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Awa Sal Secka (Shanti), Kevin McCallister (Caesar), Chris Hoch (Blackbeard), Christopher Mueller (Jake), and Lawrence Redmond (Samuel) in Blackbeard at Signature Theatre // Photo: Christopher Mueller

Blackbeard Costume Designer Helps Pirate Live His Best Life

For Signature Theatre’s world premiere of Blackbeard, the cast and crew has to look magnificent. The famed pirate, upon learning he is wanted by the British Army embarks on a fantastical journey across the globe to raise an undead-pirate army from the depths of the sea. To fully depict this fantastical spirit, costume designer Erik Teague was able to create a variety of colorful and outer-worldly outfits for this show, and he spoke to On Tap about his experience working on the production before the show begins its run on June 18.

On Tap: What brought you into costume design?
Erik Teague: I was that weird kid who loved comic books and movies, still true today, but the oddball component is that I really enjoyed opera. I thought I wanted to be an opera singer. As I studied, my love of music never changed, and I realized the thing that was exciting about the performance was the transformation. I finally realized,  oh wait I’m just a designer, okay great!

Illustrations: courtesy of Signature Theatre

OT: Did you know the Signature team prior, if not what was the collaborative process for you in terms of creativity?
ET: This is my very first time working with the team at Signature, they are a company I have long admired because of the ambitious nature of what they do. It is always interesting to come into a different artistic family than your own, this group of people has a long history of working together. I’ve had to figure out where to fit in, but overall it has been very good, we have been able to communicate with each other well and share ideas fluidly.

OT: Why did you choose to join the team for Blackbeard?
ET: An adventure fantasy musical that centers around pirates, I thought that was super exciting, and super in my artistic wheelhouse. Meaning there would be lots of sword fights and swashbuckling and swinging on ropes, which I find very interesting. Building costumes for these types of performances has different methods than other performances where you just walk across the stage and deliver your lines. The construction methods are different, it is always exciting to find out what a performer needs to be supported to do their choreography.

OT: What is your favorite moment of the show?
ET: There are a couple of good ones, but I will say the I am pretty proud of the zombie pirate horde. We have done some highly theatrical gestures, by a couple, I mean we have created a horde of skeleton pirates who glow in the dark by using tandem puppets. Three of them can walk in a line together, I worked with Kylie Clark, a talented artist who made the puppets, and helped to get them functional.

OT: What is your favorite costume in the show, if any?
ET: Definitely Blackbeard’s two coats, they are a wonderful show in contrasts. His first coat is very distressed and lived in, and looks like it could have walked off the Pirates of the Caribbean movie set. Versus the second coat, his afterlife coat. Blackbeard is living his best life in his afterlife. He has been beheaded as per the real history. He finally becomes the myth and legend he has been trying to live up to the whole time. I gave him the opportunity to look the best, [a] red velvet coat with black beading all over it, and black Venetian lace trimming.

Blackbeard opens at Signature Theatre June 18, running through July 14. For more information and tickets visit www.sigtheatre.org.

Signature Theatre: 4200 Campbell Ave. Arlington, VA; 703-820-9771; www.sigtheatre.org

Photo: Margot Schulman

The Many Complexities of Grand Hotel

Grand Hotel isn’t like any other show.

This is what artistic director Eric Schaeffer tells me on a phone call the morning after I catch his new production at Signature Theatre, and I can say with full certainty that he’s quite right.

He relishes the fact he selected a Tony Award-winning play that’s complex, layered and challenging – adjectives he uses to describe the frenetic musical during our conversation, all of which just so happened to pop up multiple times in my post-show notes.

And it’s no coincidence: the 1929 novel turned 1932 MGM film turned 1989 Broadway hit wasn’t easy for me to connect with night of, but I was still thinking about it for days, even weeks, later. But art is meant to push us out of our comfort zones and expose us to new ways of thinking about and experiencing life, and Schaeffer’s known for taking those risks at Signature every season.

Whether it’s debuting daring new pieces or embracing notoriously difficult classics, the director doesn’t shy away from works that might make his audience fidget or his actors balk. And now through May 19, Schaeffer encourages theatregoers to sit in the lobby of a 1928 Berlin hotel as an extremely eclectic cast of characters weaves on the periphery of one another’s lives.

“The show just keeps layering on itself, which is interesting,” he tells me. “It’s not just like, here it is and here’s the story. It’s kind of like a painting that just keeps on taking off layers and layers and layers, which is the really neat thing about the show. I love that it challenges the audience, it challenges the actors. It just becomes this experience.”

His 16-person cast – full of Signature regulars and DC up-and-comers, plus a truly dazzling performance from the magnetic Nkrumah Gatling (Broadway’s Miss Saigon) – was whittled down from the original production’s 28. The method to his madness? He wanted to give the audience a fighting chance at following all of the show’s storylines through the lens of a sticky-fingered baron, aging ballerina, dying bookkeeper and desperate typist, to name a few.

“It was a hard puzzle to figure out, but it was fun once I did,” he says of casting the play. “There’s all these snapshots that are put together, and you keep getting slices of all these different lives and how they’re interconnected – or not – they all just happen to be passing in and out of the hotel lobby.”

Schaeffer selected his talent well, whipping the audience into a sometimes delightful (in numbers like the cheeky “Maybe My Baby Loves Me”), often uncomfortable (grappling with the heaviness of mortality or a successful man’s implied power over a naïve woman) frenzy. In just under two hours with no intermission, the impressive cast sings several dozen songs and swings the mood pendulum from light to dark at only a moment’s notice. It’s hard to keep up with – visually, sonically and emotionally.

The highly stylized, momentum-driven production isn’t just a lot for the audience to handle – the director says that everyone from the ensemble to the leads had an “Oh my god, this is so challenging” reaction.

“Which is great,” he says, “because they’re not doing the same old thing. It makes them grow as artists, which I think is really important.”

His level of commitment to the production extended beyond nudging his cast gingerly out of the nest and into uncharted – or at least less traveled – territory to a set design that married opulence of a building both old and grand with an ambiance that felt modern, contemporary and relatable.

“I really wanted the audience to feel like they’re sitting in the lobby of a hotel just eavesdropping on all of these conversations that are happening.”

And he did just that by collaborating with set designer Paul Tate dePoo III to create a dynamic set that transforms from a decadent hotel room to the black void of a haunting train station within seconds.

“It was a balance,” dePoo says. “It was a constant conversation. We didn’t get too far away from the contemporary world.”

And like Schaeffer, he takes his craft incredibly seriously, aiming to capture the spirit of the chaotic play and its varied cast through the design.

“Hopefully, it tells the story in a way that we don’t feel like we’re disconnected from these people and we appreciate the era they are currently telling the story within.”

Peel back the layers of this theatrical onion through Sunday, May 19 at Signature Theatre. Tickets start at $40 and are available at www.sigtheatre.org.

Signature Theatre: 4200 Campbell Ave. Arlington, VA; 703- 820-9771; www.sigtheatre.org

Liam Redford (Billy Elliot) and ensemble // Photo: Margo Schulman

Better When I’m Dancing: Billy Elliot The Musical

“What’s this show with miners in tutus about?”

That’s a question many people ask about Billy Elliot, both when the film came out in 2000 and when the hit musical debuted five years later. In this case, it’s a question asked by Matthew Gardiner, the director and choreographer behind Signature Theatre’s winter production of the musical.

If you haven’t heard of – or seen – the movie or the musical, Billy Elliot tells the story of its titular character, an 11-year-old English boy who discovers a love of ballet while surrounded by a family of coal miners who don’t support his nontraditional passion – at least not at first. Hence, the miners and tutus.

After the film became a hit, Elton John was enlisted to write songs for a musical version that debuted in London’s West End in 2005. Next came productions in Australia and in 2008, on Broadway where the musical won 10 Tony Awards including Best Musical. And now, DC area audiences can catch the musical at Shirlington’s award-winning theater through early January.

Gardiner, Signature’s associate artistic director, has a personal connection to the story as he too studied ballet growing up.

“It was hard being a boy who loved ballet and musical theatre,” Gardiner says. “I was picked on a lot. But I felt safe when I was in the ballet classroom or in a rehearsal room. Those were the places I felt most like myself and most at home.”

It’s also an experience that the young star of Signature’s production, Liam Redford, can relate to. A native of North Hanover, New Jersey, Liam is 11 and a student of all types of dance at Philadelphia’s Rock School for Dance Education. Like Billy, he’s had to deal with people who don’t understand his passion.

“I have experienced many people who are not supportive of me in being a young male dancer,” the young actor says. “In school, many of the other kids looked down on me or did not think that what I loved to do was normal.”

However, both Redford and Gardiner have been able to overcome those past experiences and follow their dreams – a theme at the heart of Billy Elliot. When speaking with Redford, it’s clear he’s still riding the high of transitioning from playing Billy at a small community theatre in New Jersey to his current role in the Signature production.

“It feels amazing to know that so many other kids just like me can take on this role and relate to Billy in all the same ways as I do as a male dancer,” he says. “I am so lucky to be able to play this role that so many amazing people have played before.”

The production has two totally different casts of school-aged cast members performing in the show, including another Billy. In a nod to the show’s composer (and maybe West Side Story), the two casts are nicknamed the “Bennies” and the “Jets.” There’s no rivalry between the two groups, though. Redford says they hang out all the time.

“We are very close and love spending time with each other, and we have so much fun when we are together. We all hang out on Mondays when we are all off. Our young performing cast is like a little family.”

The talent and dedication of all the kids involved in the production amazes Gardiner, and he says he doesn’t change his style when directing the younger actors.

“I could never do what these kids are doing at their age,” he says. “I was good, but these kids are amazing. Their dedication and artistry are unbelievable. I play my part by encouraging them and treating them like I’d treat any adult actor. They are that good.”

The director says he was originally hesitant to work on Billy Elliot as he was only familiar with the film.

But when he read the script for the musical, he realized that it had an important message for today’s audiences.

“When I read the piece, I was taken aback by this story of loss and a community fighting for their voice – and ultimately, for the dreams of one little boy. In these trying times, we need more stories about the ways in which we unite.”

Don’t miss Billy Elliot: The Musical at Signature Theatre, now through Sunday, January 6. The run time is roughly two hours and 45 minutes with one 15-minute intermission. Tickets start at $40. Learn more at www.sigtheatre.org.

Signature Theatre: 4200 Campbell Ave. Arlington, VA; 703-820-9771; www.sigtheatre.org

Photo: Margot Schulman

Signature Theatre Stirs Actors and Audiences with Passion

While an iconic work in the pantheon of Stephen Sondheim’s contributions to musical theatre, Passion is admittedly not an airy, feel-good musical. The hour-and-50-minute, one-act play asks much of its actors and its audiences as it tells the timeless story of wavering between the love of two different people.

The new production, at Signature Theatre through September 23, is staged to mirror a runway. The audience will be split down the middle, facing one another while absorbing the characters’ anguish as they’re torn between multiple outcomes throughout the play.

The musical, which made its debut in 1994 and holds the title of shortest-running show to win a Tony Award for Best Musical, is based on the recounting of an Italian author’s affair with an ailing woman while he served in the military. Giorgio (Claybourne Elder) swings from a dangerous pendulum between his carefully arranged relationship with his beautiful – and married – mistress Clara (Steffanie Leigh) and the allure of the reclusive, plain Fosca (Natascia Diaz).

Signature Theatre Associate Artistic Director Matthew Gardiner brings an intimacy and fierce intensity to the production, challenging audiences to face themselves and their perceptions of physical beauty. Every decision feels very deliberate, from splitting the stage in half to emphasize Giorgio’s gravitation toward both women to the unmoving lens on his transformation over the course of the play as the actor never once leaves the stage.

“It’s very dynamic,” says Diaz (West Side Story, Threepenny Opera) of the play’s staging. “It already denotes one side and another – and being pulled in multiple directions. That is the dynamic. Giorgio is being pulled between these two women. It visually exists in a physical format that enhances that energy. Matthew is able to make things that are tangible and real, but it has this ethereal quality to it.”

At first blush, the intricacies of the story may seem dated. A sickly, homely Fosca isolates herself from her surroundings and lives vicariously through books. Giorgio takes a military post far away from his beautiful Clara, but the lovers stay connected through impassioned letters. Though Passion is set in the 19th century, the painful missteps of romance and navigating the concept of monogamy are still very much familiar to us in 2018. As Elder (Sunday in the Park with George, Bonnie and Clyde) prepared for his role, he too found the subject matter relatable.

“The novel was written in 1870 and as I read it, I thought to myself, ‘What a fascinating mediation on love and obsession, affection and passion,’” Elder says. “I’ve definitely found myself in the novel – like, ‘I have done that before, I have felt that way about a person before’ – which is very interesting. The feelings behind it all are every bit as contemporary as they would have been in the 1800s.”

Fosca is widely regarded as one of the most unlikeable characters in modern theatre, making it a complex role for any actor. But much like Elder, Diaz looked past the surface and found common ground with the young woman, physical and emotional afflictions and all. While preparing to take on what she called the largest role she’s ever played, Diaz says she grew to feel as though she knew Fosca.

“I looked at the page and thought, ‘I could have written this,’ meaning that I understand her completely. I not only understand her, but I love her. It’s the strangest thing to play a character as large and as previously judged as this. It’s just like any other slander case. They don’t know her until they’ve read it and seen what’s at the center of her soul.”

The polarizing nature of Fosca lies not as much in her physical unattractiveness as it does in the fact that she embodies “pure, unadulterated feeling.” At the heart of the play, though, is Giorgio’s struggle between two women, two ways of life, his head and his heart.

The audience’s disdain for Fosca may be the initial visceral reaction, but the production holds another element that makes Giorgio’s role equally if not more so emotionally taxing. As the common thread that binds every character in Passion together, it makes sense to have Elder remain onstage for the entire performance – though the impressive feat does have its own physical and emotional challenges for the actor.

“What Giorgio learns in this play is astonishing and very profound,” Elder says. “I connect to it greatly and I find it very emotional, and therefore it’s hard. As actors, it costs something emotionally every time you do a play. You give a piece of yourself to it. I’m grateful this run is only a few months, because living in this for a long time would be very challenging. I would need a lot of therapy. It challenges me to really face myself.”

For audiences who are ready to experience a production that asks questions both timeless and timely, Signature is ready to take you on a journey in their intimate, inventive black-box space. You may learn something about yourself right alongside Giorgio.

Passion is not a show that gets done very often in regional theatre, because it’s not a big draw,” he continues. “It’s complicated, it’s emotional, it’s dark at times. It’s not a laugh-a-minute night out, so you need an audience that’s going to get excited and support it. I have absolutely no doubt that [Signature] is the best possible place to do this show. I feel very, very lucky to get to be a part of this.”

Stephen Sondheim’s Passion runs through September 23 at Signature Theatre. Tickets are $40-$104. Pride Night is September 7, Discussion Night is September 12 and Open Captioning will be held on September 16. Learn more at www.sigtheatre.org.

Signature Theatre: 4200 Campbell Ave. Arlington, VA; 703-820-9771; www.sigtheatre.org