an expert storyteller, meeting the demands of whatever style the scene calls for. 

The story of Kayama (Daniel May) and Manjiro (Jonny Lee Jr.), a lower-echelon authority and sentenced-to-die commoner who left Japan and returned illegally, respectively, is particularly exciting to watch, as each saves the other, and as they morph into completely different and opposing men. Their duet "Poems", is light and lovely, humorous and endearing in Act One. Their final moments, captured in the haunting second act song, "A Bowler Hat," is beautifully staged, as Kayama becomes more Western and Manjiro, unable to make peace with Western ways, prepares to fight like a Samurai. The revolving stage at this point adds to the visual evolution of the characters; its eventual stopping point makes the deadly result even more chilling.

Ma dons the garb of the Shogun, while Andrew Cristi's low-key take on the wicked Shogun's mother is both riotously funny and deliciously sinister in "Chrysanthemum Tea." And Chani Wereley is a delight as the Madam in "Welcome to Kanagawa." The staging of "Please Hello!" - when the Western powers insert themselves into Japanese society - takes me back to Cabaret's "Meeskite," where you laugh and laugh until you suddenly realize (too late) that what is happening isn't funny. Nicholas Yenson as Perry/American throughout is an amazing dancer who exudes sinister evil, and really embraces the demands of the style of his scenes.

All of that said, the numbers that end each act, were for me the most exciting of the performance. "Someone in a Tree" did not disappoint: Eymard Meneses Cabling (old man), Christopher Mueller (warrior) and the riveting Albert Hsueh (voice of boy), along with a wonderfully expressive puppet (boy) conspired to create one of the most memorable renditions of that song I've ever seen. Simply exceptional. And the full company shines together in the finale, "Next," a coda of sorts, as we see the end results of this Western invasion, through war (a startling few minutes on darkness after a flash of light, included), and the modern toll of Japan's historic rise in the global community and its effects of the planet. We are left with much to think about.

With just over a week of performances left at the time of this writing, I strongly encourage you to grab up any remaining tickets and get yourself to Arlington, Virginia. You will be glad you did.

📸: S. Finney, D. Rader

2019 in Review: Off-Broadway & Regional Theater

Over the past twelve months, we only had the opportunity to see three off-Broadway and four regional theater productions, but they were all terrific and all for different reasons. Off-Broadway, we saw Puffs, Merrily We Roll Along and Little Shop of Horrors; regionally we saw Fun Home at Baltimore's CenterStage, and Grand Hotel, Assassins and A Chorus Line at Signature Theater in Arlington, Virginia. Here's what stood out for us in 2019.

2019 in Review:

Off-Broadway & Regional Theater

February: Puffs

(New World Stages)

Being huge Harry Potter fans who identify as Hufflepuffs, we had to see this parody. It was very funny and smart in its sharp observations about all things Potter.

• What we liked best: Hands down, it was the creative use of props that were instantly recognizable yet completely original. I can't imagine being in charge of all that.
• What we liked least: It could have used a bit of a trim. A little of that goes a long way.

February: Fun Home
(New World Stages)

One of our all-time favorite musicals, this may have been the best post New York production we have seen. Alison Bechdel would be pleased.

• What we liked best: An amazing performance by Michelle Dawson as Helen, a frightening take on Bruce by Jeffrey Denman, and a touching performance by Molly Lyons as Young Alison. And the use of projections was masterful.
• What we liked least: It was over way too fast.

April: Merrily We Roll Along
(Laura Pels Theatre)

As Sondheim fans, whenever there's a new interpretation of this enigma, we must see it. That this was being done by Fiasco Theatre made it all the more urgent.

• What we liked best: The cuts made were fine - they actually helped clarify things. And the arrangements and vocal direction were spot-on. Watching a cast of six navigate multiple roles added to the fun of trying to get a grasp on what makes these characters tick. Then there's that Mary transformation...wow.
• What we liked least: The search for the perfect Merrily rolls along. Maybe the next one?

May: Grand Hotel: The Musical
(Signature Theater)

One of my ten favorite musicals of all time, this show just isn't done that often. A major New York revival is long overdue.

• What we liked best: They didn't try to replicate Tommy Tune's work, and the show was perfectly cast. The set by Paul Tate Depoo III was beautiful, especially the floor. And Bobby Smith's take on Kringelein was heartbreaking.
• What we liked least: Really hard to think of anything... rub a dub!

August: Assassins
(Signature Theater)

Another Sondheim show that must be seen anytime it comes around. Needless to say, we are really excited to see the 2020 off-Broadway revival. Until then, we are glad we saw this one!

• What we liked best: The dynamic duo of "Squeaky" Fromme and Sara Jane Moore, played to perfection by Rachel Zampelli and Tracy Lynn Olivera. And the final scene between John Wilkes Booth (Vincent Kempski) and Lee Harvey Oswald (Sam Ludwig) was absolutely brilliant.
• What we liked least: A couple of characters overplayed it, but that may have more to do with us seeing an early performance than anything else.

November: A Chorus Line
(Signature Theater)

I never miss a chance to see my favorite show ever. The downside is that it takes a lot to impress me. The good news is that there's a lot to love in almost any production. This was no exception.

• What we liked best: A really strong, nuanced Zach is always a plus, and Matthew Risch was one of the best I've ever seen. And our belief that seeing understudies is an opportunity, not a bad thing was proven once again, by Zeke Edmonds, who made the smaller role of Al into a star turn. Hope to see him again and soon!
• What we liked least: They promised us it would be like we've never seen it before, but it was pretty much your standard A Chorus Line.

November: Little Shop of Horrors
(Westside Theatre - Upstairs)

Sometimes doing a show the way it was originally meant to be is a good thing.

• What we liked best: This was one of the best shows we saw in all of 2019, no matter what the venue. Jonathan Groff was the sweetest nerd ever, Christian Borle was never funnier, and in another understudy discovery, Chelsea Turbin was brilliant as Audrey.
• What we liked least: We probably won't have a chance to see it again.

#2234

REVIEW: A Chorus Line (Signature Theatre)

Review of the Sunday, November 10, 2019 matinee at Signature Theatre, Arlington, Virginia. With Joshua Buscher, Zeke Edmonds, Adena Ershow, Samantha Marisol Gershman, Jeff Gorti, Ben Gunderson, Elise Kowalik, Lina Lee, Brian Charles Moore, Corinne Munsch, Zachary Norton, Kayla Pecchioni, Matthew Risch, Maria Rizzo, Trevor Michael Schmidt, Emily Tyra, Jillian Wessel, Daxx Jayroe Wieser and Phil Young. Originally conceived, choreographed and directed by Michael Bennett. Book by James Kirkwood and Nicholas Dante. Music by Marvin Hamlisch. Lyrics by Edward Kleban. Scenic design by Jason Sherwood. Costume design by Sarah Cubbage. Lighting design by Adam Honore. Sound design by Ryan Hickey. Choreography by Denis Jones. Direction by Matthew Gardiner. 2 hours with no intermission. Runs through January 5, 2020.

Grade: B+

I have to admit I went into Signature Theatre's production of A Chorus Line with a mixture of excitement and dread. Excitement for a new production of my absolutely all-time favorite show, and dread for a new production of my absolutely all-time favorite show. Much has been made of the fact that director Matthew Gardiner and choreographer Denis Jones would not be using Michael Bennett's staging or choreography (gulp!) - not even the iconic "line pose" (double gulp)!

The Line

Turns out all that dread was for naught. Seems that for all the "like you've never seen it before" hype was just that. Unless they meant visually, that is. Adam Honore's lighting design has a certain... neon/florescent vibe I haven't seen in this context before. And Jason Sherwood's boxy set including color changing vinyl (?) strips and a thin stripe of mirrors certainly wasn't your standard black box ACL. Ditto the majority of Sarah Cubbage's costumes (excluding a variation of the classic Cassie red dress) which felt like a very conscious effort to not mimic the originals. Was the design team going for timeless? I hope not, because while the script still contains all of the original 70's and before references (Robert Goulet, Steve McQueen, Ed Sullivan, Gwen Verdon), the set and lights are definitely 80's/90's and the costumes are mostly early 21st century.

"One"

What was not "radically different" was Matthew Gardiner's direction. No, it was definitely your standard production in that regard. I was relieved/thrilled that the company always ended up each number back in the "pose." To be fair, a few characters don't exactly match the Broadway line, but not by much. What is different, though, is the uneven pacing, particularly the post-injury, pre-"What I Did For Love" dialogue about life after dancing, which ground the show to halt. Interesting, then, that the pacing of a typical production trouble spot - the "And..." scene, had a vibrancy that I really enjoyed.

The Company - "I Hope I Get It"

Denis Jones, a dancer/choreographer whose work I've enjoyed over the years, was also less radical than advertised - think Michael Bennett lite, Michael Bennett adjacent. The most significant changes were in "Hello Twelve, Hello Thirteen," which included some fun teen awkwardness, and far less formation driven tableaux. And the iconic "One" was also pretty standard, substituting the "wedge" and "circle trot" choreography with lots of lines and kicks. Both numbers were really quite fine - not disappointing at all - but were likely changed due to the demands limited space more than any revolutionary re-vision of the dances.

Kayla Pecchioni as Maggie

The great news here - and without this, any production of A Chorus Line would be ruined - is that the cast is uniformly terrific, and full of triple threats. There were some cast members who really shone.  Paul's monologue was beautifully wrought by Jeff Gorti, while Trevor Michael Schmidt's energetic, quirky presence brought a "That I Can Do" that was delightful. My favorite number, "At the Ballet" exceeded my already high expectations, with a superbly sung Maggie (Kayla Pecchioni) getting much deserved applause when she perfectly hit that amazing high note.

Two actors stood out in all the right ways in characters that don't generally get much attention: Ben Gunderson's utterly charming Bobby, and understudy (!) Zeke Edmonds' sweetly protective Al. Both gave great acting performances, and are fantastic dancers. Finally, Matthew Risch was a commanding Zach, and his chemistry with both his "assistant" (Joshua Buscher as Larry) and his ex (Emily Tyra as Cassie) was not only palpable and on point, but also added a sometimes missing dramatic tension. Good stuff!

Emily Tyra (Cassie) and Matthew Risch (Zach)

Signature Theatre has been down this path before, hyping their Miss Saigon as a "you've never seen anything like it, immersive experience," and not delivering that, but rather a very good production of a classic work. A Chorus Line is a similar case - not as "new" as it thinks it is, but definitely a solid production. It's worth seeing.

📸: C. Mueller

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REVIEW: Assassins (Signature Theater, Arlington, VA)

Review of the Saturday, August 17, 2019 preview performance at The Max at Signature Theater in Arlington, VA. Starring Christopher Bloch, Kurt Boehm, Evan Casey, Vincent Kempski, Sam Ludwig, Ian McEuen, Tracy Lynn Olivera, Lawrence Redmond, Maria Rizzo, Bobby Smith and Rachel Zampelli. Music and lyrics by Stephen Sondheim. Book by John Weidman. Scenic design by James Kronzer. Costume design by Kathleen Geldard. Lighting design by Chris Lee. Sound design by Ryan Hickey. Musical direction by Jon Kalbfleisch. Direction by Eric Schaeffer. 1 hour, 50 minutes with no intermission. Closes September 29, 2019.

Grade: A-

I attended the Signature Theater production of Assassins with someone who was familiar with Sondheim, but completely unfamiliar with the show. Her reaction is, I think, telling about how this show will probably always be received by the public at large. She thought the production was fine, the songs very "Sondheim-esque," but it left her with this question: "I'm not sure I feel right saying, 'I enjoyed that,' but it really gives me a lot to think about."

A little more familiar with the show myself, I've made piece with the fact that I do, in fact, enjoy this show. I love how downright jaunty and toe-tapping the songs are, juxtaposed against the deadly serious content of the subject matter. I can come to terms with realizing that the lyrics and book many times use comedy as a way in to the troubled minds of these assassins, and that we are meant to laugh, then to feel put off by my own joy.  But it all boils down to the same thing, though. Much like several moments in Cabaret, I think we are made to laugh with the hopes that we feel bad about afterwards.

The Assassins Company

Of course, it also speaks volumes about the American obsession with fame, celebrity and justice, and how they intertwine with politics. Given today's climate, Assassins is as timely as ever. I suspect that is at least part of the reason the company is presenting it for the third time, and is opening its 30th anniversary with this Sondheim piece and not another. It was a good choice.

Director Eric Schaeffer has again worked some Sondheim magic with this production, carefully intertwining these disparate characters as they (literally, sometimes) glide into and out of each others' stories. All vying for our attention, they perform/plead their case for us, searching for approval while we take in the insanity of their "logic." Schaeffer makes a solid effort, effectively balancing dramatic scenes and presentational numbers. Occasionally the pacing lags, and there is an uneven sense of urgency sometimes. This show needs a constant energy and intensity. Of course, I saw this just a week into it's performances, and a lot of that will likely change as the company gets more comfortable with their assignments. Musically, Jon Kalbfleisch does excellent work, and the sound he gets from a band of eight is remarkable.

The physical production perfectly captures the creepy Americana evoked by the actions of this band of social misfits. The lighting by Chris Lee is often chilling, frequently amusing, and always on point. Upon entering the theater, the massive unit set (designed by James Kronzer) gave me goosebumps, with its broken plaster walls and columns and the haunting decay of the Ford's Theatre box seats, thick with dust, festooned with a tattered American flag, and all leaning at a precarious angle, suggesting an impending collapse. Kathleen Geldard's costumes make each assassin instantly recognizable. The gasp of the audience when the Balladeer is revealed to be Lee Harvey Oswald must be very gratifying for her.

Ian McEuen as Zangara

The small ensemble is strong vocally, and perfectly evokes a sense of an "every-man chorus." This is especially true of "Something Just Broke," a haunting "I remember where I was when" number sung directly to us with little movement. The show opens with the Proprietor, selling a variety of guns and the chance to shoot the president. played with just a tad too much skeezy fervor by Kurt Boehm, whose overall performance would be much improved if he took it down a notch. Should his character really be creepier than the title characters when they are first introduced?

The main cast is pretty close to perfection, though, as I said before, they'll be even better when they settle in.  Ian McEuen gets the least to work with, but he has electric intensity with his big number, "How I Saved Roosevelt," and Lawrence Redmond brings a surprising depth to the pitiable ultra-depressed immigrant Leon Czolgosz.  The dour John Hinckley (Evan Casey) and the sexually charged Manson family member "Squeaky" Fromme (Rachel Zampelli) are memorable for, respectively, blending in like a sad sack wallflower and an over-the-top flower power cult member. Their "Unworthy of Your Love" is a highlight. Though he doesn't get a big solo number, Christopher Bloch gives 1000% to each of his profanity filled monologues, straight from the tapes of Samuel Byck.

Sam Ludwig as Lee Harvey Oswald

Vincent Kempski as John Wilkes Booth

Bobby Smith as Charles Guiteau

Rachel Zampelli as Lynette "Squeaky" Fromme
Tracy Lynn Olivera as Sara Jane Moore

The other four assassins are true stand-outs in every way. As nut job frenzied housewife Sara Jane Moore, Tracy Lynn Olivera is an absolute riot - I'll never again pass a KFC without thinking of her. And the witty self-absorption of Charles Guiteau comes to vibrant life in the hands of Bobby Smith, and his one man cakewalk up the stairs of the gallows is a showstopper. On the opposite ends of the chronological spectrum, John Wilkes Booth and Lee Harvey Oswald are brought together in an improbable meeting of the minds - an extended scene that is a tour de force for both actors - Vincent Kempski and Sam Ludwig, who are fantastic in every way. Kempski is the ultimate ringleader, and Ludwig is the ultimate depressive sociopath. Mr. Ludwig does double duty as the Balladeer, with a powerful voice and almost too perfect all-American looks.

Assassins does give us a lot to think about. None of it is very nice, and most people would probably rather not think about it. But attention must be paid. This production goes a long way toward making the case for these American villains.  No one does evil-as-entertainment like Sondheim. Leave it to Signature Theater to handle these challenges so well.

📸: C. Mueller

#2147

REVIEW: Grand Hotel: The Musical

Review of the Sunday, May 12, 2019 matinee at Signature Theatre in Arlington, Virginia. Book by Luther Davis. Music and lyrics by Robert Wright and George Forrest. Additional music and lyrics by Maury Yeston. Based on Vicki Baum's Grand Hotel. Starring Christopher Bloch, Ian Anthony Coleman, Natascia Diaz, Nicki Elledge, Nkruhma Gatling, Nicholas McDonough, Crystal Mosser, Solomon Parker III, Lawrence Redmond and Bobby Smith. Scenic design by Paul Tate Depoo III. Costume design by Robert Perdziola. Lighting design by Colin K. Bills. Sound design by Ryan Hickey. Music direction by Jon Kalbfleisch. Choreography by Kelly Crandall d'Amboise. Directed by Eric Schaeffer. 1 hour 50 minutes, no intermission. Production closes May 19.

Grade: A

I'm sure that many of you have been in this predicament: you have a favorite Broadway show that you love so much that you saw it many times during its original run and national tour. That version is seared into your mind. Then the years pass, and you finally get the chance to see it again in a new, professional production. And you are excited. But also scared, fearful that it couldn't possibly live up to your memory.

Such was the case when I entered Signature Theatre's Max space to see their Grand Hotel: The Musical. Was it as thrilling as the Tommy Tune classic? No. But it was nearly as wonderful, proving that different doesn't have to be bad  or "less than." The fact is, this Eric Schaeffer-led revival goes a long way towards showing that this musical stands up to time, and can more than stand on its own sans Tune.

As the lyrics go, "round and round, music constantly playing..." and the show does just that, between the vibrant, constant motion of Kelly Crandall d'Amboise's jazzy, snazzy and really sexy choreography, and the truly exceptional orchestrations of Paul McKibbons (he made seven instruments sound so full!) and superb musical direction of Jon Kalbfleisch. Add in solid, varied staging by Schaeffer, and this seamless production sizzles and flies by. Just as exciting is the visual feast the physical production provides. Colin K. Bills' moody, often sensual lighting signals mood, while Paul Tate Depoo III's immersive, luxurious set surrounds and draws you in (the floor is practically a character in and of itself). There is an elegance about the whole thing - lovely, crystal sconces line the walls, gorgeous wallpaper soars from floor to ceiling, and tall staircases reach to high, arched alcoves, while scenes change with subtle shifts of bronzed panels. And that floor! In an ingenious take on the original film and in stunning contrast to scenery, Robert Perdziola's opulent costumes are all in shades of black, white, grey, and, occasionally, silver. The characters are in black and white. Brilliant.

Grand Hotel is a truly ensemble piece, and its success hinges on that. As for the ensemble-within-the-ensemble, the eight cast members who play multiple roles - scullery, hotel staff, guests - sing and dance their way through life with a cool intensity bordering on desperation. They are compelling. The main core of ten characters, of course, each get their moment to propel the story, and each are successful. As all of them say (several times each), "time is running out," and each gives a performance tinged with varying levels of the aforementioned desperation. It thrills, motivates and gives the whole thing an edge of your seat excitement.

"Maybe My Baby Loves Me"

As the naive, scared to breathe bell hop, Erik, Nicholas McDonough is sweet, and the two baristas, Jimmy 1 and 2 are played with panache and haughty flair by Ian Anthony Coleman and Solomon Parker III. Their "Maybe My Baby Loves Me" sizzles.

As the above board turned morally compromised American business man, Christopher Bloch is by turns fatherly and predatory, and made the hair on the back of my neck go up as he sexually assaults his secretary. A tough assignment well played. The devoted companion to an aging ballerina is another difficult role - balancing duty with forbidden love is tricky - and Crystal Mosser really delivers, particularly in the final moments, and her "How Can I Tell Her?" is a highlight that stands out like never before. The narrator of the piece has always been an enigma, and, as played by Lawrence Redmond, that mystery is a sharp as ever, making his final compromise, "I'll stay...one more day" gives the whole show an air of frightening inevitability that has uncomfortable echos in today's political climate.

Grushinskaya (Natascia Diaz), The Baron (Nkruhma Gatling) (left)

Kringelein (Bobby Smith), Erik (Nicholas McDonough) (right)

The central four characters really propel the action are in great hands. Nicki Elledge is a compelling, frustrating and sympathetic mix of worldly-wise and woefully naive as Flaemmchen, the near poverty typist with Hollywood dreams, and her chemistry with every man she deals with is palpable.  Meanwhile, the always reliable Natascia Diaz is alternately pathetic, warm and sensual as the past her prime ballerina. The last we see of her - face full of hope as she rushes to meet a lover that won't be there - is heartbreaking. With the suave, debonair moves of a young Denzel Washington, Nkruhma Gatling captivates as the Baron, carefully navigating the tricky role of a thief who wants to do the right thing - and his vocals are wonderful, especially "Love Can't Happen." The star of the evening, though, is the utterly charming Bobby Smith as the dying bookkeeper. He had us eating out of the frail palm of his hand from start to finish. The hopeful optimism he exudes filled my heart and brought tears to my eyes.

Unfortunately, you only have this week to check-in and check out this splendid Grand Hotel. The show closes Sunday, but if you can get to the D.C. area by then, I highly recommend this one!

📸: C. Stanley Photography

#2077

REVIEW: Passion (Signature Theatre)

Review of the Sunday, September 23, 2018 matinee performance at the Max at Signature Theater in Arlington, Virginia. Starring Natascia Diaz, Claybourne Elder, Steffanie Leigh, John Leslie Wolfe and Will Gartshore. Music and lyrics by Stephen Sondheim. Book by James Lapine. Scenic design by Lee Savage. Costume design by Robert Perdziola. Lighting design by Colin K. Bills. Direction by Matthew Gardiner. 1 hour 50 minutes. 

Production closed following the Sunday evening performance, September 23, 2018.

Grade: A

By most standards, Passion is a difficult, challenging musical. Over the years, the show has become, at least for this theater-goer, less of a challenge and more a thing of beauty. The production of this Stephen Sondheim masterpiece which closed last night at Virginia's Signature Theatre is a thoroughly engrossing, beautiful production, well-deserving of the critical adoration of D.C. area critics. It is the complete package, with the technical, directorial and acting elements all contributing toward making this a nearly perfect production.

The flexible configuration of The Max space had the seats arranged bleacher style in two sections facing each other with the playing space down the full length of the room (think football field with the wing space as the end zones).  That layout allows scenic designer Lee Savage to create atmosphere all around the audience from the grey wood grain floor pattern to the grey patina adorning the small balconies and spiral staircase at the ends to the lovely (and just out of reach) ethereal hanging gardens and flickering candle chandeliers across the ceiling. The straight, sharp edges of the set pieces are appropriately austere and evocative of a certain loneliness. The lack of ground level color in the set really forces the other elements to help focus on the people in the story.

Indeed, Robert Pendziola's suggestive-of-period costumes and Colin K. Bills' pools of light allow us to catch, at a glimpse, a lot of what we need to know about these people. The stiff uniforms, uniforms match the regimentation (and methodical drudgery) of the Italian soldiers, while the flowing, gauzy gown and robe, as well as a rainbow of lovely gowns for Clara, whose very name means "light," reflect both the free loving, elegance of married woman having an affair, while still being corseted by the oppressive treatment of women in the 19th century. The other woman of this love triangle, Fosca, whose very name means "dark," is dressed in severely cut black gowns that cover nearly inch of her skin. The use of light and dark creates mood and focus with Fosca's scenes illuminated by cold, focused beams, while Clara's world is bathed in warm hues that gently fade into the shadows.

All of these elements allow director Matthew Gardiner to create a moving painting of sorts. The juxtaposition of the regimental movement and constant symmetry of the soldiers with the fluid, wandering movements of the female rivals makes for an always interesting visualization of the constantly changing give and take of all of the forces affecting the lives of the central trio. Gardiner uses this staging prowess to guide a fast-paced, thoughtful production. Using a full 16-piece band to play Jonathan Tunick's original orchestrations (under the baton of Jon Kalbfleisch), the score is as lush as ever, and the 12-member cast does full vocal justice to Sondheim's challenging score.

The entire company is marvelous. Standouts among the ensemble include Ian McEuen, whose operatic stylings create momentary comic relief, but are beautifully sung nonetheless, and Gregory Maheu, whose charisma brings comic flare to the role of the weary company cook. To be fair, his Count Ludovic came across as a tad too effete to my liking, but he was a captivating suitor anyway. Rayanne Gonzales and Bobby Smith sounded lovely together as Fosca's parents.

Of course, Passion is really a five character piece, and here all five actors do a brilliant job at bringing them to life. Will Gartshore, as Colonel Ricci, is a commanding presence, particularly in his final confrontation with Giorgio. He balances this nicely with a softer, caring way in his interactions with Fosca. As the manipulative doctor, John Leslie Wolfe is quite good at bringing out the initially caring machinations of bringing Fosca and Giorgio together, while at the end, when he realizes things have gone way too far, his backing away from things and threatening to pull rank has a sinister, very of-modern-time feel to it.

As Clara, Steffanie Leigh is a strong presence, finding believable ways to see completely in love and still strong independence - no small feat considering the epistolary nature of her role. It is very easy to see why Giorgio is so taken with her, and why there were audible gasps when she reveals that she is married and has a child. Claybourne Elder's Giorgio is marvelous. He exudes sexiness and strength - even his comrades are both jealous and smitten - while always creating a sense of honest humility. His portrayal is fully emotional - love makes a guy do crazy things, after all. And Elder's voice is just as marvelous; he sings the score with power and care. Natascia Diaz has the unenviable task of filling the famed shoes of the role's originator, Donna Murphy, and fill them she does. The tears flow, the fainting spells abound, and the give and take of Fosca wanting to die and to live is on full display. Diaz pecks away at this complicated woman in such a way that it is easy to understand and to believe each and every tick, scream and abrupt change of direction. Her voice is glorious, managing to be simultaneously powerful and frail. In short, she brings a captivating presence that is at once pitiable and maddening.

Each time I see Passion, another layer of this complex puzzle is revealed to me, which is why I return to it any chance I get. It will never be my favorite musical, but with productions of as high a quality as Signature's, I certainly appreciate it more and more.

(Photos by M. Schulman and C. Mueller)

#1901

TheatreScene Thursday: Friends of JKTS Working Hard

With a slight lull in Tony mania this week, the TheatreScene was more about future shows and friends of this blog getting some high profile press.  But first, a little Tony business:

Don't forget to vote for the #MissingTonyAward (Best Ensemble in a Play and Musical)! Click the icon to your left! Polls close on May 18th.

And my Broadway pic of the week, from the Tony Nominee press event!

History meets the future: two of my favorite
Broadway gals, Chita and Sydney (NYT)

One of the big news stories of the week was/is the continuing saga of Rebecca.  What a mess.  It leads me to the Question of the Week:

If Rebecca ever makes it to the Broadway stage, will anyone even care about this epic musical?

Related question: Have we learned nothing from Dr. Zhivago?

Another more likely (and happier) future show announced this week was Tuck Everlasting.  I have high hopes for this one.  It looks enchanting in that Secret Garden/Finding Neverland kind of way.  And it features a good friend of this blog, Andrew Keenan-Bolger.  I just love this former Newsie!  Check out his interview from awhile back by clicking his pictures to the right (depending on your screen, you might need to scroll down a little).  I wish him the best of luck with this new endeavor!

Speaking of the Keenan Bolger clan, congratulations to Celia and husband John Ellison Conlee (who was awesome in The Full Monty), who welcomed their new son, William Emmet into the family on April 29.

You certainly can't say that Virginia's Signature Theatre doesn't do enough press!  They've gone all out for their production of Cabaret.  It seems to be everywhere on the Broadway sites.  I'm really happy for a great friend of this blog, Wesley Taylor, who stars as the Emcee.  Check out these simply marvelous photos:

Wesley Taylor as the Emcee and Barrett Wilbert Weed as Sally Bowles

(C. Mueller)

Who knew leather lederhosen could be so sexy?
(T. Ranson)

Here's a link to a great interview Wesley gave to Metro Weekly.  Check out the dish on Smash, Rock of Ages and The Addams Family.  HERE

Have a great week, theatre fans!
Jeff