Posts

The Scottsboro Boys

Stage and Screen: May 2018

THROUGH SUNDAY, MAY 20

Snow Child
Arena Stage adapted Eowyn Ivey’s Pulitzer-finalist novel, The Snow Child, for the stage with the world-premiere musical Snow Child. Facing the loss of their unborn child, Jack and Mabel move to Alaska from Pennsylvania to restart their life together. During a long, hard winter, the fissure between them grows until it seems impassable. But everything changes once a wild, mysterious girl visits them from the dark woods that surround their small cabin. Matt Bogart, starring as Jack, wants audiences to deeply contemplate Snow Child’s themes before they leave the theater. “I hope that audience members will see some of their own life experiences reflected in this piece, and that we are successful in reiterating what is taught in these old folk tales,” Bogart says. “This folk tale has to do with the impermanence of nature – how nature can sweep in and change your life, how losing a child can change your life, and how gaining a child, whether it’s born into this world or if you create it in your mind, becomes [a form of] healing.” With Alaskan folk music, a puppeteer and a winter wonderland set, you’ll find yourself alongside Jack and Mabel as they struggle in the Alaskan wilderness. Tickets are $65-$80. Arena Stage: 1101 6th St. SW, DC; www.arenastage.org

THROUGH SUNDAY, MAY 27

1984
In this captivating adaption of George Orwell’s 1984, the crushing realization of a dystopian future is inescapable. In a world with an authoritarian government monitoring every action, expression and thought of the masses, individualism is crushed and challenging the established regime leads to torture, prison and death. Be careful what you think. Big Brother is watching. Thursdays through Saturdays at 8 p.m. and Sundays at 3 p.m. Tickets are $15-$45. Atlas Performing Arts Center: 1333 H St. NE, DC; www.atlasarts.org

WEDNESDAY, MAY 2 – SUNDAY, MAY 6

Hamlet
For the first time since 2007, the legendary Royal Shakespeare Company returns to the Kennedy Center to tell the age-old tale of searing tragedy, murder and revenge. After a student is called home from university to find his father brutally murdered, he sets out on a mission to expose the truth on a journey of madness, murder and lost love. Rising star Paapa Essiedu makes his debut in the U.S. with his lead role in Hamlet. Tickets are $39-$129. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; www.kennedy-center.org

SATURDAY, MAY 5 – SUNDAY MAY 27

The Undeniable Sound of Right Now
Father and small business owner Hank struggles to keep his legendary rock club open in 1992 Chicago. As Hank refuses to confront the reality of where rock music is heading, his daughter starts dating a rising DJ star, forcing her father to acknowledge the truth of a different era. Explore themes of family troubles, affection for a bygone decade and the pure awesomeness of 90s rock with the DC premiere of The Undeniable Sound of Right Now. Tickets are $35-$45. The Keegan Theatre: 1742 Church St. NW, DC; www.keegantheatre.com

SATURDAY, MAY 12 – SUNDAY, JUNE 10

Saint Joan
Focused on Joan of Arc’s simple, illiterate, village-girl nature, George Bernard Shaw takes a different approach in telling this classic tale of martyrdom. Instead of portraying her as a witch, a saint or a heretic, Shaw emphasizes her individualism during her journey to liberate France from English control after over 100 years of war. Only four actors play over 25 roles in this engaging, bare-bones production, which The New York Times described as “irresistible” and “a force of nature.” Tickets are $35-$79. Folger Theatre: 201 E Capitol St. SE, DC; www.folger.edu

THURSDAY, MAY 17 – SATURDAY, MAY 26

Spook
Just an hour before his scheduled execution, ex-police officer Darl “Spook” Spokane is to give a live televised interview from death row. Convicted for murdering five of his fellow officers during what they call the “Morning Roll Call massacre,” Spokane is to explain himself with the entire country watching. There’s a catch: this will be the first time he’s uttered even a single word in three years since the mass shooting. You’re going to want to hear what he has to say. 8 p.m. all dates. Tickets are $20. Logan Fringe Arts Space: 1358 Florida Ave. NE, DC; www.capitalfringe.org

TUESDAY, MAY 22 – FRIDAY, JULY 1

Camelot
Amongst magical forests and castles of grandeur, four-time, Tony Award-winning musical Camelot explores the struggle for civilization and goodness in a society that’s accustomed to violence and hate. It is one leader’s integrity, courage and empathy along with his Knights of the Round Table that will change the course of history. With a doomed romance and an incredible score on top, this musical has won the hearts of theatre enthusiasts for generations. Tickets are $59-$118. Shakespeare Theatre Company’s Sidney Harman Hall: 610 F St. NW, DC; www.shakespearetheatre.org

The Scottsboro Boys
Along the lines of Kander and Ebb’s iconic musicals Chicago and Cabaret, the Tony Award-winning duo delivers yet another breathtaking musical. The Scottsboro Boys is a critique on racism and injustice in the South, revealing the true story of nine African-American teenagers who were falsely accused of a crime, quickly tried and sentenced to death in complete disregard for due process. Nominated for 12 Tony Awards, this musical transforms a disgraceful moment in American history into a platform for change. Tickets start at $40. Signature Theatre: 4200 Campbell Ave. Arlington, VA; www.sigtheatre.org

Photo: Joan Marcus
Photo: Joan Marcus

Waitress: Serving Up Music and Pie

In 2006, an up-and-coming independent film writer and director by the name of Adrienne Shelly was tragically murdered at the age of 40, just three months prior to the acclaimed release of her movie Waitress.

A decade later, a musical inspired by the cult fave came to Broadway and wowed the theatre community, garnering four Tony nominations in the process. The play’s all-women creative team boasts a book by Jessie Nelson, original music and lyrics by the six-time Grammy-nominated Sara Bareilles, choreography by Lorin Latarro, and direction by Tony Award winner Diane Paulus (Pippin).

A touring version of Waitress will be staged at National Theatre for a three-week run starting May 15. In this production, actress Desi Oakley takes on the role of Jenna, the part that earned Jessie Mueller a Tony nod and brought Bareilles to Broadway for the first time.

“I’d be lying if I didn’t say that Sara Bareilles has been someone who I have looked up to and respected for her music career since she began, so knowing that she wrote a musical was kind of like my two worlds combined, as I’m a singer/songwriter myself,” Oakley says. “When I heard about the show, I thought it was a genius idea and I didn’t think something could be so magical.”

Waitress follows the journey of Jenna, an expert pie maker, who longs for a life away from her job as a waitress, small town and loveless marriage. The solutions to all her problems might be in a baking contest in a nearby county or the town’s new doctor, and her fellow waitresses are more than happy to butt in and provide their own recipes for Jenna’s happiness.

“The story is really important to be telling in this time, and the songs have a lot of purpose,” Oakley says. “This is a story about a woman from a small town who has forgotten her dreams because of her life circumstances. Through this journey of her eyes being open, she learns her true self and is reminded that her dreams are worth fighting for. It’s a story of friendship, love and self-acceptance.”

Oakley has appeared on Broadway in a trio of shows – WickedLes Misérables and Annie – and has toured with national tours of Evita and Wicked. She saw Waitress early in its run on Broadway, but never dreamed Jenna would be a part she would one day play.

“A lot of times when I see a show, I think, ‘I’d love to do that show,’ but it wasn’t even a glimmer in my eye. I just let the story affect me as an audience member. I think it makes a lot of sense now, but when I was watching it, I just let the story work its magic.”

Once cast in the part, Oakley stayed away from listening to the cast recording. She says her voice is prone to mimic, and she wanted to offer he own take on Jenna.

“I went back to the feel of what I heard and what I knew from listening to Sara. I read the script again and took a dive into the story to prepare.”

Another thing she did was rewatch the 2007 movie version of Waitress.

“I had seen it and loved Keri Russell in it, but hadn’t remembered a lot of it,” Oakley says. “We’re dramatizing the story onstage, so there are a lot of differences and a lot of heightened moments. I really like how Diane Paulus has staged it.”

The production’s changes in costumes, lights, sets and sound make it seem in many ways like a film. Oakley feels that’s a great nod to the movie, and fans of that version of Waitress will not be disappointed in the musical.

Oakley is enjoying the tour, as she loves traveling to different parts of the country and seeing and experiencing new places. She’s contracted for the tour through at least the fall, and is thrilled to be making the character her own.

“My favorite thing is how real Jenna is,” she says. “I hardly ever leave the stage, but if I’m a little tired or stressed or anxious, that’s okay because those feelings work in Jenna. The more real I get, the more she will continue to be real. I’m embracing that and accepting myself, just as Jenna is in the story.”

When not onstage, Oakley is pursuing a career in singing and songwriting.

“It’s hard to make time for both, and right now, my focus is on this tour. I’m writing when I can, but my second album is on hold. Nothing fuels me like sitting down at the piano, so my heart will eventually lead me back to it.”

Oakley’s original music can be found on Spotify and iTunes. Waitress runs at National Theatre from May 15 to June 3. Tickets start at $28. For more information, visit www.thenationaldc.org.

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

Photo: Courtesy of Arena Stage
Photo: Courtesy of Arena Stage

Lights, Camera, Eco-Friendly Action: Arena Stage’s Solar Rooftop

For almost 70 years, Arena Stage at the Mead Center for American Theater has impacted countless lives with diverse and groundbreaking work from great artists around the country. They’ve held programs, classes and events to inspire creativity and expression, reaching over 10,000 students every year through community engagement. And in February, they decided to show their love for the community by installing 1,145 solar panels on their expansive rooftop.

To Arena Stage Executive Director Edgar Dobie, being eco-friendly is one of the best ways the theater can serve their network of artists and theatergoers.

“We feel that we need to respect our relationship with our community and our environment,” says Dobie, who has been with Arena Stage for nine years. “We tell stories on our stage, and as an institution, we have stories to tell as well. One of those stories is that we want to be as efficient and respectful as possible to the resources – whether they’re environmental or financial – that are given to us.”

As part of Arena’s renovations from 2007 to 2010, the Southwest Waterfront-based space hired the late Vancouver architect Bing Thom to design a massive glass enclosure that would surround both historical theaters. He even fit a new, third theater in the enormous 200,000-square-foot design. Thom’s idea for using glass came from his environmentally conscious roots. A huge glass wall means lots of sunlight entering the space, and a natural thermal system to save energy. Dobie is certain that Thom would be thrilled with the solar panel design if he were alive today.

With their new 452.3 kW solar system, Arena Stage’s move toward a renewable energy resource is the equivalent to saving 45,231 gallons of gas annually, or taking 85 cars off the road. And to achieve their goal of producing 20 percent of their power supply purely from solar energy, Arena Stage teamed up with EnterSolar, a leading provider of commercial marketplace solar energy options in New York. Dobie says their reputable portfolio isn’t the only reason he’s thrilled to work with them.

“EnterSolar is doing great things, and we are proud to partner with them on this project,” he says. “On top of it all, I love their name. It’s like a stage direction!”

Dobie says that because they’re eventually going to save money with this new energy source, Arena Stage will most likely hire more actors and teachers in the future. Thanks to their initiative and forward thinking, this theater will not only help to save the environment but also step up their mission to bring people together through the arts.

Learn more about Arena Stage at www.arenastage.org.

Arena Stage: 1101 6th St. SW, DC; 202-488-3300; www.arenastage.org

The Mystery of Edwin Drood

Stage and Screen: April 2018

THURSDAY, MARCH 29 – SUNDAY, APRIL 22

Paper Dolls
This quirky and provocative karaoke musical follows the experiences of five gay male Filipino nurses in Tel Aviv who care for elderly Orthodox and Chasidic men six days a week. But instead of white Keds and scrubs, these fab male nurses don high heels and boa scarves on their day off to headline a drag show. Based on the true story behind a 2006 Israeli documentary, Paper Dolls confronts the challenges that migrant workers face while yearning for citizenship and a place to belong. This American premiere is part of the 2018 Voices from a Changing Middle East Festival and directed by veteran Broadway director Mark Brokaw. Tickets start at $20. Atlas Performing Arts Center: 1333 H St. NE, DC; www.atlasarts.org

FRIDAY, MARCH 30 – SUNDAY, APRIL 29

Two Trains Running
Two Trains Running examines everyday life for black Americans in 1969 as tremors of the Civil Rights Movement reach Pittsburgh’s Hill District, which was one of the most prosperous, culturally active black neighborhoods in the country in the 40s and 50s. But when the 60s rolled around, the Hill District faced a sharp economic decline. Playwright August Wilson directly comments on this regression when Memphis Lee’s diner, the center of the Hill District’s community, is slated to be demolished. Arena Stage’s website describes it best: “Confronted with the reality of a rapidly changing world, Memphis and his regular customers struggle to maintain their solidarity and sense of pride.” Tickets start at $81; check website for information on discounts. Arena Stage: 1101 6th St. SW, DC; www.arenastage.org

THURSDAY, APRIL 5 – SUNDAY, APRIL 29

The Mystery of Edwin Drood (Symphonic Metal Version)
This reenactment of Charles Dickens’ unfinished novel will have you headbanging so hard, your neck will hurt for days. Landless Theatre Company and British-American composer, dramatist and author Rupert Holmes come together to transform Tony Award-winning musical, The Mystery of Edwin Drood, into a hard rock masterpiece. Tickets are $25. Capital Fringe: 1358 Florida Ave. NE, DC; www.capitalfringe.org

THURSDAY, APRIL 12 – SUNDAY, MAY 6

Witch
Strong, bold and powerful women have been feared, objectified and discouraged for many, many generations – especially when their power has challenged the status quo of that particular moment in history. Witch explores the thread that connects the Salem witch trials in the late 1600s to modern politics, examining the stories of women who have been labeled and chastised as witches throughout the centuries. This musical is sure to make you think long and hard about what it means to be a woman in the modern age, and what it must’ve felt like back then. Tickets start at $30. Creative Cauldron: 410 S Maple Ave. Falls Church, VA; www.creativecauldron.org

TUESDAY, APRIL 17 – SUNDAY, JUNE 10

Girlfriend
Set in a small Nebraska town in 1993, Girlfriend tells the tender, coming-of-age tale of college-bound jock Mike and self-assured but aimless Will, who are high on the rush of a first-time love filled with excitement, confusion and passion. All of these emotions and more are perfectly captured by Matthew Sweet’s alt-rock album, Girlfriend, which inspired the musical. Rolling Stone describes the play as a “rock ‘n’ roll Valentine that delivers subtle wisdom with an exhilarating kick.” Pride nights on May 11 and 18. Tickets start at $40. Signature Theatre: 4200 Campbell Ave. Arlington, VA; www.sigtheatre.org

WEDNESDAY, APRIL 18 – SUNDAY, MAY 20

The Crucible
Arthur Miller’s classic 1953 play about the Salem witch trials comes to life on Olney Theater’s stage this spring. Enter the world of Salem, Massachusetts in 1692, when an unseen evil swept through the small town of God-fearing people. This is a timeless reminder of the terrible outcomes that stem from bending the truth to conveniently fit one’s political agenda. Tickets start at $59. Olney Theater Center: 2001 Olney-Sandy Spring Rd. Olney, MD; www.olneytheatre.org

THURSDAY, APRIL 19 – SUNDAY, APRIL 29

International Film Festival
The 32nd annual International Film Festival has been expanding minds and opening eyes for the last three decades, and it’s not about to stop now. Choose from 80 films from over 45 countries over the course of 11 days at various locations throughout the city. Featured films include opening night’s Streake, about a different kind of sports star, and closing night’s Just to Be Sure, a comedy exploring the virtues and vagaries of DNA. Full schedule and ticket information available at www.filmfestdc.org.

SATURDAY, APRIL 21 – SUNDAY, APRIL 22

Another F*cking Warhol Production
The feath3r theory, a dance-theatre-media company based in New York City, is coming to the District with Another F*cking Warhol Production. This American docufiction, post-ballet theatre musical is a recreation of the unrecorded, deleted and lost footage from Saturday Night Live’s 2015 episode on love and war (“The Love Episode”). With dancers wearing brightly colored morph suits inspired by 60s fashion, this musical is just the right amount of quirky and compelling. Saturday at 8 p.m., Sunday at 7 p.m. Tickets are $15-$30. Dance Place: 3225 8th St. NE, DC; www.danceplace.org

Photo: Carol Rosegg
Photo: Carol Rosegg

Trust in The Wiz at Ford’s Theatre

There’s not a moment in Ford’s Theatre’s The Wiz when you’re not exhilarated. From the instance Toto rushes across the stage to the final second Dorothy clicks her heels, the kaleidoscope of characters, colors and music inspires the audience to yelp, cheer, tap their feet, laugh and snap – it’s impossible to sit still when you’re traveling through the Wonderful World of Oz.

The Wiz, the iconic winner of seven Tony Awards, is an adaptation of The Wonderful Wizard of Oz by L. Frank Baum, which unapologetically celebrates black culture through it’s score of blues, soul, gospel, R&B, jazz and pop, in addition to its universal narrative. The Wiz isn’t a story about a young black girl overcoming slavery, extreme poverty or hardships. Rather, the story is about a young girl who happens to be black making friends and finding strength as she attempts to journey home after being whisked away by a tornado into a magical land.

“The beauty of The Wiz is its message that anything we already are is enough,” director Kent Gash explains in Ford’s press release. “Dorothy feels restless and stuck at home, but when the tornado comes through, it absolutely turns her world upside down and changes her perspective. Dorothy discovers she is smarter, more powerful and more interesting than she ever realized. She comes to understand that how she moves through the world can change lives. That is a valuable lesson for us all to celebrate.”

Ines Nassara shines as Dorothy. The moment she sings the first line on “Soon As I Get Home,” we know exactly who this character is. We feel Dorothy’s fear, excitement and resolve to succeed in her mission. At the beginning of the show, she’s still unsure of her bravery. By the time she helps her new friend, the Cowardly Lion (played exquisitely by Christopher Michael Richardson), discover his own strength in “Be a Lion,” you’ll be hard-pressed to hold back tears upon seeing this young woman stand with such power.

Hasani Allen emulates the same charm and lankiness as Michael Jackson in the same role as the Scarecrow, but his “Aw, shucks” sweetness is all his own. For lacking a heart, Tinman, as brought to life by Kevin McAllister, sings with all his soul about the eternal fear we all have about being unable to love, and being unlovable.

While the four leads of the show prove wonderful, The Wiz is a musical that needs a strong ensemble cast. Ford’s production delivers, and when the show reaches its peak after Evillene melts away with “Everybody Rejoice” – an exuberant song celebrating freedom and new chapters – you can’t help but revel in the joy onstage.

This production of The Wiz is a delight for any pop culture fiend. There are call-outs to Jackson 5 dance routines, Alvin Ailey’s masterpiece RevelationsWakanda, Coming to America, Flavor of Love (Flava Flav’s VH1 dating show), Paris Is Burning, Grace Jones, Prince and Purple Rain, and of course, some moonwalking thrown in for good measure.

This is a story about having the courage to trust in yourself – trusting your smarts, trusting your heart, trusting your bravery and, finally, trusting in your spirit.

The Wiz runs at Ford’s Theatre through May 12. For more information about the show or details on times, dates and tickets, click here.

Ford’s Theatre: 511 10th St. NW, DC; 202-347-4833; www.fords.org

Photo courtesy of Cameron Whitman
Photo courtesy of Cameron Whitman

Big Story, Intimate Setting: Chicago at Keegan Theatre

Pop, six, squish, uh uh, Cicero, Lipschitz! Those six words that are random on their own can be mistaken for non-other than the intro to the seductive “Cell Block Tango” of the infamous musical Chicago. The classic story of passion-induced crime and the lure of fame has made its way to DC at Keegan Theatre until April 14.

For those who may not have seen the musical on stage or the popular 2002 movie, Chicago was written by Fred Ebb and Bob Fosse. Set in the roaring twenties, the musical follows the story of Roxie Hart who has murdered a cheating lover. Her loyal husband Amos takes the blame for Roxie’s crime, but when he finds out she’s been playing him, Roxie is sent to jail. It’s there that she gets the help of crooked lawyer Billy Flynn and battles fellow convict Velma Kelly for the spotlight.

While Chicago has been done many times before and the story stays mostly the same, Keegan’s production will have a more authentic nature to the production. Maria Rizzo, who is playing Roxie, says that while the revival feels very modern with its costuming and the portrayal of the characters, Keegan’s production will feel a lot more like the real twenties.

As Kurt Boehm, who play Billy, puts it, “The revival had a very specific look to it and the dancing is pretty iconic with Fosse’s interpretation, so [we’re] really trying to step back into the time period and go with the vaudeville theme.”

Another element of Keegan’s production that you will not see from many others is intimacy.

“It’s this small space where you can really see so many details of the performer’s emotions and the storyline,” Rizzo says. The set is very spare and it’s just about these characters and the way they’re whittling through the journey that they’re all facing.”

Regardless of whether it’s being performed on a big stage or a small one, a modern interpretation or an authentic one, Chicago has remained a popular musical since it first hit the stage. In addition to the catchy songs and unforgettable choreography, part of its popularity comes from the story’s relevant message to today.

“At the beginning of the show there’s a line that says you’re about to step into a story about greed, betrayal and murder and all of these abrupt and scary things. There’s just so much of that going on in the world,” and it looks at how women are resilient despite these terrible things Rizzo says. “What’s cool about it is it’s not about getting a guy and it’s not about a big, happy ending. It’s about two women and the struggle that is put in front of them and how they fight through it.”

Catch Chicago at Keegan Theatre, running through April 14, 2018. Learn more here.

Keegan Theatre: 1742 Church St. NW, DC; 202-265-3767; www.keegantheatre.com