"The Day" // Photo: Hayim Heron, courtesy of Jacobs Pillow

The Day Tackles Life, Death And All In Between At The Kennedy Center

The expiry of life is a shared experience. Yet, though our existence is riddled with these life-ending and life-altering moments, we tend to struggle with the acceptance or articulation of this obligatory unknowingly path-dependent terminus.

Fortunate for us, world-renowned cellist Maya Beiser has initiated a two-part collaborative effort, where audience members visiting the Kennedy Center December 6-7 will embark on a partially guided journey named The Day. Here, onlookers will grapple with their acceptance of life, death and everything in between, depending on your religious or ideological beliefs. 

The conception of World to Come, the sequel of The Day, began forming during September 11, 2001, while American composer David Lang and Beiser were commissioned by Carnegie Hall to produce an evening performance.

The two were living in New York during the attack on the World Trade Center, and inspiration sprung from the unfathomable event, wherein the title of their work even emulates the acronym, WTC.

“The piece just became informed by that event,” Beiser says. “In particular, by this incomprehensible idea that there were thousands of people who woke up that morning, took the train or car and went to work, and a few hours later they were all gone weeks afterward. People in Union Square were just walking around sort of dazed with signs of their loved ones they were still looking for. People were looking for those who just kind of disappeared…that became the subject of this piece.”

The Day, was imagined after its sister title World To Come.

“We wanted to create this piece that is really about life; it’s really about the sanctity of memory,” Beiser says. “For this particular case, there were two compositions that were relating to death and September 11, something personal but also universal. I think super personal things are also the things that resonate with all of us on some level. We all, of course, have this predicament. We are all born and we are all going to die someday.”

The Day will feature three significant artistic expressions: Music, composed by Lang and performed by Beiser; dance, choreographed by Lucinda Childs; and performed by Wendy Whelan. Finally, there will be poetic texts crowdsourced online to reinforce the importance of memory.

“Three-hundred different people are answering the question, ‘If I remember the day?’ and it’s all these different memories from things that we think are super profound or super mundane, but they are all being told in this matter of fact and without any judgment [space]”, Beiser explains.

The text illuminated onstage is without a narrative, yet, naturally conveys, “what’s important and not important to us, and what it is that makes our lives and our human experience a community.” 

Beiser will tell you firsthand that she is a visual musician, “You know, I’m a musician but I always see music, I don’t just hear it. Music has a very large sonic visual palette for me. When I play and when I perform, the visuals are always important to me.”

“As I was recording [The Day], I kept imagining a women dancer who danced with and who would communicate with me.”

In true Beiser fashion, she elicits the prowess of former New York City Ballet Company ballerina turned artistic director,  Wendy Whelan, whom she came to admire since their meeting in 2010. “I thought she would be the absolute perfect person for this idea.”

Whelan joined the illustrious team without hesitation,.

“We just clicked personality-wise”, Whelan reminiscing over her early encounters with Beiser.  

Whelan’s international dance career spans more than 30 years, so we wondered, how does her experience impact her movements concerning the illustration of life and death? 

“It’s been interesting,” she says. “Since I left the New York City Ballet [as a principle dancer] five years ago, I’ve lost maybe five very very close friends. They’ve died very young, and I have to say, these experiences in dealing with this kind of lost have very much affected how I look at this work and what I bring to the work.”

“There’s sort of simplicity to [The Day]. I don’t overthink, I just dive into the work and almost relax into it. Because of my experiences and my age, I let go in life. I’ve let go of the ballet. I’ve let go of friends. The power in letting go is everything. We all want to control and we want to push through and hang on. The realization is that this sort of letting go of different chapters in our life or different people, it gets you to the next place. It helps us evolve and land with new wisdom. I’ve sort of learned the beauty and power in that, and I try to let that experience come through in my being.”

The Day is showing at The Kennedy Center, Eisenhower Theater, December 6-7 at 8 p.m. on both days. Tickets are $25-$69 and can be purchased online here.

The John F. Kennedy Performing Arts Center: 2700 F St. NW, DC; 202-467-4600; www.kennedy-center.org

The Cast of Fiddler on the Roof // Photo: Joan Marcus

Fiddler On The Roof Brings Sisterhood To National Theatre

Sisterhoods are quite common, whether they be biological, happenstance or through a rush at a sorority house. There’s something particularly precious about these seamlessly formed bonds that withstand the test of time. 

Consider your favorite predominantly women led stories; Golden Girls, Little Women, Insecure and Girlfriends. These strong female characters and intentionally feminine stories are sacred and significant in depicting a subsection of human existence.   

This is especially true for the three sisters of the Tony Award-nominated Broadway revival of Fiddler on the Roof, playing at DC’s National Theatre from December 10-15

“The magic of Fiddler is in the daughters,” Ruthy Froch says, explaining why she connects so well with her character and fellow cast members. “Doing the show so many times, our relationships only gets deeper in our onstage and off stage life.” 

Froch (Hodel) and Kelly Gabrielle Murphy (Tzeitel) have spent considerable time together, along with Noa Luz Barenblat (Chava) who joined the cast in August, and each express how being a part of this show is a dream come true. 

As the national tour nears two years, the trio’s friendship, cherished in a theatrical milieu, provides security in knowing they can rely on one another. 

“We’ve become our own community,” Froch says. “We’re our own shuttle outside the shuttle of the show. We live together, we travel together, we are experiencing life together.” 

Sisterhood is germane to Fiddler on the RoofSet in the Pale of Settlement of Imperial Russia during the early 20th century, the script follows the unsuccessful matchmaking of three elder daughters of Tevye, a poor Jewish milkman. Fixated on keeping with Jewish customs and traditions, Tevye is delighted by the prospects of arranged marriages devised by Yente, the village matchmaker. 

However, the hearts of his children have been won by those of who he considers unsuited suitors. Because of this universal theme, relating to this family is an easy feat.

“It’s incredible to see that no matter who you are or what your religious background is, or what your cultural or ethnic background is, everyone seems to find a way into this story and that makes it such a special production,” Barenblat says. 

She continues to point out how the dynamics played out in this allegory have emotional resonance overlapping generations and cultures. 

“I don’t even remember where I was when I first saw the movie, but I have such early memories of seeing the movie when I was young,” Barenblat says. “I know the songs, I know the story and I feel like it has lived in my bones for my entire life.”

Written in 1964, and now a 2019 production, the narrative has experienced a feel of timelessness.  “Since the show opened on Broadway, has been produced somewhere in the world every single day,” Kelly Gabrielle Murphy says quoting Fiddler: A Miracle of Miracles, a documentary on the Broadway musical. 

“That shows how wide of a range the show has and how many people it speaks to,” Murphy adds. 

With the premise of the narrative, a lot of the play is focused on the balance of doing what’s right and keeping with tradition. 

“I think traditions are important,” Murphy says. “Being on the road, I grip on to my traditions with my family even more because we’re not with our families.” 

Barenblat adds, “the biggest pride I feel in my identity are the traditions I have with my family, a lot of which are related to my religion, Judaism, and I do think they are really important. This show really highlights the tension between maintaining your traditions, versus moving forward and exploring new cultures and being accepting of other cultures.” 

Being on the road with cast members, away from family, Froch mentions one shared between herself and Murphy. Before each performance, once departing the makeup chair, one shouts to the other, “See you in the kitchen!” 

“I think the title, Fiddler on the Roof explains traditions perfectly. It’s about the fine line between doing what you’ve always known and what’s in your bones and the dangers and shakiness of exploring other things, other traditions, the unknown. I think traditions are meant to be followed and also meant to be broken.” 

The Tony Award nominated Broadway revival of Fiddler on the Roof is playing at National Theatre, December 10-15. Tickets are $54-$114 and may be purchased here.

National Theatre: 1321 Pennsylvania Ave. NW, DC; 202-628-6161; www.thenationaldc.com

(Left to right) Justin Mark, Sinclair Daniel and Isabella Star LaBlanc // Photo: Tony Powell

The Story Of Peter Pan: From Beloved Classic To Contemporary Spectacle

Director Alan Paul likes to go big. Shakespeare Theatre Company’s (STC) associate artistic director has made a name for himself directing musicals and operas notable for their grand scale and lush scope. That experience will come in handy this winter as Paul tackles his biggest project yet: a re-envisioning of J.M. Barrie’s Peter Pan, at STC’s Sidney Harman Hall from December 3 through January 12.

Peter Pan and Wendy will feature a fresh new script by playwright Lauren Gunderson, a cast of 20 and a creative team of 66 that will bring Peter Pan’s story to life through special effects, flying and ambitious sets. It is bigger than anything the company has produced before, and it’s all in Paul’s hands.

“I don’t feel like the director of this show,” Paul told me during an interview at STC’s rehearsal space last week. “I feel like the captain of the ship, like I’m orchestrating 50 people doing a million things, which I am.”

Paul envisions a show that is grand in both ideas and design. His team includes a roster of A-list artists including Gunderson, currently the most frequently produced playwright in America (American Theatre magazine), and Emmy Award-winning scenic designer Jason Sherwood (Fox’s Rent Live), who is tasked with creating the worlds of the Darling family nursery, Neverland and more.

Gunderson’s script calls for dazzling effects: flying bunk beds, midair fight sequences, Tinkerbell transforming from light to human and pirates tumbling from their ship while a giant crocodile lurks below, to name but a few. It also includes the familiar Peter Pan storyline – with some twists.

“Peter Pan already has his story,” Paul said. “The pull of it for me was Wendy and what happens to her. This is Wendy’s story, from start to finish.”

Paul felt that Gunderson, known for her plays that put women – often neglected historical figures – center stage, was the perfect person to develop a “robust, swashbuckling adventure” led by a smart, inquisitive heroine.

“There were a lot of people out there who could have written a post-modern riff on Peter Pan, but not in a big, crowd-pleasing, robust way. And that was the charge I had for her. It had to be robust.”

And it had to have the women take charge. Paul hopes Peter Pan and Wendy will do for theatre what Frozen did for movies: rewrite the rules and prove that female-driven adventure stories can attract large audiences.

Rewriting the rules “is the whole point, actually,” Paul said. “In the original Peter Pan, Peter wants to bring Wendy to Neverland to sew their socks and mend their buttons. That feels very different in 2019.”

In Gunderson’s version, Wendy is a budding scientist whose role model is Marie Curie, the Nobel Prize-winning physicist and chemist who won her first Nobel Prize in 1903.

Peter Pan was written in 1904, so we thought this was a great example of a very strong, very famous woman that Wendy could aspire to be.”

Wendy is joined by Tiger Lily, the Native American character that many productions of the still-popular 1954 Peter Pan musical cut due to its offensive characterization. In approaching the parts of the original story that may seem sexist or racist, Paul felt his and Gunderson’s job “was not to be apologetic, but to actively flip the script.” Rather than eliminating the Tiger Lily character, they wanted to make her voice powerful and real. She is now a driving force in Peter Pan and Wendy, a vocal sparring partner with Pan, and a leader in Neverland.

Paul enjoys mining the deep psychological undercurrents in the script.

“This is a play that is obsessed with time,” he observed, noting that Peter Pan and Captain Hook are both trying to stop the clock and avoid the inevitability of aging. “It’s not a subtle play. It’s about good and evil and a bunch of boys fighting off pirates and a girl who believes in science. The stakes are really high. These kids go to Neverland to discover who they are and to see the worst of the world. They come back having learned big things.”

The story plays out in five separate sets, each of them designed to dazzle by Jason Sherwood.

“When you do Peter Pan, you can either do Peter and the Starcatcher, which is a very slimmed down version, or you just go ‘Boom!” Paul said. “And I was like ‘Jason, it’s time for big scenery. It’s what people want. People want an adventure.’”

In his approach to scenic design, Paul draws from his experiences directing opera. He recalls advice he once received from Sir Nicholas Hytner, the former artistic director of London’s National Theatre.

“The secret to opera is that you have to create five images the audience will find spectacular,” Paul recalls Hytner saying.

That can be a set piece, like the pirate ship that makes an entrance in Peter Pan and Wendy’s fifth act.

“We played around with simple designs for the ship, but then I thought, ‘People are waiting for that pirate ship to show up. It needs to be great.’”

Or it can be a scene. Paul thinks the opening sequence in which Pan reunites with his shadow will be spectacular. He hopes that a scene featuring an aerialist mermaid in a sea cave will be a beautifully stark and memorable contrast to the rest of the show.

STC commissioned Peter Pan and Wendy as the first offering in artistic director Simon Godwin’s holiday family-friendly initiative. But Godwin and Paul believe Peter Pan and Wendy will speak to adults and children equally. Paul knows it is the visual splendor that will wow young audiences, but he also thinks back to the opening night of J.M. Barrie’s original 1904 play.

“The audience that night was full of adults. Adults keep coming back to this old play from 1904 because there is really something to it. We had to find a way to honor that and make it about really contemporary things.”

Don’t miss Peter Pan and Wendy at STC from December 3 to January 12. Times vary. Tickets are $35-$120. Learn more and purchase tickets at www.shakespearetheatre.org.

STC’s Sidney Harman Hall: 610 F St. NW, DC; 202-547-1122; www.shakespearetheatre.org

Photo: courtesy of The National Theatre

Mandy Patinkin in Concert: Diaries

On the eve of his birthday, complete with a surprise birthday cake presented after his encore (with an enlightening reprise of Stephen Sondheim’s “Sunday”), Mandy Patinkin’s performance on November 29 was reflective and introspective, sparse and somber. 

At 67, Mandy Patinkin is not slowing down, evident by the 30-city Mandy Patinkin in Concert: Diaries tour celebrating Patinkin’s four decades as a multiple Tony-winning Broadway performer, and presenting the diversity of songs covered on the quartet of Diary albums, recorded and released during the last year.  

Produced by Thomas Bartlett, probably better known to many as a songwriter, producer, and musician for artists such as Sufjan Stevens, Yoko Ono, and The National (amongst many others), the covers of American standards, Broadway classics, and contemporary troubadours of the Diary albums are touchingly melancholic, evocative and rich in their understated simplicity.

At DC’s rose-colored National Theatre on Friday night, however, the depth and richness of the recordings were replaced by a sense of haunting, nostalgia, and a preoccupation with loss. Patinkin entered in all black, with his curly hair longish in back and slicked back from his expressive face and greying beard. The stage set was simple: a piano, a stool, a chair (all in black), a single dangling Edison-style bulb on an extended cord. 

Patinkin’s impressive vocal range, too, remained stubbornly baritone, though still expressive in his distinctive phrasing, his breathy run-on pacing (the delightful “Trouble in River City”) or lowered and growly in many of the more somber covers, making his occasional higher register that much more thrilling but missed.

 Accompanying Patinkin was Adam Ben-David on piano, a little more prosaic than Bartlett but also more playful, emphasizing the lightheartedness of Lyle Lovett’s “If I Had a Boat” or the impishness of Queen’s “Bohemian Rhapsody,” the most operatic of rock anthems, pared down to Patinkin’s single baritone voice rushing through the usual competing melodies. 

These lighter moments were occasional, as many of the covers, including Randy Newman’s doleful “Wandering Boy,” to the keening of Joshua Rayzner’s “Refugees/Songs of the Titanic,” and Rufus Wainwright’s apocalyptic “Going to a Town” (with a transposition of Wainwright’s “America” with “Jerusalem” in the refrain “I am so tired of …”) took the celebration of Patinkin’s storied career on a dark turn.

 The title of the tour “Diary” implies a vulnerability, as in Patti Smith’s recent speaking tour/concert about a year of loss and rebirth for her new book The Year of the Monkey, Alan Cumming’s bawdy, cheeky, and political cabaret Legal Immigrant, or the bare confessional of Conversations with Nick Cave, but Patinkin lets his choice of songs tell his story. 

There are glimmers of his affable storytelling during an extended anecdote about accidentally eating a THC-infused chocolate bar while on an extended road trip, or a first date with his wife, actress Kathryn Grody. But his most telling anecdote was the tragi-comic death of comedian Dick Shawn who died onstage while reclining on a sofa during a bit, prompting Patinkin to joke that he would like to go out the same way. 

Having just finished filming his final episodes of the Showtime Original Series Homeland, recording four albums with a new producer after the retirement of his longtime musical collaborator Paul Ford, and embarking on a tour in support of these new releases, Patinkin’s pace of artistic output as acclaimed actor, singer-songwriter, and concert performer is impressive and invigorating. The tour concludes in February 2020, as the final season of Homeland premieres, giving Patinkin time to kick up his feet for a bit, enjoy a chocolate bar, and dream up his next project.

For more on the work of Mandy Patinkin, visit www.mandypatinkin.org.

The National Theatre: 1321 Pennsylvania Ave NW, DC; (202) 628-6161; www.thenationaldc.com

John Leguizamo // Photo: courtesy of National Theatre

John Leguizamo Uses Latin History For Morons As Hilarious Call To Action

John Leguizamo’s Latin History for Morons is a one-man show that begins in a way that used to make me roll my eyes when I witnessed it as a student: A tweed-clad teacher whirls into the spotlight, arms full of books, ordering students to quiet down, “we have a lot to get through today, there’s no time for fun.”

Except, where my teachers were overworked, underpaid, forced to prepare way too many listless students for one standardized test after the next, Leguizamo takes his audience on a side-splitting crash course in Latin history that should be taught in every school. Seriously. We need to hear this.

The profanity-laced Latin History for Morons also proves every comedian sulking about how “comedy is dead!” because no one laughs at their archaic, problematic jokes dead wrong. After a successful run on Broadway in February of last year, Latin History for Morons came to DC’s National Theatre for three days in November

The show covered the stories of long-ignored Latin historical figures that Leguizamo discovered while doing research. The story is part educational and touchingly autobiographical, detailing a difficult time in Leguizamo’s relationship with his son as he helped him face racist bullies and trouble at school.

The historical figures and stories that Leguizamo discovered were found in a desperate attempt to uncover a Latin hero for his son’s school project – and build confidence and pride in his cultural heritage. Discovering that he couldn’t find a single one in his son’s history book, Leguizamo hit the books himself. 

Leguizamo not only tells one compelling story after the next, he cites himself and comments on the books he used. His journey through history points out commonly overlooked facts, like that Spanish conquistadors didn’t defeat native tribes with superior military skills, but with the sheer force of their own diseases.

His show walks us through the DNA breakdown of modern Latin Americans, the specific tribes that lived in America before Christopher “Columb-ass” “discovered” it, colonialism and the horrors that colonists brought to the Americas. 

Although he takes us through history, Leguizamo doesn’t shy away from current politics. He tells the story of the selfish Montezuma, who betrayed his own people only to be tricked by “Putin, err, [Hernán] Cortés.”

The show also made fantastic use of props and costume. Leguizamo makes use of a chalkboard through the entire show, scribbling hilarious, haphazard maps and notes while he lectured. He drew his map of the Americas while nailing a Bob Ross impression, pointing out that DC, is where the impeachment hearings were happening to uproarious cheering from the crowd.

Leguizamo transformed himself from teacher to caricatures of historical figures with ease and creativity. His Andrew Jackson was created by running chalk through his hair. His Montezuma pranced around in red underwear while Leguizamo’s pants were used as a headdress later. 

When I was first assigned a one-man show, I was skeptical. How entertaining can one person on a stage be? But Leguizamo was rarely still. He danced, sang, scribbled on a large chalkboard constantly and never stopped talking, somehow only needing a couple of short seconds to catch his breath in between each bit. 

Despite Leguizamo’s energy and levity, the show took on some serious issues. While the conversation about representation is often focused on movies, TV shows and books, Latin History for Morons points out that erasure from the history books is kind of the first step. His call to action is for more comprehensive education that doesn’t vilify or completely ignore the existence and contributions of an entire race. As someone whose people are only ever portrayed as the bad guys in history books, it’s a call that resonates.

Leguizamo not only pointed out the erasure of Latinx people from American history, he also talked about how it impacts him. While re-enacting one of his own therapy sessions, Leguizamo’s therapist asks him: When you think of someone brave, who do you think of? When you think of a genius, who do you think of? And Leguizamo’s own answers were telling: They were all white people. 

My favorite bit, though, was one that truly unites us across cultures: la chancla. While portraying his mother, Leguizamo’s version of the flip-flop is one that soars across the room to teach him a lesson and then flies back into his mother’s hand like a boomerang. In Egyptian Arabic, it’s called a shib-shib, but either way, it’s a tool of discipline that strikes fear into the hearts of brown kids everywhere. 

Although Leguizamo’s “Latin History for Morons” is no longer playing in DC, you can still experience it the next best way: Netflix.

For more information on the National Theatre’s upcoming slate, visit the website here.

National Theatre: 1321 Pennsylvania Ave. NW, DC; 202-628-6161; www.thenationaldc.com

Jake Epstein // Photo: courtesy of Arena Stage

Jake Epstein Talks World Premiere of Arena Stage’s Dear Jack, Dear Louise

It can be a challenge for an actor to tap into a character, especially one from a different decade. But for Jake Epstein, playing a WWII soldier holds a special family connection. The former Degrassi star is portraying Jack Ludwig in Arena Stage’s Dear Jack, Dear Louise now through December 29. The play, based on the love story of playwright Ken Ludwig’s parents, is set in the middle of the war and told through the use of letters. We talked to Epstein to learn more about the world premiere of Dear Jack, Dear Louise, long-distance relationships and the DC theatre scene.

On Tap: What’s it like portraying a real-life figure? Especially the playwright’s father?
Jake Epstein: To be honest, I try to block out that I’m portraying the playwright’s father. Only because in the sense of the play, I have to think of it as a character I’m playing. I’m trying to approach it the way I would any play, but certainly, there’s a real responsibility to tell the story right and to make sure the playwright can feel good about it.

OT: How closely did you work with the playwright, Ken Ludwig?
JE: At the beginning, very closely. He’s an amazing and hilarious writer. He was around for all of our table reads where we did a lot of work talking about the history and going on the trip together. Once we got up on our feet and started working with the director [Jackie Maxwell], Ken said “I’m going to let you guys play.” So he kinda went away and he’s been in and out of the whole process.

OT: How did you tap into playing a WWII soldier? What does that era of history mean to you?
JE: When you’re playing somebody from history you try to gather as much information as you can. I’ve done a lot of research, listened to podcasts every day and tried to read what I can so that I feel I can be as authentic as possible. On a personal note, my mother [Kathy Kacer] is a pretty well-known writer and she writes mostly stories about the holocaust for young adults. Her parents, my grandparents, were both Holocaust survivors. My grandmother, I never knew and my grandfather, I only knew a little when I was young. But one of the amazing things about being an actor is that sometimes you’ll get to do a play that’s out of your own time and place, and in this case, getting to do a play during the second world war makes me feel connected to my grandparents.

OT: What books has your mother written about the holocaust?
JE: She’s written over 20 books. My favorite is The Secrets of Gabi’s Dresser, which is a story about my grandmother hiding from the Nazis. Since then, she’s written a lot of other books, one called Clara’s War. They actually use her books in Canada, and I believe they’re starting to in the states, when they’re teaching kids about the second world war in school. That time in history definitely means a lot to me and my family.

OT: Have you visited the Holocaust Museum since you arrived in DC?
JE: I’ve been twice before. I went when I was younger with my parents, and a few years ago when I was here with the national tour of Spring Awakening. I’ve been in intense rehearsal, so I haven’t gotten the chance to do too much in DC but I’m certainly hoping to.

OT: What do you think of the DC theatre scene? How do you like Arena Stage?
JE: I’ll admit that I haven’t seen very much other DC theatre, but I know that it certainly has a great reputation with really smart, savvy audiences. Getting to perform at the Kennedy Center [with the national tour of Spring Awakening] was one of the highlights of my life. It’s such a gorgeous building and it was one of those moments like “oh my god, I’m so lucky that I get to do this.” I mean Arena Stage has this reputation of being this amazing out of town try out. A lot of shows going to New York, Broadway got to try themselves out at Arena Stage. It’s got this real spirit of creativity and support that I’ve been really impressed with. The building is beautiful and its location, with being right on the Wharf, is really cool.

OT: The story revolves around your character Jack and a character named Louise in a long-distance relationship, do you have any experience with long-distance relationships?
JE: Yeah, I do. My wife and I were long distance for about five years before we got married. So I have a lot of experience dealing with long distance and the tragedy, frustration and comedy that goes into maintaining a relationship when you’re far apart from each other.

OT: In today’s world, do you think relationships via letters is still considered romantic or is texting much more practical?
JE: In today’s world, people date through social media and through online dating and texting. It’s a specific part of how people meet and interact. This play is just like the original texting, the original online dating. The difference is just that letters took over a week to get to each other but I love how the play has a sort of wink to where we are today,  but with the story of the real history of letters.

OT: Since the play is told through letters, does that change the way you interpret the script as an actor?
JE: Yes and no. Yes, in the sense that the characters are not speaking aloud what they’re saying. They’re expressing the letters that have been written out loud but at the same time, because it’s a play, because it’s a piece of theatre, we really thought to theatricalize the story and theatricalize the way letters can be used on stage. Our director has really encouraged us to make the letters spoken as realistically as possible.

OT: How is being in a world premiere play like Dear Jack, Dear Louise different from being in an established play or TV show, such as Spring Awakening or Degrassi?
JE: Definitely being in a world premiere is a different beat than being in something that is set in stone. The main thing being that the playwright is there so you can talk to him about moments that maybe aren’t working as well as they could. There’s the opportunity for the line tweaks or changes or discussion with what the intention was about certain lines with the person who wrote it. Whereas with a published play, that’s it. You have to make it work. On TV it’s actually similar to a world premiere, the writers are around and there are constant changes on TV. So if anything, being in the world premiere of a play is probably closer to doing a TV show.

OT: Speaking of Degrassi, my editor [Monica Alford] told me she had a big crush on your character. Do you often get recognized for that role?
JE: Tell her thank you very much! I do sometimes and I appreciate it. It makes me laugh every time.

OT: Why do you think Dear Jack, Dear Louise is a great love story? Why will audiences resonate with it?
JE: I definitely hope so. I hope audiences can relate to it. There’s a lot of truth in their love story, it’s a difficult love story. There’s a lot of banter, the two characters couldn’t be more different from each other. Jack is a shy, self-effacing, intelligent army medic who has zero experience with the ladies because he’s been in school his whole life. Louise is this outgoing, charismatic aspiring actress. They couldn’t be more different, yet somehow find each other and start to relate on this very deep personal level through letter writing. They actually have a lot in common and they start to need each other in a way they both didn’t expect. I think there’s a lot of truth in the love story and I certainly related to a lot of it in my own life. I hope audiences feel the same.

Dear Jack, Dear Louise opened November 21 and runs through December 29. Various times. Tickets begin at $41. For more information visit here.

Arena Stage: 1101 Sixth St. SW, DC; 202-488-3300; www.arenastage.org

Photo; courtesy of We Happy Few

We Happy Few All Sold Out of Lovers’ Vows

If you haven’t yet made it to Capitol Hill Arts Workshop (CHAW)for We Happy Few’s latest production, you may have missed your chance to see the Helen Hayes-recommended company’s season opener. Rave reviews have had patrons scurrying for seats in CHAW’s cozy black box theater, and the company just announced that remaining performances of Lovers’ Vows are sold out.

But as playwright Elizabeth Inchbald seems to imply, not all hope is lost. If you’re just dying to see 18th-century wit on display this weekend, you might try your luck: waitlist seating on a first-come, first-served basis is an option for any unclaimed day-of-the-show tickets for the rest of the run, through November 23. And you might find it worth it.

Many of the show’s themes remain as relevant in today’s sociopolitical climate as they did in Inchbald’s era – notably, there’s a lot of talk about what women should and shouldn’t be doing, without much input from, well, women. Modern music by DC-based band The North Country propels the plot forward in ways that give what could have been an otherwise “overdone” narrative (love, loss and redemption) an attractively creative spin.

As is usually the case for We Happy Few productions, several actors play more than one role. Their mastery of this device is a testament to the small company’s spunk and skill. Director Kerry McGee’s onstage presence – which often drives the energy of the company’s shows – is missed. But Jessica Lefkow brings compelling spark to her two characters – both spurned lover/abandoned mother and lady-killing dandy. On Tap spoke to McGee about the sell-out show’s creative vision and more below.

On Tap: Why did you choose to put on a production of this show now?
Kerry McGee: I was inspired by the Women’s Voices Festival that theatreWashington puts up every couple of years. Their focus is to encourage local theaters to produce more work by female playwrights. For classical companies, “female playwright” often means a new adaptation by a woman of a classical play that was written by a man. But there were women playwrights out there from as far back as the 10th century. So I started trying to read as much work as I could by them. There’s a lot of funny, witty plays from women of the 17th and 18th centuries especially, but Lovers’ Vows was ultimately my favorite. The way the women are written felt very ahead of its time – so much so that its initial reception was controversial. A major plot point is about doing the right thing no matter what society dictates. That felt like a nice story to tell right now.

OT: What are some of your favorite creative decisions you’ve made for this adaptation?
KM: We’ve chosen to embrace the melodrama instead of working around it. The actors lean into the big emotional moments and choose to invite the audience to join in the fun with direct address and shared looks. The musical score from The North Country allows the moments of melodrama and heightened emotions to spill out onto the stage. We’ve had a lot of fun creating dance and movement sequences to their music. I was worried that next to the Regency costumes and Old World manners, the music might seem anachronistic. But it doesn’t at all. It’s a beautiful extension of the world, and the contemporary soundtrack highlights the modernity of the script.

OT: Does this show feel like a significant divergence from previous WHF productions?
KM: Not at all. I think it is influenced by and builds on the work we’ve created before. The balance of humor is reminiscent of our production of Dog in the Manger, and the movement-based storytelling lives in the same world as our Pericles. I feel like every new production from We Happy Few helps us hone in on our particular style of storytelling.

We Happy Few will be celebrating Lovers’ Vows with a fundraising event for the 2019-2020 season. Between the matinee and evening performances on Saturday, November 23 from 4-7 p.m., We Happy Few is hosting Shakespeare Karaoke at Lola’s on 8th Street in Eastern Market. No tickets are required for that event.

Lola’s: 711 8th St. SE, DC; 202-846-7728; www.lolasdc.com

Nova Payton in Newsies // Photo: Margot Schulman

Nova Payton Brings Power As Heroine in Arena Stage’s Newsies

Her name is Medda Larkin, and “she is in charge,” Nova Payton exclaims excitedly as she tells the joys of playing a brassy operatic and bluesy burlesque theater owner in Arena Stage’s production of Disney’s Newsies the musical.

Set in New York City in 1899, Newsies follows the adolescent newsboys who go on strike after newspaper owners Joseph Pulitzer and William Randolph Hearst, also known as the most powerful men in the country, raise the price for newspapers purchased by newsboys, who resale on the streets of Lower Manhattan.

Despite already being unable to earn a living wage, the newsboys are forced to pay double for an even now hard-to-sell newspaper.

Medda, the heroine of the tale, offers her theater as a safe haven for those youth struggling in the inner city.

“She is a powerhouse, who commands the room’s attention upon each entry,” Payton explains of the elaborate petticoats and headdresses she proudly wears to embody her character.

Medda requires the vocal prowess and tenacity of an actress with grit and worldly experiences, as she is based on the late Aida Overton Walker, a renowned musical theater performer, most known for her vaudeville performances and her marriage to George Walker.

Fortunately for director Molly Smith, Payton was available.

“I was called and asked about my availability, as here in DC, we audition a year in advance for each show,” she says. “So, they said they would like if I would sing in the show, and asked me to come in and sing with the music director Laura Bergquist, and here we are.”

From studying at the The American Musical and Dramatic Academy in New York and touring the world as a backup singer for Roberta Flack to performing in 3 Mo’ Divas, seen on PBS, Payton was primed for this role.

“I grew up around performers all my life. From Mike Malone the co-founder of Duke Ellington [School of the Performing Arts] to Roberta Flack”, Payton shares. “It was wonderful being able to sit under these geniuses and be groomed.”

When asked about the significance of this play in today’s climate, and the connection it would have to older and younger audiences, Payton had plenty to say.

“When you think about the kids who are protesting about global warming and gun violence and gun control today, it’s the same thing the newsies were doing with the newspapers. It was a matter of life or death. If you raise the rates, what am I supposed to do? After I pay you all this money, what’s left for me? How am I supposed to survive and eat?”

Payton says the younger generations are responsible for a lot of powerful movements, whether back then or in today’s political climate.

“With gun control and global warming, it’s the same. Kids are afraid to go to school, children are dying. Back then as today, kids were the movement. They took the risks, the chances and didn’t worry about what would happen next.”

Newsies has been extended and will be showing at Arena Stage through December 29. Showtimes vary. Tickets are $45-$102 and can be purchased by visiting the Arena Stage Ticket portal.

Arena Stage: 1101 Sixth Street SW, DC; 202-488-3300; www.arenastage.org

Wolfgang Amadeus Mozart (Samuel Adams) conducts his orchestra for the Viennese court in Folger Theatre’s Amadeus // Photo: C. Stanley

Folger Theatre’s Amadeus Deals With Questions of Hate and Immortality

When visiting the Folger Theatre located in the Folger Shakespeare Library on Capitol Hill, patrons will witness and appreciate the craftsmanship of five 15th Century styled harps reaching soaring heights, fixed within the dimly lit ligneous theatre. After a short time, visitors will soon come to realize these grand instruments evolve into a metaphoric prison cell restraining court composer, Antonio Salieri in his self-made abyss, where lies envy and resentment, his only comrades.

Set in 1823 Vienna, Peter Shaffer’s Amadeus, directed by Richard Clifford, opens with echoes of gasps and whispers, serving as rumors circling an empty 18th-century wheelchair. Two actors named Venticello enter expounding on the tales of events that took place thirty years prior. The play runs through December 22.

“Who killed Wolfgang Amadeus Mozart?”

The question is immediately answered, purportedly, once a seemingly aged Salieri, played by the dynamic Ian Merrill Peakes, takes his seat in the vacant chair. Rolling back and forth, Peakes delivers an almost believable performance as a man confined and matured by unforgiving transgressions. The alteration in his tone of voice, and the quivering words spoken, warrants audiences’ trust in his elder persona. Oddly, glimpses of humor and strength dissipate his “grandfather” façade, making for a unique transition to 1781 that monopolizes this modest 2-hour and 45-minute production.

For the 31-year old Salieri, Peakes fully embodies the stoic and oddly physically mature nature. Ranting on about his God-given gifts, his commitment to composing operas “in the name of God,” and his desire to reign as the supreme composer worldwide, Peakes’ endearing portrayal elicits feelings of empathy for someone fearing to lose their earned and widely coveted position on top.

Relying on hearsay, Salieri forms a notion of Mozart, played by the boyish Samuel Adams, that is inevitably disastrous to himself.

After meeting Mozart and witnessing his talents, that are far ahead of the times, Salieri begins to plot mischievously against Mozart.

In all honesty, Clifford’s recreation of Amadeus is genuinely clever. Capturing elements exemplified in the Tony Award and Oscar-winning renditions, Clifford brings forth a production that relies solely on the exquisite oratorical capabilities of its cast members, and the elegantly pristine garments perfectly positioning viewers in an 18th-century opera house.

Though music serves as the foundation of this story, and the source of contention, theatergoers should not expect live vocals or a grand orchestra, but rather recordings that manage to prompt well-deserving chills. Classical tunes and operatic arias play through the sound system and more than suffice in depicting Mozart’s musical prodigy and the growth in Salieri’s antipathy.

Perfectly parallel to Peakes’ menacing antics as Salieri, is Adams’ charming, yet infantile and vulgar disposition of Mozart. Personifying Mozart is a task Adams achieves with each breath. His occasionally nervous but often obnoxious shrill of a laugh and multi-color hair is both humorous and infectious.

Even though Adams prances and crawls onstage, spewing uncouth verbiage, he maintains an air of innocence that allows his unceasing advancements in his artistry.

Supporting Adams is Lilli Hokama as Constanze Weber, Mozart’s fiancée. Hokama introduces a lightness to the narrative that is needed to pierce the tomfoolery of Mozart and the bitterness of Salieri.

Sashaying around the stage, Hokama appropriately flits with grace as her garments adorned give nodes of lushness. Though she may be initially perceived as a dolt, with time, she proves to be quite a force to be reckoned.

When she rifles with the prospects of infidelity, her inner strength surfaces, paving a precise way forward during a patriarchal time.

In the original production and film, the themes within Amadeus hold firm, and Clifford’s take relishes in each one respectfully.

Brutal language is exaggerated perfectly, presenting the often-hidden crudity within aristocratic life.

Sex is referenced countless times as the source of inspiration in the artistic realm and is frequently deployed as a tactic enacting one’s power over another. God as the life-giver and taker is most haunting as lamentations transcend varying degrees of religious discourse. But all in all, the two themes that resonate most profoundly are hate and immortality.

I once heard that hating someone is like taking poison and expecting them to die. At the core of this theatrical masterpiece lies this fundamental truth. As Salieri hopes to live on forever through his musical accomplishments, his disdain for Mozart has the opposite effect. He marvels at the unending growth of Mozart, scheming continuously to undermine his success, only to spiral deeper into the void of unrelenting spite, where absolution is never achieved.

Amadeus is showing at the Folger Theatre located in The Folger Shakespeare Library through December 22. Tickets are $42-$85 and can be purchased online at www.folger.edu/theatre.

Folger Theatre: 201 East Capitol St. SE , DC; 202-695-7263; www.folger.edu/folger-theatre

The Company of the RENT 20th Anniversary Tour // Photo: credit Amy Boyle 2019.

RENT Brings Memorable Music, Moments to National Theatre This Week

“How do you leave the past behind / When it keeps finding ways to get to your heart?”

This lyric from the titular song seems fitting when talking about the 20th-anniversary tour of RENT. Since its opening in 1996, RENT has found its way into people’s hearts with  themes of love and acceptance. A pioneer for contemporary musicals, the show continues to resonate with theatre audiences more than two decades later.

RENT‘s narrative follows a group of struggling artists living in New York City under the 1990s AIDS epidemic. The show deals with social issues such as addiction and homophobia. Over the course of one year the character Mark, an aspiring filmmaker, records his friends as they experience fear, loss, hope and love.

Adapted from Giacomo Puccini’s opera La Bohème, Jonathan Larson’s rock musical has undergone countless adaptions over the years. Amid the show’s 12-year Broadway run, even a feature film starring several members of the original cast was released. After closing in 2008, the show eventually returned to Broadway in 2011. Currently, RENT is enjoying another national tour including this week’s run at DC’s National Theatre from November 12-17.

One of the actors touring with the production is Samantha Mbolekwa who plays the role of Joanne Jefferson. Joanne is a high strung lawyer who struggles with the flirtatious behavior of her performance artist girlfriend, Maureen.

“What I love about Joanne is what she really wants to be able to do is show on the outside what she can’t necessarily [show] because of her job and the way she was brought up, she can through hanging out with these really great artistic people,” Mbolekwa says of her character.

Mboleskwa’s favorite song to perform is “Take Me or Leave Me.” The flippant track comes at a pivotal point in Joanne and Maureen’s relationship.

“It’s iconic,” she says. “Me and Kelsey [Sweigard], who is my Maureen, have so much fun doing it together. I think we both keep each other on our toes. Every time that song rolls around, I just really look forward to it.”

It’s difficult to take note of RENT‘s tracklist without mentioning “Seasons of Love.” The tune has gone on to create a legacy of its own outside of the musical. The song asks “How do you measure a year?” and ultimately decide that life should be measured in love. On the song’s popularity, Mboleskwa believes it’s due to the big question the song is asking.

“How do you measure a year? In the song, you’re offered so many ways. I think that’s a question that sometimes people don’t even think about and then to hear it – it kinda puts you in your spot and makes you think. It has such a positive message.”

“Seasons of Love” also serves as a tribute song to RENT’s creator Jonathan Larson, who unexpectedly passed away the morning of the show’s first preview performance. The story of his life was chronicled in a documentary entitled No Day But Today: The Story of RENT. His work lives on in The Jonathan Larson Collection at The Library of Congress.

In addition to cementing Larson’s legacy as a great playwright, RENT also started the trend of rush tickets. Still used by popular plays and musicals, such as Hamilton, fans known as Rent-heads could receive discounted tickets to see the show.

According to Mboleskwa, this is a tradition the national tour still follows today,

“There are rush tickets for RENT, a lot of people don’t know that if you show up to the theatre two hours before, you can get front row tickets for $25. It all started when it was originally created in the 90s, it was such a hot commodity that people were camping outside of the theatre.”

In RENT’s 20-plus years on the stage, much of it remains true to the show’s original vision. The costumes, set and music are all taken from the original production. Mboleskwa explains that this is because the original creative team behind the show is still working to make it as memorable as ever.

“I think RENT is still relevant 20 years later because there are still reoccurring problems that the story had back then that are still happening,” she says. “People will always want to feel accepted and loved, and the show is all about acceptance and love.”

The 20th Anniversary Tour of RENT is at the National Theatre from November 12- 17. Showtimes vary. Tickets $54-$114. For more information about the run, click here.

National Theatre: 1321 Pennsylvania Ave. NW, DC; 202-628-6161; www.thenationaldc.com